Lyrics from the Song-Books of the Elizabethan Age E-Book

Various

• Herausgeber: Booksell-Verlag
• Kategorie: Poesie und Drama
• Sprache: Englisch

Veröffentlichungsjahr: 2019

Beschreibung

"Lyrics from the Song-Books of the Elizabethan Age" is a rich anthology that captures the essence of lyrical poetry from one of history's most vibrant literary periods. This collection features a diverse range of themes, from love and longing to nature and celebration, reflecting the social and cultural complexities of Elizabethan society. The text is distinguished by its melodic structures and intricate rhymes, embodying the Elizabethan penchant for both celebration and melancholy. Its compilation of renowned poetical voices, alongside lesser-known contributors, provides a panoramic view of the multifaceted artistry that flourished during Queen Elizabeth I's reign. The authorship of this anthology is attributed to various notable figures of the time, underscoring the collaborative spirit of the period. These poets, influenced by the Renaissance'Äôs revival of classical forms and humanistic ideas, navigated the intricate social dynamics of their age. Their collective works not only illustrate personal emotion but also mirror the complex societal changes, including the rise of the middle class and exploration. This anthology is an essential resource for anyone interested in understanding the lyrical heritage of the Elizabethan era. It serves as both a testament to the artistic genius of the time and a vital link to the continuing influence of these works in modern poetry and music. Readers will find themselves transported to a world where language dances, evoking the timeless human experience.

Leseprobe

Various

Lyrics from the Song-Books of the Elizabethan Age

Published by Good Press, 2019

[email protected]

EAN 4057664654038

Table of Contents

LYRICS FROM THE SONG-BOOKS OF THE ELIZABETHAN AGE.

LYRICS FROM THE SONG-BOOKS OF THE ELIZABETHAN AGE

A.H. BULLEN.

LONDON: JOHN C. NIMMO, 14, King William Street, Strand , W.C. 1887.

PREFACE.

IN LAVDEM AMORIS.

INDEX OF FIRST LINES

LYRICS FROM ELIZABETHAN SONG-BOOKS.

NOTES.

LIST OF SONG-BOOKS.

LYRICSFROM THE SONG-BOOKS OF THE ELIZABETHAN AGE.

Table of Contents

Note.—Two hundred and fifty copies of this large paper edition printed, each of which is numbered.

LYRICS FROM THE SONG-BOOKS OF THE ELIZABETHAN AGE:

Table of Contents

EDITED BY

A.H. BULLEN.

Table of Contents

LONDON:JOHN C. NIMMO,14, King William Street, Strand, W.C. 1887.

Table of Contents

CHISWICK PRESS:—C. WHITTINGHAM AND CO., TOOKS COURT, CHANCERY LANE.

PREFACE.

Table of Contents

The present Anthology is intended to serve as a companion volume to the Poetical Miscellanies published in England at the close of the sixteenth and the beginning of the seventeenth centuries. A few of the lyrics here collected are, it is true, included in “England’s Helicon,” Davison’s “Poetical Rhapsody,” and “The Phœnix’ Nest”; and some are to be found in the modern collections of Oliphant, Collier, Rimbault, Mr. W.J. Linton, Canon Hannah, and Professor Arber. But many of the poems in the present volume are, I have every reason to believe, unknown even to those who have made a special study of Elizabethan poetry. I have gone carefully through all the old song-books preserved in the library of the British Museum, and I have given extracts from two books of which there is no copy in our national library. A first attempt of this kind must necessarily be imperfect. Were I to go over the ground again I should enlarge the collection, and I should hope to gain tidings of some song-books (mentioned by bibliographers) which I have hitherto been unable to trace.

In Elizabeth’s days composers were not content to regard the words of a song as a mere peg on which to hang the music, but sought the services of true-born lyrists. It is not too much to say that, for delicate perfection of form, some of the Elizabethan songs can compare with the choicest epigrams in the Greek Anthology. At least one composer, Thomas Campion, wrote both the words and the music of his songs; and there are no sweeter lyrics in English poetry than are to be found in Campion’s song-books. But it may be assumed that, as a rule, the composers are responsible only for the music.

