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[ Return to Top ]
First line: Shake the cloud from off your brow
Source Edition: Measure for Measure, or Beauty the Best Advocate (1700), 1.1, p.7.
First Performed: February 1700 (Danchin)
UMI(2) reel no.: 297:31
Author: Charles Gildon
Composer: Henry Purcell
Lyrics: Nahum Tate
Source/s of Music: Purcell's setting of Tate's Dido and Aeneas.
Text of song:
The LOVES of Dido and AEneas, a MASK, in Four MUSICAL ENTERTAINMENTS.
The First Entertainment.
Enter QUEEN DIDO, Belinda, and Train.
Belinda SINGS.
Bel. Shake the Cloud from off your Brow,
Fate your Wishes does Allow;
Empire Growing,
Pleasures Flowing;
Fortune Smiles, and so shou'd
you,
Shake the Cloud from off your Brow.
Cho. Banish Sorrow, Banish Care,
Grief shou'd ne're
approach the Fair.
<NOTE: The next song follows immediately after this one>.
[ Return to Top ]
First line: Ah Belinda I am pressed
Source Edition: Measure for Measure, or Beauty the Best Advocate (1700), 1.1, p.7.
First Performed: February 1700 (Danchin)
UMI(2) reel no.: 297:31
Author: Charles Gildon
Composer: Henry Purcell ( nwc)
Source/s of Music: Recorded in Day and Murrie, p.164, n.21 [Music] Purcell, Henry, Orpheus Britannicus (1698), pp.193-4 (UMI(2) 158:4) et al. This song is originally part of Purcell's Dido and Aeneas.
Text of song:
<NOTE: This song follows immediately after the previous one>.
Dido. Ah! Belinda I am prest,
With Torment not to be Confest:
Peace and I are
strangers grown,
I languish till my Grief is known,
Yet wou'd not have it Guest.
<NOTE: The next song follows immediately after this one>.
[ Return to Top ]
First line: Grief increasing by concealing
Source Edition: Measure for Measure, or Beauty the Best Advocate (1700), 1.1, pp.7-9.
First Performed: February 1700 (Danchin)
UMI(2) reel no.: 297:31
Author: Charles Gildon
Composer: Henry Purcell
Lyrics: Nahum Tate
Source/s of Music: Purcell's setting of Tate's Dido and Aeneas.
Text of song:
<NOTE: This song follows immediately after the previous one>.
Bel. Grief Encreasing,
by Concealing.
Dido. Mine admits of no Revealing.
Bel. Then let me speak, the Trojan guest,
Into
your Tender Thoughts has prest.
2 Woman. The greatest
Blessing Fate can give,
Our Carthage to secure, and Troy
revive.
Cho. When Monarchs unite, how happy their State.
They Triumph at once or'e their Foes and their Fate.
Dido. Whence cou'd so much Virtue Spring,
What Storms, what Battles did he Sing,
Anchises Valour
mixt with Venus's Charms,
How soft in Peace, and
yet how fierce in Arms.
Bel. A Tale so strong and full
of Wo,
Might melt the Rocks as well as you.
2 Woman. What stubborn Heart unmov'd cou'd see,
Such Distress, without Pity,
Dido. Mine with Storms of
Care opprest,
Is Taught to without the Distress.
Mean Wretches grief can Touch,
So soft so sensible
my Breast.
But ah! I fear, I pity his too Much.
Bel. and then the Cho.
Dance to this Cho.
Fear no Danger to ensue,
The Hero Loves as
well as you;
Ever Gentle, ever Smiling,
And
the Cares of Life beguiling.
Cupid's strew your path
with Flowers,
Gather'd from Elizian Bowers,
Enter AEneas with his Train.
Bel. See
your Royal Guest appears,
How God-like is the forme he
bears,
AEn. When Royal fair shall I be blest,
With cares of Love, and state Distrest.
Dido. Fate forbids
what you Persue,
AEn. AEneas has no Fate but you,
Let Dido Smile, and I'll defie,
The feeble
stroke of Destiny.
Cho. Cupid only Throws the Dart,
That's Dreadful to a Warriour's Heart;
And she that wounds can only cure the Smart,
AEn.
If not for mine, for Empires Sake,
Some pity on your
Lover take.
Ah! make not, in a hopeless Fire,
A Hero fall, and Troy once more Expire,
Bel. Pursue thy
Conquest, Love---her Eyes,
Confess the Flame her Tongue
denyes,
Cho. To the Hills and the Vales, to the Rocks
and the Mountains,
To the Musical Groves, and the cool
shady Fountains,
Let the Triumph of Love and of Beauty
be shown,
Go Revel ye Cupids the Day is your own.
The Triumphing Dance.
Ang. <speaks>
This Musick is no Cure for my Distemper;
For, every Note,
to my Enchanted Ears,
Seem'd to Sing only Isabella's
Beauty,
Her Youth, her Beauty, and her Tender Pity
Combine to ruin me! Ha! Dost thou then
Desire her
foully? Let her Brother Live.
Thieves, for their Robbery,
have Authority,
When Judges steal themselves. Then I
do Love her,
That I desire to hear her Speak again:
Her Tongue, alas! will but increase my Pain:
Strange
Witchery of Love.
We are uneasie with its raging Fire;
Yet seek the Object to encrease Desire,
Whose Fury
else, wou'd, of it self, Expire.
[ Return to Top ]
First line: Thanks to these lovesome vales
Source Edition: Measure for Measure, or Beauty the Best Advocate (1700), 2.1, pp.13-4.
First Performed: February 1700 (Danchin)
UMI(2) reel no.: 297:31
Author: Charles Gildon
Composer: Henry Purcell
Lyrics: Nahum Tate
Source/s of Music: Purcell's setting of Tate's Dido and Aeneas.
Text of song:
Ang. I do allow it---come let 'em begin.
Masque
The Second Entertainment.
Belinda SINGS.
Belinda. Thanks to these
Lovesome Vales,
These Desert Hills and Dales.
Repeat this Cho. So Fair the Game, so Rich the Sport,
Diana's self might to these woods resort.
2 Wom.
Oft she visits this lov'd Mountain,
Oft she baths
her in this Fountain.
Here Acteon met his Fate,
Pursu'd by his own Hounds,
And after Mortal
Wounds,
Discover'd, Discover'd, too too late.
AEn. Behold upon my bending Spear,
A Monsters Head
stand's Bleeding,
With Tushes far exceeding,
Those did Venus Huntsmen Tear.
Dido. The Skies
are Clouded, heark, how Thunder [Thunder.
Rends the Mountain
Oaks assunder;
Hast, hast to Town, this open Field,
No shelter from the Storm can yield. [Exit.
<NOTE: Next song follows immediately after this one>.
[ Return to Top ]
First line: Stay prince and hear great Jove's command
Source Edition: Measure for Measure, or Beauty the Best Advocate (1700), 2.1, pp.14-5.
First Performed: February 1700 (Danchin)
UMI(2) reel no.: 297:31
Author: Charles Gildon
Composer: Henry Purcell
Lyrics: Nahum Tate
Source/s of Music: Purcell's setting of Tate's Dido and Aeneas.
Text of song:
<NOTE: This song follows immediately after the previous one>.
The Spirit of the Sorceress descends to AEneas in likeness of Mercury.
Spir. Stay Prince and hear great Joves Command.
He Summons thee this Night away.
AEn. To Night?
Spir. To Night thou must forsake this Land,
The
Angry God will brook no longer stay.
Jove Commands thee,
wast no more
In Loves delights those Precious Hours,
Allow'd by the Almighty Powers,
To gain the
Hesperian shore,
And Ruin'd Troy restore.
AEn. Jove's Commands shall be Obey'd,
To Night
our Anchors shall be weigh'd;
But ha! What Language
can I try,
My injur'd Queen to pacify?
No sooner she resignes her Heart,
But from her Arms I'm
forc't to part.
How can so hard a Fate be took,
One Night Enjoy'd, the next forsook?
Yours
be the Blame, ye Gods, for I,
Obey your will---but with
more ease cou'd dye.
"Direct me, friends, what
Choice to make,
"Since Love and Fame together press
me,
"And with equal Force distress me.
"Say
what Party I shall take.
1 Fr. Resistless Jove Commands---
2 Fr. But Love
More Resistless then Jove's.
AEn. But Fame Alcander.
2 Fr. Fame's a Bubble,
Honour but a Glorious Trouble,
A vain Pride of
Destroying,
Alarming and Arming,
And Toiling
and Moiling,
And never Enjoying.
1 Fr. 'Twas
that gave Hector,
2 Fr. What?
1 Fr. Renown
and Fame.
2 Fr. An empty Name,
And Lamentable
Fate.
1 Fr. 'Twas Noble and Brave.
2
Fr. 'Twas a Death for a Slave.
1 Fr. His Valour and
Glory,
Shall flourish in Story.
2 Fr. While
he rots in his Grave.
AEn. Ye Sacred Powers instruct
me how to choose,
When Love or Empire I must loose.
AEn. & Cho. Love without Empire Triffling is and Vain,
And Empire without Love a Pompous Pain,
Exeunt.
<NOTE: The next song follows immediately after this one>.
[ Return to Top ]
First line: Then since our charms have sped
Source Edition: Measure for Measure, or Beauty the Best Advocate (1700), 2.1, p.15.
First Performed: February 1700 (Danchin)
UMI(2) reel no.: 297:31
Author: Charles Gildon
Composer: Henry Purcell
Lyrics: Nahum Tate
Source/s of Music: Purcell's setting of Tate's Dido and Aeneas.
Text of song:
<NOTE: This song follows immediately after the previous one>.
Enter Sorceress and Witches.
Cho. Then since our Charms have sped,
A Merry Dance be led,
By the Nymphs of Carthage
to please us,
They shall all Dance to ease us.
A Dance that shall make the Spheres to VVonder,
Rending those Fair Groves asunder.
<NOTE: Next song follows immediately after this one>.
[ Return to Top ]
First line: Wayward sisters you that fright
Source Edition: Measure for Measure, or Beauty the Best Advocate (1700), 2.1, pp.15-6.
First Performed: February 1700 (Danchin)
UMI(2) reel no.: 297:31
Author: Charles Gildon
Composer: Henry Purcell
Lyrics: Nahum Tate
Source/s of Music: Purcell's setting of Tate's Dido and Aeneas.
Text of song:
<NOTE: This song follows immediately after the previous one>.
The SCENE the Cave Rises. The Witches appear.
Enter Sorceress.
She SINGS.
Sorc. Weyward Sisters, you
that fright,
The Lonely Traveller by Night;
Who like Dismal Ravens Crying,
Beat the Windows of the
Dying.
Appear at my Call, and share in the Fame,
Of a Mischief shall make all Carthage Flame.
Enter Witches.
Witch. Say, Beldam what's thy will?
Cho. Harm's our Delight, and Mischief all our Skill.
Sorc. The Queen of Carthage, whom we hate,
As we
do all in Prosperous State,
E're Sun-set shall most
Wretched prove,
Depriv'd of Fame, of Life, and Love.
Cho. Ho, ho, ho, ho, ho, ho, &c.
Witch.
Ruin'd e're the set of Sun,
Tell us how shall
this be done?
Sorc. The Trojan Prince you know is bound,
By Fate to seek Italian Ground;
The Queen and he
are now in Chase,
Hark, the Cry comes on apace.
But when they've done, my Trusty Elf,
In Form
of Mercury himself,
As sent from Jove, shall Chide his
stay,
And charge him Sail to night with all his Fleet
away.
Cho. Ho, ho, ho, ho, ho, ho, &c.
Sorc. and Witch. But e're we this perform,
We'll Conjure for a Storm
To Mar their Hunting Sport,
And drive 'em back to Court.
Eccho. In our
deep vaulted Cell the Charm we'll prepare,
Too Dreadful
a Practice for this open Air.
Eccho Dance of Furies.
At the end of the Dance Six Furies Sinks. The four open the Cave fly up.
Ang. <speaks> All
will not do: All won't devert my Pain
The Wound enlarges
by these Medicines,
'Tis She alone can yield the Healing
Balm.
This Scene just hits my case; her Brothers danger,
Is here the storm must furnish Blest Occasion:
And when, my Dido, I've Possess'd thy Charms,
I then will throw thee from my glutted Arms,
And think
no more on all thy soothing Harms.
[ Return to Top ]
First line: Come away fellow-sailors your anchors be weighing
Source Edition: Measure for Measure, or Beauty the Best Advocate (1700), 3.1, pp.26-8.
First Performed: February 1700 (Danchin)
UMI(2) reel no.: 297:31
Author: Charles Gildon
Composer: Henry Purcell
Lyrics: Nahum Tate
Source/s of Music: Purcell's setting of Tate's Dido and Aeneas.
Text of song:
Esc. <...> My Lord, if we
have not tir'd you to day
With our harmonious and
officious Love,
I hope you will partake this last Effort,
That may compose your Thoughts for pleasing Slumbers.
Ang. I am not so unjust, Lord Escalus,
To slight
my Friends Endeavours to delight me.
Besides, it is my
Royal Master's Birth-day;
And that excuses this gay
Loose of Pleasure.
Let them begin:---No Isabella yet?
[They all sit, and the Third Musick. Before 'tis quite done,
Isabella enters.
Masque
The Third Entertainment.
SCENE, The Ships.
Enter Sorceress and VVitches. Enter Saylors.
Sorc.
Come away Fellow-Saylors, your Anchors be weighing,
Time
and Tide will admit no delaying.
Take a Bouze short;
leave your Nymphs on the Shore,
And silence their Mourning
With Vows of returning,
But never intending to
visit them more.
The Saylors dance.
Sorc.
See the Flags and the Streamers curling,
Anchors weighing,
Sails unfurling,
Phoebus pale deluding Beams
Gilding more deceitful Streams.
Our Plot has took,
The Queen forsook: Ho, ho, ho.
Elisa's ruin'd;
ho, ho, ho. Next Motion
Must be to storm her Lover on
the Ocean,
From the Ruins of other our Pleasure we borrow:
Elisa bleeds to Night, and Carthage flames to morrow.
Chor. Destruction's our Delight, Delight our greatest Sorrow:
Elisa dies to Night, and Carthage flames to morrow.
[A
Dance of Wizards and VVitches. [Exeunt.
Enter Queen Dido, Belinda and Train.
Dido. Your Council
all is urg'd in vain.
To Earth and Heaven I will
complain.
To Earth and Heaven why do I call?
Earth and Heaven conspire my Fall.
To Fate I sue, of
other means bereft,
The only Refuge for the Wretched
left.
Enter AEneas.
Bel. See, Madam,
where the Prince appears,
Such Sorrow in his Looks he
bears
As wou'd convince you still he's true.
AEn. What shall lost AEneas do?
How, Royal Fair,
shall I impart?
The Gods decree, and tell you we must
part.
Dido. Thus on the Fatal Bank of Nile
Weeps the deceitful Crocodile.
Thus Hypocrites that Murder
act,
Make Heav'n and Gods the Authors of the fact.
AEn. By all that's Good,
Dido. By all that's
Good no more:
All that's Good you have forswore.
To your promis'd Empire fly,
And let forsaken
Dido dye.
AEn. In spight of Jove's Command I stay,
Offend the Gods, and Love obey.
Dido. No, faithless
Man, thy Course pursue;
I'm now resolv'd as well
as you:
No Repentance shall reclaim
The injur'd
Dido's slighted Flame:
For 'tis enough, whate'er
you now decree,
That you had once a Thought of leaving
me.
AEn. Let Jove say what he will, I'll stay. [Exit
AEn.
Dido. Away.
