T wit iloucr and his UTc , With • hay* *»iih a ^oearil ahaytoorir Wellesley College Library + er lacuna + no and j Uayv noruc nocuc no iafpnrgume.;;.i r rr r . ~1 __i __. _c t)i« oolyprcunngcuDCWi f*CCTC Y RFMjlM EDITH BUTLER POOL This book-plate was designed in 1909 s\i tSr fpringc in fpt ing birdHiof:ng t Hjyc loum louc by Edith Butler Pool (Class of 1896) for her library. p r p r It seems appropriate that it should be used to mark the books purchased for the Department of English Literature through her memorial bequest fpring. *Ln£3i!in$adn£. ij. fwrctc loom looc the *ijno|Cf?AA;]L 'mm- -mm JLiltQH OUJ, 14 % fcetwret>e the AVeti ofthe riev Wall a hav, ai* w a ho^nd a hiynonle no, Thdc prem* Coo itnc rooles would lie, Inlpf'in^ r»tnr,thcorcIy pffTucriftgdnc, WrwvB;'d>d »r ling, Inydinga ding i diof, Swrctc toucf>!oye t^ei^nng. | ThU CjtcII thcybr^an thathoure, i Sjy, Wiw wi:h a ho ah J a fuy noruc no# How that 3 liL v^aitnn ^nowcr, In Ipnng tiVn*, the onely prctae ring time, When Bird* doc (ing, hay ding a ding a dujg, S veetc lo jen louc rhefpnng. 4 Then prettir louert tike the time, a w ir!i With hay , a ho xnd* hay nonie no. Fortooets crowned with the primr, Infrwingtinic^beonelypraucnngtirre, When find* doc fine, hay ding a ding a ding. S wcetc lawcts iouc die fpiing. Digitized by the Internet Archive in 2012 with funding from Wellesley College Library http://archive.org/details/shakespearesuseo01long HAKESPEARE USE OF MUSIC: A ST THE MUSIC AND ITS IN THE TION OF SEVEN COMEDIES JOHN H. LONG UNIVERSITY OF FLORIDA PRE GAINESVILLE~1955 A UNIVERSITY OF FLORIDA PRESS BOOK Copyright, 1955, by the University of Florida L. C. Catalogue Card Number: 55-8082 MANUFACTURED BY THE RECORD PRESS, INC., ST. AUGUSTINE, FLA. f%0 ML Zo SS-L1 Acknowledgmen ts mem *ySk u HE WRITER HERE WISHES TO ACKNOWLEDGE THE generosity of the following organizations in permitting him to quote and to transcribe ^^ /^j^ Wf&^r- from works in their custody: The American L ' J^MB Book Company, New York City; Christ , '_ £E>£%p»2 SY^9J*L: Church Library, Oxford, England, whose man- uscript settings of Ford's "Sigh no more, ladies" and Morley's "0 mistris mine" were transcribed by permission of the Governing Body of Christ Church; The Clarendon Press, Oxford, England; E. P. Dutton & Company, Inc., New York City; The Folger Shake- speare Library, Washington, D. C; Galaxy Music Corporation, New York City, by permission of Galaxy Music Corporation, Sole Agents for Stainer & Bell, Ltd., London, England, the owners of the copyright to E. H. Fellowes' The English School of Lutenist Song Writers; G. Schirmer, Inc., publishers of The Musical Quar- terly, copyright, 1938, by G. Schirmer, Inc., New York City; The Huntington Library, San Marino, California, for permission to reproduce "The Fairie Round" found in A. Holborne's Pavans, galliards, almains . 1599; J. Curwen & Sons, Ltd., London, England; Kamin Dance Bookshop and Gallery, New York City; Lawrence & Wishart, Ltd., London, England; The New York Public Library, New York City; Oxford University Press, New York City; Studies in Philology, The University of North Carolina, Chapel Hill; Theodore Presser Company, Bryn Mawr, Pa., for transcriptions from Vincent's Fifty Shakspere Songs, used by per- mission of the copyright owner, Oliver Ditson Company, Bryn Mawr, Pa. (v) Introduction — ix ONE The Songs in Elizabethan Drama — 1 TWO Instrumental Music in Elizabethan Drama — 16 THREE The Two Gentlemen of Verona — 51 FOUR Love's Labour's Lost — 65 FIVE A Midsummer Night's Dream — 82 SIX The Merchant of Venice — 105 SEVEN Much Ado About Nothing — 120 EIGHT As You Like It — 139 NINE Twelfth Night — 164 TEN Conclusion — 187 Annotated Bibliography — 197 Index — 211 (vii) viii) SHAKESPEARE S USE OF MUSIC It Was a Louer and His Lasse Endpapers I The Galliard, "Because of the Traitor I Die" .... 56 II She Whose Matchless Beauty 59 III Melody of the galliard called "Love let us Kiss" . 