361. This song also occurs in Colls. 123, 262.

362. For date, see D.N.B. The song appears in Colls. 104, 106, 107, 116, 120. 363. Though this famous song was never owned by Dryden (so far as I have been able to ascertain), it is usually assigned to him on the evidence of Buckingham's Rehearsal, 3rd Edition, 1675, where it is parodied as the work of Bayes,' who, in that scene at least, is identified with Dryden. Malone definitely attributes the song to him, and states that it was written on the death of Captain Digby, who was killed in a sea-fight with the Dutch, off Southwold Bay, May 28th, 1672; and he also identifies 'Armida' with Frances Stuart, Duchess of Richmond, (Prose works of John Dryden. . . with . . . the Life... of the Author, 1800). 'Armida' is the spelling of The Rehearsal, and modern editors; but it was Armeda' in New Court Songs, and Arminda' and 'Amida' elsewhere. I am able to add to the number of recorded texts. The song appeared, subsequent to the two 1672 editions, in Colls. 104, 108, 116, 120; and variants expanded to 10 stzs., beginning Farewell, my Calista,' are found in Colls. 264 (bis), 266 (bis).

364. Flatman's song first appeared in Colls. 98, 101; and again later in Colls. 171, 248.

364. Ravenscroft's song was reprinted in Colls. 98, 101, 104, 106, 116, 120. 365. This poem, which appears thus in Sedley's Works, 1702 and 1707, has an extra stz. at the end in Colls. 96, 103, 198, 241, as follows:

'Tis fitter much for you to guess
Than for me to explain;

But grant, O grant that happiness
Which only does remain.

366. Variants of this song of Sedley's appear in Colls. 96, 103, 180.
368. The Rural Dance' is also found in Colls. 235, 258.

371. A great favourite, it appears also in Colls. 135, 137, 148, 151, 153, 162, 163, 165, 174, 244, 257, 260.

373. This was reprinted in Colls. 116, 119, 120, 259.

375. In printing Traherne's poems, I have followed the text of the MS. transcribed and prepared for the press by his brother Philip (see Traherne's Poems of Felicity, Ed. by H. I. Bell, 1910), because this MS. contains many poems not in Dobell's edition, and corrects in many cases the readings of Dobell's MS.

382. This song is in Colls. 111, 112, 124,-the same volume with different titles.

383. Authorship fixed by Langbaine, 1691.

385. Variant, entitled 'The Tired Pilgrim,' in Coll. 113. The poem in the form as given appears also in Colls. 219, 226, 248.

385. Fading Beauty' appears in Colls. 111, 112, 124. (See note 382.)

386. The date ascribed to the actual writing of the MS. is the third quarter of the century. But as the country was very conscious of its sickness during the civil war, this poignant cry probably refers to the lax morality so widely prevailing under Charles II. It is now printed, I believe, for the first time. 386. Crowne's song was reprinted in Colls. 115, 119, 123.

388. Variants of this poem range from 6 to 11 stzs. which often occur in different sequence and contain different readings; and there are objections of various kinds to them all. To obtain the most satisfactory result I have printed the Rawl. text; but have included only those stzs. which appear in Playford's version, 1676, and arranged them in his order. This poem, the earliest date of which is 1675, has actually been included as Elizabethan in one modern anthology of the verse of that period. In its various forms it appears in Colls. 120, 137, 148, 235, 258, 263, 264, 266, 267, 276 (bis).

390. This poem is immediately followed by a 'sequel' of 4 stzs. in the same metre, in the 1676 volume, where the poems are numbered I and II respectively. The song leapt into immediate favour, and imitations of its novel metre appeared very early. It is to be found in Colls. 119, 120, 121, 122, 123, 135; and variously expanded, sometimes to as many as 52 stzs., in Colls. 264 (bis), 266, 267, 268.

391. Rochester's song appears also in Colls. 119, 122, 147.

391. In Etherege's play this song has a shoulder note, 'Song by Sir C. S.' The Prologue was written by Sir Car Scroope Baronet.' And a friend informs me that the song is definitely ascribed to Scrope in T. Coxeter's MS. notes on Langbaine's English Dramatic Poets, 1691; which attribution is now generally accepted. The song, however, was included in Sir Charles Sedley's Works, 1722, (Sedley died 1701), for which reason it is sometimes ascribed to him.

