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 V.1 
 
 The ballad literature and popular music 
 
 3 1924 022 433 969 
 
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THE BALLAD LITERATURE 
 
 'f^ukx Mmit nf If Mkn €m : 
 
 \ HISTOBV or THE 
 
 ANCIENT SONGS, BALLADS, AND OF THE 
 DANCE TUNES OF ENGLAND, 
 
 WITH 
 
 NUMEROUS ANECDOTES AND ENTIRE BALLADS. 
 
 ALSO 
 
 A SHORT ACCOUNT OF THE MINSTRELS. 
 
 BY 
 
 W. CHAPPELL, F.S.A. 
 
 THE WHOLE OF THE AIRS HARMONIZED BY G. A. MACFARREN. 
 
 VOL. I. 
 
 ' Prout sunt illi Anglicani concentus suavissimi quidem, ac elegantes.'' 
 
 Thesaurus Sixrmonicus Laueenciki, Romani, 1603. 
 
 CHAPPELL AND CO., 50, NEW BOND STREET, W. 
 
CONTENTS OF VOL. I. 
 
 General Introduction. 
 
 P VGE 
 
 Minstrelsy from the Saxon period to tlie reign of Edward I. . .1 
 
 Music of the middle ages, and Music in England to the end of the thirteenth century 11 
 English Minstrelsy from 1270 to 1480, and the gradual extinction of the old Minstrels 28 
 Introduction to the reigns of Henry VII., Henrv VIII., Edward VI., and Queen Mary 48 
 Songs and ballads of ditto . . . 56 to 9t 
 
 Introduction to the reign of Queen Elizabeth . . 98 
 
 Songs and ballads of ditto . . . 110 to 243 
 
 Introduction to the reign of James I. . . . . . 244 
 
 Songs and Ijallads of the reigns of James I. and Charles I. . 254 to 384 
 
INTRODUCTION. 
 
 It is now nearly twenty years since the publication of my collection of 
 National English Airs (the first of the kind), and about fourteen since the edition 
 was exhausted. In the interval, I found such numerous notices of music and 
 ballads in old English books, that nearly every volume supplied some fresh 
 illustration of my subject. If " Sternhold and Hopkins" was at hand — 
 the title-page told that the psalms were penned for the " laying apart of all 
 ungodly songs and ballads," and the translation furnished a list of musical 
 instruments in use at the time it was made: if Myles Coverdale's GliosUy 
 Psalms — in the preface he alludes to the ballads of our courtiers, to the 
 whistling of our carters and ploughmen, and recommends young women at the 
 distaff and spinning-wheel to forsake their " hey, nonny, nonny — key, trolly, lolly, 
 and such like fantasies;" thus shewing what were the usual burdens of their 
 songs. Even m the twelfth century, Abbot AUred's, or Ethelred's, reprehension 
 of the singers gives so lively a picture of their airs and graces, as to resemble an 
 exaggerated description of opera-singing at the present day ; and, if still receding 
 in point of date, in the life of St. Aldhelm, or Oldham, we find that, in order to 
 ingratiate himself with the lower orders, and induce them to listen to serious 
 subjects, he adopted the expedient of dressing himself like a minstrel, and first 
 sang to them their popular songs. 
 
 If something was to be gleaned from works of this order, how much more from 
 the comedies and other pictures of English life in the sixteenth and seventeenth 
 centuries ! I resolved, therefore, to defer the re-publication for a few years, and 
 then found the increase of materials so great, that it became easier to re-write than 
 to make additions. Hence the change of title to the work. 
 
 Since my former publication, also, I have been favoured with access to the 
 ballads collected by Pepys, the well-known diarist ; and the nearly equally cele- 
 brated " Roxhurghe Collection" (formed by Robert, Earl of Oxford, and increased 
 by subsequent possessors) has been added to the library of the British Museum. 
 These and other advantages, such as the permission to examine and make extracts 
 from the registers of the Stationers' Company (through the liberality of the 
 governing body) , have induced me to attempt a chronological arrangement of tho 
 airs. Such an arrangement is necessarily imperfect, on account of -the irnpossir 
 bility of tracing the exact dates of tunes by unknown authors ; but in every case 
 the reader has before him the evidence upon which the classification has been 
 founded. 
 
Vi. INTRODUCTION. 
 
 It might be supposed that the registers of the Company of Stationers would 
 furnish a complete list of ballads and ballad-printers, but, having seen all the 
 entries from 1577 to 1799, I should say that not more than one out of every 
 hundred ballads was registered. The names of some of the printers are not to 
 be found in the registers. 
 
 It appears from an entry referring to the "white book" of the Company 
 (which is not now existing) , that seven hundred and ninety-six ballads were left 
 in the council-chamber of the Company at the end of the year 1560, to be handed 
 over to the new Wardens, and at the same time but forty-four books. 
 
 Webbe, in a Discourse of Unglish Foetrie, printed in 1586, speaks of " the 
 un-countahle rabble of ryming ballet-makers and compylers of senseless sonnets," 
 and adds, " there is not anie tune or stroke which may be sung or plaide on 
 instruments, which hath not some poetical ditties framed according to the numbers 
 thereof : some to Rogero, some to Trenchmore, to Downright Squire, to galliardes, 
 to pavines, to jygges, to brawles, to all manner of tunes ; which every fidler knows 
 better than myself, and therefore I will let them passe." Here the class of music 
 is named with which old English ditties were usually coupled — dance and ballad 
 tunes. The great musicians of Elizabeth's reign did not often compose airs of 
 the short and rhythmical character required for ballads. These were chiefly the 
 productions of older musicians, or of those of lower grade, and some of ordinary 
 fiddlers and pipers. The Frog Cfalliard is the only instance I know of a popular 
 ^ ballad-tune to be traced to a celebrated composer of the latter half of the sixteenth 
 century. The scholastic music then in vogue was of a wholly different character. 
 Point and counterpoint, fugue and the ingenious working of parts, were the great 
 objects of study, and rhythmical melody was but lightly esteemed. 
 
 In the reigns of James I. and Charles I., we find a few " new court tunes" 
 employed for ballads, but it was not until Charles II. ascended the throne that 
 composers of high repute commenced, or re-commenced, the writing of simple 
 airs, and then but sparingly. Matthew Locke's " The delights of the bottle" is 
 perhaps the first song composed for the stage, that supplied a tune to ballads. 
 
 My former publication contained two hundred and forty-five airs ; the present 
 number exceeds four hundred. Of these, two hundred are contained in the first 
 volume, which extends no further than the reign of Charles I. This portion of 
 the work may be considered as a collection ; but the number of airs extant of later 
 date is so much larger than of the earlier period, that the second volume can be 
 viewed only in the light of a selection. To have made it upon the same scale as the 
 first would have occupied at least three volumes instead of one. My endeavour 
 has therefore been, to give as much variety of character as possible, but especially 
 to include those airs which were popular as ballad-tunes. Some of those contained 
 in the old collection have now given place to others of more general interest but 
 more than two hundred are retained. Every air has been re-harmonized, upon a 
 simple and consistent plan, — the introductions to the various reigns have been 
 .added, — and nearly every line in the book has been re-written. 
 
 I have been at some trouble to trace to its origin the assertion that the English 
 
INTHODUCTION. vii. 
 
 have no national music. It is extraordinary that such a report should have 
 obtained credence, for England may safely challenge any nation not only to pro- 
 duce as much, but also to give the same satisfactory proofs of antiquity. The 
 report seems to have gained ground from the unsatisfactory selection of English 
 airs in Dr. Crotch's Specimens of various Styles of Music ; but the national music 
 in that ivork Tvas supplied by Malchair, a Spanish violin-player at Oxford, whose 
 authority Crotch therein quotes. It is perhaps not generally known that at the 
 time of the publication Dr. Crotch was but nineteen years of age. No collection 
 of English airs had at that time been made to guide Malchair, and he followed 
 the dictum of Dr. Bui-ney in such passages as the following : — 
 
 "It is related by Giovanni Battista Donado that the Turks have a limited 
 number of tunes, to which the poets of their country have continued to write for 
 ages ; and the vocal music of our own country seems long to have been equally 
 circumscribed : for, till the last century, it seems as if the number of our secular 
 and popular melodies did not greatly exceed that of the Turks." In a note, he 
 adds, that the tunes of the Turks were in all twenty-four, which were to depict 
 melancholy, joy, or fury, — to be mellifluous or amorous. (History, ii. 553.) 
 
 Again, in Shakespeare's Midsummer Night's Dream, when Bottom has been 
 turned into an ass, and says " I have a reasonable good ear in music ; let me have 
 tongs and bones," the stage direction is " Musick tongs, Rural Music." Burney 
 inverts the stage direction, and adds " Poker and tongs, marrowbones and cleavers, 
 salt-box, hurdy-gurdy, &c., are the old national instruments of our island." 
 (iii. 335.) 
 
 Jean Jacques Rousseau published a letter on French music, which he summed 
 up by telling his countrymen that " their harmony was abominable ; their airs 
 were not airs ; their recitative was not recitative ; that they had no music, and 
 could not have any." (Rousseau, Merits sur la Musique, Paris, edit. 1823, 
 p. 312.) Dr. Burney seems to have improved upon this model, for Rousseau did 
 not resort to misquotation to prove his case, but Dr. Burney's History is one 
 continuous xaisrepresentation of English music and musicians, only rendered 
 plausible by misquotation of every kind. 
 
 The efiect of the misquotation is that he has been believed ; and passages as 
 absurd as the following have been copied by writers who have relied upon his 
 authority : — 
 
 " The low state of our regal music in the time of Henry VIII., 1530, may be 
 gathered from the accounts given in Hall's and Hollinshed's Chronicles, of a masque 
 at Cardinal Wolsey's palace, Whitehall, where the King was entertained with 
 ' a concert of drums and fifes.' But this was soft music compared with that of 
 his heroic daughter Elizabeth, who, according to Hentzner, used to be regaled 
 during dinner ' with twelve trumpets and two kettle- drums ; which, together with 
 fifes, cornets, and side-drums, made the hall ring for half an hour together.' " 
 (History, iii. 143.) 
 
 There is nothing of the kind in the books Dr. Burney pretends to quote. The 
 account of the chroniclers is of Henry the Eighth's landing at Wolsey's palace, 
 
VIU. INTRODUCTIOBT. 
 
 where, by a preconcerted arrangement, " divers chambers" (short cannon thafc 
 made a loud report) were let off, and he was conducted into the hall with " such 
 a noise of drums and flutes as seldom had been heard the like," for the purpose 
 of surprising the Cardinal and the masquers. Not a word of the music of the 
 masque. 
 
 As to Queen Elizabeth, Hentzner describes only the military music to give notice 
 in the palace that dinner was being carried in. Music then answered the purpose 
 of the dinner-bell. He says " the queen dines and sups alone." 
 
 Burney carries his depreciation of English authors systematically throughout 
 his work. It might be supposed that he would have allowed an author of so early 
 a date as John Cotton, who flourished soon after Guido, to pass unchallenged, but 
 he first misrepresents, and then contradicts him. Burney tells us that Cotton 
 ascribes the invention of neumse erroneously to Guido (ii. 144). Now Cotton 
 speaks of various modes of writing music by the musical signs called neumse, and 
 attributes the last only to Guido. It is certain that Burney read no more of the 
 treatise than the heading of a chapter (Quid uiilitatis afferant neumce a Ouidone 
 inventce), for he proves by a note upon neumse, that he only half understood what 
 they were. To any reader of Cotton's treatise, such misapprehension would have 
 been impossible. (See Gerbert's Scriptores JScdesiastici de Mmicd, ii. 257.) 
 
 It is not always easy to prove that a writer reviewed works without reading 
 them, but I doubt if any musician can now be found who believes that Burney 
 had examined " all the works he could find" of Henry Lawes, with the " care 
 and candour" that he professes ; while in the case of Morley's Concert- Lessons, 
 it is certain that he passed his facetious judgment upon them after scoring only 
 a portion of two parts, the work being in six. This is proved by his own manu- 
 script (Addit. MSS. 11,587, Brit. Mus.), and there was no perfect copy of the 
 work extant at the time. 
 
 When Burney tells us that the Catch Club sang old compositions " better than 
 the authors intended" (iii. 123), — that " our secular vocal music, during the first 
 years of Elizabeth's reign, seems to have been much inferior to that of the Church," 
 and has no better proof of it than a book of songs composed by an amateur mu- 
 sician, " Thomas Wythorne, Gent.," in 1571 (iii. 119), — when he says that, in 
 the same reign, " the violin was hardly known to the English in shape or in 
 name !" (iii. 143), — and that Playford was the first who published music in the 
 seventeenth century, yet commenced in 1653 ! (iii. 417 and 418), — he shews not 
 only a desire to underrate, but also a deficiency of knowledge, that must weaken 
 all confidence in him as an historian. 
 
 In his review of the music in Elizabeth's reign, he tells us that " the art of 
 singing, further than was necessary to keep a performer in tune and time, must 
 have been unknown . . . solo songs, anthems, and cantatas, being productions of 
 later times" (iii. 114). A more strange misconception could scarcely have been 
 penned. No songs to the lute ? No ballads ? If so. Miles Coverdale might have 
 spared himself the trouble of telling the courtier " not to rejoice in his ballads," 
 and Chaucer should have represented at least three persons as serenading the 
 
INTRODUCTION. IX. 
 
 carpenter's wife, and not one. As to the art of singing, Dr. Burney has himself 
 quoted the description of John of Salisbury, written four hundred years before 
 Queen Elizabeth's reign, and that is quite enough to refute the opinion above 
 expressed ; but, if more be required, the reader will find it here in the long note 
 at p. 404. 
 
 There was a proverb, of French origin, current both in Latin and English in 
 the fourteenth and fifteenth centuries, respecting the manner of singing by dif- 
 ferent nations. The Latin version was " Galli cantant, Angli jubilant, Hispani 
 plangunt, Germani ulutant, Itali caprizant : " the English was " The French 
 sing," or " The French pipe, the English carol [rejoice, or sing merrily], the 
 Spaniards wail, the Germans howl, the Italians caper." (The allusion to the 
 Italians is rather as to their unsteady holding of notes than to their facility in 
 florid singing ; caper signifying " a goat.") Burney, without any authority, 
 renders it "the English shout" (iii. 182). Now, although we have no modern 
 English verb that is an exact translation of " jubilare," the Italian " giubilare" 
 has precisely the same signification ; and Pasqualigo, the Venetian ambassador 
 to Henry VIII., describing the singing of the English choristers in the King's 
 chapel, says " their voices are really rather divine than human — non cantavano 
 ma jubilavano," which can be understood only in a highly complimentary sense. 
 
 It is sufficient for my present purpose to say that Dr. Burney's History is 
 written throughout in this strain. What with mistake, and what with misrepre- 
 sentation, it can but mislead the reader as to English music or musicians ; and 
 from the slight search I have made into his early Italian authorities, I doubt 
 whether even that portion is very reliable. The public has now forgotten 
 the contention between the rival histories of music of Hawkins and Burney, and 
 a few words should be placed upon record. Hawkins's entire work was published 
 in 1776, and Burney's first volume in the same year, his second in 1782, and his 
 third and fourth in 1789. Burney obtained a great reputation by his first volume, 
 which is upon the music of the ancients. In that he was assisted by the researches 
 of the Rev. Thomas Twining, the translator of Aristotle's Poetics, who relin- 
 quished his own projected, and partly-written history, in Burney's favour. 
 Hawkins's work is of great original research, and he is a far more reliable 
 authority for fact than Burney : still the history is by no means so well digested. 
 It is an analysis of book after book and life after life, fitted rather for supplying 
 materials to those who wUl dig them out, than to be read as a whole. Burney's 
 is a very agreeably written book, but he made history pleasant by such lively 
 sallies as those I have quoted : he took his authorities at second hand, when the 
 originals were accessible ; and copied especially from Hawkins, without acknowledg- 
 ment, and disguised the plagiarism by altering the language. Many of his appro- 
 priations are to be traced by errors which it is impossible that two men reading 
 independently could commit. Burney had but one love, — the Italian school, — and 
 he thought the most minute particulars of the Italian opera of his day worthy 
 of being chronicled. The madrigal with him was a " many-headed monster" 
 (iii. S85) : French music was " displeasing to all ears but those of France," and 
 
X. INTKODTJCTION. 
 
 Rousseau's letter upon it " an excellent piece of musical criticism," combining 
 " good sense, taste, and reason" (iv. 615) : he dismisses Sebastian Bach in half 
 a dozen lines ; and, although he devotes much space to Handel's operas, his 
 oratorios are often dismissed with the barest record of their existence by a line in 
 a note. Israel in Egypt, Ads and Q-alatea, &c., are unnoticed. 
 
 The present collection will sufficiently prove tfhat " the number of our secular 
 and popular melodies" was not quite as "circumscribed" as Dr. Burney has 
 represented ; but, indeed, he had a book in his library which alone gave a com- 
 plete refutation to his limited estimate. I have now before me one of the editions 
 of The Dancing Master, a collection of Country Dances, published by Playford, 
 which was formerly in Burney's possession. It contains more than two hundred 
 tunes, the names of which must convince an ordinary reader that at least a con- 
 siderable number among them are song and ballad tunes, while a musician will as 
 readily perceive many others to be of the same class, from the construction of 
 the melody. If a doubt should remain as to the character of the airs in collections 
 of this kind, further evidence is by no means wanting. Sir Thomas Elyot, writing 
 in 1531, and describing many ancient modes of dancing, says (in The Giovernour), 
 " As for the special names [of the dances], they were taken as they be now, either 
 of the names of the first inventour, or of the measure and number they do con- 
 teine, or of thejirst words of the ditties which the song comprehendeth, whereoff 
 the daunce was made ;" and, to approach nearer to the time of the publication in 
 question, Charles Butler, in 1636, speaks of " the infinite multitude of ballads 
 set to sundry pleasant and delightful tunes by cunning and witty composers, with 
 country da,nces fitted unto them." See his Principles of Musick. 
 
 The eighteen editions of The Dancing Master are of great assistance in the 
 chronological arrangement of our popular tunes from 1650 to 1728 ;'■ for, although 
 some airs run through every edition, we may tell by the omission of others, when 
 they fell into desuetude, as well as the airs by which their places were supplied. 
 
 • The first edition of this collection is entitled "The Bavcing Master.) The date of the fourth edition is 
 English Dancing Master: or Plaine and easie rules for 1670 (156 pages of music). Pifth edition, 1675, and 160 
 the dancing of Country Dances, with the tune to each pages of music. (The contents of the sixth edition are 
 dance (104 pages of music). Printed by Thomas Harper, ascertained to be almost identical with the fifth, by the 
 and are to be sold by John Playford, at his shop in the new tunes added to the seventh being marked with*, but 
 InnerTeniple.neere the Church doore." The date is 165], I have not seen a copy. From advertisements in Play- 
 but it was entered at Stationers' Hall on 7th Nov., 1650. ford's other publications, it appears to have been printed 
 This edition is on larger paper than any of the subsequent. in 1680.) The seventh edition bears date 1686 (208 pages). 
 
 The next is "The Dancing Master with the tune to but to this " an additional sheet," containing 32 tunes, 
 
 each dance, to be play'd on the treble Violin : the aecond was first added, then " a new additional sheet" of 12 
 
 edition, enlarged and corrected from many grosse errors pages," and lastly " a new addition" of 6 more. The 
 
 which were in the former edition." This was " Printed eighth edition was " Printed by E. Jones for H. Playford," 
 
 for John Playford," in 1652 (112 pages of music). The and great changes made in the airs. It has 220 pages,— 
 
 two next editions, those of 1657 and 1665, each contain date, 1690. The ninth edition, 196 pages,— date, 1695. 
 
 132 country dances, and are counted by Playford as one " The second part of the Dancing Master," 24 pages,— 
 
 edition. To both were added "the tunes of the most date, 1696. The tenth edition, 215 pages,— date, 1698; 
 
 usual French dances, and also other new and pleasant also the second edition of th. second part, ending on p. 48 
 
 English tunes for the treble Violin." That of 1665 was (irregularly paged), 1698. The eleventh is the first edition 
 
 " Printed by W. G., and sold by J. Playford and Z. Wat- in the new tied note, 312 pages,— date, 1701. The twelfth 
 
 kins, at their shop in the Temple." It has 88 tunes for edition goes back to the old note, 354 pages,— date, 1 703. 
 
 the violin at the end. (The tunes for the violin The later editions are well known, but the above are 
 
 were afterwards printed separately as Apollo'i JBanquet, scarce. 
 and are not included in any other edition of The 
 
INTEODUCTION. xi. 
 
 Many of our ballad- tunes were not fitted for dancing, and therefore were not 
 included in The Dancing Master ; but a considerable number of these is supplied 
 by the ballad-operas which were printed after the extraordinary success of The 
 Beggars' Opera in 1728. 
 
 I might name many other books which have contributed their quota, especially 
 Wit and Mirtli, or Pills to purge Melancholy, with its numerous editions from 1699 
 to 1720, — but all are indicated in the work. I cannot, however, refrain from 
 some notice of the numerous foreign publications in which our national airs are 
 included. Sometimes they are in the form of country dances, — at others, as 
 songs, or as tunes for the lute. I have before me three sets of country dances 
 printed in Paris during the last century, and as one of these is the " 0^™*Recueil 
 d'Anglaises telle qu'elles se dansent che la Reine," there must have been at least 
 four more of that series. Many of my readers may not know that the " Quad- 
 rille de Contredanses " in which they join under the name of " a set of Quad- 
 rilles," is but our old " Square Country Dance" come back to us again. The 
 new designation commenced no longer ago than 1815, — just after the war. 
 
 Horace Walpole tells us in his letters, that our country dances were all the rage 
 in Italy at the time he wrote, and, as collections were printed at Manheim, Munich, 
 in various towns of the Netherlands, and even as far North as Denmark, it is 
 clear that they travelled over the greater part of Europe. The Danish collection 
 now before me consists of 296 pages, with a volume of nearly equal thickness to 
 describe the figures. 
 
 Some of the works printed in Holland during the seventeenth century, which 
 contain English airs, have materially assisted in the chronological arrangement. 
 Of these, Vallet's TaUature de Luth, entitide Le Secret des Muses, was published 
 at Amsterdam in 1615. Bellerofhon, of Lust tot Wysheit, in 1620, and other 
 editions at later dates. Valerius's Nederlandtsche Gedenck-Clanck, at Haerlem, 
 in 1626. Starter's Friesche Lust-Hof, and his Boertigheden, in 1634, and other 
 editions without dates. Camphuysen's Stichtelycke Rymen, 1647, 1652, and 
 without date. Pers's Gesangh der Zeeden, 1662, and without date. Urania, 
 1648, and without date. 
 
 It is only necessary to remark upon the chronological arrangement, that, in 
 order to ascertain what airs or ballads were popular in any particular reign, the 
 reader will have occasion to refer also to those which precede it. Without endless 
 repetition, it could not have been otherwise. 
 
 Facsimiles of a few of the manuscripts will be found in the following pages. 
 
 I have now the pleasing duty of returning thanks to those who have assisted 
 me in this collection ; and first to Edward F. Rimbault, LL.D., and Mr. G. A. 
 Macfarren. Dr. Rimbault has been the largest contributor to my work, and a 
 contributor in every form. To him I am indebted for pointing out many airs 
 which would have escaped me, and for adding largely to my collection of notices 
 of others ; for the loan of rare books ; and for assisting throughout with his ex- 
 tensive musical and bibliographical knowledge. To Mr. G. A. Macfarren for 
 having volunteered to re-arrange the airs which were to be taken from my former 
 
Xll. INTRODUCTION. 
 
 collection, as well as to harmonize the' new upon a simple and consistent plan 
 throughout. In my former work, some had too much harmony, and others even 
 too little, or such as was not in accordance with the spirit of the words. The 
 musician will best understand the amount of thought required to find character- 
 istic harmonies to melodies of irregular construction, and how much a simple air 
 will sometimes gain by being well fitted. 
 
 To the Right Hon. the Earl of Abergavenny I am indebted for the loan of 
 " Lady Novell's Virginal Book," a manuscript collection of music for the vir- 
 ginals, transcribed in 1591. To the late Lord Braybrooke I owe the means of 
 access to Pepys's collection of ballads, which was indispensable for the due 
 prosecution of the work. 
 
 To Mr. J. Payne Collier, F.S.A., I am indebted for the loan of a valuable 
 manuscript of poetry, transcribed in the reign of James I., containing much of 
 still earlier date ; and for free access to his collection of ballads and of rare books : 
 to Mr. George Daniel, of Canonbury, for copies of several Elizabethan ballads, 
 which are to be found only in his unique collection ; and to Mr. David Laing, 
 F.S.A. Scot., for the loan of several rare books. 
 
 To Sir Frederick Madden, K.H., Keeper of the Manuscripts in the British 
 Museum, I am indebted for much information about manuscripts, readily given, 
 and with such uniform courtesy, that it becomes an especial pleasure to 
 acknowledge it. 
 
 W. C. 
 
 3, Hurley Place (N. W.), 
 
 or 201, Regent Street. ( W.) 
 
EXPLANATION OF THE FACSIMILES. 
 
 Plate 1 (facing the title-page). — " Sumer is icumen in," from one of the Harleian 
 Manuscripts in the British Museum, No. 978. It is literally a " six men's song,'' 
 such as is alluded to in the burlesque romance of The Turnament of Tottenham, 
 and, being of the middle of the thirteenth century, is perhaps the greatest musical 
 curiosity extant. The directions for singing it are in Latin : " Hanc rotam cantare 
 possunt quatuor socii. A paucioribus autem quam a tribus aut saltern duobus non 
 debet dici, prefer eos qui dicunt pedem. Oanitur autem sic. Tacentibus ceteris, unus 
 inchoat cum hiis qui tenant pedem. Et cum venerit ad primam notam post crucem, 
 inchoat alius, et sic de ceteris. Singuli vero repausent ad pausaciones scriptas, et non 
 alibi, spacio unius longK notce." [Four companions can sing this Round. It should 
 not, however, be sung by less than three, or at least two, besides those who sing the 
 burden. It is to be sung thus : — One "begins with those who sing the burden, the 
 others remaining silent ; but when he arrives at the first note after the cross, another 
 begins. The rest follow in the same order. Each singer must pause at the written 
 pauses for the time of one long note, but not elsewhere.] The directions for singing 
 the " Pes," or Burden, are, to the first voice, " Hoc repetit unus quociens opus est, 
 faciens pausacionem in fine" [One voice repeats this as often as necessary, pausing at 
 the end] ; and, to the second, " Hoc dicit alius, pausans in medio, et non in fine, sed 
 immediate repetens principium.'' [Another sings this, pausing in the middle, and 
 not at the end, but immediately re commencing.] 
 
 The melody of this Round is printed in modern notation at p. 24, and in the pages 
 which precede it (21 to 24) the reader will find some account of the manuscript from 
 which it is taken. It only remains to add that the composition is in what was called 
 " perfect time," and therefore every long note must be treated as dotted, unless it is 
 immediately followed by a short note (here of diamond shape) to fill the time of the 
 dot. The music is on six lines, and if the lowest line were taken away, the remaining 
 would be the five now employed in part-music where the C clef is used on the third 
 line for a counter-tenor voice. 
 
 The composition will be seen in score in Hawkins's and Burney's Histories of 
 Music. The Round has been recently sung in public, and gave so much satisfaction, 
 even to modern hearers, that a repetition was demanded. It is published in a detached 
 form for four voices. 
 
 Plate 2. — " Ah, the syghes that come pro' my heart," from a manuscript of 
 the time of Henry VIII,, in the British Museum (MSS. Reg., Append., 58), For 
 the melody in modern notation, see p. 57. 
 
XIV. EXPLANATION OF THE FACSIMILES. 
 
 In tran3cribing old music without bars, it is necessaiy to know that the ends of 
 phrases and of lines of poetry are commonly expressed by notes of longer duration 
 than their relative value. Much of the music in Stafford Smith's Musica Antiqua is 
 wrongly barred, and the rhythm destroyed by the non-observance of this rule. As 
 one of many instances, see " Tell me, dearest, what is love," taken from a manuscript 
 of James the First's time {Mus. Antiq., i. 65). By carrying half the semibreve at 
 the end of the second bar into the third, he begins the second line of poetry (" 'Tis 
 a lightning from above") on the half-bar instead of at the commencement, and thus 
 falsifies the accent of that line and of all that follows. The antiquarian way would have 
 been, either to print the semibreve within the bar, or, which is far better, a minim with 
 a pause over it. In modernizing the notation, even the pause is unnecessary. Webbe 
 also bars incorrectly in the Convito Armonico. For instance, in " We be three poor 
 mariners,'' the tune is right the first time, but at the recurrence (on " Shall we go 
 dance the Round, the Round, the Round?") he commences on the half-bar, because 
 he has given too much time to the word " ease'' in the bar immediately preceding. 
 
 Plate 3. — " G-REEN Sleeves,'' a tune mentioned by Shakespeare, from " William 
 Ballet's Lute Book," described in note ■■ at p. 86. This is the version I have printed 
 at p. 230, but an exact translation of the copy will be found in my " National English 
 Airs," i. 118. It is only necessary to remark that, in lute-music of the sixteenth 
 century, bars are placed rather to guide the eye than to divide the tune equally. The 
 time marked over the lines is the only sure guide for modern barring. 
 
 Plate 4. — " Sellengbr's Round," from a manuscript in the Fitzwilliam Museum, 
 at Cambridge, commonly known as " Queen Elizabeth's Virginal Book." See also 
 p. 71. 
 
 Dr. Burney speaks of this manuscript first as " going under the name of Queen 
 Elizabeth's Virginal Book,'' and afterwards quotes it as if it had really been so. 
 I am surprised that he should not have discovered the error, considering that he had it 
 long enough in his possession to extract one of the pieces, and to give a full descrip- 
 tion of the contents, (iii. 86, et seq.) It is now so generally known by that name, 
 that, for brevity's sake, I have employed it throughout the work. Nevertheless, it 
 can never have been the property of Queen Elizabeth'. It is written throughout in 
 one handwriting, and in that writing are dates of 1603, 1605, and 1612. 
 
 It is a small-sized folio volume, in red morocco binding of the time of James I., 
 elaborately tooled and ornamented with fleurs de lis, &c., gilt edges, and the pages 
 are numbered to 419, of which 418 are written. 
 
 The manuscript was purchased at the sale of Dr. Pepusch's collection, in 1762, by 
 R. Bremner, the music-publisher, at the price of ten guineas, and by him given to 
 Lord Fitzwilliam. 
 
 Ward gives an account of Dr. Bull's pieces included in this virginal book, in his 
 Lives of the Oresham Professors, fol., 1740, p. 203, but does not say a word of the 
 volume having belonged to Queen Elizabeth. We first hear of it in Dr. Pepusch's 
 possession, and, as he purchased many of his manuscripts in Holland (especially those 
 including Dr. Bull's compositions), it is by no means improbable that this English 
 manuscript may also have been obtained there. I am led to the conjecture' by finding 
 the only composer's name invariably abbreviated is that of " Tregian." At the com- 
 mencement of Verstegan's Restitution of decayed Intelligence, Antwerp, 1605, is a 
 
EXPLANATION OF THE FACSIMILES. XV. 
 
 " sonnet concerning this work," signed " Fr. Tregian," shewing the connection of 
 the family with Holland, and in the virginal book one piece (No. 105, p. 196) has 
 only three letters of the author's name, " Fre." No. 60, p. Ill, is " Treg. Ground ;" 
 No. 80, p. 132, is " Pavana dolorosa, Treg.;" but No. 213, p. 315, is " Pavana 
 Chromatica, Mrs. Katherin Tregian's Paven, by William Tisdall." In the margin of 
 p. 312, is written, in a later hand, " R. Rysd silas." 
 
 English music was so much in request in Holland in the early part of the seven- 
 teenth century, that this collection of two hundred and ninety- six pieces of virginal 
 music may, not improbably, have been made for, or by, an English resident there, 
 and possibly designed as a present. 
 
 Plate 5. — "The Hunt's up," h-ova Musiek's Delight on the Cithren, 1G66, and 
 " Parthenia," from a flageolet book, printed in 1682. 
 
 These are only given as specimens of musical notation. The curious will find exact 
 translations in National English Airs, i. 118. 
 
Pla1e 
 
 
 * 
 
 1 
 
 P 
 
 ^ ^ 
 
 m! 
 
 ?^ 
 
 
 nit 
 
 vl» 
 
Plate, 3, 
 
 bi 
 
 
 ^ 
 
 -Si 
 
 
 r 
 
 ?; 
 
 to 
 
 K, 
 
 ^ 
 
 ^ 
 
Plate,!', 
 
 4^ 
 
 -<^ 
 
 I 
 
 €^ 
 
 \\ 
 
 ir 
 
 M 
 
 .-N JO 
 
 m 
 
 v=AV 
 
 ^. 
 
 ► PS^ 
 
 ^?^ 
 
 ^ 
 
 ^i 
 
 ^- 
 
 ffH- 
 
 X^ 
 
 Ci 
 
 
 -r^- 
 
 S^ 
 
 =5- 
 
 1^ 
 
 :a= 
 
 r<r. 
 
 -rss. 
 
 
 I 
 
 X 
 
 r 
 
 .§^ 
 
 ^ 
 
 Ps 
 
 ^ 
 
 4^ 
 

 \i 
 
 O ' 
 
 \^ 
 
 >VJ 
 
 c 
 
 
 - ♦— 
 
 - O— 
 
 ♦^ 
 
 + o— 
 
 ■t ♦- 
 
 + 4- 
 
 ^.o 
 
 N:k 
 
 ^) 
 
 ^i 
 
 \ta 
 
 vj- 
 
 .U 
 
 + 4^ 
 
 + O— 
 
 + ♦- 
 
 
 + ; 
 
 C>-i 
 
 f 
 
 ^ 
 
 M 
 
 
 
 3-n 
 
 
 s 
 
 k 1 
 
 
 i;^ 
 
 
 I 
 
 
 1 
 
 • 
 
 ■"^■^ 
 
 ♦-0 
 
 •1^ 
 
 
 ^1 
 
 t=t 
 
LIST OF SUBSCRIBERS, 
 
 Ashe, J. W. L., Esq., Exeter. 
 
 Allen, G. P., Esq., Organist of St. 
 
 George's, Wolverhampton. 
 Allen, G. B., Esq., Armagh. 
 Alston, The Rev. E. C, Dennington 
 
 Eectory. 
 Amott, J., Esq., Organist of the Cathedral, 
 
 Gloucester. 
 Atkius, R. a., Esq., Organist of the 
 
 Cathedral, St. Asaph's. 
 Aecedeokne, Andrew, Esq. 
 AsHBUKNHAM, The Right Hon. the 
 
 Countess of. 
 AsHPiTEL, Arthur, F.S.A. 
 
 Bartholomew, Mrs. Mounsey. 
 
 Bacon, G. P., Esq., Lewes. 
 
 Bagnold, Mrs. 
 
 Barnett, Mr. John Francis. 
 
 Barlow, Mr. W., Manchester. 
 
 Beevoe, C, Esq. 
 
 Benedict, Jules, Esq. 
 
 Best, T. W., Esq., Organist of St. George's 
 
 Hall, Liverpool. 
 Binfield, Miss, Reading. 2 copies. 
 Blake, Thomas, Esq. 
 Blocklet, John, Esq. 
 Bloxsome, Charles, Esq., Sheffield. 
 Bishop, John, Esq., Cheltenham. 
 Barnett, John, Esq., Cheltenham. 
 Blumenthal, J., Esq. 
 Black, Dr. 
 Bowers, Miss, Clifton. 
 BosANQUET, Mrs. Godfrey 
 Bourne, Dr., Ashted House, Birmingham. 
 Braine, W. R., Esq., Kensington. 
 
 Broadwood, Henry F., Esq. 
 Broadwood, Walter, Esq. 
 Bros, Thomas, Esq. 
 Brown, Graham, Esq. 
 Brown, T. P., Esq., Jersej'. 
 Bruce, Lord Charles. 
 Bucher, M., Edinburgh. 
 BussELL, H., Esq., Dublin. 
 Buck, Dr., Norwich. 
 Bdnnett, E., Esq., Norwich. 
 BoHcHETT, J. R., Esq. 
 Benson, G., Esq. 
 Birkenhead, Miss. 
 Bbgrez, J., Esq. 
 BuTTERWORTH, Mr., Sheffield. 
 
 Cawdor, The Eight Hon. the Earl of. 
 
 Calthorp, Thomas, D., Esq. 
 
 Oawood, Martin, Esq., Leeds. 
 
 Oallcott, W. H., Esq., Kensington. 
 
 Chaplin, Captain, Hastings. 
 
 Chatbr, George,- Esq. 
 
 Chisholm, H. W., Esq. 
 
 Close, Thomas, Esq., Nottingham. 
 
 Clarke, Mr., Preston. 
 
 Cocks, Robert Lincoln, Esq. 
 
 Cohen, Albert, Esq. 
 
 Cooper, G. Armytage, Esq., Lecturer on 
 Music. 
 
 Compton, Henry, Esq., Melbourne, Aus- 
 tralia. 
 
 CoPELAND, W. R., Esq., Liverpool. 
 
 Cox, Captain C. J., Pordwich House, 
 Kent. 
 
 Crotch, Rev. R. W., Uphill House, near 
 Weston-super-Mare. 
 
XVIH. 
 
 LIST OF SUBSCRIBERS. 
 
 Crossley, G. J., Esq., Bowden, near Man- 
 chester. 
 Gumming s, — Esq. 
 Cdrtis, W., Esq., Nottingham. 
 
 Davis, Miss. 
 
 Davidson, W., Esq., Aberdeen. 
 
 Davenport, John, Esq. 
 
 De Capell Broke, Lady. 
 
 De la Rue, William, Esq. 2 copies. 
 
 Delay ANTE and Co., Manchester. 
 
 De Monti, Mr. J. H., Glasgow. 2 copies. 
 
 De Vob, Polydore, Esq., Jersey. 
 
 Dixon, Robert W., Esq., Seaton Oarew. 
 
 Done, W., Esq., Organist of the Cathedral, 
 
 Worcester. 
 Donebailb, The Right Hon. Viscountess. 
 Duck, Mr. W., Bath. 
 DuERDiN, John, Esq. 2 copies. 
 DuNRAVEN, The Right Hon. the Earl of. 
 DuGGAN, Joseph, Esq. 
 Dyce, The Rev. Alexander. 
 
 Ebohall, Miss, Lichfield. 
 
 Edgar, Mrs. George. 
 
 Ella, John, Esq. 2 copies. 
 
 Engel, Carl, Esq. 
 
 Euing, William, F.S.A., Scot., Glasgow. 
 
 Pavarger, Re'nb', Esq. 
 
 Fagg, Mr., Hull. 
 
 Farrbn, William, Esq. 
 
 Farrer, T. H., Esq. 
 
 Fellowes, Lady. 
 
 Ferrari, Signer Adolfo, 
 
 FiTzwiLLiAM, Mrs. Edward. 
 
 Foster, John, Esq., Gent, of Her Majesty's 
 
 Chapels Royal. 
 Fowler, Charles, Esq., Torquay. 
 
 Grattan, H. W., Esq. 
 
 GiBAUD, Frank, Esq., Faversham. 
 
 GiBBS, Walter S., Esq., Bath. 
 
 Green, John, Esq. 
 
 Green, Miss, Ashby de la Zonche. 
 
 Goss, The Rev. John, Hereford. 
 
 Goss, John, Esq., Organist and Composer 
 
 to Her Majesty's Chapels Royal. 
 Godfrey, Charles, Esq. 
 
 HuTTON, Maxwell, Esq., Dublin. 
 
 Harrison, J., Esq., Deal. 
 
 Hacking, Richard, Esq., Mus. Bac, Bury, 
 
 Lancashire, 
 Harrison, W., Esq., F.G.S., F.Z.S., Galli- 
 
 greaves House. 
 Hale, Mr. C, Cheltenham. 
 Hawkins, The Rev. W. B. 
 Hayes, Mrs., St. Catharine's. 
 Harris, Mr., Northampton. 
 Harvey, The Rev. G. H., Wimbledon. 
 Hammond, Mr. 
 
 Hayward, Henry, Esq., Wolverhampton. 
 Halle, Charles, Esq. 
 Hatton, J. L., Esq. 
 Hendrie, Robert, Esq. 
 Hennell, G. R., Esq. 
 Hemery, Mr. 
 Hills, William, Esq. 
 HiGHAM, F., Esq., Wolverhampton. 
 Hime, Mr. B., Manchester. 
 HoLL, William, Esq. 
 Holl, Henry, Esq. 
 HoLL, Francis, Esq. 
 Hopkins, E. J., Esq., Organist of the 
 
 Temple Church. 
 Holmes, W. H., Esq. 
 Hopkins, J. L., Mus. Doc, Cambridge. 
 Howe, H., Esq., Isleworth. 
 HoPKiNSON, Messrs., Leeds. 
 Horne, F. Lennox, Esq. 
 Holland, W., Esq. 
 Hullah, J. P., Esq. 
 HuTTON, The Rev. Hugh. 
 
 Isaac, B. R., Esq., Liverpool. 
 
 Jackson, Mr., Bradford. 
 
 Jewson, J. P., Esq., Stockton-on-Tees. 
 
 Knapton, Miss, Ripon. 
 Kerslake, Mr., Bristol. 2 copies. 
 Kbeeft, Si C, Esq., Consnl-General. 
 
LIST OF SUBSCRIBERS. 
 
 XIX. 
 
 Kendall, J. F., Esq. 
 Kekby, John, Esq. 
 Kbene, Charles, Esq. 
 Ketellb, S. W., Esq., Newcastle. 
 Kirk, J. M., Esq., Halifax. 
 King, H. Stavely, Esq., M.D. 
 Knight, Mr., Chichester. 
 King, Donald, Esq. 
 
 Lablachk, Signer F. 
 
 Land, Edward, Esq. 
 
 Lambert, D., Esq., York. 
 
 Lambeth, Henby A., Esq., Glasgow. 
 
 Lewis, Miss, Putney. 
 
 LiNwooD, Miss. 
 
 Lohr, G. a., Esq., Leicester. 
 
 Lover, Samdel, Esq. 
 
 LovETT, Mr. 
 
 Lockey, Charles, Esq. 
 
 Mason, Joseph Edward, Esq. 
 
 Mason, Thomas, jun., Esq., Newcastle- 
 under-Lyme. 
 
 Marshall, J. W., Esq., Richmond, York- 
 shire. 
 
 Masson, MisB. 
 
 Martineau, Philip, Esq. 
 
 Mackenzie, J. Whitefoord, Esq., Edin- 
 burgh. 
 
 Martin, G. W., Esq. 
 
 Mackway, Mr. 
 
 Mercer; The Eev. W., M.A., Sheffield. 
 
 Mills, R., jun., Esq. 
 
 Morant, The Lady Henrietta. 
 
 MoRANT, John, Esq., Brockenhurst House, 
 Lymington. 
 
 Monk, Edwin George, Mus. Doc, Organist 
 of the Cathedral, York. 
 
 Monk, W. H., Esq., Organist of King's 
 College, London. 
 
 Morris, Val., Esq. 
 
 MuRBY, Thojias, Esq. 
 
 Mario, Signer. 
 
 Maclure, Andrew, Esq. 
 
 MoRiER, G. J., Esq. 
 
 MooRE, The Hon. Mrs. Montgomery, 
 Dublin. 
 
 Newman, The Rev. W. A,, D.D., Wolver- 
 hampton. 
 
 Nichol, — Esq. 
 
 Nicholls, W. H., Esq. 
 
 Nicholson, Alfred, Esq. 
 
 NoBBURY, The Right Hon. the Earl of. 
 
 Norman, Rev. R. W., St. Peter's College, 
 near Abingdon. 
 
 Norwood, Jasper, Esq., Preston. 
 
 Norman, Mrs., The Rookery, Bromley. 
 
 Ollivieb, Mr. Robert. 
 
 Osborne, G. A., Esq. 
 
 Odseley, The Rev. Sir Frederick Arthur 
 
 Gore, Bart., Professor of Music in the 
 
 University of Oxford. 
 OuLD, Edwin, Esq. 
 
 Paget, R., Esq. 
 Parker, John William, Esq. 
 Paterson, Mr. R. Roy, Edinburgh. 
 Pole, S. Chandos, Esq. 
 PoRDiE, Mr. John, Edinburgh. 
 Pyb, Kbllow, Esq., Wimbledon. 
 
 Rawlings, — Esq., Shrewsbury. 
 
 Ravey, Mr. 
 
 Reed, T. German, Esq. 
 
 Richards, Mr. T. 
 
 Richardson, — Esq., Swindon. 
 
 Romer, Frank, Esq. 
 
 Robinson, Joseph, Esq., Dublin. 
 
 RowE, Mrs., Plymouth. 
 
 Rhodes, Jeremiah, Esq., Pontefract. 
 
 RoBB, Mrs. 
 
 RoBECK, The Baron de, Swordlestown. 
 
 RuDALL, Rose, and Carte, Messrs. 
 
 Stanford, John, Esq., Dublin. 
 Salaman, Charles, Esq. 
 Sandys, W., Esq., F.S.A. 
 Salt, George, M., Esq., Shrewsbury. 
 Sacred Harmonic Society (The) 
 Spark, W., Esq., Organist, Leeds. 
 Smith, G. Townshend, Esq., Organist of the 
 Cathedral, Hereford. 
 
XX. 
 
 LIST OF SUBSCRIBEKS. 
 
 Spencer, The Rev. Peter, Temple Ewell, 
 near Dover. 
 
 SiMHS, E,, Esq., Coventry. 
 
 SiMMs, Mr. H., Bath. 
 
 Smart, Sir George. 
 
 Smith, Montem, Esq. 
 
 Smith, Albert, Esq. 
 
 Smith, Samuel, Esq., Bradford. 
 
 Smith, W. H., Esq., Sheffield. 
 
 Smith, Mr. John, Leeds. 
 
 Smith, George, Esq. 
 
 Singleton, Rev. R. C, Kingstown, Dublin. 
 
 Signet Library, (The) Edinburgh. 
 
 Silver, William, Esq. 
 
 Swift, Joseph, Esq. 
 
 Skelton, G. J., Esq., Hull. 
 
 Shea, Alexander, Esq. 
 
 Shelmerdinb, W., Esq., Nottingham. 
 
 Shoreham College. 
 
 Stanyon, John, Esq., Leicester. 
 
 Stanley, E. H., Esq. 
 
 Stephenson, W. P., Esq., Organist, Bishop- 
 ton. 
 
 Sloper, Lindsay, Esq. 
 
 Sutton and Potter, Messrs., Dover. 
 
 Stocqueler, J. H., Esq. 
 
 Sykes, Luke, R., Esq. 
 
 Spalding, 'S., Esq. 
 
 Squire, F., Esq. 
 
 Stokes, Dr., Dublin. 
 
 TRAVER8,Mi8s M.T., Hartsbourne,Bushey, 
 
 Herts. 
 Thacker, a. C, Esq., Peterborough. 
 Taylor, Hussey, Esq. 
 Taylor, Bianchi, Esq., Bath. 
 Thackeray, W., Esq. 
 Tait, W., Esq., Melrose. 
 
 Thomson, James, Esq., Glasgow. 
 Theupp, John, Esq. 
 Turner, Mr., Stockport. 3 copies. 
 TuRLE, Miss, Lyme Regis. 
 Travers, Miss, Hillingdon. 
 
 Vernon, The Right. Hon. Lord. 
 Vantini, Townsbnd, Esq. 
 
 Ward, The Right Hon. Lord. 2 copies. 
 
 Walker, George, Esq., Aberdeen. 
 
 Wallerstein, F. G., Newcastle-on-Tyne. 
 
 Walsh, E., Esq. 
 
 Wakrbn, E., Esq., Organist of Christ 
 Church, Dover. 
 
 Wallace, W. Vincent, Esq. 
 
 Ward, The Rev. Arthur R., St. John's 
 College, Cambridge. 
 
 Warren. Mr. John, Royston. 
 
 Weiss, W. H., Esq. 
 
 Werner, Louis, Esq. 
 
 Webster, Alfred, Esq., Bath. 
 
 Williams, T., Esq., Fairlight, Tunbridge 
 Wells. 
 
 Wighton, Mr. A. J., Dundee. 
 
 Wilson, M. C, Esq. 
 
 Winslow, Forbes, Esq., M.D., D.C.L. 
 
 Winn, W., Esq. 
 
 WiNSTANLEY, iT. B., Esq., Bramston House, 
 near Leicester. 
 
 WooLooMBE, The Rev. W. Walker, Man- 
 chester. 
 
 Wood, Messrs. J. M., and Co., Glasgow. 
 2 copies. 
 
 Wood, Messrs., Edinburgh. 2 copies. 
 
 Woodman, W., Esq., Hobhill, Morpeth. 
 
 Wylde, Henry, Esq., Mus. Doc. 
 
ON ENGLISH MINSTRELSY, 
 SONGS AND BALLADS. 
 
 CHAPTEE I. 
 
 MiNSTKELST FROM THE SaXON PeRIOD TO THE ReIGN OF EdWARD I. 
 
 Music and Poetry are, in every country, so closely connected, during the 
 infancy of their cultivation, that it is scarcely possible to speak of the one without 
 the other. The industry and learning that have been devoted to the subject of 
 English Minstrelsy, and more especially in relation to its Poetry, by Percy, 
 Warton, and Ritson, have left an almost exhausted field to their successors. 
 But, while endeavouring to combine in a compressed form the various curious 
 and interesting notices that have been collected by their researches, or which 
 the labours of more recent writers have placed within my reach, I hope I may 
 not prove altogether unsuccessful in my endeavour to throw a few additional rays 
 of light upon the subject, when contemplated, chiefly, in a musical point of view. 
 
 " The Minstrels," says Percy, " were the successors of the ancient Bards, who 
 under different names were admired and revered, from the earliest ages, among 
 the people of Gaul, Britain, Ireland, and the North ; and indeed by almost all 
 the first inhabitants of Europe, whether of Celtic or Gothic race ; but by none 
 more than by oxir own Teutonic ancestors, particularly by all the Danish tribes. 
 Among these, they were distinguished by the name of Scalds, a word which 
 denotes ' smoothers and polishers of language.' The origin of their art was 
 attributed to Odin or Wodin, the father of their Gods ; and the professors of it 
 were held in the highest estimation. Their skill was considered as something 
 divine ; their persons were deemed sacred ; their attendance was solicited by kings ; 
 
 and they were everywhere loaded with honours and rewards As these 
 
 honours were paid to Poetry and Song, from the earliest times, in those countries 
 which our Anglo-Saxon ancestors inhabited before their removal into Britain, we 
 may reasonably conclude that they would not lay aside all their regard for men 
 of this sort, immediately on quitting their German forests. At least, so long as 
 they retained their ancient manners and opinions, they would still hold them in 
 high estimation. But as the Saxons, soon after their establishment in this 
 island, were converted to Christianity, in proportion as literature prevailed among 
 them, this rude admiration would begin to abate, and poetry would no longer be a 
 
 B 
 
^ ENGLISH MINSTRELSY. 
 
 peculiar profession. Thus the poet and the minstrel early with us became two 
 persons. Poetry was cultivated by men of letters indiscriminately ; and many of 
 the most popular rhymes were composed amidst the leisure and retirement of 
 monasteries. But the Minstrels continued a distinct order of men for many ages 
 after the Norman conquest; and got their livelihood by singing verses to the 
 harp, principally at the houses of the great. There they were still hospitably 
 and respectfully received, and retained many of the honours shown to their pre- 
 decessors, the bards and scalds. And though, as their art declined, many of 
 them only recited the compositions of others, some of them still composed songs 
 themselves, and all of them could probably invent a few stanzas on occasion. 
 I have no doubt but most of the old heroic ba;llads .... were composed by this 
 order of men." 
 
 The term Minstrel, however, comprehended eventually not merely those who 
 sang to the harp or other instrument, romances and ballads, but also such as 
 were distinguished by their skill in instrumental music only. Of this abundant 
 proof will be given in the following pages. War ton says, "As literature, the 
 certain attendant, as it is the parent, of true religion and civility, gained ground 
 among the Saxons, poetry no longer remained a separate science, and the profes- 
 sion of bard seems gradually to have declined among them: I mean the bard 
 under those appropriated characteristics, and that peculiar appointment, which he 
 sustained among the Scandinavian pagans. Yet their natural love of verse and 
 music still so strongly predominated, that in the place of their old Scalders, a new 
 rank of poets arose, called Gleemen, or Harpers.* These probably gave rise to 
 the order of English Minstrels, who flourished till the sixteenth century." 
 
 Ritson, in his Dissertation on Romance and Minstrelsy (prefixed to his Col- 
 lection of Ancient English Metrical Romances), denies the resemblance between 
 the Scalds and the Minstrels, and attacks Percy with great acrimony for as- 
 cribing, with too great liberality, the composition of our ancient heroic songs 
 and metrical legends, to those by whom they were generally recited. Percy, 
 in the earlier editions of his Reliques of Ancient Poetry, said : " The Minstrels 
 seem to have been the genuine successors of the ancient Bards, who united the 
 arts of poetry and music, and sung verses to the harp, of their own composing," 
 which he afterwards modified into " composed by themselves or others." With this 
 qualification there appears to be no essential difiierence between their systems, as 
 the following quotation from Ritson will show : " That the difierent professors of 
 minstrelsy were, in ancient times, distinguished by names appropriated to their 
 respective pursuits^ cannot reasonably be disputed, though it may be difficult to 
 prove. The Trouveur^ Trouverre, or Rymour, was he who composed romans, 
 
 • Gleemek, or Harpers. Fabyan, speaking of Blage- strongestintemal proof thatthisprofession was extremely 
 
 bride, an ancient British king, famous for his skill in common and popular here before the Norman conquest. 
 
 poetry and music, calls him "aconynge musicyaii, called The Anglo-Saxon harpers and gleemen were the 
 
 of the Britons god of Gleemen." The learned Percy says : immediate successors and imitators of the Scandinavian 
 
 "This word y^ee is derived from the Anglo-Saxon jl'SS Scalds." We have also the authority of Bede for the 
 
 (gligg), mmiea, music, minstrelsy (Somner). This is, practice of social and domestic singing to the harp, in 
 
 the common radix, whence arises such a variety of terms the Saxon language, upon this island, at the beginning of 
 
 axd phrases relating to the minstrel art, as affords the the eighth century. 
 
GLEEMEN, SCALDS, BARDS. 3 
 
 contes, fabliaux, chansons and lais ; and those who confined themselves to the 
 composition of contes and fabliaux obtained the appellation of contours, conteours, or 
 fabliers. The Menetrier, Menestrel, or Minstrel, was he who accompanied his song 
 by a musical instrument, both the words and the melody being occasionally fur- 
 nished by himself, and occasionally by others." 
 
 Le Grand says : " This profession which misery, libertinism, and the vagabond 
 life of this sort of people, have much decried, required, however, a multiplicity of 
 attainments, and of talents, which one would, at this day, have some difficulty to 
 find reunited, and we have more reason to be astonished at them in those days of 
 ignorance ; for besides all the songs, old and new, — besides the current anec- 
 dotes, the tales and fabliaux, which they piqued themselves on knowing, — besides 
 the romances of the time which it behoved them to know and to possess in part, they 
 could declaim, sing, compose music, play on several instruments, and accompany 
 them. Frequently even were they authors, and made themselves the pieces 
 they uttered." — Ritson's Dissertation, p. cMii. 
 
 The spirit of chivalry which pervades the early metrical romances could not 
 have been imparted to this country by the Romans. As Warton observes, 
 " There is no peculiarity which more strongly discriminates the manners of the 
 Greeks and Romans from those of modern times, than that small degree of atten- 
 tion and respect with which those nations treated the fair sex, and the incon- 
 siderable share which they were permitted to take in conversation, and the general 
 commerce of life. For the truth of this observation, we need only appeal to the 
 classic writings : from which it appears that their women were devoted to a state 
 of seclusion and obscurity. One is surprised that barbarians should be greater 
 masters of complaisance than the most polished people that ever existed. No 
 sooner was the Roman empire overthrown, and the Goths had overpowered 
 Europe, than we find the female character assuming an unusual importance and 
 authority, and distinguished with new privileges, in aU the European govern- 
 ments established by the northern conquerors. Even amidst the confusions of 
 savage war, and among the almost incredible enormities committed by the Goths 
 at their invasion of the empire, they forbore to offer any violence to the women." 
 
 That the people of England have in all ages delighted in secular or social 
 music can be proved by numerous testimonies. The Scalds and Minstrels were 
 held in great repute for many ages, and it is but fair to infer that the reverence 
 shown to them arose from the love and esteem in which their art was held. The 
 Romans on their first invasion of this island, found three orders of priesthood 
 established here from a period long anterior. The first and most influential were 
 the Druids • the second the Bards, whose business it was to celebrate the praises 
 of their heroes in verses and songs, which they sang to their harps ; and the third 
 were the Eubates, or those who applied themselves to the study of philosophy. 
 
 The Northern annals abound with pompous accounts of the honors conferred 
 on music by princes who were themselves proficients in the art ; for music had 
 become a regal accomplishment, as we find by all the ancient metrical romances 
 and heroic narrations, — and to sing to the harp was the necessary accomplishment 
 
4 ENGLISH MINSTRELSY. 
 
 of a perfect prince, or a complete hero. The harp seems to have been, for many 
 ages, the favorite instrument of the inhabitants of this island, -whether under 
 British, Saxon, Danish, or Norman kings. Even so early as the first invasion of 
 Britain by the Saxons, we have an incident which records the use of it, and which 
 shows that the Minstrel or Bard was well-known among this people ; and that their 
 princes themselves could, upon occasion, assume that character. Colgrin, son of that 
 EUa who was elected king or leader of the Saxons, in the room of Hengist, was 
 shut up in York, and closely besieged by Arthur and his Britons. Baldulph, 
 brother of Colgrin, wanted to gain access to him, and to apprize him of a rein- 
 forcement which was coming from Germany. He had no other way to accom- 
 plish his design, but by assuming the character of a Minstrel. He therefore 
 shaved his head and beard, and dressing himself in the habit of that profession, 
 took his harp in his hand. In this disguise he walked up and down the trenches 
 without suspicion, playing all the while upon his instrument as a harper. By 
 little and little he advanced near to the walls of the city, and making himself 
 known to the sentinels, was in the night drawn up by a r^ope. Rapin places the 
 incident here related under the year 495. The story of King Alfred entering 
 and exploring the Danish camp under the disguise of a Minstrel, is related by 
 Ingulph, Henry of Huntingdon, Speed, William of Malmesbury, and almost all 
 the best modern historians ; but we are also told that before he was twelve years 
 old, he could repeat a variety of Saxon songs, which he had learned from hearing 
 them sung by others, who had themselves, perhaps, only acquired them by tradition, 
 and that his genius was first roused by this species of erudition. 
 
 Bale asserts that Alfred's knowledge of music was perfect ; and it is evident 
 that he was an enthusiast in the art, from his paraphrase of Bede's description of 
 the sacred poet Csedmon's embarrassment when the harp was presented to him in 
 turn, that he might sing to it, " be hearpan singan ;" Bede's words are simply 
 " Surgebat a medii caena, et egressus, ad suum domum repedabat :" but Alfi^ed 
 adds, that he arose for shame (aras he for sceome) ; implying that it was a dis- 
 grace to be found ignorant of the art. 
 
 We may also judge of the Anglo-Saxon love for song, from the course pursued 
 by St. Aldhelme, Abbot of Malmesbury, who died in 709. Being desirous of 
 instructing his then semi-barbarous countrymen, he was in the daily habit of 
 taking his station on the bridges and high roads, as if a Gleeman or Minstrel 
 by profession, and of enticing them to listen to him, by intermixing more serious 
 subjects with minstrel ballads. — Giul. Malms, de Fontificalibus. Lib. 5, And 
 in the ancient life of St. Dunstan (whose feat of taking the evil one by the nose 
 with a pair, of red-hot pincers, was so favorite a sign for inns and taverns) he is 
 said, not only to have learnt " the vain songs of his nation," but also " to have 
 constructed an organ with brass pipes, and filled with air from bellows." 
 The Saint was a monk of Glastonbury, and bom about 925. 
 
 That the harp was the common musical instrument of the Anglo-Saxons, may 
 also be inferred from the word itself, which is not derived from the British, or 
 any other Celtic language, but of genuine Gothic original, and current among 
 
ANGLO-SAXONS, CAMBRO-BRITONS, ANB DANES. 5 
 
 every branch of that people, viz. : Ang. Sax. hearpe and hearpa ; Iceland, harpa 
 a.nd hawpa; Dan. and Belg. harpe ; German, harpffe a.ni harpffa; Gal. harpe; 
 Span, harpa ; Ital. arpa. The "Welsh, or Cambro-Britons, call their harp teylin, 
 a word for which no etymon is to be found in their language. In the Erse its 
 name is crwth. That it was also the favorite musical instrument of the Britons 
 and other Northern nations in the middle ages, is evident from their laws, 
 and various passages in their history. By the laws of Wales (Leges Wallicse), a 
 harp was one of the three things that were necessary to constitute a gentleman, 
 or a freeman ; and none could pretend to that character who had not one of these 
 favorite instruments, or could not play upon it. To prevent slaves from pre- 
 tending to be gentlemen, it was expressly forbidden to teach, or to permit, them 
 to play upon the harp; and none but the king, the king's musicians, and 
 gentlemen, were allowed to have harps in their possession. A gentleman's harp 
 was not liable to be seized for debt ; because the want of it would have degraded 
 him from his rank, and reduced him to that of a slave. 
 
 Alfred entered the Danish camp a.d. 878 ; and about sixty years after, a 
 Danish king made use of the same disguise to explore the camp of our king 
 Athelstan. With his harp in his hand, and dressed like a minstrel, Aulaff, king 
 of the Danes, went among the Saxon tents ; and taking his stand by the king's 
 pavilion, began to play, and was immediately admitted. There he entertained 
 Athelstan and his lords with his singing and his music, and was at length dis- 
 missed with an honorable reward, though his songs might have disclosed the fact 
 that he was a Dane. Athelstan was saved from the consequences of this stratagem 
 by a soldier, who had observed Aulaff bury the money which had been given him, 
 either from some scruple of honor or superstitious feeling. This occasioned 
 a discovery. 
 
 Now if the Saxons had not been accustomed to have Minstrels of their own, 
 Alfred's assuming so new and unusual a character would have excited suspicions 
 among the Danes. On the other hand, if it had not been customary with the 
 Saxons to show favor and respect to the Danish Scalds, Aulaff would not have 
 ventured himself among them, especially on the eve of a battle. From the 
 uniform procedure of both these kings, we may fairly conclude that the same 
 mode of entertainment prevailed among both people, and that the Minstrel was 
 a privileged character with each. 
 
 May it not be further said, — what a devotion to the art of music must have 
 existed in those rude times, when the vigilance of war was lulled into sleep and 
 false security, and the enmities of two detesting nations were forgotten for 
 awhile, in the enjoyment of sweet sounds ! 
 
 That the Gleeman or Minstrel held a stated and continued office in the court 
 of our Anglo-Saxon kings, can be proved satisfactorily. We have but to turn to 
 the Doomsday Book, and find under the head : Glowecesterscire, fol. 162, col. 1. 
 — " Berdic, Joculator Regis, habet iii villas," &c. That the word Joculator (at 
 this early period) meant Harper or Minstrel, is sufficiently evident from Geoffrey 
 of Monmouth, of whom Dr. Percy observes very justly, " that whatever credit is 
 
6 ENGLISH MINSTRELSY. 
 
 due to him as a relator oi facts, he is certainly as good authority as any for the 
 signification of words." 
 
 The musical instruments principally in use among the Anglo-Saxons, were the 
 Harp, the Psaltry, the FiBele, and a sort of Horn called in Saxon " Pip " or 
 Pipe. The Harp, however, was the national instrument. In the Anglo-Saxon 
 Poem of Beowulf it is repeatedly mentioned. 
 
 " There was the noise of the harp, the clear song of the poet." . . . . " There 
 was song and sound altogether, before Healfdene's Chieftains ; the wood of joy 
 
 (harp) was touched, the song was often sung." " The beast of war (warrior) 
 
 touched the joy of the harp, the wood of pleasure," &c. 
 
 The FiSele (from which our words fiddler and fiddle are derived) was a sort of 
 viol, played on by a bow. The Psaltry, or Sawtrie, was strung with wire.* 
 
 The Normans were a colony from Norway and Denmark, where the Scalds 
 had arrived at high renown before RoUo's expedition into France. Many 
 of those men no doubt accompanied him to the duchy of Normandy, and left 
 behind them successors in their art ; so that when his descendant William 
 invaded this kingdom, a.d. 1066, he and his followers were sure to favor the 
 establishment of the minstrel profession here, rather than suppress it ; indeed, 
 we read that at the battle of Hastings, there was in William's army a valiant 
 warrior, named Taillefer, distinguished no less for the minstrel arts, than for his 
 courage and intrepidity. This man, who performed the office of Herald-minstrel 
 (Menestrier huchier), advanced at the head of the army, and with a loud voice 
 animated his countrymen, singing a war-song of Roland, i. e., "Hrolfr or RoUo," 
 says our Anglo-Saxon historian, Sharon Turner ; — then rushing among the 
 thickest of the English, and valiantly fighting, lost his life. 
 
 The success of his ancestor RoUo, was one of the topics of the speech in which 
 William addressed his army before the battle, to excite in them the emulation of 
 establishing themselves in England as he had done in Normandy. A " Chanson 
 de Roland " continued in favor with the French soldiers as late as the battle of 
 Poictiers, in the time of their king John, for, upon his reproaching one of them with 
 singing it at a time when there were no Rolands left, he was answered that 
 Rolands would still be found if they had a Charlemagne at their head. This was 
 in 1356. 
 
 Dr. Bumey conjectured that the song, " L'homme armee," which was so popular 
 in the fifteenth century, was ihe Chanson de Roland ; but M. Bottee de Toulmon 
 has quoted the first four lines of " L'homme armee" from the Proper tionalea 
 Musices of John Tinctor, and proved it to be only a love-song. He has also 
 printed the tune, which he extracted from one of the many Masses in which it 
 was used as a subject to make Descant on.* 
 
 » Representations of Anglo-Saxon harps and pipes will elegant in shape than those in Sir John Hawluns's His- 
 
 be found in Harl. MSS. 603, which also contains a tory, copied from Klrcher's Musurgia. A representation 
 
 psaltry, in shape like the lyre of Apollo, but with more of the Fithele will be found in the Cotton Collection, 
 
 strings, and having a concave back. It agrees with that Tiberius, c. vi., and in Strutt's Sports and Pastimes, 
 
 which Augustine describes as carried in the hand of the Both the manuscripts cited are of the tenth century, 
 
 player, which had a shell or concave piece of wood on it, ^ Annualre Historique pour I'ann^e, 1837. Public par 
 
 that caused the strings to resound, and is much more la Societe de I'Histoiie de France. 
 
NORMANS. — BATTLE OF HASTINGS. 7 
 
 Robert Wace, in the Roman de Rou, says that Taillefer sang with a loud voice 
 (chanta a haute voix) the songs of Gharlemagne, Roland, &c., and M. de 
 Toulmon considers the song of Roland to have been a Chanson de Geste, or 
 metrical romance ; and that Taillefer merely declaimed parts of such poems, hold- 
 ing up those heroes as models to the assembled soldiers. The Chanson de Roland, 
 that was printed in Paris in 1837-8 (edited by.M. Michel) from a copy in the 
 Bodleian Library, is a metrical romance in praise of the French hero, the Orlando 
 Innamorato, and Furioso of Boiardo, Berni, and Ariosto, but apparently of no such 
 antiquity ,» and it seems improbable that he should have been the subject of the 
 Norman minstrel's song. All metrical romances, however, were originally recited 
 or chanted with an accompaniment ; and Dr. Crotch has printed a tune in the 
 third edition of his Specimens of Various Styles of Music, vol. 1. p. 133, as the 
 "Chanson Roland sung by the Normans as they advanced to the battle of 
 Hastings, 1066," which I give as a curiosity, but without vouching for its 
 authenticity. 
 
 CHANSON ROLAND. 
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 TT 
 
 T 
 
 
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 J=i 
 
 ^^ 
 
 m 
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 S 
 
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 Ti 
 
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 Dr. Crotch does not name the source from which he obtained this air, nor 
 have I been successful in tracing it.^ The story of Taillefer may, however, be 
 altogether apochryphal, as it is not mentioned by any contemporary historian. 
 
 The English, according to Fordun, spent the night preceding the battle in 
 
 »Tt contains, also, about 4,000 verses; andit seems still 
 more improbable that ao lengthy a composition should 
 have been generally and popularly known. It is more 
 likely to have originated in the favor with which an earlier 
 song was received. 
 
 * The Chanson de Roland that has been printed re- 
 
 cently, edited by Sir Henry Bishop, is a Composition by 
 the Marquis de Paulmy, taken from Burney's History of 
 Music, vol ii. p. 276, but Dr. Burney does not give it as 
 an ancient song or tune. The tune, indeed, is not even 
 In imitation of antiquity. 
 
8 ENGLISH MINSTRELSY. 
 
 singing and drinking. " lUam noctem Angli totam in cantibus et potibus 
 insomnem duxernnt." — c. 13. 
 
 Ingulphus, a contemporary of William the Conqueror, speaks of the popular 
 ballads of the English in praise of their heroes ; and William of Malmesbury, 
 iQ the twelfth century, mentions them also. Three parishes in Gloucestershire 
 were appropriated by William to the support of his miastrel ; and although his 
 Norman followers would incline only to such of their own countrymen as excelled 
 in the art, and would listen to no other songs but those composed in their own 
 Norman-French, yet as the great maiss of the original inhabitants were not ex- 
 tirpated, these could only understand their own native Gleemen or Minstrels ; and 
 accordingly, they fostered their compatriot Minstrels with a spirit of emulation 
 that served to mauitain and encourage them and their productions for a consider- 
 able period after the invasion. That -they continued devoted to their Anglo- 
 Saxon tongue,* notwithstanding the opposition of their tyrannical conquerors, is 
 suflSciently plain. 
 
 " Of this," says Percy, " we have proof positive in the old metrical romance 
 of Horn-Child, which, although from the mention of Sarazens, &c., must have 
 been written at least after the first crusade in 1096, yet, from its Anglo-Saxon 
 language, or idiom, can scarcely be dated later than within a century after the 
 Conquest. This, as appears from its very exordium, was intended to be sung to a 
 popular audience, whether it was composed by or for a Gleeman, or Minstrel. But 
 it carries all the internal marks of being the work of such a composer. It appears 
 of genuine English growth ; for, after a careful examination, I cannot discover any 
 allusion to French or Norman customs, manners, composition, or phraseology : no 
 quotation, ' as the romance sayeth : ' not a name or local reference, which was 
 likely to occur to a French rimeur. The proper names are all of northern 
 extraction. Child Horn is the son of Allof (i.e., Olaf or Olave), king of Sudenne 
 (I suppose Sweden) , by his queen Godylde, or Godylt. Athulf and Fykenyld are 
 the names of subjects. Eylmer, or Aylmere, is king of Westnesse (a part of 
 Ireland) ; Rymenyld is his daughter ; as Erminyld is of another king, Thurstan ; 
 whose sons are Athyld and Beryld. Athelbrus is steward of king Aylmer, &c. &c. 
 All these savour only of a northern origin, and the whole piece is exactly such a 
 performance as one would expect from a Gleeman or Minstrel of the north of 
 England, who had derived his art and his ideas from his'Scaldic predecessors 
 there." 
 
 Although Ritson disputed the English origin of this romance, Sir Frederick 
 Madden, in a note to the last edition of Warton's English Poetry, has proved 
 Percy to be right, and that the French Romance, Dan Horn (on the same subject 
 as Child Horn), is a translation from the English. In the Prologue to another 
 Romance, King Atla, it is expressly stated that the stories of Aelof (Allof), 
 Tristan, and others, had been translated into French from the English. 
 
 • "The dialect of our Alfred, of the ninth century, in hi! in a regular and intelligible series, from the dialect now in 
 
 Saxon translation of Boethlus and Bede, is more clear use to the ninth century: that is, from pure English to 
 
 and intelligible than the vulgar language, equally ancimt, pure Saxon, such as -was spoken and written by King 
 
 of any other country in Europe. For I am acquainted Alfred, unmixed with Latin, Welch, or Norman."— 
 
 with no other language, which, like our own, can mount Burney's HUtory of Music, vol. ii. p. 209. 
 
WILLIAM I. TO EICHABD I. 9 
 
 After the Conquest, the first notice we have relating to the Minstrels is the 
 founding of the Priory and Hospital of St. Bartholemew,'' ia Smithfield, hy 
 Royer, or Raherus, the King's Minstrel, in the the third year of King Henry I., 
 A.D. 1102, Henry's conduct to a luckless Norman minstrel who fell into his power, 
 tells how keenly the minstrel's sarcasms were felt, as well as the ferocity of Henry's 
 revenge. " Luke de Barre," said the king, " has never done me homage, but he has 
 fought against me. He has composed facetiously indecent songs upon me ; he has 
 sung them openly to my prejudice, and often raised the horse-laughs of my malig- 
 nant enemies against me." Henry then ordered his eyes to be pulled out. The 
 wretched minstrel rushed from his tormentors, and dashed his brains against 
 the wall.^ 
 
 In the reign of King Henry H., Galfrid or Jeffrey, a harper, received in 1180 
 an annuity from the Abbey of Hide, near Winchester ; and as every harper was 
 expected to sing,'' we cannot doubt that this reward was bestowed for his music 
 and his songs, which, as Percy says, if they were for the solace of the monks there, 
 we may conclude would be in the English language. The more rigid monks, 
 however, both here and abroad, were greatly offended at the honours and rewards 
 lavished on Minstrels. John of Salisbury, who lived in this reign, thus declaims 
 against the extravagant favour shown to them : " For you do not, like the fools of 
 this age, pour out rewards to Minstrels (Hjstriones et Mimos ^) and monsters of 
 that sort, for the ransom of your fame, and the enlargement of your name." 
 —{Epist. 247.) 
 
 " Minstrels and Poets abounded under Henry's patronage : they spread the love 
 of poetry and literature among his barons and people, and the influence of the 
 royal taste soon became visible in the improved education of the great, in the 
 increasing number of the studious, and in the multiplicity of authors, who wrote 
 during his reign and the next." — Sharon Turner's Hist. Eng. 
 
 In the reign of Eichard I. (1189.) mmstrelsy flourished with peculiar splendour. 
 His romantic temper, and moreover his own proflciency in the art, led him to be 
 not only the patron of chivalry, but also of those who celebrated its exploits. 
 Some of his poems are still extant. The romantic release of this king from the 
 castle of Durrenstein, on the Danube, by the stratagem and fidelity of his Min- 
 strel Blondel, is a story so well known, that it is needless to repeat it here.^ 
 
 Another circumstance which proves how easily Minstrels could always gain 
 admittance even into enemies' camps and prisons, occurred in this reign. The 
 young heiress of D'Evreux, Earl of Salisbury, " was carried abroad, and secreted 
 
 » Vide the Monasticon, torn. ii. pp. 166-67, for a curious Lord Howard's agreement with William Wastell, Harper 
 
 history of this priory and its founder. Also Stowe's Sur- ofLondon, toteachaboynamedColeftohflrpand losing." 
 
 vey. In the Pleaaaunt History of Thomas of Beading, 4to. ^ Histrio, Mimus, Joculator, and Ministrallus, are all 
 
 1662, he is likewise mentioned. His monument, in good nearly equivalent terms for Minstrels in Mediaval Latin, 
 
 preservation, may yet be seen in the parish church of " Incepit more Histrionico, fahulas dicere, et plerumque 
 
 St. Bartholomew, in Smithfield, London. cantare." " Super quo Histriones cantabant, sicut modo 
 
 i- Quoted from Ordericus Vitalis. Hist. Eccles. in Sharon cantatur de Eolando et Ollverio." " Dat sex Mimis 
 
 Turner's Hist England. Domini Clynton, cantantibus, citharisantibus, luden- 
 
 " So in Horn-Child, K. AUof orders his steward, tibus," &c. 4 s. Geoffrey of Monmouth uses Joculator as 
 
 Althebrus to "teohe him of harpe and song." And equivalent to Citharista, in one place, and to Cantor in 
 
 Chaucer, in his description of the Limitour or Mendicant another. See Notes to Percy's Essay. 
 
 Friar, speaks of harping as Inseparable from singing— " in ' The best authority for this story, which has frequently 
 
 his harping, when that he had sung." Also in 1481, see been doubted, is the Chronique de Rains, written in the 
 
10 ENGLISH MINSTBBLST. 
 
 by her French relations in Normandy. To discover the place of her concealment, 
 a knight of the Talbot family spent two years in exploring that province, at first 
 under the disguise of a pilgrim ; tUl having found where she was confined, in 
 order to gaiu admittance he assumed the dress and character of a harper, and 
 being & jocose person, exceedingly skUled in ' the Gests of the Ancients,' — so they 
 called the romances and stories which were the delight of that age, — ^he was gladly 
 received into the family, whence he took an opportunity to carry off the young 
 lady, whom he presented to the king ; and he bestowed her on his natural brother, 
 William Longespee (son of fair Rosamond), who became, in her right, Earl of 
 Salisbury. 
 
 In the reign of king John (a.d. 1212) the English Minstrels did good service 
 to Ranulph, or Randal, Earl of Chester. He, being beseiged in his Castle of 
 Rothelan (or Rhuydland), sent for help to De Lacy, Constable of Chester, who, 
 " making use of the Minstrels of all sorts, then met at Chester fair, by the allure- 
 ments of their music, assembled such a vast number of people, who went forth 
 under the conduct of a gallant youth, named Dutton (his steward and son-in-law) 
 that he intimidated the Welsh, who supposed them to be a regular body of armed 
 and disciplined soldiers, so that they instantly raised the siege and retired." 
 
 For this deed of service to Ranulph, both De Lacy and Dutton had, by 
 respective charters, patronage and authority over the Minstrels and others, who, 
 under the descendants of the latter, enjoyed certain privileges and protection for 
 many ages. 
 
 Even so late as the reign of Elizabeth, when this profession had fallen into such 
 discredit that it was considered in law a nuisance, the Minstrels under the juris- 
 diction of the family of Dutton are expressly excepted out of all acts of Parlia- 
 ment made for their suppression; and have continued to be so excepted ever since.'' 
 
 "We have innumerable particulars of the good cheer and great rewards given to 
 the Minstrels in many of the convents, which are collected by Warton and others. 
 But one instance, quoted from Wood's Hist. Antiq. Ox., vol. i. p. 67, during the reign 
 of king Henry HI. (sub. an. 1224), deserves particular mention. Two itinerant 
 priests, on the supposition of their being Minstrels, gained. admittance. But the 
 cellarer, sacrist, and others of the brethren, who had hoped to have been entertained 
 by their diverting arts, &c., when they found them to be only two indigent'ecclesi- 
 astics, and were consequently disappointed of their mirth, beat them, and turned 
 them out of the monastery." 
 
 Li the same reign (a.d. 1252) we have mention of Master Richard, the king's 
 Harper, to whom that monarch gave not only forty shillings and a pipe of wine, 
 but also a pipe of wine to Beatrice, his wife. Percy remarks, that the title of 
 Magister, or Master, given to this Minstrel, deserves notice, and shows his 
 respectable situation. 
 
 " The learned and pious Grosteste, bishop of Lincoln, who died in 1263, is said, 
 
 IStli Century. — See WrighVsBiograpTi.Brit., AngloNorman newal of the same clauses in the last act on this subject, 
 
 Period, p. 325. passed in the reign of George III. The ceremonieB 
 
 * See the statute of Eliz. anno. 39. cap. ir. entitled an attending the exercise of this jurisdiction are described 
 
 Act for punishment of rogues, vagabonds, &c.; also are- by Dugdale (Bari,. p. lOI], and from him, by Percy. 
 
KING JOHN TO EDWARD I. 11 
 
 in some versea of Robert de Brunne, who flourished about the beginning of the 
 next century, to have been very fond of the metre and music of the Minstrels. 
 The good prelate had written a poem in the Romanse language, called Manuel 
 Peche, the translation of which into English, Robert de Brunne commenced in 
 1302, with a design, as he teUs us himself, that it should be sung to the harp at 
 public entertainments." 
 
 For lewde [unlearned] men I undertoke That talys and rymya wyl blithly here, 
 In Englysshe tunge to make thys boke, Yn gamys and festys, and at the ale 
 For many ben of swyche manere Love men to listens trotevale. [triviality] 
 
 The following anecdote concerning the love which his author, bishop 
 Grosteste, had for music, seems to merit a place here, though related in rude 
 rhymes. 
 
 I shall yow telle as I have herde " The vertu of the Harpe, thurgh 
 
 Of the bysshope Seynt Eoberde, [through] skylle and ryght, 
 
 Hys touame [surname] is Grostest " WyU destrye the fendys [fiends] myght; 
 
 Of Lynkolne, so seyth the gest, " And to the Cros by gode skylle 
 
 He loved moche to here the Harpe, " Is the Harpe ylykened weyl. 
 
 For mannes wy tte it makyth sharpe. " Tharefore, gode men, ye shall lere, [learn] 
 Next hys chaumbre, besyde his study, " Whan ye any Gleman here, 
 Hys Harper's chaumbre was fast therby. " To wurschep God at your powere, 
 Many tymes, by nightes and dayes, " As Davyd seyth in the Sautere. [Psalter] 
 
 He bad solace of notes and layes, " In harpe and tabour and symphan" gle 
 
 One askede hym the resun why " Wurschep God : in trumpes and sautre. 
 
 He hadde dely te in Mjmstralsy ? " In cordes, in organes, and bells ringyng : 
 
 He answerde hym on thys manere " In all these wurschepe the heveue 
 
 Why he helde the Harpe so dere : Kyng, &c." 
 
 Before entering on the reign of Edward L, I quit the Minstrels for awhile, to 
 endeavour to trace the progress of music up to that period. It will be necessary 
 to begin with the old Church Scales, it having been asserted that all national 
 music is constructed upon them — an assertion that I shall presently endeavour 
 to confute ; and by avoiding, as far as possible, all obsolete technical, as well 
 as Greek terms, which render the old treatises on Music so troublesome a study, 
 I hope to convey such a knowledge of those scales as will answer the purpose of 
 such general readers as possess only a slight knowledge of music. 
 
 CHAPTER n. 
 
 Music of the Middle Ages. — Music in England to the end op 
 THE Thirteenth Century. 
 
 During the middle ages Music was always ranked, as now, among the seven 
 liberal arts, these forming the Trivium and Quadrivium, and studied by all 
 those in Europe who aspired at reputation for learning. The Trivium com- 
 prised Grammar, Rhetoric, and Logic; the Quadrivium comprehended Music, 
 
 • Either part-singing, or the instrument called the symphony. 
 
12 MUSIC OE THE MIDDLE AGES. 
 
 Aritlimetic, Geometry, and Astronomy. Sharon Turner remarks, that these 
 comprised not only all that the Komans knew, cultivated, or taught, but 
 embodied " the whole encyclopaedia of ancient knowledge." If we may trust 
 the following jargon hexameters, which he quotes as " defining the subjects 
 they comprised," Music was treated as an art rather than as a science, and 
 a practical knowledge of it was all that was required : — 
 
 Gramm. loquitur ; Dia. vera docet ; Rhet. verba colorat 
 Mus. canit ; Ar. numerat; Geo. ponderat; Ast. colit astra. 
 
 But the methods of teaching both the theory and the practice of music were so 
 dark, difficult, and tedious, before its notation, measure, and harmonial laws were 
 settled, that we cannot wonder when we hear of youth having spent nine or ten 
 years in the study of scholastic music, and apparently to very little purpose. 
 
 In the latter part of the fourth century (a.d. 374 to 397), Ambrose, bishop of 
 Milan, introduced a model of Church melody, in which he chose four series 
 or successions of notes, and called them simply the first, second, third, and fourth 
 tones, laying aside, as inapplicable, the Greek names of Doric, Phrygian, Lydian, 
 JEolie, Ionic, &c. These successions distinguished themselves only by the posi- 
 tion of the semitones in the degrees of the scale, and are said to be as follows : 
 
 1st tone, defgabcd 
 
 2nd tone, — efgabcde 
 
 3rd tone, f g a b c d e f 
 
 ith tone, gabcdefg 
 
 These, Pope Gregory the Great (whose pontificate extended from 690 to 604) 
 increased to eight. He retained the four above-mentioned of Ambrose, adding to 
 them four others, which were produced by transposing those of Ambrose a fourth 
 lower ; so that the principal note (or key-note, as it may be called) which for- 
 merly appeared as the first in that scale, now appeared in the middle, or strictly 
 speaking, as the fourth note of the succession, the four additional scales beiag 
 called the plagal, to distinguish them from the four more ancient, which received 
 the name of authentic. 
 
 In this manner their order would of course be disarranged, and, instead of being 
 the first, second, third, and fourth tones, they became the first, third, fifth, and 
 seventh. 
 
 The following are the eight ecclesiastical tones (or scales) which still exist as such 
 in the music of the Komish church, and are called Gregorian, after their founder : 
 
 lat tone Authentic, D e'^f g A b'^c D 
 
 2d do. Plagal, A b'^c D e^f g A 
 
 3d do. Authentic, E'^ g a B'^c d E 
 
 4th do. Plagal, — B~c d E~f g a B 
 
 6th do. Authentic, F g a b'"0 d e'^P 
 
 6th do. Plagal, d e'^P g a b'~0 
 
 7th do. Authentic, ^ Gab'^cDefG 
 
 8th do. Plagal, D e~f G a b~c D 
 
 It will be perceived at the first glance, that these Gregorian tones have only 
 
GREGORIAN TONES. 13 
 
 the intervals of the diatonic scale of C, such as are the white keys of the pianoforte, 
 without any sharps or flats. The only allowable accidental note in the Canto 
 fermo or plain song of the Romish church is B flat, the date of the introduction 
 of which has not been correctly ascertained.* No sharp occurs in genuine chants 
 of high antiquity. In some modern books the flat is placed at the clef upon h, for 
 the fifth and sixth modes, but the strict adherents to antiquity do not admit this 
 innovation. These tones only differ from one another in the position of the half 
 notes or semitones, as from h to c, and from e to/. In the four plagal modes, the 
 final or key note remains the same as in the relative authentic ; thus, although in the 
 sixth mode we have the notes of the scale of C, we have not in reality the key of 
 C, for the fundamental or key note is/; and although the first and eighth tones 
 contaiu exactly the same notes and in the same position, the fundamental note of 
 the first is d, and of the eighth g. There is no other difference than that the 
 melodies iu the four authentic or principal modes are generally (and should 
 strictly speaking be) confined within the compass of the eight notes above the key 
 note, whUe the four plagal go down to a fourth below the key note, and only 
 extend to a fifth above it. 
 
 No scale or key of the eight ecclesiastical modes is to us complete. The first 
 and second of these modes being regarded, according to the modern rules of 
 modulation, as in the key of D minor, want a flat upon h ; the third and fourth 
 modes having their termination in E, want a sharp upon/; the fifth and sixth 
 modes being in F, want a flat upon h ; and the seventh and eighth, generally 
 beginning and ending in G major, want an /sharp. 
 
 The names of Dorian, Phrygian, Lydian, Mixolydian, &c., have been applied to 
 them with equal impropriety (more particularly since Glareanus, who flourished 
 in the sixteenth century) ; they bear no more resemblance to the Greek scales than 
 to the modern keys above cited. 
 
 Pope Gregory made an important improvement by discarding the thoroughly 
 groundless system of the tetrachord, adopted by the ancient Greeks,'' and by 
 founding in its place that of the octave, the only one which nature indicates. And 
 another improvement no less important, in connexion with his system of the 
 octave, was the introduction of a most simple nomenclature of the seven sounds of 
 the scale, by means of the first seven letters of the alphabet. Burney says that the 
 Roman letters were first used as musical characters between the time of Boethius,'' 
 who died in 526, and St. Gregory ; but Kiesewetter '^ attributes this improvement 
 in notation entirely to Gregory, in whose time the scale consisted only of two 
 octaves, the notes of the lower octave being expressed by capital letters, and the 
 
 » It -was probably derived from the tetrachords of the reference in the divisions of the monochord, not as 
 
 Greek scale, which admitted both b flat and 6 natural, hut musical notes or characters, 
 
 which it is not necessary to discuss here. '' " History of the Modern Music of Western Europe, 
 
 i> In the old Greek notation there were 1620 tone charac- from the first century of the Christian era, to the present 
 
 ters, with which Musicians were compelled to burthen day," &c., by R. G. Kiesewetter, translated by Robert 
 
 their memories, and 990 marks actually different from Muller, 8vo., 1848. It is a very cleariy and concisely 
 
 each other. written history, and contains in an appendix within the 
 
 " It appears from Burney, that Boethius used the first compass of a few pages, as much of the Greek music as 
 
 fifteen letters of the alphabet, but only as marks of any modern can require to know. 
 
14 MUSIC OF THE MIDDLE AGES. 
 
 higher by small letters. Eventually a third octave was added to the scale, four 
 notes of which are attributed to Guido, and one to his pupils ; the two remaining 
 notes still later. The highest octave was then expressed by double letters; as, aa, 
 bb, &c. These three octaves in modem notes would constitute the following scale : 
 
 ^ -g Q J) jj -p Q. a b c d e f g aa bb CO dd ee ff gg 
 
 r): ^f P^^ 
 
 r,o^^ 
 
 ' ^- dV^-' — ' 
 
 First octave. Second octave. Third octave 
 
 This is the alphabetical system of names for the notes which we, in England, 
 still retain for every purpose but that of exercising the voice, for which solfaing 
 on vowels is preferred. 
 
 Gregory's alphabetical system of notation was, however, only partially adopted. 
 Some wrote on lines varying from seven to fifteen in number, placing dots, like 
 modem crotchet-heads, upon them, but making no use of the spaces. Others used 
 spaces only, and instead of the dots wrote the words themselves in the spaces, dis- 
 jointing each syllable to place it ia the position the note should occupy. A third 
 system was by points, accents, hooks, and strokes, written over the words, and they 
 were intended to represent to the singer, by their position, the height of the note, 
 and by their upward or downward tendency, the rising or falling of the voice. It 
 was, however, scarcely possible for the writer to put down a mark so correctly, 
 that the singer could tell exactly which note to take. It might be one or two 
 higher or lower. To remedy this, a red line was drawn over, and parallel to the 
 words of the text, and the marks were written above and below it. A further 
 improvement was the use of two lines, one red and the other yellow, the red for F, 
 the yellow for C, as it only left three notes (G, A, and B) to be inserted between 
 them."' 
 
 Such was the notation before the time of Guido, a monk of Arezzo, in Tuscany, 
 who flourished about 1020. He extended the number of lines by drawing one 
 line under E, and another between F and 0, and thus obtained four lines and 
 spaces, a number, which in the Rituals of the Romis.h Church has never been 
 exceeded. 
 
 The clefs'were originally the letters F and C, used as substitutes for those red 
 and yellow lines. The Base clef still marks the position of F, and the Tenor 
 clef of C, although the forms have been changed. 
 
 Guido, in his Antiphonarium, gives the hymn JJt queant laxis^ (from the 
 
 « Specimens of this notation, with red and yellow lines, FAmuli tuonim : 
 
 will be found in Martini's Storia della Musica, vol, i. SOLve polluti, 
 
 p. 184; in Bumey's History, vol. ii. p. 37 ; in Hawkins's LAbii reatum. 
 
 History, p. 947 (8to. edition) ; and in Kiesewetter's Sancte Johannes. 
 
 p. 280. Also of other systems mentioned above. gj ^33 „ot the settled name for B untU nearly the end 
 
 'Hymn for St. John the Baptist's day, written by of the seventeenth century; and, althoughit was proposed 
 
 Paul the Deacon, about 774. in 1547, Butler in his Principles of Musick, 1636, gives 
 
 UT queant laxis the names of the notes as Ut, re, mi, fa, sol, la, pha. In 
 
 REsonare jibris, 1673, Gio. Maria Bononcini, father of Handel's pseudorival, 
 
 MIra gestorum used Do in place of Ut, but the French gtill retain Ut. 
 
SCALES, NOTATION, CLEFS, AND DESCANT. 15 
 
 initial lines of which the names of the notes, Ut, re, mi, fa, sol, la, were taken), in 
 old ecclesiastical notation, and in the Chronicle of Tours, under the year 1033, he 
 is mentioned as the first who applied those names to the notes. He did not add 
 the Greek gamma (our G) at the bottom of the scale," as was long supposed, 
 for Odo, Abbot of Cluny, in Burgundy, had used it as the lowest note, in his 
 Enchiridion, a century before. 
 
 To Franco, of Cologne (who, by the testimony of Sigebert, his cotemporary, 
 had acquired great reputation for his leamiug in 1047, and lived at least till 1083, 
 when he filled the oflSce of Preceptor of the Cathedral of Liege), is to be ascribed 
 the invention of characters for tme.''' By this he conferred the most important 
 benefit on music, for, till then, written melody was entirely subservient to syllabic 
 laws, and music in parts must have consisted of simple counterpoint, such, says 
 Burney, as is still practised in our parochial psalmody, consisting of note agaiast 
 note, or sounds of equal length. 
 
 The first ecclesiastical harmony was called Descant, and by the Italians, Mental 
 Counterpoint (Contrappunto alia mente). It consisted of extemporaneous singing 
 in fourths, fifths, and octaves, above and below the plain song of the Church ; and 
 although in its original sense, it implied only singing in two parts, it had made 
 considerable advances in the ninth century, towards the end of which we find 
 specimens, still existing, of harmony in three and four parts. When Descant was 
 reduced to writing, it was called Counterpoint, from pundum contra puncium, 
 point against point, or written notes placed one against the other. 
 
 Hubald, Hucbald, or Hugbald, as he is variously named, and who died in 930, 
 at nearly ninety years of age, has left us a treatise, called Musica Enchiriadis, 
 which has been printed by the Abbe Gerbert, in his Scriptores Ecclesiastici. In 
 chapters X. to XIV., De Symphoniis, he says: "There are three kinds of 
 symphony (harmony) , in the fourth, fifth, and octave, and as the combination of 
 some letters and syllables is more pleasing to the ear than others, so is it with 
 sounds in music. All mixtures are not equally sweet." In the fifteenth chapter 
 he uses a transient second and third, both major and minor ; and in the eighteenth 
 he employs four thirds in succession. Burney says : " Hubald's idea that one 
 voice might wander at pleasure through the scale, while the other remains fixed, 
 shows him to have been a man of genius and enlarged views, who, disregarding 
 rules, could penetrate beyond the miserable practice of his time, into our Points 
 d'Orgue, Pedale, and multifarious harmony upon a holding note, or single base, 
 and suggests the principal, at least, of the boldest modern harmony." It is in 
 this last sense of amplifying a point, that we still retain the verb to descant in 
 common use. Guido describes the Descant existing in his time, as consisting of 
 
 » To distinguish G on the lowest line of the Base from scale, for the monochord, and placed notes upon lines and 
 
 the G in the fifth space, the former was marked with the spaces ; after whom came Magister Franco, who invented 
 
 Greek fi and hence the word gammut, applied to the the figures, or notes, of the Cantus mensurabilis (qui 
 
 ■whole scale. invenit in cantu mensuram figurarum). Marchetto da 
 
 ' John de Muris, who flourished in 1330, in giving a list Padova, who wrote in 1274, calls Franco the inventor of the 
 
 of anterior musicians, who had merited the title of four first musical characters ; and Franchinus Gatfurius 
 
 inventors, names Guido, who constructed the gammut, or twice quotes him as the author of the time-tahle. 
 
16 
 
 MUSIC OF THE MIDDLE AGES. 
 
 fourths, fifths, and octaves under the plain-song or chant, and of octaves (either 
 to the plain song or to this base) above it. He suggests what he terms a smoother 
 and more pleasing method of under-singing a plain-song, in admitting, besides the 
 fourth and the tone, the major and minor thirds; rejecting the semitone and the 
 fifth. " No advances or attempts at variety seem to have been made in counterpoint, 
 from the time of Hubald, to that of Guido, a period of more than a hundred 
 years ; for with all its faults and crudities, the counterpoint of Hubald is at least 
 equal to the best combinations of Guido ;" but the monk, Engelbert, who wrote in 
 the latter end of the thirteenth century, tells us that all " regular descant " con- 
 sists of the union of fourths, fifths, and octaves, so that these uncouth and bar- 
 barous harmonies, in that regular succession which has been since prohibited, 
 continued in the Church for four centuries. 
 
 Before the use of lines, there were no characters or signs for more than two 
 kinds of notes in the Church ; nor since ecclesiastical chants have been written 
 upon four lines and four spaces, have any but the square and lozenge characters, 
 commonly called Gregorian notes, been used in Canto fermo : and, although the 
 invention of the time-table extended the limits of ingenuity and contrivance to 
 the utmost verge of imagination, and became all-important to secular music, 
 the Church made no use whatever of this discovery. 
 
 That melody received no great improvement from the monks, need excite 
 no wonder, as change and addition were alike forbidden; but not to have 
 improved harmony more than they did for many centuries after its use was 
 allowed, is a matter of just surprise, especially since the cultivation of music 
 was a necessary part of their profession. 
 
 We have occasional glimpses of secular music through their writings ; for 
 instance, Guido, who gives a fair definition of harmony in the sense it is now 
 understood (Armenia est diversarum vocum apta coadunatio), says that he 
 merely writes for the Church, where the pure Diatonic genus was first used, but 
 he was aware of the deficiency as regards other music. " Sunt proeterea et alia 
 musicorum genera aliis mensuris aptata." Franco (about 1050) just mentions 
 Discantum in Cantilenis Rondellis — " Descant to Rounds or Roundelays," — but 
 no more. 
 
 When Franco writes in four parts, he sometimes gives five lines to each part, 
 the five lowest for the Tenor or plain song, the next five for the Medius, five for 
 the Triplum Discantus, and the highest for the Quadruplum. Each has a clef 
 allotted to it. Although many changes in the form of musical notes have been 
 made since his time, the lines and spaces have remaiaed without augmentation or 
 diminution, four for the plain song of the Romish Church, and five for secular 
 music. 
 
 He devotes one chapter to characters for measuring silence, and therein gives 
 examples of rests for Longs, Breves, Semibreves, and final pauses. He also 
 suggests dots, or points of augmentation. Bars are placed in the musical examples, 
 as pauses for the singers to take breath at the end of a sentence, verse, or phrase 
 of melody. And this is the only use made of bars in Canto fermo. 
 
ANGLO-SAXON MUSIC. 17 
 
 Turning to England, Milton tells us, from the Saxon annals, that in 668, 
 Pope Vitalian sent singers into Kent, and in 680, according to the Venerable 
 Bede,* Pope Agatho sent John, the Prjecentor of St. Peter's at Eome, to 
 instruct the monks of Weremouth in the manner of performing the ritual, and he 
 opened schools for teaching music in other parts of the kingdom of Northumber- 
 land. Bede was also an able musician, and is the reputed author of a short 
 musical tract in two parts, de Musica theorica, and de Musica pracUca, seu men- 
 siirata ; but Burney says, although the first may have been ^vritten by him, the 
 second is manifestly the work of a much more modern author, and he considers it 
 to have been produced about the twelfth century, i. e., between the time of Guido 
 and the English John de Muris. There must always be a difficulty in identifying 
 the works of an author who lived at so remote a period, without the aid of 
 contemporary authority, or of allusions to them of an approximate date ; and when 
 he has written largely, such difficulties must be proportionably increased. But, 
 rejecting both the treatises on music, if he be the author of the Commentary on 
 the Psalms, which is included in the collected editions of his works of 1563 
 and 1688, sufficient evidence will remain to prove, not only his knowledge of 
 music, but of all that constituted the " regular" descant of the church from the 
 ninth to the thirteenth century. I select one passage from his Commentary on 
 the 52nd Psalm. " As a skilful harper in drawing up the cords of his instrument, 
 tunes them to such pitches, that the higher may agree in harmony with the lower, 
 some differing by a semitone, a tone, or two tones, others yielding the consonance 
 of the fourth, fifth, or octave ; so the omnipotent God, holding all men predestined 
 to the harmony of heavenly life in His hand like a well-strung harp, raises some 
 to the high pitch of a contemplative life, and lowers others to the gravity of active 
 life." And he thus continues : — " Giving the consonance of the octave, which 
 consists of eight strings ;"...." the consonance of the fifth, consisting of five 
 strings ; of the fourth, consisting of four strings, and then of the smaller vocal 
 intervals, consisting of two tones, one tone, or a semitone, and of there being 
 semitones in the high as well as the low strings."'' Our great king, Alfred, 
 according to Sir John Spelman, " provided himself of musitians, not common, or 
 such as knew but the practick part, but men skilful in the art itself;" and in 866, 
 according to the annals of the Church of Winchester, and the testimony of many 
 
 ■ As a proof of the veneration in ■n-hich Bede was lield, hannoniam praBdestinatos in manu sua, quasi citharam 
 and the absurd legends relating to him, I quote from quandam, chordis convenientibus ordinatam, babens, 
 a song of the fifteenth century:— quosdam quidem ad acutum contemplativae vita sonum 
 
 intendit, alios ver6 ad activas vitic gravitatemtemperando 
 remittit." — "ut ad alios comparati quasi diapason con- 
 
 sonantiara, quaj octo chordis constat, reddant duos 
 
 autem ad diapente consonantiam, quinque cliordis con- 
 Songs and Carols. Percy Soc. No. 73, p. 31. ^tj^^t^^^ jUgit, jui possunt intelligere qui tanta jam per- 
 
 b " Sicut peritus citharseda chordas plures tendens in fectionis sunt Diatesseron qustuor cliordis constans. 
 
 cithara, temperat eas acumine et gravitate tali, ut Per minora vero vocum intervalla qua duos tones 
 
 superiores inferioribus conveniant in melodia, qua;dam autunum, vel semitonium sonant Sed quia tam in 
 
 semitonii, qusedamuniustoni, quffidamduorumtonorum altisonis quam in grandisonis chordis habetur semi- 
 differentiam gerentea, aliee vero diatesseron, ali<E autem tonium." SLC.—Beda; Presbyteri Opera, vol. 8, p. 1070, fol. 
 diapente, vel etiam diapason consonantiam reddentes : ita Basilra, 1563, or Colonim Agrippinc^, vol. 8, p. 908, 
 et Deus omnipotens omnes homines ad ccelestis vit<E fol, 1688. 
 
 ' When Bede had preclid to the stonys dry 
 The my[gh]t of God made [t]hem to cry 
 Amen : — certys this no ]y[e] ! " 
 
18 
 
 ancient -writers, he founded a Professorship at Oxford," for the cultivation of music 
 as a science. The first who filled the chair was Friar John, of St. David's, who 
 read not only lectures on Music, but also on Logic and Arithmetic. Academical 
 honors in the faculty of music have only been traced back to the year 1463, when 
 Henry Habington was admitted to the degree of Bachelor of Music, at Cambridge, 
 and Thomas Saintwix, Doctor of Music, was made Master of King's College, in 
 the same university ; but it is remarkable that music was the only one of the 
 seven sciences that conferred degrees upon its students, and England the only 
 country in which those degrees were, and are still conferred. 
 
 About 1169, when Thomas k Becket conducted the negociations for the 
 marriage of Henry the Second's eldest son with the daughter of Louis VH., and 
 went to Paris, as chancellor of the English Monarch, he entered the French towns, 
 his retinue being displayed with the most solicitous ostentation, " preceded by two 
 hundred and fifty boys on foot, in groups of six, ten, or more together, singing 
 English songs, according to the custom of their country." '' This singing in groups 
 resembled the " turba canentium," of which Giraldus afterwards speaks ; and the 
 following passage from John of Salisbury, about 1170, shows at least the delight 
 the people had in listening to part-singing, or descant. " The rites of religion 
 are now profaned by music ; and it seems as if no other use were made of it than 
 to corrupt the mind by wanton modulations, efieminate inflexions, and frittered 
 notes and periods, even in the Penetralia, or sanctuary, itself. The senseless 
 crowd, delighted with all these vagaries, imagine they hear a concert of sirens, 
 in which the performers strive to imitate the notes of nightingales and parrots, 
 not those of men, sometimes descending to the bottom of the scale, sometimes 
 mounting to the summit ; now softening, and now enforcing the tones, repeating 
 passages, mixing in such a manner the grave sounds with the more grave, and 
 the acute with the most acute, that the astonished and bewildered ear is unable 
 to distinguish one voice from another." " It was probably this abuse of descant 
 that excited John's opposition to music, and his censures on the minstrels, as 
 shown in the passage before quoted. It proves also, that descant in England did 
 not then consist merely of singing in two parts, but included the licenses and 
 ornaments of florid song. ' Even singing in canon seems to be comprised in the 
 words, " praecinentium et succinentium, canentium et decinentium." 
 
 About 1185, Gerald Barry, or Giraldus Cambrensis, archdeacon, and after- 
 
 • The earliest express mention of the University of spectum Domini, in ipsis penetralibus sanctuarii, las- 
 Oxford, after the foundation of the schools "there by civientis vocis luxu, quadam ostentatione sui, mulie- 
 Alfred, is from the historian Ingulphus, whose youth bribus modisnotularum articulorumque esesuris, stupentes 
 coincided with the early part of the reign of Edward the animulas emoUire nituntur. Cum prEBcinentium, et suc- 
 Confessor. He tells us that, having been bom in the City cinentium, canentium, et decinentium, intercinentium, 
 of London, he was first sent to school at Westminster, et occinentium, preemoUes modulationes audierls, Slren- 
 and that from Westminster he proceeded to Oxford, arum concentus credas esse, non honiinum et de vocum 
 where he studied the Aristotelian Philosophy, and the facilitate mitaheris, quibus philomela vel psittacus, aut 
 rhetoritical writings of Cicero. si quid sunorius est, modes suos nequeuiit coeequare. £a 
 
 '"In ingressu Gallicanarum villarum et castrorum, siquidem est, ascendeudi descendendique facilitasj ea 
 
 primi veuiebant garciones pedltes quasi ducenti quin- sectio vel geminatlo notularum, ea replicatio articulorum, 
 
 quaginta, gregatim euntes sex vel denl, vel plures simul, singulorumque consolldatio ; sic acuta vel acutissima, 
 
 aliquid lingua sua pro more patriae suae cantantes." — gravibus et subgravibus temperantur,- ut aurihus sui 
 
 Siephanides, Vita S. Thoma Cantuar, pp. 20, 21. indicii fere subtrahetur auturitas.— PoiicraiicMs, sive de 
 
 • Mudica cultura rellgionis incestat, quod ante con- Nut/is CuriaHum, lib. i., c. C. 
 
GIRALDUS CAMBRENSIS' ACCOUNT. 19 
 
 wards bishop, of St. David's, gave the following description of the peculiar man- 
 ner of singing of the Welsh, and the inhabitants of the North of England : " The 
 Britons do not sing their tunes in unison, like the inhabitants of other countries, 
 but in different parts. So that when a company of singers meets to sing, as is 
 usual in this country, as many different parts are heard as there are singers, who 
 all finally unite in consonance and organic melody, under the softness of B flat." 
 In the Northern parts of Britain, beyond the Humber, and on the borders of 
 Yorkshire, the inhabitants make use of a similar kind of symphonious harmony 
 in singing, but with only two differences or varieties of tone and voice, the one 
 murmuring the under part, the other singing the upper in a manner equally soft 
 and pleasing. This they do, not so much by art, as by a habit peculiar to them- 
 selves, which long practice has rendered almost natural, and this method of singing 
 has taken such deep root among this people, that hardly any melody is accustomed 
 to be uttered simply, or otherwise than in many parts by the former, and in two 
 parts by the latter. And what is more astonishing, their children, as soon as they 
 begin to sing, adopt the same manner. But as not all the English, but only those 
 of the North sing in this manner, I believe they had this art at first, like their 
 language, from the Danes and Norwegians, who were more frequently accustomed 
 to occupy, as well as longer to retain, possession of those parts of the island." ^ 
 Now, allowing a little for the hyperbolic style so common with writers of that age, 
 this may fairly be taken as evidence that part-singing was common in Wales, or 
 that at least they made descant to their tunes, in the same way that singers did 
 to the plain-song or Canto fermo of the Church at the same period ; also that 
 singing in two parts was common in the North of England, and that children tried 
 to imitate it. Burney and Hawkins think that what Giraldus says of the singing 
 of the people of Northumberland, in two parts, is reconcileable to probability, 
 because of the schools established there in the time of Bede, but Burney doubts 
 his account of the Welsh singing in many parts, and makes this " turba 
 canentium" to be of the common people, adding, "we can have no exalted idea 
 of the harmony of an untaught crowd." These, however, are his own inferences ; 
 Giraldus does not say that the singers were untaught, or that they were of 
 the common people. As he is describing what was the custom in his own time, 
 
 a "Uniting under the softness of B flat," is not very una iiiferius sub murmurante altera ver6 supernfe demul- 
 
 intelligible, but one thing may be inferred from it, that cente pariter et delectante. Nee arte tantum sed usu 
 
 they sang in the natural scale, such as the fifth mode longaevo et quasi in naturam mora diutina jam converse, 
 
 became by the use of B flat in the seal.' of F, and not in ha;c vel ilia sibi gens banc specialitatem comparavit. 
 
 the modes that were peculiar to the church. B flat was Qui ade6 apud utramque invaluit et altas jam radices 
 
 only used in the flfth mode and its plagal. posuit, ut nihil hie simpliciter, ubi multipliciter ut apud 
 
 >> In musico modulamine non uniformiter ut alibi, priores, vel saltem dupliciter ut apud sequentes, mellit^ 
 
 sed multipliciter multisque modis et modulis cantilenas proferri consuaverit. Pueris etiam (qu6d magis admi- 
 
 emlttunt, ade5 ut in turba canentium, sicut huic genti randum) et fer^ infantibus, (cum primum k fletibus in 
 
 mos est, quot videas capita tot audlas carmina dis- cantus erumpunt) eandem modulationem observanlibus. 
 
 crimin4que vocum varia, in unam denique sub B mollis Angli verb quoniam non generaliter omnes sed borcales 
 
 dulcedine blanda consonantiam et organicam convenientia solilm hujusmodi vocum utuntur modulationibus, credo 
 
 melodiam. In horealibus quoque majoris Britannia; par- qu6d a Dacis ct Norwagiensibus qui partes illas insulae 
 
 tibus trans Humbrum, Eboracique flnibus Anglorum frequentiCls occupare ac diutiiis obtinere solebant, sicut 
 
 populi qui partes illas inhabitant simili canendo sym- loquendi aflinitatem, sic canendi pioprietatem contrax- 
 
 phonica utuntur hamionia : binis tamen solummodo emnt.—Camliria: Descriplio, cap. xiii. 
 tonorum difTerentiis et vocum modulando varietatibus. 
 
20 HAKPEES NOT TAUGHT BY MONKS. 
 
 not what had taken place a century before, there seems no sufficient ground 
 for disbelieving his statement,'* and least of all, should they who are of the opinion 
 that all musical knowledge was derived from the monasteries, call it in question, 
 since, as already shown, part music had then existed in the Church, in the form 
 of descant, for three centuries. 
 
 " If, however," says Burney, " incredulity could be vanquished with respect to 
 the account which Giraldus Cambrensis gives of the state of music in Wales 
 during the twelfth century, it would be a Welsh MS. in the possession of Richard 
 Morris, Esq., of the Tower, which contains pieces for the harp, that are in full 
 harmony or cmmterpoint ; they are wi'itten in a peculiar notation, and supposed 
 to be as old as the year 1100 ; at least, such is the known antiquity of many of 
 the songs mentioned in the collection," &c. It is not necessary here to enter 
 into the defence of Welsh music, but the specimens Dr. Burney has printed from 
 that manuscript, which he describes as in full harmony and counterpoint, are 
 really nothing more than the few simple chords which must fall naturally under 
 the hand of any one holding the instrument, and such as would form a child's 
 first lessons. First the chord, G C E, and then that of B D F, form the entire 
 bass of the only two lessons he has translated; and though from B to P is 
 a " false fifth," it must be shown that the harper derived his knowledge of 
 the instrument from the Church, before the assertion that it is more modern 
 harmony than then in use can have any weight. In England, at least, not 
 only the evidence of Giraldus, but all other that I can find, is against such a 
 supposition. I have before alluded to the Romance of Horn-Child, (note c, to 
 page 9), and here give the passage, to prove that such knowledge -was not 
 derived from the Church, as well as to show what formed a necessary part of 
 education for a knight or warrior. It is from that part of the story where 
 Prince Horn appears at the court of the King of Westnesse. 
 
 Original Words. Words Modernized. 
 
 " The kyng com in to halle, The king came into [tbe] hall 
 
 Among his knyhtes alle, ' Among his knights all, 
 
 Forth he clepeth Athelbrus, Forth he calleth Athelbrus, 
 
 His stiward, and him seide thus : His steward, and [to] him said thus 
 
 ' Stiward, tae thou here " Steward, take thou here 
 
 My fundling, for to lere My foimdling, for to teach 
 
 Of thine raestere Of thy mystery 
 
 Of wode and of ryuere, Of wood and of river, 
 
 Ani toggen o the harpe And to play on the harp 
 
 With is nayles sharpe. With his nails sharp. 
 
 Ant tech him alle the listes And teach him all thou listest, 
 
 That thou euer wystest. That thou ever knewest, 
 
 Byfore me to keruen, Before me to carve 
 
 And of my coupe to seruen : And my cup to serve : 
 
 "Dr. Percy says, "The credit of Giraldus, wMch hath work, 'Antiquities of Ireland,' by Edward Ledwich, 
 been attacked by some partial and bigoted antiquaries, LL.D. Dublin, 1?90, 4to., p. 207. et seq." 
 the reader will iind defended in that learned and curious 
 
CHARACTER OF TUNES OFTEN DERIVED FROM INSTRUMENTS. 21 
 
 Ant his feren deuyse And devise for his fellows 
 
 With ons other seruise ; With lis other service ; 
 
 Horn-Child, thou vnderstoud Horn-Child, thou understand 
 
 Tech him qfharpe and of song." " Teach him of harp and of song." 
 
 In another part of the poem lie is introduced playing on his harp. 
 
 Horn sette him ahenche, Horn seated himself on a hench. 
 
 Is harpe he gan clenche His harp he began to clench ; 
 
 He made Eymenild a lay He made Rymenild a lay 
 
 Ant hue seide weylaway, &c.' And he s:iid wellavcay ! &c. 
 
 Li searching into the early history of the music of any country, the first 
 subject of inquiry should be the nature and character, as well as the peculiarities 
 of scale, of the musical instruments they possessed. If the musical instruments 
 in general use had an imperfect scale, the national music would generally, if not 
 universally, have retained the peculiarities of that scale. Hence the characteristics 
 of Scottish music, and of some of the tunes of the North of England, which re- 
 semble it. In the following collection many can be pointed out as bagpipe tunes, 
 such as " Who lireth so merry in all this land, as doth the poor widow that selleth 
 the sand," and " By the border's side as I did pass," both of which seem to 
 require the accompaniment of the drone, while others, like " Mall (or Moll) 
 Sims," strictly retain the character of harp music. Where, however, the harp 
 was in general use, the scale would be more perfect than if some other instru- 
 ments were employed, and hence the melodies would exhibit fewer peculiarities, 
 unless, indeed, the harp was tuned to some particular scale, which, judging by 
 the passage above quoted from Bede, does not seem to have been the case in 
 England. 
 
 About 1250 we have the song, Sumer is icumen in, the earliest secular com- 
 position, in parts, known to exist in any country. Sir John Hawkins supposed that 
 it could not be earlier than the fifteenth century, because John of Dunstable, to 
 whom the invention of figurative music has been attributed, died in 1455. But 
 Dr. Burney remarks that Dunstable could not have been the inventor of that art, 
 concerning which several treatises were written before John was born, and shows 
 that mistake to have originated in a passage from Proportionales Musices, by John 
 Tinctor, a native of Flanders, and the " most ancient composer and theorist of 
 that country, whose name is upon record." It is as follows : " Of which new art, 
 as I may call it (counterpoint) , the fountain and source is said to have been among 
 the English, of whom Dunstable was the chief. "^ "Caput," literally meaning 
 " head," had been understood in its secondary sense of " originator or beginner." 
 
 Dr. Burney's opinion with respect to the age of this canon seems to have been 
 very unsettled (if indeed he can be said to have formed one at all). He first 
 presents it as a specimen of the harmony in our country, " about the fourteenth 
 
 " Warton's Histoiy of English Poetry, vol. i., p. 38, fuisse perhibetur." From Proportionale Musices, dedi- 
 
 8vo., 1840. cated to Ferdinand, king of Sicily, Jerusalem, and 
 
 I" "Cujus, ut itadicam, nov«eartis(Contrapunctis), fons Hiu;gary (who reigned from 1458 to 1494), by John 
 
 et origo apud Anglos, quorum caput Dunstaple extitit, Tinctor, Chaplain and Maestro di Capella to that Prince. 
 
22 MANUSCEIPXS^-THIRTEENTH CENTURY. 
 
 and fifteenth century." On the same page he tells us that the notes of the 
 MS. resemble those of "Walter Odington's Treatise* (1230), and seem to be of the 
 thirteenth or fourteenth century, and he can hardly imagine the canon much 
 more modern. Then he is " sometimes inclined to imagine" it to have been 
 the production of the Northumbrians, (who, according to Giraldus Cambrensis, 
 used a kind of natural symphonious harmony,) iut with additional parts, and a 
 second drone-base of later times. By " additional parts" I suppose Bumey 
 to mean adding to the length of the tune, and so continuing the canon. Next 
 in reviewing " the most ancient musical tract that has been preserved in our 
 vernacular tongue" (by Lyonel Power), he says, this rule (a prohibition of 
 taking fifths and octaves in succession) seems to have been so much unknown 
 or disregarded by the composer of the canon, " Sumer is icumen in," as to 
 excite a suspicion that it is " much more ancient than has been imagined." 
 And finally, " It has been already shown that counterpoint, in the Church, 
 began by adding parts to plain chant ; and in secular music, by harmonizing 
 old tunes, as florid melody did by variations on these tunes. It was long 
 before men had the courage to invent new melodies. It is a matter of sur- 
 prise that so little plain counterpoint is to be found, and of this little, none 
 correct, previous to attempts at imitation, fugue, and canon ; contrivances to which 
 there was a very early tendency, in all probability, during times of extemporary 
 descant, before there was any such thing as written harmony : for we find in the 
 most ancient music in parts that has come down to us, that fugue and canon had 
 made considerable progress at the time it was composed. The song, or round, 
 ' Sumer is icumen in,' is a very early proof of the cultivation of this art." He 
 then proceeds to show how, according to Martini, from the constant habit of 
 descanting in successive intervals, new melodies would be formed in harmony with 
 the original, and whence imitations would naturally arise. 
 
 Ritson, who knew more of the age of manuscripts than of musical history, is 
 of opinion that Burney and Hawkins were restrained by fear from giving their 
 opinion of its date, and says it may be referred to as early a period (at least) as 
 the year 1250. Sir Frederick Madden,^ in a note to the last edition of Warton's 
 English Poetry, says : " Ritson justly exclaims against the ignorance of those who 
 refer the song to the fifteenth century, when the MS. itself is certainly of the 
 middle of the thirteenth." Mr. T. Wright, who has devoted his attention 
 almost exclusively to editing Anglo-Norman, Anglo-Saxon, and early English 
 manuscripts, says : " The latter part of this manuscript, containing, among others, 
 the long political song printed in my Pol. Songs, p. 72, was certainly written 
 during the interval between the battle of Lewes, in May, 1264, and that of 
 Evesham, in the year following, and most probably immediately after the first- 
 mentioned event. The earlier part of the MS., which contains the music, was 
 evidently written at an earlier period — perhaps by twenty or thirty years — and 
 
 * The test summary of the state of music in England, complete of all the early treatises, whether written here 
 
 about 1230, is contained in Walter Odington's Treatise, or ahroad. 
 
 which is fully described in Burney's History of Music, ^ Keeper of the Manuscripts in the British Museum, 
 vol. ii., p. 155, et seq. Burney consider^ it the most 
 
SUMEK IS ICUMEN IN. 23 
 
 the song with its music must therefore be given to the first half of the thir- 
 teenth century, at latest." I have thus entered into detail concerning this song 
 (though all the judges of manuscripts, whom I have been enabled to consult, are 
 of the same opinion as to its antiquity) , because it is not only one of the first 
 English songs with or without music, but the first example of counterpoint in six 
 parts, as well as of fugue, catch, and canon ; and at least a century, if not two 
 hundred years, earlier than any composition of the kind produced out of 
 England.* 
 
 The antiquity of the words has not been denied, the progress of our language 
 having been much more studied than our music, but the manuscript deserves much 
 more attention from musicians than it has yet received.'' It is not in Gregorian 
 notation, which might have been a bar to all improvement, but very much resem- 
 bles that of Walter Odington, in 1230. All the notes are black. It has neither 
 marks for time, the red note, nor the white open note, all of which were in use in 
 the following century. 
 
 The chief merit of this song is the airy and pastoral correspondence between 
 the words and music, and I believe its superiority to be owing to its having been 
 a national song and tune, selected, according to the custom of the time, as a basis 
 for harmony, and that it is not entirely a scholastic composition. The fact of its 
 having a natural drone bass would tend rather to confirm this view than otherwise. 
 The bagpipe, the true parent of the organ, was then in use as a rustic instrument 
 throughout Europe. The rote, too, which was in somewhat better estimation, had 
 a drone, like the modern hurdy-gurdy, from the turning of its wheel. When the 
 canon is sung, the key note may be sustained throughout, and it will be in accord- 
 ance with the rules of modern harmony. But the foot, or burden, as it stands 
 in the ancient copy, will produce a very indifferent effect on a modern ear," from its 
 constantly making fifths and octaves with the voices, although such progressions 
 were not forbidden by the laws of music in that age. No subject would be more 
 natural for a pastoral song than the approach of Summer; and, curiously enough, 
 the late Mr. Bunting noted down an Irish song from tradition, the title of 
 which he translated " Summer is coming," and the tune begins in the same way. 
 That is the air to which Moore adapted the words, " Rich and rare were the gems 
 she wore." Having given a fac-simile of " Sumer is icumen in," taken from the 
 
 * The earliest specimen of secular part-music that has back of page 9, and just after it is an Antiphon in praise 
 
 yet been discovered on the Continent, is an old French of Thomas h. Becket. At page 12 we have the musical 
 
 song, for three voices, the supposed production of a singer scale in letters, exactly corresponding with the scale of 
 
 and poet, by name Adam de la Hale, called Le Boiteux Guido, with the ut, re, mi, fa, &c., but only extending to 
 
 d' Arras, who was in the service of the Comte de Provence, two octaves and four notes, without even the " e e," said 
 
 The discovery has been recently made and communicated to have been added by his pupils. At the back of that 
 
 by M. Fetis, in his Revue Musicale. '* It may be placed page is an explanation of the intervals set to music, to 
 
 about the year 1280, if a dilettante of the discantus of the impress tliem on the memory by singing, and examples of 
 
 following age has not experimentalised on the melody left the ligatures used in the notation of the manuscript. At 
 
 by De la Hale, as on a tenor or Canto fermo; since the page 8 is a hymn, " Ave gloriosa mater Salvatoris," with 
 other songs, in similar notation, are not in counterpoint; ' Latin and Norman French words, in score in three parts, 
 
 and the manuscript may be assigned to the fourteenth on fifteen red lines undivided, and with three clefs for the 
 
 century." It is given in Kiesewetter's History of Music. voices. The remainder of the musical portion of the 
 
 I" The Musical Notation in this MS. ( Harl. 978) is manuscript consists of hymns, &c., in one or two parts, 
 
 throughout the same. Only two forms of note are used ' We ought, perhaps, to except the lover of Scotch 
 
 with occasional ligatures. " Sumerisicumen in" isonthe Reels. 
 
24 
 
 STJMBB IS ICUMBN IN. 
 
 manuscript, and as it may be seen in score in Burney and Hawkins' Histories, 
 the tune is here printed, harmoiiized by Mr. Macfarren, as the first of National 
 English Airs. A few obsolete words have been changed, but the original are 
 given below. 
 
 SUMER IS ICUMEN IN. 
 
 About 1250. 
 
 Rather slow, and smoothly. 
 
 ^m 
 
 ^ 
 
 ^ 
 
 r^TTffWf^ 
 
 Summer is a coming in, Loud-ly sing Cuc-koo ; 
 
 Groweth seed, and 
 
 ms 
 
 ^ 
 
 T 
 
 T 
 
 Drone Bass. 
 
 "T 
 
 ^N=^ 
 
 m 
 
 .u^ 
 
 Lsi ^gJUj^ 
 
 rr^^ 
 
 r n^ g f f 
 
 ,eat-eth af-ter lamb, Low 
 
 bloweth mead and springeth wood a - new. 
 
 Sing Cue - koo ! Ewe bleat- 
 
 th 
 
 VT 
 
 ^ 
 
 T 
 
 T 
 
 T 
 
 
 af- ter calf the cow; t>..ii--i- _..— 
 
 ^ 
 
 ^ 
 
 Bullock start^eth, Buck to fern go'th, Mer-ry sing Cue - 
 
 ■J- ' J ^ 
 
 J^.J ■ J ■ ,J ■ i 
 
 T 
 
 T 
 
 T 
 
 ^ 
 ^ 
 
 CTffff i J f; ,/ i /-'- ^^ 
 
 rj^Ljj 
 
 3 
 
 -koo ! Cuckoo ! Cue - koo ! Well singst thou, Cue - koo ! Nor cease thou e - ver now. 
 
 ^ /J 
 
 Original Words. 
 Sumer is icumen" in, 
 Lhude' sing Cuccu, 
 Groweth sed, and bloweth med 
 And springth the wde nu 
 Sing Cuccu ! 
 
 Words Modernized. 
 Summer is come in. 
 
 Loud sing Cuckoo ! 
 Groweth seed, and bloweth mead 
 And spring'th the wood now 
 Sing Cuckoo. 
 
 »"icumen" come {from the Saxon verb, cuman, to ^Lhude, wde, a"we, andcalve, areall tol)epronounced as 
 
 come); so in Kobert of Gloucester, zpaied for paid. of two syllables. 
 
SONGS WITH MUSIC — THIRTEENTH CENTURY. 25 
 
 Awe bletetli after lomb Ewe bleateth after lamb, 
 
 Lhouth after calve cu ; Loweth after calf [the] cow. 
 
 Bulluc stertetb, bucke vertetb Bullock startetli," buck verteth" 
 Murie sing Cuccu, Merry sing, Cuckoo ; 
 
 Cuocn, Cuccu. Cuckoo, Cuckoo ! 
 
 Wei singes tliu. Cuccu M'ell sing'st tbou Cuckoo 
 
 Ne swik tbu naver nu. Nor cease thou never now. 
 
 In the original, the " Foot," or Burden, is sung, as an under part by two 
 voices, to the words, " Sing Cuccu, nu, sing Cuccu," making a rude base to it. 
 
 Two other songs of the thirteenth century on the approach of Summer are 
 printed in Reliquiae Antiquse (8vo. Lond. 1841), but without music. The first 
 is taken from MSS. Egerton, No. 613, Brit. Mus., and begins thus : — 
 
 " Somer is comen, and winter is gon, this day beginniz to longe [lengthen]. 
 And this foules everichon [birds every one] joy [t]hem wit[h] songe." 
 
 The other from MSS. Digby, No. 86, Oxford, of the Thrush and the Nightingale : 
 
 " Somer is comen with love to touue 
 With blostme [blossom], and with brides roune [birds' songs] 
 The note [nut] of hasel springeth,'' &c. 
 
 In the Douce Collection (Bod. Lib., Ox., MS. No. 139), there is an English 
 sotig with music, beginning — 
 
 " Foweles in the frith, the fisses in the flod." 
 
 and the MS., which contains it, is of the thirteenth century, but it is only in 
 two parts; and in Harl. MSS. No. 1717, is a French or Anglo-Norman song, 
 " Parti de Mai," which seems to have been cut from an older manuscript to form 
 the cover of a Chronicle of the Dukes of Normandy, written by order of Henry II. 
 It is only for one voice, and a sort of hymn, but a tolerable melody. Both these 
 may be seen in Stafford Smith's Musica Antiqua, Vol. 1. 
 
 Another very early English song, with music, is contained in a manuscript, 
 " Liber de Antiquis Legibus," now in the Record Room, Town Clerk's Office, 
 Guildhall. It contains a Chi'onicle of Mayors and Sheriffs of London, and of the 
 events that occurred in their times, from the year 1188 to the month of. August, 
 1274, at which time the manuscript seems to have been completed. It is the 
 Song of a Prisoner. The first four lines are more Saxon than modern English : — 
 
 Original Words. Words Modernized. 
 
 Ar ne kuthe ich sorghe non Ere [this] knew I sorrow none 
 
 Nu ich mot manen min mon Now I must utter my moan 
 
 Karful wel sore ich syche Full of care well sore I sigh 
 
 Geltles ihc sholye muchele schame Guiltless I suffer much shame 
 
 Help, God, for thin swete name Help, God, for thy sweet name, 
 Kyng of Hevene riche. King of Heaven-Kingdom. 
 
 ■ Jumps. ■> Frequents the green fern. 
 
26 NATIONAL SONGS NOT ON CHUKCH SCALES. 
 
 In the Arundel Collection (No. 292), there is a song in " a handwriting of 
 the time of Edward II.," beginning — 
 
 " Uncomly in cloystre I coure [cower] ful of care," 
 which is on the coinparative difficulties of learning secular and church music, 
 but, except in the line, " Thou bitest asunder bequarre for bemol " (B natural 
 for B fiat) , there is no reference to the practice of music. 
 
 Secular music must have made considerable progress before the end of the 
 thirteenth century, for even Franco had spoken of a sort of composition called 
 " Conductus," in which, instead of merely adding parts to a plain song, the stu- 
 dent was first to compose as pretty a tune as he could, and then to make descant 
 upon it;* and he further says, that in every other case, some melody already made 
 is chosen, which is called the tenor, and governs the descant originating from it : 
 but it is difierent in the Conductus, where the cantus (or melody) and the descant 
 (or harmony) are both to be produced. This was evidently applied to secular 
 composition, since, about 1250, Odo, Archbishop of Rheims, speaks of Conducti et 
 Motuli as "jocose and scurrilous songs." 
 
 Accidental sharps, discords and their resolutions, and even chromatic counter- 
 point, are treated on by Marchetto of Padua (in his Pomerium Artis Musicae 
 Mensurabilis) in 1274, and the Dominican Monk, Peter Herp, mentions in 
 Chronicle of Frankfort, under the year 1300, that new singers, composers, and 
 harmonists had arisen, who used other scales or modes than those of the Church.'' 
 Pope John XXII. (in his decree given at Avignon in 1322) reproves those who, 
 " attending to the new notes and new measures of the disciples of the new school, 
 would rather have their ears tickled with semibreves and minims, and such frivolous 
 inventions, than hear the ancient ecclesiastical chant." White minims, with tails, 
 to distinguish them from semibreves, seem first to have been used by John de 
 Muris, about 1330, retaining the lozenge-shaped head to the note. He also used 
 signs to distinguish triple from common time. These points should be borne in 
 mind in judging of the age of manuscripts. 
 
 It will be observed that " Sumer is icumen in" is not within the compass of 
 any Church scale. It extends over the octave of F, and ends by descending to the 
 seventh below the key note for the close, which, indeed, is one of the most common 
 and characteristic terminations of English airs. The dance tune which follows 
 next in order has the same termination, and extends over a still greater compass 
 of notes. I shall therefore quit the subject of Church scales, relying on the 
 practical refutation which a further examination of the tunes will afford. Bumey 
 has remarked that at any given period secular music has always been at least a 
 century in advance of Church music. And notwithstanding the improvements 
 in musical notation made by monks, the Church still adhered to her imperfect 
 system, as well as to bad harmony, for centuries after better had become general. 
 
 * *' In Conductis aliter est operandum, quia qui vult qui inceperunt alios modes assuere." When music de- 
 
 facere Conductum, primum cantum invenire debet pul- viated from the Church scales, it was called by the old 
 
 chriorem quam potest, deinde uti debet illo, ut de tenore, writers generally, Musica falsuy and by Franchinus, 
 
 faciendo discantum." Musica Jicla, seu colorata, from the chromatic semitones 
 
 b " Novi cantores surrexere, et componistae, et tiguristse, used in it. 
 
CHURCH MUSIC ALWAYS IN ARKEAE. 
 
 27 
 
 Even in the sixteenth century, modulation being still confined to the ecclesiastical 
 modes, precluded the use of the most agreeable keys in music. Zarlino, who 
 approved of the four modes added by Glareanus, speaks of himself, and a few 
 others, having composed in the eleventh mode, or key of C natural (which was not 
 one of the original eight) , to which they were led ly the vulgar musicians of the 
 streets and villages, who generally accompanied rustic dances with tunes in this 
 key, and which was then called, II modo lascivo — The wanton key. I suppose it 
 acquired this name, because, like the " sweet Lydian measure" of old, the in- 
 terval from the seventh to the octave is only a semitone. 
 
 DANCE TUNE. 
 
 About 1300. 
 
 jj: j]^ I ip l^hmj^^^^^ j:^ ijjj J^J 
 
 ^M^ 
 
 rj. 
 
 ^Nmw 
 
 M^^r^-^ 
 
 F^pa? 
 
 ^:^ I J]^JJl l ijOJpi-#J^ 
 
 IH^ZIjE 
 
 ^m 
 
 ^m 
 
 ^ 
 
 ^ 
 
 ^ 
 
 -J ,* • , , ,ITf • f- • -r» , ^- , I s n- 
 
 T 
 
 The above dance tune is taken from the Musica Antiqua by John Stafford 
 Smith. He transcribed it from a manuscript then in the possession of Francis 
 Douce, Esq. (who bequeathed the whole of his manuscripts to the Bodleian 
 Library), and calls it, " a dance tune of the reign of Edward 11., or earlier." 
 The notation of the MS. is the same as in that which contains Sumer is icumen in, 
 
28 ENGLISH MINSTRELSY RESUMED. 
 
 and I do not think it can be dated later than 1300. Dv, Crotcli remarks : — 
 " The abundance of appoggiaturas in so ancient, a melody, and the number of bars 
 in the phrases, four in one and five in another — nine in each part, are its most 
 striking peculiarities. It is formed on an excellent design, similar to that of 
 several fine airs of different nations. It consists of three parts, resembling each 
 other excepting in the commencement of their phrases, in which they tower above 
 each other with increasing energy, and is altogether a curious and very favorable 
 specimen of the state of music at this very early period." 
 
 The omission of the eighth bar in each phrase would make it strictly in modern 
 rhythm. 
 
 CHAPTER m. 
 
 English Minstrelsy from 1270 to 1480, and the gkadual extinction 
 
 OF THE OLD MiNSTREL. 
 
 Edward the First, according to the Chronicle of Walter Hemmingford, about the 
 year 1271, a short time before he ascended the throne, took his harper with him 
 to the Holy Land, who must have been a close and constant attendant on his 
 master, for when Edward was wounded at Ptolemais, the harper (Citharseda 
 suus), hearing the struggle, rushed into the royal apartment, and, striking the 
 assassin on the head with a tripod or trestle, beat out his brains. 
 
 " That Edward ordered a massacre of the Welsh bards," says Sharon Turner, 
 " seems rather a vindictive tradition of an irritated nation than an historical fact. 
 The destruction of the independent sovereignties of Wales abolished the patronage 
 of the bards, and in the cessation of internal warfare, and of external ravages, 
 they lost their favorite subjects, and most familiar imagery. They declined 
 because they were no longer encouraged." The Hon. Daines Barrington could 
 find no instances of severity against the Welsh in the' laws, &c. of this monarch," 
 and that they were not extirpated is proved by the severe law which we find in 
 the Statute Book, 4 Henry IV. (1402), c. 27, passed against them during the 
 resentment occasioned by the outrages committed under Owen Glendour. In that 
 act they are described as Rymours and Ministralx, proving that our ancestors 
 could not distinguish between them and our own minstrels. 
 
 In May, 1290, was celebrated the marriage of Queen Eleanor's daughter Joan, 
 surnamed of Acre, to the Earl of Gloucester, and in the following July, that of 
 Margaret, her fifth daughter, to John, son of the Duke of Brabant. Both cere- 
 monies were conducted with much splendour, and a multitude of minstrels flocked 
 from all parts to Westminster : to the first came King Grey of England, King 
 Caupenny from Scotland, and Poveret, the minstrel of the Mareschal of Champagne. 
 The nuptials of Margaret, however, seem to have eclipsed those of her sister. 
 Walter de Storton, the king's harper, distributed a hundred pounds, the gift of 
 
 > See his observations on the Statutes, 4to. 4th Ed. 
 
EDWARD I. 29 
 
 the bridegroom, among 426 minstrels, as well English as others."- In 1291, in the 
 accounts of the executors of Queen Eleanor, there is an entry of a payment of 
 39s., for a cup purchased to be given to one of the king's minstrels. 
 
 The highly valuable roll, preserved among the records in the custody of the 
 Queen's Remembrancer, which has been printed for the Roxburghe Club, marks 
 the gradations of rank among the minstrels, and the corresponding rewards 
 bestowed upon them. It contains the names of those who attended the cour 
 plenidre held by King Edward at the Feast of Whitsuntide, 1306, at West- 
 minster, and also at the New Temple, London ; because " the royal palace, 
 although large, was nevertheless small for the crowd of comers." Edward then 
 conferred the honor of knighthood upon his son. Prince Edward, and a great 
 number of the young nobility and military tenants of the crown, who were sum- 
 moned to receive it, preparatory to the King's expedition to Scotland to avenge 
 the murder of John Comyn, and the revolt of the Scotch. 
 
 On this occasion there were six kings of the minstrels, five of whom, viz., 
 Le Roy de Champaigne, Le Roy Capenny, Le Roy Boisescue, Le Roy Marchis, 
 and Le Roy Robert, received each five marks, or 3?. 6s. 8d., the mark being 
 13s. 4d. It is calculated that a shilling in those days was equivalent to fifteen 
 shillings of the present time ; according to which computation, they received 50?. 
 each. The sixth, Le Roy Druet, received only 21. The list of money ffiven to 
 minstrels is principally in Latin ; but that of payments made to them being in 
 Norman French, it is difScult to distinguish English minstrels from others. Le 
 Roy de Champaigne was probably " Poveret, the minstrel of the Mareschal of 
 Champagne," of 1290, Le Roy Capenny, " King Caupenny from Scotland," and 
 Le Roy Robert, whom we know to have been the English king of the minstrels 
 by other payments made to him by the crown (see Anstis' Register of the Order 
 of the Garter, vol. ii. p. 303), was probably the " King Grey of England" of 
 the former date. Among the names we find, Northfolke, Carletone, Ricard de 
 Haleford, Adam de Werintone (Warrington ?) , Adam de Grimmeshawe, Merlin, 
 Lambyn Clay, Fairfax, Hanecocke de Blithe, Richard Wheatacre, &c. The 
 harpers are generally mentioned only by their christian names, as Laurence, 
 Mathew, Richard, John, Robert, and Geoffrey, but there are also Richard de 
 Quitacre, Richard de Leylonde, William de Grimesar, William de Duffelde, John 
 de Trenham, &c., as well as Adekyn, harper to the Prince, who was probably 
 a Welsh bard. In these lists only the principal minstrels are named, the remain- 
 ing sum being divided, by the kings and few others, among the menestraus de la 
 commune. Harpers are in the majority where the particular branch of minstrelsy 
 is specified. Some minstrels are locally described, as Robert " de Colecestria," 
 John " de Salopia," and Robert " de Scardeburghe ;" others are distinguished 
 as the harpers of the Bishop of Durham, Abbot of Abyngdon, Earls of Warrenne, 
 Gloucester, &c. ; one is Guillaume sans maniere ; another, Reginald le menteur ; 
 a third is called Makejoye ; and a fourth, Perle in the eghe. 
 
