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Farewell, dear heart, since I must needs be gone.
His eyes do show his days are almost done.
But I will never die.
Sir Toby, there you lie.
Shall I bid him go?
What an if you do?
Shall I bid him go, and spare not?
O no, no, no, no, you dare not.

Farewell, dear love, since thou wilt needs be gone,
mine eyes do show my life is almost done,
nay I will never die,
So long as I can spie,
there be many mo
though that she do go,
there be many mo I feare not,
why then let her goe I care not.

Farewell, farewell, since this I finde is true,
I will not spend more time in wooing you:
But I will seek elsewhere,
If I may find her there,
Shall I bid her go,
What an if you doe?
Shall I bid her go, and spare not,
O no, no, no, no, I dare not.

Ten thousand times farewell, yet stay a while,
Sweet kisse me once, sweet kisses times beguile: - (see Campian's 'My love bound me with a kiss'
I haue no power to moue, - (Campian - Kisses
How now am I in loue? - (Campian - Kisses make men loth to go)
Wilt thou needs be gone?
Go then, all is one,
Wilt thou needs be gone? oh hie thee,
Nay, stay and doe no more denie mee.

Once more farewell, I see loth to depart, - (Campian - Kisses makes men loth to go)
Bids oft adew to her that holdes my heart:
But seeing I must loose,
Thy loue which I did chuse:
Go thy waies for me,
Since it may not be,
Go thy waies for me, but whither?
Go, oh but where I may come thither.

What shall I doe? my loue is now departed,
Shee is as faire as shee is cruell harted:
Shee would not be intreated,
With praiers oft repeated:
If she come no more,
Shall I die therefore,
If she come no more, what care I?
Faith, let her go, or come, or tarry.

- - - Twelfth Night or What You Will Act II, Scene iii. lines 89 - 108. - by William Shakespeare - - -

MALVOLIO
Sir Toby, I must be round with you. My lady bade me tell you, that, though she harbours you as her kinsman, she's nothing allied to your disorders. If you can separate yourself and your misdemeanors, you are welcome to the house; if not, an it would please you to take leave of her, she is very willing to bid you farewell.

SIR TOBY BELCH
'Farewell, dear heart, since I must needs be gone.'

MARIA
Nay, good Sir Toby.

Clown
'His eyes do show his days are almost done.'

MALVOLIO
Is't even so?

SIR TOBY BELCH
'But I will never die.'

Clown
Sir Toby, there you lie.

MALVOLIO
This is much credit to you.

SIR TOBY BELCH
'Shall I bid him go?'

Clown
'What an if you do?'

SIR TOBY BELCH
'Shall I bid him go, and spare not?'

Clown
'O no, no, no, no, you dare not.'

SIR TOBY BELCH
Out o' tune, sir: ye lie. Art any more than a steward? Dost thou think, because thou art virtuous, there shall be no more cakes and ale?

This song is quoted in William Shakespeare's Twelfth Night and so the words may be by him. I will write more later. There is a long note in Edward Doughtie's 'Lyrics From Elizabethan Airs , 1596-1622'

Shakespeare changes the gender in the line "Shall I bid her go," since Sir Toby is hinting of asking Malvolio to leave. Malvolio says "This is much credit to you." after the Clown says Sir Toby "lies" about never dyeing and Sir Toby says 'Shall I bid him go?'. - P. T. C.

Also see;
'Five variations on "Farewell dear loue"', The Well Enchanting Skill: Essays in Honour of Frederick W. Sternfeld, ed. John Caldwell, Edward Olleson and Susan Wollenberg (Oxford, 1990), 213-29
by DAVID GREER, Department of Music, University of Durham

*?p.231? "... allusion to At her fair hands... --- ... W. Davison - in turn was set by Jones 1605 XIX[?], & M. Peerson ... transmitted to Netherlands by acting companies ... long career in Dutch song books ... " - David Greer

Many recording of this song are on CDs such as;
- The Muses Gardin: Lute Songs by Robert Jones' by Emma Kirkbe and Anthony Rooley (1991), on Virgin Classics. This is the only CD, I know of, that is dedicated entirely to the music of Robert Jones.
- Music of Shakespeare (Elizabethan music around 1600) by Ensemble Alba Musica Kyo - recorded at Protestant Church, Renswoude on June 1997. Channel Classics, CCS 11497.
- Music in Shakespeare's time. Suzanne Block, accomp. herself on the lute. Concert Hall CHS 1225, 1954.
- Top hits, c. 1420-1630 A. D. Project 3 Renaissance Quartet. Total Sound PR7000SD, 1967.

