¹ England's Helicon, ed. Bullen, London, 1887. Pp. 229-30. The poem, as printed in England's Helicon, consisted of six stanzas, whereas in The Passionate Pilgrim, where it had appeared first in 1599, only four had been given. The added stanzas are the fourth and sixth of the 1600 version. Jaggard had included “The Passionate Shepherd” in his The Passionate Pilgrim, perhaps because of the title of the poem and because of the occurrence of snatches of it in Shakespeare's The Merry Wives of Windsor, III, 1, ll. 17ff. Ingram in his Christopher Marlowe and his Associates (pp. 222-23) prints a version of Marlowe's poem from a sixteenth century manuscript. This differs in certain details from the Elizabethan published forms of the lines. From the same source Ingram prints Raleigh's “The Nymph's Reply,” giving a text somewhat different from that usually published.

² The Passionate Pilgrim. Photo-lithographic facsimile. Intro. by Dowden. London, 1883.

^2a It may be that the two conclusions may result from two versions, each of five stanzas, of which the England's Helicon editor printed both last stanzas. Walton's form of the song, it should be noted, has seven stanzas, the added one being inserted between the fifth and sixth of the 1600 text.

³ As for instance, “The Faithful Farmer” (Roxburgh)Ballads, IV, 372-75), which does suggest, though, Doni's “Stanze dello Sparpaglio alia Silvana”; “The Countryman's Delight” (ibid., III, 593-96); “The Country Lover's Conquest” (ibid., VII, 338-39), and “Daintie, Come Thou to Me” (Twenty-five Old Ballads and Songs from Manuscripts, ed. Collier, London, 1869). A complete list would be much longer.

⁴ L. 42. See Idylls of Theocritus, ed. Cholmeley, London, 1919. Giles Fletcher the Elder has what has been called an adaptation of “Idyl XI” in his Licia, 1593. He gives the source, however, as Lucian.

⁵ Ll. 789 fi.

⁶ L. 839.

⁷ Oxford, 1588.

⁸ Vergil's eclogues were translated into English by Fleming, 1589; “Eclogue II” appeared Englished in Webbe's Discourse of English Poetry, 1586; and in Fraunce's Lawyer's Logic, 1588, and in his Ivychurch, 1591. This same Vergilian pastoral Barnfield imitated in his The Affectionate Shepherd, 1594.

⁹ For example, in Lorenzo de Medici, La Nencia da Barberino, stanzas 14, 34; Jacopo Sannazaro, “Ecloga II” (trans. by Nahum Tate, and published in Poems by Several Hands, London, 1685); Baldassar Castiglione, “Ecloga” (founded upon Theocritus or Ovid); Francesco Molza, La Ninfa Tiberina; Francesco Doni, “Stanze dello Sparpaglio alla Silvana, sua Innamorata.” The invitation is to be found in Italian plays, as Niccolo da Correggio, Cefalo, Act I (see Greg. Pastoral Poetry and Pastoral Drama, pp. 165-66); Battista Guarini, Il Pastor Pido, II, 2, 3. It should be noted that Doni's and Guarini's passages of invitation are strongly comic and that comedy is not absent from Lorenzo's charming pastoral.

^9a Ronsard's “Eclogue II” has an invitation with a list of delights which depend on the maid's accepting her lover. The same poet's “Le Cyclope Amoureux” is merely an expanded version of the Ovidian passage.

¹⁰ Most recently printed by Carleton Brown, Religious Lyrics of the XIVth Century, No. 132, pp. 234-37.

¹¹ Songs and Ballads …. Chiefly of the Reign of Phillip and Mary, ed. by T. Wright. Roxburghe Club. London, 1860. Pp. 32-34.

¹² Ll. 56-60. Spenser's Complete Poems, ed. by R. E. N. Dodge, Boston, 1908.

¹³ Evidently here E. K. is forestalling possible criticism of the morality of the passage, by recalling the affection of Socrates for Alcibiades. In the note preceding that cited, he points out a borrowing from a line in Vergil's eclogue. The references are to Plato's Alcibiades I, pp. 106-07 (ed. Croiset, Paris, 1920); cf. also the Symposium; Xeaophon, Memoriabilia, Bk. I, Ch. 2; Maximus Tyrius, Logoi, III, &, XXV, 3.

