Folger Shakespeare Library
CELM

New York Public Library, Music Division

  • Drexel MS 4041

    A folio songbook, in a single secretary hand, some items misnumbered, 144 leaves.

    c.1640s.

    Once owned by the Shirley family, Earls Ferrers, of Staunton Harold, Leicestershire. Also owned, and annotated, by Edward Francis Rimbault (1816-76), organist and author. Acquired in 1888.

    Generally cited as the Earl Ferrers MS. Collated in Cutts, Drexel Manuscript 4041, Musica Disciplina, 18 (1964), 151-202. A complete facsimile is in English Song 1600-1675, ed. Elise Bickford Jorgens, Vol. 9 (New York & London, 1987).

    • CmT 114 No. 4, f. 5r-v

      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.

      Thomas Campion, 'Thou art not faire, for all thy red and white'
    • DaW 74 No. 6, f. 6r-v

      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.

      Sir William Davenant, 'Why should great Beauties vertuous Fame desire'
    • SuJ 64 No. 8, ff. 7v-8v

      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.

      John Suckling, Song ('Why so pale and wan fond Lover?')
    • SuJ 52 No. 9, ff. 8v-9r

      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).

      John Suckling, Song ('No, no faire Heretique, it needs must bee')
    • DaW 93 No. 10, f. 9r-v

      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).

      Sir William Davenant, Love and Honour, Act V, scene i. Song ('O draw your Curtains and appeare!')
    • SuJ 119 No. 16, f. 13r-v

      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).

      John Suckling, Inconstancie in Woman ('I am confirm'd a woman can')
    • B&F 157 No. 17, ff. 13v-14r

      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).

      Francis Beaumont and John Fletcher, The Pilgrim, III, vii, 107-18. Song ('Down, ye angry waters all!')
    • B&F 51 No. 19, ff. 15v-16r

      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.

      Francis Beaumont and John Fletcher, The Faithful Shepherdess, I, iii, 71-86. Song ('Come Shepheards, come')
    • ShJ 203 No. 20, f. 16r

      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.

      James Shirley, The Triumph of Peace, Song 8 ('In envy to the Night')
    • B&F 107 No. 22, f. 17r

      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).

      Francis Beaumont and John Fletcher, The Maid in the Mill, II, i, 143-9. Song ('Come follow me, you country lasses')
    • B&F 108 No. 23, f. 17v

      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.

      Francis Beaumont and John Fletcher, The Maid in the Mill, II, i, 168-74. Song ('You shall have crowns of roses, daisies')
    • DeJ 128 No. 27, ff. 19v-20r

      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.

      Sir John Denham, The Sophy, V, iii, Song ('Somnus, the humble God that dwells')
    • DaW 46 No. 29, ff. 21v-2r

      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.

      Sir William Davenant, Song ('The Lark now leaves his watry Nest')
    • SuJ 75 No. 30, ff. 22v-3r

      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.

      John Suckling, Sonnet II ('Of thee (kind boy) I ask no red and white')
    • B&F 106 No. 34, ff. 25r-6v

      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.

      Francis Beaumont and John Fletcher, The Mad Lover, V, iv, 43-73. Song ('Arm, arm, arm, arm! the scouts are all come in')
    • SuJ 71 No. 37, ff. 27v-8r

      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.

      John Suckling, Sonnet I ('Do'st see how unregarded now')
    • B&F 60 No. 38, ff. 28v-9v

      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.

      Francis Beaumont and John Fletcher, The Humorous Lieutenant, IV, iii, 25-44. Song ('I obey, I obey. | And am come to view the day')
    • LoR 23 No. 40, ff. 30v-1r

      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.

      Richard Lovelace, Song. To Lucasta, Going beyond the Seas ('If to be absent were to be')
    • KiH 129 No. 42, ff. 31v-2v

      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.

      Henry King, The Defence ('Why slightest thou what I approve?')
    • LoR 3 No. 43, f. 33r-v

      Copy, here beginning Aye me ye 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.

      Richard Lovelace, A loose Saraband ('Ah me! the little Tyrant Theefe!')
    • B&F 24 No. 44, f. 34r

      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).

      Francis Beaumont and John Fletcher, The Bloody Brother, V, ii, 21-32. Song ('Take o take those lipps away')
    • LoR 17 No. 45, f. 34v

      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).

      Richard Lovelace, The Scrutinie. Song ('Why should you sweare I am forsworn')
    • DaW 49 No. 53, ff. 39r-40r

      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.

      Sir William Davenant, Song. The Dying Lover ('Dear Love let me this Evening dy!')
    • WaE 436 No. 57, f. 42r

      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.

