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H. LAWES

COMUS

COMPOSITIONS BY EDWARD ELGAR.

ORATORIOS.

THE APOSTLES. For Soprano, Contralto, Tenor, and Bass Soli, Chorus, and Orchestra. (Op. 49.) (Tonic Sol-fa, Choruses and Words of Solos only, 45.) ..

(Vocal Paris, 2s. 6d. each.) Full Score, £-, 55. Book of Words, with Analysis, is. 4d., or 75s. net per 100. Words only, 8d., or 415. 8d. net per 100. An Interpretation of the Libretto by C. V. GORTON, M.A., is. 6d. Vocal Score, with German words (Deutsche Ubersetzung von JULIUS BUTHS), i2s. Chorstimmen, 35. each. Textbuch, 8d. Erlauterung von Max Hehemann, is. id. String Parts, 345. ; Wind Parts on hire only.

THE DREAM OF GERONTIUS. For Mezzo- Soprano, Tenor, and Bass Soli, Chorus, and Orchestra. (Op. 38.) (Tonic Sol-fa, Choruses only, 23. 6d.)

(Vocal Parts, 25. 6d. each.)

Full Score, £3 35. Miniature Full Score, paper, us. 6d. ; cloth, i6s. Book of Words, with Analysis, is. 4d., or 66s. 8d. net per 100. Words only, 8d., or 335. 4d. net per 100. Vocal Score, with German and English words (Deutsche

Ubersetzung von JULIUS BUTHS), gs. Chorstimmen, each, 35. Textbuch, 335. 4d. per ipo. Vocal score, with French words (Traduction franchise de J. d'Offoel), gs. Parties de Choeur, 35. each. Livret, 335. 4d. per 100. String Parts, 295. 6d. ; Wind Parts on hire only.

Sanctus Fortis. Tenor Solo from above. Transposed to A flat, 6d. Full score, 55. 6d. String Parts, 35. 4d. ; Wind Parts on hire only.

THE KINGDOM. For Soprano, Contralto, Tenor, and Bass Soli, Chorus, and Orchestra. (Op. 51.) (Tonic Sol-fa, Choruses and Words of Solos only, 43.) ..

(Vocal Parts, 2S. 6d. each.)

Full Score, £5 55. Book of Words, with Analysis, is. 4d., or 755. net per 100. Words only, 8d., or 415. 8d. net per ico. An Interpretation of the Libretto by C. V. GORTON, M.A., is. 6d. Vocal Score, with German words (Deutsche Ubersetzung von JULIUS BUTHS), 75. 6d. Chorstimmen, 35. each. Textbuch, 8d. each. String Parts, 378. 6d ; Wind Parts on hire only.

THE LIGHT OF LIFE (" Lux Christi ").

A Short Oratorio. For Soprano, Contralto, Tenor, and Baritone Soli, Chorus, and Orchestra. (Op. 29)

Tonic Sol-fa, is. 6d. Full Score, £2 25. ; Words only, 125. 6d.

per 100. String Parts, 205. ; Wind Parts on hire only.

VOCAL.

ANTHEMS, SERVICES, &c.

§CORONATION OFFERTORIUM (Op. 64) DOUBT NOT THY FATHER'S CARE ("The

Light of Life ") (Op. 29). Duet, s. and c. (Tonic Sol-fa.

5 6

7 6

CANTATAS.

s. d.

BANNER OF ST. GEORGE, THE. For Chorus

(Soprano Solo ad lib.) and Orchestra. (Op. 33) .. ..26

Full Score, 255. Tonic Sol-fa, is. 6d. Words only, 95. 6d. per too. String Parts, 125. 6d. ; Wind Parts, 285. nd.

BLACK KNIGHT, THE. For Chorus and

Orchestra. (Op. 25) . . . . . . . . . . . . ..30

Full Score, 315. 6d. Tonic Sol-fa, is. 6d. Wordsonly, 6s. 6d. per 100. String Parts, 135. 6d. ; Wind Parts on hire only.

(Vocal Parts, is. 6d. each.)

CARACTACUS. For Soprano, Tenor, Baritone, and Bass Soli, Chorus, and Orchestra. (Op. 35) . . ..56

Full Score, £3 35. Tonic Sol-fa (Choruses and Words of Solos only), 25. 6d. Book of Words, with Analysis, is. 4d., or 66s. 8d. net per 100 ; Words only, 8d., or 335. 4d. net per ico. String Parts, 365. 6d. ; Wind Parts on hire only.

(Vocal Parts, 2s. 6d. each.)

KING OLAF. For Soprano, Tenor, and Bass Soli, Chorus, and Orchestra. (Op. 30) . . . . . . ..46

Full Score, £3 35. ; Tonic Sol-fa (Choruses only), as. 6d. Book of Words, with Analysis, is. 4d. or 66s. 8d. net per loo. Words only, 8d., or 335. 4d. net per 100. String Parts, 345. 6d. ; Wind Parts on hire only.

(Vocal Parts, 2s. 6d. each.)

MUSIC-MAKERS, THE (Op. 69). Ode by Arthur

O'Shaughnessy. For Contralto Solo, Chorus, and Orchestra . . 40 Tonic Sol-fa, 25. 6d. ; Vocal Parts, is. 6d. each ; Wordsonly, 95. 6d. per 100. String Parts, 135. 6d. Wind Parts on

SPIRIT°bF ENGLAND, THE (Op. 80). A poem

by Laurence Binyon. Set for Tenor or Soprano Solo, Chorus,

and Orchestra . . . . . . . . . . . . complete 4 o

Tonic Sol-fa, 25. 6d. Full score, complete, 255. Complete String Parts, IDS. ; Wind Parts on hire only. Vocal Parts on hire only. Words only, 125. 6d. per 100. Or, Singly —

1. THE FOURTH OF AUGUST i 6

Tonic Sol-fa, is.; Full Score, 135. ; String Parts, 35. 4d.; Wind Parts on hire only.

2. TO WOMEN 10

Tonic Sol-fa, 8d. ; Full Score, 75. 6<i. ; String Parts, 35. 4d. ; Wind Parts on hire only.

3. FOR THE FALLEN _ 16

Tonic Sol-fa, is. ; Full Score, i6s. ; String Parts, 35. 4d ; Wind Parts on hire only. Words only, 6s. 6d. per 100.

FEAR NOT, O LAND (Harvest) 0

(Tonic Sol-fa, 3d.)

§GIVE UNTO THE LORD (Psalm xxix )

(Op. 74) i

§GREAT IS THE LORD (Psalm xlviii.) (Op. 67, ,

(Tonic Sol-fa, 8d.)

JESU, LORD OF LIFE AND GLORY. Anthem.

Adapted from Op. 2, No. 2 (Tonic Sol-fa, 2d.) .. . . -,

JESU, MEEK AND LOWLY. Anthem. Adapted

from Op. 2, No. 3 (Tonic Sol-fa, 2d.) . . . . . . . . o

JESU, WORD OF GOD INCARNATE (Ave

Verum) (Op. 2, No. i). Motet. English and Latin

Words (Tonic Sol-fa, ijd.).. .. .. .. .. .. o

DITTO. English Words only (Tonic Sol-fa, ijd.) .. 0

§LIGHT OF THE WORLD (" The Light of

Life") (Op. 29). S.A.T.B. (Tonic Sol-fa, 3d.) .. .. o

LO ! CHRIST THE LORD IS BORN. Carol .. o O HEARKEN THOU (Arranged from the Coro-

nation Offertorium) (Op. 64) . . . . . . . . . . o

O MIGHTIEST OF THE MIGHTY (Coronation Hymn) . . . . . . . . . . . . . . . . . . o

SEEK HIM THAT MAKETH THE SEVEN STARS (" The Light of Life ") (Op. 29). Tenor Solo and Chorus for T.T.B.B. .. .. .. .. .. .. .. o

§TE DEUM AND BENEDICTUS IN F. For

Chorus (s. A. T.B.), Orchestra, and Organ. (Op. 34) .. .. i

THEY ARE AT REST. Elegy (Tonic Sol-fa, 2d.) o

SONGS.

§ANGEL'S SONG, THE : "My work is done"

(" Gerontius ") (Op. 38). For Mezzo-Soprano

AS A SPIRIT DIDST THOU PASS BEFORE MINE EYES ("The Light of Life") Op. 29. Tenor ..

CHILD ASLEEP, A (Contralto)

§FOLLOW THE COLOURS (Marching Song) ..

IN MOONLIGHT (arranged from the Canto popolare in the Concert-Overture " In the South," Op. 50). (In G, F, and E flat)

OH, SOFT WAS THE SONG (Op. 59, No. 3).

In D and E (Orchestral Parts in E only)

PLEADING (Op. 48, No. i). In A flat, G, and F

(Orchestral Parts in G only)

RIVER, THE (Op. 60, No. 2). In G minor, A minor, and B minor (original). (Orchestral Parts in A minor only) . .

SWORD SONG, THE (" Caractacus," Op. 35). In E flat and F (Orchestral Parts in F only)

§THERE ARE SEVEN THAT PULL THE

THREAD ("Grania and Diarmid") (Op. 42). Mezzo-Soprano or Baritone

TORCH, THE (Op. 60, No. i). In F, G, and A

(Orchestral Parts in G only) ..

§TWILIGHT (Op. 59, No. 6). Contralto WAS IT SOME GOLDEN STAR (Op. 59,

No. 5). Contralto

i Orchestral Parts may be had.

MOTETS (Latin Words). s

AVE VERUM (Op. 2, No. l) (Tonic Sol-fa, ijd.).. o

AVE MARIA (Op. 2, No. 2) o

AVE MARIS STELLA (Op. 2, No. 3) 0

INTENDE VOCI ORATIONIS ME^E (Coronation

Offertorium) (Op. 64) o

s. d.

(Julv.

LONDON- : NOVELLO AND COMPANY, LIMITED.

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HENRY LAWES.

Photographed, by permission, from the painting in the Music School Collection. Oxford.

MILTON TERCENTENARY, 1908.

THE MASQUE OF COMUS

BY

JOHN MILTON

THE ORIGINAL MUSIC BY HENRY LAWES

TOGETHER WITH INCIDENTAL MUSIC, DANCES, ETC., BY WILLIAM LAWES AND OTHER CONTEMPORARY COMPOSERS

SELECTED AND ARRANGED BY

SIR FREDERICK BRIDGE

WITH AN INTRODUCTION BY W. BARCLAY SQUIRE,

(PRICE THREE SHILLINGS.)

LONDON: NOVELLO AND COMPANY, LIMITED. NBW YORK : THE H. W. GRAY CO., SOLE AGENTS FOR THE U.S.A.

MADE IN ENGLAND

PR

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INTRODUCTION.

MILTON'S " Comus " is generally supposed to have been written at the instigation of Henry Lawes. It was first produced "on Michaelmasse night," 1634, in the great hall of Ludlow Castle, probably as part of the festivities which celebrated the arrival of John Egerton, first Earl of Bridgewater, to take up his duties as Lord President of the Council in Wales and the Marches. At this performance the part of the Attendant Spirit was taken by Lawes, while the Lady was represented by Lady Alice Egerton, and the two brothers by Viscount Brackley and the Hon. Thomas Egerton ; who played the parts of Comus and Sabrina is unknown. Lord Brackley, Lady Alice and Mr. Thomas Egerton were the three youngest children of the Earl of Bridgewater : in 1634 tne sister cannot have been more than fifteen, and of her two brothers, "two pleasing black-haired boys," the elder was only twelve : as Lawes was at least thirty-nine the contrast between the performers must have been rather singular. At a much later date (in 1653) the musician dedicated his " Ayres and Dialogues" to Lady Alice and her elder sister, Lady Mary, and from this dedication we know that they had been his pupils, for Lawes tells them that they " excelled most ladies, especially in vocal music, wherein you were so absolute that you gave life and honour to all I set and taught you." The Masque was not printed till 1637, when it appeared anonymously, with a dedication to Lord Brackley by Henry Lawes, in which he says the poem is " so lovely and so much desired that the often copying of it hath tired my pen to give my several friends satisfaction." This edition presents the text practically in the form adopted in all later editions, and it may be accepted as representing the result of Milton's latest revision, but there exist two other versions, both which are of importance in connection with Lawes's music. The first of these is the poet's autograph draft, preserved at Trinity College, Cambridge, and published in facsimile in 1899 by Mr. Aldis Wright. This agrees in a remarkable manner with the second MS. version, preserved in the library of the Earl of Ellesmere, which is very possibly a copy made for the original performance at Ludlow in 1634. Of equal importance (from a musical point of view) with these, is a MS. volume in the possession of the Rev. Dr. Cooper Smith, which contains Lawes's autograph setting of five songs in " Comus" — all the music of which there is any proof that he actually wrote for the Ludlow production. Dr. Cooper Smith's MS. formerly belonged in succession to the Rev. William Gostling, Minor Canon of Canterbury, Sir John Hawkins and Dr. Philip Hayes, from whom it passed to an ancestor of the present owner, who has kindly allowed it to be consulted in preparing the present edition. It contains the following songs (all written merely with the voice part and unfigured bass) :

1. " From the Heavens now I fly."

2. " Sweet echo."

3. " Sabrina fair."

4. " Back, shepherds, back," 2nd part, " Noble Lord and Lady bright."

5. " Now my task is smoothly done."

A comparison of the Trinity College and Ellesmere MSS. rhows in both different versions of the epilogue from that in which it appears in the printed editions ; moreover, the Ellesmere text agrees with Lawes's musical setting, and shows that the composer

4 INTRODUCTION.

seems to have altered the line " To the ocean now I fly " into " From the Heavens now I fly," and transferred the whole passage to the beginning of the play. H. J. Todd, who in 1798 published the Ellesmere MS., surmised that it represented the original form of the poem, yet in the case of another alteration, by which the printed version of the

lines :

" So may'st thou be translated to the skies,

And give resounding grace to all Heaven's harmonies " becomes

" So may'st thou be translated to the skies, And hold a counterpoint to all Heaven's harmonies "

the editor could see in the last line only " a professional alteration " made by the composer ! That the expression " hold a counterpoint," which is so characteristic of Milton's use of technical musical terms, was in fact his original first thought, is proved by the Trinity MS., in which the words, though carefully erased, can still be detected. Besides these important variations, Lawes's autograph contains other verbal differences from the printed editions; they are noticed in an article by Mr. E. J. Dent in the Monthly Musical Record for August, 1908, where it is pointed out that they receive the support of the Trinity draft, and uphold the theory that the setting of Lawes represents the original form of the Masque as produced at Ludlow.

