Now a question arises, who was the Bonny-boots mentioned in the two last-quoted madrigals?
Sir John Hawkins has the following hypothesis:
"Bonny-boots seems to be a nick-name for some famous singer, who, because of his excellent voice, or for some other reason, had the permission to call the queen his lady. Possibly the person meant might be one Mr. Hale, of whom mention is made by Sir William Segar, in his account of a solemn tilt, or exercise of arms, held in the year 1590 before Queen Elizabeth, in the Tiltyard at Westminster, with emblematical representations and music, in which the above-mentioned Mr. Hale performed a part, by singing a song, &c. Sir William Segar also says of this person, that he was her majesty's servant, a gentleman in that art excellent, and for his voice both commendable and admirable."—Hist. of Music, vol. iii. p. 406.
Some gallant, high in favour with the Lady Oriana (Queen Elizabeth), is evidently alluded to in these madrigals; but I cannot agree with Sir John Hawkins, that a public singer like Mr. Hale would be permitted "to call the queen his lady." The idea is too absurd for a moment's consideration. Another conjecture is, that the individual designated Bonny-boots was the Earl of Essex; but I shall here quote two extracts from a curious and rare work published by Thomas Morley in 1597, and entitled "Canzonets, or Little Short Aers to Five and Six Voices: Printed by Peter Short," &c.:—
1.
"Fly love, that art so sprightly,
To Bonny-boots uprightly;
And when in Heav'n you meet him,
Say that I kindly greet him;
And that his Oriana,