CELM: The British Library, Music Books and Manuscripts

Add. MS 5336

An oblong folio of catches and songs, 46 leaves, in a single hand. c.1835.

f. 1r

• B&F 208: Francis Beaumont and John Fletcher, Song (‘Troule the blacke bowle to mee’)

Copy.

Quoted in The Knight of the Burning Pestle. Bowers, II, 432. The Melvill Book of Roundels, ed. Granville Bantock and H. Orsmond Anderton (London, 1916), pp. 13, 52-3.

Add. MS 5337

A folio music book, 162 pages.

pp. 1-47

• SdT 35: Thomas Shadwell, Timon of Athens, the Man-Hater

Copy of the Masque, in a musical setting by Henry Purcell. Late 17th-early 18th century.

First published in London, 1678. Summers, III, 183-275.

Add. MS 5465

A folio songbook, in a single formal rounded secretary hand, with rubrication and colour decoration of initial letters, 145 vellum leaves, in old red morocco gilt. c.1500s.

Inscribed (f. 1r), probably by the compiler or commissioner of the volume, ‘Robertus Fayrfax Doctor in Musicis iacet sepidtus in Ecclesia Monasteriali S^cj Albani’: i.e. by Robert Fairfax (1464-1521), Gentleman of the Chapel Royal, composer. Later owned and inscribed by Ralph Thoresby (1658-1725), Yorkshire antiquary and topographer.

ff. 63v-7r

• SkJ 23: John Skelton, ‘Wofully araid’

Copy of a 62-line version, in a four-part musical setting by William Cornish, untitled.

Edited from this MS in Hawkins; in Dyce; and in Early Tudor Songs and Carols, ed. John Stevens, Musica Britannica XXXVI (London, 1975), pp. 92-7.

Skelton wrote a “Wofully araid” but it is uncertain whether his version can be identified with any extant poem incorporating these words: see Canon, L118, pp. 32-3. First published in Sir John Hawkins, General History of the Science and Practice of Music (London, 1776), III, 2. Dyce (1843), I, 141-3.

ff. 73v-7r

• SkJ 24: John Skelton, ‘Wofully araid’

Copy of a 62-line version, in a three-part musical setting by John Browne, untitled.

ff. 96v-9r

• SkJ 7: John Skelton, Manerly Margery Mylk and Ale (‘Ay, besherewe yow, be my fay’)

Copy, in a musical setting by William Cornish, untitled.

Edited from this MS in Hawkins; in Dyce; and in Early Tudor Songs and Carols, ed. John Stevens, Musica Britannica XXXVI (London, 1975), pp. 128-30.

Canon, C37, p. 11. First published in Sir John Hawkins, A General History of the Science and Practice of Music (London, 1776), III, 2. Dyce, I, 28-9. Scattergood, pp. 35-6.

ff. 101v-4

• SkJ 33: John Skelton, ‘Hoyda joly rutterkin hoyda’

Copy, in a musical setting by William Cornish.

Edited from this MS in Stevens.

Canon, R62, p. 20. Edited in Sir John Hawkins, A General History of the Science and Practice of Music (London, 1776), III, 2. In a musical setting by William Cornish, in Early Tudor Songs and Carols, ed. John Stevens, Musica Britannica XXXVI (London, 1975), pp. 132-4.

Add. MS 9077

MS prepared by Vincent Novello (1781-1861) for his edition of Henry Purcell's works. Early-mid 19th century.

ff. 35v-7r

• PsK 187.5: Katherine Philips, La Solitude de St. Amant. Englished (‘O! Solitude my sweetest choice’)

Copy, transcribed ‘from a Volume of curious Manuscripts that were formerly in the possession of M^r. Hamilton, Jun^r. of whom they were purchased by the Editor’.

First published in Poems (1667), pp. 170-83. Saintsbury, pp. 601-4. Thomas, III, 94-102.

A musical setting by Henry Purcell published in Comes Amoris…The First Book (London, 1687), p. 18. The Theater of Music…The Fourth and Last Book (London, 1687), p. 57. The Works of Henry Purcell, XXV, ed. Arthur Somervell (London, 1928), pp. 137-40; revised edition, ed. Margaret Laurie (1985), pp. 75-9.

Add. MS 10337

A folio virginal book, largely in a single italic hand, written from both ends, with a list of contents (f. 1r), 60 leaves, in old brown calf gilt. Inscribed (f. 1v), probably by the compiler, ‘Elizabeth: Rogers hir virginall booke. ffebruarye y^e 27: 1656’. c.1656.

Also inscribed (f. 1r, twice) ‘Elizabeth Fayre’. Later owned by Richard Heber (1774-1833), book collector. Sotheby's, February 1836 (Heber sale), lot 1151.

A facsimile of ff. 20v-3r, 26v-7r, 35v-7r, 46v-60r of this volume in English Song 1600-1675, ed. Elise Bickford Jorgens, Vol. 2 (New York & London, 1986).

ff. 20v-1r

• DnJ 2960: John Donne, Song (‘Stay, O sweet, and do not rise’)

Copy of an untitled version beginning ‘Ly still my Deare, why dost thou rise’, in a musical setting.

This MS collated in Doughtie, pp. 610-11. Recorded in Gardner, p. 245.

First published (in a two-stanza version) in John Dowland, A Pilgrim's Solace (London, 1612) and in Orlando Gibbons, The First Set of Madrigals and Mottets (London, 1612). Printed as the first stanza of Breake of day in Poems (London, 1669). Grierson, I, 432 (attributing it to Dowland). Gardner, Elegies, p. 108 (in her ‘Dubia’). Doughtie, Lyrics from English Airs, pp. 402-3. Not in Shawcross.

See also Introduction.

f. 48r rev.

• CmT 19: Thomas Campion, ‘Come, you pretty false-ey'd wanton’

Copy of the first strophe, in a musical setting, untitled.

This MS collated in Davis, p. 495.

First published in Two Bookes of Ayres (London, [c.1612-13]), Book II, No. xviii. Davis, pp. 109-10.

ff. 49r-48v rev.

• CmT 33: Thomas Campion, ‘Fire, fire, fire, fire!’

Copy, in a musical setting by Nicholas Lanier, untitled.

Edited from this MS in Spink. Collated in Davis, pp. 497-8.

First published in The Third and Fourth Booke of Ayres (London, [c.1617]), Book III, No. xx. Davis, p. 156-8. English Songs 1625-1660, ed. Ian Spink, Musica Britannica XXXIII (London, 1971), No. 2.

f. 55v rev.

• DnJ 3022: John Donne, Song (‘Sweetest love, I do not goe’)

Copy of an untitled version, in a musical setting, beginning ‘Deerest loue I doo not goe’.

Edited from this MS in André Souris, Poèmes de Donne Herbert et Crashaw mis en musique par leur contemporains (Paris, 1961), pp. 2-3. Recorded in Gardner, p. 239, and in Shawcross.

First published in Poems (1633). Grierson, I, 18-19. Gardner, Elegies, pp. 31-2. Shawcross, No. 42.

Add. MS 10338

Autograph songbook by George Jeffreys (c.1610-85), composer and organist, in his cursive italic hand, with an index (ff. 2r, 3r), 275 leaves, in modern half red morocco. c. 1662.

Later owned by Richard Heber (1774-1833), book collector. Sotheby's, February 1836 (Heber sale), lot 1156; by Edmund Thomas Warren Horne, publisher; and by Thomas Oliphant (1799-1873), music editor and cataloguer.

ff. 24v-6

• RnT 296: Thomas Randolph, A Song (‘Musick thou Queene of soules, get up and string’)

Copy, in a musical setting by George Jeffreys, untitled.

This MS recorded in Thorn-Drury.

First published in Poems (1638). Thorn-Drury, p. 87.

ff. 26v-8r

• RnT 287: Thomas Randolph, A Pastoral Ode (‘Coy Coelia dost thou see’)

Copy, in a musical setting by George Jeffreys, headed ‘Song ‘Coy Caelia’’.

This MS recorded in Thorn-Drury.

First published in Poems (1638). Thorn-Drury, pp. 86-7.

ff. 28v-9v

• RnT 435: Thomas Randolph, The Muses' Looking-Glass, Act I, scene iv. Song (‘Say in a dance how shall we go’)

Copy, in a musical setting by George Jeffreys, here beginning ‘Say Daunce how shall wee goe’, subscribed ‘The Maskque of Vices’.

Edited from this MS in John P. Cutts, ‘The Masque of Vices’, N&Q, 197 (8 November 1952), 492.

First published (with Poems) Oxford, 1638. Hazlitt, I, 173-266 (p. 192).

ff. 30v-1r

• RnT 65: Thomas Randolph, A Dialogue betwixt a Nymph and a Shepheard (‘Why sigh you swain? this passion is not comon’)

Copy, in a musical setting by George Jeffreys, headed ‘Song ‘Nymphe & Sheaphard’’.

This MS recorded in Thorn-Drury.

First published in Poems (1638). Thorn-Drury, pp. 85-6.

ff. 31v-2v

• RnT 67: Thomas Randolph, Dialogue Louely Sheaphard (‘Lovely sheaphard ope thine eye’)

Copy, in a musical setting by George Jeffreys. headed ‘Febisse / Endimion / Dialogue’.

Edited from this MS in Moore Smith and in Thorn-Drury.

First published and attributed to Randolph in Moore Smith (1925), p. 248. Thorn-Drury, p. 164.

Add. MS 11518

A square-shaped folio volume of musical works, in one cursive rounded hand but for ff. 1r-2v, 59r-61v, 107 leaves, in modern halff red morocco. Late 17th century.

According to a note by W. Kitchiner, later owned by Dr Arnold; bought at his sale by Mr Bartleman, and then bought at his sale in February 1822 by Kitchiner. Bookplate of Robert Smith. Bought from Thomas Rodd, bookseller, 18 December 1838.

ff. 1-2v

• MnJ 60: John Milton, Comus

Copy of five songs in the masque (lines 976-99, 230-43, 859-66, 958-75, 1012-23), in musical settings by Henry Lawes, the lyrics in a cursive italic hand, headed ‘Five Songs Set for a Mask presented at Ludlo Castle, before the Earl of Bridgewater Lord President of the Marches. October 1634’, on two folio leaves tipped-into the volume. Mid-17th century.

Edited from this MS in Sprott and in Andrew J. Sabol, Songs and Dances for the Stuart Masque (Providence, Rhode Island, 1959), pp. 91-9. Facsimile in Illinois, I, 340-4. Collated in Columbia, I, 474-577. Discussed in John T. Shawcross, ‘Henry Lawes's Settings of Songs for Milton's “Comus”’, Journal of the Rutgers University Library, 28 (1964), 22-8.

First published, as A Maske presented At Ludlow-Castle, 1634, in London, 1637. Poems (1645). Columbia, I, 85-123. Darbishire, II, 171-203. Carey & Fowler, pp. 168-229. John Milton, The Masque of ‘Comus’. The Poem, originally called ‘A Mask Presented at Ludlow Castle, 1634, &c.’, ed. E.H. Visiak (Bloomsbury, 1937). John Milton, A Maske: The Earlier Versions, ed. S.E. Sprott (Toronto, 1973). Various texts also discussed in A Maske at Ludlow, ed. John S. Diekhoff (Cleveland, Ohio, 1968), [see esp. pp. 251-75].

Add. MS 11608

A folio songbook, in two or more predominantly italic hands, written from both ends, 87 leaves, in remains of contemporary vellum within modern half red morocco. Possibly compiled in part by one ‘T. C.’ c.1641-59.

Inscribed (f. 1v) ‘R. Guise [of Abbey] Feb: 12. 1760’. Purchased from Thomas Thorpe, bookseller, 17 June 1839.

A complete facsimile of this volume in English Song 1600-1675, ed. Elise Bickford Jorgens, Vol. 4 (New York & London, 1986).

ff. 2r-3r

• ShJ 71: James Shirley, Strephon, Daphne (‘Come my Daphne, come away’)

Copy, in a musical setting by William Lawes, headed ‘A Dialogue Betweene Strephon & Daphne’.

First published in Poems (London, 1646). Armstrong, p. 6. Also in The Cardinal, Act V, scene iii, printed in Six New Playes (London, 1652-3). Gifford & Dyce, V, 271-352 (pp. 344-5). Musical setting by William Lawes published in Select Musicall Ayres and Dialogues (London, 1652) and in John Playford, The Musical Companion, 2nd edition (London, 1673). Edited from the latter in James Shirley, The Cardinal, ed. E. M. Yearling (Manchester, 1986), p. 162.

f. 7r

• CwT 866: Thomas Carew, Song. Eternitie of love protested (‘How ill doth he deserve a lovers name’)

Copy in a musical setting by Henry Lawes, untitled.

This MS recorded in Dunlap, p. 291.

First published in Poems (1640). Dunlap, pp. 23-4.

f. 9r

• FlJ 3: John Fletcher, ‘Hither we come into this world of woe’

Copy, in a musical setting by Henry Lawes, untitled.

First published (anonymously) in Walter Porter, Madrigales and Ayres (London, 1632). Ascribed to J. Fletcher in Henry Lawes, Second Book of Ayres and Dialogues (London, 1655). English Madrigal Verse, ed. E.H. Fellowes, et al., 3rd edition (Oxford, 1967), p. 644.

ff. 10v-11r

• HeR 252: Robert Herrick, Upon Mistresse Elizabeth Wheeler, under the name of Amarillis (‘Sweet Amarillis, by a Spring's’)

Copy of a version beginning ‘Amarillis by a springe’, in a musical setting by Henry Lawes, untitled.

First published in Hesperides (London, 1648). Martin, p. 46. Patrick, p. 65.

ff. 13v-15v

• RnT 479: Thomas Randolph, Hobson and Charon (‘Charon, come hither Charon. What art thou’)

Copy, in a musical setting.

Published, and attributed to Randolph, in Moore Smith (1927), pp. 96-7.

ff. 16v-17r

• B&F 178: Francis Beaumont and John Fletcher, Valentinian, V, ii, 13-22. Song (‘Care-charming Sleep, thou easer of all woes’)

Copy of the song, in a musical setting by Robert Johnson, untitled.

This MS collated in Cutts, Musique de la troupe de Shakespeare, pp. 140-2.

Dyce, V, 297. Bullen, IV, 302. Bowers, IV, 360-1.

f. 17v

• JnB 681: Ben Jonson, The Masque of Augurs, lines 411-23. Song (‘Doe not expect to heare of all’)

Copy of Apollo's song, in a musical setting by Nicholas Lanier, untitled.

Edited from this MS in Sabol, 400 Songs & Dances, No. 33. Discussed in MacDonald Emslie, ‘Three Early Settings of Jonson’, N&Q, 198 (November 1953), 466-9.

First published in London, 1622. Herford & Simpson, VII, 623-47.

f. 20r

• B&F 74: Francis Beaumont and John Fletcher, The Lovers' Progress, III, v, 48-66. Song (‘Tis late and cold. stir up the fire’)

Copy of the song, in a musical setting by Robert Johnson, headed ‘Myne Osts songe. Sung in y^e Mad Lover’.

Edited from this MS in Cutts, Musique de la troupe de Shakespeare, p. 102 (collated pp. 184-5).

Dyce, XI, 75. Bowers, X, 483.

ff. 21v-3r

• FeO 40: Owen Felltham, On a Jewel given at parting (‘When cruel time enforced me’)

Copy of both parts of the song, in a setting by John Wilson.

This MS cited in Pebworth & Summers.

A sixteen-line version first published in Lusoria (London, 1661). Pebworth & Summers, p. 11.

f. 26r

• RaW 484: Sir Walter Ralegh, A songe made by Sir Water Rawley (‘What teares (Deare Prince) can serue to water all’)

Copy, in a musical setting by Robert Ramsey, untitled.

This MS recorded in Spink.

First published in Latham (1929). Latham (1951), p. 52. Rudick, No 51, p. 124.

Of doubtful authorship according to Latham, pp. 145-6, and Lefranc (1968), p. 84.

ff. 26v-7r

• PeW 134: William Herbert, third Earl of Pembroke, Amintas (‘Cloris sate, and sitting slept’)

Copy of an untitled version beginning Cloris sigh'd, & sung, & wept, in a musical setting by ‘M^r Balls’.

This MS recorded in Krueger.

First published in [John Gough], Academy of Complements (London, 1646), p. 170. Poems (1660), p. 104, superscribed ‘P.’. Listed in Krueger's Appendix I: ‘Spurious Poems in the 1660 Edition’.

f. 28r

• CwT 15.5: Thomas Carew, Boldnesse in love (‘Marke how the bashfull morne, in vaine’)

Copy, in a musical setting, headed ‘By his Maiesty’ and here beginning ‘Marke how y^e blushfull Morn in vayne’.

This MS recorded in Dunlap, pp. 291-2. The setting is ascribed to Nicholas Lanier in Playford's Select Ayres and Dialogues, The Second Book (London, 1669).

First published in Poems (1640). Dunlap, p. 42.

ff. 28v-9r

• RnT 536: Thomas Randolph, A Sonnet (‘Come, silent night, and in thy gloomy shade’)

Copy, in a musical setting.

Edited, and tentatively attributed to Randolph, in Moore Smith (1927), p. 115.

f. 51v

• CoA 15: Abraham Cowley, Anacreontiques. II. Drinking (‘The thirsty Earth soaks up the Rain’)

Copy, in a musical setting by Charles Coleman, untitled and here beginning ‘The parcht Earth drinkes the Raine’.

First published in Wits Interpreter (London, 1655). Among Miscellanies in Poems (London, 1656). Waller, I, 51. Sparrow, p. 50.

Musical setting by Silas Taylor published in Catch that Catch Can: or the Musical Companion (London, 1667). Setting by Roger Hill published in Select Ayres and Dialogues (London, 1669).

ff. 51v-2r

• WoH 80: Sir Henry Wotton, On his Mistress, the Queen of Bohemia (‘You meaner beauties of the night’)

Copy, in a musical setting by John Hilton, untitled and here beginning ‘Yee violetts, y^t first appeare’.

First published (in a musical setting) in Michael East, Sixt Set of Bookes (London, 1624). Reliquiae Wottonianae (London, 1651), p. 518. Hannah (1845), pp. 12-15. Some texts of this poem discussed in J.B. Leishman, ‘“You Meaner Beauties of the Night” A Study in Transmission and Transmogrification’, The Library, 4th Ser. 26 (1945-6), 99-121. Some musical versions edited in English Songs 1625-1660, ed. Ian Spink, Musica Britannica XXXIII (London, 1971), Nos. 66, 122.

ff. 52v, 51v

• WoH 81: Sir Henry Wotton, On his Mistress, the Queen of Bohemia (‘You meaner beauties of the night’)

Copy, in a musical setting, untitled and here beginning ‘Yee meaner beauties of the night’, subscribed ‘Bassus per T: C:’.

f. 53r

• RnT 422: Thomas Randolph, Aristippus, or The Jovial Philosopher

Copy of the first Scholar's song, in a musical setting, untitled and here beginning ‘Come my Lads that love Canarie’, subscribed ‘Bassus composit p T: C:’.

First published in London, 1630. Hazlitt, I, 1-34.

f. 56r

• B&F 19: Francis Beaumont and John Fletcher, The Bloody Brother, V, ii, 21-32. Song (‘Take o take those lipps away’)

Copy, in a musical setting by John Wilson, untitled.

This MS collated in Cutts, Musique de la troupe de Shakespeare, pp. 114-15.

Dyce, X, 459. Jump, p. 67. Bowers, X, 237. The first stanza first published in Shakespeare's Measure for Measure (First Folio, 1623), IV, i. Authorship discussed in Jump, pp. 105-6 (first stanza probably by Shakespeare, second by Fletcher).

f. 58r

• CmT 162: Thomas Campion, ‘Young and simple though I am’

Two copies, one inverted, of the first strophe, in a musical setting by Nicholas Lanier, for cantus and bassus parts, untitled.

This MS recorded in Davis, p. 499.

First published in Alfonso Ferrabosco, Ayres (London, 1609). Campion, The Third and Fourth Booke of Ayres (London [1617]), Book IV, No. ix. Davis, p. 177. Doughtie, p. 295.

f. 61r-v

• CwT 595.2: Thomas Carew, The protestation, a Sonnet (‘No more shall meads be deckt with flowers’)

Copy, in a musical setting by Nicholas Lanier, headed ‘Cælia. A Love Song’.

First published in Poems (1640). Dunlap, p. 109. Musical setting by Nicholas Lanier published in The Treasury of Musick, Book 2 (London, 1669).

ff. 67v-8r

• FeO 10: Owen Felltham, The Appeal (‘Tyrant Cupid! I'le appeale’)

Copy of the three-stanza version, in a musical setting by John Wilson, untitled.

This MS collated in Pebworth & Summers.

First published in Lusoria (London, 1661). Pebworth & Summers, p. 8.

f. 69v

• CwT 171: Thomas Carew, Disdaine returned (‘Hee that loves a Rosie cheeke’)

Copy, in a musical setting by Henry Lawes, untitled.

This MS recorded in Dunlap, p. 290.

First published (stanzas 1-2), in a musical setting, in Walter Porter, Madrigales and Ayres (London, 1632). Complete in Poems (1640). Dunlap, p. 18. Musical setting by Henry Lawes published in Ayres and Dialogues (London, 1653).

ff. 75v-7r

• CwT 595.5: Thomas Carew, The protestation, a Sonnet (‘No more shall meads be deckt with flowers’)

Copy, in a musical setting by Nicholas Lanier, untitled.

First published in Poems (1640). Dunlap, p. 109. Musical setting by Nicholas Lanier published in The Treasury of Musick, Book 2 (London, 1669).

ff. 80v-1r

• JnB 671: Ben Jonson, The Haddington Masque, lines 86 et seq. Song (‘Beauties, haue yee seene this toy’)

Copy of the Graces' song, in a musical setting by Henry Lawes (three-part setting f. 81r, solo version f. 80v).

This MS recorded in Herford & Simpson, XI, 606. Facsimile in Jorgens, IV.

First published together with The Masques of Blackness and Beauty (London, [1608]). Herford & Simpson, VII, 243-63 (p. 252).

Add. MS 15117

A folio songbook, in probably two secretary and italic hands, 25 leaves, in a recycled contemporary vellum indenture within modern half red morocco. c.1614-30.

Inscribed (f. 1v) ‘John Shurlane His Booke’, and (f. 24v rev.) ‘This Book Do[ ] / Hugh ffloyd / Domn: 11’, with dates ‘28 Nov. 1630’ and ‘1633’. Purchased from Thomas Rodd, bookseller, 13 April 1844.

A complete facsimile of this volume in English Song 1600-1675, ed. Elise Bickford Jorgens, Vol. 1 (New York & London, 1986).

ff. 4v, 5v

• SiP 88.4: Sir Philip Sidney, The Psalms of David

Copy or one or two Psalms, in musical settings.

Psalms 1-43 translated by Sidney. Psalms 44-150 translated by his sister, the Countess of Pembroke. First published complete in London, 1823, ed. S.W. Singer. Psalms 1-43, without the Countess of Pembroke's revisions, edited in Ringler, pp. 265-337. Psalms 1-150 in her revised form edited in The Psalms of Sir Philip Sidney and the Countess of Pembroke, ed. J.C.A. Rathmell (New York, 1963). Psalms 44-150 also edited in The Collected Works of Mary Sidney Herbert Countess of Pembroke (1988), Vol. II.

f. 8r

• CmT 123: Thomas Campion, ‘Though you are yoong and I am olde’

Copy of the incipit only, in a musical setting, untitled.

First published in A Booke of Ayres (London, 1601), No. ii. Davis, pp. 20-1.

f. 10r

• CmT 96: Thomas Campion, ‘The peacefull westerne winde’

Copy of a version in a musical setting by Thomas Morley, untitled.

Edited from this MS in Davis, pp. 479-80.

First published in Two Bookes of Ayres (London, [c.1612-13]), Book II, No. xii. Davis, pp. 100-1.

ff. 10v-11r

• GgA 20: Sir Arthur Gorges, An Ecloge betwen a Shephearde and a Heardsman (‘Cumme gentle Heardman sitt with mee’)

Copy of lines 1-52, in a musical setting, headed ‘A dialogue’.

This MS collated in Sandison.

First published in Francis Davison, A Poetical Rapsody (London, 1602). Sandison, No. [98], pp. 118-23.

f. 17v

• JnB 17: Ben Jonson, A Celebration of Charis in ten Lyrick Peeces. 4. Her Triumph (‘See the Chariot at hand here of Love’)

Copy of lines 21-30, in a musical setting by Robert Johnson, untitled and here beginning ‘Haue yo^u seene but a Whyte Lillie grow’.

Edited from this MS in Cutts, Musique de la troupe de Shakespeare, pp. 54-5. Recorded in Herford & Simpson, XI, 609. Facsimile in F.H. Potter, Reliquary of English Song (London, 1935), facing p. x.

First published (all ten poems) in The Vnder-wood (ii) in Workes (London, 1640). Herford & Simpson, VIII, 131-42 (pp. 134-5). Lines 11-30 of poem 4 (beginning ‘Doe but looke on her eyes, they do light’) first published in The Devil is an Ass, II, vi, 94-113 (London, 1631).

f. 18r

• ShW 76: William Shakespeare, Othello, IV, iii, 40-8. Song (‘The poor soul sat sighing by a sycamore tree’)

Copy of Desdemona's willow song, in a five-strophe version in a musical setting, untitled and here beginning ‘The poore soule sate sighinge by a Sickamore tree, Singe willo willo willo’.

Printed from this MS in Cutts, Musique de la troupe de Shakespeare, pp. 1-2, 115-19, and in F.W. Sternfeld, Music in Shakespearean Tragedy (London, 1963), 39-44 (with facsimiles). Music settings for this song but without words appear in Folger MS V. a. 159, f. 19, and Trinity College, Dublin, MS 410, p. 26, and there is a related MS song on the flyleaf of New York Public Library, Music Division, Drexel 4183 (these are all printed, with facsimiles, in Sternfeld, pp. 44-52).

f. 18v

• SiP 145: Sir Philip Sidney, Old Arcadia. Book III, No. 45 (‘My true love hath my hart, and I have his’)

Copy, in a musical setting, untitled.

This MS recorded in Ringler, p. 566, and in Robertson, p. 452.

Ringler, p. 75-6. Robertson, pp. 190-1.

f. 19r

• CmT 47: Thomas Campion, ‘I must complain, yet doe enjoy my Love’

Copy, in a musical setting, untitled.

This MS collated in Davis, pp. 499-500, and in Doughtie, pp. 517-18.

First published in John Dowland, Third Book of Aires (London, 1603). Campion, The Third and Fourth Booke of Ayres (London [1617]), Book IV, No. xvii. Davis, pp. 184-5. Doughtie, p. 179.

f. 19r

• SiP 7: Sir Philip Sidney, Astrophil and Stella, Song ii (‘Have I caught my heav'nly jewell’)

Copy, in a musical setting, untitled.

Ringler, pp. 202-3. Edited from this MS in John P. Cutts, ‘Falstaff's “Heauenlie Iewel”: Incidental Music for The Merry Wives of Windsor’, SQ, 11 (1960), 89-92. Recorded in Ringler, p. 480.

Ringler, pp. 202-3.

f. 20v

• JnB 446: Ben Jonson, Song. To Celia (‘Come my Celia let vs proue’)

Copy, in a musical setting by Alfonso Ferrabosco, untitled.

Edited from this MS in Cutts, Musique de la troupe de Shakespeare, pp. 3-5, and in Doughtie, pp. 563-4.

First published in Volpone, III, vii, 166-83 (London, 1607). The Forrest (v) in Workes (London, 1616). Herford & Simpson, VIII, 102. Doughtie, Lyrics from English Airs, p. 294.

f. 21r

• EsR 71: Robert Devereux, second Earl of Essex, A Poem made on the Earle of Essex (being in disgrace with Queene Eliz): by mr henry Cuffe his Secretary (‘It was a time when sillie Bees could speake’)

Copy of the first three stanzas, in a musicial setting, untitled.

This MS text recorded in May, p. 111.

First published, in a musical setting by John Dowland, in his The Third and Last Booke of Songs or Aires (London, 1603). May, Poems, No. IV, pp. 62-4. May, Courtier Poets, pp. 266-9. EV 12846.

Add. MS 15118

A folio volume of music and verse, in several secretary and italic hands, 46 leaves (plus numerous blanks), in 19th-century half brown calf on marbled boards. Early 17th century.

Inscriptions including (f. 1v) ‘Richard Shinton his booke Witnis Thomas ffowke’; (f. 40r, in a court hand) ‘Thomas Shinton of Woluerhamt’; (f. 42v) ‘Richard Shinton this Booke did owe. And John Congreue the Same doth know / 1633’, ‘Richard Congreve’, ‘Jane Hart is my name’; and (f. 44v) ‘Martha Congreve’, and ‘Elizabeth Congreve Writ this’. Purchased from Thomas Rodd, bookseller, 13 April 1844.

f. 2v

• EsR 24: Robert Devereux, second Earl of Essex, The Right Honourable Robert, earle of Essex: Earle Marshall of England (‘Change thy minde since she doth change’)

Copy, in a musical setting, in an italic hand, untitled.

This MS collated in May, pp. 123-4.

3 lines. but deade to thee

First published, with a musical setting, in Robert Dowland, A Musicall Banquet (London, 1610). May, Poems, No. 4, pp. 45-6. May, Courtier Poets, pp. 252-3. EV 4594.

f. 3v

• DyE 45: Sir Edward Dyer, ‘My mynde to me a kyngdome is’

Copy, in a musical setting, in the secretary hand of Thomas Fowke (name above), untitled.

First published, as two poems (one comprising stanzas 1-4, 6 and 8. the other stanzas 9-12) in a musical setting, in William Byrd, Psalmes, Sonets & Songs (London, 1588). Sargent, No. XIV, pp. 200-1. The uncertain authorship of this poem and its textual history are discussed in Steven W. May, ‘The Authorship of “My mind to me a kingdom is”’, RES, NS 26 (1975), 385-94. EV 15376.

f. 8r

• SiP 16.5: Sir Philip Sidney, Astrophil and Stella, Song x (‘O deare life, when shall it be’)

Copy of the ‘Tenth Song’, in a secretary hand, words only, untitled here beginning ‘O deare life, when shall it be’.

Ringler, pp. 225-7.

f. 43r

• HrJ 39.5: Sir John Harington, Against Swearing (‘In elder times an ancient custome was’)

Copy, in a secretary hand, words only, untitled, with a general heading in the margin ‘Varietie of Catches’.

First published in Henry Fitzsimon, S.J., The Justification and Exposition of the Divine Sacrifice of the Masse (Douai, 1611). 1615. 1618, Book IV, No. 9. McClure No. 263, p. 256. Kilroy, Book IV, No. 30, p. 220.

f. 43v

• HrJ 210.5: Sir John Harington, Of a sawcy Cator (‘A Cator had of late some wild-fowle bought’)

Copy, in a secretary hand, words only, untitled.

First published in 1615. 1618, Book IV, No. 22. McClure No. 276, p. 261. Kilroy, Book IV, No. 82, p. 239.

f. 43v

• HrJ 214: Sir John Harington, Of a word in welch mistaken in English (‘An English lad long Woode a lasse of wales’)

Copy, in a secretary hand, words only, headed in the margin ‘An English ma and a Welsh Lasse’.

Kilroy, Book IV, No. 38, p. 224.

Add. MS 17786-91

A set of six oblong quarto part-books of principally vocal music, largely in a single italic hand, each volume in modern half-morocco. Early 17th century.

(i, ii, iii, iv, vi) f. 11r

• CmT 99: Thomas Campion, ‘There is a Garden in her face’

Copies of the incipit only, in a musical setting, untitled.

These MSS collated in Davis, p. 498.

First published in Robert Jones, Ultimum Vale (London, 1605). Campion, The Third and Fourth Booke of Ayres (London, [1617]), Book IV, No. vii. Davis, pp. 174-6. Doughtie, p. 212.

(i, ii, iii, iv, vi), ff. 12v-13r; (v) f. 9r

• EsR 28: Robert Devereux, second Earl of Essex, ‘To pleade my faith where faith hath noe reward’

Copy, chiefly of the incipit only, (v) f. 9r including the complete text, all in a musical setting by W. Wigthorp, untitled.

Edited from MS (v) in May, Courtier Poets.

May, Poems, No. 5, p. 46. May, Courtier Poets, p. 253.

(i, ii, iii, iv, vi) f. 13v; (v), f. 9v

• MiT 8: Thomas Middleton, Blurt, Master-Constable, I, ii, 209-16. Song (‘What meat eats the Spaniard?’)

Copies of the incipit only, in a musical setting, untitled.

Edited from these MSS in Andrew J. Sabol, ‘Two Songs with Accompaniment for an Elizabethan Choirboy Play’, SR, 5 (1958), 149-59.

Bullen, I, 24.

Add. MSS 17792-6

A set of five oblong quarto partbooks of vocal and instrumental music, respectively Cantus, Altus, Tenor, Quintus, and Additional, in two or more neat secretary and italic hands, respectively 177, 183, 181, 170, and 172 leaves (plus blanks), each in contemporary calf with initials ‘I M’ stamped in gilt within modern half dark red morocco. Early 17th century.

Puttick and Simpson's, 25 June 1849, lot 599.

i, ff. 63v-4r; ii, f. 66v; iii. ff. 69v-70r; iv, f. 32v; v, f. 62r

• DyE 46: Sir Edward Dyer, ‘My mynde to me a kyngdome is’

Copies, of the incipit or first few lines only, in a musical setting.

Add. MS 17797

An oblong octavo volume of madrigals and motets, generally arranged for five voices, the lyrics in a single cursive italic hand, 90 leaves, in modern half red morocco. Early 17th century.

Puttick & Simpson's, 25 June 1849, lot 521.

ff. 4r, 22r, 40r, 58r, 76r

• BrN 66: Nicholas Breton, Phillida and Coridon (‘In the merry moneth of May’)

Copies of the first lines (and, f. 76r, chorus), in a musical setting for four voices by Richard Nicholson, untitled, here beginning ‘In a mery May morne’.

First published as ‘The Plowmans Song’ in The Honorable Entertainment at Elvetham (London, 1591). Englands Helicon (London, 1600), <No. 12>, ascribed to ‘N. Breton’; Grosart, I (t), p. 7. English Songs 1625-1660, ed. Ian Spink, Musica Britannica XXXIII (London, 1971), No. 29. A musical setting first published in Michael East, Madrigals to Three, Four, and Five Parts (London, 1604).

Add. MS 17799

A folio MS of the music for a revival of the masque in 1659 written by Matthew Locke and Christopher Gibbons, largely in a single cursive mixed hand, 34 leaves, in contemporary brown calf gilt, the initials ‘M L’ stamped in gilt on each cover. Locke's predominantly autograph copy, including instrumental dances, recitatives, choruses, &c. and five songs, headed ‘The Instrumentall and Vocall Musique in the Morall representation att the Millitary Ground jn Lescester ffields 1659’. 1659.

ShJ 176: James Shirley, Cupid and Death

Once owned by Hannah Lanier. Bought at Dr Hayes's sale, Oxford, by Edward Jones. Sotheby's, 1825 (E. Jones sale), in lot 476. Puttick & Simpson's, 25 June 1849, lot 576.

Edited from this MS (with facsimiles of ff. 3, 9 and 20) by Edward J. Dent in Musica Britannica, 2 (London, 1951). See also R.G. Howarth, ‘Shirley's Cupid and Death’, TLS (15 November 1934), p. 795;, and Bentley, Jacobean & Caroline Stage, V, 1102-4.

First published in London, 1653. Gifford & Dyce, VI, 343-67. Edited by B. A. Harris in A Book of Masques in Honour of Allardyce Nicoll (Cambridge, 1967), pp. 371-403.

Add. MS 19759

A folio songbook, in several hands, one italic hand predominating, with (f. 1v) a list of contents, 46 leaves, in modern half red morocco. Inscribed (f. 1r), possibly by the compiler, ‘Charles Campelman his book June y^e 9. 1681’ (‘God give him grace 1682’ added in another hand). c.1681 -1700s.

Sotheby's, 20 January 1854, lot 1138.

ff. 11v-12r

• CoA 59: Abraham Cowley, Davideis, Book III, Song (‘Awake, awake my Lyre’)

Copy, in a musical setting by John Blow, untitled.

Waller, I, 344. Sparrow, pp. 191-2.

Musical setting by Pietro Reggio published in Songs [London, 1680]. Setting by John Blow published in Choice Ayres and Songs. The Third Book (London, 1681).

f. 17v

• SdT 23: Thomas Shadwell, Song (‘Fools for themselues will Treasure prize’)

Copy of a song here ascribed to ‘M^r Shadwell’, in a musical setting, untitled.

Edited from this MS in D.M. Walmsley, ‘Two Songs Ascribed to Thomas Shadwell’, RES, 1 (1925), 350-2, and in Summers, with a facsimile after p. 384.

First published in Summers (1927), V, 384.

Of doubtful authorship.

f. 20r

• SdT 21: Thomas Shadwell, Song (‘Bright was the morning cool the Air’)

Copy of a song here ascribed to ‘M^r Shadwell’, in a musical setting.

Edited from this MS in D.M. Walmsley, ‘Two Songs Ascribed to Thomas Shadwell’, RES, 1 (1925), 350-2, and in Summers, with a facsimile after p. 384.

First published in Thomas D'Urfey, A New Collection of Songs and Poems (London, 1683). Summers, V, 383. The poem probably by D'Urfey and the musical setting perhaps by Shadwell: see D.M. W[almsley], ‘A Song of D'Urfey's Wrongly Ascribed to Shadwell’, RES, 4 (1928), 431.

ff. 26v-7r

• CoA 101: Abraham Cowley, Love undiscovered (‘Some, others may with safety tell’)

Copy, in a musical setting, headed ‘The Concealment by M^r Cowley’.

First published in The Mistresse (London, 1647). Waller, I, 99-100. Collected Works, II, No. 31, pp. 59-60.

f. 32v

• DrJ 185: John Dryden, Song (‘High State and Honours to others impart’)

Copy, in a musical setting by John Abell, untitled.

This MS recorded in Day, pp. 186-7.

First published in John Shurley, The Compleat Courtier (London, 1683). Poetical Miscellanies: The Fifth Part (London, 1704). Kinsley, IV, 1776. Hammond, II, 149. Musical setting by John Abell published in Choice Ayres and Songs (London, 1683).

f. 34r

• DoC 244: Charles Sackville, Sixth Earl of Dorset, A Song (‘May the ambitious ever find’)

Copy, in a musical setting by James Hart, untitled.

Edited from this MS in Harris.

First published in Choice Ayres and Songs (London, [1684]). Harris, pp. 79-80.

f. 43r

• HeR 69: Robert Herrick, The Curse. A Song (‘Goe perjur'd man. and if thou ere return’)

Copy, in a musical setting by John Blow, untitled.

This MS recorded in Martin.

First published in Hesperides (London, 1648). Martin, p. 49. Patrick, p. 69. Musical setting by John Blow published in John Playford, Choice Ayres and Songs (London, 1683).

ff. 44v-5r

• DrJ 259.7: John Dryden, The Duke of Guise, Act V, scene i, lines 1-34. Song (‘Tell me Thirsis, tell your Anguish’)

Copy, in a musical setting, headed ‘Song in the Duke of Guise’, subscribed ‘C^pt Pack’: i.e. ? Richardson Pack (1682-1728), army officer and writer.

Written in collabotation with Nathaniel Lee. First published in London, 1683. California, XIV (1992), pp. 205-305 (pp. 290-1). Kinsley, I, 330. Hammond, II, 144-5.

f. 46r

• DrJ 275: John Dryden, King Arthur: or, The British Worthy, Act V, scene ii, lines 150-65. Song (‘Fairest Isle, all Isles Excelling’)

Copy (words only).

California, XVI, 63. Scott-Saintsbury, VIII, 196. Kinsley, II, 577. Hammond, III, 266-7.

Add. MS 22099

A tall folio book of chiefly vocal music, the lyrics in a cursive italic hand, with (ff. 91r-2r) a later index, 92 leaves, in contemporary calf gilt within modern half red morocco. c.1700s.

Putttick & Simpson's, 25 August 1857, lot 269.

f. 63r

• OtT 8: Thomas Otway, ‘Would you know how we meet’

Copy of the song, in a musical setting by Henry Purcell.

Recorded in Franklin B. Zimmerman, Henry Purcell: An Analytical Catalogue (London & New York, 1963), No. 290.

A song attributed to Otway in early printed sources and possibly by him. First published, in a musical setting by Henry Purcell, in The Theater of Music, The Second Book (London, 1685).

f. 63r

• PsK 188: Katherine Philips, La Solitude de St. Amant. Englished (‘O! Solitude my sweetest choice’)

Copy, in a musical setting by Henry Purcell.

This MS recorded in Franklin B. Zimmerman, Henry Purcell: An Analytical Catalogue (London & New York, 1963), No. 406.

First published in Poems (1667), pp. 170-83. Saintsbury, pp. 601-4. Thomas, III, 94-102.

Add. MS 22100

A tall folio songbook, the lyrics in a cursive italic hand, with (f. 2r-v) a brief table of contents, 149 leaves (plus numerous blanks), in modern half red morocco. Compiled by John Walter, organist of Eton College (in 1681-1705) and possibly erstwhile chorister in the Chapel Royal (c.1674-7). c.1682-1700s.

Inscribed (last page, inverted) ‘M^r Dolbins book Anno domini 1681/2’ and (on the penultimate page) ‘M^r Dolben^s Booke’ and ‘M^r James Hart’. Bookplate of Robert Smith and (f. 1r) a note signed by him dated 4 June 1813.

This volume discussed in Bruce Wood, ‘A Note on Two Cambridge Manuscripts and their Copyists’, M&L, 56 (1975), 308-12.

ff. 32v-40r

• CoA 60: Abraham Cowley, Davideis, Book III, Song (‘Awake, awake my Lyre’)

Copy, in a musical setting by John Blow, untitled.

Waller, I, 344. Sparrow, pp. 191-2.

Musical setting by Pietro Reggio published in Songs [London, 1680]. Setting by John Blow published in Choice Ayres and Songs. The Third Book (London, 1681).

ff. 40v-4r

• HeR 70: Robert Herrick, The Curse. A Song (‘Goe perjur'd man. and if thou ere return’)

Copy, in a musical setting by John Blow, untitled.

This MS recorded in Martin.

First published in Hesperides (London, 1648). Martin, p. 49. Patrick, p. 69. Musical setting by John Blow published in John Playford, Choice Ayres and Songs (London, 1683).

ff. 87r-9r

• CoA 196: Abraham Cowley, Weeping (‘See where she sits, and in what comely wise’)

Copy, in a musical setting by William Turner (1651-1740), headed ‘Song’.

First published in The Mistresse (London, 1647). Waller, I, 136-7. Sparrow, p. 136. Collected Works, II, No. 69, 105-6.

Musical setting by Henry Purcell published in Works of Henry Purcell, XXII (London, 1922), pp. 157-65.

ff. 111r-15r

• CoA 115: Abraham Cowley, Ode. Acme and Septimus out of Catullus (‘Whilst on Septimus panting Brest’)

Copy, in a musical setting by John Blow, untitled and here beginning ‘As on Septimus panting breast’.

First published, among Verses written on several occasions, in Works (London, 1668). Waller, I, 419-20. Sparrow, pp. 167-9.

Musical setting by John Blow published in The Theater of Music (London, 1685).

Add. MS 24665

An oblong quarto songbook, the lyrics largely in a single italic hand, with (ff. 4v-5r) a table of contents, 84 leaves, in 19th-century red morocco gilt. Inscribed (f. 3v), evidently by the compiler, ‘Giles Earle his booke 1615’ (with other notes dated 1610) and (f. 1v) ‘Egidius Earle hunc librum possidet qui compactus fuit mense Septembris. 1626.’, f. 81r subscribed ‘Anno Dni: 1623 / Mense Augusti: Finis’. c.1615-26.

Acquired from Joseph Lilly, bookseller, 17 May 1862.

A complete facsimile of this volume in English Song 1600-1675, ed. Elise Bickford Jorgens, Vol. 1 (New York & London, 1986).

f. 2v

• StW 1275: William Strode, Jack on both Sides (‘I holde as fayth What Englandes Church Allowes’)

Copy, untitled.

First published, as ‘The Church Papist’, in Wits Recreations (London, 1640). Reprinted as ‘The Jesuit's Double-faced Creed’ by Henry Care in The Popish Courant (16 May 1679): see August A. Imholtz, Jr, ‘The Jesuits' Double-Faced Creed: A Seventeenth-Century Cross-Reading’, N&Q, 222 (December 1977), 553-4. Dobell, p. 111. Listed, without text, in Forey, p. 339.

ff. 7v-8r

• CmT 20: Thomas Campion, ‘Come, you pretty false-ey'd wanton’

Copy, in a musical setting, untitled.

This MS collated in Davis, p. 495.

First published in Two Bookes of Ayres (London, [c.1612-13]), Book II, No. xviii. Davis, pp. 109-10.

ff. 8v-9r

• CmT 46: Thomas Campion, ‘I care not for these Ladies’

Copy, in a musical setting, untitled.

This MS collated in Davis, p. 492.

First published in A Booke of Ayres (London, 1601), No. iii. Davis, pp. 22-3.

ff. 9v-10r

• CmT 185: Thomas Campion, ‘As on a day Sabina fell asleepe’

Copy, in a musical setting, untitled.

Printed from this MS in Vivian and in Davis.

First published in Vivian (1909), p. 356. Davis, p. 479.

ff. 13v-14r

• CmT 192: Thomas Campion, ‘Do not, O do not prize thy beauty at too high a rate’

Copy, in a musical setting, inscribed ‘Cantus & Bassus’, untitled.

This MS collated in Doughtie, p. 527.

First published in Robert Jones, Ultimum Vale (London, 1605). Davis, p. 477. Doughtie, pp. 205-6.

ff. 19v-20r

• DaJ 296: Sir John Davies, An Entertainment at Harefield

Copy of the Mariner's song (‘Cynthia queene of seas and landes’), in a musical setting, untitled.

This song first published, in a musical setting, in Robert Jones, Ultimum Vale (London, 1605); Doughtie, Lyrics from English Airs, pp. 210-11. This MS recorded in Krueger, p. 410.

The fullest text of what are taken to be the extant portions of the Entertainment at Harefield, 31 July-2 August 1602, is edited in The Complete Works of John Lyly, ed. R. Warwick Bond (Oxford, 1902), I, 491-504, where it is suggested that probably the prose and the Mariner's song were written by Lyly and the rest chiefly by Davies (see I, 534-5). Krueger, following Grosart, accepts the prose too as Davies's (see Krueger, pp. 409-11). It is argued that ‘Davies probably wrote all of the Harefield entertainment’ in Gabriel Heaton, Writing and Reading Royal Entertainments (Oxford, 2010), pp. 100-16.

ff. 25v-6r

• CmT 212: Thomas Campion, ‘What if a day, or a month, or a yeare’

Copy of a two-strophe version, in a musical setting, untitled.

Edited from this MS in Peter Warlock, Giles Earle his Booke (London, 1932), p. 34, and in Swaen, pp. 404-5. Recorded in Greer, p. 308.

Possibly first published as a late 16th-century broadside. Philotus (Edinburgh, 1603). Richard Alison, An Howres Recreation in Musicke (London, 1606). Davis, p. 473. The different versions and attributions discussed in A.E.H. Swaen, ‘The Authorship of “What if a Day”, and its Various Versions’, MP, 4 (1906-7), 397-422, and in David Greer, ‘“What if a Day” — An Examination of the Words and Music’, M&L, 43 (1962), 304-19.

See also CmT 239-41.

ff. 29v-30r

• CmT 239: Thomas Campion, ‘What is a day, what is a yeere’

Copy, in a musical setting, untitled.

This MS collated in Davis, p. 506.

First published in A Booke of Ayres (London, 1601), Part II, No. xviii. Davis, p. 459.

See also CmT 239-41.

ff. 72v-3r

• ShW 33: William Shakespeare, Venus and Adonis (‘Even as the sun with purple-coloured face’)

Copy of lines 517-22 (words only), untitled and here beginning ‘A thousand kisses wynns my hearte from mee’.

Edited from this MS in John P. Cutts, ‘“Venus and Adonis” in an Early Seventeenth-Century Song-Book’, N&Q, 208 (August 1963), 302-3, and see also David Greer, ‘An Early Setting of Lines from “Venus and Adonis”’, M&L, 45, No. 2 (April 1964), 126-9.

First published in London, 1593.

ff. 74v-5r

• HrJ 193.8: Sir John Harington, Of a pregnant pure sister (‘I learned a tale more fitt to be forgotten’)

Copy (words only), untitled and here beginning ‘A Puritan of late & eke a holy sister’.

First published (13-line version) in The Epigrams of Sir John Harington, ed. N.E. McClure (Philadelphia, 1926), but see HrJ 197. McClure (1930), No. 413, p. 315. Kilroy, Book IV, No. 80, p. 239.

f. 81v

• HoJ 324: John Hoskyns, John Hoskins to the Lady Jacob (‘Oh loue whose powre & might non euer yet w^thstood’)

Copy (words only), headed ‘A letter from a louer to his beloued’, here beginning ‘O Loue whose power & might none yet withstood’, followed (f. 82r) by ‘Her answeare’.

This MS cited in Osborn.

Osborn, p. 301.

Add. MS 29291

A large square-shaped folio composite volume of largely vocal music, in several hands and paper sizes, 61 leaves, mounted on guards, in a recycled vellum indenture within modern quarter vellum boards. c.1762.

Inscribed (f. 1r) ‘R Guise Oct: 1762’. Puttick & Simpson's, 20 December 1872.

f. 12r

• GrF 4.6: Fulke Greville, Caelica, Sonnet lii (‘Away with these self-louing lads’)

Copy, in a musical setting by John Dowland.

This sonnet first published in John Dowland, First Booke of Songes or Ayres (London, 1597). Bullough, I, 104. Wilkes, II, 114-15.

f. 14v

• SuJ 166: John Suckling, The Goblins, Act III, scene ii, lines 28-34. Song (‘Some drinke, what Boy, some drinke’)

Copy of Nashorat's catch, in a musical setting by William Lawes, untitled. Mid-late 17th century.

This MS collated in Beaurline.

First published, with a separate title-page, in Fragmenta Aurea (London, 1646). Beaurline, Plays, pp. 121-82 (pp. 142-3).

Henry Lawes's musical setting published in John Playford, Catch that Catch Can (London, 1667).

Add. MSS 29372-7

A set of six folio musical part books, namely (i) Cantus, (ii) Altus, (iii) Tenor, (iv) Bassus, (v) Quintus and (vi) Sextus, the lyrics in a neat predominantly italic hand, respectively 176, 175, 176, 176, 163 and 58 leaves (plus numerous blanks), each volume in contemporary calf elaborately gilt with the initials ‘T M’ on the covers. Each volume with an engraved title-page: ‘Tristitiæ Remedivm Cantiones selectissimæ, diuersoru tu authorum, tum argumentoru; labore G manu exaratæ THOMÆ MYRIELL. A.D. 1616.’ c.1616.

Puttick & Simpson's, 24 April 1873.

(i-v) f. 72v

• JnB 311.5: Ben Jonson, A Hymne to God the Father (‘Heare mee, O God!’)

Copies, largely of the incipit only, MS (i) with the full text, all in a musical setting by Alfonso Ferabosco.

J. Reichard, N&Q, 228 (1983), 147-8.

First published in The Vnder-wood (i.2) in Workes (London, 1640). Herford & Simpson, VIII, 129-30.

Add. MS 29378

A folio volume of vocal music principally by John Eccles, the lyrics largely in a single cursive hand, with (f. 2r) an index, 205 leaves, in contemporary reversed brown calf (rebacked), stamped on the front cover ‘volvm III’. Early 18th century.

Inscribed (f. 1v) ‘J.W Windsor Bath 1802’; (inside cover) ‘Vincent Novello [(1781-1861), music publisher] / 66 S^t. Queen Street / Lincolns Inn / purchased of M^r Hamilton Jun March 28 1829’, with (f. 1r) an affixed letter by Novello dated 28 March 1848. Puttick & Simpson's, 24 April 1873.

ff. 57r-95r

• DaW 96: Sir William Davenant, Macbeth

Copy of the music score by John Eccles (with words to songs and choruses), apparently transcribed from DaW 95.

First published in London, 1673. Dramatic Works, V, 295-394. Edited by Christopher Spencer (New Haven, 1961).

Add. MS 29386

A square-shaped folio volume of vocal and instrumental music, in two or more cursive italic hands, written from both ends, with (ff. 1v-2v, 96v rev) a table of contents, 97 leaves, in modern half red morocco. c.1760s.

Bookplate of Edmund Thomas Warren Horne, publisher, and probably the compiler. Puttick & Simpson's, 24 April 1873.

f. 12v

• JnB 451.5: Ben Jonson, Song. To Celia (‘Drinke to me, onely, with thine eyes’)

Copy of the song, in a musical setting by Henry Harrington.

First published in The Forrest (ix) in Workes (London, 1616). Herford & Simpson, VIII, 106.

ff. 54v-5r

• StW 842.5: William Strode, Song (‘Keepe on your maske, yea hide your Eye’)

Copy, in a musical setting by Henry Lawes, headed ‘To a Lady pulling off his Veil / Words D^r. Stroud’ and here beginning ‘Keep on your Veil and hide your eye’.

First published, in a musical setting by Henry Lawes, in Ayres and Dialogues (London, 1653). Wits Interpreter (London, 1655). Dobell, pp. 3-4. Forey, pp. 88-9.

f. 55r

• ToA 44: Aurelian Townshend, ‘Thou Shepheard, whose intentive eye’

Copy of the opening lines, in a musical setting, headed ‘In praise of his Mistress / Words M^r. Townsend’.

This MS recorded in Brown.

First published, in a musical setting by Lawes, in Henry Lawes, Ayres and Dialogues, Book I (London, 1653), p. 20. Chambers, pp. 9-10. Brown, pp. 57-9.

f. 55v

• CaW 74: William Cartwright, To Splendora weeping (‘Oh now the certaine cause I know’)

Copy, in a musical setting, headed ‘To a Lady Weeping / M^r Cartwright’.

First published in Willa McClung Evans, PMLA, 54 (1939), 406-11. Evans, p. 568.

f. 56r-v

• DaW 34.5: Sir William Davenant, On his mistris Singing (‘Singe gentle Lady till you move’)

Copy of the version beginning ‘Sing fair Clorinda...’, in a musical setting by Lawes, headed ‘Words Sir W^m. Davenant’.

First published in Herbert Berry, ‘Three New Poems by Davenant’, PQ, 31 (1952), 70-4. Gibbs, pp. 275-6. A variant version, beginning ‘Sing fair Clorinda’, published, in a musical setting, in Henry Lawes, Ayres and Dialogues (London, 1653). Gibbs, pp. 303-8.

ff. 59r-60r

• DaW 47.5: Sir William Davenant, Song. The Dying Lover (‘Dear Love let me this Evening dy!’)

Copy, in a musical setting by Lawes.

First published (in Lawes's musical setting) in Henry Lawes, Second Book of Ayres and Dialogues (London, 1655). Works (London, 1673). Gibbs, pp. 168-70, 311-12.

ff. 60v-1v

• HeR 26.5: Robert Herrick, The Bag of the Bee (‘About the sweet bag of a Bee’)

Copy, in a musical setting by Henry Lawes, untitled.

First published in Hesperides (London, 1648). Martin, p. 31. Patrick, p. 45. Musical setting by Henry Lawes published in John Playford, Select Musicall Ayres, and Dialogues (London, 1652).

f. 61v

• JnB 671.5: Ben Jonson, The Haddington Masque, lines 86 et seq. Song (‘Beauties, haue yee seene this toy’)

Copy, in a musical setting by Henry Lawes, untitled, here beginning ‘Beauties have ye seen a Toy’.

First published together with The Masques of Blackness and Beauty (London, [1608]). Herford & Simpson, VII, 243-63 (p. 252).

f. 62r

• CwT 681.5: Thomas Carew, Secresie protested (‘Feare not (deare Love) that I'le reveale’)

First published in Poems (1640). Dunlap, p. 11. Musical setting by Henry Lawes published in The Second Book of Ayres and Dialogues (London, 1655).

See also Introduction.

ff. 62v-3r

• StW 1480.5: William Strode, The Floating Island, Act IV, scene xiv. Song (‘Once Venus cheekes that sham'd the morn’)

Copy, in a musical setting by Henry Lawes.

Dobell, pp. 215-16. Musical setting by Henry Lawes first published in his Ayres and Dialogues…The Third Book (London, 1658).

f. 66r

• GrJ 80: John Grange, ‘Sure thou framed were by art’

Copy, in a musical setting, headed ‘Words Jn^o Grange’ and subscribed ‘collected 1580 by J. Lawes’.

First published in Henry Lawes, Third Book of Ayres and Dialogues (1658), ascribed to Mr John Grange. Listed in Krueger.

f. 67v

• SuJ 128.5: John Suckling, Song (‘I prethee send me back my heart’)

Copy, in a musical setting by Henry Lawes.

First published, in a musical setting by Henry Lawes (1592-1662), in Select Musicall Ayres and Dialogues in Three Bookes (London, 1653). Last Remains (London, 1659). Clayton, pp. 89-90.

Probably written by Henry Hughes.

[unspecified page numbers]

• SuJ 162.5: John Suckling, Brennoralt, Act II, scene i, lines 95-106. Song (‘Come let the State stay’)

Copy of the second stanza, beginning ‘The Macedon youth left behind’, in Purcell's musical setting.

Beaurline, Plays, p. 201. The second stanza, in a musical setting by Henry Purcell, published in The Second Book of the Pleasant Musical Companion (London, 1686).

[Unspecified page numbers]

• OtT 10: Thomas Otway, ‘Would you know how we meet’

Copy of the song, in a musical setting by Henry Purcell.

Recorded in Franklin B. Zimmerman, Henry Purcell: An Analytical Catalogue (London & New York, 1963), No. 290.

A song attributed to Otway in early printed sources and possibly by him. First published, in a musical setting by Henry Purcell, in The Theater of Music, The Second Book (London, 1685).

Add. MS 29396

A folio songbook, almost entirely in a single rounded italic hand, with (ff. 3r-7v) a table of contents, 113 leaves, in 19th-century half dark red morocco. Compiled by Edward Lowe (c.1610-82), organist and composer (his signature f. 2v). c.1654-70s.

Arms of Eleanor Bursh on a seal affixed to f. 56r. Later owned and annotated in pencil by Thomas Oliphant (1799-1873), music editor and cataloguer.

A complete facsimile of this volume in English Song 1600-1675, ed. Elise Bickford Jorgens, Vol. 5 (New York & London, 1986).

f. 10r

• ToA 19: Aurelian Townshend, ‘Let not thy beauty make thee proud’

Copy of the opening lines, in a musical setting, headed ‘Aurelian Townshend. to his daughter. M^ris Kirke’.

This MS recorded in Brown.

First published, in a musical setting by Henry Lawes, in John Playford, Select Musical Ayres (London, 1652), p. 34. Chambers, p. 3. Brown, pp. 66-7.

f. 15r

• CaW 99: William Cartwright, The Royal Slave, Act I, scene ii, lines 167-79. The Priest's song (‘Come from a Dungeon to the Throne’)

Copy of the song, in a musical setting by Henry Lawes, untitled.

This MS recorded in Evans, p. 594.

Henry Lawes's musical setting of the forst six lines first published in his Select Ayres and Dialogues (London, 1659), p. 26. Evans, p. 205.

f. 15v

• StW 1478: William Strode, The Floating Island, Act II, scene iv. Song (‘Hail thou great Queen of various Humours’)

Copy of the Boy's song, in a musical setting by Henry Lawes, headed ‘In D^r Strodes Play acted before y^e Kinge’.

Dobell, p. 169.

ff. 18r, 17v

• HeR 232: Robert Herrick, To the Virgins, to make much of Time (‘Gather ye Rose-budd while ye may’)

Copy, in a musical setting by William Lawes, untitled.

This MS collated in Martin.

First published in The Academy of Complements (London, 1646). Hesperides (London, 1648). Martin, p. 84. Patrick, pp. 117-18. Musical setting by William Lawes published in John Playford, Select Musicall Ayres, and Dialogues (London, 1652).

ff. 18v-19r

• B&F 14: Francis Beaumont and John Fletcher, The Bloody Brother, II, ii, 47-58. Song (‘Drinke to day, and drowne all sorrow’)

Copy of the drinking song, in a musical setting (? probably by John Wilson), untitled, subscribed ‘M^r Chilmead’.

Edited from this MS in Cutts, Musique de la troupe de Shakespeare, pp. 83-4 (collated pp. 170-1).

First published in London, 1639. Dyce, X, 371-467 (p. 400). Edited by J.D. Jump, as Rollo Duke of Normandy (Liverpool, 1948), (p. 21). Bowers, X, 166-245 (p. 186), as Rollo, Duke of Normandy, ed. George Walton Williams.

ff. 21v-2r

• RnT 5: Thomas Randolph, Ad Amicam (‘Sweet, doe not thy beauty wrong’)

Copy, in a musical setting by Robert Johnson, untitled and here beginning ‘Deare doe not y^r fayre beauty wronge’.

First published, in a version beginning ‘Deare, doe not your fair beauty wrong’, in Thomas May, The Old Couple (London, 1658), p. 25. Attributed to Randolph in Parry (1917), p. 224. Thorn-Drury, p. 168.

f. 27r

• StW 1477: William Strode, The Floating Island, Act I, scene iii. Song (‘My limbs I will fling’)

Copy, in a musical setting by Henry Lawes, headed ‘Hilario's Songe’.

Dobell, p. 151.

ff. 27v-8r

• HeR 253: Robert Herrick, Upon Mistresse Elizabeth Wheeler, under the name of Amarillis (‘Sweet Amarillis, by a Spring's’)

Copy of a version beginning ‘Amarillis by a springe’ in a musical setting by Henry Lawes.

This MS collated in Martin.

First published in Hesperides (London, 1648). Martin, p. 46. Patrick, p. 65.

ff. 31v-2r

• RaW 179.5: Sir Walter Ralegh, Like to a Hermite poore (‘Like to a Hermite poore in place obscure’)

Copy, in a musical setting by Nicholas Lanier, untitled and here beginning ‘Like Hermitt poore, in pensive place obscure’.

This MS recorded in English Songs 1625-1660, ed. Ian Spink, Musica Britannica XXXIII (London, 1971), No. 7.

First published in Brittons Bowre of Delights (London, 1591). Latham, pp. 11-12. Rudick, Nos 57A and 57B (two versions, pp. 135-6).

ff. 36v-7r

• CwT 867: Thomas Carew, Song. Eternitie of love protested (‘How ill doth he deserve a lovers name’)

Copy, in a musical setting by Henry Lawes, untitled.

This MS recorded in Dunlap, p. 291.

First published in Poems (1640). Dunlap, pp. 23-4.

f. 37v

• LoR 15: Richard Lovelace, The Scrutinie. Song (‘Why should you sweare I am forsworn’)

Copy, in a musical setting by Thomas Charles, untitled; the text followed (f. 38r) by a ‘Reply’ (here beginning ‘I sweare hadst thou not bin forsworne’) subscribed ‘M^r. Hen. Ventrice’.

This MS recorded in Wilkinson.

First published in Lucasta (London, 1649). Wilkinson (1925), II, 24. (1930), pp. 26-7. A musical setting by Thomas Charles published in Select Musicall Ayres, and Dialogues (London, 1652).

ff. 39v-40r

• B&F 75: Francis Beaumont and John Fletcher, The Lovers' Progress, III, v, 48-66. Song (‘Tis late and cold. stir up the fire’)

Copy, in a musical setting by Robert Johnson, untitled.

Edited from this MS in Cutts, Musique de la troupe de Shakespeare, pp. 100-1 (collated pp. 184-5).

Dyce, XI, 75. Bowers, X, 483.

ff. 49v-50r

• KiH 617: Henry King, Sonnet (‘Tell mee you Starrs that our affections move’)

Copy, in a musical setting by John Wilson, untitled.

First published in Walter Porter, Madrigales & Ayres (London, 1632). Poems (1657). Crum, p. 149.

ff. 67v-8r

• DrJ 256.5: John Dryden, The Conquest of Granada by the Spaniards: In Two Parts, Part II, Act IV, scene iii, lines 35-64. Song, In two Parts (‘How unhappy a Lover am I’)

Copy of the song, in a musical setting, untitled.

California, XI, 166-7. Kinsley, I, 135-6. Hammond, I, 244-5.

ff. 68v-70v

• RnT 290: Thomas Randolph, A Pastoral Ode (‘Coy Coelia dost thou see’)

Copy, in a musical setting by Edmund Chilmeade, headed ‘Sheapherd’, with an additional passage of reply and a Chorus.

This MS recorded in Thorn-Drury.

First published in Poems (1638). Thorn-Drury, pp. 86-7.

ff. 70v-1r

• CwT 1262: Thomas Carew, A Louers passion (‘Is shee not wondrous fayre? but oh I see’)

Copy, in a musical setting by Edmund Chilmeade, untitled.

First published, as ‘The Rapture, by J.D.’, in Robert Chamberlain, The Harmony of the Muses (London, 1654), pp. 3-4 [unique exemplum in the Huntington edited in facsimile by Ernest W. Sullivan (Aldershot, 1990)]. Cupids Master-Piece (London, [?1656]). Dunlap, p. 192.

ff. 71v-2v

• JnB 624: Ben Jonson, The Gypsies Metamorphosed, Song (‘Why, this is a sport’)

Copy of the song sung by Patrico and Jackman, in a musical setting by Edmund Chilmead, untitled.

Edited from this MS in Sabol, 400 Songs & Dances, No. 30; collated in Greg; recorded in Herford & Simpson, XI, 607. Facsimiles in Cole, pp. 16-18; in Greg, plate V; and in Jorgens, V.

Herford & Simpson, lines 706-31. Greg, Windsor version, lines 508-26.

ff. 77v-8r

• MiT 26: Thomas Middleton, The Widow, III, i, 22-37. Song (‘I keep my horse, I keep my whore’)

Copy, in a musical setting by William Lawes, untitled.

Printed from this MS and collated in Cutts, Musique de la troupe de Shakespeare, pp. 57, 153-4.

First published in London, 1652. Bullen, V, 117-235 (pp. 168-9). Edited by Robert T. Levine (Salzburg, 1975). Oxford Middleton, pp. 1078-1123 (pp. 1098-9).

f. 78v

• MaA 11: Andrew Marvell, A Dialogue between Thyrsis and Dorinda (‘When Death, shall part us from these Kids’)

Copy of a version of the first eleven lines (words only), headed ‘Dialouge: Thirsis & Dorinda’ and here beginning ‘When death shall snatch us from thes Kidds’.

First published, in a musical setting by John Gamble, in his Ayres and Dialogues (London, 1659). Miscellaneous Poems (London, 1681). Margoliouth, I, 19-21. Lord, pp. 261-2, as of doubtful authorship. Smith pp. 244-5. The authorship doubted and discussed in Chernaik, pp. 207-8.

ff. 80v-1r

• HeR 312: Robert Herrick, The Eclipse (‘Vaile thou thine eyes a while my Deare’)

Copy, in a musical setting by John Wilson, untitled.

This MS collated in Martin.

First published in Norman Ault, A Treasury of Unfamiliar Lyrics (London, 1938), pp. 238-9. Martin, pp. 440-1 (in his section ‘Not attributed to Herrick hitherto’). Not included in Patrick.

ff. 82v-3r

• KiH 549: Henry King, Sonnet (‘Dry those faire, those Christall Eyes’)

Copy, in a musical setting by John Wilson, untitled.

First published in Poems (1657). Crum, pp. 147-8.

f. 90v

• EtG 81: Sir George Etherege, Sylvia (‘The nymph that undoes me is fair and unkind’)

Copy, in a musical setting by Thomas Stafford, untitled.

First published in A Collection of Poems, Written upon several Occasions (London, 1672). Thorpe, p. 26.

ff. 93v-4r

• HeR 295: Robert Herrick, Advice to a Maid (‘Love in thy youth fayre Mayde bee wise’)

Copy, in a musical setting, untitled.

This MS collated in Martin.

First published, in a musical setting, in Walter Porter, Madrigales and Airs (London, 1632). Martin, p. 443 (in his section ‘Not attributed to Herrick hitherto’). Not included in Patrick.

ff. 94v-5r

• FeO 41: Owen Felltham, On a Jewel given at parting (‘When cruel time enforced me’)

Copy of both parts of the song, in a musical setting by John Wilson, untitled.

This MS cited in Pebworth & Summers.

A sixteen-line version first published in Lusoria (London, 1661). Pebworth & Summers, p. 11.

f. 99r

• CoA 39: Abraham Cowley, The Chronicle. A Ballad (‘Margarita first possest’)

Copy, in a musical setting by Captain Henry Cooke, untitled.

First published, among Miscellanies, in Poems (London, 1656). Waller, I, 39-42. Sparrow, pp. 43-6.

ff. 99v-100r

• CoA 17: Abraham Cowley, Anacreontiques. II. Drinking (‘The thirsty Earth soaks up the Rain’)

Copy, in a musical setting by Roger Hill and Edward Lowe, superscribed ‘This songe was giuen M^r Houghton, by M^r Caue: it was to bee sunge by a Single Base. Except y^e Chorus for two parts. I sett an vpper part to it the 27^th of Janu. 16[ ]’ and here beginning ‘The thirsty Earth sucks up y^e rayne’.

First published in Wits Interpreter (London, 1655). Among Miscellanies in Poems (London, 1656). Waller, I, 51. Sparrow, p. 50.

Musical setting by Silas Taylor published in Catch that Catch Can: or the Musical Companion (London, 1667). Setting by Roger Hill published in Select Ayres and Dialogues (London, 1669).

ff. 101v-2r

• CoA 121: Abraham Cowley, Ode. Sitting and Drinking in the Chair, made out of the Reliques of Sir Francis Drake's Ship (‘Chear up my Mates, the wind does fairly blow’)

Copy, in a musical setting by Pelham Humfrey, headed ‘Song’.

