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I me complain'd, that she me nought regarded;
And that my love with envy was rewarded.

Then wantonly she smiled,

And grief from me exiled.

The word envy is constantly used by old writers in the sense of hatred or malice.

"Since he stands obdurate,

"And that no lawful means can carry me
"Out of his envy's reach.”—Merchant of Venice.

CCXIX.

O sleep, O sleep, fond fancy!

My head, alas! thou tirest,

With false delight of that which thou desirest.

Sleep, sleep, I say, fond fancy!

And leave my thoughts molesting:

Thy master's head hath need of sleep and resting.

This is a sweet morceau of true poetry, and set in a masterly manner by Bennet, and also by Morley for three voices in his Introduction to Music.

The word fancy came to be often used as synonymous with love. Vide Dr. Nott's edition of the Earl of Surrey's Poems. Fancy-free, in the Midsummer Night's Dream, means, free from the effects or power of love.

CCXX.

Flow, O my tears, and cease not!

Your spring-tides, out alas! methinks increase not.

Oh! when-oh! when begin you

To swell so high, that I may drown me in you?

This stanza is also set by Wilbye to music of three voices. I do not know why the original words, Weep, O mine eyes, have been altered to Flow, O my tears, unless to distinguish this Madrigal from another by Wilbye, for five voices, beginning with the former words.

In regard to just expression of the poetry, as well as beauty of harmony, nothing can excel the adaptation of Bennet.

CCXXI.

Since neither tunes of joy, nor notes of sadness,

Cruel unkind, can move thee,

I will go run away for rage

and madness,

Because I will not love thee.

O come again, thy fruitless labour waste not:
How wilt thou run, fool, when thy heart thou hast not?

CCXXII.

Rest now, Amphion, rest thy charming lyre;
For Daphne's love makes sweeter melody:
Her love's concord with mine doth well conspire,
No discord jars in our love's sympathy:
Our concords have some discords mixt among :
Discording concords make the sweetest song.

As the effect of music is greatly heightened by the introduction of certain discordant sounds properly prepared and resolved into concords, so amantium ira amoris integratio

est.

MICHAEL ESTE.

Michael Este, M.B. (sometimes Est and East), was master of the boys in Lichfield Cathedral. He published several sets of Part Books. The first in 1604 is thus dedicated:

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"To the right worshipful, and my very good friend, "Sir John Crofts, Knight, Mich. Este wisheth long life, health, and happiness, with increase of honour." It contains twenty-four "Madrigals, of three, four, and five parts "apt for viols and voices."

CCXXIII.

come again, my lovely jewel,

That we may kindly kiss and play,
And sweetly pass the time away.
O go not, sweet, you are too cruel.

What, now you run away disdaining?

And leave me here alone complaining.

This is a sweet little scrap of poetry; I hardly know a Madrigal wherein there is such an "harmonical concent between the words and music. In modern reprints go not, sweet has been altered to do not go, and I think for the better.

CCXXIV.

In the merry month of May,
On a morn by break of day,
Forth I walk'd by the wood side,
Whereas May was in her pride:

There I spyed all alone,
Phillida and Corydon :

Much ado there was, God wot!

He would love, and she would not;
She said never man was true,

He said none was false to you;

He said he had loved her long,
She said love should have no wrong.
Corydon would kiss her then,

She said maids must kiss no men,
Till they did for good and all:
Then she made the shepherd call
All the heav'ns to witness truth,
Never lov'd a truer youth.
Thus with many a pretty oath,
Yea and nay, and faith and troth,
Such as seely shepherds use
When they will not love abuse;
Love, which had been long deluded,
Was with kisses sweet concluded.
And Phillida, with garlands gay,

Was made the Lady of the May.

Nicholas Breton, a poet of considerable celebrity in Elizabeth's reign, is the author of this most spirited Madrigal; in the above copy of which there is little variation from that printed by Dr. Percy, although taken from a different authority. It must have been written before the year 1591, as it appears to have been sung in an entertainment given to the Queen's Majesty, in progress at Elvetham, near Odiham, in Hampshire, by the Earl of Hertford in that year. "On Wednesday morning (says the historian) "about nine o'clock, as Her Majesty opened the casement

"of her gallery window, there were three excellent musi"cians, who being disguised in ancient country attire, did "greet her with a pleasant song of Corydon and Phillida, "made in three parts of purpose. The song, as well for "the worth of the ditty as the aptness of the note thereto "applied, it pleased Her Highness after it had been once sung, to command again, and highly to grace it with her "cheerful acceptance and commendation. It was entitled "The Plowman's Song 'In the merry month of May.'" Nichols's Progresses.

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Although Este did not publish these Madrigals till 1604, it might have been his music which shared with the poetry the honour of an encore from Her Highness. I am not aware that any other composer of that date has set the words. Dr. Cooke's admirable modern adaptation is well known.

CCXXV.

O stay, fair cruel! do not still torment me
With frowns, disgraces, and disdainful deeds;
When every eye with pity doth lament me,

That views my face, and my misfortune reads.
O be not so hard-hearted still,

Your glory's greater far to spare than kill.

CCXXVI.

My hope a counsel with my love

Hath long desired to be;

And marvels much, so dear a friend
Is not retain❜d by me.

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