It was in the year of the Spanish Armada, 1588, that William Byrd published “Psalms, Sonnets, and Songs of Sadness and Piety,” the first Elizabethan song-book of importance. Few biographical particulars concerning Byrd have come down. As he was senior chorister of St. Paul’s in 1554, he is conjectured to have been born about 1538. From 1563 to 1569 he was organist of Lincoln Cathedral. He and Tallis were granted a patent, which must have proved fairly lucrative, for the printing of music and the vending of music-paper. In later life he appears to have become a convert to Romanism. His last work was published in 1611, and he died at a ripe old age on the 24th of July, 1623. The “Psalms, Sonnets, and Songs” are dedicated to Sir Christopher Hatton. In the dedicatory epistle he terms the collection “this first printed work of mine in English;” in 1575 he had published with Tallis “Cantiones Sacræ.” From the title one would gather that Byrd’s first English collection was mainly of a sacred character, but in an epistle to the reader he hastens to set us right on that point:—“Benign reader, here is offered unto thy courteous acceptance music of sundry sorts, and to content divers humours. If thou be disposed to pray, here are psalms; if to be merry, here are sonnets.” There is, indeed, fare for all comers; and a reader has only himself to blame if he goes away dissatisfied. In those days, as in these, it was not uncommon for a writer to attribute all faults, whether of omission or commission, to the luckless printer. Byrd, on the other hand, solemnly warns us that “in the expression of these songs either by voices or instruments, if there be any jar or dissonance,” we are not to blame the printer, who has been at the greatest pains to secure accuracy. Then the composer makes a modest appeal on behalf of himself, requesting those who find any fault in the composition “either with courtesy to let the same be concealed,” or “in friendly sort” point out the errors, which shall be corrected in a future impression. This is the proper manner of dealing between gentlemen. His next publication was “Songs of Sundry Natures,” 1589, which was dedicated to Sir Henry Carey, who seems to have been as staunch a patron of Byrd as his son, Sir George Carey, was of Dowland. In 1611 appeared Byrd’s last work, “Psalms, Songs, and Sonnets.” The composer must have taken to heart the precepts set down by Sir Edward Dyer in “My mind to me a kingdom is,” (printed in “Psalms, Sonnets, and Songs”) for his dedicatory epistle and his address to the reader show him to have been a man who had laid up a large store of genial wisdom, upon which he could draw freely in the closing days of an honourable life. His earlier works had been well received, and in addressing “all true lovers of music” he knew that he could rely upon their cordial sympathy. “I am much encouraged,” he writes, “to commend to you these my last labours, for mine ultimum vale;” and then follows a piece of friendly counsel: “Only this I desire, that you will be as careful to hear them well expressed, as I have been both in the composing and correcting of them. Otherwise the best song that ever was made will seem harsh and unpleasant; for that the well expressing of them either by voices or instruments is the life of our labours, which is seldom or never well performed at the first singing or playing.”

No musician of the Elizabethan age was more famous than John Dowland, whose “heavenly touch upon the lute” was commended in a well-known sonnet (long attributed to Shakespeare) by Richard Barnfield. Dowland was born at Westminster in 1562. At the age of twenty, or thereabouts, he started on his travels; and, after rambling through “the chiefest parts of France, a nation furnished with great variety of music,” he bent his course “towards the famous province of Germany,” where he found “both excellent masters and most honourable patrons of music.” In the course of his travels he visited Venice, Padua, Genoa, Ferrara, and Florence, gaining applause everywhere by his musical skill. On his return to England he took his degree at Oxford, as Bachelor of Music, in 1588. In 1597 he published “The First Book of Songs or Airs of four parts, with Tableture for the Lute.” Prefixed is a dedicatory epistle to Sir George Carey (second Lord Hunsdon), in which the composer alludes gracefully to the kindness he had received from Lady Elizabeth Carey, the patroness of Spenser. A “Second Book of Songs or Airs” was published in 1600, when the composer was at the Danish Court, serving as lutenist to King Christian the Fourth. The work was dedicated to the famous Countess of Bedford, whom Ben Jonson immortalized in a noble sonnet. From a curious address to the reader by George Eastland, the publisher, it would appear that in spite of Dowland’s high reputation the sale of his works was not very profitable. “If the consideration of mine own estate,” writes Eastland, “or the true worth of money, had prevailed with me above the desire of pleasing you and showing my love to my friends, these second labours of Master Dowland—whose very name is a large preface of commendation to the book—had for ever lain hid in darkness, or at the least frozen in a cold and foreign country.” The expenses of publication were heavy, but he consoled himself with the thought that his high-spirited enterprise would be appreciated by a select audience. In 1603 appeared “The Third and Last Book of Songs or Airs;” and, in 1612, when he was acting as lutenist to Lord Walden, Dowland issued his last work, “A Pilgrime’s Solace.” He is supposed to have died about 1615, leaving a son, Robert Dowland, who gained some fame as a composer. Modern critics have judged that Dowland’s music was somewhat overrated by his contemporaries, and that he is wanting in variety and originality. Whether these critics are right or wrong, it would be difficult to overrate the poetry. In attempting to select representative lyrics one is embarrassed by the wealth of material. The rich clusters of golden verse hang so temptingly that it is difficult to cease plucking when once we have begun.

