"(I Prithee) Do Not Ask for Love"

In "(I Prithee) Do Not Ask for Love," the relative positions in the line "And if thy path be high then be mine low" are also indicated by the melody:  "high" is sung to a higher pitch (G#) than "low" (F#).

"Ladies Aid Society"

I recently listened to the deluxe edition of More of the Monkees and noticed a couple small points, both in songs that are bonus tracks.

I noted before that the different sections of "Ladies Aid Society" alternate time signatures, but I realized that this change in the music also reflects the shift in the narrator:  the verses, in 4/4, are sung by Davy Jones, but the choruses, in 3/4, are sung as if by the titular Ladies Aid Society.

This contrast may even indicate the ideological opposition between "long-haired singing groups" (who would typically play in 4/4) and the society (who proclaim, "We're the Ladies Aid Society" in 3/4).

"I'll Be True to You"

I recently listened to The Monkees and had a number of realizations about "I'll Be True to You."

In the lines "I used to be the kind / Who said that ev'ry girl's the same and love was just a game for having fun," the phrase "ev'ry girl" is sung to notes of all different pitches (D C Bb), giving a sense of breadth or entirety.

The same is true of the phrase "ev'ry dream" (sung to the notes E G Ab) in the line "Ev'ry dream that you have, I'll fulfill."

Each of these phrases also contains an accidental (Bb and Ab, respectively, in the song's C major), and these foreign tonalities may also contribute to this sense of breadth.

The perfect rhyme in the lines "I'll be true to you, yes, I will / Ev'ry dream that you have, I'll fulfill" provides a sense of this completeness (being "fulfill[ed]").