¹⁴ In 1578.

¹⁵ In England's Helicon, Bullen's ed., pp. 138-39.

¹⁶ Ed. by T. Wright in Appendix, The Latin Poems …. Attributed to Walter Mapes. Camden Society. London, 1841. Pp. 364-70. For this reference, as for other valuable suggestions, I am indebted to Professor Carleton Brown.

^16a Poems, ed. Chalmers. English Poets. London, 1810. V, 553.

^16b Professor W. M. Dixon cites the speech, nevertheless, as an invitation to love earlier than Marlowe's (English Epic and Heroic Poetry. London, 1912. P. 175).

¹⁷ In Peele's The Arraignment of Paris, II, 1 (produced before 1584) had been a passage with suggestions of the matter and method of the invitation. To influence their judge, the shepherd Paris, Juno, Pallas, and Venus, respectively, offer him wealth and power, wisdom, and love. But there is no question of exciting love toward them in their addresses to Paris, so that the scene must be set down as only a kind of forerunner of those of Marlowe in style, and as foreshadowing also his non-amorous passages in invitation style.

¹⁸ For this and other references to Marlowe's writings, see Works, ed. by Tucker Brooke. Oxford, 1910.

¹⁹ Ward points out the resemblance (Hist. Eng. Dram. Lit., I, 321, note).

²⁰ Greene no doubt knew the poem in MS., or perhaps from recitation by its author himself. See Brooke, Marlowe's Works, p. 549, for an opinion as to the date of the song.

²¹ In three editions of The Passionate Pilgrim; two of England's Helicon; once in Shakespeare's Poems; five of The Compleat Angler; once as a street ballad (see The Roxburghe Ballads, Hertford, 1874. II, pp. 3-4).

²² The Gentleman's Magazine, February, 1752; four editions of The Compleat Angler; The Bull-Finch, London, 1761. Part I, p. 83 (where it is headed “ …. from Shakespear, Sung at Ranelagh”); The Poetical Calendar, London, 1763. II, 53-54 (assigned to “Marloe”) ; Percy's Reliques, 1765; A Collection of the Most Esteemed Pieces of Poetry, London, 1767. Pp. 147-48; A Collection of English Poems, ed. Pearch, London, 1770. III, 290-91.

²³ Complete Works. Ed. by Grosart, 1881-83. VI, 59.

²⁴ That Marlowe based his lyric upon the passage in Menaphon is wholly unlikely. Elements of “The Passionate Shepherd” appear earlier, as in Tamburlaine and perhaps in parts of Dido (if that be an early play). He was, also, apparently obsessed with the pastoral invitation during his whole literary career, as evinced by his frequent use of it.

²⁵ In The Compleat Angler (facsimile reprint of the first edition), p. 64.

²⁶ Reply poems are not uncommon in Elizabethan literature, as, for example, “The Wooing Eclogue” in Lodge's Rosalynde, ed. Greg, New York, 1907, pp. 86 ff.; Lodge, “Arsavachus to His Mistress” and “The Answer,” Glaucus and Silla, ed. Singer, Chiswick, 1819, pp. 138, 139 (these verses are from A Marguerite of America); J. Danyel, Songs for the Lute, Viol, and Voice, 1606 (in Fellowes, English Madrigal Verse. Oxford, 1920. P. 401), “Poem no. i” and “Answere”; R. Jones, Muses' Gardin for Delights, 1610 (Fellowes, p. 541), “I cannot chuse but give a smile” and “The Answere”; “Master Johnson's Answer to Master Withers,” Sidgwick, The Poetry of George Wither, London, 1902. I, 145-48.

²⁷ See, for instance, Bullen, Marlowe's Complete Works, London, 1885. III, 288. Bullen also calls attention to Herrick's “To Phillis” as imitating Marlowe's poem.

²⁸ Poems, ed. by Chambers. Muses' Library, London. I, 47-49.

²⁹ The Life and Letters of John Donne, New York, 1899. I. 71-72.

³⁰ Reprinted by Singer, Glaucus and Silla, Chiswick, 1819. Pp. 47-50.

