before, the author having died in 1625, old Antonio, when under the hands of the surgeon, who asks if indulgence in allowing music will please, says,

JOHN DORRIE.

2 Gent. 'Tis too long.

Ant. I'll have JOHN DORRIE!

For to that warlike tune I will be open'd.'

The "Song of JOHN DORRIE" is accordingly supposed to be sung, for which he orders the musicians ten shillings. It is likewise alluded to in the Knight of the Burning Pestle, Act II., and still more circumstantially by the facetious Bp. Corbett, who tells us, that he

Much like JOHN DORY in the SONG,

UPON AN HOLY TIDE.

'He' on AN AMBLING NAG did get, &c."

Carew, in his Survey of Cornwall, London, 1602, 4to. fo. 135, speaking of the town and inhabitants of Fowey, has the following words: "Moreover the prowesse of one Nicholas, sonne to a widdow neere Foy, is deskanted upon in an old three mans song, namely, how he fought bravely at sea, with John Dory (a Genowey, as I conjecture), set forth by John the French king, and (after much bloudshed on both sides) tooke, and slew him, in revenge of the great ravine and crueltie, which he had fore committed, upon the Englishmens goods and bodies. " It is scarcely worth mentioning that the only king of France of the name of John (excepting, indeed, a posthumous son of Lewis Hutin, who lived only eight days) was taken prisoner at the battle of Poictiers, and died in the Savoy, anno 1364. In the epilogue to a dramatic performance, intitled, "The empress of Morocco, a farce," 1674, 4to. "the most renowned and melodious song of JOHN DORY" is "heard as it were in the air sung in parts by spirits to raise the expectation, and charm the audience with thoughts sublime, and worthy of the heroick scene which follows," being apparently designed as a burlesque of the .witch-scene in sir W. Davenants alteration of Macbeth.

As it fell on a holy-day,

And upon a holy-tide-a,

John Dory bought him an ambling nag,

To Paris for to ride-a:

And, when John Dory to Paris was come,
A little before the gate-a,

John Dory was fitted, the porter was witted,
To let him in thereat-a.

The first man, that John Dory did meet,

Was good king John of France-a; John Dory could well of his courtesie,

But fell downe in a trance-a:

"A pardon, a pardon, my liege and my king,
For my merie men and for me-a ;
And all the churles in merie England,
Ile bring them all bound to thee-a. '

And Nicholl was then a Cornish man,

A little beside Bohide-a;

And he mande forth a good blacke barke,

With fiftie good oares on a side-a.

"Run up my boy unto the maine top,
And looke what thou canst spie-a."
'Who ho! who ho! a goodly ship I do see,
I trow it be John Dory-a."

They hoist their sailes, both top and top,

The meisseine and all was tride-a;

And every man stood to his lot,

Whatever should betide-a.

10

20

The roring cannons then were plide,
And dub-a-dub went the drumme-a;
The braying trumpets lowd they cride,
To courage both all and some-a.

The grapling-hooks were brought at length,
The browne bill and the sword-a;
John Dory at length, for all his strength,
Was clapt fast under board-a.

30

XII.

THE SPRING-TIME.

BY WILLIAM SHAKSPEARE.

-is sung by two pages in the comedy of "As you like it;" of which play there is no earlier edition than the folio in 1623; whence it is here given: but the stanzas being evidently misplaced (that which is now the last stanza being there the second), they are here transposed according to the regulation of the ingenious dr. Thirlby.

“As you like it” appears to have been entered at Stationers-hall, Aug. 4, 1600.

It was a lover and his lass,

With a hey and a ho and a hey nonino,

That o'er the green corn-field did pass,

In the spring-time,

The onely pretty' ring '-time,

When birds do sing

Hey ding a ding ding;

Sweet lovers love the spring.

Between the acres of the rye,

With a hey and a ho and a hey nonino, These pretty country-folks would lye

In the spring time,

&c.

The carol they began that hour,

With a hey and a ho and a hey nonino, How, that life was but a flower,

In the spring-time,

&c.

And, therefore, take the present time,
With a hey and a ho and a hey nonino,
For love is crowned with the prime,

In the spring-time.

&c.

XIII.

THE POWER OF MUSIC.

BY THE SAME.

From the "History of King Henry VIII.," in which it appears to have been originally sung to the lute by one of Queen Catharines female attendants. This play, though not printed before 1623, contains intrinsic evidence of having been finished before the death of queen Elizabeth.

These stanzas were set to music, for three voices, by Matthew Locke, See Playfords Catch that catch can, or Musical Companion, 1667.

ORPHEUS, with his lute, made trees
And the mountaine-tops, that freeze,

Bow themselves, when he did sing;
To his musicke, plants, and flowers,
Ever sprung; as sunne and showers
There had made a lasting spring.

Every thing, that heard him play,
Even the billowes of the sea,

Hung their heads, and then lay by
In sweet musicke is such art;
Killing care and griefe of heart
Fall asleepe, or, hearing, dye.

XIV.

HARK! HARK! THE LARK.

BY THE SAME.

-is sung by Clotens musicians under Imogens window, in "Cymbeline," act ii. scene 3. We are entirely ignorant of the nature of the original music, but every one is acquainted with the beautiful glee composed by dr. Cooke.

HARK! hark! the lark at heavens gate' sing,'

And Phoebus gins arise,

His steeds to water at that spring'

On chalic'd flowers that lies: