is _New Way of making
Foure Parts in Counter-point_, a technical treatise which was for many
years the standard text-book on the subject. It was included, with
annotations by Christopher Sympson, in Playfair's _Brief Introduction to
the Skill of Musick_, and two editions appear to have been bought up by
1660. In 1618 appeared _The Ayres that were sung and played at Brougham
Castle_ on the occasion of the king's entertainment there, the music by
Mason and Earsden, while the words were almost certainly by Campion; and
in 1619 he published his _Epigrammatum Libri II. Umbra Elegiarum liber
unus_, a reprint of his 1595 collection with considerable omissions,
additions (in the form of another book of epigrams) and corrections.

While Campion had attained a considerable reputation in his own day, in
the years that followed his death his works sank into complete oblivion.
No doubt this was due to the nature of the media in which he mainly
worked, the masque and the song-book. The masque was an amusement at
any time too costly to be popular, and with the Rebellion it was
practically extinguished. The vogue of the song-books was even more
ephemeral, and, as in the case of the masque, the Puritan ascendancy,
with its distaste for all secular music, effectively put an end to the
madrigal. Its loss involved that of many hundreds of dainty lyrics,
including those of Campion, and it is due to the enthusiastic efforts of
Mr A.H. Bullen, who first published a collection of the poet's works in
1889, that his genius has been recognized and his place among the
foremost rank of Elizabethan lyric poets restored to him.

Campion set little store by his English lyrics; they were to him "the
superfluous blossoms of his deeper studies," but we may thank the fates
that his precepts of rhymeless versification so little affected his
practice. His rhymeless experiments are certainly better conceived than
many others, but they lack the spontaneous grace and freshness of his
other poetry, while the whole scheme was, of course, unnatural. He must
have possessed a very delicate musical ear, for not one of his songs is
unmusical; moreover, the fact of his composing both words and music gave
rise to a metrical fluidity which is one of his most characteristic
features. Rarely indeed are his rhythms uniform, while they frequently
shift from line to line. His range was very great both in feeling and
expression, and whether he attempts an elaborate epithalami