Drexel 4257

Drexel 4257, also known by an inscription on its first page, "John Gamble, his booke, amen 1659" is a music manuscript commonplace book.[1] It is the largest collection of English songs from the first half to the middle of the 17th century,[2][3] and is an important source for studying vocal music in its transition from Renaissance music to Baroque music in England. Many songs also provide commentary on contemporary political events leading up to the Restoration.

Drexel 4257
New York Public Library for the Performing Arts
Also known asJohn Gamble his booke
TypeCommonplace book
DateUncertain
Place of originEngland
Language(s)English
Size227 leaves

Belonging to the New York Public Library, it forms part of the Music Division's Drexel Collection, located at the New York Public Library for the Performing Arts. Following traditional library practice, its name is derived from its call number.[4]

Historical context

Before researchers took active interest in it, the field of 17th-century British song had not been investigated. Music historian Charles Burney had a negative opinion towards British vocal music in this period.[5] That attitude was carried through the beginning of the 20th century, where in the first edition of the Oxford History of Music, Hubert Parry stated that English composers' sense of musical line was deficient.[6]

Vincent Duckles thought one reason for the negative attitude might have been the lack of published sources: Between 1627 (the publication date of John Hilton's Ayres or Fa-las) and 1651 (John Playford's Musical Banquet), there appeared only a single publication of British vocal music: Walter Porter's Madrigales and Ayres of 1632.[7]

Scholarly work on Drexel 4257 was one of the major reasons for a change in attitude. With over 320 songs, 250 of which contain music, it is "the largest single body of early 17th-century English songs that we know."[2] "The composers ... all belonged to the small world of court musicians that suffered disruption during the English Civil War and the Commonwealth of England. Some began their careers late in the reign of James I, most saw service in court of Charles I, and a few survived to return to their posts at the invitation of Charles II." For the most part, their active careers were over by 1660 or shortly thereafter.[8]

The compiler (or compilers) was not an antiquarian: this collection of songs was intended for practical use, and represents the generation of English composers active between 1630 and 1660.[9] As such, Drexel 4257 "stands as the record of English musical and literary taste as it developed over a period of some thirty years," moving from the late Jacobean era to Restoration periods.[10] Though its musical contents may sometimes be variable, its main interest is that, as a document of its time, it reflects contemporary taste, offering comments on contemporary events and references to the past.[11]

By virtue of its repertoire and of the period covered, Drexel 4257 is closely related to other 17th-century English music manuscripts: 2240 (British Library Deposit), Drexel 4041 (New York Public Library), Don.c.57 (Bodleian Library), Add. 29,396 (British Library), Add. 11,608 (British Library), MS B.1 (Bodleian Library), Add. 31432 (British Library), Add. 10337 (British Library), F.5.13 (Trinity College, Dublin), Egerton 2013 (British Library), Drexel 4175 (New York Public Library), Add 29381 (British Library), MS 1041 (Lambeth Palace Library), and MS 87 (Christ Church Library).[12]

General and physical description

Folio 3 recto, containing the first page of "The Cattalogue"
Binding information from the inside back cover of Drexel 4257

The binding of Drexel 4257 measures 30.3 × 20 × 4.7 centimetres (11.9 × 7.9 × 1.9 in). It contains 227 leaves[13] which measure 29.5 × 19 centimetres (11.6 × 7.5 in) (the leaves' varying length can add or subtract several millimeters to their respective measurement). As the image at left indicates, the volume was rebound on December 6, 1944 by Neumann Leathers of Hoboken, New Jersey. The folios are not numbered, but each song is numbered. Using different methods of enumeration, scholars have disagreed on how many songs are contained in the manuscript. Hughes wrote that the collection contained 246 songs, 146 of which are by unidentified composers, but he was only counting songs with "a musical setting sufficiently complete to make identification possible."[14] Duckles claimed there were 325 different songs numbered 1 through 329: two songs occur twice ("Keepe on yor vayle and hide yor Eye" nos. 134 and 237, and "If thou wilt loue me I'le loue thee" nos. 174 and 215). Additionally, nos. 275 ("Stay, stay, prate noe more") and 324 ("I haue reason to Fly thee") are satirical replies to anti-Royalist lyrics not included in the manuscript.[15] No. 206 is blank and not identified in the index, and the song "Why sligh'stt thou her whome I aproue" is both nos. 222 and 223.[16] There are also two songs listed in the index for which no space was allotted. For Duckles, eighty-five of the 325 songs are lacking music and have either just titles, or titles and lyrics only. Elise Bickford Jorgens counted 327 songs, including songs listed in at least one of the two tables of contents but for which there is no music. (This article and the table below uses Jorgens' enumeration.)[3]

The breakdown of the 97 songs by known composers is as follows: John Gamble (28), Henry Lawes (28), William Lawes (10), John Wilson (11), William Webb (8), Thomas Brewer (3), Robert Smith (2), Nicholas Lanier (2), Walter Youckney[17] (2), Robert Johnson (1), John Withy (1), and Charles Coleman (1).[14]

Folio 1 verso contains a bawdy lyric followed by the inscription written twice, "John Gamble his booke amen 1-6-5-9 an[n]o Domini."[15] The material on Folio 2 recto is from a later date. The upper half of the page contains an engraved portrait of Gamble, printed by W. Richardson in 1795, pasted in. The lower portion contains a brief biographical inscription concerning Gamble in the hand of the former owner, Edward F. Rimbault.[18] A note giving a brief description of the contents has been tipped in near the center of the binding.

There are two tables of contents. The first, with the heading "The Cattalogue" on folios 3r-5r, is a numbered list of songs from 1 through 266. Starting with song no. 201, the style of enumeration varies inconsistently: no. 201 is listed as 2001, 220 is listed as 20020. Additionally, there is a group of songs incorrectly altered to 300s.[19] The second table, on folios 5v-8r, has no heading but is an alphabetical grouping of songs where in each letter the songs are listed sequentially. This list was apparently compiled after the manuscript was completed and includes all songs except nos. 314-317. It is written by the same hand as the enumerator of songs 177-266 in "The Cattalogue."[18]

The manuscript as currently bound (the date accompanying the binding information on the inside rear cover is stamped Dec. 6, 1944) has some songs out of sequence (nos. 331-340), surrounded by no. 311 and 312.[19]

Dating

Watermark from Drexel 4257

The date of 1659 (from Gamble's inscription on 1v) has been a source of puzzlement to those who have studied the manuscript. Willa McClung Evans, consulting Edward Heawood's study of watermarks (used to date paper), noted the watermark, a fleur-de-lis, was of undetermined origin, but was also used in Fuller's "Holy State" of 1652, and Denis Petau "History of the World" of 1659.[20] Charles W. Hughes believed the book was begun around the turn of the 17th century - a hypothesis rejected by Jorgens who notes that it contains works by Henry Lawes, born in 1596.[3] Hughes believed the terminal date was at least 1660, as some of the songs refer to Charles II of England, who assumed the throne in the Stuart Restoration of 1660.[14] Duckles noted that the earliest lyrics were from England's Helicon (1600) and Davison's Poetical Rhapsody (1602).[2] Duckles felt that 1659 is close to the terminal date, noting that no songs had been added after the English Commonwealth period, and no younger composers were included in the collection.[21]

