ierkeiey"\ LIBRARY I UNIVERSITY OF J CALIFORNIA J ^/r 4^ Digitized by the Internet Archive in 2007 with funding from IVIicrosoft Corporation http://www.archive.org/details/elizabethansongOObullrich LYRICS FROM THE SONG-BOOKS OF THE ELIZABETHAN AGE. LYRICS FROM THE SONG-BOOKS OF THE ELIZABETHAN AGE. EDITED BY A. H. BULLEN. LONDON : LAWRENCE AND BULLEN. 169, NEW BOND STREET, W. 1891. LOAN STACK CHISWICK PRESS :— C. WHITTINGHAM AND CO., TOOKS CO'JRT, CHANCERY LANE. 7/8 NOTE. About eighteen months ago I published a collection of Lyrics from the Song-books of the Elizabethan Age; and this was followed recently by a second collection, More Lyrics from the Song-books of the Elizabethan Age. 7'he present book consists of poems selected froin those two volujnes. In the preface to More Lyrics / announced that I intended to publish such an anthology as is here offered to the reader. August, 1888. In the third edition a few textual corrections have been introduced, and the editor has succeeded in dis- covering the authorship of some songs that he had previously failed to identify. fuly, 1S91. 251 PREFACE. IN Elizabethan times the art of song-writing was carried to perfection. Composers were not then 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. The old song-books preserve many graceful and delightful poems that would otherwise have perished. Some of these collections are extant only in unique exemplars preserved in the library of the British Museum, the Bodleian, the library of the Royal College of Music, or in private libraries ; for others I have had to go to MSS. in the British Museum or at Oxford. The object that I have kept in view is to make my anthology at once novel and interesting. Well-known poems, or poems that ought to be well- known, I have avoided ; and, on the other hand, no poem has been included merely on account of its rarity. A book may be very rare and very worthless : that I admit. But an examination of the present volume will show that some choice lyrics have viii PREFACE lain hidden out of sight for nearly three centuries. How many readers have heard of Captain Tobias Hume ? He published in 1605 *'The First Part of Airs, French, Polish and others together." Among these Airs I found the flawless verses that I have placed at the beginning of my anthology, " Fain would I change that note." Surely few, even among the very elect, have sung Love's praises in happier accents of heartfull devotion. Captain Hume wrote the music, but I know not who wrote the verses. It may be assumed that the composers, as a rule, were only responsible for the music. Dr. Thomas Campion, of whom I shall speak presently, was both a poet and a musician ; but he was an exception to the rule. Take another example, the sweet and tender lullaby, worthy of William Blake, "Upon my lap my sovereign sits." It is from Martin Peerson's "Private Music," 1620, of which only one perfect copy, preserved in the Bodleian Library, is extant. From the same song-book I have taken the graceful and playful dialogue — "Open the door ! Who's there within?" — between an eager w^ooer and a discreet maid ; and other dainty little songs. A large and' important collection of early MS. music-books is preserved in the library of Christ Church, Oxford. Here I found the fine verses PREFACE. ix beginning "Yet if his Majesty our sovereign lord." The detailed description of the preparations made by a loyal subject for the entertainment of his "earthly king" is singularly impressive. Few could have dealt with common household objects — tables and chairs and candles and the rest — in so dignified a spirit. Our poet has triumphed over the difficulties : — *' * Set me fine Spanish tables in the hall. See tbey be fitted all ; Let there be room to eat, And order taken that there want no meat. See every sconce and candlestick made bright, That without tapers they may give a light. Look to the presence : are the carpets spread, The dais o'er the head, The cushions in the chairs, And all the candles lighted on the stairs ? Perfume the chamber, and in any case Let each man give attendance in his place.'" It would