Item 2 (Verse, Song), fol. 1r

Sonnet 1a.

Fly from the world, oh fly, thou poor distressed

...

Oh thoughts that guide us being blind

[The heading appears in the left hand margin. This song was set to music by Alphonso Ferrabosco in Ayres (1609) and Robert Jones in Ultimum Vale (1605).]

Item 3 (Verse, Song), fol. 1r

Sonnet 2a.

When I sit reading all alone that secret book

...

Death me from me will lose, myself am all my foes

[The heading appears in the left hand margin. This song was set to music by Robert Jones in A Musicall Dreame (1609).]

Item 4 (Verse, Song), fol. 1r

Sonnet 3a.

Farewell fond world, the only school of error

...

Whose fond laborious webs are their own snares

[The heading appears in the left hand margin.]

Item 5 (Verse, Song), fol. 1r

Sonnet 4a.

If in the flesh where thou indrench'd do'st lie

...

And all heaven's vault with blessed Echo rings

[The heading appears in the left hand margin. This song was set to music by Robert Jones in A Musicall Dreame (1609).]

Item 6 (Verse, Song), fol. 1r-v

Sonnet 5a.

Shall I sublime my soule to frame a letter

...

Upon the keeper of Rome's Capital

[The heading appears in the left hand margin.]

[Fol. 1v is blank.]

Item 23 (Verse, Song), fol. 10r-v

Frail love is like fair flowery fields

...

These to my thoughts contempt affords

[The repeated chorus in this song is not always written out in full, and so the final line has been supplied.]

[Fol. 10v is blank.]

Item 41 (Verse, Song), fol. 61

A French song translated, allez berger ec

Go shepherd go, bid me adieu,

...

I fear the wolves, much less than you.

[verso blank]

Item 53 (Verse, Song), fol. 82r-v

A marriage Roundelay made on my friend mr, and mrs ---

With a merry Roundelay

...

We'll at Hymen's altar pray.

[After this poem, Barker has written: "this is the manner of Roundelays, but this is the only only one I ever did,"]

Item 54 (Verse, Dialogue, Song), fol. 83

A french song englished

Pour un seul baiser ec:

For one kiss alone my lovely Phillis

...

Look you to your flocks and I will look to mine.

[verso blank]

Item 55 (Verse, Song), fol. 84

'When poor Galaecia aged grew'

A song

When poor Galaecia aged grew,

...

The roses are o'er blown,

[verso blank]

Item 78 (Verse, Song), fol. 116r-v

To my young lover A song

To praise sweet youth do thou forbear,

...

Their prayers on them return.

[verso blank]

Item 80 (Verse, Song), fol. 118r-v

A Song in Sipina,

In vain does nature her free gifts bestow

...

As without wealth, to get or keep a heart.

[verso blank]

Item 6 (Verse, Song), fol. 8v rev.

I love thee not 'cause thou art fair

...

To him that hath a heart not his

[ Elizabeth Clarke has reversed the manuscript so that the final page forms a new first page, and she has signed her name in the top right corner of this page. She has also transcribed some verse: stanzas three and two of a three-stanza poem first printed in Thomas Stanley's Poems of 1651, where it is headed ""Song By M.W.M."". Its first line is ""Wert thou yet fairer then thou art"". Galbraith Miller Crump, who edited Stanley's works in 1962, suggests Walter Montagu or Walter Moyle as possible candidates for the authorship of the poem. This poem was later published in many songbooks and miscellanies, including Henry Lawes's The treasury of musick in 1669 (Book 1, p. 27; located with the LION database). Crump, pp. 387-388, lists the following sources where it was printed: Henry Bold's Latine Songs, with their English, and Poems, with Latin translation, 1685; Select Musicall Ayres and Dialogues, etc. , 1653; The New Academy of Complements, 1669, 1671; The Jovial Garland, 1672; Synopsis of Vocal Musick, 1680; and Cantus, Songs and Fancies, 1682. (A search indicates that the song does not in fact appear in either edition of The New Academy of Complements, or in Cantus, Songs and Fancies. I was not able to consult The Jovial Garland.) The poem also enjoyed a circulation in manuscript (see Crum W339 and Folger Shakespeare Library MS V.a.169, Part II, p. 29). None of the variants in the extant versions of the poem I have seen follow the alterations made by Clarke. For a discussion of the alterations to this poem see Victoria Burke's article, listed below.]