Provenance

Folio 1v, containing a bawdy lyric and the inscription "John Gamble his booke ..." (click for close up)

Though writers disagree on details of the handwriting (see the section on handwriting below), they all agree that the handwriting of the latter portion of Drexel 4257 is probably that of John Gamble, given that there is a concentration of his work in that part of the manuscript.[22][19] This suggests that the book was begun by someone else (whom Lynn Hulse recognized as Thomas Jordan; see below[23]). Duckles surmised that Gamble came into possession of the book in 1642–43 when the musicians of the Royal Chapel were dispersed as a result of the English Civil War.[24] Although Gamble lost most of his possessions in a fire in 1666, this book appears to have survived. He made out his will on 30 June 1680, in which he bequeathed his grandson (also named John Gamble) all his books of music.[25]

After Gamble's death in 1687, nothing is known of the manuscript for over 150 years. The first published reference to it comes in 1846, where it is mentioned in volume 19 of the Percy Society's Early English Poetry, Ballads, and Popular Literature of the Middle Ages as being in the possession of one of the editors of the series, Edward Francis Rimbault.[26] An organist and musicologist, Rimbault took a keen interest in English music and voraciously collected rare books, scores, and valuable manuscripts. Upon his death, his extensive and valuable library was auctioned by Sotheby's over the course of five days. The Rimbault auction catalog entry for the Gamble manuscript reads:

A collection of upwards of 300 songs by Wilson, Lawes, Johnson, Gamble, and other English composers, containing also the autograph inscription, "John Gamble his book, Amen. 1659 Anno Domini"[27]

Hughes quotes a contemporaneous report of the hammer price and comment: "Thirteen guineas, for America."[14] The reference was to the Philadelphia-born financier Joseph W. Drexel who had already amassed a large music library and purchased about 300 lots from the Rimbault auction. Upon Drexel's death, he bequeathed his music library to The Lenox Library. When the Lenox Library merged with the Astor Library to become the New York Public Library, the Drexel Collection became the basis for one of its founding units, the Music Division. Today, Drexel 4257 is part of the Drexel Collection in the Music Division, now located at the New York Public Library for the Performing Arts at Lincoln Center.

Organization

Duckles noted that there are subsidiary groups organized by composer: Henry Lawes (nos. 26-36), William Webb (nos. 160-166), Robert Smith (nos. 237-238),Thomas Brewer (nos. 244-245), Robert Johnson (nos. 108-109), and John Gamble (nos. 292-319). Similarly is the group of three songs set by John Wilson for Richard Brome's play "The Northern Lass" (nos. 45, 46, and 47).[28]

The first 47 songs are love lyrics by poets of the Jacobean Court, including Ben Jonson, William Shakespeare, Robert Herrick, Thomas Carew, John Suckling, Beaumont and Fletcher. After no. 47 a new spirit is suggested by song no. 48 "You madcapps of England that merry will make," a lusty drinking song that indicates a political shift after 1640.[29] Deliberate segregation is in evidence between songs nos. 48 and 80, where there are a series of 32 ballads and popular songs, in contrast to the art lyrics of the first few songs. There is a brief return to the elevated nature in songs nos. 154-76. Thereafter, popular and sophisticated songs are mixed.[30]

Handwriting

Folio 3 recto, showing a portion of "The Cattalogue" with contributions from all three hands

Hughes and Duckles both believed that the manuscript was written by at least two individuals.[14][18] Hughes characterized the first hand as a "neater, older hand" dating from either at the end of the 16th century or beginning of the 17th century (a date disputed by subsequent writers - see above). The second hand copied the newer songs (including some by Gamble) and were written in a more careless hand.[14] Hughes believed that this evidence suggested that the manuscript was begun by an unidentified person and was continued by John Gamble himself commencing with song no. 177.[22]

Following Hughes's view, Duckles also believed the manuscript was written in two hands. In his view, the first hand wrote the titles for songs nos. 1-176 of the Catalogue, and the second hand, probably that of Gamble himself, wrote of nos. 177-266 (leaving space left to accommodate future additions) as well as the alphabetical index.[18] Duckles described the writing style of Hand 1 as favoring "round, compact letter forms, vertical alignment, calligraphic flourishes on capitals and heavy down strokes," when writing with a broad pen. Duckles admits that Hand 1 has "two forms":[31] "When the hand writes with a finer quill, the letter forms are more loosely connected, the flourishes a little more pronounced, and there is a slight inclination to the right." Hand no. 2 has a "pronounced slant to the right, letter forms are thin and elongated and the pen is a fine one."[31] Duckles observed that hand no. 2 participated slightly in the preparation of part 1 (nos. 1-176) with only six songs, but all of the text incipits. Likes Hughes, Duckles also felt that Hand 2 is probably that of Gamble.[32]

Duckles hypothesized that the first hand might have been that of Ambrose Beeland, with whom Gamble apprenticed and is believed to have been his teacher.[24] Lynn Hulse refutes this, saying that the handwriting does not match existing Beeland manuscripts.[23]

Jorgens disagreed with both Hughes and Duckles and saw three different hands.[3] Based on the two tables of contents, Jorgens surmised that all three copyists had access to the book at one time.[19] She characterized the first hand as "firm, bold but well-controlled secretary hand," the second hand as "looser and somewhat lighter secretary hand" beginning with song no. 38, and a third hand, "rougher, slanted, inclined towards the Italian style" that begins with song no. 46. All three roughly equal; by no. 177 the first two have dropped out.[3] Hand Three has entered all of Gamble's songs and is probably his.[19] It also has entered text incipits. Since these incipits do not correspond with other known songs, they are probably the work of Gamble.[19]

Hulse identified the first hand of the Gamble manuscript is probably that of poet Thomas Jordan (ca. 1612–1685), the same hand as manuscript PwV18 in the University of Nottingham, as well as other Jordan manuscripts in Harvard University and Bodleian Library.[33] Hulse showed that Jordan and Gamble were involved in the same London circle of theatre musicians and composers for many years, culminating in Jordan's preface for Gamble's A Defence for Musick published in 1659. She identifies songs nos. 4, 16, 32, 45, 47, 99, 154, 155, 169, 170, 175, 176 and the text incipit of 96 as being copied by Jordan.[34]

Politics

The lyrics to a number of songs have references to contemporary politics and events. "Since Itt hath bin lately inacted high Treason" (no. 313) carries a strong suggestion of reaction to contemporary British history.[35] One song, "Beat on, proud billows," was known to have been written by Roger L'Estrange while he was imprisoned in Newgate Prison during Oliver Cromwell's rule (1645–1648).[2]

Some songs express regret for a better past. "Listen iolly gentlemen Listen & be merry" (no. 63) praises the reign of Charles I (indirectly criticizing the then-current regime).[36] The lyric of "Reioyce all England" contrasts the 13th-century hero Guy of Warwick with current rulers.[14] One song alludes to the marital difficulties between Charles II and his Portuguese wife, Catherine of Braganza. Another example of distrust of foreigners can be seen in the lyric "Harke harke Ile tell you news from the Cort ... all ye french ... now are all sent back to France."[36] Charles II also figures in "God bless our noble king," which comically describes the king's progress from Whitehall to St Paul's Cathedral.[36]

"You madcaps of England" describes frivolous English soldiers at the siege of La Rochelle, including characters named "Wentworth" (referring to Thomas Wentworth, 1st Earl of Strafford) and "Murrey" (referring to Robert Moray). Other names mentioned include: Wilmot, Weston, George Symon, Steadlinge, Hugh Pollerd, and "Game" possibly John Gamble.[37]

Some songs reveal prejudice against Puritans. No. 92, ""Cock Lorrell inuited ye diuell his gestt," concerns Cock Lavorel, known as a rogue and highway robber, as friends with the devil. "The purelings of the Citty" (no. 70) is an exception, praising a Protestant service.[36]

Duckles took note of the bold lyrics to song no. 73:

Ye giddy poets that purloin
from sea and land the greatest store
to deck her ffading wenches fine,
what would you do with such a whore?

Duckles clarified the meaning: "The outspoken vulgarity was not necessarily result of personal taste but a reflection of Royalist protest against Puritan morality, intended to shock the taste of Parliamentarians."[38]

Topical or literary content

Hughes argued that, unlike a textbook compilation of exemplars, Drexel 4257 shows a variety of good and mediocre poetry.[39] Most songs deal with love, and range from flowery rhetoric to frank accounts of love-making.[40] A few, however, deal with topical matters. There are two songs related to Christmas: "Beate upp a dromm" depicts feasters in a mock battle with the cold in which the feasters win,[39] and "Christmas is my name ffar have I gone" was a popular ballad which appeared in a number of 17th-century sources. In this song, the personification of Christmas comes from far away to discover that his friends and other residents have deserted the country in favor of the city. The song concludes with a lament that universal welcome is gone because the Protestants and Puritans disassociate themselves from Christmas.[41] Similarly (with fewer political overtones), the song "Ladies you loose yor time" expresses preference for city life over that of the country.[37]

The song "Oh yt mine eyes", a graphic meditation on the Crucifixion of Jesus, is the only song in the collection to deal with a religious subject.[42]

The song "Nor loue nor fate dare I" by John Wilson bears the inscription "composed for the comedy The Northern Lass".[35] Although this is the only song that the manuscript indicates is from a drama, at least 26 songs have texts from dramas or masques, attesting to Gamble's association with the theatre.[43]

The songs composed by Gamble are best characterized as drolls. Drolls were collections of "cavalier wit, much of it trivial, repetitious and derivative, but at the same time containing some work of genuine literary value. Their tone was seldom dignified, often frankly sexual, and characterized by a persistent undertone of anti-Puritan feeling."[44] Similar examples can be found in the work of Ben Jonson, Thomas Carew and John Suckling.

Musical content and style

Hughes cursorily observed that Drexel 4257 contains no naturalssharps are used to cancel flats, and flats are used to cancel sharps.[45] He noted that technical blunders such as parallel fifths and octaves are to be found as well as other kinds of mistakes.[45]

Duckles's dissertation explores the transition from the lute song, representing an older style of composition appropriate to the waning of Renaissance music, to the continuo song, reflecting newer Baroque music practice. It's not always an easy form of composition to assess: lutes were not always used for songs, and sometimes were used even after ascendancy of the continuo song.[2] General characteristics of the lute song are smooth, flowing, and restrained lines, while the continuo song is more vigorous, abrupt and discontinuous. The harmonies in lute songs are an outgrowth of their melodic lines, while in continuo songs they define the structure. Lute songs tend to be loose and melismatic with frequent repetitions of verse fragments, while continuo songs are more closely tied to the rhythm of the text. Dissonance and chromaticism are used sparingly in lute songs while continuo songs show increasing use of chromaticism for more dramatic rather than pictorial underscoring. Generally, English composers were more concerned with capturing verbal rhythms than producing dramatic effects.[46](Hughes noted that Restoration lyrics typified Baroque figures of speech in their use of florid lyrics.)[40] Use of these techniques in England indicate their adoption from Italy, where they were first used. Previously, it had been thought that English composers either didn't know about them, or weren't interested.[47] But a comparison of Drexel 4257 with another of Gamble's books in the British Library, Additional 11608, where some of the songs appear in an embellished form, indicate that British composers and singers did occasionally adopt a more florid style.[48]

Duckles examined the song "If Loue loues truth then woemen doe not loue" by Thomas Campion which appears as no. 10 of Drexel 4257 and was also published in Campion's Third Book of Ayres from about 1617. Campion was generally a conservative composer.[49] In the version present in Drexel 4257, the melody is slightly altered to provide greater sensitivity to the declamatory text, so that the speed of the verse accelerates naturally, an alteration which Duckles finds an improvement over the original.[50] Many songs are recitative-like. In some of these songs, the bar is enlarged as it approaches the cadence, suggesting a ballad singer who briefly pauses to catch his breath.[51] The hemiola a consistent practice in English music of this time.

Many songs are 6/4 meter, while some suggest that they are adaptations from violin tunes.[37] Yet, the barline does not always reflect the verbal rhythm.[45] In comparing the song "Ballowe my babe lye still and sleepe", no. 46 of Drexel 4257, with the version that appears in Elizabeth Rogers' Virginal Book, Duckles notes that the (earlier) virginal version is in duple meter with no trace of hemiolas, while the version in the Gamble manuscript has them, suggesting a modernization of an older song.[52] Another example of continuo style is "Like Hermitt poore in pensiue place obscure" (no. 15), a lyric attributed to Sir Walter Raleigh and dating from 1591.[53] In comparing Alfonso Ferrabosco's setting from his Ayres of 1609 to one by Nicolas Lanier in Drexel 4257, Duckles admits the possibility that Lanier's may have been inspired by that of Ferrabosco. But the musical characteristics of the Lanier setting, including simplicity of texture, distinct phrases, use of an échappée, and the suggestion of a rhythmic motif through use of a recurring pattern of eighth notes, point to contemporary text setting techniques.[47] The song "Drowsie sun, why dostt thou stay" by Thomas Brewer (no. 253) shows expressive false relations and harmonic word painting, foreshadowing later developments in British sacred music. Brewer's songs are among the earliest examples of the Italian pathetic style in English music[54] and represent the mature style of continuo song.[55] Devices such as an octave leap look away from lute song to continuo song.[50]

