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sun; but at that date seems to have been most frequently applied to flowers of the heliotrope class. It may just possibly mean the sunflower.

237. This appears in Colls, 64, 73, 92, 262.

238. Subscribed G. Morley in the MS. It is anonymous in Colls. 43, 49. 249. I have found and collated five texts of The Hunting,' and none of them are completely satisfactory. I print the best (1672), but this has to be helped out with a few readings from Bodley MS. Rawl. Poet. 147, and Sportive Wit, 1656, as follows. Stz. 1, 1. 8, the hunting, 1656; once hunted, 1672. Stz. 3, 1.5, Who, MS.; And, 1672. Stz. 4, 1. 8, With, 1656 and MS.; And, 1672. Stz. 5, 1.6, Maia, 1656 and MS.; May, 1672. Stz. 6, 1.2, Roused, 1656 and MS. Raised, 1672. Stz. 7, 1. 2, Harper, MS.; Harpye, 1672. Stz. 7, 1. 3, Rend, MS. ; Rent, 1672. Stz. 9, 11. 7-8, Only I measure the jewel of pleasure, / Of pleasure the treasure is, MS.; Only as measures the jewel of pleasures, / Of pleasures the treasures of, 1672. The poem also appears in B.M. Add. MS. 27879 (dated, like the Bodley MS., c. 1650), and Coll. 135.

249. Patrick Carey has a song (date 1651) written to the tune of 'I'll have my Love, or I'll have on,' which must be the tune to which this song was originally sung. (See next note.)

251. Carey's poems remained for the most part in MS. until they were published by Sir Walter Scott in 1820 (Preface dated 1819); and the MS. from which Scott printed them seems to have disappeared. Having failed, in spite of a diligent search and many enquiries, to trace it, I have been compelled to print from the 1820 text.

257. The Vow' appears in Colls. 77, 83.

257. A Catch' is in Colls. 32, 34, 57, 68, 75, 79, 81, 89, 92, 100, 110, 190, 262. 259. I have been unable to obtain a fresh collation of the texts of Beaumont's two poems; Prof. Palmer, of Harvard University, U.S.A., the owner of the MS., being away from home at the time of my application to him. He, however, vouches for the accuracy of Miss Eloise Robinson's text, from which I print the poems. I have, however, modernized Beaumont's antique spelling reproduced in her book: The Minor Poems of Joseph Beaumont, D.D., 1914. 262. The Song' appears again in Coll. 39.

262. At Parting' is to be found in Bodley MS. Mus. b. 1, which supplies 'Our nights' (stz. 2, 1. 3) where 1652 reads 'Our eyes.' The song is in Colls. 39, 63, 64, 88. 263. This also occurs in B.M. Harl. MS. 3001, and in Colls. 39, 63, 88, 109, 162, and, expanded to to stzs., in Colls. 267, 268, 276.

264. For the date of Marvell's poems, see The Poems of Andrew Marvell, Ed. by G. A. Aitken, 1898.

274. Flecknoe included this song with slight variants in Love's Dominion, 1654, and Love's Kingdom, 1664.

277. Line 12, 'yon cloud,' misprinted 'you cloud,' 1665; 'yond cloud,' 1653. The poem appears in Colls. 37, 86, 88.

278. Orrery's song was reprinted in Colls. 63, 68, 88, 100, 110, 137, 148.

278. Shirley's song is also found in Coll. 130.

279. The Angler's Song' appears later in Colls. 63, 79, 81, 88, 100, 110.

280. To Celia' also occurs in Colls. 47, 63, 88, 92, 95, 262.

283. The section of The Works, 1673, containing this poem, has a title-page-Poems on Several Occasions Never before Printed, 1672. The poem had appeared previously in Colls. 46, 48, 92, 94; and is found later in Colls. 153, 262.

284. This, the only XVIIth century text of Hammond, abounds with mistakes. 'Swift' (1.4) could only be a possible reading if its meaning could be connected with the winds' of 1. 2; but these winds forbear' to blow. Down is not of itself 'swift'; but the mental association of 'down' with 'soft' is instant and universal: soft as down' occurs repeatedly in the poems of the period. Further, in the antitheses in 1. 7 (the whole point of the poem), 'rougher' is opposed to smooth' (1. 1); 'harder' is opposed to-'swift'? Surely the poet wrote 'soft.'

