IX

This poem, subscribed M. T. [perhaps invertedly for T. Marshall *] is preserved in “The Paradise of daintie Devises," quoted above in page 123. The two first stanzas may be found accompanied with musical notes in An Howres Recreation in Musicke," &c. by Richard Alison, Lond. 1606, 4to: usually bound up with three or four sets of “ Madrigals set to Music by Thomas Weelkes, Lond. 1597, 1600, 1608, 4to." One of these madrigals is so complete an example of the Bathos that I cannot forbear presenting it to the reader. Thule, the period of cosmographie,

Doth vaunt of Hecla, whose sulphureous fire Doth melt the frozen clime, and thaw the skie, Trinacrian Ætna's flames ascend not hier These things seeme wondrous, yet more wondrous I, Whose heart with feare doth freeze, with love doth try.

The Andelusian merchant, that returnes

Laden with cutchinele and china dishes, Reports in Spaine, how strangely Fogo burnes Amidst an ocean full of flying fishes:

These things seeme wondrous, yet more wondrous I, Whose heart with feare doth freeze, with love doth fry. Mr. Weelkes seems to have been of opinion with many of his brethren of later times, that nonsense was best adapted to display the powers of musical composure.

66

X.

This popular old ballad was written in the reign of Elizabeth, as appears not only from ver. 23, where the arms of England are called the " Queenes armes;" but from its tune's being quoted in other old pieces, written in her time. See the ballad on Mary Ambree," in this work. The late Mr. Guthrie assured the editor, that he had formerly seen another old song on the same subject, composed in a different measure from this; which was truly beautiful, if we may judge from the only stanza he remembered. In this it was said of the old beggar, that" down his neck

given from any of these, being very different from those of the vulgar ballad. Nor yet does the Editor offer them as genuine, but as a modern attempt to remove the absurdities and inconsistencies, which so remarkably prevailed in this part of the song, as it stood before: whereas, by the alteration of a few lines, the story is rendered much more affecting, and is reconciled to probability and true history. For this informs us, that at the decisive battle of Evesham, (fought August 4, 1265,) when Simon de Montfort, the great Earl of Leicester, was slain at the head of the barons, his eldest son, Henry, fell by his side, and, in consequence of that defeat, his whole family sunk for ever, the king bestowing their great honours and possessions on his second son, Edmund, Earl of Lancaster.

PART THE FIRST.

Irr was a blind beggar, had long lost his sight,
He had a faire daughter of bewty most bright:
And many a gallant brave suiter had shee,
For none was soe comelye as pretty Bessee.

K

And though shee was of favor most faire,
Yett seeing shee was but a poor beggars heyre
Of ancyent housekeepers despised was shee,
Whose sonnes came as suitors to prettye Bessee.

Wherefore in great sorrow faire Bessy did say,
Good father, and mother, let me goe away
To seeke out my fortune, whatever itt bee.
This suite then they granted to prettye Bessee.

Then Bessy, that was of bewtye soe bright,
All cladd in gray russett, and late in the night
From father and mother alone parted shee;
Who sighed and sobbed for prettye Bessee.

He is the good father of pretty Bessee.

His markes and his tokens are knowen very well;
He alwayes is led with a dogg and a bell :
A seely olde man, God knoweth, is hee,
Yett hee is the father of pretty Bessee.

65

70

75

40

A merchant of London, whose wealth was not small,45
He was the third suiter, and proper withall:
Her masters own sonne the fourth man must bee,
Who swore he would dye for pretty Bessee.

Soe that the place, wherein they did sitt,

With gold it was covered every whitt.

The gentlemen then having dropt all their store,
Sayd, Now, beggar, hold, for wee have noe more. 120

Thou hast fulfilled thy promise arright.
Then marry, quoth he, my girle to this knight;
And heere, added hee, I will now throwe you downe
A hundred pounds more to buy her a gowne.

The gentlemen all, that this treasure had seene, 125
Admired the beggar of Bednall-greene:
And all those, that were her suitors before,
Their fleshe for very anger they tore.

All kind of dainties, and delicates sweete
Were bought for the banquet, as it was most meete; 10
Partridge, and plover, and venison most free,
Against the brave wedding of pretty Bessee.

This marriage through England was spread by report,
So that a great number thereto did resort
Of nobles and gentles in every degree;
And all for the fame of prettye Bessee.

To church then went this gallant younge knight;
His bride followed after, an angell most bright,
With troopes of ladyes, the like nere was seene
As went with sweete Bessy of Bednall-greene.
This marryage being solempnized then,

With musicke performed by the skilfullest men,
The nobles and gentles sate downe at that tyde,
Each one admiring the beautifull bryde.

15

20

30

Then spake the nobles, " Much marveil have wee,
This jolly blind beggar wee cannot here see."
My lords, quoth the bride, my father's so base,
He is loth with his presence these states to disgrace.

"The prayse of a woman in questyon to bringe
Before her own face, were a flattering thinge;
But wee thinke thy father's baseness, quoth they, 35
Might by thy bewtye be cleane put awaye."