Item 11 (Verse, Song, Political writing), pp.365-366

A Song to the Tune of Lillibullero

Who does not extol our conquest marine?

...

Courage and conduct, Rooke and Toulouse

Item 12 (Verse, Song, Political writing), pp.367-368

The French King's Cordial or 134 | To the Tune of Old Simon the King

The Members of Parliament that were for joining the Money Bill to that against Occasional Conformity (which was cast out by the Lords) were in number 134 and are called Tackers

I think I need never despair

...

One hundred thirty and four

Item 23 (Song), pp.19-[20][rev]

"A trifling song you shall hear"

A trifling song you shall hear

...

And his song is a trifle to boot.

William King Civilian has ridiculed, and trifled with trifling, prettily enough --

[

The final rubric appears to be a note added by Cowper. Here, she seems to suggest that the poem is the work of William King; however, the First-Line Index of English Poetry notes that this same poem is attributed to George Farquhar in British Library, Add. MS 28,101, fol.186.

Page [20][rev] is the same as page 371. The final diary entry is written around the poem, suggesting that the poem was copied before the diary was completed.

Item 38 (Song, Political writing), pp.33-38[rev]

A New Ballad to the Tune of Fair Rosamond

When as Queen Anne of great renown

...

And hanged up Machivell

Item 46 (Song, Political writing), pp.48-50[rev]

The second part to the tune of Rosamond.

I pray God bless our gracious queen

...

Awake, o queen! Awake.

Item 58 (Song, Political writing), pp.60-61[rev]

A Song. To the tune of Cold and Raw, the North doth Blow

England of late, a glorious state

...

Why Abigaill, and Harley.

Item 62 (Song, Political writing), pp.64-65[rev]

A New Song to the Tune of Marlborough Push 'em Again.

Who mounts the loftiest dignities

...

Thou fool, thou knave, thou villain.

Printed in the year 1713

Item 66 (Song, Political writing), p.66[rev]

Upon the chamberpots made with the picture of 'Cheverel at the bottom. To the tune of A Begging We Do Go

At the bottom of the chamberpot, the doctor's picture place

...

When to piss they do go, do go.

Item 68 (Song, Political writing), pp.70-74[rev]

To the Tune of Chivy Chase

O bless our gracious sovereign Anne

...

No other guarantee.

Item 14 (Song, Political writing), p.[20][rev]

To Robert Earl of Oxford Late Lord Treasurer On His Excess of Mirth at the Proclaiming of His Majesty King George | To the Tune of ye Commons and Peers

I thought to have sent

...

But prithee what reason have you.

By I.P.

Item 25 (Song, Political writing), pp.[32-35][rev]

A Song. | High Church Loyalty, or, a Tale of a Tory Rebellion

Donna in qualms, sent Abb-- her drab for ease

...

You'll understand ere long. | Finis

May. 25. 1716

[Followed by pp.[370-344], which are blank.]

Item 7.19 (Song), fols [56r-57r]

To the Tune of Bateman

You gallants all that love good wine

...

And dead men have no friends

Item 7.21 (Song), fol.[58r]

Song

Cupid I hear thou hast improved

...

Than those upon the Rhine

Item 7.22 (Song), fols [58v-59r]

Song

Smooth was the water calm the air

...

Than strawberries cream and sugar

Item 44 (Song, Political writing), fols [97r-99v]

The History and Fall of the Conformity Bill being an Excellent New Song to the Tune of the Ladies Fall

God Bless our gracious sovereign Anne

...

O' tother side the main.

Item 23.2 (Song), p.142

A Song

Beyond the art of any cure, in flames of love I burn;

...

Or if 'tis true thou dost not see, would I'd been blind as well as thee.

