No More Learning

He perhaps
returns to _D_, _H49_, _Lec_ in those to _The Lady Carey and Mrs.
Essex Riche, from Amyens_, and _To the Countesse of Salisbury_; and,
as in that manuscript, the Palatine and Essex epithalamia (to which,
however, _1633_ adds that written at Lincoln's Inn) are followed
immediately by the long _Obsequies to Lord Harrington_. Three odd
_Elegies_ follow, two of which (_The Autumnall_ and _The Picture_,
'Image of her') occur in _D_, _H49_, _Lec_ in the same detached
fashion. Other manuscripts include them among the numbered _Elegies_.
_The Elegie on Prince Henry_, _Psalme 137_ (probably not by Donne),
_Resurrection, imperfect_, _An hymne to the Saints, and to Marquesse
Hamilton_, _An Epitaph upon Shakespeare_ (certainly not by Donne),
_Sapho to Philaenis_, follow in _1633_--a queerly consorted lot. The
_Elegie on Prince Henry_ is taken from the _Lachrymae Lachrymarum_ of
Joshua Sylvester (1612); the rest were possibly taken from some small
commonplace-book. This would account for the doubtful poems, the only
doubtful poems in _1633_. These past, the close connexion with our
manuscript is resumed. _The Annuntiation_ is followed, as in _H49_,
_Lec_, by _The Litanie_. Thereafter the lyrical pieces begin, as in
these manuscripts, with the song, 'Send home my long strayd eyes
to me. ' This is followed by two pieces which are not in _D_, _H49_,
_Lec_,--the impressive, difficult, and in manuscripts comparatively
rare _Nocturnall upon S. Lucies day_, and the much commoner
_Witchcraft by a picture_. Thereafter the poems follow piece by piece
the order in _D_, _H49_, _Lec_[18] until _The Curse_ is reached. [19]
Then, in what seems to have been the editor's or printer's regular
method of proceeding in this edition, he laid aside the manuscript
from which he was printing the _Songs and Sonets_ to take up another
piece of work that had come to hand, viz. _An Anatomie of the World_
with _A Funerall Elegie_ and _Of the Progresse of the Soule_, which
he prints from the edition of 1625.
Without apparent rhyme or reason
these long poems are packed in between _The Curse_ and _The Extasie_.
With the latter poem _1633_ resumes the songs and (with the exception
of _The Undertaking_) follows the order in _Lec_ to _The Dampe_, with
which the series in the manuscripts closes. It has been noted that in
_Lec_, _The Prohibition_ (which in _D_, _H49_ follows _Breake of day_
and precedes _The Anniversarie_) is omitted. This must have been the
case in the manuscript used for _1633_, for it is omitted at this
place and though printed later was probably not derived from this
source.

With _The Dampe_ the manuscript which I am supposing the editor to
have followed in the main probably came to an end. The poems which
follow in _1633_ are of a miscellaneous character and strangely
conjoined. _The Dissolution_ (p. 64), _A Ieat Ring sent_ (p. 65),
_Negative Love_ (p. 66), _The Prohibition_ (p. 67), _The Expiration_
(p. 68), _The Computation_ (p. 69), complete the tale of lyrics. A few
odd elegies follow ('Language thou art,' 'You that are she,' 'To
make the doubt clear') with _The Paradox_. _A Hymne to Christ, at the
Authors last going into Germany_ is given a page to itself, and is
followed by _The Lamentations of Jeremy_, _The Satyres_, and _A Hymne
to God the Father_. Thereafter come the prose letters and the _Elegies
upon the Author_.