Bibliothèque Nationale, Paris, Département de la Musique

GrF 2: Fulke Greville, Caelica, Sonnet v ('Who trusts for trust, or hopes of loue for loue')

Copy of the incipit of an early version, here Who euer thinks or hopes, in a musical setting by John Dowland.

This sonnet first published in John Dowland, First Booke of Songes or Ayres (London, 1597). Bullough, I, 75. Wilkes, I, 81-2.

PlG 11: George Peele, A Sonet ('His Golden lockes, Time hath to Silver turn'd')

Copy of the incipit, here His golden locks, in a musical setting by John Dowland.

This setting first published in John Dowland, First Booke of Songes or Ayres (London, 1597).

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.

B&F 199: Francis Beaumont and John Fletcher, Song ('But yet or ere you part (oh cruell!)')

Copy, in a musical setting by Dowland.

Part of John Dowland's song Wilt thou unkind thus reave me of my heart. Quoted in The Knight of the Burning Pestle. Bowers, I, 396-7.

CmT 207: Thomas Campion, What if a day, or a month, or a yeare

Copy of the first line, with a musical setting by one R: Cr. (? R. Creighton).

This MS recorded in Greer, p. 309.

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.

SoR 141: Robert Southwell, S.J., Catholic Saint, Marie Magdalens complaint at Christs death ('Sith my life from life is parted')

Copy of line 25, here With my loue my life was rested, untitled, in a musical setting by Thomas Morley.

This setting first published in Thomas Morley, First Booke of Ayres (London, 1600). See Doughtie, Lyrics from English Airs, pp. 138, 494-6.

First published in Saint Peters Complaint, 1st edition (London, 1595). Brown, pp. 45-6.

B&F 201: Francis Beaumont and John Fletcher, Song ('Fortune my foe, &c.')

Copy, in a musical setting.

Quoted in The Knight of the Burning Pestle. Bowers, V, 235.

ShW 32.8: William Shakespeare, Venus and Adonis ('Even as the sun with purple-coloured face')

Copy of the incipit only of lines 517-22, here A 1000 kisses winne my heart from mee, in a musical setting.

This MS discussed, with a facsimile, in 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.

SoR 142: Robert Southwell, S.J., Catholic Saint, Marie Magdalens complaint at Christs death ('Sith my life from life is parted')

Copy of line 25, here With my loue my life was nestled, untitled, in a musical setting by Thomas Morley.

First published in Saint Peters Complaint, 1st edition (London, 1595). Brown, pp. 45-6.

B&F 202: Francis Beaumont and John Fletcher, Song ('Go from my window')

Copy, in a musical setting.

Quoted in The Knight of the Burning Pestle. Bowers, III, 496-500.

ToA 6: Aurelian Townshend, A Dialogue betwixt Time and a Pilgrime ('Aged man, that mowes these fields')

Copy, in a musical setting by Henry Lawes.

This MS recorded in John P. Cutts, Seventeenth-Century Songs and Lyrics in Paris Conservatoire MS. Rés. 2489, MD, 23 (1969), 117-39 (pp.?). Edited in part from this MS in Brown.

First published, in a musical setting by Lawes, in Henry Lawes, Ayres and Dialogues, Book I (London, 1653), p. 3. Chambers, pp. 6-7. Brown, pp. 43-5.

CaW 95: 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.

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.

DnJ 2953: John Donne, Song ('Stay, O sweet, and do not rise')

Copy of a two-stanza version, here beginning Sweet stay a while why doe you Rise, in a musical setting by Henry Lawes.

This MS collated in John P. Cutts, Seventeenth-Century Songs and Lyrics in Paris Conservatoire MS. Rés. 2489, MD, 23 (1969), 117-39 (pp. 125-6).

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.

PsK 249: Katherine Philips, On the death of my first and dearest childe, Hector Philipps, borne the 23d of Aprill, and dy'd the 2^d of May 1655, set by Mr Lawes ('Twice Forty moneths in wedlock I did stay')

Copy of the first stanza in a musical setting, headed on the Death of an Infant and subscribed Hen: Lawes.

c.1665.

This MS recorded (without identification of the poem) in John P. Cutts, Seventeenth-Century Songs and Lyrics in Paris Conservatoire MS. Rés. 2489, MD, 23 (1969), 117-39 (p. 126). Identified and discussed, with a facsimile, in Joan S. Applegate, Katherine Philips's Orinda upon Little Hector: An Unrecorded Musical Setting by Henry Lawes, EMS, 4 (1993), 272-80. Facsimile also in Elizabeth H. Hageman, Making a Good Impression: Early Texts of Poems and Letters by Katherine Philips, the Matchless Orinda, South Central Review, 11 (Summer 1994), 39-65 (p. 46).

First published, as Orinda upon little Hector Philips, in Poems (1667), pp. 148-9. Saintsbury, pp. 590-1. Hageman (1987), p. 599. Thomas, I, 220, poem 101.

WaE 232: Edmund Waller, Of Mrs. Arden ('Behold, and listen, while the fair')

Copy in a musical setting by Henry Lawes.

This MS collated in John P. Cutts, Seventeenth-Century Songs and Lyrics in Paris Conservatoire MS. Rés. 2489, MD, 23 (1969), 117-39 (p. 126).