Item 19 (Verse, Song), fol.15v

A Song 1679

See what a conquest love has made

...

the hardest marble weeps

by Mr. Duke

[Printed in Duke's posthumous 'Poems upon several occasions', 1717.]

Item 23 (Verse, Elegy, Song), pp. xlvii-xlix

A song

A Song xxii

What boots it this Pale Corpse to Crown

...

Thus are redeemed from the dark grave

[Poem in five 8-line stanzas.]

Item 24 (Verse, Elegy, Song), pp. xlix-xli

Another song

Another Song xxiii

Farewell my Joys

...

While woes Care not what they deplore

[Poem in four 4-line stanzas; the metre is alternated.]

[It is possible that this poem is incomplete.]

[Pages l-li are blank.]

Item 6.15 (Verse, Song), p. 79 rev.

King James came in progress to the house of Sir _____ Pope knight, when his lady was lately delivered of a daughter, which babe was presented to the king with a paper of verses in her hand, which because

See, this little mistress here

...

No sure, she is Pope Innocent, or none

[This poem was set to music by John Wilson.]

Item 6.35 (Verse, Song), p. 65 rev.

On his mistress going to sea

Farewell, fair saint, may not the seas and wind

...

Whilst both contribute to her own undoing

[This poem is variously attributed to Thomas Cary and William Fowler in manuscript sources, and was set to music by both Henry and William Lawes. For another version of it see Item 5.3 in National Library of Scotland Dep. 314/23, Margaret Wemyss's music book.]

Item 4 (Verse, Musical score, Song), fol. 2r

Foot Pad's Song

Oh the brave Jolly Gipsy who often is tipsy

...

Tis Juggled away by Night or by day

This is to be sung to another stanza

[This only contains the words to the first stanza of two. The page is ruled in 5 sets of staves with music.]

[From Act 2 of William Cavendish's "The Triumphant Widow", performed at London in 1674 and published in 1677.]

Item 5 (Verse, Musical score, Song), fol. 2v

A Cooks Song - in the 2nd Act.

Fie, Fie, this Love keeps such a Coil, so high it does boil

...

my Loving Pot can hold no more, but doth run o'er.

This is to be sung to another stanza.

[This only contains the words to the first stanza of three. The page is ruled in 5 sets of staves with music.]

[From Act 2 of William Cavendish's "The Triumphant Widow", performed at London in 1674 and published in 1677.]

[Another had has added "In the Duke off new Castles play" at the top, below the title rubric.]

[The following page, fol. 3r, is blank, but ruled with 5 sets of staves as the other folios.]

Item 6 (Verse, Musical score, Song), fol. 3v

In Albumazar

Flow streams of liquid salt from my sad Eyes

...

drowned with my Tears as he with waves, I die.

[The page is ruled in 5 sets of staves with music.]

[From Thomas Tomkis's drama "In Albumazar", originally performed in 1615 and revived in 1668.]

Item 7.3.1 (Verse, Song), fol. 7r-v.

The Welsh Song

Our Welsh Mountains do pass

...

To spoil my Welsh song

[46 lines (10 stanzas of 4 lines plus a chorus of 6 lines)]

Item 7.4.1 (Verse, Song), fol. 8r-v

The Rogue's Song

Oh now you shall see

...

To measure you from head to heel

Item 7.5.1 (Verse, Song), fols. 9v-10v

'The Nine Lady Muses'

The Rogues Sings.

The Tune: Cook Laurel

The Nine Lady Muses would make me their Guest

...

When ended I kissed their hands; so came away

With a hay down etc.

[44 lines plus chorus (of which the first line only is given)]

Item 7.5.2 (Verse, Song), fol. 11r

The Moor enters, and one with him, that plays on the Theorbo, in Indian Coats, and sings this Song, that followeth.

'You Gods this Poet now Restore'

The Song

You Gods this Poet now restore

...

Restore him thus, or let him die.

[12 lines]

Item 7.5.5 (Verse, Song), fols. 11v-12r

The Moor to conclude all Sings this following Song to the Theorbo

Song

What Joys can we expect, nothing

...