First published in Poems, by Several Persons (Dublin, 1663). Verses, Lately Written upon several Occasions (London, 1663). Waller, I, 411-13.

Musical setting by Pelham Humfrey published in Choice Songs and Ayres for One Voyce (London, 1673).

ff. 104v-6r

• SdT 25: Thomas Shadwell, Epsom-Wells, Act III, scene i. Song (‘Oh, how I abhor’)

Copy of the Fiddler's song, in a musical setting by Robert Smith, untitled.

Summers, II, 95-182 (pp. 139-40).

f. 107v

• RoJ 5: John Wilmot, Second Earl of Rochester, Against Constancy (‘Tell me no more of constancy’)

Copy, in a musical setting, untitled.

Printed from this MS in Macdonald Emslie, ‘A New Song by Rochester’, TLS (26 February 1954), p. 137; edited in part from this MS in Vieth; collated in Walker.

First published in A New Collection of the Choicest Songs (London, 1676). Vieth, pp. 83-4. Walker, pp. 42-3. Love, p. 34, as Songe of the Earle of Rocherters.

f. 110r

• ShW 91.5: William Shakespeare, The Tempest, I, ii, 400-9. Song (‘Full fathom five thy father lies’)

Copy, in a musical setting by Robert Johnson, untitled.

f. 110v

• ShW 100.5: William Shakespeare, The Tempest, V, i, 88-94. Song (‘Where the bee sucks, there suck I’)

Copy, in a musical setting by Robert Johnson (as edited by John Wilson), untitled.

Add. MS 29397

A narrow oblong duodecimo music book, probably in a single cursive hand, with (ff. 2r-v, 98r-97r rev.)a table of contents, written from both ends, i + 98 leaves, in modern red morocco. c.1682-90.

Bookplate of Ralph Sympsun Esq^r. Puttick & Simpson's, 24 April 1873.

ff. 8v-9r

• DrJ 186: John Dryden, Song (‘High State and Honours to others impart’)

Copy, in a musical setting by John Abell, untitled.

This MS recorded in Day, pp. 186-7.

ff. 18v-21v

• MaA 12: Andrew Marvell, A Dialogue between Thyrsis and Dorinda (‘When Death, shall part us from these Kids’)

Copy, in a musical setting by Matthew Locke.

f. 22r-v

• CoA 117: Abraham Cowley, Ode. Acme and Septimus out of Catullus (‘Whilst on Septimus panting Brest’)

Copy, in a musical setting, untitled.

First published, among Verses written on several occasions, in Works (London, 1668). Waller, I, 419-20. Sparrow, pp. 167-9.

Musical setting by John Blow published in The Theater of Music (London, 1685).

ff. 27r-8v

• HeR 34: Robert Herrick, Charon and Phylomel, A Dialogue sung (‘Charon! O gentle Charon! let me wooe thee’)

Copy, in a musical setting by William Lawes, headed ‘A dialogue between Phylomel & Charon’.

This MS collated in Martin.

First published in Hesperides (London, 1648). Martin, p. 248. Patrick, p. 327. Musical setting by Henry Lawes published in John Playford, Select Musicall Ayres, and Dialogues (London, 1652).

ff. 50r-48v rev.

• PsK 189: Katherine Philips, La Solitude de St. Amant. Englished (‘O! Solitude my sweetest choice’)

Copy, in a musical setting by Henry Purcell, headed ‘The Ground & song To O! Solitude’.

This MS recorded in Zimmerman.

First published in Poems (1667), pp. 170-83. Saintsbury, pp. 601-4. Thomas, III, 94-102.

f. 54v-r rev.

• RoJ 426: John Wilmot, Second Earl of Rochester, Song (‘Phyllis, be gentler, I advise’)

Copy, in a musical setting by T. Judway, untitled.

First published in Poems on Several Occasions (‘Antwerp’, 1680). Vieth, p. 32. Walker, p. 36. Love, pp. 19-20.

ff. 68v-67v rev.

• CoA 93: Abraham Cowley, Honour (‘She Loves, and she confesses too’)

Copy in a musical setting by Henry Purcell.

This MS recorded in Purcell Society edition (1928).

First published in The Mistresse (London, 1647). Waller, I, 144-5. Sparrow, p. 145. Collected Works, II, No. 79, pp. 116-17.

Musical setting by Henry Purcell published in Choice Ayres and Songs (London, 1683). Works of Henry Purcell, XXV (London, 1928), pp. 156-8.

ff. 91r-89v rev.

• HeR 72: Robert Herrick, The Curse. A Song (‘Goe perjur'd man. and if thou ere return’)

Copy, in a musical setting by John Blow, untitled.

This MS recorded in Martin.

First published in Hesperides (London, 1648). Martin, p. 49. Patrick, p. 69. Musical setting by John Blow published in John Playford, Choice Ayres and Songs (London, 1683).

ff. 94v-91v rev.

• CoA 116: Abraham Cowley, Ode. Acme and Septimus out of Catullus (‘Whilst on Septimus panting Brest’)

Copy in a musical setting by John Blow, untitled and here beginning ‘As on Septimus panting breast’.

First published, among Verses written on several occasions, in Works (London, 1668). Waller, I, 419-20. Sparrow, pp. 167-9.

Musical setting by John Blow published in The Theater of Music (London, 1685).

Add. MS 29398

A large square-shaped folio full score of the opera by Daniel Purcell, the lyrics in a single cursive italic hand, 54 leaves (the last one vellum), in modern half red morocco. Early 18th century.

CgW 58: William Congreve, The Judgment of Paris: A Masque

Bookplate of Robert Smith, of St Paul's Churchyard. Puttick & Simpson's, 24 April 1873.

First published in London, 1701. Summers, III, 79-86. Dobrée, pp. 187-95. McKenzie, II, 227-35.

Add. MSS 29401-5

A set of five oblong octavo music part books for five voices, namely (i) Cantus, (ii) Medius, (iii) Tenor, (iv) Bassus, and (v) Quintus, the lyrics in a single neat italic hand, respectively 58, 56, 56, 56, and 56 leaves, each volume in modern red morocco. Early 17th century.

Puttick & Simpson's, 24 April 1873.

(i-v) ff. 3v-4r

• SiP 17: Sir Philip Sidney, Astrophil and Stella, Song x (‘O deare life, when shall it be’)

Copies, largely of the incipit only, (i) with the full text, all in a musical setting by William Byrd, untitled.

Byrd's setting first published in his Songs of sundrie natures (1589). This MS recorded in Ringler, pp. 447, 566.

Ringler, pp. 225-7.

(i-v) ff. 8v-9r

• SiP 9: Sir Philip Sidney, Astrophil and Stella, Song vi (‘O you that heare this voice’)

Copies, largely of the incipit only, (i) with the full text, all in a musical setting by William Byrd, untitled.

Byrd's setting first published in his Psalmes, Sonets, & songs of sadnes and pietie (1588). These MSS recorded in Ringler, pp. 447, 566.

Ringler, pp. 215-17.

Add. MS 29427

A tall folio part book of vocal music, for the Altus voice, the lyrics in several italic and secretary hands, one formal italic hand predominating, 78 leaves, mounted on guards, in quarter vellum boards. Early 17th century.

Puttick & Simpson's, 29 April 1873.

ff. 20v-1r

• DnJ 2646.66: John Donne, Psalme 137 (‘By Euphrates flowry side’)

Copy of the first two stanzas, in a musical setting, subscribed ‘Martin Pierson: Ba: Mu:’.

This MS collated in Crowley, with a facsimile of f. 20v on p. 609.

First published in Poems (1633). Grierson, I, 424-6 in his Appendix B, as ‘Probably by Francis Davison’. Discussed, and the case for Donne's authorship reviewed, in Lara Crowley, ‘Donne, not Davison: Reconsidering the Authorship of “Psalme 137”’, Modern Philology, 105, No. 4 (May 2008), 603-36.

f. 70v

• JnB 311.8: Ben Jonson, A Hymne to God the Father (‘Heare mee, O God!’)

Copy of the incipit only, in a musical setting by Alfonso Ferrabosco.

First published in The Vnder-wood (i.2) in Workes (London, 1640). Herford & Simpson, VIII, 129-30.

Add. MS 29481

An oblong folio songbook, the lyrics in two or more secretary and italic hands, 44 leaves, in contemporary vellum within brown calf gilt, stamped with the initials ‘A. B.’, now within modern half red morocco. c.1630.

Inscribed (f. 1r) ‘Richard Elliotts his Booke’ and ‘William Wilkins 1743’. The cover initials ‘A. B.’ conjecturally attributed to Adrian Batten (1591-1637), composer. Puttick & Simpson's, 30 June 1873.

Facsimile of ff. 2r-26v in English Song 1600-1675, ed. Elise Bickford Jorgens, Vol. 1 (New York & London, 1986).

ff. 5v-6r

• WeJ 6: John Webster, The Duchess of Malfi, IV, ii, 61-72. Song (‘O let us howle, some heavy note’)

Copy of the Madman's song, in a musical setting by Robert Johnson, untitled.

Lucas II, 95. Edited from this MS in John P. Cutts, ‘Two Jacobean Theatre Songs’, M&L, 33 (1952), 333-4. Collated in Cutts, Musique de la troupe de Shakespeare, pp. 143-4.

Cambridge edition, I, 541.

f. 6v

• MiT 9: Thomas Middleton, A Chaste Maid in Cheapside, IV, i, 162-72, 174-9. Song (‘Cupid is Venus' only joy’)

Copy of the Welshwoman's song, in a musical setting, untitled.

This MS collated in Cutts, Musique de la troupe de Shakespeare, pp. 144-6. See also Cutts, ‘The Music for A Chaste Maid in Cheapside’, Appendix II in Parker, pp. 84-5, 128-37.

First published in London, 1630. Bullen, V, 1-115 (pp. 80-1). Edited by R.B. Parker (London, 1969), (pp. 84-5). Oxford Middleton, pp. 912-58 (p. 943). An eleven-line version of lines 1-9 of this song occurs in More Dissemblers besides Women (I, iv, 89-99).

f. 9r

• DnJ 2962: John Donne, Song (‘Stay, O sweet, and do not rise’)

Copy of an untitled version beginning ‘Sweet staie awhile whie doe yo^u rise’, in a musical setting.

This MS collated in Doughtie, pp. 609-11. Recorded in Gardner.

Add. MS 30382

A folio music book of vocal compositions, the lyrics in English and Latin almost entirely in a single italic hand, with a contemporary index (f. 93r), 94 leaves, in 19th-century half red leather. Compiled by the composer Henry Bowman, those songs set by himself listed by him on f. 93r. c.1678-80s.

Bookplate of Katherine Sedley (1657-1717), daughter of Sir Charles Sedley and later Countess of Dorchester, of Southfleet, Kent. Inscribed (f. 93r) ‘John James’. Purchased from J. Harvey, 13 July 1877.

ff. 31v-2v

• HeR 73: Robert Herrick, The Curse. A Song (‘Goe perjur'd man. and if thou ere return’)

Copy, in a musical setting by John Blow, untitled.

This MS recorded in Martin.

First published in Hesperides (London, 1648). Martin, p. 49. Patrick, p. 69. Musical setting by John Blow published in John Playford, Choice Ayres and Songs (London, 1683).

ff. 33-4v

• CoA 18: Abraham Cowley, Anacreontiques. II. Drinking (‘The thirsty Earth soaks up the Rain’)

Copy, in a musical setting by Henry Bowman, untitled.

First published in Wits Interpreter (London, 1655). Among Miscellanies in Poems (London, 1656). Waller, I, 51. Sparrow, p. 50.

Musical setting by Silas Taylor published in Catch that Catch Can: or the Musical Companion (London, 1667). Setting by Roger Hill published in Select Ayres and Dialogues (London, 1669).

ff. 35-6

• EtG 64: Sir George Etherege, Song (‘In some kind dream upon her slumbers steal’)

Copy, in a musical setting by Henry Purcell, untitled.

This MS recorded in Franklin B. Zimmerman, Henry Purcell: An Analytical Catalogue (London & New York, 1963), No. 497.

First published, in a musical setting by Henry Purcell, in The Theater of Music, Fourth Book (London, 1687). The Works of Henry Purcell, XXII (London, 1922), pp. 59-61. Thorpe, p. 34.

ff. 36-7v

• DrJ 181: John Dryden, Song (‘Go tell Amynta gentle Swain’)

Copy, in a musical setting by Henry Purcell, untitled.

This MS collated in California. Recorded in Kinsley.

First published in Sylvae (London, 1685). Kinsley, I, 441. California, III, 89-90. Hammond, II, 388. Musical setting by Robert King published in The Theater of Music (London, 1685), I, 30. Day, pp. 73-5. Musical setting by Henry Purcell published in Orpheus Britannicus, 3rd edition (London, 1721). Works of Henry Purcell, XXII (London, 1922), pp. 133-6.

f. 38r-v

• CoA 86: Abraham Cowley, ‘For the few Houres of Life allotted me’

Copy, in a musical setting by Henry Bowman, untitled.

First published, at the end of the essay ‘Of Liberty’, among Several Discourses by way of Essays, in Verse and Prose in Works (London, 1668). Waller, II, 386.

f. 39r-v

• CoA 65: Abraham Cowley, The Epicure (‘Fill the Bowl with rosie Wine’)

Copy, in a musical setting by Henry Bowman, untitled.

First published, among Miscellanies, in Poems (London, 1656). Waller, I, 55-6. Sparrow, p. 55.

Musical setting by Henry Purcell published in Comes Amoris (London, 1687). Works of Henry Purcell, XXII (1922), pp. 55-8.

f. 41r

• SeC 35: Sir Charles Sedley, Song (‘Drink about till the Day find us’)

Copy of the last stanza, in a musical setting by Henry Bowman, imperfect, lacking stanzas 1-3.

Edited from this MS in Sola Pinto, I, 272-3.

First published in A Collection of Poems (London, 1672). Miscellaneous Works (London, 1702). Sola Pinto, I, 19.

Add. MS 30478-9

Two MS volumes of church music used at Durham Cathedral. c.1664, 1670.

Volume (i) belonged in 1664 to George Davenport, chaplain to John Cosin, Bishop of Durham; Volume (ii) belonged in 1670 to Isaac Basire (d.1676), Prebendary of the seventh stall in Durham Cathedral.

These MSS recorded in Forey, p. 325.

(i) ff. 178v-9; (ii) f. 154r-v

• StW 33: William Strode, An Anthem for Good Friday (‘See, sinfull soul, the Saviours sufferings. see’)

Copies in a musical setting by Richard Gibbs.

First published in James Clifford, Divine Services and Anthems (London, 1663). Dobell, pp. 53-4. Forey p. 188.

Add. MS 30513

An oblong quarto virginal book, largely in a single hand, 129 leaves, in remains of a recycled 15th/16th-century vellum document in contemporary blind-stamped leather. Inscribed (f. 2r) ‘Sum liber thomae mullineri iohanne heywoode teste’: i.e. compiled by Thomas Mulliner (fl.1545-75). Mid-16th century.

Owned and annotated in 1776 by John Stafford Smith (1750-1836), musician and musical antiquary, who also records (f. 110r) lending it in 1774 to Sir John Hawkins (1719-89), music scholar and lawyer. Item 873 in an unidentified sale catalogue. Purchased from William Hayman Cummings, FSA (1831-1915), singer and musical antiquary, on 10 November 1877.

f. 65v

• SuH 43: Henry Howard, Earl of Surrey, ‘Marshall, the thinges for to attayne’

Copy of the incipit, here ‘My friends’, in a musical setting.

This MS discussed, with a facsimile, in Mumford; edited in The Mulliner Book, ed. Denis Stevens, 2nd edition, Musica Britannica, I (London, 1973), p. 50.

First published at the end of Book III in William Baldwin, A treatise of Morrall phylosophye (London, 1547/8). Songes and Sonettes (London, 1557). Padelford, No. 41, p. 94. Jones, pp. 34-5.

The texts discussed in J.M. Evans, ‘The Text of Surrey's “The Meanes to Attain Happy Life”’, N&Q, 228 (1983), 409-11; in W.D. McGaw, ‘The Text of Surrey's “The Meanes to Attain Happy Life” -- A Reply’, N&Q, 230 (December 1985), 456-8; and in A.S.G. Edwards, ‘Surrey's Martial Epigram: Scribes and Transmission’, EMS, 12 (2005), 74-82.

ff. 107r-8r

• SuH 48: Henry Howard, Earl of Surrey, ‘O happy dames, that may embrace’

Copy of the incipit, in a musical setting by John Shepherd.

Edited from this MS in The Mulliner Book, ed. Denis Stevens, 2nd edition, Musica Britannica I (London, 1973), pp. 81-2. Discussed, with a facsimile, in Mumford. Recorded in Rollins, II, 143. Another setting of the song ‘O ye happy dames’, possibly the same poem, is on f. 3r-v (see Stevens, p. 1).

First published in Songes and Sonettes (London, 1557). Padelford, No. 21, pp. 71-2. Jones, pp. 21-2. Edited, and tentatively attributed to John Harington (1520?-82), in Hughey, Harington of Stepney, pp. 131-2, 286-9.

Add. MS 30930

A large folio volume of autograph vocal and instrumental music by Henry Purcell (1659-95), with a title-page ‘The Works of Hen, Purcell Anno Dom. 1680’, ii + 72 leaves (plus numerous blanks, in 19th-century half red morocco. c.1680.

Thomas James sale, February 1826, item 187. Bookplates of the Rev. John Parker and of Edmund Thomas Warren Horne, publisher (whose collection of music books was sold on 3 July 1794). Also inscribed by Joseph Warren (1804-81), composer and music editor. Purchased on 27 July 1878 from Julian Marshall (1836-1903), music and print collector and writer.

ff. 15v-17v

• SaG 14: George Sandys, A Paraphrase upon Job (‘In Hus, a land which near the sun's uprise’)

Copy of Chapter XIV, in a musical setting by Henry Purcell, untitled.

This MS recorded in Zimmerman.

First published in A Paraphrase upon the Divine Poems (London, 1638). Hooper, I, 1-78.

ff. 20v-1v

• SaG 10: George Sandys, A Paraphrase upon Job (‘In Hus, a land which near the sun's uprise’)

Copy of Chapter X, in a musical setting by Henry Purcell, untitled.

This MS recorded in Zimmerman.

First published in A Paraphrase upon the Divine Poems (London, 1638). Hooper, I, 1-78.

Add. MS 30932

A volume of anthems by various composers, 172 leaves. Late 17th-early 18th century.

[unspecified page numbers]

• TaJ 8: Jeremy Taylor, On the Conversion of St Paul (‘Full of wrath, his threat'ning breath’)

Copy, in a musical setting by Henry Purcell.

Recorded by Franklin B. Zimmerman in Henry Purcell: An Analytical Catalogue (London & New York, 1963).

Published, as one of the ‘Festival Hymns’ in The Golden Grove (London, 1655).

Add. MS 31432

A folio autograph songbook by William Lawes (1602-45), composer, 49 leaves, in contemporary calf stamped in gilt with arms of Charles I. c.1638-45.

Inscribed (f. 1v) ‘Richard Gibbon his booke giuen to him by Mr William Lawes all of his owne pricking and composeing’, and ‘Giuen to me J R by his widdow m^ris Gibbon J R:’, and ‘Borrowed of Alderman Fidye by me Jo: Surgenson’. Bookplates of William Gostling (1696-1777), antiquary and topographer, and of Julian Marshall (1836-1903), music and print collector and writer.

A complete facsimile of this volume in English Song 1600-1675, ed. Elise Bickford Jorgens, Vol. 2 (New York & London, 1986). Discussed in John P. Cutts, ‘British Museum Additional MS. 31432 William Lawes' writing for the Theatre and the Court’, The Library, 5th Ser. 7 (1952), 225-34, and in Margaret Crum, ‘Notes on the Texts of William Lawes's Songs in B.M. MS. Add. 31432’, The Library, 5th Ser. 9 (1954), 122-7.

ff. 7v-8r

• SuJ 163: John Suckling, Brennoralt, Act II, scene ii, lines 52-66. Song (‘A hall, a hall’)

Autograph copy by Lawes of Grainevert's song in Lawes's musical setting, untitled.

Edited from this MS in Cutts, The Library (1952), p. 228, and in Jorgens, Part 12 (1989), p. 2. Collated in Beaurline.

Beaurline, Plays, p. 100.

f. 10r

• SuJ 70: John Suckling, Sonnet I (‘Do'st see how unregarded now’)

Autograph copy by Lawes, in his musical setting, untitled.

This MS collated in Clayton.

First published in Fragmenta Aurea (London, 1646)and in The Academy of Complements (London, 1646). Clayton, pp. 47-8.

f. 11r

• CwT 747: Thomas Carew, A Song (‘Aske me no more whether doth stray’)

Autograph copy by William Lawes of a four-stanza version, in a musical setting by him, untitled and here beginning ‘Aske Me noe More wher Joue bestowes’.

Lyrics and setting edited from this MS in Scott Nixon, ‘“Aske me no more” and the Manuscript Verse Miscellany’, ELR, 29/1 (Winter 1999), 97-130 (p. 108).

First published in a five-stanza version beginning ‘Aske me no more where Iove bestowes’ in Poems (1640) and in Poems: by Wil. Shake-speare, Gent. (London, 1640), and edited in this version in Dunlap, pp. 102-3. Musical setting by John Wilson published in Cheerful Ayres or Ballads (Oxford, 1659). All MS versions recorded in CELM, except where otherwise stated, begin with the second stanza of the published version (viz. ‘Aske me no more whether doth stray’).

For a plausible argument that this poem was actually written by William Strode, see Margaret Forey, ‘Manuscript Evidence and the Author of “Aske me no more”: William Strode, not Thomas Carew’, EMS, 12 (2005), 180-200. See also Scott Nixon, ‘“Aske me no more” and the Manuscript Verse Miscellany’, ELR, 29/1 (Winter 1999), 97-130, which edits and discusses MSS of this poem and also suggests that it may have been written by Strode.

f. 11v

• ShJ 82: James Shirley, To his Mistris confined (‘Think not my Phebe, cause a cloud’)

Autograph copy by Lawes, in his musical setting, untitled and here beginning ‘O Thinke not Phoebe’.

First published in Samuel Pick, Festum Voluptatis (London, 1639). Thomas Carew, Poems (London, 1640). Shirley, Poems (London, 1646). Armstrong, p. 2.

ff. 12v-14r

• MaA 15: Andrew Marvell, A Dialogue between Thyrsis and Dorinda (‘When Death, shall part us from these Kids’)

Autograph copy by Lawes of lines 1-22 and a fourteen-line version of lines 23-48, in his musical setting, headed ‘Dialogue: Thirsis: Dorinda’.

Edited from this MS in John P. Cutts, ‘Marvell's “Thyrsis and Dorinda”’, TLS (8 August 1952), p. 517 and in Cutts, The Library (1952), pp. 229-30. Discussed in Margoliouth, I, 247-8.

f. 17v

• DaW 73: Sir William Davenant, ‘Why should great Beauties vertuous Fame desire’

Autograph copy by Lawes, in his musical setting, untitled.

Edited from this MS in Gibbs, p. 293.

First published (in Lawes's musical setting) in Henry Lawes, Second Book of Ayres and Dialogues (London, 1655). Gibbs, pp. 277, 309-10.

f. 18v

• FoJ 7: John Ford, The Lady's Trial, IV, ii. Song (‘What, ho! we come to be merry’)

Autograph copy by Lawes, in his musical setting, untitled.

