EText-No. 10108 Title: A Treatise of Daunses, Wherin It is Shewed, That They Are as It Were Accessories and Dependants (Or Thynges Annexed) to Whoredome – Where Also by the Way is Touched and Proued, That Playes Are Ioyned and Knit Togeather in a Rancke or Rowe with Them (1581) Author: Anonymous Language:English Link:cache/generated/10108/pg10108.epub
EText-No. 10108 Title: A Treatise of Daunses, Wherin It is Shewed, That They Are as It Were Accessories and Dependants (Or Thynges Annexed) to Whoredome – Where Also by the Way is Touched and Proued, That Playes Are Ioyned and Knit Togeather in a Rancke or Rowe with Them (1581) Author: Anonymous Language:English Link:cache/generated/10108/pg10108.html.utf8
EText-No. 10108 Title: A Treatise of Daunses, Wherin It is Shewed, That They Are as It Were Accessories and Dependants (Or Thynges Annexed) to Whoredome – Where Also by the Way is Touched and Proued, That Playes Are Ioyned and Knit Togeather in a Rancke or Rowe with Them (1581) Author: Anonymous Language:English Link:cache/generated/10108/pg10108.mobi
EText-No. 10108 Title: A Treatise of Daunses, Wherin It is Shewed, That They Are as It Were Accessories and Dependants (Or Thynges Annexed) to Whoredome – Where Also by the Way is Touched and Proued, That Playes Are Ioyned and Knit Togeather in a Rancke or Rowe with Them (1581) Author: Anonymous Language:English Link:1/0/1/0/10108/10108.zip
I sing of a maiden that matchless is, but what maiden? A rosy-cheeked milkmaid treading the dawn dew as she goes out to milk her cows? A fine lady sighing at the window of castle tower? Or Our Lady, Queen of Heaven, Mother of God and Star ofthe Sea? It has been said that in mediaeval poetry you often cannot tell whether the poet is talking about his mistress or the Virgin Mary, and indeed that is neatly borne out in the lyrics of tracks 3 and 4 here, which use exactly the same imagery of a knight swearing fealty to his liege-lord – ?I am thy man, hand and foot, day and night? – to express devotion to Mary, and to a lover, respectively.
Erotic love and spiritual love sat easily together in the mediaeval mind in a way that they have not done since. Conventional history would explain that the language of mediaeval courtly love suited devotional poetry because courtly love was love from afar, never to be attained or consummated, having its origins in the feelings of young squires for the castle chatelaine whose lord was away fighting the crusades, perhaps. Later, a wedge was driven between romance and religion, firstly by the Protestant reformation ofthe 16th century, which sharply demoted the female principle in Christianity, banishing the mystical, magical, sensual, ritual, decorative and emotional aspects of faith; and secondly by scientific rationalism.
Today of course, Darwinism and neurochemistry tell us, rather unsentimentally, that romantic love is associated with the hormones oxytocin and vasopressin, and is part of a strategy evolved to ensure strong pair-bonding between the parents ofthe vulnerable human infant, while religious experience may be related to the hormone dimethyltriptamine, and the stimulation ofthe right temporal lobe ofthe brain.Yet for all that, could it be that the mediaevals, rather than being merely foolish and unreflective, were simply rather more honest than we are, in acknowledging the overlap between different types of love and beauty, sacred and secular, which in our modern prudery we feel embarrassed about? Many a new mother must have been surprised to discover that the strongest and purest love of all, of a mother for her child, can feel like a romantic, even erotic attachment.
