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Textblock and binding Front opening fol. 6v
Epitaphiu(m) clarissimi viri et militiss principis Ioh(ann)is nuper Ducis northumbrie.^†^†
John Dudley, duke of Northumberland was tried for treason after the failed attempt to divert the succession from Princess Mary to Lady Jane Grey. He was executed at Tower Hill on 22 August 1553. A long-time promoter of Protestantism, after receiving the death sentence, he renounced the protestant faith and professed his loyalty to the 'true catholic faith' (quoted in David Loades, John Dudley, Duke of Northumberland 1504-1553 (Oxford: Oxford University Press, 1996, 270). But the pardon he sought was not forthcoming and, on the eve of his execution, he made a final plea, in a letter addressed to the Earl of Arundel, for mercy 'either by imprisonment or confiscation, Banishment and the like' (quoted in Loades, 269). In the same letter he wrote the infamous lines: 'an old proverb there is and that most true that a living dog is better than a dead lion. O that it would please her good grace to give me life, yea, the life of a dog, that I might kiss her feet . . . O my good lord remember how sweet life is, and how bitter the contrary'. This ignominious ending meant that 'Northumberland died a martyr to no cause, and respected by neither side in the developing ideological conflict' ( Loades, 271). Nor was he redeemed in the protestant culture of the succeeding generation, as David Loades put it, 'if he had remained an avowed protestant . . . rather than having abjured, he would have been rehabilitated by Foxe, but as it was no one had a good word to say for him' (David Loades, 'Dudley, John, duke of Northumberland (1504–1553), royal servant', in Oxford Dictionary of National Biography ). His apostasy was also an embarrassment to his immediate family. Robert Dudley (Northumberland's son) declined an offer by a certain Thomas Trollope to write in defence of his father and grandfather arguing 'these spread abroad will win the hearts of all the nobility and commons' (quoted in Loades, 278).

No other copies of this eulogy have been traced. The anonymous author makes no reference to Northumberland's apostasy focusing instead on his military successes and comparing his downfall at the hands of his own men to Caesar's. The absence of a national monument for the disgraced Duke is mitigated by the idea (perhaps borrowed from Pericles' well known funeral oration; see note below) that the deeds of heroes live long after death in the collective memory of the world.
1 Ecce iaces parvo terre northumber in antro ^*^* Northumberland was buried in the chapel of St Peter ad Vincula (the parish church of the Tower of London) under the chancel floor.
2 no(n) bene cu(m) factis co(n)veniente tuis.
3 no(n) tenet hec etenim vel tota britanica tellus
4 vtpote que magnus non tenet oceanus ^*^* Lines 3-4 are reminiscent of Pericles' famous funeral oration in Thucydides' History of the Peloponnesian war (2.35-46): 'For the whole world is the sepulchre of famous men' (Thucydides, History of the Peloponnesian war, translated by Charles Forster Smith (Cambridge, MA: Harvard University Press, 2014, 337).
5 fama hec diffundit totum volitando per orbem
6 fama viros claros que celebrare solet.
7 gallia du(m) nimiu(m) co(n)fidit marte feroci ^*^* Northumberland (as Lord Admiral) took a leading role in the English crown's attempt to retain Boulogne: 'On 12 February [1545] the council wrote to the earl of Shrewsbury, reporting that a French attack upon Boulogne had been repulsed by the Lord Admiral "Lieutenant there", with assistance from Calais. It must have been an attack in some force if the French really suffered six or seven hundred casualties as the council alledged' (David Loades, John Dudley, Duke of Northumberland 1504-1553 (Oxford: Oxford University Press, 1996), 68).
8 persensit tanti facta time(n)da Ducis
9 sensit Edinburgu(m) vetus vrbs et chara scotorum ^*^* Edinburgh was sacked by the English on the morning of 8 May 1544 with Northumberland taking the lead: 'Lisle [i.e. Northumberland] attacked the main gate . . . blowing it in with a culverin. Thereafter the city was an easy prey' (David Loades, John Dudley, Duke of Northumberland 1504-1553 (Oxford: Oxford University Press, 1996), 63).
