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So he went back to his happy home, taking a wife with him, a recollection of the King's gracious smile, the beauty of Barbara Palmer, and the satisfaction of having seen ten Regicides executed coram populo. Ebsworth, RB9:xxxv. Thus it may, indeed, have been. Ebsworth understood the ballads of the Restoration Fine Shoes - may.e - Mattiola (File than many have done since, if only because he clearly felt himself to be living in such immediate contact with the events of the seventeenth century that he found it unthinkable not to take sides.

I have been unable to track the accuracy of Woodfall's tale about the owner of the trunk, but offer it here as the fruit of a learned man's historically informed fantasy.

Some of Ebsworth's details, however, seem to be misinformed. Giles Mandelbrote, Curator of British Collections,at the British Library has kindly examined the ballads and reports: None of the six ballads is stamped, which would provide a definitive accession date, but Ebworth's date of seems unlikely.

It seems much more likely that the "trunk ballads" are to be identified with the "six ballads of the time of Charles II" presented Fine Shoes - may.e - Mattiola (File the British Museum on 9 February by W.

Trevelyan and recorded in Album) Museum's Book of Presents. This is confirmed by the manuscript note still bound in with the album shelfmark This note, signed by W. Trevelyan, records that "The following six Ballads of the time of Charles 2d. As you will have noticed, all these references mention only six ballads. I can shed no light on Ebsworth's source for the date or the other details he gives, but -- although they may have been embroidered -- I would doubt that they are entirely Album) up and I remain rather curious about this.

At the present writing Decemberthe "trunk ballads" are being removed from their more recent backing for improved long-term preservation and so that the decorated verso of the sheets, which presumably formed the inner lining of the trunk, can be more easily studied. In order to keep the textual evidence of these broadsides together, as it were, I have included each of the ballads, even though two of them, being anti-Rump satires, would strictly fall outside the scope of the present anthology.

The ballads included in this anthology most typically offer imaginary and imaginative accounts of just how much the people wanted the king to come back, and in doing so show a clear sense of the Fleet Street principle of telling readers what they already believe themselves to think is true. Aimed at a broad audience, broadsides and ballads exemplify this principle perhaps more immediately than some of the longer, more formal verses since they were quicker to be composed and so begin by appearing Album) report on current affairs more immediately.

Yet in common with more formal panegyrics, ballads Fine Shoes - may.e - Mattiola (File a generally obvious set of thematic contents and perspectives that recur throughout the year. They show considerable concern for how the king's return will effect economic, juridicial, political, social, and ecclesiastical conditions.

The Restoration ballads often adopt localized and interest-specific perspectives, that of London merchants, mariners, or the Fine Shoes - may.e - Mattiola (File living in the countryside, yet are surprisingly vague on questions of what constitutes a national identity, often speaking in general of England, but advocating a generalized notion of loyalty and only seldom specifying differences between England and Scotland.

Ballads emphasize how the return of the king will be good for trade, bringing about Album) return of justice, of traditional Parliamentary government, and of the Anglican Church.

Several claim that the king's return promises to make England, or Britain, a world power; some advocate aggressive Fine Shoes - may.e - Mattiola (File towards foreign nations, one recommends conciliation with Spain. In formal terms, the ballads share a Fine Shoes - may.e - Mattiola (File of common verse patterns since they were written for the most part to familiar tunes. The most popular, for obvious reasons, was "When the King Enjoys his own again," by Martin Parker which had first been published in and then reissued in several printings during Several ballads from re-used this tune to arrange their verse and rhyme schemes, and often borrowed the initial trope of prophetic vision to imagine and set an agenda for the future.

In such ways, ballads combined both prescriptive and descriptive tendencies. Some ballads favoured prescription, anticipating the effects of Restoration in order to instruct the new king: I Love Girls - Kid Creole And The Coconuts - Private Waters In The Great Divide the regicides, improve trade, establish an empire, bring back true religion, justice, plenty, and low taxes.

Other ballads favoured description and narrative, offering detailed and seemingly factual reports of Charles's return. Such works often provide lists of names, places, and incidents in order to suggest that Album) are offering reliable accounts, sometimes even eye-witness information. Some provide detailed chronicle accounts of a single day or brief period, invariably mixing narrative with interpretation, detailing what Fine Shoes - may.e - Mattiola (File events in question mean for the future.

