is above Davies' level, and indeed the whole poem is. The lines To Mr. Tilman after he had taken orders (22 on the list) were also probably privately communicated to the person to whom they were addressed. The best argument for their genuineness is that Walton seems to quote from them when he describes Donne's preaching.
For they doe
As Angels out of clouds, from Pulpits speake,
must have suggested 'always preaching to himself, like an angel from a cloud, but in none'. This does not, however, carry us very far. Walton had seen the editions of 1635 and 1639 before he wrote these lines in 1640.
The verse On the Sacrament (23 on the list) is probably assigned to Donne by a pure conjecture. It is very frequently attributed to Queen Elizabeth.
Of the two poems added in 1649 the lines Upon Mr. Thomas Coryats Crudities are of course Donne's. They appeared with his name in his lifetime, and Donne is one of the friends mentioned by Coryat in his letters from India. The Token (4 on the list) may or may not be Donne's. It is found in several, but no very good, manuscripts. Its wit is quite in Donne's style, though not absolutely beyond the compass of another. The poems which the younger Donne added in 1650 are in much the same position. 'He that cannot chose but love' (5 on the list) is a trifle, whoever wrote it. 'The heavens rejoice in motion' (10 on the list) is in a much stronger strain of paradox, and if not Donne's is by an ambitious and witty disciple. If genuine, it is strange that it did not find its way into more collections. It is found in A10, where a few of Donne's poems are given with others by Roe, Hoskins, and other wits of his circle. It is also, however, given in JC, a manuscript containing in its first part few poems that are not demonstrably genuine. As things stand, the balance of evidence is in favour of Donne's authorship.
Besides the Elegies XVIII and XIX, which are Donne's, as we have seen, and the Satyre 'Sleep next Society', which is not Donne's, the edition of 1669 prefixed to the song Breake of Day a fresh stanza:
Stay, O sweet, and do not rise.
It appears in the same position in S96, but is given as a separate poem in A25, C, O'F, and P. It certainly has no connexion with Donne's poem, for the metre is entirely different and the strain of the poetry less metaphysical.
The separate stanza was a favourite one in Song-Books of the seventeenth century. It was printed apparently for the first time in 1612, in The First Set of Madrigals and Motets of five Parts: apt for Viols and Voices. Newly composed by Orlando Gibbons. Here it begins