Shakespeare in Music

SHAKESPEARE
IN
MUSIC
THE MUSIC LOVERS'
SERIES
The following, each, $2.00

Great Composers and Their Work
By Louis
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C.
of To-Day
By Henry C. Lahee
Famous Singers
Famous Violinists
By Henry
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of
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By Henry
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History of Opera
By Arthur Elson
The National Music of America and Its

By Louis
The Organ and
Sources
C. Elson
Masters
Its
By Henry
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C.
Shakespeare in Music
By Louis
Woman's Work
Elson
C.
in Music
By Arthur Elson
The following,
Modern Composers
each, $2.50
Europe
of
New
Revised
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Orchestral
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Instruments
and Their Use
Revised Edition
By Arthur Elson
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each, $3.00
By Rupert Hughes and Arthur Elson

Singers of To-Day
The Grand Opera

Revised Edition
By Henry
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By Rupert Hughes
New
El-
WILLIAM 5HAKL5PEAREI.
FRDM THE PAINTING BY
P.
KRAMER.
Shakespeare
irv
M\jsic
Collation of the
in
the
Plays
**
Chief Musical Allusions
of Shakespeare^ with an At-
tempt at 'Their Explanation and Derivation^
Together with
Much
LOUIS
of the Original Music
By
C.
ELSON
Author of "Great Composers," "The National Music

of America," etc., etc.
t
to
Illustrated
BOSTON *
L. C. PAGE
t&*
l2r*
t&*
&
J>
6?
COMPANY
t2P
PUBLISHERS
jj*WW?^^*?*^^S*WW*WSWW8I
Copyright, 1900
By
L. C.
Page & Company
(incorporated)
All rights reserved
: :
Sixh Impression, April, 1908

'SeVeritrf
Impression, January, 191
Made
in
U. S. A.
PRINTED BY C. H. SIMONDS COMPANY

BOSTON, MASS., U. S. A.
TO
^rot 3amz& <3zMt, 3L3L., ..31., #.&.&.,
etc.
(pf Edinburgh University)
WITH CORDIAL REMEMBRANCE OF MANY PLEASANT CONFERENCES

ON THIS AND KINDRED TOPICS THIS VOLUME IS
AFFECTIONATELY DEDICATED BY
THE AUTHOR
(166198
PREFACE.
In preparing this volume on the music of Shake-
by a desire to
speare, the author has been animated
show how
closely the great poet allied himself to the
Few
Divine Art.
of the readers of Shakespeare are
aware of how much of

traced
home
many
poet's
most
subtile
his musical material can
are unable to follow
some
be
of the
metaphors because they are un-
works to which he refers,

or with the song or melody which enriches the scene.
familiar with the musical
It is
light
hoped that this effort may in some degree give

upon a few of the dark places in the text. The
classification
has been
difficult,
scenes, different branches of
ously touched
preserve
the
upon.
beauty of
the text,
the
it
give
piecemeal, and refer back to
it
tive
of the
music are simultane-
In such cases, in
deemed
necessary
many
for, in
order to
author has
best to cite the entire passage, rather than
it
as often as
he hopes that the repetition made impera-
by such a course
will
find
its
apology in the
poetic gain of reading a complete thought,
quence of thoughts.
technicalities
As
far
as
possible,
or se-
musical
have been avoided, for Shakespeare's
musical allusions were intended, not for musicians

only, but for all the world.
Louis C. Elson.
CONTENTS.
CHAPTER
I.
His Versatility The Orchestra in the Time of Shakespeare Drayton's Description of

ElizaEnglish In strum ents Bacon's Summary of Music
bethan Days A Comparison of Bacon and Shakespeare in
The Musical
PAGB
Side of the Poet
in
Their Musical Allusions
Controversy
A Contribution
to the Baconian
Concerted Music at the End of the'Sixteenth
Century
CHAPTER
II.
Instruments Mentioned by Shakespeare
" Consorts " Fifes
Viols The Recorders The Bagpipe
25
Instruments, continued The Virginals A Musical Error

The Sonnets Musical Mistakes of Great Authors Queen
Elizabeth and Her Virginal Playing The Lute Difficulty
of Tuning Presents of Lute Strings The Organ
37
CHAPTER
III.
CHAPTER
IV.
The
England in Shakespeare's Time
Famous English Composers
Great Contrapuntal Epoch
Status of Musicians^- Shakespeare's Satirical Allusions to
The Musical
Life of
Musicians
Brandt's " Ship of Fooles " Musical Servants

vii
56
CONTENTS.
Vlii
CHAPTER
V.
Music " Broken

Time Keeping Harmony Prized Above Mere Melody The Eighth Sonnet
Similar Views of Browning The Proper Wedding of Poetry
and Music "The Passionate Pilgrim " Wagner and Her-
Music"
Knowledge of
Technical
Shakespeare's
John
bert Spencer
Skelton's Diatribe
on the Union of the
Two
CHAPTER
Musical
Knowledge
.78
VI.
Shakespeare,
of
Arts
continued
Surer
in
Technical Vocal Terms

Vocal than in Instrumental Work
" Setting " a Tune
Burdens
Division, Key, and Gamut
Plain-song
96
CHAPTER
Many Dances Sung The

England Fond of Lively Dances
Morris-dance Masques These Preceded Operas
The Dances
of
Dump Other
The
in
VII.
England
Shakespeare
Dances
119
CHAPTER
Shakespeare's
VIII.
Appreciation
./Esthetic
of
Index to
Famous Per-
Music
Characters by Their Appreciation of Music
Who Have Disliked Music Shakespeare's Jests at

Music Balanced by His Tributes to the Art
Evening Music
The Music of the Sea
The Music of the Spheres
.151
sons
CHAPTER
IX.
Early English
Skelton's Ale-song Tavern Life and Customs Catches Ancient Rounds " Three-men's Songs "
The Bacchanalian Music
of
Shakespeare
Drinking-songs
Bacchanalian Music,
Shakespeare
CHAPTER X.
continued A Scottish
Table-music
in
Melody Used by
Elizabethan Days
Refrains
169
CONTENTS.
of Catches and Ballads
IX
Hunt's-ups Serenades Morn- PAGE
ing Songs
199
CHAPTER
The
XI.
Ballads of Shakespeare
Antiquity of English Ballads
Antique Examples
Op helia's^ Ballads
The Pathology of
the Mad-s cene
Edgar's Music in " King Lear "
Madsongs in This Epoch
Autolycus and His Ballads in
"Winter's Tale" Plots of Shakespearian Plays as Found
in Ballads
" Greensleeves," as Cited by Shakespeare

CHAPTER
229
XII.
The Lyric Poets of the Elizabethan

Ben Jonson Marlowe Parodies of Other Poets
Doubtful Poems The Numerous Settings of Shakespeare's Poems " Take, Oh Take Those Lips Away "
"Come Live with Me and Be My Love" German Translations and German Musical Settings of Shakespeare Schu-
Shakespeare's Lyrics
Epoch
bert's "
Hark, Hark, the Lark "
Purcell
CHAPTER
.298
XIII.
Shakespeare's Musical Stage-directions

Musical Interludes Music after Plays
Final Jigs Trumpet Signals Drums Bells Sennet
Pageants upon Stage Historical Music
.316
Children as Singers
The
**
Chorus
"
CHAPTER
The Musical
Music
clusion
XIV.
Influence of Shakespeare
Various Kinds of
by Shakespeare's Plays
Influence on
Berlioz and his Shakespearian Subjects
Con-
Inspired
Wagner
330
LIST
OF ILLUSTRATIONS.
....
TAGB
Frontispiece
William Shakespeare
Michael Drayton
.13
22
Francis Bacon
Artist Playing Viol da Gamba
.27
Stradivarius, King of Violin - makers
29
" Lock up my doors
and when you hear the
.
...
.
DRUM '"
30
Gentleman Playing Recorder
.32
Title-page of "Parthenia"
38
Gentleman Playing Lute
44
The Lute -player
50
Guido of Arezzo and His Protector, Bishop
81
Theodal
" O, Now Be Gone
More Light and Light It
116
Grows"'
122
William Kempe
" Sometimes a Thousand Twangling Instruments
Will Hum about Mine Ears'"
183
" Shall I Bid Him Go and Spare Not ? '"
207
"Tell Me, Where Is Fancy Bred"
225
'"For Bonny Sweet Robin Is All My Joy'"
240
" A Pick-axe and a Spade, a Spade '"
300
Henry Purcell
314
.
'
<
LIST
OF MUSIC.
PAGE
Round
" Under the Greenwood Tree "
The Old Melody of " Heart's - ease "
Sellinger's
Song to the Lute in Musicke

The Carman's Whistle
Light o' Love
" Now Is the Month of Maying " {Facsimile)
An Evening Hymn {Facsimile)
Examples from Playford's "An Introduction TO
the Skill of Musick" {Facsimile)
Example of " Division "
Trip and Go
La Romanesca
King Harry the VIII.'s Pavyn
Lady Carey's Dump {First Period)
....
.
"...
"...
....
The Kyng's Maske

Take Those Lips Away
"Wilt Thou Be Fat" {Facsimile)
Example of a " Catch " {Facsimile)
"
Where the Bee Sucks

"Full Fathoms Five"
" It Was a Lover and His Lass "
" Row the Boat, Norman, Row "
"Take Thy Old Cloak about Thee"
"O Mistress Mine" \
"
43
63
68
7i
76
100
103
107
112
M5
123
127
136
i43
145
167
177
180
184
187
192
195
.
202
209
LIST OF MUSIC.
xiv
PAGE
211
/'Hold Thy Peace"

Peg- a- Ramsey
212
"Three Merry Men Be We"

214
Corydon's Farewell to Phillis
.216
221
"Jack, Boy, Ho! Boy!"
What Shall He Have that Kill'd the Deer "
{Facsimile)
.224
Hunts -up, or Morning Song
226
"As I Went on Zol Day" {Facsimile)

.231
And How Should I Your True Love Know "
236
" For Bonny Sweet Robin Is All my Joy "
242
.
"
Jog on, Jog on the Footpath
248
....
....
255
262
Way "
Whoop, Do Me no Harm, Good Man ".

Gernutus, the Jew of Venice
King Lear and His Three Daughters
"
Titus Andronicus's Complaint
Greensleeves
" Oh
Willow, Willow, Willow "
" The Aged Lover Renounceth Love "
" Come Live with Me and Be My Love "
"When that I Was a Little Tiny Boy"
!
253
269
287
.291
307
321
303
SHAKESPEARE
MUSIC.
IN
CHAPTER I.
The Musical Side of the Poet His Versatility The Orchestra in
the Time of Shakespeare Drayton's Description of English
Instruments Bacon's Summary of Music in Elizabethan Days
A Comparison of Bacon and Shakespeare in Their Musical
Allusions A Contribution to the Baconian Controversy Concerted Music at the
End
of the Sixteenth Century.
Three centuries ago there existed upon the earth

man with a mind so wonderful and versatile that
hundreds of commentators and thousands of commentaries
have not exhausted the many topics which he
has presented to posterity. 1

this volume, to
It
is
its
musical side only,
mincl;
yet even. when

our purpose, t in
that
examine but one pfeasôi
cofiiaed;tci
this single field the investigatck.'ie* confronted' wit
an amount of material and a wealth of suggestions

that
makes the task
far larger than
would
at first
sight be imagined.
1
In the Boston Public Library there are more than 3,250
ent works connected with this topic.

II
differ-
SHAKESPEARE IN MUSIC
12
In order to comprehend
allusions,
it
orchestra of his time,

cally the
many
of the Shakespearian
necessary to begin by examining the
is
same
for,
while voices remain practi-
in all ages, the
instruments of music
undergo changes that cause the music of one epoch

to be very dissimilar
from that
of another.
Such a
combination of instruments as a modern would
an "orchestra" scarcely existed
at the
call
end of the
sixteenth century.
During the poet's

Italy (i
speare.
the opera was invented in
594-1600) and new combinations of
instru-
But the influence of the new school
ments began.
was not
life,
felt in
England during the
lifetime of Shake-
Nevertheless, England had been accustomed
to combinations of musical instruments
early epoch.
from a very
Chaucer mentions
" Cornemuse and Shalmyes
And many
other maner pipe,"
which were undoubtedly instruments with which he

was acquainted, and also speaks of concerted playing,
"'Bothe yh :j>bivced and yn Rede."
1
r Prdf/T.*lt.'Lb\inib^r^ invited the author, in 1894, to join in the
Dowced and
But beyond the fact that
Grassineau, in 1740, defines it as " Douced, a musical instrument
with strings of wire, commonly called a Dulcimer," no reference
search of the solution of the mystic words, " Bothe yn
yn Rede," which end
to u
this
Dowsed " was found

which reference was had.
ever, defines
it
in
citation.
any of the old musical dictionaries to

Murray's new Oxford dictionary, how-
as " a wind-instrument resembling a flute."
MICHAEL DRAYTON.
SHAKESPEARE IN MUSIC.
detailed account of English instruments of the
epoch
Elizabethan
(i
speare, in
first
is
given
by Michael
Drayton
contemporary and friend of
563-1631),
the
his
great work
part of which
following extract
entitled
was published
Shake-
" Poly-Olbion,"
in 161 3.
The
found in the fourth song, and
is
illustrates a trial or contention
between the Welsh
and the English; the Welsh have displayed their

instruments in detail and the English answer them
"
The English
that repined to
be delayed so long,
All quickly at the hint, as with one free consent,
Strook up at once and sung each to the instrument;
(Of sundry sorts there were, as the musician likes)
On
which the practiced hand with perfect'st fingering
strikes,
Whereby their right of skill might liveliest be expressed.

The trembling lute some touch, some strain the violl best,
In setts
which there were seene, the Musick wondrous choice
Some likewise there affect the Gamba with the voice,

To shew that England could varietie afforde.
Some that delight to touch the sterner wyerie chord,
The Cithron, the Pandore, and the Theorbo strike;
The Gittern and the Kit the wandering fidlers like.
So there were some againe, in this their learned strife,
Loud instruments that loved, the Cornet and the Phife,
The Hoboy, Sagbut deepe, Recorder and the Flute,
Even from the shrillest Shawm unto the Cornemute,
Some blow the Bagpipe up, that plaies the country 'round,
The Tabor and the Pipe some take delight to sound."
III,,.*.
llW^
HW
'II
Mil
*y.
Most of these instruments

ensuing chapters
1
Of
it is
will
be defined in the
interesting to find
" sets of viols "
more
hereafter.
them thus
14
grouped together
in a
poem which Shakespeare must
have been familiar with.
There can be
Drayton
little
doubt as to the
in his list of instruments.
raeli, in his
reliability of
The
elder Dis-
"Amenities of Literature," sums up the
" Poly-Olbion " thus
" This remarkable
poem remains without a parallel in the

... It is a chorographical
poetical annals of any people.
of
description
antiquarianism,
poem has
England and Wales; an amalgamation of

of topography, and of history.
This
.
the accuracy of a road-book
But we can complete our survey
of the musical
combinations of the Shakespearian epoch by studying

a more prosaic writer than Michael Drayton.
Bacon, Lord Verulam, has
Francis
to the world a very
left
precise description of Elizabethan music in the second
and third centuries,
or
chapters,
of
"Sylva
his
Sylvarum."
As
pying
was
a passing eccentricity of the time

itself
is
occu-
with endeavouring to prove that Bacon
really the author of Shakespeare's works,
be of double interest to compare the
it
may
stolid cata-
loguing of the one with the poetic musical fervour of

the
other,
dances
of
and
in a
later
Shakespeare,
chapter, devoted to the
we
shall
find
enthusiastic, the philosopher disdainful,
menting upon a similar
subject.
the
poet
when com-
Bacon says
" Music, in the practice, hath been well pursued,
good variety
and
in
but in the theory, and especially in the yielding
of the causes of the practique, very weakly; being reduced

into certain mystical subtilties, of
We
and active part together.

"
The diapason
insomuch as
it
is
no use and not much
truth.
manner, join the contemplative
shall therefore, after our

.
or eighth in music
is
in effect a unison
the sweetest concord

as
we
see in lutes that
are strung in the base strings with two strings, one an eighth
above another; which make but as one sound. And every

eighth note in ascent (as from eight to fifteen, from fifteen to
twenty-two, and so on ad infinitum*) are but scales of diapason.
The cause is dark and hath not been rendered by any and
therefore would be better contemplated."
;
After which Lord Verulam goes on to show that

the air
figure,
forced "to recur into one and the same
is
only differing in greatness and smallness
making these consonances.
in
We
cannot
resist
Shakespeare makes not a single meta-
stating that
phor upon these points which Bacon so strongly

emphasises.
Of the emotions
of music
Bacon speaks
at consid-
erable length
" Tones are not so apt altogether to procure sleep as
other sounds
as the wind, the purling of water, the
of bees, a sweet voice of one that readeth, etc.
whereof
is
do more strike and erect the sense than the

overmuch attention hindereth sleep."
not,
for that tones, because they are equal
some
humming
the cause
and
other.
slide
And
Yet Shakespeare causes the boy
"Julius
Caesar,"
Act
iv.
Sc.
in Brutus's tent
to fall asleep to
music.
Bacon, however, fully understood the effects of
consonance and dissonance, as witness the following

" There be in music certain figures or tropes ; almost agreeing with the figures of rhetoric, and with the affections of the
mind, and other senses.
which please so much

glittering of light
First,
in music,
as the
the division and quavering,

have an agreement with the
moonbeams playing upon a wave.
Again, the falling of a discord to a concord, which maketh

great sweetness in music, hath an agreement with the affec-
which are reintegrated to the better after some disagreeth also with the taste, which is soon glutted
The sliding from the close
after that which is sweet alone.
or cadence hath an agreement with the figure in rhetoric
which they call prater expectatum j for there is a pleasure
even in being deceived. ... It hath been anciently held and
observed, that the sense of hearing and the kinds of music
have most operation upon manners as to encourage men and
make them warlike; to make them soft and effeminate; to
make them grave; to make them light; to make them gentle
tions,
likes;
it
and inclined to
pity, etc.
The cause
is
for that the sense of
hearing striketh the spirits more immediately than the other
and more incorporeally than the smelling. For the

and feeling have their organs not of so present
and immediate access to the spirits as the hearing hath. And
as for the smelling (which indeed worketh also immediately
upon the spirits, and is forcible while the object remaineth),
it is with a communication of the breath or vapour of the
object odorate; but harmony, entering easily, and mingling
not at all, and coming with a manifest motion, doth by custom
of often affecting the spirits and putting them in one kind of
senses,
j
"
"sight, taste,
posture, alter not a
little
the nature of the spirits, even
when
And, therefore, we see that tunes and

have in themselves some affinity
with the affections: as there be merry tunes, doleful tunes,
solemn tunes; tunes inclining men's minds to pity; warlike
the object
even
airs,
is
removed.
in their
own
So as
tunes, etc.
it is
nature,
no marvel
if
they alter the
spirits,
con-
sidering the tunes have a predisposition to the motion of the

spirits
But yet
themselves.
this variety of tunes
it
hath been noted, that though
doth dispose the
spirits to variety of pas-
conform unto them, yet generally music feedeth that

We see also that
disposition of the spirits which it findeth.
several airs and tunes do please several nations and persons,
sions
according to the sympathy they have with their spirits."
Shakespeare has stated
much more
similar
facts,
Bacon continues
fluently.
but very
"All instruments that have either returns, as trumpets; or

flexions, as cornets
buts,
drawn up and put from, as Sack-
or are
have a purling sound: but the recorder or
flute,
that
have none of these inequalities, give a clear sound. Nevertheless, the recorder itself, or pipe, moistened a little on the
inside,
soundeth more solemnly, and with a
little
strings of bandoras, giveth also a purling sound.

string,
purling or
Again, a wreathed string, such as are in the base
hissing.
if it
be merely unequal
and untuneable sound
in his
But a
parts, giveth
which strings we
lute-
a harsh
call false,
being
bigger in one place than in another, and therefore wire strings

are never false."
The. above sentence speaks of many instruments

that
we
present
1
and
The
examine
shall
in
we need merely
the next two chapters
state that the " cornet "
use of " his " instead of "
earlier times
at
was
its " was a characteristic of this

Shakespeare sometimes used the one, sometimes
the other, the change taking place in Elizabethan times.
a serpentine, or curved, instrument of wood or of

brass, utterly unlike the instrument of the present,
having finger-holes along

a flute
the
name was
surface, in the style of
its
an instrument
also applied to
wood, but with a mouthpiece like a

trumpet (see Chapter XIII.). The " sackbut " that is
like the oboe, of
"
drawn up and put from,"
The
" recorder "
was a
is
simply a slide trombone.
straight flute with a flageolet
The "wreathed string" means a string

wound around with wire, as the G string of a violin.
mouthpiece.
Regarding
the
union
such instruments, or
of
"scoring," Bacon says, very properly:

"
The
sweetest and best
instrument
is
not heard by
which requireth
to stand
harmony
itself,
is,
when every
part or
but a conflation of them
some distance
Even
off.
as
it
is
all,
in
the mixture of perfumes, or the taking of the smells of several

flowers in the air."
Farther on,
still
speaking of the same subject, the
union of different instruments, our author says

" All concords
and discords are (no doubt) sympathies and

And so, likewise, in that music which
antipathies of sounds.
we
broken music, 1 or consort music, some consorts of

instruments are sweeter than others (a thing not sufficiently
call
yet observed): as the Irish harp and base viol agree well, etc.
but the virginals and the
lute, or
the
Welsh harp and the
harp, or the voice and pipes alone, agree not so well.

the melioration of music there
is
yet
much
Irish
But for
left (in this
point
of exquisite consorts) to try and inquire."

1
Of
"
broken music " and " consorts " we
shall
speak
later on.
We
have quoted thus much from the " Sylva Syl-
varum" because the work gives as clear and exact

many of the instruments of the Shake-
a statement of
spearian epoch as any volume of
because
it
may
its
time,
and
also
afford the reader an opportunity to
compare the Baconian and Shakespearian estimates

of
music.
Bacon approaches the
art with all the
exactness of a scientist, Shakespeare with the ardour

of a
in
music lover
Bacon
is
most precise and careful
every statement, while Shakespeare occasionally
makes an
mind.
error,
proving the lack of the investigating
Once having touched upon the Baconian
troversy,
we may be permitted
to leave a
con-
subject
foreign to the object of this volume, with the state-
ment
that, until
of law
was held
recently, Shakespeare's
knowledge
to be a stumbling-block in the path of
who chose to believe that Shakespeare really

wrote his own works his amount of legal lore was
those
held to be too great for a humble actor to possess,
and even those who laughed cryptograms and Baconian ciphers to scorn
ter
felt
moved
to explain this mat-
by suggesting that the poet was
an attorney's
office
this hypothesis
on his advent
for a time in
London.
Even
seems unnecessary. The Hon. Charles
Allen, ex-justice of the
Supreme
Massachusetts, has recently
upon the
in
subject,
let
in
Judicial Court of
a flood of light
and proves that Shakespeare was
by no means phenomenal
in this matter.
In his book,
20
entitled
tion,"
" Notes
on the Bacon-Shakespeare Ques-
he shows that when Shakespeare uses a legal
word, technically, other litterateurs of his day have
done as he, and oftener than
Dekker, Wilkins,
he.
Middleton, Spenser, Donne, Beaumont and Fletcher,

Field,
Chapman, Massinger, Marston, Nash, Hey-
wood, Ford, Shirley, Greene, Peele, Lyly, Webster,
Rowley, Cook are cited for their "law," many of
them
repeatedly.
As
for
Ben Jonson,
"branch of learning" was

sages are quoted from
violent,
his
his love of this
and scores
of pas-
Chapman
works.
has a paragraph in his " All Fools,"
also
which contains
a hundred technical terms of law, so that, as Judge
Allen says, "
If
Hamlet's collection of legal terms
goes to show that the play was written by Bacon,

the play of
Coke
All Fools
'
must have been written by
himself."
In a remarkably keen and analytical review of this

book, 1 and incidentally of
Henry Austin Clapp,

at the poetic side of
the
entire
Esq., gives a
the question.
controversy,
charming glance
He
says
" Judge Allen has a capitally good chapter on Bacon's

acknowledged verses. And, after quoting Sir Francis's translation of the ist Psalm and portions of his version of the
90th and 1 04th, says, Of course a good poet may write bad
verses occasionally,' but the peculiarity of Bacon's case
is
by an accident did he stumble on a good line. The

proposition of the Baconians involves the conclusion that the
that never
Boston Daily Advertiser, April 21, 1900.
21
The Merchant of Venice," " The Tempest," and A

Midsummer Night's Dream " had degenerated into writing such
clumsy verse as these translations, and that he deemed the
writer of "
latter
worthy of preservation and publication with his name.

Allen might go a very little farther and add that
And Judge
Bacon's careful conserving of his lyrics

that he
was void of poetical
taste
A man possessed
as of poetical genius.
nearly proof positive
is
and discrimination as well

with a scrap of judg-
ment in this kind could not have suffered such lyrics to be

handed down as the sole authentic examples of his poetic
not be amiss to reprint here said translation
It will
ability.
of the
st
Psalm:
"
Who never gave to wicked reed

A yielding and attentive ear
Who never sinner's paths did tread,
Nor sat him down in scorner's chair;
But maketh it his whole delight
On law of God to meditate,
And therein spendeth day and night
That man is in a happy state.
He
shall
be
like the fruitful tree,
Planted along a running spring,
Which,
in
due season, constantly
goodly yield of
fruit
doth bring
Whose leaves continue always green,

And are no prey to winter's power
So shall that man not once be seen
Surprised with an evil hour.
"'With wicked men

Their
lot is of
it is
not so,
another kind
All as the chaff, which to and fro

Is tossed
a*l
mercy of the wind.
22
And when he
A
So
shall in
judgment plead,
casting sentence bide he must
he not
shall
lift
up
his
In the assembly of the
" For
why?
head
just.
the Lord hath special eye
To be the godly's stay at call

And hath given over, righteously,
The wicked man to take his fall.'
Since
we now
leave
testable greatness,
Lord Verulam and
we add a
final
of his works, the " Essayes."
chapters the reader will
excerpt from another
In the course of a few
be made acquainted with
Shakespeare's love of dancing and revelry

ing
is
his incon-
the follow-
Bacon's essay on one of the principal phases of
the revelry of that epoch, the masques and triumphs
which preceded the introduction of opera into England.
As
the essay
is
short,
we quote
it
entire
"OF MASQUES AND TRIUMPHS.

" These things are but Toyes, to
come amongst such Serious
have such Things,

Graced with Elegancy, than
daubed with Cost.
Dancing to Song is a Thing of great
State, and Pleasure.
I understand it, that the Song be in
Quire, placed aloft, and accompanied with some broken
Observations.
it
is
But
yet, since Princes will
better that they should be
Musicke;
And
the Ditty fitted to the Device.
Acting in Song, especially in Dialogues, hath an extreme

Good Grace I say Acting, not Dancing, (For that is a Meane
and Vulgar Thing ;) And the Voices of the Dialogue would be
Strong and Manly (A Base and a Tenour; No Treble;) And
"
Vrancis bacon.
2$
High and Tragicall Not Nice or Dainty. Severall
the Ditty,
Quires, placed one over against another, and taking the Voice
by Catches, Antheme-w'ise, give great Pleasure.

Dances, into Figure,
let
it
is
And
a childish Curiosity.
be noted, that those Things, which
Turning
generally,
here set downe, are
such as doe naturally take the Sense, and not respect Petty
Wonderments.
" It
is true,
the Alterations of Scenes, so
it
be quietly, and
without Noise, are Things of great Beauty and Pleasure

they feed and relieve the Eye, before
it
be
full
of the
for
same
Let the Scenes abound with Light, specially Coloured
Object.
and Varied : And let the Masquers, or any other, that are to
come down from the Scene, have some Motions, upon the
Scene itselfe, before their comming down For it draws the Eye
:
strangely,
and makes
it
with great pleasure, to desire to see
Let the Songs be Loud and

and not Chirpings or Pulings. Let the Musicke
likewise, be Sharpe, and Loud, and Well Placed.
The Colours that shew best by Candlelight are White, Carnation, and
and Oes and Spangles, as they
a Kinde of Sea-Water-Greene
are of no great Cost, so they are of most Glory.
As for Rich
Embroidery, it is lost and not Discerned. Let the Sutes of the
Masquers, be Gracefull, and such as become the Person when
the Vizars are off Not after Examples of Knowne Attires
Turkes, Soldiers, Mariners, and the Like.
Let Antimasques
not be long; They have been commonly of Fooles, Satyres,
Baboones, Wilde-Men, Antiques, Beasts, Sprites, Witches,
Ethiopes, Pigmies, Turquets, Nimphs,
Rusticks, Cupids,
Statua's Moving, and the like.
As for Angels it is not Comicall enough, to put them in Anti-Masques ; And any Thing
that is hideous, as Devils, Giants, is on the other side as unfit.
But chiefly, let the Musicke of them, be Recreative, and with
some strange Changes. Some Sweet Odours, suddenly coming
forth, without any drops falling, are, in such a Company, as
there is Steame and HeVte, Things of Great Pleasure & Re*
that,
it
cannot perfectly discerne.
Cheerefull,
24
freshment.
Double-Masques, one of Men, another of Ladies,
But All is Nothing, except the

and Neat.
For Justs and Tourneys, and Barriers j The Glories of
addeth State and Variety.
Roome be kept
"
Cleare,
them, are chiefly in the Chariots, wherein
make
their Entry; Especially
Beasts
As
ies;
Or
in the
Or
in the
Goodly Furniture of
But enough of these Toyes."
Challengers
the
they be drawne with Strange
Cammels, and the
Lions, Beares,
Devices of their Entrance
if
like
Or
in the
Bravery of their Liver-
their Horses,
and Armour,
CHAPTER
II.
Viols
" Consorts " Fifes

The Recorders The Bagpipe.
The
preceding chapter has shown that, although
Instruments Mentioned by Shakespeare
England had
orchestra,
it
development of
not, as yet, the Italian
possessed a
fair
knowledge
of concerted
music, and used combinations of instruments.
combinations were called " consorts."

alludes to
them
in "
Romeo and
and Mercutio meet (Act

" Tybalt.
thou make minstrels of
my
fiddlestick
Zounds, consort
One
Sc.
Shakespeare
Juliet,"
when Tybalt
i).
Mercutio, thou consort'st with Romeo.
Mercutio. Consort
here's
iii.
These
what, dost thou

us,
make
us minstrels
an
look to hear nothing but discords
here's
make you
that shall
dance.
finds here the usual Shakespearian pun,
and
also a subtle reference to the low caste of the musi-
cian
1
this
in
" L'
double
chestra.
Anima
lyre,
epoch
(whereof
e nel Corpo," the first oratorio
hereafter), for
(Rome,
a harpsichord, a large guitar, and two
1600),
had a
flutes, as or-
"Euridice," the oldest opera extant (1600), had a com-
bination of harpsichord, large guitar,

triple flute.
* "
more
viol, large lute, flute,
Consorts n were often mentioned by Milton.

25
and a
26
Mercutio
is
mightily indignant at the minstrel impu-
or pretends to
tation
At
the outset
be.
we must accustom
ourselves to the
Shakespeare makes but few attempts to
fact that
picture the country in which his scene

cians were not
and
Romeo
despised in Verona, where
Juliet reside, but the poet
instead,
life,
Musi-
is laid.
is
picturing
London
and he presents the contemporary English
whether the scene be
laid in
Bohemia, Denmark,
Italy, or elsewhere.
The
" consorts " of Shakespeare's time were not
only concerted music, but generally composed of such

instruments as belonged to
one family.
If,
for
example, only viols were employed, the consort was

called "whole," but
if
virginal,
to
or
flute,
came
was a " broken con-
into the combination, the result

sort," or "
lute,
broken music," which Shakespeare alludes
more than
once, and which will be described in
connection with Shakespeare's technical terms.

Viols were most employed in these "consorts,"
and were generally sold to music-lovers

that
pieces
a
:
in " sets," so
"chest of viols" usually consisted of six
two
trebles,
two tenor
viols,
and two basses.
The violin was not among these, nor the

The golden epoch of violin-making began
years after Shakespeare's death
Guarnerius,
later,
and
contrabass.
nearly
fifty
Stradivarius, Amati,
the kings of violin-making,
all
came
in the first half of the seventeenth century
PLAYING VIOL
ARTISTrr
DA GAMBA.
2J
the violin was looked upon in England as rather a
Even
vulgar instrument.
in the eighteenth century
Stradivarius had an invoice of violins, which he had

sent to England, returned to
that
him with the information
London was not accustomed to paying
as
much
as five pounds for a violin
The viols
alluded to above had generally six strings
We
each, and were fretted, like a guitar.
present
herewith a picture (taken from a contemporaneous

print) of the viol
da gamba of Shakespeare's time,
and need only add that the treble

size,
size
and compass.
just half
contrabass existed in England at this time,
but was called the " violone

cello"
was
while the tenor stood between the two in
the
The
viol
a derivative of
is
One
violone."
this,
"
the word
" violon-
meaning the
of the curious musical
"little
conceits of
the Elizabethan days was to cut a door in the back

of the violone and introduce a small boy into the in-
strument
at the concert
the contrabass player would
render the bass part on his instrument, would sing

the "mean," or middle part, and the invisible boy
would add a
treble,
trio
with but one performer
in sight.
Many are the allusions to the viols

works.
In "Twelfth Night" (Act
calls Sir
Andrew Aguecheek
in
Shakespeare's
i.
Sc. 3), Maria
" a fool and a prodigal,"
whereupon Sir Toby Belch defends him with
28
" Fye, that you'll say so he plays o' the viol-de-gamboys,

and speaks three or four languages word for word without
book, and hath all the good gifts of nature."
!
It
was therefore part of a
upon the
viols
liberal education to play
many a wealthy gentleman
in fact,
kept his chest of viols at hand for guests to divert

themselves with music.
Pericles (Act
Antiochus, says
i.
Sc.
i),
addressing the daughter of
" You're a fair viol,
and your sense the strings
Who, finger'd to make man his

Would draw heaven down, and
lawful music,
all
the gods to hearken
But, being play'd upon before your time,
Hell only danceth at so harsh a chime
Good
sooth,
care not for you,"
comparing unruly passions to disordered
The Duke
3),
of Norfolk (in
upon hearing
viol music.
Richard II.,"
Act
forth
"
i.
Sc.
his sentence of banishment, bursts
heavy sentence, my most sovereign liege,

one unlook'd for from your highness' mouth
A dearer merit, not so deep a maim
As to be cast forth in the common air,
Have I deserved at your highness' hand.
The language I have learned these forty years,
My native English, now I must forego
And now my tongue's use is to me no more,
Than an unstringed viol or a harp
Or like a cunning instrument cased up,
And
Or, being open, put into his hands,
That knows no touch
to tune the
harmony."
While England devoted
is
itself to
had made some headway
lins
alluded to
Sc.
i.
French song and a
Sands
the
viols,
the vio-
This fact
France.
somewhat scornfully by our poet
"Henry VIII." (Act
"A
in
29
replies, "
The
we
in
where Lovell says:

has no fellow," and
fiddle
devil fiddle
In " Coriolanus " (Act

the messenger,
3),
them
v. Sc. 4), at
"
!
the entrance of
find a varied list of instruments
" Why, hark you

{Trumpets and hautboys sounded, a?id drums
beate?i, all together.
Shouting also withinj]
The trumpets, sackbuts, psalteries, and fifes,
Tabors, and cymbals, and the shouting Romans,
Make the sun dance. Hark you
!
\_Shouting again. ] "

It
is
Romans
almost
did
needless
not
we
the ancient
say that
sackbuts
indulge in
Regarding the
bones) nor psalteries.
ment,
to
(slide
trom-
latter instru-
find the following definition in Grassineau's
Dictionary (1740)
"
That now
in
use
is
flat
instrument in form of a
pezium, or triangle truncated atop.
It is
tra-
strung with thirteen
wire chords set to unison and octave, and mounted on two

bridges on the two sides.
little
'tis
It is
iron rod, or sometimes with a
usually ranked
among
struck with a plectrum, or

little
crooked
stick,
whence
the instruments of percussion.
Its
chest, or body, resembles that of a spinet."
It
was therefore a species
Germans
call
of dulcimer, or
a Schâg-Zither.
what the
30
The
fife
mentioned more than once
is
ice "
"
(Act
What
ii.
Shylock
5),
of
Ven-
cries out to Jessica
?
Hear you me, Jessica
and when you hear the drum,
are there masques
Lock up
And
Sc.
The Merchant
In "
Shakespearian dramas.
the
in
my
doors
the vile squeaking of the wry-neck'd
fife,
Clamber not you up to the casement, then,

Nor thrust your head into the public street,
To gaze on Christian fools with varnish 'd faces
I mean, my casements
But stop mine house's ears,
Let not the sound of shallow foppery enter
My
sober house."
The "wry-necked
fife" has
considerable critical comment.

in his excellent "
suggests
"
The
that
adjective
which was
been the occasion of
Edward W. Naylor,
Shakespeare and Music"
(p.
i5i),
'
wry-necked
'
refers, not to the
instrument
whose head has

to be slightly twisted around to get at the mouth-piece.
Mersennus (b. 1588) says the fife is the same as the tibia
Helvetica, which was simply a small edition of the flauto
traverso, or German flute.
That is, the fife of those days
was much the same as the modern fife of the cheaper kind,
with the usual six holes, and a big hole near the stopped end,
where the breath was applied. The instrument was therefore
held across (traverso) the face of the player, whose head
would be turned sideways, and hence comes Shylock's deitself,
scription of
Some
it
straight, but to the player,
as the
editions
wry-necked
have
'
fife."
"squeaking,"
changed
to
" squealing," which, as Richard Grant White points
Shylock.
" Lock
up
7ny doors
and when you hear
the
drtimy
%
From
(Merchant of Venice, Act
the painting by R. Smirke.
ii.
Sc. 5.)
more appropriate word
in this connection.
M
"
wry-necked
was used by another
very word
out, is a
The
writer in the
time of Shakespeare.
pertinent
passage from Barnaby Rich's "Aphorisms" (1618),
quoted by Boswell, runs

musician, for he looks
But the old
The
Fife
away from
itself
fife
"
had a
is
a wry-necked
his instrument."
crooked
sufficiently
Both
mouthpiece to be described as "wry-necked."
Knight and R. G. White think that the instrument

itself
was meant, and Knight suggests that
be an imitation of the lines of Horace,

"
Prima nocte
Sub cantu
domum
claude
neque
querulae despice Tibia,"
may
it
in vias,
which certainly refers to the instrument and not to

the musician.
We
think, since the adjective can
applied both to the instrument and
the more evident meaning
its
player, that
may be adhered
In " Much Ado About Nothing " (Act

r,Benedick speaks of the fife as less refined
pipe.
to.
ii.
upon Othello's rougher delight
spirit-stirring
drum and
ear-piercing
Sc. 3)
than the
In reading the passage one thinks
sciously
be
fife."
in
uncon-
"the
Bene-
dick's soliloquy runs
do much wonder, that one man, seeing how much anis a fool when he dedicates his behaviours to love,
will, after he hath laughed at such shallow follies in others,
become the argument of his own scorn, by falling in love
And such a man is Cla^dio. I have known, when there was
"
other
man
32
no music with him but the drum and
fife
and now had he
rather hear the tabor and the pipe."
Somewhat akin
fife,
but a more developed
instrument, was the recorder.
This was a straight
flute,
let
to the
with a mouthpiece very like that of the flageo-
(see
Bacon's description of
illustration).
the preceding chapter, presents
instrument
German
yet
flute,
was preferred
it
rather a
in
it,
in
primitive
England
to the
our modern instrument.
Shakespeare draws one of his
finest
metaphors
In "
from this instrument.

Hamlet " (Act hi. Sc. 2),
when Guildenstern and Rosencrantz are spying upon
the prince, Hamlet suddenly turns upon them with
a musical sarcasm.
"
Hamlet.
Enter
the Players, with Recorders.
O, the recorders
me
let
see one.
To with-
Why do you go about to recover the wind of

draw with you.
me, as if you would drive me into a toil ?
O,
Guildenstern.
is
my
lord, if
my
duty be too bold,
my
love
too unmannerly.
Hamlet. I do not
upon this pipe ?
Guildenstern.
Hamlet.
lord,
Will you play
cannot.
pray you.
Guildenstern.
Hamlet.
My
well understand that.
Believe me,
cannot.
do beseech you.
Guildenstern.
I know no touch of it, my lord.
Hamlet. 'Tis as easy as lying govern these ventages with
your fingers and thumb, give it breath with your mouth, and
I
it
will discourse
the stops.
most eloquent music.
Look
you, these are
GENTLEMAN PLAYING RECORDER.
33
But these cannot I command to any utterI have not the skill.
Why, look you now, how unworthy a thing you
Ha?nlet.
make of me. You would play upon me you would seem to
know my stops you would pluck out the heart of my mystery
you would sound me from my lowest note to the top of my
compass: and there is much music, excellent voice in this
S'blood, do you
little organ
yet cannot you make it speak.
think, I am easier to be played on than a pipe ? Call me what
Guildenstem.
ance of harmony
instrument you
will,
though you can
fret
me, you cannot play
upon me."
It
possible, in Benedick's
is
"tabor
allusion to
and pipe," above given, that the recorder was meant,

for the
word " pipe " was used
in as general a sense,
in Shakespeare's time, as " tibia "
Romans,
term.
let "
poet
among
the ancient
many instruments were embraced
in the
technical points in the scene in "
The
are quite correct

indicates
the
thumb was
Ham-
used, as the
the change of metaphor from the
recorder to " what instrument you will "
is
evidently
done to allow the obvious pun on the word " fret,"

for, of course, frets
would only be found on stringed
instruments.
A
in
more legitimate pun upon the recorder
is
found
Night's Dream" (Act v. Sc. i),

Prologue of " Py ramus and Thisbe " has
"Midsummer
after the
muddled
all
" Theseus.
Lysander.
knows not
his punctuation
This fellow does not stand upon points.

He hath rid his prologue like a rough
the stop.
colt
he
34
Indeed he hath played on
Hippolyta.
this
prologue like a
child on a recorder, a sound, but not in government."
There
genuine humour in each of the three
is
speeches, and
right
instrument,
the suggestion
and the sense wrong,
for Shakespeare
it
too characteristic an instrument
pass
to
in
no musical instrument
it
is
much
may
affect
as they please, yet
so interwoven with history
in ancient times,
Italy there is a bagpipe called
and the
"zumpogna," an
indicate that the Hellenic music, which
by the ancient
to
fact that in
dent derivation from the Greek sumphonia
ically praised
several
find
Musicians
Every European nation seems
bagpipe.
have used
and we
by,
the plays.
disdain of this instrument as
as the
an
charmingly dainty and feminine.
is
The bagpipe was
allusions to
the sound being
of
like a child playing
is
evi-
would
so ecstat-
may have
pos-
bagpipe in the
first
writers,
sessed the bagpipe drone occasionally.
Shakespeare alludes to a
part of "
Henry IV." (Act
" Falstaff.
S 'blood
am
local
i.
Sc. 2).
as melancholy as a gib cat, or a
lugged bear.
Prince Henry.
Falstaff.
Or an
old lion
or a lover's lute.
Yea, or the drone of a Lincolnshire bagpipe."
Steevens thought that "a Lincolnshire bagpipe"
was only a jesting
allusion to frogs croaking in the
marshes, but Malone set this error right by quoting
the following from
Armin
"A
35
Nest of Ninnies," by Robert
(1608)
" At a Christmas-time, when great logs furnish the hall fire

when brawne is in season, and indeed all revelling is regarded
this gallant knight
kept open house for
all
commers, were beefe,
Amongst
beere and bread was no niggard.
all
the pleasures
provided, a noyse of minstrells and a Lincolnshire bagpipe
was prepared
the minstrells for the great chamber, the bag-
the minstrells to serve up the knights' meate,

and the bagpipe for the common dauncing."
pipe for the hall
Richard Grant White scoffingly says

possible to believe that the drone of
" It
is
im-
any one bagpipe
could be more melancholy than that of any other."

Nevertheless, there
must have been some peculiar
quality about this instrument to
specify
it
by name.
Another
has
also
make two authors
allusion to the bagpipe,
puzzled
by Shakespeare,
many commentators.
("Merchant of Venice," Act
iv.
Shylock
Sc. 1) twice alludes
to the instrument (an allusion quite out of place in
Venice), the second time speaking of a " woollen bagpipe."
"
What
Naylor passes this by with the question,

is
woollen bagpipe
bagpipe "
that " swollen

of 1632 gives
it
'
"
Steevens thought
was meant
Collier's folio
as "bollen bagpipe;"
White thinks
that the adjective refers to the baize covering, which

is
as likely a solution as any.
The bagpipe
is
mentioned by English poets before
36
the Elizabethan
time.
Even Chaucer says
of his
miller
"
baggepipe coude wel he blowe and soune."
The Canterbury pilgrims are mentioned in the same

poem as performing their journey to the tones of
the same instrument.
Cornet and serpent have already been described

in the
some
we
preceding chapter.
The former is
called for in
of the stage directions of Shakespeare, to
shall devote
an especial page.
which
CHAPTER III.
Instruments, continued The Virginals A Musical Error The
Sonnets Musical Mistakes of Great Authors Queen Elizabeth and Her Virginal Playing The Lute Difficulty of Tuning Presents of Lute Strings The Organ.
One
of the
most used musical instruments of the
Elizabethan epoch was the virginals, a tiny and primi-
on which the strings were plucked by
tive piano
pieces of quill, set in " jacks."

ginals
was
faint
and more
The tone
like a
of the vir-
mandolin than any
Shading was impossible upon
other instrument.
the player produced a constant, and rather

pizzicato,
or
Yet the instrument was very
Every barber's shop
its virginals (for
of that time
had
its lute
the instrument was always spoken
of in the plural) for the customers to play
upon while
awaiting their turn to be shaved. 1
As
Pepys, speaking of the great
London, says
" River full of lighters
goods swimming
1
it
irritating,
which must have been a deadly foe to any-
thing like expression.

popular.
little
fire in
late as
1666,
:
and boats taking in goods, and good

and only I observed that hardly
in the water,
it may be added that the striped pole which

American barber's shop is derived from the bleeding
a white bandage which the old English barber-surgeons
In this connection
indicates the
arm
in
displayed at their doote.

37
>r
38
one lighter or boat
in three, that
had the goods of a house
but there was a Pair of Virginalls in

It is singular that
in,
it."
Shakespeare only alludes to this
instrument once in his plays, although here the meta-
phor
is
(Act
i.
a fine one.
Sc.
his queen,
2),
"
occurs in " Winter's Tale
It
when the
jealous
Leontes watches
Hermione, with Polixenes, and sees her
take the Bohemian's hand, while he angrily mutters,
"
Still virginalling
The
upon
his palm."
action of the virginal player
was not very
dif-
ferent from that of the pianist, as will readily be seen
from the accompanying print of the

first collection
title-page of the
of virginal music.
Perhaps the lack of allusions to the instrument in
may be
Shakespeare
explained by a peculiar error
that occurs in one of his sonnets,
and which may
show that he had not a very perfect knowledge

the instrument.
1
lady,"
the
poem
written to the "dark
128th sonnet, and here, for once, the
writer speaks at
ment
It is
of
some length
of the musical instru-
"
How
oft,
Upon
when
thou,
my
music, music play'st,
wood whose motion sounds

With thy sweet fingers, when thou gently sway'st,
The wiry concord that mine ear confounds,
1
that blessed
Possibly Mrs. Fytton,
who was Lord Pembroke's mistress. Th

W. H."), who succeeded
Earl of Pembroke was William Herbert ("

to the
title in
1601.
PARTHEN1A
or
THE MAYDENHEAD
of the
musicke that
first
our Atasjwirfafjcr tUcVffigftNJiLLS
(IMPOSED
GcniiiiwjfhuMj,
wstS&ttril* (fyfc-7
^rf-
fom&firjl ^r.t'tms.^m pmt^.^ffeJ

t
TITLE-PAGE OF
"
PARTHENIA.
Do
To
39
envy those jacks, that nimble leap

kiss the tender inward of thy hand,
Whilst
my
poor
lips,
which should that harvest reap,
At the wood's boldness by thee blushing stand
To be so tickled, they would change their state

And situation with those dancing chips,
O'er whom thy fingers walk with gentle gait,
Making dead wood more
bless'd than living lips.
Since saucy jacks so happy are in
Give them thy
The
It
is
fingers,
fifth line is
not
me
this,
thy lips to kiss."
here a puzzle and possibly an error.
the odd accent on the third word, for
"envy" was
sometimes
pronounced
"en^"
in
Shakespeare's time, but the "jacks" of the instru-
ment could by no means
leap to kiss the lady's hand,
any more than the hammers of the piano of the

present could
The same
touch the fingers of a Paderewski.
error, it will
be noted, occurs
in the final
lines of the sonnet.
Shakespeare
is
not the only'poet of the time
who
used the virginal jacks for a metaphor, but none of

his contemporaries speak of the
coming near each
Lord Oxford
hand and the jack
other.
satirically
wrote
(or said), referring to
Raleigh's favour at court and the execution of Essex

"
When
Jacks
'
start
up, heads
go down "
!
Mid-
dleton, in his " Father
Hubbard's Tales," describes
the frozen Charity with
" Her teeth chattered in her head and leaped up and down
Like virginal jacks.N
40
Dekker,
in " Satiro-Mastix, or the
Humourous Poet"
Untrussing of the
(published in 1602), says:
" Lord ha' mercy upon us we women fall and fall still
and when we have husbands, we play upon them like virginal
jacks, they must rise and fall to our humours, or else they'll
never get any good strains of music out of us."
!
Yet we may acknowledge that the word "jack" may

have been substituted for "key,"
by poetic
We
license or
shall find
by
in the sonnet, either
carelessness.
one or two other musical
our
slips in
poet, in the course of these chapters, but they can-
not detract from the tremendous amount of musical
knowledge displayed, nor from the glorious enthusi-
asm with which the poet has
may
connection,
this
in
recall,
musical poet, Browning,

Galuppi," speaks of
gilded our art.
in
his
that
We
another most
"Toccata of Martini
" Sixths, diminished, sigh on sigh."
There happen
to be
two horns
to this last dilemma.
While Richter and some other harmonists do not
re-
cognise the diminished sixth, Albrechtsberger (the
teacher of Beethoven), in the eighteenth division of

his great theoretical book, both recognises the chord
of the diminished sixth and gives an example.
he speaks of
it
intervals " sigh
as very rare, nor do
on sigh
the diminished sixth
is
we
But
discover such
" in Galuppi's works, and, as
an enharmonic change of the
perfect
a succession of
fifth,
something very
like
them would produce
consecutive
luppi would have held
which Ga-
fifths,
a crime, although Bach
is
not altogether innocent of them.
Tennyson has given us a combination (in " Maud ")

of "flute, violin, bassoon," that would not please
the teacher of orchestration, and a fairly long
of the musical errors of poets
be made out
but
it
will
list
and of novelists might
be readily perceived that
the Shakespeare and the Browning errors
(if
they
are such) can be readily defended.
But the sparse allusions that Shakespeare has

the virginals are the more to be wondered
made to
at when
it is
auditor,
Queen
recalled that his patroness
and frequent
Elizabeth, loved the instrument and
was very proud
of her skill
upon
it.
Her
pride in
matter once led Sir James Melvil, the ambas-
this
sador from the Scottish queen, into rather an awk-
ward
position.
He
thus speaks of the incident in
"Memoirs :"
his
" The same day after dinner, my Lord of Hunsden drew me

up to a quiet gallery that I might hear some music (but he said
he durst not avow it), where I might hear the queen play upon
After I had hearkened awhile I took by the
the virginals.
tapestry that hung by the door of the chamber, and seeing her
back was toward the door, I entered within the chamber, and
1
Spite of Elizabeth's parade of her love of music,
stated
that
musicians.
she was extremely parsimonious
to
her
it
must be
band of
42
stood a pretty space, hearing her play excellently well

left off
but she
immediately so soon as she turned her about and saw
She appeared
me.
to
be surprised to see me, and came
ward, seeming to strike
me
for-
with her hand, alleging she was
when she was solitary, to shun

She asked how I came there ? I answered, as I
was walking with my Lord Hunsden, as we passed by the
chamber door, I heard such a melody as ravished me, whereby
excusing my fault of homeliI was drawn in ere I knew how
ness as being brought up in the court of France where such
freedom was allowed declaring myself willing to endure what
kind of punishment her Majesty should be pleased to inflict
upon me for so great offence. Then she sate down low upon a
cushion, and I upon my knees by her but with her own hand
she gave me a cushion to lay under my knee which at first I
refused, but she compelled me to take it. She inquired whether
my queen or she played best. In that I found myself obliged
not used to play before men, but
melancholy.
to give her the praise."
Melvil was ambassador from
and there
little
is
Mary
Stuart in 1564,
every reason to suppose that the neat
comedy described above had been
ranged by Queen Elizabeth
herself, for
quietly ar-
our diplomat
informs us that, before the stolen musical interview,

she had asked him
many
How
what was the colour
she dressed
whether
was
that, or hers,
fairest
describes the
"Then
questions about his queen
was best
which was higher

first
of her hair
which of the two
in stature
Melvil
interview thus
she asked what kind of exercises she used?
swered that when
received
my
an-
despatch the queen was lately
come from the Highland hunting: that when her more

affairs permitted, she was taken up with the reading
serious
of his-
tories
43
that sometimes she recreated herself in playing
She asked
the lute and virginals.
if
she played well ?
upon
said,
reasonably for a queen."
would be interesting to know just what Queen
It
Elizabeth played for the bold ambassador.
There
is
a piece of virginal music extant which was an especial

favourite with the queen, and was, in fact, arranged
for her,
from an old English melody, by her own

Doctor Byrd.
music-teacher,
linger's
English
Round," and
is
called
early
The name was
" originally, and
Round
"The Beginning
days.
We
of the
append a copy of
Elizabeth played
it
called " Sel-
probably one of the oldest
dances extant.
country
probably "St. Leger's

also
was
It
on the
it
World"
this
as
was
in its
Queen
virginals.
SELLINGER'S ROUND.
As
Harmonies by Dr. Byrd.
played by Queen Elizabeth.
Moderato.
4-4-
ZJTJt
S
m
-#^-*
rri
l^l
riZA
+-*
nRj.
rn
rri
44
m^mMm
^F^
B
^ |T1
ITU pn
;s=Lfel
afct
-*-t
SEi
ra-u ran ran -*Tj
ran
rr
;>.$
9?
m&=*&4:
Bf
*t
}rr\
Rivalling the virginals in popular favour, and far

superior to
lute
came
it
into
in musical effect,
Europe
in the
was the
lute.
middle ages from Spain,
where the Moors used the instrument, applying

the Arabic
name "Al
ud."
cations of this instrument.
The
Many were
We
to
it
the modifi-
give a reproduction
of an old print of a lute- player with his instrument,
but there were
many
other kinds used at the same
GENTLEMAN PLAYING LUTB.
epoch
one
number
sort possessed a
45
of open, harp-
like strings, in addition to the fretted, or guitar-like
and
ones,
this
instrument was particularly
and required retuning
set in tune
difficult to
each change of
at
key.
Shakespeare neglected the virginals, he made up
If
for
it
upon,
"
by many
rival,
its
allusions to,
the
The Taming
and metaphors founded
lute.
of the
Shrew
"
is
by some
classed
commentators as among the "doubtful plays," but
few refuse to recognise the hand of Shakespeare
some
of its subtle touches,
more evident than

of these (Act
the musical scenes.
in
Sc.
ii.
I),
we
In the
" Re-enter
How
Baptista.
pale
Baptista.
Hortensio.
may
Hortensio.
did but
tell
And bow'd
When, with
<
his
head broken.
why
friend?
dost thou look so
For fear, I promise you, if I look pale.

What, will my daughter prove a good musician ?
I
think she'll sooner prove a soldier
hold her, but never lutes.
Baptista.
my
the
Hortensio.
Iron
Hortensio
Hortensio, with
now,
first
find Katharine venting
her furious temper upon her music-teacher,

disguised lover of Bianca,
in
and nowhere are these
Why, then thou canst not break her to

Why, no for she hath broke the lute
;
her she mistook her
the lute
me.
to
frets,
her hand to teach her fingering

a most impatient devilish
Frets call you these
'
quoth she,
And, with that word, Hie struck
'
spirit,
I'll
me on
fume with them

the head,
46
And
And
through the instrument

there
As on
my pate made way
stood amazed for a while,
a pillory, looking through the lute
While she did
call
me,
rascal
fiddler,
And twangling Jack, with twenty such

As she had studied to misuse me so.
vile terms,
Now, by the world, it is a lusty wench

more than ere I did
O, how I long to have some chat with her
Well, go with me, and be not so discomfited
Baptista.
Petruchio.
love her ten times
Proceed
in practice with
my younger
daughter
She's apt to learn, and thankful for good turns,
Signior Petruchio, will you go with us
Or
shall
send
Petruchio.
my
daughter Kate to you
pray you do,
will attend
her here,
[Exeunt Baptista, Gremzo, Tramo, and Hortensia

And woo her with some spirit when she comes.
why, then
she frown,
Say, that she
She sings
Say, that
rail,
I'll tell
her plain,
as sweetly as a nightingale
I'll
As morning
say, she looks as clear
roses newly wash'd with
dew
Say, she be mute, and will not speak a word,
Then,
And
If
I'll
say
commend
her volubility,
she uttered piercing eloquence
she do bid
me
pack,
I'll
give her thanks,
As though she bid me stay by her a week

If she deny to wed, I'll crave the day
When I shall ask the banns, and when be married. --
But here she comes; and now, Petruchio, speak."
We
a
have quoted the
last
sentence of this scene for
purpose aside from the immediate examination of
the lute.
settings
Shakespeare has induced myriads of musical
(some of which we
shall
examine
in
their
47
proper place), but seldom have the poet's words
undergone such a startling transformation as the

phrases of Petruchio, altered to
fit
a female singer,
and made into a dainty soprano song by Sir Henry
Here
Bishop.
is
the modern version
" Should he upbraid,
And
own
that he prevail,
sing as sweetly as the nightingale.
Say that he frown,
As morning
I'll
say his looks
view,
roses newly tipped with dew.
Say he be mute,
And dance and
And
I'll
answer with a smile,
I'll
play,
and wrinkled Care beguile."
"by
the above rhymes are ticketed as being
Shakespeare
To
return to the lute
the difficulty of tuning the
instrument, and the time consumed in
its
constant
retuning at changes of key, can scarcely be exagger-
Mattheson (about 1720) wrote of the
ated.
ment
instru-
" If a lute-player have lived eighty years, he
has probably spent about
instrument
"
This defect
years
sixty
in
lently delineated in the scene
guised as a music-teacher,
tuning his
the instrument
is
excel-
where Hortensio,
seeks
to
drive
dis-
away
Lucentio (disguised as a Latin teacher) from the side

of
Bianca, that he
of the
Shrew," Act
may
hi.
give his
Sc.
Taming
1).
" Enter Lucentio, Hortensio,

Lucentio.
lesson ("
Fiddler, forbear; you
and Bianca.
grow too forward,
Have you so soon forgot the entertainment

Her sister Katharine Welcomed you withal?
sir;
48
But, wrangling pedant, this
Hortensio.
is
The patroness of heavenly harmony

Then give me leave to have prerogative
And when in music we have spent an hour,
Your lecture shall have leisure for as much.
:
Preposterous ass
Lucentio.
To know
Was
the cause
it riot,
that never read so far
why music was
to refresh the
mind
of
After his studies, or his usual pain
Then give me
And, while
leave to read philosophy.
pause, serve in your harmony.
Sirrah,
Hortensio.
Bianca.
ordain'd
man,
will not
bear these braves of thine.
Why, gentlemen, you do me double wrong,
To strive for that which resteth in my choice

I am no breeching scholar in the schools
I'll
not be tied to hours, nor 'pointed times,
But learn my lessons as I please myself,

And, to cut off all strife, here sit we down
Take you your instrument, play you the whiles
His lecture will be done, ere you have tuned.
You'll leave his lecture
Hortensio.
when
am
in
tune?
[To Bianca; Hortensio
That
Lucentio.
Lucentio
will
be never
now makes
declaration of
his
the guise of a Latin lesson, construing "
Simois" from Ovid

fashion
Lucentio.
Hac
Hie
love
Hac
in
ibat
following totally novel
" Bianca.
the
in
retires.
tune your instrument."
Where
Here,
left
we
madam
last?
:
ibat Simois; hie est Sigeia tellus;
steterat Priami regia celsa senis.'
Bianca.
Lucentio.
Construe them.
*
Hac
ibat,' as
told
you before,
'Simois,'
{/
am
Lucentio,
Sigeia
my man
Tranio,
we might
regia,'
port,
'
Hie
stet-
Priami,'
is
'celsa senis,
\Returning.
instrument's in tune.
[Hortensio plays.
Spit in the hole, man, and tune again. 1

let
know you
me
not;
see
if I
can construe
Hie
est Sigeia tellus,'
'
it
Hac
ibat
trust
you
Hie steterat Priami,' take heed he hear us not

presume not
celsa senis,' despair not.
;
Madam,
Hortensio.
'tis
now
All but the bass.
Hortensio.
The bass
is
right
Hortensio
little later
'
Lucentio.
my
beguile the old Pantaloon.
Now
Bianca.
Simois,'
the treble jars.
Lucentio.
not
'regia,' bearing
Let's hear
Bianca.
!
Madam, my
Hortensio.
fy
son unto Vincentio of Pisa,
est,'
disguised thus to get your love,
tellus,'
and that Lucentio that comes a wooing,
erat,'
that
'hie
49
in tune.
'tis
the base knave that jars."
permitted to begin his
is
music lesson, which he does somewhat angrily, saying to Lucentio

"
You may go walk, and give me leave awhile,

lessons make no music in three parts.
My
Lucentio.
And watch
Our
fine
Are you so formal,
withal
for,
but
sir ? well, I
must
wait,
be deceived,
\Asi4e.
musician groweth amorous.
Hortensio.
To
Madam,
learn the order of
before you touch the instrument,
my
fingering,
must begin with rudiments of art

To teach you gamut in a briefer sort,
More pleasant, pithy and effectual,
Than hath been taught by any of my
1
And
1
there
The
cal point
it is
trade,
in writing,, fairly drawn.
" peg-hole " of the instrument
connected witXtuning.
is
here spoken of
a techni-
50
Why
Bianca.
Bianca.
Gamut, 1
A
B
the ground of
all
accord,'
plead Hortensio's passion
to
fa ut,
sol re,
Call
long ago.
*
;
Bianca, take him for thy lord,'
mi,
'
my gamut
past
\Reads~\
am
re,
am
Yet read the gamut of Hortensio.
Hortensio.
la mi,
you
that loves with
'
this
shew pity or I
gamut ? tut
Old fashions please
To change
At
affection
all
one clef two notes have
'
me
present
we
die.'
I
best
true rules for
odd
like
I
am
it
not
not so nice
inventions."
are concerned but with the intro-
duction of the lute, and the delicate allusions to
tuning
difficulties,
its
but the introduction of the gamut
a vocal point which will be touched upon in con-
is
nection
with the songs
in later
chapters,
and the
" lessons in three parts" are also connected
more
closely with the vocal than with the instrumental

side of the subject.
It
was not unnatural for Shakespeare to use vocal
figures in the lute lesson, for the lute
was almost
always used as the accompaniment of song

sixteenth and seventeenth
faing
centuries
in the
but the sol-
and the vocal gamut had nothing to do with
the instrument
itself
of its own, different
in fact the lute
had a notation
from that of other instruments,
a notation which has become utterly obsolete to-day.

1
See Chapter VI. for explanation of the vocal terms here used.
*THE LUTE -PLAYER.

From
the painting by A. Seifert.
"Henry VI."
In
(Part
Act
I.
speare uses the lute as a simile

tion
5I
Shake-
Sc. 4)
i.
which deserves atten-
he causes Talbot to soothe the dying Salisbury
with
" Salisbury, cheer thy spirit with this comfort;
Thou
shalt not die, whiles
He
beckons with his hand and smiles on me

As who would say, When I am dead and gone,
'
me on the French.'
and Nero-like,
Play on the lute, beholding the towns burn
Wretched shall France be only in my name."
Remember
Plantagenet,
This
"
ing,
the
is
avenge
to
will
truer to history than the well-known say-
Nero
Romans
fiddled while
Rome was
burning,
,,
for
possessed no instrument resembling the
fiddle,
but they had some instruments akin to the
lute.
In
"Much Ado About Nothing"
Sc. 2) Claudio jests at
dwindling
is
now
stops."
spirits
"
Nay, but
his jesting spirit
crept into a lute-string, and
These are not
(Act
iii.
Benedick and speaks of his
all
which
now governed by
of Shakespeare's allusions
to the instrument, but they are the
most important.
Occasionally, as above, he speaks intelligently of the

strings of the instrument, apart
from the
rest, as, for
example, Cloten's rough allusion in " Cymbeline" (Act

ii.
iv.
Sc. 3), or in the tent scene in " Julius Caesar " (Act
Sc. 3).
The
in Shakespeare's
lute-strings
were apt
to
be present
mind as separate from the
instru<
52
was a dainty custom of the Elizabethan
ment, for
it
court
make especial gifts of

many an Elizabethan
to
Year's Day,
up a packet
these.
On New
gallant
would do
of lute-strings with pretty ribbons, con-
poem among them, and send it as a

valentine to his lady-love.
The queen
ceal a
of
greatly regarded these presents, as they
species
herself
became a
double tribute to her personal attractions and her

musical
abilities.
A very different
use of the lute-string was
As
the barbers in the Elizabethan days.
hang a
often dentists, they would
made by
they were
lute-string
fes-
tooned with the teeth they had drawn, in their shop-
windows.
This lute-string was usually one that had
been broken, by some impatient

playing the
instrument
Ben Jonson
shop for the use of the public.

to this custom, when, in "
Sc. 2),
iii.
customer,
The
Silent
Truewit joins with Morose
may
barber, and wishes that he
and add them to the
lute-string
"
"
of
the neatest
allusions
instruments in Shakespeare
is
the
(Act
in cursing the
draw
his
own
teeth
But Shakespeare
utility.
to the strings of
found in the First
"King Henry IV." (Act

Sc. 4), where
Henry says, regarding his companionship with
Part of
Prince
alludes
Woman "
does not allude to this side of lute-string
One
while
that always stood in their
drawers (tapsters),
base-string of humility."
ii.
" I
have sounded the very
This
is
not so very unlike
the playful
complaint that
garding his
own
roundings.
He
contrabass
With
is
Chopin once made
delicate nature
said
am
"I
53
among
a violin
re-
coarse sur-
on a
string
one other instrument (since
allusions to
make a mere
unnecessary to
it
catalogue of instru-
mental references, which can be found in any Concordance)
we
(Act-iv. Sc.
Alonzo says
"
The
thunder,
That deep and dreadful organ
The name
This simple
appear at
of Prosper
sentence
first
pipe,
did bass
in
pronounced
my
trespass."
more than might
shows how
It
into
poetry in
assimilative mind.
Dallam set up,

first
it
contains
sight.
transmuted themselves
receptive and
In " The Tempest
leave this subject.
i)
all
that
things
most
In 1605, Thomas
King's College, Cambridge, the
complete two-manual organ of England.
were some tremendous pedal pipes,

believe)
still
All England, or at least the musical part of

in
Furnivall, "
thereafter,
this great
instrument.
The Tempest
"
it,
was
According to
was written very soon
and consequently we find the " deep and
dreadful organ pipe " preserved to posterity in a
more imperishable
In
it
the deepest register of the instrument.
in
interested
In
used (we
still
play.
"King John '^ there
is
a less important allusion
54
Prince Henry, on being informed that
to the organ.
the dying king had attempted to sing, says (Act

Sc. 7)
" 'Tis strange, that death should sing.
I
am
v.
the cygnet to this pale faint swan,
Who
chants a doleful
hymn
to his
own death
And, from the organ-pipe of frailty, sings

His soul and body to their lasting rest,"
the voice of the king here being the "organ pipe

of frailty."
In
Induction
the
"Henry
to
IV.,"
Part
II.,
Shakespeare alludes to "a pipe" without specifying
its
kind
here, however,
an instrument
is
evi-
dently meant.
Rumour
speaks
"
Blown by surmises,
And
Rumour
is
a pipe
jealousies, conjectures
of so easy and so plain a stop,
That the blunt monster with uncounted heads,
The
Can
still-discordant
play upon
Even the
wavering multitude,
it."
cases of musical instruments are some-
times spoken of by Shakespeare,
when
the boy in "
Henry V." (Act
as,
iii.
example,
for
Sc. 2) speaks
of the propensity of Falstaffs followers to steal, even

at a loss,
from the mere habit
" They will steal anything, and

stole a lute-case,
half-pence."
bore
it
Bardolph
call it purchase.
three leagues and sold
it
for three
Or
FalstafF s description of Shallow ("
Part
I.
The
Act
iii.
Sc. 2),
when he
case of a treble hautboy
55
Henry
IV.,"
says
was a mansion
for him, a
court."
In

to the masked Don Pedro
Hero says
(Act
:
"
that the lute should be like the case."

part of any musical
Sc.
1)
In
fact,
no
instrument of the poet's time
seems to have been too humble for him

metaphor from.
ii.
God defend
to
draw some
CHAPTER
IV.
in Shakespeare's Time The Great

Famous English Composers Status of
Allusions to Musicians
Musicians Shakespeare's
Brandt's " Ship of Fooles Musical Servants.
The Musical
Life of
England
Contrapuntal Epoch
Satirical
"
So much has been
said
and written about the
liter-
ary activity of Shakespeare's time that the "Eliza-
bethan poets" have become a standard subject with
which every schoolboy

is
acquainted, and the epoch
is
accepted as one in which essays, poems, dramas,
etc.,
flourished as never before.
the justice of this estimate, one
Without impugning
may
regret that
it is
too often allowed to overshadow the great musical
advance which took place

cobean times.
in the
The names
of
Elizabethan and JaSpenser, Massinger,
Beaumont, Bacon, Sidney, Fletcher, Marlowe, Jonson

(not
to
speak of the greatest of them
all),
are on
every tongue, but those of Farrant, Weelkes, Morley,

Byrd, Orlando Gibbons, Dowland, Bull, Ravenscroft,
Tye,
Tallis,
sical roll of
Wilbye, Forde, and others, form a mu-
honour that ought not to be thrown into
the background by the

great
name
list
of literati ; in fact,
if
the
of Shakespeare be eliminated, the musical

56
list
may
balance the poetic one.
England's greatest contrapuntal

of the madrigal in
religious
seemed
from
was the era of
It
activity,
a short time England
for
to wrest the sceptre of musical
But the
Italy itself.
with the greatest poet of

chief musical genius,
of generations later.
the epoch
best state, the age of noble
its
composition
$?
time, while England's
all
Henry
supremacy
was crowned
literary list
Purcell,
came a couple
In tracing the musical
of this time, however,
life
one must carefully discriminate between the creator
and the mere performer of music
seem
to have
ticularly as
been held
Henry
the composers
in considerable esteem, par-
VIII.,
Edward
and Queen Elizabeth were
VI.,
Queen Mary,
and
all
practical musicians
lovers of the art of music.
The average performer
was not prized so
It is
almost
all
either as
highly.
a significant fact that
of Shakespeare's musicians are pictured
Bohemians or vagabonds.
We
alluded to Mercutio's indignation at
with "minstrels."
have already
being classed
More than once does our
poet
sneer at his musicians and set their songs in a frame

of satirical
site
comment.
Note, for example, the exqui-
sarcasm of the following scene
About Nothing," Act
ii.
("
Much Ado
Sc. 3)
1
The influence of Shakespeare upon Purcell was nevertheless a
marked one.
* James I. was, howei^r, not a musical monarch.
58
"
Don
Enter Balthazar with Music}
Come, Balthazar, we'll hear that song

good my lord, tax not so bad a voice
To slander music any more than once.
Pedro.
Don
To
I
Pedro.
It is the
witness
of excellency
still
own perfection
me woo no more.
put a strange face on his
pray thee, sing, and
To
many
let
Because you talk of wooing,
Balthazar.
Since
a wooer doth
commence
her he thinks not worthy
Yet
will
Don
again.
Balthazar.
he swear, he
yet he
I will
sing:
his suit
woos
loves.
Nay, pray thee, come
Pedro.
Or,
if
thou wilt hold longer argument,
Do
it
in notes.
Note
Balthazar.
this before
my
notes,
There's not a note of mine, that's worth the noting."
Don
Why these are very crotchets
Pedro.
that he speaks
Note, notes, forsooth, and noting

Benedick.
Now,
'
Divine
air
[Music.
!
'
now
is
his soul ravished
The Folio has it " Enter Prince, Leonato, Claudio, and Jacke
Wilson" which has led to considerable inquiry as to who Jacke
Wilson might have been. It has been suggested that he may have
been the celebrated Dr. John Wilson, of Oxford. The very name
" Balthazar," however, is thought to be derived from an actual
person, Baltazarini (de Beaujoyeux), a prominent composer at the
(See Furness, Variorium Edition,
court of Henry III. of France.
Vol. XII., page 109, for a collation of authorities about " Jack
1
Wilson.")
2
The ways of the " Shakespearian commentator " are strange
and wonderful. It has been suggested, because of this passage,
that the title of the play may have originally been, "Much Ado
About Noting I " The pronunciation of " nothing " in Shakespeare's
time was given with the long O,
"no thing."
" Crotchets,"
a musical pun.
term for the quarter-note.
The "crotchet"
is
the English
Is
it
59
not strange, that sheep's guts should hale souls out of
men's bodies ?
Well, a horn
for
my money, when
Balthazar
Sigh no more
Balthazar.
Men were
One
all's
done. 1
Sings.
ladies, sigh
no more,
deceivers ever
foot in sea, and one on shore,
To
one thing constant never
Then
sigh not so,
But let them go,

And be you bly the and bonny
Converting all your sounds of woe
Into hey nonny, nonny.
n.
Sing no more
Of dumps
The
ditties,
sing no
mo
so dull and heavy
men was ever so,

summer first was leavy.
Then sigh not so, etc."
fraud of
Since
After his song Balthazar again seeks to
many compliments
pump
out
performance as possible,
by exhibiting the "pride that apes humility ;" a
as
for his
better example of the musician " fishing for compli-
ments " than the foregoing and the following can

scarcely be imagined
1
The horn was not admitted
held to be a vulgar instrument,
Even
in
to " consort " in this epoch.

fit
only for hunting and
Handel's time this prejudice against the
instruments
still
existed.
It
was
field sports.
finest of brass
6o
"Don
By my troth, a good song.

And an ill singer, my lord.
Ha? no; no, faith; thou singest
Pedro.
Balthazar.
Don
Pedro.
well
enough
for a shift.
Benedick. [Aside] An he had been a dog, that should

have howled thus, they would have hanged him and I pray
God, his bad voice bode no mischief! I had as lief have
;
heard the night-raven, come what plague could have come

after it."
"As You
In the second act of

in the forest
musical
Like
Arden) there
of
is
comment around a song
(Scene
It "
5,
a framework of
that
is less
deroga-
tory to the vocalist.

" Enter Amiens, Jaques,
and others.
song. 1
Under the greenwood
Amiens.
Who
And
loves to
tree
with me,
tunes his merry note
Unto
Come
lie
the sweet bird's throat,
hither,
Here
come
shall
hither,
come
hither;
he see
No enemy,
But winter and rough weather.
More, more,
Jaques.
Amiens.
It will
Jaques.
1
thank
This has received
sers.
The
Shakespeare.
page
pr'ythee, more.
it.
More,
many
settings
pr'ythee, more.
Jaques.
can suck
by post-Shakespearian compo-
oldest music attached to the verses, very popular in the

is here printed, and was very probably used by
(See Chappell's " Collection of National English
seventeenth century,
Airs,"
make you melancholy, Monsieur
62.)
6l
melancholy out of a song, as a weasel sucks eggs: More,
prythee, more.,
Amiens.
My
voice
is
ragged;
know,
cannot please
you.
I do not desire you to please me, I do desire you
Come, more another stanza Call you them stanzas ?
Amiens. What you will, Monsieur Jaques.
Nay, I care not for their names they owe me
Jaques.
nothing Will you sing ?
Amiens. More at your request, than to please myself.
Well, then, if ever I thank any man, I'll thank
Jaques.
you but that they call compliment, is like the encounter of
two dog-apes and when a man thanks me heartily, methinks
I have given him a penny, and he renders me the beggarly
thanks. Come, sing; and you that will not, hold your tongues.
Sirs, cover the while,
Amiens. Well, I'll end the song.
the duke will drink under this tree:
he hath been all this
day to look you.
Jaques. And I have been all this day to avoid him. He
Jaques.
to sing
is
too disputable for
ters as
them.
he
but
give
my company
I think of as many matHeaven thanks, and make no boast of

:
Come, warble, come.

SONG.
Who
And
doth ambition shun,

loves to live
i'
[All together
here.
the sun,
Seeking the food he
eats,
And pleased with what he gets,

Come hither, come hither, come hither;
Here
shall
he see
No
enemy,
But winter and rough weather.
Jaques.
I'll
give you a verse to this note, that
terday, in despite of
my
invention.
made
yes-
62
And
Amiens.
Thus
Jaques.
sing
I'll
it.
goes
it
it do come to pass
That any man turn ass,
Leaving his wealth and
If
ease,
stubborn will to please,
Ducdame, ducdame, ducdame;

Here shall he see
Gross fools as he,
An
he
will
come
to
What's that ducdame ?

Greek invocation
Amiens.
'Tis a
Jaques.
I'll
if
go sleep
if I
can;
if I
cannot,
me.
to call fools into a circle.
I'll rail
against
all
the
first-
born of Egypt.
Amiens.
And
go seek the duke; his banquet is

[Exeunt severally."
I'll
prepared.
we have Shakespeare
jesting at the meaningless character of many burdens.
Hanmer, who has given some dainty touches to
Shakespearian readings (as we shall see in connection
In the refrain, " Ducdame,"
with Cloten's serenade, in " Cymbeline

that
me"
"ducdame"
is
suggests
merely a misprint for "due ad
and he is very probably

That Jaques endeavours to pass off his
Greek is only a furtherance of the jest.
("bring to me"),
correct.
Latin for
is
by no means unani-
The amount
of debate regarding
But Hanmer's suggestion

mously accepted.
"ducdame"
If
"),
is
out of
all
proportion to the subject.
the reader cares to examine the Variorum Edition
63
UNDER THE GREENWOOD TREE.*

Smoothly and Rather Slow,
$7TN
:
fig:f
gg
Rr.r
r.
^^
h^rry
-y - T * 7gn ^
1
Whoo
Under the Greenwood Tree
Pd
loves to lie with
(gig
me
And
T^-
Fine.
B55
*fc
**
tune his
^s
5PPI
f-f
Un
mer - ry note
m fM?^ IrF
to the sweet bird's throat.
b'-r
^rr^rr ^B i
Here he shall see No
Come hither,comehither,come hith - er,
^g4
PS
4 ~V
*=^=S
z?.c.
PP
en
5=^ 91 *
e-my,
*-i g
No
en
=tll
e- my, But win-ter and rough weather.
U êra/E=p^pp
*The oldest setting of these words.
17th century.
\
The melody very popular in the
64
VI II., pages
(Furness), Vol.
be astounded
upon
at the
this single
97, 98,
amount
word
and 99, he will

commentary
of learned
and Mr. Furness has con-
densed his material in a surprising and commendable

degree.
few of the theories may be
Capell says
hither,"
it
and that
it
should have read
Farmer suggests that

occasion,
cited here
"come
"hucdame; *
a free Latinisation
is
a word coined for the
is
it
of
and suggests an extra rhyme with
" Ducdame', ducdame', ducdame*,
Here he
shall see
Gross fools as he,
An
he
if
will
come
to
Ami!"
the last mysterious word meaning Amiens.
Steevens quotes an irrelevant old ballad with

" Duck, duck, duck,
Dame, what makes your
sounding the
"
ducdame
final
"e"
in
chicks to cry,
dame, as
all
agree that
was used by Jaques as a trisyllable.

Knight believes the word to be a duck-call rather
"
than Latin.
Collier thinks
undiscovered song.
of evidence in the
it
the burden of some old,
Halliwell adds a very slight bit
same
direction
by discovering a
similar refrain, " Dusadam-me-me," in a version of
" Piers Ploughman," in the Bodleian Library.
ton believes
it
a coined word.
and Queries," October
8,
Staun-
" A. A." in " Notes
1859 (quoted by Furness),
believes
it
65
be " Due da me," meaning " Lead him
to
from me," the "da" being
and the sentence
Italian,
showing Jaques to be just the opposite of Amiens,

" Come hither."
Another commentator
with his
may be merely an imitation of

A patriotic Welshman puts
"Dewch da mi," which, it appears,
thinks that the word
the twang of a guitar.

in a plea for
"
means
Come
with (or " to ")
lenge similar to "
Come,
if
me "
in
Welsh
a chal-
Another sug-
you dare."
gests that the end of the word, "ame,"
is
French,
and should be "Ami," and should make a pun on

"
Amiens
We
" and "friend
"
!
have strayed a moment from our musical
topic, but
the illustration of the fearfully wide scope
of Shakespearian
Nor
over.
comment
is
too odd to be passed
exhausted, for no-
are the possibilities
body has yet suggested that

d'Ami," and that Jaques
usurp the dukedom
damme," and
is
it
proposing to Amiens to
or that
that Jaques
is
might mean " Duke
it
might be " Deuce
swearing at the host of
commentators who are to analyse
new
song
his
in every
edition of Shakespeare
In this same comedy of

can find a
"As You
satirical allusion to
Like
It,"
we
the vocalist, as severe,
and unfortunately as true to nature, as the excerpt

from "
Sc.
3,
Much Ado About
and
is
Nothing."
It is in
Act
v.
a very effective bit of sarcasm directed
against those singers (there are a few
still
extant)
66
who make many
apologies
* Shall
or saying
and
before beginning,
require urging to their task, for the First
Page says
we clap into 't roundly without hawking or spitting,

we are hoarse/ which are the only prologues to a
bad voice ? *
Perhaps the most forcible sarcasm against the

musician
time
it
is
is
singer.
"Romeo and
found in
Juliet,"
and
this
directed against both instrumentalist and
It is
where the wedding
festivities of Juliet
with Paris are suddenly interrupted by the supposed
The
death of the bride.
musicians show a most
lous disposition in the matter
cal-
they have been sent
for to play at a wedding, they will probably be called
upon to perform
very
at the funeral,
to them.
little
and
it
seems to matter
may be added
It
that Peter
seems as unconcerned as they, and Shakespeare has

been
criticised for allowing so light
such heavy events;

palliation, that
in a trance,
it
the audience
and the dramatic
by the following passages

" First Musician.
a touch to follow
has, however,
'Faith,
know
been urged
that Juliet
is
in
but
unities are not disturbed
of wit (Act
iv.
we may put up our
Sc. 5)
pipes,
and be
gone.
Honest good
Nurse.
For, well you know, this
Second Musician.
amended. 1
1
fellows, ah, put up, put up,

is
Possibly a feeble
[Exit.
pitiful case.
Ay, by
my
pun on
troth, the
case
his instrument-case.
may be
67
Enter Peter.
'
musicians,
O, an you will have
Why
First Musician.
Peter.
heart
Musicians,
Peter.
ease
is full
of wo
You
Heart's ease
my
will
I will
then give
plays
'
My
no time
'tis
to play
now.
it
you soundly.
give us ?
but the gleek
Then
Peter.
your pate.
:
itself
will give
minstrel.
Then
First Musician.
you
heart
Not a dump we
not then
What will you

No money, on my faith
Peter.
heart's
ease,
Heart's ease.'
O, play me some merry dump, to comfort me.
'
First Musician.
you the
Heart's
No.
Musician.
Peter.
play
live,
musicians, because
Second Musician.
Peter.
me
Do
will
give you the serving-creature.
will I lay the serving-creature's
carry no crotchets:
I will
dagger on
111 're* you,
I'll
'fa'
me ?
you note
First Musician.
An you
re ' us, and fa us, you note us.

Pray you, put up your dagger, and put
Second Musician.
'
out your wit.

Peter.
Then have
at
like
my
you with
my
with an iron wit, and put up
wit
will dry-beat
iron dagger
you
Answer me
men
When
And
griping grief the heart doth wound,
dumps
doleful
Then music
the
mind oppress,
with her silver sound
Why, silver sound?' why, music

What say you, Simon Catling?
*
First Musician.
Marry,
sir,
with her silver sound?'
because
silver
hath a sweet
sound.
Peter.
Pretty
Second Musician.
sound for silver.
Peter.
What
I
Pretty too 4^
say you,
say,
What
Hugh Rebeck t
silver sound,'
because musicians
say you, James Soundpost ?
SHAKESPEARE IN MUSIC,
68
Third Musician.
Peter.
O,
say for you.
Faith,
know
not what to say.
cry you mercy! you are the singer;
It is
'music
will
with her silver sound,' because
such fellows as you have seldom gold for sounding
Then music, with her silver sound,

With speedy help doth send redress.'
\Exit singing.
First Musician.
Second Musician.
What a pestilent knave is this same ?

Come, we'll in here
Hang him, Jack
!
tarry for the mourners,
and stay dinner.
[Exeunt."
THE OLD MELODY OF "HEART'S-EASE."

(Probably composed about
1570.)
Slow.
?=j
m
r-^f<^r
m--
rr
away with sport and playe Pastime
Singe care
ft
pleasure.
our
-M*.
f^-rî
Yf
we
For
well
fare,
naught
i=*
-*-+
VTf
we care, In mearth consists our
mÊt
^ran
JN4#-#-
-**-
*c
treas
all
W:
*=
$*
is
ure.
ÊB
Let
lur - ges lurke
and
druges worke,We
-T
fr
6g
t=t
-* Pdo
slave-rye
de-fie their
He
is
but a foole that
Be
f=*
This entire scene was possibly a sort of entr'acte
such as
explained in Chapter XIII.
is
(alluded to in
inal Peter,
and
him
to display
this
It is
was adhered
possible " gags "
all
orig-
badinage was probably intended
at his best.
that the exact text
would add
Kempe
Will
the chapter on dances) was the
by no means certain
to,
Kempe
for Will
and interpolations.
There are many other points of explanation necessary to
" Heart's-ease "
the above scene.
favourite tune of the time, the
"My
append.
heart
is
full
of
melody
of
was a
which we
woe" was
the bur-
The Two
movement
den, or refrain, of another song of the day, "
Lovers."
1
The
first
" Complaine,
He
dump was
stanza ran
my
a melancholy
Lute, complain on him, that stayes so long
promised to be herlêre
this,
but
still
unkind doth stay
away
70
(see chapter
on dances), and a merry dump would
have been as paradoxical as a frolicsome hymn.
"When
poem,
sung as well as declaimed
work
cal setting, is the
of the Children of the
We
beth's reign.
The
Griping Grief" (which was probably
and
in this scene),
its
musi-
of Richard Edwards, Master
Royal Chapel,
give the
poem
Queen
in
in full,
and
Eliza-
also its
music.
The satire of the scene is not directed against
the music, but rather against those "intention-finders "
who seek
for
ever dreamed
more
of.
in a poetic line
might learn a lesson from

study
it
than the writer
Some Shakespearian commentators

this scene,
The
in this light.
original
if
they chose to
poem runs
"Where gripinge grefes the hart would wounde,

And dolefulle dumps the mynde oppresse,
There musicke with her silver sound
With spede is wont to send redresse
Of troubled mynds, in every sore,
Swete musicke hath a salve in store.
"In
joye yt
maks our mirthe abounde,
In woe yt cheres our hevy sprites
Be-strawghted heads relyef hath founde,
By musickes
pleasaunt swete delightes
Our senses all, what shall I say more ?

Are subjecte unto musicks lore.
But now the proverbe true
I finde,
mind.
Hey ho
My
heart
is full
of woe."
once out of
sight,
then out of
*
71
The Gods by musicke have theire prayse

The lyfe, the soul therein doth joye
For, as the Romayne poet sayes,
;
In seas,
whom
pyrats would destroy,
dolphin saved from death most sharpe
Arion playing on his harpe.
"
heavenly gyft, that rules the mynd,
Even
as the sterne dothe rule the shippe
musicke,
To
whom
the
Gods assinde
comforte manne,
What
whom
cares would nippe
man and
beste doest move,

"
beste ys he, wyll the disprove ?
Since thow both
A SONG TO THE LUTE
IN MUSICKE.
Richard Edwardes.
-jhJ-ri
J,
-(22-
Where grip-inge
grefes
the hart would
ê
EpEE
W?3g
And
dolefulle
wounde,
^xfej
w TT
dumps the mynde
<^
m.
m z^mi
W&
-&-
-&-
fop-presse
There musicke
1 p
SHAKESPEARE
72
-j j, j
M
r'r*f f
her
sil
ver sound Withspedeis wont
jO.
MUSIC.
w-
with
/AT
r-
p
m-
^^=
st
i ttg- &send re
-z?
:ig:
dresse
Jf
tro-bled
J-,
-^
mynds, in ev
-i-J
e-rjr
-<S-
to
SEE
sore,
:^:
IS:
Swete mu-sicke hath
5sr.
salve
#*
in
1
store.
P^
-<-?-
In Peter's condescending reply to James Soundpost,
we
vocalist.
find
another Shakespearian fling at the
Even
in the Elizabethan epoch, although
the education of the singer was more rigid than
it
is
nowadays, there were often found persons endowed
by nature with a beautiful voice
(or a
high one), whose
education never extended any higher than their throat.

It is
to
against such ignorant ones that the shaft seems
be aimed
Peter takes
it
as a matter of course that
the singer
duller than the
is
73
In
other musicians.
taking this direct view of the meaning of the remark,
we
are obliged to differ from the ingenious solution
offered
by Richard Grant White (Houghton,
Company's
edition),
are the singer "
the violin
which
shows
est string of the instrument
was
After
all this
"
You
under the high-
that the
explanation, one
Never was a
Even to-day there
far afield.
who
called the Cantore, that
of it?"
&
Mifflin
that Shakespeare understood
that the soundpost stands
violin
"What
that the phrase
is
is
string of the
the " Singer
is,
tempted to ask,
little jest
pursued so
exist plenty of singers
couid stand as " terrible examples " of Shake-
speare's meaning.
It
may be
with the status
recalled, in connection
of the Shakespearian musicians, that Prince

Falstaff's
ii.
Sc.
" a sing-
"Henry
ing-man of Windsor" (Second Part,
Act
Hal broke
head for comparing his father to
IV.,"
i).
Regarding the low degree of the itinerant musician,

Naylor
("
Shakespeare and Music,"
following passage from Brandt's
the famous satirical

(since the
poem
p.
96) quotes the
"Ship
written
in
of
Fools,"
1494, which
English paraphrase was written several
years later) shows the estimation in which musicians
were held
"
The
at the
beginning of the sixteenth century
Furies fearful, sprong of the floudes of hell,
Bereft these vagabonds in their mindes so
CJS
SHAKESPEARE IN
74
MUSIC.
That by no meane can they abide ne dwell

their houses, but out they nede must go
More wildly wandering thon either bucke or doe.
Within
Some
with their harpes, another with their
Another with his bagpipe, or a foolishe
lute,
flute."
This, to be sure, treats of serenaders, but regular
musicians were
One can
among them.
find traces of mediaeval
contempt for the
many
laws fulminated
wandering musicians
the
in
against
them
turies.
The gleemen and wandering
in
the thirteenth and fourteenth cen-
as Autolycus, in " Winter's Tale
abused, robbed, or even
be obtained.
England,
they might be
and no redress could
killed,
In York,
in old
"),
had scarcely any rights whatever
minstrels (such
Canterbury, and
Chester,
Beverly, the minstrels established guilds to protect
For a graphic picture
themselves.
state
of
we must
the minstrel
of
the helpless
in England, in
early times,
refer the reader to
dours and
Rowbotham's " Trouba-
Courts of Love;"
we
cite
the
case
here only to show that there was good cause for

the humble status of the musician in the Elizabethan
era
it
was
an
inheritance
from
bygone
times.
Singular to relate, some of the English laws against
wandering musicians, having

have never been repealed
1
it
fallen into desuetude,

is
barely possible that
See also Chappell's ** National English Airs," Percy's

and Ritson's " Collection of English Songs."
liques,"
Re-
they might be resuscitated, at
moment,
as
f$
some
was the case with another
inopportune
statute, in 18 19,
when a convicted murderer escaped punishment

demanding the right
of trial
ing his accuser
this
(in
by-
by combat, and challeng-
case the counsel
for
the
prosecution) to a battle to the death.
But, as there was a decided difference in station
between the ordinary musician and the composer, so

there
was
to
made between the musician
also distinction
and the amateur.
Every gentleman dabbled
some degree, and,
described in Chapter
was held
to
be necessary
be able to descant, or
add a part to any melody that was sung.

singing confined to the upper classes
old English plays
and
we
find tinkers
and
classes, high
soldiers, in short, all
catch of the tinkers, for example, ran
Now God
The
be with old Simeon,
can,
Sir Knave, to you.
Then, hey ho
I spy a knave
Come
troje the
jolly Jinkin,
in drinking.
bowl to me."
in the
and low,
For he made cans for many a one,

And a good old man was he
And Jinkin was his journey-man,
And he could tipple of every

And thus he said to me
To whom drink you ?
Nor was
tailors, millers
reating themselves with vocal music.
"
music
in addition to the viol-playing

II., it
for every cultured person to
this
in
rec-
especial
76
That servants were occasionally expected

to take part in the
to be able
music of their masters
clearly
is
Pepys seems often to have caused
proved, also.
his
wife and her maid to join with him in song.
The
" musicians" introduced by Shakespeare into
and
his plays are generally of the lower

sort,
less
esteemed
and he often seems to allude to their humble
station either directly or
by innuendo, as
illustrated
above.
Carmen were especially musical.

Part of " Henry IV.," Act iii. Sc.
Falstaff (Second
2)
speaks of Shal-
low hearing " the carmen whistle," and there exists
an old English folk-song, which the early contrapuntists did not disdain to
called
"The Carman's
make
" divisions " upon,
Whistle," which
we
present
herewith.
THE CARMAN'S WHISTLE.
i$4=t^sb
-
-& *fc~-zjr
-h
r=
1=t=t
-
s ^.
TStOt
3.
(2-^gf^F=t
1=fc=t
1=q:
tlE^SEj.
=f
2d-
The words
*=^
0-
^
^r*
melody were rather broad, and do not require reprinting,

since Shakespeare alludes only to the music of the Carman.
to this
f]
Nor were carmen, tailors, and tinkers, the only

A very pretty
practical musicians among the trades.
custom was borrowed from Germany, where,
every 'prentice
times,
diaeval
lad
in
was obliged
meto
learn the melodies which custom had assigned to his
and chant the rhymes reciting the names of
trade,
his tools.
Craft,"
Doloony,
thus
his " History of the Gentle
in
portrays
shoemakers
meeting of
(1598):
"
And coming
in this sort to Gilford, they
were both taken
welcomed by the jorneymen

of that place, especially Harry, because they never saw him
before and at their meeting they askt him if he could sing, or
sound the trumpet, or play upon the flute, or recon up his tooles
in rime, or manfully handle the pike-staff, or fight with sword
and buckler ?
Beleeve me,' quoth Harrie, I can neither
sound the trumpet nor play on the flute and beshroe his nose
for shoemakers,
and verie
hartilie
that
up
made me a shoomaker,
my
for he never tought

"
tooles in rime nor in prose.'
Whereupon Harrie was adjudged an

Fitz-Stephen
London
1
74.
me
to recon
impostor.
describes the joyous music of the
'prentices
and their sweethearts, as early as
Decidedly, the English were a musical people
in ancient
times
more
so than at present.
CHAPTER
V.
"Broken Music"
Time Keeping Harmony Prized
Above Mere Melody The Eighth Sonnet Similar Views of
Browning The Proper Wedding of Poetry and Music "The
Passionate Pilgrim " Wagner and Herbert Spencer on the
Shakespeare's Technical Knowledge of Music
John
Skelton's Diatribe
Union of the Two Arts.
We
now approach
certain
passages written
by
Shakespeare, which indicate that the poet not only

appreciated the
art,
but
quainted with some of

thirty-seven plays
(in
actually
technicalities.
its
this
had become
we
numeration
In
ac-
the
include
" Titus Andronicus ") only five are barren of musical
and "Tarquin and Lu-
allusions, while the sonnets
crece," as well as the "Passionate Pilgrim," possess
some very subtle passages

studying
in
many
relative to the art.
of the passages, the conviction
upon us that Shakespeare was himself a
The
vocal allusions are
surer
more
detailed,
is
In
borne
singer.
and exhibit a
hand than those connected with instrumental
work.
We
have already given
complete
list
of
time, as recited
(in
Chapter
I.)
a tolerably
the instruments of
Shakespeare's
by Michael Drayton.
In that cita-
78
tion,
little
Nay lor,
79
was said of the vocal side
of
in his " Shakespeare and Music " (pp.
music.
66 and
6j), quotes a very interesting set of rhymes from John
Skelton, which allude to the vocal as well as the
instrumental side of the musical
Henry VIII.
in
of the time of
John Skelton was one of the coarsest
of the poets of a very coarse
him again
life
epoch (we
shall read of
connection with the bacchanalian music
of the time), yet, as
he was tutor to Henry VIII., was
allowed unchallenged to assume the
titles of
" Poeta
Laureatus " and " Orator Regius," and was praised
by the great Erasmus as a

his lucubrations
lived a
most
his time
poem
(?)
may
literary light of
litigious life, a veritable
and
Dean Swift
He
of
because of this that the subjoined
it is
exists.
England,
not be slightingly rated.
sneered at Skelton's
fashionable music
mode
of
life
(he
teacher had
was persona non
grata to many), and Skelton replied in his usual
in-
vective, sneering at the musician
"
With hey
troly loly, lo whip here Jak,

Alumbek, sodyldym syllorym ben, 1
Curiously he can both counter and knak,
Of Martin Swart, and all his merry men
Lord, how Perkyn is proud of his Pohen,
1 "
Hey Troly Loly " is the old refrain which afterward became
" tol de rol " in drinking songs.
It is an old Scottish exclamation
similar to " alack-a-day."
Possibly the second line is also a refrain.

" Rumbill-down, tumbill-ctown " may admit of a similar explanation.
80
But ask wher he findeth among
"
monachords
holy-water-clark a ruler of lordes.
He
He
He
cannot fynd
it
in rule nor in space,
solfyth too haute, hys trybyll
He trymmeth
His descant
Too
He
is
too high,
braggyth of his byrth that borne was
Hys musyk withoute mesure,
"
his
An
too sharp,
full
is his
base,
'
my,'
in his tenor to counter pardy,
is
besy,
it is
fat is his fantsy, his
without a mene,
wyt
is
too lene.
tumbryth on a lewde lewte, Rotybulle Joyse,
Rumbill downe, tumbill downe, hey go, now now,
He
It
fumblyth in his fyngering an ugly rude noise,
seemyth the sobbyng of an old sow:
He wolde be made moch of, and he wyst how

Well sped in spindels and tuning of travellys
bungler, a brawler, a picker of quarrels.
" Comely he clappyth a payre of clavicordys
He
whystelyth so swetely he maketh
His discant
Further on he adds
"
to swet,
For lordes and ladyes lerne at his scole,

He techyth them so wysely to solf and to fayne,
That neither they sing wel prike-song nor plain."
We
shall
find the
vocal expressions of
meaning of almost
this
Shakespearian citations
poem
the
the
clavichord was an
virginals, with the
in
all
of the
the subsequent
instruments have
ready been spoken of in Chapter

tions
me
dashed full of discordes,

red angry man, but easy to intrete," etc.
is
I.,
al-
with two excep-
instrument like the
important exception that the tone
GUIDO OF AREZZO AND HIS PROTECTOR, BISHOP THEODAL,

WITH THE MONOCHORD.
was produced by push
of a
sharp-edged tangent
against the string, instead of the pluck of a quill
the
"monochord" (Skelton
aid his pun, "
monachi
" or
spells
it
" monachord " to
monks) was the progeni-
tor of clavichords, spinets, virginals, in short, of
instruments of the piano family.
It consisted of a
single wire (sometimes of two), under
able bridge
was
all
which a mov-
and the string thus made
placed,
longer or shorter, the tone higher or lower, as the
performer desired.
It
was plucked with a
plectrum, as the mandoline
r-
the
is
or
give a
his
We
Bishop Theodal, with a monochord.
need only to add that " Rotybulle Joyse "

of
quill
We
nowadays.
Guido of Arezzo and
very ancient picture of

patron,
is
title
an old song of the time.
The employment
of
instruments,
the
accompanying vocal music, or
either
in
in purely instrumental
forms, had one peculiar restriction, in the sixteenth
and seventeenth centuries.
It
was the habit
ing each family of instruments by

sort."
itself in
Thus there could be "a consort
of keep-
a " con-
of viols," a
" consort of hautboys," but
if one kind of instrument

entered into a " consort " of other instruments than
those of
its
own
family the result was called " broken
music."
1
See Chapter
I.
"
also " Proceedings of the Musical Association
(London), 12th session, 1885-86,

subject.
p. 41, Sir
G. A. Macfarren on this
82
More
than
once
"broken music."
Sc.
iii.
i ),
we
"Pandarus.
company
Shakespeare
Ioes
allude
to
In "Troilus and Cressida" (Act
find the following
Fair be to you,
my
especially to you, fair
queen!
lord,
and
to all this fair
measure, fairly guide them
fair desires, in all fair
thoughts be your fair
fair
pillow
Helen.
Dear
lord,
you are
full
You speak your
Pandarus.
of fair words.
fair pleasure,
sweet queen.
good broken music.

Paris.
You have broke it, cousin and, by my life, you
shall make it whole again; you shall piece it out with a piece
Fair prince, here
is
of your performance
Pandarus.
he
Nell,
is full
of harmony.
Truly, lady, no."
Richard Grant White considers Shakespeare occasionally to
have meant part-music when speaking of
broken music, and imagines

case, but the
applied
so
it
weight of evidence
is in
in
this
favour of the
explanation given above.

It is
natural enough that the great punster should
not have omitted the chance to
words whenever he uses

V., in his
(Act
"
this
\iave
metaphor.
his play
upon
King Henry
wooing of Queen Katharine, speaks thus
v. Sc. 2)
Come, your answer
in
broken music
music, and thy English broken

arine,
make
break thy mind to
me ? "
me
in
therefore,
for thy voice
queen of
broken English.
all,
is
Kath-
Wilt thou
In
"As You
Like
It,"
Act
i.
Sc.
2,
83
Rosalind pun-
ningly speaks of the wrestling, in which the duke's

wrestler has broken the ribs of three opponents
" But
sides
I,
is
there any else longs to see this broken music in his
Naturally enough the poet draws
from the tuning of instruments.

heart-strings
that
we
"
in "
Lucrece," in a passage
so embroidered with musical metaphor that
is
give
'
spoken of
is
many metaphors
The tuning of
entire
it
You mocking
birds,' quoth she, your tunes entomb

Within your hollow swelling feather'd breast,
And in my hearing be you mute and dumb
(My restless discord loves no stops nor rests;
A woful hostess brooks not merry guests :)
Relish your nimble notes to pleasing ears
'
Distress likes
dumps when time
is
kept with tears.
" Come, Philomel, that sing'st of ravishment,
Make
As
the
So
And
thy sad grove in
dank earth weeps

at
each sad strain
my
dishevel'd hair.
at thy languishment,
will strain
a tear,
with deep groans the diapason bear:
For burthen- wise I'll hum on Tarquin still,

While thou on Tereus descant'st better skill.
"
And whiles against a thorn thou bear'st thy part,

To keep thy sharp woes waking, wretched I,
To imitate thee well, against my heart
Will
fix
Who,
a sharp knife, to affright mine eye
if it
win^, shall thereon
fall
and
die.
84
These means, as
upon an instrument,
frets
Shall tune our heart-strings to true languishment.
"
And
poor bird, thou sing'st not
for,
in the day,
As shaming any eye should thee behold,

Some dark deep desert, seated from the way,
That knows not parching heat nor freezing
Will we find out and there we will unfold
cold,
To
creatures stern, sad tunes, to change their kinds
Since
men
prove beasts,
let
beasts bear gentle minds.'
"Discord," "stops," "dumps," "rests," "diapason
"
(the fundamental bass in this case), "burthen-wise"
(containing a burden), "descant," "bearing a part,"
" frets,"
and " tuning
poem where music
"
Rarely can one find a
so
heavily
is
drawn upon
for
similes.
complement
fitting
strings
is
tuning with heart-
to this
found in the stringing of Orpheus's lute
with poets' sinews.
Gentlemen
of
The
Verona
simile
" (Act
iii.
is
found
Sc. 2)
in "
Two
where Proteus
hypocritically gives advice to Thurio as to the best
mode
wooing
of
certed music
Sylvia.
It will
again alluded
is
be noticed that con-
and again we meet
to,
with that slow dance or song, called the

1
*'
In this connection the description of John of Gaunt's death
Richard
"
"dump"
II.,"
Act
ii.
Northumberland.
Sc. 5,
My
liege, old
Gaunt commends him
majesty.
King Richard.
What
Northumberland.
His tongue
is
now
in
may be mentioned
says he
now ?
Nay, nothing
all is
said
a stringless instrument."
to your
preceding chapter,
(see
and
also
85
chapter
the
on
dances).
Say, that upon the altar of her beauty
" Proteus.
You
sacrifice
Write
Moist
till
your tears, your sighs, your heart
again
it
and with your tears

and frame some feeling line,
your ink be dry

;
That may discover such integrity

For Orpheus' lute was strung with
poets' sinews
Whose golden touch could soften steel and

Make tigers tame, and huge leviathans
stones,
Forsake unsounded deeps to dance on sands.

