To the Most Illustrious Lady
The Lady Clelia Farnese Cesarina,
Marquesse of Civita Nova

This is the fair turn of honesty adorned,
Whence the Heaven of the earth is enamored;
These are those cheeks, where the Dawn
Gathers the roses in upon the opening of the day.
In the eyes, which to the sun do bright scorn
Love kindles his torches, and gilds the darts
In blond hairs, whence it even now
With honest snares pinches about the heart.
In vain is seen in this vile state
By such a lady; of whom the human thoughts
Are not forming more wise, or more gentle.
For you the scepters, and the ancient green laurels
Review today the seven proud hills,
And turn the Tebro to his lost honors.

Original rhyme scheme - ABBA/ABBA/CDCEDE

Coppia Felice (Happy Pair)
Balletto

In praise of the Most Illustrious
Lady Clelia Farnese Cesarina,
Marquesse of Civita Nuova

The lady, in starting the present Balletto, will stand in head of the hall, and the man in the foot, as is had in the picture, the which with him will do the Riverenza grave, and the lady after him: then he will do 1 Puntata forward with the left foot, and the lady will do the same, but with the left flank forward: then he will do another Puntata with the right foot, turning the right flank inward, and the lady will do the same; he also will do 2 Seguiti flanked, and she likewise.  Then the hands will be taken doing 2 Trabuchetti, and 2 Riprese to the left flank, starting it with the left foot.  They will do the same to the right flank, starting with the right foot: then the man will let go of the lady's right hand, and they will both be turned facing to the bystanders, doing together the Riverenza.  Walking, they will do then 2 Puntate, 2 Passi gravi, and 1 Seguito ordinario, starting it with the left foot: and they will do the same, starting with the right foot: after they will let go said hand, and will do together 2 Seguiti ordinarii turned to the left: then facing they will do thence another 2 flanked, with 2 Trabuchetti, and Riprese to the left flank, starting it with the left foot: and they will do the same to the right flank with the right foot, and the Riverenza. 

They will take the right hand then, doing 2 Passi gravi, and 1 Seguito ordinario: then letting it go, they will do another 2 Passi gravi, and 1 Seguito ordinario, turned to the left, starting the second part with the right foot, but changing place: then together they will do 2 Puntate, 1 with the left foot, turning the left flank forward inwards, and the other with the right foot, turning the right flank with the other inward, wantonizing always: then turning to the left, they will do 2 Passi gravi, and 1 Seguito ordinario, finding them again facing: after they will return to do of new the same Puntate flanked, starting them with the right foot,  and turning to the left the 2 Passi, and the Seguito: facing they will do then 2 Trabuchetti, and 2 Riprese to the left flank, starting them with the left foot: they will do the same with the right foot to the right flank, and facing the Riverenza.

Taking then the left hand, the same things will be done, which they will have done in the taking the right hand, returning each one therefore to their place.

To the sciolta of the sonata.

They will do 2 Puntate forward flanked, the 1 forward with the left, and the other back with the right: 1 Continenza to the left with 1 Seguito finto to the right: diminishing the knees a little to the end, and doing to manner of meza Riverenza: after they will do 2 Seguiti ordinarii forward, and another 2 scorsi, turning to the left, and changing place.  Facing they will do another 4 Seguiti ordinarii flanked forward, and taking the hands, they will do then 2 Trabuchetti gravi, and 2 Riprese to the left with the left foot.  They will do the same to the right flank with the right foot.  Then the man has to let go of the lady's right hand, turning in perspective, that is facing to the bystanders, and they will finish the Ballo gracefully with doing together the Riverenza.

Lute tablature with the music of the Sonata of Copia Felice, Balletto.


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