# 'Five variations on "Farewell dear loue"' by David Greer

Typed March 4, 2004 p. 214
...
After an inauspicious start Jones ' s composing career proceeded downhill all the way. Against this indifferent background the story of 'Farewell dear love ' is all the more striking. Together with some of Dowland ' s airs it was one of the most successful of all the English lutenist songs. It was arranged for cittern, lute, mandora and keyboard; both words and music were parodied; new words were composed to the tune; and within a short time of
p. 215
its publication it was taken up in Scotland and the Netherlands. ...
I
In 1603 the Edinburgh publisher Robert Charteris brough out Ane Godlie Dreame, Compylit in Scottish Meter be M. M. Gentelwoman in Culros, at the requeist of her freinds. ' M. M. ' was Elizabeth Melville, Lady Comrie, devout wife of John Colville of Wester Comrie in the parish of Culros, and this slim volume contains two poems - ' Ane Godlie Dreame ' , and A Comfortorabi?l song ' . The first of these was enormously successful ... But it is the second poem that interests us here, for it is directed to be sung ' to the tune of Sall I let her Go ' , i.e. 'Farewell dear love ' , and it is a parody of Jones 's lyric:

Away vaine warld bewitcher of my heart,
My sorrow shawes my sinnes maks me to smart:
[th?]it will I not dispair, bot to my God repair,
He hes mercie ay, thairfor will I pray:
He hes mercie ay, and loves me,
Thouch be his troubling hand he proves me.
(four more verses)6

... p. 218 A source ... is the Taitt Manuscript, compiled c. 1676 by Robert Taitt, master of music at the song school at Lauder. Here the music of ' Farewel ' occurs twice, to the words of ' Away vaine warld ' and to another poem - ' Farewell fond fancies ' - not found elsewhere. This version is in four parts, the lower three untexted (Ex. 15.2).

was typed March 2, 2004
p. 218
Farewell dear love ' is one of the English tunes that found their way to the Netherlands in the early seventeenth century.13 In view of the many English composers employed on the Continent in this period (Dowland, Bull, Philips etc.) it is hardly surprising that English tunes appear in Continental sources. But an equally potent agent in the process of transmission was the constant stream of English acting companies that travelled on the Continent.
Ocasionally we have clear evidence that this was indeed the means by which a tune was transmitted. as is the case with 'What if a day' , which is entitled 'Camedianten dans ' in Valerius ' s Neder - Landtsche Gedenck-Clanck.

...
13 Dutch sources ... Florimond van Duyse (Het oude netherlandsche Lied, The Hague, 1903 - 22, i. 603 - 7) mentions twelve other Dutch songbooks between 1605 and 1664 in which the tune is cited without music, usually under the name ' Wanneer ick slaep ' or ' O slaep, o soeten slaep ' . The first of these is Tweede nieuw amoreus liedbook, Amsterdam, 1605, p. 131, where ' Wanneer ick slaep ' appears as ' Een nieu liedekin ' - just five years after the tunes 's first publication in London.

page 222 ...
IV
We return to Shakespeare. The fact that a man of the stage should use an air for theatrical effect is another indication of its appeal. Nor was Shakespeare the only playwright to do so, for iit is also alluded to in Beaumont ' s Knight of the Burning Pestle (1607 - c. 1610) -

Why an if she be, what care I?
Or let her come or go, or tarry.
(II. 470 - 71)

- though in this play it shares the distinction with some 40 other airs, madrigals, ballads and rounds. 30 In the case of Twelfth Night, however, there is a minor puzzle: how much of it was actually sung? The extract from the play at the head of this article gives the text as it was printed in the First Folio of 1623. If we compare this with the complete text of Jones ' s air we see that Shakespeare has conflated the first and second stanzas. Lines 1, 3, 5 - 6 of the dialogue derive from lines 1 -4 of the first stanza, and lines 8 - 11derive from lines 5 - 8 of the second:

30 Ed. Cyrus Hoy in The Dramatic Works in Beaumont and Fletcher Canon, general ed. Fredson Bowers, i (Cambridge, 1966), 1 - 110; most of the songs are identified in the textual nots, pp. 89-95.

The Taitt Manuscript, compiled c. 1676 Robert Taitt
US-LAuc, MS T 134Z B724 1677-99, two versions: (a) f. 50, 4 parts, only the cantus texted, Farewell fond fancies' (verses 1-3 on f. 58v); (b) f. 75, cantus, ' Away vain world fancies ' (verses 2 - 5 on ff. 86v - 87) A collection of part-songs, catches and instrumental pieces compiled in the last quarter of the seventeenth century by Robert Taitt. see

# 'Five variations on "Farewell dear loue"', The Well Enchanting Skill: Essays in Honour of Frederick W. Sternfeld, ed. John Caldwell, Edward Olleson and Susan Wollenberg (Oxford, 1990), 213-29
by David Greer, Department of Music, University of Durham

*Musica Britannica - Collected English Lutenist Partsongs I - Edited by David Greer
70 partsongs by Michael Cavendish, Robert Jones, Francis Pilkington and John Bartlett are presented in four‚part score with lute tablature and transcription.
First published in 1987.