^ v V c°' ■ : /^ *■# i0q. a x .in « ' - 8 * ,0 o & ( (cl)Mc 3-/?-/9*#, ENGLISH, IRISH, AM) SCOTTISH SONGS, FROM THE SIXTEENTH TO THE NINETEENTH CENTURY'; EDITED AXD ANNOTATED BY CHARLES MACKAY & SAMUEL L0YEB.' Price 5s., handsomely Bound and profusely Illustrated, EEOlt THE SIXTEENTH TO THE XEXETEEXTH CESTUEY. BY SAMUEL LOVER. II. Uniform with the " Irish Songs," price 3s. 6d., tfjrt %nk hi (Bnglislj longs, BY CHARLES MAC KAY, BEAITTIprXLT ILLFSTEATED BT GLXBEET, HAEEISOX, WEIR, AXD BIEKET FOSTEE. III. Also uniform with the preceding Volumes, Illustrated by the same Artists, price 3s. 6d., BY CHABLES MACKAY. * # * These three Volumes comprise the best specimens of the Ballad and Lyric Literature of the three countries, from the earliest period to the present day. LONDON : HOULSTON AND WEIGHT, 65, PATERNOSTER BOW. ALBERT SMITH-ANGUS B. REACH, AND HORACE MATHEW. % THE HAPPIEST EPPORTS OP THESE DISTINGUISHED WRITERS ARE TO BE POUND IN I. Sktttjrta af tlit lutj, BY ALBERT SMITH. II. 3#nntorfttl |farplt, BY HORACE MAYHEW. III. Mtn nf tjjB Muni, BY ANGUS B. REACH. UNIFORMLY BOUND IN BOARDS, ILLUSTRATED BY "PUNCH" ARTISTS. PRICE TWO SHILLINGS EACI THESE BOOKS ARE PROFUSELY ILLUSTRATED BY GILBERT, CAVARNI, HME, HENNING, PHIZ, AND LEECH. LONDON: WARD AND LOCK, 158, FLEET STREET. /CO 'rO THE BOOK OF ENGLISH SONGS ■I. T. NOEEIS, PEINTEE, 128, AEDEESGATE SIEEET, EOJTOOE, FRONTISPIECE. SONGS OF ENGLAND. THE Slink nf (Bttgluil) longs EDITED BY CHARLES MACKAY. LONDON: HOULSTON & WRIGHT, 65, PATERNOSTER ROW A \\ ft '\ ^v ' A 7 PKEFACE. The following Collection of the Popular and National Songs of England is offered to the lovers of this delightful department of literature with the hope that it will be found to present, in a small compass, a large portion of the most celebrated effusions of this kind which the language affords. The ordinary Song- books, of which large numbers are issued, at prices varying from one penny to a shilling, are for the most part valueless to those who desire to know the age in which the songs were written, the names of the authors, the circumstances which led to their production, or any fact of interest connected with their origin or their influence. They contain neither names nor dates, make no attempt at classification, and often include effusions which are objectionable to the right-minded, and unfit to be placed in the hands of the young. The Collection now offered to the public aims to supply a deficiency in these respects ; and although it has no pretensions to being complete — for fifty volumes would scarcely exhaust a subject so extensive — it is hoped that it presents a fair view of the progress and present state of English literature in this particular branch. The songs have not been uniformly selected for their beauty or their excellence. While these claims have not been lost sight of, the popularity which Yl PBEFACE. they may have at any time enjoyed, or the influence, direct or indirect, which they may be supposed to have exercised upon the popular mind, have been considered legitimate passports to a place in the Collection. It is possible that many readers with whom particular songs may have become favourites from old association, may look in vain in this volume for the lyrics that have been impressed on their memory by accidental circumstances ; but they will possibly admit upon reflection that these are, to a great extent, matters of individual taste, and that the song which is beautiful to one man, because his mother, his sister, his lover, his wife, or his friend, may have sung it, may be without charms for him who has not heard it repeated under similar cir- cumstances. It should also be remembered, that he who selects, with small space at his disposal, from a mass of materials, must necessarily omit much, which, had he been less restricted for room, he would willingly have included. The Editor cannot omit to express his thanks to the living writers who have given him permission to make extracts from their works. He has also to return his acknowledgments to Messrs. Cramer and Beale, Regent Street ; to Messrs. Goulding and D'Almaine, of Soho Square ; to Messrs. Bradbury and Evans Whitefriars ; and to Messrs. Adam and Charles Black, of Edin- burgh, for the permission to insert the compositions of deceased authors of which they possess the copyright; and to Mr. "William Chappell, and Dr. E. F. Rimbault, for the kind com- munication of many interesting facts connected with the author- ship of old songs. CONTENTS. A Bumper of good liquor A Glass is good ....', A jolly fat Friar loved liquor good store A Soldier, a Soldier for me . A song to the Oak, the hrave old Oak , A wet Sheet and a flowing Sea Adieu ! adieu ! our Dream of Love Ah ! how sweet it is to love . Ah, my sweet Sweeting All in the Downs the Fleet was moored As I lie sleeping . As I walked forth one Summer's day Ask you who is singing here ? PAGE E. E. Sheridan . . 136 J. O'Keefe . . .135 " Myrtle and Vine" . . 296 " Summing Bird" . . 218 H. F. Chorley . . .308 Allan Cunningham . . 202 Thomas K. Hervey . . 78 John Dry den . . .56 MS. temp. Henry VIII. . 23 John Gay . . . 176 MS. temp. Henry VIII. . 24 f Play ford's " Airs and Dia- \ logues" .... 100 Charles Dibdin . . 297 Begone, dull Care ( Play ford's "Musical Com- ' * * \ panion" . . . 