SUPPLEMENTARY NOTES.

My woeful Monument shall be a cell,The murmur of the purling brook my knell;My lasting Epitaph the Rock shall groan;Thus when sad lovers ask the weeping stone,What wretched thing does in that centre lie,The hollow echo will reply, 'twas I.

My woeful Monument shall be a cell,

The murmur of the purling brook my knell;

My lasting Epitaph the Rock shall groan;

Thus when sad lovers ask the weeping stone,

What wretched thing does in that centre lie,

The hollow echo will reply, 'twas I.

I cannot understand why Mr. Chambers, to whom I am indebted for most of this information, was content to print so inadequate a text when Walton was in his hand. Two of his lines completely puzzled me:

Welcome pure thoughts! welcome, ye careless groans!These are my guests, this is that courtage tones.

Welcome pure thoughts! welcome, ye careless groans!

These are my guests, this is that courtage tones.

'Groans' are generally the sign of care, not of its absence. However, I find that Ashmole MS. 38, in the Bodleian, and some others read:

Welcome pure thoughts! welcome ye careless groves!These are my guests, this is that court age loves.

Welcome pure thoughts! welcome ye careless groves!

These are my guests, this is that court age loves.

This explains the mystery. But Mr. Chambers followed Grosart; and Grosart was inclined to prefer the version of a bad MS. which he had found to a good printed version.

Pages5,6. The poems of Ben Jonson are here printed just as they stand in the 1650, 1654, 1669 editions of Donne'sPoems. A comparison with the 1616 edition of Jonson'sWorksshows some errors. The poemTo John Donne(p.5) is xxiii of theEpigrammes. The sixth line runs

And which no affection praise enough can give!

The absurd 'no'n' of 1650 seems to have arisen from the printing 'no'affection' of the 1640 edition of Jonson'sWorks. The 1719 editor of Donne'sPoemscorrected this mistake. A more serious mistake occurs in the ninth line, which in theWorks(1616) runs:

All which I meant to praise, and, yet I would.

The error 'mean' comes from the 1640 edition of theWorks of Ben Jonson, which prints 'meane'.

To Lucy, &c., is xciii of theEpigrammes. The fourteenth line runs:

Be of the best; and 'mongst those, best are you.

The comma makes the sense clearer. In l. 3, 1616 reads 'looke,' with comma.

To John Donne(p.6) is xcvi. There are no errors; but 'punees' is in1616more correctly spelt 'pui'nees'.

Pages7,175,369. I am indebted for the excellent copies of the engravings here reproduced to the kind services of Mr. Laurence Binyon. The portraits form a striking supplement to the poems along with which they are placed. The first is the young man of theSongs and Sonets, theElegiesand theSatyres, the counterpart of Biron and Benedick and the audacious and witty young men of Shakespeare's Comedies. 'Neither was it possible,' says Hacket in hisScrinia Reserata: a Memorial of John Williams ... Archbishop of York(1693), 'that a vulgar soul should dwell in such promising features.'

The engraving by Lombart is an even more lifelike portrait of the author of theLetters,Epicedes,Anniversariesand earlierDivine Poems, learned and witty, worldly and pious, melancholy yet ever and again 'kindling squibs about himself and flying into sportiveness', writing at one time the seriousPseudo-Martyr, at another the outrageousIgnatius his Conclave, and again the strangely-mooded, self-revealingBiathanatos: 'mee thinks I have the keyes of my prison in mine owne hand, and no remedy presents it selfe so soone to my heart, as mine own sword.'

After describing the circumstances attending the execution of the last portrait of Donne, Walton adds in the 1675 edition of theLives(the passage is not in the earlier editions of theLife of Donne): 'And now, having brought him through the many labyrinths and perplexities of a various life: even to the gates of death and the grave; my desire is, he may rest till I have told my Reader, that I have seen many Pictures of him, in several habits, and at several ages, and in several postures: And I now mention this, because, I have seen one Picture of him, drawn by a curious hand at his age of eighteen; with his sword and what other adornments might then suit with the present fashions of youth, and the giddy gayeties of that age: and his Motto then was,

How much shall I be chang'd,Before I am chang'd.