In his charming collection of “Rare Poems” Mr. Linton quotes freely from the song-books of Byrd and Dowland, but gives only one lyric of Dr. Thomas Campion. As Mr. Linton is an excellent judge of poetry, I can only suppose that he had no wide acquaintance with Campion’s writings, when he put together his dainty Anthology. There is clear evidence[1] that Campion wrote not only the music but the words for his songs—that he was at once an eminent composer and a lyric poet of the first rank. He published a volume of Latin verse, which displays ease and fluency (though the prosody is occasionally erratic); as a masque-writer he was inferior only to Ben Jonson; he was the author of treatises on the arts of music and poetry; and he practised as a physician. It would be interesting to ascertain some facts about the life of this highly-gifted man; but hitherto little information has been collected. The Oxford historian, good old Anthony-à-Wood, went altogether wrong and confused our Thomas Campion with another person of the same name who took his degree in 1624—five years after the poet’s death. It is probable that our Thomas Campion was the second son of Thomas Campion of Witham, Essex, and that he was distantly related to Edmund Campion the famous Jesuit. His first work was his “Epigrammatum Libri duo,” published in 1595, and republished in 1619. The first edition is exceedingly rare; there is no copy in the British Museum. Francis Meres, in his very valuable (and very tedious) “Wit’s Treasury,” 1598, mentions Campion among the “English men, being Latin poets,” who had “attained good report and honorable advancement in the Latin empire.” In 1601 Campion and Philip Rosseter published jointly “A Book of Airs.” The music was partly written by Campion and partly by Rosseter; but the whole of the poetry may be safely assigned to Campion. From a dedicatory epistle, by Rosseter, to Sir Thomas Monson, we learn that Campion’s songs, “made at his vacant hours and privately imparted to his friends,” had been passed from hand to hand and had suffered from the carelessness of successive transcribers. Some impudent persons, we are told, had “unrespectively challenged” (i.e. claimed) the credit both of the music and the poetry. The address To the Reader, which follows the dedicatory epistle, is unsigned, but appears to have been written by Campion. “What epigrams are in poetry,” it begins, “the same are airs in music: then in their chief perfection when they are short and well seasoned. But to clog a light song with a long preludium is to corrupt the nature of it. Many rests in music were invented either for necessity of the fugue, or granted as an harmonical licence in songs of many parts; but in airs I find no use they have, unless it be to make a vulgar and trivial modulation seem to the ignorant strange, and to the judicial tedious.” It is among the curiosities of literature that this true poet, who had so exquisite a sense of form, and whose lyrics are frequently triumphs of metrical skill, should have published a work (entitled “Observations in the Art of English Poesy”) to prove that the use of rhyme ought to be discontinued, and that English metres should be fashioned after classical models. “Poesy,” he writes, “in all kind of speaking is the chief beginner and maintainer of eloquence, not only helping the ear with the acquaintance of sweet numbers, but also raising the mind to a more high and lofty conceit. For this end have I studied to induce a true form of versifying into our language; for the vulgar and artificial custom of rhyming hath, I know, deterr’d many excellent wits from the exercise of English poesy.” The work was published in 1602, the year after he had issued the first collection of his charming lyrics. It was in answer to Campion that Samuel Daniel wrote his “Defence of Rhyme” (1603), one of the ablest critical treatises in the English language. Daniel was puzzled, as well he might be, that an attack on rhyme should have been made by one “whose commendable rhymes, albeit now himself an enemy to rhyme, have given heretofore to the world the best notice of his worth.” It is pleasant to find Daniel testifying to the fact that Campion was “a man of fair parts and good reputation.” Ben Jonson, as we are informed by Drummond of Hawthornden, wrote “a Discourse of Poesy both against Campion and Daniel;” but the discourse was never published. In his “Observations” Campion gives us a few specimen-poems written in the unrhymed metres that he proposed to introduce. The following verses are the least objectionable that I can find:—

