Mary Chan - Christ Church Manuscript Mus 439

Cynthia's Revels and Music for a Choir School: Christ Church Manuscript Mus 439
Author(s): Mary Chan

Source: Studies in the Renaissance, Vol. 18 (1971), pp. 134-172
Published by: University of Chicago Press on behalf of the Renaissance Society of America
Stable URL: http://www.jstor.org/stable/2857081
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S cussed a setting of Hedon'ssong'The Kisse' in Cyn-
Cynthia's
RevelsandMusic
fora ChoirSchool:
ChristChurch
Manuscript
Mus439
N twoarticles,
dated195 8 and1960, A.J.Saboldis-
m m thia'sRevels(IV.iii.242) which
occurs
inChrist
Claurch
S hn) andsuggested
MS. Mus 439convincingly
thatthisset-
X tngv asthat
X intended
forthefirstperformance
ofthe
playatcourt
inI600.1So faras1Sknowntheversion
ofHedon's
songintheChrist
Churchmanuscript doesnotoccurelse-
where.2
TheChrist Church manuscript
wasfurther brought totlaeattention
ofmusicologistsbyJ.P. Cutts
inhisdiscussionofthesongs inEverie
Womatt inherHumor, forthemanuscript contains
theonlyknown set-
tingofa songwhich isreferred
totwice inthatplay:'Here'snonebut
onlyI'.3It nowseems profitable
to lookmoreclosely atthisChrist
Church manuscriptasa possible
source forevenmoremusic inchil-
dren's
drama inparticular,
andmore generally,
asrepresenting
children's
musicatcourt.Ifwearetosuggest thatthecollection
mayevenrepre-
senttherepertoire
oftheChildrenoftheChapel Royalthen theambi-
guities
surroundingtheperformanceofEverieWonlalinherHuxnor are
alsohighlighted.4
A studyofthemanuscripttogetherwitha consideration
ofthefunc-
tionofHedon's songinCynthia's
Revelsisparticularly
illuminating:
for
1 A. J. Sabol,'A NewlyDiscoveredContemporary Song SettingforJonson'sCyn-
tllia'sRevels',
Notesa1ldQueries,
N.S. V (I958), 384; 'Two Unpublished StageSongsforthe
"AeryofChildren"', Renaissallce News,XIII (I960), 222.
2 Ihere is a latersetting
of'The Kiss'in theHenryLawesmanuscript in theBritish
Museum,cataloguedas Loan MS. 35 andnow renumbered as Add. MS. 53723, f. 5.
3 J.P. Cutts,EverieWos11all illllerHul110r, Rellaissance
Nelvs,XVIII (I965), 209.
4 The problemof thedateis discussed at lengthbyJ. QuincyAdamsin his 'Every
Wol11an in11er
Hul110rand TlleDusnbKnigllt', Modern Pllilology,
x (I9I3), 4I 3; inparticular
seepp. 422-424. The questionwasraisedagainby Cutts,op.cit.,p. 209 etpassiss1, though
no definite conclusions werereached.Chambers'cautionstillseemsnecessary. See E. K.
Chambers,Tl1eElizabetl1an Stage,4 vols. (Oxford,I923), IV, I I, andfora discussion of
thecompanyknownas theChildrenoftheKing'sRevelsseeII, 64-68.
[ 134 ]
MARY CHAN 135
inHedonJonson appearstobeparodying
characteristics
ofmuchofthe
musicinthe439manuscript.Whileourconclusions
arevaluable
only
inso faras theyareaccepted
as hypothetical,
nevertheless
theChrist
Church manuscriptseemsonclosestudy
tohavea homogeneity
inits
contents
andcharacteristics
whichmayverywellbemorethan purely
accidental.
Cynthia'sRevelsis a complex, andinsomerespects appearsa clumsy,
play.Oneistempted toaccept C. G. Thayer'sjudgment thatitisex-
perimentalandthat'perhaps theexperiment hasnotsucceeded fully'.5
Because theplayrelies on mythological figures(asThayer hasalso
pointedout)eveninthemiddle satirical
scenes,
itapproachestosome
degreetheideology behind themasque form whichJonson wastode-
velopatJames'scourt someyears later.
Ifonetakes thissuggestionfur-
therandexamines thebasisoftherelationship between thisplayand
masque thismaybeseentolienotsimply intheuseofmythological
figures
butmore significantlyinJonson's exposition
ofa popularRenais-
sance
Platonism: thatwhich includes,ofcourse,themyth ofQueenEliza-
bethasCynthia. Viewed from this angleJonson'sinsistence
throughout
Revelsontheabsolute
Cytlthia's virtue oftheproper useofeloquence
becomes lessdidactic andmorefundamental andimaginative. Forex-
ample,inourassessment ofthesignificanceofthefigure ofCritesinthe
playweareledfurther I think,than simplestatement:statementofthis
kind(from Seneca) inJonson's Timber: orDiscoveries:
Therecannotbeonecolour ofthe mind;
anotherofthewit.Ifthemind bestaid,grave,
andcompos'd, thewitisso;that vitiated,
theother
isblowne,anddeflower'd.Doewee
notsee,ifthemind languish,themembersaredull?LookeuponaneSeminate person:
hisvery gateconfesseth him.Ifa manbefiery,
hismotionisso:ifangry,'tistroubled
andviolent.Sothat weemayconclude: Wheresoever,
manners, andfashions arecor-
rupted,
Language is.Itimitates
thepublickeriot.
TheexcesseofFeasts,
andapparell,
arethenotes ofa sickState;andthewantonnesseoflanguage,ofa sickmind.6
We are,rather,
remindedofthemoreconvincingdemonstration
of
sucha precept
inthatmostpopularRenaissance n
book,Castiglione's
libro
delCortegiano
oritsEnglish
translation
bySirThomasHoby:The
Book
oftheCourtier.
Oneofthevaluable ofTheCourtier
aspects asanexposition
ofthe
5 C. G.Thayer, n tltePIays (Norman,
BenJonson:Staldres Okla.,Ig63),p. 34.
6 Discoveries,inBenJonson,ed.C. H. Herford andP. andE. Simpson,
I I vols.(Ox-
ford,
Ig32),VIII, 592-593,
11.948-958.
136 MUSIC FOR CYNTHIA'S REVELS
ideals oftheRenaissance Platonists, andespecially forourconsideration
oftheunderlying themes ofCynthia's Revels,is theidealthough para-
doxical balanceitnotsimply tellsofbutmoreimportantly maintains
between theliteral,
therealcourt world, theworldly andsocialcontext,
andtheidealworld ofLovewhich Bembospeaks ofinBookIV. Book
IV iS notopposed totheother discussionsinthecourt ofUrbino butis
rather shown tobeanextension oftheimplications oftheseearlierdis-
cussions. Thebalance thewholeworkcontains anddemonstrates asits
idealmaybeseenasa balance between 'sense'
and'spirit'.Mostsi;nifi-
cantly this
balanceisseenasanaspect ofrhetoric which ideallycanraise
thelistener abovetheimmediacy oftrivialthings andleadhimtocom-
prehend themeaning ofVirtue itsel£7A consideration ofT11eCourtier
canhelptoilluminateJonson's purpose inCynthia's Revels,foritispre-
cisely thisdelicate
poisebetween 'sense'and'spirit'dernonstrated inthe
activities ofthecourtofUrbino thatthefalsecourtiers ofCynthia's
courtdestroy. Whileostensibly following theletter ofCastiglione's
'law'they debaseinfactthewhole valueofa courtly code.Thesesatiri-
calcourt sceneswiththefalse courtiersareshown tousasrepresenting
a deformity ofmanners arldmorals through a deformity ofwitand
language. Thescenes inwhich weseethecourtiers waitingforwater
from thefountainofself-lovepresent uswith parodies ofcourtly games
(ofthekindindulged inbythecourtiers atUrbino inTheCourtier). In
Cynthia's Revelsthese gamesareall meaningless, trivial,
andfoolish
and, significantly,
they areallwordgames oracting games: forinstance,
theendless andtedious playonthecharacters' names, thegamewith
words inActIV, Amorphus' instructionofAsotus inthemanners ofthis
court. Inparticularoneofthemost important instancesistheperform-
anceofthesongs byHedonandAmorphus inActIV, sceneiii (lines
242£and305£).BothHedon's andAmorphus' songs areaboutlove:
Castiglione's courtier,we aretold,wouldinspire lovethrough his
. O
muslc.o
LetuslooknowatHedon's songandthemusic foritwhichoccurs
in
Christ
Church MS. Mus439,
pages38-39(PlateI) . To begin
onenaight
comparethewordsofHedon's songxvith
thePlatonic view.Thisis
what
Bembosaysofkissingin TheCourtier:
7 TheBookofTheCotlrtierDoneintoEnglish bySir Thol1las Hoby,ed. withan introduc-

tionby SirWalterRaleigh(London,I900), Book I, pp. 70-7I.
8 See especially
TheCoMrtier
(ed. Raleigh),Book II, p. II9.
MARY CHAN 137
Although themouthebea percell

ofthebodye,
yetisitanissue
forthewordes,thatbe
theenterpreters
ofthesoule,
andfortheinwardebreth,whichisalsocalled
thesoule:
. . . Whereupon
a kisse
maybesaidtoberather
a cooplinge
togetherofthesoule,
then
ofthebodye, bicause
ithathsuchforce
inherthatitdraweth heruntoit,and(asit
were)seperateth
herfrom thebodye.9
In subject matter Hedon'ssonghasall theappearances oftlaeideal
courtly lyric,
andtlaesituation isa courtly gathering. Butbothinits
xrords andinitsmusic thesongisa complete mockery ofallthat isval-
uableinthePlatonic conventions. Thewords themselves arenotanex-
altationoftheunion oftwospirits; rather they expressalmost entirely
thepleasures ofwhatare,inthePlatonic hierarchy, thebasersenses:
tasteandtouch. Andtheexpression ofthese anti-Platonic deliglltsis
simply a succession
ofconventional cliches:thedexv lying onroses, the
rhyme of'bliss'
and'kiss'.
Thepoemismerely a successionofplatitudes
relatedonlybyconventional rhymes; andthemusic inthe439manu-
scriptisabsolutelypartofHedon's debasement ofallartisticvalues.The
settingofthe words isfreeandtosomedegree declamatory. Hedonap-
pearstobeattempting tocompose a songinthelatest fashion;andlike
thewords ofhissong, themusic isa stringofaffective devices andmusi-
calcliches. Forinstance,onemight refer to theverygrandiose and
drawn-out ending tothefirst phrase (bars 4-5),totllesequences on'as
a kisse'(bars3-4)and'soesugred soemeltinge soesoftsoedelitious'
(bars6-8),ortotheminor third dropon'soesoft'(bar7). Thelong
'die'notealsohasprecedents. HedonandAmorphus spend sometime
afterHedon's performance discussing whether ornotitistoolongand
the'rule'which determines itslength isobviously notanaesthetic con-
cernbutsimply what'fashion' willpermit. Theexaggeration ofthese
musical pointsisanintegral partofthesatire inthewords themselves,
andineachcasethemusical exaggeration serves especiallytopoint up
thewords which expressthephysical emphasis ofHedon's song(asop-
posedtothehigher spiritual significance ofBembo's discussionofthe
subject,forinstance).Hedon's accompaniment tooisinthebestfash-
ionable manner; ofparticular interest isthesyncopation establishedin
contrary motion between vocallineandaccompaniment atbar9,orthe
imitativepassagesatbarsI7-I8. Thepoint ofthese 'devices'
isprecisely
thatthey givenomeaningful emphasis tothewords: Hedonllassimply
adopted cliches
heretoo.Theaccompaniment intheChrist Church
manuscript isforviol,possibly forlyraviol,which wouldconcur with
9 The Courtier (ed.Raleigh),
BookIV,pp.355-356.
9 t--j Jw
u--;d- l;JIJ
or * .*-, S , - 4 j r J, - I s J
;
. .
/, J..'%T
}_*1. _ X,_, +_'-L.-f
*} ,_ .._ * M J1. 1
.s i t-F>.wrfuf,>' i"'5 "'!} !' /';{-tt$ri '4'hP' tZ
-4 w * * -
; + 2 AJBI
i--;i
,-J-1J-4.-;
}-
4 Ah;l ..;;v<< ..#[ Pk ai:r s"f /eO
/\q4K /* ).Jf&^*qe
/>
4-
. . . . -J-->
* *
s -
W - - k
. WAh
{i$sIt4*
++H*f4@}
J--
-
MARY CHAN 139
v - -
e- v * -
If
llJ
PlateI: Christ
Church
MS. Mus439,
pp.38-39.
MUSIC FOR CYNTHIA'S REVELS
140
theconversation inCynthia's Revelswhich
don'sperformance. immediately precedes He-
Philautia says:'forloue'ssakelet'shauesomemu-
sike,tilltheycome.Ambition, reachtheIyra, I prayyou'(IV.iii.23O
23 I), andjustbefore Hedonsings, Amorphus says:'Buthereisanin-
strument that(alone)isabletoinfuse souleinthemost
anddulldisposde melancholique,
creature vponearth'(IV.iii.236-238). Laterin the
scene whenAmorphus isabouttosinghisownsongabouttheglovehe
says:'I composed thisode,andsetittomymost
lyra'(IV.iii.303-304). Although aSected instrument, the
theaccompaniment of Hedon s song in
the439 manuscript isnotintablature theaccompaniment
forlyraviolforthemusic may well be
requires somechords. Thelyraviolhadre-
newed popularity incourtly circlesaround I600 when
introduced tocc)urt DanielFarrant
a newform oftheinstrument, aninstrument witll
sympathetic metal stringsbeneath thefin;erboard.l°
lation ofthenamelyraviolwiththeItalian Moreover, the re-
liraisprobably notacciden-
tal.Forexample, inhisessay 'Lechant orphique deMarsile
Walker points Ficin' D. P.
outthatthegreat Renaissance Platonist Ficino
panied hishymns tothesunonaninstrument accom-
which he himselfcallshis
Iyra andoften hisIyra orphica.1lDr.Walker saysthat
tions inmost representa-
ofOrpheus intheRenaissance heplays theliradabraccio
viol. He suggests ortreble
thatitisquiteprobable that, through Ficino's influ-
ence throughout tllesixteenth andevenwellintotheseventeenth
tury, Italian
andFrench cen-
humanist musicians showed a preference for
theviol.Inactual factthecormection between thelyraviolofseven-
teenth-century England andtheliradabraccio andliradagamba
slight: theonlyfeature isvery
theyhavein common is an abilityto play
chords. Indeed,asProfessor Dartpoints outinhisarticle
viol'inGrove, on the 'lyra
thelyra violissimply a bassmember ofthe viol
InHedon'suseofthe'lyra'Jonson family.12
is obviously making funofthe
courtly 'fashionableness'ofthe instrument andtllewaytheItalian
osophical' associations 'phil-
arepartofthis.
Cynthia's Revels isnot,however, allrealisticsatire ofthiskind.The
larger significance
ofJonson's criticismsiscontained inthesecond scene
10See F. W. Galpin,Old EnglishInstruments
ofMusic,4thed. rev.with
notes
by Thurston Dart (London,I965), pp. 68-69. supplementary
11D. P. Walker,'Le chantorphiquede
MarsileFicin',Musiqueetpoe'sieau XVIe siecle,
C.N.R.S.(Paris,I954),p. I7; p. I9. The nameis obviously
eloquent relatedto thetraditional and
instrument ofApollogOrpheus,andDavid: thelyre.
12 Grove'sDictionaryofMusicandMusicians,sth editioned.
I954),
v, 4S3- EricBlom,gvols.(London,
MARY CHAN 141
ofActI between EchoandMercury. 1hbeing mythic, rather than real-

istic,
asthemiddle scenes are,tllisearlyscene suggests thedeeper philo-
sophical implications
ofthelater satire.Echospeaks ofthose whohave
sinned against Diana:Actaeon andNiobewho,likeNarcissus, herown
beloved, havebeenguilty ofprideandself-love, of exalting them-
selvesaboveTruth. Thebalance between themythical Cynthia/Diana
andQueenElizabeth herselfsvho wastowatch tlleplayisnicely poised.
ItisMercury whogives Echoeloquence here,justasitisMercury rho
aidsCrites inthefinal
scenes ofthe play:significantly thesameMercury
whoamong thefalse
courtiers isdisguised asHedon's page.Thewayin
which Echo'sscene where sherelates thetragedy ofself-love iscutolf
from human actionandenclosed witllin,
andby,herowngrief, theway
inwhich allNaturejoinsinherlament,13 suggest a basisanda signifi-
cancefortherealistic-satiricalscenes which follow. Ina sense thisscene
isa distillation
ofgriefand presents oneextreme ofwhich theopposite is
thecompleteness, thewholeness ofvision, thetimelessness ofTruth itself
rhichCynthia's courtisandto>ardsanunderstanding ofwllich the
finalmasque andpalinode look.Ifwearetoaccept Thayer's suggestion
that theplayforeshadows Jonson's masques wemight point specifically
totherelation between themythic Echosceneandtherealistic scenes
withthefalsecourtiers as similar to therelation ofmasque to anti-
masque. As antimasque, theutter insignificance ofthefalsecourtis
properly andmytllically demonstrated whentllefalsecourtiers take
partinCynthia's revels.
Wemust nowaskwhatistherelation ofthesongthat Echosings in
ActI, sceneii,lines65-75 toHedon's songas itoccurs intheChrist
Church manuscript. A setting ofEcho'ssong, 'Slow,slowfresh fount',
occurs inHenry Youll?s toThree
Canzo^1ets Voices (I608), though this
version isusuallyconsidered unlikely tobethatusedintheplay'sper-
formance. Whilethismay, ofcourse, betrue, thereason generally given
forthis assumption issimply that thetext suggeststhat Echosings a solo
songwithaccompaniment, andYoull'sversio1l isforthree voices. On
examination, however, itseems possible thatYoull'sversion wasorigi-
nally a solosong, fortreble, thatthetwolower parts wereoriginally in-
strumental parts
andthat, later,words wereaddedtothese forpublica-
tion.Whilethisis purely hypothetical there areseveral reasons for
thinking thismayhavebeentllecase.Themusic isharmonically and
13 'Thehumorous
aireshallmixehersolemne
tunes
Withthysadwords.' (I.ii.62-63)
structurallycontrolledbytheverbal phrases
assetbytheupper voice
part.Considered asa three-partsongthecontinual shift ofwords, the
overlapping ofverbal phrasesdestroy anymeaningful relationshipbe-
tween Jonson'swords andthemusic. If,ontheother hand, theupper
lineisconsideredasa singlevocallinewithaccompanying instrumental
partscirclingandweaving aboutitthesonggainsa moreclearformal
definition;andalthough themusic isnotdeclamatory thesinglevocal
linepoints uptlleelegiac
significanceofJonson'swords. Jonson's song
comes astheclimax toa scene which exists
solelyasmyth: thatis,itis
beyond, andseparate from, dramatic time.Thesongitself mustbea
distillation
oftllemeaning ofthewholesceneandcomplementary to
thesongat theopening ofActv, scenevi: 'QueeneandHuntresse,
chaste,andfaire'.Itmust alsopointupthecomplete stupidityofHe-
don'sandAmorpllus' songs.Asa solosong, Youll'sversion wouldde-
finethisfunction forthelyric. Whiletheform ofthewordsiscon-
trolledbythemusical form, theCmood' ofthepoetry isalso,tosome
degree, expressedbytllemusic. Moreover, as solo,thesongremains
basicallysimpleinconstruction andstyle.
Ifwenowconsider these twosongs apartfrom their

actual
function in
Cyntlia'sRevelswemaymake thefollowing observations
aboutthem
aschildren's
musicfora courtly audience.Hedon's songobviously par-
odiescertain
specificcllaracteristics
andfortlleparody tobesuccessful
tllesemustbe recognizable as likelyto becomemerebanality. The
parody involvesparticularlya ridicule
oftheabuseofpopular Plato-
nism, andofself-conscious
adherence to'fashion'inpoetry andmusic.
Supposing that
Henry Youll'ssettingisthat whichwasoriginally used
ina performanceoftheplaythestylisticsimplicityofCSlow, slowfresh
fount'wouldrelateittootllermusic known to havebeenusedinclloir-
boyplays, musicpracticableforchildrentosing. Moreover,itS point in
thesceneisanideologicallysophisticated
one,onewhich draws itcloser
to mus1cusec1ncourt masques.
. . .
Fortheperiodbefore theclosingoftheprivate theatres-about I 590

comparatively
fewplays forchildren (apart fromthoseofLyly)sur-
vive.However, ithasbeenpointed outbyH. N. Hillebrand that ofthe
playswhich dosurvive itisnotuntil Lyly'splaysintheIs80sthat one
becomes awareofspecifically childdrama, ofa distinctionbetween
MARY CHAN 143
men's andboys'plays.14 AsfarasI amaware, thef1rstsonginRichard

Edwards' playDamonandPithias(I 564) iS theonlyextant songfrom an
earlychoirboy playwhicll isidentifiable
witha specific play,15though
severalconsort songs, largely'laments',havebeenthought tobefrom
playsnolonger extant.16Thisplaywillserve asanexample forcertainly
thiscouldnotbecalled a specifically
children's
play.Arkwright17 con-
sideredthatthemusical lament wasa newform inDamonandPithias,
though itspoetic form, the'set'speechderived from Seneca, wasnot.
In hisdiscussion ofSenecan influenceon pre-Shakespearean English
tragedy,WolEgang Clemen pOi1ltS
outthat thesetspeech wasoneofthe
most important places fortheexercise oftheartsofrhetoric. Itwasalso
a usefulwayofconveying thedramatic expression ofemotion orof
providing analysisofpassions.18
Dalnol1alldPithiasishardly dramatic.Itconsists,
rather,ofa sequence
ofattitudes,ofthoughts andideaslinked bya narrative thread. Atthe
climaxes,ofwhich Pithias'
lamcnt ('Awake yewoeful wights') isper-
hapsthemostimportant, there isnoattempt atrepresenting thesitua-
tionrealistically,
bysoliloquy asa dramaticimitation ofa stateofmind.
Theclimax ispointed upina completely differentway:bya cessation
oftlleaction andbyformal rhetoric.Thepoint ofthelament isnotto
representorexpress emotion butratllertore-createtheemotion within
a highly artif1cial,
formal, andimpersonal (orextra-personal) whole.
Themusical settingof'Awake yewoeful wights', forsolovoiceand
probably a consort of viols,complements theilllpersonalityof the
words andemphasizes tlleir
depersonalizationofpassion bycontrolling
within a musicalform thevocalemphases ofnatural speech. Thisisa
relationshipofwords andmusic observableinmany oftheextant con-
sortsonglaments, allofwhich probably datefrom theI560S and'70s.
14 H. N. Hillebrand, TheChildActors, University ofIllinoisStudiesin Languageand
Literature, Vol. XI (February Ig26),nos. I-2 (Urbana,Ill., Ig26).
15 'Awakeye woefulwights.' Thereis a setting ofthisforvoiceandluteaccompani-
ment,probablyadaptedfroma consortaccompaniment, in B.M. MS. Add. ISII7, f. 3.
16 See forexample, G. E. P. Arkwright, 'Elizabethan
ChoirboyPlaysandtheirMusic',
Proceedings oftheRoyalMusicalAssociation, 40thSession(I9I3-I9I4), p. II7; PhilipBrett,
'The EnglishConsortSong,I570-I625',Proceedings oftheRoyalMusicalAssociation, 88th
Session(Ig6I-Ig62), p. 73; PeterWarlock,ed.,Elizabethan SongswithString Quartet,
3
vols. (London,Ig26); PhilipBrett,Consort Songs,MusicaBritannica, XXII (London,
I 967)-
17 Op. cit.,pp. I27-I28
18 WolEgangClemen,EnglishTragedy before
Shakespeare, trans.T. S. Dorsch(Lon-
don, I 96I ), pp * 23-24-
I llavesuggested elsewhere19 thatthemusic indrama inthepublic
theatres,thedrama foradult actors,inthefirst decade orsooftheseven-
teenth century develops from thistraditionallyEnglish,serious,andalso
old-fashioned kindofmusic: theselaments aretllebasisnotonlyofthe
sophisticated andEnglish lute-song butalsoofpopular songs.20
Themusic forchildren's plays from those ofLylyonreflects itself
the
changes inthekinds ofplaystheboyswererequired toperform. Per-
hapsthese characteristicsarebestsummed upinHillebrand's statement
that 'thefundamental attraction oftheboyactors fortheJacobean pub-
licwasthewhimsical charm ofa masquerade'.
Attherisk ofoversimplifying wemaysaythat, ontheonehand, the
episodic character oftheSenecan typeofplaybecomes developed in
more strictly
'dramatic' waysinadult plays.Ontheother hand, itseems
tobe precisely thisepisodic character whichbecomes isolated inthe
laterdevelopment ofplaysvwntten especiallyforchildren.In Lyly's
plays theepisodic form hasdeveloped intovIhat G.K.Hunter hascalled
a 'seriesofstatic tableaux'.21 Moreover, inLyly'splaysthepastoral
worldprovides notso mucha myth as anescape:inbeinga world
whichis presented dS realistic rather thanmythic Lylys pastoral be-
comesmerely a background foraction, a worldoffantasy inwhich
anything ispossible,andofcourse, importantly, inwhich court satire
is
permissible. So inLyly's plays wehavedefined anassociationofmusic
withthefantastic andthefairy tale;andfantasy lendsitself
quitereadily
toanepisodic structure.Thisassociation ofmusic andthefantastic isa
significantcharacteristicoftheuseofmusic inchild drama after Lyly.22
19See myarticle:MaryJoiner,
'British
MuseumAdd.MS. I5II7: A Commentary, In-
dexandPsibliography',
Research
Chronicle
oftheRoyalMusicalAssociation,
no. 7 (I969),
p- SI-
See forinstance
20 thebroadsideballadversionof 'Awakeye woefulwights'and the
numberoftimesitismentioned as thetuneforballads.The balladversionis discussed by
JohnWard in'MusicforA Hai1defull ofPleasant Delites',JournaloftheAmerican Musico-
logicalSociety,x (I957), I67; andby ClaudeSimpsonin TheBritis11 Broadside Balladand
itsntusic (New Brunswick, NJ., I966), pp. I57-I59.
21 See G. K. Hunter,John Lyly,TheHumanist as Courtier(London,I962), p. IOI.
22 The authorship of thesongsin Lyly'splaysand theauthenticity of thesongtexts
Blountpublished inhiseditionofI632 havebeenthesubjectofmuchcontroversy. Hun-
ter,op.cit.,suinsup theevidenceintheAppendixtohisbook,pp. 3 67-3 72, andconcludes
thatBlountprobablyhad accessto themusiclibrary ofPauls'sboyswhencehe derived
hissongtexts.See alsothefollowing contributions to thediscussions
ofLyly'splaysongs:
M. R. Best,'A Note on theSongsin Lyly'sPlays',Notesat1dQueries, N.S. XII (I965), 93;
M. H. Dodds, 'Songsin Lyly'sPlays',TimesLiterary Supplefslent,
28 JuneI94I, p. 3II;
W. W. Greg,'The Authorship oftheSongsin Lyly'sPlays',Modern Language Review,I
MARY CHAN 145
Itisintllisrespect thatCynthia's Revels differs, from

