I iwnM HH wm IBffii ^ %. .\ ^ \ ^ ■ W V- »«* S k CV%ofT>Jr m c/i u7 ui r ; > NATIONAL ILLUSTRATED LIBRARY. a? cs £&-t^t/ ^^^^_ X C I X VXC-'YXWVL. ) THE BOOK OF ENGLISH SONGS $zvm til? iixtatij in tip ftnrtontjj €n\im\. (TENTH THOUSAND.) LONDON : OFFICE OF THE NATIONAL ILLUSTRATED LIBRARY, 198, STRAND. "... ■ PREFACE The following Collection of the Popular and National Songs of Eng- land 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 annually, if not daily issued, at prices varying from one penny to a shilling, are for the most part value- less 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 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 IV THE FACE. 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 circumstances. It should also be remembered that he who selects, with small space at his disposal, from a vast mass of materials, must necessarily omit much, which, had he been less restricted for room, he would willingly have included. The Editor regrets that he has not been able to obtain, from the proprietors of the copyright of the Songs of Thomas Moore, per- mission to include in this volume any of the beautiful compositions of that greatest of our modem Song-writers ; but as every reader of taste, and every lover of music, is familiar with the writings of Mr. Moore, it is hoped that the volume will not be on that account the less acceptable to those who desire to know the past as well as the present state of Song-literature. The Editor cannot, while ex- plaining this involuntary deficiency of the volume, omit to express his thanks to the living Writers who have so cordially 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 Edinburgh, 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 communication of many interesting facts connected with the author- ship of old songs. London, June 1851. CONTENTS. Abraham Newland .... A Bumper of Good Liquor A Character of Love Adieu ! Adieu ! our Dream of Love . A Doubt Resolved .... A Glass is Good .... Ah ! how Sweet it is to Love . A Hunting we will go A Jolly Fat Friar loved Liquor good stor< A Knapsack and a Cheerful Heart . All's Well A Man to my Mind . Amintor's Well-a-day Angler (The) . A Pot of Porter, Ho! Arethusa (The) As I lay sleeping As I walked forth one Summer's Day As I went through the North Country Ask you who is singing here A Soldier, a Soldier for me A Song after a Toast Away, thou gnawing Worm, fond Grief A Wet Sheet and a Flowing Sea A Wish PAGE Anonymous . 156 '' Humming Bird" . 131 Samuel Danyell . 34 Thomas K. Hervey . 77 Dr. R. Hughes . 39 " Rival Soldiers" . 130 John Dryden . . 56 Henry Fielding . 228 " Myrtle and Vine " . 294 Charles Dibdin . 212 Thomas Dibdin . 299 John Cunningham . 151 Dr. R. Hughes . 95 John Challchill . 224 ' Myrtle and Vine " . 126 Prince Hoare . . 192 MS. temp. Henry V III.. . 24 Play ford's "Airs and Dialogues " 98 " English Dancing M aster" . 272 " Myrtle and Vine " . 295 "Humming Bird" . 211 Charles Mackay . 133 Hugh Crompton . 27S Allan Cunningham . . 200 Samuel Rogers . 110 Battle of the Baltic . Thomas Campbell 194 CONTENTS. Bay o' Biscay, ! . Begone, Dull Care .... Be still, be still, poor Human Heart . Black-eyed Susan .... Blow high, Blow low Blue is the Sky .... Born in yon Blaze of Orient Sky Boy in Yellow .... Brave Men of Kent (The) Brave Old Oak (The) Bright Chanticleer proclaims the Dawn British Grenadiers (The) . Broken Silence .... Bud is on the Bough (The) Bugle Song (The) .... Busy, Curious, Thirsty Fly Cease, anxious World, your fruitless Pain Cease, rude Boreas, hlust'ring Bailer Chloris, now thou art fled away Colin's Complaint .... Come, all ye jolly Sailors bold . Come, bustle, bustle, drink about Come follow, follow me . Come, if you dare, our Trumpets sound Come, live with me, and be my Love Commendation of Music (The) . Come, now, all ye Social Powers Come, thou Monarch of the Vine Content and a Pipe . Contented Man's Song (The) County Guy Crabbed Age and Youth Crazy Jane Cricketer (The) Cuckoo's Song (The) PAGE Andrew Cherry . 178 Play ford' s li Musical Companion" 121 E. L. Montague . 306 John Gay . 172 Charles Dibdin . 1S1 George Meredith . 80 Erasmus Darwin . 284 " Songs of the Chase " . 233 TomD'Urfey . . 209 H. F. Chorley . . 34 Anonymous . 230 „ , 207 J. Westland Marston . 79 Francis Bennoch . 317 Alfred Tennyson . 319 Doubtful . 125 Sir George Elherege . 58 C. A. Stevens . . 176 Dr. R. Hughes . 95 Nicholas Rowe . 96 Prince Hoare . . 192 " Convivial Songste . 177 Percy's " Reliques " . 276 John Dryden . . 204 Christopher Marlowe . 86 William Strode . 263 J. Biclcerstaffe . 123 . 117 Anonymous . 154 Hugh Compton . 142 Sir Walter Scott ' . . 71 Anonymous . 260 M. G. Lewis . . 254 Anonymous . 235 „ . 140 CONTENTS. Dame Duiden , Dearest ! do not you delay me . Dear Betty, come give me sweet Ki Deai- is my little Native Vale . Dear Tom, this Brown Jug Deposition (The) Despairing beside a Clear Stream Death's final Conquest Death of Nelson (The) . Death of the Brave (The) . Did ever Swain a Nymph adore Dirge in " Cymbeline " Distracted Lover (The) Distracted Maid (The) . Down among the Dead Men Dream of the Reveller (The) Drink to me only with thine Eyes D'ye mind I once was a Sailor DulceDomum .... Ellen Evelina .... English Ale .... Every Bullet has its Billet Fain would I love, but that I fear Fair Flower ! fair Flower ! Fair Hebe I left with a cautious Desi Fairies' Song (The) . Fair Rosalind . Fair, sweet, and young Fair Sylvia, cease to blame my Y Fairy Queen (The) . Far away .... Farmer's Son (The) . Farewell ! if ever fondest Prayer Fill the Goblet again fouth Anonymous Fletcher . Sir C. H. Williams Samuel Rogers John O'Keefe . Thomas Stanley Nicholas Rowe James Shirley . S. J. Arnold William Collins Charles Hamilton William Collins Henry Carey . ■ Myrtle and Vine " Anonymous Charles Mackay Ben Jonson Myrtle and Vine " Anonymous Charles Mackay '■ Myrtle and Vine " Anonymous . . Dr. R. Hughes W. T. Moncrieff Lord Cantalupe Anonymous ' Convivial Songster ' John Dry den . Bishop Atterbury 1 Percy's Reliques " Songs of the Chase " ' Myrtle and Vine " Lord Byron CONTENTS. Folly of Love (The) . Founding of the Bell . ' Fox-Hunter's Hall (The) . Friar of Orders Grey (The) From the Court to the Cottage From merciless Invaders . Full merrily sings the Cuckoo . Gently stir, and blow the Fire . Give me more Love, or more Disdain Give place, ye Lovers God save the King .... Go, happy Rose . Go, lovely Rose .... Good Ale ...... Good-morrow Good-morrow to the Day so fair Good Neighbours, since you've knocked me Go, you may call it Madness, Folly . Gluggity Glug Guinea (The) Had I a Heart for Falsehood framed Hark ! hark ! the Lark ! . Hark ! how the Furnace pants and roars Hark ! the Convent Bells . Hark ! the hollow Woods resounding Haste thee, Nymph .... Health of Sporting .... Hearts of Oak Heaving of the Lead He comes ! he comes ! the Hero comes ! Hence, all you vain Delights . Here's to the Maiden of bashful fifteen He that loves a Rosy Cheek Hide me, Twilight Air . John Lowland Charles Mackay Anonymous Dr. Percy Harry Carey . Anonymous Bean Swift Thomas Carew Earl Surrey . (Doubtful) Robert Herrick Edmund Waller John Still Thomas Heywood Robert Herrick down J. Hughes Samuel Rogers '■' Myrtle and Vine " "Whim of the Day' R. B. Sheridan William Shakspere Charles Mackay T. H. Bayley . " Sportsman's Vocal Cabinet John Milton . Anonymous David Garrick Charles Dibdin " Humming Bird" Anonymous R. B. Sheridan Thomas Carew . Barry Cornwall CONTENTS. High-mettled Racer (The) Home, sweet Home .... Hope How Happy is he born and taught . How stands the Glass around . Hunting, Love, and Wine Huntsman's Dirge (The) . Huntsman, rest, thy Chase is done . I am a Friar of Orders Grey . I cannot eat but little Meat If all the World and Love were young If Chance assigned .... If he to whom this Toast we drink . If I live to grow old, for I find I go down If thou beest born to strange Sights . If 'tis Love to wish you near If Women could be fair . I go to the Elysian Shade I have been in Love, and in Debt, and in I have no Riches, neither know « I loved a Lass, — a fair one I love my little Native Isle I loved thee once, I'll love no more . I'm a tough true-hearted Sailor . I'm old Mad Tom, behold me . In an Arbour green . . . I never yet could see that Face . In hope a King doth go to War Invitation to May .... In praise of a Daisy I purpose to sing In Praise of Melancholy . In Summer-time when Flowers do spring In the merry Month of May I prythee, send me back my heart . In the Season of the Year I saw thee weep .... Drink Charles Dibdin J. Howard Payne . Alison Sir H. Wotton. Anonymous 'Songs of the Chase " Anonymous Sir Walter Scott . John O'Keefe . John Still Sir Walter Raleigh . Sir Thomas Wyatt . Charles Maclcay Dr. Walter Pope John Donne Charles Dibdin Byrd's "Songs and Sonnets Henry Carey . Alexander Brome Hugh Compton George Wither Charles Maclcay Sir Robert Aytoun . Anonymous 1 The Thrush" . Lusty Juventus Abraham Cowley Alison Thomas Morley Playford's "Musical Companion" Anonymous TomD'Urfey . Nicholas Breton Sir John Suckling . Anonymous Lord Byron CONTENTS, I see she flies me everywhere Isle of Beauty, fare thee well I think on thee in the Night Ivy Green (The) The Hive " T. H. Bayley . T. H. Hervey . Charles Dickens PAGE . 64 . 301 . 315 Johnny and Jenny Jovial Beggars (The) Edward Moore . . .103 PlayforcTs " Choice Airs " . 279 Keep Silence, good Folks, and I pray you attend Anonymous King Death Barry Cornwall Lass of Richmond Hill (The) . Leather Bottel (The) Let Rakes for Pleasure range the Town Life's like a Ship Like as the Damask Rose you see Little Fools and great ones Loss of the Royal George Loss in Delays .... Love and Glory Love's Follies .... Love is a Sickness full of Woes Love is the Blossom where there blows Love in Hate .... Love in my Bosom like a Bee . Lovely Nan . . . Love me little, love me long Love not ..... Lover's Vow (The) . Loyal Lover (The) . Lustily, lustily, let us sail forth . Mad Girl's Song (The) Mad Lover (The) . Mad-Maid's Song (The) Mad Shepherdess (The) Upton "Antidote to Melancholy " Edivard Moore Anonymous Simon Wastell Charles Mackay William Cowper Robert Soulhicell Thomas Dibdin W. T. Moncrieff . Samuel Danyell Giles Fletcher . Charles Mackay Thomas Lodge Charles Dibdin Anonymous Hon. Mrs. Norton . Bishop Atterbury MS. temp. Henry VIII. "Common Conditions" Thomas Dibdin Alexander Brome Robert Herrick Anonymous CONTENTS. Maniac (The) - Man's Mortality Mariner's Glee (The) Mariner's Song [The) May Morning . May never was the Month of Love . May we ne'er want a Friend, or a Bottle to giv him Mediocrity in Love rejected Melancholy .... Merrily goes the Mill Mid-watch (The) Miller (The) . Mine he a Cot heside the Hill . Minute. Gun (The) . My Fair, ye Swains, is gone astray My Lodging is on the cold Ground My Sweet Sweeting Neglected Sailor (The) . Nights (The) .... Not Celia that I juster am Now is the Month of Maying . Now Night her dusky Mantle folds Now the bright Morning Star . Nymph's Reply (The) Of all the Torments, all the C ares Oh ! for my true Love Oh ! no, we never mention her Oh ! say not Woman's LTeart is bought Oh ! the Sweet Contentment Old Arm-chair (The) Old Mad Tom .... Old Man's Song, on the Old Year's dying OldTowler PAGE G. M. Leiois and H. Russell . 257 Simon Wastell ' Deuteromelia" . '■ Common Conditions John Milton . Morleys "Ballets " Thomas Uxbdin Thomas Carew Samuel Rogers George Colman R. B. Sheridan Charles Highmore Samuel Rogers R. S. Sharpe . '■ Myrtle and Vine " Anonymous MS. temp. Henry VIII. Edward Rushton Barry Cornwall Sir Charles Sedley . Thomas Morley " Songs of the Chase " John Milton . Sir Walter Raleigh . William Walsh ' Myrtle and Vine " . T. H. Bayley . T. Howard Payne . Anonymous Eliza Cook " The Thrush " E. L. Hervey Anonymous CONTEXTS. On a Hill there grows a Flower O Nancy, wilt thou go with me ? Once did my Thoughts both ebb and flow Once I thought I could adore him On Celia singing One Morning very early . One Night came on a Hurricane Origin of Naval Artillery Origin of the Patten O take me to your Arms, Love Our ancient English Melodies Pack Clouds away, and welcome Day Panglory's Wooing Song . Phillida and Corydon Phillis is my only Joy Phillis the Fair Poor Jack Praise of Milk (The) Pretty little Sue Pretty Parrot (The) . Reasons for Constancy Resolve (The) Ringwood Rivalry in Love Roast Beef of Old England Robin, lend to me thy Bow Rosalind's Complaint Rule Britannia Sailor's Consolation (The) Sally .... Say, what is Wealth without Delight Sea (The) Shall I like a Hermit dwell ? Nicholas Breton . 88 Thomas Percy . 66 " Muses' Garden " . 38 Charles Machay . 81 Thomas Carew . 44 " Myrtle and Vine " . . 255 Charles Dibdin . 183 Thomas Dibdin . 193 Charles Dibdin . 292 Thomas Dibdin . 256 Anonymous . 158 Thomas Heyioood . . 52 Giles Fletcher . , 262 Nicholas Breton . 88 Sir Charles Sedley . . 59 Nicholas Breton » . 88 Charles Dibdin . 180 Play ford's "Musical Comp anion" 280 " Myrtle and Vine " . 69 Aikin's " Vocal Poetry " . 289 Sir Charles Sedley . . 60 Alexander Brome . 5Q " Songs of the Chase " . 237 William Walsh . 62 Anonymous . 206 n . 223 Thomas Lodge . 33 James Thomson . , . 205 Charles Dibdin . 183 Samuel Lover . . 76 " Songs of the Chase" . 236 Barry Cornwall . 197 Sir Walter B,aleigh . 45 CONTENTS. Shall I, wasting in Despair ? Shepherd's Holiday (The) Shun Delays, — they breed Remorse Since our Foes to invade us have long been pre paring .... Since Wedlock's in vogue Sing a sweet melodious Measure Snug little Island (The) . Skater's Song (The) Sir John Barleycorn Sir Marmaduke Soldier (The) . Soldier's Dream (The) Soldier's Drinking Song (The) Soldier's Glee . Song of a Shirt (The) Song for Twilight . Spanish Armada (The) Still to be Neat j still to be Drest Storm (The) . Suffolk Yeoman's Song (The) Sweet Day so cool . Sweet May Symptoms of Love . Take, oh take those Lips away Tambourine Song (The) . Tell me, my Heart, if this be Love ? 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 best of all good Company The Character of a Married Life The Choice of a Rural Wife . The Deceived Lover sueth only for Liberty George Wither James Shirley Robert Southwell "Myrtle and Vine " John Cunningham Anonymous Thomas Dibdin " Sportsman's Vocal Cabinet " English Dancing Master G. Colman W. Smyth Thomas Campbell " Convivial Songster " " Deuteromelia " • Thomas Hood Barry Cornwall J. O'Keeffe . Ben Jonson G. A. Stevens . J. Hughes George Herbert Erasmus Darwin " Muses' Garden " William Shahspere Charles Mackay Lord Lyttleton Henry King . Alexander Brome Richard Lovelace Thomas K. Hervey Barry Cornwall Sir Henry Wotton Anonymous Sir Thomas Wyatt CONTENTS. The Dew no more shall weep . The fine old English Gentleman The Fire of Love in youthful Blood The Glories of our Birth and State The Good Time coming . The Land, Boys, we live in The Lover comforteth himself with the Worthi ness of his Love .... The Passionate Shepherd to his Love The Ploughshare of Old England . The Portals of the East divide . The Praise of a Countryman's Life There is a Garden in her Face There was a Jolly Miller . There was a Jovial Beggar There was never nothing more me pain'd The Shape alone let others prize The Shepherd's Complaint The Smiling Morn may light the Sky The Sorrows of True Lovers' Parting The Sun was sunk heneath the Hill . The thirsty Earth drinks up the Rain The Thorn The tuneful Sound of Robin's Horn The Wheel of Life is turning quickly round This bleak and frosty Morning This Bottle's the Sun of our Table . This Indian Weed now withered quite Though when I lov'd thee thou wert fail- Till Death I Sylvia must adore To all you Ladies now on Land To Althea, from Prison Tobacco is an Indian Weed To fair Fidclc's grassy Tomb To live a Life free from Gout, Pain, or Phthisic Tom a Bedlam, or Mad Tom Richard Crashaw . Anonymous Earl Dorset James Shirley . Charles Mackay " Myrtle and Vine" . Earl of Surrey Christopher Marlowe Eliza Cook " Songs of the Chase " John Chalkhill Richard Allison J. Bickerstaff Playford's " Choice Aires Sir Thomas Wyatt Akenside Charles Hamilton Anonymous Sir Thomas Wyatt Anonymous Abraham Cowley J. O'Keeffe . ' Anonymous " Convivial Songster ' " Vocal Cabinet " R. B. Sheridan Anonymous Thomas Stanley " The Hive " Earl of Dorset Richard Lovelace Anonymous William Collins Anonymous William CONTENTS. old Torn Bowling . Tom Moody To Sleep ! to Sleep ! 'tis the True Courage . Tubal Cain The Turning of the Wheel 'Twas God. above that made all 'Twas Merry in the Hall . Uncommon Old Man (The) Under the G reenwood Tree Unhappy Love . Upon the Plains of Flanders Variety Vicar of Bray (The) Year's Dy Things Waken, Lords and Ladies gay We be three Poor Mariners We dance on Hills above the Wind , Welcome, welcome, do I sing . We Soldiers drink, we Soldiers sing What is it to us who guides the State ? What is War and all its Joys ? What Pleasure have great Princes ? . What poor Astronomers are they When a Shooting we do go When Daisies pied, and Violets blue When Delia on the Plain appears When first I strove to win the Prize . When Harold was invaded When Icicles hung by the Wall When I drain the Rosy Bowl . When Love, with unconfined Wings When lovely Woman stoops to Folly When lull'd in Passion's Dream, my Senses slept Charles Bibdin Anonymous E. L, Hervey . Charles Dibdin Charles Mackay " Convivial Songster" . "Antidote to Melancholy' Anonymous " Convivial Songster" William Shalcspere „ " The Hive " . Thomas Campbell , " Myrtle and Vine " . Doubtful Sir Walter Scott " Dcuteromelia " Anonymous William Browne Charles Dibdin " Convivial Songster " Thomas Chatterton . Byrd John Dowland Anonymous William Shakspere Lord Lyttleton " Songs of the Chase " Tom D'Urfey . William Shakspere Francis Fawkes Richard Lovelace . Oliver Goldsmith W. T. Moncrieff . CONTENTS. When raging Love with extreme Pain . . Earl of Surrey When to Old England I come home . . " Myrtle and Vine " When this Old Cap was New . . Anonymous When 'tis Night, and the Midwatch is come . JR. B. Sheridan When we two parted in Silence and Tears . Lord Byron . When whisp'ring Strains do softly steal . . William Strode Where Thames along the Daisy'd Meads . . David Mallett Why are you wandering here, I pray ? . . Charles Kenney Why, fair Maid, in every Feature? . . . M. G. Lewis . Why, lovely Charmer, tell me why ? . " The Hive " Why so pale and wan? Sir John Suckling Wife, Children, and Friends .... Hon. W. Spencer Wild Cherry Tree ...... Barry Cornwall Winter William Shakspere With an Honest Old Friend and a Merry Old Song Henry Carey . Woman's Inconstancy ..... Sir Robert Aytoun Woman's Inconstancy ..... John Donne Women are Best when they are at Rest . . Anonymous Woodmen, Shepherds, come away . . . John Shirley . Would you choose a Wife for a Happy Life . Anonymous Ye darksome Woods, where Echo dwells . " Songs of the Chase Ye Fox-hunters, Stag, ay, and Hare Hunters too Anonymous . . Ye Gentlemen of England .... Martyn Parker Ye happy Swains, whose Hearts are free . Sir George Elherege Ye little Birds that sit and sing . . . Thomas Heywood Ye Mariners of England Thomas Campbell . You meaner Beauties of the Night . . . Sir Henry Wotton . Young Henry was as brave a Youth . . . Thomas Dibdin Youth and Age ...... Anonymous . « You that think Love can convey . . . Thomas Carew SONGS OF THE AFFECTIONS. A CONSIDERABLE amount of error and misconception exists upon the subject of Poetry in general — and of song writing in particular. Poetry itself, which M. de Lamartine asserts to be " the guardian angel of humanity in every age, "* is considered by many, not otherwise unintelligent people, to be identical with verse — 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 satis- factory. The worth of a song in the estimation of such critics as 1 S SONGS OF THE AFFECTIONS. these, is as little as can be imagined ; and it has become a pro- verb, 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 over-rate 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 com- positions 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 over-rated 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 hallare, 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 characteristics 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 siioiikl be illustrated naturally and elegantly. It should contain ' SONGS OF THE AFFECTIONS. 