“Just beguiler,Kindest love yet only chastest,Royal in thy smooth denials,Frowning or demurely smiling,Still my pure delight.

Let me view theeWith thoughts and with eyes affected,And if then the flames do murmur,Quench them with thy virtue, charm themWith thy stormy brows.

Heaven so cheerfulLaughs not ever; hoary winterKnows his season, even the freshestSummer morns from angry thunderYet not still secure.”

There is artful ease and the touch of a poet’s hand in those verses; but the Muses shield us from such innovations! Campion’s second collection, “Two Books of Airs”, is undated; but, from an allusion to the death of Prince Henry, we may conclude that it was published about the year 1613. The first book consists of “Divine and Moral Songs” and the second of “light conceits of lovers.” In dealing with sacred themes, particularly when they venture on paraphrases of the Psalms, our poets seldom do themselves justice; but I claim for Campion that he is neither stiff nor awkward. Henry Vaughan is the one English poet whose devotional fervour found the highest lyrical expression; and Campion’s impassioned poem “Awake, awake, thou heavy sprite!” (p. 6) is not unworthy of the great Silurist. Among the sacred verses are some lines (“Jack and Joan they think no ill,” p. 61) in praise of a contented countryman and his good wife. A sweeter example of an old pastoral lyric could nowhere be found, not even in the pages of Nicholas Breton. The “Third and Fourth Books of Airs” are also undated, but they were probably published in 1613. In this collection, where all is good, my favourite is “Now winter nights enlarge” (p. 90). Others may prefer the melodious serenade, worthy even of Shelley, “Shall I come, sweet love, to thee” (p. 100). But there is one poem of Campion (printed in the collection of 1601) which, for strange richness of romantic beauty, could hardly be matched outside the sonnets of Shakespeare:—

“When thou must home to shades of underground,And there arrived, a new admirèd guest,The beauteous spirits do engirt thee round,White Iope, blithe Helen, and the rest,To hear the stories of thy finish’d loveFrom that smooth tongue whose music hell can move:

Then wilt thou speak of banqueting delights,Of masques and revels which sweet youth did make,Of tourneys and great challenges of knights,And all these triumphs for thy beauty sake:When thou hast told these honours done to thee,Then tell, O tell, how thou didst murder me!”

The mention of “White Iope” was suggested by a passage of Propertius:—

“Sunt apud infernos tot millia formosarum;Pulchra sit, in superis, si licet, una locis.Vobiscum[2] est Iope, vobiscum candida Tyro,” &c.

Campion was steeped in classical feeling: his rendering of Catullus’ “Vivamus, mea Lesbia, atque amemus” (p. 80) is, so far as it goes, delightful. It is time that Campion should again take his rightful place among the lyric poets of England. In his own day his fame stood high. Camden did not hesitate to couple his name with the names of Spenser and Sidney; but modern critics have persistently neglected him. The present anthology contains a large number of his best poems; and I venture to hope that my attempt to recall attention to the claims of this true poet will not be fruitless.

There is much excellent verse hidden away in the Song-books of Robert Jones, a famous performer on the lute. Between 1601 and 1611 Jones issued six musical works. Two of these—“The First Set of Madrigals,” 1607, and “The Muses’ Garden for Delight,” 1611—I have unfortunately not been able to see, as I have not yet succeeded in discovering their present resting-place. Of “Ultimum Vale, or the Third Book of Airs” [1608], only one copy is known. It formerly belonged to Rimbault, and is now preserved in the library of the Royal College of Music. The other publications of Jones are of the highest rarity. By turns the songs are grave and gay. On one page is the warning to Love—

“Little boy, pretty knave, hence, I beseech you!For if you hit me, knave, in faith I’ll breech you.” (p. 72.)

