elizabethan lyrics and love-songs

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This article was downloaded by: [University of Virginia, Charlottesville] On: 04 November 2014, At: 15:14 Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK Proceedings of the Musical Association Publication details, including instructions for authors and subscription information: http://www.tandfonline.com/loi/ rrma18 Elizabethan Lyrics and Love-Songs Reginald Waddy F.R.C.O. Published online: 28 Jan 2009. To cite this article: Reginald Waddy F.R.C.O. (1911) Elizabethan Lyrics and Love-Songs, Proceedings of the Musical Association, 38:1, 21-39, DOI: 10.1093/jrma/38.1.21 To link to this article: http://dx.doi.org/10.1093/jrma/38.1.21 PLEASE SCROLL DOWN FOR ARTICLE Taylor & Francis makes every effort to ensure the accuracy of all the information (the “Content”) contained in the publications on our platform. However, Taylor & Francis, our agents, and our licensors make no representations or warranties whatsoever as to the accuracy, completeness, or suitability for any purpose of the Content. Any opinions and views expressed in this publication are the opinions and views of the authors, and are not the views of or endorsed by Taylor & Francis. The accuracy of the Content should not

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Page 1: Elizabethan Lyrics and Love-Songs

This article was downloaded by: [University of Virginia,Charlottesville]On: 04 November 2014, At: 15:14Publisher: RoutledgeInforma Ltd Registered in England and Wales RegisteredNumber: 1072954 Registered office: Mortimer House, 37-41Mortimer Street, London W1T 3JH, UK

Proceedings of theMusical AssociationPublication details, includinginstructions for authors andsubscription information:http://www.tandfonline.com/loi/rrma18

Elizabethan Lyricsand Love-SongsReginald Waddy F.R.C.O.Published online: 28 Jan 2009.

To cite this article: Reginald Waddy F.R.C.O. (1911) Elizabethan Lyricsand Love-Songs, Proceedings of the Musical Association, 38:1, 21-39,DOI: 10.1093/jrma/38.1.21

To link to this article: http://dx.doi.org/10.1093/jrma/38.1.21

PLEASE SCROLL DOWN FOR ARTICLE

Taylor & Francis makes every effort to ensure the accuracyof all the information (the “Content”) contained in thepublications on our platform. However, Taylor & Francis,our agents, and our licensors make no representations orwarranties whatsoever as to the accuracy, completeness,or suitability for any purpose of the Content. Any opinionsand views expressed in this publication are the opinions andviews of the authors, and are not the views of or endorsedby Taylor & Francis. The accuracy of the Content should not

Page 2: Elizabethan Lyrics and Love-Songs

be relied upon and should be independently verified withprimary sources of information. Taylor and Francis shall not beliable for any losses, actions, claims, proceedings, demands,costs, expenses, damages, and other liabilities whatsoever orhowsoever caused arising directly or indirectly in connectionwith, in relation to or arising out of the use of the Content.

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DECEMBER 5, 1911.

W. H. CUMMINGS, ESQ., MUS. D.,

PRESIDENT,

IN THE CHAIR.

ELIZABETHAN LYRICS AND LOVE-SONGS.

BY REGINALD WADDY, F.R.C.O.(Of Plymouth.)

MR. CHAIRMAN, LADIES AND GENTLEMEN : On perusing thelist of papers read before this Association in previous years,I find that very few have treated of the diction of song andnone at all of Elizabethan song—and this during a periodof thirty-seven years. My subject is therefore quite a novelone so far as this Association is concerned.

I do not propose to say much of the larger forms of lyric-poetry, but shall deal principally with the shorter lyrics asused for ballads, pastorals, and love-songs.

My subject will partake, therefore, of a twofold character—the poetry and music of Elizabethan songs.

First, for our guidance, it is as well briefly to define theterm " Elizabethan." This does not necessarily meananything written in that august reign, but includes songswhich, though written in the reign of James I. or "Jacobean "period (as we term it), were yet in the style or idiom of the" Elizabethan."

There is a common tendency to regard the lyric-poetry ofEngland from the beginning of the reign of the great Queenonwards to the Restoration as being possessed of a certainunity.

" It is singular," writes Mr. Swinburne,—the mostaccomplished master of lyric-poetry,—in his preface to" Herrick's Poems," "that the first great age of Englishlyric-poetry should have been also the one great age ofEnglish dramatic poetry; but it is hardly less singularthat the lyric school should have advanced as steadilyas the dramatic school declined The lyricalrecord that begins with the author of ' Euphues andEndymion' grows fuller if not brighter through a wholechain of constellations, till it culminates in the crowningstars of Campion and Herrick."

The lyric originally and in its development as a definitespecies of Greek lyric-poetry always went hand in hand

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22 Elizabethan Lyrics and Love-Songs.

with music; but there is a species of lyric which was intendedto be read and not sung—to this I shall refer later.

Many influences, from medieval song, from ballad music,folk-song, and a variety of droppings from the crystal streamof Italian and Renaissance poetry, contributed to theperfecting of the superb Elizabethan lyric.

In its finished form, however, it is an art-lyric, a cultivatedlyric, which appeals naturally to artistic and cultured mindsmore than to the man in the street.

With the foregoing influences were mingled the religious| and didactic songs and the semi-religious lullabies which came! into being under the influence of church and minster; likewisei the popular love-songs of medieval minstrelsy, the pedlar| songs, sporting songs, and all the wealth of fun and freedomj which characterized such great national Festivals as May- Day,! Harvest Home, and Yuletide.

