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Shakespeare's Use of Music Volume 2

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Shakespeare's Use of Music Volume 2 *. z. roc. I** i M/ti& LIBRARY OF WELLESLEY COLLEGE Monc PRESENTED BY SHAKESPEARE SOCIETY is tol ceafe^a fig for Melancho-ly, lets laug wee 1 frolick withTweet Molly. Jog on Mr. John Hiiidn, bent the Siiic-3 way, and mer-ri-ly 3 the .the Sad "tyres in a Milc-a : Your paltry ) flare for, when little or nothing Coon Cad care away, care away,, let fbrrovv d fing, laugh and fing, or if you pleafe, Digitized by the Internet Archive in 2012 with funding from Wellesley College Library http://archive.org/details/shakespearesuseo02long HAKESPEARE'S ^^W^k\ SZfesSna^^iL ^^>sh ^•x^ USE OF MUSIC: fSt£^«'i^^\r3s^^ m^iMM THE FINAL COMEDIES JOHN H. LONG UNIVERSITY OF FLORIDA PRESS GAINESVILLE -» 1961 To J.W.JL and REE A UNIVERSITY OF FLORIDA PRESS BOOK published with assistance from The Ford Foundation Copyright, 1961, by the Board of Commissioners of State Institutions of Florida L. C. Catalogue Card No. 61-17588 Printed by Convention Press, Jacksonville, Florida ' I' • , Mb So S5£7 SHAKESPEARE'S USE OF MUSIC: A TRILOGY ^V A Study of the Music and Its Performance in the Original Production of Seven Comedies -jV& The Final Comedies itjtfr The Tragedies (in preparation) T IS WITH PLEASURE AND GRATITUDE THAT I acknowledge here the generosity of the following publishing companies in permitting me to quote from their books: J, M. Dent & Sons, Ltd.; E. P. Dutton & Co., Inc.; Ginn and Co.; George G. Harrap & Co., Ltd.; Kamin Publishers; Methuen & Co., Ltd.; Oxford University Press, Inc.; Routledge & Kegan Paul, Ltd.; Yale Uni- versity Press. (v) 4 Introduction — xi ONE The Taming of the Shrew and The Merry Wives of Windsor — 1 TWO All's Well That Ends Well and Measure for Measure — 1 THREE The Cosmic Gamut — 25 FOUR Pericles — 35 FIVE Cymbeline — 50 SIX The Winter's Tale — 66 SEVEN The Tempest — 93 EIGHT Conclusion — J 30 Appendix — 134 Bibliography — 148 Index — 157 (vii) 918 1. Beauty sat Bathing 2 2. The Night Watch 3 3. Where is the life that late i led It was the Friar of Ordersgray 4 4. Donkin Dargeson 6 5. Come live with me and be my love 7 6. Psalm 137 7 7. Fie on sinnefull phantasie 11 8. The DEATH OF a Bucke A strake of nyne 12 9. Flourish and Tucket for Trumpets 18 1 0. Military March 1 11. Take, oh take those lips away 22, 135 12. Light o' Love 38 13. Mounsieurs Almaine 40 14. Galliard 4 15. Sweet musicke 43 16. Amongst the harlots foule I walk 45 17. Measure 47 18. Fantasy a 3 53-55 19. Hark, hark, the Lark 56, 136 20. Lacrimae 5 21. Feare no more the heate o' the sun 60 2 2 . Pavane 6 2 2 3 . Pavane . 6 3 24. Pavane 64 25. When Daffadils begin to peere 72 26. But shall I go mourne for that (my deere) If Tinkers may have leave to live 73 27. Iog-on, Iog-on the foot path way 74, 137 (ix) 51 X) MUSICAL ILLUSTRATIONS 28. A Hay 79 29. Lawne as white as driven Snow 80, 142-43 30. Get you hence, for I must goe 82-83, 138-39 31. Will you buy any Tape, or Lace for your Cape?... 85 32. Satyres Daunce 88-89 3 3 . Posthuma 9 34. Come unto these yellow sands 115 35. Full fadom five 117, 144 36. The Duchesse of Brunswick's Toye 118 37. While you here do snoaring lie 119 38. The Leather Bottel 120 39. The Master, the Swabber, the Boate-swain & 1 120 40. Come follow, follow 121 4 1 . The Tempest 123, 145 42. Honor, riches, marriage, blessing 124 43. Galliard to Phillips Pavin 125 44. Pavan 126 45. Where the Bee Sucks 127, 147 The Satyres Masque 140-41 A Masque 1 4 Pleasure, bewtie, youth atend you 146 83T N THIS BOOK I OFFER THE RESULTS OF A STUDY of Shakespeare's use of music in the final comedies —The Taming of the Shrew, The Merry Wives of Windsor, Measure for Measure, Alls Well That 5 s^ —^frr? Ends Well, Pericles, Cymbeline, The Winter's Tale, and The Tempest—as they were probably produced between the years 1600-1614. This study is a continuation of an earlier one begun in a preceding book, Shakespeare's Use of Music. As in the first volume, here I attempt to determine the functions of the per- formed music in the comedies, the manner of performance, the original musical scores used (when possible), and the significance of these data to peripheral problems of interpretation, text, staging, stage history—in sum, Shakespeare's development as an artist. In presenting my material, I have tried to meet the interests of a rather broad audience including students of Elizabethan music, drama in performance, and literature, as well as the producer of Shakespeare faced with practical problems. I cannot, therefore, claim to satisfy completely