To death I'll fly, if
longer you delay;
But Death, alas, I cannot shun,
Death must come when he is gone.
Cho. Great
minds against themselves Conspire,
And shun the Cure
they most desire.
Dido. Thy Hand Belinda, Darkness shades
me,
On thy Bosom let me Rest,
More I would,
but Death invades me,
Death is now a welcome Guest,
When I am laid in Earth, may wrongs create
No trouble
in thy Breast
Remember me, but ah! forget my Fate,
Cho. With drooping Wings you Cupids come,
Soft
and Gentle as her Heart,
Keep here your Watch and never
part.
Ange. <speaks> I see my Ev'ning
Star of Love appear,
This is no place to try my last
Effort;
I so desire, that Force, if fair means fail,
Must give me ease. Wou'd you ought with me?
Isa. I come my Lord on the same humble Suit.
Ange.
This is no place to hear you; follow me.
Now my kind
Stars assist my fierce Desires
I ask no other Influence
from your fires
O! Love! how much thy borrow'd shapes
disguise,
Ev'n to themselves, the Valiant and the
Wise.
[ Return to Top ]
First line: Take oh take those lips away
Source Edition: Measure for Measure, or Beauty the Best Advocate (1700), 4.2, p.31.
First Performed: February 1700 (Danchin)
UMI(2) reel no.: 297:31
Author: Charles Gildon
Composer: 1. John Wilson ( nwc); 2. Giovanni Giacomo Gastoldi( nwc); 3. John Weldon
Lyrics: William Shakespeare
Source/s of Music: Recorded in Day and Murrie, p.342, n.3147 [Music] 1. Playford, John, Select Musicall Ayres and Dialogues, Part One (1652), p.2 (UMI(2) 286:23) et al. 2. Synopsis of Vocal Musick (1680), pp.114-5 (not on microfilm). 3. A Collection of New Songs by Weldon (1702), ff.2-3 (not on microfilm). Third score unavailable to compiler.
Text of song:
Mar. O! Mariana! Sleep
has fled thy Eyes,
And broken slumbers scarce refresh
thy Spirits
Since Angelo is false. I wonder what Affairs
My holy Confessor can have with me
Thus late at
Night! yet I with ease may wait him.
To amuse my Sorrows
let me hear that Song.
The Maid Sings.
SONG.
Take Oh! take those Lips away,
That so sweetly were forsworn;
And those Eyes,
the break of day,
Lights that do mislead the Morn;
But my kisses bring again, bring again,
Seals of
Love, but seal'd in vain.
Enter Duke and Fryer.
Mar. Break off thy Song, and hast thee quick away;
Here comes a Man of Comfort, whose Advice <...>
[ Return to Top ]
First line: From Aurora's spicy bed
Source Edition: Measure for Measure, or Beauty the Best Advocate (1700), 5.1, pp.45-6.
First Performed: February 1700 (Danchin)
UMI(2) reel no.: 297:31
Author: Charles Gildon
Lyrics: Nahum Tate
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Masque
The Fourth Entertainment.
Phoebus Rises in his Chariot over the Sea. The Nercides out of the Sea.
Phoe. From Aurora's Spicy Bed
Phoebus rears
his Sacred Head;
His Coursers advancing,
Curvetting and Prancing.
1 Ner. Phoebus strives in vain
to tame 'em,
With Ambrosia fed too high.
2 Ner. Phoebus ought not now to blame 'em,
Wild and
eager to survey
The fairest Pageant of the Sea.
Phoe. Tritons and Nereids come pay your devotion,
Cho. To the new rising Star of the Ocean.
Venus
descends in her Chariot, the Tritons rise out of the Sea.
The Tritons dance.
Ner. Look down ye Orbs and
see
A New Divinity.
Phoe. Whose Lustre does
outshine
Your fainter Beams, and half Eclipses mine.
Give Phoebus leave to Prophesie,
Phoebus all events
can see.
Ten thousand, thousand harms
From
such prevailing Charms,
To Gods and Men must instantly
ensue.
Cho. And if the Deities above
Are victims of the Powers of Love,
What must Wretched
Mortals do.
Venus. Fear not, Phoebus, fear not me,
A harmless deity.
These are all my Guards ye view.
What can these Blind Archers do.
Phoe. Blind they
are, but strike the Heart,
Ven. What Phoebus says is
always true
They wound indeed, but 'tis a pleasing
smart.
Phoe. Earth and Skies address their duty.
To the Soveraign Queen of Beauty.
All Resigning,
None Repining,
At her undisputed sway.
Cho. To Phoebus and Venus our Homage we'll pay,
Her
Charms bless the night, as his Beams bless the day
The
Nereids Dance. The Scene changes to a Grove. The Spring appears in
an Arbour, with her Nymphs about her.
Ven. See
the Spring in all her Glory,
Chor. Welcomes Venus to
the shore.
Ven. Smiling hours are now before you,
Hours that may return no more.
Soft Musick. Exit
Phoe Ven.
<NOTE: Next song follows immediately after this one>.
[ Return to Top ]
First line: Tell me prithee Dolly [And leave thy melancholy]
Source Edition: Measure for Measure, or Beauty the Best Advocate (1700), 5.1, p.46.
First Performed: February 1700 (Danchin)
UMI(2) reel no.: 297:31
Author: Charles Gildon
Lyrics: Nahum Tate
Source/s of Music: Not recorded in Day and Murrie
Text of song:
<NOTE: This song follows immediately after the previous one>.
Enter the Country Shepherds and Shepherdesses.
A DIALOGUE
He. Tell me, tell me, prithee
Dolly,
And leave thy Melancholy;
Why on the
Plains, the Nymphs and Swains,
This morning are so jolly.
She. By Zephir's gentle blowing,
And Grace
of Venus flowing,
The Sun has been to Court our Queen,
And tir'd the Spring with wooing.
He. The Sun
does guild our Bowers,
She. The Spring does yield us
Flowers.
She sends the Vine.
He. He makes
the Wine,
To charm our happy Hours.
She.
She gives our Flocks their feeding,
He. He makes them
fit for breeding,
She. She decks the Plain,
He. He fills the Grain,
And makes it worth the weeding.
Cho. But the Jolly Nymph Thetis that long his Love sought,
Has fluster'd him now with a large Mornings draught.
Let's go and divert him then whilst he is mellow,
You know in his Cups he's a Hot-headed Fellow.
<NOTE: Next song follows immediately after this one>.
[ Return to Top ]
First line: Our youth and form declare
Source Edition: Measure for Measure, or Beauty the Best Advocate (1700), 5.1, p.47.
First Performed: February 1700 (Danchin)
UMI(2) reel no.: 297:31
Author: Charles Gildon
Lyrics: Nahum Tate
Source/s of Music: Not recorded in Day and Murrie
Text of song:
<NOTE: This song follows immediately after the previous one>.
Enter the Spring and Nymphs.
Spring.
Our Youth and Form declare,
For what we were design'd.
'Twas Nature made us fair,
And you must make
us kind.
He that fails of addressing,
'Tis
but just he should fail of possessing.
<NOTE: Next song follows immediately after this one>.
[ Return to Top ]
First line: Jolly shepherds come away
Source Edition: Measure for Measure, or Beauty the Best Advocate (1700), 5.1, p.47.
First Performed: February 1700 (Danchin)
UMI(2) reel no.: 297:31
Author: Charles Gildon
Lyrics: Nahum Tate
Source/s of Music: Not recorded in Day and Murrie
Text of song:
<NOTE: This song follows immediately after the previous one>.
Enter Shepherds.
She. Jolly Shepherds
come away
To celebrate this Genial day,
And
take the friendly hours your vows to pay.
Now make Trial,
And take no denial,
Now carry your Game, or for
ever give o're.
Cho. Let us Love and happy live.
Possess those smiling Hours.
The more auspicious
Powers,
And gentle Planets give,
Prepare
those soft returns to meet,
That makes Love torments
sweet.
<NOTE: Next song follows immediately after this one>.
[ Return to Top ]
First line: Bid the warlike trumpet sound
Source Edition: Measure for Measure, or Beauty the Best Advocate (1700), 5.1, pp.47-8.
First Performed: February 1700 (Danchin)
UMI(2) reel no.: 297:31
Author: Charles Gildon
Source/s of Music: Not recorded in Day and Murrie
Text of song:
<NOTE: This song follows immediately after the previous one>.
Enter Mars and his Attendants, on one side, Peace and her Train on the other.
Mar.
Bid the Warlike Trumpet sound,
Conquest waits with Lawrel
crown'd,
Conquest is the Hero's due.
Glorious Triumph will ensue.
Peace. 'Tis time for
War's alarms to cease,
And Heroes Crown'd with
spoils,
Enjoy the Harvest of their toils,
And reap the happy Fruits of Peace.
Mar. & his
Train Cho.) No, no! tho love would have it so,
Fame and
Honour answer---No.
Peace. Wherefore must the Warriour
be
To restless Tasks assign'd,
Give others
those delights which be
Must never hope to find,
Shall he, whose valour gain'd
The Prize in
rough alarms,
Be still condemn'd to arms,
And from a Victors share detain'd.
Mar. Cho. Yes,
yes.
Peace. Cho. No, no.
Mar. Cho. Fame,
Fame, will have it so,
Peace. Cho. Love and Reason answer
no.
Peace. Must he with endless toils be prest,
Nor with repose himself be blest,
Who gives the
weary Nations rest.
Mar. Cho. Yes, yes.
Peace
Cho. No, no.
All. Love, Reason, Honour, all will have
it so.
Cho. Since it is decreed that Wars should cease,
Let's all agree to welcome Peace.
[ Return to Top ]
First line: Come all ye shepherds come all away
Source Edition: Phaeton; or, The Fatal Divorce (1698), 1.1, p.3.
First Performed: late March/early April 1698 (Danchin)
UMI(2) reel no.: 494:8
Author: Charles Gildon
Composer: Daniel Purcell ( nwc)
Performer/s: Mr. Freeman
Source/s of Music: Recorded in Day and Murrie, p.197, n.596 [Music] Songs in Phaeton (1698), pp.1-2 (UMI(2) 2429).
Text of song:
Alth. Come, come, this
day banish all anxious thoughts;
We'll drown in Music,
and the sports prepar'd
To celebrate this Feast,
all sad reflections.
Come sit with me, and please my
wishing eyes,
While these delight our ears.
They seat themselves, and the Music comes forward,&c.
First Shepherd. Come, come, all ye Shepherds, come come
all away,
Forget all your Cares,
Your Fears,
and Despairs,
For 'tis the Lovers Holiday. [Repeat
this in a Chorus.
<NOTE: The next song follows immediately after this one>.
[ Return to Top ]
First line: Let every shepherd bring his lass
Source Edition: Phaeton; or, The Fatal Divorce (1698), 1.1, p.3.
First Performed: late March/early April 1698 (Danchin)
UMI(2) reel no.: 494:8
Author: Charles Gildon
Composer: Daniel Purcell ( nwc)
Performer/s: Mr. Magnus
Source/s of Music: Recorded in Day and Murrie, p.275, n.1967 [Music] Songs in Phaeton (1698), p.3 (UMI(2) 2429).
Text of song:
<NOTE: This song follows immediately after the previous one>.
Second Shepherd.
Let every Shepherd bring his Lass,
In mirthful sports
the hours we'll pass;
And while we sing, to raise
our pleasures,
Tread you the earth with graceful measures.
[Here repeat the Chorus, while the Shepherds, and Shepherdesses
dance.
Third Shepherd. Ye smiling Graces, come
inspire
In every Breast a tender fire,
While
wanton laughter adds to our desire.
Chorus and Dance
again.
<NOTE: The next song follows immediately after this one>.
[ Return to Top ]
First line: Life is but a little span
Source Edition: Phaeton; or, The Fatal Divorce (1698),1.1, p.3.
First Performed: late March/early April 1698 (Danchin)
UMI(2) reel no.: 494:8
Author: Charles Gildon
Composer: Daniel Purcell ( nwc)
Performer/s: Mr. Bowen and Mrs. Campion
Source/s of Music: Recorded in Day and Murrie, p.279, n.2039 [Music] Songs in Phaeton (1698), pp.4-7 (UMI(2) 2429).
Text of song:
<NOTE: This song follows immediately after the previous one>.
Boy and Girl come forward.
Boy. Life
is but a little span,
Let us pass it all in pleasure;
I'd not lose this dawn of Man,
Since my day's
so short a measure.
Girl. Why so hasty? forward Boy:
Sure 'tis not so long you've fasted?
E're
I'm ripe, to crop the joy,
Is to eat me ere I'm
tasted.
Boy. Why this coyness? why this courting
To the joys you long to prove?
Nature made you
all for sporting,
Nature made you all for love.
She. O fie! O fie!
He. You must comply.
She. I must deny.
He. You will comply.
She.
No, no, not I.
He. Good faith I'll try.
She. No, no, not I.
He. Indeed you lye.
<NOTE: The next song follows immediately after this one>.
[ Return to Top ]
First line: Come gentle Phyllis we'll softly retire
Source Edition: Phaeton; or, The Fatal Divorce (1698),1.1, pp.3-4.
First Performed: late March/early April 1698 (Danchin)
UMI(2) reel no.: 494:8
Author: Charles Gildon
Composer: Presumably by Daniel Purcell though music not extant (?)
Source/s of Music: Not recorded in Day and Murrie
Text of song:
<NOTE: This song follows immediately after the previous one>.
First Shepherd and first Shepherdess.
He. Come, gentle Phyllis,
we'll softly retire,
And once more attempt to allay
the dear fire,
My Wishes, thy Eyes and thy Arms inspire.
She. No more---for I fear we ne'r shall attain
The end of our wishes, but burn still in vain.
He.
As oft as we burn, we'll repeat the soft joy.
She.
To repeat it too often the bliss will destroy.
He. When
the fire's abated, and the passion is done,
We shall
both be as easie as e're it begun.
(The two last lines repeat together, and then repeat 'em in a Chorus.
Second Shepherd pursuing a Shepherdess that flies him.
Cruel Daphne do not fly me,
Hear me tho you
still deny me.
Hear each piteous groan and sigh,
See, oh! see! your Strephon dye.
<NOTE: The next song follows immediately after this one>.
[ Return to Top ]
First line: Fond shepherd prithee cease to woo her
Source Edition: Phaeton; or, The Fatal Divorce (1698), 1.1, p.4.
First Performed: late March/early April 1698 (Danchin)
UMI(2) reel no.: 494:8
Author: Charles Gildon
Composer: Daniel Purcell ( nwc)
Performer/s: Mr. Pate
Source/s of Music: Recorded in Day and Murrie, p.221, n.1034 [Music] Songs in Phaeton (1698), pp.7-11 (UMI(2) 2429).
Text of song:
<NOTE: This song follows immediately after the previous one>.
[Third Shepherd coming to him and pulling him back by the sleeve.
Fond Shepherd prithee cease to wooe her,
She
flies the more, that you pursue her.
All your whining,
and your pining
Will but make her proud, and vain.
Do but slight her, that will spight her,
And revenge
on her your pain.
There's Lydia, there's Chloris,
and Phyllis to please you,
They're fairer than Daphne,
yet humble and easie,
When to sighing, and groans you
pervert the brisk joy,
You sin against youth, and offend
the soft Boy,
For the pleasures he offers, you fondly
destroy.
The last three lines repeated in a Chorus.
<NOTE: The next song follows immediately after this one>.
[ Return to Top ]
First line: To passive years resign your pining
Source Edition: Phaeton; or, The Fatal Divorce (1698), 1.1, p.4.
