1 Sabol, A. J., ‘A Newly Discovered Contemporary Song Setting for Jonson's Cynthia s Revels’, Notes and Queries, N.S. V (1958), 384; ‘Two Unpublished Stage Songs for the “Aery of Children”’, Renaissance News, XIII (1960), 222 CrossRefGoogle Scholar.

2 There is a later setting of ‘The Kiss’ in the Henry Lawes manuscript in the British Museum, catalogued as Loan MS. 35 and now renumbered as Add. Ms. 53723, f. 5.

3 J. P. Cutts, ‘Everie Woman in her Humor’, Renaissance News, XVIII (1965), 209.

4 The problem of the date is discussed at length by J. Quincy Adams in his ‘Every Woman in her Humor and The Dumb Knight’, Modern Philology, X (1913), 413; in particular see pp. 422-424. The question was raised again by Cutts, op. cit., p. 209 et passim, though no definite conclusions were reached. Chambers’ caution still seems necessary. See Chambers, E.K., The Elizabethan Stage, 4 vols. (Oxford, 1923)Google Scholar, IV, I I , and for a discussion of the company known as the Children of the King's Revels see II, 64-68.

5 Thayer, C.G., Ben Jonson: Studies in the Plays (Norman, Okla., 1963) p. 34 Google Scholar.

6 Discoveries, in Ben Jonson, ed. C. H. Herford and P. and E. Simpson, n vols. (Oxford, 1932), VIII, 592-593,11. 948-958.

7 The Book of The Courtier Done into English by Sir Thomas Hoby, ed. with an introduction by Sir Walter Raleigh (London, 1900), Book 1, pp. 70-71.

8 See especially The Courtier (ed. Raleigh), Book II, p. 119.

9 The Courtier (ed. Raleigh), Book IV, pp. 355-356.

10 See Galpin, F.W., Old English Instruments of Music, 4th ed. rev. with supplementary notes by Thurston Dart (London, 1965), pp. 68–69 Google Scholar.

11 D. P. Walker, ‘Le chant orphique de Marsile Ficin’, Musique et poésie au XVIe siècle, C.N.R.S. (Paris, 1954), p. 17; p. 19. The name is obviously related to the traditional and eloquent instrument of Apollo, Orpheus, and David: the lyre.

12 Grove's Dictionary oj Music and Musicians, 5th edition ed. Eric Blom, 9 vols. (London, 1954), v, 453.

13 ‘The humorous aire shall mixe her solemne tunes With thy sad words.’ (i.ii.62-63)

14 H. N. Hillebrand, The Child Actors, University of Illinois Studies in Language and Literature, Vol. xi (February 1926), nos. 1-2 (Urbana, 111., 1926).

15 ‘Awake ye woeful wights.’ There is a setting of this for voice and lute accompaniment, probably adapted from a consort accompaniment, in B.M. MS. Add. 15117, f. 3.

16 See for example, G. E. P. Arkwright, ‘Elizabethan Choirboy Plays and their Music’, Proceedings of the Royal Musical Association, 40th Session (1913-1914), p. 117; Philip Brett, 'The English Consort Song, 1570-1625’, Proceedings of the Royal Musical Association, 88th Session (1961-1962), p. 73; Peter Warlock, ed., Elizabethan Songs with String Quartet, 3 vols. (London, 1926); Philip Brett, Consort Songs, Musica Britannica, XXII (London, 1967).

17 Op. cit., pp. 127-128.

18 Wolfgang Clemen, English Tragedy before Shakespeare, trans. T. S. Dorsch (London, 1961), pp. 23-24.

19 See my article: Mary Joiner, ‘British Museum Add. MS. 15117: A Commentary, Index and Bibliography’, Research Chronicle of the Royal Musical Association, no. 7 (1969), p. 51.

20 See for instance the broadside ballad version of ‘Awake ye woeful wights’ and the number of times it is mentioned as the tune for ballads. The ballad version is discussed by John Ward in ‘Music for A Handefull of Pleasant Delites’, Journal of the American Musicological Society, x (1957), 167; and by Claude Simpson in The British Broadside Ballad and its music (New Brunswick, N.J., 1966), pp. 157-159.

21 See Hunter, G.K., John Lyly, The Humanist as Courtier (London, 1962) p. 101 Google Scholar.

22 The authorship of the songs in Lyly's plays and the authenticity of the song texts Blount published in his edition of 1632 have been the subject of much controversy. Hunter, op. cit., sums up the evidence in the Appendix to his book, pp. 367-372, and concludes that Blount probably had access to the music library of Pauls's boys whence he derived his song texts. See also the following contributions to the discussions of Lyly's play songs: Best, M. R., ‘A Note on the Songs in Lyly's Plays', Notes and Queries, N.S. XII (1965), 93 CrossRefGoogle Scholar; M. H. Dodds, ‘Songs in Lyly's Plays’, Times Literary Supplement, 28 June 1941, p. 311; Greg, W. W., ‘The Authorship of the Songs in Lyly's Plays’, Modern Language Review, 1 (1), 43 CrossRefGoogle Scholar; W . J . Lawrence, ‘The Problem of Lyly's Songs’, Times Literary Supplement, 20 December 1923, p. 894; Moore, J. R., ‘The Songs in Lyly's Plays', PMLA, XLII (1927), 623 CrossRefGoogle Scholar.

23 See especially Lawrence, W. J., ‘Thomas Ravenscroft's Theatrical Associations’, Modern Language Review, XIX (1924), 418 CrossRefGoogle Scholar; Sabol, A.J., ‘Ravenscroft's Melismata and the Children of Pauls’ ’, Renaissance News, XII (1959), 3 CrossRefGoogle Scholar; Sabol, A.J., ‘Two Unpublished Stage Songs for the “Aery of Children” ‘, Renaissance News, XII (1960), 222 CrossRefGoogle Scholar; A.J. Sabol, ‘Two Songs with Accompaniment for an Elizabethan Choirboy Play’, Studies in the Renaissance, v (!958), 145- Peter Warlock's Elizabethan Songs contains many early laments, and Philip Brett's Consort Songs, Musica Britannica, XXII (London, 1967), contains both early laments and some post-1600 consort songs.

24 See for example the songs for The Maydes Metamorphosis: ‘By the moon we sport and play’, A Briefe Discourse, no. 8; ‘lolly Shepherd’, Pammelia, no. 3; and ‘Round about in a faire ring’, A Briefe Discourse, no. 9. The first two are by Ravenscroft himself and the third is ascribed to ‘J. Bennet’.

25 ‘Heares non but onelie F, p. 39 from Everie Woman in her Humor: see above p. 134 andn. 4.

26 Briquet, C.M., Les Filigranes, 4 vols. (Paris, 1907)Google Scholar.

27 There are two references in the manuscript itself which seem to provide some help with dating. On p. 114 (reversing the manuscript) there is the date 1634 in the right-hand margin and an inscription which is now impossible to decipher as the leaf has been trimmed too closely. Neither the date nor the inscription appears to be in the same handwriting as the music on that page, or indeed elsewhere in the manuscript, and this suggests that the date and inscription are later than the contents of the book. On p. 69 there is a reference to ‘Mrs Elyzabeth Hampde[n]’. However, this is too vague to be of value in dating. The reference could be to the wife of William Hampden of Great Hampden, Buckinghamshire. Since she did not die until 1664, however, this reference is not helpful in providing an upper limiting date for the collection. However, the note on p. 68 at the end of the music whose second verse together with Elizabethan Hampden's name occurs on p. 69 saying ‘This Music is of the flurishing age of Eliz.’ suggests that this piece was copied into the manuscript sometime after 1603, i.e., after the death of Queen Elizabeth.

28 For a discussion of consort songs and their use in children's plays especially, see Philip Brett, “The English Consort Song, 1570-1625’, Proceedings of the Royal Musical Association, 88th Session (1961-1962), p. 73.

29 The song occurs as treble and bass only in B.M. MS. Egerton 2971, f. i6v, and for voice and lute accompaniment in King's College, Cambridge, Rowe MS. 2, f. 9V. See also Brett, Consort Songs, pp. 62 and 184.

30 The song also occurs as treble and bass only in B.M. Ms. Add. 24665, f. 34V. See Brett, Consort Songs, pp. 60 and 184.

31 J. R. F. Stainer, ‘Shakespeare and Lassus’, The Musical Times, XIIII (1902), 100; Cutts, J. P., ‘The Original Music to a Song in 2 Henry IV, Shakespeare Quarterly, VII (1956), 385 CrossRefGoogle Scholar; F. W. Sternfeld, ‘Lasso's Music for Shakespeare's “Samingo” ‘, Shakespeare Quarterly, ix (1958), 105; Thomas Nashe, Summer's Last Will and Testament, in Works, ed. R. B. McKerrow, 5 vols. (Oxford, 1958), II, 264, 267, 269, and IV, 433.