be hard to improve on that description. Then the contrast between these preparations made for an earthly king and the reception provided for the King of Heaven ! — ** But at the coming of the King of Heaven All's set at six and seven ; We vt-allow in our sin, Christ cannot find a chamber in the inn. We entertain him always like a stranger, And as at first still lodge him in the manger." X PREFACE. The volume which contains this fine poem has more than one lyric, set to music, of Henry Vaughan the Silurist. Am I right in surmising that this unpublished poem is also by Vaughan? I know no other devotional poet who could have written it. Whether it be Vaughan's or not, I am glad to include it in my anthology. I trust that the other Christ Church songs will also be acceptable. The odd little snatch, ** Hey nonny no !/ Men are fools that wish to die ! " almost takes one's breath away by the vehemence of its rapture. " Daphnis came on a summer's day " is as good as the best things in Bateson's madrigals (no slight praise), and " Are you that she than whom no fairer is? " might have come from one of Robert Jones' song-books. The frog's wooing of the crab, " There was a frog swum in the lake," is a capital piece of fooling, almost worthy to rank with Ravenscroft's " It was the frog in the well." It was set to music by Alfonso Ferrabosco, but is not found in that composer's printed " Airs." The earliest of the Elizabethan song-writers was "William Byrd. In the year of the Spanish Armada, 1588, he published " Psalms, Sonnets, and Songs of Sadness and Piety," the first Elizabethan song-book of importance. He was probably a native of Lincoln, and was born in, or about, PREFACE, xi 1538.^ From 1563 to 1569 he was organist of Lincoln Cathedral, and on 22 February, 1569-70, he was appointed Gentleman of the Chapel Royal. In 1598 he became possessed of Stondon Place, Essex. He adhered to the Roman Catholic faith ; and his wife, Ellen Birley (by whom he had five children), was also a zealous Romanist. His last work was published in 161 1, and he died at a ripe old age on 24 July, 1623. The "Psalms, Sonnets, and Songs "are dedicated to Sir Christopher Hatton. From the title one would gather that the collection was mainly of a sacred character, but in an epistle to the reader Byrd 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 ^ I have made no attempt to give any full biographical account of the composers. Excellent notices of Byrd and John Dowland, by Mr. Barclay Squire, may be seen in the " Dictionary of National Biography." A full account of Dr. Thomas Campion is prefixed to my edition of Campion's Works (privately printed). For notices of the other com- posers I must be content to refer the reader to Grove's *' Dictionary of Music." xii PREFACE. 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 be- half 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, first Lord Hunsdon, who seems to have been as staunch a patron of Byrd as his son, Sir George Carey, was of Dowland. In 161 1 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 copious store of genial wisdom, upon which he could draw freely in the closing days of an honourable life. His earlier works had been PREFACE. xiu 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 ulti7num 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." Quaint old-fashioned moral verses were much affected by Byrd, particularly in his latest song- book. He inculcates precepts of homely piety in a cheerful spirit, with occasional touches of naive epigrammatic terseness. Many men strongly ob- ject to be bullied from a pulpit, but he must be a born churl who could be offended at such an exhortation as the following : — " Let not the sluggish sleep Close up thy waking eye, Until with judgement deep Thy daily deeds thou try : He that one sin in conscience keeps When he to quiet goes, More vent'rous is than he that sleeps With twenty mortal foes." xiv PREFACE. 