First published in Workes (1645). Thorn-Drury, I, 91. A musical setting by Henry Lawes published in Select Ayres and Dialogues (London, 1669).

CwT 155: Thomas Carew, A deposition from Love ('I was foretold, your rebell sex')

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

This MS collated in John P. Cutts, Seventeenth-Century Songs and Lyrics in Paris Conservatoire MS. Res. 2489, MD, 23 (1969), 117-39 (p. 127).

First published in Poems (1640). Dunlap, pp. 16-17. Musical setting by Henry Lawes published in The Treasury of Musick, Book 2 (London, 1669).

CwT 535: Thomas Carew, Parting, Celia weepes ('Weepe not (my deare) for I shall goe')

Copy, in a musical setting by Henry Lawes.

This MS collated in John P. Cutts, Seventeenth-Century Songs and Lyrics in Paris Conservatoire MS. Rés. 2489, MD, 23 (1969), 117-39 (pp. 127-8).

First published in Poems (1640). Dunlap, pp. 48-9. Musical setting by Henry Lawes published in The Treasury of Musick, Book 2 (London, 1669).

DaW 111: Sir William Davenant, The Triumphs of the Prince d'Amour. Song ('Whither so gladly, and so fast')

Copy of Cupid's song, in a musical setting by Henry Lawes.

This MS collated in John P. Cutts, Seventeenth-Century Songs and Lyrics in Paris Conservatoire MS. Rés. 2489, MD, 23 (1969), 117-39 (p. 128).

Dramatic Works, I, 333-4. Lefkowitz, pp. 130-1. Gibbs, p. 219.

Henry Lawes's musical setting published in The Treasury of Musick, Book 2 (London, 1669). Reprinted in Sabol, 400 Songs & Dances from the Stuart Masque, No. 45.

StW 1305: William Strode, A Lover to his Mistress ('Ile tell you how the Rose did first grow redde')

Copy, in a musical setting, untitled.

This MS collated in John P. Cutts, Seventeenth-Century Songs and Lyrics in Paris Conservatoire MS. Res. 2489, MD, 23 (1969), 117-39 (p. 129).

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

HyT 10: Thomas Heywood, The Rape of Lucrece. Song ('The Gentry to the Kings head')

Copy of a sixteen-line version of the tavern song, in a musical setting by John Wilson.

Edited from this MS in John P. Cutts, Thomas Heywood's The Gentry to the King's Head in The Rape of Lucrece and John Wilson's setting, N&Q, 206 (October 1961), 384-7.

Dramatic Works, V, 190. Holaday, lines 1148-71.

StW 769: William Strode, Song ('I saw faire Cloris walke alone')

Copy, in a musical setting by John Hilton.

This MS collated in John P. Cutts, Seventeenth-Century Songs and Lyrics in Paris Conservatoire MS. Res. 2489, MD, 23 (1969), 117-39 (p. 129).

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).

B&F 92: Francis Beaumont and John Fletcher, The Mad Lover, IV, i, 45-68. Song ('Charon, oh, Charon, Thou wafter of the souls to bliss or bane!')

Copy of the Orpheus-Charon duet, in a musical setting by Richard Balls, headed A Dialogue between Charon & a Louer.

This MS collated in John P. Cutts, Seventeenth-Century Songs and Lyrics in Paris Conservatoire MS. Res. 2489, MD, 23 (1969), 117-39 (pp. 129-30).

Dyce, VI, 180-1. Bullen, III, 184. Bowers, V, 67-8.

CoA 12: Abraham Cowley, Anacreontiques. II. Drinking ('The thirsty Earth soaks up the Rain')

Copy in a musical setting by Charles Coleman, headed A.2 voc: Translate: Anacrons Greek Ode.

This MS collated in John P. Cutts, Seventeenth-Century Songs and Lyrics in Paris Conservatoire MS. Rés. 2489, MD, 23 (1969), 117-39 (pp. 130-1).

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).

ShJ 140: James Shirley, The Contention of Ajax and Ulysses for the Armour of Achilles, Act III, Song ('The glories of our blood and state')

Copy of the first stanza of the dirge, in a musical setting by Edward Coleman.

This MS collated in John P. Cutts, Seventeenth-Century Songs and Lyrics in Paris Conservatoire MS. Res. 2489, MD, 23 (1969), 117-39 (p. 134).

Gifford & Dyce, VI, 396-7. Armstrong, p. 54. Musical setting by Edward Coleman published in John Playford, The Musical Companion (London, 1667).

ShJ 141: James Shirley, The Contention of Ajax and Ulysses for the Armour of Achilles, Act III, Song ('The glories of our blood and state')

Copy of the complete dirge, in a musical setting by Edward Coleman.

This MS collated in Cutts, p. 134.

Gifford & Dyce, VI, 396-7. Armstrong, p. 54. Musical setting by Edward Coleman published in John Playford, The Musical Companion (London, 1667).

HeR 375: 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.

This MS collated in John P. Cutts, Seventeenth-Century Songs and Lyrics in Paris Conservatoire MS. Rés. 2489, MD, 23 (1969), 117-39 (pp. 138-9).

First published in Norman Ault, A Treasury of Unfamiliar Lyrics (London, 1938), p. 134. Martin, p. 421. Patrick, pp. 553-4.