language. A single selection, "Apelles' Song" by Lyly, may serve as typical
of the more fantastic love lyrics:

Cupid and my Campaspe played
At cards for kisses; Cupid paid.
He stakes his quiver, bow and arrows,
His mother's doves and team of sparrows:
Loses them too; then down he throws
The coral of his lip, the rose
Growing on's cheek (but none knows how);
With these the crystal of his brow,
And then the dimple of his chin.
All these did my Campaspe win.
At last he set her both his eyes;
She won, and Cupid blind did rise.
O Love, has she done this to thee?
What shall, alas! become of me?

MUSIC AND POETRY. Another reason for the outburst of lyric poetry in
Elizabethan times was that choral music began to be studied, and there was
great demand for new songs. Then appeared a theory of the close relation
between poetry and music, which was followed by the American poet Lanier
more than two centuries later. [Footnote: Much of Lanier's verse seems more
like a musical improvisation than like an ordinary poem. His theory that
music and poetry are subject to the same laws is developed in his
_Science of English Verse._ It is interesting to note that Lanier's
ancestors were musical directors at the courts of Elizabeth and of James
I.] This interesting theory is foreshadowed in several minor works of the
period; for example, in Barnfield's sonnet "To R. L.," beginning: