4 Myp pet. 32803 a COLLECTION oF Madvigals and Motetts, CHIEFLY FOR FOUR EQUAL VOICES, THE MOST EMINENT COMPOSERS OF THE SIXTEENTH AND SEVENTEENTH CENTURIES; ‘WE GREATER PART OF WHICH MAVE NOT BEEN HITHERTO PUBLISIED IN SCORE. EDITIONS IN PARTS, > ae By €L-Ts Dy, JOSEPH GWILT, Ancurrect, FRSA Sok PRINTED FOR THE EDITOR, foc ES, "bs! AOAC =) af hye 2 7 v0. 24a Mve a 32 804 Iw offering the few following Madrigals to the Public, the Editor's sole object is, to add his mite to the revival of a taste which has long been declining, and which, but for the exertions of Mr. John Immyns, the founder of the Madrigal Society about a century back, would most probably, ‘ere this, have ceased to exist, Tt was during the latter part of the sixteenth century, that this species of vocal composition was most practised and encouraged ; at which period, every well bred gentleman was able to sing bis part sure in the performance of a Madrigal, when ca- ally called on for that purpose. ‘They were all originally published in separate parts, one book being appropriated to each voice, the notes and words being printed in ‘good character and letter-press types, and without bars From these books, not to have been able to join in the harmony, seems to have been a great reproach, and a di to any person of rank or education, As sin the well bred of both sexes, and had not given place to the more elegant and scien- tific amusements of cards, and games of chance, the demand for variety was so great, as to exeite an emule to excel in this sort of com ‘Sympson (in his Compendium) says, “This kinde of music (the more is the pity) is now much neglected, by reason of the scarcity of the auditors that understand it, their ht and airy music.” And ing was then the usual enter sition, in all qualified for it, ears being better acquainted, and more delighted, with that the encouragement of this species of writing is at a low ebb, ford ample scope for the exercise of skill, and all the powers of Hawkins lame adding, “ Madrigal invention, and for social practice, are for many reasons to be preferred to every other In the year 1808, the Rev. Richard Webb sct the laudable example of bringing before the Public, a Collection similar to this, except that it extended to some match- less compositions in five and six parts, ‘The present Collection has been confined to pieces of four parts, and those chiefly for equal voices, as being more easily got up in private parties, where there is no treble voice, ag4 ‘The Editor feels also much satisfaction in noticing, that Mr. Hawes, a most re- spectable and ingenious professor, is now publishing the set of Madrigals written and composed in honour of Queen Elizabeth, intitled the « Triumphs of Oriana.” ‘The orthography of the poetry has not been uniformly attended to, but the music hhas been carefully corrected in every case, except in that of No.9, by the ori editions, and it is confidently expected to be found free from error. ‘To his friend Mr. W. Beale, a learned and ingenious musician, the Editor takes this opportunity of returning his acknowledgments, for the trouble he bas had in cor- recting the proofs, the Work, well as for the istance derived from his judgment throughout ‘The Madrigal, No. 10, “ Loe Cuntrie Sports” (* Now Country Sports,” in Wat- en's Collection) needs no apology for its appearance here ; it ie much to be lamented, that not one of the Madrigals of the old Masters, has been published correetly by the said Mr. Warren, ‘Numbers 12 and 13, may be seen in Hawkine's History of Music, and No. 16 in Burney's ‘No. 18, is from Morley’s Practical Introduction; the remainder have not hitherto been published in score, For the authenticity of the beautiful Madrigal, No.9, by Jon Dowland, the Editor does not pledge himself, not having been able, from their extreme scarcity, to obtain a sight of Dowland’s works. He, however, thinks it by no means unworthy the name, and is indebted to Mr. Beale for the use of his MS. copy thereof, from which it is here printed, ‘The following short notices of the Composers, whose works have been selected, have been extracted from Haw! ’s History, and other sources, JOS, GWILT. 8, Stanford Stet, ‘Mey 2018, 1815 +. Only iy copies of this Work, the Plates of which are destroyed, have been printed. 1N.B. Tle Plates were engraved by H Beaumont, 45, Rosomanstret, Clerkenwell‘Tuomas Wentxes, B.M. and a Gentleman of the Chapel of James I. was orga nist of Winchester, and afterwards of Chichester. In 1597, he published a Collec- tion of Madrigals to three, four, five, and six voices. In 1398, “ Ballatts and Ma- Arigals to five voices, with one to six voices;"” and in 1600, ** Madrigals of six parts apt for viols and voices:”" He wrote one of the Orianas for six voices; also some ser- vices and anthems, one of the latter, to the words, * O Lord grant the King a long Jife,”" is published in Barnard’s Collection. ‘There is a work of his extant, entitled, “ Ayeres or Phantasticke Spirites, for three voices, made and newly published by Thomas Weclkes, Gentleman of His Majest Chapell, Bachelar of Musicke, and Organest of the Cathedral Church of Chichester.” Lond. 1608. Jouy Witnve—Was a teacher of Musick, and dwelt in Austin Friars about 1598. He published two sets of Madrigals for three, four, five, and six voices, the first in the year 1598; the other dedicated to the Lady Arabella Stuart in 1600. His “ Lady, when I behold the roses sprouting,” for six voices, and his “ Flora gave me fairest flowers,” are compositions that have never been surpassed. Jou Bexnert—Said by Ravenscroft, in his “ Briefe Discourse,” published 1614, tobe “a gentleman admirable for all kindes of composures, either in art, or ayre, simple or mixt, of what nature soever;”” and further, “to have had somwhat ‘more then art, even some Naturall Instinet or Better Inspiration, by which, in all his workes, the very life of that passion which the ditty sounded, is so truely ex- prest, as if he had measured it alone by his owne soule, and invented no other har- ‘mony, then his owne sensible feeling in that affection did affoord him.”” He was one of our best Madrigalists; his works are finely studied, and full of the graces and ele- gances of vocal harmony. Besides his Madrigals to four voices, published in 1399, and a contribution to the Triumphs of Oriana, le composed several pieces for Ravens- eroft’s Briefe Discourse, above mentioned, Grovawt Prentoror pa Patestaina, or Paexestisi—A native of the antient Preneste, now corruptly called Palestrina, but more corruptly called Palestina, was born about 1529, and in 1955 was admitted into the Pope's Chapel; at the age of 83 he was elected Macstro di Capella of Santa Maria Maggiore, at Rome, and, upon6 the death of Animuceia in 1571, was honoured with a similar appointment at St. Pe- ter’s; and, lastly, having carried choral harmony to a degree of perfection never since surpassed, died on the 2d February, 1592, at the age of 59 years. His funeral was ‘attended by all the musicians of Rome, and an infinite concourse of other persons. His “ Libera me Domine,” for three choirs, of five parts each, was performed at the burial, which was at the foot of the altar of St. Simon and St. Jude, in St. Peter On his tomb was placed the following inscription, which still exists: JOANNES PETRUS ALOYSIUS, Palestrina, ‘Musica Princeps. ‘The testimonies of authors in favour of Prenestini, are endless. His compositions were principally for the use of the church ; of his Madrigals four books were published. ‘The following is a list of his printed works Dodie libri diMese, a. 5, 6, 8 voeistampate in Roma, Bd, 1585, 1590, 1591, 1594, 1599, 1600, 1601, Due iti Oeror, a 5, Veo. 1398. 24, Ven. 1571, 1606. Quatro ii di Mote, a 5, 6 7, 8 vo, Vou. 1575, 1580, 1584, 1586. Maguifcat, 6 tou, Rome, 1391. 4c. Roms. and Ven. 1589. ‘oe. Ven. 1886, 1605 5 vo. Ven, 1598. Venetia, 1554, 1567, 1570, 1572, 1582, ‘or Peirs—Is mentioned by one Thos. Piers, in his testimony in jer Thomas Ravenseroft’s Briefe Discourse, fromwhence the hunt- .cted. By the verses thereto so affixed, it appears that our approbation of Mai ing piece, No. 6, is ex ‘Author, but for the compassion of the editor, would have been now unknows ‘Thou that bast made the dying cones to glwe (Of ould Ed. Pies his mame’ eich now shall grow (Gains all that envious oF malicious bee), Ii high opinion mongst poster ‘And further on, Master Piers gives the profession a lash, which, I hope, is not appli- cable in the present age. “From itt, men hereafter sal pall out ‘Scourges to lash the base mechanicke rout ‘Of mercenary filers, who have made (o their owne seorne) this noble trade? + Raveatcrofs Book,7 ‘Jenewsin Saviue.—Of this author the Editor has been able to find not even so much as of him last named. The Waitts, inserted in this Collection, is from Playford’s ‘Musical Companion, London 1673. Joux Downaxo—Was born 1362, and admitted to his bachelor’s degree at Oxford, in company with Morley, 1588, He was an excellent lutenist, Dr. Burney says, after seoring several of his compositions, he had been equally disappointed and asto- nished at bis seanty abilities in counterpoint. Could the Doctor have scen his Madri- gal, “ Awake, sweet Love,” or that in this Collection? Dowland appears to have been an excellent lutenist, and the Editor will venture to say, notwithstanding the above free opinion of the Doctor Burney, an excellent composer. In the sonnets ascribed to Shakspeare in the Passionate Pilgrim, the following lines occur : “Dowland * * * whose heavenly touch ‘pon the Inte doth avis uma sense.” He was, as may be gathered from his works, a disappointed man; being of a rambling disposition, itis most probable he neglected his affairs at home, for there is litle doubt that he was travelling abroad after his appointinent to a place in the chapel, ‘At Venice he became acquainted with Giovanni Croce, the Madrigalist, and though it does not appear that he visited Rome, he enjoyed the amity of Luca Marenzio. Hee says in the preface to his Pilgrime's Solace, that some part of his poor labours hhad been printed in eight most famous eities beyond the seas, viz. Paris, Antwerpe, Collein, Nuremberg, Frankfort, Leipsig, Amsterdam, and Hamburg. In 1609, he was living in Fetter-lane, where it is probable be died in 1615, ‘The following is an imperfect list of his works: ‘The Fint Booke of * Songes or Ayres, of foure parts, with tablature forthe Lue pubned between 1595 and 1600. A Second, of Songs or Aires fr the Lute or Orpherian, with the Viol de Gamba.” Hers he ayes himself Late. nist to the King of Denmark, ‘The book is dedicated tothe eeebrated Lucy, Countes of Bedford, and dated from Helingnoure in Denmark, Juve 1, 1600, |ATThird Booke of * Songs of Aires, to sig to the Lute, Orpherian of Viol,” 1603. “ Lachima, of eaten Tears figured in Seaven Passionate Pavans, wih divers other Pavan, Gali ad ‘Almands, set forth or the Late, Vols, o Vilon, in five parts," publshed between 1603 and 160, dedicated to Ame, Queen of James Fi ‘Translation of the Micrologus of Andreas Orithopareus, 1609. A ilgime’ Solace, with Late aed Viol rei is contined musical harmony of three, four, and five parts, to be sung and plait 61 ‘Tomaso Lovovico pa Virronta—A Spaniard, Maestro di Capella of St. Apolli- nare, and afterwards a singer ia the Pontifical Chapel; was, says Peacham, a very are and excellent author, adding, that his vein was grave and sweet,8 is Burial Service, or Messe de’ Morte, and his Peuitential Psalms, were much admired, He wrote Motetts for all the festivals in the year, which were printed at Rome 1585. His masses were dedicated to Philip II. of Spain, and published 1583. He was residing at the Court of the Duke of Bavaria in 1594, Cuntsroruen Tre—Born in Westminster, was preceptor in music to Edward, ton of Henry VIII. ; admitted to the degree of Doctor in Music at Cambridge, 1545. ‘The composition by him in this work, is from “The Actes of the Apostles, trans- lated into Englyshe metre, and dedicated to the Kynges Moste Excellent Majestye, by Christofer Tye, Doctor in Musyke, and one of the Gentylmen of Hys Grace’s Moste Honourable Chappelle, wyth Notes to eche Chapter, tosynge and also to play upon the Lute, very necessarye for Studentes after theyr studye, to fyle their wyttes, and alsoe for all Christians that cannot synge, to reade the good and godlye storyes of the lyves of Christ hys Apostles.”” Printed by Wyllyam Seres, 1553. ‘This work is dedicated to Edward VI. in stanzas of alternate metre, whereof the following will serve as a specimen of his poetical power “ And lst of al, 1 youre poore man, ‘Whote doings are fll base, “Yet glad to do the best Ica Even ofthe twelve, as Luke doth wryte, ‘Ofall their worthy fete” in the Chapel of Edward VI.; but their success did not answer the author's expectation Antony Wood says, ‘* Dr. Tye was a pecvish and humoursome man, especially in his latter days, and sometimes playing: on the organ in the chapel of Queen Elizabeth, which contained much music, but little delight to the ear, she would send the Verger to tell him that he played out of tune, whereupon he sent her word, that her ears were out of tune.” Dr. Tye, says the same author, restored church music after its decay, by the dissolution of the ruined Abbies. , ‘The Rev. R. Webb, in his Collection of Madrigals, has published one of the above- ‘named compositions, to the adapted words of “ Laudate nomen domini.” Ronrnr Jonysox—An Ecclesiastic, and a learned musician, was one of the ex liest of our eburch composers, who disposed his parts with intelligence and design. He lived in the beginning of the sixteenth century, and was, with Tye, Sheppard, Par-sons, Farrant, and others, one of the principal composers of church musie during the short reign of Edward VI. ‘Tuomas Batesox—Organist of Chester about 1600; in 1618 he became organist, ‘and master of the children of the cathedral of the Blessed Trinity at Dublin ; and it is supposed was Bachelor of Music of the University of that city. He published Madrigals for three, four, five, and six voices in 1604, and again in 1el8, ‘Wood says, he was very eminent in his profession. ‘Tuomas Taxuts—Was Gentleman of