10 et stragem tanti regio tota Ducis
11 northfolcique ducem tantu(m) sensere rebelles ^*^* Referring to Kett's Rebellion 1549. Northumberland (then Earl of Warwick) received acclaim for defeating Kett and restoring order in Norwich. 'For joy of the victory, every man set up the raggged staff/Warwick's insignis/ upon their gates and doors in the lord lieutenant's honor which so continued many years after'; Barrett L. Beer, Northumberland: The Myth of the Wicked Duke and the Historical John Dudley. Albion, 11.1 (1979): 1-14, 9.
12 et ffidei i(m)memores officijque sui
13 huic tamen invidit nimiu(m) fortuna noverca
14 ne satis est longos passa videre dies
15 nam tandem vt cesar sublatus cede suorum est
16 patricijs fidens perfida roma tuis
17 sic personatis nimis hic du(m) credit amicis ^*^* In the denouement of the plot to place Jane on the throne 'alle was agayns ym-selff, for ys men forsok hym' (quoted from the diary of Henry Machyn in David Loades, John Dudley, Duke of Northumberland 1504-1553 (Oxford: Oxford University Press, 1996), 264).
18 regine penas, suppliciu(m)que dedit.
19 et male delusus pravoru(m) fraude viroru(m)
20 ante diem cecidit (proh mala fata) suu(m)
ffinis
^†^† proverbial
nempe malus messor fals falcem no(n) obtinet apta(m)
^†^† This riddle is solved by removing the first and last letters of navem leaving the greeting ave.
mitto tibi navem sine puppe prora carentem.
^†^† This couplet forms part of the inscription on Chaucer's tomb set up by Nicholas Brigham in 1556 at Westminster Abbey.
1 Qui fuit anglorum vates ter maximus olim
2 galfridus chaucer co(n)dit(u)r hoc tumulo.
^†^† This couplet is a loose translation of a Latin verse found in another contemporary document with manuscript transcriptions from Chaucer's tomb (a 1550 copy of Chaucer's works owned by Richard Wilbraham d. 1612; see Huntington Library, Rare Books 99584 ): 'Chaucer occubuit sed corpore, cetera numquam / Post cineres virtus viuere sola facit' (Chaucer's body lies dead but his spirit lives forever, / Virtue alone can give us life after death). The second line is a commonly found Latin funereal tag.
1 vertue fflouresshethe in chawcere styll
2 thowgh death off hyme hathe wrought hys wyll.
^†^†
Part of the inscription on Chaucer's tomb set up by Nicholas Brigham in 1556 at Westminster Abbey. Another copy appears in Huntington Library, Rare Books 99584 , a 1550 copy of Chaucer's works with contemporary manuscript transcriptions from Chaucer's tomb.

The first three lines were illegible by the early 17th century described by Thomas Speght in a 1602 copy of Chaucer's works as 'written about the ledge of this tomb ... [but now] clean worne out' (quoted from Joseph A. Dane and Alexandra Gillespie, 'Back at Chaucer's Tomb—Inscriptions in Two Early Copies of Chaucer's "Workes"', Studies in Bibliography, 52 (1999), 89-96, 2).
Chaucer de se.
1 Si rogites quis eram forsan te fama docebit
2 q(u)od si fama neget, transit q(u)ia gloria mu(n)di
3 hec monume(n)ta lege.
4 Annu(m) si queras D(omi)ni, si tempora mortis,
5 ecce note subsunt que tibi cuncta notent.
