Codes Index RHTGF1 - TBTP17

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Item Code: RHTGF1

First line: Song has no lyrics

Source Edition: The Great Favourite, or The Duke of Lerma (1668), 5.1, p.58.

First performed: 20 February 1668

UMI(2) reel no.: 279:6 (1668)

Author: Robert Howard

Source/s of Music: Not recorded in Day and Murrie

Text of song:

Sing here.

<Two lines of dialogue separate this stage direction from the next...>

Enter Caldroon, going to Execution, led by two Fryars; a Fryer going before, carrying a Crucifix; after follows others of several Orders, every one with a wax Taper in his hand; they pass round the Stage, singing his Funeral Dierge.

After they go out, Medina enters with a Guard.

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Item Code: RHTIQ1

First line: Poor mortals that are clog'd with earth below

Source Edition: The Indian Queen (1664), 3.1, p.159.

First performed: 25 January 1664

UMI(2) reel no.: 279:5 ('Four New Plays', 1665)

Author: Sir Robert Howard and John Dryden

Source/s of Music: Not recorded in Day and Murrie

Text of song:

SONG is suppos'd sung by Aerial-Spirits.

Poor Mortals that are clog'd with Earth below
Sink under Love and Care,
While we that dwell in Air
Such heavy Passions never know.
Why then shou'd Mortals be
Unwilling to be free
From Blood, that sullen Cloud,
Which shining Souls does shroud?
Then they'l shew bright,
And like us light,
When leaving Bodies with their Care,
They slide to us and Air.

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Item Code: RHTIQ2

First line: You to whom victory we owe

Source Edition: The Indian Queen (1664), 5.1, p.167.

First performed: 25 January 1664

UMI(2) reel no.: 279:5 ('Four New Plays', 1665)

Author: Sir Robert Howard and John Dryden

Source/s of Music: Not recorded in Day and Murrie

Text of song:

Enter the Guards, and Zempoalla, and Traxalla; Ynca, Orazia, and Montezuma bound; as soon as they are plac'd the Priest sings.

SONG.

You to whom Victory we owe,
Whose glories rise
By sacrifice,
And from our fates below;
Never did yet your Altars shine
Feasted with Blood so nere divine;
Princes to whom we bow,
As they to you,
These you can ravish from a throne,
And by their loss of power declare your own.

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Item Code: RHTIQ3

First line: Wake wake Quivera our soft rest must cease

Source Edition: The Indian Queen (1664), Prologue, ll.1-6 (set to music for semi-operatic version c.1695?, to be appear "in the first Act", presumably as 1.1.1ff).

First performed: 25 January 1664

UMI(2) reel no.: 279:5 ('Four New Plays', 1665)

Author: Sir Robert Howard and John Dryden

Composer: Henry Purcell ( nwc)

Performer/s: Mr. Freeman

Source/s of Music: Recorded in Day and Murrie, p.366, n.3563 [Music] Henry Purcell, The Songs in The Indian Queen, 1695, pp.1-3 (UMI(2) 1864:13) and others.

Text of song:

Wake, wake, Quivera, our soft rest must cease,
And fly together with our Country's peace;
No more must we sleep under Plantain shade,
Which neither Heat could peirce, nor Cold invade;
Where bount'ous Nature never feels decay,
And op'ning Buds drive falling Fruits away.

<NOTE: This part, which in the original prologue is assigned to "Boy", is sung by Freeman, which creates a confusing knock on effect. "Boy with Flutes" sings the second part (RHTIQ4 ) which is originally assigned to the girl Quivera. The third part (RHTIQ5) which is unassigned (but in prologue allocated to the "Boy") which must then be sung either by Freeman or "boy with Flutes". If it is the former why is it unassigned when all of Freeman's other songs are indicated, and if the latter should not RHTIQ4 and RHTIQ5 be merged? This is augmented by the fact that Freeman is assigned to sing RHTIQ6 which are lines assigned to Quivera in the prologue--he has begun singing the "Boy" part and ended singing the Girl's!>.

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Item Code: RHTIQ4

First line: Why should men quarrel here where all possess

Source Edition: The Indian Queen (1664), Prologue, ll.7-10 (set to music for semi-operatic version c.1695? to appear "in the first Act" immediately following RHTIQ3).

First performed: 25 January 1664

UMI(2) reel no.: 279:5 ('Four New Plays', 1665).

Author: Sir Robert Howard and John Dryden

Composer: Henry Purcell ( nwc)

Performer/s: "Boy with Flutes".

Source/s of Music: Recorded in Day and Murrie, p.388, n.3947 [Music] Henry Purcell, The Songs in The Indian Queen, 1695, pp.3-4 (UMI(2) 1864:13) and others.

Text of song:

<Boy.> Why shou'd men quarrel here, where all possess
As much as they can hope for by success?
None can have most, where Nature is so kind,
As to exceed Man's use, though not his Mind.

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Item Code: RHTIQ5

First line: By ancient prophecies we have been told

Source Edition: The Indian Queen (1664), Prologue, ll.11-4 (to be sung in the first act of the semi-operatic version c.1695?, and immediately following RHTIQ4 ).

First performed: 25 January 1664

UMI reel no.: Not applicable

Author: Sir Robert Howard and John Dryden

Composer: Presumably set by Henry Purcell but music not extant?

Source/s of Music: Recorded in Day and Murrie, p.188, n.446. Lyrics only provided in Henry Purcell, The Songs in The Indian Queen, 1695, p.4 (UMI(2) 1864:13). Score unavailable to compiler.

Text of song:

By antient Prophecyes we have been told,
Our Land shall be subdu'd by one more old,
And see that world's already hither come,
If these be they, we welcome then our doom.

<NOTE: The singer of this section is unidentified in the musical source, which creates an interesting dilemma. cf. RHTIQ3 for explanation. Note also that the fourth line of this song (line 14 of prologue) is the first line of the next song on the CD version (where it seems to me to be a one-line song appended to the beginning of RHTIQ6--this line is sung as a duet, whilst "Their gentle looks" onwards is sung as a solo by a tenor). "If these be they..." is actually assigned to Quivera in the prologue, whereas the first three (lines 11-3) had been assigned to "Boy". Quivera's second line (line 15 of prologue) is given as the first line of RHTIQ6 assigned to Freeman>.

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Item Code: RHTIQ6

First line: Their looks are such that mercy flows from thence

Source Edition: The Indian Queen (1664), Prologue, ll.15-6, 19-20 (set for semi-operatic version dated c.1695? to appear in the first act immediately following RHTIQ5).

First performed: 25 January 1664

UMI reel no.: Not applicable

Author: Sir Robert Howard and John Dryden

Composer: Henry Purcell ( nwc)

Performer/s: Mr. Freeman.

Source/s of Music: Recorded in Day and Murrie, p.345, n.3199 [Music] Henry Purcell, The Songs in The Indian Queen, 1695, p.5 (UMI(2) 1864:13) and others.

Text of song:

Their looks are such that Mercy flows from thence
More gentle than our Native innocence:
By their protection let us beg to live,
They come not here to conquer but forgive;

<NOTE: The couplet by "Boy" in the original prologue (lines 17-8) occurs between lines two and three above but is omitted from the song>.

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Item Code: RHTIQ7

First line: If so your goodness may your power express

Source Edition: The Indian Queen (1664), Prologue, ll.21-2 (set to music for the first act of the semi-operatic version c.1695? and follows immediately after RHTIQ6).

First performed: 25 January 1664

UMI(2) reel no.: 279:5 ('Four New Plays', 1665).

Author: Sir Robert Howard and John Dryden

Composer: Henry Purcell ( nwc)

Source/s of Music: Recorded in Day and Murrie, p.260, n.1702. [Music] Purcell, Henry, Orpheus Britannicus...Second Book, Third Edition (1721), pp.190-1 and others. Lyrics had previously appeared in Purcell, Henry, The Songs in The Indian Queen, 1695, p.5 (UMI(2) 1864:13).

Text of song:

If so your goodness may your power express,
And we shall judge both best by our Success.

<NOTE: This song is appended to song 10 in the CD version but is a duet whereas most of that song (bar the first line) is a tenor solo. Change to this particular song occurs at 2:23 in the CD version of the song>.

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Item Code: RHTIQ8

First line: I come to sing great Zempoalla's story

Source Edition: The Indian Queen (1664), not printed in play (set for semi-operatic version c.1695? to appear "in the Second Act").

First performed: 25 January 1664

UMI reel no.: Not applicable

Author: Sir Robert Howard and John Dryden

Composer: Henry Purcell ( nwc)

Lyrics: Not recorded: Dryden?

Performer/s: Mr. Freeman.

Source/s of Music: Recorded in Day and Murrie, p.249, n.1506 [Music] Henry Purcell, The Songs in The Indian Queen, 1695, p.6 (UMI(2) 1864:13).

Text of song:

I Come to Sing great Zempoalla's story,
Whose beaut'ous sight,
So charming bright,
Outshines the Lustre of glory.

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Item Code: RHTIQ9

First line: What flat'ring noise is this

Source Edition: The Indian Queen (1664), not printed in play (to be sung in the second act? of the semi-operatic version c.1695?)

First performed: 25 January 1664

UMI reel no.: Not applicable

Author: Sir Robert Howard and John Dryden

Composer: Henry Purcell ( nwc)

Lyrics: Not recorded: Dryden?

Source/s of Music: Recorded in Day and Murrie, p.370, n.3638. [Music] Purcell, Henry, Orpheus Britannicus...Second Book, Third Edition (1721), pp.178-80 and others. Lyrics had previously appeared in Purcell, Henry, The Songs in The Indian Queen, 1695, p.6 (UMI(2) 1864:13).

Text of song:

Sung by Envy and his followers with Instruments.

What Flat'ring noise is this,
At which my Snakes all hiss;
I hate to see fond Tongues advance,
High as the Gods, the slaves of Chance.

<NOTE: This song seems to belong in the second act given that a song on page 9 (RHTIQ15) of the score is listed as "in the Third Act", suggesting all those between RHTIQ8 and that song are in the second. cf. RHTIQ12 for further evidence. Contextually the song seems to follow immediately after RHTIQ8>.

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Item Code: RHTIQ10

First line: Scorn'd Envy here's nothing that thou canst blast

Source Edition: The Indian Queen (1664), not printed in play (set for semi-operatic version c.1695? to appear in the second Act (?)).

First performed: 25 January 1664

UMI reel no.: Not applicable

Author: Sir Robert Howard and John Dryden

Composer: Henry Purcell ( nwc)

Lyrics: Not provided: Dryden?

Performer/s: Mr. Freeman.

Source/s of Music: Recorded in Day and Murrie, p.326, n.2859 [Music] Henry Purcell, The Songs in The Indian Queen, 1695, pp.6-7 (UMI(2) 1864:13) and others.

Text of song:

Scorn'd Envy here's nothing that thou canst blast;
Her glories are too bright to be o'ercast.

<NOTE: This song seems to belong in the second act given that a song on page 9 (RHTIQ15) of the score is listed as "in the Third Act", suggesting that all those between RHTIQ8 are that song are in the second. Contextually this song seems to follow immediately after RHTIQ9 >.

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Item Code: RHTIQ11

First line: I fly from the place where flattery reigns

Source Edition: The Indian Queen (1664), not printed in play (to be sung in the second act? of the semi-operatic version c.1695?).

First performed: 25 January 1664

UMI reel no.: Not applicable

Author: Sir Robert Howard and John Dryden

Composer: Henry Purcell

Lyrics: Not recorded: Dryden?

Source/s of Music: Recorded in Day and Murrie, p.249, n.1518. Lyrics in Henry Purcell, The Songs in The Indian Queen, 1695, p.7 (UMI(2) 1864:13). Score unavailable to compiler.

Text of song:

Sung by Envy and his followers with Instruments.

I fly from the place where Flaterry reigns,
See those mighty things that before,
Such slaves like Gods did adore,
Contemn'd and unpitty'd in Chains.

<NOTE: This song seems to belong in the second act given that a song on page 9 (RHTIQ15 ) of the score is listed as "in the Third Act", suggesting that all those between RHTIQ8 are that song are in the second. Contextually this song seems to follow immediately after RHTIQ10 . Note that in the CD version (song 16) these lines are followed by a reprise of lines 3&4 of RHTIQ9 , followed by lines 1&2 of that song>.

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Item Code: RHTIQ12

First line: Begone curst fiends of hell

Source Edition: The Indian Queen (1664), not printed in play (set for the semi-operatic version c.1695? to appear in the second act (?)).

First performed: 25 January 1664

UMI reel no.: Not applicable

Author: Sir Robert Howard and John Dryden

Composer: Henry Purcell ( nwc)

Lyrics: Not recorded: Dryden?

Performer/s: Mr. Freeman.

Source/s of Music: Recorded in Day and Murrie, p.180, n.303.[Music] Henry Purcell, The Songs in The Indian Queen, 1695, pp.7-8 (UMI(2) 1864:13).

Text of song:

Sung by Envy and his followers with Instruments.

Begone curst Fiends of Hell,
Sink down where Noisome Vapers dwell;
While I her triumph sound,
To fill the Universal Round.

<NOTE: This song seems to belong in the second act given that a song on page 9 (RHTIQ15 ) of the score is listed as "in the Third Act", suggesting that all those between RHTIQ8 are that song are in the second. Note also RHTIQ13 and RHTIQ14 (page 8) appear in 3.1 (pp.158-9) of the 1665 edition. Contextually this song seems to follow immediately after RHTIQ11 , all of the songs from RHTIQ8 to this forming a continual sequence>.

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Item Code: RHTIQ13

First line: You twice ten hundred deities

Source Edition: The Indian Queen (1664), 3.1, pp.158-9.

First performed: 25 January 1664

UMI reel no.: 279:5 ('Four New Plays', 1665).

Author: Sir Robert Howard and John Dryden

Composer: Henry Purcell ( nwc)

Source/s of Music: Recorded in Day and Murrie, p.397, n.4111. [Music] Deliciae Musicae...Fourth Book (1696), pp.11-4 (UMI(2) 2094:11) and others.

Text of song:

Sung by a Conjurer <Ismeron>.

You twice ten hundred Deities,
To whom we daily Sacrifice;
Ye Pow'rs that dwell with Fates below,
And see what Men are doom'd to doe;
Where Elements in Discord dwell,
Thou God of Sleep, arise, and tell,
Great Zempoalla what strange Fate,
Must on her dismall Vision wait.

<NOTE: Seven lines of dialogue separate this from a continuation of the song.

Ism. <...> Sit and silently attend,----
While my powerful Charms I end.>

The Conjurer's Charm.

By the Croaking of the Toad;
In their Caves that make abode;
Earthy Dun, that pants for breath,
With her swell'd sides full of death;
By the Crested Adder's Pride,
That along the Cliffs do glide;
By the Visage fierce and black,
By the death's Head on thy back;
By the twisted Serpents plac'd,
For a Girdle round thy Waste;
By the Hearts of Gold that deck,
Thy Breast, thy Shoulders, and thy Neck;
From thy sleeping Mansion rise,
And open thy unwilling Eyes;
While bubling Springs their Musick keep,
That use to lull thee in thy sleep.

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Item Code: RHTIQ14

First line: Seek not to know what must not be reveal'd

Source Edition: The Indian Queen (1664), 3.1, p.159.

First performed: 25 January 1664

UMI(2) reel no.: 279:5 ('Four New Plays', 1665).

Author: Sir Robert Howard and John Dryden

Composer: Henry Purcell ( nwc)

Source/s of Music: Recorded in Day and Murrie, p.327, n.2891. [Music] Purcell, Henry, Orpheus Britannicus (1698), pp.28-32 (UMI(2) 158:4) and others.

Text of song:

<NOTE: This song follows immediately after the previous one>.

Sung by the God of Dreams.

<God.> Seek not to know, what must not be reveal'd,
Joys only flow where Fate is most conceal'd;
Too busy Man would find his Sorrows more,
If future Fortune He shou'd know before;
For by that knowledge of his Destiny,
He wou'd not live at all, but always dye;
Enquire not then who shall from Bonds be freed,
Who 'tis shall wear a Crown, and who shall bleed;
All must submit to their appointed doom,
Fate and Misfortunes will too quickly come;
Let me no more with powerfull Charms be prest,
I am forbid by Fate to tell the rest.

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Item Code: RHTIQ15

First line: Ah how happy are we

Source Edition: The Indian Queen (1664), not printed in play (set for the semi-operatic version c.1695? to appear "in the Third Act").

First performed: 25 January 1664

UMI reel no.: Not applicable

Author: Sir Robert Howard and John Dryden

Composer: Henry Purcell ( nwc)

Lyrics: Not recorded: Dryden?

Performer/s: Messrs. Freeman and Church.

Source/s of Music: Recorded in Day and Murrie, p.165, n.52.[Music] Henry Purcell, The Songs in The Indian Queen, 1695, pp.9-12 (UMI(2) 1864:13) and others.

Text of song:

Ah! how happy are we,
From humane passions free:
Those wild Tenants of the Breast;
No, never can disturb our rest;
Yet we pitty tender Souls
Whom the Tyrant Love controuls;
Ah! how happy are we,
From humane Passion free.

<NOTE: In the CD version (song 26) this song is sung by two Aerial Spirits>.

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Item Code: RHTIQ16

First line: We the spirits of the air

Source Edition: The Indian Queen (1664), not printed in play (set for the semi-operatic version c.1695? to appear in the third act).

First performed: 25 January 1664

UMI reel no.: Not applicable

Author: Sir Robert Howard and John Dryden

Composer: Henry Purcell ( nwc)

Lyrics: Not recorded: Dryden?

Source/s of Music: Recorded in Day and Murrie, p.367, n.3583. [Music] Purcell, Henry, Orpheus Britannicus...Second Book, Third Edition (1721), pp.176-7 and others. Lyrics had previously appeared in Purcell, Henry, The Songs in The Indian Queen, 1695, p.13 (UMI(2) 1864:13).

Text of song:

Cho. We the Spirits of the Air,
That of Humane Things take Care,
Out of Pity now descend,
To forewarn what Woes attend;

Vers. Greatness clogg'd with Scorn decays,
With the Slave no Empire stays.

Cho. We the Spirits &c.

Vers. Cease to languish then in vain,
Since never to be lov'd again.

Cho. We the Spirits, &c.

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Item Code: RHTIQ17

First line: I attempt from love's sickness to fly in vain

Source Edition: The Indian Queen (1664), not printed in play (set for the semi-operatic version c.1695? to appear in the third act).

First performed: 25 January 1664

UMI reel no.: Not applicable

Author: Sir Robert Howard and John Dryden

Composer: Henry Purcell ( nwc)

Lyrics: Not recorded: Dryden?

Performer/s: Mrs. Cross.

Source/s of Music: Recorded in Day and Murrie, p.248, n.1495. [Music] Henry Purcell, The Songs in The Indian Queen, 1695, p.13 (UMI(2) 1864:13) and others.

Text of song:

I attempt from Love's sickness to fly in vain,
Since I am my self my own Feaver and Pain;
No more now fond Heart with Pride, no more swell,
Thou can'st not raise Forces enough to rebell: [First strain again.
For Love has more pow'r and less mercy than fate,
To make us seek ruin, and love those that hate. [End with the first Strain.

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Item Code: RHTIQ18

First line: They tell us that you mighty powers above

Source Edition: The Indian Queen (1664), not printed in play (set for the semi-operatic version c.1695? to appear "in the Fourth Act").

First performed: 25 January 1664

UMI reel no.: Not applicable

Author: Sir Robert Howard and John Dryden

Composer: Henry Purcell ( nwc)

Lyrics: Not recorded: Dryden?

Performer/s: Mrs. Cross.

Source/s of Music: Recorded in Day and Murrie, p.349, n.3262. [Music] Henry Purcell, The Songs in The Indian Queen, 1695, pp.13-4 (UMI(2) 1864:13) and others.

Text of song:

<I.>

They tell us that you mighty Powers above,
Make perfect your Joys and your blessings by Love;
Ah! why do you suffer the blessing that's there;
To give a poor Lover such sad torments here,
Yet tho' for my passion such grief I endure,
My love shall like yours still be constant and pure.

II.

To suffer for him gives an ease to my pains,
There's joy in my grief, and there's freedom in Chains.
If I were divine he cou'd love me no more;
And I in return my adorer adore;
Oh! let his dear life then (kind Gods) be your care,
For I in your blessings have no other share.

<NOTE: The CD version (song 29) assigns this to Orazia, yet the previous song sung by Mrs Cross they assign to Zempoalla!?>.

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Item Code: RHTIQ19

First line: While thus we bow before your shrine

Source Edition: The Indian Queen (1664), not printed in play (set for the semi-operatic version c.1695? to appear in the Fourth Act).

First performed: 25 January 1664

UMI reel no.: Not applicable

Author: Sir Robert Howard and John Dryden

Composer: Henry Purcell

Lyrics: Not recorded: Dryden?

Performer/s: "the Chief Priest".

Source/s of Music: Recorded in Day and Murrie, p.383, n.3868. Lyrics only in Henry Purcell, The Songs in The Indian Queen, 1695, p.14 (UMI(2) 1864:13). Score unavailable to compiler.

Text of song:

<Priest> While thus we bow before your Shrine,
That you may hear great Powers Divine,
All living things shall in your Praises joyne;
You who at the Altars stand,
Waiting for the Dread command,
The fatal Word shall soon be hear'd,
Answer then is all prepar'd,

Chorus. All's prepar'd.

Priest. Let all unhallow'd Souls be gone,
Before our Sacred Rites come on,
Take care that this be also done,

Chorus. All is done.

Priest. Now in procession walk along,
And then begin your solemn Song.

Chorus. All dismal sounds thus on this Offering wait,
Your power's shown by their untimely Fate;
While by such various Fate's we learn to know,
There's nothing to be trusted here below.

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Item Code: RHTIQ20

First line: To bless the genial bed with chaste delights

Source Edition: The Indian Queen (1664), not printed in play (set for the semi-operatic version c.1695? to appear in the 'Masque of Hymen' in the Fifth Act).

First performed: 25 January 1664

UMI reel no.: Not applicable

Author: Sir Robert Howard and John Dryden

Composer: Daniel Purcell

Lyrics: Not recorded: Dryden?

Source/s of Music: Recorded in Day and Murrie, p.357, n.3413. [MUSIC] In Deliciae Musicae...Book One of Second Volume, 1696, p.1. Score unavailable to compiler.

Text of song:

<Text is from CD version and is in modern spelling and punctuation. Recorded as sung by Hymen>

To bless the genial bed with chaste delights
To give you happy days and pleasant nights,
Lo, I appear to crown your soft desires,
And with this sacred torch to consecrate Love's fires.

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Item Code: RHTIQ21

First line: Come all come at my call

Source Edition: The Indian Queen (1664), not printed in play (set for the semi-operatic version c.1695? to appear in the 'Masque of Hymen' in the Fifth Act).

First performed: 25 January 1664

UMI reel no.: Not applicable

Author: Sir Robert Howard and John Dryden

Composer: Daniel Purcell

Lyrics: Not recorded: Dryden?

Source/s of Music: Recorded in Day and Murrie, p.196, n.587.[MUSIC] In Deliciae Musicae...Book One of Second Volume, 1696, pp.2-3. Score unavailable to compiler.

Text of song:

<Text is from CD version and is in modern spelling and punctuation. Recorded as sung by A follower of Hymen>

Come, all, come at my call,
Heroes and lovers, come away,
Come and praise this glorious day.
Come, all, and sing great Hymen's praise,
The god who makes the darkest night
Appear more joyful and more bright
Than thousands of victorious days.

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Item Code: RHTIQ22

First line: I am [I'm] glad I have met him

Source Edition: The Indian Queen (1664), not printed in play (set for the semi-operatic version c.1695? to appear in the 'Masque of Hymen' in the Fifth Act).

First performed: 25 January 1664

UMI reel no.: Not applicable

Author: Sir Robert Howard and John Dryden

Composer: Daniel Purcell

Lyrics: Not recorded: Dryden?

Source/s of Music: Recorded in Day and Murrie, p.257, n.1648. [MUSIC] In Deliciae Musicae...Book One of Second Volume, 1696, pp.3-4. Score unavailable to compiler.

Text of song:

<Text is from CD version and is in modern spelling and punctuation. Recorded as sung by Two Married People>

I am glad I have met him,
Let me come at him,
Bane of passion, pleasure's curse,
Confounded inventor of better for worse.
You told us indeed you'd heap blessings upon us,
You made us believe you and so have undone us.
In railing, and wailing
Lamenting, repenting,
We pass all our days.
What stomach have we to sing thy praise?

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Item Code: RHTIQ23

First line: Good people I'd make you [all] blest if I could

Source Edition: The Indian Queen (1664), not printed in play (set for the semi-operatic version c.1695? to appear in the 'Masque of Hymen' in the Fifth Act).

First performed: 25 January 1664

UMI reel no.: Not applicable

Author: Sir Robert Howard and John Dryden

Composer: Daniel Purcell

Lyrics: Not recorded: Dryden?

Source/s of Music: Recorded in Day and Murrie, p.230, n.1179. [MUSIC] In Deliciae Musicae...Book One of Second Volume, 1696, pp.4-5. Score unavailable to compiler.

Text of song:

<Text is from CD version and is in modern spelling and punctuation. Recorded as sung by Hymen>

Good people, I'd make you blest if I could,
But he that can do 't must be more than a god;
Although you think more perhaps you are curst
I'll warrant you thought yourselves happy at first.

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Item Code: RHTIQ24

First line: My honey my pug

Source Edition: The Indian Queen (1664), not printed in play (set for the semi-operatic version c.1695? to appear in the 'Masque of Hymen' in the Fifth Act).

First performed: 25 January 1664

UMI reel no.: Not applicable

Author: Sir Robert Howard and John Dryden

Composer: Daniel Purcell

Lyrics: Not recorded: Dryden?

Source/s of Music: Recorded in Day and Murrie, p.291, n.2257. [MUSIC] In Deliciae Musicae...Book One of Second Volume, 1696, pp.4-5. Score unavailable to compiler.

Text of song:

<Text is from CD version and is in modern spelling and punctuation. Recorded as sung by Two Married People>

My honey, my pug,
My fetters, my clog,
Let's tamely jog on
As others have done,
And sometimes at quiet, but oftner at strife,
Let's tug (hug) the tedious load of married life.

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Item Code: RHTIQ25

First line: The joys of wedlock soon are past

Source Edition: The Indian Queen (1664), not printed in play (set for the semi-operatic version c.1695? to appear in the 'Masque of Hymen' in the Fifth Act).

First performed: 25 January 1664

UMI reel no.: Not applicable

Author: Sir Robert Howard and John Dryden

Composer: Daniel Purcell

Lyrics: Not recorded: Dryden?

Source/s of Music: Recorded in Day and Murrie, p.270, n.1189. [MUSIC] In Deliciae Musicae...Book One of Second Volume, 1696, pp.4-5. Score unavailable to compiler.

Text of song:

<Text is from CD version and is in modern spelling and punctuation. Recorded as sung by Cupid>

The joys of wedlock soon are past
But I, if I please, can make 'em last.
When love's a trade and hearts are sold,
How weak's the fire, how soon 'tis cold.
The flame increases and refines
Where virtue and where merit joins.

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Item Code: RHTIQ26

First line: Sound sound the trumpet let love's subjects know

Source Edition: The Indian Queen (1664), not printed in play (set for the semi-operatic version c.1695? to appear in the 'Masque of Hymen' in the Fifth Act).

First performed: 25 January 1664

UMI reel no.: Not applicable

Author: Sir Robert Howard and John Dryden

Composer: Daniel Purcell

Lyrics: Not recorded: Dryden?

Source/s of Music: Recorded in Day and Murrie, p.336, n.3042. [MUSIC] In Deliciae Musicae...Book One of Second Volume, 1696, pp.9-11. Score unavailable to compiler.

Text of song:

<Text is from CD version and is in modern spelling and punctuation. Recorded as sung by One of Cupid's followers>

Sound, sound the trumpet; let Love's subjects know
From Heav'n's high vault to Erebus below
That from this hour their discords all shall cease
Love that can only do't will give 'em peace.

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Item Code: RHTIQ27

First line: Make haste to put on love's chains

Source Edition: The Indian Queen (1664), not printed in play (set for the semi-operatic version c.1695? to appear in the 'Masque of Hymen' in the Fifth Act).

First performed: 25 January 1664

UMI reel no.: Not applicable

Author: Sir Robert Howard and John Dryden

Composer: Daniel Purcell

Lyrics: Not recorded: Dryden?

Source/s of Music: Recorded in Day and Murrie, p.286, n.2160. [MUSIC] In Deliciae Musicae...Book One of Second Volume, 1696, pp.11-3. Score unavailable to compiler.

Text of song:

<Text is from CD version and is in modern spelling and punctuation. Recorded as sung by Two of Cupid's followers>

Make haste to put on Love's chains,
Ye heroes that delight in arms;
Forsake fond honour's gaudy charms
And join your trumpets to our rural strains.

<NOTE: CD version has a chorus (song 44) not listed in Day and Murrie--is possibly appended to this song (or one of the others in Deliciae Musicae). Lyrics are enclosed below>

Let loud Renown with all her thousand tongues
Repeat no name but his in her immortal songs.

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Item Code: RNPBHC1

First line: Sweeter than roses or cool evening's breeze

Source Edition: Pausanias, the Betrayer of His Country (1696), 3.1, p.17.

First performed: April? 1696 (H&S)

UMI(2) reel no.: 393:27

Author: Richard Norton

Composer: Henry Purcell ( nwc)

Source/s of Music: Recorded in Day and Murrie, p.341, n.3128 [Music] Purcell, Henry, Orpheus Britannicus (1698), pp.86-8 (UMI(2) 158:4) et al.

Text of song:

SONGS. After which Argilius enters.

Sweeter than Roses, or cool Evening's breeze,
On a warm Flowery Shore,
Was the dear Kiss, first trembling made me freeze,
Then shot like Fire all o're;
What Magick has Victorious love!
For all I touch, or see,
Since that dear kiss, I hourly prove,
All, all is Love to me.

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Item Code: RNPBHC2

First line: My dearest [My fairest I languish for thee]

Source Edition: Pausanias, the Betrayer of His Country (1696), 3.1, p.17.

First performed: April? 1696 (H&S)

UMI(2) reel no.: 393:27

Author: Richard Norton

Source/s of Music: Not recorded in Day and Murrie

Text of song:

<NOTE: This song follows immediately after the previous one>.

DIALOGUE.

Wom. My Dearest
Man. My Fairest
Both. I Languish for thee.
Wom. Thy Kindness has won me
Man. Thy Charms have undone me
Both. I ne're shall be Free.
Man. I faint with the Pleasure I fain wou'd repeat,
Wom. Ah why are Love's Raptures so short and so sweet?
Both. Thus pressing and kissing, fresh Joys we'l pursue,
And ever be happy, and ever be true.
Wom. But alas! shou'd you Change
Man. Ah tell me not so,
Wom. No never my Dearest
Man. No never my Fairest
Both. No never no no.

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Item Code: RNPBHC3

First line: Prepare a solemn sacrifice prepare

Source Edition: Pausanias, the Betrayer of His Country (1696), 5.2, p.39.

First performed: April? 1696 (H&S)

UMI(2) reel no.: 393:27

Author: Richard Norton

Source/s of Music: Not recorded in Day and Murrie

Text of song:

Solemn MUSICK.

H. Pr. Prepare, prepare, a Solemn Sacrifice prepare,
Prepare we to appease,
The powerful God o'th' Seas.
Cho. Hear, Mighty Neptune hear.
H.Pr. Let the Billows cease to roar,
Smooth and silent be the shoar,
Save, and conduct our hopes, while we adore.
Cho. Hear, mighty Neptune hear.
From Crystal Throne adorn'd with Pearl, receive
Our humble Vows, and thy Protection give.
H. Pr. While blust'ring Winds do thee obey,
No Storms can e're enrage the Sea,
For gentle lucky gales we Pray.
Cho. Hear, mighty Neptune hear,
From Crystal Throne adorn'd with Pearl, receive
Our humble Vows, and thy Protection give.
H. Pr. & 2 Pr. Glory attend each filling Sail,
Let the merry Victors go.
Destroy the treacherous Foe.
Encrease our Trafick, and our gain,
On equal Terms, we never fear,
We will be Masters every where,
And Triumph ore the Main.
Cho. Encrease our Trafick, &c.

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Item Code: RRFV1

First line: The poets and wits of all ages and times

Source Edition: Flora's Vagaries (1663), 4.1, pp.50-1.

First performed: 3 November 1663 (8 January 1663 at Christ Church, Oxford)

UMI(2) reel no.: 875:57

Author: Richard Rhodes

Source/s of Music: Not recorded in Day and Murrie

Text of song:

Pes. I am all Air, three dayes hence is as far off to me, as three whole years, when it comes, it comes, till then we'l laugh and sing.

Pie. Faith, thou say'st true, let's e'en celebrate this Festival with the Song I made of our fellow Thieves, that is of all the World: Hem, pox of this Cold, prethee put down thy hand, and rake my throat.

Pes. Come, sing, I think thou hast the better pipe.

Pie. But thou singest with more Judgment.

The poets and wits of all Ages and Times,
For wittily stealing were Circled with Bayes:
Old Hesiod rob'd a blind man for his Rimes,
And Terence new vampt another man's Playes.
The Night does rob the Day of the Sun,
And Cynthia steals her Brothers Rayes,
The hours do steal by, and away from us run,
And Summer cheats Winter, to make him long dayes.
The Soul's a quaint thief, and does subtly devise
To steal into the Body, when first it comes thither,
And there she sits safe until a man dyes:
Then steals out again, no man knows how, or whither.
The Thief is the only man that lives well,
The World is his Slave, and Fortune his Friend;
He understands more than the wisest can tell,
For he certainly knows what shall be his end.

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Item Code: RRFV2

First line: He took her about the middle so small

Source Edition: Flora's Vagaries (1663), 4.1, p.56.

First performed: 3 November 1663 (8 January 1663 at Christ Church, Oxford)

UMI(2) reel no.: 875:57

Author: Richard Rhodes

Source/s of Music: Not recorded in Day and Murrie

Text of song:

Enter Alberto, pulling in Flora, and singing.

Alb. He took her about the middle so small,
And threw her upon the ground.

Flo. If you have any more of that Song, I'le turn you out of door again, you will never leave this Ribaldry, you are in a sweet pickle.

<NOTE: This song also appears in GPAVGW6 . >.

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Item Code: RSHAL1

First line: When sons of Mars quarrel

Source Edition: The Tragedie of Hero and Leander (1669), 1.1, p.3.

First performed: 1667-8? (Danchin)

UMI(2) reel no.: 515:8 (1669)

Author: Sir Robert Stapylton

Source/s of Music: Not recorded in Day and Murrie

Text of song:

Song.

When Sons of Mars quarrel
For Fame and the Laurel,
They dye, nipt like Buds in the Spring:
We Children of Venus,
When our Nurses wean us,
Play, Laugh, Kiss, and merrily Sing.
Yet We get Renown,
Which Cupid proposes;
And We wear a Crown,
Not Laurel, but Roses.
Our Goddess, Softer then our Flowers,
Will make no resistance.
Malignant and Infernal Powers
Set Hearts at a distance.

Chorus.

Fair Venus dwells above
The Moon, young Adonis under:
But Youth and Beauty will love,
The Stars cannot keep them asunder.

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Item Code: RSRAH1

First line: Use your youth and happy hours

Source Edition: Romulus and Hersilia; or, The Sabine War (1682), 2.2, p.13.

First performed: 10 August 1682 (Danchin, H/S)

UMI(2) reel no.: 822:18

Author: Ralph Schomberg? (ascribed to him in WING)

Source/s of Music: Not recorded in Day and Murrie

Text of song:

Enter Cornelia, Singing.

Use your Youth, use your Youth and happy hours,
while they remain:
Cheerfully, Cheerfully, while they are ours,
the blessings entertain,
For time once lost can ne're be found again.
For time once, &c.

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ITEM CODE: RSRAH2

First line: White as the lily will she lye

Source Edition: Romulus and Hersilia; or, The Sabine War (1682), 4.2, p.36.

First performed: 10 August 1682 (Danchin, H/S)

UMI(2) reel no.: 822:18

Author: Ralph Schomberg? (ascribed to him in WING)

Source/s of Music: Not recorded in Day and Murrie

Text of song:

Feli. <...> SINGS.

White as the Lilly will she lye
When the foolish Maid shall die,
For she carry'd with her, her Virginity:
O fie, O fie.

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Item Code: RSRAH3

First line: Make haste fair queen of Cyprus tarry not

Source Edition: Romulus and Hersilia; or, The Sabine War (1682), 4.2, pp.36-7.

First performed: 10 August 1682 (Danchin, H/S)

UMI(2) reel no.: 822:18

Author: Ralph Schomberg? (ascribed to him in WING)

Tune: "A Martial Air"

Source/s of Music: Not recorded in Day and Murrie

Text of song:

Cor. Pray try what charmes there are in Musick, Madam.

Feli. Let it be mournful then, for should they play
A Cheerful air, and I so merry as I am,
Twou'd make me mad--ha, ha, ha, ha--
But tis no matter, I'le sit down here and weep.[Soft Musick.
No more, I hate these Viols: Hostilius is a Souldier
Let me hear voices: Sing a Trumpet to me.

SONG. [To a Martial Air.

Make hast fair Queen of Cyprus, tarry not:
Have-you the impatient Love of Mars forgot?
He bleeds, he bleeds, from wounds unseen,
That know no cure but such a Queen.
You are the only Surgeon has the art
To cure a God that's wounded in the heart.
See the fair Queen of Cyprus does appear,
While all the wither'd beauties of the year
Start up and smile, to feel her bring,
Something more welcome than the Spring.
The Rose and Jessamine, perfume the air,
Yet do her Garlands take their sweetness from her hair.
She comes, she comes, she comes a Lovers pace
With all the smiles of Heaven in her face.
Chorus.Why should not than the brave be fortunate?
Why shou'd the fair be hapless in their Love?
When the Coelestial powers that rule their fate
Keep such a kind intelligence above?

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Item Code: RSRAH4

First line: Where art thou god of dreams for whose soft chain

Source Edition: Romulus and Hersilia; or, The Sabine War (1682), 4.2, pp.37-8.

First performed: 10 August 1682 (Danchin, H/S)

UMI(2) reel no.: 822:18

Author: Ralph Schomberg? (ascribed to him in WING)

Composer: Giovanni Battista Draghi ( nwc)

Source/s of Music: Recorded in Day and Murrie, p.381, n.3841 [Music] Playford, Henry, The Theater of Music...Third Book (1686), pp.54-5 (UMI(2) 364:16). Lyrics only first appeared in The Newest Collection of the Choicest Songs (1683), p.80.

Text of song:

Feli. I will, I will, I will, I will, -- [Sits down again.
But then you must not sing another Trumpet;
I hate the thought of war, Hostilius is
Too much a Soldier! Sing any thing but that,
And I will try to sleep in earnest.

SONG.

<I.>

Where art thou God of dreams; for whose soft chain
The best of Mankind ever do complain;
Since they affect to be thy Captives before Liberty
Unkind and disobliging Deity!
He flies from Princes and from Lovers Eyes
Yet every night with the poor Shepheard lies?

II.

Shew thy self now a God, and take some care
Of the distressed Innocent and fair.
To rest, to rest, dispose the pitty'd Maid, her eye-lids close
Gently, as evening dews shut up the Rose:
Then bear in silent whispers to her ear
Such pleasing words as Virgins love to hear.

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Item Code: RSTF1

First line: Three hundred hundred hundred

Source Edition: The Funeral; or, Grief a la Mode (1701), 2.1, pp.21-2.

First Performed: December? 1701 (L.S.)--pub. 20 December

Author: Richard Steele

Source/s of Music: Not recorded in Day and Murrie

Text of song:

Tr. What's in this Song---Ha---don't my Eyes deceive me,---a Bill of Three Hundred pounds---

Mr. Cash,

Pray Pay to Mr. William Trim, or Bearer, the Summ of Three Hundred Pounds, and place it to the Accoumpt of,

SIR, Your Humble Servant,
Thomas Campley.

[Pulling of his Hat and Bowing.] Your very Humble Servant Good Mr. Campley, Ay, this is Poetry, this is a Song indeed? Faith I'll Set it, and Sing it my self---Pray Pay to Mr. William Trim---so far in recitatiro---Three Hundred,[singing ridiculously---] Hun---dred---Hundred--- Hundred thrice repeated, because 'tis Three Hundred Pounds, I Love repetitions in Musick, when there's a good reason for it, Po---unds after the Italian Manner---If they'd bring me such Sensible words as these, I'd Out-strip all your Composers, for the Musick Prize---This was honestly done of Mr. Campley---Tho' I have carry'd Him many a Purse from my Master when He was Ensign to Our Company in Flanders---

Enter Lord Hardy.

My Lord I am your Lordships Humble Servant.

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Item Code: RSTF2

First line: Let not Love on me bestow

Source Edition: The Funeral; or, Grief a la Mode (1701), 2.1, pp.27-9.

First Performed: December? 1701 (L.S.)--pub. 20 December

Author: Richard Steele

Composer: Daniel Purcell ( nwc)

Performer/s: Mrs. Harris

Source/s of Music: Recorded in Day and Murrie, p.276, n.1982 [Music] Wit and Mirth...Volume Four (1706), pp.184-5 (CT(1) 10355:17) et al.

Text of song:

L. Sh. 'Tis so indeed, for your Cousins Song's very pretty Mrs Fardingale:

Reads.

Let not Love on me bestow
Soft Distress, and tender Woe;
I know none but substantial Blisses,
Eager Glances, solid Kisses;
I know not what the Lovers feign,
Of finer Pleasure mix'd with Pain,
Then prethee give me gentle Boy,
None of thy Grief but all thy Joy.

But Harriot thinks that a little unreasonable, to expect one without enduring t'other.

<dialogue relating to the forthcoming singing of this song continues at some length>

Fa. <...> 'Tis a pretty Gallantry to a Relation.

Sings and Squales.

Let not Love, &c.

<and again>

Sings. Cam. Let not Love, &c.

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Item Code: RSTF3

First line: Prithee Cynthia look behind you

Source Edition: The Funeral; or, Grief a la Mode (1701), 2.1, p.30.

First Performed: December? 1701 (L.S.)--pub. 20 December

Author: Richard Steele

Source/s of Music: Not recorded in Day and Murrie

Text of song:

Cam. But Madam, Madam, Madam, why Madam!

Sings.

Prethee Cynthia look behind you,
Age and Wrinkles will o'retake You.

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Item Code: RSTF4

First line: Ye minutes bring the happy hour

Source Edition: The Funeral; or, Grief a la Mode (1701), 4.1, p.51.

First Performed: December? 1701 (L.S.)--pub. 20 December

Author: Richard Steele

Source/s of Music: Not recorded in Day and Murrie

Text of song:

Cam. Since we are all Three then expecting Lovers my Lord, Prethee let's have that Song of yours which Suits our common purpose.

Ld. Ha. Call in the Boy.

Boy Sings.

<I.>

Ye Minutes bring the happy Hour,
And Chloe Blushing to the Bower:
Then shall all Idle Flames be o're,
Nor Eyes or Heart e're wander more:
Both, Chloe, fix'd for e're on Thee,
For Thou art all thy Sex to Me.

II.

A Guilty is a false Embrace,
Corinna's Love's a Fairy-Chace:
Begone, thou Meteor, Fleeting Fire,
And all, that can't survive Desire.
Chloe my Reason moves and Awe,
And Cupid shot Me, when he Saw.

<NOTE: Next song follows immediately after this one>.

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Item Code: RSTF5

First line: Cynderaxa kind and good

Source Edition: The Funeral; or, Grief a la Mode (1701), 4.1, pp.52-3.

First Performed: December? 1701 (L.S.)--pub. 20 December

Author: Richard Steele

Source/s of Music: Not recorded in Day and Murrie

Text of song:

<NOTE: This song follows immediately after the previous one>.

Trim. Look you, Gentlemen, since as you are pleas'd to say we're all Lovers, and consequently Poets, pray do me the honour to hear a little Air of mine: You must know then, I once had the misfortune to fall in Love below my self, but things went hard with us at that time, so that my Passion, or as I may Poetically speak, my Fire was in the Kitchin: 'Twas towards a Cook-Maid; but before I ever saw Mrs. Deborah.

Ld. Har. Come on then, Trim, let's have it.

Trim. I must run into next Room for a Lute. Exit.

Cam. This must be diverting! can the Rogue Play?

Re-enter Trim, with a pair of Tongs.

Trim. Dear Cynderaxa her self very well understood this Instrument, I therefore always sung this Song to it, as thus.

I.

Cynderaxa Kind and Good,
Has all my Heart and Stomach too;
She makes me love, not hate, my Food,
As other peevish Wenches do.

II.

When Venus leaves her Vulcan's Cell,
Which all but I a Cole-hole call;
Fly, fly yee that above Stairs dwell,
Her Face is wash d, yee vanish all.

III.

And as she's Fair, she can impart
That Beauty, to make all things Fine;
Brightens the Floor with wondrous Art,
And at her touch the Dishes shine.

Ld. Har. I protest, Will, thou art a Poet indeed. And at her touch the Dishes shine---And you touch your Lute as finely.

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Item Code: RSTF6

First line: On yonder bed supinely laid

Source Edition: The Funeral; or, Grief a la Mode (1701), 5.1, p.78.

First Performed: December? 1701 (L.S.)--pub. 20 December

Author: Richard Steele

Composer: Set by Daniel Purcell, but music not extant (?)

Performer/s: Mrs. Bowen

Source/s of Music: Not recorded in Day and Murrie

Text of song:

Tri. Is a French-man a Dancer, is a Welshman a Gentleman? I'll bring him in.---

[Here a Dance and the following Songs.

Set by Mr. Daniel Purcell.

Sung by Jemmie Bowin.

I.

On Yonder Bed supinely laid,
Behold thy Lov'd Expecting Maid:
In Tremor, Blushes, half in Tears,
Much, much she Wishes, more she fears,
Take, take her to thy Faithful Arms
Hymen bestows thee all her Charms.

II.

Heav'n to thee Bequeath, the Fair
To raise thy Joy, and lall thy Care,
Heav'n made Grief, if Mutual, cease,
But Joy, divided, to encrease
To Mourn with her exceeds delight,
Darkness with her, the Joys of Light.

<NOTE: Next song follows immediately after this one>.

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Item Code: RSTF7

First line: Arise great dead for arms renown'd

Source Edition: The Funeral; or, Grief a la Mode (1701), 5.1, p.79.

First Performed: December? 1701 (L.S.)--pub. 20 December

Author: Richard Steele

Composer: Set by Daniel Purcell, but music not extant (?)

Performer/s: Mr. Pate

Source/s of Music: Not recorded in Day and Murrie

Text of song:

<NOTE: This song follows immediately after the previous one>.

Sung by Mr. Pate.

I.

Arise, arise great Dead for Arms renown'd,
Rise from your Urns, and save your Dying story,
Your Deeds will be in Dark Oblivion Drown'd
For Mighty William Seizes all your Glory.

II.

Again the British Trumpet Sounds,
Again Britannia Bleeds;
To Glorious Death, or comely Wounds,
Her Godlike Monarch Leads.

III.

Pay us, kind Fate, the Debt you Owe,
Caelestial Minds from Clay untye,
Let Coward Spirits dwell below,
And only give the Brave to Die.

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Item Code: RSTS1

First line: Why unarm'd poor Cupid prithee

Source Edition: The Stepmother (1663, pub.1664), 1.1, pp.6-7.

First performed: Mid-October 1663 (Danchin)

UMI(2) reel no.: 477:5

Author: Robert Stapylton

Source/s of Music: Not recorded in Day and Murrie

Text of song:

Filamor discover'd in an Arbor, with a Lute in his hand; on either side the Arbor, on two pedestals, Cupid stands, and the Flamen kneels: as Caesarina walks by they sing.

Flamen. Why unarm'd, poor Cupid, pr'y thee,
Tell a Mortal how tis with thee?

Cupid. To one Mortal, what another
Has committed, may be told;
I am plunder'd, so's my Mother.

Fla. What frail Man durst be so bold?

Cup. No, to make us more inglorious,
Tis a Woman that's Victorious.

Fla. Caesarina?

Cup. They (who saw her)
Say, she rides in Triumph here,
That my Mother's white Doves draw her
In their Chariot.

Fla. Look, she's there.

Cup. How knowest thou?

Fla. By a sure Token,
Thy Torch quench'd, and thy Bow broken,
Makes her Trophie; Captives follow.

Cup. One Slave Sorrow's Livery wears,
His Eyes sink, his Cheeks fall hollow,
In his Face his fate appears.

Fla. That Slaves Filamon; no Lover
Caesarina triumphs over,
Suffers in Love's Cause so sadly,
Cupid help?

Cup. I cannot do
Him a favour; I would gladly:
But I am her Captive too.

Chorus.

The World's grown so stupid
That now 'tis in fashion
To pray to God Cupid,
If a Man have a passion,
He that hopes for a Cure,
Must get it of Beauty,
Or else do his Duty.
That's Dye, or Indure.

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Item Code: RSTS2

First line: On the poplars and oaks

Source Edition: The Stepmother (1663, pub.1664), 2.1, p.23.

First performed: Mid-October 1663 (Danchin)

UMI(2) reel no.: 477:5

Author: Robert Stapylton

Source/s of Music: Not recorded in Day and Murrie

Text of song:

Musique...At the end of this Antique, the Bard wakes, and sings.

The Bard's Song.

On the Poplars and Oaks
When the white Raven croaks,
And the crafty young Fox withdrawes,
With the fair Fawn
Through a green Lawn
Just into the Lion's pawes:
Then the Scene of Blood is acted;
Then the Wood-Nymphs run distracted;
The Mandrake shrieks,
The Moon's pale cheeks
Look dark;
But hark,
Brasse Basons and Trumpets are sounding;
See, see, how soon
They thunder the Moon
Out of the Eclipse she was drown'd in.
What should we fear?
The Sun shines clear;
No Mist on the Hill,
Not a Clowd in the Skie:
The Lark sings shrill,
And the Swallow flyes high.

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Item Code: RSTS3

First line: Hey brother wood-men come away

Source Edition: The Stepmother (1663, pub.1664), 3.1, pp.42-4.

First performed: Mid-October 1663 (Danchin)

UMI(2) reel no.: 477:5

Author: Robert Stapylton

Source/s of Music: Not recorded in Day and Murrie

Text of song:

Masque

Apollo's Mask.

The Scene, a Grove, in which is a Lawrell Tree, and three Poplar Trees. Enter Phaƒton.

Phaƒ. Hey! brother---Wood-men come away,
Actƒon? Cephalus? So ho? Chorus within.

Enter Fil. & Adolph as Cephalus and Actƒon.

Never may they see Sport, who stay
When Phaeton sayes, come, or Go:

Actƒ. Shall we rouze the long-liv'd Hart?

Phae. Ask the Youthfull God of Art,
(Who restor'd us our Forms) Apollo,
My Father promis'd he would follow: [Enter Apollo.
See, the great Huntsman comes at last.

Apol. Our morning-Rites in Delphos past;
I came to London, where my Sister
Dwells in her Temple; but I miss'd her:
For (vex'd with things, which fools desir'd)
She was into her Grove retir'd:
Then swift as ever Lightning flew,
I cut the Clowds, and sail'd to You.

Phae. You'l hunt?

Apol. We'l dance.

Phae. No Ladies?

Apo. Yes,
Four of the Metamorphosis:
In those three Poplars grow thy Sisters,
That Laurell Cloisters my coy Mistris;
We two will untransform them now.

Phaƒ. All-pow'rfull Father, shew me how.

Apo. My sacred Tree,
That Conquerors and Poƒts browes
Crown'st with thy immortall boughs,
From thunder free,
With Musique shaken, cleave asunder,

Daph. Ay me! a suddain clap of thunder
Could not strike Daphne's heart so dead,

The Laurell opens, and in it appears Daphne.

As does that Voice, from which I fled
To this Tree, that (whea th'Earth deny'd me)
Open'd, and shut again to hide me:
False Laurell, wer't thou kind so long,
At last to sell me for a Song?
What hope that Strangers will be just,
When our old Friends betray their trust?
Cruell Apollo, dost thou give
Life to a Maid who fears to live?
Some gentler God take Daphne's part,
And close my Tree, or break my Heart.

Apo. Sweet Nymph, thy Panick Fear dismiss,
Apollo will not force a kiss.

Daph. Why then for Daphne do you call?

Apo. This is the Huntsman's Festivall,
We'l only dance together.

Daph. Then Daphne may
(With honour) say,
Apollo's welcome hither.

Phaƒ. Dear Sisters, that (when I was drown'd)
Wept your selves into Poplar-Trees:
Now my Platonick Year's come round,
Enjoy the Light which Phaƒton sees;
Phaƒthusa?

Phaeth. I am here.

Phae. Lampethusa re-appear.

Lamp. I come, I come.

Phae. Lampetie, live.

Lam. Thy Breath is my Restorative

Chorus. On the Huntsman's Feast,
Like Pris'ners releas'd,
Let's dance and sing;
Till the Birds admire,
What new happy Quire
Makes the Woods ring,
And drawes the Sphears nigher.
No Pleasure transcends
The Meeting of Friends.

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Item Code: RSTS4

First line: How my rape was brought about

Source Edition: The Stepmother (1663, pub.1664), 4.1, pp.59-62.

First performed: Mid-October 1663 (Danchin)

UMI(2) reel no.: 477:5

Author: Robert Stapylton

Source/s of Music: Not recorded in Day and Murrie

Text of song:

Diana's Mask.

The Scene a Hawthorn Tree.

Enter Pontia, as Diana; Caesarina as Flora; Brianella as Progne.

Pontia. Goddess of Flowr's, though you have still
Narcissus in your Daffadil...

<NOTE: Song continues for several hundred lines>

Chorus. <...> Nature sets us no task,
Our whole Life's a Mask
Compos'd of Songs and Dances.
[The four Gods dance with the four Ladies.

<NOTE: Within the masque is presented the following song>

Violinda, as Philomel, appears in the Hawthorn, & sings.

Philomel's Song.

Violinda. How my Rape was brought about,
And how my Tongue cut out,
I need not tell,
'Tis known as well
As my woful name of Philomel,
Which, though my speech did fail,
My Soul did so bewail,
That it throbb'd into a Nightingale.
Then I, poor Bird,
Had Tongue, but not a Word;
I sung, but could not speak:
As if my heart would break
Warbled I.
But no more Revenge I cry,
Now the Ravisher's acquitted;
For, Diana's mighty pow'r
Calls back this the happy'st Hour,
The Hour before the Crime committed.

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Item Code: RSTSM1

First line: Thy love is chaste they tell thee so

Source Edition: The Slighted Maid (1663), 1.1, p.9.

First performed: 23 February 1663

UMI(2) reel no.: 2218:5

Author: Robert Stapylton

Source/s of Music: Not recorded in Day and Murrie

Text of song:

Sal. Nay, now
That I have the word of a Princess for
Her Virtue, I'l ingage my Friend to try it.

He Sings.

Thy Love is Chast, they tell thee so;
But how, young Soldier, shalt thou know?
Do by her
As by thy Sword,
Take no Friend's word,
But try her:
'Twill raise her Honour one step higher.
Fame has her Trial at Love's Bar,
Deifi'd Venus from a Star
Shoots her Lustre:
She had never been Goddess't,
If Mars had been modest:
Try and trust her.

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Item Code: RSTSM2

First line: Drink to me boy

Source Edition: The Slighted Maid (1663), 2.1, p.16.

First performed: 23 February 1663

UMI(2) reel no.: 2218:5

Author: Robert Stapylton

Source/s of Music: Not recorded in Day and Murrie

Text of song:

Cor. <...> Good-fellows too, come in, we'l take a Touch;
But first, sing o're the Roll, and name our Healths.

They <Corbulo and Vindex> Sing.

Drink to me, Boy;
Here's to thee, Boy;
A Health t'our Master,
A Nobler never obey'd I;
Couple him with my Lady,
Never Man had a Chaster;
Match the Vice-Roy, as even,
With his Royal Creatour
To the King: bless him Heav'n, {knocking at Gate.
And a pox take the Traitor.

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Item Code: RSTSM3

First line: Here I pipe here I keep

Source Edition: The Slighted Maid (1663), 3.1, p.34.

First performed: 23 February 1663

UMI(2) reel no.: 2218:5

Author: Robert Stapylton

Source/s of Music: Not recorded in Day and Murrie

Text of song:

Dec. Poetry; a new Ode, which I've compos'd;
Sit down and hear it, 'tis Apollo's Song.

Here I Pipe, here I keep
King Admetus's Sheep,
Here I gather Lawrel for my Wreath:
But Apollo, where
Do'st thou live? Oh not here;
Absent Lovers live not where they breath.
But my Spirit is
In a Place of Bliss,
Wheresoe're that Blessed Place may lie,
In a Garden, or a Grove,
In a Grott, or an Alcove:
Ever where my Love is, there am I.
Uncircumscrib'd thus acts the Mind,
Why should the Body be confin'd?
Swift as thought can move,
Little God of Love,
Carry me, upon thy nimble Wings,
To the top of yonder Tow'r,
Where precisely at this hour
Hyacinthus strikes his Lute and sings,
We are met, sweet Boy,
What I now enjoy
Not a God, besides my self, shall know:
Cupid, thou hast leave to play,
To thy Mother fly, and say,
That Apollo has a Heav'n below.

<NOTE: Not clear whether recited or sung>.

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Item Code: RSTSM4

First line: I am an evening dark as night

Source Edition: The Slighted Maid (1663), 3.1, pp.48-9.

First performed: 23 February 1663

UMI(2) reel no.: 2218:5

Author: Robert Stapylton

Source/s of Music: Not recorded in Day and Murrie

Text of song:

[Flajolet plays a far off.

Song in Dialogue.

Evening. I am an Evening dark as Night,
Jack-with-the-Lantern bring a Light---

Jack. Wither, whither, whither? [within.

Evening. Hither, hither, hither.

Jack. Thou art some pratling Eccho, of my making:

Evening. Thou art a Foolish Fire, by thy mistaking:
I am the Evening that creates thee.

Enter Jack in a black Suit border'd with Glow-worms, a Coronet of Shaded Beams on his head, over it a Paper Lantern with a Candle in't.

Jack. My Lantern and my Candle waits thee.

Evening. Those Flajolets that we heard play,
Are Reapers who have lost their way;
They Play, they Sing, they Dance a-Round,
Lead them up, here's Faery-ground.

Chorus.

Let the Men ware the Ditches;
Maids, look to your Breetches,
We'l scratch them with Briars and Thistles:
When the Flajolets cry,
We are a-dry;
Pond-water shall wet their Whistles.

[Exeunt Evening, Winds, & Jack.

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Item Code: RSTSM5

First line: Buff's a fine sport

Source Edition: The Slighted Maid (1663), 3.1, pp.49-50.

First performed: 23 February 1663

UMI(2) reel no.: 2218:5

Author: Robert Stapylton

Source/s of Music: Not recorded in Day and Murrie

Text of song:

<NOTE: This song follows shortly after the previous one>.

The Violins and Flajolets play...then they take hands, compass in Jack, Dance a Round, and Sing.

Buff's a fine Sport,
And so's Course o'-Park;
But both come short
Of a Dance in the Dark.
We trip it completely,
The Pipe sounds so neatly:
But that which surpasses
Is the breath of the Lasses,
O the pretty Rogues kiss featly.

[Jack runs away and leaves them to stumble out in the dark.

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Item Code: RSTSM6

First line: Phoebus [Who calls the world's great light]

Source Edition: The Slighted Maid (1663), 5.1, pp.80-5.

First performed: 23 February 1663

UMI(2) reel no.: 2218:5

Author: Robert Stapylton

Source/s of Music: Not recorded in Day and Murrie

Text of song:

The Scene Vulcan's Court, over it is writ, Foro del Volcane. Soft Musique.

Enter Aurora in a black Veil below.

Song in Dialogue.

Aur. Phoebus?

Phoeb. Who calls the World's great Light?

Aur. Aurora, that abhors the Night.

Phoeb. Why does Aurora from her Cloud
To drowsie Phoebus cry so Loud?

Aur. Put on thy Beams; rise, (no regard
To a young Goddess, that lies hard
In th'old Man's bosome?) rise for shame,
And shine my Cloud into a Flame.

Phoeb. Oblige me not beyond my pow'r,
I must not rise before my hour.

Aur. Before thy hour? look down, and see,
In vain the Persian kneels to thee,
And I (mock'd by the glim'ring Shade)
A sad mistake in Naples made;
Like Pliny I had lost my life,
If I had been a Mortal Wife.

Phoeb. Thou cam'st too near the Burning Mount
Vesuvio?

Aur. Upon thy account,
For I took Clouds of Smoke and Fire,
(VVhich here from Vulcan's Court expire)
For Morning-streaks, Blew, VVhite, and Red,
That Rouse me from cold Tithon's Bed.

Phoebus enters with his Beams on.

Phoeb. Charge not upon me for a Crime,
That I stai'd th'utmost point of time,
Before I would put off my Bays,
And on Naples shed my Rays,
VVhere such a mischief they have done,
As will make Venus hate the Sun,
Discovering to Vulcan's eye
VVhere she and Mars embracing lie.

Aur. I'm sorry Mars and Venus had
Such Privacy: but I am glad
That Phoebus does at last appear
To shine away Aurora's Fear.

Phoeb. What frighted thee?

Aur. I know not what;
But thou know'st all; what noise is that?

Within Vulcan roars out,

No work, Rogues?

Phoeb. 'Tis Vulcan, in a greater Heat
Than th'Irons by his Cyclops beat:
He makes the horrour of that noise
Teaching and Knocking his great Boys,
(From hamm'ring out Jove's Thunder) set
To File and Polish Vulcan's Net,
Which he'l catch Mars and Venus in.

Aur. What now? [Laughing within.

Phoeb. To laugh the Smiths begin:
At furious Vulcan (halting off
To measure his wife's Bed) they scoff.

Aur. I'l leave the place; I can no more
Endure the Laughter than the Roar. [Tuning within.

Phoeb. Heark, they record, they'l sing anon;
'Tis time for Phoebus to be gone:
For when such Lyrick Asses bray,
The God of Musique cannot stay. [Exeunt Phoebus and Aurora.

The Cyclops Song (within)

Cry our Ware, (Sooty Fellows,
Of the Forge and the Bellows)
Has Jove any Oaks to rend?
Has Ceres Sickles to mend?
Wants Neptune a Water-Fork?
All these are the Cyclops work:
But to Wire-draw Iron-rods,
To File Nets to catch the Gods,
What can make our fingers so fine;
Drink, drink, Wine, Lippari-wine.

Chorus.

Smoke, Smoke breeds the Tisick,
Wine, Wine's the best Physick,
For every Cyclop a full Kan;
Our Tearms runs thus,
Some Wine for Us,
Or no Net for our Master Vulcan.

Enter Vulcan with Iron Links in his hand, and a Horse-shoo revers'd on his head, he drives before him the four Cyclops drunk, wearing half-Vizards with one Eye in the Fore-head.

Vul. Drink Fire, you Lazie Monsters; Lippari-Wine?
No Liquor down with you, but mine?

1 Cycl. We made a shift.

Vul. It seems so, for you reel:
Is this my Cobweb weav'd in Steel?
How horridly it looks---

2 Cycl. But not so horrid [He points with two fingers at Vul.
As Vulcan does, who Shooes his forehead.

Vul. With gaping loop-holes, and wrought all awry:
My Wife's Pox put out thy one Eye.

3 Cycl. He means her Small-pox, and that seldom misses
The Eye, for 'tis a small Ulysses.

4 Cycl. I'l dance my Eye out.

Vul. Let who dare advance
A step; no Rogues, you shall not dance;
I'l lay your legs fast, your heels you may shake
In th'Iron Stocks, those you can make.

Enter two Cupids, (a White and a Black) with Bows and Forked Arrows, with which they point at Vulcan.

1 Cycl. Not Dance? Cow'rds? here come Cocks that are no dastards;
Two Cupids? Y'have a charge of Bastards.

2 Cycl. One for the White Men.

3 Cycl. For the Black another.

4 Cycl. Your Wife's a very fruitful Mother:
These Cupids shoot in Cross-bows sure, for they
Have forked Arrows?

1 Cycl. Sa, sa, sa;
We have our Forks too, and though drunk, yet hearty,
We'l joyn with the Malignant Party.

Exeunt Cyclops, and after Vulcan and the Cupids have begun the Dance, the Cyclops return with Kans in their hands, they dance and drink.

When the Antick's done, all cry, Ware Horns, and then run away, onely the White Cupids stays.

Vul. My Hammer? Dogs, your legs have sav'd your brains,
Still the European Brat remains
Upon the place: Venus's only Joy
Come hither, my Wifes fine White Boy:
You must change Colours, Sirrha, get a robe
As black as Mid-night makes the Globe,
Mourn at thy Mother's Funeral, if thou stay'st,
Thine shall be first---

Cup. Hold, I'm in haste. [Exit White Cupid.

Vul. I'm so too: my Net I cannot make,
'Tis now Venus's time to wake:
Time Vulcan measures by exacter trial Vul. pulls out a steel Watch.
Than Phoebus does on his Sun-dial:
A Master in my Art I'm known to be,
Though not in the Art of Poetry;
My Verse halts like myself but (day and night)
My Workmanship, this Watch, goes right.

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Item Code: RWTB1

First line: Mnemosyne no more shall be

Source Edition: The Benefice (1689), 1.1, pp.16-7.

First performed: Unacted?

UMI(2) reel no.: 620:5

Author: Robert Wild

Source/s of Music: Not recorded in Day and Murrie

Text of song:

Ceres. Then go about it quickly. You'r Welcome.---

---And I will be an Actor in your Play,
There's none but Ceres shall your Prologue say. [They all Sing.]

SONG.

1.

Mnemosyne no more shall be
The Muses Mother Crown'd with Bays,
We have found one more kind than she;
'Tis Ceres best deserves our Praise.
'Tis she, 'tis she
Henceforth shall be,
The Muses kindest Landlady.

2.

Parnassus is but barren Ground,
Apollo but a Beardless Boy;
In Helicon we'll here be drown'd,
But Ceres she shall be our Joy.
'Tis she, 'tis she
Deserves the Knee
For this Days gracious Liberty.
'Tis she, &c.

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Item Code: RWTB2

First line: How shall he sing whose throat is hoarse with care

Source Edition: The Benefice (1689), 4.1, p.38.

First performed: Unacted?

UMI(2) reel no.: 620:5

Author: Robert Wild

Source/s of Music: Not recorded in Day and Murrie

Text of song:

Bookw.

How shall he Sing, whose Throat is hoarse with care?
Or he keep Time, whose Heart-strings broken are?

Alas! how shall I sing that am so much out of Tune...

<NOTE: There is no stage direction to indicate whether this is recited or sung, although the couplet, followed by prose suggests that it is>.

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Item Code: RWTB3

First line: God prosper long our noble king

Source Edition: The Benefice (1689), 4.1, p.43.

First performed: Unacted?

UMI(2) reel no.: 620:5

Author: Robert Wild

Tune (if traditional): Chevy Chase ( nwc)

Source/s of Music: Recorded in Day and Murrie, p.229, n.1167. See also Simpson, p.100.

Text of song:

Bookworm.

[I'll set them together by th'Ears.]---Come--- Who buys a Ballad?

[Sings.]

God prosper long our Noble King. &c.---
<speaks> Who buys a new Ballad?

<NOTE: The next song follows immediately after this one>.

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Item Code: RWTB4

First line: I am confirm'd a scholar can

Source Edition: The Benefice (1689), 4.1, p.43.

First performed: Unacted?

UMI(2) reel no.: 620:5

Author: Robert Wild

Composer: Henry Lawes ( nwc)

Source/s of Music: Recorded in Day and Murrie, p.248, n.1488. This song is a variant of "I am confirm'd a woman can" in John Playford's Select Musicall Ayres and Dialogues (1652), I.10 (UMI(2) 286:23) et alia.

Text of song:

[He <Bookworm> sings again.]

I am confirm'd a Scholar can,
Be this or that, or any Man;
And Ovid taught all Students this,
To make a Metamorphosis.
And when he cannot change a Groat,
He'll turn his Skin and change his Coat.

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Item Code: RWTB5

First line: When Alexander cross'd the seas

Source Edition: The Benefice (1689), 4.1, p.44.

First performed: Unacted?

UMI(2) reel no.: 620:5

Author: Robert Wild

Source/s of Music: Not recorded in Day and Murrie

Text of song:

Enter a Tinker singing.

Tinker. When Alexander cross'd the Seas, }
King Pippin and Diogenes. }
Mul'd Sack is good to cure the Fleas. }
Tom Tinker lives a merry Life,
And is o'th' mending hand,
A Copper Nose, a Brazen Face,
He hath at your Command.

<NOTE: The separation of the tercet from that which follows suggests the possibility that there are two separate songs here. If so, the second may be set to the tune of "Tom Tinker"--see Simpson, pp.714-5>.

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Item Code: RWTB6

First line: There is good liquor [I never drunk quicker]

Source Edition: The Benefice (1689), 4.1, p.45.

First performed: Unacted?

UMI(2) reel no.: 620:5

Author: Robert Wild

Source/s of Music: Not recorded in Day and Murrie

Text of song:

Tink. God bless your Learning, Master.

There is good Liquor,
I never Drunk quicker;
And if thou'lt follow me;
Thou'st find Chink,
And I'll find Drink,
And so we'll Merry be.---<speaks> Master will you set a poor Tinker on Work?

<NOTE: There is no stage direction to indicate whether this is recited or sung. The Tinker has already sung one song, and the style suggests this to be another>.

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Item Code: RWTB7

First line: I have been a jovial rambler

Source Edition: The Benefice (1689), appended to end of Act Four, pp.53-4.

First performed: Unacted?

UMI(2) reel no.: 620:5

Author: Robert Wild

Source/s of Music: Not recorded in Day and Murrie

Text of song:

Surgit Furor. & Canit.

1.

I have been a Jovial Rambler,
And have Travel'd many Nations.
I have seen
How Men have delighted in,
Several Transformations.
Yet still do I cry,
Let them chop, let them change Boy,
Let them turn and never spare;
But to see a Lurch,
That's put upon the Church,
O this fetches off my Hair.

2.

Old Proteus stands amazed,
To see himself put down,
Copernicus
Did prophesy of us,
When he said the World turn'd round.
Yet still, &c.

3.

Your Rich Men turn'd to Lions,
Your Rich Men, an Ass in Fashion,
Marry'd Wives wear Fox-skins,
And their Husbands Ox-skins;
Oh, ho, 'tis a Jugling Nation.
But still, &c.

4.

I have seen a Beggar in Scarlet,
Made a Master of a Gaffer,
No Gentleman bred,
Become one of the first Head,
At which I am a Scoffer.
Yet still, &c.

5.

I have seen a Deck of Religions,
Pack'd and Shuffl'd most rarely;
The Papists in a Dump,
'Cause Puritan is Trump,
And swears they Deal not fairly.
Yet still, &c.

6.

I have been in many a Parlour,
Where Sermons have been Plenty,
I heard a Ladkin Pray,
Both a Night and a Day,
And yet could scarce tell Twenty.
Yet still do I cry,
Let them chop, let them change Boy;
Let them turn and never spare,
But to see a Lurch,
That's put upon the Church,
O, this fetches off my Hair.

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Item Code: RWTB8

First line: Come on and let's be merry

Source Edition: The Benefice (1689), 5.1, pp.55-6.

First performed: Unacted?

UMI(2) reel no.: 620:5

Author: Robert Wild

Source/s of Music: Not recorded in Day and Murrie

Text of song:

Hob. <...> Mr. Marpudding can be hang'd e're he can do thus.
[Puffs, Whisles, and Sings.]

Come on, and let's be Merry,
And why should we be Sad?
We'll have a Living anon,
Whether it be good or bad.

Whoop, Ha.---Well sung Parson Hob <...>

<This character continues to sing hereafter, presumably singing this song>

Hob. <...> First begin with the Horn-book, the Horn-book, the Horn-book.

And then go on to the Primmer-- (And so far I'm advanced.
And here good Fellow's an Health to thee, and an Health to thee,
There no deceit in a Brimmer--

Why--where's my Man Homily?--How Letcherous are these Black Breeches the Rogue lent me!-- [Whoops and Sings.]

But still she replies, good Sir let it be,
If ever I have any Man, Black Coat for me. <speaks?> How proud am I?

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Item Code: RWTB9

First line: Lullaby lullaby baby lullaby

Source Edition: The Benefice (1689), 5.1, pp.57-8.

First performed: Unacted?

UMI(2) reel no.: 620:5

Author: Robert Wild

Source/s of Music: Not recorded in Day and Murrie

Text of song:

Gypsie. <...> Here's a Pass too that will carry us all England over, in spight of Stocks, and Whipping-Posts.--- She sings.

Lullaby, Lullaby Baby, Lullaby,
Sweetly Sleep and sweetly Slumber;
Sweetly Sleep and make no Moan,
Thee as mine I must now Number,
Tho indeed thou'rt not mine own.

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Item Code: RWTB10

First line: Good people all give ear a while to me

Source Edition: The Benefice (1689), 5.1, p.61.

First performed: Unacted?

UMI(2) reel no.: 620:5

Author: Robert Wild

Source/s of Music: Not recorded in Day and Murrie

Text of song:

Hob. Ah---I confess I deserve this Death---I have been a Drunkard, and covetous Churl, and would have cheated my Master of his Living. Besides, I once kiss'd a Wench behind the Stable-door; and now I am a Whore.---Ah Hob, thou art a Whore! ---I did not think thou wouldst have come to this.---

[He puts the Rope about his Neck, and sings.]

Good People all give ear a while to me,
And let my End all your Examples be.
When I was Drunk, then I was got with Child.
I bought a Living, but I am beguil'd.
All honest Men, I pray, take my Advice,
Meddle not with Parsons not in any wise:
Follow your Trades, and do not soar so high,
For at the last you will repent like I.
Fourty good Pounds in seven Years I got,
But now it's gone, and Mony I have not.
To ring my Bells, by this time I did hope,
But now I ring my Hands, and hang byth' Rope.

<speaks> So, now I forgive all the World---but Homily.

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Item Code: SCREBJ1

First line: Drawn by commanding Love [Imperial Jove]

Source Edition: The Rape of Europa by Jupiter (1694), p.1.

First performed: 1694 (H&S)

UMI(2) reel no.: 473:12

Author: S.C.

Source/s of Music: Not recorded in Day and Murrie

Text of song:

Mercury descends in a Chariot drawn by Ravens.

Mer. Drawn by Commanding Love,
Imperiall Jove,
Designs to Visit some New tempting fair
There is no end of his Amours,
No sooner one has quit the Feild,
But others to his Godhead yeild,
And so imploys my hours:
See where the first of Gods descending.
All Nature his known will attending.

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Item Code: SCREBJ2

First line: Haste my son my love admits of no delay

Source Edition: The Rape of Europa by Jupiter (1694), p.1.

First performed: 1694 (H&S)

UMI(2) reel no.: 473:12

Author: S.C.

Source/s of Music: Not recorded in Day and Murrie

Text of song:

Jupiter descends on an Eagle.

Jup. Haste, haste my Son, my Love admits of no delay
In yonder Tyrian Grove
You'll find my Love,
Begon, and with your awfull wand prepare.
All things for my reception there.

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Item Code: SCREBJ3

First line: Pressed with my griefs who can my sorrows end

Source Edition: The Rape of Europa by Jupiter (1694), p.2.

First performed: 1694 (H&S)

UMI(2) reel no.: 473:12

Author: S.C.

Source/s of Music: Not recorded in Day and Murrie

Text of song:

The Scene Changes to a Spacious Plain, a Mellancholy Symphony of Musick.

Then Enter Europa, Herse and Aglaura. Mercury appears above.

Eu. Prest with my greifs who can my sorrows end?
There's none.
Mer. There is,
Eur. Ah no.
Mer. There is a Friend.
Eur. Who is that Friend that will so Courteous prove?
Mer. Your Greifs are pitty'd by the mighty Jove.
Eur. When will that Potent God ordain my fate?
Mer. With patience till the happy Minute wait.

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Item Code: SCREBJ4

First line: Appear all appear your kind mistress to show

Source Edition: The Rape of Europa by Jupiter (1694), p.2.

First performed: 1694 (H&S)

UMI(2) reel no.: 473:12

Author: S.C.

Composer: John Eccles ( nwc)

Performer/s: Mrs. Hudson

Source/s of Music: Recorded in Day and Murrie, p.173, n.181 [Music] Hudgebut, John, Thesaurus Musicus...Third Book (1695), p.9 (UMI(2) 1820:20).

Text of song:

Herse. Appear all appear your kind Mistress to shew
What wonderous things you can do.
Let soorow and care,
Pale Cheeks and despair,
For ever Europa be strange to the Fair.

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Item Code: SCREBJ5

First line: How passingly fine these gay whimsies here dance

Source Edition: The Rape of Europa by Jupiter (1694), p.2.

First performed: 1694 (H&S)

UMI(2) reel no.: 473:12

Author: S.C.

Source/s of Music: Not recorded in Day and Murrie

Text of song:

Enter Shepherds, Shepherdesses and Coridon, who after some Musick joyn in a Dance.

Cor. How passingly fine these Gay whimsies here dance.
Come come my dear Malkin let us too advance,
In spight of their frisks and their Capers so high,
I'le shew what Buffs Jerkin can do by and by.

They Dance.

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Item Code: SCREBJ6

First line: Streams of pleasure here abounding

Source Edition: The Rape of Europa by Jupiter (1694), p.3.

First performed: 1694 (H&S)

UMI(2) reel no.: 473:12

Author: S.C.

Composer: John Eccles (Part One-- nwc) (Part Two-- nwc)

Source/s of Music: Parts of the song are recorded in Day and Murrie, p.338, n.3070 and p.227, n.1128 [Music] Hudgebut, John, Thesaurus Musicus...Third Book (1695), p.10, 11 (UMI(2) 1820:20).

Text of song:

Herse and Aglaura sing this following Song in parts.

