songs widely circulating and of their being kept out of circulation both serve her turn. However, she offers salutary cautions about dating plays by their songs, and warns that each song in a printed play may be from authorial papers, even if the rest of the play is printed from a theatrical manuscript, or conversely may be from a composer's papers, after he has added the music and perhaps altered the words, even if the rest of the play is printed from authorial papers (167). Stern reckons she can attribute the playless song "Down, down, be still you seas", set by John Wilson, to a songless play by Fletcher, The Pilgrim, because it is so appropriate to the moment (168-9). Since the singer calls herself the seas' "dreadDeadly Sins) as if for people who do not normally read, and that the peg-hole of Dead Man's Fortune avoids cutting into the marginal annotation, so it was made after the annotation as if readying the plot for hanging was the last stage in its preparation (pp. 207-9). According to Stern these documents were used by the prompter (synonymous with the bookholder), and she has found two non-Shakespearian dramatic allusions that show that the prompter actually gave actors who dried up (were 'out') their lines. The first is post-1642 and the second is amateur, unfortunately. The most original of Stern's suggestions, arising from post-Restoration practice, is that the plots are 'call-sheets' from consultation of which the prompter would send boys to fetch actors to be ready in time