It appears in B.M. Sloane MS. 1009, and in Colls. 119, 122, 123, 126, 147; and expanded to 10 stzs., in Colls, 266, 276.

392. New Airs and Dialogues, 1678, (Coll. 125), has the best text, which accordingly I print. The song also occurs in Colls, 122, 145, 147, 258.

393. 'Love Armed' is in Colls. 122, 162; and, expanded to 9 stzs., in Coll, 276. 393. For date, see Sir Charles Sedley, by V. de S. Pinto, 1927. Dorinda was Sedley's daughter, Katherine, later Countess of Dorchester, and mistress of James II. The poem is in B.M. Harl. MS. 7315, and in Dr. Johnson's edition of Dorset's works, 1779.

394. The authorship of this poem is not certain. The first printed text, 1677 (Coll. 122), has as title 'Song from The Fool turned Critic,' which is a play by D'Urfey, printed 1678; it is not however in the printed edition of that play. And in 1683 D'Urfey included it among his poems in A New Collection of Song, and Poems, with the title, 'The Bully, a Song in the Fool turned Critic." In the meantime it had appeared in Rochester's posthumous Poems upon Several Occasions, [1680]; it was again reprinted in the 1685 and 1701 Eds. of his Poems; and was included in the Works of.. Rochester, etc., 1709 and 1721. The poem also appears anonymously in Coll. 249.

395. Rymer reprinted this in his Curious Amusements, 1714, but except the alteration of Lucasia' to 'Celia,' 1. 2; and that' being misprinted for 'shot' in stz. 2, 1. 4, the texts are the same. The song appears in Coll. 130.

398. Webbe's song is rather more than an echo of Carew's; see p. 128. 399. This song may also be found in Coll. 239.

400. This occurs in Colls. 130, 142; and, expanded to 10 stzs., in Coll. 276. 401. Constancy' had been printed in the previous year in Coll, 126.

402. The Phyllis' song appears also in Colls. 135, 142, 238, 258; it is found

in B.M. Add. MS. 19759, and, expanded to to stzs., in Coll. 266.

403. Love and Life' appears in Colls, 127, 156, 160, 201, 238, 258. 404. My dear Mistress' is also found in Colls. 153, 154.

405. This famous poem is frequently reprinted as Dorset's, to whom it was for the first time ascribed, I believe, in The Works of the most celebrated Minor Poets, 1749. Mrs. Behn, however, had attributed it to Rochester in her Miscellany, 1685, while Dorset was still very much alive. To judge from the song itself either might have written it. I print it from a MS. text which is, I think, earlier than any yet recorded. The song also occurs in Colls. 145, 154, 208, 251. 405. Subscribed in the MS. " Chambers, this poem has never before been printed.

406. Lee's song appears in Colls. 130, 135, 142, 258; and, expanded to 12 stzs., in Coll. 266.

406. There can, I think, be little doubt that this is the original form of the song. J. W. Ebsworth states that the tune (composed by Captain Pack) to which it was sung, was written before 1680; and he also cites the transformation of the text as a political song by the addition of 5 stzs., in 1681; which when re-issued was entitled The Complete Citizen, or the Man of Fashion, (Roxburghe Ballads, IV, 1883). I have myself found in Coll. 274 the same political song, beginning with this stz., entitled The Complete Citt: or, The Man of Fashion. To the Tune of, Would you be a Man of Fashion. This text, however, is dated 1683, and repeats the first two lines in each stz. In the same Collection is another political ballad of the same date, written to the same tune. There were also imitations of the original song; one of which-Would you be a Man of Favour, To the Tune of, Would you be a Man of Fashion,-is in Coll. 276. In addition to the above issues, the song, in its original form, appears in Coll. 258, and, in its expanded form, in Colls. 149, 203.

407. This is found in Colls. 135, 142, 258; and, expanded to 10 stzs., in Colls. 264, 276.

408. 1681 repeats a part of 1. 5 of each stz. as a chorus; 1691 omits them. 409. I print this from the MS., that being the earliest text of the song I have discovered. A slight variant appears in Coll. 145.

