Original poetry

Yes, possibly all the English poems.

Possibly, most items are unattributed and a number of them not in First Line Index.

Yes: poems that appear to be by Anna Sharpe’s father, one by Anna Sharpe herself (On Sleep), one to Anna Sharpe, maybe more.

Yes. Definitely "On the Death of a Most Indulgent Mother by her Son"; other poems have been written by Heigham's acquaintances, including several sonnets by Charlotte Smith and an elegy by Mr Hammond; a few other unattributed poems might also be original.

The epilogues altered or spoken locally are presumably local productions ("performed by Henry Heigham").

Yes, seemingly all original/local poems.

Yes, seemingly all original.

Yes, all written by Soame Jenyns for Robert Harley, Earl of Oxford, and his daughter Margaret Harley Bentinck, and her circle of friends. Afterwards published in Dodsley’s Collection 1748, Jenyns poems 1752, Dodsley’s Museum, etc.

Maybe the short Latin items at the end. The more substantial poetry and prose can all be assigned to an author.

Yes, likely.

Yes, possibly mostly.

First Line Index has attributions for only 2/23 items.

Probably; many items in the First Line Index for this book are unattributed, but some of these can be traced. Items like memorials to Eliza, however, might be original.

Possibly; the added gossiping song at the end of the book could be original, but the compiler seems to be primarily a copier of print and manuscript poetry.

Yes, all seem local and original — perhaps written between members of a local social network.

Yes, but needs further checking; at least one item (pp. 13-15) which appears to be original (by a Lady) is elsewhere attributed Nahum Tate and Nicholas Bray.

Yes, seemingly all original.

Yes, probably entirely.

Possibly the series of animal poems, the Ode on St. Cecilia’s Day.

Possibly.

Yes; author seems to claim final poem.

A number of other unattributed poems are potentially original as well. 

Yes — no authors assigned in the First Line Index, voice is very personal, so all poems seem to be the work of the compiler.

Maybe; unattributed items from the manuscript were mostly attributed in the First Line Index, but not all; there could be a few originals.

Majority of the poems by Barrett.

Seems possible, given sense of local poems centred around Oxford, bawdy short poems, etc. – but this is also the type of material that would circulate anonymously.

Yes, mostly local interest.

Seems most of book is original, with various pen names attached to suggest multiple authors. 

Yes, many, probably around half the items or more. Lots of sociable verses, rebuses, riddles arising out of his social circle, especially interactions with women.

Also many versical responses to the authors of other poems disapproving of their treatment of their subjects eg. pp. 29, 132, 153

Yes, entirely. According to the First Line Index, all poems are by Charles Earle, except one by "Mrs. K—lly." 

Yes; poems by Martha Roberts (who is seemingly a cousin), by their uncle, J.B. Dickinson, and others.

Yes, many poems original to the compiler. See page 72 for a long note on his paraphrasing the book of Job.

A lot of the other poems inspire FLI results, but only from the ESTC, which is an interesting testament to the uniqueness of this manuscript's selections.

Maybe "A Song" on pages 18–19, but otherwise no original poetry. Orbis suggests that the "Ode" "written by a young Lady of a very uncommon and promising Genius" might be a self-referential attribution by the compiler, but the poem is by Laetitia Pilkington. 

Yes, most if not all. Many revolving around group of school friends or Sarah Leaper, as well as many imitations. 

Yes, related to studies.

Yes, according to the catalogue; however, nothing in the presentation distinguishes these poems from the copied poems.

Orbis catalogue suggests the items initialed and signed by the Porters are likely original. The First Line Index records items 62, 531, 578, 733, 1033, 2026, and 2027 as by Porters. Given the amount of poems included in the book, even if these items are original, the focus of this book was copying published poetry. 

Yes, high proportion.

Poems related to/by Diana Burroughs, EMB, Mr. and Miss Crowfoot.

Yes, likely most, judging from the title "Original poems" and First Line Index results.

Yes; about half of the poems are original to the collection: two light hearted poems by Edward Venn about women; at least five poems by C.A. Venn mostly on subjects such as storms, passions, solitude.

Seems likely to contain a large amount of original poetry given the corrections and the subject (sonnets addressed to particular women). 

Maybe the two items signed E.H., which are a translation of Rousseau and a play on Chapter 3 of Habakkuk.

Uncertain if the compiler contributed poems, but their personal acquaintances did (eg. Warton, Symmons). 

