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"Non vidit tria lustra puer, quin arte probatus, Vita laudatus, sumpsit in arte gradum."
He was twenty-two when he published the "Brief Discourse" in 1614: but in 1611 be had published "Melismata, musical fancies fitting the court, city, and country humours," and he edited two collections that appeared in 1609—"Pammelia" and "Deuteromelia." "Pammelia" is the earliest English printed collection of Catches, Rounds, and Canons; both words and music were for the most part older than the date of publication. "Deuteromelia" was intended as a continuation of "Pammelia."
Page 12. Robert Dowland, editor of "A Musical Banquet," was a son of John Dowland; he succeeded his father as one of the Court musicians in 1626, and was alive in 1641.
Page 16. Thomas Ford, when he published his "Music of sundry kinds," 1607, was a musician in the suite of Prince Henry. At the accession of Charles I. he was appointed one of his musicians, and he died in 1648—the year before his royal patron was beheaded.
Page 23. "Little lawn then serve[d] the Pawn."—The Pawn was a corridor, serving as a bazaar, in the Royal Exchange (Gresham's).
Page 24. "Farewell, false Love, the oracle of lies."—"J. C." in "Alcilia," 1595, writes:—
"Love is honey mixed with gall, A thraldom free, a freedom thrall; A bitter sweet, a pleasant sour, Got in a year, lost in an hour; A peaceful war, a warlike peace, Whose wealth brings want, whose want increase; Full long pursuit and little gain, Uncertain pleasure, certain pain; Regard of neither right nor wrong, For short delights repentance long.
Love is the sickness of the thought, Conceit of pleasure dearly bought; A restless passion of the mind, A labyrinth of arrows blind: A sugared poison, fair deceit, A bait for fools, a furious heat; A chilling cold, a wondrous passion, Exceeding man's imagination; Which none can tell in whole or part, But only he that feels the smart."
Robert Greene has a somewhat similar description of Love ("What thing is Love? it is a power divine," &c.) in "Menaphon," 1589.
Page 28. "Fond wanton youths."—This piece is also printed in "The Golden Garland of Princely Delights," 1620, where it is headed "Of the Inconveniences by Marriage," and is directed to be sung to the tune of "When Troy town."
Page 29, l. 22. "Their longings must not be beguiled."—The original gives "Their laughings" (which is unintelligible).
Page 31. It was at Wanstead House, a seat of the Earl of Leicester, that Sidney wrote his masque the "Lady of the May" in honour of Queen Elizabeth's visit in 1578. "Was Raleigh retired there," writes Mr. W. J. Linton (Rare Poems, p. 257), "during some season of her displeasure? There is a look of him about this song, not unlike the lines to Cynthia; and what mistress but Majesty should appoint his place of retirement?
'Wanstead, my Mistress saith this is the doom.'"
The two lines that close each stanza are from a song in Sidney's "Arcadia."
Page 37. "Who, known to all, unknown to himself dies." From Seneca's "Thyestes:"—
"qui notus nimis omnibus Ignotus moritur sibi."
Page 39. "How many things."—I have given four of John Maynard's "Twelve Wonders of the World" (cf. pp. 44-5, 69); and, if I am not mistaken, the reader will like to see the remaining eight. There is much freshness and piquancy in these quaint old rhymes, which were written by no less a poet than Sir John Davies.
"THE DIVINE.
My calling is Divine, And I from God am sent; I will no chop-church be, Nor pay my patron rent,
Nor yield to sacrilege; But like the kind true mother, Rather will lose all the child Than part it with another.
Much wealth I will not seek, Nor worldly masters serve, So to grow rich and fat While my poor flock doth starve.
THE SOLDIER.
My occupation is The noble trade of kings The trial that decides The highest right of things.
Though Mars my master be, I do not Venus love, Nor honour Bacchus oft, Nor often swear by Jove.
Of speaking of myself I all occasion shun, And rather love to do, Than boast what I have done.
THE LAWYER.
The law my calling is; My robe, my tongue, my pen Wealth and opinion gain And make me judge of men.
