The Wine-Cooper's Delight.

Then they were dead-drunk as the Devil could make 'em,
And fell fast asleep, as ten Drums could not wake 'em.

In the P... and the S.. w the poor Cooper did paddle,
To stop up his Tap, but the Knave was not able.
For his Limbs like a Tortoise did shrivle and crease,
Down drops the Wine-Cooper with the other Beasts.
And there the whole Litter as yet doth abide,
At the Sign of the Butt, with the Tap in one side.

London: Printed for the Protestant Ballad-Singers.

57

90

96

[Printed in Black-letter. Date: early in 1681. With one woodcut (as now given, p. 53), of revellers smoking and drinking. Among them Shaftesbury, the "Cooper," holds a prominent place, at head of the table. Probably the other figures were intended to caricature Sir Thomas Armstrong, Lord Gray, with divers conspirators and acquaintances. One coarse figure, symbolically disgracing the Tap of a barrel, to the extreme right of the woodcut, perhaps represented the poet! The copy in Wood's Collection 276a, fol. 533, bears the imprint "London: printed for H. L., 1681.”]

THE music to the following ballad, beginning "Diana's a nymph

so chaste and so fair," was composed by William Turner. It is preserved in John Playford's Choice Ayres, Book ii. p. 48, published in 1679. From the Roxburghe-Collection broadside the printer's colophon has been cut away, by that unrelenting Philistine, Major Pearson's binder. This is not the only mutilation inflicted by him, as can be seen proved by the square-bracketed words, where the ends of many lines are now defective through his trimming. Fulbert himself was not a worse abbreviator than your bookbinder. Fortunately, one more copy of the ballad is extant, in the Pepysian Collection, III. 230. It is probably the same edition, and was "Printed for J. Conyers, at the Black Raven, the first shop in Fetter-lane, next Holborn." It is a lively ditty, a little warm in colour and free in sentiment, but worth preservation.

[Roxburghe Collection, II. 107; Pepys Coll. III. 230.]

Diana's Darling;'

Or,

The Modish Courtier.

The fair Diana, whom the amorous Swains
Had strobe to vanquish with a deal of pains,
At last, by Hylas modish courtship prest,
Grants him that favour she deng'd the rest:
By whose Examples future Lovers may

Eearn by what means their Mistress to enjoy.

TO AN EXCELLENT NEW TUNE, MUCH IN REQUEST, CALLED, Diana's a Nymph.

With Allowance.

Dlana's a Nymph so chast and so fair,

That Venus her self may not with her compare;
Tho' Venus her self she hath had the great praise,

But the scene it is altered and chang'd now a days. [mispr. same.

Then ever hereafter all honor and fame

Shall be render'd, be render'd to Diana's great Name.

6

1 Playford's ditty is limited to our two early verses, and reads "but the scene (which we adopt, the broadside having misprinted" but the same)," in fourth line: "In goodness excelling the rest of her Sex,

"And they, knowing that, their minds do perplex."

Line 62 is misprinted, unintelligibly, "heart in her bosom:" We read half.

Diana's Darling.

Diana's a Nymph so happy and free,

59

[ =In goodness.

There's none so delightful and pleasant as she;
In beauty excelling the rest of her Sex,
Which she knows in her mind they do daily perplex.
Then ever hereafter all honour and fame

Shall be render'd, be render'd to Diana's great Name.

Diana has breasts, Diana has eyes,

Would summon the surlist of stoicks to rise;
Once seeing her face, hee'd be cinnick no more,

But leave his close Cell and straight fall to adore.

Then ever hereafter all honour and fame

Shall be render'd, be render'd to Diana's great Name.

Diana's soft touch, with her delicate hand,

12

[= Cynic.

18

Would make the morosest of Hermits to stand,

Amazed to feel what an amorous rage

Her grasp would infuse into wrinkled old age.

Then ever hereafter all honour and fame

Shall be render'd, shall be render'd to Diana's great Name.

30

[The original has three cuts: for one to the left, see our p. 31 R.]

Both Silvia and Juno and Celia appena draws near;

Her beams like the Sun's in the firmament shine,
They scarce look like Mortals, whilst she seems divine.
Then ever hereafter all honour and fame

Shall be render'd, be render'd to Diana's great Name.

42

The Beauty stood mute, whilst I lean'd on her breast,
Where thrusting my hand somewhat lower I prest;
"Ah, Diana!" said 1, "might I cho[o]se the great bliss,

To be found in the World, I should think it were this."

Then ever hereafter all honour and fame

Shall be render'd, be render'd to Diana's Great Name.

60

She blusht all the while my strag[ling hand

Was plung'd half in her bosom, [and try'd to withstand
That I the sweet pleasure should [ever enjoy,
Because we beheld a young shepherd Boy.

Then ever hereafter all honour and [fame

Shall be render'd, be render'd to D[iana's Great Name.

66

Where th' amorous Trees did so kiss and clip too,

That nought but Diana's bright beams could slip through.
Then ever hereafter all honour and [fame

Shall be render'd, be render'd to Diana's great Name.

72

That yo[u] do not a harmless young V[irgin betray."
Then ever hereafter all honour and fame

Shall be render'd, be rendered to Dia[na's Great Name.

78

With that in the dark more pleasing [retreats,

We fell to such soft & amazing [Love-feats,

That the Gods, tho' much better [they know what to do,
In vain did oft wish so to be happy too.

Then ever hereafter all honour a[nd fame

Shall be render'd, be render'd to D[iana's Great Name.

84

[No printer's name remains on Roxburghe copy; but Pepysian has the colophon" Printed for J. Conyers, at the Black Raven, the first shop in Fetterlane next Holborn." Black-letter. Date, before 1679. First cuts transposed.]

Tyrannic Love.

"O Love, you've been a villain,
Since the days of Troy and Helen,
When you caus'd the fall of Paris,
And of very many more."

Chorus, in J. R. Planche's Golden Fleece.

To the same tune as the preceding verses, of "Diana's a Nymph,"

was sung another Roxburghe ballad, entitled "Tyrannick Love." We here advance it from its far-distant place, to bring it into connexion with "Diana's Darling." It probably has no relationship to the other "Young Phaon" ballads, mentioned elsewhere.'

It would be incorrect to describe "Tyrannic Love as having been lengthened into a broadside ballad (according to the frequent practice), from a playhouse song. One ditty begins similarly:

THE SECOND SONG IN "THE CITIZENn Turn'd Gentleman,” 1672.

The author of this playhouse song may have been Edward Ravenscroft, in whose "Citizen turn'd Gentleman," Act i., it was sung, August, 1672. The play ran for thirty consecutive nights

1 These are, 1.—The Constant Lover's Mortal Mistake, beginning "Young Phaon sate upon the brink" (Roxb. Coll., II. 65. 69; reprinted by Mr. Chappell in Rozb. Bds., iii. 557). 2.-The song of Circe's Women, by Dr. Charles D'Avenant, 1677. in his "Circe," Act iv. sc. 2. To this the music was composed by Bannister, and given in John Playford's Choice Ayres, 1679, Book ii. p. 10. It is also in Pills to Purge Melancholy, iv. 287, 1719, beginning, "Young Phaon strove the bliss to taste, But Sappho still deny'd," etc. Two verses. It is improbable that any broadside expansion of this song bore reference to Morena by name, instead of to Sappho. If there were another "Phaon and Morena," it is likely to have been to Turner's tune, of " Diana's a Nymph," not to Bannister's 'Young Phaon."

2 Another reading is "I could not extinguish the flame."