412. There are three identical copies of this undated poem in Wood 417. which is chronological in arrangement. One occurs between poems dated 1682 and 1683; the second is in the 1685 section, and the third, among the 1688 pieces, is subscribed in Wood's hand-bought at Oxon in Feb. 1688.' believe the poem was only printed once and has never been reprinted. A fourth copy is in Coll. 276.

413. Kingston Church,' which as a title does not seem very relevant to the song, is probably the name of the tune to which it was sung, though I have been unable to trace it elsewhere. The song appears in Coll. 249; and, expanded to ro stzs., in Colls. 264, 276.

413. This, in the 1714 vol., follows a poem 'On her Going to London... Feb. 1683'; and as the same person, Clorinda, is the subject of both poems, it seems probable they were written about the same time.

414. The 1683 variants are:-Stz. 1, 1. 4, of my woes; 1. 8, shows pity, shows pity. Stz. 2, 1. 5, Kind joys does ne'er.

415. 'To Silvia' also occurs in B.M. Add. MS. 30303, and in Colls. 149, 203, 258; and, expanded to 9 stzs., in Colls. 265, 266. It appears yet again as the three concluding stzs. of another ballad which commences, Cloe's face is heaven to me,' in Colls. 264, 266, and (I am told) 276,-but in the last mentioned Collection I accidentally omitted personally to verify its occurrence.

415. Sackville's song was included after my re-examination of the Collections. It appears in Coll. 160, and may be in one or two others.

415. A Farewell' also appears in Colls. 151, 163, 165, 244, 257, 260. 417. There are several variants of this very popular poem. They range from the 5 stzs. of its earliest occurrence in 1685, to the 20 stzs. of W. Pope's own elaborately annotated edition of 1697; between which dates others successively appeared with 6, 9, and 16 stzs. each. The 5 stzs. here printed, preserve, I believe, the form of the poem as it was first conceived and written-the nucleus round which the later stzs. collected, to the almost complete obliteration of its original charm. But while excluding the later accretions (some of which, especially those in the ballad form, are certainly not W. Pope's), I have followed the readings of his last revision (1697) of the original stzs. The poem appears in varying forms in Colls. 149, 160, 163, 165, 203, 235, 250, 258, 264, 266, 272, 276.

418. I have been unable to trace a copy of The Complete Academy of Compliments, 1685, in which this song is said to appear: see The Life and Letters of John Gay, by L. Melville, 1921, Appendix 1; 'Notes on the Sources of the Tunes of The Beggar's Opera,' by W. H. Grattan Flood; and English Melodies, Ed. by V. Jackson, 1910. I therefore follow the 1699 text. The song also occurs in Colls. 249, 258; and, in an expanded form, in Colls. 254a, 276 (bis). 418. Lucinda' occurs also in B.M. Sloane MS. 3752.

422. This and the following poem were set to music by J. Gamble, who died 1687; and are now, I believe, printed for the first time.

424. The Serenade' also appears in Coll. 174.

427. H. Playford, in the book cited, prints at the end of the song, 'These words by Mr. Ousley.' Behn, who usually acknowledges her obligations (A. H. Bullen, op. cit. note 348), includes this song in her play without comment as though it were her own. Who shall decide?

427. This jovial catch is also to be found in B.M. Add. MS. 29386, and in Colls. 244, 257, 260.

428. Owing to inversion, the meaning of the last stz. but one is a little obscure. It is not men who are 'o'ercome'; but the clash of weapons and the roaring drum and the trumpets' sound overcome the howls and yells of men, and rebound from the hills.

429. This well-known catch is usually attributed to Aldrich, but it is anonymous in the five early texts of it I have found. I have searched through a number of his music MSS. and have failed to discover it among them. The ascription, however, is quite probably true; for it is certainly in his vein, and, according to the D.N.B. the following epigram on the same subject is his : Si bene quid memini, sunt causae quinque bibendi ; Hospitis adventus, praesens sitis atque futura, Aut vini bonitas, aut quaelibet altera causa.

The catch also appears in B.M. Add. MS. 30982; and in Colls. 244, 257, 260. 430. Date: this poem is included in the Winchilsea MS. which was written before 1690, (see The Poems of Anne Countess of Winchilsea, Ed. by M. Reynolds, 1903).

431. This adaptation of Beaumont and Fletcher's The Prophetess as an opera, is attributed to Dryden by Langbaine, writing in the same or following year; and to Betterton by the D.N.B. The song certainly shows a practised hand, and I am myself inclined to think it Dryden's; for even if Betterton did make the adaptation, that by no means rules out the possibility of Dryden's contributing a song, or songs, to it. The song appears without attribution in Colls. 238, 240, 254a, 258.

431. This song was printed in Shadwell's play, 1690, like his other songs in his plays, without comment. Gildon, however, in Examen Miscellaneum, 1702, includes it with the attribution, By the Earl D' (i.e. Dorset). It is anonymous in Colls. 191, 238, 258.

433. This also occurs in B.M. Add. MS. 33234.

435. Many of the songs in Southerne's plays are therein ascribed to various writers; of some others the authors are stated to be unknown; the few that remain, this among them, bear no ascription. I have therefore given Southerne's Dame as the author.

436. This anonymous song appears also in Colls. 228, 255.

436. Bishop Atterbury's poem appears also in Coll. 199.

437. Cromwell's song, with the first line repeated after 1. 5, is called 'A Rondeau' in Coll. 209; but the original form appears again in Coll. 252. 437. Crowne's song was reprinted in Colls. 197, 228, 255.

438. This appears in Coll. 258.

440. The misprint 'if ye,' l. 6, was corrected by Playford, who prints the song in Colls. 235, 258, and the later ed. of 1719-20.

441. Corinna' appears again in Coll. 255.

442. This was reprinted in Colls. 233, 241.

443. To a Fair Young Lady' appears also in Coll. 233.

444. The Rondelay' occurs again in Colls. 212, 236.

444. The play is by Southerne. Henly's song is also in Colls. 211, 228, 255. 445. King's song appears also in Coll. 245.

446. The variants in the play are:-Stz. 1, 1. 2, Still I presume; 1. 4, Faintly repulsed; 1. 9, With the citizen's; 1. 10, received in Whitehall. Stz. 2, 1. 5, 'Tis apparent; 1. 6, Against love and reason; 1. 8, He that knows. The Gentleman's Journal says The words by Mr. Southerne.' The song also appears in Colls. 189, 202, 258.

447. This song appears in Wright's Female Virtuosos, 1603, and The Gentleman's Journal for the same year. It also occurs in Colls. 228, 255.

447. Congreve's song is in Ch. Ch. MS. 530, and in Coll. 210.

448. I have in this case preferred the earlier text to the revision. In The Genuine Works, 1732, the variants are as follows. Stz. 1, 1. 4, Chloe so gently pressed complied; stz. 2, 1. 1, With idle awe, an am'rous fool; 1. 3, Say, Love; stz. 3, 1. 2, the nymph be.

450. The 1721 vol. (the last in Prior's lifetime) is apparently chronological in arrangement. This poem occurs between two others dated 1694 and 1695 respectively. It appears in Coll. 251, where, I believe, it was first printed. 451. This well-known song appears also in Colls. 209, 213, 258. 452. Purcell died 1695. The song was reprinted in Coll. 261.

453. Congreve's song appears in Coll. 214.

453. Prior's Ode' occurs between two poems dated 1695, in the 1721 edition. (See note 450.)

455. This poem appears in Coll. 258.

458. The play is by Southerne; and in the 1st Ed. 1696, and 2nd Ed. 1699, this song is said to be By an unknown hand.' It is however stated, in the first

collected edition of Southerne's Works, 1774, to have been written by Sir Harry Sheers.' The song appears in Coll. 216.

459. John Dennis wrote the play in which Cheek's song appears.

460. For date, see D.N.B.

465. This and the two following poems occur between others dated 1696 and 1700, in the 1721 edition. (See note 450.)

468. This poem follows a French version, By Monsieur Fontenelle,' of 'Adriani Morientis ad Animam Suam,' and is headed ‘Imitated.' It occurs

between two other poems dated 1700, in the 1721 edition. (See note 450.) 468. I have failed to trace an earlier text of this famous song of Sedley's; but it was almost certainly written before 1700, at which date he was about 61 years of age. He died in 1701.