On another we read “Love winged my hopes and taught me how to fly,” (p. 73); but the vain hopes, seeking to woo the sun’s fair light, were scorched with fire and drown’d in woe,

“And none but Love their woeful hap did rue,For Love did know that their desires were true;Though Fate frownèd.And now drownèdThey in sorrow dwell,It was the purest light of heaven for whose fair love they fell.”

The last line is superb.

I have drawn freely from the madrigals of Weelkes, Morley, Farmer, Wilbye and others. Thomas Ford’s “Music of Sundry Kinds,” 1607, has yielded some very choice verse; and Francis Pilkington’s collections have not been consulted in vain. From John Attye’s “First Book of Airs,” 1622, I have selected one song, (p. 94), only one—warm and tender and delicious. Some pleasant verses have been drawn from the rare song-books of William Corkine; and Thomas Vautor’s “Songs of Divers Airs and Natures,” 1619, have supplied some quaint snatches, notably the address to the owl, (p. 116) “Sweet Suffolk owl, so trimly dight.” I have purposely refrained from giving many humorous ditties. Had I been otherwise minded there was plenty of material to my hand in the rollicking rounds and catches of Ravenscroft’s admirable collections.

As I have no technical knowledge of the subject, it would be impertinent for me to attempt to estimate the merits of the music contained in these old song-books; but I venture with all confidence to commend the poetry to the reader’s attention. There is one poem which I have deliberately kept back. It occurs in “The First Part of Airs, French, Polish, and others together, some in tableture and some in prick-song,” 1605. The composer was a certain Captain Tobias Hume, but who the author of the poem was I know not. Here is the first stanza:—

“Fain would I change that noteTo which fond love hath charm’d me,Long long to sing by rote,Fancying that that harm’d me:Yet when this thought doth come,‘Love is the perfect sumOf all delight,’I have no other choiceEither for pen or voiceTo sing or write.”

The other stanza shall occupy the place of honour in the front of my Anthology; for among all the Elizabethan song-books I have found no lines of more faultless beauty, of happier cadence or sweeter simplicity, no lines that more justly deserve to be treasured in the memory while memory lasts.

Footnotes

[1] In his address To The Reader prefixed to the “Fourth Book of Airs” he writes:—“Some words are in these books which have been clothed in music by others, and I am content they then served their turn: yet give me leave to make use of mine own.” Again, in the address To the Reader prefixed to the “Third Book of Airs:”—“In these English airs I have chiefly aimed to couple my words and notes lovingly together; which will be much for him to do that hath not power over both.”

[2] Some editions read “Vobiscum Antiope.”

IN LAVDEM AMORIS.

Table of Contents

O LOVE, THEY WRONG THEE MVCHTHAT SAY THY SWEET IS BITTER,WHEN THY RICH FRVIT IS SVCHAS NOTHING CAN BE SWEETER.FAIR HOVSE OF JOY AND BLISS,WHERE TRVEST PLEASVRE IS,I DO ADORE THEE;I KNOW THEE WHAT THOV ART,I SERVE THEE WITH MY HEART,AND FALL BEFORE THEE.

Captain Hume’s First Part of Airs, 1605.

INDEX OF FIRST LINES

Table of Contents

PAGE

A

little pretty bonny lass was walking (Farmer)

1

A shepherd in a shade his plaining made (John Dowland)

1

A sparrow-hawk proud did hold in wicked jail (Weelkes)

2

A woman’s looks (Jones)

3

About the maypole new, with glee and merriment (Morley)

4

Adieu! sweet Amaryllis (Wilbye)

5

April is in my mistress’ face (Morley)

5

Arise, my thoughts, and mount you with the sun (Jones)

5

Awake, awake! thou heavy sprite (Campion)

6

Awake, sweet Love! ’tis time to rise (Youll)

7

Ay me, can every rumour (Wilbye)

7

Ay me, my mistress scorns my love (Bateson)

8

Behold a wonder here (John Dowland)

8

Brown is my Love, but graceful (Musica Transalpina)