Edited from this MS in Cutts, The Library, 5th Ser. 7 (1952), 230.

Dyce, III, 70.

ff. 18v-19r

• FoJ 4: John Ford, The Lady's Trial, II, iv. Song (‘Pleasures, beauty, youth attend ye’)

Autograph copy by Lawes, in his musical setting, untitled.

This MS recorded in Cutts, The Library (1952), p. 231.

First published in London, 1639. Dyce, III, 1-99 (pp. 40-1). De Vocht, pp. 329-408 (p. 363, lines 1011-26).

ff. 20v-1r

• JnB 677: Ben Jonson, The King's Entertainment at Welbeck, lines 5-18. Song (‘What softer sounds are these salute the Eare’)

Autograph copy by Lawes of the opening song, in his musical setting, headed ‘Dialogue’.

This MS discussed in Cutts, The Library (1952), p. 231.

ff. 21v-2r

• SuJ 169: John Suckling, The Goblins, Act III, scene ii, lines 72-8. Song (‘A health to the Nut browne Lasse’)

Autograph copy by Lawes, in his musical setting, untitled.

This MS collated in Beaurline.

Beaurline, Plays, p. 144.

f. 26r

• ShJ 202: James Shirley, The Triumph of Peace, Song 8 (‘In envy to the Night’)

Autograph copy by Lawes, in his musical setting, headed ‘Amphilucæ: in a Maske’.

Edited from this MS in Cutts, The Library (1952), p. 232; in Lefkowitz, William Lawes, p. 218; in Sabol (1959), pp. 89-90; in Lefkowitz, Trois Masques, pp. 106-8; and in Sabol, 400 Songs & Dances, No. 39.

Gifford & Dyce, VI, 282-3. Leech, p. 303, lines 747-56. Lefkowitz, p. 84. Armstrong, p. 47.

f. 31v

• ShJ 79: James Shirley, To his Mistris (‘I would the God of Love would die’)

Autograph copy by Lawes of an early two-stanza version, in his musical setting, untitled.

Edited from this MS in Cutts, The Library (1952), p. 232.

First published in Poems (London, 1646). Armstrong, p. 1.

f. 32r

• HeR 225: Robert Herrick, To Pansies (‘Ah cruell Love! must I endure’)

Autograph copy by Lawes, in his musical setting, untitled.

This MS collated (and the second stanza printed) in Martin, p. 469.

First published in Hesperides (London, 1648). Martin, p. 74. Patrick, p. 107.

f. 32v

• HeR 163: Robert Herrick, Not to love (‘He that will not love, must be’)

Autograph copy by Lawes, in his musical setting, headed ‘Perswasions not to loue’.

This MS collated (and the second stanza printed) in Martin, pp. 474-5.

First published in Hesperides (London, 1648). Martin, pp. 102-3. Patrick, pp. 142-3. See also Louise Schleiner, ‘Herrick's Songs and the Character of Hesperides’, ELR, 6 (1976), 77-91 (pp. 83-5).

f. 33r

• HeR 220: Robert Herrick, To Dewes. A Song (‘I Burn, I burn. and beg of you’)

Autograph copy by Lawes, in his musical setting, headed ‘To the Desert’.

This MS collated in Martin.

First published in Hesperides (London, 1648). Martin, p. 50. Patrick, p. 71.

f. 33v

• HeR 138: Robert Herrick, How Lillies came white (‘White though ye be. yet, Lillies, know’)

Autograph copy by Lawes, in his musical setting, headed ‘On the Lillyes’.

First published in Hesperides (London, 1648). Martin, p. 74. Patrick, p. 106. Musical setting by Nicholas Lanier published in Henry Lawes, The Treasury of Musick, part II (London, 1669), p. 58.

f. 33v

• HeR 233: Robert Herrick, To the Virgins, to make much of Time (‘Gather ye Rose-budd while ye may’)

Autograph copy by Lawes, in his musical setting, untitled.

This MS collated in Martin.

f. 34r

• HeR 226: Robert Herrick, To Sycamores (‘I'm sick of Love. O let me lie’)

Autograph copy by Lawes, in his musical setting, headed ‘To the Sicamour’.

First published in Hesperides (London, 1648). Martin, p. 158. Patrick, p. 214.

ff. 34v-5v

• HeR 35: Robert Herrick, Charon and Phylomel, A Dialogue sung (‘Charon! O gentle Charon! let me wooe thee’)

Autograph copy by Lawes, in his musical setting, headed ‘Dialogue Charon and y^e Nitingale’.

This MS collated in Martin.

First published in Hesperides (London, 1648). Martin, p. 248. Patrick, p. 327. Musical setting by Henry Lawes published in John Playford, Select Musicall Ayres, and Dialogues (London, 1652).

f. 36r

• B&F 42: Francis Beaumont and John Fletcher, Cupid's Revenge, I, ii, 19-24. Song (‘Lovers rejoyce, your paines shall be rewarded’)

Autograph copy by Lawes of the first six lines, in his musical setting, untitled.

First published in London, 1615. Dyce, II, 349-449 (pp. 364-5). Bowers, II, 333-414, ed. Fredson Bowers (p. 341).

f. 39r

• DaW 92: Sir William Davenant, Love and Honour, Act V, scene i. Song (‘O draw your Curtains and appeare!’)

Autograph copy by Lawes, in his musical setting, untitled.

Edited from this MS in Gibbs, pp. 294-5.

Published in Works (1673) as a separate song headed ‘Song to Two Lovers Condemn'd to die’. Gibbs, p. 156. Dramatic Works, III, 173-4. William Lawes's musical setting first published in New Ayres and Dialogues (London, 1678).

ff. 41v-2r

• DaW 117: Sir William Davenant, The Unfortunate Lovers, Act V, scene i. The Song to a horrid Tune (‘You Fiends and Furies come along’)

Autograph copy by Lawes, in his musical setting, untitled.

Edited in part from this MS in Gibbs, pp. 298-302.

First published in London, 1643. Dramatic Works, III, 11-90 (p. 78). Gibbs, p. 145.

Lawes's musical setting published in New Ayres and Dialogues (London, 1678).

ff. 43v-4r

• ShJ 72: James Shirley, Strephon, Daphne (‘Come my Daphne, come away’)

Autograph copy by Lawes, in his musical setting, headed ‘A Dialogue’.

ff. 44v-5v

• WaE 456: Edmund Waller, Song (‘Stay, Phoebus! stay’)

Autograph copy by Lawes, in his musical setting, untitled.

First published in Workes (1645). Thorn-Drury, I, 123.

Add. MS 31434

A folio volume of vocal musical works by Henry Lawes, the lyrics in a single mixed hand, that of Stephen Bing, 72 leaves (plus blanks), in 19th-century half red morocco. Mid-17th century.

Bookplate of Julian Marshall (1836-1903), music and print collector and writer. Purchased from him in 1881-2.

ff. 1r-v, 14r, 26r, 38r, 50r, 62r

• CwT 626: Thomas Carew, Psalme 137 (‘Sitting by the streames that Glide’)

Copies, in a five-part musical setting by Henry Lawes.

This MS collated in Dunlap and recorded p. 292. Facsimile of f. 1r in Scott Nixon, ‘Henry Lawes's Hand in the Bridgewater Collection: New Light on Composer and Patron’, HLQ, 62 (1999), 233-72 (p. 238).

First published, in a musical setting by Henry Lawes, in his Select Psalmes of a New Translation (London, 1655), pp. 1-3 [unique exemplum in the Huntington]. Dunlap, pp. 149-50. Edited from Lawes in Scott Nixon, ‘Henry Lawes's Hand in the Bridgewater Collection: New Light on Composer and Patron’, HLQ, 62 (1999), 233-72 (pp. 270-1).

ff. 2r-3r, 15r-v, 27r-v, 39r-v, 51r-2r, 62v-3r

• CwT 616: Thomas Carew, Psalme 104 (‘My soule the great Gods prayses sings’)

Copies, in a five-part musical setting by Henry Lawes.

This MS collated in Dunlap and recorded p. 292.

First published, in a musical setting by Henry Lawes, in his Select Psalmes of a New Translation (London, 1655), pp. 4-6 [unique exemplum in the Huntington]. Hazlitt (1870), pp. 181-4. Dunlap. pp. 139-42. Edited from Lawes in Scott Nixon, ‘Henry Lawes's Hand in the Bridgewater Collection: New Light on Composer and Patron’, HLQ, 62 (1999), 233-72 (pp. 265-6).

Add. MS 31447

A large folio volume of vocal music by Henry Purcell (1659-95), in a neat italic hand, 151 leaves, in 19th-century half dark red morocco. c.1700.

Bookplate of Julian Marshall (1836-1903), music and print collector and writer. Acquired from him 10 July 1880; 26 March and 9 April 1881.

[unspecified page numbers]

• SdT 36: Thomas Shadwell, Timon of Athens, the Man-Hater

Copy of the Masque, in a musical setting by Henry Purcell.

First published in London, 1678. Summers, III, 183-275.

ff. 112r-29v

• SdT 7: Thomas Shadwell, An Ode for Queen Mary's Birthday. April 30, 1691 (‘Welcome, welcome, glorious Morn’)

Copy, in a musical setting by Henry Purcell, headed ‘Queen's Birth=day Song 1691’.

First published, in a musical setting by Henry Purcell, in The Works of Henry Purcell, Vol. XI, Birthday Odes for Queen Mary, Part I (London, 1902), pp. 72-116. Summers, V, 369-70.

ff. 130r-9r

• SeC 22: Sir Charles Sedley, On the Birth-Day of the Late Queen A Song (‘Love's Goddess sure was blind this Day’)

Copy, in a musical setting by Henry Purcell, headed ‘Queens Birth=Days = Song 1692 Written by S^r Charles Sedley’, with (f. 139r) a pencil note ‘copied the year it was composed’.

First published in The Gentleman's Journal (May 1692), p. 1. Miscellaneous Works (London, 1702). Sola Pinto, I, 26-7. Musical setting by Henry Purcell published in The Works of Henry Purcell, XXIV (Purcell Society, 1926), Part II, pp. 1-35.

Add. MS 31452

A folio volume of vocal music, 100 leaves. 18th century.

Bokplate of James Kent, organist of Winchester Cathedral.

ff. 1r-14

• SdT 37: Thomas Shadwell, Timon of Athens, the Man-Hater

Copy of the Masque, in a musical setting by Henry Purcell.

First published in London, 1678. Summers, III, 183-275.

Add. MS 31455

A set of part books of vocal music, 137 folio leaves. Early 18th century.

unspecified page numbers

• SdT 38: Thomas Shadwell, Timon of Athens, the Man-Hater

Copy of parts of the Masque, in a musical setting by Henry Purcell.

First published in London, 1678. Summers, III, 183-275.

Add. MS 31460

An oblong folio music book, compiled by Simon Child, organist of Christ Church, Oxford, 98 leaves. c.1700.

ff. 71v-8r

• CoA 272: Abraham Cowley, Extracts

Extract(s) from work(s) by Cowley.

[unspecified page numbers]

• TaJ 3: Jeremy Taylor, Job's Curse (‘Let the Night perish curs'd by y^e Morn’)

Copy, in a musical setting by Henry Purcell.

Recorded by Franklin B. Zimmerman in Henry Purcell: An Analytical Catalogue (London & New York, 1963), No. 191.

Published, as one of the ‘Festival Hymns’ in The Golden Grove (London, 1655). A musical setting by Henry Purcell published in Harmonia Sacra (London, 1688).

Add. MS 31804

The first of a set of five volumes of glees and other vocal music, in several hands, 148 oblong folio leaves. c.1775.

ff. 70r-2v

• DrJ 181.5: John Dryden, Song (‘Go tell Amynta gentle Swain’)

Copy, in a musical setting.

Recorded in Day, p. 166.

Add. MS 31810

An oblong folio volume of part-songs, madrigals, glees, etc., the second in a set of three part books, in a single hand, 214 leaves, in 19th-century half-morocco. c.1780-1833.

Bookplate of Julian Marshall (1836-1903), music and print collector and writer.

ff. 3r-6r

• CoA 36.5: Abraham Cowley, The Change (‘Love in her Sunny Eyes does basking play’)

Copy, in a musical setting, headed ‘Glee for 4 Voices/ The Poetry from Cowley/ R J Thoms 1780 Lambeth/ 1821 Revised’.

First published in The Mistresse (London, 1647). Collected Works, II, Part 1, No. 9, pp. 32-3.

ff. 28r-35r

• ShW 108.3: William Shakespeare, Twelfth Night, II, iii, lines 41-6, 49-54. Song (‘O mistress mine, where are you roaming?’)

Copy of the song, in a musical setting, headed ‘Glee for five Voices/ 1788’.

The Clown's song.

ff. 41r-4r

• WaE 89.5: Edmund Waller, ‘Go, lovely Rose’

Copy, in a musical setting, headed ‘Glee for four Voices’.

First published, as ‘On the Rose’, in Wits Recreations (London, 1645). Workes (1645). Thorn-Drury, I, 128. Setting by Henry Lawes published in The Second Book of Ayres, and Dialogues (London, 1655).

f. 106r et seq.

• WiG 26.5: George Wither, Sonnet (‘Hence away you sirens’)

Copy, in a musical setting, headed ‘Glee for four Voices/ the Poetry by George Wither 1614. Music by R.J. Stevens 1800’, subscribed ‘Revised 1819 by R.J. Thoms’.

First published in Fidelia (London, 1619).

Add. MS 31813

An oblong folio book of vocal music, largely in one hand, 165 leaves, in moder half red morocco. Mid-18th century.

Acquired from Julian Marshall (1836-1903), music and print collector and writer, 1880-81.

ff. 1r-2r

• HeR 233.5: Robert Herrick, To the Virgins, to make much of Time (‘Gather ye Rose-budd while ye may’)

Copy, in a musical setting by William Lawes.

f. 2v

• LoR 15.5: Richard Lovelace, The Scrutinie. Song (‘Why should you sweare I am forsworn’)

Copy, in a musical setting by Henry Lawes.

Recorded in Wilkinson (1925), I, 23.

First published in Lucasta (London, 1649). Wilkinson (1925), II, 24. (1930), pp. 26-7. A musical setting by Thomas Charles published in Select Musicall Ayres, and Dialogues (London, 1652).

ff. 26r-7r

• ShW 89.8: William Shakespeare, The Tempest, I, ii, 400-9. Song (‘Full fathom five thy father lies’)

Copy of the song in a musical setting.

Add. MS 31815

An oblong folio of vocal compositions by the composer Richard John Samuel Stevens (1757-1837), 124 leaves. Late 18th-early 19th century.

ff. 55r-64r

• JnB 685.5: Ben Jonson, The Masque of Queens

Copy of the Witches' chants (lines 155-204) in a musical setting.

First published in London, 1609. Herford & Simpson, VII, 265-317.

Add. MS 31922

A folio volume of vocal and instrumental music, in a single formal secretary hand, with colour decorations of initial letters, 130 leaves, in contemporary vellum within modern half red morocco. Early-mid-16th century.

Inscribed (ff. 129v-30r), among other scribbling, ‘Vynsent Wydderden’, ‘Syr John Lede’, and ‘Dauey Jonys’, all of Benenden, Kent, and ‘Jane Reve’ of ‘Mownfyld’ (i.e. Mountfield, Sussex). Bookplates of Thomas Fuller M.D. (inscribed ‘Stephen Fuller of Hart Street Bloomsbury 1762’) and of Archibald Montgomery, MP (1726-96), eleventh Earl of Eglinton, soldier. Purchased from Quaritch, 22 April 1882.

ff. 53v-4r

• WyT 10: Sir Thomas Wyatt, ‘A Robyn’

Copy of lines 1-12, in a musical setting by William Cornish, untitled and here beginning ‘A robyn gentyl robyn’.

Edited from this MS in J.E. Stevens, Music and Poetry in the Early Tudor Court (London, 1961), p. 405, and in Muir & Thomson, p. 309. Discussed, with a facsimile, in Ivy L. Mumford, ‘Musical Settings to the Poems of Sir Thomas Wyatt’, M&L, 37 (1956), 315-22. Edited and discussed in R.G. Siemens, ‘New Evidence on Wyatt's “A Robyn” in British Library Additional MS 31,922’, N&Q, 244 (June 1999), 189-91. Facsimile also in Foxwell, I, after p. 62. This text possibly the popular song which was the basis for Wyatt's version.

Not published (in this form) in the 16th century. Muir & Thomson, pp. 41-2.

Add. MS 31992

An oblong folio volume of musical works, the lyrics almost entirely in a single neat italic hand, with (ff. 1r-2r, 99r-v) a table of contents, 99 leaves, in contemporary brown calf, both covers stamped in gilt ‘Edwardvs Paston’. c.1611.

Sotheby's, 28 November 1882.

f. 13v

• DyE 47: Sir Edward Dyer, ‘My mynde to me a kyngdome is’

Copy of the incipit only, in a musical setting by William Byrd.

f. 25r

• WyT 11: Sir Thomas Wyatt, ‘A Robyn’

Copy of thie incipit only (here ‘Joly Robyn’), in a musical setting.

This MS discussed in Mumford, op. cit., p. 316, and in Mumford, ‘Sir Thomas Wyatt's Songs: A Trio of Problems in Manuscript Sources’, M&L, 39 (1958), 262-4. See WyT 10.

Not published (in this form) in the 16th century. Muir & Thomson, pp. 41-2.

f. 36r

• SiP 18: Sir Philip Sidney, Astrophil and Stella, Song x (‘O deare life, when shall it be’)

Copy of the incipit only, in a musical setting by William Byrd.

This MS recorded in Ringler, pp. 447, 566.

Ringler, pp. 225-7.

f. 36v

• OxE 38: Edward de Vere, Earl of Oxford, ‘If woemen coulde be fayre and yet not fonde’

Copy of the incipit only, in a musical setting by William Byrd.

First published in Brittons Bowre of Delights (London, 1591). May, Poems, No. III (pp. 40-1). May, Courtier Poets, p. 284. EV 11604.

f. 37v

• SiP 10: Sir Philip Sidney, Astrophil and Stella, Song vi (‘O you that heare this voice’)

Copy of the incipit only, in a musical setting by William Byrd.

This MS recorded in Ringler, pp. 447, 566.

Ringler, pp. 215-17.

f. 52v

• WyT 129: Sir Thomas Wyatt, ‘I fynde no peace and all my warr is done’

Copy of the incipit possibly of a version of this poem (here ‘No peace I find and foes I cannot face’), in a musical setting.

This MS discussed in Ivy L. Mumford, ‘Musical Settings to the Poems of Sir Thomas Wyatt’, M&L, 37 (1956), 315-22 (p. 321), and in Mumford, ‘Sir Thomas Wyatt's Songs: A Trio of Problems in Manuscript Sources’, M&L, 39 (1958), 262-4 (where it was argued that this song may not be the same as Wyatt's poem). Recorded in Muir & Thomson.

First published in Songes and Sonnettes (London, 1557). Muir & Thomson, pp. 20-1.

ff. 54v-5r

• WyT 390: Sir Thomas Wyatt, ‘What vaileth trouth? or, by it, to take payn?’

Copy of the incipit (here ‘What vaileth’), in a musical setting by William Byrd.

First published in Songes and Sonettes (London, 1557). Muir & Thomson, pp. 1-2.

Add. MS 33234

A folio volume of vocal music, probably in a single cursive hand, 190 leaves, in remains of vellum boards within modern half red morocco. c.1682.

Inscribed (f. 1*^r) ‘P. Fussell Winton’, ‘Liber Caroli Morgan e Coll Magd Dec^mo: 6^to Die 7^bris: Anno Domini 1682’, and ‘Vincent Novello [(1781-1861), music publisher] The gift of his kind friend W^m Patten’.

ff. 6v-7

• CoA 32: Abraham Cowley, Anacreontiques. IX. Another (‘Underneath this Myrtle shade’)

Copy, in a musical setting by Pietro Reggio, untitled.

First published, among Miscellanies, in Poems (London, 1656). Waller, I, 56. Sparrow, p. 56.

Musical setting by Henry Purcell published in The Banquet of Musick (London, 1692). Works of Henry Purcell, XXII (London, 1922), pp. 100-3.

f. 19r-v

• CoA 8: Abraham Cowley, Anacreontiques. I. Love (‘I'll sing of Heroes, and of Kings’)

Copy, in a musical setting by Pietro Reggio, untitled.

First published, among Miscellanies, in Poems (London, 1656). Waller, I, 50. Sparrow, p. 49.

Musical setting by Pietro Reggio published in Songs [London, 1680].

f. 20r-v

• CoA 61: Abraham Cowley, Davideis, Book III, Song (‘Awake, awake my Lyre’)

Copy, in a musical setting by Pietro Reggio, untitled.

Waller, I, 344. Sparrow, pp. 191-2.

Musical setting by Pietro Reggio published in Songs [London, 1680]. Setting by John Blow published in Choice Ayres and Songs. The Third Book (London, 1681).

ff. 21r-6r

• CoA 57.6: Abraham Cowley, Davideis, Book III, Song (‘Awake, awake my Lyre’)

Copy, in a musical setting by John Blow, headed ‘Song’.

Waller, I, 344. Sparrow, pp. 191-2.

Musical setting by Pietro Reggio published in Songs [London, 1680]. Setting by John Blow published in Choice Ayres and Songs. The Third Book (London, 1681).

ff. 28v-30r

• DaW 102: Sir William Davenant, The Man's the Master, Act III, scene ii. Song (‘The Bread is all bak'd’)

Copy of Don John's song, in a musical setting by John Banister, untitled.

First published in London, 1669. Dramatic Works, V, 1-107 (pp. 67-9). Gibbs, pp. 268-9.

ff. 30v-1v

• PsK 578: Katherine Philips, Pompey. A Tragedy, Act III, scene iv. Song (‘From lasting and unclouded Day’)

Copy of the song by Pompey's ghost, in a musical setting by John Banister, untitled.

This MS recorded in Mambretti's 1979 dissertation.

A recitative air sung by Pompey's ghost. Saintsbury, pp. 611-12. Thomas, I, 244-5, poem 120. Thomas, III, 55-6. This song originally set to music by Dr Peter Pett (1630-99).

ff. 49r-50v

• HeR 75: Robert Herrick, The Curse. A Song (‘Goe perjur'd man. and if thou ere return’)

Copy, in a musical setting by John Blow, untitled.

This MS collated in Martin.

First published in Hesperides (London, 1648). Martin, p. 49. Patrick, p. 69. Musical setting by John Blow published in John Playford, Choice Ayres and Songs (London, 1683).

f. 82r-v

• PsK 540: Katherine Philips, Upon the engraving. K:P: on a Tree in the short walke at Barn=Elms (‘Alass! how barbarous are we’)

Copy, in a musical setting by Henry Purcell, untitled.

This MS recorded in Zimmerman; also in Mabretti's 1979 dissertation.

First published, as ‘Upon the graving of her Name upon a Tree in Barnelmes Walks’, in Poems (1667), p. 137. Saintsbury, p. 583. Thomas, I, 208, poem 91. Musical setting by Henry Purcell published in The Works of Henry Purcell, XXII, ed. W. Barclay Squire and J.A. Fuller-Maitland (London, 1922), pp. 153-4.

ff. 83r-4v

• CoA 187: Abraham Cowley, To a Lady who desired a Song of Mr. Cowley, he presented this following (‘Come, Poetry, and with you bring along’)

Copy, in a musical setting by John Blow, untitled.

First published in Poems by Several Hands (London, 1685). At the end of Sylva in Works (London, 1711). Waller, II, 489.

Musical setting by John Blow published in The Banquet of Musick (London, 1688).

ff. 124v-5r

• CoA 94: Abraham Cowley, Honour (‘She Loves, and she confesses too’)

Copy, in a musical setting by Henry Purcell, untitled.

This MS recorded in Purcell Society edition.

First published in The Mistresse (London, 1647). Waller, I, 144-5. Sparrow, p. 145. Collected Works, II, No. 79, pp. 116-17.

Musical setting by Henry Purcell published in Choice Ayres and Songs (London, 1683). Works of Henry Purcell, XXV (London, 1928), pp. 156-8.

Add. MS 33235

A large folio music book, almost entirely in a single rounded hand, 146 leaves, in 19th-century half red morocco. c.1700.

Notes (f. 2r) by a son of Dr Williams recording his purchase of the volume from the widdow of Simon Child, organist of New College, Oxford. Inscribed (f. 1v) ‘Phil: Hayes 1757’ and ‘The Gift of M^rs Cave’. Bookplates of the Rev. John Parker and Stephen Groombridge, FRS. Bought at Groombridge's sale by J. Smith of Deptford and presented by him in November 1832 to Vincent Novello (1781-1861), music publisher. Acquired by his bequest on 21 March 1887.

ff. 57v-63r

• CoA 46: Abraham Cowley, The Complaint (‘In a deep Vision's intellectual scene’)

Copy, in a musical setting by Henry Purcell, inscribed ‘M^r. Cowley's Complaint set by H P.’

First published in Poems, by Several Persons (Dublin, 1663). Verses, Lately Written upon several Occasions (London, 1663). Waller, I, 435-40. Sparrow, pp. 169-74.

ff. 67v-70r

• HeR 76: Robert Herrick, The Curse. A Song (‘Goe perjur'd man. and if thou ere return’)

Copy, in a musical setting by John Blow, untitled.

This MS recorded in Martin.

First published in Hesperides (London, 1648). Martin, p. 49. Patrick, p. 69. Musical setting by John Blow published in John Playford, Choice Ayres and Songs (London, 1683).

ff. 145-6v

• PsK 190: Katherine Philips, La Solitude de St. Amant. Englished (‘O! Solitude my sweetest choice’)

Copy, in a musical setting by Henry Purcell, untitled.

This MS recorded in Zimmerman.

First published in Poems (1667), pp. 170-83. Saintsbury, pp. 601-4. Thomas, III, 94-102.

[unspecified page numbers]

• TaJ 5: Jeremy Taylor, Job's Curse (‘Let the Night perish curs'd by y^e Morn’)

Copy, in a musical setting by Henry Purcell.

Published, as one of the ‘Festival Hymns’ in The Golden Grove (London, 1655). A musical setting by Henry Purcell published in Harmonia Sacra (London, 1688).

Add. MS 33236

A large folio book of mainly instrumental music, text almost entirely in a single cursive hand (ff. 70v-2r in an italic hand), 73 leaves, in 19th-century half red morocco. c.1700.

Inscribed (f. 1v) by Vincent Novello (1781-1861), music publisher, ‘March 28. 1829. purchased of M^r Hamilton Jun^r.’ Acquired by Novello's bequest 21 March 1887.

ff. 71v-2

• PsK 191: Katherine Philips, La Solitude de St. Amant. Englished (‘O! Solitude my sweetest choice’)

Copy, in an italic hand, in a musical setting by Henry Purcell, untitled.

This MS recorded in Zimmerman.

First published in Poems (1667), pp. 170-83. Saintsbury, pp. 601-4. Thomas, III, 94-102.

Add. MS 33287

A large folio volume of vocal music, the lyrics in two or more cursive hands, with (ff. 1v, [52bis^v]) a table of contents, 229 leaves, in 19th-century half dark maroon morocco. c.1716.

Bequeathed by William Henry Husk, 10 November 1887.

ff. 2r-3r

• HeR 77: Robert Herrick, The Curse. A Song (‘Goe perjur'd man. and if thou ere return’)

Copy, in a musical setting by John Blow, untitled.

This MS collated in Martin.

First published in Hesperides (London, 1648). Martin, p. 49. Patrick, p. 69. Musical setting by John Blow published in John Playford, Choice Ayres and Songs (London, 1683).

ff. 3v-5r

• CoA 118: Abraham Cowley, Ode. Acme and Septimus out of Catullus (‘Whilst on Septimus panting Brest’)

Copy, in a musical setting by John Blow, untitled.

First published, among Verses written on several occasions, in Works (London, 1668). Waller, I, 419-20. Sparrow, pp. 167-9.

Musical setting by John Blow published in The Theater of Music (London, 1685).

ff. 19v-21r

• CoA 197: Abraham Cowley, Weeping (‘See where she sits, and in what comely wise’)

Copy, in a musical setting by Henry Purcell, untitled.

This MS recorded in Purcell Society edition (1922).

First published in The Mistresse (London, 1647). Waller, I, 136-7. Sparrow, p. 136. Collected Works, II, No. 69, 105-6.

Musical setting by Henry Purcell published in Works of Henry Purcell, XXII (London, 1922), pp. 157-65.

ff. 31v-7r

• CoA 98: Abraham Cowley, ‘If ever I more Riches did desire’

Copy, in a musical setting by Henry Purcell, untitled.

First published, in the essay ‘Of Greatness’, among Several Discourses by way of Essays, in Verse and Prose, in Works (London, 1668). Waller, II, 428.

ff. 53r-7v

• CoA 192: Abraham Cowley, To the New year (‘Great Janus, who dost sure my Mistris view’)

Copy, in a musical setting by John Blow, headed ‘Great Janus = A birth days Song May the 29: 16’.

First published, among Pindarique Odes, in Poems (London, 1656). Waller, I, 206-8.

ff. 221v-9v

• DrJ 189: John Dryden, A Song for S^t Cecilia's Day, 1687 (‘From Harmony, from Heav'nly Harmony’)

Copy, in a musical setting by Draghi, untitled and incomplete.

This MS collated in California; recorded in Brennecke.

First published (as a single half-sheet) in London, 1687. Examen Poeticum (London, 1693). Kinsley, II, 538-9. California, III, 201-3. Hammond, III, 185-91. The original musical score by Giovanni Baptista Draghi (c.1640-1708) discussed in Ernest Brennecke, Jr, ‘Dryden's Odes and Draghi's Music’, PMLA, 49 (1934), 1-36.

Add. MS 33351

An oblong quarto songbook, in two or more hands, 68 leaves, in modern half brown morocco. c.1724.

Inscribed (f. 34r) ‘Challis Mather 1742’. Acquired from R. N. James, 6 April 1888.

f. 23r

• RoJ 552: John Wilmot, Second Earl of Rochester, Upon His Drinking a Bowl (‘Vulcan, contrive me such a cup’)

Copy of lines 1-8, 17-24, in a musical setting, headed ‘An Adress to Vulcan’.

First published in Poems on Several Occasions (‘Antwerp’, 1680). Vieth, pp. 52-3. Walker, pp. 37-8. Love, pp. 41-2, as Nestor.

f. 34v

• VaJ 0.5: Sir John Vanbrugh, A Bumper Sq^r Jones (‘Yea good ffellows all’)

Copy of a song in a musical setting, ascribed to Vanbrugh.

Unpublished?

Add. MS 33933

An octavo musical part book, for the counter-tenor, of the ‘St Andrews Psalter’ (the Scottish Metrical Psalter of 1566 etc. by Thomas Wode, afterwards Vicar of St Andrews), copied c.1575-8, with a series of secular songs added later (ff. 81v-93v) in a secretary hand, 93 leaves, in old blind-stamped calf. For three other part books of this Psalter, see Edinburgh University Library MS La. III. 483. Early 17th century (secular songs).

Purchased from Mrs H.S. Andrews, 14 November 1890.

ff. 81v-2r

• CmT 214: Thomas Campion, ‘What if a day, or a month, or a yeare’

Copy of a two-strophe version, in a musical setting.

Edited from this MS in Swaen, pp. 400-1. Recorded in Greer, pp. 306, 316.

See also CmT 239-41.

f. 82v

• CmT 40: Thomas Campion, ‘Good men, shew, if you can tell’

Copy of the first line, in a musical setting.

This MS recorded in Davis, p. 494.

First published in Two Bookes of Ayres (London, [c.1612-13]), Book II, No. ix. Davis, p. 95.

f. 83r

• CmT 145: Thomas Campion, ‘Vaine man, whose follies make a God of Love’

Copy of the first line, in a musical setting.

This MS recorded in Davis, p. 494.

First published in Two Bookes of Ayres (London, [c.1612-13]), Book II, No. i. Davis, p. 85.

f. 83r

• CmT 131: Thomas Campion, ‘Though your strangenesse frets my hart’

Copy of the first line, in a musical setting.

This MS recorded in Davis, p. 495.

First published in Robert Jones, A Musical Dreame (London, 1609). Campion, Two Bookes of Ayres (London, [c.1612-13]), Book II, No. xvi. Davis, pp. 106-7. Doughtie, pp. 319-20.

f. 85r

• SuH 25: Henry Howard, Earl of Surrey, ‘If care do cause men cry, why do not I complaine?’

Copy of the incipit only, in a musical setting.

This MS discussed with a facsimile, in Mumford.

First published in Songes and Sonettes (London, 1557). Padelford, No. 28, pp. 80-2. Jones, pp. 14-16.

f. 85v

• NaT 11: Thomas Nashe, Verses from ‘Astrophel and Stella’ (‘If flouds of teares could clense my follies past’)

Copy of the incipit only, with a musical setting.

This MS recorded (but not seen) in Doughtie (p. 481).

First published in ‘Poems and Sonets of sundrie other Noble men and Gentlemen’ appended to Sir Philip Sidney, Astrophel and Stella (London, 1591). McKerrow, III, 396 (in poems of doubtful authorship). Doughtie, Lyrics from English Airs, pp. 104-5.

Add. MS 35043

A folio music book, in probably a single hand, 125 leaves, in contemporary brown blind-stamped calf within modern half red morocco gilt. Owned and probably compiled by one John Channing, whose label ‘IOHN CHANNING 1694’ was on the original spine. c.1694-7.

Inscribed in pencil (f. 1r) ‘Alex Tytler 1779’. Label on a flyleaf of ‘Alfred Moffat. Edinburgh. 1896’.

f. 9r

• SeC 38: Sir Charles Sedley, Song (‘Hears not my Phyllis, how the Birds’)

Copy of the musical setting by Henry Purcell (without words), headed ‘The knotting song. set by m^r Purcell’.

First published, as ‘Phillis Knotting’, in The Gentleman's Journal (August-September 1694), p. 233. Miscellaneous Works (London, 1702). Sola Pinto, I, 34-5. Musical setting by Henry Purcell published in Thesaurus Musicus…the third book (London, 1695).

ff. 22v-3r

• HeR 31.5: Robert Herrick, Charon and Phylomel, A Dialogue sung (‘Charon! O gentle Charon! let me wooe thee’)

Copy, in a musical setting by Henry Lawes, headed ‘Charon & Philomil A Dialogue by m^r Lawes’.

First published in Hesperides (London, 1648). Martin, p. 248. Patrick, p. 327. Musical setting by Henry Lawes published in John Playford, Select Musicall Ayres, and Dialogues (London, 1652).

ff. 74v-5r

• PsK 192: Katherine Philips, La Solitude de St. Amant. Englished (‘O! Solitude my sweetest choice’)

Copy, in a musical setting by Henry Purcell, headed ‘A Song uppon a Ground by m^r Henry Purcell’.

This MS recorded in Zimmerman.

First published in Poems (1667), pp. 170-83. Saintsbury, pp. 601-4. Thomas, III, 94-102.

ff. 122v-3r

• CoA 57.8: Abraham Cowley, Davideis, Book III, Song (‘Awake, awake my Lyre’)

Copy in a musical setting by John Blow, with a pencil note ‘The words of this air are the beautiful ode in Cowley's Davideis Book 3 which David sings under the window of his Mistress Michol’.

Waller, I, 344. Sparrow, pp. 191-2.

Musical setting by Pietro Reggio published in Songs [London, 1680]. Setting by John Blow published in Choice Ayres and Songs. The Third Book (London, 1681).

Add. MS 36484

A small oblong folio part book, for the Bass voice, of vocal and instrumental music, the lyrics in a single formal secretary hand, 71 leaves, in modern half dark red morocco. Compiled (and signed at the foot of every page) by David Melvill, of Aberdeen, brother of James Melvill (1556-1614), Professor of Hebrew and Oriental Languages. Early 17th century.

Inscribed (f. 1r) ‘William Forbes [? of Tolquhon, near Aberdeen] Ought this Book 1705’. Bookplate of ‘W. H. S. F[orbes] L[eigh]’.

f. 53r

• RaW 126: Sir Walter Ralegh, A Farewell to false Love (‘Farewell false loue, the oracle of lies’)

Copy of the incipit only (here ‘Fairweill fals loue’), in a musical setting.

First published, in a musical setting, in William Byrd, Psalmes, Sonets & songs (London, 1588). Latham, pp. 7-8. Rudick, Nos 10A (complementing Sir Thomas Heneage's verses beginning ‘Most welcome love, thow mortall foe to lies’) and 10B, pp. 11-13.

The poem based principally on a poem by Philippe Desportes: see Jonathan Gibson, ‘French and Italian Sources for Ralegh's “Farewell False Love”’, RES, NS 50 (May 1999), 155-65, which also cites related MSS.

f. 66v

• BrN 67: Nicholas Breton, Phillida and Coridon (‘In the merry moneth of May’)

Copy, in a musical setting, untitled.

Add. MS 36526A

MS volume of musical pieces. Late 16th-early 17th century.

ff. 7v-8r

• EsR 96: Robert Devereux, second Earl of Essex, ‘Can she excuse my wrongs with vertues cloake’

Copy, in a musical setting.

First published in John Dowland, The First Booke of Songes or Ayres (London, 1597). Discussed and attribution to Essex rejected in May, Poems, pp. 114-15. EV 4476.

f. 9r

• PlG 16: George Peele, A Sonet (‘His Golden lockes, Time hath to Silver turn'd’)

Copy of lines 1-5, untitled, written at the end of a stave of music.

This MS collated in Clayton and in Hughey.

First published as an appendix to Polyhymnia (London, 1590). Edited by D.H. Horne in Prouty, I, 244. The sonnet probably written by Sir Henry Lee: see Horne, pp. 169-70, and Thomas Clayton, ‘“Sir Henry Lee's Farewel to the Court”: The Texts and Authorship of “His Golden Locks Time Hath to Silver Turned”’, ELR, 4 (1974), 268-75.

Add. MS 53723

A large folio volume of autograph vocal music by Henry Lawes (1596-1662), ix + 184 leaves, in modern black morocco gilt. Comprising over 300 songs and musical dialogues by Lawes, probably written over an extended period (c.1626-62) in preparation for his eventual publications, including settings of 38 poems by Carew, fourteen poems by or attributed to Herrick, and fifteen by Waller. Mid-17th century.

Bookplates of William Gostling (1696-1777), antiquary and topographer; of Robert Smith, of 3 St Paul's Churchyard; and of Stephen Groombridge, FRS (1755-1832), astronomer. Later owned, until 1966, by Miss Naomi D. Church, of Beaconsfield, Buckinghamshire. Formerly British Library Loan MS 35.

Recorded in IELM, II.i-ii (1987-93), as the ‘Henry Lawes MS’: CwT Δ 16; HeR Δ 3; WaE Δ 11. Discussed, with facsimile examples, in Pamela J. Willetts, The Henry Lawes Manuscript (London, 1969). Facsimiles of ff. 42r, 78r, 80r, 84r, 111r and 169r in The Poems and Masques of Aurelian Townshend, ed. Cedric C. Brown (Reading, 1983), pp. 59, 60, 62, 64, 66 and 117. Also discussed in Willa McClung Evans, Henry Lawes: Musician and Friend of Poets (New York and London, 1941), and elsewhere. A complete facsimile of the volume in English Song 1600-1675, ed. Elise Bickford Jorgens, Vol. 3 (New York & London, 1986).

f. 3v

• SiP 153: Sir Philip Sidney, Old Arcadia. Book III, No. 54 (‘My Lute within thy selfe thy tunes enclose’)

Copy, in Lawes's musical setting.

This MS recorded in Ringler, p. 566, and in Robertson, p. 455.

Ringler, p. 81. Robertson, pp. 210-11.

f. 5r

• JnB 570: Ben Jonson, Cynthia's Revels, IV, iii, 242-53. Song (‘O, That ioy so soone should waste!’)

Copy, in Lawes's musical setting.

This MS recorded in Herford & Simpson, XI, 606.

f. 7r

• JnB 702: Ben Jonson, The Poetaster, II, ii, 163 et seq. Song (‘If I freely may discouer’)

Copy, in Lawes's musical setting.

This MS recorded in Herford & Simpson, XI, 605-6.

f. 7v

• PeW 121: William Herbert, third Earl of Pembroke, To his Mistress, of his Friend's Opinion of her, and his answer to his Friend's Objections, with his constancy towards her (‘One with admiration told me’)

Copy, in Lawes's musical setting.

This MS collated in Krueger.

Poems (1660), pp. 50-2, superscribed ‘P.’. Krueger, pp. 44-6, among ‘Pembroke's Poems’.

f. 10r

• PeW 123: William Herbert, third Earl of Pembroke, To his Mistris on his Death (‘Oh let me groan one word into thine ear’)

Copy, in Lawes's musical setting.

This MS recorded in Krueger.

First published in [John Gough], Academy of Complements (London, 1646), p. 233. Poems (1660), p. 52, superscribed ‘P.’. Krueger, p. 47, among ‘Pembroke's Poems’.

f. 10v

• DnJ 2963: John Donne, Song (‘Stay, O sweet, and do not rise’)

Copy of an untitled beginning ‘Sweet staye a whyle whye doe yo^u Rise’, in Lawes's musical setting.

Edited from this MS in English Songs 1625-1660, ed. Ian Spink, Musica Britannica XXXIII (London, 1971), No. 37. Recorded in Gardner, p. 245. Facsimile in Pamela J. Willetts, The Henry Lawes Manuscript (London, 1969), plate XI.

See also Introduction.

f. 102v

• CwT 917: Thomas Carew, Song. The willing Prisoner to his Mistris (‘Let fooles great Cupids yoake disdaine’)

Copy, in Lawes's musical setting, untitled.

This MS recorded in Dunlap, p. 291.

First published in Poems (1640). Dunlap, p. 37.

f. 103r

• CwT 792: Thomas Carew, Song. A beautifull Mistris (‘If when the Sun at noone displayes’)

Copy, in Lawes's musical setting, untitled.

This MS recorded in Dunlap, pp. 218, 291.

First published in Poems (1640). Dunlap, p. 7. Musical setting by Henry Lawes published in Ayres and Dialogues (London, 1653).

ff. 103v-4r

• CwT 247: Thomas Carew, A flye that flew into my Mistris her eye (‘When this Flye liv'd, she us'd to play’)

Copy, in Lawes's musical setting.

This MS recorded in Dunlap, p. 293.

First published in Poems (1640). Dunlap, pp. 37-9. Musical setting by Henry Lawes published in The Treasury of Musick, Book 2 (London, 1669).

ff. 104v-5r

• CwT 964: Thomas Carew, Song. To one who when I prais'd my Mistris beautie, said I was blind (‘Wonder not though I am blind’)

Copy, in Lawes's musical setting.

This MS recorded in Dunlap, p. 293.

First published in Poems (1640). Dunlap, p. 33.

ff. 105v-6r

• CwT 159: Thomas Carew, Disdaine returned (‘Hee that loves a Rosie cheeke’)

Copy, in Lawes's musical setting, untitled.

This MS recorded in Dunlap, p. 290.

ff. 106v-7 r

• CwT 657: Thomas Carew, Red, and white Roses (‘Reade in these Roses, the sad story’)

Copy, in Lawes's musical setting, untitled.

This MS recorded in Dunlap. p. 292.

First published in Poems (1640). Dunlap, pp. 46-7.

f. 107v

• CwT 845: Thomas Carew, Song. Conquest by flight (‘Ladyes, flye from Love's smooth tale’)

Copy of the first stanza, in Lawes's musical setting, untitled.

This MS recorded in Dunlap, p. 291.

First published (complete) in Poems (1640). Dunlap, p. 15. Musical setting by Henry Lawes published in Select Musicall Ayres, and Dialogues (London, 1653). The second stanza alone published in Samuel Pick, Festum Voluptatis (London, 1639), and a musical setting of it by Henry Lawes published in The Treasury of Musick, Book 2 (London, 1669).

f. 108r

• CwT 846: Thomas Carew, Song. Conquest by flight (‘Ladyes, flye from Love's smooth tale’)

Copy of the second stanza, here beginning ‘Young men flye’, in Lawes's musical setting.

ff. 109r-108v

• CwT 329: Thomas Carew, Good counsel to a young Maid. Song (‘Gaze not on thy beauties pride’)

Copy, in Lawes's musical setting, untitled.

This MS recorded in Dunlap, p. 290.

First published in Poems (1640). Dunlap, p. 13.

f. 109v

• CwT 359: Thomas Carew, In the person of a Lady to her inconstant servant (‘When on the Altar of my hand’)

Copy, untitled, in Lawes's musical setting.

This MS recorded in Dunlap, p. 293.

First published in Poems (1640). Dunlap, p. 40. Musical setting by Henry Lawes published in Ayres and Dialogues (London, 1653).

f. 110r

• CwT 934: Thomas Carew, Song. To my inconstant Mistris (‘When thou, poore excommunicate’)

Copy, in Lawes's musical setting.

This MS recorded in Dunlap, p. 293. Facsimile in Pamela J. Willetts, The Henry Lawes Manuscript (London, 1969), plate XIV.

First published in Poems (1640). Dunlap, pp. 15-16. Musical setting by Henry Lawes published in Ayres and Dialogues (London, 1653).

ff. 110v-11r

• CwT 148: Thomas Carew, A deposition from Love (‘I was foretold, your rebell sex’)

Copy, in Lawes's musical setting, untitled.

First published in Poems (1640). Dunlap, pp. 16-17. Musical setting by Henry Lawes published in The Treasury of Musick, Book 2 (London, 1669).

f. 111r

• ToA 4: Aurelian Townshend, ‘Delicate Beauty, why should you disdaine’

Copy, in Lawes's musical setting, untitled.

Edited in part from this MS in Brown, with a facsimile.

First published in The Second Book of Ayres and Dialogues (London, 1655), p. 20. Chambers, p. 11. Brown, pp. 64-5.

ff. 111v-12r

• CwT 808: Thomas Carew, Song. Celia singing (‘Harke how my Celia, with the choyce’)

Copy, in Lawes's musical setting, untitled.

This MS recorded in Dunlap, p. 290.

First published in Poems (1640). Dunlap, p. 38.

ff. 112v-13r

• CwT 956: Thomas Carew, Song. To one that desired to know my Mistris (‘Seeke not to know my love, for shee’)

Copy, in Lawes's musical setting, untitled.

This MS recorded in Dunlap, p. 292.

First published in Poems (1640). Dunlap, pp. 39-40. Musical setting by Henry Lawes published in The Treasury of Musick, Book 2 (London, 1669).

ff. 113v-14r

• CwT 1173: Thomas Carew, Truce in Love entreated (‘No more, blind God, for see my heart’)

Copy, in Lawes's musical setting, untitled.