Thus is our King, our happiest fate.

[10 lines]

[verso blank.]

Item 8.1 (Verse, Song), fol. 13r

'Like a Company of Fools'

Like a Company of Fools

...

And in the throng do cut their own purses

[26 lines]

Item 8 (Verse, Song), p. 6

12 December 1650 To Mrs Mary Aubrey upon absence: set by Mr Henry Lawes

Tis now since I began to die

...

Too dead & dull for thee to own

[

The musical setting is as yet unlocated.

Item 31 (Verse, Song), p. 34

Friendship's mystery to my Dearest Lucasia: set by Mr H Lawes

Come my Lucasia since we see

...

Grows deathless by the sacrifice

[

A variant version of this song is set to music by Henry Lawes, attributed to Philips and headed 'Mutuall Affection betweene Orinda and Lucasia', in Henry Lawes, , The Second Book of Ayres, and Dialogues, for One, Two, and Three Voyces, London, 1655, sig. Hr.

Item 32 (Verse, Dialogue, Song), p. 35

set by Mr H Lawes / A Dialogue between Lucasia & Orinda

Luc. Say my Orinda why so sad?

...

And there we'll meet and part no more for ever

[

The musical setting is as yet unlocated.

Item 70 (Verse, Song), p. 102

Against pleasure / set by Dr Coleman

There's no such thing as pleasure here

...

Who said of pleasure, it is mad

[

The musical setting is as yet unlocated.

Item 2.5 (Verse, Song), p. 34

After the first Act, the King & Photinus should be discover'd Sitting, & hearkening to this Song

Since affairs of the State, are already decreed

...

Were Princes confin'd, &c

[

Following this song, this stage direction is transcribed: "After which an Antick dance of Gypsies should be presented".

This song was set to music by John Jeffreys.

Item 2.7 (Verse, Song), pp. 51-52

After the second Act this song is to be sung by two Egyptian Priests on the Stage

See how victorious Caesar's Pride

...

Or to be Just undone

[

This song was set to music by an unidentified Frenchman of Orrery 's household.

Item 2.9 (Verse, Song), pp. 67-69

After the third Act, to Cornelia asleep on a Couch, Pompey's Ghost sings this is recitative Air

From lasting, & unclouded Day

...

Nor shall Cornelia shed a Tear

[

This song was set to music by Peter Pett.

Item 2.11 (Verse, Song), pp. 85-86

After the fourth Act, Cleopatra sits, hearkening to this Song

Proud Monuments of Royal Dust!

...

Love overcomes the bravest way

[

This song was set to music by one Monsier le Grand, of the Duchess of Ormond's household. A further seventeenth-century setting has been located: see Elizabeth Hageman and Andrea Sununu, "New Manuscript Texts of Katherine Philips, the Matchless Orinda", English Manuscript Studies 1100-1700, 4, 1993, pp. 196-197.

Item 2.13 (Verse, Song), pp. 101-102

After the fifth Act, by two Egyptian Priests, as after the second

Ascend a Throne Great Queen! to you

...

And sing Cornelia's praise

[

Following the text of the song are the following directions: "After which a Grand Masque is Danc'd before Caesar, & Cleopatra made (as well as the other Dances, & the Tunes to them) by Mr John Ogilby".

The song itself was set to music by John Jeffreys.

Item 13 (Verse, Song), p. 240

To my Lord Byron's tune, of Adieu Phillis

Tis true, our life is but a long disease

...

E're we can call it ours

[

The music is as yet unlocated; see Elizabeth Hageman and Andrea Sununu, "New Manuscript Texts of Katherine Philips, the Matchless Orinda", English Manuscript Studies 1100-1700, 4, 1993 , p. 195.

Thomas suggests that Lord Byron is either John (d.1652), first Lord Byron, or his brother Richard (1605-1679), second Lord Byron: see Patrick Thomas, Germaine Greer, and Roger Little, , The Collected Works of Katherine Philips: The Matchless Orinda, Stump Cross, Stump Cross Books, 1990-1993, I, p. 375.

