British Museum Add MS.

15117: A Commentary, Index and Bibliography

Author(s): Mary Joiner
Source: R.M.A. Research Chronicle, No. 7 (1969), pp. 51-109
Published by: Royal Musical Association
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 BRITISH MUSEUM ADD MS. 15117:

A COMMENTARY, INDEX AND BIBLIOGRAPHY

by

Mary Joiner

The British Museum manuscript Additional 15117 is well known to scholars and

students and many from it have been referred to or transcribed. * The collec
pieces
tion is usually described as simply a miscellaneous collection of songs and instrumental

pieces ranging in date from the 1560s to about 1620. The British Museum catalogue
itself suggests that the manuscript contains a very diverse and rather arbitrary collec

tion of music.2 In the discussion which follows I suggest that the manuscript repays
consideration as a complete collection, one compiled possibly over quite a brief period
of time and reflecting a single interest: an interest in the music used in and associated

with the popular theatre. Any conclusions one is tempted to draw about the total plan

and intention of the collection from a study of individual pieces and their relation to one

another must, of course, be tentative. However, several of the pieces in the collection

- -
some of them well known from other sources exist in rather unusual versions or

forms and this requires explanation. The cumulative evidence of the conclusions one

is led to draw about individual pieces does seem significant and therefore worth record

ing here even if only as hypothesis.

The manuscript measures 7.7 inches x 11.8 inches. There is a note on the front

that the collection was of Thos. Dodd "

fly-leaf indicating "Purchased / 13 Apr. 1844.

The references, mentioned by Hughes-Hughes, to John Swarland and Hugh Floyd occur on

folios l.v. and 25.v. (misnumbered as 24.v.) respectively. At present I am unable to

give a more precise date for the paper than that given by Hughes-Hughes (after 1614).

However, I record the following information, kindly provided by Miss P. J. Willetts of

^See my discussion of this collection in Music and Letters XLIX/1 (1968) Correspond
ence, pp. 98-100. To the list of references there should be added John Ward's article
("Joan qd John and other Fragments at Western Reserve University, ") Aspects of Med
ieval and Renaissance Music ed. J. LaRue et. al., London, 1966, pp. 832-855; in

particular, pp. 837-844.

2The entry in the catalogue (compiled by Hughes-Hughes) is: "Paper: after 1614.
Belonged to Hugh Floyd in 1630; on f.lb. is the name John Swarland. The MS also
contains a Chamber Quartet, Duets (secular), Lute Music, a number from
Madrigals,
an Opera, Songs (sacred and secular) of the same date; also an index to a collection
of Hymns, after 1599".

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the British Museum, about the watermarks of the paper. Three different watermarks

occur in the manuscript: these are all "pot" marks (see Plate 1). Two of these occur
once each only - that on f. 1. and that on f. 25. (f. 24). The other mark occurs on the

following folios: 8, 10, 12, 14-16, 18-21, the blank leaf (unnumbered) which follows

f.21. , and f. 23 (f.22). None of these marks is similar to the "pot" marks in Edward

Heawood: Watermarks (Paper Publications Society, Hilversum, 1950), but the third,

which occurs most is similar in most respects, but not identical, to a

frequently,

watermark recorded in CM. Briquet: Les Filigranes, 4 Volumes, Paris 1907:

Evreux, 1588.

The music in the manuscript occurs on the following folios: 2-11, 12-21, 23. v. (22. v.)

24 (23). Folio 1 includes various accounts; folio l.v. bears the inscription "John
" Folios 24. v. (23. v. ) is blank
Swarland / His Booke. 21. v. -23 (22) are blank. Folio

save for a pen sketch of a man's head (reversing the manuscript) with "[h] umillitie

constat" written above. Folio 25(24) contains a table of contents for The Psalmes of

David in Meter which was published by Richard Allison in 1599. A former, possibly the

original, binding of the manuscript (preserved with the collection) is inscribed "Psalmes

Musicali by Allison". Folio 25. v. (24. v. ) includes notes of various kinds.

Folio 11 has been damaged. It seems that the final stanza of the song "Come gentle

v. occurs at the foot of f.ll. was written there after the

heardman" (f.10. ) which damage.

Folio ll.v. is blank except for ruled staves and the fragment of a word in the right

hand margin indicating that the page was written on before the leaf was damaged.

-
The music is for various solo instruments and for voice and accompaniment either

lute or lyra viol. The songs in the manuscript divide, roughly, into five groups. These

are (there are also several secular consort songs which may for the
(i) theatre songs
moment be tentatively included with this group); (ii) sacred songs; (iii) dance ayres;

(iv) songs with quantitative settings; (v) songs which do not seem to belong under any

of the other but which might be referred to vaguely as "popular". Besides the
headings
of vocal and instrumental forms, the range in date from the earliest to the
variety
latest in the collection is almost sixty years. If one accepts the British Museum
pieces
of the paper 1614") then the collection was compiled quite a
catalogue's dating ("after
of its contents had been written. The latest dateable is "Haue
long time after most piece

but a whyte on f.17. v. the words of which occur in Ben Jonson's

you seene lillie grow"
is an Ass, first in 1616. There is no reason to suppose that
play The Devil performed

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this is not the version which was sung at the first performance. The song was not added

to the manuscript as an afterthought since all the pieces which follow it in that collection

are earlier in date, some probably much earlier. For this reason, the date "after 1614"

seems reasonable. If, on the other hand, the manuscript was compiled over a number of

years (as is possible since the music has been written into the book in several different

hands) then "after 1614" does seem rather late. In either case one is surprised at the

old-fashioned nature of much of the music: there are several pieces which go back as

far as the 1560s or 1570s.

A consideration of the nature of the music itself, particularly if the collection is

looked at as a whole, suggests two possible and related reasons for compiling such a

collection so late.

The first reason is an interest in the repertoire of the broken consort. General

interest in this combination of instruments and its music seems to have grown after the

publication of Morley's First Book of Consort Lessons in 1599. This is shown by the

publication in 1609 of a similar collection by Philip Rosseter, the reprinting of Morley's

Lessons in 1611 and the publication of a collection including pieces for this instrumental

combination in 1614: Sir William Leighton's Teares, or Lamentacions. Ian Harwood,

writing of Rosseter's Lessons for Consort, has pointed out that the pieces there are

rather "old-fashioned" although there is absolutely no reason to suspect that the "collec

tion had been made " He

any length of time before publication. also points out that "the

publication of Rosseter's Lessons for Consort was coincident with his interest in the
o
theatre". The use of the broken consort in the Elizabethan and Jacobean theatre,

particularly the public theatre, has been fully discussed by Sidney Beck in the Introduc

tion to his edition of Morley's Consort Lessons. Mr. Beck shows that such precise

designation of the parts for specific instruments as is found in the music for broken con

sort is a development which is isolated in the 16th century and one which occurs only in

dHarwood, Ian. "Rosseter's Lessons for Consort of 1609", Lute Society Journal, VII

(1965) 15-23. See in particular p. 15, footnote 1.

4Morley, Thomas. The First Book of Consort Lessons (1599 and 1611), reconstructed
and edited by Sidney Beck. The "standard" combination of instruments in the broken
consort was treble viol, flute, bass viol, lute, cittern and See the
pandora. Introduction,
p. 9, footnote 25a, which sets out the tuning of the instruments.

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England. He suggests that the origin of this group of instruments is in its use as accom

paniment for dances and "singing dances" in the stage jigs and that the acoustics of the

open-air theatre demanded a group of instruments with a sound. Another advan

carrying

tage of such a group was that it provided at least one of each kind of instrument which

would be likely to be required - for an accompaniment to a song on stage or for

singly
other musical "effects".

The repertoire of the broken consort which began probably as simple and popular

ballad and dance - such as those -

included in the jigs gradually developed into a reper

toire of the sophisticated nature of Morley's collection. Mr. Beck points out that it is

not possible to say with accuracy how many of the settings in Morley's Lessons actually

formed part of the theatre repertoire because stage directions for particular music on

particular instruments are virtually non-existent. He does, however, suggest that

quite a number of the pieces in Morley's collection seem for use.

appropriate stage

Perhaps the most important point to emerge from Mr. Beck's discussion is that the

music for the broken consort (and thus almost certainly to a large degree the music of

the public theatres) at the turn of the century belonged basically to an English tradition

of influence (as opposed to music solely or chiefly influenced by continental sources)

and that such music, possibly because of its use in the theatre, was popular and well

known even in sophisticated forms. As the use of the broken consort in the public theatre

developed the repertoire itself developed from simple, popular, and ballad music to

arrangements of more sophisticated songs and lute music and music which was originally
written for voice accompanied by a consort of viols. At the same time, ballad tune was

often used as a basis for elaborate variations demonstrating subtleties of scoring as for

example Allison's "Go from my window", no. 12 in Morley's Consort Lessons. In

another way the equal popularity of simple song and sophisticated lute ayre is suggested

in the conversation between Acts II and ni of Beaumont and Fletcher's The Knight of the

Burning Pestle where the Citizen who thinks that the music being played is "scurvy music"

calls for "Baloo" and his Wife asks for "Lacrymae". This, and the fact that they both

occur in Morley's Consort Lessons suggests a fusing of the two kinds, at least in popular

taste.

The second reason for compiling the manuscript may be the interest the compiler

obviously had in theatre song iteself. If we consider this together with ;he fact that many

of the songs identifiable with specific plays were old by 1614 and the fact that the com

piler shows particular interest in broken consort music it would seem that the collection

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was deliberately compiled with an interest in a particular tradition of theatre song: that

which begins with the early choirboy plays (those before Lyly) and appears to be contin

ued in the use of song in the public theatre culminating in the use of music in Ben

Jonson's plays. The manuscript contains, for instance, no music from plays by

Beaumont and Fletcher which seems, rather, to be related to the influences and kinds

of music in the choirboy plays from Lyly on towards the early years of the 17th century.

While both traditions of music are influenced by continental sources, the music for the

later children's plays seems to use these influences far more 'fashionably' and in one

sense far more 5

superficially. indeed this very point is made in the performance of

Hedon's song in Ben Jonson's Cynthia's Revels (written for the Children of the Chapel

Royal) and is clear when one considers not only the song's context in the play but also

the setting of the song itself which exists in Christ Church manuscript Mus. 439, pp.38
39. This setting is, in fact, a parody of fashionable musical devices.

The music for the earlier choirboy plays seems to have been mainly consort song
which grows directly out of a native English tradition of secular song though often at the

same time making use of foreign influences.6 Here seem to be

foreign borrowings

integrated into the structure of the song itself. The nature of these early songs, and

particularly of the consort songs which are laments, suggests that their function in a

play would be similar to that of the "set" speech: rhetorical in every sense of the Ren

aissance 7
usage. This indeed seems to be the case with the only consort song identi

fiable with a specific context in a specific play: "Awake ye wofull weights" on f.3. of

5For a discussion of music in children's and for of the nature and function
plays examples
of the songs see the following articles by A. J. Sabol:
"Two Songs with Accompaniment for An Elizabethan Choirboy Play",
Studies in the Renaissance, V (1958) pp. 145-159.
"Ravenscroft's Me lis mata and the Children of Paul's",
Renaissance News, XII / 1 (1959), pp. 3-9.
"Two Unpublished Stage Songs for the 'Aery of Children' ".
Renaissance News, XIII / 3 (1960), pp. 222-232.
-
A comparison with the music in later plays those of Beaumont and Fletcher in particu
- can
lar be made with reference to the transcriptions in Cutts, J.P. La musique de la
troupe de Shakespeare, Paris, 1959.
6See Brett, Philip. "The English Consort Song, 1570-1625", Proceedings of the Royal
Musical Association, (1961-1962), pp. 73-88. Consort were for
songs usually soprano
or alto solo -
accompanied by a consort of viols either three or four.
?For a discussion of the influence of Seneca on the set in pre-Shakespearean
speech Eng
lishtragedy and the emphasis (theoretical at least) on its serious function in drama see
Clemen, Wolfgang. English Tragedy Before Shakespeare, translated T. S. Dorsch,
London, 1961, pp.23-24. 55

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the present 8 The music on the whole, not used to represent the words,
manuscript. is,
to express grief and distress directly: it rather provides a non-dramatic, impersonal

(perhaps extra-personal) vehicle for the words and one which formally complements the

words. There are isolated instances of expressionism but these do not detract from the

total form of the music itself. Music is, in fact, for Pithias in "Awake ye woful wights",
a perfect form of eloquence, one which demonstrates, rather than expresses directly,

the meaning of his words. He makes clear the function of the Lament himself when he

asks what words can be "apt" for his "complaynte". He is absolutely conscious, even

as he is in the depths of his sorrow, that what he is about to utter is a formal expression
of grief. Music will "lend him yernfull tunes" so he may the better "vtter" his sorrow.

The function of music as part of eloquence (rather than as eloquence itself) and the

relation of "wisdom" to eloquence is something that later Ben Jonson was concerned

with in his plays and it is the specifically English interpretation of the general Renaiss

ance ideas about wisdom and eloquence, words and music, a development of the concepts

surrounding the use of song in Damon and Pithias. The songs from the two Jonson plays
in the 15117 ("Haue you seene but a whyte lillie grow" f.17. v. and "Come my
manuscript

Celia" f. 20. v. ) have a specific literary function both in their settings and in the larger

context of the are not used as sound effect, as expressionism or as inter

plays. They

lude: though it is in this direction that the more fashionable influences of the later choir

boy play-songs lead. The serious use of music in the earlier choirboy plays has this in

common with the instrumental music of the broken consort repertoire that both adapt

native traditions in the light of new continental music and musical theory rather than

take these over completely. At the end of the 16th century a comparison of the two

kinds of musical traditions and influences can be seen in the lute-song and the madrigal

(and many lute ayres were adapted for broken consort).