19 no word that could be omitted without injury to the music or the meaning; and should avoid the jar of inharmonious consonants, which in the Euglish language are so difficult to sing. 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 license, 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, cheer- fulness, 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, there are the materials of songs ; and the youthful, more especially, give vent to their feelings in this natural music, as we may suppose, the birds give vent to theirs, finding in the expression its own re-, ward. 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 expres- sion in these popular 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 enthu- siasm, 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 " A 2 20 SOXGS OF THE AFFECTIOXS. " 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 out- lasts 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 no amatory songs of any merit, with the exception of a few 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 Shakspeare. 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 pre- served. The amatory songs, or the songs of the affections, pro- duced 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 refined taste; a finish and a grace, and an epigrammatic bril- liancy 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 disappeared from them altogether, or to have been but faintly discernible 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 expressions — scarcely fitting in a Greek or a Roman — but utterly unsuited to the realities of passion in a land SONGS OF THE AFFECTIONS. 21 and among a people 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 some- times 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, 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, On 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 women's charms (her virtues were scarcely mentioned) were either portrayed in the silly masquerade of the writers of pastorals, 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, and placed 22 SONGS OF THE AFFECTIONS. her, in all their songs of glee and gladness, invariably below the bottle. She was held out in terrorem to all happiness and joy, and to fly from her was the burthen 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 signalized 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 are Irish by their music, and by their nationality of sentiment, is, nevertheless, the best writer of English songs whom our literature has produced. He 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 influ- ence 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 their minds to more elaborate composition. "*% MY SWEET SWEETING. From a MS. temp. Henry VIII.i Ah my sweet sweeting; My little pretty sweeting, My sweeting will I love wherever I go; She is so proper and pure, Full, stedfast, stable and demure, There is none such, you may be sure, As my sweet sweeting. In all this world, as thinkefh me, Is none so pleasant to my e'e, That I am glad so oft to see, As my sweet sweeting. 1 This is a small oblong paper volume — known to be of this early date by the badges on the binding, and the names on the fly leaf. It passed through the hands of Thomas 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 author of "Musica Antigua," and is now in the possession of Dr. Rimbault. 24 SONGS OF 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, 1 For none I find so womanly As my sweet sweeting. THE LOYAL LOVEE. From the same MS. as the preceding song. As I lay 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 Eor remembrance. Her fair eye piercing, My poor heart bleeding, And I abiding, In hope of mede ; i A term of endearment, used by Chaucer, Skelton, &c, probably the origin of the modem -word pickaninny. It is spelled piggesnie 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 Romans," says Tyrwhitt, " used oculits as a term of endearment, and perhaps piggesnie, in vulgar language, only means ocellus ; the eyes of that animal being remarkably small." — Note on Chaucer's Cant. Tales, v. 3268. Todd {Johnson's Diet, in v. Pigsney) has shown that the word was occasionally written pigs eie. The derivation, however, seems more likely to be from the old Saxon word, piga, a girl. SONGS OF THE AFFECTIONS. 25 But thus have I long, Entuning this song, With pains full strong, And cannot speed. Alas will not she, Now show 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 Wyatt, born 1503, died 1554. There 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 ! 26 SONGS OF THE AFFECTIONS. " My restful nights, and joyful days, Since I began to love Be take from me ; all thing decays Yet can I not remove, Alas! the while !" She wept and wrung her hands withal, The tears fell on my neck ; She turned 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 cursed my fortune more and more To see her sob and groan, Alas ! the while ! THE DECEIVED LOVER SUETH ONLY FOR LIBERTY. Sir Thomas Wyatt. 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. 