"the protection of the Almighty, wishing to the same that "increase of honour which your true virtue, derived from so noble and renowned ancestors, doth worthily deserve. "From London the 1st October, 1588. 66 "Your Lordship's most humble at commandment, "N. YONGE." This epistle dedicatory is interesting, inasmuch as it marks the period when Madrigals came into fashion in this country. As I have before observed in my little History of Madrigals, the Songs lately set forth by a great Maister, I take to be William Byrd's Psalmes, Sonnets, and Songs of Sadness and Piety published in the same year, 1588, as I know of no other light compositions by English Masters previous to that period which "for skill and sweetness "would content the most curious." We may infer that Mr. Nicholas Yonge was a teacher of music, who had established a sort of harmonic Club at his domicile in the city, but we have no clue to the name of the gentleman from whom he obtained the translations in the Musica Transalpina. It is perhaps as well for the author's fame as a poet that it should remain undiscovered. As a faithful translator he is unrivalled, if I may judge from such of the Italian originals as I have been able to discover, for any version so cruelly literal I never beheld. He must have had more qualms about sticking to his text than those downright matter-of-fact men Sternhold and Hopkins, "When they translated David's Psalms, XXX. These that be certain signs of my tormenting, Music by Noe Faignient and A. Ferabosco, 1575. In confirmation of what I have said above, I subjoin the original Italian : "Questi ch' indizio fan del mio tormento, 66 Sospir non sono, ne i sospir son tali: "Quelli han triegua tal hor, io mai non sento "Ch' il petto mio men la sua pen' eshali; "Amor che m' ard' il cor fa questo vento, "Mentre dibatt' intorno al foco l'ali. "Amor, con che miracolo lo fai, "Ch'in foco il tengh', e nol consumi mai?" XXXI. Who will ascend to Heav'n, and there obtain me If it increase not, but in bounds be stayed: Original Italian. "Chi salirà per me, Madonn', in Cielo, "A riportarm'il mio perdut' ingegno? "Pur che non cresca, ma stia a questo segno, XXXII. So gracious is thy sweet self, So fair, so framed ; That whoso sees thee Without a heart inflamed, Either he lives not, Or loves delight he knows not. Music by Giov. Ferretti, Venice, 1575. This most uncouth rhyme has also been set for four voices by John Bennet, 1599. Original Italian. "Sei tanto graziosa, e tanto bella, "Che chi ti mira, e non ti don' il core, XXXIII. Sleep, mine only jewel; Much more thou didst delight me, Than my belov'd too cruel, That hid her face to spite me. Thou bring'st her home full nigh me While she so fast did fly me. By thy means I beheld those eyes so shining, Thou in thy dreams dost make desire well pleased. Music by Stefano Felis, Venice, 1570. Mortis imago has been a favourite term for sleep amongst all poets. With the exception of the concluding lines, the above even in its Italian dress is but poor stuff. I shall therefore content myself with quoting them. "Se tu simile, O sonn', a morte sei, XXXIV. Sound out, my voice, with pleasant tunes recording She that my plaints with rigour long rejected, Said with a sigh, Thy love hath me infected. Music by Palestrina, 1570. These words are also set by G. Kirbye, 1597, and by M. Este, 1606. * Vide No. CCLIV. XXXV. The Nightingale so pleasant and so gay, In greenwood groves delights to make his dwelling; In fields to fly chanting his roundelay, At liberty against the cage rebelling: But my poor heart with sorrow overswelling, Through bondage vile binding my freedom short, No pleasure takes in these his sports excelling, Nor of his song receiveth no comfort. Music by Alfonso Ferabosco, 1588, and Orlando di Lasso, 1570. According to Peacham, there was a virtuous contention between W. Byrd and Ferabosco, who of the two should best set these words; in which according to his (Peacham's) opinion, Ferabosco succeeded so well that "it could not be "bettered for sweetness of ayre and depth of judgment." Byrd's set was published in his songs of sundry natures, A.D. 1589. The above is translated from the French, but I have not fallen in with the original. XXXVI. Within a greenwood sweet of myrtle savour, |