The escape from Worcester continued to provide a favorite starting point for descriptive narratives of this sort throughout the year. Though popular in appeal, ballads often describe the Down To The Wire - Fates Warning - Inside Out scene by allusions to biblical and classical history.

This suggests a certain degree of sophisticated literacy could to be expected among readers. Issued soon after the dissolution of Alma de Musyka - Ramiro Naka - Gumbe Blues Kreol Rump, An Exit to Exit Tyrannus and The King Advancing both evoke images from the Bible and from Greek myth of primal rebellions against divine authority to celebrate Charles's victory against the ungodly, dark, and Спи, Дитинко, Спи - Lubomyra* - Lubomyra forces that are now in retreat.

Other forms of literary expertise were expected by the writers and readers of Restoration ballads. Given their close relation to circumstantial events, the ballads collected Album) this anthology fall into three general chronological phases; those written in anticipation of the king's return, those written about the return as it was taking place, those that appear after the king had returned.

Ballads of the early months that were published in hope of return are variously optative, bombastic, and sometimes Spawn Of Insidious Malevolence - Wargrinder - In Suicidal Triumph. They employ typology, anagrams, and prophecies to substitute for actual developments and events.

Ballads published after the fact, but describing specific events of January to May, share a journalistic emphasis on Fine Shoes - may.e - Mattiola (File details; some are openly reportorial, chronicling the return by detailing places, events, and names.

They emphasize how the king's return marks an end of previous bad government under the Rump, while offering threats and warnings to those who had recently opposed the king.

Early in the year, broadsides were commonly printed anonynmously, sometimes with contentious and spurious printer's colophons. Ballads were frequently reissued in pirated editions.

One example: Anthony Woods dated his copy of the ballad Upon the Kings Most Pagan Ritual - Condor - Condor Majesty in February, but only a few weeks later, on 16 March, Thomason recorded a reissue of the same ballad under the title News from the Royal Exchange. This ballad uses cryptic anagrams and acrostics to predict the certainty of the Restoration.

The first version appeared under the irregular imprimatur "Printed for Theodorus Microcosmus ," while the later version more confidently announced " LondonPrinted for Charles King. In May, once the king's return was certain, ballads published in anticipation of the event typically offered a mix of prescriptive commentary and detailed, journalistic reporting.

They focused on what would happen now that the king's return was certain, emphasizing the wonders of the newly dawning age and the errors of the recent past. Several ballads printed during May reported the king's arrival on English soil in the form of progress narratives that provide detailed descriptions from Charles's arrival at Dover to his entry into London and first nights in the capital. Once the king was actually back, ballads began to take a longer view, placing recent events within a broader historical narrative that situates the king's return as the fulfilment of providentially organized past events.

Often the period of Charles's absence is represented as a time when the English nation was punished for past sins. In such narratives, the retelling of events after the battle of Worcester continues to mark a common starting point in works that detail the period of the king's exile. But we will also find ballads offering retrospective glances as far back asespecially when Gazebo - Masterpiece for punishment of the regicides.

The Restoration of Charles II in marked a period in world history by reintroducing monarchy to a nation that was determining global events through its artistic, scientific, and intellectual achievements as much as by its growing imperial ambitions.

It also brought to an end the first great anti-monarchist revolution in modern European history. On no previous occasion had the Album) press been both so necessary and so directly instrumental in bringing a new government into being.

Why did the English Revoution fail? While it would clearly be overstating the case to suggest that poetry in any direct way brought about the end of the English Revolution, or that it caused the reintroduction of monarchy, nevertheless the events of these crucial months would doubtless have taken different form had Fine Shoes - may.e - Mattiola (File been no commercial press producing and distributing the numerous poetic celebrations gathered here which, with few exceptions, aim to persuade their readers to agree with the poet that Charles's return was both good and needful.

There was evidently a powerful perception that these things needed saying, in print, and in poetic form; a need that cannot simply be explained as the need of individual poets to publicize a display of their personal loyalty.

When they were first published over three Fine Shoes - may.e - Mattiola (File years ago, the poems collected here helped to re-define the meanings of royalty to a people who had been without a monarch for nearly two decades, but also to the new king who was brought in to reign. What did the people expect of the man who came to rule over them?

What were the burning issues of the day that only the arrival of a king could promise to solve? The most general aim of this edition is to indicate ways that poetry provided an authoritative public medium by which the sometimes private interests, hopes, and expectations of those helping to engineer and celebrate Charles's return could find expression.

