New York Public Library, Music Division

CmT 114: Thomas Campion, Thou art not faire, for all thy red and white

Copy, in a musical setting.

This MS collated in Davis, p. 492.

First published in A Booke of Ayres (London, 1601), No. xii. Davis, pp. 34-5.

DaW 74: Sir William Davenant, Why should great Beauties vertuous Fame desire

Copy, in a musical setting by William Lawes.

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

SuJ 64: John Suckling, Song ('Why so pale and wan fond Lover?')

Copy, in a musical setting by William Lawes.

Edited from this MS in Murray Lefkowitz, William Lawes (London, 1960), pp. 201-2. Collated in Clayton.

First published in Aglaura (London, 1638), Act IV, scene ii, lines 14-28. Fragmenta Aurea (London, 1646). Beaurline, Plays, p. 72. Clayton, p. 64.

SuJ 52: John Suckling, Song ('No, no faire Heretique, it needs must bee')

Copy, in a musical setting by Henry Lawes.

This MS collated in Clayton.

First published in Aglaura (London, 1638), Act IV, scene iv, lines 4-23. Fragmenta Aurea (London, 1646). Clayton, pp. 63-4.

A musical setting by Henry Lawes (1592-1662) published in Select Musicall Ayres and Dialogues (London, 1652). See also John P. Cutts, Drexel Manuscript 4041, MD, 18 (1946), 151-202 (p. 166), where it is argued that the setting is probably by William Lawes (1602-45).

DaW 93: Sir William Davenant, Love and Honour, Act V, scene i. Song ('O draw your Curtains and appeare!')

Copy, in a musical setting by William Lawes.

This MS collated in Cutts, Drexel Manuscript 4041, pp. 166-7.

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).

SuJ 119: John Suckling, Inconstancie in Woman ('I am confirm'd a woman can')

Copy, in a musical setting by Henry Lawes.

This MS collated in Clayton.

First published in The Academy of Complements (London, 1646). Clayton, pp. 96-7.

Henry Lawes's musical setting published in Select Musicall Ayres and Dialogues (London, 1652).

B&F 157: Francis Beaumont and John Fletcher, The Pilgrim, III, vii, 107-18. Song ('Down, ye angry waters all!')

Copy of a version, here beginning Downe downe be still yow seas, in a musical setting by John Wilson.

Edited from this MS in Cutts, Musique de la troupe de Shakespeare, p. 89 (collated pp. 174-6).

First published in Comedies and Tragedies (London, 1647). Dyce, VIII, 1-99 (p. 57). Bowers, VI, 121-205, ed. Cyrus Hoy (p. 166).

B&F 51: Francis Beaumont and John Fletcher, The Faithful Shepherdess, I, iii, 71-86. Song ('Come Shepheards, come')

Copy of Cloe's song, in a musical setting by William Lawes.

This MS collated in Cutts, Drexel Manuscript 4041, p. 169.

Bowers, III, 514.

ShJ 203: James Shirley, The Triumph of Peace, Song 8 ('In envy to the Night')

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

This MS collated in Cutts, Drexel Manuscript 4041, p. 169.

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

B&F 107: Francis Beaumont and John Fletcher, The Maid in the Mill, II, i, 143-9. Song ('Come follow me, you country lasses')

Copy of Gerasto's song, in a musical setting by J. J. (John Jenkins?).

Edited from this MS in Cutts, Musique de la troupe de Shakespeare, p. 104 (collated p. 185).

First published in Comedies and Tragedies (London, 1647). Dyce, IX, 197-294 (p. 226). Bowers, IX, 576-657, ed. George Walton Williams (p. 594).

B&F 108: Francis Beaumont and John Fletcher, The Maid in the Mill, II, i, 168-74. Song ('You shall have crowns of roses, daisies')

Copy of Gerasto's song, in a musical setting.

Edited from this MS in Cutts, Musique de la troupe de Shakespeare, p. 105 (collated pp. 185-6).

Dyce, IX, 227. Bowers, IX, 595.

DeJ 128: Sir John Denham, The Sophy, V, iii, Song ('Somnus, the humble God that dwells')

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

This MS collated in Cutts, Drexel Manuscript 4041, p. 171.

Banks, pp. 296-7.

DaW 46: Sir William Davenant, Song ('The Lark now leaves his watry Nest')

Copy, in a musical setting by William Lawes.

Edited from this MS in Gibbs, pp. 290-2. Collated in Cutts, Drexel Manuscript 4041, p. 171.

First published (with the refrain) in John Wilson, Cheerful Ayres or Ballads (Oxford, 1659). published (without the refrain) in Works (London, 1673). Gibbs, p. 173.

SuJ 75: John Suckling, Sonnet II ('Of thee (kind boy) I ask no red and white')

Copy, in a musical setting by Nicholas Lanier.

This MS collated in Clayton. On f. 30 of the MS appears the incipit of thee with a musical setting by William Webb as published in Select Musicall Ayres and Dialogues (London, 1652).

First published in Fragmenta Aurea (London, 1646). Clayton, pp. 48-9.

B&F 106: Francis Beaumont and John Fletcher, The Mad Lover, V, iv, 43-73. Song ('Arm, arm, arm, arm! the scouts are all come in')

Copy, in a musical setting by Robert Johnson.

Edited from this MS in Cutts, Musique de la troupe de Shakespeare, pp. 67-9 (collated pp. 159-60).

Dyce, VI, 199. Bullen, III, 204-5. Bowers, V, 84-5.

SuJ 71: John Suckling, Sonnet I ('Do'st see how unregarded now')

Copy, in a musical setting by John Atkins (d.1671).

This MS collated in Clayton.

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

B&F 60: Francis Beaumont and John Fletcher, The Humorous Lieutenant, IV, iii, 25-44. Song ('I obey, I obey. | And am come to view the day')

Copy of the spirit's song in a musical setting by J. H. (John Hilton?) or T.H. (Thomas Holmes?).

Edited from this MS in Cutts, Musique de la troupe de Shakespeare, pp. 81-2 (collated pp. 169-70).

Dyce, VI, 502. Bullen, II, 544-5. Bowers, V, 377.

LoR 23: Richard Lovelace, Song. To Lucasta, Going beyond the Seas ('If to be absent were to be')

Copy, in a musical setting by Henry Lawes.

This MS collated in Cutts, Drexel Manuscript 4041, p. 174.

First published in Lucasta (London, 1649). Wilkinson (1925), II, 15-16. (1930), pp. 17-18.

KiH 129: Henry King, The Defence ('Why slightest thou what I approve?')

Copy, in a musical setting by John Atkins.

This MS collated in Cutts, Drexel Manuscript 4041, p. 174. Recorded in Crum.

First published in The Academy of Complements (London, 1646). Poems (1657). Crum, pp. 145-6.

LoR 3: Richard Lovelace, A loose Saraband ('Ah me! the little Tyrant Theefe!')

Copy, here beginning Aye me y^e littel Tyrant Theife, in a musical setting by Henry Lawes (1596-1662).

This MS discussed, with a facsimile, in Willa McClung Evans, Lawes' and Lovelace's Loose Saraband, PMLA, 54.i (1939), 764-7.

First published in Lucasta (London, 1649). Wilkinson (1925), I, 30-1. (1930), pp. 32-4.

B&F 24: 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.

This MS collated in Cutts, Musique de la troupe de Shakespeare, p. 114. Facsimile in John H. Long, Shakespeare's Use of Music (Gainesville, Florida, 1961), p. 135.

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).

LoR 17: Richard Lovelace, The Scrutinie. Song ('Why should you sweare I am forsworn')

Copy, in a musical setting by Thomas Charles, here beginning Why will you sweare I am forsworne,.

This MS collated in Cutts, Drexel Manuscript 4041, p. 175.

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).

DaW 49: Sir William Davenant, Song. The Dying Lover ('Dear Love let me this Evening dy!')

Copy, in a musical setting.

This MS collated in Cutts, Drexel Manuscript 4041, pp. 176-7.

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.

WaE 436: Edmund Waller, Song ('Chloris! farewell. I now must go')

Copy, in a musical setting by Henry Lawes.

This MS collated in Cutts, Drexel Manuscript 4041, p. 177.

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.

RaW 531: Sir Walter Ralegh, Wrong not, deare Empresse of my Heart

Copy of a sixteen-line version, in a musical setting.

Edited partly from this MS in Cutts, Drexel Manuscript 4041, p. 181.

First published in Wits Interpreter (London, 1655), printed twice, the first version prefixed by Our Passions are most like to Floods and streames (see RaW 320-38) and headed To his Mistresse by Sir Walter Raleigh. Edited with the prefixed stanza in Latham, pp. 18-19. Edited in The English and Latin Poems of Sir Robert Ayton, ed. Charles B. Gullans, STS, 4th Ser. 1 (Edinburgh & London, 1963), pp. 197-8. Rudick, Nos 39A and 39B (two versions, pp. 106-9).

This poem was probably written by Sir Robert Ayton. For a discussion of the authorship and the different texts see Gullans, pp. 318-26 (also printed in SB, 13 (1960), 191-8).

HeR 245: 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.

This MS collated in Cutts, Drexel Manuscript 4041, p. 178.

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).

JnB 598: Ben Jonson, Epicoene I, i, 92-102. Song ('Still to be neat, still to be drest')

Copy, in a musical setting by William Lawes.

Edited from this MS in Murray Lefkowitz, William Lawes (London, 1960), pp. 197-8. Recorded in Herford & Simpson, XI, 606.

First published in London, 1616. Herford & Simpson, V, 139-272.

RaW 532: Sir Walter Ralegh, Wrong not, deare Empresse of my Heart

Copy of a sixteen-line version, in a musical setting.

Edited partly from this MS in Cutts, Drexel Manuscript 4041, p. 181.

First published in Wits Interpreter (London, 1655), printed twice, the first version prefixed by Our Passions are most like to Floods and streames (see RaW 320-38) and headed To his Mistresse by Sir Walter Raleigh. Edited with the prefixed stanza in Latham, pp. 18-19. Edited in The English and Latin Poems of Sir Robert Ayton, ed. Charles B. Gullans, STS, 4th Ser. 1 (Edinburgh & London, 1963), pp. 197-8. Rudick, Nos 39A and 39B (two versions, pp. 106-9).

This poem was probably written by Sir Robert Ayton. For a discussion of the authorship and the different texts see Gullans, pp. 318-26 (also printed in SB, 13 (1960), 191-8).

FoJ 5: John Ford, The Lady's Trial, II, iv. Song ('Pleasures, beauty, youth attend ye')

Copy, in a musical setting.

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

SuJ 32: John Suckling, The constant Lover ('Out upon it, I have lov'd')

Copy, in a musical setting by Henry Lawes.

This MS collated in Clayton.

First published, untitled, in Wit and Drollery (London, 1656). Last Remains (London, 1659). Clayton, pp. 55-6.

SuJ 14: John Suckling, The Answer ('Say, but did you love so long?')

Copy, in a musical setting.

This MS collated in Clayton.

First published in Wit and Drollery (London, 1656). Last Remains (London, 1659). Clayton, pp. 56-7. Possibly written by Sir Tobie Matthew.

ShJ 5: James Shirley, Another ('Harke, harke how in euery groue')

Copy, in a musical setting by William Lawes.

This MS collated in Cutts, Drexel Manuscript 4041, p. 184.

First published, adapted as stanzas 3 and 4 of Cupid's Call (Ho! Cupid calls, come Lovers, come), in Poems (London, 1646). Armstrong, p. 89.

DaW 81: Sir William Davenant, The Just Italian, Act V, scene i. Song ('This lady, ripe, and calm, and fresh')

Copy of the song between two boys, in a musical setting by John Atkins.

This MS collated in Cutts, Drexel Manuscript 4041, p. 184.

First published in London, 1630. Dramatic Works, I, 207-80.

DeJ 39: Sir John Denham, Martial. Epigram Out of an Epigram of Martial ('Prithee die and set me free')

Copy, in a musical setting.

Edited from this MS in Cutts, Drexel Manuscript 4041, p. 185.

First published in Sportive Wit (London, 1656). Poems and Translations (London, 1668). Banks, pp. 180-1.

LoR 10: Richard Lovelace, Ode. To Lucasta. The Rose ('Sweet serene skye-like Flower')

Copy, in a musical setting by John Wilson.

This MS edited and discussed, with a facsimile, in Evans, loc. cit.

First published in Lucasta (London, 1649). Wilkinson (1925), II, 21-2. (1930), pp. 23-4.

ShW 94: William Shakespeare, The Tempest, I, ii, 400-9. Song ('Full fathom five thy father lies')

Copy (words only).

This MS recorded in Cutts, Musique de la troupe de Shakespeare, pp. 131-2.

SuJ 43: John Suckling, Loves Siege (''Tis now since I sate down before')

Copy of the first stanza, in a musical setting by John Atkins.

This MS recorded in Clayton.

First published in Fragmenta Aurea (London, 1646). Clayton, pp. 65-6.

B&F 8: Francis Beaumont and John Fletcher, Beggars' Bush, II, i, 143-64. Song ('Cast our Caps and cares away!')

Copy, in a musical setting by John Wilson.

Edited from this MS in Cutts, Musique de la troupe de Shakespeare, pp. 91-2 (collated p. 178). Collated in Bowers, p. 352.

Bowers, III, 264-5. This setting first published in John Wilson, Cheerfull Ayres (Oxford, 1659).

SuJ 170: John Suckling, The Goblins, Act III, scene ii, lines 72-8. Song ('A health to the Nut browne Lasse')

Copy, in a musical setting by William Lawes.

This MS collated in Beaurline.

Beaurline, Plays, p. 144.

ShJ 56: James Shirley, One that loved none but deformed Women ('What should my Mistris do with hair')

Copy, in a musical setting by William Lawes.

This MS collated in Cutts, Drexel Manuscript 4041, p. 191.

First published in Poems (London, 1646). Armstrong, p. 9. Probably used in 1636 in The Duke's Mistress, Act III, scene ii (published London, 1638): see Gifford & Dyce, IV, 226, and Armstrong, p. 62.

B&F 100: Francis Beaumont and John Fletcher, The Mad Lover, IV, i, 78-88. Song ('This lion was a man of war that died')

Copy of lines 10-11 of Stremon's song, here beginning All these lye howling all these lye howling, in a musical setting by William Lawes.

Edited from this MS in Cutts, Musique de la troupe de Shakespeare, p. 65 (collated pp. 158-9).

Dyce, VI, 182. Bullen, III, 185. Bowers, V. 68.

CaW 101: 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.

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

ShJ 36: James Shirley, Good Morrow ('Good morrow unto her, who in the night')

Copy, in a musical setting by William Lawes.

This MS collated in Cutts, Drexel Manuscript 4041, p. 194.

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

B&F 30: Francis Beaumont and John Fletcher, The Captain, II, ii, 160-80. Song ('Tell me dearest what is Love?')

Copy, in a musical setting by Robert Johnson.

Edited from this MS in Cutts, Musique de la troupe de Shakespeare, pp. 27-8 (collated p. 135). Collated in Beaurline.

First published in Comedies and Tragedies (London, 1647). Dyce, III, 217-328 (pp. 258-9). Bowers, I, 550-650, ed. L.A. Beaurline (pp. 583-4). A version of this song appears in The Knight of the Burning Pestle, III, 29-42 (London, 1613).

WeJ 7: John Webster, The Duchess of Malfi, IV, ii, 61-72. Song ('O let us howle, some heavy note')

Copy, in a musical setting by Robert Johnson.

This MS collated in Cutts, Musique de la troupe de Shakespeare, pp. 143-4.

Cambridge edition, I, 541.

ShW 111: William Shakespeare, The Winter's Tale, IV, iv, 294-309. Song ('Get you hence, for I must go')

Copy of the song sung by Autolycus, Dorcas and Mopsa, with a second verse, in a musical setting possibly by Robert Johnson.

Edited from this MS in J.P. Cutts, An Unpublished Contemporary Setting of a Shakespeare Song, SS, 9 (1956), 86-9, and in Cutts, Musique de la troupe de Shakespeare, p. 19.

WoH 117: Sir Henry Wotton, On his Mistress, the Queen of Bohemia ('You meaner beauties of the night')

Originally a copy in a musical setting, listed in the table of contents (as You meaner bewties) but now lacking.

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.

WeJ 6.5: John Webster, The Duchess of Malfi, IV, ii, 61-72. Song ('O let us howle, some heavy note')

Originally a copy in a musical setting, listed in the table of contents (as O let vs howle) but now lacking.

Cambridge edition, I, 541.

DnJ 2977: John Donne, Song ('Stay, O sweet, and do not rise')

Originally a copy in a musical setting, listed in the table of contents (as Sweete Staye) but now lacking.

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.

RaW 184.8: Sir Walter Ralegh, Like to a Hermite poore ('Like to a Hermite poore in place obscure')

Originally a copy in a musical setting, listed in the table of contents (as Like hermit poore) but now lacking.

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

HrJ 116: Sir John Harington, Of a Lady that giues the cheek ('Is't for a grace, or is't for some disleeke')

Copy, in a musical setting.

This MS collated in John P. Cutts, Sir John Harington's Eppigrammatic Lyric, N&Q, 205 (February 1960), 60-1.

First published in 1615. 1618, Book III, No. 3. McClure No. 201, p. 230. Kilroy, Book IV, No. 84, p. 201.

PeW 193: William Herbert, third Earl of Pembroke, Of a fair Gentlewoman scarce Marriageable ('Why should Passion lead thee blind')

Copy, in a musical setting, untitled and here beginning Why should passion leade mee blinde.

First published in [John Gough], Academy of Complements (London, 1646), p. 202. Poems (1660), p. 76, superscribed P.. Listed in Krueger's Appendix I: Spurious Poems in the 1660 Edition as possibly by Walton Poole.

MiT 10: Thomas Middleton, A Chaste Maid in Cheapside, IV, i, 162-72, 174-9. Song ('Cupid is Venus' only joy')

Copy, in a musical setting.

This MS collated in Cutts, Musique de la troupe de Shakespeare, pp. 144-6, and 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).

CmT 136: Thomas Campion, Though your strangenesse frets my hart

Copy, in a musical setting by Robert Jones.

This MS collated in Davis, p. 495, and in Doughtie, pp. 573-5.

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.

RaW 533: Sir Walter Ralegh, Wrong not, deare Empresse of my Heart

Copy, in a musical setting.

This MS collated in Cutts, Songs unto the Violl and Lute—Drexel MS 4175, Musica Disciplina, 16 (1962), 72-92 (pp. 85-6).

First published in Wits Interpreter (London, 1655), printed twice, the first version prefixed by Our Passions are most like to Floods and streames (see RaW 320-38) and headed To his Mistresse by Sir Walter Raleigh. Edited with the prefixed stanza in Latham, pp. 18-19. Edited in The English and Latin Poems of Sir Robert Ayton, ed. Charles B. Gullans, STS, 4th Ser. 1 (Edinburgh & London, 1963), pp. 197-8. Rudick, Nos 39A and 39B (two versions, pp. 106-9).

This poem was probably written by Sir Robert Ayton. For a discussion of the authorship and the different texts see Gullans, pp. 318-26 (also printed in SB, 13 (1960), 191-8).

B&F 86.2: Francis Beaumont and John Fletcher, The Mad Lover, IV, i, 24-41. Song ('Orpheus I am, come from the deeps below')

Originally a copy in a musical setting, listed in the table of contents (as Orpheus I am come) but now lacking

Dyce, VI, 179-80. Bullen, III, 183. Bowers, V, 66-7.

WeJ 8: John Webster, The Duchess of Malfi, IV, ii, 61-72. Song ('O let us howle, some heavy note')

Copy, in a musical setting by Robert Johnson.

This MS collated in Cutts, Musique de la troupe de Shakespeare, pp. 143-4.

Cambridge edition, I, 541.

B&F 31: Francis Beaumont and John Fletcher, The Captain, II, ii, 160-80. Song ('Tell me dearest what is Love?')

Copy, in a musical setting by Robert Johnson.

Edited from this MS in Cutts, Musique de la troupe de Shakespeare, p. 27 (collated p. 135); collated in Beaurline.

First published in Comedies and Tragedies (London, 1647). Dyce, III, 217-328 (pp. 258-9). Bowers, I, 550-650, ed. L.A. Beaurline (pp. 583-4). A version of this song appears in The Knight of the Burning Pestle, III, 29-42 (London, 1613).

JnB 26: 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, here beginning Haue you seene the bright lilly growe, in a musical setting by Robert Johnson.

Edited from this MS in Cutts, Musique de la troupe de Shakespeare, p. 56.

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).

PeW 138: William Herbert, third Earl of Pembroke, Amintas ('Cloris sate, and sitting slept')

Copy, in a musical setting, here beginning Cloris sighte, and sange, and wepte.

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.

MiT 33: Thomas Middleton, The Witch, III, iii, 39-72. Song ('Come away, come away, Hecate')

Copy, in a musical setting possibly by Robert Johnson.

This MS edited and collated in Cutts, The Original Music to Middleton's The Witch, SQ, 7 (1956), 203-9, and in Musique de la troupe de Shakespeare, pp. 8-10, 123-4. Facsimile in Oxford Companion, p. 155.

Bullen, V, 416-18. Malone Society edition, pp. 57-9, lines 1331-71. Oxford Middleton, pp. 1152-3.

MiT 11: Thomas Middleton, A Chaste Maid in Cheapside, IV, i, 162-72, 174-9. Song ('Cupid is Venus' only joy')

Copy, in a musical setting.

This MS collated in Cutts, Musique de la troupe de Shakespeare, pp. 144-6, and 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).

ShW 112: William Shakespeare, The Winter's Tale, IV, iv, 294-309. Song ('Get you hence, for I must go')

Copy, in a musical setting possibly by Robert Johnson.

Edited from this MS in Cutts, Musique de la troupe de Shakespeare, pp. 17-18. Facsimile in John H. Long, Shakespeare's Use of Music, II (Gainesville, 1961), 138-9.

StW 1332: William Strode, A Lover to his Mistress ('Ile tell you how the Rose did first grow redde')

Copy, in a musical setting, untitled.

Edited from this MS in Cutts, Songs unto the Violl and Lute—Drexel MS 4175, Musica Disciplina, 16 (1962), 72-92 (p. 92).

First published, in Wits Recreations (London, 1640). Dobell, p. 48. Listed, without text, in Forey, p. 339.

CaW 108: William Cartwright, The Royal Slave, Act 3, scene i. Song ('Now, now, the Sunne is fled')

Copy, in a musical setting by Henry Lawes.

This MS recorded in Evans, pp. 598-9.

Evans, p. 223.

JnB 9: Ben Jonson, A Celebration of Charis in ten Lyrick Peeces. 4. Her Triumph ('See the Chariot at hand here of Love')

Copy, in a musical setting by Robert Johnson.

This MS recorded in Cutts, Musique de la troupe de Shakespeare, pp. 150-1. Facsimile in Jorgens, 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).

CwT 758: Thomas Carew, A Song ('Aske me no more whether doth stray')

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

This MS recorded in Dunlap, pp. 264, 290.

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.

StW 903: William Strode, A song ('Thoughts doe not vexe me while I sleepe')

Copy, in a musical setting.

First published in The Academy of Complements (London, 1650). Forey, p. 209.

GrJ 63: John Grange, Not that I wish my Mistris

Copy, in a musical setting.

This MS recorded in Krueger.

First published in Wits Recreations Augmented (London, 1641), sig. V7^v. John Playford, Select Ayres and Dialogues (1652), Part II, p. 28. Poems (1660), pp. 79-81, unattributed. Prince d'Amour (1660), p. 123, ascribed to J.G.. Listed in Krueger's Appendix I: Spurious Poems in the 1660 Edition as by John Grange.

CwT 788: Thomas Carew, A Song ('In her faire cheekes two pits doe lye')

Copy, here beginning In yo^r fayre cheekes 2 pitts doe lye.

This MS recorded in Dunlap, p. 291.

First published in Poems (1640). Dunlap, p. 105.

CmT 60: Thomas Campion, If Love loves truth, then women doe not love

Copy, in a musical setting.

This MS collated in Davis, p. 496.

First published in The Third and Fourth Booke of Ayres (London, [c.1617]), Book III, No. xi. Davis, p. 146.

CwT 175: 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).

ShJ 6: James Shirley, Another ('Harke, harke how in euery groue')

Copy, in a musical setting by William Lawes.

First published, adapted as stanzas 3 and 4 of Cupid's Call (Ho! Cupid calls, come Lovers, come), in Poems (London, 1646). Armstrong, p. 89.

RaW 185: Sir Walter Ralegh, Like to a Hermite poore ('Like to a Hermite poore in place obscure')

Copy, in a musical setting.

A musical setting first published in Alfonso Ferrabosco, Ayres (London, 1609). A setting by Nicholas Lanier first published in John Playford, Select Musicall Ayres (London, 1652). This MS collated in Hughey, II, 316.

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

B&F 25: 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.

This MS collated in Cutts, Musique de la troupe de Shakespeare, p. 114.

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).

B&F 169: Francis Beaumont and John Fletcher, The Spanish Curate, II, iv, 52-63. Song ('Dearest, do not you delay me')

Copy, in a musical setting adapted by Henry Lawes.

This MS collated in Cutts, Musique de la troupe de Shakespeare, pp. 181-3.

First published in Comedies and Tragedies (London, 1647). Dyce, VIII, 371-495 (p. 429). Bullen, II, 101-228, ed. R.B. McKerrow (pp. 158-9). Bowers, X, 301-95, ed. Robert K. Turner (p. 335). This song first published, ascribed to Henry Harrington, in Henry Lawes, Ayres and Dialogues (London, 1653).

PeW 194: William Herbert, third Earl of Pembroke, Of a fair Gentlewoman scarce Marriageable ('Why should Passion lead thee blind')

Copy, in a musical setting.

This MS recorded in Krueger.

First published in [John Gough], Academy of Complements (London, 1646), p. 202. Poems (1660), p. 76, superscribed P.. Listed in Krueger's Appendix I: Spurious Poems in the 1660 Edition as possibly by Walton Poole.

ShJ 15: James Shirley, The Curtizane ('Cupid calls o Younge men Come')

Copy of a version beginning Cupid calls com Louers com, in a musical setting (by William Lawes?).

Edited from this MS in Cutts, Original Music for Two Caroline Plays — Richard Brome's The English Moore; or The Mock-Mariage and James Shirley's The Gentlemen of Venice, N&Q, 231 (March 1986), 21-5 (p. 24), where it is suggested that this song may belong to The Gentlemen of Venice, Act III, scene iv.

First published in Samuel Pick, Festum Voluptatis (London, 1639). Adapted as part of Cupids Call (Ho! Cupid calls, come Lovers, come) in Poems (London, 1646). Armstrong, p. 89.

