Christ Church, Oxford

a. 3. 130

Printed exemplum of Poëtica Stromata (1648). Mid-17th century.

p. 120

CoR 380: Richard Corbett, Little Lute (‘Little lute, when I am gone’)

Copy of the first stanza, headed ‘A Gentle woman on a Lute or Little Book of a Gentleman whom she entirely loved’, inscribed in the book.

This MS recorded in Bennett & Trevor-Roper, pp. 106-7.

First published in Bennett & Trevor-Roper (1955), p. 8.

Some texts followed by an answer beginning ‘Little booke, when I am gone’.

Allestree P. 4.3

A printed exemplum inscribed by Walton for Dr Richard Allstree.

*WtI 77: Izaak Walton, The Lives of Dr. John Donne, Sir Henry Wotton, Mr. Richard Hooker, Mr. George Herbert (London, 1670)

Recorded in W.G. Hiscock, A Christ Church Miscellany (Oxford, 1946), p. 10.

Allestree P. 4.4

A printed exemplum inscribed by Walton for Dr Richard Allstree.

*WtI 46: Izaak Walton, The Life of Dr. Sanderson, late Bishop of Lincoln (London, 1678)

Recorded in W.G. Hiscock, A Christ Church Miscellany (Oxford, 1946), p. 10.

e. 7. 21 [a]

An exemplum inscribed ‘Izaak Walt[on]’ on the title-page. Bound with five other printed religious pamphlets of 1605-25, including works by William Barlow, Sir Edward Hoby, Francis Rogers, and Henry Mason (STC 21177; 13539; 1457; 17602), both covers blindstamped with the initials ‘I W’. Mid-17th century.

*WtI 144: Izaak Walton, Constable, Henry. The Catholike Moderator, [trans. from Cardinal Jacques Davy du Perron] (London, 1623)

e. 7. 21 [b]

An exemplum with the early signature ‘Izaak Walton’ on the title-page. Bound with five other religious pamphlets of 1605-25, including works by William Barlow, Sir Edward Hoby, Francis Rogers, and Henry Mason (STC 21177; 13539; 1457; 17602), both covers blindstamped with the initials ‘I W’. Early-mid-17th century.

*WtI 206: Izaak Walton, Wadsworth, James. The Copies of Certaine Letters (London, 1624)

f.8.64

Autograph draft of four lines of verse, beginning ‘deathes teror doth affright’, a translation of lines by Lucretius later incorporated in the Anatomy (1621), inscribed on a flyleaf following a printed exemplum of John Bainbridge, An astronomicall description of the late comet from the 18. of Novem. 1618. to the 16. of December following (London, 1619). c.1620.

*BuR 1.22: Robert Burton, The Anatomy of Melancholy

Discussed, with a facsimile, in Nicolas Kiessling, ‘Two Notes on Robert Burton's Annotations: His Date of Conception, and a Fragment of Copy for The Anatomy of Melancholy’, RES, NS 36 (1985), 375-9.

First published in Oxford, 1621. Edited by A.R. Shilleto (introduced by A.H. Bullen), 3 vols (London, 1893). Edited variously by Thomas C. Faulkner, Nicolas K. Kiessling, Rhonda L. Blair, J.B. Bamborough, and Martin Dodsworth, 6 vols (Oxford, 1989-2000).

f.10.35

Autograph annotations, including notes giving birth dates of members of Burton's family and his own birthdate, 8 February 1576/7. Early 17th century.

*BuR 6: Robert Burton, Stadius. Ephemerides (Cologne, 1581)

Discussed in Nicolas Kiessling, ‘Two Notes on Robert Burton's Annotations: His Date of Conception, and a Fragment of Copy for The Anatomy of Melancholy’, RES, NS 36 (1985), 375-9.

Hyp.M.7917

Exemplum of the printed edition of 1604 with the unprinted pages (E1v-E2r, E3v-E4r, E5r-E6v) supplied in MS in two professional secretary hands. c.1604.

BcF 129.8: Francis Bacon, Certain Considerations touching the Better Pacification and Edification of the Church of England

First published in London, 1604. Spedding, X, 103-27. The circumstances of the original publication and the book's suppression by the Bishop of London discussed, with a census of relevant exempla, in Richard Serjeantson and Thomas Woolford, ‘The Scribal Publication of a Printed Book: Francis Bacon's Certaine Considerations Touching...the Church of England (1604)’, The Library, 7th Ser. 10/2 (June 2009), 119-56.

WK.8.7

Two fragments of pages from what was probably a galley proof of the second printed edition (Oxford, 1624); one fragment containing some rough jottings (names of places &c) in Burton's hand; the other (p. 80) containing two proof corrections in an unidentified hand. Used as binder's waste in a printed exemplum of Josua Stegmann, Photinianismus (Rinteln, 1623) bound at Oxford. 1624.