How much shall I be chang'd,

Before I am chang'd.

And, if that young, and his now dying Picture, were at this time set together, every beholder might say,Lord! How much isDr. Donnealready chang'd, before he is chang'd!' The change written in the portrait is the change from the poet of theSongs and Sonetsto the poet of theHoly Sonnetsand lastHymns.

The design of this last picture and of the marble monument made from it is not very clear. He was painted, Walton says, standing on the figure of the urn. But the painter brought with him also 'a board of the just height of his body'. What was this for? Walton does not explain. But Mr. Hamo Thornycroft has pointed out that the folds of the drapery show the statue was modelled from a recumbent figure. Can it be that Walton's account confuses two things? The incident of the picture is not in the 1640Life, but was added in 1658. How could Donne, a dying man, stand on the urn, with his winding-sheet knotted 'at his head and feet'? Is it not probable that he was painted lying in his winding-sheet on the board referred to; but that the monument, as designed by himself, and executed by Nicholas Stone, was intended to represent him rising at the Last Day from the urn, habited as he had lain down—a symbolic rendering of the faith expressed in the closing words of the inscription

Hic licet in Occiduo CinereAspicit EumCuius nomen est Oriens.

Hic licet in Occiduo Cinere

Aspicit Eum

Cuius nomen est Oriens.

Page37, l. 14. The textual note should have indicated that in most or all of the MSS. cited the whole line runs:

(Thou lovest Truth) but an Angell at first sight.

This is probably the original form of the line, corrected later to avoid the clashing of the 'but's.

Page96, l. 6, note. TheR212cited here is Rawlinson Poetical MS. 212, a miscellaneous collection of seventeenth-century prose andpoetry (e.g. Davies'Epigrams. See II. p. 101). I had cited it once or twice in my first draft. The present instance escaped my eye. It helps to show how general the reading 'tyde' was.

Page115,l. 54.goeing on it fashions. The correct reading is probably 'growing on it fashions', which has the support of bothJC, and1650-69where 'its' is a mere error. I had made my text beforeJCcame into my hand. To 'grow on' for 'to increase' is an Elizabethan idiom: 'And this quarrel grew on so far,' North'sPlutarch, Life of Coriolanus, ad fin.See also O.E.D.

I should like in closing to express my indebtedness throughout to theOxford English Dictionary, an invaluable help and safeguard to the editor of an English text, and also to Franz's admirableShakespeare-Grammatik(1909), which should be translated.

Page133, l. 58. To what is said in the note on the taking of yellow amber as a drug add: 'Divers men may walke by the Sea side, and the same beames of the Sunne giving light to them all, one gathereth by the benefit of that light pebles, or speckled shells, for curious vanitie, and another gathers precious Pearle, or medicinall Ambar, by the same light.'Sermons80. 36. 326.

Pages156-7.Seeke true religion, &c.All this passage savours a little of Montaigne: 'Tout cela, c'est un signe tres-evident que nous ne recevons nostre religion qu'à nostre façon et par nos mains, et non autrement que comme les autres religions se reçoyvent. Nous nous sommes rencontrez au païs où elle estoit en usage; ou nous regardons son ancienneté ou l'authorité des hommes qui l'ont maintenue; ou creignons les menaces qu'ell' attache aux mescreans, ou suyvons ses promesses. Ces considerations là doivent estre employées à nostre creance, mais comme subsidiaires: ce sont liaisons humaines. Une autre region, d'autres tesmoings, pareilles promesses et menasses nous pourroyent imprimer par mesme voye une croyance contraire. Nous sommes chrestiens à mesme titre que nous sommes ou perigordins ou alemans.'Essais(1580), II. 12.Apologie de Raimond Sebond.