First Performed: late March/early April 1698 (Danchin)
UMI(2) reel no.: 494:8
Author: Charles Gildon
Composer: Daniel Purcell ( nwc)
Performer/s: Mr. Bowen
Source/s of Music: Recorded in Day and Murrie, p.358, n.3435 [Music] Songs in Phaeton (1698), pp.11-2 (UMI(2) 2429).
Text of song:
<NOTE: This song follows immediately after the previous one>.
Fourth
Shepherd. To passive years resign your pining,
Active
youth no time can spare:
To unperforming Age leave whining,
Youth can better please the fair.
That sweetly
should gain,
By the languishing pain,
And
sigh more with joy, than despair.
<NOTE: The next
song follows immediately after this one>.
[ Return to Top ]
First line: Can you will you leave me
Source Edition: Phaeton; or, The Fatal Divorce (1698), 1.1, p.4.
First Performed: late March/early April 1698 (Danchin)
UMI(2) reel no.: 494:8
Author: Charles Gildon
Composer: Presumably Daniel Purcell but music not extant (?)
Source/s of Music: Not recorded in Day and Murrie
Text of song:
<NOTE: This song follows immediately
after the previous one>.
While the last Chorus
is here repeated he seems to leave her and she looks back kindly
on him, and then sings,
Can you, can you, will
you leave me?
Mind em not, for they deceive you.
Quick possessing,
Palls the blessing,
While resistance makes it lasting.
Easie love destroys
desire,
Sighs, and wishes fan your sire.
You lose your Appetite by tasting,
Which you sharpen
still by fasting:
'Tis resistance makes it lasting.
The three last lines repeated in a Chorus of Shepherdesses.
He. Enough of delays, my passion to raise,
And now to Feast let's repair;
Ne're fear I shall
prove a glutton in love,
My stomachs so keen by despair.
Chorus. Resistance and yielding well temper'd, still prove
The best Sauce to the surfeiting Banquet of love.
They all go off Singing.
[ Return to Top ]
First line: O Hymen must we always see
Source Edition: Phaeton; or, The Fatal Divorce (1698), 3.1, p.13.
First Performed: late March/early April 1698 (Danchin)
UMI(2) reel no.: 494:8
Author: Charles Gildon
Composer: Daniel Purcell ( nwc)
Performer/s: Mrs. Lindsey
Source/s of Music: Recorded in Day and Murrie, p.304, n.2480 [Music] The A'lamode Musician (1698), ff.8v-9 (UMI(2) 45:15).
Text of song:
SCENE the same Grove, at the end of it an Arbour, in it Althea, in a very melancholy posture; her Maids attending without. Music is heard, and Juno, and Hymen, with their Trains descend.
Juno. O Hymen! must
we always see
Perjur'd Man thus faithless be,
And still securely slight our Deity?
Must Vows
and Oaths by man be swore,
And then be never thought
on more?
In vain our Votaries seek our Aid,
If thus they still must be betray'd.
<NOTE: The next song follows immediately after this one>.
[ Return to Top ]
First line: These crimes unpunish'd must not go
Source Edition: Phaeton; or, The Fatal Divorce (1698), 3.1, p.13.
First Performed: late March/early April 1698 (Danchin)
UMI(2) reel no.: 494:8
Author: Charles Gildon
Composer: Presumably Daniel Purcell but music not extant (?)
Source/s of Music: Not recorded in Day and Murrie
Text of song:
<NOTE: This song follows immediatelt after the previous one>.
Hymen. These crimes
unpunish'd must not go:
No longer delay,
But call just Nemesis away,
From her dismal shades below:
To her Almighty Fate allows
To punish broken Vows.
Chorus. Come come, just Nemesis away,
Too long
your justice you delay.
<NOTE: The next song follows immediately after this one>.
[ Return to Top ]
First line: Grieve no more nor sigh in vain
Source Edition: Phaeton; or, The Fatal Divorce (1698), 3.1, p.13.
First Performed: late March/early April 1698 (Danchin)
UMI(2) reel no.: 494:8
Author: Charles Gildon
Composer: Presumably Daniel Purcell but music not extant (?)
Source/s of Music: Not recorded in Day and Murrie
Text of song:
<NOTE: This song follows immediately after the previous one>.
Nemesis and her train of Furies ascend.
Nemesis. Grieve, grieve
no more, nor sigh in vain.
Revenge alone can ease your
pain.
Revenge affords a sure Relief,
While
Love alas promotes your Grief.
Chorus. At the hiss of
their Snakes let that passion retire,
That more noble
revenge that Bosom may fire.
In this Chorus they dance
and shake their Snakes over or towards Althea, then descend--- Juno
and Hymen with their Train ascend <...>
[ Return to Top ]
First line: How happy wou'd poor woman be
Source Edition: Phaeton; or, The Fatal Divorce (1698), 4.1, p.23.
First Performed: late March/early April 1698 (Danchin)
UMI(2) reel no.: 494:8
Author: Charles Gildon
Composer: Presumably Daniel Purcell but music not extant (?)
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Alth. <...> Let me have
Music to compose my Mind.
Here in this mournful posture
he shall find me.
Sits down and reclines her Head on
her Hand.
Symphony and Song.
How
happy wou'd poor Woman be,
From the Cares of Love
still free,
Did not false Mans deluding Arts
Rob us of our Peace and Hearts.
With Tears and Oaths
the Cheat maintain
Till we poor helpless women love again,
And wound our selves, alas! to cure their pain.
But then, ah! then! how soon they change!
How soon the
fickle wanderers range!
How soon forget each Oath and
Vow,
And to some other beauty bow!
Again
they beg, again they pray,
On purpose only to betray.
Ah! seal my Heart! ye chaster Pow'rs,
Against
their cunning Art,
And of my Lifes succeeding Hours,
Ah! give to Love no Part.
At the end of the Song, Enter Phaeton and Merops.
[ Return to Top ]
First line: O sacrid Isis and Apollo hear
Source Edition: Phaeton; or, The Fatal Divorce (1698), 5.1, p.27.
First Performed: late March/early April 1698 (Danchin)
UMI(2) reel no.: 494:8
Author: Charles Gildon
Composer: Presumably Daniel Purcell but music not extant (?)
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Alth. With guilty Joy they come, but
shall return
VVith an avenging Grief. I know the poison
Must have effect before the Rites are done.
The
Bridegroom places himself on one side the Altar, the Bride
on the other, and the rest in their order, then the Music begins;
during which, Althea often looks on Phaeton.
1st
Priest. O! sacrid Isis! and Apollo hear!
O! bright Divinities
give ear,
And showr your blessings on this Royal Pair.
Repeat in a Chorus.
<NOTE: The next song follows immediately after this one>.
[ Return to Top ]
First line: Look down bright god of day look down
Source Edition: Phaeton; or, The Fatal Divorce (1698), 5.1, p.27.
First Performed: late March/early April 1698 (Danchin)
UMI(2) reel no.: 494:8
Author: Charles Gildon
Composer: Daniel Purcell ( nwc)
Performer/s: Mr. Pate
Source/s of Music: Recorded in Day and Murrie, p.281, n.2076 [Music] Songs in Phaeton (1698), p.14 (UMI(2) 2429).
Text of song:
<NOTE: This song follows immediately after the previous one>.
2d Priest. Look
down bright God of day, look down,
On this fair Virgin,
and thy Son.
Ease their Pain:
Increase their
pleasure,
In soft Chains ensure their Treasure.
Give 'em joys, ah! give 'em blisses,
Melting
as their warmest wishes!
Chorus. O! sacred Phoebus hear,
And showr your blessings on this on this happy pair.
1st Priest. Isis, by the pains Love cost you,
By the storms in which it tost you,
By the awful charms
of Jove,
By the Transports of his Love.
Chorus.
O! sacred Isis and Apollo hear,
O! bright Divinities,
give ear,
And shour your Blessings on this Royal pair.
[ Return to Top ]
First line: O Juno suadela O mighty Jove
Source Edition: The Roman Bride's Revenge (1696), 1.2, pp.6-7.
First performed: November 1696 (Danchin)
UMI(2) reel no.: 628:7 (1697)
Author: Charles Gildon
Source/s of Music: Not recorded in Day and Murrie
Text of song:
The Solemn Invocation and Music.
O Juno!
Suadela! O Mighty Jove,
Diana! and thou brightest Queen
of Love,
Who, o're our Nuptial Rites preside,
Show'r united Blessings on our beauteous Bride.
Give her Health, and give her Joy,
Give her ev'ry
Year a Boy,
Brave as his Father, as his Mother Good,
Full of the Virtues of his ancient Blood.
Send
us kind Omens while aloud we Sing,
Jo! Thalassius! Jo!
Jo! Thalassius! Jo! Jo!
When the last Chorus is sung <...>
[ Return to Top ]
First line: If Caelia you had youth at will
Source Edition: The Roman Bride's Revenge (1696), 4.1, p.35.
First performed: November 1696 (Danchin)
UMI(2) reel no.: 628:7
Author: Charles Gildon
Composer: Richard Leveridge (?) (nwc)
Source/s of Music: Recorded in Day and Murrie, p.258, n.1670 [Music] Leveridge, Richard, A New Book of Songs (1697), p.2 (nor on microfilm). Score unavailable to compiler.
Text of song:
Enter from the other side the Emperor, Attendance, Lights, Music.
Emp. That is the Window, place your selves
beneath it,
And charm my Goddess with your humble Lays.
The Force of Music, and the Pow'r of Numbers,
May break the Icy spell that chills her Heart
Against
the pressing Beams of warmer Love.
Music and Song.
(1.)
If Caelia you had Youth at Will,
And long cou'd hoard the fleeting Treasure,
You might be Coy and Cruel still,
And yet a-while delay
your Pleasure:
But your Youth is swiftly flying,
And your Charms will soon be dying;
And then you'll
use inviting Arts in vain,
Your Love will give no Joys,
your Scorn will give no pain.
(2.)
The
faded Lustre of your Eyes
Will then alass! no more surprize
us,
When every Charm in Ruin lies,
Your Face,
and not your Will denies us.
Use your Time then, use
the Blessing;
Lose no Hour without possessing:
For when the first tumultuous Bliss is past,
It
leaves a grateful Joy, that will for ever last.
[ Return to Top ]
First line: Prepare our altar make it clean
Source Edition: Boadicea Queen of Britain (1697), 4.1, pp.41-2.
First performed: c. November 1697 (Danchin)
UMI(2) reel no.: 358:2
Author: Charles Hopkins
Source/s of Music: Not recorded in Day and Murrie
Text of song:
The Scene draws, and discovers a Temple. The Queen, with the two Princesses go and kneel at the Altar, while two Druids sing the following Song.
SONG.
1
Druid. Prepare our Altar, make it clean
With Blood of
Oxen newly slain.
Burn our Incense, place it high,
And let the grateful Perfumes flie
In curling Smoak,
and cloud the Skie.
2 Druid. Throw now the strugling
Victim on,
Press, press him hard, and keep him down:
Pierce his Sides deep, and let them pour
Into your
Golden Bowls their Gore,
'Till they can shed, can
bleed no more.
1 Druid. Now all kneel with me,
kneel around,
With Adoration kiss the Ground.
Pray that the Gods at last wou'd bless
Our British
Armies with success,
And all our cruel Wrongs redress.
2 Druid. See, see auspicious Flashes rise,
Met with like Flashes from the Skies. (It Lightens)
We
offer'd in a lucky Hour,
The thirsty Flames drink
up the Gore,
And now the Victim is no more.
Chorus of both. Hark, hark, hark, hark, the Battle is begun,
Now, now the Victors shout, the Fight is done,
The Gods are pleas'd, and Conquest is our own.
At the end of the Song an Eagle flies into the Temple, and flutters a while about the Flame of the Sacrifice; at last falls in, and is burnt.
[ Return to Top ]
First line: Song has no lyrics
Source Edition: Neglected Virtue, or The Unhappy Conqueror (1696), 2.2, p.13.
First performed: early March 1696 (Danchin)
UMI(2) reel no.: 1425:2
Author: Charles Hopkins (?)
Source/s of Music: Not recorded in Day and Murrie
Text of song:
SCENE the Palace.
The King sitting on a Throne; the Queen and Princess by him. On each side the Throne, Memnon, Castillio, Lysander, Singers in Warlike Habits, A Symphony of Warlike Musick, and then a Song. After the Song, the King, &c. rises.
[ Return to Top ]
First line: Song has no lyrics
Source Edition: Neglected Virtue, or The Unhappy Conqueror (1696), epilogue
First performed: early March 1696 (Danchin)
UMI(2) reel no.: 145:2
Author: Charles Hopkins (?)
Lyrics: Peter Anthony Motteux
Performer/s: Joseph Haynes
Source/s of Music: Not recorded in Day and Murrie
Text of song:
THE EPILOGUE. [By Motteux, P.]
Written by Mr. Morteux. Spoken by Mr. Haynes, Acting the Mad-Man.
Our
Poet made me mad, and I dare say,
You're all as mad,
if you don't like his Play <...>
'Twas
Pride hot as Hell
Taught 'em first to rebell. [Sings.
I'll sing no more; I caught this Hoarseness, I'm afraid,
Dancing at Drapers-Hall last Maquerade <...>
All you patch'd Maidens, and old bearded Boys,
Off, off, off, with these vain fantastick Toys.[Sings, throws off
his Perriwig,&c.
Abstain from Vanities, and vicious
VVays,
Among the Congregation spend your Days <...>
<NOTE: No lyrics are provided for these songs>.
[ Return to Top ]
First line: Hark the big drums they beat to battle
Source Edition: Pyrrhus King of Epirus (1695), 1.1, p.5.
First performed: August 1695, or slightly earlier (Danchin)
UMI(2) reel no.: 358:2
Author: Charles Hopkins
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Pyrrh. <...> Call the Athenian Min'strel,
I want some Musick: Let me have that Song
Sung
at the Royal Banquet, made in Babylon
The last great
Feast of Alexander.
SONG.
Hark!
the big Drums they beat to Battel,
The Voice of War is
loud as Thunder.
Hark! How the Clashing Armours rattle,
And lo! the Squadrons marching yonder.
Now,
now they meet, the Word is given,
The Shields are lifted,
Swords are drawn;
The Shouts of Warriours rend the Heaven,
And every Chief comes raging on.
Hundreds
fall, and Thousands yield,
Blood and Slaughter fill the
Plain;
And Fate Triumphant through the Field,
Colossus-like, bestrides the Slain.
The Business
of the World dispatches,
decided thus in some few hours,
Death quickly ends the vanquish'd Wretches,
And Laurel crowns the Conquerours.
[ Return to Top ]
First line: Stretch'd in a Dark and Dismal Grove
Source Edition: Pyrrhus King of Epirus (1695), 5.1, pp.40-1.
First performed: August 1695 or slightly earlier (Danchin)
UMI(2) reel no.: 358:2
Author: Charles Hopkins
Composer: John Eccles ( nwc)
Performer/s: Mrs. Hudson
Source/s of Music: Recorded in Day and Murrie, p.339, n.3085 [Music] Playford, Henry, Deliciae Musicae...Third Book (1696), pp.8-9 (UMI(2) 2094:10)
Text of song:
SONG.
I wretch'd <"Stretch'd" in score>
in a Dark and Dismal Grove,
A poor abandon'd, hopeless
Maid,
Thinking on her departed Love,
Cry'd,
whither does Ambition lead?
From the dear Joys
that Love can yield,
From the soft Circle of my Arms
He rushes to the fatal Field:
Mistaken Swain, have
Danger's Charms?
Fond of a loud, yet empty
Name,
Notions of Honour you pursue;
And fansying
Happiness in Fame,
For a false Bliss forsake the true.