*BuR 1: Robert Burton, The Anatomy of Melancholy

Recorded in W.G. Hiscock, ‘Burton's “Anatomy”’, TLS (18 May 1933), p. 348, and on Jan Moore, p. 76.

First published in Oxford, 1621. Edited by A.R. Shilleto (introduced by A.H. Bullen), 3 vols (London, 1893). Edited variously by Thomas C. Faulkner, Nicolas K. Kiessling, Rhonda L. Blair, J.B. Bamborough, and Martin Dodsworth, 6 vols (Oxford, 1989-2000).

MS i. b. 2

Sub-Dean's Book for 1549-1643.

pp. 365, 387, 391, 393, 395

*CoR 801: Richard Corbett, Document(s)

A series of statements on several pages signed by Corbett or on his behalf.

pp. 367, 377, 379, 413

*StW 1498: William Strode, Document(s)

Strode's signatures, dated 17 February 1641; 6 February 1638[/9]; 22 December 1639; 18 November 1639-8 february 1639[/40] (three times, to admission statements).

p. 387

*KiH 816: Henry King, Document(s)

King's signature, 14 July 1626.

MS xii. b. 64

Disbursements book for 1619-20. 1619-20.

passim

*CoR 794: Richard Corbett, Document(s)

Autograph signature.

passim

*GoT 12: Thomas Goffe, Document(s)

Autograph signature.

passim

*StW 1486: William Strode, Document(s)

Six autograph signatures by Strode

MS xii .b. 65

Disbursements book for 1620-1. 1620-21.

passim

*CoR 795: Richard Corbett, Document(s)

Eight signatures by Corbett.

passim

*GoT 13: Thomas Goffe, Document(s)

Goffe's signature.

passim

*MoG 104: George Morley, Inscription(s)

Two signatures by Morley.

passim

StW 1487: William Strode, Document(s)

Two signatures by Strode.

MS xii. b. 67

Disbursements Book for 1622-3. 1622-3.

passim

*CoR 796: Richard Corbett, Document(s)

Eight signatures by Corbett.

passim

*GoT 14: Thomas Goffe, Document(s)

Goffe's signature.

passim

*MoG 105: George Morley, Inscription(s)

Morley's signature.

passim

StW 1489: William Strode, Document(s)

Some nineteen signatures by Strode.

MS xii. b. 68

Disbursements book for 1623-4. 1623-24.

passim

*CoR 797: Richard Corbett, Document(s)

Six signatures by Corbett.

passim

*MoG 106: George Morley, Inscription(s)

Autograph signature.

passim

StW 1490: William Strode, Document(s)

At least twenty-eight signatures by Strode.

MS xii. b. 69

Disbursements book for 1624-5. 1624-25.

passim

*CoR 798: Richard Corbett, Document(s)

Seven signatures by Corbett.

passim

StW 1491: William Strode, Document(s)

Some eighteen autograph signatures by Strode.

passim

MoG 107: George Morley, Inscription(s)

Morley's signature.

passim

*KiH 819: Henry King, Document(s)

King's signature.

MS xii. b. 70

Disbursements Book for 1625-6.

passim

CoR 799: Richard Corbett, Document(s)

Several signatures by Corbett.

passim

*MoG 108: George Morley, Inscription(s)

Morley's signature.

passim

*StW 1492: William Strode, Document(s)

Some 22 signatures by Strode.

MS xii. b. 71

Disbursements book for 1626-7. 1626-27.

passim

*CoR 800: Richard Corbett, Document(s)

Six signatures by Corbett.

passim

*MyJ 33: Jasper Mayne, Document(s)

Mayne's signature.

passim

*MoG 109: George Morley, Inscription(s)

Morley's signature.

passim

*StW 1493: William Strode, Document(s)

Six signatures by Strode.

MS xii. b. 73

Disbursements Book for 1628-9.

passim

*StW 1494: William Strode, Document(s)

Eleven signatures by Strode.

passim

*MyJ 34: Jasper Mayne, Document(s)

Mayne's signatures.

passim

*MoG 110: George Morley, Inscription(s)

Morley's signature.

MS xii. b. 74

Disbursements Book for 1629-30.

passim

*StW 1496: William Strode, Document(s)

Some 26 signatures by Strode.

passim

MyJ 35: Jasper Mayne, Document(s)

Mayne's signature.

MS xii. b. 75

Disbursements Book for 1630-31.

passim

*StW 1498.5: William Strode, Document(s)

Five signatures by Strode.

passim

*MyJ 36: Jasper Mayne, Document(s)

Mayne's signature.

MS xii. b. 103

Disbursements Books, entries by Walton dating between 11 August 1660 and 13 February 1660/1.

3rd Term, part 1, pp. 3, 12, 14.

MyJ 37: Jasper Mayne, Document(s)

Mayne's signature(s). 1660.

4th Term 1st Part pp. 2, 12

MyJ 38: Jasper Mayne, Document(s)

Mayne's signatures. 1660.