 » Pages ixix. and Ixx. Introduction to Manners and , Printed for the Roxburghe Club, 1841, and quoted from 
 Household Expenses of England in the 13th and 15th Wardrobe Book, 18 Edward I. Rot. Miscell. in Turr, 
 centuries, illustrated by original records. 4to. London. Lond. No. 56. 
 
30 ENGLISH MINSTRELSY. 
 
 The total sum expended was about 200?., which according to the precedJBg 
 estimate would be equal to about 3,000Z. of our money. 
 
 The minstrels seem to have been in many respects upon the same footing as the 
 heralds ; and the King of the Heralds, like the King at Arms, was, both here and 
 on the Continent, an usual officer in the courts of princes. Heralds seem even to 
 have been included with minstrels in the preceding account, for Carletone, who 
 occupies a fair position among them, receiving 11. as a payment, and 55. as a 
 gratuity, is in the latter case described as Carleton " Haralde." 
 
 In the reign of Edward H., besides other grants to " King Robert," before 
 mentioned, there is one in the sixteenth year of his reign to WilUam de Morlee, 
 " The king's minstrel, styled Roy de North" of houses that had belonged to 
 John le Boteler, called Roy Brunhaud. So, among heralds, Norroy was usually 
 styled Roy cfArmes de North (Anstis. ii. 300), and the Kings at Arms in general 
 were originally called Reges Heraldorum, as these were Reges MinstraUorum.* 
 — Percy'' s Essay. 
 
 The proverbially lengthy pedigrees of the Welsh were registered by their bards, 
 who were also heralds.'' 
 
 In the reign of Edward H., a.d. 1309, at the feast of the installation of Ralph, 
 AMot of St. Augustin's, at Canterbury, seventy shillings was expended on 
 minstrels, who accompanied their songs with the harp. — Warton, vol. i., p. 89. 
 
 In this reign such extensive privileges were claimed by these men, and by dis- 
 solute persons assuming their character, that it became a matter of public griev- 
 ance, and a royal decree was issued in 1315 to put an end to it, of which the 
 following is an extract : — 
 
 "Edward by the grace of God, &c. to sheriffes, &c. greetyng, Forasmuch as... many 
 idle persons, under colour of Mynstrelsie, and going in messages, and other faigned 
 business, have ben and yet be receaved in other mens houses to meate and drynke, and 
 be not therwith contented yf they be not largely consydered with gyftes of the lordes 
 of the houses : &c....We wyllyng to restrayne suche outrageous enterprises and idle- 
 ness, &c. have ordeyned that to the houses of prelates, earles, and barons, none 
 
 resort to meate and drynke, unlesse he be a Mynstrel, and of these Minstrels that there 
 come none except it be three or four Minstrels of honour at the most in one day, 
 unlesse he be desired of the lorde of the house. And to the houses of meaner men 
 
 » Heralds and minstrels seem to have been on nearly The Arwyddvardd, in early Cambrian history, was an 
 
 the same footing abroad. For instance, Proissart tells us officer of national appointment, who, at a later period, 
 
 " The same day th' Erie of Foix gave to Heraudes and was succeeded by the Prj/dydd, or Poet. One of these was 
 
 Mirutrelles the somme of fyve hundred frankes : and to attend at the birth, marriage, and death uf any man of 
 
 gave to the Duke of Tourayn's Minstrelles gowns of high descent, and to enter the facts in his genealogy. 
 
 Cloth of Gold, furred with Ermyns, valued at two hun- The Marwnad, or Elegy, composed at the decease of such 
 
 dred franks." — Chronicle Ed. 1525, book 3, ch. 31. a person, was teguired to contain truly and at length his 
 
 •^ '* The Welshman's pedigree was Ids title-deed, by genealogy and descent ; and to commemorate the survivor, 
 
 which he claimed his birthright in the country. Every wife or husband, with his or her descent and progeny, 
 
 one was obliged to shew his descent through nine gene- The particulars were registered in the books of the 
 
 rations, in order to be acknowledged a free native, and by Arwyddvardd, and a true copy therefrom delivered to the 
 
 which right he claimed his portion of land in the com- heir, to be placed among the authentic documents of the 
 
 munity. Among a people, where surnames were not in family. The bard's fee, or recompense, was a stipend 
 
 use, and where the right of property depended on descent, out of every plough land in the district ; and he made a 
 
 an attention to pedigree was indispensable. Hence arose triennial Bardic circuit to correct and arrange genealogical 
 
 the second order of Bards, who were the Arwyddvierdd, or entries." — Extracted frum Meyrick's Introduction to his 
 
 Bard-Heralds, whoae duty it was to register arms and edition of Lewis Dunn's Heraldic Visitations of Wales 
 
 pedigrees, as well as undertake the embassies of state, 2 vols. Ho. Ltajidoverij. 184C. 
 
EDWAKD II. 31 
 
 that none come unlesse he be desired, and that such as shall come so, holde themselves 
 contented with meate and drynke, and with such curtesie as the maister of the house 
 wyl shewe unto them of his owne good wyll, without their askyng of any thyng. 
 And yf any one do agaynst this Ordinaunce, at the firste tyme he to lose his Min- 
 strelsie, and at the second tyme to forsweare his craft, and never to be receaved for 
 a Minstrel in any house.... Geven at Langley the vi. day of August, in the ix yere of 
 our reigne." — Searne's Append, ad Leland Collect., vol. vi., p. 36. 
 
 Stow, in his Survey of London, in an estimate of the annual expenses of 
 the Earl of Lancaster about this time, mentions a large disbursement for the 
 liveries of the niinstrels. That they received vast quantities of money and costly 
 habiliments from the nobles, we learn from many authorities ; and in a poem on 
 the times of Edward 11., knights are recommended to adhere to theii- proper 
 costume lest they be mistaken for minstrels. 
 
 " Kny[gh]tes schuld weare clothes That no man may knowe 
 
 I-schape in dewe manere, A mynstrel from a knyg[h]t 
 
 As his order wo[u] Id aske, Well ny : 
 
 As wel as schuld a frere [friar] : So is mekenes[s] fait adown 
 
 Now thei beth [are] disgysed. And pride aryse an bye." 
 
 So diverselych i-digt [bedight], Percy Soc, No. 82, p. 23. 
 
 That minstrels were usually known by their dress, is shown by the following 
 anecdote, which is related by Stowe : — " When Edward 11. this year (1316) 
 solemnized the feast of Pentecost, and sat at table in the great hall of West- 
 minster, attended by the peers of the realm, a certain woman, dressed in the habit 
 of a Minstrel, riding on a great horse, trapped in the Minstrel fashion, entered the 
 hall, and going round the several tables, acting the part of a Minstrel, at length 
 mounted the steps to the royal table, on which she deposited a letter. Having 
 done this, she turned her horse, and, saluting all the company, she departed." 
 The subject of this letter was a remonstrance to the king on the favors heaped 
 by him on his minions to the neglect of his faithful servants. The door-keepers 
 being called, and threatened for admitting such a woman, readily replied, " that 
 it never was the custom of the king's palace to deny admission to Minstrels, 
 especially on such high solemnities and feast days." 
 
 On the capital of a column in Beverley Minster, is the inscription, " Thys 
 pillor made the meynstyrls." Five men are thereon represented, four in short 
 coats, reaching to the knee, and one with an overcoat, all having chains round 
 their necks and tolerably large purses. The building is assigned to the reign of 
 Hem-y VI., 1422 to 1460, when minstrelsy had greatly declined, and it cannot 
 therefore be considered as representing minstrels in the height of their prosperity. 
 They are probably only instrumental performers (with the exception, perhaps, of 
 the lute player) ; but as one holds a pipe and tabor, used only for rustic dances, 
 another a crowd or treble viol, a third what appears to be a bass flute, and a 
 fourth either a treble flute or perhaps that kind of hautboy called a wayght, or 
 wait, and there is no harper among them — I do not suppose any to have been of 
 that class called minstrels of honour, who rode on horseback, with their servants 
 
32 ENaLISH MINSTRELSY. 
 
 to attend them, and who could enter freely into a king's palace. Such distinctions 
 among minstrels are frequently drawn in the old romances. For instance, in the 
 romance of Launfel we are told, " They had menstraUes of moche honours," and 
 also that they had " Fydelers, sytolyrs (citolers), and trompoteres." It is not, 
 however, surprising that they should be rich enough to build a column of a 
 Minster, considering the excessive devotion to, and encouragement of, music which 
 characterised the English in that and the two following centuries. 
 
 No poets of any country make such frequent and enthusiastic mention of min- 
 strelsy as the English. There is scarcely an old poem but abounds with the 
 praises of music. Adam Davy, or Davie, of Stratford-le-Bow, near London, 
 flourished about 1312. In his Life of Alexander, we have several passages like 
 this : — " Mer[r]y it is in halle to he[a]re the harpe, 
 
 The mynstrall synge, the jogelour carpe" (recite). 
 And again, — " Mery is the twynkelyng of the harpour." 
 
 The fondness of even the most illiterate, to hear tales and rhymes; is much 
 dwelt on by Robert de Brunne, or Robert Mannyng, " the first of our vernacular 
 poets who is at all readable now." All rhymes were then sung with accompani- 
 ment, and generally to the harp. So in 1338, when Adam de Orleton, bishop of 
 Winchester, visited his Cathedral Priory of St. Swithin, in that city, a minstrel 
 named Herbert was introduced, who sang the Song of Oolbrqnd, a Danish Giant, 
 and the tale of Queen Umma delivered from the plough-shares, or trial by fire, in 
 the hall of the Prior. A similar festival was held in this Priory in 1374, when 
 similar gestes or tales were sung. Chaucer's Troilus and Cresseide, though almost 
 as long as the JEneid, was to be " redde, or else songe," and Warton has printed 
 a portion of the Life of St. Swithin from a manuscript, with points and accents 
 inserted, both over the words and dividing the line, evidently for the purposes of 
 singing or recitation (History of English Poetry, vol. i., p. 15. 1840). We have 
 probably by far more tunes that are fitted for the recitation of such lengthy stories 
 than exist in any other country. 
 
 In the year 1362, an Act of Parliament passed, that " all pleas in the court 
 of the king, or of any other lord, shall be pleaded and adjudged in the English 
 tongue" (stat. 36 Edw. m., cap. 15) ; and the reason, which is recited in the 
 preamble, was, that the French tongue was so unknown in England that the 
 parties to the law-suits had no knowledge or understanding of what was said for 
 or against them, because the counsel spoke French. This was the era of Chaucer, 
 and of the author of Pierce Plowman — two poets whose language is as different as 
 if they had been born a century apart'. Longland, instead of availing himself of the 
 rising and rapid improvements of the English language, prefers and adopts the style 
 of the Anglo-Saxon poets, even prefering their perpetual alliteration to rhyme. 
 His subject — a satire on the vices of the age, but particularly on the corruptions 
 of the clergy and the absurdities of superstition — does not lead him to say much 
 of music, but he speaks of ignorance of the art as a just subject of reproach. 
 " They kennen [know] no more mynatralcy, ne miisik, men to gladde, 
 Than Mundy the rhuller [miller], of multa fecit Deus .'" 
 
PIERCE PLOWMAN. — CHAUCEE. 33 
 
 He says, however, of himself, in allusion to the minstrels : — 
 " Ich can nat tabre, ne trompe, ne telle faire gestes, 
 Ne fithelyn, at fe[a]8tes, ne harpen : 
 Japen ne jagelyn, ne gentilliche pipe ; 
 
 Nother sailen [leap or dance], ne sautrien, ne singe with the giterne.'' 
 He also describes his Friar as much better acquainted with the " Rimes of 
 Robinliode and of Randal, erle of Chester, " than with his Paternoster. 
 
 Chaucer, throughout his works, never loses an opportunity of describing or 
 alluding to the general use of music, and of bestowing it as an accomplishment 
 upon the pilgrims, heroes, and heroines of his several tales or poems, whenever 
 propriety admits. We may learn as much from Chaucer of the music of his day, 
 and of the estimation in which the art was then held in England, as if a treatise 
 had been written on the subject. 
 
 Firstly, from the Canterbury Tales, in his description of the Squire (line 91 
 to 96) , he says : — 
 
 " Syngynge he mas, ox jiomiynge [fluting] al tlie day ; 
 He was as fresh as is the moneth of May : 
 Short was his goune, with sleeves long and wyde ; 
 Well cowde he sitte on hors, and faire ryde. 
 Se cowde songes wel make and endite, 
 
 Juste (fence) and eke daunce, and wel p[o]urtray and write." 
 Of the Nun, a Prioress (line 122 to 126) , he says : — 
 " Ful wel scJie sang the servise devyne, 
 Entuned in hire noseful seemyly ; 
 And Frensch sche spak ful faire and fetysly [neatly], 
 Aftur the schole of Stratford att6 Bowe, 
 For Frensch of Parys was to hire unknowe " [unknown]. 
 The Monk, a joUy fellow, and great sportsman, seems to have had a passion for 
 no music but that of hounds, and the bells on his horse's bridle (line 169 to 171) : 
 " And whan he rood [rode], men might his bridel heere 
 Gyngle in a whistlyng wynd so cleere. 
 And eke as lowde as doth the chapel belle." 
 Of his Mendicant Friar, whose study was only to please (lines 235 — 270), 
 he says : — " And certayn he hadde a mery note ; 
 
 Wel couthe he synge andplaye on a rote [hurdy-gurdy]. . . . 
 Somewhat he lipsede [lisped] for wantounesse, 
 To make his Englissoh swete upon his tunge ; 
 And in his harpyng, whan that he had sunge, 
 His eyghen .[eyes] twynkeled in his he[a]d aright, 
 As don the sterrls [do the stars] in the frosty night." 
 Of the Miller (Ime 664 to 568), he says :— 
 
 " Wel cowde he ste[a] le corn, and tollen thries [take toll thrice] ; 
 And yet he had a thombe of gold," parde, 
 A whight cote and blewe hood we[a]red he ; 
 
 ■ Tyrwhitt says there is an old proverb-" Every hmest nevertheless he was as honest as his brethren. There are 
 miller ha.s a thumb of gold." Perhaps it means that many early songs on thievish millers and bakers. 
 
 D 
 
34 ENGLISH MINSTRELSY. 
 
 A haggepipe cowde he hlowe and s6wne [sound], 
 And therewithal he brought us out of towne." ' 
 Of the Pardoner (line 674 to 676) :— 
 
 " Ful lowde he sang, ' Come hider, love, to me.' 
 This Sompnour bar[e] to him a stif lurdoun,^ 
 Was never trompe [trumpet] of half so gre[a]t a soun" (sound). 
 
 Of the poor scholar, Nicholas (line 3213 to 3219) :— 
 " And al above ther lay a gay sawtrye [psaltry], 
 
 On which- he made, a-nightes, melodye 
 
 So swetely, that al the chambur rang : 
 
 And Angelus ad Virginem he sang. 
 
 And after that he sang The Kyng^s note ; 
 
 Ful often blessed was his mery throte.'' 
 Of the Carpenter's "Wife (lines 3257 and 8) :— 
 
 " But of her song, it was as lowde and yerne [brisk] 
 
 As eny swalwe [swallow] chiteryng on a heme'' [barn]. 
 
 Of the Parish Clerk, Absolon (lines 3328 to 3335) :— 
 " In twenty manners he coude skip and daunce. 
 After the schole of Oxenfordfe tho. 
 And with his legges casten to and fro ; 
 kxApleyen songes on a small Bubible' [Rebec], 
 Ther-to he sang som tyme a lowde quynylle ; '' 
 And as mel coude hepleye on a giterne : 
 In al the toun nas [nor was] brewhous ne taveme 
 That he ne visited with his solas" [solace]. 
 He serenades the Carpenter's Wife, and we have part of his song (lines 3352 — 64) : 
 " The moone at night ful cleer and bright^ schoon, 
 And Absolon his giterne hath i-take. 
 
 For paramours he seyde he wold awake 
 
 He syngeth in hys voys gentil and smal — 
 ' Now, deere lady, if thi wille be, 
 I pray you that ye wol rewe [have compassion] on me.' 
 Full wel acordyng to his gyternyng. 
 This carpenter awook, and herde him syng." 
 
 Of the Apprentice in the Cook's Tale, who plays botli on the ribible and gitteme : 
 " At every brideale wold he synge and hoppe ; 
 He loved .bet [better] the taveme than the schoppe." 
 
 » A curious reason for the use of the Bagpipe in Pil- singing the burden, or bass, to his song in a deep loud 
 
 grimages will be found in State Trials — Trial of William -voice. Bourdon is the French for Drone; and Foot, 
 
 Thorpe. Henry IV., an. 8, shortly after Chaucer's death. Undersong, and Burden mean the same thing, although 
 
 " I say to thee that it is right well done, that Pilgremys Burden was afterwards used in the sense of Ditty, or 
 
 have with them both Syngera, and also Pipers, that whan any line often recurring in a song, as will be seen here- 
 
 oneof them, thatgoethbar[e]fo[o]te, strikethhis too upon after. 
 
 a stone, and hurteth hym sore, and maketh hym to blede; *= Ribible (the diminutive of Ribibe or Rebec) is a small 
 
 it is well done that he or his fel[l]owbegyn than aSonge, fiddle with three strings. 
 
 or else take out of his bosome a Baggepype for to drive ^ To sing a " quinible " means to descant by singing 
 
 away with soche myrthe the hurte of his felow." fifths on a plain-song, and to sing a " qualrible" to des- 
 
 ^ This Sompnour (Sumner or Summoner to the Eccle- cant by fourths. The latter term is used by Cornish in 
 
 siastical Courts, now called Apparitor) supported him by his Treatise between Trowthe and Enformacion. 1628. 
 
NOTICES OP MUSIC BY CHAUCER. 35 
 
 The Wife of Bath says (lines 5481 and 2, and 6039 and 40), that -wives were 
 
 chosen — " some, for they can synge and daunce, 
 
 And some for gentilesse or daliaunce 
 
 How couthe I daunce to an harpe smale, 
 And synge y-wys as eny nightyngale." 
 I shall conclude Chaucer's inimitable descriptions of character with that of his 
 Oxford Clerk, who was so fond of books and study, that he loved Aristotle better 
 
 " Than rohfes riclie, or fidel or sautrie 
 
 Souning in moral virtue was his speech, 
 And gladly would he lerne and gladly teche." 
 We learn from the preceding quotations, that country squires in the fourteenth 
 century could pass the day in singing, or playing the flute, and that some could 
 " Songes well make and indite:" that the most attractive accomplishment in 
 a young lady was to be able to sing well, and that it afibrded the best chance of 
 her obtaining an eligible husband ; also that the cultivation of music extended 
 to every class. The Miller, of whose education Pierce Plowman speaks so slight- 
 ingly, could play upon the bagpipe ; and the apprentice both on the ribible and 
 gittern. The musical instruments that have been named are the harp, psaltry, 
 fiddle, bagpipe, flute, trumpet, rote, rebec, and gittern. There remain the lute, 
 organ, shalm (or shawm), and citole, the hautboy (or wayte), the horn, and 
 shepherd's pipe, and the catalogue will be nearly complete, for the cittern or 
 cithren differed chiefly from the gittern, in being strung with wire instead of gut, 
 or other material. The sackbut was a bass trumpet with a slide,* like the modern 
 trombone ; and the dulcimer differed chiefly from the psaltry in the wires being 
 struck, instead of being twitted by a plectrum, or quill, and therefore requiring 
 both hands to perform on it. 
 
 In the commencement of the Pardoner's Tale he mentions lutes, harps, and 
 gittems for dancing, as well as singers with harps ; in the Knight's Tale he repre- 
 sents Venus with a citole in her right hand, and the organ is alluded to both in 
 the History of St. Cecilia, and in the tale of the Cock and the Fox. 
 In the House of Fame (Urry's Edit., line 127 to 136), he says: 
 " That madin loude Minstralsies 
 In Oornmuse [bagpipe] and eke in Shalmies,^ 
 
 "» " As he that plaies upon a Sagbut, by pulling it up the shrillness to have arisen from over-blowing, or else 
 
 and down alters his tones and tunes." — Burton's Anatomy the following quotation will appear contradictory :— 
 
 of Melancholy^ 8vo. Edit, of 1800, p. 379. " A Shawme maketh a swete sounde, for he tunyihe the 
 
 •> A very early drawing of the Shalm, or Shawm, is in basse, 
 
 one of the illustrations to a copy of Froissart, in the Brit. It mountithe not to hye, but Icepithe rule and space. 
 
 Mus. — Royal MSS. 18, E. Another in Commenius' Yet yf if. be blowne withe to vehement a wynde, 
 
 Visible World, translated by Hoole, 1650, {he translates It maJdthe it to mysgoverne out of his kynde." 
 
 the Latin word gingras, shawm,) from which it is copied This is one of the " proverbis" that were written about 
 
 into Cavendish's Life ot Wolsey, edited by Singer, vol. i. the time of Henry VII., on the walls of the Manor House 
 
 p. 114., Ed. 1825. The modern clarionet is an improve- at Leckingfield, near Beverley, Yorkshire, anciently be- 
 
 ment upon the shawm, which was played with a reed, longing to the Percys, Earls of Northumberland, but now 
 
 like the wayte, or hautboy, but being a bass instrument, destroyed. There were many others relating to music, 
 
 with about the compass of an octave, had probably more and musical instruments (harp, lute, recorder, claricorde, 
 
 the tone of a bassoon. It was used on occasions of state. clarysymballis, virgynalls, clarion, organ, singing, and 
 
 "What stalely music have you? You have shawms? musical notation,) and the inscribing them on the walls 
 
 Ralph plays a stately part, and he must needs have adds another to the ntimberless proofs of the estimation 
 
 shawms." — Knight of the Burning Pestle. Drayton speaks in which the art was held. A manuscript copy of them 
 
 of it as shrill-toned : "E'en from ihe shrillest shawm, ■anto is preserved in Bib. Reg. 18. D. 11. Brit. Mus. 
 the cornamute."^Po/2/o^SioK, vol. iv., p. 376. I conceive 
 
36 ENGLISH MINSTRELSY. 
 
 And in many an othir pipe, 
 That craftely began to pipe 
 Bothe in Douced and eke in Rede,"- 
 That bin at feastes with the brede [bread] : 
 And many a Floite and litlyng Home 
 And Pipes made of grenh corne. 
 As have these little HerdSgroomes 
 That kepin Beastes [keep oxen] in the broomea." 
 As to the songs of his time, see the Frankeleyne's Tale (line 11,254 to 60) : — 
 " He was dispeired, nothing dorst he seye 
 Sauf [save] in his souges somewhat wolde he wreye [betray] 
 His woo, as in a general compleyning ; 
 He said he loved, and was beloved nothing. 
 Of suche matier made he many Layes, 
 Songes, Compleyntes, Roundelets, Virelayes: 
 How that he dorstd not his sorwe [sorrow] telle, 
 But languisheth as doth a fuyr in belle." 
 and he speaks elsewhere of Ditees, Rondils, Balades, &c. 
 
 The following passages relate to minstrelsy, and to the manner of playing the 
 harp, pointing and performing with the nails, as the Spaniards do now with the 
 guitar. The first is from the House of Fame (Urry, line 105 to 112) : — 
 . . . . " Stoden .... the castell all aboutin 
 Of all manir of Minstralis 
 And gestours that tellen tales 
 Both of wepyng and of game. 
 And all that 'longeth mito fame ; 
 There herde I playin on an Harpe 
 That ysounid bothe well and sharpe." 
 and from Troylus, lib. 2, 1030 :— 
 
 " For though that the best harper upon live 
 Would on the bests sounid jolly harpe 
 That evir was, with all his fingers five 
 
 Touch aie o__ (one) string, or aie o warble harpe. 
 Were his nailes poivwted nevir so sharpe 
 It shoulde makin every wight to[o] dull 
 To heare [h]i8 Grlee, and of his strokes ful." 
 Even the musical gamut is mentioned by Chaucer. In the supplementary tale 
 he makes the host give " an liid[e]ouse cry in ge-sol-re-ut the haut," and there is 
 scarcely a subject connected with the art as practised in his day, that may not be 
 illustrated by quotation from his works ; 
 
 " For, gif he have nought sayd hem, leeve [dear] brother, 
 In bo[o]k, he hath sqyd hem in another." 
 
 " Tyrwhitt thinks Doucete an Instrament, and quotes a reed), I infer by "douced" that flutes are intended|.the 
 
 Lydgate — tone of which, especially the large flute, is extremely soft. 
 
 " Ther were trumpes and trampetes, I had a collection of English flutes, of which one was 
 
 Lowde shall[m]ys and doucetes." nearly a yard and a half long. All had mOuth-pieces like 
 
 but it seems to me only to mean soft pipes in opposition the flageolet, and were blown in the same manner; the 
 
 to loud shalms. By the distinction Chaucer draws, "both tone very pleasing, but less powerful and brilliant than 
 
 in douced and in reed" (the shalm being played on by the^iodern or "German" flute. 
 
GOWBfe. — RICHARD II. 37 
 
 I shall conclude these numerous extracts with one of the song of nature, from 
 the Knighte's Tale, (line 1493 to 98) :— 
 
 " The busy lark6, messager of daye, 
 Salueth in hire song the morwe [morning] gray ; 
 And fyry Phebus ryseth up so bright, 
 That al the orient laugheth of the light, 
 And with his strem^s dryeth in the graves [groves] 
 The silver drop6s, hongyng on the leeves." 
 
 Having quoted so largely from Chaucer, whose portraiture of character and 
 persons has never been excelled, it will be unnecessary to refer to his contem- 
 porary, Gower, further than to say that in his Confessio Amantis, Venus greets 
 Chaucer as her disciple and poet, who had filled the land in his youth with 
 dittees and " songes glade," which he had made for her sake ; and Gower says of 
 himself: — "And also I have ofte assaide 
 
 Roundel, Balades, and Virelaie 
 
 For her on whom myn hert laie." 
 
 But about the same time, in the Burlesque Romance, The T[o]urnament of 
 Tottenham (written in ridicule of chivalry) , we find a notice of songs in six parts 
 which demands attention. In the last verse : — 
 
 " Mekyl mirth was them among ; 
 In every corner of the hous 
 Was melody delycyous 
 For to he[a]re precyus 
 
 Of six menys song.'' 
 " It has been supposed that this is an allusion to Sumer is icumen in, which 
 requires six performers, but in all probability there were many such songs, 
 although but one of so early a date has descended to us. We find in the Statutes 
 of New CoUege, Oxford (which was founded about 1380), that William of 
 Wykeham ordered his scholars to recreate themselves on festival days with songs 
 in the hall, both after dinner and supper ; and as part-music was then in common 
 use, it is reasonable to suppose that the founder intended the students thereby to 
 combine improvement and recreation, instead of each singing a different song. 
 
 In the fourth year of king Richard IE. (1381), John of Gaunt erected at 
 Tutbury, in Staffordshire, a Qourt of Minstrels similar to that annually kept at 
 Chester ; and which, like a court-leet, or court-baron, had a legal jurisdiction, 
 with fuU power to receive suit and service from the men of this profession within 
 five neighbouring counties, to determine their controversies and enact laws ; also 
 to apprehend and arrest such of them as should refuse to appear at the said court, 
 annually held on the 16th of August. For this they had a charter, by which 
 they were empowered to appoint a King of the Minstrels, with four officers to 
 preside over them. They were every year elected with great ceremony ; the 
 whole form of which, as observed in 1680, is described by Dr. Plot in his History 
 of Staffordshire. That the barbarous diversion of bull-running was no part of the 
 original institution, is fully proved by the Rev. Dr. Pegge, in Archseologia, vol. ii., 
 No. xiii., p. 86. The bull-running tune, however, is still popular in Staffordshire. 
 
38 ENGLISH MINSTRELSY. 
 
 Du Fresne in his Glossary (art. Ministrelli), speaking of the King of the 
 Minstrels, says, "His office and power are defined in a French charter of 
 Henry IV., king of England, in the Monasticon Anglicanum, vol. i., p. 356;" 
 but though I have searched through Dugdale's Monasticon, I find no such 
 charter. 
 
 In 1402, we find the before-mentioned statute against the Welsh bards, 
 (4 Henry IV., c. 27)." As they had excited their countrymen to rebellion 
 against the English government, it is not to be wondered (says Percy) that the 
 Act is conceived in terms of the utmost indignation and contempt against this 
 class of men, who are described as Eymours, Ministralx, which are apparently 
 here used as only synonymous terms to express the Welsh bards, with the usual 
 exuberance of our Acts of Parliament; for if their Ministralx had been mere 
 musicians, they would not have required the vigilance of the English legislature 
 to suppress them. It was their songs, exciting their countrymen to insurrection, 
 which produced " les diseases et mischiefs en la terre de Gales." 
 
 At the coronation of Henry V., which took place in Westminster Hall (1413), 
 we are told by Thomas de Elmham, that " the number of harpers was exceedingly 
 great ; and that the sweet strings of their harps soothed the souls of the guests 
 by their soft melody." He also speaks of the dulcet sounds of the united 
 music of other instruments, in which no discord interrupted the harmony, 
 as "inviting the royal banqueters to the full enjoyment of the festival." — 
 (Vit. et. Gest. Henr. V., c. 12, p. 23.) Minstrelsy seems stUl to have 
 flourished in England, although it had declined so greatly abroad ; the Provengals 
 had ceased writing during the preceding century. When Henry was preparing 
 for his great voyage to France in 1415, an express order was given for his 
 minstrels to attend him. — (Rymer, ix., 255.) Monstrelet speaks of the English 
 camp resounding with the national music (170) the day preceding the battle of 
 Agincourt, but this must have been before the king " gave the order for silence, 
 which was afterwards strictly observed." 
 
 When he entered the City of London in triumph after the battle, the gates and 
 streets were hung- with tapestry representing the histories of ancient heroes; and 
 boys with pleasing voices were placed in artificial turrets, singing verses in his 
 praise. But Henry ordered this part of the pageantry to cease, and commanded 
 that for the future no "ditties should be made and sung by Minstrels* or others," 
 in praise of the recent victory ; " for that he would whollie have the praise 
 and thankes altogether given to God." 
 
 Nevertheless, among many others, a minstrel-piece soon appeared on the 
 Seyge of Harflett (Harfleur), and the Battayle of Agynhmrte, " evidently," says 
 Warton, " adapted to the harp," and of which he has printed some portions. 
 
 » It runs in theseierms : *' Item, pour eschuir plusieurs ^ HolUnslied, quoting from Thomas de Eiiuham, whose 
 
 diseases et mischiefs qont advenuz devaunt ces heures en words are, " Ciuod cantus de suo triumpho fieri, seu per 
 la terre de Gales par plusieurs Westours Rymours, Ciiharistas vel alios quoscunque cantari penitus pro- 
 Minstralx et autres Vacabondes, ordeignez est, et hibehat." It will be observed that Hollinshed translates 
 establiz, que nul Westour, Rymour Minstral, ne Vaca- Citharistas (literally harpers) minstrels, 
 bond soit aucunemeut sustenuz en la terre de Gales pur 
 faire kymorthas ou coillage sur la commune poeple 
 ilioeques." 
 
HENRY V. 
 
 39 
 
 (Hist. Eng. Poet., vol. ii. p. 257.) Also tlie following song, which Percy has 
 printed in his Reliques of Ancient Poetry, from a M.S. in the Pepysian Library, 
 and Stafford Smith, in his Collection of English Songs, 1779 fol., in fac-simile of 
 the old notation, as well as in modern score, and with a chorus in three parts to 
 the words, " Deo gratias, Anglia, redde pro victoria." The tune is here given 
 with the first verse of the words,^ for although the original is a regular composi- 
 tion in three parts, it serves to shew the state of melody at an early period, and 
 the subject is certainly a national one. 
 
 SONG ON THE VICTORY OF AGINCOURT. 
 
 1415. 
 
 Slowly and Majestically, 
 
 ^i^M 
 
 ^ 
 
 ^^^ 
 
 t^ 
 
 ^ 
 
 ij 
 
 Our king went forth to Normandy, With grace and might of chi-val-ry , The God for him wrought 
 
 marv'lously, Where-fore England may call and Jjy " De 
 
 o gra ti 
 
 ^m 
 
 i in I \ 
 
 rtrn 
 
 "^ "*" * 
 
 There are also two weU-known ballads on the Battle of Agincourt ; the one 
 commencing " A council grave our king did hold;" the other " As our king lay 
 musing in his bed," which will be noticed under later dates ; and a three-men's 
 song, which was sung by the tanner and his fellows, to amuse the guests, in 
 Hey wood's play. King Edward IV., beginning — 
 
 " Agincourt ! Agincourt ! know ye not Agincourt ? 
 Where the English slew or hurt 
 All the French foemen?" &c. 
 
 Although Henry had forbidden the minstrels to celebrate his victory, the order 
 evidently did not proceed from any disregard for the professors of music or of 
 song, for at the Feast of Pentecost, which he celebrated in 1416, having the 
 Emperor and the Duke of Holland as his guests, he ordered rich gowns for sixteen 
 oi his minstrels. And having before his death orally granted an annuity of an 
 
 =» I do not intend to reprint songs or Ijallads that are 
 contained in Percy's Reliques of Ancient Poetry, withuut 
 some particular motive, for that delightful book can be 
 purchased in many shapes and at a small cost. As a 
 general rule, the versions given by Percy are best suited 
 
 to music, because more metrical than others, although 
 they may be less exactly and minutely in accordance 
 with old copies, which are often very carelessly printed 
 or transcribed. 
 
40 ENGLISH MINSTRELSY. 
 
 hundred shillings to each of his minstrels, the grant was confirmed in the first 
 year of his son, Henry VI. (a.d. 1423), and payment ordered out of the ex- 
 chequer. Both the biographers of Henry declare his love for music." Lydgate 
 and Occleve, the poets whom he patronized, attest also his love of literature, and 
 the encouragement he gave to it. 
 
 John Lydgate, Monk of Bury St. Edmunds, describes the minstrelsy of his 
 time less completely, but in nearly the same terms as Chaucer. 
 
 Lydgate was a very volumiaous writer. Ritson enumerates 251 of his pieces, 
 and the list is far from being complete. Among his minor pieces are many songs 
 and ballads, chiefly satirical, such as " On the forked head-dresses of the ladies," 
 on " Thievish Millers and Bakers," &c. A selection from these has been recently 
 printed by the Percy Society. 
 
 Among the devices at the coronation banquet of Henry VL (1429), were, in 
 the first course, a " sotiltie" (subtlety) of St. Edward and St. Lewis, in coat 
 armour, holding between them a figure like King Henry, similarly armed, and 
 standing with a ballad under Ms feet." In the second, a device of the Emperor 
 Sigismund and King Henry V., arrayed in mantles of garter, and a figure like 
 Henry VI. kneeling before them with a ballad against the Lollards ;^ and in the 
 third, one of our Lady, sitting with her child in her lap, and holding a crown in 
 her hand, St. George and St. Denis kneeling on either side, presenting to her 
 King Henry with a ballad in his hand." These subtleties were probably devised 
 by the clergy, who strove to smother the odium which, as a body, their vices had 
 excited, by turning public attention to the further persecution of the Lollards.* 
 In a discourse which was prepared to be delivered at the Convocation of the 
 Clergy, ten days after the death of Edward IV., and which still exists in MS. 
 (MS. Cotton Cleopatra, E. 3), exhorting the clergy to amendment, the writer 
 complains that " The people laugh at us, and make us their songs all the day 
 long." Vicious persons of every description had been induced to enter the church 
 on account of the protection it afforded against the secular power, and the facilities 
 it provided for continued indulgence in their vices. 
 
 In that age, as in more enlightened times, the people loved better to be pleased 
 than instructed, and the minstrels were often more amply paid than the clergy. 
 During many of the years of Henry VI. , particularly in the year 1430, at the 
 annual feast of the fraternity of the Holie Ckossb, at Abingdon, a town in 
 Berkshire, twelve priests each received four pence for singing a dirge : and the 
 same number of minstrels were rewarded each with two shillings and four pence, 
 besides diet and horse-meat. Some of these minstrels came only from Mayden- 
 hithe, or Maidenhead, a town at no great distance, in the same county. ( Liber 
 Niger, p. 698.) In the year 1441, eight priests were hired from Coventry, 
 to assist in celebratiag a yearly obit in the church of the neighbouring priory of 
 
 • "Musicis delectabatur."— Tit. Liv., p. 5. "Instlu- " Quoted by Sharon Turner, from Fab. 419. 
 
 menli-s organicis plurimum deditus."— Elmham. ^ Sir Jolin Oldcastle, Lord Cobham, had been put to 
 
 >> Ritson has printed one of these ballads against the death in the preceding reign. 
 Lollards, in his Ancient Songs, p. e.l, 1790, taken from 
 MS, Cotton^ Vespftiian, B. 16. Brit. Mus. 
 
HENRY VI. 41 
 
 Maxtoke ; as were six minstrels (MiMi) belonging to the family of Lord Clinton, 
 who lived in the adjoining Castle of Maxtoke, to sing, hai-p, and play in the hall 
 of the monastery, during the extraordinary refection allowed to the monks on that 
 anniversary. Two shillings were given to the priests, and four to the minstrels : 
 and the latter are said to have supped in camera pida, or the painted chamber of 
 the convent, with the sub-prior, on which occasion the chamberlain furnished 
 eight massive tapers of wax. ( Warton, vol. ii., p. 309.) However, on this occa- 
 sion, the priests seem to have been better paid than usual, for in the same year 
 (1441) the prior gave no more than sixpence to a preaching friar. 
 
 As late as in the early part of the reign of Elizabeth, we find an entry in the 
 books of the Stationers' Company (1560) of a similar character : Item, payd to 
 the preacher, 6s. 2c?. Item, payd to the minatrell, 12s. ; so that even in the 
 decline of minstrelsy, the scale of remuneration was relatively the same. 
 
 A curious collection of the songs and Christmas carols of this reign (Henry 
 VI.) have been printed recently by the Percy Society. (Songs and Carols, No. 73.) 
 
 The manuscript book from which they are taken, had, in all probability, belonged 
 to a country minstrel who sang at festivals and merry makings, and it has been, 
 most judiciously, printed entire, as giving a general view of the classes of poetry 
 then popular. A proportion of its contents consists of carols and religious songs, 
 such as were sung at Christmas, and perhaps at other festivals of the Church. 
 Another class, in which the MS. is, for its date, peculiarly rich, consists of 
 drinking songs. It also contains a number of those satirical songs against the 
 fair sex, and especially against shrews, which were so common in the middle ages, 
 and have a certain degree of importance as showing the condition of private 
 society among our forefathers. The larger number of the songs, including some 
 of the most interesting and curious, appear to be unique, and the others 
 are in general much better and more complete copies than those previously 
 known (viz. in MS. Sloane, No. 2593, Brit. Mus). The editor of the MS. 
 (Mr. T. Wright) observes that " The great variations in the different copies of 
 the same song, show that they were taken down from oral recitation, and had 
 often been preserved by memory among minstrels, who were not unskilful at 
 composing, and who were not only in the habit of, voluntarily or involuntarily, 
 modifying the songs as they passed through their hands, and adding or omitting 
 stanzas, but of making up new songs by stringing together phrases and Knes, and 
 even whole stanzas from the different compositions which were imprinted on their 
 memories." But what renders the manuscript peculiarly interesting, is, that it 
 contains the melodies of some of the songs as well as the words. From this it 
 appears that the same tune was used for different words. At page 62 is a note, 
 which in modern spelling is as follows : " This is the tune for the song following ; 
 if so be that ye will have another tune, it may be at your pleasure, for I have set 
 all the song." The words of the carol, " Nowell, Nowell," (Noel) are written 
 under the notes, but the wassail song that follows, and for which" the tune was also 
 intended, is of a very opposite character, "Bryng us in good ale." I have 
 printed the first verse of each under the tune, but it requires to be sung more 
 quickly for the wassail song than for the carol. 
 
42 
 
 ENGLISH MINSTRELSY. 
 CHKISTMAS CAROL. 
 
 About 1460. 
 
 The Burden or Chorus. 
 
 
 w^ 
 
 Now - ell, nowell, now - ell, nowell. 
 Bring us in good ale, good ale, 
 
 
 
 [Now-ell, now-ell, now - ell.] 
 And bring us in good ale,: 
 
 This 
 
 ^ 
 
 ^3 
 
 m 
 
 T^^: 
 
 -i . 
 
 .Carol. 
 
 m i l i ^'i 
 
 ^ 
 
 pi : Hi J i 
 
 ^ 
 
 * 
 
 is the sa - lu - ta - tion of the an-gel (Ja - bri - el. 
 For ourhless-ed La-dy'ssake, bring us in good ale. 
 
 ^ 
 
 Ti-dings true there 
 Bring us in no 
 
 P 
 
 iHViUmiHUi^i^U 
 
 be come new, sent from the Trin - i - ty, By Ga-bri-el to Na-za-reth, 
 
 brown bread, for that is made of bran, Nor bring us in no white bread, For 
 
 fS \ >0 .m--^, f> 
 
 3 
 
 ^ 
 
 1 ^ I . . /^ 
 
 im^i^Hid^i 
 
 ci - ty of Ga - li lee : 
 there - in is no gain. 
 
 ^ 
 
 A clean maiden and pure virgin. Through her hu-mi-li - 
 But bring us in good ale, good ale, And bring us in good 
 
 - r l i p ^ 
 
 p 
 
 r 
 
 r 
 
 _43_ 
 
 ii'iiU-^'i: ! ^^ 
 
 * * 
 
 - ty . . Hath con-cei-ved the per - son second in De i - ty. 
 ~ " " La-dv's - — • 
 
 ale, 
 
 I 
 
 -^ 
 
 For our blessed La-dy'ssake, Bring us in good ale. 
 
 ^ 
 
 a The two bars marked off by a line are added, because which the latter could have been sung to the music as 
 
 there would not otherwise be music enough for the Was- written in tlie manuscript, would be by omitting the line 
 
 sail Song. They are a mere repetition of the preced- '* And bring us in good ale ; " but, as it is merely a repe- 
 
 ing, and can be omitted at pleasure. The only way in tition, it could be omitted. 
 
CHRISTMAS CAROL AND WASSAIX, SONG. 43 
 
 The notation of the original is in semibreves, minims, and crotchets, which 
 are diminished to crotchets, quavers, and semiquavers, as became necessary in 
 modernizing the notation ; for the quickest note then in use was the crotchet.^ 
 The Christmascarol partakes so much of the character of sacred music, that it is 
 not surprising it should be in an old scale. If there were not the flat at the sig- 
 nature, which takes off a little of the barbarity, it would be exactly in the eighth 
 Gregorian tone. 
 
 There are seven verses to the carol, but as they are not particularly interesting, 
 perhaps the words of the wassail song will be preferred, although we should not 
 now sing of " our blessed lady," as was common in those days. 
 
 Bring us in no brown bread, for that is made of bran, 
 
 Nor bring us in no white bread, for therein is no gain, 
 
 But bring us in good ale, and bring us in good ale ; 
 For our blessed Lady's sake, bring us in good ale. 
 
 Bring us in no beef, for there is many bones, 
 
 But bring us in good ale, for that go'th down at once. And bring, &c. 
 
 Bring us in no bacon, for that is passing fat. 
 
 But bring us in good ale, and give us enough of that. And bring, &c. 
 
 Bring us in no mutton, for that is passing lean. 
 
 Nor bring us in no tripes, for they be seldom clean. But bring, &c. 
 
 Bring us in no eggs, for there are many shells. 
 
 But bring us in good ale, and give us nothing else. But bring, &c. 
 
 Bring us in no butter, for therein are many hairs, • 
 
 Nor bring us in no pig's flesh, for that will make us bears. But bring, &c. 
 
 Bring us in no puddings, for therein is all God's good, 
 
 Nor bring us in no venison, that is not for onr blood. But bring, &c. 
 
 Bring us in no capon's flesh, for that is often dear. 
 Nor bring us in no duck's flesh, for they slobber in the mere, [mire] 
 But bring us in good ale, and bring us in good ale. 
 For our blessed lady's sake, bring us in good ale. 
 
 An inferior copy of this song, without music, is in Harl. M.S., No. 541, from 
 which it has been printed in Eitson's Ancient Songs, p. xxxiv. and xxxv. 
 
 With the reign of Edward IV. we may conclude the history of the old wandering - 
 minstrel. In 1469, on a complaint that persons had collected money in different 
 parts of the kingdom by assuming the title and livery of the king's minstrels, he 
 granted to Walter Halliday, Marshal, and to seven others whom he names, 
 a charter of incorporation. They were to be governed by a marshal appointed for 
 life, and two wardens to be chosen annually, who were authorized to admit mem- 
 bers ; also to examine the pretensions of all who exercised the minstrel profession, 
 and to regulate, govern, and punish them throughout the realm (those of Chester 
 
 » After the Percy Society had printed the Songs, I was MS. was entrusted, disappeared, and with him the manu- 
 to have_had the opportunity of transcribing aW the Music; script, which is, perhaps, already in some library in the 
 but, in the mean time, the bookbinder to whom this rare United States.- 
 
44 ENGLISH MINSTRELSY. 
 
 excepted). " This," says Percy, " seems to have some resemblance to the Earl 
 Marshal's court among the heralds, and is another proof of the great affinity and 
 resemblance which the minstrels bore to the College of Arms." Walter Halliday, 
 above mentioned, had been retained in the service of the two preceding monarchs, 
 and Edward had granted him an annuity of ten marks for life, in 1464. 
 
 In this reign we find also mention of a Serjeant of the minstrels, who upon 
 one occasion did his royal master a singular service, and by which his ready access 
 to the king at all hours is very apparent : for " as he [K. Edward IV.] was in 
 the north contray, in the Monneth of Septembre, as he lay in his hedde, one 
 named Alexander Carlile, that was Sarjaunt of the Mynstrellis, cam to him 
 in grete hast, and badde hym aryse, for he hadde enemyes cumming for to take 
 him, the which were within six or seven miles," &c. 
 
 Edward seems to have been very liberal to his minstrels. He gave to several 
 annuities of ten marks a year (6 Pari. Rolls, p. 89), and, besides their 
 regular pay, with clothing and lodging for themselves smd' their horses, they had 
 two servants to carry their instruments, four gallons of ale per night, wax candles, 
 and other indulgences. The charter is printed in Rymer, xi. 642, by Sir 
 J. Hawkins, vol. iv., p. 366, and Bumey, vol. ii., p. 429. All the minstrels 
 have English names. 
 
 When Elizabeth, his queen, went to Westminster Abbey to be churched (1466), 
 she was preceded by troops of choristers, chanting hymns, and to these succeeded 
 long lines of the noblest and fairest women of London and its vicinity, attended by 
 bands of musicians and trumpeters, and forty-two royal singers. After the banquet 
 and state ball, a state concert commenced, at which the Bohemian ambassadors 
 were present, and in their opinion as well as that of Tetzel, the German who accom- 
 panied them, and who has also recounted their visit to England, no betljer 
 singers could be found in the whole world," than those of the English king. 
 These ambassadors travelled through France, Belgium, Spain, Portugal, Italy, 
 and parts of Germany, as well as England, afifording them, therefore,' the widest 
 field for comparison with the singers of other countries. 
 
 At this time every great family had its establishment of musicians, and among 
 them the harper held a prominent position. Some who were less wealthy retained 
 a harper only, as did many bishops and abbots. In Sir John Howard's expenses 
 (1464) there is an entry of a payment as a new year's gift to Lady Howard's 
 grandmother's harper, "that dwellyth in Chestre." When he became Lord 
 Howard he retained in his service, Nicholas Stapylton, William Lyndsey, and 
 " little Richard," as singers, besides " Thomas, the harperd," (whom he provided 
 with a " lyard," or grey " gown"), and children of the chapel, who were succes- 
 sively four, five, and six in number at difierent dates. Mr. Payne Collier, who 
 edited his Household Book from 1481 to 1485 for the Roxburghe Club, remarks 
 
 a Tetzel says, " Nach dem Tantz do muosten des Korgesang, das alls gesatzt was, das Ueblich zu horen 
 
 Kunigs Cantores kumen und muosten singen .... ich was." — lb. p. 158. 
 
 mein das, in der Welt, nit besser Cantores sein." "Des Leo Von Kozmital, brother of the Queen of Bohemia 
 
 hbhmischen Herrn Leo^a von Rozmital Bitter, — Hof und says, "Musicos nullo uspiam in loco jucundiores et 
 
 Pilger — Reise, 1465-1467," ^c, Suo., Stuttgart, 1844, p. 157. suaviores audlvlmus, quam ibi : eorum chorus sexaginta} 
 
 Again Tetzel says, " Do horten wir das aller kostlichst circiter canforibus constat," —lb. p. 42. 
 
EDWARD IV. 45 
 
 on " the great variety of entries in connection with music and musical performers," 
 as forming " a prominent feature" of the book. " Not only were the musicians 
 attached to noblemen, or to private individuals, liberally rewarded, but also those 
 who were attached to particular towns, and who seem to have been generally 
 required to perform before Lord Howard on his various joumies. On the 14th of 
 October, 1841, he entered into an agreement with William Wastell, harper of 
 London, that he should teach the son of John Oolet, of Colchester, harper, for 
 a year, in order, probably, to render him competent afterwards to fill the post of 
 one of the family musicians." 
 
 Here also a part of the stipulation was that, at the end of the year, Lord 
 Howard should give Wastell a gown, which seems to have been the distinguishing 
 feature of a harper's dress. In Laneham's letter from Kenilworth (1575), 
 describing the " device of an ancient minstrel and his song," which was to have 
 been proffered for the amusement of queen Elizabeth, this " Squire minstrel, of 
 Middlesex, who travelled the country this summer season, unto worshipful men's 
 houses," is represented as a harper with a long gown of Kendal green, gathered 
 at the neck with a narrow gorget, and fastened before with a white clasp ; his 
 gown having long sleeves down to mid-leg, but slit from the shoulders to the 
 hand, and lined with white. His harp was to be " in good grace dependent before 
 him," and his " wrest," or tuning-key, " tied to a green lace, and hanging by." 
 He wore a red Cadiz girdle, and the corner of his handkerchief, edged with blue 
 lace hung from his bosom. Under the gorget of his gown hung a chain, " re- 
 splendent upon his breast, of the ancient arms of Islington." The acts of king 
 Arthur were the subject of his song. 
 
 The Romances which still remained popular [1480] are mentioned by William 
 of N"assyngton [in a MS. which Warton saw in the library of Lincoln Cathedral], 
 who gives his readers fair notice that he does not intend to amuse them. 
 
 " I warne you first at the begynnynge And of many other Gestes, 
 
 That I will make no vayne carpynge, As namely, when they come to festes ; 
 
 Of dedes of armes, ne of amours, Ne of the lyf of Bevys of Hamptoune, 
 
 As does Mynstrellis and Gestours, That was a Knyght of grete renowne ; 
 
 That maketh carpynge in many a place Ne of Syr Gye of Warwvke, &c. 
 
 Of OoTAviANE and Isenbrace, Warton, vol. iv., p. 368. 
 
 The invention of printing, coupled with the increased cultivation of poetry and 
 music by men of genius and learning, accelerated the downfall of the Minstrels. 
 They could not long withstand the superior standard of excellence in the sister 
 arts, on the one hand, and the competition of the ballad-singer (who sang without 
 asking remuneration, and sold his songs for a penny) on the other. In little more 
 than fifty years from this time they seem to have fallen into utter contempt. We 
 have a melancholy picture of their condition, in the person of Richard Sheale, 
 which it is impossible to read without sympathy, if we consider that to him we 
 are indebted for the preservation of the celebrated heroic ballad of Ghevy Chace, 
 at which Sir Philip Sidney's heart was wont to beat, " as at the sound of a 
 
46 ENGLISH MINSTRELSY. . 
 
 trumpet;"* and of which Ben Jonson declared he would rather have heen the 
 
 author, than of all he had ever written. This luckless Minstrel had been robbed 
 
 on Dunsmore Heath, and, shame to tell, he was unable to persuade the public 
 
 that a son of the Muses had ever been possessed of sixty pounds, which he 
 
 averred he had lost on the occasion. The account he gives of the effect upon his 
 
 spirits is melancholy, and yet ridiculous enough. [As the preservation of the 
 
 old spelling is no longer essential' to the rhyme or metre, I venture to give it in 
 
 modern orthography.] 
 
 ." After my robbery my memory was so decay'd 
 
 That I could neither sing, nor talk, my wits were so dismay'd. 
 
 My audacity was gone, and all my merry talkj 
 
 There are some here have seen me as merry as a hawk ; 
 
 But now I am so troubled with fancies in my mind, 
 
 I cannot play the merry knave, according to my kind. 
 
 Yet to take thought, I perceive, is not the next way 
 
 To bring me out of debt, — my creditors to pay. 
 
 I may well say that I had but evil hap 
 
 For to lose about threescore pounds at a clap. 
 
 The loss of my money did not grieve me so sore. 
 
 But the talk of the people did grieve me much more. 
 
 Some said I was not robb'd, I was but a lying knave. 
 
 It was not possible _ for a Minstrel so much money to have. 
 
 Xndeed, to say the truth, it is right well known 
 
 That I never had so much money of my own, 
 
 But I had friends in London, whose names I can declare, 
 
 That at all times would lend me two hundred pounds of ware, 
 
 And with some again such friendship I found. 
 
 That they would lend me in money nine or ten pound. 
 
 The occasion why I came in debt I shall make relation — 
 
 My wife, indeed, is a silk- woman, by her occupation ; 
 
 In linen cloths, most chiefly, was her greatest trade, 
 
 And at fairs and markets she sold sale-ware that she made, 
 
 As shirts, smocks, and partlets, head-clothes, and other things. 
 
 As silk thread and edgings, skirts, bands, and strings. 
 
 At Lichfield market, and Atherston, good customers she found. 
 
 Also at Tafflworth, where I dwell, she took many a pound. 
 
 When I had got my money together, my debts to have paid. 
 
 This sad mischance on me did fall, that cannot be denay'd ; [denied] 
 
 I thought to have paid all my debts and to have set me clear, 
 
 And then what evil did ensue, ye shall hereafter hear : 
 
 Because my carriage should be light I put my money into gold, 
 
 And without company I rode alone— thus was I foolish bold ; 
 
 I thought by reason of my liarp no man would me suspect, 
 
 For Minstrels oft with money, tliey be not much infect" 
 
 From the " Chant of Richard Sheale," — British Bibliographer, vol. iv., p. 100. 
 
 » "I neverheard the old song of Percy and Douglas, that in the dust and cohweh of that uncivil age, what would it ' 
 
 Ifoundnotmyheartmovedmoxe than with a trumpet: and work, trimmed in the gorgeous eloquence of Pindare !" — 
 
 yet it is sung but by some blind crowder, with no rougher Sir Philip Sidney's Defence of Poetry. 
 voice than rude style ; which being bo evil aparelled 
 
RICHARD SHBALE. — EXTINCTION OF MINSTRELSY. 47 
 
 Sheale was a Minstrel in the service of Edward, Earl of Derby, who died in 
 1574, celebrated for his bounty and hospitality, of whom Sheale speaks most 
 gratefully, as well as of his eldest son. Lord Strange. The same MS. contains an 
 " Epilogue " on the Countess of Derby, who died in January, 1558, and his 
 version of Chevy Chace must have been written at least ten years before the 
 latter date, if it be the one mentioned in the Complaynte of Scotland, which was 
 written in 1548. 
 
 In the thirty-ninth year of Elizabeth, an act was passed by which "Minstrels, 
 wandering abroad" were held to be "rogues, vagabonds, and sturdy beggars," 
 and were to be punished as such. This act seems to have extinguished the pro- 
 fession of the Minstrels, who so long had basked in the sunshine of prosperity. 
 The name, however, remained, and was applied to itinerant harpers, fiddlers, 
 and other strolling musicians, who are thus described by Puttenham, in his Arte 
 of English Foesie, printed in 1589. Speaking of ballad music, he says, " The 
 over busy and too speedy return of one manner of tune, doth too much annoy, 
 and, as it were, glut the ear, unless it be in small and popular musicks sung by 
 these Cantalanqui upon benches and barrels' heads, where they have none other 
 audience than boys or country fellows that pass by them in the street ; or else by 
 blind harpers, or such like tavern minstrels, that give a fit of mirth for a groat ; 
 and their matter being for the most part stories of old time, as the Tale of Sir 
 Topas, Bevis of Southampton, Guy of Warwick, Adam Bell and Clym of the 
 Clough, and such other old romances or historical rhimes, made purposely for the 
 recreation of the common people at Christmas dinners and bride-ales, and in 
 taverns and alehouses, and such other places of base resort. Also they" [these 
 short tunes] " be used in Carols and Rounds, and such like light and lascivious 
 poems, which are commonly more commodiously uttered by these bufibns, or vices 
 in plays than by another person." 
 
 Ritson, whose animosity to Percy and Warton seems to have extended itself 
 to the whole minstrel race, quotes, with great glee, the following lines on their 
 downfall, which were written by Dr. Bull, a rival musician : — 
 
 " When Jesus went to Jairus' house, 
 (Whose daughter was about to die) 
 He turned the Minstrels out of doors, 
 Among the rascal company : 
 Beggars they are with one consent, — 
 And rogues, bi/ act of Parliaments^ 
 
POPULAR MUSIC, 
 SONGS AND BALLADS, 
 
 REIGNS OF HENRY VII., HENRY VIII., EDWARD VI., 
 
 AND MARY. 
 
 Little occurs about music and ballads during the short reigns of Edward V. and 
 Richard HE. 
 
 Richard was very liberal to his musicians, giving annuities to some, and 
 gratuities to others. (See Harl. MS., No. 433.) But his chief anxiety seems to 
 have been to iacrease the already splendid choral establishment of the Chapel 
 Royal. For that purpose he empowered John Melynek, one of the gentlemen of 
 the chapel, " to take and seize for the king" not only children, but also " all 
 such singing men expert in the science of music, as he could find and think able 
 to do the kiag's service, within all places of the realm, as well cathedral churches, 
 colleges, chapels, houses of religion, and aU other franchised or exempt places, or 
 elsewhere." (Harl. MS., 433, p. 189.) But it is not my object to pursue the 
 subject of royal establishments further. 
 
 Li the privy purse expenses of Henry VH., from the seventh to the twentieth 
 year of his reign, there are many payments relating to music and to popular 
 sports, from which the following are selected : — 
 
 1492. Feb. 4th, To the childe that playeth on the records 
 
 [recorder] . .. . - 
 
 April 6th, To Gwj'llim for flotes [flutes] with a case 
 May 8th, For making a case for the tinges suerde, and a 
 
 case for James Hide's harp 
 July 8th. To the maydens of Lambeth for a May 
 August let. At Canterbury, To the children, for singing in 
 
 the gardyn - - - - 3 4 
 
 1493. Jan 1st, To the Queresters [choristers], at Paule's and 
 
 St. Steven - - - - - 13 4 
 
 Jan. 6th, To Newark [William Newark, the composer] for 
 
 making a song - - - - 10 
 
 Nov. 12th, To one Cornysshe for a prophecy, in rewarde 13 4 
 
 Probably William Cornish, jun., composer, who belonged to the kiag's chapel, 
 and was the author of a poem, called " A Treatise between Trouth and Informa- 
 cion." He was paid 13s. A^d. on Christmas day, 1502, for setting a carol. 
 
 £1 
 
 
 
 3 10 
 
 
 
 1 
 
 8 
 
 10 
 
 
 
HENRY VII. 49 
 
 Nov. 30th, Delivered to a mercliaunt, for a pair" of Organnes 30 
 Dec. 1st, To Basset, riding for th' organ player of Liclie- 
 felde . " - . 
 
 1494:. Jan. 2, For playing of the Mourice [Morris] Daunce 
 Nov. 29th, To Burton, for making a Masse - 
 
 „ To my Lorde Prince's Lnter, in rewarde 
 
 1495. Aug 2nd, To the women that songe before the king and 
 
 the queue, in rewarde 
 Nov. 2nd, To a woman that singeth with a fidell - 
 Nov. 27th, To Hampton of Wourcestre, for making of 
 
 Balades, in rewarde 
 
 1496. April 25th, To Hugh Denes, for a lute 
 June 25th, To Frensheman, player of the organes 
 Aug. 5th, To a Preste that wrestelled at Oeceter 
 Aug. 17th, To the queue's fideler, in rewarde 
 
 1499. June 6th, To the May-game at Greenwich 
 
 1501. May 21st, For a lute for my lady Margaret [the king's 
 
 eldest daughter, then about twelve years old, 
 
 afterwards Queen of Scots] 
 Sept. 30th, To theym that daunced the mer' [morris] daunce 
 Dec. 4th, To the Princesse stryng mynstrels at ^Yestminster 
 
 1502. Jan. 7th, To one that sett the king's cleyvecordes 
 Feb. 4th, To one Lewes, for a morris daunce 
 
 1504. March 6th, For a pair of Clavycordes 
 
 „ To John Sudborough, for a songe 
 
 1505. July 25th, To the gentylmen of the kinges chapell, for to 
 
 drinke with a bucke 
 Aug. 1st, For a lute for my Lady Mary 
 
 There is also a great variety of payments to the musicians of different towns, 
 as the " Waytes" of Dover, Canterbury, Dartford, Coventry, and Northampton ; 
 the minstrels of Sandwich, the shawms of Maidstone ; to bagpipers, the king's 
 piper (repeatedly), the piper at Huntingdon, &c. ; to harpers, some of whom were 
 Welsh. And there are also several entries " To a Walsheman for a ryme ;" 
 liberal presents to the poets, of his mother (the Countess of Richmond) , of the 
 prince, and of the king; to "therymer of Scotland," who was in all probahility the 
 Scotch poet, William Dunbar, who celebrated the nuptials of James IV. and the 
 princess Margaret, in his " Thistle and the Rose," and to an Italian poet. All 
 these may be seen in Excerpta Historica (8vo., 1833), and, as the editor 
 remarks : — " To judge from the long catalogue of musicians and musical instru- 
 ments, flutes, recorders, trumpets, sackbuts, harps, shalmes, bagpipes, organs, and 
 round organs, clavicords, lutes, horns, pipers, fiddlers, singers, and dancers, Henry's 
 love of music must have been great, which is further established by the fact, that 
 in every town he entered, as well as on board the ship which conveyed him to 
 Calais, he was attended by minstrels and waits." 
 
 ■^ A pair of organs, means a set of organs, i.e., an organ. we still say, " a pair of steps" — "up t-wo pair of stairs." 
 A pack of cards was formerly called a pair of cards, and 
 
 13 
 
 4 
 
 2 
 
 
 
 1 
 
 
 
 1 
 
 
 
 6 
 
 8 
 
 2 
 
 
 
 1 
 
 
 
 13 
 
 4 
 
 6 
 
 8 
 
 6 
 
 8 
 
 1 6 
 
 8 
 
 4 
 
 
 
 13 
 
 4 
 
 1 6 
 
 8 
 
 2 
 
 
 
 10 
 
 4 
 
 1 13 
 
 4 
 
 13 
 
 
 
 1 
 
 
 
 2 
 
 
 
 13 
 
 4 
 
50 HENKY VIII. 
 
 A manuscript, containing a large number of songs and carols, has been recently 
 found in the library of Balliol Coll., Oxford, where it had been accidently con- 
 cealed, behind a book-case, during a great number of years. It is in the hand- 
 writing of Richard Hill, merchant of London, and contains entries from the year 
 1483 to 1535. Six or eight of the songs and carols are the same as in the book 
 printed by the Percy Society, to which I have referred at page 41, and especially 
 the carol, " Nowell Nowell," but the volume does not contain music. The song 
 of the contention between Holly and Ivy, beginning " Holly beareth berries, berries 
 red enough," which is printed in Ritson's Ancient Songs, from a manuscript 
 of Henry the Sixth's time, is there also, proving that some of the songs are 
 of a much earlier date than the manuscript, and that they were still in favor. At 
 fol. 210, V. is a copy of the " Nut-browne Mayde," and at the end of it " Explicit 
 quod, Rich. Hill," which was the usual mode of claiming authorship of a work. 
 
 In the Pepysian Library, Magdalene College, Cambridge, there is a manuscript 
 book of vocal music (No. 87), containing the compositions of the most eminent 
 masters, English and foreign, of the time of Henry VH., written for the then 
 Prince of Wales. It was the Prince's book, is beautifully written on vellum, and 
 illuminated with his figure in miniature. 
 
 Henry VIH. was not only a great patron of music, but also a composer; and, 
 according to Lord Herbert of Cherbury, who wrote his life, he composed two 
 complete services, which were often sung in his chapel. Hollinshed, in speaking 
 of the removal of the court to Windsor, when Henry was beginning his progress^ 
 tells us that he " exercised himselfe dailie in shooting, singing, dansing, wxessling, 
 casting of the barre, plaieing at the recorders, flute, virginals, in setting of songs, 
 and making of ballades." All accounts agree in describing him as an amiable and 
 accomplished prince in the early part of his reign; and the character given of him 
 to the Doge of Venice, by his three ambassadors at the English court, could 
 scarcely be expressed in more favorable terms. In their joint despatch of 
 May 3rd, 1515, they say : " He is so gifted and adorned with mental accomplish- 
 ments of every sort, that we believe him to have few equals in the world. He 
 speaks English, French, and Latin ; understands Italian well ; plays almost 
 on every instrument, and composes fairly (delegnamente) ; is prudent and sage, 
 and free from every vice."* 
 
 In the letter of Sagudino (Secretary to the Embassy), writen to Alvise Eoscari, 
 at this same date, he says : " He is courageous, an excellent musician, plays the 
 virginals well, is learned for his age and station, and has many other endowments 
 and good parts." On the 1st of May, 1515, after the celebration of May-day at 
 Greenwich, the ambassadors dined at the palace, and after dinner were taken into 
 certain chambers containing a number of organs, virginals (clavicimbani), flutes, 
 and other instruments ; and having heard from the ambassadors that Sagudino 
 was a proficient on some of them, he was asked by the nobles to play, which 
 
 ■ Despatch written by Pasqualigo, Badoer, and Gius- of Venice, from January, 1515, to July 26, 1519. Tians- 
 tinian conjointly. See four years at the Court of Henry lated by Eawdon Brown. 8vo., 1854, vol. i., p. 76. 
 VIII., Selection of Despatches addressed to the Slgnory 
 
VENETIAN AMBASSADORS — ERASMUS. 51 
 
 he did for a long while, both on the virginals and organ, and says that he bore 
 himself bravely, and was listened to with great attention. The prelates told him 
 that the king would certainly wish to hear him, for he practised on these instru- 
 ments day and night. 
 
 Pasqualigo, the ambassador- extraordinary, gives a similar account at the same 
 time. Of Henry he says : " He speaks French, English, and Latin, and a little 
 Italian, plays well on the lute and virginals, sings from book at siffJit, draws the 
 bow with greater strength than any man in England, and jousts marvellously. 
 Believe me he is in every respect a most accomplished prince ; and I, who have 
 now seen all the sovereigns in Christendom, and last of all these two of France 
 and England, might well rest content," &c. Of the chapel service, Pasqualigo 
 says : " We attended High Mass, which was chaunted by the bishop of Durham, 
 with a superb and noble descant chou-"^ (Capella di Discanto) ; and Sagudino 
 says : " High Mass was chaunted, and it was sung by his majesty's choristers, 
 whose voices are really rather divine than human ; they did not chaunt, but sung 
 like angels (non cantavano, ma jubilavano) ; and as for the deep bass voices, 
 I don't think they have their equals in the world." ^ (Vol. i., p. 77.) 
 
 Upon these despatches the editor remarks: "As Pasqualigo had been ambassador 
 at the courts of Spain, Portugal, Hungary, France, and of the Emperor, he was 
 enabled to form comparisons between the state of the science in those kingdoms 
 and our own ; and, indeed, it is the universal experience of the Venetian ambas- 
 sadors, and their peculiar freedom from prejudice or partiality (no jealousy or 
 rivalry existing between them and England), that makes their comments on our 
 country so valuable." (Vol. 1, p. 89.) 
 
 Erasmus, speaking of the English, said that they challenge the prerogative of 
 having the most handsome women, of keeping the best tables, and of being most 
 accomplished in the skill of music of any people; " and it is certain that the begin- 
 ning of the sixteenth century produced in England a race of musicians equal to 
 the best in foreign countries, and in point of secular music decidedly in advance 
 of them. When Thomas Cromwell, afterwards Earl of Essex, went from Antwerp 
 to Kome, in 1510, to obtain from Pope Julius H. the renewal of the " greater and 
 lesser pardon" ^ for the town of Boston, for the maintenance of their decayed port, 
 
 » Descant choir is not a proper term, because the Music Su. — " Peace, man, prick-song may not be despised, 
 
 of the King's Chapel was not extempore descant, but in For therewith God is well pleased, 
 
 written counterpoint of four parts. Several of the manu- Honoured, praised, and served 
 
 scripts in use about this period, are preserved in the In the Church oft-times among." 
 
 King's Library, British Museum, and some were Henry's Ig.—" Is God well pleased, trow'st thou, thereby » 
 
 own books. They are beautifully written manuscripts Nay, nay I for there is no reason why : 
 
 on parchment, bearing the King's arms. In one a Canon For is it not as good to say plainly 
 
 in eight parts is inserted on the words "Honi soit qui ■ Give me a spade,' 
 
 mal y pense." The references to these manuscripts As 'give me a spa-ve-va, ve-va-ve-vade?' 
 
 will be found in Mr. Oliphant's Catalogue of Musical But if thou wUt have a song that is good, 
 
 MSS., British Museum, towards the commencement. I have one of Robin Hood," So. 
 
 See Nos. 12 13 21 &c. " "Britanni, praeteralia, formam, musicam, et lautas 
 
 ^ The florid character of the counterpoint in use in 
 
 mensas propria sibi vindicent." — Erasmus Enconium 
 Morics. 
 
 churches in those days is slyly reproved in a dialogue be. ^ ^^^^^ pardons, says Foxe, gave them the power to 
 
 tween Humanity and Ignorance, in the Interlude of The jgceive full remission, " a pjena et culpa ; " also pardon 
 
 Four Elements, printed about 1510. (Prick-song meant fQj gouij in purgatory, on payment of 6s. M. for the first 
 
 harmony written or pricked down, in opposition to plain- year, and 12rf. for every year after, to the Church of St. 
 
 song, where the descant rested with the will of the singer.) Botolph's, Boston. 
 
52 
 
 HENRY VIII. 
 
 "being loth," saysFoxe, "to spend much time, and more loth to spend his money, 
 among the greedy cormorants of the Pope's court," he devised to meet him on his 
 return from hunting; and "having knowledge how the Pope's holy tooth greatly 
 delighted in new-fangled strange delicates and dainty dishes, it came into his 
 mind to prepare certain fine dishes of jelly, made after our country manner here 
 in England ; which to them of Kome was not known nor seen before. This done, 
 Cromwell observing his time accordingly, as the Pope was newly come from 
 hunting into his pavilion, he, with his companions, approached with his English 
 presents, brought in with a ihree-marC s song (as we call it) in the English tongue, 
 and all after the English fashion. The Pope suddenly marvelling at the strange- 
 ness of the song, and understanding that they were Englishmen, and that they 
 came not empty-handed, willed them to be called in; and seeing the strangeness of 
 the dishes, commanded by and by his Cardinal to make the assay ; who in tasting 
 thereof, liked it so well, and so likewise the Pope after him, that knowing of them 
 what their suits were, and requiring them to make known the making of that meat, 
 he, incontinent, without any more ado, stamped both their pardons, as well the 
 greater as the lesser." (Acts and Monuments.) The introduction of these songs 
 into Italy is also mentioned by Michael Drayton in his Legend of Thomas 
 Cromwell, Earl of Essex, which was first printed in quarto in 1609. 
 
 " Not long it was ere Rome of me did ring. 
 Hardly shall Rome such full days see again ; 
 Of Freemen's Catches to the Pope I sing, 
 Which won much licence for my countrymen. 
 Thither the which I was the first did bring, 
 That were unknown in Italy till then," &c. 
 
 In the Life of Sir Peter Carew, by John Vowell, alias Hoker, of Exeter 
 (Archaeologia, vol. 28), Freemen's Songs are again mentioned. "From this time 
 he (Sir Peter) continued for the most part in the court, spending his time in 
 aU courtly exercises, to his great praise and commendation, and especially to the 
 good liking of the king (Henry "VlLL), who had a great pleasure in him, as 
 well for his sundry noble qualities, as also for his singing. For the king himself 
 being much delighted to sing, and Sir Peter Carew having a pleasant voice, the 
 king would often use him to sing with him certain songs they call Freemen Songs, 
 as namely, 'By the bancke as I lay,' and 'As I walked the wode so wylde,' " &c. 
 
 To sing at sight was so usual an accomplishment of gentlemen in those days, 
 that to be deficient in that respect was considered a serious drawback to success in 
 life. Skelton, in his Bowge at Court, introduces Harvy Hafter as one who cannot 
 sing " on the booke," but he thus expresses his desire to learn : — 
 
 " Wolde to God it wolde please you some day, 
 A balade bote before me for to laye. 
 And leme me for to synge re, mi, fa, sol, 
 And when I fayle, bobbe me on the noil." 
 
 Shelton's Works, Ed. Dyce, vol. i., p. 40. 
 
THE ENGLISH LOVE OE SONCxS AND BALLADS. 63 
 
 Barklay, in his fourth Eclogue, (about 1514) says — 
 
 " \ATien your fat dishes smoke hot upon your tahle, 
 Then laude ye songs, and ballades magnifie ; 
 If they be merry, or written craftely, 
 Ye clap your handes and to the making harke, 
 And one say to another, Lo, here a proper warke ! " 
 The interlude of " The Pour Elements" was printed by Rastall about 1510 ; 
 and, in that, Sensual Appetite, one of the characters, recommends Humanity " to 
 comfort his lyf natural!" with "daunsing, laughyng, or plesaunt songe," and 
 says — " Make room, sirs, and let us be merry, 
 
 With huff a galand, syng Tyrll on the berry, 
 
 And let the wide world wynde. 
 Sing Frisk a jolly, with Hey trolly lolly, 
 For I see it is but folly for to have a sad mind." 
 
 Percy Soc, No. 74. 
 " Hey, ho, frisca jolly, under the greenwood tree," is the burden of one of the 
 songs in the musical volume of the reign of Henry VHI. (MS. Reg. Append. 58.) 
 from which I have extracted several specimens. It contains, also, some instru- 
 mental pieces, such as " My Lady Carey's Dompe," and " My Lady Wynkfield's 
 Rownde," which when well played on the virginals, as recently, by an able lecturer, 
 are very effective and musical. 
 
 Some of Henry the Eighth's own compositions are still extant. In a collection 
 of anthems, motets, and other church oflSces, in the handwriting of John Baldwm, 
 of Windsor, (who also transcribed that beautiful manuscript. Lady Neville's 
 Virginal Book, in 1591), is a composition for three voices, " Quam pulchra es, et 
 quam decora." It bears the name Henricus Octavus at the beginning, and "quod 
 Henricus Octavus" at the end of the cantus part. The anthem " Lord, the 
 maker of all things," which is attributed to him in Boyce's Cathedral Music, is 
 the composition of William Mundy ; the words only are taken from Henry the 
 Eighth's primer. Some music for a mask, which Stafford Smith attributes to 
 him, will be found in the Arundel Collection of MS. (Brit. Mus.) or in Musica 
 Antiqua, vol. i. ; and one of his ballads, " Pastime with good company," is given 
 as a specimen m the following pages. 
 
 In 1533 a proclamation was issued to suppress " fond [foolish] books, ballads, 
 rhimes, and other lewd treatises in the English tongue ;" and in 1537 a man of 
 the name of John Hogon was arrested for singing a political ballad to the tune of 
 " The hunt is up." It was not only among the upper classes that songs and 
 ballads were then so general, although the allusions to the music of the lower 
 classes are less frequently to be met with at this period than a little later, when 
 plays, which give the best insight to the manners and customs of private life, had 
 become general. One passage, however, from Miles Coverdale's " Address unto 
 the Christian reader" prefixed to his " Goastly Psalmes and Spirituall Songes," 
 [1538] will suffice to prove it. " Wolde God that our Mynstrels had none other 
 thynge to play upon, neither our carters and pJmmien other thynge to whistle 
 
64 HENRY VIII. 
 
 upon, save psalmes, hymns, and such like godly songes. . . And if women at 
 the rockes,"' and spinnynge at the 'wheles, had none other songes to pass their tyme 
 withall, than such as Moses' sister, . . songe before them, they should be better 
 occupied than with\5e«/, nonny, nonny — Sey, trolly, lolly, and such like fantasies." 
 Despite the excellent intent with which this advice was given, it did not evidently 
 make much impression, either then or after. The traditional tunes of every 
 country seem as natural to the common people as warbling is to birds in a 
 state of natiu-e; the carters and ploughmen continued to be celebrated for their 
 whistling, to the end of the eighteenth century, and the women thought rather with 
 Ophelia : " You must sing down, a-down, an you call him a-down-a, Oh, how the 
 wheel becomes it ! " 
 
 Anthony k Wood says that'Sternhold, who was Groom of the Chamber to 
 Henry "Viii., versified fifty-one of the Psalms, and " caused musical notes to be 
 set to them, thinking thereby that the courtiers would sing them instead of their 
 sonnets, but did not, only some few excepted." They were not, however, printed 
 till 1549. On the title page it is expressed that they were to be sung "in private 
 houses, for godly solace and comfort, and for the laying apart all ungodly songes 
 and ballads." 
 
 Although Henry VHI. had given all possible encouragement to ballads and 
 songs in the early part of his reign, both in public and private, — and in proof 
 of their having been used on public occasions, I may mention the coronation of 
 Anne Boleyn, when a choir of men and boys stood on the leads of St. Martin's 
 Church, and sang new ballads in praise of her majesty, — yet, when they were re- 
 sorted to as a weapon against the Reformation, or in opposition to any of his own 
 opinions and varying commands, he adopted the summary process of suppressing 
 them altogether. It is in some measure owing to that act, but principally to their 
 perishable nature, that we have no printed ballads now remaining of an earlier 
 date than that on the downfall of his former favorite, Thomas, Lord Cromwell, 
 which is in the library of the Society of Antiquaries, at Somerset House. The 
 act, which was passed in 1543, is entitled " An act for the advancement of true 
 religion, and for the abolishment of the contrary" (Anno 34-35, c. i.), and recites 
 that " froward and malicious minds, intending to subvert the true exposition of 
 scripture, have taken upon them, by printed ballads, rhymes, etc., subtilly and 
 craftily to instruct his highness' people, and specially the youth of this his realm, 
 untruly. For reformation whereof, his majesty considereth it most requisite to 
 purge his realm of all such books, ballads, 'rhymes, and songs, as be pestiferous 
 and noisome. Therefore, if any printer shall print, give, or deliver, any such, he 
 shall suffer for the first time imprisonment for three months, and forfeit for every 
 copy IQl., and for the second time, forfeit all his goods and his body be committed 
 to perpetual prison." Although the act only expresses " all such books, ballads, 
 rhymes, and songs as be pestiferous and noisome," there is a list of exceptions 
 to it, and no ballads of any description are excepted. "Provided, also, that 
 
 * Rock, a distalF: that is, the staff on which flax was the corresponding part of the spinning wheel, — Narea^ 
 held, when spinning was performed without a wheel ; or Glosaary. 
 
ACTS OF PARLIAMENT AND PROCLAMATIONS AGAINST BALLADS. 55 
 
 all books printed before the year 1540, entituled Statutes, Cbronicles, Canterbury 
 Tales, Chaucer's books, Gower's books, and stories of men's lives, shall not be 
 comprehended in the prohibition of this act," It was not, however, the first time 
 that ballads had been employed for controversy on religious subjects. The ballads 
 against the Lollards, and those against the old clergy, have been mentioned at 
 page 40 ; and there is a large number extant against monks and friars, many of 
 which were, and some still are, popular. 
 
 The first collection of songs in parts that vas printed in England, was in 1530; 
 but of that only a base part now remains.^ There are, however, many such collec- 
 tions in manuscript in public and private libraries. Stafibrd Smith's printed 
 collection of songs ia score, composed about the year 1500, is almost entirely 
 taken from one manuscript. 
 
 Henry VUI. left a large number of musical instruments at his death, the in- 
 ventory of which may be seen in Harl. MSS. No. 1419, fol. 200 ; and, as might 
 be expected, all his children were well taught hx music. 
 
 "Ballads," says Mr. Collier, "seem to have multiplied after Edward VI. came 
 to the throne ; no new proclamation was issued, nor statute passed on the subject, 
 while Edward continued to reign ; but in less than a month after Mary became 
 queen, she published an edict against ' books, ballads, rhymes, and treatises,' 
 which she complained had been ' set out by printers and stationers, of an evil 
 zeal for lucre, and covetous of vile gain.' There is little doubt, from the few 
 pieces remaining, that it was, in a considerable degree, efiectual for the end 
 in view." 
 
 The following tunes are occasionally classed rather under the dates to which 
 I consider them to belong, than by those of the copies from which they are derived ; 
 but as the authorities are given in every case, the reader has the means before him 
 of forming his own opinion. Some, however, are classed rather for convenience of 
 subject, as songs of Robin Hood, songs or tunes mentioned by Shakespeare, &c. 
 
 After a few from manuscripts of the time of Henry VHI., there are specimens 
 of " King Henry's Mirth, or Freemen's Songs," from a collection printed in 1609, 
 which contains many "fine vocal compositions of very great antiquity."*" But 
 of those, I have only selected such as were also used as song or ballad tunes, 
 sung by a single voice. 
 
 * It contained compositions by Comish, Pygot, Ash- It met with so much success, that in the same year he 
 
 well, Taverner, Gwynneth, Jones, Dr. Cowper, and Dr. published a second, called " Deuteromelia : or the second 
 
 Pairfax. See the Index in Ritson's Ancient Songs, part of Musick's Melodie, or melodious musicke of plea- 
 
 p. xxiii., last edition. Stafford Smith's are principally by sant Roundelayes, K. H. [King Henry's] Mirth, or Free- 
 
 Fairfax, Newark, Heath, Turges, Sheringham, and Sir men's Songs," &c. ; and in 1611, a third collection, called 
 
 Thomas Philippsj but this list of composers might be "Melismata: Musical Phansies, fitting the court, city, 
 
 increased greatly by including those in other manuscripts. and countrey humours." Some of the Songs and Catches 
 
 ^ In 1609, Thomas Ravenscrott, Mus. Bac, collected in these collections are undoubtedly of the reign of Henry 
 
 and printed 100 old Catches, Rounds, and Canons, under VII., and it is to be presumed that the authors of all 
 
 the title of "Pammelia: Musick's Miscellanie, or mixed were unknown to Ravenscroft, as, contrary to custom, 
 
 varietie of pleasantRoundelayes and delightful Catches." he does not mention them in any instance. 
 
56 
 
 ENGLISH SONG AND BALLAD MUSIC. 
 
 "Pastime with good Company." 
 
 The words and music of this song are preserved in a manuscript of the time of 
 Henry VIII., formerly in Ritson's possession, and now in the British Museum 
 (Add. MSS., 5665) ; in which it is entitled The King's Ballad. Ritson 
 mentions it in a note to his Historical Essay on Scotish Song, and Stafford Smith 
 printed it in his Musica Antigua m score for three men's voices. It is the first of 
 those mentioned in Wedderburn's Complaint of Scotland, which was published in 
 1549 : " Now I will rehearse some of the sweet songs that I heard among them 
 (the shepherds) as after follows : in the first Pastance loith good Company" &c. 
 The tune is also to be found arranged for the lute (without words) in the volume 
 among the king's MSS. before cited (Append. 58), of which " Dominus Johannes 
 Bray " was at one time the possessor. This may be considered as another proof 
 of its former popularity. 
 
 In moderate time. 
 
 Song by Henry VIII. 
 
 ^P^^^^^^^Pr 
 
 ihall un - til I die 
 
 Y 
 
 Pas-time with good com pa-ny I love, and shall un 
 
 fa=in; 
 
 ^ 
 
 ^ 
 
 WSiU 
 
 i UM i^ ^ ii' ^^it'iii'j ^ 
 
 T 
 
 Grudge who will, but none de - ny, So God he pleas'd this life will I : For my pastance, Hunt, 
 
 ^ 
 
 iU ^ ^i'-^iimUm^ 
 
 ^ 
 
 i - yy-^ 
 
 sing and dance ; My heart is set. All good-ly sport To my comfort. Who shall me let ? 
 
 -tJ — sL 
 
 ^ 
 
 — =1— 
 
 • — -m- 
 
 Youth will needs have dalliance. 
 Of good or ill some pastance ; 
 Company me thinketh the best 
 All thoughts and fantasies to digest, 
 
 For idleness 
 
 Is chief mistress 
 
 Of vices all : 
 Then who can say 
 But pass the day 
 
 Is best of all t 
 
 Company with honesty 
 
 Is virtue, — and vice to flee : 
 
 Company is good or ill. 
 
 But ev'ry man hath his free will. 
 
 The best I sue, 
 
 The worst eschew : 
 
 My mind shall be 
 Virtue to use r 
 Vice to refuse 
 
 I shall use me. 
 
PROM HENRY VII. TO MARY. 
 
 57 
 
 " Ah ! THE SIGHS THAT COME FRO' MY HEART." 
 
 This little love-song is the first in MSS. Reg. Append. 58., of the time of 
 Henry VIH., and the air is both elegant and expressive. The cadence, or flourish 
 at the end, is characteristic of the period, and there is a pretty attempt at 
 musical expression on the words, " fro' my love depart." 
 
 Smoothly and with expression. 
 
 ^^^^^^m 
 
 y~r 
 
 m 
 
 Ah ! the syghes that come fro' my heart, They grieve me passing sore ; 
 
 Syth 
 
 :i 
 
 P 
 
 
 ^ 
 
 —■I I ^ "— J ft '^ = 
 
 s 
 
 s 
 
 ^^F=^ 
 
 -5=^ 
 
 I must fro' my love de part, Fare-well my joye for e- ver - more, 
 
 m 
 
 m 
 
 n 
 
 "^^■r 
 
 f^ 
 
 =1= 
 
 Ah ! the sighs that come from my heart, 
 They grieve me passing sore, 
 
 Sith I must fro' my love depart, 
 Farewell, my joye, for evermore. 
 
 Oft to me, with her goodly face. 
 She was wont to cast an eye": 
 
 And now absence to me in place? 
 Alas ! for woe I die, I die ! 
 
 I was wont her to heboid, 
 
 And take in armes twain ; 
 And now, with sigbes manifold. 
 
 Farewell my joy ! and welcome pain ! 
 
 Ah ! me think that should I yet. 
 As would to God that I might ! 
 
 There would no joys compare with it 
 Unto my heart, to make it light. 
 
 "Western wind, when wilt thou blow?" 
 
 This is also taken from MSS. Reg. Append. 58, time of Henry VHI. As the 
 tune appears to be in the ancient Dorian mode, it has been harmonized in that 
 mode, to preserve its peculiarity of character. 
 
 The writer of a quarto volume on ancient Scotish melodies has asserted that 
 all the ancient English music in Ritson's, or other collections, is of a heavy 
 drawling character. An assertion so at variance with fact must either have 
 proceeded from narrow-minded prejudice, or from his not having understood 
 ancient musical notation. That he could not discriminate between Scotch and 
 English music is evinced by the fact of his having appropriated some of the best 
 known English compositions as ancient Scotish melodies.'' 
 
 « This writer also cites tlie authority of Giraldus Cam- 
 brensis, who smjs mlhing of the kind; and in the same 
 
 sentence, appropriates wliat Giraldus says in favour of 
 Irish music to Scotch. 
 
58 
 
 ENGLISH SONG AND BALLAD MUSIC. 
 
 The following song is one of those adduced by him in proof of the drawling of 
 English music ; but I have restored the words to their proper places, and it is by 
 no means a drawling song. It should be borne in mind that these specimens of 
 English music are long anterior to any Scotish music that has been produced.- 
 
 Moderate time. 
 
 ^ 
 
 fe 
 
 m 
 
 f 
 
 Westron wynde when wyll thou blow? The smalle rain downe 'doth' rayne; 'Oh!' 
 
 ^^ 
 
 ^ 
 
 
 ^ 
 
 r=^^^ 
 
 if my love were in my armys, ' Or' I in my hed a - gayne. . . . 
 
 -^^-HH^-J 
 
 i 
 
 " Blow tht hoen, Hunter ! " 
 
 This is also copied from MSS. Reg. Append. 58, time of Henry VHI. It is a 
 spirited tune, and should be sung more quickly in proportion than the others, 
 because in modernizing the notation, I have only made a crotchet into a quaver, 
 instead of into a semiquaver, as would have been more correct, considering the 
 date of the manuscript. 
 
 Boldly and well marked. 
 
 / JDUtiUiU UnUl tJUCIJli UtUI KCUi. I I 
 
 r^~i 
 
 ^ 
 
 ^ 
 
 Blow thy home, hun-ter, Cum, blow thy home on hye ! In yonder wode there lyeth a duo, In 
 
 ^ 
 
 :^ 
 
 zz 
 
 -ei--z^ 
 
 sr -s*- 
 
 -7X 
 
 5Ne 
 
 iE^ 
 
 Ws^i .[J L-W 
 
 ^ 
 
 ayth she woll 
 
 fayth 
 
 ^=: -sr 
 
 not dye. Cum, blow thy home, hmi-ter, Cum, blow thy home, joly hun - ter! 
 
 — — ■ ° - — ■ ■ ^^ "- ^ — & — ^ — — — ■ - ■- — ■■ - ^ — 
 
FROM HENRY VII. TO MARY. 
 
 59 
 
 "The Three Ravens." 
 This song is one of those included under the head of " Country Pastimes " in 
 Melismata, 1611. Ritson in his Ancient Songs, remarlcs : " It will be obvious 
 that this ballad is much older, not only than the date of that book, but than most 
 of the other pieces contained in it." It is nevertheless still so popular in some 
 parts of the country, that I have been favored with a variety of copies of it, 
 written down from memory ; and all differing in some respects, both as to words 
 and tune, but with sufficient resemblance to prove a similar origin. 
 Slowly, smoothly, and with great expression. 
 
 ' VjJ IJ '-j ' 1/-^^ 
 
 3EgE 
 
 f^ 
 
 There were three ra-vens sat on a tree, Down a down, hey down, hey down, They 
 
 ^ 
 
 ^^ 
 
 ^ 
 
 Htir^-^^ 
 
 ^ 
 
 ^^-J-j - 
 
 ^^*f^ 
 
 fl=^ 
 
 were as black as they might he, With a down 
 
 The one of them said 
 
 i 
 
 ^^ 
 
 m 
 
 ± 
 
 ^^=i=n 
 
 n\i J^] | ,rt^- 
 
 * 
 
 1 ••"r-i- J 
 
 3:5: 
 
 to his mate, Where shall we ' now' om- breakfast take? With a down, deny, deny, deny down, down, 
 J -^ 
 
 ^ 
 
 M 
 
 5 
 
 s 
 
 :^ 
 
 Down in yonder green field, Down a down, hey down, hey down, 
 
 There lies a knight slain, under his shield. With a down. 
 
 His hounds they lie down at his feet. 
 
 So well 'do' they their master keep. With a down, derry, &c. 
 
 His hawks they fly so eagerly, Down a down, &c. 
 
 There's no fowl ' that ' dare him come nigh. With a down. 
 
 Down there comes a fallow doe, 
 
 As great with young as she might go. With a down, derry, &c. 
 
 She lifted up his bloody head, Down a down, &c. 
 And kiss'd his wounds that were so red ; With a down. 
 She got him up upon her back, 
 And carried him to earthen lake. With a down, &c. 
 
 She buried him before the prime : With a down, &c. 
 
 She was dead herself ere even-song time. With a down. 
 
 God send every gentleman 
 
 Such hawks, such hounds, and such a leman [lov'd one]. With a down, &c. 
 
60 
 
 ENGLISH SONG AND BALLAD MUSIC. 
 
 " The Hunt is up." 
 Among the favorites of Henry the Eighth, Puttenham notices " one Gray, 
 what good estimation did he grow unto with the same King Henry, and afterwards 
 with the Duke of Somerset, Protectour, for making certaine merry ballades, 
 whereof one chiefly was. The hunte is uja, the hunte is up." Perhaps if was the 
 same William Gray who wrote a ballad on the downfall of Thomas Lord Cromwell 
 in 1540, to which there are several rejoinders in the library of the Society of 
 Antiquaries. The tune The Sunt is up was known as early as 1537, when 
 information was sent to the Council against one John Hogon, who had offended 
 against the proclamation of 1533, which was issued to suppress " fond books, 
 ballads, rhimes, and other lewd treatises in the English tongue," by singing, 
 " with a crowd or a fyddyll," a political song to that tune. Some of the words 
 are inserted in the information, but they were taken down from recitation, and are 
 not given as verse (see Collier's Shakespeare, i., p. cclxxxviii.) In the Complaint 
 of Scotland, 1549, The Runt is up is mentioned as a tune for dancing, for which, 
 from its lively character, it seems peculiarly suited ; and Mr. Collier has a MS. 
 which contains a song called " The Kinges Hunt is upp," which may be the very 
 one written by Gray, since " Harry our King" is twice mentioned in it, and a 
 reUgious parody as old as the reign of Henry VIH. is in precisely the same 
 measure. The following is the song : — 
 
 "The Kinges Hunt is upp." 
 
 Merrily 
 
 The east is bright with morning light, 
 
 And darkness it is fled, 
 And the merie home wakes up the morne 
 
 To leave his idle bed. 
 
 Beholde the skyes with golden dyes 
 
 Are glowing all around. 
 The grasse is greene, and so are the treene, 
 
 All laughing at the sound. 
 
 Awake, all men, I say agen, 
 Be mery as you maye. 
 
 For Harrj^ ovir Kinge is gone hunting. 
 To bring his deere to baye. 
 
 The horses snort to be at the sport. 
 The dogges are running free, 
 
 The woddes rejoyce at the mery noise 
 Of hey tantara tee ree ! 
 
 The sunns is glad to see us clad 
 
 All in our lustie greene, 
 'And smiles in the skye as he riseth bye, 
 
 To see and to be secne. 
 
FROM HENRY VII. TO MART. 61 
 
 The tune is taken from MusicWs delight on the Cithren, edition of 1666, which 
 contains many very old and popular tunes, such as " Trip, and go," and " Light 
 o' Love" (both mentioned by Shakespeare), which I have not found in any other 
 printed collection. Ritson, in his Ancient Songs, quotes the following song of 
 one verse, which is in the same measure, and was therefore probably sung to the 
 same tune. It may be found in Merry Drollery Complete, 1661, and the New 
 Academy of Complements, 1694 and 1713. 
 
 " The hunt is up, the hunt is up, 
 And now it is almost day ; 
 And he that's ' at home, in bed with hie wife,' 
 'Tis time to get him away." 
 
 Any song intendedjo arouse in_J;hejmQrning — even a love-song — was formerly 
 called a hiinPs-up. Shakespeare so employs it in JRomeo and Juliet, Act 3, Sc. 6 ; 
 and the name was of course derived from a tune or song employed by early- 
 TruntefsT Uutler,' in his Principles of Musih,_ 1636, defines a hunfs-up as 
 "Tfloming music ;" and Cotgrave defines "Resveil" a,s a, hunt' s-ut^, or Morning 
 Songlor a new-married wife. In Barnfield'?'3^'ec?tom«fe Shepherd, 1594, — 
 - ^_ ^^ And every mom by dawning of the day, 
 
 When Phoebus riseth with a blushing face, 
 Silvanus' chapel clerks shall chaunt a lay. 
 
 And play thee hunt's-up in thy resting place. 
 My cot thy chamber, my bosom thy bed, 
 Shall be appointed for thy sleepy head." 
 
 Again, in Wifs Bedlam, 1617, — 
 
 " Maurus, last morne, at's mistress' window plaid 
 An hunt's-up on his lute," &c. 
 The following song, which is also taken from Mr. Collier's manuscript, is of 
 the character of a love-song : — 
 
 "The New Hunt's-up.'' 
 
 The hunt is up, the hunt is up, The hunt is up, the hunt is up, 
 
 Awake, my lady free. Awake, my lady gay. 
 
 The sun hath risen, from out his prison, The stars are fled to the ocean bed. 
 
 Beneath the glistering sea. And it is now broad day. 
 
 The hunt is up, the hunt is up. The hunt is up, the hunt is up. 
 Awake, my lady bright. Awake, my lady sheen. 
 
 The morning lark is high, to mark The hills look out, and the woods about. 
 The coming of day-light. Are drest in lovely green. 
 
 The hunt is up, the hunt is up. The hunt is up, the hunt is up, 
 
 Awake, my lady fair, Awake, my lady dear. 
 
 The kine and sheep, but now asleep, A morn in spring is the sweetest thing 
 
 Browse in the moruing air. Cometh in all the year. 
 
 The hunt is up, the hunt is up, 
 
 Awake, my lady sweet, 
 I come to thy bower, at this lov'd hour. 
 My own true love to greet. 
 
62 ENGLISH SONG AND BALLAD MUSIC. 
 
 The religious parody of The Hunt is up, which was written by John Thorne, 
 has been printed by Mr. Halliwell, at the end of the moral play of Wit and 
 Science, together with other curious songs from the same manuscript (Addit. MS., 
 No. 15,233, Brit. Mus.) There are seventeen verses ; the first is as follows : — 
 
 " The hunt ys up, the hunt ys up, 
 Loe ! it is allmoat daye ; 
 For Christ our Kyng is cum a huntyng, 
 And browght his deare to staye," &c. 
 
 but a more lively performance is contained in " Ane compendious booke of Godly 
 and Spirituall Songs . . . with sundrie . . . ballates changed out of prophaine 
 Sanges," &c., printed by Andro Hart in Edinburgh in 1621. The writer is very 
 bitter against the Pope, who, he says, never ceased, " under dispence, to get our 
 pence," and who sold " remission of sins in auld sheep skins;" and compares 
 him to the fox of the hunt. The original edition of that book was printed in 1590. 
 
 In Queen Elizabeth's and Lady Neville's Virginal Books, is a piece, with twelve 
 variations, by Byrde, called " The Hunt is up," which is also called " Pescod 
 Time," in another part of the former book. It bears no appearance of ever having 
 been intended for words ; certainly the songs in question could not be sung 
 to it. 
 
 A tune called The Queene's Majesties new Sunt is up, is mentioned in Anthony 
 Munday's Banquet of daintye conceits, 1588 ; and the ditty he gives, to be sung 
 to it, called " Women are strongest, but truth overcometh all things," is in the 
 same measure as the above, but I have not found any copy of the tune under that 
 name. In 1565, William Pickering paid 4«?. for a license to print " a ballett 
 intituled The Hunte ys up," &c. (see Registers of Stationers' Company, p. 129). 
 
 " Yonder comes a Couetbous Knight." 
 
 This is one of King Henry's Mirth or Freemen's Songs, in Deuteromelia, 1609, 
 and is to be found as a ballad in Wit and Mirth, or Pills to purge Melancholy, 
 vol. i. 1698 and 1707, or in vol. iii. of the edition of 1719. The story seems to 
 have been particularly popular, as there are three ballads of later date upon the 
 same subject. It is of a young lady who, being alone and unprotected, finds the 
 too urgent addresses of a knight likely to prove troublesome ; and, to escape 
 from that position, pretends to yield to him, and persuades him to escort her 
 home; but — 
 
 " When she came to her father's hall, 
 It was well walled round about, 
 She yode in at the wicket gate, 
 And shut the four-ear'd fool without. 
 
 Then she sung down, a-down," &c. 
 
 The knight, regretting the lost opportunity, expresses himself in very uncourteous 
 terms on the deceit of women. The ballad is printed in Ritson's Ancient Songs. 
 
FKOM HENRY VII. TO MARY. 
 
 63 
 
 i 
 
 Gracefully. 
 
 P J J" , /-!^ 
 
 ifiz 
 
 i 
 
 f7^=H-i-^ 
 
 f=W=i - 
 
 Yon - del" comes a cour-teovis knight, Lus - ti - ly rak - ing o-verthelay, 
 
 ^ffi 
 
 eI: 
 
 i; 
 
 ^ 
 
 ^^^?7^ ^'j ^^^^ 
 
 t^ 
 
 T 
 
 was well 'ware of a ton- ny lass, As she came wand'ring o- ver the way. Then 
 
 I 
 
 r^^: i j^-piiL£^^^^ 
 
 she sang down a down, hey down derry, Then she sang down a down, hey down derry. 
 
 i J^ J 
 
 ^^^^ 
 
 " Oft have I ridden upon my Grey Nag." 
 
 This is evidently a version of the tune called Dargason. (See p. 65.) The latter 
 part differs, but that may be because this copy is taken from Pammelia, 1609, 
 where three old tunes, " Shall I go walk the woods so wild," "Kobin Hood, Robin 
 Hood, said Little John," and this, are arranged to be sung together by three 
 persons at the same time. Perhaps, the two lines from the Isle of Gulls, which 
 are quoted at page 64, formed a portion of this song. Only one verse is given in 
 Pammelia, and I have not succeeded in finding any other copy. 
 
 ^f! m m 
 
 It—*- 
 
 j J^ l ^ j J | J ^-^ 
 
 IS 
 
 ^^^ 
 
 -^-^ 
 
 --^ 
 
 "t^ 
 
 Ofthavel ridden up - on my grey nag, And with his cut tail he play'd the wag, And 
 
 :ss 
 
 :i: , n a, 
 
 S 
 
 S 
 
 h i J J'J i^ l Tji ^ 
 
 down he fell up - on his crag. Fa, la, re, la, la, ridan - di - no. 
 
 ^^m 
 
64 english song and ballad music. 
 
 " Dargason." » 
 In Ritson's Ancient Songs, class 4 (from the reign of Edward VI. to Elizabeth) 
 is " A merry ballad of the Hawthorn tree," to be sung to the tune of Donldn 
 Dargeson. This curiosity -is copied from a miscellaneous collection in the Cotton 
 Library (Vespasian A. 25), and Ritson remarks, "This tune, whatever it was, 
 .appears to have been in use till after the Restoration." I have found several 
 copies of the tune ; one is in the Public Library, Cambridge, among Dowland's 
 manuscripts. The copy here given is from the Dancing Master,, 1650-51, where 
 it is called Dargason, or the Sedany. The Sedany was a country dance, the figure 
 of which is described in the The Triumph of Wit, or Ingenuity displayed, p. 206. 
 In Ben Jonson's Tale of a Tuh, we find, " But if you get the lass from Dargison, 
 what will you do with her ? " Gifibrd, in a note upon this passage, says, " In 
 some childish book of knight-errantry, which I formerly read, but which I cannot 
 now recall to mind, there is a dwarf of this name (Dargison) , who accompanies a 
 lady, of great beauty and virtue, through many perilous adventures, as her guard 
 and guide." In the Isle of Grulls, played by the children of the Revels, in the 
 Black Fryars, 1606, may be found the following scrap, possibly of the original 
 ballad : " An ambling nag, and a-down, a-down, 
 
 We have borne her away to Dargison.'' 
 See also " Oft have I ridden upon my grey nag," page 63. In the Douce collec- 
 tion of Ballads (fol. 207) , Bodleian Library, as well as in the Pepysian, is a song 
 called " The Shropshire Wakes, or hey for Christmas, being the delightful sports 
 of most countries, to the tune of Dargason." It begins thus : 
 " Come Hobin, Ralph, and little Harry, 
 And merry Thomas to our green ; 
 Where we shall meet with Bridget and Sary, 
 
 And the finest girls that e'er were seen. 
 Then hey for Christmas a once year, 
 
 When we have cakes, with ale and beer. 
 For at Christmas ' every day,' 
 
 Young men and maids ' may dance away,' " &c. 
 
 a This tune is inserted in Jones' Musical and Poetical (and especially by a very diiferent version, under the same 
 
 Belies of the Welsh Bards, ^.129, under the name oi'^The name, in Parry's Cambrian Harmony, published about 
 
 melody of Cynwyd;" and some other curious coincidences fifty years ago), there is considerable variation, as maybe 
 
 occur in the same work. At page 172, the tune called expected in tunes traditionally preserved for so long a 
 
 "The Welcome of the Hostess" is evidently our " Mitter time, but their identity admits of little question. In 
 
 Raiit." At page 176, the tune called '* Flaunting two," vol. ii., at p. 25, "The Willow Hymn" is, " By the osiers 
 
 is, the country dance of " The Hemp Dresser, or the Lon- so dank." At p. 44, " The first of August" is, " Come, 
 
 don Gentlewoman." At page 129, " The Delight of the jolly Bacchus," with a little admixture of " In my cottage 
 
 men of Dovey," appears to be ^n inferior copy of near a wood." At page 33, a tune called "The Britons," 
 
 " Green Sleeves." At page 174, is " Hunting the Hare," which is in The Dancing Master of 1696, is claimed. At 
 
 which we also claim. At page 162, " The Monks' March " p. 45, " Mopsy's Tune, the old way," is "The Barking 
 
 (of which Jones says, " Probably the tune of the Monks Barber," and " Prestwich Bells "is " Talk no more of 
 
 of Bangor, when they'marched to Chester, about the year Whig or Tory," contained in many collections. Atvol. iii., 
 
 603,") is " General Monk's March," published by Play- p. 15, " The Heiress of Montgomery" Is another version 
 
 ford, and the quick part, "The Rummer;" and at page of "As down in the meadows." At p. 16, "Captain 
 
 142, the air called "White Locks" is evidently Lord Corbett " is " Of all comforts I miscarried ;" and at p. 49, 
 
 Commissioner TFftiieiocAe's coranto, an account of which, "If love's a sweet passion," is claimed." In addition 
 
 with the tune, is contained in Sir J. Hawkins*"^H'i«iory of to these, Mr. Jones has himself noticed a coincidence 
 
 JIfiwic, vol. iv. page51,andin Bumey'sJ/Miorso/JIfMMC, between the tune called "The King's Note," (vol. iii.) 
 
 vol. iii. page 378. In several of these, particularly in the and " Pastyme with good Company." Such mistakes will 
 
 last, which is identified by the second part of the tune always occur when an editor relies solely on tradition. 
 
FROM HENRY VII. TO MARY. 
 
 65 
 
 There are sixteen verses in the song. The tane is one of those which only end 
 when the singer is exhausted; for although, strictly speaking, it consists of but 
 eight bars (and in the seventh edition of The Dancing Master only eight bars are 
 printed) , yet, from never finishing on the key-note, it seems never to end. Many 
 of these short eight-bar tunes terminate on the fifth of the key, but when longer 
 melodies were used, such as sixteen bars, they generally closed with the key-note. 
 There were, however, exceptions to the rule, especially among dance tunes, which 
 required frequent repetition. 
 
 Pastoral character. 
 
 "A MERY Ballet or the Hathorne Tre.' 
 
 ^ 
 
 ^ 
 
 i^ 
 
 ft 
 
 3^ 
 
 ^ 
 
 gF^ 
 
 S^^i- 
 
 H^T^r-ft 
 
 It was a maid of my coun-try, As slie came by a hawthorn tree, As 
 
 3 
 
 a= 
 
 EE& 
 
 3S®= 
 
 -T-;0- 
 
 -L^J J- I C ^f^lf 
 
 ^ 
 
 ^m 
 
 *=^ — d 
 
 full of flow'rs as might be seen, She marvell'd to see tlie tree so green. At 
 
 ^ J J 
 
 ^ 
 
 i 
 
 =R? 
 
 ^ 
 
 j^ ^^^ 
 
 * * 
 
 last she ask ed of this tree, How came this fresh-ness un to thee, And 
 
 ^ 
 
 g 
 
 IS Si 
 
 ^ 
 
 ^ 
 
 r 
 
 ev' ry branch so fair and clean ? I 
 
 ^ 
 
 ^ 
 
 mar - vel that you grow so green. The 
 id • 
 
 ^ 
 
 The tree made answer by and by, 
 I have cause to grow triumphantly, 
 The sweetest dew that ever be seen. 
 Doth fall on me to keep me green. 
 
 Yea, quoth the maid, but where you grow 
 You stand at hand for every blow. 
 Of every man for to be seen, 
 I marvel that you grow so green. 
 
 Though many one take flowers from me. 
 And many a branch out of my tree ; 
 I have such store they will not be seen. 
 For more and more my twigs grow green. 
 
 But how, an they chance to cut thee down. 
 And carry thy branches into the town ? 
 Then they will never more be seen 
 To grow again so fresh and green. 
 
 F 
 
ENGLISH SONG AND BALLAD MUSIC. 
 
 Though that you do it is no lioot, 
 Although they cut me to the root, 
 Next year again I will he seen 
 To bud my branches fresh and green. 
 
 And you, fair maid, can not do so, 
 For ' when your beauty once does go,' 
 Then will it never more be seen, 
 As I with my branches can grow green. 
 
 The Maid with that began to blush, 
 And turn'd her from the hawthorn bush ; 
 She thought herself so fair and clean, 
 Her beauty still would ever grow green. 
 
 W ^ V w 
 
 But after this never I could hear 
 Of this fair maiden any where, 
 That ever she was in forest seen 
 To talk again with the hawthorn green. 
 
 The above will be found in Ritson's Ancient Songs, in Evans' Collection of Old 
 Ballads (vol. i., p. 342, 1810), and in Peek's Works, vol. ii., p. 256, edited by 
 Dyce. It is included in the last named work, because in the MS. the name of 
 " G. Peele " is appended to the song, but by a comparatively modern hand. The 
 Rev. Alexander Dyce does not believe Peele to have been the author, and Ritson, 
 who copied from the same manuscript, does not mention his name. 
 
 SHALL I GO WALK THE WOODS SO WILD ? 
 
 This is mentioned in the Life of Sir Peter Carew as one of the Freemen's Songs, 
 which he used to sing with Henry VIII. — (See page 52). It must have enjoyed 
 an extensive and long-continued popularity, for there are three different arrange- 
 ments of it in Queen Elizabeth's Virginal Book, all by Byrde ; it is in Lady 
 Neville's Virginal Book ; in Pammelia (1609) it is one of the three tunes that 
 could be sung together ; and it is in The Dancing Master, from the first edition, 
 in 1650, to that of 1690. In the edition of 1650, it is called Greenwood, and in 
 some of the later copies. Greenwood, or The Huntsman. 
 
 There were probably different words to the tune, because in the Life of Sir 
 Peter Carew it is called ''■As I walked the woods so wild;" in Lady Neville's 
 Virginal Book, " Will ymi walk the woods so wild ? " and in Pammelia, " Shall 
 I go walk," &c. 
 
 y Moderate time. 
 
 t HT^ 
 
 ^^^ 
 
 Shall I go walk the woods so wild, Wandering, wand 'ring here and there. As 
 
 
 ;?FFft 
 
 1 
 
 ^ 
 
 ^ 
 
 P^ 
 
 ^ 
 
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 I was once full sore beguil'd, A las ! for love I die with woe. 
 
 ; • r c 
 
 T 
 
FROM HENRY VII. TO MARY. 67 
 
 JOHN DORY. 
 This celebrated old song is inserted among the Freemen's Songs of three voices 
 in Deuteromelia, 1609. It is also to be found in Playford's Musical Oompanion 
 1687, and for one voice in Wit and Mirth, or Pills to Purge MelancJioly, vol. i., 
 1698 and 1707. It is, however, much older than any of these books. Carew, 
 in his Survey of Cornwall, 1602, p. 135, says, " The prowess of one Nicholas, 
 son to a widow near Poy, is descanted upon in an old three-man's song, namely, 
 how he fought bravely at sea, with one John Dory (a Genowey, as I conjecture), 
 set forth by John, the French King, and after much blood shed on both sides, took 
 and slew him," &c. Carew was born in 1555. The only King John of France 
 died a prisoner in England, in 1364. In the play of Crammer Crurton's Needle 
 there is a song, "I cannot eat but little meat," which was sung to the tune of 
 John Dory. The play was printed in 1575, but the song appears to be older. 
 (See page 72). Bishop Corbet thus mentions John Dory, with others, in his 
 "Journey to Fraunce : " 
 
 " But woe is me ! the guard, those men of warre, 
 
 Who but two weapons use, beef and the barre, 
 
 Begun to gripe me, knowing not the truth, 
 
 That I had sung John Dory in my youth ; 
 
 Or that I knew the day when I could chaunt, 
 
 Chevy, and Arthur, or The Siege of Gaunt." 
 Bishop Earle, in his " Character of a Poor Fiddler," says, "Hunger is the greatest 
 pains he takes, except a broken head sometimes, and labouring John Dory." In 
 Fletcher's comedy The Chances, Antonio, a humourous old man, receives a wound, 
 which he will only suffer to be dressed on condition that the song of John Dory be 
 simg the while, and he gives 10s. to the singers. It is again mentioned by 
 Fletcher in The Knight of the Burning Pestle; by Brathwayte in Drunken 
 Barnaby''s Journal ; in Vox Borealis, or the Northern Discoverie, 1641 ; in some 
 verses on the Duke of Buckingham, 1628 : 
 
 " Then Viscount Slego telleth a long storie 
 Of the supplies, as if he sung John Dorie ;" 
 and twice by Gayton, in his Pleasant Notes upon Don Quixote, 1654. 
 
 A parody was made upon it by Sir John Mennis, on the occasion of Sir John 
 Suckling's troop of horse, which he raised for Charles I., running away in the 
 civil war, and it was much sung by the Parliamentarians at the time. In will be 
 found in Wit Restored, 1658, entitled " Upon Sir John Suckling's most warlike 
 preparation for the Scottish War," and begins — 
 
 " Sir John got him an ambling nag." 
 In the epilogue to a farce called the Empress of Morocco, 1674, intended to 
 ridicule a tragedy of the same name by Elk. Settle, and Sir W. Davenant's 
 alteration of Macbeth (which had been lately revived with the addition of music 
 by Mathew Locke), " the most renowned and melodious song of John Dory was 
 to be heard in the air, sung in parts by spirits, to raise the expectation and charm 
 the audience with thoughts sublime and worthy of the heroic scene which follows." 
 It is quoted in Folly in print, 1667 ; in Merry Drollery complete, 1670 ; and in 
 
68 
 
 ENGLISH SONG AND BALLAD MUSIC. 
 
 many songs. Dryden refers to it, as one of the most hackneyed in his time, 
 in one of his lampoons : 
 
 " But Sunderland, Godolphin, Lory, 
 These will appear such chits in story, 
 'Twill turn all politics to jest, 
 To be repeated, like Jolm Dory, 
 When fiddlers sing at feasts." 
 The above lines were also printed under the name of the " Earl of Rochester." 
 
 The name of the fish called John Dory, corrupted from doree or dorn, is 
 another proof of the great popularity of this song. 
 Cheerfully. 
 
 i 
 
 -fr— ■» 
 
 ^ 
 
 i^ 
 
 ^ 
 
 f- • 
 
 As it fell on a ho - li - day, And up - on a ho ly 
 
 ^ 
 
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 tide, a John Do -ry bought him an am - hling nag To Pa - ris for to 
 
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 ride, a, To Pa - ris for to ride, a, And up - on a ho - ly tide. 
 
 And when John Dory to Paris was come, 
 
 A little before the gate-a ; 
 John Dory was fitted, the porter was witled, 
 
 To let him in thereat-a. 
 
 The first man that John Dory did meet, 
 Was good King John of Franee-a : 
 
 John Dory could well of his courtesie, 
 But fell down in a trance-a. 
 
 A pardon, a pardon, my liege and king, 
 
 For my meri;y men and me-a : 
 And all the churls in merry England 
 
 I'll bring them bound to thee-a. 
 
 And Nichol was then a Cornish man, 
 
 A little beside Bohyde-a ; 
 And he manned forth a good black bark. 
 
 With fifty good oars on a side-a. 
 
 Run up, my boy, into the main top, 
 And look what thou canst spy-a ; 
 
 Who, ho ! who, ho ! a good ship I do see, 
 I trow it be John Dory-a. 
 
 They hoist their sails, both top and top, 
 
 The mizen and all was tried-a; 
 And every man stood to his lot, 
 
 Whatever should betide-a. 
 
 The roaring cannons then were plied, 
 And dub-a-dub went the drum-a ; 
 
 The braying trumpets loud they cried, 
 To courage both all and some-a. 
 
 The grappling hooks were brought at length. 
 
 The browti bill and the sword-a : 
 John Dory at length, for all his strength. 
 Was clapt fast under board-a. 
 
FROM HENUY VII. TO MARY. 
 
 69 
 
 SELLE^fGER'S ROUND, or THE BEGINNING OF THE WORLD. 
 Smoothly and in moderate time, 
 
 
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70 ENGLISH SONG AND BALLAD MUSIC. 
 
 -This tune, which Sir John Hawkins thought to be " the oldest country-dance 
 tune now extant" (an opinion to which I do not subscribe), is to be found in 
 Queen Elizabeth's and Lady Neville's Virginal Books, in Music's JETandmaid, 
 1678, &c. It is difficult to say from whom it derived its name. It might be from 
 " Sir Thomas Sellynger," who was buried in St. George's Chapel, Windsor, 
 before the year 1475, as appears by a brass plate there ; or from Sir Antony 
 St. Leger, whom Henry VIH. appointed Lord Deputy of Ireland ia 1540. 
 
 In Bacchus' Bountie (4to., 1593), we find this passage: "While thus they 
 tippled, the fiddler he fiddled, and the pots danced for joy the old hop-about 
 commonly called Sellengar's Bound." In Middleton's Father Subburd's Tales 
 (1604) : — "Do but imagine now what a sad Christmas we all kept in the country, 
 without either carols, wassail bowls, dancing of SeUenger's Bound in moonshine 
 nights about Maypoles, shoeing the mare, hoodman-blind, hot cockles, or any of our 
 Christmas gambols, — ^no, not not so much as choosing king and queen on Twelfth 
 Night ! " In Heywood's Fair Maid of the West, part ii. : — " They have so tired 
 me with their moriscoes [morris dances], and I have so tickled them with our 
 country dances, SeUenger's Bound and Tom Tiler. We have so fiddled it ! " 
 
 A curious reason for the second name to this tune is given in the comedy 
 of Lingua, 1607. Anamnestes : " By the same token the first tune the planets 
 played ; I remember Venus, the treble, ran sweet division upon Saturn, the base. 
 The first tune they played was SeUenger's Bound, in memory whereof, ever since, 
 it hath been called The Beginning of the World." On this. Common Sense asks : 
 " How comes it we hear it not now ? and Memory, another of the characters, 
 says : " Our ears are so well acquainted with the sound, that we never mark it." 
 In Shirley's Lady of Pleasure, Lady Bornwell says that, " to hear a feUow make 
 himself merry and his horse with whistling SeUenger's Bound, and to observe with 
 what solemnity they keep their wakes, moriscoes, and Whitsun-ales, are the only 
 amusements of the country." 
 
 It is mentioned as The Beginning of the World by Deloney in his history of 
 Jack of Newbury, and the times to which he refers are those of Henry VIH. ; 
 but, so great was its popularity, that it is mentioned three or four times by 
 Heywood; also by Ben Jonson, by Taylor the water-poet, by Fletcher, Shirley, 
 Brome,Farquhar, Wycherley, Morley (1597), Clieveland (1677),Marmion (1641); 
 by the author of The Beturn from Parnassus, and by many other writers. 
 
 There is a wood-cut of a number of young men and women dancing SeUenger's 
 Bound, with hands joined, round a Maypole, on the title page of a black letter 
 garland, called " The new Crown Garland of princely pastime and mirth," printed 
 by J. Back, on London Bridge. In the centre are two musicians, the one playing 
 the fiddle, the other the pipe, with the inscription, " Hey for SeUenger's Round ! " 
 above them. 
 
 As the dance was so extremely popular, I shall, in this instance, give the figure 
 from the The Dancing Master of 1670, where it is described as a round dance 
 " for as many as will." 
 
 " Take hands, and go round twice : back again. All set and turn sides : that 
 
FROM HENRY VII. TO MARY. 
 
 71 
 
 again. Lead all in a double forward and back : that again. Two singles and a 
 double back, set and turn single : that again. Sides all: that again. Arms all: 
 that again. As before, as. before." Country dances were formerly danced as 
 often in circles as in parallel lines. 
 
 The following songs were sung to the tune : — "The merry wooing of Robin and 
 Joan, the West-country Lovers, to the tune of the Beginning of the World, or 
 Sellenger's Round." — Roxburgh Collection. "The Fair Maid of Islington, or the 
 London Vintner over-reached," in the Bagford Oolledion. " Robin's Courtship," 
 in Wit Restored, 1658. 
 
 As a specimen of old harmony, I have added the arrangement of Sellenger's 
 Round by Byrd, from Queen Elizabeth's Virginal Book. Having an instrument 
 that would not sustain the tone (for the virginals, like the harpsichord, only 
 twitted the wires with a quill) it is curious to see how he has filled up the harmony 
 by an inner part, that seems intended to imitate the prancing of the hobby-horse. 
 The hobby-horse was the usual attendant on May-day and May Games. 
 
 In moderate time. 
 
 
 WITH THE OLD HARMONY BY BYRD. 
 
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 ^ Hobby-horse. 
 
72 
 
 ENGLISH SONS AND BALLAD MUSIC. 
 
 I CANNOT EAT BUT LITTLE MEAT. 
 
 This song was sung in " a right pithy, pleasant, and merry comedy," called 
 Q-ammer Grurtonis Needle, which was printed in 1575, but the Rev. Alex. Dyce 
 has given a copy of double length from a manuscript in his possession, and 
 " certainly of an earlier date than the play." It may be seen in his account of 
 Skelton and his writings, vol. i., p. 7. I have selected four from the eight 
 verses, as sufficiently long for singing. Warton calls it " the first drinking song of 
 any merit in our language." In early dramas it was the custom to sing old songs, 
 or to play old tunes, both at the commencement and at the end of the acts. For 
 instance, in Summer's Last Will and Testament, which was performed in 1593, 
 the direction to the actors in the Prologue is to begin the play with " a fit 
 of mirth and an old song:" and at the end of the comedy. Ram Alley, "strike up 
 music; let's have an old song." In Peele's Arraignment of Paris, Venus " singeth 
 an old song, called The wooing of Colman^ In Marston's Antonio and Mellida, 
 Feliche sings " the old ballad. And was not good king Solomon.'" To these in- 
 stances many others might be added ; indeed, in the very play (Crammer Crurton) , 
 at the end of the second act, Diccon says : — 
 
 " In the mean time, fellows, pipe up your fiddles, I say tate them 
 And let your friends have such mirth as ye can make them." 
 
 The tune is printed in Stafibrd Smith's Musica Antiqua, and in Ritson's English 
 Songs. Ritson says : " Set, four parts in one, by Mr. Walker, before the year 
 1600." And Smith, not knowing, I suppose, who Mr. Walker was, seems to have 
 guessed Weelkes ; but it is the old tune of John Dory in common time. 
 In moderate time, and well marhed. 
 
 m 
 
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 I can - not eat but lit tie meat, My 
 
 sto - mach is not 
 
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 good ; But sure I think that I can drink With him that wears a hood. 
 
 ^ 
 
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 32 
 
 Though I go bare, take ye no care, 
 
 ' For I am never ' cold : 
 I stuff my skin so full within 
 
 Of jolly good ale and old. 
 Back and side, go bare, go bare. 
 
 Both foot and hand go cold ; 
 But belly, God send thee good ale enough. 
 
 Whether it be new or old. 
 
 I love no roast, but a nut-brown toast, 
 
 And a crab laid in the fire, 
 A little bread shall do me stead, 
 
 Much bread I never desire. 
 No frost nor snow, nor wind, I trow, 
 
 Can hurt me, if it would ; 
 I am so wrapp'd, so thoroughly lapp'd 
 
 With jolly good ale and old. 
 
 Back and side, &c. 
 
FROM HENRY VII. TO MARY. 73 
 
 I care right nought, I take no thought Now let them drink till they nod and wink, 
 
 For clothes to keep me warm. Even as good fellows should do, 
 
 Have I good drink I surely think They shall not miss to have the bliss 
 
 ' That none ' can do me harm. Good ale doth hring men to ; 
 
 For truly then I fear no man. And all poor souls that scour black bowls, 
 
 ' Though never he ' so bold, Or have them lustily troled. 
 
 When I am avm'd and thoroughly warm'd God save the lives of them and their wives. 
 
 With jolly good ale and old. Whether they be young or old. 
 
 Back and side, &c. Back and side, &o. 
 
 HANSKIN, OR HALF HANNIKIN. 
 
 In Queen Elizabeth's Virginal Book there is a tune called SansTcin, and in all 
 the early editions of The Dancing Master, viz., from 1650 to 1690, one called 
 Half JSannikin. Hankin or Hannikin was the common name of a clown : 
 " Thus for her love and loss poor Hankin dies ; 
 His amorous soul down flies 
 To th' bottom of the cellar, there to dwell : 
 Susan, farewell, farewell ! " — Musarum Delicice, 1655. 
 And Hankin Boohy was used as term of contempt. Nash, meaning to call his 
 opponent a "Welsh clown, calls him a " Gobin a Grace ap Hannikin," and «ays, 
 " No vulgar respects have I, what Hoppenny Hoe and his fellow Hankin Booby 
 think of me." (Have with you to Saffron- Waldon, 1596.J 
 
 We find Hankin Boohy mentioned as a tune in the interlude of Thersytes, 
 which was written in 1537 : 
 
 " And we wyll have minstrelsy 
 That shall pype Hankin iohy.'' 
 
 Skelton, in his Ware the Haiike, says : 
 
 " With troll, cytrace, and trovy. These be my pystUlers, [epistlers] 
 
 They ranged, hankin hovy, These be my querysters [choristers] 
 
 My churche all aboute. To help me to synge, 
 
 This fawconer then gan showte. My hawkes to mat tens rynge. 
 
 These be my gospellers, Skelton' s Works, Ed. Dyce, vol. i., p. 159. 
 
 By an extract from Sir H. Herbert's office-book of revels and plays performed at 
 Whitehall at Christmas, 1622-3, quoted by Mr. Collier, in his Annals of the 
 Stage, we find that on Sunday, 19th Jan., 1623, after the performance of Ben 
 Jonson's masque, Time Vindicated, "The Prince did lead the measures with the 
 French Ambassador's wife," and " the measures, braules, corrantos, and galliards, 
 being ended, the masquers, with the ladies, did daunce two countrey dances, 
 namely, The Soldier's Marche and Huff Hamukin." I believe that by Huff 
 Hamukin, Half Hannikin is intended, the letters are so nearly alike in form, and 
 might be so easily mistaken. In Brome's Jovial Crew, 1652, — "Our father is so 
 pensive that he makes us even sick of his sadness, that were wont to ' See my 
 gossip's cock to-day,' mould cocklebread, daunce Olutterdepouch and Hannykin 
 booby, bind barrels, or do anything before him, and he would laugh at us." 
 The tune called Hanskin in Queen Elizabeth's Virginal Book is the same as 
 
74 
 
 ENGLISH SONG AND BALLAD MUSIC. 
 
 " Jog on, the foot-path way," and will be found in this collection among the airs 
 that are mentioned by Shakspeare. The following is Half Hannikin, from The 
 Dancing Master. 
 
 
 ^ffi 
 
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 ^iUU-JJJ J' 
 
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 li ' r ■ r 
 
 s 
 
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 W^m 
 
 MALT'S COME DOWN. 
 
 This is one of the tunes in Queen Elizabeth's Virginal Book, where it is 
 arranged by Byrd. The words are from Deuteromelia, 1609, but it appears that 
 Ravenscroft, in arranging it as a round, has taken only haK the tune. 
 
 i^i^nff^^jv^^ J / l yn J . ,h : 
 
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 There's ne-ver a maid in all this town, But well she knows that malt's comedown 
 
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 Malt's come down, malt's comedown, From an old an -gel to a French crown 
 
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 The greatest drunkards in the town 
 Are very glad that malt's come down. 
 
 Malt's come down, &c. 
 
FROM HENKY VII. TO MARY. 
 
 75 
 
 OF ALL THE BIRDS. 
 In Beaumont and Fletcher's play, The Knight of the Burning Pestle, Old 
 Men-ythought sings many snatches of old songs, and among others — 
 " Nose, nose, jolly red nose, 
 And who gave thee this jolly red nose ? 
 Cinnamon, ginger, nutmegs and cloves. 
 And they gave me this jolly red nose ;" 
 which are the four last lines of this song. It is one of the King Henry's Mirth 
 or Freemen's Songs in Deuteromelia, 1609. 
 
 pau^^i i\f^j.^~iL-m -\ui^ 
 
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 Of aU the birds that e-ver I see, The owl is the fairest in her de-gi'ee ; For 
 
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 all the daylong she sita in a tree, And when the nightcomes, away fliesshe:Te whit tewhoo! to 
 
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 whom diinkst thou ? Sir Knave, to you. This song is well sung I make you a vow, -And 
 
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 he is a knave that drinketh now : Nose, nose, jol - ly red nose ! And who gave thee that 
 
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 jolly red nose? Cinnamon, gin- ger, nutmegs and cloves, And that gave me my jol - ly red nose, 
 
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76 
 
 ENGLISH SONG AND BALLAD MUSIC. 
 
 WHO'S THE FOOL NOW ? 
 This tune is in Queen Elizabeth's Virginal Book, and it is one of the Freemen's 
 Songs in Beuteromelia, 1609. It was entered on the books of the Stationer's 
 Company as a ballad in 1588, when Thomas Orwyn had a license to print it; and 
 it is alluded to in Dekker's comedy, Old Fortunatus, where Shadow says : " Only 
 to make other idiots laugh, and wise men to cry ' WMs the fool now ? ' " which 
 is the burden of every verse. It is thought to be a satire upon those who tell 
 wonderful stories. 
 
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 Martin said to his man, fie, man, fie ! 
 
 Martin said to his man, 
 
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 jFill the cup and I the can; Thou hast well dranken, man, 
 
 Who's the fool now? Martin said to his man 
 
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 Who's the fool now ? Thou hast well drunken man, who's the fool now ? 
 
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 I saw the man in the moon ; 
 
 Fie ! man, fie ! 
 I saw the man in the moon ; 
 
 Who's the fool now ? 
 I saw the man in the moon 
 Clouting of St. Peter's shoon ; 
 Thou hast well drunken, man — 
 
 Who's the fool now ? 
 
 I saw a hare chase a hound ; 
 
 Fie! man, fie! 
 I saw a hare chase a hound ; 
 
 Who's the fool now ? 
 I saw a hare chase a hound. 
 Twenty miles above the ground ; 
 Thou hast well drunken, man — 
 
 Who's the fool now ? 
 
 I saw a goose ring a hog ; 
 
 Fie ! man, fie ! 
 I saw a goose ring a hog ; 
 
 Who's the fool now ? 
 I saw a goose ring a hog. 
 And a snail bite a dog ; 
 
 Tho hast well drunken, man — 
 
 Who's the fool now ? 
 
 I saw a mouse catch a cat ; 
 
 Fie ! man, fie ! 
 I saw a mouse catch a cat ; 
 
 Who's the fool now 1 
 I saw a mouse catch a cat, 
 And the cheese eat the rat ; 
 Thou hast well drunken, man — 
 
 Who's the fool now? 
 
FROM HENRY VII. TO MARY. 
 
 77 
 
 WE BE SOLDIERS THREE. 
 
 This is also one of the King Henry's Mirth or Freemen's Songs in Deutero- 
 melia, 1609, and will be found as a song in Wit and Mirth, or Pills to Purge 
 Melancholy, vol. i., 1698 and 1707. 
 
 f'U 'i ^ i i/^=^^ri3^ 
 
 We 
 
 be 
 
 sol - diers three, Par-dona moy, je vous an. pree, 
 
 ffiW= 
 
 ^ 
 
 ^ 
 
 ^^ 
 
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 Low Country, With 
 
 Lately come forth of the 
 
 ne - ver a pen - ny of mo - nej'. 
 
 f= 
 
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 =^ 
 
 Here, good fellow, I drink to thee, And he that will not pledge me this, 
 
 Pardona moy, je vous an pree ; " Par dona moy, je vous an pree, 
 
 To all good fellows, wherever they he, Pays for the shot whatever it is. 
 
 With never a penny of money. With never a penny of money. 
 
 Charge it again, boy, charge it again, 
 
 Pardona moy,je vous an pree ; 
 As long as there is any ink in thy pen, 
 
 With never a penny of monej'. 
 
 WE BE THREE POOR MARINERS. 
 
 This is one of the King Henry's Mirth or Freemen's Songs in Deuteromelia, 
 1609, and is to be found as a dance tune in the Skene MS. (about 1630), called 
 Brangill of Poidu, — i.e., Branle, or Brauleof Poictu. 
 
 Braules * were dances much in vogue with the upper classes during the six- 
 teenth and seventeenth centuries. Their being danced at Whitehall in 1623, has 
 been mentioned at page 73 ; and Pepys speaks of them at the Court of Charles H. 
 Branle de Poictu is explained by Morley (1597) as meaning the Double Branle 
 in contradistinction to the French Branle, or Branle- Simple. 
 
 Another Branle de Poictu (quite a different tune) will be found in the Straloch 
 Manuscript, for the name was given to any air used for the dance. It was so 
 
 » " These pardonnez^moy's who stand so much on the 
 new form." — Romeo and Juliet, act ii., sc. 4. Dr. John- 
 son in a note says : " Pardonnez moi became the language 
 of doubt or hesitation among men of the sword, when the 
 point of honour was grown so delicate that no other mode 
 of contradiction would be endured." 
 
 * Braules, which, Mr. M. Mason observes, seem to be 
 what we now call cotillons, are described by Philips as 
 
 "akindof dance in which several persons danced together 
 in a ring, holding one another by the hand." In Marston's 
 play of The Malcontent there is a minute, but perhaps 
 not now very intelligible description of the figures. See 
 Dodsley's Collection of old Plays, vol. iv. Braules are 
 alluded to by Shakespeare, Ben Jonson, Massinger, and 
 others. 
 
78 
 
 ENGLISH SONG AND BALLAD MUSIC. 
 
 usual in England, formerly, to make dances out of such song and ballad tunes as 
 were of a sufficiently cheerful character, that nearly every air in the first edition 
 of The Dancing Master, 1650-51, can he proved to he that of a song or " ballet" 
 of earlier date than the book. It has for that reason been so valuable an aid in 
 the present collection. About 1690, tunes composed expressly for dancing were 
 becoming more general, and in the editions of The Dancing Master from 1715 
 to 1728, the song and the dance tunes are nearly equally divided. 
 
 i 
 
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 We be three poor ma - ri-ners, New - ly come from the seas ; 
 
 We 
 
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 155 
 
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 ^ 
 
 -ep Tq- . -1 -«h -.1- ^g: 
 
 spend our lives in jeo - par - dy, While o - thers live at ease. Shall we go dance the 
 
 iss: 
 
 IZZ 
 
 3^ 
 
 ^ 
 
 EiEEi 
 
 * 
 
 ^ 
 
 round, the round, the round? Shall we go dance the round, the round, the round ? And 
 
 f 
 
 S 
 
 ^m 
 
 3 
 
 he that is 
 
 bul - ly boy. Come pledge me on this ground, a ground, a ground, 
 jol - ly 
 
 S 
 
 ? 
 
 We care not for those martial men 
 
 That do our states disdain ; 
 But we care for the merchantmen 
 
 Who do our states maintain. 
 To them we dance this round, around, around, 
 
 To them we dance this round ; 
 And he that is a bully [jolly] boy, 
 
 Come pledge me on the ground, aground, aground. 
 
FROM HENRY VII. TO MARY. 
 
 79 
 
 MY LITTLE PRETTY ONE. 
 This ancient melody is also transcribed from a MSS. of the time of Henry the 
 Eighth (No. 4900, Additional MS., Brit. Mus.). The original is, as usual, with- 
 out bars, but with an accompaniment in tablature for the lute. In the same 
 volume are songs by John Taverner, Shepherde, Heywood, &c. It has the same 
 peculiarity as the dance tune at page 27, each part consisting of nine bars. A 
 song called " My little pretty one " is in the Roxburgh Collection of Ballads, 
 " to a pleasant new tune," but the measure is different. 
 
 ft 
 
 i 
 
 ^dd^ 
 
 ^ 
 
 ±=^ 
 
 ^ 
 
 My lit - tie pret ty one, My pret - ty ho ney one, 
 
 ^^?ww 
 
 A 
 
 -X 
 
 :^ 
 
 ^ 
 
 ^ 
 
 rail. 
 
 ^^ 
 
 ^ 
 
 T 
 
 ' r r r 
 
 She is a joy ly one, And gen tie 
 
 joy; ous I J . 
 
 . can be. 
 
 J- 
 
 ISS 
 
 5 
 
 u, tempo. 
 
 t^ 
 
 fS 
 
 5 
 
 ^ 
 
 With a heck she comes 
 
 ■ non, With a wink she wilP be gone. 
 
 ifpT 
 
 3:: 
 
 ^ 
 
 ^ 
 
 rail. 
 
 "H* — 
 
 No doubt she is a - lone 
 
 of all that e ver I 
 
 ^f^^ 
 
 f=^ 
 
 =3=^ 
 
 EOBIN, LEND TO ME THY BOW. 
 This song is still known in some parts of the country, and was written down for 
 me by a friend, in Leicestershire, some years ago. In the " very mery and pithie 
 commedie " called The longer thou lives t the more fool thou art, there is a 
 stage direction—-" Here entreth Moros, counterfaiting a vaine gesture and foolish 
 countenance, synging the foote [burden] of many songes, as fooles were wont." 
 Among the burdens is the following : — 
 
 " Robin, lende me thy bowe, thy bowe, 
 Robin, the bow, Robin, lend to me thy horv-a." 
 
80 
 
 ENGLISH SONG AND BALLAD MUSIC. 
 
