representative lyrics one is embarrassed by the wealth of material. The rich clusters of golden verse hang so temptingly that it is difficult to cease plucking when once we have begun. In his charming collection of "Rare Poems" Mr. Linton quotes freely from the song-books of Byrd and Dowland, but gives only one lyric of Dr. Thomas Campion. As Mr. Linton is an excellent judge of poetry, I can only suppose that he had no wide acquaintance with Campion's writings, when he put together his dainty Anthology. There is clear evidence[1] that Campion wrote not only the music but the words for his songs--that he was at once an eminent composer and a lyric poet of the first rank. He published a volume of Latin verse, which displays ease and fluency (though the prosody is occasionally erratic); as a masque-writer he was inferior only to Ben Jonson; he was the author of treatises on the arts of music and poetry; and he practised as a physician. It would be interesting to ascertain some facts about the life of this highly-gifted man; but hitherto little information has been collected. The Oxford historian, good old Anthony-a-Wood, went altogether wrong and confused our Thomas Campion with another person of the same name who took his degree in 1624--five years after the poet's death. It is probable that our Thomas Campion was the second son of Thomas Campion of Witham, Essex, and that he was distantly related to Edmund Campion the famous Jesuit. His first work was his "Epigrammatum Libri duo," published in 1595, and republished in 1619. The first edition is exceedingly rare; there is no copy in the British Museum. Francis Meres, in his very valuable (and very tedious) "Wit's Treasury," 1598, mentions Campion among the "English men, being Latin poets," who had "attained good report and honorable advancement in the Latin empire." In 1601 Campion and Philip Rosseter published jointly "A Book of Airs." The music was partly written by Campion and partly by Rosseter; but the whole of the poetry may be safely assigned to Campion. From a dedicatory epistle, by Rosseter, to Sir Thomas Monson, we learn that Campion's songs, "made at his vacant hours and privately imparted to his friends," had been passed from hand to hand and had suffered from the carelessness of successive transcribers. Some impudent persons, we are told, had "unrespectively challenged" (_i.e._ claimed) the credit both of the music and the poetry. The address _To the Reader_, which follows the dedicatory epistle, is unsigned, but appears to have been written by Campion. "What epigrams are in poetry," it begins, "the same are airs in music: then in their chief perfection when they are short and well seasoned. But to clog a light song with a long preludium is to corrupt the nature of it. Many rests in music were invented either for necessity of the fugue, or granted as an harmonical licence in songs of many parts; but in airs I find no use they have, unless it be to make a