Thus the impression of a wide diversity of contents which the British Museum cata

logue gives is a mistake I think. Let us consider first of all the connexions the 15117

collection has with broken consort music.

8Many other consort songs, and particularly laments, do however appear to have had a
dramatic context and the nature of the vocal line suggests in any case that they were
written for children. Peter Warlock has edited some of these consort songs in his
Elizabethan Songs with String Quartet, 3 Vol., London, 1926, and Philip Brett's
Consort Songs, M?sica Britannica XXII, London 1967, gives a more recent edition of
some of these and others as well. It is generally considered that "Awake ye woeful weights"
is the earliest instance of a musical lament in a play. The song occurs in Richard
Edwards's Damon and Pithias (1564).

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 The manuscript once contained, it seems, all Allison's Psalmes of David in Meter.

The table of contents on f. 25(24) which is all that remains in the 15117 collection lists

all the Psalmes in Allison's publication and in the order in which they appear there. The

Psalmes was published in the same year as Morley's Consort Lessons and the two use

almost identical instrumental forces. In his Introduction to Morley's Lessons (p. 2)

Mr. Beck suggests that Allison may even be the gentleman mentioned on Morley's title

page who paid the "coast & charges" of the printing because the Psalmes was published
in the same year and because some of the best pieces in Morley's collection are by

Allison. As with Morley's Lessons the melody of the pieces in the Psalmes is in the

Cantus or highest part instead of in the Tenor. Although this was common in post

Reformation secular songs Mr. Beck describes it as "a relatively new departure in a

harmonization of the old church tunes".

Among the actual music in the 15117 manuscript there are four pieces from another

collection for broken consort: Sir William Teares, or Lamentacions . . .

Leighton's

(1614). These all occur together on folios 13. v. and 14. They are all taken from the

earlier part of the printed collection which contains songs for four voices, or voice (or

voices) and broken consort, or broken consort without voice (a consort identical to

Morley's and employing the same tuning). Unlike Allison's settings the only voice part
which is not doubled by an instrument is the Tenor which suggests that Leighton is

returning to the old concept of cantus firmus. However the Tenor part does not carry

the melody nor does it seem to be conceived as a solo part in anything more than name.

The versions in the present manuscript reproduce Leighton's Cantus (this is also the

treble viol part) and lute parts which are printed together in the 1614 edition. The text

in the 15117 manuscript differs slightly from that in the 1614 edition. In particular the

first song of this group, "Come let vs singe", supplies a fourth line for each of the four

stanzas which the printed text does not, this simply implying by the sign "ii" that the

third line is to be repeated as the fourth. (In the 15117 text the fourth line of each

stanza has been added in a different hand from that in which the rest of the song has

been written. )

**InMusic on the Shakespearean Stage, London, 1913, p. 60, G.H. Cowling suggested
that the broken consort pieces in Leighton's collection were possibly used as incidental
music in the theatre. He cited no evidence for this.

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 There is another piece in the manuscript which indicates that the compiler, or owner,

was interested in the broken consort. On folio 8 there occurs a piece in tablature, with

no voice part, entitled "thoughe you are younge and I am olde" (Example 1). The tabla

ture is for pandora, using a tuning similar to that which Morley uses for the pandora

part in his Consort Lessons (C D G c e a).10 This piece is not, obviously, a solo part:
it appears to be the lowest part of a consort arrangement since it does not have any of
the melody of Campion's song but does reproduce exactly the harmonic basis of that song

as it occurs in Rosseter's Ayres (as no. 2 in that collection). The only change is the key.

There are some pieces in the collection which, in their arrangement there, appear

to have been adapted from versions for larger groups of instruments. This does suggest
-
a popularity and also a popularization one which could well have come about through

their use in the theatre repertoire. Two of particular interest are Dowland's
public

"Sleepe wayward thoughts" (f. 7 for voice and lute, f. 23. v. (22. v. ) for solo keyboard)
and "Synce my ioyes" (f.16). The version of "Sleepe wayward thoughts" for voice and

lute has not been taken from the version which occurs in Dowland's First Book of Ayres

(1597) for four voices or for treble voice and lute accompaniment, although the two other

Dowland lute ayres in this manuscript (f. 15. v. and f. 21) do seem to have been taken
from versions - for voice and lute. The 15117 version of "Sleepe
directly their printed

wayward thoughts" follows the printed version in the voice part but gives a quite different

lute accompaniment (see Plate 2). This is obviously for a large lute with many diapasons,

but even for this the accompaniment is a strange mixture of very simple chords
allowing

and quite full chords involving octave leaps in progressions which distort the simple

effectiveness of Dowland's printed lute part. It is possible that the 15117 arrangement

was made not from a version for solo voice and lute (or even from the four-part vocal

but from an arrangement for several instruments and that the lute accompani
version)

ment here an attempt at suggesting several instrumental parts.

represents

The other point of interest in the song may support this suggestion. There is some

confusion over the clef in the vocal line at the beginning of the song. The C clef on the

lowest line of the stave (the same as that used in the preceding piece) and the B above it

have been crossed out: however, the scribe has not simply changed from the C clef on
on line two, the same - G The sharp on
line one to the G clef thus keeping key major.

10I use the conventional method of referring to the pitch of the notes: C = two octaves
below middle c, c = one octave below middle c, c'
=
middle c, and so on.

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 the third space (from the bottom of the stave) would indicate that the original intention

was to transfer the C clef to the second line rather than replace it with the G clef. The

-
key of G major would have been retained the sharp representing F-sharp. Assuming

however that the first note of the piece remained the same (that is the note on the middle
line of the stave) the piece would be in C major and would not require the sharp. If the

G tuning is used for the lute accompaniment this too is in C major. The voice part has,

however, been finally written in G major and must therefore have the following tuning
for the lute accompaniment: DGcead', The confusion over the clefs and the key of

the song may have arisen because the scribe was copying and attempting to transpose at

sight from a fuller accompaniment.

The accompaniment for "Synce my ioyes" (f.16. ) seems to involve problems similar

to those involved in "Sleepe wayward thoughts" (see Plate 3). I have not found this song

referred to in any other source either earlier than, or contemporary with, the 15117

manuscript, though it appears to be a popular song by its use of the popular "willo"

refrain. 11 The accompaniment here a lute tuning with note as d'

requires the highest

and here too the accompaniment seems to involve far fuller chords and more awkward

leaps than seems justified by the simplicity of the vocal line and the form of the piece as

a whole. Again, it seems reasonable to see this accompaniment as an arrangement of a

-
fuller instrumental form rather than to regard it as simply for bass lute an instrument

not commonly used alone in accompaniment.

Furthermore, it is of interest to compare both these songs with the other piece in

the manuscript whose accompaniment requires a lute tuning with d' as the highest note.

This is the setting of "In youthlye yeeres" (f,14.v. ). The same song occurs in a manu

script in the Library of Trinity College, Dublin: the Dallis Book, MS D. 3. 30, pp. 204

207 (see Plate 4). The Dallis version is ascribed "Qd Mr Parsons" and its accompani

ment, like that of the 15117 version, requires a lute tuning with d' as its highest note.

Although from the appearance of the tablature the Dallis Book version seems to have a

completely different accompaniment from the 15117 version the two versions are, in

fact, fairly similar when both are transcribed into notation. The similarities are in the

^See Sternfeld, F.W. "Shakespeare's Use of Popular Song," in Elizabethan and Jacobean
Studies. ed. H. Davis, Oxford, 1959, pp. 150-166. CR. Baskervill, The Elizabethan
Jig, Dover, New York, pp.21 and 254, refers to wooing games in which the "rejected"
lover stands apart wearing a willow The "Willow which Desdemona
garland. Song" sings
in Othello also occurs in the 15117 manuscript, see below pp. 67 and 71.
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harmonies and contrapuntal patterns. There are only slight differences in the vocal

lines of each and the harmonic differences in the accompaniments suggest that the Dallis

version is more "old-fashioned" both in its often conservative lack of modulation to even

closely related keys and in its frequent use of the flattened seventh. The significant fact

which a comparison of these two versions, both using the D lute-tuning, points to is that

the accompaniments of both have probably been adapted from a contrapuntal version for

instruments which do not use tablature: probably a consort of viols. This would explain

the similarities in harmony and contrapuntal texture while the actual notes (the pitch and

"arrangement" of the chords) are almost completely different throughout: it would also

explain the D tuning which is the standard viol tuning. It seems probable, then, that

this song is an adaptation of a consort-song: and furthermore, since the words of the

song are usually considered to be by Richard Edwards (they occur in his anthology The

Paradyse of Daintie Devises) and since the Dallis Book ascribes the music to Parsons

Robert Parsons) both of whom are known to have written songs for early choir
(probably

boy plays this song may well be a consort song from a play.12 The relation between the

lute tuning for the accompaniment and the general style, nature and probable context of

the song "In youthlye yeeres" does therefore seem to be fairly satisfactorily explicable.

contrast the for the two other songs (f. 7. and f.16. ) do seem to
By accompaniments

indicate a reduction of a more scoring although the tuning required is the same
complex

as that for "In youthlye yeeres". The difference may be explained by the suggestion

that the transcriber of "Sleepe wayward thoughts" and "Synce my ioyes" was working

from a score tablatures rather than staff notation as I have suggested may have
involving

been the case for "In The the lowest instrument of the
youthlye yeeres". pandora,

broken has a very similar to that of the bass viol but its music is notated
consort, tuning

in tablature. Furthermore, the two versions in this manuscript of "Sleepe wayward

7 and 23.v. with the occurrence of the piece in several other

thoughts" (ff. ), together

attest to its both as song and as a purely instrumental piece, and

sources, popularity

this would suggest a comparison with the other Dowland dance ayre in the 15117 manu

v. does occur in a broken consort version in

script ("If my complaints" f.15. ) which

Morley's Consort Lessons (no. 5, "Captain Piper's Galliard").

Another instance in the collection of popular adaptation can be seen in the version of

12See Parsons's "Pandolpho" in Christ Church, Oxford, MSS Mus 984-988. See also
below, p. 69.

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 "The peacefull westerne winde" (f. 10) set to the music by Morley for the ballet "Now is

the month of maying". In the 15117 manuscript the song occurs next to another madrigal

by M>rley ("Aprill is in my mistres face"), the only arrangement in the collection of a

madrigal proper.l3

A different version of the words of "The peacefull westerne winde", usually consider

ed to be by Thomas Campion, occurs in his Second Book of Ayres (c.1613) set to the

music he composed for the song "Move now with measured sound" in Lord Hayes' Masque

(1607). The music in the 15117 collection is no. 3 of Morley's Ballets for Five Voices

(1595) and the words of Morley's ballet are given at the end of the song as an alternative

to "The peacefull western winde". Just as Morley's music is completely different in

structure and rhythm from that for Campion's song in the 1613 printed edition, so the two

versions of the words are different although they are sufficiently similar to indicate that

Campion's printed version was following the 15117 version.14 The refrain of the third

and final stanza of the 15117 manuscript version is thus:

'To Cynthia then lett vs

our -
Record? musick thus

Fa la la',

indicating that these words are Elizabethan and earlier than the version set and published

by Campion in 1613. They may be contemporary with Morley's music.

A comparison of the adaptations of the two Morley madrigals in the 15117 manuscript

is illuminating. On the one hand the four-part vocal version of "Aprill is in" is contra

puntal in style giving equal value to all parts, and on the other hand the vocal
five-part

version of "Now is the month of maying" ("The peacefull westerne winde") is almost

entirely homophonic, the upper voice being clearly predominant. Because of this it

would seem that the original version of "Now is the month of maying" would lend itself

far more readily to adaptation as a solo song than would that of is in". It is
"Aprill

interesting to observe in these adaptations, therefore, that while the arrangement of a

lute part from the three lower parts of "Aprill is in" follows the madrigal setting as

closely as possible, the lute accompaniment to "The westerne winde" does not
peacefull

1?See Mor ley, Thomas. for Four Voices no.l.

Madrigals (1594),
14vivian, Percival. The Works of Thomas Campion, Oxford, 1909, 1966, prints the
words of the version in Campion's Second Book of Ayres on p. 139 and on p. 364 the words
of the 15117 version are given together with a note on the song.

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follow the four lowest parts of Morley's ballet closely. In this case the texture is much

thinner and some of the harmonies are altered with the result that the accompaniment is

more flowing. Furthermore, "Now is the month of may" (sic) occurs in an arrangement

for broken consort in Rosseter's Lessons for Consort (1609). The 15117 version has not

been adapted from Rosseter's arrangement for the harmonies there follow those in the

setting of the 1595 edition of Morley's Ballets. However, the fact that Rosseter arranged
it for his collection of 1609 does indicate the popularity of the music in itself and thus it

is possible that the arrangement in the 15117 manuscript has been adapted from an instru

mental version. The comparison of its accompaniment's instrumental texture with the

way "Aprill is in" very carefully adapts the three lower vocal parts for its accompani

ment would tend to support this.

The of part songs to songs with voice and lute accompaniment is not of
adaptation

course isolated or unusual here: Dowland's First Book of Ayres (1597) provided a lute

with the Cantus so that the ayres could be sung either as solo songs or as four-part
part

songs, and many other composers described their songs as "apt for voices and viols".

