Lute Songs by John Dowland Arr DavidNadal PDF

Lute Songs of John Dowland
The Original First and Second Books

Including Dowland' s Original Lute Tablature
Transcribed for Voice and Guitar

by
David Nadal
DOVER PUBLICATIONS, INC.

Mineola, New York
CONTENTS
Introduction vii THE SECOND BOOK OF SONGS 51

About the Transcriptions ix
I. I saw my Lady weep 54
THE FIRST BOOK OF SONGS 1 II. Flow my tears 58
Ill. Sorrow, stay 62
I. Unquiet thoughts 4 IV. Die not before thy day 66
IL Who ever thinks or hopes of love 6 v. Mourn, day is with darkness fled 70
Ill. My thoughts are wing' d with hopes 8 VI. Time's eldest son, Old Age 72
IV. If my complaints could passions move 10 (The first part)
v. Can she excuse my wrongs? 12 VIL Then sit thee down 74
VI. Now, 0 now, I needs must part 14 (The second part)
VII. Dear, if you change 16 Vlll. When others sing Venite 76
(The third part)
Vlll. Burst forth, my tears 18
IX. Go crystal tears 20 IX. Praise blindness eyes 78
x. Think'st thou then by thy feigning 22
x. 0 sweet woods 80
XL If floods of tears 84
XI. Come away, come sweet love 24
XII. Rest awhile you cruel cares 26 XII. Fine knacks for ladies 86
Xlll. Sleep, wayward thoughts 30 Xlll. Now cease my wand'ring eyes 88
XIV. All ye, whom Love or Fortune 32 XIV. Come ye heavy states of night 90
XIVa. All ye, whom Love or Fortune 34
xv. White as lilies was her face 92
xv. Wilt thou, unkind, thus reave me 36 XVI. Woeful heart 94
XVI. Would my conceit 38 XVII. A shepherd in a shade 96
XVII. Come again 40 XVlll. Faction that ever dwells 98
xvm. His golden locks 42 XIX. Shall I sue 100
XIX. Awake, sweet love, thou art return'd 44
xx. Toss not my soul 102
xx. XXL Clear or cloudy 106
Come, heavy Sleep 46
XXL Away with these self-loving lads 48
XXIa. Clear or cloudy 108
My Lord Chamberlain his Galliard so XXII. Humour say what mak'st thou here 110
(a Dialogue)
(For two to play ... )
Dowland's adieu
for Master Oliver Cromwell 112
Songs VI. VII and VIII of The Second Book are treated as a through-composed sequence. They form a single whole.
But singing to the lute with the dittie (methinke) is more pleasant than the rest,
for it addeth to the wordes such a grace and strength that it is a great wonder.
Baldassare Castiglione, 1528

(Translated by Sir Thomas Hoby, 1561)
INTRODUCTION
John Dowland ( 1563-1626) was one of the greatest musicians of the Elizabethan and Jacobean eras,
and his lute songs are among the most highly developed vocal works in the Western tradition. Having
spent his late adolescence in France, the influence of the air de cour-most likely those of guitarist
Adrian Le Roy-seems most natural as a model for Dowland's airs. But his genius lay in his distinctive
blend of continental styles, an overriding element of English lyricism and the directness of the profound
melancholy that dominates his work-a trait very much in accord with aspects of the Elizabethan spirit.
Dowland published eighty-eight lute songs. Eighty-five appeared in four volumes, the remaining
three in his son's anthology of 1610, called A Musical Banquet. The immensely popular First Booke of
Sanges or Ayres, published in 1597-the first English publication for voice and lute-was reprinted five
times during the composer's lifetime, in 1600, 1603, 1606, 1608 and 1613. No other composer of lute
songs was so complimented, nor was any other book of this type reprinted even once.
The full title of this collection reflects Dowland's awareness of the contemporary fondness for
singing in a madrigal fashion:
The First Booke of Sanges or Ayres

offoure partes with Table ture for the Lute:
So made that all the partes together, or either of them severally
may be sung to the Lute, Orpherian or Viol da gambo.
Although it seems that the solo-song version was the ayre's primary form, most of Dowland's lute
songs were published with alternate versions for a four-part vocal ensemble, suitable as well for consort
performance. In all cases the lute tablature was printed below the cantus while the three lower voice parts
were printed so that a group sitting around the book could read each part-line with ease.
All songs in The First Book included four-part versions and were strophic in form. In The Second
Book, the first eight songs were published with cantus, bassus and lute tablature only; through-composed
(non-strophic) songs appeared for the first time; and the maturation of the lute part as a musically equal
partner began the transformaton of the ayre from accompanied vocal piece to art song. Dowland pub-
lished this new collection in 1600, under the title:
The Second Booke of Sanges or Ayres,

of 2. 4. and 5. parts:
With Tableture for the Lute
or Orpherian, with the Viall de Gamba
This publication was followed by The Third and Last Booke of Songs or Aires. Newly composed to sing
to the Lute, Opharion, or viols (1603); and A Pi/grimes Solace. Wherein is contained Musicall Harmonie of
3. 4. and 5. parts, to be sung and plaid with the Lute and Viols (1612).
The present Dover edition contains the complete First and Second Books in their solo-song ver-
sion, including Dowland's original lute tablature together with its transcription in modem notation for
guitar. All editorial work on The First Book has been based on the reprint of 1613, the only known source
for the composer's last documented thoughts. The 1613 edition as well as that of 1606 contain substan-
tial amendments of the three earlier versions, changes believed to have been made by Dowland himself.
There is no extant copy of the 1608 edition.
David Nadal
New York City, 1996
vii
As in a hive of bees all labour alike to lay up honey, opposing themselves against
none but fruitless drones; so in the house of learning and fame all good endeav-
ourers should strive to add somewhat that is good, not malicing one another, but
al! together bandying against the idle and malicious ignorant.
John Dowland, 1603
ABOUT THE TRANSCRIPTIONS

The spiritual and aesthetic connection between the lute and the guitar has long been established.
The idea, however, that our modern guitar repertoire consumes the repertoire of the lute is far from true.
The advent of the early-music movement has demonstrated a widespread following of lute enthusiasts
and scholars unto itself-but the guitar literature has, in turn and at the same time, been happily aug-
mented through this early-music revival.
This edition of Dowland's lute songs is presented with those thoughts in mind-a collection of
small, early-music masterpieces together with their original texts, prepared with the care due them,
designed as a practical performance book for the modern guitarist and singer. The availability of this
deeply felt music is in itself reason to experience fully the gift it offers all musicians and audiences,
encouraging us to know better this body of work through performance of all types and experimentation.
Performance particulars are as follows:
• Except for songs Nos. II and X in The First Book, Dowland's original note values have been
halved.
• Key signatures have been modernized where it was appropriate to do so.
• Barring has been regularized between voice and guitar, but the tablature is reproduced (with
errors corrected) exactly as it appeared in our source materials.
• All texts are anonymous in the original publications. Readers interested in related research may
want to consult the works of Dowland scholars Edmund H. Fellowes (The Songs of John Dowland), Edward
Doughtie (Lyrics from English Airs 1596-1622), and Diana Poulton (John Dowland), among others.
• Text spellings have been modernized for easier reading, but oddities (and some inconsistencies)
of punctuation follow the style of the original publications.
TUNING AND TRANSPOSITION

Three basic issues confront the guitarist playing the lute-song repertoire:
• For the music to lie idiomatically on the instrument, it is often necessary to lower the 3rd string
by one half-step, from G down to F-sharp. The resultant pitch spacing of the open strings-fourths with
a third in the middle-reproduces that of the lute. Although this tuning may be slightly unfamiliar to
the guitarist, it should prove, with practice, to be well worth any efforts involved in performance. The
performer is of course free to choose standard guitar tuning, editing the printed guitar notation as nec-
essary. Some songs may require little or no adjustment.
• Dowland often wrote for a lute of more than six courses. When such is the case in these compo-
sitions, minor adjustments have been made to compensate for the lower end of the lute's gamut. The
transcriber has different ways of dealing with this issue (see "Types of Transcriptions," below).
• The majority of songs in this volume are in a transposing score: for voice and guitar to sound in
the same key, the guitarist must use a capo on the 3rd fret. Thoughtful use of the capo will also free
performers to shift tonalities to better suit the singer's ideal range. (While there was no absolute
standard of pitch in Dowland's day, many expert performers of that general repertoire tune a' to 415 Hz.)
lX
TYPES OF TRANSCRIPTIONS IN THIS EDITION
• The "idiomatic" transcription
The lute tablature is transcribed to guitar notation with the 3rd string lowered by one half-step. The
majority of transcriptions in this edition are of this type.
• The "at pitch" transcription
This is often a successful option when the lute's gamut extends below guitar range and the song's
architecture would be jeopardized in an "idiomatic" transcription. Here, the actual lute pitch (of a lute
in G tuning) is transcribed. When this is the case, one no longer has the same pitch relationships to the
open strings, so the 3rd string need not be lowered.
This edition includes two instances where performers may choose between an "idiomatic" and an
"at pitch" transcription of the same song: Nos. XIV and XIVa in The First Book, and Nos. XXI and XXIa
in The Second Book.
Choice is a matter of personal judgment and practical convenience in a particular performing situ-
ation. For example, if one is playing with a cellist or a gambist (or perhaps a bass or bassoon), the gui-
tarist may not want to bother performing a bass line that would be doubled; or, if a selected set of songs
is in a particular tuning, one may not want to disrupt the flow of a concert with a retuning between
pieces.
• The "hybrid" transcription
In a few cases, tuning the 3rd string to F-sharp and the 6th string to D is the perfect solution to a
problematic piece. This wonderfully resonant tuning is on display in No. XIX of The First Book.
D.N.
Guitarist, educator and researcher, David Nadal studied at Yale University and the Manhattan School of Music, and is currently on the Artis-
tic Faculty at the Boys Choir of Harlem, Inc. Dedicated to expanding the guitar repertoire, he has commissioned and premiered new works for
guitar, performing these as well as his own extensive transcriptions of early music. As a soloist, chamber musician and lecturer, he has appeared
under the auspices of the Metropolitan Opera Young Artist Program, the Spanish Institute and the Yale Smithsonian Forum on Material
Culture. Mr. Nadal is founder/director ofKithara Editions, a publishing company specializing in the guitar literature.
''
I'
x
Lute Songs of John Dowland
The First Book
Originally published in 1597
Transcriptions based on Dowland's revised edition of 1613
THE
FIRST BOOKE OF
SONGS OR c_.AY RES OF
foure parts,with Table·
turc for the Lute.
SOMADE,THAT ALL THE
parts tog er her,or either of them
fc:ucrally ,may be lung rorhc Lure,
Orphcnan,or Viol de gambo.
Compofcd bv loH N Dow LAN o,
L1mntjf ,,,;d B,,ch,/er of M ufck_
in bolh the Vniucrf.11cs.
l'f/fa "" inurntion h7 th~ [.rid A111hor
far t'tf?o to pl111 vpo" on' Luu.
4
I. Unquiet thoughts
Voice
Un qui - et thoughts, your ci vii slaugh ter
Guitar
G) to F#
Capo III r
d~ d~
a
d J a
~ d ~ d
a
c~ a
~ a~ ~
a a
Lute c
c
stint, And wrap your wrongs with-in a pen - sive heart: And you my tongue
r
a
a
a
d ~d a
a a a a
a a a a a
a c c c
a
a
that makes my_ mouth a mint, And stamps my thoughts to coin them words by art,
a e a c a a
a a a a
a a a c
a a
a
5
Be still: for if you ev - er do the like
a
a~ a
d~
a
• a a a
a a a
• c
a
l.
cut the string, I'll cut the string that makes the ham - mer strike. strike.
a~
g g
a a a
g g
d
a
c~ a
~ a~ ~
a ~ ah
a g
~ a~
c
a i ! a
c
d b
d
a c
c
c
a
a
b
: 11
Unquiet thoughts. your civil slaughter stint. But what can stay my thoughts they may not start.
And wrap your wrongs within a pensive heart: Or put my tongue in durance for to die'?
And you my tongue that makes my mouth a mint. When as these eyes. the keys of mouth and heart.
And stamps my thoughts to coin them words by art. Open the lock where all my love doth lie:
Be still: for if you ever do the like, I'll seal them up within their lids forever:
I'll cut the string that makes the hammer strike. So thoughts. and words. and looks shall die together.
3
How shall I then gaze on my mistress' eyes'?
My thoughts must have some vent: else heart will break.
My tongue would rust as in my mouth it lies.
l f eyes and thoughts were free. and that not speak.
Speak then. and tell the passions of desire;
Which turns mine eyes to tloods. my thoughts to tire.
6
IL Who ever thinks or hopes of love
Voice
thinks or hopes of love for love: Or who be - lov'd m
:n
u r i #f
a
M. ~ c~ d c~a a~ ~ a
J
a
h ~ c a
M. ~ a c d
c a a a a a
Lute a c e c e c
c a c c
a a
a
, , ~12 qr
r r iir I r r
Cu - pid's laws doth glo-ry:
I l J J J I r·
Who joys in vows,
r
or
IF r F"
vows not to
DI
e
re - move:
r i rr u
a c a a c
a h h ~ a
M. ~~ ~ a ~ a ~c )
a
a a
e
c a a c a c c a
a
Who by _ _ this light - god hath not _ _ been _ _ made sor - ry:
r r
ch ~ h ~ ah ~ ~
;
d a a
a a a a
~
d a e a ~
h d 6 b a b
(I a a c c c b
a a a
7
It. I ...,,
r
Let him see me e clips - ed from my
..J I ..J J, ,,...._ I 1- I I
, r
a d
a
a~ a
a a
e
a
a a d
c
6 a
a a
a
a c
a
-- .-.. ·-
It. I
- - -- -- - r~
- -- ~ - - -
-.i I I
sun, With dark clouds of an earth, with dark clouds of an
J.
- - -- -- --I
JI.
-
I I
,,
-~ -
-
-
J
--
I
-J -· - -~ J- J J
--
I J
' r I
r r r I
r I
r r
a~
a a a
~ a~ c~ a d
c f~
f
~ a d~
a
d c~
a r1.
c
I
a a r1. a I
~
c a c a I
c c a c
a I
I. 12.
quite ov er run. run.

I. 12.
r r r r rr
f~ ~a ~ ~d c~ ~ a~ ~a ~
:
a a a a
g
:
a a a a e a
a
a c
a
6
c
a
a
a a
a
c
:II c
a II
2
Who ever thinks or hopes of love for love: Who thinks that sorrows felt, desires hidden,
Or who belov'd in Cupid's laws doth glory: Or humble faith in constant honour arm' d,
Who joys in vows. or vows not to remove: Can keep love from the fruit that is forbidden,
Who by this light-god hath not been made sorry: Who thinks that change is by entreaty charm'd,
Let him see me eclipsed from my sun, Looking on me let him know, love's delights
With dark clouds of an earth quite over-run. Are treasures hid in caves, but kept by sprites.
8
III. My thoughts are wing'd with hopes

Sir f oh11 Sou ch 's Gallia rd
-"
I
" ..... - - - - - -· - ·- .
Voice
t)
:::-
- My
~
thoughts are
-~
I
wing'd
r
with hopes. rnv
'
hopes
r
with
I
love.
) hj
I I
- I
-·- I
--I i--"! Ii-- I
,
Guitar •
='
-
~ ~ r~
0) toF~
~
- -- -~ ·-
r
-~
Capo Ill ~
I
-
r I
Li u
- - --
f f:
ah
b
aa a
n aab f~ d
n
a~
h /! (
J
a
a (/ I
Lute --c c c c u r " c
- a
r
a I
I a :
a
a h
I
I a
the Moon_ in clear-est night And say, as she doth in
a a
a a
~a a
b
a
a a a
the hea - vens move, In earth so wane,; and wax - eth my de - light:
r r
d~ ~ ~ d
a
b ~a ah ~b a h~ hh ~a a~
a
a h ~ a
a
ah
a
c
a a a
a a
9
r
d~ a a
a
a a
a a
Hope oft doth hang the head, and Trust shed_ tears.
.,
u r r
d~ ~~ d~ ~ a~ ~ ~ ~
: :
a a a a
a b 6
I
d a a g a
c
d c
a c
a
d a
a
II I a : 11I
I : a a a I a
6
My thoughts are wing'd with hopes. my hopes with love.