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 West- minster in 1562. At the age of twenty, or there- abouts, 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 that he had received from Lady EHzabeth 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 Christian IV. The work was dedicated to the famous Lucy Countess of Bedford, whom Ben PREFACE. XV 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 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 161 2, when he was lutenist to Lord Walden, Dowland issued his last work, "A Pilgrim's Solace." He is supposed to have died about 161 5, leaving a son, Robert Dowland, who gained credit as a composer. Some modern critics have judged that Dowland's music was 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 x-a PREFACE. by the wealth of material. The rich clusters of golden verse hang so temptingly that it is hard to cease plucking when once we have begun. Byrd and Dowland are distinguished names in the annals of Elizabethan song, but unquestion- ably Dr. Thomas Campion is greater than either. Campion wrote not only the music, but the poetry for his songs — he was at once an eminent composer and a lyric poet of the first rank. He published a volume of Latin verse which displays fluency and elegance and wit ; as a masque-writer he was hardly inferior to Ben Jonson ; and he was the author of treatises on music and poetry. We first hear of him in 1586, when he was admitted a member of Gray's Inn (Harl. MS. 191 2, "Admittances to Gray's Inn "). Conceiving a distaste for legal studies, he applied himself to medicine and practised with success as a physician. His earliest work was *' Epigrammatum Libri Duo," originally published in 1595 and republished with additions in 16 19, the year of his death. Francis Meres, in " Wit's Treasury," 1598, mentions Campion among the "English men, being Latin poets," who had "attained good report and honourable advance- ment in the Latin tongue." But many of the English lyrics must have been written, though they were not published, towards the close of the six- teenth century. So early as 1593 George Peele PREFACE. xvii made a complimentary reference to Campion in the prologue to the *' Honour of the Garter." W[illiam] C[lerke] in " Polimanteia," 1595, speaks of " sweet Master Campion," obviously in reference to his English poems \ and in Harleian MS. 6910, which was written circ. 1596, there are three Eng- lish poems by Campion. We may therefore assume that many of his best songs were written in the last decade of the sixteenth century. In 1 60 1 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 belongs to Campion. From the 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 *'unre- spectively 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 b xviii PREFACE. 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 odd 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 treatise (" Observations in the Art of English Poesy ") to prove that the use of rhyme should 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 exer- cise of English poesy." The work was published in 1602, the year after he had issued the first collection of his lyrics. It was in answer to Campion that Samuel Daniel wrote his admirable ** Defence of Rhyme" (1602 ; ed. 2, 1603). Daniel was puzzled, as well he might be, that an attack on rhyme should PREFACE. xix 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." Drummond reports that Ben Jonson wrote " a Discourse of Poesy both against Campion and Daniel ; " but the discourse was never published. Fortunately Campion did not abandon rhyme. His second collection, "Two Books of Airs," is undated; but from an allusion to the death of Prince Henry we may conclude that it was pub- lished about 1613. The first book consists of " Divine and Moral Poems," and the second of ** Light Conceits of Lovers." In dealing with sacred themes our English poets seldom do them- selves justice ; but Campion's devotional lyrics are never stiff or awkward or vapid. "Awake, awake ! thou heavy sprite " by its impassioned fervour re- calls Henry Vaughan. Among the moral poems are some delightful verses (" Jack and Joan they think no ill ") 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 Nicolas Breton. "The Third and Fourth Books of Airs" are also XX PREFACE. undated, but they cannot have been published earlier than 1617.