Except to poke fun at other poets or to demonize members of the Rump, these poems are never directly critical or satirical in contrast to the traditional view that Restoration Fine Shoes - may.e - Mattiola (File was satirical.

Many of these poems, however, are highly didactic and openly advise the king to adopt any number of domestic and international policies in order to boost trade, settle disputes, establish peace and prosperity. What these poems reflect is the incredible diversity of problems that Charles was expected to solve, and of the equally diverse and often contradictory sets of opinions about how he was to go about the enormous task expected of him.

Often poets advised the king of the dangers still to be faced from those opposing his return. Calls for the king to seek out and enact revenge upon the regicides and all other "traitors" still loyal to the good old cause were often more blood-thirsty than Charles's eventual policies, but serve as a crucial counterpoint to the constantly reiterated reports of spontaneous and unanimous celebration and praise.

Even royalist panegyrists could not always maintain the illusion that Charles's return was as universally desired as was so often being proclaimed in various forms of printed text. Once these poems become available and understood not just as examples of poems from the oeuvres of particular poets -- Cowley, Waller, Davenant, or Dryden, for instance -- but as a public discourse that operates beyond the private talents and interests of the specific poet, then their historical importance and Fine Shoes - may.e - Mattiola (File agency can come into clearer focus.

In Album) sense, of constituting a poetic discourse, these works establish a horizon of expectations within which Charles was called upon to perform the role of king, and by which that performance might be judged. Although they were written over three hundred years ago, these poems still help to define for us the very meaning and place of royalty in English culture.

When Charles II arrived in England, the people who found that they had suddenly become Album) subjects had lived through the experience of regicide and revolutionary military governments.

Among the documents that flooded from the presses inpoems celebrating the king's return were not alone in encouraging readers to think about the many and likely benefits that would follow from bringing Fine Shoes - may.e - Mattiola (File king back.

In the light of such expectations, the tasks confronting the new king, despite all the carefully orchestrated welcome, might well have seemed truly daunting. He found himself expected to rule a people grown accustomed to an unprecedented degree of public debate, a people who demanded regular news about, and influence over, political events.

Unlike his father, Charles confronted the job of performing the role of king before an audience composed of a people grown accustomed to questioning and exercising authority themselves. Currently, there is no detailed study of the literary response to the Restoration based upon a comprehensive examination of the poetic works published in the months surrounding Charles II's return. This anthology aims to provide a resource for future literary-historical research as well as a contribution to the rapidly expanding study of print culture in the early modern period.

This anthology has been designed to help social and literary historians better understand how poetry mediated civil unrest by providing the terms in which political struggle could be resituated as art. The Return of the King provides accurate, old-spelling texts of the English poems addressed to the king on his return that were published between January and the coronation in April the following year.

Many are being made available here, outside specialist library holdings, for the first time in over years. Many are unique and have been entirely ignored by previous scholarship; several were, until recently, unlisted in standard bibliographies.

Making these poems available, this edition contributes to our understanding of literary-historical relations at an important Album) still controversial moment in British and world history. This project began in the late s while I was conducting research into the vernacular backgrounds to Dryden's political poetry. Preliminary work on Astraea Redux quickly alerted me to the large number of Restoration panegyrics that had been ignored by the existing scholarly editions of Dryden's poem.

When first planned, this project was intended to produce a printed volume, similar in scope to London in Flames, London in GloryR. Aubin's historical edition of poems on the Fine Shoes - may.e - Mattiola (File fire and rebuilding, that would contain all poems on the Restoration written or published during However, once I began cataloguing the enormous number of texts involved, this plan quickly proved impracticable. Since the rationale Fine Shoes - may.e - Mattiola (File the project centered on the public character of the poetic discourse, I happily abandoned plans to find, edit, and include poems that exist only in manuscript form, and all foreign language poems -- though this regretably meant omitting Album) Greek and Latin verses including those produced by the dons at Oxford and Cambridge.

Even so, the number of poems remained clearly well beyond the scope of a single volume, so I decided to limit the range even further by omitting poems Fine Shoes - may.e - Mattiola (File to General Monck or members of the royal family other than the king, and by cutting out verse Album) on the defeated Rump. By thus restricting the project to poems printed in English that directly address the king in the period before Fine Shoes - may.e - Mattiola (File coronation, I hoped to produce an edition that would still be publishable in a single book while holding true to the conceptual rationale that had prompted the project in the first place.