ShJ 57: James Shirley, One that loved none but deformed Women ('What should my Mistris do with hair')

Copy, in a musical setting by William Lawes.

This MS recorded in Cutts, Original Music for Two Caroline Plays — Richard Brome's The English Moore; or The Mock-Mariage and James Shirley's The Gentlemen of Venice, N&Q, 231 (March 1986), 21-5.

First published in Poems (London, 1646). Armstrong, p. 9. Probably used in 1636 in The Duke's Mistress, Act III, scene ii (published London, 1638): see Gifford & Dyce, IV, 226, and Armstrong, p. 62.

JnB 710: Ben Jonson, The Poetaster, II, ii, 163 et seq. Song ('If I freely may discouer')

Copy, in a musical setting by Henry Lawes.

This MS recorded in Herford & Simpson, XI, 606.

BmF 150.4: Francis Beaumont, A Charm ('Sleep, old man, let silence charm thee')

Attributed to Beaumont and Henry Harington.

See The Works of Beaumont and Fletcher, ed. Alexander Dyce, 11 vols (London, 1843-6), XI, p. 442.

Rejected from the canon in Dyce, XI, 442, and attributed to Henry Harrington.

CwT 588: Thomas Carew, A prayer to the Wind ('Goe thou gentle whispering wind')

Copy of an eighteen-line version, in a musical setting by Henry Lawes, untitled.

This MS recorded in Dunlap, pp. 219, 290.

First published in Poems (1640) and in Poems: written by Wil. Shake-speare, Gent. (London, 1640). Dunlap, pp. 11-12.

MiT 31: Thomas Middleton, The Witch, II, i, 131-7. Song ('In a maiden-time profest')

Copy, in a musical setting by Robert Johnson.

This MS collated in Cutts, Musique de la troupe de Shakespeare, pp. 7, 122-3.

Bullen, V, 386. Malone Society edition, p. 25, lines 590-7. Oxford Middleton, p. 1141.

ShW 28: William Shakespeare, Sonnet 116 ('Let me not to the marriag of true minds')

Copy, here beginning Selfe blinding error seazeth all those mindes, in a musical setting by Henry Lawes.

Edited from this MS, with a facsimile, in Willa McClung Evans, Lawes' Version of Shakespeare's Sonnet CXVI, PMLA, 51.i (1936), 120-2, and in Evans, Henry Lawes (New York & London, 1941), pp. 43-4. Facsimile in John H. Long, Shakespeare's Use of Music (Gainesville, Florida, 1961), p. 146.

B&F 32: Francis Beaumont and John Fletcher, The Captain, II, ii, 160-80. Song ('Tell me dearest what is Love?')

Copy, in a musical setting by Robert Johnson.

This MS collated in Cutts, Musique de la troupe de Shakespeare, pp. 134-6, and in Beaurline.

First published in Comedies and Tragedies (London, 1647). Dyce, III, 217-328 (pp. 258-9). Bowers, I, 550-650, ed. L.A. Beaurline (pp. 583-4). A version of this song appears in The Knight of the Burning Pestle, III, 29-42 (London, 1613).

BmF 99: Francis Beaumont, The Indifferent ('Never more will I protest')

Copy, in a musical setting.

First published in Poems (London, 1640). Dyce, XI, 492.

JnB 674: Ben Jonson, The Haddington Masque, lines 86 et seq. Song ('Beauties, haue yee seene this toy')

Copy, in a musical setting by Henry Lawes.

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

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

HeR 159: Robert Herrick, Mistresse Elizabeth Wheeler, under the name of the lost Shepardesse ('Among the Mirtles, as I walkt')

Copy, in a musical setting, here beginning Amidst the Mirtles, as I walkt.

This MS collated in Martin.

First published in Thomas Carew, Poems (London, 1640). Hesperides (London, 1648). Martin, pp. 106-7. Patrick, p. 147. Musical setting by Henry Lawes published in Select Musicall Ayres, and Dialogues (London, 1652).

SuJ 76: John Suckling, Sonnet II ('Of thee (kind boy) I ask no red and white')

Copy, in a musical setting by Nicolas Lanier, subscribed S^r: John Suckling.

This MS recorded in Clayton.

First published in Fragmenta Aurea (London, 1646). Clayton, pp. 48-9.

B&F 12: Francis Beaumont and John Fletcher, Beggars' Bush, III, i, 42-59. Song ('I met with him first in the shape of a Ram')

Copy of a version of Higgen's song, here beginning I met with y^e deuell in the shape of a Ramme, in a musical setting probably by John Wilson.

Edited from this MS in Cutts, Musique de la troupe de Shakespeare, pp. 94, 179-80. Collated in Bowers, p. 252.

Bowers, III, 278-9.

CwT 595.8: Thomas Carew, The protestation, a Sonnet ('No more shall meads be deckt with flowers')

Copy, the text only, of an untitled version beginning True Loue noe more shall live on earth.

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

MsP 33: Philip Massinger, The Picture, III, v, 26-37. Song ('The blushing rose and purple flower')

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

Edited from this MS in Edwards & Gibson, III, 288-92.

Edwards & Gibson, III, 244.

CmT 115: Thomas Campion, Thou art not faire, for all thy red and white

Copy, in a musical setting.

This MS collated in Davis, p. 492.

First published in A Booke of Ayres (London, 1601), No. xii. Davis, pp. 34-5.

DaW 75: Sir William Davenant, Why should great Beauties vertuous Fame desire

Copy, in a musical setting by William Lawes.