125 Be still, be still, poor human Heart . U. L. Montagu . . 307 Blow, blow thou Winter Wind . . William Shakspeare . 267 Blow high, blow low .... Charles Dibdin . . 185 Blue is the Sky George Meredith . . 81 Born in yon Blaze of orient Sky . . Erasmus Darwin . . 284 Bright Chanticleer proclaims the Dawn . Anonymous . . . 233 Busy, curious, thirsty Fly . . . Doubtful . . . 129 Cease, anxious World, your fruitless pain Sir George Htheredge Vlll CONTENTS. Cease, rude Boreas, blust'ring railer Chloris, now thou art fled away- Come, cheer up, my lads Come, all ye jolly Sailors bold Come bustle, bustle, drink about . Come, if you dare, our Trumpets sound . Come, live with me, and be my Love Come, now, all ye Social powers Come, thou Monarch of the Vine . Crabbed Age and Youth Daddy Neptune, one day, to Freedom Dame Durden had five serving girls Dearest ! do not you delay me Dear Betty, come give me sweet kisses . Dear is my little native Vale Dear Tom, this brown Jug . Despairing beside a clear Stream . Deserted by the waning Moon Did ever Swain a Nymph adore Down by the Eiver there grows . Drink to me only with thine Eyes . D'ye mind me ? I once was a Sailor C. A. Stevens . Dr. R. Hughes David Garrick Prince Hoare . " Convivial Songster' John Dryden . Christopher Marlowe J. BicJcerstaffe . W. ShaTcspeare Anonymous Thomas Dibdin Anonymous Fletcher . Sir C. H. Williams Samuel Rogers . Doubtful . Nicholas Rowe . Thomas Dibdin Charles Hamilton " Myrtle and Vine" Den Jonson " Myrtle and Vine" 97 177 196 181 210 88 128 123 268 221 102 40 68 304 134 98 301 103 264 43 132 Fain would I love, but that I fear . Fair flower ! fair flower ! Fair Hebe I left with a cautious design Fair Rosalind in woful wise . Fair, sweet, and young . Fair Sylvia, cease to blame my youth Farewell ! if ever fondest Prayer . Fill the Goblet again . For England when with fav'ring gale . Dr. R. Hughes ... 39 TV. T. Moncrieff . .315 Dord Cantalupe . . 64 " Convivial Songster" . 157 John Dryden ... 57 Bishop Atterbury . . 61 Lord Byron ... 72 ... 137 Pearce . . . .190 CONTENTS. Forth from my dark and dismal cell . William From the Court to the Cottage . . Harry Carey From merciless Invaders . . . Still From the white-blossom'd sloe . . J. O'Keefe Full merrily sings the Cuckoo . . Anonymous Gently stir, and blow the fire . . Dean Swift Give me more Love, or more Disdain . Thomas Carew Give place, ye Lovers .... Sari of Surrey Go, happy Eose . . . ... Robert Herriek Go, lovely Rose ..... Edmund Waller Go patter to lubbers and swabs . . Charles Dibdin Go, you may call it Madness, Folly . Samuel Rogers . God save the King . . . . Doubtful . Good-morrow to the Day so fair . . Robert Herriek Good Neighbours, since you 've knocked \ T tt t, me down VJ.liugties . " Myrtle and Vine '■ Good people, give attention PAGE 258 155 207 68 143 283 45 28 51 276 184 304 208 256 110 108 Had I a heart for falsehood framed Hark ! hark ! the Lark ! Hark ! the Convent -bells Hark ! the hollow Woods resounding Haste thee, nymph .... He comes ! he comes ! the Hero comes ! He that loves a rosy cheek . Hence, all you vain Delights Here, a sheer hulk, lies poor Tom Bowling Here's a Health to the Queen Here's to the Maiden of bashful Fifteen Hide me, O twilight air How happy a state does the Miller possess How happy is he born and taught . How sleep the Brave, who sink to rest R. B. Sheridan . . 70 William Shakspeare * 35 T.H. Bailey . . . 302 ''Sportsman's Vocal Cabinet" 247 John Milton . 276 II. Carey . . 210 Thomas Carev: . . 44 Anonymous . 269 Charles Dibdin . 187 Dyer . 126 R. B. Sheridan . 133 Barry Cornwall . 310 Charles Highmore . 290 Sir II. Wotton . . 145 William Collins . 213 CONTENTS. How many days with mute adieu . How stands the Glass around Huntsman, rest, thy Chase is done I am a Friar of Orders Grey I cannot eat but little meat . . ' . I go to the Elysian shade I have no riches, neither know I have been in love, and in debt, and hC drink I loved a Lass, a fair one I loved thee once, I'll love no more I love it, I love it, and who shall dare I love my little Native Isle . I never yet could see that Face I prithee, send me back my Heart I saw thee weep Lord Byron T. Miller . ions Sir Walter Scott John O'Keefe . Jolm Still Henry Carey Hugh Compton Alexander Brome George Wither . Sir Robert Aytoun Eliza Cook Charles Mackay Abraham Cowley Sir John Suckling I see she flies me every where I sing the British Seaman's praise I think on thee in the Night If all the World and Love were young If Chance assigned If he to whom this Toast we drink " The Hive" . Edward Rushton T. K. Hervey . Sir Walter Raleigh Sir Thomas Wyatt Charles MacJcay If I live to grow old, for I find I go down Dr. Walter Pope . If thou beest born to strange sights If 'tis Love to wish you near If Women could be fair I'll sing you a good old song I'm a tough true-hearted Sailor I'm old Mad Tom, behold me In an, Arbour green In the merry Month of May . In good King Charles's golden days John Donne . . Charles Dibdin " Byrd's Songs and Sonnets' Anonymous Anonymous " The Thrush" . "Lusty Juventus" Nicholas Breton Doubtful . PAGE 318 127 252 300 119 260 145 257 47 41 311 305 54 53 72 63 203 78 89 26 138 281 42 70 31 156 191 261 29 90 152 CONTENTS. XL In Hope a King doth go to war . In May Fifteen hundred In praise of a Dairy I purpose to sing It was a Friar of Orders Grey Keep silence, good folks King Death ..... Allison O'Keefe . j Play ford's " ( panion" . Dr. Percy Musical Com- Let Eakes for Pleasure range the town Let's drink and sing .... Life's like a Ship . . . . . Like as the Damask Rose you see . Loud roar'd the dreadful Thunder Love is a Sickness full of Woes Love is the Blossom where there blows . Love in my Bosom like a Bee Love me little — love me long Love not Lustily, lustily, let us sail forth Master Abraham Newland's May never was the Month of Love Merrily rolls the mill-stream on 'Mid Pleasures and Palaces . Mine be a Cot beside the Hill My Fair, ye Swains, is gone astray My Lodging is on the cold Ground No one knows what tender Secrets Not, Celia, that I juster am . Now is the Month of Maying XT ow Night her dusky Mantle folds Now the bright Morning Star Now, Eobin, lend to me thy bow . Anonymous Harry Cornwall Edivard Moore . " Convivial Songster Simon Wastell . Andrew Cherry Samuel Danyell Giles Fletcher . Thomas Lodge . Anonymous Son. Mrs. Norton Conditions' 11 A Whim of the Bay Morley's " Ballets" Gt-eorge Colman J. Howard Payne Samuel Rogers . " Myrtle and Vine" Anonymous Charles Mackay Sir Charles Sedley Thomas Morley "Songs of the Chase' John-Milton Anonymous PAGE 274 200 280 28 249 164 106 214 191 274 182 34 270 33 30 83 171 160 32 289 301 112 69 257 79 60' 94 243 275 229 \0 Xll CONTENTS. County Guy ..... Sir Walter Scott PAGE . 71 Nanny, wilt thou go with ine ? , Thomas Percy . . . 66 O'er Nelson's tomb .... S. J. Arnold . 193 Of all the Birds that ever I see Anonymous . 120 Of all the Torments, all the Cares . William Walsh . 62 Of Nelson and the North Thomas Campbell . 198 Oh, a dainty plant is the Ivy green Charles Dickens . 312 Oh, break not her silence J. Westland Marston . 81 Oh, no, we never mention her T. H. Bayley . . 75 Oh, say not Woman's Heart is bought . S. Pocock . 71 Oh, the Summer night Barry Cornwall . 317 Oh ! the gallant fisher's life . John Chalkhill . 231 Oh, there never was yet so pretty a thing Barry Cormvall . 313 Oh, take me to your arms, my love Thomas Dibdin . 265 Oh, the sweet Contentment . John ChalTchill . . 96 Old Tubal Cain was a man of might Charles MacJcay . 309 On a hill there grows a flower Nicholas Breton . 90 On Richmond Hill there lives a lass Upton . 107 Once did my Thoughts both ebb and flow "Muses' Garden" . 38 Once I thought I could adore him Charles Mackay . 82 One day when to Jove the Black List") was presented . . . ./ Hon. P. W. Spencer . 298 One Morning very early " Johnson's Museum" . 263 One Night came on a Hurricane . William Pitt . . 189 Our Bugles sang Truce . . . . Thomas Campbell . 222 Our ancient English Melodies Anonymous . 161 Pack Clouds away, and welcome Day Thomas Bteyivood . 52 Phyllis is my only Joy .... Sir Charles Sedley . . 60 Pretty Parrot, say .... Aikin's " Vocal Poetr y" . 291 Quoth John to Joan .... Anonymous . 87 Sally, sally, shilly shally ! Samuel Lover . . 77 CONTENTS. Say, what is Wealth without Delight ? See the Course thronged with gazers Shades of Evening close not o'er us Shall I like a Hermit dwell . Shall I, wasting in despair Shun Delays, — they hreed Remorse Sigh no more, Ladies . Since Wedlock's in vogue Since our foes do invade us . Since the first dawn of Reason Sing a sweet melodious measure Sing ! Who Sings Sir Marmaduke was a hearty knight Some talk of Alexander, and some of Hercules . t Still to be neat, still to he drest Sweet Day, so cool Sweet is the Ship that under sail . Sweet ditties would my Patty sing :} " Songs of the Chase" Charles Dibdin T. H. Bayley . Sir Walter Raleigh George Wither Robert Southivell William Shahspeare John Cunningham " Myrtle and Vine" Thomas Dibdin Anonymous Barry Cornwall G. Colman mous ■ Ren George Herbert Charles Dibdin PAGE 244 234 303 45 46 269 35 154 192 136 294 138 157 213 43 272 186 293 Take, oh, take those Lips away Tell me no more how fair she is Tell me not of a face that's fair Tell me not, Sweet, I am unkind . That Song again » * ... The Dew no more shall weep The dusky Night rides down the Sky The fire of Love in youthful blood The glories of our Birth and State The hunte is up, the hunte is up . The Sailor boasts his stately ship . The portals of the East divide The sea, the sea, the open sea . • William Shakspeare . Henry King . Alexander Brome , Richard Lovelace Thomas K. Hervey . Richard Crashaiv . Henry Fielding . JEarl of Dorset . . James Shirley . . Anonymous . JEliza CooTc . " Songs of the Chase" .' Barry Cornivall 36 50 55 55 306 53 238 63 146 230 112 241 201 XIV CONTENTS. The season's in for Partridges The Shape alone let others prize . The smiling Morn may light the Sky The splendour falls on Castle Walls The Sun was sunk beneath the hill The thirsty Earth drinks up the Rain The tuneful sound of Robin's horn The Wheel of Life is turning quickly) j .