This MS recorded in Dunlap, p. 292.

First published in Poems (1640). Dunlap, p. 41.

f. 114r

• CwT 683: Thomas Carew, Secresie protested (‘Feare not (deare Love) that I'le reveale’)

Second copy in a variant musical setting by Henry Lawes, also untitled.

First published in Poems (1640). Dunlap, p. 11. Musical setting by Henry Lawes published in The Second Book of Ayres and Dialogues (London, 1655).

See also Introduction.

f. 114v

• CwT 373: Thomas Carew, Ingratefull beauty threatned (‘Know Celia, (since thou art so proud,)’)

Copy of the first stanza, in Lawes's musical setting, untitled.

This MS recorded in Dunlap, p. 291.

First published in Poems (1640). Dunlap, pp. 17-18. Musical setting by Henry Lawes published in The Second Book of Ayres, and Dialogues (London, 1655).

f. 115r

• CwT 451: Thomas Carew, Mediocritie in love rejected. Song (‘Give me more love, or more disdaine’)

Copy, in Lawes's musical setting, untitled.

This MS recorded in Dunlap, p. 290.

First published in Poems (1640). Dunlap, pp. 12-13. Musical setting by Henry Lawes published in Ayres and Dialogues (London, 1653).

ff. 115v-16r

• CwT 505: Thomas Carew, On Mistris N. to the greene sicknesse (‘Stay coward blood, and doe not yield’)

Copy, in Lawes's musical setting, untitled.

This MS recorded in Dunlap, p. 292.

First published in Poems (1642). Dunlap, p. 113.

ff. 116v-17r

• CwT 1183: Thomas Carew, Vpon a Mole in Celias bosome (‘That lovely spot which thou dost see’)

Copy, in Lawes's musical setting, untitled.

This MS recorded in Dunlap, p. 292.

First published in Poems (1642). Dunlap, pp. 113-14.

f. 118r

• CwT 1211: Thomas Carew, Vpon Master W. Mountague his returne from travell (‘Leade the black Bull to slaughter, with the Bore’)

Copy of lines 13-24, untitled and here beginning ‘Sweetly breathinge vernall Aire’,, in Lawes's musical setting.

This MS recorded in Dunlap, pp. 253, 291.

First published in Poems (1640). Dunlap, pp. 77-8.

ff. 118v-19r

• CwT 337: Thomas Carew, Griefe ingrost (‘Wherefore doe thy sad numbers flow’)

Copy, in Lawes's musical setting.

This MS recorded in Dunlap, p. 293.

First published in Poems (1640). Dunlap, pp. 44-5. The eight-lline version first published in Hazlitt (1870), p. 7, and reprinted in Dunlap. p. 234.

ff. 119v-20r

• CwT 984: Thomas Carew, To A.D. unreasonable distrustfull of her owne beauty (‘Fayre Doris breake thy Glasse, it hath perplext’)

Copy of lines 23-34, untitled and here beginning ‘Looke sweetest Doris’,, in Lawes's musical setting.

This MS recorded in Dunlap, pp. 255, 290.

First published in Poems (1640). Dunlap, pp. 84-6.

f. 120r

• LoR 26: Richard Lovelace, ‘Still Amathea thou art Fayre’

Copy of a poem possibly by Lovelace, in Lawes's musical setting.

Edited from this MS in Evans, loc. cit., with a facsimile facing p. 129.

First published, with the supplied title ‘To Amathea’ and ascribed to Lovelace, in Willa McClung Evans, ‘To Amathea’, PQ, 23 (1944), 129-34.

f. 121r-v

• CwT 402: Thomas Carew, Lips and Eyes (‘In Celia's face a question did arise’)

Copy, in Lawes's musical setting, untitled.

This MS recorded in Dunlap, p. 291.

First published in Poems (1640) and in Wits Recreations (London, 1640). Dunlap, p. 6.

f. 123r

• WaE 428: Edmund Waller, Song (‘Chloris! farewell. I now must go’)

Copy, in Lawes's musical setting, untitled.

First published, in a musical setting by Henry Lawes, in Select Musicall Ayres and Dialogues (London, 1652). Poems, ‘Eighth’ edition (London, 1711). Thorn-Drury, II, 110-11.

ff. 124r-7v

• CaW 3: William Cartwright, Ariadne deserted by Theseus, as She sits upon a Rock in the Island Naxos, thus complains (‘Theseus! O Theseus heark! but yet in vain’)

Copy, in Lawes's musical settinhg, untitled.

Lawes's version published in his Ayres and Dialogues (London, 1653), pp. 1-7. This MS collated in Evans.

First published in Works (1651), pp. 238-42. Evans, pp. 488-91.

f. 129r

• SuJ 128: John Suckling, Song (‘I prethee send me back my heart’)

Copy, in Lawes's musical setting.

This MS collated in Clayton.

First published, in a musical setting by Henry Lawes (1592-1662), in Select Musicall Ayres and Dialogues in Three Bookes (London, 1653). Last Remains (London, 1659). Clayton, pp. 89-90.

Probably written by Henry Hughes.

ff. 130v-1r

• KiW 9: Sir William Killigrew, Selindra, Act III. Song (‘Come come thou glorious obiect of my sight’)

Copy, in Lawes's musical setting, untitled.

ff. 131v-2r

• WaE 9: Edmund Waller, An Apology for having Loved before (‘They that never had the use’)

Copy, in Lawes's musical setting, untitled and with the third stanza first (here beginning ‘To man that was i'th Eu'ninge made’).

First published in Workes (1645). Thorn-Drury, I, 120-1.

f. 137v

• GrJ 12: John Grange, ‘Be not proud, 'cause fair and trim’

Copy, in Lawes's musical setting.

This MS collated in Krueger.

First published, in a musical setting, in Henry Lawes, Second Book of Ayres and Dialogues (1655), p. 10, ascribed to John Grange. Poems (1660), pp. 59-60, where the stanzas by ‘Man’ are superscribed ‘P.’ and those by ‘Woman’ superscribed ‘R.’. Listed in Krueger's Appendix I: ‘Spurious Poems in the 1660 Edition’ as probably by John Grange.

ff. 139v-40r

• FuT 3: Thomas Fuller, An Eccho (‘Imbre lachrymarum largo genas spargo, quavis au-rorâ’)

Copy, in Lawes's musical setting (1596-1662).

First published in Henry Lawes, Ayres and Dialogues (London, 1653). Grosart, p. 112.

ff. 142v-3r

• CwT 513: Thomas Carew, On sight of a Gentlewomans face in the water (‘Stand still you floods, doe not deface’)

Copy, in Lawes's musical setting, untitled.

This MS recorded in Dunlap, pp. 263, 292.

First published in Poems (1640). Dunlap, p. 102.

f. 143r-v

• CwT 319: Thomas Carew, Good counsell to a young Maid (‘When you the Sun-burnt Pilgrim see’)

Copy, in Lawes's musical setting.

This MS recorded in Dunlap, p. 293.

First published in Poems (1640). Dunlap, p. 25.

f. 145r-v

• LoR 4: Richard Lovelace, Love Conquer'd. A Song (‘The childish God of Love did sweare’)

Copy, in Lawes's musical setting, untitled.

Complete reduced facsimile of this MS in Wilkinson, II, between pp. 28 & 29.

First published in Lucasta (London, 1649). Wilkinson (1925), II, 29. (1930), pp. 31-2.

f. 149r

• LoR 21: Richard Lovelace, Song. To Amarantha, That she would dishevell her haire (‘Amarantha sweet and faire’)

Copy, in Lawes's musical setting, untitled.

Facsimile of this MS in Wilkinson, II, facing p. 19.

First published in Lucasta (London, 1649). Wilkinson (1925), II, 18-19. (1930), pp. 20-1. Musical setting by Henry Lawes published in Ayres and Dialogues (London, 1653), a facsimile of which appears in Wilkinson, II, facing p. 18.

f. 150r

• LoR 22: Richard Lovelace, Song. To Lucasta, Going beyond the Seas (‘If to be absent were to be’)

Copy, in Lawes's musical setting, untitled.

Facsimile of this MS in Wilkinson, II, facing p. 15.

First published in Lucasta (London, 1649). Wilkinson (1925), II, 15-16. (1930), pp. 17-18.

f. 152r-v

• LoR 7: Richard Lovelace, ‘O I am Sick, I am Sick to death, 'tis soe!’

Copy of a poem possibly by Lovelace, in Lawes's musical setting.

Edited from this MS in Evans, loc. cit., with a facsimile facing p. 12.

First published, with the supplied title ‘Tormenting Fires’ and ascribed to Lovelace, in Willa McClung Evans, ‘Tormenting Fires’, MLQ, 9 (1948), 11-16.

f. 158r

• HeR 141: Robert Herrick, Leanders Obsequies (‘When as Leander young was drown'd’)

Copy, in Lawes's musical setting.

This MS collated in Martin.

First published in Hesperides (London, 1648). Martin, p. 42. Patrick, p. 59. Musical setting by Henry Lawes published in Ayres and Dialogues (London, 1653).

f. 159r

• LoR 48: Richard Lovelace, To Ellinda. Upon his late recovery. A Paradox (‘How I grieve that I am well!’)

Copy, in Lawes's musical setting.

Facsimile of this MS in Wilkinson, II, facing p. 90, and in Willa McClung Evans, ‘Tormenting Fires’, MLQ, 9 (1948), 11-16 (facing p. 13).

First published in Lucasta (London, 1649). Wilkinson (1925), I, 90-1. (1930), pp. 99-100.

f. 160r

• GrJ 69: John Grange, ‘On this swelling bank, once proud of its burden’

Copy, in a musical setting.

First published, in a musical setting, in Henry Lawes, Second Book of Ayres and Dialogues (1655), p. 15, ascribed to ‘Mr IG’. Listed in Krueger.

f. 160v

• HeR 162: Robert Herrick, The Night-piece, to Julia (‘Her Eyes the Glow-worme lend thee’)

Copy, in Lawes's musical setting, untitled.

This MS collated in Martin.

First published in Hesperides (London, 1648). Martin, p. 217. Patrick, pp. 287-8.

f. 168r

• WaE 88: Edmund Waller, ‘Go, lovely Rose’

Copy, in Lawes's musical setting.

f. 169r

• ToA 20: Aurelian Townshend, ‘Let not thy beauty make thee proud’

Copy, in Lawes's musical setting, untitled.

Edited from this MS in Brown, with a facsimile.

First published, in a musical setting by Henry Lawes, in John Playford, Select Musical Ayres (London, 1652), p. 34. Chambers, p. 3. Brown, pp. 66-7.

f. 178r

• WaE 503: Edmund Waller, To a Lady Singing a Song of his Composing (‘Chloris! yourself you so excel’)

Copy, in Lawes's musical setting, untitled.

First published in Workes (1645). Thorn-Drury, I, 105. A musical setting by Henry Lawes published, as ‘To the same Lady singing the former Song’, in Ayres and Dialogues (London, 1653).

ff. 178v-9r

• WaE 114: Edmund Waller, Love's Farewell (‘Treading the path to nobler ends’)

Copy, in Lawes's musical setting.

First published in Workes (1645). Thorn-Drury, I, 93.

f. 183r

• HeR 287: Robert Herrick, The Willow Garland (‘A Willow Garland thou did'st send’)

Copy, in Lawes's musical setting, untitled.

This MS collated in Martin.

First published in Hesperides (London, 1648). Martin, p. 161. Patrick, p. 217. Musical setting by Henry Lawes published in John Playford, Select Musicall Ayres, and Dialogues (London, 1652).

Add. MS 54194

A folio music book, compiled by one William Wordsworth, with some later additions, ii + 241 leaves. c.1771.

Hodgson's, 31 March 1967, in lot 512.

ff. 18v-19r

• MnJ 64.5: John Milton, Comus, lines 229-42. Song: (‘Sweet Echo, sweetest Nymph that liv'st unseen’)

Copy of the song ‘Sweet Echo, sweetest Nymph that liv'st unseen’, in a musical setting.

ff. 38r-9v

• MnJ 23.3: John Milton, Paradise Lost (‘Of Mans First Disobedience, and the Fruit’)

Copy of Eve's speech, Book IV, lines 641-58, beginning ‘Sweet is the breath of morn, her rising sweet’, in a musical setting.

First published in London, 1667. Columbia, II. Darbishire I. Carey & Fowler, pp. 417-1060.

Add. MS 56279

A tall folio composite miscellany of chiefly music and heraldic and genealogical material, in various hands and paper sizes, 45 leaves, in contemporary leather gilt with stamped initials ‘R A’ and arms of James I within modern half morocco. Volume XXII of the collections of Warren Royal Dawson (1888-1968), antiquary.

Associated with the Aston family of Aston, Cheshire, and probably once owned by Sir Roger Aston (d.1612), Master of the Great Wardrobe to James I and his heirs. Also inscribed with the names of [James?] Davies, an officer serving under Sir Charles Morgan during the Thirty Years War, and Thomas Davies. One section linscribed (f. 12r, c.1682-6) ‘Sylvanus Stirrop His Booke’. Bought by Warren Dawson at Sotheby's 1931.

This volume described in Pamela J. Willetts, ‘Silvanus Stirrop's Book’, Royal Musical Association Research Chronicle, No. 10 (1972), 101-7, 156.

ff. 5r, 15r

• RaW 180.5: Sir Walter Ralegh, Like to a Hermite poore (‘Like to a Hermite poore in place obscure’)

Copy of the second and third stanzas, in a musical setting, here beginning ‘my foode shall bee’.

First published in Brittons Bowre of Delights (London, 1591). Latham, pp. 11-12. Rudick, Nos 57A and 57B (two versions, pp. 135-6).

f. 21r-v

• DrM 59.5: Michael Drayton, To His Coy Love, A Conzonet (‘I pray thee leave, love me no more’)

Copy, in a musical setting, untitled.

First published, among Odes with Other Lyrick Poesies, in Poems (London, 1619). Hebel, II, 372.

f. 21v

• B&F 172.5: Francis Beaumont and John Fletcher, Valentinian, II, v, 4-23. Song (‘Now the lustry spring is seen’)

Copy of the song, in a musical setting by Nicholas Lanier.

First published in Comedies and Tragedies (London, 1647). Dyce, V, 207-316 (p. 243). Bullen, IV, 207-321, ed. R.G. Martin (pp. 247-8). Bowers, IV, 276-380, ed. Robert K. Turner (pp. 307-8). The musical setting first published in John Wilson, Cheerfull Ayres (Oxford, 1659).

f. 21v

• B&F 175.5: Francis Beaumont and John Fletcher, Valentinian, II, v, 24-43. Song (‘Hear, ye ladies that despise’)

Copy of the song in a musical setting.

Printed from this MS in Willetts, p. 107.

Dyce, V, 243-4. Bullen, IV, 248. Bowers, IV, 308.

f. 22r

• B&F 160.5: Francis Beaumont and John Fletcher, The Queen of Corinth, III, ii. Song (‘Weep no more, nor sigh, nor groan’)

Copy of the song, in a musical setting by Nicholas Lanier.

First published in Comedies and Tragedies (London, 1647). Dyce, V, 393-486 (p. 448). Bowers, VIII, 10-93, ed. Robert K. Turner (p. 57).

ff. 22v-3r

• B&F 86.5: Francis Beaumont and John Fletcher, The Mad Lover, IV, i, 24-41. Song (‘Orpheus I am, come from the deeps below’)

Copy of the song, in a musical setting generally attributed to Robert Johnson.

Dyce, VI, 179-80. Bullen, III, 183. Bowers, V, 66-7.

f. 24r

• JnB 38.5: Ben Jonson, A Celebration of Charis in ten Lyrick Peeces. 7. Begging another, on colour of mending the former (‘For Loves-sake, kisse me once againe’)

Copy of lines 1-6 in a musical setting, untitled.

Herford & Simpson, VIII, 139.

f. 24v

• RaW 478.5: Sir Walter Ralegh, ‘Shall I, like an hermit, dwell’

Copy, in a musical setting.

First published in The London Magazine (1734), p. 444. Listed but not printed in Latham, p. 173.

Add. MS 63626

A tall folio songbook, largely in a single cursive hand, written from both ends, i + 133 leaves (including numerous blanks), in contemporary reversed calf. The cover inscribed ‘The Song-Book [of M^r. Montriot added in another hand]’. c.1711.

Formerly among Lord Leigh's muniments at Stoneleigh Abbey, Warwickshire. Christie's, 16 October 1985, lot 139.

f. 14v

• CoA 277: Abraham Cowley, Extracts

Extracts.

f. 56v rev

• CgW 72: William Congreve, The Way of the World, III, xii, lines 10-23. Song (‘Love's but the Frailty of the Mind’)

Copy of the first couplet of the song, in a musical setting by John Eccles.

This MS recorded in John P. Cutts, ‘An Unpublished Purcell Setting’, M&L, 38 (1957), 1-13 (p. 11).

First published in London, 1700. Summers, III, 1-78 (p. 45). Davis, pp. 389-479 (p. 434). McKenzie, II, 95-225 (pp. 162-3).

Egerton MSS 2009-2012

A set of four oblong quarto musical partbooks, for (i) Superius, (ii) Altus, (iii) Medius, and (iv) Bassus, (the second originally from another set, and lacking a fifth, Tenor part), largely in a single neat italic hand, repectively 66, 49, 62, and 63 leaves, each volume in contemporary blind-stamped calf within modern half red morocco. Early 17th century.

Inscribed (i, f. 63r, and elsewhere in ii and iv) ‘Sum è Libris Stephi Aldhouse de Maslaske [Norfolk] Annoque Dom 1669’. Puttick & Simpson's, 2 March 1866, lot 134.

(i, iii-iv) ff. 55v-6r

• DyE 48: Sir Edward Dyer, ‘My mynde to me a kyngdome is’

Copies of the first stanza (in i) and of the incipit only (in iii-iv), in a musical setting by William Byrd, untitled.

Egerton MS 2013

A square-shaped folio songbook, largely in a single rounded secretary hand, with (ff. 1r-v, 69r-v) a table of contents, i + 69 leaves, in modern half red morocco. Mid-17th century.

Puttick & Simpson's, 2 March 1866, lot 230.

A complete facsimile of this volume in English Song 1600-1675, ed. Elise Bickford Jorgens, Vol. 2 (New York & London, 1986).

ff. 3v-4v

• B&F 128: Francis Beaumont and John Fletcher, The Nice Valour, III, iii, 36-4. Song (‘Hence, all you vain delights’)

Copy, in a musical setting by John Hilton, untitled.

Edited from this MS in Cutts, Musique de la troupe de Shakespeare, pp. 108-9 (collated pp. 186-8). Facsimile of f. 3v in Thomas Middleton and Early Modern Textual Culture: A Companion to The Collected Works, ed. Gary Taylor and John Lavagnino (Oxford, 2007), p. 170.

Bowers, VII, 468-9. This song first published in A Description of the King and Queene of Fayries (London, 1634). Thomas Middleton, The Collected Works, general editors Gary Taylor and John Lavagnino (Oxford, 2007), pp. 1698-9.

For William Strode's answer to this song (which has sometimes led to both songs being attributed to Strode) see StW 641-663.

ff. 8v-9r

• HeR 387: Robert Herrick, To his false Mistris (‘Whither are all her false oathes blowne’)

Copy, in a musical setting by Henry Lawes, untitled.

This MS collated in Martin.

First published in Martin (1956), p. 420. Patrick, pp. 68-9.

f. 9v

• CmT 68: Thomas Campion, ‘O sweet delight, O more then humane blisse’

Copy, in a musical setting, untitled.

This MS collated in Davis, p. 498.

First published in The Third and Fourth Booke of Ayres (London, [c.1617]), Book III, No. xxi. Davis, p. 159.

f. 10r

• HeR 377: Robert Herrick, To a disdaynefull fayre (‘Thou maist be proud, and be thou so for me’)

Copy of the first stanza, in a musical setting by John Hilton, untitled.

This MS collated in Martin and in Patrick.

First published in Norman Ault, A Treasury of Unfamiliar Lyrics (London, 1938), p. 134. Martin, p. 421. Patrick, pp. 553-4.

ff. 12v-13r

• B&F 196: Francis Beaumont and John Fletcher, Women Pleased, III, iv. Song (‘Oh, fair sweet face! oh, eyes celestial bright’)

Copy, in a musical setting by John Wilson, untitled.

This MS collated in Cutts, Musique de la troupe de Shakespeare, pp. 173-4.

First published in Comedies and Tragedies (London, 1647). Dyce, VII, 1-94 (p. 50). Bowers, V, 448-529, ed. Hans W. Gabler (p. 489).

f. 13v

• DnJ 1581: John Donne, A Hymne to God the Father (‘Wilt thou forgive that sinne where I begunne’)

Copy, in a musical setting by John Hilton, untitled.

Edited from this MS in Gardner, Elegies, p. 246, and in English Songs 1625-1660, ed. Ian Spink, Musica Britannica XXXIII (London, 1971), No. 62; recorded in Shawcross.

First published in Poems (1633). Grierson, I, 369 (and variant text p. 370). Gardner, Divine Poems, p. 51. Shawcross, No. 193. Variorum, 7 Pt 1 (2005), pp. 10, 16, 26, 110 (in four sequences).

f. 15r

• FlJ 5: John Fletcher, ‘Hither we come into this world of woe’

Copy, in a musical setting by Henry Lawes, untitled.

ff. 15v-16r

• KiH 598: Henry King, Sonnet (‘Tell mee no more how faire shee is’)

Copy, in a musical setting by John Wilson, untitled.

This MS recorded in Crum.

First published in Poems (1657). Crum, p. 158.

ff. 16v-17r

• HeR 215: Robert Herrick, To a Gentlewoman, objecting to him his gray haires (‘Am I despis'd because you say’)

Copy, in a musical setting by John Hilton, untitled.

This MS collated in Martin.

f. 20v

• KiW 10: Sir William Killigrew, Selindra, Act III. Song (‘Come come thou glorious obiect of my sight’)

Copy, in a musical setting.

f. 21v

• HeR 227: Robert Herrick, To Sycamores (‘I'm sick of Love. O let me lie’)

Copy, in a musical setting by William Lawes, untitled.

This MS collated in Martin.

First published in Hesperides (London, 1648). Martin, p. 158. Patrick, p. 214.

f. 22r-v

• HeR 254: Robert Herrick, Upon Mistresse Elizabeth Wheeler, under the name of Amarillis (‘Sweet Amarillis, by a Spring's’)

Copy of a version beginning ‘Amarillis, by a springe’, in a musical setting by John Wilson, untitled.

First published in Hesperides (London, 1648). Martin, p. 46. Patrick, p. 65.

f. 23r-v

• StW 794: William Strode, Song (‘I saw faire Cloris walke alone’)

Copy, in a musical setting by John Hilton, untitled.

First published in Walter Porter, Madrigales and Ayres (London, 1632). Dobell, p. 41. Forey, pp. 76-7. The poem also discussed in C.F. Main, ‘Notes on some Poems attributed to William Strode’, PQ, 34 (1955), 444-8 (pp. 445-6), and see Mary Hobbs, ‘Early Seventeenth-Century Verse Miscellanies and Their Value for Textual Editors’, EMS, 1 (1989), 182-210 (pp. 199, 209).

ff. 24v-5r

• CwT 824: Thomas Carew, Song. Celia singing (‘Harke how my Celia, with the choyce’)

Copy, in a musical setting by Henry Lawes, untitled.

This MS recorded in Dunlap, p. 290.

