Orpheus to Beasts. Song. Set by Mr. Curtes

I.
Here, here, oh here! EURIDICE,
    Here was she slaine;
Her soule 'still'd through a veine:
    The gods knew lesse
That time divinitie,
    Then ev'n, ev'n these
    Of brutishnesse.

                    II.
Oh! could you view the melodie
    Of ev'ry grace,
And musick of her face,<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.)