285. In all the reprints of this poem I have seen, stz. 2, 1. 2, reads, 'the sharp arrows.' The 1655 Ed, has 'harrows,' which is obviously correct. The poem is called 'Husbandry,' and the metaphor is carefully worked out: plough,' 'furrows,'' clods torn by the sharp harrows' and 'crumbled by pressing rolls,' sowing, springing grain, etc.

291. Stz. 1, 1. 4, And to implore,' is misprinted' And so implore' in 1673. Variant of song appeared earlier in Coll. 64, and is found earlier still in Bodley MS. Mus. b. 1, (see following note).

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291. Away, away' and the six poems following it, are from an unpublished MS. in the handwriting of Wilson, who composed the musical settings of all the songs contained in it. The MS. was written c. 1650-5, and may have

been given to the Library by Prof. Wilson when he entered on his professorship, for it was certainly referenced, if not acquired, about 1656,' A Summary Catalogue of Western MSS., II, Bodley. These seven songs are now printed for the first time, as is also the following, from the same source:

SONG

FEARLESS follow, thou sad soul,
Fair days are sweetest after foul;
Then follow boldly and here find
After pain thy peace of mind:
Sinful thoughts have bred thy woe
But thy grieved heart in time shalt know
Her long-lost joy, and thou shalt see

All comforts still attending thee.—Anon.

292. L. 4, without'; Wilson has mistakenly written 'with one,' in the MS. 294. This also is in Wilson's MS., but with two more stzs. (see note 291). 295. This Song,' expanded to two stzs., is also to be found in Wilson's MS. (see note 291).

295. Chloris' appears in B.M. Harl. MS. 3991, and in Colls. 51, 62, 92, 109, 123, 153, 262.

296. The Swallow' appears in Coll. 127.

297. This occurs in Colls. 84, 127, 130.

300. Variants with one or two extra stzs. are also to be found in several MSS., and in Colls. 70, 73, 89, 109, 123, 130, 162, 190.

301. I have taken the 1671 text as being better than 1656. It appears also in Colls. 238, 258.

302. There was another issue of this book in 1658 with a different title: Small Poems of Divers Sorts. They seem otherwise identical.

302. Harington's 'Song' was reprinted in Coll. 88.

303. This also was reprinted in Coll. 88.

305. Line 4, Oppressed, N.A.; Opprest, 1683.

306. To Sorrow' occurs in B.M. Add. MS. 20306, written 1678-82; but though the actual transcription is later than the printed volume, the text is so much better that I have followed it. This MS. text has not been printed before. In the same MS. is a little unprinted song, probably written 1670-80, as follows:

TO CLARINDA

No more, Clarinda, shall thy charms
Prevail against Camilla's arins:
She hath untied that knot at last,

And by another bound me fast:
Nor think it strange

To see this change;

Love cannot always last.-Anon.

307. In Lusoria the poem is thus introduced-'This ensuing Copy the late Printer hath been pleased to honour, by mistaking it among those of the most ingenious and too early lost, Sir John Suckling.' Internal evidence also supports Felltham's claim rather than Suckling's, or, more precisely, the late Printer's' claim for Suckling (the latter had been dead 17 years before the poem was included among his works). It is a little surprising that the real authorship of this well-known song should have been overlooked for nearly three hundred years. The piece also occurs, without ascription, in B.M. Harl.

MS. 6918.

308. For date, see Prof. Saintsbury's Minor Poets of the Caroline Period, III,

1921.

308. This anonymous song was reprinted in Colls. 88, 138; and a variant, O fain would I before I die,' (3 stzs. of 8 lines each) is found in Colls. 93, 94309. The 1670 text (Merry Drollery complete) seemed to me the best; accordingly I print from it. The poem, sometimes with an extra stz., sometimes with two, appears also in Colls. 74, 81, 100, 110, 190.

309. Fairfax's poems were written 1650-60, at Nun Appleton, Yorks.-D.N.B. 310. Though not published until 1689 when he was on the verge of 60, most of Cotton's love lyrics were undoubtedly written much earlier. In 1658 Cokayne wrote some verses praising Cotton for his excellent poems. Mr. C. J. Sembower (op. cit. note 234) thinks this and the four following pieces were written between 1650 and 1660.

313. The MS. has the only intelligible reading of the first two lines, besides being the earliest text. The song appears in Colls. 86, 88.

315. The earliest text is the best. It was reprinted in Epigrams, 1669 and 1670; Epigrams of all Sorts, 1671; and A Collection of the Choicest Epigrams, etc., 1673.

316. Howard's poem also appears in Colls, 109, 162.

318. A number of unpublished poems by Panman exist in various MSS. Of his shorter pieces, this is the best I have found; it is dated 1660 in the MS., and is now printed for the first time.

323. The MS. [temp. Chas. II] has the best text, and I have followed it accordingly. The song also appears in Colls. 87, 89, 92, 109, 129, 147, 162, 190,

202.

325. For date, see D.N.B. The poem is found in Colls, 86, 88, 89, 92, 94, 190,

202.

328. For date, see J. W. Ebsworth, (op. cit. note 137). The poem appears also in Colls, 135, 137, 148, 235, 258, 262; and an expanded version in Colls. 263 (bis), 264 (bis), 266, 268, 276.

329. Date: a new play,' Pepys, Oct. 20th, 1662.

332. The song occurs in Colls. 92, 94, 262.

333. Date: to the Duke's house, and there saw The Rivals,' Pepys, Sept. 10th, 1664. Davenant never claimed this play, and it was not included in his Works, 1673; but it was acted by his company at his theatre in Lincoln's Inn Fields: D.N.B. The song appears in Colls. 89, 92, 94, 190, 262; and, expanded to II stzs., in Coll. 267; and to 12 stzs. in Coll. 264.

335. The oldest extant printed text of Dorset's famous poem is, I believe, that in Wit and Mirth, Vol. V, 1714. It next appears in Merry Musician, I, 1716; again in Wit and Mirth, Vol. VI, 1720; and then in the Works of Rochester and Roscommon, etc., 1721. The MS, text from which I print the poem is thus some 30 years earlier than the oldest of the known printed texts, and it has, to the best of my belief, never before been published. The poem is headed Shackley Hayes in the MS., which is, of course, the name of the tune (there being ballads in Colls. 263, 264, 266, 276, to the tune of Shackley-kay'), but otherwise it has neither title nor attribution. The few errors of the MS. text I have corrected by the 1721 text, as follows. Stz. 2, 1. 2, brain, 1721; brains, MS. Stz. 6, 1. 6, men, 1721; MS. omits. Stz. 8, L. 4, MS. omnits this line completely; it is supplied from the 1721 text. Stz. 8, 1. 6, worthy, 1721; happy, MS. 'Ombre' is spelt Hambre' in the MS.; and variously elsewhere at that time, e.g. Umbre, Hombre, L'Ombre, are all contemporary. The date is fixed by Pepys' statement: I occasioned much mirth with a ballet I brought with me, made from the seamen at sea to their ladies in town,'-Pepys, Jan. 2nd, 1664-5. There can be little doubt that Pepys is referring to this poem; and it is now generally supposed that Dorset wrote it while serving under the Duke of York in his first cruise in November 1664; when the Dutch avoided an action by retiring into port; and not, as Prior says, on the night before the engagement' with the Dutch, in June 1665.

336. Etherege's song also appears in B.M. Harl. MS. 3991; and Colls. 92,

262.

336. A MS. in Bodley, Wood 416, gives date and author, but omits II. 17-20. The Harl. MS. temp. Chas. II] has the best text; but in 1. 23, reads 'Or for ever... the Ashm. MS. [c. 1670] supplies the reading I print; the Wood MS. has 'And there for ever." Variants, from 16 to 24 lines in length, appear in Colls. 92, 96, 103, 198, 241, 251, 262.

338. For date of writing, see op. cit. note 308. Stz. 2 appears in Coll. 221. 338. Date: to the King's playhouse... and there did see a good part of The English Monsieur,'--Pepys, Dec. 8th, 1666.

