But now my shame hath made me be And but a mark of misery. But now in sorrow must I sit, And pensive thoughts possess my breast; My silly soul with cares is split, And grief denies me wonted rest. Come then, black night, and screen me round, That I may never more be found, Unless in tears of sorrow drown'd! ["From The British Miscellany, where it is stated to be copied from an ancient MS." Geo. Ellis. I find it in a little collection called Westminster Drollery, published in 1671, p. 68.] DULCINA. As at noon Dulcina rested In her sweet and shady bower, Came a shepherd, and requested But from her look A wound he took So deep, that for a farther boon, The nymph he prays; Whereto she says, "Forego me now, come to me soon." But in vain she did conjure him To depart her presence so, Having a thousand tongues t' allure him, When lips invite, And eyes delight, And cheeks as fresh as rose in June, Persuade delay, What boots to say, Forego me now come to me soon." He demands, what time for pleasure Improves delight; Which she denies; " nights murky noon In Venus' plays Makes bold," she says, "Forego me now come to me soon" But what promise, or profession, From his hands could purchase scope? Who would sell the sweet possession Or for the sight Of lingering night, Forego the present joys of noon? Tho' ne'er so fair Her speeches were, "Forego me now, come to me soon?" How at last agreed these lovers ? She was fair, and he was young : The tongue may tell what th' eye discovers, Joys unseen are never sung. Did she consent Or he relent? Accepts he night, or grants she noon? Left he her a maid, Or not! she said, "Forego me now, come to me soon." [This whimsical but beautiful song, is given somewhat out of its place-belonging as it does to an earlier period. Cayley has printed it as the composition of Raleigh, but Sir Walter's right to it is very questionable. Walton mentions it in the Angler, and Percy allowed it a niche in the Reliques of English Poetry. The Bishop remarks that "it is more ancient than the ballad of Robin Goodfellow."] LOVE IN FANTASTIC TRIUMPH SAT. APHRA BEHN. Born about 1630-Died 1689. Love in fantastic triumph sat, Whilst bleeding hearts around him flow'd, From me he took his sighs and tears, Thus thou, and I, the God have arm'd, [Mrs. Aphra Behn was a dramatic writer of Charles the Second's day, but her plays are full of the licentiousness of the age, which happily soon after the pen of Jeremy Collier somewhat abated. Even Dryden, who was he observes himself " too much of a libertine in his poems," complains in a letter to Mrs. Thomas (the Corinna of Curll), that Mrs. Behn's plays were full of loose writing, and brought scandal on the modesty of her sex. This is one of her best songs; according to Mr. Dyce, "had it proceeded from the pen of Moore, it would have been admired in the present day." It appears in "Abdelazar, or the Moor's Revenge."] MIRTILLO. CHARLES COTTON. Born 1630-Died 1687. Ask not, why sorrow shades my brow; Since he, that lov'd it, died to day. Can ye have ears, and yet not know He's gone, he's gone! and I will go; But I'll go to him, though he lie Wrapt in the cold, cold arms of death : And under yon sad cypress tree, I'll mourn, I'll mourn away my breath. TO A FAIR YOUNG LADY, GOING OUT OF TOWN IN THE SPRING. JOHN DRYDEN. Born 1631-Died 1701. Ask not the cause, why sullen Spring Chloris is gone, the cruel fair; To sigh, to languish, and to die: Great god of love, why hast thou made And change the laws of every land? |