the scholar in any one of these exact- ing disciplines. Even if I possessed the necessary scholarship—to which I make slight claim—I would defeat the purpose of this book if I addressed it to students in a specialized field. Rather, I hope it may evoke in the reader that sense of kinship and close companion- ship between the arts which, accompanied by an alert eye for the practical, was one of the remarkable characteristics of the English Renaissance. Even so, I have tried to treat the subject with as much accuracy as my knowledge of it permits. For my texts I have used both modern editions and the Quartos and First Folio. All quotations (excepting those from Pericles^) are from the Folio edition unless otherwise noted. Line numbers follow the Globe edition. The only tampering I have done is to modernize die early "u"-for-"v" con- Cxi) xii) Shakespeare's use of music vention. Where I found it necessary to treat musical technicalities, in each case I consulted competent musicologists. In the presenta- tion of facts and authoritative opinion, I have used frequent docu- mentation. I dierefore trust that my conclusions are valid and hence of some value to the serious students of literature and music. In selecting the musical examples, I chose either scores written for Shakespeare's text by composers contemporary with him, or music written or published before 1650 which is representative of the Jacobean period during which Shakespeare's later comedies were staged. Those scores associated closely with Shakespeare have been photographically reproduced and, where necessary for clarity, tran- scribed into modern notation. I regret that I could not supply com- plete instrumental or vocal parts for the benefit of the producer: in some cases all die parts have not been found; in others the cost is prohibitive. While the Bibliography includes some basic titles listed in the first volume, it is largely a supplement and should not be considered as a full survey of source material. For a discussion of the musical instruments, musical forms, no- tation, and songs of Shakespeare's time, I suggest that the reader turn to the first two chapters of the preceding volume. My discussion of the Neo-Platonic music in The Tempest (Chap- ter VII) covers some of the same material, and arrives at somewhat the same conclusion, as does a study by John P. Cutts ("Music and the Supernatural in The Tempest': a Study in Interpretation," Music & Letters, XXXIX, 1958). Since my manuscript was inde- pendently written and originally placed in the hands of the Uni- versity of Florida Press in 1957, and since there are no serious con- tradictions in the two studies, I have made no changes in my manu- script. It is only natural that two students working in the same area with similar materials should sometimes arrive at similar conclusions. The most pleasant part of writing this introduction is the ac- knowledgment of the cheerful and able assistance given me by in- dividuals and institutions. Each debt of gratitude recalls some act of sympathy and generosity from each of the following, and from many others not named here: T. Walter Herbert, University of INTRODUCTION (xih Florida; Lewis F. Haines, Director of the University of Florida Press; Charles Haywood, Queens College; Peter Seng, Northwestern Uni- versity; Jerome Rosen, Director of the Ancient Instruments Ensemble of St. Louis; and the Directors and Staffs of the following institu- tions: The Folger Shakespeare Library; The Music Division of the New York Public Library; The Music Division of the Library of Congress; The Henry E. Huntington Library; The Library of the Royal College of Music; The British Museum; and the Bodleian Library. I am also grateful for the money grants given me by the Trustees of the Folger Shakespeare Library in the summer of 1951, and the Trustees of the John Simon Guggenheim Foundation in 1957, which latter grant aided me in the final revision of the manu- script here published. For special technical assistance I wish to thank Dorothy E. Mason, Reference Librarian of the Folger Shakespeare Library, both for her aid in tracing documents and for helping me from her own formidable knowledge of early English music; Joel Newman, De- partment of Music, Columbia University, for his aid in transcribing die lute tablature of the manuscript song, "Get you hence"; and Betty Marzan, Morehead, Kentucky, for her days of tedious and ex- acting work in preparing the music notation for publication. Any errors which, in spite of such able assistance, appear in diis book can be attributed only to the author.
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