Anna Sharpe, ca. 1751–1790.

38 items, some possibly in the hand of later owner Anna Maria Sharpe.

Primarily lighthearted poems.

Anonymous, ca. 1775–1794.

45 items.

General tone is sentimental and polite, includes pseudonymous attributions and apparently fictional epistolary exchanges.

Anonymous, ca. 1760.

Unbound.

103 items.

Broad range of subjects organized thematically (e.g. divine poems, hymns, drinking themes, court characters, etc.) 

Richard Chaloner Cobbe, ca. 1753.

Thick boards seemingly worn by use. 

67 items.

Seems reflective of an Oxford circle of male poets.

Latin poetry, bawdy satire, and poems about women.

Gabriel Lepipre, ca. 1744–45. 

252 poems.

Mostly sociable verse, especially arising out of interactions with women, and public affairs. 

Arabella Browne, 1728.

28 poems.

Primarily epitaphs and songs, many satirising women and marriage.

Anne Taylor, around or after the 1790s. 

23 poems.

Verse extracts and original poems, many about death. One Jacobite poem, a couple poems about children, and some social satire. 

Thomas Crofton Croker, ca. 1814–1818.

40 poems.

Sentimental and light poems, almost all addressed to female acquaintances. 

Charles Parr Burney, ca. 1803. 

354 pages.

Primarily elegies, love poems, and occasional verse, with some patriotic and religious verse, and short comic verses. 

A large section copied from a Crewe Hall album composed during the 1780s, reflecting the work of the Crewe coterie. 

John Waite, ca. 1800.

In a single hand up to f. 139 when two other hands take over for the last twenty folios. This entry considers only the first hand's section of the manuscript. 

139 folios.

Lyrics, fables, and occasional verse. Multiple poems about violets. 

P. Simpson, 1790–1793.

90 poems.

Mostly eighteenth-century poetry, namely conduct poems, pastoral poems, poems about the poor, epitaphs, and epigrams.

Joseph Taylor, 1799.

About 389 pieces of verse and prose. 

Satirical as well as sentimental and elegiac perspectives on the subjects of love, women, religion, and death. Also contains numerous humorous epigrams and epitaphs.

Frances Glanville Boscawen and Julia Evelyn, begun in 1746.

120 poems.

Popular and original poetry on various themes. Large section of Lady Mary Wortley Montagu.

Unknown author, ca. 1750. 

9 poems.

A stitched booklet, largely about the travels of a group of young friends and their local community of Blandford. Phonetic spelling and unpolished verse suggest a relatively uneducated compiler.

Anonymous, ca. 1755–1765; owned by Mrs. Sophia Wallis early nineteenth-century.

Very plain and incomplete.

8 poems.

Eleanor Peart, 1768.

Organized chronologically and thematically.

182 poems. 

A high proportion of original poetry; strong emphasis on the pastoral including the use of pastoral pseudonyms.

Peart-Bate coterie.

Anonymous female member of John Graham Clarke household, ca. 1752–1766.

66 items.

Interest in women's conduct and morality.

Mary Tadwell, 1744–1761. Taken over by John Watson Tadwell in a clear effort to continue/complete Mary Tadwell's work.

Three volumes composed roughly chronologically.

167 poems.

Contents heavy on riddles, acrostics, songs; frequent country-city theme, but with no sense of a specific country locality.

Eliza Chapman, 1788-89.

87 poems.

Contributions by Scriblerus, Eliza Chapman's suitor. 

Lady Elizabeth Loftus, ca. 1800. 

24 poems.

Lighthearted poems by members of the Loftus and Townshend families. 

Elizabeth Sarah Wilmot, 1744–1784.

52 poems.

Original compositions of Elizabeth Sarah Wilmot and her mother, Sarah Wilmot. Many poems about female friends and family.

Anonymous, ca. 1709–1712.

57 items.

Very author oriented, with source attributions.

Ann Bromfield, ca. 1740–1748.

42 poems.

Sentimental poetry, epistolary fiction.

Elizabeth Munbee, 1745.

16 poems.

Miscellaneous collection of poems by popular poets like Samuel Wesley, Jonathan Swift, Alexander Pope, and Nicholas Rowe.

Mrs. Stapleton for Miss Mary Arnold, ca. 1780s–1790s. 

212 poems.

A gift for formal or informal educational use. A lot of riddles and poems about flowers; emphasis on items written by young ladies. Most items about or intended for women.

Mary Woodyeare Tibbits, ca. 1800.

A later owner, Mary Isabella Hood, used the volume to press flowers and leaves.

113 poems.

A book structured upon the narrative of her life, almost entirely original poems.

Catherine Tuthill Massy, ca. 1795.

46 poems.

A young Irish lady's book, themes of anti-slavery, interest in captives in India, sufferings of Ireland.

Azarias Williams, 1785–1790. 

The compiler blurs his own voice with that of his sources by signing his name to much of what he copies.

78 poems.

Choices seem significant autobiographically—themes of emigration, social behaviour, British patriotism, New York, death, children, sentimental courtship, male unfaithfulness/libertinism, religious/devotional expressions, and topographical poetry.

Horatia Nelson (16 years old), 1817.

100 poems.

Quite a banal book but a good indication of what poetry was popular, including some poems on the Napoleonic wars, and Irish/Scottish materials.

Anonymous, ca. 1799-1803.

Ambigraph volume with poetry beginning at one end and prose anecdotes, mainly biographical, at the other. This listing pertains only to the poetry end of the manuscript. 

288 poems.

Miscellaneous and short poems, mostly extracts, epitaphs, and epigrams.

Anonymous, 1786–1798.

120 poems.

A very feminocentric collection with many female-authored works.

Manuscript appears connected to the Cavendish-Ponsonby-Crewe network; the Tighe family; the Ladies of Llangollen

Anonymous, 1724–1728.

109 poems.

Almost entirely early eighteenth-century poetry. Many contemporary satirical pieces, and items from Mist's Weekly Journal.

Anne Blandford, ca. 1795–1805.

113 poems.

Emphasis on apparently original writings/occasional writings by Hannah More, and More's sisters and friends in youth that might not be found elsewhere.

Hannah More circle.

Elizabeth Gilchrist, ca. 1800–1815.

One main hand plus one organising hand, maybe that of a daughter.

89 items, 74 poems.

Mixed book with themes of women, death, friendship, love, etc.

Anonymous, 1818–1823.

Solutions given for riddles and anagrams, suggesting the book's use for social reading and games.

355 items, 200 poems.

Swings from sentimental/tragic to lightly comic, but no really cynical poetry – mostly sentimental or clichéd humour.

A.T.W, 1793–ca. 1800.

A lot of retrospective editing including comments and cross-outs. 

153 poems.

Many poems by or about important figures of literature and the stage; also epitaphs, inscriptions and letters; many poems by women.

Anonymous, ca. 1750. 

36 items.

Chiefly epigrams and satirical verse.

Verses collected by John Dixon ca. 1780–1817, then copied posthumously by his daughter, Judith Dixon Beecroft.

Six volumes.

Popular eighteenth-century poetry.

Anonymous, ca. 1773-1806.

Crowded, no margins, looks more like a commonplace book than a usual poetry miscellany.

361 poems.

Enormous amount of material compiled over many years roughly chronologically.

Anne Finch, Countess of Winchilsea, ca. 1685–1701 or 1702.

109 poems.

Poems and plays.

Louisa Grey, ca. 1780s.

Some items specified as not for circulation. 

150 poems.

Many poems about women, love; some epitaphs.

Anonymous, 1731.

35 poems.

Sentimental poetry, many epistles and plenty about love.

Thomas Ingoldsby (also known as Richard Harris Barham), 1808.

Poems, paraphrases, epigrams, and conundrums in English, French, Greek, and Latin.

Charlotte Burney Francis Broome, 1771–ca. 1806.

82 poems.

Mostly original poetry by members of the Burney family with themes of family, courtship/marriage, and death.

Lady Charlotte Susan Maria Campbell Bury, ca. 1815.

Many materials acquired through manuscript transmission; full of evaluative commentary. 

90 poems.

Very Scottish in contents, reflecting Lady Charlotte's life in Edinburgh before 1810.

Lady Charlotte Campbell Bury's circle.

Anonymous compilation of poems by Peter Pinnell, ca. 1749–1790.

59 items.

Example of a one-author collection followed by a short section of poems by different authors.

Anonymous, 1726.

Two separate thematic clusters on recto and verso sides.

47 items.

Lots of poems "To a Lady," "about a Lady," etc. about courtship, marriage, women, and beauty on the verso pages.

Anonymous, ca. 1740s.

73 poems.

Seemingly a woman’s book with themes of nature, courtship, public affairs.

Anonymous, ca. 1715.

72 items.

Essentially the "greatest hits" of Finch, Granville, and Waller, with some Pope thrown in. 

James Gollop, ca. 1715. 

Possible example of a socially humble compiler, an aspirational book.

26 items.

Generally very common love poems and descriptive poems, common choices for a non-political miscellany of the early decades of the century.

Anonymous, ca. 1750–1770.

This entry pertains only to ff. 1–64v (the first two compilers of three). 

68 items.

Many poems about love, courtship, marriage, women.

George Weller, ca. 1750.

41 items.

Many pieces referencing or composed at Tonbridge School; some Jacobite-related material.

Joshua Peart, 1726.

256 poems.

A large eclectic book with a special concentration of pastoral poems and songs, political satire and other poems about politicians, and humorous poems; also contains multiple poems about alcohol and tobacco.

Anonymous, 1715–1717.

318 poems.

Diverse collection of poems, with a significant number of poems satirising women and marriage; also interested in the classics, public affairs, literature, Oxford, theatre, and religious satire.

Anonymous author, ca. 1758-1776. 

122 items, 77 poems.

Gentle satires of love, manners, morals, and thoughtlessness about life's brevity; also humorous and sentimental poems.

William Tighe, ca. 1815.

25 poems.

Mainly light-hearted original poems on such subjects as love, theatre, and furniture.

Elizabeth Church, 1766–ca. 1791.

68 poems.

Copied by multiple hands but primarily by Elizabeth Church.

Popular manuscript verse miscellany poems and epitaphs.