32 Both the other sources are post-1600 and show an interest in children's music mainly of this period. (One exception in B.M. MS. Add. 24665, Giles Earle's book is ‘Howe can the tree’, fs. 27V-28, which also occurs in a consort-song version in Christ Church MSS. Mus 984-988, no. 113. This manuscript was compiled between 1581 and 1588.) Giles Earle's manuscript forms an interesting comparison with the Christ Church Ms. Mus 439. It is dated 1615 which is probably the date at which the collection was begun. See the edition of the words of the songs by Warlock, Peter, Giles Earle his Booke (London, 1932)Google Scholar and the article by J. P. Cutts on one song in the collection, ‘ “Venus and Adonis” in an early 17th century song-book’, Notes and Queries ,N.S.X (1963), 302.Themanuscript contains two identified songs from children's plays and several others that suggest a choirboy play context. The two songs identified with children's plays occur together: ‘The darke is my delight’ (fs. 58V-59) from Marston's The Dutch Courtezan and ‘Yf I freely may discouer' (fs. 59V-60) fromjonson's Poetaster. See also Sabol, A.J., ‘Two Unpublished Stage Songs for the “Aery of Children” ‘, Renaissance News, XIII (1960), 222 CrossRefGoogle Scholar. Other songs in the manuscript which may be from plays are: ‘Vnkinde death’ (fs. 36V-37), ‘Rest mee heare’ (fs. 37V-38), ‘Sound yee sheppheards’ (fs. 45V-46), ‘Sweet Muses, Nurses of delights’ (fs. 55V—56), and ‘From ye hagg and hungrie Goblin’ (fs. 73V-74). For discussions of the theatrical possibilities of this last song and studies on it see Wells, Stanley, ‘Tom O'Bedlam's Song in King Lear’, Shakespeare Quarterly, XII (1960), 311 Google Scholar; and Sternfeld, F.W., Music in Shakespearean Tragedy (London, 1963) pp. 177–180 Google Scholar. Christ Church MS. Mus 439 contains two songs whose only other extant source, as far as I am aware, is Giles Earle's manuscript. The songs are ‘Aye me can love and bewtie soe conspire’ (439, p. 30; Earle, fs. 6V-7) and ‘Art thou that shee’ (439, p. 36; Earle, fs. 52-53). This latter song suggests a context: certainly dialogue songs were popular both within the plays and as interact music. The former displays a consciousness of'new’ and fashionable devices of affection, devices of the kind that are ridiculed by Hedon's song. Both the opening of the song and the refrain ('breake harte in twaine to end mis paine and while I dye thus will I crye’) provide examples. Indeed, the refrain reminds one of a very similar sequential passage in Wilbye's madrigal ‘Thou art but young’ from his First Set of Madrigals (1598), no. 29. In the example the inner parts implied by the sequences in both treble and bass have been filled in in small notes. For a discussion of the songs by Dowland and Jones in Giles Earle's book see below, nn. 56 and 63. When all this is taken into account there is much in the Giles Earle book to suggest more than a personal eclectic collection. The evidence for suggesting that it represents the repertoire of a children's company is not as strong here as it is in the Christ Church manuscript, but nevertheless the book may repay close study from this point of view.

33 This is perhaps one of the best known of the late 16th-century laments. It is ascribed to Robert Parsons, and has been printed and edited by Peter Warlock in his Elizabethan Songs with String Quartet, n, 16. See also Brett, Consort Songs, pp. 10-14 and 178.

34 From Damon and Pithias, see above, and B.M. MS. Add. 15117, f. 3.

35 See an entry in the Chapter Acts for 5 April 1605 which is quoted in full in the article on Woodson in Grove, op. cit.,IX, 361.

36 Other songs whose bass parts suggest the bass part of a consort accompaniment occur on the following pages of the manuscript: 14, 64-65, 111. The song on p. 9, ‘O mortall man’, which is ascribed elsewhere to Thomas Weelkes may also be adapted here from a consort-song arrangement of the four-part anthem. The song is reprinted in Musica Britannica, XV, 161, and XXIII, 59, and full lists of sources are given in the notes to both these editions. Of the songs which exist as consort songs in printed sources are the two parts of the song (pp. 108-109, 109-110) from Richard Allison's An Howres Recreation in Music (1606), nos. 9 and 10, and nine songs from William Byrd's Psalms, Sonets and Songs (1588) which occur in the manuscript on pages: 54, 58-59, 82, 82-84, 84-85, 102, 104- 105, 105, 106-107.

37 ‘Lord in thy wrath’ (p. 84), ‘My soule opprest’ (p. 104), ‘O Lord how longe’ (p. 106).

38 ‘O mortall man’ (p. 9).

39 See Pammelia, nos. 8, 20, 54, 61.

40 1Google Scholar Ch. VI, pp. 119 ff.