 The play was entered at Stationers' Hall in 1568-9. " That it was a popular 
 song in the beginning of Queen Elizabeth's reign appears also from its being 
 mentioned, amongst others, in a curious old musical piece (MS. JBarl. 7578), 
 containing the description and praises of the city of Durham, written about that 
 time." It is to be found as one of the " pleasant roundelayes " in Pammelia, 
 1609, and has likewise been printed by Eitson, in his Ancient Songs. The tune 
 differs slightly from the copy in Pammelia, but I think for the better. 
 
 Smoothly and slow. 
 
 Bh 
 
 ^ 
 
 ^ 
 
 ^ 
 
 ^=4=i=^ 
 
 ^ 
 
 me thy bow, Sweet Ro - bin lend to me thy bow, For 
 
 Now Robin, lend to 
 
 ra 
 
 ^ 
 
 ^ 
 
 "i~^1 ^ 
 
 
 -!rj- 
 
 T ' '^ 7 -r 
 
 I must now a hunt - ing with my la - dy go, With my sweet la - dy 
 
 go- 
 
 And whither will thy Lady go ? 
 
 Sweet Wilkin, tell it unto me ; 
 And thou shalt have ray hawke, my hound, and eke my bow, 
 
 To wait on thy Lady. 
 
 My Lady will to Uppingham," 
 
 To Uppingham forsooth will shee ; 
 And I myself appointed for to be the man 
 
 To wait on my Lady. 
 
 Adieu, good Wilkin, all beshrewde, 
 
 Thy hunting nothing pleaseth mee ; 
 But yet beware thy babling hounds stray not abroad 
 
 For ang'ring of thj' Lady. 
 
 My hounds shall be led in the line, 
 
 So well I can assure it thee ; 
 Unless by straine of view some pursue I may finde. 
 
 To please my sweet Ladye. 
 
 With that the Lady shee came in, 
 
 And will'd them all for to agree ; 
 For honest hunting never was accounted sinne. 
 
 Nor never shall for mee. 
 
 • A market-town in Rutlandshire. 
 
FROM HENKY VII. TO MARY. 
 
 81 
 
 WHO LIVETH SO MEEKY IN ALL THIS LAND ? 
 
 This is also one of tlie King Henr'ifs Mirth or 'EreemerCs Songs, in Deutero- 
 melia. In the first year of the Registers of the Stationers' Company (1557-58) 
 there is an entry of a license to Mr. John Wallye and Mrs. Toye to print a 
 "Ballette" called " Who lyve so mery and make such sporte, 
 
 As thay that be of the poorest sorte ?" 
 These lines mil be found in the last verse of the song, and were probably printed 
 at the head of it as the title. Ballets were songs of a cheerful character, which 
 being " sung to a ditty may likewise be danced." So the " Merry Ballet of the 
 Hawthorn Tree" (see page 64), was to be sung to the tune of Dargason, which is 
 also mentioned as a dance tune. 
 
 The following song will also be found in Wit and Drollery, Jovial Poems, p. 252, 
 and in Wit and Mirth, or Pills to purge Melancholy, vol. i., 1698 and 1707. In 
 Wit and Drollery, as weU as in Deuteromelia, the third and fourth lines of each 
 verse are marked to be sung in chorus. 
 Moderate time. 
 
 jT-T.— NT- T^'a- ^i. I — \ — i .-I — p-d — - T. J . ^ n j ^'a *^ ■ i n i — i — ^- 
 
 
 Who li-veth so merry in all this land, As doth thepoorwidowthatselleththesand, And 
 ■ J. J ■ J • .J • J 
 
 i- 
 
 i 
 
 F)?Ffi 
 
 ^fc 
 
 ^ 
 
 [^] j"n | J ^J ^ i ^T _^1h^ ^3: ^ 
 
 r=f: 
 
 r^T 
 
 e-ver she singeth as 
 
 1 can guess, Will you buy any sand, any 
 
 J^ J ■. J ■ 
 
 i 
 
 sand, Mistress. 
 
 The broom-man maketh his living most sweet. 
 With carrying of brooms from street to street. 
 Chorus. — Who would desire a pleasanter thing 
 
 Than all the day long to do nothing hut sing ? 
 
 The chimnej'-sweeper all the long day, 
 He singeth and sweepeth the soot away ; 
 Ch. — Yet when he comes home, although he be weary, 
 With his pretty, sweet wife he maketh full merry. 
 
 The cobbler he sits cobbling till noon. 
 And cobbles his shoes till they be done ; 
 
 Cli. — Yet doth he not fear, and so doth say, 
 
 For he knows that his work will soon decay. 
 The merchantman he doth sail on the seas, 
 And lie on the ship-board with little ease ; 
 
 Ch. — For always he doubts that the rocks are near, — 
 How can he be merry and make good cheer ? 
 
82 ENGLISH SONG AND BALLAD MUSIC. 
 
 The husbandman all day goeth to plough, 
 And when he comes home he serveth his sow ; 
 Ch. — He moileth and toileth all the long year, — 
 How can he be merry and make good cheer ? 
 
 The serving-man waiteth from street to street. 
 Either blowing his nails or beating his feet ; 
 Ch. — Yet all that serves for, four angels' a year, 
 Impossible 'tis that he make good cheer. 
 
 Who liveth so merry and maketh such sport 
 As those that be of the poorest sort ? 
 Ck. — The poorest sort, wheresoever they be, 
 
 They gather together by one, two, and three. 
 
 And every man will spend his penny, 
 
 What makes such a shot among a great many, 
 
 > bis. 
 
 TO-MOEEOW THE FOX WILL COME TO TOWN, ob TKENCHMOEE. 
 
 In ITie Dancing Master this tune is called Trenchmore. In Deuteromelia it is 
 one of the King Senry's Mirth or Freemen^ s Songs, under the name of " To- 
 morrow the fox mil come to town." 
 
 In a Morality, by William Bulleyn, called A Dialogue both pleasant and piety- 
 full, wherein is a goodly regimen against the fever pestilence, &c., 1664, a minstrel 
 is thus described: "There is one lately come into the hall, in a green Kendal coat, 
 with yellow hose ; a beard of the same colour, only upon the upper lip ; a russet 
 hat, with a great plume of strange feathers ; and a brave scarf about his neck ; 
 in cut buskins. He is playing at the trea trippe with our host's son ; he playeth 
 trick upon the gittern, daunces Trenchmore and Heie de Crie, and telleth news 
 from Terra Florida." 
 
 Taylor, the water-poet, in A Merry Wherryferry Voyage, says : 
 " Heigh, to the tune of Trenchmore I could write 
 The valiant men of Cromer's sad affright ; " 
 
 and in A Navy of Land Ships, 1627, " Nimble-heel' d mariners, like so many 
 dancers, capering a morisco [morris dance], or Trenchmore of forty miles long, 
 to the tune of ' Dusty, my dear,' 'Dirty, come thou to me,' 'Dun out of the mire,' 
 or ' I wail in woe and plunge in pain : ' all these dances have no other music." 
 Deloney, in his History of the gentle craft, 1598, says: "like one dancing the 
 Trenchmore, he stamp'd up and down the yard, holding his hips in his hands." 
 
 Burton, in his Anatomy of Melancholy, 1621, says that mankind are at no 
 period of their lives insensible to dancing. "Who can withstand it? be we young 
 or old, though our teeth shake in our heads like Virginal Jacks, or stand parallel 
 asunder like the arches of a bridge, — there is no remedy: we must dance Trench- 
 more over tables, chairs, and stools." The following amusing description is from 
 Selden's Talle Talk: 
 
 " The court of England is much alter'd. At a solemn dancing, first you had the 
 grave measures, then the corantoes and the galliards, and this kept up with ceremony ; 
 and at length to Trenchmore and the Cushion Dance : then all the company dances, 
 
 » The angel was a gold coin worth ahout ten shillings, so named from having the representation of an angel upon it. 
 
FROM HENRY VII. TO MARY. 
 
 83 
 
 lord and groom, lady and kitchen maid, no distinction. So in our court in Queen 
 Elizabeth's time, gravity and state were liept up. In King James's time things were 
 pretty well, but in King Charles's time, there has been nothing hut Trenchmore and 
 the Cushion Dance, omnium gatherum, tolly poUy, hoite come toite." 
 
 Trenchmore is mentioned also in Stephen Gosson's Schoole of Abuse, 1579; in 
 Heywood's A Woman Killed with Kindness, 1600; in Chapman's Wit of a 
 Wmnan, 1604; in Barry's Ram Alley, 1611; in Beaumont and Fletcher's Island 
 Princess ; in Weelkes' Ayres or Phantastiche Sprites, 1608 ; and in 1728 was 
 still to be found in The Dancing Master. In the comedy of The Rehearsal, 
 1672, the earth, sun, and moon, are made to dance the Hey to the tune of 
 Trenchmore. 
 
 Several political songs were sung to it, one of which is in the collection of 
 " Poems on Affairs of State, from 1640 to 1704." In the Roxburghe Collection 
 of Ballads is one called " The West-country Jigg, or a Trenchmore Galliard," 
 " Four-and-twenty lasses went over Trenchmore Lee." 
 
 The following is the song in Deuteromelia. 
 
 y Moderate time. 
 }$yr-^-,-=-= 1 k-H ^ f i^ w. I \ r4 PM ^ . I K 
 
 4t->« 
 
 mrm 
 
 fe^ 
 
 flf'^tj^^ 
 
 ^E 
 
 To - mon'ow the fox will come to town. Keep, keep, keep, keep ; To-morrow the fox will 
 
 E^ 
 
 J . J. i J . J 
 
 ^ 
 
 1^ 
 
 ^ 
 
 ? 
 
 come to town, O keep you all well there. I must de - sire you neighbours all. To 
 
 ^ 
 
 r^nr~r 
 
 ^4=^M =j^j =? 
 
 ^i=d=r: 
 
 r5 
 
 hal-lo the fox out of the hall, And cry as loud as you can call, Whoop, whoop. 
 
 i 
 
 Efei 
 
 ^^E=^^ 
 
 #ij # 
 
 5=i» 
 
 zg: — p 
 
 whoop, whoop, whoop. And cry as loud as you can call, O keep you all well there. 
 
 ?^^ 
 
84 ENGLISH SONG AND BALLAD MUSIC. 
 
 He'll steal the cock out from his flock, He'll steal the duck out of the brook, 
 
 Keep, keep, keep, keep, keep ; Keep, keep, &c. ; 
 
 He'll steal the cock e'en from his flock. He'll steal the duck out of the brook, 
 
 O keep you all well there. O keep you all well there. 
 
 I must desire you, &c. I must desire you, &c. 
 
 He'll steal the hen out of the pen, He'll steal the lamb e'en from his dam, 
 
 Keep, keep, &c. ; Keep, keep, &c. ; 
 
 He'll steal the hen out of the pen. He'll steal the lamb e'en from his dam, 
 
 O keep you all well there. O keep you all well there. 
 
 I must desire you, &c. I must desire you, &c. 
 
 THE SHAKING OF THE SHEET, ob THE DANCE OF DEATH. 
 
 This is frequently mentioned by writers in the sixteenth and seventeenth cen- 
 turies, both as a country dance and as a ballad tune. In the recently- discovered 
 play of Misogonm, produced about 1560,* The Shaking of the Sheets, The Vicar 
 of St. Fools, and The Catching of- Quails, are mentioned as country dances.* 
 There is a manuscript copy of the ballad in the British Museum (Add. MSS. 
 No. 15,225), in which it is ascribed to Thomas Hill; and printed copies, in black 
 letter, are to be found in the Koxburghe Collection (i., 499), and in that of 
 Anthony a Wood, in the Ashmolean Museum, Oxford (vol. 401., f. 60). In 
 1568-9, it was entered at Stationers' Hall to John Awdelay (see Collier's 
 Extracts, vol. i., p. 195). 
 
 Dance after my pipe, which is the second title ,of the ballad, seems to have 
 been a proverbial expression. In Ben Jonson's Every man out of his hvmour, 
 Saviolina says: "Nay, I cannot stay to dance after your pipe." In Yox Borealis, 
 1641, — " I would teach them to sing another song, and make them dance after 
 my pipe, ere I had done with them." And in Middleton's The World Lost at 
 Tennis, — "If I should dance after your pipe I should soon dance to the devil ;" 
 and so in many other instances. 
 
 In The Meeting of Cfallants at an Ordinary, the host, describing a young man 
 who died of the plague, in London, in 1603, says: "But this youngster daunced 
 the shaking of one sheefe within a few daies after " (Percy Soc. Reprint, p. 20) ; 
 and in A West- country Jigg, or a Trenchmore Grolliard, verse 6 : 
 " The piper he struck up, 
 And merrily he did play 
 The Shaking of the Sheets, 
 And eke The Irish Hay." 
 The tune is also mentioned in Lilly's Pappe with a Satchet, 1589 ; in Gosson's 
 Schoole of Abuse, 1579 ; by Rowley, Middleton, Taylor the water-poet, Marston, 
 Massinger, Hey wood, Dekker, Shirley, &c., &c. 
 
 There are two tunes under this name, the one in William Ballet's Lute Book, 
 which is the same as printed by Sir John Hawkins in his History, of Music 
 (vol. 2, p. 934, 8vo. edit.) ; the other, and in all probability the more poptilar one, 
 is contained in numerous publications," from The Dancing Master of 1650-51, to 
 The yocal Enchantress of 1783. 
 
 *See Collier's History of Early Dramatic Poetry, v. 2, <=The tune of The Catching of Q/uaita ii also in The Dan- 
 
 p. 474. cing Matter. 
 
 ^ Sometimes it la called The Night Piece, or TheShalting 
 of the Sheets. 
 
FROM HENRY VII. TO MARY. 
 
 85 
 
 Many ballads were sung to it, and among them, King Olfrey and the old Abbot, 
 ■which is on the same story as King John and the Abbot of Canterbury; and Tlie 
 Song of the Caps, in the Roxburghe Collection, which is also, in an altered form, 
 in Wit and Mirth, or Pills to Purge Melancholy. 
 
 The following ballad is from a black-letter copy, in the Ashmolean Museum. 
 
 THE DOLEFULL DANCE AND SONG OF DEATH : 
 INTITULED DANCE AFTER MY PIPE. — to a pleasant new tune. 
 Moderate time. 
 
 
 E^ 
 
 :^^ 
 
 m 
 
 5 
 
 Can you dance The shaking of the 
 
 A dance that ev' - ry one must do ; Can you 
 
 It 
 
 a^ 
 
 SE^ 
 
 ^m 
 
 t 
 
 "T 
 
 trim it up with dain - ty sweets, And ev' - ry thing that 'longs there-to? Make 
 
 33 
 
 IeeeeeeS 
 
 -^ 
 
 ^m 
 
 ^ 
 
 ^ — * » ^f — : ^ • 
 
 rea dy, then, your wind - ing sheet. And see how ye can be stir your feet, For 
 
 ife^ 
 
 rpri __ J t 
 
 ^ 
 
 ^m 
 
 r=f 
 
 ^ 
 
 Death'ie the man that all must meet, For Death is the man that aU must meet. 
 
 J. J ^ 
 
 Bring away the beggar and the king, 
 
 And every man in his degree ; 
 Bring away the old and youngest thing, 
 
 Come all to death, and follow me ; 
 The courtier with his lofty looks, 
 The lawyer with his learned books, 
 The banker with his baiting hooks. 
 
 Merchants, have you made your mart in France, 
 
 In Italy, and all about. 
 Know you not that you and I must dance, 
 
 Both our heels wrapt in a clout ; 
 What mean you to make your houses gay. 
 And I must take the tenant away, 
 And dig for your sake the clods of clay ? 
 
86 
 
 ENGLISH SONG AND BALLAD MUSIC. 
 
 Think you on the solemn 'sizes past, 
 
 How suddenly in Oxfordshire 
 I came, and made the judges all aghast, 
 
 And justices that did appear, 
 And took both Bell and Barham away," 
 And many a worthy man that day, 
 And all their bodies brought to clay. 
 
 Think you that I dare not come to schools, 
 Where all the cunning clerks be most ; 
 
 Take I not away both wise and fools. 
 And am I not in every coast ? 
 
 Assure yourselves no creature can 
 
 Make Death afraid of any man, 
 
 Or know my coming where or whan. 
 
 Where be they that make their leases strong, 
 And join about them land to land, 
 
 Do you make account to live so long, 
 To have the world come to your hand? 
 
 No, foolish nowle, for all thy pence, 
 
 Full soon thy soul must needs go hence ; 
 
 Then who shall toyl for thy defence ? 
 
 And you that lean on your ladies' laps, 
 
 And lay your heads upon their knee, 
 
 ' May think that you'll escape, perhaps. 
 
 And need not come to dance with me.' 
 But no ! fair lords and ladies all, 
 I will make you come when I do call. 
 And find you a pipe to dance withall. 
 
 And you that are busy-headed fools, 
 
 To brabble for a pelting straw, 
 Know you not that I have ready tools 
 
 To cut you from your crafty law ? 
 And you that falsely buy and sell. 
 And think you make your markets well. 
 Must dance with Death wheresoe'er you dwell. 
 
 Pride must have a pretty sheet, I see. 
 
 For properly she loves to dance ; 
 Come away my wanton wench to me, 
 
 As gallantly as your eye doth glance ; 
 And all good fellows that flash and swash 
 In reds and yellows of revell dash, 
 I warrant you need not be so rash. 
 
 For I can quickly cool you all. 
 
 How hot or stout soever you be. 
 Both high and low, both great and small, 
 
 I nought do fear your high degree ; 
 The ladies fair, the beldames old. 
 The champion stout, the souldier bold. 
 Must all with me to earthly mould. 
 
 Therefore take time while it is lent, 
 
 Prepare with me yoursejves to dance ; 
 Forget me not, your lives lament, 
 
 I Come oft-times by sudden chance. 
 Be ready, therefore, — watch and pray. 
 That when my minstrel pipe doth play, 
 You may to heaven dance the way. 
 
 WOLSEY'S WILD. 
 
 This tune is called Wolsey's Wild in Queen Elizabeth's Virginal Book, but in 
 William Ballet's Lute Book* it is called Wilson's Wile, and in MusicFs Delight 
 on the Cithren, 1666, Wilson's Wild. In the Bagford Collection of Ballads, 
 Brit. Mus., there is one called " A proper newe sonet, declaring the Lamentation 
 of Beccles, a town in Suffolk," &c., by T. J). (Thomas Deloney), to Wilson's Tune, 
 and dated 1586, but it does not appear, from the metre, to have been intended 
 for this air. Another "proper new ballad" to Wilson's New Tune is in the 
 
 • Anthony ^ Wood observes: "This solemn Assize, 
 mentioned in the foregoing page, was kept in the Court- 
 bouse in the Castle-yard at Oxon, 4 Jul., 1577. The Judges 
 who were infected and dyed with the dampe, were Sir 
 Rob. Bel], Baron of the Exchequer, and Sir Nich, Bar- 
 ham, Serjeant at Lawe." See Hist, et Antiq. Univ. Oxon. 
 lib. i. sub an. 1577. This verse, therefore, cannot have 
 been in the ballad entered to Awdelay, in 1568-9. 
 
 1* This highly interesting manuscript, which is in the 
 library of Trinity College, Dublin (D. I. 21), contains a 
 large number of the popular tunes of the sixteetfth cen- 
 tury. "Fortune ray foe," "Peg a Ramsey," "Bonny 
 sweet Robin," "Calleno," "Lightie love Ladies," "Greea 
 Sleeves,'^ " Weladay " (all mentioned fcy Shakspeare), 
 
 besides "The Witches Dawnce," " The hunt is up," "The 
 Shaking of the Shetes," "The Quadran Pavan," "aHom- 
 pipe," " Robin Reddocke," " Barrow Foster's Dreame," 
 «'Dowland's Lachrimae," " Lusty Gallant," The Black- 
 smith," "Rogero," " Turkeyloney," "Staynes Morris," 
 " Sellenger's Rownde," " All flowers in brome," "Baloo," 
 " Wigmore's Galliard," "Robin Hood is to the greenwood 
 gone," &c., &c., are to be found in it. " Queen Mariees 
 Dump" (in whose reign it was probably commenced) 
 stands first in the book. The tunes are in lute tablature, 
 a style of notation now obsolete, in which the letters of 
 the alphabet up to K are used to designate the strings and 
 frets of the instrument. 
 
FROM HENEY VII. TO MAEY. 
 
 87 
 
 Library of the Society of Antiquaries. It is on Ballard and Babington's con- 
 spiracy, and was written just after their execution, in 1586. Wilson's Delight, 
 Arthur a Bradley, and Mall Dixon's Mound, are mentioned as popular tunes in 
 Braithwaite's Strappado for the Devil, 1615. 
 
 The song, " Quoth John to Joan," or " I cannot come every day to woo," is 
 certainly as old as the time of Henry VIII., because the first verse is to be found 
 elaborately set to music in a manuscript of that date, formerly in the possession 
 of Stafford Smith (who'printed the song in Musica Antiqua, vol. i., p. 32) , and now 
 in that of Dr. Rimbault. There are two copies of the words in vol. ii. of the 
 Roxburghe Collection of Ballads, and it is in all the editions of Wit and Mirth, or 
 Pills to purge Melancholy, from 1698 to 1719. In Wit's Cabinet, 1731, it is 
 called " The Clown's Courtship, sung to the King at Windsor." 
 Moderate time. 
 
 ^ 
 
 ^ 
 
 S 
 
 ^ 
 
 Quoth John to Joan, wilt thou have me? I prithee now, wilt? And I'se 
 
 asat 
 
 2 
 
 iUft 
 
 K 
 
 ^ 
 
 ^ 
 
 =3= 
 
 n^ i uwh^ 
 
 m 
 
 *-*• 
 
 ^=r 
 
 f 
 
 ^ 
 
 marry with thee, My cow, my calf, my house, my rents, And allmylandsand tenements: O 
 
 ^ 
 
 ^ 
 
 ^ 
 
 r ■ r • f 
 
 say, my Joan, say my Joan, willnotthat do ? 
 
 T " 
 
 cannot come ev' 
 
 ry 
 
 -r 
 
 day to woo. 
 
 ^ 
 
 ^ 
 
 I've corn and hay in the ham hard by, 
 And three fat hogs pent up in the sty ; 
 I have a mare, and she is coal-black, 
 I ride on her tail to save her back. 
 
 Then say, my Joan, &c. 
 
 I have a cheese upon the shelf. 
 And I cannot eat it all myself ; 
 I've three good marks that lie in a rag, 
 In the nook of the chimney, instead of a bag. 
 Then sa^, my Joan, &c. 
 
 To mar»y I would have thy consent. 
 
 But, faith, I never could compliment ; 
 
 I can say nought but " hoy, gee ho," 
 
 Words that belong to the cart and the plough : 
 
 Then say, my Joan, say, my Joan, will that not do, 
 
 I cannot come every day to woo. 
 
88 
 
 ENGLISH SONG AND BALLAD MUSIC. 
 
 THE MARRIAGE OF THE FROG AND THE MOUSE. 
 In "Wedderbum's Complaint of Scotland, 1549, one of the songs sung by the 
 shepherds is The frog cam to the myl dm [mill-door]. In 1580, a ballad of 
 "A most strange wedding of the frog and the mouse" was licensed to Edward 
 Wliite, at Stationers' Hall : and in 1611, this song was printed with music, among 
 the " Country Pastimes," in Melismata. It is the progenitor of several others ; 
 one beginning — " There was a frog lived in a well, 
 
 And a farce mouse in a mill ;" > 
 another, " A frog he would a-wooing go ; " a third in Pills to purge Melan- 
 choly 
 
 , &c., &c. 
 
 Moderate time. 
 
 It was 
 
 ^ 
 
 J 
 
 was a frog in the well, Hum - ble-dum, hum - ble - dum, 
 
 rm^ 
 
 ^ 
 
 iS- 
 
 ^ 
 
 & 
 
 And the merry mouse in the mill, twee - die, tweedle, twi - no. 
 
 The frogge would a-wooing ride, 
 
 Humble-dum, humble-dum ; 
 Sword and buckler by his side, 
 
 Tweedle, tweedle, twino. 
 When upon his high horse set, 
 
 Humble-dum, &c.. 
 His boots they shone as black as jet, 
 
 Tweedle, &c. 
 
 When he came to the merry mill pin, 
 Lady Mouse beene you within ? 
 Then came out the dusty mouse : 
 I am lady of this house ; 
 
 Hast thou any mind of me ? 
 I have e'en great mind of thee. 
 Who shall this marriage make ? 
 Our lord, which is the rat. 
 
 What shall we have to our supper ? 
 Three beans in a pound of butter. 
 But, when supper they were at. 
 The frog, the mouse, and e'en the rat. 
 
 Then came in Gib, our cat. 
 
 And caught the mouse e'en by the back. 
 
 Then did they separate : 
 
 The frog leapt on the floor so flat ; 
 
 Then came in Dick, our drake. 
 Arid drew the frog e'en to the lake ; 
 The rat he ran up the wall, 
 'And so the company parted all.' 
 
 . THE CRAMP. 
 
 This is one of the three country dance tunes arranged to be sung together in 
 Pammelia, and is frequently referred to as a ballad tune. 
 
 In the Ashmolean library, in the same manuscript volume with Chevy Chace 
 (No. 48), is a ballad by Elderton, describing the articles sold in the market in 
 time of Lent. The observance of Lent was compulsory in those days, and it was 
 by no means palatable to all. In 1570, William Pickering had a license to print 
 
FROM HENRY VII. TO MARY. 
 
 89 
 
 a ballad, entitled Lenton Stuff, which was, in all probability,. the same. Blderton's 
 ballad is called — " A new ballad, entitled Lenton Stuff, 
 
 For a little money ye may have enough;" 
 
 to the tune of The Qramp. 
 " Lenton stuff is come to the town, 
 
 The cleansing week comes quickly ; 
 You know well enough you must kneel down. 
 
 Come on, take ashes trickly ; 
 That neither are good flesh nor fish. 
 But dip with Judas in the dish, 
 And keep a rout not worth a ryshe " [rush]. 
 
 [Heigh ho ! the cramp-a.J 
 
 It is not noticed by Eitson in his list of Elderton's ballads, Bibl. Poet. p. 195-8 ; 
 biit Mr. Halliwell has printed it in the volume containing The Marriage of Wit 
 and Wisdom, for the Shakespeare Society. The following is from Pammelia. 
 Moderate time. ______ {^ 
 
 i 
 
 rife 
 
 t 
 
 r=^ 
 
 ^ 
 
 ^^=^=F^ 
 
 f 
 
 =f 
 
 ^^s 
 
 The cramp is in my purse full sore, No money will bide there-in, a. And 
 
 tap 
 
 ^ 
 
 'J .-^ J .J^ i J^: 
 
 ^ 
 
 ^ 
 
 f • f • I ' •' * jf g * ' r " r " ' ^ ^ 
 
 if I had some salve therefore, O light- ly then would I sing, 
 1 ^i > -i 
 
 35 
 
 ^^ 
 
 ^^ 
 
 ^ 
 
 m 
 
 Hey ho ! the cramp, a. 
 
 U^ 
 
 Hey 
 
 ho ! the cramp. 
 
 I 
 
 1^^ 
 
 ^^^^ 
 
 ^ 
 
 m 
 
 Hey^ 
 
 ho ! the cramp, 
 •-J ^ -J- . 
 
 Hey 
 
 ho ! the cramp, 
 
 — -■- -•- . 
 
 ^ 
 
 ^ 
 
90 
 
 ENGLISH SONG AND BALLAD MCSIC. 
 
 I HAVE HOUSE AND LAND IN KENT. 
 This song, which is one of the " Country Pastimes," in Melismata, 1611, is on 
 the same subject as Quoth John to Joan, page 87. The tune begins like The 
 Three Ravens, but is in quicker time. In Melismata it is called A Wooing Song 
 of a Yeoman of Kent's son, and the words are given in the Kentish dialect. 
 Moderate time. 
 
 ^m 
 
 ^ 
 
 ^ 
 
 f^ 
 
 7" 
 
 I have house and land in Kent, And if you'll love me, love me 
 
 ^^^r-p^ 
 
 
 
 ^ — f r 
 
 Two - pence half- penny is 
 
 ny rent, I cannot come ev - 'ry day to 
 
 Li'^F IT 
 
 ^^ 
 
 Chorus. 
 
 f^ r] 1-^^^ ^ i j J i 
 
 ^ 
 
 woo. Yes, twopence half-penny is his rent, He cannot come ev - 'ry day, to woo. 
 
 Af3 
 
 ^ 
 
 J U ^ J ^ 
 
 Ich am my vather's eldest zonne. 
 
 My mother eke doth love me well ; 
 For ich can hravely clout my shoone. 
 And ich full well can ring a bell.* 
 Chorus. — For he can. hravely clout his shoone. 
 And he full well can ring a hell. 
 
 My vather he gave me a hogge, 
 
 My mouther she gave me a zow ; 
 I have a godvather dwells there by. 
 And he on me bestowed a plow. 
 Chorus. — He has a godvather dwells there by. 
 And he on him bestowed a plow. 
 
 One time I gave thee a paper of pins, 
 
 Anoder time a taudry lace ; 
 And if thou wilt not grant me love, 
 In truth ich die bevore thy vace. 
 Chorus. — And if thou wilt not grant his love. 
 In truth he'll die bevore thy face. 
 
 a Bell-ringing was formerly a great amusement of the 
 English, and the aUusions to it are of frequent occurrence. 
 Numerous payments to bell-ringers are generally to be 
 
 Ich have beene twise our Whitson lord, 
 
 Ich have had ladies many vare ; 
 And eke thou hast my heart in hold. 
 And in my mind zeemes passing rare. 
 Chorus. — And eke thou hast his heart in hold, 
 And in his mind zeemes passing rare. 
 
 Ich will put on my best white slopp, 
 And ich will wear my jellow hose. 
 And on my head a good gray hat, 
 And in't ich stick a lovely rose. 
 Chorus. — And on his head a good gray hat, 
 And i'nt he'll stick a lovely rose. 
 
 Wherefore cease off, make no delay, 
 
 And if you'll love me, love me now ; 
 Or else ich zeek zome oder where. 
 For I cannot come every day to woo. 
 Chorus. — Or else he'll zeek zome oder where, 
 For he cannot come every day to woo. 
 
 found in Chutchwatdens' accounts of the 16th and 17th 
 centuries. 
 
FROM HENRY VII. TO MARY. 91 
 
 LUSTY GALLANT. 
 
 This tune, -which was extremely popular in former times, is to be found in 
 William Ballet's Lute Book. It resembles "Now foot it as I do, Tom, boy, Tom," 
 ■which is one of three country dances, arranged to be sung together as a round, in 
 Pammelia. 
 
 Nicholas Breton mentions Old Lusty Crallant as a dance tune in his Worhs of 
 a Toung Wit, 1677 : "by chance, 
 
 Our banquet done, we had our music by, 
 
 And then, you know, the youth must needs go dance, 
 
 First galliards — then larousse, and heidegy — 
 
 Old Lusty Gallant — Alljiorvers of the broom; 
 
 And then a hall, for dancers must have room ; " 
 
 and Elderton, wrote, " a proper new balad in praise of my Ladie Marques, whose 
 death is bewailed," to the tune of JS^ew Lusty Crallant, A copy of that ballad is 
 in the possession of Mr. George Daniel, of Canonbury ; but I assume it to have 
 been intended for another air, because there are seven lines in each stanza. The 
 following is the first : — 
 
 " Ladies, I thinke you marvell that 
 
 I writ no mery report to you : 
 
 And what is the cause I court it not 
 
 So merye as I was wont to dooe ? 
 
 Alas ! I let you understand 
 
 It is no newes for me to me to show 
 
 The fairest flower of my garland." 
 
 K sung to this tune, the last line of each stanza would require repetition. 
 
 Nashe, in his Terrors of the Night, 1594, says, " After all they danced Lusty 
 Crallant, and a drunken Danish levalto or two." 
 
 There is a song beginning, " Fain would I have a pretie thing to give unto my 
 ladie " (to the tune of Lusty Q-allant) , in A Handefull of Pleasant Lelites, and 
 although that volume is not known to have been printed before 1584, it seems to 
 have been entered at Stationers' Hall as early as 1565-6. Fain toould I, &c., 
 must have been written, and have attained popularity, either in or before the 
 year 1566, because, in 1566-7, a moralization, called Fain woidd I have a godly 
 thing to sheio unto my lady, was entered, and in MSS. Ashmole'' 48, fol. 120, is a 
 ballad of Troilus and Creseida, beginning — 
 
 " When Troilus dwelt in Troy town, 
 A man of noble fame-a" — 
 to the tune of Fain would I find some pretty thing, &c., so that, from the popu- 
 larity of the ballad, the tune had become known by its name also. 
 
 I have not foimd any song called Lusty G-allant : perhaps it is referred to in 
 Massinger's play, The Picture, where Ferdinand says : 
 
 • Mr. W. H, Black, in his Catalogue of the Ashmolean tains Chem} Chace). Mr. Halliwell has printed the ballad 
 MSS., describes this volume as "written in the middle of of Troilus and Creseida, in the volume containing The 
 the sixteenth century 'I— (it is the manuscript which con- Marriage of Wit and Wisdom, for the Shakespeare Society. 
 
92 
 
 ENGLISH SONG AND BALLAD MUSIC. 
 
 ' is your Theorbo 
 
 Turn'd to a distaff, Signior, and your voice, 
 With which you chanted Moomfor a lusty Gallant, 
 Tuned to the note of Lachrymce ? "" 
 The ballad of " A famous sea-fight between Captain Ward and the Rainbow" 
 (in the Roxburghe Collection) " to the tune of Captain "Ward," &c., begins, " Strike 
 up, you lusty Gallants." 
 
 In the' Q-orgeous Crollery of gallant Inventions, 1578, there is a " proper dittie," 
 to the tune of Lusty Q-allant; and Pepys mentions a song with tbe burden of 
 " St. George for England," to the tune of List, lusty Gf-allants. 
 
 Moderate time. 
 
 Pn f I J 
 
 9'"^ ' i 
 
 ^ 
 
 fe 
 
 f 
 
 ^=i 
 
 ^^^^ 
 
 Fain would I have a ,pret-ty thing To give un-to my La- dy. 
 
 ^W^ 
 
 ^ 
 
 ^m 
 
 I name no thing, And mean no thing, But as pretty a thing as may be. 
 
 ^ 
 
 ^ 
 
 Twenty journeys would I make, 
 And twenty days would hie me. 
 
 To make adventure for her sake. 
 To set some matter by me. 
 
 Some do long for pretty knacks. 
 And some for strange devices ; 
 
 God send me what my lady lacks, 
 I care not what the price is. 
 
 There are eight more stanzas, which will be found in Evans' Old Ballads, vol. 1, 
 p. 123, edit. 1810, or in the reprint of A Handefull of Pleasant Delites. 
 
 BY A BANK AS I LAY. 
 
 In the Life of Sir Peter Carew, before quoted (page 52), "By the bank as 
 I lay " is mentioned as one of the Freemen! s Songs which Sir Peter used to sing 
 with Henry Vm. ; and this is one of the King Henry's Mirth or Freemen's Songs 
 in Deuteromelia. In Laneham's letter from Kenilworth, 1565, " By a bank as 
 I lay" is included in the " bunch of ballads and songs, all ancient," which were 
 then in the possession of Captain Cox, the Mason of Coventry. In Wager's in- 
 terlude, The longer thou livest the more fool thou art, 1568, Moros sings the two 
 'following lines : — " By a bank as I lay, / lay, 
 
 Muring on things past, heigh ho ! " 
 In Royal MSS. Append. 58, there is another song, of which the first line is the 
 
 >* LachrynuB, a tune often -referred to, composed by Dowland. 
 
FEOM HENEY VII. TO MARY. 
 
 93 
 
 same, but the second differs ; and the music to it is not of the light and popular 
 class called Freemen's Songs, but a studied composition. The words of the latter 
 have been printed by Mr. Payne Collier, in his Extracts from the Registers of 
 the Stationers' Company, vol. i., page 193. They are in the same metre, and 
 therefore might also be sung to this tune. 
 
 The last line of the song, as printed in Deuteromelia, is " And save noble James 
 our king," because the book was printed in his reign. 
 Moderate time. 
 
 i 
 
 
 ^ 
 
 ^ 
 
 s 
 
 ^ 
 
 M 
 
 ~^ r-f — -f f 
 
 lay,Musingon a thingthat was pastand gone, heighho! 
 
 By 
 
 bank 
 
 ^ 
 
 ss: 
 
 ^ 
 
 ^^j_a=j:i^~J (7P | J 
 
 lonthof May, Os 
 
 ^ 
 
 r 
 
 themerry monthof May, Osomewhatbeforetheday,Methought I hean 
 
 at 
 
 the last. 
 
 3S 
 
 5 
 
 — H^ 
 
 O tbe gentle nightingale, 
 The lady and the mistress of all musick. 
 
 She sits down ever in the dale ; 
 
 Singing with her notes smale [small], 
 And quavering them wonderfully thick. 
 
 Oh, for joy, my spirits were quick, 
 To hear the bird how merrily she could sing, 
 And I said, good Lord, defend 
 England, with thy most holy hand, 
 And save nohle ' Henry ' our king. 
 
 ROGEEO. 
 
 This tune is to be found among Dowland's Manuscripts," in the public library, 
 Cambridge ; in William Ballet's Lute Book, and in Dallis' Lute Book, both in 
 the library of Trinity College, Dublin. 
 
 The first entry in Mr. Payne Collier's Extracts from the Registers of the 
 Stationers' Company, is to William Pickering, a "Ballett called Arise and wake^' 
 (1557). Li the Roxburghe Collection of Ballads, there is one commencing, 
 " Arise and awake," entitled — 
 
 " A godly and Christian A.B.O., 
 Shewing the duty of every degree," 
 to the tune of Bogero. It may be the ballad referred to, although the copy in the 
 Roxburghe Collection was printed at a later date. Li the same year, 1557, there 
 is an entry of " A Ballett of the A.B.C. of a Priest, called Hugh Stourmy," 
 and another of " The aged man's A.B.C." 
 
 ^ The references to these Manuscripts are, D. d. 2. U. 
 — D. d. 3. 18.— D. d. 4. 23.— D. d. 9. 33.— D. d. U. 24., 
 &c. Some appear to be in the handwriting of Dowland, 
 
 the celebrated lutenist of Elizabeth's reign. The tune of 
 Rogero is in three or four of them. 
 
94 
 
 ENGLISH SONG AND BALLAD MUSIC. 
 
 Rogero is mentioned as a dance tune in Stephen Gosson's School of Abuse, 
 1579 ; in Heywood's A woman hilled with kindness (acted before 1604) ; and in 
 Nashe's jB!a«;e with you to Saffron- Walden, 1596 ; also by Dekker, in The Shoe- 
 maker's Holiday, &c. 
 
 Many ballads were sung to the tune of Rogero. In the first volume of the 
 Roxburghe Collection, for instance, there are at least four." Others in the 
 Pepysian Collection; in The Grown Crarland of Grolden Roses, 1612; in Deloney's 
 Strange Histories,^ 1607 ; in Percy's Reliques of Ancient Poetry ; and in Evans' 
 Old Ballads. Arise and awake is also referred to as a ballad tune. 
 
 The following, which is entitled " The valiant courage and policy of the 
 Kentishmen with long tails, whereby they kept their ancient laws and customs, 
 which William the Conqueror sought to take from them'^ — to the tune oi Rogero," 
 is from Strange Histories, &c., 1607. It was written by Deloney, " the ballading 
 silk-weaver," who died in or before 1600. 
 Boldly and marked. 
 
 i 
 
 ^ 
 
 ^ 
 
 i 
 
 ^ 
 
 ^=* 
 
 r 
 
 When as the Duke of Nor - man -dy, With 
 
 glist'ring spear and 
 
 a 
 
 ^ 
 
 1^ 
 
 ^J i \ ^n 
 
 f '-JMj ' iiij 
 
 f^^ 
 
 shield. 
 
 Had en - ter'd in - to fair England, And foil'd his foes in field 
 
 his 
 
 ^ 
 
 m 
 
 ^ 
 
 IZZ 
 
 ^ 
 
 On Christmas-day in solemn sort 
 Then was he crowned here, ' 
 
 By Albert archbishop of York, 
 With many a noble peer. 
 
 Which being done, he changed quite 
 
 The customs of this land. 
 And punisht such as daily sought 
 
 His statutes to withstand : 
 
 "■ See folios 130, 258, 482, and 492. 
 
 ^ The Crown Oarland and Strange Histories have heen 
 reprinted by the Percy Society. 
 
 " Evans, who prints this ballad from another copy {The 
 Garland of Delight) extracts the following account of the 
 event which gave rise to it, from The Lives of th'e three 
 Norman Kings of England, by Sir John Hey ward, 4to, 1613, 
 p. 97: "Further, by the counsel of Stigand, Archbishop 
 of Canterbury, and of Eglesine, Abbot of St. Augustine's 
 (who at that time were the chief governors of Kent), as the 
 King was riding towards Dover, at Swanscombe, two 
 miles from Gravesend, the Kentishmen came towards him 
 armed and bearing houghs in their hands, as if it had been 
 
 And many cities he subdued. 
 
 Fair London with the rest ; 
 But Kent did still withstand his force, 
 
 And did his laws detest. 
 
 To Dover then he took his way, 
 
 The castle down to fling, 
 Which Arviragus builded there. 
 
 The noble British king. 
 
 a moving wood; they enclosed him upon the sudden, and 
 vrtth a firm countenance, but words well tempered with 
 modesty and respect, they demanded of him the use of 
 their ancient liberties and laws : that in other matters 
 they would yield obedience unto him : that without this 
 they desired not to live- The king was content to strike 
 sail to the storm, and to give them a vain satisfactiun for 
 the present; knowing right well that tlie general customs 
 aud laws of the residue of the realm would in short time 
 overflow these particular places. So pledges being given 
 on both sides, they conducted him to Rochester, and 
 yielded up the county of Kent, and the castle of Dover 
 into his power." 
 
FROM HENRY VII, TO MARY. 
 
 95 
 
 Which when the brave archbishop bold 
 
 Of Canterbury knew, 
 The abbot of Saint Augustines eke, 
 
 With all their gallant crew, 
 
 They set themselves in armour bright, 
 
 These mischiefs to prevent. 
 With all the yeomen brave and bold 
 
 That were in fruitful Kent. 
 
 At Canterbury did they meet 
 
 Upon a certain day, 
 With sword and spear, with bill and bow, 
 
 And stopt the conqueror's way. 
 
 Let us not live like bond-men poor 
 To Frenchmen in their pride, 
 
 But keep our ancient liberty. 
 What chance so e'er betide. 
 
 And rather die in bloody field, 
 In manlike courage prest (ready), 
 
 Than to endure the servile yoke. 
 Which we so much detest. 
 
 Thus did the Kentish commons cry 
 
 Unto their leaders still, 
 And so march'd forth in warlike sort, 
 
 And stand at Swanscomb hill : 
 
 Where in the woods they hid themselves, 
 
 Under the shady green. 
 Thereby to get them vantage good. 
 
 Of all their foes unseen. 
 
 And for the conqueror's coming there, 
 
 They privily laid wait. 
 And thereby suddenly appal'd 
 
 His lofty high conceit ; 
 
 For when they spied his approach. 
 
 In place as they did stand, 
 Then marched they, to hem him in, 
 
 Each one a bough in hand. 
 
 So that unto the conqueror's sight, 
 
 Amazed as he stood. 
 They seem'd to be a walking grove, 
 
 Or else a moving wood. 
 
 The shape of men he could not see. 
 The boughs did hide them so : 
 
 And now his heart for fear did quake. 
 To see a forest go ; 
 
 Before, behind, and on each side. 
 
 As he did cast his eye, 
 He spied those woods with sober pace 
 
 Approach to him full nigh : 
 
 But when the Kentish-men had thus 
 Enclos'd the conqueror round. 
 
 Most suddenly they drew their swords. 
 And threw the boughs to ground ; 
 
 Their banners they display'd in sight. 
 Their trumpets sound a charge, 
 
 Their rattling drums strike up alarms, 
 Their troops stretch out at large. 
 
 The conqueror, and all his train, 
 
 Were hereat sore aghast. 
 And most in peril, when they thought 
 
 All peril had been past. 
 
 Unto the Kentish men he sent. 
 
 The cause to understand, 
 For what intent, and for what cause, 
 
 They took this war in hand ; 
 
 To whom they made this short reply, 
 
 For liberty we fight. 
 And to enjoy king Edward's laws, 
 
 The which we hold our right. 
 
 Then said the dreadful conqueror. 
 You shall have what you will. 
 
 Your ancient customs and your laws. 
 So that you will be still : 
 
 And each thing else that you will crave 
 
 With reason, at my hand, 
 So you will but acknowledge me 
 
 Chief king of fair England. 
 
 The Kentish men agreed thereon, 
 
 And laid their arms aside. 
 And by this means king Edward's laws 
 
 In Kent do still abide ; 
 
 And in no place in England else 
 
 These customs do remain. 
 Which they by manly policy 
 
 Did of duke William gain. 
 
 TUEKEYLONEY. 
 The figure of the dance called Turheyloney is described with others in a manu- 
 script in the Bodleian Library (MS. RawL Poet. 108), which was written about 
 1570. Stephen Gosson, in his Schools of Abuse, containing a pleasant Invective 
 against Poets, Pipers, Players, Jesters, &c., 1579, alludes to the tune as one of 
 
96 
 
 ENGLISH SONG ANB BALLAD MUSIC. 
 
 the most popular in his day. He says, " Homer, with his music, cured the sick 
 soldiers ia the Greciajis' camp, and purged every man's tent of the plague. 
 Think you that those miracles could be wrought with playing dances, dumps, 
 pavans, galliards, fancies, or new strains ? They never came where this grew, 
 
 nor knew what it meant Terpander neither piped Bogero, nor Turkehney, 
 
 when he ended the brabbles at Lacedemon, but, putting them in mind of Lycurgus' 
 laws, taught them to tread a better measure:" but, " if you enquire how many 
 such poets and pipers we have in our age, I am persuaded that every one of them 
 may creep through a ring, or dance the wild morris in a needle's eye. "We have 
 infinite poets and pipers, and such peevish cattle among us in England, that live 
 by merry begging, maintained by alms, and privily encroach upon every man's 
 purse, but if they in authority should call an account to see how many Chirons, 
 Terpandri, and Homers are here, they might cast the sum without pen or 
 counters, and sit down with Rachel to weep for her children, because they are not." 
 
 Turheylony is also mentioned, as a dance tune, in Nashe's Have with you to 
 Saffron- Walden, 1596 ; and the music will be found in William Ballet's Lute 
 Book, described in a note at page 86. 
 
 The words here coupled with the tune are taken from a manuscript in the 
 
 possession of Mr. Payne Collier. Although the manuscript is of the reign of 
 
 James I., the " ballett " Yf ever I marry, I will marry a mayde, was entered 
 
 at Stationers' HaU as early as 1557-8. The name of the air to which it should 
 
 be sung is neither given in the MS., nor in the entry at Stationers' Hall; but the 
 
 words and music agree so well together, that it is very probable the ballet was 
 
 written to this tune. 
 
 In moderate time, and smoothly. 
 
 ^^ 
 
 e - ver I mar-ry, I'll mar-ry a maid : To marry a widow I'm 
 
 FR^^ 
 
 r i f' f 
 
 ^ 
 
 > • I * * « — 
 
 p 
 
 ■ fraid ; For maids they are aim -pie, and never will grutch, But 
 
 (grudge) 
 
 ^^^ 
 
 m 
 
 T '-^ 
 
 widows full oft, as they say, know too much. 
 
FROM HENRY VII. TO MARY. 97 
 
 A maid is so sweet, and so gentle of kind, 
 
 Tliat a maid is the wife I will choose to my mind ; 
 
 A widow is froward, and never will yield ; 
 
 Or if such there be, you will meet them but seeld. [seldom] 
 
 A maid ne'er complaineth, do what so you will ; 
 
 But what you mean well, a widow takes ill : 
 
 A widow will make you a drudge and a slave. 
 
 And cost ne'er so much, she will ever go brave, [gaily dress 'd] 
 
 A maid is so modest, she seemeth a rose. 
 
 When first it beginneth the bud to unclose ; 
 
 But a widow full blowen, full often deceives. 
 
 And the next wind that bloweth shakes down all her leaves. 
 
 That widows be lovely I never gainsay. 
 But too well all their beauty they know to display ; 
 But a maid hath so great hidden beauty in store, 
 She can spare to a widow, yet never be poor. 
 
 Then, if ever I marry, give me a fresh maid, 
 
 If to marry with any I be not afraid ; 
 
 But to marry with any it asketh much care. 
 
 And some bachelors hold they are best as they are. 
 
98 ENGLISH SONG AND BALLAD MUSIC. 
 
 REIGN OF ELIZABETH. 
 
 During the long reign of Elizabeth, music seems to have been in universal 
 cultivation, as well as in universal esteem. Not only was it a necessary qualifica- 
 tion for ladies and gentlemen, but even the city of London advertised the musical 
 abilities of boys educated in Bridewell and Christ's Hospital, as a mode of 
 recommending them as servants, apprentices, or husbandmen.^' Li Deloney's 
 History of the gentle Graft, 1598, one who tried to pass for a shoemaker was 
 detected as an imposter, because he could neither " sing, sound the trumpet, play 
 upon the flute, nor reckon up his tools in rhyme." Tinkers sang catches; milk- 
 maids sang ballads; carters whistled; each trade, and even the beggars, had 
 their special songs ; the base-viol hung ia the drawing room for the amusement of 
 waiting visitors ; and the lute, cittern, and virginals, for the amusement of wait- 
 ing customers, were the necessary furniture of the barber's shop. They had 
 music at dinner; music at supper; music at weddings; music at funerals; music 
 at night; music at dawn; music at work; and music at play. 
 
 He who felt not, in some degree, its soothing influences, was viewed as a 
 morose, unsocial being, whose converse ought to be shunned, and regarded with 
 suspicion and distrust. 
 
 " The man that hath no music in himself, 
 
 Nor is not mov'd with concord of sweet sounds. 
 
 Is fit for treasons, stratagems, and spoils ; 
 
 The motions of his spirit are as dull as night. 
 
 And his aiifections dark as Erebus : 
 
 Let no such man be trusted." 
 
 Merchant of Venice, act v., sc. I. 
 
 " Preposterous ass ! that never read so far 
 To know the cause why music was ordain'd ! 
 Was it not to refresh the mind of man 
 After his studies, or his usual pain ? " 
 
 The Taming of the Shrera, act ii., sc. 3. 
 
 a " That the preachers be moved at the sermons at the Golden Tunne ;" reprinted in The JBritish JBibliographer. 
 Crosse" [St. Paul's Cross] "and other convenient times, Edward VI. granted the charters of incorporation for 
 and that all other good notorious meanes be used, to re- Bridewell and Christ's Hospital, a few days before his 
 quire both citizens, artificers, and other, and also all death. Bridewell is a foundation of a mixed and sin- 
 farmers and other for husbandry, and gentlemen and other gular nature, partaking of the hospital, prison, and work- 
 for their kitchens and other services, to take servants and house. Youths were sent to the Hospital as apprentices 
 children both out of Bridewell and Christ's Hospital at to manufacturers, who resided there ; and on leaving, re- 
 
 their pleasures with further declaration that many ceived a donation of 10/., and their freedom of the city. 
 
 of them be of toward qualities in readyng, wry ting, gram- Pepys, in his Diary, 5th October, 1664, says, "To new 
 
 mer, and musike." This is the 66th and last of the Bridewell, and there I did with great pleasure see the 
 
 "Orders appointed to be executed in the cittie of London, many pretty works, and the little children employed, 
 
 for setting rogTuJes and idle persons to worke, and for every one to do something, which was a very fine sight, 
 
 releefe of the poore." "At London, printed by Hugh and worthy encouragement." 
 Singleton, dwelling in Smith Fielde, at the signe of the 
 
REIGN OP ELIZABETH. 99 
 
 Steevens, in a note upon tlie above passage in The Merchant of Venice, quotes the 
 authority of Lord Chesterfield against what he terms this "capricious sentiment" 
 of Shakespeare, and adds that Peacham requires of his gentleman only to be able 
 " to sing his part sure, and at first sight, and withall to play the same on a viol, 
 or lute." But this sentiment, so far from being peculiar to Shakespeare, may be 
 said to have been the prevailing one of Europe. Nor was Peacham an exception, 
 for, although he says, " I dare not pass so rash a censure of these " (who love not 
 music) " as Pindar doth ; or the Italian, having fitted a proverb to the same efiect. 
 Whom God loves not, that man loves not music;" he adds, " but I am verily per- 
 suaded that they are by nature very ill disposed, and of such a brutish stupidity 
 that scarce any thing else that is good and savoureth of virtue is to be found 
 in them." " Tusser, in his " Points of Huswifry united to the comfort of 
 Husbandry," 1570, recommends the country huswife to select servants that sing 
 at their work, as being usually the most pains-taking, and the best. He says : 
 " Such servants are oftenest painfull and good, 
 That sing in their labour, as birds in the wood ;'' 
 and old Merrythought says, " Never trust a tailor that does not sing at 
 his work, for his mind is of nothing but filching." — (Dyce's Beaumont and 
 Fletcher, vol. ii., p. 171.) 
 
 Byrd, in his Psalmes, Sonnets, and Songs, &c., 1588, gives the following eight 
 reasons why every one should learn to sing : — 
 
 1st. — "It is a knowledge easily taught, and quickly learned, where there is a good 
 master and an apt scholar." 
 
 2nd. — " The exercise of singing is delightful to nature, and good to preserve the 
 health of man.'" 
 
 3rd. — " It doth strengthen all parts of the breast, and doth open the pipes.'' 
 
 4th. — "It is a singular good remedy for a slutting and stammering in the speech.'' 
 
 5th. — " It is the best means to procure a perfect pronunciation, and to make a good 
 orator.'' 
 
 6th. — " It is the only way to know where nature hath bestowed a good voice ; . . . 
 and in many that excellent gift is lost^ because they want art to express nature." 
 
 7th. — " There is not any music of instruments whatsoever, comparable to that which 
 . is made of the voices of men ; where the voices are good, and the same well sorted 
 and ordered." 
 
 8th. — " The better the voice is, the meeter it is to honour and serve God therewith ; 
 and the voice of man is chiefly to be employed to that end." 
 " Since singing is so good a thing, 
 I wish all men would learn to sing." 
 
 Morley, in his Introduction to Pratical Musick, 1597, written in dialogue, 
 introduces the pupil thus : " But supper being ended, and music books, 
 according to custom, being brought to the table, the mistress of the house pre- 
 sented me with a part, earnestly requesting me to sing ; but when, after many 
 excuses, I protested unfeignedly that I could not, every one began to wonder ; yea, 
 
 * The Compleat Gentleman : fashioning him absolute in mind or bodie, that may be required in a noble gentleman, 
 the most necessary and commendable qualities, concerning By Henry Peacham, Master of Arts, &c., 1622. 
 
100 ENGLISH SONG AND BALLAD MUSIC. 
 
 some whispered to others, demanding how I was brought up, so that upon shame 
 of mine ignorance, I go now to seek out mine old friend, Master Gnorimus, to 
 make myself his scholar." 
 
 Laneham, to whom we are indebted for the description of the pageants at Kenil- 
 worth in 1575, thus describes his own eyening amusements. " Sometimes I foot 
 it with dancing ; now with my gittern, and else with my cittern, then at the 
 virginals (ye know nothing comes amiss to me) : then carol I up a song withal ; 
 that by and by they come flocking about me like bees to honey ; and ever they 
 cry, ' Another, good Laneham, another.' " He who thus speaks of his playing 
 upon three instruments and singing, had been promoted from a situation in the 
 royal stables, through the. favour of the Earl of Leicester, to the duty of keeping 
 eaves-droppers from the council-chamber door. 
 
 Dekker, iu The Gull's Horn-book, tells us that the usual routine of a young 
 gentlewoman's education was " to read and write ; to play upon the virginals, 
 lute, and cittern ; and to read prick-song (i.e., music written or pricked down) at 
 first sight." Whenever a lady was highly commended by a writer of that age, 
 her skill in music was sure to be included ; as — 
 
 " Her own tongue speaks all tongues, and her own hand 
 Can teach all strings to speak in their best grace." 
 
 Heymood's A Woman kill'd with kindness. 
 " Observe," says Lazarillo, who is instructing the ladies how to render them- 
 selves most attractive, "it shall be your first and finest praise to sing the note of 
 every new fashion at first sight. — (Middleton's Blurt, Master Constable, 1602.) 
 Gosson, in his Schoole of Abuse, 1579, alluding to the custom of serenading, 
 recommends young ladies to be careful not to "flee to inchaunting," and says, "if 
 assaulted with music in the night, close up your eyes, stop your ears, tie up your 
 tongues; when they speak, answer them not; when they halloo, stoop not ; when 
 they sigh, laugh at them; when they sue, scorn them." He admits that "these are 
 hard lessons," but advises them " nevertheless to drink up the potion, though it 
 like not [please not] your taste." Li those days, however, the " serenate, which 
 the starv'd lover sings to his proud fair," was not quite so customary ia England 
 as the Morning song or JBunt's-up ; such as — 
 
 " Fain would I wake you, sweet, but fear 
 I should invite you to worse cheer ; . . . 
 I'd wish my life no better play, 
 Your dream by night, your thought by day : 
 Wake, gently wake. 
 Part softly from your dreams 1 
 The Morning Jlies 
 To your fair eyes, 
 To guide her special beams." ~ 
 As to the custom of having a base- viol (or viol da gamba) hanging up in draw- 
 ing rooms for visitors to play on, one quotation from Ben Jonson may suflSce : 
 " Li making love to her, never fear to be out, for ... a base viol shall hang o' the 
 wall, of purpose, shall put you in presently. — {Grifford's Edit. vol. ii., p. 162.) 
 
REIGN OF ELIZABETH. 101 
 
 If more to the same purport be required, many similar allusions will be found in 
 the same volume. (See pages 125, 126, 127, and 472, and Gifford's Notes.) 
 
 The base-viol was also played upon by ladies (at least during the following 
 reign), although though* by some "an unmannerly instrument for a woman." 
 The mode in which some ladies passed their time is described in the following 
 lines, and perhaps, even in the present day, instances not wholly unlike might be 
 found. " This ia all that women do, 
 
 Sit and answer them that woo ; 
 
 Deck themselves in new attire, 
 
 To entangle fresh desire ; 
 
 After dinner sing and play, 
 
 Or dancing, pass the time away." 
 
 " England," says a French writer of the seventeenth century, " is the paradise of 
 women, as Spain and Italy are their purgatory." " 
 
 The musical instruments principally in use in barbers' shops, during the 
 sixteenth and seventeenth centuries, were the cittern, the gittern, the lute, and 
 the virginals. Of these the cittern was the most common, perhaps because most 
 easily played. It was iu shape somewhat like the English guitar of the last 
 century, but had only four double strings of wire, i. e., two to each note.*" These 
 were tuned to the notes ff,b,d, and e of the present treble staff, or to correspond- 
 ing intervals ; for no rules are given concerning the pitch of these instruments, 
 unless they were to be used in concert. The instructions for tuning are generally 
 to draw up the treble string as high as possible, without breaking it, and to tune 
 the others from that. A particular feature of the cittern was the carved head, 
 which is frequently alluded to by the old writers." Playford in his '■^MusicVs 
 Delight on the Oithren restored and refined to a more easie and pleasant manner of 
 playing than formerly," 1666, speaks of having revived the instrument, and re- 
 stored it to what it was in the reign of Queen Mary, and his tuning agrees with 
 that in Anthony Holborne's Qittharn Schoole, 1697, and in Thomas Robinson's New 
 Oitharen Lessons, 1609. The peculiarity of the cittern, or cithren, was that the 
 third string was 'tuned lower than the fourth, so that if the first or highest string 
 were tuned to e, the third would be the g below, and the fourth the intermediate h. 
 The cittern appears to have been an instrument of English invention.* 
 
 Of the gittern or ghitterne, I can say but little, not having seen any instruc- 
 tion-book for the instrument. Ritson says it differed chiefly from the cittern 
 
 • Description of England by Jorevin de Rocheford. the great astronomer, Galileo Galilei), I assume to mean 
 
 Paris, 1672, Cittern , because tile word LiuiOy for Lute, was in common 
 
 ^ Sir Jobn Hawkins, in his History of Music, vol. ii., use. He says, *' Fu la Cetera usata prima tra gli Inglesi 
 
 p. 602, 8vo., copies the Cistrum from Mersenne, as the che da altre nazioni, nella quale Isola si lavoravano gi^ 
 
 Cittern, but it has six strings, and therefore moce closely in eccellenza ; quantunque hoggi le piii riputate da loro 
 
 resembles the English guitar. siano quelle che si lavorano in Brescia; con tutto questo 
 
 = In Lov^s Labour Lost, act v., sc. 2, Boyet compares h adoperata ed apprezzata da nobili, e fu cosi detta dagli 
 
 Holofemes* countenance to that of a cittern head. In autori di essa, per forse resuscitare I'antica Cithara ; ma 
 
 Forde*s Lovers' Melancholy, act ii., sc. 1, "Barbers shall la diiferenza che sia tra la nostra e quella, si h possuto 
 
 wear thee on their citterns;" and in Fletcher's Love's benissimoconoscereda quello che se n' 6 di sopradetto." — 
 
 Cure, "You cittern head! you ill-countenanced cur!" Bialogo di Vincenzo Galilei, nohile Fiorentino, foL 1581, 
 
 &c., 8:c. P- 14?- 
 
 <i The word Cetera, as employed by Galilei (father of 
 
102 ENGLISH SONG AND BALLAD MUSIC. 
 
 in being strung with gut instead of wire; and, from the various allusions to it, 
 I have no doubt of his correctness. Perhaps, also, it was somewhat less in size. 
 In the catalogue of musical instruments left in the charge of Philip van Wilder, 
 at the death of Henry VEH., we find " four Gitterons, which are called Spanish 
 vialles." As Galilei says, in 1581, that " Viols are little used in Spain, and that 
 they do not make them,"* I assume Spanish viol to mean the guitarra, or guitar. 
 The gittern is ranked with string instruments in the following extract from the 
 old play of Lingua, written in this reign : — 
 
 '"Tis true the finding of a dead horse-head 
 
 Was the first invention of string instruments, 
 
 Whence rose the Gitterne, Viol, and the Lute ; 
 
 Though others think the Lute was first devis'd 
 
 In imitation of a tortoise back, 
 
 Whose sinews, parched by Apollo's beams, 
 
 Echo'd about the concave of the shell : 
 
 And seeing the shortest and smallest gave shrillest sound. 
 
 They found out Frets, whose sweet diversity 
 
 (Well touched by the skilful learned fingers) 
 
 Raiseth so strange a multitude of Chords ; 
 
 Which, their opinion, many do confirm. 
 
 Because Testudo signifies a Lute.'' 
 
 Dodsley's Old Plays, vol. v., p. 198. 
 
 Coles, in his Dictionary, describes gittern as a small sort of cittern, and Playford 
 printed Cithren and Grittern Lessons, with plain and easie Instructions for Beginners 
 thereon, together in one book, in 1659. Ritson may have gained his information 
 from this book, as he mentions it in the second edition of his Ancient Songs, but 
 I have not succeeded in finding a copy. 
 
 The lute (derived from the Anglo-Saxon Hlud, or Lud, i. e., sounded), was 
 once the most popular instrument in Europe, although now rarely to be seen, 
 except represented in old pictures. It has been superseded by the guitar, but 
 for what reason it is difficult to say, unless from the greater convenience of the 
 bent sides of the guitar for holding the instrument, when touching the higher notes 
 of the finger-board. The tone of the lute is decidedly superior to the guitar, being 
 larger, and having a convex back, somewhat like the vertical section of a gourd, or 
 more nearly resembling that of a pear. As it was used chiefly for accompanying 
 the voice, there were only eight frets, or divisions of the finger-board, and these 
 frets (so called from fretting, or stopping the strings) were made by tying 
 pieces of cord, dipped in glue, tightly round the neck of the lute, at inter- 
 vals of a semitone. It had virtually six strings, because, although the num- 
 ber was eleven or twelve, five, at least, were doubled, the first, or treble, being 
 sometimes a single string.* The head, in which the pegs to turn the strings were 
 
 » " La viola da gamba, e da braccio, nella Spagna non lutes of various sizes, from the manduia, or mandore, 
 
 se ne fanno, e poco vi si usano." — Hialogo delta Musiea, to the theorbo and arch-lute; some with less, and others 
 
 fol. 1581., p. 147. with more strings. 
 
 > I speak only of the usual English lute. There were 
 
REIGN OF ELIZABETH. 103 
 
 inserted, receded almost at a right angle. The most usual mode of tuning it was 
 as follows : assuming c in the third space of the treble clef to be the pitch of the 
 first string (i.e., cc in the scale given at page 14), the base, or sixth string would 
 be 0; the tenor, or fifth, I'; the counter-tenor, or fourth, b flat ; the great 
 mean, or third, d ; the small mean, or second, g ; and the minikin, or treble, cc.'- 
 
 Lute strings'" were a usual present to ladies as new-year's gifts. From 
 Nichols' Progresses we learn that queen Elizabeth received a box of lute-strings, 
 as a new-year's gift, from Innocent Corry, and at the same time, a box of lute- 
 strings and a glass of sweet water from Ambrose Lupo. When young men 
 in want of money went to usurers, it was then- common practice to lend it 
 in the shape of goods which could only be re-sold at a great loss ; and lute-strings 
 were then as commonly the medium employed as bad wine is now. In Lodge's 
 Looking Gflasse for London and Englande, 1594, the usurer being very urgent 
 for the repayment of his loan, is thus answered, " I pray you. Sir, consider that 
 my loss was great by the commodity I took up ; you know. Sir, I borrowed of you 
 forty pounds, whereof I had ten pounds in money, and thirty pounds in lute- 
 strings, which, when I came to sell again, I could get but five pounds for them, so 
 had I, Sir, but fifteen pounds for my forty." So in Dekker's A Night's Con- 
 juring, the spendthrift, speaking of his father, says, " He cozen'd young gentle- 
 men of their land, only for me, had acres mortgaged to him by wiseacres for three 
 hundred pounds, paid in hobby-horses, dogs, bells, and lute-strings, which, if they 
 had been sold by the drum, or at an out-rop (auction) , with the cry of ' No man 
 better?' would never have yielded £50." Nash alludes twice to the custom. In 
 Will Summer's Last Will and Testament, he says, " I know one that ran in debt, 
 in the space of four or five years, above fourteen thousand pounds in lute-strings 
 and grey paper;" and in Christ's Tears over Jerusalem, 1593; " In the first in- 
 stance, spendthrifts and prodigals obtain what they desire, but at the second time 
 of their coming, it is doubtful to say whether they shall have money or no : the world 
 grows hard, and we are all mortal : let them make him any assurance before a 
 judge, and they shall have some hundred pounds (per consequence) in silks and 
 velvets. The third time, if they come, they have baser commodities. The fourth 
 time, lute-strings and grey paper ; and then, I pray you pardon me, I am not for 
 you : pay me what you owe me, and you shall have anything." (Dodsley, v. 9, 
 p. 22.) 
 
 The virginals (probably so called because chiefly played upon by young girls) , 
 resembled in shape the " square" pianoforte of the present day, as the harpsichord 
 did the "grand." The sound of the pianoforte is produced by a hammer striking 
 the strings, but when the keys of the virginals or harpsichord were pressed, the 
 "jacks," (slender pieces of wood, armed at the upper ends with quiUs) were 
 
 > The notes which these letters represent will be seen House duties printed in 1545, the import duty on "lute- 
 by referring to the scale at p. 14, strings called Mynikins" was 22<2. the gross, but as no 
 
 ^ Mace, in his Mustek's Monument, 1678, speaking of other lute-strings are named, I assume that only the 
 
 lute-strings, says, " Chuse your trebles, seconds, and smallest were then occasionally imported. Minikin is 
 
 thirds, and some of your small octaves, especially the one of the many words, derived from music or musical 
 
 sixth, out of your Minikins; the fourth and fifth, and instruments, which have puzzled the commentators on 
 
 most of your octaves, of Venice Catlins ; your Pistoys or the old dramatists. The first string of a violin waa also 
 
 Lyons only for the great bases." In the list of Custom- called a minikin. 
 
104 ENGLISH SONG AND BALLAD MUSIC. 
 
 raised to the strings, and acted as plectra, by impinging, or twitching them. 
 These /acfo were the constant subject of simile and pun; for instance, in a play 
 of Dekker's, where Matheo complains that his wife is never at home, Orlando says, 
 "No, for she's like a pair of virginals, always with /acfe at her tail." — (Dodsley's 
 Old Plays, vol. iii., p. 398). And in Middleton's Father Huhlurd's Tales, de- 
 scribing Charity as frozen, he says, "Her teeth chattered in her head, and leaped 
 up and down like virginal jacks." 
 
 One branch of the barber's occupation in former days was to draw teeth, to bind 
 up wounds, and to let blood. The parti-coloured pole, which was exhibited at the 
 doorway, painted after the fashion of a bandage, was his sign, and the teeth 
 he had drawn were suspended at the windows, tied upon lute strings. The lute, 
 the cittern, and the gittern hung from the walls, and the virginals stood in the 
 comer of his shop. " If idle," says the author of The Trimming of Thomas 
 Nashe, " barbers pass their time in life-delighting musique," (1597). The 
 barber in Lyly's Midas, (1592), says to his apprentice, " Thou knowest I have 
 taught thee the knacking of the hands,^ like the tuning of a cittern," and 
 Truewit, in Ben Jonson's Silent Woman, wishes the barber " may draw his own 
 teeth, and add them to the lute-string." In the same play. Morose, who had 
 married the barber's daughter, thinking her faithless, exclaims " That cursed 
 barber ! I have married his cittern, that is common to all men." One of the 
 commentators not understanding this, altered it to " I have married his cistern" 
 &c. Dekker also speaks of " a barber's cittern for every serving-man to play 
 upon." 
 
 One of the Merrie- conceited Jests of George Peele is the stealing of a barber's 
 Inte, and in Lord Falkland's Wedding Night, we read "He has travelled 
 and speaks languages, as a barber's boy plays o'th' gittern." Ben Jonson says,^ 
 " I can compare him to nothing more happily than a barber's virginals ; for every 
 man may play upon him," and in The Staple of News, " My barber Tom, one 
 Christmas, got into a Masque at court, by his wit and the good means of his 
 cittern, holding up thus for one of the music." To the latter passage Gifford adds 
 another in a note. " For you know, says Tom Brown, that a cittern is as natural 
 to a barber, as milk to a calf, or danciog bears to a bagpiper." 
 
 As to the music they played, we may assume it to have been, generally, 
 the common tunes of the day, and such as would be familiar to all. Morley, in 
 his Introduction to Music, tells us that the tune called the Quadrant Pavan, was 
 called Gregory Walker, " because it walketh 'mongst barbers and fiddlers more 
 common than any other," and says in derision, " Nay, you sing you know not 
 what; it should seem you came lately from a barber's shop, where you had 
 Gregory Walker, or a Coranto, played in the new proportions by them lately found 
 out." Notwithstanding this, we find the Quadran Pavan (so called, I suppose, 
 because it was a pavan for four to dance) was one of the tunes arranged for 
 queen Elizabeth in her Virginal Book; and Morley, himself, arranged it for 
 
 * The knacking of the hands was a peculiar crack with barber was expected to make while shaving a customer, 
 the fingers, by knocking them together, which every >> Every man in his humour. Act iii., sc. 2. 
 
KEIGN OF ELIZABETH. 105 
 
 several instruments in his Consort Lessons. I have alluded to the custom of 
 introducing old songs into plays, and playing old tunes at the beginning and end 
 of the acts, at p. 72. Queen Elizabeth's Virginal Book, and Lady Neville's, 
 contain little else than old tunes, arranged ■with variations, or as then more 
 usually termed, with " division." It is often difScult to extract the air accurately 
 from these arrangements, if there be no other copy as a guide. Occasionally 
 a mere skeleton of the tune is given, sometimes it is "in prolation," i. e., with 
 every note drawn out to two, four, or eight times its proper duration, sometimes 
 the melody is in the base, at others it is to be found in an inner part. 
 
 The rage for popular tunes abroad had shewn itself in the Masses set to 
 music by the greatest composers. Baini, in his Life of Palestrina, gives, what 
 he terms, a short list (" breve elenco") of some of them. It contains the 
 names of eighty secular tunes upon which Masses had been composed, and sung 
 even in the Pope's chapel. The tunes have principally French names, some 
 are of lascivious songs, others of dance tunes. He names fifty different authors 
 who composed them, and intimates that there is a much larger number than he 
 has cited in the library of the Vatican. " Even our island was not quite irre- 
 proachable on this point. Shakespeare speaks of Puritans singing psalms to 
 hornpipes, and the Presbyterians sang their Divine Hymns to the tunes of 
 popular songs, the titles of some of which the editor of Sacred Minstrelsy (vol. i., 
 p. 7) " would not allow to sully his pages." Generally, however, the passion 
 for melody expended itself in singing old tunes about the country, in the streets, 
 and at the ends of plays, in playing them in barbers' shops, or at home, when 
 arranged for chamber use with all the art and embellishment our musicians could 
 devise. The scholastic music of that age, great as it was, was so entirely devoted 
 to harmony, and that harmony so constructed upon old scales, that scarcely any- 
 thing like tune could be found in it — I mean such tune as the uncultivated ear 
 could carry away. Many would then, no doubt, say with Imperia, "I cannot abide 
 these dull and lumpish tunes ; the musician stands longer a pricking them than 
 I would do to hear them : no, no, give me your light ones." — (Middleton's Blurt, 
 Master Qonstable.) No line of demarcation could be more complete than that 
 between the music of the great composers of the time, and, what may be termed, 
 the music of the people. Perhaps the only instance of a tune by a well-known 
 musician of that age having been afterwards used as a ballad tune, is that of The 
 Frog Gf-alliard, composed by Dowland. Musicians held ballads in contempt, and 
 the great poets rarely wrote in ballad metre. 
 
 Dr. Drake, in his Shakespeare and his Times, gives a list of two hundred and 
 thirty- three British poets'' (forty major, and one hundred and ninety -three 
 minor), who were contemporaneous with Shakespeare, and even that list, large as 
 it is, might be greatly extended from miscellanies, and from ballads. Some idea 
 of the number of ballads that were printed in the early part of the reign of 
 
 > " Memorie storlco-crltiche della Vita, e delle Opere di is already said (and, as I think, truly said) it is not 
 
 Giovanni Pierluigi da Palestrina." — Soma, 2 vols, 4to., rhyming and versing that maketh poesy : one may he a 
 
 1828. Vol. i., p. 136, et seq. This evil was checked by a poet without versing, and a versifier without poetry."— 
 
 decree of the Council of Trent. Sir Philip Sidney's Defence of Poesy. 
 
 ' The word " Poet " is here too generally applied. " It 
 
106 ENGLISH SONG AND BALLAD MUSIC. 
 
 Elizabeth may be formed from the fact that seven hundred and ninety-six ballads, 
 left for entry at Stationers' Hall, remained in the cupboard of the council chamber 
 of the company at the end of the year 1560, to be transferred to the new 
 Wardens, and only forty-four books." As to the latter part of her reign, see 
 Bishop Hall, 1597. 
 
 " Some drunken rhymer thinks his time well spent 
 
 If he can live to see his name in print ; 
 
 Who, when he once is fleshed to the press, 
 
 And sees his handsell have such fair success, 
 
 Sung to the wheel, and sung unto the pail,^ 
 
 He sends forth thraves" oj" ballads to the sale." 
 And to the same purport, in Martin Mar-sixius, 1592 : " I lothe to speak it, 
 every red-nosed rhymester is an author ; every drunken man's dream is a book ; 
 and he, whose talent of little wit is hardly worth a farthing, yet layeth about him 
 so outrageously as if all Helicon had run through his pen : in a word, scarce a cat 
 can look out of a gutter, but out starts a halfpenny chronicler, and presently a 
 proper new ballet of a strange sight is indited." 
 
 Henry Chettle, in his pamphlet entitled Kind Sart's Dream, 1592, speaks of 
 idle youths singing and selling ballads in every corner of cities and market towns, 
 and especially at fairs, markets, and such like public meetings. Contrasting that 
 time with the simplicity of former days, he says, " What hath there not, contrary 
 to order, been printed ? Now ballads are abusively chanted in every street ; and 
 from London this evil has overspread Essex and the adjoining counties. There is 
 many a tradesman of a worshipful trade, yet no stationer, who after a little bring- 
 ing up apprentices to singing brokery, takes into his shop some-fresh men, and 
 trusts his servants of two months' standing with a dozen groatsworth of ballads. 
 In which, if they prove thrifty, he makes them pretty chapmen, able to spread 
 more pamphlets by the state forbidden, than all the booksellers in London." 
 He particularly mentions the sons of one Barnes, most frequenting Bishop's 
 Stortford, the one with a squeaking treble, the other with an ale-blown base, as 
 bragging that they earned twenty shillings a day; whilst others, horse and man, 
 the man with many a hard meal, and the horse pinched for want of provender, 
 have together hardly taken ten shillings in a week. 
 
 In a pamphlet intended to ridicule the follies of the times, printed in 1591, the 
 writer says, that if men that are studious would " read that which is good, a poor 
 man may be able" — not to obtain bread the cheaper, but as the most desirable of 
 all results, he would be able " to buy three ballets for a halfpenny." ^ 
 
 " And tell prose writers, stories are so stale. 
 That penny ballads make a better sale.'' 
 
 PasquilVs Madness, 1600. 
 The words of the ballads were written by such men as Elderton, " with his ale- 
 crammed nose," and Thomas Deloney, " the balloting silk-weaver of Norwich." 
 
 » See Collier's Extracts from the Registers of the Sia- "^ *' Thrave " signifies a number of sheaves of com set 
 
 iioners' Company, vol. i., p. 28. up together ; metaphorically, an indefinite number of any- 
 
 *> " Simg to the wheel," i.e., to the spinning wheel; and thing. — Nares' Glossary. 
 
 * ' sung to the pail," sung by milk-maids, of whose love of ^ FearefuU and lamentable effects of two dangerous Comets 
 
 ballads further proofs will be adduced. that shall appeare, &c., 4to, 1591. 
 
REIGN OP ELIZABETH. 107 
 
 The former is thus described in a MS. of the time of James I., in the pos- 
 session of Mr. Payne Collier : — 
 
 '' Will. Elderton's red nose is famous everywhere, 
 . And many a ballet shows it cost him very dear ; 
 
 In ale, and toast, and spice, he spent good store of coin, 
 You need not ask him twice to take a cup of wine. 
 But though his nose was red, his hand was very white, 
 In work it never sped, nor took in it delight ; 
 No marvel therefore 'tis, that white should be his hand. 
 That ballets writ a score, as you well understand." 
 Nashe, in Save with you to Saffron Walden, says of Deloney, "He hath rhyme 
 enough for all miracles, and wit to make a Garland of Good Will, &c., but 
 whereas his muse, from the first peeping forth, hath stood at livery at an ale-house 
 wisp, never exceeding a penny a quart, day or night — and this dear year, 
 together with the silencing of his looms, scarce that — he is constrained to betake 
 himself to carded ale" {i.e., ale mixed with small beer), "whence it proceedeth 
 that since Candlemas, or his jigg of John for the Mng, not one merry ditty will 
 come from him ; nothing but The Thunderlolt against swearers. Repent, England, 
 repent, and the Strange Judgments of God.^' 
 
 In 1581, Thomas Lovell, a zealous puritan, (one who objected to the word 
 Christmas, as savouring too much of popery, and calls it Christide), published 
 "A Dialogue between Custom and Verity, concerning the use and abuse of 
 dauncinge and minstralsye." From this, now rare book, Mr. Payne Collier has 
 printed various extracts. The object was to put down dancing and minstrelsy ; 
 Custom defends and excuses them, and Verity, who is always allowed to have the 
 best of the argument, attacks and abuses them. It shows, however, that the old 
 race of minstrels was not quite extinct. Verity says : — 
 " But this do minstrels clean forget : 
 Some godly songs they have. 
 Some wicked ballads and unmeet. 
 
 As companies do crave. 
 For filthies they have filthy songs ; 
 
 For 'some' lascivious rhymes ; 
 For honest, good ; for sober, grave 
 
 Songs ; so they watch their times. 
 Among the lovers of the truth, 
 
 Ditties of truth they sing ; 
 Among the papists, such as of 
 
 Their godless legends spring 
 
 ITie minstrels do, with instruments, 
 
 With songs, or else with jest, 
 Maintain themselves : but, as they use, [act] 
 Of these naught is the best." 
 
 Collier's Extracts Reg. Stat. Comp., vol. ii., pp. 144, 145. 
 Carew, in his Survey of Cornwall, 1602, speaking of Tregarrick, then the 
 
108 ENGLISH SONG AND BALLAD MUSIC. 
 
 residence of Mr. BuUer, tte sheriff, says, " It was sometime the Wideslade's 
 inheritance, until the father's rebellion forfeited it," and the " son then led 
 a walking life with his harp, to gentlemen's houses, where-through, and by his 
 other active qualities, he was entitled Sir Tristram ; neither wanted, he (as some 
 say) a ' helle Isound,^ the more aptly to resemble his pattern." 
 
 So in the "Pleasant, plain, and pithy pathway, leading to a virtuous and honest 
 life" (about 1550), 
 
 " Very lusty I was, and pleasant withall, 
 To sing, dance, and play at the ball .... 
 And besides all this, I could then finely play 
 On the barp much better than now far away, 
 By which my minstrelsy and my fair speech and sport, 
 All the maids in the parish to me did resort." 
 As minstrelsy declined, the harp became the common resource of the blind, 
 and towards the end of the reign of Elizabeth, harpers were proverbially blind : — 
 " If thou'lt not have her look'd on by thy guests. 
 Bid none but harpers henceforth to thy feasts." 
 
 Guilpin's Skialetkeia, 1598. 
 There are many ballads about blind harpers, and many tricks were played upon 
 them, such as a rogue engaging a harper to perform at a tavern, and stealing the 
 plate " while the unseeing harper plays on." As to the other street and tavern 
 musicians, Gosson tells us, in his Short Apologie of the Schoole of Abuse, 1586, 
 that " London is so full of unprofitable pipers and fiddlers, that a man can no 
 sooner enter a tavern, than two or three cast (i.e., companies) of them, hang at 
 his heels, to give him a dance before he departs," but they sang ballads and 
 catches as well as played dances. They also played at dinner, 
 
 " Not a dish removed 
 But to the music, nor a drop of wine 
 Mixt with the water, without harmony." 
 " Thou need no more send for a fidler to a feast (says Lyly), than a beggar to 
 a fair." 
 
 Part-Singing, and especially the singing Rounds, or Roundelays, and Catches, 
 was general throughout England during the sixteenth and seventeenth centuries. 
 In the Moralities and the earliest plays, when part-music was sung instead of old 
 ballads, it was generally in Canon, for although neither Round, Catch, nor Canon 
 ' be specified, we find some direction from the one to the other to sing after him." 
 Thus, in the old Morality called New Custome (Dodsley, vol. i.). Avarice says : — 
 " But, Sirs, because we have tarried so long, 
 If you be good fellows, let us depart with a song." 
 To which Cruelty answers : — 
 
 " I am pleased, and therefore let every man 
 Follow after in ord^r as well as he can." 
 
 ^ Catch, Round or Roundelay, and Canon in unison, are, other, there results a harmony of as many parts as there 
 
 in music, nearly the same thing. In all, the harmony is to are singers. The Oatch diifers only in that the words of 
 
 he sung hy several persons; and is so contrived, that, one part are made to answer, or ca^cA the other ; as, "Ah! 
 
 though each sings precisely the same notes as his fellows, how, Sophia," sung like " a house o* fire," " Bumey's 
 
 yet, hy beginning at stated periods of time from each Histor>'," like " bum his history," &c. 
 
REIGN OF ELIZABETH. 109 
 
 And in John Heywood's The. Four Ph, one of our earliest plays, the Apothecary, 
 having first asked the Pedler whether he can sing at sight, says, " Who that lyste 
 sing after me." In neither case are the words of the Round given. 
 
 Tinkers, tailors, blacksmiths, servants, clowns, and others, are so constantly 
 mentioned as singing music in parts, and by so many writers, as to leave no doubt 
 of the ability of at least many among them to do so. 
 
 Perhaps the form of Catch, or Round, was more generally in favour, because, 
 as each would sing the same notes, there would be but one part to remember, and 
 the tune would guide those who learnt by ear. 
 
 We find Roundelays generally termed " merry," and cheerfulness was the 
 common attribute of country songs. 
 
 In Peele's Arraignment of Paris, 1584 : — 
 
 " Some Rounds, or merry Roundelays, — we sing no other songs ; 
 Your melancholic notes not to our country mirth belongs." 
 
 And in his JSjing Edward I., the Friar says : — 
 
 " And let our lips and voices meet in a merry country song.'' 
 In Shakespeare's A Winter's Tale, when Autolycus says that the song is a 
 merry one, and that " there's scarce a maid westward but she sings it," Mopsa 
 answers, " We can both sing it : if thou wilt bear a part, thou shalt hear — 'tis 
 in three parts." 
 
 Tradesmen and artificers hud evidently not retrograded in their love of music 
 since the time of Chaucer, whose admirable descriptions have been before quoted, 
 (p. 33, et seq.) Occleve, a somewhat later poet, has also remarked the different 
 effect produced by the labour of the hand and of the head. He says : — 
 " These artificers see I, day by day, 
 In the hottest of all their business, 
 Talken and sing, and make game and play. 
 And forth their labour passeth with gladness ; 
 But we labour in travailous stillness ; 
 We stoop and stare upon the sheep-skin. 
 And keep most our song and our words in.'' 
 From the numerous allusions to their singing in parts, I have selected the 
 following. Peele, in his Old Wive's Tale, 1595, says, " This smith leads a life as 
 merry as a king. Sirrah Frolic, I am sure you are not without some Round or 
 other ; no doubt but Clunch (the smith) can bear his part ;" which he accordingly 
 does. In Damon and Pithias, 1571, Grimme the collier sings " a bussing base," 
 and Jack and Will, two of his fellows, " quiddell upon it," that is, they sing the 
 tune and words of the song whilst he buzzes the burden or under-song. In Ben 
 Jonson's Silent Woman, we find, " We got this cold sitting up late and singing 
 Catches with cloth-ioorkers." In Shakespeare's Twelfth Wight, Sir Toby says, 
 "Shall we rouse the night-owl in a Catch that wiU draw three souls out of one 
 weaver ? " and, in the same play, Malvolio says, " Do you make an ale-house of 
 my lady's house that ye squeak out your cozier' s Qatches, without any mitigation 
 or remorse of voice ? " Dr. Johnson says cozier means a tailor, from " coudre," 
 
110 ENGLISH SONG AND BALLAD MUSIC. 
 
 to sew; but Nares quotes four authorities to prove it to mean a cobbler. In 
 Beaumont and Fletcher's Coxcomb we find — 
 
 " Where were the Watch the while ? Good sober gentlemen, 
 They were, like careful members of the city. 
 Drawing in diligent ale, and singing Catches." 
 In A Declaration of egregious Impostures, 1604, by Samuel Harsnet (afterwards 
 Archbishop of York), he speaks of " the master setter of Catches, or Bounds, 
 used to be sung by tinkers as they sit by the fire, with a pot of good ale between 
 their legs." 
 
 Sometimes the names of these Catches are given, as, for instance, " Three blue 
 beans in a blue bladder, rattle, bladder, rattle," mentioned in Peele's Old Wive's 
 Tale, in Ben Jonson's Bartholomew Fair, and in Dekker's Old Fortvnatus; or 
 " Whoop, Bamaby," which is also frequently named. But whoever will read the 
 words of those in Pammelia, Deuteromelia, Hilton's Catch that catch can, or Play- 
 ford's Musical Companion, -m!! not doubt that many of the Catches were intended for 
 the ale-house and its frequenters ; but not so generally, the Rounds or Rounde- 
 lays. Singing in parts was, by no means, confined to the meridian of London ; 
 Carew, in his Survey of Cornwall, 1602, says the same of Cornighmen : " Pastimes 
 to delight the mind, the Cornishmen have guary miracles [miracle plays] and 
 three-men^s songs, cunningly contrived for the ditty, and pleasantly for the note." 
 
 Catches seem to have increased in use towards the latter part of the seven- 
 teenth century, for, although I cannot cite an instance of one composed by a 
 celebrated musician of Elizabeth's reign, in that of Charles II. such cases were 
 abundant. 
 
 Some of the dances in favour in the reign of Elizabeth will be mentioned as 
 the tunes occur ; the Queen herself danced galliards in her sixty-ninth year, and, 
 when given up by her physicians in her last illness, refusing to take medicine, she 
 sent for her band to play to her ; upon which Beaumont, the French Ambassador, 
 remarks, in the despatch to his court, that he believed " she meant to die as 
 cheerfully as she had lived." Her singing and playing upon the lute and 
 virginals have been so often mentioned, that I will not further allude to them 
 here. 
 
 ALL IN A GAEDEN GBEEN. 
 
 By the Registers of the Stationers' Company we find that in 1565 William 
 Pickering had a license to print " A BaUett intituled All in a garden grene, 
 between two lovers ; " and in 1568-9, WiUiam Griffith had a similar license. In 
 1684, " an excellent song of an outcast lover," beginning " My fancie did I fire 
 in faithful form and frame," to the tune of All in a garden grene, appeared in 
 A' Sandeful of Pleasant Delites. 
 
 In the rare tract called " Westward for smelts, or the Waterman's fare of mad 
 merry Western Wenches," quarto, 1603, the boatman, finding his fare sleeping, 
 sprinkles a little cool water on them with his oar, and, to "ke.ep them from melan- 
 choly sleep," promises " to strain the best voice he has, and not to cloy their ears 
 
REIGN OF ELIZABETH. 
 
 Ill 
 
 with an old fiddler's song, as Riding to Rumford, or All in a garden green, but to 
 give them a new one of a serving man and his mistress, which neither fiddler nor 
 ballad-singer had ever polluted with their unsavoury breath." 
 
 In the British Museum is a copy of " Psalmes, or Songs of Sion, turned into 
 the language, and set to the tunes of a strange land, by WpUiam] S[latyer], 
 intended for Christmas Carols, and fitted to divers of the most noted and common, 
 but solemne tunes, every where in this land familiarly used and knowne." 1642. 
 Upon this copy, a former possessor has written the names of some of the tunes to 
 which the author designed them to be sung. One of these is All in a garden grene. 
 
 The tune is in William Ballet's Lute Book, from which this copy is taken, and 
 in The Dancing Masters of 1651, 1670, 1686, 1690, &c. The first part of the 
 air is the same as another in Tlie Dancing Master, called Q-athering of Peascods. 
 (See Index.) 
 
 The words are contained in a manuscript volume, in the possession of Mr, 
 Payne Collier. 
 
 /Moderate time. 
 
 ;i=^=^ 
 
 ^ 
 
 ^E^ 
 
 ^ 
 
 ^ 
 
 P^ 
 
 3 
 
 11 
 
 ^ 
 
 ISSI 
 
 All in a gar- den green Two lov - ers sat at ease, As 
 
 'S. 
 
 ^ 
 
 ^ 
 
 ^ 
 
 ^ 
 
 fe^^ 
 
 ^ 
 
 SBt 
 
 » 
 
 "f 
 
 I I 
 
 they could scarce be seen 
 
 a mong, A - mong the leaf - y 
 
 trees. 
 
 IZ2 
 
 -ri- 
 
 '■^^i 
 
 ■l-A 
 
 n 
 
 s 
 
 I^ 
 
 ^ 
 
 In that time 
 
 ^ 
 
 ^ 
 
 5 
 
 They long had lov'd y - fere, And no , ' than tru - ly, 
 
 Ctnp-pther1 S 
 
 ^ 
 
 (together) 
 
 3: 
 
 ^^ 
 
 rzii 
 
 :3= 
 
 N f>| 
 
 LlJ.^;]Jij-:j 
 
 «=s 
 
 -^ — T 1 — T r r^lJ f--4-^ . 
 
 of the year, In that time of the year Com - eth 'twixt May and July. 
 
 -irj- 
 
 ^^ 
 
 ^ 
 
112 ENGLISH SONG AND BALLAD MUSIC. 
 
 Quoth he, " Most lovely maid, No sooner night is not, 
 My troth shall aye endure; But he returns alway. 
 
 And he not thou afraid. And shines as bright and hot 
 But rest thee still secure. As on this gladsome day. 
 
 That I will love thee long He is no older now 
 
 As life in me shall last ; Than when he first was born ; 
 
 Now I am strong and young. Age cannot make him bow. 
 
 And when my youth is past. He laughs old Time to scorn. 
 
 When I am gray and old. My love shall be the same. 
 And then must stoop to age. It never shall decay, 
 
 I'll love thee twenty-fold. But shine without all blame, 
 My troth I here engage." Though body turn to clay." 
 
 She heard with joy the youth, She listed to his song. 
 
 When he thus far had gone ; And heard it with a smile, 
 
 She trusted in his truth, And, innocent as young, 
 
 And, loving, he went on : She dreamed not of guile. 
 
 " Yonder thou seest the sun No guile he meant, I ween. 
 
 Shine in the sky so bright, For he was true as steel, 
 
 And when this day is done. As was thereafter seen 
 
 And Cometh the dark night. When she made him her weal. 
 
 Full soon both two were wed. 
 
 And these most faithful lovers 
 May serve at board at bed, 
 
 Example to all others. 
 
 ROW WELL, YE MAEINERS. 
 
 From the Registers of the Stationers' Company, we find that in 1565-6, 
 William Pickering had a license to print a ballet entitled, Row well, ye mariners, 
 and in the following year, " Row well, ye mariners, moralized." In 1566-7, 
 John Allde had a license to print " Stand fast, ye mariners," which was, in aU 
 probability, another moralization; and in the following year, two others; th^e one, 
 " Row well, ye mariners, moralized, with the story of Jonas," the other, " Row 
 well, Christ's mariners." In 1667-8, Alexander Lacy took a license to print 
 " Row well, God's mariners," and in 1569-70, John Sampson to print " Row 
 well, ye mariners, for those that look big." These numerous entries suflSciently 
 prove the popularity of the original, and I regret the not having succeeded in 
 finding a copy of any of these ballads. 
 
 Three others, to the tune of Row ivell, ye mariners, have been reprinted by 
 Mr. Payne Collier, in his Old Ballads, for the Percy Society. The first (dated 
 1570) — " A lamentation from Eome, how the Pope doth bewail 
 
 That the rebels in England cannot prevail." 
 The second, " The end and confession of John Felton, who suffred in Paules 
 Churcheyarde, in London, the 8th August [1570], for high treason." Felton 
 placed the BuU of Pope Pius V., excommunicating Elizabeth, on the gate of the 
 palace of the Bishop of London, and was hung on a gallows set up expressly 
 before that spot. The third, " A warning to London by the fall of Antwerp." 
 
REIGN OP ELIZABETH. 
 
 113 
 
 In A Handefull of Pleasant Delites, 1584, there is " A proper sonet, wherein 
 the lover dolefully sheweth his grief to his love and requireth pity," which is 
 also, to the tune of Mow well, ye mariners. 
 
 The tune is printed in Thomas Robinson's Schoole of Musick, fol., 1603, and 
 in every edition of The Dancing Master that I have seen, from the first, dated 
 1651, to the eighteenth, 1725. 
 
 Not having the original words, a few verses from the " Lamentation from 
 Rome," above mentioned, are given as a specimen of the merry political ballad of 
 those days. It is the Song of a fly buzzing about the Pope's nose. The Pope and 
 his court are supposed to be greatly disconcerted at the news of the defeat of the 
 rebels in Northumberland. 
 
 Moderate time and smoothly. 
 
 i 
 
 hfi: 
 
 f 
 
 i^ 
 
 5 
 
 f All you that news would hear, 
 
 Give 
 
 to me, poor 
 
 ^m 
 
 ?^^^^ 
 
 z&z 
 
 tr^ l j i n \ Li h^^r^ 
 
 3?^ 
 
 * i • • • ' 
 
 Fa-byn Fly, At Rome I was this year, And in the Pope his nose did lie ; 
 
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 F~~y 
 
 ^-# 
 
 im 
 
 P 
 
 ^irr^TO 
 
 ri-:j_ XT- 1,1 ^^ 
 
 But there 
 For first 
 
 I could not long a-bide. He blew me out of ev' ry side, 
 when he had heard the news That re bels did their prince mis use, . 
 
 HfiF 
 
 iE 
 
 "Row 
 
 /l 
 
 well, 
 
 well, Row well, ye ma - ri - ners. 
 
 p f> 
 
 i j ^ i j n 
 
 Then he with joy,-Did sport him-self with many a toy : 
 
 He then so - stout,-That from his nose he blew me out. 
 
 ^r t\^ u 
 
 I have added the old burden over the music, feeling no doubt of its having been sung to this part of the tune. 
 
 I 
 
114 
 
 ENGLISH SONG AND BALLAD MUSIC. 
 
 But as he was asleep, 
 
 Into the same again I got ; 
 I crept therein so deep, 
 
 That I had almost burnt my coat. 
 New news to him was brought that night, 
 The rebels they were put to flight ; 
 But, Lord, how then the Pope took on, 
 And called for a Mary-hone. 
 
 Up-ho !-make-haste, 
 
 My lovers all be like to waste ; 
 
 Rise-Cardinal,-up-Priest, 
 
 Saint Peter he doth what he list. 
 
 So then they fell to mess ; 
 
 The friars on their beads did pray ; 
 The Pope began to bless, 
 
 At last he wist not what to say. 
 It chanced so the next day morn, 
 A post came blowing of his horn. 
 Saying, Northumberland is take ; 
 But then the Pope began to quake. 
 
 He-then-rubb'd-his-nose, 
 
 With pilgrim-salve he 'noint his hose ; 
 
 Run-here,-run-there, 
 
 His nails, for anger, 'gan to pare. 
 
 When he perceived well 
 
 The news was true to him was brought. 
 Upon his knees he fell. 
 
 And then Saint Peter he besought 
 That he would stand his friend in this. 
 To help to aid those servants his, 
 And he would do as much for him — 
 But Peter sent him to Saint Sim. 
 
 So-then-he-snufTd, 
 
 The friars all about he cuffd, 
 
 He-roar'd,-he-cried ; 
 
 The priests they durst not once abide. 
 
 The Cardinals then begin 
 
 To stay, and take him in their arms. 
 He spurn'd them on the shin. 
 
 Away they trudg'd, for fear of harms. 
 So then the Pope was left alone ; 
 Good Lord ! how he did make his moan ! 
 The stools against the walls he threw. 
 And me, out of his nose he blew. 
 
 l-hopp'd,-I-skipp'd, 
 
 From place to place, about I whipp'd ; 
 
 He-sware,-he-tare, 
 
 Till from his crown he pull'd the hair. 
 
 LORD WILLOUGHBY. 
 
 This tune is referred to under tlie names of Lord Willougliby ; Lord Wil- 
 loughby's March, and Lord Willoughby's Welcome Home. In Queen's Elizabeth's 
 Virginal Book, it is called Rowland. 
 
 In Lady Neville's Virginal Book (MS., 1591), and in Robinson's School of 
 Music, 1603, it is called "Lord Willobie's Welcome Home:" the ballad of The 
 Carman's Whistle was to be sung to the tune of The Carman's Whistle, or to 
 Lord Willoughby's March; and that of "Lord Willoughby — being a true relation 
 of a famous and bloody battel fought in Flanders, &c., against the Spaniards ; 
 where the BngHsh obtained a notable victory, to the glory and renown of our 
 nation" — was to the tune of " Lord Willoughby, ^c." A copy of the last will 
 be found in the Bagford Collection of Ballads, British Museum. 
 
 Peregrine Bertie, Lord Willoughby of Eresby, one of the bravest and' most 
 skilful soldiers of this reign, had distinguished himself in the Low Countries in 
 1586, apd in the following year, on the recall of the Earl of Leicester, was 
 made commander of the English forces. The tune, with which his name was 
 associated, was as popular in the Netherlands as in England, and continued so, in 
 both countries, long after his death, which occurred in 1601. It was printed at 
 Haerlem, with other English tunes, in 1626, in Neder-landtsche Gedenek-clanck, 
 under the name of Soet Bolbert, and Soet, soet Bolhertchen [Sweet Robert, and 
 Sweet, sweet little Robert], which it probably derived from some other ballad 
 sung to the tune. 
 
 As the ballad of "Brave Lord Willoughby" is printed in Percy's Beliques of 
 Ancient Poetry, a few varses, only, are subjoined. 
 
4*''i \ i 
 
 In Marchmg time. 
 
 EBIGN OF ELIZABETH. 
 
 J J J | j._^j A H 
 
 115 
 
 % 
 
 g=v 
 
 7 
 
 S==S=i: 
 
 The fifteenth day of Ju - ly, With glist'-ring sword and 
 
 fflfj? 
 
 i 
 
 32 
 
 i J f i i jtj i .rJ i f 
 
 ^ 
 
 ^ 
 
 shield, 
 
 A fa - mous fight in Flan ders Was fought-en in the 
 
 ^ 
 
 m 
 
 ^ 
 
 
 :iS 
 
 :? 
 
 * -!- V -5- • »=| • " * * -.I- 
 
 field: The most ecu - ra - geous of - ficers Were English Captains three ; But the 
 
 S 
 
 i 
 
 ^^ 
 
 ^ 
 
 1 'T ' iH- 
 
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 bra vest in the bat tie Was brave Lord Wil - lough - by. 
 
 ^ 
 
 fj H j I 't 
 
 Stand to it, noble pikemen. 
 
 And look you round about : 
 And shoot you right, you bowmen. 
 
 And we will keep them out : 
 You musquet and caliver men, 
 
 Do you prove true to me, 
 I'le be the foremost man in fight. 
 
 Says brave Lord Willoughbey. 
 
 The sharp steel-pointed arrows, 
 
 And bullets thick did fly. 
 Then did our valiant soldiers 
 
 Charge on most furiously ; 
 Which made the Spaniards waver. 
 
 They thought it best to flee, 
 They fear'd the stout behaviour 
 
 Of brave Lord WilloughbSy. 
 
 Then quoth the Spanish general. 
 
 Come let us march away, 
 I fear we shall be spoiled all 
 
 If here we longer stay ; 
 For yonder conges Lord Willoughbey 
 
 With courage fierce and fell, 
 He will not give one inch of way 
 
 For all the devils in hell. 
 
 And then the fearful enemy 
 
 Was quickly put to flight. 
 Our men pursued couragiously. 
 
 And caught their forces quite ; 
 But at last they gave a sliout, 
 
 Which ecchoed through the sky, 
 God, and St. George for England ! 
 
 The conquerors did cry. 
 
116 
 
 ENGLISH SONG AND BALLAD MUSIC. 
 
 To the souldiers that were maimed, 
 
 And wounded in the fray, 
 The queen allowed a pension 
 
 Of fifteen pence a day ; 
 And from all costs and charges 
 
 She quit and set them free : 
 And this she did all for the sake 
 
 Of brave Lord WilloughhSy. 
 
 Then courage, noble Englishmen, 
 
 And never be dismaid ; 
 If that we be but one to ten 
 
 We will not be afraid 
 To fight with foraign enemies, 
 
 And set our nation free. 
 And thus I end the bloody bout 
 
 Of brave Lord Willoughbey. . 
 
 ALL FLOWERS OF THE BROOM. 
 
 This is mentioned as a dance tune by Nicholas Breton, in a passage already 
 quoted from his Works of a young Wit, 1577 (ante p. 91) ; and by Nashe, in the 
 following, from his Save with you to Saffron- Walden, 1596 : — 
 
 " Or doo as Dick Harvey did, that having preacht and beat downe three pulpits in 
 inveighing against dauncing, one Sunday evening, when his wench or friskin was foot- 
 ing it aloft on the greene, with foote out and foote in, and as busie as might be at 
 Mogero, Basilino, Turkelony, All the flowers of the hroom, Pepper is black, Greene 
 Sleeves, Peggie Ramsey,'^ he came sneaking behind a tree, and lookt on ; and though 
 hee was loth to be seene to countenance the sport, having laid God's word against it so 
 dreadfully ; yet to shew his good will to it in heart, hee sent her eighteen pence in 
 hugger-mugger {i.e., in secret), to pay the fiddlers." 
 
 The tune is contained in William Ballet's Lute Book, under the name of 
 AM flour es in hroome. 
 
 i 
 
 ^ 
 
 ^=^&Ti 
 
 ^^ 
 
 i^ 
 
 ^ 
 
 iwn 
 
 i -.s -n^i-. s-j , J-^^ i ^--^J i . i ..£ 
 
 I 
 
 Ei^ 
 
 ^ 
 
 ^ 
 
 ^ 
 
 ^ 
 
 i i ^ 
 
 ^ 
 
 ^ 
 
 zr 
 
 T 
 
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 ^ 
 
 A 
 
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 j ■ .• ' J 
 
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 p q 
 
 f zn 
 
 
 ^ 
 
 All the tunes here mentioned will be found in this Collection, except Basilino. 
 
REIGN OP ELIZABETH. 117 
 
 I AM THE DUKE OF NORFOLK, or PAUL'S STEEPLE. 
 
 This tune is frequently mentioned under both names. In Playford's Dancing 
 Master, from 1650 to 1695, it is called Paul's Steeple. In his Division Violin, 
 1685, at page 2, it is called The Duke of Norfolh, or Paul's Steeple ; and at 
 page 18, Paul's Steeple, or the Duke of Norfolk. 
 
 The steeple of the old Cathedral of St. Paul was proverbial for height. In the 
 Vulgaria, printed by Wynkin de Worde, in 1530, we read : " Poule's Steple is a 
 mighty great thing, and so hye that unneth [hardly] a man may discerne 
 the wether cocke, — the top is imneth perceived." So in Lodge's Wounds of 
 Civil War, a clown talks of the Paul's Steeple of honour, as the highest point 
 that can be attained. The steeple was set on fire by lightning, and burnt 
 down on the 4th June, 1561 ; and within seven days, a ballad of " The true 
 report of the burning of the steeple and church of Paul's, in London," was 
 entered, and afterwards printed by William Seres, " at the west-ende of Pawles 
 church, at the sygne of the Hedghogge." In 1564, a ballad was entered for 
 " the encouraging all kind of men to the re-edifying and building Paul's steeple 
 again ;" but the spire was never re-constructed. Mr. Payne Collier has printed 
 a ballad, written on the occasion of the fire, in his Extracts from the Registers of 
 the Stationers' Company, vol. i., p. 40; and it seems to have been intended for the 
 tune. The first verse is as follows : — 
 
 " Lament each one the blazing fire, 
 That down from heaven came, 
 And burnt S. Powles his lofty spire 
 With lightning's furious flame. 
 Lament, I say, 
 Both night and day, 
 Sith London's sins did cause the same." 
 In 1562-3, John Cherlewood had a license for printing another, called " When 
 young Paul's steeple, old Paul's steeple's child." 
 
 In Fletcher's comedy. Monsieur TJiomas, act iii., sc. 3, a fiddler, being questioned 
 as to what ballads he is best versed in, replies : 
 
 " Under your mastership's correction, I can sing 
 The Duke of Norfolk; or the merry ballad 
 Of Diverus and Lazarus; The Rose of England ; 
 In Crete, when Dedimus first began; 
 Jonas, his crying out against Co'oentry ; 
 Maudlin, the merchant's daughter ; 
 The Devil and ye dainty dames; 
 The landing of the Spaniards at Bow i 
 With the bloody battle at Mile-End." " 
 
 » Of the ballads mentioned aboje, Diverus and Lazarus perhaps, Deloney's ballad of Fair Rosamond, reprinted in 
 seemstobeanintentionalcorrupeionofBscesamiiZaMrKs. Percy's Reliques of Ancient Poetry. In Crete is often re- 
 The Rose of England may be — ferred to as a ballad tune ; for instance, My mind to me a 
 " The rose, the rose, the English rose, kingdom is, was to be sung to the tune of In Crete, accord- 
 It is the fairest flower that blows ; " ing to a black-letter copy in the Pcpysian Collection, 
 a copy of which is in Mr. Payne Collier's Manuscript ; or, Maudlin, the merchanVs daughter, is The mercliant's daughter 
 
118 ENGLISH SONS AND BALLAD MUSIC. 
 
 In the Pepysian Collection, vol. i., 146, and Roxburghe Collection, vol. i., 180, 
 is a black-letter ballad, called " A Lantbome for Landlords " to the tune of 
 The Duke of Norfolk, the initial lines of which are — 
 
 " With sobbing grief my heart will break 
 Asunder in. my breast, &c." 
 In The Loyal Crarland, 1686, and in the Roxburghe Collection, vol. ii., 188 (or 
 Collier's Roxburghe Ballads, p. 312), Crod speed the plough, and bless the corn-mow, 
 '&c., to the tune oi I am the Duke of Norfolk, beginning — 
 
 " My noble friends, give ear, 
 If mirth you love to hear, 
 
 I'll tell you as fast as I can, 
 A story very true : 
 Then mark what doth ensue, 
 ConcerniDg a husbandman." 
 This ballad-dialogue, between a husbandman and a serving-man, has been orally 
 preserved in various parts of the country. One version will be found in Mr. Davies 
 Gilbert's Christmas Carols; a second in Mr. J. H. Dixon's Ancient Poems and 
 Songs of the Peasantry (printed for the Percy Society) ; and a third in " Old 
 English Songs, as now sung by the Peasantry of the Weald of Surrey and Sussex," 
 &c., ; " harmonized for the Collector" [the Rev. Mr. Broadwood] " in 1843, by 
 G. A. Dusart." 
 
 In the Collection of Poems on Affairs of State, vol. iii., 70, is " A new ballad 
 to an old tune, called I am the Duke of Norfolk." It is a satire on Charles II., 
 and begins thus : — " I am a senseless thing, with a hey, with a hey ; 
 Men call me a king, with a ho ; 
 To my luxury and ease. 
 They brought me o'er the seas. 
 With a hey nonny, nonny, nonny no." 
 In Shadwell's Epsom Wells, 1673, act iii., sc. 1, we find, " Could I not play 
 I am the Duke of Norfolk, Green Sleeves, and the fourth Psalm, upon the 
 virginals ? " and in Wycherley's G-entleman Dancing Master, Ger. says, " Sing 
 him Arthur of Bradley, or I am the Duke of Norfolk." 
 
 A curious custom still remains in parts of Suffolk, at the harvest suppers, to 
 sing the song "I am the Duke of Norfolk" (here printed with the music); one 
 of the company being crowned with an inverted pillow or cushion, and another 
 presenting to him a jug of ale, kneeling, as represented in the vignette of the 
 Horkey. [See Suffolk Garland, 1818, p. 402.] The editor of the Suffolk 
 Garland says, that " this custom has most probably some allusion to the homage 
 formerly paid to the Lords of Norfolk, the possessors of immense domains in the 
 county." To " serve the Duke of Norfolk," seems to have been equivalent to 
 making merry, as ia the following speech of Mine host, at the end of the play of 
 The merry Devil of JEdmonton, 1617 : — 
 
 of JBriatow [Bristol], to the tune of The maiden's joy. (See Roxburghe Collection, vol. i., 501). The landing of the 
 
 Roxburghe Collection, vol i., 232, or Collier's Roxburghe Spaniajrds^ &c. (probably on some mock-fight of the train 
 
 Ballads, p. 104). Ye dainty dames, are the first words of bands, -who exercised at Mile-end) seems to be referred to 
 
 A warning formaidens, tothetMne ot Theladies' fall. (See in The Knight of the Burning Pestle, a.ct ii., sc. 2. 
 
REIGN OF ELIZABETH. 119 
 
 " Why, Sir George, send for Spendle's noise ° presently ; 
 Ha I ere 't be night, I'll serve the good Buke of Norfolk" 
 To which Sir John rejoins : — 
 
 " Grass and hay I mine host, let's live till we die, 
 And be merry ; and there's an end." 
 
 Dodsley's Old Plays, vol. v., 271. 
 Dr. Letherland, in a note which Steevens has printed on King Henry IV., 
 Part I., act ii,, so. 4 (where Falstaff says, "This chair shall be my state, this 
 dagger my sceptre, and this cushion my crown"), observes that the country people 
 in Warwickshire also use a cushion for a crown, at their harvest home diversions ; 
 and in the play of King Edward IV., Part II., 1619, is the following passage : — 
 " Then comes a slave, one of those drunken sots, 
 In with a tavern reck'ning for a supplication, 
 Disguised with a cushion on his head." 
 In the Suffolk custom, he who is crowned with the pillow, is to take the ale, to 
 raise it to his lips, and to drink it off without spilliug it, or allowing the cushion 
 to fall ; but there was, also, another drinking custom connected with this tune. 
 In the first volume of Wit and Mirth, or Pills to purge Melancholy, 1698 and 
 1707, and the third volume, 1719, is a song called Bacchus' Sealth, " to be sung 
 by all the company together, with directions to be observed." They are as 
 follows : " First man stands up, with a glass in his hand, and sings — 
 Here's a health to jolly Bacchus, {sung thi'ee times) 
 
 I-ho, I-ho, I-ho ; 
 For he doth make us merry, {three times) 
 I-ho, I-ho, I-ho. 
 * Come sit ye down together, {three times) 
 (At this star aU bow to each other and sit down. ) 
 I-ho, I-ho, I-ho ; 
 And bring! more liquor hither {three times) 
 (At this dagger all the company beckon to the drawer.) 
 
 I-ho, I-ho, I-ho. 
 It goes into the * cranium, {three times) 
 (At this star the first man drinks his glass, while the others sing and point at him.) 
 I-ho, I-ho, I-ho ; 
 And f thou'rt a boon companion {three times) 
 (At this dagger aU sit down, each clapping the next man on the shoulder. ) 
 I-ho, I-ho, I-ho. 
 Every line of the above is to be sung three times, except I-ho, I-ho, I-ho. Then 
 the second man takes his glass and sings ; and so round. 
 
 About 1728, after the success of The Beggars^ Opera, a great number of other 
 ballad operas were printed. In the Oohllers' Opera, and some others, this tune is 
 called I am the Duke of Norfolk ; but in The Jovial Orew, The Livery Rake, and 
 The Lover his own Rival, it is called There was a honny blade. It acquired that 
 name from the following song, which is still occasionally to be heard, and which 
 is also in Pills to purge Melancholy, from 1698 to 1719 : — 
 
 " Spindle's noise, i.e., Spindle's band, or company of musicians. 
 
120 
 
 ENfiLISH SONG AND BALLAB MUSIC. 
 
 There was a bonny blade, 
 
 Had married a country maid, 
 And safely conducted her home, home, home ; 
 
 She was neat in every part. 
 
 And she pleas'd him to the heart, ' 
 But ah! and alas! she was dumb, dumb, dumb. 
 
 She was bright as the day, 
 
 And brisk as the May, 
 And as round and as plump as a plum, 
 
 But still the silly swain 
 
 Could do nothing but complain 
 Because that his wife she was dumb. 
 
 She could brew, she could bake. 
 
 She could sew, and she could make. 
 She could sweep the house with a broom ; 
 
 She could wash, and she could wring. 
 
 And do any kind of thing, 
 But ah ! and alas ! she was dumb. 
 
 To the doctor then he went, 
 
 For to give himself content. 
 And to cure his wife of the mum : 
 " Oh ! it is the easiest part 
 
 That belongs unto my art 
 For to make a woman speak that is dumb." 
 
 To the doctor he did her bring, 
 And he cut her chattering string. 
 
 And at liberty he set her tongue ; 
 Her tongue began to walk. 
 And she began to talk 
 
 As though she never had been dumb. 
 
 Her faculty she tries. 
 
 And she fills the house with noise. 
 
 And she rattled in his ears like a drum ; 
 She bred a deal of strife. 
 Made him weary of his life — 
 
 He'd give any thing again she was dumb. 
 
 To the doctor then he goes, 
 And thus he vents his woes : 
 " Oh ! doctor, you've me undone; 
 For my wife she's turn'd a scold. 
 And her tongue can never hold, 
 I'd give any kind of thing she was dumb.'' 
 
 " When I did undertake 
 To make thy wife to speak, 
 ' It was a thing easily done, 
 But 'tis past the art of man. 
 Let him do whate'er he can. 
 For to make a scolding wife hold her tongue." 
 
 From the last line of tlie verses of this song, the tune also became known as 
 " Alack! and alas ! she was dumb," or " Dumb, dumb, dumb." 
 Rather slow. 
 
 i 
 
 i 
 
 1 
 
 «: 
 
 ■J J J JIJ 
 
 i^3 
 
 ^ 
 
 ^^^¥9: 
 
 am the Duke of Nor folk. 
 
 New-ly come to Suf- folk. Say 
 
 £ 
 
 i'^t^ 
 
 ^^ 
 
 E? 
 
 3& 
 
 ^f 
 
 ^ 
 
 S=f= 
 
 I 
 
 shalll be at - tend ed, or no, no, no? Good Duke be not of - fended, And 
 
 ^ 
 
 * * *• 
 
 
 iM-^ 
 
 t 
 
 =f 
 
 =F=t-[ 
 
 you shall be at - tend - ed. And you shall be at - tend - ed, now, now, now. 
 
 :? 
 
 :^ 
 
 i 
 
REIGN OB ELIZABETH. 
 
 121 
 
 PEPPER IS BLACK. 
 
 This tune is to be found in The Dancing Master, from 1650 to 1690. It is 
 mentioned as a dance tune by Nashe in Have with you to Saffron- Walden, 1596. 
 (See ante p. 116.) A copy of tbe following ballad by Elderton is in the collection 
 of Mr. George Daniel, of Canonbury : " Prepare ye to the plough, to the tune 
 of Pepper is black." 
 
 " The Queen holds the plough, to continue good seed, 
 Trusty subjects, be ready to help if she need." 
 Moderate time. 
 
 ^ 
 
 ^ 
 
 mrf^ 
 
 fW 
 
 ^ 
 
 ^ 
 
 iywords,And hear what I s 
 
 Look up, my lords, and mark my 
 
 shall sing ye; And 
 
 ^m(f 
 
 fefe^ 
 
 -'^r-P- 
 
 -^1-H^ 
 
 ^ 
 
 gJ^l^ 
 
 ^ 
 
 ^ 
 
 ^ 
 
 r 
 
 r 
 
 r 
 
 r 
 
 sub jects all, both great and small. Now mark what words I bring ye. 
 
 3E 
 
 Parnaso hill, not all the skill Can bring about that I found out, 
 
 Of nymphs, or muses feigned, By Christ himself ordained, &c. 
 
 There are twelve stanzas, each of eight lines, subscribed W. Elderton. Printed 
 
 by Wm. How, for Richard Johnes. 
 
 WALSINGHAM. 
 This tune is in Queen Elizabeth's, and Lady Neville's, Virginal Books (with 
 thirty variations by Dr. John Bull) ; in Anthony Holborne's Oittharn Schoole, 
 1697; in Barley's New Boohe of Tablature, 1596, &c. It is called " Walsinffham," 
 "Save with you to Walsingham," and "As I went to Walsingham." 
 
 It belongs, in all probability, to an earlier reign, as the Priory of Walsingham, 
 in Norfolk, which was founded during the Episcopate of William, Bishop of 
 Norwich (1146 to 1174), was dissolved in 1538. 
 
 Pilgrimages to this once famous shrine commenced in or before the reign of 
 Henry HI., who was there in 1241. Edward I. was at Walsingham in 1280, and 
 again in 1296 ; and Edward II. in 1315. The author of The Vision of Piers 
 Ploughman, says — 
 
 " Heremytes on a hepe, with hooked staves, 
 Wenten to Walsyngham, and her [theirj wenches- after.'' 
 
 A curious reason why pilgrims should have both singers and pipers to accompany 
 them, will be found in note a, at page 34. 
 
 Henry VH., having kept his Christmas of 1486-7, at Norwich, "from thence 
 went in manner of pilgrimage to Walsingham, where he visited Our Lady's Church, 
 famous for miracles ; and made his prayers and vows for help and deliverance." 
 
122 ENGLISH SONG AND BALLAD MUSIC. 
 
 And in the following summer, after the battle of Stoke, " he sent his banner to 
 be offered to Our Lady of Walsingham, where before he made his vows." 
 
 " Erasmus has given a very exact and humorous description of the superstitions 
 practised there ia his time. See his account of the Virgo Parathalassia, in his 
 coUoquy, intitled Peregrinatio Religionis ergo. He teUs us, the rich offerings in 
 silver, gold, and precious stoties, that were shewn him, were incredible ; there being 
 scarce a person of any note in England, but what some time or other paid a visit, 
 or sent a present, to Our Lady of Walsingham. At the dissolution of the monas- 
 teries in 1538, this splendid image, with another from Ipswich, was carried to 
 Chelsea, and there burnt in the presence of commissioners ; who, we trust, did not 
 burn the jewels and the finery." — Percy's Reliques. 
 
 The tune is frequently mentioned by writers of the sixteenth and seventeenth 
 centuries. Li act v. of Fletcher's The Honest MarHs Fortune, one of the servants 
 says, "I'U renounce my five mark a year, and all the hidden art I have in carving, 
 to teach young birds to whistle Walsingham." A verse of " As you came from 
 Walsingham," is quoted in The Knight of the Burning Pestle, and in Hans Beer- 
 pot, his invisible Comedy, 4to,, 1618. 
 
 In The weakest goes to the wall, 1600, the scene being laid in Burgundy, the 
 following lines are given : — 
 
 " King Richard's gone to Walsingham, to the Holy Land, 
 To kill Turk and Saracen, that the truth do withstand ; 
 Christ his cross he his good speed, Christ his foes to quell, 
 Send him help in time of need, and to come home well." 
 In the Bodleian Library is a small quarto volume, apparently in the hand-writing 
 of Philip, Earl of Arundel (eldest son of the Duke of Norfolk, who suffered in 
 Elizabeth's time), containing A lament for Walsingham. It is in the ballad style, 
 and the two last stanzas are as follows : — 
 
 " Weep, weep, O Walsingham I Sin is where Our Lady sat. 
 
 Whose days are nights ; Heaven turned is to hell ; 
 
 Blessings turn'd to blasphemies — Satan sits where Our Lord did sway : 
 
 Holy deeds to despites. Walsingham, Oh, farewell 1 " 
 
 In Nashe's Have with you to Saffron- Walden, 1596, sign. L, "As I went to 
 Walsingham " is quoted, which is the first line of the ballad in the Pepysian 
 Collection, vol. i., p. 226, and a verse of which is here printed to the music. 
 
 One of the Psalmes and Songs of Sion, turned into the language, and set to the 
 tunes of a strange land, 1642, is to the tune of Walsingham; and Osborne, in his 
 Traditional Memoirs on the Reigns of Elizabeth and James, 1663, speaking of the 
 Earl of Salisbury, says : — 
 
 " Many a hornpipe he tuned to his PhiUis, 
 And sweetly sung Walsingham to's Amaryllis.'' 
 In Bon Quixote, translated by J. Phillips, 1687, p. 278, he says, " An infinite 
 number of little birds, with painted wings of various colours, hopping from branch 
 to branch, all naturally singing Walsingham, and whistling John, come kiss 
 me now." 
 
 Two of the ballads are reprinted in Percy's Reliques of Ancient Poetry; the 
 one beginning, "Gentle herdsman, tell to me ;" the other, " As ye came from the 
 
REIGN OF ELIZABETH. 
 
 123 
 
 Holy Land." The last will also be found in Deloney's Cfarland of Groodwill, 
 reprinted by the Percy Society. 
 Slow and plaintive. 
 
 :^^ 
 
 ^^^ 
 
 As I went to Wal - sing - ham, To tbe shrine wil 
 
 1 with speed, 
 
 fR=ff 
 
 ^ 
 
 li 
 
 32 
 
 m n 
 
 f^^^^^ 
 
 r^^ 
 
 mer In a pil grim's weed. 
 
 Met I with a jol - ly pal 
 
 This ballad is on one of the affairs of gallantry that so frequently arose out of 
 
 pilgrimages. 
 
 PACKINGTON'S, ok PAGGINGTON'S POUND. 
 
 This tune is to be found in Queen Elizabeth's Virginal Book ; in A New Book 
 of Tablature, 1596 ; in the Collection of English Songs, printed at Amsterdam, in 
 1634 ; in Select Ayres, 1659 ; in A Choice Collection of 180 Loyal Songs, 1685 ; 
 in Playford's Pleasant Musical Companion, Part 11., 1687 ; in The Beggars' 
 Opera, 1728 ; in The Musical Miscellany, vol. v. ; and in many other collections. 
 
 It probably took its name from Sir John Packington, commonly called " lusty 
 Packington," the same who wagered that he would swim from the Bridge at 
 Westminster, i.e., Whitehall Stairs, to that at Greenwich, for the sum of 3,000?. 
 " But the good Queen, who had particular tenderness for handsome fellows, would 
 not permit Sir John to run the hazard of the trial." His portrait is stiU pre- 
 served at Westwood, the ancient seat of the famUy. 
 
 In Queen Elizabeth's Virginal Book it is called Packington's Pound ; by Ben 
 Jonson, Paggington' s Pound; and, in a MS. now in Dr. Eimbault's possession, 
 A Fancy of Sir John Pagington. 
 
 Some copies, viz., that in the Virginal Book, and in the Amsterdam Collection, 
 have the following difference in the melody of the first four bars : — 
 
 w- 
 
 ^s^ 
 
 m 
 
 and it is probably the more correct reading, as the other closely resembles the 
 commencement of " Robin Hood, Robin Hood, said Little John." 
 
 The song in Ben Jonson's comedy of Bartholomeiv Pair, commencing, " My 
 masters and friends, and good people, draw near," was written to this air, and is 
 thus introduced : — 
 
 Night. To the ttme of Paggington's Pound, Sir ? 
 
 Cohes. {Sings) Fa, la la la, la la la, fa la la, la ! Nay, I'll put thee in tune and aU ! 
 Mine own country dance ! Pray thee begin." — Act 3. 
 
124 
 
 ENGLISH SONG AND BALLAD MUSIC. 
 
 The Bongs written to the tune are too many for enumeration. Besides those 
 in the various Collections of Ballads in the British Museum, in D'Urfey's Pills, 
 and in the Pill to purge State Melancholy, 1716, — in one Collection alone, viz., 
 The Choice Oollection of 180 Loyal Songs, there are no fewer than thirteen. The 
 following are curious : — 
 
 No. 1. A popular Beggars' Song, by which the tune is often named, com- 
 mencing : — " Prom hunger and cold who liveth more free ? 
 
 Or who is so richly cloathed as we." — Select Ayres, 1659. 
 No. 2. " Blanket Fair, or the History of Temple Street. Being a relation of 
 the merry pranks plaid on the river Thames during the great Frost." 
 " Come, listen awhile, though the weather be cold." 
 No. 3. " The North Country Mayor," dated 1697, from a manuscript volume 
 of Songs by Wilmot, Earl of Eochester, and others, in the Harleian Library : — 
 " I sing of no heretic Turk, or of Tartar, 
 But of a suffering Mayor who may pass for a Martyr; 
 For a story so tragick w^as never yet told 
 By Fox or by Stowe, those authors so old ; 
 How a vile Lansprasado 
 Did a Mayor bastinado, 
 And played him a trick worse than any Strappado : 
 O Mayor, Mayor, better ne'er have transub'd, [turn'd Papist] 
 Than thus to be toss'd in a blanket and drubb'd," &c. 
 The following song, in praise of milk, is from Playford's Musical Companion, 
 Part n., 1687 :— 
 
 Moderate time and smoothly. 
 
 ^M 
 
 Inpraiseof a dai-ry I pur-posetosing,Butallthingsinorder;firstGrodsavetheKing! 
 
 m 
 
 m 
 
 3: 
 
 ^ 
 
 zSl 
 
 I233t 
 
 J" I r^ J hiPiJ J mH 
 
 n^ J ^1 
 
 ^ 
 
 -> 
 
 
 AiidtheQueenImaysay;Thatev'-iyMayday,H.as ma-ny fair dai-ry-maids all fine and gay: As 
 
 (■ tt» .* ! g •- _* tt« m 
 
 Jt 
 
 life: 
 
 i 
 
 ^ 
 
 -^ 
 
 :*■: 
 
 - sist me, fairdamsels, to finiah my theme. In spiring my fan-oy with strawbeny creai 
 
 ^^ 
 
 ^ 
 
REIGN OP ELIZABETH. 125 
 
 The first of fair dairy-maids, if you'll believe, 
 Was Adam's own wife, our great-grandmother Eve, 
 
 Who oft milk'd a cow, 
 
 As well she knew how ; 
 
 Though butter was not then so cheap as 'tis now, 
 She hoarded no butter nor cheese on her shelves, 
 For butter and cheese in those days made themselves. 
 
 In that age or time there was no horrid money. 
 Yet the children of Israel had both milk and honey : 
 
 No queen you could see. 
 
 Of the highest degree. 
 
 But would milk the brown cow with the meanest she ; 
 Their lambs gave them clothing, their cows gave them meat, 
 And in plenty and peace all their joys were compleat. 
 
 Amongst the rare virtues that milk does produce, 
 For a thousand of dainties it's daily in use ; 
 
 Now a pudding I'll tell thee, 
 
 Ere it goes in the belly. 
 
 Must have from good milk both the cream and the jelly : 
 For a dainty fine pudding, without cream or milk. 
 Is a citizen's wife without satin or silk. 
 
 In the virtues of milk there is more to be muster'd, 
 The charming delights both of cheese-cake and custard, 
 
 For at Tottenham Court, 
 
 You can have no sport, 
 
 Unless you give custards and cheese-cake too for't ; 
 And what's the jack-pudding that makes us to laugh. 
 Unless he hath got a great custard to quaff? 
 
 Both pancake and fritter of milk have good store. 
 
 But a Devonshire whitepot" must needs have much more ; 
 
 No state you can think. 
 
 Though you study and wink. 
 
 From the lusty sack-posset'' to poor posset drink. 
 But milk's the ingredient, though sack's ne'er the worse, 
 For 'tis sack makes the man, though 'tis milk makes the nurse. 
 
 Elderton's ballad, called " News from Northumberland," a copy of which is in 
 the Library of the Society of Antiquaries, was probably written to this tune. 
 
 THE STAINES MOERIS TUNE. 
 
 This tune is taken from the first edition of The Dancing Master. It is also in 
 William Ballet's Lute Book (time of Elizabeth) ; and was printed as late as about 
 1760, in a Collection of Country Dances, by Wright. 
 
 The Maypole Song, in Acimon and Diana, seems so exactly fitted to the air, 
 that, having no guide as to the one intended, I have, on conjecture, printed it 
 with this tune. 
 
 ** Devonshire "white-pot, oi hasty -pudding, consisting of A pint ; then fetch, from India's fertile coast, 
 flour and milk hoiled together. Nutmeg, the glory of the British toast." 
 
 b The following is a receipt for sack-posset : — Dryden'E Miscellany Poems, vol. v., p. 138. 
 
 " From fair Barbadoes, on the -western main, 
 Fetch sugar, half a potmd ; fetch sack, from Spain, 
 
126 ENGLISH SONG AND BALLAD MUSIC. 
 
 / Boldly and rather quick. 
 -J- 
 
 
 Come, ye young men, come a long, With your mu - sic, dance, and song. 
 
 ^m^ 
 
 ^ 
 
 p. 
 
 m^ 
 
 
 ^ 
 
 i=» 
 
 W^ 8-' (^ n^ 
 
 p^i^ 
 
 -(& 
 
 Bring your lass - es 
 
 in your hands, For 'tis that which love commands. 
 
 f Repeat in Chorus 
 
 iepeat %n Vhorus. ^ ^ .^^ 
 
 H 
 
 ^ 
 
 Then to the Maypole come a way. 
 
 For it is now a ho - li - day. 
 
 ISS 
 
 ^ 
 
 It is the choice time of the year. 
 For the violets now appear ; 
 Now the rose receives its birth. 
 And pretty primrose decks the earth. 
 
 Then to the May-pole come away. 
 
 For it is now a holiday. 
 
 Here each hatchelor may chuse 
 One that will not faith abuse ; 
 Nor repay with coy disdain 
 Love that should be loved again. 
 
 Then to the May-pole come away. 
 
 For it is now a holiday. 
 
 And when you well reckoned have 
 What kisses you your sweethearts gave. 
 Take them all again, and more. 
 It will never make them poor. 
 
 Then to the May-pole come away, 
 
 For it is now a holiday. 
 
 When you thus have spent the time 
 
 Till the day be past its prime. 
 
 To your beds repair at night. 
 
 And dream there of your day's delight. 
 
 Then to the May-pole come away. 
 
 For it is now a holiday. 
 
 THE SHEPHEED'S DAUGHTER. 
 This is in every edition of The Dancing Master, except the first, either under 
 the name of The Shepherd's Daughter, or Parson and Dorothy. It is also under 
 the latter title in several of the ballad operas. Percy says the ballad of The 
 Knight and Shepherd's Daughter, " was popular in the time of Queen Ehzabeth, 
 being usually printed with her picture before it, as Hearne informs us in his pre- 
 face to Cful. Neuhrig. Hist. Oxon., vol. i., 70. 
 
 'Eour lines are quoted in Fletcher's comedy The Pilgrim, act iv., sc. 2: "He 
 called down his merry men all," &c. ; and in The Knight of the Burning Pestle : 
 " He set her on a milk-white steed," &c. 
 
 »In William Ballet's Lute Book, the third note of the melody is E; in the 2nd edition of TAeJanriujJIfiH^er, B. 
 
REIGN OF ELIZABETH. 
 
 127 
 
 Copies of the ballad will be found in the Eoxburghe Collection, vol. ii., 30 ; 
 and in the Douce Collection, with the burden or chorus, " Sing, trang, dildo dee," 
 at the end of each verse, which is not given by Percy. The two last bars are 
 here added for the burden. In some copies the four first bars are repeated. 
 
 Rather slow. x— , ^->. 
 
 i 
 
 ^ 
 
 ^ 
 
 ^ 
 
 ^ 
 
 ^ 
 
 ^ 
 
 ^ 
 
 ¥ 
 
 There was a shep-herd's daugh - ter, Came trip - ping on the way. And 
 
 H47^^TT 
 
 g^ 
 
 k^ J|J.JN -J- 
 
 Chorus. 
 
 =fl« 
 
 ^ 
 
 there, by chance, a Knight she met, which caused her to stay. Sing, trang, dil-do dee. 
 
 ^ 
 
 =3= 
 
 The ballad will be found in Percy's Reliques of Ancient Poetry, series 3, book i. 
 
 THE FROG GALLIARD, ob NOW, O NOW ! 
 
 This is the only tune, composed by a well-known musician of the age, that 
 I have found employed as a ballad tune. 
 
 In Dowland's First Book of Songes, 1597, it is adapted to the words, " Now, 
 now, I needs must part " (to be sung by one voice with the lute, or by four 
 without accompaniment) ; but in his Lute Manuscripts it is called The Prog 
 Galliard, and seems to have been commonly known by that name. 
 
 In Morley's Consort Lessons, 1599 and 1611, it is called The Prog G-aUiard ; 
 in Thomas Eobinson's JVew Citharen Lessons, 1609, The Prog; and in the Skene 
 Manuscript, Proggis Grakiard. 
 
 In Nederlandtsche Gredench-Qlanch, printed at Haerlem ia 1626, it is called 
 Nou, nou [for Now, now] ; but all the ballads I have seen, that were written 
 to it, give the name as The Prog Gf-aUiard. 
 
 In Anthony Munday's Banquet of daintie Conceits, 1588, there is a song to the 
 tune of Dowland^s Q-alliard, but it could not be sung to this air. 
 
 It seems probable that Now, now, was originally a dance tune, and the 
 composer finding that others wrote songs to his galliards, afterwards so adapted 
 it likewise. 
 
 The latest Dutch copy that I have observed is in Dr. Camphuysen's Stichtelycke 
 Hymen, printed at Amsterdam in 1647. 
 
 Dowland is celebrated in the following sonnet, which, from having appeared in 
 The Passionate Pilgrim, has been attributed to Shakespeare, but was published 
 previously in a Collection of Poems by Richard Barnfield. 
 
128 ENGLISH SONG AND BALLAD MUSIC. 
 
 " To his friend, Master It. L., i% •praise of Music and Poetry!' 
 " If music and sweet poetry agree, 
 
 As they must needs, (the sister and the brother,) 
 Then must the love he great 'twixt thee and me, 
 
 Because thou lov'st the one, and I the other. 
 Dowland to thee is dear, whose heavenly touch 
 
 Upon the lute doth ravish human sense ; 
 Spenser to me, whose deep conceit is such, 
 As, passing all conceit, needs no defence ; 
 Thou lov'st to hear the sweet melodious sound 
 
 That Phoebus' lute, the queen of music, makes. 
 And I, in deep delight am chiefly drown' d, 
 
 When as himself to singing he betakes ; 
 One God is good to both, as poets feign. 
 One knight loves both, and both in thee remain ! " 
 -Anthony Wood says of Dowland, that " he was the rarest musician that the 
 age did behold." In Wo Wit, no Help, like a Woman's, a comedy by Thomas 
 Middleton (1657), the servant tells his master bad news; and is thus answered : 
 " Thou plaiest Dowland' s Lachrimce to thy master." 
 
 In Peacham's Q-arden of Heroical Devices, are the following verses, portraying 
 Dowland's forlorn condition in the latter part of his life : — 
 " Here Philomel in silence sits alone 
 
 In depth of winter, on the bared briar. 
 Whereon the rose had once her beauty shown. 
 Which lords and ladies did so much desire ! 
 But fruitless now, in winter's frost and snow. 
 It doth despis'd and unregarded grow. 
 
 So since (old friend) thy years have made thee white. 
 And thou for others hast consum'd thy spring. 
 
 How few regard thee, whom thou didst delight, 
 And far and near came once to hear thee sing ! 
 
 Ungrateful times, and worthless age of ours. 
 
 That lets us pine when it hath cropt our flowers." 
 
 The device which precedes these stanzas, is a nightingale sitting on a bare 
 brier, in the midst of a wintry storm. 
 
 The following ballads were sung to the tune under the title of The Frog 
 G-alliard: — "The true love's-knot untyed: being the right path to advise princely 
 virgins how to behave themselves, by the example of the renouned Princess, the 
 Lady Arabella, and the second son to the Lord Seymore, late Earl of Hertford;" 
 commencing — " As I to Ireland did pass, 
 
 I saw a ship at anchor lay. 
 Another ship likewise there was, 
 
 Which froin fair England took her way. 
 This ship that sail'd from fair England, 
 
 Unknown unto our gracious King, 
 The Lord Chief Justice did command. 
 
 That they to London should her bring," &c. 
 
REIGN OF ELIZABETH. 
 
 129 
 
 A copy in the British Museum Collection, and printed by Evans in Old Ballads, 
 1810, vol. iii., 184. 
 
 Also, " The Shepherd's Delight," commencing — 
 
 " On yonder hill there stands a flower, 
 Fair befall those dainty sweets ; 
 And by that flower there stands a bovver, 
 Where all the heavenly muses meet," &c. 
 