-. Akenside . Sir Walter Scott Alfred Tennyson Anonymous Abraham Cowley D. Terry . Richard Allison Upton " Convivial J. Bickerstajfe . Doubtful. Dlayford's " Choice Aires'' . round The Winds whistle cold There is a Garden in her face There ne'er was a name so handed There was an old man, and though There was a jolly Miller There was a jolly Tinker There was a jovial Beggar There was never nothing more me pain'd Sir Thomas Wyatt There's a good time coming, boys . Charles MacJcay This bleak and frosty morning . . " Vocal Cabinef This Bottle's the Sun of our table . M. B. Sheridan This Indian Weed, now wither'd quite . Anonymous Though when I lov'd thee thou wert fair Thomas Stanley Through great Earl Norman's acres wide Charles MacJcay Till death I Sylvia must adore . . " The Hive" To all you Ladies now on land To fair Fidele's grassy tomb . To live a Life free from gout, pain, or\ . phthisic / ft Toll for the Brave 'Twas God above that made all things Under the Greenwood Tree . Upon the Plains of Flanders . Earl of Dorset . William Collins William Cowper *' Antidote to Melancholy' William Shahspeare Thomas Campbell 266 223 CONTENTS. XV Waken, Lords and Ladies gay We be three poor Mariners . We dance on Hills above the Wind We three Archers be ... We be Soldiers three .... We Soldiers drink, we Soldiers sing Welcome, welcome, do I sing What dreaming drone was ever blest What is't to us who guides the State ? . What is War and all its joys ? What Pleasure have great Princes What poor Astronomers are they . When Britain first, at Heaven's command When Dasies pied, and Violets blue When Delia on the plain appears . When first I strove to win the prize When I drain the rosy bowl . When I was bound apprentice When Icicles hang by the Wall When Love, with unconfined wings When lovely Woman stoops to Polly When lull'd in Passion's dream When raging Love with extreme pain . When to Old England I come home When this old Cap was new . When 'tis Night, and the Midwatch come When we two parted in Silence and Tears When whispering strains do softly steal When Harold was invaded . When in the Storm on Albion's coast . When at the Social board you sit . When Vulcan forged .... Sir Walter Scott " Deuteromelia" Anonymous " Deuteromelia" Charles Dibdin William Brotvne W. Smyth " Convivial Songster' Thomas Chatterton Byrd John Dowland . James Thomson William ShaJcspeare Lord Lyttelton " Songs of the Chase" Francis FawJces William Shalcsjpeare Bichard Lovelace Oliver Goldsmith W. T. Moncrieff JEarl of Surrey . " Myrtle and Vine" Anonymous B. B. Sheridan . Lord Byron William Strode Tom Lf TJrfey B. S. Sharpe . Charles Mackay Thomas Dibdin PAGE 251 172 277 228 209 219 93 220 158 131 92 36 211 144 64 242 129 299 267 273 67 74 27 131 147 183 73 271 215 197 165 198 XVI CONTENTS. When mighty roast Beef was the Eng- ' lishinan's food Why, what's that to you Why are you wandering here, I pray ? . Why, fair Maid, in every feature Why, lovely Charmer, tell me why Why so pale and wan ? . With an honest old Friend . With lofty Song we love to cheer Women are hest when they are at rest . Woodmen, Shepherds, come away . Would you choose a Wife ? . Ye darksome Weeds where Echo dwells Ye Fox-hunters, Stag, ay and Hare- hunters too . . . . Ye Gentlemen of England Ye happy Swains whose Hearts are free Ye little Buds that sit and sing . Ye Mariners of England Ye who have scorned each other . " . You all knew Tom Moody You meaner Beauties of the Night You that think Love can convey . Young Henry was as hrave a youth PAGE Fielding and Leveridge . 212 Cliarles Dibdin . . 188 Charles Kearney . . 76 G. M. Leivis . . .262 " The Hive" ... 63 Sir John Suckling . . 150 Henry Carey . . . 130 Francis Bennoch . . 314 Anonymous . . . 142 James Shirley . . .95 Anonymous . 105 , a Songs of the Chase" Anonymous . . . 248 Martin Farlcer . . 173 Sir George Ftheredge . 57 Thomas Heytvood . . 91 Thomas Campbell . . 194 Charles Machay . . 316 Andreio Cherry . . 239 Sir Henry Wotton . . 40 Thomas Carew . . . 44 Thomas Dibdin . . 74 SONGS Of THE AFFECTIONS. Much misconception exists upon the subject of Song-writing Poetry itself — which. M. de Lamartine asserts to be " the guar- dian-angel of humanity in every age " — is considered by many, not otherwise unintelligent people, to be identical with verse. It is thought to be an idle art, unworthy of an age of practical usefulness ; while song-writing is held to be the most frivolous department of a frivolous pursuit. Even many of a more correct and better-educated taste scarcely know the difference between a song and any other short poem. The multitude, who sing, feel what a song is ; but the smaller class, who reason and refine, are as yet scarcely agreed upon the meaning of the term " song," — unless the vague definition that it is " something which may be sung" can be considered as satisfactory. The worth of a song in the estimation of such critics as these is as 18 SONGS OF THE AFFECTIONS. little as can be imagined ; and it has become a proverb, when a thing has been purchased at a price ridiculously low, to say that it has been bought " for a song." On the other hand, there are people who somewhat overrate the value and importance of songs, and who repeat the phrase made popular by Fletcher of Saltoun, that the song- writer has more influence upon the minds of the people than the law-maker. Both of these estimates are wrong. A song is neither so small nor so great a matter as is represented. The many beautiful compositions in the English language that may strictly be called songs, and which we owe to the genius of sOme of our most illustrious writers from the age of Shakspeare to our own, are sufficient proofs that the depreciation of those who deny all value to this form of poetry is unjust