[18] With the grouping of 1635 I have adopted generally its order within the groups, but the reader will see quite easily what is the order of the Songs in 1633 and in D, H49, Lec, if he will turn to the Contents and, beginning at The Message (p. [43]), will follow down to A Valediction: forbidding mourning (p. [49]). He must then turn back to the beginning and follow the list down till he comes to The Curse (p. [41]), and then resume at The Extasie (p. [51]). If the seven poems, The Message to A Valediction: forbidding mourning, were brought to the beginning, the order of the Songs and Sonets in 1635-69 would be the same as in 1633.
The editor of 1633 began a process, which was carried on in 1635, of naming poems unnamed in the manuscripts, and re-naming some that already had titles. The textual notes will give full details regarding the names, and will show that frequently a poem unnamed in D, H49, Lec remains unnamed in 1633.
[19] There is one exception to this which I had overlooked. In D, H49, Lec, The Undertaking (p. 10) comes later, following The Extasie.
[20] When in 1614 Donne contemplated an edition of his poems he wrote to Goodyere: 'By this occasion I am made a Rhapsoder of mine own rags, and that cost me more diligence to seek them, than it did to make them. This made me aske to borrow that old book of you,' &c. Letters (1651), p. 197.
[21] Five are to the Countess of Bedford—'Reason is', 'Honour is', 'You have refin'd', 'To have written then', and 'This Twy-light'. One is to the Countess of Huntingdon, 'Man to Gods image'; one to the Countess of Salisbury, 'Fair, great and good'; and one to Lady Carey, 'Here where by all.'
[22] In citing this collection I use TC for the two groups TCC, TCD.
[23] Additional lines to the Annuntiation and Passion, 'The greatest and the most conceald impostor', 'Now why should Love a footeboys place despise', 'Believe not him whom love hath made so wise', 'Pure link of bodies where no lust controules', 'Whoso terms love a fire', Upon his scornefull Mistresse ('Cruel, since that thou dost not fear the curse'), The Hower Glass ('Doe but consider this small Dust'), 'If I freely may discover', Song ('Now you have kill'd me with your scorn'), 'Absence, heare thou my protestation', Song ('Love bred of glances'), 'Love if a god thou art', 'Greate Lord of Love how busy still thou art', 'To sue for all thy Love and thy whole hart'.
[24] 'Believe not him whom love hath made so wise', On the death of Mris Boulstred ('Stay view this stone'), Against Absence ('Absence, heare thou my protestation'), 'Thou send'st me prose and rhyme', Tempore Hen: 3 ('The state of Fraunce, as now it stands'), A fragment ('Now why shuld love a Footboyes place despise'), To J. D. from Mr. H. W. ('Worthie Sir, Tis not a coate of gray,' see II. p. [141]), 'Love bred of glances twixt amorous eyes', To a Watch restored to its mystres ('Goe and count her better houres'), 'Deare Love continue nyce and chast', 'Cruell, since thou doest not feare the curse', On the blessed virgin Marie ('In that, ô Queene of Queenes').
[25] Of 128 items in the volume 99 are by Donne, and I have excluded some that might be claimed for him. The poems certainly not by Donne are 'Wrong not deare Empresse of my heart', 'Good folkes for gold or hire', 'Love bred of glances twixt amorous eyes', 'Worthy Sir, Tis not a coat of gray' (here marked 'J. D'.), 'Censure not sharply then' (marked 'B. J.'), 'Whosoever seeks my love to know', 'Thou sendst me prose and rimes' (see II. p. [166]), 'An English lad long wooed a lasse of Wales', 'Marcella now grown old hath broke her glasse', 'Pretus of late had office borne in London', To his mistresse ('O love whose power and might'), Her answer ('Your letter I receaved'), The Mar: B. to the Lady Fe. Her. ('Victorious beauty though your eyes')—a poem generally attributed to the Earl of Pembroke, A poem ('Absence heare my protestation'), 'True love findes witt but hee whom witt doth move', Earle of Pembroke 'If her disdain', Ben Ruddier 'Till love breeds love', 'Good madam Fowler doe not truble mee', 'Oh faithlesse world; and the most faithlesse part, A womans hart', 'As unthrifts greeve in straw for their pawn'd beds' (marked 'J. D.'), 'Why shuld not pilgrimes to thy body come' (marked 'F. B.'), On Mrs. Bulstreed, 'Mee thinkes death like one laughing lies', 'When this fly liv'd shee us'd to play' (marked 'Cary'), The Epitaph ('Underneath this sable hearse'), a couple of long heroical epistles (with notes appended) entitled Sir Philip Sidney to the Lady Penelope Rich and The Lady Penelope Rich to Sir Philipe Sidney. The latter epistle after some lines gives way quite abruptly to a different poem, a fragment of an elegy, which I have printed in Appendix C, p. [462].
[26] The exceptions are one poor epigram: