The translation of the _Psalme 137_, which was inserted in _1633_ and never withdrawn (as the _Epitaph on Shakespeare_ was) is pretty certainly not by Donne. The only manuscript which ascribes it to him is _A25_ followed by _C_. On the other hand it is assigned to Francis Davison, editor of the _Poetical Rhapsody_, in _RP61_ (Bodleian Library). In one manuscript, Addl. MS. 27407, the poem is accompanied with a letter, unsigned and undirected, which speaks of this as one out of several translations made by the author. The handwriting and style of the letter are not Donne's, but the letter explains why this one Psalm is found floating around by itself. It was, the translator says, a freer paraphrase than the others. Apparently it proved a favourite. When one turns from the poems attributed to Donne in the old editions to those which some of the more recent editors have added, one launches into a sea which I have no intention of attempting to navigate in its entirety. Both Sir John Simeon and Dr. Grosart were disposed to cry 'Eureka' too readily, and assigned to Donne a number of poems culled from various manuscripts for the genuineness of which there is no evidence external or internal. I shall confine my remarks to the few poems I have myself incorporated for the first time in an edition of Donne's poems; to the Song 'Absence hear my protestation', which it is now the fashion to ascribe to Donne absolutely, letting evidence 'go hang'; and to the four poems which Mr. Chambers printed from _A25_. I have added some more in my Appendix C, because they are interesting [Greek: adespota] illustrative of the influence in seventeenth-century poetry of Donne's realistic passion and his paradoxical wit.