First published in Poems (1640). Dunlap, p. 38.

ff. 26v-7r

• CwT 663: Thomas Carew, Red, and white Roses (‘Reade in these Roses, the sad story’)

Copy, in a musical setting by Henry Lawes, untitled.

This MS recorded in Dunlap, p. 292.

First published in Poems (1640). Dunlap, pp. 46-7.

ff. 27v-8r

• CwT 331: Thomas Carew, Good counsel to a young Maid. Song (‘Gaze not on thy beauties pride’)

Copy, in a musical setting by Henry Lawes, untitled.

This MS recorded in Dunlap, p. 290.

First published in Poems (1640). Dunlap, p. 13.

ff. 28v-9r

• CwT 798: Thomas Carew, Song. A beautifull Mistris (‘If when the Sun at noone displayes’)

Copy, in a musical setting by Henry Lawes (here ascribed to ‘Will: Lawes’), untitled and here beginning ‘Yf, when at Noone y^e Sun displaies’.

This MS recorded in Dunlap, pp. 218, 291.

First published in Poems (1640). Dunlap, p. 7. Musical setting by Henry Lawes published in Ayres and Dialogues (London, 1653).

ff. 33v-4r

• CmT 34: Thomas Campion, ‘Fire, fire, fire, fire!’

Copy, in a musical setting by Nicholas Lanier, untitled.

This MS collated in Davis, pp. 497-8.

f. 34v

• CwT 427: Thomas Carew, A Looking-Glasse (‘That flattring Glasse, whose smooth face weares’)

Copy, in a musical setting, untitled.

This MS recorded in Dunlap, p. 292.

First published in Poems (1640). Dunlap, p. 19.

ff. 39v-41r

• CwT 597: Thomas Carew, The protestation, a Sonnet (‘No more shall meads be deckt with flowers’)

Copy, in a musical setting by Nicholas Lanier, untitled.

This MS recorded in Dunlap, p. 291.

First published in Poems (1640). Dunlap, p. 109. Musical setting by Nicholas Lanier published in The Treasury of Musick, Book 2 (London, 1669).

f. 45v

• JnB 736: Ben Jonson, The Vision of Delight, lines 237-42. Song (‘I was not wearier where I lay’)

Copy of Aurora's song, in a musical setting probably by Nicholas Lanier, untitled.

Edited from this MS in J.P. Cutts, ‘Ben Jonson's Masque “The Vision of Delight”’, N&Q, 201 (February 1956), 64-7; in MacDonald Emslie, ‘Nicholas Lanier's Innovations in English Song’, M&L, 41 (1960), 13-27 (pp. 23-4); and in Sabol, 400 Songs & Dances, No. 26.

ff. 46v-7r

• CwT 825: Thomas Carew, Song. Celia singing (‘Harke how my Celia, with the choyce’)

Copy, in a musical setting by Henry Lawes, untitled.

This MS recorded in Dunlap, p. 290.

First published in Poems (1640). Dunlap, p. 38.

ff. 47v-8r

• B&F 73: Francis Beaumont and John Fletcher, The Lovers' Progress, III, iv, 34-45. Song (‘Adieu, fond love! farewell, you wanton powers!’)

Copy of the Novice's song, in a musical setting probably by Robert Johnson, untitled.

Edited from this MS in Cutts, Musique de la troupe de Shakespeare, pp. 97-9 (collated pp. 183-4).

First published in Comedies and Tragedies (London, 1647). Dyce, XI, 1-118 (pp. 71-2). Bowers, X, 436-527 (p. 480).

ff. 49v-50r

• SaG 34: George Sandys, A Paraphrase upon the Songs Collected out of the Old and New Testaments (‘The praise of our triumphant King’)

Copy of the first four stanzas of Isaiah XXXVIII, beginning ‘In the Subtraction of my yeares’, in a musical setting, untitled.

First published with A Paraphrase upon the Psalms of David (London, 1636). Hooper, II, 373-402.

ff. 50v-1v

• KiH 494: Henry King, Psalme CXXX paraphrased for an Antheme (‘Out of the horrour of the lowest Deep’)

Copy, in a musical setting, untitled.

First published in The Psalmes of David (London, 1651). Crum, p. 190.

ff. 56v-7r

• WaE 508: Edmund Waller, To a Lady Singing a Song of his Composing (‘Chloris! yourself you so excel’)

Copy, in a musical setting possibly by Nicholas Lanier, untitled.

First published in Workes (1645). Thorn-Drury, I, 105. A musical setting by Henry Lawes published, as ‘To the same Lady singing the former Song’, in Ayres and Dialogues (London, 1653).

ff. 57v-8r

• JnB 312: Ben Jonson, A Hymne to God the Father (‘Heare mee, O God!’)

Copy, in a musical setting by Alfonso Ferrabosco, untitled.

This MS collated in Herford & Simpson.

First published in The Vnder-wood (i.2) in Workes (London, 1640). Herford & Simpson, VIII, 129-30.

f. 58v

• DnJ 2936: John Donne, Song (‘Goe, and catche a falling starre’)

Copy of the first stanza, in a musical setting, untitled.

Edited from this MS in Grierson, II, 54-5; in Gardner, p. 241; and in Shawcross, p. 91.

First published in Poems (1633). Grierson, I, 8-9. Gardner, Elegies, pp. 29-30. Shawcross, No. 33.

ff. 62v-3r

• WaE 509: Edmund Waller, To a Lady Singing a Song of his Composing (‘Chloris! yourself you so excel’)

Copy, in a musical setting, untitled.

First published in Workes (1645). Thorn-Drury, I, 105. A musical setting by Henry Lawes published, as ‘To the same Lady singing the former Song’, in Ayres and Dialogues (London, 1653).

Egerton MS 2046

A folio lute book compiled by one Jane Pickering. Inscribed on the flyleaf by the compiler ‘Jane Pickering owe this Booke, 1616’ and her unitials ‘I. P.’ stamped on covers. c.1616.

f. 19r

• CmT 215: Thomas Campion, ‘What if a day, or a month, or a yeare’

Copy, in a musical setting.

This MS recorded in Greer, p. 307.

See also CmT 239-41.

Egerton MS 2958

Copy, in a cursive italic hand, in a musical setting by Henry Purcell, untitled, on two folio leaves (the correct sequence pp. 2-4, 1), page 2 paginated/foliated ‘107’, probably extracted from a larger collection. Late 17th century.

CoA 186: Abraham Cowley, The Thraldome (‘I Came, I Saw, and was undone’)

Later owned by William Hayman Cummings (1831-1915), singer and musical antiquary. Sotheby's, 17-24 May 1917 (Cummings sale). lot 168.

First published in The Mistresse (London, 1647). Waller, I, 67-8. Sparrow, pp. 63-4. Collected Works, II, No. 2, pp. 21-2.

Musical setting by Henry Purcell published in Orpheus Britannicus (London, 1698). Works of Henry Purcell, XXV (London, 1928), pp. 67-71.

Egerton MS 2960

A tall folio songbook, in two or more cursive hands, written from both ends, with (f. iii^r) an index, iv + 99 leaves (including indexes), in 19th-century half green morocco gilt on marbled boards. A formal compilation, ff. 2r-44v in the hand of Henry Bowman (fl.1674-80), composer and copyist; ff. 44v-53v in a second hand; ff. 54r-65r in a third hand; with additions in one or more hands on ff. 99v-66v rev. Late 17th century.

Booklabel of William Hayman Cummings, FSA (1831-1915), singer and musical antiquary. Sotheby's, 17-24 May 1917 (Cummings sale), lot 487.

ff. 44v-5r

• WoH 88.6: Sir Henry Wotton, On his Mistress, the Queen of Bohemia (‘You meaner beauties of the night’)

Copy, in a musical setting by Pietro Reggio, untitled.

f. 51r-v

• CoA 91: Abraham Cowley, The Grashopper (‘Happy Insect, what can be’)

Copy, in a musical setting by Pietro Reggio.

First published, among Miscellanies, in Poems (London, 1656). Waller, I, 57. Sparrow, pp. 57-8.

Musical setting by Pietro Reggio published in Songs [London, 1680].

ff. 51v-2

• CoA 181: Abraham Cowley, The Swallow (‘Foolish Prater, what do'st thou’)

Copy in a musical setting by Pietro Reggio in a MS songbook partly compiled by Giovanni Felice Sances (c.1600-79), Kapellmeister to the Emperor Leopold I, and by the composer Henry Bowman.

First published, among Miscellanies, in Poems (London, 1656). Waller, I, 58. Sparrow, p. 58.

Musical setting by Pietro Reggio published in Songs [London, 1680].

f. 53r-v

• CoA 9: Abraham Cowley, Anacreontiques. I. Love (‘I'll sing of Heroes, and of Kings’)

Copy in a musical setting by Pietro Reggio, untitled.

First published, among Miscellanies, in Poems (London, 1656). Waller, I, 50. Sparrow, p. 49.

Musical setting by Pietro Reggio published in Songs [London, 1680].

ff. 85v-83v rev.

• SaG 21: George Sandys, A Paraphrase upon the Psalms of David (‘That man is truly bless'd who never strays’)

Copy of Psalm 137, beginning ‘As on Euphrates shady banks I lay’, in a musical setting by John Blow.

First published in London, 1636. Hooper, I, 91-195; II, 195-310.

ff. 90r-89v rev.

• CoA 57.2: Abraham Cowley, Davideis, Book II, The Vision (‘First David there appears in Kingly state’)

Copy, in a musical settong by John Blow.

Waller, I, 295 et seq.

Egerton MS 2971

A narrow oblong octavo songbook, the lyrics in a neat italic hand, ii + 37 leaves (plus blanks), in contemporary vellum within 19th-century morocco. Early 17th century.

Inscribed (f. 1r) ‘Robius Downes’. Bookplates of Joseph Haslewood (1769-1833), bibliographer and antiquary, and of William Hayman Cummings (1831-1915), singer and musical antiquary. Notes in 1841 (f. 2r) by Joseph Warren (1804-81), composer and music editor. Sotheby's, 9 June 1917 (Cummings sale), lot 1586, to Maggs.

A complete facsimile of this volume in English Song 1600-1675, ed. Elise Bickford Jorgens, Vol. 1 (New York & London, 1986).

ff. 4v-5r

• CmT 100: Thomas Campion, ‘There is a Garden in her face’

Copy, in a musical setting, untitled.

This MS recorded in Doughtie, p. 531.

First published in Robert Jones, Ultimum Vale (London, 1605). Campion, The Third and Fourth Booke of Ayres (London, [1617]), Book IV, No. vii. Davis, pp. 174-6. Doughtie, p. 212.

ff. 8v-9r

• MrJ 5: John Marston, The Dutch Courtezan, I, ii, 220-7. Song (‘The dark is my delight’)

Copy of the song, in a musical setting, untitled.

First published in London, 1605. Bullen, II, 1-103 (p. 19). Edited by M.L. Wine (London, 1965), pp. 19-20. Edited by Peter Davison (Edinburgh, 1968), p. 29.

f. 9v

• CmT 182: Thomas Campion, ‘Art thou that shee then whome noe fayrer is?’

Copy, in a musical setting, untitled.

First published in More Lyrics from the Song-Books of the Elizabethan Age, ed. A.H. Bullen (London, 1888), pp. 6-7. Davis, p. 478.

Egerton MS 3665

A large folio music book, in a single hand, now bound in two volumes (Vol. I, ff. i-iii + 1-198; Vol. II, ff. 199-523 + iv-vi), each in modern half dark red morocco. Compiled by Francis Tregian (1574-1617), compiler of the Fitzwilliam Viginal Book. Early 17th century.

Inscribed (f.v^r) ‘ffrancis Sambrooke his Book’. Later in the Hurn Court Library of the Earl of Malmesbury. Christie's, 30-1 March 1950, lot 663.

A complete facsimile in Renaissance Music in Facsimile: Volume 7a: London, British Library, MS Egerton 3665 (‘The Tregian Manuscript’), ed. Frank A.D'Accone, 2 vols (New York & London, 1988).

Part II, ff. 508r

• JnB 312.5: Ben Jonson, A Hymne to God the Father (‘Heare mee, O God!’)

Copy of the first three lines, in a musical setting by Alfonso Ferabosco Jr.

First published in The Vnder-wood (i.2) in Workes (London, 1640). Herford & Simpson, VIII, 129-30.

Royal MS App. 58

An oblong quarto volume of madrigals and other musical works, the lyrics in two or more secretary hands, 60 leaves, in half-morocco, stamped in gilt on both covers ‘1757’. Early 16th century.

ff. 17v-18v

• DuW 177: William Dunbar, To the Princess Margaret (‘Now fayre, fayrest off every fayre’)

Copy, in a musical setting, the initial letter decorated in colour with a facial portrait, untitled.

Facsimiles in Small, I, at the end, and in DLB, vol. 132, Sixteenth-Century British Non-Dramatic Writers. First Series, ed. David A. Richardson (Detroit, 1993), p. 128.

Mackenzie, No. 89, pp. 178-9.

ff. 19v-21r

• SkJ 39: John Skelton, Petevelly constrayned am Y

Copy of a long version, beginning ‘Thofe I doo syng my hert doth wepe’, in a musical setting by Robert Cooper.

Edited from this MS in Ewald Flügel, ‘Liedersammlungen des XVI. Jahrhunderts, besonders aus der Zeit Heinrich's VIII’, Anglia, 12 (1889), 225-72 (pp. 266-7).

Canon, R68, p. 22. Edited in Ewald Flügel, ‘Liedersammlungen des XVI. Skelton’, Athenaeum (29 November 1873), p. 697.

f. 52r

• SuH 31: Henry Howard, Earl of Surrey, ‘In winters iust returne, when Boreas gan his raigne’

Copy of the incipit only, in a musical setting for the lute.

This MS discussed, with a facsimile, in Ivy L. Mumford, ‘Musical Settings to the Poems of Sir Thomas Wyatt’, M&L (1956), 315-22.

First published in Songes and Sonettes (London, 1557). Padelford, No. 24, pp. 75-7. Jones, pp. 12-14.

f. 52r

• SuH 26: Henry Howard, Earl of Surrey, ‘If care do cause men cry, why do not I complaine?’

Copy of the incipit only (here ‘Yf care cause me to cry’), in a musical setting for the lute.

This MS discussed, with a facsimile, in Ivy L. Mumford, ‘Musical Settings to the Poems of Sir Thomas Wyatt’, M&L (1956), 315-22.

First published in Songes and Sonettes (London, 1557). Padelford, No. 28, pp. 80-2. Jones, pp. 14-16.

ff. 52r, 55v

• WyT 114: Sir Thomas Wyatt, ‘Hevyn and erth and all that here me plain’

Copy of lines 1-4 in a musical setting.

This MS discussed, with a facsimile, in Ivy L. Mumford, ‘Musical Settings to the Poems of Sir Thomas Wyatt’, M&L (1956), 315-22.

Not published in the 16th century. Muir & Thomson, pp. 55-6.

D.101.d

Stanzas 5 and 7, beginning ‘Some haue too much yett still do craue’, added in MS in a secretary hand to the musical setting on sig. D 2^v in a printed exemplum of William Byrd, Psalmes, Sonets, & Songs of sadnes and pietie (London, 1588), a quarto in modern cloth. c.1588.

DyE 49: Sir Edward Dyer, ‘My mynde to me a kyngdome is’

R.M. 20. h. 8

Purcell's predominantly autograph folio Score Booke Containing Severall Anthems w^th. Sy[m]phonies. c.1690.

[unspecified page numbers]

• TaJ 6: Jeremy Taylor, Job's Curse (‘Let the Night perish curs'd by y^e Morn’)

Copy, in a musical setting by Henry Purcell.

Published, as one of the ‘Festival Hymns’ in The Golden Grove (London, 1655). A musical setting by Henry Purcell published in Harmonia Sacra (London, 1688).

ff. 116v-106r rev.

• SdT 10: Thomas Shadwell, Ode on the Anniversary of the Queen's Birth (‘Now does the glorious Day appear’)

Copy in a musical setting by Henry Purcell, untitled and the first line here initially given as ‘How does ye Glorious day Appear’, in an unidentified hand.

This MS the ‘Buckingham Palace MS.’ recorded in Summers, V, 410.

First published in Poems on Affairs of State, The Second Part (London, 1697). Summers, V, 345-6. Published in a musical setting by Henry Purcell in The Works of Henry Purcell, Vol. XI, Birthday Odes for Queen Mary, Part I (London, 1902), pp. 1-35.

f. 128r rev.

• CoA 155: Abraham Cowley, The Resurrection (‘Not Winds to Voyagers at Sea’)

Copy of stanza 2, lines 1-2, here beginning ‘Begin y^e Song and strike the living Lyre’, in a musical setting by Henry Purcell.

First published, among Pindarique Odes, in Poems (London, 1656). Waller, I, 182-3. Sparrow, pp. 157-9.

f. 144v rev.

• CoA 99: Abraham Cowley, ‘If ever I more Riches did desire’

Copy, in a musical setting by Henry Purcell.

First published, in the essay ‘Of Greatness’, among Several Discourses by way of Essays, in Verse and Prose, in Works (London, 1668). Waller, II, 428.

ff. 157r-155v rev.

• CoA 111: Abraham Cowley, Ode (‘Here's to thee Dick. this whining Love despise’)

Copy, in a musical setting by Henry Purcell.

This MS recorded in Purcell Society edition.

First published, among Miscellanies, in Poems (London, 1656). Waller, I, 26. Sparrow, pp. 33-4.

Musical setting by Henry Purcell published in The Banquet of Musick (London, 1688). Works of Henry Purcell, XXII (London, 1922), pp. 69-73.

ff. 169r-166v rev.

• CoA 185: Abraham Cowley, The 34. Chapter of the Prophet Isaiah (‘Awake, and with attention hear’)

Copy, in a musical setting by Henry Purcell.

First published, among Pindarique Odes, in Poems (London, 1656). Waller, I, 211-14.

Musical setting by Henry Purcell published in Harmonia Sacra, Vol. I (London, 1688).

f. 169v-r rev.

• EtG 65: Sir George Etherege, Song (‘In some kind dream upon her slumbers steal’)

Copy, in a musical setting by Henry Purcell.

This MS recorded in Works of Purcell and in Zimmerman.

First published, in a musical setting by Henry Purcell, in The Theater of Music, Fourth Book (London, 1687). The Works of Henry Purcell, XXII (London, 1922), pp. 59-61. Thorpe, p. 34.

ff. 174r-173v rev.

• PsK 194: Katherine Philips, La Solitude de St. Amant. Englished (‘O! Solitude my sweetest choice’)

Copy, in a musical setting by Henry Purcell, untitled.

Edited from this MS in Purcell Society edition; recorded in Zimmerman.

First published in Poems (1667), pp. 170-83. Saintsbury, pp. 601-4. Thomas, III, 94-102.

f. 174v-r rev.

• CoA 157: Abraham Cowley, The Rich Rival (‘They say you're angry, and rant mightilie’)

Copy, in a musical setting by Henry Purcell, in an unidentified hand.

This MS recorded in Purcell Society edition.

First published in The Mistresse (London, 1647). Waller, I, 108-9. Sparrow, pp. 106-7. Collected Works, II, No. 41, p. 70.

Musical setting by Henry Purcell published in The Theater of Music (London, 1685). Works of Henry Purcell, XXV (London, 1928), pp. 171-3.

ff. 175r-174v rev.

• EtG 58: Sir George Etherege, Song (‘Cease, ansious World, your fruitless pain’)

Copy, in a musical setting by Henry Purcell.

This MS recorded in Franklin B. Zimmerman, Henry Purcell: An Analytical Catalogue (London & New York, 1963), No. 362.

First published, in a musical setting by Henry Purcell, in The Theater of Music, Fourth Book (London, 1687). Thorpe, p. 33.

f. 183v-r rev.

• DrJ 182: John Dryden, Song (‘Go tell Amynta gentle Swain’)

Copy, in a musical setting by Henry Purcell.

This MS collated in California.

ff. 201r-199 rev.

• CoA 47: Abraham Cowley, The Complaint (‘In a deep Vision's intellectual scene’)

Copy, in a musical setting by Henry Purcell.

First published in Poems, by Several Persons (Dublin, 1663). Verses, Lately Written upon several Occasions (London, 1663). Waller, I, 435-40. Sparrow, pp. 169-74.

ff. 209r-207v rev.

• CoA 198: Abraham Cowley, Weeping (‘See where she sits, and in what comely wise’)

Copy, in a musical setting by Henry Purcell, untitled.

This MS recorded in Purcell Society edition.

First published in The Mistresse (London, 1647). Waller, I, 136-7. Sparrow, p. 136. Collected Works, II, No. 69, 105-6.

Musical setting by Henry Purcell published in Works of Henry Purcell, XXII (London, 1922), pp. 157-65.

ff. 212v-211r rev.

• CoA 52: Abraham Cowley, The Concealment (‘No. to what purpose should I speak?’)

Copy, in a musical setting by Henry Purcell.

This MS recorded in Purcell Society edition.

First published in The Mistresse (London, 1647). Waller, I, 119-20. Sparrow, pp. 118-19. Collected Works, II, No. 52, pp. 83-4.

Musical setting by Henry Purcell published in Works of Henry Purcell, XXV (London, 1928), pp. 124-7.

ff. 213v-212v rev.

• CoA 33: Abraham Cowley, Anacreontiques. IX. Another (‘Underneath this Myrtle shade’)

Copy, in a musical setting by Henry Purcell.

This MS recorded in Purcell Society edition (1922).

First published, among Miscellanies, in Poems (London, 1656). Waller, I, 56. Sparrow, p. 56.

Musical setting by Henry Purcell published in The Banquet of Musick (London, 1692). Works of Henry Purcell, XXII (London, 1922), pp. 100-3.

R.M. 24. d. 2

A folio songbook, the lyrics in a single formal italic hand, iii + 188 leaves, in modern half red morocco on marbled boards. Compiled by John Baldwin, of Windsor, with (ff. i^v, ii^v-iii^r) verse addresses by him signed as the book's owner, and (f. 173r) his inscription ‘finis: John baldwine: 1592’. 1592.

ff. 171v-3r

• BrN 70: Nicholas Breton, Phillida and Coridon (‘In the merry moneth of May’)

Copy, in a musical setting by John Baldwin.

Edited from this MS, with a facsimile, in Ernest Brennecke, ‘The Entertainment at Elvetham, 1591’, Music in English Renaissance Drama, ed. John H. Long (Lexington, 1968), 32-56 (pp. 47-51).

RM 24. e. 8

A large quarto volume of odes in musical settings by Henry Purcell, in a single neat hand, 112 leaves (plus blanks), in half red morocco on marbled boards. Early 18th century.

Inscribed (f. 1r) ‘J Kent’.

ff. 1r-32r

• SdT 8: Thomas Shadwell, An Ode for Queen Mary's Birthday. April 30, 1691 (‘Welcome, welcome, glorious Morn’)

Copy in a musical setting by Henry Purcell, headed ‘Queen's Birth-day Song 1691’.

This MS the ‘Buckingham Palace MS.’ recorded in Summers, V, 410.

First published, in a musical setting by Henry Purcell, in The Works of Henry Purcell, Vol. XI, Birthday Odes for Queen Mary, Part I (London, 1902), pp. 72-116. Summers, V, 369-70.

ff. 34r-60v

• SeC 23: Sir Charles Sedley, On the Birth-Day of the Late Queen A Song (‘Love's Goddess sure was blind this Day’)

Copy in a musical setting by Henry Purcell, headed ‘Queen's Birth Day Song 1692’