deliberately, the
Lylian childdrama, foritspastoral worldofActsI andv ismytll and
notfantasy. Forthisreason Echo'ssongisa moreintegral partofthe
scene'smeaning than thesongs inLyly's plays are of the inwhich
scenes
they occur.
Theextant music forchildren'splays intheearly yearsoftheseven-
century
teentll llasbeenwelldocumented.23 BothSabola1ldLawrence
havesllown thatma1ly oftllesongs inThomas Ravenscrofts publica-
tionsalmost certainlybelong tothechilddrama andRavenscroft's col-
provide
lectio1ls examples
interesting ofthekindofmusic oneassociates
withchilddrama music
generally, asinterlude, music purelyforenter-
tainment with ornorealrelationship
little withtheplayitself. Thesong
textsaresimple, andalthough many ofthesongs arepart-songs24they
arenotreally contrapuntal: themelody isusually inthetreble andthe
other parts simply supportthisharmonically. Thesongs inalltheRa-
venscroft collections aremostly carlons, roundsandsimple imitative
polyphonic songs. Manyare related in styleto the canzonet anduse
obviously 'fashionable'musical devices, particularlyaffectivedevices.
Otl1ersareinthestyle oftheballet anduse'fa-la' ornonsense refrains.
Tllesongs areessentiallylightspontaneous, andfashionable andwhile
avoiding anyserious musical statement wouldhavea charin when sung
bycllildren. Thesongsare'popular' butunlike balladstheyarealso
self-consciously sophisticated.
Thecharacteristics oftllesongs inRavenscroft's andpar-
collections
ticularlythose belonging toplays, are important ifwe returnnow toa
consideration oftheChrist Cllurch manuscript andtoCya1thia's Revels.
(I905)9 43; W. J.Lawrence,'The ProbleinofLyly'sSongs',Tislles Supplelnent,

Literary
20 DCCeNlber p. 894; J.R. Moore,'The SongsinLyly'sPlays',PMLA, XLII (I927),
I923,
623.
23 Sce especially W. J. Lawrence,'ThomasRavellscroft's TheatricalAssociations',
Modcrtl Latl<qage lVelviezu,
XIX (I924) 4I8; A. J. Sabol,'Ravenscroft's alldthe
Melisl71ata
ChildrellofPauls'', Renaiss(lel.^e Nelvs,XII (I959), 3; A.J.Sabol,'Two Unpublished Stage
Sollgsforthe"AeryofChildren"', Res1aissaflce Netlws,
XII (I960), 222; A. J.Sabol,'Two
SOIlgS urith Accompallilllent foran Elizabethan ChoirboyPlay'gStldiesiszt11e Reelaissance,
V (I958), I45. PeterWarlock's EliaDetllanSol1gs containsulanyearlylaments, andPhilip
Brett'sCoslsort SOilgS, MusicaBritanllica, XXII (Lolldon,I967), colltains bothearlyla-
nelltsandsomepOSt-I600consortsco1lgs.
24 SCe forexaIllplethesongsforT 11e MaydesMetal110rpZl0sis: 'By theInoonwe sport
andplay',A Briefe no. 8; 'IollyShepherd',
Disco1srse, Pal1ll7leZiaXno. 3; and'Roundabout
in a faireriilg',A BrieJe no. 9. rthefirst
Disco11rse, tsroarebyRavenscroft himselfandthe
thirdis asclibedto 'J.Beimet'.
ofYoull'ssonginActI, ifitisconsidered
Thecharacteristics asa solo
havemuch
song, incommon withthoseofthe Ravenscroft songs,par-
inthesimple
ticularly useofaGective andthebasically
devices simple
melodicline.On the otherhand,'O joys'
the which Hedonsings in
ActIVappears toparody the wayin which fashionabledevicesare ap
tosimple
plied tunes withoutmuch regardforthemeaning ofthemusic,
notonlyoftheRavenscroft butmore
tooischaracteristic
andthis songs
ofthewholeconcept
specifically ofchilddrama afterLyly, drama for
anaudiencesophisticated, educated,
musically but desiringprimarily to
thekindof
Itis,infact,
beentertained. audiencethatHedon thinkshe is
singingto.Anditis precisely which
thesecharacteristics the Christ
Church manuscript very
possesses markedly. Whileitisperhaps un-
wisesimply ontheevidence ofCynthia'sRevelstosuggest thatitisa
associated
collection with
specifically theChildren ofthe Chapel, espe-
whilethere
cially remainsuncertaintyaboutthe company and the date
oftheplaycontaining theonlyother songinthemanuscript iswhich
witha specific
identifiable nevertheless
play,25 itseemsatthis stagerea-
sonabletosaythatthemanuscript suggeststhe repertoireof a choir
andonewhich
school, wasclosely withthecourt.
associated
Church
Christ MS. Mus439 measures I0.75 X 7.50 inches.Thedateofthe
isnotknown
collection andthere isno authority forbelieving thatit
wascompiled atonetimebyoneperson. Neverthelessthisseems tobe
forpieces
a possibility ofa certainkindoccur, mainly,together andasI
attempttoshowinwhatfollows thecollection appearstohavea unity
ofpurpose. Thedateofthemanuscript is suggestedby G. E. P. Ark-
wrightinhisCatalogue ofthe Manuscripts inChrist Church Library asbe-
ing'earlyI7thcentury' andI havenomeans, other than theevidence of
themusic itself,ofgiving a moreprecise date.
Mr.H.J.R.WingofChrist Church Library haskindly given mein-
formation onthewatermarks ofthepaperand although thisisincon-
I record
clusive itbelow.Thewatermark isa 'pot'mark and bearsthe
'N.B.'.Thetoppartofthemark,
initials including issimilar
theinitials,
toBriquet I2770 (Clervaux ISS3)but the bottom ofthe
part mark most
resembles
closely BriquetI2772 (Amiens I598).26Thepaper isprobably
25 'Heares I',p. 39 fromEverie
nonbutonelie Woman inherHumor: seeabovep. I34
andn.4.
LesFiligranes,
26 C. M. Briquet, 4 vols.(Paris,
I907).
MARY CHAN 147
thereforelatesixteenth-century French though thewatermark cannot

bemorespecifically identified. Mr.Wingsupports Arkwright's dating
oftllellandwriting asearly seventeentll century.27
Onlyoneoftlle pieces intllemanuscript identifiable witlla composer
or a printed source is latertllanI609. Tllisis Campion's setting of
'Tllougllyour sadnes frettsmyllarte' (p.26) WhiCh occurs inCampion's
SecondBoolkofAyres(c. I6I 3) . However, atleastthewords oftllesong
areearliertllan I6I3 for a settingoftllem by RobertJones was publislled
inI609 inhisFourtlx BookofAyresandCampion's settingmaywellbe
evenearlier thanthis.
Themanuscript contains a number ofsongsbyFerrabosco, allof
which were printed in hisAyres (I609). Although the versions in the
439 manuscript follow tllose intheI609 edition (voicepartandbassus
only)there areslight variants which suggest that they werenotcopied
from theprinted textforinmostcasesthey appear nottobecopyist's
errors.Tlleornate version of'Wllystayes tllebridgrome' (pp.60-6I)
from BenJonson's Haddizgton Masque (I608) quite obviously is not
taken from tlleedition ofI609. Altllougll itislikely tllat
many oftlle
Ferrabosco songs existed inmanuscript wellbefore publication
tlleir it
isllotlikelytllat eitller masque
tllis song, tlletllree from Jonson's Beautie
onpages 93,94, and96, or'Ifalltlleagesoftlleeartll' onpage95 from
Jonson's Qtleetles (I609) existed before tllemasques towlliclltlley be-
long.Tllismeans tllattllesongfrom Queelzes(p. 95) iS tllelatest date-
ablepieceintllecollection. Iftllemanuscript wascompiled overa sllort
periodoftime itwouldbeabouttllis date. Tllere is no very strong evi-
dence fortllinking tllemanuscript islater thantllis.
Tllemusic, ormusic andwords, orwords aloneoccur ontllefollow-
ingpages:I-40,42-54,56-78,80-86,88-98, I00-I20. Pages4I,55,79,
27 Therearetwo references in themanuscript itselfwhichseemto providesomehelp
withdating.On p. I I4 (reversing themanuscript) thereis thedateI 634 intheright-hand
marginand an inscription whichis now impossibleto decipheras theleafhas been
trimmed too closely.Neitherthedatcnortheinscription appearstobe inthesamehand-
writingas themusicon thatpage,or indeedelsewhere in themalluscript, and tllissug-
geststhatthedateandinscription arelaterthanthecontents ofthebook. On p. 69 there
to 'MrsElyzabeth
is a reference Hampde[n]'.However,thisistoovaguetobe ofvaluein
dating.The reference couldbe to thewifeof WilliamHampdenof GreatHalupden,
Buckinghamshire. SinceshedidnotdieuntilI664, however,tI-lis referenceisnothelpful
in providing an upperlimiting dateforthecollection. However,thcnoteon p. 68 at the
endoftheIllUSiC whosesecondversetogether withElizabethan Hampden'snameoccurs
on p. 69 saying'ThisMusicis oftheflurishing agc ofEliz.' suggeststhatthispiecewas
copiedintothemanuscript sometime afterI603, i.e, afterthedeathofQueenElizabeth.
87, and99areblank. Tllemusic onpagesII6 andII7 iS written upside
down.A notesigned B. K.Jeffery pasted intotllefront oftllemanu-
scriptpoints outtllattllepieceintablature onpageI I4 WlliCh appears to
beunfinislled isinfact continued onpageII6. Tllemusic onpagcII6
iscntitlcd 'Jenny'.
Tllcre isa listofcontents pasted totlleinside front coverandtotlle
flyleaf.Tlletllree blank leavesattllebeginning andtlletmro lDlank lcaves
attlleendoftllebookwereinserted bytllebinder andarenotpartof
tlleoriginal manuscript.
Tllcnlusic isforvoiccwitllbassaccompaniment, forbassviolalone,
andintablature probably allforlyraviolwitlltllepossible exception
oftlletablature onpage46. Intllis piecetllere aretwocllords mtlllichin-
volvestrings notadjacent tooneanotller. Tllisrnay bea copying error:
andcertainly tlledifficultyoflyraviolpcrformance isrcmoved by,in
oneinstance, lloldingtllepreceding noteoverintotllecllord, andv intlle
otllcr,anticipating tllefolloring note.Botllsolutions makegoodmusi-
calsense.
Probably tllefirstcllaracteristic
onenotices onsimply looking tllrough
tllecontents istllattlleworkoffour composers predominates. Tllisim-
pression isgiven partly because ineacllinstance tlleworks occurclose
togetller.Tllefour composers areWilliam Byrd, Alfonso Ferrabosco,
John Doveland, andRobert Jones.Tllelargest number ofpieces bya
single composer istlleworkofFerrabosco. Atfirst sigllttllisdoesnot
seemparticularly important: weareinclined totllillk themarluscript is
simply anotllerprivate collectionof'favorite pieces' andtllese com-
posers allpopular andwellknowrt, llappened tobetllecoznpiler's fa-
vorites.Wllilewecannot atthemement definitely reJecttllisexplana-
tiO1l,
tlleevidence provided byt]lerest oftllecontelltsoftllernalluscript
andbysonleinteresting cllaracteristics
oftllecollecticonseenltostlggest
tlzat
wemigllt profitably loolzfurtller.Wesllould lookfirstatthemore
positive andclear-cut evidence.
Thelllartuscript contains severalSOllgS wllich areevidelltly adapted
fronl consort So1lgS-for solovoiceandseveral viols.28Altllougll, of
course, notevery co1asort Setlgbelongs to a play,nevertlleless illtlle
earlychoirboy plays tllis
wasa very common arra1lgement ofsolosong
andaccomLpaniment. Olleoftllese consort songs intlle439lllanuscript,
28 Fora discussion ofconsortsongsalldtheiruseinchildrell's
playsespecially,
seePhilip
Brett,
'TheEnglishConsortSong,I 570-I625', Proceediflgsofflae
RoyalMalsicalAssociaf
ion,
88thSession(I96I-I962), p. 73.
MARY CHAN 149
'Venus birds(p.IO3), iS byJohn Bennet wlloisknown tohavewritten