Page220, l. 46.Compare: 'One of the most convenient Hieroglyphicks of God, is a Circle; and a Circle is endlesse; whom God loves, hee loves to the end ... His hailestones and his thunderbolts, and his showres of blood (emblemes and instruments of his Judgements) fall downe in a direct line, and affect or strike some one person, or place: His Sun, and Moone, and Starres (Emblemes and Instruments of his Blessings) move circularly, and communicate themselves to all. His Church is his chariot; in that he moves more gloriously, then in the Sun; as much more, as his begotten Son exceeds his created Sun, and his Son of glory, and of his right hand, the Sun of the firmament; and this Church, his chariot, movesin that communicable motion, circularly; It began in the East, it came to us, and is passing now, shining out now, in the farthest West.'Sermons80. 2. 13-4.

l. 47.Religious tipes, is the reading of1633. The comma has been accidentally dropped. There is no comma in1635-69, which print 'types'.

Page241, ll. 343-4.As a compassionate Turcoyse, &c.Compare:

And therefore Cynthia, as a turquoise bought,Or stol'n, or found, is virtueless, and nought,It must be freely given by a friend,Whose love and bounty doth such virtue lend,As makes it to compassionate, and tellBy looking pale, the wearer is not well.Sir Francis Kynaston,To Cynthia.Saintsbury,Caroline Poets, ii. 161.

And therefore Cynthia, as a turquoise bought,

Or stol'n, or found, is virtueless, and nought,

It must be freely given by a friend,

Whose love and bounty doth such virtue lend,

As makes it to compassionate, and tell

By looking pale, the wearer is not well.

Sir Francis Kynaston,To Cynthia.

Saintsbury,Caroline Poets, ii. 161.

Page251, ll. 9-18. The source of this simile is probably Lucretius,De Rerum Natura, III. 642-56.

Falciferos memorant currus abscidere membraSaepe ita de subito permixta caede calentis,Ut tremere in terra videatur ab artubus id quodDecidit abscisum, cum mens tamen atque hominis visMobilitate mali non quit sentire dolorem;Et semel in pugnae studio quod dedita mens est,Corpore reliquo pugnam caedesque petessit,Nec tenet amissam laevam cum tegmine saepeInter equos abstraxe rotas falcesque rapaces,Nec cecidisse alius dextram, cum scandit et instat.Inde alius conatur adempto surgere crure,Cum digitos agitat propter moribundus humi pes.Et caput abscisum calido viventeque truncoServat humi voltum vitalem oculosque patentis,Donec reliquias animai reddidit omnes.

Falciferos memorant currus abscidere membra

Saepe ita de subito permixta caede calentis,

Ut tremere in terra videatur ab artubus id quod

Decidit abscisum, cum mens tamen atque hominis vis

Mobilitate mali non quit sentire dolorem;

Et semel in pugnae studio quod dedita mens est,

Corpore reliquo pugnam caedesque petessit,

Nec tenet amissam laevam cum tegmine saepe

Inter equos abstraxe rotas falcesque rapaces,

Nec cecidisse alius dextram, cum scandit et instat.

Inde alius conatur adempto surgere crure,

Cum digitos agitat propter moribundus humi pes.

Et caput abscisum calido viventeque trunco

Servat humi voltum vitalem oculosque patentis,

Donec reliquias animai reddidit omnes.

Page259, ll. 275-6.so that there is(For aught thou know'st)piercing of substances.

Page259, ll. 275-6.so that there is

(For aught thou know'st)piercing of substances.

'Piercing of substances,' the actual penetration of one substance by another, was the Stoic as opposed to the Aristotelian doctrine of mixture of substance (κρᾶσις), what is now called chemical combination. The Peripatetics held that, while the qualities of the two bodies combined to produce a new quality, the substances remained in juxtaposition. Plotinus devotes the seventh book of theEnneadesto the subject; and one of the arguments of the Stoics which he cites resembles Donne's problem: 'Sweat comes out of the human body without dividing it and without the body being pierced with holes.' The pores were apparently unknown. See Bouillet'sEnneades de Plotin, I. 243 f. and 488-9, for references.