³¹ Brett points out that these verses are indebted to Marlowe (Minor Poems of M. Drayton. Oxford, 1907. p. 12).

³² Poems, ed. by Chalmers, in English Poets, London, 1810. IV, 448-51.

³³ Works, ed. by Grosart in Chertsey Worthies, 1879. I, 10-12. (Each reprinted work has a separate pagination). Breton, as Chappell notes (Popular Music of the Older Time, I, 214), specifically mentions “The Passionate Shepherd” in his Poste with a Packet of Mad Letters, Part II, Letter 8.

³⁴ Poems of William Herbert, Third Earl of Pembroke, K. G., and Sir Benjamin Rudyard. London, 1817. Pp. 38-39.

³⁵ Works, ed. Pollard. ‘Muses’ Library. London. I, 240-42.

³⁶ Poems, ed. Chalmers. English Poets, London, 1810. VI, 757-58, 758-59, respectively.

³⁷ Poems. Idem, VI, 630.

³⁸ Poems. II, 68-69.

³⁹ Ibid., II, 15.

⁴⁰ Poems, ed. Vivian, Muses' Library, p. 94.

⁴¹ Poems, ed. Chalmers. English Poets. III, 573-74.

⁴² Poems, ed. by Goodwin. Muses' Library, London, 1894. II, 170.

⁴³ Poems, ed. by Chambers. Muses' Library. II, 2.

⁴⁴ Poems, ed. by Vincent. Muses' Library. Pp. 70-75.

⁴⁵ Reprinted by Fellowes, English Madrigal Verse. Oxford, 1920.

⁴⁶ Ibid., p. 120,

⁴⁷ Ibid., p. 130.

⁴⁸ Ibid., p. 413-14.

⁴⁹ Ibid., p. 471.

⁶⁰ Ibid., p. 246.

⁶¹ Roxburghe Ballads, I, 611-16. Chappell notes there the occurrence of the verses in Youll's songbook. Ramsey, who reprinted the poem in The Tea Table Miscellany, pp. 407-08, as from MS., added two stanzas.

⁵² Fellowes, Madrigal Verse, p. 399.

⁵³ Ibid., p. 197.

¹ Only those broadsides which seem definitely literary in origin and in pretense will be discussed in the following pages. As has been said above, many of the class certainly owe their inception directly to the events of real life and not to a literary fashion.

² Shirburne Ballads, Oxford, 1907, pp. 297-301. A version was printed in Wit Restored (1658).

³ Elizabethan Lyrics, Boston, 1895, p. 276.

⁴ T. Evans, Old Ballads, Historical and Narrative, London, 1810. I, 50-58.

⁵ Roxburghe Ballads, I, 617-19. Chappell there dates the poem before 1615.

⁶ Ibid., pp. 620-22.

⁷ Ibid., VII, 451-52.

⁸ Ibid., II, 229-34.

⁹ Ibid., VII, 176-77. Ebsworth points out here that the ballad is an English version of “The New Scotch Song” of Westminster Drollery, Part II, p. 4 (1672).

¹⁰ Bagford Ballads, Hertford, 1878. II, 581-84.

¹¹ “Come my Daphne, come away.” Merry Drollerie, ed. Ebsworth. Boston [England], 1875. P. 91.

¹² Shirburn Ballads, pp. 64-66. Dated perhaps after 1610. See also Chappell, Popular Music of the Olden Time, II, 771.

¹³ Roxburghe Ballads, III, 363-65.

¹⁴ Ibid., I, 181-83.

¹⁵ Evans, Old Ballads, II, 356-60. There it is said to be “translated out of the Welsh.”

¹⁶ A Collection of Old Ballads, London, 1723. Reprinted by Pearson. Pp. 227-30.

¹⁷ Roxburgh Ballads, VI, 73-75.

¹⁸ Breton, Works, ed. Grosart. I, 24-25.

¹⁹ Ibid., I, 8.

²⁰ Poems, ed. Tutin. Muses' Library, London. Pp. 119-21.

²¹ Poems, ed. Chalmers. English Poets, IV, 162-63.

²² Poems, ed. Arber. Pp. 20-21.

²³ Facetiae, pub. by Hotten. London, n.d. I, 221-23.