Mount Love unto the Moon in clearest night
And say, as she doth in the heavens move,
In earth so wanes and waxeth my delight:
And whisper this but sottly in her ears,
Hope oft doth hang the head, and Trust shed tears.
] 3
And you my thoughts that some mistrust do carry, If she. for this, with clouds do mask her eyes.
If for mistrust my mistress do you blame, And make the heavens dark with her disdain.
Say though you alter, yet you do not vary, With windy sighs. disperse them in the skies.
As she doth change. and yet remain the same: Or with thy tears dissolve them into rain:
Distrust doth enter hearts. but not infect, Thoughts, hopes and love return to me no more
And love is sweetest season'd with suspect. Till Cynthia shine as she hath done before.
10
IV. If my complaints could passions move

Captain Digorie Piper's Gal/iard
-" ..
I
--
I
'
- - - -
~
"~
Voice
ti
~
r.
~
- ~
I I
~
I
- - " I
If my com - plaints could pas - si - ons move, Or make Love

My pas - sions were e - nough _ _ _ to prove. That my des -
Guitar
CD toF#
. -
\ l<
~
-
I
- -
-
I I r"""1
- -r-i- -
- -
I
- - - ----
I
~
I
-
I
r r r r
-- - -- - - t!-
Capo III
' r r: "1
~;If i r
a
h I a
h 0 a
~ a
a a a
h ~ a n
h
- n {] n n a a a a a a
Lute ·-c c c c e 0 I
-
('
u I c a I a I
a I a a (1 e c
suf - fer wrong: 0 Love, live and_

- em'd me too long. Thy wounds do fresh ly_
Ut.tr r r r i i i
a
~ ~a~ ~ h a
h ~ a
~ a
a ah
a
h ~ a
d d~ ~ ~ a a
a a c • a
c
a (' • c a
a a a
in thee, Thy grief in my deep sighs still speaks:

in me, My heart for thy un - kind ness breaks:
r
a a a a c
a a~ a a a a
a a a a
a a a
a
11
-" I
... - ~
- - - - - - -
·-
-- r~
~ ~
~-u --
tJ
Yet thou dost hope when I des - pair,
Thou say'st thou canst my harms re - pair,
..J -.h J -.h -l.J -J i- --·J.

-- -- I
I.I I Of
- -- I
, . ~
I
-
~
I
-
I
-
~
I I I
r~
' I
•I a
~ ~ d c
I
d~
a
c~ ah 0 I e
h a~ 0
d c a
I
J
e
11 • r a n a
•
• I
• I I
--
II I
~ ~
- ~ ~
- -
- -
- -
'.
,.
tJ ' I r 1
And when I hope, thou mak'st me hope m vain.

Yet for re - dress, thou let'st me still com - plain.
\
- -r-:J
I.I
-
J .,
-.h
--
~
- -- -- -
I
~
~
---- - -· - --~ -- ----
.,
~
~ I
...
r LJ u r r r r
t ~r -
r r r
-
~ ch ~ a~ ~ ~ ~ ~ ah
a
n
d
a
a
a
c
c
I
a
n
c
a
a
c
a
n
c
a
a
e
a
0
c
c
a
a
c
a
I
a
a
c
c
a
c ..•
• 11
• 11
a I a a I a a •
lfmy complaints could passions move, Can Love be rich, and yet I want?
Or make Love see wherein I suffer wrong: Is Love my judge, and yet am I condemn' d?
My passions were enough to prove, Thou plenty hast, yet me dost scant:
That my despairs had govern'd me too long. Thou made a God, and yet thy power condemn'd.
0 Love, I live and die in thee. That I do live, it is thy power:
Thy grief in my deep sighs still speaks: That I desire it is thy worth:
Thy wounds do freshly bleed in me, If Love doth make men's lives too sour.
My heart for thy unkindness breaks: Let me not love, nor live henceforth.
Yet thou dost hope when I despair, Die shall my hopes, but not my faith,
And when I hope, thou mak'st me hope in vain. That you that of my fall may hearers be
Thou say' st thou canst my harms repair, May hear Despair, which truly saith,
Yet for redress, thou let' st me still complain. I was more true to Love than Love to me.
12
V. Can she excuse my wrongs?

The Right Honourable Robert Earl of Essex, His Galliard
Shall ·call her good when she proves un kind? No, no: where sha-dows do for
the leaves where no fruit I find'I Cold love 1s like to words writ-
r
c~ a~ ~ a~ ~ ~ b
a
~ ha a
h a
h a
~ ~~ a c a a
h ~ h ~
c a
a a a a • e a a a
• e a
a e
a a c
a
bo dies stand, Thou may'st be a - bus'd if thy sight be dim.

ten on sand, Or to bub bl es which on the wa - ter swim.
~r r r i r
~ a a
a
c~ a~ ~ a~ ~ ~ b c~
a
a
a
~ a
a ~ ch
a
a a
a a a
13
IA
- • I
• I
'
.., - - - - -· -
-
-
~ - -
~
r
~
I r I r I
-
r
Will thou be thus a - bu - sed still, See - ing that she will right thee ne - ver?
'I
*
I
-
. - ~
-
I
I
~
-J
,~
I
-~ -
I
-
I
~
,........ ~ I
-I - -- - I-- -
~ .J
~
I
-
l'i I
I
~
•
~ ~ a
~ a
h ~
c a
~ ~ ~ c a
ah
a
~ c a
• • a c a a a c a
••
•
.
• a a
I
a a c c
I
c c
If thou canst not o'er - come her will, Thy love will be thus fruit - less ev er
r· i r
~ ~~ a
~ ~ a~ ~ ~ ~ ~ h
a c
I c a a a a
e
e
c I c
c e
c
a
6
c
e
e
c
a
c
a
:II
2
Can she excuse my wrongs with Virtue's cloak? Was I so base, that I might not aspire
Shall 1 call her good when she proves unkind? Unto those high joys which she holds from me?
Are those clear fires which vanish into smoke? As they are high, so high is my desire:
Must I praise the leaves where no fruit l find? If she this deny, what can granted be?
No, no: where shadows do for bodies stand, If she will yield, to that which Reason is,
Thou may'st be abus'd if thy sight be dim. It is Reason's will that Love should be just.
Cold love is like to words written on sand, Dear, make me happy still by granting this,
Or to bubbles which on the water swim. Or cut off delays if that I die must.
Wilt thou be thus abused still, Better a thousand times to die,

Seeing that she will right thee never? Than for to live thus still tormented:
If thou can'st not o'ercome her will, Dear, but remember it was I
Thy love will be thus fruitless ever. Who for thy sake did die contented.
*The melody in the accompaniment is from the popular Elizabethan song "Will ye go walk in the woods so wild?"
14
VI. Now, 0 now, I needs must part

The Frog Ga//iard
-- .
II ;i I I
Voice
~
..
~
~
- - -
- 'J
~
t) I I I I
Now, 0 now, I needs must part, Part - 1ng though I
While I live I needs must love, Love lives not when
Guitar
G) to F#
- *-....
;I ,_
::::
I
-- - - -·r-::;-
~
I
-~ -- I I I
~
~
I
•
-- - - - ---
I I I ~ I
Capo llI ~ I r r r- -r r r r r I
r r -
J
a e
h I c
I
a
h c
~ ~ah ~ae I e
h I al
a a
h I c
b e
~ h 0
a I
- a I c c a I c n c I
Lute
-
::-1: c
c e
e
I
I
a e
e
c
a
c c
I
a
a
II U
~ - I
. -
- - - -
I
.
--
,,
.., I
rJ
I
- - a
ab - sent mourn. Ab - sence can no joy im - part:

Hope is gone. Now at last Des - pair doth prove.
* -- -- -- -- -·r-"'i- -~ --
--
~ I I ~
--
I I I I I I I
,,
\ ;I 'J a
~ 'J
" -
r
u
r r r r
-- I r r r r- -
r r
e
I ah
a e
h I J
a e
h c
I
a
h c
~ ~ah ~
e
a
e
h I
a c c a c c a
e c I I e
c I c c e I a e c I
a e
a a
- -
II U
~
-- -- -
.. rJ -
.., ~
I I
fled _ _ can - not

- - - r
I I I
Joy once re - tum. Sad des - pair doth

Love di - vi - ded lov - eth none.
. - -·-i -- - -·
I ;I +f,_ ~ ~ I ~ I
- .
-h -I - -· - -- I • .. ,.,.
I
-
I I
- -i'1--
~
,
r
:::: ,,
~
- ,.,
-
u
a
-
r r'---"u r
-
I -- 1 t:
t
c.....= -
r I
r r r
- -
r
-
0
a
h ~ a c
~ ~ a~ e e
~ a
a
~ ~ ~ ~ ah a
I
•• c
I
c
h h ~ c a c e
c a u c a c a c d u I a
c e I c c • 1• I
a a c • a a I a a I
a a a •
15
II J.I
- - -
~
-· ,
I I
,,
I
-
~
I
.; I I I
drive me hence, This '
des-pair un-kind - ness sends.
I
If that
ri
-}i~ J - - ~- J
-,
J.I !+
-·-
I
- -·I - -
I
-
-
I
-
I
~ -
~
-.
.•. ~
~
:I.
-
,~
I I
r " ~
·~
rr rr r· u
- -- - --
r -- -- -
r
~i i I rr f: ~
r I r
r
ah
a c
~e ah ~c
a
eh
c
h c
cac a
h ~
cc a
hec ~ ~ ~ ~ ch
c
I J
a
h
c
I
I
c
I
" I a
a e
I
I e
e
e c e
e
I
cc e
a
I
e a
a
a a c
e e " I
c c
c I
I
part-ing be of - fence, It is she _ _ which then of - fends. - - - - - -
r r r- ~r r r
....
cc a
h ~ ~a~ a
e
h I ah ~
a a
~ ~ a~ ~aa ~~~~ ah
a
I
c c
c
e
c
c
a c
a a
e a a a
a
2
Now, 0 now, I needs must part, Dear, when I am from thee gone,
Parting though I absent mourn. Gone are all my joys at once.
Absence can no joy impart: I loved thee and thee alone,
Joy once fled cannot return. In whose love I joyed once.
While I live I needs must love, And although your sight I leave,
Love lives not when Hope is gone. Sight wherein my joys do lie.
Now at last Despair doth prove, Till that death do sense bereave,
Love divided loveth none. Never shall affection die.
Sad despair doth drive me hence, Sad despair doth drive me hence,
This despair unkindness sends. This despair unkindness sends.
If that parting be offence, 3 If that parting be offence,
It is she which then offends. Dear, if! do not return, lt is she which then offends.
Love and I shall die together.
For my absence never mourn,
Whom you might have joyed ever.
Part we must though now I die,
Die I do to part with you.
Him Despair doth cause to lie,
Who both liv'd and dieth true.
Sad despair doth drive me hence,
This despair unkindness sends.
If that parting be offence,
It is she which then offends.
16
VII. Dear, if you change
Voice
Dear, if __ you change, I'll ne-ver choose _ _ a gain. Sweet, if you
Guitar
G) to F~
Capo 111
b ~ h c c
b ~ h ~ a c a
~ a c
b c
~ a
c c a c
Lute e e c a e e
e
A
- - . - - -
- ..
'
-
~
tJ - I
shrink, I'll never think ___ of love. Fair, if you fail, I'll judge all
- ----- - - -
... oil I r"'"-11!!!!! -
-I --I ·-i -- -
I
-_J
I
~
I ~
rr
I
-
I I
-- -- ·- ,.,
-
c.r tr r r
~ ~
~
~·r
r r
IP-
~
~ a~ c ~ ~ a~ ~ c
p
I ab
c e
~ ch a c
h ~ ~ ~ c I
a c a a c a c a n I c c I a I
e c I a c e a I! I I c rt. n rt. I
a c p e I e e I a e
c e I I e e
more wits I'll nev er prove.
a c c c c c
a a c a e
a c e
e c e e
c
17
-" .... . - - - - - - ..
. -
"J
-
~
~
-
~
J
'
tJ I
Dear, Sweet Fair, Wise, change. shrink. nor be not weak:
~ ~ ~ - ~ iJ
' u #
- ..... ~
' I
-I -
-
··~
I ~
-Tfl -
I
-
r -
-
-
-
--
- Tfr - -
'"·
i
' ~ #f r ~ LJ r
-
., ~ ~ ~ ~ c
~ I
~ a
~ ~ ch ~ ca~ I
a~
a c
c I I
• 1. c n a c a I c a a c n c u "na
• fl. e a u c
• e e a e
• c 0 c a c I
my faith, my faith shall nev er break. nev er break.
a
a c~ a c c
a
Dear, if you change, I'll never choose again.

Sweet. if you shrink, I'll never think of love.
Fair, if you fail. I'll judge all beauty vain.
Wise, if too weak, more wits I'll never prove.
Dear, Sweet, Fair, Wise, change, shrink. nor be not weak:
And, on my faith, my faith shall never break.
Earth with her tlow'rs shall sooner heaven adorn,

Heav'n her bright stars through earth's dim globe shall move,
Fire heat shall lose, and frosts of flames be born,
Air made to shine as black as hell shall prove:
Earth. Heaven, Fire, Air, the world transform'd shall view,
Ere I prove false to faith, or strange to you.
18
VIII. Burst forth, my tears
Voice
Burst. burst forth_ my tears. _ as - sist my for - ward grief. And
Guitar
Cl) toF~
Capo Ill
(I
hh h a a
hI
a
h ~ h ~ h
a a a a
~ a c
a a ' a c a
Lute e c a
a
show what pain im - pe - rious Love pro-vokes. Kind
a
a c a a a a a
a a a a
a
a a
ten - dcr lambs, la ment Love's scant re - lief,
r r
~ d'
~ ~ (' ~d a~ ~ a a
~
a
" (I
h I
(J
a b a
c n a
a e c e a a
a
I a a
19
And pine. since pen - s1ve Care my free dom yokes. 0 pine. to
c
~ a c
ah
a
~a a a
~ ~ ~ ~
a
I h a~ a
h a
~
a a c a
a c c
a a c
a a
see me pine, 0 pine, to see me pine, my ten der flocks.
r
....
c c e a a a a
~I
b
a 6
a
a
a
a
a a
I:
6
a
a
a a
a
6
a c
a :II
Burst forth my tears, assist my forward grief.
And show what pain imperious Love provokes.
Kind tender lambs, lament Love's scant relief,
And pine, since pensive Care my freedom yokes.
0 pine, to see me pine, my tender flocks.
2
Sad pining Care, that never may have peace.
At Beauty's gate in hope of pity knocks;
But Mercy sleeps while deep Disdain increase,
And Beauty Hope in her fair bosom yokes.
0 grieve to hear my grief, my tender flocks.
3
Like to the winds my sighs have winged been;
Yet are my sighs and suits repaid with mocks:
1 plead, yet she repineth at my teen.
0 ruthless rigour harder than the rocks,
That both the shepherd kills, and his poor flocks.
20
IX. Go crystal tears
Voice
Go crys - ta! tears. like to the _ mom ing shm\··rs. And
Guitar
G) to F#
Capo Ill
J ah ~ ~ h ~ ~ h
a a a
ah ~ ~
a
h J
a
c
Lute c c
a
sweet-ly weep _ _ in - to thy la dy's breast. And as the dews re -
h Jg h a
~ a~ J ah a~ a
g 6 g
i
b a a a
!
d a a d
a d a c a c b
c c c c c c a ('
a a a c
a b a a
vive the droop ing flow'rs, So let your drops of pi - ty be ad - dress' d.
b
a a a a a
a
a a a a
c a c a
21
To quick-en up the thoughts of my de sert.