After your dire lamenting elegies,
by night your lady's chamber window

With some sweet concert to their instruments
Tune a deploring dump the night's dead silence
Will well become such sweet complaining grievance.
Visit
This, or else nothing, will inherit her.
This discipline shews thou hast been
Duke.
And
Thurio.
thy advice this night
Therefore, sweet Proteus,
my
I'll
in love.
put in practice:
direction-giver,
Let us into the city presently,
To
I
sort
some gentlemen
have a sonnet that
To
well skill'd in music
will serve the turn,
give the onset to thy good advice."
When
the serenade takes place (Act
iv.
Sc. 2), the
musical terms and the punning grow thicker.

" Enter
Thurio and
Thurio.
How, now,
Proteus.
Ay, gentle Thurio
Sir Proteus
Will creep in service where

Thurio.
Proteus.
Ay
Sir,
but
but
it
hope,
^do
for
Musicians.
are you crept before us
you know that love
cannot go.
sir,
you love not here.

would be hence.
that
or else
86
Who ?
Thurio.
Ay,
Proteus.
Thurio.
Let's tune,
Silvia
Silvia, for
your sake.
thank you for your own.
and
to
it
Now, gentlemen,
lustily awhile.
Enter Host and Julia behind; Julia in

Host.
I
Now, my young
pray you, why
guest, methinks you're allycholly:
is it ?
Julia.
Marry, mine host, because
Host.
Come,
you
shall hear
boy's clothes.
cannot be merry.
have you merry.
I'll bring you where

music and see the gentleman that you asked
we'll
for.
hear him speak ?
Julia.
But
Host.
Ay, that you
Julia.
That will be music.

Hark! hark!
Host.
Julia.
Is
Host.
Ay
shall
shall.
he among these
;
but peace
[Music plays.
let's
hear 'em.
SONG. 1
Who
is
That
Silvia
all
what
our swains
Holy, fair and wise
is
is
she,
commend
The heaven such grace

That she might admired
Is she kind as she
her ?
she
did lend her,
be.
is fair ?
For beauty lives with kindness:

Love doth to her eyes repair,
To help him of his blindness
And, being help'd, inhabits there.
This song has been gloriously set to music by Schubert.
Shakespearian music
is lost.
The
Then
87
to Silvia let us sing,
That Silvia is excelling;

She excels each mortal thing
Upon the dull earth dwelling;

To her let us garlands bring.
How now
Host.
How
do you, man
are you sadder than you were before
You mistake the musician

Why, my pretty youth ?
Julia.
Host.
Julia.
He
Host.
How ?
likes
me
not.
plays false, father.

out of tune on the strings
Not so
Julia.
the music likes you not.
but yet so false that he grieves
my
very
heart-strings.
You have
Host.
Ay,
Julia.
a quick ear.
would
were deaf
it
makes me have a slow
heart.
perceive you delight not in music.
Host.
Julia.
Host.
Not a whit, when it jars

Hark what fine change
Julia.
Ay, that change
Host.
You would have them always
Julia.
is
so.
is
in the music.
the spite.
play but one thing ?

would always have one play but one thing."
Probably the finest metaphor taken from the tuning and untuning of musical instruments
" Othello " (Act
" Othello.
It stops
And
me
this,
is
found in
1).
cannot speak enough of this content,
here
and
Sc.
ii.
it is
this,
too
much
of joy
the greatest discords be,
[Kissing Desdemona.
That
e'er our hearts shall
I'll
now
make
O, you are well tuned
lago.
But
make
set
As honest
down
as
the pegs that
arn^
this music,
[Aside."
88
The making
of discord
sweet music, by
out of
tampering with the tuning-pins,
one that every
is
musician will recognise as the perfection of aptness.
Act
Ulysses's metaphor ("Troilus and Cressida,"

Sc. 3)
He
line, if less intense.
i.
speaks
and rank
of degrees
"
the same
in
is
Take but degree away, untune
And
that string,
hark, what discord follows! "
Next to the matter of tune the musician
we
cerned about time-keeping, and
find
is
con-
our musical
poet as ready to draw his similes from the one topic
The
as the other.
music
in "
found
is
finest
passage relative to time
Richard
before the king meets his death

" K, Richard.
Ha, ha
When
So
Music -do
keep time
time
is it in
is
(Act
II."
v.
Sc.
5),
in
just
hear?
How sour sweet music
[Music.
is,
broke, and no proportion kept
the music of men's lives.
And here have I the daintiness of ear,

To check time broke in a disorder'd string;
But, for the concord of
Had
I
One
not an ear to hear
i.
time,
broke.
wasted time, and now doth time waste me."

of the subtlest of musical touches connected
with time-keeping
(Act
my state and
my true time
Sc. 4),
is
found
in
"
Romeo and
Juliet
where Mercutio describes Tybalt to
Benvolio
" Betivolio.
Mercutio.
Why, what
is
Tybalt?
More than prince
of cats,
can
tell
you.
O, he
89
He fights as
is the most courageous captain of compliments.
you sing prick-song, keeps time, distance, and proportionsrests me his minim rest, one, two, and the third in your bosom
;
the very butcher of a silk button, a duellist, a duellist
man
of the very
house,
first
Ah, the immortal passado
of the
a gentle-
and second cause

the hay "
first
the punto reverso
The above passage has
not been completely eluci-
dated in any of the comments with which the author
The
familiar.
is
allusions
"Tybert, the cat,"
to
taken from the old tale of Reineke Fuchs, the ancient
German
beast-epic,
and the picture of the extreme
politeness of the professional duellist,
may be
dis-
missed as foreign to our subject, but not so the

allusions to the time
and
to the prick-song.
In the Elizabethan day

liberal
it
was held
to
be part of a
education to be able to sing a second part to
any melody that one might hear.
This free addition
the actual tune was called__^_Descant," from Dis
to
Cantus
(with, or from, the song),
considerable license.
On
composer desired a more
and had, of course,
the other hand, often the

intricate
and more exact
supporting voice, and therefore wrote his descant

himself; as this was
such a
strict
song."
1
It
now
printed, or "pricked down,"
counterpoint was called
the "prick-
was counted by tapping the foot
Strype's account of the funeral of
Henry VIII. says
in
:
"
time
Wed-
nesday, 16 February, 1547, the Bishop of Ely begun the mass of

the Trinity
his dean and subdeacon were two bishops, mitred,
;
which was solemnly sung

the offertory."
in prick-song discant,
and organ-playing
to
90
with the music,
or,
more frequently and more
by waving the hand as the conductor of
tically,
chestra or chorus to-day waves his baton.
mode
this
artis-
of motion,
we
To
or-
prove
give a quotation from Play-
ford's " Introduction to the Skill of
Musick" (1664)
" Of the keeping of Time by the Measure of the

Observe that to the measure
Semibreve or Masternote.
of the semibreve
when whole,
is
all
notes are proportioned, and
its
expressed (naturally by the voice, or
measure,
artificially
by an instrument) by moving the hand or foot up and down.

In notes of augmentation, the sound is continued to more than
one Semibreve j but in notes of diminution, the sound is variously broken into Minims, Crotchets, and Quavers, or the
like so that in keeping time your hand goes down at one half,
which is a Minim, and up at the next."
:
we have here a description of motions

similar to those made by a conductor in leading his
orchestra.
Had the present mode of conducting been
in vogue at that time, we would have found Shakespeare taking his simile from it.
As it is, he uses
the motion of the hand of the singer when counting
In short,
his prick-song to picture the motions of the expert
fencer,
" one,
two, and the third " (a thrust) " in
your bosom."
One
nature
melody.
tions
all
is
of the surest proofs of Shakespeare's musical

is
his appreciation
of
harmony above mere
This comprehension of musical combina-
one of the best tests of musicianship
the world loves a good tune, but
it is
almost
given only
to the elect to enjoy the intricacies of
harmony
In Shakespeare's day the homophonic
counterpoint.
structures,
which we build according to the laws of
harmony, did not
exist.
Combined music was con-
and more complex than that of to-day.

Hauptmann has summed this up in a sentence,
Of old music was horizontal, now it has become
vertical," and it may be added that the horizontal
trapuntal
*'
music, the support of melody
by melody, the twining
together of various parts like the strands of a rope,
was a much more
subtile process than the support of
by a chord-mass, as one supports a
a single tune
bridge by occasional
pillars.
Shakespeare shows, very
In the eighth sonnet
plainly, his preference for
combinations of counterpoint to mere tunes.
one of the set
"W. H."
1
60
(probably William Herbert, afterward
Earl
marry:
of Pembroke), to
" Music to hear,
why
hear'st thou music sadly
Sweets with sweets war not, joy delights
Why lov'st
Or
in joy.
thou that which thou receiv'st not gladly,
else receiv'st with pleasure thine
If the true
By
annoy?
concord of well-tune'd sounds,
unions married, do offend thine ear,
They do but sweetly chide
thee,
who confounds
In singleness the parts that thou should'st bear.
Mark, how one string, sweet husband to another,

Strikes each in each by mutual ordering
Resembling sire and child and happy mother,
Who
It is
in which he advises his friend, Mr.
all in
one, one pleasing note
do sing
92
Whose
speechless song, being many, seeming one,
Sings this to thee,
among
single wilt prove none."
note that the other great music-
It is interesting to
lover
Thou
same
poets, Browning, uses almost the
note of praise, in contrasting musical combinations
The passage
(chords) with simple tones or melodies.

is
found in "
" Here
is
Abt Vogler."
God
the finger of
Existent behind
all
laws
And
if,
save in
know
That out
not
a flash of the will that can;
that
made them, and
this,
lo
they are.
such gift be allowed to Man,
of three sounds he frame, not a fourth sound, but a
star.
Consider
Give
And
well,
it
everywhere
It is
it
to
me
there
each note of our scale in

in the world, loud, soft,
to use
!
mix
it
with two in
Ye have heard and
itself is
and
my
seen.
naught,
all is said.
thought,
Consider and
bow
the head."
"
The
Passionate Pilgrim " can scarcely be called

Printed in 1599, by the un-
a Shakespearian work.
scrupulous publisher, William Jaggard, a

seized his material
it
wherever he could
find
to the public under whatever author's
sell it best, it is
literature,
part of
it,
for
one
of the
we know
most
man who
it,
and gave
name would
tantalising
works
that our poet wrote
and cannot of surety say
just
in
some
which num-
bers belong to him.

1
Two
similar cases exist
2th Mass, and his
the question
still
among
great musical works.
Mozart's
Requiem were both partially composed by him
puzzles the commentators, which parts are Mozart's.
There
one sonnet
is
93
in this collection
which has
Germany) as a proof
often been quoted (even in
of Shakespeare's appreciation of the innate relations
of poetry and music.
runs
It
"If Music and sweet Poetry agree,

As they must needs, the Sister and the Brother,
Then must the love be great 'twixt thee and me,
Because thou lov'st the one and I the other.
Dowland x to thee is dear, whose heavenly touch
Upon
the Lute doth ravish
human
Spenser to me, whose deep conceit
sense
is
such,
As passing all conceit, needs no defence.

Thou lov'st to hear the sweet melodious sound,
That Phoebus'
queen of music, makes;
lute, the
And I in deep delight am chiefly drowned,

Whenas himself to singing he betakes.
One god is god of both, as poets
One knight loves both, and both
It is
a pity to spoil so
comment, but
"
As
to
It Fell
this
whose
of
remain."
good quotation and
poem, together with the charming
upon a Day "
Shakespeare),
Barnfleld,
much
feign
in thee
is
(also frequently attributed
probably the work of Richard
poetical
volumes were published be-
The thought embodied in the

however, very much like that of Shakespeare,
tween 1594 and 1598.

verse
and
is,
it is
not impossible that he had some hand in
it.
1
John Dowland, was the chief lutenist of the time he was also
an excellent composer for this instrument and in the vocal forms.
He was born 1562, died 1626. His son, Robert Dowland, also became
;
famous
in the
same field%s
his father.
94
The
close connection
between poetry and music, thus
voiced in the sixteenth century, has had

in our
own
handmaid
Wagner
time.
of
has said, "
many echoes
Music
is
the
Poetry," and "in the wedding of the
arts, Poetry is the man, Music the woman

Poetry leads and Music follows " and Herbert Spen-
two
cer
himself,
in
his
modern
arraigns
essay
on
compositions
" Education,"
where
thus
and
music
poetry disagree:
"
They
They
are compositions which science would forbid.
by setting to music ideas that are not emotional enough to prompt musical expression, and they also sin
against science by using musical phrases that have no natural
sin against science
even where these are emotional.

bad because they are untrue, and to say they are
relation to the ideas expressed
They
untrue
are
is
to say they are unscientific."
Robert Franz,
in
a letter written, just before his
death, to the author, says

is
much
closer
:"Iam
relationship
convinced that there
between poetry and
music than the average mind can comprehend."
The above
are not the only instances of Shake-
speare's love of counterpoint, or of the combination
of poetry and music.
In " Richard II." (Act
ii.
Sc.i),
the dying Gaunt sends message to the king thus

" Gaunt.
O, but they say, the tongues of dying
men
deep harmony
Where words are scarce, they are seldom spent in vain
For they breathe truth, that breathe their words in pain.
Enforce attention
like
He, that no more must say,
is listen'd
95
more
Than they, whom youth and ease have taught to glose

More are men's ends mark'd, than their lives before
The setting sun, and music at the close."
In
"Henry V." (Act
Sc. 2) Exeter compares
i.
good government to the interlacing of parts
in well-
constructed music.
" For government, though high, and low, and lower,
Put into parts doth keep

Congruing
in
full
in
one consent
and natural
close,
Like music.
Through many other

comprehension
of
allusions one
the
balance
might trace this
and symmetry
of
music, but the quotations already cited are the most

important, although one
may
question the Shake-
spearian right to the citation from "

Pilgrim."
The
Passionate
CHAPTER
VI.
Musical Knowledge of Shakespeare (continued)
than in Instrumental
ting " a
Work Technical
Burdens Division, Key,
Tune
Surer
in
Vocal
" SetGamut Plain-
Vocal Terms
and
song,
The
statement
made
beginning of the pre-
at the
ceding chapter, that Shakespeare was surer of his
ground
in the vocal
than in the instrumental
field, is
borne out by the ease and frequency with which he
employs terms taken from the singer's technique.
If
we may judge by
of
Viola ("
knew
a sentence placed in the
Twelfth Night," Act
i.
were seldom heard
of voices that
mouth
Sc. 2), the poet even

in
England
and the duke, speaking to the heroine,
in his time,
in the fourth
voice with
scene of the same act, describes her

" thy small pipe
Is as the maiden's organ, shrill,
And
One
of the scenes that
and one
in
the singer's
is
which almost
art,
Verona" (Act
by
trickery, to
and sound
semblative a woman's part."
all is
is
i.
all
found
Sc.
2),
brimful of musical terms,
in
these terms belong to

"
Two Gentlemen
of
where Lucetta endeavours,
bring the note written by Proteus

96
the
to
97
too willing, yet seemingly
recalcitrant,
Lucetta lets the note drop, and picks
Julia.
in a
all
manner
is't
you took up so gingerly ?
Nothing.
Lucetta.
Julia.
Why
Lucetta.
To take a paper up, that

And is that paper nothing ?
Julia.
up
to attract Julia's attention.
What
"Julia.
it
didst thou stoop, then
?
I
let fall.
Nothing concerning me.
Lucetta.
Then let it lie for those that it concerns.

Lucetta.
Madam, it will not lie where it concerns,
Julia.
Unless
it
have a
false interpreter.
Some
Julia.
love of yours hath writ to you in rhyme.
Lucetta.
That
me
Give
a note
As
Julia.
Best sing
it
Lucetta.
might sing
madam,
it,
your ladyship can
little
It is
by such toys as may be possible
tune of
to the
Light
o' love.'
too heavy for so light a tune.
hath some burden then.
Julia.
Heavy?
Lucetta.
Ay and melodious were

And why not you ?
Julia.
yet,
it
Keep tune
methinks,
there
do not
so you will sing
Julia.
You, minion, are too saucy.
Lucetta.
it
out
like this tune.
You do not ?
No, madam,
And mar
would you sing
How now, minion
still,
Lucetta.
Julia.
it,
cannot reach so high.
Let's see your song.
Lucetta.
And
belike,
Lucetta.
Julia.
to a tune
set.
it is
too sharp.
Nay, now you are too
flat,
the concord with too harsh a descant
There wanteth but a mean to fill your song.

The mean is drown'd with your unruly bass.
Julia.
Lucetta.
Julia.
Indeed,
bid the base for Proteus.
This babblfcshall not henceforth trouble me.
it
98
Here
is
a coil with protestation
Go, get you gone
You would be
Lucetta.
and
[Tears the
the papers
let
letter.}
lie
fingering them, to anger me.
She makes
but she would be best
letter.
[Exit."
strange
it
pleased
To be
so anger'd with another
This scene could easily give rise to an entire chapter of musical

" Give
comment and
me
a note
elucidation.
your ladyship can set,"
proves Julia especially musical.
meant
aid of
" set " a tune
to give its first note to the singers, without
tuning-fork (which implement was only
vented in 171
" setting "
are the
rules
given regarding
the old instruction books
in
in-
by John Shore, an Englishman) or
1,
Many
instrument.
from
To
Playford's
" Introduction
to
we quote
the
of
Skill
Musick."
" Observe, that in the
have
it
clear.
Tuning your Voice you
strive
to
Also in the expressing your Voice, or Tuning
of Notes, let the
Sound come
clear
from your Throat, and
not through your Teeth, by sucking in your Breath, for that

is
a great obstruction to the clear utterance of the Voice.

" Lastly, observe,
that in
Plain Song, you equal
when you come
to
it
Tuning your
first
note of your
so to the pitch of your Voice, that
your highest Note, you
may
reach
it
with-
out squeaking, and your lowest Note without grumbling."
In the Puritan churches " setting a tune " was a

task of considerable importance and difficulty, since
99
instruments were seldom tolerated, least of
smacked
organ, which
instance
may be
Samuel Sewall,
1705
Church
of
Rome.
the
An
from Puritan days in America,
cited
" setting ;"
regarding
28,
of the
all
we
quote from the diary of
of Boston, the date being
December
Sixth Day, Dec. 28th.

and Mr. Willard preaches
from Ps. 66, 2o, very excellently. Spake to me to set the
Tune. I intended Windsor, and fell into High Dutch, 1 and
then, essaying to set another Tune, went into a key much too
high.
So I prayed Mr. White to set it; which he did well,
The Lord humble me and instruct me that I
Lichf. tune.
should be occasion of any interruption in the worship of God."
"
" Mr.
Pemberton prays
The above
ties
citation
of "setting"
if
excellently,
may
readily
show the
difficul-
one was not possessed of the
rare faculty of absolute pitch.
The next
line requiring attention is
" Best sing
it
to the tune of
Light
o' Love.'
This tune seems to have been a favourite with

Shakespeare, for he alludes to
nent manner in
1
The
it
again in a promi-
"Much Ado About
Nothing," in
editor of the " Diary " falls into a quaint error in adding to
" From the context we infer that to fall into High

Dutch' was to sing at too low a pitch." As a matter of fact,
" High Dutch " was the Puritan name for " Canterbury," and the
worthy judge had actually gone into the wrong tune " Windsor"
was the intended melody, and Litchfield " the tune eventually set
by " Mr. White."
the above
100
......
Act
Sc.
iii.
on dances), and
(see chapter
both
in
cases he alludes to the lightness of the tune.
Nor
was our poet the only one who recognised the dainty
^^ character
of the
melody, for in
Noble Kinsmen," the
jailer's
Fletcher's
"Two
daughter speaks of a
horse with the simile

"
He
gallops to the tune of
Yet the melody

it
itself is
not
exists in its original state,
the benefit of the reader

fitness of Shakespeare's
Light
rapid.
O'
Fortunately,
and we reproduce
who
desires
mention of
"LIGHT
o' Love.'
it
to note
for
the
it.
LOVE."
( Twice mentioned by Shakespeare.}
Slowly and with expression.
*r _...*
("V"!
&=*=*
i>^
&==-*rJ33JTl.
r"SS
mi
e znv
a=*
mm
J^^
V=t tJ
2<f time pf>.
IOI
In both allusions Shakespeare speaks of a "bur-
den
" in the context.
The burden
came
phrase or figure which
was a recurring
each line or
in after
each couplet, sometimes at the end of each stanza.
Nothing
is
more marked
in connection with the old
English music than the constant use of
and
it
was an exception which Shakespeare noted,
that " Light
o'
Love
"
went without a burden." :Sonie
of the refrains or burdens

antiquity.
We have
metamorphosed
itself into
"Fol de Rol," as used

of
est
all
" Tol de
Hey
Troly,
"
or,
Rol " and
in bacchanalian music.
the burdens was the
Derry down,"
gists
go back to a very remote
already seen that "
an old Scottish ejaculation of sadness, grad-
loly,"
ually
the" bu'rden*
phrase,
Hey Derry down."
Old-
" Derry,
Etymolo-
have traced this phrase back to Norman Eng-
land, to the
Danish days, and even to the Saxon epoch,
only to have
it
elude them at
It is
last.
considered
probable that the words are of Druidic origin.
Often the burden consisted simply of a repetition

of the syllables "
verse
Fa
la la
in this case the
" at the end of each line or
song was called a " Fa-la."
Morley and Hilton, both prominent

time, wrote
many
in
beautiful " Fa-las."
Shakespeare's
We
present a
facsimile of one of Morley's arranged as a duet
by
1
We shall find more about the " burden " in connection with the
bacchanalian music of " Twelfth Night," and the songs of Ophelia
in "
Hamlet."
%,
102
The
Playford.
peculiar position of the
explained by the fact that the singers
two parts
is
sat, or stood,
with the music between them, and faced each other,

1
instead of being side by side.
Of the running accompaniment

scene between Julia and Lucetta
tc speak.
"
We
And mar
The word
now come
puns
of
is
it
the
in
unnecessary
to the line,
the concord with too harsh a descant."
" descant " leads us back to the matter
manner
of Tybalt's fencing in the
of prick-song.
of the counting
In the preceding chapter
we have
explained the written descant which was called by

this
Naturally, the freer descant which was
name.
improvised was of distinctly inferior quality, yet
much
speaks
for
England's musical
abilities
it
that
every cultured person was able to add a descant to
any melody
The
at a first hearing.
very
title
of
Morley's famous work on music, published in 1597,

gives
"
some
insight into the
two methods, for
it
runs,
Plaine and Easie Introduction to Practicall Musicke.
Set downe in forme of a Dialogue
The
all
first
teacheth to sing with
Devided
into three Partes
things necessary for the
knowledge of a prickt Song. The second teacheth of descante

and to sing two parts in one upon a plain song or Ground,
with other things for a Descanter,"
Burdens and refrains
will
be further spoken of
in
Chapter X.
IO3
the Sffl of Muftck.
T.M.
m
Ow
is
the
Month of Maying, when merry
Lads are,play jng, Fa la la la9 &c.
Each with his bonny Lafs upon the greeny graft,
FaUUUU^&c.
*sjbj Ati33jg aip
uodn sjirj Auuoq siq ipiM ipeg
ipi
.
îniiaqMîG^joqjuoâqq.siMO
104
while the third part goes into the details of composi-
In the second part, Morley has annotated his
tion.
views on the matter of this extemporaneous addition

of
one or two parts to a ground.
He
speaks of
it
as
follows
As
upon a plain-song, it hath byn in times past

man knoweth) and is at this day in other
places, the greatest part of the usual Musicke which in any
churches is sung, which indeed causeth me to marvel how men
"
in
for singing
England
(as every
acquainted with musicke can delight to hear suche confusion,

as of force must bee amongste so
But some have stood

very probable, that
is
in
many
an opinion, which
that
singing extempore.
to
men accustomed
me seemeth
not
to descanting will
sing together upon a plain-song without singing either false

chords, or forbidden descant one to another, which
till
For, though they should
see
be
most excellent men, and every one of their lessons by itself
never so well framed for the ground, yet it is unpossible for
them to be true one to another, except one man should cause
and
all the reste to sing the same which he sung before them
so indeed (if he have studied the canon beforehand) they shall
I
will ever think unpossible.
all
agree without errors, else they shall never do
The
art of free descant
it."
was taught even
to the
children of the Royal Chapel, a degree of musical
education that must astonish the music teachers of

the present age.
The
lack of a
"mean "
or middle part to Lucetta's
supposed harmony requires no especial explanation

(see
the
pun on
" singing a
" Love's Labour's Lost,"
Act
mean most meanly,"

v.
Sc. 2), nor does the
105
" unruly bass " take us far from modern part-singing,

but the bidding of the base for Proteus suddenly
takes the punning out of the domain of music into
the realm of old English games.
" Base,"
called
speare alludes to
Sc.
"
" Prisoner's
or
The
sport was
Bars," and
Shake-
again in " Cymbeline " (Act
it
3),
with the
He
with two striplings, lads more like to run
lines,
The country base, than to commit such

Made good the passage."
v.
slaughter,
The game was certainly as old as the time of

Edward III., for it is mentioned in one of his
edicts.
The melody which formed

the descant entwined
the core around which
was
called
the "plain-
Shakespeare alludes to the plain-song
song."
"
itself
Henry V." (Act
iii,
Sc. 2),
where
in
Falstaff's three
worthies are pictured in the midst of battle.

" Bardolph.
Nym.
On, on, on, on, on
and for mine own

of
it is
to the breach, to the breach
'Pray thee, corporal, stay

part,
too hot, that
is
the knocks are too hot
have not a case of
lives
the very plain-song of
the
humour
it.
Pistol.
The plain-song is most just; for humours do
abound
Knocks go and come God's vassals drop and die
And sword and shield,
;
In bloody
field,
Doth win immortal fame."

8
See
Strutt's "
Sports^nd Pastimes " (Hone's
Edition),
page
78.
106
If
the plain-song were given by the bass voice
and were repeated over and

varied descant,
it
over,
to
constantly
was called a "ground-bass."
ing delighted the old composers more than to

their ingenuity
by
such variations to the repeating "ground."
Henry
show
prick-song, a set of
writing, as
give a facsimile of a " ground-bass," with

descant, as
Noth-
its
We
changing
composed by England's great composer,
Purcell.
But probably the surest proof of Shakespeare's

vocal proficiency
found in his evident knowledge
is
of " Gamut," or " Sol-fa-ing."
This
ability to recognise the intervals
is
the vocalist's
between notes, and
the pitch of the notes themselves, by syllables that
have been attached to them.

first
used in
Italy,
These
syllables
were
were the invention of Guido
D'Arezzo, and came from the practical application

of the
of a
first
hymn
syllables of each
to
St.
which each phrase

higher than
its
line (except the last)
John, the patron of singers, in

of the
music began one degree
predecessor.
The words
" Utqueant laxis
Resonare fibris,
Mira gestorum,
Famuli tuorum,
Solve polluti,
Labii reatum,
Sancte Johannes,"
ran,
Ab
e?enj*(g arM*c
OkGKKK&
w-yris b,
^1^^^
veil'd his
Lighted
I07
hid the
World good
6n William Met, Z* Lmlfffo
Si
night} to the
Bed * to the
foft
foft,
tn .mm tm
i
Bed my Body
<f Lfec6l&
difpofe,but vrhere,where Call
my Sool repofe ? Dear,
^^^SiSSS
f
the Sstt
â
dear God, eteo in thy
43
^mm^^^&^^^mmM
Arms, ev'n
mm
ty
Can
in
thy Arms, and can there be
there be
a-ay
fo firee-
t Se-co6
any lb fweet, fo fweet Se-cu
ri
ty
>
Then
mi
to thy Ri
l^g^gi^llppgSiiSiijljsi
io8
CO
Soul!
Then
to thy reft,
my Sonl
and Cn.
-gWgraiietiic
^^HSUfS^^H
HsliPf
HJltkjab,
lifiiigl
mitU
;afc,&ii
U-k,
iiiBg^l^g^^
U-lu-j*h% HJkkjab,
f4&H*l
Halld*
jb,Hd-
^&m$&^@fflmgR^&m
Jt-lu -J*h, Hal-
UU-*-jJ>*
Utile-
gr gr^zrr^j^
im-}J>, Hd-lek-jeL, Hal
Sr*:
m
j;ipPli=gpi=^gf^
ftfjfffl Halle.
SHAKESPEARE IN
MUSIC.
in
mmmmm$m$m
tujjd, Hel-i*-iu-jai:JHal-le~lu-\,JiJtial
'F^fM
^^^g{Eg|îigJ^|
li^^^Kp
Mlufab
Hal
Hm^M
pj%l^f;s5E^$$g?
Mr
tfwrr;
i>A
which may be translated, "That thy servants may

be able to sing the praise of thy wondrous deeds
with
all
Oh
stain of sin,
To
scale
St.
si
"ut" was changed

But
evolved.
all
John."
the six syllables, "
epoch,
from
their strength, cleanse their lips
"
was added
to
at a later
"do," and our vocal
Shakespeare's day the sing-
in
ing of the syllables was not so plain a matter, for a
new and more
intricate
been made,
which the syllable " mi " played a very
in
system of nomenclature had
important part and was the especial clue to modulation.
Only the four
We
now
used.
in "
The Taming
III.
because of
syllables, " fa, sol,
la,
of the
its
" (quoted in
Shrew
connection with the
which Hortensio uses the vocal syllables

deft manner.
ing extract
mi," were
have already cited the music lesson
If the reader will
Chapter
lute),
in
in
a very
compare the follow-
from ^layford's " Introduction to the
IO
Musick"
Skill of
he
how
will see
(1664), with Hortensio's phrases,
"
x
:
Having observed the foregoing
know
notes to
you
also, if
had studied the
closely Shakespeare
singer's phraseology
their places,
direction of proving your
you may easily know their names
will follow this rule
first,
Mi is
observe that
principal or master note, which leads you to
know
for having found out that, the other follow
upon course
this
Mi hath
its
being in four several places, but
the
the rest;
all
and
but in
is
it
one of them at a time its proper place is in B mi; but if

B fa, which is a B flat (as is mentioned in Chap. 2) be put in
that place, then it is removed into
la mi, which is its second
;
place
but
third place,
then
it is
B flat
which is A
if
removed
be placed there
la
Fa
Mi
sol la,
if
Fa
it is,
also,
then
it
B flat come
into its fourth place,
so that in which of these

ing are
mi rej
which
is
in its
D la sol re;
the next notes above
sol la, twice,
is
there also,
it
ascend-
and then you meet with
sound but once in eight notes. In like

it descending are La sol fa, La
sol fa, and then you have your Mi again: for your better
your
again, for
it is
manner, the next notes below
understanding of which, observe the before-mentioned old

metre, whose rules are plain, true, and easie."
We
add a facsimile of the examples given, with
the quaint
verses
alluded
to
by
Playford.
That
Shakespeare understood the complicated system,

to our
ship
mind absolute proof
is
of his technical musician-
no man not a singer would take the trouble to
master the cumbrous nomenclature and awkward

rules.
1
Beaumont and
Fletcher's, or Jonson's allusions to music, are
always more vague and
less technical
than Shakespeare's.
found
is
plotting against him.
"
lam.
And pat he
cue
is
"King Lear" (Act
i.
Edgar while Edmund
is
in
Sc. 2), at the entrance of
My
connected with
very subtle technical point,
these syllables,-
1 1
Edmund
says
comes, like the catastrophe of the old comedy
villainous melancholy, with a sigh like
Tom
O, these eclipses do portend these divisions
Richard Grant White suggests that

in order to
appear at ease.
of Music," suggests that
evil.
o'
Bed-
ia, sol, la,
Edmund
sings
Burney, in his " History
Shakespeare has purposely
chosen the forbidden interval of music to

the portent of
illustrate
Knight believes that the
cordant sounds uttered by
Edmund
fit
dis-
the scene, but
are not meant as a comparison with the dislocation
The present writer cannot but believe

that the poet who showed such familiarity with the
vocal progressions, in the "Taming of the Shrew,"
of events.
here presented the worst possible interval of music

(according to the theory of that time) as prognostication of the discords to come.
We
can conceive of
no other reason for Shakespeare choosing exactly the

progression which every composer of the epoch interdicted
nor was this interdict a matter of passing
fashion
the old
monks made a rhyme about
this
progression which was familiar to every musician of
England,
112
An
IntroduBion to
ner, the Notes next below it defending

are La fol fa. La folfa 9 and then you have
your Mi again: For your better undemanding of which, obferve the before-mentioned old Metre , whofe Rules are plain, true,
and eafie.
No man
can fing
trite
at frfl fight
linlefs he names his Notes aright:

which foon is learnt , if thatyourMi
Ton know
its
PJace where e're it be.
If that no Flat he fet in B,
Then in that PlaceJlandethyour Mi.

I.
Example.
r ~^~^z~~t~&~$:zt
ig::$z:t-&z:%zz2:zzz:zzzLZzz:zl
Sol la
>*$faBnu.
\*e
U mi.
Mi fa
fol
la
fa
fol
fa t if ymr *b done be Flat,

rhen *Eis Mi, be fure of that.
^t:==:r ::gr.r:sr:S=:^{
-Example.
r
^zz$z:3$z&zzxzrJtz:z:z:zzz:zzz&
Sol la
fa
Jol la
Mi fa fd
3-Y
I 1
SkiU of Uuftct
the
U mi re.
if both be Flat , your hand E,

Then *A it Mi hereyou mayfee.
Example.
|fej|=i:=|=:^=||
\*A
La Mi fa fol
\*D
la
fa
fol
U*
If all be Flat, E,A,andB,

Then Mi alone dothjland in *D.
U fol
E Xample.||||!jp^:E;|:|||
a/rf
/*/ 1*
Mi fa
fol
la
Thefrji three Notes above your Mi

c^Vtf fa
fol la,
here you
may fee
The next three under Mi that fall,
Them
la fol fa you ought to call.
Example.
m
BLr fr
Y y^^-^*
ftr
'
StflaMfafol
la
fa
fol fa la fol fa
o y a
yt
Mi &/*//*
if you'll ftng true without all blame*

Ton call all Eights by the fame name.
Exam-
114
Mi
"
contra Fa,
Diabolus est in Musica,"
sol,
fa,
mi.
la,
calling this set of notes " the Devil."

believe,
with Burney, that this
technical musical points in
all
is
We therefore
one of the most

Fur-
Shakespeare.
ness (Variorum Edition), however, presents several

opinions to the contrary.
Less remarkable
11
Taming
is
the allusion to " sol-fa " in the
Shrew
the
of
"
(Act
Sc.
i.
2),
where
Petruchio intimidates his servant
My
" Grumio.
knock you
And
then
know
it
an
who comes by
not be
you'll not
how you can
Grumio.
should
the worst.
I'll wring it;

and sing it.
[He wrings Grumio by the
Help, masters, help my master is mad."
'Faith, sirrah,
try
after
Will
Petruchio.
I'll
master has grown quarrelsome
first,
knock,
'sol, fa,'
ears.
In " Love's Labour's Lost," Act
iv.
Sc. 2, Holo-
1
According to the gamut described above to-day the syllables
would be " fa, sol, la, si " they constitute a " tritone," i. e. a succession of three whole tones.
;
Furness's
own
"Fa, sol, la, mi,"

down, adown-a' in
approaching."
opinion, Vol. V., p. 55,
"just
"
is
that
Edmund
as Mistress Quickly sings 'and
Merry Wives,"
i.
3. 44,
sings
down,
when Doctor Caius
is
femes uses the vocal
passage
singing, but this
unimportant.
is
In the disputed
word
syllables in
II 5
passage from " King Lear," the
" division " is used in a
punning sense.
The
divisions of the royal family are patent enough, but

in
music "division" also had a particular meaning;
it
was the breaking of a melody, or
its
descant,
1
into small notes, as, for example,
Division of foregoing.
In
1659 Christopher Simpson published a work
which he says
for viol, in
" Diminution, or division to a ground,
of the base or of any higher part that
The modern musician would
sion,"
in
iii.
Sc.
5),
is
the breaking either
applicable thereto."
call it variation.
In the chamber-scene of
(Act
is
"Romeo and
Juliet"
Shakespeare uses the word "divi-
and once more
in
a punning way, for even
the most earnest scenes our poet cannot resist
the temptation to play upon words.
The passage
occurs after Juliet pleads with her lover to stay,
urging that
it
was the nightingale, and not the
whose notes they had heard.

their separation with
She
at last yields to
See example of PurcelPs " Ground Bass," page 103, for a

^
illustration of this.
lark,
fuller
Il6
" Juliet.
It is, it is, hie
hence, be gone,
It is the lark that sings
away
so out of tune,
Straining harsh discords, and unpleasing sharps.
Some
say, the lark
This doth not
makes sweet
division
she divideth us
so, for
Some say, the lark and loathed toad change eyes;

now I would they had changed voices too
O,
Since arm from arm that voice doth us affray,
Hunting thee hence, with hunts-up to the day.

more light and light it grows."
O, now be gone
The
" Hunts-up" that Juliet refers to
was a
lively
hunting-song in
its origin,
but in Elizabethan times
any
fitted for
the early morn, and even
song
lively
an Aubade or morning love-song, was so

y
Chapter X.
will
be found a
a musical example.
Division
is
I.
(Act
iii.
Sc.
In
again spoken of in
the following musical episode in "

Part
called.
fuller analysis of these, with
King Henry
IV.,"
I )
I will never be a truant, love,

have learn'd thy language for thy tongue
"Mortimer.
Till I
Makes Welsh as sweet as ditties highly penn'd,

Sung by a fair queen in a summer's bower,
With ravishing division to her lute.
Glendower.
Mortimer.
Nay,
O,
if
am
you
mad.
\Lady Mortimer speaks again.
melt, then will she run
ignorance
itself in this.
She bids you,

Upon the wanton rushes lay you down,
And rest your gentle head upon her lap,
Glendower.
And she will

And on your
sing the song that pleaseth you,

eye-lids
crown the god of
sleep,
Juliet.
" O, now
be
gone
more
light
and light
it
grows."
(Romeo and Juliet, Act
From
the painting by Frank Dicksee.
Hi. Sc. 5.)
11/
Charming your blood with pleasing heaviness,

Making such difference 'twixt wake and sleep,
As is the difference betwixt day and night,
The hour before the heavenly-harness'd team
Begins his golden progress in the east.
Mortimer. With all my heart I'll sit, and hear her sing;
By
that time will our book,
Do
Glendower.
think,
be drawn.
so
And those musicians, that shall play to you,

Hang in the air a thousand leagues from hence
Yet straight they
shall
be here
sit,
and
attend.
[Glendower speaks some Welsh words

and then the music plays.
,
Hotspur.
And
'tis
Now
Welsh
perceive, the devil understands
no marvel, he's so humourous.
By'r lady, he's a good musician.
Lady Percy. Then should you be nothing but musical for

you are altogether governed by humours. Lie still, ye thief,
and hear the lady sing in Welsh.
:
Hotspur.
had rather hear Lady,
my
howl
brach,
in
Irish.
Lady
Wouldst thou have thy head broken ?

No.
Percy.
Hotspur.
Lady Percy.
The
Then be
still."
notes of music are often spoken of by Shake-
peare in a technical manner.
must bear
is
in
mind
that
The American
reader
the English nomenclature
derived from the mediaeval system which was used
before the division of music into measure
semibreve (meaning half of a short note)

note,
the
minim (meaning
the
is
smallest
thus the
the whole
note,
Il8
which
it
was, in the old monastic manuscripts)
half-note,
the crotchet
the eighth.
is
We have seen
About Nothing," sneer
is
the
the quarter, the quaver
Don
Pedro, in "
Much Ado
at the "crotchets" of Bal-
thazar, Mercutio allude to Tybalt's counting a
minim
Romeo and Juliet) ", and in " The

Windsor" we find Falstaff saying
while fencing (in "
Merry Wives
of
of Bardolph,
" His thefts were too
singer,
open his filching was like an unskilful

"
he kept not time,
whereupon
"
Nym
there
To
Folio
is
not
give
gives
much
all
responds
The good humour
The
is to steal at
this
as
"minutes
rest,"
but
the quotations concerning tune and
words, or musical
jest,
Suffice
it
made some
in their
pun, play of
would be to write a small

to say that in each case, not
above mentioned, the meaning
words used
rest."
doubt that " minim " was intended.
time, in which our poet has
concordance.
a minim's
modern
is
sense.
obvious, and the
CHAPTER VII.
The Dances of Shakespeare Many Dances Sung The Dump
Other Dances. England Fond of Lively Dances. The Morrisdance. Masques These Preceded Operas
England.
in
The
English were a dancing people, in the Eliza-
bethan times, far more so than at present, yet there
was a great difference between them and the nations of continental
Most
Europe
in
Terpsichorean matters.
of the old dances had their origin in Spain,
where the Moors introduced the Arabic love
pantomime combined with music, and
gave
of
rise
to a
music that was graphic and well contrasted.
The
majority of the stately dances came from this
source.
While the aristocracy
partial exception of the English,
of
Europe, with a
gave their adhesion
to the slow dances, the people took
were
that
jovial
and
rapid.
The
up only those
jig,
for example,
among
the peasantry from Spain to
Ireland, while pavanes
and sarabandes were much
was
to be found
more
It
restricted in their use.
may be
necessary to state at the threshold of
this subject that
many
of the so-called
"dances"
of
the European courts were rather processionals than

119
120
anything
else,
and some
of the aristocratic dances (as,
for example, the passacaglia)
were merely a
of the peasantry,
series of
The dances
posturings to musical accompaniment.
on the other hand, were almost
always "round dances," and were of so violent a description that they
were sometimes prohibited except
on certain specified days or seasons.
Often these
more common dances were given by
couples, as in
the waltz, polka, mazurka,
quently they were danced
hands
taking each other's

in a large circle.
the
to
by several
and
These " Reigen
"
The dance
antiquity.
around the golden
calf,
participants
around
swinging
have descended
present days, and
children, in
most remote
of to-day, but fre-
etc.,
are
of the
of
the
Hebrews
the dance of the ancient
Egyptians around the bull-god Apis, the dances of

the old sun-worshippers, sometimes around a
belong to this family.
sacrifice, all
Naturally enough,
in
England
We
to
we
most ancient dances
have already seen one of these old dances
Among
is
the oldest dances in England
was one
we
find
one
the
Antiquaries unite in the belief that

of the Spanish dances that arose during
the Moorish possession in the middle ages.

is
in
(See Chapter III.)
frequently alluded to by Shakespeare,
morris-dance.
this
find the
be those which the peasantry enjoyed.
Sellinger's Round."
that
human
derived from " Morisco," a Moor, and
Its
it
name
is
not
121
very far removed from the Spanish fandango of the

present.
It
century, and
land
its
was known
was
in
France
in the fifteenth
there called " Morisque."
character underwent a change, and
In Eng-
seems
it
to have united with an earlier dance, a sort of panto-
mime,
in
which the deeds of Robin Hood and his
Merry Men were
There
celebrated.
is
good reason,
therefore, to suppose that, in spite of the importation

of the
dance from France or Spain,
in the morris-
dance was preserved one of the oldest pantomimes

England.
of
Allusions to the morris-dance are found
as early as the reign
The
Henry VII.
of
chief
characters in the early representations were Robin
Hood, Maid Marian, and Friar Tuck.

also
sometimes a clown or
cian or
The
morris -dance became indissolubly associated
dancers in the
festivities, in old
morris frequently
to " dance each other
ercise often
Such
and of course a musi-
fool,
two to accompany the dance.
with the May-day
effort
There was
trials
became a
are very
jig,
indulged
in
down," so that the

of
common
various nations, as the

inskaia, in Ireland,
trial
The
England.
in
the
ex-
physical endurance.
the folk-dances of
the hailing, the kamar-
Norway, and Russia.
The
morris-
dance was frequently a sort of progress by leaps and

twirls,
and we read of dancers keeping
this
up
all
the
way from one town to another, as William Kemp did

1599, making th journey from London to Nor-
in
122
wich in four weeks and dancing the morris for nine

days.
This same William Kemp, or Kempe, con-
cerns the Shakespearian nearly, for he
He
in "
asserted to
Much Ado
Romeo and Juliet."
have been the original Dogberry, in
About Nothing," and Peter,

He made a trip to France
is
"
to perfect his dancing.
was the most popular clown and comedian
Shakespeare's time, so
much
of
so that the author of
the " Return from Parnassus " says that " he
is
not
counted a gentleman that knows not Will Kempe."
song was written about him, which was set to
music by no
less a
composer than Thomas Weelkes.
It ran
" Since Robin Hood,
Maid Marian,
And Little John are gone a

The Hobby-horse was quite forgot,
When Kempe did dance alone a.
He
did labour after the
Tabor
For
to dance, then into
France
He
took pains
To
skip
it.
In hope of gains
He
On
will trip
it,
the toe
Diddle do."
He was
a favourite at court and probably a personal
friend of Shakespeare.
As
a good example of the morris-dance
we
here
reproduce a famous one of the seventeenth century,
and one that
is
alluded to by Shakespeare in " Love's
fff'y
---.
-
//, t
-,-',
L^^^X
/a
V>*
'\
Labour's Lost " (Act
says
iv.
Sc. 2)
123
where Holofernes
Jaquenetta: "Trip and go, my sweet,"

Go " being the title of one of the cheeriest
to
" Trip and
of morris-dances.
'TRIP AND GO."

(A
17th century
Morris Dance.)
Lively.
mm
UJ1
J
-#
-
-#
r- r-and
to
Up and down,
Trip and go, heave and hoe,
fro,
</
8:
fc*.
i==t
-&-Z-
From
the Town
r
To
S3
-0-Z-
the Grove Two and two Let us rove,
=fc=^
*#=&
r-f3-l
f=^
may
ing,
play
ing,
trip
:
and go,
trip
=*
r
f Merrily
and go,
^
-#-4-
:==;
=^ ^
^
|
*JJ
*^
t~*~~ fcj
Sat
Love hath no gainsaying, So
-*-*-
Sis
Si5*
f
3=
3t=
rj#
g-;
r
trip
and go.
124
Shakespeare
mentions
also
the
dance and
Well " (Act
ii.
Sc.
2),
its
Ends
season, very effectively, in "All's Well That
where the clown speaks of
the fitness of his answers to the countess

"
As
fit
as a pancake for Shrove Tuesday, or a morris for
a May-day."
In " Henry V." (Act
ii.
Sc. 4), the
Dauphin speaks
which the French should pro-
of the boldness with
ceed against the English, with the words

"
And
let us do it with no show of fear

No, with no more than if we heard that England
Were busied with a Whitsun morris-dance."
That the morris-dance was known

and that he may have seen
may be
it
to Shakespeare,
danced, often enough,
taken for granted.
Musa Madrigalesca " (p. 71),

quotes Laneham's letter to Humphrey Martin, MerOliphant,
cer, in
in
his
"
London, concerning the
worth, in 1575, before
Queen
festivities at Kenil-
Elizabeth, in which
occurred a morris-dance.
"
Thus they were marshalled
first all
the lusty lads and
bold Bachelors of the parish, sutablie every wight with his

blue buckram bride-lace upon a branch of green
cause Rosemary
is
broom
(be-
scant there) tied on his left arm, (for on
that side lies the heart) in martial order ranged on before, two
and two in a rank some with a hat, some

a coat, some a jerkin some for lightness in
;
in
a cap
some
and
his doublet
12$
some boots and no spurs, some spurs and no boots, and

some neither nother. Then the Bridegroom foremost, in his
hose
tawney worsted jacket (for his friends were fain that he should
be a Bridegroom before the Queen,) and a fair strawn hat with
a capital crown, steeplewise on his head.
" Well,
sir,
after these a lively Morris
the ancient manner
Then
dance according to
Maid Marian, and
six dancers,
the Fool.
as bright as a breast of bacon, of
three pretty puzels
thirty year old apiece, that carried three special spice-cakes
of a bushel of wheat, (they
had
it
by measure out of
my
Lord's
bakehouse,) before the bride, with set countenance, and lips so
demurely simpering as
it
had been a mare cropping a
thistle.
After these comes a freckle-faced, red-headed lubber, whose

office
was
to bear the bride-cup all seemly besilvered
and par-
adorned with a beautiful bunch of broom

gaily begilded for memory.
This gentle cupbearer yet had
cel (partly) gilt,
phizonemy somewhat unhappily infested as he

flies that flocked about the bride cup for the
sweetness of the sucket that it savoured of but he like a tall
fellow, withstood them stoutly, beat them away, killed them
by scores, stood to his charge, and marched on in good order.
his freckled
went, by the busy
Then followed
the worshipful bride, led (after the country
manner) between two ancient parishioners, honest townsmen

a thirty-year-old, of colour brown bay, not very beautiful
deed, but ugly, foul, and
ill
favoured
in-
yet marvellous fain
of the office, because she heard say she should dance before
the Queen, in which feat she thought she would foot
it
as
finely as the best."
Many
word
of the old dances
" ballad "
may have been
(Italian), to dance,
were sung.
Maids
and some
derived from ballare
of the old song-dances
from the French pucelle.
The very
26
In one of Morley's " ballets,"
were called " ballets."
Thyrsis and Chloris are described
"... They danced to and fro, and finely flaunted it,

And then both met again, and thus they chaunted it."
One
of Weelkes's refrains runs
" All shepherds in a ring,

Shall dancing ever sing/*
It
must have been a pretty sight to watch the
singers giving expression, not only to the character
words which accom-
of the music, but also to the
panied
many
and Bottom
Dream
(but by no
is
means
not inaccurate in " Midsummer-Night's
" (Act v. Sc. 2),
when he
"hear a Bergomask dance."

time of
troubadours
the
of the old dances,
all)
invites the dujce to
As
and
long ago as the
minnesingers
there
were dances with poetry attached to them, and
in
France, especially, these dances were often of the
most graceful description.
We
give an example of
such a dance which was popular in France before

Shakespeare's
time;
this
known even
in
esca was
species of
dance probably
became
the English courts, for the romangalliard, a
dance to which
Shakespeare alludes more than once.
But there were also dances of more boisterous

character,
with words attached.
We
spoken of the great antiquity of the
have already
circle
dances
127
LA ROMANESCA.
Air de Danse.
Alltto modto. (Metr:
teg=Ê3E^
J= 88).
P-
-N-K-
Iff.
-v hy-
*'
3t
5E
Aux
e*chosdesbois, Auxsoupirs du feuilWhen the woods are gay And the zephyrs are
,
la -
ge
sighing
Un doux ra-mage
Then let the oboes play Sweet notes replying
Mlez,charmantshautbois,
Et par vos accords Sur la ver-te fou-ge - re

Echoes shall awake, At the tone so entrancing
,
Attirez
And swiftly
128
mf
la berge-re Qu'appellentmes transports. Moncceur pleind'elle,

then advancing My love herpath shall take. My heart is beating,
Veut atten-drir,
Whensheisnigh,
Son coeur re-belle,
Should she be fleeting,
OubienmouThen I shall
1m
mours
voke
:
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1_
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Lelierreau che-ne
..The
129
S'unit tou -jours,
vy cling-ing
Stillloves the oak.
Qu'a machan-sonVol-tigeantenca-den-ce, Ton pied miLet my fond song Your kind heart be entrancing, Nor tarry
-1^
"Mr
N N
s,
1
gnonViennea-nimer ladan-se Etqu'enbondissant,Toncorlong But now join in the dancing As we bound along, In the
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33
which seem to have been the heritage of the peasantry

in all
In England, any dance in
ages and climes.
which the dancers stood

" round,"
or a
words of Titania
Act
ii.
a circle was called a
in
" roundel," which

("
Midsummer
may
explain the
Dream,"
Night's
Sc. 2),
11
Come, now a roundel and a
which does not mean that the
fairy song,"
fairies are to sing
round (more generally called a "catch"

speare's day), but that they
were
to
in
Shake-
dance a circular
dance with a poem attached, which was to be sung by

the dancers themselves.
" Twelfth Night " and "
ing," are the
Much Ado About Noth-
two plays that have the most interesting
and the most copious allusions to dancing, and these

allusions are so detailed
and exact that one cannot
help suspecting that Shakespeare was an adept in the

art.
In " Twelfth Night " (Act
i.
Belch grows rapturous over his friend (Sir
Aguecheek) and
" Sir
his
Andrew.
the strangest mind

revels
I'll
i'
Toby
Andrew
Sc. 3), Sir
dancing
stay a
month
the world;
longer.
delight in
am
a fellow o'
masques and
sometimes altogether.
Sir Toby. Art thou good at these kickshaws, knight ?

Sir Andrew. As any man in Illyria, whatsoever he be,
under the degree of my betters, and yet I will not compare
with an old man.
Sir Toby.
What
ifcthy excellence in a galliard, knight?
134
Sir Andrew.
'Faith,
And
Sir Toby.
And,
Sir Atidrew.
as strong as any
can cut a caper.
can cut the mutton
man
think,
to
't.
have the back-trick, simply
in Illyria.
Wherefore are these things hid ? wherefore have

these gifts a curtain before them ? are they like to take dust,
like mistress Mall's picture? why dost thou not go to church in
a galliard ? and come home in a coranto ? My very walk should
Sir Toby.
be a
jig
it
virtues in?
What
dost thou
mean?
is it
was formed under the star of a galliard.

Sir Andrew. Ay, 'tis strong, and does
Shall
flame-coloured stock.
Sir Toby.
a world to hide
did think, by the excellent constitution of thy leg,
What
shall
we
we do
set
indifferent well in a
about some revels
else
were we not born under
Taurus ?
Sir Andrew.
Taurus ? that's sides and heart.

No, sir it is legs and thighs. Let me see thee
higher ha, ha
[Exeunt."
excellent
Sir Toby.
caper
ha
We
many
have here an entire constellation of dances,
which the reader can
of
French
the
suites of Bach.
first
dance.
of the
In the
list,
first
The
was a
find in the English or

galliard, to
lively
begin with
and rather
difficult
prefatory letter to Barnaby Rich's
" Farewell to the Military Profession " (Shakespeare
Soc. reprint, p. 4)
"
Our
we
read
galliardes are so curious, that thei are not for
my
daunsyng for thei are so full of trickes and tournes, that he

which hath no more but the plaine Singuepace is no better
accumpted of than a verie bongler."
The
galliard
torius describes
was generally
it
as
in
3-4
rhythm
Prae-
V
An
"
invention of
the
devil
of shameful and
full
135
obscene gestures and immodest movements."
As
called the "

it
Rome
the dance came from
was
Romanesca," but
less boisterous
than
it
may be seen by the specimen

we have reproduced.
it
was sometimes
in Italy
and
became
in
of "
in
France
England, as
Romanesca
"
which
In an unquotable passage belonging to the same
our arch-vagabond makes
scene,
" sink-a-pace," which
is
the
reference to
the " cinq-pas " (five-step),
and also Barnaby Rich's " Singuepace," quoted above.

This
is
also alluded to in "
ing" (Act
ii.
Sc.
1),
Much Ado About Noth-
where Beatrice says to Hero
The fault will be in the music, cousin, if you be not

wooed in good time if the prince be too important, tell him
:
and so dance out the answer.

Wooing, wedding, and repenting, is as a
Scottish jig, a measure, and a cinque-pace the first suit is hot
and hasty, like a Scottish jig, full as fantastical the wedding
mannerly-modest, as a measure full of state and ancientry
and then comes repentance, and, with his bad legs, falls into
the cinque-pace faster and faster, till he sink into his grave."
there
is
measure
in every thing,
For hear me, Hero
We have
hands,
for,
now
a large collection of dances upon our
between Sir Toby and Beatrice,
portant ones have been mentioned.

pace," for thus
it
The
five im-
" cinque-
was often Anglicised, was quaintly
syncopated, so that Beatrice's connection of
the wobbly gait oôld age
is
it
with
a peculiarly apt one.
\\
136
The
cinque-pace
said to
is
have been the original of
the galliard.
" measure "
The
like in its
was
stately
and elegant, not un
motions to the grace of the minuet.
It is
possible that the term arose from the dance called
"passa-mezzo," which was very graceful but not as
In "Twelfth Night" (Act
slow as the pavane.

Sc.
Sir
i),
Toby
v.
alludes to both of these dances in a
single sentence
" After a passy-measure or a pavin
The pavane was
hate a drunken rogue."
the stateliest of
the 4-4 dances,
all
and one can readily understand the dissipated Sir
Toby hating both the
elegant dance and
its statelier
sister.
KING HARRY THE VIIPS PAWN.

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III
was natural that Shakespeare should indulge in

a pun on the word "measure," and this dance
many
is
repeatedly spoken
(Act
v.
of.
"
In " Love's Labour's Lost
Sc. 2), a series of
puns
is
made upon the
dance and the other meanings of the word "measure."
%.
I38
What would they, say they ?

Nothing but peace, and gentle visitation.
Why, that they have and bid them so be gone,
Rosaline.
Boyet.
She says, you have it, and you may be gone.
King. Say to her, we have measured many miles,
To tread a measure with her on this grass.
They say that they have measured many a mile
Boyet.
To tread a measure with you on this grass.
" Rosaline.
Boyet.
Rosaline.
If,
to
ask them,
how many
inches
they have measured many,
if
The measure then

Boyet.
not so
It is
Is in one mile
of one
come
is
easily told.
hither,
you have measured miles
And many miles the princess bids you tell,

How many inches do fill up one mile.
Biron. Tell her, we measure them by weary
;
The same pun

II."
Act
The
is
made by the queen
steps."
in "
Richard
Sc. 4.
iii.
coranto, or courante,
may be found
second dance in all of the suites of

of those of Handel.
It
Bach and
as the
in
many
was a rapidly running dance,
generally in 3-4 or in 3-8 rhythm.
The
jig,
or gigue, used by the old suite composers
as the finale of this cycle form, was the most widely
known dance
country.
It
of
all,
among
the peasantry of every
existed from Spain (where there
also a slow gigue called the loure) to
Ireland.
The
so-called
petuosity which
jig.
One
we
Scotch
jig
was
England and
had the wild im-
associate to-day with the Irish
characteristic of this dance
was
its
groups
of three notes each, which suited best to 6-8 rhythm,
39
Almost
although 12-8 and 3-8 were not impossible.
every period ended with a hearty stamp, and the jig
became a
been before
it
it.
The
jig
may be
and hearty of
rollicking
defines
had
test of endurance, as the morris-dance
correctly
all
when she
most
classed as the
Beatrice
the dances.
calls
it
" hot
and hasty."
The jumping and capering which Sir Toby demands of Sir Andrew is characteristic of the English
dancing of the olden days, activity counting for
much more than
grace in almost
all
the early dances.
In " Love's Labour's Lost " (Act
have another series of dances alluded

are reminded of the singing to one's
"
Moth.
Go, tenderness
Sweet
air
key, give enlargement

hither.
Moth.
and again
my
sense of
[Singing.
of years
him
the swain, bring
to
we
1),
dancing.
Concolinel
Armado.
to,
own
Warble, child; make passionate
Armado.
hearing.
Sc.
hi.
take this
festinately
must employ him in a letter to my love.

Master, will you win your love with a French
brawl ?
Armado.
Moth.
How
No,
my
mean'st thou ? brawling in French
complete master
the tongue's end, canary to
turning up your eye-lids
it
but to
jig off
with your feet,
sigh a note,
a tune at
humour
and sing a note
it
;
with
some-
one of the mysteries of Shakespeare. It

we can only guess at its mean" Bonnibel " (from the French " Bonne et Belle " ) was often
ing.
used as a refrain; which may have some connection with the
*
This "Concolinel"
may be an
subject.
is
old refrain or burden, but
140
if you swallowed love with singing

sometime through the nose, as if you snuffed up love by
time through the throat, as

love
smelling love."
The brawl was

branle.
It
the English spelling of the French
was a dance
in
which the figures exe-
cuted by the leading couple were imitated by a line

of
their followers
were
of this
many
of
dances
the mediaeval
imitative character,
and
is
it
possible
that the branle had a remote origin.
The canary was
a species of gigue, quicker than
the loure, yet slower than the true
Its
jig.
rhythm
was generally 3-8 or 6-8.
One
of the Shakespearian allusions
to the
com-
bination of singing and dancing brings back a melody
which we have already met with,

love." ("Much
Ado About
the
" Light
Nothing,"
o'
Act
iii.
Sc. 4).
Good morrow, sweet Hero.

Why, how now do you speak
"Beatrice.
Hero.
Beatrice.
Margaret.
am
out of
all
Clap us into
out a burden; do you sing

Beatrice.
Yea,
'
Light
it,
in the sick
tune
other tune, methinks.
Light
and
o' love,'
I'll
o'
love
dance
'
that goes with-
it.
with your heels "

!
Regarding the names of the dances quoted above
we may
"gayj"
state that the galliard
came from the word
tne pavane from "pavone," a peacock
the
branle from the French branle r, to sway from side

to side; courante from conrir, to run;
canary from
141
name of the islands, and gigue from

German name for the fiddle.
the
There
that
is
(Act
another, and an essentially English dance,
spoken of by Shakespeare
is
The passage
manner.
Sc.
iv.
Geige, the
2),
very graphic
in a
occurs in "Winter's Tale"
where the clown complains
many commissions
that he
must carry out
of the
for his
the sheep-shearing festival.
sister for
" Clown.
cannot do't without counters.
Let
me
see
what am I to buy for our sheep-shearing feast? Three

What will
pound of sugar; five pound of currants; rice,
But my father hath made
this sister of mine do with rice ?
her mistress of the feast and she lays it on. She hath made
me four-and-twenty nosegays
men all, and very good ones
for the shearers
three-man song-
but they are most of them means
and bases: but one Puritan amongst them, and he sings

psalms to hornpipes."
We
try
have here the right dance
in the
wrong coun-
one would as soon find Shakespeare's celebrated
" seacoast in
there.
Bohemia
The hornpipe
" as discover
is
any hornpipes
an ancient English dance.
In old England, centuries ago, the shepherds used to

play upon a long wooden pipe, which instrument gave
rise to the
modern
much more developed English horn of the

The name of this ancient instru-
orchestra.
ment, the horn-pipe, was transferred to the favourite
dance of the shepherds, which was played upon
The hornpipe had spme
it.
of the characteristics of the
142
and of the brawl.
jig
effect
It
ended with a stamping
not unlike the conclusion of each period in
a properly constructed
jig.
Nowadays the hornpipe

sailor's dance,
is
considered especially a
but this was not the case in Shake-
speare's time, nor in the century after, as one can

readily perceive
ish Grenadiers
brilliant
by examining the tune of " The
"
(which
Brit-
a hornpipe melody) or the
is
hornpipe which ends Handel's " Concerto
Grosso, No.
7,"
a work which
still
is
heard in our chamber concerts.
occasionally
Before leaving the
above quotation about the hornpipe we
may
notice
the fact that the chorus was troubled then, as now,
by a lack
of high voices
most of the singers are
"means and bases."

Regarding the "three-men
song-men " we shall have more to say hereafter.
There was another composition, alluded
to
by
Shakespeare, which was sometimes danced and sometimes sung without dancing, and even occasionally
played as an instrumental composition.
This was the
"dump," which was slow and melancholy, and gave

rise to the
modern
saying, " In the
dumps,"
e.
i.
in
melancholy mood.
It is
to,
probably the
when he speaks
almaines,
toies,
dump
(in
jiggs,
that
Thomas Ford
refers
1607) of "pavens, galiards,
thumpes,
and
such
like."
Steevens, the eminent Shakespearian commentator,

considers
the
dump
to
have been an old Italian
143
Naylor, " Shakespeare and Music," page 23,
dance.
defines
thus
it
"The dumpe
Swedish
(from
dialect,
dumpa, to
dance awkwardly) was a slow, mournful dance."'
We
may, however, suggest another etymology
melody
this case, since the
tune without dancing

all
fils
elegy,
that
is
Europe, and was
southern
supposed to come from
sometimes a sorrowful
the Bohemian "
dumka
the demands of the dump, in that
it
" fulis
an
sometimes combined with dramatic action
is
may be
called dancing,
Some
imaginable.
and used even

that the
in
of the
in his
dumka does
and
is
dumkas
the saddest music
written
by Dvorak,
symphonies, are sufficient proof

not differ at
all
from the dump.
FIRST PERIOD OF "LADY CAREY'S DUMP."

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144
"
Naturally Shakespeare alludes freely enough to
such a characteristic melody.
We
quoted Proteus's advice to Thurio
men
of
Verona," Act
iii.
Sc. 2) to
have already
("Two
Gentle-
"tune a deploring
dump," and Peter's paradox ("Romeo and
Act
Sc.
iv.
5),
when he begs the
play some merry
dump
Juliet,"
musicians,
"Oh,
to comfort me," neither of
which examples suggests dancing.
We
give an ex-
ample of the character of the dump as well as of the

pavane
Shakespeare's time.
in
described above were
All of the dances
danced
England by
in
women.
indulged
Europe,
this
the
lively
and
the former.
was
ecuted
in
dances,
stately
prefer
freely
men and
conditions of
In England and in the northern countries
continental
of
all
as
indeed
In
not the case,
only the
even the aristocracy often

well
as
France,
the more
in
seemed
generally
Italy,
to
and Spain
and the higher classes
more elegant or more
ex-
dignified
dances.
Brandt, in his " Ship of Fools," speaks of the universal indulgence in dancing, as follows
"To itxomes
And
flatering
maydes, and wives,

yonge men to see to have their pray,
children,
The hande in hande great falshode oft contrives,

The old quean also this madness will assay
And
the olde dotarde, though he scantly may,

For age and lamenes styrre eyther foote or hande,
Yet playeth he the foole with other in the bande."
The
Sir
last four lines at
once bring up the picture of
Andrew Aguecheek
speare's portrait
A mode of
145
it
evident that Shake-
is
not an overdrawn one.
is
entertainment, which combined dancing
with pantomimic action and sometimes even with
words which were spoken or sung, was the masque.

Shylock's diatribe against
masques ("Merchant
Venice," Act
be remembered, and has
ii.
Sc
5.) will
of
already been quoted in connection with the " wry-
necked
but Shakespeare not only has
fife,"
mode
other allusions to this

actually introduced
it
in "
Timon
of entertainment, but
complete upon his stage, in
connection with his plays,
Tempest,"
many
as, for
example, in
"The
of Athens," etc. (see Chapter
XIIL).
"THE KYNG'S MASKE."

Undoubtedly the Masque Music of Henry VIII.
Saraband.
Andante.
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description by Bacon, in Chapter
may
eants were
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IMtlEgg^
at-JL
volume,
:î:
_^_
2Z
2E
The
P
-tffr
ij/.
&
<?#
I.
of this
give the best idea of what these pag-
like.
The masque preceded
the opera,
and probably came to England from
the latter country changed to
I47
Italy,
although
opera immediately
upon the invention of that kind of entertainment

(1
594-1600), while the chief masques of England
were performed
known
in
at a later epoch, the opera not being
England during Shakespeare's
According to Hall's " Chronicle " the

performed
in
England was
"after the maner of

that there
at
Italie,"
in Whitehall.
Music " (Vol.

is
masque
in
15 12,
and Holinshed says
was not only a masque but a good comedy
was performed
" It
first
Greenwich,
of Plautus performed in 1520.
of
lifetime.
In 1530 a masque
Burney, in his " History
III. p. 346), says
recorded in the folio edition of Ben Jonson's works,
masque which was

performed at the house of Lord Hay, for the entertainment of
printed in 1640, that in 161 7 his whole
was set to music after the

manner by Nic Laniere, who also painted the scenes."
the French ambassador,
Italian
Ferrabosco, Coperario, and other Italian masters

set
music to the early masques, and the English
composers at once followed so good an example,

such composers as Byrd, Robert Johnson, William
and Henry Lawes, and a host of others setting Ben

Jonson, Milton, Shakespeare,
etc.,
to music in this
form, a primitive opera without the recitative decla-
mation which afterward obtained.
No
less a person
than Inigo Jones designed the costumes and invented

the machinery forborne of the pageants.
masque
148
given by the four Inns of Court, in London, in 1633,
After the
more than a thousand pounds.
Restoration the masque seems to have degenerated
cost
into a
mere fancy dress
masquerade.
ball or
Shakespeare's employment of
the masque was
quite in line with the taste of his time, which desired
every species of pageant upon the stage.
scenery
was
theatre, this
sadly
this,
in
If
the
Shakespeare
the
was made up by the splendour of some
of the costumes
Of
deficient
and the ingenuity of the machinery.
however,
we
shall
speak more at length
in a
later chapter.
Not only was dancing introduced
Shake-
in the
spearian plays, but even between the acts, and after
the
last act,
was added
some
species of Terpsichorean revelry
1
to the dramatic entertainment, very
as the ballet
is
much
interpolated in operatic performances
in Paris at present.
Only once does Shakespeare mention that round

dance which the rustics loved,
the
" Love's Labour's Lost " (Act

says
"
v.
hay.
Sc.
1)
It is in
that
Dull
I'll
make one
in a
dance or so or I will play upon a

let them dance the hay."
;
tabor to the worthies, and
The
hay, as well as the morris-dance,
ated with May-day festivities

1
was
associ-
in fact, all kinds of
See Chapter XIII.
I49
musical and Terpsichorean sport were indulged in on
may be judged from
that day, as
from Spenser's
tation
logue
the following quo-
" Shepherds'
Calendar" (Ec-
v.)
" Siker this morrow, no longer ago,

I saw a shole of shepherds outgo
With singing, and shouting, and jolly cheer
Before them yode a lusty Tabrere,
That to the many a horn-pipe play'd,
Whereto they dancen each one with his maid.
To see these folks make such jouissance,
Made my
Then
heart after the pipe to dance.
to the
greenwood they speeden them
all,
To fetchen home May with their musical

And home they bring him in a royal throne
Crowned as king and his queen attone
Was Lady Flora, on whom did attend
A fair flock of fairies, and a fresh bend
Of lovely nymphs
O that I were there,
;
To
We
and
its
can
sum up
bush to bear
the style of the English dancing
musical adjuncts with a quotation from an old
pamphlet (1609), which says

"
May
helpen the ladies their
The Courts
of Kings for
and nimble footing
stately measures, the
City for
Western men for gambols

Middlesex men for tricks above ground Essex men for the
Hey Lancashire for Hornpipes Worcestershire for Bagpipes
light heels
but Herefordshire for a Morris dance, puts
down
Kent, but very near three quarters of Christendom

line
enough
to
measure
a Maid Marian.")
it."
("
Old
Meg
not only
if
all
one had
of Herefordshire for
150
But
it
must be added that these
" stately measures M
of the aristocracy, whether in England, Poland, Italy,
France,
or any important
European
and consisted
chiefly processional,
the
in
imitating the steps and gestures of the
first
Nothing," Act
follow the leaders
"
!
ii.
Sc.
2)
"
dancers
couple,
("
Much
We
must
which explains Beatrice saying to Benedick
Ado About
were
court,
CHAPTER
VIII.
Index to Char*
Shakespeare's /Esthetic Appreciation of Music
Famous Persons Who
acters by Their Appreciation of Music
Shakespeare's Jests at Music Balanced

Have Disliked Music
Evening Music
The Music of
by His Tributes to the Art
The Music of the Spheres.
the Sea
we propose
In this chapter
to leave for awhile the
technical references to music with which Shakespeare
teems, and study the tributes which the poet has
given to the art in general, the praises which he

brings to
it,
and the enthusiasm which
it
evidently
Here the poet appeals not only to

the musician, but to every person whose culture or
refined instinct enables him to vibrate responsive
excites in him.
to artistic beauty.
Perhaps no greater tribute to the power of music

can be found than in Shakespeare's presentation of
the psychical side of a character by
tion, half -appreciation,
The
known
lines
of
it
all;
at
the
art.
once seize upon the well-
end of the following scene
of Venice,"
apprecia-
or non-appreciation of the
superficial critic will at
("Merchant
its
Act
v.
Sc.
i),
as the
sum
152
Why
" Lorenzo.
My
should
we go
friend Stephano, signify,
in ?
pray you,
Within the house, your mistress is at hand

[Exit Stiphano.
And bring you music forth into the air.
How sweet the moonlight sleeps upon this bank
Here will we sit, and let the sounds of music
Creep in our ears soft stillness, and the night,
Become
the touches of sweet harmony.
Jessica
Sit,
how
Look,
the floor of heaven
Is thick inlaid with patines of bright
gold
There's not the smallest orb, which thou behold'st,
But
in his
Still
motion
an angel
like
sings,
quiring to the young-eyed cherubims
Such harmony
is in
But, whilst this
Doth grossly
immortal souls
muddy
close
vesture of decay
it in,
we cannot hear
it.
--
Enter Musicians.
Come, ho, and wake Diana with a hymn
With sweetest touches pierce your mistress'
And draw her home with music.
Jessica.
am
never merry,
when
ear,
hear sweet music.

[Music.
Lorenzo.
The reason
is,
your
spirits are attentive
For do but note a wild and wanton herd,

Or race of youthful and unhandled colts,
Fetching mad bounds, bellowing, and neighing loud,
Which
If
is
the hot condition of their blood
they but hear perchance a trumpet sound,
Or any air of music touch their ears,

You shall perceive them make a mutual
stand,
Their savage eyes turn'd to a modest gaze,
By
the sweet power of music
Did
feign, that
Orpheus drew
Therefore, the poet

trees, stones,
Since nought so stockish, hard, and
full
and floods;
of rage,
153
But music for the time doth change his nature

The man that hath no music in himself,
Nor
Is
is
not
moved with concord
for treasons, stratagems,
fit
The motions
And
We
spoils
of his spirit are dull as night,
his affections
Let no such
<
of sweet sounds,
and
dark as Erebus
man be
trusted.
Mark the music."
are not disposed to regard the last six lines
of this sentence as absolute statement of fact
must be borne
in
mind that
sentiment
this
to one of Shakespeare's lovers, and
greatest of his kind.
It is
is
it
given
by no means the
Lorenzo's ecstatic praise
we hear, and the poet has, perhaps purmade it somewhat extreme. The extravagant
use made by commentators of this passage aroused
of music that
posely,
the
in
ire of
one of the Shakespearian
editors.
Steevens,
commenting on the scene, bursts forth with
this
violent diatribe
"The
present passage, which
is
neither pregnant with
physical and moral truth, nor poetically beautiful in an emi-
nent degree, has constantly enjoyed the good fortune to be

repeated by those whose inhospitable memories would have
refused to admit or retain any other sentiment or description
of the
same
that
furnishes the vacant fiddler with something to say in
it
author,
however exalted or
just.
The
truth is
defence of his profession, and supplies the coxcomb in music

with an invective against such as do not pretend to discover
all the various powers of language in inarticulate sounds."
It
is
in this connection
sentence a
"capricious
that Steevens calls the
sentiment,"
and intimates
154
Shakespeare only employed
that
vour with his audience, with
it
whom
to
curry
fa-
music was a
fashion.
The
attack
is
so extreme,
especially as
coming
from the editor of the greatest music-lover among

that
poets,
p.
Furness (Variorum Edition, Vol. VII.
252) ventures to doubt
Furness
authenticity.
its
says
" It
note,
is difficult
is
sure but that this attack
in jest or earnest.
some honest Goodman Dull
lure
One
of
we have had more than once to

I am by no means
on music was riot a trap, whereby to
to decide, as
whether Steevens
all
feels loath to differ
the
any task
where not to be
deadliest
of
sins.
like that of
and
clear
1
reliable
commentawould be
however, he intended
If,
he has caught plenty of victims, for a
a trap,
rent
from the most eminent
Shakespearians, but such jesting would utterly
unfit Steevens for

tion,
into a defence of it."
of
indignation
which has not spent
was the
its
result,
tor-
torrent
force even in the present
day.
But
it
may be borne
pictures Othello (Act
music, as
1
The
may be
iii.
in
mind
that Shakespeare
Sc. 1) as being averse to
seen from the following
reader will find another anti-musical quotation from Stee-
vens in Chapter X., which tends

lenient suggestion.
still
further to discredit Furness's
155
and some Musicians.
" Enter Cassio
-""A
Masters, play here,
Cassio.
Something
that's brief
and bid
will content
your pains.
good morrow, general.

[Music.
Enter Clown.
Why,
Clown.
How,
Musicians.
Clown.
the nose thus ?
i'
sir,
how?
But, masters, here's
eral so likes your music, that
to
make no more
noise with
First Musician.
Clown.
again
If
your instruments been at
have
masters,
Naples, that they speak
Well,
money
for
you
he desires you, of
and the gen-
all
your loves,
it.
sir,
we
will not.
you have any music that may not be heard,
to't
but, as they say, to hear music, the general does not
greatly care.
First Musician.
away
And,
Go
We
have none such,
Then put up your
Clown.
;
vanish into air
like the
sir.
pipes in your bag, for
I'll
[Exeunt Musicians."
away.
impetuous and tropical Othello, the cou-
rageous and impatient Harry Hotspur cares nothing

for the art
indeed, the second example
nounced than the
first,
is
more
for Othello " did not greatly
care " for music, while Percy evidently detests
ing by the following citation from the

of the third act of "
" Glendower.
pro-
Henry IV."
can speak English,
first
judg-
scene
(First Part).
lord, as well as
For I was train'd up in the English court

Where, being but young, I fram'd to the harp
Many an English ditty, lovely well,

And gave the tongue & helpful ornament:
it,
you
156
was never seen in you.

Marry, and I'm glad of it with all
I had rather be a kitten, and cry
mew,
Than one of these same metre ballad-mongers
I had rather hear a brazen can'stick turn'd,
Or a dry wheel grate on an axle-tree
And that would set my teeth nothing on edge.
Nothing so much as mincing poetry
virtue that
Hotspur.
my
heart;
'Tis like the forced gait of a shuffling nag."
Yet the same
by the musical
citation shows,
gifts
Shakespeare deemed musical ap-
of Glendower, that
preciation or ability not incompatible with bravery
and military prowess.
Not
all
who
of those
a very respectable
tone-deaf.
Among
son, Charles
thought
it
care nothing for music are
list
these
of notabilities
we may mention Tenny*
necessary to apologise for Shakespeare's
Dean
Swift,
and a host of others.
But Shakespeare seems to intimate,

a lack of musical appreciation
suspicion, for
Note
for there
who were
Lamb, Addison, Doctor Johnson (who
love of music),
stratagem, and spoils,"
"fit for treason,

is
in
" Julius
is
at least,
Caesar "
(Act
i.
Sc.
also Lucentio's definition of the use of music ("
of the Shrew," Act
iii.
Sc.
i),
quoted
in
that
to be viewed with
Chapter
III.,
2)
Taming
beginning
Preposterous ass," for a lesser estimate of music.

2
line, is that quoted by Morhe says: "I ever held this sentence of the poet as a
canon of my creed,
That whom God loveth not, they love not
Musick."
Closely akin to the Shakespearian
ley (1598);
I$f
Caesar speaks of a dislike of plays and of music as
being one of his causes of distrust of Cassius.

" Ccssar.
me have men
Let
me
about
Sleek-headed men, and such as sleep
o'
that are fat
nights
'Yond Cassius has a lean and hungry look

thinks too much such men are dangerous.
Antonius. Fear him not, Caesar, he's not dangerous;
He
He
is
Roman, and
a noble
well given.
But
Would he were fatter
Yet if my name were liable to fear,
I do not know the man I should avoid
CcBsar.
So soon
He
is
as that spare Cassius u
He
reads
him not
much
a great observer, and he looks
men he loves no plays,

he hears no music."
Quite through the deeds of
As thou
Antony
dost,
It is
a point worth noting that, whenever Shake-
speare points his jests at music, he

forth
fear
some
the same
of his
is
most earnest tributes to the
"Twelfth Night," as
play.
sure to bring
art in
may be
seen
in other chapters, is full of the ribald side of music,
yet no play
is
very
lines
first
richer in earnest musical allusions.

of this
comedy
are
devoted to a
eulogy of music.
"ACT.
Scene
I.
Enter Duke, Curio, Lords

Duke.
If
Give
me
The
appetite
I.
An Apartment in the
;
it
Duke's Palace.
Musicians attending,
music be the food of
excess of
love, play on,
that, surfeiting,
may îcken, and
so die.
The
158
That
strain again
O,
came
it
o'er
my
it
had a dying
fall
ear like the sweet sound
That breathes upon a bank of violets,

Stealing, and giving odour.
Enough; no more
'Tis not so sweet now, as it was before."
The
word
last
read
it
"south"
as
above has set
of the fifth line of the
many
the commentators by the ears, for

(z.
prefer to
the south wind), which
e.
is
the more poetical metaphor, but seems to find no
good warrant
We
in the original edition.
altered reading
" the
Rowe would have
us
sweet
read
south "
" the
owe the
to
Pope.
sweet wind
Steevens gives his adhesion to "south," and thinks

that
the passage might have been
similar tribute to the southwest
"Arcadia;"
inspired
wind
Knight and White agree
"sound," and
it
is
in
in
by a
Sydney's
choosing
worth noticing that Shakespeare
nowhere gives any laudation of the south wind, but

connects
subject
is
it
The
we may cite
one of the many
with fog, rain, and bad weather.
not within our province, yet
the above opinions as an instance of

battles that
have been fought over Shakespearian
texts.
Fortunately, the rest of the citation

inition, for " dying
diminuendo.
of a "fall
To
fall "
Bacon,
is
easy of def-
means only a cadence played
in his
" Sylva Sylvarum," speaks
from a discord to a concord."
return to our musical tributes
we need
not as
yet leave " Twelfth Night."
In Act
Sc. 4, our ducal
ii.
music-lover again bursts forth in praise of the

" Duke.
me some
Give
friends.
music.
59
Now,
good
art.
morrow,
Now, good Cesario, but that piece of song,

That old and antique song we heard last night
Methought it did relieve my passion much
More than light airs and recollected terms,
Of these most brisk and giddy-pace'd times
Come, but one verse.
;
He
Curio.
sing
not here, so please your lordship, that should
is
it.
Duke.
Who
Curio.
Feste, the jester,
was
much
Olivia's father took
Seek him
Duke.
Come
it ?
out,
my
lord
delight in
he
a fool, that the lady
about the house.
is
and play the tune the while.

Music.
[Exit Curio.
boy If ever thou shalt love,

In the sweet pangs of it, remember me
hither,
For, such as
am,
all
true lovers are
Unstaid and skittish in
Save
That
in the constant
is
beloved.
Viola.
Where
It
love
When
all
motions
else,
image of the creature
How dost thou
throned."
is
Feste, the most important and musical of
Shakespeare's clowns, enters, there

cal
comment
Mark
it,
is
further musi-
" Re-enter
Duke.
tune?
like this
gives a very echo to the seat
fellow,
Cesario
it
Curio and Clown.
come, the song we had

isVld and plain.
last
night
l6o
The
spinsters
And
the free maids, that weave their thread with bones,
Do
and the
use to chant
And
it
knitters in the sun,
it is silly
dallies with the
sooth,
innocence of love,
Like the old age.
Clown. Are you ready, sir?

Duke. Ay; pr'ythee, sing.
[Music.
SONG. 1
Clown.
Come away, come away, death,

And in sad cypress let me be laid
'
Fly away,
I
am
My
slain
away, breath
fair,
prepare
cruel maid.
shroud of white, stuck
My
fly
by a
all
with yew,
it
part of death no one so true
Did share
Not a
On my
flower, not a flower sweet,
black coffin
Not a
it.
let
there be strewn
friend, not a friend greet
My poor corpse, where my bones shall

A thousand thousand sighs to save,
be thrown
Lay me, O, where
Sad
true lover ne'er find
To weep
my
grave,
there.'
There's for thy pains.
Duke.
Clown.
Duke.
No
pains, sir
take pleasure in singing,
sir.
pay thy pleasure then.

Truly, sir, and pleasure will be paid, one time or
I'll
Clown.
another."
1
lost.
The
original
setting of this important song
is
unfortunately
we
Again, however,
ollected terms "
as Knight
makes a very dubious meaning.
pressions,
which
(although
we broach
is
is
word " tunes
means
White
carefully studied ex-
rather far-fetched.
the
If,
be substi-
"
easy of comprehension.
is
believes that the phrase
word
" Rec-
find a stumbling-block.
suggests, the
tuted, the passage
that the
l6l
It is possible
new reading with
"re-collected," which
diffidence)
would imply
second-hand, used over terms.
The
times,"
cry for " the old age,"

is
i.
" the good old
e.
Yet
quaint enough, coming so long ago.
one can find the same thought expressed much before Shakespeare's
time, for Aristophanes, a half-
dozen centuries before our

" the
to
good old times
"
;
era, also
cried out for
Adam
and Eve seem
in fact,
be the only parties who did not compare the
past with the present, to the disadvantage
of the
latter.
Cleopatra (Act
ii.
Sc. 5) speaks of music as the

"
Of us
and,
by the way,
game
moody food
that trade in love,"
directly after, invites
of billiards, a
little
Charmian
to a
more than a thousand years
before anything like billiards was
invented
But
Cleopatra defies chronology, and desires her stays
when they did not exist

may be regaMed as one of the aesthetic
cut at a time
It
points
62
of Shakespeare, that
The passage
ancholy.
It "
he describes the musician's mel-
(Act
Sc.
iv.
i),
is
and
found in
"As You
Like
spoken by the cynical
is
Jaques
"
tion
I
;
have neither the scholar's melancholy, which

nor the musician's, which
which
ier's,
is
proud; nor the
nor the lawyer's, which

nice
fantastical
is
soldier's,
is politic;
nor the lover's, which
is all
emula-
is
nor the court-
which
is
ambitious;
nor the lady's, which
is
these."
Naturally so poetic a nature as that of Shakespeare
would speak of evening as music's most

In
"The Merchant
of
Venice
"
(Act
fitting
v. Sc.
frame.
Portia
i),
speaks to Nerissa of this fitness

"
Nerissa.
It is
Music
hark
your music, madam, of the house.
Nothing is good, I see, without respect

sounds much sweeter than by day.
Nerissa.
Silence bestows that virtue on it, madam.
Portia.
The crow doth sing as sweetly as the lark,
Portia.
Methinks,
When
The
it
neither
is
nightingale,
attended
if
and,
think,
she should sing by day,
When every goose is cackling, would

No better a musician than the wren.
How many things by season season'd
To
be thought
are
and true perfection

Peace, hoa the moon sleeps with Endymion,
And would not be awak'd
[Music ceases"
their right praise,
And
3),
in
(Act
ii.
Claudio voices very nearly the same sentiment.
Sc.
"Don
Come, shall we hear this music?

my good lord
How still the evening
As hush'd on purpose to grace harmony "
Pedro.
Claudio.
Yea,
63
is,
The music of
the sea does not escape the genius of
He
our great poet.
does not, to be sure, go as far as
Walt Whitman, with

"
his stirring lines
To-day a rude and brief
recitative
Of ships sailing the seas,

Each with its special flag or ship signal,
Of unnamed heroes in the ships,
Of waves spreading and spreading, far as the eye can
Of dashing spray, and the winds piping and blowing
And
out of these a song for the sailors of
reach,
nations
all
Fitful, like a surge."
"
Nevertheless,
The Tempest
"
has
many
to marine music, of better character and

style than the
Oberon,
mer Night's Dream" (Act

music of the sea
My gentle
refined
broad bacchanalian touches which are
found in that great work
"
allusions
more
ii.
Sc.
too, in "
1),
Midsum-
speaks of the
Puck, come hither
Thou remember'st
upon a promontory,
Since once
And heard
a mermaid, on a dolphin's back,
sat
Uttering such a dulcet and harmonious breath,
That
the rude sea
grew
civil at
her song
And certain stars shot madly from

To hear the sea-maid's music."
And
in the "
find the lines
Comedy
:
their spheres,
of Errors " (Act
iii.
Sc. 2),
we
64
me not, sweet mermaid, with thy note,

To drown me in thy sister's flood of tears
" O, train
Sing, syren, for thyself, and
Spread
o'er the silver
will dote
waves thy golden hairs."
Naturally, too, the music of the spheres
tioned
more than once by Shakespeare, who
men-
is
lived in
an epoch which held to the derivation of the symIn "Twelfth
metry of music from natural causes.

Night
"
(Act
Sc.
iii.
i),
Olivia says to the supposed
Cesario (Viola) that she would rather hear his suit

" than music
"
Antony and
heroine speaks of the
Antony she
from the spheres
Cleopatra," the
" in
had dreamed of
" His voice
As
all
was propertied
the tune'd spheres, and that to friends
But when he meant to quail and shake the orb,
He was
as rattling thunder."
"Pericles"
In
(Act
v.
Sc.
i),
sion to the music of the spheres
My
Pelicanus.
Pericles.
Do
allu-
found
?
hear none.
lord, I
None ?
of the spheres
Lysimachus.
Pericles.
is
But what music
" Pericles.
The music
the following
It is
list,
my
Marina.
not good to cross
him
give
him way.
Rarest sounds
ye not hear
Music? my lord, I hear

Most heavenly music
It nips me unto list'ning, and thick slumber
Hangs on mine eyelids let me rest.
Lysimachus.
Pericles.
[He
sleeps?
65
1
In
"
As You Like
It "
(Act
Sc.
ii.
5),
Duke,
senior,
says of Jaques
If he,
We
The
compact of jars, grows musical,

have shortly discord in the spheres.'
shall
made by the motions
theory of the music
the planets had
origin in ancient Egypt,
its
music was closely connected with astronomy.

thagoras, pupil of the Egyptian
and promulgated them
theories
whence the music
known
of
the
in
Py-
priests, stole
their
Greece as
own,
spheres
as a Pythagorean theory.
of
where
was
The
his
generally
earliest notes
used in ancient Greece, about six centuries before

Christ,
were the planetary
central
and controlling note.
signs, the
sun being the
In the sixteenth cen-
tury more than one system was built upon this poetic
idea.
The author
possesses an
old edition of the
works of Zarlino (1562), wherein not only diagrams

of the proportions of the spheres are applied to music,
but even the tempo
is
ian writer suggesting
sought for in nature, the

that the
counted by the pulse of a healthy
Among
Ital-
speed of music be
man
the various tributes to the power of music
which we have
culled,
we
find one, however,
which
intimates that this power can be employed either for
good or
evil.
of the art
It will
be noted that this description
occursMn connection with a song.
The
66
scene occurs in " Measure for Measure," at the be-
ginning of the fourth

"
Mariana
act.
discovered sitting; a boy singing.
SONG.
Take, oh take those
lips
away,
That so sweetly were forsworn;
And
those eyes, the break of day,
Lights that do mislead the
But
my
morn
kisses bring again,
bring again,
Seals of love, but seal'd in vain,
seal'd in vain.'
Mariana. Break off thy song, and haste thee quick away
Here comes a man of comfort, whose advice
Hath often still'd my brawling discontent.
[Exit boy.
Enter Duke.
I
cry you mercy, sir
and well could wish,
You had not found me here so musical

Let me excuse me, and believe me so,
My mirth it much displeased, but pleased my woe.
Duke.
'Tis
To make bad
good
though music
oft
hath such a charm,
good, and good provoke to harm."
The apology
for being musical, the statement that
music can pervert good into
evil,
is
very different
from the Shakespeare of the foregoing musical eulogies.
Music can become
evil
only by association
with improper words or vicious surroundings.
cancan
from
Offenbach's
" Belle
Helene,"
The
might
bring up
associations in the
evil
familiar with that opera, but
innocent
person
There
hilarity,
would suggest only
it
simply as instrumental music.
it
no instrumental music that can be consid-
That the reader may judge of
ered harmful per
se.
the song which
moved the duke
we reprint
poem by Dr. John Wilson.
arraignment of music,
the
any one
of
gradually growing into frenzy, to a
who knew
is
mind
I67
to so peculiar
an
the early setting of
There
strong
is
reason to suppose that this music was used upon the

stage in " Measure for Measure " during the lifetime
of Shakespeare.
TAKE THOSE
AWAY.
LIPS
^__^^
'mi*
fefe
S.
r
oh take those
Take,
TOE
m
a:
u-
^--
5E
""Ire
.
way, That so
>:
J.
xzz.
J2.
(52.
V
;
S|
i=
--as*-
sweet-lye were forsworne
m&
lips
Dr. John Wilson.
it
r
if
"
And those eyes, the breake of day,
t=t
fc^zbrszi*
1
Possibly this is tê * Jack Wilson " spoken of in " Twelfth
Night." (See Variorum Edition, Furness.)
68
<U
^m.
r
*=?,
r3r
its, that do mis-leade

Lights
m&
BE
rr
the morne
But my
kiss
es
OIIZZZZC
^s
i=*
i
'
'
3=s =*
r rr rr
bring againe, Seales of
ft^5
*3=t==-^*=i.
love, but
3=3=3.
-*
seal'd
"* 2^-
in vaine.
CHAPTER
IX.
of Shakespeare Early English Drink Skelton's Ale-song Tavern Life and Customs
Catches Ancient Rounds " Three-men's Songs."
The Bacchanalian Music

ing-songs
The
era
drinking-songs did not begin
of
Shakespeare, nor did they end with his time
with
if
the
reader will consult Ritson's famous " Collection of
English Songs " he will find English drinking-songs

of
lish
in
epochs and
all
drinking-song of any literary merit
"A
Gammer
This wild song

author's
Scott has,
we
Still
and there
is
Gurton's Nedle.
be found
writings)
Skelton
London 1575."
means the basest
(by no
licentious
by the John
John
to
is
ryght pithy, pleasaunt and merie comedie;
intytuled
to
Probably the oldest Eng-
styles.
of
the
was probably written
referred
to
in
Chapter V.
think erroneously, attributed the song

it
was
little
referred to the
originally
marked
"
by Mr. S."
doubt but this vague signature
man most
capable, at this epoch, of
producing such an effusion.
The
drinking-song, which
was the prototype of many that followed, ran thus

" Backe and syde go bare, go bare,
Both foote and nande go colde:

169
I/O
But
God sende
bellye,
Whether
it
cannot eat but
My
stomacke
But sure
" Thoughe
am
lytle
meate,
not good,
I
can drinke
that weares a hood.
go
bare, take ye
no caref
nothinge acolde
my skyn
I stuff
Of
is
thinke that
With him
thee good ale ynoughe,
be newe or olde.
so full within,
good ale and olde.

Backe and syde go bare, go bare,
joly
love no rost, but a nut-browne toste,
And
a crab laid in the fyre
little
Much
breade shall do
breade
No frost
Can
I
me
stead,
not desyre.
nor snow, nor winde
hurte
am
Of
mee
if I
trowe,
wolde
so wrapt, and throwly lapt,
good ale and olde.

Backe and syde go bare, go
etc.
joly
And Tyb my
bare, etc.
wyfe, that as her lyfe,
Loveth well good ale
to seeke
tyll ye may see

The teares run downe her cheeke
Then doth shee trowle to mee the bowle,
Even as a mault-worme shuld
And sayth, sweete hart, I tooke my part
Of this joly good ale and olde.
Full oft drynkes shee,
Backe and syde go

u
Now
Even
let
as
bare,
go bare,
etc.
them drynke, till they nod and winke,

good f elowes shoulde doe
i
They
Good
And
shall not
all
to
have the
men
blisse,
to.
poore soules that have scowred boules,
Or have them
God
mysse
ale doth bringe
lustely trolde,
save the lyves of them and their wyves,
Whether they be yonge or olde.

Backe and syde go bare, go bare,
There
is little
branch of
this
have sat
a chair
At
Stratford-on-Avon the
whereon the poet
and joined
at the tavern
Vicar Ward's account
there.
etc."
doubt but that Shakespeare enjoyed
literature.
shown
visitor is
I/I
years after the event), that
is
said to
in the jov al singing
(first
made
public fifty
and Ben Jonson had a merrle meetseems drank too hard, for Shakespeare died of a
" Shakespeare, Drayton

ing,
and
it
feavour ther contracted,"
may
or
may
not be true, but such an event would'
not be greatly out of character with the times nor
with the company which Shakespeare enjoyed, the

rollicking
Bohemian
bean days.
Cowley
circle of Elizabethan
died,
and Jaco-
subsequently, from about
the same cause, and his boon companions were of
much more
dignified station.
Shakespeare did not copy his
If
drinking-songs
from Skelton, he gave to his clowns and vagabonds

a certain device which one can find in the earlier
poet,
]ine
the
habit of throwing in the refrain
from a catch oY song here and there.
We
or a
find
172
this
custom used
in Skelton's "
Moral Plays " a good
half-century before the poet's days.

If
Shakespeare was familiar with the tavern at
Stratford-on-Avon, he was
with
the
taverns
probably
still
more so
London, for these were not
in
merely places of refreshment, but became the clubs

coffee-houses were at a later
as the
of the time,
period, houses
where friend met
At
of social intercourse.
the
friend, a
rendezvous
Mermaid Tavern,
in
Bread Street, many of the poets and dramatists of

the epoch were wont to congregate, and, although
we can
find
no distinct record of the
fact, it is ex-
tremely probable that Shakespeare often formed one

of the gathering.
Most minute are the
Shakespeare gives us of the
The
jests
which
were not always of the highest order
these taverns, and a practical joke
almost any other form of wit.
two
was often a picture
of
heads with cap and
bells,
be three," or "
In
details
these resorts.
life in
When
"Twelfth Night"
On
the wall there
asses' heads, or fools'
with a legend of
shall
(Act
in
was prized above
"We
we three meet again

ii.
Sc.
3),
the clown
"Did you never see the

and Sir Toby at once catches
Feste asks of Sir Toby,

picture of
we
three
?
'
"
"
the implied meaning, responding, " Welcome, ass
!
as the guests in the tavern did
when any simpleton
inquired for the third ass spoken of in the inscription, yet invisible in the picture.
The music
by the
the tavern was most frequently
in
convivial friends
who met together
73
made
there, for
every gentleman was expected to be able to bear his

part in vocal music
if
he had anything
like " a voice
but there were also strolling musicians, held in low
who would
esteem,
enter these houses and seek for
temporary employment
in playing for
some company
unable to furnish their own musical recreation.
music was called a "noise," occasionally.
most graphic
bit of tavern-life,
the second act of " King
if
we
some music."
Ben Jonson's "Silent
Woman"
(Act
iii.
Sc.
i),
read
" Dauphi?ie.
shall
we do
Well, there be guests and meat now;
for music
Clerimont.
The
smell of the venison, going through the
would
would
Dauphine.
Clerimont.
Faith, there
all feasts.
There
London cooks
And
how
one noise of fiddlers or other.
streets, will invite
the
part),
thou canst find out Sneak's noise; Mistress Tear-
sheet would fain hear
In
In that
the fourth scene of
Henry IV." (Second
the drawer bids his companion
"See
Such
is
;
it
is
call the
hope
trumpeters hither.
they have intelligence of
good correspondence betwixt them and

twenty to one but we have them."
'tis
Fletcher also alludes to musicians' "noise" in
several of his plays.
The musicians themselves were
scarcely regarded
as anything else tnan mendicants.
Gosson, in his
174
" Short Apologie of the Schoole of Abuse," London,

1587, says
"
London
them hang
They
so
is
man can no
full
of unprofitable pipers and fiddlers, that
sooner enter a tavern, than two or three cast of
at his heels, to give
him a dance before he depart."
thrust themselves
upon any company that
gathered for conviviality with, "Will you have any

music, gentlemen
thirty-ninth
against
Muses, by which
classed
beggars,"
little
with
"
Any
shall at
in
any
and seem
to
year of Elizabeth
promulgated
"
have been as
all
humble
these
minstrels,
"rogues,
as
(1597),
diffi-
In the
shake off as Neapolitan beggars.
cult to
were
law was
sons
the
of
"wandering abroad,"
vagabonds,
and sturdy
and were promised severe punishment.

later
Cromwell reinforced the
on,
edict
persons commonly called Fidlers or Minstrels
any time be taken playing,
fidling,
inn, ale-house, or tavern, or shall
themselves, or desiring, or intreating any
make music
who
and making music
be taken proffering
...
to
hear them
any of the places aforesaid shall be

adjudged and declared to be rogues, vagabonds and sturdy
play or
in
beggars."
Yet sometimes
in Elizabeth's
musicians received fat fees.
who brought out

Remonstrance,"
in
day these itinerant
One anonymous
a pamphlet called the
writer,
"Actor's
1643, says that they sometimes
received twenty shillings for two hours' playing
was written a
as this
and the statement
may assume
but
generation after the epodi,
full
not backed up by any proof,
is
,ve
(especially taking the Elizabethan stat-
the
that
consideration)
ute into
75
were held of very low
caste,
strolling
players
and eked out but a
scanty livelihood.
When
above,
of
music was sent
was generally
it
for,
play in the best
to
The
especial name.
room
room frequently received
the tavern, and this
some
as in the case cited
larger taverns
seem to
have had more than one room with such name. 1

Shakespeare brings
in this
ure for Measure " (Act

alludes to the "
Bunch
an especial room
(Act
in
ii.
If
nomenclature
Sc.
i),
be
in
"Meas-
where the clown
of Grapes," not a tavern, but

;
Head Tavern
King Henry IV.")
in the Boar's
Sc. 4, of First Part of "
we find Poins (or

moon " and other
readily
it
ii.
Pointz)
alluding to
"the Half-
instances of this custom might
cited.
the revellers
made
their
own
music, they gener-
erally
sang catches together, and these compositions
were
of
the liveliest
description, often (as will be
seen in the next chapter) containing some jest or

double-entendre.
We
reproduce a few of the poems
that constituted the text of the old catches

1
See the tavern-scene in Fletcher's " Captain " (Act
a very graphic presentation of this matter.
iv. Sc. 2)
for
176
" If any so wise
is,
That sack he despises,

Let him drink his small beer and be
Whilst we drink sack and sing
As
if it
He
shall
sober.
were Spring,
droop
like the trees in October.
" But be sure, overnight,

If this
You
dog do you
take
it
Soon as out
To
settle
Take a
bite,
henceforth for a warning

of your bed,
your head,
hair of his
tail in
the morning."
" She that will eat her breakfast in bed,
And spend the morn in dressing of her head,

And sit at dinner like a maiden bride,
And nothing do all day but talk of pride
Jove of his mercy may do much to save her,
But what a case
is
he
in that shall
have her?"
3
" Never let a
man
take heavily the clamour of his wife,
But be ruled by me, and lead a merry

Let her have her will in everything,
If she scolds then laugh and sing,
Hey
life.
derry, derry derry ding."
own characters occasionally appear

may be seen by the reproduction
by George Holmes, who was not the
Shakespeare's
in early catches, as
of the
catch
organist of Lincoln, but an anterior musician, living

possibly in the time of Charles
I.
m mm
177
lyS
Regarding the performance of the catch, we can

present to our reader the explicit directions given by
John Playford
in
in his
"Musical Companion," printed
1672.
"
who
thought
it
necessary for information of some Songsters
are not well acquainted with the Nature and
Manner of
Singing of Catches, to give them these Directions:
Catch
is
are included in one
One.
First,
a Song for three Voyces, wherein the several Parts

;
or, as it is usually
tearmed, Three Parts in
Secondly, the manner of Singing them
begins and Sings the Catch forward, and
is
thus,
when he
The
is
First
at that
Note over which this (:S:) Mark or Signature is placed, the

Second begins and Sings forward in like manner, and when
he is singing that Note over which the said Signature is, the
Third begins and Sings, following the other, each Singing it
round two or three times over, and so conclude.
" This kind of Mustek hath for many Years past been had in
much estemation by the most Judicious and Skilful Professors
of Musick, for the Excellency of the Composition and Pleasant
Harmony and no late Mustek that I have met with affords so
much Delightful Recreation, though some fond Ignorant Novices in Mustek have cry'd them down, because the height of
But being unwilling
their Skill is not able to understand them.
so much good Mustek should be buried in oblivion, it has made
me adventure them once more into the World, for the benefit
of future Ages
And I am sure they will be welcome at this
time to many Judicious Persons, to whom I recommend them
for this is a Catching Age, all kinds of Catches and Catchers
are abroad, Catch that Catch can, Catch that Catch may, Thine
Catch it, and mine Catch it; But these harmless Catches, my
wish is, those that Catch them with delight to Learn and for
Instruction, may hereby reap both Pleasure and Delight: But
those that Catch at them with detraction, (as that is a Catching
;
may Catch
disease)
only the Fruits of their
own Envy and
Malice."
Catches, although generally in three parts, were
no means always
entitled
different
may be
as
so,
of voices
catches
up
1609, in which
in
to ten parts enter in the
We
and canons.
a repro-
give
duction of a four-part catch from " Sympson's
pendium
many
of
of
Musick"
The punning
(1678).
of the catches
by-
seen in the collection
"Pammelia," published
numbers
all
79
may be
Com-
character
seen in certain ones
which are sung even to-day, as for example, Doctor

Callcott's "
Ah, how Sophia," which,
becomes "
house
afire,"
in rapid singing,
or the celebrated catch
about Burney's " History of Music," in which "Burney's history " becomes "
lar
Burn
tolerated
Queen
and laughed
Bess," as
by a
simi-
Shakespeare's was emphatically
change of tempo.
a punning age, and any pun,
was
his history,"
may be
if
it
were never so bad,
at in the reign of "
seen by the fanciful
Good
title
and
preface of the collection of catches last mentioned,
the
first collection
ever printed.
"
PAMMELIA.*
" Mustek's Miscellanie, or

delays,
1
mixed varietie of pleasant Rounand delightful Catches of three, four, five, six, seven,
We may add
to the
above that many catches had some " catch,"
or double meaning in the words, these double-entendres often being

quite indelicate.
8
From two Greek woros
signifying Miscellaneous
Harmony.
180
Contriv&nce cf Canon.
1 1.
Of Catch
or Round.
not omit another fort ofCanon, in more

and common ufe (though of leis dignity) than all thole which we have mentioned
5
IMuft
recjueft
and thatais a Catch or Round

tion in Unifon^ or a
Canon
Some call
confifting
it a Caof Periods.
The contrivance whereof is not intercate: for, if

you compofe any fhort Strain, of three or four
Parts, letting them all within the ordinary compaft of a Voice 5 and then place one Part at the
end of another, in. what order you pleafe, fo as
they may aptly make one continued Tune 5 yotx
have finifhed a Catch
*
Example.
isiliiiilil====
None
eight, nine, ten parts in one.
l8l
so ordinary as musical
none so musical as not to all very pleasing and acceptable.