Not all songs with recitative-like musical lines indicate modernism.[53]There are dance songs that contain elements of an ostinato bass, passamezzo antico and the romanesca—all characteristics of Renaissance rather than Baroque periods.[56] Several tunes and texts are of 16th-century origin had long been in the repertoire, among them: "Greensleeves," "O mistress mine," and "Back and sides go bare."[57] With these exceptions, the earliest songs date from Jacobean period.[21] A comparison with anthologies published by John Playford in 1652, 1653 and 1659 indicates particular songs were popular. That selections were copied into the book attests to their popularity even after tastes had changed due to the Restoration.[14] Similarly, the song "I went from England into ffrance," a satirical narrative, refers to the song "John Dory," indicating that song's continued popularity. (It had appeared in Thomas Ravenscroft's "Deuteromelia" of 1609, though probably dates earlier).[11] "When ye Chill Charockoe blowes" is a song containing both declamatory and tuneful styles.[58] It is a drinking song, whose erratic harmony suggests frequent cadences, and whose angular melody which "moves with great vigor," This is in contradistinction to the lute song that emphasized continuous flow and smooth melodic motion.[46]

Duckles identifies two styles of songs of the collection: "The declamatory air" (reflecting modern style),[59] and "the tuneful air" (reflecting the older style, a vestige of Renaissance musical practice).[60] The tuneful air could be composed based on a preexisting tune or a tune intended to be a dance form. In examining lyric forms, Duckles identified the ballad as one type of lute song. The ballads found in Drexel 4257 are all of a sophisticated type in which satire and parody are important elements. The ballad as simple narrative or topical ballad are not represented.[61]

Warning that one must be wary of the fluid nature of musical genres,[54] Duckles categorized the following songs from Drexel 4257 as ballads: 46, 48, 49, 51, 53, 55, 56, 58, 59, 60, 62, 63, 64, 66, 67, 68, 70, 74, 76, 79, 92, 103, 104, 105, 116, 119, 120, 121, 123, 131, 142, 144, 145, 146, 147, 186, 214, 271, 272.[62]

Duckles identified these songs as being in the declamatory style: 4, 12, 15, 20, 22, 26, 30, 31, 33, 83, 89, 108, 132, 160, 161, 162, 164, 168, 172, 182, 188, 198, 206, 238, 239, 240, 243, 247, 249, 253, 256, 260, 261, 262, 269, 274, 277, 280, 284, 285, 292, 299, 306, 311, 315, 316, 317, 323, 326.[63]

Duckles observes that by 1651, the transition from the lute song to the continuo song was complete. Printed versions of songs can not be entirely trusted to represent what was sung, since, in order to keep engraving costs manageable, they would economize on written vocal embellishments. That's why manuscript sources are crucial to our understanding of transition to Baroque vocal styles.[64] Duckles concludes by warning that those who study early 17th century lyric poetry must do so in conjunction with their intended musical settings, since words and music are inseparable.[65]

Significance

In his dissertation, Duckles summed up Gamble and his manuscript:

There seems to be little doubt but that Gamble's fame will rest upon his work as a compiler of an important song collection, not on his work as a composer. As a musician he was distinctly second-rate, but one can appreciate him as a man with a keen sense of the musical currents (page 138) of his time, an opportunist, who knew what the public wanted and how to turn public taste to his own professional uses ... By shrewdness and wit he managed to establish a place for himself in the rough-and-tumble world of mid-17th century music. His songs were soon forgotten, but in his "Commonplace book," compiled without any thought for posterity, he succeeded in presenting one of the most valuable sources we have of the musical taste and musical thought of his time. It is for this reason that an obscure court musician of some 300 years ago remains very much alive in the minds of students of English music history.[66]

List of songs

This table is based on the table of contents listed in Jorgens, supplemented with composer, lyricist attributions and other remarks from Duckles 1953.