In the case of these, and particularly of Dowland's songs, however, the style of the

songs and the awkward setting of the words in many of the lower parts suggest that they

are more solo songs and indeed they have more often survived in this form.
properly

The adaptation of what are specifically madrigals (as is "Aprill is in") for solo voice

and accompaniment is not very common. More commonly solo song with instrumental

turns into This is evident in one important as

accompaniment part-song. specifically

pect of the influence of the madrigal on English consort song, for instance in the publish

ed versions of many of Byrd's songs. These give words for all parts though the "First

singing part" (not by any means always the Cantus but always one of the upper parts) is

indicated. 1-5 As with the four-part versions of Dowland's Ayres these songs are
usually

more solo songs and it seems that it is basically from this native tradition that
properly

Dowland's evolved: they are, too, influenced from French and German
songs although

sources. The adaptation of consort song to lute song (as is the case with the songs by

in the 15117 and with "In youthlye yeeres", "Awake ye wofull

Byrd manuscript, probably

"O Deathe, rock me and others is not, then, so incongruous or dis

weights", asleepe",

torting as is the adaptation of, say, "Aprill is in my mistres face".

do, in fact, name the Superius as the "first

15The by Byrd in the 15117 manuscript
songs
singing part" in their consort versions. One might except "Alack when I look back" (f.6v
case the complete is for alto solo with consort and chorus. The
7) but in this arrangement
15117 version the alto solo as the vocal part and omits the chorus altogether.
gives part

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 This adaptation of "Aprill is in", this insistence on the upper part as "tune", may,

therefore, be seen in some respects as a deliberate turning away from continental

and from "fashionable" ideas towards a more popular English form, that which forms

the tradition of consort song and lute ayre. In itself, of course, the occurrence of this

arrangement of a madrigal would not be particularly significant: Morley is known to

have himself arranged several of his madrigals as solo songs for his patron, Sir George

Carey. It is only when it is considered in relation to the direction in which the whole

manuscript collection turns that this arrangement becomes of interest. This turning
towards an English and popular tradition is more specifically seen in another song in

the manuscript: "Miserere my maker" (f.6. ). The text here is set to an arrangement

of the music to the first twenty-seven bars of Caccini's "Amarilli mia bella" with accom

in tablature for on Caccini's '

paniment lyra viol based figured bass.

"Amarilli mia bella" which appeared in Le nuove musiche (1602) seems to have been

immediately and widely popular in England.18 There is an arrangement of the song

with variations for keyboard by Peter Phillips dated 1603 in The Fitzwilliam Virginal

Book, and the song was printed together with another of Caccini's songs from Le nuove

musiche (Dovro dunque morir?") in Robert Dowland's A Musicall Banquet (1610) with
Caccini's figured bass realized and arranged in tablature for lute. The song also occurs

in other, undated, early seventeenth-century sources.19

The music of the 15117 version of "Miserere my maker" does not follow Caccini's

music exactly, but differs from it in some points of rhythm and melody. The harmonic

alterations are generally simplifications and occur at the cadences. The melodic
mainly

alterations are more unusual: all tend to make the vocal line more monotonous
nearly

(as at bars 1-6); the English version alters Caccini's at the

rhythm cadences, making

the J a rhythm into o o and the^ J J J J J figure (which was later to become almost a
standard one in English declamatory song) into . The existence of the sett
J J J J Jf
ing, to a religious text, obviously suggests the popularity of the Italian song; and the

16lt is known from the dedication of Morley's five-part Canzonets published in 1597 that
he made a lute arrangement of the four lower parts as an accompaniment to the Cantus
so that Sir George Carey might play and sing them alone. The lute tablature accompani
ment occurs on certain pages in the Cantus part-book. It is possible, no
although speci
fic evidence exists for this, that Morley arranged several other madrigals in the same way.
l?See also Ward, John. "Joan qd John and other Fragments at Western Reserve Univer
sity" in Aspects of Medieval and Renaissance Music, p. 842, footnote 35. a.
l^Caccini, Giulio. Le nvove mvsiche de Givio Caccini detto Romano . .. Nouamente
con somma diligenza reuiste, corrette, e ristampate. In Venetia ... M.D. CII. Sig.B.2
-
B.2v.

19See for example St. Michael's College, Tenbury, MS 1018, f.39; B.M. MS
Royal Appendix 55, f. 7v-8. 63

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occasional altering of Caccini's melody indicates a consciousness of, and an interest in,

the techniques of declamatory song itself. It seems, however, a perverse kind of inter

est, for the English words do not always fit the Italian music and so cannot retain their

natural spoken accentuation (for example, unimportant words such as "the" and "with"

are often stressed) and the changes in rhythm make the vocal line more angular and less

fluid. What appears to be a curious insensitivity to the very characteristics which give
Caccini's song its life and meaning appears also to be an attempt to impose known rhyth
mic patterns of melodic song on this new foreign form.

Such a conclusion about the nature of the adaptation of Caccini here is strengthened

by an examination of the relationship between the 15117 version of "Miserere my maker"

and a different setting of these words (with two additional stanzas) in the Francis Turpyn

Book of Lute Songs in the Library of King's College, Cambridge, Rowe MS 2. 20 (See

Example 2. )

This other setting of "Miserere my maker" appears to have been influenced in its

of Caccini's "Amarilli mia bella". * All the evidence of

turn by the 15117 adaptation
this influence would suggest that the version in the Turpyn manuscript is, then, later

than that in the 15117 manuscript. The words probably existed before either setting

since the 15117 manuscript gives one stanza only and the Turpyn version three. It is

not easy to indicate precise details of influence here: there is, rather, a general im

pression of similarity between the two English versions. One may, however, compare

the treatment in each version of the following points. In each case the music follows

the line structure of the words and the between the two settings in this
correspondence

is most clear in the first three lines. The to ,TStrangly distressed" in the Tur
melody
-
version has been influenced the 15117 setting it is almost the same,
pyn obviously by

a tone lower. The point at which the 15117 manuscript differs from Caccini here, in

the repetition of the quaver on C, is reproduced in the Turpyn manuscript. On the other

the version is closer to Caccini in "O have mercy on me, wretch"

hand, Turpyn

"credio del mio cor"). However, this version moves away from the 15117
(Caccini:

version after and hence also avoids imitating the two occa
"Mightily vex't", completely

sions on which the 15117 manuscript has adapted Caccini's 7 J J J J J declamatory figure
- at "to the Souls " in the
bitter anguish" and "to Eare my ceaseles cryinge. Although

20See the article by Philippe Oboussier, "Turpyn's Book of Lute Songs", Music and
Letters, XXXIV/2 (1953), 149, which dates the manuscript as c.1615.

same set Thomas Ford in six occurs in manuscript part-books in

2lThe text, by parts,
the Library of Christ Church, Oxford, MSS Mus. 56-60 (Bass part missing). This setting
bears no relation to either setting discussed here and its date is not known.

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 latter case the Turpyn version does use exactly the same rhythmic pattern as the 15117

version, this, in a completely different melodic context, has none of that version's

stiffness.

It is, however, in the final chromatic "Miserere" section that the form the influence

of the Italian song has taken can be most clearly seen. The chromaticism is a "fashion

able" Italian method of affection. The 15117 version follows Caccini in the use of the
-
ascending chromatic passage supported in the accompaniment by a series of simple V

I cadences in G, C, and D, so that the emphasis is placed on the vocal line. The Turpyn

manuscript version imitates the chromatic affection ?t the final "miserere", but here

the passage descends, and literally, "dies" away from the preceding climax leading to

D major. Here one feels that the final section grows organically out the preceding mat

erial rather than being purely a declamatory "device": the descending chromatic pass

age is part of a series of far more complex harmonies and modulations here than are

involved in the Caccini setting.

Caccini's influence in England is generally considered to have consisted chiefly in

his use of a declamatory vocal line supported an which involves

by accompaniment only

fairly simple harmonic progressions. The emphasis of the setting is thus placed on the

words, and hence on a verbal form rather than on a musical one.

completely However,

what is most interesting about the two settings of "Miserere my maker" is that in these

one can observe a shift away from this very declamatory quality. In the 15117 version

such a shift can be seen only in details of change of rhythm to one less flexible. The

influence of Caccini can still be seen in the Turpyn manuscript version but here the
form and the meaning of Caccini's song have been changed The song is not
completely.

declamatory at all: and although the basic spoken rhythm of the words is maintained in

the vocal line, this is no longer completely separable from the accompaniment, which

itself no longer establishes only a simple harmonic basis. The function of the music is
not to "declaim" the words: rather, the words and the music make up a com
together

plex musical whole; the words and the "expression" of the words are controlled by the
musical form. In this respect it is interesting too that while the earlier, 15117, version
sets only one stanza and does not give any others, the version is
Turpyn stanzaic, giving

all three stanzas to be sung to the same music. Here the effect seems to be quite delib
erate. The words are a prayer to the Trinity, each stanza an invocation to one
being

aspect of the Trinity: Father, Son and Holy Ghost. The significance of the words lies
in this progression, which is at the same time cyclic. This can be seen in
quite simply
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the way each stanza returns, in the final line, to a plea for mercy; in a more complex

sense the three stanzas are contained within a single image (one which transcends each

part) which is God. The setting of the three stanzas to the same music stresses the

paradoxical nature of the Trinity, the Three in One. Like many of the airs of the luten

ist song-writers (particularly Dowland's dance ayres, for example) the words are given

an added significance by their stanzaic musical setting. This is completely different,

in effect, from the mere repetition of verses to the same tune, as in simple ballad sett

ings. In "Miserere my maker" the fact that the progression through the three stanzas
in the end to One - which is at the same time climactic - is
leads beautifully pointed by
the way in which the same musical phrases "express" different, yet related, concepts.
It is this pointing of the inter-relationship between the stanzas by the musical setting
-
which gives the words an extra dimension one which in the words alone is not complete

ly clear. On the other hand, to repeat several stanzas to the 15117 version would become

simply monotonous; for there the musical form does not assert itself over the words but

is, rather, controlled by them, and would be almost meaningless without them. It does

not seem, therefore, to be entirely chance that the version closer to the Italian should

set one stanza, in declamatory fashion, and that the version which has converted this

Italianate model into a specifically English form of lute song should set several stanzas

to the same music.

The Turpyn manuscript version has converted both "Amarilli mia bella" and the

15117 manuscript's adaptation of Caccini"s song into an English lute song. The 15117

version illustrates the first step towards this while it is, itself, neither strictly declama

nor melodic song. In comparison with the later Turpyn version "Miserere my
tory

maker" in the 15117 illustrates one of the assimilation of Italian mus

manuscript aspect

ical influences to already known, popular forms. It represents an aspect of foreign in

fluence which is not commonly remarked on in English song of this period; and in its

deliberate turning away from foreign influence towards a kind of song which is complete

in tradition it not only relates to the function of the adaptation of Morley's

ly English
is in my mistres face") but reinforces, I think, the impression one has
madrigal ("Aprill
of the direction of the collection as a whole.

There is one other song in the 15117 manuscript whose form there suggests further

evidence of popular This is the song beginning "Vnto my fame a mortall

adaptation.

wounde" The song is part of the second section of "Defiled is my name", usually
(f.15).
considered to have been set by Robert Johnson. It also occurs in the Mulliner Book (B. M.
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MS Add. 30513) for keyboard alone and in a four-part vocal verions (B. M.
MSS Add. 30480-3). Because of the polyphonic texture of "Defiled is my name" it is,

perhaps, surprising to find it arranged in the 15117 manuscript for solo voice and lute.

Unlike the arrangement (in a similar way) of the Morley madrigal, however, the solo

part here is taken from the alto part and not from the soprano. More significant than

this is the fact that this arrangement provides some complication in the correspondence

between the tablature accompaniment and the voice part which points to a significant

feature of adaptation (see Plate 5). The 15117 version is closer to the four-part vocal

version in B.M. Add. 30480-3 than to the keyboard arrangement in the Mulliner Book:

the alto part of the section beginning "unto my fame" in the vocal is almost iden
setting

tical (except for slight variations and bars 9-10 of the 15117 version where the alto entry
is treated as part of the instrumental accompaniment) with the voice part in the 15117

manuscript. The 15117 version uses the alto clef and the voice part is in the same key
as the four-part vocal version. The lute is an of the three
accompaniment arrangement

other parts, but each of these has been transposed down an octave the alto
leaving part

only at its original pitch and making it now an upper part standing out above the instru

mental parts rather than mingling with them. In order that the lute accompaniment may
remain in the same key as the voice part the lute must be tuned with middle C as its

highest note rather than G, a 5th above. This gives the lute tuning as C F B-flat d g c',
one which is highly improbable. In performance, then, the lute would probably have
been tuned to the G tuning and the voice part transposed up a 5th. This means too that
the C clef on the second line of the stave would simply have to be read as the G clef on

that line. The voice part is now a soprano rather than an alto The of
part. adaptation

this song suggests a kind of popularization which seems related to the specifically English
influences of the lute song and the music for broken consort. Furthermore it is also poss

ible that the song may in fact be a play song and its popularity directly related to this: it

possibly belongs to the genre of dramatic laments. This more

suggestion appears likely

when the context of other "laments" in the manuscript is considered.

Of the four songs in the 15117 manuscript which are definitely able to be assigned to

plays ("Awake ye wofull weights", f.3. , "Have you seene but a whyte lillie f.l7.v. ,
grow",

"Come my Celia" f. 20. v. , "The poore soule sate the first three were
sighinge", f.18)

almost certainly written especially for their plays while the fourth, which Desdemona

sings in Othello makes its point there by being already a popular song. one of these
Only
("Awake ye wofull weights") belongs to an early choirboy play and is possibly adapted
from a consort song version. It has been suggested that the song which follows this ("O

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Deathe, rock me asleepe", f. 3. v. ) is also a lament from an early choirboy play although

no specific dramatic context for it has been identified. 22 Peter Warlock out
pointed
that this song was popularly considered to have been written by Anne Boleyn on her

death-bed and the same has been made about "Defiled is my name". 2S There
suggestion
is no reason for definitely assigning either song to her.24 The significance of the assoc

iation of both songs with Anne Boleyn (the legend in both cases is improbable) may be

seen in the placing of these two songs in their contexts in the 15117 manuscript. "O

Deathe" follows the lament from Damon and Pithias and is itself followed by another song
which was, in popular tradition, a This is "O heavenlye god" (f.4). In
"death-song".