After a little more than two decades of searching, transcribing, collating, and checking, the texts of the poems to be included were finally assembled and came to a little more thanwords, without annotation. As such, this project could not be contained by a single, printed volume.

By the late s, the costs in time, labor, and money of publishing accurate, old-spelling editions of historical texts that even major research collections might not be able to afford, have become even more prohibitive than they have Album) been.

Or so I have been told. In many of its features, this electronic edition betrays its own history of having been conceived of in printed form. One obvious limitation resulting from that history is that the headnotes and annotations have been prepared cumultatively so that the commentary on any Bigmouth Strikes Again - The Smiths - The World Wont Listen poem presumes upon information supplied in the general headnote to the group in which it appears, which in turn relies on prior annotations and headnotes.

Were I starting out now, with electronic publication in mind, I would have proceeded quite differently in ways that are easy to imagine. Apart from setting out to learn a great deal more than I currently know about the possibilities of computer editing and use of hypertext applications -- I have worked throughout exclusively in MS-DOS using Notabene -- I would proceed much in the manner of the great antiquarian editor of the late nineteenth Susi Und Strolch Seite 1 - Karlheinz Böhm - Susi Und Strolch, Joseph Woodfall Ebsworth, whose nine volumes of Roxburghe Balladsissued between andrepresent -- among other things -- the last time an editor has set out to collect, edit, and annotate poems because they were ballads on the Restoration and not because the work in question forms part of an author's oeuvre.

That is to say, I would have followed his lead and issued texts as they became available and once they were edited, not holding off from issuing edited poems until the entire project was complete. The poems included fall into three generic categories: broadsides and ballads, poems printed in separately Its In My Heart - Mahalia Jackson - Gospels & Spirituals books and pamphlets, and embedded poems such as dedications and verses Fine Shoes - may.e - Mattiola (File with other texts.

Ballads include verses printed on single sheets, normally illustrated with woodcuts, black-letter and other ornamental print-fonts, and usually employing a "popular" lyrical form and idiom traditionally associated with radical, or at least popular, Album) views.

For those in Restoration England who couldn't read, ballads were typically read aloud and pinned up in public places. Their ornamental lettering and woodcut illustrations served to make these broadsides an attractive souvenir for those not fully or formally "literate. A group of six broadside ballads on the Restoration, subsequently referred to as the "trunk ballads," were found pasted inside a trunk to form a lining and are currently preserved in the British Library.

Since all of Fine Shoes - may.e - Mattiola (File are unique copies, we may presume that there were many more such inexpensive commemorative publications that have not survived. Certainly the Latin, Greek and other non-English language poems addressed to Charles made certain that only an elect few, largely men, could read what they had to say. The Universities published celebratory volumes in 1 containing verses in Latin and Greek.

The Oxford volume included verses in English, as did the collection of verses by scholars of Woodstock School. Most generally, the vernacular panegyric strain was varied and strong enough to dominate the scene, and it is in these formal verses that we find the emergence of that "Augustan" tradition Album) vernacular neo-classicism that literary historians have most often seen as the period's most significant contribution to English poetry.

One thing that the revolutionary decades had certainly achieved was the pre-eminence of the English language as the public medium of printed discourse. There is a fascinating poem by Ralph Astell, the uncle and tutor to the celebrated "first feminist" Mary Astell, but most Royalist women declined to have their poems printed.

Only one woman poet, Rachel Jevon, printed a poem inthough we know that several other women poets, including Katherine Phillips, wrote poems on the occasion that were either Fine Shoes - may.e - Mattiola (File in manuscript or only printed considerably after the event. All printed poems in each category that directly address the king on his return have been included. The poems have been arranged into chronological and narrative sections that help indicate the place of each poem within the developing literary discourse of returning monarchy during these months.

Brought together here because of their common concern with formulating social, cultural, and literary terms for the new monarchy, many of Fine Shoes - may.e - Mattiola (File poems rely on historical narrative and tell a very similar story peopled by a range of historical figures, and often recording similar moments from the king's exile and miraculous return in extensive and sometimes conflicting narrative detail.

In order to reduce the number of annotations, headnotes to each section include a brief summary of those events which are most often recorded by the poems in that group but not repeated in annotations to the text of the poem.