The known dishonest cause, I never did defend Nor spun out suits in length, But wish'd and sought an end;
Nor counsel did bewray, Nor of both parties take, Nor ever took I fee For which I never spake.
THE PHYSICIAN.
I study to uphold The slippery state of man, Who dies when we have done The best and all we can.
From practice and from books I draw my learned skill, Not from the known receipt Or 'pothecary's bill.
The earth my faults doth hide, The world my cures doth see, What youth and time effects Is oft ascribed to me.
THE MERCHANT.
My trade doth everything To every land supply, Discovers unknown coasts, Strange countries doth ally.
I never did forestall, I never did engross, Nor custom did withdraw Though I return'd with loss.
I thrive by fair exchange, By selling and by buying, And not by Jewish use, Reprisal, fraud, or lying.
THE COUNTRY GENTLEMAN.
Though strange outlandish spirits Praise towns and countries scorn, The country is my home, I dwell where I was born.
There profit and command With pleasure I partake, Yet do not hawks and dogs My sole companions make.
I rule, but not oppress; End quarrels, not maintain; See towns, but dwell not there To abridge my charge or train.
THE WIFE.
The first of all our sex Came from the side of man, I thither am return'd From whence our sex began.
I do not visit oft, Nor many when I do, I tell my mind to few And that in counsel too.
I seem not sick in health, Nor sullen but in sorrow; I care for somewhat else Than what to wear to-morrow.
THE WIDOW.
My dying husband knew How much his death would grieve me, And therefore left me wealth To comfort and relieve me.
Though I no more will have, I must not love disdain; Penelope her self Did suitors entertain.
And yet to draw on such As are of best esteem, Nor younger than I am Nor richer will I seem."
Page 41. "I have house and land in Kent."—This admirable song has been frequently reprinted. Miss De Vaynes, in her very valuable "Kentish Garland" (i., 142), observes:—"We have met with no other song in the Kentish dialect except Jan Ploughshare's" (printed on p. 372, vol. i., of the "Garland"). Rimbault in his "Little Book of Songs and Ballads" (1851), gives the following lines from an old MS. (temp. Henry VIII.):—
"Joan, quoth John, when will this be? Tell me when wilt thou marry me, My corn and eke my calf and rents, My lands and all my tenements? Say, Joan, quoth John, what wilt thou do? I cannot come every day to woo?"
David Herd printed a fragment of a Scotch song that was founded on the English song:—
"I hae layen three herring a' sa't, Bonny lass, gin ze'll take me, tell me now, And I hae brew'n three pickles o' ma't And I cannae cum ilka day to woo. To woo, to woo, to lilt and to woo, And I cannae cum ilka day to woo.
I hae a wee ca'f that wad fain be a cow, Bonny lassie, gin ye'll take me, tell me now, I hae a wee gryce that wad fain be a sow, And I cannae cum ilka day to woo. To woo, to woo, to lilt and to woo, And I cannae cum ilka day to woo."
Page 43. "I joy not in no earthly bliss."—These stanzas are usually printed with "My mind to me a kingdom is" (p. 78), and the whole poem has been attributed to Sir Edward Dyer.
Page 47. "I weigh not Fortune's frown nor smile."—These lines (which seem to have been modelled on "I joy not in no earthly bliss") are by Joshua Sylvester.
In the second stanza, "I sound not at the news of wreck," sound is an old form of swoon.
Page 52. "If women could be fair."—This poem is ascribed to Edward, Earl of Oxford, in Rawlinson, MS. 85, fol. 16.
Page 53. "In darkness let me dwell."—These lines are also found in Robert Dowland's "Musical Banquet," 1610, set to music by John Dowland.
Page 57. "In the merry month of May."—First printed in "The Honorable Entertainment given to the Queen's Majesty in Progress at Elvetham in Hampshire, by the Right Honorable the Earl of Hertford," 1591, under the title of "The Ploughman's Song."
Page 60. "It was the frog in the well."—There are several versions of this old ditty: the following is from Kirkpatrick Sharpe's "Ballad Book," 1824:—
"There lived a puddy in a well, And a merry mouse in a mill.
Puddy he'd a wooin ride, Sword and pistol by his side.
Puddy came to the mouse's wonne, 'Mistress mouse, are you within?'
