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THE HUNT IS UP.

DARE ye hunt our hallow'd green?
None but fairies here are seen:
Down and sleep, wail and weep,
Pinch him black, and pinch him blue,
That seeks to steal a lover true.

When ye come to hear us sing,

Or to tread our fairy ring,

Pinch him black, and pinch him blue,
Thus our nails shall handle you.

A wild hunting chorus, meant to represent the starting of a chase, is attached to the above; nearly unintelligible however, unless accompanied by its music, which has been arranged for four voices by Byrd, and entered by him into Queen Elizabeth's Virginal, and also into the Lady Nevil's Music-book, who appears to have been Byrd's pupil. This curious relict, with accompaniments, apparently adapted for the horn, is engrossed into our old M. S. collection of airs, alluded to in page 48. This M. S. volume, we may mention, in passing, contains 158 song tunes in parts, independent of sacred music; while the airs of several songs contained in this section, are to be found here, pricked down with great care, in the square or lozenge note, having the first line of each chant generally appended to its corresponding music. No date is attached to the M. S. but the latest tune in the volume is above two hundred years old.

DIRGE.

I'LL go to my love, where he lies in the deep,
And in my embraces my dearest shall sleep:

TIXHALL POETRY.

87

When we wake, the kind dolphins together shall throng, And in chariots of shells shall draw us along:

Ah! ah! my love's dead! there was not a bell,

But a Triton's shell,

To ring, to ring, out his knell.

The orient pearl which the ocean bestows,
With coral we'll mix, and a crown so compose;

The sea-nymphs shall sigh, and envy our bliss,

We will teach them to laugh, and their cockles to kiss: Ah! ah! my love's dead!

For my love sleeps now in a watery grave,

He hath nothing to show for his tomb but a wave;
I'll kiss his cold lips, not the coral more red,

That grows where he lies in his watery bed:
Ah! ah! my love's dead!

From Tixhall Poetry, published 1813, by EDWARD CLIFFORD, Esq. For a curious and interesting account of these ancient M. SS. see Drake's "Evenings in Autumn."

THE ROYAL NUN.

CANST thou, Marina, leave the world,
The world that is devotion's bane,
Where crowns are toss'd, and sceptres hurl'd,
Where lust and proud ambition reign?

Canst thou thy costly robes forbear,
To live with us in poor attire ;
Canst thou from courts to cells repair,
To sing at midnight in the quire?

Canst thou forget the golden bed,

Where thou might'st sleep beyond the morn,
On mats to lay thy royal head,

And have thy beauteous tresses shorn?
Canst thou resolve to fast all day,

And weep and groan to be forgiven;
Canst thou in broken slumbers pray,
And by afflictions merit heaven?

Say Voterisse, can this be done?
Whilst we the grace divine implore;
The world shall lose the battles won,

And sin shall never chain thee more.
The gate to bliss doth open stand,

And all my penance is in view;

The world, upon the other hand,
Cries out, "O do not bid adieu!"

What, what can pomp and glory do;

Or what can human powers persuade;
That mind that hath a heaven in view,
How can it be by earth betray'd?
Haste then, oh! haste, to take me in,
For ever lock Religion's door;
Secure me from the charms of sin,

And let me see the world no more.

This beautiful poem of the Royal Nun, says Dr. Drake, is from a M.S. dated 1662; but in all probability it is several years older. Who was its author, is not known. It evidently bears a strong resemblance to Dr. Percy's popular song, "O Nannie wilt thou gang wi' me."

ABERDEEN CANTUS.

89

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THE five following Songs have been excerpted from a scarce and rather curious work, commonly known by the name of the Aberdeen Cantus, entitled, "Songs and Fancies to three, four, or five parts, both apt for voices or viols; with a brief Introduction to Music, as taught by Thomas Davidson in the Music-School of Aberdeen. By John Forbes."

The Cantus contains in all, sixty-seven Songs, including translations from the Italian at the end of the volume; the greater part of these, however, will be found more curious than interesting to song-collectors of the present day, their tenor for the most part being either of a quaint love, or religious cast, accordant with the taste of the times in which they had been gleaned for the Cantus, by Forbes and Davidson.

It also is provoking to find such a paucity of Scottish songs, or Scottish airs, within the pages of this, the first printed musical work in our own country; and that at a time, too, when several of those pieces whose loss we now grieve for, must have been in circulation around the very localities wherein the materials for the above Cantus were collected.

Pinkerton, in his "Scottish Poems," prelim. xxxiv. says the Cantus is a work he wishes much to see; he likewise

states the impression of 1682, as being the third edition. Allowing then, the impression of 1666 to have been the second, when did the first appear, as John Forbes is stated, in the history of early Scottish printers, to have commenced business about 1660? We understand the curious "Pleugh Song," "My hearty service to you, my Lord," &c. is only found in the second edition, while the first and third want it.

COME, SWEET LOVE.

COME, Sweet love, let sorrow cease,
Banish frowns, leave off dissension;
Love's war makes the sweetest peace,
Hearts uniting by contention;

Sunshine follows after rain,

Sorrows ceasing, this is pleasing,

All proves fair again;

After sorrow cometh joy:

Trust me, prove me, try me, love me,

This will cure annoy.

Winter hides his frosty face,

Blushing ever to be moved;

Spring returns with pleasing grace,

Flora's treasures are renewed;

Lambs rejoice to see the spring,

Leaping, skipping, sporting, tripping;
Birds for joy do sing:

Let your springs of joy renew,

Colling, clapping, kissing, blessing,

And give love his due.

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