LIST OF MUSIC. PAGE Sellinger's Round "UNDER THE GREENWOOD TREE" THE OLD MELODY OF "HEART'S EASE A SONG TO THE LUTE IN MUSICKE LIGHT O' LOVE "Now Is THE MONTH OF MAYING (Facsimile) AN EVENING HYMN (Facsimile) EXAMPLES FROM PLAYFORD'S "AN INTRODUCTION TO 103 107 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" "WHAT SHALL HE HAVE THAT Kill'd the DEER " "AS I WENT ON ZOL DAY" (Facsimile) "AND HOW SHOULD I YOUR TRUE LOVE KNOW " "FOR BONNY SWEET ROBIN IS ALL MY JOY" "JOG ON, JOG ON THE FOOTPATH WAY" GERNUTUS, THE JEW OF VENICE KING LEAR AND HIS THREE DAUGHTERS GREENSLEEVES "OH! WILLOW, WILLOW, WILLOW! "THE AGED LOVER RENOUNCETH LOVE" SHAKESPEARE IN MUSIC. 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 a 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.' It is our purpose, in this volume, to examine but one phase of that mind, its musical side only, — yet even when confined to this single field the investigator is confronted with an amount of material and a wealth of suggestions that makes the task far larger than would at first sight be imagined. 'In the Boston Public Library there are more than 3,250 differ ent works connected with this topic. In order to comprehend many of the Shakespearian allusions, it is necessary to begin by examining the orchestra of his time, for, while voices remain practically the same 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 call an "orchestra" scarcely existed at the end of the sixteenth century. During the poet's life, the opera was invented in Italy (1594-1600) and new combinations of instruments began. But the influence of the new school was not felt in England during the lifetime of Shakespeare. Nevertheless, England had been accustomed to combinations of musical instruments from a very early epoch. 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 yn Dowced and yn Rede." I 1 Prof. T. R. Lounsbury invited the author, in 1894, to join in the search of the solution of the mystic words, " Bothe yn Dowced and yn Rede," which end this citation. 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 to "Dowsed" was found in any of the old musical dictionaries to which reference was had. Murray's new Oxford dictionary, how. ever, defines it as "a wind-instrument resembling a dute." |