' J
Which
a
a~ a
a a
a
c a
• a a
I.
too sound whilst from her de - part. -part.
I.
g
~i
ia r
1-
-,.
I
#-
~
II ~
~
J
-E!'
i
!I
a
~ ~ a
a
a
(l
~ '
---- a
a a c
~
'
c a c a c a
c
____'] a
a a
Go crystal tears, like to the morning show'rs,

And sweetly weep into thy lady's breast,
And as the dews revive the drooping flow'rs,
So let your drops of pity be address'd,
To quicken up the thoughts of my desert.
Which sleeps too sound whilst I from her depart.
2
Haste, restless sighs. and let your burning breath
Dissolve the ice of her indurate heart,
Whose frozen rigour like forgetful Death,
Feels never any touch of my desert:
Yet sighs and tears to her I sacrifice,
Both from a spotless heart and patient eyes.
22
X. Think'st thou then by thy feigning
Vf)JCC
feign - - ing Sleep with a proud dis -
( JUll<Jl
0J to I·#
( apo 111
a~ a~ a a~ aa
~ ~ ~ a
~ o 1i
1~
a a a a c a
Ii 1i o a I a
I~
Ii a 1j
Lute ¢ c c c
a
c a
a a c a
a
I I
1'~1, j Ir J J J I
I f
<lain ing, Or
Cf
with thy
r
craf - ty
I
clos
#J
mg Thy
I~
II
w ~
J
--
•!
r
I
~ p~ 1 I
I
~ J ~ ?J ,. ~
a~
'--"
II '--'
a
~ a
e
a~
a
a~
a
a a~
a
~ a
~ ~ I
,~
n r () D D a D a I) a a I)
c e I c c c I c c
c a
a 1~·
'-'
eyes ing, To drive me from thy
JJ
~ ~ r r r
I
~
J
--
i
•!
i
1f I
~ 4 ~: -
-
i
•b
~
:~
~~ _1T= 1·
d
a 'Fi a
r;
h a
£
~ a c~
a
c
a
a
a
1i
~ a
'.~
-- = " cl a (' a
a
I
c
a I
e Ii c
a
23
sleep yields more delight, Such harm-less beau ty grac mg. :\nd
i i i u
e
~ ~ ~ a
~ a
~ a
~ a
~ a a
a ~ ~ a
a
~ a
a a
e
c a a c
a a a
while sleep feign - ed is, May not I steal a kiss, Thy qui-et arms em brae ing.
i rr ri -
i tr
c~
a
c
a
a
a
~a ~ ~a ~ a
~ ~ a a
~ a g
~ a a
~ ~ a
a
a
II
b a a b
6 e
a
c a
a a c a
a a a a
2
Think'st thou then by thy feigning 0 that my sleep dissembled.
Sleep with a proud disdaining, Were to a trance resembled.
Or with thy crafty closing Thy cruel eyes deceiving.
Thy cruel eyes reposing, Of lively sense bereaving:
To drive me from thy sight. Then should my love requite
When sleep yields more delight, Thy love's unkind despite,
Such harmless beauty gracing. While fury triumph'd boldly
And while sleep feigned is, In beauty's sweet disgrace:
May not I steal a kiss, And liv'd in sweet embrace
Thy quiet arms embracing. 3 Of her that lo:v'd so coldly.
Should then my love aspiring,
Forbidden joys desiring,
So far exceed the duty
That virtue owes to beauty?
No Love seek not thy bliss.
Beyond a simple kiss:
For such deceits are harmless,
Yet kiss a thousand fold.
For kisses may be bold.
When lovely sleep is armless.
24
XI. Come away, come sweet love.
Voice
The gold-en mom mg breaks. All the earth. all the air.
Guitar
CD to F#
Capo Ill
a~
a
a ch ('~ a
a
h ~ a
a
~ a h a~
a
a ch c~ a
a
h
c
Lute a a a e c a a e
c c
sure speaks. Teach thine then to em - brace, And sweet _ ro

Eyes were for Beau-ty's grace, View - ing. _ rue
u r
~a ~ a h ~ d~ a c~
g
a h a~ ~ §a~ c M. ~ d~a
a g
II: !
e a c a e
I
a
I
a
a
I
e
c Js ! a
a
a
-..,"
~
- - - -· - - -- - - .. ,.'.'"
-
--
~ ~ ~
l
- r - ,.
sy lips to kiss. And mix our _ _ souls 111 mu - tual bliss.
mg luyc's long pains. Pro - cur'd by _ _ _ Beau - ty's rude dis - - dain.
.. j" .J -J ~ .
-, .- - -- - -
..J
- II
-J I
--
i.. .,
.,
- I I
- --
I I I
-· I
f r -
~ ...
~
~
~ r hJ r - - -- --
~
r --
t
25
Come away, come sweet love, The golden morning breaks.

All the earth, all the air, Of love and pleasure speaks.
Teach thine arms then to embrace,
And sweet rosy lips to kiss.
And mix our souls in mutual bliss.
Eyes where made for Beauty's grace,
Viewing, rueing Love's long pains,
Procur'd by Beauty's rude disdain.
Come away, come sweet love, The golden morning wastes.

While the Sun from his sphere, His fiery arrows casts.
Making all the shadows fly,
Playing, staying in the groove,
To entertain the stealth of love.
Thither sweet love let us hie,
Flying, dying in desire,
Wing'd with sweet hopes and heav'nly fire.
Come away, come sweet love, Do not in vain adorn.

Beauty's grace, that should rise, like to the naked mom.
Lilies on the river's side,
And fair Cyprian flow'rs new blown,
Desire no beauties but their own.
Ornament is nurse of pride,
Pleasure, measure Love's delight,
Haste then sweet love our wished flight.
26
XII. Rest awhile you cruel cares
Voice
"~ u - -·
- -·
- -
' -
-
- •J•
.;
~
~
~
'---1
~
I
- I
Rest a - while you cru - el cares. Be not more
~ ,......, J J.
Guitar -
u ++
-I
~
-
I
-
I ~
- ---
I
-
l
---
·~
I
---
-~
r- -· u•
0) to F#
~
r·
~
r --
I -- I ~r ~r·
Capo Ill
' i r r
I ah
a
J
a
ah
a
~ e
~a ah
a
c J
a
I (/
- c c c a c a c a I c u a I
Lute
-
'C c I c I c
c
I
I
I a
c
a
c a a I
I
I
" u
,,, ~
I
- I I
~ -
.; I I '
se - vere than love. Beau-ty kills and beauty spares.
~
j\ .. J
-, - ·-- :.- -·-
++ I
- -- -r""""1- -ri-
~ I I I I I
-~ I
- r-
-
'
~
- - -- - ='
r r r r-
rJ•
r
rJ •
T r
r i r·
ch
a
a
a
~ a ~ e e c e
h e e
1.
e
h a
a
~ a
e
I
I
c
n c I e e e e I e c I e I
c e I c c (' I c I c e I (' I
I I
And sweet smiles sad sighs re move: Lau - ra, fair queen of
r r i r
(I\•
(I
~ ~ c
a~ ~a ah h a~ a~ h
(J
a a
k
a a
d a a
d
" (' c (I c 0 Ii
(1 ('
a II a a
27
"
I
eJ I I I
my de light, Come grant me love in love's de spite.
j\ ~ I J J .J r-"1 J I I I I ~
,, r uur r r• r r y· ..
~r
r I
~
-,;
J
a
ch
a
dh
a
d~ ~ ~a ch
a a a
J
a a
~ a
h ~ a
b ~
a a a
c" 'a I T I " 0 D a I
a I c a I I D n I
a c a rl c c
a a a
fail to _ hon-our thee, Let this hea - ven
r r
c
a a
a I. c
a
a a a
a a
-
A
r
I
"
-
"
I I
-·
-
'.
. ,.
'.
eJ I I I
ly light I see, Be as dark as hell to me.
..J i1 -J J ..J ~ J ~
--
I I I ~ I
\ ~
;: rJ
~·
-
-
-
I
-- - ~
- ...
r· uu r r·
~.
~ ...
I-
r D LJ i
-
r -- r
i
dh ~ ch J d~ ~ ~ ch ah ~ ah ~ ah I
a
0
'
a
u
a
d
I
I
a I a
I
b
a "
u
c
a
r1
a
a
a
n
c
a
a
a
n
a c
I
I
()
a
a c
I e
I
I
a
c
a
c ...,..
..
,
•
28
Rest awhile you cruel cares,

Be not more severe than love.
Beauty kills and beauty spares,
And sweet smiles sad sighs remove:
Laura, fair queen of my delight,
Come grant me love in love's despite,
And if I ever fail to honour thee,
Let this heavenly light I see,
Be as dark as hell to me.
If I speak, my words want weight,

Am I mute, my heart doth break.
If 1 sigh, she fears deceit,
Sorrow then for me must speak:
Cruel, unkind, with favour view
The wound that first was made by you,
And if my torments feigned be,
Never hour of pleasing rest,

Shall revive my dying ghost.
Till my soul hath repossess'd
The sweet hope which love hath lost:
Laura redeem the soul that dies,
By fury of thy murdering eyes:
And if it prove unkind to thee,
XIII. Sleep, wayward thoughts ...
30
XIII. Sleep, wayward thoughts
love dis eas'd. Touch not, proud hands, lest
r r
ah
a
a~ ~ ~ a
a
~a
a ah ah
a a
a
a
a
a
J ah
a a
c c c
e c
c a a
a e a a
an - ger move, But pine you with my long in gs long dis pleas'd.
r r r
al a
ha ~ ~ah
e a
h ah
a
a~ ~ ~ a
a
~aa a
c c c c c
a a a a
a a e a a
a
31
" .. ... - - -- -
I
.- I
t)
. - I I
-·
1 1
I
-
I
-- "
"
I
Thus, while she sleeps, I sor - row for her sake: So sleeps my
~j _h,, I
. .. *- ... -·~ I I I
-
J J.
-
--- -·- .
I I
-h
, i i r t ~
-
-
r
--
I
r-
-
I
" -
~
r
r~
I
r I r
i
• c
~ ~a~ a c
a
c
ab
c
f~ eh
c a I
ch
c
~ n. ,, ch
c
I
e
h a
a
~ a
••• 1 •
• (l a a I a (J e c
I c e !! e I c
a a a I a a e I I c e I
• I I c I I
--" . - ......
1 I
.i
-
-
I
-~·
1
-
I
- - -
love. and yet my love doth wake.
j
- - *- -· -~ J J
- --I'\ -
Ir-, r-1 I -
- --·- --- - --- ......,.
~ I I I•
-- -- --
I I
j\
-
- ---·
r~
~
-- - ..
r r
r r -
u u - ~
I
I
~
~ i i i -
r r
e
~ a~ ch e
a
c a
a
a~
c a c e
a
a
a~
a e
ah
a
I
1•
a
c e
b c 0 c I
I
a
a
a c
a
a
c
I
I
I e
a c
e
a
I
I
c
a
c
..
• 1•
• 1•
1•
2
Sleep. wayward thoughts. and rest you with my love: But. 0 the fury of my restless fear'
Let not my love be with my love diseas'd. The hidden anguish of my flesh desires!
Touch not. proud hands. lest you her anger move. The glories and the beauties that appear.
But pine you with my longings long displeas'd. Between her brows, near Cupid's closed fires,
Thus, while she sleeps. I sorrow for her sake: Thus while she sleeps. moves sighing for her sake:
So sleeps my love. and yet my love doth wake. So sleeps my love, and yet my love doth wake.
3
My love doth rage. and yet my love doth rest:
Fear in my love, and yet my love secure:
Peace in my love, and yet my love oppress'd:
Impatient. yet of perfect temperature.
Sleep. dainty love. while I sigh for thy sake:
So sleeps my love. and yet my love doth wake.
32
XIV. All ye, whom Love or Fortune
-
II
- ~ -
- --
I I
- - --
r
- -
~
Voice
.., - All
I
ye, whom Love __ or For - tune hath
I
be - tray'd;
I
All ye, that
j\ .. ·-
- I
.- . I I I
--~---·I I
Guitar
G) to F# -,, -. -- , - #f"-· -
-
I
-
''
-· --
- ,_
-
-- M-
Capo III
1 r r r #r r u
-I
- I L......I I r
I h b ~ ab ~ h ~ a
~
a
~ a h a~ c
_.__ aa a c u e I
Lute
··- ~
D
c
(l
n
c
("
I
I
n
a D
c
u a
c a
a
c
e
a
c
a
a n n r I
--" -· --
""'-'-
- . -· - --
.. -
~
~ - ~
.., v
r
- - - - I
dream of bliss but live _ _ In grief All ye, whose hopes are ev - er - more de - lay'd;
.. I I I I I I I I ~ - - -- -- - I I
, t r r·-
~
- -· ·- - D
- M-
-· - ,- - - -- --=tt--=-· -
- - -
- ·- -
if[ i:tr
-
M- -
~ r r --
u
I
r r r
u
h D
~ a
I
a
b ~ h ~ ~ a
~ ~ ~ ~ a a
ha~
u D a a n c e / I / e c e u D a u a I
c e e c D I c c 0 c e I
c a a c c e c a
a a c a
All ye, whose sighs, whose sighs. or sick - ness wants re - lief;
r
a a
a a a a a a
a a a
a a
33
hap less man.
- --
Ur F
a
~c a
~d a~ ~ ~ ~ a~ ~
a c
~ a a
~ a
~ a
a
a a a a a
c e a
c a a
c a a
a
That sings my sor rows, that sings my sor rows like the_
r r r r r
a a a a a a
a a a
c c c
a a a a
e
l. 12.
All ye, whom Love or Fortune hath betray'd:
All ye, that dream of bliss but live in grief:
All ye, whose hopes are evermore delay'd:
ing swan. swan.
All ye, whose sighs or sickness wants relief:
Lend ears and tears to me. most hapless man.
That sings my sorrows like the dying swan.
2
Care that consumes the heart with inward pain.
Pain that presents sad care in outward view.
Both tyrant-like enforce me to complain:
d~
But still in vain: for none my plaints will rue.
Tears. sighs and ceaseless cries alone I spend:
a a My woe wants comfort. and my sorrow end.
a
34
XIVa. All ye, whom Love or Fortune
- --- -· -
II I
Voice -.; - r~
- - ~
- -
~
-- -- -
- - ~
- -
I 1
I
All ye, whom Love _ or For - tune hath be - tray'd; All ye_ that
• 1, ~ • .J\.J .J
Guitar
\
- - -
I I I I
-· I
-
I
r-
at pitch -
'i ~r r r er r -I
'
~
t
@toD u-
a
I
a
h c
b ~ b a
~ h ~ a
h n a
~ a
e
h a~ c
a a a D a a a a u a
Lute ••- n 0 c c c
....... c c c c a a
I e I a
1&~ J ~FJ J. 1.J JnJ 11 J. li1iJ I J. )J nJ IJ J

r
dream of bliss but live _ in grief; All ye, whose hopes are ev er - more de - lay'd;
a a a a a
a a c e e c e a a
e {' c
a a c c a
a a
All ye, whose sighs, whose sighs, or sick - ness wants re - lief;
a a
a a a a a a
a a a
e c
a a
e
35
&~t II: l J Ir ijr r ttr II r j

~r· 'ciD
j Ii
Lend ears and tears to me, most hap less man.
a
a a a c a a a a
• a a c a a a
e a
a c a
a a
a
That sings my sor rows, that sings my sor rows like the_
,,---..,
r r #f r r r #f r
a
~ a
~ ~
a a
~ ~
a a
h ~
a a a
c a a a a
I. 12.
All ye, whom Love or Fortunes hath betray'd;
All ye, that dream of bliss but live in grief:
All ye, whose hopes are evermore delay'd:
dy ing swan. swan.
All ye, whose sighs or sickness wants relief;
Lend ears and tears to me, most hapless man,
That sings my sorrows like the dying swan.
Care that consumes the heart with inward pain,