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

CmT 39: Thomas Campion, Fire, fire, fire, fire!

Copy, in a musical setting by Nicholas Lanier.

This MS 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.

StW 762.8: William Strode, Song ('I saw faire Cloris walke alone')

Copy of the incipit only, the page otherwise blank.

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).

SuJ 53: John Suckling, Song ('No, no faire Heretique, it needs must bee')

Copy, in a musical setting by Henry Lawes.

This MS collated in Clayton.

First published in Aglaura (London, 1638), Act IV, scene iv, lines 4-23. Fragmenta Aurea (London, 1646). Clayton, pp. 63-4.

A musical setting by Henry Lawes (1592-1662) published in Select Musicall Ayres and Dialogues (London, 1652). See also John P. Cutts, Drexel Manuscript 4041, MD, 18 (1946), 151-202 (p. 166), where it is argued that the setting is probably by William Lawes (1602-45).

JnB 645: Ben Jonson, The Gypsies Metamorphosed, Song ('Cock-Lorell would needes haue the Diuell his guest')

Copy (words only).

Herford & Simpson, lines 1061-1125. Greg, Burley version, lines 821-84. Windsor version, lines 876-939.

WoH 118: Sir Henry Wotton, On his Mistress, the Queen of Bohemia ('You meaner beauties of the night')

Copy of a five-stanza version, in a musical setting.

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.

SuJ 24: John Suckling, A Ballade, Upon a Wedding ('I tell thee Dick, where I have been')

Copy of lines 1-4 (words only), untitled.

This MS collated in Clayton.

First published in Fragmenta Aurea (London, 1646): Clayton, pp. 79-84.

SuJ 208: John Suckling, Upon Sir John Suckling's hundred horse ('I tell thee Jack thou'st given the King')

Copy, the text only.

First published in Wit and Drollery (London, 1656). Clayton, pp. 204-5.

SuJ 227: John Suckling, Sir John Suckling's Answer ('I tell thee foole who'ere thou be')

Copy of the first line only.

First published in Wit and Drollery (London, 1656). Clayton, pp. 205-6. Sometimes erroneously attributed to Suckling himself.

B&F 38: Francis Beaumont and John Fletcher, The Captain, IV, iv, 85-104. Song ('Come hither you that love, and heare me sing')

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

Edited from this MS in Cutts, Musique de la troupe de Shakespeare, p. 30 (collated pp. 137-8). Collated in Beaurline.

Bowers, I, 624-5.

B&F 35: Francis Beaumont and John Fletcher, The Captain, III, iv, 33-48. Song ('Away delights, goe seeke some other dwelling')

Copy, in a musical setting by Robert Johnson.

Edited from this MS in Cutts, Musique de la troupe de Shakespeare, p. 28 (collated pp. 136-7). Collated in Beaurline.

Bowers, I, 600.

SuJ 120: John Suckling, Inconstancie in Woman ('I am confirm'd a woman can')

Copy, in a musical setting by Henry Lawes.

This MS collated in Clayton.

First published in The Academy of Complements (London, 1646). Clayton, pp. 96-7.

Henry Lawes's musical setting published in Select Musicall Ayres and Dialogues (London, 1652).

CmT 204: Thomas Campion, Long have mine eies gaz'd with delight

Copy of a five-strophe version, in a musical setting.

This MS collated and the fourth and fifth strophes edited in Davis, p. 506.

First published in A Booke of Ayres (London, 1601), Part II, No. x. Davis, pp. 455-6.

CwT 869: Thomas Carew, Song. Eternitie of love protested ('How ill doth he deserve a lovers name')

Copy, in a musical setting.

This MS recorded in Dunlap, p. 291.

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

HeR 219: Robert Herrick, To Anthea, who may command him any thing ('Bid me to live, and I will live')

Copy, in a musical setting.

This MS collated in Martin.

First published in Hesperides (London, 1648). Martin, pp. 108-9. Patrick, pp. 149-50. Musical setting by Henry Lawes published in Select Musicall Ayres, and Dialogues (London, 1652).

StW 866: William Strode, Song ('Keepe on your maske, yea hide your Eye')

Copy, in a musical setting, here beginning Keep on yor vayle 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.

HeR 246: 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.

This MS recorded 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).

SuJ 72: John Suckling, Sonnet I ('Do'st see how unregarded now')

Copy, in a musical setting by John Atkins.

This MS collated in Clayton.

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

ToA 64: Aurelian Townshend, To the Countess of Salisbury ('Victorious beauty, though your eyes')

Copy, in a musical setting by William Webb.

First published, in a musical setting by William Webb, in John Playford, Select Musical Ayres (London, 1652), p. 22. Chambers, pp. 4-5. Brown, pp. 19-21.

CoA 208: Abraham Cowley, Loves Riddle, IV, i, Song ('It is a punishment to love')

Copy, in a musical setting.

First published in London, 1638. Waller, II, 67-147 (p. 115).

Musical setting of the song by William Webb published in New Ayres and Dialogues (London, 1678).

JnB 622: Ben Jonson, The Gypsies Metamorphosed, Song ('To the old, longe life and treasure')

Copy, in a musical setting.

Edited from this MS in Sabol, 400 Songs & Dances, No. 29.

Herford & Simpson, lines 301-11. Greg, Burley version, lines 277-86. Windsor version, lines 271-80.

FoJ 6: John Ford, The Lady's Trial, II, iv. Song ('Pleasures, beauty, youth attend ye')

Copy, in a musical setting.