No. Title Composer Lyricist Remarks
1Must yor fayre enflameing eie
2See the chariott at hand heere of loueBen JonsonFrom the drama The Devil is an Ass
3Aske mee noe more whether doth strayThomas Carew
4Thoughts doe not vex mee while I sleepeJohn WilsonWilliam Strode
5Deare why doe you say you loueRobert Aytoun
6Not that I wish my Mistris more faireWilliam Herbert, 3rd Earl of Pembroke (10th Creation)
7Though my Mistris seeme in shewThomas Heywood
8In yor fayre cheekes 2 pitts doe lyeThomas Carew
9Oh that my toung had beene as dumb
10If Loue loues truth then woemen doe not loueThomas CampionThomas Campion
11Hee yt lou's a rosy cheekeHenry LawesThomas Carew
12Hearke hearke how in euery groueWilliam Lawes?James Shirley
13Goe thy wayes since thou wilt goe
14Happy is he that hath yor veiw
15Like Hermitt poore in pensiue place obscureNicholas LanierWalter Raleigh
16Take oh take those lippes awayJohn WilsonWilliam ShakespeareFrom the drama Measure for Measure; also used in the drama The Bloody Brother
17Dearest doe not now delay meeHenry LawesFrancis Beaumont and
John Fletcher
From the drama The Spanish Curate
18Thou sent'st to mee a hearte was crown'dRobert Aytoun
19Why should passion lead the[e] blindWilliam Herbert, 3rd Earl of Pembroke (10th Creation)
20Two of the brightest starrs in heauen
21Be not proud nor coy nor crewillHenry Lawes
22Cupid call's com Louers comJames Shirley
23Loue where is now thy DeityJohn WithyRichard Brome
24Wt should my Mistris doe wth hayreWilliam LawesJames ShirleyFrom the drama The Duke's Mistress
25If I freely might discouerHenry LawesBen JonsonFrom the drama The Poetaster
26Sleepe old man lett silence charme theeHenry LawesWilliam Habington
27Sweete I am not com to sooneHenry LawesWilliam Habington
28Must wee bee diuided nowHenry Lawes
29Why should only man be tyedHenry Lawes?William Habington
30Greife com away and doe not thou refuseHenry Lawes
31Goe thou gentle whispering wyndHenry LawesThomas Carew
32In a Mayden tyme possessedJohn WilsonThomas MiddletonFrom the drama The Witch
33Selfe blinding error seazeth all those mindesHenry LawesWilliam ShakespeareFrom Sonnet 126
34Art thou gone in hast?Henry LawesJohn WebsterFrom the drama The Thracian Wonder
35Tell mee deerest what is loueFrancis Beaumont and
John Fletcher
From the drama The Captain ; also from the drama The Knight of the Burning Pestle
36Neuer more will I protestFrancis Beaumont and
John Fletcher
37Beauties haue you seene a toyHenry LawesBen JonsonFrom the masque at Lord Hadington's marriage
38Amidst the Mirtles as I walk'tHenry LawesRobert Herrick
39Thou shepheard whose intentive eyeHenry LawesH. TownshendSame tune as previous song
40Of thee kind boy I aske noe Redd and whiteNicholas LanierJohn Suckling
41In fayth I cannot keepe my sheepe
42Fullwell I knowe my greifes alasSame tune as No. 193
43Some say ladies are modestText only
44Shepheard wheare hast thou benText only
45A bonny bird a bird I haueJohn WillsonRichard BromeFrom the drama The Northern Lass
46Ballowe my babe lye still and sleepeWilliam Lawes?From the drama The Northern Lass
47As I was gathering Aprill flowersJohn WilsonRichard BromeFrom the drama The Northern Lass
48You madcapps of England that merry will makeText only
49God bless our noble kinge
50Heare's a health to all good fellowsText only
51Come hither the merriest of all the nineSet to the same tune as no. 74
52Now out vpon this foolinge
53Hey hoe Care goe get thee gon from me
54Say louely Phillis since it thy will isHenry LawesCorrupted and incomplete
55Backe and sides goe bare goe bare
56Beate upp a dromm now winter Reignes
57Since Fortune thou art growne soe kind
58There was a mayde this other day
59My Masters & Freinds who soeuer intends
60Christmas is my name farr haue I goneTreble only
61In a greene meadowe / a river runinge by
62I went from England into FranceRichard Corbet
63Lissen iolly gentlemen Listen & be merry
64I am a Rogue and a stout one
65Shall I be slaue vnto a womans will
66The Aphorismes of Gallen I hould but a toyIncomplete
67I met with ye devell in the shape of a RammeFrancis Beaumont and
John Fletcher
From the drama Beggars' Bush
68Come followe followe me all you yt drunkards beText only
69Let souldiers fight for pay and prayseAurelian TownshendFrom the drama Lady Hatton's Masque
70The purelinges of the Citty
71True loue noe more shall live on earthText only
72Noe sherrie new but sherrie ould
73Yee giddy Poets that purloyneText only
74Come hither ye merriest of all ye landSet to the same tune as no. 51
75Though Murrey be vndoubtedly his Countries cheifest wittPeter ApsleyText only
76I bring noe scurffe nor Leprosie
77As I lay musing on [= one] nightt in my bed
78The blushinge rose & purple flowerPhilip MassingerDialogue; from the drama The Picture
79Ther was a certaine Idle kind off creatureText incipit only
80Thou art not fayre for all thy redd and whiteThomas Campion
81Why should greate beauties vertuous fame desireWilliam LawesWilliam Davenant
82Cause thou artt fickle shall I Loue theeText incipit only
83Fier fier loe heere I bume in such desireNicholas LanierThomas Campion
84Outt upon itt I haue Lou'dJohn SucklingText incipit only
85A nymph whenas ye summers beames
86Say Celia say why wee twoe proue
87I saw Faire Cloris walke aloneWilliam StrodeText incipit only
88Doe nott to a woman sueText incipit only
89Noe ://: fayre Heretick it needes must beeLawesJohn SucklingFrom the drama Aglaura; ascribed elsewhere to Henry Lawes but possibly by William Lawes
90Noe ://: I tell thee noeText incipit only
91Com Eccho I thee summonText only
92Cock Lorrell inuited ye diuell his gesttBen JonsonFrom the drama The Gypsies Metamorphosed; text only
93Foolish boy Forbeare and FlyText incipit only
94Harke ://: Ile tell you newes from the CortText only
-One blank page
95Mars Bachus and the blind boy of lateText only
96From ye Faire Lauinnian shoreText incipit only
-One blank page
97Why should I wronge my iudgmt soeText only
98You meaner beautyes of the nightHenry Wotton
99Nor Loue nor fate dare I accuseJohn WilsonRichard BromeFrom the drama The Northern Lass
100Stay oh stay why dostt thou Fly meeJohn Wilson
101I wish noe more thou wouldst loue meText only
102Sweet hart come & kiss meText only
103I tell the [ = thee] Dicke that I haue beeneJohn SucklingText only
-Three blank pages
104I tell thee Jack thou hast given the kingText only
105I tell thee FooleJohn SucklingText incipit only
106Fly fowle soule to some forsaken hillFrom an unidentified masque
107Draw nott to nere, unless you dropp a teareWilliam StrodeText incipit only
108Come hither you yt loue and heare mee singRobert JohnsonFrancis Beaumont and
John Fletcher
From the drama The Captain ; attribution added in later hand
109Away delight goe seeke som other dwellingRobert JohnsonFrancis Beaumont and
John Fletcher
From the drama The Captain
