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was the lyrist next year, "The glorious Day is come, that will for ever be Renown'd as Musick's greatest Jubilee." This also was set by Dr. John Blow (Pills, i. 70). Tate having done one Ode, his colleague Nicholas Brady must needs do another, that for 1692, "Wondrous machine, to thee the warbling Lute." With the music by Henry Purcell, it is in his Orpheus Britannicus, ii. 115, 1702. Addison's "Cecilia whose exalted hymns," for Oxford festival, is probably of same date, 1692 (Addison's Misc. Works, 1753, i. 32). Theophilus Parsons wrote the Ode for 1693, Cecilia, look," &c., printed in the Gentleman's Journal, November, 1693, p. 377. Set by Godfrey Finger. Yalden's Ode, for Oxford, same year, is in Dryden's Misc. Poems, iv. 35, "Begin and strike th' harmonious Lyre:" music by Daniel Purcell. Particulars are lost of 1694 and 1695; while of 1696 the composer, Nicola Matteis, is more fortunate than the poet, whose name is unknown. “Alexander's Feast," ""Twas at the royal feast for Persia won," came next year. Daniel Purcell composed music for the following year, when perhaps Thomas Bishop's "Cecilia, charming saint," formed the words (Nichols' Select Collection of Poems, iv. 28). 1699 had the Ode "Blest Cecilia, charming maid" (Dryden's Miscellany Poems, vi. 130). Addison's Ode, "Prepare the hallow'd strain, my Muse," was given at Oxford, same date (Gilfillan's Addison, 1859, p. 25). Daniel Purcell was the composer. Tom D'Urfey and Dr. Blow were again chosen for 1700; Congreve's words and John Eccles' music for 1701. Alex. Pope's "Descend ye Nine!" was performed in 1708. Still later Odes were of less importance.

1 We do not think that any of the Odes allude to the memorable answer which, on the best French authority, is reported to have been spoken by the floating cherubim. They had been attracted by the saintly Cecilia's music, and descended flutteringly around her. She felt compassion for their exertions, after so long a journey, and, with the best Parisian accent, desired them to be seated: Asseyez vous, mes enfans! While blushes overspread the whole of his person that was not devoted to feathers, the Cherubic spokesman indicated the difficulty when he replied, Mais, nous n'en avons pas de quoi.

[Bagford Collection, III. 75.]

Song for St. Cecilia's Day, 1687.

WRITTEN

Rom Harmony, from heav'nly Harmony

FR

This Universal Frame began.

When Nature underneath a heap

Of jarring Atomes lay,

And cou'd not heave her Head;

The tuneful Voice was heard from high,

Arise, ye more than dead.

Then cold, and hot, and moist, and dry,

In order to their stations leap,

And MUSICK's pow'r obey.

From Harmony, from heav'nly Harmony

This universal Frame began:

From Harmony to Harmony

Through all the compass of the Notes it ran,
The Diapason closing full in Man.

8

12

II.

What Passion cannot MUSICK raise and quell!
When Jubal struck the c[h]orded Shell,
His list'ning Brethren stood around,

And, wond'ring, on their Faces fell

16

To worship that Celestial Sound.

20

Less than a God, they thought, there cou'd not dwell

Within the hollow of that Shell,

VII.

Orpheus cou'd lead the savage race

And Trees unrooted left their place,

Sequacious of the Lyre:

But bright CECILIA rais'd the wonder high'r:
When to her ORGAN, Vocal Breath was giv'n,
An Angel heard, and straight appear'd,
Mistaking Earth for Heaven.

Grand CHORUS.

As from the pow'r of sacred Lays
The Spheres began to more,
And sung the great Creator's praise
To all the bless'd above;

So when the last and dreadful hour
This crumbling Pageant shall devour,
The TRUMPET shall be heard on high,
The Dead shall Live, the Living die,
And MUSICK shall untune the Sky.

48

[v. 7. uprooted]

Printed for T. Dring, in Fleet-street. 1687.

[White-letter: dble. cols. No woodcuts: on p. 811 we borrow from R. C., i. 464.]

GROUP OF OXFORD POEMS.

War.-"O cheerful colours! see where Oxford comes!"-3 Henry VI., v. 1.

WE

E need not reprint the whole of the several broadside rhymedverses, all in white-letter, which form a group at this part of the Bagford Collection. They follow "An Elegy on Mr. Pa[r]tridge, the Almanack-maker," 1708, and Dryden's "Ode for St. Cecilia's Day, 1687." The first of the group is "Upon the most hopefull and ever Flourishing Sprouts of Valour, the indefatigable Centryes or Armed Gyants cut in Yew at the Physick Garden in Oxford. Printed in the year 1664. Reprinted with some alterations in 1682. By the Ingenious Author J. D." No printer's name: 118 lines. This, on fol. 76, begins, Although no brandisht Cherubins are here, Yet Sons of Adam venture not too near." The author was John Drope, M.A., Fellow of Magd. Coll. (An early copy is in Wood's Coll., 416. fol. 109.) The next one is A Hue and Cry after Good Friday, Lost in the Oxford Almanack," beginning, "How now, Oxonians, what is't you mean?" No date or printer's name. (See note on p. 816.)

66

Fol. 78 we gave entire. Two columns of verse: the one beginning "Stout Hanibal" is in large type; the other, "As Popish Farriers," is crowded into small type to balance. No printer's name, or woodcuts. (Next intervenes a poem on Northampton in Flames, 20th Sept. 1675; beginning "Confused Cryes fill all the Peoples Ears.") Then follows "London's Complaint against Oxford: Wherein the City of London elegantly commends Oxford's felicity, in the happy enjoyment of His Sacred Majesty; and bemoans her self for the absence of His Royal Person, from the said City of London; humbly praying for His Majesty, and wishing all health and happiness." It begins, "High thundering Jove cannot withstand thy charms," etc. London, Printed in the year 1666. No p. n. or woodcuts.

The next poem, on fol. 81, consists of three columns of verse, 238 lines, "To my Lord Arch-Bishop of Canterbury, upon his Famous Erection, the Theater in Oxford." It begins, "My Lord. Our English stories blush not to present A generous Wast, a Brave Demolishment." The Archbishop in question was G. Sheldon, from whom the building is still called the Sheldonian Theatre. No woodcuts: "London, Printed for C. S. Anno Domini, MDCLXXV." To this follows "The University Ballad "; and, lastly, the verses on the Dissolution of the Parliament at Oxford, 1681. Both of these ballads we give entire.