66 66 66 "these Triumphs upon particular grand occasions, we may "not forget the ordinary exercises at arms, yearly used in memory of the applause of Her Majesty's subjects at the day of her most happy ascension to the Crown of England; which yearly Triumphs solemnized the 17th of "November, were first begun and occasioned by the right "virtuous and honorable Sir Henry Lea, Master of Her "Highness' Armoury (of whom see more under No. "CLXIII.)" Vide Honour Civil and Military by Sir W. Segar, 1602. The application of the word triumph to a poem or book in praise of a real or imaginary personage, instead of to a visible pageant, is thus very naturally to be accounted for*. Of such kind is "Il Trionfo di Dori," a collection of Madrigals by different authors in praise of some Italian dame, published before the year 1597; and from which in all probability, (as Mr. Hawes justly observes,) the idea of a similar collection in this country was taken. That by Oriana is meant Queen Elizabeth there can be no doubt; but the idle tale related by Sir John Hawkins, that the work in question was undertaken with a view to alleviate her grief for the death of the Earl of Essex, and that prizes were given by the Earl of Nottingham for the best composition for that purpose, I take to be mere conjecture of the worthy Knight himself. He gives no authority, nor do I believe that anything is known of the origin of the work beyond what appears in the title-page and dedication above given, which throw no light whatever upon the subject. The poetry (if such it can be called) of these Madrigals is very similar to that of Il Trionfo di Dori, as is also their burden or conclusion; the Italian being "Cantiam Ninfe e Pastori, "Viva la bella Dori." * Petrarch wrote "Il trionfo d'amore, della fama, della castita, e del tempo." And the English version, "Then sang the Nymphs and Shepherds of Diana, As to the appellation Oriana, I see no reason for mysteriously supposing with Sir J. Hawkins, that there must be some secret piece of history in the case. Queen Elizabeth was a woman of inordinate vanity, even at the age of threescore and ten, and delighted in the names of Cynthia, Diana, and such like. Her flatterers therefore could not gratify her more than by styling her Oriana, who was the heroine of the well-known romance Amadis de Gaul; and of course, as all heroines of Romance are, the most beautiful and virtuous woman in the world. How D'Espes, the Spanish Ambassador, could libel her under the double title of Amadis Oriana I know not; but so it was, according to Camden (anno 1569). Libellos famosos spargit, in quibus Regina existimationem contumeliosè atterit sub nomine Amadis Oriana. The title Oriana was also continued to her successor or I should rather say her successor's wife; for the following lines were sung at an entertainment given to James and his consort Anne at Althorp, 1603: "Long live Oriana, "To exceed (as she succeeds) our late Diana.” Nichols's Progresses. Some wag has in this instance favoured us with a derivation of the word-quasi Oriens Anna!! Although the Triumphs of Oriana were not published till the year 1601 (at least that is the date of the earliest edition extant), yet in 1597 the idea had been acted upon by Nicholas Yonge in his second Book of Musica Transalpina; for therein is the well-known madrigal by Giovanni Croce from Il Trionfo di Dori adapted to the English words "Hard by a crystal fountain," and ending with the burden "Long live fair Oriana," to which version Morley has adapted one of his own compositions in The Triumphs of Oriana. That some such conceit about the Lady Oriana was current at least four years before the publication of The Triumphs, is also evident from this circumstance, viz. that she and her friend Bonny-boots are mentioned in two of Morley's Canzonets to Five Voices printed 1597; see Nos. LXXXVII and LXXXVIII. In addition to the twenty-five Madrigals of which the original publication consists, some others, which had not been sent to the editor in time, or were written afterwards in imitation, have been added to the collection. I have recently met with one hitherto unknown to me, composed by Thomas Vautor B.M. 1619; see No. CCCXLIII ; it is a farewell supposed to be written after Oriana's death. The poetry, as stated before, is quite in the Italian vein, but for the most part expressed in such wretched doggrel rhymes, as would disgrace the veriest tyro in Grub-street. The whole of them being already printed in Mr. Richard Clarke's Collection of Glees, &c. I shall content myself with eight by way of specimens. C. Hence! stars, too dim of light; You dazzle but the sight; You teach to grope by night; See here the shepherds star, Excelling you so far. Then Phoebus wiped his eyes, And Zeph'rus clear'd the skies. In sweet accented cries Then sang the nymphs and shepherds of Diana, Long live fair Oriana. Music by Mich. Este. CI. All creatures now are merry-minded, The shepherds' daughters playing, Yon bugle was well-winded. At Oriana's presence each thing smileth, The flowers themselves discover, Birds over her do hover, Music the time beguileth. See where she comes, with flow'ry garlands crowned; Queen of all Queens renowned: Then sang the nymphs and shepherds of Diana, Long live fair Oriana. CII. Music by J. Bennet. Fair Oriana, beauty's Queen, Music by John Hilton, B.M. The title Beauty's Queen but ill accords with the following description of Elizabeth by Paul Hentzner in his Itinerary, A.D. 1598. "Next came the Queen, in the 65th <6 year of her age, as we were told, very majestic, her face oblong, fair, but wrinkled; her eyes small yet black and 66 "pleasant: her nose hooked, her lips narrow, and her teeth "black, a defect the English seem subject to from their "too great use of sugar. She wore false hair, and that "red." CIII. Thus Bonny-boots the birth day celebrated Of her his Lady dearest ; Fair Orian, which to his heart was nearest. The nymphs and shepherds feasted With clouted cream were, and to sing requested. (Quoth he) the world's chief goddess. Sing then, for she is Bonny-boot's sweet mistress. Then sang the nymphs and shepherds of Diana, Long live fair Oriana. Music by John Holmes. If my reasoning with regard to Bonny-boots be correct these lines must have been written before the year 1597, (vide No. LXXXVIII.) in honour of one of the days for which Lud. Lloyd in 1591 published his "Triplicitie of Triumphs, three most happy joyful and triumphant days "in September, November, and January, being the Queen's "birth, accession, and coronation." |