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Dryden s two great Odes, or Songs for St. Cecilia's Day, appear in this division among smaller and inferior pieces, inter viburna cupressi. It is the same in Scott's edition. In the Aldine edition, lately reproduced by Messrs. Bell and Daldy, a few songs are added from Dryden's Plays,-a small selection from the Songs of the Plays.
The lascivious nature of many of the Songs of the Plays, and the connexion of many others with the stories, probably reduced the Aldine edition to a selection. It has been thought better to restrict the Songs published in this edition to those not belonging to the Plays: the others may be read by any one who wishes in collected editions of Dryden's Plays. The “Secular Masque" and the Song composed by Dryden for insertion in Beaumont and Fletcher's “ Pilgrim," on the occasion of a performance of the “ Pilgrim” for Dryden's benefit a few weeks before his death, are inserted in this division.
A note by Dryden in his copy of Spenser, which is in the Library of Trinity College, Cambridge, shows that he had had an idea of a Song for St. Cecilia's Day, founded on a stanza of the Fairy Queen, which after all was not used by him. He has written the words, “ Groundwork for a Song on St. Cecilia's Day," before the 13th stanza of the 7th canto of the fragmentary (seventh) Book.
Was never so great joyance since the day
of his celestial song and music's wondrous might. The dutes of composition of several of the Songs cannot be fixed; and in such cases the order of publication has been followed.
SONGS, ODES, AND LYRICAL PIECES.
FAREWELL, fair Armida, my joy and my grief !
BLAME not your Armida, nor call her your grief;
* This song was assigned to Dryden by Malone, on account of a parody of the second stanza in “ The Rehearsal" (act 3, scene 1 put into the mouth of Mr. Bayes; and Scott has inserted it in his edition. The song is printed in a collection called “Covent Garden Drollery," published in 1672, and with it is printed another song in reply, which is as likely to be Dryden's as the above. Both poems are therefore here printed. Malone, and Scott following him, say that the song was composed on the death of Captain Digby, a younger son of the Earl of Bristol, who was killed in the naval engagement with the Dutch, May 28, 1672, and that the lady of whom he was enamoured was the beautiful Duchess of Richmond, Frances Stuart, whom Charles II, had vainly endeavoured to win, and whose marriage with the Duke of Richmond incensed the king. The “ Rehearsal ” was first acted in December 1671; but the parody did not appear in the first copy of the play, and chronology is not violated by the story that the songs were composed after Digby's death in battle. The " Covent Garden Drollery " contains several of Dryden's Prologues and Epilogues, and a song from his play of “Marriage à la Mode," produced in the winter of 1672. His name is never given, and it is likely that other pieces of this collection may be Dryden's. Mr. Bolton Corney called attention in "Notes and Queries” (First Series, ix. 95) to a remarkable Prologue to Shakespeare's “ Julius Cæsar," contending that it must be Dryden's; and a song addressed to “Dear Revecchia," Mrs. Reeve, is probably his. These two songs were also printed in another Miscellany of 1672, “New Court Songs and Poems, by R. V., Gent,'
Now prompted by pity, I truly lament
THE TEARS OF AMYNTA FOR THE DEATH OF DAMON.*
On a bank, beside a willow,
“Hope is banished,
Joys are vanished,
Such a youth, and such a lover;
" Never shall we curse the morning,
Death, come end me,
To befriend me;
Love and Damon are no more.” '. * This song was printed in Dryden's first volume of “Miscellany Poems," published in 1684
By their praying and whining,
And sighing and kissing so close.
By their praying and whining, &c.
By their praying and whining, &c.
A SONG FOR ST. CECILIA'S DAY.+
NOVEMBER 22, 1687.
This universal frame began;
Of jarring atoms lay,
Arise, ye more than dead. * This song was printed with the name of "A New Song" in Dryden's second volume of “Misa cellany Poems," published in 1685.
+ This ode was composed for the festival of St. Cecilia's day, November 22, 1687, very shortly after the publication of "The Hind and the Panther." It was set to music by Draghi, an Italian comDoser. St. Cecilia was, according to the legend, a Roman virgin of rank, who embraced Christianity in the reign of Antoninus, and whose virtue and devoutness obtained for her the honour of visits from an angel. She is said to have invented the organ, and she was canonized as the guardian saint of Music. A musical society was formed in London for the celebration of St. Cecilia's day in the vear 1683. From that time a festival was annually held on the 22nd of November, in Stationers' Hall, and an ode, composed for the occasion, was sung. In 1684, Oldham had composed the ode.
And Music's power obey.
This universal frame began :
From harmony to harmony
When Júbal * struck the chorded shell,
And, wondering, on their faces fell
Within the hollow of that shell,
That spoke so sweetly, and so well.
Excites us to arms
And mortal dlarms.
Cries, hark ! the foes come;
The soft complaining flute
The woes of hopeless lovers,
For the fair, disdainful dame.
But oh! what art can teach,
The sacred organ's praise?
Notes inspiring holy love,
To mend the choirs above.
. * Jubal, “the father of all such as handle the harp and organ." (Genesis iv. 21.)