Pain that presents sad care in outward view,
Both tyrant-like enforce me to complain;
But still in vain: for none my plaints will rue.
a
d~
a
Tears. sighs and ceaseless cries alone 1 spend:
\1y woe wants comfort, and my sorrow end.
a
36
XV. Wilt thou, unkind, thus reave me
,,
Voice
~
-- -·
r. - -
- -
i---
-- - ~ - -- -
-
r. ~
-.! I
i.......-1 r
Wilt thou, un-kind, thus reavc me Of my heart, of my heart
-
... - -liiiiiiii r-i J - -I
Guitar
CD to F#
~ J,j ++
-
I
~
- --- - -
~
~
I
" - - -
,_.
,_11
-
-
I
- -
-
r
~
- -
Capo 111 ~ I
~ "LJ -
r
-
"/
-
~ r "/
-
t:l
-
c~ ~
c c
~ a
~ c
~ c
c~ ~
c
~ ~ a c
~ a~ a c
~ a
~
_._
Lute ··-
~
a
p
c
c
a c
n
e
a
e
c
e
a I
I
I
e
('
e
c a
c e
a
e
a
c
I
I
,, I1 I -·
'.l
- ... - •
-.,
~
---
- - - ~
-
~
- - --
- I
.... I
~ ~
- -
-
~ ~ ~ ~
and so leave me, and_ so leave

- I
me? me'! Fare - well: Fare-well, But yet or e'er I
I 1. J 112.~
~
-
J,j ++ I
r• -
~
I
-
- -I----= -ri- ~ ~
~
I
~
.. -
... ~
I .. -
"~
-~
I
~ -~ - -
~
- - p-
41!) -
-
r
I "/
r
-
~ "rP
1
f tr
- -
r -
~
r --
~
r rr
- --
r
a~ a~ ~ a~ ~ ~ c ~ ~ ~ ~ ~a~ ~
a
c a c a
a c
a
c
c
I
I
c
e • • 1. u
• c c
a
e
T
a
c
c
a
c
a a
c c
a I
c I e fl • 1•1. I
a c e • • • a c a a a a
a c c • c a
part (0 cru el) Kiss me, sweet, kiss me, sweet, sweet my jew - el. Fare- jew - el.
t J=r r
- -
Lr Li Lr r
~ ~ a
~ ~ a
~ ('
~ ~ ~ a c
~
d g a ac d e a
e
li
'
b
I a a
: 11
37
Wilt thou unkind thus reave me

Of my heart, of my heart, and so leave me?
Farewell: Farewell,
But yet or e'er I part (0 cruel)
Kiss me, sweet, sweet my jewel.
Hope by disdain grows cheerless,

Fear doth love, love doth fear, beauty peerless.
Farewell: Farewell,
If no delays can move thee,

Life shall die, death shall live still to love thee.
Farewell: Farewell,
Yet be thou mindful ever,

Heat from fire, fire from heat none can sever.
Farewell: Farewell,
True love cannot be changed,

Though delight from desert be estranged.
Farewell: Farewell,
38
XVI. Would my conceit
Voice
my con - ceit, that first en - forc'd my woe, Or else mine
a
a
Lute a e a
a
in - crease, Might my sor - rows
a
a a a
e e
so, Which now are such as no-thing_ can release:

39
- ..
. - . - -· -
I
- ...
.J
A
-
~
-
~
I
~
r
-
Whose life IS death. whose sweet each change of sour.
~ ft I ., I ... ... ~
... . - --
, - - -
,
~
·-
,r - - - - -
r r
~
I I- ~
li9 I I I ~
r
-&
h b ~ ~ h
••I • c I
I
c
a c a
c
'" I
u
c
a I
11 • c e c c a e I
• • a a e I
• c
And eke whose hell re - new - eth ev 'ry hour.
r
c a a c a c a c c
ll c
a a
a
2
Would my conceit, that first enforc'd my woe, Each hour amidst the deep hell I fry,
Or else mine eyes which still the same increase, Each hour I waste and wither while I sit:
Might be extinct, to end my sorrows so, But that sweet hour wherein I wish to die.
Which now are such as nothing can release: My hope alas may not enjoy it yet.
Whose life is death, whose sweet each change of sour. Whose hope is such, bereaved of the bliss.
And eke whose hell reneweth ev'ry hour. Which unto all save me allotted is.
3
To all save me free to live or die,
To all save me remaineth hap or hope:
But all perforce I must abandon. I,
Sith Fortune still directs my hap a-slope.
Wherefore to neither hap nor hope I trust.
But to my thralls I yield. for so I must.
40
XVII. Come again
"~ u - .
Voice
.-v
-.I
-
C ome a - gain:
~
:
Sweet love
,......,
doth
I
now
r
~
I
in - vite.
. u #
- .. -:::I ,,I
--- . r-i I - I
- I
- - --
I I I
-
I
- -
Guitar
@ toF#
Capo III
, "
I r
-
I
r
-
-
•
-ij:
-
--
r
al
a
a
a I
h a~ a e c e
ah
a I
~ r e c e
h J
a
.....
Lute
··-
~
c
c
c
c
c
c c
a
c
e
I a
c
c
a
I
I
--
,. u
~
I)
: -- -- - I
;
-
I
,. : -
I
I
-
- -· -' ,~
Thy grac - es that re - frain, To do me due de-light,
- - -.
j u It nj
- - -· -
J I
-~ --I . I I
-
I. :J ~ ii I
- - --
, "
I =
-
rr r r r •
- -
- I
r r
r· ~r
- -
'r r i
h a~ a
c~e~ c~ ~ ah ~c e a
a
e
h h h h e
a
a
~ a
~ c
~ e
h h
c fl I I r e c e I
c e e c I e I
c c c
a a c e a a e c
a a
,. u
. .... ' - ..
.. - -
~
-.I
. -
~
-
~ ~
I
~
I
~
To see, to hear, to touch, to kiss, to die,
u It . I ~ I ~ I ~ .. J l'i ,J j J
. I
- -
u-r
~ ~ ~
" -- = - -r - - - :. ,_
~
f
-
r ~ r ~
"! Dr --
'
"! "! "!
~ r
h ~ ~ h ~ ~ ah ~a~ ~ c~ e~
....•
11 •
a
I
c
a
a
c
a
a
I
e
e
c
e I
c
c I
ch
a
0
a
D
eh
a
c
a
c
ch
c
a
I
I I'
c e e I
I a a c
41
" -.. -
I
.. - ....
- - - -
~
~
&
-
I)
~ ~ ~
,.. - - -· -~
- -
With thee a - gain In sweet-est sym - - pa - - thy.
.. +t I r--1 I r--1 .
--"
""'! ~
. '
- r,I
, -&
..
~ - . f
- -
u
&
LJ
-
i r
-
- •
- -
--
. '"
.,.
'"
i r
a~ ~ ~ h ~ ~ J
'.••
a a
a e c e a c a a
c c
I u c rt a
c n
rt c
. ·I
a c a c e c
e e a •
4
Come again: All the night
Sweet love doth now invite, My sleeps are full of dreams,
Thy graces that refrain, My eyes are full of streams.
To do me due delight. My heart takes no delight.
To see. to hear. to touch, to kiss, to die, To see the fruits and joys that some do find.
With thee again in sweetest sympathy. And mark the stonns are me assign'd
2 5
Come again Out alas,
That I may cease to mourn, My faith is ever true,
Through thy unkind disdain: Yet will she never rue,
For now left and forlorn Nor yield me any grace:
I sit, I sigh. 1 weep, I faint, I die. Her eyes of fire. her heart of flint is made,
In deadly pain and endless misery. Whom tears, nor truth may once invade.
3 6
All the day Gentle love
The sun that lends me shine, Draw forth thy wounding dart.
By frowns do cause me pine, Thou canst not piece her heart,
And feeds me with delay, For I that to approve,
Her smiles my springs. that makes my joys to grow, By sighs and tears more hot than are thy shafts.
Her frowns the Winters of my woe: Did tempt while she for triumph laughs.
XVIII. His golden locks
-- " .I.I
..... -
~ -
~
- -
- - - -
~
- -
~ ,
I
~
..
~ I I I I I I
His gold-en locks Time hath to sil - ver turn"d.
Guitar
0) toF#
-
.I.I ++,_ ....
~
-I
-
~ -- --
r r
I I
--
r
~
I
--
I
-
r-
I
-
-
-r--1- -i"1 - --
_,
-
I
-
-
I
-- -
-
-
---
~
--
- -
-- I
Capo Ill '' I I -

r r rrr -
r r
ah
a
a
a
a
a I
J
a
ah
a ah
a a
~ a
(' e
ah
a c a
~ ~ ~ a
a ac
0
h
Lute
-....
_
c
('
c
c
c
c
I c
c
c
c
c
c
c a
c
(] a
(}
(] c
c
- I a (' e
a c
I a a
I
I
0 Time too switi. 0 swift - ness nev - er ccas-ing 1 His youth 'gains! Time and Age
a
a
~a a
a
a
a a~
a
a a a a a
c
a
. .. .. ,.
- '
-.
I
" .i.I -
w
9)
-
-
~
I
-· - -
- I
-·
w
I
- - --
- - ,,_
hath ev - er spurn"d. But spurn'd in vam. youth wan - eth by in - creas-mg.
r--:; .
--- - - -~ -- .
- - - -· I ~
++,_ I ~ I I'--!!! l..
- - - -- --
\ .i.I I I I
I
,.I
- - . -
~
~-
~-
- - ,.
,_
~ I r rr r r r i r r r --
r
I
a
h ~ a
h a
h I
a~ ~~ c a a
h a~ a~ h ~a c e
ah
a
I
c
c
c e
I
a a u c
b
I
I
c
('
a
('
I
I
I
a
e I
c
c
e c c e a e c
a
I I I
a II
43
--
II ,.
-- .... . .
I I
~
~
- ~
- -
I
-
~
--
~ I
Beau - - ty. strength, youth are tlow'rs but fad - ing
' ,. ",_ ~ • i---i

·- I
--I --
·-
I I
- ~
-,I - -
I I
... - ~
- -- --nl
~
r-
~
-
r f r· ~ r ~r
f ~
J ~ h ~ h a~ h h ~
··-..... ..,,.
• a c u c c u a c a
• c
c
a
c
(l c a I a
a
c
e a
e I a a c e I
I I
seen: Du ty, Faith, Love are roots and CV er green.
r r
ch b c
~ a
b a
~ ah ~ a c~ a
a~ ~ a
a
a a
a\
a
e c a c a c
c c
c
a ac
2
His golden locks Time hath to silver turn'd. His helmet now shall make a hive for bees.
0 Time too swift, 0 swiftness never ceasing! And lover's sonnets tum to holy psalms:
His youth 'gainst Time and Age hath ever spurn'd, A man-at-arms must now serve on his knees.
But spurn' d in vain. youth waneth by increasing. And feed on prayers which are Age's alms:
Beauty, strength. youth are flow'rs but fading seen: But though from Court to cottage he depart.
Duty, Faith. Love are roots and ever green. His Saint is sure of his unspotted heart.
3
And when he saddest sits in homely cell,
He'll teach his swains this carol for a song.
Blest be the hearts that wish my Sovereign well.
Curst be the soul that think her any wrong.
Goddess. allow this aged man his right,
To be your bedesman now that was your knight.
44
XIX. Awake, sweet love, thou art return'd
-..," ::- ..-. -

-
Voice - '
~
I
I
- r,
:
A - wake. sweet Ion~. thou art re - turn'd:
Let love. which nc\· - er ab - - sent dies.
Guitar J j J.
G) toF# . -·1 ••
I~
- - -
~·
-11·
I I I
@toD
Capo Ill ~
- ""'
r
r·
•
I ! I
•J
~ r
-
J
(/
dh ch c a I u
h I a
h a I
Lute -
--c:
a
a
I a
a
I a
a
a D
"
e
I
- I
-" - -
I I I
~
..i
-
I
- - - - --·
I
Mv heart, which long in ab - sence mourn'd, Lives now
Now live for - ev - er in her eyes. Whence came
. ~ I I
-
I I I I I
-~ r-i I
•J
-- I- - _,
' r·
~ ~
r ~:
~ i r
I- LL
I
f ~ t5
('
I
a
h ('
h h a
(/ c
D a~ a a
D ~ a
a a n a a u u b
c I c I (' a I a a I
a I a I a I a e I a c e I
I a
1&9 J
111
r·
per
p J
feet JOY.
------
u J. :Ill: r
On ly
E E
her
r
self
E
hath
my first an - noy. Des - pair did make me
~
•b
If~!! ~-J I 0 ,i
I
I .
I
I
t9
!
"f
r D
I i
r·
P·· D LJ
I -~:
-
r
i
:Ill:
r r
I
t
~ ~ h ~ h ah aD a~ ch
I
a a • c a a I c a
(/
"I
(/
(1 n a
(/
a ..•
• 1•1 •
• • 1.
• e
a a c I
I
a
a
a
------------.............................._
45
She on - Iv could love, She on - Iv drave

That [ my JOYS might end: She on - ly. which.
r
h a
c a
b ~ b ~ a
~ a a b ~ a~ a
a
(' a a a
a
a
-. ~ ~
-
~ - rJ
. .. ,,,.,...
a
t) I I
I I I I
I I
me to des - pair. When she un - kind did prove.

did make me fly. My state may now a - mend.
-,
J I>
"
"
-
--
J
-i-J- ---r--i--
- - - -·
I I
- - - -·-· -
~ I
- -
~
~
-
r---
~
I
...
r r
~·
--
~
I
~ I I I
t
ch ~ c a ~ a h ~ 1.
c
"a a a I c a a a a c •
u I
I c
a n u
e I r c
D
e
•
• II
a c a I I
a
•
2
Awake. sweet love. thou art retum'd: If she esteem thee now aught worth.
My heart. which long in absence mourn"d. She will not grieve thy love henceforth.
Lives now in perfect joy. Which so despair hath prov'd.
Let love, which never absent dies, Despair hath proved now in me,
Now live forever in her eyes. That love will not unconstant be.
Whence came my first annoy. Though long in vain 1 lov'd.
Only herself hath seemed fair: l f she at last reward thy love.
She only l could love. And all thy harms repair.
She only drave me to despair. Thy happiness will sweeter prove.
When she unkind did prove. Rais'd up from deep despair.
Despair did make me wish to die; And if that now thou welcome be.
That l my joys might end: When thou with her dost meet.
She only. which did make me fly, She all this while but play·d with thee.
My state may now amend. To make thy JOYS more S\\eet.
46
XX. Con1e, heavy Sleep
- -.. .. - ...... -- ""'-

- - - -..-
"~ j,j
-
Voice
tJ I
~
- '
~
- -
~
"
Come, hea - - vy Sleep

'the im-ageof
I
true Death;
-- - - -- - - --
..
Guitar
\ .u. +I
-, .--. -
I
-
~ i--.
~ r~
I .... -I
- -I -·I -~ --I -..
r - r
CD to F# "
- ~
Capo III
- -
r I I -
LJU I r ~ r
ah ~ ~ ~
a e c a a
Ja a~ ~a~ ah ~
c a
a
e
~ b
Lute ··-
......
c
a
c c
n c (l
c
a
c D
(l c
a
n
a c e
D c
e
e
c
a
these_ my wea ry weeping eyes: Whose spring of tears doth stop my
r r
ah ~
a
~ ~ a
a c e~
a
c
e c
QM.
a e
~~a
c
~ b ~~
c a
~~h ~
c c
c e e
a c e a c e
a a c c
a
tal breath, And tears my heart with Sor row's sigh - swoll 'n cries:
r r
a
h a~
a
h a~ a
~ ~a e
J
a
c c
c
a e
a
47
Come and pos-sess my tir - mg
r· r'-'Lrt~
--
~ ~ ~ ~ ~ b ~ a
~ a~
a
a ~ ~ a
c
a
dies. that liv - ing dies. till thou _ _ _ _ _ _ __ on me be stole.
r
c~ a
a
a~
a
a~
a
a a~ e a
a
e a
a
Come. heavy Sleep the image of true Death:

And close up these my weary weeping eyes:
Whose spring of tears doth stop my vital breath,
And tears my heart with Sorrow's sigh-swoll"n cries:
Come and possess my tired thoughts. worn soul,
That living dies, till thou on me be stole.
2
Come. shadow of my end, and shape of rest.
Allied to Death, child to his black-fac'd Night:
Come thou and chann these rebels in my breast,
Whose \\ aking fancies do my mind affright.
0 come sweet Sleep: come or I die forever:
Come ere mv last sleep comes. or come never.
48
XXL Away with these self-loving lads
Voice
/\
L:J CJ IE
way with these self - lov -
d
ing lads, Whom Cu
! CJ
pid's ar - row
I
Guitar
G)toF#
Capo Ill r J51 I ~
u rr r -- -
B~ B r rJ
~ (I~ a~ ~ ~ a a~ ~ a a~ a~ a
a c a e a
"a a
ac
(I
a c a c I
Lute "" a
c
a
e
c a c e
o c
a
a I a e
/\ - way poor souls, that sigh and weep, In love of them that lie and sleep.
--
r ~
~ a
ah
a
h ~ ~ a
~ c~ ~ ~a c~ a
a e
~ ~ a~ ~ c a a e
a
a e a a e
h
a d c " a c a a
c b " a c e c e e
c a c
a a
J. j J
For Cu - [1ld
CJ a
12 ti [j
mea - dow God, And
ti tJ
fore - eth none to kiss the rod.
=II
J,rJ
IS
r1
~· ~
h ~ ~ ~ ~ :~
f]
u I!~
~ d c~
B
c~ a~ ~ a a~
I{
r
~1
{Tj#; --
r
ah
:II -
--
a
:
a a I e a
~
a
~
(I a a c
a
o a
:II -
c
a (1
a c e -
c a c
"
a a I a
49
I
Away with these self-loving lads,
Whom Cupid's arrow never glads.
Away poor souls, that sigh and weep.
In love of them that lie and sleep.
For Cupid is a meadow God,
And forceth none to kiss the rod.
2
God Cupid's shaft, like destiny,
Doth either good or ill decree:
Desert is born out of his bow,
Reward upon his foot doth go.
What fools are they that have not known
That Love likes no laws but his own?
3
My songs they be ofCythia's praise,
I wear her rings on holidays,
On every tree I write her name,
And every day I read the same:
Where Honour, Cupid's rival is,
There miracles are seen of his.
4
If Cythia crave her ring of me,
I blot her name out of the tree.
If doubt do darken things held dear,
Then well fare nothing once a year:
For many run, but one must win,
Fools only hedge the cuckoo in.
5
The worth that worthiness should move
Is love, which is the bow of Love;
And love as well the for'ster can
As can the mighty nobleman:
Sweet saint, 'tis true you worthy be,
Yet without love naught worth to me.
50
My Lord Chamberlain his Galliard

(For two to play upon one Lute)
Player 2
Q) to F#
(Capo ill)
- -
r r r -
r r
r- r- r, -r
- -
r r
The Second Book
Transcriptions based on the original edition of 1600
THE
SECOND BOOKE
of Songs or Ayres,
of 1.4.and ;.parts:
\IVich Tableture for the Lute or
Orpherian, ,vich the Viall
de Cjamba.
Compofed by JOHN DOVYL.A ND Barcheler
of Mulick,and Lutenill: to the King of Den-
mark: Alto an excc:lc:nt lc:ifon for the Luce
and Bafe Viol, cal!cd
Dow/ands 11dew.
Publi{hed by George Eafl:land,and are
tu be ( ould at Im houfc nee re the grccnc Dugon
and SworJ,in I'lcctftrcctc.
54
I. I saw my Lady weep
To the most famous, Anthony Ho/borne
" - -- -
-- ....
Voice
tJ -
~
I saw
~
I
my_
,_
. J JI IF=;
•\ I
-I I
--- - - - I 1- I
- I I
-
I I
- I
....
,I .-
r• rJ
Guitar
-r - r- --
r• -
at pitch
I
rJ
I
~
I r-
H
"
·~
~
-
I
r· ~#~
I h ~ c c h c ~ a ~ ah c
~ ~ ~ c
h ~ c
h
,.,c c a n. c c a
··- u c a a I c c u u c
~
Lute e e c a e e a ,, a e a e
I e e e e
I c c D
dy weep, And sor row proud to be_
a a
c a a a a c a
e e a a
e a
c
ed so: In those fair eyes, in those fair
u r·
a
a a
h ~ a
a
c
~ ~ a a
h ~ a
hc c a e
a c a a c
c a c c
a a a a a
a a e
II ~ I
55
I
~
eJ I
' I r I
eyes where all per- fee tions keep, Her face was full of woe.
I I I I I I I I I ~ I I
, r· ~ ~r· ~ ~ If· r ,r "F r·

~ D
c c
~ a
h a
~ h a
~ ~ a
h h n
b a
~ h ~
a a a e c e a a
e a 0 0
e c a e c I
n c I
" I I
- ..
-
~
·" -·-_.:;--- "

- - ~
-
I
~
r
- - I
, ~
I
,_
~
eJ
full of woe, But such a woe (believe me) as wins ' hearts.
more
~ ~ ~
-' -- -- - ---
~ I I I I
-
I I
- --
"f I
-
I
- ....
r r
-
- - r1
,,_ " ·- --
+tru i-
~ ~
11-
-
~
-~
r r r
JI - --
I I I
~
" tt- r
h ~ I
c
h a c
~ a a c
h ~ a
c a c c c e a c
I a e I 0 c c 0 I a e e a
a e a e e e c 0 c e e I
e e c I
Than Mirth can do with her, with her en - tic mg parts.
a
a a
a 11
a
a a
56
1
I saw my Lady weep,
And sorrow proud to be advanced so:
In those fair eyes where all perfections keep,
Her face was full of woe,
But such a woe (believe me) as wins more hearts,
Than Mirth can do with her enticing parts.
2
Sorrow was there made fair,
And passion wise, tears a delightful thing,
Silence beyond all speech a wisdom rare,
She made her sighs to sing,
And all things with so sweet a sadness move,
As made my heart at once both grieve and love.
3
0 fairer than aught else,
The world can show, leave off in time to grieve,
Enough, enough, your joyful looks excels,
Tears kills the heart believe.
0 strive not to be excellent in woe,
Which only breeds your beauty's overthrow.
II. Flow my tears ...
58
II. Flow my tears

Laclirimac
Voic1.:
'-'
fall _ _ from your spnngs. Ex - il'd for e\' - er let me mourn: Where
you no more. No nights are dark e - nough for those That
Guitar
at pitch
@toD -r
~·
b ~ ~~
a a
~ a~ c a c
~ a
h
a a c
a a
Lute a a
let me live for lorn.

doth but shame dis
a c a a a a
a a c a e c e
a a
e a
Nev er may my woes ___ be _ re liev ed. Since pi - ty is fled.

From the high-est spire ___ of_ con tent ment. My for - tune is thrown.
o'
I a
. (
a
a
a a
• (1 (J
("
a
a a
59
And tears, and sighs, and groans my wea - ry days, my wea ry days
And fear, and grie[ and pain for my de - serts, for my dc-serts
J
"f -
~ L.:r
c
~ c
~ ~a~ a
~ ~ a~c~ ~ ~
a a a a
a c
a a c
a a
a a
Of all joys have de _ priv ed. Hark you sha - dows that in dark ness
Are my hopes since hope_ is gone.
,-...
t ~ r
~~ ~ c a c
~ ~ a c a
~ ~ ~ h c
h. ~ h ~ h.
a
~
a c a
e e • e
e e
c c
IA I
- - - -
I
. -·
9)
dwell,
r
Learn -
-
to contemn light.
- ~
Hap -
~
r
py, hap -
.
r--=; I
- -· .. '] h))
- --I
- - --
-
~ I
- ~
-
I ..J ., ~
- I
-
-
I .,
-~
, ,_
i::
-,, w-
~ 'I I 1·
~ r ,, I
r I
~ ~ ~ ~ a~
c e a c a c
h. ~ h a~ h a
~ c
a
e c c e
c c
I
! a c (] "a
e e (l
e <' r e e a
c e e
60
,, u PY
F
they
r
that
J lnJ
m
r R J 1c<&n
Hell Feel
....._.....,w
not the world's de
~
II
spite.
:II
r·
~' r r r
h ~ ~ a
h ~ a
a
h ~a ~ ~ ~ h
a c a e c c
(" a e e
a e
a e ("
c
Flow my tears fall from your springs.

Exil'd forever: let me mourn
Where night's black bird her sad infamy sings.
There let me live forlorn.
2
Down vain lights shine you no more.
No nights are dark enough for those
That in despair their last fortunes deplore,
Light doth but shame disclose.
3
Never may my woes be relieved,
Since pity is fled,
And tears, and sighs. and groans my weary days
Of all joys have deprived.
4
From the highest spire of contentment,
My fortune is thrown,
And fear. and grief, and pain for my deserts
Are my hopes since hope is gone.
5
Hark you shadows that in darkness dwell.
Learn to contemn light,
Happy. happy they that in Hell
Feel not the world's despite.
r
"
III. Sorrow, stay ...

62
III. Sorrow, stay
Voice
Sor - row, sor row, stay. lend true re - pen - tant
Guitar
CD to F#
Capo III
~
J
a
Cb ~ a
b a~ ~ ~~ ~~
! e
a ah a~
Ii
~ a 0
(' e a
3 a a
n
a
1i
Lute ¢ c c
('
c ('
I a
To a woe - ful, woe ful wretch - ed wight,
r ~ r r r ~Ur
h ~ a a
h ~ ~ ~ ~ ~ ~
a a
~ a
h a a
b ~ ~ ~~ a
a a e c e a a a
a a c
e e {' a
a a a
e
hence des - pair with thy tor - ment - ing fears: do not,
r ~ r
h a~ ~ ~ a
~ ~ a
R ~ a
d
a
~a a~
a a
a c a c e
a c a c
a a
63
la ~ ~
0 do_ not my heart, _ _ _ poor heart affright Pi - ,,.. pi-ty, pi - ty,
LJ ~:~
a
d ~d a ~ a
a
~a a ala ~ ~
a
c c "c
a c a a II a
a a
Pi - ty, pi-ty pi - ty, help now or nev - er, Mark me not to end
a a d
c a a a a a a
e a a
e a
a a a
pain. mark me not to end - pain, A - las I am cnn-demn'd.
Ur r
(1
~ ~ ~ a
h a
~ a
h d~ ch ~ ~
a a
~ (/ " ([ a
a a a ) a
a a
(!
a
a ,,
"
64
A- las I am con demn'd, 1 am con-demn-ed e\ - er, No hope. no help there doth re -
a
a a c a c a a a a a a a a a
a a a a a a
c c
a a
a a a a a a
main, But down, down, down, down_ I fall, but down, down. down, down_ I fall, down and a - rise,
a d a
a a a a a a a a
a a a a a
c a c a
a c a c
a a a
down and a - rise - - - - - - - - nev er shall, But down. down, down, down _
a a
c
a
d ~ ah a ~
a
d a
a b a
a c b
b a
a a a
a a
65
down. down, down _ I fall, down and a - rise, down and a - rise _____
d a d c a
a a a a a a a
a a a a a a
a c
c a c a
a a
t~
-
2' 'e· It j'
p J. :J J II
nev er shall.
d a
a a a a e a
a
a
a a a
Sorrow. stay, lend true repentant tears,

To a woeful wretched wight,
Hence. Despair with thy tormenting fears:
0 do not my poor heart affright.
Pity, help now or never,
Mark me not to endless pain,
Alas I am condemned ever,
No hope. no help there doth remain,
But down, down, down, down I fall,
And arise I never shall.
66
IV. Die not before thy day
Voice
- -- I I
- -- --
Die not be fore thy day, poor, poor man con-demn-ed,
o a a I a a I a T I
a n h 11_ a o r1_ a ,, c r I
Lute ··- c
c c c c e n c c c n c
a a c a a Tl I
a a a 1 I I a I
..._,,
but lift thy low looks from the hum ble earth, Kiss
.,
~
dh
a
~ c h dh c a~
a
h ~ a a
h a~
a a a a c a
c c
c
a a a a
con - temn - ed: The hag hath no de - light,_
a
c a a a a a a
a a a a
a a
67
a
a
c e
J
a a
~ a
h ~ a a
~ ~
a a c e
c a c e
a c a
0 fie ____ poor fond - ling, fie fie be will-ing, To pre - serve thy-self from kill-ing:
r-~uur
b ~ b ~ h a~ ~ h ~ a~ a e
a
a
ch a~
a
c db d~ ch a~ a a
a a
a a a a
a a c a c
a a a a
" -- -- -- -- - - - - -- r
-- -
r
-
eJ
Hope thy keep - er glad
'to
I
free
'thee, I
Bids thee go
I
and will
'not
I
see
'thee.
.J -J
- --- --- - -
I t.. J f.. •'
I.I
-
I I
- - - I
-
I
''
-
I I
~
- - -
~- ~
- -
Dr r r
~
r -
~
~ I I i r"' I
~
I I I I I I I
~ d ('
a
a
a n
c a
a
rt I 0 a I I
- n a a n a a n a
-""' c c e a " a e c a
I
- I " (l c I
I
a rt (' a
I I I
68
-" --· - - - ...

- - -
I
-1
v~
~ ~ ~
--·
I
'th\'
-
~
I
-· - - ~
~.
,.
Hie thee quick-ly from \\Tong.. Sn she ends her will - ing song.
-- - - I j
-~ --~ -
j\ .. I
, L: r !- - -
~
- I
-
I
-
- - ~·
'.
,.
- -
~ r Tt- --
r
--
~
lam
-
rJ r·
-
~r
-
[ r r r f5- - -==
.,-.
a (' I a
a~ c~ a
e a () a a
b II
h a a D a I c (' II
(I (' t> I c a I c II
(' a c a c a a (' a c •
(J a a (' u u a e a •
Die not before thy day. poor man condemned.