      Edmund Waller, Song ('Chloris! farewell. I now must go')
    • RaW 531 No. 58, f. 42v

      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).

      Sir Walter Ralegh, 'Wrong not, deare Empresse of my Heart'
    • HeR 245 No. 59, f. 43r

      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).

      Robert Herrick, To the Virgins, to make much of Time ('Gather ye Rose-budd while ye may')
    • JnB 598 No. 64, f. 45v

      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.

      Ben Jonson, Epicoene I, i, 92-102. Song ('Still to be neat, still to be drest')
    • RaW 532 No. 65, f. 46r

      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).

      Sir Walter Ralegh, 'Wrong not, deare Empresse of my Heart'
    • FoJ 5 No. 68, f. 48r

      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).

      John Ford, The Lady's Trial, II, iv. Song ('Pleasures, beauty, youth attend ye')
    • SuJ 32 No. 72, f. 51r-v

      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.

      John Suckling, The constant Lover ('Out upon it, I have lov'd')
    • SuJ 14 No. 72a, f. 51v

      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.

      John Suckling, The Answer ('Say, but did you love so long?')
    • ShJ 5 No. 73, f. 52r

      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.

      James Shirley, Another ('Harke, harke how in euery groue')
    • DaW 81 No. 77, f. 56r-v

      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.

      Sir William Davenant, The Just Italian, Act V, scene i. Song ('This lady, ripe, and calm, and fresh')
    • DeJ 39 No. 79, ff. 57v-8r

      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.

      Sir John Denham, Martial. Epigram Out of an Epigram of Martial ('Prithee die and set me free')
    • LoR 10 No. 86, ff. 65-4v

      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.

      Richard Lovelace, Ode. To Lucasta. The Rose ('Sweet serene skye-like Flower')
    • ShW 94 No. 90, ff. 67v-8r

      Copy (words only).

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

      William Shakespeare, The Tempest, I, ii, 400-9. Song ('Full fathom five thy father lies')
    • SuJ 43 No. 94, f. 71v

      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.

      John Suckling, Loves Siege (''Tis now since I sate down before')
    • B&F 8 No. 106, ff. 84r-5r

      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).

      Francis Beaumont and John Fletcher, Beggars' Bush, II, i, 143-64. Song ('Cast our Caps and cares away!')
    • SuJ 170 No. 108, ff. 86v-7v

      Copy, in a musical setting by William Lawes.

      This MS collated in Beaurline.

      Beaurline, Plays, p. 144.

      John Suckling, The Goblins, Act III, scene ii, lines 72-8. Song ('A health to the Nut browne Lasse')
    • ShJ 56 No. 110, ff. 88v-9r

      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.

      James Shirley, One that loved none but deformed Women ('What should my Mistris do with hair')
    • B&F 100 No. 111, f. 89r

      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.

      Francis Beaumont and John Fletcher, The Mad Lover, IV, i, 78-88. Song ('This lion was a man of war that died')
    • CaW 101 No. 112, ff. 89v-92v

      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.

      William Cartwright, The Royal Slave, Act I, scene ii, lines 167-79. The Priest's song ('Come from a Dungeon to the Throne')
    • ShJ 36 No. 122, ff. 102r-3r

      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.

      James Shirley, Good Morrow ('Good morrow unto her, who in the night')
    • B&F 30 No. 124, f. 105v

      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).

      Francis Beaumont and John Fletcher, The Captain, II, ii, 160-80. Song ('Tell me dearest what is Love?')
    • WeJ 7 No. 126, ff. 107v-8r

      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.

      John Webster, The Duchess of Malfi, IV, ii, 61-72. Song ('O let us howle, some heavy note')
    • ShW 111 No. 142, ff. 131v-3v

      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.

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

  • Drexel MS 4175

    A folio songbook, largely in a single secretary hand, with poems and (reversed) culinary and medical receipts in later hands at the end, imperfect or incomplete, now 27 leaves, lacking half the songs listed in a Table at the end.

    c.1620s-30s.

    The original cover inscribed Ann Twice her booke. Inscribed on the first page My Cosen Twice Leftte this Booke with me...which is to be returne to her AGhaine.... Later owned by Edward Francis Rimbault (1816-76), organist and author.

    A complete facsimile is in English Song 1600-1675, ed. Elise Bickford Jorgens, Vol. 11 (New York & London, 1987). Discussed in John P. Cutts, Songs Vnto the Violl and Lute—Drexel Ms. 4175, Musica Disciplina, 16 (1962), 73-92.

    • WoH 117 No. i

      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.