It is curious that no music should exist for Sabrina's song "By the rushy-fringed bank," nor for either the "Light fantastick round" danced by Comus's crew nor the dances in the last scene. Though much instrumental music by William Lawes is still extant, none by his brother Henry seems to have come down to us ; it is therefore possible that he left the dancers to supply their own tunes. The omission of Sabrina's song is more difficult to account for, and it can only be surmised that the performer of the part was no vocalist, and simply spoke the lines.

Though Lawes was thirteen years older than Milton, and their political opinions led them into widely divergent paths, their friendship did not end with their collaboration in the Masque of " Comus," for fourteen years later, when Lawes published his and his brother's " Choice Psalmes," there appeared among the commendatory poems the noble sonnet by Milton (dated in the rough draft in the Trinity MS. " February 9, 1645 "), which has done much to immortalize the composer's name. It may well be given here, as a fitting prelude to this edition of Lawes's music to " Comus " :

Harry, whose tuneful and well-measur'd song

First taught our English music how to span

Words with just note and accent, not to scan With Midas' ears, committing short and long ; Thy worth and skill exempts thee from the throng,

With praise enough for Envy to look wan ;

To after age thou shalt be writ the man, That with smooth air could'st humour best our tongue. Thou honour'st Verse, and Verse must lend her wing

To honour thee, the priest of Phrebus' quire,

That tun'st their happiest lines in hymn or story. Dante shall give Fame leave to set thee higher

Than his Casella, whom he woo'd to sing,

Met in the milder shades of Purgatory.

W. B. S.

NOTES ON THE MUSIC AND SUGGESTIONS FOR PERFORMANCE.

No. i.— OVERTURE. a. SYMPHONY. b. ALMAIN.

The first scene " discovers a wild wood." The A ttendant Spirit11 descends or enters." It may be assumed that an Overture was played before the rising of the curtain. For this Overture I have selected a "Symphony" and an " Almain," both composed by William Lawes, brother of Henry Lawes.

No. 2.— SONG (The Attendant Spirit), "FROM THE HEAVENS NOW I FLY."

The Masque originally began with the song, " From the heavens now I fly," composed by Henry Lawes.

No. 3— "THE KING'S HUNTING JIGG."

The entry of Comus (line 93) suggests the next introduction of music. The strains" here employed at the first representation of the Masque are unknown, but they were< probably of a character akin to the sprightly little piece, "The King's Hunting Jigg," composed by Dr. John Bull.

No. 4.— "SELLINGER'S ROUND."

The next opportunity for music is afforded by "The Measure" (after line 144), " In a light fantastic round." This is a country dance, which, according to the Trinity MS. of the Masque, should be danced " in a wild, rude, and wanton antic." One of the best known of these dances is " Sellinger's Round," an arrangement of which, by William Byrd, is here introduced. As the Trinity MS. adds the stage direction "They all scatter," the music might continue to be played while Comus addresses the rout until after " Our number may affright " (line 148). When the rout has hidden " within these brakes and trees," he would at once continue his speech with the words " Some virgin sure," &c.

No. 5.— SONG (The Lady), " SWEET ECHO."

Introduced at line 230, this beautiful song needs no comment, except to say that the last line was originally " And hold a counterpoint to all Heaven's harmonies," which the Poet afterwards altered to " And give resounding grace to all Heaven's harmonies," a form in which it appears in all the printed editions (see Introduction, p. 4).

6 INTRODUCTION.

Nos. 6 and '/.—"THE ROYAL CONSORT" (Two MOVEMENTS).

The second scene (line 658) presents " a stately palace, set out with all manner of deliciousness : soft music, tables spread with all dainties," &c. For the "soft music" I have selected a slow movement from "The Royal Consort," composed by William Lawes. In the absence of any specific direction as to the music, the Allegro movement may fitly accompany the incident when the brothers rush in with drawn swords, wrest the glass out of the hand of Comus, and put his rout to flight, as the Attendant Spirit enters (line 814).

No. 8.— SONG (The Attendant Spirit) AND CHORUS, "SABRINA FAIR."

Of this beautiful song (line 859), as set by Henry Lawes, only a portion of the splendid words are utilized ; but the remainder could be recited while the chorus "off the stage" repeats the song. To this end I have arranged it for four voices; an arrangement is also given for three voices (S.S.A.), to be used when the Masque is performed at schools.

No. g.-SONG (Sabrina), " BY THE RUSHY-FRINGED BANK."

Sabrina then rises (line 889), and, attended by water-nymphs, sings " By the rushy- fringed bank." Lawes does not appear to have set these beautiful words, therefore I have ventured to adapt to them the music of his song " Phillis, why should we delay? " with, I trust, some success. It admirably fits the text without necessitating alteration of the music.

No. lo.-SARABAND.

Later on (line 922), Sabrina descends and the Lady rises out of her seat. As the introduction of music would certainly add to the impressiveness of the scene, I have selected a dainty little Saraband by William Lawes to be played at this point.

No.ii.-ja-"JIGG'"

U. "THE MITTER RANT."

The stage directions at the beginning of Scene 3 (line 958) include Country Dancers. An appropriate opportunity is thus afforded for some rustic strains. Therefore I have selected (a) a spirited " Jigg," by William Lawes, and (b) " The Mitter Rant," composed by that distinguished lyth century musician, John Jenkins. These pieces, played during the entry of the Attendant Spirit with the two Brothers and the Lady, will be immediately followed by

No. 12.— SONG (The Attendant Spirit), "BACK, SHEPHERDS, BACK!" Music by Henry Lawes.

No. 13.— MARCH, "LORD ZOUCHE'S MASKE.'

Immediately following the conclusion of the above song, the stage directions are : " This second song [< Noble Lord, and Lady bright '] presents them to their Father and Mother," the Earl and Countess of Bridgewater. It is clear that these high personages —

INTRODUCTION. 7

who were chief among the audience at the first performance of the Masque — should enter here. Their entry upon the stage — which in the present day could be made a most imposing feature of the performance — offers an effective opportunity for a stately march. For this I have selected a March, entitled " Lord Zouche's Maske," composed by Giles Farnaby (b. 1560), and printed in Thomas Morley's " Consort Lessons " (1599).

No. 14.— SONG (The Attendant Spirit) AND CHORUS, "NOBLE LORD.

AND LADY BRIGHT."

To this song, by Henry Lawes (line 966), I have added a harmonised version for four voices, and one for three voices (S.S.A.), the latter to be used when the Masque is performed in schools.

No. 15.— "SARABAND/'

After the song "Noble Lord, and Lady bright," the stage directions read : "The dances ended, the Spirit epiloguizes." Thus it may be assumed that a stately dance of some kind followed the song. For the dance I have selected a charming Saraband, composed by William Lawes, in which a select number of the performers, or even the whole company on the stage, might take part.

It is at this point (line 976) that the words " To the ocean now I fly " occur. As these lines (with a slight variant) have already been sung at the opening of the Masque, they may here be merely recited, or the song (No. 2) may be repeated, beginning " To the ocean," &c.

No. 16.— SONG (The Attendant Spirit), "NOW MY TASK IS SMOOTHLY DONE."

The Masque concludes most beautifully and effectively with the above song, by Henry Lawes, Its concluding lines I have arranged for four voices, and also for three voices (S.S.A.), thus providing a choral ending. If an instrumental close is considered desirable, " Lord Zouche's Maske " (No. ^3* could be played.

In making these suggestions my desire has been to throw out hints as to where a little music may add interest and brightness to the Masque, without, I venture to think, in any way doing violence to the beautiful poem. Milton allowed Henry Lawes to make a few changes in the text in order to stage the piece, thus creating a precedent which largely justifies the few performing suggestions I have, in a spirit of veneration, endeavoured to set forth. In the songs I have adhered to melodies and basses written by Lawes, and endeavoured to fill in the accompaniments with a due regard to the period at which he wrote. In two instances — " Sweet echo " and " By the rushy-fringed bank " — I have added short symphonies.

J. FREDERICK BRIDGE, November, 1908.

An orchestral yrrangement, strings only, of the whole of the music may be had.

THE PERSONS.

THE ATTENDANT SPIRIT, afterwards in the habit of THYRSIS.

COMUS, with his Crew.

THE LADY.

FIRST BROTHER.

SECOND BROTHER.

SABRINA, the Nymph.

The Chief Persons which presented were:— The Lord Brackley ; Mr. Thomas Egerton, his Brother; The Lady Alice Egertcn,

COMUS.

No. i.— OVERTURE.

*r

a, SYMPHONY. b. ALMAIN. (Editor's note OH p. 5.)

The first Scene discovers a wild wood. The ATTENDANT SPIRIT descends or enters and sings. 2.— SONG, " FROM THE HEAVENS NOW I FLY."

(Editor's note on p. ;.)

And those happy climes that lie Where day never shuts his eye, Up in the broad fields of the sky. There I suck the liquid air, All amidst the gardens fair Of Hesperus, and his daughters three That sing about a golden tree. Iris there with humid bow Waters the odorous banks, that blow Flowers of more mingled hue Than her purfled scarf can show, Beds of hyacinth and roses,

Where I many a cherub soft } reooses "1 " 1 young Adonis oft ) reP°' 'S<J

BEFORE the starry threshold of Jove's court

My mansion is, where those immortal shapes

Of bright aerial spirits live insphered

In regions mild of calm and serene air,

Above the smoke and stir of this dim spot

Which men call Earth, and with low-thoughted care,

Confined and pestered in this pinfold here,

Strive to keep up a frail and feverish being,

Unmindful of the crown that Virtue gives,

After this mortal change, to her true servants 10

Amongst the enthroned gods on sainted seats.

Yet some there be that by due steps aspire

To lay their just hands on that golden key

That opes the palace of eternity.

To such my errand is ; and, but for such,

i would not soil these pure ambrosial weeds

With the r'ink vapours of this sin-worn mould.

lo COMUS.

But to my task. Neptune, besides the sway Of every salt flood and each ebbing stream,

Took in by lot, 'twixt high and nether Jove, 2c

Imperial rule of all the sea-girt isles That, like to rich and various gems, inlay The unadorned bosom of the deep ; Which he, to grace his tributary gods, By course commits to several government, And gives them leave to wear their sapphire crowns And wield their little tridents. But this Isle, The greatest and the best of all the main, He quarters to his blue-haired deities;

And all this tract that fronts the falling sun 30

A noble Peer of mickle trust and power Has in his charge, with tempered awe to guide An old and haughty nation, proud in arms : Where his fair offspring, nursed in princely lore, Are coming to attend their father's state, And new-ir.trusted sceptre ; but their way Lies through the perplexed paths of this drear wood, The nodding horror of whose shady brows Threats the forlorn and wandering passenger ; And here their tender age might suffer peril, 40

But that by quick command from sovereign Jove I was despatched for their defence and guard ! And listen why; for I will tell you now Wrhat never yet was heard in tale or song, From old or modern bard, in hall or bower.

Bacchus, that first from out the purple grape Crushed the sweet poison of misused wine, After the Tuscan mariners transformed, Coasting the Tyrrhene shore, as the winds listed. On Circe's island fell. (Who knows not Circe, 50

The daughter of the Sun, whose charmed cup Whoever tasted lost his upright shape, And downward fell into a grovelling swine ? ) This nymph, that gazed upon his clustering locks, With ivy berries wreathed, and his blithe youth, Had by him, ere he parted thence, a son Much like his father, but his mother more, Whom therefore she brought up, and Comus named: Who, ripe and frolic of his full-grown age,

Roving the Celtic and Iberian fields, 60

At last betakes him to this ominous wood, And, in thick shelter of black shades imbowered, Excels his mother at her mighty art ; Offering to every weary traveller His orient liquor in a crystal glass,

To quench the drouth of Phoebus; which as they taste (For most do taste through fond intemperate thirst),

COMUS. n

Soon as the potion works, their human countenance,

The express resemblance of the gods, is changed

Into some brutish form of wolf, or bear, 70

Or ounce, or tiger, hog, or bearded goat,

All other parts remaining as they were.

And they, so perfect is their misery,

Not once perceive their foul disfigurement,

But boast themselves more comely than before,

And all their friends and native home forget,

To roll with pleasure in a sensual sty.

Therefore, when any favoured of high Jove

Chances to pass through this adventurous glade,

Swift as the sparkle of a glancing star 80

I shoot from heaven, to give him safe convoy,

As now I do. But first I must put off

These my sky-robes spun out of Iris' woof,

And take the weeds and likeness of a swain

That to the service of this house belongs,

Who with his soft pipe, and smooth-dittied song,

Well knows to still the wild winds when they roar.

And hush the waving woods ; nor of less faith,

And in this office of his mountain watch

Likeliest, and nearest to the present aid go

Of this occasion. But I hear the tread

Of hateful steps ; I must be viewless now.

COMUS enter-, with a charming-rod in one hand, his glass in the other; with him a rout of monsters, headed like sundry sorts of wild beasts, but otherwise like men and women, their apparel glistering; they come in making a riotous and unruly noise, with torches in their hands.

No. 3.— "THE KING'S HUNTING JIGG."

(Editor's note on p, 5.)

Comus. The star that bids the shepherd fold Now the top of heaven doth hold ; And the gilded car of day His glowing axle doth allay In the steep Atlantic stream ; And the slope sun his upward beam Shoots against the dusky pole,

Pacing toward the other goal 100

Of his chamber in the east. Meanwhile, welcome joy and feast, Midnight shout and revelry, Tipsy dance and jollity. Braid your locks with rosy twine. Dropping odours, dropping wine. Rigour now is gone to bed ; And Advice with scrupulous head,

12 COM US.

Strict Age, and sour Severity,

With their grave saws, in slumber lie. no

We that are of purer fire

Imitate the starry quire,

Who, in their nightly watchful spheres,

Lead in swift round the months and years.

The sounds and seas, with all their finny drove,

Now to the moon in wavering morrice move ;

And on the tawny sands and shelves

Trip the pert fairies and the dapper elves.

By dimpled brook and fountain-brim,

The wood-nymphs decked with daisies trim, 120

Their merry wakes and pastimes keep :

What hath night to do with sleep ?

Night hath better sweets to prove ;

Venus now wakes, and wakens Love.

Come, let us our rites begin ;

'Tis only daylight that makes sin,

Which these dun shades will ne'er report.

Hail, goddess of nocturnal sport,

Dark-veiled Cotytto, to whom the secret flame

Of midnight torches burns ! mysterious dame, 130

That ne'er art called but when the dragon womb

Of Stygian darkness spets her thickest gloom,

And makes one blot of all the air!

Stay thy cloudy ebon chair,

Wherein thou ridest with Hecate, and befriend

Us thy vowed priests, till utmost end

Of all thy dues be done, and none left out ;

Ere the blabbing eastern scout,

The nice Morn, on the Indian steep

From her cabined loop-hole peep, 140

And to the tell-tale Sun descry

Our concealed solemnity.

Come, knit hands, and beat the ground

In a light fantastic round.

J No. 4.—" SELLINGER'S ROUND."

(Editor's note on p. 5.)

THE MEASURE.

Break off, break off! I feel the different pace

Of some chaste footing near about this ground.

Run to your shrouds within these brakes and trees ;

Our number may affright. Some virgin sure

(For so I can distinguish by mine art)

Benighted in these woods ! Now to my charms, 150

And to my wily trains : I shall ere long

Be well-stocked with as fair a herd as grazed

COMUS. 13

About my mother Circe. Thus I hurl

My dazzling spells into the spongy air,

Of power to cheat the eye with blear illusion.

And give it false presentments, lest the place

And my quaint habits breed astonishment,

And put the damsel to suspicious flight ;

Which must not be, for that 's against my course :

I, under fair pretence of friendly ends, i6c

And well-placed words of glozing courtesy,

Baited with reasons not unplausible,

Wind me into the easy-hearted man,

And hug him into snares. When once her eye

Hath met the virtue of this magic dust,

I shall appear some harmless villager,

Whom thrift keeps up about his country gear.

But here she comes ; I fairly step aside,

And hearken, if I may, her business here.

The LADY enters.

Lady. This way the noise was, if mine ear be true, 170

My best guide now : methought it was the sound Of riot and ill-managed merriment, Such as the jocund flute or gamesome pipe Stirs up among the loose unlettered hinds, When, for their teeming flocks and granges full, In wanton dance they praise the bounteous Pan, And thank the gods amiss. I should be loth To meet the rudeness and swilled insolence Of such late wassailers ; yet, oh ! where else

Shall I inform my unacquainted feet 180

In the blind mazes of this tangled wood ? My brothers, when they saw me wearied out With this long way, resolving here to lodge Under the spreading favour of these pines, Stepped, as they said, to the next thicket-side To bring me berries, or such cooling fruit As the kind hospitable woods provide. They left me then when the gray-hooded Even, Like a sad votarist in palmer's weed,

Rose from the hindmost wheels of Phoebus' wain. 190

But where they are, and why they came not back, Is now the labour of my thoughts ; 'tis likeliest They had engaged their wandering steps too far, And envious darkness, ere they could return, Had stole them from me : else, O thievish Night, Why shouldst thou, but for some felonious end, In thy dark lantern thus close up the stars That Nature hung in heaven, and filled their lamps With everlasting oil, to give due light To the misled and lonely traveller ? 200

j4 COM US.

This is the place, as well as I may guess,

Whence even now the tumult of loud mirth

Was rife, and perfect in my listening ear ;

Yet nought but single darkness do I find.

What might this be ? A thousand fantasies

Begin to throng into my memory,

Of calling shapes, and beckoning shadows dire,

And airy tongues that syllable men's names

On sands and shores and desert wildernesses.

These thoughts may startle well, but not astound 210

The virtuous mind, that ever walks attended

By a strong siding champion, Conscience.

O, welcome, pure-eyed Faith, white-handed Hope,

Thou hovering angel girt with golden wings,

And thou unblemished form of Chastity !

I see ye visibly, and now believe

That He, the Supreme Good, to whom all things ill

Are but as slavish officers of vengeance,

Would send a glistering guardian, if need were,

To keep my life and honour unassailed — 220

Was I deceived, or did a sable cloud

Turn forth her silver lining on the night ?

I did not err ; there does a sable cloud

Turn forth her silver lining on the night,

And casts a gleam over this tufted grove.

I cannot hallo to my brothers, but

Such noise as I can make to be heard farthest

I'll venture ; for my new-enlivened spirits

Prompt me, and they perhaps are not far off.

i/No. 5.— SONG, " SWEET ECHO."

(Editor's note on p. 5.)

Sweet Echo, sweetest nymph, that liv'st unseen 230

Within thy airy shell By slow Meander's margent green, And in the violet-embroidered vale Where the love-lorn nightingale Nightly to thee her sad song mourneth well : Canst thou not tell me of a gentle pair That likest thy Narcissus are ? O, if thou have Hid them in some flowery cave,

Tell me but where, 240

Sweet Queen of parley, Daughter of the sphere i So may'st thou be translated to the skies,

to a" Heaven's harmonies!

Cotnus. Can any mortal mixture of earth's mould Breathe such divine enchanting ravishment ?

COM US. 15

Sure something holy lodges in that breast,

And with these raptures moves the vocal air

To testify his hidden residence.

How sweetly did they float upon the wings

Of silence, through the empty-vaulted night, 250

At every fall smoothing the raven down

Of darkness till it smiled ! I have oft heard

My mother Circe with the Sirens three,

Amidst the flowery-kirtled Naiades,

Culling their potent herbs and baleful drugs;

Who, as they sung, would take the prisoned soul,

And lap it in Elysium : Scylla wept,

And chid her barking waves into attention,

And fell Charybdis murmured soft applause.

Yet they in pleasing slumber lulled the sense, 260

And in sweet madness robbed it of itself ;

But such a sacred and home-felt delight,

Such sober certainty of waking bliss,

I never heard till now. I'll speak to her,

And she shall be my queen. — Hail, foreign wonder!

Whom certain these rough shades did never breed,

Unless the goddess that in rural shrine

Dwell'st here with Pan or Sylvan, by blest song

Forbidding every bleak unkindly fog

To touch the prosperous growth of this tall wood. 270

Lady. Nay, gentle shepherd, ill is lost that praise That is addressed to unattending ears : Not any boast of skill, but extreme shift How to regain my severed company, Compelled me to awake the courteous Echo To give me answer from her mossy couch.

Comus. What chance, good Lady, hath bereft you thus ?

Lady. Dim darkness, and this leafy labyrinth.

Comus. Could that divide you from near-ushering guides ?

Lady. They left me weary on a grassy turf. 280

Comus. By falsehood, or discourtesy, or why ?

Lady. To seek i' the valley some cool friendly spring.

Comus. And left your fair side all unguarded, Lady ?

Lady. They were but twain, and purposed quick return.

Comus. Perhaps forestalling night prevented them.

Lady. How easy my misfortune is to hit !

Cotmts. Imports their loss, beside the present need ?

Lady. No less than if I should my brothers lose.

Comus. Were they of manly prime, or youthful bloom ?

Lady. As smooth as Hebe's their unrazored lips. 290

Comus. Two such I saw, what time/the laboured ox In his loose traces from the furrow came, And the swinked hedger at his supper sat. I saw them under a green mantling vine. That crawls along the side of yon small hill,

16 COMUS.

Plucking ripe clusters from the tender shoots;

Their port was more than human, as they stood:

I took it for a faery vision

Of some gay creatures of the element,

That in the colours of the rainbow live, 300

And play i' the plighted clouds. I was awe-struck,

And, as I passed, I worshipped : if those you seek,

It were a journey like the path to Heaven,

To help you find them.

Lady. Gentle villager,

What readiest way would bring me to that place ?

Comus. Due west it rises from this shrubby point.

Lady. To find that out, good shepherd, I suppose, In such a scant allowance of star-light, Would overtask the best land-pilot's art, Without the sure guess of well-practised feet. 310

Comus. I know each lane, and every alley green, Dingle, or bushy dell, of this wild wood, And every bosky bourn from side to side, My daily walks and ancient neighbourhood ; And if your stray attendance be yet lodged, Or shroud within these limits, I shall know Ere morrow wake, or the low-roosted lark From her thatched pallet rouse : if otherwise, I can conduct you, Lady, to a low

But loyal cottage, where you may be safe 320

Till further quest.

Lady. Shepherd, I take thy word,

And trust thy honest-offered courtesy, Which oft is sooner found in lowly sheds, With smoky rafters, than in tapestry halls And courts of princes, where it first was named, And yet is most pretended. In a place Less warranted than this, or less secure, I cannot be, that I should fear to change it. Eye me, blest Providence, and square my trial To my proportioned strength ! Shepherd, lead on. 330

[Exeunt. Enter the Two BROTHERS.

Elder Brother. Unmuffle, ye faint Stars ; and thou,

fair Moon,

Thou wont'st to love the traveller's benison, Stoop thy pale visage through an amber cloud, And disinherit Chaos, that reigns here In double night of darkness and of shades ; Or, if your influence be quite dammed up With black usurping mists, some gentle taper, Though a rush-candle from the wicker hole Of some clay habitation, visit us With thy long levelled rule of streaming light. 340

COM US. 17

And thou shalt be our star of Arcady, Or Tyrian Cynosure.

Second Brother. Or, if our eyes

Be barred that happiness, might we but hear The folded flocks, penned in their wattled cotes, Or sound of pastoral reed with oaten stops, Or whistle from the lodge, or village cock Count the night-watches to his feathery dames, 'Twould be some solace yet, some little cheering, In this close dungeon of innumerous boughs.

But, Oh, that hapless virgin, ow lost sister ! 350

Where may she wander now, whither betake her From the chill dew, amongst rude burs and thistles ? Perhaps some cold bank is her bolster now, Or 'gainst the rugged bark of some broad elm Leans her unpillowed head, fraught with sad fears. What if in wild amazement and affright, Or, while we speak, within the direful grasp Of savage hunger, or of savage heat !

Elder Brother. Peace, brother : be not over-exquisite To cast the fashion of uncertain evils ; 360

For, grant they be so, while they rest unknown, What need a man forestall his date of grief, And run to meet what he would most avoid ? Or, if they be but false alarms of fear, How bitter is such self-delusion ! I do not think my sister so to seek, Or so unprincipled in virtue's book, And the sweet peace that goodness bosoms ever, As that the single want of light and noise

(Not being in danger, as I trust she is not) 370

Could stir the constant mood of her calm thoughts, And put them into misbecoming plight. Virtue could see to do what Virtue would By her own radiant light, though sun and moon Were in the flat sea sunk. And Wisdom's self Oft seeks to sweet retired solitude, Where, with her best nurse, Contemplation, She plumes her feathers, and lets grow her wings, That in the various bustle of resort

Were all to-ruffled, and sometimes impaired. 380

He that has light within his own clear breast May sit i' the centre, and enjoy bright day : But he that hides a dark soul, and foul thoughts, Benighted walks under the mid-day sun ; Himself is his own dungeon.

Second Brother. 'Tis most true

That musing Meditation most affects The pensive secrecy of desert cell, Far from the cheerful haunt of men and herds,

Sir P. Bridge— Com us.— Novello. B

COMUS.

And sits as safe as in a senate-house ;

For who would rob a hermit of his weeds, 390

His few books, or his beads, or maple dish,

Or do his gray hairs any violence ?

But Beauty, like the fair Hesperian tree

Laden with blooming gold, had need the guard

Of dragon-watch with unenchanted eye,

To save her blossoms, and defend her fruit.

From the rash hand of bold Incontinence.

You may as well spread out the unsunned heaps

Of miser's treasure by an outlaw's den,

And tell me it is safe, as bid me hope 400

Danger will wink on Opportunity,

And let a single helpless maiden pass

Uninjured in this wild surrounding waste.

Of night or loneliness it recks me not ;

I fear the dread events that dog them both,

Lest some ill-greeting touch attempt the person

Of our unowned sister.

Elder Brother. I do not, brother,

Infer as if I thought my sister's state Secure without all doubt or controversy ;

Yet, where an equal poise of hope and fear 410

Does arbitrate the event, my nature is That I incline to hope rather than fear, And gladly banish squint suspicion. My sister is not so defenceless left As you imagine ; she has a hidden strengths Which you remember not.

Second Brother. What hidden strength,

Unless the strength of Heaven, if you mean that ?

Elder Brother. I mean that too, but yet a hidden strength, Which, if Heaven gave it, may be termed her own. *Tis chastity, my brother, chastity : 420

She that has that is clad in complete steel, And, like a quivered nymph with arrows keen, May trace huge forests, and unharboured heaths, Infamous hills, and sandy perilous wilds ; Where, through the sacred rays of chastity, No savage fierce, bandite, or mountaineer, Will dare to soil her virgin purity : Yea, there where very desolation dwells, By grots and caverns shagged with horrid shades, She may pass on with unblenched majesty, 430

Be it not done in pride, or in presumption. Some say no evil thing that walks by night, In fog or fire, by lake or moorish fen, Blue meagre hag, or stubborn unlaid ghost, That breaks his magic chains at curfew time. No goblin, or swart faery of the mine,

COM US. 19

Hath hurtful power o'er true virginity.

Do ye believe me yet, or shall I call

Antiquity from the old schools of Greece

To testify the arms of chastity ? 440

Hence had the huntress Dian her dread bow,

Fair silver-shafted queen for ever chaste,

Wherewith she tamed the brinded lioness

And spotted mountain-pard, but set at nought

The frivolous bolt of Cupid ; gods and men

Feared her stern frown, and she was queen o' the woods.

What was that snaky-headed Gorgon shield

That wise Minerva wore, unconquered virgin,

Wherewith she freezed her foes to congealed stone,

But rigid looks of chaste austerity, 450

And noble grace that dashed brute violence

With sudden adoration and blank awe ?

So dear to Heaven is saintly chastity,

That, when a soul is found sincerely so,

A thousand liveried angels lackey her,

Driving far off each thing of sin and guilt,

And in clear dream and solemn vision

Tell her of things that no gross ear can hear ;

Till oft converse with heavenly habitants

Begin to cast a beam on the outward shape, 460

The unpolluted temple of the mind,

And turns it by degrees to the soul's essence,

Till all be made immortal. But when lust,

By unchaste looks, loose gestures, and foul talk,

But most by lewd and lavish act of sin,

Lets in defilement to the inward parts,

The soul grows clotted by contagion,

Imbodies, and imbrutes, till she quite lose

The divine property of her first being.

Such are those thick and gloomy shadows damp 4.70

Oft seen in charnel-vaults and sepulchres,

Lingering and sitting by a new-made grave,

As loth to leave the body that it loved,

And linked itself by carnal sensualty

To a degenerate and degraded state.

Second Brother. How charming is divine Philosophy! Not harsh and crabbed, as dull fools suppose, But musical as is Apollo's lute, And a perpetual feast of nectared sweets, Where no crude surfeit reigns.

Elder Brother. List ! list ! I hear 480

Some far-off hallo break the silent air.

Second Brother. Methought so too ; what should it be?

Elder Brother. For certain,

Either some one, like us, night-foundered here, Or else some neighbour woodman, or, at worst, Some roving robber calling to his fellows.