tllemusie fortllecllorus, 'Round aboutina faire ring'(forTlxeMaydes
Metamorphosis) wllich waspublislled byTllomas Ravenscroft inllisA
Briefe Tllesongisnotascribed
I:)iscotfrse. intlle 439 manuscript butitllas
6eenascribed to'Jo.Bennet' ina five-part instrumental version inB.M.
MSS. Add.I7786-9I (no.25)7 a collection which contains several con-
sortsongs almost certairlly from clloirboy plays. Furtller evidence for
suggesting that'Venus birds'belongs to a play isprovided bya com-
parison oftlle439 manuscript version withanotller, almost certainly
later, versioll inSt.Micllael's College, Tenbury, MS. IOI8, £ 48. Tllis
version isalsofortreble (oralto)andbassonly, butitgives a significant
variant intllewordsatbarg wllere it alters 439'S 'partakillge lliblaS
wrrongs' to 'partaking ofmywrong'. It is conceivable tllat'llibla(s)'
refers tosomecllaracter ina playandtllat astllesonglater became pop-
ularoutofitscontext tllerordsbecarne altered andlessspecific. Fur-
thermore, tllevoicepart inboth the43 9 and tile Tetlbury versions is tlre
altoorsecond part astlleparts occur intllefive-part version (B.M.mss.
Add.I7786-9I). Iftllesongdoesbelong toa playitwouldalsoseemto
belong toa partwllicll vxould begiventoanolderboy.
TlleCllrist Cllurcll malluscript contains twoother songs, lessserious
in style, tllatoccurelsevrllere as consort songs. One of tllese, 'Tllis
merry pleasant springe' (p.42),like'Venus birds', occurs illtlle13ritisll
Museum partbooks (MSS. Add.I7786-9I, i-iV, Vi: £ 8v),29 andthe
other, 'Houldlingel 11ould' (p.74)occurs inRoyalCollege ofMusic
MS. 2049 (i: f.7; ii-iii, f.7v; iV: £ 6).30 Tllissecond songisincidentally
interesting foritsuseoftlle'domingo' refrain common indrinking
songs andmadefamous bytllesong'Monsieur Mingo'settoLassus'
music for'Unjourvisunfoulon'.31 Thesongmakes useof'old-fash-
ioned'progressions especially intllerefrain whicll might suggest itisa
popular songandquiteearly. Sinceitexists ina sopllisticated consort
29 The sollgoccursas treble and bassonlyin B.M. MS. Egerton297I, f. I6V, and for
voiceandluteaccompaniment inKing'sCollege,CambridgeX Rowe MS. 2, f.gv.See also
Brett,Coulsort SOllgS, pp. 62 and I84.
30 The songalso occursas trebleand bassonlyin B.M. MS. Add. 24665, f. 34V. See
Brett,Coulsort SOllgS, pp. 60 and I84.
31 J.R. F. Staincr, 'Shakespeare andLassus',TheMtlsiCaZ TifZles, XLE (I902), I00; J.P.
Cutts,'The Origirlal Musicto a Song in 2 HenryIV', Sllalzespeare Quarterly,VII (I956),
385; F. W. Sternfeld, 'Lasso'sMusicforShakespeare's "Samingo"', Sllatespeare Qzlar-
terly, IS (I958), I05; ThomasNashe,suf71f71ers Last WiZland Testafstcllt,n1 Works, ed.
R. B. lNIcKerrow, 5 vols. (Oxford,I958), III, 264, 267, 269, and IV, 433.
songsettingitismore likelythat
itdeliberatelycopies
popular songand
tllis
makes a playcontext alsoprobable.Itisprobably postI600.32
Mostinterestingina consideration
oftlleseconsort
songs,allofwllich
probablybelong topost-Lyly plays,is a songwllichis evidentlyin-
tendedasa parody ofearlierclloirboyconsort songs,
tlledramaticla-
ments.Tllesongitself, 'Sweett
wantton wagg'(p.66),wasprobably a
consortsongforitsbasssuggests animitative instrumental
accompani-
ment. Tllesongparodies musicallytlleconventionalending ofmany
laments'O pity' or'I die'repeated
adnauseam, asforinstancein'Pan-
32 Boththeother sourcesarepOst-I600 alldshowaninterest inchildren's

musicmainly
ofthisperiod.(One exception in B.M. MS. Add. 24665,GilesEarle'sbookis 'Howe can
thetree',fs.27v-28,whichalsooccursin a consort-song versionin ChristChurchMSS.
Mus 984-988,no. II3. This manuscript was compiledbetweenI58I and I588.) Giles
Earle'smanuscript formsan interesting comparison withthe ChristChurchMS. Mus
439.ItisdatedI6I5 whichisprobablythedateatwhichthecollection wasbegun.See the
editionofthewordsofthesongsbyPeterWarlock,GilesEarlehisBooke(London,Ig32),
andthearticlebyJ.P. Cuttson one songin thecollection,' "VenusandAdonis"in an
earlyI 7thcentury song-book'NotesandQ?weries, N.S. X (I 963), 302.Themanuscript contains
twoidentified songsfromchildren's playsandseveralothersthatsuggest a choirboyplay
context. The twosongsidentified withchildren's playsoccurtogether: 'The darkeis my
delight'(fs.s8v-sg)fromMarston'sTlieD?wtch Co?wrtezan and'Yf I freely maydiscouer'
(fs.sgv-60)fromJonson's Poetaster.
See alsoA. JvSabol,'Two Unpublished StageSongs
forthe"AeryofChildren"', Renaissance News,xm (Ig60),222.Othersongsin theman-
uscript whichmaybe fromplaysare:'Vnkindedeath'(fs.36v-37),'Restmeeheare'(fs.
37v-38),'Sound yee sheppheards' (fs.4sv-46), 'SweetMuses,Nursesof delights'(fs.
ssv-s6), and 'Fromye hagg and hungrieGoblin' (fs.73v-74).For discussions of the
theatrical possibilities
ofthislastsongandstudieson it seeStanleyWells,'Tom O'Bed-
lam's Song in KingLear',Sllakespeare Quarterly,XII (Ig60), 3II; and F. W. Sternfeld,
M?wsic inShakespeareanTragedy(London,I963),pp. I77-I80. ChristChurchMS. Mus 439
containstwo songswhoseonlyotherextantsource,as faras I am aware,is GilesEarle's
manuscript. The songsare'Ayeme canlove andbewtiesoe conspire'(439,p. 30; Earle,
fs.6v-7) and'Artthouthatshee'(439,p. 36; Earle,fs.52-53).Thislattersongsuggests a
context:certainly dialoguesongswerepopularbothwithintheplaysand as interact
music.The former displays
a consciousnessof'new' andfashionable devicesofaffection,
devicesofthekindthatareridiculed byHedon'ssong.Boththeopeningofthesongand
therefrain ('breakehartein twaineto end thispaineandwhileI dyethuswill I crye')
provideexamples.Indeed,therefrain reminds one ofa verysimilarsequential passagein
Wilbye'smadrigal'Thou artbutyoung'fromhisFirstSetofMadrigals (I598),no. 29. In
theexampletheinnerpartsimpliedby thesequencesin bothtrebleandbasshavebeen
filledininsmallnotes.Fora discussion ofthesongsbyDowlandandJones inGilesEarle's
book seebelow,nn. 56 and63. Whenall thisis takenintoaccountthereis muchin the
GilesEarlebook to suggestmorethana personaleclecticcollection. The evidencefor
suggesting thatitrepresents
therepertoire ofa children's companyisnotas strong hereas
it is in theChristChurchmanuscript, butnevertheless thebook mayrepayclosestudy
fromthispointofview.
2 . 4 : t ! U [ r. . 2 lo 11
MARY CHAN
151
dolpllo'33
or'Awake yewoeful wights'34inmuchthesamewayas
Shakespeareparodiestheoldlaments inPyramus' finalspeechinBot-
tom'splayinA Midsummer Mght'sDream(air.i.2g6
f.).In'Sweettwant-
tonwagg'moreo;rer tlleexaggerated
tri;riality
ofthewords heiglltens
theparody, especially
inthefmal barsoftllesong(Plate2).
T zereareot.lersongslnt.le439manuscrlptw.loseDass parts
suggest
thattheyareonlyonepart ofanimitati;re
instrumental accompaniment
andwhich areprobably thereforeadaptedfrom consort-song ;rersions.
Oneoftllese, 'Tllemarygould ofgoldenhew'(p. I8) iS ascribedto
'mrLeo Woodson.Woodson wasa 'singingman'at St.George's
.
'Ayeme, canlove and bewtie'
ib t f | f d "d i li 2 thi lq j d i I
breake harte in twaine to end this paine alld while I dye thus
Sb t t 1*5 t F 8? 1! t P ¢ 1< 4
4 $H1 st 1t
< 'I
wi 1 I cr; re
Wilbye:'Thou artbutyoung'
And thou shalt wish ( t wish - es a 1 shall f il the;) lnd
:s -I 1 01 ! I
4 :y i a;SIS L :, j 1; ; 11
thou shalt wish (but wish- es a shal; fail the)
33 Thisis perhaps
oneofthebestknownofthelateI6th-century laments.Itis ascribed
to RobertParsons,andhasbeenprinted andeditedby PeterWarlockin hisElizabethan
Songs llwitlt
StringQuartet,
II, I6. See alsoBrett,ConsortSongs,pp. IOI4 and I78.
34 FromDamon andPitltias,
seeabo+re, andB.M. MS. Add. ISII7, f.3.
f t ;--t--it R my < f ltf mis - tries r eyes f [>
From

Cllapel,
Windsor,
under Nathaniel
Gilesandwas,at Giles'request,
;ivencharge
of'theteaching,
keeping,
dieting,
ordering,
andlodging
Sweett
wantton
wagg
]
4S-S "j---iX_i<_Pr;
I J Jt J2-t-t 2 1 ---
lfant - ton wagg whose chaire of state is mount- ed is
- f -1-2_j-
f > E -I JI
X 1E25] 1 l j JI I r
dred di - et - Jr: oh pit - ty me oh
§fa : f I j | f ¢f | f I r j : |J : I
r
4t E3n:
Gr Ir GC 1J :TS ; ! !
pit - ty me pit - ty pit-tie me pit - tie plt-tie me
- t J r ]f I I< [353
1f 5 1
tSb - J | 2. 2 5 | S : | : 5 2 | t° 1l
o pit - tie pit - tie me oh pit - tie pyt - ty me.
4t Jf; f I: 1S. 1212 2 0 o 4

2: Christ
Plate Church MS. Mus439, p.66.Bar6 troble:
Dottcd
minim
rest
is
editorial.
Bar37bass:Thirdrlote
irlthebarMS. gives
d.
r . . . . . ^ .
MARY CHAN 153
ofthe. . . choristers'.35Thereis,ofcourse, nospecific indication that