London printed by William Barley for R. B. and H. W., and
are to be sold at the Spread Eagle at the great north door of
:
St. Pauls, 1609.
"
To
sing.
the well disposed to read, and to the merry disposed to
Amongst other liberal
been as
liberal in
arts,
music for her part hath always

gifts as any one what-
bestowing her liberal
manner for diversity, and ample

measure for multiplicity, as more cannot be erpected, except it
were more than it is respected yet in this kind only, it may
soever; and that in such rare
seem somewhat niggardly and unkind
in never as yet publicly
communicating, but always privately retaining, and as
But
it
because
all,
indeed hath hitherto been defective in music
this vein
now commended to
is
all
now mended,
this
kind of music
men's kind acceptation.
and have
might equally partake of that which
did
were
this
and, therefore, that fault being

also
it
more familiar mirth and jocund melody.

may be music hath hitherto been defective in this vein,
envying to
willingly undertake,
Catches are so generally affected,
is
so generally oêcted.
take
it,
cafitum, because they are so consonant to
capacity, being such indeed as
all
This
easily <?êcted, that all
quia non superant
all
ordinary musical
such whose love of music
cannot but commend such also, as all such

music exceeds their love of such slight and light
fancies, cannot either contemn or condemn good art in all for
exceeds their
whose
skill
skill in
more musical good mirth and melody for the more jovial
sweet harmony mixed with much variety and both with great
the
Harmony to please, variety to delight, facility to inSome toys, yet musical without absurdity; some
thee.
facility.
vite
very musical, yet pleasing without difficulty;
light,
but not
without music's delight; music's pleasantness, but not without

easiness what seems old is at least renewed art having reformed what pleasing tunes injurious time and ignorance had
^formed. The only indent is to give general content, composed
:
82
by
make
art to
kindly what
is
thee disposed to mirth.
done
Accept, therefore,
and published only to please
willingly,
good company."
During the same year (1609) a second volume,

and its preface,
entitled " Deuteromelia," appeared,
quoted
connection with "Three-men's Songs,"
in
more weakly punning than the preface

melia."
It will
"
to
is
Pam-
be found in the latter part of the

Ravenscroft
present chapter.
is
believed to
have
been the compiler of both volumes, and therefore the

author of the hideous prefaces.
The Tempest
"
most
ribald
tavern
enough with
three
In "
of his
Shakespeare brings in some
music
natural
this is
such vagabonds
as
Trinculo,
Stephano, and Caliban, and of course the three-part

catch
like
In Act
present.
is
many
cally inclined, says (before

"
Come on, Trinculo, let
[Sings]
he
is
very musi-
starts a catch)
us sing.
Flout 'em and skout 'em, and skout 'em and flout 'em
Thought
Sc. 2, Stephano, who,
iii.
of Shakespeare's vagabonds,
is free.'
Caliban.
That's not the tune.

[Ariel plays the tune on a tabor
Stephano.
What
Trinculo.
This
is this
is
and pipe.
same ?
the. tune of our catch, played
by the
picture of No-Body.
Stephano.
ness
If
If
thou beest a man, shew thyself in thy
thou beest a devil, take

Trinculo.
O, forgive
it
as thou
me my
sins
list.
like-
CALIBAN.
"Sometimes
a thousand twangling instruments
will hum about mine ears."

(The Tempest, Act
From
the painting by
Wm.
Kaulbach.
iii.
Sc. 2.)
He
Stephano.
that dies, pays
debts:
all
defy thee
83
Mercy upon us
Art thou afeard
Caliban.
Be
Caliban.
No, monster, not
Stephano.
not afeard
Sound, and sweet
airs,
I.
the
isle is full
of noises,
that give delight, and hurt not.
Sometimes a thousand twangling instruments

hum about mine ears and sometimes voices,
That, if I then had waked after long sleep,
Will make me sleep again and then, in dreaming,
The clouds, methought, would open, and shew riches
Ready to drop upon me that, when I waked,
I cried to dream again.
Stephano. This will prove a brave kingdom to me, where
I shall have my music for nothing."
Will
While
in
Act
ii.
Sc. 2,
Stephano gives some of the
worst tavern music of his time

" Enter
Stephano.
Stephano singing; a
*
shall
no more
bottle in his
to sea, to sea,
Here
This
is
shall
die ashore
a very scurvy tune to sing at a man's funeral
Well, here's
*
hand.
my
comfort.
[Drinks.
The master, the swabber, the boatswain, and

The gunner, and his mate,
I,
Loved Mall, Meg, and Marian, and Margery,

But none of us cared for Kate
For she had a tongue with a tang,
Would cry to a sailor, " Go hang
She loved not the savour of tar nor of pitch,
Yet a tailor might scratch her where'er she did
!
In Furness (Variomrn^Sdition) an article
this to
be the most graphic of sea-songs.
is
itch,
quoted which claims
<</
84
Then
This
to sea, boys,
and
a scurvy tune too
is
let
:
her go hang.'
But here's my comfort.
\_Drinks."
And
Caliban also sings solos of a grotesque class,
v Against
tbis
amount
of vulgar
delicate music of Ariel,
sometimes tender, sometimes
forming one of the
playful,
music we have the
finest of artistic contrasts.
Small wonder that the lyrics of this play have

spired
set in
time.
of
music
in
many
composers, and
in-
have been
innumerable forms ever since the poet's
life-
Unfortunately, however, the original settings
most
of the beautiful poems, the melodies
which
Shakespeare himself was accustomed to hear, seem

irretrievably
lost.
Doctor Bridge
has,
however,
unearthed two of the poems, set by Johnson (1612),
harmonised (1659) by Wilson.
WHERE THE BEE

The Tempest.
Lively.
SUCKS.
R. Johnson.
161a.
ft
185
S9C
Where
the bee sucks, there suck
H-*4-
-I
*fr
3S
wr
In
a cowslip's
t=t
&t=?
s:
-**
i
*4=t
bell
lie
-4
*t
;
4-
There
#-
I5^
ftc
couch when owls
i*
^=v
do
cry
On
cresc
*t
*fe
-*S>-
do
fly
Af
sum-mer mer-ri
ter
-t
'
<?-
j*=
V=5-
the
fz^
back
:*
P
m
bat's
A--N-
p\
*
-*
:^b
-
ly
- '
-g-
r
S&.
86
^FFF
r
*
h
ii
*
H-
T=t
Mer-ri-ly, Mer-ri-ly shall
t
live
t=n
5tat
now Under
the blossom that
$=3
A
P
fi =
*t
22
-&-
3*
4-r-J-
-#
#w.
=l==j:
hangs on the bough Mer-ri-ly, mer-ri
ly shall
.J
q=t
is^l
#_>_ #_p:
2=#
"^f"
!_
:*%
Z2t
-^-^
n
#
I&E
i%i
-
der the
bios
som
that
hangs on
the
bough
:=+
"#i
PE
now
*=
Tf.
ggsFFpfej
Un
live
rail.
^=W
^'
\*T
&
SHAKE.
187
FULL FATHOM FIVE.

The Tempest.
Moderato
R. Johnson.
fathom
Full
f
BE3
'
1612.
_ *f
e maestoso.
mf
I
I
1=T
^*
-25-
i ^^ CJV
^3^=?C
-f
five thy fa - therlies
*-
jfctz*
Ofhisbonesare coral made Those are

;
-eS-1-
3S3EE*
*t*
f
si
*F
:=<=
r-l
^z-
3*=
1
m
pearls
s*
that were his eyes
T=t
Zzizt
'
Nothing of him that doth fade,

1
M-
l-
-*
*=:
ttS
Sit
m
-&
i88
-N-fV 4
zwzjL
i\-*
&
-m-m
~-4-&.
*=fc:
Butdothsuffera sea-change Into something rich andstrange.
35
**a|
i^^li^^L^z^rr^
=*=
t=r
(B
^f
SE fzfc^
I-
-I
FT
S=E
:
^rt
Un poco Animato e marcato.
cresc.
-o-
I
Sea-nymphs hourly
ring
f
I
his
^_p_
-^--
knell: Hark!
now
-N-N-
?C=#
hear them, Hark!
WE&
now
Hrr
hear them,
*3ES
^ Hi
Ding-dong,
f^^rfST
*Sr
bell.
189
JEE=
irzj:
tzjst-
t
Ding-dong, ding-dong, bell, Ding-dong, ding-dong, bell,
:ir-
?=p:
-+
S*^m?TT
q
=^
j/a
1? P
^T-^
p#
=^
Ding-dong, ding-dong,
bell,
Ding-dong, ding-dong,
Pi
^
I
*P
pp
r
i
iff
W3
x*t
cresc.
bell,
3=
rail.
-z
Ding-dong, ding-dong, bell
-# #Ding-dong, ding-dong,
Vwr&m
int*
1
bell.
-&
]
a
I90
Exactly as
"The Tempest"
presents three vaga-
bonds singing the three-part music, the catches, and

bacchanalian songs of the time, so does "Twelfth
Night " introduce us to a
trio of
scamps (Feste, the
clown, being the most decent of the three),
Tempest
against
its
we have
"
Come
"
we
find the earnest side of
troll
The
music balanced
comedy do
coarser phases, so in the wilder
lyrics,
such as " Oh, Mistress
Mine " and
away, come away, Death," as well as the lofty
tributes to the
power
of music already noted.
Toby
the music of the dissipated trio (Sir

Sir
as in "
And,
out their lays in a similar manner.
who
As
Belch,
Andrew Aguecheek, and the clown) introduces

we shall examine them more
a number of burdens,
at length in the next
chapter in connection with
the subject of the old refrains,
here that
many
Suffice
it
to say
a character seems introduced forcibly
and without reason into Shakespeare's plays, whose

presence
be readily understood
will
if
remembers that three were necessary
the reader
to sing the
regulation catch or other merry music which
uncalled-for appearance of the
Like
It "
(Act
are together,
v.
the
Thus, for example, the otherwise
dramatist desired.
Sc.
3).
two pages
when two pages
Well met, honest gentlemen."
before
we
discover
why
* As
You
enter, the first saluting
with, "
walked upon the stage.
in
Touchstone and Audrey
It is
not long
these two wanderers have
The scene goes on
By my
" Touchstone.
troth, well
met
I9I
Come,
sit,
sit,
and
a song.
We
Second Page.
First Page.
or spitting,
Shall
are for you
sit
i'
the middle. 1
we clap into 't roundly without hawking,

we are hoarse which are the only
or saying
prologues to a bad voice?
Second Page. V
on a horse.
faith,
i'
faith
and both in a
tune, like two
gipsies
SONG.
I.
was a lover, and his lass,

With a hey, and a ho, and a hey nonino,
That o'er the green corn-field did pass,
It
In the spring time, the only pretty ring time,
When
birds do sing, hey ding a ding, ding

Sweet lovers love the spring.
II.
Between the acres of the rye,

With a hey, aud a ho, and a hey nonino,
These pretty country folks would lie.
In spring time,
etc.
in.
This carol they began that hour,

With a hey, and a ho, and a hey nonino,
How
that a
life
was but a
In spring time,
flower.
etc.
IV.
And
therefore take the present time,
With a
1
hey, and a ho, and a hey nonino,
Alluding to the old English rhyme

" Hey-diddle-diddle,
Thfcfool in the middle."
192
For love
is
crowned with the prime.
In spring time,
etc.
Truly, young gentlemen, though there
Touchstone.
was no
great matter in the ditty, yet the note was very untuneable.
You
First Page.
are deceived, sir ;
we kept
time,
we
lost
not our time.
By my
Touchstone.
troth, yes
hear such a foolish song.
your voices
We
is
present
"IT
count
but time lost to
it
with you
Come, Audrey.
The song which

fortunately
God be
is
framed
it
with
its
much
in so
preserved to us in
its
and God mend

[Exeunt."
of
comment
original setting.
contemporaneous music.
WAS A LOVER AND
HIS LASS."
Quoted by Chappell from an old MS. bearing date A. D.

in Advocate's Library, Edinburgh.
Lively.
rut
It
was a
1639,
lov-er andhislasse Withahey,withaho,witha
now ne no, And a
im5^
hey
nonee,no,no,no.
^F
193
j? 1/i;."ij
*-
That o'er the greene corne field did passe In Spring tyme,
in
a^
z*
-U
IP
*r-L#
T*-
Spring tyme, in Spring tyme,theon-lieprettie ring tyme, When
:=?
fc
"
Birds doosing,
p
Hey ding
a ding ading,Hey ding a ding a
1%=?=
ding,
* J F
^4
Hey dingadingading,
t:
SuietLovers love the Spring.
Si
194
The
One
very great.
is
and catches
antiquity of three-part rounds
of the rounds that
England and America
is
to-day, the well-known
sung
in
"Turn again, Whittington,

Thou worthy citizen,
Lord Mayor of London,"
was composed as long ago as 1453, when Sir John

Norman was Lord Mayor of London, and, instead of
marching
in procession
through the city
streets,
on
the morning of St. Simon and Jude's Day, took his
The waterinnovation, made the
pageant along the Thames, by water.
men, grateful for such an

round
"Row
Row
of which
skilful
ho,
to thy
we append
leman,"
the music.
music now extant
icumen
in,"
ish PIuseum
"
Norman, row,
and rum below,
the boat,
Heave
preserved in
is
The
oldest piece of
the round,
is
manuscript in the Brit-
and dating probably from
Three Blind Mice
"Sumer
a. d.
" is a catch (originally
121 5.
sung with
vulgar words) of the Shakespearian epoch, and other

familiar rounds are equally old.
"
Heave ho and rum below " was one of the

refrains
it appears in many of ihe
employed
romances.
oldest
and most
old ballads and
ROW THE
BOAT, NORMAN, ROW.
ft
#-##-
3SEE3
I
Row
195
Nor
the boat,
man,
row,
::
Heave
Rum
and
ho
be
low,
:lzz
Row
Le
thy
to
man.
Shakespeare alludes to the habit of singing many
We
of the lighter songs in three parts.
have already
cited the clown, in " Winter's Tale " (Act
giving an allusion to
in
iv.
Sc. 2),
"three-men song-men," and
the same play (Act
iv.
Sc.
we
3)
find Autoly-
cus vending ballads which were to be sung in three

parts.
The
spoken of
in
title
of
"Three Merry Men be We,"
"Twelfth Night,"
three-part singing which

lor, in
his "
also
suggests the
was
in such vogue.
NayShakespeare and Music " (p. 83), gives
several examples of the use of the term " three-men "
as applied to vocal music.
Nevertheless, Oliphant, whose researches are entitled
to
some
respect,
"Freemen's Songs/'
is
believes
that
the
term
not a corruption of "Three-
men's Songs," although in this he stands in opposi-
I96
many authorities, from Ritson to Naylor. In

Musa Madrigalesca " (p. 242), he cites the follow-
tion to
his "
ing preface to the second book of catches, published
As
in 1609.
is
it
another example of the wretched
punning which was held to be such a delightful

accomplishment
Shakespeare's day, and of the
in
forcible introduction of unnecessary Latin (also found

in
many
plays of the time),
we reproduce the entire

comments upon it.
preface, together with Oliphant's
DEUTEROMELIA,
Or
the second part of
Music's Melodie, or melodious
music of pleasant roundelays
K. H. mirth, or Freemen's
Qui canere
songs, and such delightful catches.
Catch that catch can.
Ut mel os,
London:
Thomas Adams,
printed
for
sic cor
melos
potest canat.
afficit et reficit.
dwelling in
Paul's
Church-yard, at the sign of the White Lion, 1609.

"
Mirth and music to the cunning catcher,
Derth and physic to the coney-catcher.'

" Secundce cogitationes are ever, they say, meliores, and
may not
then secundce cantiones as well be dulciores f
sume they
hope that
first,
new
are so
I
shall
why
pre-
and that makes me resume this vein, with

not consume in vain my labour therein. For,
the kind acceptation of the former impression,

invitation to this latter edition;
things, yet of things of the
delectation,
made
to please
musical with art by
my
same condition
full
as the other were;
correction,
is
as a
though not of the same

of the
same
made
truly
and yet plain and capable
with ease by my direction.

" Neither can he that is the most able musician say, but
that of these most men, almost
not altogether unmusical
all
men
more painful
97
are capable, that are
neither can he that
is most spiteful
and someway gainful
say, but they are very delightful, aye,
too (yet
to me,
am
sure, than gainful)
but
be gotten by them, yet pity were it

such mirth should be forgotten of us and therefore, to make
be but
tho' there
little
to
an end,
say no more, but
'... Si quid
novisti dulcius
Candidus imperti
either
commend me
or come
si
istis,
mecum
non, his utere
mend me, and
so
end me, as
reso-
lute as thou art dissolute."
Oliphant's
"
From
the foregoing preface
Deuteromelia
melia.
comments on the above are

think, quite clear that
it is,
a second publication by the editor of Pam-
is
The terms K. H. mirth and Freemen's
given rise to considerable discussion.
former stands for
It is
King Henry's mirth;
songs have
supposed that the

that
songs or
is,
catches of a merry nature, which were favourites with that

jovial prince.
think
it
likely to
be
so,
but
am
not aware
of anything either for or against the matter, except conjecture.

" How the meaning of Freemen's songs could ever appear
doubtful,
know
not, nor
can
imagine how Warren could be
guilty of such a stupid mistake as to suppose that
was the name of a composer
Of all the
birds that
for in his collection
I ever see,
(which
is
is
Freeman
inserted
one of the three part
Freemen's songs in Deuteromelia), with the name prefixed of

Nicholas Freeman, 1667 nearly sixty years after the original
!
publication.
Ritson has some absurd notion of Freemen
being a mistake for Three-men, because Shakspeare speaks

of Three-men-song men, that
is,
men who
could sing songs of
he yrer saw the book of which I am now

writing, he must there have found also Freemen's songs to
three parts
but
if
198
four voices^ which sets that matter at rest. Drayton, in his

Legend of Thomas Cromwell, Earl of Es*sex,' puts the following verses in that nobleman's mouth
1
"*
"
He
Of Freemen's Catches to the Pope I sing,

Which wan much license to my countrymen
Thither the which I was the first to bring,
That were unknown in Italy till then.'
went to
Italy in the year 1510."
Nevertheless, the weight of evidence seems to be

in favour of the derivation
from "Three men," and
the overwhelming majority of
men's Songs " are
catches and " Free-
in three parts, as
the succeeding chapter.
we
shall see in
Music,
Bacchanalian
Shakespeare
of Catches
CHAPTER X.
continued A Scottish
Melody Used by
Table-music
Elizabethan Days Refrains
and Ballads Hunt's-ups Serenades Morning
in
Songs.
We have already
seen that the chief bacchanalian
music of Shakespeare
is
to
be found
" Twelfth
in
Night," while the leading tavern-scenes are to be

discovered in the two parts of
"King Henry IV."
Nevertheless, to our collection of musical vagabonds
must be added a
who seems a
rascal of
well as the music-hater, "
and
spoils,"
Sc. 3)
much deeper
dye, a
Iago.
is fit
for treason, stratagem,
The scene
(" Othello,"
where the crafty Iago, by simulated
lowship,
man
living proof that the music-maker, as
Act
ii.
good-fel-
Cassio to his intoxication and ruin
leads
runs:
" Iago.
Some wine, ho
And let me the canakin
And let me the canakin
A Soldier's a man
1
A life's but a span

Why then, let a soldier
Some
wine, boys
Cassio.
clink, clink
drink.'
[
'Fore Heaven, an excellent song.

199
[Sings.
clink
Wine brought
in,
200
Iago.
learned
most potent
England, where (indeed) they are
in
it
in potting;
swag-bellied Hollander,
your Dane, your German, and your
Drink,
ho
are
nothing to your
English.
Cassio.
your Englishman so expert in his drinking ?
Is
Why, he
Iago.
drinks you, with
your Dane dead
facility,
drunk.
Iago.
sweet England
King Stephen was a worthy peer,
His breeches cost him but a crown;
He held them sixpence all too dear,
With that he call'd the tailor
lown
He was
And
a wight of high renown,
thou art but of low degree
*Tis pride that pulls the country down,
Then
Some
take thine auld cloak about thee.'
wine, ho
Cassio.
Why,
Cassio.
No
more
this is a
Will you hear
Iago.
for
it
exquisite song than the other.
again
hold him to be unworthy of his place,
that does those things."
Of the
first
song the original music
is
not traceable, 1
but the second snatch of rollicking music can be

traced
1
home
somewhat
it
was sung to an old Scottish melody.
similar catch, however,
in the collection called "
"
Pammelia "
by Doctor Byrd,
(1609), running:
Come drink to me,

And I to thee,
And then shall we
Full well agree.
" I've loved the
jolly
tankard
Full seven winters

I
loved
it
That
and more
so long,
went upon the score.
is
given
We
give the melody both with
201
and
its original
its
Shakespearian words.
In the preceding chapter
we have
seen the music
of the tavern called a " noise," and the
no means misapplied, for much of
was of the loudest
Not only was
description.
the case, but table-music
name was by
this minstrelsy
meals) in general was liked in proportion to
ness by
many
this
music played during
(z. e.
its
loud-
cultivated patrons, even
of the less
Writing of Queen Elizabeth's
those of high rank.
table-music, an authority says
".Elizabeth used to be regaled during dinner with twelve
trumpets and two kettle-drums

cornets,
and side-drums, made the
which, together with

hall ring for half
fifes,
an hour
together."
It
may be
incidentally mentioned that the
"table-music" was also used

seventeenth
singers would often

ing, while
Two,
century.
sit
in
word
another sense
in the
or
more
three,
four,
at a table, instead of stand-
executing their music
such compositions
as were printed with the intention of being thus sung

" Who loveth not the tankard,
He
And
is
he
no honest man
no right soldier,
is
That loveth not the can.
"Tap
the cannikin, trole the cannikin,
Toss the cannikin, turn the cannikin.
Hold now, good son, and fill us a fresh can,

That we may quaff it round from man to man.''
1
P. Hentzner's " Itinerarium," p. 53.
202
TAKE THY OLD CLOAK ABOUT THEE,
%^3z:^
This
winter's weather
King
Stephen was
i^=
r^
mi
breeches cost
w*
frost doth freese
ev - 'ry hill, And Boreas blowes his

but a crown, He held them six-pence
on
him
m
b--g=8-
SE3
1_
TS-
pn
-* *.
blasts soe bold,

all
too
dear,
Sfcfc
:t
T"
That
With
all
our kye
that he called
u -l
Then
He
& -*-
f
r
Bell
was
^m
-jg-
3tzi:
J
7 rwho loves
my wife,
a wight
*=B*
are like to spill

the tailor"lown"
i-
:bp=k
His
-&-
#=-
And
wax-eth cold,
worthy peer,
of
high
no
J
strife,
re-nown,
She
And
P
m
55&=*^y=S^
*
t r Wf
vr=f
u
*=?~:
*
Crumbocke's
me
sayd un-to
thou art but
of
=}-
Rise up, and save cow

low de-gree. 'Tis pride that pulls the
qui-et-lye,
Sâ=r
*=*
#^-#
Man, put thine old cloake
life,
Then take thine
old cloake about thee.
m
We
were called "table-music."

ple of Morley's "
Now
is
have given an exam-
the Month of Maying,"
ranged for two voices in this manner.
The book was
VI.)
his
f
about thee,
r
country down,
two
203
singers, each of
own
laid
whom
ar-
(See Chapter
on the table between the

could read his part from
side of the table, as they sat opposite each
9th er.
We
now quote a scene from "Twelfth Night,"

which may be regarded as the most typical one connected with the music of the tavern in
of Shakespeare, although
in the
house of
Olivia.
it
all
the works
occurs, not in an inn, but
The
reader will bear in mind
what has already been stated regarding the loudness
204
most of
of
and
this music,
comprehend
will readily
the indignation of Olivia, Malvolio, and Maria.

is
It
the third scene of the second act of the great
comedy.
"Enter Clown.
Here comes the
Sir Andrew.
fool,
faith.
i'
How, now, my hearts? Did you never see the

picture of we three?
Sir Toby. Welcome, ass. Now let's have a catch.
By my troth, the fool has an excellent
Sir Andrew.
Clown.
I had rather than forty shillings I had such a leg,

and so sweet a breath to sing, as the fool hath. In sooth,
breast.
thou wast in very gracious fooling
last
when thou
night,
spokest of Pigrogromitus, of the Vapians passing the equinoctial of
Queubus; 'twas very good,

Hadst it?
i'
faith.
sent thee six-
pence for thy leman.
Clown. I did impeticos thy gratillity for Malvolio's nose

no whipstock: My lady has a white hand, and the myrmi;
is
dons are no
bottle-ale houses.
Sir Andrew.
when
all
Now, a
Come on
Sir Toby.
Why,
Excellent!
done.
is
this is the best fooling,
song.
there
is
sixpence for you
let's
have
a song.
Sir Andrew.
give a
There's a
testril
Would you have
Clown.
of
me
too;
if
one knight
a love-song, or a song of good
life?
Sir Toby.
Sir Andrew.
love-song, a love-song.
Ay, ay;
care not for good
life.
SONG.
Clown.
mistress mine, where are you roaming?
O, stay and hear
your true love's coming,
That can sing both high and low
205
Trip no farther, pretty sweeting

Journey's end in lovers' meeting,
Every wise man's son doth know.

Sir Andrew.
Clown.
Excellent good,
faith
i'
Good, good.
Sir Toby.
What
is
love?
'tis
not hereafter;
Present mirth hath present laughter;
What's
to
come,
is still
unsure
no plenty
Then come kiss me, sweet-and-twenty.
In delay there
lies
Youth's a stuff
Sir Andrew.
Sir Toby.
will not endure.
mellifluous voice, as
am
true knight
contagious breath.
Sir Andrew.
Very sweet and contagious, i' faith.

hear by the nose, it is dulcet in contagion.
But shall we make the welkin dance indeed ? Shall we rouse
the night-owl in a catch, that will draw three souls out of one
weaver ? 1 shall we do that ?
Sir Andrew. An you love me, let's do't I am a dog at a
To
Sir Toby.
catch.
Clown.
By'r lady,
Sir Andrew.
knave.
sir,
Most
and some dogs

certain:
let
will catch well.
our catch be,
'Thou
Clown.
Hold thy peace, thou knave,' knight ? I shall
be constrain'd in't to call thee knave, knight.
Sir Andrew. 'Tis not the first time I have constrain'd one
'
to call
me
Clown.
knave.
I
Begin, fool
shall never begin,
it
if I
begins,
hold
my
Hold thy
peace.'
peace.
1
Schmidt says that the weavers in Elizabethan times were
mostly refugees from th* Netherlands, and therefore Calvinists,
who were much
addicted to psalm-singing.
206
Sir Andrew.
Good,
i'
faith
Come, begin.
They sing a
catch.
Enter Maria.
If my
Maria. What a catter wauling do you keep here
lady have not called up her steward, Malvolio and bid him
turn you out of doors, never trust me.
!
My
Sir Toby.
volio's a
not
consanguineous
lady
lady's a Cataian,
Peg-a-Ramsey, and
Am
There dwelt a man
'
in
we
are politicians
Three merry men be

not of her blood
we.'
Mal-
Am
Tilly-vally,
Babylon, lady, lady
{Singing.
Beshrew me, the knight's in admirable fooling.

Sir Andrew. Ay, he does well enough, if he be disposed,
and so do I too he does it with a better grace, but I do it
more natural.
[Singing.
Sir Toby.
O, the twelfth day of December,'
Maria. For the love o' God, peace.
Clown.
<
Enter Malvolio.
My
Malvolio.
Have you no
wit,
masters, are you
tinkers at this time of night?
my
mad?
or what are you?
manners, nor honesty, but to gabble like
Do
you make an alehouse of
lady's house, that ye squeak out your coziers' catches with-
out any mitigation or remorse of voice

of place, persons, nor time, in you
We
Sir Toby.
Is there
no respect
did keep time,
sir, in our catches. Sneck up

must be round with you. My lady
though she harbours you as her kins-
Sir Toby,
Malvolio.
bade me tell you, that,

man, she's nothing allied to your disorders.
If you can
separate yourself and your misdemeanours, you are welcome
if not, an it would please you to take leave of
to the house
her, she is very willing to bid you farewell.
Sir Toby.
Farewell, dear heart, since I must needs be
gone/
;
Sir Toby.
" Shall I bid him go
and spare
not ? "
(Twelfth Night, Act
From
th* painting by Griitzner.
ii.
Sc. 3.)
Nay, good Sir Toby.
His eyes do show his days are almost done.'
Maria.
Clown.
207
Malvolio.
Is't
Sir Toby.
'
will
never
Sir Toby, there
Clown.
This
Malvolio.
Sir Toby.
Clown.
even so?
But
much
is
Shall
'
What an
Sir Toby.
Shall
lie.
credit to you.
bid him go
if
die.'
you
{Singing.
you do ?
bid him go, and spare not ?
you dare not.'

Art any more than a
Out o' time ? sir, ye lie.
steward? Dost thou think, because thou art virtuous, there
shall be no more cakes and ale ?
Clown. Yes, by Saint Anne; and ginger shall be hot i'
the mouth too."
Clown.
'
O, no, no, no, no,
Sir Toby.
This scene
egg
"
of
meat
The Taming
is
as full of musical allusions as an
not even the music-teaching scene in

of the
Shrew," or the musical dialogue
between Lucetta and Julia
in
Verona," can compare with

musical metaphor
cal
it
is
scene to be found
comment may
"The
has
an
Gentlemen
of
in point of constant
Shakespeare.
certain
therefore be permitted.
excellent
Feste's good vocal qualities.

a good
"Two
the most continuously musiin
prolixity of
fool
it
breast,"
speaks of
Shakespeare demanded
vocalist in this part, for
it
must be remem-
bered that the clown appears not only in the catch-
music of
this
scene (and in the love-song), but in
tender and earnest music that draws forth the most

enthusiastic
encomium from the duke.
Knight, prob-
208
ably the most musical of
mentators,
word
cites
the Shakespearian com*
Warton and Tusser
as using the
" breast " in this sense, the latter saying,
my voice, I must (no choice)

Away, of force, like posting-horse.
For sundry men, had placards then
Such child to take
" Thence for
The
To
better breast, the lesser rest,
serve the quire,
now
there,
now
here,"
which refers to the impressment of children
in the
royal choirs.
If
Knight
is
to be called the
most musical of the
commentators, Doctor Johnson and Steevens

pilloried
the
as
least
so.
We
may be
have already seen
Johnson apologising for Shakespeare's musical tendencies
Steevens writes himself down an
nist of music,
above
"
line
in the following
antago-
comment upon the
suppose this cant term [" breast "] to have been current
All professions have in
the musicians of the age.
among
and the remoter they are from

and the less consequential to the general interthe more they strive to hide themselves behind
some degree
their jargon
liberal science,
ests of life,
affected terms
As
it
and barbarous phraseology."
regards the love-song, " Oh, Mistress Mine,"
exists
in
the
form
in
which
Shakespeare was
'Another proof that Furness's lenient judgment of Steevens

was a too kindly view of the case.
209
"Twelfth Night" was probably written in 1599, or 1600, and is mentioned in

John Manningham's " Diary " (in the British Museum)
wont to hear
Feb.
2,
found
60 1
in
1599, and
is
it
sung.
(2)
the tune of this song
Morley's " Consort
was composed before
also found in
Queen
harmonies of the
been
set
to
be
time, since
this
it
Elizabeth's "Virginal Book,"
We
arranged by Byrd.
is
Lessons," printed in
song with the
give the
The words have
latter musician.
some twenty times since
this
original
version
"O MISTRESS
MINE."
Expressive.
4-4-J4*t
fcnzdzdzi
--&1
'
Where
Ai
WW
gfc.
r '-t
O
e
r*T
OMisstress mine,
are you roaming
J
-#
#-#-
js^tzjg=r
.U:
U4-
^-
gp
:#t
Where
Misstress mine,
F
4
1-
-I
*-fe
are you roaming
FO
r-f
and
Your
stay
hear
3
=j
true
love coming
jt
rtn
210
hi A.
nU
S=fe=i
=&z
i
no
A.
&-
pret
further,
sweet
f
i
meeting
Ev
t7
-
r
i
ry Mother's
'
Son
doth know.
I
I
=4
I-
The next
*r4
&f&=
words
<s
t=F
in Lovers
-d-
Jour-ney's end
ing,
~^
T7r7FT
ty
hJ
musical
of the catch, "
point
is
i
the punning on the
Hold thy Peace."
nal music of this catch
The
origi-
is
given by both Burney and
Hawkins, although neither
cite their source of deriva-
tion.
for
We
print this catch that the reader
himself
the
comical
word-play which
may
see
Shake-
speare has wreathed
around
it.
211
The
was
catch
probably begun slowly, gradually taken quicker and

quicker, until
it
ended as
were an actual tavern
if it
brawl.
CATCH.
"Twelfth Night.'
Hold
-=t
zt-
=s_zsx_^_
Z3
and
thy peace
prithee, hold thy peace,
Thou knave,
hold thy peace,
thou knave,
i
Thou
The
next musical point that claims attention
Sir Toby's
Sir
talan."
of
sentence,
Toby
is
beginning "
different
brain.
lively
My
is
lady's a Ca-
in that highly convivial
mind which accompanies the
inebriation,
of
kriavi
early
and the refrains and burdens
frame
stages
of
songs jumble themselves together
of
many
in
his
" Peg-a-Ramsey " was an old tune with very
words attached.
these
it
From
would seem
the character of some
that
"
Peg-a-Ramsey
might mean a scMd, a nagging person.
212
"PEG-A-RAMSEY."
Moderate Time.
m-
&fc
*%&?When
332
was a Bach-e-lor
j-
iti^
I
-J-j_
^:
merry
-
life,
am
flj^
^*
a married Man
m^
And troubled with a
cannot do as
have done Because
wifFe, I
Ir-Jt
live in
W.
fear,
-i-
but go to
^4
f
The ballad
But
-#
:t:
W"
now
-0-
^#^
liv'd
Is-ling-ton
My Wife is watching there.
#--
s
I
-^-T
contains numerous verses in the
same hen-pecked
spirit.
"
Three merry men be we
ballad of "
"
213
was taken from the old
Arthur a Bland," or " Hey down a down,"
a musical tale of a jolly tanner of Nottinghamshire,
who goes into the forest and meets Robin Hood.

The pair have a lusty bout of quarterstaff, in which
both are badly bruised.
Robin Hood finally begs
Arthur to
join his band,
which the
He
latter does.
proves to be a relative of Little John, one of the
most celebrated
of the outlaws
together the verse ensues
"
when they
are
met
The Robin Hood took them both by
the hands, 1
And
danc'd round about the oke tree

For three merry men, and three merry men,
And three merry men we be.
" And ever
We
hereafter, as long as
three will be as one
The wood
it
shall ring,
we
live,
and the old wife
sing,
Of Robin Hood, Arthur and John."
The
old
melody
"Tilly-vally "
may
still
exists,
and we append
possibly be the burden of
old ballad, although
White suggests
that
have been a cant term of disparagement

is
conjecture.
ballad of which
The
it
it.
some
might
in this all
next phrase alludes to an old
Bishop Percy,
in
his
"Reliques,"
1
These lines can be cited in favour of either the " three-men'ssong " or the " free-men 'sông " theory, alluded to in the preceding
chapter.
214
Tune of
"THREE MERRY MEN BE WE."
Boldly.
p
When
Phoebus had melted the
sickles
of
Ice
With a
E
5*
T=q:
T
I
TT2
K-\-0---s
Hey down down on a down, And
likewise the Mountains of
P^
~=
snow.
#
Bold Rob-in
H
JSS=f
Hood he would ramble a

1
-!-
- j-
#-
f-
way
To
frol-ick
r5
*r
a
broad with his
H^l
bow.
The
quotes a single verse.

entire in the
The
Pepys
ballad
is
21
to be found
collection, but is prolix
verse alluded to by Sir

" There dwelt a
man
in
and
dull.
Toby runs
Babylon
Of
reputation great by fame
He
took to wife a fair woman,
Susanna she was called by name

woman fair and virtuous
Lady, Lady
Why
should
To
live
we
not of her learn thus

"
?
godly
The song was called " Constant Susanna." " Lady,

lady," was a common refrain in many of the old
Mercutio sings it in " Romeo and Juliet"
ballads
;
(Act
ii.
" Oh, the twelfth day of
Sc. 4).
has not been satisfactorily traced

ballad of
The
is
it
"
was probably a
some kind.
absolute fidelity to nature of this entire scene
remarkable
as one
December
may
high spirits
it
find
is
in
the half -drunken man, exactly
is
him
to-day,
song
whose readiest vent of
nothing can stop him, noth-
ing check his torrent of fragmentary harmony.

to the gabbling "like tinkers,"
it
may be
As
recalled
that the tinkers had a rough music of their own,
frequently alluded to by the old dramatists as a type

of coarse music.
"
Now God
be with old Simeon,"
the catch particularly affected by this strolling

ternity, has already
been spoken of
in
fra-
Chapter IV.
216
" Cozier' s catches " carries out the
same
who botched
a "cozier" was a person
simile, for
his work,
generally a poor tailor or cobbler.
There now follows a musical scene which

an entire song
generis ;
sui
mind
ready to catch any passing impression, provided
lead to music, on which at the
are most intent.

"
is
interwoven by Shake-
Sir Toby's bewildered
speare into the action.

is
is
She
As
moment
his thoughts
Malvolio comes to the words,
very willing to bid you farewell," he
is
it
is
at
once reminded of a song by Robert Jones, a famous
and composer for that instrument and for
lutenist
The song
the voice.
well to Phyllis."
of Ayres,
It
entitled
is
" Corydon's
appears in "
The
composed by Robert Jones,"
for T. Este,
1601.
It is
Booke
First
folio.
Fare-
Printed
given by Rimbault in his
"Musical Illustrations of Ancient English Poetry."
We give
the music and dialogue as they were inter-
spersed in the Shakespearian performances.
CORYDON'S FAREWELL TO PHILLIS.

Robert Jones.
Sir Toby.
tor*
I
Fare -well, dear love since thou wilt needs be
;
gone,
(Maria. Nay, good
Sir Toby.)
Clown.
Bkhd
L&*
^rt
217
(Malvolio.
Is'teven so.)
2l8
Clown.
-I
M U
3
UfAM
f^^
Oh
not?
no, no, no, no,
fr%-?HS>
You dare
no,
m
not.
#Jt
f
The
poem, which Shakespeare has here par-
real
odied, ran as follows

" Farewell, dear Love, since thou wilt needs be gone,
Mine eyes do shew, my life is almost done.
Nay, I will never die, so long as I can spie

There be many mo, though that she doe goe,
There be many mo, I fear not
Why
then
" Farewell, farewell

I will
care not.
since this
find is true,
not spend more time in wooing you
But
Shall
will
I
Shall
O
"
her goe,
let
seek elsewhere,
if I
may
find love there.
what and if I doe

bid her goe and spare not?
bid her goe
no, no, no,
Ten thousand times
dare not.
farewell
yet stay a while :
once; sweet kisses time beguile.
I have no power to move.
How now am I in love?
Wilt thou needs be gone ? Go then, all is one.
Sweet, kiss
me
Wilt thou needs be gone ? Oh, hie thee

Nay, stay, and do no more deny me.
" Once more adieu,
see loath to depart
Bids oft adieu to her, that holds
my
heart
But seeing
must
lose thy love,
which
219
did choose,
Goe thy way for me, since that may not be.
Goe thy ways for me. But whither?
Goe, oh, but where I may come thither.
"
What
shall
my
doe ?
love
now
is
departed.
She is as fair, as she is cruel-hearted.

She would not be intreated, with prayers oft repeated
If she come no more, shall I die therefore ?
If she come no more, what care I ?
Faith, let her goe, or come, or tarry."
There
is
another instance of the interweaving of
part of a song through the action, in this

of
"Twelfth Night."
where the following dialogue, partly
of the fourth act,
sung,
is
found
Hey
" Clown.
Robin, jolly Robin,
me how
Tell
Malvolio.
Malvolio.
Clown.
lady
Fool
Alas
Malvolio.
is
why
Fool,
unkind, perdy.
she so ?
is
say
She loves another.
Clown.
Doctor Farmer has

begin
[Singing.
thy lady does.
Fool
My
Clown.
should
same play
occurs in the second scene
It
Who
calls,
conjectured
thus
" Hey,
jolly
Robin,
tell
to
me
How does thy lady do ?

My lady^s unkind, perdy,
Alas
why
is
she so ?
ha ? "
that
the
song
220
But Percy ("Reliques," Book
No. 4) gives the old

song from which the quotations are taken. It was
II.,
probably written in the time of Henry VIII.
words run
"
Robyn,
Robyn,
Jolly
me how thy leman doeth,

And thou shalt knowe of myn.
Tell
My
lady
Alack
is
unkynde, perde.
why
is
she so
She loveth an other
And
"
me;
yet she will say no.
fynde no such doublenes

I
My
women true
me dowtles,
fynde
lady loveth
And
"Thou
will
change for no newe.
happy while that doeth
art
But
say, as
And
last:
fynde,
That women's love
"
better than
is
but a blast,
torneth with the wynde.
Suche folkes can take no harme by

That can abide their torn.
But I alas can no way prove
In love, but lake and morne.
" But
if
thou wilt avoyde thy harme,
Lerne
this lessen of
At others
And
let
fieres
me
thy selfe to warme,
them warme with
the."
love,
The
A
all
favourite catch, with a refrain,
221
may be added
these fragments of musical allusion.
of in "
The Taming
It is
Shrew " (Act
of the
iv.
to
spoken
Sc.
i)
as
follows
" Curtis.
Therefore, good Grumio, the news
Grumio.
Why
Jack, boy
ho boy
and as much news as
'
thou wilt."
This
is
a direct quotation from an old catch which
we here append
"JACK, BOY, HO! BOY!"
CATCH.
Beat
&
Jack, boy, ho! boy, news
t=t
''
The
cat
in
is
the well,
e=
'
!
"Z?"
Let us ring now for her knell, Ding,dong, ding, dong, bell.
The
and fadings," which the

n
"
Winter's Tale ' (Act iv. Sc.
speaks of in
"dildos
also refrains to songs, as
may be
lowing refrain to Ophelia's
True Love Know
ii^
"How
Should
lang
were
3),
seen from the
*
Twang
servant
dil
Ite
do
fol-
Your
dee.
I
1
See also Chapter XI.
222
Another burden which
Taming of the Shrew "

mark to Katherine (Act
married
is
alluded
found
is
Sc.
ii.
to
"The
in
in Petruchio's rei),
"
We
will
be
This phrase may be a mere

may have been taken from an old
Sunday."
o'
coincidence, or
it
song which ran
To
"
church away
We
And
will
have rings
fine array,
With other
things,
Against the day,
For I'm
to
be married
o'
Sunday."
Richard Grant White quotes the above song, but

as he gives no source of derivation, and as he often
follows
what
fanciful
we
theories,
give the citation for
worth.
is
it
is found in some of Shakespeare's

and a hunt's-up was often used as a bright
Hunting-music
plays,
song with which to awaken favoured individuals in
One
the early morning.

is
found in "
"
of the best of these songs
As You Like
It "
(Act
iv.
Sc. 2).
Enter Jaques and Lords, in the habit of Foresters,
Which
Jaques.
First Lord.
is
Sir,
he that killed the deer ?
it
was
I.
him to the duke, like a Roman

conqueror and it would do well to set the deer's horns upon
his head, for a branch of victory.
Have you no song,
Jaques.
Let's
present
forester, for this
Second Lord.
purpose?
Yes,
sir.
Sing
Jaques.
make
it;
'tis
no matter how
it
be
223
in tune, so
it
noise enough.
SONG.
What
shall he have that kilPd the deer?

His leather skins and horns to wear.
I. Then sing him home:
\The rest shall bear this burden.
Take thou no scorn, to wear the horn
1.
2.
It
was a
1
2.
[AIL]
The
crest, ere
Thy
And
thou wast born.
father's father
wore
thy father bore
it
it
horn, the horn, the lusty horn,
Is not a thing to laugh to scorn."
In this scene the words, "
The
rest shall bear this
burden," have caused some trouble to the commentators, for,
by an odd mistake, they have been
inter-
polated into the body of the song, whereas they are
almost of a certainty a mere direction to the singers

to join in the " burden " of the song.
Some com-
mentators, Knight and White, for example, would
have the
as a
mere
line,
table ground. 1
" catch," as
stage.
"Then
sing him home," also read
stage-direction, but this is at least deba-
it
We
give the music of this song, or
was probably heard on Shakespeare's
It is reprinted
from Playford's " Musical Com-
panion " (1672), but Playford
had copied
it
from
Hilton's earlier works, as he states in his preface.
Another debatable case occurs

Venice
1
" (Act
iii.
See Furness for a
in "
The Merchant
of
Sc. 2)
full
debate as to the matter of the burden.
224
11111
Mi (I
i
lUi!
f-{
t*tt
111
.5
o
.
(4* 4
41
JET
g
P
J!
III
it
III
nr
+] ill
5
j
II
II
II!
P?
(
i jrm
v
^
>
.jo
? I
Qi
**
Music whilst Bassanio comments on

SONG.
1.
Tell me, where
Or
the caskets to himself.
is
fancy bred,
in the heart, or in the
How
head ?
how nourished
begot,
225
Reply, reply.
2. It is
engender'd in the eyes,
With gazing fed
and fancy dies
In the cradle where
Let us
I'll
it lies
ring fancy's knell
all
begin
it
Ding, dong, belL
All. Ding, dong, bell."
Johnson, most unmusical of commentators
who ought never
(a
man
to have edited Shakespeare), held
that the words, " Replie,
Replie," were
merely a
stage-direction that a second voice should reply to
the
The
first.
repetition of the
very untenable
position
since appeared in
yet
word makes
many
which the word
is
editions
this
have
merely attached
as a heading to the second stanza, or omitted alto-
gether.
Serenades formed a very popular branch of music

in
the
sixteenth
and
seventeenth
centuries,
and
Shakespeare speaks of them with some frequency.

a sentence in the Second Part of "Henry
There
is
IV."
(Act
iii.
Sc.
2),
in
which Falstaff derides
Shallow, saying
%
*
The
original
melody used here has not been discovered.
226
"
He came
those tunes
ever in the rearward of the fashion, and sung

.
that he heard the
carmen
and sware
whistle,
they were his fancies, or his Good-nights."
The " fancies " spoken of here were probably

"
fantasies or improvisations, while the " Good-nights
were serenades.
Verona," Act
iv.
which was quite
we have
("Two Gentlemen of
"a deploring dump,"
In a preceding chapter
seen Thurio serenading Sylvia

Sc. 2) with
in the character of
evening music.
But there was also another species of ambulatory

love-song, which has been miscalled a serenade
mean the
we
bright and joyous song with which the
olden-time lover awoke his mistress.
This morning-
A "HUNTS-UP," OR MORNING SONG

Vivace.
(17th Century.)
>-.
sees;
IfrîS:
The Hunt
r=$
is
up,
the
0-
Hunt
P
r?mi
is
up,
And
ft
it
If
rr^-"r^^
11
bed with his Wife, 'Tis time
song,
227
to get
him a
way.
"aubade" by the French composers
called
by the ancient troubadours, was
and "alba"
ex-
actly the opposite of the pensive and soothing ser-
Fynes Moryson,
enade.
in
was a custom peculiar to Enga gentleman had company at a highway
161 7, says that
land, that
inn,
in his " Itinerary " published
if
it
he would be offered music (which he might
freely take or refuse), and,
if
solitary,
would give him the good-day with

morning.
It
music
in
the
such a morning-song that Clot en
is
Imogen
brings to
the musicians
in
the third scene of the second
The song
act of "Cymbeline."
is,
as usual, set in
a framework of comment.
" Cloten.
It's
Cloten.
almost morning,
Day,
First Lord.
would
my
is't
not?
lord.
music would come
this
give her music o' mornings
they say,
it
am
advised to
will penetrate.
'Enter Musicians.
Come, on
tune
First a very excellent good-conceited
after a wonderful sweet air, with admirable rich
thing
to
and then
it,
let
her consider.
Quoted by Chappell,
"
Old English Ditties."
words
228
SONG.
*
Hark! hark! the
lark at heaven's gate sings.
And Phoebus 'gins arise,

His steeds to water at those springs
On
And
chaliced flowers that
lies
winking Mary-buds begin
To ope
their golden eyes
With every thing
My
that pretty bin
lady sweet, arise
*
:
Arise, arise.'
So, get you
the better
hairs,
and
gone
if
it
if
do
this penetrate,
not,
it is
cat-guts, nor the voice of
can never amend.
The
but
will
consider your music
a vice in her ears, which horse-
unpaved eunuch to boot,

[Exeunt Musicians.'*
original musical setting of this
poem
is lost,
has received a setting worthy of Shakespeare
it
by one
of the greatest of
Of
bert.
stances of
this
its
German
masters,
Schu-
musical setting and of the circumproduction,
we
shall
speak in a later
chapter.
1
Much
controversy has arisen about the word "
connection.
The
mon enough
in
for "
use of this instead of
Shakespeare's time.
its
lies," in this
nominative was com-
The word
" bin," substituted
"
by Hanmer, has also caused comment both favourable and

otherwise.
Shakespeare unquestionably wrote " is," and the forced
rhyme, old-fashioned term, and grammatic license seem unnecesis
sary, yet " bin " will probably
scBculorum.
be used in many editions in sacula
CHAPTER XL
The Ballads of Shakespeare Antiquity of English Ballads
Antique Examples Ophelia's Ballads The Pathology of the
" King Lear " Mad-songs in
Mad-scene Edgar's Music
This Epoch Autolycus and His Ballads in " Winter's Tale"
Ballads " GreenPlots of Shakespearian Plays as Found
in
in
sleeves," as Cited
The
ballad
is
by Shakespeare.
the peculiar artistic heritage of the
Wherever the theatre was
Northern nations.
developed the ballad languished, for

sion
to
it
well
had no mis-
perform in national literature which could
not be as adequately, or even more thoroughly, ac-
complished by means of the drama.

Greece, with
all
its
and musical
literary
possessed no ballads, the epos
approach to this form.
France cared
tive,
little
Even ancient
activity,
being the nearest
In later days, Italy and
for this vein of musical narra-
while Germany, Scandinavia, and England pre-
sented the deeds of national heroes to the public
which craved the
recital, in
the shape of ballad or
saga.
If
the terms are used strictly, there should be a
strong discrimination between "ballad" and "song,"

for the ballad
was a
tale of
229
events, set to music,
230
Of
while the song dealt with emotions only.
many
there are
into the
course,
instances where the one form goes
domain of the other, temporarily.
The
old
English chroniclers were often glad to incorporate

the legendary information received through a ballad,
The "Anglo-Saxon Chronicle"
into their histories.
contains at least two complete historical ballads, and
fragments of nearly a dozen more are incorporated

into the
body
of the work,
and William of Malmes-
bury frankly acknowledges his indebtedness to the

traditional ballads of the countryside, in his history
of
King Edward
(the son of Alfred the Great), a
many
confession which
of
his
brother
chroniclers
would have been obliged to make, had they been

as honest as he.
A royal
ballad
was composed as early as 1017, when
King Canute burst

a
summer
evening.
the words of the
into song,
The
first
music has disappeared.
upon the
river Ely,
upon
pious chronicler of Ely gives
stanza of this ballad, but the
The English
bears the
mark
of the twelfth, rather than of the eleventh century.