Lovers, with Scorn, and Hatred curs'd,
When all their Passion fail'd to move,
Found out
this Tyrant Honour first,
In pure Revenge to ruine Love.
<NOTE: Although the text reads "I wretch'd" the score begins "Stretch'd" which is clearly the better reading>.
[ Return to Top ]
First line: Cursed be he that stole away
Source Edition: Doctor Faustus (1604), sig. D2v.
First Performed: revived 26 May 1662 (L.S)
UMI(1) reel no.: 894:8
Author: Christopher Marlowe
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Enter all the Friers to sing the Dirge.
Frier. Come brethren, lets about our businesse with good deuotion.
Sing this.
Cursed be hee that stole away
his holinesse meate from the table.
maledicat dominus.
Cursed be hee that strooke his holinesse a blowe on the face.
maledicat dominus.
Cursed be he that tooke Frier
Sandelo a blow on the pate.
male, &c.
Cursed be he that disturbeth our holy Dirge.
male, &c.
Cursed be he that tooke away his holinesse wine.
maledicat dominus.
Et omnes sancti Amen.
[ Return to Top ]
First line: When first I made love to my Cloris
Source Edition: Bellamira, or The Mistress (1687), 3.1, pp.22-3.
First performed: 12 May 1687
UMI(2) reel no.: 293:9
Author: Charles Sedley (and Thomas Shadwell? (according to Harbage and Schoenbaum))
Composer: Unrecorded ( nwc)
Source/s of Music: Recorded in Day and Murrie, p.375, n.3724 [Music] Wit and Mirth...Volume Six (1720), p.308 (CT(1) 4480:06). First appeared in Wit and Mirth...Volume Five (1714), p.212 (not on microfilm).
Text of song:
Dang. No, no, thou art an honest Fellow, and a great Judge of Wit and Parts. Thou shalt hear me Sing a Song that I made upon a Spanish Princess.
SONG.
When first I made Love to my Cloris,
Cannon
Oaths I brought down
To Batter the Town,
And I find her with Amorous Stories.
Billets Doux
like small Shot did ply her,
And sometimes a Song
Went whizizng along,
But still I was never the
nigher.
At last she sent Word by a Trumpet,
If I lik'd that Life
She wou'd be my Wife,
But never be any Man's Strumpet.
I told her
that Mars wou'd not Marry,
And Swore by my Scars,
Single Combats, and Wars,
I'de rather Dig Stones
in a Quarry.
[ Return to Top ]
First line: Thyrsis unjustly you complain
Source Edition: Bellamira, or The Mistress (1687), 3.1, p.27.
First performed: 12 May 1687
UMI(2) reel no.: 293:9
Author: Charles Sedley (and Thomas Shadwell? (according to Harbage and Schoenbaum))
Composer: Thomas Shadwell ( nwc)
Source/s of Music: Recorded in Day and Murrie, p.354, n.3363 [Music] Vinculum Societatis (1687), p.29 (UMI(2) 1077:5).
Text of song:
This. Come, now we are alone, sing me the last New Song.
SONG.
Thyrsis unjustly you Complain,
And tax my tender heart
With want of pity for your
pain,
Or Sense of your desert.
By
secret and Mysterious Springs,
Alas! our Passions move;
We Women are Fantastick things,
That like before
we love.
You may be handsome, and have Wit,
Be secret and well-bred,
The Person Love must to
us fit,
He only can succeed.
Some
Dye, yet never are believ'd;
Others we trust too
soon,
Helping our selves to be deceiv'd,
And proud to be undone.
[ Return to Top ]
First line: Her breasts of delight [And two bottles of white]
Source Edition: Bellamira, or The Mistress (1687), 4.1, p.46.
First performed: 12 May 1687
UMI(2) reel no.: 293:9
Author: Charles Sedley (and Thomas Shadwell? (according to Harbage and Schoenbaum))
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Keep. Sings)
Her Breasts of Delight, are two Bottles of White, and her Eyes are two Cups of Canary. <speaks> I hope we shall have no more Lessons of Thrift, no pious Exhortations, no Lectures against Love. Why she has as good Cloaths as my Bellamira.
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First line: Song has no lyrics
Source Edition: The Mulberry Garden (1668), 2.2, p.32.
First performed: 18 May 1668
UMI(2) reel no.: 293:10 (1668)
Author: Charles Sedley (based on Moliere's "L'ecole des maris").
Source/s of Music: Not recorded in Day and Murrie
Text of song:
[A Song.
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First line: Ah Cloris that I now could sit
Source Edition: The Mulberry Garden (1668), 3.2, pp.37-9.
First performed: 18 May 1668
UMI(2) reel no.: 293:10 (1668)
Author: Charles Sedley (based on Moliere's "L'ecole des maris").
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Oliv.
How much Love and Constancy
Will you engage for then?
Wild. As much as you can find in that Paper there.
He gives a Paper to Olivia, she gives it to Victoria.
Oliv. Sister, here read 'um, I shall put the Accent
In the wrong place, stop out of time, or
One mischief
or other, and so put my poor
Servant into an Agony.
Vict. To a very young Lady. [Reads the Title.
Oliv. That's I, Wildish: come, you have been
Dabling; proceed, Sister, I fear 'um not, I have
No more pity on a Rhyming Lover, than on
A Beggar that
begs in a Tone.
Vict. Are not these Verses somewhat
Too weak to allone?
Wild. Faith, Madam,
I am of your mind, put a
Tune to 'um, 'tis an
easie Stanza.
Victoria sings.
<1.>
Ah Cloris! that I now could sit
As unconcern'd,
as when
Your Infant Beauty cou'd beget
No pleasure, nor no pain.
2.
When
I the Dawn us'd to admire,
And prais'd the coming
day;
I little thought the growing fire
Must
take my Rest away.
3.
Your
Charms in harmless Childhood lay,
Like metals in the
mine,
Age from no face took more away,
Then
Youth conceal'd in thine.
4.
But
as your Charms insensibly
To their perfection prest,
Fond Love as unperceiv'd did flye,
And in my
Bosom rest.
5.
My passion with
your Beauty grew,
And Cupid at my heart,
Still as his mother favour'd you,
Threw a new flaming
Dart.
6.
Each glori'd in
their wanton part,
To make a Lover he
Employ'd
the utmost of his Art,
To make a Beauty she.
7.
Though now I slowly bend to love
Uncertain of my Fate,
If your fair self my Chains
approve,
I shall my freedom hate.
8.
Lovers, like dying men, may well
At first disorder'd
be,
Since none alive can truly tell
What
Fortune they must see.
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First line: Sing we Alha lord of fate
Source Edition: Tamerlane the Great (1681), 1.1, pp.1-2.
First performed: Before (or early) March 1681 (Danchin)
UMI(2) reel no.: 399:18
Author: Charles Saunders
Source/s of Music: Not recorded in Day and Murrie
Text of song:
The Curtain being drawn up discovers the Temple of Mahomet, in it Tamerlane, Mandricard, Odmar, Abdalla, and Priests who sing the following Hymn.
Pr. Sing we, Alha, Lord of
Fate,
Father, Ruler of this State,
In whose
hand are War and Peace,
Overthrows and Victories
Sing we to thy Pow'r Divine
At whose Nod the
Heavens Bow,
To whom Gods Allegiance owe,
Whose just Favour Kings doth Crown,
Monarchs perish at
whose Frown,
Sing we at thy Holy Shrine.
Ch. Accept our Thanks, accept our Praise
Our solemn Vows,
our Eulogies,
The Altars which our Hearts do raise
Accept the humble Sacrifice.
Pr. To thee,
Alha, Virgins Sing
To thee Tune each Tender String,
Carry'd by an Holy Zeal
Of the Pious Matrons
tell
To thy Grace Triumphant Youth
To thee
glad Old Age doth Kneel,
Nor do Kings, thy Power Conceal.
But all admire, all Confess
'Tis thou Cursest,
thou dost Bless
To thee owe their Rise, and Growth.
Ch. Accept our Thanks, &c.
Pr. See
the Trophies see the Spoils
The glad Harvest of our Toils
See the Scythian Majesty
Crown'd with Peace
and Victory
To his Scepter Turk giv'n;
To him Conquer'd Asia bows
To him th' Earth her
Freedom owes.
Fear we now no blow of Fate,
'Tis
Just Alha rules our State,
And our Knig's the Care
of Heav'n.
Ch. Accepted are our thanks our Praise
Our Solemn Vows our Eulogies
'The Altars which
our Hearts do raise
Accepted is the Sacrifice.
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First line: How pleasant virtue are thy slumbers
Source Edition: Tamerlane the Great (1681), 4.1, p.41.
First performed: Before (or early) March 1681 (Danchin)
UMI(2) reel no.: 399:18
Author: Charles Saunders
Source/s of Music: Not recorded in Day and Murrie
Text of song:
<Asteria> is discover'd lying on a Couch, a cupid in Soft Musick descends over her and Sings.
SONG.
How pleasant Vertue are thy Slumbers,
Sound
thy Sleeps, and sweet thy Dreams,
While thee no Fear,
no Guilt incumbers,
Danger frights, or Thought condemns?
2.
Thou naked with resistless Armour
Dost thy self revenge, and shield,
Thou silent
art so sweet a Charmer,
To thy Reasons all must yield.
3.
On thy fair Brow sits smiling Honour,
Justice waits thy awful Voice,
Thou Heir to Blessings
art, thou Owner
Of Rich Fortunes Richest Joys.
4.
Thou, what is heav'ns greatest Blessing,
Art the Darling Child of Love,
Though Heav'n
yet hinder from possessing,
It will all thy Pains remove.
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First line: Behold ye sylvans that frequent
Source Edition: Tamerlane the Great (1681), 4.[2], p.47.
First performed: Before (or early) March 1681 (Danchin)
UMI(2) reel no.: 399:18
Author: Charles Saunders
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Arsanes sitting melancholly on a Green Bank, while his Page sings this
SONG.
Behold ye
Sylvans that frequent
This silent, sighing, mourning
Grove;
Behold the Fountains, Birds lament,
Unhappy Damons fatal Love.
Chloris to him her Heart denies,
For which the gentle Shepherd dies.
Ch. Chloris
to him &c.
Bright Chloris fairest of her
kind,
That charm'd with Smiles the yielding Swain,
False Chloris falser than the Wind,
That turns
his fairy Joys to Pain.
Her Vows her Oaths which tir'd
heav'n,
Were for so many Curses giv'n.
Ch. her Vows, her Oaths &c.
Then
fill with hollow Sighs the Day,
With Cypress strow the
mourning Green;
Let nothing fresh, let nothing gay
O're all the fading Plain be seen;
For see
the Swain lies bleeding there,
Wounded by Love, dead
with Despair.
Ch. For see the Swain &c.
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First line: Song has no lyrics
Source Edition: Agnes de Castro (1695), 4.1, p.34.
First performed: December 1695 (Danchin)
UMI(2) reel no.: 87:12 (1696)
Author: Catherine Trotter
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Agn. <...> False Babler peace; be chear'd
my sullen Heart.
I've heard soft Musick charms a
troubled Mind
Luls Cares asleep, and calms the roughest
Passions;
Who waits there? sing me some mournful Song.
[After a Song the Ghost of the Princess rises.
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First line: They still are constant whilst possessed
Source Edition: Love at a Loss, or The Most Votes Carry It (1700), 1.2, p.7.
First Performed: 23 November 1700 (Danchin)
Author: Catharine Trotter
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Beau. Rely'd on, O most firmly Phill, (Sings)
They still are constant whilst possest, and can do more for no man.
---And faith, fickle as they are, they must be plaguy quick to make me complain of losing them; but if any of 'em shou'd run out of my Arms, to another's, (for then she is sure to have the Start of me) I have always One in hand that supply's the Vacancy.
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First line: Thus ever frolick ever gay
Source Edition: Love at a Loss, or The Most Votes Carry It (1700), 2.1, p.11.
First Performed: 23 November 1700 (Danchin)
Author: Catharine Trotter
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Beau. You have now a great deal of my Love, 'tis certain Marriage won't add one Jot to it, and very possible it may extreamly lessen it; Now would any one in their Senses, that were in Possession of a good Estate, without any prospect of bettering it, put it to the Chance of a Dye, whether they should keep it or lose it? I am thy own, and keep me as thou hast me.
(Sings) Thus ever Frolick, ever gay.
Les. Thou art the most agreeable, tormenting Devil;---But pri'thee, tell me, what I am to expect.
Beau. Expect---Why, that the old Woman will die, and that---
Les. But will the old Woman ever die, Beaumine?
Beau. Humph! pugh, what's Age and Death to us, my Love? They are melancholy Thoughts; we've Life, and Youth, and Liberty, my Lesbia,
(Sings) And live a thousand years a day.
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First line: When present we'll love when absent agree
Source Edition: Love at a Loss, or The Most Votes Carry It (1700), 2.2, p.19.
First Performed: 23 November 1700 (Danchin)
Author: Catharine Trotter
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Beau. We are naturally fond of our own Resemblance, and by that Rule to gain Miranda's good Graces; I can't be too false, or too volage.(Sings.
When present we'll
love, when absent agree;
I think not of Iris, nor Iris
of me.
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First line: We'll neither believe what either can say
Source Edition: Love at a Loss, or The Most Votes Carry It (1700), 2.2, p.20.
First Performed: 23 November 1700 (Danchin)
Author: Catharine Trotter
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Mi. And for the future.
Beaumine (sings)
We'll neither believe what either can say,
So neither believing, can neither betray.
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First line: Song has no lyrics
Source Edition: Love at a Loss, or The Most Votes Carry It (1700), 2.2, p.21.
First Performed: 23 November 1700 (Danchin)
Author: Catharine Trotter
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Mi. For now we have told all our thoughts, we are in great danger of growing dull; next time we meet, ten to one, but we shall be quite of another mind, and so new again; In order to it, I'll give you a Song made by a Heroick Lover of mine, perhaps it may infect you with Sighing, Whining, Dying Love. ---Who's there? Desire the Gentlewoman in the next Room to walk in; you'll oblige us, Madam, with the Song I gave you last to learn. (After a Song.) Well Beaumine, How does it affect you?
<NOTE: One line from the song "What shall I say to work upon thy Soul" is reprised by a different character--and so treated as a separate song.>
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First line: What shall I say to work upon thy soul (reprise)
Source Edition: Love at a Loss, or The Most Votes Carry It (1700), 2.2, p.21.
First Performed: 23 November 1700 (Danchin)
Author: Catharine Trotter
Source/s of Music: Not recorded in Day and Murrie
Text of song:
<NOTE: This reprise follows immediately after the song is sung>.
Beau. I melt, I languish, am all transport, now,
(Sings a Line of the Song)
What shall I say to work upon thy Soul!
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First line: He's fickle and false and there we agree
Source Edition: Love at a Loss, or The Most Votes Carry It (1700), 4.1, p.34.
First Performed: 23 November 1700 (Danchin)
Author: Catharine Trotter
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Mi. Nor is he the only I'll receive Addresses from
(Sings) He's fickle and false, and there we agree
---We shall have the more Adventures to entertain one another with; so be diverting always, always new, and I'll engage to secure him the more, by not endeavouring to confine him.
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First line: Women's rage like shallow waters
Source Edition: Love at a Loss, or The Most Votes Carry It (1700), 4.1, p.42.
First Performed: 23 November 1700 (Danchin)
Author: Catharine Trotter
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Bea. (Sings) Womens rage like shallow Waters.
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First line: Women by force of arms can ne're be won
Source Edition: Love at a Loss, or The Most Votes Carry It (1700), 4.2, p.49.