and unfounded; while the absence of any great number of songs popular enough to model the life, to sway the passions, and to stir the patriotism of the English multitude, proves that, as regards our nation at least, Fletcher of Saltoun, and those who repeat his opinion, have to a considerable extent overrated their influence. Yet who knows how much of loyalty might have remained unexcited if the music of the National Anthem had not been so magnificent, and if the air of "Rule Britannia" had not been so inspiriting? The song- writer, without the musician, is, in fact, but a writer of short poems; and "immortal verse" must be married to "immortal music" before it can exercise its full influence upon the minds of a people. A song and a ballad have points of resemblance and of differ- ence. A ballad, which at present seems to signify a song wherein a story is told, originally meant a short, or even a long, poem, modulated in the recital to serve as a musical accompaniment to a dance — from ballare, to dance. A song, strictly, should express a sentiment only; but the distinction has been often disregarded by our best writers, and some of the most beautiful compositions of this class in the English language partake largely of the cha- racteristics of both. But a song is a more difficult and excellent composition than a ballad. A song should be like an epigram, complete and entire — a perfect chrysolite — brilliant on every side. It should give voice to one pervading idea, which should be illus- trated naturally and elegantly. It should contain no word that SONGS OF THE AFFECTIONS. 19 could be omitted without injury to the music or the meaning; and should avoid the jar of inharmonious consonants, which in the English language present so many difficulties to the singer. Every stanza should be the very twin and counterpart of the other, as regards the rhythm ; and the whole composition, whether sprightly, tender, patriotic, convivial, or melancholy, should be short and terse, and end with the natural climax of the sentiment. A ballad, while it should be as perfect as regards the rhythm, is allowed more licence, and may extend to any length consistent with the interest of the story told in it, or the power of voice in the singer. Some writers and critics have confined the legitimate topics of song to the expression of amatory, convivial, or patriotic sentiment. This, however, is an undue limitation; for not only love and patriotism, and the less laudable feelings inspired by the bacchanalian frenzy; but joy, hope, tenderness, gratitude, cheerfulness, melancholy, and even grief, are the proper themes of song. Their expression by musical cadences is as natural to men in all ages and climates as speech itself. All high emotion is rhythmical. Wherever there is life or hope, joy or sorrow, are the materials for songs; and the youthful more especially give vent to their feelings in this natural music, as we may sup- pose the birds give vent to theirs, finding in the expression its own reward. The tender passion, in all ages and in all languages, has ever been the most prolific source of songs. The hope and fear— -the joy and sorrow — the quarrels and reconciliation — the guilt and remorse — and even the hatred of lovers, — have all found expression in these compositions; and while there are young hearts to feel, and old ones to be interested, in that passion, it is to be anticipated that songs will continue to be made and to be sung in celebration of the triumphs of love. No progress of philosophy or refinement will root from the heart that feeling which the American philosopher Emerson calls "the divine rage and enthusiasm which seizes on man at one period, and works a revolution in his mind and body, unites him to his race, pledges him to the domestic and civic relations, carries him with new sympathy into Nature, enhances the power of the senses, opens the imagination, adds to his character heroic and sacred attributes, establishes marriage, and gives permanence to human society." 20 SONGS OF THE AFFECTIONS. "All mankind," says the same deep thinker, in another por- tion of his delightful Essay, " love a lover. Though the celestial rapture falling out of heaven seizes only upon those of tender age, and although we can seldom see after thirty years a beauty- overpowering all analysis or comparison, and putting us quite beside ourselves, yet the remembrance of these visions outlasts all other remembrance, and is a wreath of flowers on the oldest brows. No man ever forgot the visitation of that power to his heart and brain which created all things new — which was the dawn in him of music, poetry, and art — which made the face of nature radiant with purple light — the morning and the night varied enchantments." Love is the fine spirit of song, and in all its Protean shapes gives music to expression. English literature contains few amatory songs of any merit, — with the exception of some which we owe to the genius of those unfortunate friends, the Earl of Surrey and Sir Thomas Wyatt, — of a date anterior to that golden age which produced a Shakspearc. Whatever songs of the kind may have been sung by the people have perished, or only exist in rude snatches and fragments, which Shakspeare himself and some of his contemporaries have preserved. The amatory