'Thernarygould' belongs toa play, butitislikely thatWoodson wrote
itforthechildren toperforrn.36
Another cornposer besides Woodson whowasdirectly concerned
withchildren's rnusic andwhoseworkoccurs intheChrist Church
manuscript is Natllaniel Giles, oftheChildren
l&Iaster oftheChapel
frornI597 until loisdeath inI633 andMaster oftlle ChoristersandOr-
ganistatSt.George's Chapel, Windsor, frorn I585 toI633. There are
twosongs ascribed tohirn inthe439 rnanuscript. Oneis'Haynolmy no
rnenarfooles' (p.5I), ascribed 'rnrGyles',
sirnply andtheother is'O
hearerny prayer Lord'(p.64), ascribed 'MrNathaniel Gyles'.Thissec-
ondsongbyGilesisnottheonlysacred songin tlle there
collection: are
others
three byWilliam Byrd37 andonebyThoznas Weelkes.38 While
itcannot beargued that these songs areassociated withchoirboy plays,
theoccurrence ofthese sacred songs,withsecular songs,illthepresent
context provides strong support forthernanuscript's representing the
repertoireofa clloir scllool.
1zet1rst So1lg DyG1es1S s1m1 arlnclaracter totzelnter uce type ot
songinother cllildren'splays referredtoearlier inthispaper. Whileit
couldhardly havehadanintegral drarnaticcontext, as 'Venusbirds'
couldhavehad,itissirnilar tothelight, alrnost nonsense songs,ofthe
Ravenscroft collections, whichhavebeenidentified withplays.The
songprobably originally existed witha fulleraccornpanirnent, oreven
withother vocalparts thougll itisobviously hornophonic incharacter.
Likernany oftheRavenscroft songsitdepends foritseffectonstrong
andvigorous rhythrns andsirnple ofthese.
distortions
Several other So1lgS inthernanuscript seern related totheballet type
35Seeanentry intheChapter Actsfor5AprilI605 which isquoted infullinthearticle
onWoodsoninGrove,op. cit.,IX, 36I.
36Other songswhosebassparts thebasspartofa consort
suggest accompanimellt oc-
curonthefollowing pagesofthemanuscript: I4, 64-65, I I I . Thesong onp. 9,'O mor-
tallnzan',which isascribedelsewherc toThomas Weelkes mayalsobeadapted herefrom
a consort-song arrangement ofthefour-part anthem. Thesongis reprinted inMusica
Britannica, xv,I6I, andXXIII, 59, andfulllistsofsources aregiveninthenotestoboth
theseeditions. Ofthesongswhichexistas consort songsinprinted sources arethetwo
parts ofthesong(pp.I08-I09, I09-I I0) from Richard Allison's AtlHovresRecreationin
Mllsic(I606), nos.9 andI0, andninesongs froln William Byrd's Psalssls, Songs
so?lets a?ld
(I588) whichoccurinthemanuscript onpages:54, 58-59, 82, 82-84, 84-85, I02, I04-

I05, I05, I06-I07.
37 (p. I04),
'Lordinthywrath'(p. 84), 'Mysouleopprest' '0 Lordhowlonge'(p.
I06) .
38 '0 man'(p.9).
mortall
154 MUSIC FOR CYNTHIA' S REVELS
ofsongcommon inRavenscroft'scollections. Ofnotehereisa group of
three songs byThomas Weelkes which occurs inthemanuscript imme-
diately before Giles's 'Haynonny no' (pp.48-50). Thesethree songs
('Lateinmyrashaccountinge', p. 48, 'Ha hathisworlddothpasse', p.
49, and'Thenightingall theorganofdelighte', p. 50) andtheother
songbyWeelkes ('Fowerarmes', p. 8) wereprinted inhisAyres,or
Fantastic Spirits(I608) where theyalloccuras three-part songs. 'The
nightingall', like'Thismerry pleasant springe' (p.42) mentioned ear-
lier,isa birdsong, andseveralofthese alsooccurinthelightest ofthe
Ravenscroft collections,Pammelia(I609).39
Inhisrecent study ofThomas Weelkes, DavidBrown hasobserved
thatintheI608 collection especially thepoems setshowa widevariety
inbothstructure andcontent.40 Henotes that
among theusualmadrigal
typeofverse inthepastoral veinthere aretwonewtrends- 'topicality
andcynicism. A goodnumber oflyrics seemtorefer todefiniteocca-
sions often involving dancingandalluding torealpeople.'41Mr.Brown
concludes thatmany ofthepieceswerenotcomposed especiallyfora
madrigal collection butwere,infact, occasional pieces. Someofthe
pieces showthatalthough probably inChicester atthetimeWeelkes
must havehadcontact withLondon circlesandfashions: forinstance,
number I0, 'TheApe, theMonkey andBaboon', which isa satireon
these.
Whatwouldbethe'occasion' fortheWeelkes songs inthe439 manu-
script,andhowcouldthey havebeenwritten for,oratleastusedin,
children's performances whenWeelkes spent hislifeemployed first
at
Winchester andthenatChicester? Mr.Brownposesthesamekindof
question. Inthesection onWeelkes's lifehesays:
InviewofWeelkes'early
brilliance,
itseems amazingthat
thecovetedroyalappoint-
mentshould
haveeludedhim.Itwasoncewithin hisgrasp,
foronthetitle-page
ofhis. . .
Ayres,
orfantastic
spirits voices(I608), hestyles
forthree himself"Gentleman ofhis
Majesty's
Chapel,"butthis
istheonlyrecord ofsuchanappointment.Itseems
that at
mosthewasa Gentleman Extraordinary, forhismusic isnevermentioned inthe
records
oftheChapelitself.42
Theoccurrence
ofthesongsin the439manuscript
mayanswer
the
39 SeePammelia,
nos.8,20, 54, 6I.
40 DavidBrown,
Thomas Weelkes (London,
I969), Ch.VI,
pp.II9 f5.
41 Op. cit.,p. I20.
42 op. cit.,p-33-
MARYCHAN 155
problem; itcertainly highlights

thismystery ofthemeaning ofthein-
scription onthetitle pageoftheAyres . . . (I608).
Cavendish's 'Every bushnewspringinge' (p.70)alsobelongs tothis
ballettypeofsong.TheSo1zg occurs twiceinCavetldish's Ayres and
Madrigalles (I588), onceforCantus andBassus with luteaccompaniment
(Sig.d.2v)andlater inthebookforfivevoices(Sig.L.Iv-L.2).Itisthe
five-part, rather thanthetwo-part, setting xvhich the439 manuscript
follows: thebassus partofthis arrangement differsslightly from thatof
thetwopart version. Wherethe439 manuscript version repeats(bars
8-I3 andIg-2s)itgives Cavendish's altusrather than cantus asthevocal
lineandthebassaccompaniment borrows from thetenor ofthefive-
partsetting whenCavendish's bassus hasrests. Incomparison withmy
discussion aboveof'hiblas wrongs' in'Venus birds' weshould consider
thereference in'Every bush'to'poorNicho';foralthough thenaming
ofcharacters innondramatic lyricsisnotrare, stilla referencetoa cllar-
acter ina playseems likelyhere,especially whenoneconsiders thesty-
listiccharacteristics. Oneofthemost interesting ofthese isthe'downe a
down'refrain which hasmany precedents andisfowld illseveralofthe
Ravenscroft songs.43
Whilewemust remain uncertainofa context for'poorNicho'there
aretwoother songs inthe439 manuscript which seemmoreclearly to
imply a context ofprecisely thekindprovided bychildren's plays.44
Thefirst ofthese is'John you're myhusbandes manyouknowe'(p.I6)
which likeother choirboy playinterlude songs hasa simple narrative
poetic form andsuggests someaccompanying action. Itsrefrain issimi-
lartothat ofthesongpreceding it,'Mymistress lovesnoexvoodcokes'
(p. I4), whose lbass accompaniment mayvery wellbethelbass ofa con-
sortversion andwhich couldalsogainpointasaninterlude songina
dramatic context.
43 Whileitis impossible tosingleonesongoutofhundreds weshouldbearinmirld
herePhilautus' referenceto'theolddownea downe'inEverie Womanin herHul110r, Sig.
E.IV. Cutts(RenaissanceNews, XVIII, 2I3) suggests
a songbyFrancis Pilkington here
which beginswith'Downa down',butthissuggestion isasarbitrary asanyotllerwould
be.Twopoiilts canbemadehowever: (i) thattherefrainiswidely known andtremen-
dously popular; and(ii)thatthesinging ofitmakesa pointin a playwritten fora so-
phisticatedandcourtly audience.
44 See forexample thelittlenarrative comicinterlude-song 'Whatmeateatsthe
Spaniard' inMiddleton's BlurtMasterColtstable.Thesongoccurs intheBritish Museum
partbooks Add.MSS. I778g9I andis transcribed anddiscussed byA.J.Sabolin'Two
SollgsforanElizabethan Play',Studiesin tZleRenaissance,v (I958), I45-I59. See also
Brett, C01lsortSongs,pp. 92-93.
Boththese songsareimmediately preceded bya songwhichmust
nowcausea gooddealofinteresting speculation, initscontext inthe
439 manuscript. Thisisa son;abouta marriage between a frog anda
crab:'There wasfroge sw-um inthelake'(p.I2). Although there exist
other songs ofsimilar themes, tllisonedoesnot,asfarasI ama-ware,
occur elsewhere. Thissongisalrulost certainly political inthesellse that
itprobably refers inallegory to anactual situation.45 I. andP. Opierefer
totheearliest known songabouta frogasoneofthe'sueit melodius
sangis' theshepherds singinThe Couliplayt of ScotlZ1de (I549), begin-
ning'Thefrog camtothetnyl dur'.46 Theysuggest that thisisthesame
as'A rrloste Stranp;e vwTeddin^,e oftheffrogge andthemowse', a ballad
licensed byEd+^rard White, 2I November I580, and that thetext ofthis
is probably preserved in Ravenscroft's Melismatcz (I6II), 'It wasthe
Frop;gc inthewell'(Sip;. F.IV-F.2) . Thepresent songoftnefrog andthe
crabmustdepend foritspoint partly onitsnotbeingtheonlySo1lg
abouta frog. Thesongma-coincide indatewithtllerevival oftlleold
song, somethirty years later tlzantllefirstreferences toit,andthelicens-
ingofthatsongasa ballad, inI580. Itiste1zlpting toassociate thein-
terestin'frog' songs withthesrooing ofQueenElizabetll bytlleDuke
ofAlenScalluThom Elizabeth nicknamed her'froggie' . Moreparticularly
thefate ofthefrog in'There wasa froge' couldbesaidtoreflect Alen-
con's. A songofthis kindcouldvery wellhavebeenincluded ina per-
formance bychildren; andindeed children's plays wereoften permitted
a license andfreedom ofreference andsatire whichwouldnothave
been allovwedfrom older actors. Whatappears charming andpert from
children wouldappear asoffensive andserious criticism from adults.
Themanuscript contains another piecewhich maybeassociated with
Alencon/frog songs. Thisis'Nowo nowI needs must part'(p.45)by
John Dowland, a piecewhicll waspopular as a coranto inaninstru-
mental version andknown initsinstrumental form as the'Froggal-
liard'.
Ithasbeenwidely supposed that this titleoriginates from the | J
rhytllm, suggestive ofa frog jumping: ontheother hand, svhy particu-
larlya frog?John Wardhassuggested that thesongmight 'havesome-
thing todowiththeprotracted courting ofElizabeth bytlleDukeof
AlenSon'.47 We knowthatAlenVon wasanobject ofgreat mirth and
45 See I. and P. Opie, TheOnsford DictiofagTry
ofJ\TIlrsery
Rhyszles
(Oxford,I95I), pp.
I77-I8I.Opie doesllotmention 'Therewas a frog'.
46 0w, cit.,p. I 79-
47 JohnM. Ward, 'AproposTlleBritisSl Broadside
BalladanditsMusic',Jorarnal
ofthe
Atzlerican
Musicological Socicty,
xx (I967), p. 44.
the
51 pnniing
vxd Pt rof lue songs
(IXg)} reaching
33* The don ofitbte
peak amdztl:e
songs on ppX of
prs 2.
MARY CHAN 157
ridicule
whilellewasinLondon andit iSlikely
thatthepopular
t en-
titled
'Moumiegs Almaine isnamed inridicule
oflum.48Whynot}
thenaalsothesFrog(>lliard>anequally popularpiece?Certairlly}
a
Wardpomts om thewodsofDowlandis seting(nd thoseinthe43p
version)arenotinappropriateifie songwaspopular onAlensons
aunt.45
TherearefiveoNerDowtlanxl songs inthe439manwcript andfour
ofthesehavebeenshown tohavespolitical implicaizonstoo.50 Furier-
more} threeof6e arefrom DowladisSaotlgl Book?fAyres (I600)2
thepublishingofwhich casedsome mzuble to spolitial} refereTres
ofmany ofdlesongs m I ollstion,tgeXr withsomefFom
*seFa?st
BOokefAyres aredissed ina most persuasive
(Isg7) article
byLillian M Ruff andD. Arnold Wilson:sTheMadugal} theLuee
SongandElizabeehan Politics.5tTheauthors basetheir study on the
anstocratic
ailiations
ofbothie madugal andlutesongandshowiat
whiletheElimbethm madrigal wasSf theoldCaiolicnobility **. an
incantatoryexprerion ofhopefill upper classes}
appropriat inm age
wheneachlloBehold wasinsomesense self-contanecl$ ontheoier
handsthe lutesong}coming sixyears afterthemadrigal hadventurA
mtoprintitnpinged ontlleCatholic ethoswi someofie tensiom
andserainsofthemetaphysivl poets'.52Theauthors seetheprineing of
.
macaga sasmaczmg
+
13
+ . 1*
pea.epAlOd mt r
Qtt
}
S
* *l
W Fle year tumpS l m
Essexis
downfallIn partiwlar, seeX problems
theauthors over the
publishing
ofI)owladisSecotld
BookofAyres
(X600) asdirutly
rdated
48 Se thenotaw SiMeyBd t this