MS xii. b. 104

Disbursements Book for 1661. 1660.

passim

*MyJ 39: Jasper Mayne, Document(s)

Mayne's signatures.

MS xiii. b. 1

Caution Book, 1625-41.

pp. 20-1 (rev.), 127, 161, 163, 167, 144-5

*StW 1499: William Strode, Document(s)

Eight signatures by Strode, 1626-32.

p. 22

StW 1500: William Strode, Document(s)

Subscription in an unidentified hand, ‘Receiued then of mr Strode the Caution of mr. Daniell Leare...£10’, 23 January [1631/2], followed (on p. 23) ‘Repaid to Mr Leare by Dor Fell These: May. 13. 1633. Da: Leare’.

pp. 59, 68, 69, 78

CaW 132: William Cartwright, Document(s)

Cartwright's signatures, 21 July 1635, 28 October 1635, 4 July 1636, and 10 May 1636.

MS xiii. b. 2

Caution book for 1638-48.

p. 46

CaW 133: William Cartwright, Document(s)

Cartwright's signature. 1642.

MS xiii. b. 4

Book of cautions. 1657-1675.

p. 155

*OtT 20: Thomas Otway, Document(s)

The young Otway's autograph signature, 28 September 1671. 1671.

Facsimile in Ghosh, I, frontispiece.

MS liii. b. 2

Sub-Dean's Books.

f. 7v

*GoT 15: Thomas Goffe, Document(s)

Goffe's autograph petition to Christ Church for permission to take up a rectorship of the parish of East Clandon, Surrey, in Latin, 11 October 1622. 1622.

Facsimiles in David Carnegie, ‘The Identification of the Hand of Thomas Goffe, Academic Dramatist and Actor’, The Library, 5th Ser. 26 (1971), 161-5 (Plate XIII), and in Thomas Goffe, The Couragious Turke, ed. David Carnegie, Malone Society (Oxford, 1974), Plate V.

passim

*StW 1497: William Strode, Document(s)

Nine autograph inscriptions by Strode registering his leave of absence between 1619 and 1630. 1619-30.

MS Mus. 23

Folio music book. Early 18th century.

Once owned by one Richard Goodson.

ff. 10v-11r

PsK 541: Katherine Philips, Upon the engraving. K:P: on a Tree in the short walke at Barn=Elms (‘Alass! how barbarous are we’)

Copy, in a musical setting by Henry Purcell.

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

MS Mus. 46

A folio music book, in a single cursive hand, written from both ends, 74 leaves (including c.35 blanks), in contemporary calf. c.1700.

ff. 70r--69r rev.

CoA 182: Abraham Cowley, The Swallow (‘Foolish Prater, what do'st thou’)

Copy, in a musical setting.

First published, among Miscellanies, in Poems (London, 1656). Waller, I, 58. Sparrow, p. 58.

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

ff. 71v-70r rev.

CoA 30: Abraham Cowley, Anacreontiques. VII. Gold (‘A Mighty pain to Love it is’)

Copy, in a musical setting by Pietro Reggio.

First published, among Miscellanies, in Poems (London, 1656). Waller, I, 55. Sparrow, pp. 54-5.

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

MS Mus. 87

MS songbook. Owned and probably compiled by Elizabeth Davenant (sister of Sir William Davenant), of Oxford. c.1624-30s.

Complete facsimile of this MS volume in Jorgens, VII (1987). Discussed in John P. Cutts, ‘“Mris Elizabeth Davenant 1624”: Christ Church MS. Mus. 87’, RES, NS 10 (1959), 26-37.

f. 1r

PeW 136: William Herbert, third Earl of Pembroke, Amintas (‘Cloris sate, and sitting slept’)

Copy, in a musical setting.

This MS recorded in Krueger.

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

f. 1v

CmT 21: Thomas Campion, ‘Come, you pretty false-ey'd wanton’

Copy of the first strophe, in a musical setting.

This MS collated in Davis, p. 495.

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

f. 1v

CmT 243: Thomas Campion, ‘Whether away my sweetest deerest?’

Copy, in a musical setting.

Edited from this MS in Cutts and in Davis, p. 481.

First published in A Booke of Ayres (London, 1601), Part II. Davis, p. 481. John P. Cutts, ‘“Mris Elizabeth Davenant 1624”: Christ Church MS. Mus. 87’, RES, NS 10 (1959), 26-37 (p. 30).

f. 3v

GoT 10: Thomas Goffe, The Couragious Turke, or, Amurath the First, Act II, scene ii, lines 489-98: Song (‘Drop golden showers, gentle sleepe’)

Copy of the song, in a musical setting.

Mentioned in Malone Society edition. Edited from this MS in Jorgens, XII, pp. 61, 403.

ff. 4v-5r

JnB 23: Ben Jonson, A Celebration of Charis in ten Lyrick Peeces. 4. Her Triumph (‘See the Chariot at hand here of Love’)

Copy of lines 21-30, in a musical setting by Robert Johnson, here beginning ‘Have you seene the white lilly grow’.