songs, or the Songs of the Affections, produced at that time, or such of them as have been handed down to us, are rather the productions of the learning and the fancy of scholars, than the simple and passionate effusions of lovers. There is an air of elegance about them highly pleasing to the re- fined taste, — a finish and a grace, and an epigrammatic brilliancy, which never fail to captivate, — but heart is wanting. In the age which succeeded that of Shakspeare, the merit of the popular love-songs became still less, and heart may be said to have dis- appeared from them altogether, or to have been but faintly dis- cernible amid a mass of scholarly conceits and learned prettinesses. The public taste was vitiated, and at last became satisfied with mock sentiment and pagan allusion. No lover considered himself a true devotee at the shrine of beauty without appealing to Cupid or to Venus, and interlarding his speech with thoughts and ex- pressions scarcely fitting in a Greek or a Roman, but utterly unsuited to the realities of passion in a land and among a people SONGS OF THE AFFECTIONS. 21 that were not heathen. Towards the end of the seventeenth century an attempt to discard the ancient mythology was made by the best writers : it succeeded partially, but it was only to introduce a new style as objectionable as the old. Love played at masquerade, and bedizened itself in the costume of a stage shepherd. It was at this time that the loves of all the Chloes and Strephons came into fashion. The famous song attributed sometimes to Pope and sometimes to Swift, but most probably the composition of the former, and asserted to be written "by a Lady of Quality," happily ridiculed this class- of songs, and those which had preceded them. Fluttering, spread thy purple pinions, Gentle Cupid, o'er my heart j I a slave in thy dominions, Nature must give way to art. Mild Arcadians ever blooming, Nightly nodding o'er your flocks, See my weary days consuming All beneath yon flowery rocks. * * * Melancholy smooth Meander, Swiftly purling in a round, Cn thy margin lovers wander, With thy flowery chaplets crown'd. Thus when Philomela drooping Softly seeks her silent mate, See the birds of Juno stooping, Melody resigns to Fate. When English song- writing was at its lowest ebb; when coarse and brutal bacchanalian rhapsodies were sung at the table ; when woman's charms (her virtues were scarcely mentioned) were either portrayed in the silly masquerade of the writers of pas- torals, or in the more natural, but less respectful, lyrical effusions of the wits and men about town, — Captain Charles Morris, of the Life Guards, gallantly endeavoured to give a better tone to this department of literature. To use his own language, "he set his face against the lyrical scribblers of the eighteenth century, who, odious to relate, allowed not woman her true place in the heart, 22 SOXGS OF THE AFFECTIONS. and placed lier, in all their songs of glee and gladness, invariably below the bottle. She was held out in terror em to all happiness and joy, and to fly from her was the burden of every song." He, on the contrary, wrote "to discipline anew the social bands of convivial life, to blend the sympathies of fellow hearts, and wreathe a sweeter and gayer garland for the brow of festivity from the divine plants of concord, gratitude, friendship, and love." His genius, however, was not equal to his good intentions ; and, of the many hundred songs which he wrote, not one is worth remembering, except as a slight improvement upon the verses of Pope's "Lady of Quality," — that mythological person who is supposed to have been the parent of all the love-songs of the eighteenth century. The return to the simplicity of nature, as the only source of poetic beauty, which signalised the revival of English literature at the commencement of the present century, had, of course, an effect upon the public taste as regarded songs ; and a song-writer appeared whose fame eclipsed that of all other competitors, — Thomas Moore, whose Irish Melodies — Irish by their music, and by their nationality of sentiment — may be claimed for England as well as for the country of his birth; — and the example of heart united with intellect, of vigour combined with elegance, and of philosophy with fancy, which he set to his contemporary writers of verse, will long exercise a genial influence upon the literature of song. While English songs that are written to be read have gradually attained the highest beauty, English songs intended to be sung have not reached the same perfection. In this respect the fault lies with the musical composers, who seem to love the "Lady of Quality" and her smooth "nonsense verses" far better than they love poetry, and to fail in adapting to music the higher flights of fancy or imagination, and the tenderer bursts of natural feeling. Without their aid, the song-writer cannot win his way to the popular heart; and poets, disgusted with musicians, will neglect this fascinating branch of the poetic art, and direct the energies of then* minds to more elaborate composition. MY SWEET SWEETING. From a MS. temp. Henry VIII.