The Paradyse of daintie Deuises the poem is ascribed to [F]rancis [K]inwelmarsh but

in most other sources, including the Harington manuscript at Arundel Castle, the poem

is ascribed to Walter Devereux, 1st Earl of Essex. In her edition and discussion of the

Harington manuscript Ruth Hughey gives evidence from several manuscripts which sugg

est that the song was sung by the Earl on the night of his death; and although, as she

herself points out, this does not necessarily mean that the Earl wrote the poem she is

in favour of attributing it to him. 25

The music has been traditionally ascribed to Will

iam Byrd but recently Philip Brett has considered the song as more likely to be the work
2? but there is a "death
of Nicholas Strogers. Very little is known of Strogers' music

22See Warlock, Peter. Elizabethan Songs with String Quartet, Vol. Ill pp. 1-3 and the
Notes. See also Ward, John, "Joan qd John and other Fragments at Western
Introductory
Reserve University", op. cit. pp. 837-844.

23see cit. , Introductory Notes. There is a recent pencil note on "Defiled

Warlock, op.
is my name" in the Cantus of the B.M. MSS add. 30480-3 version indicating
part-book
that the was written Anne Boleyn. This note is also given in the notes to the ed
song by
ition of this setting in M?sica Britannica Vol.XV.

24"0 Deathe" has also been ascribed to Anne brother, Viscount Rochford. It is
Boleyn's
said to have been written by him while in the Tower awaiting execution for incest with his
sister, Anne, the Queen.

25Hughey, Ruther. The Arundel Harington Manuscript of Tudor Poetry, Columbus, Ohio,
1960. The occurs on f.34.v. of the manuscript (see Vol.1, no. 68). The discussion
poem
in favour of attributing the poem to Walter Devereux is in Volume II, pp. 68ff.
26Fellowes ascribes the song to Byrd in his edition of The Collected Works, Vol.XV, pp.
28-30. The music is ascribed to Byrd in St. Michael's College, Tenbury, MS 389, p. 103.
Fellowes attributes the poem, mistakenly, to Robert Devereux, 2nd Earl of Essex. As
far as I know there is no evidence to support such an ascription. For the consideration
of the evidence the ascription to Nicholas Strogers see Brett, Philip, The
supporting
Songs of William Byrd, Typescript Ph.D. Dissertation (1965) in the University Library,
and Consort M?sica Britannica XXII, p. 180. Dr. Brett con
Cambridge, p. 329, Songs,
the most reliable source for the is the contra-tenor in
siders that song single part-book
the Bodleian Oxford, MS Mus. Sch. e.423, which was written between 1575
Library,
and 1586.
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 song" by him ("A doleful deadly pang") in the part-books in the Library of Christ Church,

Oxford, a collection which contains a number of consort songs: MSS Mus 984-988.2?
This may be from a play, but whether this is so or not it has been influenced by certain
musical characteristics common to songs which almost certainly were written for a

dramatic context. One very common motif is the repeated "I die" at the end, often set

to a descending third figure as at the end of "O Deathe". 2? If Strogers wrote this song

for a play it is not impossible that "O heavenlye god" also belongs to a dramatic context,
And this suggestion is given some validity perhaps when one considers not only its posi

tion in the 15117 manuscript but also its association, like the association of the song pre

ceding it, with the death of a well known person.

I have already suggested that the attribution of "In youthlye yeeres" (f,14.v. ) to
Robert Parsons in its version in the Dallis Book might support the suggestion that this

song too is from a play. Its occurrence in the 15117 manuscript immediately next to

"Vnto my fame" adds weight to the possibility that both these are play songs. The com

parison of "Defiled is my name" with the other "death-songs" in the manuscript points
to this as does its form here considered together with the other kinds of adaptation

which occur in the music of this collection.

The evidence for considering the 15117 manuscript as a collection in some way conn

ected with the popular theatre, even if regarded as tentative, does illuminate rather in

terestingly the two dialogue songs which occur together in the collection, "Come gentle
heardman" (f.lO.v.) and "Save fonde love" (f.12). "Come gentle heardman" is set here

to the old ballad tune "Go from my window" and the text alone, in a fuller occurs
version,

in Davis on's A Poetical Rhapsody (1602, 1621) ascribed "Ignoto", in a manuscript in the

University Library, Cambridge (D.5. 75. , f.39.v. ) and in the manuscript collection of

Sir Arthur Gorges' poems in the British Museum (MS Egerton, 3165, f. 101.v.). These
facts in themselves would not necessarily suggest that "Come heardman" is any
gentle

more remarkable than dozens of other pastoral dialogues, and indeed its place simply in
the tradition of the poetry of Tottel's Miscellany for instance does seem to be supported

^'This has been transcribed and edited by Peter Elizabethan

Warlock, Songs with String
Quartet, Vol.Ill, pp. 19-20, and by Philip Brett in Consort Songs, M?sica Britannica,
XXII, p. 19.

28See the consort songs in the first part of Brett, Consort Songs, op. cit., pp. 1-33,
especially nos.l, 3, 4, 7 and 9.

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by its occurrence in the Egerton manuscript and also in the fact that Sir Arthur Gorges

probably originally wrote the poem for his wife, Douglas Howard, who is elsewhere

identified as "Daphne" of this and others of his poems. 29

However, there is one other source of the poem, the only other source I have found

so far which includes a musical setting. This is the Thysius Luitboek, f.395, where

"Comme gentyl heardman" is set as in the 15117 manuscript to the tune "Go from my
" In his discussion and edition of the lute book, Het Luitboek van Thysius
window. (Am

sterdam 1889), J. P. N. Land says that the book was probably compiled early in the 17th

century. The reference to the association of "Go from my window" with "Comme gentyl

heardman" is on pp. 79-80 where Land suggests that the text may be related in some way

to me. " That

to the ballad in Percy's Reliques (II, no. 14): "Gentle herdsman, tell ball

ad is, in fact, one of the many popular ballads about Walsingham pilgrims and has little

in common with "Comme gentyl heardman" except the opening line and the stanza form.

Whatever was Land's reason for the suggestion it would seem to be of small significance

now that the Egerton manuscript of Sir Arthur Gorges' poems has been discovered. How

ever, there are some observations to be made about the poem as it occurs in the Egerton

manuscript which should be taken account of for the present discussion, In her edition of

the Egerton manuscript H.E. Sandison says (p.xxxii) that the group of poems which in

cludes "Cumme gentle Heardman" was probably written before 1580, and the style of the

poems would also suggest this. CR. Baskervill (The Elizabethan Jig) points out that in

the middle of the 16th century until about the 1580s there was a great deal of interest in

the ballad metres and forms literary men, including non-professional poets, and that
by

the mutual influence of ballad and more courtly literature was great. Baskervill points

for instance (p. 30) to the fact that Surrey's use of long lines which are akin to ballad
"
metres "may have been due to an interest in native forms like the traditional ballad.

He also that "Some of the included in Tottel's Miscellany and a number of

says songs

those in Robinson's A Handefull of pleasant delites were printed separately as ballads"

of the more "cultured" or purely for ballads

(p. 31) and that the vogue literary subjects

is evidenced by the large number of entries on the Stationers' Register in the 1560s of

ballads with classical stories. One of the other main kinds of ballads showing a "liter

influence is the pastoral Baskervill discusses these on page 208.

ary" dialogue.

29See the edition of the Egerton manuscript by Helen Estabrook Sandison, The Poems of
Sir Arthur Gorges, Oxford, 1953, p.xxviii. The poem is printed on pp. 118-123.

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 The association of the form of this pastoral dialogue with ballad form and formulae

when considered in the light of Baskervill's study might indicate not only that Gorges was

writing in a ballad tradition but also that the poem could have become, like the ballad

type of poems in A Handefull of pleasant delites for example a part of the popular litera

ture. Its inclusion by Davison in his A Poetical Rhapsody would support this. This

seems further to be supported by its association in both the 15117 manuscript and the

Thysius manuscript with the ballad tune "Go from my window". It is therefore not im

that "Come gentle heardman" was used as a jig or after-piece for plays and
probable

this would explain its occurrence, in the Dutch manuscript. English theatrical companies

travelling on the Continent in the later years of the 16th century were famous for their

performances of j igs.

The other "Save fonde love", appears to be an adaptation and a simplifica

dialogue,

tion of both the words and the music of Dowland's dialogue-song "Humour, say what mak'st

thou here" in his Second Book of Ayres (1600) no. 22. which is almost certainly from a

masque of entertainment. By comparison with Dowland's "Houmour" the music for "Save

fonde love" is rather uninteresting and so it would be reasonable to suggest that Dowland's

version is the later version and not that "Save fonde love" is a vulgarization of Dowland.

Furthermore, because of its occurrence in the 15117 manuscript with "Come gentle
heardman" it is possible that "Save fonde love" is a folk dialogue and may have been part
of a theatrical repertoire as a jig. In his discussion of the Elizabethan jig Baskervill

points to a whole group of ballad and dialogue songs "based on a pagan custom of allowing

a youth secret access to his mate before marriage".3^ The conventional formula of the

opening and the subject matter of "Save fonde love" suggests that it might well be a song

of this kind. If this is the case then Dowland's sophisticated parody of it for a more soph
isticated theatrical occasion testifies to its popularity.

The suggestion that these two dialogue songs may belong to the ballad literature, or

the more sophisticated adaptations of it, that was included at the end of theatrical per
formances in the public theatres and was especially popular at the turn of the century

raises the question of the possibility of a similar function for the songs on folios 15. v.

and 16: "Treade Iunos steps" and "Synce my ioyes". I have already referred to the

"willo" refrain in both "Synce my ioyes" and "The poore soule sate sighinge" (f.18) and

its association with folk games.31 The words of "Treade Iunos steps" also suggest its

30Baskervill, C.R. The Elizabethan Jig. Dover reprints, New York, 1965, p. 199.
31 See and footnote 11.
above,p.59.
71

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origins in the context of some folk game and its simple dance tune setting seems to

support this.

These suggestions might explain the inclusion in the manuscript of a group of songs

which at first sight seem unrelated in style and purpose to some of those considered

above. The group includes the three songs on folios 18. v. and 19 and the song on folio

24 (23). It appears, for instance, that the settings of the two songs with words by Sid

ney ("My trewe love hath my hart" and "Have I caught") have been influenced by the ex

periments and ideals of Sidney's group. The rhythm and accent of the words control

the vocal part completely and the accompaniment which is entirely homophonic in each

case supports this in simple harmonies. However, the effect of each song as a whole is

not of "academic" music in any sense. The characteristics of these songs can be most

clearly demonstrated by comparing the song ("Imust complaine") which occurs between

the two Sidney settings and whose own setting seems to be influenced by similar ideas

with a probably later setting of the same words by Thomas Campion in his Fourth Book

of Ayres (c.1617). Although the two settings in this case bear no relation to one another

a comparison suggests the tendency observable in the two settings of "Miserere my maker"

discussed above. The setting of "I must complaine" in the 15117 manuscript does not

complement the words by defining a "tone of voice" in its musical form but exists simply
to display the words (Example 3a). The sequence of bars 5-6 is an example. The song

in this setting exists primarily as statement. The setting in Campion's Fourth Book of

Ayres seems, on the other hand, to complement the words by defining more precisely
the exact balance in the poetry between statement and feeling about the statement. Thus,

though the setting takes account of verbal accentuation the effect is no longer one of a

musical governed by verbal phrases. Rather, one feels a pull towards the
simple shape

of the musical phrase: a comparison of the opening of each should demonstrate

ending

this (see Example 3b). While it maintains a partially narrative form the poem has been

assimilated into a musical form. It would appear, then, that the 15117 setting of "I must

complaine" is in fact the closer of the two to new fashioned ideas of words-and-music.

However, this setting, like the adaptation of "Amarilli mia bella" for "Miserere my

is rather The sequence at bars 5-6, for example, does seem rather
maker", clumsy.

angular in the way it emphasizes the breaking up of "to to beautifull of hew" and the

at bars 5-7 breaks up the sense of the words rather than points it. Here then,
sequence

the is far more theoretical than musical and appears to have been imposed
sophistication

on a basically narrative musical structure. A more self-conscious example of

simple

72

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 the same sort of influence is Tobias Hume's "Faine would I change" on folio 24 (23)

which, like the whole of the collection from which that piece comes, represents quite

obviously an attempt to fuse the "new" with the simple and popular.

The two Sidney songs illustrate the same fusion of the sophisticated with the popular,

though perhaps more successfully. "My trewe love hath" is based on a dance rhythm
and the origin of both in the kind of song "Tread Iunos steps" or "Synce my ioyes"

represent is obvious. Certainly the popularity of "Have I caught" is born out by Fal

staff's reference to it in The Merry Wives of Windsor III iii 45, for it is more likely that

the popularization of the reference is due to the fact that the poem was set to music

rather than simply to its existence in Astrophel and Stella.

The cumulative evidence of single pieces in the collection does seem to point clearly
to the relation of the manuscript to the repertoire of the public theatres. Just exactly in

what way this relation can be defined must be considered now. My discussion has ignored
almost entirely the sacred songs in the collection (apart from the four Leighton songs,
"O heavenlye God" and "Miserere my maker") as well as "It was a when bees
tyme sillye

coulde speake", f.21 and "What yf I f.23.v. (22.v. ). These last two are obvious
seeke",

ly less difficult to explain in a context such as I have for this

suggested manuscript, par

ticularly Dowland's "It was a tyme"; and indeed the very fact of its occurrence here may

suggest that it is more definitely an "occasional" piece than has so far been thought and
perhaps throw some interesting light on others of Dowland's songs. While it is recog

nised that possibly some of Byrd's sacred songs, at any rate, were used in plays I think

a more of their occurrence here is F. W. Sternfeld

satisfactory explanation suggested by

in his reference to this manuscript in Music in Shakespearean Tragedy.32 Dr. Sternfeld

says that because the collection contains music which could not be related solely to the
theatre the collection may well have to a professional musician
belonged occasionally

employed in the theatre. If the collection represents to a large degree the repertoire of
the public theatres, rather than of the private theatres, this suggestion seems logical
for the public theatres employed few full-time musicians. Certainly, apart from the
music in the manuscript which is known, or likely, to have to a public theatre
belonged
repertoire, the variety of instruments required by the collection a professional
suggests

Sternfeld, F.W. Music in Shakespearean Tragedy. London, 1963, p.35.