Streams of Pleasure here abounding
Make blest the Shepherds of this Grove,
Eternal Joys the Nymphs suurounding
Produce th'effects of Lasting love.
Here no buisy heads aspiring
Study the ruine of the great,
But each swain his Lass admiring,
Laughs at the turmoyls of the great.

Chor. But each swain his Lass, &c.

Euro. Still I'm Greiving, Still Lamenting
Still Complaining of my Fate,
Still the Cruel Gods Consenting
Add New Troubles to my State.

Agla. Give than Royal maid your sorrows o're
Implore no longer Heav'n in vain,
Since there's above no bliss in store
Search here below your Joys to gain.
Chor. Give than Royall Maid, &c.

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Item Code: SCREBJ7

First line: At London che've been [and c'have seen]

Source Edition: The Rape of Europa by Jupiter (1694), pp.4-5.

First performed: 1694 (H&S)

UMI(2) reel no.: 473:12

Author: S.C.

Composer: Unrecorded ( John Eccles?) ( nwc)

Lyrics: Thomas Doggett

Source/s of Music: Recorded in Day and Murrie, p.178, n.266 [Music] Hudgebut, John, Thesaurus Musicus...Third Book (1695), pp.12-4 (UMI(2) 1820:20) et alia.

Text of song:

Coridon and his Mistress Sing this following Dialogue.

Made by Mr. Doggett, and Sung by him and Mrs. Hodgson.

M. At London che've been, at London che've been
And c'have seen the King and the Queen'a
C'have seen Lords and Earls,
And many fine Girls,
That turn'd up their tails at fifteen'a.

Che've seen the Lord Mayor,
And Bartholdom Fair,
And their I met with the Draggon,
That St. George that bold Knight,
Fought and Killed outright
Whilst a man cou'd toss off a flaggon.

From thence as I went
To see th' Monument,
I met with a Girl in Cheapside'a,
That for half a Crown
Pluck'd up her silk Gown,
And showd me how far she cou'd stride'a.

What else did I see,
Wo. Is nothing to me,
For if she had such tricks as these be,
I'm sure she's a whore
Therefore say no more,
Nor think that I e're will be pleas'd with ye.

M. Nay prethee now hold,
And don't cry nor scold
If you know what 'tis to be quiet,
I went but to try
If that I cou'd spy
How I cou'd like Londoners diet.

And for ought I see
Wo. The're not like to we,
M. Faith and Troth 'tis a folly to lye
I think they are not
Wo. No John not a jot
M. Joan--I prethee come in and let's try.

Wo. Na good now la-be
Give an Inch I see
You'l take--Pish-hie-what's the matter?
Why sure John you wont
M. I'm a Dog and I don't,
Now I'm set on't, let what will come after.

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Item Code: SCREBJ8

First line: Sleep close the eyes of all that's here

Source Edition: The Rape of Europa by Jupiter (1694), pp.5-6.

First performed: 1694 (H&S)

UMI(2) reel no.: 473:12

Author: S.C.

Source/s of Music: Not recorded in Day and Murrie

Text of song:

Enter Mercury.

Mer. Sleep Close the Eyes of all that's here
For mighty Jove will streight appear
And Mortals must not dare to veiw
What Jove on Earth resolves to do.

Cor. What whipster are you? that dares here resort,
Adzooks to hinder our sport:
Begon and quit the place
Or Crab-stick here shall wipe you o're the Face
'Flesh and Bones do you laugh, I shall mawle. [yawns. Mercury Charms him to sleep.

Mer. Hail Royall maid? belov'd of Heav'n,
Pattern of Chastity Divine
A votary to Great Diana's Shrine,
To you a present Jove has giv'n,
Close by the Sea it stands
Waiting to be receiv'd by your Fair hands.

Eur. Blest be Jove.
To him I'le dayly incense pay,
And at his Altars Maiden off'rings lay
Both for his Gift and Love.

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Item Code: SCREBJ9

First line: 'Adzooks I have had a most notable nap

Source Edition: The Rape of Europa by Jupiter (1694), p.6.

First performed: 1694 (H&S)

UMI(2) reel no.: 473:12

Author: S.C.

Source/s of Music: Not recorded in Day and Murrie

Text of song:

A Symphony of Musick, and they all wake.

Cor. Adzooks I have had a most Notable Nap.
But where is our Mistress, adsniggs she is gone,
O dismal mishap.
We're all quite undone.

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Item Code: SCREBJ10

First line: Look she's on a bull's back i'th' midst o'th' sea

Source Edition: The Rape of Europa by Jupiter (1694), p.7.

First performed: 1694 (H&S)

UMI(2) reel no.: 473:12

Author: S.C.

Source/s of Music: Not recorded in Day and Murrie

Text of song:

The Scene draws and discovers Europa on a Bulls back in the Sea.

Cor. Look She's on a Bull's back ith' mid'st oth' Sea,
Ods flesh what will now become of poor me. [They all run off.

Eu. Is there no succour, help, are Gods too grown
Ravishers, help help, oh Heavens is there's none.

A Symphony of Musick.

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Item Code: SCREBJ11

First line: Undone Europa by a god undone

Source Edition: The Rape of Europa by Jupiter (1694), p.7.

First performed: 1694 (H&S)

UMI(2) reel no.: 473:12

Author: S.C.

Source/s of Music: Not recorded in Day and Murrie

Text of song:

The Scene Changes to a Bower, and discovers Jupiter and Europa, her Hair loose about her, as just Ravish'd.

Eur. Undone Europa by a God undone;
Is then Astrea fled from Heaven,
Oh whether is the Goddess driven?
To the Infernal Cave she's gone.
Confusion, Horror, Death, all come,
For in my Ravisht Breast for you is Room:
Who's there?
Ha! 'tis my Ravisher!
Oh let me fly the hated God.
I feel I go
To Shades below,
My Last aboad.

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Item Code: SCREBJ12

First line: See where the god and nymphs ascending

Source Edition: The Rape of Europa by Jupiter (1694), p.8.

First performed: 1694 (H&S)

UMI(2) reel no.: 473:12

Author: S.C.

Source/s of Music: Not recorded in Day and Murrie

Text of song:

Musick sound and as Jupiter and Europa ascend this Chorus is Sung, and after the Chorus they joyn in a Grand Dance.

Cho. See where the God and Nymphs ascending,
And Choirs of Spirits them attending,
They Mount, they Mount the seats of rest
Where Souls are with Immortal Pleasures Blest.

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Item Code: SCTBD1

First line: The devil a bit care I for a wit

Source Edition: The Beau's Duel; or A Soldier for the Ladies (1702), 1.1, p.7.

First Performed: June? 1702 (L.S.)--pub. 8 July

CT(1) reel no.: 578:11

Author: Susanna Centlivre

Source/s of Music: Not recorded in Day and Murrie

Text of song:

Enter Toper Singing.

The Devil a bit, care I for a Wit,
So I have but Wine and a Fire;
A Wench when I please, my Passion to ease,
The Devil a Wife I desire.

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Item Code: SCTPH1

First line: Give me but wine that liquor of life

Source Edition: The Perjur'd Husband, or The Adventures of Venice (1700), 3.3, p.23.

First Performed: October 1700 (Danchin)

UMI(2) reel no.: 449:15

Author: Susanna Centlivre

Source/s of Music: Not recorded in Day and Murrie

Text of song:

Enter Ludovico Singing.

Give me but Wine, that Liquor of Life,
And a Girl that is wholesome and clean,
Two or three Friends, but the Devil a Wife,
And I'd not change state with a King.

Enter Lucy.

Luc. What singing, Signior! Well, you're a pleasant Gentleman---

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Item Code: SCTPH2

First line: Song has no lyrics

Source Edition: The Perjur'd Husband, or The Adventures of Venice (1700), 5.1, p.33.

First Performed: October 1700 (Danchin)

UMI(2) reel no.: 449:15

Author: Susanna Centlivre

Source/s of Music: Not recorded in Day and Murrie

Text of song:

Enter Ludovico singing.

Lud. Ah! Mistress Lucy! I'm come thou seest---I expect thou shalt be as good as thy word, Child---is the Lady here?

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Item Code: SCTPH3

First line: When the winds rage and the seas grow high

Source Edition: The Perjur'd Husband, or The Adventures of Venice (1700), 5.1, p.34.

First Performed: October 1700 (Danchin)

UMI(2) reel no.: 449:15

Author: Susanna Centlivre

Source/s of Music: Not recorded in Day and Murrie

Text of song:

A SONG.

When the Winds Rage, and the Seas grow high,
They bid mankind beware,
But when they smooth, and calm the Sky,
'Tis then they would ensnare.

So the bright Thais kindness shows,
By frowning on her Lovers,
For Ruin only from her flows,
When she her Charms discovers.

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Item Code: SCTSH1

First line: The man you ladies ought to fear

Source Edition: The Stolen Heiress; or The Salamanca Doctor Outplotted (1702), appended to front matter (see note below).

First Performed: 31 December 1702 (L.S.)

Author: Susanna Centlivre

Performer/s: Mr. Dogget

Source/s of Music: Not recorded in Day and Murrie

Text of song:

A SONG designed to be Sung by Mr. Dogget.

The Man you Ladies ought to fear,
Behold and see his Picture here,
With Arms a-cross and down-cast Eyes
Thus languishes, and thus he dies,
Then gives his Hat a careless Pull,
Thus he sighs, and thus looks dull,
Thus he ogles, thus he sneers,
Thus he winks, and thus he lears.
This, this, is he alone can move,
And this the Man the Ladies love.

< NOTE: This song may form either part of the prologue (which it follows), or the epilogue--which is recited by Doggett (and which is itself appended after the song) or within the text proper (but which is not identified)>.

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Item Code: SCTSH2

First line: Song has no lyrics (?)

Source Edition: The Stolen Heiress; or The Salamanca Doctor Outplotted (1702), 5.2, p.69.

First Performed: 31 December 1702 (L.S.)

Author: Susanna Centlivre

Source/s of Music: Not recorded in Day and Murrie

Text of song:

Enter Larich Singing, Francisco, Lavinia, Sancho and Trist.

<NOTE: This is the possible location of SCTSH3 >.

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Item Code: SCTSH3

First line: Celia's bright beauty all others transcend

Source Edition: The Stolen Heiress; or, The Salamanca doctor outplotted (1702), not printed in play (possible location of SCTSH2 ).

First performed: 31 December 1702

UMI reel no.: Not applicable

Author: Susanna Centlivre

Composer: Edward Keen ( nwc)

Lyrics: Edward Keen

Performer/s: Mrs. Willis.

Source/s of Music: Recorded in Day and Murrie, p.192, n.519.[Music] Henry Playford, Wit and Mirth...Volume Four, 1706, pp.287-8 (CT(1) 10355:17) and others.

Text of song:

Celia's bright beauty all others transcend,
Like Loves Sprightly Goddess she's flippant and gay;
Her rival admirers in crouds do attend,
To her their devoirs and addresses to pay:
Pert gaudy coxcombs the fair one adore,
Grave Dons of the Law and queer Prigs of the Gown,
Close Misers who brood o're their treasure in store,
And Heroes for plundering of modern renown:
But Men of plunder can ne'er get her under,
And Misers all women despise,
She baulks the pert Fops in the midst of their hopes,
And laughs at the Grave and Precise.

Next she's caress'd by a musical crew,
Shrill singing and fidling Beaus warbles o'th flute,
And Poets whom poverty still will pursue,
That's a just cause for rejecting their suit:
Impudent Fluters the Nymph does abhor,
And Lovers with Fidle at neck she disdains;
For these thought to have her for whistling for,
They courting with guts shew'd defect in their brains:
And to the pretender to make her surrender,
By singing no favour she'l show;
For she'l not make choice of a shrill Capons voice,
For a politick reason you know.

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Item Code: SPTSOB1

First line: What are all the joys of life

Source Edition: The Siege of Babylon (1677), 4.[3], pp.41-2.

First performed: September 1677 (Danchin)

UMI(2) reel no.: 287:9 (1678)

Author: Samuel Pordage

Source/s of Music: Not recorded in Day and Murrie

Text of song:

Stat. <...> Bid Charmion sing---
In her sweet Voice, I oft have pleasure found,
Musick like Balm, eases grief's smarting wound. [They sit.

A SONG.

What are all the Joys, of Life,
In which the mind,
Does never find,
A true content, unmixt with strife?
They are like Clouds, which in the Night,
Impregnate with reflected Light,
Appear, then vanish out of Sight.

Our Joys, like gather'd flow'ers, decay,
Which soon Consume,
Their own perfume,
And breath their Life, in sweets away.
No pleasure, here, is permanent,
Nor the delights, that Men invent,
Can, to our Souls, give true Content.

But when the Race, of life, is run,
And that to Death,
We yield our Breath,
We gain the Mansions, of the Sun.
Then true Content, the mind shall see,
Then all our Joys, shall perfect be,
And some, like our bright Deitie.

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Item Code: SRTNS1

First line: Oh sorrow say where dost thou dwell

Source Edition: The Noble Souldier; or, A Contract Broken, Justly Reveng'd (1634), 1.1, sig.B2.

First Performed: revived pre-1675?

UMI(1) reel no.: 1004:6

Author: Samuel Rowley

Composer: Robert Smith ( nwc)

Source/s of Music: Recorded in Day and Murrie, p.307, n.2523 [Music] Playford, John, Choice Ayres and Songs...Second Book (1675), p.77 (UMI(2) 286:16) et al.

Text of song:

Song,

Quest. Oh sorrow, sorrow, say where dost thou dwell?
Answ. In the lowest roome of Hell.
Quest. Art thou borne of Humane Race?
Answ. No, no, I have a furier face.
Quest. Art thou in City, Towne or Court?
Answ. I to every place resort.
Quest. Oh why into the world is sorrow sent?
Answ. Men afflicted, best repent.
Quest. What dost thou feed on?
Answ. Broken sleepe.
Quest. What tak'st thou pleasure in?
Answ. To weepe,
To sigh, to sob, to pine, to groane,
To wring my hands, to sit alone.
Quest. Oh when? oh when shall sorrow quiet have?
Answ. Never, never, never, never,
Never till she finds a Grave.

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Item Code: SSP1

First line: Oh derry derry my rent is paid

Source Edition: Poikilophronesis, or The Different Humours of Men (1691), pp.80-1.

First performed: 15 December 1691 (Danchin)

UMI(2) reel no.: 849:8 (1692)

Author: Samuel Shaw

Source/s of Music: Not recorded in Day and Murrie

Text of song:

Mer. <sings> Oh Derry, derry; my Rent is paid, my Rent is paid,
Oh Derry, derry, my Rent is paid, is paid,
And fye upon all Fools
That are such very Tools;
That their Rent is unpaid, unpay'd.

Free. <speaks> Why how now, Moses? who sent for you.

Mer. If't please you Worship, I'm like ill Weather. I come without sending for.

<sings> And as the fair Fountain springs, and springs,
Which by no Mud is stay'd:
E'ne so poor Merry sings, and sings,
Because his Rent is pay'd.

---He claps Sad on the back.

Come have a good Heart Stephen; thy Rent's pay'd too, lad.

Sad. Ay Moses; but Lady-day will come after Michaelmas.

Mer. Ay, and Michaelmas after that again.

<sings>--And so the year goes round.
But let's be merry whilst we may.
Till we be underground.

Sad. Sure Moses you draw a light Harrow. You are always full of mirth I know; but what makes you so full of Rhymes?

Mer. Why should not the Heart sympathize with the Purse, and be both light together?

<sings> Who can sing so merry a Note
As he that cannot change a Groat? <See note below>

<speaks> And as for rhyming, lad, thou know'st, Alum stalum non est malum.

<sings> Poet and Pot differ but in a Letter.
The Pot, oh th' Pot, does make me rhyme the better.

<NOTE: The couplet highlighted above derives from Beaumont and Fletcher--see FBKBP7 >

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Item Code: SSP2

First line: Come cast away care [For sure we are]

Source Edition: Poikilophronesis, or The Different Humours of Men (1691), p.82.