pieceinhisdtion ofMorlqrss
h qf F
fLssots (I5ggand I6II} t9W>rk} Mo-
I959)5p I9I>SUti;:ltie
sier}ottlledtlemwreir toAlenn forxtwasastomary toa*ess thessondsonor
nenyotulrbrother ofthe kingofFce bythisdtle.He points outtoo howevs}iat
C. R Baskell} TheS=bethanJQNhlcago,, I929)> p. 23 5t7>saysthatCthetitle;;Xuon-
slsy ill rln
Sitllkita} Sv> Siakita}
4;Illonsicur a jig] waslike44Cavaheroest coex-
donaUy d byclowosandmras apparently
aicted byRexp* It is ofcourse possible
iat Dmp himifmadethene iMost=2 hz omm byhtsparoeingofAinson
49 Dowlm£rs 44pe wayward iough""twhl mlmeRatdy Slows 44N o now2
wasalsopopEr as a ince ayte andtEsmaybetheraason brluing ith* Of
twsttooisic mustc intablae h fbIlowssSleqpe waywadthough"whidlisa
moreelaborate bassp:3rt
tothatsong,fbrlyramol.
9 Thefour sonparethese4Rowmymres p. 6, sComey hQvystars[sts] of
nyt} p-47}sIflnycomplt myght passions
moue} 52 CSOtt stay p 7o ph
S , *} p 50*
totlletrialanddownfall ofEssex.53 Furtllermore, tlley maketllepoint
tllatmany oftllesongs intllis collection 'leavenoslladow ofdoubt tllat
Essexwasintllemind ofbotllpoetandcomposer'.54 Among tllesongs
tlleymention intllisrespect aretlletllree wlliclloccur intlle439manu-
script:
'Flowmyteares' (p.6),'Comeyeelleavy starsofnygllt' (p.47),
and'Sorrow stay'(p.70). Oneoftllesongs from TheFirstBookofAyres
(IS97)wllicll tllearticlesuggests 'voiceEssex's uncertain standing witl
tlleQueen'55 is'Ifmycomplaint' (p.52).56
Tllesongimmediately preceding tlletllree Dowland pieces(onpp.
45-47),'IfI seeketoenioye', mayberelevant totlleconsideration of
tllese
songs referring toEssex.Tllewords werepublislled late,setby
Tllomas Bateson inllisSecondSet ofMadrigals(I6I8), number 4. Tlle
music intlle439manuscript is notBateson's andtllewordsarealso
sliglltly
differentfrom llisnotonlyinindividual variants butintlleaddi-
tionoftllreeextra lines.Tllesemaynowbeseenasexpressing a topical
bitterness
iftlley do,indeed, belong totlleveryearly years oftllecen-
tury.Later, as inBateson's setting, tllewordsllavebecome merely a
generalizedPetrarcllan type ofcomplaint. Intlleligllt oftlleforegoing
considerationoftlle439manuscript tllevariants, sliglltastlley appear
ona casualglance, become significant.Tlledifferences intlle439setting
allterld
tosuggest a mucll clearer,mucll moreparticular situationtllan
tllat
ofBateson's words. So Bateson omits tllelasttllree lines,perllaps
tlle
sting
intlletail.A comparison oftllestanza forms isinteresting. Tlle
439version makes tllepoemintotwostanzas ofequallengtll, eaclltobe
53 Op. Cit., pp. 33-40. Full details of the printing are given in Margaret Dowling, 'The
Printing of John Dowland's Second Booke of Songs or Ayres', The Library, Fourth Series,
XII (I932), 365-
54 Ruff and Wilson, p. 36.
55 Ruff and Wilson, p. 3 I.
56 With reference to n. 32 above it is interesting to record here that Giles Earle's book
contains several Dowland songs and, as is the case with the 439 manuscript, these are al-
most all political songs. They are: 'Flow my teares' (fs. I IV-I2), 'Yf my complaintes' (fs.
I2V-I3), 'Sorrow stay' (fs. 3 IV-32) and 'Can shee excuse' (fs. 42V-43). Of the two other
Dowland songs it has already been noted that 'Sleepe wayward thoughts' (fs. 28V-29)
was widely popular both in its vocal and in its instrumental versions and that it occurs in
the 439 manuscript. The otller Dowland song in Earle's book is 'Come againe, sweet love
doth nowe inuite' (fs. 26V-27). Furthermore, Giles Earle's book contains several other
songs which seem to refer in some nvay to the downfall of Essex. See in particular the
song immediately preceding 'Can shee excuse': 'I am the man that mirthles liues' (fs. 4IV-
42); also 'My thred is spun' (fs. 65V-66) and 'To plead my faith' (fs. 48V-50) from Robert
Dowland's A Musicall Banqllet (I6I0) set by Daniel Batchelor with words by Robert
Devereux, Earl of Essex.
MARY CHAN 159
sungtothesamemusic. Bateson's
songisthrough-composed
andthus
canomittllelasttllree
lines
oftlle439version
quitesimply.
Thewords
ofeachversionaregiven below:
Bateson
IfI seektoenjoy thefruits
ofmypain,
Shecarelessdeniesmewith endless disdain.
Yetsomuch I loveher
Thatnoth1ng
1 ..
cane1tller
.
remove meormoveher. 1
Alast whycontend I?whystrive I invain

Thewater tomingle
Withoilthat isair,andlovestobesingle?
'TisnotLove,butFate, whose doomI abide.
Youpowers andyouplanets, which destinies
guide,
Change youropposition;
Itfitsheavenly
powers tobenzild ofcondition.
(FromEnglish MadrigalVerse,ed.E.H.Fellowes, 3rded.rev.
F.W. SternfeldandD. Greer, Oxford,I967, p. 22.)
ChristChurch,
Mus439
IfI seeke
toenioye thefrutes
ofmypaine
Sheecarelesse
denyes nzewithwords ofdisdayne
Yetsoemust I loueher
Thatnothingecaneasemeormoveher.
Alaswhycontend I whystrive
I invaine
Thewater tomingle
Withoylethat isfrayle
andlovestobesingle.
TisnotLouebutfate whosedoome I abide.
Theowers andtheplannetts
that destanies
guide.
Chainge youropposition
Itfitts
heavenlypowers tobemilde ofCondition.
Youonelie canalterherstormeandherpride
Whomenowdisdayneth.
Forwoemen cantellwhen therightplannettrayneth.
Inmarked contrast
totllesesongs
aretllose
byRobertJones
intlle439
manuscript.
Indeed,
Lillian
Ruffand ArnoldWilson
tllemselves
point out
howmarkedly different
Jones'sluteayres
arefromthoseofDowland,
eventlloseofCampion. TheyalsopointouttllatJones
wasoneoftlle
fewlutenists
wlloalsocomposed somemadrigals
andintllistoolleis
differentfromDowlandwhoseworkis morepersonal, morebitter,
tllantllemadrigal
everwasinEngland.57 However,itseems tllattlle
inclusionofsongs
byJones llerepoints
uptllenature
ofsongsintlle
57 Ruff
andWilson,
pp.32-3
3.
choirboy school repertoire:songsthataresimple, tuneful, light
occur
togetherwithmoreserious, particularly satirical,
songs.
TheChrist Church manuscript contains fivesongs byJones, fourof
them from hisSecould BookofAyres(I60I).58 Theother song, 'Whatif
I speed'(p. 67), wasprinted inhisVlti>wlurn Vale (I605). Thefourth
pieceofmusic inthebassclefon page98,thelastpieceonthepage,isa
basspartforJones's 'Farewell dearlove'which wasprinted inhisFirst
BookofAyres(I600), nUIllber I2. Thislatter songisbestknown forthe
singing ofitbyFeste andSirTobyin Twelfth Night(II.iii.97 £),first
performed atcourt onTwelfth NightI60I/2.59
Jones
wasnotspecifically associatedwiththeChildren oftheChapel
untilatleastI6I0, andprobably later.60Allthepieces byhiminthe
manuscript hadappeared inprint wellbefore thatdate.Itispossible,
however, thatJones's music wasusedasincidental orinteract musicby
thechildren earlierian I6I0, particularly asJones seems tohavebeen
friendlywithPhilipRosseter, a lutenistatcourt, oreventhathewas
occasionallycommissioned towrite fortllechildren, asCampion was
commissioned towritc masques. R. Warwick Bond,forinstance, has
suggested thatJones mayhavesetpoems byLylyhimsel£6l Bondrefers
toa number ofsongsinJones's FirstBookofAyres(I600). Although
Bondhasnoevidence forhisascription oftheJones songs toLylyother
thanthefactthat'tlleLylian impression ofthese pieces istomevery
58 'Fic whata coyleis heere',p. 4; 'Now whatis Love',
p. 35; 'Dreamesandimagina-
tions',p. 73; 'Arisemythoughts', p. IOO.
59 See L. Hotson,The FirstNiglltof"TwetfthNig11t"
(London, I954). In thearticlein
Grove onJones(op. cit.rv,660-66I) E. H. F[ellowes]pointsout thatthereis no evi-
dencethatit wasJoncs'smusicthatwas usedin Tlvefft1l Nig11t.He saysthatthewords
werewelll;nownquiteapartfromindividual settings.
Perhapstheoccurrence ofthebass
partherealtcrsthisjudgment.
60 Thereis someconfusion aboutthedatethoughI6I5 seemsmoreprobalDle. F[el-
lowes]'articleonJonesinGrove(seeabove)saysthathewasgranted a patentwithPhilip
Rosseter, PhilipKingham,andRalphReoveon 4January I6I0 to trainthe'Childrenof
theRcvelsto theQuconewithinWhitefryers', as theChildrenoftheChapelwerethen
callcd.On theotherhand,Hillebrand(C/lildActors,p. 237) discussing thepatentof I6I0
refcrs to it as beinggranted to PhilipRosseter, RobertDaborlle,JohnTarbock,Richard
Jones, andRobertBrown.Hillebrand says(p. 243) thatthiscompanyullderRosseter was
amalgamated withHenslowe'sCompanyin I6I3 buttheCompaly of theChildrenof
theQucen'sRevelswas revivedagain in I6I5 by a patentgrantedto Philip
Rosseter,
PhilipKingnalll,RalphReove,andRobertJones.Theyhad leasedbuildillgs ill thepre-
cinctof BlackEriars llearPuddlowharf. The patentof I6I0 referred to lDyHillobraldis
quotedby Chambers, Elita6ctSlan
Stage,rs,56.
61 TBle ColplereWorks ofJoSln
Lyly,ed. R. WarwickBond,3 vols. (Oxford,I902), m,
443-444.Littleis knownabouthis birthand death.Untilhe joins in takingoverthe
Childrcn of theQueen'sRevelsthereis no information abouthisactivities at courtor
elsewhere.
t4ARY CHAN
161
strong',62 itisworth mentioning herefortheassociation ofJones with
cllildren's music atthebeginning ofthecentury isa possibility which
hasyettobeconsidered.63
A courtly context fortllemanuscript isfurther supported lDy tlleoc-
currence tllereofseveral songs from masques. Tlleoccurrence oftllese
andotller songs ofa courtly ormusically sopllisticated
andconsciously
'ne>fasllioned' iLQind,
togetller witllthecllildren's playsongsandreli-
gioussongs doesempllasize tllepossibility tllat
themanuscript belonged
toa choir scllool.
Tllecllildren often performed inmasques andatleast
twoofthemasque songsllere weresungbyboys:'Ifalltllese Cupides'
(p.93)arld'Itwas110pollicie ofcourt' (p.94).Sixoftllemasque songs
arefrom masques byBenJonson, forwllicll Ferrabosco wrote tllemu-
sic,andallalsooccurinFerrabosco's Ayres(I609).64 Fourexist intlle
rnanuscript ina group together (pp.93-96); those onpages93, 94,and
96for1n a groupfrom theMczsqlse ofBeatie (ISo8),andthesongon
page95isfrom Qeees (I609). Tlleother mo,from Blacknesse (I605)
andtllelS(tddzftgtofiaMasqate(I608) andonpages 30and60. 'Whystayes
thebridgrome' (p.60) vccurs llereina veryornate setting.
Oneother song, alsobyFerrabosco, 'Singthenobles ofhisrace'(p.
I4), may alsolDefrom someoffi1cial entertainment.65
There areturo othersongs which areprobably from masques oren-
tertainments. Thefirst ofthese is thesetting of'Harkeallyouladies'
(pp. 26-27). Thewords areusually ascribed toCampion andthere isa
setting ofthem byhiminRosseter's Ayres(I60I), number I9. Cam-
piOll'S version is stanzaic.
The439manuscript setsonlythefirst two
stanzas (asgiven inRosseter's Ayres)andeacllissettodiiMerent music.
Thepiecein talblature forlyraviolwhichfollows 'Butifyoulett'
(stanza 2, p. 27) iS probably partofthissong, possibly thebassaccom-
paniment toanother stanzaorthebasspartofaninstrumental interlude
which foilomJed, forthemusic llascharacteristics incommen withthe
bassaccornpaniments ofthe twopreceding stanzasandthefinal wordof
'Butifyoulett'('harmes') appears under thefirst chord oftablature:
seePlate3.
62 lDid.
63 tllCGilesEarlemanuscript alsocontains a largenumberofsongsby RobertJones.
Of particularilterestare tlletensongsfromhis Vltimuss Vale (I605), fs.I3V-23.
64 Therearelzineothersongsfrom Ferrabosco's Ayresin the439 manuscript. Fourof
theseoccurtogether, andconsecutively withthesongsfrommasques,on pp. 86, 88,9I,
and 92. Othersareon pp. 2I, 25, 78, and IOI.
65 The songis PartIII of'Singewe theheroicgrace',Ayres, no. I2. A pencilnoteinthe
BritishMluseum copyoftheAyrcssaysthesongis 'A Compt.to ye Prince'.
. # +1 X tot o - F t X -f 7
_, f10s A wS bL ;; {4sf '-
6;k tO>La wW Z9 io;4 Pew dfaF ,to f <s>wu

e.stvw
L ss f S.wjtS,; #e
(F
> +.-4 -r--
.. e.*.X r---t:
- ; . i .+---
.. * .. , L+f- -4t {t-.,
* ... - wte l->-S--
. t --I XrAt
. . 7W'! f/ 4
..........................................
. . . . *. .. - - . . , . .......
* _ s
MARY CHAN 163
--7t--t[--I-l..--Q--*'-t.-01 J-
* , - ff
93852tes > #sste@4rv[v

$.or o; 6:^tk
<-A. Xtrit
><4 ,, r
*; I 4U , jS_ff_ J,<-:-f---J,i
._ ;th+-j -t t-+-
8A-J-y-j-
--=2 !J-
-W--. 2 JW
Ntsf
wf
tcti
g yf¢WS,ttsc"Fttfat*sSz4P Afb1;o/iwspssfo
. . F .
t«
w;fR1zJ u I
A4f-0t-<= X WSW;-)A-:Xt -£t

-f--t---9--I
JJ --< ---Y
ba3s gw stsG tit .s tt {9t ;.tf l Sth ^..} te "s t'ss to;te
o f! 1 ! J-- 1 . J -.J
+ 1 ! t T t!Ji H; Jd 1 o-
,^^>g ,,,}wt tttg P 94 [ a i 4^ - V .tsot^str ;
Platc 3: ChristChurchhtS.Mus 439,pp 26-27.
MUSIC FOR CYNTHIA'S REYELS
164
Although thetwostanzas arenotsettothesamemusic
arevery similar thesettings
to oneanother.
Furthermore boththese andtheversion
published byCampion arealsocuriously alike. The
439settings areparts suggestion thatthe
fora part-song version ofCampion's song must
discounted fortheharmonies be
do not'fit';butthetwosettings have
rhythmic andmelodic features incommon. Forinstance,
fayrie queene the words'the
Proserpina' inbothstanzas ofthe439version aresetto a
rllythla exactly similar tothat usedillCampion's
the439setting settlngof thesewords:
of'your fairehands andwhite armes(instanza 2: 'But
ifyoulett. . .'), resemlDles thefigure usedbyCampion
words (bars forthesame
9-I0), though thewords inthe439version arerather curi-
ously accepted bythemusic atthispoint.66
Itisnotclear which istheearlier version andtherefore
explain itisdiff1cult
to
thesimilarities. Itispossible,however, thatboth
Campion, that the439version versionsare by
istlleearlier,that itnTas written forsev-
eral
voices, probably taking a stanza each, andthat
pieceforsoloperforrnance Campion revisedthe
when hepublished itinI60I. Sucha sugges-
tionissupported bythefactthatthegroup inthe4391nanuscript
26-27)ispreceded bya piecebyCampion, (pp.
my 'Thoughe your sadnesfretts
lzarte'.If,ontheother hand, Campion's printed
lier,
tllen tlle439version version istheear-
mayrepresent a reA7riting for a later perform-
anceeitller byCampion himself orbyanother
The'Dialogue composer.
ofHopeandJoye'(p.28)which follows
youladies' probably 'Harkeall
alsobelongs toa masque orentertainment.
Oneotller songinthe439manuscript should beconsidered
this
is'Comelusty heretoo:
ladyes' (p.56).Instyle this iscloser tothe ballet
type
of
songinthis collectio1l than tothemoresophisticated
raboscoandappears settings ofFer-
tobelong toa slighter context.
BeCoreconsidering
certain
interesbing
stylistic
Christ
Chercll cllaracteristics
of the
manllscript
weshould review theevidence
sofar.
Atfirst
glance
onemight verywellnowaskvsllatkindsofsonbs
does
tIOt contain.
the1nanuscript
Itcontains
nomadrigals inanykindofarrallgemellt
and
veryfewsongs fromtheluteayrecollections
DowTlatld otller
thanthoseof
(wllose
songs
llereare,wehaveseen,allofonekind),Jones,
66Thismaybe simply
a copyist's
mistakeoranerrorinunderlaying
thcwords,though
it
notisobvioushow sucherrors
couldbe rectified
words without
changingtheunderlayofthe
completely.
MARY CHAN 165
andFerrabosco. Thesongs inthe439manuscript bythese composers

havecharacteristicswhich maketheir inclusion herenotable.
There are,however, someexceptions;67 andamong themost signifi-
cantofthese isMorley's 'Withmylouemylifewasnestled' (p.37).
ThisIS madeupofthree verses, rearranged, ofa devotional poemby
Robert Soutllwell,theJesuitexecuted inI595. Morley hadbeena Cath-
olicandwasprobably friendly withSouthwell; yethequiteobviously
wished tomaintain favorwiththeProtestant faction.Thissetting of
Southwell's poe1n makes iti1ltOa gentlelovelyric; andata time wllen
Catholic sympathies weredangerous, Morley maywellhavebeen
affirming, undertheguiseofmocking Southwell's poem,hisown
deeper sympathies.68
Theoccurrence oflargentlmbers ofsongsbyByrdtogether with
thoseofFerrabosco rrlay
needsomeexplanation. Bothwereemployed
atcourt andtheexistence inthemanuscript ofthe'old'a1ldthe'new'
together maybeexplained precisely bythisfact.
Thesongs byJones re haveseenrepresent a kindofsong, illustrated
furtller
intlleRavenscroft collectionsandbymany songs inthe439col-
lection,wllicll
canbespecifically relatedwithchildren's perfortnances,
songswhich areslight,gay,a1ld'fashionable'. Other important aspects
ofthecollection arerepresented byconsort songs andreligious songs by
composers otherthanByrd(notably Bennet, Giles,andWoodson)
which seemalmost certainlytobelong toa clloir sclloolcontext.
Themanuscript includesnoSOllgS ofa simple popular orballad lSind
(witll
theexception, significantly,
of'I-Iould lingel hould'whicll isal-
mostccrtainly a parody)anditincludes nosongs ofa serious experi-
mental nature (assongss^ritharords lDySidney, forinstance)except the
veryvirtuoso piecebyByrd:'Constante Penelope' (p.58).Again, with
theexception oftheFerrabosco songs (which liketheByrd songs appear
67 The manuscript contains
twosongsbyCarnpion:'Thougheyouareyounge'(p. I I)
and 'Thoughyoursadnes'(p. 26). 'Thougheyou areyounge'was widelypopularand
existedolsoina brokenconsort version:seeB.M. MS. Add. I5II7, f.8,andmydiscussion
of this,Op. Cif. It seemsthat'Thoughyoursadnes'was popularforJonesalso setthese
words.Thercis anothersongalsoprobablyby Campiotl:'Tarrysweetelove' (p. 3) and
sincethereis,as faras I know,no othersourceforthisitmaywellbc occasional:scemy
discussion,MaryJoiner, 'AnotherCampionSong?',MustcandLetters, XLVIII (I967), I3 8.
ThercisalsoonesongbyRosseter, 'Sweetecomeagaine'(p. I0) andthreesongsby Mor-
ley: 'Sleepeslumbringe eyes' (p. I), 'With myloue mylifewas nestled'(p. 37), and
'Wyll you buya finedogg' (p. 80), all fromhisAyres(I600).
68 SCe RuSand Wilson,p. 4I, andEdwardDoughtie, 'RobertSouthwellandMorley's
FirsfBoot ofAyres', LtfeSociefy JotlrazalS
IV (I962), 28.
166 MUS IC FOR CYNTHIA ' S RE VELS
tohaveother reasonsbehind their
inclusion inthecollection)
thereis
onlyoneexample ofthedeclamatory continuo song,
oftenanelegyor
a lament,popularfrom theendofthefirst decadeoftheseventeenth
century:'Farewelldeereinfante'
(p. 32).Songsofthiskindaremore
commonly found intheplaysofBeaumont andFletcher.69
Itcouldbe
argued,however, from thecontexts oftheuseofmusic inchildren's
playsinconjunctionwiththeevidence ofthe439manuscript thatitis
from thetraditions
ofmusic inchilddrama thatFletcher's
ownuseof
music grows andbywhichheis chiefly influenced.
Fletcher's
useof
music isgenerallydecorative,
ratherthanintegraltotheplay,andis
oftenforspecial
'effects'
suchastosuggest thesupernatural
orthefan-
tastic.
Thisseems togrowdirectly from thetraditions
established
by
Lyly.
*
Perhaps someofthemostinteresting evidence forourargument that

ChristChurch MS. Mus439represents therepertoire ofa choirschoolis
contained invarious stylistic
characteristics
ofthemusic. Thecollection
containsa number ofpieces withhighly ornamented vocallines:the
piecefrom theHaddington Masque(p. 60) isanexample.70 Besidessongs
which givetheornaments infullthere areindications forimprovised
ornamentation ina number ofsongs. Thesignmostcommonly used
hereisthatwhich isalsocommon ininstrumental music:oneortwo
strokesthrough thestemofthenotetobeornamented, thus: The -t,-.
439manuscript usesother signs

forornaments, someofwhich arecom-
moninother seventeenth-centurysources. 'Ifalltllese
Cupides' (p.93)
usesthediagonal strokebetweentwonotes toindicate a run,thus:Ixf
anda different diagonal stroke
which possibly indicates
a mordant: ,r/:.
Thesignx before a note(seebarI4 ofthissong)isalsoanornament
sign,though itismorecommonly found intablatures.
Suchextreme careoverdetails ofornamentation notonlysuggests
more than a simply privateoramateur performance, butalsoindicatesa
quitehighstandard ofvocalaccomplishment, andsuggests tooItalian
influenceinsinging style.71
Ingeneralthepieces inthemanuscript show
extreme carefordetail ofperformance bothinthevioltablature where
phrasing, bowing, andheld-on notesareindicated in detail,andin
69 SeeJ.P. Cutts,La ntusiquede la frolope
deStlaZzespeare,
C.N.R.S. (Paris,I959).
70 See alsothesongson pp. 36, 37, 62-63 (and68-69),64, 72, 76-77.
71 Vincent Duckles,'FloridEmbellishment in EnglishSong ofthelateI6thandearly
I7thcenturies',AnnalesnllesicoZogiques,v
(I957), 32g,which
pointsoutgeneraldifferences
betweenEnglishand Italianembellishment.
MARY CHAN 167
many ofthesongs where several

stanzas,
oftenmore tllanexistinprinted
sources, arefound.
Tlleconsciousnessofmusical 'fashion'
whichthemanuscript demon-
strates
hasalready beenpointed out.Somesongsuseaffective devices
suchasarefound incontemporary Englishmadrigalsthough thestyle
ofmost ofthemusic isnotItalianatenoraffective
inthewaytheEng-
lishmadrigal attempts tobe.Theinfluence isnot,onthewhole, oneof
general stylebutrather of'fashionable'
devices
appliedtoa style which
is basicallyEnglishandbasically unsophisticated
andpopular. Once
moretheFerrabosco songs should beexcepted.
Themanuscript contains severalpiecesintablature,
allforlyraviol,
andtheaccompaniments tomany ofthesongsarealsoforaninstrument
which canplaychords. Simple chords,mostlythirds,andonlyatthe
cadences (althoughthere aresomeexceptions;seeforexample p. 36),
areindicated inthesongs which occuronpages6-7,I2-X3, 23,26-27,
34,36,64-65, 76-77,I I5, andinoneortwoplaces thebasspart, though
written instaffnotation, hasobviouslybeeninfluencedbyindications in
violtablature forholding notes
over.Anexample isfound attheendof
bar25of'O thejoyes'where theslurfrom G toF-sharp suggests,asin
tablature itwoulddo,thattheG isheldonasa suspension: seeExam-
ple2.
'O the
joyes,'
bar2S, bass
Xt r t I f |l(t T
I f 10
Manuscript Transcription
I havealreadysuggested72
thatthepieceintablatureonpage27with
thesingleword'harmes'atthebeginning follows
directlyfrom thetwo
precedingpieces.
Inthatcase,theaccompaniment tothese twopieces
must alsobeplayedonthelyraviol.I havediscussed
thesignificance of
thelyraviolasa 'new'or'fashionable'instrumentanditsideological
associations
withtheliradagamba.73Itseems obvious bothfrom Jon-
son'stextandtheuseofchords intheaccompaniment tothesetting in
thismanuscriptthat'O thejoyes'wasintendedtobeaccompanied on
thelyraviol.Inthelight ofJonson'scriticism
ofHedon's 'lira'itbe-
comes significant
thatmany other
piecesinthe439manuscript seemto
haveaccompaniments written
notsimply forbassviol,orevenasa sim-
plebassusparttobeusedasa basisforimprovisationuponanyinstru-
72 Seeabove,
p.I6I 73 SeeaboveX
p.I40-
168 MUSIC FOR CY1!;THIA' S RETZELS
ment attheperformer's pleasure, butespecially
forlyra viol.Apart from
thefact thatmany piecesgivechords intheaccompaniment, thereare
other pieces
herexvhich indicate a chordalaccompaniment tobefilled
inabovethebassline.Inthese a simpleorrudimentary form offigured
bassisemployed: figured atleastinthesense that indications aregiven
forspecificchords tobeplayed abovethebass.Thepieces containing
'figures'
ofthiskind occur closetogether, onpages 22, 24, 26, 28, 29, 30,
3I, 37,and68.Inmost instances theseconsistsimply ofindications for
a leading-notetobeplayed abovea dominant bassnoteina V-I pro-
gression.However, thisdoesseem important forasfarasI amaware the
specifyingofharmonies abovea given bassisnotwidely usedinEnp
landuntilmuch laterintheseventeenth century.74Figured basswasob-
viouslyknown inEngland early inthecentury: forexample, Robert
Dowland's Mustcall Baflquet (I6IO) contains twosongs from Caccini's
Le nuovemustche witha realization ofCaccini's
figured bassforthelute.
Now,a basspartprinted forGiovanni Croce's Motetti (I594) usesa
figuredbasswhich differs
from thebassesofCavalieri orPeriinthat the
'figuring'
consistssimply of#orbplaced a thirdaboveandslightly to
theleftofthebassnotetoindicate anaccidentallysharpened orflattened
thirdabove.75Thismethod ofchord indication
isexactly that usedinthe
439manuscript. Itisonewhich isnotfound inother English collections,
asfarasI amaware, anditsoccurrence herequiteearly inthece1ltury
suggestsagainstrong Italiani1lfluenceofa direct
andquiteexplicit kind,
aninfluencewhich islikelytohavecometoEngland viathecourt. At
anyratethisdoessuggest asstrongly asanyother evidence already cited
thatthecollectionzArascompiled bya professional rather than anama-
teurmusician andcompiled for'professional'musicians.
TheItalian
influence
inthemusicinthis
collection
is,ontllewhole,
not
towards
givingthewordsgreater
declamatioll.
Apart fromthesongs
by
ByrdandFerraboscotllemusic
ismainlysimpleandunsophisticated.
74 The article by F. T. A[rnold]in Grove on Thorout,h Bass (VIII, 440) suggests
that
RichardDering'sCatltiones sacrae
(I6I7), publishedin Antwerp, is thefirstexampleof
theuse offigured bassby an Englishman. AudreyJones, 'The LifeandWorksofMartin
Peerson',typescript thesisin theUniversityLibrary, Cambridge, saysthatPeterPhilips'
GeenllltllaesacYne (I6I3) iS theearliest example.
75 Willi Apcl,Harvard DistioflaryofMtt.sic
(Cambridt,e,Mass.,I944). The articleon
ThoroughBassis on p. 746. A[rnold]'sarticlein Grove mentions Viadana'sCento collcerti
cglesiastici(I602) whichemploysthesamemethodof'figuring'.
MARY CHAN 169
This together withthefactthatforeign influence takes theform of

technicalsophisticationrather thanmusical, poetical, orideological, and
thatthisinfluence tends therefore toshowindetails ofthemusic, asde-
liberately'foreign' ratherthan inthetotalconcept ofa piecewhich re-
mains inmost casesbasically English andpopularthisdoessuggest an
audience notnecessarily musically sophisticated butonewhich atleast
demands thatitsmusic beofthelatest fashion.
Considered together withthekindofsatirical criticism Cynthia's Rev-
elsmakes andofwhich Hedon's songforms a significantpart, the439
manuscript doessuggest quitestrongly a sourceforother choirboy play
music besides Hedon's song (p. 38) and thesong frotn Everie Woman
which follows it (p.39).
Oneproblem remains unsolved, andthisis theform inwhichthe
music ispreserved. Treble andbassarrangements areobviously thefull
versions ofonlysomeofthesongs; inparticular itisstrange tofind con-
sortsongs intllisform ullless they wereintended onlyfora soloper-
formance. Consort songs maysometimes havebeenperformed inplays
assolos, thesinger accompanying himself^rith thebassviolpartalone;
orthesinger rnay havealsoplayed thebassviolpartintheconsort. In-
deed,intllismanuscript thesongs which havebeen,orappear tohave
been,adapted from consort songsarenotthosesongs arhose accorn-
paniments involve chords orsuggest inanywaya lyraviolrather than
a bassviol.Thatis,theconsort songs heredonotsuggest, astllosesongs
withlyraviolaccompaniments do,thattheir present version isneces-
sarilya complete one.HonTever, there canbenoclear-cut ordeftnite
answer attllemoment.
Nevertheless, tobeabletosaythatcertain styles andinfluences, cer-
tainkinds ofmusic, belonged to tlle repertoireof a choir school is to
inassessing
assist thefunction ofmusic inanysingle playwritten for
children. Anditseems nowthatthedirection oftlle439manuscript is
suff1cientlycleartobeofhelphere. Where actual songs inplays arenot
specified,where stage directzons callsimply for'a song', itishelpful to
know where toturn fora piecethat wouldbeappropriate. Furthermore,
the439manuscript, considered asrepresentative ofa choir school and
possibly oftheChildren oftheChapel, throuTsintoperspective some
important poilltsJonson ismaking inCyflthia's Revelsabout themoral
valueofrhetoric.
MasseyUaliversity MARY CHAN
North,New Zealand
Palmerston
.
CHRIST CHURCH MS. MUS 439

Confents
Page
I-2 Sleepe slumbringe eyes
3 Tarry sweete love
4-5 Fiewhata coyle islleere
6-7 Flowmyteares
8 Fower armes toneckes
g O mortall man
g I never laiemedowne torest
I0 rweete comeaga1ne
II Thoughe youareyounge andI amoulde
I2-I3 There wasa froge swum inthelake
I4-IS Mymistress lovesnoewoodcokes
I6-I7 John yormyhusbandes manyouknowe
I7 Goemyflocke
I 8-I9 Themarygould ofgolden hew
20 Deeremydeere whyareyoucruell
2I Faine I wouldbuto I darenot
22 Daphnis cameona somers day
23 Goethow mysouletothydesired rest
24 Slleppard infaithtellme
25 Witll what newthoughts
26 Though yorsadnes frettsmyharte
26-27 Harke allyouladies
27 Butifyoulettyorlovers mone
27 [Tablature, with tlleword'harmes' atthebeginning]
28 Intruding hopes what make youhere A Dialogue
of
hopeandjoye
29 I ama lover yetwasnever loved
30-3I Ayemecanloveandbewtie soeconspire
3I Comeaway
32-33 Farewell decreinfante
34 Sittinge downe toherrepast
35 NowwhatisLoveI pray theetell
36 Artthouthat shee
37 Withmylouemylifewasnestled
38-39 0 the joyesthat sooneshould wast
39 Heares nonbutonelie I
40 Faire eyesregard myloue
4I [Blank]
42-43 Thismerry pleasantspringe
44 IfI seeke toenioye
45 Nowo nowI needs must parte
MARY CHAN 171
Page
46 Sleepewayward thoughts
46 [Tablature:
Basspartto'Sleepe
waywardthoughts']
47 Comeyeeheavy starsofnygllt
48 Lateinmyrash accountinge
49 Hahathis worlddothpasse
so Thenightingall
theorgan ofdelighte
SI Haynonny nomenarfooles
52-53 Ifmycomplaint myght passions
moue
54 Infeelds
abroad
ss [Blank]
56-57 Comelusty ladyes
58-59 ConstantePenelope
59 [Tablature]
60-6I Whystayes thebridgrome
62-63 I mustcomplayne
64-65 0 hearemyprayer Lord
66 Sweettwantton wagg
67 WhatifI speed
68-69 I mustcomplayne
7o Sorrow stay
70-7I Every bushnewspringinge
72 Eyeslieawake
73 Dreames andimaginations
74-75 Houldlingelhould
76-77 You thathauethatdaintie
eare
78 0 eyeso 1nortall
starres
79 [Blank]
80-8I Wyllyoubuya fine dogg
82 Lullalullabymysweet littlebaby
82-84 Bestillmyblessed babe
84-85 Lordinthywrath reproue
menot
86 Younge andsimple thoughI am
87 [Blank]
88-89 Drowne notmyteares mydecrest loue
go Singe thenoblesofhisrace
9I ShallI seeketoeasemygriefe
92 Flyfrolllthcworld
93 Ifallthesecupides
94 Itwasnopollicie ofcourt
95 Ifalltheagesoftheearth
96 Yesweare theloues
97 [(a)Bass,notitle;(b)Bass,'Wooddecock';
(c)Treble, notitle]
98 [(a)Bass,'Passamesares
galliard';
(b)Bass,'Passamesares
galliard';
(c)13ass,
notitle;(d)Bass,notitle]
172 MUSIC POR CYNTHIA'S REVELS
Page
99 [Blank]
IOO [Tablature]
IOO Arisemythoughts
IOI Vnconstante loue
I02 Myminde tomea kingdome is
I03 Venus birdswhose mournfull tunes
I04-IOS MysouTe opprest with careandgriefe
IOS Though Amarillis dance ingreene
I06-I07 0 Lord howlonge
I07 [Tablature]
I08 ty prinle ofyouth isbuta frost
IO9-IIO Thespringe ispast
III Tllcstatelystagg thatseemes sostoute
II2 [(a)Bass,notitle; (b)Bass,notitle; (c)Bass,
'Coranto'; (d)Tablature]
II3 [(a)Tablature, 'ApreludiuLm]'; (b)Tablature,
notitle]
II4 [Tablature,notitle. Thispieceiscontinued onp. II6.
Seemydiscussion, p. I48.]
II5 NSThat ifa dayora nigllt ora yeare
II6 [Reversint, themanuscript: Tablature,'Jenny']
II7 [Reversing themanuscript: (4)Bass,notitle;
(b)Bass,
notitle;
(c)Bass,notitle; (d)Bass,notitle]
II 8 [Tablature 'Apavin']
II9 [Tablature: 'a galliard']
I20 [(a) Tablature: 'a toy';(b)Tablature; 'A toy']

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Cynthia's Revels and Music for a Choir School: Christ Church Manuscript Mus 439

Author(s): Mary Chan

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7 TheBookofTheCotlrtierDoneintoEnglish bySir Thol1las Hoby,ed. withan introduc-

Although themouthebea percell

138 MUSIC FOR CYNTHIA'S REVELS

MARY CHAN 139

ofActI between EchoandMercury. 1hbeing mythic, rather than real-

Ifwenowconsider these twosongs apartfrom their

Fortheperiodbefore theclosingoftheprivate theatres-about I 590

men's andboys'plays.14 AsfarasI amaware, thef1rstsonginRichard

Itisintllisrespect thatCynthia's Revels differs, from

(I905)9 43; W. J.Lawrence,'The ProbleinofLyly'sSongs',Tislles Supplelnent,

thereforelatesixteenth-century French though thewatermark cannot

'Venus birds(p.IO3), iS byJohn Bennet wlloisknown tohavewritten

32 Boththeother sourcesarepOst-I600 alldshowaninterest inchildren's

And thou shalt wish ( t wish - es a 1 shall f il the;) lnd

152 MUSIC FOR CYNTHIA'S REVELS

4t Jf; f I: 1S. 1212 2 0 o 4

MARY CHAN 153

ofthe. . . choristers'.35Thereis,ofcourse, nospecific indication that

(I588) whichoccurinthemanuscript onpages:54, 58-59, 82, 82-84, 84-85, I02, I04-

problem; itcertainly highlights

MARY CHAN 157

48 Se thenotaw SiMeyBd t this

Alast whycontend I?whystrive I invain

162 MUSIC FOR CYNTHIA'S REVELS

_, f10s A wS bL ;; {4sf '-

6;k tO>La wW Z9 io;4 Pew dfaF ,to f <s>wu

MARY CHAN 163

93852tes > #sste@4rv[v

A4f-0t-<= X WSW;-)A-:Xt -£t

Platc 3: ChristChurchhtS.Mus 439,pp 26-27.

andFerrabosco. Thesongs inthe439manuscript bythese composers

Perhaps someofthemostinteresting evidence forourargument that

439manuscript usesother signs

many ofthesongs where several

This together withthefactthatforeign influence takes theform of

170 MUSIC FOR CYNTHIA'S REVELS

CHRIST CHURCH MS. MUS 439

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