First Performed: 23 November 1700 (Danchin)
Author: Catharine Trotter
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Beau. Wisely resolved, Sir, a Man of Honour, should not decline fighting upon any reasonable occasion; but where it can answer the end--- If it be for Revenge, Stabbing a man is a very substantial one; but for a Mistress, how the Devil does my Sword know her inclinations? If it happen to dispatch the man she likes, I am sure to be hated the more for it; if a man she dislikes, there was no danger in him; so it can never be to any purpose. Come, Sir, let us try other means, Capitulate with the Lady,
Women by force of Arms
can ne're be won,
Unless the Guards within, betray
the Town.
Sound a parley, ye Fair, and Surrender. (Exit.
Singing with Gr.
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First line: Occasion's swift and bald behind
Source Edition: Courtship a la Mode (1700), 1.2, p.9.
First Performed: 9 July 1700
UMI(2) reel no.: 137:8
Author: David Craufurd
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Flo. <...> About a year and a half. [Sings.
Occasion's swift, and bald behind,
Let's
catch her as she runs along;
She seldom, seldom turns
again,
And leaves us always in the wrong.
Then let's be merry whilst we may,
And drive all
careful thoughts away,
For Age will ne're the loss
repay.
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First line: Song has no lyrics
Source Edition: Courtship a la Mode (1700), 5.2, p.50.
First Performed: 9 July 1700
UMI(2) reel no.: 137:8
Author: David Craufurd
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Dick. Uds so, Sir-father, I'll sing a Song first, I learn't it of my Landlady's daughter at the Swan, who had the Child by young Hobs the Carrier.
Sir Anth. With all my heart boy; Sincerely I'm glad to see thee so merry.
Choll. Rogues, Villains, they will be all hang'd. [Speaking to himself aside.
Dick. Hem, hem, by Jupiter I have a very good pipe upon occasion.
[Here Dick sings a Comical Song.
Now, Sir father, how d'ye like it? by Apollo I sung it very well.
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First line: Song has no lyrics
Source Edition: Courtship a la Mode (1700), 5.2, p.50.
First Performed: 9 July 1700
UMI(2) reel no.: 137:8
Author: David Craufurd
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Sir Jo. Now let's have another Song.
Sir Anth. And as that ends, let the Dance begin.
[Here a Song, then a Figure dance.
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First line: That heart that bows to the power of love
Source Edition: Love's Triumph, or The Royal Union (1678), 3.8, p.33.
First performed: 1678
UMI(2) reel no.: 349:1
Author: Edward Cooke
Source/s of Music: Not recorded in Day and Murrie
Text of song:
A SONG.
1.
That heart
that bows to the power of Love,
In the happiest Empire
is found;
No joyes so sweet, or so ravishing prove,
As the joyes with which True Love is crown'd.
They are mixt with such heightened Raptures and Bliss,
That the Soul is all lost in its own Extasies.
2.
Sometimes, 'tis true, the pleasure, by fears,
Is allay'd, and sighs sadden the heart:
But
Loves pains are soft, and we by our tears,
Find a way
for the ease of our smart.
All their Stages are short,
and they're hurried along,
Making way for new Pleasures
that come in a throung.
3.
Our
Charms come most from the wounds of our Love,
And its
Launces make sweet our desires;
The pains we bear, so
delightful do prove;
That they raise our Joyes higher
and higher.
Oh! no happiness e're can these Pleasures
exceed,
Which we still by our fears, and our jealousies
feed.
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First line: Song has no lyrics
Source Edition: The Change of Crowns (1667), 3.3, p.56
First performed: 15 April 1667
UMI(2) reel no.: Not filmed
Author: Edward Howard
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Scene Nunnery A Lamp burning: A song. ring.
The Scene Changed into a Monastery wherein Nunns are Discoverd in the Quire singing, at the Ringing of a Bell the Quire is closed.
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First line: By the lilies of thy cheeks and the roses of mine
Source Edition: The Man of Newmarket (1678), 3.1, pp.29-30.
First performed: March 1678 (Danchin)
UMI(2) reel no.: 498:1
Author: Edward Howard
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Whiff. None but mine, and that does make such a pretty Infant in thine. Prethee try whether thou canst see it and our selves together in my Looking-glass. [Offers his Glass, and sings.
The Song.
<1.>
By
the Lilies of thy Cheeks, and the Roses of mine,
By every
soft dimple,
And every pretty twinkle
That
conveys my Beauty to thine;
Let me decoy thee as my Duck,
And next teach thee to give suck,
Or my face I
behold wants luck.
2.
See how
my wanton-eye-babes invite thee:
Or what tickles above
measure,
Take me sprucely together,
My fineness
I'll yield to delight thee.
And should'st thou
clip more refine
Than French or English when they twine,
My Delicass thou't prove sublime.
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First line: Though sports of the field
Source Edition: The Man of Newmarket (1678), 4.1, p.44.
First performed: March 1678 (Danchin)
UMI(2) reel no.: 498:1
Author: Edward Howard
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Swiftsp. <...> And next let's have a Song.
The Song.
1.
Though
sports of the Field
Their pleasures may yield,
As the Hound or the Horse doth run:
Yet there's
no such delight
As the Bed at night,
Where
Woman is surest won.
2.
Let
men sport, drink, or play,
Or take business in their
way,
The Females Intrigue will be
The pastime
at last,
Which Nature does most haste,
To
start with her he and she.
3.
Then
Love is man's pleasure,
And will be his leisure,
What respites soe're it make:
As Women dress
at home,
Or from abroad Men come,
'Tis
odds they would it partake.
Towards the end of the Song, Jocalin passeth with her Waiter over the Stage, and drops her Glove.
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First line: Though nature some tell grows old grows old
Source Edition: The Six Days' Adventure, or The New Utopia (1671), 1.1, pp.1-2.
First performed: 6 March 1671.
UMI(2) reel no.: 458:11
Author: Edward Howard
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Merid. <performed by Underhill> <...> Hast thou writ the song out fair I gave thee?
Boy.
I have writ the Rhime true at least, Sir;
And that's
it which makes the musick.
Merid. Away, away;
I should be loath
To make such a Satyrical repartee to
any of our Poets:
Give me the song.
Boy. Shall I sing it? [Boy deliver the Song
Merid.
No Boy, I'll not entertain my self at
The Second
hand; should a Lady offer her voice
As amorous as I feel
my self to be, I'de
Rather desire her pardon, and
make use of my natural Air
Boy. This master of
mine was ever inclin'd to mirth;[aside.
But this
has so much of the extreme, that did I but
Observe such
another Example, and were old enough
To be skill'd
in the Stars, I should judge
We had a various world towards.
[Meridith having ponder'd on the Song a while, with an airy posture, sings it.
The Song.
1.
Though Nature, some tell, grows old,
grows old,
And youth and age decay;
In spight
of all her winters cold
I merrily sing
My
ages spring:
And can love at this day,
And
can love at this day.
2.
Whilst
on my head these hairs do show,
That time is old, not
I
Unless his hours more youthful flow
And
Autumn meet
With Summers heat;
Who else must
live and die
Less pleasantly than I.
{Enter Sir Grave Solymour at the end of the song, who stops his ears hearing Meredith sing.
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First line: What though her eyes are black
Source Edition: The Women's Conquest. A Tragi-comedy (1670), 1.1, pp.8-9.
First performed: c.November (H&S), Spring? 1670 (Danchin).
UMI(2) reel no.: 358:4 (1671)
Author: Edward Howard
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Fosc. The very best of our Banes, that have prov'd
Wedlock---Come I'le sing thee a catch I have
Made on this subject.
He Sings.
<1.>
What though her Eyes are black,
And kisses
with a knack,
Natures best skill e're created?
In time she may prove
A surfeit to Love;
And so deserve to be hated.
2.
Love freed from this diet
Is best kept at quiet,
The wanton still longs for to range;
Let's
thank then our Laws
In Wedlocks frail cause,
Gave Husbands a License to change.
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First line: See see our goddess wakes
Source Edition: The Women's Conquest. A Tragi-comedy (1670), 1.1, pp.16-7.
First performed: c.November (H&S), Spring? 1670 (Danchin).
UMI(2) reel no.: 358:4 (1671)
Author: Edward Howard
Source/s of Music: Not recorded in Day and Murrie
Text of song:
The Song in the Masque.
1 Nym. See, see,
our Goddess wakes,
Whilst we harmonious notes prepare,
Such as bright Phoebus makes,
When to salute Aurora's
ear,
The Musick of his sphere he takes.
2
Nym. Or as before her Curtains drawn
We welcom in the
grey-ey'd dawn,
When for the Chase
Diana
bends her matchless bow,
And gives her self the first
hollow.
1 Nym. Then through Plains, Lawns, and
Woods,
Over Mountains and Floods
Nymphs trip
it, Nymphs trip it apace.
2 Nym. Whilst the Hart,
Deer, or Roe
They swiftly pursue,
Their Goddess
best pleaseth to chase.
1 Nym. See she appears
More bright then Hesperus does rise,
Whose beams
Stars borrow for their eyes.
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First line: To arms to arms the warlike fare
Source Edition: The Women's Conquest. A Tragi-comedy (1670), 4.1, pp.59-60.
First performed: c.November (H&S), Spring? 1670 (Danchin).
UMI(2) reel no.: 358:4 (1671)
Author: Edward Howard
Source/s of Music: Not recorded in Day and Murrie
Text of song:
The Queen Mandana leads her Amazon Women in state round the Stage, making several pauses while the Ode is Singing; at the end of which they go off.
The Amazons are suppos'd to sing the Martial Ode.
To Arms, to Arms, the
Warlike fare,
As our Heroick Charms,
With
Martial Eccho's fill the Air,
Inviting unto Arms.
Our Women with their Bows and Darts,
Dare Mans
rough powers assail,
And Conquer such unshaken Hearts
To give Love laws as we prevail.
Advance,
advance, lest fortunes haste
Our Onsets should delay,
Obliging time that flies so fast,
To curb his Steeds
this day;
And hand in hand with mighty fame,
That wraps in Clouds her head,
Her glorious daughters
us proclaim,
And first our stately Triumphs lead.
We challenge Dian and her Host
Of Nymph-like
Archers all,
Who from their Quivers glory boast,
Or proud Acteons fall;
If ever their bright eyes
beheld,
A Chorus like to ours;
Or saw themselves
so far excell'd
By Womens more Heroick powers.
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First line: Give us more wine
Source Edition: The Frolicks, or The Lawyer Cheated (1671), 2.1, p.86
First performed: 1671
UMI(2) reel no.: Not filmed
Author: Elizabeth Polwhele
Source/s of Music: Not recorded in Day and Murrie
Text of song:
<NOTE: Text is edited into modern spelling>.
Rightwit. Why ye shall not, sir. (Sings.)
Give
us more wine
That's brisk and fine
That
we may drink
Until we think
That we are all
divine.
Sir Gregory (sings). Aye, more wine--
Zany (sings). Till we are al divine.
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First line: He that one woman can satisfy
Source Edition: The Frolicks, or The Lawyer Cheated (1671), 2.1, p.92.
First performed: 1671
UMI(2) reel no.: Not filmed
Author: Elizabeth Polwhele
Source/s of Music: Not recorded in Day and Murrie
Text of song:
<NOTE: Text is edited into modern spelling>.
Mark. My wife, yes--and thousands besides. Do you think me a heathen, to love no woman but my own? Faith, I have more French religion in me (He sings.)
Song
He
that one woman can satisfy
Is an enemy to his nation,
Since he with a score may multiply
For its service,
his generation.
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First line: Thou shalt not touch my lips
Source Edition: The Frolicks, or The Lawyer Cheated (1671), 3.1, p.100.
First performed: 1671
UMI(2) reel no.: Not filmed
Author: Elizabeth Polwhele
Source/s of Music: Not recorded in Day and Murrie
Text of song:
<NOTE: Text is edited into modern spelling>.
Rightwit. With a little of thy help. I have much ado to forbear kissing thee--
(She laughs at him and sings.)
Song
Thou shalt not
touch my lips,
Nor anything else that is warm.
I know thou wilt do me no good,
And, by God, thou
shalt do me no harm.
Rightwit. The rogue is full of humour.
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First line: If I were tortured with greensickness
Source Edition: The Frolicks, or The Lawyer Cheated (1671), 4.1, p.119.
First performed: 1671
UMI(2) reel no.: Not filmed
Author: Elizabeth Polwhele
Source/s of Music: Not recorded in Day and Murrie
Text of song:
<NOTE: Text is edited into modern spelling>.
Rightwit. Stay, I can cure thy greensickness yet as low as the tide is (CLARABELL sings.)
Song
If I were tortur'd with greensickness,
Dost
think I would be cur'd by thee?
I then too soon might
swell in thickness--
A pox upon your remedy!
The cure may prove worse than the anguish,
And I of a
fresh disease might languish.
But I'll keep myself
from such distemper
In spite of all that you dare do;
Although you are so free to venter,
I'll be
hanged if I did not baffle you.
Rightwit. Nay, like enough. Come, prithee let me kiss thee a little. 'Tis that, I know, thou cam'st for. The holiest of you cannot live without it. (She laughs and sings again.)
Kissing's
not such a recreation
But, faith and troth, I can live
without it.
Though I confess 'tis all in fashion
And so will continue, we need not doubt it.
Though
many a cuckold, I am certain,
Hath been made by kissing--and
their fortune.
But to Heaven all cuckolds go, 'tis
granted;
Therefore my husband's soul I'll save:
Of horns he never shall be scanted,
Whilst I but
youth and courage have
[ Return to Top ]
First line: O cuckold thou men most blessed
Source Edition: The Frolicks, or The Lawyer Cheated (1671), 5.1, p.137.
First performed: 1671
UMI(2) reel no.: Not filmed
Author: Elizabeth Polwhele
Source/s of Music: Not recorded in Day and Murrie
Text of song:
<NOTE: Text is edited into modern spelling>.
Ralph (sings).
O Cuckold, thou of men
most bless'd;
O Cuckold, thou of chosen nation;
Fate's self has given thee on thy crest
Sure
tokens of salvation.
The horns that do thy head invest
Are proof against damnation.
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First line: Song has no lyrics
Source Edition: Dame Dobson: or, The Cunning Woman (1683), 3.8, p.35.
First performed: 31 May 1683 (Danchin)
UMI(2) reel no.: 1129:10
Author: Edward Ravenscroft
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Cler. <...> I pretend a little to Singing, I have all the New Ayres in Town, and can sing all the Songs that are now in Season, I wou'd desire you to mellow my Voice, and take away a little harshness, that I may have it more at command, and bring it within compass. There are certain little Softnesses and Rowlings in the Voice, which are extream pretty and sweet, which I have not yet to my fancy. Dame. If you'll go to the Charge on't Madam, I'le make you sing like a Cherubin; I make an admirable Syrrup for that purpose, the Composition is a little dear, you shall not use it above three Months, but--- Cler. Make, make it, I'le not spare for Cost.
Dame. It shall be ready with the Pomatum, I'le only take Measure of your Voice.---
Cler. Take measure of my Voice, how is that?
Dame. That is, you must let me hear you sing a little, that according to the Strength and Sweetness of your Voice, I may add or diminish in the Composition of the Syrrup.
Cler. I have a little hoarsness at present.
Dame. No matter, when once I have heard you, I shall guess how 'tis.
Mrs. Clerimant Sings.
Cler. This was not altogether well Sung, but---
Dame. You have already a very good manner of Singing, but the Syrrup I will make for you.
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First line: How sweet a torment 'tis to love
Source Edition: King Edgar and Alfreda (1677), 1.1, p.5.