471. Entitled, The Dying Damsel's Doleful Destiny: Or, True Love Requited with Evil, this poem was issued as a ballad, without date. It was Printed for J. Deacon at the Angel in Giltspur Street, without Newgate'; from which address he was publishing c. 1694-1701, (Dictionary of... Booksellers, 10081725, by H. R. Plomer, 1922). From the style of the ballad it was almost certainly published before the end of the century; but it is impossible to fix a more exact date.

471. A Love Song,' stz. 1, 1. 7, fetters breaks, N.A.; fetters are, 1700. In stz. 2, 1. 3, shaft' is misprinted 'shafts' in 1700.

472. With the name of Alexander Pope, appended to this Ode 'written when I was not twelve years old,' the doors of the Eighteenth Century spring apart -and this volume of Seventeenth Century Lyrics fitly closes.

N. A.

A SHORT-TITLE LIST

OF BOOKS CONTAINING POETICAL COLLECTIONS MAINLY ANONYMOUS AND OF THE XVIITH CENTURY CONSULTED IN THE COURSE OF THIS WORK

(Names or initials following the titles are those of composers, compilers, or publishers associated with the books concerned. Appended to the first edition of a book, or volume of a series, are references to all the later issues, -e.g. (see also Colls. 71, 89, 190)—each of which is in turn referred to the first. These are references to publication only, and not to contents, different editions, it should be noted, being rarely identical.)

1621. 1.

A Help to Discourse. 4th Ed. W. B. & E. P. And 6th Ed., 1627;
and 7th Ed., 1628. (See also Coll. 17.)

2. A Help to Memory & Discourse. 2nd Impr., enlarged.
Songs, Of 3, 4, 5, & 6 parts. T. Tomkins.

1622.

3.

4.

The First Book of Airs. J. Attey.

1632. 14. 1634. 15.

1635. 16.

Remains, Concerning Britain. 3rd Impr. W. Camden. (See also
Colls. 11, 20.)

Loves Garland.

The Second Set of Madrigals & Pastorals. F. Pilkington.
Airs, or Fa La's for Three Voices. J. Hilton.

The Crumbs of Comfort. 7th Ed. M. Sparke. And 10th Ed., 1629.
French Court-Airs. E. Filmer.

Remains, Concerning Britain. 4th Impr. W. Camden. (See
Coll. 5.)

Ancient Funeral Monuments. J. Weever.

The Crown Garland of Golden Roses... With new additions.
R. Johnson. And Eds. 1659, 1683, & 1692; all reprints of 1631.
Madrigals & Airs. W. Porter.

The Female Glory. A. Stafford.

A Description of the King & Queen of Fairies. R. S.

17. A Help to Discourse. 11th Ed. And 12th Ed., 1636; and 13th Ed., 1638 & 1648. (See Coll. 1.)

1636. 18. Annalia Dubrensia. W. Walbancke.

19. Fasciculus Florum: or, A Nosegay of Flowers.

Remains, Concerning Britain. 5th Impr. W. Camden. And 5th
Impr. 1637; and 6th Impr. 1657. (See Coll. 5.)

The Seventh Set of Books. M. East. (Music, with titles or first
lines of songs only.)

The Academy of Compliments. (See also Colls. 29, 158.).
Wits Recreations. (See also Colls. 24, 26, 31, 42, 77, 83.)
Wits Recreations. Augmented... (See Coll. 23.)
Good and True, Fresh and New Christmas Carols.
Wits Recreations refined. 3rd Ed. (See Coll. 23.)
Choice Psalms... With divers Elegies. H. Lawes.
New Christmas Carols. n.d. [Temp. Charles I.]
The Academy of Compliments... last edition. (See Coll. 22.)
The Dancing Master. J. Playford. (Music, with titles of songs
only.) And Eds. 1652, & 1665.

And 2nd Ed., 1654; 3rd Ed.,

31. Wits Recreations refined. (See Coll. 23.) 1651. 32. A Musical Banquet. J. Playford. Reliquiae Wottonianae. I. Walton. 1672; & 4th Ed., 1685.