^†^† This proverbial piece of wisdom on the subject of adolescence is copied horizontally in line with the fore-edge. (To read the text the image has to be turned using the left arrow)
1 Est res scire gravis via que sit in equore navis,
2 que colubri vel avis, iuvenis gravior via q(u)ivis.
fol. 12r
12
^†^† This dialogue is the only extant copy of a ballad entered in the Stationers' Register (1 August 1586) with the title, 'betwene a Spanishe gent and an English gentlewoman' (no. 188 in Hyder E. Rollins, An Analytical Index to the Ballad-Entries (1557-1709) in the Registers of the Company of Stationers of London. Chapel Hill, NC: University of North Carolina Press, 1924). Charles Read Baskervill ( Review: [Untitled]. Modern Philology 23.1 (1925): 119-125 ), who identified this copy as the ballad, suggests that it 'is probably a jig, and the earliest extant dramatic piece dealing with [the trope of] the lustful foreign wooer' (124).
1 Maddame dangloyse me tell you verye true
2 me be verye muche Enamored wythe youe
3 me loue you muche bettro then I cane well saye
4 no(n) queris hablario hyspanyolaye ^*^* don't you want to speak Spanish
5 Signior Domegro me loue you twyse so well
6 but what yo(u)r meaninge is sure that cane I not tell
7 for lacke of yo(u)r languayge I knowe not what to saye
8 because I cannot parle youre spanyolaye
9 Ladye mattresso knowe you notynge what
10 me praye you what call you me tyttye poure tatt
11 make me yo(u)r lovere & shewe me some playe
12 me teache you parlere the fyne spaniolaye.
13 Par moyfoye ^*^* by my faith (OED ma foi, int.) monseure you bene a merrye man
14 what yo(u)r meanynge is sure I well vndrestand
15 you seme suche a wanton I swere by my faye
16 that I dare not lerne of you to speake spanioloye
17 Counta my goutt ladye my shaumbre to come bye
18 me make you de velcome as velcome as I
19 the grand pettye tynge me geue you by my faye
20 Coutte for to lerne you to speake spainolaye
21 Yo(u)r spaynyolaye hyt is all so trymme
22 thatt hyt for to lerne I wold fayne begyne
23 ffor teachyne of me yo(u)r spanyolaye
24 you shall haue a kysse of me once eu(er)ye daye
25 Gotte a m(er)cye goutte maddame gott a m(er)cye for tys
26 twenty gram(er)cyes me geue you for one kys.
27 You be de goutte ladye you do as you saye
28 me warrant you quiecklye the best spanyolaye
29 But tell me my segnior where yo(u)r chaumbre ys
30 that when I come to you I nede not to mys
31 and I wyll not lett to do as I saye
32 to come to yo(u)r chaumbre once eu(er)ye daye
33 Ladye prettye ladye, praye gotte me neu(er) see
34 but tatte you make muche comfort for to me
35 my hart dothe leape quycke w(i)thin my bellye
36 oh my swette maystres you make me so merrye
37 My shaumbre hard by the signe of the pye ^*^* name of an Inn; the actor and theatre entrepeneur Edward Alleyn (1566-1626) was born 'near Devonshire House, where now is the sign of the Pye' (ODNB)
38 make axe for Domegro the segnior where he lye
39 the lane you call abshurche by lumbar strete
40 me knowe when you com me there you wyll mete
fol. 12v
41 I wold not co(m)me ^ ^when you haue companye
42 I wyll send word before that no man me see
43 you be so iolye so prettye and neette
44 that you & me els some folke wyll suspecte
45 You come terre a backe dore my payge lett you in
46 me make all tyngz for you so gaye and so try(m)me
47 you no sonn(er) co(m)me aboue in my shaumbre
48 but you smell the swette muske & de fyne aumbre
49 ffare well then segnior adewe for this tyme
50 provyde you good cheare somme sugere & wyne
51 I loue verye well the thyng(es) that be lyckeryshe ^*^* sweet, tempting (OED lickerish, adj.)
52 marchepayne ^*^* flat disc of marzipan mounted on wafers (OED marchpane, n.) & quince pye I care for no stockfyshe
53 Bezeles maynes oh you my faire ladye
54 me lacke noty no tynge datte me maye get dayntye
55 take you my shane[?] here & make yo(u)r gorge gaye
56 no man in the world tat haue so muche shoye.
ffinis.
