CCCXXIX.

As Flora slept, and I lay waking,
I smil❜d to see a bird's mistaking;
For from a bough it down did skip,
And for a cherry peck'd her lip.

CCCXXX.

If it be love to sit and mourn,
To grieve, and sigh, as all forlorn ;
I love but if in 't joy there be,
I do not-for there's none in me.

Hilton's second work is "Catch that catch can," or a "choice Collection of catches, rounds, and canons, for three "or four voices, collected and published by John Hilton, "Batchelor in Music. London, printed for John Benson, "and John Playford, and to be sold in St. Dunstan's Churchyard, and in the Inner Temple, near the Church 66 door, 1652."

It may not be out of place here to observe, that in old musical works the terms catch, round, and canon, are used very vaguely. We moderns consider the first to be a composition wherein is some joke or play upon the words, the which is not discovered until all the voices come into action, such as Dr. Calcott's well-known catch, "Ah! how Sophia;"* but only two of that kind are in Hilton's Collection, and none at all in the earlier ones. In fact, there was then no specified distinction between a catch and a

round; nay more, in Pammelia, even canons in the unison come under those titles. A catch therefore was then considered a generic name for little songs to several voices, in which the parts were caught, or taken up in succession; and which being always written out in a single line, had certain marks prefixed for the guidance of the performers. The greater part of those which in Pammelia are designated Canons in the Unison, we should now call mere Rounds; for in them each voice succeeds the foregoing at an equal interval of time; which interval is an aliquot part of the whole composition, corresponding to the number of voices for which it is written. For example, Let's have a peal for John Cooke's soul, which is styled a canon for nine voices, is nothing but a round containing nine bars, in which each individual takes up the point one bar after his neighbour*.

A composition wherein each voice sings the same strain, but follows the leader at intervals which are not aliquot parts of the whole, is a very different affair, and is what we now call a canon in the unison; such as "Hey ho! to the green"wood now let us go," &c.

In this collection, according to all accounts, first appeared the well known canon, Non nobis, Domine, in the fourth and eighth below (vide remarks upon W. Byrd). It is also worthy of notice, that Hilton thus concludes his dedication addressed to Mr. R. Coleman: "So being en"riched by your courteous patronizing of these, you and I "will sing Non nobis, Domine." Here follows a canon in the fourth and eighth above, which, with regard to intervals, is the counterpart of the other, but in moto contrario, and in a different key. From the way in which it is introduced I think it probable that Hilton was its composer.

* In modern times many rounds are also erroneously dignified with the name of canons. See the works of Padre Martini, the Perfida Clori of Cherubini, and the O nume benefico of Rossini.

The following lines are prefixed by way of address to the reader:

"Catches are catches, be they better or worse;

"And these may prove hopeful, if not spoil'd at nurse: "It's therefore desired if any do halt,

"That the judicious may set right the fault;

“In time, by this means, they may walk without crutches, "And merrily please for your charge, which not much is."

CCCXXXI.

Here lies a woman, who can deny it?

She died in peace, tho' she liv'd unquiet.

Her husband prays, if o'er her grave you walk,

You would tread soft-for if she wake, she 'll talk.
Music by J. Hilton.

CCCXXXII.

A boat, a boat, haste to the ferry;

For we'll go over to be merry,

To laugh, and sing, and drink old sherry.

66

The music of this was composed by Mr. John Jenkins, of whom Anthony Wood speaks as being a little man "with a great soul." It is often sung even now, but few are aware of its claims to antiquity.

СССХХХІІІ.

Come hither, Tom, and make up three,
And sing this merry catch with me;

Tho' the tune be old,

I dare be bold,

"T is good, if we all agree.

So-now comes in my noble Jack,
Keep time, my boy, upon his back;
If he miss, I do swear

I'll pull him by th' ear,

Until I do hear it crack.

Now listen to the bass,

For he will us disgrace;

I fear the lout

Will first be out,

He makes such an ugly face.

Music by W. Cranford, one of the Singing-men of St. Paul's Cathedral.

CCCXXXIV.

How merrily looks the man that hath gold,
He seemeth but twenty, tho' threescore years old.
How nimble the bee that flieth about,

And gathereth honey within and without:

But men without money,

And bees without honey,

Are nothing better than drones.

Music by E. Nelham.

CCCXXXV.

Ne'er let a man take heavily

The clamour of his wife;

But be rul'd by me,

And lead a merry life.

Give her her will in every thing;

If she scolds, then laugh and sing;
Hey derry, derry ding.

Music by William Lawes, Chamber Musician to Charles the First. He was killed in his master's cause at the siege of Chester, 1645.

CCCXXXVI.

She that will eat her breakfast in bed,

And spend the morning in dressing her head;
And sit at dinner like a maiden bride,
And nothing do all day but talk of pride;
Jove, of his mercy, may do much to save her,
But what a case is he in that shall have her!
Music by John Hilton.

Let him drink his small beer and be sober;

Whilst we drink sack and sing,

As if it were spring,

He shall droop like the trees in October.