1 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, Th' other is gone, And there can none It remedy ; 1 In the ordinary version this line is printed " But life and liberty," — as, however, the line is thus shorter by two feet than the corresponding lines of the other stanzas, the word " dearest " is suggested as the proper word to supply the omission. SOM(>S OF THE AFFECTIONS. 27 If the one be past, Th' 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 Earl of Surrey, 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 : SONGS OF THE AFFECTIONS. I call to mind the navy great That the Greeks brought to Troy town : And how the boisterous winds did beat Their ships, and rent their sails adown ; 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 night overrun, Before the Greeks had 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 ure ;* So after raging storms of care, Joyful at length may be my fare. GIVE PLACE, YE LOVERS. The Earl of Surrey. 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 candle light, 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. 1 Ure— 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 plaint, 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 found in the literature of all European nations. IN AN ARBOUR GREEN. From the morality of "Lusty Juventus," printed in the reign of Edward VI. In an arbour green, asleep where as I \a,j, 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, Of her alone to have a sight, Which is my joy and heart's delight ; In youth is pleasure. 30 SONGS OF THE AFFECTIONS. LOVE Anonymous, ME LITTLE, LOVE ME LONG. Originally printed in 1569-70, in ballad form, 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 tbee 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 OF THE 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, From that breath, whose native smell Indian odours far excel. ) Oh ! then speak, thou fairest fair ! Kill not him that vows to serve thee ; , But perfume this neighbouring air, Else dull silence, sure, will starve me; 'Tis a word that's quickly spoken, Which, being restrain' d a heart is broken. YOU MEANER BEAUTIES, Sir Henry Wotton, born 1568, died 1639. You meaner beauties of the night That poorly satisfy our eyes, More by your number than your light ; You common people of the skies, What are you when the moon shall rise ? Ye violets that first appear, By your pure purple mantles known, Like the proud virgins of the year, As if the spring were all your own ; What are you when the rose is blown ? SONGS OF THE AFFECTIONS. 41 Ye curious chaunters of the wood, That warble forth dame nature's lays, Thinking your passion understood By your weak accents — what's your praise, When Philomel her voice shall raise? So when my mistress shall be seen, In sweetness of her looks and mind; By virtue first, then choice a queen, Tell me if she was not design'd Th' eclipse and glory of her kind ? This song is supposed to have been inspired by the charms of the Queen of Bohemia, daughter of King James I. It is printed with additional stanzas in Chambers's " Scottish Songs," as the composition of Henry Lord Darnley, the unfortunate husband of the unfor- tunate Mary Queen of Scots. The additional verses are of no great merit, and do not seem to have been the composition of Sir Henry Wotton. Dr. Percy has altered the word " moon," in the concluding line of the first stanza, to " sun," but without sufficiently considering whether the alteration were an improvement. The " sun " is not one of e beauties of the night. The poet knew his meaning better than his critic. WOMAN'S INCONSTANCY. Sir Robert Aytoun, born 1570, died 1638. I lov'd thee once, I'll love no more, Thine be the grief, as is the blame; Thou art not what thou wert before, What reason I should be the same? He that can love, unlov'd again, Hath better store of love than brain; God send me love my debts to pay, While unthrifts fool their love away. Nothing could have my love o'erthrown, If thou hadst still continued mine ; Yea, if thou hadst remain'd thy own, I might perchance have yet been thine But thou thy freedom did recal, That if thou might elsewhere enthral ; And then how could I but disdain, A captive's captive to remain. 42 SONGS OF THE AFFECTIONS. When new desires had conquer'd thee, And changed the object of thy will; It had been lethargy in me, Not constancy to love thee still. Yea, it had been a sin to go And prostitute affection so; Since we are taught our prayers to say, To such as must to others pray. Yet do thou glory in thy choice, Thy choice of his good fortune boast ; I'll neither grieve nor yet rejoice, To see him gain what I have lost: The height of my disdain shall be, To laugh at him, to blush for thee, To love thee still, but go no more, A begging at a beggar's door. From Ritson's " Caledonian Muse " — Sir Robert Aytoun was a Scotchman by birth but his poems belong to English literature. WOMAN'S INCONSTANCY. John Donne, born 1573, died 1631. If thou beest born to strange sights, Things invisible to see, Eide ten thousand days and nights Till age snow white hairs on thee ; Thou, when thou return 'st wilt tell me All strange wonders that befell thee, And swear, No where, Lives a woman true and fan. If thou find one let me know, Such a pilgrimage were sweet, Yet do not ! I would not go, Though at next door, we might meet; Though she were true when you met her. And lasted till you wrote your letter, Yet she, Will be, False ere I come, to two or three. SONGS OF THE AFFECTIONS. 