^†^† This sententious verse was written by the courtier John Harington the elder; another contemporary copy headed with his monogram is found in Trinity College Dublin, MS 160, fol. 176v. The poem was never printed but appears to have circulated widely and survives in five more substantive copies, all unattributed (British Library Harley MS 7392, fol. 59v; British Library Add. MS 38823, fol. 48r; British Libary Egerton MS 2642, fol. 256v; British Library, Harley MS 2296, fol. 138r; and National Library of Wales MS 23202B, fol. 171v).
1 Who sparethe to speke hyt is longe or he spede ^*^* Spare to speak, spare to speed is proverbial (Tilley, Morris Palmer. A Dictionary of the Proverbs in England in the Sixteenth and Seventeenth Centuries, S709).
2 Yf he spede whe(n) he speakethe his speache is well spente
3 Yff he spede not when he speakethe what hathe he lost
4 he hathe spent but his speache & smaule is the coste ^*^* The cheapness of words is proverbial (Tilley, Morris Palmer. A Dictionary of the Proverbs in England in the Sixteenth and Seventeenth Centuries, W808, W804).
^†^† The first two lines are proverbial (Tilley, Morris Palmer. A Dictionary of the Proverbs in England in the Sixteenth and Seventeenth Centuries, S727); another copy appears in British Library MS Sloane 2497, fol. 35v.
1 he that spekethe me fayre & loues me not
2 I wyll geue hyme faire words and trust hym not
3 as good is a ffooe that hurtes me nott
4 as a ffrynd that healpes me nott.
1 he that hathe an evyll byll ^*^* implement used for cutting wood (OED bill n.1, 4) & goes to the woode w(i)t(h) an evyll
2 wyll
3 and is macched ^*^* matched i.e. married w(i)th a shrewe,
4 litle woode shall he hewe.
^†^† Nonsensical macaronic verse, mixing Latin and English for humorous effect.
1 Impleto hydrias, ffyll thye pottes twayne
2 et quu(m) confideras, a rumblynge in thy brayne
3 et terra se amoveat, th(a)t rather was playne
4 Dormire te studeas, & kepe the ffrom the rayne.
fol. 13v
^†^† A variant of this couplet appears in Huntington Libray MS HM 8 (P4) alongside an English translation: 'Serve woman serve child, black monke obay / Smale thanke shall you have at the end of the daye'; further copies found in Bodleian MS Tanner 306/1
1 Serviciu(m) Iuvenu(m) mulierum et monarchorum
2 est et semper erit litle thanke in fine laborum.
^†^† The second line of this anti-feminist couplet is the well-known Latin tag 'Deceite, weeping, spinning, God has granted to womankind'; see Studies in Medieval and Renaissance History, Third Series, Volume 5, ed. Roger Dahood and Peter E. Medine (New York: AMS Press, 2008), 53
1 nec cras nec heri nu(m)q(uam) credas in muliere
2 fl fallere flere nere statuit Deus in muliere
^†
^† The following three extracts were copied from Joachim Sterck van Ringelberg's Experimenta (1531); the second extract gives two different recipes for invisible writing. The same methods are also found in François Rabelais' Pantagruel (first published 1532). When Pantagruel receives a letter from a lady in Paris which appears to have nothing written on it he tries a number of methods, some quite fantastical, to reveal the writing: 'he held it against the fire, to see whether the writing had been done in sal ammoniac steeped in water ... He then slid it gently into a basin of clear water and drew it out quickly, to see whether it was written in plume-alum' (Gargantua and Pantagruel, trans. M.A. Screech (London: Penguin Books, 2006), 120-21).
metallis, viridis color inducitur si humectentur aceto falso.