First performed: Early September? 1677 (Danchin)
UMI(2) reel no.: 473:15
Author: Edward Ravenscroft
Source/s of Music: Not recorded in Day and Murrie
Text of song:
The King and Queen sleeping in an Arbor hand in hand. Matilda sitting on the other hand of the King awake, Alicia playing a soft Ayr on the Lute, and singing to't.
SONG.
How sweet a torment 'tis to love?
And ah
how pleasant is the pain?
I would not if I could remove
And now put off the amorous chain.
Though Chloris
eyes do give me Laws:
And me of liberty beguile
I like a Martyr love my cause
And on my fair tormentor
smile.
[ Return to Top ]
First line: Phillis do not slight your prize
Source Edition: King Edgar and Alfreda (1677), 3.1, pp.25-6.
First performed: Early September? 1677 (Danchin)
UMI(2) reel no.: 473:15
Author: Edward Ravenscroft
Source/s of Music: Not recorded in Day and Murrie
Text of song:
SONG.
Phillis do not slight your Prize,
And scorn my Heart, because your Eyes
At first
did conquer me and win it:
Nor think mine's not a
real flame,
'Cause it so on a sudden came,
Burst forth and rag'd all in a Minute.
Meaner
Beauties by their Arts
More than their force do conquer
hearts,
And by degrees a flame engender.
Small Armies so do Sieges form,
Whilst Royal Ones take
Towns by Storme,
And bravely force 'em to surrender.
They but lie in Ambuscade,
Whilst nobly you
a heart invade,
And conquer it in your first advance.
Of Victories thus gain'd by you,
The Glory's
to your Beauty due;
They their Conquests poorly owe to
Chance.
[ Return to Top ]
First line: Song has no lyrics
Source Edition: Scaramouch a Philosopher, Harlequin a Schoolboy, Bravo, Merchant, and Magician (1677), 1.1, p.1.
First performed: 5 May 1677
UMI(2) reel no.: 645:21
Author: Edward Ravenscroft
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Harl. Signior Dancero. [Sings and dances and makes legs
Signior Singero. [Sings out and then sings a piece of a Tune
Signior Fencero, Euh. Euh, Euh, Servitore, Servitore.
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First line: Pourpassa tempio
Source Edition: Scaramouch a Philosopher, Harlequin a Schoolboy, Bravo, Merchant, and Magician (1677), 1.1, pp.1-2.
First performed: 5 May 1677
UMI(2) reel no.: 645:21
Author: Edward Ravenscroft
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Harl. You have been teaching Signior Octavio his exercises. Signior Chantero i'le sing you a rejoycing Air, pourpassa---tempio une Alegareizza, una Cantsona, Bella, Bella,
Harl. sings a ridiculous Song.
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First line: Song has no lyrics
Source Edition: Scaramouch a Philosopher, Harlequin a Schoolboy, Bravo, Merchant, and Magician (1677), 2.1, p.25.
First performed: 5 May 1677
UMI(2) reel no.: 645:21
Author: Edward Ravenscroft
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Scar. Si.
As they stand listning, Harl enters, stands betwixt 'em, looks in their faces; bursting into a little laughter, retreats, sings, and laughs.
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First line: Song has no lyrics
Source Edition: Scaramouch a Philosopher, Harlequin a Schoolboy, Bravo, Merchant, and Magician (1677), 3.1, p.34.
First performed: 5 May 1677
UMI(2) reel no.: 645:21
Author: Edward Ravenscroft
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Harlequin goes and sits in the Mistresses Chair, takes the Rod and plays with it; pulls out an Apple, and eats and sings with his mouth full.
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First line: Song has no lyrics
Source Edition: Scaramouch a Philosopher, Harlequin a Schoolboy, Bravo, Merchant, and Magician (1677), 4.1, pp.62-3.
First performed: 5 May 1677
UMI(2) reel no.: 645:21
Author: Edward Ravenscroft
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Spitt. Eh! What was the meaning of this Blockheadly Philosopher, I cou'd not get a positive word from him. Enter Aurelia, Zerbinetta, like Gypsies, singing and dancing.---Oh!---here are some Gypsies, I'l see what they'l say to the business; they'r very merry: Heark you there, can you tell my Fortune?
[ Return to Top ]
First line: La la la la
Source Edition: Scaramouch a Philosopher, Harlequin a Schoolboy, Bravo, Merchant, and Magician (1677), 4.1, p.63.
First performed: 5 May 1677
UMI(2) reel no.: 645:21
Author: Edward Ravenscroft
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Zerb., Aur. ---La! la! la! la!---
[Both sing and dance, and Ex.
<NOTE: The text lists this passage occuring again a few lines later, but as the characters have not returned to the stage, it is likely to have been an error>.
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First line: Chi non beve vita breve gaudera
Source Edition: Scaramouch a Philosopher, Harlequin a Schoolboy, Bravo, Merchant, and Magician (1677), 4.1, pp.70-68? (Page numbers are in disarray).
First performed: 5 May 1677
UMI(2) reel no.: 645:21
Author: Edward Ravenscroft
Source/s of Music: Not recorded in Day and Murrie
Text of song:
He acts three men, in speaking and singing in three several Voices.
1. Well, now let's go find out Scaramouch.
2. And drink and sing all the way.
3. Let's sing 'tother catch, and make an end of our Bottle first.
1. I'l begin.
Chi non beve, vita
breve, gaudera. [sings a Treble.
I'l bon Vino, che'
divino, viver fa.
Confusion to Signior Scaramouch.---So.
2. Chi non beve, &c. [sings a Tenor.
Confusion
to Scaramouch.
3. Chi non beve, &c. [a Base.
1. <speaks> Come, here's one shall drink
and sing too.[as Harlequin.
Eh! Signior; I am in hast.
2. Sing, sirrah. [as Harl.
I can't sing.
3. Sing after me.--- <sings> Chi non beve.
[as Harl,
Chi non beve.
1. <speaks>
Fie, fie; sing after me, and observe how I beat time upon the Sack.---<sings>
Chi non beve. [as Harl.
Che non beve.
2.
<speaks> Agen,---agen;---<sings> Chi
non beve, &c. [as Harl.
Chi non beve.
[ Return to Top ]
First line: Tricola tracola whiz Tricola tracola Buz
Source Edition: Scaramouch a Philosopher, Harlequin a Schoolboy, Bravo, Merchant, and Magician (1677), 5.1, p.66? (Page numbers are in disarray).
First performed: 5 May 1677
UMI(2) reel no.: 645:21
Author: Edward Ravenscroft
Source/s of Music: Not recorded in Day and Murrie
Text of song:
[Harl. with a dark Lanthorn.
Tricola,
tracola, whiz! Tricola, tracola, Buz!
Tricola, tracola,
Fitz!
Tricola, tracola, Ptru-ru-ru!
Tricola,
tracola, Bro-thro-rou!
Tricola, tracola. Goes about prancing,
sings this ridiculously; at last stops.
Tricola, tracola.
Tricola, tracola.
Doodle-doodle-doo.
My Conjurations are Pacifick;
Your Fortune see in Hierogliphick.
A vision of horns appears in shadows, increase to a vast bisness, and vanish.
<A few lines of dialogue separate this from the following>
Harl.
Tricola, tracola; tricola, tracola; tricola, tracola,&c.
Toodle-doodle-doo, &c. [Goes about prancing, as before.
<This is repeated on numerous occasions to the end of the scene>.
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First line: Musical Entertainment (The Loves of Mars and Venus)
Source Edition: The Anatomist, or The Sham Doctor, with The Loves of Mars and Venus (1697), 1.1, pp.1-2.
First performed: 14 November 1696 (Danchin)
UMI(2) reel no.: 290:5
Author: Edward Ravenscroft (and Peter Anthony Motteux-- PMTLMV1 ff)
Source/s of Music: Not recorded in Day and Murrie.
Text of song:
Wife. Come Husband, stay and hear the Musick, my Daughter's Master will take it ill else, it was provided for the Play-house, and he has brought 'em all here to practice it over in form: You'll have time enough to visit your patients.
Doct. Let 'em begin presently then, for time is precious to men of business.
Wife. The Musick strikes up already. Sit down, Husband, Daughter, and Beatrice, take you your places over against us.
They all sit down, and the first Musical Entertainment begins. After that they rise and speak.
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First line: Musical Entertainment (The Loves of Mars and Venus)
Source Edition: The Anatomist, or The Sham Doctor, with The Loves of Mars and Venus (1696), 1.2, p.12.
First performed: 14 November 1696 (Danchin)
UMI(2) reel no.: 290:5
Author: Edward Ravenscroft (and Peter Anthony Motteux-- PMTLMV1 ff)
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Beat. My Master, Madam, has sent word, he can't be at home till dinner-time, but wou'd have you go on with the Musick.
Wife. Then we'll loose no more time; come let us seat our selves; I long to hear more.
Here comes in the second Musical Entertainment: After which they rise and speak.
Wife. We'll hear the rest after Dinner.
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First line: Musical Entertainment (The Loves of Mars and Venus)
Source Edition: The Anatomist, or The Sham Doctor, with The Loves of Mars and Venus (1696), 2.1, p.25.
First performed: 14 November 1696 (Danchin)
UMI(2) reel no.: 290:5
Author: Edward Ravenscroft (and Peter Anthony Motteux-- PMTLMV1 ff)
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Dr. Come, come, divert your self, and think no more on't.
VVife. Ay, well thought on---Beatrice are the performers ready to go on with their Musical Entertainment. <...>
Beat. Faint hearted, Crispin!
In spight of
all ill luck in Love's Hist'ries,
I'de venture
Limb and Life to serve my Mistress.
Here comes in the third Musical Entertainment.
[ Return to Top ]
First line: Musical Entertainment (The Loves of Mars and Venus)
Source Edition: The Anatomist, or The Sham Doctor, with The Loves of Mars and Venus (1696), 3.1, p.39.
First performed: 14 November 1696 (Danchin)
UMI(2) reel no.: 290:5
Author: Edward Ravenscroft (and Peter Anthony Motteux-- PMTLMV1 ff).
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Dr. Come then, sit down, and listen to the Musick, and after Supper we'll hear at large the adventures of Doctor Crispin in this Affair.
Cris. Beatrice and I will tell you
the whole Story,
And as we snack'd the Fees, we'll
share the Glory.
The Fourth and last Musical Entertainment. After that, the Curtain falls.
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First line: Tell me mother pray now do
Source Edition: The Canterbury Guests; or, A Bargain Broken (1694), 3.5, p.35.
First performed: late September 1694 (Danchin)
UMI(2) reel no.: 398:6 (1695)
Author: Edward Ravenscroft
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Breed. Sings. Tell me Mother, pray now do, &c.
Dazie. Sings. She got Money by't, she got Money by't,&c.
[ Return to Top ]
First line: Song has no lyrics?
Source Edition: The Canterbury Guests; or, A Bargain Broken (1694), 3.5, p.35.
First performed: late September 1694 (Danchin)
UMI(2) reel no.: 398:6 (1695)
Author: Edward Ravenscroft
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Carl. Bid the Musick come in Ladies, the Captain has brought his Boats crew to entertain you with a Song and a Dance.
After the Song and Dance, Enter Greedy; Hillaria, Arabella, in Mens Habits.
<NOTE: This is a possible location for ERTCG5>.
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First line: I have a thirsty soul [Then give me a full bowl]
Source Edition: The Canterbury Guests; or, A Bargain Broken (1694), 3.5, pp.35-6.
First performed: late September 1694 (Danchin)
UMI(2) reel no.: 398:6 (1695)
Author: Edward Ravenscroft
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Carl. You may Sing, Drink, Swear, Roar, and Ruffle, and do as you please.<...>
Greed. Ay, ay, about with it. (Sings.
I have a thirsty Soul,
Than give me a full Boul,
And let me drink, without
Controul.
In spight of the Vicar, and his dull teaching.
We'll take of our Liquor, and ne'er mind his preaching;
Let him Damn us to the Pit hole.
Capt. There's somthing in that.
<dialogue continues at some length until a reprise>
Whilst the Dance continues, Greedy nods his Head to the Tune, Drinks, and now and then Sings, I have a thirsty Soul.
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First line: Song has no lyrics
Source Edition: The Canterbury Guests; or, A Bargain Broken (1694), 4.2, pp.39-40.
First performed: late September 1694 (Danchin)
UMI(2) reel no.: 398:6 (1695)
Author: Edward Ravenscroft
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Hil. How now Gallant? (Careless Sings and walks about, as not much minding her.
Carel. O Madam!---
Hil. You are very merry Gallant.
Carel. I have no Reason to be otherwise.
(Sings and walks about 2 or three times, and jostle one another.
Why do you jostle me?---
<dialogue continues at some length>
Hil. Yes in my Conscience, you was coming to see me.
Sings and walks about Carelessly.
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First line: Good neighbour why do you look awry
Source Edition: The Canterbury Guests; or, A Bargain Broken (1694), not printed in play (see ERTCG2 for possible location).
First performed: late September 1694 (Danchin)
UMI(2) reel no.: Not applicable
Author: Edward Ravenscroft
Composer: Henry Purcell ( nwc)
Performer/s: "Two Wives" and two husbands.
Source/s of Music: Recorded in Day and Murrie, p.229, n.1175 [Music] Thesaurus Musicus...Third Book, 1695, pp.1-6 (UMI(2) 1820:20) and others.
Text of song:
[1 Wife <Mrs. Jones>] Good
Neighbour why, why doe you look awry?
You'r grown
a wond'rous, wond'rous Stranger,
You Huff, and
you Puff, and you walk about
As if you'd burst with
Anger.
Is it for that your Fortunes great,
Or you so Wealthy are?
Ther's none so nigh, that
lives so high,
Who can with you compare:
The other day I heard one say,
Your Husband durst not
show his Ears;
But like a Lout, did walk about,
So full of sighs and fears.
[2 Wife] Good
mistress Tart, I care not a Fart,
For you nor all your
Jears;
My Husbands known, by every one,
To
be both chast and pure,
And so he'd be continually,
But for such Jades as you are;
You Wash, you Lick,
You Trim, you Trick,
You Toss, you Lear,
You Grin, you Nod,
You Wink and Pink, and in his
Drink,
You strive to draw him in.
[1
Wife] You lye, you Punk, your always Drunk,
You make
a noise, you make a strife,
And like a Whore, run on
the Score,
And lead him a weary, weary life.
[2 Wife] Tell me so agen, you sawcy Quean,
Tell
me so agen, you Sawvy Quean,
And I'le pull you by
the Quiofe.
[1 Wife] Go, go you'r a dirty
Bare,
Your Husband cannot bear it,
A nasty
Quean, as e're was seen,
Your Neighbours all declare
it;
A fulsome Trott, and good for nought,
Unless it be to Chatt;
You stole a Spoon out of the Room,
Last Christning you were at.
[2 Wife] You
lye you Jade, you know your trade,
Nay more I hear you
are not sound;
For this disgrace, i'le claw your
Face,
And I'le fell you to the ground.
[The Two Husbands] Heyday! what's the matter now?
Jades I think are in their drink;
'Tis so, 'tis
so upon my life;
<1 Husband: Mr. Jones>
Good neighbour, pray let's end this Fray,
And take
each Man his Wife;
You mistress Jones, I'le break
your Bones,
If thus you mutiny;
Here's
a salt Eel, which you shall feel,
Unless you soon agree.
[1 Wife] My dearest Dear, be not severe,
Nor
mind our twittle twattle;
[2 Wife] We'll drink
and Freinds, and so all ends,
In this good dram o'th
Bottle.