^ In this collection, where all is good, my favourite is " Now winter nights enlarge." Others may prefer the melodious serenade, worthy even of Shelley, ** Shall I come, sweet love, to thee?" But there is one poem of Campion (printed in the collection of 1601) which, for romantic beauty, could hardly be matched outside the sonnets of Shakespeare : — ' * When thou must home to shades of underground And there arrived, a new admired guest, The beauteous spirits do engirt thee round, White lope, blithe Helen and the rest, To hear the stories of thy finished love From that smooth tongue whose music hell can move ; ' In the dedicatory address to Sir Thomas Mounson (or Monson), prefixed to the " Third Book," Campion writes : — '• Since now those clouds, that lately overcast Your fame and fortune, are dispersed at last ; And now since all to you fair greetings make. Some out of love and some for pity's sake ; Shall I but with a common style salute Your new enlargement, or stand only mute ? I, to whose trust and care you durst commit Your pined health when art despaired of it ? " Mounson was examined in 161 5 with reference to the Overbury murder ; the warrant for his arrest was issued in October, 1615 ; he was liberated on bail in October, 16 16, and his pardon was granted in February, 1616-17. Mr. Barclay Squire kindly pointed out these facts to me. PREFACE. XXL 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's sake ; When thou hast told these honours done to thee. Then tell, O tell, how thou didst murder me. " The mention of "white lope " was suggested by a passage of Propertius : — ** Sunt apud infernos tot millia formosarura ; Pulchra sit in superis, si licet, una locis. Vobiscum est lope^ vobiscum Candida Tyro," &c. Campion was steeped in classical feeling : his ren- dering of Catullus' " Vivamus, mea Lesbia, atque amemus " ('* My sweetest Lesbia, let us live and love ") is, so far as it goes, delightful. It is time that Campion should again take his rightful place among the lyric poets of England. He was, like Shelley, occasionally careless in re- gard to the observance of metrical exactness, and it must be owned that he had not learned the art of blotting. But his best work is singularly pre- cious. Whoever cannot feel the witchery of such poems as *' Hark, all you ladies that do sleep ! " or " Thrice toss these oaken ashes in the air," is past praying for. In his own day his fame stood high. His contemporary, John Davies of Hereford, who was himself a genuine poet, though he wrote far xxii PREFACE. too much and seldom did himself justice, addressed to him a sonnet which contains words of neat and appropriate praise : — ** Never did lyrics' more than happy strains, Strained out of Art by Nature so with ease, So purely hit the moods and various veins Of music and her hearers as do these. So thou canst cure the body and the mind, Rare doctor, with thy two-fold soundest art : Hippocrates hath taught thee the one kind, Apollo and the Muse the other part : And both so well that thou with both dost please, The mind with pleasure and the corps with ease." Camden did not hesitate to couple his Dame with the names of Spenser and Sidney; but he has been persistently neglected by modern critics. The rare song-books of the lutenist Robert Jones, who had a share in the Whitefriars Theatre, con- tain some excellent poetry. Between 1601 and 1 610 he issued six musical works. One of these, "The Muses' Garden of Delights," 1610, I have not been able to see, as I have not discovered its present resting-place; but in 1812 Beloe printed some songs from it in the sixth volume of his "Anecdotes," and I have availed myself of his transcript. These songs (which include " How many new years have grown old," " Once did my thoughts both ebb and flow," and "The sea hath PREFACE. xxiS many thousand sands") are so charming that I am consumed with a desire to see the rest of the collection. The Royal College of Music possesses one unique book of Robert Jones, his " Ultimum Vale," 1608; but