Of the twenty-eight new poems, genuine, doubtful, and spurious, added in _1635_, this manuscript contains twenty, a larger number than I have found in any other single manuscript. An examination of the text of these does not, however, make it certain that all of them were derived from this source or from this source only. The text, for example, of the _Elegie XI. The Bracelet_, in _1635_, is evidently taken from a manuscript differing in important respects from _O'F_ and resembling closely _Cy_ and _P_. _Elegie XII_, also, _His parting from her_, can hardly have been derived from _O'F_, as _1635_ gives an incomplete, _O'F_ has an entire, version of the poem. In others, however, e.g. _Elegie XIII. Julia_; _Elegie XVI. On his Mistris_; _Satyre_, 'Men write that love and reason disagree,' it will be seen that the text of 1635 agrees more closely with _O'F_ than with any of the other manuscripts cited. The second of these, _On his Mistris_, is a notable case, and so are the four _Divine Sonnets_ added in _1635_. Most striking of all is the case of the _Song_, probably not by Donne, 'Soules joy now I am gone,' where the absurd readings 'Words' for 'Wounds' and 'hopes joyning' for 'lipp-joyning' (or perhaps 'lipps-joyning') must have come from this source. One can hardly believe that two independent manuscripts would perpetrate two such blunders. Taken with the many changes from the text of _1633_ in which _1635_ has the support of _O'F_, one can hardly doubt that among the fresh manuscript collections which came into the hands of the printer of _1635_ (often only to mislead him) _O'F_ was one. Besides the twenty poems which passed into _1635_, _O'F_ attributes some eighteen other poems to Donne, of which few are probably genuine.[23] Of the other manuscript collections I must speak more shortly. There is no evidence that any of them was used by the seventeenth-century editors.