20 ' COMUS.

Second Brother. Heaven keep my sister ! Again, again,

and near ! Best draw, and stand upon our guard.

Elder Brother. I'll hallo.

If he be friendly, he comes well : if not, Defence is a good cause, and Heaven be for us !

Enter the ATTENDANT SPIRIT, habited like a shepherd.

That hallo I should know. What are you ? speak. 490

Come not too near ; you fall on iron stakes else.

Spirit. What voice is that ? my young Lord ? speak again.

Second Brother. O brother, 'tis my father's Shepherd, sure.

Elder Brother. Thyrsis ! whose artful strains have oft delayed The huddling brook to hear his madrigal, And sweetened every musk-rose of the dale. How earnest thou here, good swain ? hath any ram Slipped from the fold, or young kid lost his dam, Or straggling wether the pent flock forsook ? How couldst thou find this dark sequestered nook ? 500

Spirit. O my loved master's heir, and his next joy, I came not here on such a trivial toy As a strayed ewe, or to pursue the stealth Of pilfering wolf; not all the fleecy wealth That doth enrich these downs is worth a thought To this my errand, and the care it brought. But, Oh ! my virgin Lady, where is she ? How chance she is not in your company ?

Elder Brother. To tell thee sadly, Shepherd, without blame Or our neglect, we lost her as we came. 510

Spirit. Ay me unhappy ! then my fears are true.

Elder Brother. What fears, good Thyrsis ? Prithee briefly shew.

Spirit. I'll tell ye ; 'tis not vain or fabulous, (Though so esteemed by shallow ignorance) What the sage poets, taught by the heavenly Muse, Storied of old in high immortal verse Of dire Chimeras and enchanted isles, And rifted rocks whose entrance leads to Hell ; For such there be, but unbelief is blind.

Within the navel of this hideous wood, 520

Immured in cypress shades, a sorcerer dwells, Of Bacchus and of Circe born, great Comus, Deep skilled in all his mother's witcheries ; And here to every thirsty wanderer By sly enticement gives his baneful cup, With many murmurs mixed, whose pleasing poison The visage quite transforms of him that drinks, And the inglorious likeness of a beast Fixes instead, unmouldering reason's mintage Charactered in the face. This have I learnt 530

COMUS. ii

Tending my flocks hard by i' the hilly crofts

That brow this bottom glade ; whence night by night

He and his monstrous rout are heard to howl

Like stabled wolves, or tigers at their prey,

Doing abhorred rites to Hecate

In their obscured haunts of inmost bowers.

Yet have they many baits and guileful spells

To inveigle and invite the unwary sense

Of them that pass unweeting by the way.

This evening late, by then the chewing flocks 540

Had ta'en their supper on the savoury herb

Of knot-grass dew-besprent, and were in fold,

I sat me down to watch upon a bank

With ivy canopied, and interwove

With flaunting honeysuckle, and began,

Wrapt in a pleasing fit of melancholy,

To meditate my rural minstrelsy,

Till fancy had her fill; but ere a close

The wonted roar was up amidst the woods,

And filled the air with barbarous dissonance ; 550

At which I ceased, and listened them a while,

Till an unusual stop of sudden silence

Gave respite to the drowsy-flighted steeds

That draw the litter of close-curtained Sleep.

At last a soft and solemn-breathing sound

Rose like a steam of rich distilled perfumes,

And stole upon the air, that even Silence

Was took ere she was ware, and wished she might

Deny her nature, and be never more

Still to be so displaced. I was all ear, 560

And took in strains that might create a soul

Under the ribs of Death : but, Oh ! ere long

Too well I did perceive it was the voice

Of my most honoured Lady, your dear sister.

Amazed I stood, harrowed with grief and fear ;

And, ' O poor hapless nightingale,1 thought I,

' How sweet thou sing'st, how near the deadly snare 1 '

Then down the lawns I ran with headlong haste,

Through paths and turnings often trod by day,

Till, guided by mine ear, I found the place 570

Where that damned wizard, hid in sly disguise

(For so by certain signs I knew), had met

Already, ere my best speed could prevent,

The aidless innocent lady, his wished prey ;

Who gently asked if he had seen such two,

Supposing him some neighbour villager.

Longer I durst not stay, but soon I guessed

Ve were the two she meant : with that I sprung

Into swift flight, till I had found you here ;

But further know I not. 580

22 COM US.

Second Brother. O Night and Shades,

How are ye joined with hell in triple knot Against the unarmed weakness of one virgin, Alone and helpless ! Is this the confidence You gave me, brother ?

Elder Brother. Yes, and keep it still ;

Lean on it safely ; not a period Shall be unsaid for me. Against the threats Of malice or of sorcery, or that power Which erring men call Chance, this I hold firm : Virtue may be assailed, but never hurt,

Surprised by unjust force, but not enthralled ; 590

Yea, even that which Mischief meant most harm Shall in the happy trial prove most glory. But evil on itself shall back recoil, And mix no more with goodness, when at last, Gathered like scum, and settled to itself, It shall be in eternal restless change Self-fed and self-consumed : if this fail, The pillared firmament is rottenness, And earth's base built on stubble. But come, let 's on ! Against the opposing will and arm of Heaven 6oc

May never this just sword be lifted up ; But, for that damned magician, let him be girt With all the griesly legions that troop Under the sooty flag of Acheron, Harpies and Hydras, or all the monstrous forms 'Twixt Africa and Ind, I'll find him out, And force him to return his purchase back, Or drag him by the curls to a foul death, Cursed as his life.

Spirit. Alas ! good venturous youth,

I love thy courage yet, and bold emprise ; 610

But here thy sword can do thee little stead : Far other arms and other weapons must Be those that quell the might of hellish charms ; He with his bare wand can unthread thy joints, And crumble all thy sinews.

Elder Brother. Why, prithee, Shepherd,

How durst thou then thyself approach so near As to make this relation ?

Spirit. Care and utmost shifts

How to secure the Lady from surprisal Brought to my mind a certain shepherd lad,

Of small regard to see to, yet well skilled 620

In every virtuous plant and healing herb That spreads her verdant leaf to the morning ray : He loved me well, and oft would beg me sing; Which when I did, he on the tender grass Would sit, and hearken even to ecstasy,

COMUS. 23

And in requital ope his leathern scrip,

And show me simples of a thousand names,

Telling their strange and vigorous faculties.

Amongst the rest a small unsightly root,

But of divine effect, he culled me out ; 630

The leaf was darkish, and had prickles on it,

But in another country, as he said,

Bore a bright golden flower, but not in this soil :

Unknown, and like esteemed, and the dull swain

Treads on it daily with his clouted shoon ;

And yet more med'cinal is it than that Moly

That Hermes once to wise Ulysses gave.

He called it Hsemony, and gave it me,

And bade me keep it as of sovereign use

'Gainst all enchantments, mildew blast, or damp, 640

Or ghastly Furies' apparition.

I pursed it up, but little reckoning made,

Till now that this extremity compelled :

But now I find it true ; for by this means

I knew the foul enchanter, though disguised,

Entered the very lime-twigs of his spells,

And yet came off. If you have this about you

(As I will give you when we go) you may

Boldly assault the necromancer's hall ;

Where if he be, with dauntless hardihood 650

And brandished blade rush on him : break his glass,

And shed the luscious liquor on the ground,

But seize his wand ; though he and his curst crew

Fierce sign of battle make, and menace high,

Or, like the sons of Vulcan, vomit smoke,

Yet will they soon retire, if he but shrink.

Elder Brother. Thyrsis, lead on apace ; I'll follow thee ; And some good angel bear a shield before us !

The Scene changes to a stately palace, set out with all manner of deliciousness : soft music, tables spread with all dainties. COMUS appears with his rabble, and THE LADY set in an enchanted chair; to whom he offers his glass, which she puts by, and goes about to rise.

v/No. 6.— SLOW MOVEMENT FROM "THE ROYAL CONSORT."

(Editor's note on p. 6.)

Comus. Nay, Lady, sit : if I but wave this wand, Your nerves are all chained up in alabaster, 660

And you a statue, or as Daphne was, Root-bound, that fled Apollo.

Lady. Fool, do not boast :

Thou canst not touch the freedom of my mind With all thy charms, although this corporal rind Thou hast immanacled, while Heaven sees good.

COMUS.

Comus. Why are you vexed, Lady ? why do you frown ? Here dwell no frowns, nor anger ; from these gates Sorrow flies far. See, here be all the pleasures That fancy can beget on youthful thoughts,

When the fresh blood grows lively, and returns 670

Brisk as the April buds in primrose season. And first behold this cordial julep here, That flames and dances in his crystal bounds, With spirits of balm and fragrant syrups mixed. Not that Nepenthes which the wife of Thone In Egypt gave to Jove-born Helena Is of such power to stir up joy as this, To life so friendly, or so cool to thirst. Why should you be so cruel to yourself,

And to those dainty limbs, which Nature lent 680

For gentle usage and soft delicacy ? But you invert the covenants of her trust, And harshly deal, like an ill borrower, With that which you received on other terms, Scorning the unexempt condition By which all mortal frailty must subsist, Refreshment after toil, ease after pain, That have been tired all day without repast, And timely rest have wanted ; but, fair virgin, This will restore all soon.

Lady. 'Twill not, false traitor! 690

'Twill not restore the truth and honesty That thou hast banished from thy tongue with lies. Was this the cottage and the safe abode Thou told'st me of? What grim aspects are these, These ugly-headed monsters ? Mercy guard me ! Hence with thy brewed enchantments, foul deceiver I Hast thou betrayed my credulous innocence With vizored falsehood and base forgery ? And wouldst thou seek again to trap me here With liquorish baits, fit to ensnare a brute ? 700

Were it a draught for Juno when she banquets, I would not taste thy treasonous offer : none But such as are good men can give good things ; And that which is not good is not delicious To a well-governed and wise appetite.

Comus. O foolishness of men ! that lend their ears To those budge doctors of the Stoic fur, And fetch their precepts from the Cynic tub, Praising the lean and sallow Abstinence !

Wherefore did Nature pour her bounties forth 710

With such a full and unwithdrawing hand, Covering the earth with odours, fruits, and flocks. Thronging the seas with spawn innumerable, But all to please and sate the curious taste ?

COMUS. 25

And set to work millions of spinning worms,

That in their green shops weave the smooth-haired silk,

To deck her sons ; and, that no corner might

Be vacant of her plenty, in her own loins

She hutched the all-worshipped ore and precious gems,

To store her children with. If all the world 720

Should in a pet of temperance feed on pulse,

Drink the clear stream, and nothing wear but frieze,

The All-giver would be unthanked, would be unpraised,

Not half his riches known, and yet despised ;

And we should serve him as a grudging master,

As a penurious niggard of his wealth,

And live like Nature's bastards, not her sons,

Who would be quite surcharged with her own weight,

And strangled with her waste fertility :

The earth cumbered, and the winged air darked with

plumes, 730

The herds would over-multitude their lords ; The sea o'erfraught would swell, and the unsought diamonds Would so emblaze the forehead of the deep, And so bestud with stars, that they below Would grow inured to light, and come at last To gaze upon the sun with shameless brows. List, Lady; be not coy, and be not cozened With that same vaunted name, Virginity. Beauty is Nature's coin ; must not be hoarded, But must be current ; and the good thereof 740

Consists in mutual and partaken bliss, Unsavoury in the enjoyment of itself: If you let slip time, like a neglected rose It withers on the stalk with languished head. Beauty is Nature's brag, and must be shown In courts, at feasts, and high solemnities, Where most may wonder at the workmanship : It is for homely features to keep home, They had their name thence ; coarse complexions And cheeks of sorry grain will serve to ply 750

The sampler, and to tease the huswife's wool. What need a vermeil-tinctured lip for that, Love-darting eyes, or tresses like the morn ? There was another meaning in these gifts ; Think what, and be advised ? you are but young yet. Lady. I had not thought to have unlocked my lips In this unhallowed air, but that this juggler Would think to charm my judgment, as mine eyes, Obtruding false rules pranked in reason's garb. I hate when Vice can bolt her arguments 760

And Virtue has no tongue to check her pride. Impostor ! do not charge most innocent Nature, As if she would her children should be riotous

26 COMUS.

With her abundance ; she, good cateress,

Means her provision only to the good,

That live according to her sober laws,

And holy dictate of spare Temperance.

If every just man that now pines with want

Had but a moderate and beseeming share

Of that which lewdly-pampered Luxury 770

Now heaps upon some few with vast excess,

Nature's full blessings would be well-dispensed

In unsuperfluous even proportion,

And she no whit encumbered with her store ;

And then the Giver would be better thanked,

His praise due paid : for swinish gluttony

Ne'er looks to Heaven amidst his gorgeous feast,

But with besotted base ingratitude

Crams, and blasphemes his Feeder. Shall I go on ?

Or have I said enough ? To him that dares 780

Arm his profane tongue with contemptuous words

Against the sun-clad power of chastity,

Fain would I something say ; — yet to what end ?

Thou hast nor ear, nor soul to apprehend

The sublime notion and high mystery

That must be uttered to unfold the sage

And serious doctrine of Virginity ;

And thou art worthy that thou shouldst not know

More happiness than this thy present lot.

Enjoy your dear wit, and gay rhetoric, 790

That hath so well been taught her dazzling fence ;

Thou art not fit to hear thyself convinced :

Yet, should I try, the uncontrolled worth

Of this pure cause would kindle my rapt spirits

To such a flame of sacred vehemence,

That dumb things would be moved to sympathize,

And the brute Earth would lend her nerves, and shake,

Till all thy magic structures, reared so high,

Were shattered into heaps o'er thy false head.

Comus. She fables not. I feel that I do fear 800

Her words set off by some superior power ; And, though not mortal, yet a cold shuddering dew Dips me all o'er, as when the wrath of Jove Speaks thunder and the chains of Erebus To some of Saturn's crew. I must dissemble, And try her yet more strongly. — Come, no more ! This is mere moral babble, and direct Against the canon laws of our foundation ; I must not suffer this ; yet 'tis but the lees

And settlings of a melancholy blood : 810

But this will cure all straight ; one sip of this Will bathe the drooping spirits in delight Beyond the bliss of dreams. Be wise, and taste

\j

L

COMUS. 27

The BROTHERS rush in with swords drawn, wrest his glass out of his hand, and break it against the ground : his rout make sign of resistance, but are all driven in. The ATTENDANT SPIRIT comes in. No. 7.— QUICK MOVEMENT FROM " THE ROYAL CONSORT."

(Editor's note on p. 6.)