First performed: 15 December 1691 (Danchin)

UMI(2) reel no.: 849:8 (1692)

Author: Samuel Shaw

Source/s of Music: Not recorded in Day and Murrie

Text of song:

Mer. Why Lad; we'll make the Pigs drink Water, before we'll want Whey. Have a good heart Stephen.

<sings> Come cast away Care,
For sure we are,
The Parish is bound to find us;
Thou must die,
And so must I,
And leave this World behind us.

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Item Code: STTAOFH1

First line: Can Luciamira so mistake

Source: The Adventures of Five Hours (1663), song not printed in play.

First Performed: 8 January 1663 (L.S)

UMI(2) reel no.: 299:10

Author: Sir Samuel Tuke

Composer: John Banister ( nwc)

Source/s of Music: Recorded in Day and Murrie, p.189, n.470 [Playford, John, Choice Songs and Ayres (1673), p.24 (UMI(2) 221:12) et al.

Text of song:

<I.>

Can Luciamire so mistake,
To perswade me to fly;
'Tis cruel, kind, for my own sake,
To counsel me to dye:
Like those faint souls, who cheat themselves of breath;
And dye, for fear of death.

II.

Since Love's the principle of Life,
And you the object Lov'd;
Let's Luciamira, end this like,
I cease to be remov'd:
We know not what they do are gone from hence;
But here we love by sense.

III.

If the Platonicks, who would prove
Souls without Bodies love;
Had with respect, well understood
The Passions of the Blood:
They'd suffer Mortals to have had their part;
And seated Love i'th'Heart.

<NOTE: The song is ascribed to this play in Day and Murrie>.

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Item Code: STTAOFH2

First line: How long I've loved you

Source: The Adventures of Five Hours (1663), song not printed in play, and added for a revival.

First Performed: 8 January 1663 (L.S)

UMI(2) reel no.: 299:10

Author: Sir Samuel Tuke

Composer: John Eccles

Lyrics: Anonymous

Source/s of Music: Not recorded in Day and Murrie. Song appeared as a broadside. Score unavailable to compiler.

Text of song:

Lyrics unavailable to compiler.

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ITEM CODE: TBLWFTW1

First line: La la la lere

Source Edition: Love will finde out the Way (1661), 2.1, p.14

First performed: 1660-1 (Danchin)

UMI(2) reel no.: 676:2

Author: T.B. (revival of James Shirley's 'The Constant Maid', 1640)

Source/s of Music: Not recorded in Day and Murrie

Text of song:

Star. La, la, la, lere. Sings and Dances.

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Item Code: TBLWFTW2

First line: An old man with a bed full of bones

Source Edition: Love will finde out the Way (1661), 2.1, p.17.

First performed: 1660-1 (Danchin)

UMI(2) reel no.: 676:2

Author: T.B. (revival of James Shirley's 'The Constant Maid', 1640)

Source/s of Music: Not recorded in Day and Murrie

Text of song:

[Neece.]

An old man with a bed full of bones,
Turn to me hony and give me a kiss, &c.

<NOTE: Not clear whether recited or sung>.

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Item Code: TBTAW1

First line: From the north I came

Source Edition: The Amorous Widow, or The Wanton Wife (1670), 2.1, p.17.

First performed: 15 November 1670

CT(1) reel no.: 7205:02 (1710)

Author: Thomas Betterton

Source/s of Music: Not recorded in Day and Murrie

Text of song:

Enter the Viscount Sanns Tarre, with Musick, and a good Equipage: Attended by Lovemore and several Gentlemen. The Viscount Sings as he enters.

A CATCH.

From the North I came,
Where I heard of the Fame
Of the Lady Laycock's Beauty;
I had pass'd for an Ass,
Had I stay'd where I was,
And not done a Viscount's Duty.

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Item Code: TBTCB1

First line: Come fill to the brim for the sun does go round

Source Edition: The Counterfeit Bridegroom, or The Defeated Widow (1677), 2.1, pp.18-9.

First performed: c.September 1677 (H&S); Summer (Danchin)

UMI(2) reel no.: 642:23

Author: Thomas Betterton? or Aphra Behn?

Source/s of Music: Not recorded in Day and Murrie

Text of song:

Gaz. How is't Widow? Gentlemen chear up, fair weather in all Quarters; the Sun will rise anon, I've sent for him--- Oh here he comes---Sing sirrah, sing the Song I gave you.

Enter a Servant with a great Cup like the Sun.

Man sings.

1.

Come fill to the brim, for the Sun does go round,
And visits the World in a day;
Our glass is our Sun,
Through our World he does run,
And each little drop is a Ray.

2.

As the Sun with his Rayes does ripen the Earth,
And guild all the World with his Light;
So powerful Wine
Our Witts does refine,
And ripens our Joyes to delight.

<NOTE: Dialogue which follows relates to the song>.

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Item Code: TBTCB2

First line: Song has no lyrics

Source Edition: The Counterfeit Bridegroom, or The Defeated Widow (1677), 3.1, p.29.

First performed: c.September 1677 (H&S); Summer (Danchin)

UMI(2) reel no.: 642:23

Author: Thomas Betterton? or Aphra Behn?

Source/s of Music: Not recorded in Day and Murrie

Text of song:

Mrs. H. Where can I bestow it better---

[Sings and rumples the Widow.

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Item Code: TBTCB3

First line: Song has no lyrics

Source Edition: The Counterfeit Bridegroom, or The Defeated Widow (1677), 3.1, p.30.

First performed: c.September 1677 (H&S); Summer (Danchin)

UMI(2) reel no.: 642:23

Author: Thomas Betterton? or Aphra Behn?

Source/s of Music: Not recorded in Day and Murrie

Text of song:

Wid. Then bear all witness, this is the Man whom I have chose to be my Husband---and ye will infinitely oblige me if you come to my Wedding, and so your Servants.

[Exit.]

[Mrs. H. struts and Sings.

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Item Code: TBTCB4

First line: Come troul it away

Source Edition: The Counterfeit Bridegroom, or The Defeated Widow (1677), 5.2, pp.49-50.

First performed: c.September 1677 (H&S); Summer (Danchin)

UMI(2) reel no.: 642:23

Author: Thomas Betterton? or Aphra Behn?

Source/s of Music: Not recorded in Day and Murrie

Text of song:

Sir O. Son Sanders, what ne'r a Song in Budget <...>

Sand. Prithee let's have the Song you made the last drinking bout, and one glass more will lay your Father to rest---

P. S. I have a Song, Sir, which if you please we'll sing--- but all must joyn in the Chorus.---

Sir O. Yes marry shall they, Sir---and so will I---but first let every one take top and bottom in his hand---

SONG.

1.

Come troul it away,
We'll drink up the day,
Let none from his standing retire,
We'l Laugh, Drink, and Sing.
And Bacchus's Spring
We'l drain, and our prowess admire.
Cho. We'l Laugh, & c.

2.

Old Age we despise
Whil'st Wine we can prize,
And briskly can take off our Glasses;
Wine, life does repair,
And banishes Care,
But Temp'rance wou'd make us all Asses.
Cho. Wine, life, &c.

3.

Let the Pollitick fool
Live dully by Rule,
While our Wits we refine in our Liquor,
My Soul's in that Wine
Which puts the Divine
To a Nonplus, and turns up the Viccar.
Cho. My Soul's, &c.

Sir O. Well done yfaith my Lads <...>

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Item Code: TBTCB5

First line: Is not John Sanders dead

Source Edition: The Counterfeit Bridegroom, or The Defeated Widow (1677), 5.2, pp.50-1.

First performed: c.September 1677 (H&S); Summer (Danchin)

UMI(2) reel no.: 642:23

Author: Thomas Betterton? or Aphra Behn?

Source/s of Music: Not recorded in Day and Murrie

Text of song:

SONG.

1.

Is not John Sanders dead? [Sir O. Sings.
And is not his Wife a Whore?
For she will go drunk to bed,
And yet she'l have one Pot more?
Our Cat is to be hang'd,
And all to be tumbl'd i'th' mire,
For scratching my Wifes Huquiffin,
As she sat by the Fire.---

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Item Code: TBTHOTA1

First line: Song has no lyrics (?)

Source Edition: The Humour of the Age (1701), 3.[3], p.33.

First Performed: 1 March 1701 (L.S.)

CT(1) reel no.: 1500:3

Author: Thomas Baker

Source/s of Music: Not recorded in Day and Murrie

Text of song:

Lucia. Pish, prithee get me a Song. [Pert goes out.

A SONG.

[Enter Pert.

Pert. Madam, here's Mr. Quibble come to pay his Devoirs.

<NOTE: No lyrics are provided for this song. This is the probable location of either TBTHOTA2 , TBTHOTA3 or TBTHOTA4>.

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Item Code: TBTHOTA2

First line: Beneath a gloomy shade for unhappy lovers made

Source Edition: The Humour of the Age (1701), song not printed in the play.

First performed: 1 March 1701

CT(1) reel no.: 1500:3

Author: Thomas Baker

Composer: Daniel Purcell

Performer/s: William Bowen

Source/s of Music: Recorded in Day and Murrie, p.183, n.356 [Music] Score in A Collection of New Songs, 1701, ff.9-11. Engraved book held at the Library of Congress. Score unavailable to compiler.

Text of song:

Lyrics unavailable to compiler.

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Item Code: TBTHOTA3

First line: Fixed on the fair Miranda's eyes

Source Edition: The Humour of the Age (1701), song not printed in the play.

First performed: 1 March 1701

CT(1) reel no.: 1500:3

Author: Thomas Baker

Composer: Daniel Purcell

Performer/s: William Bowen

Source/s of Music: Recorded in Day and Murrie, p.220, n.1012 [Music] Score in A Collection of New Songs, 1701, f.2. Engraved book held at the Library of Congress. Score unavailable to compiler.

Text of song:

Lyrics unavailable to compiler.

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Item Code: TBTHOTA4

First line: 'Tis done the pointed arrow's in my heart

Source Edition: The Humour of the Age (1701), song not printed in the play.

First performed: 1 March 1701

CT(1) reel no.: 1500:3

Author: Thomas Baker

Composer: Daniel Purcell

Performer/s: Mrs. Shaw

Source/s of Music: Recorded in Day and Murrie, p.355, n.3377 [Music] Score in A Collection of New Songs, 1701, ff.5v-6. Engraved book held at the Library of Congress. Score unavailable to compiler.

Text of song:

Lyrics unavailable to compiler.

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Item Code: TBTP1

First line: When first I saw the bright Aurelia's eyes

Source Edition: The Prophetess; or, The History of Dioclesian (1690), song not printed in play.

First performed: May or June 1690 (Danchin)

UMI reel no.: Not applicable

Author: Thomas Betterton (adaptation of Francis Beaumont and John Fletcher)

Composer: Henry Purcell ( nwc)

Performer/s: Mrs. Ayliff (in reprint).

Source/s of Music: Recorded in Day and Murrie, p.375, n.3729 [Music] Peter Anthony Motteux (ed.), The Gentleman's Journal, December 1693, pp.421-5 and others.

Text of song:

When first I saw the bright Aurelia's Eyes,
A suddain Trembling did my Limbs surprize;
In ev'ry Vein I felt a tingling,
Tingling Smart, and a cold Faintness,
All around my Heart:
But oh! the piercing Joy,
But Oh! the pleasing Pain,
And oh! may both ten-thousand Years remain.

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Item Code: TBTP2

First line: Great Diocles the boar has kill'd

Source Edition: The Prophetess; or, The History of Dioclesian (1690), 2.1, pp.19-20.

First performed: May or June 1690 (Danchin)

UMI(2) reel no.: 82:5

Author: Thomas Betterton (adaptation of Francis Beaumont and John Fletcher)

Composer: Henry Purcell

Source/s of Music: Recorded in Day and Murrie, p.231, n.1197 [Music] Vocal and Instrumental Musick of The Prophetess (1691), pp.12-20 (UMI(2) 397:5).

Text of song:

First SONG.

Great Diocles the Boar has kill'd,
Which did infest the Land;
What Heart is not with Rapture fill'd?
Who can his Joys command?
Down, down the bloody Villain falls,
Hated, contemn'd of All;
And now the mighty Spirit calls,
For Rites of Funeral.

CHORUS.

Sing Io's! praise the Thundring Jove,
Pallas and Venus share;
Since the All-charming Queen of Love,
Inspires the God of War.

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Item Code: TBTP3

First line: Charon the peaceful shade invites

Source Edition: The Prophetess; or, The History of Dioclesian (1690), 2.1, p.20.

First performed: May or June 1690 (Danchin)

UMI(2) reel no.: 82:5

Author: Thomas Betterton (adaptation of Francis Beaumont and John Fletcher)

Composer: Henry Purcell

Source/s of Music: Recorded in Day and Murrie, p.193, n.535 and p.274, n.1953 [Music] Vocal and Instrumental Musick of The Prophetess (1691), pp.21-2 (UMI(2) 397:5) et alia.

Text of song:

Second SONG, by a Woman.

Charon, the peaceful Shade invites,
He hastes to Waft him o're;
Give him all necessary Rites,
To land him on the Shore.
Sound all your Instruments of War,
Fifes, Trumpets, Timbrels play;
Let all Mankind the Pleasure share,
And bless this happy Day.

CHORUS. Sound all your Instruments, &c.

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Item Code: TBTP4

First line: Let the soldiers rejoice [With a general voice]

Source Edition: The Prophetess; or, The History of Dioclesian (1690), 2.1, pp.22-3.

First performed: May or June 1690 (Danchin)

UMI(2) reel no.: 82:5

Author: Thomas Betterton (adaptation of Francis Beaumont and John Fletcher)

Composer: Henry Purcell

Source/s of Music: Recorded in Day and Murrie, p.277, n.2004 [Music] Vocal and Instrumental Musick of The Prophetess (1691), pp.33-40 (UMI(2) 397:5) et alia.

Text of song:

While they Invest him with the Imperial Robes, this Martial Song is sung: Trumpets and Ho-Boys joining with them.

Let the Soldiers rejoyce,
With a general Voice,
And the Senate new Honours decree 'em;
Who at his Armies Head,
Struck the fell Monster dead,
And so boldly, and bravely did free 'em.

CHORUS. Rejoyce, Rejoyce, &c.

To Mars let 'em raise,
And their Emperors praise,
A Trophy of the Armies own making;
To Maximinian too,
Some honours are due,
Who joyn'd in the brave undertaking.

CHORUS. Rejoyce, Rejoyce, &c.

With Flowers let 'em strow,
The way as they go,
Their Statues with Garlands adorning,
Who from Tyrannies Night
Drave the Mists in their Sight,
And gave 'em a glorious Morning.

CHORUS. Rejoyce, Rejoyce, &c.

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Item Code: TBTP5

First line: Since the toils and the hazards of war's at an end

Source Edition: The Prophetess; or, The History of Dioclesian (1690), 2.1, pp.23-4.

First performed: May or June 1690 (Danchin)

UMI(2) reel no.: 82:5

Author: Thomas Betterton (adaptation of Francis Beaumont and John Fletcher)

Composer: Henry Purcell

Source/s of Music: Recorded in Day and Murrie, p.332, n.2965 [Music] Vocal and Instrumental Musick of The Prophetess (1691), pp.41-53 (UMI(2) 397:5) et alia.

Text of song:

<NOTE: This song follows immediately after the previous one>.

Then a Symphony of Flutes in the Air, and after this SONG.

Since the Toils and the Hazards of War's at an end,
The Pleasures of Love should succeed 'em;
The Fair should present what the Senators send,
And compleat what they have decreed 'em.

With Dances and Songs, with Tambours and Flutes,

Let the Maids shew their Joy as they meet him;
With Cymbals and Harps, with Viols and Lutes,
Let the Husbands and True Lovers greet him.

