And the English version, "Then sang the Nymphs and Shepherds of Diana, As to the appellation Oriana, I see no reason for mysteriously supposing with Sir J. Hawkins, that there must be some secret piece of history in the case. Queen Elizabeth was a woman of inordinate vanity, even at the age of threescore and ten, and delighted in the names of Cynthia, Diana, and such like. Her flatterers therefore could not gratify her more than by styling her Oriana, who was the heroine of the well-known romance Amadis de Gaul; and of course, as all heroines of Romance are, the most beautiful and virtuous woman in the world. How D'Espes, the Spanish Ambassador, could libel her under the double title of Amadis Oriana I know not; but so it was, according to Camden (anno 1569). Libellos famosos spargit, in quibus Regina existimationem contumeliosè atterit sub nomine Amadis Oriana. The title Oriana was also continued to her successor or I should rather say her successor's wife; for the following lines were sung at an entertainment given to James and his consort Anne at Althorp, 1603: "Long live Criana, "To exceed (as she succeeds) our late Diana." Nichols's Progresses. Some wag has in this instance favoured us with a derivation of the word—quasi Oriens Anna!! Although the Triumphs of Oriana were not published till the year 1601 (at least that is the date of the earliest edition extant), yet in 1597 the idea had been acted upon by Nicholas Yonge in his second Book of Musica Transalpina; for therein is the well-known madrigal by Giovanni Croce from Il Trionfo di Dori adapted to the English words "Hard by a crystal fountain," and ending with the burden "Long live fair Oriana," to which version Morley has adapted one of his own compositions in The Triumphs of Oriana. That some such conceit about the Lady Oriana was current at least four years before the publication of The Triumphs, is also evident from this circumstance, viz. that she and her friend Bonny-boots are mentioned in two of Morley's Canzonets to Five Voices printed 1597; see Nos. LXXXVII and LXXXVIII. In addition to the twenty-five Madrigals of which the original publication consists, some others, which had not been sent to the editor in time, or were written afterwards in imitation, have been added to the collection. I have recently met with one hitherto unknown to me, composed by Thomas Vautor B.M. 1619; see No. CCCXLIII ; it is a farewell supposed to be written after Oriana's death. The poetry, as stated before, is quite in the Italian vein, but for the most part expressed in such wretched doggrel rhymes, as would disgrace the veriest tyro in Grub-street. The whole of them being already printed in Mr. Richard Clarke's Collection of Glees, &c. I shall content myself with eight by way of specimens. C. Hence! stars, too dim of light; You dazzle but the sight; You teach to grope by night; See here the shepherds star, Excelling you so far. Then Phœbus wiped his eyes, In sweet accented cries Then sang the nymphs and shepherds of Diana, Long live fair Oriana. Music by Mich. Este. CI. All creatures now are merry-minded, The shepherds' daughters playing, Yon bugle was well-winded. At Oriana's presence each thing smileth, The flowers themselves discover, Birds over her do hover, Music the time beguileth. See where she comes, with flow'ry garlands crowned ; Queen of all Queens renowned: Then sang the nymphs and shepherds of Diana, Long live fair Oriana. CII. Music by J. Bennet. Fair Oriana, beauty's Queen, Music by John Hilton, B.M. The title Beauty's Queen but ill accords with the following description of Elizabeth by Paul Hentzner in his Itinerary, A.D. 1598. "Next came the Queen, in the 65th 66 year of her age, as we were told, very majestic, her face "oblong, fair, but wrinkled; her eyes small yet black and pleasant: her nose hooked, her lips narrow, and her teeth “black, a defect the English seem subject to from their "too great use of sugar. She wore false hair, and that "red." CIII. Thus Bonny-boots the birth day celebrated Of her his Lady dearest ; Fair Orian, which to his heart was nearest. With clouted cream were, and to sing requested. (Quoth he) the world's chief goddess. Sing then, for she is Bonny-boot's sweet mistress. Then sang the nymphs and shepherds of Diana, Long live fair Oriana. Music by John Holmes. If my reasoning with regard to Bonny-boots be correct these lines must have been written before the year 1597, (vide No. LXXXVIII.) in honour of one of the days for which Lud. Lloyd in 1591 published his "Triplicitie of Triumphs, three most happy joyful and triumphant days "in September, November, and January, being the Queen's "birth, accession, and coronation.” 66 CIV. The Lady Oriana Was dight all in the treasures of Guiana*. And on her grace a thousand graces tended. And thus sang they, fair Queen of peace and plenty; Then with an olive wreath, for peace renowned, Which ceremony ended, Unto her grace the thousand graces bended. Then sang the nymphs and shepherds of Diana, Long live fair Oriana. CV. Music by John Wilbye. Hard by a crystal fountain, Orian the bright lay down a sleeping: The birds they finely chirp'd, the winds were stilled; Which heaven for her reserveth : Leave, shepherds, your lambs keeping, And, nymphs, attend on her, and leave your bowers, Music by T. Morley and Giov. Croce. These words were adapted to the music of Giovanni * Vide Note on No. CLXXXII. |