Spirit. What ! have you let the false enchanter scape ? O ye mistook ; ye should have snatched his wand, And bound him fast : without his rod reversed, And backward mutters of dissevering power, We cannot free the Lady that sits here In stony fetters fixed and motionless.

Yet stay : be not disturbed ; now I bethink me, 820

Some other means I have which may be used, Which once of Melibceus old I learnt, The soothest shepherd that e'er piped on plains.

There is a gentle nymph not far from hence, That with moist curb sways the smooth Severn stream : Sabrina is her name : a virgin pure ; Whilom she was the daughter of Locrine, That had the sceptre from his father Brute. She, guiltless damsel, flying the mad pursuit Of her enraged stepdame, Guendolen, 830

Commended her fair innocence to the flood That stayed her flight with his cross-flowing course. The water-nymphs, that in the bottom played, Held up their pearled wrist, and took her in, Bearing her straight to aged Nereus' hall ; Who, piteous of her woes, reared her lank head, And gave her to his daughters to imbathe In nectared lavers strewed with asphodil, And through the porch and inlet of each sense Dropt in ambrosial oils, till she revived, 840

And underwent a quick immortal change, Made goddess of the river. Still she retains Her maiden gentleness, and oft at eve Visits the herds along the twilight meadows, Helping all urchin blasts, and ill-luck signs That the shrewd meddling elf delights to make, Which she with precious vialed liquors heals : For which the shepherds at their festivals Carol her goodness loud in rustic lays,

And throw sweet garland wreaths into her stream 850

Of pansies, pinks, and gaudy daffodils. And, as the old swain said, she can unlock The clasping charm, and thaw the numbing spell, If she be right invoked in warbled song; For maidenhood she loves, and will be swift To aid a virgin, such as was herself, In hard-besetting need : this will I try, And add the power of some adjuring verse.

28 COM US.

,No. 8.— SONG AND CHORUS, " SABRINA FAIR."

(Editor's note on p. 6.)

Sabrina fair,

Listen where thou are sitting 860

Under the glassy, cool, translucent wave,

In twisted braids of lilies knitting The loose train of thy amber-dropping hair;

Listen for dear honour's sake,

Goddess of the silver lake, Listen and save !

Listen and appear to us,

In name of great Oceanus,

By the earth-shaking Neptune's mace,

And Tethys* grave majestic pace ; 870

By hoary Nereus' wrinkled look,

And the Carpathian wizard's hook ;

By scaly Triton's winding "\ell,

And old soothsaying Glacus' spell ;

By Leucothea's lovely hands,

And her son that rules the strands ;

By Thetis' tinsel-slippered feet,

And the songs of Sirens sweet ;

By dead Parthenope's dear tomb,

And fair Ligea's golden comb, 880

Wherewith she sits on diamond rocks

Sleeking her soft alluring locks ;

By all the nymphs that nightly dance

Upon thy streams with wily glance;

Rise, rise, and heave thy rosy head

From thy coral-paven bed,

And bridle in thy headlong wave,

Till thou our summons answered have.

Listen and save !

SABRINA rises, attended by Water-nymphs, and sings. 9.— SONG, "BY THE RUSHY-FRINGED BANK."

(Editor's note on p. 6.)

By the rushy-fringed bank, 890

Where grows the willow and the osier dank,

My sliding chariot stays, Thick set with agate, and the azurn sheen Of turkis blue, and emerald green,

That in the channel strays : Whilst from off the waters fleet Thus I set my printless feet O'er the cowslip's velvet head,

That bends not as I tread.

Gentle swain, at thy request 900

I am here !

COMUS. 29

Spirit. Goddess dear,

We implore thy powerful hand To undo the charmed band Of true virgin here distressed, Through the force and through the wile Of unblessed enchanter vile.

Sabrina. Shepherd, 'tis my office best

To help ensnared chastity:

Brightest Lady, look on me. 910

Thus I sprinkle on thy breast Drops that from my fountain pure I have kept of precious cure ; Thrice upon thy ringer's tip, Thrice upon thy rubied lip: Next this marbled venomed seat, Smeared with gums of glutinous heat, I touch with chaste palms moist and cold. Now the spell hath lost his hold ;

And I must haste ere morning hour 920

To wait in Amphitrite's bower.

SABRINA descends, and THE LADY rises out of her seat. No. io.— SARABAND.

(Editor's note on p. 6.)

Spirit. Virgin, daughter of Locrine,

Sprung of old Anchises' line, May thy brimmed waves for this Their full .tribute never miss From a thousand petty rills, That tumble down the snowy hills : Summer drouth or singed air Never scorch thy tresses fair,

Nor wet October's torrent flood 930

Thy molten crystal fill with mud ; May thy billows roll ashore The beryl and the golden ore ; May thy lofty head be crowned With many a tower and terrace round, And here and there thy banks upon With groves of myrrh and cinnamon.*^...,.^

Come, Lady, while Heaven lends us grace, Let us fly this cursed place, Lest the sorcerer us entice 940

With some other new device. Not a waste or needless sound Till we come to holier ground ; I shall be your faithful guide Through this gloomy covert wide ;

30 COM US.

And not many furlongs thence

Is your Father's residence,

Where this night are met in state

Many a friend to gratulate

His wished presence, and beside 950

All the swains that there abide

With jigs and rural dance resort ;

We shall catch them at their sport,

And our sudden corning there

Will double all their mirth and cheer.

Come, let us haste ; the stars grow high,

But Night sits monarch yet in the mid sky.

The Scene changes, presenting Ludlow Town and the President's Castle : then come in Country Dancers ; after them the ATTENDANT SPIRIT, with the two BROTHERS and THE LADY.

fa. "JIGG."

NO T T I

\b. "THE MITTER RANT."

(Editor's note on p. 6.)

No. 12.— SONG, "BACK, SHEPHERDS, BACK!"

(Editor's note on p. 6.)

Spirit. Back, shepherds, back ! enough your play,

Till next sun-shine holiday :

Here be, without duck or nod, 960

Other trippings to be trod Of lighter toes, and such court guise As Mercury did first devise With the mincing Dryades On the lawns and on the leas.

No. 13.— MARCH, " LORD ZOUCHE'S MASKE."

(Editor's note on p. 6.)

This second Song presents them to their Father and Mother. No. 14.— SONG AND CHORUS, "NOBLE LORD, AND LADY BRIGHT."

(Editor's note on />. 7.)

Noble Lord, and Lady bright,

I have brought ye new delight ;

Here behold so goodly grown

Thr.ee fair branches of your own :

Heaven hath timely tried their youth, 970

Their faith, their patience, and their truth,

And sent them here through hard assays With a crown of deathless praise,

To triumph in victorious dance O'er sensual folly and intemperance.

COMUS. 31

No. 15.— "SARABAND."

(Editor's note on p. 7.) The dances ended, the SPIRIT epiloguizes.

Spirit. To the ocean now I fly, And those happy climes that lie Where day never shuts his eye, Up in the broad fields of the sky ;

There I suck the liquid air, 980

All amidst the gardens fair Of Hesperus, and his daughters three That sing about the golden tree. Along the crisped shades and bowers Revels the spruce and jocund Spring ; The Graces and the rosy-bosomed Hours Thither all their bounties bring ; There eternal Summer dwells, And west winds with musky wing

About the cedarn alleys fling 990

Nard and cassia's balmy smells. Iris there with humid bow Waters the odorous banks, that blow Flowers of more mingled hue Than the purfled scarf can shew ; And drenches with Elysian dew (List, mortals, if your ears be true) Beds of hyacinth and roses, Where young Adonis oft reposes,

Waxing well of his deep wound 1000

In slumber soft, and on the ground Sadly sits the Assyrian queen : But far above in spangled sheen Celestial Cupid, her famed son advanced, Holds his dear Psyche sweet entranced, After her wandering labours long, Till free consent the gods among

Make her his eternal bride, And from her fair unspotted side

Two blissful twins are to be born, 1010

Youth and Joy; so Jove hath sworn.

No. 16.— SONG, "NOW MY TASK IS SMOOTHLY DONE."

(Editor's note on p. 7.)

But now my task is smoothly done : I can fly, or I can run, Quickly to the green earth's end, Where the bowed welkin slow doth bend, And from thence can soar as soon To the corners of the moon.

Mortals, that would follow me, Love Virtue : she alone is free ;

She can teach ye how to climb 1020

Higher than the sphery chime ; Or if Virtue feeble were, Heaven itself would stoop to her.

33

No. 1 .

OVEKTURE. (a) SYMPHONY.

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WILLIAM LAWES. Arranged from " Courtly Masquing Ayres" (1662).

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The Attendant Spirit decends or enters and sings. SONG.—" FROM THE HEAVENS NOW I FLY." THE ATTENDANT SPIRIT.

HENRY LAWES.

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Of hateful steps ; I must be viewless now.

COMUS enters, with a charming -rod in one hand, his glass in the otlttr ; with him a rout of monsters, headed like sundry sorts of wild beasts, but otherwise like men and women, their apparel glistering ; they GI in making a riotous and unruly noise, with torches in their hands.

No. 8.

THE KING'S HUNTING JIGG.

Allegro furioso.

A

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Dr. JOHN BULL, 1604.

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BELLINGER'S BOUND ; OB, "THE BEGINNING OP THE WORLD."

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Prompt me, and they perhaps are not far off

SONG.— "SWEET ECHO." THE LADY.

HENRY LAWES.

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Thyrsis, lead on apace ; I'll follow thee ; And some good angel bear a shield before us I

END OF SCENE I.

40

SCENE II.

(Line 659.)

The Sct.nf. changes to a stately palace, set out with all manner of deliciousness: soft music, tables spread with all dainties. COMCS appears toith his rabble, and THE LADY set in an enchanted chair ; to whom h« qft'ers his glass, which she puts by, and goes about to rise.

No. 6. FROM " THE ROYAL CONSORT."

Andante. G>=60.

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Will bathe the drooping spirits in delight

Beyond the bliss of dreams. Be wise, and taste ....

The BROTHERS rush in ivith swords drawn, wrest his glass out of his hand, and break it against the ground: his rout makes sign of resistance, but are all driven in. The ATTENDANT SPIRIT comes in.

No. 7.

Allegro.

FROM "THE ROYAL CONSORT."

WILLIAM LAWKS.

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Spirit ( Line 857) this will I try,

And add the power of some adjuring verse.

SONG (AND CHORUS).— " SABEINA FAIR." THE ATTENDANT SPIRIT.

HENRY LAWES.

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SOPRANO.

ALTO.

TENOR.

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HENRY LAWES. Arranged for Four Voices by Sir FREDERICK BRIDGE.

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For an arrangement of this Chorns for female voices (S.S.A.), see Appendix, p. 57.

9.

Spirit (Line 887). And bridle in thy headlong wave.

Till thou our summons answered have.

Listen and save !

SABRIXA rises, attended by Water-nymphs, and 4'uvjs. SONG.— " BY THE EUSHY-FRINGELV BANK."

SABRINA.

HENRY LAWES. Adapted by Sir FREDERICK BRIDGE.

S

£

M -* * .

frin - ged bank, Where grows the wil-low and the o - sicrdank,

My sli - ding

:t=|r:

a tempo.

£E

:F=

cha - riot stays, Thick set with a - gate, and the a - zure sheen Of

tur - kis blue, and em - 'raid green, That in the chan - nel strays ;

IG*:

rail.

?3=F

Whilst from off the wa-ters fleet, Thus I set my print

less feet

£ — rr— =3 — i — i — = =]-

i— 3 j__^ j_ ^-^ I J:

41 ~^" •

I

^ -£—

46

V

— ^ ^ cres. ^ iv iv .	N — | ^ | K[
<J O'er the cowslip's vel-vet head, That bends no ( T^-J- 3~3 J~J J r] J — Tr— F5	— \y ~ — t as i tread. Gen-tie swain, at
\ T~I — J J J-j-S — fe ^ « J ^ — £— < e r J j/^' ^ T-sf- r>	m * m r-t * - — * — Tr?^- fl* — — c=> — _J _ V & ^
— ' n cm. /" ^7 "7^*^ r~r	r a ^ Slower. i — ^-^ ^-o f	^ l-sl 1 H L — 1 -±~^ j Ji n J — ^-
thy re-quest I am	—r- 1 here ! gen - tie i • Slower. '— ; 1 — w r~	-j-*- j *•*„••' — j- © •
>wain, I . .am here ! <T\
jL * *| 3 $*.• .5	— ^ 5 E —	_^ j ^ ^_^|_^
cm. y	-^ — H2 F— L p	^> * • pp 'j^g. 1 _____
@i-F J	-i 1 1	3^ "EE3E =

* This bar of double length is as Henry Lawes wrote it : he evidently did not wish the singer to be fettered by rhythmic considerations in the cadence of this beautiful song. — J. F. B.

Sabrina (Line 920). And I must haste ere morning hour To wait in Amphitrite's bower.

So. 10.

SABRINA descends, and THE

SARABAND.

Moderate.

, ( LADY rises out of her seat.

wA

WILLIAM LAWES. From STAFFORD SMITH'S Musica Antigua.

^

1

^

r

ggj=r

i i

-&-

roll.

m

)

Spirit (Line 956). Come, let us haste ; the stars grow high,

But Night sits monarch yet in the mid sky.

END OF SCENE II.

-&•

47

SCENE III.

She Scene changes (Line 958), presenting Ludlow Town and the President's Castle: then come in Country Dancers; after them the ATTENDANT SPIRIT, leith the two BROTHERS and THE LADY.

No. 11

(a) JIGG.

« •

Con spin^o.

ILLIAM LAWES.

;

f	IL (^ 1 0 ft /> ^ J	— ! __M Pr	^rn rn m 1 J'^^'l — K	t,TjJ M
\	/ Yt^'ffi"f )~* — ^ n —	— S — *L | •	Z-i .4- jj.. i- ^^:* -J" k .. 3 *• -1 ^-^ j h h i i i i | =	t^=±
I F£~	uJ 1 0 s- t JTj ^-	— »_i — _J — == ,m 6	-^^^^-•^ — -^—0-- — ^ -9^=^9~ > - ^ T	~j . V^f >
w	=3 =J-s-	• * i --•-—		T- - i -2 — * —
SF	i ^ r	i - r	— ]f i r - — L — ^ * r r r~^ — *~^ \ - — - 1 1^	j p — t_i
^	fee=^	^^^	jjJ'. J- -fj JUl-Jj: « L 1 ^ •	— J — J- ^ *

**

if ~ -»~-»-T

H

»

T

^

*•'

=c

it -*-•

P^

m ' »-

\

3t -

-*vl >•

48

(b) THE MITTEB RANT.

JOHN JEXKIXS, 1592—1678.

r s •

is^

m

^^

-dr

*^

tfl A A^

r-w JJ'.rV-fS

A A_

-•-^ P-

£d=£i

>

If this movement is used, a retain must be made to the Jigg (No. lla).

No. 12.

SONG.— "BACK, SHEPHERDS, BACK!"

THE ATTENDANT SPIRIT. Briskly and lightly.

HENRY LAWES.

-.=1=1

Back, shepherds, back ! e - nough your play, Till the next sun - shine hoi- i- day: Here be, Briskly and lightly. 4=112.

m

=t

g

^=^

with-cmt duck or nod, 0-ther trippings to be trod

Of lighter toes, and such court guise As

-<r _i.

***=*.

3 ~z=j:

*=F

Mer-cu-ry did first de - vise With the mincing Dry - a-des On the lawns and on the leas.

1 ' ^

i'n^e?' C^e £ar^ and Countess of Eridgtwater and their train while the following stately March is being played.

jYo. 13.

In a stately manner.

-I— ,

MARCH. 'LORD ZOUCHE;S MASKE."

GILES FABNABT, J. 1560.

A N ru-

~\

A _m- -f- -*--*- A ,S J -

=g=rr-7-r-g— rg—jj"- r »-\ L i* — ^^^F^T r \

FINE.

•^^-Jr» *-

I

fflElEiE?

-br-h

I A

Sir F. Bridge— Comns.— Novello. D

60

No. 14. SONG (AND CHORUS).—" NOBLE LORD, AND LADY BRIGHT."

THE ATTENDANT SPIRIT. Maestoso. HENRY LAWES'

^SiE^EE

No - ble Lord, and La - dy bright, I have brought ye new de - light ;

i Maestoso. 4 = about 72.

m— — 4

/

r* - ^T

esnress. rail.

:^_ i |_=fa==

Here be- liold

^===i: f^* *•

-

so good - ly grown Three fair branch - es of your own :

=g—— I 1*^

-fc *

^z£J

espress.

rail.

3=

Animate.

Heav'n hath time - ly tried their youth, Their faith, their pa Animate,

:5=f

tience, and their truth,

_ — , ^ r-a Soi

•i — • — — t^-*iiji i 'j

mf

i^ • HP TF- • — |-^

1 I

'

0 '

And sent them here . . through hard as says

"With a crown . . of death - less

^|

=X-

((»): i

^?-

\

rail.

marcato.

jf^Fg=?^£'^rr^=F^H

EaEh^=*n^E

praise,

To tri - umph in vic-tor-ious dance O'er sen-sual fol- ly and in-tem - per - ance.

' £^

I L ~T^

1 m. w — —M-

f • r r

JP-J

rail.

marcato.

w

61

No. Ua.

SOPRANO.

ALTO.

TENOR.

BASS.

'NOBLE LORD, AND LADY BRIGHT." (CHORUS.)

HENRY LAWES.

— ' Maestoso. -£-^±£\ ^t—	r | J. ^1	Arranged for Four Voices by Sir FREDERICK BRIDGK. r~3 t~* m m \ c^> m ^. m • K
W 4 m . — *-ri No - ble Lord,	J i I i I and La - dy bright, We have	brought . . ye new de -
-y*- L* £ ; — ^f-	5 X	N. N \	__ i
f(\ / 1 ^^	1 i	J 1 J	W i _i «
\j / i	* ' UJ	rj mm	9 V— m 9
«7' " * • '* g 0 H^ H^ No - ble Lord, and La - dy bright, We have brought ye new de - - nu/Y-N 11 iw ^ *
Jr- L P '		|~N ^	1
f?T"^ — A — ^~^ — * —	-P J J-^ 0-	—r-i P m — ^~~	-J — n — * ^ '^
			-^— t>> a
No - ble Lord, and La - dy bright, We have brought ye new . . de -
tj j N	n= — =F^5q	-P — — P — T— t—	r F
— * * — ?72	0 1 !<*-	/ / '
No - ble Lord, and La - dy bright, Wehavebroughtye new de - - Maestoso. 0 = about 84.
jf ' r -4- l l			•^ i ~
f?F^ 4 i	—r-i -*—. — br-l—	J "r""^	J , j J ^
3F -^r- ' ' q*	-J-:Vg-	r* r
/w\ • >			L ™
s^^P ^ = 1	-^ 1		J * 0 j"
* 4 3- ij. j q. * ^ ' l v^- —1- -r±

P espress. rail.

r^r^r

i—u \f \ i-

Btrizrr

light ;

Here be-hold so good-ly grown Three fair branches of your own'

P espress. rail.

m

^ — ^

- h'ght, new de - light ; .

Here be -hold so good-ly grown Three fair branches of your own :

P espress. rail.

£^E

*— P F-

- light, new de- light ; . .

Here be - hold so good-ly grown Three fair branches of your own :

P espress. rail.

^

3=p:

r r

light, new de -light ; .

Here be -hold so good-ly grown Three fair branches of your own :

^ i j y-jTZ^ii j_j J jj^ °

espress.

rail.

^m

Tor an arrangement of this Chorus for female voices (S.S.A.), see Appendix, p. 59.

tzfih

r-{£^

-P IK h-Jrj ^ j j.i— «_g«L-

Heav'n hath time - ly tried their youth, Their faith, their pa > t/ i | ,

tience, and their truth,

-*i n'ij-

Heav'n hath time - ly tried their youth, Their faith, their pa - tience, and their truth, And

igiCTg

Heav'n hath time - ly tried their youth, Their faith, their pa

tience, and their truth, And

3r

^

Heav'n hath time - ly tried their youth, Their faith, their pa Animato.

tience, and their truth, And

.

Jsj

ii^-HJ— J:

i

•if

®i

f y T p I Lj i p^

i i r P:

-H F f~*

-^ I

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And sent them here . . thro' hard as-says

With a crown ... of death - leas

sent them here thro' hard as

says

With a crown of death -less

1

sent them here thro' hard as

"

says

With a crown of death -less

m

-F r — -p U* ^ ' ^g=

says

With a crown of . . death - less

roll.

/TN

&

praise,

To tri-mnph in vie- tor-ious dance O'er sen-sual fol-lyand in-tem - per - ance.

^

3

IX u

*=2

praise, . . To triumph in vic-tor - ious dance O'er sen-sual fol-lyand in-tem - per - ance.

rail.

fa\ff' g J

^E

praise, . . To triumph in vie -to - ri-ous dance O'er sen-sual fol -ly. and in-tem-per - ance.

roll. /^.

^q=£r =VF^f

praise, To tri - umph in vie- tor - ious dance O'er sen-sual fol - ly and in-tem - per - ance.

^=*

d=J3

i

marcato.

1E$

o. 15.

., Moderate.

Q-., fr

SARABAND.

WILLIAM LAWES.

i

™j

v^S-l •

crw.

:<fc

9— 0 9 '

j-7j— ^"F^PFF^^

d F ^-F

•nH" ^J

J J J

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/

5

-0-

^^^

af

r

i

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i

irt< (Line 1009). And from her fair unspotted side Two blissful twins are to be born, Youth and Joy ; so Jove hath sworn.

SONG.— "NOW MY TASK IS SMOOTHLY DONE.' THE ATTENDANT SPIRIT.

Allegro.

"

HEXRY LAWES.

£

*=£

Now my task is smooth - ly done,

I can fly, or I can

A llegro. * = 1 12.

j^~ :M= =^r=?^ £J^^S=P

4-fl-y:==g=J| g^FgEjzS^ ' j^jEggpE

f

Jg%%3= =*=pE

==te;

run Quick - ly to the green earth's end, Where the bowed wel-kin slow

^

^ I i Lento. *~~ """^

^^j^^^^^^i^^

m

-* *-

-| 1 (5—

-I- 1 / —

Animato.

iza rail.

^^

.

^

doth bend, And from thence can soar as soon To the cor- ners of the moon. Animato. ^ ~v

=1:

\ i

^E

Lento, con molto espress.

55

t*0

Mor- tals, that would fol-low me, Lento, con molto espress. 4 — 66.

Love Vir - tue : she . . a - lone is . . free ;

~gj

^

-o-

cres.

roll.

tfc

She can teach ye how to climb High - er than the spher

A"~ ~^

iron

Very slow.

S

chime ; Or if Vir - tue fee - ble were Heav'n it - self would stoop to her.

Very slow.

No. 16a.

I SOPRANO. ALTO.

'TENOR. BASS.

"MORTALS, THAT WOULD FOLLOW ME."

(CHORUS.) Lento, con molto esprezs.

HENRT LAWES.

Arranged by SIR FREDERICK BRIDGE.

j

Mor - tals, that would fol- low me,

Love Vir - tue : she . . a -

-* 0t

+-*-£,

Mor - tals, that would fol- low me, would fol - low me, Love Vir - tue : she . . a -

~P W

Mor - tals, that would fol - low me, would fol - low me, Love Vir - tue : she a

=^:p=p=gq=H:

E§EE?J

Mor - tals, that would fol - low me,

Love

Vir - tue : she a

Lento, con molto espress. 0 — 66.

£=3=^qv I — '

-*- -0-

1J I'^'i \'"^r~ ^^-^-

56

>-ft r=r *±a

***• A __iv_

=ZIZi3=fc£:

^•-S>

a^

,. ra#.

A _/ . ' _

:z£±^to=aiilE— yi»f-f-g=£

=g^_^j-£;'j '

lone is . . free ; She can teach ye how to climb High - er than the spher

cres. A -== A ~ n

_

gq <s N fcr=*zzj±

lone is free ; She can teach ye how to climb High - er than the spher - y

v i>

ral1-

3td

lone is free; She can teach ye how to climb High - er than the spher - y

cres. A ^ A f rail.

lone is free ; She can teach ye how to climb High - er than the spher - y A . .A,

cres.

rail.

chime ;

Or if Vir - tue fee - ble were Heav'n it - self would stoop to her.

^— .

chime ; Or if Vir - tue fee - ble were Heav'n it . self would stoop to her.

chime ; Or if Vir - tue fee - ble were Heav'n it - self would stoop to her.

ime ; Or if Vir - tue fee, - ble were Heav'n it - self would stoop to her.

chime

)

ifc

t±

-L:

rfc:

j*i_* e>-

!^

For an arrangement of this Chorus for female voices (S.S.A.) see Appendix, p. 61.

No. 8b.

1st SOPRANO.

2nd SOPRANO.

ALTO.

APPENDIX.

" SABKINA FAIR."

(FOR FEMALE VOICES.)

Stoic.

HEXKT LAWKS.

Arranged by Sir FREDERICK I'.KIDQH.

-»l/_

-5:

Sa - bri - - na, Sa - bri - na fair, List - en where mf

Eg _£ I

Sa - bri

na, Sa - bri - na fair, List - en where

Sa - bri /SYozo. J = 58.

na, Sa - bri - na fair, List - en where

EEE^=gEF

— f f —

-s -

-&*-

=$£

3

,1=

^~~» £~* — ' 1	-£j fr p> K -^ j — i — s ^ J* o	\
thou art sit - ting IL	^ ^ J • J*0 J * 1 Un - der tb" glass - y, cool, . . trans-lu - cent wave,	i
Jf "^ — — P* —	-£-j— --+* Nj JX N-i -r— —*> ^ fr |\	\ N|
lit) • • • *L •	J ^J«'_i ••Jj	•
thou art sit - ting Un - der the glass - y, cool, trans - lu - cent wave,In twisted
w * — "if1 — ' —	£^ ^^^^^^^= zh . ^=js=zjszif5=&:
thou art sit - ting	-* *—~' *.J. -ri =* • * 4 4 • ' Un - der the glass - y, cool, trans - lu - cent wave,In twisted
«z ~^	^ * ^ f" ^^ ' ^- =^_ -^__^g=	-~^
\ ' 1	i ' ' \

I/

gj J" 1*3		|f	p	* m • •
VM, *- * ' M	«.		1	1
In twist - ed braids	of lil - ies knit-ting The loose train of thy roXL
-/•K ^—					1 — i	^ Jt~
braids of HI IL	ies . .	knit	— — — »-— ting	• The	loose train of thy
~$ST~ 1 1					=JT r.
	!^™""l —		at- ^-—		» 3? iV
*/ 9 0 -j- ^ braids of lil - ies . . knit 3pttr~i \" -M	ting	-^- The loose train of thy T-i — =!^— h — ^
NFraT — a	— •	<	^ — ?— <			~r — if	i — ^ —
C/ O 9	iH-	P — t	>	-<			i * * rail. rp ^ ^ IS.
s — 1 (9 1 /~iy~					-F— +	•

«" ^	r		J 0 . m
-, • m * 0 fj	[ PJ g=p: — T J	F * 1* O	It jbp •
• — k — ~~^ — k — b? —	1 1^ 1 1	— ?—	— 1 CI3 1
am - ber-drop-ping hair ;	List - en for dear ?	r 1 hon - our's sake,	God - dess of the f K
-/£-— — ^ — ^ — £ — F*«	=^==£=2=^=	1 1	J PS — ^_
«p • — » — * — ^ — ^ am - ber-drop-ping hair;	List - en for dear	hon - our's sake,	God - dess of the =£ , -j
-^ IX (X ^ IX 1	— i N j \—	1 • ix • i 1
am - ber-drop-ping hair ;	-0-' -0- -+- -0- LLst - en for dear	-i- -i hon - our's sake,	^ • 0~~+ 0 God - dess of the
		!_ i .	o \
ft\r . * -* — ^	— P f T—		p *| 2
j. A j.	-r -i — r^d 'r ' T	- T	— * — — r
^1 — - „	b .... t — i —		—&— —*—
^ P 1			j — I

^-|— 9~. =j=		s	rr	^ — '	^y		— p « *	TV-	w=q=q ! 1 — -	_| : _n
^-—1 ^— P sil - ver lake, n * ^		n	List	-	^ - en,	_r — I v list - rail.	en and . .	-1 — & II save !
							= H
sil - ver lake, List f\ Sf /^^ /nm	en, list • en	and	ii save !
r		i^t				F= H
V/ ' IT '		1		— — ^ 1				H
sil - ver lake, List ^ P , ^ M»a corda.	en, list - en and	save !
~ffr — * — t* — ^ —	JIC2	I	3	C				o H
fet_4— ^=^	«	i — 0	.		roll. |	r B , *
	('^

146.

" NOBLE LORD, AND LADY BRIGHT." (FOR FEMALE VOICES.)

HENRY LAWES.

1st SOPRANO.

2nd SOPRANO.

ALTO.

— ' Maestoso.				1	rV-		Arranged by Sir FREDERICK BRLDUE. '"" ""' vn
A 7 T J	-i -m	n	i —	— F — J — *-= — *-	—	^	-err	-P«— ^ m f ' -\ i-j r — k — «M
No - ble Lord,	and La - dy bright, We have brought . . ye new de - • fc: Ita 1 -, .
3] £zjz 4- y				g		^X		= r* P F m — ^— i	| J j 1 =4=
^^~i — <t^ —		-^		— ' —		f	--td-		i»-5
»y ' ^ • • Q No - ble Lord,	* Sf 1" and La - dy bright, Wehavebroughtye new de - -
jf v/ 4. — — —				— c; —				— s» Ns — ^	i
f(T\ V A f			1						J '	S N
V*L/ ^*r- J		^					^S				H2 n K
No - ble Lord, and La - dy Maestoso. 4 = about 72.	bright, Wehavebroughtye new . . de - •j J ^— T— I H
tr -g- -s		-G	<- i	r ^		n 1 r
(^•,177: :							1 |° — ^	S=3=* — P—
U E 4 c. rj_ . ^ ^ L.	J- —J U 1 1 1

c^ — ,^^ , ^_f^_ /f _,_+^
	r * m & — i 9 0 ' si —	1	-.	W> *—	f * — m & — — 1 F— i
- light ; Here behold so good-ly grown Three fair branches of your own n ^ ip espress. roll.
'? ' ?	.	«-(*-». h. *.				^
		h» h* ^ftV ^^5				X
\0 l	Px C i	-J — ' ' J --- aJ ^ — ^ . ^ 1	3	f	J -m —	.d i — ^
- light, new de- light ; . . Here be-hold so good-ly grown Three fair branches of your own n p espress. rail.
		f5 C3 j~ ~ ~ j~ JT" 1	—i		' I
v)	1^ — te — i	1 I p% j^ N p> pN ^	j	-	1
- light, new de- light ; . . Here be-hold so goodly grown Tr -Q j> 1 f—n 1 1 1 , ^U-	* * 9 9 — ' ree fair branches	of your own :
-4^-		^ 1
/£ p — f	i 1 — -j— ~-	\™~ J ^	3=		—a — H—	-J — f — &—
	u ~*~I~*~_i~	"" "'••' ' "* -f»- ' » * * * i ' .p. p-1 P ^^ riw.
^£^7™*^ \^~ p Z 1 h	-i ° P C T	c —	m	Lr — a-

60

_X i_ [^ T"-^~ m ^ /L 5— EU	• NI is _.' T^J «*^ M m ' —JSt If	p—jvjs--^ 1
«P — E — > 1 • - «y Heav'n hath time - ly t	_•_ -g__ ^L.* [ * J-p gj ried their youth, Their faith, their pa 1 1 1 • tai 1 K ! r—	tience, and their truth,
yf |^' t/ — I	i 1 ii P — H ~f*	t	--> — ft— j — paH
vO" -ItJ » * J	J J • * J ' J		J • J ji. ! ti ! i 1
		c* i	p * 9 VM HJP.UJ-
Heav'n hath time - \y tried their youth, Their faith, their	•n i v^ pa - tience, and their truth, And
j* 1 ^ j" I
xj, k / 1 1 1	jr-i M ^ 1 %		*> & i r~^
w- — fd~iN~	— ^ — 4* — -P —	:za	* - 33=3=3
•7 * S(* 4 • T * * . « Heav'n hath time - ly tried their youth, Their faith, their Animate.	-^. - • m •• -j. pa - tience, and their truth, And _ r~S
L/ . J • J J	J m ' 1	I	i r _i
/L--1J. — n- — ^	^J. d — J? _^ 1 gj	-« U	u.-t-Jr*'-^
«g — *» — r — f — p~	-9 » — *i — ^~-	-3 — «|- -a	,j J |J »h^-.--H
t7 -fcfc-fi — i — ftp — f» — ^ —	« o FBpk^ — — ft* — — P- — [* »	V ^ - & '	, _J. ff» IP- »
» . . _ . -.-•-
_ f> p -1) ' 1	"Tf — —f—w-^— — r~		T P — p P- '"• ^ Nl
(m P ""y £ £ '"i '	— ^ — P — r — ^_| ps.	jT > ! —
And sent them htre ~$ $ *	. thro' hard as- says	Ir ^ •*• With a crown . . of death - less K- K- -IX !X -' 1 1 i
ffi2 . . j,... *	^T" =f — f ^^	=fr— =£=i	r**-^--^-^=
«y * "*• ' i ; sent them here thro' hard as - says -0-H> ^^ — ^1 XT— 1— -H— —. 1 r	•n With a crown of death - less
-/JJ-P- * — — *~ —	r--^— ^ ^- -J	_f- ^ —	^ N
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1st

SOPRANO.

2nd SOPRANO.

ALTO.

"MORTALS, THAT WOULD FOLLOW ME."

( FOR FEMALE VOICES.)

HENRY LAWES.

Lento, con molto espress. Arranged by Sir FREDERICK BRIDGE.

J?-

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NOVELLO'S EDITIONS.

ORATORIOS, CANTATAS, MASSES, &c.

(S.A.T.B. EDITIONS ONLY.) PRICE ONE SHILLING AND SIXPENCE EACH.

T. ADAMS.

ACROSS OF CHRIST, THE. ^GOLDEN HARVEST, A. /HOLY CHILD, THE. /NATIVITY, THE. RAINBOW OF PEACE, THE.

W. G. ALCOCK. AND I HEARD A GREAT VOICE.

T. ANDERTON. NORMAN BARON, THE. tWRECK OF THE HESPERUS, THE.

E. ASPA. GIPSIES, THE.

ASTORGA.

STABAT MATER.

F. AUSTIN. tSONGS IN A FARMHOUSE.

BACH.

tBIDE WITH US. t DITTO (WELSH WORDS).

CHRIST LAY IN DEATH'S DARK

PRISON. CHRISTIANS, GRAVE YE THIS GLAD

DAY.

+CHKISTMAS ORATORIO. PARTS i— a. DITTO DITTO. PARTS 3—4.

DITTO DITTO. PARTS 5-6.

fCOME, JESU, COME (MOTET). COME, REDEEMER OF OUR RACE. FROM DEPTHS OF WOE I CALL ON

THEE.

GIVE THE HUNGRY MANTHY BREAD. GOD GOETH UP WITH SHOUTING. fGOD SO LOVED THE WORLD. tGOD'S TIME IS THE BEST. t DITTO (WELSH WORDS).

rHOW BRIGHTLY SHINES YON STAR

OF MORN. IF THOU BUT SUFFEREST GOD TO

GUIDE THEE. tJESU, PRICELESS TREASURE

(MOTET).

DITTO (WELSH WORDS).

JESUS, NOW WILL WE PRAISE THEE.

JESUS SLEEPS, WHAT HOPE REMAINETH.

LET SONGS OF REJOICING BE RAISED.

LORD IS A SUN AND SHIELD, THE.

fLORD IS MY SHEPHERD, THE.

LORD, REBUKE ME NOT.

*tMAGNIFICAT IN D.

tMY SPIRIT WAS IN HEAVINESS.

O CHRIST, MY ALL IN LIVING.

O JESU CHRIST, THOU PRINCE OF i>EACE.

tO LIGHT EVERLASTING.

O PRAISE THE LORD FOR ALL HIS MERCIES.

O TEACH ME, LORD, MY DAYS TO NUMBER.

PRAISE OUR GOD WHO REIGNS IN HEAVEN.

PRAISE THOU THE LORD, JERU SALEM.

READY BE, MY SOUL, AWAY.

KISE.O SOUL.THIS HAPPY MORNING.

SAGES OF SHEBA, THE.

tSLEEPERS, WAKE.

SPIRIT ALSO HELPETH US, THE

(MOTET).

tSTRONGHOLD SURE, A.

THERE IS NOUGHT OF SOUNDNESS

IN ALL MY BODY. THOU GUIDE OF ISRAEL. WAILING, CRYING, MOURNING, WATCH YE, PRAY YE. [SIGHING. WHEN WILLGOD RECALL MYSPIRIT. WHOSO DOTH OFFER THANKS.

J. BARNEY. tREBEKAH.

M. BARTON.

MASS, IN A.

BEETHOVEN. tCHORAL FANTASIA. ENGEDI.

tMASS, IN C (LATIN WORDS). •MASS, IN C. tMOUNT OF OLIVES.

G. J. BENNETT.

EASTER HYMN (ON THE MORN OF EASTER DAY).

W. S. BENNETT. EXHIBITION ODE. tMAY QUEEN, THE. +WOMAN OF SAMARIA, THE.

G. R. BETJEMANN. THE SONG OF THE WESTERN MEN.

H. BLAIR.

tHARVEST-TIDE.

J. BRAHMS. SONG OF DESTINY, A. SONGS OF LOVE (VOCAL PART DULY).

J. B. VAN BREE. tST. CECILIA'S DAY.

A. H. BREWER. O PRAISE THE LORD. SONG OF EDEN,. A.

J. F. BRIDGE. HYMN TO THE CREATOR. + INCHCAPE ROCK, THE. tLORD'S PRAYER, THE. *tROCK OF AGES.

CARISSIMI. *JEPHTHAH.

CHERUBINI.

*FIRST MASS, REQUIEM, IN C MINOR. THIRD MASS (CORONATION), IN A. FOURTH MASS, IN C.

G. F. COBB. MY SOUL TRULY WAITETH.

M. COSTA. DREAM, THE.

F. H. COWEN. +HE GIVETH HIS BELOVED SLEEP.

B. J. DALE.

tBEFORE THE PALING OF THE STARS.

H. W. DAVIES. tHERVf RIEL. ODE ON TIME.

T. F. DUNHILL. tTUBAL CAIN.

E. ELGAR. tFOR THE FALLEN. tFOURTH OF AUGUST, THE. TE DEUM AND BENEDICTUS, IN F.

R. F. ELLICOTT. ELYSIUM.

R. FRANZ.

PRAISE YE THE LORD.

N. W. GADE. tCHRISTMAS EVE. +ERL-KING'S DAUGHTER, THE. ZION.

G. M. GARRETT. +HARVEST CANTATA.

A. R. GAUL. tRUTH (CHORUSES ONLY).

H. GOETZ.

fBY THE WATERS OF BABYLON. tNOSNIA.

A. M. GOODHART. EARL HALDAN'S DAUGHTER.

CH. GOUNOD. DAUGHTERS OF JERUSALEM. DE PROFUNDIS (LATIN).

DITTO (ENGLISH).

*tGALLIA. MESSE SOLENNELLE, STE. CfeciLi

(LATIN).

OUT OF DARKNESS. PASSION. THt. tREDEMPTION (PART a). fREDEMPTION (PART 3).

GRAUN.

PASSION OF OUR LORD, THB (CHORUSES ONLY).

A. GRAY. LEGEND OFTHE ROCK-BUOY BELL.

J. O. GRIMM. SOUL'S ASPIRATION, THE.

HANDEL.

tACIS AND GALATEA. CHANDOS TE DEUM. DETTINGEN TE DEUM. DIXIT DOMINUS. •EXCEPT THE LORD BUILD THB

HOUSE.

tISRAEL IN EGYPT (POCKET EDITION). + TUDAS MACCABEUS (DiTTo). tMESSIAH (DITTO). *NISI DOMINUS. O COME, LET US SING. +O PRAISE THE LORD. ODE ON ST. CECILIA'S DAY. PASSION OF CHRIST (ABRIDGED). UTRECHT JUBILATE. WAYS OF 2ION, THE.

C. A. E. HARRISS. SANDS OF DEE, THE.

J. HARRISON. CHRISTMAS CANTATA. fHARVEST CANTATA.

B. HARWOOD. LOVE INCARNATE.

HAYDN.

+CREATION, THE (POCKET EDITION). •FIRST MASS, IN B FLAT. FIRST MASS, IN B FLAT (LATIN). SECOND MASS, IN C (LATIN). THIRD MASS, IN D (LATIN). •THIRD MASS, IN D.

TE DEUM. SEASONS, THE, FROM :

tSPRING.

SUMMER.

AUTUMN.

WINTER. SEASONS, THE (CHORUSES ONLY).

E. HECHT. O MAY I JOIN THE CHOIR INVISIBLE

H. M. HIGGS.

ERL KING, THE.

F. KILLER. tSONG OF VICTORY, A.

(Aug.. 1926)

The Works marked * have Latin and English Words.

Those marked thus t may be had in the Tonic Sol-fa Notation.

Cantatas, &c., for Female and Male voices (see Novello's Catalogues).

LONDON : NOVELLO AND COMPANY, LIMITED. NEW YORK : THE H. W. GRAY CO., SOLE AGENTS FOR THE U.S

ORATORIOS, CANTATAS, MASSES, &c,

(S.A.T.B. EDITIONS ONLY.) PRICE ONE SHILLING AND SIXPENCE EACH.

G. HOLST.

ODE ON A GRECIAN URN. ODE TO DEATH.

HUMMEL.

FIRST MASS, IN B FLAT. SECOND MASS, IN E FLAT. THIRD MASS, IN D.

A. JENSEN. tFEAST OF ADONIS, THE.

W. JORDAN. BLOW YE THE TRUMPET IN ZION.

E. H. LEMARE. 'TIS THE SPRING OF SOULS TO-DAY'

L. LEO. DIXIT DOMINUS.

C. H. LLOYD.

O GIVE THANKS UNTO THE LORD. SONG OF BALDER, THE.

H. MAcCUNN.

tLORD ULLIN'S DAUGHTER. tWRECK OF THE HESPERUS, THE.

G. A. MACFARREN.

tMAY DAY. OUTWARD BOUND.

A. C. MACKENZIE. (BRIDE, THE.

MENDELSSOHN. IAS THE HART PANTS. tATHALIE.

»AVE MARIA (SAVIOUR OF SINNERS) tCHRISTUS. tCOME, LET US SING. tELIJAH (POCKET EDITION).

DITTO (CHORUSES ONLY).

IFESTGESANG (HYMNS OP PRAISE) WEAR MY PRAYER. tHYMN OF PRAISE (LoBGESANG). t'LAUDA SION. tLORD, HOW LONG. ILORELEY. MAN IS MORTAL. •NOT UNTO US. tST. PAUL (POCKET EDITION). DITTO (CHORUSES ONLY). tWALPURGIS NIGHT, THE FIRST. fWHEN ISRAEL OUT OF EGYPT CAME.

MEYERBEER. gisr PSALM (LATIN). gisT PSALM (ENGLISH).

