in his pryntyshod" in 1565–66, T. Colwell licensed a moralization in 1566–67, and W. Griffith licensed "a ballett intituled the paynter moralyzed" in 1568 (Trans., I, 297, 331, 380). It may also be observed that in John Pikering's Horestes, 1567 (Brandl's Quellen, pp. 517–18), one of the stage directions is, "Enter the Vyce, synginge this song to ye tune of 'the Paynter.'" The Vice sings four stanzas in exactly the same measure as our ballad. That No. 12 was in the 1566 edition is highly probable.
13. "A new Sonet of Pyramus and Thisbie. To the, Downe right Squier." (Signed) Finis. I. Tomson.
For the tune, see No. 2, above; for the author, No. 11, above. "A boke intituled Perymus and Thesbye" was licensed by Griffith in July, 1563 (Trans., I, 215), and a ballad would inevitably have followed the book, or pamphlet.
14. "A Sonet of a Louer. . . . To Calen o Custure me: sung at euerie lines end."
The ballad of "Callin o custure me" was "tolerated" to John Alde on March 10, 1581–2 (Trans., II, 407); our "Sonet," then, as Arber (p. x) points out, cannot have been in the 1566 edition.[1]
15. "A proper Sonet, Intituled, Maid, wil you marrie. To the Blacke Almaine."
As Arber (p. vi) noticed, Griffith licensed a ballad, "Mayde Will you mary moralyzed," in 1570 (Trans., I, 437). Shortly afterward Stephen Peele's "Balade expressyng the fames," to be sung to "The Black Almaine,"[2] was licensed (ibid., 439). Perhaps these entries indicate that our "Sonet" was not written before 1566, although moralizations often appeared when re-issues of ballads were made, many years after their original publication. Collier printed No. 15 (or rather three stanzas of it, all
- ↑ For the tune, see the notes to Malone's Shakspeare, XVII, 424–6; and Anders, Shakespeare's Books, 169–170, 268.
- ↑ The tune is evidently old. In John Phillip's comedy of Patient Grissell, 1566, sign. E ii, the Marquis sings a ballad "to the tune of the latter Almain." An idea of the large number of "Almains" known to ballad-writers may be gained from Anthony Munday's Banquet of Dainty Conceits, 1588, where there are ballads to the tunes of the "Masker's Allemaigne, commonly called the Olde Allemaigne," the "Venetian Allemaigne," "Allemaigne Measure," "Scottish Allemaigne," and "Mounsieures Allemaigne." See also No. 31 below.