 A copy in the Roxburghe Collection, vol. i., 388, and Evans, vol. i., 388. 
 
 Slowly and smoothly. 
 
 U- 4u a 
 
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 gF=fr 
 
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 Now, O now I needs must part, Part - ing though I ab - sent mourn. 
 While I live I needs must love. Love lives not when life is gone ; 
 
 jm = w 
 
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 ^te^ 
 
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 Ab-sencecan no joy im-part, Joy once fled can ne'er rectum. 
 
 Now, at last, des - pair doth prove, Love di vi - ded, lov - eth none. 
 
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 J ; J ^ I ^-^J^,; I rr: ni-ff -^ 
 
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 Sad despair doth drive me hence, That des -pair un - kind-ness sends; 
 
 ?S=P 
 
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 li that part - ing be of - fence. 
 
 is she, who then of-fends. 
 
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 Dear, when I from thee am gone, 
 Gone are all my joys at once ! 
 
 I loved thee, and thee alone, 
 In whose love I joyed once. 
 
 While I live I needs must love, 
 Love lives not when life is gone : 
 
 Now, at last, despair doth prove 
 Love divided loveth none. 
 
 And although your sight I leave, 
 Sight wherein my joys do lie, 
 
 Till that death do sense bereave, 
 Never shall affection die. 
 
 K 
 
130 
 
 ENGLISH SONG AND BALLAD MUSIC. 
 
 PAUL'S WHARF. 
 
 This tune is in Queen Elizabeth's Virginal Book, and in The Dancing Master, 
 from 1660 to 1665. 
 
 Paul's Wharf was, and still is, one of the public places for taking water, near 
 to St. Paul's Cathedral. In " The Prices of Fares and Passages to be paide to 
 Watermen," printed by John Cawood, (n.d.,) is the following: "Item, that no 
 Whyry manne, with a pare of ores, take for his fare from Pawles Wharfe, Queen 
 hithe, Parishe Garden, or the blacke Fryers to Westminster, or White hall, or 
 lyke distance to and fro, above \\]d. 
 
 ■ Gracefully. i^ i- 
 
 i 
 
 ^ 
 
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 ^ 
 
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 S 
 
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 :^* 
 
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 TRIP AND GO. 
 
 This was one of the favorite Morris-dances of the sixteenth and seventeenth 
 centuries, and frequently alluded to by writers of those times. 
 
 Nashe, in his Introductory Epistle to the surreptitious edition of Sidney's 
 AstropTiel and Stella, 4to., 1591, says, "Indeede, to say the truth, my stile is 
 somewhat heavie gated, and cannot daunce Trip and goe so lively, with ' Oh my 
 love, ah my love, all'my love gone,' as other, shepheards that have beene Fooles in 
 the morris, time out of minde." He introduces it more at length, and with a 
 description of the Morris-dance, in the play of Summer's last Will and Testament, 
 1600: 
 
 " Ver goes in ahdfetcheth out the Hohly-horse and the Morris-dance, who 
 
 dance about. 
 
 Ver. — "About, about ! lively, put your horse to it; rein him harder; jerk him with 
 your wand. Sit fast, sit fast, man ! Fool, hold up your ladle ° there." 
 
 Will Summer. — " brave Hall!'' O well said, butcher! Now for the credit of 
 Worcestershire. The finest set of Morris -dan cars that is between this and Streathani. 
 Marry, methinks there is one of them danceth like a clothier's horse, with a wool-pack 
 
 ■ The ladle is still used by the sweeps on May-day. 
 
 ^ The tract of " Old Meg of Herefordshire for a Mayd 
 Marian, and Hereford towne for a Morris-dance," 4to, 
 1609, Is dedicated to old Hall, a celebrated Taborer of 
 Herefordshire ; and the author says, — '* The People of 
 Herefordshire are beholding to thee ; thou givest the men 
 light hearts by thy pipe, and the women light heeles by 
 thy tabor. O wonderful piper ! O admirable tabor-man !" 
 
 .... "The wood of this olde Hall's tabor should 
 have beene made a paile to carie water in at the beginning 
 of King Edward the Sixt's reigne ; but Hall (being wise, 
 because hee was even then reasonably well strucken in 
 years) saved it from going to the water, and converted it 
 in these days to a tabor." For more about old Hall and 
 his pipe and tabor, see page 134. 
 
REIGN OF ELIZABETH. 
 
 131 
 
 upon his back. You, friend, with the hobby-horse, go not too fast, for fear of wearing 
 out my lord's tile-stones with your hob-nails." 
 
 Ver. — " So, 80, so ; trot the ring twice over, and away." 
 After this, three clowns and three maids enter, dancing, and singing the song 
 which is here printed with the music. 
 
 Trip and go seems to have become a proverbial expression. In Gosson's Schoole 
 of Abuse, 1579 : " Trip and go, for I dare not tarry." In The two angrie Women 
 of Ahingt'on, 1599 : " Nay, then, trip and go." In Ben Jonson's Case is altered: 
 " delicate trip and go." And in Shakespeare's Love's Labour Lost : " Trip 
 and go, my sweet." 
 
 The tune is taken from MusicVs Delight on the Cithren, 1666. It resembles 
 another tune, called The Boatman. (See Index.) 
 Moderate time and trippingly. 
 
 Vfi^J ^- I ^J ^- I ^J ^V l J.-J: l M 
 
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 Up and dc 
 
 T- 
 
 Trip and go, heave and ho, 
 
 down, to and fro ; From the town 
 
 ;):ttJn 
 
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 rf Vi^^J :rj2jr^iy. II 
 
 Two ai 
 
 to the grove. 
 
 and two let us rove, A may - ing, a play ing ; Love hath no gain- 
 
 h 
 
 :3z& 
 
 :±£- 
 
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 ■ say - ing : So trip and go, trip and go, 
 
 Mer-ri-ly trip 
 
 and 
 
 go- 
 
 5t 
 
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 -^-P- 
 
 -=1-F- 
 
 The Morris-dance was sometimes performed by itself, but was much more 
 frequently joined to processions and pageants, especially to those appointed for 
 the celebration of May-day, and the games of Eobin Hood. The festival, in- 
 stituted in honour of Robin Hood, was usually solemnized on the first and 
 succeeding days of May, and owes its original establishment to the cultivation 
 and improvement of the manly exercise of archery, which was not, in former 
 times, practised merely for the sake of amusement. 
 
 " I find," says Stow, " that in the month of May, the citizens of London, of all 
 estates, lightly in every parish, or sometimes two or three parishes joining 
 together, had their several Mayings, and did fetch in May-poles, with divers 
 warlike sheivs, with good archers, Morris-dancers, and other devices for pastime all 
 
132 MORRIS-DANCE AND MAY-DAY. 
 
 the day long : and towards the evening they hjid stage-plays and bonfires in the 
 streets. . . .These great Mayings and May-games, made by the goTernors and 
 masters of this city, with the triumphant setting up of the great shaft (a principal 
 Maypole in Cornhill, before the parish church of St. Andrew, which, from the pole 
 being higher than the steeple itself, was, and still is, called St. Andrew Under- 
 shaft), by means of an insurrection of youths against aliens on May-day, 1617," the 
 ninth of Henry the Eighth, have not been so freely used as afore." — Survey of 
 London, 1598, p. 72. 
 
 The celebration of May-day may be traced as far back as Chaucer, " who, in 
 the conclusion of his Court of Love, has described the Feast of May, when — " 
 " Forth go'th all the court, both most and least. 
 
 To fetch the floures fresh, and braunch and bloom — 
 
 And namely hawthorn brought, both page and groom ; 
 
 And they rejoicen in their great delight; 
 
 Eke each at other throw the floures bright, 
 
 The primerose, the violate, and the gold, 
 
 With freshe garlants party blue and white.'' 
 
 Henry the Eighth appears to have been particularly attached to the exercise of 
 archery, and the observance of May. " Some short time after his coronation," 
 says Hall, " he came to Westminster, with the queen, and all their train : and on 
 a time being there, his grace, the Earls of Essex, Wiltshire, and other noblemen, 
 to the number of twelve, came suddenly in a morning into the queen's chamber, 
 all appareled in short coats of Kentish Kendal, with hoods on their heads, and 
 hosen of the same, every one of them his bow and arrows, and a sword and 
 buckler, like outlaws or Robin Hood's men ; whereof the queen, the ladies, and 
 all other there, were abashed, as well for the strange sight, as also for their 
 sudden coming : and, after certain dances and pastime made, they departed." — 
 Hen. VIIL, fo. 6, b. The same author gives a curious account of Henry and 
 Queen Catherine going a Maying. 
 
 Bourne, in his Antiquitates Vulgares, says, " On the Calends, or first-day of 
 May, commonly called May-day, the juvenile part of both sexes were wont to rise 
 a little before midnight and walk to some neighbouring wood, accompanied with 
 music, and the blowing of horns, where they brake down branches from the trees, 
 and adorn them with nosegays and crowns of flowers. When this is done, they 
 return with their booty homewards, about the rising of the sun, and make their 
 doors and windows to triumph in the flowery spoil. The after part of the day is 
 chiefly spent in dancing round a tall pole", they call a May-pole ; which being 
 placed in a convenient part of the village, stands there, as it were consecrated 
 to the goddess of flowers, without the least violence ofiered it in the whole circle 
 of the year." Borlase, in his Natural History of Oornwall, tells us, " An ancient 
 custom, still retained by the Cornish, is that of decking their doors and porches, 
 on the first of May, with green sycamore and hawthorn boughs, and of planting 
 trees, or rather stumps of trees, before their houses : and on May-eve, they from 
 
 » The " story of 111 May-day, in the time of Henry the the subject of an old ballad in Johnson's Crown Garland 
 Eight, and why it is so called ; and how Queen Catherine of Golden Roses, and has been reprinted In Evans' Old 
 begged the lives of two thousand London apprentices," is Ballads, vol. ill. p. 76, edition of 1S10, 
 
REIGN OF ELIZABETH. 133 
 
 towns make excursions into the country, and having cut down a tall elm, brought 
 it into town, fitted a straight and taper pole to the end of it, and painted the 
 same, erect it in the most public places, and on holidays and festivals adorn it 
 with flower garlands, or insigns and streamers." 
 
 Philip Stubbes, the puritan, who declaims as vehemently against May-games as 
 against dancing, minstrelsy, and other sports and amusements, thus describes 
 " the order of their May-games " in this reign. " Against May, Whitsuntide, or 
 some other time of the year, every parish, town, and village, assemble themselves 
 together, both men, women, and children ; and either all together, or dividing 
 themselves into companies, they go, some to the woods and groves, some to the 
 hills and mountains, some to one place, some to another, and in the morning they 
 return, bringing with them birch, boughs, and branches of trees, to deck their 
 assemblies withal. . . . But their chiefest jewel they bring from thence is their 
 May-pole, which they bring home with great veneration, as thus: they have 
 twenty or forty yoke of oxen, every ox having a sweet nosegay of flowers tied to 
 the tip of his horns ; and these oxen draw home this May-pole, (this stinking 
 idol rather), which is covered all over with flowers and herbs, bound round 
 about with strings, from the top to the bottom, and sometime painted with 
 variable colours, with two or three hundred men, women, and children, follow- 
 ing it with great devotion. And thus, being reared up, with handkerchiefs 
 and flags streaming on the top, they strew the ground about, bind green boughs 
 about it, set up summer halls, bowers, and arbours, hard by it ; and then fall 
 they to banquet and feast, to leap and dance about it, as the heathen people 
 did at the dedication of their idols, whereof this is a perfect pattern, or rather 
 the thing itself." — (Anatomie of Abuses, reprint of 1685 edit., p. 171.) 
 
 Browne, also, has given a similar description of the May-day rites, in his 
 Britannia's Pastorals, book ii., song 4 : — 
 
 " As I have seen the Lady of the May 
 
 Sit in an arbour, .... 
 
 Built by a May-pole, where the jocund swains 
 
 Dance with the maidens to the bagpipe's strains, 
 
 When envious night commands them to be gone, 
 
 Call for the merry youngsters one by one, 
 
 And, for their well performance, ' she ' disposes 
 
 To this a garland interwove with roses ; 
 
 To that a carved hook, or well-wrought scrip ; 
 
 Gracing another with her cherry lip : 
 
 To one her garter ; to another, then, 
 
 A handkerchief, cast o'er and o'er again ; 
 
 And none returneth empty, that hath spent 
 
 His pains to fill their rural merriment." 
 The Morris-dance, when performed on May-day, and not connected with the 
 Games of Robin Hood, usually consisted of the Lady of the May, the fool or jester, 
 a piper, and two, four, or more, morris-dancers. But, on other occasions, the hobby- 
 horse, and sometimes a dragon, with Robin Hood, Maid Marian, Friar Tuck, Little 
 John, and other characters supposed to have been the companions of that famous 
 
134 
 
 MORKIS-DANCB AND MAY-DAY. 
 
 outlaw, -were added to the dance. Maid Marian was sometimes represented by a 
 smooth-faced youth, dressed in a female garb; Friar Tuck, Robin Hood's chaplain, 
 by a man of portly form, in the habit of a Franciscan friar; the hobby-horse was a 
 paste-board resemblance of the head and tail of a horse, on a wicker frame, and 
 attached to the body of a man, whose feet being concealed by a foot-cloth hanging 
 to the ground, he was to imitate the ambling, the prancing, and the curveting of 
 the horse; the dragon (constructed of the same materials) was made to hiss, yell, 
 and shake his wings, and was frequently attacked by the man on the hobby-horse, 
 who then personated St. George. 
 
 The garments of the Morris-dancers were adorned with bells, which, were not 
 placed there merely for the sake of ornament, but were sounded as they danced. 
 ■These, which were worn round the elbows and knees, were of unequal sizes, 
 and differently denominated; as the fore bell, the second bell, the treble, the mean 
 or countertenor, the tenor, the great bell or base, and sometimes double bells were 
 worn.' The principal dancer in the Morris was more superbly habited than his 
 companions ; as appears from a passage in The blind Beggar of Bethnall Grreen 
 (dramatised from the ballad of the same name), by John Day, 1659 : " He wants 
 no clothes, for he hath a cloak laid on with gold lace, and an embroidered jerkin ; 
 and thus he is marching hither like the foreman of a morris." 
 
 In The Vow-breaker, or Fair Maid of Clifton, by William Sampson, 1636, 
 we find, " Have I not practised my reins, my careers, my prankers, my ambles, 
 my false trots, my smooth ambles, and Canterbury paces — and shall the mayor 
 put me, besides the hobby-horse? I have borrowed the fore-horse bells, his 
 plumes, and braveries ; nay, I have had the mane new shorn and frizzled. Am 
 I not going to buy ribbons and toys of sweet Ursula for the Marian — and shall 
 I not play the hobby-horse ? Provide thou the dragon, and let me alone for the 
 hobby-horse." And afterwards: "Alas, sir! I come only to borrow a few 
 ribbands, bracelets, ear-rings, wire-tiers, and silk girdles, and handkerchers, for a 
 Morris and a show before the queen ; I come to furnish the hobby-horse." 
 
 There is a curious account of twelve persons of the average age of a hundred 
 years, dancing the Morris, in an old book, called " Old Meg of Herefordshire for 
 a Mayd Marian, and Hereford towne for a Morris-dance; or twelve Morris-dancers 
 in Herefordshire of 1200 years old,"* quarto, 1609. It is dedicated to the re- 
 nowned old Hall, taborer of Herefordshire, and to " his most invincible weather- 
 beaten nut-brown tabor, which hath made bachelors and lasses dance round 
 about the May-pole, three-score summers, one after another in order, and is not 
 yet worm-eaten." Hall, who had then " stood, like an oak, in all storms, for 
 ninety-seven winters," is recommended to " imitate that Bohemian Zisca, who at 
 his death gave his soldiers a strict command to flay his skin off, and cover a drum 
 with it, that alive and dead he might sound like a terror in the ears of his enemies: 
 so thou, sweet Hereford Hall, bequeath in thy last wiU, thy vellum-spotted skin 
 
 ■ For the bells of the Morris, see Ford's play, The Witch eight persons in Herefordshire, whose ages, computed 
 
 o/ Edmonton, act 2, sc. 1. Weber is mistaken as to together, amounted to 800 years; probably the same as 
 
 "mean" meaning tenor. mentioned by Lord Bacon, as happening "afew years 
 
 ' Brand, in his Popular Antiquities, vol.2, p. 208, 1813, since in the county of Hereford." See History, Natural 
 
 srives all account of a May-game, or Morris-dance, by and Experimental, of Life and Death, 1638. 
 
REIGN OP ELIZABETH. 
 
 135 
 
 to cover tabors ; at the sound of wliicli to set all the shires a dancing. . . . The 
 court of kings is for stately measures; the city for light heels and nimble footing ; 
 western men for, gambols; Middlesex men for tricks above ground; Essex men 
 for the Sey ; Lancashire for Hornpipes ; Worcestershire for bagpipes ; but Here- 
 fordshire for a Morris-dance, puts down not only all Kent, but very near (if one 
 had line enough to measure it) three quarters of Christendom. Never had Saint 
 Sepulchre's a truer ring of bells ; never did any silk-weaver keep braver time ; 
 never could Beverley Fair give money to a more sound taborer ; nor ever had 
 Robin Hood a more deft Maid Marian." 
 
 Full particulars of the Morris-dance and May-games may he found by referring 
 to Strutt's Sports and Pastimes; to Ritson's Rohin Mood ; to an account of a 
 painted window, appended to part of Henry IV., in Steevens' Shakespeare, the 
 XV. vol. edition ; to Giiford's Ben Jonson, vol. i., pages 50, 51, 52, vol. iv., p. 405, 
 and vol. vii., p. 397; to The British Bibliographer, vol. iv., p. 326; Brand's 
 Popular Antiquities; Douce' s Illustrations of Shakespeare; and Dr. Drake's 
 Shakespeare and his Times, vol. i., &c., &c. 
 
 BAELEY-BREAJv. 
 From Lady Neville's Virginal Book, which was transcribed in 1591, 
 
 Stately. 
 
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136 
 
 ENGLISH SONG AND BALLAD MUSIC. 
 
 GifFord has given the following description of the sport called Barley-break, in 
 a note upon Massinger's Virgin Martyr, act v., sc. 1 : — " Barley-break was 
 played by six people » (three of each sex), who were coupled by lot. A piece of 
 ground was then chosen and divided into three compartments, of which the middle 
 one was called Hell. It was the object of the couple condemned to this division, 
 to catch the others, who advanced from the two extremities ; in which case a 
 change of situation took place, and hell was filled by the couple who were excluded 
 by pre-occupation, from the other places : in this ' catching,' however, there was 
 some difficulty, as, by the regulations of the game, the middle couple were not 
 to separate before they had succeeded, while the others might break hands when- 
 ever they found themselves hard pressed. When all had been taken in turn, the 
 last couple was said to he in hell, and the game ended." In this description, 
 Gifibrd does not in any way allude to it as a dance, but Littleton explains Chorus 
 circularis, barley-break, when they dance, taking their hands round. See Payne 
 Collier's note on Dodsley's Old Plays, vol. iii., p. 316. Strutt, in his Sports and 
 Pastimes, quotes only two lines from Sidney, which he takes from Johnson's 
 Dictionary : — " By neighbours prais'd, she went abroad thereby, 
 
 At barley-brake her sweet swift feet to try." 
 In the Roxburghe Collection, vol. i., 344, is a ballad called " The Praise of our 
 Country Barley-brake, or — 
 
 Cupid's advisement for young men to take 
 Up this loving old sport, called Barley -brake." 
 " To the tune of When this old cap was new." It commences thus : — 
 " Both young men, maids, and lads, 
 Of what state or degree. 
 Whether south, east, or west, 
 
 Or of the north, country ; 
 I wish you all good health. 
 
 That in this summer weather 
 Your sweet-hearts and yourselves 
 Play at barley-break together.'' &c. 
 Allusions to Barley-break occur repeatedly in our old writers. Mr. M. Mason 
 quotes a description of the pastime with allegorical personages, from Sir John 
 Suckling : — " Love, Keason, Hate, did once bespeak 
 
 Three mates to play at Barley-break ; 
 Love Folly took, and Eeason Fancy ; 
 And Hate consorts with Pride ; so dance they!' &c. 
 
 WATKIN'S ALE. 
 The tune from Queen EKzabeth's Virginal Book, where it is arranged by Byrd. 
 Ward, in his Lives of the Qresham Professors, states that it is also contained in 
 one of the MSS. formerly belonging to Dr. John Bull. A copy of the original 
 ballad is in the collection of Mr. George Daniel, of Canonbury. Walkings Ale is 
 referred to in a letter prefixed to Anthony Munday's translation of Gerileon in 
 
 '^ Rather, perhaps, by noi less than six people. break." — The Guardian, act \.,K. \. 
 "Heyday! there are a legion oi young cuplds at fiarli- 
 
REIGN OF ELIZABETH. 
 
 137 
 
 England, part ii., 1592, and in Henry Chettle's pamphlet, Kind-harfs Dreame, 
 printed in the same year. The ballad is entitled : 
 
 " A ditty delightful of Mother Watldn's ale 
 A warning well weighed, though counted a tale." 
 Moderate time. 
 
 ^Me 
 
 i 
 
 ^ 
 
 m 
 
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 If 
 
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 There was 
 And, as 
 
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 a maid this o-ther day, And she would needs go forth to play; yv 
 
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 When that be-heard a lad What talk this maiden had, There-of he was full glad, 
 To say, fair maid, I pray. Whither go you to play ? Good sir, then did she say. 
 
 J- 
 
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 J=^ 
 
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 For 
 
 And did not spare „ Fori will without fail. 
 
 What do you care ?*^ Watkin's ale, good Sir, quoth she. 
 
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 Maiden, give you Watkin's 'M' • 
 What is that ? I pray, tell ^ 
 
 P 
 
 Each part of the tune is to be repeated for the words. The following stanza 
 
 is the seventh : — 
 
 Thrice scarcely changed hath the moon, 
 Since first this pretty trick was done ; 
 Which being heard of one by chance. 
 He made thereof a country dance. 
 And as I heard the tale. 
 He called it Watkin's Ale, 
 Which never will be stale 
 I do believe ; 
 
 This dance is now in prime. 
 And chiefly us'd this time. 
 And lately put in rhime : 
 Let no man grieve. 
 To hear this merry jesting tale. 
 The which is called Watkin's Ale ; 
 It is not long since it was made, 
 The finest flower will soonest fade. 
 
 THE CARMAN'S WHISTLE. 
 This tune is in Queen Elizabeth's and Lady Neville's Virginal Books (arranged 
 by Byrd), as well as in several others of later date. The ballad is mentioned in a 
 letter, bearing the signature of T. N., addressed to his good friend A[nthony] 
 M[unday], prefixed to the latter's translation of Crerileon of England, part ii., 
 quarto, 1592; and by Henry Chettle in his Kind-harfs Dreame, printed in the 
 same year. 
 
138 ENGLISH SONG AND BALLAD MUSIC. 
 
 The Carmen of the sixteenth and seventeenth centuries appear to have been 
 singularly famous for their musical abilities ; but especially for -whistling their 
 tunes. Falstaff's description of Justice Shallow is, that " he came ever in the 
 rear-ward of the fashion," and " sang the tunes he heard the carmen whistle, 
 and sware they were his Fancies, or his Good-nights."* — {Henry IV., Part ii., 
 act 3.) In Ben Jonson's Bartholomew Fair, Waspe says, " I dare not let him 
 walk alone, for fear of learning vile tunes, which he will sing at supper, and in 
 the sermon times ! If he meet but a carman in the street, and I find him not 
 talk to keep him off on him, he will whistle him all his tunes over at night, in his 
 sleep." — (Act i., sc. 1.) In the tract called "The World runnes on Wheeles," '' 
 by Taylor, the Water-poet, he says, " If the carman's horse be melancholy or 
 dull with hard and heavy labour, then will he, like a kind piper, whistle him a 
 fit of mirth to any tune, from above. Eela to below Gammoth ; *= of which gene- 
 rosity and courtesy your coachman is altogether ignorant, for he never whistles, 
 but all his music is to rap out an oath." And again he says, " The word carmen, 
 as I find it in the [Latin] dictionary, doth signify a verse, or a song ; and betwixt 
 carmew and caxman, there is some good correspondence, for versing, singing, and 
 whistling, are all three musical." Burton, in his Anatomy of Melancholy, says, 
 " A carman's whistle, or a boy singing some ballad early in the street, many 
 times alters, revives, recreates a restless patient that cannot sleep ; " and again, 
 " As carmen, boys, and prentices, when a new song is published with us, go sing- 
 ing that new tune stUl in the streets." Henry Chefctle, in his Kind-harfs 
 Breame, says, " It would be thought the carman, that was wont to whistle to his 
 beasts a comfortable note, might as well continue his old course, whereby his 
 sound served for a musical harmony in God's ear, as now to follow profane 
 jigging vanity." In The Pleasant Historic of the two angrie Women of Abington, 
 quarto, 1599, Mall Barnes asks, " But are ye cunning in the carman's lash, and 
 can ye whistle well ? " In The Hog hath lost its Pearl, Haddit, the poet, tells the 
 player shortly to expect " a notable piece of matter ; such a jig, whose tune, with 
 the natural whistle of a carman, shall be more ravishing to the ears of shop- 
 keepers than a whole concert of barbers at midnight. "^(Z>o&Ze2/'s Old Plays, 
 vol. vi.) So in Lyly's Midas, " A carter with his whistle and his whip, in true 
 ears, moves as much as Phoebus with his fiery chariot and winged horses." In 
 Heywood's A Woman hilVd with Kindness, although all others are sad, the stage 
 direction is, '.' Exeunt, except Wendall and Jenkin ; the carters whistling." And 
 Playford, in his Introduction to the skill of Music, 1679, says, " Nay, the poor 
 labouring beasts at plough and cart are cheered by the sound of music, though it 
 be but their master's whistle." 
 
 » Good-nights are "Last dying speeches" made into crah-shell, brought out of China, and some imagined it 
 
 ballads. See Essex's last Good-night. to be one of the Pagan temples, in 'which the cannibals 
 
 '' Taylor's tract was written against coaches, which in- adored the devil." He argues that the cart-horse is a 
 
 jured his trade as a waterman. He says, '*In the year more learned beast than a coach-horse, "for scarce any 
 
 1564, one William Boonen, a Dutchman, brought first the coach-horse in the wofld doth know any letter in the book ; 
 
 use of coaches hither, and the said Boonen was Queen when as every cart-horse doth know the letter G most 
 
 Elizabeth's coachman, for indeed a coach was a strange understandingly." 
 
 monster in those days, and the sight of them put both " Gamut, then the lowest note of the scale, as Eela was 
 
 horse and man into amazement. Some said it was a great the highest. 
 
REIGN OF ELIZABETH. 
 
 139 
 
 The following ballads were sung to the tune : — "The Comber's Whistle, or The 
 Sport of the Spring," commencing — 
 
 "All in a pleasant morning;" 
 a copy in Pepys' Collection, vol. iii., 291, and Roxburghe Collection, vol. ii., 67. 
 "All is ours and our husbands', or the Country Hostesses' Vindication ; " a copy 
 in the Roxburghe Collection, vol. ii., 8. 
 
 " The Courteous Carman and the Amorous Maid: or the Carman's Whistle," "■ 
 &c., "To the tune of The QarmarCs Whistle; or Lord Willoxighhy' s March." 
 Gracefully. 
 
 ^^ 
 
 d^= 
 
 i 
 
 *# 
 
 ^ 
 
 ^3 
 
 As I abroad was walk - ing By the break - ing of the day, In 
 
 vm=^ 
 
 # 
 
 ^ 
 
 ^ 
 
 ^ 
 
 ^ 
 
 ^ 
 
 3? 
 
 to 
 
 A plea-sant mea dow A young man took his way, 
 
 w 
 
 ^S-J-J^ 
 
 3 
 
 And look -ing round a bout him, T 
 
 J ;- J i- . j — ^i- 
 
 mark what he 
 
 could see. At 
 
 ^ 
 
 m 
 
 ^ 
 
 ^ 
 
 ^ 
 
 ^s 
 
 ^ 
 
 ^ 
 
 J-^-ih^ 
 
 myr - tie tree. 
 
 length he 
 
 spied 
 
 fair 
 
 maid 
 
 T 
 
 der 
 
 / J / I J > i-f 
 
 w^^m^ 
 
 ^ 
 
 f^ 
 
 So comely was her countenance, 
 
 And ' winning was her air,' 
 As though the goddess Venus 
 
 Herself she had been there ; 
 And many a smirking smUe she gave 
 
 Amongst the leaves so green, 
 Although she was perceived. 
 
 She thought she was not seen. 
 
 At length she chang'd her countenance. 
 
 And sung a mournful song, 
 Lamenting her misfortune 
 
 She staid a maid so long ; 
 Sure young men are hard-hearted. 
 
 And know not what they do. 
 Or else they want for compliments 
 
 Fair maidens for to woo. 
 
 » There are twelve stanzas in the hallad, of which five Collection, fol. 33, and one in Mr. Payne Collier's Collec- 
 are here omitted. A black-letter copy in the Douce tion. 
 
140 
 
 ENaLISH SONG AND BALLAD MUSIC. 
 
 Why should young virgins pine away 
 
 And lose their chiefest prime ; 
 And all for want of sweet-hearts, 
 
 To cheer us up in time ? 
 The young man heard her ditty, 
 
 And could no longer stay, 
 But straight unto the damosel 
 
 With speed he did away. 
 
 When he had played unto her 
 
 One merry note or two. 
 Then was she so rejoiced. 
 
 She knew not what to do : 
 O God-a^mercy, carman, 
 
 Thou art a lively lad ; 
 Thou hast as rare a whistle 
 
 As ever carman had. 
 
 Now, if my mother chide me 
 
 For staying here so long ; 
 What if she doth, I care not. 
 
 For this shall be my song : 
 ' Pray, mother, be contented. 
 
 Break not my heart in twain ; 
 Although I have been ill a-while, 
 
 I now am well again.' 
 
 Now fare thee well, brave carman, 
 
 I wish thee well to fare. 
 For thou didst use me kindly. 
 
 As I can well declare : 
 Let other maids say what they will. 
 
 The truth of all is so, 
 The bonny Carman's whistle 
 
 Shall for my money go. 
 
 The following is the old arrangement of the tune of The Garman^s Whistle, 
 by Byrd, taken from Queen Elizabeth's Virginal Book. 
 
 i 
 
 i 
 
 f 
 
 # 
 
 ^ 
 
 i^ 
 
 ^ 
 
 ^ 
 
 ^T xfad : 
 
 i 
 
 w=^ 
 
 fm^ 
 
 ±1 
 
 ^m 
 
 ^? 
 
 i 
 
 i 
 
 j n.j 
 
 i 
 
 .^ 
 
 ^ 
 
 ^ 
 
 r ^f IH 
 
 ^ 
 
 ^^ 
 
 i=^ 
 
 J- 
 
 V:. I J ;^J =^ 
 
 H 
 
 ^^ 
 
 ? 
 
 ^ 
 
 f : r '- ' P 
 
 GO FROM MY WINDOW. 
 
 This tune is arranged both by Morley and by John Munday, in Queen Eliza- 
 beth's Virginal Book ; it is in A new Booh of Tablature, 1596 ; in Morley's First 
 Boohe of Consort Lessons, 1599 and 1611 ; and in Robinson's Schools of Musick, 
 1603. In Uie Dancing Master, from 1650 to 1686, it appears under the title of 
 " The new Exchange, or Durham Stable ; " but the tune is there altered into 
 I time, to fit it for dancing. 
 
 On the 4th March, 1587-8, John Wolfe had a license to print a ballad called 
 " Goe from the -windowe." Nash, in his controversial tracts with Harvey, 1599, 
 mentions a song, " Go from my garden, go." In Beaumont and Fletcher's 
 Knight of the Burning Pestle, Old Merrythought sings — 
 
REIGN OF ELIZABETH. 
 
 141 
 
 Slowly and smoothly. 
 
 ^ 
 
 ^ 
 
 E^^^ 
 
 "C'T- 
 
 % 
 
 Go from my window, love, go ; Go from my window, my dear ; The 
 
 ;):tfj Lx 
 
 35 
 
 ^ 
 
 ^ 
 
 ^ .n .1 n I j-nn , i 
 
 ^ 
 
 ISSI 
 
 t=^ 
 
 y 
 
 wind and the rain Will drive you back a - gain. You can-not be lodged 
 
 iE^ 
 
 here. 
 C5 
 
 S 
 
 Begone, begone, my juggy, my puggy. 
 Begone, my love, my dear ; 
 The weatlier is warm, 
 'Tv?ill do thee no harm : 
 Thou canst not be lodged here." 
 In Fletcher's Monsieur Thomas, we find — 
 
 " Come up to my window, love, come, come, come. 
 Come to my window, my dear ; 
 The wind nor the rain 
 Shall trouble thee again : 
 But thou shalt be lodged here.'' 
 It is again quoted by Fletcher in The Woman's Prize, or the Tamer tamed, act i., 
 sc. 3 ; by Middleton in Blurt, Master Constable ; and by Otway in The Soldier's 
 Fortune. 
 
 It is one of the ballads that were parodied in " Ane compendious booke of 
 Godly and Spirituall Songs . . with sundrie of other ballates, chainged out of 
 prophaine Songes, for avoiding of Sinne and Harlotrie ; " printed in Edinburgh 
 in 1590 and 1621. There are twenty-two stanzas in the Godly Song, the following 
 are the two first : — " Quho [who] is at my windo, who, who ? 
 Goe from my windo ; goe, goe. 
 Quha calles there, so like ane strangere ? 
 Go from my windo, goe. 
 
 Lord, I am here, ane wratched mortall, 
 That for thy mercie dois crie and call 
 Unto Thee, my Lord celestiall ; 
 See who is at my windo, who ? " 
 At the end of Heywood's The Rape of Lucrece, a song is printed beginning — 
 " Begone, begone, my Willie, my Billie, 
 Begone, begone, my deere ; 
 The weather is warme, 'twill doe thee no harme, 
 Thou canst not be lodged here." 
 which is also in Wit and Drollery, Jovial Poems, 1661, p. 25. 
 
142 
 
 ENGLISH SONG AND BALLAD MUSIC. 
 
 In Pills to purge Melancholy, 1707, vol. ii., 44, or 1719, vol. iv,, 44, is another 
 version of that song, beginnings " Arise, arise, my juggy, my puggy ; " but in 
 both editions it is printed to the tune of " Good morrow, 'tis St. Valentine's day," 
 and not to the original music. 
 
 I received the following traditional version of " Go from my window " from a 
 very kind friend of former days, the late R. M. Bacon, of Norwich." The tune is 
 very like that of Ophelia's Song, "And how should I your true love know; " the 
 first and last strains being the same in both. The words promise an improvement 
 of the original, and it is to be regretted that my informant had only heard 
 the first stanza, which is here printed to the music. 
 
 Rather slow. 
 
 m=^- 
 
 fij nvA:,r^ 
 
 s 
 
 m 
 
 W: 
 
 tf * 
 
 Go from my window, my love, my love ; Go from my window, my dear ; For the 
 
 S 
 
 w- 
 
 w 
 
 'rm J 
 
 #hPf^^^ I j {H^ 
 
 -y^ 
 
 wind is in the west, And the cuckoo's in his nest, And you can't have a lodging here. 
 
 p 
 
 DULCINA. 
 
 This tune is referred to under the names of " Dulcina;" " As at noon Dulcina 
 rested ; " " From Oberon in fairy-land ; " and " Robin Goodfellow." 
 
 The ballad of " The merry pranks of Robin Goodfellow " (attributed to Ben 
 Jonson) commences with the line, " From Oberon in fairy-land ; " and in the old 
 black-letter copies, is directed to be sung to the tune of Dulcina. , The ballad of 
 " As at noon Dulcina rested," is said, upon the authority of Cayley and Ellis, to 
 have been written by Sir Walter Raleigh. Both are printed in Percy's Heliques 
 of Ancient Poetry, series iii., book 2. 
 
 The Milk-woman in Walton's Angler, says, " What song was it, I pray 
 you? Was it, "Come, shepherds, deck your heads," or "As at noon Dulcina 
 rested," &c. 
 
 * Mr. Bacon was for tnany years the well-known editor, 
 as well as principal proprietor, of The Norwich Mercury, 
 and editor of The Quarterly Musical Revieui. His memory 
 was so stored with traditional songs, learnt in boyhood, 
 that, having accepted a challenge at the tea-table to sing 
 a song upon any subject a lady would mention, I have 
 heard him sing verse after verse upon tea-spoons, and 
 other such themes, proposed as the most unlikely for 
 
 songs to have been written upon. He had learnt a number 
 of sea songs, principally from one old sailor, and some 
 were so descriptive, that it was almost thrilling to hear 
 them sung by him. Seventeen years ago, these ap- 
 peared to me too irregular and declamatory to be reduced 
 to rhythm, but I have since greatly regretted the loss of 
 an opportunity that can never recur. 
 
REIGN OP ELIZABETH. 
 
 143 
 
 The following ballads were also sung to the tune : — 
 
 " The downfall of dancing ; or the overthrow of three fiddlers and three bag- 
 pipers," frc, " to the tune of Bobin Goodfelloiv. Copies in the Douce and Pepys 
 Collections. 
 
 " A delicate new ditty, composed upon the posie of a ring, being, 'I fancy none 
 but thee alone : ' sent as a new year's gift by a lover to his sweet-heart. To the 
 tune o{ Dulcina." Roxburghe Collection, vol. i., 80. 
 
 "The desperate damsel's tragedy, or the faithless young man;" beginning, 
 " In the gallant month of June. " 
 
 " A pleasant new song, betwixt a sailor and his love. To the tune of Dulcina;" 
 beginning, " What doth ail my love so sadly." In the Bagford and Roxburghe 
 Collections, where several more will be found. 
 
 A Cavalier's drinking-song, by Matt. Arundel, to the tune of Rohin Crood- 
 fellow, commencing, " Some say drinking does disguise men," is printed in Tixall 
 Poetry, quarto, 1813. The last verse dates this after the Restoration. 
 
 Dulcina was also one of the tunes to the " Psalms and Songs of Sion ; turned 
 into the language and set to the tunes of a strange land," 1642. 
 
 Cheerfully. Tune of Dulcina. 
 
 1^ -^ 
 
 i=UM\lJu 
 
 ^ 
 
 m 
 
 ^ 
 
 * J * 
 
 ^ 
 
 From O-beron, in fai - ry - land, The king of ghosts and sha - dows there, 
 
 •"^^v 
 
 I 
 
 3E 
 
 3S= 
 
 mr^i ijU.^ 
 
 =P=i 
 
 Mad Robin I, at his command, Am sent to view the night - sports here, 
 
 m 
 
 -^r^ 
 
 E^E^ 
 
 ^^ — ^ 
 
 »1- 
 
 s 
 
 E 
 
 * — r 
 
 ^ 
 
 ' . ^ <-i 
 
 What re-vel rout Is kept a - bout. In ev' - ry cOr ner where I go. 
 
 3 
 
 ^^ 
 
 221 
 
 ^ 
 
 -22Z 
 
 jTl. \ i J i^OUj^-i 
 
 m 
 
 f. 
 
 I will o'er-see. And mer-ry be. And make good sport, With ho, ho, ho! 
 
 a= 
 
 ~'::^ 
 
 m 
 
 IC 
 
 -CTT- 
 
144 
 
 ENGLISH SONG AND BALLAD MUSIC. 
 
 WHO LIST TO LEAD A SOLDIER'S LIFE. 
 This tune is in The Dancing Master, from 1650 to 1725, called " A soldier's 
 life," or " Who list to lead a soldier's life." There were, evidently, two tunes 
 under the same name (one of which I have not discovered), because some of the 
 ballads could not be sung to this air. In Peek's Mward I., 1693, we find, 
 " Enter a harper and sing, to the tune of Who list to lead a soldier's life, the 
 following :— « Go to, go to, you Britons all. 
 
 And play the men both great and small," &c. ; 
 and in Deloney's Strange Mstories, 1607 — 
 
 " When Isabell, fair England's queen, 
 In woeful wars had victorious been," &c ; 
 neither of which could be sung to this air, but " A Song of an English Knight, 
 that married the Royal Princess, Lady Mary, sister to Henry VIII., whidi Knight 
 was afterwards made Duke of Suffolk ; " beginning — 
 
 "Eighth Henry ruling in this land, 
 He had a sister fair ;" 
 and " A Song of the Life and Death of King Richard HI., who, after many 
 murders by him committed, &c., was slain at the battle of Bosworth, by 
 Henry VH., King of England; " beginning — 
 
 " In England once there reigned a king, 
 A tyrant fierce and fell," * 
 as well as several others, are exactly fitted to the tune. 
 
 Ophelia's Song, " Good morrow, 'tis St. Valentine's day," and the traditional 
 air to " Lord Thomas and Pair Ellinor," are only difierent versions of this. 
 
 In the Pepys Collection, vol i., is a black-letter ballad of " The joyful peace 
 concluded between the King of Denmark and the King of Sweden, by the means of 
 our most worthy sovereign James," &c., to the tune of "Who list to lead a 
 soldier's life-;" dated 1613. 
 
 In The Miseries of inforced Marriage (Dodsley's Old Plays, vol. v.) , the -song, 
 " Who list to have a lubberly load," was, perhaps, a parody on "Who list to lead 
 a soldier's life," the words of which I have not been successful in finding. 
 
 y (xracefmly. ^^-^ 
 
 ^ 
 
 rfij-n 
 
 r^ — r 
 
 Who list to lead a sol - dier's life. 
 
 FF S ^ it 
 
 ^ 
 
 ^a 
 
 j-ii^ rr i 
 
 ■j..3i i .^T j ^ i 
 
 -ji . V 
 
 ^ 
 
 • These two ballads hare been reprinted by Evans in the names of the tunes to which they were to he sung, not 
 Old Ballad! vol. ill., 30 and 84 (1810) ; but he has omitted only in these, but in numberless other instances. 
 
REIGN OF ELIZABETH. 
 
 145 
 
 LORD THOMAS AND FAIR ELLINOR. 
 
 This traditional version of the tune of Lord Thomas and Fair MUnor is taken 
 from Sandys' Collection of Christmas Carols. It is, evidently, the air of Who 
 list to lead a soldier^ s life ? adapted for words of a somewhat different measure. 
 (See the opposite page.) 
 
 At p. 17 of Ritson's Observations on the Minstrels, in enumerating the prohable 
 " causes of the rapid decline of the minstrel profession, since the time of Eliza- 
 beth," he says, " It is conceived that a few individuals, resembling the character, 
 might have been lately, and may possibly be still found, in some of the least 
 polished or less frequented parts of the kingdom. It is not long since the public 
 papers announced the death of a person of this description, somewhere in Derby- 
 shire ; and another was within these two years to be seen in the streets of London ; 
 he played on an instrument of the rudest construction, which he, properly enough, 
 called a hum-strum, and chanted (amongst others) the old ballad of Lord Thomas 
 and Fair MUnor, which, by the way, has every appearance of being originally a 
 minstrel song." 
 
 The ballad wiU be found in book i., series 3, of Percy's Reliques of Ancient 
 Poetry, and it is one of those still kept in print in Seven Dials. The black-letter 
 copies direct it to be sung "to a pleasant new tune." See Douce Collection, i. 121. 
 
 Gracefully. 
 
 i 
 
 'ik 
 
 ^E^ 
 
 ^ 
 
 ^± 
 
 '^^ 
 
 ^PS 
 
 m^s 
 
 r — r^ 
 
 a bold fo - res - ter, And a chaser of tne king's 
 
 Lord 
 
 Thomas he was 
 
 ',):iijin 
 
 t=^ 
 
 
 ^ . r • r 
 
 deer, Fair El-li-norwas a fine woman, And Lord Thomas he loved her dear. 
 
 ^^ 
 
 THE FEIAR AND THE NUN. 
 
 In Henry Chettle's Kind-harfs Lreame, 1692, two lines are quoted from the 
 ballad of " The Friar and the Nun." The tune is in The Lancing Master, from 
 1650 to Yllb; in MusicFs Lelight on the Oithren, 1666; in Pills to purge 
 Melancholy ; and in many of the ballad-operas, such as The Beggars' Opera, The 
 Levil to pay. The Jovial Oreio, &c. Henry Carey wrote a song to the tune in his 
 Honest Yorhshireman, 1735, and there are three, or more, in Pills to purge Melan- 
 choly. In vol. ii. of some editions, and vol. iv.' of others, the title and tune of 
 " The Friar and the Nun " are printed by mistake with the song of " Fly, merry 
 news," which has no reference to them. The ballad of The London Prentice was 
 
 L 
 
14(J 
 
 ENGLISH SONG AND BALLAD MUSIC. 
 
 occasionally sung to it, and in some of the ballad-operas the tune bears that name. 
 In The Plot, 1735, it is called "The merry songster." The composer of the 
 modern song, " Jump, Jim Crow," is under some obligations to this air, 
 Henry Carey's song is called " The old one outwitted," and begins — 
 " There was a certain usurer, 
 He had a pretty niece," &c. 
 In The Beggars' Opera, the name of " All in a misty morning " is given to 
 the tune, from the first line of a song called The Wiltshire Wedding, which will 
 be found in Pills to purge Melancholy, iv. 148, or ii. 148. There are fifteen 
 verses, of which the following nine suffice to tell the story. 
 
 Quick. ^ 
 
 m 
 
 123=3=5 
 
 TT]i;-; 
 
 ^^ 
 
 1 — r 
 
 ^s^ 
 
 f=r 
 
 "T 
 
 All in a mls-ty mom-ing. Cloudy was the weather, I meeting with an 
 
 HSES 
 
 ^ 
 
 :# 
 
 f 
 
 fi^3EEi 
 
 f^ 
 
 » *' 
 
 f^ 'j- ^ ^ ^ 
 
 old man Clothed all in leather, With ne'er a shirt up - on his back, But 
 
 ^ 
 
 ikin. With how d'ye do, ar 
 
 ^ 
 
 J ^ ^:^ ^ 
 
 S 
 
 W 
 
 *H-*- 
 
 rrr 
 
 "f — y 
 
 wool un- to his skin. With how d'ye do, and how d'ye do, and how d'ye do a- gain. 
 
 ^ 
 
 The rustic was a thresher. 
 
 And on his way he hied. 
 And with a leather bottle 
 
 Fast buckled by his side ; 
 And with a cap of woollen, 
 
 Which covered cheek and chin ; 
 With how d'ye do? and how d'ye do? 
 
 And how d'ye do ? again. 
 
 I went a little further. 
 
 And there 1 met a maid 
 Was going then a milking, 
 
 A milking, air, she said ; 
 Then I began to compliment. 
 
 And she began to sing : 
 With how d'ye do? &c. 
 
 This maid, her name was Dolly, 
 
 Cloth'd in a gown of gray, 
 I, being somewhat jolly. 
 
 Persuaded her to stay : 
 Then straight I fell to courting her. 
 
 In hopes her love to win. 
 With how d'ye do? &c. 
 
 I told her I would married be, 
 And she should be my bride. 
 
 And long we should not tarry. 
 With twenty things beside : 
 '' I'll plough and sow, and reap and mow, 
 Whilst thou shall sit and spin," 
 
 With how d'ye do? &c. 
 
REIGN OP ELIZABETH. 
 
 147 
 
 ' Kind sh-, I have a mother, 
 
 Besides, a father, still. 
 And so, before all other. 
 
 You must ask their good will ; 
 For if I be undutiful 
 
 To them, it is a sin ; " 
 With how d'ye do? &c. 
 
 Now, there we left the milking-pail, 
 And to her mother went, 
 
 And when we were come thither, 
 I asked her consent ; 
 
 I doff'd my hat, and made a leg. 
 When I found her within ; 
 
 With how d'ye do ? &c. 
 
 Her dad came home full weary, 
 (Alas ! he could not choose ;) 
 
 Her mother being merry, 
 She told him all the news. 
 
 Then he was mighty jovial too. 
 His son did soon begin 
 
 With how d'ye do? &c. 
 
 The parents being willing. 
 
 All parties were agreed, 
 Her portion, thirty shilling; 
 
 We married were with speed. 
 Then Will, the piper, he did play, 
 
 Whilst others dance and sing ; 
 With how d'ye do ? and how d'ye do ? 
 
 And how d'ye do ? again. 
 
 JOHN, COME KISS ME NOW. 
 
 This favorite old tune will be found in Queen Elizabeth's Virginal Book ; in 
 Playford's Introduction; m Apollo^ s Banquet for the Treble Violin; and in the 
 First part of the Division Violin, containing a collection of Divisions upon several 
 excellent grounds, printed by Walsh; as well as Playford's Division Violin (1685.) 
 In Pills to purge Melancholy, vol. iii., 1707., and vol. v., 1719, it is adapted to a 
 song called Stow, the Friar. It is mentioned in Hey wood's A Woman MWd with 
 Kindness, 1600 : 
 
 Jack Slime. — " I come to dance, not to quarrel : come, what shall it be ? Hogero ? 
 JenMn. — " Hogero, no ; we will dance The Beginning of the World. 
 Sisly. — " I love no dance so well as John, come kits me now." 
 In ^Tis merry when Grossips meet, 1609 : 
 
 Widow. — " No musique in the evening did we lacke ; 
 
 Such dauncing, coussen, you would hardly thinke it ; 
 
 Whole pottles of the daintiest burned sack, 
 
 ' Twould do a wench good at the heart to drinke it. 
 
 Such store of tickling galliards, I do vow ; 
 
 Not an old dance, but John, come kisse me now. 
 
 In a song in Westminster Drollery, 1671 and 1674, beginning, " My name is 
 honest Harry: " "The fidlers shall attend us, 
 
 And first play, Johi, come kisse me ; 
 
 And when that we have danc'd a round, 
 
 They shall play, Hit or mlsse me." " 
 In 'BviXiQri'& Anatomy of Melancholy, 1621: "Yea, many times this love will 
 make old men and women, that have more toes than teeth, dance John, come hiss 
 me now." It is also mentioned in The Scourge of Folly, 8vo. (n.d.) ; in Brath- 
 wayte's Shepherd'' s Tales, 1623; in Tom Tiler and his Wife, 1661 ; and in Henry 
 Bold's Songs and Poems, 1685. 
 
 * Hit or miss is a tune in Tke Dancing Master of 1G50, 
 and later editions. It is referred to by Whitlock, in his 
 Zoolamia, or present Manners of the English, 12ino., 1654, 
 
 where he speaks of one whose practice in physic is 
 "nothing more than the country dance called Hit or 
 mlsse." 
 
148 
 
 ENGLISH SONG AND BALLAD MUSIC. 
 
 " 'informer times 't hath been iipbraided thus, 
 That barber's music was most barbarous ; 
 For that the cittern was confin'd unto 
 ' The Ladies' Fall,' or ' John, come kiss me now,' 
 
 ' Green Sleeves and Pudding Pyes,' ' The P 's Delight,' 
 
 ' Winning of Bulloigne,' ' Essex's last Good-night,' &c." 
 From lines " On a Barber who became a great Master of Musick." The ground 
 of John, come hiss me now, was a popular theme for fancies and divisions (now 
 called fantasias' and variations) for the virginals, lute, and viols. In the 
 Virginal Book, only the first part of the tune is taken, and it is doubtful if it 
 then had any second part ; the copy we have given is from Play ford's and Walsh's 
 Division Violin. It is one of the songs parodied in Andro Hart's Compendium 
 of Crodly Songs, before mentioned, on the strength of which the tune has been 
 claimed as Scotch, although it has no Scotch character, nor has hitherto been 
 found in any old Scotch copy. Not only are all the other tunes to the songs in the 
 Compendium, of which any traces are left, English, but what little secular music 
 was printed in Scotland until the eighteenth century, was en-tirely English or 
 foreign. The following are the first, second, and twenty-first stanzas of the 
 "Godly Song":— 
 
 John, come kisse me now ; 
 
 John, come kisse me now, 
 Johne, come kisse me by and by, 
 
 And make no more adow. 
 
 The Lord thy God I am. 
 
 That John dois thee call ; 
 / Rather slow and stately. 
 
 John represents man, 
 By grace celestiall. 
 
 My prophites call, my preachers cry, 
 John, come kisse me now ; 
 
 John, come kisse me by and by, 
 And make no more adow. 
 
 M riOi 
 
 W:i^\L.^^ i rj^ai 
 
 s=f 
 
 ; ):, 2 F 
 
 John, come kiss me now, now, now, 
 
 9 9 
 
 H— W 
 
 m 
 
 J J ■ 
 
 ^ 
 
 ^ ^ ■ « rr-i^. . P • , . f ^^ 
 
 ^^ 
 
 m 
 
 ^ 
 
 zt m 
 
 =£: 
 
 f CT 
 
 f 
 
 s 
 
 e 
 
 ZISZ 
 
 ^^^ 
 
KEIQN OF ELIZABETH. 
 
 149 
 
 ALL YOU THAT LOVE GOOD FELLOWS, on THE LONDON PRENTICE. 
 
 The tunes called Nancie in Queen Elizabeth's Virginal Book; Uduward 
 Nouweh, in Bellerophon (Amsterdam, 1622, p. 115); Sir Eduward NouweVs 
 Delight, in Friesche Liist-hof, 1634 ; and The London. Prentice, in Pills to purge 
 Melancholy (vi., 342), and in The Devil to pay, 1731, are the same: but the two 
 last contain only sixteen bars, while all the former consist of twenty-four. 
 
 The following is the version called 8ir Edward NoeVs Delight. 
 
 In marching time. 
 
 f^-4^i^^ ^^^ 
 
 \mo. 
 
 2do. 
 
 w^ 
 
 m 
 
 }h ' }[ \ i^^r \ ^ 
 
 =S 
 
 ^ 
 
 ^ 
 
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 PP 
 
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 ~n — '■ — J — r p « ' ^ — '' — d — 
 
 
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 The ballad of " The honour of a London Prentice : being an account of his 
 matchless manhood, and brave adventures done in Turkey, and by what means he 
 married the king's daughter," is evidently a production of the reign of Elizabeth. 
 The apprentice maintains her to be " the phoenix of the world," " the pearl of 
 princely majesty," &c., against "a score of Turkish Knights," whom he over- 
 throws at tilt. 
 
 The ballad is printed in Kitson's English Songs (among the Ancient Ballads), 
 and in Evans' Old Ballads, vol. iii., 178. Copies will also be found in the Bagford, 
 Koxburghe (iii. 747), and other Collections. It was "to be sung to the tune 
 oi All you that love good fellows ;'''' under which name the air is most frequently 
 mentioned. 
 
150 
 
 ENflLISH SONG ANB BALLAD MUSIC. 
 
 Bishop Earle, in his Micosmgraphy, 1628, in giving the character of a Pot- 
 poet, says, " He i^ a man now much employed in commendations of our navy, and 
 a bitter iaveigher against the Spaniard. His frequentest works go out in single 
 sheets, and are chanted from market to market to a vile tune, and a worse throat; 
 whilst the poor country wench melts, like her butter, to hear them. And these 
 are the stories of some men of Tyburn, or A strange monster out of Germany." 
 One of these ballads of " strange monsters out of Germany " will be found in the 
 Bagford and in the Pepys Collection (ii. 66), " to the tune of All you that love 
 good fellows." It is entitled "Pride's fall: or a warning for all English women 
 by the example of a strange monster born late in Germany, by a merchant's 
 proud wife of Geneva." The ballad, evidently a production of the reign of 
 James !.,'■ is perhaps the one alluded to by Bishop Earle. 
 
 There are other ballads about London apprentices; one of " The honors achieved 
 in Fraunce and Spayne by four prentises of London," was entered to John 
 Danter, in 1592. " Well, my dear countrymen, What-d'ye-lacks" (as apprentices 
 were frequently called, from their usual mode of inviting custom) , " I'll have you 
 chronicled, and all to be praised, and sung in sonnets, and bawled in new brave 
 ballads, that all tongues shall troul you in scecula seculorwm." — Beaumont and 
 Fletcher's Philaster. 
 
 One of the ballads to the tune of "the worthy London prentice" relates 
 to a very old superstition, and wUl recall to us the "Out, damned spot!" in 
 Macbeth. It is entitled the " True relation of Susan Higges, dwelling in Ris- 
 borow, a towne in Buckinghamshire, and how she lived twenty years by robbing 
 on the high wayes, yet unsuspected of all that knew her ; till at last coming to 
 Messeldon, and there robbing and murdering a woman^ which woman knew her, 
 and standing by her while she gave three groanes, she spat three drops of blood in 
 her face, which never could be. washt out, by which she was knowne, and executed 
 for the aforesaid murder, at the assises in Lent at Brickhill." A copy is in the 
 Roxburghe Collection, i. 424; also in Evans' Old Ballads, i. 203 (1810). 
 
 I have not found any song or ballad commencing " All you that love good 
 fellows," although so frequently quoted as a tune ; but there are several "All you 
 that are," and "All you that be good fellows," which, from similarity of metre, 
 I assume to be intended for the same air. 
 
 In a chap-book called " The arraigning and indicting of Sir John Barleycorn, 
 knight ; newly composed by a well-wisher to Sir John, and all that love him," are 
 two songs, "AH you that are good fellows," and "All you that be good fellows," 
 " to the tune of Sir John Barleycorn, or Jack of all trades." Lowndes speaks of 
 this tract as printed for T. Passenger in 1675, and of the author as Thomas 
 Robins ; but there are Aldermary and Bow Church-yard editions of later date. 
 
 Another "All you that are good fellows" is here printed to the shorter copy of 
 the tune. It is from a little black-letter volume (in "Wood's library, Ashmolean 
 Museum) entitled "Good and true, fresh and new Christmas Carols," &c., 
 printed by E. P. for Francis Coles, dwelling in the Old Bailey, 1642. It is one 
 
 » See Fairholt's Satirical Songs and Pnems on Costume, p. 107 ; printed for the Percy Society. 
 
REIGN OF ELIZABETH. 
 
 151 
 
 of the merry Christmas carols, and to be sung to the tune of " All you that 
 are good fellows." 
 
 In marching time. 
 
 ^^m 
 
 IM-Ll 
 
 s 
 
 s 
 
 =5= 
 
 All you that are good fel lows, Come heark-en to my 
 
 ~ H*- I III 
 
 ^ 
 
 ^ 
 
 t= 
 
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 song; I know you do not liategood cheer, Nor li-quorthat is strong. 
 
 ^T^ 
 
 * # 
 
 ^^ 
 
 3: 
 
 ^S 
 
 ^ 
 
 4 • » 
 
 I hope there is none here, But soon will take my part, 
 
 See 
 
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 itzj^^k 
 
 f f P p i j j H-4rH 
 
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 ing my mas - ter and my dame Say wel - come with their heart. 
 
 ^ 
 
 3 
 
 3z; 
 
 This is a time of joyfulness. 
 
 And merry time of year, 
 When as the rich with plenty stor'd 
 
 Do make the poor good cheer. 
 Plum-porridge, roast beef,, and minc'd pies, 
 
 Stand smoking on the board; 
 With other brave varieties. 
 
 Our master doth afford. 
 
 Our mistress and her cleanly maids 
 
 Have neatly play'd the cooks ; 
 Methinks these dishes eagerly 
 
 At my sharp slomacli looks. 
 As though they were afraid 
 
 To see me draw my blade ; 
 But I revenged on them will be, 
 
 Until my stomach's stay'd. 
 
 Come fill us of the strongest, 
 
 Small drink is out of date ; 
 Methinks I shall fare like a prince. 
 
 And sit in gallant state : 
 This is no miser's feast. 
 
 Although that things be dear ; 
 God grant the founder of this feast 
 
 Each Christmas keep' good cheer. 
 
 This day for Christ we celebrate. 
 
 Who was bom at this time ; 
 For which all Christians should rejoice. 
 
 And I do sing in rhyme. 
 When you have given thanks, 
 
 Unto your dainties fall, 
 Heav'n bless my master and my dame. 
 
 Lord bless me, and you all. 
 
152 
 
 ENGLISH SONG AND BALLAD MUSIC. 
 
 THE BRITISH GRENADIERS. 
 Tte correct date of this fine old melody appears altogether uncertain, as it 
 is to be found in different forms at different periods; but it is here placed in juxta- 
 position to Sir Edward NoeVs Delight, and All you that love good fellows, or 
 The London Prentice, because evidently derived from the same source. The ' 
 commencement of the air is also rather like Prince Buperfs March, and the end 
 resembles Old King Cole, ivith the difference of being major instead of minor. 
 Next to the National Anthems, there is not any tune of a more spirit-stirring 
 character, nor is any one more truly characteristic of English national music. 
 This version of the tune is as played by the band of the Grenadier Guards. The 
 words are from a copy about a hundred years old, with the music. 
 March. 
 
 ^ 
 
 ^m 
 
 ± 
 
 Some 
 
 talk 
 
 of 
 
 lex 
 
 - der, And some of Her 
 
 ^ 
 
 S 
 
 •-^ 
 
 Mj-gj; 
 
 -les. Of Hec-tor and Ly - san - der, And suchgreatnaraesas these; 
 
 s 
 
 n 
 
 ^^ 
 
 n 
 
 
 E 
 
 -^ 
 
 i=^ 
 
 But of all the world's brave he roes There's none that can com - pare, With a 
 
 i 
 
 s 
 
 ^ 
 
 rlLJ J JTD 
 
 Repeat the last part in Chorus. 
 
 a: 
 
 ^ 
 
 *^v * — ^ — * 
 
 tow row, row, row, row, row, To the Bri-tish Gre - na - dier. 
 
 w 
 
 w^ 
 
 Those heroes of antiquity ne'er saw a cannon hall. 
 Or knew the force of powder to slay their foes withal ; 
 But our brave boys do know it, and banish all their fears, 
 Sing tow, row, row, row, row, row, for the British Grenadiers. 
 Chorus. — But our brave hoys, &c. 
 
REIGN OF ELIZABETH. 153 
 
 Whene'er we are commanded to storm the palisades, 
 Our leaders march with fusees, and we with hand grenades, 
 We throw them from the glacis, about the enemies' ears. 
 Sing tow, row, row, row, row, row, the British Grenadiers. 
 Chorus. — We throw them, &c. 
 
 And when the siege is over, we to the town repair. 
 The townsmen cry Hurra, boys, here comes a Grenadier, 
 Here come the Grenadiers, my boys, who know no doubts or fears. 
 Then sing tow, row, row, row, row, row, the British Grenadiers. 
 Chorus. — Here come the, &c. 
 
 Then let us fill a bumper, and drink a health to those 
 Who carry caps and pouches, and wear the louped clothes. 
 May they and their commanders live happy all their years. 
 With a tow, row, row, row, row, row, for the British Grenadiers. 
 Chorus.- — May they, &c. 
 
 THE CUSHION DANCE. 
 The Cushion Dance was in favour both in court and country in the reign of 
 Elizabeth, and is occasionally danced even at the present day. In Lilly's JEuphues, 
 1580, Lucilla, says, "Trulie, Euphues, you have mist the cushion, for I was neither 
 angrie with your long absence, neither am I well pleased at your presence." This 
 is, perhaps, in allusion to the dance, in which each woman selected her partner by 
 placing the cushion before him. Taylor, the water-poet, calls it " a pretty little 
 provocatory dance," for he before whom the cushion was placed, was to kneel and 
 salute the lady. In Heywood's A Woman hilVd with Kindness, (which Henslow 
 mentions in his diary, in 1602), the dances which the country people call for are, 
 Rogero ; The Beginning of the World, or SeUenger's Round ; John, come hiss me 
 now ; Tom Tyler ; The hunting of the Fox ; The Hay ; Put on your smock a 
 Monday ; and The Cushion Dance ; and Sir Francis thus describes their style of 
 dancing : — 
 
 " Now, gallants, while the town-musicians 
 Finger tlieir frets within ; and the mad lads 
 And country lasses, every mother's child. 
 With nosegays and bride-laces in their hats. 
 Dance all their country measures, rounds, and jigs. 
 What shall we do ? Hark ! they're all on the hoigh ; 
 They toil like mill-horses, and turn as round ; 
 Marry, not on the toe : aye, and they caper. 
 But not without cutting ; j'ou shall see, to-morrow, 
 The hall floor peck'd and dinted like a mill-stone, 
 Made with their high shoes : though their skill be small, 
 Yet they tread heavy where their hob-nails fall." 
 When a partner was selected in the dance, he, or she, sang "Prinkum- 
 prankum is a fine dance," &c. ; which line is quoted by Burton, in his Anatomy 
 of Melancholy ; and, " No dance is lawful but Prinkum-prankum," in The Muses^ 
 Looking-glass, 1638. 
 
 In the Apothegms of King James, the Mirl of Worcester, &c., 1658, a wedding 
 
^^^ ENGLISH SONG AND BALLAD MUSIC. 
 
 entertainment is spoken of: and, " when the masque was ended, and time had 
 brought in the supper, the cushion led the dance out of the parlour into the hall," 
 Selden, speaking of Trenchmore and The Cushion Dance in Queen Elizabeth's 
 time, says, " Then all the company dances, lord and groom, lady and kitchen- 
 maid, no distinction."— (See ante p, 82.) In The Dancing Master of 1686, and 
 later editions, the figure is thus described : — 
 
 " This dance is begun by a single person (either man or woman), who, taking a 
 cushion in hand, dances about the room, and at the end of the tune, stops and sings, 
 ' This dance it will no further go." The musician answers, ' I pray you, good Sir, 
 why say you so ? ' — Man. ' Because Joan Sanderson will not come too.' — Musician. 
 ' She must come too, and she shall come too, and she must come whether she will 
 or no.' Then he lays down the cushion before the woman, on which she kneels, and 
 he kisses her, singing 'Welcome, Joan Sanderson, welcome, welcome.' Then she 
 rises, takes up the cushion, and both dance, singing, 'Prinkum-prankum is a fine dance, 
 and shall we go dance it once again, once again, and once again, and shall we go dance 
 it once again.' Then making a stop, the woman sings as before, ' This dance it will 
 no further go.' — Mmician. ' I pray you, madam, why say you so?" — Woman. ' Because 
 John Sanderson will not come too.' — Musician. ' He must come too, and he shall 
 , come too, and he must come whether he will or no.' And so she lays down the 
 cushion before a man, who kneeling upon it, salutes her ; she singing, ' Welcome, 
 John Sanderson, welcome, welcome.' Then he taking up the cushion, they take 
 hands, and dance round, singing as hefore. And thus they do, tUl the whole com- 
 pany are taken into the ring ; and if there is company enough, make a little ring in its 
 middle, and within that ring, set a chair, and lay the cufehion in it, and the first man 
 set in it. Then the cushion is laid hefore the first man, the woman singing, ' This 
 dance it will no further go ;' and as before, only instead of ' Come too,' they sing, ' Go 
 fro ;' and instead of ' Welcome, John Sanderson,' they sing, ' Farewell, John Sanderson, 
 farewell, farewell ;' and so they go out one by one as they came in. Note. — The 
 women are kissed hy all the men in the ring at their coming and going out, and like- 
 wise the men hy all the women." 
 
 This agreeable pastime tended, without doubt, to popularize the dance. 
 
 One of the engravings in Johannis de Brunes Emblemata (4to., Amsterdam, 
 1624, and 1661) seems to represent the Cushion Dance. The company being 
 seated round the room, one of the gentlemen, hat in hand, and with a cushion held 
 over the left shoulder, bows to a lady, and seems about to lay the cushion at her 
 
 feet. 
 
 In 1737, the Rev. Mr. Henley, or " Orator Henley," as he called himself, 
 advertised in the London Daily Post that he would deliver an oration on the 
 subject of the Cushion Dance. 
 
 A political parody is to be found in Poems on Affairs of State, from 1640 to 
 1704 called, " The Cushion Dance at Whitehall, by way of Masquerade. To the 
 tune of Joan Sanderson." 
 
 Unter Godfrey Aldworth, followed by the King and Duke. 
 King. " The trick of trimming is a fine trick, 
 
 And shall we go try it once again? 
 Duke. " The plot it will no further go. 
 King. " I pray thee, wise brother, why say you so," &c. 
 
REIGN OF ELIZABETH. 
 
 155 
 
 The tunes of Cushion-Dances ( like Barley-Breaks ) have the first part in 
 2, and the last in i time. The earliest printed copy I have found is in Tablature 
 de Luth, intitule Le Secret des Muses, 4to., Amsterdam, 1615, where it is 
 called Oaillarde Anglaise. In Nederlandtsche Gredenck-Glanch, Haerlem, 1626, 
 the same air is entitled Gfallarde Suit Margriet, which being intended as English, 
 may be guessed as " Galliard, Sweet Margaret." It is the following : — 
 Slow. 
 
 
 m 
 
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 J f I J J J \tJm 
 
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 jjij-.-^j I .J J J 
 
 Quick. 
 
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 £ 
 
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 ^ 
 
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 The Galliard (a word meaning brisk, gay ; and used in that sense by Chaucer) 
 is described by Sir John Davis as a swift and wandering dance, with lofty turns 
 and capriols in the air. Thoinot Arbeau, in his Orchesographie, 1589, says that, 
 formerly, when the dancer had taken his partner for the galliard, they first placed 
 themselves at the end of the room, and, after a bow and curtsey, they walked once 
 
156 
 
 ENGLISH SONG AND BALLAD MUSIC. 
 
 or twice round it. Then the lady danced to the other end, and remained there 
 dancing, while the gentleman followed; and presenting himself before her, made 
 some steps, and then turned to the right or left. After that she danced to the 
 other end, and he followed, doing other steps ; and so again, and again. " But 
 now," says he, " in towns they dance it tumultuously, and content themselves 
 with making the five steps and some movements without any design, caring only 
 to be in position on the sixth of the bar" (pourvu qu'ils tombent en cadence). 
 In the four first steps, the left and right foot of the dancer were raised alternately, 
 and on the fifth of the bar he sprang into the air, twisting round, or capering, as 
 best he could. The repose on the sixth note gave more time for a lofty spring.* 
 " Let them take their pleasures," says Burton, in his Anatomy of Melancholy; 
 " young men and maids flourishing in their age, fair and lovely to behold, well 
 attired, and of comely carriage, dancing a Greek Cralliarde, and, as their dance 
 requireth, keep their time, now turning, now tracing, now apart, now altogether, 
 now a curtesie, then a caper, &c., it is a pleasant sight." 
 
 The following tune is from The Dancing Master of 1686, called ^^Joan Sanderson, 
 or The Cushion Dance, an old Round Dance." 
 
 I 
 
 g^ 
 
 ^ 
 
 ^3 
 
 ^f^^ 
 
 Slow. I 
 
 ^ 
 
 m 
 
 ■sJ" 
 
 ^ 
 
 f^ 
 
 m^ 
 
 m 
 
 ^ 
 
 M^PS 
 
 IZZ 
 
 Quick. 
 
 j^i h rrir f ^ ip 
 
 m 
 
 fi- 
 
 r ' f ■ r' 
 
 M 
 
 m 
 
 ta 
 
 ^^ 
 
 ft 
 
 ^J Miil J' l JnM^ 
 
 ^m 
 
 r T- ' T- ' f- f g ^ 
 
 r^ 
 
 r- 
 
 r : 
 
 F^ 
 
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 il],J.^|^]|.^U£!^J 
 
 p-rv^ ''iT-'-f ■' 'f ■ V ■^T~ f^^^ 
 
 P 
 
 ^ 
 
 T=^ 
 
 a Narea, in his Glossary, refers to Cinque pace, but that of the bar, and the fifth on a long note at the commence- 
 was a dance in common time: four steps to the four beat? ment of the second bar. 
 
REIGN OF ELIZABETH. 
 
 157 
 
 Eeverting to the pavan and galliard, Morley says, " The pavan" (derived from 
 pavo, a peacock) "for grave dancing; galliards, which usually follow pavans, they 
 are for a lighter and more stirring kind of dancing." The pavan was sometimes 
 danced by princes and judges in their robes, and by ladies with long trains held up 
 behind them ; but usually the galliard followed the pavan, much in the same manner 
 as the gavotte follows the minuet. Butler, in his Principles of Musich, 1636, says, 
 " Of this sort (the Ionic mood) are pavans, invented for a slow and soft kind of 
 dancing, altogether in duple proportion [common time]. Unto which are framed 
 galliards for more quick and nimble motion, always in triple proportion : and, 
 therefore, the triple is oft called galliard time, and the duple pavan time. In this 
 kind is also comprehended the infinite multitude of Ballads, set to sundry pleasant 
 and delightful tunes by cunning and witty composers, with country dances fitted 
 unto them, . . . and which surely might and would be more freely permitted by 
 our sages, were they used as they ought, only for health and recreation." — (p. 8.) 
 At this time Puritanism was nearly at its height. 
 
 WITH MY FLOCK AS WALKED I. 
 
 Stafford Smith found this song, with the tune, ia a manuscript of about the year 
 1600, and printed it in his Musica Antiqua, p. 57. I discovered a second copy of 
 the tune ia Elizabeth Rogers' MS. Virginal book, in the British Museum, under 
 the name of The faithful Brothers. 
 
 The song is evidently in allusion to Queen Elizabeth, and in the usual com- 
 plimentary style to her beauty, to her vow of virginity, &c. 
 Gracefully. 
 
 i 
 
 fi: 
 
 z r=^ 
 
 i 
 
 55^ 
 
 w 
 
 i=M 
 
 r-s 
 
 *~ir 
 
 With my flock as walk - ed r I, The plains and mountains o 
 
 ver, 
 
 4p=ft 
 
 ^ 
 
 ^ 
 
 1= 
 
 Late, a dam - sel pass'd me by; 
 
 With an in-tent to move her, I 
 
 ^ 
 
 dl 
 
 t ^^^ ^ 
 
 
 ^ 
 
 ^ 
 
 stept in her way ; She stept a - wry, But oh ! I shall e - ver love her. 
 
 ^ 
 
 
 ^ 
 
158 
 
 ENSLISH SONG AND BALLAD MUSIC. 
 
 Such a face she had for to 
 
 Invite any man to love her; 
 
 But her coy behaviour taught 
 
 That it was but in vain to move her ; • 
 
 For divers so this dame had vrrought 
 
 That they themselves might move her.' 
 
 Phoebus for her favour spent 
 His hair, her fair brows to cover ; 
 Venus' cheek and lips were sent, 
 That Cupid and Mars might move her ; 
 But Juno, alone, her nothing lent, 
 Lest Jove himself should love her. 
 
 Though she be so pure and chaste. 
 That nobody can disprove her ; 
 So demure and straightly cast. 
 That nobody dares to move her ; 
 Yet is she so fresh and sweetly fair 
 That I shall always love her. 
 
 Let her know, though fair she be. 
 That there is a power above her ; 
 Thousands more enamoured shall be, 
 Though little it will move her ; 
 She still doth vow virginity, 
 When all the world doth love her. 
 
 GO NO MORE A RUSHING. 
 This tune is called Go no more a rushing, in a MS. Virginal Book of Byrd's 
 arrangements and compositions, in the possession of Dr. Rimbault ; and Tell me, 
 Daphne, in Queen Elizabeth's Virginal Book. 
 Moderate time. 
 
 ^ 
 
 f^J,i | j,j^4tft^ 
 
 ^ 
 
 3 
 
 Go no more a rush-ing. 
 
 =T 
 
 ES 
 
 ^ 
 
 ^ 
 
 "yff 
 
 ^^ 
 
 M^m 
 
 J J J ^ 1 j f 3 I J J J J^ 
 
 ^ 
 
 ? 
 
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 rr ' FJ ji ' jj^^ ^ 
 
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 ^ 
 
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 jTi"i yi 4 
 
 33 
 
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 4i'i; 
 
 THE BLIND BEGGAR'S DAUGHTER OF BETHNAL GREEN. 
 This tune was found by Dr. Rimbault in a MS. volume of Lute Music, written 
 by Rogers, a celebrated lutenist of the reign of Charles 11., in the library at 
 Etwall Hall, Derbyshire. It is there called The Cripple, and the ballad of 
 The stout Cripple of Cornwall is directed to be sung to the tune of The Hind 
 Beggar. See Roxburghe Collection, i. 389, and Bagford, i. 32. It is also in 
 Evans' Old Ballads, i. 97 (1810) ; but, as too frequently the case, the name of 
 the tune to which it was to be sung, is there omitted. 
 
 • This line is evidently incorrect, but I have no other copy to refer to. 
 
KBIGN OF ELIZABETH. 
 
 159 
 
 Pepys, in his diary, 25tli June, 1663, speaks of going with Sir William and 
 Lady Batten, and Sir J. Minnes, to Sir W. Rider's, at Bednall Green, to dinner, 
 " a fine place ; " and adds, " This very house was built by the blind Beggar of 
 Bednall Green, so much talked of and sang in ballads ; but they say it was only 
 some outhouses of it." The house was called Kirby Castle, then the property of 
 Sir William Ryder, Knight, who died there in 1669. 
 
 " This popular old ballad," says Percy, " was written in the reign of Ehzabeth, 
 as appears not only from verse 23, where the arms of England are called the 
 ' Queenes armes;' but from its tune being quoted in other old pieces written in 
 her time. See the ballad on Mary Ambree,^'' ka. 
 
 In a black-letter book called Tlie World's Folly, we read that " a dapper fellow, 
 that in his youth had spent more than he got, on his person, fell to singing 
 The blind Beggar, to the tune oi Seigh ho! " — (Brit. Bibliographer, ii. 560.) 
 
 In the " Collection of Loyal Songs written against the Rump Parliament," and 
 in " Rats rhimed to death, or the Rump Parliament hang'd up in the shambles " 
 (1660), are many songs to the tune of The blind Beggar, as well as in the King's 
 Pamphlets, Brit. Museum. 
 
 Among them, "A Hymn to the gentle craft, or Hewson's lamentation" 
 (a satire on Lord Hewson, one of Cromwell's lords, who had been a cobbler, 
 and had but one eye), and " The second Martyrdom of the Rump." 
 
 The tune was sometimes called Pretty Bessy, and a ballad to be sung to it, 
 under that name, is in the Roxburghe Collection, i. 142. 
 Moderate time and with expression. 
 
 i 
 
 ^ 
 
 e 
 
 ^ 
 
 M 
 
 ^ 
 
 ^ 
 
 ^ 
 
 It 
 
 %tR=sJ= 
 
 a blind beg 
 
 gar had long lost bis sigbt, He 
 
 ^ 
 
 m 
 
 is 
 
 ^ 
 
 n 
 
 ^ 
 
 f T(^\i n 
 
 4- 
 
 P=^=^ E^ 
 
 =feiE 
 
 -0 -tt^e^ 1^ - ■ 4 
 
 had a fair daughter of beau - ty most bright, And ma - ny a gal - lant brave 
 
 I^ 
 
 g 
 
 ^ 
 
 ^ 
 
 sui tor had she, For none was so come - ly aa pret ty Bes-sie. 
 
 ^ 
 
 
 =3^ 
 
160 
 
 ENGLISH SONG AND BALLAD MUSIC. 
 
 The ballad of The Hind Beggar will be found in Percy's Reliques, book ii., 
 series 2 ; in the Roxburghe Collection, i. 10 ; and in Dixon's Smgs of the Peasantry 
 of England. It is still kept in print in Seven Dials, and sung about the country, 
 but to the following tune. 
 
 Moderate time and with expression. 
 
 a 
 
 3 
 
 ^ 
 
 1 — • 
 
 beg - gar had long lost his sight, H 
 
 ^ 
 
 S^ 
 
 ^ 
 
 It was a, blind beg - gar 
 
 ^s ^m 
 
 ^ 
 
 ^ 
 
 ^m 
 
 ^^^^^^Fi^rm 
 
 -* -T* « «- tf ■* ^* ^ ^ 
 
 had. a fair daughter of beau - ty most bright; And ma - ny a gallant brave 
 
 3E 
 
 ^^ 
 
 -«» 
 
 ^ 
 
 J i^j j-^ i jw 
 
 ^ 
 
 it 
 
 none was so come - ly as pret^ty Bes sie 
 
 T. f 
 
 sui - tor had she, , For 
 
 * 
 
 :t 
 
 ^ 
 
 ^ 
 
 COCK LORREL, ob COOK LAWREL. 
 This tune is in the Choice Collection of 180 Loyal Songs, &c. (3rd edit. 1685), 
 and in PiUs to purge Melancholy, as weU as in every edition of The Dancing 
 Master, from 1650 to 1725. In The Dancing Master it is called An old man is 
 a led full of hones, from a song, of which four lines are quoted in Rowley's 
 A Match at Midnight, act i., sc. 1., and one in Shirley's The Constant Maid, 
 act ii., sc. 2., where the usurer's niece sings it. 
 
 The song of Cooh Lorrel is in Ben Jonson's masque. The Cfipsies metamor- 
 phosed. Copies are also in the Pepys Collection of Ballads ; in Dr. Percy's folio 
 MS., p. 182;" and, with music, in Pills to purge Melancholy. It is a satire upon 
 rogues and knaves of all classes supposed to be doomed to perdition. Cook 
 Lorrel, a notorious rogue, invites his Satanic Majesty into the Peak in Derby- 
 shire to dinner; and he, somewhat inconvenienced by the roughness of the 
 road, commences by feasting on the most delicate sinner : 
 
 " His stomach was queasie (for, riding there coach'd. 
 The jogging had caused some crudities rise) ; 
 To help it he called for a Puritan poach'd, 
 
 That used to turn up the eggs of his eyes, &c." 
 
 See Dr, Dibdin's Decameron, vol. 3. 
 
RBIG-N OF ilLIZABETH. 
 
 161 
 
 Wynken de Worde printed a tract called Cache LorrelVs Bote ; in which persons 
 of all classes, and, among them the MynstreUes, are summoned to go on board 
 his Ship of Fools. Qoch Lorels's Boat is mentioned in a MS. poem in the 
 Bodleian Library, called Bociour Bouhle Ale, and in John Heywood's Epigrams 
 upon 300 Proverbs, 1566 (in the Epigram upon a Busy-body, No. 189). 
 
 In S. Rowland's Martin Markhall, his defence and answer to the Bellman of 
 London, 1610, is a list of rogues by profession, in which Cock Lorrel stands 
 second. He is thus described : " After him succeeded, by the general council, 
 one Cock Lorrell, the most notorious knave that ever lived. By trade he was a 
 tinker, often carrying a pan and hammer for shew ; but when he came to a good 
 booty, he would cast his profession in a ditch, and play the padder," In 1565, 
 a book was printed called The Fraternitye of Yacabondes ; ivhereunto also is 
 adjoyned the twenty five orders of knaves: confirmed for ever ly Cocke Lor ell. 
 
 In Satirical Poems by Lord Rochester (Harl. MSS., 6913) there is a ballad to 
 the tune of An old man is a bed full of bones, but the air is far more generally 
 referred to by the name of Cock Lorrel. 
 
 In the " Collection of Loyal Songs written against the Rump Parliament " 
 there are many to this air, such as " The Rump roughly but righteously 
 handled;" "The City's Feast to the Lord Protector;" " St. George for England" 
 (commencing, "The Westminster Rump hath been little at ease"); &c., &c. 
 Others in the King's Pamphlets, Brit. Mus. ; in the Collection of 180 Loyal 
 Songs, 1685 ; in Poems on Affairs of State, vol. i., 1703; and in the Roxburghe 
 Collection of Ballads. 
 
 A tune called The Painter is sometimes mentioned, and it appears to be 
 another name for this air, because the ballad of " The Painter's Pastime : or a 
 woman defined after a new fashion," &c., was to be sung to the tune of Cook 
 Laurel. A black-letter copy is in the Douce Collection (printed by P. Brooksby, 
 at the Golden Ball, &c.). 
 
 Some copies of the tune are in a major, others in a minor key. The four lines 
 here printed to it are from an Antidote to Melancholy, 1651, for, although some 
 of the ballads above quoted are witty, they would not be admissible in the 
 present day. 
 
 i 
 
 i 
 
 ^ 
 
 * * * * * ~y 
 
 K\ r > -i 
 
 m-uu ^ ^>T i 
 
 i^s 
 
 Tf * K ^ ■- P 
 
 Let's cast a-way care, and merrily sing, For there is a time for ev'ry thing, He that 
 
 ^ 
 
 ^WF^ 
 
 ^^ 
 
 ^ 
 
 a 
 
 playsathis work, And works at his play, Doth neither keep working ""^ °. '" ^y- 
 
 ■*- -a- J^ J 
 
 I 
 
 M 
 
102 
 
 ENGLISH SONG AND BALLAD MUSIC. 
 
 FORTUNE MY FOE. 
 
 The tune of Fortune is in Queen Elizabeth's Virginal Book; in William 
 Ballet's MS. Lute Book; in Vallet's Tahlature de Luth, book i., 1615, and 
 book ii., 1616; in BelleropJion, 1622; in Nederlandische Gredenck-Qlanck, 1626 ; in 
 Dr. Oamphuysen's Stichtelycke Bymen, 1652 ; and in other more recent publica- 
 tions. In the Dutch books above quoted, it is always given as an English air. 
 
 A ballad " Of one complaining of the mutability of Fortune" was licensed to 
 John Charlewood to print in 1565-6 (See Collier's Mo. Reg. Stat. Comp., p. 139). 
 A black-letter copy of " A sweet sonnet, wherein the lover exclaimeth against 
 Fortune for the loss of his lady's favour, almost past hope to get it again, and in 
 the end receives a comfortable answer, and attains his desire, as may here appear: 
 to the tune oi Fortune my foe,'' is in the Bagford Collection of Ballads (643 m., 
 British Museum). It begins as follows : — 
 Slow. 
 
 ^^ -T ^crH 1 ■ I ..J. 
 
 i 
 
 ^ 
 
 EE 
 
 ^ 
 
 ^ 
 
 For - tune my foe, why dost thou frown on 
 
 ^ 
 
 me? 
 
 And will thy 
 
 ^E 
 
 iEB 
 
 ^ 
 
 y 
 
 i 
 
 ^Ei 
 
 ifc 
 
 ^ 
 
 » • 
 
 ^^E^^=^^ 
 
 i== 
 
 fa vours ne - ver great-er be ? Wilt thou, I say, for ev - er breed i 
 
 =£= 
 
 IZt 
 
 3=5=3e 
 
 5S 
 
 2^ 
 
 :^ 
 
 ^ 
 
 P 
 
 "T 
 
 pam, 
 
 And wilt thou not 
 
 re - store my . ' a 
 
 •^ joys 
 
 -s- 
 
 gain 1 
 
 iSF 
 
 3^ 
 
 There are twenty- two stanzas, of four lines each, in the above. 
 
 Fortune my foe is alluded to by Shakespeare in The Merry Wives of Windsor, 
 act ii., sc. 3 ; and the old ballad of Titus Andronicus, upon which Shakespeare 
 founded his play of the same name, was sung to the tune. A copy of that ballad 
 is in the Roxburghe Collection, i. 392, and reprinted in Percy's Meliques. 
 
 Ben Jonson alludes to Fortune my foe, in The case is altered, and in his masque 
 The Gipsies Metamorphosed; Beaumont and Fletcher, in The Custom of the 
 Country, The Knight of the Burning Pestle, and The Wild Ooose Chase ; Lilly 
 o-ives the first verse in his Maydes Metamorphosis, 1600 ; Chettle mentions the 
 tune in Kind-harfs Breame, 1592 ; Burton, in his Anatomy of Melancholy, 1621 ; 
 Shirley, in The Grateful Servant, 1630 ; Brome, in his Antipodes, 1638. See 
 
REIGN OF ELIZABETH. 163 
 
 also Lodge's Rosalind, 1590 ; Lingua, 1607 ; Euery Woman in her humour, 1609 ; 
 - The Widoiu's Tears, 1612 ; Henry Hutton's Follie's Anatomic, 1619 ; Tlie two 
 merry Milhnaids, 1620 ; Vox Borealis, 1641 ; The Mump, or llirror of the 
 Times, 1660 ; Toni's Essence, 1677, &c. In Forbes' Qantus, 1682, is a parody 
 on Fortune my foe, beginning, Satan my foe, full of iniquity, with wliicli the tune 
 is there printed. 
 
 One reason for the great popularity of this air is that "the metrical lamenta- 
 tions of extraordinary criminals have been usually chanted to it for upwards of 
 these two hundred years." Rowley alludes to this in his Nohle Soldier, 1634: 
 " The King ! shall I be bitter 'gainst the King ? 
 I shall have scurvy ballads made of me, 
 Sung to the hanging tune .'" 
 And in " The penitent Traytor : the humble petition of a Devonshire gentleman, 
 who was condemned for treason, and executed for the same, anno 1641," the 
 last verse but two runs thus : 
 
 " How could I bless thee, couldst thou take away 
 My life and infamy both in one day ? 
 But this in ballads will survive I know, 
 Sung to that preaching tune, Fortune my foe." 
 The last is from " Loyal Songs written against the Rump Parliament." 
 
 Deloney's ballad, " The Death of King John," in his Strange Histories, 1607 ; 
 and " The most cruel murder of Edward V., and his brother the Duke of York, 
 in the Tower, by their uncle, the Duke of Gloucester" (reprinted in Evans' Old 
 Ballads, iii. 13, ed. 1810), are to this tune; but ballads of this description which 
 were sung to it are too many for enumeration. In the first volume of the Rox- 
 burghe Collection, at pages 136, 182, 376, 392, 486, 487, 488, and 490, are 
 ballads to the tune of Fortune, and all about murders, last dying speeches, or 
 some heavy misfortunes. 
 
 In the Pepys' Collection, i. 68, is a ballad of '' The lamentable burning of the 
 city of Cork, by the lightning which happened the last day of May, 1622, after 
 the prodigious battle of the stares" (i.e., starlings), "which fought most strangely 
 over and near the city the 12th and 14th May, 1621." 
 
 Two other ballads require notice, because the tune is often referred to under 
 their names, I>r. Faustus, and Aim not too high. The first, according to the title 
 of the ballad, is " The Judgment of God shewed upon Dr. John Faustus : tune, 
 Fortune my foe. ''^ A copy is in the Bagford Collection.* It is illustrated by two 
 woodcuts at the top : one representing Dr. Faustus signing the contract with the 
 devil ; and the other shewing him standing in a magic circle, with a wand in his 
 left hknd, and a sword with flame running up it, in his I'ight: a little devil 
 seated on his right arm. Richard Jones had a licence to print the ballad " of the 
 life and deathe of Dr. Faustus, the great cungerer," on the 28th Feb., 1588-9. 
 
 In the Roxburghe Collection, i. 434, is "Youth's warning piece," &c., " to the 
 tune of Br. Faustus;" printed for A. K., 1636. And in Dr. Wild's Ber 
 Boreale, 1671, " The recantation of a penitent Proteus," &c., to the tune of 
 Br. Faustus. 
 
 ■ It is also printed in my National English Airs, quarto, part i., 1838. 
 
164 ENGLISH SONG AND BALLAD MUSIC. 
 
 The other name is derived from — 
 
 " An excellent song, wherein you shall finde 
 Great consolation for a troubled mind. 
 To the tune oi Fortune my foe." Commencing thus : 
 
 "Ayme not too hie in things above thy reach ; 
 Be not too foolish in thine owne conceit ; 
 As thou hast wit and worldly wealth at will, 
 So give Him thanks that shall encrease it still," &c. 
 
 This ballad is also in the Roxburghe Collection, i. 106., printed by the "Assignes 
 of Thomas Symcocke : " and, in the same, others to the tune of Aim not too high 
 will be found, viz., in vol. i., at pages 70, 78, 82, 106, 132, and 482 ; in vol. ii., 
 at pages 128, 130, 189, 202, 283, 482, and 562, &c. 
 
 In the Douce Collection there is a ballad of " The manner of the King's " 
 [Charles the First's] " Trial at "Westminster Hall," &c. ; " the tune is Aim not 
 too high." 
 
 DEATH AND THE LADY. 
 
 Death and the Lady is one of a series of popular ballads which had their rise 
 from the celebrated Dance of Death. A Dance of Death seems to be alluded to 
 in The Vision of Pierce Plowman, written about 1350 : 
 
 " Death came driving after, and al[l] to dust pashed 
 Kyngs and Kaisars, Knights and Popes ;'' 
 
 but the subject was rendered especially popular in England by Lydgate's free 
 translation from a French version of the celebrated German one by Machaber. 
 
 Representations of The Dance of Death were frequently depicted upon the 
 walls of cloisters and cathedrals. Sir Thomas More speaks of one " pictured in 
 Paules," of which Stow, in his Survey of London, gives the following accoimt : — 
 " John Carpenter, town clerk of London in the reign of Henry VI., caused, with 
 great expense, to be curiously painted upon board, about the north cloister of 
 Paul's, a monument of Death leading all estates, with the speeches of Death, and 
 answer of every state. This cloister was pulled down in 1549." 
 
 On the walls of the Hungerford Chapel in Salisbury Cathedral was a painting 
 executed about 1460, representing Death holding conversation with a young 
 gallant, attired in the fullest fashion, who thus addresses him : — 
 " Alasse, Dethe, alasse ! a blessful thing thou were 
 If thou woldyst spare us in our lustynesse. 
 And cum to wretches that bethe of he[a]vy chere, 
 When they thee clepe [call] to slake their dystresse. 
 But, owte alasse ! thyne owne sely self-willdnesse 
 Crewelly we[a]rieth them that sighe, wayle, and weepe. 
 To close their eyen that after thee doth clepe." 
 
 To which Death gloomily replies : 
 
 " Graceles Gallante, in all thy luste and pryde 
 Remembyr that thou ones schalte dye ; 
 De[a]th shold fro' thy body thy soule devyde. 
 Thou mayst him not escape, certaynl^. 
 
REIGN OF ELIZABETH. 165 
 
 To the de[a]de bodys cast downe tjiyne eye, 
 Behold them well, consyder and see, 
 For such as they are, such shalt thou be." 
 Among the Roxburghe Ballads is one entitled " Dea-th's uncontrollable sum- 
 mons, or the mortality of mankind; being a dialogue between Death and a young 
 man," which very much resembles the verses lq the Hungerford Chapel, above 
 quoted. We have also " The dead man's song," reprinted in Evans' Collection, 
 "Death and the Cobbler," and "Death's Dance," proving the popularity of these 
 moralizations on death. Another "Dance and Song of Death," which was 
 licensed in 1568, has been printed at page 85. 
 
 In the Douce Collection is a black-letter copy of " The midnight messenger, or 
 a sudden call from an earthly glory to the cold grave, in a dialogue between Death 
 and a rich man," &c., beginning — 
 
 " Thou wealthy man, of large possessions here. 
 Amounting to some thousand pounds a year, 
 Extorted by oppression from the poor, 
 The time is come that thou shalt be no more," &c. ; 
 which is reprinted in Dixon's Songs of the Peasantry, &c. 
 
 In Mr. Payne Collier's MS. volume, written in the reign of James I., is a 
 dialogue of twenty-four stanzas, between " Life and Death," commencing — 
 Life. — " Nay, what art thou, that I should give 
 To thee my parting breath ? 
 Why may not I much longer live ? " 
 Death. — " Behold ! my name is Death." 
 Life. — " I never have seen thy face before ; 
 Now tell me why thou came : 
 I never wish to see it more — 
 Death. — " Behold ! Death is my name,'' &c. 
 The foUowing " Dialogue betwixt an Exciseman and Death " is from a copy in 
 the Bagford Collection, dated 1659. 
 
 Upon a time when Titan's steeds were driven Speake, what's thy name? and quickly tell 
 To drench themselves against the western me this, 
 
 heaven ; Whither thou goest, and what thy bus'ness is ? 
 And sable Morpheus had his curtains spread, exciseman. 
 
 And silent night had laid the world to bed, Whate'er my bus'ness is, thou foule-mouthed 
 'Mongst other night-birds which did seek for scould, 
 
 prey, I'de have you know I scorn to be coutroul'd 
 
 A blunt exciseman, which abhorr'd the day, By any man that lives ; mvich less by thou, 
 
 Was rambling forth to seeke himself a booty Who blurtest out thou knowst not what, nor 
 'Mongst merchants' goods which had not paid how ; 
 
 the duty : I goe about my lawful bus'ness ; and 
 
 But walking all alone, Death chanc'd to meet I 'le make you smarte for bidding of mee stand. 
 
 him, DEATH. 
 
 And in this manner did begin to greet him. Imperious cox-combe ! is your stomach vext ? 
 
 DEATH. Pray slack your rage, and barken what comes 
 Stand, who comes here? what means this knave next : 
 
 to peepe I have a writt to take you up ; therefore. 
 
 And sculke abroad, when honest men should To chafe your blood, I bid you stand, once 
 
 sleepe ? more. 
 
166 
 
 ENGLISH SONG AND BALLAD MUSIC. 
 
 EXCISEMAN. 
 
 A writt to take mee up ! excuse mee, sir, 
 You doe mistake, I am an officer 
 In publick service, for my private wealth ; 
 My bus'ness is, if any seeke by stealth 
 To undermine the states, I doe discover 
 Their falsehood ; therefore hold your hand, — 
 give over. 
 
 DEATH. 
 
 Nay, fair and soft ! 'tis not so quickly done 
 As you conceive it is : I am not gone 
 A jott the sooner, for your hastie chat 
 Nor bragging language ; for I tell you flat 
 'Tis more than so,_ though fortune seeme to 
 
 thwart us, 
 Such easie terms I don't intend shall part us. 
 With this impartial arme I'll make you feele 
 My fingers first, and with this shaft of Steele 
 I'le peck thy bones ! as thou alive wert hated, 
 So dead, to doggs thou shalt be segregated. 
 
 EXCISEMAN. 
 
 I'de laugh at that ; I would thou didst but dare 
 
 To lay thy fingers on me ; I'de not spare 
 
 To hack thy carkass till my sword was broken, 
 
 I'de make thee eat the wordes which thou hast 
 spoken ; 
 
 All men should warning take by thy trans- 
 gression, 
 
 How they molested men of my profession. 
 
 My service to the states is so welle known. 
 
 That I should but complaine, they'd quickly 
 owne 
 
 My publicke grievances ; and give mee right 
 
 To cut your eares, before to-morrow night. 
 
 DEATH. 
 
 Well said, indeed ! but bootless all, for I 
 Am well acquainted with thy villanie; 
 I know .thy ofiice, and thy trade is such. 
 Thy service little, and thy gaines are much : 
 Thy braggs are many; but 'tis vaine to swagger, 
 And thinke to flghte mee with thy guilded 
 
 dagger : 
 As I abhor thy person, place, and threate. 
 So now I'le bring thee to the judgement seate. 
 
 Of all the ballads on the subject of Death, the most popular, however, was 
 Death and the Lady. In Mr. George Daniel's Collection there is a ballad 
 " imprinted at London by Alexander Lacy" (about 1572), at the end of which 
 is a still older woodcut, representing Death and the Lady. It has been used as 
 an ornament to £11 up a blank in one to which it bears no reference ; but was, in 
 all probability, engraved for this, or one on the same subject. The tune is in 
 
 EXCISEMAN. 
 
 The judgement seate I I must confess that 
 
 word 
 Doth cut my heart, like any sharpned sword : 
 What! come t' account! methinks the dreadful 
 
 sound 
 Of every word doth make a mortal wound, 
 Which sticks not only in my outward skin, 
 But penetrates my very soule within. 
 'Twas least of all my thoughts that ever Death 
 Would once attempt to stop excisemen's breath. 
 But since 'tis so, that now I doe perceive 
 You are in earnest, then I must relieve 
 Myself another way : come, wee'l be friends, 
 If I have wronged thee, I'le make th' amendes. 
 Let's joyne together; I'le pass my word this 
 
 night 
 Shall yield us grub, before the morning light. 
 Or otherwise (to mitigate my sorrow). 
 Stay here, I'le bring you gold enough to- 
 morrow. 
 
 DEATH. 
 
 To-morrow's gold I will not have ; and thou 
 Shalt have no gold upon to-morrow : now 
 My final writt shall to th' execution have thee, 
 All earthly treasure cannot help or save thee. 
 
 EXCISEMAN. 
 
 Then woe is mee ! ah ! how was I befool'd! 
 I thought that gold (which answereth all 
 
 things) could 
 Have stood my friend at any time to baile mee ! 
 But griefe growes great, and now my trust doth 
 
 faile me. 
 Oh! that my conscience were but clear within, 
 Which now is racked with my former sin; 
 With horror I behold my secret stealing, 
 My bribes, oppression, and my graceless deal- 
 ing ; 
 My office-sins, which I had clean forgotten. 
 Will gnaw my soul when all my bones are ' 
 
 rotten : 
 I must confess it, very griefe doth force mee. 
 Dead or alive, both God and man doth curse 
 
 mee. 
 Let all excisemen hereby warning take, 
 To shun their practice for their conscience sake. 
 
REIGN OF ELIZABETH. 
 
 167 
 
 Henry Carey's llusical Centnry, 1738. He calls it " the old tune of Death and 
 the Lady." Also in The Cobbler's Opera, 1729 ; The Fashionable Ladij ; and 
 many others about the same date. 
 
 The oldest copies of Aim not too high direct it to be sung to the tune of Fortune, 
 but there is one class of ballads, said to be to the tune of Aim not too high, that 
 could not well be sung to that air. The accent oi Fortune my foe is on the first 
 syllable of each line; exactly agreeing -with the tune. But these ballads on 
 Death have the accent on the second, and agree with the tune of Death and the 
 Lady. See, for instance, the four lines above quoted from The Dialogue between 
 Death and the rich man, which the black-letter copies direct to be sung to the 
 tune of Aim not too high. I believe, therefore, that Aim not too high had either 
 a separate tune, which is the same I find under the name of Death and the Lady, 
 or else. Fortune, being altered by the singer for the accent of those ballads, and 
 sung in a major key, gradually acquired a difi'erent shape. (Many of these airs 
 are found both in major and minor keys.) This would accoimt for Fortune and 
 Aim not too high being so frequently cited as different tunes in ballads printed 
 about the same period. 
 
 I suppose, then, that ballads to the tune of Aim not too high may be either 
 to Fmiune, or Death and the Lady; a point to be determined generally by the 
 accent of the words. 
 
 The ballad of Death and the Lady is printed in a small volume entitled A Gruide 
 to Heaven, 12mo., 1736 ; and it is twice mentioned in Goldsmith's popular tale, 
 The Vicar of Wakefield, first printed in 1776. 
 > Slow. 
 
 It r^i I ^ I J I J I I I I I r a - 
 
 
 mm 
 
 i 
 
 s 
 
 ^i? 
 
 • ^3t 
 
 Death. Fair La - dy, lay your cost ly robes ,a 
 
 side. 
 
 f 
 
 No 
 
 ^E 
 
 ^m 
 
 m 
 
 Wf^. 
 
 Ion ger may you glo ry in your pride ; 
 
 Take leave of ev'-ry 
 
 ^ 
 
 i^ 
 
 m^M^ 
 
 rr^ 
 
 rf. 
 
 -i^ 
 
 -•'- -J- i- I f -r -*- ' T r "^ 
 
 car-nal vain de light, I'm come to sum-mon you a - way this night. 
 
 32: 
 
 i=rri ■ J- td: 
 
 =3= 
 
168 
 
 ENGLISH SONG AND BALLAD MUSIC. 
 
 lADY. 
 
 What bold attempt is this ? pray let me know 
 From whence you come, and whither I must go! 
 Shall I, who am a lady, stoop or bow 
 To such a pale-fac'd visage? Who art thou? 
 
 DEATH. 
 
 Do.you not know me? Well, I'll tell you, then : 
 'Tis I who conquer all the sons of men ! 
 Ko pitch of honour from my dart is free ; 
 My name is Death ! have you not heard of me ? 
 
 LADY. 
 
 Yes, I have heard of thee time after time ; 
 But, being in the glory of my prime, 
 I did not think you would have called so soon. 
 Why must my sun go down before its noon ? 
 
 DEATH. 
 
 Talk not of noon ! you may as well be mute ; 
 This is no more the time for to dispute : 
 Your riches, jewels, gold, and garments brave — 
 Houses and lands, must all new masters have. 
 Though thy vain heart to riches was inclin'd, 
 Yet thou must die, and leave them all behind. 
 
 LADY. 
 
 My heart is cold ; I tremble at the news ! 
 Here's bags of gold if thou wilt me excuse, 
 And seize on them : and finish thou the strife 
 Of those that are most weary of their life. 
 Are there not many bound in prison strong. 
 In bitter grief of soul have languish 'd long? 
 All such would find the grave a place of rest 
 From all the griefs by which they are opprest. 
 Besides, there's many both with hoary head, 
 And palsied joints, from which all strength is 
 
 fled. 
 Release thou those, whose sorrows are so great. 
 But spare my life to have a longer date. 
 
 DEATH. 
 
 Though they, by age, are full of grief and 
 
 pain. 
 Yet their appointed time they must remain. 
 I come to none before their warrant's seal'd. 
 And when it is, all must submit and yield ; 
 I take no bribe, believe me this is true ; 
 Prepare yourself, for now I come for you. 
 
 LADY. 
 
 Be not severe ! O Death ! let me obtain 
 A little longer time to live and reign ! 
 Fain would I stay, if thou my life wilt spare, 
 I have a daughter, beautiful and fair ; 
 I'd live to see her wed, whom I adore; 
 Grant me but this, and I will ask no more. 
 
 DEATH. 
 
 This is a slender, frivolous excuse, 
 I have you fast, and will not let you loose ; 
 Leave her to Providence, for you must go 
 Along with me, whether you will or no. 
 I, Death, command e'en kings to leave their 
 
 crown, 
 And at my feet they lay their sceptres down. 
 If unto kings this favour I don't give, 
 But cut them off, can you expect to live 
 Beyond the limits of your time and space ? 
 No I I must send you to another place. 
 
 LADY. 
 
 You learned doctors, now express your skill, 
 And let not Death of me obtain his will ; 
 Prepare your cordials, let me comfort find. 
 And gold shall fly like chaff before the wind I 
 
 DEATH. 
 
 Forbear to call, their skill will never do. 
 They are but mortals here, as well as you ; 
 I gave the fatal wound, my dart is sure ; 
 'Tis far beyond the doctor's skill to cure. 
 How freely can you let your riches fly 
 To purchase life, rather than yield to die ! 
 But while you flourish'd here in all your store, 
 You would not give one penny to the poor. 
 Who in God's name their suit to you did make ; 
 You would not spare one penny for His sake. 
 The Lord beheld wherein you did amiss. 
 And calls you hence to give account for this. 
 
 LADY. 
 
 Oh, heavy news ! must I no longer stay ? 
 How shall I stand at the great judgment day." 
 Down from her eyes the crystal tears did flow : 
 She said, "None knows what now I undergo. 
 Upon a bed of sorrow here I lie. 
 My carnal life makes me afraid to die ; 
 My sins, alas ! are many, gross, and foul. 
 Lord Jesus Christ have mercy on my soul ! 
 And though I much deserve thy righteous 
 
 frown. 
 Yet pardon. Lord, and send a blessing down !" 
 
 Then, with a dying sigh, her heart did break, 
 And she the pleasures of this world forsake. 
 Thus do we see the high and mighty fall. 
 For cruel death shows not respect at all 
 To any one of high or low degree : 
 Great men submit to death, as well as we. 
 If old or young, our life is but a span — 
 A lump of clay — so vile a creature's man. 
 Then happy they whom Christ has made his 
 
 care — 
 Die in the Lord, and ever blessed are ! 
 
REIGN OF ELIZABETH. 
 
 169 
 
 THE KING AND THE MILLER OF MANSFIELD. 
 
 This tune was found by Dr. Rimbault in a MS. volume of virginal music in tlie 
 possession of T. Birch, Esq., of Repton, Derbyshire. The black-letter copies of 
 the ballad of King Henry II. and the Miller of Mansfield, direct it to be sung to 
 the tune of The French Levalto, and, as the air was found under that name, it 
 may be a French tune, although neither Dr. Rimbault nor I think it so. The 
 progression of the last four notes in each part is very English in character. 
 
 There are copies of the ballad in the Roxburghe Collection (v. i. 178 and 228) ; 
 in the Bagford (p. 25) ; and ia the Pepys. It is also in Old Ballads, 1727, 
 v. i., p. 53 ; and in Percy's Heliques, series 3, book ii. The French Levalto is 
 frequently referred to as a ballad tune. 
 Rather slow and gracefully. 
 
 I'llll, 
 
 ^iEE-g 
 
 aizE 
 
 a 
 
 r*^ 
 
 » « * 
 
 s *■ ■ 
 
 Hen-ry, our royal King, wovdd ride a hunt - ing, To the green fo - rest so 
 
 ^ 
 
 ^ 
 
 ^ 
 
 ^^J^ J g 
 
 ^ 
 
 -S -? -J: 
 
 plea-sant and fair, '''° see the harts skip-ping, and dain - ty does trip-ping Un 
 
 r f -4^ ^ ^ 
 
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 ffl r^'i i i:g=¥p^f^-^^iH^^^ 
 
 • to mer-ry Sherwood his no-bles re-pair. Hawkandhoundwereunbound,allthing3pre-pa-red 
 
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 Chorus. 
 
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 For the game, in the same, with good re- gard. Hawk and hound were un - hound. 
 
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 all things pre-pa - red For the game, in the same, with good re -gard. 
 
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170 
 
 ENGLISH SOXG AND BALLAD MUSIC. 
 
 All a long summer's day rode the king pleasantlye, 
 
 With all his princes and nobles eche one ; 
 Chasing the hart and hind, and the bucke gallantlye, 
 
 Till the darke evening forc'd all to turne home. 
 Then at last, riding fast, he had lost quite 
 All his lords in the wood, late in the night. 
 
 Wandering thus wearilye, all alone, up and downe. 
 
 With a rude miller he mett at the last : 
 Asking the ready way unto faire Nottingham ; 
 
 Sir, quoth the miller, I meane not to jest, 
 Yet I thinke, what I thinke, sooth for to say, 
 You doe not lightlye ride out of your way. 
 
 Why, what dost thou thinke of me, quoth our king merrily 
 
 Passing thy judgment upon me so briefe ? 
 Good faith, sayd the miller, I meane not to flatter thee; 
 
 I guess thee to be but some gentleman thiefe ; 
 Stand thee backe, in the darke; light not adowne, 
 Lest that I presentlye crack thy knaves crowne. &c. 
 
 LITTLE MUSGEAVE AND LADY BARNARD. 
 
 This ballad is quoted in Fletcher's Knight of the Burning Pestle, and Monsieur 
 Tfiomas ; in The Varietie, 1649 ; and in Davenant's The Wiis, where Twack, an 
 antiquated beau, boasting of his qualifications, says — 
 
 " Besides, I sing Little Ilusgrove ; and then 
 For Chevy Chase no lark comes near me." 
 A copy of the ballad is in the Bagford Collection, entitled " A lamentable 
 ballad of Little Musgrove and the Lady Barnet, to an excellent new tune." It is 
 also in Wit restored, 1658 ; in Dryden's Miscellany Poems, iii. 312 (1716) ; and 
 in Percy's Reliques, series 3, book i. 
 
 The tune is the usual traditional version. 
 Gracefully. 
 
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 As it fell out on a high holiday. As many there be in the year. When 
 
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 young men and maids to - ge-therdogo. Their mass - es andmatins to hear. 
 
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REIGN OF ELIZABETH. 
 
 171 
 
 THE GIPSIES' ROUND. 
 The tune from Queen Elizabeth's Virginal Book. 
 
 Whenever gipsies are introduced in old plays, we find some allusions to their 
 singing, dancing, or music, and generally a variety of songs to be sung by them. 
 In Middleton.'s Spanish Gipsy, Roderigo, being invited to turn gipsy, says — 
 " I can neither dance, nor sing ; but if my pen 
 From my invention can strike music tunes, 
 My head and brains are yours." 
 In other words, " I think I can invent tunes, and therefore have one qualification 
 for a gipsy, although I cannot dance, nor sing." 
 
 By Round is here meant a country dance. Country dances were formerly danced 
 quite as much in rounds as in parallel lines ; and in the reign of Elizabeth were 
 in favour at court, as well as at the May-pole. In the Talbot papers. Herald's 
 College, is a letter from the Earl of Worcester to the Earl of Shrewsbury, dated 
 Sep. 19th, 1602, in which he says, " We are frolic here in court ; much dancing 
 in the privy chamber of country dances before the Queen's Majesty, who is 
 much pleased therewith." — (Lodge, iii. 677.) 
 Boldly. 
 
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 THE LEGEND OF SIR GUY. 
 
 This ballad was entered to Richard Jones on Jan. 5th, 1591-2, as "A plesante 
 songe of the valiant actes of Guy of Warwicke, to the tune of Was ever man so 
 tost in love." The copy in the Bagford Collection (p. 19) is entitled " A pleasant 
 song of the valiant deeds of chivalry achieved by that noble knight. Sir Guy of 
 Warwick, who, for the love of fair Phillis, became a hermit, and died in a cave of 
 
172 
 
 ENGLISH SONa AND BALLAD MUSIC. 
 
 a craggy rock, a mile distant from Warwick. Tune, Was ever man, &c." Other 
 copies are in the Pepys Collection ; Roxburghe, iii. 50 ; and in Percy's Beliques, 
 series 3, book ii. 
 
 It is quoted in Fletcher's Knight of the Burning Pestle, act ii., sc. 8 ; and in 
 The little French Lawyer, act ii., sc. 3. 
 
 William of Nassyngton (about 1480) mentions stories of Sir Guy as usually 
 sung by minstrels at feasts. (See ante page 45.) Puttenham, in his Art of 
 Poetry, 1589, says they .were then commonly sung to the harp at Christmas 
 dinners and bride-ales, for the recreation of the lower classes. And in Dr. King's 
 Dialogues of the Dead, "It is the negligence of our ballad singers that makes us to 
 be talked of less than others : for who, almost, besides St. Q-eorge, King Arthur, 
 Bevis, Guy, and Hickathrift, are in the chronicles." — (Vol. i., p. 158.) 
 
 This tune is from the ballad-opera of Bohin Hood, 1730, called Sir Chuy. 
 
 ^ Slow. I I 
 
 Was ever knight for la-dy's sake So toss'd in love as I, Sir Guy ! For Phillis 
 
 ^ 
 
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 fair, tliat la-dy bright As e-ver man be - held vrith eye. 
 
 She gave me 
 
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 leave my - self to try The va-liant knight with shield and spear, Ere that her 
 
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 f' pn i iiiiiij-^ ^ 
 
 love she would grant me. Which made me ven - ture far and near. 
 
EBIGN OE ELIZABETH. 
 
 173 
 
 LOTH TO DEPAKT. 
 
 Tune from Queeu Elizabeth's Virginal Book, -where it is arranged by Giles 
 Farnaby. 
 
 In Beaumont and Fletcher's Wit at several Weapons, act ii., sc. 2, Pompey 
 makes his exit singing Loath to depart. In Middleton's The Old Law, act iv., 
 sc. 1, " The old woman is loath to depart; she never sung other tune in her life." 
 In the baUad of Arthur of Bradley, which exists in black-letter, and in the Anti- 
 dote to Melancholy, 1661, are the following lines : — 
 
 " Then Will and his sweetheart 
 Did call for Loth to depart." 
 Also in Chapman's Widow's Tears, 1612 ; Vox Borealis, 1641; and many others. 
 A Loth to depart was the common term for a song sung, or a tune played, on 
 taking leave of friends. So in a Discourse on Marine Affairs (Harl. MSS., 
 No. 1341) we find, "Being again returned into his barge, after that the trumpets 
 have sounded a Loathe to departe, and the barge is fallen off a fit and fair birth 
 and distance from the ship-side, he is to be saluted with so many guns, for an 
 adieu, as the ship is able to give, provided that they be always of an odd 
 number." — (Quoted in a note to Teonge's Diary, p. 5.) In Tarlton's News out of 
 Purgatory, (about 1589), "And so, with a Loath to depart, they took their 
 leaves ; " and in the old play of Damon and Pithias, when Damon takes leave, 
 sayiug, " Loth am I to depart," he adds, " Music, sound my doleful plaints 
 when I am gone away," and the regals play " a mourning song." 
 The following are the words of a round in D enter omelia, 1609 : — 
 " Sing with thy mouth, sing with thy heart. 
 Like faithful friends, sing Loath to depart; 
 Though friends together may not always remain, 
 Yet Loath to depart sing once again." 
 The four lines here printed to the tune, are part of a song called " Loth to 
 depart," in Wifs Interpreter, 1671. It is also in The Loyal Gfarland ; and, with 
 some alteration, in Dryden's Miscellany Poems, iv., 80. It is there attributed to 
 Mr. J. Donne. 
 Slow. 
 
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 Lie near my dear! why dost thourise? The light that shines, comes from thine eyes, 
 
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 Tis not the day breaks, but my heart, To think that thou and I must part. 
 
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174 
 
 ENGLISH SONG AND BALLAD MUSIC. 
 
 QUEEN ELEANOR'S CONFESSION. 
 
 This is the traditional tune to the ballad which is printed in Percy's Reliques 
 of Ancient Poetry (No. 8, series ii., book 2). A copy is in the Bagford Collection, 
 i. 26, to be sung to "a pleasant new tune." 
 Moderate time. 
 
 
 3^=d =^^b=^ 
 
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 Queen Eleanor was a sick woman, And a-fraid that she should die, Then 
 
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 she sent for two friars out of France To speak with her spee- di - ly. 
 
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 ESSEX'S LAST GOOD-NIGHT, ob WELL-A-DAY. 
 
 This air is contained in Elizabeth Rogers' MS. Virginal Book (Brit. Mus.) ; 
 and in a transcript of virginal music made by Sir John Hawkins, now in the pos- 
 session of Dr. Rimbault. In the former it is entitled Essex's last Giood-night, and 
 there are but eight bars in the tune ; the latter is called Well-a-day, and consists 
 of sixteen bars. 
 
 The ballad of Essex's last Good-night is in the Pepys Collection, i. 106 ; and 
 Roxburghe, i. 101, and 185. In the Pepys Collection it is called "A lamentable 
 new ballad upon the Earl of Essex his death ; to the tune of The Kingh last 
 Grood-night." In the Roxburghe, i. 101, to the tune of Essex's last Gfood-night. 
 It is printed in Evans' Old Ballads, iii. 167 (1810) ; but, as usual, without the 
 name of the tune. The first verse of the Pepys copy is as follows : — 
 " All you that cry O hone, hone ! [alas], 
 Come now and sing Lord with me ; 
 For why our jewel is from us gone, 
 
 The valiant knight of chivalry. 
 Of rich and poor belov'd was he ; 
 In time an honorable knight ; 
 When by our laws condemn'd was he. 
 And lately took his last Good-night." 
 This is on the death of Walter Devereux, Earl of Essex (father of Queen Eliza- 
 beth's favorite), who died in Dublin, in 1576. Another on the same subject, and 
 in the same metre, has been printed by Mr. Payne Collier, in his Extracts from 
 the Registers of the Stationers' Company, ii. 35 ; beginning thus : — 
 
REIGN OP ELIZABETH. 175 
 
 " Lament, lament, for he is dead 
 
 Who serv'd his prince most faithfully ; 
 Lament, each subject, and the head 
 
 Of this our realm of Brittany. 
 Our Queen has lost a soldier true ; 
 Her subjects lost a noble friend : 
 Oft for his queen his sword he drew, 
 
 And for her subjects blood did spend," &c. 
 The ballad of Well-a-day is entitled " A lamentable dittie composed upon the 
 death of Robert Lord Devereux, late Earle of Essex, who was beheaded in the 
 Tower of London, upon Ash Wednesday, in the morning, 1601. To the tune of 
 Well-a-day. Imprinted at London for Margret Allde, &c., 1603. Reprinted in 
 Payne Collier's Old Ballads, 124, 8vo., 1840 ; and in Evans', iii. 158. Copies 
 are also in the Bagford and Roxburghe Collections (i. 184) ; and Harl. MSS., 
 293. The first verse is here given with the tune. 
 
 The ballads to the tune of Essex's last Good-night are in quite a different metre 
 to those which were to be sung to Well-a-day ; and either the melody consisted 
 originally of but eight bars, and those bars were repeated for the last four lines 
 of each stanza, or else the second part differed from my copy. 
 
 Well-a-day seems to be older than the date o,f the death of either Earl, because, 
 in 1566-7, Mr. Wally had a license to print "the second Well-a-day" {Ex. Reg. 
 Stat., i. 151.) ; and, in 1569-70, Thomas Colwell, to print " A new Well-a-day, 
 As plain, Mr. Papist, as Dunstable way." 
 
 To " sing well-away " was proverbial even in Chaucer's time ; for in the pro- 
 logue to the Wife of Bath's Tale, speaking of her husbands, she says (lines 
 5597-000) " I sette [t]hem so on werke, by my fay ! 
 
 That many a night thay songen weylamay. 
 The bacoun was nought fet for hem, I trowe, 
 That som men fecche in Essex at Dunmowe." " 
 And in the Shipman's Tale, " For I may synge alias and waylaway that I was 
 born." So in the Owl and the Nightingale, one of our earliest original poems, the 
 owl says to the nightingale — 
 
 " Thu singest a night, and noght a dai, 
 And al thi song is wail awai." 
 In the sixteenth century we find a similar passage in Nicholas Breton's Farewell 
 to toivn — " I must, ah me ! wretch, as I may, 
 
 Go sing the song of Welaway." 
 The ballads sung to one or other of these tunes are vei-y numerous. Among 
 them are — 
 
 " Sir Walter Rauleigh his Lamentation," &c., " to the tune of Well-a-day. 
 Pepys Collection, i. Ill, B. L. 
 
 " The arraignment of the Devil for stealing away President Bradshaw." Tune, 
 Well-a-day, well-a-day. (King's Pamphlets, vol. 15, or Wright's Political 
 Ballads, 139.) 
 
 • The claiming the Flitch of Bacon at Dtinmow was fourteenth and fifteenth centuries. See also a song in 
 a custom to -vvhich frequent allusions are made in the Reliquia; Avtiqjtce, ii. 29. 
 
176 
 
 ENGLISH SONG AND BALLAD MUSIC. 
 
 " The story of Dl May-day, &c., and how Queen Catherine begged the lives of 
 2,000 London apprentices." Tune Ussex's G-ood-night. {Crown Garland of 
 G-olden Moses, or Evans, iii. 76.) 
 
 "The doleful death of Queen Jane, wife of Henry VIII.," &c, "Tune, 
 The Lamentation of the Lord of Ussex." (Crown Crarland, or Evans, iii. 92.) 
 
 A Carol, to the tune of Ussex's last G-ood-night, dated 1661. (Wright's 
 Carols.) — " All you that in this house be here, 
 
 Eemember Christ that for us died ; 
 And spend away with modest cheer, 
 In loving sort this Christmas-tide," &c. 
 Several other tunes were named after the Earl of Essex. In Dr. Camphuysen's 
 iStichtelycke Hymen (4to., Amsterdam, 1647) is one called Essex's Galliard, and 
 another Essex^s Lamentation. The last is the same air as What if a day, or a 
 month, or a year. 
 
 In The World's Folly (b.l.) a widow "would sing The Lamentation of a Sinner, 
 to the tune of Well-a-daye." 
 Slow, 
 
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 pnzeisgone! Well-a-day, well - a-day ; ^J , , , 
 
 Sweet England's prize is gone 
 
 Which makes her 
 
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 sigh and groan E-ver - more 
 
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 He did her fame advance, In Ireland, Spain, and 
 
 still. 
 
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 France, 
 
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 sad mis-chance, Is 
 
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 from us ta'en. 
 
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 THE FIT'S COME ON ME NOW. 
 
 This song is quoted by Valentine in Beaumont and Fletcher's Wit without 
 money, act v., sc. 4., where a verse is printed. 
 
 One of my friends recollects his nurse singing a ballad with the burden — 
 " I must and will get married, 
 The fit's upon me now." 
 
KBIGN OF ELIZABETH. 
 
 177 
 
 The tune is from the seventh edition of The Dancing Master. In some later, 
 editions it is called The Bishop of Chester's Jig, or The fit's come on me noiv. 
 
 Cheerfully. 
 
 4 
 
 i 
 
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 The fit's up on me now, The fit's up on me now. Come 
 
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 quick-ly gen - tie lady, The fit's up -on me now. The world shall know they're fools, And 
 
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 so shaltthou do too, 'Let cob-blera mend their tools, 'The fit's up - on me now. 
 
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 MALL SIMS. 
 
 This fayorite old dance tune is in Queen Elizabeth's Virginal Book ; in Morley's 
 Consort Lessons, 1699 and 1611; in Rossiter's Consort Lessons, 1609 ; in Vallet's 
 Tablature de Luth, intitule Le Secret des Muses, book i., 4to., Amsterdam, 1615, 
 entitled " Bal Anglois, Mai Simmes ;" also in the second book of the same -work, 
 1616 ; in JVederlandtsche GredencJc-ClanJc, 1626 ; in Camphuysen's Stichtelycke 
 Bymen, 1647 (called "The English Echo, or Malsims") ; in the Skene MS., &c. 
 
 It is most likely one of the old harpers' tunes, as it has quite the character of 
 harp music. In Rossiter's Consort Lessons, 1609, in which the names of the com- 
 posers are given to every other air, this is marked Incertus : and if unknown 
 then, it is probably much older than the date of the book. 
 
 In Wit Bestor'd, 1658, is the ballad of " The Miller and the King's Daughters," 
 written by Dr. James Smith, in which this tune is mentioned : 
 " What did he doe with her two shinnes ? 
 Unto the violl they danc't Moll Syms." 
 
 N 
 
178 
 
 ENGLISH SONG AND BALLAD MUSIC. 
 
 Pompously. 
 
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 CRIMSON VELVET. 
 
 This tune is found in one of the Dutch collections, Friesche JjustSof, by Jan 
 Jansz Starter, the edition printed at Amsterdam in 1634. It is called " 'Twas a 
 youthful Knight, which loved a galjant Lady," -which is the first line of the 
 ballad of " Constance of Cleveland: to the tune of Crimson Velvet.''^ The 
 ballad is in the Eoxburghe Collection, iii. 94, and in Collier's Hoxhurghe 
 Ballads, p. 163. 
 
 The tune of Crimson Velvet was, as Mr. Collier remarks, " highly popular in 
 the reigns of Elizabeth and her successor." Among the ballads that were sung 
 to it, are " The lamentable complaint of Queen Mary, for the unkind departure of 
 King Philip, in whose absence she fell sick and died ; " beginning — 
 
 " Mary doth complain. 
 Ladies, be you moved 
 With my lamentations 
 And my bitter groans," &c. 
 A copy in the Crown Q-arland o/Grolden Moses (reprint of edit, of 1659, p. 69). 
 " An excellent ballad of a prince of England's courtship to the King of 
 
REIGN OF ELIZABETH. 
 
 179 
 
 France's daughter, and how the prince was disasterously slain; and how the 
 aforesaid princess was afterwards married to a forrester ; " commencing — 
 " In the days of old, 
 When fair Prance did flourish," &c. 
 Copies in the Roxburghe Collection, i. 102, the Bagford, the Pepys, Deloney's 
 G-arland of good-will, and Percy's Reliqiies, series iii., book 2, 16. 
 The following is the ballad of " Constance of Cleveland." 
 Slow. 
 
 m^^^i 
 
 r^ T^ 
 
 g 
 
 ^ 
 
 ^ 
 
 ^ts^ 
 
 It was a youth-ful knight Lov'd a gal-lant la-dy. Fair she was and bright, 
 Her-self she did be - have, So courteously as may be, Weddedtheywere,brave; 
 
 fff¥ff 
 
 ^ 
 
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 First time. 
 
 m 
 
 Second time. 
 
 B 
 
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 And of vir - tues rare. Joy with -out com - pare. 
 
 Here be - gan the grief, 
 Wo - men lewd of mind, 
 
 P 
 
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 l ^- nr^^f^-^ 
 
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 Pain with- out re - lief ; Her husband soon her love for sook. To 
 
 Be - ing bad in-clin'd, He on - ly lent a plea - sant look, The 
 
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 J1 , she sat weeping, While that he was keeping Company with others moe. Her 
 y [more] 
 
 ^ 
 
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 ^ My love, be-lieve not, Come to me, andgrievenot; Wantons will thee o- ver-throw. 
 
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180 
 
 ENGLISH SONG AND BALLAD MUSIC. 
 
 His fair lady's words 
 
 Notliing he regarded ; 
 Wantonness affords, 
 
 To some, delightful sport ; 
 While they dance and sing. 
 
 With great mirth prepared, 
 She her hands did wring 
 In most grievous sort. 
 
 Oh ! what hap had I, 
 
 Thus to wail and cry, 
 Unrespected every day. 
 
 Living in disdain. 
 
 While that others gain 
 All the right I should enjoy ! 
 
 I am left forsaken. 
 
 Others they are taken ; 
 Ah ! my love why dost thou so ? 
 
 Her flatteries believe not. 
 
 Come to me and grieve not ; 
 Wantons will thee overthrow. 
 
 The knight, with his fair piece, 
 
 At length the lady spied. 
 Who did him daily fleece 
 
 Of his wealth and store ; 
 Secretly she stood. 
 
 While she her fashions tryed 
 With a patient mind ; 
 
 While deep the strumpet swore : 
 " O sir knight," quoth she, 
 " So dearly I love thee. 
 My life doth rest at thy dispose. 
 
 By day, and eke by night. 
 
 For thy sweet delight 
 Thou shalt me in thy arras enclose ; 
 
 I am thine for ever. 
 
 Still I will persever. 
 True to thee where'er I go." 
 
 Her flatteries believe not. 
 
 Come to me and grieve not; 
 Wantons will thee overthrow. 
 
 The virtuous lady mild 
 
 Enters then among them, 
 Being big with child 
 
 As ever she might be ; 
 With distilling tears 
 
 She looked then upon them. 
 Filled full of fears. 
 
 Thus replyed she : 
 " Ah, my love and dear, 
 Wherefore stay you here. 
 
 Refusing me, your loving wife, 
 For an harlot's sake, 
 Which each one will take ; 
 
 Whose vile deeds provoke much strife. 
 Many can accuse her, 
 O, my love, refuse her. 
 
 With thy lady home return ; 
 Her flatteries believe not, 
 Come to me and grieve not ; 
 
 Wantons will thee overthrow." 
 
 All in a fury then 
 
 The angry knight upstarted, 
 Very furious when 
 
 He heard his lady's speech ; 
 With many bitter terms 
 
 His wife he ever thwarted. 
 Using hard extremes 
 
 While she did him beseech. 
 
 From her neck so white 
 
 He took away in spite 
 Her curious chain of purest gold : 
 
 Her jewels and her rings, 
 
 And all such costly things. 
 As he about her did behold; 
 
 The harlot, in her presence. 
 
 He did gently reverence. 
 And to her he gave them all. 
 
 He sent away his lady. 
 
 Full of woe as may be. 
 Who in a swound with grief did fall. 
 
 At the lady's wrong 
 
 The harlot fleer'd and laughed ; 
 Enticements are so strong, 
 
 They overcome the wise : 
 The knight nothing regarded 
 
 To see the lady scoffed ; 
 Thus she was rewarded 
 For her enterprise. 
 
 The harlot all this space 
 
 Did him oft embrace ; 
 She flatters him, and thus doth say : 
 "For thee I'll die and live. 
 
 For thee my faith I'll give. 
 No woe shall work my love's decay ; 
 
 Thou shalt be my treasure. 
 
 Thou shalt be my pleasure, 
 Thou shalt be my heart's delight ; 
 
 I will be thy darling, 
 
 I will be thy worldling. 
 In despite of fortune's spite." 
 
KEIGN OP ELIZABETH. 
 
 181 
 
 Thus did he remain 
 
 In wasteful great expences, 
 Till it bred his pain, 
 
 And consum'd him quite. 
 When his lands were spent, 
 
 Troubled in his senses, 
 Then he did repent 
 Of his late lewd life ; 
 For relief he hies. 
 For relief he flies 
 To them on whom he spent his gold ; 
 They do him deny. 
 They do him defy, 
 They will not once his face behold. 
 Being thus distressed, 
 Being thus oppressed, 
 In the fields that night he lay ; 
 Which the harlot knowing. 
 Through her malice growing. 
 Sought to take his life away. 
 
 A young and proper lad 
 
 They had slain in secret 
 For the gold he had ; 
 
 Whom the}' did convey. 
 By a ruffian lewd. 
 
 To that place directly. 
 Where the youthful knight 
 Fast a sleeping lay ; 
 
 The bloody dagger, then, 
 
 Wherewith they kill'd the man, 
 Hard by the knight he likewise laid ; 
 
 Sprinkling him with blood. 
 
 As he thought it good. 
 And then no longer there he stay'd. 
 
 The knight, being so abused. 
 
 Was forthwith accused 
 For this murder which was done ; 
 
 And he was condemned 
 
 That had not offended, 
 Shameful death he might not shun. 
 
 When the lady bright 
 
 Understood-the matter. 
 That her wedded knight 
 
 Was condemned to die, 
 To the king she went 
 
 With all the speed that might be. 
 Where she did lament 
 Her hard destiny. 
 " Noble king," quoth she, 
 " Pity take on me. 
 
 And pardon my poor husband's life; 
 
 Else I am undone, 
 
 With my little son. 
 Let mercy mitigate this grief." 
 " Lady fair, content thee, 
 
 Soon thou wpuldst repent thee 
 If he should be saved so ; 
 
 Sore he hath abus'd thee. 
 
 Sore he hath misus'd thee, 
 Therefore, lady, let him go." 
 
 " O, my liege," quoth she, 
 
 " Grant your gracious favour ; 
 Dear he is to me. 
 
 Though he did me wrong." 
 The king replied again. 
 With a stern behaviour, 
 " A subject he hath slain, 
 
 Die, he shall, ere long : 
 Except thou canst find 
 Any one so kind 
 That will die and set him free." 
 " Noble king," she said, 
 " Glad am I apaid. 
 That same person will I be. 
 I will suffer duly, 
 I will suffer truly. 
 For my love and husband's sake." 
 The king thereat amazed. 
 Though he her beauty praised, [take. 
 He bade from thence they should her 
 
 It was the king's command. 
 
 On the morrow after, 
 She should out of hand 
 To the scaffold go ; 
 Her husband was 
 
 To bear the sword before her ; 
 He must, eke alas ! 
 
 Give the deadly blow. 
 
 He refus'd the deed. 
 
 She bade him to proceed 
 With a thousand kisses sweet. 
 
 In this woeful case 
 
 They did both embrace ; 
 Which mov'd the ruffians in that place 
 
 Straight for to discover 
 
 This concealed murder ; 
 Whereby the lady saved was. 
 
 The harlot then was hanged. 
 
 As she well deserved : 
 This did virtue bring to pass. 
 
182 
 
 ENaLISH SONG AND BALLAD MUSIC, 
 
 WALKING IN A COUNTKY TOWN. 
 
 The tune from Robinson's Schoole of Musicke, 1603, called Walking in a 
 country town. In the Roxburghe Collection, i. 412, is a ballad beginning 
 " Walking in a meadow green," and, from the similarity of the lines, and the 
 measure of the verse so exactly suiting the air, I infer this to be the tune of both. 
 The latter was printed by John Trundle, at the sign of the Nobody in Barbican, 
 rendered famous by Ben Jonson, who in his Mvery man in his Svmour, makes 
 KnoweU say, " Well, if he read this with patience, I'll ' go,' and troll ballads for 
 Master John Trundle yonder, the rest of my mortality." 
 
 It is entitled " The two Leicestershire Lovers : to the tune of And yet methinks 
 I love thee." The first stanza is here printed to the music. 
 
 The last line of the verse is, " Upon the meadow brow," and The meadow brow 
 
 is often quoted as a tune. So in the Roxburghe Collection, i. 92, or Colliers's 
 
 Roxburghe Ballads, p. 1, is " Death's Dance" (beginning, "If Death would come 
 
 and shew his face"), " to be sung to a pleasant new tune called no, no, no, not 
 
 yet, or The meadow broiv." And Bishop Corbet's song, " Farewell, rewards and 
 
 fairies," is " to be sung or whistled to the tune The meddow brow by the learned : 
 
 by the unlearned, to the tune of Fortune." — (Percy, series iii., book 2.) All 
 
 might be sung to this tune. 
 Slow. 
 
 ifH^ 
 
 ^ 
 
 ^ 
 
 r=T 
 
 sad thoughts That sorrow-ful did me make, I spied two love _ ly lo - vers, Did 
 
 ^^^ 
 
 ^ 
 
 S 
 
 r#^^^^^ 
 
 v-lnf^f 
 
 iE^ 
 
 ^^^^^^ 
 
 1^^ 
 
 hear each o - ther's woe, To 'point a place of meet - ing Up - on the meadow brow. 
 
 ^ 
 
 cj- i trcftfA^ 
 
 PHILLIDA FLOUTS ME. 
 In The Grown Q-arland of Q-olden Hoses, 1612, is " A short and sweet sonnet 
 made by one of the Maides of Honor upon the death of Queene Elizabeth, which 
 she sowed upon a sampler, in red silke : to a new tune, or Phillida flouts me ; " 
 beginning — " Gone is Elizabeth, 
 
 Whom we have lov'd so dear," &c. 
 
REIGN OF ELIZABETH. 
 
 183 
 
 Patrick Carey also wrote a ballad to the tune oi Phillida flouts me; beginning— 
 " Ned ! she "that likes thee now, 
 Next week will leave thee ! " 
 It is contained in his "Trivial Poems and Triolets, written in obedience to 
 Mrs. Tomkin's commands, 20th August, 1651." In Walton's Angler, 1653, the 
 Milkwoman asks, "What song was it, I pray? Was it Come, shepherds, deck 
 your heads, or As at noon Dulcina rested, or Phillida flouts me ? " 
 
 The ballad oi Phillida flouts me is in the Roxburghe Collection, ii. 142, and in 
 the same volume, p. 24, " The Bashful Virgin, or The Secret Lover : tune of 
 I am so deep in love, or Little boy, &c." It begins — 
 
 " what a plague it is 
 To be a lover ; 
 Being denied the bliss 
 For to discover," &c. 
 This appears to be also to the Etir of Phillida floids me, although the first line of 
 that ballad is " Oh ! what a plague is love," not " I am so deep in love." 
 
 The words and music are in Watts' Musical Miscellany, ii. 132 (1729), and an 
 answer, beginning, " where's the plague in love." The tune is also in many of 
 the baUad-operas, such as The Quaker's Opera, 1728 ; Love in a Riddle, 1729 ; 
 Damon and Phillida, 1734, &c. 
 
 Eitson printed the words in his Ancient Songs, from a copy in The Tlieatre of 
 Compliments, or New Academy, 1689, but did not discover the tune. 
 
 Slowly and gracefully. ^ 
 
 O what a plague is love ! 
 She will in - constant prove 
 
 I can -not bear it ; 
 I great - ly fear it : 
 
 It so tor - 
 She wa-vers 
 
 VH=FS 
 
 ^ 
 
 ^J^^ 
 
 ^ 
 
 :Jf^ 
 
 mentsmymind,Thatmv heart fail - eth ; -oi 1.^1.1... t .-.i i •» 
 
 with the wind As a ship sail - eth.^T ^^''^^'^ 1>« ^''^ ^^=* I may, She loves still 
 
 ind, ThE 
 
 ^ 
 
 ^ 
 
 §Sll\^l^ 
 
 I^^E 
 
 ET 
 
 ^ 
 
 3 
 
 s 
 
 ^^m 
 
 to gain-say, A-lack, and well a-day ! Phil - Ii - da flouts me 
 
 ^^m 
 
184 
 
 :eNGLISH SONG AND BALLAD MUSIC. 
 
 At the fair t'other day, 
 
 As she pass'd by me, 
 She look'd another way, 
 
 And would not spy me. 
 I woo'd her for to dine. 
 
 But could not get her ; 
 Dick had her to the Vine, 
 
 He might intreat her. 
 With Daniel she did dance. 
 On me she would not glance ; 
 Oh, thrice unhappy chance ! 
 Phillida flouts me. 
 
 Fair maid, be not so coy. 
 
 Do not disdain me ; 
 I am my mother's joy ; 
 
 Sweet, entertain me. 
 I shall have, when she dies. 
 
 All things that's fitting ; 
 Her poultry and her bees. 
 
 And her goose sitting ; 
 A pair of mattrass beds, 
 A barrel full of shreds : 
 And yet, for all these goods, 
 Phillida flouts me. 
 
 I often heard her say. 
 
 That she lov'd posies ; 
 In the last month of May 
 
 I gave her roses. 
 Cowslips and gilly-flowers, 
 
 And the sweet lily, 
 I got to deck the bow'rs 
 
 Of my dear Philly. 
 She did them all disdain. 
 And threw them back again ; 
 Therefore 'tis flat and plain 
 
 Phillida flouts me. 
 
 Thou shalt eat curds ond cream 
 
 All the year lasting. 
 And drink the crystal stream, 
 
 Pleasant in tasting : 
 Swig whey until you burst. 
 
 Eat bramble-berries, 
 
 Pye-lid, and pastry-crust, 
 
 Pears, plums, and cherries ; 
 Thy garments shall be thin. 
 Made of a wether's skin ; 
 Yet all's not worth a pin : 
 
 Phillida flouts me. 
 
 Which way soe'er I go, 
 
 She still torments me ; 
 And, whatsoe'er I do. 
 
 Nothing contents me : 
 I fade, and pine away 
 
 With grief and sorrow ; 
 I fall quite to decay. 
 
 Like any shadow ; 
 I shall be dead, I fear. 
 Within a thousand year. 
 And all because my dear 
 
 Phillida flouts me. 
 
 Fair maiden, have a care, 
 
 And in time take me ; 
 I can have those as fair. 
 
 If you forsake me ; 
 There's Doll, the dairy-maid, 
 
 Smil'd on me lately, 
 And wanton Winifred 
 
 Favours me greatly ; 
 One throws milk on my clothes, 
 T'other plays with my nose ; 
 What pretty toys are those ! 
 Phillida flouts me. 
 
 She has a cloth of mine, 
 
 Wrought with blue Coventry, 
 Which she keeps as a sign 
 
 Of my fidelity : 
 But if she frowns on me. 
 
 She shall ne'er wear it ; 
 I'll give it my maid Joan, 
 
 And she shall tear it. 
 Since 'twill no better be, 
 I'll bear it patiently ; 
 Yet, all the world may see, 
 
 Phillida flouts me. 
 
 LADY, LIE NEAR ME. 
 
 This ballad is entitled " The longing Shepherdess, or Lady " pjaddy] " lie 
 near me." Copies are in the Pepys Collection, iii., 59, and Douce, p. 119, &c. 
 It is also in the list of ballads that were printed by W. Thackeray, at the Angel, 
 in Duck Lane. 
 
 The tune (which bears a strong resemblance to Phillida flouts me) is in The 
 Dancing Master, from the first edition in 1650, to the eighth in 1690. 
 
REIGN OF ELIZABETH. 
 
 185 
 
 In Ritson's North Country Chorister there is another ballad, called " Laddy, lie 
 near me" (beginning, "As I walked! over hills, dales, and high mountains"); and 
 in 1793 Mr. George Thomson gave Burns a tune of that name, to write words to, 
 which is now included in Scotch Collections. It differs wholly from this. 
 
 _y Slowly and gracefully. ^-f^ ^ 
 
 ^ 
 
 
 i 
 
 ^m 
 
 ^ 
 
 ^ 
 
 mgs bloa - som, As in my 
 
 T f ■ • - I 
 
 All in the month of May, Whenallthin 
 
 .ti 
 
 fH=^ 
 
 ^ 
 
 z&i 
 
 f g ' -^ J 
 
 t ^^P=M 
 
 m 
 
 ^^ 
 
 m 
 
 ^F=^ 
 
 bed I lay, Sleep it grew loath - some. Up I rose, and did walk O - ver yon 
 
 ^ 
 
 P^^f^ 
 
 £5 
 
 ^ 
 
 3 I '^- t te - 
 
 ^^a^E^B 
 
 f^^P^ 
 
 mountains Through meadows and througli dales. Over rocks and foun-tains ; I heard a 
 
 =«*= 
 
 «?«= 
 
 T 
 
 ^ 
 
 rt 
 
 p 
 
 f 
 
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 #-P-4-f^ 
 
 ^PpPi 
 
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 voice to sing. Sweetheart, come cheer me. Thou hast been long away. Lady, lie near me. 
 
 > l i t * r 
 
 Tta 
 
 ^ 
 
 i 
 
 MILL-FIELD. 
 
 In the collection of ballads and proclamations in the library of the Society of 
 Antiquaries is one by W. Elderton, entitled " A new ballad, declaring the great 
 treason conspired against the young King of Scots, and how one Andrew Browne, 
 an Englishman, which was the King's Chamberlaine, prevented the same. To the 
 tune of Milfield, or els to Greene sleeves." It was printed by " Yarathe James," 
 to whom it was licensed on 30th May, 1681. 
 
 The tune is in The Dancing Master from 1650 to 1658. The ballad in Percy's 
 Reliques, series ii., book 2, No. 16. The first stanza is here with the music. 
 
186 
 
 ENGLISH SONS AND BALLAD MUSIC. 
 
 i 
 
 Gracefully. 
 
 ^ 
 
 fe^^^ 
 
 I 
 
 S 
 
 ^ 
 
 Out, a - las! what grief is this, That princes' subjects cannot be true ; But 
 
 i 
 
 rFffr 
 
 ^ 
 
 -_ K at -_^ m , 
 
 S=? 
 
 4 
 
 still the Devil hath some of his Will play their parts what- e'er en - sue. 
 
 ^ 
 
 3p 
 
 i 
 
 ?3? 
 
 For -get-ting what a grievous thing It is to of- fend th' a- nointed king. A 
 
 ^ 
 
 ^m 
 
 ^^ 
 
 las! for woe, why should it be so? This makes a sor - row - ful heigh ho ! 
 
 E^ 
 
 THE SPANISH LADY. 
 
 Dr. Percy says, " this beautiful old ballad most probably took its rise from one 
 of those descents made on the Spanish coasts in the time of Queen Elizabeth : 
 and, in all likelihood, from the taking of the city of Cadiz (called by our sailors, 
 corruptly, Gales), on June 21, 1596, under the command of the Lord Howard, 
 admiral, and of the Earl of Essex, general." 
 
 The question as to who was the favored lover, has been fully discussed; it may 
 therefore be sufficient here to refer the reader to The Edinburgh Revieio for April, 
 1846 ; The Times newspapers of April 30, and May 1, 1846 ; and The Quarterly 
 Review for October, 1846. 
 
 The ballad is quoted in Cupid's Whirligig, 1616, and parodied in Rowley's 
 A Match at Midnight, 1633. In the Douce Collection, ii. 210 and 212, there 
 are two copies, the one " to a pleasant new tune ; " the other (which is of later 
 date) to the tune of Flying Fame; but could not be sung to that air. In the 
 same volume, p. 254, is " The Westminster Wedding, or Carlton's Epithalamium," 
 (dated 1663) : to the tune of The Spanish Lady. It commences thus : 
 "Will you hear a German Princess, 
 How she chous'd an English Lord," &c. 
 
REIGN OF ELIZABETH. 
 
 187 
 
 The tune is contained in the Skene MS., and in several of the ballad-operas, 
 such as The Quaker'' s Opera, 1728 ; The Jovial Crew, 1731, &c. 
 
 The -words are found in The Q-arland of Q-ood-will, and in several of the cele- 
 brated collections of ballads ; also in Percy's Reliques, series ii., book 2. 
 Slow. 
 
 ^fa^ 
 
 ^ 
 
 
 Will you hear 
 
 a Span-ish la - dy, How she wooed an English 
 
 aMar 
 
 :±z 
 
 m 
 
 s 
 
 n i J^j.r^ 
 
 ^B 
 
 m 
 
 -^ — ^ — -i^-^-]- — -^ — r 
 
 man ? Garments gay, and rich as may be, Deck'd with Jew - els she had 
 
 m 
 
 ^ 
 
 t^P^P#^%N^^ 
 
 24 
 
 * V I ■ ^ii^ ' * ' * ' -si 
 
 on. Ofacome-ly couutenanceandgracewas she, Andbybirthand pa-rentage of high de-gree. 
 
 '^^ 
 
 THE JOVIAL TINKER, ok JOAN'S ALE IS NEW. 
 
 On the 26th Oct., 1594, John Danter entered on the books of the Stationers' 
 Company, "for his copie, a ballet intituled Jone's ale is newe;" and on the 
 15th Nov., of the same year, Edward White one called " The unthrifte's adieu 
 to Jone's ale is newe." 
 
 In Ben Jonson's Tale of a tub, " old father Rosin, chief minstrel of Highgate, 
 and his two boys " play the dances called for by the company, which are " Tom 
 Tiler; The jolly Joiner ; and The jovial Tinker.'" The burden of the song called 
 " The jovial Tinker " is " Joan's ale is new." ( " Tom Tiler " is one of the 
 country dances mentioned in Heywood's A woman kilPd with kindness.) In the 
 Mad Franks and merry Jests of Robin Cfoodfellow, 1628, there is a song to the 
 tune of The jovial Tinker, which has a bm-den or chorus of four lines, unsuited to 
 this air, although the song itself could be sung to it. As tinkers were so famous 
 in song, there was probably another tune called The jovial Tinker, " He that a 
 tinker, a tinker will be.," is one of the catches in the Antidote to Melancholy, 1661; 
 " Tom Tinker lives a merry life," is in Davenant's play, Tlie Benefice ; " Have 
 you any work for a tinker," in Wit and Drollery, 1661 ; and Ben Jonson says, 
 in Paris' Anniversary, " Here comes the tinker I told you of, with his kettle- 
 drum before and after, a master of music.'''' 
 
188 
 
 ENGLISH SONG AND BALLAD MUSIC. 
 
 The song of JoavUs ah is new is in the Douce Collection, p. 110. It is in the 
 list of those printed by W. Thackeray, at the Angel in Duck Lane, in the reign 
 of Charles IE. ; and is in both editions of Pills to purge Melancholy, with the 
 tune.— (Ed. of 1707, iii. 133 ; or ed. of 1719, v. 61.) 
 
 The. copy in the Douce Collection consists of thirteen stanzas, and has the 
 following lengthy title : " Joan's ale is new ; or a new merry medley, shewing 
 the power, the strength, the operation, and the virtue that remains in good ale, 
 which is accounted the mother-drink of England." 
 
 " All you that do this merry ditty view, 
 Taste of Joan's ale, for it is strong and ne'W, &c." 
 " To a pleasant new Northern tune." 
 Cheerfully. 
 1 
 
 i 
 
 ^ 
 
 ts 
 
 m 
 
 msE^ 
 
 ■i — 1 - 
 
 5 
 
 t^ 
 
 There was a io - vial tin - ker, Who ^ " a good ale 
 ■" ' was ° 
 
 ^^ 
 
 ^ 
 
 m^ 
 
 ^^^m 
 
 w 
 
 m 
 
 ■^—-W- 
 
 drink - er, He ne - ver was a shrink -er, Be - lieve me, this is true. 
 
 ^ 
 
 ^^ 
 
 ^ 
 
 « • 
 
 MnzM: 
 
 I * 
 
 ■* — J S S ' — ~ ig: '^ 
 
 And he came from the Weald of Kent, When all hismoneywasgoneandspent. Which 
 
 fejEEt; 
 
 ^^ 
 
 ^ 
 
 m4^ 
 
 r 
 
 made him look like a Jack a - lent. And Joan's ale is new, 
 
 And 
 
 gT^=^ 
 
 J^^ 
 
 ^ 
 
 ^ 
 
 IZZZX 
 
 Joan's ale is new, my boys, And Joan's ale 
 
 it 
 
 3E 
 
REIGN OF ELIZABETH. 189 
 
 The tinker he did settle The cobbler and the broom-man 
 
 Most like a man of mettle, Came up into the room, man, 
 
 And vow'd to pawn his kettle ; And said they would drink for boon, man, 
 
 Now mark what did ensue : Let each one take his due ! 
 
 His neighbours they flock in apace. But when the liquor good they found, 
 
 To see Tom Tinker's comely face, They cast their caps upon the ground. 
 
 Where they drank soundly for a space. And so the tinker he drank round. 
 
 Whilst Joan's ale, &c. Whilst Joan's ale, &c. 
 
 In anotlier volume in the Douce Collection, p. 180, is an answer to the 
 above, to the same tune. It is the " The poet's new year's gift ; or a pleasant 
 poem in praise of sack : setting forth its admhable virtues and qualities, and how 
 much it is to be preferred before all other sorts of liquors, &c. To the tune of 
 Tlie jovial Tinker, or Tom a Bedlam;" commencing — 
 " Come hither, learned sisters, 
 
 And leave Parnassus mountain ; 
 I will you tell where is a well 
 
 Dotli far exceed your fountain," &c. 
 
 UNDER AND OVER. 
 
 This is the same air as the preceding, but in a minor instead of a major key. 
 It is in every edition of The Dancing Master, under the name of Under and over ; 
 but in a MS. volume of virginal music, formerly in the possession of Mr. Windsor, 
 of Bath, it is entitled A man had three sons. 
 
 The ballad of Under and over is in the Pepys Collection, i. 264, B.L., as "A new 
 little Northern Song, called — 
 
 " Under and over, over and imder, 
 
 Or a pretty new jest and yet no wonder ; 
 " Or a maiden mistaken, as many now be. 
 View well this glass, and you may plainly see." 
 " To a pretty new Northern tune." 
 
 It is very long, full of typographical errors, and devoid of merit ; I have 
 therefore only printed the first verse with the music. 
 
 In the same volume are the following : " Rocke the babie, Joane : to the tune 
 of Under and over," p. 396 ; beginning — 
 
 " A young man in our parish, 
 His wife was somewhat currish," &c. 
 And at p. 404, another, commencing — 
 
 " There was a country gallant. 
 That wasted had his talent," &c. 
 In the Roxburghe, iii. 176, " Rock the cradle, John : 
 
 Let no man at this strange story wonder, 
 It goes to the tune of Over and under." 
 And in the same Collection, i. 411, " The Times' Abuses; to the tune of Over and 
 under; commencing — 
 
 '• Attend, my masters, and give ear," &c. 
 The last is also printed in Collier's Roxburghe Ballads, p. 281. 
 
190 
 
 ENGLISH 80NG AND BALLAD MUSIC. 
 
 i 
 
 Cheerfully. 
 
 t* 
 
 Me^ 
 
 153 
 
 As I abroad was walk - ing, I heard two lo - vers 
 
 As in a mea - dow turn - ing, Up on a sum - mer's 
 
 FR=fi 
 
 bK -1 I p 
 
 ^^M 
 
 ^ 
 
 ^^ 
 
 ^ 
 
 :r^ ' j r c ^ 
 
 rf^ 
 
 r 
 
 talk - ing One to an - o ther speaking, Of lo - vers' con stan - cy 
 morn - ing, I heard these lo - vers mourning 'Cause of love's cru - el - ty, 
 
 ■« '- 
 
 i 
 
 * 
 
 ^ 
 
 fH .^ni 
 
 ^ 
 
 ^^ 
 
 ', over and un der, Un-der and o - ver a - 
 
 Por under and o ver, 
 
 ^:J J- \ ^-i T \ r0 
 
 i;^ 
 
 ^ 
 
 ^ r r -.r 
 
 - gam 
 
 r 
 
 T — r 
 
 should love 
 
 Quoth she, sweetheart, I love thee, As maidens 
 
 M 
 
 ^ 
 
 THE OXFORDSHIEE TKAGEDY. 
 
 This is one of the old and simple chaunt-like ditties, which seem to have been 
 peculiarly suited to the lengthy narratives of the minstrels ; and I am strongly 
 impressed with a belief that it was one of their tunes. It has very much the same 
 character as Sir Gruy, which I met with in another of the ballad operas, and 
 which — the entry at Stationers' Hall proving to be earlier than 1592 — ^may be 
 fairly supposed to be the air used, by the class of minstrel described by Puttenham, 
 in singing the adventures of Sir Guy, at feasts. See page 172. 
 
 I have seen no earlier copy of The Oxfordshire Tragedy, than an edition 
 " printed and sold in Bow Church- Yard," in which the name of the tune is not 
 mentioned. The ballad is in four parts, the third and fourth of which, being in 
 a different metre, must have been sung to another air. 
 
 " As I walk'd forth to take the air," is the second line of the first part, 
 and a tune is often referred to under that title. As the measures agree, it may 
 be a second name for this air. 
 
 In the Douce Collection, 44, is a black-letter ballad of " Cupid's Conquest, or 
 
REIGN OF ELIZABETH. 
 
 191 
 
 "Will the Shepherd and fair Kate of the Green, both united together in pure love : 
 to the tune, As I went forth to take the air ;^' commencing, — 
 '' Now am I tost on waves of love ; 
 
 Here like a ship that's under sail," &c. 
 and in the Roxburge, ii, 149, " The faithful lovers of the "West : tune, Aslwalkt 
 forth to take the air." 
 
 In Mr. Payne Collier's Collection, is " The unfortunate Sailor's Garland, with 
 an account how his parents murdered him for love of his gold." It is in two 
 parts, and both to the tune of The Oxfordshire Tragedy. After four lines of 
 exordium, it begins thus : — 
 
 " Near Bristol liv'd a man of fame, 
 But I'll forbear to tell his name ; 
 He had one son and daughter bright, 
 In whom he took a great delight," &c. 
 Another Garland, called " The cruel parents, or the two faithful lovers," is to 
 the time of The Oxfordshire Lady, and in the same metre. 
 
 The tune of The Oxfordshire Tragedy is in Tlie Oohllers' Opera, 1729, The 
 Village Opera, 1729, and Sylvia, or The Country Burial, 1731. 
 Slow. 
 
 ^ ^=rH4-ah^^f^^m 
 
 NearWoodstock town,in Ox-ford - shire, As I walk'd forth to take the air. 
 
 ^ 
 
 ^= fr=^ 
 
 ^^ 
 
 :3i 
 
 1 
 
 S 
 
 ^^ 
 
 To view the fields and meadows round, Methought I heard a dreadful sound. 
 
 ^4f-^r^ 
 
 ^ 
 
 ^ 
 
 Down by a crystal river side, 
 A gallant bower I espied, 
 Where a fair lady made great moan, 
 With many a bitter sigh and groan. 
 
 Alas ! quoth she, my love's unkind, 
 My sighs and tears he will not mind ; 
 But he is cruel unto me. 
 Which causes all my misery. 
 
 My father is a worthy knight, 
 My mother is a lady bright. 
 And I their only child and heir ; 
 Yet love has brought me to despair. 
 
 A wealthy squire lived nigh, 
 Who on my beauty cast an eye ; 
 He courted me, both day and night, 
 To be his jewel and delight. 
 
 To me these words he often said : 
 Fair, beauteous, handsome, comely maid, 
 Oh ! pity me, I do implore. 
 For it is you I do adore. 
 
 He still did beg me to bfe kind. 
 And ease his love-tormented mind ; 
 For if, said he, you should deny. 
 For love of you I soon shall die. 
 
 These words did pierce my tender heart, 
 I soon did yield, to ease his smart ; 
 And unto him made this reply, — 
 For love of me you shall not die. 
 
 With that he flew into my arms, 
 And swore I had a thousand charms ; 
 He call'd me angel, saint, and he 
 Did swear, for ever true to be. 
 
192 
 
 ENGLISH SONG AND BALLAD MUSIC. 
 
 Soon after lie had gain'd my heart, 
 He cruelly did from me part ; 
 Another maid he does pursue, 
 And to his vows he hids adieu. 
 
 'Tis he that makes my heart lament, 
 He causes all my discontent ; 
 He hath caus'd my sad despair, 
 And now occasions this my care. 
 
 The lady round the meadow run. 
 And gather'd flowers as they sprung ; 
 Of every sort she there did pull. 
 Until she got her apron full. 
 
 Now, there's a flower, she did say. 
 Is named heart's-ease ; night and day, 
 I wish I could that flower find. 
 For to ease my love-sick mind. 
 
 But oh ! alas ! 'tis all in vain 
 For me to sigh, and to complain ; 
 There's nothing that can ease my smart. 
 For his disdain will hreak my heart. 
 
 The green ground served as a hed, 
 And flow'rs a pillow for her head ; 
 She laid her down and nothing spoke, 
 Alas ! for love her heart was hroke. 
 
 But when I found her body cold, 
 I went to her false love, and told 
 What unto her had just befel ; 
 I'm glad, said he, she is so well. 
 
 Did she think I so fond could be, 
 That I could fancy none but she ? 
 Man was not made for one alone ; 
 I take delight to hear her moan. 
 
 Oh ! wicked man I find thou art, 
 Thus to break a lady's heart ; 
 In Abraham's bosom may she sleep, 
 While thy wicked soul doth weep ! 
 
 THE ANSWER. 
 
 A second part, I bring you here. 
 Of the fair maid of Oxfordshire, 
 Who lately broke her heart for love 
 Of one, that did inconstant prove. 
 
 A youthful squire, most unjust. 
 When he beheld this lass at first, 
 A thousand solemn vows he made. 
 And so her yielding heart betray 'd. 
 
 She mourning, broke her heart, and died. 
 Feeling the shades on every side ; 
 
 The third and fourth parts present 
 it is the lady's cruelty which causes the 
 
 With dying groans and grievous cries, 
 As tears were flowing through her eyes. 
 
 The beauty which did once appear, 
 On her sweet cheeks, so fair and clear. 
 Was waxed pale, — her life was fled ; 
 He heard, at length, that she was dead. 
 
 He was not sorry in the least. 
 But cheerfully resolv'd to feast; 
 And quite forgot her beauty bright. 
 Whom he so basely ruin'd quite. 
 
 Now, when, alas ! this youthful maid. 
 Within her silent tomb was laid, 
 The squire thought that all was well. 
 He should in peace and quiet dwell. 
 
 Soon after this he was possest 
 With various thoughts, that broke his rest ; 
 Sometimes he thought her groans he heard. 
 Sometimes her ghastly ghost appear'd 
 
 With a sad visage, pale and grim,' 
 And ghastly looks she cast on him ; 
 He often started back and cried. 
 Where shall I go myself to hide? 
 
 Here I am haunted, night and day. 
 Sometimes methinks I hear her say, 
 Perfidous man ! false and unkind. 
 Henceforth you shall no comfort find. 
 
 If through the fields I chance to go. 
 Where she receiv'd her overthrow, 
 Methinks I see her in despair; 
 And, if at home, I meet her there. 
 
 No place is free of torment now ; 
 Alas ! 1 broke a solemn vow 
 Which once I made ; but now, at last. 
 It does my worldly glory blast. 
 
 Since my unkindness did destroy 
 My dearest love and only joy, 
 My wretched life must ended be. 
 Now must I die and come to thee. 
 
 His rapier from his side he drew. 
 And pierced his body thro' and thro' ; 
 So he dropt down in purple gore 
 Just where she did some time before. 
 
 He buried was within the grave 
 Of his true love. And thus you have 
 A sad account of his hard fate. 
 Who died in Oxfordshire of late. 
 
 a similar story, in different metre ; but 
 first suicide. 
 
REIGN OF ELIZABETH. 
 
 193 
 
 PUT ON THY SMOCK ON MONDAY. 
 This is mentioned as a country dance tune in Heywood's A Woman MU'd with 
 Kindness, act i., sc. 2; and alluded to ia Fletcher's Lovers Cure, act ii., sc. 2. 
 It is contained in the fourth, fifth, and later editions of The Dancing Master. 
 Moderate time. 
 
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 a^ 
 
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 j:s^>^ 1 .1 r I -I ^^ 
 
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 -O- • -0- 
 
 DEIVE THE COLD WINTER AWAY. 
 
 This is the burden of a song in praise of Christmas, copies of which are in the 
 Pepys (i. 186) and Koxburghe (i. 24) Collections. It is entitled " A pleasant 
 countrey new ditty: merrily shewing how to drive the cold winter away. To 
 the tune of When JPhcehus did rest," '^ &c. ; black-letter, printed by H[enry] 
 G[osson]. It is one of those parodied in Andro Hart's Oompendium of Gfodhj 
 Songs. " The wind blawis cald, furious and bald, 
 
 This lang and mony a day ; 
 But, Christ's mercy, we men all die. 
 
 Or keep the cald wind away. 
 This wind sa keine, that I of meine. 
 
 It is the vyce of auld ; 
 Our faith is inclusit, and plainely abusit, 
 This wind he's blawin too cald," &c. 
 
 Scottish Poems oflUh Century, ii. 177, 8vo., 1801. 
 The tune is in every edition of The Dancing Master ; m Musick's Delight on 
 the Cithren, 1 666 ; and in Walsh's Dancing Master : also in both editions of 
 Pills to purge Melancholy, with an abbreviated copy of the words. 
 
 In the Eoxburghe Collection, i. 518, is a ballad entitled " Hang pinching ; or 
 The good fellow's observation 'mongst a jovial crew, of them that hate flinch- 
 ing, but are always true blue. To the tune of Drive the cold ivinter aioay f 
 ' All you that lay claim to a good fellow's name. 
 
 And yet do not prove yourselves so, 
 Give ear to this thing, the which I will sing. 
 Wherein I most plainly will shew 
 
 commencmg — 
 
 ■ A song beginning " When Phccbus nddrest his course 
 to the West," will be found in Merry Srolleri/ Complete, 
 Part ii., 1661 ; also in Wit and Drollery, Jovial Poems. 
 The burden is, " O do not, do not kill me yet, for I am 
 
 not prepared to die." By that name it is quoted in J. 
 Starter's Boertighcden, quarto, Amsterdam, 1634, whete 
 the tune is also printed. 
 
 
 
194 
 
 ENGLISH SONG AND BALLAD MTJSIC. 
 
 M^th proof and good ground, those fellows profound, 
 
 That unto the alewives are true, 
 In drinking their drink, and paying their chink, 
 such a goodfelhrn's true blue," 
 Sometimes a tune named True blue is quoted, and perhaps from this ballad. It is 
 subscribed W. B., and printed for Thomas Lambert, at the sign of the Horse 
 Shoe, in Smithfield. Lambert was a printer of the reigns of James and Charles L 
 In the Pepys Collection, i. 362, is another black-letter ballad, entitled " The 
 father hath beguil'd the son : Or a wonderful tragedy which lately befell in Wilt- 
 shire, as many men know full well ; to the tune of Drive the cold winter away ; " 
 beginning — " I often have known, and experience hath shown, 
 That a spokesman hath wooed for himself. 
 And that one rich neighbour will, underhand, labour 
 To overthrow another with pelf," &c. 
 Other ballads to the tune will be found in the Eoxburghe Collection (i. 150 and 
 160, &c.) ; in the King's Pamphlets, and the Collection of "Songs against the 
 Kump Parliament; in Wright's Political Songs; in Mock Songs, 1675 ; in Evans' 
 Collection, i. 349, &c. 
 
 Boldly and not too fast. 
 
 Song in praise of Christmas. 
 
 All hail to the days that me-ritmorepraise Than all the rest of the year. And 
 
 ?VF=fi 
 
 ^A 
 
 ^ 
 
 m 
 
 ^ 
 
 ife 
 
 i 
 
 =^ 
 
 Ri^v 
 
 welcome the nights that dou-hle delights. As well for the poor as the peer 
 
 ^ 
 
 Goodfortune attend each merry man's friend. That doth hut the hest that he may ; For ■ 
 
 ^ 
 
 g 1^:^ 
 
 3 
 
 T^^t^ 
 
 •get-ting old wrongs, with ca - rols and songs, To drive the cold win-ter a- way, 
 
 ^ 
 
 3t 
 
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 S 
 
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REIGN OF ELIZABETH. 
 
 195 
 
 Let Misery pack, with a whip at his back, 
 
 To the deep Tantalian flood ; 
 In Lethe profound, let envy be drown'd. 
 
 That pines at another man's good ; 
 Let Sorrow's expanse be banded from hence, 
 
 All payments of grief delay, 
 And wholly consort with mirth and with sport 
 
 To drive the cold winter away. 
 
 'Tis ill for a mind to anger inclin'd 
 
 To think of old injuries now ; 
 If wrath he to seek, do not lend her thy cheek, 
 
 Nor let her inhabit thy brow. 
 Cross out of thy books malevolent looks, 
 
 Both beauty and youth's decay. 
 And spend the long nights in honest delights. 
 
 To drive the cold winter away. 
 
 The court in all state now opens her gate. 
 
 And bids a free welcome to most; 
 The city likewise, tho' somewhat precise, 
 
 Doth willingly part with her cost : 
 And yet by report, from city and court. 
 
 The country will gain the day ; 
 More liquor is spent, and with better content, 
 
 To drive the cold winter away. 
 
 Our good gentry there, for cost do not spare, 
 
 The yeomanry fast not till Lent ; " 
 The farmers, and such, think nothing too much. 
 
 If they keep but to pay for their rent. 
 The poorest of all do merrily call. 
 
 When at a fit place tbey can stay. 
 For a song or a tale, or a pot of good ale, 
 
 To drive the cold winter away. 
 
 Thus none will allow of solitude now. 
 
 But merrily greets the time, 
 To make it appear, of all the whole year. 
 
 That this is accounted the prime : 
 December is seen apparel'd in green, 
 
 And January, fresh as May, 
 Comes dancing along, with a cup and a song. 
 
 To drive the cold winter away. 
 
 THE SECOND PART. 
 
 This time of the year is spent in good cheer. 
 And neighbours together do meet, 
 
 To sit by the fire, with friendly desire, 
 Each other in love to greet ; 
 
 Old grudges forgot, are put in the pot. 
 
 All sorrows aside they lay, 
 Tlie old and the young doth carol his song. 
 
 To drive the cold winter away. 
 
 Sisley and Nanny, more jocund than any. 
 
 As blithe as the month of June, 
 Do carol and sing, like birds of the Spring, 
 
 (No nightingale sweeter in tune) 
 To bring in content, when summer is spent, 
 
 In pleasant delight and play, [year. 
 
 With mirth and good cheer, to end the old 
 
 And drive the cold winter away. 
 
 The shepherd and swain do highly disdain 
 
 To waste out their time in care. 
 And Clim of the Clough'' hath plenty enough 
 
 If he but a penny can spare. 
 To spend at the night in joy and delight, 
 
 Now after his labours all day, 
 For better than lands is the help of his hands. 
 
 To drive the cold winter away. 
 
 To mask and to mum kind neiglibours will 
 
 With wassails of nut-brown ale, [come 
 
 To drink and carouse to all in the house, 
 
 As merry as bucks in the dale ; 
 Where cake, bread and cheese, is brought for 
 
 To make you the longer stay ; [your fees. 
 At the fire to warm will do you no harm. 
 
 To drive the cold winter away. 
 
 When Christmas's tide comes in like a bride, 
 
 With holly and ivy clad, 
 Twelve days in the year, much mirth and 
 
 In every household is had ; [good cheer, 
 The country guise is then to devise 
 
 Some gambols of Christmas play. 
 Whereat the young men do best that they can, 
 
 To drive the cold winter away. 
 
 When white-bearded frost hath threatened his 
 
 And fallen from branch and brier, [worst, 
 Then time away calls, from husbandry halls 
 
 And from the good countryman's fire. 
 Together to go to plough and to sow. 
 
 To get us both food and array ; 
 And thus with content the time we have spent 
 
 To drive the cold winter away. 
 
 » For the support arid encouragement of the fishing 
 towns, in the time of Elizabeth, Wednesdays and Fridays 
 were constantly observed as fast days, or days of absti- 
 nence from flesh. This was by the advice of her minister, 
 Cecil; and by the vulgar it was generally called Cecil's 
 Fast. See Warburton's and Blakeway's notes in Boswell's 
 edition of Shakespeare, x. 49 and 50. 
 
 ° Clim of the dough means Clement of the Cleft. The 
 name is derived from a noted archer, once famous in tlie 
 north of England. See the.old ballad, Adam Bell, Clim of 
 theCioughfand William of Cloudesly, printed by Bp. Percy. 
 A C lough is a sloping valley, breach, or Cleft, from the 
 side of a hill, where trees or furze usually grow. 
 
196 
 
 ENGLISH SONG AND BALLAD MUSIC. 
 
 UP, TAILS ALL. 
 
 This tune is in Queen Elizabeth's Virginal Book, and in The Dancing Master 
 from 1650 to 1690. It is alluded to in Sharpham's Meire, 1610: "She every 
 day sings John for the King, and at Up, tails all, she's perfect." Also in Ben 
 Jonson's Every man out of his hunumr ; in Beaumont and Fletcher's Coxcomb ; 
 Vanbrugh's Provoked Wife, &c. 
 
 There are several political songs of the Cavaliers to this air, in the King's 
 Pamphlets (Brit., Mus.) ; in the Collection of Songs written against the Rump 
 Parliament ; in Mats rhimed to Death, 1660 ; and one in Merry Drollery complete, 
 1670 : but party feeling was then so often expressed with more virulence than wit, 
 that few of them will bear republication. In both the editions of Pills to purge 
 Melancholy, 1707 and 1719, the song of Up, tails all, beginning " Fly, merry 
 news," is printed by mistake with the title and tune of The Friar and the Nun. 
 
 Moderate time and lightly. 
 
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 r-Tiin ri: 
 
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 Fly, mer - ry news, a - mong the crews, That love to hear of 
 
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 jests, &c. 
 
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 =£: 
 
 Up tails all ! 
 
 ^ 
 
 PESCOD TIME, 
 
 The tune of In Pescod Time (i.e., peas-cod time, when the field peas are 
 gathered), was extremely popular towards the end of the sixteenth century. It is 
 contained in Queen Elizabeth's and Lady Neville's Virginal Books ; in Anthony 
 Holborne's Citharn Schoole (1597) ; and in Sir John Hawkins' transcripts ; but 
 so disguised by point, augmentation, and other learned contrivances, that it was 
 only by scanning the whole arrangement (by Orlando Gibbons) that this simple 
 air coiild, be extracted. In Queen Elizabeth's Virginal Book, the same air is 
 called The Sunfs up, in another part of the book. 
 
 The words are in England's Helicon, 1600 (or reprint in 1812, p. 206) ; in 
 Miss Cooper's The Muses' Library, 8vo, p. 281 ; and in Evans' Old Ballads, 
 i. 332 (ed. of 1810). 
 
 Two very important and popular ballads were sung to the tune : Chevy Chace, 
 and The Lady's Pall. 
 
 Chevy Chace had also a separate air (see page 199) ; but the earlier printed 
 copies of the ballad direct it to be sung to "In Pescod Time." 
 
REIGN OF ELIZABETH. 197 
 
 The " Lamentable ballad of the Lady's Fall, to the tune of In Pescod Time,'" 
 will be found in the Douce, Pepys, and Bagford Collections, and has been reprinted 
 by Percy and Ritson. It commences thus : — 
 
 " Mark well my heavy dolefull tale, 
 You loyal lovers all ; 
 And heedfully bear in your breast 
 A gallant lady's fall." 
 Among the ballads to the tune of The Lady's Fall are The Bride's Burial, 
 and The Lady Isabella's Tragedy ; both in Percy's Meliques. The life and death 
 of Queen Flizabeth, in the Oroivn Grarland of Giolden Roses, 1612 (page 39 of the 
 reprint), and in Evans' Old Ballads, iii, 171. Tlie Wandering Jew, or the Shoe- 
 maker of Jerusalem, who lived ivhen our Saviour Christ was crucified, and appointed 
 to live until his coming again ; two copies in the British Museum, and one in 
 Mr. Halliwell's Collection ; also reprinted by Washbourne. It has the burden, 
 " Repent, therefore, England," and is, perhaps, the ballad by Deloney, to which 
 Nashe refers in Have with you to Saffron- Walden (ante page 107). Tfie Oruel 
 Black ; see Evans' Old Ballads, iii. 232. A Warning for Maidens, or young 
 Bateman; Roxburghe Collection, i. 501. It begins, "You dainty dames so finely 
 framed." And You dainty dames is sometimes quoted as a tune ; also Bateman, 
 as in a ballad entitled " A Warning for Married Women, to a West-country tune 
 called The Fair Maid of Bristol, or Bateman, or John True ; Roxburghe, i. 502. 
 The following Carol is from a Collection, printed in 1642, a copy of which is in 
 Wood's Library, Oxford. I have not seen it elsewhere. 
 
 " A Carol for Twelfth Day, to the tune of The Lady's Fall" 
 Mark well my heavy doleful tale, Come, butler, fill a brimmer full, 
 
 For Twelfth Day now is come, To cheer my fainting heart, 
 
 And now I must no longer stay, That to old Chrisimas I may drink 
 
 And say no word but mum. Before he does depart. 
 
 For I perforce must take my leave And let each one that's in the room 
 
 Of all my dainty cheer — With me likewise condole, 
 
 Plum porridge, roast beef, and minc'd pies. And now, to cheer their spirits sad, 
 My strong ale and my beer. Let each one drink a bowl. 
 
 Kind-hearted Christmas, now adieu, And when the same it hath gone round, 
 
 For I with thee must part ; Then fall unto your cheer ; 
 
 But oh ! to take my leave of thee For you well know that Christmas time 
 
 Doth grieve me at the heart. It comes but once a year. 
 
 Thou wert an ancient housekeeper, But this good draught which I have drank 
 
 And mirth with meat didst keep ; Hath comforted my heart ; 
 
 But thou art going out of town. For I was very fearful that 
 
 Which causes me to weep. My stomach would depart. 
 
 God knoweth whether I again Thanks to my master and my dame. 
 
 Thy merry face shall see ; That do such cheer afford ; 
 
 Which to good fellows and the poor God bless them, that, each Christmas, they 
 
 Was always frank and free. May furnish so their board. 
 
 Thou lovest pastime with thy heart. My stomach being come to me. 
 
 And eke good company ; I mean to have a bout ; 
 
 Pray hold me up for fear I swound [swoon], And now to eat most heartily, — 
 
 For I am like to die. Good friends, I do not flout. 
 
198 ENGLISH SONG AND BALLAD MUSIC. 
 
 Rather slow and smoothly. 
 
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 In Peas - cod time, when hound to horn Gives ear, till buck be 
 
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 kill'd : And li 
 
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 Is, with pipes of corn, Sat keep-ing beasts a - field. 
 
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 -H 
 
 CHEVY CHACE. 
 
 Although sometimes sung to the tunes of Pescod Time and The Children in the 
 Wood, this is the air usually entitled Chevy Chace. It bears that name in all the 
 editions of Pills to purge Melancholy, and in the ballad operas, such as The 
 Beggar^ Opera,V12S, Trick for Trick, 1736, &c. Another name, and probably 
 an older, is Flying Fame, or When flying Fame, to which a large number of 
 ballads have been written. In Pills to purge Melancholy, " King Alfred and the 
 Shepherd's Wife," which the old copies direct to be sung to the tune of Flying 
 Fame, is printed to this air. 
 
 Much has been written on the subject of Chevy Chace ; but as both the ballads 
 are printed in Vercys- Meliqwes of Ancient Poetry (and in many other colled- 
 tions), it may be sufficient here to refer the reader to that work, and to The 
 British Bibliographer (iv. 97). The latter contains an account of Richard Sheale, 
 the minstrel to whom we are indebted for the preservation of the more ancienit 
 ballad, and of his productions. The manuscript containing them is ia the Ash- 
 molean Library, Oxford (No. 48, 4to). His verses on beiag robbed on Duns- 
 more Heath have been already quoted (pages 45 to 47). 
 
 The baUad of Chevy Chace, in Latiu Rhymes, by Henry Bold, wiU be found in 
 Dryden's Miscellany Poems, ii. 288. The translation was made at the request of 
 Dr. Compton, Bishop of London. 
 
 Bishop Corbet, in his Journey into Fraunce, speaks of having sung Chevy 
 Chace ia his youth ; the antiquated beau in Davenant's play of The Wits, also 
 prides himself on being able to sing it ; and, in Wifs Interpreter, 1671, a man, 
 enumerating the good qualities of his wife, cites, after the beauties of her mind 
 and her patience, " her curious voice, wherewith she useth to sing Chevy ChaceP 
 From these, and many similar allusions, it is evident that it was much sung ia 
 the seventeenth century, despite it& length. 
 
 Among the many baUads to the tune (either as Flying Fame or Chevy Chace), 
 the following require particular notice. 
 
REIGN OF ELIZABETH. 
 
 199 
 
 " A lamentable song of the Death of King Lear and his three Daughters : to 
 the tune of When flying Fame" See Percy's Beliques, scries i., book 2. 
 
 " A mournefull dittie on the death of Faire Rosamond; tune of Flying Fame : " 
 beginning, " When as King Henry rul'd this land ; " and quoted in Rowley's 
 A Match at Midnight. See Strange Histories, 1607 ; The Garland of Crood- 
 will; and Percy, series ii., book 2. 
 
 " The noble acts of Arthur of the Round Table, and of Sir Launcelot du Lake : 
 tune of Flying' Fame." See The Garland of Good-will, 1678, and Percy, series i., 
 book 2. The first line of this ballad (" When Arthur first in court began") is 
 sung by Falstaff in Part II. of Shakespeare's King Henry IV. ; also in Marstoh's 
 The Malcontent, 1604, and in Beaumont and Fletcher's The Little French Lawyer. 
 
 " King Alfred and the Shepherd's Wife : to the tune of Flying Fame." See 
 Old Ballads, 1727, i. 43 ; Fills to purge Melancholy, 1719, v. 289 ; and Evans' 
 Old Ballads, 1810, ii. 11. 
 
 " The Union of the Red Rose and the White, by a marriage between King 
 Henry VII. and Elizabeth Plantagenet, daughter of Edward IV : to the tune of 
 Wheti flying Fame." See Crown Garland, 1612, and Evans, iii. 35. 
 
 " The Battle of Agincourt, between the Englishmen and the Frenchmen: tune, 
 Flying Fame." (Commencing, " A council grave our King did hold.") See 
 Grown Garland, 1659, and Evans, ii. 351. 
 
 " The King and the Bishop : tune of Chevy Cliace." Roxburghe, iii. 170. 
 
 " Strange and true newes of an Ocean of Flies dropping out a cloud, upon the 
 town of Bodnam [Bodmin?] in Cornwall: tune of Chevy Chace" (dated 1647). 
 See King's Pamphlets, Brit. Mus., vol. v., and Wright's Political Ballads. 
 
 " The Fire on London Bridge " (from which the nursery rhyme, " Three 
 children sliding on the ice," has been extracted), " to the tune of Chevy Chace." 
 Merry Drollery complete, 1670, Pills to purge Melancholy, ii. 6, 1707, and 
 Rimbault's iiW?e jBooA of Songs and Ballads, 12mo., 1851, Dr. Rimbault quotes 
 other copies of the ballad, and especially one in the Pepys Collection (ii. 146), 
 to the tune of The Lady^s Fall ; further proving the difficulty of distinguishing 
 between this tune and In Pescod Time. 
 Smoothly and rather slow. 
 
 P 
 
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 God proa per long our no - ble king, Our lives and safe - ties 
 
 j llU^L^ 
 
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 )nce there ai( 
 
 all ; A woe - ful hunting once there did In Che-vy-Chace be - fall. 
 
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200 ENGLISH SONG AND BALLAD MUSIC. 
 
 THE CHILDREN IN THE WOOD. 
 
 In the Registers of the Stationers' Company, under the date of 15th October, 
 1595, we find, " Thomas Millington entred for his copie under t'handes of bothe 
 the "Wardens, a ballad intitutled ' The Norfolk Gentleman, his Will and Testament, 
 and howe he commytted the keeping of his children to his owne brother, whoe delte 
 moste wickedly with them, and howe God plagued him for it." This entry agrees, 
 almost verbatim, with the title of the ballad in the Pepys Collection (i. 518), 
 but which is of later date. Copies will also be found in the Roxburghe (i. 284) , 
 and other Collections ; ia Old Ballads, 1726, i. 222 ; and in Percy's Reliques, 
 series iii., book 2. 
 
 Sharon Turner says, " I have sometimes fancied that the popular ballad of 
 The Ohildren in the Wood may have been written at this time, on Richard [III.] 
 and his nephews, before it was quite safe to stigmatize him more openly." — 
 (Sist. Mig., iii. 487, 4to). This theory has been ably advocated by Miss 
 Halsted, in the Appendix to her Richard III. as Duke of Gfloucesfer and King of 
 England. Her argument is based chiefly upon internal evidence, there being no 
 direct proof that the ballad is older than the date of the entry at Stationers' Hall. 
 
 In Wager's interlude, The longer thou livest the more fodl thou art, Moros says, 
 " I can sing a song of Robin Redbreast ; " and in Webster's The White Devil, 
 Cornelia says, " I'll give you a saying which my gi-andmother was wont, when 
 she heard the bell toll, to sing, unto her lute : 
 
 Call for the robin-redbreast and the wren. 
 Since o'er the shady groves they hover, 
 And with leaves and flowers do cover 
 The friendless bodies of unburied men," &c. 
 
 Bodsley's Old Plays, vi. 312, 1825. 
 These may be in allusion to the ballad. 
 
 In Anthony a Wood's Collection, at Oxford, there is a ballad to the tune of 
 The two Ohildren in the Wood, entitled " The Devil's Cruelty to Mankind," &c. 
 
 The history of the tune is somewhat perplexing. In the ballad-operas of 
 The Jovial Crew, The Lottery, An old man taught wisdom, and The Beggar^ 
 Opera, it is printed under the title of Now ponder well, which are the first words 
 of " The Children in the Wood." 
 
 The broadsides of Chevy Oliace, which were printed with music about the com- 
 mencement of the last century, are also to this tune ; and in the ballad-opera of 
 Penelope, 1728, a parody on Chevy Chace to the same. 
 
 In Pills to purge Melancholy, 1707 and 1719, the ballads of " Henry V. at the 
 battle of Agincourt," " The Lady Isabella's Tragedy," and a song by Sir John 
 Birkenhead, are printed to it. The last seems to be a parody on " Some Christian 
 people all give ear," or "The Fire on London Bridge." 
 
 According to the old ballads, The Battle of Agincourt should be to the tune of 
 Flying Fame, The Lady Isabella's Tragedy to In Pescod Time, and The Fire on 
 London Bridge to Chevy Chace. I suppose the confusion to have arisen from. 
 Chevy Chace being sung to all the three tunes. 
 
 The traditions of the stage also give this as the air of the Gravedigger's Song 
 in Hamlet, " A pick-axe and a spade." 
 
BEIQN OF ELIZABETH. 
 
 201 
 
 Slowly and smoothly. 
 
 
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 Now pon-der well, You parents dear, These words which I shall 
 
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 «t 
 
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 xht forth to li 
 
 write ; 
 
 A dole-ful sto ry you shall hear. In time brou 
 
 ght. 
 
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 m SAD AND ASHY WEEDS. 
 
 The four first stanzas of this song were found among the Howard papers in 
 the Heralds' College, in the handwriting of Anne, Countess of Arundel, widow of 
 the Earl who died in confinement in the Tower of London in 1595. They were 
 written on the cover of a letter. Lodge, who printed them in his Illustrations of 
 British History (iii. 241, 8to;, 1838), thought they " were probably composed" 
 by the Countess ; and that " the melancholy exit of her lord was not unlikely to 
 have produced these pathetic effusions." She could not, however, have been the 
 author of verses, in her transcript of which the rhymes between the first and third 
 lines of every stanza have been overlooked." They were evidently -written from 
 memory, and rendered more applicable to her case by a few trifling alterations, 
 such as " Not I, poor I, alone," instead of " Now, a poor lad alone," at the 
 commencement of the fourth stanza. 
 
 The tune is contained in a MS. volume of virginal music, transcribed by Sir 
 John Hawkins ; the words in the Crown Garland of Golden Roses, edition of 
 1659 (Percy Society reprint, p. 6.). It is there entitled " The good Shepherd's 
 sorrow for the loss of his beloved son." 
 
 Among the ballads to the tune of In sad and ashy weeds, are " A servant's 
 sorrow for the loss of his late royal mistress. Queen Anne" (wife to James I.), 
 " who died at Hampton Court" (May 2, 1618), beginning — 
 " In dole and deep distress, 
 Poor soul, I, sighing, make my moan." 
 It will be found in the same edition of the Crown Garland ; as well as an answer 
 to In sad and ashy tveeds, entitled " Coridon's Comfort : the second part of the 
 good Shepherd ;" commencing, " Peace, Shepherd, cease to moan." 
 
 The tune is quoted under the title of " In sadness, or Who can blame my woe," 
 as one for the Psalmes or Songs of Sion, &c., 1642. 
 
 a In the Countess's transcript, as printed by Lodge, 
 the first four lines stand thus— 
 
 "In sad and ashy weeds I sigh, 
 I groan, I pine, I mourn ; 
 My oaten yellow reeds 
 I all to jet and ebon turn ; '* 
 
 instead of — 
 
 *' In sad and ashy weeds 
 
 I sigh, I groan, I pine, I mourn;*' 
 as "weeds" should rhyme with "reeda" in the third line, 
 and so in each verse. 
 
202 ENSLISH SONS AND 'BALLAD MUSIC. 
 
 Slowly and smoothly. "~~ 
 
 i 
 
 m 
 
 -&- 
 
 l^&L 
 
 W 
 
 s 
 
 In 
 
 sad and ash 
 
 weeds 
 
 ?y?=fr 
 
 I 
 
 sigh, 
 
 I groan, I 
 
 3^ 
 
 ^ 
 
 iT 
 
 J ^ii+1^ 
 
 f^ 
 
 W^ 
 
 a 
 
 pine, I mourn; My oat- en yel -low reeds I all to jet and e-bonturn. 
 
 J?. 
 
 m 
 
 t 
 
 i 
 
 ^ 
 
 r^^ 
 
 ^TiT^ii;r.nh^^.^ayj^ 
 
 f 
 
 My wa - fry eyes, Like winter's skies. My furrow'd cheeks o'er - flow 
 
 cheeks o'l 
 
 All 
 
 L'P \ ^- lU 
 
 -=h 
 
 m 
 
 i n j'l^ /'^ "if i j ii-^h^ 
 
 heav'n know why, Men mourn as I ! And whff can blame my woe ? 
 
 P^ 
 
 ?^^ 
 
 ^ 
 
 In sable robes of night 
 
 My days of joy consumed be. 
 My sorrow sees no light. 
 
 My lights through sorrow nothing see. 
 For now my sun 
 His course hath run. 
 And from my sphere doth go, 
 To endless bed 
 Of folded lead ; 
 And who can blame my woe ? 
 My flocks I, now forsake. 
 
 That so my sheep- my grief may know, 
 The lilies loathe to take. 
 
 That since his death presum'd to grow. 
 I envy air. 
 
 Still breathe, and he hot so ; 
 
 Hate earth, that doth 
 
 Entomb his youth ; 
 And who can blame my woe ? 
 
 Not I, poor I, alone, 
 
 (Alone, how can this sorrow be ?) 
 Not only men make moan. 
 But more than men make moan with me : 
 The gods of greens. 
 The mountain queens, 
 The fairy-circled row, 
 The muses nine. 
 And powers divine, 
 Do all condole my woe. 
 
 Because it dare 
 In the above lines I have chiefly followed the Countess of Arundel's transcript. 
 There are three more verses in the Orown Qarland of Golden Moses, besides seven 
 -in the second part. 
 
EEIGN OP ELIZABETH. 
 
 203 
 
 THE BAILIFF'S DAUGHTER OF ISLINGTON. 
 
 Copies of this ballad are in the Roxburghe, Pepys, and Douce Collections ; it is 
 printed by Ritson among the ancient ballads in his English Songs, and by Percy 
 (Meliques, series iii., book 2, No. 8). 
 
 In the Roxburghe, ii. 457, and Douce, 230, it is entitled " True love requited, 
 or The Bailiff's Daughter of Islington : to a North-country tune, or / have a good 
 old mother at homeP In other copies it is to "I have a good old woman at home," 
 and " I have a good wife at home." 
 
 In the Douce, 32, is a ballad called " Crums of comfort for the youngest sister, 
 &c., to a pleasant new West-country tune;" beginning — 
 " I have a good old father at home, 
 An ancient man is he : 
 But he has a mind tbat ere he dies 
 That I should married be." 
 Dr. Rimbault found the first tune in a lute MS., formerly in the possession of 
 the Rev. Mr. Gostling, of Canterbury, under the name of The jolly Finder. It is 
 in the ballad-opera of The Jovial Crew, 1731, called " The Rally's Daughter of 
 Islington." 
 
 The second is the traditional tune to which it is commonly sung throughout the 
 country. 
 
 Rather slow. First Tune. 
 
 ^ 
 
 J :^ l n i j 
 
 I j— - 
 
 n 
 
 =« 
 
 * — 
 
 There 
 
 was 
 
 a youth, and a well-belov'd youth,And he was a Squire's 
 
 WP f^ 
 
 ^ 
 
 ISZ 
 
 w tm 
 
 ^ 
 
 ^ 
 
 ^ 
 
 He lov - ed the bai - liff's daughter dear, That liv - ed in Is-ling - ton 
 
 son ; 
 —Si 
 
 ^ 
 
 Yet she was coy, and would not believe 
 
 That he did love her so, 
 No, nor at any time would she 
 
 Any countenance to him show. 
 
 But when his friends did understand 
 
 His fond and foolish mind, 
 They sent him up to fair London, 
 
 An apprentice for to bind. 
 
 And when he had been seven long years, 
 And never his love could see : 
 
 Many a tear have I shed for her sake. 
 When she little thought of me. 
 
 Then all the maids of Islington 
 Went forth to sport and play. 
 
 All but the bailiff's daughter dear; 
 She secretly stole away. 
 
 She pulled off her gown of green, 
 
 And put on ragged attire, 
 And to fair London she would go, 
 
 Her true love to enquire. 
 
 And as she went along the high road, 
 The weather being hot and dry, 
 
 She sat her down upon a green bank. 
 And her true love came riding by. 
 
204 
 
 ENGLISH SONa AND BALLAD MUSIC 
 
 She started up with a colour so red, 
 Catching hold of his bridle-rein ; 
 
 One penny, one penny, kind sir, she said, 
 Will ease me of much pain. 
 
 Before I give you one penny, sweet-heart, 
 Pray tell me where you were bom : 
 
 At Islington, kind Sir, said she, 
 Where I have had many a scorn. 
 
 I prythee, sweet-heart, tell to me, 
 
 O tell me whether you know 
 The bailiff's daughter of Islington ? 
 
 She is dead. Sir, long ago. 
 
 Rather slowly and very smoothly. 
 
 If she be dead, then take my horse. 
 
 My saddle and bridle also ; 
 For I will into some far country. 
 
 Where no man shall me know. 
 
 O stay, O stay, thou goodly youth. 
 
 She standeth by thy side ; 
 She is here alive, she is not dead. 
 
 And ready to be thy bride. 
 
 O farewell grief, and welcome joy. 
 
 Ten thousand times therefore ; 
 For now I have found mine own true love. 
 
 Whom I thought I should never see more. 
 
 Second Tune. 
 
 w^'' jmj .^^ j r^ 
 
 There was a youth, and a well - be-lov - ed 
 
 s 
 
 iJ: 
 
 youth, and a well - be-lov - ed youth. And he was a squi-er's 
 
 m:b >> J -hi 
 
 ^^ 
 
 P-— -F— F 
 
 Ep 
 
 ^ 
 
 # 
 
 h^^ 
 
 V¥^U 
 
 n 
 
 son; He lov-edthe bai-liff's daughter dear. That, liv - ed in 
 
 i T rjr 
 
 Isling - ton. 
 
 ^ 
 
 w 
 
 IT WAS A LOVEE AND HIS LASS. 
 From a quarto MS., which has successively passed through the hands of 
 Mr. Cranston, Dr. John Leyden, and Mr. Heber ; and is now in the Advocates' 
 Library, Edinburgh. It contaius about thirty-four songs with words," and sixteen 
 song and dance tunes without. The latter part of the manuscript, which bears 
 the name of a former proprietor, William Stirling, and the date of May, 1639, 
 consists of Psalm Tunes, evidently in the same handwriting, and written about 
 the same time as the earlier portion. This song is in the comedy of As you 
 like it, the first edition of which was printed in 1623 ; and the inaccuracies in 
 that copy, which have given much trouble to commentators on Shakespeare, are 
 not to be found in this. In the printed copy, the last verse stands in the place of 
 the second : this was first observed and remedied by Dr. Thirlby ; and the words 
 " ring time," there rendered "raw^ time," and by commentators altered to "rami 
 time," were first restored to the proper meaning by Steevens, who explains them 
 as signifying the aptest season for marriage. The words are here printed from the 
 
 •* Among these are Wither's song, " Shall I, wasting 
 in despair," and "Farewell, dear love," quoted in Twelfth 
 Night, the music of which, bj' Robert Jones (twelfth from 
 his first book, piiblisbed in 1601) is reprinted in Muaica 
 
 Antiqua : a Selection of Music from the commencement of 
 the twelfth to the beginning of the eighteenth century, &c. 
 edited by John Stafford Smith. 
 
ILLUSTRATING SHAKESPEARE. 
 
 205 
 
 manuscript in the Advocates' Library, (fol. 18), and other variations will be 
 found on comparing them with the published copies of the play. 
 
 Moderate time. , . i, , , i^_ 
 
 fe^b^3±^=^T^ 
 
 i^ 
 
 J 
 
 ^r^^ 
 
 It was a lover and his lass, With a hey, with a ho, with a hey non ne 
 
 '^W^ 
 
 m 
 
 i 
 
 ^^^ p»-r-* . — Z^ . 
 
 "^^^te 
 
 s 
 
 i^ 
 
 3i 
 
 F ^ gf ^^=^f]M ^ 
 
 d d d 
 
 no, And a hey 
 
 non ne no ni 
 
 That o'er the green corn - 
 
 it^^^;^ 
 
 r^> ] I u w 
 
 s 
 
 WWn^ 
 
 ~^. 
 
 c"?*, did pass, In Spring time, in Spring time, in Spring time ; Tlie on-ly pretty 
 
 i: 
 
 ^^- 
 
 ^ 
 
 ^^^^^^ 
 
 ^^ 
 
 Ji: 
 
 ring time. When hirds do sing, Hey ding a ding a ding. Hey ding a ding a ding, Hey 
 
 -f-^ 
 
 ^ 
 
 3^ 
 
 ^^ 
 
 ^3 
 
 ding a ding a ding, Sweet lev -ers love the Spring. 
 
 ^ 
 
 :3= 
 
 Between the acres of the rye. 
 
 With a hey, with a ho, with a hey, non ne no, 
 
 And a hey non ne, no ni no. 
 
 These pretty country fools did lie. 
 
 In Spring time, in Spring time, 
 
 The only pretty ring time, 
 
 When birds do sing 
 
 Hey ding, a ding, a ding, 
 
 Sweet lovers love the Spring. 
 
 This carol they began that hour, 
 
 With a hey, &c. 
 How that life was but a flow'r, 
 
 In Spring time, &c. 
 
 Then, pretty lovers, take the time. 
 
 With a hey, &c., 
 For love is crowned with the prime. 
 
 In Spring time, &c. 
 
206 
 
 ENGLISH SONG AND BALLAD MUSIC 
 
 WILLOW, WILLOW! 
 
 The song of Oh ! willow, willow, ■which Desdemona sings in the fourth act of 
 Othello, is contained in a MS. volume of songs, with accompaniment for the lute, 
 in the British Museum (Addit. MSS. 15,117). Mr. Halliwell considers the 
 transcript to have been made about the year 1633; Mr. Oliphant (who catalogued 
 the musical MS.) dates it about 1600 ; but the manuscript undoubtedly contains 
 songs of an earlier time, such as — 
 
 " death I rock me asleep, 
 Bring me to quiet rest," &c. 
 
 attributed to Anne Boleyn, and which Sir John Hawkins found in a MS. of the 
 reign of Henry VHI. 
 
 The song of Willow, loillow, is also in the Roxburghe Ballads, i. 64 ; and was 
 printed by Percy from a copy in the Pepys Collection, entitled " A Lover's 
 Complaint, being forsaken of his Love : to a pleasant tune." 
 
 Willow, willow, was a favorite burden for songs in the sixteenth century. 
 There is one by John Heywood, a favorite dramatist and couyt musician of the 
 reigns of Henry VHI, and Queen Mary, beginning — 
 
 " Alas I by what mean may I make ye to know 
 The unkindness for kindness that to me doth grow ? " 
 
 which has for the burden — 
 
 " All a green willow ; willow, willow, willow ; 
 All a green willow, is my garland." 
 
 It has been printed by Mr. Halliwell, with others by Heywood, Bedford, &c., for 
 the Shakespeare Society, in a volume containing the moral play of Wit and 
 Science. 
 
 Another with the burden — 
 
 " Willow, willow, willow ; sing all of green willow ; 
 Sing all of green willow, shall be my garland," 
 
 will be found in A Grorgious Gallery of Crollant Inventions (1678). It commences 
 thus: 
 
 " My love, what misliking in me do you find. 
 Sing all of green willow ; 
 That on such a sudden you alter your mind ? 
 
 Sing willow, willow, willow. 
 What cause doth compel you so fickle to be, 
 
 Willow, willow, willow, willow ; 
 In heart which you plighted most, loyal to me ? 
 
 Willow, willow, willow, willow."-^^6'Ziconm, i. 32. 
 
 In Fletcher's The two Noble Kinsmen, when the Jailer's daughter went mad 
 for love, " She sung nothing but Willow, willow, willow." — Act iv., sc. 1. 
 
 In the tragedy of Othello, Desdemona introduces the song " in this pathetic 
 and affecting manner : " 
 
ILLUSTRATING SHAKESPEARE. 
 
 207 
 
 
 " My mother had a maid call'd Barbara ; 
 She was in love ; and he she lov'd prov'd mad, 
 And did forsake her : she had a song of Willow ,• 
 And old thing 'twas, but it express'd her fortune, 
 And she died singing it. That song to-night 
 Will not go from my mind ; I have much to do, 
 But to go hang my head all at one side. 
 And sing it like poor Barbara." 
 
 Rather slow and smoothly. 
 
 ^ 
 
 ^ 
 
 w 
 
 */ 
 
 ^ 
 
 pp 
 
 The poor soul sat sigh - ing by a si ca - more tree. Sing 
 
 S 
 
 ^S 
 
 fe 
 
 W^^ 
 
 liitard.. 
 
 ^.A tempo, sf 
 
 ^^i 
 
 -r^- j - 
 
 p 
 
 r ^* * * -r 
 
 low! With his hand in his bo-som, and his head up-on his 
 
 wil - low, willow, wi 
 
 _C5 
 
 ^j=^ 
 
 ^ 
 
 2±: 
 
 ~^ 
 
 / 
 
 m 
 
 m 
 
 ^^^ ^ 
 
 pp 
 
 M 
 
 3i 
 
 f^[ r ^ f " "'^-^-r 
 
 ?n 
 
 knee ; Oh ! willow, willow, willow, wil-low, Oh ! willow, willovv, willow, wil-low. Shall 
 
 -it —» _# c^ 
 
 ^ 
 
 W 
 
 %-y 
 
 f 
 
 P 
 
 ^ 
 
 i=g 
 
 ^ 
 
 =^=r 
 
 r r r ^ 
 
 ^ 
 
 , • my gar land : Sing all a green wil - low, 
 
 h 
 
 wil - low, willow. 
 
 ^^ 
 
 1^ 
 
 rn" 
 
 Cres. 
 
 % 
 
 J J i J 
 
 s 
 
 =>-pp 
 
 1^ 
 
 =f= 
 
 f 
 
 =# 
 
 wil - low. Ah me ! the green wil - low must be my gar 
 
 ■& • — 
 
 35 
 
 ^ 
 
 land. 
 
 m 
 
 T 
 
208 
 
 ENGLISH SONG AND BALLAD MUSIC 
 
 He sigh'd in his singing, and mad£ a great moan, Sing, &c. ; 
 I am dead to all pleasure, my tnie love he-is gone, &c. 
 
 The mute bird sat by him was made tame by his moans, &c. ; 
 
 The true tears fell from him would have melted the stones, Sing, &c. 
 
 Come, all you forsaken, and mourn you with me. Sing, &c. ; 
 Who speaks of a false love, mine's falser than she, &c. 
 
 Let love no more boast her in palace nor bower. Sing, &c. ; 
 It buds, but it blasteth ere it be a flower, &c. 
 
 Though, fair, and more false, 1 die with thy wound, Sing, &c. ; 
 Thou hast lost the truest lover that goes upon the ground, &c.' 
 
 Let nobody chide her, her scorns I approve [though I prove] ; 
 She wag born to be false, and I to die for her love, &c. 
 
 Take this for my ferewell and latest adieu. Sing, &c. ; 
 Write this on my tomb, that in love I was true, &c. 
 
 The above copy of the words is from the same manuscript as the music. It 
 differs from that in Percy's Reliques of Ancient Poetry ; and Shakespeare has 
 somewhat varied it to apply to a female character. 
 
 WHOOP! DO ME NO HARM, GOOD MAN. 
 
 This is twice alluded to by Shakespeare, in act iv., sc. 3, of A Winter's Tale ; 
 and by Ford, in act iii., sc. 3, of The Fancies chaste and nolle, where Secco, 
 applying it to Morosa, sings " Whoop ! do me no harm, good woman." 
 
 The tune was transcribed by Dr. Rimbault, from a MS. -volume of virginal 
 music, in the possession of the late John Holmes, Esq., of Retford, A song with 
 this burden will be found in Fry's Ancient Poetry, but it would not be desirable 
 for republication. 
 
 Cheerfully. 
 
 r~- r" f- ■ " f 
 
 'din^j^ ii t 
 
 ^ 
 
 -^ 
 
 d K 
 
 ^=n^ 
 
 * m—- '-W—- * # * S . 
 
 W 
 
 Whoop ! do : 
 
 hoop ! do me no harm, good man. 
 
 r 
 
 =nff^ 
 
 ^^ 
 
ILLUSTRATING SHAKESPEARE. 
 
 209 
 
 O MISTRESS MINE 1 
 
 This tune is contained in both the editions of Morley's Consort Lessons, 1599 
 and 1611. It is also in Queen Elizabeth's Virginal Book, arranged by Byrd. 
 
 As it is to be found in print in 1599, it proves either that Shakespeare's Twelfth 
 Night was written in or before that year, or that, in accordance with the then pre- 
 vailing custom, Mistress mine was an old song, introduced into the play. 
 
 Mr. Payne Collier has proved Twelfth Night to have been an established 
 favorite in February, 1602 {Annals of the Stage, i. 327), but we have no evidence 
 of so early a date as 1599. 
 
 In act ii., sc. 3., the Clown asks, " Would you have a love-song, or a song of 
 good life ? " 
 
 Sir Toby. — " A love-song, a love-song." 
 Moderate time and very smoothly. 
 
 i 
 
 ^ 
 
 m. 
 
 j^ P \ ni 
 
 £ 
 
 =d 3-Q 
 
 i^ 
 
 y=*1f=f 
 
 r? f. ' /^f ^^'^ti'^ 
 
 O mistress mine, where are you roaming ? O mistress mine, where are you roaming ? 
 
 m 
 
 '.): ■ .1 'a 
 
 m 
 
 ^ 
 
 ^ 
 
 rail. a tempo. -^ 
 
 O stay and hear ; your tnie love's coming. That can sing both high and low: Trip no further, 
 
 ^=w=r=i 
 
 fe 
 
 :lt=M 
 
 ^m 
 
 ^ 
 
 pretty sweet-ing, Jour - neys end in lovers' meeting, Ev' - ry wise man's son doth know. 
 
 :ferf 
 
 e^ 
 
 "What is love? — 'tis not hereafter ; 
 Present mirth hath present laughter ; 
 
 What's to come is still unsure : 
 In delay there lies no plenty ; 
 Then come kiss me, sweet-and-twenty, 
 
 Youth's a stuff will not endure." 
 
 HEART'S-EASE. 
 The tune of Hearf s-ease is contained in a MS. volume of lute music, of the 
 sixteenth century^ in the Public Library, Cambridge (D. d., ii. 11), as well as in 
 The Dancing Master,Tiom 1650 to 1698. It belongs, in all probability, to an 
 earlier reign than that of Elizabeth, as it was sufficiently popular about the year 
 1560 to have a song written to it in the interlude of Misogonus. Shakespeare 
 thus alludes to it in Romeo and Juliet, 1597 (act iv., sc. 5.) — 
 
 p 
 
210 
 
 ENGLISH SONG AND BALLAD MUSIC 
 
 Peter. — "Musicians, musicians, Hearts-ease, hea/rt's-ease: an you will have 
 me live, play Hearts-ease, 
 
 1st Mus. — ^Why Hearts-ease ? 
 
 Peter. — musicians, because my heart itself plays My heart is full of woe ;° 
 play me some merry dump,* to comfort me." 
 
 The foUo-sving song is from Misoffonm, by Thomas Rychaxdes ; and, as Mr. 
 Payne Collier remarks, " recollecting that it was -written about the year 1660, 
 may be pronounced quite as good in its kind as the drinking song * in Qammer 
 Churton^s Needle." 
 
 Moderate time. ,^ 
 
 I 
 
 ^^ 
 
 
 ? 
 
 ^: 
 
 s 
 
 ^ 
 
 — * — ji — • F — = -<y^ ^ • j ^ m — ^ m — r 
 
 Sing care a - way with sport and play. Pas - time is all our 
 
 %z 
 
 ^ 
 
 W=¥^ 
 
 3e 
 
 ^ 
 
 lU J- Ij-ftr^ 
 
 ^ie 
 
 pleasure ; If well we fare. For nought we care. In mirth con-sists our treasure. 
 
 ^ 
 
 ^ 
 
 ^=S^ 
 
 P^ 
 
 ^ 
 
 f^ ' ^ \ t ^j ; i j j'j i 
 
 -*: 
 
 fc=« 
 
 ffi 
 
 f^ 
 
 ■ 1^ 
 
 Let lun - gis lurk. And drudges work, We do de-fy their slavery: He 
 J. [lankies] 
 /-«r . - — T- 
 
 » p 
 
 ■W ■ — 'J 
 
 •^^^z^ 
 
 J^-^ l J J^ ^ 
 
 ^^ 
 
 f=f 
 
 *t!i; 
 
 is hut a fool That goes to school. All we de light in hravery. 
 
 rf^\r. r?^ 
 
 1"=^ 
 
 a This 13 the burden of *'A pleasant new Ballad of two 
 I«overs: to a pleasant new tune ; " beginning — 
 "Complain my lute, complain on him 
 That stays so long away; 
 He promised to be here ere this, 
 
 But still unkind doth stay. 
 But now the proverb true I find, 
 Once out of sight then out of mind. 
 Hey, ho ! my heart is full of woe" &c. 
 
 It has been reprinted by Mr. Andrew Barton, in the first 
 volume of the Shakespeare Society's Papers, 1844. 
 
 *• A dump was a slow dance. Queen Mary*8 Dump is 
 one of the tunes in William Ballet's Lute Book, and My 
 Lady Carey's Dojrvpe is printed in Stafford Smith's Musica 
 Antigua, ii. 470, from a manuscript in the British 
 Museum, temp. Henry VIII. 
 o "I cannot eat but little meat," see page 72. 
 
ILLUSTRATING SHAKESPEARE. 211 
 
 " What doth't avail far hence to sail, 'Tis a beastly thing to lie musing 
 
 And lead onr life in toiling? With pensiveness and sorrow; 
 
 Or to what end should we here spend For who can tell that he shall well 
 
 Our days in irksome moiling? [labour] Live here until the morrow? 
 
 It is the best to live at rest, We will, therefore, for evermore, 
 
 And take't as God doth send it; While this our life is lasting. 
 
 To haunt each wake, and mirth to make. Eat, drink, and sleep, and ' merry ' keep, 
 
 And with good fellows spend it. 'Tis Popery to use fasting. 
 
 Nothing is worse than a full purse In cards and dice our comfort lies. 
 
 To niggards and to pinchers ; In sporting and in dancing. 
 
 They always spare, and live in care, Our minds to please and live at ease. 
 
 There's no man loves such flinchers. And sometimes to use prancing. 
 
 The merry man, with cup and can. With Bess and Nell we love to dwell 
 
 Lives longer than do twenty; In kissing and in ' talking; ' 
 
 The miser's wealth doth hurt his health ; — But whoop ! ho holly, with trolly lolly, 
 
 Examples we have plenty. To them we'll now be walking." 
 
 Collier's History of Early Dramatic Poetry, ii. 470. 
 
 JOG ON, JOG ON. 
 
 This tune is iu The Dancing Master, from 1650 to 1698, calledJb^ on; also in 
 Queen Elizabeth's Virginal Book, under the name of HansMn. The words of 
 Jog on, of which the first verse is sung by Autolycus^ in act iv., sc. 2, of 
 Shakespeare's A Winter's Tale, are in The Antidote against Melancholy, 1661. 
 Another name for the tune is Sir Francis Drake, or Eighty-eight. 
 
 The following is the song from The Antidote against Melancholy : — 
 " Jog on, jog on the footpath way, Your paltry money -hags of gold, 
 
 And merrily hent* the stile-a; What need have we to stare for, 
 
 Your merry heart goes all the day ; When little or nothing soon is told. 
 
 Your sad tires in a mile-a. And we have the less to care for. 
 
 Cast care away, let sorrow cease, 
 
 A fig for melancholy ; 
 Let's laugh and sing, or, if you please, 
 
 We'll frolic with sweet Dolly." 
 
 In the Westminster Drollery, 3rd edit., 1672, is " An old song on the Spanish 
 Armado," beginning, " Some years of late, in eighty-eight ; " and in MSS. HarL, 
 791, fol. 59, and in Merry Drollery complete, 1661, a different version of the same, 
 commencing, " In eighty-eight, ere I was born." Both have been reprinted for 
 the Percy Society in Halliwell's Naval Ballads of England. The former is also 
 in Pills to purge Melancholy, 1707, ii. 37, and 1719, iv. 37, or Ritson's Ancient 
 Songs, 1790, p. 271, 
 
 In the Collection of Ballads in the Cheetham Library, Manchester, fol. 30, is 
 
 ^ To hent ox hend is to hold or seize. At the head of "Upon the sea, till Jhesu Crist him hcnte." — Chaucer, 
 one of the chapters of Sir Walter Scott's novels, this is line 700. 
 
 misquoted "bend." "Till they the reynes of his hridel henten" — Chaucer, 
 
 " And in his hand a battle-axe he hent," — Honor of the line 906. 
 
 Garter, by George Peele. " Or reave it out of the hand that did it /«»<(."— Spenser's 
 
 Faery Queen. 
 
212 
 
 ENGLISH SONG AND BALLAD MUSIC 
 
 " The Caiholick Ballad, or an Invitation to Popery, upon considerable grounds and 
 reasons, to the tune oi Eighty-eight." It is in black-letter, with a bad copy of the 
 tune, and another (No. 1103), dated 1674. It will also be found in Pills to purge 
 Melancholy, 1707, ii. 32, or 1719, iv. 32. It commences thus : — 
 " Since Popery of late is so much in debate, 
 And great strivings have been to restore it, 
 I cannot forbear openly to declare 
 That the ballad-makers are for it." 
 
 This song attained some popularity, because others are found to the tune of 
 The Catholic Ballad. 
 
 The following are the two ballads on the Spanish Armada; the first (with the 
 tune) as in the Harl. MS., and the second from Westminster Drollery. 
 Moderate time. 
 
 -fi: 
 
 i53E 
 
 wzi-jj^ 
 
 3E 
 
 # — ! 
 
 5 
 
 r'=^ — r 
 
 I was bom, As 
 
 "*~= ■ — 1 ^ • *^j^8 — r 
 
 I can well re - mem-ber, In 
 
 In eiglity-eight, ere 
 
 ^ffi 
 
 ^ 
 
 :± 
 
 Au - gust was a 
 
 fleet pre - par'd, The month be - fore Sep - tem - bar 
 
 P^ 
 
 ^ 
 
 f^ 
 
 Spain, with Biscay and Portugal, 
 
 Toledo and Grenada ; 
 All these did meet, and made a fleet, 
 
 And call'd it the Armada. 
 
 Where they had got provision, 
 As mustard, pease, and bacon ; 
 
 Some say two ships were full of whips, - 
 But I think they were mistaken. 
 
 There was a little man of Spain 
 
 That shot well in a gun-a, 
 Don Pedro^hight, [called] as good a knight 
 
 As the Knight of the Sun-a. 
 
 King Philip made him admiral, 
 And charg'd him not to stay-a. 
 
 But to destroy both man and boy. 
 And then to run away-a. 
 
 " The person meant by Don Pedro was the Duke of 
 Medina Sidonia, commander of tlie Sjianish fleet. His 
 
 The King of Spain did fret amain. 
 
 And to do yet more harm-a ; 
 He sent along, to make him strongs 
 
 The famous Prince of Parma. 
 
 When they had sail'd along the seas. 
 
 And anchor'd upon Dover, 
 Our Englishmen did board them then, 
 
 And cast the Spaniards over. 
 
 Our Queen was then at Tilbury, 
 What could you more desire-a? 
 
 For whose sweet sake Sir Francis Drake 
 Did set them all on fire-a. 
 
 But let them look about themselves. 
 
 For if they come again-a, 
 They shall be serv'd with that same sauce 
 
 As they were, I know when-a. 
 
 name was not Pedro, but Alonzo Perez di Guzman, 
 
ILLUSTRATING SHAKESPEARE. 213 
 
 " An old song on the Spanish Armado," called, also, in Pills to purge Melan- 
 choly, " Sir Francis Drake : or Eighty-eight." To the same tune. (The words 
 from Westminster Drollery, 1672.) 
 Some years of late, in eighty-eight, Their men were young, munition strong. 
 
 As I do well remember ; And to do us more harm-a, 
 
 It was, some say, the nineteenth of May, They thought it meet to join their ileet, 
 
 And some say in September. All with the Prince of Parma. 
 
 The Spanish train, launch'd forth amain, They coasted round about our land. 
 
 With many a fine bravado. And so came in to Dover ; 
 
 Their (as they thought, but it proved not) But we had men, set on them then, 
 
 Invincible Armado. And threw the rascals over. 
 
 There was a little man that dwelt in Spain, The Queen was then at Tilbury, 
 
 Who shot well in a gun-a. What could we more desire-a, 
 
 Don Pedro hight, as black a wight And Sir Francis Drake, for her sweet sake, 
 
 As the Knight of the Sun-a. Did set them all on fire-a. 
 
 King Philip made him admiral. Then straight they fled by sea and land. 
 
 And bid him not to stay-a, That one man kill'd three score-a; 
 
 But to destroy both man and boy. And had not they all run away. 
 
 And so to come away-a. In truth he had kill'd more-a. 
 
 Their navy was well victualled Then let them neither brag nor boast, 
 With biscuit, pease, and bacon ; But if they come again-a. 
 
 They brought two ships well fraught with whips. Let them take heed they do not speed. 
 But I think they were mistaken. As they did, you know when-a. 
 
 COME, LIVE WITH ME, AND BE MY LOVE. 
 
 This tune, -which was discovered by Sir John Hawkins, " in a MS. as old as 
 Shakespeare's time," and priuted in Steevens' edition of Shakespeare, is also con- 
 tained in " The Second Booke of Ayres, some to sing and play to the Base-Violl 
 alone : others to be sung to the Lute and Base-VioU," &c., by W. Corkitie, 
 fol. 1612. 
 
 In act iii., sc. 1, of The Merry Wives of Windsor, 1602, Sir Hugh Evans sings 
 the following lines, which form part of the song : — 
 " To shallow rivers, to whose falls 
 
 Melodious birds sing madrigals ; 
 
 There will we make our beds of roses. 
 
 And a thousand fragrant posies." 
 In Marlow's tragedy, The Jew of Malta, written in or before 1591, he introduces 
 the first lines of the song in the following manner : — 
 
 " Thou, in whose groves, by Dis above, 
 
 Shall live with me and be my love." 
 In Migland's Eelicon, 1600, it is printed with the name " Chr. Marlow " as the 
 author. It is also attributed to Marlow in the foUoAving passage from Walton's 
 Angler, 1653 : — " It was a handsome milkmaid, that had not attained so much 
 age and wisdom as to load her mind with any fears of many things that will never 
 be, as too many men often do; but she cast away all care and sung like a nightin- 
 gale : her voice was good, and the ditty fitted for it : it was that smooth song 
 which was made by Kit. Marlow, now at least fifty years ago." 
 
214 ENGLISH SONG AND BALLAD MUSIC 
 
 On the other hand, it was first printed by.W. Jaggard in "The passionate 
 Pilgrim and other sonnets by Mr. William Shakespeare," in 1599 ; but Jaggard 
 is a very bad authority, for he included songs and sonnets by Griffin and Barnfield 
 in the same collection, and subsequently others by Heywood. 
 
 Migland's Helicon contains, also, "The Nimph's reply to the Shepheard," 
 beginning— " If all the world and love were young, 
 
 And truth in every shepherd's tongue;" 
 
 which is there subscribed " Ignoto," but which Walton attributes to Sir Walter 
 Raleigh, "in his younger days ;" and "Another of the same nature made since," 
 commencing — " Come, live with me, and be my deere, 
 
 And we will revel all the yeere," 
 with the same subscription. 
 Dr. Donne's song, entitled " The Bait," beginning — 
 " Come, live with me, and be my love. 
 
 And we will some new pleasures prove. 
 
 Of golden sands and crystal brooks, 
 
 With silken lines and silver hooks," &c. 
 
 which, as Walton observes, he " made to shew the world that he could make soft 
 and smooth verses, when he thought smoothness worth his labour," is also in 
 The Complete Angler ; and the three above quoted from Migland's Helicon, are 
 reprinted in Ritson's Mnglish Songs and Ancient Songs; and two in JPercy's 
 Jteliques of Ancient Poetry, &c., &c. 
 
 In Choice, Chance, and Change; or Conceits in their colours, 4to., 1606, 
 Tidero, being invited to live with his friend, replies, "Why, how now? do you 
 take me for a woman, that you come upon me with a ballad of Come, live with me, 
 and he my love ? " 
 
 Nicholas Breton, in his Poste with a packet of Mad Letters, 4to., 1637, says, 
 " You shall hear the old song that you were wont to like well of, sung by the 
 black brows with the cherry cheek, under the side of the pied cow. Come, live with 
 me, and be my love, you know the rest." 
 
 Sir Harris Nicholas, in his edition of Walton's Angler, quotes a song in imi- 
 tation of Come, live with me, by Herrick, commencing — 
 
 " Live, live with me, and thou shalt see ; " 
 and Steevens remarks that the ballad appears to have furnished Milton with the 
 hint for the last lines of V Allegro and Penseroso. 
 
 From the following passage in The World's Folly, 1609, it appears that there 
 may have been an older name for the tune : — " But there sat he, hanging his 
 head, lifting up the eyes, and with a deep sigh, singing the ballad of Come, live 
 with me, and be my love, to the tune of Adew, my deere." "■ 
 
 In Deloney's Strange Histories, 1607, is the ballad of " The Imprisonment of 
 Queen Eleanor," &c., to the tune of Come, live with me, and be my love, but it has 
 
 * A song in Hail. MSS. 2252, of the early part of Henry It 18 reprinted in Ritson's Ancient Songs (p. 98), but the 
 
 the Eighth's reign, "Upon the inconstancy of his mis- metre differs from that of Comet li'oe with me, and with 
 
 tress," begins thus : — out repeating words, could not have been sung to the 
 
 " Mornyng, momyng, thus may I sing, same air. 
 Adew, my dere, adew." 
 
ILLUSTRATING SHAKESPEARE. 
 
 215 
 
 six lines in each stanza; and " The woefull lamentation of Jane Shore," beginning, 
 " If Kosamond that was so fair " (copies of which are in the Pepys, Bagford, and 
 Roxburghe Collections), "to the tune of Live with me," has four lines and a 
 burden of two — " Then maids and wives in time amend, 
 
 For love and beauty will have end." 
 From this it appears that either the half of the tune was repeated, or that there 
 were two airs to which it was sung. In Westminster Drollery, 1671 and 1674, a 
 parody on Come, live with me, is to the tune of My freedom is all my joy. That 
 has also six liaes, and the last is repeated. 
 
 Other ballads, like "A most sorrowful song, setting forth the miserable end of 
 Banister, who betrayed the Duke of Buekingham, his lord and master : to the tune 
 of Live with me;" and the Life and Death of the great Duke of Buckingham, who 
 came to an untimely end for consenting to the depositing of two gallant young 
 princes," &c. : to the tune of Shore's Wife, have, like Come, live with me, only 
 four lines ia each stanza. (See Crown Crarland of Crolden Roses, 1612 ; and 
 Evans' Old Ballads, iii. 18 and 23.) 
 Rather slow. 
 
 j_y Rather slow. ^ ^y. ^.^^^i -^ 
 
 Come, live with me, and be my love, And we will all the plea-sures 
 
 ^^ 
 
 fc 
 
 K * O f 
 
 P 
 
 »# 
 
 P*^ 
 
 J i'l-i^i 
 
 ■ ^ I'fi^^ii^i'iUJj 
 
 ?FF^ 
 
 prove That hills and val-Ieys, dale and field. And all the crag-gy moun-tains yield. 
 
 m 
 
 There will we sit upon the rocks, 
 And see the shepherds feed their flocks. 
 By shallow rivers, to whose falls 
 Melodious birds sing madrigals. 
 
 There will I make thee beds of roses. 
 And twine a thousand fragrant posies ; 
 A' cap of flowers, and a kirtle, 
 Embroider'd all with leaves of myrtle. 
 
 A gown made of the finest wool. 
 Which from our pretty lambs we pull ; 
 Slippers lined choicely for the cold. 
 With buckles of the purest gold. 
 
 A belt of straw and ivy buds. 
 With coral clasps and amber studs : 
 And if these pleasures may thee move, 
 Come, live with me, and be my love. 
 
 The shepherd swains shall dance and sing. 
 For thy delight, each May morning ; 
 If these delights thy "mind may move. 
 Then live with me, and be my love. 
 
 * In Sir John Hawkins' copy, this note is ■written an 
 octave lower, probably because taken from a lute arrange- 
 ment, in which the note, being repeated, was to be played 
 on a lower string. In the second bar of the melody, his 
 
 copy, if transposed into this key, would be u A d, instead 
 of B c D ; which latter seems right by the analogy of that 
 and the other phrases, although the difference is not very 
 material. 
 
16 
 
 ENGLISH SONG AND BALLAD MUSIC 
 
 THEEE MEEET MEN BE WE. 
 This is quoted in the same passage in Twelfth Night as Peg-a-Ramsey. The tune 
 is contained in a MS. common-place book, in the hand-writing of John Playford, 
 the publisher of The Lancing Master, in the possession of the Hon. George 
 O'Callaghan." The words are also in Peek's The Old Wives' Tale, 1595 Pyce, 
 i. 208), -where it is sung instead of the' song proposed, man in desperation. 
 
 In the comedy of Laugh and lie down, 1605, " He plaied such a song of the 
 Three Merry Men." In Fletcher's The Bloody Brother, the Cook, -who is about to 
 be hung -with two others, says : 
 
 " Good Master Sheriff, your leave too ; 
 This hasty -work was ne'er done well : give us so much time 
 As hut to sing our own ballads, for we'll trust no man, 
 Nor no tune but our o-wn ; 'twas done in ale too, 
 And therefore cannot be refus'd in justice : 
 Your penny-pot poets are su^h pelting thieves, 
 They ever hang m£n twice." 
 Each then sings a song, and they join in the chorus of — 
 " Three merry boys, and three merry boys. 
 And three merry boys are we. 
 As ever did sing' in a hempen string 
 Under the gallow tree." — Act iii., sc. 2, — Lyce, x. 428. 
 "Three merry men be we" is also quoted in Westward See, by Dekker and 
 Webster, 1607 ; and in Bam Alley, 1611. 
 Moderate time and gaily. 
 
 
 Three merry men and three merry men, And three merry men be -we 
 
 STCFF 
 
 ^ 
 
 ^ 
 
 ;^ 1 1 1 j n j i^xj-m 
 
 ^ 
 
 r=r 
 
 in the wood, and thou on the ground, And Jack sleeps in the tree, 
 
 r cj ^ F 
 
 t 
 
 I LOATHE THAT I DID LOVE. 
 On the margin of a copy of the Earl of Surrey's poems, in the possession of 
 Sir W. W. Wynne, some of the little airs to which his favorite songs were sung 
 are -written in characters of the times. Dr. Nott printed them from that copy in 
 his edition of Surrey's Songs and Sonnets,'' 4to., 1814. From this the first tune 
 for "I loathe that I did love " is taken. The second is from a MS. containing 
 songs to the lute, in the British Museum (Addit. 4900), but it is more like the 
 regular composition of a musician than the former. 
 
 ■ The music was added after a portion of the edition had been circulated. 
 
ILLUSTRATING SHAKESPEARE. 
 
 217 
 
 Three stanzas from the poem are sung by the grave-digger in Samlet ; but 
 they are much corrupted, and in all probability designedly, to suit the character 
 of an illiterate clown. On the stage the grave-digger now sings them to the tune 
 of The Children in the Wood. 
 
 In the Crorgious Gallery of Gallant Inventions, 1578, " the lover complaineth 
 of his lady's inconstancy ; to the tune of I lothe that I did Ime" therefore a time 
 was formerly known by that name, and probably one of the two here printed. 
 
 The song will be found among the ballads that illustrate Shakespeare, in Percy's 
 Beliques of Ancient Poetry. 
 
 y Slow. First Tune. 
 
 f^-^^^^vH-f^^^^^^jH-i^^ 
 
 -si- • -5- ■*■-"*" 
 I loathe that I did love ! In youth that I thought sweet, (As 
 
 ^ 
 
 ^ 
 
 S 
 
 ^ 
 
 ± 
 
 3 
 
 time re-quires for my behove,) Me - thinks it is not meet. 
 
 ~c-r- 
 
 i: 
 
 ^ 
 
 3S; 
 
 ^^ 
 
 Slow. 
 
 Second Tune. 
 
 1 ^1 I 
 
 ^ 
 
 loathe that I did love! In youth that I thought sweet (As 
 
 ~crr 
 
 ^ 
 
 M 
 
 ISSI 
 
 33Z 
 
 ^=^ 
 
 m 
 
 ^ 
 
 ^ 
 
 ^ 
 
 ^ 
 
 time re - quires for my be - hove, for my be - hove). Me 
 
 -T^" 
 
 ^ 
 
 ^ 
 
 ^ 
 
 =^ 
 
 ^^ 
 
 i 
 
 ^ 
 
 n 
 
 -thinks it is not meet, Me - thinks, me - thinks, it is not meet, 
 
 ^ 
 
 rss: 
 
 rst 
 
218 ENGLISH SONG AND BALLAD MUSIC 
 
 PEG A RAMSEY, oe PEGGIE EAMSEY. 
 
 In Twelfth Night, act ii., sc. 3, Sir Toby says, " Malvolio's a Peg-a-Bamsey, 
 and Three merry men be we." There are two tunes under the name of Peg-a- 
 JRamsey, and both as old as Shakespeare's time. The first is called Peg-a-Mamsey 
 in "William Ballet's Lute Book, and is given by Sir John Hawkins as the tune 
 quoted in Twelfth Night. (See Steevens' edition of Shakespeare.) He says, 
 " Peggy Ramsey is the name of some old song ; " but, as usual, does not cite his 
 authority. It is mentioned as a dance tune by Nashe (see the passage quoted at 
 p. 116), and in The Shepheard's Bbliday — 
 
 " Bounce it Mall, I hope thou will, Spaniletto — The Venetto ; 
 
 For I know that thou hast skill ; John come kiss me — Wilson's Fancy. 
 
 And I am sure thou there shall find But of aU. there's none so sprightly 
 Measures store to please thy mind. To my ear, as Touch me lightly." 
 
 Eoundelays — Irish hayes ; Wit's Mecreations, 1640. 
 
 Cogs and Eongs, and Peggie Ramsy; 
 
 " Little Pegge of Ramsie " is one of the tunes in a manuscript by Dr. Bull, which 
 formed a part of Dr. Pepusch's, and afterwards of Dr. Kitchener's library. Ramsey, 
 in Huntingdonshire, was formerly an important town, and called " Ramsey the 
 rich," before the destruction of its abbey. 
 
 Burton, in his Anatomy of Melancholy, says, " So long as we are wooers, we 
 may kiss at our pleasure, nothing is so sweet, we are in heaven as we think ; but 
 when we are once tied, and have lost our liberty, marriage is an hell. ' Crive me 
 my yellow hose again : ' a mouse in a trap lives as merrily." 
 " Give me my yellow hose " is the burden of a ballad called — 
 
 " A merry jest of John Tomson, and Jackaman his wife, 
 Whose jealousy was justly the cause of all their strife ;" 
 to the tune of Pegge of Ramsey ;' beginning thus — 
 
 " When I was a bachelor I cannot do as I have done, 
 
 I led a merry life, Because I live in fear ; 
 
 But now I am a married man If I go but to Islington, 
 
 And troubled with a wife. My wife is watching there. 
 
 Give me my yellow again, 
 
 Give me my yellow hose. 
 For now my wife she watcheth me. 
 See yonder where she goes." 
 
 It has been reprinted in Evans' Old Ballads, i. 187 (1810.) 
 
 In Wit and Mirth, or Pills to purge Melancholy (1707, iii. 219, or 1719, 
 V. 139), there is a song called "Bonny Peggy Ramsey," to the second tune, 
 which in earlier copies is called London is a fine town, and Watton Toum's Mid. 
 
 The original song, " Oh ! London is a fine town," is probably no longer extant. 
 A ballad to be sung to the tune -was written on the occasion of James the First's 
 visit to Cambridge, in March, 1614 — 
 
ILLUSTEATING SHAKESPEARE. 219 
 
 " Cambridge is a merry town, 
 And Oxford is another, 
 The King was welcome to the one, 
 And fared well at the other,'' &c. 
 
 See Hawkins' Ignoramus, xxxvi. 
 A second with the burden — 
 
 " London is a fine town. 
 Yet I their cases pity ; 
 The Mayor and some few Aldermen 
 Have clean undone the city," 
 will be found in the King's Pamphlets, British Museum (fol. broadsides, vol. v.). 
 It begins, " Why kept your train-bands such a stir," and is dated Aug. 13, 1647. 
 (Reprinted in Wright's Political Ballads, for the Percy Society.) 
 In Le Prince cC Amour, 12m., 1660, is a third, commencing thus : — 
 " London is a fine town, and a brave city. 
 Governed with scarlet gowns ; give ear unto my ditty : 
 And there is a Mayor, which Mayor he is a Lord, 
 That governeth the city by righteous record. 
 Upon Simon and Jude's day their sails then up they hoist. 
 And then he goes to Westminster with all the galley foist. 
 London is a fine town," &c. 
 A fourth song beginning, " Oh I London is a fine town," will be found in Pills to 
 purge Melancholy, 1707, ii. 40, or 1719, iv. 40 ; and in the same volume another 
 to the tune, beginning — 
 
 " As I came from Tottingham, Her journey was to London 
 
 Upon a market day. With buttermilk and whey, 
 
 There I met a bonny lass To come down, a down. 
 
 Clothed all in gray. To come down, down, a down-a." 
 
 The burden, to this song suggests the possibility of its being the tune of a snatch 
 sung by OpheUa in Hamlet — 
 
 " You must sing down, a down. 
 An you call him a down-a." 
 One of D'Urfey's " Scotch" Songs, called The Groivlin, in his play of Trick for 
 Trick, was also sung to this tune. 
 
 In The Dancing Master, 1665 and after, it is called Walton Town^s End ; and 
 in the second part of BoUn Croodfellow, 1628, there is a song " to the tune of 
 Walton Town's Mnd," beginmng — 
 
 " It was a country lad, 
 That fashions strange would see," &c. 
 It is reprinted in Evans' Old Ballads, 1810, i. 200. Another entitled— 
 " The common cries of London town. 
 Some go up street, some go down," 
 is to the tune of Walton Townes End, black-letter, 1662. 
 
 Many others will be found to these tunes, under their various names. 
 The following is a verse from the ballad quoted in Burton's Anatomy of 
 Melancholy. It consists of eighteen stanzas, each of eight Hues, and a ditty of 
 four (" Give me my yellow hose again," &c.). See Evans' Old Ballads. 
 
220 ENGLISH eONQ AND BALLAD MUSIC 
 
 Moderate time. 
 
 vFfr^ 
 
 W^ 
 
 m^^ 
 
 t^ 
 
 i 
 
 When I was a Baohe-lor, I liv'd a mer-ry life, But now I am a 
 
 ^3 
 
 ^ 
 
 ^ 
 
 a 
 
 ^ 
 
 ^Eri 
 
 i-LUia 
 
 # * 
 
 ^ 
 
 mar-ried man. And troubled with a wife, I can - not do as I have done. Be 
 
 ^^ 
 
 iiii\i i l |jf^ljijj l ^ J ^^S 
 
 -cause I live in fear. If I go but to Isling-ton, My wife is watching there. 
 
 - There are slight differences ia the copies of the tune called Watton Town's Mid 
 in The Dancing Master, and Oh ! London is a fine town in Pills to purge Melan- 
 choly, and in The Beggars' Opera. The following is The Beggars' Opera version: — 
 Lively. 
 
 f ^^ 
 
 tf s 
 
 — T 
 
 Oh ! Lon - don is a fine town. And a gal - lant ci - ty ; 'Tis 
 
 t):ttJL.> 
 
 -e-r 
 
 r ff(' '' 
 
 3SI 
 
 "CS" 
 
 -27 
 
 m 
 
 -d — * 
 
 govem'd by the scar - let gown. Come lis - ten to my dit - ty. 
 
 This 
 
 "ey 
 
 i\ik ^ H 
 
 i 
 
 i % 
 
 ci - ty has a May - or. This May - or is a Lord, 
 
 He 
 
 m 
 
 -S3^- 
 
 fasst 
 
 * 
 
 ^ 
 
 ^^ 
 
 go - ver - neth the cit - i - zens All by his own ac - cord. 
 
ILLUSTBATING SHAKESPEARE. 221 
 
 LIGHT O'LOVE. 
 
 Light of Love is so frequently mentioned by writers of the sixteenth century, 
 that it is much to be regretted that the words of the original song are still 
 undiscovered. When played slowly and with expression the air is beautiful. In 
 the collection of Mr. George Daniel, of Canonbury, is " A very proper dittie : to 
 the tune Lightie Love;" which was printed in 1570. The original may not have 
 been quite so " proper," if " Light o'Love " was used in a sense in which it was 
 occasionally employed, instead of its more poetical meaning : — 
 
 " One of your London Light o' Loves, a right one. 
 Come over in thin pumps, and half a petticoat." 
 
 Fletcher's Wild Goose Chase, act iv., sc. 2. 
 Or in the passage quoted by Douce : " There be wealthy housewives and good 
 housekeepers that use no starch, but fair water ; their linen is as white, and they 
 look more Christian-like in small ruffs than Light of Love looks in her great 
 starched ruffs, look she never so high, with her eye-lids a,wcy" — The Gflasse of 
 Man's FolKe, 1615. 
 
 Shakespeare alludes twice to the tune. Firstly in The Two Q-entlemen of Verona, 
 act i., sc. 2 — 
 
 " Julia. Some love of yours hath writ to you in rhime. 
 Lucetta. That I might sing it, madam, to a tune : 
 Give m.e a note : — your ladyship can set. 
 Jul. As little by such toys as may be possible : 
 
 Best sing it to the tune of Light o' Love. 
 Luc. It is too heavy for so light a tune. 
 Jul. Heavy ? belike it hath some burden then. 
 Luc. Ay ; and melodious were it would you sing it. 
 Jul. And why not you ? 
 Luc. I cannot reach so high. 
 Jul. Let's see your song : — How now, minion ? 
 Luc. Keep tune there still, so you will sing it out : 
 
 And yet, methinks, I do not like this tune. 
 Jul. You do not ? 
 Luc. No, madam ; 'tis too sharp. 
 Jul. You, minion, are too saucy. 
 Luc. Nay, now you are too flat, 
 
 And mar the concord with too harsh a descant : 
 There wanteth but a mean to fill your song. 
 Jul. The mean is drown'd with your unruly base.'' 
 I have quoted this passage in exienso as bearing upon the state of music at the 
 time, beyond the mere mention of the tune. Firstly, when Lucetta says, " Give 
 me a note [to sing it to] : your ladyship can set" [a song to music,] it adds one 
 more to the many proofs of the superior cultivation of the science in those days. 
 We should not now readily attribute to ladies, even to those who are gene- 
 rally considered to be well educated and accomplished, enough knowledge of 
 
222 ENGLISH SONO AND BALLAD MUSIC 
 
 harmony to enable them to set a song correctly to music, however agile their 
 fingers may be. Secondly — 
 
 " It is too heavy for so light a tune, 
 Heavy ? belike it hath some burden then 1 " 
 The burden of a song, in the old acceptation of the word, was the base, foot, or 
 under-song. It was sung throughout, and not merely at the end of the verse. 
 Burden is derived from bourdcnm, a drone base (French, bourdon.) 
 " This Sompnour bare to him a stiff burdoun, 
 Was never trompe of half so gret a soun." — Chaucer, 
 We find as early as 1250, that Somer is icvmen in was sung with a foot, or burden, 
 in two parts throughout ( " Sing cuckoo, sing cuckoo " ) ; and in the preceding 
 century Giraldus had noticed the peculiarity of the English in singing under-parts 
 to their songs. 
 
 That burden still bore the sense of an under-part or base, and not merely of a 
 ditty,* see A Quest of Inquirie, &c., 4to., 1595, where it is compared to the music 
 of a tabor : — " Good people, beware of wooers' promises, they are like the musique 
 of a tabor and pipe : the pipe says golde, giftes, and many gay things ; but perform- 
 ance is moralized in the tabor, which bears the bv/rden of ' I doubt it, I doubt it.' — 
 {British Bibliographer, vol. i.) In Fletcher's Swmorous Lieutenant, act v., sc. 2, 
 "H'as made a thousand rhymes, sir, and plays the burden to 'em on a Jew's- 
 trump" {Jeugd-tromp, the Dutch for a child's horn). So in Much Ado about 
 Nothing, in the scene between Hero, Beatrice, and Margaret, the last says, " Clap 
 us into Light o'Love, that goes without a burden " [there being no man or men 
 on the stage to sing one]. "Do you sing it and I'll dance it." Light o'Love 
 was therefore strictly a ballet, to be sung and danced. 
 
 Jh the interlude of The Four Elements, about 1510, Ignorance says — 
 " But if thou wilt have a song that is good, 
 I have one of Eobin Hood, 
 The best that ever was made. 
 Humanity. Then i' fellowship, let us hear it. 
 
 Ign. But there is a bordon, thou must bear it. 
 Or else it mill not be. 
 Hum. Then begin and care not to . . . 
 Dorone, domne, downe, &c. 
 Ign. Robin Hood in Barnsdale stood," &c. 
 Here Humanity starts with the burden, giving the key for the other to sing in. 
 So in old manuscripts, the burden is generally found at the head of the song, and 
 not at the end of the first verse. 
 
 Many of these burdens were short proverbial expressions, such as — - 
 " ' Tis merry in hall when beards wag all ; " 
 which is mentioned as the " under-song or holding " of one in The Serving-man's 
 Comfort, 1598, and the line quoted by Adam Davy, in his Life of Alexander, as 
 early as about 1312. Peele, in his Edward L, speaks of it as "the old 
 
 • " Ditties, they are the mda of old ballads."— Rowley's A Match at Midnight, act iii., sc. 1 . 
 
ILLUSTRATING SHAKESPEARE. 223 
 
 English proverb ;" but he uses the word " proverb" also in the sense of song, for 
 in his Old Wives' Tale, 1595, Antick says, " Let us rehearse the old proverb — 
 * Three merry men and three merry men, 
 And three merry men be we,' " &c. 
 Shakespeare puts the following four lines into the mouth of Justice Silence when 
 in his cups : — " Be merry, be merry, my wife has all. 
 
 For women are shrews, both short and tall ; 
 ' Tis merry in hall, when beards mag all. 
 And welcome merry Shrovetide." 
 See also Ben Jonson, v. 235, and note; and vii. 273, Gilford's edit. 
 
 Other burdens were mere nonsense words that went glibly off the tongue, giving 
 the accent of the music, such as hey nonny, nonny no ; hey derry down, &c. The 
 "foot" of the first song in The pleasant Comedy of Patient Cf-rissil is — 
 " Work apace, apace, apace, apace, 
 Honest labour bears a lovely face ; 
 Then hey noney, noney ; hey noney, noney." 
 I am aware that " Hey down, down, derry down," has been said to be " a modern 
 version of ' Hai down, ir deri danno,' the burden of an old song of the Druids, 
 signifying, ' Come, let us hasten to the oaken grove' (Jones' Welsh Bards, i. 128) ; 
 but I believe this to be mere conjecture, and that it would now be impossible to 
 prove that the Druids had such a song. 
 
 The last comment I have to make upon the passage from Shakespeare is on the 
 word mean. The mean in music was the intermediate part between the tenor and 
 treble ; not the tenor itself, as explained by Steevens. Descant has already been 
 explained at p. 15. 
 
 Reverting to Light d'Love : it is also quoted as a tune by Fletcher in The Two 
 Nolle Kinsmen, The air was found by Sir J. Hawkins in an " ancient manu- 
 script ; " it is also contained in William Ballet's MS. Lute Book, and in Musick's 
 Delight on the Oithren, 1666. 
 
 Li the volume of transcripts made by Sir John Hawkins there is a tune entitled 
 Fair Maid are you walking, the first four bars of which are identical with Light 
 d'Love ; and in the Music School, Oxford, one of the manuscripts presented by 
 Bishop Fell, with a date 1620, has Light dLove under the name of Sicke and sicke 
 and very sicke; but this must be a mistake, as that ballad could not be sung to it. 
 See Captain Car in Ritson's Ancient Songs, 1790, p. 139. 
 
 Li A Grorgious Grallery of Crallant Inventions, 1578, the lover exhorteth his 
 lady to be constant : to the tune of Attend thee, go play thee ; " and begins with 
 the line, " Not Light d'Love, lady." The ballad, " The Banishment of Lord Mal- 
 travers and Sir Thomas Gurney," in Deloney's Strange Histories, &c., 1607, and of 
 " A song of the wooing of Queen Catherine by Owen Tudor, a young gentleman 
 of Wales" are also to the tune of Light dLove. See Old Ballads, 1727, iii. 32 ; 
 or Evans, ii. 356. 
 
 The following is the ballad by Leonard Gybson, a copy of which is in Mr. 
 George Daniel's Collection. 
 
 '■ "Attend thee, go play thee," is a song in A Handefull by Wantonness in the interlude of Tlie Marriage of Wit 
 of Pleasant DeUtes, 1584, and is also the tune of one sung and Wisdom. See Shakespeare Society's Reprint, p. 20. 
 
224 
 
 ENGLISH BONG AND BALLAD MUSIC 
 
 A VERY PROPER DITTIE: TO THE TUNE OF UGHTIE I/OVE. 
 
 " Leave lightie love, ladies, for fear of yll name : 
 And true love embrace ye, to pm'ohase your fame." 
 Very slow and smoothly. 
 
 fe 
 
 it:ir3l i f^ i j.Ti i i /L^ i fTi- 
 
 m^ 
 
 1^ 
 
 ^ 
 
 T ^ r • ' ^ ' f- 
 
 By force I am fix-ed my fan -cytowrite, In- gi-a-titudewillethme not to re-frain: 
 Thenblameme not, ladies, although 1 indite What Hghty love now araongstyou doth reign : 
 
 a?i^ 
 
 ^ 
 
 ^ 
 
 
 ^^ 
 
 r -.'f { 
 
 ^ 
 
 . f p r • I r ^ f- 
 
 Your tra-ces in places, to outward allurements. Do move my en-deavour to be the more plain 
 Your nioings and 'ticings,with sundry proourements,To publish your lightie love do me constrain 
 
 ^ 
 
 w 
 
 Deceit is not dainty, it comes at each dish ; 
 Fraud goes a fishing with friendly looks ; 
 Through friendship is spoiled, the silly poor 
 
 fish 
 That hover and shower upon your false hooks, 
 With bait you lay wait, to catch here and there. 
 Which causeth poor fishes their freedom to 
 
 lose; 
 Then lout ye, and flout ye; — whereby doth 
 
 appear, 
 Your lighty love, ladies, still cloaked with 
 
 glose. 
 
 With Dian so chaste you seem'd to compare, 
 When Helens you be, and hang on her train ; 
 Methinks faithful Thisbes be now very rare, 
 But one Cleopatra, I doubt, doth remain. 
 You wink, and you twink, until Cupid have 
 
 caught, 
 And forceth through flames your lovers to sue : 
 Your lighty love, ladies, too dear they have 
 
 bought, [rue. 
 
 When nothing will move you their causes to 
 
 I speak not for spite, nor do I disdain 
 Your beauty, fair ladies, in any respect ; 
 But one's ingratitude doth me constrain, 
 As child hurt with fire, the flame to neglect. 
 For, proving in loving, I find by good trial. 
 When Beauty had brought me unto her beck. 
 She staying, not weighing, but making denial, 
 And shewing her lighty love, gave me the 
 check. 
 
 Thus fraud for friendship did lodge in her 
 
 breast ; 
 Such are most women, that when they espy 
 Their lovers inflamed, with sorrows opprest. 
 They stand then with Cupid against their reply. 
 They taunt, and they vaunt, they smile when 
 
 they view 
 How Cupid hath caught them under his train ; 
 But warned, discerned, the proof is most true. 
 That lighty love, ladies, amongst you does 
 
 reign. 
 
 Ye men that are subject to Cupid his stroke. 
 And therein seem now to have your delight. 
 Think, when you see bait, there is hidden a 
 
 hook, [bite. 
 
 Which surely will have you, if that you do 
 Such wiles, and such guiles by women are 
 
 wraught, [prevent ; 
 
 That half of their mischiefs men cannot 
 When they are most pleasant, unto your 
 
 thought. 
 Then nothing but lighty love is their intent. 
 
 Consider that poison doth lurk oftentime 
 In shape of sugar, to put some to pain ; 
 And fair wordSs painted, as dames can define. 
 The old proverb saith, doth make some fools 
 
 fain. 
 Be wise and precise, take warning by me, 
 Trust not the crocodile, lest you do rue ; 
 To women's fair words do never agree. 
 For all 'is but lighty love; — this is most true. 
 
ILLUSTRATING SHAKESPEARE. 
 
 225 
 
 I touch no such ladies as true love emhrace, 
 
 But such as to lighty love daily apply ; 
 
 And none will be grieved, in this kind of 
 
 case, 
 Save such as are minded true love to deny. 
 Yet friendly and kindly I shew you my mind : 
 Fair ladies, I wish you to use it no more ; 
 But say what you list, thus I have defin'd 
 That lighty love, ladies, you ought to abhor. 
 
 To trust women's words, in any respect. 
 The danger by me right well it is seen ; 
 And Love and his laws, who would not neglect, 
 The trial whereof hath most perilous been 1 
 Pretending, the ending, if I have oifended, 
 I crave of you, ladies, an answer again : 
 Amend, and what's said shall soon be amended, 
 If case that your light love no longer do reign. 
 
 WHEN THAT I WAS A LITTLE TINY BOY. 
 
 The Fool's song which forms the Epilogue to Twelfth Night is still sung on the 
 stage to this tune. It has no other authority than theatrical tradition. A song 
 of the same description, and with the same burden, is sung by the Fool in King 
 Lear, act iii., so. 2 — 
 
 " He that has a little tiny wit, 
 
 With a heigh ho ! the wind and the rain, 
 Must make content with his fortunes fit, 
 For the rain it raineth every day." 
 The following is the song in Twelfth Night :— 
 In moderate time. 
 
 f ' l r^^ p \ m^^^^^^ 
 
 When that I was a little tiny boy ,With a heigh ho! the wind and the rain, A 
 
 ^^ 
 
 ^ 
 
 fool - ish thing was but a toy, For the rain it rain-eth ev' - ry day. With a 
 
 tl^ ^ 
 
 ■ J I jTrj^j=^j^^^^ 
 
 heigh ho ! the wind and the rain. And the rain it rain - eth ev' - ry day. 
 
 i; 
 
 ^ 
 
 ^? 
 
 ^ 
 
 But when I came to man's estate. But when I came unto my bed, 
 
 With a heigh ho ! &c.. With a heigh ho ! &c., 
 
 'Gainst knaves and thieves men shut their gate. With toss-pots still I'd drunken head. 
 
 For the rain, &c. For the rain, &c. 
 
 But when I came, alas I to wive, A great while ago the world begun. 
 
 With a heigh ho ! &c.. With a heigh ho ! the wind and the rain ; 
 
 By swaggering I could never thrive, But that is all one, our play is done, 
 
 For the rain, &c. And we'll strive to please you every day. 
 
226 
 
 ENGLISH SONG AND BALLAD MUSIC 
 
 SICK, SICK, AND VERT SICK. 
 
 This tune is contained in Anthony Holborne's Qittharn Schoole, 4to., 1597, and 
 in one of the Lute MSS. in the Public Library, Cambridge. (D. d. iv. 23.) In 
 Much Ado about Nothing, Hero says, " Why, how now ! do you speak in the sick 
 tune?" and Beatrice answers, "I am out of all other tune, methinks." Li 
 Nashe's Summer's last Will and -Testament, Haryest says, " My mates and feUows, 
 sing no more Merry, m^rry, but weep out a lamentable Hooky, hooky, and let your 
 
 igickles cry — 
 
 Sick, sick, and very sick, 
 
 And sick and for the time ; 
 For Harvest, your master, is 
 
 Abus'd without reason or rhyme." 
 On 24th March, 1578, Richard Jones, had licensed to him " a ballad intituled 
 Sick, sick, &c., and on the foUowihg 19th June, " A new songe, intituled — 
 Sick, sick, in grave I would Jrvere, 
 
 For grief to see this wicked world, that will not mend, I fear." 
 This was probably a moralization of the former. s. 
 
 In the Harleicm Miscellany, 4to, 10. 272, is " A new" ballad, d^laring the 
 dangerous shooting of the gun at the court (1578), to the tune of Sicke and sicke; 
 commencing — 
 
 " The seventeenth day of July last, 
 At evening toward night, 
 
 Our noble Queen Elizabeth 
 Took barge for her delight ; 
 
 And had the watermen to row, 
 Her pleasure she might take, 
 
 About the river to and fro, 
 As much as they could make. 
 Weep, weep, still I weep. 
 And shall do till I die,' 
 To think upon the gun was shot 
 At court so dangerously.'' 
 
 The ballad from which the tune derives its name is probably that printed in 
 Ritson's Anuent Songs, (1793, p. 139) from a manuscript in the Cotton Library 
 (Vespasian, A 25), and entitled Captain Oar. The event which gave rise to it 
 occurred in the year 1571. The first stanza is here printed to the tune : — 
 
 i 
 
 ^^ 
 
 
 ^ 
 
 s 
 
 i 
 
 ^ 
 
 It be - fell at Mar - tin-mas. When weather wax - ed cold, 
 Sick, sick, and ve ry sick, And sick and like to die; The 
 
 H :tf/> ^ 1 
 
 zzz 
 
 ^ 
 
 I 
 
 f^ 
 
 Cap - tain Car said to his men, We must go take a hold, 
 sick - est night that I a bode, Good Lord, have mercy on me. 
 
 S 
 
 S 
 
 -# 
 
ILLUSTRATING SUAKESPEARE. 
 
 227 
 
 TO-MORROW IS ST. VALENTINE'S DAY. 
 
 This is one of Ophelia's songs in Hamlet. It is found in several of the ballad 
 operas, such as The Cobblers' Opera (1729), The Quahers' Opera (1728), &c., 
 under this name. In Pills to purge Melancholy (1707, ii. 44) it is printed to a 
 song in Hejwood's Rape of Lucrece, beginning, " Arise, arise, my juggy, my 
 puggy." Other versions will be found under the names of " Who list to lead 
 a soldier's life," and " Lord Thomas and Fair Ellinor." See pages 144 and 145. 
 
 ^/ Cheerfully. , 
 
 i 
 
 5W 
 
 ^ 
 
 ^^^^^^^ 
 
 w^ 
 
 ^ 
 
 Good mor-row, 'tis St. Valentine's day, All in the morning be 
 
 vm^ 
 
 % 
 
 
 "f 
 
 w^-m m 
 
 r - r n ^i^=k^ s^ 
 
 - time, And I a maid at your window, To be your Valen - tine. 
 
 3e 
 
 m 
 
 ^ 
 
 GREEN SLEEVES. 
 
 Green Sleeves, or Which nobody can deny, has been a favorite tune, from the 
 time of Elizabeth to the present day ; and is still frequently to be heard in the 
 streets of London to songs with the old burden, " Which nobody can deny." It 
 will also be recognised as the air of Christmas comes but once a year, and many 
 another merry ditty. 
 
 "And set our credits to the tune of Greene Sleeves."- — The Loyal Subject, by 
 Beaumont and Fletcher. 
 
 Falstaff". — " Let the sky rain potatoes ! let it thunder to the tune of Green Sleeves, 
 hail kissing comfits, and snow eringoes, let there come a tempest of provocation, I will 
 shelter me here." (Embracing her.) — Merry Wives of Windsor, act v., sc. 5. 
 
 " Mrs. Ford. — " I shall think the worse of fat men, as long as I have an eye to 
 make difference of men's liking. And yet he would not swear; praised women's 
 modesty; and gave such orderly and well-behaved reproof to all uncomeliness, that 
 I would have sworn his disposition would have gone to the truth of his words : but 
 they do no more adhere and keep pace together, than the Hundredth Psalm to the 
 tune of Green Sleeves." — Merry Wives of Windsor, act ii., sc. 1. 
 
 The earliest mention of the ballad of Green Sleeves in the Registers of the 
 Stationers' Company is in September, 1580, when Richard Jones had licensed to 
 him, " A new Northern Dittye of the Lady Greene Sleeves.'''' The date of the 
 entry, however, is not always the date of the ballad ; and this had evidently 
 attained some popularity before that time, because on the same day Edward 
 
228 ENGLISH SONG AND BALLAD MUSIC 
 
 White had a license to print, " A ballad, being the Ladie Greene Sleeves Anstoere 
 to Donkyn his frende." Also Edward Guilpin in his Skiahthia, or a Shadow of 
 Truth, 1598, says : " Yet like th' olde ballad of the Lord of Lome, 
 
 Whose last line" in King Harries days was borne." 
 As the ballad of Tim Lord of Lome and the False Steward, which was entered on 
 the 6th October, 1580, was sung to the tune of Green Sleeves, it would appear that 
 Green Sleeves must be a tune of Henry's reign. Copies of The Lord of Lome are in 
 the Pepys Collection (i. 494), and the Roxburghe (i. 222). 
 
 Within twelve days of the first entry of Green Sleeves it was converted to a 
 pious use, and we have, " Greene Sieves moralised to the Scripture, declaring the 
 manifold benefites and blessings of God bestowed on sinful man ; " and on the 
 fifteenth day Edward White had " tollerated unto him by Mr. Watkins, a 
 ballad intituled Greene Sleeves and Countenance, in Countenance is Greene 
 Sleeves." By the expression "tolerated" instead of "licensed," we may infer 
 it to have been of questionable propriety. 
 
 Great, therefore, was the popularity of the ballad immediately after its publica- 
 tion, and this may be attributed rather to the merry swing of the tune, than to the 
 words, which are neither remarkable for novelty of subject, nor for its treatment. 
 
 An attempt was speedily made to improve upon them, or to supply others of 
 more attractive character, for in December of the same year, Jones, the original 
 publisher, had " tolerated to him A merry newe Northern Songe of Greene 
 Sleeves," beginning. The bonniest lass in all the land. This was probably the ballad 
 that excited William Elderton to write his "Reprehension against Greene Sleeves" 
 in the following February, for there appears nothing in the original song to have 
 caused it. The seventh entry within the year was on the 24th of August, 1581, 
 when Edward White had licensed " a ballad intituled — 
 " Greene Sleeves is worne awaie, 
 Yellow Sleeves come to decaie. 
 Blaclte Sleeves I holde in despite, 
 But White Sleeves is my delight." 
 
 Nashe, speaking of Barnes' Divine Centurie of Sonets, says they are " such 
 another device as the goodly ballet of John Careless, or the song of Green Sleeves 
 Moralized." Fletcher says, " And, by my Lady Greensleeves, am I grown so 
 tame after all my triumphs ? " and Dr. Rainoldes, in his Overthrow of Stage 
 Plays, 1599, says, " Now if this were lawfully done because he did it, then 
 William, Bishop of Ely, who, to save his honour and wealth, became a Green 
 Sleeves, going in women's raiment from Dover Castle to the sea-side, did therein 
 like a man ; — although the women of Dover, when they found it out, by plucking 
 down his mufiSer and seeing his new shaven beard, called him a monster for it." 
 
 In Mr. Payne Collier's Collection, and in that of the Society of Antiquaries, 
 are copies of " A Warning to false Traitors, by example of fourteen ; whereof six 
 were executed in divers places neere about London, and two near Braintford, the 
 
 » The last lines of the Lord of Lome are— For Bod may suifer for a time, 
 
 " Let Rebels therefore warned be, But will disclose it at the end." 
 
 How mischief once they do pretend ; Perhaps Guilpin may mean that this formed part of an 
 
 older balled. 
 
ILLUSTRATINS SHAKESPEARE. 229 
 
 28tli day of August, 1588 ; also at Tyborne were executed the 30th day six ; 
 viz., five men and one -woman : to the tune of Q-reen Sleeves" beginning — 
 " You traitors all that do devise 
 To hurt our Queen in treacherous wise, 
 And in your hearts do still surmise 
 Which way to hurt our England ; 
 Consider what the end will be 
 Of traitors all in their degree : 
 Hanging is still their destiny 
 
 That trouble the peace of England." 
 
 The conspii-ators were treated with very little consideration by the ballad- 
 monger in having their exit chaunted to a merry tune, instead of the usual 
 lamentation, to the hanging- tune of Fortune my foe, 
 
 Elderton's ballad, THe King of Scots and Andrew Brown, was to be sung to 
 the tune of Mill-field, or else to Grreen Sleeves (see p. 185), but the measure suits 
 the former and not the latter. However, his " New Yorkshire Song, intituled — 
 " Yorke, Yorke, for my monie, 
 Of all the cities that ever I see. 
 For merry pastime and companie, 
 Except the cittie of London ; " 
 which is dated " from Yorke, by W. E., and imprinted at London by Kichard 
 Jones," in 1584, goes so trippingly to Grreen Sleeves, that, although no tune is 
 mentioned on the title, I feel but little doubt of its having been intended for that 
 air. It was written during the height of its popularity, and not long after his 
 own " Reprehension," 
 
 The song of York for my money is on a match at archery between the York- 
 shire and the Cumberland men, backed by the Earls of Essex and Cumberland, 
 which Elderton went to see, and was delighted with the city and with his 
 reception ; especially by the hospitality, of Alderman Maltby of York. 
 
 Copies will be found in the Roxburghe Collection, i. 1, and Evans' Old Ballads, 
 i. 20,. It begins, " As I come thorow the North countrey," and is refered to in 
 Heywood's King JEdward IV., 1600. 
 
 In Mr. Payne Collier's Old Ballads, printed for the Percy Society, there is one 
 of Queen Elizabeth at Tilbury Fort (written shortly anterior to the destruction of 
 the Spanish Armada) to the tune of Triumph and Joy. The name of the air is 
 probably derived from a ballad which was entered on the Stationers' books in 
 1581, of " The Triumpe shewed before the Queene and the French Embassadors," 
 who preceded the arrival of the Duke of Anjou, and for whose entertainment 
 jousts and triumphs were held. The tune for this ballad is not named in the 
 entry at Stationers' Hall, but if a copy should be found, I imagine it will prove 
 also to have been written to Green Sleeves, from the metre, and the date 
 coinciding with the period of its great popularity, 
 
 Richard Jones, to whom Grreen Sleeves was first licensed, was also the printer 
 of A HandefuU of Pleasant Belites, 1584, in which a copy of the ballad will be 
 found. Also in Ellis' Specimens, ii. 394, (1803). A few verses are subjoined, 
 
230 
 
 ENGLISH SONG AND BALLAD MUSIC 
 
 as affording an insight into the dress and manners of an age with which we cannot 
 he too well acquainted. 
 
 The tune is contained in several of Dowland's lute manuscripts ; in William 
 Ballet's Lute Book ; in Sir John Ha-^kins' transcripts of virginal music ; in Tlie 
 Dancing Master ; The Beggar's Opera ; and in many other hooks. 
 
 As the second part differs in the oldest copies, from others of later datfc, hoth 
 versions are subjoined. 
 
 The first is from William Ballet's Lute Book compared with another in Sir 
 John Hawkins' transcripts of virginal music ; hoth having the older second part. 
 ^...-...^.^ - x.„„o.„w... 0„„.„„. 
 
 ^ 
 
 w 
 
 A - las ! my love, you do me wrong, To cast me off dis 
 
 ',y.'iic^ t 
 
 ^ 
 
 ^=^ 
 
 :» 
 
 m 
 
 ■courteously. And I have lov - ed you so long, De - light-ing in your 
 
 company. 
 
 ^ 
 
 y'=~y 
 
 =1^ 
 
 ^^ 
 
 ^ 
 
 =? 
 
 '^^m — •-? 
 
 fl^ 
 
 Green - sleeves was all my joy, 
 
 Green - sleeves was my delight. 
 
 m 
 
 ^ 
 
 p=s=f 
 
 ^ Green - sleeves was my heart of gold, And who but my La - dy 
 
 Greensleeves. 
 
 ^^ 
 
 ^ 
 
 r^ 
 
 I have been ready at your hand 
 
 To grant whatever you would crave, 
 
 I have both waged life and land. 
 Your love and good-will for to have. 
 Greensleeves was all my joy, &c. 
 
 I bought thee kerchers to thy head. 
 That were wrought fine and gallantly, 
 
 I kept thee booth at board and bed. 
 Which cost my purse well favoredly. 
 Greensleeves was all my joy, &c. 
 
ILLUSTRATING SHAKESPEARE. 231 
 
 I bought thee petticoats of the best, Thy smock of silk, both fair and white. 
 
 The cloth so fine as might be ; With gold embroidered gargeously ; 
 
 1 gave thee jewels for thy chest, Thy petticoat of sendal right, [thin silk] 
 
 And all this cost I spent on thee. And these I bought thee gladly. 
 
 Greensleeves was all my joy, &c. Greensleeves was all my joy, &c. 
 
 He then describes her girdle of gold, her purse, the crimson stockings all of silk, 
 the pumps as white as milk, the gown of grassy green, the satin sleeves, the 
 gold-fringed garters ; all of which he gave her, together with his gayest gelding, 
 and his men decked all in green to wait upon her : 
 
 They set thee up, they took thee down. 
 
 They serv'd thee with humility ; 
 Thy foot might not once touch the ground. 
 And yet thou wouldst not love me. 
 Greensleeves was all my joy, &e. 
 
 She could desire no earthly thing without being gratified : 
 
 Well I will pray to God on high, Greensleeves, now farewell I adieu ! 
 
 That thou my constancy mayst see, God I pray to prosper thee ! 
 
 And that yet once before I die For I am still thy lover true. 
 
 Thou wilt vouchsafe to love me. Come once .again and love me. 
 
 Greensleeves was all my joy, &c. Greensleeves was all my joy, &c. 
 
 At the Revolution Crreen Sleeves became one of the party tunes of the Cavaliers ; 
 and in the " Collection of Loyal Songs written against the Rump Parliament," 
 there are no less than fourteen to be sung to it. It is sometimes referred to under 
 the name of The Blacksmith, from a song (in the Roxburghe Collection, i. 250) 
 to the tune otGrreen Sleeves, beginning — 
 
 " Of all the trades that ever I see 
 There is none with the blacksmith's compared may be, 
 For with so many several tools works he, 
 Which nobody can deny" 
 
 Pepys, in his diary, 22nd April, 1660, says that, after playing at nine-pins, 
 " my lord fell to singing a song upon the Rump, to the tune of The BlacTcsmith." 
 
 It was also called The Brewer, or Old Noll, the Brewer of Suntingdon, from a 
 satirical song about Oliver Cromwell, which is to be found in The Antidote to 
 Melancholy, 1661, entitled "The Brewer, a ballad made in the year 1657, to the 
 tune of The Blacksmith ; " also in Wit and Drollery, Jovial Poems, 1661. 
 
 In The Dancing Master, 1686, the tune first appears under the name of Qreen 
 Sleeves and Pudding Pies ; and in some of the latest editions it is called G-reen 
 Sleeves and Yellow Lace. Percy says, " It is a received tradition in Scotland that 
 Green Sleeves and Pudding Pies was designed to ridicule the Popish clergy," but 
 the tradition most probably refers to a song of James the Second's time called 
 At Rome there is a terrible rout^ which was sung to the tune, and attained some 
 popularity, since in the ballad-opera of Silvia, or The Country Burial, 1731, 
 it appears under that name. Boswell, in his Journal, 8vo., 785, p. 319, prints 
 the following Jacobite song : — 
 
 "This is entitled "Father. Peters' Policy discovered; or "In Rome there is a most fearful rout ; 
 
 the Prince oi Wales proved a Popish Perkin." London : And what do you think it is about ? 
 
 printed for R. M., ten stanzas, of which the following is Because the birth of the babe's come out, 
 
 the first : — Sing LuUaby Baby, by, by, by." 
 
232 
 
 ENGLISH SONG AND BALLAD MUSIC 
 
 " Green Sleeves and Pudding Pies, May our affairs abroad siicceed, 
 
 Tell me where my mistress lies, And may our King come home with speed, 
 
 And I'll be with her before she rise. And all Pretenders shake for speed, 
 
 Fiddle and aw together. And let his health go round. 
 
 To all our injured friends in need; 
 This side and beyond the Tweed, 
 Let all Pretenders shake for dread. 
 And let his health go round." 
 
 There is no apparent connection between the subject of the first and that of the 
 remaining stanzas ; and although the first may have been the burden of an older 
 song, it bears no indication of having refered to the clergy of any denomination. 
 
 There is scarcely a collection of old English songs in which at least one may 
 not be found to the tune of Green Sleeves. In the West of England it is still 
 sung at harvest-homes to a song beginning, " A pie sat on a pear-tree top; " and 
 at the Maypole still remaining at Ansty, near Blandford, the villagers still dance 
 annually round it to this tune. 
 
 The following " Carol for New Year's Day, to the tune of Grreen Sleeves" is 
 from a black-letter collection printed in 1642, of which the only copy I have seen 
 is in the Ashmolean Library, Oxford. 
 
 The old year now away is fled, ^ *'^*°'^ ™y '"^^^«'' ^'''^ "^^ ^^'^^' 
 
 The new year it is entered ; '^^^ ^^^<=^ ''^^ f°'^"'^^^« °f *^^ ^'^^' 
 
 Then letr us now our sins down tread, T° «^* ^ <^""^^ ^°^ i« '^^ «^^='^- 
 
 And joyfully all appear. ^"^ ^'^"'^ °« ^"^^"^ ''^^ y<=^''- 
 
 Let's merry be this holiday, Come lads and lasses every one. 
 
 And let us run with sport and play. Jack, Tom, Dick, Bess, Mary, and Joan, 
 
 Hang sorrow, let's cast care away — Let's cut the meat unto the bone, 
 
 God send you a happy new year. For welcome you need not fear. 
 
 And here for^ood liquor we shall not lack. 
 And now with new year's gifts each friend i^ will whet my brains and strengthen my 
 
 Unto each other they do send ; hack 
 
 God grant we may our lives amend. This joll'y good cheer it must go to wrack- 
 
 And that the truth may appear. q^^ ggnd us a merry new year. 
 
 Now like the snake cast off your skin 
 
 Of evil thoughts and wicked sin. Come, give us more liquor when I do call, 
 
 A J i J ii,- I. ■ I'll drink to each one in this hall. 
 
 And to amend this new year begin — j. * u , « <=«v c nno an, 
 
 r^^A „^r,A „= „ ^o«„., r,„„ ,r«„« I ^ope that so loud I must not bawl, 
 
 trOQ send us a merry new year. *^ ' 
 
 But unto me lend an ear. 
 And now let all the company Good fortune to my master send. 
 
 In friendly manner all agree, And to my dame which is our friend. 
 
 For we are here welcome all may see God bless us all, and so I end — 
 
 Unto this jolly good cheer. And God send us a happy new year. 
 
 The following version of the tune, from Ttie Beggars' Opera, 1728, is that 
 now best known. I have not found atfy lute or virginal copy which had this 
 second part. The earliest atithority for it is The Dancing Master, 1686, and it 
 may have been altered to suit the violin, as the older second part is rather low, 
 and less effective, for the instrument. 
 
ILLUSTRATING SHAKESPBAKE. 
 
 233 
 
 I have selected a few lines from a political song calle4 Tlie Trimmer, to print 
 with this copy, because it has the burden, " Which nobody can deny." It is one 
 of the many songs to the tune in Pills to purge Melancholy. 
 
 J, J,, Tune of Green Sleeves. Later copy. 
 
 
 "S — ^ — a — r 
 Pray lend me your ear, if you've a - ny to spare, You that love Common-wealth as j-ou 
 
 aa^ 
 
 ^^ 
 
 zSsz 
 
 hate Common Prayer,l^at can in abreath pray, dissemble and swear. Which nobody can de 
 
 ny. 
 
 ^ 
 
 ^^^ 
 
 w 
 
 ^-^-^^ 
 
 f 
 
 ro-dayl'm a Jack, and to - morrow a Mite, Ifo 
 
 I'm fir8tonthewrongside,alid then on the right, 'fo-day I'm a Jack, and to - morrow a Mite, Ifor 
 
 r^-r^ 
 
 PH^N-^T mr^^' 
 
 rij- 
 
 ei-ther will pray, but for nei-therwill fight, Which no -body can de ny. 
 
 w 
 
 ^^^ 
 
 ^ 
 
 * — '— 
 
 MY ROBIN IS TO THE GREENWOOD GONE; on, BONNY SWEET ROBIN. 
 
 This is contained in Anthony Holborne's Cittharn Schoole, 1597 ; in Queen 
 Elizabeth's Virginal Book ; in William Ballet's Lute Book ; and in many other 
 manuscripts and printed books. 
 
 There are two copies in William Ballet's Lute Book, and the second is entitled 
 " Robin Hood is to the greenwood gone;" it is, therefore, probably the tune of a 
 ballad of Robin Hood, now lost. 
 
 Ophelia sings a line of it in Hamlet — 
 
 " For bonny sweet Kobin is all my joy ; " 
 and in Fletcher's Two Nohle Kinsmen, the jailer's daughter, being mad, says, 
 " I can sing twenty more ... I can sing The Broom and Bonny JRobin." In 
 Robinson's Schoole of Musicke (1603), and in one of Dowland's Lute Manuscripts, 
 
234 
 
 ENGLISH SONG AND BALLAD MUSIC 
 
 (D. d., 2. 11, Cambridge), it is entitled, "Robin is to the greenwood gone; in 
 Addit. MSS. 17,786 (Brit. Mus.), " My Robin," &c. 
 
 A ballad of " A dolefuU adieu to the last Erie of Darby, to the tune of Bonny 
 sweet Robin" was entered at Stationers' Hall to John Danter on the 26th April, 
 1593 ; and in the Grown Crarland of Golden Bases is " A courtly new ballad of 
 the princely wooing of the fair Maid of London by King Edward ; " as well as 
 " The fair Maid of London's answer," to the same tune. The two last were also 
 printed in black-letter by Henry Gosson, and are reprinted in Evans' Old 
 Ballads, iii. 8. 
 
 Li " Good and true, fresh and new Christmas Carols," b.l., 1642, there is a 
 " Carol for St. Stephen's day : tijne of Bonny sweet Bohin," beginning— 
 " Come, mad boys, be glad, boys; for Christmas is here, 
 And we shall be feasted with jolly good cheer," &c. 
 Shwly and ad libitum. ^_^__ 
 
 I 
 
 ^ 
 
 ^ 
 
 its 
 
 s 
 
 r^ 
 
 IS- ~ 
 
 green-wood gone, 
 
 My Ro - bin is to the 
 
 mS 
 
 m 
 
 m 
 
 r 
 
 WITH A FADING. 
 In act iv., sc. 3, of Shakespeare's Winter's Tale, the servant says of Autolycus, 
 " He hath songs for man or woman, of all sizes ; no milliner can so fit his 
 customers with gloves : he has the prettiest love-songs for maids ; . . . with such 
 delicate burdens of dildos smA fadings." 
 
 In the Roxburghe Collection, i. 12, there is a ballad by L. P. (Laurence Price?), 
 entitled " The Batchelor's Feast; or — 
 
 The difference betwixt a single life and a double ; 
 Betwixt the batchelor's pleasure and the married man's trouble. 
 To a pleasant new tune, called With a hie dildo dill." It begins thus : — 
 " As I walkt forth of late, where grass and flowers spring, 
 I heard a batchelor within an harbour sing. 
 The tenor of his song contain'd much melodic : 
 It is a gallant thing to live in liberty. 
 
 With a hie, dildo, dill, 
 Hie do, dil dur lie; 
 It is a delightful thing 
 To live at liberty." 
 There are six stanzas ; and six more in a second part (at p. 17 of the same 
 
ILLUSTRATING SHAKESPEARE. 
 
 235 
 
 volume), " printed at London for I. W." (either I. Wriglit or I. White, who were 
 both ballad printers of the reigns of James I. and Charles I.) 
 
 In Choice Drollery, 1656, p. 31, is another, which would require a different 
 tune, commencing — " A story strange I will you tell, 
 
 But not so strange as true, 
 Of a woman that danc'd upon the rope. 
 
 And so did her husband too. 
 With a dildo, dildo, dildo, 
 With a dildo, dildo dee." 
 In the Pepys Collection of Ballads, i. 224, is one by Robert Guy, printed for 
 H. Gosson, and with the following title : — 
 
 " The Merry Forester. 
 Young men and maids, in country or in city 
 I crave your aids with me to tune this ditty ; 
 Both new and true it is, no harm in this is, 
 But is composed of the word call'd kisses ; 
 Yet meant by none, abroad loves to be gadding : 
 It goes unto the tune of With a f adding." 
 The first line is " Of late I chanc'd to be where I," &c. 
 