Yes. All poems appear to be original. The coterie names strongly imply original authorship, as do the section titles.

Possibly a poem titled "The birch," "by the late Revd. T. Wilson, many years Head Master of the Free Grammar School at Clitherol Lancashire." 

Yes, up to half of the poetry is seemingly original to either Charles Parr Burney, his father, and I.L.B., or the Crewe Hall coterie of the 1780s and 90s. 

Possibly; a few poems signed only with initials, many poems attributed to members of Charles James Fox's social circle. 

Yes, by Maria Riddell, W., L., and (mostly) the compiler. The compiler's (unattributed) poems appear to be original because they turn up no FLI results and are said to have been “Written” at various times between 1811 and 1816. Multiple poems also feature corrections, including changes in diction.

Note the poems about Mary Tighe, suggesting the compiler was acquainted with her.

Yes.

Seemingly all original poetry. 

Yes; plenty of original poetry by Mary Cornwallis and her family, largely occasional (more specifically, birthdays).

Possibly, see the First Line Index items attributed to "G. W. L. jr.," Walker, and Welce. 

Yes. The final poem is likely original because there are no FLI hits and it is initialed by the compiler. The poem on p. 82 attributed to "Alexis" might also be original.

Yes, many original to the compiler.

Possibly. Some anonymous poems labeled “Forton Prison” and dated 1795.

Possibly the anonymous poems "Roselin Castle" and "Verses on Ben Lomond."

Yes, plenty, including a number attributed to A.R. and the Revd. Evelyn, and the final epistle, which is by Frances Boscawen. Most poems seem to have come from friends and acquaintances.

Probably not, except for the crossed-out and incomplete love poem on p. 169.

Maybe; some poems with no First Line Index hits, for example p. 158 "On Throwing By An Old Coat," and school exercises.

Yes; almost all original, as indicated by title page and headnotes to poems, but the First Line Index identifies four authored by others: Erasmus Darwin/ Anna Seward; Waller; J. Cooper; Queen Charlotte.

Yes; all original Elizabeth Amherst Thomas poems. 

Yes, those (four) not attributed are seemingly by the compiler, since a number of others are by his father.

Yes; high proportion by Joshua Peart, Sally Bate, Eleanor Peart, etc.

Yes, frequent contextual references to sociable verse, riddles, or rebuses arising out of his social circle, especially interactions with women.

Yes, some is probably the work of the copyist and her friends.

Yes, all Allanson's poems save one poem by someone called F. A. 

Yes, original poetry by Scriblerus, Eliza, T.E.T. – but note that some of the “original” poetry is adapted – e.g. Burns, Langhorne; unacknowledged copying of Elizabeth Carter poem as “To Eliza Written at Midnight” (item #94).

Yes, heading implies all poetry/ prose section of the book by Ashley Cowper.

Yes, plenty of poetry by the compiler (William Taylor) and potentially a single poem by his wife, Anna.

Maybe. Nine poems are attributed to the compiler's half-brother, Lord Byron, by the addition either of his name or of the letter 'B' at the head. Some of the answers might be by the compiler.

Yes, most of this poetry from comes from the coterie network of Tickells, Sheridans, Linleys. First poem, by E.A.S., has “Ms” [presumably "manuscript"] written beside the title.

Yes, all Soame Jenyns' poetry.

Possibly one or two that are annotated near the start of the book, and the Rosa elegies.

Yes, seemingly all original to the Loftus and Townshend families. 

Yes, all original to Sarah Wilmot/ Elizabeth Sarah Wilmot and their circle. 

Unlikely. No indication of anything that is not found in the various miscellanies and collections of works indicated at the end of most works, although not 100% sourced.

Yes, all by or translated by Samuel Greatheed. 

Very likely given number of unattributed items. 

Maybe. Poems in the second hand seem to alternate between identifiable poems and obscure poems with no First Line Index hits.

Unlikely. The title claims there is original poetry, but the only item not attributed in the First Line Index is the Corinthians paraphrase.

Yes, but less than the catalogue description suggests. 

The compiler occasionally used “I” or otherwise indicated that this anecdote happened to him and/or an epigram is of his composition.

Yes. Some work (in the first section) makes reference to current events in the social life of the author. The headnotes indicate occasions of composition. Two refer to the author as "Jenny."

Yes, p. 25 item attributed to Trigg. 