MOZART. KING THAMOS. •MASS, INC (No. i). MASS, IN BD (No. 7) (LATIN). MASS, IN G (No. 12) (LATIN). MASS, IN G (No. 12) (ENGLISH). •tMASS, IN G (No. 12). MASS, REQUIEM, IN D MINOR (No. i»

(LATIN).

•tMASS, REQUIEM, IN D MINOR (No. 15).

S. NORTH. tIN THE MORNING.

PALESTRINA. SURGE ILLUMINARE.

H. W. PARKER. KOBOLDS, THE.

C. H. H. PARRY.

tBLEST PAIR OF SIRENS. tCHIVALRY OF THE SEA, THE

(NAVAL ODE). GLORIES OF OUR BLOOD AND

STATE, THE. TE DEUM LAUDAMUS (CORONATION).

C. PINSUTI. PHANTOMS.

E. PROUT.

FREEDOM

fHUNDREDTH PSALM, THE.

PURCELL.

TE DEUM AND JUBILATE, IN D.

tTE DEUM, IN D.

TE DEUM, IN D (LATIN).

ROMBERG.

HARMONY OF THE SPHERES, THE. tLAY OF THE BELL, THE. TE DEUM.

fTRANSIENT AND THE ETERNAL, THE.

ROSSINI.

•TSTABAT MATER.

ED. SACHS.

KING CUPS. WATER-LILIES.

SCHUBERT.

MASS, IN A FLAT. MASS, IN B FLAT. MASS, IN C. fMASS, IN F. MASS, IN G. tSONG OF MIRIAM.

SCHUMANN.

ADVENT HYMN, "IN LOWLY GUISE."

KING'S SON, THE.

MANFRED.

MIGNON'S REQUIEM.

fNEW YEAR'S SONG.

PILGRIMAGE OF THE ROSE, THE.

H. SCHUTZ. PASSION OF OUR LORD, THE.

B. L.-SELBY. DYING SWAN, THE.

E. SILAS.

MASS, IN C.

A. B. SMITH. IN GLORIOUS FREEDOM.

A. M. SMITH. ODE TO THE NORTH-EAST WIND

SPOHR.

CHRISTIAN'S PRAYER, THE. tGOD, THOU ART GREAT. HYMN TO ST. CECILIA. tLAST JUDGMENT, THE.

D. STEPHEN. tLAIRD O'COCKPEN, THE.

S. STOCKER. SONG OF THE FATES.

S. STOJOWSKI. SPRINGTIME.

A. SULLIVAN. EXHIBITION ODE. tTE DEUM (THANKSGIVING).

A. G. THOMAS. tSUN WORSHIPPERS, THE.

E. H. THORNE,

BE MERCIFUL UNTO ME.

B. TOURS.

FESTIVAL ODE, A.

WAGNER. DUTCHMAN (A

SELRCriOX

FLYING

FROM ACT 2).

E. WALKER. HYMN TO DIONYSUS, A. ODE TO A NIGHTINGALE.

C. M. WEBER. JUBILEE CANTATA. *MASS, IN E FLAT. "MASS, IN G. PRECIOSA. THREE SEASONS.

S. WESLEY. DIXIT DOMINUS.

S. S. WESLEY. OLORD, THOU ART MY GOD.

J. E. WEST. LORD, I HAVE LOVED THE HABI

TATION OF THY HOUSE. SONG OF ZION, A.

C. WOOD. ODE TO THE WEST WIND. .

R. T. WOODMAN- FALMOUTH.

The Works marked * have Latin and English Words. Those marked thus t may be had in the Tonic Sol-fa Notation.

lAug..

LONDON : NOVE? .LO AND COMPANY, LIMITED.

COMPOSITIONS BY EDWARD ELGAR.

VOCAL.

PART-SONGS (Mixed Voices).

Unaccompanied (unless otherwise stated). AFTER MANY A DUSTY MILE (Sol-fa, 3d.) .. ANGELUS (Tuscany) (Op. 56, No. i) (Sol-fa, 2(1.) BIRTHRIGHT, THE (Marching Song) D.TTO, for Unison-Singing

(Bugle and Drum parts, on hire only.) §CIIRISTMAS GREETING, A (Op. 52). For two

Sopranos (Soli or Chorus), Tenor and Bass Chorus, ad lib. \Vithaccompaniment for two Violins and Pianoforte (Sol-fa, 4d.)

Violin Parts, 8d. each.

DEATH ON THE HILLS (7 parts) (Op. 72) ~ 1-fa, '

s. d. o 4 o 6

(Sc

6d.)

(Sol-fa, 2d.) (Sol-fa, ad.) ......

73, No. i)

EVENING SCENE (Sol-fa, 3d.) ........

FEASTING I WATCH (Sol-fa, 3d.) ......

§FLY, SINGING BIRD (Arranged byj. POINTER) (Op. 26, No. 2) (Sol-fa, 4d.) ..........

FOUNTAIN, THE (5 Parts) (Op. 71, No. 2) (Sol-fa, 6d.) ................

FOUR PART-SONGS (Op. 53) (Sol-fa, is. 6d.)

Complete..

Or, separately —

1. There is sweet music (S parts) (Sol-fa, 6d.)

2. Deep in my soul (6 parts) (Sol-fa, 4tL)

Ditto, German Words

3. O wild West wind (8 parts) (Sol-fa, 4d.) ..

4. Owls (an Epitaph) (5 parts) (Sol-fa, 3d.) ..

GO, SONG OF MINE (6 parts) (Op. 57) (Sol-fa, 4d.)

§GOD SAVE THE KING (Arranged) (Sol-fa, ijd.) (Full Score, 45.)

HOW CALMLY THE EVENING IT 'S OH ! TO BE A WILD WIND LOVE (Op. 18, No. 2) (Sol-fa, 3d.)

LOVE'S TEMPEST (5 parts) (Op. (Sol-fa, 6d.) ................

MY LOVE DWELT IN A NORTHERN LAND

(Sol-fa, 2d.) ...............

DITTO, German words . . . . . . . . . . ..

O HAPPY EYES (Op. 18) (Sol-fa, 2d.) ......

REVEILLE, THE (Sol-fa, 6d.) ........

SERENADE (Op. 73, No. 2) (Sol-fa, 46.) .. ..

SHOWER, THE (Op. 71, No. i) (Sol-fa, 4d.) .. §SNOW, THE. (Arranged by J. POINTER) (Op. 26,

No. i) (Sol-fa, 4d.) ..............

§.SPANISH SERENADE (Stars of the Summer

Night) (Op. 23) (Sol-fa, 3d.) (Full Score, 73. 6d.) .. .. WEARY WIND OF THE WEST (Sol-fa, 2d.) WHETHER I FIND THEE (Sol-fa, 2d.) .. ..

§WITH PROUD THANKSGIVING(Chorus). Words by LAURENCE BINVON. Arranged from " For the Fallen," for S.A.T.B., with accompaniment for Military or Brass Band, ur Organ, or Pianoforte (Sol-fa, 6d.) .. .. .. ..

Military Ba:id Accompaniment, 95. ; Brass Band Accompani-

EA. CAST ME FROM HEIGHTS OF THE MOUNTAINS (Sol-fa, ad.) ..........

§ Orchestral Parts may be had.

o 8 o 4

o 8

o 6

o 6

o 6

o 8

o 4

„ j

„ 6

0 3 0 8

06 06

PART-SONGS (Male Voices).

T.T.B.B. (unless otherwise stated).

( U naccom pan ied. ) AS TORRENTS IN SUMMER ("King Olaf")

(Op. 30). Arranged for A.T.B.B. ..

FIVE PART-SONGS (Op. 45, Nos. i— 5) ..

(The words from the Greek Anthology.) Or, separately, English words only — After many a dusty mile (Sol-fa, 3d.) .. Feasting I watch (Sol-fa, 3d.) .. It's oh! to be a wild wind (Sol-fa, ijd.)

Whether I find thee (Sol-fa, tjd.)

> ea, cast me from heights of the mountains (Sol-fa, 3d.) Vocal Parts (German words only), 3d. each.

HERALD, THE (Sol-fa, sd.)

REVEILLE, THE (Sol-fa, 6d.) .

PART-SONGS (MALE VOICES).— continued.

WANDERER, THE (Sol-fa, 3d.)

ZUT! ZUT! ZUT! (Remember) (Sol-fa, 3d.

Staff

BIRTHRIGHT, THE (Unison School Song)

and Sol-fa Notations together §FOLLOW THE COLOURS (Unison). Marching

song for soldiers (Voice Parts, 3d.) (Sol-fa, 3d.) •t Orchestral Parts may be had.

IT COMES FROM THE MISTY AGES (Unison) (" The Banner of St. George "). (Staff and Sol-fa Notations together) (Sol-fa only, 2d.)

PART-SONGS (Female Voices).

(Accompanied.)

AS TORRENTS IN SUMMER ("King Olaf")

(Sol-fa, ad.)

§CHRISTMAS GREETING, A (Op. 52). With

accompaniment for two Violins and Pianofoite. (Sol-fa, 4d.) Violin Parts, 3d. tach.

§DOUBT NOT THY FATHER'S CARE (Op. 29)

("The Light of Life"). (Sol-fa, i id.)

i§FLY, SINGING BIRD (Op. 26, No. 2). With

accompaniment for two Violins and Pianoforte. (Sol-fa. ,;d ) Violin Parts, 8d. each. (Full Score, 7s. 6d.)

HOW CALMLY THE EVENING (Sol-fa, 3d.) .. MY LOVE DWELT IN A NORTHERN LAND

(Sol-fa, 3d.)

UPRAISE TO THE HOLIEST ("Dream of Gerontius ") (Op. 38). Chorus and Semi-Chorus, S.S.A. A. (Sol-fa, 3d.)

t§SNOW, THE (Op. 26, No. i). With accom- paniment for two Violins and Pianoforte. (Sol-fa, 4d.)

Violin Parts, 8d. each. (Full Score, 75. 6d.)

§SPANISH SERENADE (Stars of the summer night). With Accompaniment for two Violins and Pianoforte

(Op. 23) (Sol-fa, 4d.)

Violin Parts, 8d. each.

t Editions with German Words may also be had. § Orchestral Parts mav be had.

SEPARATE NUMBERS

FROM THE

CHORAL WORKS,

APOSTLES, THE (Op. 49). s. d.

Prologue. The Spirit of the Lord is upon me . . . . o 3

BANNER OF ST. GEORGE, THE (Op. 33).

It comes from the misty ages. Epilogue (March) (Sol-fa. 3d.) o 6 Ditto (Unison Song) (arranged) (Sol-fa, 2d.) .. ..04

CARACTACUS (Op. 35).

Britons, alert (Sol-fa, 2d.) .. .. .. .. ..04

Lament — (O, my warriors) (Sol-fa, 2d.) .. .. . . o \

The March triumphal thunders (Sol-fa, 3d.) .. .. o 3

DREAM OF GERONTIUS (Op. 38).

Softly and gently, dearly ransomed soul (Full Score, 95.) . . o 3 Litany . . . . .. . . . . .. . . . . ..03

Be merciful . . . . . . . . . . . . . . ..04

Go forth upon thy journey. . .. .. .. .. ..06

Praise to the Holiest (Sol-fa, 3d.) 06

KING OLAF (Op. 30).

A little bird in the air (Sol-fa, 41!.) 08

As torrents in summer (Sol-fa, ijd.) .. .. .. ..03

Ditto (arranged for male voices) . . . . . . ..03

Ditto (arranged for female voices) (Sol-fa, 2d.) .. ..03

The challenge of Thor (Sol-fa, 3d.) .. .. .. .. o o

The Wraith of Odin (Sol-fa, 3d.) 06

LIGHT OF LIFE, THE (Op. 29).

Doubt not thy Father's care (Sol-fa, ijd.) .. .. ..03

Light of the World, we know Thy praise (Sol-fa, 3d.) .. 04 Seek Him that maketh the seven stars (Male Voices) .. o S

Orchestral Parts may be had of the above Choruses.

(Feb . 1928.)

LONDON: NOVELLO AND COMPANY, LIMITED. NEW YORK: THE H. W. GRAY CO., SOLE AGENTS FOR THE U.S.A.

G. HENSCHEL

PROGRESSIVE STUDIES FOR THE VOICE

WITH PIANOFORTE ACCOMPANIMENT. IN TWO PARTS. PART I. — STUDIES IN SUSTAINED SINGING, PART II. — STUDIES IN FLORID Sixor

d.

PART I. — HIGH VOICE ... ... 4 o

., MEDIUM VOICE ... ... 4 o

., Low VOICE ... ... 4 o

PART II. — HIGH VOICE ., MEDIUM VOICE Low VOICE

VOCAL EXERCISES FOR ALL VOICES WITH MARKS OF EXPRESSION AND PHRASING BY

ALBERTO RANDEGGER

CONCONE

50 LESSONS FOR THE MEDIUM PART OF THE VOICE. (Cloth, 45. 6d.)

25 LESSONS. A SEQUEL TO THE FIFTY LESSONS FOR THE MEDIUM PART OF THE Voic

15 VOCALISES. A SEQUEL TO THE TWENTY-FIVE LESSONS FOR DITTO.

DITTO. ARRANGED FOR MEZZO-SOPRANO OR CONTRALTO. 40 LESSONS FOR CONTRALTO. 40 LESSONS FOR BASS OR BARITONE.

Price Two Shillings and Sixpence each.

AUGUSTS PANSERQN

FORTY MELODIC AND PROGRESSIVE

VOCAL EXERCISES

FOR SOPRANO OR TENOR. IN Two PARTS.

PART I. Containing Nos. i to 26. Part II. Containing Nos. 27 to 40. Price Three. Shillings each Part.

FORTY-TWO MELODIC AND PROGRESSIVE

FOR CONTRALTO, BARITONE, OR BASS. IN Two PARTS.

Parti. ContainingNos. i to 29. Part II. Containing Nos. 30 to 42. Price Three Shillings each Part.

FIFTY VOCALISES FOR TWO VOICES

(SOPRANO AND MEZZO-SOPRANO, OR TENOR AND

SOPRANO, OR TENOR AND BARITONE). IN Two PARTS.

Part I. Containing Nos. I to 30. Part II. Containing Nos. 31 to 50.

Price Three Shillings each Part.

MARCO BORDOGNI

TWENTY-FOUR

VOCAL EXERCISES FOR MEZZO-SOPRANO

Price Two Shillings and Sixpence. LONDON: NOVELLO AND COMPANY, LIMITED.

(January, 1925.)

PR Milton, John

355^ The masque of Comus

Al

1008

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