See an Essay on the word Fit at the end of the Second Part.

50

"A poore beggars daughter did dwell on a greene,
Who for her faireness might well be a queene :
A blithe bonny lasse, and a daintye was shee,
And many one called her pretty Bessee.

"Her father hee had noe goods, nor noe land,
But beggd for a penny all day with his hand;
And yett to her marriage he gave thousands three*,55
And still he hath somewhat for pretty Bessee.

"And if any one here her birth doe disdaine,
Her father is ready, with might and with maine,
To proove shee is come of noble degree:
Therfore never flout att prettye Bessee."

With that the lords and the companye round
With harty laughter were readye to swound;
Att last said the lords, Full well wee may see,
The bride and the beggar's behoulden to thee.
On this the bride all blushing did rise,
The pearlie dropps standing within her faire eyes,
O pardon my father, grave nobles, quoth shee,
That throughe blind affection thus doteth on mee.

If this be thy father, the nobles did say,
Well may he be proud of this happy day;
Yett by his countenance well may wee see,
His birth and his fortune did never agree;

60

65

70

And therefore, blind man, we pray thee bewray,
(And looke that the truth thou to us doe say)
Thy birth and thy parentage, what itt may bee; 75
For the love that thou bearest to pretty Bessee.

"Then give me leave, nobles and gentles, each one,
One song more to sing, and then I have done;
And if that itt may not winn good report,
Then doe not give me a groat for my sport.

[Sir Simon de Montfort my subject shal bee; Once chiefe of all the great barons was hee, Yet fortune so cruelle this lorde did abase, Now loste and forgotten are hee and his race.

80

"When the barons in armes did King Henrye oppose,
Sir Simon de Montfort their leader they chose; 86
A leader of courage undaunted was hee,
And oft-times he made their enemyes flee.

"At length in the battle on Eveshame plaine
The barons were routed, and Montfort was slaine;
Moste fatall that battel did prove unto thee, 91
Thoughe thou wast not borne then, my prettye Bessee!
So the folio MS.

Now when the faire companye everye one,
Had heard the strange tale in the song he had
showne,

They all were amazed, as well they might bee,
Both at the blinde beggar, and pretty Bessee.

With that the faire bride they all did embrace, 125
Saying, Sure thou art come of an honourable race,
Thy father likewise is of noble degree,
And thou art well worthy a lady to bee.

Thus was the feast ended with joye and delighte,
A bridegroome most happy then was the younge
knighte,

In joy and felicitie long lived hee,

All with his faire ladye, the pretty Bessee.

131

+++ The word fit for part, often occurs in our ancient ballads and metrical romances; which being divided into several parts for the convenience of singing them at public entertainments, were in the intervals of the feast sung by fits, or intermissions. So Puttenham in his Art of English Poesie, 1589, says, "the Epithalamie was divided by breaches into three partes to serve for three several fits, or times to be sung." p. 41.

From the same writer we learn some curious particulars relative to the state of ballad-singing in that age, that will throw light on the present subject: speaking of the quick returns of one manner of tune in the short measures used by common rhymers; these, he says, "glut the eare, unless it be in small

and popular musickes, sung by these Cantabanqui upon benches and barrels heads, where they have none other audience then boys or countrey fellowes, that passe by them in the streete; or else by blind harpers, or such like taverne Minstrels, that gave a fit of mirth for a groat,.. their matter being for the most part stories of old time, as the tale of Sir Topas, the reportes of Bevis of Southampton, Guy of Warwicke, Adam Bell and Clymme of the Clough, and such other old romances or historical rimes, made purposely for recreation of the common people at Christmasse dinners and brideales, and in tavernes and alehouses, and such other places of base resorte." p. 69.

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This species of entertainment which seems to have been handed down from the ancient bards, was in the time of Puttenham falling into neglect; but that it was not, even then, wholly excluded more genteel assemblies, he gives us room to infer from another passage, We ourselves," says this courtly* writer, have written for pleasure a little brief romance, or historical ditty in the English tong of the Isle of Great Britaine in short and long meetres, and by breaches or divisions [i. e. fits] to be more commodiously sung to the harpe in places of assembly, where the company shal be desirous to heare of old adventures, and valiaunces of noble knights in times past, as are those of King Arthur and his knights of the Round Table, Sir Bevys of Southampton, Guy of Warwicke, and others like." p. 33.

In more ancient times no grand scene of festivity was complete without one of these reciters to entertain the company with feats of arms, and tales of knighthood, or, as one of these old minstrels says, in the beginning of an ancient romance on Guy and Colbronde, in the Editor's folio MS.

"When meate and drinke is great plentyè,
And lords and ladyes still wil bee,

And sitt and solace + lythe;
Then itt is time for mee to speake
Of keene knightes, and kempès great,
Such carping for to kythe."