73

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musician: and in particular the occurrence of the pandora part of a consort arrangement

of "Though you are young" seems significant.

There is, however, another aspect to be taken into consideration: apart from this one

pandora part the collection is completely self-contained. All the songs which exist in

versions for several voices or for voice and several instruments occur here in "reduced"

score ("Sleepe wayward thoughts" and "Synce my ioyes" very clumsily reduced) for solo

performance. While on the one hand this could simply mean that for a certain occasion

each was required as a solo song (and certainly the deliberate adaptation for solo perform

ance of "Aprill is in my mis tres face" might support this) we should, on the other hand,

bear in mind that this could also be said to contradict any suggestion that the manuscript

could be directly associated with the theatre, and that it could be argued that despite the

quite obvious interest the owner or compiler shows in the repertoire of theatre music

the interest was a purely private one.

The first, however, is the more attractive hypothesis; and at the same time it is

obvious that the collection is not a haphazardly compiled one: songs of a certain kind are

grouped together. Moreover, the contents themselves (both sacred and secular) do all

belong to a particular tradition of song characterized by the relationship between text and

music which in this manuscript is traced from the middle of the sixteenth century into the

second decade of the seventeenth century. There are, of course, changes and experi

ments in the music and the poetry: but the fundamental attitude towards their relation

ship remains the same. It is one which is influenced in many ways, including theoretic

(see for example the Sidney settings) from the Continent. On the other hand the
ally

foreign influences are adapted to a firmly established native idiom which is also, basic

that of This an characteristic of the broken con

ally, popular song. is, too, important

sort and one which Professor Dart has remarked on with regard to Morley's
repertoire
Consort Lessons: the existence of sophisticated settings beside popular and ballad tunes.33

What is perhaps at the moment more important than saying definitely that the 15117

is a theatre collection (since this cannot be said in any case without more
manuscript
of its origins) is the fact that it represents a varied collection of mus
precise knowledge
ic composed over a period of fifty years or more for a variety of instruments and instru

mental combinations; and yet within this variety and long time-span one observes that

Thurston. Consort Lessons of 1599". Procedings of the Royal Mus

33Dart, "Morley's
ical Association, (1947-48), p. 7.
74

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the pieces have certain characteristics in common and that the collection has been care

fully compiled. These characteristics are similar to those found in Morley's Consort

Lessons which was enormously popular within the latter part of the time covered by the
contents of the manuscript (the period in which the collection seems to have been compiled)
and which was fairly specifically connected with the public theatre.

Because so very little, comparatively speaking, of the theatre music has been pres

erved it is often not possible to say "This piece of music or this song was used at this

point" and the suggestion that the 15117 manuscript may contain more music that was

actually part of the theatre repertoire than simply the songs assignable to specific plays

obviously does not help very much in this respect. However, very often no specific piece

of music was indicated; and in that case it is perhaps helpful to be able to say that this

kind of music, these kinds of influences were what the theatre musician or playwright was

concerned with.

75

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 CONTENTS OF THE MANUSCRIPT

[Various accounts, thus]:

At [Njewcastle the xi ... /at Dyner /

For Dyner xiis iiiid

For wyne and beere to my lord his chamber iis

For Stirrops and leathers iis

more wy[ne] [sent] my Lord his chamber xiiiid

For the mylke and drinke by the waye vid

To the servants

S. .. is xixs

For [half a Dosen] a Dose[n] paire of stiirrope

leathers

For the horses xs

To the ost[l]ers id

To S[i]r hugh Carmighell in the stller xxiid

To the musitians xs

(All is) S... is xxii s iiii

All is xlis iiiid
l.v. John Swarland / His Booke
Sources and References listed here
on page

Mr Candishe Almaine

[Tablature]

[Tablature]

2.v. Curranto

Curranto

3 Awake ye wofull weights 95

3.v. O Deathe, rock me a sleepe 96

4. O heavenlye God O Father deare 97

4.V.-5 O Lord whos grace, no lymites comprehende 98

From of greife 98
5.v. depth

6. Miserere my Maker 98

when I look back 99

6.V.-7. Alack,

thoughts 99
7. Sleepe wayward

7.V.-8 O God geiue eare and do applye 100

76

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 page

f. 8. Thoughe you are younge and I am olde 100

f.8.v.-9. Vt re my fa sol la 101

f.9.v.-10. Aprill is in my mistres face 101

f. 10. The peacefull westerne winde 101

f. 10. v. -11. Come gentle heardman sitt with me 102

f. 11. [Blank, except for ruled staves and the fragment of a word in the

right-hand margin.]

f. 12. Saye fonde love what seekes thowe heere 102

f,12.v.-13. Deliver me from myne enimies 103

f. 13. v. Come let vs singe to God with praise 103

O lovinge God and Father deere 103

f. 14. An heart thats broken and contrite 103

Yeeld vnto God the Lord on highe 103

f,14.v. In youthlye yeeres 103

f. 15. Vnto my fame a mor tall wounde 104

f.l?.v. If my complaints, could passions move 104

Treade Iunos steps who list 105

f.16. Synce my ioyes thoroughe Phillis frownes 105

f.16. v. -17. O sacrum conuivium I call and crye to Thee 105

f,17.v. Haue you seene but a whyte lillie grow 105

f.18. The poore soule sate sighinge 106

f. 18. v. My trewe love hath my hart 106

f.19. I must complaine 106
Have I caught my heavenlye iewell 107

f. 19. v. -20. O God but God howe dare I name that name 107

f.20.v. Come my Celia let vs proue 107

f. 21. It was a tyme when sillye bees coulde speake 108

f. 21. v. -23. [Blank. The folios are misnumbered from here on.

The numbering in the manuscript is given in brackets in

? ?n each case in the list that follows.]

f.23.v.

(f. 22. v. ) [Music for keyboard]

What yf I seeke for loue of thee 109

f. 24. (f ..23) Faine would I chainge that note 109

77

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 save for a pen sketch of a man's head, reversing the
[Blank,

manuscript, with "[hjumillitie constat" written above.]

[List of contents of The Psalmes of David in Meter published

by Richard Allison in 1599. The page is transcribed below.]

folio /

Com holly ghost 4

O Lord of whom 5

O Come let vs 6

Wee praise the god 7

O all yee works 8

My Soule doth 9

O Lord Because 10

What man so Euer 11

O Lord turne not 12

Our father 13

Harke Israel 15

Wher Righteousness 16

The man is Blest 17

O Lord how are 18

Lord in thy Wrath 19

There is no god 20

O god my Strength 21

O Lord how Ioyfull 22

0 god my god 23

1 Lift my hart 24

Al Laude and praise 25

The man is Blest 26

Our Eares haue hard 27

The Lord is our defence 28

The mightie god 29

O Lord Consyder 30

Why doest thow Tyrant 31

Sende Aide or saue 32

78

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 61 Regard o Lord 33

68 Let god arise 34

69 Saue mee o god 35

72 Lord geiue thy Iudgment 36

81 Be Light and glad 37

78 Attend my people 38

103 My Soule geiue Laude 39

104 My Soule praise 40

111 With hart I do 41

113 yee children 44

119 Blessed are they i 46

120 In troble and 47

121 I life myne Eyes 48

122 I did in hart o 49

124 All people 50

124 Now Israeli 51

125 Such as in god 52

126 When that the Lord 53

130 Lord i;o thee 55

132 Remember Dauids 56

135 O praise the Lord 57

136 Praise ye the Lord 58

137 When as wee sate 60

141 O Lord vpon thee 61

145 Thee will I laude 62

147 praise ye the Lord 63

140 Geiue Laude unto 64

Attend my people 65

Our father 66

All my beleife 67

geiue peace 69

O Lord in thee (68) 69

preserue vs Lord (...) 70

O god that art (69) 70

Helpe lord; o lord geiue 71

79

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 The god of. How pleasant 72

lord god: It is a thinge 73

I love the lord: Those that 74

f. 25. v. [Notes of various kinds. These have been written by different hands
(f.24.v. )
and probably at different times. They are very difficult to read as

f. 25 (f. 24) has been damaged at both the right-hand and the left

hand margins. The notes are transcribed below.]

[In the left-hand margin of the page, beginning at the top:]

Iniucti[s] primis / die Iulij 21st .o / Rex niu. .r Role / 766

Trinitis / (rule) / for the number role / 766 aboue writte

in / Trin. 21o: I. . I haue / searched the Record /[...]
at .es. nd and theris / neither my leace [nor] / judgment en[tr]ed /

4o Maii. 1631: N Kirbye / (rule) /

[In the centre of the page, at the top:]

Mr Floyd I haue searched the dogget / office according to your desyre

for a Judgment ent[red] / ye suite of Steeven Thurger by Mr. Bovey.

[ . . .] / but there noe record there to be fowfnd] / entred neither in

. .ad 3o. trin. 3o. or i.us[ ...] /Role 756 the dismiss e s 5o die

maii 3o Car. [...]/.. .ather [signed] 28o of No. 1630. / (rule) /

Piggott versus floyd Ro: 1608 / Piggott versus floyd Ro: 1608.

[In the centre of the page: ]

There was a man and hee was Dead / Hee run three myle without his head /

O Lie Lie Lie a lie and is not / this a monstrous Lie. /

[This is bracketed at the right-hand side with the inscription thus:]

i633 / march the 29th

[Below this:]
This Booke Do. [. . .] / Hugh: Floyd . . . / Domm: 16[. .] /

The plates which follow are reproduced by courtesy of the Trustees of

the British Museum with the exception of Plate 4b which is reproduced

by permission of the Governing Body of Trinity College, Dublin.

80

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00

(b) f. 25(24) (c)ff.8,

18-21,

Plate 1 Watermarks in Add MS 15117

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 ff?^'fftrrr^m
? 302
*+ -t-ti-2 ^ ?m
**-*<
ft./>f ??U
?E? r r ? %
??i-U" 3f5 *'"&&>

t=s
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f So

}
[JlMJjJ.4

IatOX~?|5 a A *_i
_jC . *.
r

s rn /<y?, aaM? ntrUat ?ppr&r

J?MC* ffj/

l?li*tiC
.1 <vr ?91
_jltjKl t"gfa:*r<t

Plate 2: "Sleepe wayward thoughts" Add. MS 15117, f. 7.

82

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 A

'
?f??&i fnv?ct m*. ftcfitpit/g?- smJifomfiJLimc J unit
tSymtc ?jjmts tGrmmft

" a
(% , il _ i| jl
X_,1
"TZS iVhi ns: tt?
n a a *.

(g^j?^^fte^ggs
J**!k e Awajt
mjivwU
Cinlufc rH* Jimy '/**?*?&??*r* wide ?rift* tM%Kv

Mr.

?ttt?
^SS Wilt?iKfi?UrtJ?^^m iff/AfWi/t?WiJU

r
r h ^ ff I
*n rl ??i
-L-?_1_1_L
*i ^ *?T ?
t*?#r
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r/Z? uA>fif<://:
Uta v^^ ? ?Me i?#*

t h \
%_SL ?
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2
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mm -n.

Plate 3: "Synce my Ioyes" Add. MS 15117, f. 16.

83

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 I I' I f I ' ^sc
?
nrriTti^i
f

t0l ?*n? y
ti
<? a
V,VK<1
4?-.
a^ j___ Lza: r a. *

iF:

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-f*

=u
jffEE -?*-+"

iliJ(ufN1^
! M-^?-*y

Iffk? ftf^ f/ FM ^
tl??Lt ++-i
?3
?Mr' ?*? _*_?L_
^
fr?. fr

^?^/?iP^+^^<^U/iM-4#jfrt?^U /.A-Hyh^g,

?
*-1?.?s?? ?fr^-*~i
y

Plate 4a: "In youthlye yeeresn Add. MS 15117, f.l4v.

84

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 A ff H! /vA|^
2 ? ? t - ^-f
-fv?^%-^??i? ? ft??_ An ?
-t^-rt-? -?-?
f~ r r
II 4=
fc<\-ft r S /*"?( X -U

oo

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." rvj?__^?_' _?!_r* (%_\J._?=_<i_

?
^ j?
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tV-A?* t=-^
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? ? -*-? f

Plate 4b: nIn youthfull yeresn Dallis Book, p. 204.

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 /rt

I 1 3 4M
3"
\?*4?
<~t)fi~*
+ m?meme. <mm~& 75fei?V-5t=iU
?o?^iiUk^I

.?' -,J? . A
?-4-?
* < * i"r
* ?*?
? -^sa

? 1 1 *l"!
S ?
"* U 14 ?.?I
1^*4 i??A j ^ .-??,4
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*?

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? <l*r ft ? \ry \iL ?

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^^

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A' ft A A
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fe t
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atlA ^
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EX

? _ik_ii_r. ?2=?
Plate 5: "Vnto my fame" Add. MS 15117, f.15.
86

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 Music
Examples
Example 1. thoughe you are younge and I am olde

^=m
i=5
n
ay f r r tr?_f |^
r
-fc-rt

10.

jt VT^^^.
u i_Ut A Ff
1 _-?L
?
S ig
_*?-_?_ dtz

13.