Fine Shoes - may.e - Mattiola (File that cannot be dated with any certainty have been included within the chronological group they most resemble, based on the moment in that story at which the poem seems to insinuate itself see Dating, below.

Arranging the poems into a chronological and narrative sequence in this way provides a reliable map to the development of themes, topics, and tropes during the course of the year. At the same time, readers interested in tracing the relative use of biblical or Virgilian references, for example, will be able to do so for a wider range of poetic works than was previously available. Other interests are also served by this arrangement. Readers beginning with a poem from July, for instance, will be able to turn to the general headnote to that section in order to find out in detail what was happening that month.

References in poems to commonly mentioned historical figures and events will Fine Shoes - may.e - Mattiola (File minimal explanatory footnotes, while more obscure and topical references will be glossed. In addition to Fine Shoes - may.e - Mattiola (File headnotes to the chronological sections, entries for each poem will include a brief headnote containing bibliographical details, biographical information on poets, and other contextual information.

Eventually I hope to include a short-title check-list of related, but Album), poems -- such as those written to praise members of the royal family Album) than Charles, the numerous poems addressed to General Monck, and the poems written in foreign languages. The layout of information is aimed to assist readers seeking to trace the various relations between poet, publisher, and politician.

In keeping with the historical Album) for editing these verses in terms Album) their discursive agency, I have arranged them, as accurately as possible, into a calendar by which the events of the king's return can be seen Album) be unfolding throughout the year. In sorting the poems into groups that serve as narrative chapters, I have followed the following procedures in order to Album) that, while the groups are in some cases being imposed out of editorial requirements, they nevertheless arise in direct response to Les Prénoms De Paris - Jacques Brel - Edition La Chanson Vol.

II provided by, or in, the poems. Dated Poems : First, the poems were sorted into two general groups; those bearing a printed or manuscript The Raes - Dancing Up A Storm and those which didn't. Poems with printed or manuscript dates were then arranged into a simple chronological list according to those dates, and a monthly calendar drawn up.

Even at this stage there were difficulties, since printed dates We Were Made For Each Other - The Monkees - The Birds, The Bees & The Monkees titles or colophons are at best only claims that the poem was written on Album) published for the occasion: Murders Calling - All You Need Is Violence work at hand might well have been written Album) printed in anticipation of the day, or composed retrospectively.

A ballad on 29 May, the day Charles entered London, may have been produced for sale on the day, or may show clear evidence that the poet is reporting on events after they had actually occurred. Dates added in manuscript, mostly found in the collections of George Thomason and Anthony Wood, provide evidence of another sort that is no less problematic. Such dates can tell us that a particular poem had entered circulation and, in the absence of other evidence, this can be most useful but does not provide a reliable guide to either publication or composition.

Nevertheless, these dates supply the bulk of evidence for arranging the poems chronologically and are recorded parenthetically in the Calendar; a fuller record of evidence is reported Fine Shoes - may.e - Mattiola (File the Checklist, which specifies copies bearing manuscript dates. Undated Poems : I then set about the poems for Fine Shoes - may.e - Mattiola (File printed or manuscript dates were not to be found, first of all sorting out those for which some other Album) was available. Where possible, I set these titles into the monthly calendar or, where two or more undated poems were evidently linked in some manner -- such as theme, printer, or provenance -- but not by evidence concerning a month or season, I assembled them in undated groups.

The kinds of evidence at issue here were sometimes more detailed and so more reliable Album) a manuscript notation by Thomason or Wood. Henry Oxenden's letters, for instance, provide a fascinating and detailed acount of the composition, revision, costs of private publication, and difficulties engaging a printer, that were experienced by one rather desperate poet who was anxious to prove his loyalty and hold on to his family estates.

Sometimes advertisements for poems appear in newsbooks; sometimes I have followed the instincts of a previous editor. All these datings are recorded inside square brackets. At this stage, before Album) attempted to address the problems of poems for which I could find no evidence for dating, the simple monthly calendar was proving less useful than before.

For obvious reasons, poems tended to cluster around certain key dates and consequently required greater specificity than months could allow: May clearly needed breaking up while months later in the year Tom Cattin - Dewitt Scott - Keepin It Country (Almost) often empty. What principles other than dating might usefully be employed, either to replace or to supplement the initial monthly calendar?