      Sir Henry Wotton, On his Mistress, the Queen of Bohemia ('You meaner beauties of the night')
    • WeJ 6.5 No. iiii

      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.

      John Webster, The Duchess of Malfi, IV, ii, 61-72. Song ('O let us howle, some heavy note')
    • DnJ 2977 No. vi

      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.

      John Donne, Song ('Stay, O sweet, and do not rise')
    • RaW 184.8 No, ix

      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).

      Sir Walter Ralegh, Like to a Hermite poore ('Like to a Hermite poore in place obscure')
    • HrJ 116 No. xx

      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.

      Sir John Harington, Of a Lady that giues the cheek ('Is't for a grace, or is't for some disleeke')
    • PeW 193 No. xxi

      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.

      William Herbert, third Earl of Pembroke, Of a fair Gentlewoman scarce Marriageable ('Why should Passion lead thee blind')
    • MiT 10 No. xxiiii

      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).

      Thomas Middleton, A Chaste Maid in Cheapside, IV, i, 162-72, 174-9. Song ('Cupid is Venus' only joy')
    • CmT 136 No. xxv

      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.

      Thomas Campion, 'Though your strangenesse frets my hart'
    • RaW 533 No. xxviii

      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).

      Sir Walter Ralegh, 'Wrong not, deare Empresse of my Heart'
    • B&F 86.2 No. xxx

      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.

      Francis Beaumont and John Fletcher, The Mad Lover, IV, i, 24-41. Song ('Orpheus I am, come from the deeps below')
    • WeJ 8 No. xli

      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.

      John Webster, The Duchess of Malfi, IV, ii, 61-72. Song ('O let us howle, some heavy note')
    • B&F 31 No. xliiii

      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).

      Francis Beaumont and John Fletcher, The Captain, II, ii, 160-80. Song ('Tell me dearest what is Love?')
    • JnB 26 No. xlix

      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).

      Ben Jonson, A Celebration of Charis in ten Lyrick Peeces. 4. Her Triumph ('See the Chariot at hand here of Love')
    • PeW 138 No. lii

      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.

      William Herbert, third Earl of Pembroke, Amintas ('Cloris sate, and sitting slept')
    • MiT 33 No. liiii

      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.

      Thomas Middleton, The Witch, III, iii, 39-72. Song ('Come away, come away, Hecate')
    • MiT 11 No. lvi

      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).

      Thomas Middleton, A Chaste Maid in Cheapside, IV, i, 162-72, 174-9. Song ('Cupid is Venus' only joy')
    • ShW 112 No. lix

      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.

      William Shakespeare, The Winter's Tale, IV, iv, 294-309. Song ('Get you hence, for I must go')
    • StW 1332 No. [lx, unnumbered]

      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.

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

  • Drexel MS 4257

    A folio music book, containing 327 songs, in three largely secretary hands, with a Cattalogue of contents, 229 leaves.

    Owned (in 1659) and partly compiled by the composer John Gamble (d.1687), with some misnumbering.

    c.1630s-50s.

    Later owned by Edward Francis Rimbault (1816-76), organist and author. Acquired in 1888.

    A complete facsimile is in English Song 1600-1675, ed. Elise Bickford Jorgens, Vol. 10 (New York & London, 1987). Discussed in Charles W. Hughes, John Gamble's Commonplace Book, M&L, 26 (1945), 215-29.

    • CaW 108 [unspecified number]

      Copy, in a musical setting by Henry Lawes.

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

      Evans, p. 223.

      William Cartwright, The Royal Slave, Act 3, scene i. Song ('Now, now, the Sunne is fled')
    • JnB 9 No. 2

      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).

      Ben Jonson, A Celebration of Charis in ten Lyrick Peeces. 4. Her Triumph ('See the Chariot at hand here of Love')
    • CwT 758 No. 3

      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.

      Thomas Carew, A Song ('Aske me no more whether doth stray')
    • StW 903 No. 4

      Copy, in a musical setting.

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

      William Strode, A song ('Thoughts doe not vexe me while I sleepe')
    • GrJ 63 No. 6

      Copy, in a musical setting.

      This MS recorded in Krueger.

      First published in Wits Recreations Augmented (London, 1641), sig. V7v. 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.

      John Grange, 'Not that I wish my Mistris'
    • CwT 788 No. 8

      Copy, here beginning In yor fayre cheekes 2 pitts doe lye.

      This MS recorded in Dunlap, p. 291.

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

      Thomas Carew, A Song ('In her faire cheekes two pits doe lye')
    • CmT 60 No. 10

      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.

      Thomas Campion, 'If Love loves truth, then women doe not love'
    • CwT 175 No. 11

      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).

      Thomas Carew, Disdaine returned ('Hee that loves a Rosie cheeke')
    • ShJ 6 No. 12

      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.

      James Shirley, Another ('Harke, harke how in euery groue')
    • RaW 185 No. 15

      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).

      Sir Walter Ralegh, Like to a Hermite poore ('Like to a Hermite poore in place obscure')
    • B&F 25 No. 16

      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).

      Francis Beaumont and John Fletcher, The Bloody Brother, V, ii, 21-32. Song ('Take o take those lipps away')
    • B&F 169 No. 17

      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).

      Francis Beaumont and John Fletcher, The Spanish Curate, II, iv, 52-63. Song ('Dearest, do not you delay me')
    • PeW 194 No. 19

      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.

      William Herbert, third Earl of Pembroke, Of a fair Gentlewoman scarce Marriageable ('Why should Passion lead thee blind')
    • ShJ 15 No. 22

      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.

      James Shirley, The Curtizane ('Cupid calls o Younge men Come')
    • ShJ 57 No. 24

      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.

      James Shirley, One that loved none but deformed Women ('What should my Mistris do with hair')
    • JnB 710 No. 25

      Copy, in a musical setting by Henry Lawes.

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

      Ben Jonson, The Poetaster, II, ii, 163 et seq. Song ('If I freely may discouer')
    • BmF 150.4 No. 26

      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.

      Francis Beaumont, A Charm ('Sleep, old man, let silence charm thee')
    • CwT 588 No. 31

      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.

      Thomas Carew, A prayer to the Wind ('Goe thou gentle whispering wind')
    • MiT 31 No. 32

      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.

      Thomas Middleton, The Witch, II, i, 131-7. Song ('In a maiden-time profest')
    • ShW 28 No. 33

      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.

      William Shakespeare, Sonnet 116 ('Let me not to the marriag of true minds')
    • B&F 32 No. 35

      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).

      Francis Beaumont and John Fletcher, The Captain, II, ii, 160-80. Song ('Tell me dearest what is Love?')
    • BmF 99 No. 36

      Copy, in a musical setting.

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

      Francis Beaumont, The Indifferent ('Never more will I protest')
    • JnB 674 No. 37

      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).

      Ben Jonson, The Haddington Masque, lines 86 et seq. Song ('Beauties, haue yee seene this toy')
    • HeR 159 No. 38

      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).

      Robert Herrick, Mistresse Elizabeth Wheeler, under the name of the lost Shepardesse ('Among the Mirtles, as I walkt')
    • SuJ 76 No. 40

      Copy, in a musical setting by Nicolas Lanier, subscribed Sr: John Suckling.

      This MS recorded in Clayton.

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

      John Suckling, Sonnet II ('Of thee (kind boy) I ask no red and white')
    • B&F 12 No. 67

      Copy of a version of Higgen's song, here beginning I met with ye 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.

      Francis Beaumont and John Fletcher, Beggars' Bush, III, i, 42-59. Song ('I met with him first in the shape of a Ram')
    • CwT 595.8 No. 71

      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).

      Thomas Carew, The protestation, a Sonnet ('No more shall meads be deckt with flowers')
    • MsP 33 No. 78

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

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

      Edwards & Gibson, III, 244.

      Philip Massinger, The Picture, III, v, 26-37. Song ('The blushing rose and purple flower')
    • CmT 115 No. 80

      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.

      Thomas Campion, 'Thou art not faire, for all thy red and white'
    • DaW 75 No. 81

      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.

      Sir William Davenant, 'Why should great Beauties vertuous Fame desire'
    • CmT 39 No. 83

      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.

      Thomas Campion, 'Fire, fire, fire, fire!'
    • StW 762.8 No. 87

      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).

      William Strode, Song ('I saw faire Cloris walke alone')
    • SuJ 53 No. 89

      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).

      John Suckling, Song ('No, no faire Heretique, it needs must bee')
    • JnB 645 No. 92

      Copy (words only).

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

      Ben Jonson, The Gypsies Metamorphosed, Song ('Cock-Lorell would needes haue the Diuell his guest')
    • WoH 118 No. 98

      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.

      Sir Henry Wotton, On his Mistress, the Queen of Bohemia ('You meaner beauties of the night')
    • SuJ 24 No. 103

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

      This MS collated in Clayton.

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

      John Suckling, A Ballade, Upon a Wedding ('I tell thee Dick, where I have been')
    • SuJ 208 No. 104

      Copy, the text only.

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

      John Suckling, Upon Sir John Suckling's hundred horse ('I tell thee Jack thou'st given the King')
    • SuJ 227 No. 104

      Copy of the first line only.