Yes. Those by "T.T." and others, as well. 

Yes, initials or signature of Francis Hawes on some poems.

Yes, primarily the compositions of Mary Woodyeare Tibbits; poems at the ambigraph end of the book are by Dr. Francis Drake. 

Yes, apparently all original poetry.

Vol. 1: Yes. Since attributions are the general rule, where they are absent, that work is possibly original.

Vol. 2: Yes, at least one poem attributed to “Mr. R –" probably referring to William Roscoe.

Vol. 3: Yes, probably the opening poem to Julia.

Vol. 4: Yes, probably pp. 29–30.

Yes; there seems to be a lot of local poetry, and headers suggest the recording of his own writings.

Unlikely; no obvious indications of this, but perhaps some of the few unattributed poems.

Very likely.

A number of items signed/ initialed by the compiler, though he also puts his signature to works he attributes to other authors.

Maybe; there's a whole series of poems by P.M—d daught of Col. M—d, perhaps the compiler.

Maybe early "Nancy" poems with the special borders. 

Yes; many seem to be original within compiler’s circle – aristocratic friends, travellers in area of Llangollen, final poem accompanying a cow, etc.

Yes; translation and imitation of Johnson epigram; possibly “On dancing,” since it follows these plus 2 enigmas, and is the only poem in the book not attributed.

Maybe; a lot of satirical stuff not in the First Line Index.

Maybe; some items with Puleston name; a number not in First Line Index, but others that are unattributed are found there.

Maybe some of the cases of translations from Latin, which are headed "Attempted in English." 

Yes; some unattributed could be compiler or compiler’s network. Final poem on “The Expedition of a Female Poet and a Female Printer” might be autobiographical. Reference to compiler of this collection, or one from whose compilation this was taken on p. 127. 

Large section of occasional poetry by Hannah More from early years (1760s) – compiler seems to be connected to More circle via E. Blandford Brickenden, so some of this may be original to the collection.

Yes, likely a lot. None of the unattributed poems show up in the First Line Index.

Yes, many unpublished, unattributed, and possibly original compositions by friends or by the compiler herself.

Yes, initialed ATW. 

Unlikely given the focus on fashionable people.

Perhaps final poem and more — seemingly poetry circulating around Daniel Wray.

Yes, likely almost all of it.

Yes, apparently most. The language and subject matter suggest a connection to Scotland. Some poems from periodical sources.

Very likely, since much of the material is unattributed.

Likely some, but could be from magazines. 

Likely, given the number of unattributed and unknown items. 

Yes, all original to Anne Finch.

Possibly—several items indicate “not to be given away/parted with,” possibly suggesting the compiler’s authorship. 

Perhaps opening imitation of Tunbridge poem, f. 60.

Yes, one poem, "An Answer to Satire on Samuel Quincy."

Likely, many not found in the First Line Index. 

Yes, seemingly all original. Opening letter which assures the recipient that these “sounds that fill my head with discords” might be “fraught with nothing more than accidental excellence,” along with the introduction, strongly implies this is the compiler's original poetry. 

Likely; not many First Line Index hits.

Yes, includes poetry by the compiler, including a poem on the death of her brother, Isaac Story.

Yes, plenty by Piozzi and others.

Yes, "The first Visit," and possibly the other items by Rev. T Powys[?]. 

Likely; probably “On Mr Shelly’s Poem ‘Prometheus unbound,’” because of the attribution, “John Ball Febry 4th 1822,” and first line: "Shelly styles his new Poem ‘Prometheus unbound’..." which is amateur-ish and not in the First Line Index. If not by the compiler maybe by a friend.

Yes, many items by Cumberlege and a "Mr. Tate." Mostly religious or occasional. 

Yes. Volume 2 title page says: “A great many written or composed by T. Austen of Rochester.” 

Maybe; T. A.’s other volume contains original poetry, so this is a possibility. That said, it's difficult to tell because he makes items that aren’t his own quite personal (eg. p. 120) so the annotations can be misleading. If there is original material, there is not much. 

Probably, many items unattributed. Presumably "On the Death of Edith Lovell & Joseph Sparrow, who were Shipwreck’d in their Passage from Cork to Bristol near Uphill in Somersetshire the 30th of 12th mo: 178{1}" (136) and maybe "To Ethelinda who sent the Author attach Paper with this Motto," and others

Yes, by members of the compiler's family, though seemingly nothing by herself.