CHORUS. Let the Priests with Processions the Hero attend,
And Statues erect to his Glory;
Let the Smoak from the Altars to Heaven ascend,
All sing Great Diocles Story.

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Item Code: TBTP6

First line: What shall I do to show how much I love her

Source Edition: The Prophetess; or, The History of Dioclesian (1690), 3.3, pp.37-8.

First performed: May or June 1690 (Danchin)

UMI(2) reel no.: 82:5

Author: Thomas Betterton (adaptation of Francis Beaumont and John Fletcher)

Composer: Henry Purcell

Source/s of Music: Recorded in Day and Murrie, p.372, n.3662 [Music] Vocal and Instrumental Musick of The Prophetess (1691), pp.66-8 (UMI(2) 397:5) et alia.

Text of song:

Musick and a SONG.

Enter Maximinian, he stands gazing on the Princess all the time of the Song.

What shall I do to show how much I love her?
How many Millions of Sigh's can suffice?
That which wins other Hearts, never can move her,
Those common methods of Love she'll despise.

I will love more than Man 'ere lov'd before me,
Gaze on her all the Day, melt all the Night;
Till for her own sake at last she'll implore me,
To love her less to preserve our delight.

Since Gods themselves could not ever be loving,
Men must have breathing Recruits for new Joys:
I wish my Love could be always improving,
Tho' eager Love more than Sorrow destroys.

In Fair Aurelia's Arms leave me expiring,
To be Embalm'd by the Sweets of her Breath;
To the last Moment I'll still be desiring:
Never had Hero so glorious a Death.

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Item Code: TBTP7

First line: Sound Fame thy brazen trumpet sound

Source Edition: The Prophetess; or, The History of Dioclesian (1690), 4.4, pp.53-4.

First performed: May or June 1690 (Danchin)

UMI(2) reel no.: 82:5

Author: Thomas Betterton (adaptation of Francis Beaumont and John Fletcher)

Composer: Henry Purcell

Source/s of Music: Recorded in Day and Murrie, p.336, n.3040 [Music] Vocal and Instrumental Musick of The Prophetess (1691), pp.72-93 (UMI(2) 397:5) et alia.

Text of song:

Scene Part of a Wood: Beyond it large Tents; in the middle a Royal Pavilion; through it is seen the Prospect of a Camp at a great distance.

While the Song is singing, Enter in a Triumphal manner, Singers and Dancers, Roman Officers, Dioclesian Crown'd with Laurel, Charinus, Aurelia, Maximinian, Niger, Geta, Guard. Then Cosroe, Cassana, Persian Princes, Prisoners, guarded by Roman Soldiers. Delphia and Drusilla at a distance.

SONG.

Sound, Fame, thy Brazen Trumpet sound;
Stand in the Centre of the Universe,
And call the listning World around,
While we, in Tuneful Sounds rehearse,
In Artful Numbers, and well-chosen Verse,
Great Dioclesian's Story.
Let all rehearse,
In lofty Verse,
Great Dioclesian's Glory.
Sound his Renown,
Advance his Crown
Above all Monarchs that e're blest the Earth.
Oh sacred Fame,
Embalm his Name,
With Honour here, and Glory after Death.
All sing his Story,
Raise, raise his Glory
Above all Monarchs that e're blest the Earth.
Oh sacred Fame,
Embalm his Name,
With Honour here, and Glory after Death.

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Item Code: TBTP8

First line: Call the nymphs and the fawns from the woods

Source Edition: The Prophetess; or, The History of Dioclesian (1690), 5.2, pp.66-7.

First performed: May or June 1690 (Danchin)

UMI(2) reel no.: 82:5

Author: Thomas Betterton (adaptation of Francis Beaumont and John Fletcher)

Composer: Henry Purcell

Source/s of Music: Recorded in Day and Murrie, p.189, n.463 [Music] Vocal and Instrumental Musick of The Prophetess (1691), pp.97-107 (UMI(2) 397:5).

Text of song:

The MASQUE.

A Prelude. Enter Cupid and Sings.

Cup. Call the Nymphs and the Fawns from the Woods. They call within.
With. The Nymphs, &c.
Cup. Call the Naides, and Gods of the Floods.
With. The Naides, &c.
Cup. Call Flora, and Comus.
With. Flora, &c.
Cup. Silenus, and Momus.
With. Silenus, &c.
Cup. Call Bacchus, and his merry merry Fellows.
With. Bacchus, &c.
Cup. Silvanus, and Ceres, and Tellus.
With. Silvanus, &c.
Cup. All leave for a while their Abodes.
With. All leave, &c.
Cup. Let the Graces; and Pleasures repair,
With the Youthful, the Gay, the Witty, and Fair.
May all harmless Delights,
Happy Days, and kind Nights,
For ever attend this blest Pair.

Enter a Bachanalian, and a Silvan, and sing the following Song in Two Parts.

Come, come away,
No delay,
Come away.
All know 'tis his will,
Then all shew their skill,
To grace Loves Triumphing Day.

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Item Code: TBTP9

First line: Behold oh mightiest of gods behold

Source Edition: The Prophetess; or, The History of Dioclesian (1690), 5.2, p.68.

First performed: May or June 1690 (Danchin)

UMI(2) reel no.: 82:5

Author: Thomas Betterton (adaptation of Francis Beaumont and John Fletcher)

Composer: Henry Purcell

Source/s of Music: Recorded in Day and Murrie, p.182, n.342 [Music] Vocal and Instrumental Musick of The Prophetess (1691), pp.110-7 (UMI(2) 397:5).

Text of song:

<NOTE: This song follows immediately after the previous one>.

While a Symphony is Playing, a Machine descends <...> The Dancers place themselves on every Stage in the Machine: the Singers range themselves about the Stage.

CHORUS of all.

Behold, oh mightiest of Gods, behold,
At thy command we come!
The Gay, the Sad,
The Grave, the Glad,
The Youthful, and the Old,
All meet as at the Day of Doom.
Behold, oh mightiest of Gods, behold,
At thy command we come!

<NOTE: Next song follows immediately after this one>.

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Item Code: TBTP10

First line: Ah <O> the sweet delights of love

Source Edition: The Prophetess; or, The History of Dioclesian (1690), 5.2, p.69.

First performed: May or June 1690 (Danchin)

UMI(2) reel no.: 82:5

Author: Thomas Betterton (adaptation of Francis Beaumont and John Fletcher)

Composer: Henry Purcell

Source/s of Music: Recorded in Day and Murrie, p.308, n.2542 [Music] Vocal and Instrumental Musick of The Prophetess (1691), pp.119-21 (UMI(2) 397:5) et alia.

Text of song:

<NOTE: This song follows immediately after the previous one>.

The First Entry of Hero's on the Stage.

After the Entry, two Wood-Gods sing in Parts.

Ah the sweet Delights of Love!
Who would live and not enjoy 'em?
I'd refuse the Throne of Jove,
Should Pow'r or Majesty destroy 'em.
Give me Doubts, and give me Fears,
Give me Sighs, and give me Tears;
But let Love, let Love remove 'em.
I approve 'em,
I approve 'em;
But let Love, let Love remove 'em.

<NOTE: Next song follows immediately after this one>.

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Item Code: TBTP11

First line: Let monarchs fight for pow'r and fame

Source Edition: The Prophetess; or, The History of Dioclesian (1690), 5.2, p.69.

First performed: May or June 1690 (Danchin)

UMI(2) reel no.: 82:5

Author: Thomas Betterton (adaptation of Francis Beaumont and John Fletcher)

Composer: Henry Purcell

Source/s of Music: Recorded in Day and Murrie, p.275, n.1979 [Music] Vocal and Instrumental Musick of The Prophetess (1691), pp.121-6 (UMI(2) 397:5) et alia.

Text of song:

<NOTE: This song follows immediately after the previous one>.

Then one of the Fauns Sings.

Let Monarchs fight for Pow'r and Fame,
With Noise and Arms Mankind alarm;
Let daily Fears their Quiet fright,
And Cares disturb their Rest at Night.
Greatness shall ne'er my Soul inthral;
Give me content, and I have all.

Hear, Mighty Love! to thee I call;
Give me Astraea, she's my All:
That soft, that sweet, that charming Fair,
Fate cannot hurt while I have her.
She's Wealth, and Pow'r, and only she,
Astraea's all the World to me.

CHORUS.

Hear, Mighty, &c.

<NOTE: Next song follows immediately after this one>.

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Item Code: TBTP12

First line: Make room [For the great god of wine]

Source Edition: The Prophetess; or, The History of Dioclesian (1690), 5.2, p.70.

First performed: May or June 1690 (Danchin)

UMI(2) reel no.: 82:5

Author: Thomas Betterton (adaptation of Francis Beaumont and John Fletcher)

Composer: Henry Purcell

Source/s of Music: Recorded in Day and Murrie, p.286, n.2162 [Music] Vocal and Instrumental Musick of The Prophetess (1691), pp.127-36 (UMI(2) 397:5).

Text of song:

<NOTE: This song follows immediately after the previous one>.

The Second Entry on the First Stage in the Machin, by two Men and two Women.

Then Two of Bacchus's Followers Sing.

Make room, make room,
For the great God of Wine,
The Bacchanals come
With Liquor Divine.
Make room, &c.

<NOTE: Next song follows immediately after this one>.

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Item Code: TBTP13

First line: Still I'm wishing still desiring

Source Edition: The Prophetess; or, The History of Dioclesian (1690), 5.2, p.70.

First performed: May or June 1690 (Danchin)

UMI(2) reel no.: 82:5

Author: Thomas Betterton (adaptation of Francis Beaumont and John Fletcher)

Composer: Henry Purcell

Source/s of Music: Recorded in Day and Murrie, p.338, n.3071 [Music] Vocal and Instrumental Musick of The Prophetess (1691), pp.138-40 (UMI(2) 397:5) et alia.

Text of song:

<NOTE: This song follows immediately after the previous one>.

Then this is sung by one of Cupid's Followers.

Still I'm wishing, still desiring;
Still she's giving, I requiring;
Yet each Gift I think too small.
Still the more I am presented,
Still the less I am contented,
Tho' she vows she has given me all.

Can Drusilla give no more?
Has she lavish'd all her Store?
Must my Hopes to nothing fall?
Ah! you know not half your Treasure;
Give me more, give over-measure,
Yet you can never give me all.

<NOTE: Next song follows immediately after this one>.

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Item Code: TBTP14

First line: Tell me why (my Charming fair)

Source Edition: The Prophetess; or, The History of Dioclesian (1690), 5.2, pp.71-2.

First performed: May or June 1690 (Danchin)

UMI(2) reel no.: 82:5

Author: Thomas Betterton (adaptation of Francis Beaumont and John Fletcher)

Composer: Henry Purcell

Source/s of Music: Recorded in Day and Murrie, p.344, n.3175 [Music] Vocal and Instrumental Musick of The Prophetess (1691), pp.141-7 (UMI(2) 397:5) et alia.

Text of song:

<NOTE: This song follows immediately after the previous one>.

The Third Entry on the Second Stage in the Machin, by Four Women. Then,
After it this Dialogue, between a Shepherd and a Shepherdess.

Shepherd.

Tell me why (my Charming Fair)
Tell me why you thus deny me?
Can Despair,
Or these Sighs or Looks of Care,
Make Corinna ever fly me?
Tell me, tell me, cruel Fair,
Tell me why you thus deny me?

Shepherdess.

Oh Mirtillo! you're above me,
I respect, but dare not love ye.
The Nymph who hears, inclines to Sin;
Who Parlies, half gives up the Town;
And ravenous Love soon enters in,
When once the Out-work's beaten down,
Then my Sighs and Tears won't move ye.
No, Mirtillo, you're above me;
I respect, but dare not love ye.

Shepherd.

Could this lovely charming Maid
Think Mirtillo would deceive her?
Could Corrina be afraid
She by him should be betray'd?
No, too well, too well I love her,
Therefore cannot be above her.
Then let Love with Love be paid.
Ah! my Life, my All I give her,
Let me now, oh now receive her.

Shepherdess.

Ah! how gladly we believe,
When the Heart is too too willing:
Can that Look, that Face deceive?
Can he take delight in killing?
Ah! I die, if you deceive me!
Yet I will, I will believe ye.

CHORUS in Two Parts.

Ah! how gladly, &c.

<NOTE: Next song follows immediately after this one>.

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Item Code: TBTP15

First line: All our days and our nights

Source Edition: The Prophetess; or, The History of Dioclesian (1690), 5.2, pp.72-3.

First performed: May or June 1690 (Danchin)

UMI(2) reel no.: 82:5

Author: Thomas Betterton (adaptation of Francis Beaumont and John Fletcher)

Composer: Henry Purcell ( nwc)

Source/s of Music: Recorded in Day and Murrie, p.170, n.125 and p.277, n.2013 [Music] Gentleman's Journal, October 1692, pp.32-4 et al.

Text of song:

<NOTE: This song follows immediately after the previous one>.

The Fourth Entry on the Third Stage, by two Youths.

Then this Song by one of the Pleasures.

All our Days and our Nights
Shall be spent in Delights,
'Tis a Tribute that's due to the Young:
Let the Ugly and Old,
The Sickly and Cold,
Think the Pleasures of Love last too long.
Be gone, be gone importunate Reason,
Wisdom, and Councel is now out of Season.

Let us Dance, let us Sing,
While our Life's in its Spring,
And give all to the Great God of Love.
Let us Revel, and Play,
And rejoyce, while we may,
Since Old Time these Delights will remove.
Be gone, be gone importunate Reason,
Wisdom, and Councel is now out of Season.

CHORUS.

Be gone, be gone, &c.

<NOTE: Next song follows immediately after this one>.

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Item Code: TBTP16

First line: Triumph victorious Love [Triumph 'ore the universe]

Source Edition: The Prophetess; or, The History of Dioclesian (1690), 5.2, p.73.

First performed: May or June 1690 (Danchin)

UMI(2) reel no.: 82:5

Author: Thomas Betterton (adaptation of Francis Beaumont and John Fletcher)

Composer: Henry Purcell

Source/s of Music: Recorded in Day and Murrie, p.361, n.3477 [Music] Vocal and Instrumental Musick of The Prophetess (1691), pp.155-73 (UMI(2) 397:5).

Text of song:

<NOTE: This song follows immediately after the previous one>.

The Sixth <actually Fifth> Entry on the farthest Stage by Two Children.

Then this CHORUS of all.

Triumph, Triumph victorious Love,
Triumph 'ore the Universe!
The greatest Hero's bow to thee;
All Nature owns thy Deity;
Thou hast tam'd the mighty Jove.
Then all rehearse,
In Noble Verse,
The Glory of all-mighty Love.
From Pole to Pole his Fame re-sound,
Sing it the Universe around!
Triumph, Triumph victorious Love,
Triumph 'ore the Universe.

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Item Code: TBTP17

First line: Since from my dear Astrea's sight

Source Edition: The Prophetess; or, The History of Dioclesian (1690), song not printed in play, or associated score. Score suggests that it was set for a revival.

First performed: May or June 1690 (Danchin)

UMI(2) reel no.: 82:5

Author: Thomas Betterton (adaptation of Francis Beaumont and John Fletcher)

Composer: 1. Samuel Ackroyde ( nwc) 2. Henry Purcell (Version One-- nwc) (Version Two-- nwc)

Lyrics: "E. of M." (Mulgrave?)

Performer/s: Mrs. Hudson

Source/s of Music: Recorded in Day and Murrie, p.330, n.2943 [Music] 1. Gentleman's Journal, August 1693, pp.277-81; 2. Gentleman's Journal, December 1693, pp.426-8 et alia. Song is recorded as being from The Prophetess in subsequent reprints of the score.

Text of song:

Since from my dear Astrea's sight,
I was so rudly torn:
My soul has never known delight,
Unless it were to mourn.
But oh alas! with weeping Eyes,
And bleeding heart
I lye Thinking on her,
Whose absence 'tis that makes me wish to dye.

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