This album then, celebrates a melting away of customary boundaries, a glorious mediaeval mixture and muddle, if muddle it be, between the sacred and the profane, the worldly and the spiritual, as expressed in 700 years ofEnglish music. Here are religious songs which were really popular ballads, probably never sung in any church [tracks 1, 3, 20] or which present spirituality in terms either of romantic love [tracks 9, 11] or of loving human relationships [tracks 3, 5, 10]. Alongside these we have put songs which, conversely, present romantic love in spiritual terms, in the language of faithful vow and pilgrimage [tracks 4, 13, 14, 16, 17] or which stand in the courtly love tradition of devotion to an unattainably high object [tracks 4, 8, 19]. As so often in English music, the imagery of nature is a thread running through all, even in religious music, where we would not particularly expect it [tracks 1, 2, 3, 6, 7, 8, 13, 15, 18, 19]. So we have included three songs which simply celebrate nature and theEnglish village scene; a mediaeval song in praise of ivy , a song describing a morris dancing contest , and a classic English folksong of young love in a rural setting . As befits our theme, we have not kept to a strict historical order, and the mediaeval lyrics are (in the case ofthe Holst settings) rendered into modern English or (in the case ofthe original mediaeval settings) tweaked here and there so that the listener should catch as much as possible without too much recourse to the lyric sheet. [hifilofi] Play all tracks as an m3u audio stream (or xspf, ogg, mp3 file)
[hifilofi] 01-Man may longe lives ween (anon 13th century) (3:00)
[hifilofi] 02-I sing of a maiden that matchless is (Gustav Holst) (1:19)
[hifilofi] 03-Edi be thu (anon 13th century) (3:34)
[hifilofi] 04-Now would I fain summer this make (anon 15th century) (2:21)
[hifilofi] 05-My soul has nought but fire and ice (Gustav Holst) (0:51)
[hifilofi] 06-Ivy is good (anon 15th century) (2:40)
[hifilofi] 07-Down by the salley gardens (trad) (1:39)
[hifilofi] 08-Fowles in the frith bird on a briar (anon 13th century) (2:44)
[hifilofi] 09-Jesu sweet now will I sing (Gustav Holst) (2:20)
[hifilofi] 10-Stand well mother under rood (anon 13th to 14th century) (6:07)
[hifilofi] 11-My leman is so true (Gustav Holst) (2:12)
[hifilofi] 12-Ah Robin (William Cornish c1520) (1:46)
[hifilofi] 13-How should I your true love know Walsingham (anon 16th century) (4:06)
[hifilofi] 14-Wounded I am Yet of us twain (William Byrd 1589) (3:25)
[hifilofi] 15-As I walked through the meadow (trad) (2:31)
[hifilofi] 16-Madame damours (anon c1520) (3:16)
[hifilofi] 17-Cavalilly man (anon 17th century) (5:03)
[hifilofi] 18-Lo country sports (Thomas Weelkes 1597) (1:23)
[hifilofi] 19-Silent worship (GF Handel A Somervell) (1:56)
[hifilofi] 20-Dives and Lazarus (trad) (4:46)
[hifilofi] 21-Deprecamur te domine (anon Anglo Saxon) (2:21)
I sing of a maiden that matchless is by English Ayres
¡Rey don Sancho, rey don Sancho, ya que te apuntan las barbas,
quien te las vido nacer no te las verá logradas!
Don Fernando apenas muerto, Sancho a Zamora cercaba,
de un cabo la cerca el rey, del otro el Cid la apremiaba.
Del cabo que el rey la cerca Zamora no se da nada;
del cabo que el Cid la aqueja Zamora ya se tomaba;
corren las aguas del Duero tintas en sangre cristiana.
Habló el viejo Arias Gonzalo, el ayo de doña Urraca:
—Vámonos, hija, a los moros dejad a Zamora salva,
pues vuestro hermano y el Cid tan mal os desheredaban.
Doña Urraca en tanta cuita se asomaba a la muralla,
y desde una torre mocha el campo del Cid miraba.
Mañanita de San Juan, mañanita de primor,
cuando damas y galanes van a oír misa mayor.
Allá va la mi señora, entre todas la mejor;
viste saya sobre saya, mantellín de tornasol,
camisa con oro y perlas bordada en el cabezón.
En la su boca muy linda lleva un poco de dulzor;
en la su cara tan blanca, un poquito de arrebol,
y en los sus ojuelos garzos lleva un poco de alcohol;
así entraba por la iglesia relumbrando como el sol.
Las damas mueren de envidia, y los galanes de amor.
El que cantaba en el coro, en el credo se perdió;
el abad que dice misa, ha trocado la lición;
monacillos que le ayudan, no aciertan responder, non,
por decir amén, amén, decían amor, amor.
¡Quién hubiera tal ventura sobre las aguas del mar
como hubo el infante Arnaldos la mañana de San Juan!
Andando a buscar la caza para su falcón cebar,
vio venir una galera que a tierra quiere llegar;
las velas trae de sedas, la ejarcia de oro torzal,
áncoras tiene de plata, tablas de fino coral.
Marinero que la guía, diciendo viene un cantar,
que la mar ponía en calma, los vientos hace amainar;
los peces que andan al hondo, arriba los hace andar;
las aves que van volando, al mástil vienen posar.
Allí habló el infante Arnaldos, bien oiréis lo que dirá:
—Por tu vida, el marinero, dígasme ora ese cantar.
Respondióle el marinero, tal respuesta le fue a dar:
—Yo no canto mi canción sino a quién conmigo va.