Item 15 (Verse, Song), pp. 246-247

A Parting with Lucasia

Well we will do that rigid thing

...

Which is the strongest thing I know

[

This verse is termed a song in the autograph manuscript (item 67). The musical setting is as yet unlocated.

Item 17 (Verse, Song), pp. 250-251

Of Human Pleasure

There's no such thing as Pleasure here

...

Who said of Pleasure, it is mad

[

In both the autograph (item 68) and Dering (item 70) manuscripts, a musical setting for this poem is attributed to Dr Coleman. This setting is as yet unlocated.

Item 26 (Verse, Song), pp. 267-270

A Country Life 1650

How sacred, & how Innocent

...

But choose to spend my life

[

This verse, unattributed, is set to music in the fifth book of Henry Playford, , The Banquet of Musick: or, a Collection of the newest and best songs sung at Court, and at Publick Theatres, London, 1691, pp. 20-21.

Item 49 (Verse, Song), p. 312[314]

Song to the tune of - Sommes nous pas trop heureux

How prodigious is my Fate

...

That I by absence fell, than scorn

[

For discussion of musical settings and textual variant versions of this song, see Elizabeth Hageman and Andrea Sununu, "New Manuscript Texts of Katherine Philips, the Matchless Orinda", English Manuscript Studies 1100-1700, 4, 1993, pp. 196-203.

Item 55 (Verse, Song), pp. 321[323]-322[324]

Friendship's mystery set by Mr Lawes

Come my Lucasia, since we see

...

Grows deathless by the sacrifice

[

A variant version of this song is set to music by Henry Lawes, attributed to Philips and headed 'Mutuall Affection betweene Orinda and Lucasia', in Henry Lawes, , The Second Book of Ayres, and Dialogues, for One, Two, and Three Voyces, London, 1655, sig. Hr.

Item 57 (Verse, Song), pp. 325[327]-326[328]

A Dialogue of Absence betwixt Lucasia & Orinda. set by Mr Lawes

Luc: Say my Orinda, why so sad?

...

And there we'll meet, & part no more for ever

[

The musical setting is as yet unlocated.

Item 1.7 (Verse, Song), fol. 36r

To be sung at the end of the first Act of Pompey

Now affairs of the state are already decreed

...

Were Princes confin'd &ct

[

This song was set to music by John Jeffreys.

Item 1.8 (Verse, Song), fols. 36v-37r

To be sung by two Egyptian Priests after the second Act of Pompey

See how victorious Caesar's Pride

...

Or to be Just undone

[

This song was set to music by an unidentified Frenchman of Orrery 's household.

Item 1.9 (Verse, Song), fols. 37v-38r

Pompey's Ghost to Cornelia sleeping To be sung after the third Act

From lasting and unclouded Day

...

Nor shall Cornelia shed a Tear

[

The additional four lines of Cornelia's dialogue are provided on fol. 38r, in Philips's hand, to conclude the third act following the text of this song. Thus, the act itself concludes: "There's still some Joy, laid up in Fate for me / And then goes out".

This song was set to music by Peter Pett.

Item 1.10 (Verse, Song), fols. 38v-39r

To be sung after the Fourth Act

Proud Monuments of Royal Dust

...

Love overcomes the bravest way

[

At line 35, Philips corrects "noblest" to "bravest" below the line.

This song was set to music by one Monsier le Grand, of the Duchess of Ormond's household. A further seventeenth-century setting has been located: see Elizabeth Hageman and Andrea Sununu, "New Manuscript Texts of Katherine Philips, the Matchless Orinda", English Manuscript Studies 1100-1700, 4, 1993, pp. 196-197.

Item 1.11 (Verse, Song), fols. 39v-40r

To be sung after the fifth Act By Two Egyptian Priests

Ascend a Throne Great Queen to you

...

And sing Cornelia's praise

[

This song was set to music by John Jeffreys.

[fol. 40v is blank.]

