Broadsides were often signed with the initials of the authorizing agent of the stationers company; CHECK JP as the signatory of broadside ballads for these and other printers. See also item 18. J[oy], T[homas], A Loyal Subjects Admonition, undated, anticipating king.

    Ebsworth claims that J. P.'s ballad appeared "within a week after Thursday 4 [ie 5] July" (9:xl), in part basing his attribution on the fact that this ballad refers to the king touching for the King's Evil, which Evelyn records began on 6 July. However, as Ebsworth himself admits, Evelyn is unreliable on this matter; Pepys reports hearsay evidence that Charles touched on 23 June, and he had been touching back in May before leaving for England (see Lower, Relation, pp. 74-8). 5 July was a the day of Charles's entertainment by the City of London -- but this is not referred to in the text.

    On the Trunk ballads, see Bal.int for notes by Ebsworth.
Among the Trunk Ballads, this one is bound in first; then:
2. The Noble Progresse Ebs chk 7/96
3. The Case is altered, or Sir Reverence, The Rumps last Farewell. To the Tune of Robin Hood. Ebs chk 7/96
4. [title missing] first line "Come you poets drink a round" and badly torn -- mostly missing: Ebs chk 7/96
5. The Glory of these Nations ebs chk 7/96
6. A Relation of the ten grand infamous *Traytors / who for their horrid Murder and detestable Villany..." ebs chk 7/96
These ballads are bound with item 7. "An Elegy on the Death of his Sacred Majesty King Charles II. Of Blessed memory"

    The Loyal Subjects hearty Wishes employs a number of distinct and original features; instead of putting biblical references in the margins, it exhorts us directly to read the bible, it questions the sincerity of the jubilations, and it makes a great deal of Charles touching for the Evil as evidence of his sacramental power. One of the few poems to raise the question of just how authentic all the rejoycing over the king's return really was; just how much sincerity did those most loudly proclaiming the new king feel? how much of the jubilation was covering up former guilt?

    Stuart mythology is in the making here, as Charles is regaled in all the poetic tropes of power and authority as a magical king. Old Testament types, Moses and David, are developed to attribute his power with sacramental qualities; this is one of the few poems to make much of the fact that Charles touched for the king's evil. At the same time, the king's foes, from infidels to Quakers, are given a stout warning of the king's might. Many of the traditional Stuart tropes being used here will reappear in the Jacobite balladry of the 1740s.