 Another song, which has the burden "with a fading," will be found in 
 Shirley's Bird in a Cage, act iv., sc. 1 (1633). A third in Sportive Wit, &c., 
 1656, p. 58. The last is also printed in Pills to purge Melancholy, ii. 99 (1707), 
 with the tune, of which there are other copies in the same work. 
 
 There are also ballads to it, under the name of An Orange, and With a 
 Pudding. See Roxburghe Collection, ii, 16 ; Pills to purge Melancholy, i. 90 
 (1707), &c. 
 
 The Fading is the name of an Irish dance, but With a fading (or /adding) 
 seems to be used as a nonsense-burden, like Berry down, Sey nonny, nonny no, &c. 
 
 Trippingly and in moderate time. 
 
 
 ■j^'i J 
 
 :^5= 
 
 ^ 
 
 ^ 
 
 The cour - tiers scorn us coun-try clowns ; We coun - try clowns do 
 
 ^3 
 
 i 
 
 m 
 
 ^ 
 
 ^^^^ 
 
 ^ 
 
 s 
 
 scorn the court, For we are as mer-ry up - on the downs As you are at 
 
 '-^ 
 
 -J-^4-^- 
 
 m 
 
 mid - night with all your sport. With a fad-ing. 
 
 ^ 
 
 -"l-^t 
 
236 
 
 ENGLISH SONG AND BALLAD MUSIC 
 
 You hawk, you hunt, you lie upon pallets, 
 You eat, you drink (the Lord knows how !) ; 
 
 We sit upon hillocks, and pick up our sallets, 
 And drink up a syllabub under a cow. 
 
 With a fading. 
 
 Your masks are made for knights and lords. 
 And ladies that go fine and gay ; 
 
 We dance to such music the bagpipe afiibrds. 
 And trick up our lasses as well as we may. 
 With a fading. 
 
 Your clothes are made of silk and satin. 
 And ours are made of good sheep's gray; 
 
 You mix your discourse with pieces of Latin, 
 We speak our English as well as we may. 
 With a fading. 
 
 You dance Corants and the French Braul, 
 We jig the Morris upon the green. 
 
 And make as good sport in a country hall. 
 As you do before the King and the Queen. 
 With a fading. 
 
 HOW SHOULD I YOUE TEUE LOVE KNOW ? 
 The late W. Linley (an accomplished amateur, and brother of the highly-gifted 
 Mrs. Sheridan) collected and published " the wild and pathetic melodies of 
 Ophelia, as he remembered them to have been exquisitely sung by Mrs. Forster, 
 when she was Miss Field, and belonged to Drury Lane Theatre ; " and he says, 
 "the impression remained too strong on his mind to make him doubt the 
 correctness of the airs, agreeably to her delivery of them." Dr. Arnold also 
 noted them down from the singing of Mrs. Jordan, and Mr. Ayrton has followed 
 that version in his Annotations to Knight's Pictorial Hdition of Shakespeare. 
 The notes of this air are the same in both ; but in the former it is in | time, 
 in the latter in common time. The melody is printed in common time in 
 The Beggars' Opera (1728) to " You'll think, ere many days ensue," and in 
 The Crenerous Freemason, 1731. 
 
 Dr. Percy selected some of the fragments of ancient ballads which are 
 dispersed through Shakespeare's plays, and especially those sung by Ophelia in 
 Hamlet, and connected them by a few supplemental stanzas into his charming 
 ballad. The Friar of Orders Gray, the first line of which is taken from one, sung 
 by Petruchio, in The Taming of the Shrew. 
 
 The following is the tune; but in singing Ophelia's fragments, each line should 
 begin on the first of the bar, and not with the note before it. In the ballad- 
 operas it has the burden, Twang, lang, dildo dee at the end, with two additional 
 bars of music, the same as to The Knight and Shepherd's Daughter. See p. 127. 
 Moderate time and smoothly. 
 
 fe 
 
 ^Si^ 
 
 ^ 
 
 m 
 
 ^ 
 
 T 
 
 r 
 
 And 
 
 how should 
 How should 
 
 your 
 
 true - love know From 
 
 many 
 From 
 
 an 
 an 
 
 ■ ther 
 ther 
 
 ^ 
 
 ^ 
 
 Z0Z 
 
 22 
 
 ^ 
 
 i 
 
 J J j il 
 
 s 
 
 S: 
 
 T^ 
 
 ^ 
 
 5f 
 
 one? O 
 
 By 
 
 his 
 
 his 
 
 coc - kle hat and 
 
 staff, 
 
 ^ 
 
 And by 
 ,And 
 
 his 
 his 
 
 san-dal shoon. 
 
 m 
 
 "r^ 
 
 ^ 
 
 M 
 
 ^ 
 
 White his shroud as mountain snow. 
 Larded with sweet flowers, 
 
 Which bewept to the grave did go 
 With true love showers. 
 
 He is dead and gone, lady, 
 He is dead and gone ; 
 
 At his head a green grass turf. 
 At his heels a stone. 
 
ILLUSTRATING SHAKESPEARE. 
 
 237 
 
 A parody on this song seems to be intended in Rowley's A Match at Midnight, 
 1633, where the Welshman sings — 
 
 " Did hur not see hur true love-a 
 
 As hur come from London ? " &c. 
 
 AND WILL HE NOT COME AGAIN ? 
 
 This fragment, sung by Ophelia, was also noted down by W. Linley. It 
 
 appears to be a portion of the tune entitled Tlie Merry Milkmaids in The Dancing 
 
 Master, 1650, and The Milkmaids' Dumps in several ballads. The following lines 
 
 in Eastward Roe, 1605, resemble, and are probably a parody on, Ophelia's song: — 
 
 " His head as white as milk, 
 
 All flaxen was his hair ; 
 
 But now he is dead, 
 
 And lain in- his bed. 
 
 And never will come again." — Dodsley, iv., 223. 
 
 . Very slowly and ad libitum. 
 
 ^ 
 
 3 
 
 u 
 
 ^ 
 
 m 
 
 ^&. 
 
 ? 
 
 ^=^ 
 
 5 
 
 And will he not come a gain, And will he not come a. - gain ? No, 
 
 Ti^W- 
 
 ^^ 
 
 i»e 
 
 ^^^^^^ 
 
 "^ 
 
 I 
 
 no, he is dead. Gone to his deathbed, He ne - ver will come a 
 
 gam. 
 
 His beard was white as snow. 
 All flaxen was his hair. 
 
 He is gone, he is gone, 
 
 And we cast away moan ; 
 God 'a mercy on his soul. 
 
 DEATH! EOCK ME ASLEEP. 
 In the second part of Shakespeare's King Henry IV., act ii., sc. 4, Pistol 
 snatching up his sword, exclaims — 
 
 " What ! shall we have incision ? shall we imbrue ? 
 Then death rock me asleep, abridge my doleful days ! " 
 This is in allusion to the following song, which is supposed to have been written 
 by Anne Boleyn. The words were printed by Sir John Hawtins in his History 
 of Music, having been "communicated to him by a very judicious antiquary," 
 then " lately deceased," whose opinion was that they were written either by, or in 
 the person of, Anne Boleyn; "a conjecture," he adds, "which her unfortunate 
 history renders very probable." On this Eitson remarks, " It is, however, but a 
 conjecture : any other state prisoner of that period having an equal claim. 
 
238 
 
 ENGLISH SONG AND BALLAD MUSIC 
 
 George, Viscount Kochford, brother to the above lady, and who suffered on her 
 account, ' hath the fame,' according to Wood, ' of being the authX)r of several 
 poems, songs, and sonnets, with other things of the like nature,' and to him he 
 (Ritson) is willing to refer them." — (Ancieiit Songs, 1790, p. 120.) 
 
 The first stanza of the words, with the tune, is contained in a manuscript of 
 the latter part of Henry's reign, formerly in the possession of Stafford Smith, 
 and now in that of Dr. Rimbault. It is a single-voice part, in the diamond-headed 
 note, and without accompaniment. Another copy, with an accompaniment for the 
 lute, will be found in Addit. MSS. 4900, British Museum. 
 Moderate time, and like recitative. 
 
 kiU4-^-^ \ L J 
 
 ¥ 
 
 1 
 
 O Death ! O Death, rock me a - sleep ! Bring me . to qui et 
 
 ^ 
 
 ^fV=F 
 
 ^ 
 
 
 rest : Let pass my wea-ry, guiltless life Out of 
 
 my careful breast. 
 
 J . »■ 
 
 ^EEteES[ 
 
 ^m 
 
 t f, • \ u 
 
 jr^^ 
 
 ^ 
 
 lole-f 
 
 Toll on the pass - ing bell, Ring out my dole - ful knell. Let thy 
 
 ^ 
 
 -trs" 
 
 IZZ 
 
 m 
 
 m 
 
 3 
 
 sound my death tell. PP Death doth draw near me, 
 
 / 
 
 There 
 
 ZZ2Z 
 
 5 
 
 5 
 
 ^ 
 
 ^ 
 
 32 
 
 3Z 
 
 A e±. 
 
 is no re - me dy, no re me - dy, There is no re-me-dy. 
 
 ^ 
 
 S 
 
 ^ 
 
 3E 
 
 "i^^^" 
 
ILLUSTRATING SHAKESPEARE. 
 
 239 
 
 My pains who can express ? 
 
 Alas ! they are so strong ; 
 My dolour will not suffer strength 
 
 My life for to prolong. 
 Toll on, &c. 
 
 Alone in prison strong 
 
 I wail my destiny ; 
 Woe worth this cruel hap that I 
 
 Should taste this misery. 
 Toll on, &c. 
 
 Farewell my pleasures past, 
 
 Welcome my present pain ; 
 I feel my torments so increase, 
 
 That life cannot remain. 
 Cease now the passing bell, 
 Rung is my doleful knell. 
 For the sound my death doth tell. 
 Death doth draw nigh, 
 Sound my end dolefully, 
 For now I die. 
 
 CAN YOU NOT HIT IT, MY GOOD MAN? 
 The following lines are sung by Rosaline and-Boyet in act iv., sc. 1, of Lovers 
 Labour Lost. The tune was transcribed by Dr. Rimbault from one of the MSS. 
 presented by Bishop Fell to the Music School at Oxford, and bearing a date of 
 1620. Canst thou not hit it is mentioned as a dance in the play of Wily Beguiled, 
 written in the reign of Elizabeth. In 1579, " a ballat intytuled There is better 
 game, if you could hit it," was licensed to Hughe Jaxon, 
 Trippingly and moderately fast. , 
 
 f^^-m ii /'Tif^T^^-^a^ 
 
 Rosaline.— Thou canst not hit it, hit it, hit it, Thou canst not hit it, my good man. 
 
 ^^ 
 
 ^^ 
 
 nt— rj j 
 
 ^ 
 
 J J'l J JU 
 
 ^^^ 
 
 BoTET— An I can - not, can - not, can - not. An I can - not, an - o - ther can. 
 
 ^^ 
 
 ^ 
 
 The list of music illustrating Shakespeare might be largely increased, by 
 including in it catches, part-musiCj and the works of known composers, which do 
 not fall within the scope of the present collection. The admirers of Shakespeare 
 will be gratified to know that a work is in progress which will include not only 
 those, but also such of the original music to his dramas as can still be found,^ 
 
 The three following ballads, with which I close the reign of Elizabeth, were 
 popular in the time of Shakespeare, but are not mentioned by the great poet. 
 
 * This work (to which Dr. Rimhault has devoted many 
 years of- zealous research) will he entitled "A Collection 
 of Ancient Music, illustrating the plays and poems of 
 Shakespeare." The first portion will contain all that now 
 remains of the original music to his dramas, or which, if 
 not composed for 'the first representation of them, was 
 written during the life-time of the poet. The whole of 
 
 the music of The Tempest will he included in this part. 
 Another division will contain the old songs, ballads, 
 catches, &c., inserted, or alluded to, by Shakespeare. The 
 dances will form the third part. It was owing to re- 
 searches on a subject so much akin to that of the present 
 Collection, that Dr. Rhnbault's aid has been so peculiarly 
 valuable in this work. 
 
240 
 
 ENGLISH SONG AND BALLAD MUSIC 
 
 BARA FAUSTUS' DREAM. 
 
 In the instrumental arrangements of this tune it is usually entitled Bar a 
 Faustus (or Barrow Foster'' s) Dream ; and when found as a song, it is generally 
 as, " Come, sweet love, let sorrow cease." 
 
 It will he found under the former name in Queen Elizabeth's Virginal Book 
 (twice); in Rossiter's Lessons for Consort, 1609 ; and in Nederlandtsche Gedenck- 
 Clanck, 1626, under the latter in " Airs and Sonnets,", MS., Trin. Col., Dublin 
 (F. T. 13) ; in the MS. containing "It was a lover and his lass," described at 
 p. 204 ; and in Forbes' Cantus, 1682. 
 
 Bara Faustus^ Breame was one of the tunes chosen for the Psalmes or Songs 
 of Sim, &c., 1642. 
 
 Smoothly, and with expression 
 
 i 
 
 't^ 
 
 ^ 
 
 - J 4 
 
 ^ J ^ \ D 
 
 3 
 
 l ¥^ 
 
 ^:- 
 
 m 
 
 *fla 
 
 d p* ' ■ — * • /" 
 
 Come sweet Love, let sor-row cease, Banish frowns, leave oflf dis-sen-tion. 
 
 vm=^ 
 
 ^ 
 
 a 
 
 i^^ 
 
 
 =»•: 
 
 ^^ 
 
 *"-»• 
 
 ^i^ 
 
 "W 
 
 p - - -*- / - - p 
 
 Love's war makes the sweetest peace. Hearts u-ni-ting hy contention, . » . 
 
 
 t^ 
 
 ^ 
 
 IN — N 
 
 f 
 
 ^ 
 
 :m 
 
 P 
 
 af-ter rain, Sor-rows ceas-ing, This is pleasing, All proves fair a 
 cometh joy. Trust me, prove me, try me, love me, This will care an 
 
 ^#=^ 
 
 gam. 
 noy. 
 
 THE SPANISH PA VAN. 
 
 Dekker, in his KnigMs Conjuring (1607) thus apostrophises his opponent : 
 " Thou, most clear-throated singing man, with thy harp, to the twinkling of 
 which inferior spirits skipp'd like goats over the Welsh mountains, hadst privilege 
 (because thou wert a fiddler) to be saucy ? Inspire me with thy cunning, and 
 guide me in true fingering, that I may strike those tunes which thou playd'st ! 
 Lucifer himself danced a Lancashire Hornpipe whilst thou wert there. If I can 
 but harp upon thy string, he shall now, for my pleasure, tickle up The Spanish 
 PavanP The tune of The Spanish Pavan was very popular in the reigns of 
 Elizabeth and James. One of the songs in Anthony Munday's Banquet of 
 
REIGN OP ELIZABETH. 
 
 241 
 
 DainUe Conceits, 1588, is " to the note of The Spanish Pavin ; " another in 
 part ii. of JRohin Groodfellow, 1628 ; and there are many in the Pepys and Rox- 
 burghe Collections of Ballads. 
 
 It is mentioned as a dance in act iv., sc. 2, of Middleton's Blurt, Master Con- 
 stable, 1602 ; and in act i., sc. 2, of Ford's ^Tis Pity, 1633. In the former the 
 tun6 is played for Lazarillo to dance The Spanish Pavan. The figure, which 
 differed from other Pavans, is described in Thoinot Arbeau's Orchesographie, 1589; 
 but as the tune there printed is wholly different from the following (which is 
 found in Queen Elizabeth's Virginal Book, WiUiam Ballet's Lute Book, Sir 
 J. Hawkins' transcripts of Virginal Music, &c.), I suppose this to be English, 
 although not a characteristic air. 
 
 The ballad, " When Samson was a tall young man," (of which the first stanza 
 is here printed) is in the Pepys Collection, i. 32 ; in the Roxburghe, i. 366 ; and 
 in Evans' Old Ballads, i. 288 (1810)." It is parodied in Uasttvard JEToe, the joint 
 production of Ben Jonson, Marston, and Chapman, act ii., sc. 1. The two first 
 lines are the same in the parody and the ballad. 
 Moderate time. 
 
 m 
 
 E 
 
 ? 
 
 a J 'ti » 
 
 When Sam - son was 
 
 ^ 
 
 tall young man, His pow'r and strength in 
 
 m^ 
 
 ^^ 
 
 lez 
 
 ^^^^^^^ 
 
 ii i ' j'' ri,^ 
 
 -^^N-H- 
 
 ^ 
 
 1* 
 
 -creas-ed then, And in the host and tribe of Dan, The Lord did bless him al way. 
 
 35 
 
 f \ ^n j i j-^j^f^ 
 
 *e: 
 
 =Si 
 
 r=r 
 
 ^ 
 
 It chan-ced so up - on a day. As he was walking on his way, He 
 
 ^ 
 
 IZ2 
 
 * 
 
 J=FJ=# 
 
 i^ 
 
 ^ 
 
 ^ 
 
 saw a maiden fresh and gay. In Tim-nath, in Tim - nath. 
 
 S 
 
 :^ 
 
 35 
 
 ■ The copies in the Pepys and Roxburghe Collections (which is followed by Evans) was printed " for the 
 differ. The former has no printer's name; the latter aisigns of T. Symcocke." 
 
 R 
 
242 
 
 ENOLISH SONG AND BALLAD MUSIC. 
 
 WIGMOEE'S GALLIAED. 
 
 The tune from William Ballet's Lute Book. In Middleton's Your five G-allants, 
 Jack says, " This will make my master leap out of the bed for joy, and dance 
 Wiffmore's Grolliard in his shirt about his chamber ! " It is frequently mentioned 
 by other early -writers, and there are many ballads to the tune. Among them 
 are " A most excellent new Dittie, wherein is shewed the wise sayings and wise 
 sentences of Solomon, wherein each estate is taught his dutie, with singular 
 counsell to his comfort and consolation " (a copy in the collection of the late 
 Mr. W. H. Miller, from Heber's Library). " A most famous Dittie of the joyful 
 receiving of the Queen's most excellent Majestic by the worthie citizens of 
 London, the 12th day of November, 1584, at her Grace's coming to St. James' " 
 (a copy in the Collection of Mr. George Daniel). In the P^ys Collection, i. 455, 
 is "A most excellent Ditty called Collin's Conceit," beginning — 
 
 " Conceits of sundry sorts there are." 
 Others are in the second volume of the Pepys Collection ; in the Roxburghe ; in 
 Anthony Munday's Banquet of Daintie Conceits ; in Deloney's Strange Histories, 
 1607, &c. ~ 
 
 The following stanza is from the ballad of " King Henry the Second crowning 
 his son Henry, in his life-time," &c., by Deloney. The entire ballad is reprinted 
 by Evans (ii. 63), from The G^arland of Delight, but he omits the name of the tune. 
 
 m^^H^ 
 
 s 
 
 ^ 
 
 ^ 
 
 You pa - rents, whose af fee tipn' fond Up on your 
 
 ^^ 
 
 5 
 
 ^^ 
 
 22 
 
 S 
 
 rr^^'H^^A^^ 
 
 10— ig: ^ 
 
 chil dren doth ap - pear, Mark well the sto ry now in 
 
 lez 
 
 =;:?: 
 
 :fe2 
 
 ^ 
 
 
 hand, Where - in you shall great mat ters hear. 
 
REIGN OF ELIZABETH. 
 
 248 
 
 GOOD FELLOWS MUST GO LEARN TO DANCE. 
 
 The following ballad is from a copy (probably unique) in the Collection of 
 Mr. George Daniel, of Canonbury. It may be sung to several of the foregoing 
 airs, but the name of the proper tune is not given on the copy. 
 
 A NEW BALLAD 
 
 GOOD FELLOWS MUST 
 
 Good fellows must go learn to dance, 
 
 The bridal is full near- a, 
 There is a Braule come out of France, 
 
 The trick'st you heard this year-a ; 
 For I must leap, and thou must hop. 
 
 And we must turn all three-a. 
 The fourth must bounce it like a top. 
 
 And so we shall agree-a; 
 I pray thee. Minstrel, make no stop, 
 
 For we will merry be-a. 
 
 The bridegroom would give 20 pound 
 
 The marriage-day were past-a ; 
 You know while lovers are unbound, 
 
 The knot is slipp'ry fast-a. 
 A better man may come in place. 
 
 And take the bride away-a ; 
 God sepd or Wilkin better grace, 
 
 Our pretty Tom doth say-a; 
 Good Vicar, axe the banns apace. 
 
 And haste the marriage-day-a. 
 
 INTITULED 
 
 GO LEARN TO DANCE. 
 
 A baud of bells in bawdrick wise 
 
 Would deck us in our kind-a ; 
 A shirt after the Morris guise, 
 
 To flounce it in the wind-a ; 
 A Whiffler for to make the way. 
 
 And May brought in with all-a. 
 Is braver than the sun, I say, 
 
 And passeth Eound or Braule-a, 
 For we will trip so trick and gay. 
 
 That we will pass them all-a. 
 
 Draw to dancing, neighbours all. 
 
 Good fellows, hip is best-a ; 
 It skills not if we take a fall. 
 
 In honoring this feast-a. 
 The bride will thank us for our glee. 
 
 The world will us behold-a ; 
 O where shall all this dancing be ? 
 
 In Kent or in Ootswold-a ? 
 Our lord doth know, then axe not me, 
 
 And so my tale is told-a. 
 
 Imprinted at London in Flete Strete at 
 Gryffith, and are to be soldo at his shoppe 
 
 the signe of the Faucon, by Wylliam 
 in S. Dunstones Church Yearde, 1569. 
 
244 ENGLISH SONG AND BALLAD MUSIC. 
 
 REIGN OF JAMES I. 
 
 The most distinguishing feature of chamber music, in the reign of James I., 
 from that of his predecessor, was the rapidly-increasing cultivation of instrumental 
 music, especially of such as could be played in concert ; and, coevally, the in- 
 cipient decline of the more learned, but less melodious descriptions of vocal music, 
 such as madrigals and motets. 
 
 During the greater part of the reign of Elizabeth, vocal music held an almost 
 undivided sway, and the practice of instrumental music, in private life, was 
 generally confined to solo performances, and to accompaniments for the voice. 
 
 The change of fashion, so far as I have been able to trace it, may be dated from 
 1599, in which year Morley printed a " First Booke of Consorte Lessons, made 
 by divers exquisite authors," for six instruments to play together ; and Anthony 
 Holborne a collection of " Pavans, Galliards, Almaines, and other short airs, both 
 grave and light, in five parts." Morley's publication consisted of favorite 
 subjects arranged for the Treble Lute, the Pandora,* the Cittern, the (English) 
 Flute,'' and the Treble and Bass Viols. Holborne's was for Viols, for Violins," 
 or for wind-instruments. 
 
 I know of no set of Madrigals printed during the reign of Elizabeth, which is 
 described on the title-page as "apt /or Viols and Voices" — it was fully under- 
 stood that they were for voices only ; — ^but, from 1603, when James ascended the 
 throne, that mode of describing them became so general, that I have found but 
 two sets printed without it.'* 
 
 a There was a foreign instrument of the lute descrip- rather more than two feet. I had three or four of differ- 
 
 tion, with a great number of strings, called the Pandttra, ent sizes, the largest exceeding four feet in length. The 
 
 but I imagine the English Pandora to be the same instru- base flute must have been still longer. The modem 
 
 ment as the .Bandora. In Thomas Robinson's "School flute is blown like the old fife ; or as in the ancient 
 
 of Musicke, the perfect fingering of the Lute, Pandora, sculpture of The Piping Fawn. 
 
 Orpharion and Viol da Gamba" the music is noted on six <■ Under the name of "Violins " the four different sizes 
 lines, for an instrument of six strings like the Lute. In of the instrument are here comprehended. The word 
 1613, Drayton and Sir William Leighton severally enu- Violoncello is of comparatively modem use. In Ben 
 merate'd the instruments in use in England. Drayton Jonson's Bartholomew Fair, we find, "A set of these 
 names the " Pandore" among instruments strung with Violins I would buy, too, for a delicate young noise" {i.e., 
 wire. Sir William Leighton speaks of the "Bandore," company of young musicians) "I have in the country; 
 but neither of both. In 1609, Philip Rosseter printed a they are every onea size less than another; — just like your 
 set of "Lessons for Consort," like Morley's, and for the fiddles." — Act iii., sc. 1. Charles the Second's famous 
 same six instmments, if the Bandora be not an ex- band of " four-and-twenty fiddlers, all in a row," con- 
 ception. It was a large instrument of the lute kind, sisted of six violins, six counter-tenors, six tenors, 
 with the same number of strings (but in all probability of and six bases. The counter-tenor violin has become ob- 
 wire), and invented in 1562 by John Rose, citizen of solete, because all the notes of its scale could be played 
 London, dwelling in Bridewell. It was much used in upon the violin or tenor. 
 
 this reign, especially with the Cittern, to which it formed * The exceptions are Bateson's First Set of Madrigals, 
 
 the appropriate base. 1604, and Filkington's First Set, 1613, but the second sets 
 
 •» The English flute, described by Mersenne as the of both authors are described as " apt for viols and voices." 
 
 Fistula dulcis, sen Anglica, and by some as the Flute Soa.re'WiMye's Second Set, \609;Micba£llRste'a Eight Sett, 
 
 d, bee, has eight holes for the fingers, and a mouth-piece of various dates, and the Madrigals of Orlando Gibbons, 
 
 at the end like a flageolet. Of the eight holes, six are in Robert Jones, John Ward, Henry Lichfield, Walter Porter, 
 
 a TOW in front, one at the end for the little finger as vfeW asByxd's Psalmes, Songs, and Sonnets, 1611: Peer- 
 
 ( added afterwards ), and one at the back for the son's Motets or Grave Chamber Music, 1660 ; and many 
 
 thumb. The tone is soft, rich, and melodious, but less lighter kinds of music. See Rimbault's Bibliotheca 
 
 brilliant than the present flute. The ordinary length is Madrigaliana, 8vo., 1847. 
 
REIGN OF JAMES I. 
 
 245 
 
 Between 1603 and 1609, Dowland printed his "La<!rim3ej or Seven Teares 
 figured in seven passionate Pavans, with divers other Pavans, Galliards, and 
 Almands." This work, to which there are so many allusions by contemporary 
 Dramatists, was in five parts, for the Lute, Viols, or Violins. In 1609, Rossiter 
 printed his " Lessons for Consort" for the same six instruments as Morley. In 
 1611, Morley's work was reprinted,^ and about the same time Orlando Gibbons 
 published his Fantasies of three parts for Viols^ 
 
 * Twelve volumes of Dr. Bumey's MS. extracts for his 
 History of Music were formerly in my poBsession, and are 
 now in the BritisU Museum. In one of them {Add. MSS. 
 11,587) are his extracts from Morley's Consort Lessons, 
 To "O mistress mine" (which I have printed at p. 209) 
 he appends the following note : — ' ' If any melody or move- 
 ment, besides the Hornpipe (o tune played by the Cornish 
 pipe, or pipe of Cornwall)^ be truly native, it seems to be 
 this ; which has the genuine drawl of our country clowns 
 and ballad singers in sorrowful ditties, as the hornpipe has 
 the coarse and vulgar jollity of their mirth atid merri- 
 ment." This criticism is a curiosity, and not less curious 
 is the judgment he passes on the Consort Lessons, after 
 scoring two out of tlie six parts (the Treble Viol and 
 Flute), and adding his own base. Morley dedicates them 
 to the Lord Mayor and Aldermen, and Dr. Bumey says, 
 "Master Morley, supposing that the harmony which was 
 to be heard through the clattering of knives, forks, spoons, 
 and plates, with the jingling of glasses, and clamorous 
 conversation of a city feast, need not be very accurate and 
 refined, was not very nice in setting parts to these tunes, 
 if we may judge of the rest by what passes between the viol 
 andjlute," &c. The whole of this passage is transferred 
 to his ffistory of Music (iii. 102, Note D, 1789), except 
 the qualification, "if we may judge," &c. It was not 
 advisable to tell the reader 7iow he had formed hig opinion 
 of a work that had formerly passed through two editions. 
 
 Among Dr. Burney's other criticisms of English Music 
 (for his History is essentiallyacritical one, andhe has been 
 commonly quoted as an authority) are the following, which 
 are also directly connected with the subject of this book:— 
 In vol. ii., p. 553, he says, '* It is related by Gio. Battista 
 Donado that the Turks have a limited number of tunes, to 
 which the poets of their country have continued to write 
 for ages ; and the vocal music of our own country seems 
 long to have been equally circumscribed ; for, till the last 
 century, it seems as if the number of our secular and 
 popular melodies did not greatly exceed that of the Turks." 
 In a note it is stated that the tunes of the Turks were in 
 all twenty-four; which were to depict melancholy, joy, or 
 fury; to be mellifluous or amorous. It may not, I hope, 
 be too presumptuous to say that Dr. Bumey knew very 
 little of the subject. In vol. iii., 143, after criticising a 
 work printed in 1614, and saying, "The Violin was now 
 hardly known by the English, in shape or name" (although 
 Ben Jonson describes the instrument, at that very time, 
 as commonly sold with roast pigs in Bartholomew Fair, 
 and violins had certainly been used on the English 
 stage from its infancy. See, for instance, the tragedy of 
 Gorbodttc, or Ferrex and Porrex, acted by the gentlemen 
 of the Inner Temple before Queen Elizabeth, in 1561); 
 he adds, "And the low state of our regal music 
 in the time of Henry VIII., 1530, may be gathered 
 from the accounts given in Hall and Hollinahed's 
 Chronicles, of a. Masque at Cardinal Wolsey's palace, 
 Whitehall, where the King was entertained with *a con- 
 cert of drums and fifes.*" He then says, " But this was 
 
 soft music compared with that of his heroic daughter 
 Elizabeth, who, according to Hentzner, used to he regaled 
 during dinner "with twelve trumpets, and two kettle- 
 drums; which, together with fifes, cornets, and side-drums, 
 made the hall ring for half an hour together." I find 
 nothing of the kind in Hall's Chronicle (there is a short 
 notice of a similar Masque at Cardinal Wolsey's, in the 
 tenth year of Henry VIII., fol, 65, b. 1548, but no drums 
 and fifes); and Hollinshed, who takes the account from 
 Cavendish's £i/e o/ fTo/^ej/, is speaking not of a "concert" 
 at the Cardinal's, but of the manner of receiving the King 
 and some of his nobles, who came by water to a Masque; 
 firstly by firing off" "divers chambers" (short guns that 
 make a loud report) at his landing, and then conducting 
 him up into the chamber "with such a noise of drums 
 and fieutes, as seldom had been heard the like." Caven- 
 dish says, "with such a number of drums and fifes as 
 I have seldom seen together at one time in any masque " 
 (Singer's edit., 8vo., 1825); and, describing the masques 
 generally, says, "Then was there all kind of music and 
 harmony set forth, with excellent voices both of men and 
 chUdren." Sagudino, the Venetian Ambassador, who 
 describes a banquet given by Henry VIII., in honor of 
 the Flemish envoys, on the 7th July, 1517, says, "during 
 the dinner there were boys on a stage in the centre of the 
 hall, some of whom sang, and others played the flute, re- 
 beck, and virginals, making the sweetest melody." As to 
 Queen Elizabeth, I quote Hentzner's words from the copy 
 used by Dr. Bumey: " During the time this guard, which 
 consists of the tallest and stoutest men that can be found 
 in all England, were bringing dinner, twelve trumpets and 
 two kettle-drums made the hall ring for half an hour to- 
 gether." (This was the loud music to give notice to pre- 
 pare for dinner, like the gong, or dinner-bell of the present 
 day, but the fifes, comets, and side-drums, are of Dr. 
 Burney's invention.) ^'Atihe end of all this ceremonial 
 a number of unmarried ladies appeared, who with par- 
 ticular solemnity lifted the meat off" the table, and conveyed 
 it into the Queen's inner and more private chamber, where, 
 after she had chosen for herself, the rest goes to the ladies 
 of the Court. The Queen dines and sups alone, with very 
 few attendants," &c. Hentzner also says, "Without the 
 city" (of London) "are some theatres where English 
 actors represent almost every day tragedies arid comedies 
 to very numerous audiences: these are concluded with 
 excellent music, variety of dances, and the excessive 
 applause of those that are present." The original words 
 are " quas variis etiam saltation ibus, suavissimS. adhibita 
 musicE, magno cum populi applausu finiresolent." Again, 
 in suinraing up the character of the English in a few 
 lines, he says, *' They excel in dancing and music, for they 
 are active and lively, though of a thicker make than the 
 French." Dr. Bumey, throughout his History, writes in 
 a similarly disparaging strain about English music and 
 English musicians, for which I am unable to account. 
 
 ^ For the republication of these, and many other works of 
 the sixteenth and seventeenth centuries, the world is in-. 
 
246 ENGLISH SOira AND BALLAD MUSIC. 
 
 Viols had six strings, and the position of the fingers was marked on the finger- 
 boai-d by frets, as in guitars of the present day. The " Chest of Viols " consisted' 
 of three, four, five, or six of difierent sizes ; one for the treble, others for the mean, 
 the counter-tenor, the tenor, and perhaps two for the base. Old English musical 
 instruments were commonly made of three or four difierent sizes, so that a player 
 might take any of the four parts that were required to fiU up the harmony. So 
 Violins, Lutes, Kecorders, Flutes, Shawms, &c., have been described by some 
 writers in a manner which (to those unacquainted with this peculiarity) has 
 appeared irreconcileable with other accounts. Shakespeare (ia Samlet) speaks of 
 the Recorder as a little pipe, and says, 'm A Midsummer NigMs Dream, "he hath 
 played on his prologue like a child on a recorder ; " but in an engraving of the 
 instrument,* it reaches from the lip to the knee of the performer; and among 
 those left by Henry VIII. were Recorders of box, oak, and ivory, great and small, 
 two base recorders of walnut, and one {jreat base recorder. In the same catalogue 
 we find " flutes called Pilgrims' staves," which were probably six feet long. 
 
 Richard Braithwait, a writer of this reign, has " set down Some Rules for the 
 Cfovernment of the Souse of an Sari" in which the Earl was to keep " five 
 musitions skillfull in that commendable sweete science," and they were required 
 to teach the Earl's children to sing, and to play upon the base-viol, the virginals, 
 the lute, and the bandora, or cittern. When he gave " great feasts," the musi- 
 cians were to play, whilst the service was going to the table, upon Sackbuts, 
 Cornets, Shawms, and "such other instruments going with wind;"* and upon 
 " Viols, Violins, or other broken" musicke," during the repast. 
 
 The custom of retaining musicians in the service of families continued to the 
 time of the Protectorate. It was not confined to men of high rank (either in this 
 or the preceding century), but was general with the wealthy of all classes. 
 
 debted to the Musical Antiquarian Society. The Madri- reed in the Hautboy, and that these were Recorders. In 
 
 gals of Wilbye, Weelkes, Bennet, Bateson, and Gibbons ; the proverbs at Leckinglield (quoted ante Note ■», p. 35), 
 
 the Ballets of Morley and Hilton ; the four-part songs of the Recorder is described as " desiring " the mean part, 
 
 Dowland, and four Operas by Purcell; besides the first but manifold fingering and stops bringeth high (notes) 
 
 music printed for the Virginals, the four-part Psalms by from its clear tones. This agrees with Salter's book. He 
 
 Este, and various Anthems, &c., &c. tells us the high notes are produced byjplacing the thumb 
 
 * See "The Genteel Companion for the Recorder," by ftaZ/over the hole at the back, and blowingalittle stronger. 
 
 Humphrey Salter, 1683. Recorders and (English) Flutes Recorders were used for teaching birds to pipe, 
 
 are to outward appearance the same, although Lord Bacon, ^ In Middleton's play, Tlie Spanish Gipsy, act ii., so. 1, 
 
 in his Natural Jlistory, cent, iii., sec. 221, says the Re- is another allusion to the loud music while dinner was 
 
 corder hath a less bore, and a greater above and below. being carried in, as well as a common pun upon sackbuts 
 
 The number of holes for the fingers is the same, and the and sack. 
 
 scale, the compass, and'the manner of playing, the same. Alv. " You must not look to have your dinner served in 
 
 Salter describes the recorder from which the instrument with trumpets " 
 
 derives its name, as situate in the upper part of it, i.e., Car. " No, no, sack-bats shall serve us." 
 
 between the hole below the mouth and the highest hole *> " Broken Music," as is evident from this and other 
 
 for the finger. He says, "Of the kinds of music, vocal passages, means what we now term "a string band." 
 
 has always had the preference in esteem, and In con- Shakespeare plays with the term twice: firstly in Troilus 
 
 sequence, the Recorder, as approaching nearest to the and Crewida, act iii., sc. 1, proving that the musicians then, 
 
 smeet delightfulness of the voice, ought to have first place on the stage trere performing on stringed instruments ; 
 
 in opinion, as we see by the universal use of it confirmed." and secondly in Henry V., act v., so. 2, where he says to 
 
 The Hautboy is considered now to approach most nearly the French Princess Katherine, " Come, your answer in 
 
 to the human voice, and Mr. Ward, the military instru- broken music ; for thy voice is music and thy English 
 
 ment manufacturer, informs me that he has seen "old broken." The term originated probably from harps, lutes, 
 
 English Flutes " with a hole bored through the side, in and such other stringed instruments as were played with- 
 
 the upper part of the instrument, the holes being covered out a bow, not having the capability to sustain a long note 
 
 with a thin piece of skin, like gold-beater's skin. 1 sup- to its full duration of time, 
 pose this would give somewhat the effect of the quill or 
 
RBI6N OF JAMES I. 247 
 
 So the old merchant in Shirley's Love Tricks (licensed 1625) says, " I made a 
 ditty, and my musician, that I keep in my house to teach my daughter, hath set it 
 to a very good air, he tells me." At least one wealthy merchant of the reign of 
 Henry VIII. retained as many musicians in his service as are prescribed for the 
 household of an Earl in James' reign. Sir Thomas Kytson, citizen and mercer, 
 built Hengrave Hall, in Suffolk, between the years 1525 and 1538, and at the 
 death of his son (towards the close of Elizabeth's reign) inventories of all the fur- 
 niture and effects were taken, including those of " the chamber where the musicyons 
 playe," and of the " instruments and books of musicke" it contained." With the 
 exception of those for the lute, all the books of instrumental music were in sets of 
 five (for music in five or more parts), as well as those containing the vocal music, 
 described as " old." The number of musicians was perhaps increased by his son, 
 for in the household expenses of the year 1574, we find, " seven cornets bought 
 for the musicians ; " and the viols, violins, and recorders, in the inventory, are 
 (like those of Henry VIH.) in chests or cases containing six or seven of each ; 
 whilst much of the vocal music required six, and some seven and eight, voices 
 to sing it. In 1575 he lent the services of Robert Johnson, Mus. Bac, one of 
 his musicians, to the Earl of Leicester, on the occasion of the pageants at 
 Kemlworth. 
 
 Although we have no old English book written for the purpose of describing the 
 musical instruments in use in former days, like those of Mersenne and Kircher 
 for France and Germany, we find in our translations of the Bible and the 
 Metrical Psalms, the names of all in general use at the times those translations 
 were made, for the Hebrew instruments are all rendered by the names of such as 
 were then commonly known. We are so accustomed to picture David play- 
 ing on the harp, that we are not easily reconciled to the French version of the 
 - Psalms, in which, in translations of the same passages, the violin is the instru- 
 ment assigned to him ; and what we translate lute, they render bagpipe {musette). 
 It is not my purpose to enter upon a detailed account of musical instruments," 
 but the curious in such matters will find in Sir William Leighton's " Teares or 
 Lamentations of a sorrowful soule," a long catalogue of those known at this period. 
 Itis contained in " A thanksgiving to God, with magnifying of his holy name upon 
 all instruments." In the following lines from Song IV. in Drayton's Poly-olhion, 
 printed in the same year (1613), many of those in common use are cited: — 
 
 * History and Antiquities of Hengrave, by John Gage, " A copy with music in the British Museum. Among 
 
 F.S.A., fol., 1822. There are six viols in a chest; six the instruments not mentioned by Drayton are the follow- 
 
 violins in a chest (in 1572 a treble violin cost 20s.): seven ing, which I give in Sir William Leighton's spelling ; — 
 
 recorders in a case; besides lutes, comets, bandoras, "Rcgalls, Slmballs, Timbrell, Syrons, Crowdes, Clari- 
 
 cittems, sackbuts, flutes, hautboys, a curtail (orshortsoi^ coales, Dulsemers, Crouncorns, and Simfonle." He men- 
 
 of bassoon), a lysarden (base comet, or serpent), a pair of tions the Drum after the Simphony, thereby apparently 
 
 little virginals, a pair of double virginals, '* a wind instru- drawing a distinction between them, but according to 
 
 ment like a virginal," and a pair of double organs, Bartholomeus De Proprietatibus Serum, printed by 
 
 •» Sir John Hawkins' descriptions of musical instm- Wynkeh de Worde, the Simphony is "an instrument 
 
 ments are too much drawn from foreign sources, English of musyke . . . made of an holowe tree, closed in lether 
 
 instruments often differed materially from those in use in eyther syde, and mystrels hetyth it wyth styckes." 
 
 abroad, as many do at the present day. I cannot agree "Crouncom" means, perhaps, Krumhom or Cromhom, a 
 
 with his description of the Cittern (it has too many strings) crooked horn, in imitation of which we have a reed stop in 
 
 or of some others. The catalogue of musical instru- old organs called the Cromhom, which is now corrupted 
 
 ments left by Henry VIII. (Hari. MSS. 1419, fol. 200) into Cremona. Henry VIII., at his death, left several 
 
 was unfortunately unknown to him, or it would have cases containing from four to seven Crumhorns in each, 
 explained many difiiculties. 
 
248 ENGLISH gONQ AKD BALLAD MUSIC. 
 
 " When now the Britisli side scarce finished their song, 
 But th' English, that repin'd to be delay'd so long. 
 All quickly at the hint, as with one free consent, 
 Struck up at once and sung, each to the instrument 
 (Of sundry sorts that were, as the musician likes)^ 
 On which the practic'd hand with perfect'st fing'ring strikes, 
 Wherehy their height of skill might liveliest be exprest. 
 The trembling Lute some touch, some strain the Viol best. 
 In sets that there were seen, the music wondrous choice. 
 Some, likewise, there affect the Gamba with the voice, 
 To shew that England could variety afford. 
 Some that delight to touch the sterner wiry chord, 
 The Cithren, the Pandore, and the Theorbo strike : 
 The Gittern and the Kit the wand'ring fiddlers like. 
 So were there some again, in this their learned strife, 
 Loud instruments that lov'd, the Cornet^ and the Fife, 
 The Hoboy, Sackbut deep. Recorder, and the Flute ; 
 E'en from th« shrillest Shawm unto the Cornamute. 
 Some blow the Bagpipe up, that plays the Country-Round ; 
 The Tabor and the Pipe some take delight to sound." 
 
 The Sundry Musiques of England. 
 
 In consequence of the almost universal cultivation of music in the sixteenth 
 century, and of the great employment and encouragement of musicians, so many- 
 persons embraced music as a profession, that England overflowed with them. 
 Many travelled, and some were tempted by lucrative engagements to settle abroad. 
 Dowland, whose "touch upon the lute" was said to "ravish human sense," 
 travelled through Italy, France, Germany, and the Netherlands, and about the 
 year 1600 became lutenist to the King of Denmark. On Dowland's return to 
 England in 1607, Christian IV. begged of Lady Arabella Stuart (through the 
 Queen and Prince Henry) to allow Thomas Cutting, another famous lutenist, then 
 in her service, to replace him. Peter Phillips, better known on the continent 
 (where the greater part of his works were printed) as Pietro Philippi, accepted an 
 engagement as organist to the Arch-duke and Duchess of Austria, governors of 
 the Low Countries, and settled there. John Cooper spent much of his life in 
 Italy, and was called Coprario, or Cuperario. There were few, if any, Italian 
 composers or singers then in England,'' and the music of Italy was chiefly known 
 by the Madrigal, for the sacred music, as being for the service of the Mass, was 
 strictly prohibited. 
 
 * Among Henry the Eighth's instruments were "Git- voices in Cathedral Service. The hase Cornet was of a 
 
 teron Pipes of ivory or wood, called Comets." The Cornet moreserpentineform, and from four to five feet in length; 
 
 describedhyMersenne isof a hent shape, likethe segment hut Mersenne says, the Serpent (contorted to render it 
 
 of a large circle, gradually tapering from the bottom to more easy of carriage, as its length was six feet one inch) 
 
 the mouth-piece, The comet was of a loud sound, but was the genuine base of that instrument, 
 
 in skilful hands could be modulated so as to resemble the ^ Alfonso Ferabosco, the elder, was horn, of Italian 
 
 tones of the human voice. In Ben Jonson's Masque of parents, at Greenwich. As he was brought up and lived 
 
 Neptune's Triumph, the instruments employed were five in England, he can scarcely he considered as an Italian 
 
 Lutes and three Cornets. In several other Masques, Lutes musician. Nicholas Lanier was an Italian by birth, and 
 
 and Comets were the only instruments used. At the came to England as an engraver. He settled here, and 
 
 Restoration, Cornets supplied the deficiency of boys' became an eminent musician. 
 
BEIGN OF JAMES I. 249 
 
 Anthony a Wood tells the following story of Dr. John Bull: — While 
 travelling incognito through France and Germany for the recovery of his health, 
 he heard of a famous musician belonging to the Cathedral of St. Omer, and 
 applied to him to see his works. The musician having conducted Bull to a vestry 
 or music-school adjoining the Cathedral, shewed him a lesson or song of forty 
 parts, and then made a vaunting challenge to any person in the world to add one 
 more part, supposing it so complete that it was impossible to correct or add to it. 
 Dr. BuU having requested to be locked up for two or three hours, speedily added 
 forty more parts, whereupon the musician declared that " he that added those 
 forty parts must either be the devil or Dr. John Bull."* In 1613, BuU (to 
 whom many offers of preferment at foreign courts had been previously made) 
 quitted England, and went to reside in the Netherlands, where he entered the 
 service of the Archduke. 
 
 The emigration of musicians was not confined to a few of the most emiaent, for 
 we hear, indirectly, of many in the employ of foreign courts, whose movements 
 would not otherwise be recorded. Thus Taylor, the water-poet, who had just 
 described the Lutes, Viols, Bandoras, Recorders, Sackbuts, and Organs, in the 
 Chapel of the Graf (or Count) of Schomburg, says, "I was conducted an English 
 mile on my way by certain of my countrymen, my Lord's musicians." 
 
 We are indebted to foreign countries for the preservation of many of the works 
 of our best musicians of this age, as well as of our popular tunes. Dr. Bull's 
 music is chiefly to be found in foreign manuscripts.'' Dowland tells us that " some 
 part of his poor labours " had been printed in eight cities beyond the seas, viz., 
 Paris, Antwerp, Cologne, Nuremburg, Frankfort, Leipzig, Amsterdam, and Ham- 
 burg. Much of the music printed in Holland in the seventeenth century was also 
 by English Composers. The right of printing music in England was a monopoly, 
 generally in the hands of one or two musicians," and therefore very little, and 
 only such as they chose, could be printed. Hence the scarcity, as well as the 
 frequent imperfection, of these early works. 
 
 Li London, each ward of the city had its musicians ; there was also the Fins- 
 bury Music, the Southwark and the Blackfriars Music, as well as the Waits of 
 London and Westminster. Morley thus alludes to the Waits, in the dedication 
 of his Oonsort Lessons to the Lord Mayor and Aldermen : "As the ancient 
 custom of this most honourable and renowned city hath been ever to retain and 
 maintain excellent and expert musicians to adorn your honours' favours, feasts, 
 and solemn meetings : to those, your Lordships' Wayts, I recommend the same." 
 A " Wayte," in the time of Edward IV., had to pipe watch four times in the 
 night, from Michaelmas to Shrovetide, and three in the summer, as well as to 
 
 » Such exercises of learned ingenuity were common in * One foreign manuscript volume of Dr. Bull's works 
 that day. Tallis wrote a Motet in forty parts, a copy of is now in my possession, and another in that of Mr, 
 which is now before me. It is for eight choirs, each of -Richard Clarke, who asserts that it contains " God save 
 five voices ; the voices only coming together occasionally. the King," of which more hereafter. The contents of 
 Dr. Bumey discredits Dr. Bull's feat as " impossible," both are described in Ward's Lives of the Gresham Pro- 
 hut I am assured by Dr. Rimbault and by Mr. Macfarren, fessors. 
 
 who have seen this Motet, that whether the story be true " It was held by Tallis and Byrd from 1575 to 1596, then 
 or not, it was quite possible. In all cases the anecdote by Morley and his assignee. See Introduction to Rim- 
 may be taken as a proof of the very high reputation Dr. bault's BibUothica Madrigaliava, 8vo., 1847. 
 Bull enjoyed. 
 
250 
 
 ENGLISH SONG AND BALLAD MUSIC. 
 
 "make Ion gayte^'* at every chamber door; but Morley's Consort Lessons^ as 
 before mentioned, required six instruments to play them,* and the city bands are 
 commonly quoted as playing in six parts.^ 
 
 After the act of the 39th year of Elizabeth, which rendered all " minstrels 
 ■wandering abroad" liable to punishment as "rogues, vagabonds, and sturdy 
 beggars," all itinerant musicians were obliged to wear cloaks and badges, with the 
 arms of some nobleman, gentleman, or corporate body, to denote in whose service 
 they were engaged, being thereby excepted from the operation of the act. So in 
 Bam Alley, 1611, Sir Oliver says — 
 
 " Musicians, on I 
 
 Lightly, lightly, and by my knighthood's spurs 
 
 This year you shall have my protection, 
 
 And yet not buy your livery coats yourselves." 
 
 And as late as 1699, we find in Historia Histrionica, " It is not unlikely that the 
 lords in those days, and persons of eminent quality, had their several gangs of 
 players, as some have now of fiddlers, to whom they give cloaks and badges." 
 
 Musicians in the service of noblemen and gentlemen seem to have held a 
 prescriptive right to go and perform to the friends and acquaintances of their 
 masters, whenever they wanted money : such visits were received as compliments, 
 and the miusicians were rewarded in proportion to the rank of their masters. 
 Innumerable instances of this will be found in early books of household expen- 
 diture ; but, in James' reign, musicians not actually in employ presumed so far 
 upon the license, that their intrusion into all companies, and at all times, became 
 a constant subject of rebuke. Ben Jonson's Club, the Apollo, which met at the 
 Devil tavern, chiefly for conversation, was obliged to make a law that no fiddler 
 should enter, unless requested.*^ Nevertheless, they were generally welcome, and 
 generally well paid ; more especially, at merry-makings where their services were 
 ever required. In those days a wedding was of a much gayer character than 
 now. There was first the hunt's-up, or morning song, to awake the bride; then 
 
 " A few specimens of the tunea of the waits of different 
 towns will be given under the reign of Charles II. 
 
 * So in Heywood's The English Traveller, last scene of 
 act i., 1633— 
 
 " Riot. Feai not, you shall have a full table. 
 Young L. "Wliat, and music 1 
 Riot. The best consort in the city for six parts. 
 Young L. We shall have songs, then ? " 
 *» The rules of this club, in Latin, will be found in Ben 
 Jonson's Works. The following translation is by one of 
 his adopted poetical sons : — 
 
 " Let none but guests, or clubbers, hither come; 
 Let dunces, fools, sad sordid men, keep home, 
 Let learned, civil, merry men b'invited. 
 And modest,.too; nor be choice ladies slighted. 
 Let nothing in the treat offend the guests ; 
 More for delight than cost, prepare the feasts. 
 The cook and purvey'r must our palates knowj 
 And none contend who shall sit high or low. 
 Our waiters must quick-sighted be, and dumb, 
 And let the drawers quickly hear and come. 
 Let not our wine be mix'd, but brisk and neat, 
 Oi else the drinkers may the vintners beat. 
 
 And let our only emulation be, 
 Not drinking much, but talking wittily. 
 Let it be voted lawful to stir up 
 Each other with a moderate chirping cup ; 
 Let not our company be, or talk too much ; 
 On serious things, or sacred, let's not touch 
 With sated heads and bellies. Neither may 
 Fiddlers unask'd obtrude themselves to play. 
 With laughing, leaping, dancing, jests and songs, 
 And whate'er else to grateful mirth belongs, 
 Let's celebrate our feasts.- and let us see 
 That all our jests without reflection be. 
 Insipid poems let no man rehearse, 
 Nor any be compelled to write a verse. 
 All noise of vain disputes must be forborn, 
 And let no lover in a corner mourn. 
 To fight and brawl, like Hectors, let none dare, 
 Glasses or windows break, or hangings tear. 
 Whoe'er shall publish what's here done or said, 
 From our society must be banished. 
 Let none by drinking do or suffer harm, 
 , And, wliile we stay, let us be always warm." 
 
 Poems and Songa hy Alexander Brome, 8vo,, 1661. 
 
REIGN OF JAMES I. 251 
 
 the music to conduct her to church (young maids and bachelors following, with 
 garlands in their hands) ; the same from church ; the music at dinner ; and 
 singing, dancing, and merry-making throughout the evening. For those who had 
 no talent to write a hunt's-up, there were songs ready printed (like " The Bride's 
 Good-morrow," in the Roxburghe Collection), but the hunt's-up was not confined 
 to weddings, it was a usual compliment to young ladies, especially upon their 
 birthdays. The custom seems now to be continued only with princesses, and on 
 the last birthday of the Princess Royal, the court newsman, at a loss how to 
 describe this old English custom, gave it the name of a " Matinale." 
 As to music at weddings, see the following allusions : — 
 
 " Then was there a fair bride-cup of silver and gilt carried before her [the 
 bride], whereia was a goodly braunch of rosemarie gilded very faire, hung about 
 with silken ribbonds of all colours; next there was a noyse^ of musitians, that 
 played all the ivay before her ; after her came all the chiefest maydens of the 
 countrie, some bearing great bride-cakes, and some garlands of wheat finely 
 gilded, and so she past unto the church." — Deloney's Pleasant History of John 
 Winchcomh, in his younger years called Jacke of Neivberie. 
 
 " Come, come, we'll to church presently. Prythee, Jarvis, whilst the musick 
 plays just upon the delicious close, usher in the brides." — Rowley's A Match at 
 Midnight, 1633. 
 
 In Ben Jonson's Tale of a Tub, Turfe, the constable, " will let no music go afore 
 his child to church," and says to his wife — 
 
 " Because you have entertained [musicians] all from Highgate, 
 
 To shew your pomp, you'd have your daughters and maids 
 
 Dance o'er the fields like faies to church this frost. 
 
 I'll have no rondels, I, in the queen's paths ! 
 
 Let them scrape the gut at home, where they have fill'd it." 
 And again, where Dame Turfe insists on having them to play at dinner, Clench 
 adds — " She is in the right, sir, vor your wedding dinner 
 
 Is starv'd without the music." 
 Even at funerals musicians were in request: dirges were sung, and recorders the 
 instruments usually employed. It appears that the Blue-coat boys sang at City 
 Funerals ;'' being then taught music, as they should be now. Music was not less 
 esteemed as a solace for grief, than as an excitement to merriment. Peacham says, 
 " the physicians will tell you that the exercise of music is a great lengthener of life, 
 by stirring and reviving the spirits, holding a secret sympathy with them ; besides 
 it is an enemy to melancholy and dejection of mind ; yea, a curer of some dis- 
 eases." (Compleat Q-entleman, 1622.) And Burton, "But I leave all declamatory 
 speeches in praise of divine music, I will confine myself to my proper subject : 
 besides that excellent power it hath to expel many other diseases, it is a sovereign 
 remedy against despair and melancholy, and will drive away the devil himself." 
 {Anatomy of Melancholy.) So, in Henry IV., Shakespeare says — 
 
 * A noise of musicians means a company of musicians. "having authority to thrust into any man's room, only 
 
 It is an expression frequently occurring : " those terrible speaking but this— ' Will you have any musicke !' "— 
 
 noyses, with threadbare cloakes, that live by red lattices Dekker's Belman of London, 1608. 
 
 and ivy-bushes" [that is by ale-houses and taverns], i> See Brome's Ct<» >ra, act iii. sc. 1. 
 
252 ENGLISH SONa AND BALLAD MUSIC. 
 
 " Let there be no noise made, my gentle friends. 
 Unless some slow and favourable hand 
 Will whisper music to my weary spirit." 
 
 Part II., act iv., sc. 9. 
 
 Shakespeare purchased his house in Blackfriars, in 1612, from Henry Walker, 
 who is described in the deed as " Citizen and Minstrel, of London." The price 
 paid was £140,* which, considering the diflference in the value of money, is equal 
 to, at least, £700 now. Of what class of "minstrel" Walker was, we know not, 
 but there were very few of any talent who had not the opportunity of saving money, 
 if so disposed. Even the itinerant fiddler who gave " a fytte of mirth for a groat," 
 was well paid. The long ballads were usually divided into two or three "fyttes," 
 and if he received a shilling per ballad, it would purchase as many of the neces- 
 saries of life as five or six times that amount now. The groat was so generally his 
 remuneration, whether it were for singing or for playing dances, as to be 
 commonly called " fiddlers' money," and when the groat was no longer current, 
 the term was transferred to the sixpence. 
 
 It appears that in the reign of James, ballads were first collected into little 
 miscellanies, called Garlands, for we have none extant of earlier date. Thomas 
 Deloney and Richard Johnson (author of the still popular boys' book, called The 
 Seven Ohampions of Christendom) were the first wto collected their scattered pro- 
 ductions, and printed them in that form. 
 
 Deloney" 8 Crarhnd of Gfood-will, and Johnson's Grown Gfarland of Crolden Hoses, 
 were two of the most popular of the class. They have been reprinted, with some 
 others, by the Percy Society, and the reader will find some account of the authors 
 prefixed to those works. 
 
 During the reign of Henry VHI., " the most pregnant wits " were employed 
 in compiling ballads.'' Those in the possession of Captain Cox, described in 
 Laneham's Letter from Kenilworth (1576), as " all ancient," " could not well be 
 of later date than Henry's reign ; and at Henry's death we find, with the list of 
 musical instruments left in the charge of Philip van Wilder, "sondrie bookes and 
 skrolles of songes and ballattes." In the reign of James, however, poets rarely 
 wrote in ballad metre ; ballad writing had become quite a separate employment, 
 and (from the evidently great demand for ballads) I should suppose it to have 
 been a profitable one. In Shakespeare's Henry IV., when Falstaff threatens 
 Prince Henry and his companions, he says, " An I have not ballads made on you 
 all, and sung to filthy tunes, let a cup of sack be my poison ; " and after Sir 
 John Golvile had surrendered, he thus addresses Prince John : " I beseech your 
 grace, let it be booked with the rest of this day's deeds ; or by the Lord, I will 
 have it in a particular ballad else, with mine own picture at the top of it, Oolvile 
 kissing my foot." 
 
 To conclude this introduction, I have subjoined a few quotations to shew the 
 
 » Shakespeare's autograph, attached to the counterpart " The list of Captain Cox's hallads has been so often re- 
 ef this deed, was sold by auction by Evans, on 24th May, printed, that I do not tliink it necessary to repeat it. The 
 1841, for £155. reader will find it, with many others, in the introduction 
 
 *» See The Nature ofihe Four Elements, written about to Ritson's Ancient Songs, as well as in more recently- 
 
 1517. printed books. 
 
BBIGN OF JAMBS I. 253 
 
 universality of ballada, as well as their influence upon the public mind ; but limit- 
 ing myself to draniatists, to Shakespeare's contemporaries, and to one passage 
 from each, author. 
 
 In Ben Jonson's Bartholomew Fair, when Trash, the gingerbread-woman, 
 quarrels with Leatherhead, the hobby-horse seller, she threatens him — 
 
 " 111 find a friend shall right me, and make a ballad of thee, and thy cattle all over.'' 
 In Hey wood's A Challenge for Beauty, Valladaura says — 
 " She has told all ; I shall be balladed — 
 Sung up and down by minstrels.'' 
 In Fletcher's Queen of Corinth, Euphanes says — 
 
 . " and whate'er he be 
 Can with unthankfulness assoil me, let him 
 Dig out mine eyes, and sing my name in verse. 
 In ballad verse, at every drinking-house.'' 
 In Massinger's Parliament of Love, Chamont threatens Lamira — 
 
 . " I will have thee 
 Pictured as thou art now, and thy whole story 
 Sung to some villainous tune in a lewd ballad, 
 And make thee so notorious in the world. 
 That boys in the streets shall hoot at thee." 
 In Chapman's Monsieur cP Olive, he says — 
 
 "I am afraid of nothing but I shall be balladed." 
 In a play of Dekker's (Dodsley, iii. 224) Matheo says — 
 
 " Sfoot, do you long to have base rogues, that maintain a Saint Anthony's fire in 
 their noses by nothing but two-penny ale, make ballads of you ? " 
 
 In Webster's Devil's Law Case, the officers are cautioned not to allow any to 
 take notes, because — 
 
 " We cannot have a cause of any fame. 
 But you must have some scurvy pamphlets and lewd 
 Ballads engendered of it presently." 
 In Ford's Love's Sacrifice, Fiormonda says — 
 
 . . " Better, Duke, thou hadst been born a peasant ; 
 Now boys will sing thy scandal in the streets, — 
 Tunc ballads to thy infamy.'' 
 In Marlow's Edivard IL, Mortimer says to the King — 
 " Libels are cast against thee in the street ; 
 Ballads and rhymes made of thy overthrow." 
 In Machin's The Dumb Knight — 
 
 " The slave will make base songs on my disgrace." 
 In Middleton's The Roaring Crirl — 
 
 " 0, if men's secret youthful faults should judge 'em, 
 'Twould be the general'st execution 
 That e'er was seen in England ! 
 There would be few left to sing the ballads, 
 There would be so much work." 
 This is in allusion to the ballads on last dying speeches. 
 
264 ENSLIBH SONG AND BALLAD MUSIC. 
 
 In the academic play of Lingva, Phantastes says — 
 
 " heavens I how am I troubled these latter times with poets — ballad-makers. Were 
 it not that I pity the printers, these sonnet-mongers should starve for conceits for all 
 Phantastes.'' 
 
 The popular music of the time of Charles I. was so much like that of James, 
 aa not to require separate notice. I have therefore included many ballads 
 of Charles' reign in this division ; but reserved those which relate to the troubles 
 and to the civil war, for the period of the Protectorate. 
 
 UPON A SUMMER'S-DAY. 
 In The Dancing Master, from 1650 to 1665, and in MusicMs Delight on the 
 Oithren, 1666, this is entitled " Upon a Summer's-day ; " and in later- editions of 
 The Dancing Master, via., from 1670 to 1690, it is called " The Garland, or a 
 Summer's-day." 
 
 The song, "Upon a Summer's-day" is in Merry Drollery Complete, 1661, 
 p. 148. " The Garland " refers, in all probability, to a ballad in the Roxburghe 
 Collection, i. 22, or Pepysian, i. 300; which is reprinted in Evans' Old Ballads, 
 iv. 345 (1810), beginning, "Upon a Summer's time." It is more frequently 
 quoted by the last name in ballads. In the Pepys Collection, vol. i., is a 
 " Discourse between a Soldier and his Love ;" — 
 
 " Shewing that she did bear a faithful mind, 
 For land nor sea could make her stay behind. 
 
 To the tune of Upon a Summer time." 
 It begins, " My dearest love, adieu." And at p. 182 of the same volume, 
 "I smell a rat: to the tune of Upon a Summer tide, or The Seminary Priest.''^ 
 It begins, " I travell'd far to find." 
 
 In the Roxburghe Collection, vol. i. 526, " The good fellow's advice," &c., to 
 the tune of Upon a Summer time;" the burden of which is — 
 " Good fellows, great and small, 
 Pray let me you advise 
 To have a care withall ; 
 
 'Tis good to be merry and wise." 
 And at p. 384 of the same volume, another by L.P., called "Seldom cleanely, or — 
 A merry new ditty, wherein you may see 
 The trick of a huswife in every degree ; 
 Then lend your attention, while I do unfold 
 As pleasant a story as ever was told. 
 
 To the tune of Upon a Summer's time." 
 It begins — " Draw near, you country girls, 
 
 And listen imto me ; 
 I'll tell you here a new conceit, 
 Concerning huswifry." 
 I have chosen a song which illustrates an old custom, instead of the original 
 words to this tune, because it is not desirable to reprint them. In Wit and 
 
REIGN OF JAMES I. 
 
 255 
 
 Mirth, 1707, the following song, entitled The Queen of May, is joined to an 
 indifferent composition : — 
 Slowly and smoothly. 
 
 i 
 
 :&i 
 
 ^^^- 
 
 ho^^ 
 
 ^m 
 
 Efc 
 
 ^ 
 
 ^ 
 
 n= 
 
 pp 
 
 am 
 
 Up^on a time I chanc'd To walk a-long a green, Where pretty lasses 
 
 ^ 
 
 ^ 
 
 f 
 
 ■±L 
 
 1-^— ^f ^- 
 
 ^ 
 
 ^ J m J ~J i- 
 
 :ft^-^=^ 
 
 danced In strife, to choose a Queen, Some home-ly dress'd, some handsome. Some 
 
 J . f im 
 
 s* 
 
 N^j=^ 
 
 i 
 
 ^^P 
 
 ? 
 
 i ^i JU J 
 
 I f\ \ pp 
 
 pretty, and some gay, But who excell 'd in 
 
 dancing, Must be the Queenof May. 
 
 ffi " • --a r 
 
 PP^ 
 
 =F^ 
 
 S 
 
 a: 
 
 From morning till the evening 
 
 Their controversy held. 
 And I, as judge, stood gazing on. 
 
 To crown her that excell'd. 
 At last when Phoehus' steeds 
 
 Had drawn their wain away. 
 We found and crown'd a damsel 
 
 To be the Queen of May. 
 
 Full well her nature from her 
 
 Face I did admire; 
 Her habit well became her. 
 
 Although in poor attire. 
 
 Her carriage was so good, 
 
 As did appear that day. 
 That she was justly chosen 
 
 To be the Queen of May. 
 
 Then all the rest in sorrow. 
 
 And she in sweet content. 
 Gave over till the morrow. 
 
 And homewards straight they went. 
 But she, of all the rest. 
 
 Was hinder'd by the way. 
 For ev'ry youth that met her, 
 
 Must kiss the Queen of May. 
 
 THE HUNTER IN HIS CAREER. 
 This is one of the songs alluded to in Walton's Angler. Piscator. "I'll 
 promise you I'll sing a song that was lately made at my request by Mr. William 
 Basse, one that made the choice songs of ' The Hunter in his career,' and ' Tom 
 of Bedlam,' and many others of note." The tune was translated from lute 
 tablature by Mr. G. P. Graham, of Edinburgh. It is taken from the " Straloch 
 Manuscript," formerly in the possession of Mr. Chalmers, the date of which is 
 given in the original MS. from 1627 to 1629. It is also in the Skene MS., &c. 
 A copy of the song is in the Pepys Collection, i. 452, entitled " Maister Basse 
 his careere, or The Hunting of the Hare. To a new court tune." Printed for 
 
256 
 
 ENGLISH SONG AND BALLAD MUSIC. 
 
 EQiz.] AQlde]. On the same sheet is " The Faulconer's Hunting; to the tune 
 of Basse his careere." The words are also in Wit and Drollery, Jovial Poems, 
 1682, p. 64, and in Old Ballads, second edition, 1738, Hi. 196. 
 With spirit, 
 
 P |-=T 1 PB=-i 1 M-i-i Z 
 
 ^ 
 
 ^ ^ Q \ i-^u ^Tih^T^:^ 
 
 Long ere the mom Ex - pects the re-turn Of Apollo from the o - cean queen, Be 
 
 ^ 
 
 s 
 
 n 
 
 ^ 
 
 zz 
 
 ^J^ 
 
 -#^ 
 
 ■ -^ J f'lU-iHi i^ 
 
 ^ 
 
 •^3:^ 
 
 fore the creak Of the crow and the break Of the day in the wel - kin 
 (croak) 
 
 ^ 
 
 ^^^^^^m 
 
 T I f- T 
 
 Monnted he'd halloo, And cheerful - ly follow To the 
 
 chace with his bu gle clear. 
 
 ^ 
 
 :J=i: 
 
 '^^ 
 
 ^ 
 
 ^ 
 
 W^ 
 
 ^ 
 
 TT 
 
 ^ 
 
 ?4=3?l^=#j 
 
 I 
 
 * I. d 
 
 Echo doth he make, And the moun-tainsshake,With the thunder of his ca - reer. 
 
 Now bonny bay 
 
 In his foine waxeth gray ; 
 Dapple-grey waxeth bay in his blood ; 
 
 White-Lily stops 
 
 With the scent in her chaps, 
 And Black-Lady makes it good. 
 
 Poor silly Wat, 
 
 In this wretched state. 
 Forgets these delights for to hear ;' 
 
 Nimbly she bounds 
 
 From the cry of the hounds, 
 And the music of their career. 
 
 Hills, with the heat 
 
 Of the gallopers' sweat 
 Reviving their frozen tops, 
 
 [And] the dale's purple flowers, 
 
 That droop from the showers 
 That down from the rowels drops. 
 
 Swains their repast, 
 
 And strangers their haste 
 Neglect, when the horns they do hear ; 
 
 To see a fleet 
 
 Pack of hounds in a sheet. 
 And the hunter in his career. 
 
 Thus he careers, 
 
 Over heaths, over meres. 
 Over deeps, over downs, over clay ; 
 
 Till he hath won 
 
 The noon from the morn. 
 And the evening from the day. 
 
 His sport then he ends. 
 
 And joyfiilly wends 
 Home again to his cottage, where 
 
 Frankly he feasts 
 
 Himself and his guests, 
 And carouses in his career. 
 
REIGNS OF JAMES I, AND CHARLES I. 
 
 257 
 
 ONCE I LOVED A MAIDEN FAIR. 
 
 A copy of this ballad is in the Roxburghe Collection, i. 350, printed for the 
 assigns of Thomas Symcock. The tune is in The Dancing Master, from 1650 to 
 1698 ; in Playford's Introduction, 1664; in MusicKs Delight on the Githren, 1666; 
 in Apollo's Banquet for the Treble Violin, 1670 ; in the Pleasant Companion for 
 the Flageolet, 1680 ; &c. 
 
 The first song in Patrick Carey's Trivial Poems, written in 1651 (" Fair one ! 
 if thus kind you be"), is to the tune Once I lov'd a maiden fair. It is also 
 alluded to in The Fool turned Critic, 1678 — "We have now such tunes, such 
 lamentable tunes, that would make me forswear all music. Maiden fair and The 
 King's Delight are incomparable to some of these we have now." 
 
 The ballad consists of twelve stanzas, from which the following are selected. 
 
 Smoothly and in moderate time. 
 
 S 
 
 m 
 
 -» — if 
 
 It 
 
 zr 
 
 IS 
 
 ^ 
 
 §s 
 
 Once I lov'd a maiden fair, But she did de - ceive me; She with Ve-nus 
 
 a 
 
 i 
 
 ^ 
 
 * * 
 
 I 
 
 ^ 
 
 5 
 
 ^ 
 
 f 
 
 5 3^* 
 
 might compare In my mind, be - lieve me. She was young, And among Creatures of temp 
 
 T 
 
 m m. 
 
 4- 
 
 ^^^ 
 
 * * 
 
 li=^=i^ 
 
 f£=t 
 
 T 
 
 ^m 
 
 3 
 
 ^ 
 
 m 
 
 t= 
 
 ta - tion, Who will say But maid-ens may Kiss for re - ere a - tion. 
 
 i 
 
 ^ 
 
 Three times I did make it known 
 
 To the congregation, 
 That the church should make us one. 
 
 As priest had made relation. 
 Married we straight must he. 
 
 Although we go a begging ; 
 Now, alas ! 'tis like to prove 
 
 A very hopeless wedding. 
 
 Happy he who never knew 
 
 What to love belonged ; 
 Maidens wavering and untrue 
 
 Many a man have wronged. 
 Fare thee well ! faithless girl, 
 
 I'll not sorrow for thee; 
 Once I held thee dear as pearl, 
 
 Now I do abhor th«e. 
 
258 
 
 ENGLISH SONG AND BALLAD MUSIC. 
 
 GATHERING PEASCODS. 
 This beautiful air is contained in all editions of The Dancing Master, from 
 1650 to 1690. The two first bars are the same as " All in a garden green" (see 
 , p. Ill) ; but the resemblance continues no further, and that air is in phrases of 
 eight, and this of six bars. 
 
 Not having been able to discover the original words,, the following lines were 
 written to it by the late Mr. J. A. Wade ; retaining the pastoral character, which 
 is indicated by its name. 
 
 Moderate time, and sustained 
 
 
 J J J 
 
 . ' . . ' 'K>'tD 
 
 is it in the bios - som of the year, "" To 
 
 ^ 
 
 / 
 
 How plea-sant is it in the bios - som of the year, 
 
 ^ 
 
 ^^ 
 
 ^ 
 
 W 
 
 a tempo. 
 
 ^■.^ \ i^ii \ ^ ^ H 
 
 1 I 'i r f 
 
 '=*=^ 
 
 / 
 
 stray and find a nook, Where nought doth fill the hoi -low of the list'ning 
 
 i 
 
 s>- 
 
 , rail. 
 
 a tempo. 
 
 ^^ 
 
 * I d 
 
 w * -^- 
 
 "27 
 
 "sr 
 
 mf 
 
 T 
 
 ear, Ex - cept the mur-m'ring brook ; Or bird in neighb'ring grove, That in 
 
 isi 
 
 i 
 
 =F^ 
 
 ^ 
 
 rail. 
 
 a tempo. 
 
 P^^ 
 
 ^ 
 
 -"a"" 
 
 P 
 
 so - li-tude doth love To breathe his lone - ly hymn! 
 
 Lost in the 
 
 ^ 
 
 a^ 
 
 Sf 
 
 =s=« 
 
 n 
 
 ^ J J I j J 
 
 rail. 
 
 "=T 
 
 i 
 
 -^=1 — w 
 
 m^ ^^ ' g i i 
 
 min - gled song, I care-less roam a - long. From morn to twi -light dim 
 
 ^ 
 
 rssi 
 
 i^ 
 
REIGNS OF JAMES I. AND CHARLES I. 259 
 
 And as I wander in the blossom of the year, To shed their balms around ! — 
 
 By crystal waters' flow, Thus from the busy throng, 
 
 riow'rs sweet to gaze on, as the songs of birds I careless roam along, 
 
 Spring up where e'er I go ! [to hear, 'Mid perfume and sweet sound. 
 
 The violet agrees. 
 
 With the honey-suckle trees, 
 
 LULL ME BEYOND THEE. 
 
 This tune is in The Dancing Master, from 1650 to 1690. 
 In the Pepys Collection, i. 372, there is a black-letter ballad entitled " The 
 Northern Turtle, wailing his unhappy fate in being deprived of his sweet mate : 
 to a new Northern tune, or A health to Betty." This is not the air of A health of 
 Betty, and therefore I suppose it to be the " new Northern tune." The first 
 stanza is here arranged to the music. The same ballad is the Roxburghe Collec- 
 tion, i. 319, as the second part to one entitled " The paire of Northerne Turtles : 
 Whose love was firm till cruel death 
 Depriv'd them both of life and breath." 
 That is also to " a new Northern tune," and printed " for F. Coules, dwelling in 
 the Old Baily." Coules printed about 1620 to 1628. 
 The following .ballads are also to the tune : — 
 Pepys, i. 390 — " A constant wife, a kind wife, 
 
 Which gives content unto a man's life. 
 To the tune of Lie lulling beyond thee." Printed for F. C[oules]. It begins — 
 " Young men and maids, do lend me your aids." 
 Pepys i., and Roxburghe, i. 156 — " The Honest Wooer, 
 His mind expressing, in plain and few terms. 
 By which to his mistris his love he confirms : '' 
 to the tune of Lulling beyond her, begins — 
 
 " Fairest mistris, cease your moane, 
 Spoil not your eyes with weeping. 
 For certainly if one be gone. 
 
 You may have another sweeting. 
 I wiU not compliment with oaths. 
 
 Nor speak you fair to prove you ; 
 But save your eyes, and mend your clothes. 
 For it is I that love you." 
 Roxburghe, i. 416 — " The two fervent Lovers," &c., " to the tune of The two 
 loving Sisters, or Lulling beyond thee." Signed L.P. 
 
 Pepys, i. 427 — " A pleasant new ballad to sing both even and morn. 
 Of the bloody murther of Sir John Barley-Come. 
 To the tune of Shall I lie beyond thee." Printed at London for H[enry] G[osson]. 
 It commences thus : — "As I went through the North country, 
 I heard a merry greeting," &c. 
 This excellent ballad has been reprinted by Evans (Old Ballads, iv. 214, 
 ed. 1810), from a copy in the Roxburghe Collection, " printed for John "Wright." 
 
260 ENGLISH SONG AND BALLAD MUSIC. 
 
 Smoothly and rather slow. 
 
 i 
 
 fi: 
 
 fm 
 
 T 
 
 ^ 
 
 ^E^= 
 
 As I was walking all alone, I heard a youth la ment - ing, 
 
 ;TFfi= 
 
 lU ' LLJ'F 
 
 gz^ 
 
 Under a hoi - low bush he lay, But sore he did re - pent him. A 
 
 ^ 
 
 
 _ — \— 
 
 -las! quoth he, my love is gone, Which caus - eth me to wan - der. 
 
 ^g 
 
 '/ 
 
 =P=?E 
 
 ^P 
 
 3t 
 
 n 
 
 pp. 
 
 Yet merry will I ne - ver be. Till I lie luU-ing be-yond her. 
 
 COME, SHEPHERDS, DECK YOUR HEADS. 
 
 This is also one of the songs mentioned by old Isaak Walton. 
 
 Milkwoman. " What song was it, I pray ? was it ' Come, shepherds, deck your 
 heads;' or, 'As, at noon, Dulcina rested;' or, 'Philida flouts me;' or, Chevy 
 Chace ;' or, ' Johnny Armstrong ; ' or, ' Troy Town ? '" » 
 
 Izaak Walton was bom in 1593, and married first Rachel Cranmer, niece of 
 that distinguished prelate, Thomas Cranmer, Archbishop of Canterbury, in 1624. 
 
 The air is found, under its English name, in BeUerophon, of Lust tot Wyshed, 
 Amsterdam, 1622 ; and in Gesangh der Zeeden, Amsterdam, 1662.'' 
 
 The words (which Ritson said " are not known ") will be found in the Pepys 
 Collection, i. 366, entitled "The Shepherd's Lamentation: to the tune of 
 
 * All will be found in this collection except " Johnny 
 Armstrong" of which (although an English song, and of 
 a Westmoreland man ) I have n6t yet found the tune. The 
 words are in Wit restored, 1658, and in Wit and Drollery, 
 Jovial Poenu, 1682, called "A Northern Ballet, " begin- 
 ning — "There dwelt a man in fair Westmorland, 
 Johnny Armstrong men did him call; 
 Hehad neither lands nor rents coming in, 
 Yet he kept eight score men in his hall." 
 
 There is also a Scotch ballad about the same hero. 
 
 ^ There is another English tune under the same name, 
 to be found in two other collections, Nederlandtsehe Ge- 
 denck-Clanck,1G26,axid Frieache Lust-JIof, 1634. 1 printed 
 itin^a/zonaZ English Airs, 1839, but think this rather 
 more like a ballad-tune, and it is of somewhat earlier 
 authority. 
 
REIGNS OF JAMES I. AND CHARLES I. 
 
 261 
 
 The plaine-dealing Woman." On the other half of the sheet is " The second part 
 of The plaine-dealing Woman" beginning — 
 
 " Ye Sylvan Nymphs, come skip it,'' &c. 
 Imprinted at London for J. W. Sir Harris Nicolas prints the song, Oome, 
 shepherds, in his edition of "Walton's Angler, from a MS. formerly in the posses- 
 sion of Mr. Heber. A third copy will be found in MSS. Ashmole, No. 38, 
 art. 164. 
 
 • I Moderate time. 
 
 i 
 
 ^EE^ 
 
 ^^Pl 
 
 & 
 
 § 
 
 'f I r • p r r 
 
 Come, Shep 
 
 i-herds. 
 
 deck your heads 
 
 No more with bays but 
 
 ^'^Trr- 
 
 ^ 
 
 Ei 
 
 i3Ei 
 
 j IJ j j J 
 
 :#: 
 
 :* 
 
 mr 
 
 =^ 
 
 "5 
 
 wil - lows ; For - sake your down - y beds, 
 
 And make the downs your 
 
 3. 
 
 ^ 
 
 i 
 
 m 
 
 i^ 
 
 .U: 
 
 1 Q. 
 
 'V\\\\^\^ 
 
 :si 
 
 ¥ 
 
 T=^ 
 
 :q= 
 
 pil-lows: And mourn with me, since cross'd As ne - ver yet was no man. For 
 
 ^ 
 
 ■^ 
 
 U*- 
 
 ^fe± 
 
 ^ 
 
 fl? 
 
 deal - ina 
 
 rrr 
 
 shep - herd ne - ver lost 
 
 1^ 
 So 
 
 "^1 
 plam a 
 
 ^ 
 
 1M 
 
 All ye forsaken wooers, 
 
 That ever care oppressed, 
 And all you lusty dooers, 
 
 That ever love distressed. 
 That losses can condole, 
 
 And altogether summon ; 
 Oh ! mourn for the poor soul 
 
 Of my plain-dealing woman. 
 
 Fair Venus made her chaste. 
 And Ceres beauty gave her ; 
 
 Pan wept when she was lost, 
 The Satyrs strove to have her ; 
 
 Yet seem'd she to their view 
 So coy, so nice, that no man 
 
 Could judge, but he that knew 
 My own plain-dealing woman. 
 
 At all her pretty parts 
 
 I ne'er enough can wonder ; 
 She overcame all hearts. 
 
 Yet she all hearts came under ; 
 Her inward mind was sweet, 
 
 Good tempers ever common ; 
 Shepherd shall never meet 
 
 So plain a dealing woman. 
 
262 
 
 ENGLISH SONG AND BALLAD MUSIC. 
 
 THERE WAS AN OLD FELLOW AT WALTHAM CROSS. 
 
 This is quoted as an old song in Brome's play, The Jovial Orew, -ffhicli was 
 acted at the Cock-pit in Drury Lane, in 1641 — " T'other old song for that." 
 It is also in the Antidote to Melancholy, 1661. 
 
 The Jovial Crew was turned into a baUad-opera in 1731, and this song 
 retained. The tune was then printed under the name of Taunton Bean; 
 perhaps from a song commencing, " In Taunton Dean I was bom and bred." 
 
 The four last bars of the air are the prototype of Lilliburlero, and still often 
 sung to the chorus, — "A very good song, and very well sung ; 
 Jolly companions every one." 
 
 The first part resembles Bargason (see p. 65), and an air of later date, called 
 Country Courtship (see Index). 
 
 Boldly and moderate time. 
 
 ^n I i j.TtTTJ ij J j j I f§ 
 
 There was an old fel-low at Waltham Cross, Who mer-ri-ly sung when he 
 
 ^w^ 
 
 ^ 
 
 ^j ^i^ msX^-: : \ ^ I^^ ^f^ 
 
 ? 
 
 IZI 
 
 r 
 
 wzm. 
 
 liv'd by the loss. He never was heard to sigh with hey-ho ! But sent it out with a heigh troUy-lo ! He 
 
 J j" I To i ll 
 
 * 
 
 cheer'd uphisheartwhenhisgoodswenttowraek,Witha hem, boys, hem, And a cup of old sack, 
 
 OLD SIR SIMON THE KING. 
 
 This tune is contained in Playford's MusicMs Recreation on the I/yra Viol, 
 1652 ; in MusicFs Sandmaid for the Virginals, 1678 ; in ApolMs Banquet for 
 the Treble Violin ; in The Bivision Violin, 1685 ; in 180 Loyal Songs, 1684 
 and 1694 ; and in the seventh and all later editions of The Bancing Master. 
 
 It it also in Pills to purge Melancholy ; in the Musical Miscellany, 1721 ; in 
 many baUad-operas, and other works of later date. 
 
REIGNS OP JAMES I. AND CHARLES I. 263 
 
 Some of the ballads written to the tune have the following burden, which 
 appears to be the original : — 
 
 " Says old Simon the king, 
 Says old Simon the king, 
 With his ale-dropt hose, and his malmsey nose, 
 Sing, hey ding, ding a ding, ding." 
 From its last line, Ritson conjectured that the "Hey ding a ding" mentioned 
 in Laneham's Letter from Kenilworth, 1675, as one of the ballads "all ancient," 
 then in the possession of Captain Cox, the Coventry mason, was Old Sir Simon 
 under another name. So far as internal evidence can weigh, the tune may be of 
 even much greater antiquity, but we have no direct proof. 
 
 Mr. Payne Collier is of opinion that the ballad entitled Ragged and torn and' 
 true, was " first published while Elizabeth was still on the throne." (See Collier's 
 Roxhurghe Ballads, p. 26.) As it was sung to the tune of Old Simon the King, 
 the latter necessarily preceded it. This adds to the probability of Ritson's con- 
 jecture. But, although we have ballads printed during the reign of James I., to 
 the tune of Old Simon, I have not succeeded in discovering one of earlier date. 
 
 Sir John Hawkins, in the additional notes to his History of Music, says, " It is 
 conjectured that the subject of the song was Simon Wadloe, who kept the Devil 
 (and St. Dunstan) Tavern, at the time when Ben Jonson's Club, called the 
 Apollo Club,* met there." The conjecture rests upon two lines of the inscription 
 over the door of the Apollo room — 
 
 " Hang up all the poor hop-drinkers, 
 Cries Old Sym, the King of Skinkers." 
 A skinker meaning one who serves drink. Sir John quotes the song in Pills to 
 purge Melancholy, iii. 144. It has but one line of burden, — 
 
 " Says old Simon the King ; " 
 and instead of the Devil tavern, the Crown is the tavern named in it. It appears 
 to be of too late a date for the original song. The Simon "Wadloe " whom Ben 
 Jonson dubbed " King of Skinkers," was buried in March, 1627,"= and more 
 probably owed his title to having the same Christian name as the Simon of the 
 earlier song. 
 
 As there are two tunes, which differ considerably, it seems desirable, in the 
 case of a song once so popular, to print both. The first is from MusicMs 
 Recreation on the Lyra Viol, 1652 ; and the viol was tuned to what was 
 termed the " bagpipe tuning," to play it. To this I have adapted the song quoted 
 by Hawkins, but completing the burden as the music requires. I have no doubt 
 that "Old Simon the King" was changed to " Old ^iV Simon the King," from 
 the want of another syllable to correspond with accent of the tune. 
 
 ' For the excellent rules of this Club, see Note, p. 250. Jacob Henry Bum, 8vo.,1855. From the same book we learn 
 
 ' A Latin " Epitaph upon Simon Wadloe, vintner, that John Wadlow was proprietor of the Devil Tavern at 
 
 dwelling at the Signe of the Devil and St. Dunstan," will the Restoration. He is mentioned twice in Pepys' Diary 
 
 be found in MS. Ashmole, No. 38 fol., art. 328; and in (22nd April, 1661, and 25th Feb., 1664-5). The second 
 
 Camden's Jlemaim. It commences thus :— time as having made a fortune— gone to live lite a prince 
 
 " Apollo et cohors Musarum in the country,— there spent almost all he had got, and 
 
 Bacchus vini et uvarum," &c. finally returned to his old trade again. 
 
 • See Descriptive Catalogue of the Beaufoy Tokens, by 
 
264 
 
 ENGLISH SONG- AND BALLAD MUSIC. 
 
 i 
 
 Cheerfully, 
 
 First Tune. 
 
 iS: 
 
 ^ 
 
 V> 8 ^ 
 
 S 
 
 -r - - -»- 8*^ 
 
 In a humour I was of late, As many good fellows may be, To 
 That best might suit my mind. So I tra - vell'd up and down, No 
 
 tM=^ 
 
 r^rjT^ 
 
 m^ 
 
 .,., „ no matters of state, But to seek for good com - pa - ny, 
 
 compa - 
 
 ny I could find. Till I came to the sight of the Crown. 
 
 • My 
 Says 
 
 i 
 
 ^ 
 
 t^z 
 
 =^ 
 
 r^=^ 
 
 ^ ^ 
 
 hostess was sick of the mumps. The maid was ill at her ease, The 
 old [Sir] Si - mon the king, [Says old Sir Si - mon the king. With his 
 
 ^ 
 
 "t 
 
 ^^ 
 
 1 n J ; 
 
 was drunk in his dumps. They were all of one dis - ease. 
 
 Pfdropt hose, and his Malm-sey nose. Sing hey ding ding a ding, ding.] 
 
 g 
 
 =^ 
 
 Considering in my mind, 
 
 I thus began to think : 
 If a man be full to the throat. 
 
 And cannot take ofThis drink. 
 If his drink will not go down. 
 
 He may hang up himself for shame. 
 So the tapster at the Crown ; 
 
 Whereupon this reason I frame : 
 Drink will make a man drunk, 
 
 Drunk will make a man dry. 
 Dry will make a man sick. 
 
 And sick will make a man die. 
 Says Old Simon the King. 
 
 If a man should be drunk to-night. 
 And laid in his grave to-morrow, 
 
 Will you or any man say 
 
 That he died of care or sorrow ? 
 
 Then hang up all sorrow and care, 
 'Tis able to kill a cat. 
 
 And he that will drink all right, 
 
 Is never afraid of that; 
 For drinking will make a man quafi^ 
 
 And quafiing will make a man sing, 
 And singing will make a man laugh. 
 
 And laughing long life doth bring. 
 Says Old Simon the King. 
 
 If a Puritan skinker do cry. 
 
 Dear brother, it is a sin 
 To drink unless you be dry. 
 
 Then straight this tale I begin : 
 A Puritan left his can. 
 
 And took him to his jug. 
 And there he played the man 
 
 As long as he could tug ; 
 And when that he was spied. 
 
 Did ever he swear or rail ? 
 No, truly, dear brother, he cried. 
 
 Indeed all flesh is frail. 
 
 Says Old Simon the King. 
 
REIGNS OF JAMES I. AND CHARLES I. 265 
 
 The above song dates before the Restoration, because there is a political parody 
 upon it among the King's Pamphlets, Brit. Mus., dated January 19th, 1659, 
 commencing thus : — " In a humour of late I was 
 
 Ycleped a doleful dump ; 
 Thought I, we're at a fine pass, 
 
 Not a man stands up for the Rump," &c. 
 I suppose it to have been written only a short time before the return of Charles, 
 and that this Old Simon the King is the same person alluded to in one of the 
 Catches in the Antidote to Melancholy, 4to, 1661, beginning — 
 " Good Symon, how comes it your nose is so red, 
 And your cheeks and your lips look so pale ? 
 Sure the heat of the toast your nose did so roast 
 When they were both soused in ale," &c. 
 And perhaps also in " An Epitaph on an honest citizen and true friend to all 
 claret drinkers," contained in part ii. of Playford's Pleasant Musical Companion, 
 4to, 1687 — " " Here lyeth Simon, cold as clay, 
 
 Who whilst he liv'd cried Tip away," &o. 
 At the end of this epitaph it is said — 
 
 " Now although this same epitaph was long since given. 
 Yet Simon's not dead more than any man living." 
 He was, perhaps, an old man whose death had been long expected. 
 
 The tune was in great favour at, and after, the Restoration. Many of the 
 songs of the Cavaliers were sung to it; many by Martin Parker, and other 
 ballad-writers of the reigns of James and Charles ; several by Wilmott, Earl of 
 Rochester ; and others of stUl later date. 
 
 Penkethman, the actor, wrote a comedy called Love without Interest, or 
 The Man too hard for the Master (1699), in which one of the characters says 
 satirically, " Who? he! why the newest song he has is The Children in the Wood, 
 or The London Prentice, or some such like ditty, set to the new modish tune of 
 Old Sir Simon the King." 
 
 The name of the tune, Old Simon the King, is printed in much larger letters 
 than any other of the collection, on the title-page of "A Choice Collection of 
 Lessons, being excellently sett to the Harpsichord, by the two great masters, 
 Dr. John Blow, and the late Mr. Henry Purcell," printed by Henry Playford in- 
 1705 : it was evidently thought to be the great attraction to purchasers. 
 
 Fielding, in his novel of Tom Jones, makes it Squire Western's favorite tune. 
 He tells us, " It was Mr. Western's custom every afternoon, as soon as he was 
 drunk, to hear his daughter play upon the harpsichord. ... He never relished 
 any music but what was light and airy ; and, indeed, his most favorite tunes were 
 Old Sir Simon the King, St. George he was for England, and some others. . . . The 
 Squire declared, if she would give him t'other bout of Old Sir Simon, he would 
 give the gamekeeper his deputation the next morning. Sir Simon was played 
 again and again, till the charms of music soothed Mr. Western to sleep." — i. 169. 
 It was the tune rather than the words, that gave it so lengthened a popularity. 
 I have found the air commonly quoted under five other names ; viz., as Ragged 
 
266 ENGLISH SONG AND BALLAD MUSIC. 
 
 and torn, and true ; as The Golden Age ; as Fll ne'er he drwnh again ; as When 
 this old cap was new ; and as Sound ahout our coal-fire. The first is from the 
 ballad called " Ragged and torn, and true ; or The Poor Man's Resolution : to 
 the tune of Old Simon the King." See Roxburghe Collection, i. 352 ; or Payne 
 Collier's Roxburghe Ballads, p. 26. 
 
 The second from " The Newmarket Song, to the tune of Old Simon the King ; " 
 and beginning with the line, " The Golden Age is come." See 180 Loyal Songs, 
 4th edition, 1694, p. 152, 
 
 The third from a song called " The Reformed Drinker ; " the burden of which 
 is, "And ne'er be drunk again." See Pills to purge Melancholy, ii. 47, 1707, or 
 iv. 47, 1719 ; also Ritson's Unglish Songs, ii. 59, 1813. 
 The fourth from one entitled " Time's Alteration : 
 
 " The old man's reheareal what brave things he knew, 
 A great while agone, when this old cap was new ; 
 to the tune of He nere be drunke againeP Pepy's Collection, i. 160 ; or Evans' 
 Old Ballads, iii. 262. (The name of the tune omitted, as usual, by Evans.) 
 
 The fifth is the name commonly given to it in collections of country dances, 
 printed during the last century. 
 
 One of the best political songs to the tune is " The Sale of Rebellion's 
 Household Stuff;" a triumph over the downfall of the Rump Parliament, 
 beginning— " Rebellion hath broken up house, 
 
 And hath left me old lumber to sell ; 
 Come hither and take your choice, 
 
 I'll promise to use you well. 
 Will you buy the old Speaker's chair. 
 
 Which was warm and pleasant to sit in ? " &c. 
 
 This song has the old burden at full length. The auctioneer, finding no pur- 
 chasers, offers, at the end, to sell the whole " for an old song." It has been re- 
 printed in Percy's Reliques of Ancient Poetry. 
 
 I have seen a song beginning — 
 
 " To old Sir Simon the King, 
 And young Sir Simon the Squire," 
 but have mislaid the reference. The tune is called " To old Sir Simon the King," 
 in the first edition of the Beggars' Opera, 1728. 
 
 In the Roxburghe Collection, i. 468, one of the ballads by Martin Parker, to 
 the tune of Bagged and torn, and true, is entitled "Well met, Neighbour, or — 
 " A dainty discourse, between Nell and Sis, 
 Of men that do use their wives amiss." 
 This might be revived with some benefit to the lower classes at the present day, 
 especially if the last line of the burden could be impressed upon them — 
 " Heard you not lately of Hugh, 
 How soundly his wife he bang'd? 
 He beat her all black and blue : 
 
 Oh ! such a rogue should he hang'd." 
 
EEIGNS OF JAMES I. AND CHARLES I. 
 
 267 
 
 Farquhax's song in the Beaux^s Stratagem, beginning — 
 
 " A trifling song you shall hear, 
 
 Begun with a trifle and ended ; 
 
 All trifling people draw near, 
 
 And I shall be nobly attended," 
 
 was ■vrritten to this tune, and is printed to it in The Musical Companion, or Lady's 
 
 Magazine, 8vo., 1741. ' 
 
 " The praise of St. David's day : shewing the reason why the Welshmen honour 
 
 the leek on that day." Beginning — 
 
 " Who list to read the deeds 
 
 By valiant Welshmen done," &c., 
 
 is also to the tune, under the name of When this old cap was new. 
 
 The following is the ballad of "Bagged and torn, and true; or The Poor Man's 
 
 Besolution," set to the tune as it is found in The Dancing Master, and other 
 
 violin copies, but omitting the variations. 
 
 y m. -en Second Tune. 
 
 VneerjaUy. ^ -m , 
 
 i 
 
 i^: 
 
 ^ 
 
 ^ 
 
 W^ 
 
 ^m 
 
 i^ 
 
 17 
 
 I am a poor man, God knows. And all my neighbours can tell, I 
 
 FR=^ 
 
 ^ 
 
 =^ 
 
 ^ 
 
 ^m 
 
 want both money and clothes. And yet I live wond' rous well : 
 
 ^ 
 
 ^i= 
 
 I have a con - tent - ed mind, And a heart to bear out all. Though 
 Then hang up sor - row and care. It never shall make me rue; What 
 
 ^^ 
 
 q^-rr^ 
 
 i 
 
 for - tune being un kind Hath giv'n me sub - stance small, 
 though my back goes bare, I'm ragged and torn and true. 
 
268 
 
 ENGLISH SONG AND BALLAD MUSIC. 
 
 I scorn to live by the shift, 
 
 Or by any sinister dealing ; 
 I'll flatter no man for a gift, 
 
 Nor will I get money by stealing. 
 I'll be no knight of the post. 
 
 To sell my soul for a bribe ; 
 Though all my fortunes be cross'd, 
 
 Yet I scorn the cheater's tribe. 
 Then hang up sorrow and care, 
 
 It never shall make me rue ; 
 What though my cloak be threadbare, 
 
 I'm ragged, and torn, and true. 
 
 A boot of Spanish leather 
 
 I've seen set fast in the stocks, 
 Exposed to wind and weather. 
 
 And foul reproach and mocks ; 
 While I, in my poor rags. 
 
 Can pass at liberty still — 
 O, fie on these brawling brags, 
 
 When money is gotten so ill ! 
 O, fie on these pilfering knaves ! 
 
 I scorn to be of that crew; 
 They steal to make themselves brave — 
 
 I'm ragged, and torn, and true. 
 
 I've seen a gallant go by 
 
 With all his wealth on his back ; 
 He looked as loftily 
 
 As one that did nothing lack. 
 And yet he hath no means 
 
 But what he gets by the sword, 
 Which he consumes on queans. 
 
 For it thrives mot, take my word. 
 0, fie on these highway thieves ! 
 
 The gallows will be their due — 
 Though my doublet be rent i' th' sleeves, 
 
 Fm ragged, and torn, and true. 
 
 Some do themselves maintain 
 
 With playing at cards and dice ; 
 O, fie on that lawless gain, 
 
 Got by such wicked vice ! 
 They cozen poor country-men 
 
 With their delusions vilde ; [vile] 
 Yet it happens now and then 
 
 That they are thfemselves beguil'd; 
 For, if they be caught in a snare, 
 
 The pillory claims its due ; — 
 Though my jerkin be worn and bare, 
 
 I'm ragged, and torn, and true. 
 
 I have seen some gallants brave 
 
 Up Holborn ride in a cart, 
 Which sight much sorrow gave 
 
 To every tender heart ; 
 Then have I said to myself 
 
 What pity is it, for this. 
 That any man for pelf 
 
 Should do such a foul amiss. 
 O, fie on deceit and theft ! 
 
 It makes men at the last rue ; 
 Though I have but little left, 
 
 Fm ragged, and torn, and true. 
 
 The pick-pockets in a throng. 
 
 Either at market or fair. 
 Will try whose purse is strong. 
 
 That they may the money share ; 
 But if they are caught i' th' action. 
 
 They're earned away in disgrace. 
 Either to the House of Correction, 
 
 Or else to a worser place. 
 O, fie on these pilfering thieves ? 
 
 The gallows will be their due ; 
 What need I sue for reprieves ? 
 
 I'm ragged, and torn, and true. 
 
 The ostler to maintain 
 
 Himself with money in's purse, 
 Approves the proverb tioie. 
 
 And says, Grammercy horse ; 
 He robs the travelling beast. 
 
 That cannot divulge his ill, 
 He steal's a whole handful, at least. 
 
 From every half-peck he should fill. 
 O, fie on these cozening scabs. 
 
 That rob the poor jades of their due ! 
 I scorn all thieves and drabs — 
 
 I'm ragged, and torn, and true. 
 
 'Tis good to be honest and just. 
 
 Though a man be never so poor ; 
 False dealers are still in mistrust. 
 
 They're afraid of the ofiicer's door : 
 Their conscience doth them accuse. 
 
 And they quake at the noise of a bush ; 
 While he that doth no man abuse. 
 
 For the law needs not care a rush. 
 Then well fare the, men that can say, 
 
 I pay every man his due ; 
 Although I go poor in array, 
 
 I'm ragged, and torn, and true. 
 
BBIGNS OP JAMBS I. AND CHAKLES I. 269 
 
 The following is the before-mentioned song, " The Reformed Drinker, or I'll 
 ne'er be drunk again," also to the tune of Old Sir Simon the King. 
 
 Come, my hearts of gold, When with good fellows we meet. 
 
 Let us be merry and wise ; A quart among three or four, 
 
 It is a proverb of old, 'Twill make us stand on our feet, 
 
 Suspicion hath double eyes. While others lie drunk on the floor. 
 
 Whatever we say or do, Then, drawer, go fill us a quart, 
 
 Let's not drink to disturb the brain ; And let it be claret in grain ; 
 
 Let's laugh for an hour or two, 'Twill cherish and comfort the heart — 
 
 And ne'er he drunk again. But we'll ne'er be drunk again. 
 
 A cup of old sack is good Here's a health to our noble King, 
 
 To drive the cold winter away ; And to the Queen of his heart ; 
 
 'Twill cherish and comfort the blood Let's laugh and merrily sing. 
 
 Most when a man's spirits decay : And he's a coward that will start. 
 
 But he that drinks too much, Here's a health to our general. 
 
 Of his head he will complain ; And to those that were in Spain ; 
 
 Then let's have a gentle touch. And to our colonel — 
 
 And ne'er be drunk again. And we'll ne'er be drunk again. 
 
 Good claret was made for man, Enough's as good as a feast, 
 
 But man was not made for it ; If a man did but measure know ; 
 
 Let's be merry as we can, A drunkard's worse than a beast. 
 
 So we drink not away our wit ; For he'll drink till he cannot go. 
 
 Good fellowship is abus'd. If a man could time recall, 
 
 And wine will infect the brain : In a tavern that's spent in vain. 
 
 But we'll have it better us'd. We'd learn to be sober all. 
 
 And ne'er be drunk again. And we'd ne'er be drunk again. 
 
 THE BEGGAR BOY. 
 
 This tune is contained in The Dancing Master, from 1650 to 1690. 
 The following ballads were sung to it : — 
 
 Roxburghe Collection, i. 528 — " Trial brings Truth to light ; or — 
 The proof a pudding is all in the eating ; 
 A dainty new ditty of many things treating : 
 to the tune of The Beggar Boy" by Martin Parker ; and beginning — 
 " The world hath allurements and flattering shows, 
 To purchase her lovers' good estimation ; 
 Her tricks and devices he's wise that well knows — 
 
 The learn'd in this science are taught by probation," &c. 
 The burden is, " The proof of the pudding is all in the eating." 
 
 In the Roxburghe Collection, i. 542 — " The Beggar Boy of the North — 
 Whose lineage and calling to the world is proclaim' d. 
 Which is to be sung to the tune so nam'd ; " 
 beginning — " From ancient pedigree, by due descent, 
 
 I well can derive my generation," &c. ; 
 and the burden, " And cry. Good, your worship, bestow one token." 
 
 In the Roxburghe, i. 450, and Pepys, i. 306 — " The witty Western Lasse," &c., 
 " to a new tune called The Beggar Boy:" subscribed Robert Guy. This begins, 
 " Sweet Lucina, lend me thy ayde ; " and in the Pepys Collection, i. 310, there is 
 
270 
 
 ENGLISH SONG AND BALLAD MUSIC. 
 
 a ballad to the tune of Lucina, entitled " A most pleasant Dialogue, or a merry 
 greeting between two Lovers," &c. ; beginning, " Good morrow, fair Nancie, 
 whither so fast ; " which I suppose to be also to the tune. It is subscribed C.R. 
 Printed at London for H[enry G[osson.] 
 
 The following is also from the Roxburghe Collection (i. 462), and is reprinted 
 in Collier's Roxburghe Ballads, p. 7. 
 Slow ^. very smoothly. 
 
 i 
 
 a^s^ 
 
 W 
 
 S^^ 
 
 i^s. 
 
 ^ 
 
 * * 
 
 Sweet mis-tress Money, I here will declare Thy beauty which ev'ry one adoreth.The 
 
 vm=R 
 
 5 
 
 ^ 
 
 ^ 
 
 ih-JH*- 
 
 P~^. r ' r 
 
 w 
 
 ^ 
 
 t=t 
 
 lof- ty gal-lant and heg-gar so bare, Some help and comfort from thee im-plor-eth, For 
 
 3t« 
 
 ^ 
 
 f r : f * , r :.. ., r 
 
 ^ 
 
 ttou art becomethe world's sweet-heart, "While ev'ry one dothmake thee their honey. And 
 
 i 
 
 J=i=^ 
 
 ^ 
 
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 lot: 
 
 ^ 
 
 m^ 
 
 ^ 
 
 f= 
 
 j J' « j 
 
 oth they are from thee to de-part. So well they do love sweet Mis - tress Mo-ney. 
 
 j-rtT'tLfi-rr^ 
 
 ^ 
 
 s 
 
 f=T 
 
 •CT- 
 
 THE BOATMAN. 
 
 This is a bagpipe tune, and might be harmonized with a drone base. In 
 MusicMs Recreation on the Viol, Lyra-way, 1661, the viol is strung to the " bag- 
 pipe tuning," to play it. It is to be found in every edition of The Dancing Master, 
 from the first to that of 1698. I have not discovered the song of The Boatman, 
 but have adapted a stanza from Coryat's Oramhe, 1611, to the air. It resembles 
 Trip and go (see p. 131), and the same words might be sung to it. The accent 
 of the tune seems intended to imitate the turning of the scull in boating. 
 
 In the Roxburghe Collection, ii. 496, is a ballad entitled " The wanton wife of 
 
RBIQNS OF JAMES I. AND CHARLES I. 
 
 271 
 
 Castle-gate, or The Boatman's Delight : to its own proper new tune ; " but it 
 appears, from the following, which is the first stanza, that this air cannot have 
 been intended. 
 
 " Farewell both hawk and hind, Farewell, my best beloved. 
 
 Farewell both shaft and bow, In whom I put my trust ; 
 
 Farewell all merry pastimes. For its neither grief nor sorrow 
 
 And pleasures in a row : Shall harbour in my breast." 
 
 There is an air in Thomson's Orpheus Caledonius called The Boatman, but wholly 
 different from this. 
 In rowing time. 
 
 i 
 
 ^^m 
 
 :£- 
 
 W=PP 
 
 ^ 
 
 Ye Church-ales and ye Mor - ris - es, With hob - by-horse ad - van - cing, Ye 
 
 ^ 
 
 ^ 
 
 i 
 
 FF=fr 
 
 } J- ^ J'-U 
 
 T 
 
 • •■ 
 
 f=^ 
 
 -f-r 
 
 round games with fine Sim and Sis A bout the May -pole dan cing. 
 
 i 
 
 b^ 
 
 ^m 
 
 -^HF- 
 
 j= ^ ^ | J ; 
 
 i^^s^ 
 
 Ye nim-ble joints, that with red points and rib - bons deck the bri dal, Lock 
 
 -:l^-4 
 
 J- ^J ^ l i 
 
 * * M l j> ■ =i;^ 
 
 -r 
 
 up your pumps, and rest your stumps, For you are now down - cried 
 
 all. 
 
 i 
 
 i 
 
 ^^=w^ 
 
 SIR LAUNCELOT DU LAKE. 
 This second tune to the ballad, " When Arthur first in court began " (which 
 the black-letter copies. The Q-arland of Q-ood-will, &c., direct to be sung to the 
 tune of Flying Fame — see p. 199), was transcribed by Dr. Rimbault, from the fly- 
 leaf of a rare book of Lessons for the Virginals, entitled Parthenia Inviolata. 
 
 The ballad is quoted by Shakespeare, by Beaumout and Fletcher, by Marston, 
 &c. It is founded on the romance of Sir Launcelot du Lake, than which none 
 was more popular. Chaucer, in " The Nonne Prest his tale," says — 
 ' This story is al so trewe, I undertake, 
 As the book is of Launcelot the Lake ; " 
 
272 
 
 ENGLISH SONGf AND BALLAD MUSIC. 
 
 and Churchard, in Ms " Replication to Camel's objection," says to him — 
 " The most of your study hath been of Eobyn Hood : 
 And Bevis of Hampton and Syr Launcelet de Lake 
 " Hath taught you, full oft, your verses to make.'' 
 The ballad, entitled " The noble acts of Arthur of the Round Table, and of Sir 
 Launcelot du Lake," is printed in Percy's Beliques of Ancient Poetry. 
 Boldly and slow. 
 
 
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 m 
 
 i^^ 
 
 ^; I— — 1 
 
 t) tF ^ if f^ ' ■ " W- - -* 
 
 When Ar - thur first in court be-gan, And was ap-prov-ed King, By 
 
 force of arms, great vie - fries won. And con - quest home did bring. 
 
 F = ^g 
 
 THE SPANISH GIPSY. 
 
 This is in every edition of 2%e Dancing Master, and in MusicMs Delight on 
 the Githren, 1666. 
 
 It is found in the ballad-operas, such as The Bays' Vpera, 1730, and The 
 Fashionable Lady, 1730, under the name of Come, f allow, foUowme. 
 
 The name of The Spanish Gipsy is probably derived from a gipsies' song in 
 Rowley and Middleton's play of that name. It begins, " Come, follow your 
 leader, follow," and the metre is suitable to the air. 
 
 In the Roxburghe Collection, i. 544, is a black-letter ballad, entitled " The 
 brave English Jipsie: to the tune of The Spanish Jipsie. Printed for John 
 Trundle," &c. It consists of eighteen stanzas, and commencing — 
 " Come, follow, follow all, 
 'Tis English Jipsies' call." 
 And in the same volume, p. 408, one by M[artin] P[arker], called " The three 
 merry Cobblers," of which the following are the first, eighth, fourteenth, and last 
 stanzas. (Printed at London for F. Grove.) 
 
 Come, follow, follow me. 
 
 To the alehouse we'll march all three. 
 
 Leave awl, last, thread, and leather. 
 
 And let's go all together. 
 Our trade excels most trades i'the land. 
 Tor we are still on the mending hand. 
 
 Whatever we do intend. 
 
 We bring to a perfect end; 
 
 If any offence be past, 
 
 We make all well at last. 
 We sit at work when others stand, 
 And still we are on the mending hand. 
 
 All day we merrily sing. 
 
 And customers to us do bring 
 
 Or unto us do send 
 
 Their boots and shoes to mend. 
 M'^e have our money at first demand ; 
 Thus still we are on the mending hand. 
 
 We pray for dirty weather. 
 And money to pay for leather. 
 Which if we have, and health, 
 A fig for worldly wealth. 
 Till men upon their heads do stand, 
 We still shall be on the mending hand. 
 
BBIGNS OF JAMES I. AND CHARLES I. 
 
 273 
 
 The most popular Song to this tune was — 
 
 " Come, follow, follow me, 
 Ye fairy elves that be," &c. 
 It is the first in a tract entitled " A Description of the King and Queene of 
 Fayries, their habit, fare, abode, pompe, and state : being very delightful to the 
 sense, and full of mirth. London : printed for Richard Harper, and are to be 
 sold at his shop at the Hospitall Gate, 1635 ; " and the song was to be " sung 
 like to the Spanish Gripsie." 
 
 The first stanza is here printed to the tune. The song will be found entire in 
 Percy's Meliques of Ancient Poetry, or Ritson's English Songs. 
 Lightly, and in moderate time. 
 
 „ j- | jrnrr^ | j"j h i rr J.r-fJ | i7j.r 
 
 i 
 
 l^ 
 
 5 
 
 T 
 
 Come fol - low, fol - low me. Ye fai - ry elves that be. Which 
 
 ?>Ffr 
 
 T~r 
 
 ES 
 
 LT J i—t 
 
 ^ 
 
 ^ 
 
 ^ 
 
 ^ 
 
 cir - cle on the green, Come fol - low Mab, your queen. 
 
 :^ 
 
 ^ 
 
 ,r 
 
 Hand in hand let's dance 
 
 ' r -^ T- 
 
 a-round. For 
 
 THE FEIAE IN THE WELL. 
 
 In Anthony Munday's Downfall of Robert, Earl of Huntington (written in 
 1597), where Little John expresses his doubts of the success of the play; 
 saying — " Methinks I see no jests of Eobin Hood ; 
 
 No merry Morrices of Friar Tuck ; 
 No pleasant skippings up and down the wood ; 
 No hunting songs," &c. 
 The Friar answers, that " merry jests " have been shewn before, such as — 
 " How the Friar fell into the well. 
 For love of Jenny, that fair, bonny belle," &c. 
 The title of this ballad is " The Fryer well fitted ; or — 
 A pretty jest that once befell; 
 How a maid put a Fryer to cool in a well : 
 to a merry tune." 
 
274 
 
 ENGLISH SONG AND BALLAD MUSIC. 
 
 The tune is in The Dancing Master, from 1650 to 1686, entitled The Maid 
 peept out at the window, or The Frier in the Well. 
 
 The ballad is in the Bagford Collection ; in the Roxburghe (ii. 172) ; the 
 Pepys (iii. 145) ; the Douce (p. 85) ; and in Wit and Mirth, an Antidote to 
 Melancholy, 8vo., 1682. Also, in an altered form, in Pills to purge Melancholy, 
 1707, i. 340 ; or 1719, iii. 325. But not one of these contains the line, " The 
 maid peept out of the window." I suppose, therefore, that the present has been 
 modelled upon some earlier version of the ballad, which I have not seen. The 
 story is a very old one, and one of the many against monks and friars, in which, 
 not only England but all Europe delighted. 
 
 Chorus. 
 
 i 
 
 * 
 
 Gracefu 
 
 m 
 
 Solo. 
 
 ^ 
 
 T=^ 
 
 S^^H 
 
 As 
 
 I lay mus-ing all a - lone, Fa 
 
 la, 
 
 la la la, A 
 
 FRgfr 
 
 ktt 
 
 Chorus. 
 
 pret - ty jest, I thought up - on Fa la, la 
 
 i 
 
 la la. 
 
 ^ 
 
 , Solo. 
 
 J /^^= ^1 j : 
 
 ^P 
 
 Then listen a -while, And I will tell Of a Friar thatlov'd a bonny lass well, 
 
 5f f- -r f , J — .—0 — J 
 
 m 
 
 rTf i ^^i^r 
 
 :^ 
 
 Chorus. 
 
 ^ 
 
 Fa 
 
 la. 
 
 la la la. 
 
 i=^ 
 
 Fa la lang-tredown dilly. 
 
 r-^- ' r ■ r- ^ 
 
 The story of the ballad may be told, with slight abbreviation. Firstly, the 
 Friar makes love to the Maid :— 
 
 " But she denyed his desire. 
 And told him that she fear'd Hell-fire. 
 Tush, quoth the Friar, thou needst not doubt. 
 If thou wert in Hell, I could sing thee out." 
 
EBIGNS OF JAMES I. AND CHARLES I. 
 
 275 
 
 The Maid pretends to be persuaded by his arguments, but stipulates that he shall 
 bring her an angel of money. 
 
 " Tush, quoth the Friar, we shall agree, 
 No money shall part my love and me ; 
 Before that I will see thee lack, 
 I'll pawn my grey gown from my hack. 
 The Maid bethought her of a wile, 
 How she the Friar might beguile ; 
 
 While he was gone (the truth to tell). 
 She hung a cloth before the well. 
 The Friar came, as his covenant was. 
 With money to his bonny lass. [quoth he. 
 Good morrow, fair Maid, good morrow, 
 Here is the money I promised thee." 
 
 The Maid thanks him, and takes the money, but immediately pretends that her 
 father is coming. 
 
 ' Alas ! quoth the Friar, where shall I run, 
 To hide myself till he be gone? 
 Behind the cloth run thou, quoth she, 
 And there my father cannot thee see. 
 Behind the cloth the Friar crept. 
 And into the well on a sudden he leapt. 
 Alas ! quoth he, I am in the well ; 
 No matter, quoth she, if thou wert in Hell ; 
 Thou sayst thou couldst sing me out of Hell, 
 Now, prythee, sing thyself out of the well. 
 The Friar sung on with a pitiful sound, 
 
 help me out! or I shall be drown'd. 
 
 1 trow, quoth she, your courage is cool'd ; 
 Quoth the Friar, I never was so fool'd ; 
 
 I never was served so before. [no more ; 
 Then take heed, quoth she, thou com'st here 
 
 Quoth he, for sweet St. Francis' sake, 
 On his disciple some pity take ; 
 Quoth she, St. Francis never taught 
 His scholars to tempt young maids to naught. 
 The Friar did entreat her still 
 That she would help him out of the well ; 
 She heard him make such piteous moan, 
 She help'd him out, and bid him begone. 
 Quoth he, shall I have my money again, 
 Which from me thou hast before-hand ta'en ? 
 Good sir, quoth she, there's no such matter, 
 I'll make you pay for fouling the water. 
 The Friar went all along the street, 
 Dropping wet, like a new-wash'd sheep; 
 Both old and young commended the Maid 
 That such a witty prank had play'd." 
 
 SIE EGLAMOEE. 
 
 This " merry tune " is another version of The Friar in the Well (see the pre- 
 ceding). The ballad of Sir Eglamore is a satire upon the narratives of deeds 
 of chivalry in old romances. It is contained in The Melancholie Knight, by 
 S[amuel] R[owlands], 1615; in the Antidote to Melancholy, 1661; in Merry 
 Drollery Complete, 1661 ; in Dryden's Miscellany Poems, iv. 104 ; in the Bagford 
 and Roxburghe Collections of Ballads ; in Ritson's Ancient Songs ; Evans' Old 
 Ballads; &c., &c. 
 
 It appears, with music, in part ii. of Playford's Pleasant Musical Companion, 
 1687 ; in Pills to purge Melancholy; in Stafford Smith's Miisica Antiqua; and the 
 tune, with other words, in 180 Loyal Songs, &c. 
 
 The title of the ballad is, " Courage crowned with Conquest ; or A brief rela- 
 tion how that valiant Knight, and heroic Champion, Sir Eglamore, bravely fought 
 with and manfully slew a terrible, huge, great, monstrous Dragon. To a pleasant 
 new tune." There are many variations in the copies from different presses. 
 
 The following songs were sung to Sir Eglamore : — 
 
 " Sir Eglamore and the Dragon, or a relation how General Monk slew a most 
 cruel Dragon, Feb. 11, 1659." See Loyal Songs ivritten against the Hump 
 Parliament. 
 
276 
 
 ENGLISH SONG .AND BALLAD MUSIC. 
 
 '' Ignoramus Justice ; or — 
 
 The English laws turn'd into a gin. 
 To let knaves out and keep honest men in : 
 to the tune of *S^iV Ugledemore." London : printed for Allen Bancks, 1682. 
 "The Jacobite toss'd in a Blanket," &c. (Pepys Coll., ii. 292) ; beginning- 
 " I pray, Mr. Jacobite, tell me why, Fa la, &c., 
 You on our government look awry. Fa la, &c. 
 With paltry hat, and threadbare coat. 
 And jaws as thin as a Harry groat. 
 You've brought yourselves and your cause to nought. 
 Fa-la, fa-la-la-la. Fa-la, lanky down dilly." 
 In Rowland's Mehncholie Knight, the ballad is thus prefaced : — 
 " But that I turn, and overturn again, ' 
 
 Old books, wherein the worm-holes do remain ; 
 Containing acts of ancient knights and squires 
 That fought with dragons, spitting forth wild fires. 
 The history unto you shall appear, 
 Even by myself, verbatim, set down here." 
 Gracefully. Chorus. 
 
 IS 
 
 i 
 
 ^m 
 
 ^ 
 
 s 
 
 ^ 
 
 Sir Eg - la - more, that va-liant kniglit, Ea, ^ la, lanky down dilly. 
 
 ^ mw 
 
 sr 
 
 Solo. 
 
 Chorus 
 
 f 
 
 
 He took his sword, and went to fight, Fa, la, lanky down dilly. 
 
 ,S0L0. 
 
 u i' \ f f J } 
 
 * nji 
 
 And as he rode o'er liill and dale, All arra'd up-on his shirt of mail. 
 
 m 
 
 • — ^ 
 
 -Chorus. 
 
 f 
 
 Fa la 
 
 ^ 
 
 la, fa la la, Fa la, Ian - ky down dilly. 
 
REIGNS OF JAMES I. AND CHAllLES I. 277 
 
 A Dragon came out of his 'den, The Dragon had a plaguey hide, 
 
 Had slain, God knows how many men : And could the sharpest steel abide; 
 
 When he espied Sir Eglamore, No sword would enter him with cuts. 
 
 Oh ! if you had but heard him roar ! Which vext the Knight unto the guts ; 
 
 Then the trees began to shake, But, as in choler he did burn. 
 
 The Knight did tremble, horse did quake ; He watched the Dragon a good turn, 
 
 The birds betake them all to peeping, And as a yawning he did fall. 
 
 It would have made you fall a weeping. He thrust the sword in, hilt and all. 
 
 But now it is vain to fear. Then like a coward he [did] fly 
 
 For it must be fight dog, fight bear ; Unto his den that was hard by, 
 
 To it they go, and fiercely fight And there he lay all night and roar'd : 
 
 A live-long day, from morn till night The Knight was sorry for his sword ; 
 
 But riding thence, said, I forsake it. 
 He that will fetch it, let him take it." 
 
 Instead of the two last lines, in many of the copies, are the three following 
 stanzas : — 
 The sword, that was a right good blade, Fo^ he was so hot with tugging with the 
 
 As ever Turk or Spaniard made. 
 
 Dragon, [flagon. 
 
 T „ 1 J i' 1 -i That nothing would quench him but a whole 
 
 1, tor my part, do lorsake it, ° ^ 
 
 And he that will fetch it, let him take it. Now God preserve our King and Queen, 
 
 And eke in London may be seen 
 
 When all was done, to the alehouse he went, ^s many knights, and as many more. 
 
 And by and by his two-pence he spent ; And all so good as Sir Eglamore. 
 
 THE COBBLEK'S JIGG. 
 
 This tune first appears in The Dancing Master, in the seventh edition, printed 
 in 1686. It is there entitled The- Gobbler's Jigg. More than sixty years before 
 it had been published in Holland, as an English song-tune, in Bellerophon, 1622 ; 
 and in Nederlandtsche Q-edenck-Clanck, 1626. In the index to the latter, among 
 the "Engelsche Stemmen," it is entitled " Cobbeler, of: Het Engelsch Lapper- 
 ken." All the English airs in these Dutch books have Dutch words adapted to 
 them; but as I do not know the English words which belong to this, I have 
 adapted an appropriate song from The Shoemaher' s Holiday, 1600. 
 
 In the Pepys Collection of Ballads, vol. i., No. 227, is one entitled " Round, 
 boyes, indeed ! or The Shoemaker's Holy-day : 
 
 Being a very pleasant new ditty. 
 To fit both country, towne, and cittie, &c. 
 To a pleasant new tune." It is signed L.P. (Laurence Price?), and printed 
 for J. Wright, who printed about 1620. This may prove to be the ballad. 
 I noted that it was in eighteen stanzas, but omitted to copy it. 
 
 Shoemakers called their trade " the gentle craft," from a tradition that King 
 Edward IV., in one of his disguises, once drank with a party of shoemakers, and 
 pledged them. The story is alluded to in the old play, Greorge a Greme, the 
 Pinner of Wakefield (1599), when Jenkin says — 
 
 " Marry, because you have drank with the King, 
 And the King hath so graciously pledg'd yon. 
 You shall no more be called shoemakers ; 
 But you and yours, to the world's end. 
 Shall be called the trade of the gentle graft.'' 
 
 Dodsley's Old Plays, v. iii., p. 45. 
 
278 
 
 ENGLISH SONG AND BALLAD MUSIC. 
 
 " Would I had been created a shoemaker," (says the servant in a play of Dekker's) 
 " for all the gentle craft are gentlemen every Monday by their copy, and scorn 
 then to work one true stitch." — Dodsley's Old Plays, v. iii., p. 282. 
 
 Cobblers, too, were proverbially a merry set. In the opening scene of Ben 
 Jonson's play. The case is altered, Juniper, the cobbler, is discovered sitting at 
 work in his shop, and singing ; and Onion, who is sent for him, has great diffi- 
 culty in stopping his song. When told that he must slip on his coat and go to 
 assist, because they lack waiters, he exclaims, " A pityful hearing ! for now must I, 
 -of a merry cobbler, become a mourning creature." (The family were in mourning). 
 Juniper is also represented as a small poet ; and when, in the third act, Onion 
 goes to him again (the cobbler being in his shop, and siaging, as usual), and 
 explains his distress because Valentine had not written the ditty he ordered of 
 him, Juniper says, "No matter, I'll hammer out a ditty myself." 
 Jovially, and in moderate time. 
 4 ■ ■ ■ ■ 
 
 i 
 
 J J J ^- 
 
 da 
 
 m 
 
 T 
 
 =^ 
 
 T 
 
 Cold's the wind, and wet's the rain, Saint Hugh be our good 
 
 ^^ 
 
 S 
 
 m 
 
 ^^^3= d=^= a J |j n 
 
 B 
 
 ^ - I ^ ^r ^g=c=g=8==g r^ 
 
 is the weather that hringeth no gain. Nor helps good hearts in need. 
 
 speed ; 
 
 111 i; 
 
 i 
 
 s 
 
 ^ 
 
 , Chorus. 
 
 Hey down a down, hey down a down, Hev 
 
 ^ 
 
 mm 
 
 ^i=li=5 
 
 wn, hey 
 
 Hey der-ry- der-ry down a down. 
 
 :¥=« 
 
 ^^ 
 
 ^^ 
 
 f r r ry 
 
 let come, Ring corn-pass, gen - tie 
 
 Ho ! well done. To 
 
 joy. 
 
 W 
 
 =tP 
 
 "sr 
 
 Troll the bowl, the nut-brown bowl, 
 
 And here, kind mate, to thee ! 
 Let's sing a dirge for Saint Hugh's soul. 
 And down it merrily. 
 
 Hey down a down, hey down a down, 
 
 Hey derry, derry, down a down ; 
 Ho ! well done, to me let come. 
 Ring compass, gentle joy. 
 
REIGNS OP JAMES I. AND CHARLES I. 279 
 
 DOWN IN THE NORTH COUNTRY. 
 
 This tune was formerly very popular, and is to be found under a variety of 
 names, and in various shapes. In the second vol. of The Dancing Master it is 
 entitled The Merry Milkmaids. In The Merry Musician, or a Cure for the 
 Spleen, i. 64, it is printed to the ballad, " The Farmer's Daughter of merry 
 Wakefield." That ballad begins with the line, " Down in the North Country ; " 
 and the air is so entitled in the ball9.d-opera, A Cure for a Scold, 1738, In 
 180 Loyal Songs, third and fourth editions, 1684 and 1694, there are two songs, 
 and the tune is named Philander. The first of the songs begins, " Ah, cruel 
 bloody fate," and the second is " to the tune of Ah, cruel lloody fate ; " by which 
 name it is also called in The Gfenteel Companion for the Recorder, 1683, and 
 elsewhere. 
 One of M[artin] P[arker's] ballads is entitled " Take time while 'tis ofier'd; " 
 " For Tom has broke his word with his sweeting, 
 And lost a good wife for an hour's meeting ; 
 Another good fellow has gotten the lass, 
 And Tom may go shake his long ears like an ass." 
 to the tune Within the Worth Country." (Roxburghe, i. 396.) It begins with 
 the line, " When Titan's fiery steeds," and the last stanza is — 
 " Thus Tom hath lost his lass, 
 Because he broke his vow ; 
 And I have raised my fortunes well — 
 The case is alter' d nore.'' 
 There are many ballads to the tune The case is altered, and probably this is 
 intended. 
 
 In the Bagford Collection is " The True Lover's lamentable Overthrow ; or 
 The Damosel's last Farewell," &c. : "to the tune of Cruel bloody fate;" 
 commencing — " You parents all attend 
 
 To what of late befell ; 
 It is to you I send 
 
 These lines, my last farewell." &c. 
 In the Douce Collection, p. 245, " The West Country Lovers — 
 See here the pattern of true love, 
 
 Amongst the country blades, 
 Who never can delighted be. 
 But when amongst the maids : 
 tune o{ Philander." 
 
 The last is in black-letter, printed by J. Bonyers, at the Black Raven in Duck 
 Lane. A former possessor has written " Cruel bloody fate " under " Philander," 
 as beiag the other name of the tune. 
 
 In the Roxburghe Collection, ii. 105,— "The Deceiver Deceived; or The 
 Virgin's Revenge : to the tune of Ah, cruel bloody fate," begins, " Ah, cruel maid, 
 give o'er." 
 
 In A Cabinet of Choice Jewels, 1688 (Wood's Library, Oxford)— a " Carol for 
 Innocents' Day: time oi Bloody fate." 
 
280 
 
 ENGLISH SONG AND BALLAD MTJSIC. 
 
 The song of Philander is in Pills to purge Melancholy, ii. 252 (1707), or 
 iv. 284 (1719) ; in Wit and Drollery, 1682 ; and a black-letter copy in the 
 Douce Collection, p. 74, entitled " The Faithfull Lover's Downfall; or The 
 Death of fair Phillis, who killed herself for the loss of her Philander," &c. : to a 
 pleasant new play-house tune, or cruel bloody fateP (Printed by T. Vere, at 
 the Angel in GUtspur Street.) 
 
 Smoothly, and in moderate time. 
 
 i 
 
 Ht^ 
 
 wm 
 
 i 
 
 ^^t^? - m 
 
 Ah, 
 
 KE 
 
 cru - el bloody 
 
 —£5 
 
 fate, 
 
 What k. canst 
 
 thou 
 
 now 
 
 do 
 
 ^^t- r n 
 
 ^^ 
 
 i 
 
 Ah me, 
 
 ^ 
 
 T 
 
 tore. 
 
 more? 
 _£5 
 
 'tis now too 
 
 late. Phi 
 
 Ian - der to 
 
 i 
 
 5 
 
 ^ 
 
 j i J.:{^-'iJ..r'j ^E fe^ 
 
 r?T 
 
 ■s? ■ 
 
 lieve 
 
 Why should the heavenly pow'rs persuade Poor mor - tals to be 
 
 That they 
 
 =^ 
 
 '1 ^ J J^-UJJ 
 
 •|V'J."'.V^ 
 
 guard us here and re - ward us there, Yet 
 
 ^Erf 
 
 all our joys de - ceive 
 
 •T^T- 
 
 ^^5 
 
 ^ 
 
 "f 
 
 Her poniard then she took, and graspt it in her hand. 
 
 And with a dying look, cried. Thus I fate command : 
 
 Philander, ah, my love ! I come to meet thy shade below ; 
 
 Ah, I come ! she cried, with a wound so wide, to need no second blow. 
 
 In purple waves her blood ran streaming down the floor ; 
 Unmov'd she saw the flood, and hless'd her dying hour : 
 Philander, ah Philander, still the bleeding Phillis cried; 
 She wept awhile, and forc'd a smile, then clos'd her eyes and died. 
 
 The following is the version called " Down in the North Country," of which 
 there are also copies in Halliwell's Collection (Cheetham Library, 1860), and in 
 Dr. Bumey's Collection, Brit. Mus. 
 
REIGNS OB JAMES I. AND CUAKLES I. 
 
 281 
 
 Cheerfully. 
 
 gffi 
 
 35 
 
 ^# 
 
 Down in the North Coun try, As 
 
 an - cient re-ports do 
 
 m-^^ 
 
 ^p^^"^~n 
 
 ^ 
 
 ^ 
 
 J !*■ 
 
 ^ 
 
 iJ- ' ^f 4. r V 
 
 tell, There lies a fa-mous country town. Some call it merry Wakefield, And 
 
 ^bf^^EES^^ 
 
 ~^:t- 
 
 =f: 
 
 ^^-^_4_lJ /IJ^;- ) 
 
 i 
 
 
 in this coun try town, A 
 
 :S= 
 
 far mer there did dwell, Whose 
 
 -R- 
 
 § 
 
 3 
 
 H 
 
 m 
 
 ^m 
 
 for to sell . 
 
 tj^ 
 
 daugh-ter would 
 
 to mar-ket 
 
 1 
 
 Her trea 
 
 r 
 
 331 
 
 ^ 
 
 ?- 
 
 The following is the version of the same tune, which is entitled Tlie Merry Milk- 
 maids ia the second volume of The Dancing Master, It was formerly the custom 
 for milkmaids to dance before the houses of their customers in the month of May, 
 to obtain a small gratuity ; and probably this tune, and The Merry Milkmaids in 
 green, were especial favorites, and therefore named after them. To be a milkmaid 
 and to be merry were almost synonymous in the olden time. Sir Thomas 
 Overbury's Character of a Milkmaid, and some allusions to their songs, will be 
 found with the tune entitled The Merry Milkmaids in green. The following 
 quotations relate to their music and dancing. 
 
 In Beaumont and Fletcher's play. The Qoxcomh, Nan, the milkmaid, says — 
 " Come, you shall e'en home with us, and be our fellow ; 
 
 Our house is so honest ! 
 
 And we serve a very good woman, and a gentlewoman ; 
 
 And we live as merrily, and dance o' good days 
 
 After even-song. Our wake shall be on Sunday : 
 
 Do you know what a wake is ? — we have mighty cheer then," &c. 
 Pepys, in his Diary, 13th Oct., 1662, says, " With my father took a melan- 
 choly walk to Portholme, seeing the country-maids, milking their cows there, 
 they being there now at grass ; and to see with what mirth they come all home 
 together in pomp with their milk, and sometimes they have music go before them." 
 
282 
 
 ENGLISH SONG AND BALLAD MUSIC. 
 
 Again, on the 1st May, 1667, " To Westminster ; .on the way meeting many 
 milkmaids with their garlands upon their pails, dancing with a fiddler before 
 them; and saw pretty Nelly" [Nell Gwynne] "standing at her lodgings' door in 
 Drury Lane, in her smock sleeves and bodice, looking upon one : she seemed a 
 mighty pretty creature." 
 
 In a set of prints, called Tempesfs Oryes of London, one is called " The Merry 
 Milkmaid, whose proper name was Kate Smith. She is dancing with her milk- 
 pail on her head, decorated with silver cups, tankards, and salvers, borrowed for 
 the purpose, and tied together with ribbands, and ornamented with flowers. Of 
 late years, the plate, with other decorations, were placed in a pyramidical form, 
 and carried by two chairmen upon a wooden horse. The mikmaids walked before 
 it, and performed the dance without any incumbrance. Strutt mentions having 
 seen "these superfluous ornaments, with much more propriety, substituted by a 
 cow. The animal had her horns gUt, and was nearly covered with ribbands of 
 various colours, formed into bows and roses, and interspersed with green oaken 
 leaves and.bunches of flowers." Sports and Pastimes, edited by Hone, p. 358. 
 
 Lively. , The Milkmaids' Dance. 
 
 ^^ 
 
 Ei 
 
 ^ 
 
 ^^Fm 
 
 9 
 
 t )r-b — rr^ 
 
 S 
 
 ^ 
 
 3: 
 
 \y~p~ 
 
 S 
 
 ^ 
 
 tm^Trrri 
 
 JJ^J^i^Jjj i Jj^j ^ 
 
 -^fijj^ 
 
 JCtB 
 
 Cf^ C I CXXJ 
 
 s 
 
 -zr 
 
 i 
 
 ^ 
 
 f=f=p 
 
 :sd®= 
 
 ^^ 
 
 W^f^ 
 
 s 
 
 s 
 
 3e 
 
 s 
 
 ^ 
 
 3©- 
 
 =F 
 
 ^ 
 
 
 ^ 
 
 ■sr 
 
 ^ 
 
 
 n n ®i n ^T~ — a ^^ 
 
 & a c &^ g qI q 
 
KBIGNS OF JAMES I. AND CHARLES I. 
 
 283 
 
 MOEEIS DANCE. 
 
 This is entitled Engelsche Kloclce-Dans in three of the Collections published in 
 Holland : viz., in Bellerophon (Amsterdam, 1622) ; Nederlandtsche Q-edenck- 
 Glanck (Haerlem, 1626) ; and Friesche Lust-Hof (Amsterdam, 1634.) 
 
 As " Mok" signifies " bell," and bells were worn in the morris, I suppose it to 
 have been a morris-dance. In the above-named collections, Dutch songs are 
 adapted to it, but I have no clue to the English words. 
 
 Moderate time. 
 
 i 
 
 ^ 
 
 fi-^ 
 
 J3t 
 
 ± 
 
 ^ 
 
 ±. 
 
 & 
 
 =m 
 
 "27 
 
 ^ • 
 
 ^4VbT^^ 
 
 ^^ 
 
 LA 
 
 ^ 
 
 m 
 
 ^ 
 
 M=^ 
 
 j./j.^ i j.^j-^ 
 
 "1 °l i T~1 
 
 zr 
 
 i 
 
 ^^^ 
 
 3* 
 
 3 
 
 lAA^ 
 
 
 ^^ 
 
 i 
 
 S 
 
 :^ 
 
 ^m 
 
 TW- 
 
 ^mm 
 
 ^ 
 
 f=f 
 
 T 
 
 / 
 
 a=i4j-Mi=^^ 
 
 m 
 
 ^ 
 
 AMAHILLIS TOLD HER SWAIN. 
 
 This is found, under the name of Amarillis, among the violin tunes in The 
 Dancing Master of 1665, and in all later editions ; in MusicVs Delight on the 
 Cithren, 1666 ; in Apollo's Banquet, 1670 ; in the Pleasant Oompanion for the 
 Flageolet, 1680 ; &c. 
 
 The song, "Amarillis told her swain," is in Merry Drollery complete, 1670 (p. 3). 
 