" Merie sungen the muneches binnen Ely,
Tha Cnut
Roweth,
And
ching reu ther by
cnites,
here
we
noer the land,
thes
muneches saeng.
monks by Ely,
As Canute, King, rowed thereby.
" Merry sang the
Row
knights, near the land,
And
hear we these monks sing."
We
present a facsimile of one of the black-letter
ballads of the fifteenth century,
from a manuscript
the Sloane collection in the British
Thos.
Wright has added
which
is
also appended.
allusion to
in
23
to
The
it
Museum.
in
Mr.
a short glossary,
reader will note an
the "division" of melody as explained
Chapter VI.
XX
VH&tve. so Kgrf*. femes'* ssnggt merte, bull) alesson.
30
toent on 50! nap

in otore ptofeugon
3f
Knotti
% jolp
3lankgn
be&i0merpton/
3lanfcpn be^gan t&e offk0
on t&e
50I
Hap
ann fpt me tbgnfcpt it 500 me goou

(b
merie gan be Cap /

feprielegfon.
3lanfepn ten t&e ppflpl

ful fapre
ano 5pt me
anu
nil toel /
tjnnfept it 000
a0 euere imue
me goon /
31 Cel.
232
Slanfcpn at t&e tanctus
etafcitamertenote/
8no 5pt me t&initgtit 000 me goon/
3f papio for Bis cote,
3ian&i?n crafcit nots /
animnoeriuonafenot/
ann
3?t
fje frafefept
tfmn
toottiss
&em
fmaflete
to tfje pot.
ft.
3ianl#n at t&e angnus

oerpt tfte par fcreoe /
&e ttopn&elio / out fapa notot
tmm fot fie treoe.

lBeneoicamus uommo /
Crpa fro fc&ame me fcogloe /
Deo 0tacta0 tf>er*to /
arm on
ala0
go
31
feriti)
felloe.
6.
Gloss. yr*V aleyson
(icvpie
ekeiaov)
'
Lord, have mercy on
us,'
yule, Christmas
tone
service
yet red, read pystyl, epistle
happiness
cracked hakkyt, hacked worts, herbs

bore
nowt, nought, nothing
trode schylde, shield schylde,
part of the liturgy
ton,
zol,
sel, bliss,
zyt,
beryt,
crakit,
trede,
child.
offys, office,
Many
of the ballads
233
which are well-known
in
Eng-
land to-day have an antiquity scarcely inferior to the
" For He's a Jolly
one cited above.
(known
for example
Home
in
America as
"
Good Fellow,"
We Won't Go
Morning"), can be traced through the
Till
the French " Malbrooke " to the old crusader "

bron," and
its
melody was heard
in Palestine in the
Oddly enough, the tune took root
twelfth century.
in
the East, and can be heard to-day in
The
Oriental city.
can
make
Crows Sat on a Tree,"
it
"
eight centuries of
is, if
"There Were Three
so.
it
many an
Egypt claim the
fellaheen of
tune as their own, and so

possession
Mam-
Lord Lovell," and several
other popular ballads of the day can also be traced,

in
varying shapes, to a remote past.

the ballad playing
It is natural, therefore, to find
a prominent part,
drama.
If
in
many
ways, in the Shakespearian
the ballad appears in the action less
quently than the lyrical song,
none the
it is
fre-
less used,
at times, with peculiar fitness
and occasionally with
a power that
To
is
phenomenal.
this last category
belong the ballads that Ophelia sings during her

of
madness.
fits
Nothing can be more pathetic than the
introduction of light and inconsequential ballad music

in these
moments
single candle
of darkness and agony.
might throw into more
Just as a
terrible contrast
the blackness of some vast cavern, just as the mirth
and revelry expressed
in the "
Ira "
and the " Car-
234
magnole" made more
the scenes in the
frightful
French Reign of Terror, which they accompanied,

so the woes of Ophelia are emphasised and doubly
impressed upon the auditor by the ribald music that

she sings.
we have
Fortunately, in this case
When Drury Lane
which Shakespeare employed.

Theatre was burned,
the very music
1812, the old transcription
in
of the melodies, which had been handed
the original sources, was lost

cian,
however,
thanks,
whom
to
an enthusiastic musi-
all
Shakespearians owe
Doctor Arnold, sought out Mrs. Jordan,
who had
from her
played
often
lips
part
of
Ophelia,
and
Mr. Linley also wrote down the
frequently sung.
memory, having heard Miss Field
Mrs.
(afterward
the
transcribed the tunes that she had so
melodies from
Forster)
sing
the
tunes
in
the
The two
versions agree
enough for one to prove the
other, but the
above mentioned theatre.

well
down from
Arnold transcription (which we reproduce for our

readers)
is
probably
more
the
authentic.
The
scenes in which the ballads occur are as follows
" Re-enter
Where
Ophelia.
Queen.
Ophelia.
is
Horatio with Ophelia.

the beauteous majesty of
How now, Ophelia ?

How should I your
'
From
true love
another one
know
Denmark ?
By his
And
cockle hat and

his sandal
235
staff,
shoon ?
[Singing.
'
what imports this song ?

Say you ? nay, pray you, mark.
Alas, sweet lady,
Queen.
Ophelia.
O, ho.
Queen.
He is
He
[Sings.
dead and gone, lady,

dead and gone
At his head a green-grass turf,
At his heels a stone.'
is
Nay, but Ophelia

Pray you, mark.
White his shroud as the mountain snow.'
Ophelia.
1
[Sings.
Enter King.
Alas, look here,
Queen.
my
lord.
Larded all with sweet flowers,

Which bewept to the grave did go, 1
Ophelia.
With
true-love showers.'
How
do you, pretty lady ?

They say the owl was a
God 'ield you
Lord, we know what we are, but know not
baker's daughter.
what we may be. God be at your table.
King. Conceit upon her father.
but when
Pray, let us have no words of this
Ophelia.
they ask what it means say you this
King.
Ophelia.
Well,
<Good morrow,
'tis
Saint Valentine's day,
All in the morning betime,
And I a maid at your window,

To be your Valentine
:
'Knight, Pope, Stevens, and others give this "did not go,"
arguing that Polonius was not a youth, hence no true-love showers.
236
Regarding the " cockle hat and
staff,"
Warburton
says (Vol. VIII. p. 224) that these are the distinguish-
The
ing marks of a pilgrim.
chief places of devotion
being beyond sea, the pilgrims were wont to put

cockle-shells in their hats to denote the intention or
The
performance of their devotion.

owl and the baker's daughter
ballad
(of
copy), in
is
allusion to the
explained by an old
which we have, however, never seen a
which the
to a baker's
tale is told of the
shop and asking bread
Saviour going
he was given a
Andante.
+-*
And how should
**-
St
x=x
your true love know, From
Hee*|
t=t
many another
r"-
-!-
one?
by
his
cock
le
Hat, and
Staff,
iS
=t
:*
T=$
i?
And
=*
by his San-dal Shoon.
acr
n-
-3*
:t=t
Twang,
lang, dil
do,
dee.
I!
Gaily.
H:
Good
mor - row,
'tis
&&=*
5^
St.
Valen-tine's Day,
^
'#.
All
f".
ra//.
lis
Maid
at
your window
f*^\
F
S5 t
3t~
-#
Mou
237
&^\
r~+--t-#
To
be your Val-en
4L
^fl
H-#i-J
I
Ur
- tine.
-- -- -*-
1-*
0-
38
come
No
gain?
no, he
is
dead.
Gone
W~F
to his
Deathbed, And he nev-er
lurry
"QJ
come
will
A.
gain.
llll
large
lump
of
dough by the baker, but the daughter,
thinking the portion too large, took away
the portion of Christ was put in the oven
half.
it
When
began to
swell larger and larger, while the baker's daughter
began to hoot and cry and was turned into an owl.
The song about
St. Valentine's
upon by Halliwell thus
Day
is
commented
"This song alludes to the custom of the first girl seen by a

the morning of this day being considered his Valen-
man on
tine,
or True-love."
The custom
is
of great antiquity in England, but
probably did not have
be traced back
to the
its
origin there
Roman
indeed
it
can
Lupercalia, and prob-
ably arose from the ancient idea that birds chose
mates on February 14th,
their
There
seem
nothing in the
is
to
life
make him sponsor
239
Day.
St. Valentine's
of the saint that
for the
would
amatory character
of the festivities.
The
act)
later part of the scene (the fifth of the fourth
soon follows
"Enter Ophelia,
and
fantastically dressed with straws
flowers.
tears, seven times
Laertes. O heat, dry up my brains
Burn out the sense and virtue of mine eye
By Heaven, thy madness shall be paid with weight,
Till our scale turn the beam.
O rose of May
Dear maid, kind sister, sweet Ophelia
O Heavens is't possible, a young maid's wits
Should be as mortal as an old man's life ?
Nature is fine in love and, where 'tis fine,
It sends some precious instance of itself
!
salt,
After the thing

Ophelia.
it
loves.
They bore him barefaced on
the bier ;
Hey no nonny, nonny hey nonny

And in his grave rain'd many a tear
Fare you
well,
could not
Ophelia.
a-down-a.'
dove
'
Hadst thou thy
Laertes.
It
my
wits,
and didst persuade revenge,
move thus.
You must sing, Down a-down, an you call him
O, how the wheel becomes it
It is the false
'
steward, that stole his master's daughter.

Laertes.
This nothing's more than matter.
There's rosemary, that's for remembrance pray

remember; and there is pansies, that's for thoughts.
Laertes.
A document in madness thoughts and rememOphelia.
you, love,
brance
fitted.
240
Ophelia. There's fennel for you, and columbines
there's
and here's some for me

we may call it, herb
of grace o' Sundays:
you may wear your rue with a differThere's a daisy
I would give you some violets
ence.
They say, he
but they withered all, when my father died
made a good end,
rue for you
For bonny sweet Robin
is all
my
[Sings.
joy.'
Thought and affliction, passion, hell itself,

She turns to favour, and to prettiness.
[Sings'] 'And will he not come again?
And will he not come again ?
No, no, he is dead,
Laertes.
Ophelia.
Go to thy death-bed,
He never will come again.
His beard was as white as snow,
All flaxen was his poll
He
is
gone, he
is
gone,
And we cast away moan

God 'a mercy on his soul
!
And
of
Christian souls
all
God be
pray God.
wi' you.
[Exit Ophelia.
Laertes.
The
Do
you see
this,
how
reader will note
other in this scene.
nonny,"
is
followed
"
O God
the burdens follow each
Hey no
by " Down
him a-down-a," which
"
is
nonny, nonny, hey

a down, an you
very similiar to what Mis-
Quickly sings in the third scene of the
tress
act of
call
"The Merry Wives
first
of Windsor," and Ophelia
praises the refrain with " O,
how the wheel becomes
it,"
meaning that the burden
and
not, as
fits
Knight suggests, that
well to its song,

it
was adapted
to
Ophelia.
{Sings.)
"For bonny sweet Robin
is
all
my joy"
(Hamlet, Act
From
the painting by N. Sichel.
iv.
Sc. 5.)
be sung by spinners at the wheel.
which
this appears to
who
steward
be the burden,
24
The
ballad of
e.
the false
i.
stole his master's daughter, has eluded
attempts at identification thus
far.
"
my
For bonny sweet Robin
known
the old volume

ginal Book."
It
is all
as
The fragment,
joy," is
"Queen
found
seems to have been very popular

tune
in Shakespeare's day, for Fletcher alludes to the
as "
Bonny Robin,"
the melody as
line of
it
the words,
As
poetry.
it
in "
Two
Noble Kinsmen," and
were sung to
several ballads
in
Elizabeth's Vir-
its
melody.
We
was commonly sung, with a
give
single
that remains of the original
all
appears in William Ballet's Lute-book,
a valuable manuscript in the library of Trinity College,
cited
Dublin (and older than the Elizabethan volume

above),
under the
the Greenwood Gone,"
"Robin Hood
title
it
is
Is to
possible that this
was
one of the many ballads made upon the old English

popular hero.
Bishop Hall's censure of ballads in

"
Some drunken rhymer

If
he can
And
Sung
He
In
is
597 runs
thinks his time well spent
live to see his
Who, when he once
name
in print
fleshed to the presse,
sees his handsell have such faire successe,

to the wheele
and sung unto the payle,
sends forth thraves of ballads to the sale."
"Much Ado Abo ur Nothing "
contemptuously to
"
(Act
a ballad-maker's pen."
i.
Sc. 1)
Benedick refers
SHAKESPEARE IN MUSTC.
242
Moderate Time.
H-rHrî
For
bon-ny sweet Robin
(Êfr
all
is
my
joy.
h
,
ftg
!sa
^^S^SIttl
2,
jvi
.
st=?
# __
^- J"t
&=*
Igg
2 J
r.\j\
r=n
In the
sings,
last ballad,
the
line,
been changed
soul
+** 1
fcfcS
*-
in
lit
or rather song, which Ophelia
"God
some
Ay
'a
mercy on
editions to "
his soul,"
has
Gramercy on
his
" the Folio gives the latter, the
Quartos the
former reading.
But there
scene, than
is
something far deeper to study,
mere quibbles about
readings,
in this
or the
tracing of burdens to their original context, or even
243
the tunes of the ballads themselves, beautiful as their

effect
it is
must have been (and
upon the stage
is)
still
the wonderful subtlety with which these snatches
unhappy heroine.
of song illustrate the insanity of the
We
have already alluded to the added power which
their contrast gives to the pathos of the action, but
there
a touch
is
of Valentine's
more
Day.
subtile than this in the
The second
comes rather coarse and
song
stanza of this be-
and
indelicate,
the most
is
decided proof of the entire alienation of the chaste

Ophelia's
mind.
Physicians
know
that
estranged mind becomes the opposite of
often
the
sane
self,
its
the silent become garrulous, the religious become
blasphemous, and here
becoming
ribald
we have
and vulgar.
It
the gentle Ophelia
has been asked, how-
how could such a maiden have

?
To this we reply that it was
ever,
songs
that she should have learned
them
learned such
not necessary
it
would
suffice
that she should have heard them, or even once have
been shocked by them.

told of the case of an
The author was
recently
insane servant girl (by Dr.
Charles R. Walker, of Concord, Mass.) who, in her

delirium,
been
spoke entire
in the family of
aloud
Virgil
to
his
She had
Latin sentences.
a scholar who sometimes read

wife and
daughter,
and
had
caught the sound of the verses unconsciously.

It
is
interesting ô
simulating madness,
compare the songs of Edgar,

in
"King
Lear,"
with these
244
jangling fragments of prettiness
broken
bits of tunes
here, too,
we
find
and inconsequential sentences.
" Pillicock sat on Pillicock-hill,
Halloo, halloo, loo, loo."
" Saint Withold footed thrice the wold
He met
the night-mare, and her nine-fold
Bid her alight
And
And
her troth plight,

aroint thee, witch, aroint thee."
" But mice, and rats, and such small deer,
Have been Tom's food
These are parts
for seven long year."
of the ravings of the pseudo-lunatic,
and Staunton rightly conjectures that they should be
sung rather than
recited, the latter
being the case
with most representations of the character.

the
citations
given
fragments, which
it
above,
is
and the other
All of
similar
not necessary to quote, are
fragments of musical ballads and songs, sometimes

of nursery
rhymes which had a dozen varying tunes
at the caprice of the singer.
The mad-scenes
in "
King Lear
" are not
compar-
able with the subtle ones in " Hamlet," save in the
one point that
in
both plays agony
a frivolous background.
Edgar
but
it
emphasised by
melodies attached to
songs are unfortunately not preserved to us,
may be
that England
(see
The
is
interesting, in this connection, to state
was
"
particularly fond of " mad-songs
Hawkins's "History of Music," Vol.
II. p.
825),
and
Tom
Bedlam was a regular character
o'
The madman upon
seventeenth century.
was regarded as a
character
spicy
audience
heartily at the mad-scenes,
to find the fool, in
verse (Act
iii.
is
laughed
not astonished
Lear," capping Edgar's
o'er the bourn, Bessie, to
Her boat hath
Fool.
And
Why
The
"King
generally
and one
Sc. 6).
Come
" Edgar.
the stage
sort of clown, of a particularly-
the
in the
song, *
me
a leak,
she must not speak
she dares not
Come
come over
to thee."
O'er the Bourn, Bessie," was
entered at Stationer's Hall, in 1562.

It is quite possible that
scenes
time.
made
Shakespeare
in the
mad-
a concession to the popular taste of his
This would place the Ophelia songs on a
lower level than that which
is
generally assigned
them, and would also deteriorate the effect of the

scenes in "
King Lear,"
evidence that this
found
Sc. 3),
may have been
in Fletcher's "
where the
just alluded to.
Inferential
the case
Two Noble Kinsmen "
may be
(Act
iv.
gaoler's daughter appears in a dis-
traught condition, and gives fragments of songs quite

in the
Ophelian manner, and also becomes highly
indelicate in her language.
The
rustic revellers
the schoolmaster, in this scene, think

to find a
madwoman
it
and
great sport
to join in their morris-dance,
246
and the whole scene was evidently intended to
pro,
voke the mirth of the audience.
We
may
suppose, however, that Shakespeare
made
use of the fondness of his public for a mad-scene,
and turned the
hilarity into a
more worthy channel.
Fletcher's gaoler's daughter certainly seems but a
vulgar caricature of Ophelia.
We can
turn from the fragmentary musical mutter-
ings of Edgar, with
much
delight, to the rollicking
ballad-singing given in connection with
picture of
Here we have a
Autolycus, in " Winter's Tale."
minstrel such as England possessed regiments of in
times
such
ancient
hounded by the Church
remained to the end a set of

bates.
The
jolly,
iv.
When
Road near
in the
sweet
For the red blood reigns
singing.
o'
the year;
in the winter's pale.
white sheet bleaching on the hedge,
With, heigh
repro-
prominent
the doxy over the dale,
Why, then comes
The
is
the Shepherd's Cottage,
daffodils begin to peer,
With, heigh
Bohemian
Sc. 2)
Enter Autolycus,
*
Chapter IX.), yet
(see
scenes in which Autolycus
are here given (Act
"
were persecuted by
as
the
law,
the sweet birds, O,
how
Doth set my pugging tooth on edge

For a quart of ale is a dish for a king.
they sing!
1
The
2tf
lark, that tirra-lirra chants,
With, hey! with, hey! the thrush and the

Are summer songs for me and my aunts,
While we
tumbling in the hay.'
lie
have served prince
pile
but now
But
am
shall
jay,
Florizel, and, in
my
time,
wore
three-
out of service
go mourn
for that,
my
dear?
The pale moon shines by night

And, when I wander here and there,
I
My
may have leave to live,

And bear the sow-skin budget
Then my account I well may give,
And in the stocks avouch it.'
If tinkers
traffic is
My
linen.
I
then do most go right.
am,
littered
unconsidered
when the kite builds, look to lesser

named me Autolycus; who being, as
sheets
father
under Mercury, was likewise a snapper-up of
With
trifles.
and
my
die
and drab,
purchased this
Gallows and
knocks are too powerful on the highway; beating and hanging
caparison
are terrors to
of
it.
me
prize
revenue
is
the silly cheat
for the life to come,
a prize
sleep out the thought
After this delightful
lyric (the
unfortunately disappeared) the

cheerfully robbed
music of which has

clown enters and
by Autolycus, who departs
end of the scene, singing
" Jg on jg on the footpath way,

Anckmerrily hent the stile-a;
merry heart goes
all
Your sad
a mile-a."
tires in
the day,
is
at the
248
and of
this
an old melody
append
it.
The tune
and probably
is
is
the one
a half-century before.
still
exists
we
herewith
traced as far back as 1650,
known to Shakespeare nearly

The next scene of the play
introduces Autolycus again.
Moderate Time.
Jog
ra
m
#VN=
on,
jog
on
the
foot - path
way,
j-
" Enter a
249
Servant.
Servant.
O master, you did but hear the pedler at the
door, you would never dance again after a tabor and pipe no,
the bagpipe could not move you he sings several tunes faster
than you'll tell money; he utters them as he had eaten ballads,
if
and all men's ears grew to his tunes.

Clown. He could never come better; he shall come in: I
love a ballad but even too well; if it be doleful matter,
merrily set down, or a very pleasant thing indeed, and sung
lamentably.
He
Servant.
hath songs, for
no milliner can so
man
or
woman,
his customers with gloves
fit
prettiest love-songs for
of
:
all sizes
he has the
maids; so without bawdry, which is

dildos and fadings,'
strange; with such delicate burdens of
and where some stretch-mouthed

jump her and thump her
rascal would, as it were, mean mischief, and break a foul jape
Whoop, do me
into the matter, he makes the maid to answer,
no harm, good man; puts him off, slights him, with Whoop,
do me no harm, good man.'
;
'
'
This
Polixenes.
a brave fellow.
Has he any unbraided wares?
fellow.
He
Servant.
points,
is
Believe me, thou talkest of an admirable conceited
Clown.
hath ribands of
more than
handle, though they
all
the colours
come
to
i'
the rainbow
Bohemia can learnedly
him by the gross
inkles, caddisses,
why, he sings them over, as they were gods

you would think, a smock were a she angel he
cambrics, lawns
or goddesses
all
the lawyers in
so chants to the sleeve hand, and the work about the square on't.
Clown.
Pr'ythee,
bring him in;
and
let
him approach
singing.
Forewarn him,
Perdita.
that he use no scurrilous
words
in his tunes.
Clown.
You have
of these pedlers, that have
more
than you'd think, sister^

Perdita.
Ay, good brother, or go about to think.
in
'em
SHAKESPEARE IN
25O
Enter Autolycus,
1
MUSIC.
singing.
Lawn, as white as driven snow

Cyprus, black as e'er was crow
Gloves, as sweet as
Masks
for faces,
damask
and
roses;
for noses
Bugle bracelet, necklace-amber

Perfume for a lady's chamber;
Golden quoifs, and stomachers,

For my lads to give their dears
Pins, and poking sticks of steel,
What maids lack from head to heel
Come, buy of me, come come buy, come buy,
:
Buy, lads, or else your lasses cry
Come,
Clown.
take no
If
buy.'
were not
money
me
of
in love with
Mopsa, thou shouldst
but being enthrall'd as
am,
it will
also
be the bondage of certain ribands and gloves.
Mopsa.
come
was promised them against the
Clown.
What
Mopsa.
Pray now, buy some:
a-life
feast
but they
not too late now.
for then
Autolycus.
hast here
we
ballads
?
I
love a ballad in print
are sure they are true.
Here's one to a very doleful tune,
was brought
how a
usurer's
bed of twenty moneybags at a burden

and how she longed to eat adders' heads, and toads carbonawife
to
doed.
Mopsa.
Is
Autolycus.
Dorcas.
it
Bless
Autolycus.
you?
and but a month old.
from marrying a usurer
true, think
Very
true,
me
Here's the midwife's
name
to
't,
one mistress
Taleporter; and five or six honest wives, that were present:
Why
should
Mopsa.
Clown.
we'll
carry
lies
abroad
'Pray yOu now, buy
Come
on, lay
it
by
it.
And let's
buy the other things anon.
first
see
more ballads
Of a fish
Here's another ballad.
Autolycus.
2$
that appeared
on Wednesday the four-score of April, forty

thousand fathom above water, and sung this ballad against the
.
The ballad is very pitiful, and as
hard hearts of maids.
upon the
coast,
true.
Dorcas.
Is
you ?
hands at
true too, think
it
Five
Autolycus.
justices'
it;
and witnesses, more
my
pack will hold.

Clown. Lay it by too Another.
Autolycus. This is a merry ballad; but a very pretty one.
Let's have some merry ones.
Mofisa.
than
Autolycus.
Why,
to the tune of
'
merry one; and goes

maids wooing a man
there's scarce
this is a passing
Two
'
a maid westward, but she sings
it
'tis
in request,
can
tell
you.
We
Mopsa.
shalt hear
'tis
We
Dorcas.
Autolycus.
occupation
can both sing
it
if
thou'lt
bear a part, thou
in three parts.
had the tune on
have
can bear
at
it
my
a month ago.
't
part; you must know,
'tis
with you.
SONG.
A.
D.
M.
Get you hence, for I must go;

Where, it fits not you to know.
Whither? M. O, whither? D. Whither?
It becomes thy oath full well,
Thou
to
me
D.
Me
M.
Or thou
D.
A.
D.
If to either,
M.
Neither.
thy secrets
me go
too, let
tell
thither.
go'st to the
grange or mill
thou dost
ill.
What neither? A.
sworn my love to be
D.
Thou hast
Thou hast 9worn it more to me;
Then whither go'st? say, whither?
Neither.
my
252
We'll have this song out anon by ourselves
Clown.
My
father and the gentlemen are in sad talk, and we'll not trouble
them.
Come, bring away thy pack after me. Wenches, I'll

you both. Pedler let's have the first choice.
Follow
buy
for
me,
girls.
And you
Autolycus.
shall
pay well for 'em.
[Aside.
Will you buy any tape,
Or
My
lace for your cape,
dainty duck,
Any
Any
Of
my
dear-a ?
any thread,
toys for your head,
silk,
the new'st,
Come
and
finest, finest,
wear-a?
to the pedler;
Money's a medlar,
utter all men's ware-a.'
That doth
[Exeunt Clown, Autolycus, Dorcas, and Mopsa"
We
old
have already spoken of the refrains of the
ballads
" dildos
Malone,
refrains.
that "fadings"
was
told
by
and fadings
Theobald,
meant an old
Irish
antiquaries
" allude to
Irish dance.
that
it
"The Long Dance," and he

song from "Sportive Wit" (1666), which
implies that
"
Malone
was derived
from "Rinca Fada,"

quotes a
these
and Tyrwhitt agree
it
The
was
rustic in character.
courtiers scorn us country clowns,
We country clowns do scorn the court

We can be as merry upon the downs,
As you at midnight, with all your
With a fading, with a fading."
sport,
Knight
253
383), gives a full
account of
(Vol. II. p.
The "jape" was
a violent
explosion of mirth, and in this connection
we have
the style of this dance.
another Shakespearian
Autolycus
that
"
jest, for
reproves
the clown suggests
mirth with
evil-meaning
Whoop, do me no harm, good man," which would
be
trying to extinguish a fire with
like
ballad with
this
for the
oil,
was decidedly not
for
fit
Furness says (Variorum Edition, Vol.
publication.
XL
refrain
208)
p.
" Indeed, the humour, in the whole of this speech by the

clown, would be relished by an Elizabethan audience, to
whom
by the clown on the decency of the

once recognised as one of the jokes."
the praise bestowed

lad would be at
Naylor, in his
which the
last
'
bal-
Shakespeare and Music,'" gives the following melody, of
words only are presented, as being a popular tune of the
16th
century.
Autolycus.
5ff
fc=r.j=
Im
-4^_J-c4*^=3=|=a=il
N-U-inpfc==l
32=3
j>d *
&
fcd:
i
3=3TJL
5=3=-^
*=1
7$
Be
[Whoop, do me no harm, good man.]
The
"ballad of a fish" affords an
microscopic
commentary.
Halliwell,
instance
not
of
content
254
with
the fact
entire
that there
that
Shakespeare
the
satirising
is
to
show
was a ballad about a " monstruous
fish,"
class
sensational
of
ballads,
tries
published about seven years before this play was

written.
He
of fish
ballads
fi
shifted
")
number
devotes five long pages to a
("Oh, Flesh, Flesh, how
art thou
The
and other "monstruosities."
fact
humble folk as are here represented joining
of such
a three-part song might be an exaggeration for
in
Bohemia
in the epoch,
and we may repeat
but was possible in England,
that,
Bohemia or elsewhere,
whether the scene be
it is
bethan and Jacobean England, that
The
original
this scene
Among
find
in
only England, and Elizais
represented.
music of the songs of Autolycus
has unfortunately been
we
frequently
some
of Shake-
the old ballads of England
some which present the
in
lost.
plots of
speare's plays in so direct a fashion that one might

readily imagine the poet borrowing points
in spite of the generally
mentators.
The
adverse verdict of the com-
ballad of " Gernutus, the
Venice," runs so close to the "

that
it
from them,
has been supposed
Jew
of
Merchant of Venice,"
that
Shakespeare, here
at least,
drew part
recital.
Furness believes this not to have been the
case,
and
certain
of his
drama from the
old song-
added incidents which are not
found in the ballad, and are to be discovered in an

old
Italian novel
by Ser Giovanni, would indicate
that the play and the ballad both
same
Percy's
came from the
We
give
the
ballad
"Reliques,"
and
also
its
source.
255
entire,
melody as
from
dis-
covered by Doctor Rimbault.
GERNUTUS, THE JEW OF VENICE.
^-4-
*_
'
Ve
In
With
r ~
nice towne not
in
&
1=S
jp.t*
*a
that ci
ty
M
r
long
a - go
dwelt that
time,
A
A
^=q
256
"
new Song, shewing the
who
crueltie of Gernutus, a Jewe,
lending to a merchant an hundred crowns, would have
a pound of
because he could not pay him at the
fleshe,
To
time appointed.
the tune of
Black and Yellow.'

I
THE FIRST PART.

In Venice towne not long agoe
cruel
Jew did dwell,

all on usurie,
Which lived
As Italian
writers
tell.
Gernutus called was the Jew,

Which never thought to dye,
Nor ever
yet did any
To them
good
in streets that
lie.
life was like a barrow hogge,

That liveth many, a day,
Yet never once doth any good
Until men will him slay.
His
Or
heap of dung,
a whoard
Which never can do any good,
Till it be spread abroad.
like a filthy
That
So
lieth in
fares
He
it
with the usurer,
cannot sleep in
For feare the
To
rest,
thiefe will
him pursue
plucke him from his nest.
His hearte doth thinke on many a

How to deceive the poore
His mouth is almost ful of mucke,
Yet still he gapes for more.
;
wile,
5?
His wife must lend a shilling,
For every weeke a penny,
Yet bring a pledge that
If that
And
Or
you
will
see, likewise,
else
is
double worth,
have any.
you keepe your day,
you loose
it all
This was the living of the wife,
Her cow she did
it call.
Within that citie dwelt that time

A marchant of great fame,
Which being
distressed in his need,
Unto Gernutus came

Desiring him to stand his friend
For twelve month and a day
To lend to him an hundred crownes

And he for it would pay
Whatsoever he would demand of him,
And
"
No "
pledges he should have
(quoth the Jew with
" Sir, aske
"
what you
fl
earing lookes),
will have,
No
penny for the loane of it

For one you shall pay
You may doe me as good a turne,
Before
" But we
For
my
dying day.
have a merry
be talked long
will
to
jeast,
You
shall make me a bond," quoth he,

" That shall be large and strong
"
And
this
shaM be the forfeyture,
Of your owne
fleshe a
pound
:-
2 $J
25
If
you agree, make you the bond,

here is a hundred crownes."
And
"
With
right
And
When
good
will
" the
marchant says
so the bond was made.
twelve month and a day drew on,
That backe
should be payd,
it
The marchant's ships were all at sea,

And money came not in
Which way to take, or what to doe
To
And
thinke he doth begin.
Gernutus
to
strait
he comes,
With cap and bended knee

And sayde to him, " Of curtesie,
I
"
My
pray you beare with mee.
day
is
come, and
The money
And
little
for to
"
all
good the forfeyture
Will doe you,

" With
I have not
pay
my
dare say."
heart," Gernutus sayd,
Commaund
to
it
your minde
In thinges of bigger waight then this
You
He
shall
me
ready finde."
goes his way
the day once past,
Gernutus doth not slacke
To get
And
a sergiant presently,
clapt
him on the backe.
And layd him into prison strong,

And sued his bond withall
And when the judgement day was come,
For judgement he did
call.
The marchant's friends came
With many a weeping eye,
2$g
thither fast,
For other means they could not

But he that day must dye.
find,
THE SECOND PART.

*
Of the Jew's crueltie setting foorth the mercifulnesse of

the Judge towards the Marchant. To the tune of Blacke
and Yellow.'
:
'
Some
offered for his hundred crownes
Five hundred for to pay
And some
Yet
And
still
a thousand, two or three,
he did denay.
at the last ten
They
offered,
Gernutus sayd, "
My
"
forfeite
pound of
thousand crownes
him
I
to save
will
no gold,
will have.
fleshe is
my demand,
And that shall be my hire."

Then sayd the judge, " Yet, good my
Let me of you desire
"
To take the flesh from such

As yet you let him live
Do
so,
To
and
lo
friend,
a place,
an hundred crownes
thee here will
give."
" No, no," quoth he, " no, judgment here
For this it shall be tride

For I will have my pound of
;
From under
It
grieved
His
all
fleshe
his right side."
the companie
crueltie to see,
260
For neither friend nor foe could helpe

But he must spoyled bee.
bloudie Jew now ready is
With whetted blade in hand,
The
To
spoyle the bloud of innocent,
By
And
bond.
forfeit of his
as he
was about
to strike
In him the deadly blow,
" Stay " (quoth the judge) " thy crueltie

I
**
charge thee to do
so.
Sith needs thou wilt thy forfeit have,
Which
is
of flesh a pound,
See that thou shed no drop of bloud,
Nor
For
yet the
man
confound.
thou doe, like murderer
if
Thou here
hanged be
shalt
Likewise of flesh see that thou cut
No
" For
more than longes
if
to thee.
thou take either more or lesse,
To the value of a mite,

Thou shall be hanged presently,
As is both law and right."
Gernutus now waxt franticke mad,
And
wotes not what to say
Quoth he
I will
"
And
so
at last, "
Ten thousand crownes
that he shall pay;

I
graunt to set him free."
The judge doth answere make;
"You
shall not
Your
have a penny given;
forfeyture
now
take."
last he doth demaund
But for to have his owne
" No," quoth the judge, " doe as you
Thy judgement shall be showne.
26
At the
list,
" Either take your pound of flesh," quoth he,

"
"
Or
cancell
me your bond
cruell judge," then
" That doth against
"
:
quoth the Jew,
me
stand "
!
And so with griping grieved mind

He biddeth them farewell
Then
all
the people prays'd the Lord,
That ever
this
heard
tell.
Good
people, that doe heare this song,

For trueth I dare well say,
That many a wretch as ill as hee
Doth live now at this day
That seeketh nothing but the spoyle

Of many a wealthey man,
And
for to trap the innocent
Deviseth what they can.
From whome the Lord deliver me,

And every Christian too,
And send to them like sentence eke
That meaneth so
Nor
is
to doe.
the " Merchant of Venice " the only play
which comes near to an anterior ballad

also has its prototype in this shape.
there
is
" King Lear "
In this case
no sure evidence that the ballad preceded
The mel^ly, which we also present, is the

melody known as " Flying Fame," which was very
the play.
old
262
popular in the seventeenth century, but cannot be

traced to a definite date of origin.
KING LEAR AND HIS THREE DAUGHTERS.
a T
Jt
jrf
King Lear once
giff.'
ml
ed
in
ÊB^rtTZt
$ r=S
prince -ly
:2i
r-p
And had
pow'rand peace;
*-4
all
things with
Tff-
I
r r ?
r That might r joys
r
hearts con
- tent,
in
his
'
With
t=m
'-ttW
i-
Pr
'-fc:
land,
this
j.
crease.
lamentable song of the death of King Leir and his three

Daughters. To the tune of " When Flying Fame."
King Leir once ruled in this land

With princely power and peace,
And had
things with hearts content,
all
That might his joys increase.

Amongst those things that nature gave,
Three daughters fair had he,
So princely seeming beautiful,
As
fairer could not be.
So on a time
it
pleas'd the king
question thus to move,
Which
of his daughters to his grace
Could shew the dearest love

" For to my age you bring content,"
Quoth
me
he, " then let
hear,
Which of you three in plighted

The kindest will appear."
To whom
"
Dear
the eldest thus began
father,
mind," quoth she,
" Before your face, to do
My
And
troth
you good,
blood shall render'd be.
for your sake
my
bleeding heart
Shall here be cut in twain,
Ere that
The
"
And
"
so will I," the second said
Dear
father, for
The worst
I'll
And
see your reverend age
smallest grief sustain."
of
all
your sake,
extremities
gently undertake
serve your highness night and day
With diligence and love

That sweet content and quietness
Discomforts
may remove."
" In doing so, you glad
The aged
my
king repli'd
soul,"
263
264
" But what sayst thou,
44
my
youngest
How is thy love ally'd ? "

My love " (quoth young Cordelia
"
Which
to your grace
girl,
then),
owe,
Shall be the duty of a child,
And
*
that
is all I'll
show."
And wilt thou shew no more,"

Than doth thy duty bind ?
I
well perceive thy love
When
as no
Henceforth
more
is
quoth he,
small,
find.
banish thee
my
court
Thou art no child of mine

Nor any part of this my realm
By favour shall be thine.
"
Thy elder sisters loves are more

Than well I can demand
To whom I equally bestow
My kingdome and my land,

My pompal state and all my goods,
That lovingly
With those thy

Until
my
may
sisters
be maintain'd
dying day."
Thus
flattering speeches won renown,

By these two sisters here
The third had causeless banishment,
Yet was her love more dear.

For poor Cordelia patiently
Went wandring up and down,
Unhelp'd, unpity'd, gentle maid,
Through many an English town

famous France
She gentler fortunes found
Untill at last in
Though poor and bare, yet she was deem'd
The fairest on the ground
Where when the king her virtues heard,
And
With
this fair lady seen,
full
consent of
He made
all
his wife
his court
and queen.
Her father, old King Leir, this while

With his two daughters staid
;
Forgetful of their promis'd loves,
same decay'd
Queen Ragan's court,
Full soon the
And
living in
The
eldest of the twain,
She took from him his chiefest means,

And most of all his train.
For whereas twenty men were wont
To wait with bended knee,
She gave allowance but to ten,
And
after scarce to three,
Nay, one she thought too much for him

So took she all away,
In hope that in her court, good king,
He
*
Am
would no longer
stay.
rewarded thus," quoth he,

all I have
" In giving
Unto my children, and to beg

For what I lately gave ?
I'll go unto my Gonorell
My
second child,
know,
Will be more kind and
And
will relieve
my
pitiful,
woe."
Full fast he Hies then to her court;
Where when
she heard his moan,
265
266
Return'd him answer, that she griev'd
That all his means were gone,

But no way could relieve his wants
Yet if that he would stay
Within her kitchen, he should have
What scullions gave away.
When he had heard, with bitter

He made his answer then
M In
tears,
what I did, let me be made

Example to all men.
return again," quoth he,
I will
Unto my Ragan's court

She will not use me thus, I hope,
But in a kinder sort."
"
Where when he came, she gave command

To drive him thence away
When
he was well within her court,
(She said) he would not
stay.
Then back again to Gonorell

The woeful king did hie,
That
in her kitchen
What
he might have
scullion boys set by.
But there of that he was deny'd

Which she had promis'd late:
For once refusing, he should not,
Come
Thus
after to her gate.
twixt his daughters for relief
He wandred up and down,

Being glad to feed on beggars food
That lately wore a crown.
And
calling to remembrance then

His youngest daughters words,
That
duty of a child
said, the
Was
all
that love affords
But doubting to repair to her,

Whom he had banish'd so,
Grew
He
frantic
mad
for in his
mind
bore the wounds of woe.
Which made him rend his milk-white locks

And tresses from his head,
And all with blood bestain his cheeks,
With age and honour
spread.
To hills and woods and watry

He made his hourly moan,
Till hills
founts,
and woods and senseless things

to sigh and groan.
Did seem
Even thus
possest with discontents,
He. passed o're to France,

In hopes from fair Cordelia there
To find some gentler chance.
Most virtuous dame which, when she heard
Of this her father's grief,
!
As duty bound,
Him
And by
she quickly sent
comfort and
relief.
a train of noble peers,
In brave and gallant
She gave
in
sort,
charge he should be brought
To Aganippus' court;
Whose royal king, with noble mind,
So
freely
gave consent
To muster up his knights at arms,

To fame and courage bent.
And so to England came with
To repossesse King Leir,
speed,
267
Z6S
And drive his daughters from their thrones

By his Cordelia dear.
Where she, true-hearted, noble queen,
Was
Yet
he,
in the battel slain
good
king, in his old days,
Possest his crown again.
But when he heard Cordelia's death,
Who
died indeed for love
Of her dear father, in whose cause

She did this battle move,
He swooning fell upon her breast,
From whence he never parted
But on her bosom left his life
That was so truly hearted.
The lords and nobles, when they saw

The end of these events,
The other sisters unto death
They doomed by consents
And
being dead, their crowns they
Unto the next of kin

Thus have you seen the
And
We
cite
disobedient
fall
of pride,
sin.
one more example of an old English ballad
related to the Shakespearian drama.

of the
one quoted above,
it
is
As
difficult to
whether the play or the ballad came
may
left
in
the case
determine
first,
yet,
we
suppose, had the tragedy preceded the ballad,
the song writer would have availed himself of some

of the leading incidents
which are conspicuous by
their absence in his effort.
The same
point
may be
argued
in favour of the
precedence of the other two
which they seem
ballads given, to the plays with
But
lated.
it
269
would be hazardous
date for such fugitive compositions as these
own
reader must seek his

this case.
The
the
verdict by comparison, in
author does not consider them valu-
able Shakespearian data, but
Bishop Percy's " Reliques
"
presents them (from
and Rimbault's
Illustrations) " as
good examples
ballad
its
style
re-
a definite
to fix
in
fullest
" Musical
of the old English
prolixity
and
musical
monotony.
THE LAMENTABLE AND TRAGICAL HISTORY OF TITUS

ANDRONICUS.
To the tune of " Fortune."
TITUS ANDRONICUS'S COMPLAINT.
EE
You
rr
no
ble minds,
and
jUJlLA.
i-2]
j.
fa
mous mar -
tiall
F#
FMTTt
That
"
B
wwu3-~r
T 7
in de-fence
M-
J...
:,
-tnof native country
îi-îij
:
Ê?
270
Eft*
=1
For when Romes foes
Against them
stille
Against the Goths
We
their warlike forces bent,
my sonnes and
full ten
spent, receiving
were sent;
yeares weary warre
many a bloudy
Just two-and-twenty of
2*J\
scarre.
my sonnes were
Rome againe
slaine
Before we did returne to
Of
five-and-twenty sonnes,
Alive, the stately towers of
brought but three
Rome
to see.
When
wars were done, I conquest home did bring,

And did present my prisoners to the king,
The Queene of Goths, her sons, and eke a Moore,
Which did such murders, like was nere before.
The emperour did make this queene his wife,

Which bred in Rome debate and deadlie strife
The Moore, with her two sonnes, did growe soe
That none
like
them
in
Rome
The Moore
soe pleas'd this new-made empress'

That she consented to him secretlye
For to abuse her husbands marriage-bed,
And
proud.
might bee allowd.
eie,
soe in time a blackamore she bred.
Then
she, whose thoughts to murder were inclinde,

Consented with the Moore of bloody minde
Against myselfe, my kin, and all my friendes,
In cruell sort to bring them to their endes.
Soe when in age I thought to live in peace,

Both care and griefe began then to increase
Amongst my sonnet I had one daughter bright,

Which joy'd and pleased best my aged sight.
272
My
deare Lavinia was betrothed than
To Cesars sonne, a young and noble man:

Who, in a hunting by the emperours wife
And her two sonnes, bereaved was of life.
He, being slaine, was cast
Into a darksome den from
in cruel wise
light of skies:
The cruell Moore did come that way as then

With my three sonnes, who fell into the den.
The Moore then

For
to accuse
And when my
fetcht the
them
of that
emperour with speed,

murderous deed
sonnes within the den were found,
In wrongfull prison they were cast and bound.
But nowe behold what wounded most my mind:

The empresses two sonnes, of savage kind,
My
And
daughter ravished without remorse,

took away her honour, quite perforce.
When
they had tasted of soe sweete a flowre,
Fearing
this
sweete should shortly turn to sowre,
They
cutt her tongue,
How
that dishonoure unto her befell.
whereby she could not
tell
Then both her hands they basely cutt off quite,

Whereby their wickednesse she could not write,
Nor with her needle on her sampler sowe
The bloudye workers of her direfull woe.
My brother
Marcus found her
in the
wood,
Staining the grassie ground with purple bloud,
That
trickled from her
Noe tongue
at all she
stumpes and bloudlesse armes
had
to tell
her harmes.
But when I sawe her
With teares of bloud
my
For
Then
for
When
my
in that woefull case,

I
wet mine aged face
lamented more
two-and-twenty sonnes before.
sawe she could not write nor speake

mine aged heart began to breake;
spred an heape of sand upon the ground,
With
We
Lavinia
2JI
as
grief
Whereby
those bloudy tyrants out
we
found.
For with a staffe, without the helpe of hand,

She writt these wordes upon the plat of sand
" The lustfull sonnes of the proud emperesse
Are doers of
this hateful
wickednesse."
from
mine head,
was bred
tore the milk-white hairs
curst the houre wherein
wisht this hand, that fought for countrie's fame,
In cradle rockt, had
The Moore,
Did
I
first
delighting
say, to sett
my
then
my
But for
my
They
my
in villainy,
still
my
right
hand
free,
give,
live.
with speede,
strike
it
off
to see
it
bleed,
sonnes would willingly impart,
for their
But as
been stroken lame.
three imprisoned sonnes should
The Moore I caus'd to

Whereat I grieved not
And
off
sonnes from prison
should unto the king
And
I first
ransome send
life
sent to
my
bleeding heart.
did linger thus in paine,
me my
bootlesse
And therewithal the heades

Which filld my dying heart
of
hand againe,
my
three sonnes,
with fresher moanes.
274
Then, past
And
I
shot
And
my
upp and downe did goe,
reliefe, I
my
with
teares writ in the dust
arrowes towards heaven
my woe
hie,
for revenge to hell often did crye.
The empresse
then, thinking that
was mad,
Like Furies she and both her sonnes were clad,
(She nam'd Revenge, and Rape and Murder they)
To undermine and
I
heare what
would
say.
fed their foolish veines a certaine space,
Untill
my
friendes did find a secret place,
Where both her sonnes unto a post were bound,

And just revenge in cruell sort was found.
I
cut their throates,
my
daughter held the pan
Betwixt her stumpes, wherein the bloud
it
ran
And then I ground their bones to powder small,

And made a paste for pyes streight therewithall.
Then with
And
at a
their fleshe
made two mighty
banquet served
pyes,
in stately wise,
Before the empresse set this loathsome meat
So of her sonnes own
my
Myselfe bereav'd
flesh
she well did
daughter then of
eat.
life,
The empresse then I slewe with bloudy knife,

And stabb'd the emperour immediatelie,
And then myself even soe did Titus die.
:
Then
this
revenge against the Moore was found;
Alive they sett him halfe into the ground,
Whereas he stood
And
soe
God
send
until
all
such time he starv'd
murderers
may be
serv'd.
More
2?$
interesting than these dreary verses of a
bygone time are the ballads which, as we have

Shakespeare introduced upon his
seen,
own
Often a mere passing allusion was made to

that
stage.
this or
popular tune, without introducing the ballad
We
itself.
catch,
yet
Peter,
in
have seen Sir Toby naming catch after

only
singing
"Romeo and
one complete specimen.

mentions
Juliet,"
three
songs, yet sings only the fragment of a single one.
In like manner
we
Labour's Lost " (Act
i.
Armado.
Beggar ?
Moth.
in
Is there not a ballad, boy, of the
King and the
The world was very guilty of such a

but, I think, now 'tis not to be
three ages since
" Love's
Sc. 2), to one of the old bal-
lads of a pre-Shakespearian time
tl
made,
find allusion
ballad
some
found,
or, if
would neither serve for the writing, nor the tune.

Armado. I will have the subject newly writ o'er, that I
may example my digression by some mighty precedent. Boy,
I do love that country girl, that I took in the park with that
it
were,
it
rational hind Costard
she deserves well.
To be whipped, and
Moth.
yet a better love than
Armado.
Armado.
Moth.
is
Sing, boy;
And
Moth.
Nor
my
[Aside.
master.
my
spirit
grows heavy
in love.
that's great marvel, loving a light
wench.
say, sing.
Forbear,
till
this
company be
past."
this the only Shakespearian allusion to the
ballad of
"King Cophetua and
the Beggar Maid,"
2J6
for in "
Romeo and
Juliet "
(Act
ii.
Sc. 2), Mercutio
says:
"
Her purblind son and heir,

Young Adam Cupid, he that
When King
It is
shot so true,
Cophetua loved the beggar-maid."
very probable that the second line of this sen-
tence was taken from the
line
first
Also
stanza of the following poem.
"Henry
Part of
IV." (Act
v.
Sc.
of the second
Second
in the
3) Falstaff says
to Pistol
"
Oh
base Assyrian knight, what
is
thy news
Let King Cophetua know the truth thereof."
Other of the old dramatists occasionally drew their

metaphors from the same source,
ballad,
the
following
which Percy quotes from Richard Johnson's
"Crown Garland
of
Goulden Roses," 1612.
A SONG OF A BEGGAR AND A KING.

I
read that once in Affrica
A princely wight did raine,

Who had to name Cophetua,
As poets they did faine.
From natures lawes he did
decline,
my
minde,
For sure he was not of
He
cared not for women-kind,
But did them all disdaine.

But marke what hapned on a day;
As he out of his window lay,
He saw a beggar all in gray,
The which did cause his paine.
SHAKESPEARE IN MUSIC*
The blinded boy that shootes so
From heaven downe did hie,
He
drew a dart and shot
trim
at him,
In place where he did lye
Which soone did pierse him to the quicke,

And when he felt the arrow pricke,
Which in his tender heart did sticke,
He looketh
"What sudden
" That
as he
would dye.
is this," quoth he,
chance
to love
must subject
be,
Which never
But
still
Then from
And
laid
thereto would agree,

did it defie ? "
window he did come,

him on his bed
the
thousand heapes of care did runne

Within his troubled head.
For now he meanes
And now he
How
to crave her love,
way to proove
he his fancie might remoove,
And
seekes which
not this beggar wed.
But Cupid had him so in snare,

That this poor beggar must prepare
A salve to cure him of his care,
Or els he would be dead.
And as he musing thus did lye,

He thought for to devise
How
he might have her companye,

That so did 'maze his eyes.
" In thee," quoth he, " doth rest
my
life;
For surely thou shalt be my wife

Or else this hand with bloody knife,
;
The Gods shall sure suffice."

Then from ms bed he soon arose,
And
to his pallace
gate he goes
277
SHAKESPEARE IN
278
Full
little
When
u
MUSIC.
then this begger knowes
she the king espies.
The gods preserve your majesty,"

The beggers all gan cry
;
" Vouchsafe to give your charity,
Our childrens food to buy."

to them his purse did cast,
And they to part it made great haste;
This silly woman was the last
That after them did hye.
The -king
The king he
And
And
cal'd her
back againe,
unto her he gave his chaine

said, "
Till
With
us you shal remaine
such time as we dye.
my
For thou," quoth he, " shalt be
And honoured
for
my
wife,
queene
With thee I meane to lead my life,

As shortly shall be seene
Our wedding shall appointed be,
:
And every thing in its degree

Come on," quoth he, " and follow
Thou
What
is
shalt
that she
A trim
me,
shift thee cleane.
thy name, faire maide
" Penelophon,
With
go
" quoth he.
King," quoth she
made a lowe
one as
courtsey
weene.
Thus hand in hand along they walke

Unto the king's pallace
The king
with courteous, comly talke
This begger doth embrace.

The begger blush eth scarlet red,
And
straight againe as pale as lead,
But not a word at all she said,
She was in such amaze.
At
last
And
she spake with trembling voyce,
said, "
That you
King,
wil take
And my
me
doe rejoyce
for your choyce,
degree so base."
And when the wedding day was come,

The king commanded strait
The noblemen, both all and some,
Upon the queene to wait.
And she behaved herself that day
if she had never walkt the way
She had forgot her gowne of gray,
As
Which she did weare of late.

The proverbe old is come to passe,
The priest, when he begins his masse,
Forgets that ever clerke he was;
He knowth
not his estate.
Here you may read Cophetua,

Through long time fancie-fed,
Compelled by the blinded boy
The begger
for to
wed
He that did lovers lookes disdaine,

To do the same was glad and faine,
Or else he would himselfe have
In storie, as we read.
Disdaine no whit,
But
pitty
now
Least that
As
And
it
to that
lady deere,
thy servant heere,
hap
to thee this yeare,
king
it
did.
thus they led a quiet
During
slaine,
life
their princely raine,
279
280
And
in a
tombe were buried both,
As writers sheweth plaine.