But lift thy low looks from the humble em1h.
Kiss not Despair and see sweet Hope condemned:
The hag hath no delight. but moan for mirth.
0 fie poor fondling fie be willing.
To preserve thyself from killing:

Hope thy keeper glad to free thee.
Bids thee go and will not see thee.
Hie thee quickly from thy wrong.
So ends her willing song.
V. Mourn, day is with darkness fled ...
70
V. Mourn, day is with darkness fled
Voice " I
..... I
-
I I I
..,
Mourn,
~
mourn,
- "
day is
-
with dark - ness
-
- "
"
fled, What heav'n

~
I
then gov - ems
~ ,,.
earth,
~ I .,j J J
I
... -J. ---~I- r--i
-. .
\~ ~
-- -
I
Guitar ~
" - - ~.
CD to F# "
-- - ~
-
r--r
""
r rf
"
Capo Ill
4J i>-
I>
r ~·
l: -
r #j -·
IP-.
h 1. Cb a~ h ela ch J ch J ~c I.
e
,_ a a a a c a c
-
e I c e I e
Lute .,... e
c -
a
c
r
c
c
a
c
e
e
e
t
c
c
c
c
e e
e
e
a c a c e c
(J. =J)
" I I I
..,
\ ~
0
I""'""°!
none, but
I
- I
hell
n J-.. ..J .l h,J

in heav-en's stead,
J.
I
I I
I
Chokes with his mists our
~ I I
mirth.
I I
.
41
t ~i r· ~Df ••
•• I I rf r -r*r i
a
~ c a
ah a
~a c e f dia J
c a
h ~a ah a
b~ a
h I.
a
c c e
CL
a
e
e
e
I e r a
a
c
r n
e
a
c
.....
a c I
a a
mourn, look now for no more day Nor night, but that from hell,
f
h I. ch
a
c
c
c
a a
ch c~ ~ ~
a c a c
h eb ~ ~
c c
J
c
a e a a e e
e c e
c c c a c c a e
a c e c c
71
(d. = J)
_,
Then all must as they may In _ dark ness learn to dwell. But yet this change. must _
a
a
1.
a c a a
a~
a a
a a a c a
a
a a c
_ needs change our de - light, That thus the sun. that thus the sun the sun should _
r__· --=! U'"'bl.T ' r
a
a
a a
a~
a c a a
a
c c a c c e
-- •
I\ !:'.
....,.,.'"
tJ
~
- CJ Mourn, mourn. day is with darkness fled.

har - bour with the night. What heav'n then governs earth.
0 none. but hell in heaven's stead.
- ..
\ J.i
~
-
I I
-
---,
- ,,_
- - - -
-
i----
,,
~
I
.. ,.'"'"
Chokes with his mists our mirth.
Mourn, mourn. look now for no more day
Nor night, but that from hell •
~ r- I I
r r
-- Then all must as they may
In darkness learn to dwell.
But yet this change. must needs change our delight.
That thus the sun should harbour with the night.
~ u c a
~ a
I
•
e a e a • 11
a c e • 11
c •
c •
72
VI. Time's eldest son, Old Age
(The first part)
Voice ~ - -.. -- -- -- -
II ..
- -- -· - -- .- ~
--
.., I I I I
-
Age the
I
heir
r
of
I
Ease, Strength's foe. Love"s woe,
I I
Time's eld-est son. Old
* ~ I
--
I I
,,I I
- - - -- --
I I I I I I
- .-·
j\ ..
Guitar
-.. r- --
rJ
- -- -- -
r-
~
-
r-
~
Q) to F#
Capo Ill
'
I
D It ~ r· Liflr r r --
rr I
ala a
a a
h~ a
h~ c a
h a
I )
a
h a a
I
Lute
··- c
c
c
c
c
c u I
I
I
a
c
e
c
c a
c c
e
a
c
a
D
c
c
a
I c
c
n
c
e
a
n
c
c
I
-..," .. .- - - - - -
I I
.- I
- I I I
- .. -·
~
I
I
~
r
rJ
- - -· ' - -
- ~
I
rJ
and fos - ter to De - vo - ti on. Bids gal-lant youths in mar - ti al prow-ess please,
\ .. * I I I
- -· ,,.r --
~
- - - -
I I I I
.--
rJ
~-
- -
-- --
--
ur
- rJ
rJ ~- " ~ ~
r r
"'J rJ rJ ~ ~
' r rr
-
If ~
r r ~ r r
alc h c c
~a I
a
h ~ I
a a a a a a
a a c e a a a a a a
e e a e I 0 u u 0 c n
a c e e c c c c I c c
c c e a I
a
" .. . I
.- I
'
.., I I
~
he _ _ _
rJ
I I
- - - --
As for him - self, hath no earth - ly mo - tion,
* . I - I I
- - --I - ·-n - --
I I I
j\ ..
-. I
- -
rJ
I
--- - rJ
-- - rJ
'1r -
~
" ,. , ~
~
'
~
r r r r -
r
-
r ~
r I I" !:2:
r;-
c c
h ~ I h ~ a ala
c a c e e
( c n a c c a a c a a c
c a
"" e e
c
a c
c I
c
e c
c II
('
e a
73
,. ....
.. .. -
~
r~
- ~ - - -·
~
-
~
r -
t) I I I I
I ,.. I
But thinks, sighs, tears, __ vows, pray - ers, and sa - cri - fie - es, As
ii ,...,
. .... 4f
"
I
--
I I
-
--
~
I I I I
- - --
-
I I ~ I I
~
r ~
-
i #f t ~r 1'-'W I I j "I
r r
• c
I h h J
c c e c
b ~ah ab
c a
a~
a
h c c
~a I h ~ c e
•• •
• c
rl a
e
c c c a c
c
c
c
a
e I
c
e u
e
e l
a
e
• • a e e a e c a e e e
• c c c
,. .... ~
t) I
good as shows,
I
masks,
I
jousts,
I I
or tilt
-
de vis - es.
Ji,~ I ~ I I ~ I J I ., ~ I I
I
r r r r i r I r I r ra:
l'!T
ah ~ a a h a c a ~ J
. i.•
a e a a a r e a
c c a c
e I C u c e c • 11
e
e e c c
a ,.
• II
Time's eldest son, Old Age the heir of Ease,

Strength's foe, Love's woe, and foster to Devotion,
Bids gallant youth in martial prowess please,
As for himself, he hath no earthly motion,
But thinks, sighs, tears, vows, prayers, and sacrifices,
As good as shows, masks, jousts, or tilt devises.
Editor's note: This song and the following two are treated as a through-composed sequence. They form a single whole.
74
VII. Then sit thee down

(The second part)
"'
~
J.I - - - -· -- . - -· -
•' ~
Voice
.., -~ r
Then sit
- - ~
thee_
"
down,
&
-
and
-
say
-
thy Nunc Di -
-
mi1-1is.
- r
•With
. J.I
·---
+f
- -I I I ~ r-T
--- J-
I I _, ~ I
-r--, - I r I
--
I I
,
Guitar ~
r~
-- -
'~
-
G)to F# -
Capo III
--
r r - -
"!
PU r;i- "!
~uur
-
-
r r
J
a a a
~ a c e
a c
a
e
c e
)
a a
~c e
a
-'- c c c a u c a
Lute ··- ~
a
c c 0
e
I
c c a a c I c
a e c a I
It. J.I I I I I I
'
.., '"'.'~
De __ pro-fim - dis, Cre - do.
I
I
and
r
Te De- um, Chant -
M i-se-re re for
J.I "
J I r-i ~ J ~ I ~- ~ r---, I I ~ I I
~.
r.
~
r ~ tfU r r f 1
r r--
~ f' r
~ r r
c~ ~ a Cb ~ ab ~ a~
a n y c r a I
a c a u c I
a "' I c I
I
- --
"'J.I
- ' I
. - -
..,
·'"
~
I
-- - -· &
- -
I
-
~
r
- - -- - - -
what now so fit is, As that, or this, Pa-ra- tum es! cor me - um.
. - *·-_,
-
I ~ ~ .. - ~
- --
I I
,
J.I I
-- -
r
- -
- - ~
r r r· ~ IE! f ~=-
r r
--
r
I
u r -
r r
~ b ~ ~ ~a I
,; a a (' a a a II
ct c a
,. c c
u
c n I
c
c
u c a
c
a u c
c II
c c a a c e c c II
e a e c a a II
75
II IO
- . . I I
-
9.) .. - -
- I
I r
~
~
0 that thy Saint would take in worth thy heart. Thou_
- - - .. - - ·-·--J - • - - --~ -J ~ l""'"1

IO !+ I I ., ~ ~ I ., ~ I ~ .,
" r•
r• - - - -
'
-
-
411
t ~r r r ~r
r (J i - - I T'I ~ r ~r r
-
• c
b ~ a
~ c
a
~ c a I ('
~ ~ c a
~
c
~ e~I r
c
c a
a
• " a I c c
"e e c
• c a e e ()
••1 a
a e c
a e a
c
e e
c I
c
c
a
e
- l':'I
--
II IO I
I I
~
canst not please her with a bet T ter
--------- part.
,
\ IO +I I ~ ~
- ~
"" -
i r r r r FD r ~
r
~ ~ ~ ~ ~
•
a " a
I a
a ,, a a a a • 1•
n n •
c c •
a a a •
2
Then sit thee down, and say thy Nunc Dimittis,
With De profiindis, Credo. and Te Deum,
Chant Miserere for what now so fit is,
As that, or this, Paratum est cor meum,
0 that thy Saint would take in worth thy heart.
Thou canst not please her with a better part.
76
VIII. When others sing Venite

( T/1c third part!
" -~ . . ' ..
Voice ~
.., .. .. . ., •i·e
-
- - ~
I
- -
When oth - ers sing - ni - - IC e.r - 11/ - IC 1111/S, Stand
j J
Guitar
- -. ---
j\ ~ +f
-J
-- - -
I I
-·I ·-·-~ --r-1 -·-I ~
-
~
-
~
- ---
I
"
- -
~ •J
~
(Dto F# ~ ,,
r r
~ rJ
Capo III
' I i I r ~
-=-
u
- --
i i i
--
r
I
"I
a
ch
a
a
a e
b ~ a
a a c e
ah ~
a c e
J
a I
f
c
Lute
··-
~
~
(' f)
c
c
I
e
c a
c
e c a
a
c
a
('
e
a c
n c
a
I
e
by and tum to No Ii ae mu-la- ri. For Qua-re /i"e-mu - e - run! use 0 re 1111/S
i
eh c bb ~ a
e
a c J a a a a
h a
e
~c e
a a a a c
c
a a c
a
\'GI E Ii - za Vi vat E Ii - ::.a for an A - 1·e _ Ma-ri,
t i
~ a '~ a ~a h a~ a ch ~a h ab ~ a ~a J
a
(l a
a
n
I c I
I ac
a
(l a
a c e
n
a a a
c II
II
I
I a a a
77
- - . . .- -
,....-.....
II l.I
-
I
-
I
. I
- ,,
-- -
~
-
-
~
I I
tJ I I
And teach those swains that live a - bout thy cell, To say A -
r--
- - - ..... - - - --- - --- --- - ----- --- -- r-
- i"i
I I
- It..
l.I ++ }. I
-i r·--
I I I I I I
' ~
- -- -
, "
-
i
-
r tJ r t.r r r r r r ~
- - -
~
~
•
a
c
ah ~
a a
h ~ a c
~ ah
a c
~ ah
a e a
~ h a
b ~
• • u a I a " c
" c a a c
• c e u c
•I • a
e c a
c a
e c a
a
a
c c e c
II l.I ..--::::: I
- I':'.
tJ -.....i I
I
men A
- I
I
men when
.. -..._....,
thou_ dost_
~
I
pray so well.
\ l.I ++ I I r--. I I ~ I ~
j) J I .. ~ I
I':'.
r r r uru
,,
r r r r r r r
..::.. I
i I
'
h ~ h a ~ h ~ h ~ e c a
I':'.
a
a a I a c a •
a
n
c n
c
a
n
n. a a
• 11
•
a a c • 11
a a
a
a •
3
When others sing Venite exultemus,
Stand by and tum to Noli aemulari,
For Quareji"emuerunt use Oremus
Viva/ Eliza for an Ave Mari,
And teach those swains that live about thy cell,
To say Amen when thou dost pray so well.
78
IX. Praise blindness eyes

I
-1
Voice
blind - ness eyes. for see - ing is de - ceit. Be dumb vain tongue. words are
Guitar
G)to F#
@toD
Capo Ill
f
~ a~c~ a b ~ h a
1. ~ ~~ c a b ~ a
a a e
Lute a c e a a
a e
c
but flat - !"ring winds. Break heart and bleed for there is no re - ceipt. To purge in - con - stan-cy
r ~r
ch ~ c
a
a
J Cb c~ah b ~ h ~ ~~c a a
~c a~ ~ ~a b ~ ah
a a a a
a a c a
a a
from most men's minds. And so wak'd a - maz'd and could not move.
~ r f r r r
~
a
~ ~ I. a
h d
a
~ d Cb ~ a
h ~ a
a a
a
a a
a
79
-..," .
~
-
- -
~
-· -- - - -
- - .... ...
..
I
I know my dream was true. and yet [ love.
. -
I 1J. I , -J ' -I~- -r1- J i-- - -
I I
- I r---i ~ I
-· '.
, -
"1 ~ r -
I
-
r ti" J I
-
"1
-- -...
-- -
•
~
'~.
r
~
a
~ ~ c~ a
c a u
a~ c~ ~ c
h ~ c a
~ ~ a
I
II
..••
()
..
u T a a D T e a • 11
a c a c e c e
c c e c
a c
u a
Praise blindness eyes. for seeing is deceit.

Be dumb vain tongue. words are but tlatt'ring winds.
Break heart and bleed for there is no receipt.
To purge inconstancy from most men's minds.
2
And ifthine ears false heralds to thy heart.
Convey into thy head hopes to obtain.
Then tell thy hearing thou art deaf by art.
Now IO\·e is art that wonted to be plain.
3
Now none is bald except they see his brains,
Affection is not known till one be dead,
Reward for love are labours for his pains.
Love's quiYer made of gold his shafts of lead.
L'envoy
And so I wak'd amaz'd and could not move,
I know my dream was true, and yet I love.
80
X. 0 sweet woods
To Master Hugh Ho/la11d
Voice
0 sweet woods the de - light of so - Ii - ta ri-ness, 0 how much do I love your
Guitar
G)to F#
Capo III
~c ~ a~ch c~ c~a c a
~ ~~ c e
~ ~ a~ a~a ~ ~a
a
a a
Lute c
a c
a
From Fame's de - sire, from Love's de-light re - tir'd,
r r J
c~ ~~a c~ ~ c~ a
a
h ~ a
~ c
a
~ a
~ c
e
e a e
c e e
a c
led, And those false plea sures
a
a
a a c a
a a e c
81
which I once ad-mir'd, With sad re - mem - brance of my fall, my fall. I dread,
c
~ c~ a c
~ c~ a ~ ~ ~ ~ c
~ ~ c
a
d c~a b ~
a a e
"'
e
e
c
a
c a c a
e c
a c e
C'
A • I I I
., To birds,
I ,
to
I
trees,
,
to earth, im-part _ _ this,
~ J 'I I )... ~ I r--i I ~
...
j\ !J. I
'1r =- - -
~
~ f ~~u ~:
r:
r f ~ ~
II: a
d
a
~h ,
~ ~ ch
d
c
a
~ c~
d
c
a
c
d
c
a
~ ~
c a
6
c
a
$
~
c
d
~ g
d
c
e
e
e
c
~
c
e
e
~
For she less se cret, and as sense - less IS.
rtr r
a c
~ a c
~ a ~ ~ a~ c~ a
a a
a a a e
c a c a e c c
a c
a
82
0 sweet woods the delight of solitariness,

0 how much do I love your solitariness.
From Fame's desire, from Love's delight retir'd,

In these sad groves an hermit's life I led,
And those false pleasures which I once admir'd,
With sad remembrance of my fall I dread,
To birds, to trees, to earth, impart I this,
For she less secret, and as senseless is.
2
Experience which repentance only brings,
Doth bid me now my heart from love estrange,
Love is disdain' d when it doth look at kings,
And love low-placed base and apt to change,
Their pow'r doth take from him his liberty,
Her want of worth makes him in cradle die.
3
You men that give false worship unto love,
And seek that which you never shall obtain,
The endless work of Sisyphus you prove,
Whose end is this to know you strive in vain,
Hope and Desire which now your idols be,
You needs must lose and feel despair with me.
0 sweet woods the delight of solitariness.
4
You woods in you the fairest nymphs have walk'd,
Nymphs at whose sight all hearts did yield to love,
You woods in whom dear lovers oft have talk'd,
How do you now a place of mourning prove,
Wanstead my mistress saith this is the doom,
Thou art Love's childbed. nursery and tomb.
XL If floods of tears . . .
84
XL If floods of tears
Voice
If floods of tears could cleanse my fol - lies past. And smokes of sighs might sac -
Guitar
at pitch
a c a
c a a
Lute a a
a
ri - fice for sm. If groan-ing _ cries might salve my fault at last, Or end-less
i
~ I
c a a c a c c a
a a a a c a
a a
a e
c
ed. =J l
"
.., I I r
moan. for er ror par don win.
\ J I ~ ~J ~J .i---n .+J J
' r *r r' I
r- - I I
~
I
~ ~ ~ b~ J
(I a a fl l!
u fl II
I E! II
I
I " II
85
(d =d.)
Then would cry, weep, sigh, and ev er moan,
"!
) "!
~
a~
c
~ c a a~ ~ ~ ~ e~
c a a c
~ ~
a
c a c a e a
a a e a c e
a c a
c
Mine er rors, faults. sins, fol lies, _ __ past and gone.
c
a
a ~ a
~ c a
1.
a c a a
e a a e
a c e e e
c
If floods of tears could cleanse my follies past,