the Chapel Royal in the and Mary; added to which, under Elizabeth, he, in coparcenary with Bird, had the additional appointment of organist. Tallis’s name not having been found to any of the lighter kinds of music for private recreation, such as Madrigals, it seems his studies were wholly devoted to the ser- vice of the church. Bird was his pupil; for them in conjunction, was printed by ‘Vautrollier, in 1575, the “ Cantiones Sacre,” one of the noblest collections of sacred music that has appeared in any age or country. ‘Tallis was the composer of a stupendous Motett in forty parts, to the words, “* Spem jum nunquam habui preter in te Deus Israel,” &c. &c., the MS. of which the understands is now in the hands of the gentleman who has been kind enough to revise the musieal part of this Work. Tallis died in November, 1585, and was buried in Greenwich church, with an ription engraven on a brass plate, which in later days was repaired by that great luminary of Oxford, Dean Aldrich, at once scholar, antiquary, architect, and musi- cian, ‘This memorial was removed when the present church was built. ‘The Motett, No. 16, of this Work, is from Burney’s History of Music. ‘Tuomas Montey—Was one of the Gentlemen of Queen Elizabeth's Chapel, a scholar of Bird, and admitted Bachelor of Music in 1388. His publications were ‘many; among them, the Burial Service by him, continued to be performed at the i terment of persousof rank, till that of Purcell and Croft appeared, and even this has not quite displaced it. Morley collected and published the set of Madrigals entitled the “Triumphs of Oriana,”* composed in honour of Queen Elizabeth, to five and six voices, by diver authors; but none of his works is more valuable than his “ Plaine and Easie Introdue- tion to Practicall Musicke,”” 1597. This excellent work is in three parts ing to sing ;—2d, OF Deseant, with the method of singing10 in this work, is extracted. His works were, CCanzonets, or litle short Songs, of three vot, 1593, Mackiguls to four voices, 1596. Ballets, or Fats, oie voices, 1595 _Masigas to five voices, 1595. Firat Book of Cansooes to two voices, 1595 and 1619. (Canzone, ot litle short Ain to five and six voces, 1597. He was Editor of the following works, Madrigals to five voies, collected out ofthe best Taian Authors, 1598. ‘The Triawphs of Oran, to five and sx voices, compored by divers several authors, Newly publabed by Tho- ‘mas Morey, Batchelor of Mascke, and Geutleman of His Majesties’ Honourable Chappel, 1601 Consort Lesons, made by divers exqsite author, for ix dierent instruments to play together, vis the treble Ite, pandor, citterse, base vil, fate, and tebe voll. Dedicated to the Lord Mayor, 24 edit. 1611. [APlaine and Ease Introduction to Practcall Masicke, 1597 and1608. Joun Fansten—Published his first set of English Madrigals to four voices in 1599. Inthe preface to this work, the author professes to have so “fully linked his music to number, as each give to other their true effect, which is to move delight,” adding, ‘that this virtue is “singular in the Italians, as under that ensign only they hazard their honour.” Gxonce Krnnys—Published his first set of Madrigals in 1597. He contributed to the “ Triumphs of Oriana.” Burney considers him, together with Weelkes, Wil bye, and Bennett, as our four best Madrigalists; but this, as far as Kirbye is con- cerned, is not the ease; there are many before Kirbye.CONTENTS. Thomas Weelkes. Jol Wie. Jol Bennet G. PA, Da Prenestni. Jol Wille. Eitward Piers Jol Wily. eremiah Savile Jol Dowland. No. 1. Our Country Swain, wna 2. Happy Streames whote trembling fll, 8, wander up and down, 4, Veraménte im Amore, samme 5, When Cloris heard, uennsom 6, Hey tole (Hunting Madrigal), 7. Thus sith my Cloris bright 8 The Waits, 9. Come aguin, sweet Love, 10, Loe Cunt Sports “Thomas Wels. Mh, 0 rome nn 7. L. Da Fitri. 12, Fe eae in enim, a Onritopher Tye. 18, Deiyed is my Name, bert Jobson. 14, Dame Venus hence to Paphos goo, Tomas Batcon. 15, Asmatelese Beaty, Joi, Wile 16, Heare the Voye and Prayer, Tomar Tallis. 17. Sing lou, ye Nymphs, "John Bema 18. Perce tori or, FRomar Morty. «Jol Bema Jin Romer, 21, What can doy my detest, sooner George Kirby. 22, Thins sleeps thoo, Join Bemett 23, Fly not 50 swift, “Tola Wiliye, 24, Whether to fist, ma “Thomas Bateson. 1%, False Love now sh00t, snr sms Gs P, de Da Prenestni,Tike mor = Fix fee tz morris dance in the morris dance thea 29-9 AEE tae ‘dance morris thas woo and win their their brides thusbrides ‘thus woo and win their brides anf win brides this woo and win thelr brides ‘thus woo and win thelr brides ‘woo and win their brides thuywoo and win woo and win their brides thus woo and win thelr brides — their brides Will for dur town will for our town Will for olr Ftdwn will for = their brides for Kate thenext pri oF their brides for Kate the next our town for our town the Hobby horse at pleasure the Kate the next prance the next prance the Hobby-horse at pleasure the =—— prince for Kate the next prance theHob=by horse at pleasure Hob=by hors Kr pleasure Hob=by horse at pleasure eae Hob=by horse at pleasure never the ahd a ‘woo with tears and in grief Fides 1 woo with fro=liek rilles I woo with tears and fro=lick Fides <1 woo with tears and ver the fear 1 and ive indye_in grief in fear I dye in griet 1 dye in grief he fear I woo with SS ie =o—o= iy grief and_. tive * ‘ Tear 1 woo with fear - = =e and live in fear I woo with tears and ne'er the tears and neer @ neer the near I teary and neer the nearin fear in fear 1 ia_arlet_and dye 2 grief grief dye ae in grief 4 ‘and in grie® dye in grief 1 dye ref and # 2 * fearWILBYE. Hap=py streams whose trembling fall Hap= py streams whose Hap = py streams whose Hap=py streams whose trembling fall *hap = py streams whove trembling fall with still murmur ‘trembling fall hap = py streams whose (rembling fall with still y streains whose trembling fall with sil trembling fall hap hap=py streams whose trembling fall with stil dire Py birds whose py birds whosefap = Py birds whove chirping call Py Hinds hove chirping call higp = py, birds whose chirping call chirping call y birds whose chirping, call Hap = py birds whose chirping — call hap = py birds whose SSS Sara Saag ‘chir=ping call with sweet mezlo = chi weet me=lody de = = light = Fe = Tents Tee mova 3 movd her. flin= Ue and reclentclese hart an Sez AE = Hath mova her flin =hart hath moval her flin = tie and relentlesse hart fo hart hath mova her flintie and relentlesse iintalewe hart = ny In = chant = ed with your me=lo= Tn thise downes = part in = chant = ed with | lis =\=ten, to your har= mo = ny ‘your har= mo = ny to your har = = mo ny and sit ‘se=curely in these downes part in = = chant = eday. chant = = ed with your m with your me= in = = chant= = ed with your meslo = = = dy your me=To= sing on and carrol forth your glee with your me=lo = dy sing on and car=rol * fon and carrol forth your glee sing sing Sing” on ain carro! forth yghragee sing on sing on sing on and car rol forth forth your glee and car = = rol forth yourglee and carrol forth your‘on and carrol forth yourglee