"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,
"To make the heart full glad."

XXX.

These that be certain signs of my tormenting,
No sighs be they, nor any sigh so showeth :
Those have their truce sometime, these no relenting;
Not so exhales the heat that in me gloweth :
Fierce love that burns my heart makes all this venting,
While with his wings the raging fire he bloweth ;
Say, love, with what device thou canst for ever
Keep it in flames, and yet consume it never?

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
My wits forlorn, and silly sense decayed?
For since I took my wound that sore did pain me,
From your fair eyes, my sp'rits are all dismayed.
Nor of so great a loss do I complain me,

If it increase not, but in bounds be stayed:
Yet if I still grow worse, I shall be lotted
To wander thro' the world, fond and assotted.
Music by G. de Wert, Antwerp, 1570.

Original Italian.

"Chi salirà per me, Madonn', in Cielo,

"A riportarm'il mio perdut' ingegno?
"Che poi ch' usci di bei vostr' occh' il telo,
"Ch'il cor mi fisse ognor perdendo vegno:
"Ne di tanta jattura mi querelo

"Pur che non cresca, ma stia a questo segno,
"Ch'io dubito se più se va scemando,
"Che stolto me n' andrò pe 'l mond' errando."

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,
"O non è vivo, o non conosc' amore."

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,
Long time absented; that look so mild appeased:
Thus is my grief declining.

Thou in thy dreams dost make desire well pleased.
Sleep, if thou be like death, as thou art feigned,
A happy life by such a death were gained.

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,
"Io pur beato in tal morte vivrei."

XXXIV.

Sound out, my voice, with pleasant tunes recording
The new delight that love to me inspireth;
Pleas'd and content with that my mind desireth,
Thanked be love such heav'nly joys affording.

She that my plaints with rigour long rejected,
Binding my heart with these her golden tresses*,
In recompense of all my long distresses,

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,
When as the earth was with fair flow'rs revested,
I saw a shepherd with his Nymph that rested.
Thus spake the Nymph with sugar'd words of favour,
Say, sweet love, to thy love, tell me my darling,
Where is thy heart bestow'd, where is thy liking?