And smokes of sighs might sacrifice for sin,
If groaning cries might salve my fault at last,
Or endless moan, for error pardon win,
Then would I cry, weep, sigh, and ever moan,
Mine errors, faults, sins, follies, past and gone.
2
I see my hopes must wither in their bud,
I see my favours are no lasting flow'rs,
I see that words will breed no better good,
Than loss of time and light'ning but at hours,
Thus when I see, then thus I say therefore,
That favours, hopes and words, can blind no more.
86
XII. Fine knacks for ladies
Voice ". . - - -
""
..i -' Fine -
knacks for la -
I
dies,
I
cheap
~
choice brave
I
r
and
'new.
J J J J .J
-
I .,
- - -... -
Guitar J J 1-
lO
- - I
-- -·-- - I
0)toF~
,
~
- - -
•-
~
~ ~ ~
-
@toD
Capo Ill i i i i i i ®'U
~
ch
a
c~
u
c
a
ch
u
c
I a
c d~
a
a
c
a
a
~ a c
h I
..... rt a u u a I a D a a c rt I
Lute ••-a a a a a I a c c I
~ a a
a
-
"
~
'
I
- -
..i '
Good pen - ny - worths but mo - ney can - not move,
- kj
I
-J J. ~ I
\ lO
_,,
-I I I r~ I
,
~ ~ ~
~- ~~ ~ ~
~ ~
i
t j rr r· D f L. ..,, J
__J -
£.
r
..I
~
a
~ c d~
a
Cb
a a
~ a~
a a a a c u
I
a u n a I a a D a I
a a a c a I
a c e c a a
a a c
u
keep a fair but for the fair to view, A beg gar may be
r r
a
~ ~ ~ a Cb c~ a a a
a h ~ h a
~ ~ ~
a a a
a a e a a
a c a
a
87
-
~
" ... - -
- --
~ ~
.., rJ
~
I I
Ii - ber - al of love. Though all my wares be trash
j\ j,I
- - ~
-- --
i--1
...
~
•J
I
... -J
. - -
r--c.......r r r-
J
--
I I
-· I ~
-·
I ~
~
u -
r
-
l
,.._
Ii • I
L.:r Lt
a a
a~ I
•1
ch
a
c~
a
ah
a a I
a
C
~ a c
~ ~ ~ a
c I
a n a a a c
c e "e • 1•
• a a
0
" c "
• c a a c e a I
a c a a r
a • a I
c d
a
ch. a~ c
c a~ ~
a a ,, a
a
a
a a
c
c a c e a e c a a
Fine knacks for ladies. cheap choice brave and new.

Good pennyworths but money cannot move.
I keep a fair but for the fair to view,
A beggar may be liberal of love,
Though all my wares be trash the heart is true.
2
Great gifts are guiles and look for gifts again.
My trifles come, as treasures from my mind,
It is a precious jewel to be plain,
Sometimes in shell th'Orient's pearls we find.
Of others take a sheaf, of me a grain.
3
Within this pack pins points laces and gloves,
And divers toys fitting a country fair,
But in my heart where duty serves and loves,
Turtles and twins, Court's brood, a heav'nly pair,
Happy the heart that thinks of no removes.
88
XIII. Now cease my wand' ring eyes
Voice
Now cease my wan-d'ring eyes, Strange beau-ties to ad-mire,
Guitar
G)toF#
@toD
Capo III
~ c~ c a
c
a
a
~ c
h. ~ a
c ~ a
a J
c
a a
Lute a a c
a
a c
a
a
In change least com - fort lies, Long joys yield long de - sire.
a a c a
a a a
a a
a a a c
a a
a
I ffl J. j
One faith, one lov~. Makes our frail plea - sures e - ter - nal, and in sweet - ness prove,
----
u~wr
~ d c~ c~ a~ a
~ ~ ,,==,·
~
a c
~~ d
~ ~ a c
~ ~ ~ d c
I
I
(
" d a a d ® a
a a a
d
c
d
a c d I a
c
c
a
89
New hopes new joys, Are still with sor - row de - clin - ing, un-to deep an-noys.
- ---
Ll'-Wl
~ c~ c~ a~ ~ ~ a
~ a
~ c
~~ ~ ~ a c
~ ~ c
~
a a a
e a c a a c a
a a a a
c a c c
Now cease my wand'ring eyes,

Strange beauties to admire,
In change least comfort lies,
Long joys yield long desire.
One faith, one love,
Makes our frail pleasures eternal, and in sweetness prove,
New hopes new joys,
Are still with sorrow declining, unto deep annoys.
2
One man hath but one soul,
Which art cannot divide,
If all one soul must love,
Two loves must be denied.
One soul, one love,
By faith and merit united cannot remove,
Distracted sprites,
Are ever changing and hapless in their delights.
3
Nature two eyes hath giv' n,
All beauty to impart,
As well in earth as heav'n,
But she hath giv'n one heart.
That though we see,
Ten thousand beauties yet in us one should be,
One steadfast love,
Because our hearts stand fix' d although our eyes doth move.
90
XIV. Come ye heavy states of night
~ -
-"- - - .----
-- .... I l
- --. -· - - ,_...
-
~ ~
Voice
.i
~
v • ~ ~
" I
-· - r~
I
~
-
Come __ ye hea - vy states of night, Do my_
t
. ~
-·-·I ~
.... I I ~
,_ -·
I I ..
-- ---- - - --
\ I I
Guitar
G) to F#
~
-
~ ~
- ~
~
~
~- r~
-..
Capo Ill '
r
-
r
-
~
r r r1 -
r ~r·
r
I ab ~ h ~ I h ~ h
Capo III . ~
..,....-
a
0
c
a
a
0
a
a
n
c
a
a
a
c
a
c
a
n
a
a
n
a
(l c
c
c
a I
a
a
a
a
a
c
I
I
I
I
it right, Sound ings bale ful let me bor-row.
a a a a a
a
a a
-"' - -
~-u
~
- -
I
-
-·
l
'
~
~
"
"
.i I I
Bur - then - ing my song with sor - row,
~ I I I
- -.. -·
\ I
-
-
- - - r- - ~
r
~
"
~)
f r r -L
r P'--1r ttl"' ~ !2:

i::i-
a~ n
~ n
h a
~ n
~ a
~ ~ I
II
a n c II
c c c c n n c
a a c a e c c
a a II
91
f
l
,.
-.., .... ~
/
.. - - --.
- -
-
~ ~
-
E
----
~
~ ~ E
I
-
Come Sor - row come her _ _ _ eyes that sings.
. -.. ... --
.,-
I- -ii---= j-
-· - - ' --
.. -)) - I I..
..- - -
r-------
-I -- I
-
E
' r r ~
r r -
r
• a
~ ~ ~ ~
a
~ d~
a
c~ n
~ a a
a ~ e
I
I
• 0 a l! a 0 a I
•••
a a a c c e
I c n c
a a a I
By thee are tum ed in to springs.
a d a a
a a e a a a
a c
a
a c c
a
Come ye heavy states of night.

Do my father's spirit right,
Soundings baleful let me borrow,
Burthening my song with sorrow,
Come Sorrow come her eyes that sings,
By thee are turned into springs.
2
Come you virgins of the night,
That in dirges sad delight,
Choir my anthems, I do borrow
Gold nor pearl. but sounds of sorrow,
Come Sorrow come her eyes that sings,
By thee are turned into springs.
92
XV. White as lilies was her face
-- -
It I
Voice ~
~
-
I
~ ~
-
-~
eJ I I I
White as li - lies was her face, When she smil - ed.
I I ., i--:; I I I
-
\ .II Ii..
--I ~
-. -
Guitar •J A
G) to F#
~ ~
-~
-
~
·-· - -·
-,__- - -
r r r
~J
-- - - -- -
~ u~
r r
~ -
Capo III r;- l:'J"
r
J
a
ah
a
~ a c
~ e
~ah
a e
I a
a
ah
a
~ I
n u 0 0 I
··-
~ D
Lute c I e c c
..... c
a
c
a
I
a (l c a a a
She be - guil - ed. Quit - ting faith with foul dis - grace, Vir - tue ser - vice
a
a
a
e a
d~ a
a a a a
~ a
a a
c
a a
ne glect - ed. Heart with sor in - fect-ed.
t..J
a
a D ~ a~ ~ a~ dia ~ d~ a ~ c e
~ ala
a c
a c
c a a c c
a
93
I 5
White as lilies was her face, All in vain is ladies' love
When she smiled, she beguiled, Quickly choosed, shortly loosed,
Quitting faith with foul disgrace, For their pride is to remove,
Virtue service thus neglected, Out alas their looks first won us,
Heart with sorrows hath infected. And their pride hath straight undone us.
2 6
When I swore my heart her own, To thyself the sweetest fair,
She disdained, I complained, Thou hast wounded, and confounded,
Yet she left me overthown, Changeless faith with foul despair,
Careless of my bitter groaning, And my service hath envied,
Ruthless bent to no relieving. And my succours hath denied.
3 7
Vows and oaths and faith assur' d, By thine error thou hast lost,
Constant ever, changing never, Heart unfeigned, Truth unstained,
Yet she could not be procur' d, And the swain that loved most,
To believe my pains exceeding, More assur'd in love than many,
From her scant neglect proceeding. More despis'd in love than any.
4 8
0 that love should have the art, For my heart though set at nought,
By surmises, and disguises, Since you will it, spoil and kill it,
To destroy a faithful heart, I will never change my thoughts,
Or that wanton-looking women, But grieve that Beauty e'er was borne.
Should reward their friends as foemen. [A fifth line does not appear in the original.]
94
XVI. Woeful heart
Voice
with grief op press- ed, Since my for - tunes
Guitar
CD to F#
Capo III
r
a~
a a
~ a
~ a
~ ~ a ~ ~ a
a
b ~ ~d~ ~ c~
c
c
Lute c e
c a
a a a
my joys hath me re mov
r
a
a
~ a
e
b a
a
d~
a
a a
e a a
c a c a
a a
a
Those sweet eyes where
a a a
d~
a
a
c a a a
95
a a
h e
a c~ d
a
c~a e
~ J
a
a c
c
a c c c
a a
a a
Woeful heart with grief oppressed,

Since my fortunes most distressed,
From my joys hath me removed,
Follow those sweet eyes adored,
Those sweet eyes wherein are stored,
All my pleasures best beloved.
2
Fly my breast, leave me forsaken,
Wherein Grief his seat hath taken,
All his arrows through me darting,
Thou may'st live by her sun-shining,
I shall suffer no more pining,
By thy loss, than by her parting.
96
XVII. A shepherd in a shade
.. •
Voice
" I.I
- - -
I
-· - - ~
- -
r
eJ
A shep-herd in a shade, his
I
plain -
'ing made, Of love and
Since love and for - tune will, I ho - nour still. Your fair and
I
- ·- .... -- - - --
·~ :i.
- I I I I I ~ I 11
-J
---
I
++
- -
I.I
Guitar
Q) to F#
-~
- - - - - - -
-
Capo Ill ~ l:J
r
~
~ u
- - -
r r i I r r rr f
a~ h h a ~ ~~ ah c
Lute .-- a
a
c
a c a
c
a
e a
c
a
I
I
I
a
c
a
a
a
a
c
a
e
c
c e
a
I
a
c
e
0
c
e c
" I.I
I I I
-
eJ I
lov - er's wrong.
.. ..
Un - to the fair - est lass that trod
I
on
I
I
grass,
,.
And thus be - gan _ _
love ly eye, What con-quest will it be, sweet nymph for thee, If I for sor
I.I ++ I I I r"""'1 I ~ J I ~ ~ r"""'1 ri I ~ ... r--i
uur Ir r--
u r r ur
,_ ,_
•
•
I
~ i
~ ,_
...
a
~ ~a~ e
h ~ a
D a~ ch
a a
~ a
h ~a a
c e
h ~ a
~
c r a a a a a
I e e I
c a c a
a c e a a
a c
"I.I
eJ ~
his _ _
,. I ,. I I
I
song. Re - store, re - store my heart a gain, Which
row _ _ die.
. 11 J ...
I.I ++
-·
I
'
I.I I
" I I I ~
~
r r r r r r r i r r
h ~ h ~ h ~ a ch a D ~
• a a
. ,.
a 0 a a. a a
a u c
c
• 0 0 a a
a "c e
c I c I
a
a • a a n n
97
'-"'
love by thy sweet _ Lest that en - forc'd by _ _ your dis dain,
r r ~ r i r r i
h ~ c a
h ~ a a
~ a
~ a~ a
a a e a a a a
c e • a c c
c c a c a c
a c a
sing, Fie fie on love, fie fie on love, it is a fool ish thing.
r r
a
h ~ a
h ~ c e
h a~ a
h ~ c
a ch ~ a a a
~
a a a a a c
c c c c c
c e e c c a
a a
A shepherd in a shade, his plaining made,

Of love and lover's wrong,
Unto the fairest lass that trod on grass,
And thus began his song.
Since love and fortune will, I honour still,
Your fair and lovely eye,
What conquest will it be, sweet nymph for thee,
If I for sorrow die.
Restore, restore my heart again,
Which love by thy sweet looks hath slain.
Lest that enforc' d by your disdain, 1 sing,
Fie fie on love, it is a foolish thing.
2
My heart where have you laid, 0 cruel maid,
To kill when you might save,
Why have ye cast it forth as nothing worth,
Without a tomb or grave.
0 let it be entomb'd and lie,
In your sweet mind and memory,
Lest I resound on every warbling string,
Fie fie on love, that is a foolish thing.
98
XVIII. Faction that ever dwells
-.., - - .
I
Voice
"~ lo!
- -
- &
-- - - - -
~
I I
Fae - ti on that ev - er dwells, In Court where wits ex -
-, .. *- -
~
Guitar
I
:
~
--- -r-1- -- I !"'--!!!

- ---
I I
-
I
-
I I
-
r- r- r-
CD to F# ~
,__
~
Capo III
,__
...
--
.,.
r r
- - -
i
~r
r
a
h a
~ a a
a
e
~ ~ al a a a
h a a
~ a
Lute ··-
~
c
c
a
c
c
a
c c
a
c
a c
a
c
c
c
c
c
c
a
a
c
" .. •
.. -
-
..,
eels, Hath
I
set de fi - ance,
.,,_
For - tune and Love hath

..,,,
sworn,
..
That
\.. * I I I ., I ~ I I ~ J. ~ I
:
I
,, .,.
r r
I r r I 1:1"
r r r r r
h ah J ~ a a h ~ a ch ~ a h h
u
c
a
ca a a
e
e
..
•
11 •
e
T
a
a
e
c
I
e
c
a • I
" .. . . .
.., I
-
they were ne ver born, Of one al - Ii - ance.
~ .. * r-1 I ~ ~ I I I I 1
• I
,.
r r
~
,__
~)
r r r I= ~ ,__
~
i
~ ah ~ ala h ah h. ~ J
a a •
I
a a
cc ca
a
e
u c
I
•
a c • 11
a I a •
*
* no barline in voice
99
Faction that ever dwells,

In Court where wits excels,
Hath set defiance,
Fortune and Love hath sworn,
That they were never born,
Of one alliance.
2
Fortunes swears, weakest hearts
The book of Cupid's arts
Tum with her wheel,
Senses themselves shall prove
Venture her place in love
Ask them that feel.
3
This discord it begot
Atheist, that Honour not
Nature thought good,
Fortune should ever dwell
In Court where wits excel
Love keep the wood.
4
So to the wood went I
With Love to live and die
Fortune forlorn,
Experience of my youth
Made me think humble Truth
In desert born.
5
My Saint is dear to me,
And Joan herself is she
Joan fair and true,
Joan that doth ever move,
Passions of love with love
Fortune adieu.
100
XIX. Shall I sue
Voice
prove'?
Guitar
CD to F#
Capo III
r r
a~
a
c d ch
a
~ a
e a c
a c
a
a h
a a
Lute c c e
c a c
c a
a
heav'n - ly joy. With an earth ly love?
r r r- r·
a
h a~ c
a
a c
a
d ~ a~ c
e
~ ~ J
a
c
c c a e
a a c
a a c a
Shall I think that a bleed ing __ heart Or a wound - ed eye,
u r t t. r r
~ d~ ~ a ~ d~ c~ d~ a
c~ a~ ~ ~ h e c
~ a
a
e
a a
c c c e e
c a a c
c a
101
a a
c~ a
a J
a
a a c c
a
a
Shall I sue shall I seek for grace?