T
b
ZEZ

Example 1.

thoughe you are younge and I am olde

From B. M. MS Add. 15117, f. 8.

The transcription gives the whole piece an octave higher than written.

4 tablature I: MS =
Is
8 tablature If MS = | The lowest note of the chord is given

as a on course 6.

9 tablature II: MS gives the lowest note as b on course 6.

12 tablature I: MS = |
14 tablature I: MS gives the lowest note as d on course 6.

15 tablature II: MS gives the lowest note as a on course 6.

16 tablature I: MS = |
87

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 2a. Miserere
Example my maker

'r
Hf > r
Mi-
11JSe- fe-
,j JI .
fe ?*y toak-
I ?-r
N o H*ue mer-
r,
eye.

PUP XJ.
S *
S f^
lo

f i j &
a ?
On me? wrc-lctv d?'s~ Hress- casfc c?owne wifW ?
*W?*n?je- lye edl,

m^m i_ti_r3 J^m

\S m
^==n ?=S=t=?
#J 3=i?
I?*1 S^BE?
eel e- vexfc |-0 ffce. Souls kit- Ur an-
press- iwigkt- (ye gix.sWo

<S"

4fc ?EEt ffi

KEi? ~$-L-fr ^
it

^E?=fe?i^gi?=??
Eu*rv +* tUe deattHe I la? -
y?-t let tt
ieT"?fc pleA5c
Ils
4U?e fc
gu.she,

RF

i
?F-* *
?

5?E^? ^? it S ?ni- Sc- re PP

Bate "%y cel ery- i^g?.,

*=*: -? f
PFiNf^ W3o r.-.r
H=*
^^-44#
r?u- sc - *"? re. ^^pIM??l
**?- sc- ?*?-- re? I <?nr?
dy- iViqe.

F
=m^^ ?: ??=y w
?EfEE?jE ^
88

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Example 2a.

Miserere my maker.

FromB.M. MS Add. 15117, f.6.

The accompaniment is transcribed from the tablature for lyra viol,

tuning DGcead'.

=
8 accompaniment I: tablature b on string 2 as upper note. I

transcribe as though a on that string.

=
17 accompaniment I: tablature b on string 2 as upper note. I

transcribe as though a on that string.

24 accompaniment II: the middle note of this chord is blotted and

difficult to read. Although it appears to be c on string 4 I transcribe

as though b on string 4.
= a on 6 as
30 accompaniment I: tablature string the lowest note.

This is omitted in the transcription.

=
31 accompaniment I: tablature semibreve.

89

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 Example 2b. Miserere my maker

*3? I J 1J J i ^=T=P
*= ^ mi- a- re- ?fc ?vu?k- er O K( wt ?mer cy or? ?v?e
?y

* ? S
f? TF t?1?? ITTT
fWT^? 5E?^ ?
=tp
m ?
- mm ?(Awn fcntW?irvix Of -
Wrelck ^arnj 'y ??s- Wss ed. catfc

^ m??m^s^m s
T
gii^? i =P=^

?". .H?_w__i_b?_ __jLi_J._?Ltzst_._"ii__i_t_i

eot - ter
p<cs? miqkt' ti- ly v*K*t to "fke ?touted Ui

gg33=? ^ ^s
Si:F?^: ?H? ?
^
^&
T"

03e?^??^^ ?n- g?Ji'?vktuen lo tk* deo^K I |a*\- quisU et* left 'it ?lease ftv?*

=i= ^
Vf u r r ?

m^m

li j nJ41B t-[_f l^p~^t^g

l0 keare my cease- le* cry. ?ni- se- re - fe. m?- Se

^S
?EE^
5_i_IZZjE LLii
? ?f?s
?S^i 25 fefE5?*Eg
T
^^^il?fillili re mi- *?-- re- re ( Qr*\ cJy

fe: ?^?
:?=?* #= -+ ifcg::

j? ill
^
90 r

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Example 2b.

Miserere my maker.

From Rowe MS 2, no. 8.

Stanzas 2 and 3:

miserere my Sauiour

I Alass, am for my sinnes, fearfully greeved:

and cannott be releeved:

but by thy death which thou didst suffer for me

wherfore I adore thee

and do beseech thee, to heare my ceaseles crying

miserere I am dying

holy spiritt miserere

comfort my distressed soule, greeuTd for youths folly

purge, cleanse, and make it holy

with thy sweet due, of grace, and peace: inspire me

holy I desire thee

and strenghthen me now in this my ceaseles crying

miserere I am dying.

91

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 Example 3a. I must complaine

I must Com- P-lai?^ yet <Jo ??->_ toy? ?y?y love,

*fc
Sktee
Hence, 15 my gf-e?f?~, ??r Na- k?r?wkyU. sU.e Strove W?fH

^S
P^

g
*
U?Jr^^?
^ |> J ? fufcs
Beau- bc&rteS,
all ker es and de- v*?'- nest Ar+???. fo pa?*?, ker
gra<

rt ^^?
rr
?TT
m ?
rt f=F ^m

^m^^^^^tr^^^""1^1'^^
to fe> Bt??fc- f^i( +0 Pawe kev to 4fe Bea?-K- fUU <sf Uew? Skee kac? no fea-5?^

ipn?
t?: ?
T=1=r
leafr fc> **>e?lce her 4r?,we>.

iezzhsi

fe^ipf rr

^??

92

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Example 3a.

Imust complaine
FromB.M. MS Add. 15117, f.19.

The accompaniment is transcribed from the tablature for

lute, tuning Adgbe' a'.

8 MS gives no repeat sign with the double bar-line.

11 "To frame her": MS = "[to frame] (of hewe) her".

11 IV-V: tablature has no note-values.

accompaniment

Stanzas 2 and 3:

Should I haue greeued and wisht shee were lesse faire.

that were repugnant to my owne Desires

shee is admyrd New Lovers still repaires

this kindles Daylye loves forgetfull fiers,
rest Iaylous thoughts, and thus r?solue at last

shee hath more Beautie, then becomes the chast.

Thus my Complaincts from her Vntruthe aryse,

accusinge her and Nature boathe in one

for Beautie stainde is butt a false disguise,

a comon Wonder which is quicklye gone,
A false faire face cannot with all her feature,
without a trew hart make a trew faire creature.

Example 3b. I must complain

?
5
I mtAsi co?*- dto exx- (o^e>.
pt*?Vk, ye* j?y "wy

~^m wmm i^f

if f *g
^m wmm
Example 3b.

I must complain
From Campion, Thomas. Fourth Booke of Ayres. London, c.1617,

no. 17. ed. E.H. Fellowes, English School of Lutenist Song

Writers, 2nd series, London, 1926, p.32.

93

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 Abbreviations used in List of Sources and References
Brett, William Byrd Brett, Philip. The Songs of William Byrd.
Typescript Ph.D. Dissertation (1965) in the
University Library, Cambridge.

Byrd, Collected Works The Collected Works of William Byrd. ed.

E.H. Fellowes. 20 Vol. London, 1937-50.

Consort Songs Consort Songs. Transcribed and edited by

Philip Brett. M?sica Britannica, XXII,
London, 1967.

Day and Murrie Day, Cyrus L. and Murrie, Eleanore B.

English Song Books 1651-1702.

London, 1940.

Dowland 4 Dowland, John. Ayres for Four Voices.

Transcribed E. H. Fellowes, ed. Thurston
Dart and Nigel Fortune. M?sica Britannica
VI. 2nd rev. ed. London, 1963.

E.M.S. The English Madrigal School, ed. E.H.

Fellowes. 36 Vol. London, 1913-24.

E.M.V. English Madrigal Verse, ed. E.H. Fellowes.

rev. ed. F.W. Sternfeld and D. Greer.

Oxford, 1967.

E.S.L.S. The English School of Lutenist Song Writers.

First Series, 16 Vol. London, 1920-32. Second

Series, 8 Vol. London, 1925-26.

Fitzwilliam Virginal Book The Fitzwilliam Virginal Book, ed. J.A. Fuller
Maitland and W. Barclay Squire. 2 Vol. London
and Leipzig, 1894-99. Reprinted by Dover Pub
lications, New York, 1963.

M & L Music and Letters

J.A.M.S. Journal of the American Musicological Society.

P.M.L.A. Publications of the Modern Language Association

of America.

R.E.S. Review of English Studies.

Sh. Qu. Shakespeare Quarterly.

Ward, "Joan John" Ward, John. "Joan qd John and other Fragments
qd
at Western Reserve University", in Aspects of
Medieval and Renaisance Music, ed. J. LaRue

et al. London, 1966, pp.837-844.

94

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 SOURCES AND REFERENCES

In a list of this kind it is virtually impossible to be exhaustive and I am aware of the

inadequacies here. The list is as complete as I can make it at present. I view the mat

erial presented here as complementary to my discussion of the manuscript and for this

reason I have concentrated on listing as fully as possible contemporary sources, both

printed and manuscript, and contemporary references. Other sources, including mod

ern and standard editions have been listed for completeness and convenience. References

to modern critical, historical, or bibliographical discussions are cited where they prov
ide further or more detailed information on individual songs.

f.3. Awake ye wofull weights.

Sources

Edwards, Richard. The excellent comedie of two the moste faithfullest freendes,
Damon and Pithias ... London, 1571, D.I.
Sig. (words only).

"A Newe Ballade of a Louer Extollinge his Ladye. To the Tune of Damon and
Pithias." London, 1568. M. Osb[orne]. Facsimile of the broadside
ballad in the article by John Ward, J. A. M S. X / 3, facing page 168,
see below.

B, M. MS Ves p. A xxv. f.135 (words only).

"
"Awake, ye woeful wights. ed. P. Warlock, fromB.M. MS Add. 15117.
Curwen ed. no. 2448. London, n. d. ? 1929.

"
"Awake, ye woeful wights. ed. P. Warlock, for chorus. Curwen ed. no. 71690.

London, n.d.

References

Robinson, Clement. A Handefull of Pleasant Delites. London, 1584. ed. H.E.

Rollins, Cambridge, Mass. 1924. No. 24. "The Lamentation of a

Woman, Being Wrongfully Defamed" To the Tune of ?Damon and

Pithias1. The song begins "You Ladies, falsely deemed".

John. Pacient . . . Grissill. London, c.1566, C.4. The tune of

Phillips, Sig.
"Damon and Pithias" is named for singing "Can my poore harte be
still". See also Michael Shapiro, below.

Elviden, Edmund. Historie of Pesistratus and Catanea. London, c.1570, Sig.C.l.

"Music for A Handefull of Pleasant "

Ward, John. Delites. J. A. M. S. X / 3 (1957),
p.167.

Simpson, Claude. The British Broadside Ballad and its Music. New Brunswick,
New Jersey, 1966, pp.157-59.

John. The British Broadside Ballad and its Music. "

Ward, "Apropos J. A. M. S.
XX/1 (1967), p. 36.

95

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 "A Song in Damon and Pithias. " M & L XLVIII
Long, John H. / 3 (1967),
pp. 247-50, andXLVm /4 (1967), Correspondence, p.412.
"A in " M & L
Joiner, Mary, Song Damon and Pithias. XLIX/1 (1968),
Correspondence, pp.98-100.

"A Song in Damon and Pithias. " M &L

Shapiro, Michael, XLIX/3 (1968),
Correspondence, pp.304-306.

f..3v. O Deathe, rock me a sleepe.

Sources

Christ Church, Oxford, MS Mus 371, ff.10. v-11. v. "O death rock me aslepe"
for keyboard. (This is similar to the 15117 version. )
Western Reserve University, MS fragment (one leaf) bound into a copy of
Ernest David and Mathis Lussy, Histoire de la notation musicale,

Paris, 1882. Cantus only. (This is similar to the 15117 version.)

See the discussion by John Ward, below.

B.M. MSSAdd. 18936-9 (i) f. 70v (ii) f.68v (iii) f. 50v (iv) f.68v

B.M. MSSAdd. 30480-4 (i) f.37v (ii) f.40v (iii) f.38v (iv) f.41 (v) f.l9v.

(Both these B. M. MS versions are completely different from the 15117 version. )

Chappell, W. Vol. I, p. 238 (see below) refers to a version of the song in B. M.

MS Add. 4900. This song no longer forms part of that collection.

B.M. MS Add. 2637, f,107v (words only). The title "Vltima morientis/verba"
is given in the right-hand margin. The version gives four stanzas
additional to the one given in the 15117 MS.

Hawkins, Sir John. General History of Music. 5 Vol. London, 1776. ed. C.
Cudworth, 2 Vol. , Dover Publications, New York, 1963, Vol.1,
p. 376 (words only).

Ritson, Ancient Songs and Ballads. London, 1790, pp. 121-22. 2nd ed.
Joseph.
London, 1829, Vol.11, pp. 12-13, ascribed to Rochford. 3rd ed.

London, 1877, rev. W. C. Hazlitt, pp.156-58, ascribed to Rochford.

(All editions give words only. )

Rimbault, Edward. A Little Book of Songs and Ballads, gathered from ancient
musick books MS and printed. London, 1851, pp. 65-6.

Chappell, W. Popular Music of the Olden Time. 2 Vol. London, 1855-59.

ed. F.W. Sternfeld, 2 Vol. , Dover Publications, New York, 1965,
Vol. I, pp. 237-39.

Elizabethan Songs with String Quartet, ed. P. Warlock. 3 Vol. London, 1926,
Vol. Ill, no.l. Warlock gives the music from the two British Museum
manuscripts cited above.

" no.
"O Death rock me asleep. ed. P. Warlock. Curwen ed. 2389, London,
n.d. ?1928. Edited from B.M. MS Add. 15117.

96

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 References

Shakespeare, W. Henry IV, Part 2, II. iv. 211.

Nashe, Thomas. "A Choice of Valentines" in Complete Works, ed. R.B. Mc

Kerrowand F.P. Wilson, 5 Vol. Oxford, 1958. Vol.Ill, pp.396-416,
line 204.