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First line: I found a thief a managing
Source Edition: The Careless Lovers (1673), 4.1, p.49.
First performed: 12 March 1673
UMI(2) reel no.: 473:14
Author: Edward Ravenscroft
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Breedwell and Clappam, both Sing and Dance about.
Enter Lovel and Careless, Singing.
SONG.
I found a Thief a Managing
My Natural on a
Chair,
I pull'd out Focus speedily---
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First line: Come peevish lovers hear and see
Source Edition: The Careless Lovers (1673), 4.1, p.53.
First performed: 12 March 1673
UMI(2) reel no.: 473:14
Author: Edward Ravenscroft
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Clap. Sings.
Clap. Come peevish Lovers,
hear and see
How my Love and I Agree:
We
are in sweet embraces twin'd;
I am Constant, and
she is Kind.
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First line: Song has no lyrics
Source Edition: The Careless Lovers (1673), 5.1, pp.61ff.
First performed: 12 March 1673
UMI(2) reel no.: 473:14
Author: Edward Ravenscroft
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Carel. O Madam.
[Sings, and walks about.
Hil. You are very merry Gallant.
Carel. I have no reason to be otherwise. Why do you Josle me?
Sings, and walks about two or three times, and Josle one another.
<and after a few more lines>
[Sings, and walks about carelesly.
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First line: Wake all the dead what ho what ho
Source Edition: The Careless Lovers (1673), 5.1, pp.66.
First performed: 12 March 1673
UMI(2) reel no.: 473:14
Author: Edward Ravenscroft
Lyrics: A familiar catch? Lyric also appears in WDTLAL1.
Source/s of Music: Recorded in Day and Murrie, p.366, n.3561.
Text of song:
Deb. Wake all the Dead, what ho, what ho---
[Deb. sings.
<and after some more dialogue>
Deb. The Windows are op't, the doors unbar'd, come from the Church, and the Church-yard.
[Deb. sings.
2d. Bearer: The Voyce is this way.
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First line: I sigh <languish> all the night and I languish <sigh> all day
Source Edition: The Citizen Turned Gentleman (1672), 1.1, pp.2-3.
First performed: 4 July 1672
UMI(2) reel no.: 467:14
Author: Edward Ravenscroft
Composer: Unrecorded ( nwc)
Source/s of Music: Recorded in Day and Murrie, p.250, n.1541 [Music] Playford, John, Choice Songs and Ayres...First Book (1673), p.31 (UMI(2) 221:12) et alia.
Text of song:
<NOTE: References to this song begin in the opening lines of the play, some fifty lines previously>.
Jord. And to render my self more acceptable, I have required your helps to make me an accomplisht Gentleman; if singing and dancing won't win her, the Devil's in her.---Well, I'l see your Dance rehearsed; but first let me hear the Song.
SONG.
I sigh
all the night, and I languish all day,
And much to be
pitty'd I am:
E'er since your bright eyes, my
heart did surprise
I could not extinguish the flame:
But you, since y'ave known my heart was your own,
Tho' before you was kind, now scornful are grown:
If so cruel you prove
To the man that you love;
Ah Phyllis! Ah! Phyllis, what fate
Have you in
reserve for the wretch that you hate?
Danc. Mast. Mus. Mast. Very well.
Jord. But methinks this Song is a little too doleful, and enough to put a woman into the dumps, if she have any kindness for me.
Mus. Mast. 'Tis a delicate Air, and the words are not amiss.
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First line: My Mistress is as kind as fair
Source Edition: The Citizen Turned Gentleman (1672), 1.1, pp.3-4.
First performed: 4 July 1672
UMI(2) reel no.: 467:14
Author: Edward Ravenscroft
Source/s of Music: Not recorded in Day and Murrie.
Text of song:
Jord. I learnt a very pretty one t'other day of a friend; stay, how begins it?
Mus. Mast. Nay, I know not.
Jord. There is something of Mutton in it.
Danc. Mast. Mutton?
Jord. Yes,---oh, no, no, no, 'twas Lamb---ah---I have it.[He sings.
SONG.
My Mistress is as kind as fair,
My Mistress
is as kind as fair,
And as gentle as Lambs are;
And yet alass, alass, ah lass,
Sometimes to me
She'l as cruel be,
As in the wood fierce Wolves
and Tygers are.
<speaks> Is it not very sprightly?
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First line: Come Phyllis thy finger to begin the go round
Source Edition: The Citizen Turned Gentleman (1672), 2.1, p.35.
First performed: 4 July 1672
UMI(2) reel no.: 467:14
Author: Edward Ravenscroft
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Jord. Boy, bid the Musick give us a touch of their Harmonie. Is here any thing, Madam, appears agreeable to you...
Enter two men, and one woman in the midst who sing.
SONG I.
1.
Come Phyllis thy finger
to begin the go round:
How the glass in thy hand with
charms does abound!
You and the wine to each other lend
arms,
And I find that my love
Does for either
improve,
For that does redouble as you double your charms.
'Twixt him, you and me, 'twixt him, you and me,
To love let us vow, and vow constancie.
2.
Your lips to the wine do give a new relish,
And that when you drink your mouth does embellish;
Whilst
this I behold, my desires get strength,
Both with that
and with you
More enamor'd I grow.
With
love and with wine, I am tipsie at length.
'Twixt
him, you and me, 'twixt him, you and me,
To love
let us vow, and vow constancie.
[ Return to Top ]
First line: Let's drink dear friends let's drink
Source Edition: The Citizen Turned Gentleman (1672), 2.1, pp.36-7.
First performed: 4 July 1672
UMI(2) reel no.: 467:14
Author: Edward Ravenscroft
Composer: Thomas Farmer ( nwc)
Source/s of Music: Recorded in Day and Murrie, p.278, n.2028 [Music] Playford, John, Choice Ayres, Songs and Dialogues...Second Edition (1675), pp.38-9 (UMI(2) 286:16). First appeared in Playford, John, Choice Songs and Ayres...First Book (1673), p.47 (UMI(2) 221:12).
Text of song:
Cur. And let's have t'other Song to encourage us.
SONG II.
1.
Let's
drink, dear friends, let's drink,
The time flyes
fast away,
And we no leisure have to think,
Then let's make use on't whilst we may.
When
the black Lake we have pass'd,
Adieu to Wine, to
Love and Pleasure;
To drink, to drink, let us make haste;
To drink we always sha'nt have leisure.
Let's
love, let's drink whilst we have breath;
Nor love,
nor drink is after death.
2.
Disputing
leave to Sotts
That are more grave than wise:
What's life's true bliss our learning lyes
In
the bottom of the pots.
Great riches, knowledge, and
great fame,
Ease not the troubl'd mind of care;
But rather more increase the same;
But we by drinking
cur'd are.
'Tis only wine can do the feat:
Wine makes our happiness compleat.
All. Drink,
drink, drink off your wine, turn, turn, turn up your glass,
Turn it up, turn it up; till we cry, let it pass, let it pass.
[ Return to Top ]
First line: How happy a lover am I
Source Edition: The Citizen Turned Gentleman (1672), 2.1, p.40.
First performed: 4 July 1672
UMI(2) reel no.: 467:14
Author: Edward Ravenscroft
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Cur. Sir, I'l wait on you out, for I must be going too. Madam, I am going to meet your Lover. Mr. Jorden take heart, things may yet go well.
Exeunt Jorden Marina, Cureal. Singing,
How happy a lover am I,
While
I sigh not for Phyllis in vain.
[ Return to Top ]
First line: What ailest thee thou musing man
Source Edition: The Citizen Turned Gentleman (1672), 3.1, pp.46-8.
First performed: 4 July 1672
UMI(2) reel no.: 467:14
Author: Edward Ravenscroft
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Cur. I wonder no longer then, that they had a son no wiser; come, let us proceed to the cure, and by the sweet exhilarating of harmony, sweeten, allay, and abate the acrimony of the spirits, which I see ready to inflame him. O here comes my Operators...
Enter two Chymists dress'd in antick habits...followed by four Operators in antick dresses, singing the symphony sustain'd with a medly of strange instruments.
Two Chymists Sing.
1 Chym. What ailest thee thou musing man?
2 Chym. Why art thou melancholy?
1 Chym. Come let's
cure him if we can.
2 Chym. Sadness is the greatest folly.
Four Operators sing.
1 Operat. Let's
cure this wight.
2 Operat. He's a gallant Knight.
3 Operat. 'Tis great pit-ty,
4 Operat. That
he should dy
All. Of folly,
Or of melancholy.
Two Chymists sing.
1 Chym. We to cure
thy sadness come.
2 Chym. Mirth with us we bring along.
1 Chym. Throats let's clear with crying hum.
2 Chym. Then treat this gallant with a Song.
Four Operators sing.
1 Operat. With Song we'l advance,
2 Operat. With Musick and dance;
3 Operat. With
these we will chear him.
4 Operat. Then give him glisters
half a dozen.
1 Operat. To purge away melancholy and
clear him.
2 Operat. Then rinse his body with Canary
and Sherrey.
3 Operat. If this will not make him merry,
4 Operat. 'Tis we
1 Operat. That be
2 and 3 Operat. More fools than he,
1 and 4 Operat. And
our art will us couzen.
All. And our art will us couzen.
<NOTE: The next song follows immediately after this one>
[ Return to Top ]
First line: Let him that's melancholy
Source Edition: The Citizen Turned Gentleman (1672), 3.1, pp.48-9.
First performed: 4 July 1672
UMI(2) reel no.: 467:14
Author: Edward Ravenscroft
Source/s of Music: Not recorded in Day and Murrie
Text of song:
<NOTE: This song follows immediately after the previous one>
SONG I.
<1.>
Let him that's melancholy,
Each morning
when he gets up
Take of Sack a good cup:
Sing a catch, and again sup:
Sip and sing, sing and sip
again and again,
Till he find the Canary doth work in
his brain.
2.
Then to dinner
go, and after
Let him sit and hatch a laughter:
Sing t'other catch, take t'other cup,
Till
each hath drunk his bottle up.
Thus laugh, thus quaff,
thus quaff, thus laugh again & again,
Till he
find the Canary doth work in his brain.
3.
At supper let him eat
But light and little meat;
Yet trowl the cup roundly away;
But avoid foggy
Ale,
And Beer new or stale:
For Wine is the
liquor,
Makes the wits to grow quicker,
And
each o'er his glass to tell a merry tale.
4.
This melancholy evil
Is a sort of a Devil,
Which wine and not holy water will drive away:
Nothing is so sure,
And perfect a cure,
As
wine, as mirth, and good companie:
And if ought doth
lack
'Tis a pipe of Tobac---coco---coco---coco---
Which taken may be
When to bed he doth go, gogo,
gogo, gogo,
The Dance ended, Cureal and Trickmore rise from their seats.
[ Return to Top ]
First line: Of folly or of melancholy (reprise)
Source Edition: The Citizen Turned Gentleman (1672), 3.1, p.59.
First performed: 4 July 1672
UMI(2) reel no.: 467:14
Author: Edward Ravenscroft
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Enter Sir Simon singing.
Sir Sim. Of
folly or of melancholy,
Of folly or of melancholy.---coco---coco---coco.
<NOTE: This is a reprise of the ninth and tenth lines of ERTCTG6>.
[ Return to Top ]
First line: A heart in love's empire 'though jocund and blithe
Source Edition: The Citizen Turned Gentleman (1672), 4.1, pp.81-2.
First performed: 4 July 1672
UMI(2) reel no.: 467:14
Author: Edward Ravenscroft
Composer: Robert Smith ( nwc)
Source/s of Music: Recorded in Day and Murrie, p.237, n.1315 [Music] Playford, John, Choice Songs and Ayres...First Book (1673), pp.63-4 (UMI(2) 221:12) et alia.
Text of song:
Enter Mr. Jorden, Musick, two Shepherds and a Shepherdess.
Jord. Musick, plant your selves, under that Window, away with it smartly and briskly: so, this has allarm'd em to the Balcony. Now you to your Dialogue, and I to my Posture.
Cleverwit in Turks habit with Betty Trickmore and Lucia appear in the Balcony, Jorden stands making grimaces all the while the Song is sung.
Two Shepherds, and a Shepherdess betwixt 'em, sing.
1
Man. A heart in loves Empire, tho' jocund, and blyth
From cares, and from fears can never be free:
'Tis
said that with pleasure we languish and sigh;
But for
all can be urg'd, there's nothing can be
So pleasant,
so pleasant as our libertie.
2 Man. None are more
happy, nor none are more blest
Than whom Love doth inspire,
with a gentle, soft fire;
When both of them sigh, and
neither can rest,
How pleasant their pantings, how sweet
their desire!
Love is a blessing, tho' counted a
Pain;
For take away Love, no pleasures remain.
2 Man. To submit to Loves Law, ah sweet it would be,
If in Love we could any fidelity see:
But O Rigour
extream! O fate too unkind!
A Shepherdess faithful, no
man can find:
And this faithless Sex so unworthy doth
prove,
They ought not to live, or ought not to love.
Woman. Ah passion most sweet!
1 Man. Ah blest
libertie!
2 Man. Sex full of deceit!
1 Man.
How dear unto me!
Woman. How my heart you do ease!
2 Man. And how mine you displease!
1 Man. Ah quit
thou for love this hatred so great.
Woman. A shepherdess
you,
May find that is true.
2 Man. But alas!
where can she be met?
Woman. Our credits to save, my
heart
I do offer---
1 Man. ---O subtle Art!
2 Man. But Shepherdess may I believe,
That it wonnot
it wonnot deceive?
Woman. By experience let us try,
Who can love best you or I.
1 Man. To them that
constancy want,
May the Gods ne'er their wishes grant.
All three. Let's permit the soft fire,
To enflame
our desire.
Ah! how pleasant, how pleasant is love,
When two hearts faithful do prove!
[ Return to Top ]
First line: Seti sabir
Source Edition: The Citizen Turned Gentleman (1672), 5.1, pp.86ff.
First performed: 4 July 1672
UMI(2) reel no.: 467:14
Author: Edward Ravenscroft
Source/s of Music: Not recorded in Day and Murrie
Text of song:
The Scene draws open, and discovers Cleverwit sitting in state, Lucia on his right hand, and Betty Trickmore on his left, Attendants of Turks on each side the Throne. The Mufti with a Turbant stuck full of Lights, sitting at his feet.
Enter To solemn Musick on each side of the Stage, many Turks bowing their bodies to Cleverwit. After them Enter Two Dervises leading in Mr. Jorden dress'd in a Turkish Vest: But without Turbant, Sash or Cemiter; follow'd by Trickmore, dancing Turks and others bearing in the Turbant, Sash and Cemiter. The Mufti rises and takes Mr. Jorden to the Bottom of the Stage and Sings.
Mufti. Seti
sabir
Ti respondir
Se non Sabir
Tazir, Tazir
Mi star Mufti
Tiqui star ti
Non Intendir
Tazir, Tazir.
Trick. <speaks> He bids you hold your peace.
The Mufti runs Jorden backward, sits down by him on the foot of the Throne; the Turks dance; then the Mufti rises, and the Dervises hurry Jorden down to the bottom of the Stage again.
Trick. Now the Mufti will demand what Religion you are of.[Trickmore to Jorden.
Mufti. <sings> Anabaptista, Anabaptista.
<NOTE: This song continues on in this vein for sixty lines>.
[ Return to Top ]
First line: Hula baba la chou
Source Edition: The Citizen Turned Gentleman (1672), 5.1, p.106.
First performed: 4 July 1672
UMI(2) reel no.: 467:14
Author: Edward Ravenscroft
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Jord. I give you joy, Sir, ha, ha, ha, joy of your Princess, ha, ha, ha; hula baba la chou. [Sings and dances.