43 DKINK TO ME ONLY WITH THINE EYES. From " The Forest," by Ben Jonson, born 1574, died 1637. Drink to me only with thine eyes, And I will' pledge with mine ; Or leave a kiss but in the cup, And I'll not look for wine. The thirst that from my soul doth rise, Doth ask a drink divine : But might I of Jove's nectar sup, I would not change for thine. I sent thee late a rosy wreath, Not so much honouring thee, As giving it a hope, that there It would not wither'd be, But thou thereon did'st only breathe, And sent it back to me ; Since then, it grows and smells, I swear, Not of itself, but thee. STILL TO BE NEAT. From " The Forest," by Ben Jon so v. Still to be neat, still to be drest, As you were going to a feast; Still to be powder'd, still perfumed, Lady, it is to be presumed, Tho' art's hid causes are not found, All is not sweet, all is not sound. Give me a look, give me a face That makes simplicity a grace ; Kobes loosely flowing, hair as free : Such sweet neglect more taketh me Than all th' adulteries of art; They strike mine eyes, but not my heart. 44 SONGS OP THE AFFECTIONS. ON CELIA SINGING. Thomas Carew, bom about 1580, died 1630. You that think love can convey, No other way But through the eyes, into the heart His fatal dart; Close up those casements, and but hear This syren sing, And on the wing Of her sweet voice it shall appear That love can enter at the ear. Then unveil your eyes, behold The curious mould Where that voice dwells ; and as we know When the cocks crow, We freely may Gaze on the day; So may you when the music's done, Awake and see the rising sun. HE THAT LOYES A ROSY CHEEK. Thomas Caeew. He that loves a rosy cheek, Or a coral lip admires, Or from star-like eyes doth seek Fuel to maintain its fires; As old Time makes these decay, So his flames must waste away. But a smooth and steadfast mind, Gentle thoughts and calm desires, Hearts with equal love combined Kindle never dying fires ; Where these are not, I despise Lovely cheeks, or lips, or eyes. There is another stanza to this song in some editions of the English poets, but so inferior in every way to these, and so unnecessary to the climax of the sentiment, as to suggest a doubt whether it has not been added by an inferior hand. SONGS OF THE AFFECTIONS. 45 MEDIOCRITY IN LOVE REJECTED. Thomas Carew. Give me more love, or more disdain ; The torrid or the frozen zone, Brings equal ease unto my pain ; The temperate affords me none; Either extreme, of love, or hate. Is sweeter than a calm estate. Give me a storm ; if it he love, Like Danae in a golden shower I swim in pleasure ; if it prove Disdain, that torrent will devour My vulture hopes; and he's possessed Of Heaven, that's cut from hell releas'd; Then crown my joys, or cure my pain; Give me more love or more disdain. SHALL I LIKE A HERMIT DWELL? Attributed to Sir Walter Raleigh. Shall I like a hermit dwell, On a rock or in a cell, Calling home the smallest part That is missing of my heart, To bestow it where I may Meet a rival every day? If she undervalue me, What care I how fair she bet, Were her tresses angei-gold a If a stranger may be bold Unrebuked, unafraid To convert them to a braid; And with little more ado Work them into bracelets, too; If the mine be grown so free What care I how rich it be ? 1 Angel-gold was of a finer kind than crown gold. 46 SONGS OF THE AFFECTIONS. Where her hands as rich a prize As her hairs or precious eyes; If she lay them out to take Kisses for good manners' sake ; And let every lover skip From her hand unto her lip; If she be not chaste to me What care I how chaste she be? No ; she must be perfect snow, In effect as well as show, Warming but as snow-balls do, Not like fire, by burning too ; But when she by change hath got To her heart a second lot ; Then if others share with me, Farewell her, whate'er she be! The burden of this song probably suggested the far more beautiful song of Georg Withers, which immediately follows. SHALL I, WASTING IN DESPAIR. George Wither, bom 15S8, died 1667. Shall I, wasting in despair, Die because a woman's fair ? Or make pale my cheeks with care, 'Cause another's rosy are ? Be she fairer than the day, Or the flow'ry meads in May, If she be-not so to me, What care I how fair she be? Should my heart be grieved or pined 'Cause I see a woman kind? Or a well disposed nature Joined with a lovely feature ? Be she meeker, kinder, than Turtle-dove or pelican, If she be not so to me, What care I how kind she be ? SONGS OF THE AFFECTIONS. 47 Shall a woman's virtues move Me to perish for her love ? Or, her well-deservings known, Make me quite forget my own ? Be she with that goodness blest Which may gain her name of best, If she be not such to me, What care I how good she be ? 