339. Date: D.N.B. quoting Downes, says Cambyses was written and produced in 1666. The song appears in Coll. 94.

343. Date: 'to the King's house to see The Maiden Queen, a new play of Dryden's,'--Pepys, March 2nd, 1666-7. The play is called Secret Love: or, The Maiden Queen. The song occurs in B.M. Harl. MS. 3001; and in Colls. 92, 174, 262; and, with the additions of one stz. at the beginning and 7 stzs, at the end, as a ballad, The Bashful Virgin,' in Coll. 264.

343. For date of acting, see D.N.B. The song also appears in B.M. Harl. MS. 3991; and in Colls. 92, 93, 94, 108, 262; and, expanded to 10 stzs., in Colls. 268, 276.

344. Attributed to Etherege by W. Oldys, Biographia Britannica, 1750. The song is also printed with variants of 2, 3 or 4 stzs. in Colls. 81, 92, 94, 103, 128, 198, 241, 262.

345. A number of Wanley's poems have recently been published in an article, 'A Forgotten Poet of the XVIIth Century,' by L. C. Martin, Eng. Assoc. Essays and Studies, XI, 1925. 'The Casket,' however, appears now in print for the first time. Besides the MS. cited, it also occurs with other of Wanley's pieces in B.M. Harl. MSS. 6646 and 6922. The following is another poem of his from B.M. Add. MS. 22472; it was first printed by Mr. Martin in 1925:

HUMAN CARES

THESE pretty little birds, see how
They skip from bough to bough,
Tuning their sweet melodious notes
Through warbling slender throats;
Not caring where they next shall feed
Upon what little worm or seed.
The glittering sparkles of the night
How free they spend their light!

As nimble fairies on the ground

They smile and dance the round;
Careless where 'tis they shall repair
That oil that makes them shine so fair.

The purling waters glide away
And o'er blue pebbles stray;

They leave their fountains far behind,
And thousand circles wind

About the flowery meadows' side,
Not doubting but to be supplied.

The trees do bud and bloom and grow
And boast their plenty so

As if they feared no pilfering hand,

Or blustering wind's command,
Or nipping frosts should them undress
And make their leavy glories less.

But man alone, poor foolish man!
Who scarce lives out a span,
Is stocked with cares and idle fears
For full one hundred years,
And, as if wanting grief, he must

Go take up sorrow upon trust.-Wanley.

346. A variant, 2 stzs. in length, had appeared earlier in Colls. 81, 89. It reads as follows:

A fig for care, why should we spare?
The parish is bound to find us:
For thou and I and all must die,
And leave the world behind us.

The clerk shall sing, the bells shall ring,
And the old, the old wives wind us;

Sir John shall lay our bones in clay

Where nobody means to find us.--Anon.

Both texts of the variant agree, except that Coll. 89 does not repeat the old,' in stz. 2, 1. 2.

346. This famous 'Health' appears also in Colls. 89, 100, 110, 128, 133, 137, 148, 190.

347. Davenant's song is not in the 1643 and 1649 editions of the play; but the revision, in the 1673 volume, has an extra scene inserted in Act IV, where the song is found.

348. As originally printed, blanks were left where the names of 'Craven's,' 'Queen,' and Roper occur in the poem. The 1704 text supplies them. The date is fixed by an amusing description Pepys gives of Lord Craven's endeavours to suppress an unruly mob of 'prentices who were taking the liberty of these holydays to pull down bawdy-houses. presently order was given for all

..

the soldiers, horse and foot, to be in armes! and forthwith alarmes were beat by drum and trumpet. . . and all to their colours, and to horse... and my Lord Craven commanding of them, and riding up and down to give orders, like a madman,'-Pepys, March 24th, 1667-8. A. H. Bullen states that Christopher Roper was appointed page of honour to the Queen in 1667; and quotes Walpole for the identification of Black Bess' with Mrs. Barnes, (Musa Proterva, 1889). The poem also appears in Colls, 104, 116, 120, 235, 258; and was included in the Works of... Rochester and Roscommon, etc., 1721.

