More than a decade ago, Kemp Malone asserted that The Wife's Lament and Wulf and Eadwacer are two surviving examples in Old English of Frauenlieder or, as I shall prefer to call them, "women's songs" Malone's argument, insofar as it applies to The Wife's Lament, has been forcefully challenged by Rudolph C. Bambas and Martin Stevens, both of whom question the assumption that the feminine forms in the poem point to a woman speaker. My paper will not once again sift the linguistic evidence to attempt to argue this matter one way or another, but rather, accepting Malone's belief concerning the correctness of "the prevailing view that the speaker was a woman ''a, I wish to call attention to proof that a little more than a century after the composition of The Wife's Lament - and of Wulf and Eadwacer - the genre identified as "women's songs" was not unknown in Anglo-Saxon England. Then, utilizing primarily the tenth-century Anglo-Saxon poems as well as the later evidence from the eleventh century, I wish to proceed to a phenomenological analysis of erotic song in England before the Conquest.