many of the choicest songs in that song-book were printed in Davison's "Poetical Rhapsody." His other publications 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." On another we read " Love winged my Hopes and taught me how to fly " ; but the vain Hopes, seek- ing to woo the sun's fair light, were scorched with fire and drowned in woe, " And none but Love their woeful hap did rue. For Love did know that their desires were true ; Though Fate frowned, And now drowned They 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 collections of Weelkes, Morley, Farmer, Bateson, Wilbye, and others. The "Songs for the Lute, Viol, and Voice," 1606, of John Danyel (the brother and literary executor of Samuel Daniel), and Thomas Ford's xxiv PREFACE. " Music of Sundry Kinds," 1607, have yielded some choice verse. William Corkine, Francis Pil- kington, and John Attey have not been consulted in vain ; and in Thomas Vautor's ** Songs of Divers Airs and Natures," 16 19, I found the charming address to the owl, " Sweet Suffolk owl, so trimly dight." One sonnet ("Those eyes that set my fancy on a fire ") is from "William Barley's very rare "New Book of Tabliture," 1596 : it had pre- viously appeared in the "Phoenix Nest," 1593. The concluding lines are in the great Elizabethan style : — ** O eyes that pierce our hearts without remorse ! O hairs of right that wear a royal crown ! O hands that conquer more than Caesar's force ! O wit that turns huge kingdoms upside down ! " This sonnet is freely translated from Philippe Desportes ; but the anonymous translator has sur- passed the French poet. As I have no technical knowledge of the subject, it would be impertinent for me to attempt to esti- mate the merit of the music contained in these old song-books; but I venture with all confidence to commend the poetry to the reader's attention. It must be clearly understood that the present volume does not for a moment claim to be a representative PREFACE. xxT anthology of the whole wealth of Elizabethan lyrical poetry. I have conducted the reader through only one tract of those wonderful Realms of Gold. It is solely with the old song-books, the music books, that I have here dealt. Song- writing is now almost as completely a lost art as play-writing. Our poets, who ought to make ** music and sweet poetry agree," leave the writing of songs to meaner hands. Con- trast the poor thin wretched stuff that one hears in drawing-rooms to-day with the rich full-throated songs of Campion and Dowland. O what a fall is there, my countrymen ! In Elizabethan times music was "married to immortal verse." Let us hope that the present separation will not always continue. TABLE OF FIRST LINES. PAGB A LITTLE pretty honny lass was walking (^Farmer) . . . 131 y\L A shepherd in a shade his plaining made {John Dowland) 44. A sparrow-hawk proud did hold in wicked jail {Wee Ikes) . . , 210 A woman's looks {Jotus) 119 Adieu, sweet Amaryllis ! {IVilbye) 5 Ah me! my wonted joys forsake me {Weelkes) 47 Ah, sweet, alas! wh^n first I saw those eyes {Kirbye) 68 Ambitious love hath forced me to aspire {Byrd) 47 And is it night f are they thine eyes that skint {Jones') .... 173 Arise, fny Thoughts, and tnount you with the sun {J ones) ... 9 Art thou that she than whom no fairer is {Christ Church MS.) . 5 Atherfair hands how have I grace entreated {J ones) .... 2 Awake, awake, thou heavy sprite ! {Campion) 176 Awake, thou spring of speaking grace {Campion) 28 Ay me, can every rumour {Wilbye) 168 Ay me, my mistress scorns my love {Bateson) 6 Be thou then my Beauty named {Campion) 43 Beauty is but a painted hell {Campion) 152 Behold a wonder here {John Dowland) 12 Blame not my cheeks, though pale with love they be {Campion and Rosseter) 48 Blush, my rude Present ; blushing, yet say this {Vautor) . ... 48 Brown is my Love, but graceful {Musica Transalpina) . . . . 170 By the moon we sport atidplay {Ravenscroft) 205 Camilla fair tripfed o'er the plain {Bateson) 49 Can a m.aid that is well bred {Peerson) 88 Care for thy soul as thing of greatest price [Byrd) 186 Cease, troubled thoughts, to sigh {Jones) 132 Change me, O heavens, into the ruby stone ( IVilbye) 49 Come, cheerful day, part of my life to me {Campion) 185 Come, lusty ladies, come, come, come ! {Christ Church MS.) . . 