41 Op. cit., p. 120.

42 Op. cit., p. 33.

43 While it is impossible to single one song out of hundreds we should bear in mind here Philautus’ reference to ‘the old downe a downe’ in Everie Woman in her Humor, Sig. E.IV. Cutts (Renaissance News, XVIII, 213) suggests a song by Francis Pilkington here which begins with ‘Down a down’, but this suggestion is as arbitrary as any other would be. Two points can be made however: (i) that the refrain is widely known and tremendously popular; and (ii) that the singing of it makes a point in a play written for a sophisticated and courtly audience.

44 See for example the little narrative comic interlude-song ‘What meat eats the Spaniard’ in Middleton's Blurt Master Constable. The song occurs in the British Museum partbooks Add. MSS. 17786-45 See I. and Opie, P., The Oxford Dictionary of Nursery Rhymes (Oxford, 1951) pp. 177–181 Google Scholar. Opie does not mention ‘There was a frog’.

46 Op. cit., p. 179.

47 John M. Ward, ‘Apropos The British Broadside Ballad and its Music’, Journal of the American Muskological Society, xx (1967), p. 44.

48 See the notes by Sidney Beck to this piece in his edition of Morley's First Book of Consort Lessons (1599 and 1611) (New York, 1959), p. 191, which suggest that the ‘Mounsier' of the title may refer to Alencon for it was customary to address the second son or next younger brother of the king of France by this title. He points out too, however, that Baskervill, C.R., The Elizabethan Jig (Chicago, 1929) p. 235 Google ScholarM, says that ‘the title “monsieur“ in “monsieur Simkin” [in Singing Simkin, a jig] was like “Cavaliero”, conventionally used by clowns and was apparently affected by Kemp’. It is of course possible that Kemp himself made the name ‘Mounsieur’ his own by his parodying of Alencon.

49 Dowland's “Sleepe wayward thoughts” which immediately follows “Now o now“ was also popular as a dance ayre and this may be the reason for including it here. Of interest too is the music in tablature which follows ‘Sleepe wayward thoughts’ which is a more elaborate bass part to that song, for lyra viol.

50 The four songs are these: ‘Flow my teares’, p. 6; ‘Come yee heavy stars [states] of nyght’, p. 47; ‘If my complaint myght passions moue’, p. 52; ‘Sorrow stay’, p. 70.

51 Past and Present, XXLV (1969), 33. The discussion of lute songs is on pp. 29-40.

52 Op. cit., p. 50.

53 Op. cit., pp. 33-40. Full details of the printing are given in Margaret Dowling, ‘The Printing of John Dowland's Second Booke of Songs or Ayres’, The Library, Fourth Series, XII (1932), 365.

54 Ruff and Wilson, p. 36.

55 Ruff and Wilson, p. 31.

56 With reference to n. 32 above it is interesting to record here that Giles Earle's book contains several Dowland songs and, as is the case with the 439 manuscript, these are almost all political songs. They are: ‘Flow my teares’ (fs. 1 iv-12), ‘Yf my complaintes’ (fs. 12V-13),'Sorrow stay’ (fs. 31 v-32) and'Can shee excuse’ (fs. 42V-43). Of the two other Dowland songs it has already been noted that ‘Sleepe wayward thoughts’ (fs. 28V-29) was widely popular both in its vocal and in its instrumental versions and that it occurs in the 439 manuscript. The other Dowland song in Earle's book is ‘Come againe, sweet love doth nowe inuite’ (fs. 26V-27). Furthermore, Giles Earle's book contains several other songs which seem to refer in some way to the downfall of Essex. See in particular the song immediately preceding ‘Can shee excuse’: ‘I am the man that mirthles Hues’ (fs. 41V- 42); also ‘My thred is spun’ (fs. 65V-66) and ‘To plead my faith’ (fs. 48V-50) from Robert Dowland's A Musiccal Banquet (1610) set by Daniel Batchelor with words by Robert Devereux, Earl of Essex.

57 Ruff and Wilson, pp. 32-33.

58 ‘Fie what a coyle is heere’, p. 4; ‘Now what is Love’, p. 35; ‘Dreames and imaginations’, p. 73; ‘Arise my thoughts’, p. 100.

59 See Hotson, L., The First Night of “Twelfth Night” (London, 1954)Google Scholar. In the article in Grove on Jones (op. cit.IV, 660-661) E. H. F[fellowes] points out that there is no evidence that it was Jones's music that was used in Twelfth Night. He says that the words were well known quite apart from individual settings. Perhaps the occurrence of the bass part here alters this judgment.