9

By a fountain where I lay (John Dowland)

9

By the moon we sport and play (Ravenscroft)

11

Canst thou love and lie alone (Melismata)

11

Change thy mind since she doth change (Robert Dowland)

12

Cold Winter’s ice is fled and gone (Weelkes)

13

Come away! come, sweet Love! (John Dowland)

14

Come, O come, my life’s delight (Campion)

15

Come, Phyllis, come into these bowers (Ford)

16

Come, shepherd swains, that wont to hear me sing (Wilbye)

16

Come, you pretty false-eyed wanton (Campion)

17

Could my heart more tongues employ (Campion)

18

Crownèd with flowers I saw fair Amaryllis (Byrd)

19

Dare you haunt our hallow’d green (Ravenscroft)

19

Dear, if I with guilt would gild a true intent (Campion)

20

Dear, if you change I’ll never choose again (John Dowland)

20

Do you not know how Love lost first his seeing (Morley)

21

Draw on, sweet Night, best friend unto those cares (Wilbye)

21

Each day of thine, sweet month of May (Youll)

22

Every dame affects good fame, whate’er her doings be (Campion)

22

Fair Phyllis I saw sitting all alone (Farmer)

24

Farewell, false Love, the oracle of lies (Byrd)

24

Farewell, my joy! (Weelkes)

25

Fine knacks for ladies, cheap, choice, brave and new (John Dowland)

26

Fire that must flame is with apt fuel fed (Campion)

27

Flora gave me fairest flowers (Wilbye)

27

Follow your saint, follow with accents sweet (Campion and Rosseter)

28

Fond wanton youths make Love a God (Jones)

28

From Citheron the warlike boy is fled (Byrd)

30

From Fame’s desire, from Love’s delight retired (John Dowland)

31

Give Beauty all her right (Campion)

32

Go, crystal tears! like to the morning showers (John Dowland)

33

Go, turn away those cruel eyes (Egerton MS. 2013)

33

Good men, show! if you can tell (Campion)

34

Ha! ha! ha! this world doth pass (Weelkes)

36

Happy he (Jones)

36

Happy, O! happy he, who not affecting (Wilbye)

37

Have I found her? O rich finding (Pilkington)

38

Heigh ho! chill go to plough no more (Mundy)

38

How many things as yet (Maynard)

39

How shall I then describe my Love (Ford)

39

I always loved to call my lady Rose (Lichfild)

40

I have house and land in Kent (

Melismata

)

41

I joy not in no earthly bliss (Byrd)

43

I live and yet methinks I do not breathe (Wilbye)

44

I marriage would forswear (Maynard)

44

I only am the man (Maynard)

45

I saw my Lady weep (John Dowland)

46

I sung sometime my thoughts and fancy’s pleasure (Wilbye)

46

I weigh not Fortune’s frown nor smile (Gibbons)

47

I will no more come to thee (Morley)

48

If fathers knew but how to leave (Jones)

48

If I urge my kind desires (Campion and Rosseter)

49

If my complaints could passions move (John Dowland)

50

If thou long’st so much to learn, sweet boy, what ’tis to love (Campion)

51

If women could be fair and never fond (Byrd)

52

In crystal towers and turrets richly set (Byrd)

53

In darkness let me dwell, the ground shall sorrow be (Coprario)

53

In midst of woods or pleasant grove (Mundy)

54

In pride of May (Weelkes)

55

In Sherwood lived stout Robin Hood (Jones)

56

In the merry month of May (Este)

57

Inconstant Laura makes me death to crave (Greaves)

58

Injurious hours, whilst any joy doth bless me (Lichfild)

59

Is Love a boy—what means he then to strike (Byrd)

59

It was the frog in the well (Melismata)

60

Jack and Joan they think no ill (Campion)

61

Kind are her answers (Campion)

62

Kind in unkindness, when will you relent (Campion and Rosseter)

63

Lady, the birds right fairly (Weelkes)

64

Lady, the melting crystal of your eye (Greaves)

64

Lady, when I behold the roses sprouting (Wilbye)

65

Let not Chloris think, because (Danyel)

66

Let not the sluggish sleep (Byrd)

67

Let us in a lovers’ round (Mason and Earsden)