Shall I pray shall I prove?
Shall I strive to a heav'nly joy.
With an earthly love?
Shall I think that a bleeding heart
Or a wounded eye.
Or a sigh can ascend the clouds
To attain so high.
2
Silly wretch forsake these dreams.
Of a vain desire.
0 bethink what high regard.
Holy hopes do require.
Favour is as fair as things are.
Treasure is not bought.
Favour is not won with words.
Nor the wish of a thought.
3
Pity is but a poor defence.
For a dying heart.
Ladies' eyes respect no moan,
In a mean desert.
She is too worth fair.
For a worth so base.
Cruel and but just is she,
In my just disgrace.
Justice gives each man his own,

Though my love be just.
Yet will not she pity my grief.
Therefore die 1 must.
Silly heart then yield to die.
Perish in despair.
Witness yet how fain I die.
When I die for the fair.
102
XX. Toss not my soul
Voice
soul, 0 Love 'twixt hope and fear, Show
Guitar
CD toF#
Capo III
r ~
e
a~ ~ ~
a e
~ ~ d
c
ch ~a a
a
e
h a
~ c
~ a~ ~
a
Lute c a c e
c
a c
me some _ ground where I may finn·· - ly stand Or sure - ly fall,
c
~a c a a
~ ~ h d~ ch a~
a a e
~ ~ ~a
c e
d
a
a a c a
c c c e
a c c e c c
c a a a
e
So
~
Cb c~ cch c
a
~ c
c
~ e
h a
~ d a h ~
e c e a
c e e a
c c c a
103
me _______ in a cer tain band.
u r r ~
~ a a a
h ~ a
h ~ a a
~ ~ a
a a a c
c a c c
a a e c e
a a a
e
I\
.., .
L'envov
- - I
"- - - - - -
-
~ ~
~ ~ ~ ~
.., ~
IS _ _ _
I
When once of ill the ut - - ter - most
ii )
. -"' .... I I I h,, I J I I J.
-
,
\ ~
-
- ,, ,,
u w-
~ ~
r LJ l...-J I I I"""""" 1 -
I
J a~ c d c~ ~ a c f
• • a () a a
a
a a c a a c
••I • c
c
CL [}
c
a
e
() a
I e
CL /) a
• a c n. a
•
known, The strength of sor - row __ quite _____ is ov er thrown.
a
a a'h a a
a a
" a a (l (l
c c
a
104
Toss not my soul, 0 Love 'twixt hope and fear,

Show me some ground where I may firmly stand
Or surely fall. l care not which appear,
So one will close me in a certain band.
L 'envoy
When once of ill the uttermost is known,
The strength of sorrow quite is overthrown.
2
Take me Assurance to thy blissful hold,
Or thou Despair unto thy darkest cell.
Each hath full rest, the one in joys enrolled,
Th'other, in that he fears no more. is well:
L 'envoy
When once of ill the uttermost is known,
The strength of sorrow quite is overthrown.
XXL Clear or cloudy ...
106
XXL Clear or cloudy
Voice - - -..
"~ .It
-- •
--
I
-· - - -- --
-
~
eJ I I
Clear or cloud - y sweet as A - pril show·r - '·mg.
. -I ~
~ .IO ++
-J Ii..
- - I I I
-, -- - -
I
Guitar
CD to F# . ~
~
-
- --
Capo III r r r t.....r~r rr rr
-
a~
a
c
a a
~ a
e I c c
~ {)
I
I
Voice ··-,..
J... c
c
a
n
c
c e
c
I
I
c
e e
c
e c a
D
e
I
I
I
Smooth or frown - ing so _ __ 1s her face to me, Pleas'd or smil - ing
r
c
~ c ~a a~ a
a e
~ c a
~ ~ a a
~ ~ ~ ~ a
~ ~ a
c a a c
c e c c c c
a c c c c a a
e c a a a
skies blue silk and mea dows _ car-pets_ be. Her
r '"!
~
r r
c c
~ ~ a
~ ~ c ~a e c a
a c e~ c~a e
~ a
a
~
a
~
c c a c a
e e e e
c e a c
c c e c a a a
107
speech - es notes that night-bird that sing eth. Who thought all _ __
r ~
a a~ ~ ~ ~ c e
a
a e
a
a
a a a c
• c c
• e e a e a
a a
a
A ,;
_,
-·
I I
...
->
sweet yet
I
jar -
-
ring notes out
I
- rmg - -
-. --eth. Her
. ,.
,. -
-
eth.
.
, LJ
' .. ++ ~
•'
,.
-· -- -,.._
- -
I
- ---· -
- - --- -
- ,,_
~
. .. - -
11.
--. --
I
112.
- .-- ... ,.'.. - ~
I
.
,.
'
'.
,.
I
fi:
-
r i i r ~
!'2:
u
~ ~ ~ ~ ~ ~ ~ ~~ ~ ~ h
a a c a
c
a I c a
a a
a a
a
c .. ••
c e
{)
c
c e c
a
I c c c
c " e
0 I
I
c
c • 1•
•
e c a a 1•
Clear or cloudy sweet as April show'ring,

Smooth or frowning so is her face to me,
Pleas"d or smiling like mild May all flow"ring,
When skies blue silk and meadows carpets be,
Her speeches notes of that night-bird that singeth,
Who thought all sweet yet jarring notes out-ringeth.
2
Her grace like June. when earth and trees be trimm'd,
In best attire of complete beauty's height,
Her love again like summer's days be dimm'd,
With little clouds of doubtful constant faith,
Her trust her doubt, like rain and heat in skies,
Gently thund'ring, she lightning to mine eyes.
3
Sweet-Summer-spring that breatheth life and growing,
In weeds as into healing herbs and flow'rs,
And sees of service divers sorts in sowing,
Some haply seeming and some being yours,
Rain on your herbs and flow'rs that truly serve,
And let your weeds lack dew and duly starve.
108
XXIa. Clear or cloudy
.
--
I
" u
Voice
..,
"~
- K
~
~
'
-
I
-
~
- --
I
--
1.
Clear or cloud - y sweet as A - pril show'r - mg,
Guitar
\ u
- -~- J- ~ .J h
- --I ---I I
at pitch
~
~
~ ~
-I - - ,,
@ toD ~ I I r c_I ...__....I I ~ f#°
ah
a
c
a a
~ a
e c c
~ n
I
Voice ....
.....
~
c
c
a
D
c
c e
c I
c
e e
c
e c a
n
I
I
I
I
e
Smooth or frown - ing so -----=· · - is her face to me, Pleas'd or smil - ing
r r
c
~ c ~a a~ e
a
a e
~ a
~ ~ a a
~ ~ c
h ~ a
h ~ a
c a a
c e c c c c c
a c c c c a a
c a a e a
- ing, When skies blue silk and mea dows _ car- pets_ be, Her
r 91
~ ~
c
~ ~ a
~ ~ c ~a e c a
a c e~ c~a ~ a
a
h a
~
c c a a
e e e
c e c a
c c e c a a a
109
speech - cs notes ---------

of that night - bird that sing eth. Who thought all
J.
fi·
I ~ ~
a a~ ~ ~ ~ a
a e
a
a
a a a
c c
c a a
a c a
a
_, 1. 12.
- - -·
A 1"
.. -
I I
~
~
- I
- - ~
I
r~
~-
~
'"
'. -
-
,.
,.
sweet yet jar - ring notes out - ring - - eth. Her eth.
- 00
~
I I.
-,
,. "I ~ r--=;
- I
..
~ I I - I
-
~ ~ n ~
- - -
LJ r
-
r r 3r
-
r - -
r
~ ~ ~ ~~ c
~ ~ ~~ a a
~ ~ a
~
•
fl a c a. a c a a a c • 11
(} c e c I c c c 0 0 I (' • 11
c e c a c e c •
e r c a a •
Clear or cloudy sweet as April show'ring,

Smooth or frowning so is her face to me,
Pleas'd or smiling like mild May all tlow'ring,
When skies blue silk and meadows carpets be.
Her speeches notes of that night-bird that singeth,
Who thought all sweet yet jarring notes out-ringeth.
2
Her grace like June. when earth and trees be trimm'd,
In best attire of complete beauty's height.
Her love again like summer's days be dimm'd.
With little clouds of doubtful constant faith,
Her trust her doubt, like rain and heat in skies,
Gently thund'ring, she lightning to mine eyes.
3
Sweet-Summer-spring that breatheth life and growing,
In weeds as into healing herbs and tlow'rs.
And sees of service divers sorts in sowing,
Some haply seeming and some being yours,
Rain on your herbs and flow'rs that truly serve.
And let your weeds lack dew and duly starve.
110
XXII. Humour say what mak'st thou here

a Dialogue
Voice " -~ ..
~
~
Cantus
-
I
rJ
I
- I
~
' -- ,_
~
(Cantus) I I
eJ I I I I
Hu - mour say what mak'st thou here, In the pre - sence of a Queen,
Bassos
Voice
(Bassus)
.. -
-... - - - ... - -...
-
Prin-ces
.\ ~ i
. -- -
I I
-I I I
-· - --
1"""'11 I
- -·-·I -- --,...., - -
I ~ I I
-I .... -- -I . I
,
Guitar -•LT•-.-. r~ ' ~
"
r~
r~
....... ___. ,
~
Q) to F#
uur r r r r
r~
Capo III r r r r - r -
r r r r
J a~ I aa~ ~ ~ ~ ~ ~I ~ a ~e ~ a I ah
Lute
-
-
-
a
c
c
a
c
c
e
r
e
c
c
c
c
a
c
a c e
11
a
c
c
c e
e
c
e
e
c
a
c
c
a
c
c
a a
a
11
c
e
e
e
c
a
c
c
I
Bassos Cantos
con-ceit most dear, All con - ceit in hu - mour seen. Thou art a
r
al
c c
h c c
~a a
~a a
ah ~ e c a a
h a e
h a
a
c e a c c e a c
c e e e c c c e e c
a a e e c e c c c
c c
a
,. ... I I
Bassos
•
eJ I I I ........ I
hea vy lead - en mood, Hu-mour is in - ven - lion's food.
~ i J I I ... I 1- I J. ~ I :lo
,
I
'" ... --·

r r r
- rJ
I
~r I
'f "f *
r 1 I I I I
J
a
h ~ a a
h a
b ~a a
ah c
c
~a e
~
a a e a I c a c a c T e T I
a e e a e n c c e e I
e e c c I
c I
a
111
Cantus
But nev-cr Hu mour yet wa<.; true. But that but that but that that that
Bassus
But ncv-cr Hu - mour yet wa<.; true. But that but that but that that that that
r
a~
a
a
a
a~ ~ a a a a a a
• c a
." Cl
that that that that which on ly on ly pleas eth you.
that that that that which on ly pleas eth you.
a~
(1 a a a
~ ~ (l (' a
~ ~ a J
a
a a a
e
(/ c ('
a a
3
Camus: Humour say what rnak"st thou here. Can/us: 0. I am as hca\ y as earth. Camus: Mirth then is drown"d in Sorro11 "s brirn.
In the rrcscncc of a Queen. Say then who is I lumour nm\ 0. in sorrow all things sleer.
Basms: Princes hold conceit most dear. Bassus: I arn 110\1· inclined to mirth. Bas.ms: No. no fool the light"st things sw11n.
All cnnccit in humour seen. Humour I as well as thou. Heavy things sink to the deer.
Camus. Thou art a heavy leaden mood. Ca11111s: Whv then "tis I am Jn1\\ ncd in woe. Camus: In her rresence all things srnik.
Bassus: Hurnour is invention's i(iod. Bassus: No. no Wit is cherish"d so. Bas.ms: Humour frolic then aw hdc.
B111h: l3ut never Humour yet \las true. Bo1h. But nc1cr Humour vet 11as true. Bo!h: But never Humour yet 11 as true.
But that which only rleascth vou. But that 11 illch nnlv plcaseth \ ou. But that which onlv plcaseth \nu.
112
Dowland's adieu for Master Oliver Cromwell
~~;~:!) t· 1setr t: Wf n;•

1
fl'B 6'21 1
··
fj~ ~ezg 1fr.~i-f@Pffi~11,: 1-ltB@LJ r :II .
--rrrru -
r
END OF EDITION

Lute Songs by John Dowland Arr DavidNadal PDF

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Lute Songs by John Dowland Arr DavidNadal PDF

Uploaded by

Copyright:

Available Formats

Lute Songs of John Dowland

The Original First and Second Books

Transcribed for Voice and Guitar

DOVER PUBLICATIONS, INC.

Introduction vii THE SECOND BOOK OF SONGS 51

Baldassare Castiglione, 1528

The First Booke of Sanges or Ayres

The Second Booke of Sanges or Ayres,

John Dowland, 1603

ABOUT THE TRANSCRIPTIONS

TUNING AND TRANSPOSITION

Un qui - et thoughts, your ci vii slaugh ter

Be still: for if you ev - er do the like

IL Who ever thinks or hopes of love

thinks or hopes of love for love: Or who be - lov'd m

..J I ..J J, ,,...._ I 1- I I

sun, With dark clouds of an earth, with dark clouds of an

quite ov er run. run.

III. My thoughts are wing'd with hopes

the Moon_ in clear-est night And say, as she doth in

My thoughts are wing'd with hopes. my hopes with love.

IV. If my complaints could passions move

If my com - plaints could pas - si - ons move, Or make Love

suf - fer wrong: 0 Love, live and_

in thee, Thy grief in my deep sighs still speaks:

..J -.h J -.h -l.J -J i- --·J.

And when I hope, thou mak'st me hope m vain.

V. Can she excuse my wrongs?

bo dies stand, Thou may'st be a - bus'd if thy sight be dim.

Wilt thou be thus abused still, Better a thousand times to die,

VI. Now, 0 now, I needs must part

ab - sent mourn. Ab - sence can no joy im - part:

fled _ _ can - not

Joy once re - tum. Sad des - pair doth

part-ing be of - fence, It is she _ _ which then of - fends. - - - - - -

Dear, if __ you change, I'll ne-ver choose _ _ a gain. Sweet, if you

more wits I'll nev er prove.

my faith, my faith shall nev er break. nev er break.

Dear, if you change, I'll never choose again.

Earth with her tlow'rs shall sooner heaven adorn,

VIII. Burst forth, my tears

Burst. burst forth_ my tears. _ as - sist my for - ward grief. And

show what pain im - pe - rious Love pro-vokes. Kind

ten - dcr lambs, la ment Love's scant re - lief,

see me pine, 0 pine, to see me pine, my ten der flocks.

IX. Go crystal tears

Go crys - ta! tears. like to the _ mom ing shm\··rs. And

sweet-ly weep _ _ in - to thy la dy's breast. And as the dews re -

vive the droop ing flow'rs, So let your drops of pi - ty be ad - dress' d.

To quick-en up the thoughts of my de sert.

too sound whilst from her de - part. -part.

Go crystal tears, like to the morning show'rs,

X. Think'st thou then by thy feigning

feign - - ing Sleep with a proud dis -

eyes ing, To drive me from thy

XI. Come away, come sweet love.

sure speaks. Teach thine then to em - brace, And sweet _ ro

Come away, come sweet love, The golden morning breaks.

Come away, come sweet love, The golden morning wastes.

Come away, come sweet love, Do not in vain adorn.

XII. Rest awhile you cruel cares

Rest a - while you cru - el cares. Be not more

fail to _ hon-our thee, Let this hea - ven