Anon., Cuestion de Amor.

Three passages in this work portray situations in which the characters sing a villancico (No dexeis lagrimas mias...) and two canciones (No es mi mal para suffrir... and No tardara Ia victoria...) to the lute and vihuela.

(1) fol. ixv
Tomome su camarero por Ia mano y me lleuo por debaxo de vnos arboles hasta Ia marina cerca de allia vnas grutas quo Ia mar las batia / donde hallamos a Vasquiran a solas sobre vna pequeña roca asentado con vn laud en Ia mano cantando este villancico.
No dexeis lagrimas mias...

(2) fol. xxxii
Entra primero Torino / y sobre lo quo Belisena le mando en Ia caça que es la fantasia de Ia egloga con vn laud tañe / y canta esta cancion: No es mi mal para suffrir...

(3) fol. xlvi
... infinitas lagrimas las quales porque mejor y mas encubierto derramallas pudiesse con vna vihuela en Ia mano se salio y sentado sobre vna roca muy alta que Ia mar Ia batia: debaxo de vn arbol començo a cantar esta cancion.
No tardara Ia victoria...

(1) quoted from corona1999, page 254, also menendezpelayoORI, II, p. 58.
(2) quoted from corona1999, page 254, also menendezpelayoORI, II, p. 81.
(3) quoted from corona1999, page 254, also menendezpelayoORI. II, p. 92.

English translations (from corona1999)
(1) His steward took me by the hand and took me down past some trees, to the seaside nearby, to some caves where the sea was breaking, and here we found Vasquiran alone sitting on a small rock with a lute in his hands singing this villancico:
No dejéis lagrimas mias...
(2) Torino enters first, and with a lute plays and sings this canción about what Belisena commanded of him at the hunt, which is the main subject of the eclogue's fancy: No es mi mal para sufrir...
(3)... so he could shed [his] infinite tears more easily and more privately, he went out with a vihuela in his hand, and sitting
underneath a tree, upon a high rock lashed by the sea, he began to sing this canción: No tardará Ia victoria...