1859), that I heard Mr. Wilbye Cooper sing this ancient composition, to the very evident gratification of the whole audience. An amateur musical friend of my own, who, unknown to me, was amongst the listeners upon that day, being struck, like others, with the composition, and not being aware whence it came, had begun a music-shop inquiry after it, which inquiry, of course, proved to be a failure. My friend, a few days afterwards, telling me of his fruitless search, I was able to give him an agreeable surprise by informing him that he was already in possession of what he sought for. In short, I knew that the song which Mr. Wilbye Cooper had sung was in Mr. Chappell's collection, and I also knew that collection to be a part of my friend's musical library.

Mr. Linley has set the poem, "It was a Lover and his Lass," as a duet for the two pages, according to the situation in the play, at least as understood by Mr. Linley; for it occurs to me as being very possible that Shakespeare contemplated a trio between the pages and Touchstone, who, it may be observed, is the first to ask for a song, and upon the pages making ready to comply, Touchstone is requested to "sit i' the middle." It might also strike many that, granting Touchstone and the pages personated by competent vocalists, the dramatic effect of a trio would be very superior to that of a duet.

Should an objection be raised to this view, grounded upon the pages' ideas as to "clapping into it roundly," "both in a tune," that objection, even if allowed, would not necessarily shut Touchstone out from joining in the three lines common to every verse, and beginning at "In the pretty spring-time." It would be most highly natural, as well as dramatically effective, that Touchstone should do so.

Of the words now in question there is also a setting, as a glee, by Mr. R. J. Stevens. This is one amongst that composer's favourite pieces. Sir Henry Bishop has likewise a setting in the solo form,

which was sung by Miss M. Tree in the operatised "Comedy of Errors."

Lastly, as far as I yet know, I find in a catalogue a setting of "It was a Lover and his Lass" put down as a put down as a "part-song," composed by S. Reay, in the year 1862; and again, another " part-song" setting, by Mr. Edward Loder, is to be found in the programme of a performance at St. James's Hall on the 22nd of April, 1864. The date of the composition itself I am not acquainted with.

Act V. Scene 4. The Forest. Enter HYMEN, leading ROSALIND and CELIA. [Still music].

"HYMEN. Then is there mirth in Heaven

When earthly things made even

Atone together.

Good duke, receive thy daughter,

Hymen from Heaven brought her,

Yea, brought her hither;

That thou might'st join her hand with his,

Who heart within her bosom is."

Mr. Linley, after he has given the high praises due to Dr. Arne's compositions for the songs of Amiens, goes on to assign his reasons for not allowing this song for Hymen to appear at all in his work. These are Mr. Linley's words, with a few italics of my own :

"There is another song of Arne's introduced when this play is performed, which begins, "Then is there mirth in Heaven;" but the words are not Shakespeare's, neither does the tune bear any comparison with the pastoral airiness and originality of the former pieces."

For my own part I must say that I have never seen this assertion as to the words not being Shakespeare's anywhere else, and it is sufficiently curious that Mr. Linley offers not the least authority for his

assertion.

He gives it forth, indeed, as if it were an admitted fact. As to his remark upon Dr. Arne's setting of this Hymen song, as compared with that of Amiens's song, no one would dispute its truth.

Hymen's song has been set not only by Dr. Arne but also (much more happily, to my mind) by Sir Henry Bishop, whose composition I heard sung, if not on the very first night of Sir Henry's operatised As you like it," yet not very far from the first. The song was most attractively given by Master Longhurst, who personated Hymen; and had the audience been just then in my vein, Sir Henry's work would certainly have obtained a call for its repetition. There are many triplets in the composition, which were executed with a most agreeable

neatness.

After this song for Hymen about thirty lines of dialogue ensue, which are followed by this final

Whether these words are meant simply as a solo for Hymen, as a chorus for all the characters, or as solo and chorus, does not clearly appear. The latter arrangement, supposing all the necessary qualifications present, would perhaps be the most dramatically effective of all.

This song has been set by Mr. Thomas Chilcot, whose work Mr. Linley writes

"He should have gladly introduced, had he found it in any degree expressive of the sense of the words.”

Mr. Linley considered it as being "too flippant for the dignity of the

sentiments."

He has therefore set the words himself, and no doubt

with infinite superiority. Mr. Linley further remarks thus :

"The poetry, indeed, is not easy to set to appropriate music. The author has modelled his own composition upon Handel's style, of which he thinks it will be considered a close imitation, but no better can be found, he thinks, to give any effect to the gratulatory, though serious sentiment conveyed in the nuptial god's blessing."

Mr. Chilcot's setting, which I have seen, I take to be of about the year 1740. It is not at present in the British Museum Library of Music; at least, it is not to be found in the Catalogue.

COMEDY OF ERRORS.

Act II. Scene 2. A public place.
Syracuse, ADRIANA and LUCIANA.

ANTIPHOLUS and DROMIO of

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LUCIANA. Dromio, go bid the servants spread for dinner.

DROMIO. O, for my beads! I cross me for a sinner.
This is the fairy land;-O, spite of spites!

We talk with goblins, owls, and elvish sprites;

If we obey them not, this will ensue,

They'll suck our breath, or pinch us black and blue."

These words have been set as a solo, apparently for a tenor voice, by Dr. Kemp, in his "Illustrations of Shakespeare." I do not know of any other piece of music taken from the "Comedy of Errors."

G

CYMBELINE.

Act II. Scene 3. Without the Palace, under IMOGEN'S apartment.

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Enter CLOTEN and Lords.

CLOTEN. I would this music would come: I am advised to give her music o' mornings; they say it will penetrate.

Enter Musicians.

"Come on; tune. If you can penetrate her with your fingering, so; we'll try with tongue, too if none will do, let her remain; but I'll never give o'er. First, a very excellent good-conceited thing; after, a wonderful sweet air, with admirable rich words to it ;and then let her consider."

SONG.

"Hark! hark! the lark at Heaven's gate sings,

And Phoebus 'gins arise

His steeds to water at those springs

On chalic'd towers that lies;

And winking Mary-buds begin to ope their golden eyes;

With everything that pretty is-my lady sweet, arise:
Arise, arise."

Of this "Morning Song Morning Song" in "Cymbeline," by far the best-known setting is certainly that by Dr. Benjamin Cooke, for four voices, soprano, alto, tenor and bass, with some instrumental accompaniments. This setting seems also to be the only one which fits exactly with the scene as it stands in the play, where we are certainly led to expect a song in parts.

I have twice met with theatrical advertisements in which I have no doubt that Dr. Cooke's glee is the one alluded to. Thus, upon the occasion of "Cymbeline" being revived at Covent Garden Theatre, in May, 1792, it is announced that we are to have in the second act the favourite glee, "Hark! the lark at Heaven's gate sings." The