110Aye mee I haue loued LongeText incipit only
111The answeare to Aye meListed in Cattalogue but missing from space provided for no. 111
112Sullen Care why dost thou keepeWilliam Lawes
113Fill fill the bowIe the Lustie wine will dyeWilliam Lawes
114I am confirm'd a woman canHenry LawesJohn Suckling
115There was a Lady faire and kind
116Three mery ladds mett at the RoseText only
117Reioyce all England & be merry and gladdText only
118Long haue mine eies gaz'd with delightThomas Campion
119When I cam first to London towne
120With an old song made by an old antient pateText only
121Of all the scienses vnder the sunn
-One blank page
122The Lastt nightt as I Lay in bedText incipit only
-One blank page
123Noe mominge redWilliam DavenantFrom the drama Love and Honor; text incipit only
124You yt in Cupids netteText incipit only
125Are you growne soe Fond & stupi[d]Text incipit only
126Are you growne soe mellencollyText incipit only
127I am nott Ilfauourd [=ill favored]Text incipit only
128You godd yt walkeText incipit only
-One blank page
129Blind Fortune iff thou wantt a guideText incipit only
130Faire ssate ye muses yt in well chimd uerseJames ShirleyText incipit only
131Amongstt ye 9 Castillian sistersText incipit only
132How ill doth he deserue a Louers nameHenry LawesThomas Carewbass incomplete
133Bid me but live and I will liveHenry LawesRobert Herrick (poet)
134Keepe on yor vayle and hide yor EyeHenry LawesWilliam Strode
135I seeke her that flyes me
1360 nowe the certaine cause I knoweHenry LawesWilliam Cartwrighttreble only
137Ould poets Hypocreene admireHenry LawesThomas Randolph
138Silly hartt ForbeareText incipit only; listed in Cattalogue as Stay silly hearte; entire song at No. 214
139Spend thy time som other wayText incipit only
140I Faine would Loue my Celia too dayse more
141Gather your Rosbuds whilstt you mayWilliam LawesRobert Herrick (poet)
142When I goe to reuill in ye nighttText incipit only
-One blank page
143My greiffes allas [you see are such]Text incipit only
144A Begger gott a beadleMartin ParkerText incipit only
-One blank page
145The bestt off poetts write off FroggsText incipit only
-One blank page
146Listen Lordings to my storyText incipit only
147Late as I walked through CheapsideText only
148Lye still my deare [why dost yu]Text incipit only
149I loue thee once I loue noe moreRobert Aytoun
150Away False Loue [Ile never more]Text incipit only
1510 mostt Crewell Crewell FaireText only
152You sliuer nimphes [and rurall]Text incipit only
153In darckest shades I livd and blackest nightIncomplete
154Viewst thou that poore penurious payre of LouersJohn Wilson
155Boast not blind boy that I'me thy prizeJohn Willson
156Doest see how vnregaurded nowJohn Atkins?John Suckling
157I can loue for an howerJohn Atkins?
158Ladyes I doe heere preesent you
159Looke not on mee wth those eies
160Powerfull Morpheus let thy charmesWilliam Webb
161Oh tell mee Damon canst thou proue
162I can not call my Mistris faire
163Victorious beauty though yor eiesWilliam WebbAurelian Townshend
164It is a punishment to loueAbraham CowleyFrom the drama Love's Riddle
165As life wt is soe sweeteWilliam Webb
166Since 'tis my fate to be thy SlaueWilliam Webb
167Thou that lou'dst once now lou'st noe moreRobert Aytoun
168Weepe noe more ://: my wearied eyesNicholas LanierThomas Campion?From the Masque for the Marriage of the Earl of Somerset and Lady Frances Howard; same melody as the song Bring away this sacred tree
169I loue alas but can not shew itJohn Wilsontreble only
170Since Loue hath brought thee and I haue caught theeJohn Wilsontreble only
171Faith be noe longer coy but letts enioyWilliam Lawes
172Iff when I dye to hells etemall shadeWilliam Fowler
173Once I lou'd ye Fairestt Lass
174If thou wilt loue me I'le loue theeListed in Cattalogue but missing in ms.; song given at no. 216
175When the cleare Sunn with his beames hottJohn Wilson
176In a vale with flowretts spangledJohn Wilson
177To the old longe life and treasureBen JonsonFrom the drama The Gypsies Metamorphized
178Pleasure, bewtie youth atend yeeWilliam LawesJohn FordFrom the drama The Lady's Trial
179Still to bee neate, still to bee dresttWilliam LawesBen JonsonFrom the drama Epicœne, or The silent woman
180Whatt though my mistres frowne on mee
181lIe nott repine though shee bee proudsame tune as No. 180
182Iff ye quick spirett in your eyeHenry LawesThomas Carew
183Dearestt all faire is in your browWilliam Lawes
184Tell mee noe more her eyes are likeWilliam Lawes
185Thou yt excellestt, & sweeter smellesttWilliam Lawes
186Beegon thou fatale fierey feauour
187Fair archibella, to thine eyesJohn Tailor
188Noe noe, I neuer was in loueHenry Lawes
189Noe more thou litle winged archerThomas WortleyText only
190Againe, thou wittie cruell wantonText only
191Noe more Clarinda shall thy Charmes
192Oh stay by mee, doe nott fly mee
193Deare lett mee now, this eu'eninge dyeWilliam DavenantSame tune as No. 42
194Cloris now thou artt fled awayHenry LawesHenry Hughes
195May I find a woman faireFrancis Beaumont and
John Fletcher
Text only
196Upp ladies up, prepare your takinge facesWilliam Lawes
197Haue you obseru'd ye hermitt, when hee runnsJohn Gamble
198By all thy glories willingly I goeHenry (or William) Lawes?Thomas Jordan
199I loue thee for thy ficklenes, and greate inconstancieHenry (or William) Lawes?
200Suppose her faire, supose I know'ittWilliam Lawes
201Whatt spell houlds thee my sunn from risingeJohn GambleEdward Filmer, translatorText only
202How was amintas blestt, whos death butt fainedJohn GambleEdward Filmer, translatorText only
203Siluia, nott longe since halfe afrightedJohn GambleEdward Filmer, translatorText only
204To your sportts & delights yee blith lassesJohn GambleEdward Filmer, translatorText only
205Know my dear Idoll Cloris, yt all zealousJohn GambleEdward Filmer, translatorText only
-No song listed in Cattalogue nor in manuscript
206Noe I will sooner trustt ye windCharles ColemanThomas Stanley
207On this swellinge bankHenry LawesThomas Stanley
208Lett other bewties haue the powerText only
209Lett other buttkes [= buttocks] haue ye powerText only
210Wronge nott deare empriss off my hartRobert Aytoun
211Wea'rtt thou more fairer then thou artThomas Stanley
212Neither sighes nor teares nor moumingeNicholas LanierAttributed to Nicholas Lanier in printed sources
213Silley hartt forbeare those are murdringe eyesNicholas Lanier
214When Loue wth unconfined wingsRichard LovelaceText only
215Iff thou wiltt loue mee ile loue thee againe
216Com dear phillis letts bee goeinge
217God off warr to Cupid yieldJames ShirleyFrom the drama Love Tricks, or The School of Compliment
218You thatt sportt like uenus douesText only
-Next thirty-four items incorrectly altered in Cattalogue to 30020, etc.
219Why should'stt thou sweare I am forswomeThomas CharlesRichard Lovelace