Salis genus est que armoniacum appellant: hoc co(n)tusu(m) mistu(m)q(ue) aqua, literas q(u)idem falsas reddit nihil distantes a colore papyri, sed si igni admoveris, nigras: Ad eundem modu(m) aluminis pulvere scripta no(n) appare(n)t nisi charta(m) quu(m) legere voles miseris in aqua.
faba crescens e corde felis efficit, vt homo cuius corpus tangit no(n) cernat(u)r.
he th(a)t vsethe to eate rubarbe daylye shall haue no nede of physytions /
To knowe a true mayd
lett here drynke of the drynke in w(hi)ch the stone gagates ^*^* For the use of gagates or jet stone as a test of virginity, see Mary Floyd-Wilson, Occult Knowledge, Science and Gender on the Shakespearean Stage (Cambridge: Cambridge Univerity Press, 2013), 95. is put & yf she be a mayd she shall immedyatlye crye owt.
for memorye
Take the gaule of partryges & kepe it in a tyne boxe & there w(i)th anoynt thy temples let it drye a space & then wype it awaye with a clothe & this doyng wyll quicken thy memorye verye muche /^*^* The same advice is found in Guglielmo Gratarolo 's De memoria reparanda translated in 1562 by William Fulwood as The castel of memorie, STC (2nd ed.) 12191, sig. E1v: 'Symeon Sethi affirmeth that the Galle of a Partridge being anoynted once in a moneth, vppon the vaynes of the temples ... is verye profitable to confirme the Memorie'.
for ache in the armes leegs or thighes
Take hoccecroce ^*^* possibly an ointment made from a plant of the medicinal hock family (hollyhock, marsh mallow etc.) at the apotycaryes & sprede it vppon a white shepp skynne & pricke the leather & lay it vppo(n) the ache & it wyll take it awaye /
for ache in anye part of the bodye
Take the earthe of a mole hill newlye cast in a fatte ^*^* fertile (OED fat, adj. 9a) grownd & especyallye in a garden gro(u)nd & frye it alone & put it in a lynnen bagge & laye it to the place as whot as you can suffere hit & when it waxethe could lay to an other bagge whote & lye on it iij howres & the ache wylbe gonne. probatu(m) est ^*^* i.e. 'it has been proved'; presumably tried and proved by the compiler Edward Gunter
fol. 17v
off envious people & backbyt(e)rs
1 Those crancred envyous wights eschue,
2 of backbyters take hede
3 w(hi)ch hurte more w(i)th there poysoned towngs
4 than they can w(i)th theire dede
5 of Adders broude & serpents vyle
6 I thinke they fyrst dyd sprynge
7 w(hi)ch wylbe hyssynge w(i)th there towngs
8 when that they can not stynge
EG
1 Whye dost thou (Envious) att thye feastz
2 lyke prattelynge parrette pratte
3 off pettygrees w(hi)ch thow canst not
4 distayne: thinks not thye hate?
5 Do geue men cause thy owne offspringe
6 & basenes for to marke
7 yes suerlye all men do knowe
8 that curres wyll alwayes barke.
EG
^†
^† Translation of a Latin satirical verse by Thomas More subscribed with Edward Gunter's 'EG' monogram; the original is found earlier in the manuscript on fol. 1r: 'Res gravis est vxor poterit tamen vtilis esse / Si propere moriens, det sua cuncta tibi' [A wife is a burden, but she could be useful if she dies in time to leave you all she owns]; translation taken from Leicester Bradner and Charles Arthur Lynch The Latin epigrams of Thomas More (Chicago: University of Chicago Press, 1953), 163. Another contemporary English translation is found in Timothy Kendall's Flowers of epigrammes, 1577, STC (2nd ed.) 14927, sig. K4v: 'Greefes greuous wiues are vnto men, / yet gladsome shall we finde them / And louyng: if so leuyng vs, / they leaue their goods behind them'. Kendall includes two more versions in the same volume on sig. Q7r: the first, entitled 'Of a wife', 'To combersome a clog / a wife is vnto man: / She neuer doth hym good, / nor profites him, but whan / She dyes, and leaues to tread / this toylsome worldly path: / And leueth in her sted / the golde she hoorded hath', is followed by another version, entitled 'The same and shorter', 'A husband of his wife / hath neuer proffit, saue / When she doth leaue her goods behind / and goes herselfe to th grave'.