Item 29 (Verse, Song), pp. 79, 81

Friendship's Mysteries to my dearest Lucasia (set by Mr H. Lawes)

Come my Lucasia since we see

...

Grows deathless by the sacrifice

[

A variant version of this song is set to music by Henry Lawes, attributed to Philips and headed 'Mutuall Affection betweene Orinda and Lucasia', in Henry Lawes, , The Second Book of Ayres, and Dialogues, for One, Two, and Three Voyces, London, 1655, sig. Hr.

[pp. 80 and 82 are blank and unruled.]

Item 37 (Verse, Elegy, Song), p. 111

On the death of my first & dearest child, Hector Philipps born the 23d of April & dy'd the 2d of May 1655. set by Mr Lawes

Twice Forty months in wedlock I did stay

...

So ill can mortals their afflictions spell

[

Only the first two of four stanzas are transcribed here: the numbers 3 and 4 are written, with space for the text, which was not inserted.

For the musical setting, see Joan Applegate, "Katherine Philips's "Orinda upon Little Hector" : an Unrecorded Musical Setting by Henry Lawes", English Manuscript Studies 1100-1700, 4, 272-280, 1993.

Item 41 (Verse, Song), pp. 125, 127

Parting with Lucasia 13th Jan 1657/8 A song

Well! we will do that rigid thing

...

Which is the strongest thing I know

[

P. 127 is unruled.

[

This verse is not termed a song in either the Dering (item 69) or Rosania (item 20) manuscripts. The musical setting is as yet unlocated.

Item 42 (Verse, Song), pp. 129, 131

Against Pleasure set by Dr Coleman

There's no such thing as pleasure here

...

Who said of Pleasure, it is Mad

[

The musical setting is as yet unlocated.

Item 2 (Musical score, Song), fols 1r-11r

[This section contains 17 songs for solo voice and bass viol written by Hand B, probably Wemyss's teacher. At the top of each new song is a musical staff with the bass viol part (headed " "Bassus""). The staff is upside down so that a bass player could sit facing the singer and both could use the same copy. Beneath the bass viol line, the melody with the first verse of the song has been written out on staves, with the heading " "Cantus"", and the numbers 1 through 17. Subsequent verses are written beneath the music. The author of the music for each song has been written above the melody line. Three of the songs are from Thomas Morley's first book of airs ("The First Booke of Ayres", 1600) and 14 are from Thomas Campion's second, third, and fourth books of airs ("Two Bookes of Ayres", c.1613, and "The Third and Fourth Booke of Ayres", c.1618). All of these works have been printed in facsimile in Sternfeld, volumes 8 (Morley) and 2 (Campion). In the printed versions, lute tablature has been written beneath the cantus line, but Wemyss's teacher has omitted this, probably because while solo lute music was still fashionable in Wemyss's circle by the 1640s, lute accompaniment was not. Some variants exist in the music of this section, but very few in the lyrics, except for the introduction of features of Scottish orthography. It is difficult to count total number of lines in the songs since the first verses are written in the staves, so I have not done so.]

Item 2.1 (Musical score, Song), fol. 1r

Now let her change and spare not

...

Faith is not had where none is

[This song is from Thomas Campion's "Ayres", book 3, song 2.]

Item 2.2 (Musical score, Song), fol. 1v

Be thou then my beauty named

...

I'll love thee serve thee and adore

[This song is from Thomas Campion's "Ayres", book 3, song 19.]

Item 2.3 (Musical score, Song), fols 2r-v

Young and simple though I am

...

Love he must or flatter me

[This song is from Thomas Campion's "Ayres", book 4, song 9. It is the one song that Margaret Wemyss has signed, appending her signature at the bottom. The speaker of this song is a woman (""Guesse I can what thing it is, men desire when they doe kisse"").]

Item 2.4 (Musical score, Song), fols 3r-v

If any hath the heart to kill

...

Now though she sees she'll not believe

finis

[This song is from Thomas Campion's "Ayres", book 4, song 21.]

Item 2.5 (Musical score, Song), fols 4r-v

Her far inflaming eyes

...

