Some conceptions held by Herbert and his predecessors of the relations between sacred and profane love poetry are the matter at issue in this essay—yet it is particularly directed to the attention of two kinds of special students not likely to be especially interested in that issue. I wish it might be read by those who know unpublished Renaissance music, and those who work with semantics and early dictionaries in various European languages. It is written with the hope that some one else may run across an unfound musical setting, and that some one else may adduce earlier uses of a puzzling word. Its main concern, however, is to present certain materials and ideas of rather broader interest to students of Renaissance poetry.