220Com prethee fancie letts consulttText incipit only
221Iff to bee absentt were to bee, away from theeHenry LawesRichard Lovelace
222Why sligh'stt thou her whome I aproueJohn Atkins?Henry King
-Continuation of No. 223
223Unfould thine armes and lett mee goeHenry Lawes
224Though Cupid bee a god alas hees butt a boyHenry Lawes
225Hee yt will courtt a wench yt is coyText incipit and stanzas two and three only
226Prodegale faire beef ore to Late
227Bringe us up sum sacke and clarettJohn Gamble
228I pray you louers giue mee leaue
229Tormentt off absence and delayJohn GambleThomas StanleyTreble only
230With endles teares yt neuer ceaseRobert Johnson
-Two blank pages
231A shepherd satt and did complaine him
232Greatt and proud iff shee deride mee
233Oh mee ye time is com to pass
234Come oh com I brooke noe stayHenry LawesWilliam CartwrightFrom the drama The Ordinary
235Hee yt did euer scome Loues mighttRobertt Smith
236Shee wch would nott, I would chooseRobertt SmithThomas Randolph
237Keepe on your vaile & hide your eyeHenry LawesWilliam StrodeSame as no. 134
238Oh now I find tis noughtt butt fateHenry LawesHenry Hughes
239Poore pensiue I orecharg'ed wth woeHenry Lawes
240Oh giue mee Leaue to gaze a while
241You blushinge roses happie areWilliam WebbWilliam Habington
242Yes I could Loue could I butt findThomas Brewer
243Tell nott I dye, or yt I liue by theeThomas BrewerJohn TathamFrom the drama Ostella
244Shall I thinke beecause som CloudJames Shirley
245Whatt charmes thou hastt faire nimphWilliam Webb
246Looke backe Castara from thine eyeWilliam WebbWilliam Habington
247Marke how ye bashfull morne in uaineNicholas LanierThomas CarewTreble only; attributed to Nicholas Lanier in printed sources
248When bleatinge Lambs shall Chase ye hungrey fox
249Greaue nott deare Loue, although wee often partHenry LawesGeorge Digby, 2nd Earl of Bristol
250Rose buds thats gather'd in ye springeJohn Gamble
251Why should you bee soe full of spigh'ttText incipit only
252Oh my Clarissa thou Crewell faireWilliam Lawes
253Drowsie sun, why dostt thou stayThomas Brewer
254When I by thy faire shape did sweareWilliam LawesRichard Lovelace
255Phillis bring those willowes heitherText only
256As on a day Clorinda faire was bathingeHenry Lawes
257Shall I Like A hermitt dwellRobert Johnson
2580 thatt mine eyes coold meltt into a floudThomas Brewer
259Little Loue serues my turne tis soe infflamingeHenry Lawes
260When ye unfetterd subiectts off ye seasJohn Atkins?
261When ye Chill Charockoe blowesJohn AtkinsThomas Bonham
262Thou dregg's off Lethey oh thou dull
263Lett nott thy bewty make thee proudHenry LawesAurelian Townshend
264How Coole and temprate am I growneHenry Lawes
-Cattalogue at beginning of manuscript ends here
265Bewtie and Loue once Fell att oddsText only
266The springe is Cominge onText only
267Change platonickts Change For shame
268How happy art thee & IHenry Lawes
269Well well tis trew; I am now Falne in LoueAlexander Brome
270See see how careles men are growneHenry Lawes
271Who shall now grace our plainesText only
272My deare and only Loue take heed
273When Loue was younge and men were strangeTreble only
274Ladies adue, noe more my eyes shall wanderJohn Gamble
275Stay, stay, prate noe moreAlexander BromePoem without musical staff
276Iff thou do'st Loue mee as thou saisttHenry LawesTreble only
277How Cloris Can I ere beeliueHenry LawesCharles Cotton
-One blank page
278O'fftt haue I swome I'de neuer LoueHenry LawesHenry Hughesattributed to John Wilson in manuscript
279Did you know whatt greefe I tookeText only
280Shees gone, and yett thes woods apeareJohn Wilsonfor two voices
281Renounce this humour and atendDialogue; treble only
282You thatt are happie in your louesText only
283A Chine off beife god saue us allEdward ColemanThomas FlatmanWith chorus for two voices
284Clorinda when I goe away
285Ladies Fly From loues smooth taleHenry LawesThomas Carew
286Whatt meanes this strangeness now off lateHenry LawesRobert AytounTreble only
287Sett twentie thousand on a rowTreble only
288Ladies I once say'd you were FaireTreble only
289Noe man loues Firey passion
290Cloris False loue made Clora weepJohn WilsonFor two voices
291Nay prethee doe bee coy & slightt meeJohn GambleAlexander Brome
292Mistake mee nott; I am nott off yt mindJohn GambleAlexander Brome
293Ile swer they lye, who say they loueJohn GambleHenry Bold
294Cloris Forbeare a while, doe nott or'e loy meeJohn GambleHenry Bold
295Faith doe butt say ye word & I am gonHenry BoldText only
296How Longe shall I a martyr beeHenry LawesHenry HughesTreble only
297Lett longinge louers sitt and pineHenry LawesHenry HughesTreble only
298Take heed Faire Cloris how you tameHenry LawesHenry HughesTreble only
299[Iff] welth could keepe a man aliueJohn GambleAlexander BromeFor two voices
300Com Chase away mad mallencollyHenry BoldText incipit only
301Faire giue mee leaue to loue, or loue to LeaueJohn GambleHenry BoldText only
302Stay wilde sinner, Cease thy suiteJohn GambleHenry BoldText only
303Ladies you loose Yor time, whilstt you're From londonText only
304I loue, butt dare nott show'tt
305All ye materialls are ye same
306Silence your Charminge uoyce Phillis a whileJohn GambleFor two voices with chorus
307Now whightt halse [= Whitehall's] in a graueJohn CaueRichard Lovelace
308The mominge doth wastt, to the meadowes lets hasttJohn Gamble
309The blessed shades, unhappy madeJohn Gamble
310Off all the rurall liues ther's none surpassesText only
311When Firstt beefore Rosellas Face I layJohn Gamble
312Fair sinthe'a [= Cynthia] twice six times
313Since Itt hath bin lately in acted high TreasonWalter Youckney[67]Alexander BromeTreble only
314Lett whineinge Louers magneffie; To FortuneJohn GambleSong not listed in alphabetical table
315What will beecome off mee, t'me all; Off CeliaJohn GambleSong not listed in alphabetical table
316Were Celia butt as Chastt as Faire; Off his Faire butt Lightt mistrisJohn GambleSong not listed in alphabetical table
317Tis nott my [Ladies?] Face thatt makes mee Loue herJohn GambleAlexander BromeTreble only; song not listed in alphabetical table
-One blank page
318Fond Louers wt d'yee meane, to Courtt an idle FollyWilliam CartwrightText incipit only
319Loue thee good Faith nott IHenry LawesHenry HughesBass incomplete
320Lastt parliamentt satt, & ye speaker did prateHenry BoldChorus incomplete
-One blank page
321Sure twas a dreame, how Longe Fond manText only
-One blank page
322Tis nott how wittie nor how FreeAurelian Townshend
323Spare ye deuoutt adorers off your eyesTreble only
324I haue reason to Fly theePoem without musical staff
325Now the states braynes are adle [= addled?]Henry BoldTreble only; continues after Song No. 3016
326Beatt on proud billowes, boreas blowRoger L'Estrange
-One blank page
327Paintt painte noe more, noe Longer blottWalter YouckneyTreble only