[ Return to Top ]
First line: My wife has a tongue as good as e'r twang'd
Source Edition: The English Lawyer (1677), 3.1, p.38.
First performed: December 1677 (Danchin)
UMI(2) reel no.: 475:5 (1678)
Author: Edward Ravenscroft
Composer: Henry Purcell ( nwc)
Source/s of Music: Recorded in Day and Murrie, p.293, n.2287 [Music] Hilton, John, Catch that Catch can (1685), no.34 (UMI(2) 357:12) and others.
Text of song:
Cup. But come, give us a Flourish, and a glass of Wine, and we'll sing her praises backward, as we did the other night.
Pol. I'll make one in the Chorus.
SONG.
My Wife has a
Tongue, as good as e'r twang'd;
At every word,
she bids me be hang'd.
She's ugly and Old;
And a cursed Scold;
With a damnable Nunquam Satis:
For her Tongue, and her Tail,
If ever they fail,
The Devil shall have her gratis.
For her Tongue,
&c.
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First line: Joy to the youthful happy pair
Source Edition: The Italian Husband (1697), 1.1, p.3.
First performed: November 1697 (Danchin)
UMI(2) reel no.: 645:20 (1698)
Author: Edward Ravenscroft
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Duke. Fidalbo, my Secretary, presents
The Arguments
of some Songs he has compos'd
For this Days Entertainment:
I think them not improper---
Dutch. Let
'em begin.
[Duke and Dutchess seat themselves in Arbors.
Attendants on each side.
Enter Singers and Dancers. Shepherds, Shepherdesses, a Court Lady and a Citizens Daughter.
First, An Anniversary Song on the Dukes Wedding.
1.
Joy to the youthful happy pair;
Thus blest you are, by Hymen joyn'd:
May you
love on, from year to year,
And by Enjoyment prove more
kind:
Then with your days Love will encrease,
And you sit crown'd with Joy and Peace.
In Lovers
hearts all joys abound,
When Love with Constancy is crown'd.
2.
Ne're may unwelcome Care molest.
The lovely Bride nor Bridegrooms breast:
Keep firm
your Faith, and value Truth,
Then Age will be as blest
as Youth:
In Lovers hearts all joys abound,
When Love with Constancy is crown'd.
Keep firm your
Faith, and value Truth,
Then Age will be as blest as
Youth.
<NOTE: The next song follows immediately after this one>.
[ Return to Top ]
First line: O happy nymph is she [Who leads a rural life]
Source Edition: The Italian Husband (1698), 1.1, p.4.
First performed: November 1697 (Danchin)
UMI(2) reel no.: 645:20 (1698)
Author: Edward Ravenscroft
Source/s of Music: Not recorded in Day and Murrie
Text of song:
In praise of a Country Life.
1st Shepherdess.
O happy Nymph is she
Who leads a rural life;
From Court Ambition free,
From City Noise and Strife:
Grant me (ye Gods) so sweet a life.
Chor. Grant
me, &c.
2nd Shepherdess. We see our Flocks
at distance feed,
The Fountains clear, the Sky serene;
The Herds are grazing in the Meads,
Whilst Maids
are milking of the Kine.
Chor. O happy Nymph, &c.
1st Shep. The Spring affords us Flowers
That
deck the gaudy Fields;
Summer gives us Shady Bowers,
Where Birds their nat'ral Musick yield.
Chor.
O happy Nymph, &c.
2d Shep. Autumn bring
us Corn and Fruits,
Which are laid up for Winter store:
We Sing and Dance, and Tune our Flutes,
Ah! what
can Mortals wish for more.
Chor. O happy Nymph, &c.
1st Shep. When Winter comes, and Cold prevails,
Around the shining Hearth we sit;
With pleasant pastimes,
merry tales,
The nights are spent in Mirth and Wit.
Chor. O happy Nymph, &c.
<NOTE: The next song follows immediately after this one>.
[ Return to Top ]
First line: Fond nymphs from us true pleasure learn
Source Edition: The Italian Husband (1697), 1.1, p.5.
First performed: November 1697 (Danchin)
UMI(2) reel no.: 645:20 (1698)
Author: Edward Ravenscroft
Source/s of Music: Not recorded in Day and Murrie
Text of song:
<NOTE: This song is a response to the previous one >.
In derision of a Country Life. By a Court Lady and a Citizen.
Court L. Fond Nymphs,
from us true pleasure learn,
There is no Musick in a
Churm:
The Milk-maids sing beneath the Cow,
The Sheep do bleat, the Oxen lowe:
Court L &
Citiz. If these are comforts for a Wife,
Defend, defend
me from a Country life.
Court L. The Team comes
home, the Plowman whistles,
The great Dog barks, the
Turkey-cock bristles,
The Jackdaws caw, the Magpyes chatter,
Quack, quack, cry the Ducks, that swim in the water.
Court L. & Citiz. If these are comforts, &c.
Citiz. Then melancholy crows the Cock,
And
dull is the sound of th'Village Clock;
The Leaden
hours pass slow away:
Thus yawning Mortals spend the
day.
Citiz. & Court L. If these are comforts,
&c.
<NOTE: The next song follows immediately after this one>.
[ Return to Top ]
First line: Give me the gay and splendid court
Source Edition: The Italian Husband (1697), 1.1, p.5.
First performed: November 1697 (Danchin)
UMI(2) reel no.: 645:20 (1698)
Author: Edward Ravenscroft
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Court Lady in praise of a Court Life.
Court
L. Give me the gay and splendid Court,
The lofty Roofs
adorn'd with Gold,
Where all the Great and Fair resort,
The Noble and the Bold.
There highest Honours are
acquir'd,
Kings are Ador'd, and Beauty is Admir'd.
The Court is a Lady's proper sphere,
O let
me live for ever there.
Chor. O let me live, &c.
<NOTE: The next song follows immediately after this one>.
[ Return to Top ]
First line: Oh who wou'd be anothers slave
Source Edition: The Italian Husband (1697), 1.1, p.6.
First performed: November 1697 (Danchin)
UMI(2) reel no.: 645:20 (1698)
Author: Edward Ravenscroft
Source/s of Music: Not recorded in Day and Murrie
Text of song:
<NOTE This song is a response to the previous one>.
The Shepherdess against a Court Life.
1st
& 2d Shep. Oh who wou'd be anothers Slave,
That may herself be free;
And pay that Homage she might
have,
Or Bondage take for Liberty?
<NOTE: The next song follows immediately after this one>.
[ Return to Top ]
First line: The court is but show and vain tittle tattle
Source Edition: The Italian Husband (1697), 1.1, p.6.
First performed: November 1697 (Danchin)
UMI(2) reel no.: 645:20 (1698)
Author: Edward Ravenscroft
Source/s of Music: Not recorded in Day and Murrie
Text of song:
The Citizen in praise of the City.
Cit.
The Court is but show, and vain tittle tattle,
Then give
me the City, where in Coaches we rattle;
Tho not quite
so nice, nor modishly drest,
We're rich in our Jewels,
and wear of the best.
The Courtiers spend all, and ever
are needy,
The Citizen gets, yet still he is greedy,
He ne're boggles at Usury, nor at Extortion,
Tho the Father is damn'd, the Child gets a Portion.
Then happy are we, whose Parents are civil,
For blest
is the Child whose Father goes to the Devil.
They truly
know the pleasures of life;
There's nothing like
being a Citizen's Wife.
Chor. We truy know, &c.
[ Return to Top ]
First line: Nymphs that are in your prime
Source Edition: The Italian Husband (1697), 2.1, pp.22-3.
First performed: November 1697 (Danchin)
UMI(2) reel no.: 645:20 (1698)
Author: Edward Ravenscroft
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Dut. A Song to lull my troubled thoughts asleep.
A SONG to the Dutchess.
I.
Nymphs that are in your prime,
Make, O make
good use of time:
Each Minute hastens your decay,
Beauty, like time, flies fast away.
Nymphs that
now are in your prime,
Make, O make good use of time.
II.
If you wou'd know how Youth
doth pass,
Look on the Dyal of your face,
Where, tho no sudden change is found,
Yet still the Sun
is moving round.
Nymphs that, &c.
III.
But when it comes to be full Noon,
The day
grows short, and night comes soon;
The Sun steal's
off by slow degrees,
And Beauty fades, tho no one sees.
Nymphs that, &c.
IV.
Night's
shades do pass, and day comes on,
But Beauty has no second
dawn;
The Sun returns, but Beauty never,
When Beauty sets, it sets for ever.
Nymphs that, &c.
[ Return to Top ]
First line: Welcome to the blest abodes
Source Edition: The Italian Husband (1697), 3.1, pp.27-30
First performed: November 1697 (Danchin)
UMI(2) reel no.: 645:20 (1698)
Author: Edward Ravenscroft
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Masque...
A Chorus of Divinities welcome Ixion to Heaven, in the following words: First Sung by Mercury.
Mercury. Welcome to the blest Abodes,
To the
Palace of the Gods!
Happy Guest, you here may know
Boundless joys, unknown below:
But oh! use the
blessing well;
Heaven abus'd will turn to Hell.
Ixion kneeling gives a Letter to Jupiter.
Ixion.
Great Jove, thy Slave a Letter brings,
Born hither on
thy Eagles Wings. <Jupiter Retires with his Train.
Juno. This is some new Intrigue of Love,
The grand affair
of Amorous Jove:
Cold Brothers Love be gives his Bride,
Wedded to ev'ry she beside. <Iris, her Rain-bow
in prospect.
Iris. No more, great Juno, let your breast
Be with the Jealous Fiend possest.
1.
Hence restless Jealousie remove,
Ice mixt with
Flames, curst Viper of the mind;
Pale Child, that kills
thy Parent Love,
And mak'st us search for what we
dread to find.
2.
Go, partial
Councellor, 'tis vain
With Jealous doubts to raise
a Lovers woe;
Even when they're justest, most they
pain,
And make him look like a distrustful Foe.
Juno. Iris now in vain advises,
Love abus'd
all Rules despises:
I must find what Beauty's Charms
Force my Rover from my Arms:
Quickly let my Birds
attend,
Juno must on Earth descend.
Iris goes, and the Peacocks o'respread part of the Stage.
Ixion. What a heaven of Beauty's here!
Oh!
I Love, but must Despair:
Now I tremble, now I dare:
What a heaven of Beauty's here!
Juno. Tell
me, Stranger, tell me true,
What new Loves does Jove
pursue?
Ixion. What new Loves can Jove pursue?
Nothing's worthy Love but you.
Juno. Jove to
change alone is true;
Lawless Love does all subdue.
Both. Love and Wine no trust maintain;
Love, like
Wine, is Reason's bane;
Love, like Wine, makes Wisdom
reel;
Both will secret Truths reveal:
Both
the worst Events despise:
None in Wine or Love is wise.
Ixion. Since Cupid conquers mighty Jove,
Bright
Goddess pardon if I Love:
Too high I raise my bold desire,
But Love and you at once inspire.
Since Cupid conquers
mighty Jove,
Bright Goddess pardon if I love.
Juno. aside. Be still my wrongs of Vertue and of Love,
Till I to vow'd Revenge can move.
To him. If you
Love, oh! let me know
What now brings you from below?
Ixion. Calisto, of Diana's Train,
Of Jove's
long absence does complain:
Since for a Mortal he deserts
the Sky,
Oh! let a Mortal here his place supply. <A
light Ayre.
What a fool is a Wife to lye pining at home,
When to pleasures abroad the false Husband is gone?
Let the Rover be gone, take a Lover to Bed,
And your
wrongs he'll revenge on the Murderers head.
For why
shou'd a Goddess be robb'd of delight,
Be a Wife
all the day, and a Widow at night.
Juno. Hold, Mortal,
whither wou'd you move!
Ixion. To Heaven and you,
to Heaven and Love.
Each repeating their last Verse,
he striving to embrace her, and she to hinder him.
Juno makes a Cloud arise, which he embraces, in the mean time she sings two lines aside.
Juno. Embrace a Cloud, unjust
possessing,
Is such a vain delusive blessing.
Jove appears on his Eagle, and thunders Ixion down to Hell.
Jove. Down, down, presumptuous Traytor fall;
Such Crimes th'avenging Thunder call:
Down, down
presumptuous Traytor fall.
A Chorus of Divinities.
The Chorus of Divinities, who come in with Jove, repeat that he Sung, as a Chorus. A wild dismal Symphony is heard.
The Scene changes to a Poetical Hell.
Enter Ixion.
Ixion. Oh! to my pains let some small ease
be given,
Tis Hell enough to forfeit Heaven:
My Crimes are present to my tortur'd Soul;
Adult'rous
breach of Trust the foremost in the Roll.
A Dance of
Furies.
Furies and Devils spring up about him, with Whips of Snakes and Daggers, and Dance: then hale him out to a Wheel.
Two Furies sing.
Two
Furies. Drag him along to yonders Wheel,
There he shall
endless Tortures feel.
'Tis the Sentence was given
in Minos's Court:
We'll whirk him about, and
lash him in sport.
Grand Chorus of Devils and Furies.
Here, Proud, Lustful, Faithless Soul,
Round
th'Eternal Circle rowl:
For such Crimes the Gods
ordain
Thunder, Hell, and Endless Pain.
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First line: Song has no lyrics
Source Edition: The London Cuckolds (1682), 2.2, p.25.
First performed: October 1681 (Danchin)
UMI(2) reel no.: 1267:21
Author: Edward Ravenscroft
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Ramble walks about humming a tune, then feels at the door agen.
[ Return to Top ]
First line: I have a husband but what of that
Source Edition: The London Cuckolds (1682), 3.1, pp.28-28v.
First performed: October 1681 (Danchin)
UMI(2) reel no.: 1267:21
Author: Edward Ravenscroft
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Arab. Well, Dear, Remember this, you are come home and won't make much of me--- [Sings.
I have a Husband, but
what of that?
He neither loves me nor my little Cat;
The Cat gets a Mouse and with it does play,
But
my Husband ne'r minds me all the long day---
Dood. Prethee wife, thou art so troublesome---
Arab.
<sings> There was a Lady lov'd a Swine,
hunny quoth she.
Pig-hog wilt thou be mine---Hunh---quoth
he---
<speaks> Husband, you lov'd to see me merry formerly.
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First line: Sauny was tall and of noble race
Source Edition: The London Cuckolds (1682), 3.1, p.31.
First performed: October 1681 (Danchin)
UMI(2) reel no.: 1267:21
Author: Edward Ravenscroft
Source/s of Music: Recorded in Day and Murrie, p.325, n.2850. Song is from D'Urfey's A Virtuous Wife--see TDAVW3 for score.
Text of song:
Lin. Sauny was tall and of noble race [Sings going along.
And lov'd me better than any can,
<speaks> Have a Light.
Sings, and as he passes by Ram. knocks his link on his head as by chance and exit.
But
now he ligs by another Lass,
And Sauny will ne'r
be my Love again.
<speaks> Have a Light; will you have a Light?
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First line: You are the son of a
whore
Source Edition: The London Cuckolds (1682), 3.1,
p.34.
First performed: October 1681 (Danchin)
UMI(2) reel no.: 1267:21
Author: Edward Ravenscroft
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Town. Now, you Dog, am not I very merry, this 'tis [Townly,
singing.
to be drunk, you Dog.
Tom. Sir, don't make a noise, we are near the Watch.
Town. Watch, show 'em me, that I may scower among 'em---I ne'r kill'd a watchman yet.
1. Who goes there---
Town. You are the Son of a Whore--- [Sings.
Ram. 'Tis Townly drunk---
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