With a spirit to contend

finis

[This song is from Thomas Campion's "Ayres", book 4, song 19.]

Item 2.6 (Musical score, Song), fol. 5r

I must complain yet do enjoy my love

...

She hath more beauty than becomes the chaste

[This song is from Thomas Campion's "Ayres", book 4, song 17.]

Item 2.7 (Musical score, Song), fols 5v-6r

White as lilies was her face

...

Should reward their friends as foremen

[This song is from Thomas Morley's "Ayres", book 1, song 15.]

Item 2.8 (Musical score, Song), fol. 6v

Come Oh come my life's delight

...

As swift to me as heav'nly light

[This song is from Thomas Campion's "Ayres", book 3, song 23. It is repeated as msItem 2.10.]

Item 2.9 (Musical score, Song), fol. 7r

Thus I resolve and time hath taught me so

...

Wild born is wild still though by force made tame

[This song is from Thomas Campion's "Ayres", book 3, song 22.]

Item 2.10 (Musical score, Song), fol. 7v

Come Oh come my life's delight

...

As swift to me as heav'nly light

[This song is from Thomas Campion's "Ayres", book 3, song 23. It is repeated as msItem 2.8.]

Item 2.11 (Musical score, Song), fol. 8r

So sweet is thy discourse to me

...

As with it all must shadowed be?

[This song is from Thomas Campion's "Ayres", book 4, song 6.]

Item 2.12 (Musical score, Song), fol. 8v

She straight her light green silken coats up tucked

...

And he ran after after and he ran after after

[This song is from Thomas Morley's "Ayres", book 1, song 3. This is the one song that does not have additional verses written beneath the staves.]

Item 2.13 (Musical score, Song), fol. 9r

With my love my life was nestled

...

Let me die or live thou in me

[This song is from Thomas Morley's "Ayres", book 1, song 4.]

Item 2.14 (Musical score, Song), fol. 9v

Where shall I refuge seek where shall I refuge seek

...

My only grief and kindness pity need

[This song is from Thomas Campion's "Ayres", book 2, song 21.]

Item 2.15 (Musical score, Song), fol. 10r

If love loves truth then women do not love

...

To have fair women false than none at all

[This song is from Thomas Campion's "Ayres", book 3, song 11.]

Item 2.16 (Musical score, Song), fol. 10v

Awake thou spring of speaking grace mute rest becomes not thee

...

Do it not in slumber smother

[This song is from Thomas Campion's "Ayres", book 3, song 13.]

Item 2.17 (Musical score, Song), fol. 11r

If thou longst so much to learn (sweet boy) what 'tis to love

...

They would make thee straight return

[This song is from Thomas Campion's "Ayres", book 3, song 16.]

Item 3 (Verse, Song), fols 11v-16r

[This section contains eight poems, some of which have known musical settings. The poems are written in Wemyss's hand and are prefaced by an inscription set as a title page. The poems are numbered from 1-8. Matthew Spring identified msItem 3.9 as a poem by Henry Howard, Earl of Surrey. See Jorgens, vol. 12, first-line index as a starting point for information about musical settings.]

Item 3.2 (Verse, Song), fol. 12r

Made on Buckingham's favour

No fate nor love dare I accuse

...

For which alas I fall and die

[At the end of the poem, Wemyss has indicated the musical setting of this poem: "Thir linnes sings to the air of the lady cromliks liltt". " Cromlick's Lilt" was a well-known Scottish tune. Buckingham is probably George Villiers, first Duke of Buckingham, a favourite of James I and Charles I.]

Item 3.3 (Verse, Song), fols 12v-13r

Buckingham's Ghost

You that in the country cell

...

But not safely guard

[At the end of the poem Wemyss has written, "Buckingham's ghost". A musical setting with the same title appears in the lute section of the manuscript, fol. 20r. Buckingham is probably George Villiers, first Duke of Buckingham, a favourite of James I and Charles I.]

Item 3.5 (Verse, Song), fol. 14r

Not that I would wish my mistress more or less than that she is

...

