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Ayres and dialogues

For One, Two, and Three Voyces; To be Sung either to the theorbo-lute or basse-viol

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To his Honest Friend and Old Acquaintance Mr. John Gamble; upon his Musical Compositions, on several Poems.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 



To his Honest Friend and Old Acquaintance Mr. John Gamble; upon his Musical Compositions, on several Poems.

Let the dull Drum and shril Fife silent be,
Whilst we attend his Vocal Harmonie;
Where Word and Note in Complication roll,
Like twisted Twylight, or the Sense and Soul:
Here each insinuating Note doth grow
One with the Word as waters mix and flow;
A well form'd freeborn Fancy may from hence
Hear the Word sing, and every Note speak sense:
They both consent as Lovers woo by winks
When thoughts agree, One speaks what th'other thinks;
The sliding Notes so intricately creep,
Some times you'd think, they howl, sing, smile and weep:
The lineaments of Passions are here drawn
As visibly as pictures behind lawn;
In these few Amorets is all compact
The Sense can suffer, or the Soul can act:
The Ayre and language grow as much the same,
As several materials make one flame;
With so much aptitude and prompt connexion,
As red and white comply in a Complexion.
Love-Songs will make you sigh when you come near 'em,
And Tavern Toyes make Creeples dance to hear 'em:
Where like some straight, although indented border,
Each reeling Note doth stagger into order.
He that dislikes this Piece, must (it appears)
Confess he wants both Intelect and Ears;
And may most properly be ranck'd with they
Who verily can neither Sing nor Say.
Thomas Jordan.