Professor Moore Smith has at the last moment reminded me of a fact, the significance of which should have been discussed in the note on theDivine Poems, that a copy of this poem found (Gosse,Life &c.ii. 279) among the papers of Sir Julius Caesar bears the statement that the verses were written in Donne's 'great sickness in December 1623'. Professor Moore Smith is of opinion that Sir Julius Caesar may have been right and Walton mistaken, and there is a good deal to be said for this view. 'It seems', he says, 'more likely that Walton should have attributed the poem wrongly to Donne's last illness, than that the MS. copy should antedate it by seven years.' In 1640 Walton simply referred it to his deathbed; the precise date was given in 1658. Moreover the date 1623 seems to Professor Moore Smith confirmed by a letter to Sir Robert Ker (later Lord Ancrum) in 1624 (Gosse,Life &c.ii. 191), in which Donne writes, 'If a flat map be but pasted upon a round globe the farthest east and the farthest west meet and are all one.'

On the other hand, Walton's final date is very precise, and was probably given to him by King. If the poem was written at the same time as that 'to God the Father', why did it not pass into wider circulation? Stowe MS. 961 is the only collection in which I have found it. The use of the simile in the letter to Ker is not so conclusive as it seems. In that same letter Donne says, 'Sir, I took up this paper to write a letter; but my imagination was full of a sermon before, for I write but a few hours before I am to preach.' Now I have in my note cited this simile from an undated sermon on one of the Penitentiary Psalms. This, not the poem, may have been the occasion of its repetition in this letter. Donne is very prone to repeat a favourite figure—inundation, the king's stamped face &c. It is quite likely that the poem was the last, not the first, occasion on which he used the flat map. Note that the other chief figure in the poem, the straits which lead to the Pacific Sea, was used in a sermon (see note) dated February 12, 1629.

The figure of the flat map is not used, as one might expect, in the section of theDevotionsheadedThe Patient takes his bed, but the last line of the poem is recalled by some words there: 'and therefore am Icast downe, that I might not becast away.'

Walton's dates are often inaccurate, but here the balance of the evidence seems to me in his favour. As Mr. Gosse says, Sir Julius Caesar may have confounded this hymn with 'Wilt thou forgive'. In re-reading theDevotionswith Professor Moore Smith's statement in view I have come on two other points of interest. Donne's views on the immortality of the soul (see II. pp.160-2) are very clearly stated: 'That light, which is the very emanation of the light of God ... only that bends not to thisCenter, toRuine; that which was not made ofNothing, is not thretned with this annihilation. All other things are; evenAngels, even oursoules; they move upon the samePoles, theybend to the sameCenter; and if they were not made immortall bypreservation, theirNaturecould not keep them from sinking to thiscenter,Annihilation' (pp. 216-17).

The difficult line in the sonnetResurrection(p.321, l. 8) is perhaps illuminated by pp.206-8, where Donne speaks of 'thy first booke, the booke oflife', 'thy second book, the booke of Nature,' and closes a further list with 'to those,the booke with seven seals, which onlythe Lamb which was slain, was found worthy to open; which, I hope, it shal not disagree with the measure of thy blessedspirit, to interpret, thepromulgation of their pardon, and righteousnes, who are washed in the blood of the Lamb'. This is possibly the 'little booke' of the sonnet, perhaps changed by Donne to 'life-book' to simplify the reference. But the two are not the same.

Vol. I, p.368, l. 6. Whilst my Physitions by their love are growne Cosmographers ... Sir Julius Caesar's MS. (Addl. MS. 34324) hasLoer, scil.Lore. This is probably the true reading.

P. 274, l. 28.forfigure-inundationreadfigure—inundation

(VOL. II.)

