ce,<21.3>
You'd drop a teare,
Seeing more harmonie
In her bright eye,
Then now you heare.

<21.1> By Orpheus we may perhaps understand Lovelace himself,
and by Euridice, the lady whom he celebrates under the name
of Lucasta. Grainger mentions (BIOG. HIST. ii. 74) a portrait
of Lovelace by Gaywood, in which he is represented as Orpheus.
I have not seen it. The old poets were rather fond of likening
themselves to this legendary personage, or of designating
themselves his poetical children:--

"We that are ORPHEUS' sons, and can inherit
By that great title"--
Davenant's WORKS, 1673, p. 215.

Many other examples might be given. Massinger, in his CITY MADAM,
1658, makes Sir John Frugal introduce a representation of the story
of the Thracian bard at an entertainment given to Luke Frugal.

<21.2> A lutenist. Wood says that after the Restoration he became
gentleman or singing-man of Christ Church, Oxford. He was one of
those musicians who, after the abolition of organs, &c. during the
civil war, met at a private house at Oxford for the purpose of
taking his part in musical entertainments.

<21.3> "Such was Zuleika; such around her shone
The nameless charms unmark'd by her alone;
The light of love, the purity of grace,
The mind, the music breathing from her face."
Byron's BRIDE OF ABYDOS, canto 1.
(WORKS, ed. 1825, ii. 299.)

DIALOGUE.
LUCASTA, ALEXIS.<22.1>
SET BY MR. JOHN GAMBLE.<22.2>

I.
Lucasta.
TELL me, ALEXIS, what this parting is,
That so like dying is, but is not it?

Alexis.
It is a swounding for a while from blisse,
'Till kind HOW DOE YOU call's us from the fit.

Chorus.
If then the spirits only stray, let mine
Fly to thy bosome, and my soule to thine:
Thus in our native seate we gladly give
Our right for one, where we can better live.

II.
Lu. But ah, this ling'ring, murdring farewel!
Death quickly wounds, and wounding cures the ill.
Alex. It is the glory of a valiant lover,
Still to be dying, still for to recover.

Cho. Soldiers suspected of their courage goe,
That ensignes and the