sing on she. graynts you Sing on_ahd carrol forth poor give she graunty —ydu ‘your glee she graunts you leave her raves to gice ving oh and carrol forth your glee she leave she graunty you leave her rayey fo see she graunts Teave her rayes to see she graunts you her rayey to see she graunty you leave her ‘graunts you leave her rayes to. yee she leave she graunts you leave her rayes to. Teave she graunts you Teme her rages to see her rayes to rayes to she graunts you leave her ‘graunts you leave she graunts youleave her ayes (0 seeHappy were Happy were Happy were 1 1 could love bat so de= light her Bat Leould love but. 0 de = = light her But aye 1 could love but so de=light her But aye my love doth still dey= = pight) ber but my love doth Eft di = = pightstill des = = pight her put aye fy Tove doth still des= = pight her e doth still des ‘Goth still dew = “stu doth still ass > las my Tove doth stilldown I wander up I wan=der ap fain would rest down and fain would and wan=der ler up and wander up and up and down and me and fain would fai would rest rest me up and down down and fain would dow and me_and, fain would rest.me and fain would rest—— — — me and fain would fain would rest me ahd fain and fain would rest Fest me ‘and fain would rest me ‘and fain would rest me ret would Fest me yet cannot rest me ‘and fain would ryt) me yet — me ‘and fain would rest ome yet ‘eannot ‘and fain would rest me yet ceannot yet cannot rest sucheares do still molest cares do still =; cannot rest ct cam= not rest ygt ‘cannot rest stich cares do rest yet not rest such cares do still mo=Is me yet cannot rest yet cannot yet eannot rest yet cannot rest yet Test me yet cannot Fest yet Fest such cdres do still mo = lest — yet cannot rest such cares Wo still mr not Fest such cares do still mi est eannot rest such cares do still mo = = = lest all things things conspire I see epnspire 1 all things conspire Tyee 1 see_all things conspire 1 me all thingy conspire I see all thingy conspire 116 things conspire 1 see and this = spire see and this in consent this convent to con=sent this consent in to finda for find a place for me co con = sent in and this con=sent con = sent and this and ‘and this ‘and Find w place for ae to find # place for find a place for me tol place for place for me me to find « place for me to finda place for me to7 forme Mt to In= tit to tind ‘a place for me for me for tind a place for me for me Ia = ment a’ place for , me fit, to lament for me rit to la=-=ment In fit to la ment fit to s nck‘men=te jeztasmen = tein a= =mo= = Vezrazmen = vein a= =mo= = Vex ra = Verma mor= = tal = og = i mortal Slog sw doe in a= =mp= =e morstal © bg=al in a= =moz re mor=tal © bg = nl dos = re ma lonta = PRENESTINI. lonta = = nan = 2a = re ma lon=ta=diz nanziate Puo ben se Puo ben Puo ben spe Plo ben ie ma quand’eg = 1 quand'eg = Hi ma quand’eg= li sia ab= sen= = te ‘ma quand’eg = sia ab= ven = dif soc = cor tolto, = ww 3* ogni spe te di soc = cor= so gli'e tolto ogni spe w= =21 soc=cor = 40 glie tito og=mi_spe=rans Talo og val spe=ran soe =cor = so glie tolto og=mi spe = ran = oe Dab = senztia Tr Lap = sen=tia a= dyn = = na Tab = senztia a= dun tir azvanven= tia = tin a= dun = = quehérd of her A 7 When Clo heard of her her A=mil her A=mintas mintas dy, griey = = =ed she‘then for her un = kinde de then for sighing. oft sighing id oft sighing er un = kinde de = =ny= = oft sighing ny = = ing oft sighing sighing sighing oft sighzing sore with @ hart un oft sighing Jory andwith a hart oft sighing sore and25 dye I dye 1 dye 1, dye dye I dye I fayn ed oT dye Tedye To dye 1 dye 1 — eat dye t dye 1 dye 1 dye A dye 1 =e dye L dye ‘I dye TayeT dye 1 dye 1 dye I dye dye 1 dye dyel dye 1 dye 1 aye dye 1 dye she thus com = playn she this com = playnplayn= ed playn’d when A= mip=tas Tove sweet Cloris’ eye I love T_ love sweet Cloris T_ lone Tove sweet Cloris’ eye Tove sheet Cloriv’ eye, 1 tove TP tove sheet Cloriy 2 both for j both for jo; Move sweet Cloriy eye both for joy both 16 joy T lene sweet Cloris’. eye 1 Tove T love sweet Cloris eye and27 eye and 1 eye and 1 dye. E:_PEIRS. Hey tro= la28 « there buys there there boys there hock a hoick —_hoick there boys there there boys there hoick a holey — there boys there there hoys there boyy there hoick there boys there there boys there hoick a whoop whoop whoops whoop Whoop whdop whoop whoop whoop ‘whoop whoop whoop whoop whoop hoiek hoick a hholck whoop whoop whoop whoop there they go they there they Ko there they go they go they = = RF erie there they go erie there they go they go they29 winde the hor = winde the hor= yo they are at a fault Boy winde the hor = = winde the winde the380 sing we tye t 1" sing tive inve ¢ sing sing tye tinve tive sing tinve tive dine now in Sing tive Gave full erie with yeeble yablé gible gable hey Tall ori With yeeble yoke gible gable hey Tull erie with yecble yable gible gable hey fall erie with yeeble yable gible gable ‘yeeble yable gible gable hey with gible gable hey with With yeeble yt gible gable hey with hey, pith with yeeble yable gible gable gible gile hey with hey with hey with yeebly yable gible gableyeeble yale gible gable hey yecble yable gible gable yreble yable gible gable yogble yable gpble gable yeeble yahle gible gable yecble yable gible gable yeeble yable gible gable hey y yoeble yable gi SSS ‘mouth and with yeeble yable gible gable = pen th yeeble yable eric with yerbie yable gible gable y mouth and lus ty cre with32 a hey with yeeble yable gible gable hey HIDE gable hey with yeeble yabie gibi gable hey hey with yeeble yable gible gable yeeble yable gible gable hey with yeeble yable gible gable ‘eeble yable hey with yeeble yable gible gable hey with with hey with yecble yable gible ganic yeeble yable gible gable ble_gable hey with yeyble yable_ gible gable yegble yuhle gible gible . hey with yeeble yable gible gable yeeble yable gible gable hounds do knock it hounds do Hounds do hounds knock= phy mouth and te = ty = pen mouth And luvs ty = = nouth and mouth ly with and y erie. , J: WILBYE. Se Thus saith my Cloris bright when we of love sit ‘Thus salth my ‘Thus siith my Cloris bright when we of Tove dit downe and talke to ther and talke to. Clo = rh bright when we of love sit’ downe and talke toz =Thus saith my Cloris bright when we of love sit, downe and downe and talke | to= = =ge = ther thuy saith my Clo=ris bright when ‘and talke t x ‘and talke to= ge = thuy saith my Cloris bright when we of love sit downe and talke to thee thay ris bright when we of love sit downe and thus saith my fuope ery ris bright when we of love sit h my Clo thus sa we of love sit downe and talke = fo= = = Clo = viv bright when we of Love Sit downed85 downe and talke t= ge=ther be=ware of love (deere) love ther and = gee = ther be=ware of Tove on = = ther b are of love Tove (deere) pease? fe is thix and that (cere) love iy & walking sprite’and love is his ahd that Ty a’walking sprite a walking sprite and love iy this and that and love is this and that and oh this and that and and tove Is this and that and oh oD wot on36 wot not what and what and what and Oh wot not and comes and goes a=gaine T wot not whither and comes and goes comes and goes a= gaine 1 wot nt whi = ther and comes and goes a and comes aka goes againe I wot wot whiz ther and o ws and goes A= ‘comes and goes K=galne I wot not whi = ther ande gaine I wot. not No no these are but bugs to gaine wot not whi No to these are but bas to oes azgaine TF wot not whither gaine 1 wot not whiz =ther No no these ake but bugs to87 ing nono these are but buss to ing nono - these no these are but bugs to breed a= max = = breed a=max= = = ing breed = = = ing for in her cies are but bugs to breed for in her az = ing foF in her cles 1 saw ing for in her cies I saw his saw his torch light blag, = cies To saw his torch light. blax his torch light bla= = = ing. torch= slight blaz = = = ing.38 THE WAITTS. JER: SAVILE. 