'Yes, kind sir, I am within; Saftly do I sit and spin.'
'Madam, I am come to woo; Marriage I must have of you.'
'Marriage I will grant you nane, Until uncle Rotten he comes hame.'
'Uncle Rotten's now come hame; Fy! gar busk the bride alang.'
Lord Rotten sat at the head o' the table, Because he was baith stout and able.
Wha is't that sits next the wa', But Lady Mouse, baith jimp and sma'?
What is't that sits next the bride, But the sola puddy wi' his yellow side?
Syne came the deuk, but and the drake; The deuk took puddy, and garred him squaik.
Then cam in the carl cat, Wi' a fiddle on his back. 'Want ye ony music here?'
The puddy he swam doun the brook; The drake he catched him in his fluke.
The cat he pu'd Lord Rotten doun; The kittens they did claw his croun.
But Lady Mouse, baith jimp and sma', Crept into a hole beneath the wa'; 'Squeak!' quoth she, 'I'm weel awa.'"
Doubtless Ravenscroft's version is more ancient. A ballad entitled "A most strange weddinge of the frogge and the mouse" was licensed for printing in 1580.
Page 65. "Lady, when I behold."—Gracefully Paraphrased from an Italian original:—
"Quand' io miro le rose, Ch'in voi natura pose; E quelle che v' ha l'arte Nel vago seno sparte; Non so conoscer poi Se voi le rose, o sian le rose in voi."
Page 66. John Danyel is supposed to have been a brother of Samuel Daniel, the poet. He took his degree of Bachelor of Music in 1604. "At the commencement of the reign of Charles the First he was one of the Court Musicians, and his name occurs among the 'Musicians for the Lutes and Voices' in a privy seal, dated December 20th, 1625, exempting the musicians belonging to the Court from the payment of subsidies" (Rimbault).
Page 68. "Then all at once for our town cries."—"I should imagine," says Oliphant, "that there was occasionally a sort of friendly contention in the sports between neighbouring villages; which idea is rather corroborated by a passage from an old play called the 'Vow-breaker' by Samson, 1636: 'Let the major play the hobby-horse an' he will; I hope our Town lads cannot want a hobby-horse.'" In an old play. "The Country Girl," (first printed in 1647), attributed to that shadowy personage Antony Brewer, we have an allusion to this pleasant form of rivalry:—
"Abraham. Sister Gillian,—I have the rarest news for you.
Gillian. For me? 'tis well. And what news have you got, sir?
Abr. Skipping news, lipping news, tripping news.
Gil. How! dancing, brother Abram, dancing?
Abr. Prancing, advancing, dancing. Nay, 'tis a match, a match upon a wager.
Gil. A match. Who be they?
Abr. Why all the wenches of our town Edmonton, and all the mad wenches of Waltham.
Gil. A match, and leave me out! When, when is't, brother?
Abr. Marry, e'en this morning:—they are now going to't helter-skelter. [A treble plays within.
Gil. And leave me out! where, brother, where?
Abr. Why there, Sister Gillian; there, at our own door almost,—on the green there, close by the may-pole. Hark! you may hear them hither." (Sig. D.)
The stage-direction at the entrance of the dancers runs thus:—"Enter six country wenches, all red petticoats, white stitch'd bodies, in their smock-sleeves, the fiddler before them, and Gillian with her tippet up in the midst of them dancing."
Page 73. "It was the purest light of heaven" &c.—I am reminded of a fine passage in Drayton's "Barons' Wars," canto VI.:—
"Looking upon proud Phaeton wrapped in fire, The gentle queen did much bewail his fall; But Mortimer commended his desire To lose one poor life or to govern all. 'What though,' quoth he, 'he madly did aspire And his great mind made him proud Fortune's thrall? Yet, in despight when she her worst had done, He perish'd in the chariot of the sun.'"