111 Come, O come, my life's delight {Campion) 6 TABLE OF FIRST LINES. FAGB Come, shephtrd swains, that ivont to hear me sing {]Vill>ye) . . 129 Come, Sorrow, come, sit down and mourn with me {Morley) . . 191 Come, ye heavy states 0/ night {John Dowland) 192 Come, you J>retty false-eyed wanton (Campion) 4 Content thyself with thy estate (Carlton) 178 Crozvned with flowers I saw fair Amaryllis (Byrd) 72 Cupid, in abed of roses (Bateson) 133 Daphnis came on a summers day (Christ Church MS.) .... 64 Dare you haunt our hallow' d green (Ravenscroft) 205 Dear, if I with guile would gild a true intent (Campion) ... 16 Dear, if you change, ril never choose again (Dowland) . . . . 139 Disdain me still that I may ever love (John Dowland) .... 52 Do not, O do f lot prize (Jones) 51 Do you not know how Love lest first his seeing (Morley) ... 74 Draw on, sweet Night, best friend unto those cares (Wilbye) . . 192 Drown not with tears, my fairest Love (Ferrabosco) 159 Every datne affects good fame (Campion) 212 Fain I would, but oh I dare not (Ferrabosco) 53 Fain would I change that 7iote (Hume) i Fair Hebe, when dame Flora meets (Batesoti) 139 Fair is tht rose, yet fades with hiat and cold (Gibbons) . . . . i6o Farewell, dear love I since thou wilt needs be gone (Jones) . . . 153 Farewell, false Love, the oracle of lies (Byrd) 144 Farewell, my joy (Weelkes) 128 Fine knacks for ladies, cheap, choice, brave and new (John Dow- land) 20 Fire that must flame is with apt fuel fed (Campion) 7 Follow thy fair sun, unhappy shadow (Campion and Rosseter) . 14 Follow your saint, follow with accents sweet {Campion and Rosseter) 8 Fro7n Citheron the warlike boy is fled (Byrd) 17 Give Beauty all her right (Campion) 19 Go, nightly cares, the enemy to rest (John Dowland) 190 Greedy lover, pause awhile (lyilson) 130 Ha .' ha! ha! this world doth pass ( Weelkes) 209 Happy he (Jones) 184 Harden now thy tired heart (Campion) 53 Hark, all you ladies that do sleep (Campion and Rosseter) . . 169 TABLE OF FIRST LINES. xxix FAGB Have I found her ^. O rich finding ! {Pilkington) 88 Heigh ho I chill go to plough no more (,Mundy) 153 Her Jair inflaming eyes {Campion') . . 54 Her hair the net 0/ golden wire {Baieson) 55 Hey nonny no {Christ Church MS.) 195 How eas'ly wert thou chained {Campion) 142 Ho7v many new years have gro7vn old {J ones) 15 How shall I thtn describe my Love {Ford) 73 I heard of late that Love ^vas fair n asleep {BartUt) 56 I live^andyet methinks I do not breathe{VVilbye) 183 I saw my Lady weep{John Dowland) 15 If fathers kruw but how to leave [Jones) 50 If I could shut the gate against my thoughts {D any cl) . . . . 179 If I urge my kind desires {Campion and Rosseter) 76 If in thine heart thou nourish ill (Byrd) 183 If love loves truth then 7vomen do not love {Campion) .... 59 If my complaints could passions move {John Dowland) . ... 23 If she forsake me^ I must die {Campion and Rosseter) 60 If thou long'st so much to leam^ sweet boy, what 'tis to love {Campion) 69 If women could be fair and never fond {Byrd) loi In crystal' toT.vers and turrets richly set {Byrd) 185 In Sherwood lived stout Robin Hood {Jones) 25 In the merry month of May {Este) 121 Is Love a boy,— what means he then to strike ? {Byrd) . . , . 112 Is not that my fancy's Queen {Peerson) 58 // was the frag in the well {Melismata) 202 Jack and Joan, they think no ill {Campion) 197 Joy in thy hope, the earttest of thy loi'e {Jones) 57 Kind are her answers {Campion) 140 Kind in unkindness, when will yott relent {Campion and Rosseter) 96 Lady, the melting crystal of your eye {Greaves) 134 Lady, when I behold the roses sprouting { Wilbye) 64 Lais, now old, that erst all'tempting lass {Gibbons) 162 Let dread of pain for sin in after-time {Greaves) 182 Let not Chloris think because {Danyel) 46 Let not the sluggish sleep {Byrd) 181 Let us in a lover's round (Mason and Earsden) 206 Lie down, poor heart, and die awhile for grief {Jones) .... 189 Lo, when bcuk mine eye {Campion) 177 Love her no more, herself she doth not love {Peerson) 61 XXX TABLE OF FIRST LINES. PAGB Love in thy youth, fair maid, he wise {Porter) 172 Love me or rtot, love her I must or die {Campion) 62 Loveiiot me for comely grace {Wilbye) a6 Love's god is a boy {Jones) 103 Love winged tny Hopes and taught me how to fly {, J ones) ... 11 Maids are simple, some men say {Campion) 34 Maids to bed and cover coal {Ravenscroft) 203 Mjtsic, some think, no music is {Bateson) 148 My complaining is but feigning {/ones) 148 My h^Pe a counsel with my heart {Este) 116 My love bound me with a kiss {/ones) 18 My Love is neit/ter young nor old {/ones) 100 My mistress after service due {Bateson) 6i My prime of youth is but a frost of cares {Mundy) 194 My sweetest Lesbia, let us live and love {Campion and Rosseter) . 10a My Thoughts are winged with Hopes, my Hopes with Love {/ohn Dowland) 10 Neither buskin now, nor bays {Campion) 196 Never love unless you can {Campion) 37 Now every tree renews his summer's green {iVeelkes) 84 Now have I learned with much ado at last {/ones) 37 Now is my Chloris fresh as May {Weelkes) 30 Now is the month of maying {Morley) 2io Now let her change and spare not {Campion) 104 Now let us make a merry greeting {Weelkes) 134 Now winter nights enlarge {Campion) 200 O love, wJure are thy shafts, thy quiver and thy bow {Campion) . 63 O my poor eyes, the sun 7vhose shine (/ones) 122 O stay, sweet love ; see here the place of sporting {Farmer) . , 29 O, sweet, alas ! what say you ? (Morley) _- O sweet delight, O more than human bliss {Campion) 84 Of Neptune's empire let us sing {Campion) 201 Oft have I mused the cause to find {/ones) o- On a fair morning, as I came by the way {Morley) . . ! ! ! 156 On a time the amorous Silvy (Attey) ! 161 Once did I love, and yet I live {/ones) , [ g. Once did my thoughts both ebb and flow {/ones) \ \ g- Open the door! Who's there within*. {Peerson) ....*.* ' gg Phillis,aherd.maiddainiy{Add. MS.) 100 Pour forth mine eyes the fountains of your tears {Pilkington) \ '. 81 TABLE OF FIRST LINES. jotxi PAGB Rest awhile, you cruel cares {John Dowland) 145 Round about in a fair ring-a {Ravenscro/t) 203 Round-a, round-a, keep your ring iJRavenscroft) 206 Say, Love, i/ever thou didst/ind (John Dowland) 127 See, see, mine own sweet Jewel {Morley) 87 See where my love a-maying goes {Pilkington) 124 See where she flies enraged/rom me {.Campion and Rosseter) . . 123 Shall a frown or attgry eye (Porkine) X25 Shall a smile or guile/ul glance {Corkine) 124 Shall I abide this jesting {Alison) 125 Shall I come, sweet Love, to thee {Campion) 70 Shalll look to ease my grief {Jones) 165 Shoot, false Love ! I care not {Morley) 138 Silly boy, 'tis full moon yet {Campion) 39 Since first I saw your face {Ford) 40 Sing we and chant it {Morley) 211 Sister, awake ! close not your eyes {Bateson) 198 Sleep, angry beauty, sleep and fear not me {Campion) .... 38 Sleep, O sleep, fond fancy {Morley) 62 Sly thief , if so you will believe {Este) , 141 So light is love in matchless beauty shining {Wilbye) 38 So quick, so hot, so mad is thy fond suit {Campion) 137 So saith my fair and beautiful Lycoris {Musica Transalpina) . . 71 So sweet is thy discourse to me {Campion) 143 Soft, Cupid, soft, there is no haste {Jones) 90 Some can flatter, S07ne can feign {Corkine) 106 Sometime she would and sometime not {Famaby) .... . 155 Stay, Corydon, thou swain {Wilbye) 153 Sweet, come again {Campion and Rosseter) 107 Street Cupid, ripen her desire {Corkine) 108 Sweet, if you like and love me still {Jones) 126 Sweet, let me go ! sweet, let vte go ! {Corkine) 133 Sweet Love, I will no more abuse thee {Weelkes) 117 Sweet Love, if thou wilt gain a monarch's glory {Wilbye) . . . 117 Sweet Love, mine only treasure {Jones) 105 Sweet Suffolk owl so trimly dight {Vautor) 193 Sweet, yet cruel unkind is she {Christ Church MS,) 93 Take time while time doth last {Farmer) 1 73 The cypress curtain of the night is spread {Campion and Rosseter) 193 The lowest trees have tops, the ant her gall {Dowland) .... 120 The man of life upright {Campion and Rosseter) . . ... 