Oxford: Horace Hart, M.A., Printer to the University

Transcriber's Note:This is the second volume of two. There are links between the two volumes. These links are designed to work when the book is read on line. However, if you want to download both volumes and have the links work on your own computer, then follow these directions carefully.1. Create a directory (folder) named whatever you like (e.g., Donne). (The name of this directory (folder) is not critical, but the inner foldersmustbe named as listed below, or the links between volumes willnotwork).2. In that directory (folder) create 2 directories (folders) named48688487723. Create the following directories (folders):In the 48688 directory create a directory named 48688-hIn the 48772 directory create a directory named 48772-h4. Download thezippedhtml version of each volume.Download Vol. I fromhttp://www.gutenberg.org/etext/48688Download Vol. II fromhttp://www.gutenberg.org/etext/487725. Unzip the downloaded files and move them into the appropriate directories:Move the unzipped 48688-h.htm file and its "images" directory into your 48688-h directory.Move the unzipped 48772-h.htm file and its "images" and "music" directories into your 48772-h directory.Use the BACK button to return from a link.Although Scotland had accepted the Gregorian calendar in 1600, until 1752, England still followed the Julian calendar (after Julius Caesar, 44 B.C.), and celebrated New Year's Day on March 25th (Annunciation Day). Most Catholic countries accepted the Gregorian calendar (after Pope Gregory XIII) from some time after 1582 (the Catholic countries of France, Spain, Portugal, and Italy in 1582, Belgium, the Netherlands, and Switzerland within a year or two, Hungary in 1587, and Scotland in 1600), and celebrated New Year's Day on January 1st. England finally changed to the Gregorian calendar in 1752.This is the reason for the double dates in the early months of the years in some parts of this book. e.g., there is a statement, on page 134, that "He died February 7, 1627/8. (i.e. 1627 in England; 1628 in Scotland). Only after March 25th (Julian New Years Day) was the year the same in the two countries. The Julian calendar was known as 'Old Style', and the Gregorian calendar as 'New Style' (N.S.).Page lxiv, Footnote 9: 'Garrard att his quarters in ??' Perhaps 'ϑermyte' with U+03D1 GREEK THETA SYMBOL: thermyte ? perhaps meaning "(at the sign of) The Hermit"? (The printer, rightly or wrongly, seems to have used a 'theta' at the beginning of the word).Page lxv, a facsimile of a Title Page, split a cross-page paragraph. One sentence was on page lxiv; the rest of the paragraph was on page lxvi. In the interest of a link to the page, it seemed beneficial to leave the paragraph as it was split.Page lxv: 'VVith' is as printed.Page lxxxvi: 'Lo:' retained, although 'Ld.' is printed above. From the context, 'Lo:' may not be a typo, as this form occurs elsewhere.and theObsequies to the Lo: Harrington."Page cxvi, footnote 39 (cont.: '17-8.' corrected to '17-18.'. "To Sr Henry Wotton, p. 180, ll. 17-18."Page cxxx: 'p. 406' corrected to 'p. 412'"'Dear Love, continue nice and chaste' (p. 412)"Pages cxxxi-cxxxii: missing word at page-turn? 'and' added in brackets."And as one is ascribed to Roe on indisputable (and) three on very strong evidence,...Page 23: 'll. 140-6' corrected to 'll. 440-6'"The Second Anniversary, ll. 440-6 (p.264)Page 34: 'coporales' corrected to 'corporales'."'quanto subtilius huiusmodi immutationes occultas corporales perpendunt.'"Some poems have associated music pages (starting p.54). Html links have been added to playable and printable music files (prepared by the transcriber).Page 57: This is only the first page of the original two pages (28 and 29) from William Corkine's "Second Book of Ayres" (1612), for 'Page46. The Baite'. It is possible that John Donne wrote "The Baite" for a different melody, which no longer exists. The melody on page 57 may have been intended for Christopher Marlowe's "The Passionate Shepherd to his Love:Come live with me and be my love:And we will all the pleasures proveThat hills and valleys, dales and fields,Woods or sleepy mountain yields."As Donne's 'The Baite' ("Come live with me and be my love...."), was a parody of Marlowe's "Come live with me....", the same tune may have later been used for both.The PDF and Midi files are an approximate transcription of the melody line for the first 16 bars, i.e., the first stanza, up to the first double barline. There appear to be only 11 bars in this section, but it can be seen from the image that a lot of the barlines are missing. These have been restored in the PDF and Midi files, so that the transcription actually makes sense, and fits the words.The melody was transcribed using John Dowland's lute fretting chart, which gives the open strings, ascending, as: G, C, F, A, D, G, with open string, a, first fret, b, then c, d, e, f, g, h, i, k, l.Page 84: 'p. 308, ll. 27-8' corrected to p. 308, ll. 317-8"in theProgresse of the Soule, p. 308, ll. 317-8:"Page 214: p. 416 corrected to p. 422."For the relation of this _Elegie_ to that beginning 'Death, be not proud' (p.422) seeText and Canon, &c., p.cxliii."Page 213: 'p. 404' corrected to p. 410'"('Shall I goe force an Elegie,' p.410)"Pages 235, 263: The inscriptions have a character which looks like a reversed capital C, but which is actually a ROMAN NUMERAL REVERSED ONE HUNDRED (U+2183).(Note: This works in compliant browsers.)On Page 235, the date of Anne (More) Donne's death is given as CIↃ. DC. XVII.i.e. hundreds, ten, (1000) plus 600 plus 17, or the year 1617, which is correct.On Page 263, the date given is CIↃ. IↃC. XXIII.CIↃ= 1000;IↃC = 500+100 (600),XXIII = 23, so the date is 1623.(Reference for page 263: [http:// hypotheses.org/17871] ... 'Le latin de Locke ... Goudae apud Justum Ab HoeveCIↃIↃC LXXXIX ...CIↃ= 1000IↃC se décompose en IↃ= 500 + C = 100 soit 600LXXXIX = 89La date correspondante est 168910.102011 serait CIↃCIↃXI '.)(Thus 2015 would be CIↃCIↃXV.)Page 251:S69corrected toS96"S96andO'Fdiffer from the third group...."Page 275: Erratum, p. 274.... This has been corrected.Return to Top