67

Like two proud armies marching in the field (Weelkes)

68

Lo! country sport that seldom fades (Weelkes)

68

Lo! when back mine eye (Campion)

68

Long have I lived in Court (Maynard)

69

Love is a bable (Jones)

70

Love not me for comely grace (Wilbye)

71

Love’s god is a boy (Jones)

72

Love winged my hopes and taught me how to fly (Jones)

73

“Maids are simple,” some men say (Campion)

74

Maids to bed and cover coal (Melismata)

74

More than most fair, full of all

heavenly

fire (Peerson)

75

Mother, I will have a husband (Vautor)

75

My hope a counsel with my heart (Este)

76

My love bound me with a kiss (Jones)

77

My love is neither young nor old (Jones)

78

My mind to me a kingdom is (Byrd)

78

My prime of youth is but a frost of cares (Mundy)

80

My sweetest Lesbia, let us live and love (Campion)

80

My Thoughts are winged with Hopes, my Hopes with Love (John Dowland)

81

Never love unless you can (Campion)

82

Now each creature joys the other (Farmer)

83

Now every tree renews his summer’s green (Weelkes)

83

Now God be with old Simeon (Pammelia)

83

Now have I learn’d with much ado at last (Jones)

84

Now I see thy looks were feignèd (Ford)

85

Now is my Chloris fresh as May (Weelkes)

86

Now is the month of maying (Morley)

87

Now let her change! and spare not (Campion)

87

Now let us make a merry greeting (Weelkes)

88

Now what is love, I pray thee tell (Jones)

89

Now winter nights enlarge (Campion)

90

O say, dear life, when shall these twin-born berries (Ward)

91

O stay, sweet love; see here the place of sporting (Farmer)

91

O sweet, alas, what say you (Morley)

92

O sweet delight, O more than human bliss (Campion)

92

Oft have I mused the cause to find (Jones)

93

On a time the amorous Silvy (Attye)

94

Once did I love and yet I live (Jones)

95

Once I thought to die for love (Youll)

95

Our country swains in the morris dance (Weelkes)

96

Pierce did love fair Petronel (Farnaby)

96

Pour forth, mine eyes, the fountains of your tears (Pilkington)

97

Robin is a lovely lad (Mason and Earsden)

97

Round-a, round-a, keep your ring (Ravenscroft)

98

See, see, mine own sweet jewel (Morley)

98

Shall a frown or angry eye (Corkine)

99

Shall I abide this jesting (Alison)

99

Shall I come, sweet Love, to thee (Campion)

100

Shall I look to ease my grief (Jones)

100

She whose matchless beauty staineth (Jones)

101

Shoot, false Love! I care not (Morley)

103

Silly boy! ’tis full moon yet, thy night as day shines clearly (Campion)

104

Simkin said that Sis was fair (Farnaby)

105

Since first I saw your face I resolved to honour and renown ye (Ford)

105

Sing we and chant it (Morley)

106

Sister, awake! close not your eyes (Bateson)

107

Sleep, angry beauty, sleep and fear not me (Campion)

108

So light is love, in matchless beauty shining (Wilbye)

108

Some can flatter, some can feign (Corkine)

109

Sweet, come again (Campion and Rosseter)

110

Sweet Cupid, ripen her desire (Corkine)

111

Sweet heart, arise! why do you sleep (Weelkes)

112

Sweet Kate (Jones)

112

Sweet Love, if thou wilt gain a monarch’s glory (Wilbye)

113

Sweet Love, I will no more abuse thee (Weelkes)

114

Sweet Love, my only treasure (Jones)

114

Sweet, stay awhile; why will you rise (John Dowland)

115

[Pg xxviii]

Sweet Suffolk owl so trimly dight (Vautor)

116

Take here my heart, I give it thee for ever (Weelkes)

116

Take time while time doth last (Farmer)

117

The fly she sat in shamble-row (Deuteromelia)

117

The Gods have heard my vows (Weelkes)

119

The lark, linnet and nightingale to sing some say are best (Pammelia)

120

The love of change hath changed the world throughout (Carlton)

120

The lowest trees have tops, the ant her gall (John Dowland)

121

The man of life upright (Campion and Rosseter)

121