of ioyfull days w(i)th a wyffe
1 Too happye dayes w(i)th welthye wyffe,
2 thowe mayst happen to haue
3 Weddynge the one, the other when,
4 that deade she lyes in graue.
EG
^†
^† Translation of a Latin epigram by Thomas More subscribed with Edward Gunter's 'EG' monogram; the original, printed under the title 'In Digamos, e Graeco' [On men twice married from the Greek], is found earlier in the manuscript on fol. 1v: 'Qui capit vxorem defuncta vxore secundam / naufragus in tumido bis natat ille freto' [The widower who marries again is a shipwrecked sailor who a second time sails the threatening sea]; translation taken from The Latin epigrams of Thomas More, 179.
off wyddowers.
1 A wyddower who is once become,
2 and sekes a second wyffe
3 is lyke to hyme who ffrom shyppe wracke
4 agayne dothe venter lyffe
5 in broken shepe, forgettinge clene,
6 the dawnger of the w--ve wayve
7 and trustethe styll (as once before)
8 good fortune maye hyme save.
EG
fol. 44r
44
To the tune of lustye gallaunt
^†^† This ballad is the only surviving copy of a version that was printed as a broadside in the 1560s; see Hyder E. Rollins, ed., Old English Ballads 1553-1625: Chiefly from Manuscripts (Cambridge: Cambridge University Press, 1920), 322. Another copy survives, in a sigificantly different version, in a collection of contemporary broadside ballads, A handefull of pleasant delites, 1584, STC (2nd ed.) 21105, sigs. D5r-6r (an earlier edition exists only as a fragment, STC (2nd ed.) 21104.5). The populiarity of this ballad is apparent from the heading of a ballad, registered in 1565-66, with the instruction to be sung 'To the tune of fayne wolde I fynd sum pretty thynge to geeve unto my lady' and a moralization, licenced in 1566-67, entitled 'fayne wolde I have a godly thynge to shewe vnto my ladye' (no. 819 in Hyder E. Rollins' An Analytical Index to the Ballad-Entries (1557-1709) in the Registers of the Company of Stationers of London. Chapel Hill, NC: University of North Carolina Press, 1924). The subject matter is quite risqué and early modern readers would have enjoyed the joke of the sexual connotation of the 'pretty thing' that the lady wants from the slang use of the word 'thing' to mean penis and the near homonym 'prat[y]' slang for buttocks (OED prat, n3 1a); (see Gordon Williams, A Dictionary of Sexual Language and Imagery in Shakespearean and Stuart Literature (Athlone Press, 1994), 1380; and a bawdy song entitled "Jolly Pedlar's Pretty Thing" (see )
1 Fayne wold I haue a pretye thinge
2 to geue vnto my ladye
3 I meane no hurt I meane no harme
4 but as pretye a thinge as may be
5 Twentye Iournyes woold I make
6 & twentye ways goo hye me ^*^* 'hye me' i.e. betake myself quickly (OED hie, v.1 2b)
7 to geue adventures for here sake
8 to sett some matt(e)r by me
9 Some do longe for pretye knackes
10 & some for strange devises
11 god send me that my ladye lakes ^*^* i.e. lacks
12 I care not what the p(r)ice is
13 Some go here & some go there
14 where gapings be not geason ^*^* uncommon, rare (OED geason, adj. 2)
15 and I goo wandringe eu(er) where
16 & styll come owt of season
17 The mercers ^*^* person who deals in textile fabrics; a member of the Worshipful Company of Mercers (OED n. 1) pull me goynge by
18 the sylke wyffes say what lake yo(u)
19 a thinge that yo(u) haue not say I
20 you folyshe fooles go packe you
21 Yt is not all the gold in cheape
22 nor all the golden treasure
23 nor twentye busshels in a heape
24 can do my ladye pleasure
25 ffor weare yt in the wytte of man
26 by anye meanes to make hit
27 I wold for mony by ^*^* i.e. buy hit than
28 & say faire ladye take hit
29 But ladye what a lucke is this
30 that my good wyllynge myssethe
31 to find what preatye thinge hyt is
32 that my good ladye wysshethe.