* Ah, my sweet sweeting, My little pretty sweeting, My sweeting will I love wherever I go : She is so proper and pure, Full steadfast, stable, and demure, There is none such, you may be sure, As my sweet sweeting. « In all this world as thinketh me, Is none so pleasant to my e'e, That I am glad so oft to see, As my sweet sweeting. * This is a small oblong paper volume, known to be of this early date by the badges oa the binding, and the names on the fly-leaf. It passed through the hands of Thoma3 Mulliner, Thomas Heywood, and Churchyard the poet. It was in the library of Sir John Hawkins, the musical historian, and afterwards in that of J. S. Smith, the authcT of " Musica Antiqua," and is now in the possession of Dr. Rimbault. 24 SONGS OP THE AFFECTIONS. When I behold my sweeting sweet, Her face, her hands, her minion feet, They seem to me there is none so mete As my sweet sweeting. Above all other praise must I And love my pretty pygsnye* For none I find so womanly As my sweet sweeting. THE LOYAL LOVER. From the same MS. as the preceding. As I lie sleeping, In dreams fleeting, Ever my sweeting Is in my mind.. She is so goodly, With looks so lovely, That no man truly Such one can find. Her beauty so pure, It doth under lure My poor heart full sure In governance. Therefore now will I Unto her apply, And ever will cry For remembrance. Her fair eye piercing My poor heart bleeding, And I abiding In hope of mede ; * A term of endearment, used by Chaucer, Skelton, &e., probably the origin of the modern word "pickaninny." It is spell piggcsnie in Tyrwhitt's edition of Chaucer. The poet, describing the carpenter's wife in the Miller's Tale, says, " She was a primesole — a piggesnie:" primesole signifies a primrose. "The Bomans," says Tyrwhitt, "used ocalus as a term of endearment ; and pex-haps piggesnie, in vulgar language, only means ocellus, the eyes of that at.imal being remarkably small." — Note on Chaucer's Cant. Tales, ▼. 3268. Todd (Johnson's Diet, in v. Pigsnry) has shown that the word wife occasionally written pigs eie. The derivation, however, seems more likely to be from the old Saxoa wovdpiga, a girl. SONGS OF THE AFFECTIONS. 2& But thus have I long-, Entuning this song, With pains full strong, And cannot speed. Alas ! will not she Now shew her pity, But this will take me In such disdain ? Methinketh I was Unkind that she is, That bindeth me thus In such hard pain. Though she me bind, Yet shall she not find My poor heart unkind, Do what she can ; For I will her pray, While I live a day, Me to take for aye For her own man. THE SORROWS OF TRUE LOVERS' PARTING. Sir Thomas Wtatt, born 15G3, died 1554. Theke was never nothing more me pain'd, Nor more my pity mov'd, As when my sweetheart her complain' d That ever she me lov'd ; Alas, the while ! With piteous look, she said, and sigh'd, " Alas what aileth me, To love and set my wealth so light On him that loveth not me ? Alas, the while ! Was I not well void of all pain, When that nothing me griev'd? And now with sorrows I must complain, And cannot be reliev'd : Alas, the while ! 28 SONGS OF THE AFFECTIONS. My restful nights and joyful days, Since I began to love, Be take from ine ; all thing decays, Yet can I not remoye : Alas, the while !" She wept and wrung her hands withal, The tears fell on my neck ; She turn'd her face, and let them fall, And scarce therewith could speak : Alas, the while ! Her pains tormented me so sore, That comfort I had none ; But curs' d my fortune more and more, To see her sob and groan : Alas, the while ! THE DECEIVED LOVER SUETH ONLY FOR LIBERTY Sir Thomas Wtatt, If chance assign' d "Were to my mind By every kind Of destiny ; Yet would I crave Nought else to have But (dearest) life and liberty.* Then were I sure I might endure The displeasure Of cruelty ; Where now I plain, Alas, in vain ! Lacking my life for liberty. For without th' one The other is gone, And there can none It remedy ; * In the ordinary version this line is printed " but life and liberty." As, however, tho line is thus two syllables shorter than the corresponding lines of the other stanzas, the word " dearest " is suggested as the proper word to supply the omission. SONGS OF THE AFFECTIONS. 27 If the one be past, The other doth waste, And all for lack of liberty. And so I drive, As yet alive, Although I strive With misery ; Drawing my breath, Looking for death, And loss of life for liberty. But thou that still May'st at thy will, Turn all this ill Adversity ; For the repair Of my welfare, Grant me but life and liberty. And if not so, Then let all go To wretched woe, And let me die : For th' one or th' other — There is none other — My death, or life with liberty ! THE LOVER COMFORTETH HIMSELF WITH THE WORTHINESS OF HIS LOVE. The Eael of Subset, born 1516, died 1547. When raging love with extreme pain Most cruelly distrains my heart ; When that my tears, as floods of rain, Bear witness of my woful smart ; When sighs have wasted so my breath, That I lie at the point of death, — I call to mind the navy great That the Greeks brought to Troy town i And how the boisterous winds did beat Their ships, and rent their sails adown : 28 SONGS OF THE AFFECTIONS. Till Agamemnon's daughter's blood Appeas'd the gods that them withstood: And how that in those ten years' war Full many bloody deed was done ; And many a lord that came full far There caught his bane, alas, too soon ! And many a good knight overrun Before the Greeks and Helen won. Then think I thus : " Sith such