²⁴ Facsimile Ed., Chap. III, pp. 85-88.

²⁵ Nichols, A Select Collection of Poetry, London, 1780. II, 168-75.

²⁶ Poems, ed. Chalmers, English Poets, IV, 439-41.

²⁷ Publications of the Spenser Society, No. XXXIX. 1885.

²⁸ The Poems and “Amyntas,” ed. Parry. New Haven, 1917. Pp. 129-31.

²⁹ Poems, ed. by Chambers. Muses' Library, I, 248-50.

³⁰ “Ode 12,” Book IV.

³¹ Photo-lithographic facsimile, ed. by A. Symonds.

³² Poems, ed. Chalmers. English Poets, VI, 210-16.

³³ Cupid and Psiche, ed. Saintsbury. Caroline Poets, Oxford, 1906. II, 54-55.

³⁴ Dramatic Works and Poems, ed. Gifford and Dyce. London, 1833. VI, 477-79.

³⁵ Ovid, Metamorphoses, Bk. IV, 11. 285-388, and Bk. III, ll. 344-510, respectively.

³⁶ Bks. IV, V, VI.

³⁷ Bk. II.

³⁸ As Masson notes (see Milton's Poems, Globe Poets, London, 1909. P. 410).

³⁹ For a thorough consideration of Miltonic influences in the seventeenth and eighteenth centuries, the reader is referred to Professor R. D. Havens' comprehensive and scholarly work, The Influence of Milton upon English Poetry, Cambridge, Mass., 1922. Part III of this notable volume deals with the shorter poems; chapters XVII and XVIII are concerned, respectively, with the “Late Vogue of the Shorter Poems” and “The Influence of L'Allegro and Il Penseroso.” Bibliography II (pp. 669-679) gives references in chronological order to all poems which Professor Havens believes to have been influenced by the Miltonic odes.

The list here presented contains only poems apparently of Miltonic ancestry which Professor Havens does not note and which also show traces of Marlovian influence.

⁴⁰ Poems by Eminent Ladies, London, 1755. II, 199-203. The resemblance had been early noted. Cf. Perry, The First Duchess of Newcastle and Her Husband, Boston, 1918, pp. 177-78. References are there given.

⁴¹ The Gentleman's Magazine, September, 1752, p. 428. ⁴²Ibid.

⁴³ The Poetical Calendar, VI, 10-11.

⁴⁴ Idem, III, 44-46.

⁴⁵ Poetical Works. Aldine Poets, London, pp. 68-73.

⁴⁶ A Collection of Poems by Several Hands, ed. Pearch. London, 1770. IV, 93-94.

⁴⁷ A Collection of Poems by Several Hands, ed. Dodsley. London, 1766. IV, 268-70.

⁴⁸ Pearch's Collection, III, 129-31.

⁴⁹ The Poetical Register, 1802 (Reprint of 1803). I, 168.

⁵⁰ Idem, 1804. I, 235-36.

⁵¹ Ibid., II, 4-7.

⁵² Ibid., II, 96-98.

⁵³ Ibid., 1804, II, 161-63.

⁵⁴ Poems by Two Brothers, in Poetical Works, ed. Rolfe. Cambridge Poets, Boston. Pp. 165-67.

⁵⁵ Poetical Works, ed. Rolfe. Pp. 11-13.

⁵⁶ Poems by Several Hands, ed. Tate. London, 1685. Pp. 354-59.

⁵⁷ A Select Collection of Poetry, ed. Nichols. I, 7-11.

⁵⁸ Poetical Recreations. London, 1688. Part II, pp. 210-18.

⁵⁹ Poetical Works, ed. Ward. Globe Poets. London, 1873. Pp. 18-19. The debt was pointed out to me by my friend, Professor R. S. Crarie of the Univerisity of Chicago.

⁶⁰ Poetical Miscellanies, ed. Steele. London, 1714. Pp. 138-42.

⁶¹ A Select Collection of Poetry, ed. Nichols. I, 11-14.

⁶² Ibid., VIII, 79-80.

⁶³ Reprinted in The Poetical Magazine. London, 1804. I, 79-83.

