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Shakespeare's Use of Songs Inside: Raleigh on Film; Bethune on Theatre; Trevens on Dance; Profile: Jamie Barthel; Marshall ‘Speaks Out on Love of Dancing’; New Art Books; Short Fiction & Poetry; Extensive Calendar of Events…and more! ART TIMES Vol. 27 No. 2 September/October 2010 Shakespeare’s Use of Songs – Part 1 By FRANK BEHRENS seems to me) the sole purpose of below the balcony. Di- The auThenTiciTy of the having a song at that point. The alogue simply would songs in Shakespeare’s plays is a lyrics are so impressive that even not have worked. in question for scholars, not for the arthur Sullivan set it to music; but short, this is the first casual playgoer. Some of their they seem to have no reference to example of a song in lyrics, most agree, were created the situation at that point in the Shakespeare’s plays by Shakespeare himself. others play, except that the Queen asks for that has a dramatic might have already existed and a song to cheer her up. purpose. Julia is not were used, with or without permis- act iV of “Measure for Measure” the same after it as sion, as part of the action. We know opens with the only song in the play, she was before. that inserting songs into plays had “Take, o, take those lips away.” Then we have ari- been traditional time out of mind They are sung by a “Boy” to his el’s songs and Juno’s before Shakespeare came along; mistress Mariana, who is leading a aria in the super- but to what extent they were used depressed existence since she was natural banquet in dramatically is quite another story. abandoned by her lover. The song “The Tempest.” They a quick glance through my mem- serves no dramatic purpose, but certainly contribute ory reveals that some of his plays it beautifully sets the melancholy to and enhance the have no songs at all: “The Taming mood of the scene and of the char- magical atmosphere of the Shrew,” “henry V,” and “Ti- acter. of the play as a whole. tus andronicus,” for example. That for all the formal gaiety of the But only “While you does not mean there never were nobles in “Love’s Labor’s Lost,” here do snoring lie” songs in those plays as performed the single song comes at the end, serves the dramatic by Shakespeare’s troupe, only that comparing life in Spring with that purpose of waking up they did not survive in the texts. in Winter. it might symbolize the Gonzalo and saving in “henry iV, Part 1,” we see the happy plot that turns sad only in his life. stage direction “here the lady sings the last act. Whatever Shakespeare “The Merchant of a Welsh song,” creating something intended, it does seem (at least) to Venice” has a strange of a problem for directors ever since fit just where it is, bringing the play bit of vocalizing that who had no access to a singer who to a bittersweet end. might or might not There are many other examples change events. as could do so. man’s fortune. of songs that set a mood without Bassanio considers which one of “Twelfth night” and “as you as Shakespeare matured, he serving any dramatic purpose. So the three caskets to choose, some Like it” come close to being mu- learned to make better use of songs let us take a look at some that do undesignated person or persons sicals, given the frequency of the in many of his plays—but not neces- help the plot along. sing “Tell me, where is fancy bred.” songs that pop up all through the sarily dramatic use. and that will The one song, “Who is Sylvia?” in it cannot be a coincidence that the text. But it certainly makes sense be considered in the next article. that the comedies should get sev- “Two Gentlemen of Verona” is per- last words of the first three lines eral songs, while the histories and formed under these circumstances. all rhyme with “lead,” exactly the Comments welcome: fbeh- [email protected] tragedies get none or just one or The false Proteus has forsaken his casket that will make the young ef two. But it is the use to which the beloved Julia and fallen for his best songs are put that makes an in- friend Valentine’s beloved Sylvia. teresting study (i hope), so let us he is also false to the clownish CSS Publications, Inc. Support the Arts; PO Box 730 peruse a few examples. Thurio, who has come to serenade Enrich your Life first, songs that merely set a Sylvia. Proteus looks on unseen and Mt. Marion, NY 12456-0730 mood. Julia in disguise enters also unseen. www.arttimesjournal.com 845-246-6944 “henry VIII,” not entirely by The lovely lyrics of the song and