Page 74. "The Bellman's Song."—In "Robin Goodfellow; his mad pranks and merry jests," 1628, we have another specimen of a Bellman's Song:—
"Sometimes would he go like a bellman in the night, and with many pretty verses delight the ears of those that waked at his bell-ringing: his verses were these:—
Maids in your smocks, Look well to your locks, And your tinder-box, Your wheels and your rocks, Your hens and your cocks, Your cows and your ox, And beware of the fox. When the bellman knocks Put out your fire and candle-light, So they shall not you affright. May you dream of your delights, In your sleeps see pleasing sights! Good rest to all, both old and young: The bellman now hath done his song.
Then would he go laughing Ho ho ho! as his use was."
Page 77. "That kisses were the seals of love."—Every reader will recall
"But my kisses bring again, bring again. Seals of love but sealed in vain, sealed in vain."
(The first stanza is found among the poems of Sir Philip Sidney.)
Page 80. "My prime of youth."—This song is also set to music in Richard Alison's "Hour's Recreation," 1606, and Michael Este's "Madrigals of three, four, and five parts," 1604. It is printed in "Reliquiae: Wottonianae" as "By Chidick Tychborn, being young and then in the tower, the night before his execution." Chidiock Tychbourne of Southampton was executed with Ballard and Babington in 1586.
Page 80. "My sweetest Lesbia."—The first stanza is an elegant paraphrase from Catullus, though the last line fails to render the rhythmical sweetness long-drawn-out of "Nox est perpetua una dormienda."
Page 81. "My Thoughts are winged with Hopes."—This piece is also found in "England's Helicon." A MS. copy, in a commonplace book found at Hamburg, is signed "W. S." I have frequently met with these initials in volumes of MS. poetry of the early part of the seventeenth century. The following pretty verses in Add. MS. 21, 433, fol. 158, are subscribed "W. S.":—
"O when will Cupid show such art To strike two lovers with one dart? I'm ice to him or he to me; Two hearts alike there seldom be.
If ten thousand meet together, Scarce one face is like another: If scarce two faces can agree, Two hearts alike there seldom be."
There is not the slightest ground for identifying "W. S." with Shakespeare. Mr. Linton ("Rare Poems," p. 255) conjectures that "My Thoughts are winged with Hopes"—which has the heading "To Cynthia" in "England's Helicon"—may be by Raleigh.
Page 83. "Now each creature."—The first stanza of "An Ode" by Samuel Daniel, originally printed in the 1592 edition of "Delia."
"Now God be with old Simeon."—Here is another round from "Pammelia":—
"Come drink to me, And I to thee. And then shall we Full well agree.
I've loved the jolly tankard, Full seven winters and more; I loved it so long That I went upon the score.
Who loveth not the tankard, He is no honest man; And he is no right soldier, That loveth not the can.
Tap the cannikin, troll the cannikin, Toss the cannikin, turn the cannikin! Hold now, good son, and fill us a fresh can, That we may quaff it round from man to man."
Good honest verse, but ill-suited to these degenerate, tea-drinking days.
Page 85. "Now I see thy looks were feigned."—First printed in "The Ph[oe]nix Nest," 1593, subscribed "T. L. Gent," i.e. Thomas Lodge, one of the most brilliant of Elizabethan lyrists.
Page 87. "Shall we play barley-break."—The fullest description of the rustic game of barley-break is to be found in the first book of Sidney's "Arcadia."
Page 87. "Now let her change." This song is also set to Music in Robert Jones' "Ultimum Vale" (1608).
Page 89. "Now what is love" &c.—This poem originally appeared in "The Ph[oe]nix Nest," 1593; it is also printed (in form of a dialogue) in "England's Helicon," 1600, and Davison's "Poetical Rhapsody," 1602. It is ascribed to Raleigh in a MS. list of Davison's. See Canon Hannah's edition of Raleigh's poems.
Page 93. "Oft have I mused."—This poem was printed in Davison's "Poetical Rhapsody," 1602.
Page 96. "Our country-swains in the morris-dance."—In Morley's "Madrigals to Four Voices," 1594, there is a lively description of the morris-dance:—
"Ho! who comes here with bag-piping and drumming? O, 'tis I see the morris-dance a coming. Come, ladies, out, O come, come quickly, And see about how trim they dance and trickly: Hey! there again: hark! how the bells they shake it! Now for our town! once there, now for our town and take it: Soft awhile, not away so fast, they melt them! Piper be hang'd, knave! look, the dancers swelt them. Out, there, stand out!—you come too far (I say) in— There give the hobby-horse more room to play in!"
"I woo with tears and ne'er the near."—Ne'er the near (a proverbial expression) = Never the nigher.
Page 107. "When they came home Sis floted cream."—I suppose the meaning is that Sis skimmed the cream from the milk. Halliwell (Arch. Dict.) gives "Flotten-milk. Same as Flet-mitte" and "flet-mitte" is a north-country term for skimmed milk.
"Since first I saw."—This exquisite song is also found in "The Golden Garland of Princely Delights," 1620.
Page 114. "Sweet Love, my only treasure."—Printed in Davison's "Poetical Rhapsody," 1602, where it is subscribed with the mysterious initials "A. W."
Page 115. "Sweet, stay awhile."—I suspect that this stanza does not really belong to Donne's "Break of day;" it is not found in MS. copies of Donne's poems, nor in any edition prior to that of 1669. Probably Donne's verses were written as a companion-piece to the present poem.
Page 120. "Yet merrily sings little Robin."—The loveliest of all verses in praise of Robin Redbreast are in Chapman's "Tears of Peace," 1609:—
"Whose face the bird hid that loves humans best, That hath the bugle eyes and rosy breast, And is the yellow autumn's nightingale."
Page 120. "The love of change."—This is the first stanza of a poem which is printed entire (in six stanzas) in Davison's "Poetical Rhapsody," 1602.
Page 121. "The lowest trees have tops."—Printed in Davison's "Poetical Rhapsody" with the signature "Incerto."
Page 121. "The man of life upright."—In some old MS. copies this poem is ascribed to Francis Bacon: see Hannah's "Poems of Raleigh and Wotton," p. 119. Canon Hannah makes no mention of Campion's claim. Campion distinctly tells us that he wrote both the verses and the music of his songs: and I have no doubt that he was the author of the present lyric, which has more merit than any of Bacon's poems. In an epigram printed in his "Observations in the Art of English Poetry," 1602, there is a striking image that reappears in the present poem:—
"A wise man wary lives yet most secure, Sorrows move not him greatly, nor delights, Fortune and death he scorning only makes Th' earth his sober inn, but still heaven his home." (SIG. C2).
Henceforward let nobody claim "The man of life upright" for Bacon.
Page 124. "The Nightingale so pleasant and so gay."—"According to Peacham," says Oliphant ("Musa Madrigalesca," p. 45), "there was a virtuous contention between W. Byrd and Ferrabosco who of the two should best set these words; in which according to his (Peacham's) opinion, Ferrabosco succeeded so well that 'it could not be bettered for sweetness of ayre and depth of judgment.'"
Page 124. "The Nightingale so soon as April bringeth."—From the first stanza of a poem printed in the third edition of Sidney's "Arcadia," 1598.
Page 126. "There is a garden in her face."—This poem is also set to music in Alison's "Hour's Recreation," 1606, and Robert Jones' "Ultimum Vale" (1608). Herrick's dainty verses "Cherry-Ripe" are well-known:—
"Cherry-ripe, ripe, ripe! I cry: Full and fair ones, come and buy. If so be you ask me where They do grow, I answer,—There, Where my Julia's lips do smile, There's the land or cherry-isle, Whose plantations fully show All the year where cherries grow."
Page 127. "There is a lady sweet and kind."—Printed also in "The Golden Garland of Princely Delights," 1620.
Page 128. "There were three Ravens."—The north-country version of this noble dirge contains some verses of appalling intensity:—
"His horse is to the huntin gane His hounds to bring the wild deer hame; His lady's ta'en another mate, So we may mak our dinner sweet.
"O we'll sit on his bonny breast-bane, And we'll pyke out his bonny gray een; Wi' ae lock o' his gowden hair, We'll theek our nest when it blaws bare.
"Mony a ane for him makes mane, But none sall ken where he is gane: Ower his banes when they are bare, The wind sall blaw for evermair."
Page 130. "Think'st thou to seduce me," &c.—In William Corkine's "Airs," 1610, this song is found with considerable variations. Corkine gives only three stanzas. The first stanza agrees closely with Campion's text; the second and third stanzas run thus:—
"Learn to speak first, then to woo, to wooing much pertaineth; He that hath not art to hide, soon falters when he feigneth, And, as one that wants his wits, he smiles when he complaineth.
"If with wit we be deceived our faults may be excused, Seeming good with flattery graced is but of few refused, But of all accursed are they that are by fools abused."
Page 131. "Thou art not fair for all thy red and white."—These lines are printed in Dr. Grosart's edition of Donne's poems, vol. ii. p. 259. They are ascribed to Donne in an early MS.; but I see no reason for depriving Campion of them. (The first stanza is also set to music in Thomas Vautor's "Airs," 1619.)
Page 132. "Though Amaryllis dance in green."—Also printed in "England's Helicon," 1600.
Page 148. "We must not part as others do."—These lines are very much in Donne's manner. The MS. from which they are taken (Egerton MS. 2013) contains some undoubted poems of Donne.
Page 151. "Were I a king."—Canon Hannah prints these verses (in his "Poems of Raleigh and Wotton," p. 147) from a MS. copy, in which they are assigned to Edward Earl of Oxford. Appended in the MS. are the following answers:—
"ANSWERED THUS BY SIR P. S. Wert thou a king, yet not command content, Sith empire none thy mind could yet suffice; Wert thou obscure, still cares would thee torment; But wert thou dead all care and sorrow dies. An easy choice, of these three which to crave: No kingdom, nor a cottage, but a grave.
"ANOTHER OF ANOTHER MIND. A king? oh, boon for my aspiring mind, A cottage makes a country swad rejoice: And as for death, I like him in his kind But God forbid that he should be my choice! A kingdom or a cottage or a grave,— Nor last, nor next, but first and best I crave; The rest I can, whenas I list, enjoy, Till then salute me thus—Vive le roy!
"ANOTHER OF ANOTHER MIND. The greatest kings do least command content; The greatest cares do still attend a crown; A grave all happy fortunes doth prevent Making the noble equal with the clown: A quiet country life to lead I crave; A cottage then; no kingdom nor a grave."
Page 152. "What is our life?"—A MS. copy of these verses is subscribed "S^r W. R.", i.e., Sir Walter Raleigh. See Hannah's "Poems of Raleigh and Wotton," p. 27.
Compare the sombre verses, signed "Ignoto," in "Reliquiae Wottonianae":—
"Man's life's a tragedy; his mother's womb, From which he enters, is the tiring-room; This spacious earth the theatre, and the stage That country which he lives in: passions, rage, Folly and vice are actors; the first cry The prologue to the ensuing tragedy; The former act consisteth of dumb shows; The second, he to more perfection grows; I' the third he is a man and doth begin To nurture vice and act the deeds of sin; I' the fourth declines; i' the fifth diseases clog And trouble him; then death's his epilogue."
Page 153. "What needeth all this travail and turmoiling?"—Suggested by Spenser's fifteenth sonnet:—
"Ye tradefull Merchants that with weary toyle Do seeke most pretious things to make your gain, And both the Indias of their treasure spoile, What needeth you to seeke so farre in vaine? For loe! my Love doth in her selfe containe All this worlds riches that may farre be found. If Saphyres, loe! her eies be Saphyres plaine; If Rubies, loe! hir lips be Rubies sound; If Pearles, hir teeth be pearles, both pure and round; If Yvorie, her forehead yvory weene; If Gold, her locks are finest gold on ground; If Silver, her faire hands are silver sheene: But that which fairest is but few behold, Her mind, adornd with vertues manifold."
Page 154, l. 1. "And fortune's fate not fearing."—Oliphant boldly reads, for the sake of the rhyme, "And fickle fortune scorning."—in "England's Helicon" the text is the same as in the song-book.
Page 158, l. 5. "And when she saw that I was in her danger."—Within one's danger = to be in a person's power or control.
L. 16. "White Iope."—Campion must have had in his mind a passage of Propertius (ii. 28);—
"Sunt apud infernos tot millia formosarum: Pulchra sit in superis, si licet, una locis. Vobiscum est Iope, vobiscum candida Tyro, Vobiscum Europe, nec proba Pasiphae."
See Hertzberg's note on that passage.
Page 162. "While that the sun."—Also printed in "England's Helicon," 1600.
LIST OF SONG-BOOKS.
ALISON, RICHARD. An Hour's Recreation in Music, 1606.
ATTYE, JOHN. First Book of Airs of Four Parts, 1622.
BATESON, THOMAS. First Set of English Madrigals, 1604.
BYRD, WILLIAM. Psalms, Sonnets, and Songs of Sadness and Piety, 1588. Songs of Sundry Natures, 1589. Psalms, Songs, and Sonnets, 1611.
CAMPION, THOMAS. see ROSSETER, PHILIP. Two Books of Airs [circ. 1613]. The Third and Fourth Book of Airs [circ. 1613].
CARLTON, RICHARD. Madrigals to five voices, 1601.
COPRARIO, JOHN. Funeral Tears for the death of the Right Honourable the Earl of Devonshire, 1606.
CORKINE, WILLIAM. Airs to sing and play to the Lute and Bass-viol, 1610. The Second Book of Airs, 1612.
DANYEL, JOHN. Songs for the Lute, Viol, and Voice, 1606.
DOWLAND, JOHN. The First Book of Songs or Airs of four parts, 1597. The Second Book of Songs or Airs, of two, four, and five parts, 1600. The Third and Last Book of Songs or Airs, 1603. A Pilgrims Solace, 1612.
DOWLAND, ROBERT. A Musical Banquet furnished with variety of delicious Airs, 1610.
EARSDEN, JOHN and MASON, GEORGE. The Airs that were sung and played at Brougham Castle in Westmoreland, 1618.
EGERTON, MS. 2013.
ESTE, MICHAEL. Madrigals to three four and five parts, 1604.
FARMER, JOHN. The first set of English Madrigals to four voices, 1599.
FARNABY, GILES. Canzonets to four voices, 1598.
FORD, THOMAS. Music of sundry kinds, 1607.
GIBBONS, ORLANDO. The first set of Madrigals and Mottets, 1612.
GREAVES, THOMAS. Songs of sundry kinds, 1604.
JONES, ROBERT. The first took of Airs, 1601. The second book of Songs and Airs, 1601. Ultimum Vale, or the third book of Airs, 1608. A Musical Dream, or the Fourth Book of Airs, 1609.
LICHFILD, HENRY. The first set of Madrigals to five parts, 1614.
MAYNARD, JOHN. The XII wonders of the world, 1611.
MORLEY, THOMAS. Canzonets or little short songs to three voices, 1593. Madrigals to four voices, 1594; 1600. The first book of Ballets to five voices, 1595.
MUNDY, JOHN. Songs and Psalms, 1594.
PEERSON, MARTIN. Mottects, or grave chamber-music, 1630.
PILKINGTON, FRANCIS. The first Book of Songs or Airs, 1605. The First Set of Madrigals and Pastorals, 1613. The Second Set of Madrigals, 1624.
RAVENSCROFT, THOMAS. Pammelia; Music's Miscellany or mixed variety of Pleasant Roundelays, 1609. Deuteromelia; or the second part of Music's Melody, 1609. Melismata; Musical Fancies fitting the court, city, and country humours, 1611. Brief Discourse of the true use of Charact'ring the Degrees, &c., 1614.
ROSSETER, PHILIP and CAMPION, THOMAS. A Book of Airs, 1601.
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CHISWICK PRESS:—C. WHITTINGHAM AND CO. TOOKS COURT, CHANCERY LANE.
TRANSCRIBER'S NOTES
Greek has been transliterated in this version of the e-text, and is surrounded by braces, {like this}.
A caret (^) is used to indicate a superscript in "S^r W. R."
"... land in Kent (Malismata)" corrected to "Melismata".
"... full of all heavenby fire" corrected to "heavenly fire".
"She of my love and I of hers had failed" corrected to "failed".
Minor punctuation omissions have been silently corrected.
Inconsistencies in the spelling and hyphenation of words between different songs have been retained.
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