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

      John Suckling, Sir John Suckling's Answer ('I tell thee foole who'ere thou be')
    • B&F 38 No. 108

      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.

      Francis Beaumont and John Fletcher, The Captain, IV, iv, 85-104. Song ('Come hither you that love, and heare me sing')
    • B&F 35 No. 109

      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.

      Francis Beaumont and John Fletcher, The Captain, III, iv, 33-48. Song ('Away delights, goe seeke some other dwelling')
    • SuJ 120 No. 114

      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).

      John Suckling, Inconstancie in Woman ('I am confirm'd a woman can')
    • CmT 204 No. 118

      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.

      Thomas Campion, 'Long have mine eies gaz'd with delight'
    • CwT 869 No. 132

      Copy, in a musical setting.

      This MS recorded in Dunlap, p. 291.

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

      Thomas Carew, Song. Eternitie of love protested ('How ill doth he deserve a lovers name')
    • HeR 219 No. 133

      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).

      Robert Herrick, To Anthea, who may command him any thing ('Bid me to live, and I will live')
    • StW 866 No. 134

      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.

      William Strode, Song ('Keepe on your maske, yea hide your Eye')
    • HeR 246 No. 141

      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).

      Robert Herrick, To the Virgins, to make much of Time ('Gather ye Rose-budd while ye may')
    • SuJ 72 No. 156

      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.

      John Suckling, Sonnet I ('Do'st see how unregarded now')
    • ToA 64 No. 163

      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.

      Aurelian Townshend, To the Countess of Salisbury ('Victorious beauty, though your eyes')
    • CoA 208 No. 164

      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).

      Abraham Cowley, Loves Riddle, IV, i, Song ('It is a punishment to love')
    • JnB 622 No. 177

      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.

      Ben Jonson, The Gypsies Metamorphosed, Song ('To the old, longe life and treasure')
    • FoJ 6 No. 178

      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).

      John Ford, The Lady's Trial, II, iv. Song ('Pleasures, beauty, youth attend ye')
    • JnB 599 No. 179

      Copy, in a musical setting.

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

      Ben Jonson, Epicoene I, i, 92-102. Song ('Still to be neat, still to be drest')
    • CwT 916 No. 182

      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).

      Thomas Carew, Song. Perswasions to enjoy ('If the quick spirits in your eye')
    • DaW 50 No. 193

      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.

      Sir William Davenant, Song. The Dying Lover ('Dear Love let me this Evening dy!')
    • BmF 143 No. 195

      Copy, in a musical setting.

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

      Francis Beaumont, True Beauty ('May I find a woman fair')
    • RaW 534 No. 210

      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).

      Sir Walter Ralegh, 'Wrong not, deare Empresse of my Heart'
    • LoR 43 No. 214

      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).

      Richard Lovelace, To Althea, From Prison. Song ('When Love with unconfined wings')
    • ShJ 190 No. 217

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

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

      James Shirley, The School of Compliment, Act II, scene i. Song ('God of war, to Cupid yield')
    • LoR 18 No. 219

      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).

      Richard Lovelace, The Scrutinie. Song ('Why should you sweare I am forsworn')
    • LoR 24 No. 221

      Copy, in a musical setting by Henry lawes.

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

      Richard Lovelace, Song. To Lucasta, Going beyond the Seas ('If to be absent were to be')
    • KiH 130 No. 222

      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.

      Henry King, The Defence ('Why slightest thou what I approve?')
    • StW 848.5 No. 237

      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.

      William Strode, Song ('Keepe on your maske, yea hide your Eye')
    • HaW 11 No. 246

      Copy, in a musical setting by William Webb.

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

      William Habington, To Castara, Looking backe at her departing ('Looke backe Castara. From thy eye')
    • CwT 24 No. 247

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

      This MS recorded in Dunlap, p. 292.

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

      Thomas Carew, Boldnesse in love ('Marke how the bashfull morne, in vaine')
    • LoR 25 No. 254

      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.

      Richard Lovelace, Sonnet ('When I by thy faire shape did sweare')
    • RaW 480 No. 257

      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.

      Sir Walter Ralegh, 'Shall I, like an hermit, dwell'
    • ToA 21 No. 263

      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.

      Aurelian Townshend, 'Let not thy beauty make thee proud'
    • CnC 102 No. 277

      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.

      Charles Cotton, The Picture Set by Mr. Laws ('How, Chloris, can I e'er believe')
    • CwT 851 No. 285

      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).

      Thomas Carew, Song. Conquest by flight ('Ladyes, flye from Love's smooth tale')
    • LoR 6 No. 307

      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.

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

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