LXXIX. Singing alone, sat my sweet Amarillis, Fa la la. Come, love, again, sang she, to thy beloved; Fa la la. LXXX. What saith my dainty darling, Shall I now your love obtain? Fa la. Long time I sued for grace, And grace you granted me; When time should serve, and place; Can any fitter be? Fa la. "When circumstances of time and place, opportunity and importunity shall concur, what will they not effect?" says Burton. "Fair opportunity can win "The coyest she that is. "So wisely he takes time, as he 'll "Be sure he will not miss." Galatea seems much afraid of being condemned to lead apes in a certain place unmentionable to polite ears, and reminds me of the lass in some old ditty, (I forget where) who exclaims, “Mother, I will have a husband, "And I will have him out of hand: Hand in hand uniting, the lovely god we greet. Lirum lirum. Lo! triumphing brave comes he All in pomp and majesty, Monarch of the world and King. Let whoso list him, Dare to resist him. Lirum lirum. We our voice uniting, of his high acts will sing. Lirum lirum. A translation from the following Ballet of Gastoldi, en titled Gloria d'Amore: We have an example above of the correct accentuation of the word triumphing. The past tense triumphed is also properly marked by Handel in a chorus from his Oratorio of Israel in Egypt: "For he hath triumphed gloriously." See also Paradise Lost, Book 3. "With joy and love triumphing, and fair truth." Fire! fire! my heart: LXXXIII. Oh help, alas! ay me! I sit and cry me; And call for help, alas! but none comes nigh me. O, I burn me, I burn; Fa la la Alas! I burn; ay me! will none come quench me? Fa la la. This is only a sort of imitation of the Italian Ballet from Gastoldi : "A la strada-adio! "Ait'! ait'! oime! ch' io son tradito, "O poverino me, ch' io son ferito." Fa la. The word fire in the original is spelt fy-er, with a separate note to each syllable. So also in No. CLXXXIX. to rhyme with eye her. LXXXIV. Why weeps, alas! my lady love, and mistress? These three lines are worth whole pages of the sentimentalibus lacryma-roarum descriptions, which novel writers give of true lovers' partings, and are far superior to the original : "Non dubitar ch' io t' abandoni mai, "Dolce cor mio; perchè tu sei mia vita, His Canzonets to two voices, published 1595, are thus dedicated: "To the most vertuous and gentile Ladie, the Ladie "Periam. 66 "Loe here most worthy Ladie, these Canzonets of mine, "like two wayting maydes desiring to attend upon you; "destinated by my wife (even before they were born) unto 'your Ladyship's service: not that for any great good or "beauty in them she thought them worthy of you; but "that not being able as heretofore still to serve you, she "would that these therefore with their presence, should "make good and supply that her absence. For her sake, "then vouchsafe, gentle Ladie, to entertain them, having no other thing to commend them to you for, but this, "that they are virgins, never having yet been once out at "doors, nor seen the fashions of the world abroad. And "therefore, notwithstanding perhaps in the highest degree they shall not satisfy you, yet if they shall but in any " |