ffinis
fol. 44v
Verses made by the Quenes Ma(ies)tie
^†^† This poem written in response to the Northern (Catholic) Rebellion of 1569-70 is attributed to Queen Elizabeth in every one of the surviving manuscript copies (see CELM: ElQ14 for a full listing). George Puttenham also quoted the poem as the queen’s ('this ditty most sweet and sententious') in The Arte of English Poesie (1589, sig. 2E2v), informing the reader that Elizabeth, 'perceiuing how by the Sc. Q. [Scots Queen: Mary Stuart] residence within this Realme . . . bred secret factions among her people', wrote the poem to show that 'she was nothing ignorant of those secret practizes' and to warn 'all such aspiring minds the daunger of their ambition and disloyaltie' (sig. 2E2r). A copy of the poem deriving from the Harington family papers, printed in Nugæ Antiquæ (1769, 1:58-59), provides the following anecdote about how the queen’s verse was first released into manuscript circulation: 'My Lady Wiloughby did covertly get it on her Majesties tablet, and had much hazard in so doing; for the Queen did find out the thief, and chid for spreading evil bruit of her writing such toyes, when other matters did so occupy her employment at this time; and was fearful of being thought too lightly of for so doing'.
1 The dowbt ^*^* dread, fear (OED n.1 3a) off future foes exiles my pr(e)sent ioye
2 and wytte me warnes to shunne suche snares as threate(n) mine anoye
3 ffor falshode nowe dothe flowe & subiects faithe dothe ebbe
4 w(hi)ch shuld not be yf reason rulde or wisdome weaved the webbe
5 but clowdes of ioyes vntyed do cloke aspirynge mynds
6 w(hi)ch turnes to raige of late repent bi chaunged course of windes
7 the toppe of hope suppost the roote vpreard shalbe
8 & friuctles all there grafted guile, as shortly you shall see
9 the dayseled eyes w(i)th pride, w(hi)ch greate ambition blyndes
10 shalbe vnseelde bi worthie wyghts whose foresight falshode finds
11 the dawghter off debatte,^*^* i.e. Mary Stuart (the Queen of Scots) the figure-head for the Catholic rebellion; debatte = strife, contention (OED n.1a) th(a)t discord aye doye sowe
12 shall reape no gayne where form(er) rule styll ^*^* settled (OED adj. 5a) peace hathe tawght to ^^knowe
13 no fforrene banished wight shall ancore in this port
14 o(u)r realme brokes ^*^* endures, tolerates (OED v.1 3a) not seditious sectz, lett them els where resort
15 My rusty swerd throwghe rest shall first his eydge imploye
16 to povle there toppes ^*^* i.e. cut off their heads th(a)t sekes suche chaunge or gape for ^*^* i.e. long for (OED v. 4a) future ioye/
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To knowe a true mayd

for memorye

for ache in the armes leegs or thighes

for ache in anye part of the bodye

off envious people & backbyt(e)rs

of ioyfull days w(i)th a wyffe

off wyddowers.

To the tune of lustye gallaunt

Verses made by the Quenes Ma(ies)tie

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