This work is full of interest, and has been a book of reference and of valuable information to musicians for the past three centuries. Written in the form of a dialogue between Master and Pupil, it contains many quaint discourses, and it is in the early chapters of this work that the story is told of the unfortunate gentleman who could not read music at sight when asked to do so by his hostess, with the humiliating result that the company wondered "where he had been brought up." Morley's book was translated into German by I. C. Frost, Organist of St Martin's, Halberstadt. {23} It is interesting to observe that more than one of his works was translated into German (e.g., the _Canzonets or Little Short Songs to Three Voyces_, published here first in 1593, was translated into German and issued at Cassel in 1612 and at Rostock in 1624; and the _Ballets for Five Voyces_ of 1595 was issued at Nuremberg in 1609). This is a striking testimony to his merits, but the most celebrated of his publications was the great edition of Madrigals called _The Triumphs of Oriana_. This is said to have been compiled as a tribute to Queen Elizabeth, whose title of "Gloriana" is well known. In this portly volume he includes no fewer than twenty-six Madrigals, contributed by many of the most famous living English composers. The work helped to make the practice of Madrigal-singing very popular in England, and to this day its influence is great and few programmes of Madrigal-music are ever issued without some specimen taken from this splendid collection. And it is to Morley we owe a delightful contemporary setting of words by Shakespeare--the beautiful Lyric "It was a lover and his lass" from _As You Like It_. This is one of the very few things which we possess--with the words by Shakespeare and the music by a contemporary {24} musician. Unfortunately, the charming song has been often sadly mutilated by editors, sometimes by the introduction of unwarranted "accidentals" and also by actual curtailment. I have, however, had the opportunity of referring to one of the few copies in existence of the original publication (formerly in the Halliwell-Phillip's collection), and have so been enabled to issue it in its correct form. Various attempts have been made to arrange it as a duet, on the ground that it was sung in the play by "two pages." The dialogue which precedes the song is very amusing and rather suggests that Shakespeare had some little experience of the peculiar weaknesses of singers, both amateur and professional. The following is the little episode in question: _Enter Two Pages._ 1st Page: Well met, honest gentleman. Touchstone: By my troth, well met. Come sit, sit and a song. 2nd Page: We are for you: sit i' the middle. 1st Page: Shall we clap into't roundly, without hawking or spitting or saying we are hoarse; which are the only prologues to a bad voice?