Previous to the introduction of the madrigal into England,the Elizabethan lyric was of a more homely character;but in 1588, when Nicholas Yonge published his " MusicaTransalpina," a collection of madrigals and canzonets bearingthe strong influence of Petrarca and Ariosto and other Italianpoets, the lyric underwent a decided change for the better.The madrigal was received and assimilated by the vigorouspoetic minds of Elizabethan times, and gave to the lyricfanciful ease, gaiety, grace, richness, and life, though thelyric was only one of the many poetical forms, such aspastoral, sonnet, formal ode, and epithalamium, in which the

, altogether delightful and exquisite outburst of poetical musicI found voice.j . In passing, I should like to mention that Nicholas YongeI was not a wealthy merchant, as has been erroneously stated| by Dr. Burney, and copied by several other historians. ThisI mistake occurred through Burney mis-reading the dedicationi of Yonge's "First Book of Madrigals." Yonge was a singing-' man at St. Paul's, and died in 1619. He gave daily musical! performances in his house in St. Michael's Parish, Cornhill,

which were much frequented by gentlemen and wealthymerchants of different nationalities, who doubtless broughthim the best madrigals from Italy and other places.

The Elizabethan age was the critical time when the lyric,with its variety of forms and rhythms, took shape, and with

I the dramatists, masque writers, and lyric poets it becamepopular and reflective of English life and sentiment.

The language of the age was plastic, supple, and waseasily adaptable to song and measure. Euphuism, alliteration,and word-play of every kind were practised and parodied againand again.

Artful phrasing became an accomplishment, and the tastefor it spread to all classes, until the lyric of even the minor

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Elizabethan Lyrics and Love-Songs. 23

Elizabethan song became perfect in diction. Adventurers andambassadors, barons and bacon-merchants, courtiers andcommons, tavern-vagabonds and play-actors all wroteverse as the familiar and divinic gift of some beneficent godon Parnassus who made the English his favoured people ofmelody. Towards the close of the sixteenth century thepopular cultivation of music and singing contributed largelyto the improvement of lyric-poetry.

During the first thirty years of Elizabeth's reign the formof lyric most in vogue was the popular song, and it is largelythis form which Shakespeare uses in bis plays. All studentsof Elizabethan song-books have remarked upon the excellentaccord of the words and music. The latter, in the manyexamples which I have in my possession, seems as intimateto the song as is a perfect-fitting kid glove to an elegant andwell-shaped hand. The music is light and melodious, full oflocal colour and suggestiveness, with a brightness andfreshness that remind one of the warm, balmy air of aluxuriant Devonshire garden on a fine summer day, fragrantwith the scent of flowers, and admirably adapted to bewedded to lyric-poetry, which in its line is more perfect inquality than any that has been written.

Thomas Campion, in the preface to his " Fourth Book ofAirs," describing the light airs of the songs of his time, says:" The apothecaries have books of gold, whose leaves, beingopened, are so light as that they are subject to be shakenwith the least breath ; yet, rightly handled they serve both forornament and use. Such are light airs."

The Elizabethan song seems to be the natural instinct ofmen realising freedom of expression and voice after the severerepression and asceticism of the Middle Ages. This sense ofhappiness and freedom and joy is to my mind that whichgives to it such distinctive charm and lasting value. Itreflects man, Nature, and life, in its most congenial andhappiest mood.

The next thought that naturally arises in the mind is," What are the themes of Elizabethan lyrics ? "

Well, he who has trodden the paths all too unfrequented bymusicians, who has left the well-beaten highways and gone"through the hedge and down the furrow until he gets intothe burrow," finds that Love is the first subject of theElizabethan lyric—love of pastorals and pastoral pipings,of Spring, of May-time, of the Maypole, of the hock-cart,of shepherds' feasts, of country life, of ease and peace, of birdsand flowers, of pagan gods and myths, of pretty misses andfairy kisses ; even common household objects, as in the ChristChurch MSS. commencing: "Yet if his Majesty ourSovereign Lord," where tables, chairs, candles, and the restare handled in verse stately and simple. All these and many

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24 Elizabethan Lyrics and Love-Songs,

more such simple themes are dealt with, and we are movedto sing with Wordsworth:

The streams with softest sound are flowing,The grass you almost hear it growing,You hear it now, if e'er you can:

until, as we approach the Carolan lyric, we find the moodchanges—national mood becomes less buoyant and moresober. It should be remembered that mood is the essence ofthe lyric.

(If we find that any of our friends are subject to varyingmoods we should conclude that they are born lyrists.)

But (humour aside) what a plethora of subjects there arein Elizabethan lyrics from which our modern composers maymake choice for musical setting!

As a good example of the Elizabethan song I should likeyou to hear one from Thomas Morley's " Canzonets to twoVoyces " (1593), in which the words and music run together,as it were, with delightful melody. The title is, " When lo !by breake of morning."

[This song was here sung.]Let us briefly consider who were the chief Elizabethan

lyrists.To mention some of them in chronological order—the most

accomplished were Richard Edwardes, Nicholas Breton,Sir Walter Raleigh, John Lyly, Edmund Spenser, AnthonyMunday, Sir Philip Sydney, Fulke Greville (Lord Brooke),Thomas Lodge, George Peele, Robert Greene, John Daniel,Robert Southwell, Michael Drayton, William Shakespeare,Christopher Marlowe, Thomas Nashe, Thomas Campion,Barnaby Barnes, Sir John Davies, Thomas Heywood, BenJonson, Sir John Donne, Richard Barnfield, John Fletcher,Francis Beaumont, George Wither, WillisCm Browne (aDevonshire poet), Robert Herrick (who was the longest livedof all this galaxy of lyrists), and Thomas Carew. -

This looks a long list, but it is by no means exhaustive. Ihave only mentioned some thirty of those whose lyrics arewell worth reading and re-setting to music by our composers.

Then there are the numerous anonymous lyrics which wefind scattered through the Elizabethan song-books ; many ofthose which were set to music by Dowland and Morley weresupremely beautiful, and it is to be regretted that we cannottrace the authors of all of them. Noblemen, courtiers, andgentlemen all wrote verse for their own pleasure in thisprolific age, and modestly refrained from putting their namesto them. But they achieved a high state of perfection,apparently with little effort.

To pass now to a more critical study of these lyrics, I mustfirst confess that those which appeal best to me are the

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lyrics written in the simplest and most natural diction. Inthis I am not alone. Having given many public lectures andconcert-lectures on " Elizabethan Songs" in the West ofEngland, I find that my audiences invariably appreciate thosesongs whose lyrics comprise the simplest and most naturalwords—monosyllables or dissyllables, if you like—rather thanthe more artistic lyric which evinces a knowledge of theGreek mythology or displays erudite verbiage.

Incidentally, I may say this is the reason, I think, whyfolk-songs are becoming so popular again (I have givenmany concerts of them in Devon and Cornwall), the charmingsimplicity of the poetry coupled to equally simple music.It is a common experience of mine, after a lecture or concert,to receive a polite note from some song-lover in the audience,asking for a copy of one or other of the songs, because theyhad such simple yet delightful lyrics.

As a few examples of this type of lyric I would quote thefollowing by Shakespeare (or occurring in his plays):—

" Where the bee sucks," " Come unto these yellow sands."and " Full fathom five," all from " The Tempest" ; " O mistrismyne " ("Twellth Night"); " I t was a lover" ("As youlike it"); "Take, O take those lips away " ( " Measure forMeasure " ) ; " The willow song" from " Othello.'" Also BenJonson's "Drink to me only with thine eyes" and "FromOberon in Fairyland " ; Herrick's " Gather ye rosebuds " ;Dekker's " Golden slumbers," and the song " Once I loved amaiden fair " and Ford's " Since first I saw your face."

A lyric remarkable for its diction is Nicholas Breton's" I would thou wert not fair," which is set to music in JohnBartlet's " Book of Airs " (1606). In the whole of its sixstanzas all the words are monosyllables with the exception oftwelve, and these are dissyllables only. Breton was a verypopular lyrist in his day, so popular in met that unscrupulouspublishers sometimes published books of poems and put hisname to them in order to make them sell. Another of hisgems is " Lovely kind, and kindly loving," and many othersof his best lyrics may be found in " England's Helicon,"edited by Mr. A. H. Bullen.

Another exquisite little lyric, which for neatness andelegance might well be attributed to Ben Jonson, is found inthe Oxford Music School MS., and runs thus:

Thou sent'st to me a heart, 'twas crowned;I took it to be thine,

But when I saw it had a woundI knew that heart was mine.

A bounty of a strange conceit!To send mine own to me,

And send it in a worse estateThan when it came to thee.

4 Vol. 38

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26 Elizabethan Lyrics and Love-Songs.

This piece in the anthologies is given to an " anonymous "writer, but I am strongly inclined to think it must be Jonson's.It affords scope for an effective musical setting at the hands ofsome really gifted composer.

It may be accepted as an axiom, I think, that simplicitycf diction is a characteristic of the best lyric, whether ofancient or modem type. A lyric of piquant rhythm is"Love's witchery," by Thomas Lodge (1556-1625). Othersalso suitable for setting to music are " Wily Cupid," byHenry Chettle (1595), " Beauty sat bathing," by AnthonyMuuday, " Rosalynd's Madrigal," by Thomas Lodge," Peggy the Brown," from the " History of Friar Bacon,"" Sweet are the thoughts which savour of content," by RobertGreene, and many others, which may be found in Bullen's" Lyrics from Elizabethan Romances." In the case of thelonger lyrics, a few only of the stanzas might be chosen, providedthat the sense or continuity of the theme, is not disturbed.

We do not look for humour in true lyric-poetry, but thereare a few examples to be found in Bullen's " Lyrics from theElizabethan Song-Books " and some of the anthologies, and ofthese I would mention " My sins are like the hairs upon myhead," " There was a frog swum in the lake," " Thyrsis andMilla," " Will ye love me, lady sweet," " Women, what arethey ?" ; also,

To see a strange outlandish fowl,A quaint baboon, an ape, an owl,

from Bullen's " Elizabethan Romances," before mentioned.Many of the choicest flowers of the Elizabethan lyrics are

to be found in " England's Helicon" (i6®o). These areprincipally art-lyrics, and were compiled for the culturedminds of the Court and aristocracy. As compared with the" wild wood notes " of Shakespeare and Dekker they are alittle artificial, but when contrasted with the madrigal poetrythey seem to be artlessness itself. For buoyancy andmelodious diction, for the best examples of the true lyricmood, those of Marlowe, Breton, Campion, Herrick, and Lodgeare unsurpassable.

This chorus of lyric-poets seem to have sung because theymust. They were moved, as it were, by natural inspiration.

By far the greatest of the song-writers of the Elizabethanperiod was Thomas Campion, who was born on AshWednesday, the 12th day of February, 1567, and "cristenedat St. Andrewes Church in Houlborne " on the day following.He was a physician and lawyer by profession, but achieveddistinction by his remarkably fine lyric-poetry, masques, andsongs. Not only in these did he evince rare gifts, but hepossessed sufficient ability to compose the music for many ofhis songs. He thus combined, you see, the double creativefaculties of poetry and music.

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He appears to have studied at Cambridge, but little isknown of his career there, except that he seems to haveacquired a wide knowledge of classical literature. In 1586he was admitted to Gray's Inn to study law, where hecomposed a song for the Gray's Inn Masque, which is said tohave won for him the designation of " Sweet Master Campion."It was the custom at Gray's Inn upon festive occasions forthe members to write and perform masques and plays, towhich many distinguished guests (and often Queen Elizabeth)were invited. Campion appears to have acted, too, in acomedy at Gray's Inn on January 17th, 1587, in the cast ofwhich he played the part of " Hidaspes, ye sonn," and thepart of " Melancholy," and with one exception, that ofBarnard Ellis, was the only member taking a double part; sowe may safely conclude that he was also a versatile actor.About 1595 he took up the study of medicine. In 1601 hepublished, in two parts, his first " Book of Ayres," for whichhe wrote all the lyrics and the music for the first part only;the music for the second part was composed by PhilipRosseter, who was a life-long friend of Campion's, and thesole beneficiary under his will. Between 1601 and 1617 wefind that he published four song-books, for which he wrotethe greater part of the poetry and music.

Mr. A. H. Bullen, to whose efforts it is largely due thatthis gifted poet-musician was brought to notice in 1888, saysof Campion that he is " worthy to rank with Shelley and Burnsin English poetry, and holds among Elizabethan song-writersthe place held by Meleager in the Greek Anthology." Thecharacteristics of his lyrics are ease and simplicity.

It seems strange that this great lyrist should have beenneglected so long, and be known only to students ofElizabethan poetry and a few musical antiquaries of to-day.In Palgrave's "Golden Treasury," 1875, for instance, wefind Campion's fine song, •' There is a garden in her face,"attributed to an anonymous writer. I think this song isknown to some of the musical antiquaries present, so Ipurpose to let you hear another gem of his, from the " ThirdBook of Ayres," 1617, "Shall I come, swete love, to thee,"a deeply-expressive song:

[This song was here sung.]

One strong reason why so few of the songs of Campion andhis contemporaries are heard to-day is that they were mostlysung to lute and viol accompaniment, the notation for whichdiffers from our modern notation, and before it can be sungeach song must be transcribed into our modern system.Much more, indeed, might be said of Dr. Thomas Campion;I have sufficient material for a paper entirely upon him ; we

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28 Elizabethan Lyrics and Love-Songs.

are deeply indebted to Mr. A. H. Bullen and Mr. PercivalVivian, and some few musical antiquaries, for their valuablework in bringing him to modern notice.

Our composers will find some excellent English and Latinlyrics for musical setting in his works; and, be it remembered,these verses were originally written essentially to be weddedto music. But whilst his poetry places him on the pinnacle ofperpetual fame, his music does not attain to so high a standard.

We now pass on to consider briefly the lyrics of anothergreat writer, Robert Herrick, who was one of the sweetestlyric-poets of the Elizabethan age. He is especiallyinteresting to me, as a " Devonshire dumpling," because hewas for about nineteen years Vicar of Dean Prior, a tinyhamlet about two miles from Buckfastleigh, in Devonshire.During this time he wrote some of the best examples oflyrical art in our language. His verses reflect the old-worldcustoms which prevailed in Devonshire in his time, someof which, I am glad to say, still exist in all their quaint andcharming variety. Very little is known of his clerical life.Tradition says that on one occasion he flung his manuscriptfrom the high-pitched pulpit at one of his rustic hearers whowas " sweetly slumbering " during the sermon! He also kepta pet pig, which he taught to drink out of a tankard.

An eloquent writer in the Retrospective Review manyyears ago said of him : " Herrick's lyrics resemble a luxuriantmeadow, full of king-cups and wild flowers, or a Julyfirmament sparkling with a myriad of stars. His fancy fedupon all the fair and sweet things of nature: it is redolent ofroses and jessamine, it is as light and airy as the thistledown,or the bubbles which laughing boys blow into the air, wherethey float in a winding line of beauty." Herrick's best-knownlyric is undoubtedly " Gather ye rosebuds," which I suppose isone of the most popular amongst musicians which has everbeen written (outside Shakespeare).

I was curious to know how many times this charming lyrichad been set to music, and so my good friend Dr. Southgaterecently kindly volunteered to ascertain at the BritishMuseum, and found that no less than twenty-eight composers,from William Lawes to our own time, had set these lines.These composers included such accomplished men asWilliam Lawes, James Hook, Jackson of Masham,H. C. Banister, J. Blumenthal, W. G. Cusins, Henry Hiles,Hermann Lohr, C. P. Mann, H. W. Wareing, and others;yet we hear little or nothing of these settings, and had thesemusicians gone off the beaten track for a lyric their songsmight be better known to-day.

There is another lyric on the same theme as " Gather yerosebuds" to be found in Walter Porter's " Madrigals andAirs," 1632, commencing " Love in thy youth, fair maid,"

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which, though not nearly so fine as Herrick's, is yet wellworth re-setting. Other lyrics of this great poet, such as" To Anthea," " T o Electra," " To Daffodils," "To Violets,"&c, are too well known to need comment; but I would callthe special attention of composers to the excellent choicethey have in his " Hesperides " and " Noble Numbers " ; thesecollections abound in superb little lyrics, well adapted forsongs. They are as musical (as, indeed, is all his poetry) asa running brook.

Amongst others of Herrick's which afford fine scopefor musical treatment are "The bag of the bee," a mostfanciful picture of two Cupids disputing over the bag of abee; " Delight in Disorder," " Bright tulips we do know,"and " To the Water-Nymphs," and scores of others which canbe found in the before-mentioned works. In his shortest,lightest, and most sensuous lyrics he seems to have beenstrongly influenced by Anacreon, the great Greek lyrist, andhis lines " Upon Himself" are sufficient indication that hewrote in anticipation that the best musicians would set hislyrics to music, for he says :

And learned musicians shall, to honour Herrick'sFame and his name, both set and sing his lyrics:

and we know that in his time some of the " learnedmusicians," such as William and Henry Lawes, did this.Herrick was on friendly terms with most of the Courtmusicians, and we may safely assume that he was acquaintedwith Mr. John Parsons, the then organist of WestminsterAbbey, as he appears to have addressed a verse to hisdaughter, Mistress Dorothy Parsons, to whom he pro-fessed love.

Herrick was a great friend of, and largely influenced by,Ben Jonson, to whose poems I would now briefly refer.

It is in Jonson's Masques that his finest lyrics are tobe found, and it is principally to the Masque that we owethe high cultivation of the art-lyric ; the Masques invariablycontained solo-songs, and the Masques of Campion and Jonsondid a great deal to increase the popularity of the cultivatedsolo-song and art-lyric. It was the reforming spirit ofBen Jonson which drove the popular song, which lacked therefinement of the art-song, from its last stronghold—thedrama, though a revival of popular song was begun earlyin the seventeenth century by the publication in 1609 °fThomas Ravenscroft's " Pammelia," a collection of roundsand catches distinctly popular and lacking the Italianinfluence of the Elizabethan art-song. Jonson possessed afine perception of what a good lyric should be, and has fewequals as a lyrist.

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30 Elizabethan Lyrics and Love-Songs.

In the course of my researches I have discovered a factwhich does not appear to be known even amongst musiciansand historians.

C. Burke, in his attractive work on the "Beauties,Harmonies, and Sublimities of Nature," a rare work—now,I think, out of print—of which I have a copy, tells us that in1618 Jonson journeyed on foot to Scotland to visit the greatScottish poet, William Drummond, at Hawthornden, " wherehe spent his time studying the best Greek, Roman, and Italianauthors, and charmed away the hours playing favouriteItalian and Scottish airs upon his lute." Jonson, then, wasa practical musician, and we may safely assume that he playedand knew all the best songs of his time.

Amongst his finest lyrics, some of which are doubtlessknown to you, are " Drink to me only with thine eyes,"" Hymn to Diana," " Perfect Beauty," " The Kiss," " Hymnto Pan," and " Virtue Triumphant," and that little gem," Simplex Munditiis," which points a moral in superbdiction :

Give me a look,—give me a face,That makes simplicity a grace.

Compare this with Herrick's " Delight in Disorder," anotherfine lyric on the same subject.

Many of bis fairyland songs are quite unsurpassable, andhis verses, generally finished as they are with exquisitetouches of Greek mythology, are surely deserving of moreattention from our composers.

No paper on Elizabethan lyrics would be complete withoutsome mention of Shakespeare, the " sweet swan of Avon,"and it is because his lyrics are better known than any others,through his works being so systematically studied in ourschools and by Shakespearean Societies, that I need onlyspeak briefly of him to-day ; but I have one or two veryimportant points to mention.

To make a list of the musical settings of those Elizabethanlyrics which are less commonly known is a comparativelyeasy task, but to compute the number of times Shakespearehas been drawn upon is almost an impossibility. There are,it is believed, in existence to-day only seven of the songsoriginally sung in his plays, but I recently discovered that therewas in Christ Church Library, Oxford, a setting of " Sigh nomore, ladies" ("Much Ado"),by ThomasForde,the composer,who was born in 1580 and died 1648. The authorities atOxford have kindly sent me a copy of this song, which I hopeby their kind permission also to edit and publish very soon.

The earliest known setting of this song to-day is that byR. J. S. Stevens, of the eighteenth century ; but here I haveundoubtedly an earlier setting, and very possibly theoriginal one.

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Just a few remarks as to the authenticity of some lyricserroneously attributed to Shakespeare.

" As it fell upon a day " was written by Richard Barnfield,some of whose poems were long attributed to Shakespeare,owing to their inclusion in a small miscellany piraticallypublished in 1599, entitled, " The Passionate Pilgrim,"having Shakespeare's name on the title-page.

The song " Orpheus," which occurs in " Henry VIII.," isanother commonly assigned to the great master, which wasreally by John Fletcher, a gifted lyrist of that time. " Come,live with me," portion of which is quoted in " Merry Wives,"is, of course, by Kit Marlowe, though often given toShakespeare. The fact is sometimes forgotten that ourgreat authors often quoted lines by others in their worksif they were appropriate. Thackeray, for instance, in" The Newcomes," introduces the first stanza of Peele's" Farewell to Arms" (" His golden locks Time hath tosilver turn'd"). Shakespeare remodelled several of thethen popular songs or traditional folk-songs, and endowedthem with new life, i.e., Desdemona's song, " Willow,Willow," in "Othello," and the jester's song in "TwelfthNight," " When that I was and a little tiny boy."

One of the most curious of his plays from the lyrical pointof view is "Love's Labour's Lost," in which he introducesthe cultured art-lyrics in the form of sonnets in company withsuch simple songs as " When daisies pied " ; but this is theonly case we find of this combination. In this play, too, wefind a few examples of the lyric which was intended to be saidand not sung, i.e.:—

On a day (Alack the day!)Love, whose month was ever May.

Of all the dramatists and lyrists of the period Shakespeareseems to be the one least affected by the influence of themadrigal and canzonet. In his plays he adheres to thepopular form of English lyric. Only in one instance does heeven mention the madrigal, and this in " Merry Wives" inthe lines quoted from Marlowe—" Melodious birds singmadrigals."

I should especially mention a few choice lyrics by ourDevonshire poet, William Browne, of Tavtstock: " T h eRose," " The Siren's Song," " Shall I tell you whom I love,"" Glide soft, ye silver floods," and " Underneath this sablehearse." This last was long attributed to Jonson. Theseall deserve attention.

On the lyrical side of my paper I have given you a list ofthe best writers, and on the musical side it is well we shouldbriefly recall who were the best song-composers of the time.

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32 Elizabethan Lyrics and Love-Songs.

Thomas M or ley is, I think, entitled to first place, as muchfor the charm of his melody as for his effective settings ofsome of Shakespeare's songs. Then come Robert Tones,John Dowland, Thomas Campion, William Byrde, RobertJohnson, Philip Rosseter, Francis Pilkington, Thomas Forde,Coperario, John Hylton, John Danyel, Ferrabosco, MartinPearson, Thomas Ravenscroft, and others who areanonymous.

We have heard songs by Campion and Morley, and nowyou may like to have one by John Dowland, who holds a highplace amongst the composers of the time. It was to him thatBarnfield addressed the sonnet, " If music and sweet poetryagree," in which Dowland is credited with having a " heavenlytouch " upon the lute. Dowland's song-books contain manysongs of great beauty, and he exercised excellent taste in thechoice of his lyrics. One of the finest is " I saw my ladyweep " (" Second Book of Songs and Airs," 1600), probably byone of the accomplished amateurs of the time. One of thebest of Dowland's songs is " Awake, sweete love," another," A shepherd in a shade" (" Second Book of Ayres"), and" Deare, if you change " (" First Book of Ayres "), in whichthe words " Ere I prove false to faith " are set in syncopatedrhythm, illustrating them in an interesting way by falseaccent. His Peddler's song, " Fine knacks for ladies," is agood example of this type, and reminds one of Autolycus'ssong in " Winter's Tale."

The song we will hear is " Come again, swete love dothnow invite." Note the simplicity of the lyric and thesequential treatment of the words, " To see, to heare, totouch, to kisse, to die," in ascending fourths:

[This song was here sung.]

Robert Jones, the lutenist, is another song-composer Ishould mention. He is perhaps best known to students ofElizabethan music by his setting of the old ballad," Cofyndon's Farewell to Phyllis," quoted in " TwelfthNight," and published in his " First Book of Songs andAyres, set out for the Lute." This song I often use whenillustrating lectures on Shakespearean music, as it is soexpressive; but he composed many other fine songs, amongstwhich I would specially mention " Sweet Kate," from his" Musical Dream " (1609), and " What if I seek for love,"from the " First and Second Book of Ayres." Jones was acontributor to the Oriana Collection of madrigals. Perhapsyou would like to hear his song, " Go to bed, sweet Muse,take thy rest," from his " Ultimum Vale " (1608).

[This song was here sung.]

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There are some exquisite lyrics in his " Muses Gardin forDelights," or " Fift booke of Ayres, onely for the lutebase-vyoll and the Voice," which have been edited byMr. Barclay Squire and published by Blackwell, of Oxford,and Simpkin, London (1901). We are indebted to Mr. Squireand Mr. A. H. Bullen for their efforts to recover this charmingcollection of songs, which had been lost sight of for nearly acentury. The first-named gentleman ultimately found it atStafford House and reprinted the poetry.

Time prevents my saying more about these songs inparticular, but I come now to a special point in my Paper.Here in Elizabethan lyrics we have a rich field in whichcomposers seeking really good lyrics may find ample tosupply their needs. They are easily accessible, and it hassurprised me whilst studying this subject to find how little ofElizabethan lyrical poetry has been set to music by moderncomposers. Shakespeare's lyrics, which have been overdone,are the only exceptions, and this because they are bestknown, whilst the great wealth of other lyrics of the period,which lie off the beaten track, are known only to the lyricspecialist, music antiquary, or the few musicians who loveand read poetry.

That excellent paper, the Musical News, had a piquantleader in its issue of November 18, 1911, on the "BroadView," which said : " When we come to the muse of poetry,the musician's outlook is more apparent. Poetry and Musicshould be wedded together. The musical man should readall the standard poets, but he does nothing of the sort. Heis too much occupied with his own profession to botherabout Browning or Byron or Wordsworth, except thatsometimes he comes across some little trifle among thepoets which inspires him to a tune. The musician whosits down to a quiet hour with the poets is rare."

In the recent correspondence in the same estimable paperon the " Case of the Lyric-Writer," several musiciansdeplored the paucity of good lyrics and the lack of a worthysong-literature. But this indicates that musicians are notaware of the rich fields of lyrics there are awaiting them inthe Elizabethan anthologies.

It is to be regretted too that those Elizabethan songs whichare available are not better appreciated, and I would put in astrong plea here for the making of them more widely known.The musical antiquary has (in my humble opinion) a grandwork here in translating more of these songs from the oldlute tablature; the publisher in getting out inexpensiveeditions; the music-teacher in introducing them to his pupils;and the concert-giver in including them in his programmes.Thus, they would filter through the various agencies and helpto improve popular taste.

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34 Elizabethan Lyrics and Love-Songs.

As it may be some help to those interested in this subject,I subjoin a bibliography of the lyrics and the songs of theElizabethan period which are more or less easily accessible.

Elizabethan Lyrics.Braithwaite's " Elizabethan Verse."A. H. Bullen's ed. " England's Helicon."A. H. Bullen's "Lyrics from Elizabethan Song-Books"

(Revised Edition).A. H. Bullen's " More Lyrics from Elizabethan

Song-Books," (Revised Edition).A. H. Bullen's " Lyrics from Elizabethan Romances."A. H. Bullen's ed. Davison's " Poetical Rhapsody."A. H. Bullen's ed. " Shorter Elizabethan Poems."A. H. Bullen's ed. "Thomas Campion's Works."Percival Vivian's ed. of " Thomas Campion's Works."Palgrave's " Golden Treasury " (First Series).A. T. Quiller-Couch's "Golden Pomp."A. T. Quiller-Couch's " Oxford Book of English Verse."Dr. Hannah's " The Courtly Poets."Dr. Arber's " British Anthologies."F. J. Carpenter's "English Lyric-Poetry " (1500 to 1700).Professor Schelling's " A Book of Elizabethan Lyrics."Bond's Editions of the Works of John Lyly." Herrick's Poems," Edited by Mr. Algernon Swinburne.G. Thorn Drury's " Muses Library."W. Barclay Squire's Edition of " The Muses Gardin for

Delights" (Blackwell, Oxford, 19,01, and also Simpkin,London).

" A Paradise of English Poetry " (H. C. Beeching)." Captain Cox: His Ballads and Books," Edited by

F. J. Furnivall (Ballad Society Publications, 1871).All of which and a good many more I have carefully studied.

Elizabethan Songs.(Published with pianoforte accompaniment.)

" Elizabethan Love-Songs" (thirty in number). Edited byFrederic Keel (Boosey).

"Twelve Elizabethan Songs" (1601-1610). Edited byJanet Dodge (Bullen, 1902).

" Songs from Shakespeare." Edited by Sir F. Bridge,Mus. Doc. (eleven in number) (Novello).

" Fifty Shakespeare Songs." Edited by Dr. CharlesVincent (fourteen Elizabethan settings).

" Old English Ditties," from Chappell's " Popular Music ofhe Olden Time."

" Kiag's Music." Edited by E. Duncan (Novello)." Standard Songs of England " (Boosey).

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Many of the Elizabethan song-books and MSS. songs areto be found in the British Museum, Royal College of Music,the Bodleian Library, the Oxford Music School Library,the Advocates' Library (Edinburgh), Christ Church Library(Oxford), and in private collections.

In conclusion, you may like to hear a song from Giles's"Earle's Song Book" (MS.). i6i£, entitled, "Sleepe,Sleepe," showing interesting sequential treatment on theword " Awake ! "

Please do not think there is any subtle humour in mymind in placing this at the end of my paper!

[This song was sung here by a chorister from Mr. Bates'sLondon College for Choristers, who also rendered all the othervocal illustrations.]

DISCUSSION.

THE CHAIRMAN.—The Emperor Napoleon when he was exiledto St. Helena had a long conversation with a lady respectingEnglish music. He said, " English music is execrable; theyhave only one tune." When asked what that was he replied" Ye banks and braes of bonnie Doon"! So you seeignorance of English music is not confined to the lowlyand humble, but extends also to the higher ranks of society.Now to-day we have had exemplified a certain class of musicwhich belongs to the Elizabethan period of cultivated music.That music never became popular with the people; they hadtheir folk-songs, which are of an entirely different character,and one may sometimes wonder why it was that theseexquisite lyrics which we have heard mentioned to-day, andwhich I am glad to say I am familiar with (for I am fondof poetry and have a large collection), were not in favourwith the people. One explanation is that they dealwith classical subjects, or introduce classics, which arecaviare to the multitude. If they talk of love, theyspeak of Cupid or other gods connected with love; if ofwar, we have reference to the heathen deities associatedwith war; therefore they did not appeal to the peopleat large. Sometimes our best dramatists, includingShakespeare himself, were not particular about the precisenouns and adjectives they used; and some of their linescould not be introduced into decent society now withoutalteration. To-day we have heard some of these lyrics. We

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might have had more cheerful specimens of the music of thatday, for they were not all written in the minor key; thereare a considerable number of bright songs of Elizabethantimes. On the other hand, it would be interesting if we couldpossibly follow this up by speaking for an hour or more ofthe English music belonging to the people; for howdistinctive, how beautiful it is! Of all the composersnamed to-day there was only one whose song becamepopular—Dowland, and that with only one example, " Now,O, now, I needs must part." That did actually get outamongst the people, and become popular. I cannot thinkof another; and, as I have said, I think the reason is thatthese lyrics dealt so largely with classical lore. Perhaps someof these days I myself may come here and bring you a volumewhich I bought in Germany and brought back to itsoriginal home, England. Written in the reign of James I.,it contains Elizabethan lyrics, with music, which are exquisite.It would take long to write them out; they are in difficultnotation. But I have already transcribed some three or fourof them, and by and by, if I find I get enough to give youan hour here, I shall be delighted to put them before you.They are all charming, and 1 fully agree with our Lecturerthat it is desirable that musicians should make themselvesacquainted with the literature of the Elizabethan and ofsubsequent periods. I was surprised when I read the otherday in the Musical News, not for the first time, that we arewanting in musical lyrics. We have enough to last to theend of the world if people would only look them up. Irecollect many years ago we had a German gentleman here,Dr. Hueffer, who was considered an authority on literaturegenerally; he was a writer for The Times. He publisheda book of English lyrics, and in the Preface said thatEnglishmen had not yet been able to appreciate the words so asto be able to set them to music in a proper way ; and so hedid it for them. If musicians will only look for these wordsthey are to be found ; and if they will treat them in a properand just manner, that is to say, letting the force of the wordshave the utmost importance and not using them to displaytheir learning, I am sure we shall then have good results.

Dr. SOUTHGATE.—On the part of the members of thisAssociation I may say we owe a debt of gratitude to ourLecturer, who has come here to give us what may be calledan emergency Paper. Having been disappointed in regard tohim who was to speak, Mr. Waddy has been good enoughto read a Paper which I am sure you will all have beeninterested in. The subject on which he has spoken is onedear to all English people, though, from what our Chairmanhas said, I am afraid little in regard to Elizabethan lyric-literature is known ; still less of the many charming and

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beautiful songs by our composers of that period. I shouldhave been glad if Mr. Waddy had given one of the earliersongs written before Laves taught us how to make music andverse agree. I think you would have perceived the angularityof the older examples as compared with the flowingcharacter and emotion which so admirably fit the words oflater songs, of which we had illustrations. Among thecomposers mentioned was Campion—an extraordinary man—musician, physician, and lawyer. I must confess that I didnot know much of his work until I was applied to by theeditor of the last edition of Campion's poetry. He said thathe had found a remarkable little work by him, " A New Wayof Making Four Parts in Counterpoint." I knew the bookby name, but had not seen it. However, he asked me if Icould say anything about the work, sending me at the sametime a long extract from the Preface he had written toa new edition of Campion, with an account of that particularproduction. I went to the British Museum, and examinedthis new way to make four parts in. counterpoint. A gooddeal is set out in the Preface to Mr. Vivian's new editionof Campion. When I read it I thought, " What a curiousthing! I fancy I've seen that before!" anld yet I did not knowthe book. A few days later I went to my book-shelves andtook down Morley's " Plain and Easy Introduction."Campion had copied almost all Morleyhad said, putting it forthas his own. Morley published his work in 1597; but Campion's" New Way to Make Counterpoint" is what Morley hadsaid—with not much alteration : with but a little differencein the wording, and in the illustrations. It is ingenious. Ifortunately possess a copy of Campion and Rossiter's " Songsto the Lute," about which Mr. Waddy spdke. I assure youin that there are some beautiful songs. Of course, like agreat deal of the music of the period, it is forbidding—that is, one cannot readily grasp exactly what is meant. Theaccompaniments to Campion's songs are in lute notation;then, on the opposite side of the page, upside down ofcourse, is the bass unbarred, I think generally in thebaritone clef. They used the clefs in all sorts of ways.The other day I came across an example of the F clef puton the second line of the bass stave; unless one under-stands and can translate lute notation into modern formall this old music is a sealed book. I only wish morepersons would take up the study of this, and workat the earlier composers who employed the lute astheir accompaniment, because the clavichord was not somuch used. I think they would find undoubted treasurescertainly in Campion's songs. But as Dr. Cummings hassaid, these songs did not reach the people; they had theirfolk-songs, the newer airs did not appeal to them. If you

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look at the titles in many of the old books, you frequentlysee them called " Courtly Airs." Yes, they were sung at thehouses of the great nobility, and so on; and sung to theaccompaniment of the lute, these songs did not get amongthe people—perhaps more 's the pity. But fortunately manyexist, they can still be found. I had hoped Mr. Waddy wouldsay something as to the influence of the lute on accompani-ments. I think a great deal might be inferred from that, suchas tracing the form of the spread arpeggio, which is socommon in modern music; I believe this comes from thepractice of the lute. They could not play sustained chords,so they played arpeggios. We have the lute to thank for thiscommon figure. Our Lecturer has drawn a comparisonbetween these simple, touching, beautiful airs and some ofthe modern " stuff," and what a contrast it presents! In theone case you can readily appreciate the setting of the words,and perceive how true the music is to their meaning. Thenlook at some of these modern effusions, with extravagantpianoforte accompaniments to veil vocal poverty! Well,speaking for myself, I am thankful when all is over. I amglad we have had to-night the half-promise (perhaps I maycall it even more than that), of our Chairman that some dayhe is coming here with a certain volume to give us furtherknowledge of these beautiful old airs, and to let us hear themusic which delighted our forefathers generations ago, andwhich I believe can still touch us.

THE CHAIRMAN.—I do not think I need ask anyone tosecond the proposal put before us. We tender our heartythanks to the reader of the Paper.

The vote of thanks was carried by acclamation.Mr. WADDY, in acknowledging the vote of thanks, said: I

thank you very much, Dr. Cummings, Dr. Southgate, ladiesand gentlemen, for your kind appreciation of my veryunworthy efforts. As I say, it has been quite a labour of loveto me; and there has been no special effort to get up thesubject for this occasion, because I am always at it, workingin my spare time. It is my delight, my pleasure, and I hopeto follow up to the end of life these old English airs, thisold English poetry which is so rich and beautiful. In theWest of England I have given many concert-lectures on thesubject, and I find people are growing to like more andmore this antiquarian music, if one may call it so. Wehave heard interesting remarks from Dr. Cummings andDr. Southgate, which in their way—in value I mean,not in length—have been quite lectures in themselves.In regard to the lute, my reason for not saying muchabout that was that it is a subject in itself. Of course,I know most of these songs had lute accompaniments.The lute was a very intractable instrument to tune. Those

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who are familiar with Shakespeare will remember the passagein the " Taming of the Shrew," where Hortensio, who istuning his lute, says to Lucentio: " You'll leave his lecture,when I am in tune ? " Lucentio: " That will be never : tuneyour instrument." Matheson in 1713 humorously said that" Should you meet a lute-player eighty years old, you mayrest assured he has been tuning sixty years of this " ! It mayinterest you to know that on the twentieth of this month I amgoing to give a concert at Plymouth entirely of Elizabethanmusic, consisting of a selection of the best Madrigals of theperiod and some of the charming songs of Thomas Campion,Thomas Morley, John Dowland, Robert Jones, and othereminent composers of the period. I am trying this as anexperiment to see whether the public will support a concertof this nature in the same way as it will an ordinary concertof modern music. I think the music-loving public only needto know of this Elizabethan music to appreciate it. I thankyou again for your very kind reception.

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