180 The match that's made for Just and true respects {Byrd) . . . 171 TABLE OF FIRST LINES. The peaceful western wind {(Oampion) 113 Tk€ Queen 0/ Paphos, Erycim {Bartlet) . \ 2X The sea hath many thousand sands {Jones) 2a The witless boy that blind is to behold ijCarlton) *. ! 166 There is a garden in her face {Campion) ' 80 There is a lady sweet and kind {Ford) 31 There is none, O none but you {Campion) i,^ There was a frog swum in the lake [Ferrabosco) ! 204 Think' St thou, Kate, to put me down {J otus) nS Think'st thou to seduce me then {Campion) 32 Those eyes that set my fancy on afire {Barley) gg Thou art but young, thou say st {Wilbye) 33 Thou art not fair, for all thy red and white {Campion and Rosseter) -_ Thoujoyest,fondboy, to be by many loved {Campion) 149 Thou pretty bird, how do I see {Danyel) n^ Though A fnaryllis dance in green {Byrd) 3^ Though my carriage be but careless {Weelkes) xio Though you are young and I am old {Campion and Rosseter) . . 97 Three times a day my prayer is {Weelkes) 97 Thrice blessed be the giver {Farnaby) jog Thrice toss these oaken ashes in the air {Campion) 45 Thule, the period of cosmography { Weelkes) 88 Thus I resolve, and Time hath taught me so {Campion) .... no Thus saith my Chloris bright {Wilbye) 71 Thus saith my Galatea {Morley) 160 Thyrsis and Milla, arm in arm together {Morley) 30 Time, cruel Time, canst thou subdue that brow {Danyel ) . . . 67 To his sweet lute Apollo sang {Campion) 199 To music bent is my retired mind {Campion) 181 To plead my faith where faith hath no reward {Robert Dowland) 93 Toss not my soul, O Love, 'twixt hope and fear {John Do^vland) . 74 Turn all thy thoughts to eyes {Campion) 35 Tumbcu:k, you wanton flyer {Campion and Rosseter) .... 150 Turn in, my Lord, turn into me {Christ Church MS.) .... 176 Unquiet thoughts, your civil slaughter stint {John Dowland) . . 146 Unto the temple of thy beauty {Ford) 164 Upon a summers day Love went to S7vim {Byrd) 85 Upon my lap my sovereign sits {Peerson) 207 Vain men whose follies make a god of love {Campion) 86 View nu. Lord, a work of thine {Campion) 175 Weep you no more, sad fountains {John Dowland) 76 Were my heart as some mens are {Campion) 75 TABLE OF FIRST LINES. xxxiii PAGE IVhat delight can they enjoy {Danyel) 162 What if I seek for love of thte( Jones) 163 What is it all that men possess {(tampion) 79 What needeth all this travail and turmoiling(\Vilbye) 87 What pleasure have great princes {Byrd) 208 What poor astronomers are they (^ John Dowland) 36 What then is Love, sings Corydon {Ford) 115 When Flora fair the pleasant tidings bringeth {Carlton) . . . 109 When I was born Lucina cross-legged sate {Corkine) 189 When from my love I look' d for love {Bart let) 147 When I sit reading all alone {Jones) 174 When love on time and measure makes his ground {Jones) ... 95 When the god of merry love {Campion and Rosseter) 157 When thou must home to shades of underground {Campion) . . 94 When to her lute Corinna sings {Campion and Rosseter) . . . . 157 Whenwill the fountain of my tears be dry {Jones) 158 When younglings first on Cupid fix their sight {Byrd) .... 72 Where lingering fear doth once possess the heart {Jones) . . . . 151 Where most my thoughts, there least mine eye is striking ( Wilbye) 81 W^hether men do laugh or weep {Campion and Rosseter) . . . . 213 While that the sun with his beams hot {Bynt) 167 White as lilies was her face {John Dowland) 98 Who likes to love let him take heed [Byrd) 41 Who made thee, Hob, forsake the plough i {Byrd) 166 Who prostrate lies at women's feet {Bateson) 42 Who would have thought ihat face of thine {Farmer) .... 42 Whoever thinks or hopes of love for love {John Dowland) ... 91 Why canst tho7i not as others do {D any el) 91 Will ye love me, lady sweet {Ravenscroft) .•....'... 29 Woeful heart with grief oppressed {John Dowland) m Women, what are they f {Jones) 136 Wounded I am, and dare not seek relief {Byrd) 77 Ve bubbling springs t^iat gentle music makes {Greaves) .... 92 Vet if his majesty our sovereign lord {Christ Church MSf) . . . 187 Voli gentle nymplts t/iat on these meadows play {Pilkington) . . 95 Vou sav you loz