349. Date: 'my wife and Deb... . saw the new play, Evening Love, of Dryden's,'-Pepys, June 19th, 1668. The song occurs in B.M. Harl. MS. 3991; and in Colls. 92, 93, 94, 262.

351. To Chloris' was reprinted in Colls. 92, 94, 135, 249, 262.

352. For date of acting, see D.N.B. The song was very popular; it appears in Colls. 92, 93, 94, 104, 116, 120, 123, 235, 258, 262.

353. The attribution to Charles II originated with Sir John Hawkins (A General History. of Music, 1776), who, in the Appendix to Vol. V, included the poem (and Humphrey's original setting) with this description: A song, said in an old copy to be written by king Cha. II.' Horace Walpole (The Works, 1798) follows with Sir John Hawkins... has from an old copy produced a song said to be written by king Charles. There is certainly nothing in the composition to contradict the report: the expression is easy and genteel, and the thoughts amorous.' Next comes Thomas Park, who, in his enlargement of Walpole's Royal and Noble Authors, 1806, includes Charles II, and prints this song (with His Majesty's portrait for further conviction) and the following statement: Charles the Second is entitled to have his name inscribed on the muster-roll of royal authors, according to the affirmation of Sir John Hawkins, and even on the negative testimony of lord Orford himself, who thought there was nothing in the following amatory song to contradict the report of its having been said in an old copy to be written by this witty prince.' Who could hesitate any longer to believe it? But that entitled... even on the negative testimony is delicious. I have failed to trace that 'old copy,' and after having located and examined as many as nine different texts without that ascription, I confess to feeling a little sceptical about it. Of course Hawkins may have referred to a manuscript note written in a printed copy. Charles's claim is not strengthened, to say the least, by the MS. I have found and cited, in which these verses are entitled, 1st. Song in the Masque, 1670.' Besides the sources mentioned the song occurs in Colls. 92, 104, 108, 116, 120, 262.

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355. For date of acting, see D.N.B. The song appears in Colls. 92, 93, 94, 104, 116, 120, 235, 258.

356. Dated by the title which, in 1704, concludes for his Gray Hairs, which he had at thirty."

357. Dorset's poem appears also in Colls. 104, 116, 120.

357. Attributed to Etherege by Oldys (op. cit. note 344), this song is also found in Colls. 92, 103, 198, 241, 262.

359. I have followed the earliest text to appear, as that seemed to me the best. The variations in Wycherley's 1672 text are as follows. Stz. 1, 1. 1, A spouse; 1. 3, give us a; 1. 4, Who nothing will ask us or; 1. 7, love for; 1. 8, takes her kind. Stz. 2, 1. 2, Without an act; 1. 3, From wife; 1. 5, When parents; 1. 6, cannot is misprinted connot. According to John Dennis (Original Letters, 1721), it was this song, or rather, an allusion to the latter end of it, which served as an introduction to the intimacy between the author and the Duchess of Cleveland, to whom he later dedicated the play on publication. The song also appears in Colls. 94, 98, 123, 145, 258.

359. This anonymous song is also in Colls. 92, 94, 104, 116, 120, 262.

360. I supply the song's lack of title in the Windsor Drollery by printing that given in the same year in the Oxford Drollery, which on the other hand omits the last 5 lines. In B.M. Harl. MS. 3991, the song is entitled 'Mad Woman in The Pilgrim.' It is not in Fletcher's play The Pilgrim, 1647 and 1679 (though that has a mad woman who sings), neither is it in Vanbrugh's version of that play, 1700; nor in T. Killigrew's play of the same name, 1664. Langbaine, however, writing in 1691, mentions a revival of Fletcher's play some years since'; and Covent Garden Drollery, 1672, includes the Prologue which was presumably then spoken. This therefore was in all probability a song written especially for that revival, and, like so many others of the kind, survives only in the song books which collected such ephemeras of the stage and the court. It is to be found also in Colls. 92, 104, 108, 116, 120, 262; and as a ballad, expanded fore and aft to 12 stzs. and entitled 'The Sorrowful Lady's Complaint,' in Colls. 264, 276.

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