⁶⁴ From A Collection of Serious, Humorous and Affectionate Poems, a MS. anthology in the Newberry Library, Chicago. Pp. 21-25.

⁶⁵ A Select Collection of Poems, ed. Nichols. I, 169-70. The Latin original is Catullus, XXV, “Caecilium Invitat.”

⁶⁶ The Poetical Magazine. London, 1804. II, 286-89.

¹ Miscellany Poems and Translations by Oxford Hands. London, 1685. Pp. 93-101.

² A Collection of the Best English Poetry by Several Hands. London, 1717 II, 3-5.

³ Specimens of the Later English Poets, ed. Southey. I, 381-85.

⁴ Miscellaneous Poems, ed. Lewis. London, 1726. Pp. 195-96.

⁵ The Hive. London, 1724. 11,47.

⁶ Ibid., I, 83.

⁷ Ibid., III, 89-91.

⁸ The Vocal Miscellany, London, 1733.

⁹ Poems, ed. Chalmers. English Poets. XV, 496-98 The musical setting was supplied by Handel.

¹⁰ A Select Collection of English Songs, ed. Ritson. London, 1783. I, 44-45

¹¹ Poems by Eminent Ladies, London, 1755. II, 27-30.

¹² Specimens of the Later English Poets, ed. Southey. II, 411-12.

¹³ Poems, ed. Chalmers. English Poets. XV, 32-37.

¹⁴ Ibid., in Chalmers' Life of Thompson. Idem, pp. 4-5.

¹⁵ Gentleman's Magazine, April, 1750, p. 181.

¹⁶ Poetical Works, ed. Sanford. British Poets. XXIV, 180-82.

¹⁷ Gentleman's Magazine, September, 1754, p. 428.

¹⁸ Ibid., October, 1756, p. 488.

¹⁹ “The Passionate Shepherd,” it should be remembered, was reprinted in The Gentleman's Magazine, for February, 1752.

²⁰ The Poetical Calendar, ed. Fawkes and Woty. London, 1763. VI, 92-94, 95-98, respectively.

²¹ Ibid., XI, 12-13.

²² A Collection of Poems, ed. Dodsley. II, 5-8.

²³ A Select Collection of Poems, ed. Pearch. III, 238-39.

²⁴ Classical Arrangement of Fugitive Poetry, ed. Bell. VIII, 141-45.

²⁵ Collection of Songs, ed. Plumtre. London, 1824. Pp. 178-79.

²⁶ Ibid., pp. 171-81, 181-82, 182-84, respectively.

²⁷ The Bull Finch. London, 1761. Part I, pp. 149-50.

²⁸ Ibid., Part I, pp. 151-52.

²⁹ Ibid., Part I, p. 163.

³⁰ Poems, ed. Chalmers. English Poets. XVIII, 19.

³¹ The Ladies' Poetical Magazine. London, 1782. IV, 6.

³² Spectator, No. 627. December 1, 1714.

³³ The Ladies' Poetical Magazine. London, 1781. I, 444.

³⁴ A Select Collection of English Poems, ed. Nichols. London, 1781. VII, 335.

³⁵ A Select Collection of English Songs, ed. Ritson. London, 1783. I, 220-21.

³⁶ Ibid., I, 223.

³⁷ Select Poems, ed. Sanford. British Poets. XXXVII, 219-22.

³⁸ The British Album, London, 1790. II, 30-33. This miscellany seems to have been the “organ” of the Della Cruscans.

³⁹ Ibid., II, 97.

⁴⁰ The Mysteries of Udolpho, Chap. XXXVIII.

⁴¹ Poems by Eminent Ladies, London, 1755. I, 150-51.

⁴² A Collection of Poems, ed. Pearch. IV, 214ff.

⁴³ Merry Drollerie, ed. Ebsworth. Boston [England], 1875. Pp. 34-36.

⁴⁴ Poems by Eminent Ladies, I, 156-57.

⁴⁵ The Hive. London, 1729. III, 100.

⁴⁶ A Miscellany of Poems by Several Hands. Oxford, 1731. Pp. 146-50.

⁴⁷ The Gentleman's Magazine, May, 1752, p. 235.

⁴⁸ The Gentleman's Magazine, September, 1754, p. 428.