This MS collated in Cutts, Musique de la troupe de Shakespeare, pp. 150-1. Recorded in Herford & Simpson, XI, 609. Facsimile in Jorgens, VII.

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).

ff. 5v-6r

B&F 179: Francis Beaumont and John Fletcher, Valentinian, V, ii, 13-22. Song (‘Care-charming Sleep, thou easer of all woes’)

Copy, in a musical setting by Robert Johnson.

Edited ffom this MS in Cutts, Musique de la troupe de Shakespeare, pp. 37-8 (collated pp. 140-2).

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

ff. 7v-8r

B&F 83: Francis Beaumont and John Fletcher, The Mad Lover, III, iv, 49-63. Song (‘Go, happy heart! for thou shalt lie’)

Copy, in a musical setting by John Wilson.

This MS collated in Cutts, Musique de la troupe de Shakespeare, p. 161-2.

First published in Comedies and Tragedies (London, 1647). Dyce, VI, 115-212 (pp. 171-2). Bullen, III, 111-219, ed. R.W. Bond (p. 174). Bowers, V, 11-98, ed. Robert K. Turner (pp. 58-9).

ff. 12v-13r

DrM 63: Michael Drayton, To His Coy Love, A Conzonet (‘I pray thee leave, love me no more’)

Copy, in a musical setting, untitled.

First published, among Odes with Other Lyrick Poesies, in Poems (London, 1619). Hebel, II, 372.

ff. 13v-14r

HeR 224: Robert Herrick, To Musick. A Song (‘Musick, thou Queen of Heaven, Care-charming-spel’)

Copy of an eight-line version, in a musical setting.

This MS collated in Martin.

First published (in a six-line version) in Hesperides (London, 1648). Martin, p. 103. Patrick, p. 143.

MS 140

Copy, as ‘per Jo. Foxum’, in a neat roman hand, with a formal title-page ‘Syllogisticon. hoc est: Argvmenta sev Probationes & Resolutiones...De re materia Sacramenti Eucharistici. Cum Epistola ad Papistas hortatoria’. Mid-16th century.

FxJ 15: John Foxe, Syllogisticon, hoc est argumenta...de re et materia sacramenti eucharistici &c

First published in London, [1560-4?].

MS 154

Copy, in a single professional hand, headed after the Prologue ‘The life and death of Thomas Wolsey late Cardinall, written by George Cavendish his gent.vsher’, 172 folio leaves, in contemporary calf gilt. Copy, 172 folio leaves. c.1630.

CvG 26: George Cavendish, The Life of Cardinal Wolsey

Sylvester, No. 15.

First published in George Cavendish, The Life of Cardinal Wolsey and Metrical Visions, ed. Samuel W. Singer, 2 vols (Chiswick, 1825). The Life and Death of Cardinal Wolsey by George Cavendish, ed. Richard S. Sylvester, EETS, orig. ser. 243 (London, New York and Toronto, 1959).

MS 155

Copy, in a single cursive hand, except for ff. ‘53-58’, 114 tall folio leaves (plus blanks), in old boards, dated on a flyleaf 10 December 1741. Early 18th century.

CvG 27: George Cavendish, The Life of Cardinal Wolsey

Transcribed from an ancient manuscript [? CvG 000] at the expence of the Rev. John Blackbourn, MA, of Trinity College, Cambridge, whose widow donated it, via the Rev. Dr Tookie, to Christ Church on 10 December 1741.

Sylvester, No. 16.

First published in George Cavendish, The Life of Cardinal Wolsey and Metrical Visions, ed. Samuel W. Singer, 2 vols (Chiswick, 1825). The Life and Death of Cardinal Wolsey by George Cavendish, ed. Richard S. Sylvester, EETS, orig. ser. 243 (London, New York and Toronto, 1959).

MS 180

Autograph MS, iii + 156 pages (185 X 130mm.), in contemporary crimson velvet embroidered. A presentation MS to Queen Elizabeth, with a Dedication to her, in several styles of script, with decoration and drawn figures, and with a self-portrait of Esther Inglis. 27 March 1599.

*InE 30: Esther Inglis, [Psalms] Le Livre des Pseaumes escrites en diverses sortes de lettres par Esther Anglois francoise. A Lislebourg en Ecosse 1599

Inscribed by the Countess of Ancram.

Evidently the MS to which Bartholemew Kello refers, in his letter to Queen Elizabeth, complaining for lack of reward, 18 July 1599 (British Library, Add. MS 4125, ff. 355r-6v): namely, ‘the booke of psalmes wreaten be my wyfe in french and in diuers sortes of Carectaris adornit euerie way so far as was possible to ane simple woman, being presentit to your Matie’.

Scott-Elliot & Yeo, No. 7 (pp. 33-5), with facsimiles of pp. 69 and 99 as Plates 9 and 10 (between pp. 42 and 43).

Psalms in French, with Latin verses to Queen Elizabeth by Andrew Melville (1545-1622) and Robert Rollock (1555-99) and French verses to Esther Inglis by Melville and John Johnston (?1570-1611).

MS 184

A folio composite verse and heraldic miscellany, in several hands, ii + 302 leaves, in contemporary blind-stamped calf. Including much Welsh verse and coats of arms, some by or relating to Sir John Salusbury. Compiled, at least in part, by William Cynwal of Penmachno for Catherine of Berain, wife of Sir Richard Clough. c.1591-1609.

f. 40r-v

*JnB 386: Ben Jonson, An Ode to Iames Earle of Desmond (‘Where art thou, Genius? I should use’)

Autograph, untitled, here beginning ‘Genius where art thou? I should vse’, subscribed ‘B. J.’.

This MS collated in Herford & Simpson, with a facsimile of lines 1-23 facing p. 179. Discussed, with a complete facsimile, in Mark Bland, ‘“As far from all Reuolt”: Sir John Salusbury, Christ Church MS 184 and Ben Jonson's First Ode’, EMS, 8 (2000), 43-78. Facsimile of first page also in DLB, vol. 121, Seventeenth-Century British Nondramatic Poets, First Series, ed. M. Thomas Hester (Detroit, 1992), p. 189.

First published in The Vnder-wood (xxv) in Workes (London, 1640). Herford & Simpson, VIII, 176-80.

ff. 43v-4v

EsR 73: Robert Devereux, second Earl of Essex, A Poem made on the Earle of Essex (being in disgrace with Queene Eliz): by mr henry Cuffe his Secretary (‘It was a time when sillie Bees could speake’)

Copy of a fifteen-stanza version, in one secretary and one italic hand, untitled.

This MS collated in May, pp. 128-32.

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

f. 49r

TiC 26: Chidiock Tichborne, Tichborne's Lament (‘My prime of youth is but a frost of cares’)

Copy, headed ‘Mors certa, incerta dies, interior hora!’.

This MS text recorded in Hirsch.

First published in the single sheet Verses of Prayse and Joy Written Upon her Maiesties Preseruation Whereunto is annexed Tychbornes lamentation, written in the Towre with his owne hand, and an answer to the same (London, 1586). Hirsch, pp. 309-10. Also ‘The Text of “Tichborne's Lament” Reconsidered’, ELR, 17, No. 3 (Autumn 1987), between pp. 276 and 277. May EV 15464 (recording 37 MS texts). For the ‘answer’ to this poem, see KyT 1-2.

MS Mus. 350

An oblong quarto songbook. Late 17th century.

Owned in 1732 by Richard Goodson, of Christ Church, Oxford.

pp. 12-13

CoA 66.5: Abraham Cowley, The Epicure (‘Fill the Bowl with rosie Wine’)

Copy, in a musical setting ascribed to ‘Mr Henry Hall’.

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

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

pp. 64-5

B&F 133: Francis Beaumont and John Fletcher, The Nice Valour, III, iii, 36-4. Song (‘Hence, all you vain delights’)

Copy, in a musical setting; incomplete.

This MS recorded in Cutts, Musique de la troupe de Shakespeare, p. 186.

Bowers, VII, 468-9. This song first published in A Description of the King and Queene of Fayries (London, 1634). Thomas Middleton, The Collected Works, general editors Gary Taylor and John Lavagnino (Oxford, 2007), pp. 1698-9.

For William Strode's answer to this song (which has sometimes led to both songs being attributed to Strode) see StW 641-663.

pp. 93-7

PsK 579: Katherine Philips, Pompey. A Tragedy, Act III, scene iv. Song (‘From lasting and unclouded Day’)

Copy of the song by Pompey's ghost, headed ‘Pompey's Ghost to Camilla’ [‘Cornelia’added in a different ink], in a musical setting here ascribed to ‘Mr [John] Banister’ (c.1625-79).

This MS discussed in Curtis A. Price, ‘The Songs for Katherine Philips' Pompey (1663)’, TN, 33 (1979), 61-6.

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

pp. 98-9

PsK 582: Katherine Philips, Pompey. A Tragedy, Act IV, scene v. Song (‘Proud Monuments of Royal Dust’)

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

This MS discussed in Price, loc. cit.

Saintsbury, p. 612. Thomas, I, 245-6, poem 121. Thomas, III, pp. 72-3. This song originally set to music by ‘Le Grand a Frenchman.’

pp. 100-1

PsK 584: Katherine Philips, Pompey. A Tragedy, Act V, scene v. Song (‘Ascend a Throne, Great Queen! to you’)

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

This MS discussed in Price, loc. cit.

Song sung by two Egyptian Priests. Saintsbury, p. 612. Thomas, I, 247-8, poem 122. Thomas, III, pp. 88-9.

pp. 114-17

DnJ 1583: John Donne, A Hymne to God the Father (‘Wilt thou forgive that sinne where I begunne’)

Copy, in a musical setting by Pelham Humfrey (1647-74), untitled.

First published in Poems (1633). Grierson, I, 369 (and variant text p. 370). Gardner, Divine Poems, p. 51. Shawcross, No. 193. Variorum, 7 Pt 1 (2005), pp. 10, 16, 26, 110 (in four sequences).

MSS Mus. 423-28

Copy of lines 1-16, in a musical setting by Alfonso Ferrabosco, headed ‘Pauan.’, in six part books of John Brown.

JnB 312.8: Ben Jonson, A Hymne to God the Father (‘Heare mee, O God!’)

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

MS Mus. 434

A folio music volume, written from both ends, 4 + 9 rev. leaves (plus blanks), in contemporary calf. Early-mid-17th century.

f. 1r

B&F 22: 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).

MS Mus. 439

A folio volume of largely vocal music, mainly in a single secretary hand, 120 pages, in mottled calf. Early 17th century.

Complete facsimile in Jorgens, VI (1987).

p. 3

CmT 88: Thomas Campion, ‘Tarry sweete love’

Copy, in a musical setting.

Edited from this MS in Joyner.

First published and attributed to Campion, in Mary Joiner ‘Another Campion Song?’, M&L, 48 (1967), 138-9.

p. 9

SiP 14: Sir Philip Sidney, Astrophil and Stella, Song ix (‘Go my flocke, go get you hence’)

Copy of a version beginning ‘I never laid me downe to rest’, in a musical setting by Robert Taylor.

This MS recorded in Ringler, pp. 486, 566.

Ringler, pp. 221-2.

p. 10

CmT 206: Thomas Campion, ‘Sweete, come againe’

Copy of the first strophe, in a musical setting.

This MS collated in Davis, p. 506.

First published in A Booke of Ayres (London, 1601), Part II, No. i. Davis, p. 450.

p. 11

CmT 125: Thomas Campion, ‘Though you are yoong and I am olde’

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

This MS collated in Davis, p. 492.

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

p. 26

CmT 133: Thomas Campion, ‘Though your strangenesse frets my hart’

Copy of the first strophe, in a musical setting.

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.

pp. 26-7

CmT 44: Thomas Campion, ‘Harke, al you ladies that do sleep’

Copy of strophes I and II, in musical settings.

This MS collated in Davis, p. 493.

First published among ‘sundry other rare Sonnets of diuers Noble men and Gentlemen’ appended to Sir Philip Sidney, Astrophel and Stella (London, 1591). Davis, pp. 5-6 (also pp. 44-5).

p. 31

JnB 684: Ben Jonson, The Masque of Blackness, lines 295-300. Song (‘Come away, come away’)

Copy, in a musical setting by Alfonso Ferrabosco.

This MS recorded in Doughtie, Lyrics from English Airs, p. 562.

p. 35

RaW 435: Sir Walter Ralegh, ‘Now what is Loue, I praie thee tell’

Copy, in a musical setting.

This MS collated in Doughtie, pp. 504-10.

First published in The Phoenix Nest (London, 1593). The first and last stanzas were a song in Thomas Heywood, The Rape of Lucrece (London, 1608). Listed but not printed in Latham, p. 171. Edited in Doughtie, Lyrics from English Airs, pp. 156-7. Ralegh's possible authorship also discussed and largely supported in Walter Oakeshott, The Queen and the Poet (London, 1960), p. 161; in Lefranc (1968), pp. 78-9, 83; and in Michael West, ‘Raleigh's disputed Authorship of “A Description of Loue”’, ELN, 10 (1972-3), 92-9.

p. 36

CmT 183: Thomas Campion, ‘Art thou that shee then whome noe fayrer is?’

Copy, in a musical setting.

Edited from this MS in Davis.

First published in More Lyrics from the Song-Books of the Elizabethan Age, ed. A.H. Bullen (London, 1888), pp. 6-7. Davis, p. 478.

p. 37

SoR 145: Robert Southwell, S.J., Catholic Saint, Marie Magdalens complaint at Christs death (‘Sith my life from life is parted’)

Copy of lines 25-30, 19-24, 18-18, in a musical setting by Thomas Morley, untitled.

Edited from this MS in John P. Cutts, Seventeenth Century Songs and Lyrics (Columbia, Mo., 1959), p. 423.

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

ff. 37v-8r

NaT 7.6: Thomas Nashe, ‘Monsieur Mingo for quaffing doth surpass’

Copy of the song, in a musical setting.

First published, as ‘The Song’, in Nashe's ‘Pleasant Comedie’ Summers last will and Testament (London, 1600). McKerrow, III, 264. EV 14798.

pp. 38-9

JnB 571: Ben Jonson, Cynthia's Revels, IV, iii, 242-53. Song (‘O, That ioy so soone should waste!’)