Yes; all or primarily original poetry by the compiler.

Yes, at least half. 

Yes. Seller’s note suggests that most poetry is original, a few items are attributed to "R.B." or "Robert Beere," and the First Line Index doesn’t identify many of the other contents.

Yes; items identified as by her father, by Mr. Hook extempore at the table, and by friends – many of the contents seems to have been acquired through manuscript circulation.

Yes, at least the poem on p. 14, first line "Says Grenville, 'to our Church at home'"... n.b. a later original prose sermon by Lord Grenville.

Yes; the Wyvill sequence at the end of the ambigraph section seems to be original.

Yes. The first page of the manuscript attributes the poems to Peter Pinnell. Seemingly most, if not all, of the poems up to f. 82 are Peter Pinnell.

Maybe, but not obviously. Some shorter, unattributed items like On the Scotch Pavement (f. 124v) might be original - they are not in the First Line Index, though this might just be due to their length.

Perhaps the first nine poems, which are not in the FLI. 

Maybe; hard to say given the occasional use of attributions, but most items can be found in the First Line Index. If any item appears to be original, it’s "To a Lady on Her Birth day" (ff. 61–62), which is dated (unlike other items). 

Likely; a number of poems "By a Lady" as well as the poems by Mr. Charles Yorke addressed to a lady could be original. 

Maybe; most items either attributed or turned up First Line Index results, but a few items in the second hand seem to be the poetry of young people, relatives ("Wm Scott"), or the poet himself. Also annotations in the hand of the second compiler suggest original poetry (eg. p. 98). 

Presumably. Rare use of attributions, but a lot of items turned up no First Line Index hits, some with very saucy titles (see p. 116). Unless this compiler was consistently drawing on extremely obscure sources, this manuscript contains a significant amount of original poetry. A lot of items (more than fifteen) are titled “— described,” eg. p. 104 Cock fighting described, p.116 Chaos described, etc. 

Very likely; many unattributed poems with no First Line Index hits. Especially intriguing/ suggestive of originality are pp. 51, 57–58, 128–129, 236–240, and 240–241.

Yes, p. 109, which is signed and dated both when and where the item was written, and when and where it was copied into this manuscript. Also p. 120, and likely more items.

Yes, at least seven poems (pp. 8–9, 11, 15–22, 27–31, 32–35, 51–53, and 54–56).

Possibly, perhaps the work of the second eighteenth-century hand. f. 58 note: “never published.” No indications of original work in first hand section.

Yes; many original items, pp. 104–108, but also original poems from school (though possibly not by Weller himself) pp. 109–194.

Yes; the first two poems (which are about a Mrs. J—e M—ns) and the one on p. 65r about a Mrs. Frances Hargrave. There may be more, but my sense was that there were just these three.

Possibly, though unclear. Revisions to a pastoral poem and a unique verse epistle invitation suggest they are original works. 

Yes, plenty, mostly in the second volume. 

The first poem of each volume is original; then in volume 1 there are three other original poems on pp. 159–166, 174–175, and 296. Volume 2 has a lot more original poetry, primarily by Marsh but also by Diana Lathom (pp. 43–45, 77–81, and 120–123); also a couple poems by a Revd James Willins (around p. 115) and “the late Miss Caroline Symmons” (pp. 250–254).

Every poem is attributed to a published author except the last item which is also not in the Table of Contents. This item seems original, based on the title and spelling: "The hundred and thirty ninth Psalm Parafres’d[sic] In Scribed to my good friend Duncan Tosshoch of monyoad[?]"

Unlikely. Perhaps some poems which briefly depart from political subjects, found on pp. 27-28, p. 58.

Possibly, though it is unclear as none note authorship. 

Possibly, given the number of anonymous poems, but there is no clear evidence of original work.

Possibly but most of the contents seem to be copied from periodicals.

Yes, mainly original work by the compiler. The collection also features an answer to a Tighe poem by C.H. and a number of shorter unattributed poems, though these are presumably by Tighe as well.

Yes; by I. Wasse, R.M., and likely Porson, though unsigned. The second section includes many working copies of original poetry.

Occasional items, including poems about the compiler's former school and pets

Two or three poems at most; presumably “Dr Lowths Bishop of London on the Death of his Daughter (Translated by my Father Feb: 28 1778)” (p. 92) and the item signed “EB” (p. 62).