This is the second volume of two. There are links between the two volumes. These links are designed to work when the book is read on line. However, if you want to download both volumes and have the links work on your own computer, then follow these directions carefully.

1. Create a directory (folder) named whatever you like (e.g., Donne). (The name of this directory (folder) is not critical, but the inner foldersmustbe named as listed below, or the links between volumes willnotwork).

2. In that directory (folder) create 2 directories (folders) named

3. Create the following directories (folders):

4. Download thezippedhtml version of each volume.

5. Unzip the downloaded files and move them into the appropriate directories:

Use the BACK button to return from a link.

Although Scotland had accepted the Gregorian calendar in 1600, until 1752, England still followed the Julian calendar (after Julius Caesar, 44 B.C.), and celebrated New Year's Day on March 25th (Annunciation Day). Most Catholic countries accepted the Gregorian calendar (after Pope Gregory XIII) from some time after 1582 (the Catholic countries of France, Spain, Portugal, and Italy in 1582, Belgium, the Netherlands, and Switzerland within a year or two, Hungary in 1587, and Scotland in 1600), and celebrated New Year's Day on January 1st. England finally changed to the Gregorian calendar in 1752.

This is the reason for the double dates in the early months of the years in some parts of this book. e.g., there is a statement, on page 134, that "He died February 7, 1627/8. (i.e. 1627 in England; 1628 in Scotland). Only after March 25th (Julian New Years Day) was the year the same in the two countries. The Julian calendar was known as 'Old Style', and the Gregorian calendar as 'New Style' (N.S.).

Page lxiv, Footnote 9: 'Garrard att his quarters in ??' Perhaps 'ϑermyte' with U+03D1 GREEK THETA SYMBOL: thermyte ? perhaps meaning "(at the sign of) The Hermit"? (The printer, rightly or wrongly, seems to have used a 'theta' at the beginning of the word).

Page lxv, a facsimile of a Title Page, split a cross-page paragraph. One sentence was on page lxiv; the rest of the paragraph was on page lxvi. In the interest of a link to the page, it seemed beneficial to leave the paragraph as it was split.

Page lxv: 'VVith' is as printed.

Page lxxxvi: 'Lo:' retained, although 'Ld.' is printed above. From the context, 'Lo:' may not be a typo, as this form occurs elsewhere.

and theObsequies to the Lo: Harrington."

Page cxvi, footnote 39 (cont.: '17-8.' corrected to '17-18.'. "To Sr Henry Wotton, p. 180, ll. 17-18."

Page cxxx: 'p. 406' corrected to 'p. 412'

"'Dear Love, continue nice and chaste' (p. 412)"

Pages cxxxi-cxxxii: missing word at page-turn? 'and' added in brackets.

"And as one is ascribed to Roe on indisputable (and) three on very strong evidence,...

Page 23: 'll. 140-6' corrected to 'll. 440-6'

"The Second Anniversary, ll. 440-6 (p.264)

Page 34: 'coporales' corrected to 'corporales'.

"'quanto subtilius huiusmodi immutationes occultas corporales perpendunt.'"

Some poems have associated music pages (starting p.54). Html links have been added to playable and printable music files (prepared by the transcriber).

Page 57: This is only the first page of the original two pages (28 and 29) from William Corkine's "Second Book of Ayres" (1612), for 'Page46. The Baite'. It is possible that John Donne wrote "The Baite" for a different melody, which no longer exists. The melody on page 57 may have been intended for Christopher Marlowe's "The Passionate Shepherd to his Love:

Come live with me and be my love:And we will all the pleasures proveThat hills and valleys, dales and fields,Woods or sleepy mountain yields."

Come live with me and be my love:

And we will all the pleasures prove

That hills and valleys, dales and fields,

Woods or sleepy mountain yields."

As Donne's 'The Baite' ("Come live with me and be my love...."), was a parody of Marlowe's "Come live with me....", the same tune may have later been used for both.

The PDF and Midi files are an approximate transcription of the melody line for the first 16 bars, i.e., the first stanza, up to the first double barline. There appear to be only 11 bars in this section, but it can be seen from the image that a lot of the barlines are missing. These have been restored in the PDF and Midi files, so that the transcription actually makes sense, and fits the words.

The melody was transcribed using John Dowland's lute fretting chart, which gives the open strings, ascending, as: G, C, F, A, D, G, with open string, a, first fret, b, then c, d, e, f, g, h, i, k, l.

Page 84: 'p. 308, ll. 27-8' corrected to p. 308, ll. 317-8

"in theProgresse of the Soule, p. 308, ll. 317-8:"

Page 214: p. 416 corrected to p. 422.

"For the relation of this _Elegie_ to that beginning 'Death, be not proud' (p.422) seeText and Canon, &c., p.cxliii."

Page 213: 'p. 404' corrected to p. 410'

"('Shall I goe force an Elegie,' p.410)"

Pages 235, 263: The inscriptions have a character which looks like a reversed capital C, but which is actually a ROMAN NUMERAL REVERSED ONE HUNDRED (U+2183).

(Note: This works in compliant browsers.)

On Page 235, the date of Anne (More) Donne's death is given as CIↃ. DC. XVII.i.e. hundreds, ten, (1000) plus 600 plus 17, or the year 1617, which is correct.

On Page 263, the date given is CIↃ. IↃC. XXIII.CIↃ= 1000;IↃC = 500+100 (600),XXIII = 23, so the date is 1623.

(Reference for page 263: [http:// hypotheses.org/17871] ... 'Le latin de Locke ... Goudae apud Justum Ab Hoeve

CIↃIↃC LXXXIX ...CIↃ= 1000IↃC se décompose en IↃ= 500 + C = 100 soit 600LXXXIX = 89La date correspondante est 168910.

102011 serait CIↃCIↃXI '.)

(Thus 2015 would be CIↃCIↃXV.)

Page 251:S69corrected toS96

"S96andO'Fdiffer from the third group...."

Page 275: Erratum, p. 274.... This has been corrected.

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