Copy, in a musical setting.

This MS recorded in Andrew J. Sabol, ‘A Newly Discovered Contemporary Song Setting for Jonson's “Cynthia's Revels”’, N&Q, 203 (September 1958), 384-5. Edited in Sabol, ‘Two Unpublished Stage Songs for the “Aery of Children”’, RN, 13 (1960), 222-32 (p. 229). Facsimile in Mary Chan, ‘Cynthia's Revels and Music for a Choir School: Christ Church Manuscript Mus 439’, SR, 18 (1971), 134-72 (pp. 138-9).

pp. 60-1

JnB 675: Ben Jonson, The Haddington Masque, lines 415-24. Song (‘Why stayes the Bride-grome to inuade’)

Copy, in a musical setting by Alfonso Ferrabosco.

This MS recorded in David Fuller, ‘The Jonsonian Masque and its Music’, M&L, 54 (1973), 440-52 (p. 446), and in Doughtie, Lyrics from English Airs, p. 568.

pp. 62-3

CmT 49: Thomas Campion, ‘I must complain, yet doe enjoy my Love’

Copy of a three-strophe version, in a musical setting (a version of that in CmT 50).

Edited from this MS in John P. Cutts, Seventeenth Century Songs and Lyrics (Columbia, Missouri, 1959), p. 178. Collated in Davis, pp. 499-500, and in Doughtie, pp. 517-18.

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

pp. 68-9

CmT 50: Thomas Campion, ‘I must complain, yet doe enjoy my Love’

Copy of strophes I and III, in a musical setting (a version of that in CmT 49), subscribed ‘fynis quod Mrs Elyzabeth Hampden’.

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

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

p. 86

CmT 167: Thomas Campion, ‘Young and simple though I am’

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

This MS collated in Davis, p. 499.

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

pp. 93-4, 96

JnB 682: Ben Jonson, The Masque of Beauty, lines 341-63. Songs (‘If all these Cupids now were blind’)

Copy of three consecutive songs, in a composite musical setting by Alfonso Ferrabosco.

This MS recorded in Doughtie, Lyrics from English Airs, p. 569.

First published together with The Masque of Blackness (London, [1608]). Herford & Simpson, VII, 181-94.

p. 95

JnB 687: Ben Jonson, The Masque of Queens, lines 743-8. Song (‘When all the Ages of the earth’)

Copy, in a musical setting by Alfonso Ferrabosco.

This MS recorded in Doughtie, Lyrics from English Airs, p. 570.

p. 102

DyE 52: Sir Edward Dyer, ‘My mynde to me a kyngdome is’

Copy of the opening stanzas, in a musical setting by William Byrd, untitled.

Facsimile of this MS in DLB, vol. 172, Sixteenth-Century British Non-Dramatic Writers. Fourth Series, ed. David A. Richardson (Detroit, 1996), p. 22.

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

pp. 108-10

TiC 28: Chidiock Tichborne, Tichborne's Lament (‘My prime of youth is but a frost of cares’)

Copy, in a musical setting, untitled.

First published in the single sheet Verses of Prayse and Joy Written Upon her Maiesties Preseruation Whereunto is annexed Tychbornes lamentation, written in the Towre with his owne hand, and an answer to the same (London, 1586). Hirsch, pp. 309-10. Also ‘The Text of “Tichborne's Lament” Reconsidered’, ELR, 17, No. 3 (Autumn 1987), between pp. 276 and 277. May EV 15464 (recording 37 MS texts). For the ‘answer’ to this poem, see KyT 1-2.

p. 115

CmT 220: Thomas Campion, ‘What if a day, or a month, or a yeare’

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

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.

See also CmT 239-41.

MS Mus. 440

A quarto volume of anthems. Late 17th century.

Once owned by one Edward Yonge.

ff. 37r-36v rev.

KiH 495: Henry King, Psalme CXXX paraphrased for an Antheme (‘Out of the horrour of the lowest Deep’)

Copy, in a musical setting.

This MS recorded in Crum.

First published in The Psalmes of David (London, 1651). Crum, p. 190.

MS Mus. 628

A folio music book. Early 18th century.

pp. 121-4

SaG 11: George Sandys, A Paraphrase upon Job (‘In Hus, a land which near the sun's uprise’)

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

This MS recorded in Zimmerman.

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

MSS Mus. 736-738

Three music part books: (i), (ii), and (iii). Early-mid-17th century.

(i-ii), ff. 3r-4r; (iii) f. 3r-v

ShW 69: William Shakespeare, Much Ado about Nothing, II, iii, 61-76. Song (‘Sigh no more, ladies, sigh no more’)

Copies of Balthazar's song, in a musical setting by Thomas Ford.

This version edited in John H. Long, Shakespeare's Use of Music, I, (Gainesville, Florida, 1955), 132-3.

(i-iii), f. 4v

CmT 38: Thomas Campion, ‘Fire, fire, fire, fire!’

Copies, in a musical setting by Thomas Ford.

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.

(i-iii), f. 5r

JnB 430.8: Ben Jonson, A Song (‘Come, let us here enjoy the shade’)

Copy, headed ‘A Dialogue’ and ascribed to ‘Tho: fforde’.

First published in The Vnder-wood (xxxvi) in Workes (London, 1640). Herford & Simpson, VIII, 189.

(i-ii), f. 21; (iii), f. 22r

DnJ 1783: John Donne, The Lamentations of Jeremy, for the most part according to Tremelius (‘How sits this citie, late most populous’)

Copies of stanzas 1-2, in a musical setting by Thomas Ford, untitled.

First published in Poems (1633). Grierson, I, 354-67. Gardner, Divine Poems, pp. 35-48. Shawcross, No. 187.

(i-ii), ff. 24v-5; (iii), ff. 25v-6r

HrG 41: George Herbert, Christmas (‘All after pleasures as I rid one day’)

Copy of lines 15-34, in a musical setting by John Jenkins, untitled, beginning ‘The shepherds sing; and shall I silent be?’.

This MS discussed in Vincent Duckles, ‘John Jenkins's Settings of Lyrics by George Herbert’, MQ, 48 (1962), 461-75.

First published in The Temple (1633). Hutchinson, pp. 80-1.

(i-ii), ff. 25v-6; (iii), ff. 26v-7r

HrG 74: George Herbert, The Dawning (‘Awake sad heart, whom sorrow ever drowns’)

Copies, in a musical setting by John Jenkins, untitled.

This MS discussed in Vincent Duckles, ‘John Jenkins's Settings of Lyrics by George Herbert’, MQ, 48 (1962), 461-75.

First published in The Temple (1633). Hutchinson, p. 112.

(i-ii), f. 31; (iii), f. 32r

HrG 105: George Herbert, Ephes. 4. 30. Grieve not the Holy Spirit, &c (‘And art thou grieved, sweet and sacred Dove’)

Copies of lines 19-36, untitled and beginning ‘Oh take thy lute, and tune it to a strain’, treated as a separate song, in a musical setting by John Jenkins (different from that in HrG 104).

This MS discussed in Vincent Duckles; not recorded in Hutchinson.

First published in The Temple (1633). Hutchinson, pp. 135-6.

(i-ii), ff. 31v-2r; (iii), ff. 32v-3r

HrG 104: George Herbert, Ephes. 4. 30. Grieve not the Holy Spirit, &c (‘And art thou grieved, sweet and sacred Dove’)

Copies of lines 1-18, in a musical setting by John Jenkins, untitled.

This MS discussed in Vincent Duckles, ‘John Jenkins's Settings of Lyrics by George Herbert’, MQ, 48 (1962), 461-75.

First published in The Temple (1633). Hutchinson, pp. 135-6.

(i-ii), f. 32v; (iii), f. 33v

HrG 248: George Herbert, The Starre (‘Bright spark, shot from a brighter place’)

Copies of lines 17-32, in a musical setting by John Jenkins (different from that in HrG 104), untitled, beginning ‘Then with our trinitie of light’.

This MS discussed in Vincent Duckles.

First published in The Temple (1633). Hutchinson, p. 74.

(i-ii), f. 33r; (iii), f. 34r

HrG 247: George Herbert, The Starre (‘Bright spark, shot from a brighter place’)

Copies of lines 1-16, in a musical setting by John Jenkins, untitled.

This MS discussed in Vincent Duckles, ‘John Jenkins's Settings of Lyrics by George Herbert’, MQ, 48 (1962), 461-75.

First published in The Temple (1633). Hutchinson, p. 74.

MS Mus. 984

A set of five music part books, begun by Robert Dow. c.1580s-1600.

Nos. 60-63

DyE 97: Sir Edward Dyer, ‘Oh that most rare brest, chrystalin syncere’

Copies, in a musical setting by William Byrd, the full text in the first MS, incipits only in the rest.

Edited from the first MS in May, Courtier Poets.

First published in William Byrd, Psalmes, Sonets & Songs (London, 1588). May, Courtier Poets, p. 311. EV 17616.

No. 94

OxE 39: Edward de Vere, Earl of Oxford, ‘If woemen coulde be fayre and yet not fonde’

Copy, in a musical setting, here beginning ‘If women could be fair and never fond’.

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

No. 118

DyE 53: Sir Edward Dyer, ‘My mynde to me a kyngdome is’

Copy, in a musical setting.

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

MS Mus. 1150

Copy, in a musical setting by Henry Purcell, on six folio leaves (the last trimmed). c.1700.

CoA 48: Abraham Cowley, The Complaint (‘In a deep Vision's intellectual scene’)

First published in Poems, by Several Persons (Dublin, 1663). Verses, Lately Written upon several Occasions (London, 1663). Waller, I, 435-40. Sparrow, pp. 169-74.