 The air is sometimes referred to as " Phillis on the new-made hay," from a 
 
284 
 
 ENGLISH SONG AND BALLAD MUSIC. 
 
 ballad entitled " The coy Shepherdess; or Phillis and Amintas ; " which was sung 
 
 to the tune of AmarilUs. See Roxburghe Collection, ii. 85. 
 Among the ballads to the air, are also the following : — 
 " The Rojal Recreation of Jovial Anglers ; " beginning — 
 
 "Of all the recreations which 
 Attend on human nature," &c. 
 
 Roxburghe Collection. 
 Collier's Roxburghe Ballads, p. 232 ; and Merry Drollery complete, 1661 and 
 1670. It is also in Pills to purge Melancholy ; but there set to the tune of 
 My father was born before me. 
 
 " Love in the blossom ; or Fancy in the bud : to the tune AmarilUs fold her 
 swain." Roxburghe, ii. 315. 
 
 " Fancy's Freedom ; or true Lovers' bliss : tune of AmarilUs, or Phillis on the 
 new-made hay." Roxburghe, iii. 114. 
 
 " The true Lovers' Happiness ; or Nothing venture, nothing have," &c. : tune 
 of Amintas on the new-made hay ; or The Loyal Lovers." Douce Collection, and 
 Roxburghe, ii. 486. 
 
 " The Cotsall Shepherds : to the tune of Amarillis told her swain," in Folly in 
 print, or a Booh of Rhymes, 1667. 
 
 The following stanza, set to the tune, is the- first of the above-named ballad, 
 " The coy Shepherdess ; or Phillis and Amintas :" — 
 
 Smoothly, and in moderate time. 
 
 ^^^ 
 
 ■ I r-* 
 
 ^Wl 
 
 e 
 
 wm 
 
 9 
 
 ^ 
 
 Phil lis on the new-made hay, On a plea - sant summer's day, 
 
 <)., b rr 
 
 S^^ 
 
 ^ 
 
 ^ 
 
 ^ 
 
 W 
 
 m 
 
 i^ 
 
 In 're-clin-ing' poa - ture lay. And thought no shep - herd nigh her; 
 
 T 
 
 F \ ' ^'i r^ 
 
 ife 
 
 s 
 
 Till A-min - tas came that way, And threw him - self down hy her. 
 
 TT^ J-3 
 
 W^ 
 
REIGNS OF JAMES I. AND CHARLES I. 
 
 285 
 
 CHERRILY AND MERRILY. 
 
 In The Dancing Master of 1652, this is entitled Mr. WebVs Fancy ; and in 
 later editions Cherrily and merrily. 
 
 In vol. xi. of the King's Pamphlets, folio, there is a copy of a ballad written on 
 the violent dissolution of the Long Parliament by Cromwell, entitled " The Par- 
 liament routed ; or Here's a house to be let : 
 
 I hope that England, after many jarres, 
 Shall be at peace, and give no way to warres : 
 Lord, protect the generall, that he 
 May be the agent of our unitie : 
 to the tune of Lucina, or Merrily and cherrily.'''' [June 3, 1653.] It has been 
 reprinted in Political Ballads, Percy Society, No. 11, p. 126. The first stanza 
 is as follows : — " Cheer up, kind countrymen, be not dismay'd. 
 
 True news I can tell ye concerning the nation : 
 Hot spirits are quenched, the tempest is layd. 
 And now we may hope for a good reformation." 
 The above is more suited to the tune of Lucina {i.e., The Beggar Boy, p. 269) 
 than to this air ; I have therefore adapted a song from Universal Harmony, 1746, 
 an alteration of the celebrated one by George Herbert. 
 Smootlily, and in moderate time. 
 
 _a 
 
 ^ 
 
 ft* 
 
 ^ 
 
 m^=^ 
 
 =1= 
 
 ^ 
 
 so calm. 
 
 J- 
 
 Sweet day. 
 
 so cool. 
 
 so bright. The 
 
 %t:#=J= 
 
 fe 
 
 ^S 
 
 T^ 
 
 
 T 
 
 bri 
 
 dal of the earth and sky. The dews shall weep thy 
 
 -s^ ^ 
 
 a 
 
 s 
 
 s 
 
 i 
 
 i 
 
 i 
 
 ^ 
 
 5E^ 
 
 fall 
 
 to - night. For thou, with 
 
 all 
 
 thy sweets, must die 
 
 J= 
 
 i 
 
 m 
 
 Not long thy fading glories stay, 
 
 But thou, with all thy sweets, must die. 
 
 Sweet love, alone, sweet wedded love. 
 To thee no period is assign'd ; 
 
 Thy tender joys by time improve. 
 In death itself the most refin'd. 
 
 Sweet rose, so fragrant and so brave. 
 Dazzling the rash beholder's eye. 
 
 Thy root is ever in its grave, 
 
 And thou, with all thy sweets, must die. 
 
 Sweet Spring, so beauteous and so gay, 
 Storehouse where sweets unnumber'd lie, 
 
286 , ENGLISH SONG AND BALLAD MUSIC. 
 
 ST. GEORGE FOR ENGLAND. 
 
 There are black-letter copies of this ballad in the Pepys and Bagford Collec- 
 tions. It is also in An Antidote to Melancholy, 1661 ; in part ii. of Merry 
 DroUery Qomplete, 1661 and 1670 ; in Wit and Drollery, 1682 ; Pills to purge 
 Melancholy, 1707 and 1719 ; &c. 
 
 It is one of those offered for sale by the ballad-singer in Ben Jonson's 
 comedy of Bartholomew Fair. 
 
 Pepys, in his Diary, tells us of " reading a ridiculous ballad, made in praise of 
 the Duke of Albemarle, to the tune of St. G-eorge — the tune being printed too;" 
 and adds, " I observe that people have great encouragement to make ballads of 
 him, of this kind. There are so many, that hereafter he will sound like Guy of 
 Warwick." (6th March, 1667.) 
 
 Fielding, in his novel of Tom Jones, speaks of St. Creorge he was for Migland 
 as one of Squire Western's favorite tunes. 
 
 The ballad in the Pepys Collection (i. 87) is entitled " Saint George's Com- 
 mendation to all Souldiers ; or Saint George's Alarum to all that profess martiall 
 discipline, with a memoriall of the Worthies who have been borne so high on the 
 wings of Fame for their brave adventures, as they cannot be buried in the pit of 
 oblivion : to a pleasant new tune." It was " imprinted at London, by W. W.," in 
 1612, and is the copy from which Percy printed, in his Meliques of Ancient 
 Poetry. It begins — " Why do we boast of Arthur and his Knightes." 
 
 In Anthony Wood's Collection, at Oxford, No. 401, there is a modernization 
 of this ballad, entitled — 
 
 "St. George for England, and St. Dennis for France ; 
 hony soite qui mal y pance : 
 to an excellent new tune." (Wood's Ballads, ii. 118.) It is subscribed S. S., and 
 " printed for W. Gilbertson, in GUtspur Street ; " from which it may be dated 
 about 1659. 
 
 As a specimen of the comparative modernization, I give the first stanza : — 
 " What need we brag or boast at all Sir Tarquin, that great giant, 
 
 Of Arthur and his Knights, His vassal did remain ; 
 
 Knowing how many gallant men But St. George, St. George, 
 
 They have subdued in fights. The Dragon he hath slain. 
 
 For bold Sir Launcelot du Lake St. George he was for England, 
 
 Was of the table round ; St. Dennis was for France ; 
 
 And fighting for a lady's sake, O hony soite qui mal y pance." 
 
 His sword with fame was crown' d ; 
 
 A copy of the old ballad in the Bagford Collection is entitled " A new ballad 
 of St. George and the Dragon," but there is also another of St. George and the 
 Dragon, which, Percy has printed in the Reliques. 
 
 In 180 Loyal Songs, 1685 and 1694, there is " a new song on the instalment, of 
 Sir John Moor, Lord Mayor of London : tune, St. G-eorge for England." And in 
 Pills to purge Melancholy, iii. 20 (1707), "A new ballad of King Edward and 
 Jane Shore," to the same. 
 
REIGNS OP JAMES I. AND CHARLES I. 
 
 287 
 
 As tte ballad is contained in Percy's Reliques, as well as a witty second part, 
 written by John Grubb, and published in 1688, the first stanza only is here 
 printed with the music. 
 Moderate time. 
 
 ' f^ J^^ l {..rT^j.hF^^ 
 
 ^^ 
 
 Why should we boast of Ar-thur and his knights, Knowing well how many men 
 
 Si 
 
 E 
 
 IS5Z 
 
 -t::'^ 
 
 ^ 
 
 ^ 
 
 I 
 
 =1 
 
 ^ ^ £^ ^ ^^ 
 
 ^ 
 
 have en-du-red fights? For be- sides King Av - thur and Lance- lot du Lake, Or Sir 
 
 ■w 
 
 :3= 
 
 3:: 
 
 "^I^V 
 
 i 
 
 3s: 
 
 □-J-J J Jj^rr^^ 
 
 s 
 
 1H ^ 
 
 Tris - tram de Li - o - nel, that fought for La-dies' sake, Read in old his - to - ries and 
 
 s; 
 
 S: 
 
 ^ 
 
 -8- -•- -g- 
 
 i 
 
 ? 
 
 -^1— «<- 
 
 / 
 
 there you shall see, How St. George, St. George the Dragon made '° A^^- Saint 
 
 ^ 
 
 ^ 
 
 ^ 
 
 ^ 
 
 George he was for England, St. Den - nis was for France, Sing 
 
 r-f 
 
 13 
 
 T^^ 
 
 -& 
 
 -^ 
 
 t!*" * ,: 
 
 f 
 
 1 
 
 ^f^ -_ 
 
 Ho 
 
 soit 
 
 qui 
 
 mal 
 
 r ^ 
 
 pense. 
 
 ^B 
 
 s 
 
288 
 
 ENGLISH SONG AND BALLAD MUSIC. 
 
 THE HEALTHS. 
 
 This tune is ia The Dancing Master, from 1650 to 1690, and in MmicFs 
 Delight on the Cithren, 1666. 
 
 In tte first editions of The Dancing Master it is entitled The Health ; in the 
 seventh and eighth, The Sealths, or The Merry Wassail. 
 
 The folio-wing song, " Come, faith, since I'm parting," was written by Patrick 
 Carey, a loyal cavalier, on bidding farewell to his hospitable entertainers at Wick- 
 ham, in 1651. It is " to the tune of The Healths" 
 
 Moderate time. 
 
 I 
 
 s 
 
 s 
 
 ^ 
 
 * 
 
 mf I eres. t - 1 - . _ j j3 
 
 Come, faith, since I'm part-ing, And that God knows when The 
 
 ^^W^ 
 
 E 
 
 -^ 
 
 -& 
 
 -cr 
 
 ^ 
 
 * 
 
 ^ 
 
 walls 
 
 of sweet Wick 
 
 ham 
 
 I shall see a 
 
 cres.\ - 
 
 gain, Let's 
 
 ^ * 4 ^ 
 
 -'^^ 
 
 ^ 
 
 "CS" 
 
 m 
 
 m 
 
 s 
 
 e en have 
 
 fro lie. 
 
 And drink 
 
 like tall 
 I bold 
 
 Till 
 
 i^m 
 
 -& 
 
 ^^ 
 
 heads with healths go round, 
 
 ^^^ 
 
 Till heads with healths go 
 
 -2^ 
 round. 
 
 rss: 
 
 ~^^ 
 
 I 
 And first to Sir William, I'll take't on my 
 
 knee; 
 He well doth deserve that a brimmer it be : [he ; 
 More brave entertainments none ere gave than 
 Then let his health go round. 
 
 Next to his chaste lady, who loves him as life; 
 And whilst we are drinking to so good a wife, 
 The poor of the parish will pray for her life ; 
 Be sure her health go round. 
 
 And then to young Will, the heir of this place ; 
 He'll make a brave man, you may see't in his 
 
 face; 
 I only could wish we had more of the race ; 
 At least let his health go round. 
 
 To well-grac'd Victoria the next room we owe ; 
 As virtuous she'll prove as her mother, I trow. 
 And somewhat in huswifry more she will know; 
 O let her health go round! 
 
RBIGNS OF JAMES I. AND CHARLES I. 289 
 
 To plump Bess, her sister, I drink down this Hot Coles is on fire, and fain would be 
 
 cup: [up; quench'd; [drench 'd: 
 
 Birlackins, my masters, each man must take't As well as his horses, the groom must be 
 
 'Tis foul play, I bar it, to simper and sup. Who's else ? let him speak, if his thirst he'd 
 
 When such a health goes round. have stench'd, 
 
 Or have his health go round. 
 And now, helter-skelter, to th rest of the house : . 
 
 The most are good fellows, and love to carouse ; And now to the women, who must not be coy : 
 
 Who's not, may go sneck-up; « he's not worth a A glass, Mistress Gary, you know's but a toy; 
 
 louse Come, come. Mistress Sculler, no perdonnez 
 
 That stops a health i' th' round. '"°1/' 
 
 It must, it must go round. 
 
 To th' clerk, so he'll learn to drink in the morn ; [sop ; 
 
 To Heynous, that stares when he has quaft up Dame Nell, so you'll drink, we'll allow you a 
 
 his horn ; Up with't, Mary Smith, in your draught never 
 
 To Philip, by whom good ale ne'er was forlorn ; stop ; [drop, 
 
 These lads can drink a round. Law, there now. Nan German has left ne'er a 
 
 And so must all the round. 
 John Chandler ! come on, here's some warm 
 
 beer for you ; Jane, Joan, Goody Lee, great Meg, and the 
 
 A health to the man that this liquor did brew : less, 
 
 WhyHewet! there's for thee ; nay take't, 'tis You must not be squeamish, but do as did Bess: 
 
 thy due. How th' others are nam'd, if I could but guess. 
 
 But see that it go round. I'd call them to the round. 
 
 And now, for my farewell, I drink up this quart. 
 To you, lads and lasses, e'en with all my heart ; 
 May I find you ever, as now when we part. 
 Each health still going round. 
 
 MALL PEATLY. 
 
 This tune is contained ,ia Bellerophon, of Lust tot Wyshed, Amsterdam, 1622 ; 
 in the seventh and later editions of The Dancing Master ; in Apollo's Banquet ; 
 and in several of the ballad-operas. 
 
 In Bellerophon, the first part is in common time, and the second in triple, like 
 a cushion dance ; but it is not so in any of the above-named English copies, 
 which, however, are of later date. 
 
 D'Urfey wrote to it a song entitled Gillian of Croydon (see Pills to purge 
 Melancholy, ii. 46) , and it is to be found under that name in some of the ballad- 
 operas, such as The Fashionable Lady, or Sarlequin's Opera, 1730 ; Sylvia, or 
 The Country Burial, 1731 ; The Jealous Clown, 1730 ; &c. There are also several 
 songs to it in the Collection of State Songs sung at the Mug-houses in London and 
 Westminster, 1716. In Apollo's Banquet, the tune is entitled The Old Marinett, 
 or Mall Peatly ; in Gay's Achilles, Moll Peatly^ 
 
 Mall is the old abbreviation of Mary. (See Ben Jonson's English Qrammar.) 
 
 In Bound about our coal-fire, or Christmas Mntertainments (7th edit., 1734), it 
 is said, in allusion to Christmas, " This time of year being cold and frosty, 
 
 » Sii Walter Scott prints this " sneake-up : " I sup- equivalent to " go and be hanged." ■ 
 pose it should be "snecke-up" — a common expression, 
 
290 
 
 ENGLISH SONG AND BALLAD MUSIC. 
 
 generally speaking, or when Jack-Frost commonly takes us by the nose, the 
 diversions are within doors, either in exercise or by the fire-side. Dancing is one 
 of the chief exercises — Moll Peatly is never forgot ; — ^this dance stirs the blood 
 and gives the males and females a fellow-feeling for each other's activity, ability, 
 and agility : Cupid always sits- in the corner of the room where these diversions 
 are transacting, and shoots quivers full of arrows at the dancers, and makes his 
 own game of them." 
 Gaily, 
 
 j:iii.i: i j j-J:Tii =^- ^ rr^ 
 
 One Eo-li - day, last summer, From four to seven, by Croy-don chimes, 
 
 ^W^ 
 
 W 
 
 ^^^^^m 
 
 ^^ 
 
 Three lass-es to - ping rummers Were set a pra ting: of the times. 
 
 t 
 
 ftrg" 
 
 P^^^^^^ 
 
 A wife call'd Joan of the Mill, And a maid they call'd brown Nell : lake 
 
 F-— h- ifif! i p F^ iF-f^ 
 
 ^ 
 
 s 
 
 off your glass, said Gillian of Croy-don, A hea lth to our Mas - ter Will 
 
 it_- — \ — ^ ■ ■! ^ J 
 
 ^ 
 
 BOBBING JOB, ob BOBBING JOAN. 
 
 The tune of Bobbing Joe will be found in every edition of The Dancing Master; 
 in MusicWs Delight on the Cithren, 1666 ; &c. 
 
 It is sometimes entitled Bobbing Joan, as by Carey in his Ballades (1651) ; in 
 Bolly, 1729 ; in The Bay's Opera, 1730 ; The Mad Souse, 1737 ; A Cure for a 
 ScoU, 1738 ; &c. 
 
REIGNS OF JAMES I. AND CHARLES I. 
 
 291 
 
 " New Bob-ia-Jo " is mentioned as a tune in No. 38 of Menurius Democriius, 
 or a True and Perfect Nodurnall, December, 1652. (See King's Pamphlets, 
 Brit. Mus.) 
 
 The song, " My dog and I," is to the tune of My dog and I, or Bobbing Joan. 
 (A copy in Mr. Halliwell's Collection.) 
 
 The following is the ballad by Patrick Carey, " to the tune of Bobbing JoaneP 
 Cheerfully. 
 
 ^ 
 
 i-^U^- 
 
 ^ 
 
 w=^=^ 
 
 ^ 
 
 m 
 
 "-^ • ' ¥' r 
 
 I ne'er yet saw a love - ly crea-ture, Were she widow, maid, or wife, But 
 
 .y.itr, t I f 
 
 rf: 
 
 m 
 
 
 . J j- i rTi 
 
 ^ 
 
 ^ 
 
 ^^=-=f=^ 
 
 • * s 
 
 r 
 
 straight with -in my breast her feature Was paint - ed, strangely to the life: 
 
 m 
 
 ^ 
 
 ^ 
 
 ^ 
 
 r . "f • 
 
 If out of sight, Tho' ne'er so bright, I straightway lost her pic -ture quite. 
 
 Mf-f f i f-f i 
 
 It still was mine and others' wonder 
 
 To see me court so eagerly ; 
 Yet, soon as absence did me sunder 
 From those I lov'd, quite cured was I. 
 The reason was. 
 That my breast has. 
 Instead of heart, a looking-glass. 
 
 And as those forms that lately shined 
 I' th' glass, are easily defac'd ; 
 
 Those beauties so, which were enshrined 
 Within my breast, are soon displac'd : 
 
 Both seem as they 
 Would ne'er away ; 
 Yet last but while the lookers stay. 
 
 Then let no woman think that ever 
 
 In absence I shall constant prove ; 
 Till some occasion does us sever 
 I can, as true as any, love : 
 But when that we 
 Once parted be. 
 Troth, I shall court the next I see. 
 
 WHEN THE STORMY WINDS DO BLOW. 
 
 The ballad, now known as You G-entlemen of England, is an alteration of one 
 by M[artin] P[arker], a copy of which is in the Pepys Collection, i. 420; printed 
 at London for C. Wright. It is in black-letter, and entitled "Saylers for my 
 money: a new ditty composed in the praise of Saylers' and Sea Affaires; briefly 
 shewing the nature of so worthy a calling, and effects of their industry : to the 
 
292 ENGLISH SONG AND BALLAD MUSIC. 
 
 tune of The Joviall GoUer." Instead of " You gentlemen of England," it begins, 
 " Countriemen of England," &c. 
 
 Ritson prints from a copy entitled "Neptune's raging fury; or The Gallant 
 Seaman's Sufferings. -Being a relation of their perils and dangers, and of the 
 extraordinary hazards they undergo in their noble adventures: together with 
 their undaunted valour and rare constancy in all their extremites; and the 
 manner of their rejoycing on shore, at their return home. Tune of When the 
 stormy winds do blow" (the burden of the song). A black-letter copy of this 
 version is in the Bagford Collection, printed by W. 0[nley], temp. Charles 11. ; 
 and in one of the volumes of the Douce Collection, p. 168, printed by C. Brown 
 and T. Norris, and sold at the Looking Glass on London Bridge. A third in the 
 Roxburghe Collection, ii. 543. " Stormy winds " is also in the list of ballads 
 printed by W. Thackeray, about 1660. 
 
 On the accession of Charles II., we have, " The valiant Seaman's Congratu- 
 lation to his . Sacred Majesty King Charles the Second," &c. : to the tune of 
 Let lis drink and sing, and merrily troul the boiol, or The stormy winds do blow, or 
 Hey, ho, my honey." (Black-letter, twelve stanzas; F. Grove, Snow Hill.) 
 It commences thus :— " Great Charles, your English seamen, 
 Upon our bended knee. 
 Present ourselves as freemen 
 
 Unto your Majesty. 
 Beseeching God to bless you 
 
 "VSIiere ever that you go ; 
 So we pray, night and day, 
 
 When the stormy winds do blow." 
 Although the option of singing it to three tunes is given, it is evident, from the 
 two last lines, that it was written to this. 
 
 Among the other ballads to the tune are, " The valiant Virgin, or Philip and 
 Mary : In a description of a yoimg gentlewoman of Worcestershire (a rich gentle- 
 man's daughter) beiag in love with a farmer's son, which her father despising, 
 because he was poor, caus'd him to be press'd for ' sea : and how she disguised 
 herself in man's apparel and foUow'd him," &c. " To the tune of When the stormy 
 winds do blow ; " (Roxburghe, ii. 646) beginning — 
 " To every faithful lover 
 
 That's constant to her dear," &c. 
 In Poems by Ben Jonson, junior, 8vo., 1672, is " The Bridegroom's Salutation: 
 to the tune When the stormy winds do Mow ; " beginning — 
 " I took thee on a suddain. 
 
 In all thy glories drest," &c. 
 In 180 Loyal Songs, 1686 and 1694, a bad version of the tune is printed to 
 " You Calvinists of England." 
 
 There are fourteen stanzas in the copy of " You gentlemen " printed by Ritson, 
 in his English Songs. The following shorter version is from one of the broadsides 
 with music, compared with another copy in JSarly Naval Ballads (Percy Society, 
 No. 8, p. 34.) 
 
REIGNS OF JAMES I. AND CHARLES I. 
 
 293 
 
 I 
 
 Boldly. 
 
 ^ 
 
 M-' T^ 
 
 1=^ 
 
 ^=5=? 
 
 You Gen -tie-men of Eng-land, That live at home at ease, How 
 
 ^^^rrf- 
 
 • 
 
 -&- — - 
 
 I 
 
 ^SEife 
 
 f^7 
 
 do you thinl 
 
 W=^ 
 
 you think up - on The dan - gers of the seaa, 
 
 lit - tie 
 
 Give 
 
 ^ 
 
 S 
 
 ^ 
 
 _^cres. 
 
 Efe^ 
 
 ^ 
 
 // 
 
 ^ 
 
 • — J 
 
 ear un - to the mar - i - ners, And they will plain - ly show, All the 
 
 ■ J ■ i^ J J . . ■ , . , J J 
 
 i 
 
 jj J i J.^j ^ 
 
 S 6 ~ 
 
 f^^^^ 
 
 ^^^ 
 
 P 
 
 ^f — ij — J: — ^fc- 
 
 storm - y winds do 
 
 — s* — 
 cares 
 
 and the 
 
 fears 
 
 When the 
 
 blow. 
 
 J-^— J- 
 
 ^F 
 
 *=r^ 
 
 IT 
 
 -sr 
 
 The sailor must have courage. 
 
 No danger he must shun ; 
 In every kind of weather 
 
 His course he still must run ; 
 Now mounted on the top-mast. 
 
 How dreadful 'tis below : 
 Then we ride, as the tide, 
 
 When the stormy winds do blow. 
 
 If enemies oppose us, 
 
 And England is at war 
 With any foreign nation, 
 
 We fear not wound nor scar. 
 To humble them, come on, lads. 
 
 Their flags we'll soon lay low ; 
 Clear the way for the fray. 
 
 The' the stormy winds do blow. 
 
 Sometimes in Neptune's bosom 
 
 Our ship is toss'd by waves, 
 And every man expecting 
 
 The sea to he our graves ; 
 Then up aloft she's mounted. 
 
 And down again so low, 
 In the waves, on the seas. 
 
 When the stormy winds do blow. 
 
 But when the danger's over, 
 
 And safe we come on shore. 
 The honors of the tempest 
 
 We think of then no more ; 
 The flowing bowl invites us. 
 
 And joyfully we go. 
 All the day drink away, 
 
 Tho' the stormy winds do blow. 
 
294 
 
 ENGLISH SONG AND BALLAD MUSIC. 
 
 EED BULL. 
 
 This tune is named after the Red Bull Playhouse, which formerly stood in 
 St. John Street, Clerkenwell. It was in use throughout the reigns of James I. 
 and Charles I., and perhaps before. At the Restoration, the King's actors, under 
 Thomas Killigrew, played there until they removed to the new Theatre in Drury 
 Lane ; and when Davenant produced his Playhouse to be Let, in 1663, it was 
 entirely abandoned. (See' Collier's Annals of the Stage.) 
 
 In the Roxburghe Collection,!. 246, is a ballad entitled "A mad kind of 
 wooing ; or A Dialogue between "Will the simple, and Nan the subtle, with" their 
 loving agreement : to the tune of The new Dance at the Bed Bull Playhouse." 
 It is black-letter, printed for the assigns of T. Symcocke, whose patent for 
 "printing of paper and parchment on the one side" was granted in 1620, and 
 assigned in the same year. Another copy of the ballad will be found in the 
 Pepys Collection, i. 276, "printed for H[enry] G[osson] on London Bridge. 
 
 The tune is contained in Apollo's Banquet fmr the Treble Violin, entitled The 
 DamseU's Dance; and in The Dancing Master (1698), Bed Bull. 
 Rather slow. 
 
 i 
 
 bQ h- 
 
 ^ 
 
 ¥=Pr^ 
 
 1 
 
 ^ 
 
 ^3 
 
 Sweet Nan - cy, I do love thee dear, Be - lieve 
 
 J ■ J J ,J J J . J 
 
 ^ 
 
 r^ 
 
 T 
 
 ^^J.iJ;:ljVi'^^ 
 
 if thou can, And shall, I firm - ly do declare, While thy name is Nan. I 
 
 J -I, J ■ J /. J ■ 
 
 J 
 
 J- 
 
 f^ |J ^ 
 
 can - not court with el - o-quence As ma hy cour - tiers do 
 
 cour - tiers do, But 
 
 ^ 
 
 ^ 
 
 I do love en - t ire - ly thee. The 
 
 love me dear - ly, too. 
 
 J^~i- 
 
 ^ 
 
 ^ 
 
 r 
 
 The last eight bars are repeated for four more lines in the stanza. The whole 
 is reprinted in Evans' Old Ballads, i. 312 (1810). 
 
EBiaNS OF JAMES I. AND CHARLES I. 295 
 
 THE MERRY MILKMAIDS IN GREEN. 
 
 This is evidently the same air as And will he not come again, one of the snatches 
 sung by Ophelia in Hamlet, but in a dififerent form (see p. 237) . It is contained 
 in every edition of The Dancing Master. In the eighteenth edition it is entitled 
 " The merry Milkmaids in green" to distinguish it from another air of similar 
 name. 
 
 In Sir Thomas Overbury's Character of a Milkmaid, he says, " She dares go 
 alone, and unfold her sheep in the night, and fears no 'manner of ill, because she 
 means none : yet, to say truth, she is never alone, she is still accompanied with old 
 songs, honest thoughts, and prayers, but short ones." 
 
 In the " Character of a Ballad-monger," in Whimzies, or a new Cast of 
 Characters, 12mo., 1631, we find, " Stale ballad news, cashiered the city, must 
 now ride post for the country, where it is no less admired than a giant in a 
 pageant : till at last it grows so common there too, as every poor milkmaid can 
 chant and chirp it under her cow, which she useth, as a harmless charm, to make 
 her let down her milk." 
 
 Maudlin, the milkmaid, in Walton's Angler, sings (among others) portions of 
 two ballads by Martin Parker, a well-known ballad- writer of the latter part of the 
 reign of James I., and during that of Charles and the Protectorate, and both are 
 to this time. The first is — 
 " The Milkemaid's Life ; or— 
 
 A pretty new ditty, compoBed and pen'd 
 The praise of the milking paile to defend : 
 to a curious new tune, called The Milkemaid's Dumps." (Roxburghe Coll., i. 244, 
 or CoUier's Roxburghe Ballads, 243.) Mr. Payne Collier remarks that the last 
 stanza but one proves it to have been written before " the downfall of May- 
 games " under the Puritans. 
 
 You rural goddesses, Their courages never quail; 
 
 That woods and fields possess, In wet and dry, 
 
 Assist me with your skill, Though winds be high, 
 
 That may direct my quill And dark's the sky. 
 
 More jocundly to express They ne'er deny 
 
 The mirth and delight. To carry the milking pail. 
 
 Both morning and night. 
 On mountain or in dale, Their hearts are free from care. 
 
 Of those who choose Tjiey never will despair ; 
 
 This trade to, use. Whatever may befall. 
 
 And through cold dews They bravely bear out all. 
 
 Do never refuse And Fortune's frowns out-dare. 
 
 To carry the milking pail. They pleasantly sing 
 
 The bravest lasses gay To welcome the Spring- 
 
 Live not so merry as they ; 'Gainst heaven they never rail ; 
 
 In,honest civil sort If grass well grow. 
 
 They make each other sport, Their thanks they show ; 
 
 As they trudge on their way. And, frost or snow. 
 
 Come fair or foul weather, They merrily go 
 
 They're fearful of neither— Along with the milking pail. 
 
296 
 
 ENGLISH SONG AND BALLAD MUSIC. 
 
 Bad idleness they .do scorn ; 
 They rise -^ery early i' th,' morn. 
 
 And wait -into the field, 
 • Where pretty birds do yield 
 Brave music on ev'ry thorn : 
 
 The linnet and thrush 
 
 Do sing on each bush. 
 And the dulcet nightingale 
 
 Her note doth strain 
 
 In a jocund vein, 
 
 To entertain 
 
 That worthy train 
 Which carry the milking pail. 
 
 Their labour doth health preserve. 
 No doctors' rules they observe ; 
 
 While others, too nice 
 
 la taking their advice, [starve ; 
 Look always as though they would 
 
 Their meat is digested. 
 
 They ne'er are molested. 
 No sickness doth them assail; 
 
 Their time is spent 
 
 In merriment ; 
 
 While limbs are lent. 
 
 They are content 
 To carry the milking pail. 
 
 Those lasses nice and strange, 
 That keep shops in the Exchange, 
 
 Sit pricking of clouts-. 
 
 And giving of flouts ; 
 They seldom abroad do range : 
 
 Then comes the green sickness 
 
 And changeth their likeness. 
 All this for want of good sale ; 
 
 But 'tis not so. 
 
 As proof doth show, 
 
 By those that go 
 
 In frost and snow 
 To carry the milking pail. 
 
 If they any sweethearts have 
 That do affection crave, 
 
 Their privilege is this, 
 
 Which many others miss : — 
 They can give them welcome brave. 
 
 With them they may walk, 
 
 And pleasantly talk, 
 With a bottle of wine or ale; 
 
 The gentle cow 
 
 Doth them a],low, 
 
 As they know how. 
 God speed the plough. 
 And bless the milking pail. 
 
 Upon the first of May, 
 With garlands fresh and gay ; 
 
 With mirth and music sweet, 
 
 For such a season meet. 
 They pass their time away : 
 
 They dance away sorrow, 
 
 And all the day thorom, 
 Their legs do never fail ; 
 
 They nimblely 
 
 Their feet do -ply. 
 
 And bravely try 
 
 The victory, 
 In honour o' th' milking pail. 
 
 If any think that I 
 Do practice flattery, 
 
 In seeking thus to raise 
 
 The merry milkmaids' praise, 
 I'll to them thus reply : 
 
 It is their desert 
 
 Inviteth my art 
 To study this pleasant tale ; 
 
 In their defence, 
 
 Whose innocence 
 
 And providence 
 
 Gets honest pence 
 Out of the milking pail. 
 
 There is another version of the above baUad in the Roxburghe Collection 
 (ii. 230), entitled " The innocent Country Maid's Delight; or a Description of 
 the liyes of the Lasses of London : set to an excellent Country Dance." It com- 
 mences with the lines quoted by the milkmaid from the above sixth stanza : 
 " Some lasses are nice and strange 
 That keep shop in the Exchange." 
 
REIGNS OF JAMBS I. AND CHARLES I. 
 
 297 
 
 The second ballad quoted by Maudlin is entitled " Keep a good tongue in your 
 bead ; or — ^ Here's a good woman, in every respect, 
 
 But only her tongue breeds all her defect : 
 to the tune of The Milkmaids" &c. (Roxburghe Coll., i. 510, or Collier's Rox- 
 burghe Ballads, 237.) From this I hare selected a few stanzas to print mth the 
 tune. It is sometimes referred to under its name, as in the following : — 
 " Hold your hands, honest men : for — 
 
 Here's a good wife hath a husband that likes her, 
 
 In every respect, but only he strikes her ; 
 
 Then if you desire to be held men complete. 
 
 Whatever you do, your wives do not beat. 
 To the tune of Keepe a good tongue" &c. (Roxburghe, i. 514.) The following 
 song by D'Urfey, entitled The Bonny Milkmaid, was also written to the tune, but 
 had afterwards music composed to it for his play of Bon Quixote, and is so printed 
 in both editions of Pills to purge Melancholy, and in The Merry Musician, or 
 A Oure for the Spleen, ii. 116. It is a rifacimento of Martin Parker's song 
 printed above. 
 
 Ye nymphs and sylvan gods, 
 That love green fields and woods, 
 
 "Where Spring, newly Mown, 
 
 Herself does adorn 
 With flow'rs and blooming buds : 
 
 Come sing in the praise, 
 
 Whilst flocks do graze 
 In yonder pleasant vale. 
 
 Of those that choose 
 
 Their sleep to lose, 
 
 And in cold dews, 
 
 With clouted shoes, 
 Do carry the milking pail. 
 
 The goddess of the morn 
 With blushes they adorn, 
 
 And take the fresh air, 
 
 Whilst linnets prepare 
 A concert in each green thorn. 
 
 The blackbird and thrush 
 
 On every bush. 
 And charming nightingale, 
 
 In merry vein 
 
 Their throats do strain 
 
 To entertain 
 
 The joUy train 
 That carry the milking pail. 
 
 When cold bleak winds <lo roar 
 And flow'rs can spring no more^ 
 
 The fields that were seen 
 
 So pleasant and green 
 By Winter all candied o'er : 
 
 Oh 1 how the town lass 
 
 Looks, with her white face 
 And lips so deadly pale ; 
 
 But it is not so 
 
 With those that go 
 
 Through frost and snow. 
 
 With cheeks that glow. 
 To carry the milking pail. 
 
 The country lad is free 
 From fear and jealousy. 
 
 When upon the green 
 
 He is often seen 
 With a lass upon his knee ; 
 
 With kisses most sweet 
 
 He does her greet. 
 And swears she'll ne'er grow stale ; 
 
 While the London lass. 
 
 In every place. 
 
 With her brazen face. 
 
 Despises the grace 
 Of those with the milking pail. 
 
 "The Merry Milkmaid's Delight" was one of the ballads printed by, 
 W. Thackeray, in the time of Charles II. 
 
 The following stanzas are selected from the ballad above-mentioned, " Keep 
 a good tongue in your head." 
 
298 
 
 ENGLISH 60N& AND BALLAD MUSIC. 
 
 Cheerfully. 
 
 ^ 
 
 ^ 
 
 ^ 
 
 ^ 
 
 ^^ 
 
 married a wife of 
 
 late, 
 
 The more'smyun hap - py, 
 
 _ -f- • - -m- -w- -m- -^ -jt- 
 
 took her for love, As fan- cy did me move, And not for her world-ly 
 
 ■J — =- 
 
 m 
 
 ^ 
 
 rfH~n I j-f3 r?T I J 
 
 T — ■ — r 
 
 state. For qual-ities rare, Few with her com-pare. Let me do her no 
 
 ^^ 
 
 i 
 
 ■ ' r 'i' ' r- 
 
 ^^^^ 
 
 fSE^ 
 
 wrong : 
 
 I must con - Tess, Her chief a^ - miss 
 
 on - ly this, As 
 
 ^- r 1 
 
 ^ 
 
 ^m 
 
 m 
 
 m 
 
 some wives' is. She can- not rule her tongue, She can -not rule her tongue, 
 
 U . i"3^ 
 
 lliOE 
 
 Her cheeks are red as the rose 
 Which June for her glory shows ; 
 
 Her tepth in a row 
 
 Stand like a wall of snow 
 Between her round chin and her nose ; 
 
 Her shoulders are decent, 
 
 Her arms white and pleasant, 
 Her fingers are small and long. 
 
 No fault I find, 
 
 But, in my mind, 
 
 Most womenkind ' 
 
 Must come behind : 
 O that she could rule her tongue ! 
 
 With eloquence she will dispute ; 
 
 Few women can her confute. 
 She sings and she plays. 
 And she knows all the keys 
 
 Of the vial de gambo, or lute. 
 She'll dance with a grace, 
 Her Measures she'll trace 
 
 As doth unto art belong ; 
 , She is a girl 
 Fit for an earl. 
 Not for a churl : 
 She were worth a pearl, 
 
 If she could but rule her tongue. 
 
EEIGNS OF JAMES I. ANB CHARLES I. 
 
 299 
 
 Her needle she can use well, 
 In that she doth most excel ; 
 
 She can spin and knit, 
 
 And every thing fit, 
 As all her neighhours can tell. 
 
 Her fingers apace 
 
 At weaving bone-lace 
 She useth all day long. 
 
 All arts that be 
 
 To women free, 
 
 Of each degree, 
 
 Performeth she : 
 O that she could rule her tongue ! 
 
 For huswifery she doth exceed ; 
 She looks to her business with heed ; 
 
 She's early and late 
 
 Employ'd, I dare say't, 
 To see all things well succeed. 
 
 She is very wary 
 
 To look to her dairy. 
 As doth to her charge belong ; 
 
 Her servants all 
 
 Are at her call. 
 
 But she'll so brawl 
 
 That still I shall 
 Wish that she could hold her tongue. 
 
 THE QUEEN'S OLD COURTIER. 
 
 TMs ballad, which obtained a long and extensive popularity, seems to have 
 been first printed in the reign of James I. (by T. Symcocke). 
 
 Pepys thus refers to it in his Diary, under the date of 16th of June, 1668. 
 " Came to Newbery, and there dined, and music : a song of the Old Courtier of 
 Queen Elizabeth's, and how he was changed upon the coming in of the King, did 
 please me mightily^ and I did cause W. Hewer to write it out." There are many 
 other versions of the ballad (sometimes entitled " The Old and New Courtier"), 
 and some are of greater length than others. Besides those in the great collections, 
 copies will be found in Le Prince cf Amour, 1660 ; Antidote to Melancholy, 1661 ; 
 Wit and Drollery, 1682 ; Dryden's Miscellany Poems, iv., 108 (1716), &c. 
 
 In Le Prince d' Amour, and in Merry Drollery Complete, 1661 and 1670, there 
 is a song of " An old Soldier of the Queen's ;" commencing — 
 " Of an old Soldier of the Queen's, 
 With an old motley coat and a malmsey nose," 
 
 and in Wit and Drollery, 1682, p. 165, one entitled " Old Soldiers;" commencihg — 
 " Of old soldiers the song you would hear, 
 And we old fiddlers have forgot who they were," 
 and at p. 282, " The new Soldier" (" With a new beard," &c.). 
 
 A ballad, written on the occasion of the overthrow of the Rump Parliament, 
 by General Monck, and dated Feb. 28, 1659, is amongst the King's Pamphlets, 
 Brit. Mus. (folio broadsides, vol. xvi.). It" is entitled " Saint George and the 
 Dragon, anglice Mercurius Poeticus." To the tune of " Tlie old Souldier of the 
 Queen's;" commencing — 
 
 " News, news, — here's the occurrences and a new Mercurius, 
 A dialogue between Haselrigg the baffled, and Arthur the furious, 
 With Ireton's readings upon legitimate and spurious, &c.'' 
 It is reprinted in "Wright's Political Ballads (Percy Soc, No. 11). 
 
 In the reign of Charles II., " T. Howard, Gent.," wrote and published " An 
 old song of the Old Courtiers of the King's, with a new song of a New Courtier of 
 
300 
 
 ENGLISH SONG AND BALLAD MUSIC. 
 
 the King's : to the tune of The Queen's Old Courtier." A copy of this latter, 
 " printed for F. Coles," is among the Roxburghe Ballads. 
 
 Dr. King, in his " Preface to the Art of Cookery, in imitation of Horace's Art 
 of Poetry," declares his love " to the old British Hospitality, charity and valour, 
 when the arms of the family, the old pikes, muskets, and halberts, hung up in 
 the hall over the long table, and Qhevy Chase, and The Old Courtier of the QueerCs 
 were placed over the carved mantle-piece, and beef and brown bread were carried 
 every day to the poor." (Dr. King's Works, vol. iii.) 
 
 About the middle of the last century the ballad was revived and sung by 
 Mr. Vernon in Shadwell's comedy. The Squire of Alsatia, the burden being altered 
 to " Moderation and Alteration," and, when comparing the young courtier to 
 the old, to — " Alteration, alteration, 
 
 'Tis a wonderful alteration." 
 
 Finally, it has been again revived, with further " alteration," in the present 
 century, under the title of " The old English Gentleman." 
 
 The ballad is to be chanted, ad libitum, upon one note, except the final syllable 
 of each stanza, and the burden " Like an old Courtier," &c. 
 
 i 
 
 M 
 
 To he sung ad. lib. upon one note. 
 
 ^ 
 
 ^ 
 
 ~?rj- 
 
 _g^ 
 
 With an old song, made by an old ancient pate, 
 Of an old worshipful gentleman, who had a great estate. 
 Which kept an old house at a bountiful rate, , • 
 
 . And an old porter to relieve the poor at his . •' 
 
 "T 
 
 e^ 
 
 gate. 
 
 Like ah 
 
 ^ 
 
 ISSI 
 
 g 
 
 ~r:^ 
 
 F 
 
 old Cour-tier of the Queen's, And the Queen's old 
 
 Courtier. 
 ^ 
 
 ^ 
 
 3 
 
 S 
 
 r^ 
 
 ^ 
 
 ^ 
 
 With an old lady whose anger a good word 
 assuages, [wages. 
 
 Who every quarter pays her old servants their 
 
 Who never knew what belonged to coachman, 
 footmen, nor pages ; 
 
 But kept twenty old fellows with blue coats and 
 badges. Like an old Courtier, &c. 
 
 With an old study fiU'd full of learned old books, 
 With an old reverend parson, you may judge 
 him by his looks. [hooks, 
 
 With an old buttery hatch worn quite off the 
 And an old kitchen, that maintains half-a- 
 dozen old cooks. Like an old, &c. 
 
REIGNS OF JAMBS I. AND CHARLES I. 
 
 301 
 
 With an old hall hung about with guns, pikes, " 
 and bows, [many shrewd blows. 
 
 With old swords and bucklers that have stood 
 
 And an old frieze coat to cover his worship's 
 trunk hose, 
 
 And a cup of old sherry to comfort his copper 
 nose. Like an old, &c. 
 
 With a neat lady that is brisk and fair, 
 That never knew what belonged to _good 
 
 house-keeping or care, [air, 
 
 But buys several fans to play with the wanton 
 And seventeen or eighteen dressings of other 
 
 women's hair. Like a young, &c. 
 
 With an old fashion when Christmas was come, 
 To call in his neighbours with bagpipe and drum ; 
 And good cheer enough to furnish every old 
 
 room. 
 And old liquor able to make a cat speak and 
 
 a man dumb. Like an old, &c. 
 
 With an old huntsman, a falconer, and a kennel 
 
 of hounds; [grounds; 
 
 Which never hunted nor hawked but in his own 
 Who like an old wise man kept himself within 
 
 his own bounds, 
 And when he died, gave every child a thousand 
 
 old pounds. Like an old, &c. 
 
 But to his eldest son, his house and land he 
 
 assigned, [tiful mind. 
 
 Charging him in his will to keep the old boun- 
 To love his good old servants and to his 
 
 neighbours be kind ; 
 But in the ensuing ditty you shall hear how he 
 
 was inclin'd. Like a young Courtier, &c. 
 
 Like a young gallant newly -come to his land. 
 That keeps a brace of creatures at his com- 
 mand, [land. 
 And takes up a thousand pound upon his own 
 And lies drunk in a new tavern, 'till he can 
 neither go nor stand. Like a young, &c. 
 
 With a new honour bought with the old gold. 
 That many of his father's old manors had sold, 
 And this is the occasion that most men do hold 
 That good house-keeping is now grown so cold. 
 
 With a new hall built where the old one stood. 
 Wherein is burned neither coal nor wood. 
 And a shovelboard-table whereon meat never 
 
 stood. 
 Hung round with pictures that do the poor 
 
 no good. Like a young, &c. 
 
 With a new study stuft full of pamphlets and 
 plays ; [he prays ; 
 
 With a new chaplain that swears faster than 
 
 With a new buttery hatch that opens once in 
 four or five days; 
 
 With a new French cook to make kickshaws 
 and toys. Like a young, &c. 
 
 With a new fashion when Christmas is come, 
 With a new journey up to London we must 
 
 be gone, [porter John, 
 
 And leave nobody at home but our new 
 Who relieves the poor with a thiimp on the 
 
 back with a stone. Like a young, &c. 
 
 With a gentleman usher whose carriage is 
 complete ; [meat ; 
 
 With a footman, coachman, and page to carry 
 
 With a waiting-gentlewoman whose dressing 
 is very neat ; 
 
 Who, when the master has dined, lets the 
 servants not eat. Like a young, &c. 
 
 Like a young, &c. 
 
 JOAN, TO THE MAYPOLE. 
 
 This ballad is in the Koxhurghe Collection, ii. 354, and Douce Collection, 
 p. 152. It is entitled " May-day Country Mirth ; or The young Lads' and 
 Lasses' innocent Recreation, which is to be prized before courtly pomp and pas- 
 time : to an excellent new tune." Dr. Rimbault, ia his " Little Book of Songs and 
 Ballads, gathered from Ancient Music-books," prints a version " from a MS. 
 volume of old songs and music, formerly in the possession of the Rev. H. J. 
 Todd, dated 1630." The same is in Evans' Old Ballads, i. 245 (1810). Another 
 version will be found with the tune in Pills to purge Melancholy, ii. 145 (1707), 
 or iv. 145 (1719), with many more stanzas. 
 
302 
 
 ENGLISH S0N9 AND BALLAD MUSIC. 
 
 \ ^^i ii 
 
 m 
 
 _^ ~~, 
 
 ffrFa 
 
 Joan, ,to the Maypole a-way let us on, The time is swift, and will he 
 
 ^S 
 
 ^ 
 
 tefe 
 
 
 gone. There go the lass - es arway to the green. Where their heau-ties may he seen ; 
 
 ;^ 
 
 m 
 
 Lji^ jiSa 
 
 *= 
 
 ^.^'IS>3.J J-J 1 -^ 
 
 § 
 
 M 
 
 Bess, Moll, kate, Doll, All the hrave lass-eshaveladsto at- tend 'em, Hodge, 
 
 I 1 F^^^^ — ^-* 
 
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 o 
 
 ^ J- \ =^ 
 
 -& -& 
 
 ■t 
 
 ^^ 
 
 -* — r 
 Nick, Tom, Dick, Jol - ly hrave dancers, and who can a -mend 'em. Joan to the 
 
 -g ^ F 
 
 p 
 
 m 
 
 ^ 
 
 ^=^^ 
 
 cn^ 
 
 i 
 
 ^ 
 
 • • • 
 
 ^^ 
 
 ^ 
 
 May-pole a-way let us on. The time is swift and must he gone. There go the 
 
 ^^ 
 
 ^ 
 
 f 
 
 5 
 
 m 
 
 ^ 
 
 w^ 
 
 Lass-es a-way to the Green, Where their beau-ties may be seen. 
 
 I I I ^ M I I ' =F=F 
 
REIGNS OF JAMES I. AND CHARLES I. 
 
 303 
 
 Joan, shall we have a Hay or a Round, 
 Or some dance that is new-found ? 
 Lately I was at a Masque in the Court, 
 Where I saw of every sort, 
 Many a dance made in France, 
 
 Many a Braule, and many a Measure ; 
 Gay coats, sweet notes, 
 
 Brave wenches — O 'twas a treasure. 
 In Pills to purge Melancholy, the above 
 by others, such as the following : — 
 Did you not see the Lord of the May 
 Walk along in his rich array ? 
 There goes the lass that is only his ; 
 See how they meet, ^nd how they kiss ! 
 
 Come Will, run Gill, 
 Or dost thou list to lose thy lahour ; 
 
 Kit, Crowd, scrape aloud, 
 Tickle up Tom with a pipe and tahor. 
 
 Lately I went to a Masque at the Court, 
 Where I saw dances of every sort ; 
 There they did dance with time and measure, 
 But none like a country-dance for pleasure ; 
 
 They did dance as' in France, 
 Not like the English lofty manner ; 
 
 And every she must furnished be 
 With a feathered knack, when she's hot for 
 to fan her. 
 
 [sweat, 
 But we, when we dance, and do happen to 
 Have a napkin in hand for to wipe off the wet; 
 And we with our lasses do jig it about. 
 Not like at Court, where they often are out ; 
 
 If the tabor play, we jump away. 
 And turn, and meet our lasses to kiss 'em ; 
 
 Nay, they will be as ready as we. 
 That hardly at any time can we miss 'em. 
 
 But now, methinks, these courtly toys 
 
 Us deprive of better joys : 
 
 Gown made of gray, and skin soft as silk. 
 
 Breath sweet as morning milk ; 
 
 O, these more please ; 
 
 [All] these hath my Joan to delight me : 
 
 False wiles, court smiles. 
 None of these hath my Joan to despite me. 
 
 second and third stanzas are replaced 
 
 Come, sweet Joan, let us call a new dance, 
 That we before 'em may advance ; 
 Let it be what you desire and crave, 
 And sure the same sweet Joan shall have. 
 
 She cried, and replied. 
 If to please me thou wilt endeavour. 
 
 Sweet Pig, the Wedding Jig, 
 Then, my dear, I'll love thee for ever. 
 
 There is not any that shall outvie 
 My litttle pretty Joan and I ; 
 For I am sure I can dance as well 
 As Robin, Jenny, Tom, and Nell : 
 
 Last year we were here. 
 When rough Ralph he played us a Boree, 
 
 And we merrily 
 Thump'd it about, and gain'd the glory. 
 
 And if we hold on as we begin, 
 Joan, thou and I the garland shall win ; 
 Nay, if thou live till another day, 
 I'll make thee Lady of the May. 
 
 Dance about, in and out. 
 Turn and kiss, and then for greeting ; 
 
 Now, Joan, we have done, 
 Fare thee well till next merry meeting. 
 
 LOVE WILL FIND OUT THE WAY. 
 
 This tune is contained in Playford's Musick's Recreation on the Lyra Viol, 
 1652 ; in MusicFs Delight on the Cithren, 1666 ; in the Skene and several other 
 MSS. ; also in Pills to purge Melancholy, vi. 86 (1719). 
 
 The words are in Percy's Reliques ; Evans' Old Ballads, iii. 282 (1810) ; and 
 Rimbault's Little Booh of Songs and Ballads, p. 137. All these versions differ. 
 
 Evans prints from a black-letter copy by F. Coules (whose ballads occasionally 
 bear dates which vary from 1620 to 1628) ; Rimbault from Forbes' Gantus, 1662, 
 with the second part from Coules' copy ; and Percy from a comparatively modern 
 edition. 
 
 The ballad is quoted in Brome's Sparagus Gtarden, acted in 1635, and its 
 popularity was so great, that " Love will find out the way " was taken as the 
 title to a play printed in 1661. Although stated on the title-page to be a 
 comedy by T. B., it was only Shirley's Constant Maid, under a new name. 
 
304 
 
 ENGLISH SONG AND BALLAD MUSIC. ' 
 
 The air is still current, for in tlie summer of 1855, Mr. Jennings, Organist of 
 All Saints' Church, Maidstone, noted it down from the wandering hop-pickers 
 singing a song to it, on their entrance into that town. 
 
 The title of the ballad, as printed by Ooules, is "Truth's Integrity; or 
 A curious Northern ditty, called Lcrve will find out the way : to a pleasant new 
 tune." A later copy in the Douce Collection, p. 232, is entitled " A curious 
 Northern ditty, called Love will find out the way." 
 
 In the Roxburghe Collection, ii. 436, is a black-letter ballad of " Stephen and 
 Cloris ; or The coy Shepherd and the kind Shepherdess : to a new play-house 
 tune, or Love will find out the way." 
 
 I suppose ballads which are said to be " to the tune of Over hills and high 
 mountains" are also intended for this air ; because the words of that ballad are 
 almost a paraphrase of this, and in the same measure. See the following stanza 
 from a copy in the Pepys Collection, iii. 165 : — 
 
 " Over Mils and high mountains Through bushes and briers, 
 
 Long time have I gone ; Being void of all care ; 
 
 Ah I and down by the foxmtains, Through perils and dangers 
 
 By myself all alone ; ^ For the loss of my dear." 
 
 There is, however, an air, entitled On yonder high mountains, which may be in- 
 tended, and which will be found in this, collection, under a later date. 
 
 Another black-letter ballad to the tune of Love will find out the way, is entitled 
 " The Countryman's new Care away ; " commencing — 
 
 " If there were employments And every worthy soldier 
 
 1 For men, as have been ; Had truly his pay ; 
 
 And drums, pikes, and muskets, " Then might they be' bolder 
 
 r the field to be seen ; To sing Care away." 
 
 As the version of Love will find out the way printed by Percy is the shortest, 
 
 consisting in all of but five stanzas, it is here coupled with the tune. 
 Smoothly and not too fast. 
 
 i 
 
 Un - der the 
 
 ^ 
 
 ? 
 
 O - ver the moun-tains. And o - ver the waves ; 
 
 VHgrM 
 
 i 
 
 the 
 
 WZ 
 
 ^3= 
 
 P- [H^ 
 
 i^ 
 
 ^^^ 
 
 fountains. And un-der the graves ; Under floods that are deepest. Which Neptune o - 
 
 t= 
 
 i 
 
 ^ 
 
 M 
 
 5 
 
 n^ - ^ I p | i 
 
 ^ 
 
 g 
 
 rru^^F ' m. 
 
 ■ hey : O-ver rocks that are sleep-est Love will find out the way, 
 
 ^ 
 
 ISt 
 
REIGNS OF JAMBS I. AND CHARLES I. 
 
 305 
 
 Where there is no place 
 
 For the glow-worm to lie ; 
 Where there is no space 
 
 For receipt of a fly ; 
 Where the midge dares not venture, 
 
 Lest herself fast she lay ; 
 If Love come, he will enter, 
 
 And soon find out his way. 
 You may esteem him 
 
 A child for his might; 
 Or you may deem him 
 
 A coward from his flight. 
 But if she, whom Love doth honour, 
 
 Be conceal'd from the day, 
 
 Set a thousand guards upon her. 
 
 Love will find out the way. 
 
 Some think to lose him, 
 
 By having him confin'd ; 
 And some do suppose him. 
 
 Poor thing, to be blind; 
 But if ne'er so close ye wall him, 
 
 Uo the best that you may, 
 Blind Love, if so ye call him, 
 
 Soon will find out his way. 
 You may train the eagle 
 
 To stoop to your fist ; 
 Or you may inveigle 
 
 The phoenix of the east ; 
 The lioness, ye may move her 
 
 To give o'er her prey ; 
 But you'll ne'er stop a lover : 
 
 He will find out his way. 
 
 STINGO, OR OIL OF ■BARLEY. 
 
 This tune is contained in every edition of The Dancing Master, and in many 
 other publications. It is often quoted under three, if not more, names. 
 
 In The Dancing Master, from 1650 to 1690, it appears as Stingo, or The Oyle 
 of Barley. 
 
 The song, "A cup of old stingo" {i.e., old strong beer), is contained in Merry 
 Drollery Complete, 1661 and 1670, and, if it be the original song, must be of a 
 date from thirty to forty (and perhaps more) years earlier than the book. 
 
 Traces of that doughty hero, Sir John Barleycorn, so famous in the days of 
 ballad-singing, are to be found as far back as the time of the Anglo-Saxons. In 
 the Exeter MS. (fol. 107) is an enigma in Anglo-Saxon verse, of -which the 
 following is a literal translation ; — 
 
 "A part of the earth is prepared beautifully with the hardest, and vi^ith the sharpest, 
 and with the grimest of the productions of men, cut and .... (sworfen), turned and 
 dried, hound and twisted, bleached and awakened, ornamented and poured out, carried 
 afar to the doors of people ; it is joy in the inside of living creatures, it knocks and 
 slights those, of whom before, while alive, a long while it obeys the will, and expos- 
 tulateth not ; and then after death it takes upon it to judge, to talk variously. It is 
 greatly to seek by the wisest man, what this creature is." — Essay on the State of 
 Literature and Learning under the Anglo-Saxons, by Thomas Wright, Esq., 3LA., 
 F.S.A., p. 79, 8vo., 1839. 
 
 In the Roxburghe Collection, i. 214, there is a black-letter ballad " to the tune 
 of Stingo," which was evidently written in the reign of Charles I., by its 
 allusions to " the King's great porter," " Bankes' Horse," &c. It is entitled, 
 " The Little Barley-Corn : 
 
 Whose properties and vertues here 
 Shall plainly to the world appeare ; 
 To make you merry all the yeere." 
 
 As it has been reprinted in Evans' Old Ballads, i. 156 (1810), the first stanza 
 only is subjoined : — 
 
 " Come, and do not musing stand, Not of the earth, nor of the air, 
 
 If thou the truth discern ; At evening or at morn, 
 
 But take a full cup in thy hand, But, jovial boys, your Christmas keep 
 
 And thus begin to learn : With the little barley-corn." 
 The ballad is divided into two parts, each consisting of eight stanzas. 
 
 X 
 
306 ENGLISH SONG AND BALLAD MUSIC. 
 
 A second name for the tune is The Country Lass, which it derived from a 
 ballad by Martin Parker. Copies of that ballad are in the Pepys Collection 
 (i. 268), and in the Koxburghe (i. 52). The former bears Martin Parker's 
 initials, but no printer's name; the latter was printed for the assigns of Thomas 
 Symcocke. 
 The copy in the Pepys Collection is entitled " The Countrey Lasse : 
 To a dainty new note : which if you cannot hit, 
 There's another tnne which doth aa well fit — 
 That's The Mother heguiVd the Daughter." 
 "Although I am a countrey lasse, As those that with the choicest wines 
 
 A loftie minde I beare-a ; Do bathe their bodies oft-a. 
 
 I thinke myselfe aa good as those Downe, downe derry, derry downe. 
 
 That gay apparreU weare-a. Heigh downe, a downe, a downe-a. 
 
 My coat ia made of comely gray, a derry, derry, derry downe. 
 
 Yet 18 my skm as soft-a. Heigh downe, a downe, a derry." 
 
 This is reprinted in Evans' Old Ballads, i. 41, and an altered copy will be found, 
 with the music, in Pills to purge Melancholy, ii. 165 (1707), or iv. 152 (1719). 
 The tune is referred to, under the above name, in a ballad by Laurence Price, 
 entitled " Good Ale for my money : 
 
 The good fellowea resolution of strong ale, 
 That curea his nose from looking pale. 
 To the tune of Tlie Countrey Lasse. 
 
 Be merry, my friends, and li^t awhile This song in's head he always carried. 
 
 Unto a merry jest, When drink had made him mellow : 
 
 It may from you produce a smile, I cannot go home, nor will I go home. 
 
 When you hear it exprest ; It's long of the oyle of barley ; 
 
 Of a young man lately married, I'll tarry all night for my delight. 
 
 Which was a boone good fellow. And go home in the morning early." 
 
 A copy will be found in the Roxburghe Collection, i. 138. 
 
 Hilton wrought this tune into a catch for three voices, and published it in his 
 Catch that catch can, in 1652 ; and it was afterwards reprinted in that form by 
 Playford in his Musical Companion, 1667, 1673, &c. 
 
 The first line of the catch is " I'se goe with thee, my sweet Peggy, my honey." 
 The third part is to the tune of Stingo, with the following words : — 
 " Thou and I will foot it, Joe, 
 And what we doe neene shall know ; 
 
 But taste the juice of barley. 
 We'll sport all night for our delight. 
 And home in the morning early." 
 
 The air is somewhat altered to harmonize with the other parts. 
 
 In the editions of The Dancing Master which were printed after 1690, the 
 name is changed from Stingo, or The Oyle of Barley, to Cold and raw. This new 
 title was derived from a (so called) " New Scotch Song," written by Tom 
 D'Urfey, which first appeared in the second book of Comes Amoris, or The 
 
REIGNS OF JAMES I, AND CHARLES I. 307 
 
 Companion of Love, printed by John Carr in 1688 ; " and, as frequently the case, 
 the air was a little altered for the words. 
 
 Of this song Sir John Hawkins relates the following anecdote in his History of 
 Music (8vo., ii. 564) : — 
 
 " This tune was greatly admired by Queen Mary, the consort of King William ; 
 and she once affronted Purcell by requesting to have it sung to her, he being present. 
 The story is as follows : The Queen having a mind one afternoon to be entertained 
 with music, sent to Mr. Gosling, then one of her Ohapel, and afterwards Sub-Dean of 
 St. Paul's, to Henry Purcell, and to Mrs. Arabella Hunt, who had a very fine voice, 
 and an admirable hand on the lute, with a request to attend her ; they obeyed her 
 commands ; Mr. Gosling and Mrs. Hunt sung several compositions of PurceU, who 
 accompanied them upon the harpsichord; at length, the Queen beginning to grow 
 tired, asked Mrs. Hunt if she could not sing the ballad of 'Cold and raw;"" Mrs. 
 Hunt answered. Yes, and sung it to her lute. Purcell was all the while sitting at the 
 harpsichord unemployed, and not a little nettled at the Queen's preference of a vulgar 
 ballad to his music; but seeing Her Majesty delighted with this tune, he determined 
 that she should hear it upon another occasion; and, accordingly, in the next birtli- 
 day song, viz., that for the year 1692, he composed an air to the words, ' May her 
 bright example chace vice in troops out of the land,' the bass whereof is the tune to 
 ' Cold and raw.' " 
 
 In Anthony k Wood's collection of broadsides (Ashmolean Library, vol. 417) 
 there are two ballads with music, bearing the date of December, 1688, and 
 printed to this tune. The first is " The Irish Lasses Letter ; or her earnest 
 request to Teague, her dear joy : to an excellent new tune.^' The second is the 
 famous song of Lilliburlero. 
 
 In the Douce Collection is a ballad called " The lusty Friar of Flanders : to 
 the tune of Gold and raw" 
 
 Horace Walpole mentions it under the same name in a letter to Richard West, 
 Esq., dated from Florence (Feb. 27, 1740), where, in speaking of the Carnival, 
 he says, " The Italians are fond to a degree of our Country Dances.*^ Gold and 
 raw they only know by the tune ; Bloiozylella is almost Italian, and Buttered 
 Peas is Pizelli al huro." {Letters of Walpole, in vi. vols, 1840 ; vol. i. p. 32.) 
 
 The following is the song of " A cup of old stingo," from Merry Drollery 
 Complete, with the tune from The Dancing Master of 1650. 
 
 ■» A few pages further in the same book there is another O^er the hills and far away; By moonlight on the green; 
 
 " new Scotch song," set by Mr. Alteroyd. What's that to you ? and several others, which he has 
 
 Ritson, in his Historical Essay on Scotish Song, 1794, been probably used to consider as genuine specimens of 
 
 says, "An inundation oi Scotch songs, so called, appears Scotish song j as, indeed, most of them are regarded 
 
 to have been poured upon the town by Tom D'Urfey and even in Scotland." Ritson's list might be very greatly 
 
 his Grub-street brethren, toward the end of the seven- extended. 
 
 teenth and in the beginning of the eighteenth century; of " Sir John Hawkins, who relates the anecdote tradition- 
 which it is hard to say whether wretchedness of poetry, ally, and who had evidently seen no older copy of the tune 
 ignorance of the Scotish dialect, or nastiness of ideas, is than that contained in the Catch (as he elsewhere men- 
 most evident, or most despicable. In the number of tions Hilton's Ca/c/ies as Playford's.;?rsi publication) calls 
 these miserable caricatures, the reader may be a little sur- it " the old Scot's ballad," but from the allusion to " the 
 prised to find the favorite songs of De'ill take the Wars next birth-day song," it must have happened within four 
 thathurry'd Willy from me; Jenny, Jenny, wherehastthou years of the first publication. The term "old," could 
 been? Young Philander wooed me long; Farewell, my therefore only be applied, with propriety, to the music. 
 bonny, witty, pretty Moggy ; In January last ; Sheroseand = This agrees with what I have been told about the book 
 let me in ; Pretty Kate of Edinburgh ; As I sat at my spin- entitled Tlie Dancing Master (the early editions of which 
 ning wheel ; Fife, and a' the lands about it; Bonny lad, are extremely scarce in England), viz., that it is very well 
 prithee lay thy pipe down; The bonny grey-ey'd morn; known to the dealers in Italy, and that it may be procured 
 ' Twas within a furlong of Edinburgh town; Bonny Dundee ; there with comparatively little trouble. 
 
308 
 
 ENGLISH SONG AND BALLAD MUSIC. 
 
 Joviallij. 
 
 ^ ^ 
 
 t 
 
 ?3E3E3 
 
 There's a lu3 - ty li-quor which Good fel - lows use to take - a, It 
 
 ;):ttn a - 
 
 i: 
 
 k 
 
 n 
 
 fil 
 
 ^ 
 
 f^ 
 
 ^ 
 
 =a= 
 
 is distill'd with Nard most rich, And wa - ter of the lake- a; 
 
 Of Hop a lit -tie 
 
 5| 
 
 ^^ 
 
 m 
 
 m 
 
 quan - ti - ty, And Barm to it they bring too ; Being bar - rell'd up, 
 
 5^^ ^ :t - ft 
 
 They 
 
 — I 'S^ — - 9 S - 
 
 ^^^^ 
 
 ^^^^ f ^ 
 
 K* — ^ 
 
 call't a cup Of dain - ty good Old 
 
 « J- 
 
 Stin go. 
 
 1 
 
 'Twill make a man radentures make, 
 
 'Twill make a fool seem wise, 
 'Twill make a Puritan sociate, 
 
 And leave to be precise : 
 'Twill make him dance about a cross, , 
 
 And eke to run the ring too, 
 Or anything he once thought gross, 
 
 Such virtue hath old stingo. 
 
 'Twill make a constable oversee 
 
 Sometimes to serve a warrant, 
 'Twill make a bailiff lose his fee, 
 
 Though he be a knave-arrant ; 
 'Twill make a lawyer, though that he 
 
 To ruin oft men'brings, too, 
 Sometimes forget to take his fee. 
 
 If his head be lin'd with stingo. 
 
 'Twill make a parson not to flinch. 
 
 Though he seem wondrous holy. 
 And for to kiss a pretty wench. 
 
 And think it is no folly ; 
 'Twill make him learn for to decline 
 
 The verb that's called Mingo, 
 'Twill make his nose like copper shine, 
 
 If his head be lin'd with stingo. 
 
 'Twill make a weaver break his yarn, 
 
 That works with right and left foot. 
 But he hath a trick to save himself, 
 
 He'll say there wanteth woof to't ; 
 'Twill make a tailor break his thread,. 
 
 And eke his thimble ring too, 
 'Twill make him not to care for bread. 
 
 If his bead be lin'd with stingo. 
 
 'Twill make a baker quite forget 
 
 That ever corn was cheap, 
 'Twill make a butcher have a fit 
 
 Sometimes to dance and leap ; 
 'Twill make a miller keep his room, 
 
 A health for to begin, too, 
 'Twill make him shew his golden thumb. 
 
 If his head be lin'd with stingo. 
 
 'Twill make an hostess free of heart, 
 
 And leave her measures pinching, 
 'Twill make an host with liquor part 
 
 And bid him hang all flinching ; 
 It's so belov'd, I dare protest. 
 
 Men cannot live without it. 
 And where they find there is the best. 
 
 The most will flock about it. 
 
REIGNS OF JAMES I. AND CHARLES I. 
 
 309 
 
 Now to conclude, here is a health 
 
 Unto the lad that spendeth, 
 Let every man drink off his can, 
 
 And so my ditty endeth ; 
 I willing am my friend to pledge', 
 
 For he will meet me one day ; 
 Let's drink the barrel to the dregs, 
 
 For the malt-man comes a Monday. 
 
 And, finally, the beggar poor, 
 
 That walks till he be weary, 
 Craving along from door to door, 
 
 With pre-commiserere ; 
 If he do chance to catch a touch. 
 
 Although his clothes be thin, too. 
 Though he be lame, he'll prove his crutch, 
 
 If his head be lin'd with stingo. 
 
 The last line has furnished the subject for a Scotch song. 
 
 The following is a later version of the tune. The copies in The Beggars' 
 Opera, Pills to purge Melancholy, The Dancing Master, and Midas (1764), have 
 all slight differences, such as would occur from writing down a familiar tune from 
 memory. The words are Tom D'Urfey's " last new Scotch song." (See 
 Oomes Amoris, or The Companion of Love, ii. 16, fol. 1688.) 
 
 ^ Gracefully. 
 
 i 
 
 w 
 
 fiz 
 
 ^ 
 
 ^ 
 
 ^^=fFi 
 
 m 
 
 Cold and raw the north did blow Bleak in the morn-ing ear - ly 
 
 9 
 
 jmw 
 
 ^ 
 
 i 
 
 f^^- 
 
 
 3^ 
 
 All the trees were hid with snow ; Dag-gled in win-ter's year ly : 
 
 .a ■ ^^ «_ 
 
 As 
 
 • I * 
 
 =P^=^ 
 
 ~T 
 
 3i^ 
 
 -^ 
 
 I came ri - ding on the slough, I 
 
 a 
 
 met 
 
 a far mer's daughter, With 
 
 ^ 
 
 m. 
 
 m 
 
 ^ 
 
 f 
 
 W 
 
 ro sy cheeks and bon - ny brow, Good faith, made my mouth wa ter. 
 
 ^ 
 
 i 
 
 Down I veil'd my bonnet low, 
 Thinking to show my breeding ; 
 
 She returned a graceful bow — 
 A village far exceeding. 
 
 » However unobjectionable this song may have been in 
 Queen Mary's time, the three renmining stanzas would 
 
 I ask'd her where she went so soon, 
 
 I long'd to begin a parley. 
 She told me to the next market town 
 
 On purpose to sell her barley.' 
 
 not be very courteously received in Queen Victoiia'i 
 Tempora mutantur. 
 
310 ENGLISH SONG AND BALLAD MUSIC. 
 
 WHAT IF A DAY, OR A MONTH, OR A YEAR? 
 
 Copies of this song are in the Roxburghe Collection, i. 116 and ii. 182, and 
 in The Golden Grarland of Princely Delights, third edition, 1620. In the 
 Roxburghe Ballads it is entitled " A Friend's Advice, in an excellent ditty, 
 concerning the variable changes in this -world " (printed by the assigns of Thomas 
 Symcocke) ; in The Crolden Garland, " The inconstancy of the world." 
 
 The music is in a volume of transcripts of virginal music, by Sir John Hawkins ; 
 in Logonomia Anglica, by Alexander Gil, 1619 ; in Friesche Lust-Hof, 1634 ; in 
 D. R. Camphuysen's Stichtelyche Rymen, 4to., Amsterdam, 1647 ; in the Skene 
 MS. ; in Forbes' Cantus ; &c. The same words are differently set by Richard 
 Allison, in his Howre^s Recreation in Musiche, 1608. 
 
 Gil (or Gill), who was Master of St. Paul's School, refers to the song twice in his 
 Logonomia. Firstly, " Hemistichium est, duobus constans dactylis, et choriambo ;" 
 and secondly, " Ut in illo perbello cantico Tho. Campaiani, cujus mensuram, ut 
 rectius agnoscas, exhibeo cum notis." 
 
 Thomas Campian, or Campion, to whom the poetry, and perhaps also the 
 music, is here ascribed, was by profession a physician ; but he was also an emi- 
 nent poet and admirable musician. He flourished during the latter part of the 
 reign of Elizabeth and the greater portion of that of James I. Neither the words 
 nor music are, however, to be found in his printed collections. 
 
 According to the registers of St. Dunstan's in the West, " Thomas Campion, 
 Doctor of Physicke," was buried there on the 1st of March, 1619.°' 
 
 In Camphuysen's Stichtelyche Rymen the song is entitled " Fssego's Lamentation, 
 or What if a day." 
 
 Ritson, in a note to his Historical JEssay on Scotish Song, p. 57, says, " In a 
 curious dramatic piece, entitled Philotus, printed at Edinburgh in 1603, by way 
 of finale, is Ane sang of the foure lufearis (lovers), though little deserving that 
 title. It is followed by the old English song, beginning, ' What if a day, or 
 a month, or a year?' alluded to in Sudibras, which appears to have been sung at 
 the end of the play, and was probably, at that time, new and fashionable." 
 
 Mr. Halliwell, in a paper read before the Society of Antiquaries in Dec, 1840, 
 says, " It is a curious fact that one of the songs in Ryman's well-known collection 
 of the fifteenth century, in the Cambridge Public Library, commences — 
 ' What yf a daye, or nyghte, or howre, 
 Orowne my desyres wythe every delyghte ; ' 
 and that in Sanderson's Diary in the British Museum, MSS. Lansdowne 241, 
 fol. 49, temp. Elizabeth, are the two first stanzas of the song, more like the copy 
 in Ryman, and differing in its minor arrangements from the later version. 
 Moreover, that the tune in Dowland's Musical Collection, in the Public Library, 
 Cambridge, is entitled ' What if a day, or a night, or an hour ?' agreeing with 
 Sanderson's copy." Mr. Halliwell has reverted to the subject in Reliqm Antiqm, 
 i. 323, and ii. 123. 
 
 » Haslewood supposed him to have died in 1621. It does not notice his four hooks of "Ayres," printed in 
 
 is strange that the name of so eminent a man should 1610 and 161^, which, "with some others,- are descrihed in 
 
 have been omitted in the usual Biographical Dictionaries Rirahault's BihUothica Madrigaliana. He composed the 
 
 and Universal Biographies. A short account of him is Psalm tune, called "Babylon's streams," which is still 
 
 given, with the reprint of his "Observations in the art in use. His Art of Descant is contained in Playford's 
 
 of English Poetry," in Haslewood's "Ancient Critical Inlroduction. 
 Essays upon English Poets and Poesy." Haslewood 
 
REIGNS OF JAMES I. AND CHARLES I. 
 
 311 
 
 " What if a day, or a month, or a year ? " is mentioned as one of the tunes for 
 Psalms and Songs of Sion, by W[illiam] S[latyer], 1642. See p. 319. 
 Mather slow. 
 
 i 
 
 s_# 
 
 3 
 
 ^ 
 
 S 
 
 :^3=F 
 
 =S=*: 
 
 S 
 
 =3=^ 
 
 4 
 
 u^ 
 
 -0 
 
 ^ 
 
 What if a day, or a month, or a year, Crown thy de-lights with a 
 May not the change of a night or an hour, Cross thy de-lights with as 
 
 iE 
 
 ^ 
 
 ^ 
 
 ^ 
 
 1-^ 
 
 P 
 
 /, 
 
 =F= 
 
 a ~=~a i' 
 
 ^=s=*=^ 
 
 ^ T 
 
 thousand sweet con-tentings, a thousand sweet con - ten - tings, „ , 
 
 ma - ny sad tor-mentings, as ma - ny sad tor men - tings, ' " ' 
 
 "TTJ- 
 
 5&: 
 
 
 ^ 
 
 IZ2Z 
 
 ^ 
 
 ^W- 
 
 5=^ 
 
 T 
 
 beau - ty, youth, Are but blossoms dy - ing ; Wan - ton pleasures. 
 
 ^ 
 
 ^ 
 
 * # 
 
 -i-^-J^l-^ 
 
 PP 
 
 m 
 
 ing. 
 
 joys 
 
 ^ 
 
 ting love, 
 
 Are but sha - dows fly 
 
 All our 
 
 T 
 
 rss: 
 
 ^^1 
 
 ^^ 
 
 // 
 
 i 
 
 ^ 
 
 ^ 
 
 it^ 
 
 but toj'S, 
 
 i 
 
 I - die thoughts de - ceiv - ing ; None hath pow'r 
 
 "^ 
 
 ^ 
 
 ^^m 
 
 I 
 
 -¥ 
 
 of an hour 
 
 Of his life's be 
 
 1 
 
 ing. 
 
 i=t=i 
 
 I i 
 
 r r 
 
312 ENGLISH SONG AND BALLAD MUSIC. 
 
 Th' earth's but a point of the world, and a man What if the world, with a lure of its wealth, 
 
 Is but a point of the earth's compared centre : Raise thy degree to great place of high ad- 
 Shall then the point of a point be so vain, vancing ; 
 
 As to triumph in a silly point's adventure ? May not the world, by a check of that wealth. 
 
 All is hazard that we have, Bring thee again to as low despised changing ? 
 Here is nothing biding ; WhOe the sun of wealth doth shine 
 
 Days of pleasure are as streams Thou shalt have friends plenty ; 
 
 Through fair meadows gliding. But, come want, they repine, 
 
 Weal or woe, time doth go, Not one abides of twenty. 
 
 Time hath no returning ; Wealth (and friends), holds and ends, 
 
 Secret Fates guide our states As thy fortunes rise and fall : 
 
 Both in mirth and mourning. Up and down, smile and frown, 
 
 Certain is no state at all. 
 
 What if a smile, or a heck, or a look. What if a grip, or a strain, or a fit, [sickness : 
 
 Feed thy fond thoughts -with many vain con- Pinch thee with pain of the feeling pangs of 
 
 ceivings : May not that grip, or that strain, or that iit. 
 
 May not that smile, or that beck, or that look. Shew thee the form of thine own true perfect 
 
 Tell thee as well they are all butfalse deceivings? likeness ? 
 
 Why should beauty be so proud. Health is but a glance of joy. 
 
 In things of no surmounting? Subject to all changes; 
 
 All her wealth is but a shroud. Mirth is but a silly toy. 
 
 Nothing of accounting. Which mishap estranges. 
 
 Then in this there's no bliss. Tell me, then, silly man, 
 
 Which is vain and idle. Why art thou so weak of wit. 
 
 Beauty's flow'rs have their hours. As to he in jeopardy. 
 
 Time doth hold the bridle. When thou mayst in quiet sit ? 
 
 THE HEMP-DRESSEE, on THE LONDON GENTLEWOMAN. 
 
 This tune has attained a long-enduriag popularity. It is to be found in every 
 edition of 27*6 Dancing Master, as well as in many other publications, and is 
 commonly known at the present day. 
 
 The name of Tlie Hemp-dresser, or The London Gentlewoman, is derived from 
 an old song which was translated into Latin (together with Chevy Chace and many 
 others) by Henry Bold, and published, after his death, in " Latine Songs with 
 their English," 1685. 
 
 One of D'Urfey's songs, commencing, " The sun had loos'd his weary team," 
 was written to this air. It is printed, with music, in his third book of songs, 
 1685 ; in Playford's third book of " Choice Ayres and Songs; " and in vol. i. 
 of all the editions of Pills to purge Melancholy. In the first, it is" entitled "A new 
 song set to a pretty country dance, called The Semp-dresser ; " in the second, it 
 has the further prefix of " The Winchester Christening ; The Sec^uel of the 
 Winchester Wedding. A new song," &c. 
 
 In The Beggars' Opera, 1728 ; The Court Legacy, 1733 ; The Sturdy Beggars, 
 1733 ; and The Rival Milliners, 1737, the time is named " The sun had loos'd 
 his weary team," from D'Urfey's song. In other ballad-operas, such as Penelope, 
 1728 ; and Love and Revenge, or The Vintner outwitted, n.d., it takes the name 
 of one beginning, " Jone stoop'd down." Burns also wrote a song to it — " The 
 DeU's awa wi' the Exciseman." 
 
REIGNS OP JAMES I. AND CHARLES I. 
 
 313 
 
 In the " History of Robert Powel, the puppet-showman," 8vo., 1715, The 
 Duke of York's Delight ; Welcome home, Old Rowley ; The Knot ; and The Memp- 
 dressers, are mentioned as favorite tunes called for by the company. 
 
 The song of The Hemp-dresser consists of four stanzas, of which the two first 
 are as follows : — 
 
 There was a London gentlewoman 
 
 That lov'd a country man-a ; 
 And she did desire his company 
 
 A little now and then-a. 
 
 Pa la, &c. 
 The first verse of D'Urfey's song is here printed with the music, 
 
 Gracefully. 
 
 This man he was a hemp-dresser, 
 And dressing was his trade-a ; 
 
 And he did kiss the mistress, sir, 
 And now and then the maid-a. 
 
 Fa la, &c. 
 
 
 The siin had loos'd his wea - ry team. And turn'd his steeds a graz - ing. Ten 
 
 ^Ml 
 
 ^g^ I J J' rCk^^^^^^ 
 
 "5 
 
 T^-r 
 
 fa - thorn deep in Neptune's stream His The - tis was em hra - cing; The 
 
 t 
 
 ^ 
 
 ^ 
 
 m 
 
 ^ 
 
 j^-^ 
 
 t=i=±Xi 
 
 i 
 
 stars tripp' din the fir - ma-ment, Like milk-maids on a May - day. Or 
 
 * 
 
 I^ 
 
 ^^ 
 
 ^ 
 
 i 
 
 coun - try lass-es a mumming sent, Or schoolboys on a play - day. 
 
 SINCE FIRST I SAW YOUR FACE. 
 The following tune is by Thomas Ford, one of the musicians in the suite of 
 Prince Henry, the eldest son of James I. It is a song for one voice to the lute, 
 or for four without accompaniment, and contained in his Musiclce of sundrie 
 Kindes (fol. 1607.) The second part of a popular tune called Jamaica, or My 
 father was horn before me, bears a resemblance to the second part of this. 
 
 In the Golden Garland of Princely Delight, third edition, 1620, the song is 
 entitled, " Love's Constancy." 
 
314 
 
 ENGLISH SONG AND BALLAD MUSIC, 
 
 Ford waa not a great harmonist, but this song (now miscalled a madrigal) has 
 ■survived the works of many more learned composers, and is probably as popular 
 at the present day as when first written. The harmony of the modern copies is 
 not by Ford. 
 Slow. 
 
 ^S 
 
 ^ 
 
 ^ 
 
 I 
 
 ^ 
 
 T?^^ 
 
 ^ 
 
 Since first I saw your face I resolv'd To ho - nour and re - 
 
 ^5 
 
 rs 
 
 35 
 
 a 
 
 =f=F 
 
 ^ 
 
 m 
 
 i-^H=4 
 
 t=i=i 
 
 you, If now I be dis - dain'd I wish My heart had ne - ver 
 
 ^ 
 
 i^ 
 
 SF=|t 
 
 / 
 
 ^.in i J-.N j 
 
 i 
 
 known you. 
 
 J J 
 
 What ! I that lov'd, and 
 
 :^ 
 
 you that lik'd, Shall we be-gm 
 _£5 
 
 to 
 
 fet 
 
 kr - ^ 
 
 '7s 
 
 Vjti *: 
 
 ■F 1 
 
 PP I ores. 
 
 
 «/ 
 
 ^ 
 
 m 
 
 ^^ — 1 — r r/ / 
 
 T^ 
 
 wran gle ? No, no, no, my heart is fast, And can - not dis - en r tan gle. 
 
 L- J I 
 
 =tl 
 
 -rrz^rr 
 
 If I admire or praise you too much. 
 
 That fault you may forgive me ; 
 Or if my hands had stray 'd to touch, 
 
 Then justly might you leave me. 
 I ask'd you leave, you bade me love, 
 
 Is't now a time to chide me? 
 No, no, no, I'll love you still, 
 
 What fortune e'er betide me. 
 
 The sun, whose beams most glorious are, 
 Rejecteth no beholder ; 
 ■ And your sweet beauty, past compare, 
 Made my poor eyes the bolder. 
 I have only found the last stanza 
 third edition, 8vo., 1671. 
 
 When beauty moves, and wit delights. 
 And signs of kindness bind me. 
 
 There, O there, where'er I go, 
 I'll leave my heart behind me. 
 
 [If I have wronged you, tell me wherein, 
 
 And I will soon amend it ; 
 In recompense of such a sin. 
 
 Here is my heart, I'll send it. 
 If that will not your mercy move, 
 
 Then, for my life I care not ; 
 Then, O then, torment me still. 
 And take my life, and spare not.] 
 in late copies, such as Wit's Interpreter, 
 
REIGNS OF JAMES I. AND CHARLES I. 315 
 
 WHAT CARE I HOW FAIR SHE BE ? 
 
 A copy of this song is in the Pepys Collection, i. 230, entitled "A new song of 
 a young man's opinion of the difference between good and bad women. To a 
 pleasant new tune." (Printed at London for W. I.) It is also in the second part 
 of The Grolden Crarland of Princely Delights, third edition, 1620, entitled " The 
 Shepherd's Resolution. To the tune of The Young Man's Opinion" As the 
 name of the tune is here derived from the title of the ballad, it must have been 
 printed in ballad form before 1620, when it was published among The Workes of 
 Master Greorge Wither. 
 
 The tune is in Heber's Manuscript (described at p. 204), but, except for the 
 popularity of the words, it would scarcely be worth preserving. They were after- 
 wards reset by Mr. King, and are printed to his tune in Pills to purge Melancholy. 
 
 The first line of the copy in the Pepys Collection (unlike that in The Q-olden 
 Garland) is, " Shall I wrestling in dispaire." In the same volume are the 
 following : — 
 
 Page 200. — " The unfortunate Gallant guU'd at London. To the tune of 
 Shall I wrastle in despair." (Printed for T. L.) Beginning — 
 " From Cornwall Mount to London fair." 
 
 Page 316. — " This maid would give tenne shillings for a kisse. To the tune 
 of Shall I ivrassle in despair." (Printed at London by I. White.) Beginning — 
 " You young men all, take pity on me.'' 
 
 Page 236. — " Jone is as good as my lady. To the tune of What care I how 
 fair she be ?" (Printed at London for A. M[ilbourn].) Beginning — 
 " Shall I here rehearse the story.'' 
 
 The following (which has been attributed, upon insuflBcient evidence, to Sir 
 Walter Raleigh) is in the same metre, and has the same burden as George 
 Wither' s song : — 
 
 Shall I, like an hermit, dwell Were her hands as rich a prize 
 
 On a rock or in a cell ? As her hairs or precious eyes ; 
 
 Calling home the smallest part If she lay them out to take 
 
 That is missing of my heart, Kisses, for good manners sake ; 
 
 To bestow it where I may And let every lover skip 
 
 Meet a rival every day ? From her hand unto her lip ; 
 If she undervalues me, If she seem not chaste to me. 
 
 What care I how fair she be. W'hat care I how chaste she be. 
 
 Were her tresses angel-gold ; No, she must be perfect snow, 
 
 If a stranger may be bold, In effect as well as show, 
 
 Unrebuked, unafraid. Warming but as snow-balls do, 
 
 To convert them to a braid, Not, like fire, by burning too ; 
 
 And, with little more ado, But when she by chance liath got 
 
 Work them into bracelets too ; To her heart a second lot ; 
 If the mine be grown so free, Then, if others share with me. 
 
 What care I how rich it be. Farewell her, whate'er she be. 
 
316 
 
 ENGLISH SONG AND BALLAD MUSIC, 
 
 Moderate time. 
 
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 Shall I, wast-ing in 
 
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 pair, Die because a woman's fair? 
 
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 Or my cheeks make pale with care, Be - cause an -*o-ther*s "ro sy are? 
 
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 Or the flow' - ry meads in May ; 
 
 Be she fair - er than the day, 
 
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 If she 
 
 be 
 
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 me, What care I how fair she be. 
 
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 Shall my foolish heart be pin'd, 
 'Cause I see a woman kind ? 
 Or a well-disposed nature. 
 Joined with a lovely feature ? 
 Be she kind, or meeker than 
 Turtle-dove or pelican ; 
 If she be not so to me. 
 What care I how kind she be. 
 
 Shall a woman's virtues move 
 Me to perish for her love ? 
 Or, her well-deservings known, 
 Make me quite forget mine own ? 
 Be she with that goodness blest, 
 Which may gain her name of Best ; 
 If she be not so to me, 
 What care I how good she be. 
 
 'Cause her fortune seems too high. 
 Shall I play the fool, and die ? 
 He that bears a noble mind 
 If no outward help he find. 
 Think what with them he would do. 
 That without them dares to woo : 
 And, unless that mind I see, 
 What care I how great she be. 
 
 Great, or good, or kind, or fair, 
 I will ne'er the more despair : 
 If she love me, this believe, 
 I will die ere she shall grieve. 
 If she slight me when I woo, 
 I can slight and let her go : 
 If she be not fit for me. 
 What care I for whom she be. 
 
REIGNS OF JAMES I. AND CHARLES I. 317 
 
 THE NEW EOYAL EXCHANGE. 
 
 In The Dancing Master of 1665 there are two tunes under very similar titles. 
 The first is The New Exchange ; the second, The New New-Exchange. The first 
 is sometimes called Durham Stable;'^ the second, which was more frequently- 
 used as a ballad tune, is, in other editions, named The New Royal Exchange. 
 
 In Wit and Drollery, 1656, p. 110, is a song to this tune — " On the Souldiers 
 walking in the new Exchange to affront the Ladies." It consists of four stanzas, 
 the first of which is here printed with the music. 
 
 In the same book, at p. 60, is another song of six stanzas beginning — 
 " We'll go no more to Tunbridge Wells, And we will have them henceforth call'd 
 The journey is too far ; The Kentish new-found Spa. 
 
 Nor ride in Epsom waggon, where Then go, lords and ladies, whate'er you 
 
 Our bodies jumbled are. Go thither all that pleases ; [ail ; 
 
 But we will all to the westward waters go, Por it will cure you, without fail. 
 
 The best that e'er you saw, Of old and new diseases." 
 
 In Westminster Drollery, part ii, 1671, is a third song, " to the tune of Til go 
 no more to the Neio Exchange ; " beginning — 
 
 "Never will I wed a girl that's coy, For, if too coy, then I must court 
 
 Nor one that is too free ; For a kiss as well as any ; 
 
 But she alone shall be my joy And if too free, I fear o' th' sport 
 
 That keeps a mean*" to me. I then may have too many," &c. 
 
 In Wit Restored, in severall select Poems, not formerly puUisht, 1658, there are 
 two songs, The Burse of Reformation, and The Answer. The first commencing — 
 " We will go no more to the Old Exchange, And we have it henceforth call'd 
 There's no good ware at all ; The Burse of Eeformation. 
 
 Their bodkins, and their thimbles, too. Come, lads and lasses, what do you lack ? 
 
 Went long since to Guildhall. Here is ware of all prices ; 
 
 But we will go to the New Exchange, Here's long and short, here's wide and 
 Where all things are in fashion ; Here are things of all sizes, [straight; 
 
 and the Answer — 
 
 "We will go no more to the New Exchange, Gold chaines and ruffes shalt beare the bell. 
 Their credit's like to fall. For all your reformation. 
 
 Their money and their loyalty Look on our walls, and pillars too. 
 
 Is gone to Goldsmiths' Hall." You'll find us much the sounder : 
 
 But we will keep our Old Exchange, Sir Thomas Gresham stand? upright. 
 
 Where wealth is still in fashion. But Crook-back was your founder." 
 
 These have been reprinted in " Satirical Songs and Poems on Costume," for the 
 Percy Society, by F. W. Fairholt, F.S.A. Another equally curious song for the 
 
 * Strype, in his edition of Stow's ZoMfZon, book vi., p. 75, things; where we saw some new-fashion pettycoats of 
 
 nays "In the place where certain old stables stood, belong- sarcenet, with a black broad lace printed round the bottom 
 
 ing to this house [Durham House] , is the New Exchange ; and before ; very handsome, and my wife had a mind to 
 
 being furnished with shops on both sides the wails, both one of them." 
 
 below and above" stairs, for milliners, sempstresses, and i' Mean, i.e., a middle course; the mean beingthe inter- 
 other trades, and is a place of great resort and trade for mediate part, or parts, between the treble and tenor. If 
 the nobility and gentry, and such as have occasion for there were two means, as in the lute, the lower was called 
 such commodities." It was opened April Hth, 1609, in the greater; the upper, the lesser mean. 
 the presence of James I. and his Queen, and taken down « The place appointed for the reception of fines imposed 
 in 1737. Coutts' Banking House now stands upon the upon the Royalists ; and for loans, etc., to the Puritanic 
 site. Pepys, in his Diary, 1.1th April, 1662, says, '"With party. 
 my wife by coach. to the New Exchange, to buy her some 
 
318 
 
 ENGLISH SONG AND BALLAD MUSIC. 
 
 manners and fashions of the day, is " The New Exchange," in Merry Drollery 
 Complete, 1670, p. 134 ; commencing — 
 
 I'll go no more to the Old Exchange, 
 There's no good ware at all ; 
 
 But I will go to the New Exchange, 
 Call'd Haberdashers' Hall : 
 
 For there are choice of knacks and toys, 
 The fancy for to please ; 
 Lively. 
 
 it 
 
 For men and maids, for girls and boys, 
 And traps to catch the fleas. 
 
 There you may buy a Holland smock, 
 That's made without a gore,'' &c. 
 
 
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 I'll go no more to the New Ex-change, There is no room at 
 
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 all. It is so throng'd and crowded by the gallants of White - hall. 
 
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 But I'll go to the Old Exchange, Where old things are in fashion ; For 
 
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 now the Kew's be - come the shop Of this bless - ed Re for - mation. 
 
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 Come, my new Courtiers, what d'ye laclc? Good con - scien - ces ? if you do. Here's 
 
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 long and wide, the on - ly wear, The straight will trou - ble 
 
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 you. 
 
REIGNS OF JAMES I. AND CUARLES I, 
 
 319 
 
 THE FAIREST NYMPH THE VALLEYS. 
 This, like In sad and ashy weeds (p. 202), or like Fear no more the heat of the 
 sun, in Shakespeare's Oymheline, is a sort of dirge, a mourning or funeral song. 
 The copy in the Roxburghe Collection, i. 330, is entitled " The Obsequy of 
 Faire Phillida : with the Shepherds' and Nymphs' Lamentation for her losse. 
 To a neiv court tune." The music is contained in a MS. volume of virginal 
 music transcribed by Sir John Hawkins, and in Starter's Friesclie Lust-Hof, 
 1634, under its English name. In the library of the British Museum there is a 
 copy of " Psalmes or Songs of Sion, turned into the language and set to the tunes 
 of a Strange Land, by W[illiam] S[latyer], intended for Christmas Carols, and 
 fitted to divers of the most noted and common, but solemne tunes, every where 
 in this land familiarly used and knowne." 1642. Upon this copy a former 
 possessor had written the names of the tunes to which they were designed to be 
 sung. These are. The fairest Nymph the valleys ; All in a garden greeii ; Bara 
 Faustus^ Dreame ; Crimson velvet ; What if a day, or a month, or a year ? Fair 
 Angel of England ; Dulcina; Walsingham ; and Jane Shore.'' 
 ■ Hith expression. 
 
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 The fair-est nymph the val-leys Or mountains e - ver bred, The 
 On whom they oft have tend - ed And ca - rol'd in the plains, And 
 
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 shepherd's joy, So beau-ti-ful and coy. Fair Phi- li - da is dead! 
 for her sake, SweetRounde-laysdid make. Ad - mir'd by youthful swains. 
 
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 cruel fate, the beau-ties en-vying Of this blooming rose, So 
 
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 close. With a frost un-kind-ly Nipt the bud untime-ly. So a-way her glo-ry goes. 
 
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 All the tunes here named will be found in this Collection. 
 
320 
 
 ENGLISH SONG AND BALLAD MUSIC. 
 
 The sheep for woe go bleating, 
 That they their goddess miss, 
 
 And sable ewes. 
 
 By their mourning, shew 
 Her absence, cause of this. 
 The nymphs leave off their dancing, 
 Pan's pipe of joy is cleft. 
 
 For great his grief, 
 
 He shunneth all relief. 
 Since she from him is reft. 
 Come, fatal sisters, leave your spools," 
 Leave 'weaving' altogether. 
 That made this flower to wither. 
 
 Let envy, that foul vipress, 
 
 Put on a wreath of cypress. 
 Sing sad dirges altogether. 
 
 Diana was chief mourner 
 At these sad obsequies, 
 Who with her train 
 Went tripping o'er the plain, 
 Singing doleful elegies. 
 Menalchus and Amintas, 
 And many shepherds moe,'' 
 
 With mournful verse. 
 Did all attend her hearse, 
 
 And in sable saddles go. 
 Flora, the goddess that us'd to beautify 
 
 Fair Phillis' lovely bowers 
 
 With sweet fragrant flowers, 
 Now her grave adorned. 
 And with flowers mourned, 
 
 Tears thereon in vain she pours. 
 
 Venus alone triumphed 
 To see this dismal day. 
 
 Who did despair 
 
 That Phillida the fair 
 Her laws would ne'er obey. 
 The blinded boy his arrows 
 And darts were vainly spent ; 
 
 Her heart, alas, 
 
 Impenetrable was, 
 And to love would ne'er assent. 
 At which aflront, Citharea repining, 
 Caus'd Death with his dart 
 To pierce her tender heart ; 
 
 But her noble spirit 
 
 Doth such joys inherit, 
 ' As' from her shall ne'er depart. 
 
 HUNTING THE HARE. 
 
 " Of prikyng and of hunting for the Hare 
 Was al his lust, for no cost wolde he spare." 
 
 Chaucer's Description of a Mmik. 
 
 Hunting has always been so favorite an amusement ■witli the English, that the 
 great variety of songs upon the subject will excite no surprise. Those I have 
 printed, of the reign of Henry VHI., relate either to deer or fox-hunting; but 
 Henry was no less careful of the minor sport, as may be seen by an act of 
 Parliament (passed anno 14-15 of his reign), entitled " An Act concerning 
 the Hunting of the Hare." It recites that, " For as muche as oure Soveraigne 
 Lorde the Kinge, and other noblemen of this realme, before this time hath 
 used and exercised the game of huntynge the hare, for their disporte and 
 pleasure, which game is now decayed and almost utterly dystroied for that 
 divers parties of this realme, by reason of the trasinge in the snow, have killed 
 and destroied, and dayly do Mile and distroy the same hares, by fourteen or six- 
 teen upon a daye, to the dyspleasure of our Soveraigne Lorde the Kinge and 
 other noblemen," &c. ; therefore the act fixes a penalty of six shillings and eight- 
 pence (a large sum in comparison with the value of the hares in those days) for 
 every one so killed. Henry seems, also, to have considered the sale of hunting- 
 
 ' A spool to wind yarn upon. 
 
 * More. 
 
REIGNS OF JAMES I. AND CHARLES I. 321 
 
 horns of sufficient importance, as a source of revenue, to affix an export duty of 
 four shillings per dozen upon them." 
 
 "A Songe of the huntinge and killinge of the Hare" was entered on the 
 registers of the Stationers' Company, to Richard Jones, on June 1, 1577, but the 
 entry contains no clue to the words, or to the air. 
 
 The tune of the present song may be traced back to the reign of James I. ; 
 but, both in his reign, and in that of his predecessor, hunting was so favorite a 
 sport, and hunting songs so generally popular, that the introduction of either on 
 the stage was thought a good means of assisting the success of a play. 
 
 Wood tells us that in Richard Edwardes' comedy of Palcemon and Arcyie 
 (which was performed before Queen Elizabeth, in Christ Church Hall, Oxford" on 
 the 2nd and 3rd September, 1566) "A cry of hounds was acted in the quadrant 
 upon the train of a fox, in the hunting of Theseus; with which the young 
 scholars, who stood in the remoter part of the stage and windows, were so much 
 taken and surprised, supposing it to be real, that they cried out, ' There, there 
 — he's caught, he's caught ! ' All which the Queen, merrily beholding, said, 
 ' Oh, excellent ! These boys, in very truth, are ready to leap out of the windows 
 to follow the hounds.' " 
 
 James was passionately fond of hunting ; and Anthony Munday, in his play. 
 The Downfall of Hobert, Earl of Huntington, thus deprecates his displeasure and 
 that of the audience for not having introduced hunting songs, or resorted to the 
 other usual expedients to ensure applause. In act iv., so. 2, Little John says — 
 "Methiuks I see no jesta of Eobin Hood; 
 No merry Morrioes of Friar Tuck ; 
 No pleasant skippings up and down the wood ; 
 No hunting songs ; no coursing of the buck. 
 Pray God this play of ours may have good luck, 
 And the King's Majesty mislike it not." 
 I have printed one song on hare-hunting, of James' reign {Master Basse his 
 Careers, or The New Sunting of the Hare), at p. 256. Another song, entitled 
 " The Hunting of the Hare, with her last will and testament, 
 As it was performed on Bamstead Downs, 
 By coney-catchers and their hounds," 
 was printed by Coles, Vere, and Wright, and will be found in Anthony k Wood's 
 Collection. It commences thus — 
 
 " Of all delights that earth doth yield, 
 Give me a pack of hounds in field, 
 Whose echo shall, throughout the sky. 
 Make Jove admire our harmony. 
 And wish that he a mortal were, 
 To share the pastime we have here." 
 No tune is indicated in the copy, and it could not have been sung to this air, 
 
 » This will be found in "The Rates of the Custome " Clarycordes, the payre, 2s.; Harpe Strynges, the boxe, 
 
 House, both inwarde and outwarde, very necessarye 10s.; Lute Strynges, called Myuikins, the groce, 22d. ; 
 
 for all Merchantes to knowe. Imprinted at London, by Orgons, the payre, nt sint in valore; Wyer for Clary- 
 
 me, Rycharde Kele, dwellynge at the longe shoppe In the cordes, the pound, 4d.; Virginales, the payre, 3s. 4d. ; 
 
 Poultrye, under Saynt Myldreds Churche." 1645. Among Whisteling Bellowes, the groc, 8s. 
 the import duties relating to music, will be found— 
 
322 ENGLISH SONG AND BALLAD MUSIC. 
 
 In Wit and Drollery, and in several other publications, is a song, entitled 
 The Sunt, commencing — 
 
 " Clear is the air, and the morning is fair, 
 
 Fellow huntsmen, come wind me your horn ; 
 Sweet is the breath, and fresh is the earth 
 That melteth the rime from the thorn." 
 Munting the Save is also in the list of the songs and ballads printed by William 
 Thackeray, at the Angel in Duck Lane, in the early part of the reign of 
 Charles II., and it is, in all probability, the song to this tune (commencing — 
 
 " Songs of shepherds, and rustical roundelays "), 
 because the tune was then popular, and the words are to be found near that time 
 in Westminster Drollery, part ii. (1672); as well as afterwards in Wit and 
 Drollery, 1682; in the Oollection of Old Ballads, 8vo., 1727; in Miscellany 
 Poems, edited by Dryden, iii. 309 (1716) ; in Ritson's, Dale's, and other 
 Collections of English Songs. 
 
 The first copy of the tune that I have discovered is in Playford's Mimck's 
 Recreation on the Lyra Viol, 1652 ; the second is in MusicMs Recreation on the 
 Viol, Lyra-way, 1661. In both publications it is entitled Room for Cuckolds, 
 
 Pennant speaking of Rychard Middleton (father of Sir Hugh Middleton), says, 
 " Thomas, the fourth son, became Lord Mayor of London, and was the founder of 
 the family of Chirk Castle. It is recorded that having married a young wife in 
 his old age, the famous song of Room for Cuckolds, here comes my Lord Mayor ! 
 was invented on the occasion." — Pennant's Tours in Wcdes, ii. 152 (1810). 
 Thomas Middleton was Lord Mayor of London in 1614. Pennant gives the 
 Sebright MSS. as his authority for the anecdote. 
 
 In the Pepys Collection, i. 60, will be found, "A Scourge for the Pope; 
 satyrically scourging the itching sides of this obstinate brood, in England. To 
 the tune" of Room for Oucholds." It is one of Martin Parker's early songs: 
 " Printed by John Trundle, at his shop in Smithfield," and signed, " Per me, 
 Martin Parker." Another song, which bears this title of the tune, is contained 
 in vol. xvi. of the King's Pamphlets Brit. Mus., and dated in MS., 1659. It is 
 also quoted, by the same name, in Folly in print, or A Book of Rhymes, 1667, in 
 the song, " Away from Romford, away, away." 
 
 A third, and perhaps the earliest name for the air, is Room for Company ; 
 apparently derived from a ballad in the Pepys Collection, i. 168, entitled and 
 commencing, " Room for Company, here comes good fellowes. To a pleasant new 
 tune." Imprinted at London for E. W. This was perhaps Edward White, a 
 ballad-printer of Elizabeth's reign, and of the earliest part of that of .James I. 
 
 In Pills to purge Melancholy, vi. 136, there is a song about the twelve great 
 Companies of the city of London, printed to this tune, and commencing — 
 " Room for gentlemen, here comes my Lord Mayor." 
 
 In the Roxburghe Collection, i. 538, is, " The fetching home of May ; or — 
 " A pretty new ditty, wherein is made known. 
 How each lass doth strive for to have a green gown. 
 To the tune of Room for Company. " Printed for J. Wright, jun., .dwelling 
 
REIGNS OF JAMBS I. AND CHARLES I. 
 
 323 
 
 at the upper end of the Old Bailey (about 1663). It is also contained in the 
 Antidote to Melancholy, 1661; and in Pills to purge Melancholy, ii. 26 (1707), 
 or iv. 26 (1719). 
 
 The first stanza is subjoined, with the earlier version of the tune. 
 Smoothly, and in moderate time. 
 
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 Pan, leave piping, The Gods have done feasting, There's never a Goddess a 
 
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 hunting to-day ; Mor - tals marvel at Co - ri-don's jesting. That gives them assistance to 
 
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 en - ter-tain May. The lads and the lass - es, With scarves on their fa - ces, So 
 
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 lively time pass - es, Trip o - ver the downs : Much mirth and sport they make, 
 
 
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 Eun-ning at Barley-break, Good lack, what pains they take For a green gown. 
 
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 In the Antidote to Melancholy, and in Pills to purge Melancholy, the above song 
 is printed under the title of The Green Crown, a name derived from the last line of 
 each stanza of the song. In Musick ci-la-Mode ; or The young Maid's Delight : 
 
324 
 
 ENGLISH SONG AND BALLAD MUSIC. 
 
 containing Jive excellent new songs sung at the Drolls in Bartholomew Fair, 1691, 
 there is another song, under the name of The Green Crown, " to an excellent play- 
 house tune." 
 
 The tune of Hunting the Mare is now in common use for comic songs, or for 
 such as require great rapidity of utterance ; but it has also been employed as a 
 slow air. For instance, in Gay's ballad-opera of Achilles, 1733, it is printed 
 in I time, and entitled " A Minuet." 
 
 _/ Fast. Hunting the Hare. 
 
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 Songs of shepherds and ms-ti-eal roundelays, Form'd of fancies, and whistled on reeds, 
 
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 Sung ix) solace young nymphs up-on ho - li - days, Are too un-worthy for wonderful deeds. 
 
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 J>U>^ I rJ^ f^^^rP"^ P^ Tp^ 
 
 P ores. 
 
 Sot-tish Si - le-nus To Phoehus the genius Was sent by dame Ve-nus a song to prepare, 
 
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 In phrase nicely coin'd, And in verse quite refin'd. How the states divine hunted the hare, 
 
 Stars quite tir'd with pastimes Olympical, 
 
 Stars and planets which beautiful shone, 
 Could no longer endure that men only shall 
 Swim in pleasures, and they but look on ; 
 
 Round about homed 
 
 Lucina they swarmed, 
 And her informed how minded they were. 
 
 Each god and goddess. 
 
 To take human bodies, 
 As lords and ladies, to follow the hare. 
 
 Chaste Diana applauded the motion, 
 
 While pale Proserpina sat in her place. 
 To light the welkin, and govern the ocean, 
 While she conducted her nephews in chase : 
 
 By her example, 
 
 Their father to trailiple. 
 The earth old and ample, they soon leave the air ; 
 
 Neptune the water, 
 
 And wine Liber Pater, 
 And Mars the slaughter, to follow the hare. 
 
REIGNS OF JAMES I. AND CHARLES I. 
 
 325 
 
 Light god Cupid was mounted on Pegasus, 
 
 Lent by the Muses, by kisses and pray'rs; 
 Strong Alcides, upon cloudy Caucasus, 
 
 Mounts a centaur, whioh proudly him bears; 
 Postilion of the sky, 
 Light-heeled Mercury 
 Soon made his courser fly, fleet as the air; 
 Tuneful Apollo, 
 The kennel did follow, 
 And whoop and halloo, boys, after the hare. 
 
 Drown'd Narcissus from his metamorphosis, 
 
 Rous'd by Echo, new manhood did take ; 
 Snoring Somnus upstarted from Cimmeris, 
 Before, for a thousand years, he did not 
 
 There was club-footed [wake ; 
 
 Mulciber booted, 
 And Pan promoted on Corydon's mare ; 
 
 Proud Pallas pouted, 
 
 Loud jEolus shouted, 
 And Momus flouted, yet followed the hare. 
 
 Hymen ushers the lady Astraea, 
 
 The jest took hold of Latona the cold ; 
 Ceres the brown, with bright Cytherea ; 
 Thetis the wanton, Bellona the bold ; 
 
 Skame-fac'd Aurora, 
 
 With witty Pandora, 
 And Maia with Flora did company bear ; 
 
 But Juno was stated 
 
 Too high to be mated. 
 Although she hated not hunting the hare. 
 
 Three brown bowls to th' Olympical rector. 
 The Troy-born boy presents on his knee ; 
 Jove to Phoebus carouses in nectar, 
 
 And Phoebus to Hermes, and Hermes to 
 Wherewith infused, • [me ; 
 
 I piped and I mused. 
 In language unused, their sports to declare : 
 Till the house of Jove 
 Like the spheres did move : — 
 Health to those who love hunting the hare ! 
 
 THE CROSSED COUPLE. 
 This tune is referred to under three names, viz., The Crossed Couple, Hyde 
 Park, and Tantara rara tantivee. 
 
 The ballad of " The Crost Couple : to a new Northern tune much in fashion," 
 is in the Roxburghe Collection, ii. 94. In the same volume, at p. 379, is " News 
 from Hide Park," &c., "to the tune of The Crost Couple." 
 
 The burden of " News from Hide Park " (as will be seen by the verse printed 
 below with the music) is Tantara rara tantivee; and in the Bagford Collection 
 (p. 170), the tune is quoted under that name, in "A pleasant Dialogue betwixt 
 two wanton Ladies of Pleasure ; or. The Duchess of Portsmouth's woful farewell 
 to her former felicity." This ballad is a supposed conversation between Nell 
 Gwyn and Louise Renee de Penencourt de Querouaille (vulgarly, Madame 
 Carwell), whom Charles II. created Duchess of Portsmouth. 
 
 Nell Gwynn was as popular with the ballad-singers, from her many redeeming 
 qualities, as the Duchess of Portsmouth (being a Roman Catholic, and supposed 
 to send large sums of money to her relations in France) was out of favour with 
 them.* The ballad commences thus : — 
 
 " Brave gallants, now listen, and I will you tell, 
 
 With a fa la la, la fa, la la. 
 Of a pleasant discourse that I heard at Pell-Mell, 
 With a fa la la, la fa, la la, &c. 
 
 * On the following page, in the same collection, there 
 is another Dialogue between the Duchess of Portsmouth 
 and Nell Gwyn, on the supposed intention of the former 
 to retire to France with the money she had acquired. It 
 is entitled, " Portsmouth's Lamentation : Or a Dialogue 
 between two amorous Ladies, E. G. and D. P. 
 •' Dame Portsmouth was designed for France 
 But therein was prevented ; 
 Who mourns at this unhappy chance, 
 And sadly doth lament it. 
 
 To the tune of Tom the Taylor, or Tiiua Galea,*' 
 
 It commences thus : — 
 
 " I prithee, Portsmouth, tell me plain, 
 Without dissimulation, 
 When dost thou home return again. 
 
 And leave this English nation f 
 Your youthful days are past and gone. 
 
 You plainly may perceive it. 
 Winter of age is coming on, 
 'Tis true — you may believe it." 
 Nine stanzas, " Printed for C. Dennisson, at the Stationers 
 Arms, within Aldgate." 
 
326 
 
 ENGLISH SONG AND BALLAD MUSIC. 
 
 The ballad of News from Hide Park is also printed, with the tune, in Pills to 
 purge Melancholy, ii. 138 (1700 and 1707). Cunningham, in his Eand-looh of 
 London, says of Hyde Park ; — " In 1550, the French Ambassador hunted there 
 with the King ; in 1578, the Duke Casimer ' killed a barren doe with his piece, 
 in Hyde Park, from amongst 300 other deer.' In Charles the First's reign, it 
 became celebrated for its foot and horse races round the Ring ; in Cromwell's 
 time, for its musters and coach races ; in Charles the Second's reign, for its drives 
 and promenades — a reputation which it still retains." (Edit. 1850, p. 241.) 
 This ballad was printed in the reign of Charles II. The following are the three 
 first stanzas. 
 Gaily. 
 
 ^ 
 
 ^ mfrrfj^m 
 
 r 
 
 One ev'-tiing a lit -tie be -fore it was dark, Sing tan-ta-ra, ra - ra, tan • 
 I call'd for my gelding, and rode to Hyde Park, Sing tan-ta-ra, ra - ra, tan ■ 
 
 ^yiH^ 
 
 ^ 
 
 f^m^^m 
 
 ^ 
 
 ?=p= 
 
 ^ 
 
 ti - vpe'^^^'^*^™ "^® merry mouth of MayjWhen meadows and fields were gaudy and gay, And 
 
 
 m 
 
 '*—* 
 
 ^ 
 
 $ 
 
 ^ 
 
 flowers apparrell'd as bright as the day. 
 
 up-on my tan - ti - vee. 
 
 The Park shone brighter than the skies, 
 
 Sing tantara rara tantivee. 
 With jewels, and gold, and ladies' eyes, 
 
 That sparkled and cried, " Come see me ; " 
 Of all parts of England Hyde Park hath the 
 
 [name 
 For coaches, and horses, and persons of fame ; 
 It look 'd, at first sight, like a field full of flame, 
 
 There hath not been such a sight since Adam's, 
 
 For perriwig, ribbon, and feather ; 
 Hyde Park may be termed the market for 
 Or lady-fair, choose you whether, [madams, 
 Their gowns were a yard too long for their legs. 
 They show'd like the rainbow cut into rags, 
 A garden of flowers, or navy of flags, 
 When they did all mingle together. 
 
 Which made me ride up tantivee 
 
 Another tune called Hide Park is to be found in the earliest editions of The 
 Dancing Master, and there are ballads in a different metre, such as "A new ditty 
 of a Lover, tost hither and thither, that cannot speak his mind when they are 
 together," by Peter Lowberry (Roxburghe, i. 290) ; commencing thus : — 
 
EBIGNS OF JAMES I. AND CHARLES I. 
 
 327 
 
 " Alas ! I am in love, 
 And cannot speak it ; 
 My mind I dare not move, 
 Nor ne'er can break it. 
 
 She doth so far excel 
 All and each other, 
 
 My mind I cannot tell, 
 When we're toa-ether.' 
 
 In the Pepys Collection, i. 197, is a ballad, " The Defence of Hide Parke from 
 some aspersions cast upon her, tending to her great dishonour : To a curious new 
 Court tune." It is in ten-line stanzas, and commences, " When glistering Phoebus." 
 " Printed at London for H[enry] G[osson]." Also, at i. 188, "The praise of 
 London : or, A delicate new Ditty, which doth invite you to faire London City. 
 To the tune of the second part of Side Parke." 
 
 In Westminster Drollery, 1671, there is another song called " Hide Park : the 
 tune. Honour invites you to delights — Oome to the Court, and be all made Knights ; " 
 commencing — "Come, all you noble, 
 
 You that are neat ones," &c. 
 A copy of the ballad. Come to the Court, and be all made Knights, will be found in 
 Addit. MSS., Brit. Mus., No. 5,832, fol. 205, entitled "Verses upon the Order 
 for making Knights of such persons who had 40^. per annum, in King James 
 the First's time." Both James I. and Charles I. resorted to this obnoxious ex- 
 pedient for raising money. According to John Philipot, Somerset Herald, in his 
 . Perfect Collection or Catalogue of all Knights Batchelours made by King James, 
 since his coming to the Crown of England, 1660, James I. created 2,323 Knights, 
 of whom 900 were made the first year of his reign. 
 
 Shepherds, leave singing your pastoral sonnets, 
 " Come all you farmers out of the country. And to learn compliments shew your en- 
 
 Carters, ploughmen, hedgers, and all ; [deavours ■ 
 
 Tom, Dick, and Will, Ralph, Roger, and Cast off for ever your two shilling bonnets, 
 
 [Humphrey, Cover your coxcombs with three pound 
 
 Leave off your gestures rusticall. 
 Bid all your home-spun russets adieu. 
 And suit yourselves in fashions new ; 
 Honour invites you to delights — 
 Come all to Court, and be made Knights. 
 
 He that hath forty pounds per annum 
 Shall be promoted from the plough ; 
 
 His wife shall take the wall of her grannum. 
 Honour is sold so dog-cheap now. [ingj 
 
 Though thou hast neither good birth nor breed- 
 
 If thou hast money thou'rt sure of speeding. 
 Honour invites you, &c. 
 
 [beavers. 
 
 Sell cart and tar-box, new coaches to buy, 
 
 Then, 'Good, your worship,' the vulgar will 
 
 Honour invites you, &c. E'^'^y- 
 
 And thus unto worship being advanced, 
 
 Keep all your tenants in awe with your 
 
 [frowns. 
 And let your rents be yearly enhanced. 
 
 To buy your new-moulded madams new 
 
 [gowns. 
 Joan, Siss, and Nell, shall all be ladyfied. 
 Instead of hay-carts, in coaches shall ride. 
 Honour invites you, &c. 
 
 Knighthood, in old time, was counted an Whatever you do, have a care of expences ; 
 
 fhonour '■'' hospitality do not exceed; 
 
 Which the blest spirits did not disdain ; 
 But now it is used in so base a manner. 
 
 That it's no credit, but rather a stain. 
 Tush, it's no matter what people do say, 
 The name of a Knight a whole village will 
 
 Honour invites you, &c. [sway. 
 
 Greatness of followers belongeth to princes, 
 A coachman and footman are all that you 
 
 [need. 
 And still observe this — Let your servants meat 
 
 [lack, 
 To keep brave apparel upon your wife's back. 
 Honour invites you," &c. 
 
328 ENGLISH SONS AND BALLAD MUSIC. ' 
 
 Another version of this ballad is printed in the Rev. Joseph Hunter's History 
 of Sheffield (p. 104), from " a small volume of old poetry in the Wilson Collec- 
 tions." It is there entitled, " Verses on account of King Charles the First raising 
 money by Kjiighthood, 1630." Shepherds are said to wear ten-penny, instead of 
 " two shilling," bonnets in that version ; and it has the following concluding 
 stanza : — " Now to conclude and shut up my sonnet, 
 
 Leave off the cart, whip, hedge-bill, and flail; 
 This is my counsel, think well upon it, 
 
 Knighthood and honour are now put to sale. 
 Then make haste quickly, and let out your farms. 
 And take my advice in blazing your arms. 
 Honour invites you" &c. 
 The above would suit the tune of Hunting the Hare. 
 
 NEW MAD TOM OF BEDLAM, ok BIAD TOM. 
 
 The earliest printed copy hitherto discovered of the music of this celebrated 
 song, which retains undiminished popularity after a lapse of more than two cen- 
 turies, is to be found in the first edition of The Mnglish Dancing Master, 1660-61. 
 This is one of the earliest known publications by Playford, before whose time music 
 was sparingly printed, and small pieces, such as songs, ballad and dance tunes, or 
 lessons for the virginals, were chiefly to be bought in manuscript, as they are in 
 many parts of Italy at the present time. In the first edition of The Dancing 
 Master the tune is called Grray' s-Inne Maske, and in later editions (for instance, 
 the fourth, printed in 1670) Q-ray'' s-Inne Maske; or, Mad Tom. The black- 
 letter copies of the ballad, in the Pepys Collection (i. 602) ; in the Bagford 
 (64-3, m. 9, p. 62) ; and the Roxburghe (i. 299), are entitled Mw Mad Tom of 
 Bedlam ; or, — " The Man in the Moone drinks claret,* 
 
 \^'ith powder'd beef, turnip, and carret," &c. 
 
 " The tune is Gray's-Inn Maske." 
 
 It was formerly the custom of gentlemen of the Inns of Court to hold revels 
 four times a year,^ and to represent masks and plays in their own Halls, or else- 
 
 ? The ballad is usually printed with another, which is also It makes an old man lusty, 
 
 entitled " The New Mad Tom; or. The Man in the Moon The young to hrawl, 
 
 drinks Claret, as it was lately sung at the Curtain, Holy- And the drawers up call, 
 
 well, to the same tune." The Curtain Theatre (according Before being too much musty, 
 
 to Malone and Collier) was in disuse at the commence- ■ Whether you drink all or little, 
 
 ment of the reign of Charles I. (1625). This ballad has Pot it so yourselves to wittle; 
 
 three long verses, in the same measure, and evidently in- Then though twelve 
 
 tended to be sung to the same music. The first is as A clock it he, 
 
 follows;— Yei" all the way go roaring. 
 
 *' Eacchus, the father of drunken nowls, If the band 
 
 Full mazers, beakers, glasses, howls, Of bills cry stand, 
 
 Greezie flap-dragons, Flemish upsie freeze. Swear that you must a. 
 
 With health stab'd in arms upon naked knees ; Such gambols, such tricks, such fegarie's, 
 
 Of all his wines he makes you tasters, We fetch though we touch no canaries ; 
 
 So you tipple like bumbasters ; Drink wine till the welkin roars, 
 
 Drink till yonreel, a welcome he doth give ; ^"^ cry out » "f yo"r scores." 
 
 O how the boon elaret makes you live ; ^ Another curious custom, of obliging lawyers to dance 
 
 Not a painter purer colours shows four times a year, is quoted from Dugdale by Sir John 
 
 Then what's laid on by claret. Hawkins. {History of Music, vo\. iU, f. Uf.) "It is not 
 
 Pearl and ruby doth set out the nose, many years since the judges, in compliance with ancient 
 
 When thin small beer doth mar it ; custom, danced annually on Candlemas-day. And, that 
 
 Rich wine is good, nothing might be wanting for their encouragement in this 
 
 It heats the blood, excellent study (the law), they have very anciently had 
 
REIGNS OE JAMES I. AND CHARLES I. 329 
 
 where. A curious letter on the subject of a mask, which for some unexplained 
 reason did not take place, may he seen in Collier's History of Early Dramatic 
 Poetry and Annals of the Stage, vol. i., p. 268. It is addressed to Lord 
 Burghley, by " Mr. Frauncis Bacon " (afterwards Lord Bacon), who in 1588 dis- 
 charged the office of Reader of Gray's Lin. Many other curious particulars of 
 their masks may be found in the same work, and some in Sir J. Hawkins' History 
 of Music. For the Christmas Revels of the bar, see Mr. Payne Collier's note to 
 Dodsley's Old Plays, vol. vii., p. 311. Lawyers are now, generally speaking, a 
 music-loving class. The enjoyment of sweet sounds is to many the most accept- 
 able recreation after long study. They were also famous in former days for 
 songs and squibs. Some, too, were tolerable composers, for every one claiming to 
 be a gentleman learnt music. As their compositions are rather out of my present 
 subject, I will refer only to their rhyming propensities ; and, although much more 
 ample illustration might be given, two passages from letters of John Chamberlain 
 to Sir Dudley Carleton, printed in The Court of James I. (1849), will probably 
 suffice. On May 20, 1615, Chamberlain says, " On Saturday last the King went 
 again to Cambridge to see the play, Ignoramus, which hath so nettled the lawyers, 
 that they are almost out of all patience ; and the Lord Chief Justice [Sir E. 
 Coke] both openly at the King's Bench, and divers other places, hath galled and 
 glanced at scholars with much bitterness ; and there he divers Inns at Court have 
 made rhymes and ballads against them, which they have answered sharply enough." 
 (i. 363.) Again in the letter of Nov. 23, 1616, " Here is a bold rhyme of 
 our young gallants of Inns of Court against their old benchers, and a pretty 
 epigram upon the Lord Coke, and no doubt more will follow ; for when men are 
 down, the very drunkards make rhymes and songs upon them." (i. 444.) 
 
 The authorship of the music of this song has been a subject of contention ; and 
 so little have dates been regarded, that it has long passed as the composition of 
 Henry Purcell, and is still published with his name. Walsh paved the way to 
 this error (in which Ritson and many others followed), by including it in 
 a collection of " Mr. Henry Purcell's Favourite Songs, out of his most cele- 
 brated Orpheus Britannicus, and the rest of his works." It is not contained in 
 the Orpheus Britannicus (which was published by Purcell's widow), and the music 
 may still be seen as printed eight years before Purcell's birth. 
 
 In a note upon the passage before quoted from Walton's Angler, Sir J. 
 Hawkins adds, " This song, beginning, ' Forth from my dark and dismal cell,' 
 with the music to it, set by Henry Laioes, is printed in a book, entitled Choice 
 Ayres, Songs, and Dialogues to sing to the Theorbo-Lute and Bass Viol, fol. 1675 ; 
 and in Playford's Antidote against Melancholy, 8vo., 1669." 
 
 dancings for their recreations and delight, commonly Feb. 7 Jac, it appears that the under-barristers were by 
 
 called Revels, allowed at certain seasons ; and that, by decimation put out of Commons for example's sake, be- 
 
 special order of the society, as appeareth in 9 Hen. VI.j cause the whole bar offended by not dancing on the 
 
 there should be four Revels that year, and no more," &c. Candlemas-day preceding, according to the ancient order 
 
 And again he says, " Nor were these exercises of dancing of this society, when the judges were present ; with this, 
 
 merely permitted, but thought very necessary, as it seems, that if the like fault were afterwards committed, they 
 
 and much conducing to the making of gentlemen morefit should be fined or disbarred." 
 for their books at other times ; for, by an order made 6th 
 
330 
 
 ENGLISH SONG AND BALLAD MUSIC. 
 
 Sir John Hawkins must have had some reason, -which he does not assign, for 
 attributing the composition to Henry Lawes. It is not contained in either of the 
 printed collections of Lawes' songs, nor have I been able to find any copy with his 
 name attached to it. Sir John seems to be mistaken, because Lawes did not 
 enter the Chapel Royal untU 1626, and the Curtain Theatre, at which one of the 
 songs to the tune were sung,'- was in disuse at the commencement of the reign of 
 Charles I. (1625). We must therefore look to an earlier composer. 
 
 One of the Addit. MSS., Brit. Mus. (No. 10,444) is a collection of Mask- 
 tunes, and there are several in that collection entitled " Gray's Inn." See 
 Nos. 50, 51, 91, 99, &c. If Nos. 60 and 99 are from the same Mask (which is 
 not improbable), Mad' Tom may be the composition of Lawes' master, John 
 Cooper, called " Cuperario " after his visit to Italy. No. 50, the first of the 
 above tunes, is there called "Cuperaree, or Gray's Inn;" No. 51, "Gray's In 
 Anticke Masque;" and No. 99 (the tune in question), " Gray's Line Masque." 
 
 There is an equal uncertainty about the authorship of the words. In Walton's 
 Angler, 1653, Piscator says, "I'll promise you I'll sing a song that was lately 
 made at my request by Mr. William Basse, one that made the choice songs of 
 The Hunter in his career, and Tom of Bedlam, and many others of note." There 
 are, however, so many Toms of Bedlam, that it is impossible to determine, from 
 this passage, to which of them Isaak Walton refers. 
 
 In addition to the broadsides, and a copy in Le Prince d'' Amour, 1660, there is 
 in MSS. Harl., No. 7,332, a version in the handwriting of " Fearegod Barebone, of 
 Daventty, in the county of Northampton," who, " beinge at many times idle, and 
 wanting imployment, bestoed his time with his penn and incke wrighting thease 
 sonnets, songes, and epigrames, thinkinge that it weare bettar so to doe for the 
 mendinge of his hand in wrighting, then worse to bestow his time." Master 
 Fearegod Barebone was, no doubt, a puritanical hypocrite; and wrote this excuse 
 about improviag his handwriting, to be prepared in case the book should fall into 
 " ungodly hands." No other inference can be drawn from his selection of some 
 of the songs in the manuscript. Mad Tom-, however, is not one of those objection- 
 able ditties, and, as being the oldest copy, I have here followed his manuscript. 
 The tune is from The Dancing Master, and differs somewhat from later versions. 
 
 Mad Tom was employed as a ballad tune in Penelope, 1728 ; and The Bay's 
 Opera, 1730. 
 
 ^ Majestically. 
 
 i 
 
 ^=j^ 
 
 ^ 
 
 » 
 
 ^^r.. 
 
 Forth from my sad and darksome cell, From the deep a - byss of Kell, Mad 
 Fear and despair pur - sue my soul, Hark, how the angry fu ries howl, Hu- 
 
 ;):i ,Sy> 
 
 ^ 
 
 ^ 
 
 art 
 
 ^ 
 
 s 
 
 " Mr. Payne Collier, in a note to Heber's Catalogue, 1675, the composer's name is not given, and it is printed 
 Part iv., p. 92, says that this song was sung at the Curtain without any base. 
 Theatre, about 1610. In Choice Ayres, 2nd edition, fol., 
 
RBiaNS OF JAMES I. AND CHAELES I. 
 
 331 
 
 ^^ 
 
 I 
 
 r # 4= ^= N 
 
 IZZS 
 
 ' ■ iimi 
 
 ■d — *• 
 
 Tom is come to view the world a-gain, To see if he can ease his dis - temper'd brain. .^; 
 -to doth laugh, and Pros-er - pine is glad To see poor naked Tom of Bed-lam mad. 
 
 m 
 
 9 4 r. 
 
 i--^^ ^ 
 
 iSi 
 
 -L^hJU ^ 
 
 
 Throughthewoods I wander night and day, To find my straggling senses, :lj: When 
 
 In an an-grymoodi met old Time With a whip for my of fences; 
 
 ^ 
 
 i 
 
 ^^ 
 
 ^^ 
 
 ^^f^^ 
 
 ^^ 
 
 h=m 
 
 Ima. 
 
 ^m 
 
 ¥^P^ 
 
 =Fi 
 
 ^^ 
 
 =1 
 
 ^ 
 
 -^ 
 
 he me spies, a - way he flies. For Time will stay for no man ; With , Cold and 
 
 hideous cries I rend the skies,How pi ty is not common.''''^ Help, oh 
 
 :*^ 
 
 t-.t 
 
 r'1^^^r^. i rr-.-^ 
 
 ^ 
 
 \ma. 2da. 
 
 ^ 
 
 r-L-f f f J i g 
 
 ^ 
 
 i 
 
 ^ 
 
 e 
 
 f^ 
 
 ^ 
 
 comfort -less I lie, hark ! I hear A - polio's team, The car -man 'gins to 
 
 help! or else I die. Now.^'iIIhasteDia - na bends her bow. The boar be - gins to 
 
 Kfr 
 
 ?^ 
 
 \ma. 
 
 2da. 
 
 ^ ^ H-T^^ 
 
 ^ 
 
 d 1 1 
 
 whistle ; v • t-i Come, Vulcan, with tools and with tac-kles. And knock off my troublesome 
 
 S: 
 
 :S= 
 
 i 
 
 t 
 
 at=M 
 
 yt 
 
 -rv 
 
 ^ 
 
 ~c^ 
 
 1" 
 
 shackles, Bid Charles make rea dy his wain, To fetch my five senses a 
 
 ^ 
 
 gam. 
 
 — ei- 
 
 ^ 
 
332 
 
 ENGLISH SONG AND BALLAD MUSIC. 
 
 Last night I heard the dog-star bark ; 
 Mars met Venus in the dark ; 
 Limping Vulcan het an iron bar, 
 And furiously he ran at the god of war. 
 Mars with hia weapons beset him about, 
 But Vulcan's temples had the gout, 
 And his horns did hang so in his light. 
 He could not see tb aim his blows aright. 
 Mercury, the nimble post of heaven. 
 
 Came to see the quarrel ; 
 Gor-bellied Bacchus, giant-like, 
 
 Bestrid a strong-beer barrel. 
 To me he drank, 
 I did him thank, 
 
 But I could get no cider ,* 
 He drank whole buts, 
 Till he brake his guts, 
 
 But mine be never the wider. 
 
 Poor Tom is very dry : 
 
 A little drink for charity ! 
 Now, hark! I hear Actseon's hounds, 
 
 The huntsman whoops and halloos ; 
 Ringwood, Roister, Bowman, Jowler, 
 
 And all the troop do follow. 
 The Man in the .Moon drinks claret. 
 Eats powder'd beef, turnip, and carrot, 
 But a cup of old Malaga sack 
 Will fire the bush at his back. 
 
 It will be observed that the second verse of the above is not now sung. 
 Another Mad Tom, composed by George Hayden, and commencing, " In my 
 triumphant chariot hurl'd," has been added to the first, to make a bravura. There 
 are even different copies of George Hayden's song, some having a | movement at 
 the close, which others have not. Hayden was the author of the still favorite 
 duet, " As I saw fair Clora." He flourished in the early part of last century. 
 
 TOM A BEDLAM. 
 
 In Le Prince d'Amour, 1660, there are no less than three songs entitled 
 Tom of Bedlam ; also Bishop Corbet's song, The distracted Puritan, which is to 
 the tune of Tom of Bedlam, 
 
 The first song (at p. 164) consists of eight stanzas, and commences thus : — 
 
 " Prom the top of high Caucasus, 
 To Paul's Wharf near the Tower, 
 
 In no great haste, I easily pass'd 
 In less than half an hour. 
 
 The gates, of old Byzantium 
 I took upon my shoulders, 
 
 And them I bore twelve leagues and more. 
 
 In spite of Turks and soldiers, [merry; 
 
 Sing, sing, and sob ; rnig^ sigh, and he 
 
 Sighing, singing, and soiling ; 
 Thus naked Tom aruay doth run, 
 
 And fears no cold nor rolling. 
 
 The second is at p. 167, and consists also of eight stanzas, of which the two 
 first are as follows : — 
 
 " Prom the hag and hungry goblin. 
 
 That into rags would rend you, [man 
 And the spirits, that stand by the naked 
 
 In the book of moons, defend you ; 
 That of your five sound senses^ 
 
 You never be forsaken, 
 Nor travel from yourselves with Tom 
 
 Abroad to beg your bacon. 
 While I do sing, 'Any food, any feeding, 
 
 Feeding, drink, or clothing ! 
 Come, dame or maid, he not afraid, 
 
 Poor Tom mill injure nothing^ 
 
 Of thirty bare years have I 
 
 Twice twenty been enraged ; 
 And, of forty, been three times fifteen 
 
 In durance soundly caged ; 
 On the lordly lofts of Bedlam, 
 
 With stubble soft and dainty, [dong, 
 Brave bracelets strong, and whips, ding- 
 
 And wholesome hunger plenty. 
 Yet did I sing, ' Any food, any feeding, 
 
 Feeding, drink, or clothing ! 
 Come, dame or maid, he not afraid. 
 
 Poor Tom will injttre nothing.' " 
 
 Ritson, who has reprinted the above two songs, supposes them " to have been 
 written by way of burlesque on such sort of things." (Ancient Songs, p. 261, 1790.) 
 
REIGNS OF JAMBS I. AND CHAKLBS I, 333 
 
 The third song (p. 169) is now commonly known as Mad Tom. It is in 
 another metre, and has a separate tune. (Ante p. 330.) 
 
 The fourth, commencing, "Am I mad, noble Festus," (p. 171), is here 
 printed to this tune. 
 
 In the Roxburghe Collection, i. 42, there is a song on the tricks and disguises 
 of beggars, entitled " The cunning Northerne Begger : 
 
 Who all the bystanders doth earnestly pray, 
 To bestow a penny upon him to-day : 
 to the tune of Tom of Bedlam." The first stanza is as follows : — 
 " I am a lusty begger, Yet, though I'm bare. 
 
 And live by others giving ; I'm free from care, 
 
 I scorne to worke, A fig for high preferments, [ffood sir, 
 
 But by the highway lurke, But still mill J cry, ' Good, your worship. 
 
 And beg to get my living. Bestow one poor denier, sir ; 
 
 I'll i' th' wind and weather. Which, when I've got, 
 
 And weare all ragged garments ! At the pipe and the pot, 
 
 I soon will it cashier, sir.' " 
 This copy of the ballad was printed " at London" for F. Coules, and may be 
 dated as of the reign of Charles, or James I. 
 
 In Wit and Drollery, 1656 (p. 126), there is yet another Tom of Bedlam, 
 beginning — '' Forth from the Elysian fields, a place of restless souls. 
 Mad Maudlin is come to seek her naked Tom, 
 Hell's fury she controls," &c. 
 This is printed in an altered form, and with an imperfect copy of the tune, in 
 Fills to purge Melancholy, ii. 192 (1700 and 1707), under the title of "Mad 
 Maudlin to find out Tom of Bedlam : " 
 
 " To find my Tom of Bedlam, ten thousand years I'll travel; 
 Mad Maudlin goes, with dirty toes, to save her shoes from gravel. 
 Yet mill I sing. Bonny boys, bonny mad boys, Bedlam boys are bonny; 
 They still go bare, and live by the air, and want no drink nor money." 
 The tune is again printed in Pills to purge Melancholy, iii. 13 (1707), to a song 
 "On Dr. G[ill?], formerly master of St. Paul's School," commencing — 
 " In Paul's Churchyard in London, 
 There dwells a noble firker, 
 Take heed, you that pass. 
 Lest you taste of his lash, 
 For I have found him a jerker : 
 
 Still doth he cry, tahe him up, take him up, sir, 
 
 Untruss with expedition ; 
 the birchen tool 
 Which he winds in the school 
 
 Frights worse than the Inquisition." 
 In Loyal Songs written against the Rump Farliament, 1731, ii. 272, we have 
 " The cock-crowing at the approach of a Free Parliament ; or — 
 
 Good news in a ballat A country wit made it, 
 
 More sweet to your pallat "Who ne'er got the trade yet, 
 
 Than fig, raisin, or stewed prune is : And Mad Tom of Bedlam the tune is.'' 
 
334 ENGLISH SONG AND BALLAD MUSIC. 
 
 Among the King's Pamphlets in the British Museum there are two songs to 
 this tune. The first (by a loyal Cavalier) is " Mad Tom a Bedlam's desires of 
 Peace: Or his Benedicities for distracted England's Restauration to her wits 
 again. By a constant though unjust sufferer (now in prison) for His Majesties 
 just Regality and his Country's Liberty. S.F.W.B." (Sir Francis Wortley, 
 Bart.) This is in the sixth vol. of folio broadsides, and dated June 27, 1648. 
 " Poor Tom hath been imprison' d, Yet still he cries for the King, for the good 
 
 With strange oppressions vexed ; Tom loves brave confessors ; [King ; 
 
 He dares boldly say, tbey try'd each way But he curses those that dare their King de- 
 
 Wherewith Job was perplexed. Committees and oppressors." &c. [pose, 
 
 This has been reprinted in Wright's Political Ballads, for the Percy Society, 
 p. 102 ; and in the same volume, p. 183, is another, taken from the fifteenth vol. 
 of broadsides, entitled "A new Ballade, to an old tune, — Tom of Bedlam," dated 
 January 17, 1659, and commencing, " Make room for an honest red-coat." 
 
 Besides these, we have, in Wit and Drollery, 1682, p. 184, Loving Mad Tom, 
 commencing, " PU bark against the dog-star;" and many other mad-songs in the 
 Roxburghe Collection, such as " The Mad Man's Morrice;" " Love's Lunacie, or 
 Mad Besse's Vagary ;" &c., &c. 
 
 Bishop Percy has remarked that " the English have more songs on the subject 
 of madness, than any of their neighbours." For this the following reason has 
 been assigned by Mr. Payne Collier, in a note to Dodsley's Collection of Old 
 Plays, ii. 4 : — 
 
 " After the dissolution of the religious bouses, where the poor of every denomination 
 were provided for, there was for many years no settled or fixed provision made to 
 supply the want of that care which those bodies appear always to have taken of their 
 distressed brethren. In consequence of this neglect, the idle and dissolute were 
 suffered to wander about the country, assuming such characters as they imagined were 
 most likely to insure success to their frauds, and security from detection. Among 
 other disguises, many affected madness, and were distinguished by the name of 
 Bedlam Beggars. These are mentioned by Edgar, in Xing Lear: 
 " The country gives me proof and precedent, 
 Of Bedlam beggars, who, with roaring voices. 
 Stick in their numb'd and mortify'd bare arms 
 Pins, woodeii pricks, nails, sprigs of rosemary ; 
 And, with this horrible object, from low farms, 
 Poor pelting villages, sheep-cotes, and mills. 
 Sometime with lunatic bans, sometime with prayer, 
 Inforce their charity." 
 In Dekker's Bellman of London, 1616, all the different species of beggars are 
 enumerated. Amongst the rest are mentioned Tom of Bedlam's band of mad caps, 
 otherwise called Poor Tom's flock of wild geese (whom here thou seest by his black 
 and blue naked arms to be a man beaten to the world), and those wild geese, or hair 
 brains, are called Abraham men. An Abraham man is afterwards described in this 
 manner : ' Of all the mad rascals (that are of this wing) the Abraham man is the 
 most fantastick. The fellow (quoth this old Lady of the Lake unto me) that sate 
 half naked (at table to-day) from the girdle upward, is the best Abr-aham man that 
 ever came to my house, and' the notablest villain : he swears he hath been in Bedlam, 
 
REIGNS OF JAMES I. AND CHABLES I. 
 
 335 
 
 and will talk frantickly of purpose : you see pins stuck in sundry places of his naked 
 flesh, especially in his arms, which pain he gladly puts himself to (being, indeed, no 
 torment at all, his skin is either so dead with some foul disease, or so hardened with 
 weather, only to make you believe he is out of his wits) : he calls himself by the name 
 of Poor Tom, and coming near any body, cries out. Poor Tom is a cold. Of these 
 Ahraham men, 'some be exceeding merry, and do nothing but sing songs, fashioned 
 out of their own brains, some will dance ; others will do nothing but either laugh or 
 weep ; others are dogged, and are sullen both in look and speech, that, spying but a 
 small company in a house, they boldly and bluntly enter, compelling the servants 
 through fear to give them what they demand, which is commonly Hacon, or some- 
 thing that will yield ready mone}'.' " 
 
 The song of Tom of Bedlam is alluded to in Ben Jonson's The Devil is an Ass, 
 1616, act v., sc. 2. When Pug wishes to be thought mad, he says, " Your best 
 song's Thorn o'Bet'lem." 
 
 The following copy of the tune is from a manuscript volume of virginal music, 
 formerly in the possession of Mr. Windsor, of Bath, and now in that of 
 Dr. Bimbault. It is entitled Tom a Bedlam. The words are from Bishop 
 Corbet's song, The distracted Puritan, which is printed entire in Percy's Beliques 
 of Ancient Poetry. 
 
 Pompously. 
 
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 Am I mad, O no-ble Festus, When zeal and god-ly knowledge Have 
 
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 22 
 
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 put me in hope To deal with the Pope As well as the best in Col - lege ? 
 
 ISS 
 
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 Bold-ly I preach, hate a cross, hate a sur-plice, Mi tres, copes and roch-ets. 
 
 
 
 
 
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 Come, hear me pray nine times a day, And fill your heads with crotchets. 
 
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336 
 
 ENGLISH SONG AND BALLAD MUSIC, 
 
 In the house of pure Emanuel' 
 I had my education, 
 
 Where my friends surmise 
 
 1 dazzled my eyes 
 With the sight of revelation. 
 
 Boldly I preach, &c. 
 
 They bound me like a bedlam, 
 They lash'd my four poor quarters ; 
 
 Whilst this I endure, 
 
 Faith makes me sure 
 To be one of Fox's martyrs. 
 
 Boldly I preach, &c. 
 
 These injuries I suffer 
 Through antichrist's persuasion : 
 
 Take oif this chain, 
 
 Neither Rome nor Spain 
 Can resist my strong invasion. 
 Boldly I preach, &c. 
 
 Of the beast's ten horns (God bless us !) 
 I have knock'd off three already ; 
 
 If they let me alone 
 
 I'll leave him none : 
 But they say I am too heady. 
 
 Boldly I preach, &c. 
 
 When I sack'd the seven hill'd city, 
 I met the great red dragon ; 
 
 I kept him aloof 
 
 With the armour of proof, 
 Though here I have never a rag on. 
 Boldly I preach, &c. 
 
 With a fiery sword and target, 
 There fought I with this monster : 
 
 But the sons of pride 
 
 My zeal deride. 
 And all my deeds misconster. 
 
 Boldly I preach, &c. 
 
 I un-hors'd the Whore of Babel, 
 With the lance of Inspiration ; 
 
 I made her stink, 
 
 And spill the drink 
 In her cup of abomination. 
 
 Boldly I preach, &c. 
 
 I appear'd before the archbishop, 
 And all the high commission ; 
 I gave him no grace. 
 But told him to his face. 
 That he favour'd superstition. 
 
 Boldly I preach, &c. 
 
 THOMAS, YOU CANNOT. 
 This tune is contained in Sir John Hawkins' Transcripts of Virginal Music ; in 
 the fourth and later editions of The Dancing Master; in The Beggars^ Opera; 
 The Mock Doctor ; An Old Man taught Wisdom; The Oxford Act; and other 
 ballad-operas. 
 
 In some of the earlier editions of The Dancing Master, it is entitled Thomas, 
 you cannot ; in others, Tumas, I cannot, or Tom Trusty ; in some of the ballad- 
 operas (for instance, The G-enerous Freemason, and The Lover his own Rival), 
 Sir Thomas, I cannot. 
 
 In the Pepys Collection, i. 62, is a black-letter ballad (one of the many written 
 against the Roman Catholics after the discovery of the Gunpowder Plot, in 1605), 
 entitled " A New-yeeres-Gift for the Pope ; come see the diiference plainly 
 decided between Truth and Falsehood : 
 
 Not all the Pope's trinkets, which here are brought forth. 
 Can balance the bible, for weight, or for worth," &c. 
 " To the tune of Thomas you cannot." It commences thus : — 
 " All you that desirous are to behold 
 The difference 'twixt falsehood and faith," &c. 
 In Chrammatical Drollery, by W. H. (Captain Hicks), 1682, p. 75,- is a song 
 commencing, " Come, my Molly, let us be jolly : " to the tune of Thomas, 
 I cannot; and in Chetwood's History of the Stage, 8vo., 1749, a song on a 
 theatrical anecdote, by Mr. John Leigh (an actor, who died in 1726), of which 
 the following is the first stanza : — 
 
 * Emanuel College, Cambridge, was originally a seminary of Puritans. 
 
i 
 
 Gaily. 
 
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 REIGNS OF JAMBS I. AND CHARLES I 
 
 J N. J M K 
 
 337 
 
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 My scandalous neighbours of Portu - gal Street, Come list- en a-whiletomy 
 I'll sing you a song though ray voice be not sweet,. And that you will say is a 
 
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 . " J^ ' _,,-^ — As merry a sonnet as times can af - ford, Of Eglington, Walker, Jack 
 
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 Hall and my Lord ; If you doubt what I say, to con - firm ev' - ry word, , I'll 
 
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 5 
 
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 bomas. Will Thomas, I '11 call as a witness Will Thi 
 
 call as a witness Will Thomas. 
 
 Thomas. 
 
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 I have not been successful in finding the song of Thomas, you cannot, from 
 which the tune derives its name. In some copies (when there are no words) , the 
 second part of the tune consists only of eight bars, instead of ten. See the 
 following from Sir J. Hawkins' Transcripts of Virginal Music. 
 
 Gaily. 
 
 
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338 
 
 ENGLISH SONG AND BALLAD MUSIC. 
 
 WHEN DAPHNE DID FEOM PHCEBUS FLY. 
 
 This tune is to be found in Nederlandtsche Credenck-Clmch, 1626 ; in Friesche 
 Lust-Hof, 1684; and in The Dancing Master, from 1650 to 1690. 
 
 In the first named it is entitled Prins Daphne; in the second, When Daphne 
 did from Phoebus fly ; and in the last, Daphne, or The Shepherdess. 
 
 A copy of the words will be found in the Rozburghe Collection, i. 388, entitled 
 " A pleasant new Ballad of Daphne : To a new tune." Priated by the assignees 
 of Thomas Symcocke. It is on the old mythological story of Daphne turned into 
 a laurel. 
 
 Gracefully, and not too slow. 
 
 i 
 
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 3 
 
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 When Daph - ne from fair Phoebus did fly, The west wind most 
 Her silk - en scarf scarce shadow'd her eyes, The God cried, O 
 
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 sweet -ly did blow in her face, 
 pi - ty ! and held her in chace. 
 
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 Stay, Nymph, stay. Nymph, cries A ■ 
 Lion nor ti - ger doth thee 
 
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 ■ pol - lo, Tar - ry, and turn thee. Sweet Nymph, stay, 
 fol - low. Turn thy fair eyes, and look this way. O turn, O pretty 
 
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 sweet. And let our red lips meet : O pi - ty me, Daph - ne ! pi 
 
 
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 ne, pi - - ty me 
 
 O pi ty me, Daph 
 
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REIGNS OF JAMES I. AND CHARLES I. 
 
 339 
 
 She gave no ear unto his cry, [moan ; 
 
 But still did neglect him the more he did 
 Though he did entreat, she still did deny, 
 
 And earnestly pray him to leave her alone. 
 Never, never, cries Apollo, 
 
 Unless to love thou wilt consent. 
 But still, with my voice so hollow, 
 I 'II cry to thee, while life he spent. 
 But if thou turn to me, 
 'Twill prove thy felicity. 
 
 Pity, O Daphne, pity me, &c. 
 
 Away, like Venus's dove she flies. 
 
 The red hloodher huskins did run all adown. 
 
 His plaintive love she still denies, [renown. 
 Crying, Help, help, Diana, and save my 
 
 Wanton, wanton lust is near me. 
 Cold and chaste Diana, aid ! 
 
 Let the earth a virgin bear me, 
 Or devour me quick a maid. 
 Diana heard her pray. 
 And turn'd her to a Bay. 
 
 Pity, O Daphne, pity me, &c. 
 
 Amazed stood Apollo then, [desir'd. 
 
 While he beheld Daphne turn'd as she 
 Accurs'd am I, above gods and men. 
 
 With griefs and laments my senses are tir'd. 
 Farewell ! false Daphne, most unkind, 
 
 My love lies buried in thy grave. 
 Long sought I love, yet love could not find. 
 
 Therefore is this thy epitaph : 
 " This tree doth Daphne cover, 
 That never pitied Lover." [me. 
 
 Farewell, false Daphne, that would not pity 
 Although not my love, yet art thou my Tree. 
 
 COME YOU NOT FROM NEWCASTLE? 
 
 This beautiful and very expressive melody is to be found in The Dancing 
 Master, from 1650 to 1690, under the title of Newcastle. In The Grub Street 
 Opera, 1731, it is named Why should I not love my love ? from the burden of the 
 song. The following fragment of the first stanza is contained in the folio manu- 
 script formerly in the possession of Bishop Percy, p. 95. See Dr. Dibdin's 
 Decameron, vol. 3. 
 
 Why should I not love my love ? 
 Why should not my love love me ? 
 
 " Come you not from Newcastle ? 
 
 Come you not there away ? 
 
 O met you not my true love, 
 
 Ryding on a bonny bay ? 
 
 It is quoted in a little black-letter volume, called " The famous Historie of 
 
 Fryer Bacon : containing the -wonderfull things that he did in his life ; also the 
 
 manner of his death ; with the lives and deaths of the two Conjurers, Bungye 
 
 and Vandermast. Very pleasant and delightfuU to be read." 4to.,».c?. "Printed 
 
 at London by A. E., for Francis Grove, and are to be sold at his shop at the 
 
 upper-end of Snow Hill, against the Sarazen's Head : " — 
 
 " The second time, Fryer Bungy and he went to sleepe, and Miles alone to watch 
 the brazen head ; Miles, to keepe him from sleeping, got a tabor and pipe, and being 
 merry disposed, sung this song to a Northern tune of Canist thou not from New- 
 Castle — 
 
 " To couple is a custome, 
 All things thereto agree ; 
 Why should not I then love ? 
 Since love to all is free. 
 
 But He have one that's pretty, 
 Her cheekes of scarlet dye, 
 
 For to breed my delight. 
 When that I ligge her by. 
 
 Though vertue be a dowry, 
 Yet He chuse money store : 
 
 If my love prove untrue. 
 With that I can get more. 
 
 The faire is oft unconstant, 
 The blacke is often proud ; 
 
 He chuse a lovely browne ; 
 
 Come, fidler, scrape thy crowd. 
 
 Come, fidler, scrape thy crowd. 
 For Peggie the browne is she 
 
 Must be my bride ; God guide 
 That Peggie and I agree." 
 
340 
 
 ENGLISH SONG AND BALLAD MUSIC. 
 
 I have been favored by Mr. Barrett with a song, " come ye from Newcastle?" 
 as still current in the North of England ; but, doubting its antiquity, I have not 
 thought it desirable to print it in this collection. 
 
 Rather slow, and with expression. 
 
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 O come you from New - cas - tie, Come you not there a - way ? O 
 
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 you not my true love, Riding on a bon - ny bay ? 
 
 T» 
 
 Why 
 
 met 
 
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 should not I love my love. Why should not my love love me ? • [Why 
 
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 should not I speed af - ter him, Since love to all , is free ? ] 
 
 r~^ ; '] 
 
 CUCKOLDS ALL A BOW. 
 
 This tune is to be found in every edition of The Dancing Master. Pepys 
 mentions it in the following account of a court ball, in the reign of Charles 11. : — 
 
 " 31 Dec, 1662. By and bye comes the King and Queene, the Duke and 
 Duchess, and all the great ones ; and after seating themselves, the King takes out the 
 Duchesse of York; and the Duke, the Duchesse of Buckingham; the Duke of 
 Monmouth, my Lady Castlemaine; and so on, other lords other ladies; and they 
 danced the Bransle. After that, the King led a lady a single Coranto : and then the 
 rest of the lords, one after another, other ladies : very noble it was, and great pleasure 
 to see. Then to Country-dances ; the King leading the first, which he called for, 
 which was Cuckolds all a row, the old dance of England." 
 
 It became a party tune of the Cavaliers, who sang the songs of Sey^ ioys, up 
 
 » The two last lines are supplied from a song written to complete the fragment, by the late Mr. George Macfarren. 
 
REIGNS OF JAMES I. AND CHARLES I. 
 
 341 
 
 go we, and London's true character, to it. The latter, abusing the Londoners for 
 taking part against the King, and commencing, " You coward-hearted citizens," 
 is contained in Hats rhimed to death, or The Hump Parliament hanged in the 
 Shambles, 1660 ; and in both editions of Loyal Songs written against the Rump 
 Parliament. 
 
 The tune is mentioned in the old song, London is a fine town ; and one with 
 the burden is contained in Wit and Drollery, 1661. The latter is reprinted (to 
 the tune of London is a fine town) in Pills to purge Melancholy, ii. 77, 1700, and 
 iv. 77, 1719. 
 
 The following, on the miseries of married life, is from a black-letter ballad, 
 " printed by M.P. for Henry Gosson, on London Bridge, neere the gate," and 
 signed Arthur Halliarg. A copy is in the Roxburghe Collection, i. 28 ; and 
 it is reprinted in Eyans' Old Ballads, i. 170 (1810). I have omitted four stanzas, 
 the remainder being sufficient to tell the story. " The cruel Shrew ; or The 
 Patient Man's Woe : Declaring the misery and great pain, 
 
 By his unquiet wife, he doth daily sustain." 
 To the tune of Cuckolds all a row. 
 Moderate time. 
 
 
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 Come ba-che-lors and mar-ried men , And lis - ten to mv song. And 
 
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 I will shew you plain - ly then, The in - ju - ry 
 
 and 
 
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 That 
 
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 =S=:=f5 
 
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 con - stant ly I do sus - tain Through my un - happy life, 
 
 The 
 
 & 
 
 w^^^m 
 
 -it — # 
 
 which does put me to great pain, By my un - qui - et 
 
 -^ 
 
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 wife. 
 
342 
 
 ENGLISH SONG AND BALLAD MUSIC, 
 
 She never lins her bawling, 
 
 Her tongue it is so loud, 
 But always she'll be railing, 
 
 And will not be controU'd : 
 For she the breeches still will wear. 
 
 Although it breeds my strife ; 
 If I were now a bachelor, 
 
 I'd never have a wife. 
 
 Sometimes I go in the morning 
 
 About my daily work. 
 My wife she will be snorting. 
 
 And in her bed she'll lurk. 
 Until the chimes do go at eight. 
 
 Then she'll begin to wake, 
 Her morning's draught well spiced straight 
 
 To clear her eyes she'll take. 
 
 As soon as she is out of bed. 
 
 Her looking-glass she takes, 
 (So vainly is she daily led), 
 
 Her morning's work she makes 
 In putting on her brave attire. 
 
 That fine and costly be ; 
 While I work hard in dirt and mire : 
 
 Alack what remedy? 
 
 Then she goes forth a gossiping 
 
 Amongst her own comrades ; 
 And then she falls a boosing 
 
 With all her merry blades ; 
 When I come from my labour hard, 
 
 Then she'll begin to scold, 
 And call me rogue without regard ; 
 
 Which makes my heart full cold. 
 
 When I, for quiet's sake, desire 
 
 My wife for to be still, 
 She wiU not grant what I require. 
 
 But swears she'll have her will ; 
 Then if I chance to heave my hand. 
 
 Straightway she'll murder cry ; 
 Then judge all men that here do stand. 
 
 In what a case am I. 
 
 And if a friend by chance me call 
 
 To drink a pot of beer. 
 Then she'll begin to curse and brawl, 
 
 And fight, and scratch, and tear ; 
 And swears unto my work she'll send 
 
 Me straight without delay ; 
 Or else with the same cudgel's end, 
 
 She will me soundly pay. 
 
 Then is not this a piteous cause. 
 
 Let all men now it try. 
 And give their verdicts, by the laws, 
 
 Between my wife and I ; 
 And judge the cause, who is to blame, 
 
 I'll to their judgment stand, 
 And be contented with the same, 
 
 And put thereto my hand. 
 
 If I abroad go anywhere. 
 
 My business for to do. 
 Then will my wife anon be there 
 
 For to increase my woe ; 
 Straightway she such a noise will make 
 
 With her most wicked tongue. 
 That all her mates, her part to take, 
 
 About me soon will throng. 
 
 Thus am I now tormented still 
 
 With my most wretched wife ; 
 All through her wicked tongue so ill, 
 
 I am weary of my life : 
 I know not truly what to do. 
 
 Nor how myself to mend. 
 This lingering life doth^breed my woe, 
 
 I would 'twere at an end. 
 
 O that some harmless honest man. 
 
 Whom death did so befriend. 
 To take his wife from off his hand, 
 
 His sorrows for to end, 
 Would change with me to rid my care. 
 
 And take my wife alive. 
 For his dead wife, unto his share 1 
 
 Then I would hope to thrive. 
 
 THE BUFF COAT HAS NO FELLOW. 
 
 In Fletcher's play, The Knight of Malta, act iii., so. 1, there is a " Song by 
 the Watch," commencing thus : — 
 
 " Sit, soldiers, sit and sing, the round is clear, 
 And cock-a-loodle-loo tells us the day is near; 
 Each toss his can until his throat be mellow. 
 Drink, laugh, and sing The soldier has 7W fellow." 
 The last line is repeated in three out of the four verses or parts, and I suppose 
 The soldier has no fellow to have been then a well-known song. 
 
REIGNS OP JAMBS I. AND CHARLES I. 343 
 
 Various ballads were written to a tune called The luff coat has no fellow (see, 
 for instance, Pepys Coll., iii. 150; Roxburghe, i. 536; &c.), and as the buff 
 coat was a distinguishing mark of the soldier of the seventeenth century, if the 
 words could be recovered, it might prove to be the song in question. 
 
 " In the reign of King James I.," says Grose, " no great alterations were made 
 in the article of defensive armour except that the huff coat, or jerkin, which was 
 originally worn under the cuirass, now became frequently a substitute for it, it 
 having been found that a good luff leather would of itself resist the stroke of a 
 sword ; this, however, only occasionally took place among the light-armed cavalry 
 and infantry, complete suits of armour being stUl used among the heavy horse." — 
 Military Antiquities, 1801, 4to., ii., 323. I have been favored with the follow- 
 ing note on the same subject by F. W. Fairholt, F.S.A. : — " The buff coat was 
 peculiarly indicative of the soldier. It first came into use in the early part of 
 the seventeenth century, when the heavier defensive armour of plate was dis- 
 carded by all but cavalry regiments. The infantry, during the great civil wars 
 of England, were all arrayed in buff coats; and in Rochester Cathedral are 
 still preserved some of these defensive coverings, as worn by Olivei^s soldiers 
 in their unwelcome visits there ; as well as the bandoleers worn over them, to hold 
 the charges for muskets. The officers and cavalry at this time only added the 
 cuirass ; the leather coat was frequently very thick and tough, and a defence 
 against a sword cut. The foreign, as well as the English armies, about this time, 
 discarded heavier armour ; and the prints by Gheyn, of Low-Country troopers, as 
 well as those by Ciartes, of the soldiers of the French King, are all habited in 
 the buff coat, which displays, in the rigidity of its form, its innate strength." 
 Grose gives an engraving of those that were worn over corslets, from one that 
 belonged to Sir Francis Rhodes, Bart., of Balbrough Hall, Derbyshire, in the 
 time of Charles I. 
 
 The tune, The luff coat has no fellow, is to be foimd in the fourth and every 
 subsequent edition of The Dancing Master ;" in the earlier editions as Buff coat, 
 and afterwards as Buff coat, or Excuse me. The following list of ballad-operas, in 
 all of which songs may be found that were written to the tune, sufficiently proves 
 its former popularity : — Polly ; The Lottery ; An Old Man taught Wisdom ; The 
 Intriguing Chambermaid ; The Lovers^ Opera ; The Bay' s Opera ; The Lover his 
 own Bival; The G-rul Street Opera ; The Devil of a Duke, or TrapolirHs Vagaries; 
 The Fashionalle Lady, or Harlequin's Opera; The Q-enerous Freemason; and 
 The Footman. 
 
 This popularity extended to Ireland and Scotland ; and although, in its old 
 form, purely English in character, the air has been claimed both as Irish and as 
 Scotch. T. Moore appropriated it, under the name of My husband's a journey to 
 Portugal gone, although in the opinion of Dr. Crotch, Mr. Wade, and others, " it is 
 
 ■» Mr. Stenhouse, in his notes to Johnson's Scoi'a Musical is to be found in it. Mr. Stenhouse had before him one 
 
 Museum, asserts that this air is to be found in Playford's of the last editions of vol. i. of The Dancing Master, 
 
 Dancing Master of 1657, a book which he quotes con- printed by Pearson and Young, between 1713 and 1725, 
 
 Btantly, and which, I am convinced, he never saw. Having and consisting of 358 pages, to which onljr can all of his 
 
 tested all his references to that work, I have no hesi- quotations he referred, 
 tation in saying that not even one of the airs he mentions 
 
344 
 
 ENGLISH SONG AND BALLAD MUSIC. 
 
 not at all like an Irish tune." In Scotland it has been claimed as The Deuks 
 dang o^er my Daddie, and again disclaimed by Mr. George Farquhar Graham, 
 editor of Wood's Songs of Scotland, who "freety confesses his belief that the air 
 is not of Scottish origin." iii. 165. 
 
 All the oldest copies of Buff coat begin with three long notes, which seem to 
 require corresponding monosyllables for the commencement of the words. The 
 line I have quoted from The Knight of Malta suggests a commencement some- 
 what in the following manner : — 
 Boldly. 
 
 M 
 
 I 1 — ^ — ^ , d --» 
 
 ^m 
 
 /I 
 
 Drink, laugh, sing, boys. For the sol-dier has no fel-low. 
 
 FRFFfi 
 
 k 
 
 i 
 
 ^ 
 
 2= =3: 
 
 =t3= 
 
 g^n i f,rJ-^i 
 
 ^m 
 
 m 
 
 I 
 
 A . 
 
 £=^ 
 
 3 
 
 ^^ 
 
 ^^ 
 
 ^ 
 
 f i i f .V 
 
 m 
 
 i 4 . 
 
 I should add, that in some copies of The Dancing Master the tune is in common 
 time. 
 
 In later versions, where the long notes at the commencement are split into 
 quavers (as in many of the ballad-operas), the bold character of the tune is lost, 
 and it becomes rather a pretty than a spirited air. This change seems to be 
 owing to the monosyllabic commencement having been discarded in the ballads 
 which were written to it : as, for instance, in the following, from the Roxburghe 
 Collection, i. 536 : — " The merry Hostess ; or — 
 
 A pretty new ditty, compos'd on an hostess that lives in the city. 
 
 To wrong such an hostess it were a great pity, 
 
 By reason she caused this pretty new ditty. 
 To the tune of Buff coat has no fellow." 
 
 " Oome all that love good company. 
 And hearken to my ditty ; 
 'Tis of a lovely hostess fine. 
 That lives in London city ; 
 
 The above is printed in Evans' Collection, i. 160 (1810). 
 
 Who sells good ale, nappy and stale, 
 And always thus sings she : 
 
 My ale was tunn'd when I was young, 
 And but little above my knee," &c. 
 
REIGNS OP JAMES I. AND CHARLES I. 
 
 345 
 
 In several of the ballad-operas, the tune, whether under the name of Buff 
 coat, or Excuse me, commences thus (see, for instance. The Generous Free- 
 mason, 1731) : — 
 
 ^^ 
 
 T^^ 
 
 ^ 
 
 T — r 
 
 PSf 
 
 ^ 
 
 And in Gome more moderD versions, thug : 
 
 i 
 
 ^ 
 
 j^-F-^f^i s y^ 
 
 =^^ 
 
 ^^P 
 
 When the key-note is heard three times in equal succession at the end of a tune, 
 it is considered to be characteristic of Irish music ; but that peculiarity often arises, 
 as in the last example, from too many syllables in the words adapted to the air. 
 
 A BEGGING WE WILL GO. 
 
 In the Bagford Collection, a copy of this song, in black-letter, is entitled " The 
 Beggars' Chorus in The Jovial Crew, to an excellent new tune." Brome's comedy, 
 The Jovial Grew, or The Merry Beggars, was acted at the Cockpit in Drury 
 Lane, in 1641, and I suppose the song to have been introduced, as it is 
 not contained in the printed copy of the play. One of the Cavaliers' ditties, 
 " Col. John Okie's Lamentation, or a Bumper cashiered," is to the tune of 
 A legging we will go. This was published on the 28th March, 1660, and a copy 
 may be seen among the King's Pamphlets, Brit. Mus. 
 
 A legging we will go is printed, with the music, in book v. of Choice Ayres 
 and Songs to sing to the Theorbo or Bass Viol, fol. 1684 ; in 180 Loyal Songs, 
 3rd edit., 1685; in Fills to purge Melancholy; &c. It is sometimes entitled 
 The Jovial Beggars. 
 
 " There was a jovial beggar, 
 He had a wooden leg, 
 Lame from his cradle, 
 And forced for to beg. 
 And a begging, we will go, we'll go, we'll go, 
 And a begging we will go ! 
 
 I begg'd for my master, 
 And got him store of pelf ; 
 
 But now, Jove be praised, 
 I'm begging for myself, &c. 
 
 A bag for his oatmeal, 
 
 Another for his salt ; 
 And a pair of crutches 
 
 To show that he can halt ; 
 
 And a begging, &c. 
 
 A bag for his wheat. 
 
 Another for hiff rye ; 
 A little bottle by his side 
 
 To drink when he's a dry, &c. 
 
 Seven years I begg'd 
 
 For my old master Wild, 
 
 He taught me to beg 
 
 When I was but a child, &c. 
 
 In a hollow tree 
 
 I live, and pay no rent ; 
 Providence provides for me, 
 
 And I am well content, &c. 
 
 Of all the occupations, 
 A beggar's life's the best ; 
 
 For whene'er he's weary. 
 
 He'll lay him down and rest, &o. 
 
 I fear no plots against me, 
 
 I live in open cell ; 
 Then who would be a king 
 When beggars live eo well. 
 And a begging we will go, we'll go, we'll go, 
 And a begging we will go ! " 
 
346 
 
 ENGLISH SONG AND BALLAD MUSIC. 
 
 The tune was introduced into the ballad-operas of Polly, The Lovers, The 
 Quakeri Opera, Don Quixote in Ungland, The Court Legacy, The Rape of Helen, 
 The Evmows of the Court, The Oxford Act, The Sturdy Beggars, &c. ; and the 
 song is the prototype of many others, such as, " A howling we will go," "A fish- 
 ing we will go," "A hawkmg we will go," and "A hunting we will go." The 
 last-named is printed in the sixth vol. of The Musical Miscellany, 8to., 1731. 
 It is still popular with those who take delight in hunting ; and as the air is now 
 scarcely known by any other title, I have printed the words to the tune. In 
 The Musical Miscellany it is entitled The Stag Chace, and there are twenty-nine 
 verses; twelve are here omitted, being principally a description of the dogs, 
 and a catalogue of their names ; indeed, it is presum'd that seventeen stanzas 
 will suffice. 
 
 am d jol - ly hunts-man. My voice is shrill and clear, Well 
 
 m 
 
 ~cv 
 
 w=^ 
 
 ES 
 
 E]_J_Q: 
 
 Chorus. 
 
 i f p 
 
 i^i n 
 
 ¥ 
 
 known to drive the stag, And the drooping dogs to cheer. And a hunt-ing we will 
 
 w 
 
 -^-j-, rrry 
 
 i 
 
 go, will go, will go. And a ' hunt - ing we will 
 
 go- 
 
 ^ 
 
 3f^ 
 
 I leave my bed betimes. 
 
 Before the morning's grey ; 
 Let loose my dogs, and mount my horse. 
 
 And halloo " come away ! " &c. 
 
 The game's no sooner rous'd, 
 
 But in rush the cheerful cry, 
 Thro' bush and brake, o'er hedge and stake, 
 
 The noble beast- does fly, &c. 
 
 In vain he flies to covert, 
 
 A num'rous pack pursue, 
 That never cease to trace his steps, 
 
 Even tho' they've lost theview, &c. 
 
 Now sweetly in full cry 
 
 Their various notes they join ; 
 
 Gods ! what a concert's here, my lads ! 
 'Tis more than half divine, &c. 
 
 The woods, the rocks, and mountains. 
 
 Delighted with the sound, 
 To neighb'ring dales and fountains 
 
 Repeating, deal it round, &c. 
 
 A glorious chace it is, 
 
 We drive him many a mile, 
 O'er hedge and ditch, we go thro' stitch, 
 
 And hit oiTmany a foil, &c. 
 
REIGNS OF JAMBS I. AND CHARLES I. 347 
 
 And yet he runs it stoutly, He scarce has touch'd the bank, 
 
 How wide, how swift he strains ! The cry bounce finely in, 
 
 With what a skip he took that leap. And swiftly swim across the stream. 
 
 And scours o'er the plains ! &c. And raise a glorious din, &c. 
 
 See how our horses foam ! His legs begin to fail. 
 
 The dogs begin to droop ; His wind and speed are gone. 
 
 With winding horn, on shoulder borne. He stands at bay, and gives 'em play, 
 
 'Tis time to cheer them up, &o. He can no longer run, &c. 
 
 Hark ! Leader, Countess, Bouncer ! But vain are heels and antlers, 
 
 Cheer up my good dogs all; With such a pack set round. 
 
 To Tatler, hark ! he holds it smart. Spite of his heart, they seize each part. 
 
 And answers ev'ry call, &c. ^And pull him fearless down, &c. 
 
 Up yonder steep I'll follow, Ha ! dead, 'ware dead ! whip off, 
 
 Beset with craggy stones ; And take a special care ; 
 
 My lord cries, " Jack, you dog, come back. Dismount with speed, and pray take heed, 
 
 Or else you'll break your bones! " &c. Lest they his haunches tear! &c. 
 
 See, now he takes the moors. The sport is ended now. 
 
 And strains to reach the stream ! We're laden with the spoil ; 
 
 He leaps ihe flood, to cool his blood, As home we pass, we talk o' th' chace. 
 
 And quench his thirsty flame, &c. O'erpaid for all our toil, &c. 
 
 Many songs to the tune will be found in the publications enumerated above. 
 Others in the Songs sung at the Mug-homes in London and Westminster, 1716 ; in 
 120 Loyal Songs, 1684 ; and in the various collections of baUads. " The Church 
 Scuffle, or News from St. Andrew's " is one of these ; and contained in the collec- 
 tion given to the Cheetham Library by Mr. HaUiwell (No. 366). 
 
 THE NOBLE SHIEVE. 
 
 This tune is taken from a manuscript volume of virginal music, formerly in 
 the possession of Mr. Windsor, of Bath, and now ia that of Dr. Rimbault. 
 
 Although the transcript is of the seventeenth, the tunes are generally traceable 
 to the sixteenth century, and perhaps the latest are of the reign of James I. 
 
 I regret very much not having been able to find the ballad from which it 
 derives its name, for I imagine it would prove an interesting, and, probably, a 
 very early one. 
 
 "Shirve" is a very old form of "Shire-reeve," or Sherifi"; and I have not 
 been able to trace any other instance of its use so late as the seventeenth century. 
 It was then, almost universally, written " Shrieve." The tune is one that — 
 like ITie Three Havens (ante p. 69), and 2%e Friar in the Well (p. 274) — 
 requires a burden at the end of the first and second lines of words, as well as at 
 the end. The third and fourth bars of music seem almost to speak the words 
 " down-a-down," and " hey down-a-down " (or some similar burden) ; and the 
 seventh and eighth, " down, a-down, a-down-a." 
 
 These repeated burdens were more common in the sixteenth than in the 
 seventeenth century. 
 
 As every ballad-tune sounds the better for having words to it, I have taken one 
 ■ of the snatches of old songs sung by Moros, the fool, or jester, in Wager's 
 
348 
 
 ENGLISH SONQ ANB BALLAD MUSIC. 
 
 interlude, The longer thou livest the more fool thou art, 1568. It is not in the 
 precise measure — there should be two long syllables, instead of " out of Kent," 
 in the second bar, &c. — but I cannot find any old ballad, with similar burdens, 
 that corresponds exactly. 
 
 ^Moderate time, and smoothly. Down a-down,Heydowna-down. 
 
 
 There was a maid came out of Kent, Dain-ty love, Dain-ty love, There 
 
 ^^ 
 
 m 
 
 Down 
 
 a - down, a down 
 
 ^ 
 
 T=ii 
 
 ^ 
 
 was a maid came out of Kent, Dan 
 
 be. 
 
 '/ 
 
 ^m 
 
 ^ 
 
 There was a maid came out of Kent, Fair, pro-per, small and gent 
 
 As 
 
 =fc=l 
 
 =t 
 
 .Pi 
 
 ^^ 
 
 Down a -down a - down a. 
 
 e - ver on the 
 
 ground went For so should it 
 
 be. 
 
 =5:^ 
 
 ?^ 
 
 DERRY DOWN. 
 This tune is referred to as The Allot of Oanterlu 
 A Collier there was ; and as Death and the Cslller. 
 
 Henry Carey, in his Musical Century, 1740, i. 53, gives a song commencing — 
 " King George he was born in the month of October — 
 'Tis a sin for a subject that month to be sober ; " 
 
 which is to this tune ; and he says, " The melody stolen from an old ballad, 
 called Death and the Collier." 
 
 In Watts' Musical Miscellany, 1729, i. 94, is " A ballad to the old tune, The 
 Allot of Canterlury ;" and, in the second volume of the same collection, 
 "^ Collier there was, set by Mr. Leveridge," who was then living. The tunes 
 are essentially the same, but Leveridge altered a few notes in the second part. 
 
 Dr. Percy remarks that " the common popular ballad of King John- and the 
 
 ; as Derry down ; as 
 
REIGNS OF JAMBS I. AND CHARLES I. 349 
 
 Abbot of Canterbury seems to have been abridged and modernized about tbe time 
 of King James I., from one much older, entitled King John and the Bishop of 
 Canterbury." He adds that " the archness of the questions and answers hath 
 been much admired by our old ballad-makers ; for, besides the two copies above 
 mentioned, there is extant another ballad on the same subject, entitled King 
 Olfrey and the Abbot." " Lastly, about the time of the civil wars, when the cry 
 ran against the bishops, some Puritan worked up the same story into a very 
 doleful ditty to a solemn tune, concerning King Senry and a Bishop, with this 
 stinging moral " — 
 
 " Unlearned men hard matters out can find, 
 When learned bishops princes' eyes do blind." 
 
 A copy of the last is in the Douce Collection, fol. 110, entitled The King and 
 
 the Bishop ; another in the Pepys, i. 472 ; and a thhd ui the Roxburghe, iii. 170. 
 
 It commences thus : — " In Popish times, when bishops proud 
 
 In England did bear sway, 
 Their lordships did like princes live, 
 And kept all at obey." 
 
 The ballad of The old Abbot and King Olfrey is in the Douce Collection, fol. 169. 
 Olfrey is supposed to be a corruption of Alfred. 
 
 Mr. Payne Collier, in his Mctracts from the Registers of the Stationers' 
 Company, i. 90, prints a ballad entitled The praise of Milhemaydes, from 
 a manuscript of the time of James I., now in his possession. It is evidently the 
 same as A defence for Mylkemaydes against the terme of MawTcen, which was 
 entered on the Registers in 1563-4. Unfortunately neither the entry, nor Mr. 
 Collier's manuscript, gives the name of the tune to which that ballad was sung. 
 I have a strong persuasion that it was to this air, for it has all the character of 
 antiquity, and I can find no other that would suit the words. The ballad 
 commences thus : — 
 
 " Passe not for rybaldes which mylkemaydes defame, 
 And call them but Malkins, poore Malkins by name ; 
 Their trade is as good as anie we knowe. 
 And that it is so I will presently showe. 
 
 Downe, a-downe, &c." 
 If, instead of "downe, a-downe, ^c," we had the burden complete, "downe, 
 a-downe, downe, hey derry down," I should feel no doubt of its being the air ; 
 but the burden is not given at length in the manuscript. The second and sixth 
 stanzas allude to the singing of milkmaids — 
 
 " They rise in the morning to heare the larke sing. 
 And rvelcome with hallettes the summer's camming ; 
 They goe to their kine, and their milking is done 
 Before that some sluggardes have lookt at the sunne. 
 
 Downe, a-downe, &c. 
 In going to milking, or comming awaie. 
 They sing mery ballettes, or atoryes they saye ; 
 Their mirth is as pure and as white as their milke ; 
 You cannot say that of your velvett and silke. 
 
 Downe, a-downe," &c. 
 
350 
 
 ENGLISH SONG AND BALLAD MUSIC. 
 
 There are numberless songs and ballads to the tune, under one or other of its 
 names. Political songs will be found in the collections written against the Rump 
 Parliament ; in those of the time of James II. ; and again in " A Collection of 
 State Songs, &c., that have been published since the Rebellion, and sung in the 
 several mug-houses m the cities of London and "Westminster" (1716). One of 
 Shenstone's ballads. The Gossiping, is to the tune of ICing John and the Abbot of 
 Ganterbury, and is printed in his works, Oxford, 1737. Again, in The Asylum 
 for Fugitive Pieces, 1789, there are several ; and the tune is in common use at 
 the present day. 
 
 Dr. Rimbault, in his Musical Illustrations to Percy's Reliques of Ancient 
 Poetry, prints from a MS. of the latter part of the seventeenth century, which 
 agrees with the copy in Watts' Musical Miscellany, Other copies wiU be found 
 in The Beggars' Opera, third edit., 1729; The Village Opera, 1729; Penelope, 
 1728; The Fashionable Lady, 1730; The Lover his own Bival, 1736; The 
 Boarding-School, or The Sham Captain, 1733 ; The Devil to pay, 1731 ; The 
 Oxford Act; The Sturdy Beggars ; Love and Bevenge ; The Jew decoyed; &c. 
 
 I have printed two copies of the tune ; the first being the commonly received 
 version, and the second taken from Watts' Musical Miscellany. Thege differ 
 materially, but intermediate versions will be found in The Beggars' Opera, and 
 some other of the above-mentioned works. 
 
 Both The King and the Abbot, and The King and the Bishop, are in the 
 catalogue of ballads, printed by Thackeray, in the reign of Charles IT. The 
 copy of the former in the Bagford Collection is entitled " King John and the 
 Abbot of Canterbury, to the tune of The King and Lord Abbot." The story, 
 upon which these ballads are founded, can be traced back to the fifteenth 
 century. 
 
 Moderate time. 
 
 An 
 
 .):tf fi 
 
 an-cient sto-ry I'll tell you a-non, Of a no - ta - ble prince that was 
 ^ m : __• : • 
 
 3 
 
 ■^ 
 
 ^ 
 
 ^^ 
 
 ^^ 
 
 Tt — -» " — 9 — • - ■ — r 
 
 call-ed King John; And he rul'd o - ver Eng -land with main and with might, For 
 
 -T^TL-L 
 
 » — — 
 
 f^^T^n f^^ 
 
 3s^^? 
 
 he did great wrong, And maintain'd lit ^ tie right, Derry down, down, hey, der-ry down 
 
 ^ 
 
REiaNS OF JAMBS I. AND OHAKLES I. 
 
 351 
 
 And I'll tell you a story, a story so merry, 
 Concerning the Abbot of Canterbury ; 
 How for his housekeeping, and high renown. 
 The king he sent for him to fair London town. 
 
 An hundred men, the king did hear say, 
 The abbot did keep in his house every day ; 
 And fifty gold chains, without any doubt. 
 In velvet coats waited th'e lord abbot about. 
 
 How now, father abbot, I hear it of thee, 
 Thou keepest a far better house than me ; 
 And from thy housekeeping and high renown, 
 I fear thou work'st treason against my crown. 
 
 My liege, quo' the abbot, I would it were known, 
 I never spend nothing but what is my own ; 
 And I trust that your grace will do me no dere. 
 For spending of my own true-gotten gear. 
 
 Yes, yes, father abbot, thy fault it is high, 
 And now for the same thou needest must die ; 
 For, except thou canst answer me questions 
 
 three, 
 Thy head shall be smitten from off thy bodj^. 
 
 And first, quo' the king, when I'm in this stead. 
 With my crown of gold so fair on my head. 
 Among all my liegemen so noble of birth, 
 Thou must tell me to one penny what I am worth. 
 
 And, secondly, tell me, without any doubt. 
 How soon I may ride the whole world about. 
 And at the third question thou must not shrink, 
 But tell me here truly what I do think. 
 
 O, these are hard questions for my shallow wit. 
 And I cannot answer your grace as yet : 
 But if you will give me but three weeks space, 
 I'll do my endeavour to answer your grace. 
 
 Now three weeks' space to thee will I give. 
 And that is the longest time thou hast to live ; 
 For if thou dost not answer my questions three. 
 Thy lands and thy livings are forfeit to me. 
 
 Away rode the abbot all sad at that word. 
 And he rode to Cambridge and Oxenford ; 
 But never a doctor there was so wise," 
 That could with his learning an answer devise. 
 
 Then home rode the abbot of comfort so cold. 
 And he met his shepherd a going to fold : 
 " How now, my lord abbot, you are welcome 
 home, [John?" 
 
 What news do you bring us from good King 
 
 "Sad news, sad news, shepherd, I must give; 
 That I have but three days longer to live ; 
 For if I do not answer him questions three, 
 My head will be smitten from off" my bodjc. 
 
 The first is to tell him there in that stead, 
 With his crown of gold so fair on his head, 
 Among all his liegemen so noble of birth. 
 To within one penny of what he is worth. 
 
 The second, to tell him, without any doubt. 
 How soon he may ride this whole world about : 
 And at the third question I must not shrink. 
 But tell him there truly what he does think." 
 
 " Now cheer up, sire abbot, did you never hear 
 
 yet. 
 
 That a fool he may learn a wise man wit ? 
 Lend me horse, and serving men, and your 
 
 apparel, 
 And I'll ride to London to answer your quarrel. 
 
 Nay frown not, if it hath been told unto me 
 I am like your lordship, as ever may be ; 
 And if you will only but lend me your gown, 
 There's none that shall know us at fair London 
 town." 
 
 "Now horses and serving-men thou shalt have, 
 With sumptuous array most gallant and brave ; 
 With crozier, and mitre, and rochet, and cope, 
 Fit to appear 'fore our father the pope." 
 
 " Now welcome, sire abbot, the king he did say, 
 'Tis well thou'rt come back to keep to thy day ; 
 For and if thou canst answer my questions 
 
 three. 
 Thy life and thy living both saved shall be. 
 
 And first, when thou seest me here in this stead. 
 With my crown of gold so fair on my head, 
 Among all my liegemen so noble of birth. 
 Tell me to one penny what I am worth." 
 
 "For thirty pence our Saviour was sold 
 Among the false Jews, as I have been told ; 
 And twenty-nine is the worth of thee. 
 For I think thou art one penny worser than he. " 
 
 The king he laughed, and swore by St. Bittel, 
 " I did not think I had been worth so little ! 
 — Now, secondly tell me, without any doubt. 
 How soon I may ride this whole world about." 
 
 " You must rise with the sun, and ride with 
 
 the same, 
 Until the next morning he riseth again ; 
 And then your grace need not make any doubt, 
 But in twenty-four hours you'll ride it about." 
 
 The king he laughed, and swore by St. Jone, 
 " I did not think it could be gone so soon ! 
 — Now from the third question thou must not 
 
 shrink, 
 But tell me here truly what I do think." 
 
352 
 
 ENGLISH SONG AND BALLAD MUSIC. 
 
 " Yea, that shall I do, and make your grace " Now nay, my liege, be not in such speed, 
 
 merry, For, alack, I can neither write ne read." 
 
 You think I'm the Abbot of Canterbury ; [see. 
 
 But I'm his poor shepherd, as plain you may "Four nobles a week, then, I will give thee, 
 
 That am come to beg pardon for him and for For this merry jest thou hast shown unto me ; 
 
 me. ' ' And tell the old abbot, when thou comest home, 
 
 „,,.,,,, , , , Thou hast brought him a pardon from good 
 
 1 he kmg he laughed, and swore by the mass, if" T Vi " 
 
 " I'll make thee lord abbot this day in his place." 
 
 The following is a very different version of the tune, as printed in Watts' 
 
 Musical Miscellany. 
 
 Moderate time. 
 
 ^^^^^^^^^^m 
 
 An an - cient sto-ry I '11 tell you a - non. Of a no - ta^ble prince that was 
 
 cal - ledKing John. He 
 
 It — • — It — *— -■ — *- 
 
 rul'd o - ver England with main and with might. For 
 
 he did greatwrong, and maintain 'dlit-tie right, Derry down, down, hey derry down. 
 
 J — s — I g : f • I ^ 
 
 M 1 ^ r i ^ 
 
 The following punning prototype of the late T. Hood's comic songs, should not 
 be omitted. It is entitled The Cobbler's Mid : — 
 
 A cobbler there was, and he liv'd in a stall, 
 Which serv'd him for parlour, for kitchen-, and 
 
 all; 
 No coin in his pocket, nor care in his pate. 
 No ambition had he, nor duns at his gate. 
 
 Derry down, down, down, derry down. 
 
 Contented he work'd, and he thought himself 
 
 happy, [nappy; 
 
 If at night he could purchase a jug of brown 
 
 How he'd laugh then, and whistle, and sing, 
 
 too, most sweet. 
 Saying just to a hair I have made both ends 
 
 meet. Derry down, down, &c. 
 
 But love the disturber of high and of low. 
 That shoots at the peasant as well as the beau. 
 He shot the poor cobbler quite thorough the 
 
 heart : 
 I wish he had hit some more ignoble part. 
 Derry down, down, &c. 
 
 It was from a cellar this archer did play, 
 Where a buxom young damsel continually lay ; 
 Her eyes shone so bright when she rose ev'ry 
 day, [way. 
 
 That she shot the poor cobbler quite over the 
 Derry down, down, &c. 
 
REIGNS OF JAMES I. AND CHARLES I. 
 
 353 
 
 He sang her love songs as he sat at his work : 
 But she was as hard as a Jew or a Turk ; 
 Whenever he spake, she would flounce and 
 
 would fleer, 
 Which put the poor cobbler quite into despair. 
 Derry down, down, &c. 
 
 He took up his awl that he had in the world. 
 And to make away with himself was resolv'd ; 
 
 He pierc'd through his body instead of his sole. 
 So the cobbler he died, and the bell it did toll. 
 Derry down, down, &c. 
 
 And now in good-will I advise as a friend. 
 All cobblers take warning by this cobbler's 
 end ; [what's past. 
 
 Keep your hearts out of love, for we find by 
 That love brings us all to an end at the last. 
 Derry down, down, &c. 
 
 TOM TINKER'S MY TRUE-LOVE. 
 
 The tune of Torn, Tinker's my true love is mentioned in a black-letter tract, 
 called The Worldh Folly, which was reprinted in The British Bibliographer, 
 edited by Sir Egerton Brydges : — " A pot of strong ale, which was often at his nose, 
 kept his face in so good a coulour, and his braine in so kiude a heate, as, forgetting 
 part of his forepassed pride, (in the good humour of grieving patience,) made him, 
 with a hemming sigh, ilfavourdly singe the ballad of Wliilom I was, to the tune of 
 Tom Tinker." (ii. 559). The tune is in The Dancing Master, from 1650 to 
 1698. About the latter period it seems to- have been rejected for another air 
 (under the same name), which is printed with the words in Pills to purge 
 Melancholy, vi. 265 ; and was introduced in The Beggars' Opera for the song 
 Which way shall I turn me ? 
 
 The following tune is from The Dancing Master : — 
 
 Moderate time. 
 
 ^ 
 fe 
 
 Sz 
 
 5tEa 
 
 izzi 
 
 m=^ 
 
 ^ 
 
 3" 
 
 Tom Tin-ker's my true love. And I am his dear, And I will go 
 For of all the young men he has the best way ; All the day he will 
 
 ws=n^ 
 
 # 
 
 ^ 
 
 i 
 
 m 
 
 s 
 
 i= 
 
 This way, that way, which - e - ver you 
 
 with him, his bud - get to bear, 
 fid - die, at night he will play 
 
 bud- 
 
 S 
 
 ^m 
 
 3;: 
 
 j-j?^ 
 
 ill. 
 
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 "T 
 
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 will, I'm sure I say no - thing that you can take 
 
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 2 A 
 
354 
 
 EiraLISH SONG AND BALLAD MUSIC. 
 
 The Tom Tinher of The Beggari Opera, and to which D'Urfey prints the 
 above words, is subjoined. 
 
 Moderate time, and Smoothly, 
 
 tefH -g£f ^ y 4 ^ 
 
 ?^?^:.^4Uii 
 
 * I n 
 
 ^3 
 
 ^ — ^R— ^H^ ^ ^ 
 
 * 
 
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 J-^'^Uiil5 
 
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 w~r 
 
 3t 
 
 :^P- 
 
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 ^ 
 
 e 
 
 ^: 
 
 NORTHEEN NANCY. 
 
 This tune is contained in every edition of The Dancing Master, after 1665. 
 It is evidentlj' only another version of With my flock as walked I (ante p. 157).* 
 " Then plump Sobbing Joan straight call'd for her own, 
 And thought she frisk'd better than any, 
 Till Sisly, with pride, took the fiddler aside. 
 And bade him strike up Northern Nanny." 
 
 Pills to purge Melancholy, ii. 232, 1719. 
 In the Roxburghe Collection, i. 252, is a black-letter ballad, entitled " The 
 Map of Mock-Begger Hall, with his scituation in the spacious countrey called 
 Anywhere. To the tune of It is not your Northern Nanny ; or Sweet is the 
 lass that loves me." It commences thus : 
 
 " I read in ancient times of yore And few men seek them to repair. 
 
 That men of worthy calling Nor is there one among twenty 
 
 Built alms-houses and spittles store. That for good deeds will take any care, 
 Which now are all down falling ; "While Mock-Beggar Hall standsempty." 
 
 It consists of twelve stanzas, and " Printed at London for Richard Harper, neere 
 to the Hospitall Gate in Smithfield." 
 
 In the same Collection, iii. 218, is another version of the same ballad, issued 
 by the same printer, but with variations in the imprint, in the number of stanzas, 
 and in the woodcut. 
 
 The first has a woodcut of a country mansion ; the second of a castle. The 
 second has three additional stanzas, and variations in the remaining twelve. 
 The title commences, " Mock-Begger's-Hall," instead of "The Map of;" and 
 
 * r had not observed the identity of these tunes when 
 the former sheet went to press ; otherwise I should have 
 compressed the account of them under one head. The 
 
 difference is chiefly in the two first bars, but even that 
 variation is diminished in the copy called The faithful 
 BrolhtTs, to which I have referred at the former page. 
 
REIGNS OP JAMES I. AND CHARLES I. 
 
 355 
 
 at the end, " London : Printed for Richard Harper, at the Bible and Harp in 
 Smithfield." 
 
 Mr. Payne Collier, who has reprinted the latter in his Roxlurghe Ballads, is of 
 opinion that, although Richard Harper printed during the Commonwealth, the 
 ballad itself is of the early part of the seventeenth century. (It contains the 
 same complaints of the decay of hospitality that are to be found in The Queen^s 
 Old Courtier.) The first stanza of the second ballad is here printed to the tune. 
 
 In the Roxburghe Collection, ii. 390, is another ballad, called The ruined 
 Lover, &c., " to the tune of Mock-Begger'' s Hall stands empty ^^ beginning — 
 " Mars shall to Cupid now submit, For it is new, 'tis strange and true, 
 
 For he hath gain'd the glory ; As ever age afforded ; 
 
 You that in love were never yet, A tale more sad you never had 
 
 Attend unto my story ; la any books recorded." 
 
 This was printed by W. Thackeray, temp. Charles H. 
 
 Northern Nancy is one of the tunes called for by " the hob-nailed fellows " in 
 The Second Tale of a Tub, 8vo., 1715. 
 , Rather slowly. 
 
 I 
 
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 m 
 
 w=^=^ 
 
 ww^^ 
 
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 In an-cient times when asplaindealingWasmost of all in fashion, Tliere 
 
 Bgfr 
 
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 was not then half so much stealing. Nor men so giv'n to pas sion : But 
 
 J— f r ^ ^ 
 
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 fe 
 
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 now a days, truth so de-cays, And false knaves there are plen - ty, So 
 
 =!2=H* 
 
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 :p 
 
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 pride ex - ceeda all o - ther deeds, And Mock-beggar Hall stands emp ty. 
 
 ^ 
 
356 
 
 ENGLISH SONG AND BALLAD MUSIC. 
 
 I HAVE BUT A MAEK A YEAR. 
 
 This tune is to be found in Pills to purge Melancholy,, ii. 116, 1700 and 1707 ; 
 or iv. 116, 1719. The ballad is by Martin Parker, and a copy is contained in 
 the Roxburghe Collection, i. 122. In the preface to the Pills, Playford tells us 
 that the words of the songs " which are old have their rust generally filed from 
 them, which cannot but make them very agreeable." This is one that has 
 undergone the process of " filing; " it is abbreviated, but certainly not improved, 
 by the operation. The copy in the Eoxburghe Collection is entitled " A fair 
 portion for a fair Maid ; or — 
 
 The thrifty maid of Worcestershire, This mark was her old mother's gift. 
 
 Who lives at London for a mark a year ; She teaches all maids how to thrift. 
 To the tune of Grrammercy, Penny" (The first stanza is here printed with the 
 music.) Grrammercy (or God-a-mercy) , Penny, derives its name from the burden 
 of another ballad, also in the Roxburghe Collection (i. 400), entitled " There's 
 nothing to be had without money ; or — 
 
 He that brings money in his hand. His fortune is a great deal worse ; 
 
 Is fenre to speed by sea and land ; Then happy are they that always have 
 
 But he that hath no coin in's purse, A penny in purse, their credit to save. 
 
 To a new Northern tune, or The mother heguiVd the daughter." It commences thus : 
 " You gallants and you swagg'ring blades, I always lov'd to wear good clothes. 
 Give ear unto my ditty ; And ever scorned to take blows ; 
 
 I am a boon-companion known I am belov'd of all me knows, 
 
 In country, town, and city ; But God-a-mercy penny." 
 
 This was "printed at London for H[enry] G[osson]." Six stanzas in the 
 first, and eight in the second part. 
 
 Another ballad, from the same press, is " The Praise of Nothing : to the tune 
 of Though I have hut a marTce a yeare, &c." A copy in the Roxburghe Collection, 
 i. 328, and reprinted in Payne Collier's Roxburghe Ballads, p. 147. The 
 following lines are added to the title of the ballad : — 
 
 " Though some do wonder why I write the praise 
 Of Nothing in these lamentable days. 
 When they have read, and will my counsel take, 
 I hope of Nothing they will Something make! " 
 The above contains much excellent advice. 
 
 Having traced the tune from I have hut a mark a year to Q-od-a-mercy, Penny, 
 and from the latter to " a neio Northern tune, or The mother heguil'd the daughter" 
 the following ballads may also be referred to it : — 
 
 Roxburghe, i. 238 — " The merry careless lover : Or a pleasant new ditty, called 
 I love a lass since yesterday, and yet I cannot get her. To the tune of The 
 mother heguilde the daughter." 
 
 " Oft have I heard of many men I have lov'd a lass since yesterday. 
 
 Whom love hath sore tormented. And yet I cannot get her. 
 
 With grief of heart, and bitter smart, But let her choose — if she refuse. 
 
 And minds much discontented ; And go to take another, 
 
 Such, love to me shall never he, I will not grieve, but still will be 
 
 Distasteful, grievous, bitter! The merry careless lover,'' &c. 
 
REIGNS OP JAMES I. AND CHARLES I. 
 
 357 
 
 Signed Robert Guy. Twelve stanzas. Printed at London for F. Coules, and 
 reprinted in Evans' Old Ballads, i. 176, 1810. 
 
 Roxburghe, i. 314, " A Peerless Paragon ; or — 
 
 Few so chaste, so beauteous, or so fair ; 
 For with my love I think none can compare. 
 To the tune of TJie mother legidld the daughter.'''' 
 
 " In times of yore sure men did doat. For, read of all the faces then 
 
 And beauty never knew, That did most brightly shine, 
 
 Else women were not of that note, Be judg'd by all true-judging men. 
 
 As daily come to view : They were not like to mine." 
 
 This has no burden. It consists of thirteen stanzas. " Printed at London for 
 Thomas Lambert." 
 
 Martin Parker's ballad, " The Countrey Lasse," to the tune of The mother 
 heguild the daughter, has been quoted at p. 306, but it appears also to have had a 
 separate tune, which will be given hereafter. 
 
 Cheerfully. 
 
 ^ 
 
 ni J a^B 
 
 £ 
 
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 Now all my friends are 
 
 dead and gone, A - las ! what will be 
 
 3M 
 
 ^m 
 
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 %^ -ep 
 
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 -tide me. For I, poor maid, am left a-lone. With - out a house to hide me. 
 
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 22 
 
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 ±- - l '= 1 -^ , I ^ " r ^ * — tf 
 
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 Yet still I'll be of merry cheer. And have kind welcome ev'-ry - where. Though 
 
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 I have but a mark a year, And that my mo-ther gave me. 
 
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358 ENGLISH SONQ AND BALLAD MUSIC. 
 
 I TELL THEE, DICK, WHERE I HAVE BEEN. 
 
 This celebrated ballad, by Sir John Suckling, was occasioned by the marriage 
 of Roger Boyle, the first Earl of Orrery (then Lord Broghill), with Lady 
 Margaret Howard, daughter of the Earl of Suffolk. The words are in the first 
 edition of Sir John Suckling's works, 1646 ; in Wifs Recreation, 1654 ; in 
 Merry Drollery Complete, 1661 ; Antidote to Melancholy, 1661 ; in The Convivial 
 Songster, 1782 ; in Ritson's Ancient Songs, p. 223 ; and EUis' Sjaecimens of Harly 
 English Poets, iii. 248. 
 
 The tune is in A Choice Collection of 180 Loyal Songs, third edit., 1685 ; in 
 Pills to purge Melancholy, vol. i., 1699 and 1707 ; in The Qonvivial Songster, 
 1782, &c. 
 
 The following were written to the tune : — 
 
 1. The Cavalier's Complaint. A copy in the Bagford Collection (643, m. 11, 
 p. 23) dated 1660 ; and one in the King's Pamphlets, No. 19, fol., 1661 ; others 
 in Antidote to Melancholy; Merry Drollery, 1670; The New Academy of Com- 
 pliments, 1694 and 1713 ; and Dryden's Miscellany Poems, vi. 352 ; &c. 
 
 "Come, Jack, let's drink a pot of ale, And I suppose the place can shew 
 
 And I will tell thee such a tale, As few of those whom thou didst know 
 
 Shall make thine ears to ring ; At York, or Marston-Moor. 
 
 My coin is spent, my time is lost, g^^^ ^^^j^^ ^^^^^ ^^^ ^^^^^ ^f ^-^^^^ 
 
 And I this only fruit can boast- ^j^^^^ ^j^j^^^ ^^^ beardless, yet their hose 
 
 That once I saw my King. j^^^ buttocks still wear muffs ; 
 
 But this doth most afflict my mind — Whilst the old rusty Cavalier 
 
 I went to court in hope to find Retires, or dares not once appear. 
 
 Some of my friends in place ; For want of coin and cuffs. 
 
 And, walking there, I had a sight ^j^^^ ^^^^ „f ^^^^^ j ^^^i^ j^^^^y^ 
 
 Of all the crew— but, by this light, (y^^^^ ,,etter far deserv'd than I,) 
 
 I hardly knew one face ! (.^l^^ly ^^^ j ^^^^^ . 
 
 S'life, of so many noble sparks, Old services, by rule of state, 
 
 Who on their bodies bear the marks Like' almanacks, grow out of date ; 
 
 Of their integrity, What then can I expect ? 
 
 And suffer'd ruin of estate, r^roth, in contempt of fortune's frown, 
 
 It was my damn'd unhappy fate j,y ^^^ ^^ f^j^j^ ^^^ „f ^0^0, 
 
 That I not one could see. j^^^ -^ ^ ^j^j^tg, p^^y 
 
 Not one, upon my life, among That since the stars are yet unkind 
 
 My old acquaintance, all along To Royalists, the King may find 
 
 At Truro, and before ; More faithful friends than they.'' 
 
 2. An Echo to the Cavalier's Complaint. Copies in The Antidote to Melancholy, 
 1661; Merry Drollery Complete, 1670; New Academy of Compliments ; &c. 
 
 " I marvel, Dick, that having been Are we to learn wha,t is a court ? 
 
 So long abroad, and having seen A pageant made for Fortune's sport, 
 
 The world, as thou hast done, Where merits scarce appear ; 
 
 Thou shouldst acquaint me with a tale For bashfnl merit only dwells 
 
 As old as Nestor, and as stale In camps, in villages, and cells ; 
 
 As that of priest and nun. Alas ! it dwells not there. 
 
EEIGNS OP JAMES I. AND CHARLES I. 359 
 
 Desert is nice in its address, And courtiers find't their interest 
 
 And merit oft-times doth oppress, In time to feather well their nest, 
 
 Beyond what guilt would do ; Providing for their fall. 
 
 But they are sure of their demands Our comfort doth on time depend ; 
 
 That come to court with golden hands, things, when they are at worst, will 
 
 And brazen faces too. j^^^ let „g ij^t reflect [mend : 
 
 The King, they say, doth still profess On our condition th'other day, 
 
 To give his party some redress. When none but tyrants bore the sway. 
 
 And cherish honesty ; What, then, did we expect ? 
 
 But his good wishes prove in vain. Meanwhile, a calm retreat is best ; 
 
 Whose service with his servant's gain ^^^ discontent, if not supprest. 
 
 Not always doth agree. ^^U l^reed disloyalty. 
 
 All princes, be they ne'er so wise, This is the constant note I sing, — 
 
 Are fain to see with others' eyes, I have been faithful to my king. 
 
 But seldom hear at all ; And so shall ever be. 
 
 3. Upon Sir John SucMing's 100 Horse. Contained in Le Prince dJ' Amour, or 
 The Prince of Love, 1660, p. 148. Sir John raised a magnificent regiment of 
 cavalry at his own expense (12,000/.), in the beginning of our civil wars, which 
 became equally conspicuous for cowardice and finery. They rendered him the 
 subject of much ridicule ; and although he had previously served in a campaign 
 under Gustavus Adolphus — during which he was present at three battles, five 
 sieges, and as many skirmishes — his military reputation did not escape. 
 " I tell thee. Jack, thou gav'st the King For ev'ry horse shall have on's back 
 
 So rare a present, that nothing A man as valiant as Sir Jack, 
 
 Could welcomer have been ; Although not half so witty : 
 
 A hundred horse 1 beshrew my heart. Yet I did hear the other day 
 
 It was a brave heroic part. Two tailors made seven run away, 
 
 The like will scarce be seen. Good faith, the more's the pity." &c. 
 
 There are seven stanzas, and then " An Answer " to it." 
 
 4 and 5. A lallad on a Friend^ s Wedding, and Three Merry Boys of Kent, 
 in Folly in Print, or a Book of Rhymes, 1667. 
 
 6. A new lallad, called The Chequers Inn, in Poems on State Affairs, iii. 57, 
 1704, It begins : — " I tell thee, Dick, where I have been. 
 
 Where I the Parliament have seen," &c. 
 
 7. A Christmas Song, when the Rump Parliament was first dissolved, Loyal 
 Songs, ii. 99, 1731. 
 
 Besides these, there is one in Carey's Trivial Poems, 1651 ; three in 180 Loyal 
 Songs, 1685 ; &c. 
 
 " The grace and elegance of Sir John Suckling's songs and ballads are in- 
 imitable." " They have a toucli," says Phillips, " of a gentle spirit, and seem 
 
 ' These were not the only satires Sir John Suckling With a hnndred horse, without remorse, 
 
 had to bear. There were, at least, two others. One, to To keep ye from the foe ; 
 
 the tune of John Dory, begins— No carpet knight ever went to flght 
 
 "Sir John got on a bonny brown beast, With half so much bravado ; [the book, 
 
 To Scotland for to ride-a; Had you seen hut his look, you would sweare by 
 
 A brave buif coat upon his hack, He'd ha' conquer'd the whole Armado." 
 
 And a short sword by his side-a." There are also two other versions of the latter ; the one 
 
 The other — beginning, "Then as it fell out on a holiday," (see " Cen- 
 
 " Sir John got him an ambling nag, sura Literaria," vol. vi., p. 269) and the other in Percy's 
 
 To Scotland for to go, Reliques of Ancient Poetry, vol. ii., p. 326. 
 
360 
 
 ENGLISH SONG AND BALLAD MUSIC. 
 
 to savour more of the grape than the lamp." The author of the song above 
 quoted from Folly in Print, says — 
 
 " I do not write to get a name, And Suckling hath shut up that door, 
 
 At best this is but ballad-fame ; To aU hereafter, as before." 
 
 Sir John died in 1641, at the early age of twenty-eight. The ballad is a 
 countryman's description of a -wedding. 
 Smoothly. 
 
 ^ 
 
 ^ 
 
 F==* 
 
 m 
 
 s^ 
 
 ^ 
 
 i ■ • 
 
 / 
 
 I'll tell thee, Dick, where I have been, Where I the ra - rest things have 
 
 iZih ^i 1 1 =l=a 
 
 ^ 
 
 i 
 
 eS 
 
 ^ 
 
 4==t 
 
 P 
 
 f 
 
 f 
 
 r 
 
 seen, Oh ! things beyond com-pare. Such sights a gain can-not be found In a-ny 
 
 ^T-f— N 
 
 Ei 
 
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 f 
 
 r~9 
 
 ilace on En-elish ground, Be it 
 
 T 
 
 at Wake or Fair. 
 
 3= 
 
 Xli 
 
 "At Charing Cross, hard by the way 
 Where we, thou know'st, do sell our hay. 
 There is a house with stairs ; 
 
 And there did I see, coming down. 
 Such folk as are not in our town, 
 Forty, at least, in pairs.'' 
 There, are twenty-two stanzas, but some lines of the ballad might now be 
 considered objectionable. I have, therefore, extracted the following — a part of 
 the description of the bride :- 
 
 The maid — and thereby hangs a tale — 
 For such a maid no Whitsun-ale 
 
 Could ever yet produce : 
 No grape that's kindly ripe could be 
 So round, so plump, so soft as she. 
 
 Nor half so full of juice. 
 
 Her finger was so small, the ring 
 Would not stay on which they did bring. 
 
 It was too wide a peck : 
 And, to say truth, (for out it must,) 
 It lookt like the great collar (just) 
 
 About our young colt's neck. 
 
 Her feet beneath her petticoat, 
 
 Like little mice stole in and out, 
 
 As if they fear'd the light ; 
 
 But, oh ! she dances such a way. 
 No sun upon an Easter-day 
 Is half so fine a sight. 
 
 Her cheeks so rare a white was on. 
 No daisy makes comparison ; 
 
 (Who sees them is undone;) 
 For streaks of red were mingled there. 
 Such as are on a Kath'rine pear, 
 
 The side that's next the sun. 
 
 Her lips were red, and one was thin, 
 Compar'd to that was next her chin ; 
 
 Some bee had stung it newly : 
 But, Dick, her eyes so guard her face, 
 I durst no more upon them gaze. 
 
 Than on the sun in July. 
 
REIGNS OP JAMES I. AND CHARLES I. 
 
 361 
 
 THE COURT LADY. 
 
 The first ballad in the OoUedion of Old Ballads, 8vo., 1727, vol, i., is "The 
 unfortunate Concubine, or Rosamond's Overthrow ; occasioned by her brother's 
 praising her beauty to two young knights of Salisbury, as they rid on the road. 
 To the tune of The Court Lady." I have not found the ballad of Tlie Court Lady, 
 but the tune is contained in The Lancing Master, from 1650 to 1698, under the 
 name of Confess, or The Court Lady. 
 
 This ballad of Fair Rosamond is so exceedingly long (twenty-six stanzas of 
 eight lines, and occupying ten pages in vol. ii. of Evans' Old Ballads, where it is 
 reprinted), that the first, third, and fourth stanzas only, are here subjoined. 
 Moderate time. 
 
 mm 
 
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 Sweet, youthful, charming la - dies fair, Fram'd of the pu - rest mould. With 
 
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 ro - sy cheeks and silk - en hair. Which shine like threads of gold ; Soft 
 
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 tears of pi - ty here he - stow, On the un - hap-py fate Of 
 
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 Ro sa - mond, who long a - go, 
 J2*_. 
 
 Proved most un - for - tu - nate. 
 
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 As three young knights of Salisbury 
 
 Were riding on the way, 
 One boasted of a fair lady, 
 
 Within her bower so gay : 
 I have a sister, Clifford swears. 
 
 But few men do her know ; 
 Upon her face the skin appears 
 
 Like drops of blood on snow. 
 
 My sister's locks of curled hair 
 
 Outshine the golden ore; 
 Her skin for whiteness may compare 
 
 With the fine lily flow'r; 
 Her breasts are lovely to behold, 
 
 Like to the driven snow ; 
 I would not, for her weight in gold. 
 
 King Henry should her know, &c. 
 
362 
 
 ENGLISH SONG AND BALLAD MUSIC. 
 
 GATHER YOUR ROSEBUDS WHILE YOU MAY. 
 
 This song is in Playford's Ayres and Bialogms, 1659, p. 101 ; in Playford's 
 Introduction to Music, third edit., 1660 ; in MusicF s Delight on the Githren, 1666; 
 and in The Musical Companion, 1667. The music is the composition of William 
 Lawes ; the poetry hy Herrick. It became popular in ballad-form, and is in the 
 list of those printed by W. Thackeray, at the Angel in Duck Lane, as -ffell as 
 in Merry Drollery Complete, 1670. It has been reprinted (from a defective ' 
 copy) in Evans' Old Ballads, iii. 287, 1810, Herrick addresses it " To the 
 Virgins, to make much of time." Hesperides, i. 110, 1846. 
 
 i 
 
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 m 
 
 
 s 
 
 ^ 
 
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 ime IS - still a fly - mg ; 
 
 Gather ye rose-buds while ye may, Old Time 
 
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 :ss 
 
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 m 
 
 ^a^ 
 
 a 
 
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 And this same flow'r that smiles to-day, To-mor-row will he dy-ing. 
 
 i 
 
 i=P: 
 
 eIe^ 
 
 i 
 
 The glorious lamp of heaven, the sun, 
 
 The higher he is getting, 
 The sooner will his race be run, 
 
 And nearer he's to setting. 
 
 That age is best which is the iirst. 
 When youth and blood are warmer ; 
 
 But being spent, the worse and worst 
 Times still succeed the former. 
 
 Then be not coy, but use your time. 
 And, while ye may, go marry ; 
 
 For having once but lost your prime. 
 You may for ever tarry. 
 
 THREE MERRY BOYS ARE WE. 
 
 This is properly a round, and composed by William Lawes, who was appointed 
 Gentleman of the Chapel Royal in 1602. He became afterwards one of Charles 
 the First's Chamber Musicians, and was killed fighting for his cause in 1645, 
 
 It is to be found in Hilton's Catch that catch can, 1652 ; in Playford's Musical 
 Companion; in MusicFs Delight on the Cithren ; &c. The words have been 
 adduced by Sir John Hawkins to illustrate the Three merry men are we quoted 
 by Shakespeare. See note to Twelfth Night, act ii., sc. 3. 
 
 In Merry Drollery Complete, 1670, is a parody on this, entitled " The Cam- 
 bridge DroU"— 
 
 " The 'proctors are tvsro and no more, I wish they were more for me : 
 
 Then hang them, that makes them three ; For three merry boys, and three merry boys, 
 
 The taverns are but four, And three merry boys are we." 
 
REIGNS OF JAMBS I. AND CHARLES I. 
 
 363 
 
 ^ 
 
 Boldly. 
 
 ^ 
 
 ^ 
 
 I 
 
 ^ 
 
 ^ 
 
 3=='3=?=3? 
 
 -» — w. 
 
 "^rit- 
 
 f -& y -^ V tt V 
 
 The wise men were but seven, Nor more shall be for me ; The 
 
 e^ 
 
 r^rm 
 
 Oe 
 
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 P 
 
 g=^=j3=t^EEt=^ 
 
 mu ses were but nine, The wor - thies three times three ; And 
 
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 T 
 
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 =:e 
 
 three mer-ry boys, And three mer-ry boys. And three mer-ry boys are we. 
 
 The virtues they were seven, 
 And three the greater be ; 
 The Caesars they were twelve. 
 
 Another Three merry hoys are we 
 
 And the fatal sisters three. 
 And three merry girls, and three merry girls. 
 And three merry girls are we. 
 
 1 been already quoted (ante p. 216). 
 
 CUPID'S COURTESY. 
 
 Copies of this ballad are in the Roxburghe Collection, ii. 58 ; and in the Douce 
 Collection, p. 27. It is also printed entire, with the tune, in Pills to purge 
 Melancholy, vi. 43. 
 
 The copy in the Roxburghe Collection may be dated as of the reign of 
 Charles II., being " printed by and for W. 0[nley], for Apexander] M[ilbourne], 
 and sold by the booksellers ; " but Mr. Payne Collier, -who reprints it in his Book 
 of Roxburghe Ballads, p. 80, mentions " a manuscript copy, dated 1595," as still 
 extant. The words are in the same metre as Phillida flouts me, and Lady lie near 
 me (ante pages 183 and 185), but the stanzas are shorter, being of eight instead 
 of twelve lines. The ballad is entitled "Oupid's Courtesie; or The young Gallant 
 foil'd at his own weapon. To a most pleasant Northern tune.'''' 
 
 In another volume of the Douce Collection (p. 264) is " The Young Man's 
 Vindication against The Virgin's Complaint. Tune of The Virgin's Qomplaint, 
 or Oupid's Qourtesie ; " commencing — 
 
 " Sweet virgin, hath disdain Ne'er to love man again, 
 
 Mov'd you to passion, — But for the fashion ? " &c. 
 
364 
 
 ENGLISH SONG AND BALLAD MUSIC. 
 
 This i3 also in eight-line stanzas (black-letter) ; and a former possessor has 
 peneill'd against the name of the tune, " I am so deep in love." I have referred 
 to I am so deep in love (ante p. 183) as probably another name for Phillida flouts 
 me, but on this authority it should rather be to Cupid's Courtesy: 
 
 Smoothly. 
 
 i=j=M^ ^ ^^-^'i ^ \ ^^ 
 
 ^ 
 
 w=^. 
 
 Through the cool sha - dy woods As I was ran - ging, I heard the 
 
 W=¥^ 
 
 ^ 
 
 / 
 
 n r m 
 
 ^^ 
 
 fl? 
 
 pret - ty birds NotBS sweet - ly chan - ging. Down by the mea - dow's side 
 
 =1= 
 
 w^ 
 
 -^ 
 
 PP ; I I ■ I I n. I 
 
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 A lit - tie boy I spied With bow and qui - ver. 
 
 There runs a ri - ver ; 
 
 :t: 
 
 5%^ 
 
 " Little boy, tell me why thou art here diving ; 
 Art thou some runaway, and hast no biding ? " 
 " I am no runaway ; Venus, my mother, 
 She gave me leave to play, when I came hither." 
 
 " Little boy, go with me, and be my servant ; 
 I will take care to see for thy preferment." [me, 
 " If I with thee should go, Venus would chide 
 And take away my bow, and never abide me." 
 
 "Little boy, let me know what's thy name 
 
 termed. 
 That thou dost wear a bow, and go'st so 
 
 armed?" [changing, 
 
 "You may perceive the same with often 
 Cupid it is my name ; 1 live by ranging." 
 
 " If Cupid be thy name, that shoots at rovers, 
 I have heard of thy fame, by wounded lovers : 
 Should any languish that are set on fire 
 By such a naked brat, I much admire." 
 
 " If thou dost but the least at my laws grumble, 
 I'll pierce thy stubborn breast, and make thee 
 
 humble : 
 If I with golden dart wound thee but surely. 
 There's no physician's art that e'er can cure 
 thee." 
 
 " Little boy, with thy bow why dost thou 
 
 threaten ? 
 It is not long ago since thou wast beaten. 
 Thy wanton mother, fair Venus, will chide 
 
 thee: 
 When all thy arrows are gone, thou may'st go 
 hide thee." 
 
 " Of powerful shafts, you see, I am well stored. 
 Which makes my deity so much adored : 
 With one poor arrow now I'll make thee shiver, 
 And bend unto my bow, and fear my quiver." 
 
REIGNS OP JAMES I. AND CHARLES I. 865 
 
 " Dear little Cupid, be courteous and kindly : For Cupid with his craft quickly had chosen, 
 
 I know thou canst not hit, but shootest And with a leaden shaft her heart had frozen ; 
 
 blindly.'' [thee, "Which caus'd this lover more sadly to 
 
 "Although thou call'stme blind, surely I'll hit languish. 
 
 That thou shalt quickly find ; I'll not forget And Cupid's aid implore to heal his anguish. 
 
 tljee." 
 
 _,, ,.,„., , , . , . , , He humbly pardon crav'd for his offence past, 
 
 Then little Cupid caught his bow so nimble, . , ,j i • u ' i j i. i \ 3 
 
 , , „,,„,., , , , And vow d himself a slave, and to love sted- 
 
 And shot a fatal shaft which made me tremble. „ 
 
 " Go, tell thy mistress dear thou canst discover ,,. ' , , ^ i.-i 1 i,- 1. i 
 
 ,„',,,•' . ;. , . , ,, His pray rs so ardent were, whilst his heart 
 
 What all the passions are 01 a dying lover. , 
 
 And now his gallant heart sorely was bleeding. That Cupid lent an ear, and his suit granted. 
 
 And felt the greatest smart from love proceed- 
 ing : For by his present plaint he was regarded. 
 
 He did her help implore whom he affected. And his adored saint his love rewarded. 
 
 But found that more and more him she re- And now they live in joy, sweetly embracing, 
 
 jected. And left the little boy in the woods chasing. 
 
 HAVE AT THY COAT, OLD WOMAN. 
 
 This tune is contained in every edition of The Dancing Master, and in MusicFs 
 Delight on the Oithren, 1666. 
 
 A copy of the ballad from which it derives the above name is in the Pepys 
 Collection, i. 284. It is— 
 
 " A merry new song of a rich widow's wooing. 
 Who married a young man to her own undoing. 
 To the tune of Stand thy ground, old Harry." It is a long ballad, in black- 
 letter, " printed at London for T. Langley," and commences thus : — 
 " I am so sick for love, Have at thy coat, old woman. 
 
 As like was never no man, [sigh, Have at thy coat, old woman, 
 
 Which makes me cry, with a love-sick Here and there, and everywhere, 
 Have at thy coat, old woman. Have at thy coat, old woman." 
 
 I have not found the ballad, Stand thy ground, old Harry ; but there is another 
 to the tune, under that name, in the same volume, i. 282 — " A very pleasant 
 new ditty, to the tune of Stand thy ground, old Harry ; commencing, " Come, 
 hostess, fill the pot." Printed at London for H. Gosson. 
 
 A song, commencing, " My name is honest Harry," to the tune of Rohin 
 Rowser, which is in the same metre, is contained in Westminster Drollery, 1671 
 and 1674 ; and in Dryden's Miscellany Poems, iv. 119. I imagine that Stand 
 thy ground, old Harry, and My name is honest Harry, are to the same tune, 
 although I cannot prove it. The words of the latter suit the air so exactly, that 
 I have here printed them with the music. 
 
 Whitlock, in his Zootomia ; or Observations on the Present Manners of the 
 English, 12mo., 1654, p. 45, commences his character of a female quack, with 
 the line, "And have at thy coat, old woman.'''' In Vox Borealis, 4to., 1641, we 
 find, " But all this sport was little to the court-ladies, who began to be very 
 melancholy for lack of company, till at last some young gentlemen revived an old 
 game, called Have at thy coat, old woman." 
 
866 
 
 ENGLISH SONG AND BALLAD MUSIC. 
 
 Merrily. 
 
 .frW34^^ 
 
 J H i J^^ 
 
 1= 
 
 9 
 
 My name is ho - nest Har - ry, 
 
 And 
 
 love -lit - tie 
 
 T^c 
 
 3 
 
 rt3=y 
 
 ^ 
 
 ^ 
 
 ■ J^^'i\ i t]=^=m , 
 
 ^fe^ 
 
 s 
 
 T=T 
 
 ^^ 
 
 Ma - ry ; In spite of Cis, or 
 
 ^^ ^=^ 
 
 jealous Bess, I'll have myownva-ga - ry. 
 
 o 
 
 ^ 
 
 ^ 
 
 My love is blithe and buxom, 
 And sweet and fine as can be, 
 
 Fresh and gay as the flowers in May, 
 And looks like Jack-a-dandy. 
 
 And if she will not have me. 
 
 That am so true a lover, 
 I'll drink my wine, and ne'er repine, 
 
 And down the stairs I'll shove her. 
 
 But if that she will love me, 
 I'll be as kind as may be ; 
 
 I'll give her rings and pretty things. 
 And deck her like a lady. 
 
 Her petticoat of satin, 
 
 Her gown of crimson tahby, 
 
 Lac'd up before, and spangled o'er, 
 Just like a Bart'lemew baby. 
 
 Her waistcoat shall be scarlet, 
 With ribbons tied together ; 
 
 Her stockings of a Bow-dyed hue, 
 And her shoes of Spanish leather. 
 
 Her smock o' th' finest hoUand, 
 And lac'd in every quarter ; 
 
 Side and wide, and long enough. 
 To hang below her garter. 
 
 Then to the church I'll have her. 
 Where we will wed together ; 
 
 And so come home when we have done. 
 In spite of wind and weather. 
 
 The fiddlers shall attend us. 
 
 And first play Johrt come hiss me ; 
 
 And when that we have danc'd a round. 
 They shall play Hit or miss me. 
 
 Then hey for little Mary, 
 
 Tis she I love alone, sir ; 
 Let any man do what he can, 
 
 I will have her or none, sir. 
 
 A HEALTH TO BETTY. 
 This tune is contained in every edition of The Dancing Master, and in MusicKs 
 Delight on the Cithren. 
 
 D'Urfey prints "The Female Quarrel: Or a Lampoon upon Phillida and 
 Chloris, to the tune of a country dance, call'd A health to Betty" Pills 
 ii. 110, 1719. 
 
 In the Pepys Collection, i, 274, is a ballad — " Four-pence-half-penny-farthing ; 
 or A woman will have the oddes;" signed M[artin] P[arker]. "Printed at 
 London for 0. W. To the tune of Bessy Bell [she doth excell], or A health to 
 Betty." The first verse is here printed to the tune. 
 
 In the same CoUeetion, ii. 372, is " The Northern Turtle: 
 Wayling his unhappy fate, 
 In being deprived of his sweet mate. 
 
EEIGNS OF JAMES I. AND CHARLES I. 
 
 867 
 
 To a new Northern tune, or A health to Betty." Printed at London for J. H. 
 and beginning — "As I was walking all alone." 
 
 In the Roxburghe Collection, i. 318, " The -pair of Northern Turtles — 
 Whose love was firm, till cruel death 
 Deprived them both of life and breath." 
 This is also " to a new Northern tune, or A health to Betty" and commences — 
 " Farewell, farewell, my dearest dear, 
 All happiness wait on thee.'' 
 Gracefully. 1^ ^^~~ I J 
 
 i 
 
 i 
 
 ^^m 
 
 ^^^ 
 
 ^ 
 
 i^ 
 
 ^ 
 
 ^ 
 
 T 
 
 One raorn-ing bright, for my de-light, In - to the fields 1 walked, There 
 It seem'd to me theycouldnotagree A - bout some pret-ty bargain, He 
 
 FBFFft 
 
 ^ 
 
 g=fr 
 
 =3= 
 
 
 -i^^ S \ ^ 
 
 ^m 
 
 did I see a lad, and he With a fair maid - en talk - ed. 
 
 offer'd a groat, but still her note Was four -pence -half-penny - far - thing. 
 
 ^= 
 
 is; 
 
 =? 
 
 SHACKLEY-HAY. 
 The only copy I have found of this tune is in the Skene Manuscript, temp. 
 Charles I. 
 
 It seems to derive its name from " A most excellent song of the love of young 
 Palmus and faire Sheldra, with their unfortunate love." Copies of this, " to the 
 tune of Shackley-hay" are in the Pepys Collection, i. 350 ; in the Roxburghe, 
 i. 436 and 472 ; the Bagford, fol. 75 ; and it is reprinted in Evans' Old 
 Ballads, i. 50. 
 
 In the Pepys Collection, i. 344, is a ballad of " Leander's love to Hero. To 
 the tune of Shackley-hay," beginning — 
 
 " Two famous lovers once there was." 
 In Westminster JDrollery, 1671 and 1674, " A Song of the Declensions. The 
 tune is Shackle de hay," and the same, with two others, in Grammatical Drollery, 
 by W. H. (Captain Hicks), 1682. 
 
 In the Roxburghe Collection, ii. 244, and the Douce Collection, p. 109, is 
 " The Knitter's Job : Or the earnest suitor of Walton town to a fair maid, with 
 her modest answers, and conclusion of their intents. To the tune of Shackley- 
 hey." It commences thus : — 
 " Within the town of Walton fair, This maid she manj' suitors had, 
 
 A lovely lass did dwell ; And some were good, and some were bad. 
 
 Both carding, spinning, knitting yarn. Fa, la la la la, &c. 
 
 She could do all full well. 
 
368 
 
 ENGLISH BONG AND BALLAD MUSIC. 
 
 The Canaries (a dance "with sprightly fire and motion," alluded to by 
 Shakespeare, and which, under that name, seems always to have had the same 
 tune) is called "The Canaries, or The Hay;' in MusicWs Handmaid, MIS. 
 The figure of The Hay was also frequently danced in country-dances; but 
 Shackley-hay is the name of a place in the ballad. It is very long — twenty-four 
 stanzas of eight lines — I have, therefore, selected nine from the first part. The 
 second recounts young Palmus's going to sea in an open boat, through fair 
 Sheldra's disdain ; his being wrecked and drowned, and the sea-nymphs falling in 
 love with him. 
 
 Smoothly. 
 
 rft: 
 
 ^j f l j^'^ 
 
 ^ 
 
 ±1 
 
 Young Pal-mus was a Fer - ry - man, Whom Shel-dra fair did love, At 
 
 Hf^T-ff- 
 
 ;' i J. j- i j-j j- Ej 
 
 M^=^ 
 
 m 
 
 Shackley, where her sheep did graze, She there his thoughts did prove : But 
 
 ^ 
 
 J • J ^ I J 
 
 sMe^ 
 
 i 
 
 =1 
 
 5 
 
 he un - kind - ly stole a - way, And left his love at Shackley - hay, So 
 
 ^ 
 
 t 
 
 ^ 
 
 ^s^^^^H^?^f%p^-s-?=^^ 
 
 loud at Shack-ley 
 
 _ ^ ^- 
 
 did she cry. The words resound at Shackley-hay. 
 
 ^ 
 
 But all in vain she did complain, 
 
 For nothing could him move, 
 Till wind did turn him back again, 
 
 And brought him to his love. 
 When she saw him thus tum'd by fate, 
 She tum'd her love to mortal hate ; 
 Then weeping, to her he did say, 
 I'll live with thee at Shackley-hay. 
 
 No, no, quoth she, I thee deny. 
 My lo.ve thou once did scorn. 
 And my prayers wouldst not hear. 
 
 But left me here forlorn. 
 And now, being tum'd by fate of wind, 
 Thou thinkst to win me to thy mind; 
 Go, go, farewell ! I thee deny, 
 Thou shalt not live at Shackley-hay. 
 
REIGNS OF JAMES I. AND CHARLES I. 
 
 If that thou dost my love disdain, 
 
 Because I live on seas ; 
 Or that I am a ferry-man 
 
 My Sheldra doth displease, 
 I will no more in that estate 
 Be servile unto wind and fate. 
 But quite forsake boats, oars, and sea, 
 And live with thee at Shackley-hay. 
 
 • • * • • 
 To strew my boat, for thy avail, 
 
 I'll rob the flowery shores ; 
 And whilst thou guid'st the silken sail, 
 
 I'll row with silv'ry oars; 
 And as upon the streams we float, 
 A thousand swans shall guide our boat; 
 And to the shore still will I cry. 
 My Sheldra comes to Shackley-hay. 
 « * « • * 
 And, walking lazily to the strand. 
 
 We'll angle in the brook. 
 And fish with thy white lily hand, 
 
 Thou need'st no other hook ; 
 To which the fish shall soon be brought, 
 And strive which shall the first be caught ; 
 A thousand pleasures will we try, 
 As we do row to Shackley-hay. 
 
 And if we be opprest with heat, 
 
 In mid-time of the day, 
 Under the willows tall and great 
 
 Shall be our quiet bay ; 
 Where I will make thee fans of boughs. 
 From Phoebus' beams to shade thy brows ; 
 And cause them at the ferry cry, 
 A boat, a boat, to Shackley-hay ! 
 
 A troop of dainty neighbouring girls 
 
 Shall dance along the strand, 
 Upon the gravel all of pearls. 
 
 To wait when thou shalt land ; 
 And cast themselves about thee round. 
 Whilst thou with garlands shalt be crown'd; 
 And all the shepherds with joy shall cry, 
 O Sheldra, come to Shackley-hay ! 
 
 Although I did myself absent, 
 
 'Twas but to try thy mind ; 
 And now thou may'st thyself repent, 
 
 For being so unkind. — 
 No ! now thou art turn'd by wind and fate. 
 Instead of love thou hast purchas'd hate. 
 Therefore return thee to the sea. 
 And bid farewell to Shackley-hay. 
 
 FRANKLIN IS FLED AWAY. 
 
 Copies of this ballad are in the Pepys Collection, ii. 76 ; the Roxburghe, 
 ii. 348 ; the Bagford, 643, m. 10, p. 69 ; and the Douce, fol. 222. 
 
 In the same volume of the Bagford Collection, p. 139, is " The two faithful 
 Lovers. To the tune of Franklin is fled away ;'''' commencing — 
 
 "Farewell, my heart's delight, I must now take my flight. 
 
 Ladies, adieu ! Whate'er ensue." 
 
 The tune is contained in Apollo's Banquet for the Treble Violin, 1669 ; in 
 180 Loijal Songs, 1686 and 1694 ; and in Pills tofurge Melancholy, iii. 208, 1707 ; 
 sometimes under the name of Franklin is fled away, and at others as hone, 
 hone, the burden of the ballad. This burden is derived from the Irish lamen- 
 tation, to which there were many allusions in the sixteenth and seventeenth 
 centuries, as in Marston's Eastivard Hoe, act v., sc. 1 ; or in Gay ton's Festivous 
 Notes upon Bon Quixote, 1654, p. 57, — " "Who this night is to be rail'd upon by 
 the black-skins, in as lamentable noyse as the wild Irish make their hones." 
 A different version of the tune will be found in the ballad opera of The Jovial 
 Qrew, 1731, under the name of You gallant ladies all. 
 
 A variety of songs and ballads, which were sung to it, will be found in the 
 above-named collections of ballads ; in the 180 Loyal Songs ; in Patrick Carey's 
 Trivial Poems, 1651 ; and in Pills to purge Melancholy. 
 
 The tune is one of the many from which Q-od save the King has been said to be 
 
 derived. 
 
 2b 
 
370 
 
 ENOLISH SONG AND BALLAD MUSIC. 
 
 The title of the original ballad is "A mournful Oaral : Or an Elegy lamenting 
 the tragical ends of two unfortunate faithful Lovers, Franklin and CordeliMS ; he 
 being slain, she slew herself with her dagger. To a new tune called Franklin is 
 fled awayJ" 
 
 i 
 
 4 
 
 Moderate time. 
 
 *^ 
 
 33 
 
 mJi _ i_i : 
 
 Franklin, m 
 
 loy - al friend, O hone, O hone ! In whom my 
 
 '.l:ll.1 f 
 
 ^ 
 
 ^m 
 
 ^ 
 
 f^ 
 
 H^ 
 
 ^. 
 
 t^ 
 
 joys do end, Ohone! O hone! Franklin, my heart's delight. Since lasf jjg 
 
 ^ 
 
 f^^^W 
 
 ^^^ 
 
 ^^ 
 
 s 
 
 p^r— r "• 1: ^ 
 
 took his flight. Bids now the world good night. O hone, 
 — J- 
 
 hone! 
 
 ^ 
 
 =i=^ 
 
 i 
 
 ?^ 
 
 Franklin is fled and gone, O hone, O hone ! 
 And left me here alone, O hone, O hone ! 
 
 Franklin is fled away, 
 
 The glory of the May ; 
 Who can hut mourn and say, O hone, O hone ! 
 
 There are six stanzas in the first, and eight in the second part. Black-letter. 
 Printed for M. Coles, W. Thackeray, &c. 
 
 QUEEN DIDO, OR TROY TOWN. 
 
 " A ballett intituled The Wanderynge Prince " was entered on the Eegisters 
 of the Stationers' Company in 1564-5. This was, no doubt, the " Proper new 
 ballad, intituled The Wandering Prince of Troy : to the tune of Queen Dido" of 
 which there are two copies in the Pepys Collection (i. 84 and 548). Of these 
 copies, the first, being printed by John Wright, is probably not of earlier date 
 than 1620 ; and the second, by Clarke, Thackeray, and Passinger, after 1660. 
 
 The ballad has been reprinted in Percy's Heliques of Ancient Poetry, iii. 192, 
 1765 ; and in Eitson's Ancient Songs, ii. 141, 1829. Its extensive popularity 
 will be best shown by the following quotations: — "You ale-knights, you that 
 devour the marrow of the malt, and drink whole ale-tubs into consumptions ; that 
 
REIGNS OP JAMES I. AND CHARLES I. 371 
 
 sing Queen Dido over a cup, and tell strange news over an ale-pot . . . you shall be 
 awarded with this punishment, that the rot shall infect your purses, and eat out 
 the bottom before you are aware."- — The Penniless Parliament of threadbare 
 Poets, 1608. (Percy Soc. reprint, p. 44.) 
 Frank. — " These are your eyes ! 
 
 Where were they, Clora, when you fell in love 
 With the old footman for singing Queen Dido ? " 
 
 Fletcher's The Captain, act iii., so. 3. 
 Fletcher again mentions it in act i., sc. 2, of Bonduca, where Petillius says of 
 Junius that he is " in love, indeed in love, most lamentably loving, — to the tune 
 of Queen Dido." At a later date, Sir Robert Howard (speaking of himself) 
 says, "In my younger time I have been delighted with a ballad for its sake; 
 and 'twas ten to one but my muse and I had so set up first : nay, I had almost 
 thought that Queen Dido, sung that way, was some ornament to the pen of Virgil. 
 I was then a trifler with the lute and fiddle, and perhaps, being musical, might 
 have been willing that words should have their tones, unisons, concords, and 
 diapasons, in. order to a poetical gamuth." — Poems and Essays, 8vo., 1673. 
 
 A great number of ballads were sung to the tune, either under the name of 
 Queen Dido or of Troy Town. Of these I will only cite the following : — 
 
 " The most excellent History of the Duchess of Suffolk's Calamity. To the 
 tune of Queen Dido ; " commencing — 
 
 " When God had taken for our sin 
 
 That prudent prince, King Edward, away." 
 Contained in Strange Histories, or Songes and Sonets, &c., 1607; in the Crown 
 Crarland of Grolden Bases, 1669 ; in the Pepys Collection, i. 644 ; and reprinted 
 in Evans' Old Ballads, iii. 135. 
 
 "Of the Inconveniences by Marriage. To the tune of When Troy towne;" 
 beginning — " Fond, wanton youth makes love a god." 
 
 Contained in The Golden Q-arland of Princely Delights, third edit,, 1620; also 
 set to music by Robert Jones, and printed in his First Boohe of Ayres, fol., 1601. 
 
 " The lamentable song of the Lord Wigmore, Governor of Warwick Castle, 
 and the fayre Maid of Dunsmoore," &c. ; beginning — 
 
 " In Warwickshire there stands a downe. 
 And Dunsmoore-heath it hath to name ; " 
 which, in the Crown Crarland of Grolden Bases, 1612, is to the tune of Diana [and 
 her darlings dear] ; but in the copy in the Bagford Collection is to the tune of 
 li-oy Toion. (Reprinted by Evans, iii. 226.) 
 
 "The Spanish Tragedy: containing the lamentable murder of Horatio and 
 Belimperia ; with the pitiful death of old Hieronimo. To the tune of Queen 
 Dido J beginning — " You that havd lost your former joys." 
 Printed at the end of the play of The Spanish Tragedy, m Dodsley's Old Plays, 
 iii. 203, 1826 ; and by Evans, iii. 288. 
 
 " A Looking-glass for Ladies ; or a Mirror for Married "Women. Tune, Queen 
 Dido, or Troy Town ; " commencing — 
 
 " When Greeks and Trojans fell at strife." 
 
372 
 
 ENGLISH SONS AND BALLAD MUSIC. 
 
 Reprinted by Percy, under the name of Constant Penelope, from a copy in the 
 Pepys Collection. 
 
 " The Pattern of True Love ; or Bowes' Tragedy," written in 1717, and printed 
 in Ritson's Yorkshire Q-arland. 
 
 The last shows its popularity at a late period. 
 
 The only tune I can find for the ballad, The Wandering Prince of Troy, is the 
 composition of Dr. Wilson. It is adopted in Pills to purge Melancholy, iii. 15, 
 1707, and iv. 266, 1719 ; and is the Troy Town of the ballad-operas, such as 
 Polly, 1729, &c. The ballad was entered at Stationers' Hall before Dr. Wilson 
 was born ; therefore this cannot be the original tune, — unless he merely arranged 
 it for three voices, which we have no reason for supposing. It is printed in his 
 " Cheerful Ayres or Ballads, first composed for one single voice, and since set 
 for three voices," Oxford, 1660. Dr. Rimbault has recently identified Dr. 
 Wilson with the " Jack Wilson " who was a singer on the stage in Shakespeare's 
 time. It is possible, therefore, that he may have sung the ballad on the stage, 
 according to the custom of those days. Wilson was created Doctor, at Oxford, 
 in 1644, and died in his seventy-ninth year, a.d. 1673. 
 
 There is also a song of Queen Dido, but, being in a different metre, it could 
 not be sung to the same air. (See Index.) In the following, I have adopted 
 Dr. Percy's copy of the ballad, after the first stanza, which is printed with the 
 tune. It consists of twenty-three verses, of which eleven are subjoined ; ending 
 with the first climax — Dido's death. 
 
 Moderate time. 
 
 ^ 
 
 t^^^^m 
 
 When Troy town for ten years' wars Withstood the Greeks in manful wise ; 
 
 e^ 
 
 ^ 
 
 i 
 
 Ei 
 
 ffi 
 
 ^ 
 
 ^f^^^^^^^^^^^ 
 
 2 
 
 Yet did their foes in-crease so fast, That to re-sist none could suf- fice. 
 
 Jr rf i ff- 
 
 ?E=if 
 
 ^ 
 
 t^ i i j-ij-i^j U i ^ 
 
 13 
 
 =5^ 
 
 Waste lie those walls that were so good, And corn now grows where Troy town stood. 
 
 ?^ 
 
 [j' l r rrr jJ i J 
 
 ^ 
 
REIGNS OF JAMES I. AND CHARLES I. 
 
 373 
 
 ^neas, wandering prince of Troy, 
 
 When he for land long time had sought, 
 
 At length arriving with great joy. 
 
 To mighty Carthage walls was brought ; 
 
 Where Dido queen, with sumptuous feast. 
 
 Did entertain that wandering guest. 
 
 And, as in hall at meat they sate. 
 The queen, desirous news to hear. 
 
 Says, ' Of thy Troy's unhappy fate 
 Declare to me, thou Trojan dear : 
 
 The heavy hap and chance so bad, 
 
 That thou, poor wandering prince, hast had.' 
 
 And then anon this comely knight. 
 With words demure, as he could well, 
 
 Of his unhappy ten years' fight. 
 So true a tale began to tell. 
 
 With words so sweet, and sighs so deep, 
 
 That oft he made them all to weep. 
 
 And then a thousand sighs he fet, 
 And every sigh brought tears amain ; 
 
 That where he sate the place was wet, 
 As though he had seen those wars again : 
 
 So that the queen, with ruth therefore, 
 
 Said, worthy prince, enough, no more. 
 
 And then the darksome night drew on. 
 And twinkling stars the sky bespread ; 
 
 When he his doleful tale had done. 
 And every one was laid in bed : 
 
 Where they full sweetly took their rest. 
 
 Save only Dido's boiling breast. 
 
 This silly woman never slept, 
 
 But in her chamber, all alone, 
 As one unhappy, always wept. 
 
 And to the walls she made her moan ; 
 Tliat she should still desire in vain 
 The thing she never must obtain. 
 
 And thus in grief she spent the night, 
 Till twinkling stars the sky were fled. 
 
 And Phcebus, with his glistering light. 
 Through misty clouds appeared red ; 
 
 Then tidings came to her anon. 
 
 That all the Trojan ships were gone. 
 
 And then the queen, with bloody knife. 
 Did arm her heart as hard as stone. 
 
 Yet, something loth to loose her life. 
 In woful wise she made her moan ; 
 
 And, rolling on her careful bed. 
 
 With sighs and sobs these words she said . 
 
 O wretched Dido, queen ! quoth she, 
 I see thy end approacheth near ; 
 
 For he is fled away from thee. 
 
 Whom thou didst love and hold so dear: 
 
 What ! is he gone, and passed by ? 
 
 O heart, prepare thyself to die. 
 
 Though reason says, thou shouldst forbear. 
 And stay thy hand from bloody stroke. 
 
 Yet fancy bids thee not to fear. 
 
 Which fetter'd thee in Cupid's yoke. 
 
 Come death, quoth she, resolve thy smart • 
 
 And with those words she pierced her heart. 
 
 EEMEMBEE, O THOU MAN. 
 
 This Christmas Carol is the last of the " Country Pastimes " in " Melismata : 
 Musicall Phansies fitting the Court, Citie, and Countrey Humours," edited by 
 Ravenscroft, 4to., 1611. It is paraphrased in " Ane compendious booke of 
 Godly and Spirituall Songs . . with sundrie . . ballates changed out of prophaine 
 Sanges," &c., printed by Andro Hart, in Edinburgh, in 1621. 
 
 " Remember, man, remember, man, And hes done for thee what I can, 
 
 That I thy saull from Sathan wan, Thow art fuU deir to me," &c. 
 
 Scottish Poems of the Sixteenth Century, ii. 188, 1801. 
 
 From Melismata the carol was copied into Forbes' Oantus, and taught in the 
 Music School at Aberdeen. Some years ago, the latter work was sold for a 
 comparatively high price at public auctions in London (about lOZ.), and chiefly 
 on the reputation of containing, in this carol, the original of Crod save the King, 
 The report originated with Mr. Pinkerton, who asserted in his Recollections of 
 Paris, ii. 4, that " the supposed national air is a mere transcript of a Scottish 
 Anthem " contained in a collection printed in 1682. Forbes' Cantus is compara- 
 tively useless to a musician, since it contains only the "cantus," or treble voice 
 
374 
 
 ENGLISH eONa AND BALLAD MUSIC. 
 
 part of English compositions, -which were written, and should be, in three, four, 
 or five parts. There are, also, a few ballad tunes, such as " Satan, my foe," to 
 Fortune, my foe ; " Shepherd, saw thou not," to Orimson Velvet, &c. ; and, in the 
 last edition, 1682, some Italian songs, and " new English Ayres," in three parts 
 complete. The two former editions were printed at Aberdeen, in 1662 and 1666. 
 Moderate time. 
 
 i 
 
 i 
 
 i 
 
 ^ 
 
 D^4~X 
 
 ^ 
 
 ^ 
 
 -^ 
 
 Re-mem-ber, O thou man, O thou man, O thou man, Re-mem-ber, 
 
 m=FS 
 
 ^ 
 
 22 
 
 It*" 
 
 i^^=^ 
 
 W: 
 
 ti 
 
 O thou man, thy time ia spent. 
 
 Re - mem - her, O thou manj 
 
 ^=N -^ ^^^^^^ 
 
 M 
 
 mat I can, there-fore 
 
 how thou art dead and gone. And I did 
 
 pent. 
 
 i=Ei: 
 
 ^ ^ 
 
 To Bethlem they did go, O thou man, &c., 
 
 To Bethlem they did go, the shepherds 
 
 three ; [so or no. 
 
 To Bethlem' they did go, to see wh'er it were 
 
 Whether Christ were born or no, to set man 
 
 free. 
 
 As the angels before did say, O thou man, &c., 
 
 As the angels before did say, so it came 
 
 to pass ; [babe where it lay, 
 
 As the angels before did say, they found a 
 In a manger, wrapt in hay, so poor he was. 
 
 In Bethlem he was born, O thou man, &c., 
 In Bethlem he was bom for mankind's sake ; 
 
 In Bethlem he was bom, for us that were 
 
 forlorn, [take. 
 
 And therefore took no scorn our flesh to 
 
 Give thanks to God always, O thou man, &c.. 
 Give thanks to God always with heart most 
 joyfully; [day- 
 
 Give thanks to God alway, for this our happy 
 Let all men sing and say. Holy, holy. 
 
 Remember Adam's fall, O thou man, &c.. 
 Remember Adam's fall, from heaven to hell ; 
 
 Remember Adam's fall, how we were con- 
 demned all 
 In hell perpetual there for to dwell. 
 
 Remember God's goodness, O thou man, &c., 
 
 Remember God's goodness and his promise 
 
 made ; [Son, doubtless, 
 
 Remember God's goodness, how he sent his 
 Our sins for to redress ; — Be not afraid. 
 
 The angels all did sing, O thou man, &c.. 
 The angels all did sing upon the shepherd's 
 hill; [King, 
 
 The angels all did sing praises to our heavenly . 
 And peace to man living, with a good will. 
 
 The shepherds amazed were, O thou man, &c.. 
 
 The shepherds amazed were, to hear the 
 
 angels sing ; [come to pass 
 
 The shepherds amazed were, how it should 
 
 That Christ, our Messias, should be our 
 
 King. 
 
REIGNS OF JAMES I. AND CHARLES I. 375 
 
 TEE COUNTBY LASS. 
 
 This is tlie tune to which, with slight alteration, Sally in our Alley is now sung. 
 Henry Carey, the author of that song, composed other music for it, which is 
 introduced four times in his Musical Century. Carey's tune is the Sally in our 
 Alley of the ballad-operas that were pruited from 1728 to 1760 ; but from the 
 latter period its popularity seems to have waned, and, at length, his music was 
 entirely superseded by this older ballad-tune. 
 
 The Qountrey Lasse, from which it derives its name, was to be sung to " a dainty 
 new note ; " but, if unacquainted with that, the singer had the option of another 
 tune — Tlie mother beguil'd the daughter. In Pills to jpurge Melancholy, ii. 165, 
 1700 and 1707, it is printed (in an abbreviated form) to the one ; and in The 
 Merry Musician, or a Cure for the Spleen,'^ iii. 9, to the other. 
 
 In The Devil to pay, 8vo., 1731, where Carey's tune is printed at p. 35, as 
 Charming Sally, this will be found, as What tho' I am a Country Lass, at p. 50. 
 Being unfit for dancing, the air is not contained in The Dancing Master. 
 
 I have quoted the full title of the ballad of The Country Lass at p. 306. The 
 copy in the Roxburghe Collection, i. 52, being printed by the assigns of Thomas 
 Symcocke, would date in or after 1620, the year of that assignment. The copy in 
 the Pepys Collection, i. 268, is, perhaps, an original copy. It bears the initials 
 of Martin Parker, the famous baUad-writer, and is evidently more correctly 
 printed. 
 
 The versions in Pills to purge Melancholy, and in The Merry Musician, have each 
 had " the rust of antiquity filed from them," and, as usual, without any improve- 
 ment. The two first stanzas are nearly the same as in the old ballad ; but the 
 three remaining have been re-written. The older ballad is reprinted by Evans, 
 i. 41, from the Roxburghe copy. 
 
 The "a" at the end of each alternate line is a very old expedient of the 
 ballad-maker for fitting his words to music, when an extra syllable was required. 
 The reader may have observed it already in John Dory, Jog on the footpath way, 
 Good fellows must go learn to dance, and others. The custom is thus reproved in 
 "A Discourse of English Poetrie, by William Webbe, graduate," 1686 : — " K 
 I let passe the un-countahle rabble of ryming ballet-makers, and compylers of 
 sencelesse sonets (who be most busy to stuife every stall full of grosse devises 
 and unlearned pamphlets), I trust I shall, with the best sort, be held excused. 
 For though many such can frame an alehouse song of five or six score verses, 
 hobbling uppon some tune of a Northern Jygge, or Robyn Hoode, or La 
 Lubber, &c. : and perhappes observe just number of Billables, eight in one 
 line, sixe in an other, and therewithal! an ' a ' to make a jercke in the ende : yet 
 if these might be accounted poets (as it is sayde some of them make meanes to 
 be promoted to the Lawrell), surely we shall shortly have whole swarmes of 
 poets; and every one that can frame a booke in ryme, though, for want of 
 matter, it be but in commendations of copper noses or bottle ale, wyll catch at 
 the garlande due to poets — whose potticall (poeticall, I should say) heades, 
 
 • The first volume of The Merry Muaieian is dated not set up in type like the first, bear no dates. 
 1716 ; but the second, third, and fourth, being engraved. 
 
376 
 
 ENGLISH SONG AND BALLAD MUSIC, 
 
 I would wyshe, at their worshipfull commencements, might, in steede of lawrell, 
 be gorgiously garnished with fayre greene barley, in token of their good affection 
 to our Englishe malt." 
 
 The following verses aire selected from the older copy of the ballad. In the 
 Pills, and Merry Musician, the burden, which requires the repetition of the first 
 part of the tune, is omitted : — 
 Gracrfully. 
 
 i 
 
 ^^ 
 
 ^ 
 
 ^^ 
 
 ?^=i: 
 
 m 
 
 ^ 
 
 s 
 
 f 
 
 ry > 
 
 ^^ 
 
 Although, I am a country lass, A lof - ty mind I bear - a, I 
 
 Down, down, derry, der-ry down, Hey down a down, a down-a, a 
 
 ^4^ 
 
 ^SEte^ 
 
 ^ 
 
 m 
 
 s 
 
 ^ 
 
 ^ 
 
 i 
 
 Fine. 
 
 think my -self as good as those That gay ap - pa - rel wear- a; 
 der - ry, der - ry derry, derry down. Hey down - a, down - a der - ry. 
 
 — I ■ 1 — I 1 1 — = 1 — I 
 
 My 
 
 ^ 
 
 T 
 
 ^ 
 
 J' l n J . j- i M 
 
 n 
 
 ^ 
 
 i^ 
 
 ^ 
 
 coat IS made of 
 
 "^7 
 
 come-ly gray. 
 
 r 
 
 Yet is my skin as soft - a, 
 
 J ^ ^ .J- 
 
 As 
 
 S 
 
 ^ 
 
 J=l- 
 
 j:7 i ri=i 
 
 Da Capo. 
 
 ^ 
 
 ^^^ 
 
 TIPS Do liat.np tlifiir \tc\ - 1 dips oft - a. 
 
 f- 
 
 those that with 
 
 the choicest wines Do bathe their bo - ' dies oft - a. 
 
 fe^=P 
 
 ^ 
 
 What, though I keep my father's sheep, 
 
 A thing that must be done-a, 
 A garland of the fairest flow'rs 
 
 Shall shroud me from the sun-a ; 
 And when I see them feeding by, 
 
 Where grass and flowers spring-a, 
 Close by a crystal fountain side, 
 
 I sit me down and sing-a. 
 
 Dame Nature crowns us with delight 
 
 Surpassing court or city. 
 We pleasures take, from morn to night. 
 
 In sports and pastimes pretty : 
 Your city dames in coaches ride 
 
 Abroad for recreation. 
 We country lasses hate their pride, 
 
 And keep the country fashion. 
 
 I care not for the fan or mask. 
 
 When Titan's heat reflecteth, 
 A homely hat is all I ask, 
 
 Which well my face protecteth ; 
 Yet am I, in my country guise, 
 
 Esteem'd a lass as pretty, 
 As those that every day devise 
 
 New shapes in court or city. 
 
 Then do not scorn the country lass, 
 
 Though she go plain and meanlj' ; 
 Who takes a country wench to wife 
 
 (That goeth neat and cleanly). 
 Is better sped, than if he wed 
 
 A fine one from the city, 
 For there they are so nicely bred, 
 
 They must not work for pity. 
 
EEIGNS OF JAMES I. AND CHARLES I. 
 
 377 
 
 MAYING-TIME. 
 In Tlie Golden Garland of Princely Delights, 3rd edit., 1620, this is entitled 
 " The Shepherd's Dialogue of Love between Willy and Cuddy : To the tune of 
 Maying-time." It is also in Dryden's Miscellany Poems, vi. 337, and in Percy's 
 Heliqices of Ancient Poetry. Percy entitles it "The Willow Tree: a Pastoral 
 Dialogue." 
 
 The tune is in a manuscript dated 1639, in the Advocates' Library, Edinburgh; 
 in the Skene MS. ; and in all the editions of Forbes' Oantus. 
 Willy. 
 
 :J^ 
 
 & 
 
 ^ 
 
 m 
 
 s 
 
 ? 
 
 * c 
 
 How now, Shepherd, what means that? Why that wil-low in thy hat? 
 
 t^ 
 
 FR$^ 
 
 E 
 
 ^ 
 
 fe^ 
 
 J mJ ^ 
 
 ^i=h^ 
 
 *t 
 
 ^ 
 
 «* 
 
 ^= 
 
 Why thy scarfs of red and yel - low Turn'd to branches of green wil - low ? 
 
 =E= 
 
 A-=a 
 
 Cuddy. 
 
 d=d= 
 
 i 
 
 is: 
 
 ^ 
 
 ra: 
 
 . ^1 
 
 They are chang'd, and so am I ; 
 
 i 
 
 Sor - rows live, but plea - sures die : 
 
 32 
 
 i Nff i-^=j=^=^^ 
 
 w^. 
 
 ^r"* 
 
 Phil - lis hath for sa - ken me. Which makes me wear the wil - low tree. 
 
 ^^^ 
 
 i i ' J J. 
 
 WILLY. 
 
 Phillis ! she that lov'd thee long ? 
 Is she the lass hath done thee wrong ? 
 She that lov'd thee long and best, 
 Is her love turned to a jest? 
 
 CUDDY. 
 
 She that long true love profest, 
 She hath robb'd my heart of rest : 
 For she a new love loves, not me ; 
 Which makes we wear the willow-tree. 
 
 WILLY. 
 
 Come then, shepherd, let us join. 
 Since thy hap is like to mine : 
 For the maid I thought most true 
 Me hath also bid adieu. 
 
 ^ 
 
 CUDDY. 
 
 Thy hard hap doth mine appease, 
 Company doth sorrow ease : 
 Yet, Phillis, still I pine for thee, 
 And still must wear the willow-tree. 
 
 WILLY. 
 
 Shepherd, be advis'd by me. 
 Cast oif grief and willow-tree : 
 For thy grief brings her content, 
 She is pleas'd if thou lament. 
 
 CUDDY. 
 
 Herdsman, I'll be rul'd by thee, 
 There lies grief and willow-tree : 
 Henceforth I will do as they. 
 And love a new love every day. 
 
378 ENGLISH SONG AND BALLAD MUSIC. 
 
 NEVER LOVE THEE MOEE. 
 
 This song, commencing, " My dear and only love, take heed," is contained in a 
 manuscript volume of songs and ballads, with music, dated 1659, in the hand- 
 writing of John Gamble, the composer. The MS. is now in the possession of 
 Dr. Rimbault. 
 
 Gamble published some of his own works in 1657 and 1659, but this seems to 
 have been his common-place book. It contains the songs Dr. Wilson composed 
 for Brome's play. The Northern Lass, and many compositions of H. and W. 
 Lawes, as well as common songs and ballads. The last are usually noted down 
 without bases ; but, in some instances, the space intended for the tune is unfilled. 
 
 In the Pepys Collection, i. 256, is " The PaythfuU Lover's Resolution ; being 
 forsaken of a coy and faythless dame. To the tune of My dear and only love, take 
 heed;" commencing, "Though booteles I must needs complain." "Printed 
 at London for P. Birch." 
 
 In the same volume, i. 280 — " Good sir, you wrong your Britches ; — pleasantly 
 discoursed by a witty youth and a wily wench. To the tune of no, no, no, not 
 yet, or He never love thee more ; " commencing, " A young man and a lasse of 
 late." "Printed at London for J[ohn] T[rundle]." 
 
 At p. 378 — " Anything for a quiet life ; or The Married Man's Bondage," &c. 
 " To the tune of no, no, no, not yet, or He never love thee more." Printed at 
 London by G. P. 
 
 And at p. 394 — " 'Tis not otherwise : Or The Praise of a Married Life. To 
 the tune of He never love thee more ; " commencing, " A young man lately did 
 complaine." Printed at London by G. B. 
 
 The above quotations tend to prove the tune to be of the time of James I. 
 Philip Birch, the publisher of the first ballad, had a " shop at the Guyldhall " 
 in 1618, when he published " Sir "Walter Rauleigh his Lamentation," to which 
 I have referred at p. 175. John Trundle, the publisher of the second, was dead 
 in 1628; the ballads were then printed by "M. T., widdow." Trundle is 
 mentioned as a ballad-printer in Ben Jonson's Every man in his humour, 1598. 
 
 In the Roxburghe Collection, ii. 574, is "A proper new ballad, being the 
 
 regrate [regret] of a true Lover for his Mistris unkindness. To a new tune. He 
 
 ever love thee more." The rude orthography of this seems to mark it as an early 
 
 ballad ; but, unfortunately, the printer's name is cut away. It commences thus : 
 
 " I wish I were those gloves, dear heart. Then should no sorrow, grief, or smart. 
 
 Which could thy hands inshrine ; Molest this heart of mine," &o. ; 
 
 and consists of twenty -one stanzas of eight lines ; thirteen in the first part, and 
 eight in the second. 
 
 In the same coEection, and in Mr. Payne CoUier's Roxburghe Ballads, p. 227, is 
 " The Tragedy of Hero and Leander. To a pleasant new tune, or I will never love 
 thee more." The last was " printed for R. Burton, at the Horse-shoe in West- 
 Smithfield, neer the Hospital-gate ; " and the copy would, therefore, date in the 
 reign of Charles I., or during the Commonwealth. 
 
EEIGNS OF JAMBS I. AND CHARLES I. 379 
 
 James Graham, Marquis of ' Montrose, also -wrote " Lines " to this tune, 
 retaining a part of the first line, and the burden of each verse, " lUl never love 
 thee more.'" It is " An Address to his Mistress," and commences — 
 '' My dear and only love, 1 pray 
 This noble vforld of thee, &c. 
 Like " My dear and only love, take heed" it consists of five stanzas ; and must 
 have been written after the establishment of the Committees and the Synod of 
 Divines at Westminster (1643) , because he refers to both in the song. 
 
 Watson in his Collection of Scotch Poems, part iii., 1711, printed one of the 
 extended versions of " My dear and only love, take heed," as a " second part " to 
 the Marquis of Montrose's song ; but it cannot have been written by him, as he 
 was only born in 1612. Neither Ritson, Robert Chambers, nor Peter Cunningham, 
 have followed this error ; but it has been reproduced in Memoirs of Montrose, 
 Edinburgh, 1819. 
 
 It was, no doubt, the Marquis of Montrose's song that made the tune popular 
 in Scotland. It is found, under the name of Montrose Lyns, in a manuscript of 
 lyra-viol music, dated 1695, recently in the possession of Mr. A. Blaikie. The 
 tune has, therefore, been included in collections of Scottish music ; but " My dear 
 and only love, taJce heed" continued to be the popular song in England, and from 
 that it derives its name. In English ballads it is called "A rare Northern 
 tune,"* and I have never yet found that term applied to a Scotch air. Besides 
 Gamble's manuscript, which contains both the words and air, the words will be 
 found in the first and second editions of Wit and Drollery, 1656 and 1661, 
 (there entitled "A Song ") ; in Pills to purge Melancholy, 1700, 1707, and 1719. 
 The tune was first added to TJie Dancing Master in 1686, and is contained in 
 every subsequent edition, in a form more appropriate to dancing than the 
 earlier copy. 
 
 Some of the ballads are of a later date than the Marquis of Montrose's 
 song, such as " Teach me, Belissa, what to do : " to the tune of " My dear and 
 only love, take heed," in Folly in print, 1667 ; " A Dialogue between Tom and 
 Dick," in Bats rhimed to death, 1660 ; " The Swimming Lady," in the Bagford, 
 others in Roxburghe and Pepys Collections ; but I have already cited enough to 
 prove that it was a very popular air, and popular before the Marquis of Montrose's 
 song can have been written. 
 
 A copy of the ballad, consisting of four verses in the first, and five in the 
 
 a In ballad-phrase, the terms ' ' Northern " and " North- men, or of their best clarkes, all is a matter), nor in effect 
 
 country" were often applied to places within a hundred any speach used beyond the river of Trent: though no man 
 
 miles of London. Percy describes the old ballad of Clievn can deny but theirs is the purer English Saxon at this day, 
 
 Chace as written in " the coarsest and broadest Northern yet it is not so courtly nor so current as our Southeme 
 
 dialect," although Richard Sheale, the author of that ver- English is, no more is the far Western man's speach: 
 
 Bion, was a minstrel residing in Tamworth, and in the ye shall therefore take the usuall speach of the Court, 
 
 service of the Earl of Derby. Puttenham thus notices and that of London and the shhres lying about London, 
 
 the difference of speech prevailing in his time beyond the within sixty miles, and not much above." (Arte of 
 
 Trent—" Our [writer] therefore at these days shall not Englisli PoesieJ Many of the characters in plays of the 
 
 follow Piers Plowman, nor Gower, nor Lydgate, nor yet seventeenth century, such as Brome's Northern Las.,, 
 
 Chaucer for their language is now out of use with us : speak in a dialect which might often pass for Scotch with 
 
 neither shall he take the terms of North-men, such as they those who are unacquainted with the language of the 
 
 use in dayly talke (whether they be noble men or gentle- time. 
 
380 
 
 ENGLISH SONG AND BALLAD MUSIC. 
 
 second part, is contained in the Douce Collection, p. 102, entitled " lie never love 
 thee more : Being the Forsaken Lover's Farewell to his fickle Mistress. To a rare 
 Northern tune, or Me never love thee more." It commences, " My dear and only 
 Joy, take heed ; " and the second part, " He lock myself within a cell." Having 
 been " Printed for W. Whitwood, at the Golden Lyon in Duck Lane," this fcopy 
 may be dated about 1670. It is also in the list of those printed by W. 
 Thackeray at the same period. The copies in Wit and Drollery, and in Gamble's 
 MS., consist only of five stanzas. 
 
 The following copy of the tune is taken from Gamble's MS. ; the words are the 
 first, second, and fourth stanzas, in the order in which they stand in Wit and 
 Drollery ; or first, third, and fourth, ia the MS. All the old copies above cited 
 have verbal differences, as well as differences of arrangement. 
 
 
 Rather slowly and smoothly. 
 
 ^^ 
 
 m 
 
 ? 
 
 ii^ 
 
 My dear and on - ly love, 
 
 How thou thyself ex - pose, By 
 
 ffijg 
 
 ^ 
 
 -4- 
 
 ^ 
 
 
 f 
 
 let - ting long - ing lov - era feed Up - on such looks as those, 
 
 i 
 
 I'll 
 
 ^ 
 
 FTFT i f^ij-^^ 
 
 mar - ble - wall thee round a - bout. And build with-out a 
 
 ^^^yl 
 
 door; 
 
 
 But 
 
 H -:r+r-i 
 
 f^ 
 
 ^ 
 
 m 
 
 ^F^^ 
 
 if thy heart do 
 
 once break out, I'll ne-ver love thee more. 
 
 H=N-^f^=H 
 
 SI 
 
REIGNS OF JAMBS I. AND CHARLES I. 381 
 
 Let not their oaths, by volleys shot, Then if by fraud or by consent, 
 
 Make any breach at all, To ruin thou shouldst come, 
 
 Nor smoothness of their language plot I'll sound no trumpet as of wont, 
 
 A way to scale the wall ; Nor march by beat of drum ; 
 
 No balls of wild-fire-Iove consume But fold my arms, like ensigns, up. 
 
 The shrine which I adore ; Thy falsehood to deplore, 
 
 For, if such smoke about it fume, And, after such a bitter cup, 
 
 I'll never love thee more. I'll never love thee more. 
 
 THE MERCHANTMAN. 
 
 The ballad of tlie Merchantman and the Fiddler's Wife is in the list of those 
 printed by Thackeray, in the reign of Charles II. It is also printed in Pills to 
 purge Melancholy, iii. 153, 1707, to the following " pleasant Northern tune." 
 
 It commences with the line, " It was a rich Merchantman," and the ballad of 
 " George Barnwell " was to be sung to the tune of The rich Merchantman. (See 
 Roxburghe Collection, iii. 26.) Percy prints it from another copy in the Ash- 
 mole Collection, where the tune is entitled " The Merchant^ 
 
 There must either be another tune called A rich Merchantman, or else only 
 half the air is printed in Pills to purge Melancholy ; for, although eight bars of 
 music suffice for the above-named, which are in short stanzas of four lines, 
 sixteen, at least, are required for other ballads, which are in stanzas of eight, 
 and have occasionally a burden of four more. It is not unusual to find only 
 the half of a tune printed in the Pills (see, for instance, Tom of Bedlam, Grreen 
 Sleeves, &c.), but I know of no other version of this tune, and therefore have not 
 the means of testing it. 
 
 " A song of the strange Lives of two young Princes of England, who became 
 shepherds on Salisbury Plain, and were afterwards restored to their former 
 estates : To the tune of The Merchant Man"— ^is contained in The Golden Qarland 
 of Princely Delights, 3rd edit., 1620, as well as in Old Ballads, 2nd edit., 
 iii. 5, 1738. It is in stanzas of eight lines (commencing, "In kingly Stephen's 
 reign ") , and reprinted, omitting the name of the tune, in Evans' Old Ballads, 
 ii. 53, 1810. 
 
 " A most sweet song of an English Merchant, born at Chichester : To an 
 excellent new tune " — has the additional burden of four lines, and is probably 
 the earliest. It commences thus : — 
 " A rich merchant man there was, And for this fact the merchant man 
 
 That was both grave and wise. Was judg'd to lose his head. 
 
 Did kill a man at Embden towne A srveet thing is love, 
 
 Through quarrels that did rise. It rules both heart and mind, 
 
 Through quarrels that did rise, There is no comfort in this world 
 
 The German he was dead, ' Like ' women that are kind." 
 
 Of this various copies are extant, and all apparently very corrupt. One in the 
 Eoxburghe Collection, i. 104, is " Printed at London for Francis Coules ; " 
 a second, in the Bagford Collection, printed for A. P. ; a third, in the Pepys 
 Collection, by Clarke, Thackeray, and Passinger. Evans reprints from the last. 
 
382 
 
 ENGLISH SONa AND BALLAD MUSIC. 
 
 (See Old Ballads, i. 28, 1810.) It is parodied in act iii. of Rowley's comedy, 
 A new Wonder, a Woman never vext, 1632; and quoted in The Triumphant 
 Widow, 1677 :— 
 
 " There was a rich merchant man, He kill'd a man in Athens town, 
 
 That was both great and wise, Great quarrels there did arise,'' &o. 
 
 A rich Merchantman is one of the tunes to a song in The Famous Historie of 
 Fryer Bacon, b.l., 4to, n.d. ; and There was a rich Merchantman to a ballad in 
 the Pepys Collection, ii. 190. Others (under the one name or the other) will 
 be found in the Roxburghe Collection, i. 286 and 444, ii. 242, &c. 
 
 I 
 
 ^ 
 
 ^ 
 
 -fi: 
 
 
 W^^' 
 
 l^^ 
 
 ^ 
 
 There was a rich merchant - man, That was both grave and wise, He 
 
 tffS=i' 
 
 i: 
 
 n 
 
 h 
 
 *= 
 
 ^ 
 
 ^ 
 
 ^ 
 
 ^ 
 
 f 
 
 ^Srr 
 
 kill'd a man in Athens town, Great quarrels there did 
 
 ■ -J J^ 
 
 *t 
 
 -i* 
 
 r 
 
 FAIR MAKGAEET AND SWEET WILLIAM. 
 
 Copies of this ballad are in the Douce Collection, fol. 72, and in the Col- 
 lection of Mr. George Daniel ; also in Percy's Reliques of Ancient Poetry. 
 
 Percy says, " This seems to be the old song quoted in Fletcher's Knight of the 
 Burning Pestle, acts ii. and iii. ; although the six lines there preserved are some- 
 what different from those in the ballad as it stands at present. The lines preserved 
 in the play are this distich : — 
 
 " You are no love for me, Margaret, 
 I am no love for you j " 
 and the following stanza : — 
 " When all was grown to dark midnight, In came Margaret's grimly ghost, 
 
 And all were fast asleep, And stood at William's feet." 
 
 Percy adds that " these lines have acquired an importance by giving birth to one 
 of the most beautiful ballads in our own or any other language" — " Margaret's 
 Ghost " by Mallet. 
 
 Mallet's ballad attained deserved popularity. It was printed in various forms 
 
 on half-sheets with music, and in Watts' Musical Miscellany, ii. 84, 1729. The 
 
 air became known by its name, and is so published in The Village Opera, 1729, 
 
 and in The Devil to pay, 1731. 
 
 It was not, however, printed exclusively to this tune. Thomson published it 
 
REIGNS OF JAMES I. AND CHARLES I. 
 
 383 
 
 in tis Orpheus Oaledonius, and described it, with, his usual inaccuracy, as "an 
 old Scotch ballad, with the original Scotch tune ; " — " old," although (on the 
 authority of Dr. Johnson) it was first printed in Aaron HiU's Plain Dealer, 
 No. 36, July 24, 1724, and Thomson's Orpheus was published within six months 
 of that time — viz., on January 5, 1725. The "original Scotch tune" of Thomson 
 is a version of " Montrose's lines," or Never love thee more. 
 
 Another point deserving notice in the old ballad, is that one part of it has 
 furnished the principal subject of the modern burlesque ballad, " Lord Lovel,"an d 
 another that of T. Hood's song, " Mary's Ghost." 
 
 The copy in the Douce Collection is entitled " Fair Margaret's Misfortune ; or 
 Sweet William's frightful dreams on his wedding night : With the sudden death 
 and burial of those noble lovers. To an excellent new tune." 
 
 The following version of the words is from Percy's Heliqiies of Ancient 
 Poetry : — 
 
 With expression. 
 
 i 
 
 ^ 
 
 ^ 
 
 ^3 
 
 ^t 
 
 TT 
 
 As 
 
 fell 
 
 out 
 
 I 
 on 
 
 long sum - mer's day, Two 
 
 ^ 
 
 i 
 
 ^=J: 
 
 W=^ 
 
 ^ 
 
 T 
 
 '^^-i-v^-n^ 
 
 i 
 
 ist 
 
 =F 
 
 "f 
 
 lo - vers they 
 
 sat 
 
 -•- -<ar 
 hill; They sat 
 
 to ge - ther that 
 
 E± 
 
 ^ 
 
 t=ib 
 
 I I l^ 
 
 long sum-mer s 
 
 ^ 
 
 fill. 
 
 day, And 
 
 could 
 
 not 
 
 talk 
 
 their 
 
 m 
 
 I see no harm by you, Margaret, 
 
 And you see none by me ; 
 Before to-morrow at eight o' the clock 
 
 A rich wedding you shall see. 
 
 Fair Margaret sat in her bower-window, 
 
 Combing her yellow hair ; 
 There she spied sweet William and his bride, 
 
 As they were a riding near. 
 
 Then down she laid her ivory comb, 
 And braided her hair in twain ; 
 
 She went alive out of her bower, 
 But ne'er came alive in't again. 
 
 When day was gone, and night was come, 
 
 And all men fast asleep. 
 Then came the spirit of fair Marg'ret, 
 
 And stood at William's feet. 
 
384 
 
 ENGLISH SONG AND BALLAD MUSIC. 
 
 Are you awake, sweet William? she said, 
 Or, sweet William, are you asleep ? 
 
 God give you joy of your gay bride-bed, 
 And me of my winding-sheet. 
 
 When day was come, and night was gone. 
 And all men wak'd from sleep, 
 
 Sweety William to his lady said. 
 My dear, 1 have cause to weep, 
 
 I dreamt a dream, my dear lady. 
 
 Such dreams are never good ; 
 I dreamt my bower was full of red wine, 
 
 And my bride-bed full of blood. 
 
 Such dreams, such dreams, my honoured Sir, 
 
 They never do prove good ; 
 To dream thy bower was full of red wine. 
 
 And thy bride-bed full of blood. 
 
 He called up his merry men all. 
 
 By one, by two, and by three ; 
 Saying, I'll away to fair Marg'ret's bower. 
 
 By leave of my lady. 
 
 And when he came to fair Marg'ret's bower. 
 
 He knocked at the ring ; 
 And who so ready as her seven brethren. 
 
 To let sweet William in. 
 
 Then he turned up the covering sheet. 
 
 Pray let me see the dead ; 
 Methinks she looks all pale and wan. 
 
 She hath lost her cherry red. 
 
 I'll do more for thee, Margaret, 
 Than any of thy kin ; 
 
 For I will kiss thy pale wan lips. 
 Though a smile I cannot win. 
 
 With that bespake the seven brethren. 
 
 Making most piteous moan : 
 You may go kiss your jolly brown bride. 
 
 And let our sister alone. 
 
 If I do kiss my jolly brown bride, 
 
 I do but what is right ; 
 I ne'er made a vow to yonder poor corpse 
 
 By day, nor yet by night. 
 
 Deal on, deal on, my merry men all. 
 Deal .on your cake and ybur wine ; 
 
 For whatever is dealt at her funeral to-day. 
 Shall he dealt to-morrow at mine. 
 
 Fair Margaret died to-day, to-day, 
 Sweet William died the morrow ; 
 
 Fair Margaret died for pure true love. 
 Sweet William died for sorrow. 
 
 Margaret was buried in the lower chancel. 
 
 And William in the higher ; 
 Out of her breast there sprang a rose, 
 
 And out of his a brier. 
 
 They grew till they grew unto the church-top, 
 And then they could grow no higher ; 
 
 And there they tied in a true lover's knot. 
 Which made all the people admire. 
 
 Then came the clerk of the parish. 
 
 As you the truth shall hear. 
 And by misfortune cut them down, 
 
 Or they now had been there. 
 
 END OF VOLUME THE FIRST. 
 
16.