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Jaggard’s less satisfactory version runs:— &gt; Thinke Women still to *strive* with men, &gt; *To sinne and neuer for to saint,* &gt; *There is no heauen (by holy then)* &gt; *When time with age shall* them attaint. Finally, in line 51 the MS. reads:— &gt; She will not stick to ringe my eare &gt; F 2 <!-- [Page 333](arke:01KG6QFYG522D1RWKJBTJ9K877) --> 44 THE PASSIONATE PILGRIM and Jaggard reads:— She will not stick to round me on th’ are. No. XIII. Suppositi- tions MS. The poem No. XIII (‘Beauty is but a vaine’) was printed in 1750 in the Gentleman’s Magazine, vol. xx, p. 521, under the title ‘Beauty’s Value by Wm. Shakespeare. From a corrected MS.’ This was reprinted with what was claimed to be greater accuracy in the same periodical ten years later (vol. xxx, p. 39). The variations are not important, and have a too pronouncedly eighteenth-century flavour to establish their pretension to greater antiquity. In line 7, where Jaggard reads:— And as goods lost, are *seld or never* found. the Gentleman’s Magazine manuscript reads:— As goods *when* lost are *wond’rous* seldom found. To improve the rhymes ‘refresh’ and ‘redress’ (at the end of lines 8 and 10 respectively), the ‘corrected’ manuscript reads awkwardly ‘excite’ in the first case and ‘unite’ in the second. There can be little question that search must be made elsewhere for any contemporary illustration of this poem of Jaggard’s miscellany. Theory of Barnfield’s authorship of the poems in six-line stanzas. The authorship of these five poems, which Jaggard first printed from manuscript, can in the present state of the evidence be matter for conjecture only. It is very possible that they are from Barnfield’s pen. Barnfield was a voluminous writer, and not all his verse found its way to the printing-press. Much of it circulated in manuscript only, and is still extant in that medium.¹ It is probable, moreover, ¹ Dr. Grosart printed in full, in his edition of Barnfield’s Poems for the Roxburghe Club, a ‘manuscript’ commonplace book bearing Barnfield’s autograph, which was in the library of Sir Charles Isham of Lamport Hall. The volume contained some previously unprinted poems from Barnfield’s pen together with transcripts of others’ work. The first page gives, without indication of its <!-- [Page 334](arke:01KG6QFYG1MN5FC56W544X03VB) --> THE PASSIONATE PILGRIM 45 that much of it was entrusted to William Jaggard’s brother John, who printed an ample but by no means exhaustive selection from it in 1598. Barnfield’s imitative habit of mind rendered the six-lined stanza, which Shakespeare had glorified in his *Venus and Adonis*, a favourite instrument, and the internal quality of the many six-line stanzas in *The Passionate Pilgrim* justifies the theory that Barnfield was their author, at any rate of those of them that are in a serious vein. ## IV It may be assumed, although the indications are obscure, that despite its equivocal claims to respectful notice, Jaggard’s venture met with success. There is small doubt that the compiler of the popular anthology called *England’s Helicon*, which appeared next year, was influenced by the example of the publisher of *The Passionate Pilgrim*. The former printed four of Jaggard’s ‘Sonnets To sundry notes of Musicke’, viz. XVI, ‘On a day, alack the day’, from *Love’s Labour’s Lost*; XVII, Barnfield’s ‘My flocks feed not’; XIX, Marlowe’s lyric with the reply; XX, Barnfield’s ‘As it fell upon a day’. Although the editor of *England’s Helicon* depended in most cases on different transcripts, the coincidence of his choice and the order which he followed in introducing these four pieces to his reader can hardly be regarded as fortuitous.

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