repair So long time war of valiant men Was all to win a lady fair, Shall I not learn to suffer then, And think my life well spent to be Serving a worthier wight than she ?" Therefore I never will repent, But pains contented still endure : For like as when, rough winter spent, The pleasing spring straight draweth in lire;* So, after raging storms of care, Joyful at length may be my fare. ,, GIVE PLACE, YE LOVERS. The Eabl of Subbey. Give place, ye lovers, here before That spent your boasts and brags in vain; My lady's beauty passeth more The best of yours, I dare well sayen, Than doth the sun the candlelight, Or brightest day the darkest night; And thereto hath a troth as just As had Penelope the fair ; For what she saith ye may it trust, As it by writing sealed were ; — And virtues hath she many mo' Than I with pen have skill to show. * Vrt— fortune— destiny ; a word used by Chaucer and other early writers. SONGS OF THE AFFECTIONS. 29 I could rehearse, if that I would, The whole effect of Nature's plain t, When she had lost the perfect mould. The like to whom she could not paint. "With wringing hands, how did she cry ! And what she said, I know it aye. I know she swore, with raging mind, Her kingdom only set apart, There was no loss by law of kind That could have gone so near her heart; And this was chiefly all her pain, — " She could not make the like again." Sith Nature thus gave her the praise To be the chiefest work she wrought, In faith, methink, some better ways On your behalf might well be sought, Than to compare, as ye have done, To match the candle with the sun. The idea in the third and fourth stanzas of this song, " that Nature lost the perfect mould," has been a favourite one with all song-writers and poets, and is to be found in the literature of all European nations. IN AN ARBOUR GREEN. From the Morality of " Lusty Juventus," printed in the reign of Edwarc In an arbour green, asleep where as I lay, The birds sang sweet in the middle of the day; I dreamed fast of mirth and play : In youth is pleasure. Methought I walked still to and fro, And from her company could not go ; But when I waked it was not so : In youth is pleasure. Therefore my heart is sorely plight Ot her alone to have a sight, Which is my joy and heart's delight ; In youth is pleasure. LOVE ME LITTLE, LOVE ME LONG. Anonymous. Originally printed in 1569-70, in ballad fcrni, on a broadside in black-letter. Love me little, love me long, Is the burden of my song : Love that is too hot and strong Burnetii soon to waste. Still I would not have thee cold, Not too backward or too bold ; Love that lasteth till 'tis old Fadeth not in haste. Love me little, love me long, Is the burden of my song. If thou lovest me too much, It will not prove as true as touch ; Love me little, more than such, For I fear the end. I am with little well content, And a little from thee sent Is enough, with true intent, To be steadfast friend. Love me little, love me long, &c. Say thou lov'st me while thou live, I to thee my love will give, Never dreaming to deceive While that life endures : SONGS OP THF AFFECTIONS. 31 Nay, and after death, in sooth, I to thee will keep my truth, As now, when in my May of youth, This my love assures. Love me little, love me long, &c. Constant love is moderate ever, And it will through life persever ; Give me that, with true endeavour I will it restore. A suit of durance let it be, For all weathers ; that for me, For the land or for the sea, Lasting evermore. Love me little, love me long, &c. Winter's cold or summer's heat, Autumn's tempests on it beat, It can never know defeat, Never can rebel. Such the love that I would gain, Such the love, I tell thee plain, Thou must give, or woo in vain ; So to thee farewell. Love me little, love me long, &c. IF WOMEN COULD BE FAIR. From Bxed's " Songs and Sonnets," 1588. If women could be fair and never fond, Or that their beauty might continue still, I would not marvel though they made men bond, By service long, to purchase their good will ; But when I see how frail these creatures are, I laugh that men forget themselves so far : To mark what choice they make, and how they change ; How, leaving best, the worst they choose out still ; 32 SONGS OF THE AFFECTIONS. And how, like laggards, wild about they range, Scorning after reason to follow will : Who would not shake such buzzards from the fist, And let them fly, fair fools, what way they list ? Yet, for our sport, we fawn and flatter both, To pass the time when nothing else can please, And train them on to yield, by subtle oath, The sweet content that gives such humour ease And then we say, when we their follies try, *' To play with fools, oh, what a fool was I !"' MAY NEVER WAS THE MONTH OF LOVE. From Moelex's " Ballets," 1595. May never was the month of love, For May is full of flowers ; But rather April, wet by kind, For love is full of showers. With soothing words enthralling souls, She claims in servile hands : Her eye in silence hath a speech, Which eye best understands. Her little sweet hath many sours, Short hap immortal harms ; Her loving looks are murdering darts, Her songs bewitching charms. Like winter rose and summer ice, Her joys are still untimely ; Before her, hope — behind, rcmor. : (e ; Fair first — in fine unseemly. Plough not the seas, sow not the san