Will love a kingdom over and over

[This song was written by William Herbert, Earl of Pembroke and set to music by Henry Lawes.]

Item 3.6 (Verse, Song), fols 14r-v

Made on my Lady Binny

Burst out pour soul in main of tears

...

It may be seen into my heart

finis

[The title suggests that the poem was sung to the tune of "My Lady Binny's Lilt", a popular tune of Scottish origin which appears in two versions in the lute portion of the manuscript (fols 26v and 45r-v). The poem was written by James Graham, first Marquis of Montrose, the Scottish Royalist hero. This is the only known manuscript version of this poem; it did not appear in print until the early eighteenth century. For a discussion of this poem in this manuscript see Victoria Burke and Peter Davidson's article listed below.]

Item 3.8 (Verse, Song), fols 15r-16r

Long hath mine eyes gazed with delight

...

If ever man was crossed it is I

finis

[This words to this song have been attributed to Thomas Campion , because he is believed to have written all of the lyrics to Philip Rosseter's "A Booke of Ayres" of 1601, in which this song appeared (see Jorgens, vol. 12, first-line index).]

[Fol. 15v is blank.]

Item 3.9 (Verse, Song), fols 16r-v

Give care do cause men cry why do I not complain

...

Yet doth it bide me further pain to cause me more mischief

finis

[This poem was written by Henry Howard, Earl of Surrey . It was first printed in Tottel's "Songs and Sonnets" in 1557 but it gained currency as a song setting during the seventeenth century, particularly in Scotland.]

[Fol. 16v is blank.]

Item 5 (Verse, Song), fols 73v rev.-51v rev.

[This reversed section, beginning from the back of the manuscript, comprises 19 poems, 15 of which were written in the hand of Margaret Wemyss. The first four are numbered 9 through 12, suggesting that they were compiled after poems 1-8 (msItem 3). Hand B (probably Wemyss's teacher) has written four of the poems, i.e. msItems 5.8, 5.9, 5.10, and 5.16. Matthew Spring identified msItem 5.3 as written by Thomas Cary; msItems 5.4, 5.7, 5.12 and 5.13 as by Sir Robert Ayton; msItems 5.8 and 5.9 as by Thomas Carew; and msItem 5.15 as by Alexander Montgomerie. See Jorgens, vol. 12, first-line index as a starting point for information about musical settings.]

Item 5.3 (Verse, Song), fol. 72v rev.

Farewell fair saint may not the seas nor winds

...

While both contribute to your own undoing

finis

[This poem is variously attributed to Thomas Cary and William Fowler in manuscript sources, and was set to music by both Henry and William Lawes.]

Item 5.8 (Verse, Song), fols 68v rev.-68r rev.

Mediocrity in love rejected

Give me more love or more disdain

...

Give me more love or more disdain

finis

[This poem was written by Thomas Carew and set to music by Henry Lawes.]

[Fol. 68r is blank.]

Item 5.9 (Verse, Song), fol. 67v rev.

Conquest by flight

Ladies fly from love's smooth tale

...

Conquer love that run away

finis

[This poem was written by Thomas Carew, and set to music by Henry Lawes.]

Item 5.11 (Verse, Song), fols 66v rev.-66r rev.

Come love let's walk into the spring

...

Upon that sight upon that sight to feed our eye

[Musical settings for this song have been found in manuscript and printed sources of the period.]

[Fol. 66r is blank.]

Item 5.15 (Verse, Song), fols 58v rev.-58r rev.

What mighty motion so my mind mischeaves

...

Alas alas that ever I learned to love

finis

[This poem was written by Alexander Montgomerie. More than 30 of his poems were set to music, including this one.]

[Fol. 58r is blank.]

Item 5.16 (Verse, Song), fols 57v rev.-57r rev.

Beauty once blasted with the frost

...

Thy virtues and thy loyal heart

finis

[At the end of the poem Hand B has written, "This is sung to the tune of when the king shall enjoy his owin againe". This poem was written by Henry Hughes and set to music by Henry Lawes.]

[Fol. 57r is blank.]