If we consider that a groat in the age of Elizabeth was more than equivalent to a shilling now, we shall find that the old harpers were even then, when their art was on the decline, upon a far more reputable footing than the ballad-singers of our time. The reciting of one such ballad as this of the Beggar of Bednall-green, in two parts, was rewarded with balf a crown of our money. And that they made a very respectable appearance, we may learn from the dress of the old beggar, in the preceding ballad, p. 131, where he comes into company in the habit and character of one of these minstrels, being not known to be the bride's father, till after her speech, ver. 63. The exordium of his song, and his claiming a groat for his reward, ver. 80, are peculiarly characteristic of that profession. Most of the old ballads begin in a pompous manner, in order to captivate the attention of the audience, and induce them to purchase a recital of the song: and they seldom conclude the first part without large promises of still greater entertainment in the second. This was a necessary piece of art to incline the hearers to be at the expense of a second groat's-worth.-Many of the old

He was one of Queen Elizabeth's gent. pensioners, at a time when the whole band consisted of men of distinguished birth and fortune. Vid. Ath. Ox. ↑ Perhaps "blythe."

romances extend to eight or nine fits, which would afford a considerable profit to the reciter.

To return to the word fit; it seems at one time to have peculiarly signified the pause, or breathingtime, between the several parts (answering to Pussus in the visions of Pierce Plowman): thus in the ancient ballad of "Chevy-Chace," (p. 3,) the first Part ends with this line,

The first fit here I fynde :"

i. e. here I come to the first pause or intermission. (See also p. 5.) By degrees it came to signify the whole part or division preceding the pause. (See the concluding verses of the first and second parts of "Adam Bell, Clym of the Clough, and William of Cloudesly," in this work.) This sense it had obtained so early as the time of Chaucer : who thus concludes the first part of his rhyme of Sir Thopas (writ in ridicule of the old ballad romances):

"Lo! lordis mine, here is a fitt;

If ye woll any more of it,

To tell it woll I fonde."

The word fit indeed appears originally to have signified a poetic strain, verse, or poem: for in these senses it is used by the Anglo-Saxon writers. Thus King Alfred in his Boetius, having given a version of lib. 3, metr. 5, adds, Dare pisdom tha thar firre arungen hærde p. 65, i. e. "When wisdom had sung these [fitts] verses." And in the Proem to

the same book Fon on fitte, " Put into [fitt] verse." So in Cedmon, p. 45. Feond on fitte, seems to mean " composed a song," or "poem."-The reader will trace this old Saxon phrase, in the application of the word fond, in the foregoing passage of Chaucer. See Gloss.

Spenser has used the word fit to denote "a strain of music" see his poem entitled, 66 Collin Clout's come home again," where he says,

The Shepherd of the ocean [Sir Walt. Raleigh] Provoked me to play some pleasant fit.

And when he heard the music which I made He found himselfe full greatlye pleas'd at it, &c.

It is also used in the old ballad of King Estmere, p. 16, v. 243.

From being applied to music, this word was easily transferred to dancing; thus in the old play of "Lusty Juventus" (described in p. 117), Juventus says,

By the masse I would fayne go daunce a fitte. And from being used as a part or division in a ballad, poem, &c. it is applied by Bale to a section or chapter in a book, (though I believe in a sense of ridicule or sarcasm) for thus he entitles two chapters of his "English Dotaryes," part 2, viz-fol. 49, "The first fytt of Anselme with Kynge Wyllyam Rufns."- -fol. 50," An other fytt of Anselme with Kynge Wyllyam Rufas."

Edward Vere, Earl of Oxford, was in high fame for his poetical talents in the reign of Elizabeth: perhaps it is no injury to his reputation that few of his compositions are preserved for the inspection of impartial posterity. To gratify curiosity, we have inserted a sonnet of his, which is quoted with great encomiums for its "excellencie and wit," in Puttenham's "Arte of Eng. Poesie," and found entire in the "Garland of Good-will." A few more of his sonnets (distinguished by the initial letters E. O.) may be seen in the " Paradise of Daintie Devises." One of these is entitled, "The Complaint of a Lover, wearing blacke and tawnie." The only lines in it worth notice are these,

A crowne of baies shall that man 'beare'
Who triumphs over me;

For black and tawnie will I weare,

Which mourning colours be.

We find in Hall's Chronicle, that when Queen Catharine of Arragon died, Jan 8, 1536; "Queen Anne [Bullen] ware yellowe for the mourning." And when this unfortunate princess lost her head, May 19, the same year, "on the ascencion day following, the kyng for mourning ware whyte." Fol. 227, 228.

• Lond. 1589, p. 172.

Edward, who was the seventeenth Earl of Oxford, of the family of Vere, succeeded his father in his title and honours in 1562, and died an aged man in 1604. See Mr. Walpole's Noble Authors. Athen. Oxon. &c.

COME hither shepherd's swayne:

"Sir, what do you require?"

I praye thee, shewe to me thy name.
My name is "Fond Desire."

When wert thou borne, Desire?

"In pompe and pryme of may." By whom, sweet boy, wert thou begot? "By fond Conceit men say."

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