Facsimile

A facsimile of the manuscript was published as Drexel Ms. 4257: John Gamble, "His booke, amen 1659", in English Song, 1600–1675: Facsimiles of Twenty-Six Manuscripts and an Edition of the Texts, vol. 10 (ISBN 978-0-8240-8240-6), by Garland Publishing of New York in 1987, with an introduction by Elise Bickford Jorgens.

See also

Notes

  1. Jeffrey Pulver, A Biographical Dictionary of Old English Music, with a new introduction and a bibliography of the writings of Jeffrey Pulver by Gilbert Blount (New York: Da Capo Press, 1973).
  2. Duckles 1948, p. 24.
  3. Jorgens 1987, p. v.
  4. Resource Description and Access, rule 6.2.2.7, option c (access by subscription).
  5. Duckles 1948, p. 23.
  6. Duckles 1948, p. 23. Quoting Parry, Oxford History of Music, vol. 3.
  7. Duckles 1948, p. 23. Duckles incorrectly states the date as 1639.
  8. Duckles 1953, p. 108.
  9. Duckles 1953, p. 22.
  10. Duckles 1953, p. 27-28.
  11. Hughes 1945, p. 229.
  12. Duckles 1953, p. 44.
  13. Duckles 1953, p. 10.
  14. Hughes 1945, p. 215.
  15. Duckles 1953, p. 12.
  16. Duckles 1953, p. 14. Jorgens's table of contents assigns this song just the number 222.
  17. Highfill, Burnim & Langhans 1978, p. 346, Vol. 16. Duckles was unaware of this violinist/composer and spelled his name Yeorknee.
  18. Duckles 1953, p. 13.
  19. Jorgens 1987, p. vi.
  20. Willa McClung Evans, "Lawes' Version of Shakespeare's Sonnet CXVI" Publications of the Modern Language Association of America, Vol. 51, No. 1 (Mar., 1936), p. 120–122. She cites Edward Heawood's article, "Papers used in England after 1600," The Library, Fourth Series, xi (1929), p. 263.
  21. Duckles 1953, p. 21.
  22. Hughes 1945, p. 222.
  23. Hulse 1996, p. 11.
  24. Duckles 1953, p. 26.
  25. Philip H. Highfill, Jr., Kalman A. Burnim, and Edward A. Langhans, A Biographical Dictionary of Actors, Actresses, Musicians, Dancers, Managers & Other Stage Personnel in London, 1660–1800 vol. 5 (Carbondale: Southern Illinois University Press, 1978), p. 451.
  26. Frederick W. Fairholt, introduction to "The Civic Garland," Early English Poetry, Ballads, and Popular Literature of the Middle Ages (London: Printed for the Percy Society by T. Richards, 1846), p. xi.
  27. Catalogue of the Valuable Library of the Late Edward Francis Rimbault, Comprising an Extensive and Rare Collection of Ancient Music, Printed and in Manuscript ... which will be sold by auction, by Messrs. Sotheby, Wilkinson & Hodge ... on Tuesday, the 31st of July, 1877, and five following days (London: Sotheby, Wilkinson & Hodge, 1877), p. 92.
  28. Duckles 1953, p. 28.
  29. Duckles 1953, p. 29.
  30. Duckles 1953, p. 31.
  31. Duckles 1953, p. 24.
  32. Duckles 1953, p. 25.
  33. Hulse 1996, p. 10-11.
  34. Hulse 1996, p. 24.
  35. Hughes 1945, p. 218.
  36. Hughes 1945, p. 225.
  37. Hughes 1945, p. 226.
  38. Duckles 1953, p. 30.
  39. Hughes 1945, p. 224.
  40. Hughes 1945, p. 223.
  41. Hughes 1945, p. 224-25.
  42. Hughes 1945, p. 217.
  43. Duckles 1953, p. 34. Duckles thought that, in the future, more of the texts in the manuscript might be identified as coming from dramas or masques.
  44. Duckles 1953, p. 37.
  45. Hughes 1945, p. 228.
  46. Duckles 1948, p. 39.
  47. Duckles 1948, p. 30.
  48. Duckles 1948, p. 31-32.
  49. Duckles 1948, p. 26.
  50. Duckles 1948, p. 28.
  51. Hughes 1945, p. 227.
  52. Duckles 1948, p. 37.
  53. Duckles 1948, p. 29.
  54. Duckles 1953, p. 33.
  55. Duckles 1953, p. 35.
  56. Duckles 1948, p. 36.
  57. Duckles does not indicate which works in Drexel 4257 are adaptations of these known songs.
  58. Duckles 1948, p. 38.
  59. Duckles 1953, p. 57ff.
  60. Duckles 1953, p. 79ff.
  61. Duckles 1953, p. 32.
  62. Duckles 1948, p. 33-34. He also bases his categorization on those texts which could be found in Hyder E. Rollins, "An Analytical Index to the Ballad-Entries in the Registers of the Company of Stationers of London," Studies in Philology vol. 21, No. 1 (Jan., 1924), pp. 1–324.
  63. Duckles 1953, p. 78.
  64. Duckles 1953, p. 42.
  65. Duckles 1948, p. 40.
  66. Duckles 1953, p. 137.
  67. Philip H. Highfill, Jr., Kalman A. Burnim, and Edward A. Langhans, A Biographical Dictionary of Actors, Actresses, Musicians, Dancers, Managers & Other Stage Personnel in London, 1660–1800 vol. 16 (Carbondale: Southern Illinois University Press, 1978), p. 346.

Bibliography

  • Duckles, Vincent (1948), "The Gamble Manuscript as a Source of Continuo Song in England", Journal of the American Musicological Society, 1 (2): 23–40, doi:10.1525/jams.1948.1.2.03a00020
  • Duckles, Vincent (1953), John Gamble's Commonplace Book: A Critical Edition of New York Public Library MS Drexel 4257, University of California: Ph.D. dissertation
  • Evans, Willa McClung (1936), "Lawes' Version of Shakespeare's Sonnet CXVI", Publications of the Modern Language Association of America, 51 (1): 120–122, doi:10.2307/458317, JSTOR 458317, S2CID 164166835
  • Highfill, Philip H.; Burnim, Kalman A.; Langhans, Edward A. (1978), A Biographical Dictionary of Actors, Actresses, Musicians, Dancers, Managers & Other Stage Personnel in London, 1660–1800, vol. 16, Carbondale, IL: Southern Illinois University Press
  • Hughes, Charles W. (Oct 1945), "John Gamble's Commonplace Book", Music and Letters, 26 (4): 215–29, doi:10.1093/ml/XXVI.4.215
  • Hulse, Lynn (Feb 1996), "'Musick & Poetry, Mixed': Thomas Jordan's Manuscript Collection", Early Music, 24 (1): 7–24, doi:10.1093/earlyj/XXIV.1.7
  • Jorgens, Elise Bickford (1987), Drexel Ms. 4257: John Gamble, "His booke, amen 1659, English Song, 1600–1675: Facsimiles of Twenty-Six Manuscripts and an Edition of the Texts, vol. 10, New York: Garland Publishing, ISBN 978-0-8240-8240-6
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