Shakespeare, contains one lovely the lovely music (now lost to us) song, “orpheus with his lute,” that creates an ironic counterpoint to is sung to Queen catherine for (it the feelings of the three characters Subscribe to ART TIMES ART-LITERATURE-DANCE-MUSIC-EXHIBITIONS-THEATRE-FILM-ART-LITERATURE-DANCE-MUSIC Sept/ oct 2010 ART TIMES page 2 Peeks and Piques! seem to have joined forces with those ART TIMES BacK in May of 1995, i wrote in true.” When i asked him how hard- youngsters back in cologne (but Commentary and Resource for the Fine & Performing Arts then, they aren’t ‘youngsters’ any aRT TiMeS (iSSn 0891-9070) is published bi- this column about a trip to amerika won rules of the past could be so easi- monthly by cSS Publications, inc. with copies haus in cologne, Germany, during ly discarded, he simply shrugged and more, are they? They are the ‘estab- distributed along the northeast corridor primarily which i had given a lecture on the informed me that, “We’ve changed lishment’ — i’m the one ((along with throughout the Metropolitan and hudson Valley the rules)) that has become irrele- Regions, connecticut, Massachusetts and new strong influences of both the Düssel- the rules!” Riiiiight! i mused in my Jersey each month. copies are also available by dorf and Munich Schools on the early column back then, just how clever vant). So much artwriting posing as mail to subscribers and arts organizations through- criticism that comes across my desk out the uS and abroad. copyright © 2010, cSS years of The art Students League that was, that if we could not compete Publications, inc. of new york (founded in 1875). The with a Shakespeare, a Vermeer, of a is — at least for me —nearly unread- Publisher: cornelia Seckel influence was especially strong on Mozart…well, just change the rules! able. if i am reactionary, a bit of a editor: Raymond J. Steiner such teachers as Lemuel Wilmarth, how stupid for us old codgers not to redneck, and do live in the catskill contributing Writers: William Merritt chase, frank Shir- have seen that? i ended my column foothills, i’m not exactly unread, but henry P. Raleigh Robert W. Bethune i keep getting lost in the words … ina cole Dawn Lille law — and others — all of whom by writing, “can’t run a hundred me- frank Behrens francine L. Trevens had studied in Germany and who ters? hell, just change the rules — words that continually slip from my Subscription Rates: had brought back the “new paint- make it a 50-meter race, a 25-meter understanding, that slide and slith- uSa: $18 /1 year $34 /2years er in and out of meaning, trying my foreign: $35 /1 year $45 /2 years ing” — i.e. the “loose” brushstroke race — even a one-meter race! how patience from sentence to sentence. contact for Print and online advertising Rates: (which they had learned from frans wonderful to be rid of the onus of a cSS Publications, inc., Po Box 730, Mt. Marion, hals and Diego Velázquez) that of- set of restrictive rules that one can- To my eyes — my upstate, retroac- ny, 12456. Phone or fax (845) 246-6944; fered a “spontaneity” in appearance not — or will not — follow! can’t pre- tive, redneck eyes — gobbledygook at email: [email protected] that opposed the highly “polished” pare a gourmet seven-course meal? its finest. To be fair to some of these Web site: www.arttimesjournal.com writers, however, it is clear that they Deadline for advertising is June 15 for Jul/aug; style then prevalent in Paris salons. Serve ‘em burgers!” i was, of course, aug 15 for Sep/oct; oct 15 for nov/Dec; Dec 15 anyway…my point was that, from being a bit sarcastic, but here it is fif- are writing about “art” that is itself for Jan/feb; feb 15 for Mar/apr; apr 15 for May/ — well — gobbledygook. i try. i go Jun.items for inclusion in the calendar and op- its inception, the League had been teen years later and i’m not so sure portunities section must be submitted online by offering their students a choice that who’s the fool. More and more i seem back. i re-read. Then it hits me! of the 12th of the preceding publication month. email ranged from classical to (what was to be on the fringe, relegated to the course! it was no longer “change the for guidelines. then) “modern” — and had continued back burner, whistling in the dark. a Rules!” — it was “change the Lan- aRT TiMeS solicits short fiction and poetry — see guage!” ah me, surely i am no lon- our listing in Writer’s Market, fiction Writer’s the practice on up to today.
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