NYMPH DIVINE
(Playford, Vol 2, 4th Edn, 1728) A. Simons reconstruction
Longways duple minor, Barnes I, 90 , cut-time, Key C

A1: 1-4: All lead out towards own wall and back to places;
    5-6: Turn single 
   7-10: Men lead between women and cast to places
  11-14: women the same.

A2: 1-4: Lines fall back a double and meet again
    5-6: Turn single 
   7-10: 1s lead down between 2s and cast back to places
  11-14: 2s up between 1s and cast back to places

B:  1-2: M1 cast and stands behind M2 (somewhat outside the set)
    3-4: W1 "                      W2  "
    5-6: 2s set
    7-8: 2s cast up to 1s place while 1s come in from behind them
         (2s must really make a loop to miss the 1s) [all progressed]
   9-16: 1s whole figure 8 up through the 2s 


NOTES: Playford has A1 be just the 1s couple leading out.  The turn singles
       were added by Simons to fill music; Colin Hume plausibly proposes that
       bars 5-6 were an engraving error and should be left out, along with 
       the turns single.  (They're kinda flirtatious though, so I don't 
       mind 'em.)  Simons reconstruction (1973) popular in England.

Susan@generalist.org sez:

> I was dead on on it being a theater piece.  It's from an opera called
> "Camilla", or more fully, "Il trionfo di Camilla, regina de Volsci",
> which I'll assume you can translate from the cognates.  First
> performed in Naples in 1696.  It was the first full-length
> opera produced in London, having multiple runs starting in 1706-1709,
> which times it perfectly for the tune to show up in Playford in 1710
> (first appearance).  Hugely successful.

> The tune is one of the first arias, words:

> O, Nymph of Race Divin!
> That dost all Nymphs outshine;
> Such Glories fill thy Eyes:
> My ravish'd Soul surprizing,
> That Phoebus at his rising
> Less charming paints the skies.