SONGS FOR THE LUTE VIOL and Voice: Composed by I. Danyel, Batchelar in Music. 1606. To Mris Anne Grene.  
LONDON Printed T. E. for Thomas adam's, At the sign of the white Lion, in Paul's Churchyard.    

To Mrs Anne Grene the worthy Daughter to Sr William Grene of Milton Knight.  
THat which was only privately composed,  
For your delight, Fair Ornament of Worth;  
Is here, come, to be publicly disclosed:  
And to an universal view put forth.  
Which having been but yours and mine before,  
(Or but of few beside) is made hereby  
To be the worlds: and yours and mine no more.  
So that in this sort giving it to you,  
I give it from you, and therein do wrong,  
To make that, which in private was your due:  
Thus to the world in common to belong.  
And thereby may debase the estimate,  
Of what perhaps did bear some price before:  
For oft we see how things of slender rate,  
Being undivulged, are choicely held in store:  
And rarer compositions once exposed,  
Are (as unworthy of the world) condemned:  
For what, but by their having been disclosed  
To all, hath made all mysteries contemned.  
And therefore why had it not been enough,  
That Milton only heard our melody?  
Where Baucis and Philoemon only show,  
To Gods and men their hospitality:  
And thereunto a joyful ear afford,  
In midst of their well welcomed company:  
Where we (as Birds do to themselves record)  
Might entertain our private harmony.  
But fearing least that time might have beguiled  
You of your own, and me of what was mine,  
I did desire to have it known my Child:  
And for his right, to others I resign.  
Though I might have been warned by him, who is  
Both near and dear to me, that what we give  
Unto these times, we give t'vnthankfulnesse,  
And so without unconstant censures, live.  
But yet these humours will no warning take,  
We still must blame the fortune that we make.  
And yet herein we do adventure now,  
But Air for Air, no danger can accrue,  
They are but our refusals we bestow,  
And we thus cast the old t'have room for new:  
Which I must still address t'your learned hand,  
Who me and all I am, shall still command.  
john Danyel.   

I. CANTO.  

COy Daphne fled from Phoebus' hot pur- suit, Careless of Pas- sion, sense- less of Remorse: Whilst he come- plained his griefs, she rested mute, He begged her stay, She still kept on her course, But what reward she had for this you see, She rests trans- formed, a win-ter beaten tree. She rests transformed, ij. She rests trans- formed a winter bea-ten tree.   

1. BASSO.  
COy Daphne fled:   


Coy Daphne fled from Phoebus' hot pursuit,  
Careless of Passion, senseless of Remorse:  
Whilst he complained his griefs she rested mute▪  
He begged her stay, she still kept on her course.  
But what reward she had for this you see,  
She rests transformed a winter beaten tree.   

The Answer.  
chaste Daphne fled from Phoebus' hot pursuit,  
Knowing men's passions Idle and of course:  
And though he plained 'twas fit she should be mute▪  
And honour would she should keep on her course▪  
For which fair deed her Glory still we see,  
She rests still Green, and so wish I to be.     


TWO▪ BASSO.  
THou pretty Bird:   

TWO▪ CANTO.  
THou pretty Bird how do I see, thy silly state and mine a- gree, For thou a prisoner art, so is my heart, Thou singest to her and so do I address my Music to her ear, that's merci- less. But herein doth, here- in doth the dif- ference lie, that thou art graced, so am not I: Thou singing liv'st, singing, singing, singing liv'st, and I must sing-ing die. But herein, etc.   

Thou pretty Bird how do I see,  
Thy silly state and mine agree:  
For thou a prisoner art,  
So is my heart▪  
Thou singest to her and so do I address,  
My Music to her ear that's merciless:  
But herein doth the difference lie,  
That thou art graced so am not I,  
Thou singing liv'st, and I must singing die.    


III. BASSO.  
He whose desires:   

III. CANTO.  
HE whose de- sire's are still are still a- broad I see, And therefore now come back come back my heart to me, hath never a- ny peace at home the while. Rest alone, rest alone it is but for superfluous things we toil. Honour wealth, honour wealth with thyself be all with- in, For what with- out thou gettest, thou dost not glow- ry fame are no such things, But that which from I- ma- gi'- nati- on win. High reaching power that seems to over grow, doth creep but springs on the earth, lies base and low.   

He whose desires are still abroad I see,  
Hath never any peace at home the while:  
And therefore now come back my heart to me,  
It is but for superfluous things we toil,  
Rest alone with thyself be all within,  
For what without thou gettest thou dost not win.  
Honour, wealth, glory, fame, are no such things,  
But that which from Imagination springs.  
High reaching power that seems to over grow,  
Doth creep but on the earth, lies base and low▪    


FOUR CANTO.  
LIke as the Lute delights, delights, or else, or else dis- likes, as is his art that plays upon the same: So sounds my Muse, ij. it found'st accordings as she strikes, On my heart strings high tuned, high tuned unto her fame. Her touch doth cause the war- ble of the sound, which here I yield in lamentable wise: ij. in lamentable wise: la- men- ta- ble wise: A way-ling descant ij. on the sweet- est ground, Whose due reports, ij. gives ho- nour to her eyes, wholedue re-ports, ij. gives honour to her eyes, if a- ny plea- sing, relish here I use, judge then the world her beauty the same,   

FOUR BASSO.  
LIke as the Lute:   

FOUR CANTO.  
same, Else harsh my style, untuna-ble my Muse hoarse sounds, The voice that pray- seth not her name, For no ground else, for no ground else could make the Music such, Not other hand could give so sweet a touch, could give so sweet a touch. For no, etc.   

FOUR BASSO.  
  

Like as the Lute delights or else dislikes,  
As is his art that plays upon the same:  
So sounds my Muse according as she strikes  
On my heart strings, high tuned unto her same.  
Her touch doth cause the warble of the sound,  
Which here I yield in lamentable wise:  
A wailing descant on the sweetest ground,  
Whose due reports gives honour to her eyes.  
If any pleasing relish here I use,  
Then judge the world her beauty gives the same:  
Else harsh my style untunable my Muse,  
Hoarse sounds the voice that praiseth not her name.  
For no ground else could make the Music such,  
Nor other hand could give so sweet a touch.    


V. BASSO.  
DOst thou withdraw:   

V. CANTO.  
DOst. dost thou withdraw thy grace, Dost, O dost thou withdraw thy grace, Because I should not love, and think'st thou to remove m'a- fections with thy face? As if that love did hold no part, But where thy beauty Ah yes 'tis more, more is de-sire, There where it wounds and lies: And were not in my heart, Great-er then in thy fair eyes? Ah yes 'tis, etc. pines, As fire is far more fire, Where it burns then where it shines.   

Dost thou withdraw thy grace,  
For that I should not love:  
And think'st thou to remove,  
M'affeictions with thy face?  
As if that love did hold no part,  
But where thy beauty lies:  
And were not in my heart,  
Greater than in thy fair eyes?  
Ah yes 'tis more, more is desire,  
There where it wounds and pines:  
As fire is far more fire,  
Where it burns then where it shines?    


VI BASSO.  
WHY canst thou not, etc.   

VI CANTO.  
WHY canst thou not as others do, Look on me with unwounding eyes? And yet look sweet, but yet not so, Smile but not in killing wise. Arm not thy grace's to confounded, Only look, ij. Only look but do not wound. ij. Only look, ij. ij. ij. but do not wound. Only look but do not wound.   

Why canst thou not as others do?  
Look, on me with unwounding eyes:  
And yet look sweet but yet not so,  
Smile but, not in killing wise.  
Arm not thy graces to confound,  
Only look but do not wound.  
Why should mine eyes see more in you,  
Than they can see in all the rest:  
For I can others beauties view,  
And not find my heart oppressed.  
O be as others are to me,  
Or let me, be more to thee.    


VII. CANTO.  
STay cruel, stay, Pit- tie mine anguish, And if I languish For that which you do bear a- way, Ah how can you be so unkind, As not to grieve for that you leave behind, And if you'll go ij. yet let your pity stay, yet let your pity stay, and if you will go, and if you will go, yet let your pity stay, yet O let your pity stay. But will you go? say will you? O will you go and show that you neglect, that you neglect me, Yet say farewell, ij. ij. farewell. ij. ij.   

VII. BASSO.  
STay Cruel stay:   

Stay Cruel stay,  
Pity mine anguish,  
And if I languish  
For that which you do bear away,  
Ah, how can you be so unkind,  
As not to grieve for that you leave behind,  
And if you'll go, yet let your pity stay,  
But will you go and show that you neglect me?  
Yet say farewell, and seem but to respect me.   

Yet say farewell, and seem but to respect, O seem but to respect me. Yet say, etc.    


VIII. CANTO.  
TIme cru- ell Time canst thou sub- due that B●ow? Or art thou grown in league with those fair ' eyes? That conquers all but thee and thee t●o stays? as if she were ij. That they might aid thee to consume our days, or dost thou love ij. exempt from Scieth or Bow, From Love and years un- sub- iect her for her cru- el- ties, Being mere- ci- less like thee that to de- cayes? Then do so still although she makes no no man ways? And do so still although she no- thing steam, Of days nor years but let's them run in vain, Hold still thy swift cares, Do as I do love her although un- leinde, Hold still yet O   

VIII. BASSO.  
Time cruel time:   

Time cruel time canst thou subdue that brow,  
That conqueres all but thee, and thee too stays:  
As if she were exempt from sayeth or bow,  
From Love and years unsubiect to decays.  
Or art thou grown in league with those fair eyes,  
That they might help thee to consume our days,  
Or dost thou love her for her cruelties,  
Being merciless like thee that no man ways?  
Then do so still although she makes no steam,  
Of days nor years, but lets them run in vain:  
Hold still thy swiftwinged hours that wondering seem  
To gaze on her, even to turn back again.  
And do so still although she nothing cares,  
Do as I do, love her although unkind,  
Hold still, yet O I fear at unawares,  
Thou wilt beguile her though thou seem'st so kind.   

winged hours that won- dring seem, To gaze on her even to turn I fear at un- a- wares, Thou wilt be- guile her though thou back a- gain. And do so, etc. seem'st so kind.    

M rs. M. E. her Funeral tears for the death of her husband.  
The first part.  
IX. CANTO.  

Grief, Grief, Grief, Grief, keep within and scorn, to show but tears, Since joy can weep as well as thou, Disdain to sigh for so can slender cares, Which but from idle causes grow, Do not look forth un- less thou didst know how To look with thine own face, and as thou art, And only let my heart, ij. my heart, ij. That knows the rea- son why,   

XI. BASSO.  
Grief keep within:   

Grief keep within and scorn to show but tears,  
Since joy can weep as well as thou:  
Disdain to sigh for so can slender cares,  
Which but from Idle causes grow.  
Do not look forth unless thou didst know how  
To look with thine own face, and as thou art,  
And only let my heart,  
That knows more reason why,  
pine, fret, consume, swell, burst and die.   

Pine, Fret, Con- sum, Swell, Burst and Dye. Swell, Burst and Dye.    

The second part.  

X. CANTO.  
DRop, ij. ij. drop not, ij. O drop not mine eyes, nor trickle, trickle, trickle down so fast, nor trickle down so fast, nor trickle, trickle down so fast, For so you could do oft before, In our sad farewells and sweet meetings past, And shall his death, ah shall his death now have no more? Can nig- guard for- row yield no o- there store, To show the plenty of of- flicti- on's smart, Then only   

X. BASSO.  
Drop not mine eyes.   

Drop not mine eyes nor Trickle down so fast,  
For so you could do oft before,  
In our sad farewells and sweet meetings past,  
And shall his death now have no more?  
Can niggard sorrow yield no other store:  
To show the plenty of afflictions smart,  
Then only thou poor heart,  
That know'st more reason why,  
pine, Fret, Consume, Swell, Burst and Dye.   

thou poor heart, ij. poor heart, ij. That knowst more rea- son why, Pine, Fret, Con- sum, Swell, Burst, and Dye. Pine, Fret, Consume, Swell, Burst and Dye. Swell, Burst and Dye.    

The third part.  

XI. CANTO.  
Have all our passions: Have all our passions certain proper vents, And sorrow none that is her own? But she must borrow others comple- ments, To make her in- ward fee- ling known, Are joys, de-lights and deaths compassion shown, With one like face and one lamen- ting part: and one la- menting, ij. one la- menting part: Then only   

XI. BASSO.  
Have all our passions:   

Have all our passions certain proper vents,  
And sorrow none that is her own?  
But she must borrow others compliments,  
To make her inward feelings known?  
Are joys delights and deaths compassion shown,  
With one like face and one lamenting part?  
Then only thou poor heart that knowst more reason why,  
Pine, Fret, Consume, Swell, Burst, and Dye.   

thou poor heart, ij. poor heart, ij. that knowst more rea- son why, Pine, Fret, Con- sum, Swell, Burst and Dye. Pine, Fret, Con- sum, Swell, Burst and Dye. Pine, Fret, Con- sum, Swell, Burst and Dye.    

XII. CANTO.  

LEt not Clown- ris think be cause she hath in- vas- sailed I was made to be the pray and boo- tie of her me, That her beauty can give laws to others that are free: Though others may her eyes, In my bosom she may say her greatest kingdom lies. I can decern more brow a- door, Yet more must I that therein see far more, Then any secret notes, That in the margin of her cheeks Love quotes, Then any others eyes have power to see, She is to me, More than to a- ny others she can else be- sides have art to read, No looks proceed, From those fair eyes but to me won- der be. O then why, Should she fly, From him to whom her sight, Doth add so breed.   

XII. BASSO.  
LEt not Cloris think:   


LEt not Cloris think because  
She hath unvassald me,  
That her beauty can give laws,  
To others that are free.  
I was made to be the pray,  
And booty of her eyes:  
In my bosom she may say,  
Her greatest kingdom lies.   

Though others may her brow adore,  
Yet more must I that therein see far more,  
Then any others eyes have power to see,  
She is to me  
More than to any others she can be.  
I can decern more secret notes,  
That in the margin of her cheeks Love quotes:  
Then any else beside have art to read,  
No looks proceed,  
From those fair eyes but to me wonder breed.   

O then why,  
Should she fly,  
From him to whom her sight,  
Doth add so much above her might:  
Why should not she,  
Still joy to reign in me?    

much above her might, Why should not she, Still joy to reign. in me▪    

The first part.  
XIII. CANTO.  

CAn doleful notes, etc. Can? can doleful notes, doleful notes to measured accents set, Can? can doleful notes, doleful notes to measured accents set, Ex- press un-mea- su'rd griefs, Express un- measured, un- measured griefs which time for- get. Ex- press un-mea- served griefs which time for- get. which time, which time forget   

XIII. BASSO.  
CAn doleful notes:   

CAn doleful Notes to measured accents set,  
Express unmeasured griefs that time forget?   

Express unmeasured griefs which time even all time forget.    

The second part.  
XIIII. CANTO  

NO let Chromatique times ij. Chro- matique tunes harsh without ground, Be sullen, Music for a tunelesse heart, Be sullen, etc. Be sullen. etc. Chro- matique tunes most like my passions sound, Chro- matique tunes most like, most like my passions sound. most like, etc. still like, etc.   

XIIII. BASSO.  
NO, let Chromatique Tunes:   

NO, let Chromatique Tunes harsh without ground,  
Be sullayne Music for a Tunelesse heart:  
Chromatique Tunes most like my passions sound,  
As if combynd to bear their falling part.   

Chro- ma- tique tunes most like my passions sound, most like, etc. still, etc. Chromatique tunes most like my passions sound, As if come- bind to bear their falling part. As if combined to bear their fal-ling part.    

The third part.  
XV. CANTO.  

un- certain certain tunes, of thoughts fore- cast, of thoughts fore- cast, Bring back the same, then die and dy-ing last. then die and dy-ing last. Bring back the same, then die, then die and dy-ing last. then die and dy-ing, and dy-ing last. and dying last. ij.   

XV. BASSO.  
Uncertain certain turns:   

Uncertain certain turns, of thoughts forecast,  
Bring back the same, then die and dying last.   

ij. and dy-ing last.    

XVI. CANTO.  

EYes look no more, for what hath all the earth that's Cloth thee my heart, with black dark thoughts and think but worth the sight? Ears hear no more, for what can breathe the voice of true the- of des- pair, Si- lence lock up my words and scorn these I- dle sounds of light. Think, think, Glo-ry, Honour, joys, De- lights, Contents, air. But, but Sorrow, Grief, Of- flicti- on, and Despair, are but the emp- tie re-ports, Of una- propri- ed terms that breath invents, not knowing these are the things that are sure, And these we feel not as con-ceits in th'air, but as the what it in- ports. joys, Delights and Pleasures in us hold same we en- dure. joys, Delights and Pleasures makes grief to such a doubt- bookful part. As if they were but thrall, and those were all in all, ti- ra-nize us worse, Our mirth brings but distastes for nought delights and lasts.   

XVI. BASSO.  
EYes look no more:   


EYes look no more, for what hath all the earth that's worth the sight?  
Ears hear no more, for what can breathe the voice of true Delight?  
Cloth thee my heart, with dark black thoughts, and think but of despair,  
Silence lock up my words, and scorn these Idle sounds of Air.   

Think Glory, Honour, joys, Delights, Contents,  
Are but the empty reports  
Of unappropried terms that breath invents,  
Not knowing what it imports.  
But Sorrow, Grief, Affliction, and Despair,  
These are the things that are sure,  
And these we feel not as conceits in th' air,  
But as the same we endure.   

joys, delights, and pleasures in us hold such a doubtful part,  
As if they were but thrall,  
And those were all in all,  
For Griefs, Distrusts, Remorse, I see must domineer the heart.  
joys, Delights, and Pleasures, makes grief to tyrannize us worse,  
Our mirth brings but distastes:  
For nought delights and lasts,  
Grief then take all my heart, for where none strive there needs less force.    

For Grief, Distrusts, Remorse, I see must do- mi- near the Grief then take all my heart, for where none strive, there needs less heart. force.    


XVII. BASSO.  
IF I could shut the gate:   

XVII. CANTO.  
IF I could shut the gate a- 'gainst my thoughts, And keep out sorrow from this room with in, Or me- morie could cancel all the Notes of my misdeeds, ij. and I unthink my sin, How free, how clear, how clean my soul should lie, Discharged of such a loathsome come- pa- nigh. How free, etc.   


IF I could shut the gate against my thoughts,  
And keep out sorrow from this room within:  
Or memory could cancel all the notes,  
Of my misdeeds and I unthink my sin,  
How free, how clear, how clean my soul should lie,  
Discharged of such a loathsome company.   

Or were there other rooms without my heart,  
That did not to my conscience join so near,  
Where I might lodge the thoughts of sin apart,  
That I might not their claim'rous crying hear.  
What peace, what joy, what ease should I possess.  
Freed from their horrors that my soul oppress.   

But O my Saviour, who my refuge art,  
Let thy dear mercies stand twixt them and me:  
And be the wall to separate my heart,  
So that I may at length repose me free:  
That peace, and joy, and rest may be within,  
And I remain divided from my sin.     


XVIII. BASSO.  
I Dye when as I do not see:   

XVIII. CANTO.  
I Dye when as I do not see, Her that is life and all to me, And when I see her yet I die, In see-ing of her cru- el- tie, So that to me like mi- se- ry is wrought, Both when I see her, Both when I see, and when I see her not. So, etc.   


I Dye when as I do not see  
Her that is life and all to me:  
And when I see her yet I die,  
In seeing of her cruelty:  
So that to me like misery is wrought,  
Both when I see and when I see her not.   

Or shall I speak or silent grieve,  
Yet who will silencie relieve:  
And if I speak I may offend,  
And speaking not my heart will rend:  
So that I see to me it is all one,  
Speak I or speak I not, I am undone.     


XIX. CANTO Primo.  
WHat delight can they in- joy, whose hearts are not their own, But are gone, but are gone abroad a- stray, and to others bosoms flown, Selimus Comforts, silly joy, which fall and rise, and rise as others move, Who seldom use, Who seldom use to turn, to turn our way, And therefore Cloris will not love, For well I see, How false men be, And they must pine that lovers prove.   

WHat delight can they enjoy,  
Whose hearts are not their own?  
But are gone abroad astray,  
And to others bosoms flown.  
Silly comforts, silly joy,  
Which fall and rise as others move,  
Who seldom use to turn our way,  
And therefore Cloris will not love:  
For well I see,  
How false men be,  
And let them pine that Lovers prove.   

XIX. CANTO Secundo.  
WHat delight can they enjoy, whose hearts are not their own, But are gone, but are gone abroad, a- stray, and to others bosoms flown. Silly comforts, silly joy, which fall and rise, and rise, as others move, who seldom use, who sell- doom use, seldom use, to turn, to turn our way, and therefore Cloris will not love, for well I see, how false men be, and they must pine that lovers prove.   

XIX. BASSO.  
WHat delight can they enjoy, whose heart's are not, are not their own, but are gone, but are gone a- broad, gone abroad astray, and to others bosoms flown. Silly comforts, silly joy, which must fall & rise as others move, who sell- dom use, ij. to turn our way, & therefore Cloris will not love, for well I see, how false men be, and they must pine that lovers be.   

XIX. ALTO.  
WHat delight can they enjoy, whose hearts are not their own, But are gone, but are gone abroad a- stray, And to others bosoms flown. Silly comforts, silly joy, which fall & rise, & rise, still as others move, who seldom use, ij. use to turn, do seldom turn our way, and therefore Cloris will not love, For well I see how false ●en be, then pine that lovers be.    


XX. TENORE.  
NOw the Earth, the Skies, the Air. All things fair, the Earth, the Skies, the air, all things fair, all fair. Seems new borne thoughts t' infuse. Whilst the returning spring, joys each thing. ij. the spring joys each   

XX. CANTO Primo.  
NOw the earth, etc. Now the earth, the skies, the air, All things fair, the Skies, Earth and air, the Earth, Skies, Air, and all things fair, Now the Earth, the Skies, the Air, Earth, Skies, and Air, all things fair, Seems new borne thoughts t' in-fuse, Whilst the returning spring, joys each thing. Whilst the returning spring, joys each   

XX. BASSO.  
NOw the Earth, the Skies, the Air, All things fair, the Skies and all things fair, Seems new borne thoughts t' infuse, Whilst the re- tur- ning spring. joys each   

XX. CANTO Secundo.  
A direction for the tuning of the Base Lute. 

A la mi  
B fa b mi  
G sol re ut  
D sol re  
Gam ut  
Double D sol re.  
Double Cla ut    
NOw the earth, etc. Now the Earth, the Skies the Air, the Skies, the Air, Now the Earth, Skies, Air and all things fair, Seems new borne thoughts t' in- fuse, Whilst the returning spring joys each thing, the spring that joys each   

XX. TENORE.  
thing. And blasted hopes, 〈◊〉 blasted hopes renews, When only I alone only. I alone. Left all a- lone to moon. Find no times borne for me, find no times, find no times borne for me, No flowers, no me- dow, no flowers, no meadow springs, No Bird sings. But notes of misery-of misery. No flowers, no Meadow, no flowers, no Meadow springs. No Bird sings, ij. But notes of mise-ry. But notes of misery, but notes, but notes of misery▪   

XX. CANTO Primo.  
thing And blasted hopes, blasted hopes re-newes. When I a- loan, when only I a- loan, a- lone, Left to moan, Find no times borne, Find no times borne for me, No flowers, no Meadow, No Meadow springs, No Bird sings, ij. But notes of misery. ij. No flowers, no Meadow springs, ij. No Bird sings, But notes of misery▪ mi- se- ry. No Bird sings, But notes, but notes of mi- se- ry.   

XX. BASSO.  
thing. & blasted hopes renews: Only I alone. I a- loan, left to moan, find no times born, find no times borne for me. No flowers, no flowers, no Meadow springs, no Bird sings, but notes of misery. ij. No flowers, no flowers, no Meadow springs, no Bird sings, but notes of misery. ij. but notes of mise-ry.   

XX. CANTO Secundo.  
thing, And blasted hopes re-newes, When only I a- loan, only I alone, When I alone. Left to moan, Find no times borne for me, No flowers, no Meadow springs, ij. No birds sings, But notes of mi-sery, of mi- se- ry. No flowers, no Meadow, no Meadow springs, No bird sings, ij but notes of mi- sery, ij. No Bird sings, But notes of mi- se- ry.    

Mrs Anne Grene her leaves be green.  
XXI.  
A direction for the tuning of the Lute.   

THE TABLE.  

COY Daphne fled: I.  
Thou pretty Bird: II.  
He whose desires: III.  
Like as the Lute: FOUR  
Stay cruel stay: V.  
Dost thou withdraw: VI.  
Why canst thou not: VII.  
Time cruel time: VIII.  
Grief keep within: First part. IX.  
Drop not mine Eyes: Second part. X.  
Have all our passions: Third part. XI.  
Let not Cloris think: XII.  
Can doleful notes: First part. XIII.  
No, let Chromatique tunes: Second part. XIIII.  
Uncertain certain turns: Third part. XV.  
Eyes look no more: XVI.  
If I could shut the gate: XVII  
I die when as I do not see: XVIII.  
What delight can they enjoy: XIX.  
Now the Earth, the Skies, the Air: XX.  
Mrs Anne Grene her leaves be green. XXI.   
FINIS.