I was obliged to change the idea of the sonnet in some small degree, by making Damon the giver. Luca Marenzio is the composer of the music; the original Italian is as follows:

"Donò Cynthia a Damone una rosa
“Cred' io di Paradiso :

“E si vermiglia in viso
"Donandola si fece, e si vezzosa;

“Che parea rosa che donasse rosa.
“Allor diss' il pastore,

"Con un sospir d'amore,
"Perchè degno non sono,

“D'haver la rosa donatrice in dono?"

CCCLXXXVII.

When April, deck'd in roses gay,
Leads on the cheerful spring ;
Merrily on the greenwood spray,
In varied notes the birds do sing.

But sweeter far it is to hear,

When Phoebus high is mounting,
In yonder grove my Clora dear

Her tale of love recounting.

The original Italian with a more literal translation will be found under No. XLVII. My version is adapted to the music of Luca Marenzio.

Imitated from one of the "Canzone alla Napolitana,"

music by B. Donato, 1558.

"Chi la galliarda, Donne, vo imparare;

"Venite a noi, chi siamo maestri fini :

"Chi di sera e mattutini

"Mai manchiamo di sonare."

Tan tan ta ri ra.

CCCLXXXIX.

Hence dull care and sadness!
Welcome joy and gladness!
Sly Love with skilful art,

Had well nigh caught my heart;

Now it in peace reposes,

Spite of his flatt'ring gloses;

Shoot, Love, thine arrows spare not,

For all thy darts I care not.

From the following ballet, Music by Gastoldi, A.D. 1570.

"Viver lieto voglio

"Senza alcun cordoglio.
"Tu puoi restar, Amor,
"Di saettarmi il cor.

"Spendi pungenti strali
“Ove non paian frali:
"Nulla ti stimo poco,
"E di te prendo gioco."

CCCXC.

With sad sorrow wasting,

The live-long day I wander all alone:

At night no slumber tasting,

To Cynthia pale I make my love-sick moan.

Deep sighs my bosom rend,

My tears in show'rs descend:

Yet all my grief is vain,

Nor sighs, nor tears can cure my pain.

Founded upon a Madrigal, (Music by Luca Marenzio,) the first words of which are "Consumando mi vo."

CCCXCI.

Two nymphs well skill'd in Cupid's wiles

By silent art the one beguiles;

The other, when she speaks and sweetly smiles:

Both equal are in beauty,

And worthy of all duty.

Once I sigh'd for sweet Phillis,

Now I burn for Amarillis.

Thus love beguiles my poor deluded heart,
Alas! no charm avails against his art:

For if perchance

I 'scape the glance

Of Phillis' sparkling eye ;

Unhappy wight!

In woful plight

By Amarillis' frown I die.

Paraphrased from a Madrigal, (Music by Luca Marenzio) beginning "Coppia di Donn' altera."

CCCXCII.

O Lady dear, that sparkling eye

With hope and fear my soul entrances:
Darting around such changeful glances;
For when you smile-my hope advances :
But when you frown,-ah me! I die.
Since then I live or die,

Fair lady, by a glance from thee;

O, may that sparkling eye

For ever sweetly smile on me.

Music by Luca Marenzio.

A paraphrase from the following sonnet:

Occhi lucenti e belli,

Com' esser puo ch' in un medesm' istante,
Nascan da voi si nove forme e tante?

Lieti, vaghi, superb', humili, altieri,
Vi mostrat' in un punto, onde di speme
E di timor m' empiete;

E tanti affetti dolc', acerb', e fieri,
Nel cor arso per voi vengono insieme;

Ad ogn' hor che volete.

Hor poi che voi mia vita e morte sete,
Occhi felici, occhi beat' e cari,
Siate sempre seren', allegr', e chiari.

CCCXCIII.

No din of rolling drum, nor trumpet sounding,
In Cupid's warfare rouse the foe to arms :
But kisses sweet, with gentle sighs abounding,
Alternate signal give for love's alar'ms.

No winged darts we use, nor swords nor lances :
No wounds we fear-save when a bright eye glances ;
Then on to glory—and the word shall be,

"Faint heart ne'er yet did win a fair Ladye."

In these lines I have only imitated the commencement of Alessandro Striggio's Madrigal, "Non rumor di tamburi" and therefore do not insert the original. The music was written about the year 1560.

CCCXCIV.

Now tune the viol, and the sprightly lute;
The joyous tabor, and soft breathing flute :
And while the world reposes

In slumber's dreamy trance;

Till day its light discloses,

We'll merrily sing and dance.

Music by Giuseppe Caimo, 1560.

These words were suggested to me by the two first bars of the music, wherein one voice begins alone upon G, and