The lords they tooke it grievously,
The ladies tooke it heavily,
The commons cryed pitiously,
Their death to them was paine,
Their fame did sound so passingly,
That
it
did pierce the starry sky,
And throughout all

To every princes
We
need no apology for the quotation of this
lad in
it
in
the world did flye
realme.
full,
for
the latter
Armado
subject
bal-
Shakespeare makes abundant use of

part
of
" Love's
Labour's Lost."
certainly keeps his promise of having the
"newly writ
of love (Act
iv.
o'er," for his entire declaration
Sc.
i)
is
derived from the fore-
going ballad.
" Boyet.
This
It is writ to
letter is mistook,
importeth none here
it
Princess.
We will read it, I swear
Break the neck of the wax, and every one give ear.
Boyet. {Reads) " By Heaven, that thou art fair, is most
lible
Jaquenetta.
true, that
More
thou art beauteous
infal-
truth itself, that thou art
than fair, beautiful than beauteous, truer

have commiseration on thy heroical vassal
The magnanimous and most illustrate king Cophetua set eye
upon the pernicious and indubitate beggar Zenelophon
and
he it was that might rightly say, <veni, vidi, vici; which to
anatomize in the vulgar, (O base and obscure vulgar!) videli-
lovely.
than truth
fairer
itself,
'
cet,
he came, saw and overcame: he came, one; saw, two;

1
Shakespeare probably intends an error here.
Who
overcame, three.
to see
Why
did he see
beggar
What
came ?
the king
Why did
overcome
To
saw he ? the beggar
?
to
28
he come
whom came
he
?
?
Who
overcame
he ? the beggar. The conclusion is victory
On whose side ?
The captive is enriched On whose side ? the
the king's
beggar's
the catastrophe is a nuptial
On whose side ?
no, on both in one, or one in both.
the king's ?
I am the
king for so stands the comparison thou the beggar for so
to the
witnesseth thy lowliness.

Shall
enforce thy love
What
I will.
titles
my
Shall
I
command
could.
Shall
thy love
may.
entreat thy love
sh alt thou exchange for rags? robes; For
tittles,
For thyself, me. Thus, expecting thy reply, I profane

on thy foot, my eyes on thy picture, and my heart on
lips
thy every part.
Thine, in the dearest design of industry.
Don Adriano de Armado."

Another interesting introduction of a fragment of
a ballad occurs in "
the prince
is
Hamlet
"
(Act
ii.
Sc.
2),
while
feigning insanity, and here, as Shake-
speare was fond of doing in his most piquant mo-
ments,
we have
the words of the
through the action

" Hamlet.
poem strung along
Jephtha, judge of Israel,'
what
a treasure
hadst thou
Polonius.
Hamlet.
Polonius.
Hamlet.
Polonius.
ter that
What
a treasure had he,
fair daughter,
The which he
loved passing
Still
Am
If
on
my
not
you
i'
call
lord
and no more,
well.'
daughter.
[Aside.
the right, old Jephtha?
me
Jephtha,
love passing well.
Hamlet.
my
Why One
Nay, that follows
not.
my lord,
have a daughu
^yL
282
What
Polonius.
Hamlet.
It
came
follows then,
my
lord
Why, As by lot, God wot,' and

pass, As most like it was,'
The
'
to
pious chanson will shew you more
for look,
first
you know,
row of the
my
abridgment
then,
comes.
Enter Four or Five Players."
Although only the

to here,
it
it
part of this ballad
first
may be worth
while to reprint as
is
alluded
much
of
as Bishop Percy has discovered, for the sake of the
quaintness of the versification and the general naivete*

of the story.
Have you
not heard vhese
many
Jeptha was judge of Israel
He had
years ago,
one only daughter and no mo,
The which he loved passing

And as by lott,
God wot,
well.
It so came to pass,
As Gods will was,
That great wars there should
And none
be,
should be chosen chief but he.
And when he was appointed judge,

And chieftain of the company,
A solemn vow to God he made,
If
he returned with victory,
At
his return,
To burn
The
first live
thing.
That should meet with him then,

Off his house when he should return agen.
It
came
wars was
to pass, the
And he
o'er,
returned with victory
His dear and only daughter first of all

Came to meet her father foremostly:
And
the
all
way
She did play

On tabret and pipe,
Full
many a
With note so
stripe,
high,
For joy that her father
is
come so
nigh.
But when he saw his daughter dear

Coming on most foremostly,
He wrung
And
his hands,
and tore
his hair,
cryed out most piteously
Oh it's thou," said he,

" That have brought me
"
Low,
And
That
**
so
know not what
to do.
For
"
me
troubled
I have made a vow," he sed,

The which must be replenished
...
"
What
Do
What
Be
thou hast spoke
not revoke,
thou hast said
not afraid
Altho'
it
be
I,
Keep promises
to
God on
high.
* But, dear father, grant me one request,

That I may go to the wilderness,
Three months^here with my friends to stay;
There to bewail my virginity
;
283
284
And
let
there be,"
Said she,
Some two or three

Young maids with me."
So he sent her away,

For to mourn, for to mourn,
With one other

to
till
her dying day.
which Shakespeare seems
ballad,
have enjoyed and to have quoted more than once,
we
leave this branch of a subject that
is
apt to grow
dangerously prolix, because of the great length of

the old ballad-writers, and their carelessness of poetic
subtleties
to the front twice in the
Wives
(Act
of Windsor."
It
Green Sleeves
there
'
'
let it
"The Merry
far wittier jest
Greensleeves,' " is
thunder to the tune of
and snow eringoes
let
me here.
[Embraces Mrs. lord"
of provocation,
will shelter
than "thundering to the tune
found
second act of the same play.
in the first
It is
Ford and Mistress Page compare
As
of
spoken of by Falstaff
hail kissing-comfits
come a tempest
But a
of
comedy
is
v. Sc. 5).
" Let the sky rain potatoes

*
" Greensleeves " comes
and refinements.
scene of the
where Mistress
their love-letters.
Mrs. Ford shows her own, she says
" We burn day-light

perceive how I
here, read, read
might be knighted. I shall think the worse of fat men, as
long as I have an eye to make difference of men's liking and
and gave
yet he would not swear praised woman's modesty
:
such orderly and well-behaved reproof to
285
uncomeliness, that
all
would have sworn his disposition would have gone to the

truth of his words but they do no more adhere and keep place
Green
together, than the hundredth Psalm to the tune of
Sleeves.'
What tempest, I trow, threw this whale, with so
I
many
I
tuns of
oil in his belly,
be revenged on him
ashore at Windsor ?
How
shall
"
Here we find a most musicianly jest the disagreement of FalstafFs words with his actual nature is
:
compared
to the
of
poetry with
its
One
finds plenty of such disagree-
in the musical
repertoire, but only the con-
musical setting.
ments
disagreement
scientious musician
is
shocked by them.
presented the weeping mother,

standing
sorrow,
beside
the
full of
Rossini
anguish and
by the
cross,
cheerful and brilliant music, in " Cujus
most
Animam;"
Donizetti pictured the heart-broken Lucia and the

furious
in
Edgar both to the same
mellifluous strains,
in " Lucia di
the charmingly melodic sextette
Lammermoor."
But thinkers
ate such juggleries,
in
music do not
toler-
and such widely separated person-
Herbert Spencer (essay on " Education
alities as
"),
and Richard Wagner, have attacked such mesalliances.
Here we
find
Shakespeare also giving an implied
arraignment of such unfitness.
modernised into
more
fit
" FalstafFs
together than Gray's
Offenbach's
Cancan.'
The
jest
might be
words and deeds no

Elegy
'
to the tune of
2 86
Since Shakespeare has twice alluded to the old

ballad,
It
it is
interesting to study
what
seems to have been very popular
time, for
in the
Beaumont and Fletcher speak
Loyal Subject,"
it
known
is
of
it.
Elizabethan
of
in "
it
was attacked by Elderton
The
in 1580,
and numerous different sets of words were sung
to
it
during the Shakespearian epoch, and in later times.
spoken of as "a new tune,"
It is
1584.
It
in
1580 and
in
seems to have been of rather questionable
character in
its
Of course
earliest stages.
a large
part of the flavour of Shakespeare's jest arises from
the yoking together a godly subject and a tune that
had been associated with immorality.

his " National
Music
" (p.
settings of the tune to

tural to political.
Shakespeare had
It
in
is,
(the
of this ditty,
when he causes Mistress Ford
jest, for it
fit
to
thus becomes one of the most

in
his
p. 75)
Naylor
works.
wastes his time in
" All people that on earth do dwell "
hundredth psalm) to a tune of Hawkins, and
proving that the accents come out wrong

jest
different
however, unquestionable that
Shakespeare and Music,"
trying to
cites
kinds of words, from Scrip-
perfect musical metaphors

("
mind the wantonness
in its original state,
make her
all
39),
Chappell, in
many
much more
is
spicy than
but the
mere matter
of
accents.
We
reproduce the tune of " Greensleeves " as
was sung
in
Shakespeare's time.
it
"GREENSLEEVES."
Alio, Moderate).
287
288
an antithesis
may be
seen by referring to the third
scene of the fourth act of " Othello."

portion of the play
is
as follows
presentiment of coming
evil
This pathetic
Desdemona has a
and says
My mother had a maid call'd Barbara

She was in love and he, she loved, proved mad,
And did forsake her she had a song of willow,
"
An old thing 'twas, but it express'd her fortune,

And she died singing it That song, to-night,
Will not go from my mind I have much to do,
But to hang my head all at one side,
And sing it like poor Barbara. Pr'ythee, despatch.
:
Emilia.
Emilia.
is
a proper man.
He
speaks well.
know a lady
very handsome man.
Desdemona.
Emilia.
I go fetch your night-gown

No, unpin me here.
Shall
Desdemona.
This Lodovico
who would have walked
in Venice,
bare-footed to Palestine, for a touch of his
lip.
I.
Desdemona.
'
[Sings.
The poor
soul sat sighing
Sing
a green willow
all
by a sycamore
tree,
Her hand on her bosom, her head on her
knee,
Sing willow, willow, willow
The
fresh streams ran
Sing willow,
Her salt
Lay by these
'
tears fell
Sing
all
and murmur'd her moans
her,
from
her,
and softened the stones
Sing willow, willow, willow
Pr'ythee, hie thee

1
by
etc.
he'll
come anon
a green willow, must be
my
garland.'
289
II.
Nay
Let nobody blame him, his scorn

that's not next.
Emilia.
Hark
It is the
who
is it
approve,'
that knocks
wind.
Desdemona.
'
my
call'd
love, false love
Sing willow,
If
court
mo women,
you'll
Rolfe, in his edition of "
number
cites a
but what said he then
couch with
"
The
mo
men.'
Much Ado About Nothing,"
of instances of the willow being
blematic of an unhappy love,

in " Faerie
etc.
em-
example, Spenser
"
Queene
willow,
as, for
worne of forlorne Paramours
Lyly, in " Sappho and Phao
"
:
" Enjoy thy care in covert
Weare
willow in thy hat, and bayes in thy heart
Swan, "Speculum Mundi," 1635

" It
is yet a custom that he which

must wear a willow garland "
is
deprived of his love
and
as
Fuller, in his
"Worthies," describes the willow
sad tree, whereof such who have lost their love, make
mourning garlands, and we know what exiles hung up
their harps upon such dolefull supporters.
The twigs hereof
are physick to drive out^he folly of children," etc. 1
"
their
Rolfe Notes to "
Much Ado About
Nothing,"
p. 131.
29O
Both Rossini and Verdi have

and both composed
melody to " O, Salce, Salce,"
opera,
It
set " Othello " as
folk-song-like
plaintive,
an
" O, Willow, Willow."
would have been a charming touch of antiquarian
beauty, had the two composers introduced the tune,
which Shakespeare himself intended to
illustrate his
scene, into their scores.
The melody which he employed

a charming old
manuscript
The
English tune.
in the British
original
not a maiden
words
Ancient English Poetry."
copy the forsaken one
slightly to
In the
suit
his dramatic purpose.

is
Lover's
poore soule sat sighing under a sicamore tree
O
With
Sing,
He
his
willow, willow, willow
hand on
his
bosom, his head on his knee
the greene willow shall be
my
garland.
sigh'd in his singing, and after each grone,
Come
am
dead
O
Sing,
willow, etc.
to all pleasure,
my
true-love is gone.
willow, etc.
the
The
taken from a copy
being forsaken of his Love."
plaint,
is
in
a youth and
Shakespeare evidently altered
in the Pepys collection, entitled, "
"
taken from a
Museum.
following version (Percy states)
is
words are given by Bishop Percy
his " Reliques of
old black-letter
given herewith,
is
It
my
garland.
Com-
291
OH! WILLOW, WILLOW, WILLOW!*

Words and Music from a Manuscript
tnf Lento ed espressivo.
of Shakespeare's time.
pp
-#
Hi
sy
ca-more
tree,
Sing
With his hand in his bosom, and
-I
A=F
* *"
poor soul sat sigh-ing by a
willow, willow, willow!
|_
nrJ
-.
his
H-r-4
WW
fV-N- -V
\-m m
M-v-
head up-on his knee!
Oh
^
-M-
Oh
M
1*
f
*
willow, willow, willow, willow,
From ChappelPs Old English
Ditties.
292
>
dim
^* ~3t S
pp
A--* 4
# Fi#
My
willow, willow, willow, willow,
garland shall be, Sing,
SSêSê|ee
p=
~&
dim.
*/
s*-
.s&
P
cresc.
*=t
all
to
i-
a green wil-low,
low, wil-low, wil-low,
Ah
ilj i
-^-
wil
-*-
t=l
3=2
jfcZ
PP
mfi JTl
-
low
my
gar
WE^
a tempo.
$=^
EEt ^:
land must be.
colla parte,
&
*zzM=zi
me, the green wil
**Z
pp-
-rt-
-#
3!
"
My
love she
is
turned
untrue she doth prove
willow, etc.
She renders me nothing but hate
O
Sing,
"
pitty
me "
O
O
(cried he), " ye lovers, each one
marble
she rues not
my
mone.
willow, etc.
the greene willow, etc."
The
cold streams ran by him, his eyes wept apace
The
salt tears fell
O
Sing,
Sing,
mones
from him, which softened the stones.
my
I
garland
do prove
willow, etc.
She was borne
to
be
O willow,
O
his
willow, etc.
by him, made tame by
nobody blame me, her scornes
Sing,
his face.
willow, etc.
salt tears fell
" Let
from him, which drowned
willow, etc.
birds sate
O
The
willow, etc.
the greene willow, etc.
The mute
"
my love.
willow, etc.
heart's hard as
Sing,
for
willow, etc.
O
Her
293
faire
I,
to die for her love.
etc.
that beauty should harbour a heart that's so hard
Sing willow,
My
etc.
true love rejecting without
O
Sing,
willow, etc.
all
regard.
294
" Let love no
more boast him
For women are
O
O
Sing,
trothles,
and
an houre.
In vaine
complaine
willow, etc.
must patiently suffer her scorne and disdaine.
O
O
Sing,
"
flote in
willow, etc.
" But what helps complaining
bower;
in palace, or
willow, etc.
Come,
all
you forsaken, and
O
He
willow, etc.
sit
down by me,
willow, etc.
that 'plaines of his false love, mine's falser than she.
O
Sing,
"The
willow, etc.
willow wreath weare
A garland for lovers

O
Sing,
Lowe
lay'd
I,
since
my
love did fleet;
willow, etc.
forsaken most meete.
willow, etc.
my
garland
PART THE SECOND.

"
by my sorrow, begot by
Against her too
O
O
Sing,
"
cruell,
complaine.
still, still I

love too injurious, to
disdaine,
willow, etc.
my
garland
wound my poore
heart,
To
O
O
Sing,
"
As
here
So hang
Sing,
it
willow, etc.
it,
friends, ore
willow, etc.
my
garland.
me
in
grave where
lye.
rest
mee, hang
this to the view,
knowe
her, to blaze her untrue.
willow, etc.
Sing,
With
these words engraven, as epitaph meet,
Here
lyes one,
Sing,
O
And
drank poyson for potion most sweet.'
willow, etc.
thus unkindly hath scorned
willow, etc.
cannot against her unkindly exclaim,
my
love,
willow, etc.
carelesly smiles at the sorrowes
O
Sing,
willow, etc.
Though she
"
doth stand.
willow, etc.
that doe
me
O
1
the willow garland,
doth bid to despair and to dye,
O
u
O
all
smart
willow, etc.
" In grave where
Of
my
willow, etc.
sign of her falsenesse before
Sing,
in
willow, etc.
"
and joy
suffer the triumph,
295
willow, etc.
prove 5
296
Cause once well
O
Sing,
"
"
As then
now
'twas
name
of
my
deare
my
comfort,
it
now
is
my
griefe
willow, etc.
brings
O
Sing,
heart lightly, the
willow, etc.
O
It
garland.
willow, etc.
my
O
O
my
of her sounded so sweete in mine eare,
Sing,
loved her, and honoured her name.
The name
It rays'd
willow, etc.
me
anguish
then brought
me
reliefe.
willow, etc.
" Farewell, faire false-hearted, plaints end with
O
Thou
dost loath me,
O
O
Sing,
love thee, though cause of
my
garland."
pathetic scene heightened
There
allusion to a very pathetic ballad in "
" Pistol.
my death.
a tender and melancholy ballad.
Act
Here then we have a
(Part II.
my breath
ii.
What
Sc. 4),
shall
where
we have
by
a passing
is
Henry IV.
"
Pistol says
incision
shall
we imbrue
[Snatching up his sword.
Then death rock me
Why
asleep, abridge
my
doleful days /
wounds
Come, Atropos, I say "
then, let grievous, ghastly, gaping
Untwine the
sisters three
The
line
song which
in
is
italics
is
taken from a sorrowful
been written by Anne
said to have
Boleyn, after her downfall, beginning,

" Oh, Death, rocke
The
reader will find
pell's "
Old English
it
297
in the
me
asleep."
second volume of Chap-
Ditties."
decide in which direction Shake-
It is difficult to
speare has been strongest
the light songs of Ophelia,
the foreboding melancholy of Desdemona, the portrayal of the befuddled Sir
Toby by
refrains of bacchanalian songs, are
of
one
art.
There
to study, however,
is still
and
in
all
his snatches of
different phases
another phase of this art

the next chapter
we
see our poet in the domain of absolute parody.
shall
CHAPTER XII.
Shakespeare's Lyrics The Lyric Poets of the Elizabethan Epoch
Ben Jonson Marlowe Parodies of other Poets DoubtPoems The Numerous Settings of Shakespeare's Poems
" Take, Oh, Take Those Lips Away " Come, Live with
Me and Be My Love German Translations and German
Musical Settings of Shakespeare Schubert's " Hark, Hark,
the Lark " Purcell.
ful
"
That Shakespeare
plays was a
should write
foregone
conclusion.
many
lyrics in his
He
lived in an
age when there was the strongest tendency toward

the lyric forms.
Ritson, in his " Select Collection of
English Songs," gives an important historical essay
upon
this subject, in
which he states that not a single
composition of the modern lyrical
style,
containing
a spark of literary merit, can be discovered before

the Elizabethan era.
We
Ben Jonson"
head of the
the era,
if it
at the
are disposed to place " rare
love-songs (as good as any of
guage), " Drink to
may
state,
finest of
lyrical writers of
were only on account of that
me
its
finest of
length in any lan-
only with thine eyes."
en passant, that this
We
poem evoked the
contemporary music, a melody and harmony

298
many have
so rich and beautiful that
299
credited
it
to
Mozart, but as Doctor Burney, contemporary with
Mozart, sought in vain to discover
may
dismiss this
its
composer,
we
theory and content ourselves with
the fact that one of the best lyrics of the Elizabethan
words and music, has come down to us
time, both
intact.
Shakespeare occasionally made use of the poems

of his contemporaries, in his plays, often alluding to
them
(as
we have
frequently giving a
seen)
by some borrowed phrase,
some poem or song, some-
title of
times interweaving them
in
the action of his drama,
and sometimes even parodying the

of this kind,
lyric.
and a very subtle one, we
grave-digging scene in " Hamlet."

this case, both the original
parody
find in the
Fortunately, in
poem and
the music are
we can trace every detail of the

The musical part of the scene runs
so that
left to us,
poet's
humour.
as follows
" [First Clown digs
In youth, when
Methought,
To
and sings.
did love, did love,
was very sweet,
it
my behove,
O, methought, there was nothing meet.'
Hamlet.
contract, O, the time, for, ah,
Has
this fellow
no feeling of his business? he
sings at grave-making.
Horatio.
Custom hath made
Hamlet.
it
in
him a property of
easi-
ness.
'Tis e'en so
the daintier sense.
the
hand of
little
employment hath
300
First Clown.
[Sings.
But age with
his stealing steps,
Hath claw'd me
And
in his clutch,
me
hath shipped
As
if I
into the land,
had never been
such.'
[
That
Hamlet.
had a tongue
Throws up a
skull.
and could sing

once.
How the knave jowls it to the ground, as if it were
Cain's jaw-bone, that did the first murder This might be the
pate of a politician, which this ass now o'er-reaches one that
would circumvent God, might it not ?
skull
in
it,
might,
Horatio.
It
Hamlet.
Or
row, sweet lord
be
my
my
lord.
of a courtier
How
which could
dost thou, good lord
lord such-a-one, that praised
when he meant
to
my
Ay,
Horatio.
beg
it
might
it
my lord
Good-mor-
say,
'
This might
'
such-a-one's horse,
not ?
lord.
and now my lady Worm's chapand knocked about the mazzard with a sexton's spade.
Here's fine revolution, an we had the trick to see 't. Did these
Why,
Hamlet.
e'en so
less
bones cost no more the breeding, but to play at loggats with
them
mine ache
to think
on
't.
First Clown.
1
pick-axe,
For
O, a
and a spade, a spade,
pit of clay for to
For such a guest
is
be made
meet.'
[Throws up a
The words
little
meaning
[Sings.
and a shrouding sheet

skull."
of the song, as they appear above, have

at
any time, and occasionally descend
to sheer gibberish
yet they had their foundation in
This
poem which possessed definite meaning.
poem was entitled "The Aged Lover Renounceth
a
Clown.
(Si?igs.) "
From
AMck-axe and a
spade, a spade."
(Hamlet, Act v. Sc.
the painting by F. Stielen
i.)
Love," and was written before 1575.
301
to
Thomas,
his son
as collated by Percy, runs thus

lothe that
did love,
In youth that
As
time requires
Me
thought swete,
for
my
behove
thinkes they are not mete.
My lustes they do me leave,

My fansies all are fled
;
And
weave
Gray heares upon my hed.
tract of time begins to
For Age with steling steps

Hath clawde me with his crowch,*
And lusty Youth e away he leapes,
As there had bene none such.
My
muse doth not delight

Me, as she did before
My hand and pen are not in plight,
As they have bene of yore.
;
For Reason me denies

All youthly idle rime
And day by day
to
me
she cries,
" Leave off these toyes in tyme."
The wrinkles in my brow,

The furrowes in my face
1
attrib-
by Percy
and by Sir Egerton Brydges to
William, the grandson of the first-named.
was
It
uted by Ritson to Nicholas, Lord Vaux
Probably meaning " clutch."
The poem,
302
Age will lodge him now
Where Youth must geve him place."
Say, " Limping
The harbenger
To me
The
se
of death,
him
ride
cough, the cold, the gasping breath
Doth bid me
A pikeax
And
to provide
and a spade,
eke a shrouding shete,
A house
of clay for to be
made
For such a guest most mete.
Me
thinkes
hear the clarke
That knoles the
careful knell,
my wearye warke,
Ere Nature me compell.
And
My
bids
me
leave
kepers knit the knot,
That Youth doth laugh
to scorne,
Of me that shall bee clean forgot,

As I had ne'er been borne.
Thus must
Youth geve up,
Whose badge
To them
That
long did weare;
yelde the wanton cup,
better
may
it
beare.
Lo here the bared skull,

By whose bald signe I know,
That stouping Age away shall pull
What youthful yeres did sow.
For Beautie with her band
These croked cares had wrought,
And shipped me into the lande,

From whence I first was brought.
And
303
ye that bide behinde,
Have ye none other trust;

As ye of claye were cast by kinde,
So shall ye turne to dust.
This song was erroneously supposed to have been
The Shake-
written by the author upon his death-bed.

spearian scene founded upon
it
affords a fine example
of an illiterate character catching the sound, but not
the sense, of a poem.
We
present the old air as
given by Doctor Rimbault in his collection of melodies to Percy's " Reliques."
THE AGED LOVER RENOUNCETH LOVE.
I
fM=*==i=S 5
4
lothe that
-~
did
love,
Forage with steling steps
-a
^n
In
Had
youth that
clawed me
ife
*-+
^W r t=Wrf
= c
As
thought swete,
I
with his crouch,
And
^r
2^ *=
time re
lust-y
quires
youth
for
304
*
be
way he
hove
Me
leapes
As
my
3*
-(*-
thinks they are not

there had been none
mete.
such.
p-
Many
of Shakespeare's
own
music over and over again

of Shakespeare Music,"
Furnivall, in their
list
lyrics
i
have been set to
Roffe, in his "
Handbook
and Green hill, Harrison, and
of Shakespeare songs, give a
computation of the number of musical settings that
becomes almost marvellous.

lips
"Take,
oh, take those
away," has been set more than thirty times
" Orpheus with His Lute " (which, by the way, was
written by John Fletcher and not by Shakespeare)
has been set twenty-one times
and "It was a lover and his

times; Marlowe's
"Come
Love," sixteen times.
live
"
Who
Sylvia
"
?
each eighteen
lass,"
with
is
me
and be
my
In connection with the last-named selection
be stated that Jaggard printed it in

speare's (in " The Passionate Pilgrim
it
may
599 as Shake-
"),
but
it is
now
pretty well settled that the verses are Marlowe's, and

1
Roffe's
statistical
list is
a remarkably
full
one, and the reader
information in this matter will find
index, but recent composers

greatly increased the
number
it
who
desires
in his well-compiled
(among them many Americans) have

of musical settings.
305
they are credited to that poet in "England's Heli-
con" (1600)
of the
the
Shakespeare, however, introduces part
The Merry Wives
in "
poem
where
scene
Hugh Evans
Sir
Doctor Caius (Act
Sc.
iii.
waiting for
is
1).
Hugh Evans and
Enter Sir
of Windsor," in
Simple.
Evans. I pray you now, good master Slender's servingman, and friend Simple by your name, which way have you
looked for master Caius, that calls himself Doctor of Physic ?
Simple.
Marry,
sir,
the city-ward, the park-ward, every
Windsor way, and every way but the town way.

Evans. I most fehemently desire you, you will
way
old
also look
that way.
Simple.
I will, sir.
Evans. Pless
pling of mind
how
my
melancholies
To
soul
shall
am
how
full
be glad,
of cholers
if
am and tremme
he have deceived
'pless
my
shallow rivers, to whose
soul
falls
Melodious birds sing madrigals

There will we make our peds of
And a thousand
To shallow
Mercy on me
roses,
fragrant posies.
have a great dispositions to
Melodious birds sing madrigals
When
as
cry.
sat in Pabylon,
And a thousand vagram

To shallow
coming, this way, Sir Hugh.
Simple.
Yonder he
Evans.
He's welcome
is
posies.
[Sings.
306
To
shallow rivers to whose
Heaven prosper the
The
is
right
"
!
original passage
founded runs
"
There
falls
upon which the above singing
will
we
sit
upon the Rocks,
And see the Shepheards feed their

By shallow Rivers by whose falls
flocks,
Melodious birds sing Madrigals.

I make thee a bed of Roses
With a thousand fragrant Posies," etc.
" There will
Furnivall analyses the scene thus

" In his nervous condition,
the song,
and
at last
Evans misquotes the words of
breaks down altogether.
The mention
of Rivers, however, recalls professional associations

in his
cry,'
'trempling of
so that
minde,' and with his 'dispositions to
he unconsciously mingles the sacred and the
tacking on to Marlowe's verses the
first line
secular,
by
of the old metrical
version of the 137th psalm (super flumine)'.
"When we
did
sit in
Babylon,
The Rivers round about,

Then in remembrance of Sion,
The tears for grief burst out.' "
As
there
is
still
authorship of "
some contention regarding the
Come
live
with me," although the
best authorities agree in awarding the authorship to
Kit Marlowe,
so
much
we reproduce the poem
music, together with what
earliest setting.
that has caused

is
probably
its
307
'COME LIVE WITH ME AND BE MY LOVE."

Tune discovered by Sir John Hawkins,
Rather Slow.
v
5ft
a MS. of Queen Elizabeth's time.
U4
5s=:
*2-
j*
in
Come live with me
and
my
be
Sim
love,
And we
t=t
&^h^=i=^
"
2Z
the
all
22
'I
pi eas-ures
will
^j\
*-
IE
111
IZIChS
prove That
val
lies,
groves or
m
^-J=Â
11
hills
and fields, And
*t
3fc=3
^
all
That
hils
all
There
and
vallies, dale
and
field,
the craggy mountains yield.
will
we
sit
Come live with me, and be my love,

And we wil all the pleasures prove
And
the stee-py mountain yields.
upon the rocks,
And see the shepherds feed their

By shallow rivers, to whose falls
Melodious birds sing madrigals.
flocks
308
There will I make thee beds of roses,

With a thousand fragrant posies
;
cap of flowers, and a
Imbrodered
all
kirtle
with leaves of mirtle
A gown
made of the finest wool

Which from our pretty lambs we
pull
Fair-lined slippers for the cold,
With buckles
of the purest gold
and ivie buds,

and amber studs
And if these pleasures may thee move,
Then live with me, and be my love.
belt of straw
With
coral clasps
The shepherd swains
shall
dance and sing
May morning:
If these delights thy mind may move,
Then live with me and be my love.
For thy delight each
THE NYMPH'S REPLY.

If that the
And
World and Love were young,
truth in every shepherd's toung,
These pretty pleasures might me move

To live with thee, and be thy love.
But time drives flocks from field to fold,
When rivers rage, and rocks grow cold,
And Philomel becometh dumb,
And all complain of cares to come.
The
flowers do fade, and
To wayward
wanton
fields
winter reckoning yield
honey tongue, a heart of
gall,
Is fancie's spring, but sorrow's fall.
Thy gowns, thy shoes, thy beds of
Thy cap, thy kirtle, and thy posies,
Soon break, soon
309
roses,
wither, soon forgotten,
In folly ripe, in reason rotten.
Thy
Thy
and ivie buds,

and amber studs
me no means can move
thee, and be thy love.
belt of straw,
coral clasps,
All these in
To come
to
But could youth last, and love still breed

Had joyes no date, nor age no need
Then these delights my mind might move
To live with thee, and be thy love.
The " Reply "

it
probably not by Marlowe, since
is
" England's
appears in
Helicon " (1600)
" Ignoto," which has been accepted by

as the
It is
pseudonym
worthy
of Sir
to
critics
Walter Raleigh.
of note that the early
more attached
many
signed
composers were
that very doubtful work,
"The
Passionate Pilgrim," than to the plays of Shakespeare.
The above poem
is
No.
xix.
of the set
the same heterogeneous work

not" was
as a madrigal as
of
"
My
No.
xvii.
flocks feed
early as 1597,
set
Thomas Weelkes, and remains
by
a worthy example of
the contrapuntal style of the epoch.
But
this latter
poem was
printed in "England's Helicon," in 1600,
and
bore the signature, " Ignoto
also
therefore, considera&e doubt as to
speare wrote
it.
We
" there
is,
whether Shake-
have seen that to " Take, oh,
3IO
take those lips
most
copious
in the
away" belongs the honour

any
setting of
the lyrics
of
of the
found
Shakespearian plays, 1 but even here a ques-
tion arises
and some doubt surrounds the poem.
reappears
in
Brother"
in
Beaumont
1639
an ^
and
It
" Bloody
Fletcher's
and has here two
1640,
stanzas, the second running

" Hide, oh hide those
Which
thy frozen
hills of
bosom
snow
bears,
On whose tops the pinks that grow

Are of those that April wears
But first set my poor heart free,
Bound
The two
in those icy chains
by thee."
stanzas are credited to Shakespeare in
the doubtful edition of his poems dated "London,

1640," and
many commentators
attributed both to him.

first
stanza to
second to
be
Shakespeare's,
Fletcher,
126), that the
p.
since that time have
R. G. White believes the
pointing
out,
and
also
credits the
(Vol.
III.
two stanzas do not assimilate well
and could not be sung to the same music
if
the
first
verse be given as presented in " Measure for Measure."
Sewel and Gildon added many spurious poems
to the lyrics of Shakespeare, which have since been

1
Yet Shakespeare's
lyrics
have by no means been
set to
music as
often as those of certain other poets.

Heine's " Du bist wie eine
Blume " has been oftener set to music than any other poem ; more
than two hundred settings
exist.
rejected from careful editions of his works
stanza of this poem, however,
one
is
the
first
so charming that
is
loath to take the credit of
it
away from the
greatest poet.
Naturally the composers have found their chief

material in the Shakespearian comedies, while the
histories
have yielded the
least musical material for
musical setting.
The Germans have been eminent
in their
Shake-
spearian lyrics, even from the classical period, and
have been aided in this by very good and singable translations.
we
refer
For a
full
presentation of these
the reader to the exhaustive "Variorum
Edition," by Furness, contenting ourselves here with
saying that the great poet Lessing

glories of Shakespeare to
his
German
revealed the
first
readers,
and since
time Schlegel, Goethe, Wieland, Gervinus, Tieck,
Mommsen, and a host of others, have

Germany a Shakespearian literature that
as voluminous as the English.
The Ger-
Bodenstedt,
given to
is
almost
mans,
too,
have caught up the
better than any other nation, so
are a few Teutonic writers
man mind
who
of our poet
spirit
much
so that there
boast that the Ger-
best appreciates Shakespeare,
and would
almost have us believe that Germany led the way
1
See, also, article on " Shakespeare
volume of Knight's Shakespeare.
in
Germany
" in supplemental
toward the
full
Englishman
One German
comprehension of the glories of the
setting of a Shakespearian lyric
be here mentioned with some degree of

for several reasons
it is
music) of the
its
morning song, the opposite of the serenade

one
the poet's most cheery lyrics
of
illustrate
the
spirit of
It
mer
how
and
a perfect example (both in
words, already quoted, and in
its
detail,
may
and
the poet inspires the musician,
poetry transmutes
it
it
is
may
how
music.
itself into
was on a pleasant Sunday morning,
in the
sum-
of 1826, that Schubert, in accordance with his
custom, was taking a
stroll (a
Spaziergang) through
the suburbs of Vienna with a party of his boon companions.
They had been
at Potzleindorf
and were
returning to the city through Wahring.
As
were passing through the
Schubert
latter suburb,
they
spied his friend Tieze sitting at a table in one of the
garden-restaurants which are so numerous in Austria's

capital.
It
was a
little
establishment bearing the
name Zum Biersack." In his usual light-hearted

way Schubert suggested that they all turn in and
"
take breakfast together with Tieze.
All assenting,
the gay party was soon gathered around the table.
Tieze had with him a volume of poetry, and Schubert,

ever on the hunt for lyrical subjects, seized the book
and began to turn
its leaves.
interested in one of the poems,
Suddenly he became
and read and re-read
it.
into
The volume was Shakespeare's lyrics translated

German, the poem was " Hark, Hark, the Lark."
After a
while (for Schubert's composition was
little
ever spontaneous) he spoke, saying,

that
313
have no music-paper!
for this
poem
"
"What
have just the melody
Doppler, one of the party, was
equal to the emergency
drawing the
musical staff on the back of the
bill
lines of the
of fare,
he handed
On
the improvised music-paper to the composer.
back of that
fast,
bill
a pity
the
of fare, while waiting for his break-
amid the hurly-burly
of an open-air restaurant,
Schubert composed " Hark, Hark, the Lark," a song
which has remained a

changed
sketch, for Schubert
this
was notorious
ness in the matter of revision
gave his
lisher,
first
and
Nor was
classic ever since.
any degree from
in
it
improvised
first
for his careless-
he almost invariably
draught of any composition to his pub-
it
is
not stretching the imagination to
suppose that he did no more than copy the music in

this case.
is
As
the words have already been quoted,
it
unnecessary to reproduce them here.

It
would be unjust to end
this
chapter without
speaking of the great achievements of English composers in the Shakespearian
when England
field.
Even
did not fully appreciate
poet (the time of Charles
II.,
at a time
its
greatest
for example), the
com-
posers seem to have understood what a mine of poetry
was here waiting to be wedded with
tones.
Dr. John
314
was the
Wilson
to enter the field with
first
worthy
music, but an infinitely greater composer soon

lowed, England's greatest musical genius,
This great master's setting of the
Purcell.
and other short poems
to
lyrics
of Shadwell's version of "
The
"
was the greatest tribute to Shakespeare

the time (1690), and the settings of "Come
Tempest
up
fol-
Henry
unto these yellow sands
"
have never been excelled.
and " Full fathom

It is a pity that
version departed in a wretched
Shakespearian
five
Shadwell's
manner from the true
and several of Purcell 's songs
lines,
have therefore a spurious text.

music, attributed to Purcell,
Of the
we
shall
"
Macbeth
speak
in
"
the
final chapter of this work.
We venture
to turn aside
defend the memory of

who adequately transmuted Shake-
investigation for an
the
first
speare's
musician
from our Shakespearian
instant, to
words into tones.
of a disease brought
Purcell
is
accused of dying
on by a drunken orgie
this
would mean a very acute and feverish malady.

simple statement will set
this
accusation at
Purcell composed music during his last illness
present writer
is
The
in possession of a composition (evi-
dently contemporaneous)
which
Bowers," and claims to be " the

1
rest
is
entitled
last
"
Rosy
song that was
Richard Johnson, contemporaneous with Shakespeare, who set
parts of "
The Tempest,"
logical reasons, chiefly.
also deserves mention here, for chrono-
set
by the
late celebrated
315
Mr. Henry Purcell,
it
being
in his sickness."
Next
Arne,
posers.
Like
to Purcell one
in giving
list
must place the famous Doctor
of eminent Shakespearian com-
His setting of the musical parts of
It," in 1740, will
"As You
probably never be excelled.
Stevens, Linley, Bishop, Haydn, Horn, and numer-
ous others might be mentioned in connection with

the lyrical
there was a
field
still
of Shakespeare, but besides these
wider sphere of composition
gated by the poet, as

of this volume.
will
be seen in the
final
insti-
chapter
CHAPTER
Children as Singers
XIII.
Shakespeare's Musical
Stage-directions
Music after
Musical Interludes
The "Chorus"
Bells
Drums
Trumpet Signals
nal Jigs
Historical Music.
Pageants upon Stage
Fi-
Plays
Sennet
Shakespearian theatre the performances
In the
generally began at three o'clock in the afternoon,
and the prices of admission varied from twopence to

about sixpence to the pit, and from about a shilling
to half a
The
crown to the boxes.
musicians sat in
a balcony and not in front of the stage as
Many
ent custom.
reclined
upon the stage
they paid extra.
men
the pres-
itself,
for
which privilege
In judging of the vocal music which
Shakespeare introduced
portant to
is
of the ultra-fashionables sat or
in his plays,
remember that every
may be
it
part
im-
was sung by
or boys, no female appearing upon the English
stage before the
civil
sustained by boys
who were
as well as singing.
their singing,
war.
The
treble parts
well trained for acting
Regarding these children and
we can quote Shakespeare
he gives a criticism of their work

of the second act of "
were
Hamlet
316
"
:
in the
himself, for
second scene
" Rosencrantz.
To think, my lord, if you delight not in
man, what lenten entertainment the players shall receive from
you we coted them on the way and hither are they coming,
to offer you service.
:
Hamlet.
He
that plays the king, shall
me
majesty shall have tribute of

use his foil and
humourous man
make
be welcome; his
the adventurous knight shall
target: the lover shall not sigh gratis; the

shall
end
his part in peace
the clown shall
those laugh, whose lungs are tickled o' the sere
and the
lady shall say her mind freely, or the blank verse shall halt
for
What players are they?
't.
Even those you were wont
Rosencj-antz.
to take such de-
light in, the tragedians of the city.

Ha,77ilet.
in reputation
How chances
and
profit,
Rosencrantz.
it,
was
they travel
their residence, both
better both ways.
think their inhibition comes by the
means
of the late innovation.
Hamlet.
was in the
Do
city
they hold the same estimation they did when
No, indeed they are
Rosencrantz.
Hamlet.
How
Rosencrantz.
pace
but there
Are they so followed ?
not.
comes it ? Do they grow rusty ?

Nay, their endeavour keeps in the wonted
is, sir,
an aiery of children,
little
eyases, that
cry out on the top of question, and are most tyrannically clapped
for
't:
these are
now
the fashion; and so berattle the
stages, (so they call them,) that
many, wearing
common
rapiers, are afraid
and dare scarce come thither.

What, are they children ? who maintains them
of goose quills,
Hamlet.
how
are they escoted
than they can sing?
will
Will they pursue the quality no longer

they not say afterwards,
if
they should
grow themselves to common players, (as it is most like, if their

means are no better) their writers do them wrong, to make them
exclaim against their
Rosencrantz.
sides
own
succession.
Faith, 1here has been
and the nation holds
it
no
much
sin, to tarre
to do on both
them on to con-
31
was
troversy ; there
no money bid for argument^
for awhile,
unless the poet and the player went to cuffs in the question.
Hamlet.
Is
it
possible
much throwing about
O, there has been
Guildenstern.
of
brains ?
Do
Hamlet.
the boys carry
it
away ?
Ay, that they do,
Rosencrantz.
my
lord
Hercules and his
load too."
would seem evident from
It
this that
Shakespeare
scarcely approved of children as actors, and he
inti-
mates that the boys are only tolerated because they

can sing
the
line,
" Will they pursue the quality
no longer than they can sing

cate that
when
their voice
regarded as useless.
since
would seem to
juvenile
indi-
changed they might be
is
also indicated in the
not to our purpose
is
these
"
That the children sometimes
gave plays by themselves

scene, but
we may
above
suppose,
performances were given by
the choir-boys of St. Paul's, Westminster, the Chapel
Royal,
etc.,
that the singing was the important part.
All performances of this epoch were preceded by
three flourishes of trumpets, exactly as the Wagnerian
performances at Bayreuth have been ushered in during
more recent
tain
times.
After the third flourish the cur-
was drawn to the two
the prologue was spoken.
sides,
from the center, and
The
so-called " Chorus,"
was, of course, not a musical gathering, but a single
character
who
of the ancient
explained the play, after the
manner
Greek choruses, although the Hellenic
319
chorus chanted, while the Elizabethan one merely
spoke his
lines.
Between the acts dancing and

combined, were introduced.
singing, or both
After the play the clown
came to the front and gave a
jig,
accompaniment upon pipe or
generally to his
Sometimes he
tabor.
had an accompaniment played for him,
he generally sang as he danced.

in "
this sort can be found
play
is
in
which case
clear instance of
Twelfth Night," after the
when the clown
ended,
enters and sings the
following
" SONG.
Clown.
When
was and a tiny little boy,

wind and the rain,
thing was but a toy,
that
With
foolish
But when
With
hey, ho, the
For the
rain
it
came
raineth every day.
to
hey, ho, the
man's
But when
With
rain
it
estate,
wind and the
men
'Gainst knave and thief
For the
rain,
shut their gate,
raineth every day.
came, alas
to wive,
hey, ho, the wind and the rain,
By swaggering
For the
rain
could
it
never thrive,
raineth every day.
I came unto my bed,

With hey, hr>, the wind and the rain,
With toss-pots still had drunken head,
But when
For the rain
it
own
raineth every day.
320
great while ago the world begun,
With
But
hey, ho, the wind
and the
rain,
that's all one, our play is done,
And
we'll strive to please
you every day.
[Exit*
Here we have
song entirely apart from the action.
Shakespeare had made
this
clown especially musical
and had probably chosen some capable singer

part, for
for the
he not only gives the character a prominent
share in the catch-singing, but adds earnest songs to

its
He
repertoire during the play.
fore, desired
jig at
something a
possibly, there-
better than the usual
little
the end, in this case, and gave the clown an
additional chance to capture public favour with his

final song.
It
is,
however, as extraneous to the action
as the jig itself would have been.
Some commentators
other hand than Shakespeare's, and there

probability in the belief
to the favoured actor to
of his
own
for
it
allowed
choose some favourite song
dozen years
we
find
an additional
proof in the fact that Shakespeare
parodied the song in
He
inherent
repertoire wherewith to capture his audi-
bit of inferential
"
is
may have been
Besides this assumption,
ence.
by some
believe the song to be
later)
"King Lear"
with
that has a
little
tiny wit,
(written a half-
With heigh, ho, the wind and the rain,

Must make content with his fortune's fit
For the
rain
it
raineth every day."
And
Shakespeare was not
in
the habit of parodying
however much he delighted
himself,
321
in twisting the
thoughts of others.
As
the traditional tune of this song exists,
present
it,
together with Chappell's note that
said to have
it
we
is
been the composition of a person named
Fielding.
"WHEN THAT
WAS A LITTLE TINY
In moderate time.
%=i '0
*=*
#-
When that I
was a
SB
lit- tie ti -
the Rain,
ny Boy With a heigh ho the

!
it
raineth
A foolish thing was but
* r
rain
ev' -
ry
=t-4
r-
?*r^
Wind and
BOY."
L_
Toy For the
nn
Day With a heigh
ho
The
322
Wind and
the Rain and the rain it raineth
ev 1
Day,
ry
In connection with the above statement of the

privileges of the clown,
it
may be added
that this
favoured personage was permitted, and even expected,

to add
"gags " and interpolations
sometimes even engaged
in
to the play,
and he
improvised repartee with
Steevens gives a quotation from Stowe
the audience.
"
which speaks of two of the " queen's servants
Malone says
actors) as of "extemporall witte."

"
The clown
(z. e.
often addressed the audience in the middle of
the play and entered into a contest of raillery and sarcasm
with such of the audience as chose to engage with him."
One can
(Act
iii.
The
an allusion to
find
Sc.
this habit in "
Hamlet
2).
stage-directions
of
Shakespeare,
so
far
as
they are connected with music, are quite numerous.

"
Alarums,"
freely,
rolls
of
drums, are
called
especially in the historical plays,
for
most
and very
often in connection with "excursions," which were

1
See also the scene
at the
end of Act
iv.
of "
Romeo and
Juliet,"
which was probably written by Shakespeare to display Will Kempe.
simply
sallies
or
323
" Flourishes "
skirmishes.
were
simply fanfares, or a series of open tones upon the

natural trumpets.
we may
In this connection
that the only trumpet
known
state
Shakespearian
in the
days was the natural instrument, without keys, the
keyed instrument being an invention of the nineteenth
century
there
however,
were,
trumpeters in the Elizabethan epoch,
strument was found in
all
excellent
the
for
in-
the royal bands, and was
the appurtenance of every herald, the ambassador
The
to sovereigns.
fore,
art of playing trumpet, there-
was held to be a " heroic
and
" one,
Con-
in
and in some degree in England,

was prized as a " gentlemanly " accomplishment.
tinental Europe,
it
In Germany, at
existed,
time, a guild
this
of
trumpeters
which claimed many noblemen among
its
members, and even the Duke of Weimar entered

its
ranks as late as the middle of the eighteenth
century.
Twice does Shakespeare change from the
The
of trumpets to a "flourish of cornets."
net "
demanded here
now known by
is
flourish
"cor-
by no means the instrument
that name, which
was invented
less
than a century ago, but meant a wooden instrument

with a trumpet-like mouthpiece, an instrument which
afterward gave
way
larger cornets were
to
Sometimes the
the oboe.
made
of
metal,
rather the exception than the rule.
but
The
this
was
cornet had
324
holes along
its
tube, as the
and Mersennus, writing
common
flute has to-day,
speaks of the wooden
in 1636,
serpent as the true bass of the cornet.
work on "The Imperfections
of
Artusi, in his
Modern Music"
(Venice, 1600), says that the tone of the instrument
depends greatly upon the manner of tongueing
and gives many rules regarding

"
To give
endeavour
is
it.
He
adds
it,
the best tone, the performer on the cornet should
to imitate the
human
voice
for no other instrument
so difficult to obtain excellence on as this."
Girolamo da Udine
is
spoken of as the greatest
performer upon this uncouth instrument, which seems

to have occupied a position
midway between the
and the wood-wind instruments. The
fact that
speare sometimes calls for "hautboys"
brass
Shake-
(oboes)
in
such flourishes, only emphasises the relationship of

the two instruments.
Sometimes oboes and trum-
pets were sounded together in the flourishes.
The
" sennet " must have been
much
the same as
a flourish, and probably was originally called "sonnet," taking its rise, as
was the case with " sonata,"
from " sonare" to sound.
Most
interesting
among the
those called "tuckets."
trumpet-signals are
Shakespeare uses the word
but rarely, yet generally with some significance.

example, in the
Venice,"
we
final
scene of
find the following
For
"The Merchant
of
[A
"
\To
Lorenzo.
Your husband
Portia']
325
tucket sounds.
hand,
at
is
hear
his trumpet."
Twice
at the entrance of
ald, in "
sionally,
Mont joy,
the French her-
Henry V.," does the tucket sound. Occatoo, we have a trumpet-call which must
have been a tucket, as
"King Lear" (Act
will
Sc.
ii.
Gloster says,
1),
the stage-direction " Trumpets within" "
we
find the
same
whereupon Regan
And
and
stage-direction,
"
Cornwall asks,
pet-call
replies,
after
Hark
In the same play (Act
duke's trumpets."
In
be seen presently.
ii.
the
Sc. 4)
after the trum-
What trumpet's that ?

" I know 't my sister's."
;
other instances of such recognition of tuckets,

or simply called " trumpets,"
whether marked
so,
might be
The
cited.
" tucket "
was, therefore, a
personal trumpet-call, which was as recognisable as
the private flourish which a gentleman might use

with his signature in the sixteenth century.
a private trumpet-signal,
such as
Siegfried to use in the last
two
(" Siegfried "
word
probably
touch,
i.
e.
technique.
"
"
Wagner
Gbtterdammerung ")
was
derived
from
causes
skill
and the
" toccare,"
of
to
touch, or
Once we meet with the word

text,
was
operas of the Trilogy
something requiring
Shakespearian
in
and
It
in
the
^nstead of as stage-direction
Henry V." (Act
iv.
France gives the order:
Sc. 2)
the Constable of
326
"
Sound the tucket-sonance, and
the note to mount,"
and here again we have the tucket

definite signal
"tuckets"
in the nature of
our cavalry bugle-signals are practically
in the sense of
having some special and
definite meaning.
Possibly the " tucket " was a true historical touch,

for
it is
certain that the old heralds used
vate signal of this kind.
touch in the play

it
is
says,
is
practically
a pri-
after the victory of Agincourt,
" Let there be sung
which
many
another historical
is
quoted, connected with music
last
where the king,
There
Non
Nobis, and
Te Deum,"
what the king did
say, after his
victory, for when all England was pouring adulation

upon him he commanded that thanks be given to
God instead and many sacred musical works followed
;
this behest.
Occasionally bells were used upon the stage,
may
trust the
many Shakespearian
we
if
allusions to them,
but these are scarcely to be classed as musical

struments, although
delightful musical
ample
in "
Hamlet
metaphors from them, as for ex"
(Act
speaks of Hamlet thus

" Ophelia.
in-
Shakespeare sometimes draws
iii.
Sc.
i),
where Ophelia
O, what a noble mind
is
here o'erthrown
The courtier's, soldier's, scholar's, eye, tongue, sword

The expectancy and rose of the fair state,
$2?
The glass of fashion, and the mould of form,

The observed of all observers quite, quite down!
!
And
I,
and wretched,
of ladies most deject
That suck'd the honey of his music vows,

Now see that noble and most sovereign reason,
Like sweet bells jangled, out of tune and harsh
That unmatch'd form and feature of blown youth,
Blasted with ecstasy
To have
There
is
seen what
O,
wo
is
one phrase here
bit of
see
in connection
which leads to an interesting

line
me
have seen, see what
with music,
etymology, the
regarding " the honey of his music vows
"
;
Shake-
speare used the word " honey " about twice as often as
the word "sugar," yet he was probably one of the

first
and
to
make
adjective.
copious use of the latter, both as noun
The
introduction of refined sugar into
England from Venice, about a century before Shake-
new
speare's time, gave the poets a
the people toothache.
Hentzner
(in
adjective,
and
his " Itinerary,"
1598) speaks of the black teeth of Queen Elizabeth.

M
were
Next came the Queen,

told,
in the
65th year of her age, as
very majestic, her face oblong,
her eyes small yet black and pleasant

lips
fair,
her nose hooked, her
narrow, and her teeth black, a defect the English seem
subject to from their too great use of sugar.

hair,
we
but wrinkled
She wore
false
and that red."
It is to
be noted tha^Shakespeare occasionally uses
funeral music, and that the
first
VI." begins with a dead march.
part of "
King Henry
328
The pageants, which Shakespeare occasionally introduced into
were always very popular with
his plays,
who were beginning
Elizabethan audiences,
to culti-
vate a taste for masques, a form of entertainment
more popular
still
We
in the
Jacobean reign.
have already fully described the masques and
need only state here that the masques

VIII.," in
"Timon
of Athens,"
in
"Henry
and the procession
former play, attracted many of the public who
in the
could not rise to the other and greater glories of the
The
poet.
allusions
introduction,
masques, and their actual
to
are fairly frequent in the plays, and
the character of such entertainments

clearly
summer-Night's Dream " (Act

" Theseus. Say,
suggested
lazy time,
if
Sc. i)
v.
what abridgement have you
What mask ? what music ? How

The
is
enough by the following excerpt from " Mid-
not with
shall
we
for this evening
beguile
some delight?
There is a brief, how many sports are ripe

Make choice of which your highness will see first.
[Giving a paper.
Philostrate.
Theseus.
[Reads']
'
The
battle with the Centaurs, to
sung,
By an Athenian eunuch,
to the harp.'
We'll none of that: that have

In glory of
'
The
my kinsman
told
my
love,
Hercules.
Bacchanals,
riot of the tipsy
Tearing the Thracian singer
in their rage.'
That
was play'd
is
When
an old device
and
it
from Thebes came
last
a conqueror.
be
329
The thrice three Muses mourning for the death

Of learning, late deceased in beggary.'
That is some satire, keen and critical,
Not sorting with a nuptial ceremony.
A tedious brief scene of young Pyramus,
And
his love
Merry and
That,
How
is
hot
shall
Thisbe
tragical
ice,
we
very tragical mirth.'
tedious and brief
find the
concord of this discord
In the above scene there

is
and wonderous strange snow.
is
"
a mystical line which
confessedly inaccurate, the allusion to " wonderous
strange snow."
It is
barely possible that (to carry
on the contradictions) "wonderous rain-snow" may

have been meant,
although the true reading can
probably never be recovered.
CHAPTER
XIV.
The Musical
Various Kinds of Music

Influence of Shakespeare
Influence on Wagner
by Shakespeare's Plays
Conclusion.
Berlioz and his Shakespearian Subjects
Inspired
may be
It
regarded as an axiom that great poets,
whether musical themselves or

great music.
who
is
who
not,
always lead to
a poet arises, in any age or nation,
If
dear to the people, there
tone-poet
will set
is
certain to follow a
music to the words that have
exerted such power, and thus bring them
still
to the popular heart.
Thus Goethe
and Heine found his
fullest glory in the
Schumann and Robert
closer
led to Schubert,
works of
Franz.
In the case of Shakespeare the influence was more

far-reaching and
was exerted upon composers
centuries and of
earth.
It is
all
not too
of three
the civilised countries of
much
to say that
side of the art, ever inspired as
the
no man, out-
much, or one-quarter
as much, music as Shakespeare has done.
Goethe's
" Faust " has brought forth very
much
Shakespeare's musical influence
not confined to a
is
music, but
1
Tennyson, for example, was not musical, yet his " Break, Break,
Break " has led to many songs, and many other of his poems have
!
inspired
much music.
33
33
single play, for each of his plays has inspired its
own
especial music.
Barrett Wendell, in his charming essay on Shakespeare, dwells constantly (in a dozen different places)
on the musical quality of Shakespeare's plays, and

believes
them
to opera.
He
to be the half-way house on the road
compares
to serious opera,
comique, and
78
(p.
et seq.)
"Henry VI."
"Love's Labour's Lost" to opera

122) the quartette of lamen-
calls (p.
tation over the unconscious Juliet,
" fugue-like
"
;
Queen Mab " he likens to an interpolated

modern comedy, and he gives many other
Mercutio's "
song
in a
instances of poetry and music coming into closest
kinship in the works of Shakespeare.

It
this
may be pardoned
us
if,
in the presentation of
topic, we become in some degree

The Tempest " has been set fourteen
branch of our
catalogic.
"
times as an opera, the Germans having been especially
Since Doctor Arne's
attracted toward this subject.

first
setting (and
we do
not count Purcell's setting of
Shadwell's arrangement
list),
French,
Russians,
of
the
and
play in the above
Italians,
as
well
as
John
has
composers,
American
K. Paine, most eminent pf
built a symphonic poem upon the theme, and AmGermans, have turned the subject into opera.
broise
Thomas has turned
it
into a ballet, in
which
Ferdinand and Miranda caper, and Caliban crawls, to

Terpsichorean rhythms
332
The
" Merry Wives of Windsor " has been less
copiously set, but has led to music of higher char-
Among
acter than the preceding.
the eight operatic
one may give precedence to
settings of the subject
Verdi's "Falstaff," which has admirably caught the.
Shakespearian
spirit
and possesses a
the truest poetic
in
delightful setting
music, and
opera, but
its
it
spirit
libretto written
by Arrigo
Bofto.
The
by Nicolai presents most dainty
overture
is
one of the gems
of light
does not reach the height of the fore-
going work.
" Measure for
Measure
"
has received but a single
operatic setting of any note, and this setting, although
important to the musical historian,
upon the
in his
been
stage.
It
never performed
The work seems
younger days.
in
is
was composed by Richard Wagner
the Shakespearian
very great merit, but
is
it
spirit
not to have
and to have had no
interesting to
know
that
the greatest operatic composer' was in some degree

inspired
bot
by Shakespeare.
" (for so
Wagner
Nor
is
"
Das Liebesver-
entitled his second opera) the
only case where the great composer was moved by
Shakespeare, for
we
find
him studying the works
of
the English dramatist (thanks to the excellent Ger-
man
translations)
his career
may be
Sir
assiduously, at the beginning of
a good part of Wagner's dramatic instinct
traced to his early study of Shakespeare.
Henry R.
Bishop,
who drew many
of his texts
333
from Shakespeare, gave the only tolerable setting of

the "
of Errors " to the world
Comedy
does not,
it
at present, hold the stage.
"
The Taming
of the
Shrew
"
has achieved one
important operatic setting (not to speak of an almost
unknown Spanish
for
it
introduced a musical genius to the world,
Hermann
Goetz.
spenstigen
be,
setting of the eighteenth century),
but
is
Zahmung
Max
") is
("
Die Wider-
not as dramatic as
it
might
so delightfully melodic and so richly har-
monised that
of the
This German setting
it
modern
is likely
to
become a standard work
operatic repertoire.
Bruch, also German, gave the only setting of
"Winter's Tale," under the

contains
some
title
of * Hermione."
It
excellent music, but has not received
sufficiently dramatic
treatment to maintain
its
place
in the operatic repertoire of to-day.
"
Midsummer-Night's Dream
cal result in
"
had
its
chief musi-
Mendelssohn's incidental music.
As
boy of seventeen, Mendelssohn brought forth an overture to this play, that

bit of
may be
called the
most dainty
humour in the entire repertoire. In

programme music one hears Titania and
musical
this bit of
her train and the tricksy Puck, upon the violins, the
braying of the "translated" Bottom, in his asinine

character,
upon the bassoon, and
snoring most graphically depicted

cleide.
Years afterward,
his
subsequent
upon the ophi-
Mendelssohn
was
com-
334
missioned by the
King
Prussia to write
of
music to the Shakespearian

the
of
overture
Yet one number
text,
more
but the high level
be attained to order.
could not
of the music
imperishable
is
it
has been maliciously stated that the " Marseillaise

and Mendelssohn's " Wedding March M have led
more people
into
speare's play.
tings of "
combat than any other music
and the
the world,
latter
There have been a half-dozen
Midsummer-Night's Dream
" Twelfth Night " has been set by
but
is
in
was inspired by Shake" as
set-
an opera.
Arne and
Bishop,
not heard as an opera nowadays.
" Richard III." has been set three times as an

opera, but has also vanished from the operatic boards.
Probably the best musical outcome of this play exists

in
the
shape of an overture by Volkmann.
This
overture shows a keener appreciation of Shakespeare's
hero than of the facts of history, for at the end, where

the
"
composer pictures Bosworth
The
Campbells
slaughter
field,
and
are
Comin'
"
field,
the tune of
accompanies
the
a Scottish tune upon an English battle-
in
a combat which occurred about a century
before the melody was written
a " Symphonic
poem
"
Smetana has written
on " Richard III."
Among the histories, the two parts of "King

Henry IV." have possessed the most attraction for
They have melted the two
librettists and composers.
parts into one and have made Prince Hal the hero.
Only Herold's
two
version, in
335
seems to have
acts,
remained, of the seven operatic settings of this theme.
As
the other six composers were Italians (with the
exception of Garcia),
"
theme
and
di
Henry VIII." has
good one.
is
It
was
is
it
La Gioventu
running "
natural to find the
Enrico V."
a single setting, but a very
St.
Saens who introduced
to the operatic stage.
It is full of
finely orchestrated, but
Shakespearian
One would
title
lines, altering
this
good music,
swerves somewhat from

the plot unnecessarily.
imagine that the composer would
make
the most of the two pageants introduced by Shakespeare into this play,
procession
the
masque and the great
but St. Saens discards them both and
gives instead a ballet, in the " Pare

in
du Richmon
"
(!)
which Scottish and other un-English caperings are
introduced.
" Coriolanus " has
by old
had a host of operatic settings
composers, none of which have held

"
Beethoven's overture of " Coriolanus
Italian
the stage.
does not deal with the Shakespearian play, but
founded on Collin's tragedy of the same name.
is
When
Eleonora von Breuning inducted Beethoven into the

delights of poetry, she
with that love
of
seems not to have imbued him
Shakespeare which might have
resulted in giving tcrthe poet his greatest musical

settings.
"
Macbeth
" has
been
set
many
times,
and from the
336
Shakespearian century.
Davenant's
William
The
incidental music to Sir
amplification
reputed to be by Matthew Locke,

ally believed to
" Macbeth,"
of
now more
is
be by the great Purcell.
gener-
Cummings,
in his " Life of Purcell," gives all the evidence rela-
tive to this subject,
and even those who do not agree
with the conclusion that the youth Purcell wrote the

music, will scarcely be inclined to
Locke.
early,
attribute
and
in
1787
music to Burger's
J.
F. Reichardt
translation
of
set
is lost
even that
lished
to
incidental
some
all
of
with the exception of the overture, and

rarely heard at present.
is
seventy-five
The
the play.
famous Spohr wrote music to the tragedy,

which
it
The Germans took up the tragedy very
Weyse
pub-
excellent incidental music to the play
years
Some extremely modern
ago.
music to Macbeth was composed by the American,

Mr. Edgar S. Kelley, but
it
has been seldom heard
save at the performances of the play in San Francisco

in
1885.
Very much
written about
orchestral
"Macbeth,"
music has been
half-dozen
overtures,
among them one by Raff and one by Briill, and a

symphonic poem by Richard Strauss, which is probably the greatest musical outcome of the play.
As
regards operatic settings, one finds only three, not
one of them of importance.
French
version,
to a libretto
Auguste Hix wrote a

by Rouget de ITsle
(composer of the " Marseillaise
"),
which was
after-
ward translated
Mr. Philip Hale
German.
into
337
(in
the Boston Journal) writes thus about the setting:

"
The music
of the
opera,
first
Macbeth,' was written by
Hippolyte Che'lard, text by Rouget de

It
was produced
1827.
Duncan; Mrs.
Moina.
l'lsle
and Auguste Hix.
time at the Paris Ope'ra, June 29,

Derdvis was Macbeth; Nourrit, Douglas; Dabadie,
The
for the
first
Lady Macbeth, and Miss
Dabadie,
trio of
Cinti,
witches and several choruses were
marked, but the opera
failed,
and was only performed
re-
five
times.
" It
German, and with certain

was then sung in many German
towns, and July 4, 1832, it was produced in German at the
King's Theatre, London. At Munich Pellegrini was Macbeth
and Nanette Schechner was Lady Macbeth. In London the
Alpart of Lady Macbeth was sung by Schroder-Devrient.
though Chorley says that her fatal and sinister acting as the
for this
lady was hampered, in some measure, by the music,
she
demanded an executive facility which she did not possess,
His criticism is
nevertheless made a deep impression on him.
was afterward given
changes, at Munich in 1828
in
it
even to-day of interest
'
One could
not look at her without at
once recollecting the ideal which Mrs. Siddons
is
reported to
have conceived of this " grand, fiendish " character (to use her
own epithets). " She had an idea," says Mrs. Jameson, " that
Lady Macbeth must, from her Celtic origin, have been a small,
Save in stature the great German
fair, blue-eyed woman."
operatic actress (daughter, by the way, to the great Lady Macbeth of Germany, " die grosse Schroder ") gave full justification
to this fancy. With an alluring and dignified grace of manner
was combined an aspect of
evil
sinister, far-reaching ex-
more terrible for their being at

variance with those hues and contours which we have been
used to associate with innocence and the tender affections.
That which makes the flesh creep, in the name of " the White
pression in her eyes,
all
the
338
Devil," spoke in every line of
face
in her
Madame
honeyed and humble
doomed king;
in the
Schroder-Devrient's
smile, as she
thrown by her into the scene of the murder;

soliloquy of the soul that
When
welcomed the
mixture of ferocity and blandishment

in the ghastly
waked when the body was
asleep.
think of Pasta, as Medea, watching the bridal train
pass by her, with her scarlet mantle gathered round her, the
figure of
rises, as
Madame
Schroder-Devrient's Lady
Macbeth,
one of those visions concerning which young
apt to rave and old
men
The
to dote.'
too,
men
are
libretto departs widely
from Shakespeare's tragedy."
Another setting was made by Taubert and

formed
in
Germany, which
also departed
per-
from the
Shakespearian path.
But the strangest

obliged to submit
alterations that Shakespeare
on
to,
his journey to the operatic
composed by Verdi,
stage, took place in the version

in
let
Wagner
847, before he decided to follow
domain
"
of earnest librettos.
introduced, with
was
into the
Macbeth," with a
Lady Macbeth singing a
bal-
drink-
ing-song, with a chorus of murderers, with Macduff
singing a liberty-song,
"
Our
Our
country, forsaken,
tears should
awaken
'Gainst Tyrants, unshaken,
Our courage should
rise,"
must have been comical enough

ian,
but the Italians accepted
for
it
any Shakespear-
cordially,
and the
"liberty-song" was received with frenzy, as a protest against
Austrian tyranny.
Of
the
three
339
inconsequential settings of "
King
Lear," Kreutzer's " Cordelia " makes the best opera.
The
is
best musical outcome of this subject, however,
"Le Roi
an overture, by Berlioz,
monarch
pictures the frenzied
worthy of the tragedy.
in a
Lear," which
manner not un-
was one
Berlioz
of the great
composers who really studied Shakespeare

shall see a little later on),
tings
may be accorded
French attempts
are,
in
and
the
this
his
first
for
and Benedict" ("Much
set-
rank among the
His two successes
field.
however, in the orchestral forms
with vocal addition),
we
(as
Shakespeare
(sometimes
opera of
his
" Beatrice
Ado About Nothing")
is
not of high rank.
There are but two operatic settings

and the
first
of " Othello,"
of these, chronologically speaking,
was
The
part
a perversion of Shakespeare, by Rossini.

of
Desdemona was a
and Malibran, for
was
first
it
great favourite with both Pasta
was very singable music.
performed in 1816.
" Othello," however,
is
The
due to Verdi, who,
period, discarded the absurdities

librettos as that
of "
in his later
which marked such
Macbeth " (mentioned above)
and treated our poet with becoming respect.

setting of " Othello "
It
great setting of
may be pronounced one
This
of the
very greatest operate of the modern Italian school,
and to
ian,
this result the earnest
and poetic Shakespear-
Arrigo Bofto, has contributed
in
no
slight degree.
340
When
he has changed a Shakespearian
libretto
it
has
generally been entirely in^the spirit of the poet, as
witness
"
Honour
into
introduction
his
" ("
Henry
the opera of
Windsor
"),
Falstaff's
IV.," First Part,
" Falstaff "
("
soliloquy on
Act
v.
Sc.
Merry Wives
this opera of " Othello."
due
i)
of
or the addition of a diabolical creed, full
"motiveless malignity," to the part of Iago,
of
is
of
But to Verdi,
too, all
for his dramatic setting of the text
abnegation of
honour
and for the
attempts to allow the composer to
all
shine at the expense of the poet.
" Hamlet " has been set as opera, even from the
time of Domenico Scarlatti, yet no opera exists that

can be called worthy of Shakespeare's greatest topic.
Ambroise Thomas's version has held the boards

France
chiefly because
it
is
in
a very tuneful opera.
Barbier and Carre* (the librettists) have dallied with
Shakespeare,
in
the usual insouciant Gallic fashion
Ophelia sings the most ornate music, together with

a pretty Swedish folk-song, in her mad-scene, instead
of the very fitting
music which Shakespeare chose for
the part, and which could easily have been incorporated into the opera.
tral
There
is
considerable orches-
music founded upon " Hamlet," but this also
does not attain the level of the great subject.

"
Romeo and
Juliet " is the topic
toward which
musicians have instinctively turned as the one affording them the greatest chances in the display of their
Mr. William F. Apthorp, in a
art.
341
of Shake-
list
spearian operatic settings, counts up seventeen operas
made
that have been
range from Bellini's "

with a female
Capuletti ed
Romeo (Madame
Eau en
Juillet,"
"Rum
Gounod's sugar-plum,
this subject, is the
and
will
Montecchi,"
Pasta loved the part),
punning ardour, "
to a burlesque entitled, with

et
They
of Shakespeare's play.
and Water
skilfully
Rhum
July!"
in
manufactured out of
most popular of
all
the settings,
be so as long as a romantic tenor and an
attractive soprano can be found for the chief pair of
the opera.
bered by
Its
performances
means confined
num-
in Paris alone are
many hundreds, and
its
popularity
is
by no
to France.
" All the world loves a lover," and here the com-
posers find two of the most attractive of

to their hands
therefore
it
them made
not astonishing to
is
dis-
cover the orchestral settings of the theme as numer-
ous and as important as the operatic treatments.
It
would be well-nigh impossible to
collect a list of all
the orchestral settings extant
may
tion the
two most important.
the world a "
Romeo and
it
suffice to
men-
Berlioz has given to
Juliet "
symphony, which
with
symphony at all, but rather a free cantata,

much orchestral interluding, or a set of orches-
tral
movements
is
not a
wit!*
vocal adjuncts.
This
is
the
very best musical outcome of the Shakespearian subject
up to the present time.
We
have already stated
342
that Berlioz
may be ranked
spearian in music
cause.
Berlioz's
young
preeminence there was a
for this
grande passion was
vehement affection
French Shake-
as the best
his
sudden and
(not so lasting as intense) for the
The beautiby storm when she ap-
Irish actress, Harriet Smithson.
had carried Paris
ful actress
peared there in Shakespearian
Berlioz
r61es.
her and was one of her willing captives.

his love,
saw
Moved by
he began to study the poets that Miss
Smithson must have read, and Moore, Byron, and

Shakespeare were studied with some degree of en-
Each
thusiasm.
of these poets transmuted himself
into music in Berlioz's hands, but
it
is
pleasant to
notice that only with Shakespeare does he remain

faithful to the poetic model.
In addition to the two
Shakespearian works already mentioned, he composed

this third one, the "
It is a
commendable,
Romeo and
Juliet "
symphony.
at times a glorious, Shakespear-
The ball at the Capulets, the picture of

Queen Mab, Romeo brooding alone in the garden,
ian picture.
the combats of the two houses, and, above
balcony scene
all,
the
(purely instrumental, this last)
are
beautiful illustrations of
greatest poet into tones.

Berlioz resolved to
the transmutation of our

It
was
marry Harriet Smithson, and to
picture in music the scene that

first
saw
falsely stated that
her, in the part of Juliet
won
;
him,
when he
he has denied
although he accomplished both tasks; yet
it
is
this,
not
too
much
to say that
343
his fiery passion led
him to
Shakespeare, and Shakespeare led him to some of

his greatest music.
Tschaikowsky, the famous Russian composer, has
won an orchestral triumph through this play.

His " Romeo and Juliet " overture must be ranked
among his very best works, and as one of the worthy
also
pictures of Shakespeare in orchestral music.
however,
less
far
lyrical
than
It
is,
romantic
Berlioz's
scenes, or Gounod's tender amativeness.
In this
final
chapter
give a complete
operatic music.
list
we have
not endeavoured to
of Shakespearian orchestral or
Such a
list
would be
of great di-
mensions and might even require a volume to
We
itself.
have sought rather to show, by the citation of
some
of the master-works,
what an
inspiration Shake-
speare has been to the general musician.
He
has
been the same to the painter and to the sculptor.
His influence has permeated every
Lawyers have been amazed

references
physicians
at
Shakespeare's legal
at
his
art.
medical knowledge
theologians at his evident study of their polemics
we hope
its faults
that
we have shown by
this
book (and may
and shortcomings be pardoned for the sake
of its intention) that the musician has
than any of
these tox join
Shakespeare loved our
most perfectly voiced
art,
its
in the
more reason
chorus of homage.
he understood
it,
and he
beauties to the world.
We
344
can, in
common
with
many another
profession,
pay
to him the tribute which was written of a lesser
man:
"
Long
And
shall
we
turn to
seek his likeness
all
of
long
in vain,
him which may remain,
Sighing that Nature formed but one such man,
And broke
*
the die."
Byron's lines on Sheridan.
THE END.
INDEX
A. A., 64.
" Abt Vogler," 92.
" Actor's Remonstrance," 174.
Adams, Thomas, 196.
Addison, 156.
Advocate's Library, Edinburgh,
192.
11
Aged Lover Renounceth
Love,
300-304.
Albrechtsberger, 40.
Alfred the Great, 230.
Allen, Charles, 19-20.
" All Fools," 20.
"All's Well That Ends Well,"
The,''
Act ii. Sc. 2, 124.

Amati, 26.
"Amenities of Literature," 14.
Anglo-Saxon Chronicle," 230.
"Antony and Cleopatra," 164.
Act ii. Sc. 5, 161.
" Aphorisms " of Rich, 31.
Apthorp, William F., 341.
"Arcadia," 158.
Sc.
Sc.
2,
3,
Bagpipe, The, 13, 34-36, 74, H9Ballet, William, 241.

Baltazarini, 58 (note).
Bandora, The, 17.
Barbier, 340.
Barley, William, 181.
Barnfield, Richard, 93.
Bassoon, The, 41, 338.

" Beatrice
and Benedict," 339.

Beaumont, 20, 56, no (note),
286, 310.
334-
"Black and Yellow," 256,

" Bloody Brother," 310.
259.
Bodenstedt, 311.
Bodleian Library, 64.
Boito, Arrigo, 332, 339-340.
Boleyn, Anne, 297.
" Bonny Robin," 241-242.
" Boston Daily Advertiser," 20
(note).
Sc. 2, 83.
ii. Sc.
5, 60-65, 165.
iv. Sc. 1, 162.
v.
56,
326-327.
"Belle Helene," 166.
Berlioz, 339, 341-343Bishop, Sir Henry, 47, 315, 332,
i.
iv.
32,
43Bell, The,
Artusi, 324.
As It Fell upon a Day," 93.
"As You Like It," 31 5-
Act.
14-24,
146, 158.
Beethoven, 40, 335.

" Beginning of the World, The,"
Aristophanes, 161.
Armin, Robert, 35.
Arne, Doctor, 315, 331, 334.
Arnold, Doctor, 234.
"Arthur a Bland,''' 206, 213-214.
Act
Act
Act
Act
Bach, 134, 138.

Bacon, Francis,
" Boston Journal," 337.

Boston Public Library,
(note).
Boswell, 31.
Brandt, 7^ I 44
Brawl, The, 139-140, 142.
222-223.
65-66, 190-193.
345
INDEX.
34^
"Break, break, break I " 330 (note).

Breuning, Eleonora von, 335.
Bridge, Doctor, 184.
" British Grenadiers, The," 142.
Museum,
British
194,
209,
230,
" Collection of National English

Airs," 60 (note), 74 (note).
Collier, 35, 64.
Collin, 335.
" Come away, Come
290.
away. Death"
190.
Browning, 40, 41, 92.

Bruch, Max, 333.
"
Briill,
"
Comedy
Act
336.
Brydges, Sir Egerton, 301.

Bugle, The, 326.
"
Bull, 56.
Come
of Errors," 333.
Sc. 2, 163-164.
iii.
love,"
with
304-309.
Come
o'er
live
the
me and
be
my
Bourn, Bessie"
245"
Burger, 336.
Burney, III, 114, 147, 179, 210,

56,
147,
these yellow
sands"
314.
"
299.
Byrd, Doctor, 43,
Come unto
200
Concerto Grosse, No.
7,"
" Consort Lessons," 209.

" Constant Susanna" 206,
(note), 209.
Byron, 342, 344.
Han-
del's, 142.
213,
215.
" Qa Ira," 233.

Callcott, Doctor, 179.
" Campbells are Comiri, The" 334.
Canary, The, 139-140.
" Cancan," Offenbach's, 285.
" Canterbury," 99 (note).
Contrabass, The, 26, 27, 53.
Canute, King, 230.
Cornemuse, The, 12.

Cornemute, The, 13.
Cornet, The, 13, 17-18,
Capell, 64.
"Captain," 175
(note).
" Carmagnole" 233.

" Carman's Whistle, The," 76.
Carre, 340.
Chapman,
Cook,
20.
Coperario, 147.
" Cordelia," 339.
" Coriolanus," 335.
Act. v. Sc. 4, 29.
206.
20.
Chappell, 60 (note), 74 (note), 192,

227 (note), 286, 297, 321.
Charles L, 176.
Charles II., 313.
Chaucer, 12, 36.

Chelard, Hippolyte, 337.
Chopin, 53.
Cowley, 171.
Cromwell, 174.
"Crown Garland of Goulden
Roses," 276.
" Cujus Animam" 285.
Cummings,
336.
Cymbal, The,
Chorley, 337.
" Chronicle," Hall's, 147.
Cinque-pace, The, 134-136.
Cinti, Miss, 337.
Cithron, The, 13.
Clapp, Henry Austin, 20-22.
Clavichord, The, 80, 81.
" Cymbeline,"
Coke,
"
20.
"Collection of English
74 (note), 169.
^6, 201,
323-324.
Coranto, The, 134, 138, 140.
" Corydon's Farewell to Phillis"
Songs,"
29.
Act
ii.
Sc. 3, 51,
62, 227.
Act
v. Sc. 3, 105.
Dabadie, 337.
Dabadie, Mrs., 337.
Dallam, Thomas, 53.
Das
Liebesverbot" 332.
Davenant, Sir William, 336.

Dekker, 20, 40.
INDEX.
" Deutermelia," 182, 196-198.
Derevis, 337.
** Diary," Manningham's,
209.
347
" Farewell to the Military Profession," 134.
Farmer, 64, 219.
Disraeli, 14.
Farrant, 56.
Doloony,
" Father Hubbard's Tales,"

39.
Faust," 330.
77.
Donizetti, 285.
Donne,
20.
Doppler, 313.
Dowced, The, 12.
Dowiand, John, 56, 93 (and note).
Dowland, Robert, 93 (note).
Drayton, Michael, 13-14, 78, 171,
198.
"Drink
me
to
only with thine
eyes" 298-299.
Drum, The,
29, 30, 31, 32, 201,
322.
"
Du
bist
wie eine Flume," 310
(note).
Ferrabosco, 147.
Field, 20.
Field, Miss, 234.
Fielding, 321.
Fife, The, 13, 29, 30-32, 145, 201.
"First
Booke
of
Ayres, The,"
216.
First Psalm, Bacon's translation
of, 20-22.
Fitz-Stephen, 77.
Flageolet, The, 32.
Fletcher, 20, 56, 100,
I73>
no
(note),
75 (note), 241, 243, 286,
" Ducdame," 62, 64-65.

Dulcimer, The, 12 (note), 29.
Dump, The, 67, 69-71, 83, 84,
142-144.
304, 310.
Flute, The, 13, 17, 18, 25 (note),
26, 30, 32, 41, 74, 77, 324.
" Flying Fame" 261-268.
Dvorak, 143.
Ford, 20, 142.

Forde, 56.
" For He's a Jolly Good Fellow?
" Education," Spencer's Essay on,

94, 285.
Edward
Edward
2 33-
Forster, Mrs., 234.

"Fortune" 269.
Edward, King, 230.

III., 105.
VI., 57.
Edwards, Richard, 70-72.

Elderton, 286.
" Elegy," Gray's, 285.
Elizabeth, Queen, 41-44, 52, 56,
57, 70, 124, 174, 179, 200, 209,
241, 37, 327.
Ely, Bishop of, 89 (note).
" England's Helicon," 305, 309.
Franz, P>.obert, 94, 330.

Fuchs, Rein eke, 89.
Fuller, 107-109, 289.
"Full Fatho?ns Five,"
187-189,
3M.
Furness, 58 (note), 64, 114, 154,
208
167 (note), 183 (note),
(note), 223
(note), 253, 254,
3"-
Furnivall, 53, 304, 306.

Erasmus, 79.
" Essay es" of Francis Bacon, 22- Fytton, Mrs., 38 (note).
24.
Essex, 39.
Este, T., 216.
" Euridice," 25 (note).
" Evening
Hymn, An"
" Faerie Queene," 289.

Falstaff," 332, 340.
107^1 09.
Galliard, The, 126, 133-136, 140,

142.
Galuppi, Martini, 40-41.
" Gammer Gurton's Nedle" 169.
Garcia, 335.
" Gemutus, The
254-261.
Gervinus, 311.
Jew oj Venice?
INDEX.
348
Gibbons, Orlando, 56.
Gildon, 310.
Giovanni, Ser, 254.
" Gioventu di Enrico
V.,
La" 335.
" Hearfs-ease," 67-69.

Heine, 310 (note), 330.
Henry III. of France, 58 (note).
"Henry IV.," Part I., 199, 334,
Gittern, The, 13.

Goethe, 311, 330.
335-
Act i. Sc.
Goetz, Hermann, 333.

Gosson, 173.
Act
"
Gotterdammerung," 325.
Gounod, 341, 343.
Act
Act
"
Henry
81, 106.
281-284, 316-
"
299-300.
of Shakespeare
Mu-
sic," 304.
ii.
I.,
331.
i.
57, 79,
89
(note),
Hermione," 333.
down"
206,
213-
20.
Hilton, 101, 223.

"History of Music,"
in,
147,
" History of the Gentle Craft," 77.
Hix, Auguste, 336-337.
62, 228.
"Harhf hark!
the lark,"
228,
312-313.
Harp, The, 18, 28, 74, 155, 328.

Harpsichord, The, 25 (note).
Harrison, 304.
Hauptmann,
334-
179, 244.
Handel, 59 (note), 138, 142.
Hanmer,
199,
ii.
Hey wood,
v. Sc. 1,
Handbook
II.,
1,
297.
Act
IV.," Part
Hentzner, P., 201 (note), 327.

Herbert, William, Earl of Pembroke, 38 (note), 91.
"
iv.
Sc. 2, 55.
v. Sc. 1, 340.
Herold, 335.
326-327.
Sc. 2, 32-33, 322"Hey down a
J
Sc. 5, 221, 233-244,
214.
Sc.
116-117, 155
145, 220.
318.
iii.
iii.
Henry
Henry VIII.,
Hailing, The, 121.

Halliwell, 64, 238, 253.
** Hamlet,"
20, 340.
iii.
1,
Sc. 1, 327.
VII., 121.
Hale, Philip, 337.

Hall, 147, 241 (note.)
Act
Act
Act
Sc.
" Henry VI.," Part
Act
2,
iii.
Sc. 1, 73.
Sc. 4, 173, 296.
Act. iii. Sc. 2, 76, 225-226.
Act v. Sc. 3, 276.
Guitar, The, 25 (note), 45.
Sc.
Sc. 4,
ii.
Induction, 54.
Act
Act
Guarnerius, 26.
ii.
Act
335-
Greenhill, 304.
" Greensleeves" 284-287.
"Ground Bass," 115 (note).
Act
34
156.
Grassineau, 12 (note), 29.

Gray, 285.
Greene, 20.
Guido of Arezzo,
1,
52,175-
91.
Hautboy, The, 13, 29, 55, 81, 324.

" Have you not heard" 282-284.
Hawkins, Sir John, 210, 244, 286,
37-
Hay, Lord. 147.

Hay, The, 148, 149.
Haydn, 315.
"Hold Thy Peace"
205, 21 0-21
Holinshed, 147.
Holmes, George, 176-177.
Hone, 105 (note).
Hood, Robin, 121, 122, 213.
Horace, 31.
1.
Horn, 315.
Horn, The, 59, 141.
Hornpipe, The, 141-142, 149.
" How Should I Your True Lover
Know"
221, 234-238.
Hunsden, Lord, 41-42.

" Hunfs-up," 116,226-227.
INDEX.
"I
Capuletti
34i.
Montecchi,"
"
Modern Music,
"
ed
" Imperfections of
The," 324.
"Introduction to the Skill of
Musick," 90,98, 103, 109-110,
112-113.
Isle, Rouget de V, 336-337.
King Henry VIII.,"

Act i. Sc. 3, 29.
King John."
Act. v. Sc. 7, 53-54.

Lear," 243-245, 261-268,
320-321.
Act
Act
Act
Act
His Lass" "King
"Jack, Boy, Hoi Boy!" 221.

Jaggard, William, 92, 304.
I.,
56, 57 (note).
Jameson, Mrs., 337.

Jig, The, 119, i2i f 134, I35>
141, 142.
"Jog on ijg on
the Joot-path
way"
Jones, Inigo, 147.

Jones, Robert, 216-219.
20,
52,
iv.
Will,
King's College, 53.
The, 13.
Knight, 31, 64, in, 158, 161, 207,
223, 235 (note), 240, 253, 311
Kit,
(note).
" Kreutzer," 339.
"
Lady Carey's Dump,"

Lamb, Charles, 156.
Laneham, 124.
143.
Lawes, Henry, 147.

Lawes, William, 147.
"
Kamarinskaia, The, 121.
Kempe,
Three
Laniere, Nic, 147.

" VAnima e nel Corpo" 25 (note).
Sc. 2, 156-157.
Sc. 3, 51.
iv. Sc. 4, 16.
i.
Edgar
His
1 10,
(note), 147, 171, 173, 298.
Kelley,
Lear and
"Kyng's Maske, The," 145-146.

56,
Jordan, Mrs., 234.

" Julius Caesar."
Act
Act
Act
ii.
Act i. Sc. 3, 28.

Act ii. Sc. 1,94-95.
Act ii. Sc. 5, 84 (note).
Act iii. Sc. 4, 138.
Act v. Sc. 5, 88.
l 3 s~
" King Richard III.," 334.
247-248.
Johnson, Doctor, 156, 208,225.
Johnson, Richard, 276,314 (note).
Johnson, Robert, 147, 184-189.
Jonson, Ben,
Sc. 2, in, 115.

Sc. 1, 325.
ii. Sc. 4, 325.
iii. Sc. 6, 245.
i.
Daughters," 262-268.
" King Richard II."
I9*-I93> 34-
James
328, 335.
"King
" Itinerarium," 201 (note).

" Itinerary," 227, 327.
" // was a Lover and
349
S.,
336.
69, 1 21-122, 322
(note).
"King Cophetua and
Legend of Thomas Cromwell,
Earl of Essex," 198.

Lessing, 311.
" Life of Purcell," 336.
the Beggar "Light o' Love" 97, 99-101, 140.

Maid," 275-281.
Linley, 234, 315.
" King Harry the VIIFs Pavyn," " Litchfield," 99.
1 36- 37Locke, Matthew, 336.
1
King Henry V., w 325.
Long Dance, The, 252.
" Lord Lovell" 233.
Act i. Sc. 2, 95.
Lounsbury, T. R., 12 (note).
Act ii. Sc. 4, 124.
Loure, The, 138.
Act iii. Sc. 2, 54, 105.
Act iv. Sc. 2, 325-326.
"Lover's Complaint, A" 290-296
"Love's Labour's Lost," 331.
Act iv. Sc. 8, 326.
Act i. Sc. 2, 275.
Act v. Sc. 2, 82.
INDEX.
350
Act
Act
Act
Act i. Sc. 3, 240.

Act ii. Sc. 1, 284-285.
iv. Sc. 2, 114-115, 122Act iii. Sc. 1, 305-306.
Act v. Sc. 5, 284.
123.
Act v. Sc. 1, 148.
Mersennus, 30, 324.
Middleton, 20, 39.
Act v. Sc. 2, 104, 137-138.
" Loyal Subject, The," 286.
" Midsummer-Night's Dream, A, n
Sc. i, 139-140.
Sc. 1, 280-281.
iii.
iv.
* Lucia di
Lammermoor
Lute, The,
13, 15, 17, 18,
26, 34, 37, 43
44-5 2
>
" 285.
21,
25 (note),
54> 55>
(note), 71, 74, 80, 84, 85,

109, 116.
69
93,
" Lute-book," Ballet's, 241.

Lyly, 20, 289.
Sc. 1, 163.
Sc. 2, 133.
v. Sc. 1, 33-34, 328-329.
v. Sc. 2, 126.
Milton, 25 (note), 147.
" Macbeth, " 314, 335-338.

Macfarren, Sir G. A., 81 (note).
" Malbrooke," 233.
Malibran, 339.
Minuet, The, 136.
of, 230.
"Moral
" Marseillaise"
334, 346.
20.
Humphrey,
Mary, Queen,
124.
57.
Massinger, 20, 56.
Mattheson, 47.
"Maud,"
80, 81.
Plays," Skelton's, 172.
Morley, 56, 101, 102-104, 126,

156 (note), 203, 209.
" Morning Song" 226-227.
Morris-dance, The, 120-125, 139,
148, 149, 245.
Mandolin, The, yj, 81.

Manningham, John, 209.
Marion, Maid, 121, 122, 125.
Marlowe, 56, 304-309.
Martin,
311.
Monochord, The,
Moore, 342,
" Mambron," 233.
Marston,
ii.
ii.
Mommsen,
Lyre, The, 25 (note).
Malmesbury, William
Malone, 34, 252, 322.
333-334-
Act
Act
Act
Act
41.
Moryson, Fynes, 227.

Mozart, 92 (note), 299.
*
Much Ado About
Nothing,"
122, 133, 289, 339.

Act i. Sc. 1, 241.
Act ii. Sc. 1, 55, 65, 135, 139.
Act ii. Sc. 2, 1 50.
Act ii. Sc. 3, 31-33, 57-60,
118, 162-163.
iii. Sc. 2, 51.
iii. Sc. 4, 99-100, 140.
Act
Act
Mazurka, The, 120.

"Musa Madrigalesca," 124-125,
Measure, The, 135, 136, 137-138.
196.
" Measure for Measure," 332.
Musical Companion," 178-179,
Act ii. Sc. 1, 175.
223.
" Musical Illustrations of Ancient
Act iv. Sc. 1, 166-167, 310.
Melvil, Sir James, 41-43.
English Poetry," 216, 269.
Mendelssohn, 333-334.
Musicians, Status of, 25, 57-76.
u Merchant of Venice, The," 21, " My flocks feed not" 309.
254-261.
Act
Act
Sc. 5, 30, 145.

Sc. 2, 223, 225.
1 51-153.
Act v. Sc. 1, 162, 325.
* Merry Wives of Windsor, The,"
ii.
iii.
Activ. Sc. 1,35,
33^34 2.
Nash, 20.
" National Music," 286.
Naylor, Edward W., 30,
35, 73,
79, 143, 195-196, 253, 286.

" Nest of Ninnies, A," 35.
Nicolai, 332.
INDEX.
Norman, Sir John, 194.
" Notes and Queries," 64.
" Notes
on the Bacon-Shakespeare Question," 20.
Nourrit, 337.
" Now God be with old Simeon"
"
75. 21
Now
5.
Month of Maying"
Oboe, The,
18, 323, 324.
Offenbach, 166, 285.

" Oh, Death, rocke me asleep" 296297.
Oh
I Willow, Willow, Willow!"

288-296.
* Old English Ditties," 227 (note),
297.
" Old
Meg
Pellegrini, 337.
Pemberton, 99.
Pembroke, Earl
William
of, (see
Herbert).
Pepys, 37 76, 215, 290.
Percy, Bishop, 74 (note),
282,
269, 276,
213,
290,
Act 1. Sc. 1, 28.

Act v. Sc. 1, 164.
Piano, The, 37, 38, 39, 81.
" Piers Ploughman"
64.
Pipe, The, 13, 17, 18, 31-33, 54,
66, 141, 149, 155, 182, 319.
Playford, John, 90, 98, 102, 109-
no,
of Herefordshire for a
Maid Marian,"
1 1
2-1 1 3, 178, 223.
Plautus, 147.
149.
Oliphant, 124, 195-198.

Mistress Mine" 190, 204-205,
208-210.
Opera, Invention of the, 12.
Ophicleide, The, 333.
Organ, The, 53-54, 89 (note).

" Orpheus with His Lute," 304.
" 0, Salce, Salce," 290.
Polka, The, 120.

Poly-Olbion," 13-14.
'
Pope, 158,235 (note).

Praetorius, 134.
" Proceedings of the Musical Association," 81 (note).

Psaltery, The, 29.
Puns, Shakespeare's fondness for,
"Othello," 31, 339, 340.
Act
Act
Act
Act
"Peg-a-Ramsey," 206, 21 1-2 12.
220, 255,
3 OI > 33" Pericles."
103, 203.
Peele, 20.
the
is
351
33, 66 (note), 82, 83, 85,

102, 104-105, 115, 118, i37-i3 8
25,
Sc. 1, 87.
ii. Sc. 3, 199-200.
iii. Sc. 1, 154-155.
iv. Sc. 3, 28S-296, 297.
ii.
179.
Purcell, Henry, 57, 106-109, 115
(note), 314-315, 331,336.
Oxford, Lord, 39.
Pythagoras, 165.
Paderewski, 39.
Raff, 336.
Raleigh, Sir Walter, 39, 309.
" Rape of Lucrece, The," 78, 83-84.
Ravenscroft, 56, 182.
Paine, John K., 331.

u Pammelia," 179, 181-182,
197,
200 (note).
Pandore, The, 13 (see also Bandora).
" Pare du
Richmon" 335.
Passacaglia, The, 120.
Passa-mezzo, The, 136.

Pasta, 338, 339, 341.
" Passionate Pilgrim," 78, 92-93,
95 304, 39Pavane, The, 119, 136-137, 140,
142, 144.
Recorder, The, 13, 17,

Rede, The, 12.
Reichardt, J. F., 336.
" Reigen,"
18,
32-34.
20.
" Reliques of
Poetry," 74
Ancient
English
220,
255, 269, 290, 303.
" Return from Parnassus," 122.
Rhum
(note),
213,
et Eau en Juillet, 341.

Rich, Barnaby, 31, 134, 135.
INDEX.
352
Richter, 40.
Schubert, 86 (note), 228, 312Rimbault, 216, 255, 269, 303.
3 J 3. 330.
Rinca Fada, 252.
Schumann, 330.
Ritson, 74 (note), 169, 196, 197, Scott, 169.
" Select
Collection of English
298, 301.
" Robin Hood is to the Greenwood
Songs," 298.
" Sellinger's Round," 43-44, 120.
Gone" 241.
" Robyn, Jolly Robyn,
219- Serpent, The, 36, 324.
Sewall, Samuel, 99.
220.
Roffe, 304.
Sewel, 310.
" Roi Lear, Le," 339.
Shadwell, 314, 331.
" Shakespeare and Music," 30,
Roife, 289.
Romanesca, The, 126-132, 135.
73 79. *43> i95> 2 53> 286
" Romeo and Juliet," 122, 331, "Shakespeare in Germany," 311
A"
(note).
340-343.
Act
Act
Act
Act
Act
Act
Sc. 5, 88-90, 102, 118.

ii. Sc. 2, 276.
ii. Sc. 4, 215.
iii. Sc.
1, 25-26.
iii. Sc. 5, 115-116.
iv. Sc.
5, 66-73,
*44>
i.
275, 322 (note).

Rossini, 285, 290, 339.
" Rosy Bowers" 314-315.
" Retybulle Joyse" 80, 81.
Round Dances,
120,
126,
133,
148.
Rowbotham,
Rowe, 158.
Rowley,
"
Rmo
74.
20.
the Boat,
Norman,
Row"
Shalmyes, The, 12.

Shawm, The, 13.
"Shepherd's Calendar," 149.
Sheridan, 344.
" Ship of Fools," 73, 144.
Shirley, 20.
Shore, John, 98.

" Short apologie of the Schoole
of Abuse," 174.
Siddons, Mrs. 337.
Sidney, 56.
" Siegfried," 325.
"Sigh no more ladies," 59.

"Silent Woman, The," 52, 173.
Simpson, Christopher, 115.
Skelton, John, 79-81, 169, 171-
194-195.
"
Rum and
Sackbut,
172.
Water in July" 341.
The
(see also Sagbut),
17, 18, 29.
Sagbut,
The
(see also Sackbut),
Sappho and Phao," 289.

Sarabande, The, 1 19.
" Satiro-Mastix, or the Untruss"
ing of the
Humourous
Poet,"
40.
Scarlatti,
Domenico, 340.
Schechner, Nanette, 337.

Schlag- Zither, The, 29.
Schlegel, 311.
Schmidt, 205 (note).

Schroder-Devrient, 337, 338.
Smithson, Harriet, 342.

Spanish Fandango, 121.
"
Speculum Mundi,"
289.
Spencer, Herbert, 94, 285.

Spenser, 20, 56, 149, 289.
Spinet, The, 29,81.
Spohr, 336.
" Sportive Wit," 252.
" Sports and Pastimes," 105
(note).
Staunton, 64, 244.

" St. Leger's Round," 43.
Steevens, 34, 35> 6 4> 142,
153-
154, 158, 208, 235 (note), 322.

Stevens, 315.
Still, John, 169.
Stowe, 322.
INDEX.
Timon of Athens," 145, 328.

"Tinkers' Catch, The," 75.
"
Stradivarius, 26-27.
Strauss, Richard, 336.
Strutt, 105 (note).
Strype, 89 (note).
Stuart, Mary, 41-42.

" Sumer is icumen in"
40.
79, 156.
13,
148,
29, 32, 33,
Away"
166-
168,304, 309-311.
" Take 1/iy
Old
Thee," 202-203.
268-
Sydney, 158.
182, 319.
" lake Those Lips
78,
274.
" Titus Andronicus s Complaint"

269-274.
"Toccata of Martini Galuppi,"
194.
" Sylva Sylvarum," 14-19, 158.

" Sympson's Compendium of Musick," 179-180.
Tabor, The,
Andronicus,"
"Titus
St. Saens, 335.
Swan, 289.
Swift, Dean,
353
Cloak
about
Tallis, 56.
Trinity College, Dublin, 241.

" Trip arid Go," 123.
" Troilus and Cressida."
Act i. Sc. 3, 88.

Act iii. Sc. 1, 82.
Trombone, The, 18, 29.
" Troubadours
and Courts
of
Love," 74.
Trumpet, The, 17, 18, 29, 77, 152,
201, 323-326.
Tschaikowsky, 343.
Tuck, Friar, 121.
"''>ming of the Shrew, The," Tusser, 208.

" Twelfth Night," 167 (note), 190,
333Act i. Sc. 2, 114.
i95> x 99> 319-320, 334Act ii. Sc. 1, 45-46, 222.
Act i. Sc. 1, 157-158.
Act i. Sc. 2, 96.
Act iii. Sc. 1, 47-50, 109-110,
in, 156 (note), 207.
Act i. Sc. 3, 27-28, 133-134,
Act iv. Sc. 1, 221.
139, 145Act i. Sc. 4, 96.
Ta -bert, 338.
" TeJ me, where is fancy bred,"
Act ii. Sc. 3, 172, 203-219,
225.
"Tempest, The,"
275, 297.
21,
145,
163,
184-190, 314, 331.

Act ii. Sc. 2, 183-184.
Act iii. Sc. 2, 182-183..

Act iv. Sc. 1, 53.
Tennyson, 41, 156, 330.
Theobald, 252.
Theodal, Bishop, 81.
Therbo, The, 13.
" There were three crorvs sat on a
tree" 233.
Thomas, Ambroise, 331, 340.

" Three Blind Mice," 194.
" Three Merry Men be We?
206, 213-214.
Tibia, The, 30, 31, 32.
Tieck, 311.
Tieze, 312.
Act ii. Sc. 4, 1 59-161.

Act iii. Sc. 1, 164.
Act iv. Sc. 2, 219-220.
Act v. Sc. 1, 136.
" Two Gentlemen of Verona."
Act i. Sc. 2, 96-98, 102, 104,
207.
Act
Act
Two
"Two
"
Sc. 2, 84-85, 144.

Sc. 2, 85-87, 226.
Lovers, The," 69.
Noble Kinsmen," 100, 241,
iii.
iv.
245-
195,
Tye, 56.
Tyrwhitt, 252.
Udine, Girolamo da, 324.

" Under the greenwood tree" 6063.
INDEX.
354
"
Variorum
58
64, 114, 154, 167

183 (note), 223 (note),
(note),
253>
Furness,
Edition,"
(note),
3"-
"
We
"
What shall he have that killed the
"
When Griping
Won't Go
ing" 233.
Weyse, 336.
Vaux, Lord, 301.
deer
Verdi, 290, 332, 338, 339-340.

Francis
Verulam,
Lord (see
53. 73> 333-
Volkmann,
94,
285,
318,
325, 332, 338.
Walker, Charles
Waltz, The, 120.
Warburton, 236.
158,
Zahmung,
P^" 333Wieland, 311.

56.
Wilkins, 20.
Willard, 99.
Wilson, Doctor John, 58 (note,,
Windsor,"
99.
* Winter's Tale," 74, ^3Act i. Sc. 2, 38.
Act iv. Sc. 2, 141, 195, 24.6248.
Act iv. Sc. 3, 195, 221, 24f
334.
s6,
254.
122,
126,
" Worthies," 289.
39-
Weimar, Duke
35,
161, 222, 223,
167, 314.
20.
Weelkes, Thomas,
in,
Whitman, Walt, 163.

" Who is Sylvia" 304.
" Widerspenstigen
"
Vicar, 171.
Warren, 197.
Warton, 208.
Wedding March,"
67, 68,
White, 99.
White, Richard Grant, 30-31,
R., 243.
Ward,
Webster,
Grief,"
When
Wilbye,
334.
Wagner, Richard,
"
?" 223-224.
7^, 82,
310.
Violone, The, 27.
Morn.
that I was a little tiny

boy," 319-322.
" Where the Bee Sucks," 184-186.
Violincello, The, 27.

Violl (see Viol).
Virginal, The, 18, 26, 37-45, 80,

81.
" Virginal Book," Queen Elizabeth's, 209, 241.
Till
70-72.
"
Bacon).
Viol, The, 13, 18, 25 (note), 2629, 75, 81, 115.
Violin, The, 18, 26-27, 29, 41,
Home
of, 323.
Wendell, Barrett, 331.
Zarlino, 165.
Zumpogna, The,
34.
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SHAKESPEARE

THE MUSIC LOVERS'

The following, each, $2.00

To-Day and Yesterday

To-Day and Yesterday

Grand Opera in America

The National Music of America and Its

The Organ and

and Their Use

By Rupert Hughes and Arthur Elson

The Grand Opera

Affairs of Great Musicians

Chief Musical Allusions

of Shakespeare^ with an At-

tempt at 'Their Explanation and Derivation^

of the Original Music

Author of "Great Composers," "The National Music

Page & Company

Sixh Impression, April, 1908

Impression, January, 191

PRINTED BY C. H. SIMONDS COMPANY

^rot 3amz& <3zMt, 3L3L., ..31., #.&.&.,

(pf Edinburgh University)

WITH CORDIAL REMEMBRANCE OF MANY PLEASANT CONFERENCES

speare, the author has been animated

closely the great poet allied himself to the

of the readers of Shakespeare are

aware of how much of

his musical material can

are unable to follow

metaphors because they are un-

works to which he refers,

hoped that this effort may in some degree give

scenes, different branches of

piecemeal, and refer back to

music are simultane-

best to cite the entire passage, rather than

he hopes that the repetition made impera-

poetic gain of reading a complete thought,

have been avoided, for Shakespeare's

musical allusions were intended, not for musicians

His Versatility The Orchestra in the Time of Shakespeare Drayton's Description of

Side of the Poet

Their Musical Allusions

Concerted Music at the End of the'Sixteenth

Instruments Mentioned by Shakespeare

" Consorts " Fifes

Viols The Recorders The Bagpipe

Instruments, continued The Virginals A Musical Error

Brandt's " Ship of Fooles " Musical Servants

Music " Broken

on the Union of the

Technical Vocal Terms

Many Dances Sung The

Characters by Their Appreciation of Music

Who Have Disliked Music Shakespeare's Jests at

The Bacchanalian Music

Hunt's-ups Serenades Morn- PAGE

" Greensleeves," as Cited by Shakespeare

The Lyric Poets of the Elizabethan

Hark, Hark, the Lark "

Shakespeare's Musical Stage-directions

Song to the Lute in Musicke

The Kyng's Maske