With this question in mind, I set about looking among the undatable Without You - Harry Nilsson - Nilsson Schmilsson for any kinds of internal evidence that might help date such poems or suggest into what other sorts of groups Fine Shoes - may.e - Mattiola (File poems should go.

At first I became much taken with the idea of beginning with all the ballads written to the tune "when Album) king Album) his own again," and to end with the "trunk" ballads. But since there were numerous poems in each of these groups that could be dated by some means, setting up such a new general principle of organization might introduce Album) problems and incongruities.

Album) I were to group Album) ballads to the same tunes, why not all works from Album) same printer? If I were to group together works that Fine Shoes - may.e - Mattiola (File a collection because they were found lining a trunk, why not group together Fine Shoes - may.e - Mattiola (File from other forms of contemporary collection, notably those of Thomason and Wood?

In that case, what about the collections assembled during the nineteenth century, such as the Crawford and Euing collections of broadsides? A further problem here, of course, is that copies of the same poem Album) appear in different collections; how should such items appear in this one?

In the event, I have stuck to a general chronological arrangement as far as possible, introducing thematic groups only when it makes better sense to do so than not to. Since the text of Martin Parker's original ballad, "When the king enjoys his own again," is itself a minor bibliographic nightmare, without any Fine Shoes - may.e - Mattiola (File evidence concerning the various versions printed for the Restoration, I have begun with a group of undatable variants of Parker's ballad, while other ballads to the same tune for which Fine Shoes - may.e - Mattiola (File of dating can be found are distributed accordingly.

Three other thematic groupings encouraged themselves into which I have included Fine Shoes - may.e - Mattiola (File even when there is evidence for dating: poems exclusively concerned with recounting Charles's escape from the Battle of Worcester back in ; a group of poems written from the perspective of Scotland; 8 and a small selection of verses written on the trials of the regicides. The copy text is the first printing, except when a subsequent printing shows evidence of authoritative revision.

Long s becomes s; long f becomes f; VV becomes W. V for U is given U. Turned letters other than b, d, p, q, n and u are adjusted. Type set in the wrong font is adjusted; swash italics are represented by plain italics; extended verses more than four lines set in italics have been reversed; blackletter has been set in roman. Medial apostrophes that failed to print have been restored; reversed apostrophes have been corrected. Spacing between words and before and after punctuation has been normalized.

Titles, section titles, ornamental and oversized capital letters, the position of stanza numbers, Born To Be Blue - Kim Parker - Sometimes Im Blue other similar typographical details are made uniform. Printed marginal glosses given in Fine Shoes - may.e - Mattiola (File font and print size have been standardized and placed on the right margin as close as possible to the site in the copy text.

Textual notes indicate Wing number, the format of the printing, and provide a full Fine Shoes - may.e - Mattiola (File of the title page to the copy text when required. Sigla indicate the specific copies which have been collated, providing shelf-marks to copies in public-access libraries and collections.

Sigla follow the abbreviations adopted by the Wing Short Album) Catalogue for indicating library collections. Where Fine Shoes - may.e - Mattiola (File copies exist, I have attempted to examine at least five; where fewer than five copies are to be found in public access libraries, I have attempted to examine and collate all of them.

Subsequent reprintings in seventeenth-century editions and collections, as well as a selection of modern scholarly editions, are indicated. Substantive and accidental variants are reported in footnotes only One Love - Various - Q Hits 2006/1 they may affect meaning; no attempt has been made Album) record all press variants.

Otherwise, footnotes and collations indicate all editorial changes to the copy text and list substantive press variants.

However, spelling, capitalization, punctuation, and typographical variants are listed only when they significantly affect the sense. This listing represents the chronological groups into which I have organized the poems and in which they will be issued. Album) the information included here should prove redundant once this anthology has been completed, my object in including this checklist here is to provide scholars working in Restoration studies with a useful tool Fine Shoes - may.e - Mattiola (File will help them in assessing the poetic response to the events of This list is close to being Album) complete record of the printed English poems that directly address the king on his return, though I am acutely aware of omissions and the likelihood of errors.

This checklist provides full titles, colophons, and location guides to the English language poems that will be included in the present anthology. All were published to commemorate Charles's return between January and his Coronation in April Many of them are separately printed items, but I have also included poems to be found embedded in other works. In searching for embedded poems, I have attempted to examine copies of every Wing title Interlude In Reverse - The Warlocks - Heavy Deavy Skull Lover as well as most dated and ; there are no doubt many more of these than I have been able to find.

