Story Behind the Song
Maurice Saylor's Pills to Purge Melancholy were written in 1988 using anonymous English texts from the late Seventeenth century. The Five songs are woven together by an elaborate fabric of motifs that allows a running musical commentary that links ideas from one song to another. For example, the leisurely accompaniment at the opening of the first song, which represents the
walking motion of the two characters, is used at a much faster tempo in the last song to represent the endless pursuit of one person after another. The chords of Oh! My Panting, Panting Heart are reused in all five songs at moments of unconsummated passion. The songs were written for
and dedicated to American soprano Jeanice Brooks.
Lyrics
I. The Modest Maids Delight
When the Kine had givn a Pail full,
And the Sheep came bleating home;
Doll who knew it would be healthful,
Went a walking with young Tom:
Hand in hand Sir,
Ore the land Sir,
As they walked to and fro;
Tom made jolly Love to Dolly,
But was answerd, No, no, no, no, no, &c.
Faith, says Tom, the time is fitting ,
We shall never get the like;
You can never get from knitting,
Whilst Im digging in the Dike:
Now were gone too,
And alone too,
No one by to see or know;
Come, come, Dolly, prithee shall I?
Still she answerd, No, no, no, no, &c.
Fie upon you Men, quoth Dolly,
In what snares youd make us fall;
Youll get nothing but the folly,
But I shall get the Devil and all:
Tom with sobs,
And some dry Bobs,
Cryd youre a fool to argue so;
Come, come, Dolly, shall I? shall I?
Still she answerd No, no, no, no, &c.
To the Tavern then he took her,
Wine to loves a friend confest
By the hand he often shook her,
And drank brimmers of the best,
Doll grew warm,
And thought no harm;
Till after a brisk pint or two,
To what he said the silly Maid,
Could hardly bring out, No, no, no, no, &c.
She swore he was the prettiest Fellow
In the country or the town,
And began to grow so mellow,
On the Couch he laid her down;
Tom came too her,
For to woo her
Thinking this the time to try:
Something past so kind at last,
Her no was changd to I, I, I, I, I, I, &c.
Closely then they joynd their Faces,
Lovers you know what I mean;
Nor could she hinder his Embraces,
Love was now too far got in;
Both now lying,
Panting, dying,
Calms succeed the stormy Joy,
Tom woud fain renewt a again,
And she consents with I, I, I, I, I, I, &c.
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