⁴⁹ A Select Collection of Poems, ed. Nichols. V, 114-28.

⁵⁰ “Printed and sold by T. Batchelar, Long Alley.” This and the ballad following are from the collection of late eighteenth and early nineteenth century broadsides in the Newberry Library, Chicago.

⁵¹ “W. Oxlade, Printer ‘Portsea.‘”

⁵² Old Ballads, Historical and Narrative, ed. Evans. London, 1810. IV, 166-75.

⁵³ Ibid., IV, 126-33.

⁵⁴ Tea-Table Miscellany, ed. Ramsey. London, 1763. P. 61.

⁵⁵ Ancient Scottish Ballads, ed. Kinloch. London, 1827. Pp. 74-76.

⁵⁶ Works, ed. Smith. Pp. 236-37.

⁵⁷ Songs of Scotland, IV, 323-24.

⁵⁸ Ibid., IV, 218-19.

⁵⁹ Tea-Table Miscellany, pp. 194-95.

⁶⁰ Herd's Manuscripts, p. 102.

⁶¹ P. 182.

¹ Far from it, since practically every anthology covering the Elizabethan field reprints the poem, unless some arbitrary rule of inclusion and exclusion bars it.

^1a The Poetical Register, London, 1815. I, 316. (This is the third edition of the 1801 volume). The verses belong, perhaps, to the 1790's.

² Ibid., I, 338-39.

³ Ibid., III, 199-202.

⁴ The Poetical Magazine, 1804. I, 7-8.

⁵ Ibid., I, 152-53.

⁶ The Poetical Register, 1803. Second edition, 1805. III, 82-84.

⁷ Ibid., 1804. Second edition, 1806. IV, 342-43.

⁸ Ibid., 1805. Second edition. V, 462.

⁹ Complete Poetical Works, ed. Scudder. Cambridge Poets. Boston. Pp. 104-05. Endymion, Bk. IV, ll. 670-721.

¹⁰ John Keats. London, 1920. P. 224.

¹¹ LI. 789 ff. Polyphemus to Galatea. This, as has been stated, is the source of Marlowe's “The Passionate Shepherd.”

¹² Complete Poetical Works, ed. Hutchinson. Oxford, 1904. Pp. 463-67.

¹³ John Keats, p. 240.

¹⁴ Ll. 91-110. Poetical Works, ed. Hutchinson. Oxford Edition. Oxford, 1909. P. 237.

¹⁵ Poetic Works. Cambridge Poets. Pp. 786-87. A revision of the poem occurs at p. 15.

¹⁶ Ll. 850-923. Ibid., pp. 211-12.

¹⁷ Ll. 622-28. 670-83. Ibid., pp. 352-53.

¹⁸ Lancashire Lyrics, ed. Harland. London, 1866. Pp. 83-84.

¹⁹ Poems. Boston, n.d. Pp. 138-39, 140-45, respectively.

²⁰ Metamorphoses. Bk. III, ll. 344-510.

²¹ Works, ed. Neilson. Cambridge Poets. Boston, 1910.

²² Poems, p. 165.

²³ Poems. London, 1898. Pp. 8-29.

²⁴ The Booh of Modern British Verse, ed. Braithwaite. Boston, 1919. Pp. 1-2.

²⁵ Collected Poems, New York, 1913. I, 48-49.

^25a No. 155 in The English Library of Heinemann and Balestier, Leipzig, 1892.

^25b “So, on this English shore, with the taste of the salt in their mouths, with the wild salt moist winds all about them—this Englishman wooed this English girl, to come away and be his love in the burning East” (Ed. by Nelson, Edinburgh. P. 130).

²⁶ For a few instances, see Forsythe, The Relations of Shirley's Plays and the Elizabethan Drama. New York, 1914. Pp. 168-69.

²⁷ Dramatic and Poetical Works (with Peele's), ed. Dyce, London, 1861.

²⁸ Ibid., p. 244.

²⁹ Shakespeare Apocrypha, ed. Tucker Brooke. Oxford, 1908.

³⁰ Dramatic and Poetical Works (with Greene's), ed. Dyce. London, 1861. P. 464.

³¹ Old English Plays, ed. Dodsley-Hazlitt. London, 1875. Vol. XIV.