'Cause her fortune seems too high, Shall I play the fool and die? Those that bear a noble mind, Where they want of riches find, Think what with them they would do, That without them dare to woo; And, unless that mind I see, What care I how great she be ? Great, or good, or kind, or fair, I will ne'er the more despair : If she love me, this believe, I will die ere she shall grieve: If she slight me when I woo, I can scorn and let her go: For, if she be not for me, What care I for whom she be ? From "The Mistress of Phiiarete," published in 1622. 48 SONGS OF THE AFFECTIONS. I LOVED A LASS, A FAIR ONE. George Wither. I lov'd a lass, a fair one, As fair as e'er was seen; She was indeed a rare one, Another Sheba Queen; But fool as then I was, I thought she lov'd me too, But now, alas! she's left me, Falero, lero, loo. Her hair like gold did glister, Each eye was like a star, She did surpass her sister Which passed all others far ; She would me honey call, She'd, oh — she'd kiss me too, But now, alas! she's left me, Falero, lero, loo. In summer time to Medley, 1 My love and I would go — The boatmen there stood ready My love and m e to row ; For cream there would we call, For cakes, and for prunes too, But now, alas ! she's left me, Falero, lero, loo. Many a merry meeting My love and I have had; She was my only sweeting, She made my heart full glacl; The tears stood in her eyes, Like to the morning dew, But now, alas ! she's left me, Falero, lero, loo. 1 Medley House, between ,Godstow and Oxford. It has been supposed by Ritson, from the mention of this place of summer recreation for the Oxford students, that Wither wrote this beautiful song when at College in the year 1606 ; but it is not likely to have been the production of a youth of 18. It did not occur to Ritson that a man may write about his college haunts long after he has quitted them. SONGS OF THE AFFECTIONS. 4-> And as abroad we walked, As lovers* fashion is, Oft as we sweetly talked, The sun would steal a kiss ; The wind upon her lips Likewise most sweetly blew, But now, alas ! she's left me, Falero, lero, loo. Her cheeks were like the cherry, Her skin as white as snow, When she was blythe and merry, She angel like did show; Her waist exceeding small, The fives did fit her shoe, But now, alas ! she's left me, Falero, lero, loo. In summer time or winter, She had her heart's desire; I still did scorn to stint her, From, sugar, sack, or fire ; The world went round about, No cares we ever knew, But now, alas ! she's left me, Falero, lero, loo. As we walk'd home together At midnight through the town, To keep away the weather — O'er her I'd cast my gown; No cold my love should feel, Whate'er the heavens could do, But now, alas ! she's left me, Falero, lero, loo. Like doves we would be billing, And clip and kiss so fast, Yet she would be unwilling That I should kiss the last ; They're Judas kisses now, Since that they prov'd untrue ; For now, alas ! she's left me, Falero, lero, loo. c 50 SONGS OF THE JLFFECTIONS. To maiden's vows and swearing, Henceforth no credit give, You may give them the hearing — But never them believe; They are as false as fair, Unconstant, frail, untrue ; For mine, alas! hath left me, Falero, lero, loo. 'Twas I that paid for all things, 'Twas others drank the wine ; I cannot now recall things, I'm hut a fool to pine : 'Twas I that heat the bush, The birds to others flew, For she, alas ! hath left me, Falero, lero, loo. if ever that Dame Nature, For this false lover's sake, Another pleasing creature Like unto her would make ; Let her remember this, To make the other true, For this, alas I hath left me, Falero, lero, loo. No riches now can raise me, No woe make me despair, No misery amaze me, Nor yet for want I care ; Fve lost a world , itself, My earthly heaven, — adieu ! Since she, alas ! hath left me, Falero, lero, loo. TELL ME NO MORE. Henry King, Bishop of Chichester, born 1591, died 1669. Tell me no more how fair she is ; I have no mind to hear, The story of that distant bliss I never shall come near : By sad experience I have found That her perfection is my wound. SONGS OF THE AFFECTIONS. 51 And tell me not how fond I am To tempt my daring fate, From whence no triumph ever came But to repent too late : There is some hope ere long I may In silence dote myself away. I ask no pity, Love, from thee, Nor will thy justice blame. So that thou wilt not envy me The glory of my flame, Which crowns my heart whene'er it dies, In that it falls her sacrifice. GO, HAPPY ROSE ! "Robert Hekkick, born 1591. Go, happy Rose ! and interwove With other flowers, bind my love. Tell her, too, she must not be Longer flowing, longer free, That so oft has fetter'd me. Say, if she's fretful, I have bands Of pearl and gold to bind her hands Tell her, if she struggle still, I have myrtle rods at will, For to tame, though not to kill. Take thou my blessing thus, and go, And tell her this, — but do not so ! Lest a handsome anger fly, Like a lightning from her eye, And burn thee up, as well as I, C 2 S02?