Anon, in Blackwood's Edinburgh Magazine, XLIV (November 1838), p.466.

" I (1909),
Arkwright, G. "Early Elizabethan Stage Music. The Musical Antiquary
p.33.

Rollins, H.H. "A Note on Richard Edwards." R.E.S. IV (1928), pp.204-06., V (1929),
pp. 55-6. (This article discusses among other things B.M. MS Add.

26737, f.l06v.-108.)

Hebel, J.W. etal. Tudor Poetry and Prose. New York, 1953, p.43.

Stevens, J.E. Music and Poetry in the Early Tudor Court. London, 1961, p.449.

Sternfeld, F.W. Music in Shakespearean Tragedy. London, 1963, p. 306.

Ward, John. "Joan qd John" pp. 837-44.

f. 4. O heavenlye God O Father deare

Sources

Byrd, W. Collected Works. Vol.XV, pp. 28-30. Fellowes attributes the words
here to Robert Devereux, 2nd Earl of Essex. This is obviously a
mistake for Walter Devereux, 1st Earl of Essex.

B. M. MSS Add. 29372-77 (i-iv) f. 23 (v) f. 11. (ascribed to William Damon. )

B.M. MS Add. 31992, f.53.

Bodleian Library, Oxford MS Mus Sch. e. 423, f.l9v. (ascribed to Strogers.)

Trinity College, Dublin, MS D. 3. 30., pp.202, 212.

St. Michael's College, Tenbury, MS 389, p.103.

Edwards, Richard, The Paradyse of daintie Deuises. London, 1576, 1606. ed.
H.E. Rollins, Cambridge, Mass. 1927, p.95. The poem is entitled
"The Complaint of a Synner" and is ascribed to
F[rancis] K|inwelmarsh].
(words only. )

B. M. MS Vitell, C XVII f. 380 (words only. )

B.M. MS Vesp. A XXV, f. 152v (words only.)

Consort Songs, p.39.

Harington MS at Arundel Castle, f. 3. v. ed. Ruth Hughey. The Arundel Haring

inton MS of Tudor Poetry, 2 Vol. Columbus, Ohio, 1960, Vol.1, no. 68.
See also below.

References

Brett, Philip. Wiliam Byrd, pp. 329-330. Dr. Brett considers the song is more

97

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 likely to be the work of Nicholas Strogers than of Byrd. He claims
that the most reliable source for the song is the single contra-tenor

part-book in the Bodleian Library (see above) which was written

between 1575 and 1586. Here the music is ascribed to Strogers. Dr.
Brett discusses this further in the notes to this piece in Consort Songs,
p.180.

Hughey Ruth. See above, Vol. II, pp. 68.If, Ruth Hughey discusses the reasons
in favour of attributing the poem to Walter De v?reux.

f.4v. O Lord whos grace, no lymites comprehende

Sources

The Psalms of Sir Philip Sidney and the Countess of Pembroke.

ed. J.C.A. Rathmell. New York, 1963, psalm 51, pp.120-121 (words
only).

Bodleian Library, MS Rawl. Poet. 23. p. 114. Entitled "Miserere mei. Psalm
51". (words only. )

f. 5v. From depth of greife

Sources

The Psalms of Sir Philip Sidney and the Countess of Pembroke.

ed. J.C.A. Rathmell. New York, 1963, psalm 130, pp. 304-05 (words

only. )

f.6. Miserere my maker

Sources

Caccini, Giulio. Le nuove musiche. Venice, 1602, Sig. B.2-B.2v. "Amarilli

" on Caccini's
mia bella. (15117 is based music. )

Dowland, Robert. A Musicall Banquet. London, 1610, no. XIX, Sig. L.lv-L.2.
"
"Amarilli mia bella.

"
B. M. MS 55, f. 7v-8. "Amarilli mia bella.
Royal Appendix

Fitzwilliam Vol.1, pp. 329-331. "Amarilli di Julio Romano": an

Virginal Book,
arrangement for keyboard by Peter Phillips dated 1603.
"
St. Michael's College, Tenbury, MS 1018, f.39. "Amarilli mia bella.

King's College, Cambridge, Francis Turpyn Book of Lute Songs, Rowe MS 2,

no. 8. This gives different music from that in the 15117 MS and two
additional stanzas.

Christ Church, Oxford, MSS Mus 56-60, no. 31. (i) p. 151 (ii) p. 135 (iii) p. 31
(iv) p. 141 (v) p. 151 (vi) Bassus part missing. Ascribed to "Thomas
" The music is different from both the 15117 version and the
Foorde.
Rowe MS version.

References
" M & L XXXIV
Oboussier, Phillippe. "Turpyn's Book of Lute-Songs. (1953),
145-49; This discusses only the version in the Rowe MS, see
98

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 especially p. 149.

Ward, John. "Joan qd John" p. 842, footnote 35. a.

f.6v. Alack, when I look back

Sources

Byrd, W. Collected Works. Vol. XI, p. 98. Words ascribed to Hunnis.

Christ Church, Oxford MS Mus 1001, f. 56.

St. John's College, Oxford, MS 180, f. 58.

Royal College of Music, London, MS 1048, f.l7v.

Royal College of Music, London, MS 1051, f. 23v.

Lambeth Palace Library MS 764, f. 120v.

Durham Cathedral Library MSS c.4. , 5. , 7. , 9. , 10. , (i) f.49 (ii) f.47 (iii) f.235
(iv)f.27 (v)f.35.
St. Michael's College, Tenbury, MS 791, f. 72v.

St. Michael's College, Tenbury, MS 1382, f. 17.

Edwards, Richard. The Paradyse of daintie Deuises. London, 1576, 1606. ed.
H.E. Rollins. Cambridge, Mass., 1927, p.107. Ascribed to William
Hunnis (words only. )

Hunnis, William. Comfortable Dialogs. London, 1583, Sig. G. 8v. (words only.)

B.M. MS Eg. f.35 Ascribed to "Tho: Wenman. "

2403, (words only).
B.M. MSHarl. 6346, f. 27v. (words only. )

Bodleian Library, MS Rawl. Poet. 23, p. 114 (words only). Ascribed to W. Bird.

References

Frost, M. English and Scottish Psalm and Hymn Tunes. London, 1953, p. 467.

Brett, Philip. William Byrd. pp. 297-8.

Ward, John. "Joan qd John", p. 842, footnote 35a.

f. 7. Sleepe wayward thoughts

Sources

Dowland, John. The First Book of Ayres. London, 1597, 1600, 1603, 1606,
1613, no. 13. E.S.L.S. 1st series. Dowland 4, no. 13, p. 21.

A Briefe Introduction to the Skill of Musick. London, 1660, 1662. p. 41.

Forbes, John. Songs and Fancies. Aberdeen, 1662, 1666, 1682, no.20.

Forbes, John. Songs and Fancies, (see above), no. 13. The words of the song
"If floods of tears" from John Dowland's Second Book of Ayres (1600)
no. 11 are set to the present melody.

B.M. MS Add. 15117, f.22v, for keyboard.

99

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 B.M. MS Add. 15118, f.4v.

B.M. MS Add. 24665, f. 28v.

B.M. MS Add. 29481, f.2.

B.M. MS Add. 36526, tenor and bass parts only, ff.3 and 9.

Christ Church, Oxford, MS 439, p.46.

Bodleian Library MSS Mus. f. 7-10, no. 7. (i)f.7v. (ii)f.6v. (iii) ff. 6v-7.
(iv) f. 9v.
Bodleian Library MS Douce 280, f. 67v (words only).
Bodleian Library MS Harl. 3511, f.l. (words only).
E.M.V. p.461.

References

Every Woman in Her Humour. London, 1609, Sig. B.lv.

Eastwood Ho in The Works of John Mars ton, ed. H. Harvey Wood, 3 Vol.

Edinburgh, 1934-9, Vol. in, p. 94.

Day and Murrie, 2999.

f. 7v. O God geiue eare and do applye

Sources

Byrd, William. Psalms, Sonets and Songs. London, 1588, in Byrd,

Collected Works, Vol. XII, p. 2.

B.M. MSS Add. 29401-5 (i-v)f.l2v.

B.M. MS Add. 31992, f. 7v.

B.M. MS Add. 29247, f.47v.

B.M. MSS Egerton 2009, 2011, 2012, f. 54v.

St. Michael's College, Tenbury, MS 1382, f.40.

Bibliot?que Royale, Brussels MS II. 4109, p. 158.

New York Public Library MSS Drexel 4180-5, (i) f. 23v (ii) f. 24 (iii) f. 25 (iv) f. 22v
(v)f.l.

Harvard College Library MS Mus 30, f. 7v.

Reference

Brett, Philip. William Byrd, p. 328.

f. 8. Thoughe you are younge and I am olde

Sources

Thomas. Rosseter's Avres. London, 1601, no. 2. E.S.L.S. 2nd series.

Campion,

Lawes, Henry. Select Ayres and Dialogues. London, 1669, p. 76. (Music ascribed
to J. Playford. )
100

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 An Introduction to the Skill of Music. London, 1672, Parti, p.67. (Music
ascribed to J.P. ).

B.M. MS Add. 24665, f. 30v.

Christ Church MS Mus 439, p. 11.

Bodleian Library MS Ashmole 36, 37, f.145 (words only).
Bodleian Library, MS Douce f.5. f.20v (words only).
E.M.V. pp. 654-5.

Reference

Day and Murrie 3330.

f. 8v. Vt re my fa sol la

Source

Fitzwilliam Museum, Cambridge, MS of Edward, Lord Herbert of Cherbury.

(No shelf-mark, on permanent exhibition), f.2v-3.

f. 9v. Apr ill is in my mis tres face

Sources

Mor ley, Thomas. First Book of Madrigals for Four Voices. London, 1594,
1600, no.l. E.M.S.

Orazio. Canzonette a sei voci . . . Libro primo. Venice, no.

Vecchi, 1587, 15,
"Nel vis'ha un vago Aprile" (words by Livio Celiano). Morley's
madrigal verse is a translation of these words.

E.M.V. p.139.

f.10. The peacefull westerne winde

Sources

Campion, Thomas. Second Book of Ayr es. London, c.1613. E.S.L.S. 2nd
series. The words in the 1613 version of the song are set to the
music of the song "Move now with measured sound" in Campion's
Lord Hayes' Masque, London, 1607.

Morley, Thomas. First Book of Ballets to Five Voices. London, 1595, 1600,
no. 3. E.M.S. This gives the 15117 music, but sets the words "Now
is the month of maying". These are the words given in the 15117 MS
as an alternative to (?) Campion's words.

Vecchi, Orazio. Selva di varia ricreatione. Venice, 1590, no. 3. Morley's

ballet is a translation of "So ben mi c'ha bon tempo".

Rosseter, Philip. Lessons for Consort. London, 1609, no. 5. "Now is the
month of May. "

Forbes, John. Songs and Fancies. Aberdeen, 1662, 1666, 1682, no. 10: "Now
is the month of maying. "

101

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 "
The Musical Companion. London, 1673, p. 105: "Now is the month of maying.

An Introduction to the Skill of Musick. London, 1672, 1674, Parti, p. 64; 1679,
"
Part I, p. 63: "Now is the month of maying.

Vivian, Percival (ed). Campion's Works. London, 1909, 1966. "The peaceful
western "
wind. pp.139 and 364 (words only). The words of the (?)
1613 version are given on p. 139 and of the 15117 MS version on p. 364.

E. M. V. p. 384, "The peaceful western wind:" p. 148, "Now is the month of

"
maying.

References

Obertello, Alfredo. Madrigali italiani in Inghilterra. Milan, 1949, pp. 346-372.

"
Harwood, Ian. "Rosseter's Lessons for Consort of 1609. Lute Society Journal,
VIII (1965), pp. 15-23.

Day and Murrie "Now is the month of maying", 2392.

f.lOv. Come gentle heardman sitt with me

Sources

Land, Jan Pieter Nicolaus Het Luitboek van Thysius . .. Amsterdam, 1889,
(ed).
pp. 79-80. The music in the 15117 MS and in the Thysius MS is based
on the ballad tune "Go from my window". For further sources of this
tune (but without these words) see

Simpson, Claude M. The British Broadside Ballad and its Music.

New Brunswick, New Jersey, 1966, pp. 257-9.

B.M. MS Egerton 3165, f.lOlv. (ed) Helen Estabrook Sandison, The Poems of
Sir Arthur Gorges, Oxford, 1953. "Cumme gentle heardman" is no.98,
pp. 118-123. It is entitled An Ecloge betwen a Shephearde and a Heard
man (words only).

University Library, Cambridge, MS Dd. 5. 75. f.39v. (words only).

Davison, Francis. A Poetical Rhapsody. London, 1602, 1621. ed. H.E. Rollins,
2 Vol. Cambridge, Mass., 1931-2, Vol.1 p.45. (words only).

References

Beaumont, F. and Fletcher J. The Knight of the Burning Pestle, III 496 ("Go
from my See also the note on this in The Dramatic Works
window").
of Beaumont and Fletcher, ed. Freds on Bowers. Cambridge, 1966,
Vol. I, p. 93.

Simpson, Claude M. See above.

Ward, John. "Joan qd John", p. 842, footnote 35a.

f.12. Saye fonde love what seekes thowe heere

Sources

John. Second Book of Ayres. London, 1600, no. 22: "Humour, say:
Dowland,
E.S.L.S. 1st series. Dowland 4, no. 35. , p. 54. The
ADialogue."

102

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 music of the song in the 15117 MS is a simplified version of Dowland's
dialogue.

E.M.V. "Humour, say" p.478.

Reference

Ward, John. "Joan qd John", p. 842, footnote 35a.

f. 12v. Deliver me from myne enimies

Sources

B.M. MS Add. 22597, f.21.

B.M. MSSAdd. 29372-7 (i-iv) f. 80v (v) f. 67v.

B.M. MSS. Add. 30478, 30479 (i)f.32v (ii)f.l2v.
B.M. MS Add. 30933, f.135.

B.M. MSHarl. 7339, f.36v.

B.M. MSHarl. 6346, f.4. (words only)

"Deliver me from mine enimies". ed. Phillippe Oboussier, Novello's Octavo

Anthems, Anth. 1297. London, 1954.

f. 13v. Come let vs singe to God with praise

Source

Sir William. Teares, or Lamentacions of a Sorrowfull Soule . . .

Leighton,
London, 1614, Sig. B.2v-C.l.

f . 13v. O lovinge God and Father deere

Source

Sir William. Teares, or Lamentacions . . . London, 1614,

Leighton, Sig.
B.lv-B.2.

f.14. An heart thats broken and contrite

Source

Leighton, Sir William. Teares, or Lamentacions. . . London, 1614, Sig.

"
E.2V-F.1. Ascribed to "Io. Dowland, Bachelor of Mus icke.

f. 14. Yeeld vnto God the Lord on highe

Source

Sir William. Teares, or Lamentacions. . . London,

Leighton, 1614, Sig.
G. lv-G. 2. Ascribed to Robert Johnson.

f. 14v. In youthlye yeeres

Sources

Trinity College, Dublin, Dallis lute book, MS D. 3. 30, pp. 204-207, for voice
and lute. Ascribed "Qd Mr Parsons".
103

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 Edwards, Richard. The Paradyse of daintie Deuises. London, 1576, 1606. ed.
H.E. Rollins, Cambridge, Mass. 1927, p.10. Attributed to "M.
''
Edwardes. (words only).

Reference

Ward, John. "Joan qd John", p. 841, footnote 33, and p. 842, footnote 35a.

f. 15. Vnto my fame a mortall wounde

Sources

"
B.M. MS Add. 30513, f.78v-79; "Defiled is my name. "Vnto my fame" occurs
in the 2nd part of "Defiled is my name", ed. Denis Stevens, The Mulli
ner Book, M?sica Britannica, I. London, 1951, no. 80, p. 59, ascribed
to Robert Johnson.

name. "
B. M. MSS Add. 30480-3, "Defiled is my (i) f.49v (ii) f. 56v (iii) f. 52v
(iv)f.55v.

Royal College of Music, London MS 722, pp. 120-1. "Defiled is my name."

"
Royal College of Music, London, MS 1196, no. 7. "Defiled is my name. Four

part-books: (i) f. 7 (ii) f. 6v (iii) f. 9 (iv) f. 7.

"
Royal College of Music, London, MS 2111, no.l. , pp. 1-3. "Defiled is my name.

Hawkins, Sir John. General History of Music. 5 Vol. London, 1776. ed. C.

Cudworth, 2 Vol. Dover Publications, New York, 1963, Vol. I, p. 376.

"
"Defiled is my name. (words only).

is my name. " ed. K. Elliott and H. Shire in Music of Scotland, M?sica

"Defiled
Britannica, XV, London, 1957, no.44, pp.165-6. The song is ascribed
here to Robert Johnson and is edited from B. M. MSS Add. 30480-3.

f.l5v. If my complaints, could passions move

Sources

Dowland, John. First Book of Ayres. London, 1597, 1600, 1603, 1606, 1613,
no.4. E.S.L.S. 1st series. Dowland4, no.4, p.6.

Dowland, John. Lachrimae, or Seaven teares ... London, 1604. Instrumental

version entitled "Captaine Digorie Piper his Galliard".

Morley, Thomas. The First Book of Consort Lessons. London, 1599, 1611.
Reconstructed and ed. S. Beck, New York, 1959, no. 5, p. 72.
"
"Galliard to Captaine Piper's Pavin.

B.M. MS Add. 24665, f.l2v.

B.M. MS Add. 29481, f.14.

Bodleian Library MSS Mus. f. 7-10, no. 6. (i) f. 7 (ii) f. 6 (iii) f. 6 (iv) ff. 8v-9.

Christ Church, Oxford, MS Mus 439, pp. 52-3.

E.M.V. p.455.

104

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All use subject to JSTOR Terms and Conditions
 Reference

Poulton, Diana, "Captaine Digory Piper of the 'Sweepstake'". Lute Society

Journal, IV (1962), 17.

f,15v. Treade Iunos steps who list

I have found no other sources or references for this song,

f. 16 Synce my ioyes thoroughe Phillis frownes

Reference

Sternfeld, F.W. "Shakespeare's Use of Popular Song" in Elizabethan and Jacobean

Studies, ed. H. Davis. Oxford, 1959, p. 155.

f,16v. O sacrum conuivium I call and crye to Thee

Sources

Tallis, T. and Byrd, W. Cantiones quae ab Argumento Sacrae vocantur ...

London, 1575, no. IX, Sparts, Latin text only. ed. in The Works of
Thomas Tallis. Tudor Church Music, Vol. VI. London, 1928, pp. 210
13.

B.M. MS Add. 30480-4 (i) f. 67 (ii) f. 71 (iii) f. 66 (iv) f. 68 (v) f. 6v. No words
are given in any part save at the beginning. This is the Latin text,
though the Bassus part has also "I call and crye to ye".

B.M. MS Add. 5054, f.l42v. (Latin text).

B.M. MS Add. 11586, f.3v. (Latin text).
B.M. MS Add. 23624, f. 8v. (Latin text).
B.M. MS Add. 17784, f.39v. (English text).
B.M. MS Add. 22597, f.9. (English text).
B.M. MS Add. 29427, f.17. (English text).
B.M. MSSAdd. 30478, 30479 (i)f.l7 (ii)f.5v. (English text).
Bodleian Library MSS Mus. Sch. e. 1-5 (i) f.57 (ii) f.57 (iii) f.57 (iv) f.55v (v)
f.52v.

Christ Church, Oxford, MSS Mus 984-8, no. 42. (i) f.42v (ii) f.41v (iii) f.39
(iv) f.38v (v) f.41.
B.M. MS Add. 29247, f. 8v. Instrumental version for lute.

"O sacrum convivium" ed. R.R. Terry, Downside Motets, Vol. I no. 2. Publica
tion no.1318. London, n.d. 71931.

f. 17v. Haue you seene but a whyte lillie grow

Sources

Jonson, Ben. The Devil is an Ass. II. vi. 94. (words only).

Jonson, Ben. The Underwood. London, 1640, II: "A Celebration of Charis in
Ten Lyrick Peeces", 4: "Her Triumph". The first line of the poem
is "See the Chariot at hand heere of Loue", (words only)
105

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 See Cutts (below) for a full list of musical sources: p. 150.

Bodleian Library, MS Don. d. 58. f.26v. (words only)

Bodleian Library MS Engl. Poet. f. 25. f.64v. (words only)
Bodleian Library MS Rawl. poet. 116, f.50v. (words only)
Bodleian Library MS Rawl. poet. 199, p. 74. (words only)
"
"Have you seen the white lilly grow. ed. P. Warlock. London, 1929, no
source given.
"
"Haue you seene but a whyte lillie grow. ed. J. P. Cutts, in La musique de la
de Shakespeare. Paris, 1959, pp. 54-6.
troupe

f.18. The poore soule sate sighinge

Sources

Shakespeare, W. Othello, IV, i. 41.

See Sternfeld (below) for a full list of sources.

References

Sternfeld, F.W. Music in Shakespearean Tragedy. London, 1963, pp. 23-52.

Simpson, Claude M. The British Broadside Ballad and its Music. New
Brunswick, New Jersey, 1966, pp.788-791.

and its Music. "

Ward, John. "Apropos The British Broadside Ballad
J.A.M.S. XX/1 (1967), p. 85.

f. 18v. My trewe love hath my hart

Sources

Sidney, Sir Philip. Arcadia (1595). ed. A. Feuillerat in The Complete Works
of Sir Philip Sidney, 4 Vol. Cambridge, 1912-26, Vol. IV, pp.179-180
(words only).

John. Madrigals for 3,4,5, and 6 Voices. London, 1613, nos 1 and 2.
Ward,
E. M. S. This is a different setting from that in the 15117 MS.

Puttenham, G. The Arte of English Poetry. London, 1589. ed. G.D. Willcock

and A. Walker. Cambridge, 1936, p. 225 (words only). Puttenham

two stanzas of the poem as an example of "Epimore".

gives

Bodleian Library MS e. Musaeo 37, f.109 (words only)

"My true love hath my heart", ed. P. Warlock from the 15117 MS Curwen
edition no. 2400. London, n.d. ?1928.

f.19. I must complaine

Sources

John. Third Book of Ayres. London, 1603, no. 17. E.S.L.S. 1st
Dowland,
series. Dowland 4, no.48, p. 73. This is not the 15117 version.

106

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 Campion, Thomas. Fourth Book of Ayres. London, c.1617, no. 17. E.S. L.S.
2nd series. This is not the 15117 version.

Christ Church, Oxford, MS Mus 439, pp.62 and 68-69. This is not the 15117
version.

E.M.V. Campion, p.414. Dowland, p.487.

f. 19. Have I caught my heavenlye iewell

Source

Sidney, Sir Philip. Astrophel and Stella, second song. ed. W. A. Ringler in
The Poems of Sir Philip Sidney. Oxford, 1962, p. 202.

References

Shakespeare, W. The Merry Wives of Windsor. III. iii. 45.

Cutts, J.P. "Falstaff's 'Heauenlie Iewel', Incidental Music to The Merry Wives
of Windsor", Sh. Qu. XI (1960), pp. 89-92.

Sternfeld, F.W. Music in Shakespearean Tragedy. London, 1963, p. 303.

"
Ward, John. "Joan qd John, p. 842, footnote 35a.

f. 19v. O God but God howe dare I name that name

Sources

Byrd, W. Collected Works, Vol. XV, p. 21.

B.M. MS Add. 30485, f.15.

B.M. MS Add. 31992, f.7.

Bodleian Library, Oxford, MS Mus. Sch. e. 423, f. 16v.

Reference

Brett, William Byrd, p. 328.

f.20v. Come my Celia

Sources

Jonson, Ben. Volpone. Ill.vii. 165 (words only),

Ferrabosco, Alfonso. Ayres. London, 1609, no. 6. E.S. L.S. 2nd series.

Bodleian Library, MSRawl. poet. 31, f.7 "Come sweete Celia" (words only).

Bodleian Library, MSRawl. poet. 172, f.2. (words only).

"Come my Celia." ed. J.P. Cutts in La musique de la troupe de Shakespeare.

Paris, 1959, pp. 3-5.

Reference

Cutts, J.P. See above: pp.119-20.

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f. 21 It was a tyme when sillye bees coulde speake
Sources

Dowland, John. Third Book of Ayres. London, 1603, no. 18. E.S.L.S.
1st series. Dowland4, no.49, p.74.

Forbes, John. Songs and Fancies. Aberdeen, 1662, no. 54: 1666, 1682, no. 51.

The following sources are all in the British Museum:

MS Add. 5495, f. 28v (words only). Attributed to the Earl of Essex.

MS Add. 5956, f. 25 (words only).

MS Add. 15891, ff.244-5 (words only).
MS Eg. 923, f. 5v-7v (words only). The poem is entitled "A Poem made on Robt
Deuorex Earle of Essex by mr Henry Cuff his Chaplane".

MSHarl. 2127, f. 58 (words only).

MSHarl. 6910, ff. 167-8 (words only).
MS Sloane, 1303, ff. 71-2 (words only).

MSAshmole, 767, f. 1. (words only).

MS Ashmole, 781, p. 132 (words only).
The following sources are all in the Bodleian Library:
MS Tanner 76, f. 93 (words only). Entitled "The Apologue of ye Bee". A note
at the head of the page, signed by W. Sancroft, reads: "Henry Cuff
made these following verses, his Lord, and Master the Earl of
Essex being then in some Disgrace".

MS Tanner 306, f. 249 (words only). Attributed to "Rob: Devereux Earl of

Essex".

MS Douce 280, f.123 (words only). The poem is headed "E Essex" and in the
left-hand margin is "R.D. E/E. ".

MS misc. c. 93. f. 21v (words only). Attributed to the "Erie of Essex".

Eng.

MS Rawl. poet. 148, f.87 (words only). Attributed to "Mr. John Lilly". This
text at what is stanza 3 in the other versions.
begins

MS Rawl. poet. c. 744. f. 63 (words only). Entitled "Verses made by the Earle
of Essex".

E.M.V. p.488.

References

Browne, William. Britannia's

Pastorals. London, 71613-1616. Book I, song 4,
11.683-96, especially 11.691-96. This passage is generally believed
to refer to Robert Devereux, Earl of Essex.

Bond, R.W. The Complete Works of John Lyly. 3 Vol. Oxford, 1902, Vol. Ill,
pp.445-7.

Day and Murrie, 3237.

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f. 23v. (Sleep wayward thoughts)
See above for sources and references.

f. 23v. What yf I seeke for loue of thee

(f.22v). 0
Sources

Jones, Robert. First Book of Songs and Ayres. London, 1600, no. 18.
E.S. L.S. 2nd series.

E.M.V. p.557.

f. 24. Faine would I chainge that note

_
(f.23).
Sources

Hume, Tobias. The First Part of Ayres, French, Pollish, and others . . .

London, 1605, Sig. Q.I.

"
"Fain would I change that note. ed. P. Warlock and P. Wilson. Oxford
Choral Songs from the Old Masters, no. 304. London, n.d. ?1923.

"
"Fain would I change that note. ed. P. Warlock and P. Wilson in English

Ayres. London, 1931, Vol. IV, no. 3, p. 5.

E.M.V. p.541.

109

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