³² Lust's Dominion has been at times assigned to Marlowe.

³³ “A Note on Chapman,” Forsythe. Modern Language Notes, June, 1910.

³⁴ Plays and Poems, ed. Parrott, London. Vol. I. Chapman, it will be remembered, completed Marlowe's Hero and Leander.

³⁵ Works, ed. Gifford-Cunningham. London, n.d. Vol. I.

³⁶ Idem. Vol. II.

³⁷ Ed. Adams. Materialien zur Künde des alteren Englischen Dramas. Louvain, 1913. Vol. XXXVII.

³⁸ Works, ed. Darley. London, 1840. Vol. I.

³⁹ Idem.

⁴⁰ The Ancient British Drama (ed. Scott?). London, 1810. Vol. II.

⁴¹ Works, ed. Bullen. Old English Plays. New Series, London, 1887. Vol. I.

⁴² Dramatic Works, ed. Maidment and Logan. Restoration Dramatists. Edinburgh, 1872. Vol. II.

⁴³ Comedies, Tragi-Comedies….. London, 1651.

⁴⁴ Works, ed. Thompson. London, 1910.

⁴⁵ Idem.

⁴⁶ Works, ed. Dyce. Pp. 170-71.

⁴⁷ Works, ed. Bond. Oxford, 1902. Vol. III.

⁴⁸ Idem.

⁴⁹ The Ancient British Drama. Vol. III.

⁵⁰ Idem.

⁵¹ Works, ed. Gifford and Dyce. Vol. IV.

⁵² The Best Plays of Phillip Massinger, ed. Symons. Mermaid Series. London, 1889. Vol. II.

⁵³ Works, ed. Dyce and Gifford. VI, 336 ff.

⁵⁴ Dramatic Works and Poems. Vol. II.

⁵⁵ Comedies, Tragi-Comedies…..

⁵⁶ Works, ed. Bullen. London, 1888. Vol. I.

⁵⁷ Works, ed. Gifford and Dyce, Vol. I.

⁵⁸ The song is quoted by Smith, “Pastoral Influence in the English Drama,” P. M. L. A., XII, 413.

⁵⁹ If the opportunity arises and the material warrants it, I shall supplement this paper later with a discussion of such invitations as may be discoverable in the later English drama.

⁶⁰ Reprinted by Aiken, Vocal Poetry, London, 1810. P. 45. I have not seen the complete text of the masque.

⁶¹ The British Drama. Philadelphia, 1859. Vol.1.

⁶² Specimens of the Prc-Shaks perian Drama, ed. Manly. I, 308-10.

⁶³ Complete Works, ed. Neilson.

⁶⁴ Works, ed. Gifford-Dyce. Vol. II.

⁶⁵ Idem, vol. V.

⁶⁶ So named by Bullen, who reprinted it from MS. in Vol. II of his Old English Plays, First Series, London, 1883, but called The Country Captain in the editions of 1649.

⁶⁷ Bullen, in a note, points out the burlesque.

⁶⁸ Edition of London, 1657.

⁶⁹ Plays and Poems. London, 1874. Vol. I.

⁷⁰ London, 1671. Rep. Ebsworth. Pp. 16-17. See for a somewhat different version, The Percy Folio Manuscript, ed. Hales and Furnivall. London, 1868. III, 313-14.

⁷¹ The Vocal Miscellany. London, 1733. Pp. 106-08.

⁷² Bagford Ballads. Hertford, 1878. I, 75-76.

⁷³ In the collection of Broadsides in the Newberry Library, Chicago “Printed and sold by Jennings, 13, Water-lane, Fleet-street, London.”

⁷⁴ Reprinted from Poems, Chiefly by Susanna Watts, by the Reverend James Plumtre, in his Collection of Songs. London, 1824. III, 189-90.

⁷⁵ In “Slams of Life,” Chicago Sunday Tribune, March 20, 1921.

⁷⁶ In “The Conning Tower,” New York Tribune, August 20, 1921.

⁷⁷ The Saturday Evening Post, January 26, 1924, in “Short Turns and Encores.” For the reference I am indebted to my friend, Professor Archer Taylor of the University of Chicago.