60 There is some confusion about the date though 1615 seems more probable. F[ellowes]' article on Jones in Grove (see above) says that he was granted a patent with Philip Rosseter, Philip Kingham, and Ralph Reeve on 4 January 1610 to train the ‘Children of the Revels to the Queene within Whitefryers’, as the Children of the Chapel were then called. On the other hand, Hillebrand (Child Actors, p. 237) discussing the patent of 1610 refers to it as being granted to Philip Rosseter, Robert Daborne, John Tarbock, Richard Jones, and Robert Brown. Hillebrand says (p. 243) that this company under Rosseter was amalgamated with Henslowe's Company in 1613 but the Company of the Children of the Queen's Revels was revived again in 1615 by a patent granted to Philip Rosseter, Philip Kingham, Ralph Reeve, and Robert Jones. They had leased buildings in the precinct of Blackfriars near Puddlewharf. The patent of 1610 referred to by Hillebrand is quoted by Chambers, Elizabethan Stage, n, 56.

61 The Complete Works of John Lyly, ed. R. Warwick Bond, 3 vols. (Oxford, 1902), III, 443-444. Little is known about his birth and death. Until he joins in taking over the Children of the Queen's Revels there is no information about his activities at court or elsewhere.

62 Ibid.

63 The Giles Earle manuscript also contains a large number of songs by Robert Jones. Of particular interest are the ten songs from his Vltimum Vale (1605), fs. 13V-23.

64 There are nine other songs from Ferrabosco's Ayres in the 439 manuscript. Four of these occur together, and consecutively with the songs from masques, on pp. 86, 88, 91, and 92. Others are on pp. 21, 25, 78, and 101.

65 The song is Part in of ‘Singe we the heroic grace’, Ayres, no. 12. A pencil note in the British Museum copy of the Ayres says the song is ‘A Compt. to ye Prince’.

66 This may be simply a copyist's mistake or an error in underlaying the words, though it is not obvious how such errors could be rectified without changing the underlay of the words completely.

67 The manuscript contains two songs by Campion: ‘Thoughe you are younge’ (p. n ) and ‘Though your sadnes’ (p. 26). ‘Thoughe you are younge’ was widely popular and existed also in a broken consort version: see B.M. MS. Add. 15117, f. 8, and my discussion of this, op. cit. It seems that ‘Though your sadnes’ was popular for Jones also set these words. There is another song also probably by Campion: ‘Tarry sweete love’ (p. 3) and since there is, as far as I know, no other source for this it may well be occasional: see my discussion, Joiner, Mary, ‘Another Campion Song?’, Music and Letters, XLVIII (1967), 138 CrossRefGoogle Scholar. There is also one song by Rosseter, ‘Sweete come againe’ (p. 10) and three songs by Morley: 'Sleepe slumbringe eyes’ (p. 1), ‘With my loue my life was nestled’ (p. 37), and 'Wyll you buy a fine dogg’ (p. 80), all from his Ayres (1600).

68 See Ruff and Wilson, p. 41, and Doughtie, Edward, ‘Robert Southwell and Morley's First Book of Ayres’, Lute Society Journal, IV (1962), 28 Google Scholar.

69 See Cutts, J.P., La musique de la troupe de Shakespeare, C.N.R.S. (Paris, 1959)Google Scholar.

70 See also the songs on pp. 36, 37, 62-63 (and 68-69), 64, 72, 76-77.

71 Vincent Duckies, ‘Florid Embellishment in English Song of the late 16th and early 17th centuries’, Annates musicologiques,V (1957), 329, which points out general differences between English and Italian embellishment.

72 See above, p. 161.

73 See above, p. 140.

74 The article by F. T. Afrnold] in Grove on Thorough Bass (VIII, 440) suggests that Richard Dering's Cantiones sacrae (1617), published in Antwerp, is the first example of the use of figured bass by an Englishman. Audrey Jones, ‘The Life and Works of Martin Peerson’, typescript thesis in the University Library, Cambridge, says that Peter Philips’ Gemmulae sacrae (1613) is the earliest example.

75 Willi Apel, Harvard Dictionary of Music (Cambridge, Mass., 1944). The article on Thorough Bass is on p. 746. A [mold]'s article in Grove mentions Viadana's Cento concerti ecclesiastici (1602) which employs the same method of'figuring’.

75 Willi Apel, Harvard Dictionary of Music (Cambridge, Mass., 1944). The article on Thorough Bass is on p. 746. A [mold]'s article in Grove mentions Viadana's Cento concerti ecclesiastici (1602) which employs the same method of'figuring’.