1067 C2 Y = Sy Fala oa Ia Ia a Ia Ie fa fata la la fa alla fa Talla fa 1K ta fa lalla fwlalalln ta Tal la Ta Ia fa fa nla fa Int la Tal Ta Ta la, Talla ta Ta,39 a J: DOWLAND. Come Tove doth now Come a= = gain sweet love doth EFA ces " In= = vite thy grazces that re= =frain to do me due de = light to ete.40 to touch to kiss ~ hear die with thee hear to touch to kiss to die with thee a= with thee A= gain in swpetest gain gain sweet = = est sym= pas thy, with thee =gain in sweet = est sym= pa= thy. = gain in sweet= est sym= pa thy, ‘Tt: WEELKES. Yo Su x. Lo guualry sports that Ld country, sports that seal fade ‘a garland of the spring a garland of th a garland of the spring of sel=’=dom fade ing ® garland of the spring a garland garland ddm fade aga 1 of the spring the spring. a spring of | the spring ‘a prige for dancing pun == maids with the spring a prize for dancing coun= = tr spring ‘a prize for dancing country + the spring a prize for dancing country maids try maldswith mer=ry mer=ry pipes we bring with mer= ry_ merry merry pipes we bring with me = ry mer= ry pipes we maids with merry merry pipes we bring with mer=ry Limerry merry pipes «© bring with mer=ryomer=ry pipes w42 nin pipes we bring we bring bring mer=ry merry pipes we bring then all pipes we bring then all at bring Pipes we bring then all at once for our awn all at once for our town cries then all at once for ur town cries for our town criesthen all at once for our town ‘once for our tdwn cries then all at once for our town efles then cries then all at once tor* our town our toa cries for our town eries pipe oa for we will have the cries for our town pipe on for all at ove for our "town cries pipe on for we will have the ontte for our town ertes pipe on for4s prize pipe on for we will have the prize we will have the prizepipe on for we willhave the prize for prize pipe on for we will have the prize pipe on for we will we will have the prize pipe on for we will have te prize pipe ave the prize pipe on for we will hige the we will hae the prize pipe on for we have the prize willhave the prize pipe on for we will Tor we will have the pi © pipe on for we will have the prize then all at once for our town prize ten all at prize the prize then all at once for our town Have the prize then all ateries then ‘once for our town cries all ‘once for our town erics then all ato ‘our town cries then all at once for our town cries pipe on for cries then all at once for our thwa Tor our town cries pipe on for we will have the cries then all at once for o F town crles pipe on for we will hhve the prize well have the prize pipe cries pipe on for we will have the prize pipe on for will have prize, the prize, on for we will prize. prite.45 L: D1 VITTORIA. — 0 vow ts per v= ==am atsi = cut do= lor =cut do=lor me =cut dd=lWr mest et do= = lor = ilsdo=lor Seut do=lor si edt do=lr ome = = = CHRISTOPHER TYE. ) chaunced in T / Tro NONE Tt chauneed in 1 = co = To ‘ a. Necsus FOUR IN TWo. 1 chauneed in T= TOTS ONE ()61 as they oft tymes dyd as they oft tymex dyd use as they oft tymes djd use um ‘as they oft tymes dyd use to= ther they In = to dyd cum the io dyd cum the Si = mi to=ge= ther they In to= ge = ther they in=to dyd ge= ther they in= =to dyd cum oge of dues where they dyd preache — — and one= goge of Jues where they dyd preache — | — and one= =! = where they dyd préache =E —— dues where they dyd preache and goge of dues rie of52 T lye seke God’ gracethen to atzeheve thal Tye eke God's grace then to _at=cheve that they +0 spake cheve ones lye aeke Gods grace then to eve that, ye seke Gods gence then to wt nye leve that manye dy, be= =leve. manye dyd53 ROB: JOHNSON, oe ay oO Deehtsed ho my tame eels 20? Destyls edb my S De=fyl = ed is my name og 2 my ame de=tyl=ed is my mame. full is myname dez = fyized ts mi name deatylzed fs my mame dez =fylzed ts my wame — name full sore ‘Thea cruel spyte and false re=port spyte and) fale — full sorept = ‘Thro’ cru=el spyte and fale — — Fe = port that thro’eru=el spyte and false re=port port thro? eru=el_ spyte and re = = port — that spyte Md false re ‘Thro? cra=el port that 1 may 2 T may say T may say for e=vermore far=well my joye = that I may say for e=vermore far=well nly joye a = 1 may say for farewell tay joye say for e=ver= more rw iy joye a = dewe comfort that T may say T may say for dewe comfort that I may say for dewe comfort that I may I may say fore = — comfort that T may say for e=ver=more55 com = fort more far=well my joye & ewe com = = fort ell my joye @ Tort farwell my joye WEI my joye a Pall wrongful=ly yee judge of mee wrongtulaly yer judge of mee yee FM wrongful=ly yee judge of mee Full wrongfully yee fame & mortal wounde un=to my fame a judge of mee ed mortal wounde A -mor= tal up=to my fame-a mortal wounde judge of mee yee judge of mee unsto my fame mor=talmortal wounde un my fal uns te my fame to” my fame a mortal wounde un= to my fame a’ mortal wounde wounde © mor=tal— wounde un=to my fame a mor= say what yee Hist it will not be it will not wounde say what yee lis say what yee say what yee list say whatyee Hist it will — | not be: tal wounde say what yee list it will not = say what yee list it will not be say what yee List say what yee List it will not be say what yee ‘say. What yee List say what yee list it will not be. say what yee WE ie Wi not be say what yee list it will notHist it will not be list it will List it will not yee sed not be founde — — founde not be founde seeke for that ea be yee seeke for that yee see 57 ‘yee seeke for that ean= yer secke for that cannot be ot be founde yee seeke for that will not can=not be founde yee" yee seeke-- - = - = fOr wr that cannot be founde yee seeke jot cannot be founde yee seeke for that that cannot be founde De=fyl=ed iy my name not be founde | — t c not be fotinde Beis my name full sore ‘Thro eruzel spyte and fie re= 7 erizel spyte and false — = eruzel spyte and false — — re=port port The? el spyte and false re= port == report Thro” cru=el spyte and — false re ‘Thro? .cru=el spyte ald false re = — = port that59 2 that I may say 1 may say for e=ver-more far=well my: that 1 may say for e=ver-more far=well my that T may say for e=ver=more — far=well my joye T may say tor Reweh iy joye a= dewe— — 2 Joye azdeye — com= = fort that I may say 1 may Joye a=dewe comatort that may that I may say for e=ver= may ony for say_for =vep=more far=well my joye a=dewe — — comfort say for e=ver= more far=well my joye a= com= fort. far=well_my joye az dewe fort.” rowel my joye a = dewe60 ‘THO? BATESO! q Dame Venus hence to Paphos goe 2 xiv. Tar eaten Ze Paeicerm FJ Dame Venus hence to Paphos ‘cannot tend swhct loves ene Mars has gone to th? field Roe. fbr Mars has gone to th? field Te cannot tend whet Mars Has gone t) th’ fighd Tor Mars has goneto th’ field ==e fn hand with spear and Drace in hand with spear and shield Tand with spear and Tend wwlet loves em=brace in ir shield wA spear ahd fee in hand with spear Trand with spear and Tend wweet loves em=brace61 shield Dame henee to Pa=phos goe WHicla Dame Ve= dh ence to Ra phos gor ‘shield Dame Ve=nas hence to Pa=phos to th’ field he cannot tend sweet loves em= fdr Mars is gone to th’ field he Ts gone to-th” Field. he eanndt tend sweet Kor for Mars is. gone to thy field he with spear_and shield iy hand with spear and can=not tend sweet loves em=brace in hand with spear and Toyes em=bihce In hand with spear and shield wMth spear Sd can= not tend sweet loves em=brace in hand with spear andthe roaring cannony the roaring cannons the roaring eannény der out such Tider out such thimder out der out such of your _re=garde of War re= garde jer impe —thunder of your re=garde which dal= gut der not tit ‘whieh dalfing stil doth jer_impe of your Fe=garde63 Sit which dallingwilldoth sit doth sit which dalfing stilt doth sit which dalfing stilldoth sit doth sit sit whic dallingg sti eth Still doth it which dali stl doth sit" doth ai Po ait dotn ait sich dai tl doth st whic dling wi th - Ba a ize [which dalting st ath sit doh sit which dai sa doth sit doth git which dalfing still doth”Mt which dat = = Ting which dalling still doth, Sit_which dalting still doth sit. doth — sit which dalfing still ath sit doth — sti dSth sit which dal=ting soll dothJ: WILBY AS matehlesse beauty thee a Phlent ‘AS matehlesse beauty proves faire Le= 0 = nil = Ia faire Le matehlesse beau=ty thee Phoe=nix proves thee a Phoenix proves a Phor=nix proves faire Le=o = ‘ichlesse beauty thee a Phorxmix proves As ‘As matchlesse beausty thee a Phoe=hix =o=ni'= Ia ‘AS matchlesse beaumatchlesse beauty thee Phoenix proves proves faire Le=o = nil = la thee a Phenix proves a Phoenix proves faire Le=o = nil matchlese beauty thee & Phoenix proves thy sowre sweet loves tor Toves 30 thy sowre sweet Loves thy sowre Sweet loves” forfor when young Az con’eye thy proud hart — when young A Z = con's eye thy proud hart tames for when young ‘ohis eye thy proud hart tames thy. for | when young A = con eye ‘when young A= con's eye thy proud hart tanies for proud hart tames when young A= ods when young A= con's iy when young Az cons eye thy proud hehrt when young A= con's eye thy proud heart tames thou dy proud hear tames thou dyst proud heart tames,thou dyst in him’ and Tir when young = cots and liv my flames for when young in’ my flames for when young A = liv = =est in my flames68 eye thy proud hart tames for when young A= con’s A= con's eye thy pro for SS oe fied ——= for when young A= con’ eye thy proud fart tamey for when young A when young A = for when young A= con for when young A='cons 6 thy: proud eye thy proud hart tames thou dy eye thy proud hart tames —__thow dyst_ in proud tames thou dy’st hart tames,69 = — him and liy=sest in — flames thoa him’ est in my flames thou dy= my flames —_ thou thoo dy¥t and liv = est In myflamesand =! him and livst in my flames and est in my flames. hos ee my flames.70 THO? TALL We z FUENY}. ‘the vayve ahd. prayer of thy jaunts of — — thy ser= Meare the voyce and prayer of thy vaunts — of thy servaunts that they make Heare tht voyce and prayer of thy ser= =vaunts of thy thak they make before that they make before be fore thee th ser = = vaunts that they make Mefore thee this daym1 that thyne eyes may be that thyne eyes may be o= = pen toward this house night —_— that thyme eyes mk pen toward tis that thyne eyek may, toward this pen toward thiy house night — and day ever io Douse night and _ day ever toward this day thls toward this day. night day ever toward this house night and day ver toward this place ever toward this place place Cer toward this lacs place éver toward this place of which thou hast said my name place ever toward this place of which thou hast72 name shall _" be there of which thou hast said my name shall ‘of which thou hast said my name shall be there my name — shall be there id when thou hea?st have mer = ey said my mame shall be there my name shall be there my name there shall be there and when thou hearkthave mer = them, ‘and when thod hearst have mei shall be there and when thou earst have merzey an them ‘and when thou heart hve ‘them ons — them ‘thou ‘and when thou hearst Bive merey on73 = cy ob them and when thou and when thou hearit have mer hearst have mer = them and when thou when thou hearst have mer=cy on and when tou hehPst have hearst have hearst have them! J: BENNETT. ‘Singgloudye nymphs and shepherds of Pars nas = Sing . Toud ye nymphs and shepherdy bf Par14 Sing loud ye nymphs and shepherds of Par-pas = == sus ye nymphy and shepherds of Par=nas Sing lofid ye “STnavsus shepherds Of Par= nay = sus ye nymphs and Sshep = herdy of Parcnas = = of Par= nas = sing loud ye nymphs apd shepherds ymphs and shephards of Par= nascsus sil loud ye nymphs and shepherds Shepherds of Par = == sus sing loud ye nymphs and Shepherds of Par: Par= nas = sus ye nymphs and shepherds of | Par= id shephents of Par = == Ye nymphs and shepherds of Par sing75 with sweet delights ydar mer herds of Par = fpherds of with sas With sweet delights your mer = Fy notes your merry cent = = Ing with sweet delights your mer =" sweet delights your mer = wet delights your mer = 9 notes Jotes con= = cent = = ing with sweet delights your mer=ry no ry notes your with sweet delights your mer. with sweet delights your mer = FY notes con= ‘con= cent=ing your raryjotes con=cent = ing con=eent = Ing since time ‘since time ‘since time r= take banish love re= Ient=ing Fortune she smiles smalls Tove Pe= lent=ing — Porture she smiles For= tune she smiles i sifiles Por= tune skye gniles Fee lent=g oy, banish love re= Hent=ing Fors tune she smiley Still to grace ae aes © ONCEUs still to grace us still to “grace us rds fords stint Ty still to to grace — danish Tove ‘banish Tove Fé danish love re= lent banish love re= Ten 7 to graces — IS sweetly — to grace us still to grace > — Since time af= Reger sifice time af= = - oe WS Since time af= Fortune she smiles For= Fortune she Fortune she smiles Fortune she78 tune she smiles sweet tiff she smiles sweet iM to grace- = - - - - foe she smiles sweet = Sy wee = = une she smiles sweet == to === = cly sti to grace — tus still. tg, grace us still th uh weet=1y to grace — us. Us still to grace My tilt grace > te ly still te grace ly sweet79 THO! MORLEY. Ne nsw SZ 0 per Taselar Jo ip ob= per lasciar lo in mi ii cbr mi per lasciar lo in = Lio per Livciar loin ob=1io im ob = bey, Insclar To fy ob= Ho perche tor= per lasciar. Jo in ob=lio in = =Ho per laselar Yo In Hoper laciar lo in ol = = No per per=che persche Tar= per likciar Io in oblio ob Eee Se oe Tnselar 16 in81 non Cae =eenda il re ehiain: se nay = 6% hain x6 nas ehvain crvain, non eaccel to efain v6 _nay=cox non tac cenda il co = = re ‘Gain ve mas= coy ‘non Pac = cen fe _ebiain ye nascos= fo non tac= = cenda = dailco= re non tac=cenda i co= re to non tac= cenda il co= = re in82 re chain se'mas © chain be may= cow re chain se nas ‘eWvain to ehvain ye nas= tain {to non Vac=cenda il co Vaczeenda il Fe_chiain se nas to non tae = =cenda il co eb’ain se nas the = cenda i co83> J: BENNETT. Cruz =el unkind my: Chucl un=kind my heart thou hast wereft my heart thou heart thou hast my heart thou hast thou hast be = red my Cru = el, un=kind my ‘my heart thou hast bereft me thou hast be= = Feft me era= cl unkind heart thou hast Uereft me eFuel un= kind heart’ thou hast in heart thou hast‘my heart thou hast be= reft my heart thou hast bereft me thou hast be = reft me_ thou hast be = kind my heart thou hast bereft me my heart thouhast bereft me my bereft me thou hast be=reft me ly hear hou rete my heart thou hast he= my heart thou hast be = Fert me heart — — = = =reft me and will not hast be= reft ‘me thou hast be= = reft me heart thou hast be= reft me my — heart thouhast be = = = =reft85° and will not leave while a = ny life is left and will not leave while a=ny life ty Left is left ‘and will Wot leave and will not Teave while a life iy Veft ty lett ‘and will not leave fandwill notieae while azny life is left me and yet and yet and yet and yet still will 1, love and yet and yet and yet, still will ‘and yet and yet and yet sti win and yet ahd yet and yet wi 1 Tove thee and yet and yet and yet stillwill I love thee. thee and yet and yet and yet and yet still will I love thee. thee and yet and yet and yet still will thee and yet. and yet and yet Stil wi I Tove. thee.J. FARMER. on ce AIK ® PAD, thy ab= =sence thy ab = setlee Ce Gay J tases thy absence grieves thy rieves my heart thy _ab= sence grieves my irleves my wounded heart thy ab = sente grieves my wotnd= = = my wounded heart thy ahs yenor grievey my irieves my wounded heart thy absence grieves — my ay heart yet I re=joyce heart Yet yee yet I re=joyee yet heart Yet I re=joyee yet 1 re=joyee— — wound= ed heart yet I rezJjoyee yet 1yet 1 rejoyees — joyce yet I re= joyce yet I re= joyee yet Jinyte yet rejoyce yet joyee yet rea joyce yet l resjoyee— == joyce to be Tres joyce joyee to be in thy ah woe is ome = = yet Fesjoyee yet I re= 1, rejoy yee = yet Trea = teempart fromthee more me that now 1 mast part from thee more me that now 1 must from thee more must de= part from thee more Croe= suv Croe= sus? dear to | me than Croe= sus’ wealth may not see thy face but If earth I may not see thy face but if ehrth T may not see. thy face but if, bat if on earth 189 not yee, thy, face Til fly to earn Til fly to heavi = aot ace thy face fly to heayn il fly to not see thy Mh tly to neava Til fy may not see thy face Til fly to i Ti fiy_ to heavn to Reava heavy Til fly fly to heava Til heavn fly rn fly hearn Til fly: — — to heave TH fly TL Ty to Ti fly Til fly heave th _hea= ven Ti fly to heazven FM fly Th Fiy to heave Til fly to _heavn heavy to heavn TIL tly Mi fly toseek thee in that heavn to. in that thee in heavn to seek thee, in that to seek thee place. seek thee in place. place to seck thee In place. place to seek thee im that place. KIRBYE. What cant do T, do my dear= est of, S SES ‘ Sa SS do my91 of the sweet help de=priv = ed of the sweet help de= the sweet help de= priv = Sed of the sweet help de= priv= the sweet help de= of _ the sweet help de: _priv= =ed of those thy fair eyes by of those thy fair eyes by which I still have of those thy fair eyes by which T which I still stn have Iiv= = Still T stilt have liv = \ What can T do.do my dear= est of the sweet help de = priv dear = est of the sweet help” priv = my dear = est of the sweet help of the sweet help,de= priv = my dear= est of the sweet help de priv = = sed what can do my dear zest my dear = est my dear = est of the meet of thesweet help di those thy fale | the sweet help de those thy fair: Teip de=privd de= priv those thy falr the sweet help de= = priv = = ed of those thy fair93 eyes by which T still have liy=ed I still have eye by whjgh I still have liv = by which I still have liv= eq I still have liv. eyes by which still Tstillhave liv ed by which I still have liv=ed T still have ‘by which I still have liv= =ed by which I gtill have liv=ed 1 still have Ih by which I still Estill have live how can my soul en how can my soulen= = =dure Thow ean my soul en=dure thy soul en=dure thus dure thas — how ean thy soul en =charg’ with thas: chargiwith | sad: chargd with =e chargd with, ie from thy dear sight ile from thy dear sight’ = ile from thy dear sight ex=10¢ from thy dear from thy dear — exzile from thy dear sight Exile from thy dear sight lad = ness of gladof _glad= = ness how can my soul en= how ean my soul en how ean my soul en= how ean ty soul en= i chargd with sad = dure thus chargil with sad= jure thus chargd with sad = = =dure thus Ex-ile from thy dear si Ex. le from thy dear sight Ex = ie from thy dear sight ex= ile from ness) exile from= He from thy sight exile from thy dear sight ‘thy dear— — sight so full of glad = ness of thy déar sight Yo full of glad= = =~ glad= = = = mews s@ full of glad= =neny glad = ness so full of glad = xo full of glad = new So full of glad fo full of glad = = = = so fullof glad 5 *o full of Klad = = = = new7 JOHN BENNETT. Sleepesg thou ‘sleepest thou. sleepest thou steepest thow sleep = ext thou ‘ext thou sleepest thou sleepest thou sleep. sleepest. thou_—— sleepest thon sleep= = = est “leepest_thow Tecpest thou sleep= ___Ta Holla Hol=Ia Hol = Ia Holla Hol = 1a let not sor=row Hol= = =a. let not sorrow Ia Holla Hol= la Hol= la Holla Hol= 1a let not sorrow Ia Holla Hol= ta Mol= ta Holla HS sorrow98 lay hold up thyshead man hold slays hold up thy bead man hold up thy head sorrow slay = head hold up thy — - — ‘slay us hold up thy head man hold up thy head man sald the gen= tle Me=li=ble = as see — Me= i= bor mgo said the gen = Ue gen= le Me= Tizbo see summer — summer comes a = gain the coun=teys pride adorn = see summer comes a = gain the ‘comci_a= gin’ the countrys pride &=dorn = = ing see see" summer comeya = gain the country’s pride adorn=99 * ing see summer comes a= gain the country’s pride a=dorn= pride adorn = Ing ‘summer comes a = gain the ~~ surimer comes a= gain the coun=try’ pride adorn = ing the Rg Nee sunkiner comes a = gain the coun=try’s Ing a= = dora =ing counteys, pride adorning hark how the cuckoo sing: country’ pride ado! nitk how the cuckoo sing pride a= = dorn = sing = eth sings eth cuckoo slngggth hark how the cuckoo cuckoo sing = eth cuckoo sing = eth si eth hark jhow the cuckoo singeth singeth hark how tie euckae hark how the ctickoo sing = eth hark how the cuckoo singeth100 singeth _cue=koo =pril_morn= ing Apri = = pril_ morn morning shep=herd and sighid as Ing __ob_ ald the shepherd and viglid_and_sighil as =~ said the shep=herd sigh’ sight ‘oh said the shepherd and sighd and sight as one alt un = = done let me azlone a=e Jor and drive himback to Lon = don and _ drive him back to Lolldon Jay let_me aloné a = las and drive Rimbackto Lon = = = don a las_a= Ione Tay ‘and drive him back fo Lon = and drivehimback to drive him back to Lon = drive him back =don and drive him'back to Lon-don to don. ‘and — drive himback to Lon = = delve him back to Lon= = don drive him back to Lon= don to Lon = t don & Lon = = = don,a: WILBYE. Fly — not so swift — my deere Fly— abt to. swift — Fly — not so swift — my my deere gu swift my deere _ behold — Fly — not so deere fly not so swift my deere be = hold me if not & —- me dy ify not a deere behold = ing dy- = = img be = = holding glance = sing if not aw Ing glance if not a. smil glance If not glance for glance glance for all my ¢ yet for yet Kill me yet kill me104 yet kin me with thy frowney frownes with thy yet Kill me with _ © thy frownes the ‘with thy, frownes yet kill me with thy _frownes thy frownes the with thy frownes yet kill me with thy sfrownes Fe ore the Tawnes full nim=bly daungs ing the yatyrs saztyrs ore the lawnes full nim=bly daune: ing ‘the sactyre ore the saz tyre ore — the lawnes full nimbly daune = = Ing friske It apace a ‘ore the lawnes full nim = bly daune ing friske It apace to friske it apace to view thy. Tawnes full nim jy daune = = ing frlske Tt apace a=105 pace to view thy beauties glane= =ing. view thy beau= ties glane = ing thy beauties glane = deautios glane thy beauties thy, thy beauties ing thy beauties glane ing glance ing to view thy beauties glane beauties glane= =ing thy beauties glane= = ing seehow they coast the downes coast the downey, : see how they coast the downs tl ing see how they coast tie downes see how theycoast the see how they coast thedownesthe downes see how theyconst the106 see how they-coust the downes sce how they coast the downes coast the downey how they coast the downes see how they coast the downes the downes duwnes the downes see how they coast the downes the downes fayne___would’e thou turne and yeeld them their Tayne woud't thou (ume and yeeld them thelr de= light and fayne woud't thou turne fand yeeld them — — — thelr Eight fayne would’ thou turne and yeeld them yeeld— — SJ_ 5 them their de= = ght Tight ftayne ‘would’ thoutine and yeeld them thelrlor = light fayne would Xt thoa furne and and yeeld them their = light faynet ‘ould3t thou tame and yeeld them thelr de= light fayne =a tayne would’st thou tarne- yeeld them their ‘would\t thou turne and yeetd wouldkt thou turne and yeeld SE, cam fayne— | wouldStthouturne and yeeld ‘wouldt thou turne and yeeld them their ight fayne light fayne fayne would¥tthouttime and yeeld them them- — — — their de= = = = = = lightlos would’st thou turne fayne would§t thou — would’ thou tune and yeeld them their = = light light fayne Fayne would’ thou tarne fayne wou! yeld- them their fayne ‘would thou turne and yeeld ther their would¥t thou turne and yeeld them thelr thou turne fand_ yeeld them their de= light Light but that thoufearst—— = should steale a Light but that thou fear’st —')— _— east Ishould steale a sight but light but that thou fear'st least P should steale %109 that thow fearst— — leant I should steale a — sight sight leasp_ Iyshould steale ight. that thou fearst — Teast I should steale= — sight. Sight least’ should steale a sight. BATESON. = ther to fast see how the kindly. flows perfume the per={ume the aire flow rs perfume the aire per=fume the aire and all to make perfume the aire perfume the aire and allall to make thee stay the climbing woodbind th make thee stay the climbing woodbind clipping all these make thee stay the climbing woodbind clipping all these bowegs ‘The climbing woodbind clipping all these bowers elipping clipping all these bowers clips thee Ukewise clips thee likewive for Bowers all these bowers clips thee likewise clipy theelike = wise clipping all these bowers clips thee likewise clips thee likewise for all these bowers chips theelike = wise eas feare thou passe thou passe — for feare thou passe a= Way for feare thou passe — feare thou passe = way for fedre thou pase tor feare thouway Fortune our friend For: tu Fortune our passe way xainesay our foe will not our foe will not gainesay not foe will not gainesay our not! gaine= i tune our friend our foe our | friend friend our ‘our foe will ‘Kaine=say_ gal will not gain galne while but Phoe= be while stay but be no tell=tale no _tell= tale Phoe= = be no teile See — i shee herEo=di=mion Tle my tN, —— R ahee her Endi = a 2 he Bee Bndimion Tie my Phoe = be Vie _my _Phoe=be dimion T'le my Phoe = be will my Phoe=be Tie ay Phoebe Kidse 1 wilt my Phoe=be = = = but a = while Phoe= kisse stay but a= while but a = stay but a= = =while- — — Phoe= kisse stay butis be po tell-tale is! shee her En= di= mion Tle my shee her Bn= shee her En=di dizmion Tie my Phoe=be _ kisye_ T'le le my Phoebe _kisve shee her Ei shee ter En-di=mion Vie my Phoe=be shee her En=di=mion Tle my Phoe = be kiss kisse shee her Bi mion T'Je my Phoe=be __kisse. Phoe = be _kisse Twill my Phoe=be 1 will my Pho4 S > Tove _now shoot — PRENBSTIN False love now shoot — — and spare Fale love now shoot and spare— False false love now doe now doe thy worst and spare— — Fale love now shoot and spare mot now doe —— thy worst ‘and to dix = pateh pateh ‘doe thy doe thy worst I care not and to. dis=use all thyne art and all thy craft to patch me and all thy craft to art and all thy craft to catch me and all thy craft to catch patch me ‘use all thyne art and all thy craft to dI5 use all thyne art and all thy craft to catch me catch me use all thyne use all thyne > catch art and all thy craft to eateh me for ‘yeares amisye be=stow = earey amise be=stowd for yeares A=misse ty ‘yeares amisse be and time consum = = tow = ed and thme con= 1 now‘and for my faulty 1 lan = pur suites 1 lan= = guish sum = ed in yalne pur= suites pent and for my faulty I lan= =guish that gush that brought mee _no=thing else ‘ub that brought mee no= = thing elve that broaght mee nothing else bat ‘guish That brought mee no=thing —* ele ‘ut Drought mee no= thing else ‘but = griefe and ‘at Tength have grief ‘at Tength have griefe- — fat Tength have griefe and at Tength haveuz berty to Hye since ty aszsaile me liz berty to Hive since fo aszeaile me both thy bow Wiz Werty to live since to a= ie me both thy bow vowel at liz berty to live since to a= alle me both thy bow and thy brand nought doth avayle thee ‘and thy brand nought doth a= vayle — _ thee ‘and thy brand nought doth a= = vayle thee fur fromthee guodnor Tor from thee good nor for from thee good nor ill ‘com=fort nor sor = od mor ill for from thee good nor 4M for from thee good nor ‘good —118 comfort nor sor= = row 1 will not hope n nor sor = , 1 will not hope nor feare how nor sor = row comfort nor 101 row comfort nor sor = = row I will not_hope nor feare now Iwill not hope nor feare now I will not hope wor feare now nor to=mor = row 1 will not Will not hope, nor feare now 1. will not hope nor feare now hope nor fedre nor, feare now mor to