Facsimile of this MS in John H. Long, Shakespeare's Use of Music (Gainesville, Florida, 1961), p. 146.

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

JnB 599: Ben Jonson, Epicoene I, i, 92-102. Song ('Still to be neat, still to be drest')

Copy, in a musical setting.

First published in London, 1616. Herford & Simpson, V, 139-272.

CwT 916: Thomas Carew, Song. Perswasions to enjoy ('If the quick spirits in your eye')

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

This MS recorded in Dunlap, p. 291.

First published in Poems (1640). Dunlap, p. 16. Musical setting by Henry Lawes published in Select Musicall Ayres, and Dialogues (London, 1652).

DaW 50: Sir William Davenant, Song. The Dying Lover ('Dear Love let me this Evening dy!')

Copy, in a musical setting, here beginning Dear let me now this evening die.

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.

BmF 143: Francis Beaumont, True Beauty ('May I find a woman fair')

Copy, in a musical setting.

First published in Poems (London, 1640). Dyce, XI, 491.

RaW 534: Sir Walter Ralegh, Wrong not, deare Empresse of my Heart

Copy of a garbled version, in a musical setting.

This MS recorded in Cutts, Musica Disciplina, 16 (1962), 85.

First published in Wits Interpreter (London, 1655), printed twice, the first version prefixed by Our Passions are most like to Floods and streames (see RaW 320-38) and headed To his Mistresse by Sir Walter Raleigh. Edited with the prefixed stanza in Latham, pp. 18-19. Edited in The English and Latin Poems of Sir Robert Ayton, ed. Charles B. Gullans, STS, 4th Ser. 1 (Edinburgh & London, 1963), pp. 197-8. Rudick, Nos 39A and 39B (two versions, pp. 106-9).

This poem was probably written by Sir Robert Ayton. For a discussion of the authorship and the different texts see Gullans, pp. 318-26 (also printed in SB, 13 (1960), 191-8).

LoR 43: Richard Lovelace, To Althea, From Prison. Song ('When Love with unconfined wings')

Copy (words only).

First published in Lucasta (London, 1649). Wilkinson (1925), II, 70-1. (1930), pp. 78-9. Thomas Clayton, Some Versions, Texts, and Readings of To Althea, from Prison, PBSA, 68 (1974), 225-35. A musical setting by John Wilson published in Select Ayres and Dialogues (London, 1659).

ShJ 190: James Shirley, The School of Compliment, Act II, scene i. Song ('God of war, to Cupid yield')

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

Gifford & Dyce, I, 21. Armstrong, p. 42.

LoR 18: Richard Lovelace, The Scrutinie. Song ('Why should you sweare I am forsworn')

Copy, in a musical setting by Thomas Charles.

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).

LoR 24: Richard Lovelace, Song. To Lucasta, Going beyond the Seas ('If to be absent were to be')

Copy, in a musical setting by Henry lawes.

First published in Lucasta (London, 1649). Wilkinson (1925), II, 15-16. (1930), pp. 17-18.

KiH 130: Henry King, The Defence ('Why slightest thou what I approve?')

Copy, in a musical setting by John Atkins.

This MS recorded in Crum.

First published in The Academy of Complements (London, 1646). Poems (1657). Crum, pp. 145-6.

StW 848.5: William Strode, Song ('Keepe on your maske, yea hide your Eye')

Copy, in a musical setting by Henry Lawes.

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.

HaW 11: William Habington, To Castara, Looking backe at her departing ('Looke backe Castara. From thy eye')

Copy, in a musical setting by William Webb.

First published in Castara (London, 1634). Allott, p. 29.

CwT 24: Thomas Carew, Boldnesse in love ('Marke how the bashfull morne, in vaine')

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

This MS recorded in Dunlap, p. 292.

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

LoR 25: Richard Lovelace, Sonnet ('When I by thy faire shape did sweare')

Copy, in a musical setting by William Lawes.

This MS edited and discussed, with a facsimile, in Willa McClung Evans, An Early Lovelace Text, PMLA, 60.i (1945), 382-5.

First published in Lucasta (London, 1649). Wilkinson (1925), II, 40. (1930), p. 44.

RaW 480: Sir Walter Ralegh, Shall I, like an hermit, dwell

Copy of a four-stanza version, in a musical setting by Robert Johnson.

First published in The London Magazine (1734), p. 444. Listed but not printed in Latham, p. 173.

ToA 21: Aurelian Townshend, Let not thy beauty make thee proud

Copy, in a musical setting by Henry Lawes.

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.

CnC 102: Charles Cotton, The Picture Set by Mr. Laws ('How, Chloris, can I e'er believe')

Copy of the first stanza, in a musical setting by Henry Lawes.

This MS discussed, with a facsimile, in Willa McClung Evans, Henry Lawes and Charles Cotton, PMLA, 53 (1938), 724-9.

First published (in two versions, the second Set by Mr. Laws) in Poems (1689), pp. 9-10, 344-5. Beresford, pp. 122-3.

CwT 851: Thomas Carew, Song. Conquest by flight ('Ladyes, flye from Love's smooth tale')

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

LoR 6: Richard Lovelace, A Mock-Song ('Now Whitehalls in the grave')

Copy, in a musical setting by John Cave.

Edited from this MS and discussed, with a facsimile, in Willa McClung Evans, Richard Lovelace's Mock Song, PQ, 24 (1945), 317-28.

First published in Lucasta. Posthume Poems (London, 1659-60). Wilkinson (1925), I, 143. (1930), pp. 154-5.