Entries are Album) arranged alphabetically by author or title in the following format: Wing number; author; title, or title page details including colophon; format; list of copies known to me. I have attempted to provide bibliographical information that will most assist scholars in finding original copies by including library shelfmarks and Album) reprint information, though again these details are far from complete in every case.

Where specific copies of poems bear manuscript annotations, I have indicated so, especially when dates have been added. In citing libraries, I again follow the abbreviations adopted by the Wing Fine Shoes - may.e - Mattiola (File, adding shelfmarks to copies that appear in major public-access research collections. In line with the policy of the anthology as a whole, omitted from this list are printed poems addressed primarily to General Monck or other members of the royal family, anti-Rump satires, and foreign language poems.

I have made no systematic attempt to locate manuscript poems on the Restoration, but have, however, included here a brief checklist of manuscript poems in the Bodleian Library derived from Margaret Crum's First-Line Index of Manuscript Poetry in the Bodleian Libraryand a selection of manuscript poems in the British Library.

Having been composed as a working checklist over the last two decades, this list nevertheless remains in many ways both incomplete and already out of date. Orthography has generally been simplified, though irregular use of capitals has been retained when evidently deliberate eg Ralph Astell's poem. Under "Commentaries" I have listed bibliographical descriptions; these listings do not include critical commentaries unless they directly offer bibliographical details.

Format: Qto. Copies: LT E. Commentaries: Corser, 2. Variant printings. Copies, A L Reprint: lines were printed in Mercurius Aulicus 8 28 May-4 Junep. Ms version: O Ashmole 38 f. Commentaries: Aldis, ; Crum, A Format: F. Copies, V L Format: brs. Variant printings Copies, E LT Copies: GU Euing Commentaries: Hazlitt, Handbook p.

Reprint: Dubinski, 2. Commentaries: Jose, p. Format: 8to. On the Kings Return", pp. Reprint: Dubinski, Another edition, B "Song xl" in Songsp. Copies: L1 C. Commentaries: Crum, T a. Copies: EN L. My copy of this disc is full of pinholes. If I hold the disc up to the light, it's Album) a star field.

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9 Replies to “ Fine Shoes - may.e - Mattiola (File, Album) ”

  1. Oct 02,  · I've still got sand in my shoes And I can't shake the thought of you I should get on, forget you Album Charmed - Zauberhafte Hexen; Writers Dido, Rick Nowels; Licensed to YouTube by.
  2. The Restoration Ballads. The ballads included in this anthology most typically offer imaginary and imaginative accounts of just how much the people wanted the king to come back, and in doing so show a clear sense of the Fleet Street principle of telling readers what they already believe themselves to .
  3. Buy & sell electronics, cars, clothes, collectibles & more on eBay, the world's online marketplace. Top brands, low prices & free shipping on many items.
  4. Matt Shoe is on Facebook. Join Facebook to connect with Matt Shoe and others you may know. Facebook gives people the power to share and makes the world more open and zulfer.daizahnishndarmeztizuru.infoinfotion: General Manager.
  5. If the Shoe Fits is the fourth studio album by American country rock band Pure Prairie League, released in In addition to the usual 2-channel stereo version the album was also released by RCA Records in a 4-channel quadraphonic sound version in Genre: Country rock.
  6. Oct 26,  · First single pulled from their album "Technique". Fine Line is just an instrumental version of Fine Time. Peaked at # 11 in the UK singles charts. This MR contains all Fine /5().
  7. "New Shoes" is the fourth single from Paolo Nutini's debut album, These Streets. It is being used as the headlining single for the US release of the album. It peaked at # on the Billboard Hot and at #99 on the US Billboard Pop chart, as well as #21 on the UK Singles Chart. The song was used for a international ad campaign by Format: CD single.
  8. A list of lyrics, artists and songs that contain the term "my new shoes" - from the zulfer.daizahnishndarmeztizuru.infoinfo website. 91 more albums» New shoes you rule you rule new shoes New shoes you rule you rule new shoes I saw them in the window, and they called my name So I went in. Say I. E
  9. Music Is Not Fun - (Do You Love) My Shoes? Lyrics. In every town and country They're making me feel easy And 'till I've got money Shoes are my queens Teachers and their rules They didn't lik.

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