70 IV Of All the Birds 76 V When Dasies Pied and Violets Blew 77 VI Lullabie 86-87 VII The Woosel Cock, so Black of Hewe 90 VIII Sleep, Wayward Thoughts 92 IX Pavane 95 X Wolsey's Wild 96 XI The Urchin's Dance 101 XII Who Hath His Fancy Pleased 109 XIII The Peaceful Western Wind 117 XIV All You That Love Good Fellows 123 XV The Lord Zouche's Masque 125 XVI Sigh No More, Ladies, Sigh No More 130 XVII Sigh No More, Ladies, Sigh No More 132-133 XVIII Flow, My Tears (Lacrimae) 135 XIX Galliard, Sweet Margaret (Cushion Dance) 136 XX Under the Greenwood Tree 144 XXI Blow, Blow, Thou Winter Wind 149 XXII What Shall He Have That Killed the Deer? 151 XXIII It Was a Louer and His Lasse 154 XXIV Pavane in Six Parts 157 XXV Welcome, Black Night 159 XXVI The Haye 161 XXVII The Lord Salisbury his Pavin 167 XXVIII O Mistris Mine 170 XXIX O Mistris Myne 171 XXX Hold Thy Peace , 173 XXXI Three Merry Men be We and There dwelt a man in Babylon 174 XXXII Farewell, Dear Love 175 XXXIII Come Away, Come Away Death 178 XXXIV Hey Robin 179 XXXV When that I was a little tiny boy 182 i T IS THE PURPOSE OF THIS STUDY TO PRESENT THE results of an examination of the use of music, both instrumental and vocal, as a dramatic de- vice in seven comedies by Shakespeare: The Two Gentlemen of Verona, Love's Labour's Lost, A Midsummer Night's Dream, The Mer- chant of Venice, Much Ado About Nothing, As You Like It, and Twelfth Night. (The Taming of the Shrew is omitted because its po- sition in sequence is uncertain.) By the term "dramatic device" is meant the use of music as an aid not only to the intensification of the impact of the language, but also to the forwarding of the action, the portrayal of character, the delineation of settings, and the cre- ation of an appropriate atmosphere, such as a mood of mystery or awe. Also included in the term "dramatic device" is the use of music in solving problems of stage production in instances where music covers the sound of stage machinery, denotes a lapse of time, or indicates off-stage action. This study includes only those performances of the plays given before the publication of the First Folio. I have used as texts the Folio of 1623 and contemporary quartos, on the assumption that a greater degree of eclecticism is justifiable in this study than in the establishment of a severe and completely defensible verbal text. Hence, I have taken my evidence wherever I could find it clear. However, I have tried to assess the authority for each shred of evidence and to avoid combining data, except with the justifica- tion of a sound textual theory. For instance, I have never used as the basis for any piece of evidence a text arrived at by a modern editor. In view of the admitted importance of music in the plays of Shakespeare and his contemporaries, it is surprising that the sub- ject has received slight attention from scholars. Several books have (ix) x) SHAKESPEARE S USE OF MUSIC been written on the background of Elizabethan inusic against which Shakespeare's plays appear, but their focus of interest is not upon the way he used the music. A number of scholarly articles such as those by Richmond Noble and Edmund H. Fellowes have treated the subject, but these are concerned with isolated problems and do not constitute a survey of the phenomena. Only one book, so far as I know, contains a serious and sustained study of Shake- speare's use of music, and it omits a consideration of the purely instrumental music in the plays. This book is Richmond Noble's Shakespeare's Use of Song. It is possible that research has been handicapped by complete lack of musical scores which can be assigned to the plays of Shakespeare. This lack is indeed a serious one, but much can still be learned from a careful assessment of the available evidence. The procedure followed is necessarily complex. I first made an intensive study of the text and stage directions of the Shakespeare plays in the versions described above, and an evaluation and in- terpretation of the interior evidence found. This part of the study, in itself, was inadequate for a clear presentation of the use and performance of the music. I therefore turned to plays contempo- raneous with Shakespeare in order to determine from their stage directions and dialogue what could at this point be learned about the habits and conventions governing the use of music in the Eliza- bethan theaters. The next step involved an examination of con- temporary accounts of the drama and music of the times as found in early records, in reliable reprints of relevant documents and texts, and in quotations from writers of the period found in sec- ondary studies of both subjects. Finally, I assessed the conclusions reached by authors of secondary studies and in editorial comments concerning the use of music by Shakespeare and contemporary dramatists. Of the materials thus considered, the contemporary accounts and the interior evidence from the plays are the most important. An explanation of the treatment of this material is therefore per- tinent. If we wish to discover how music was performed in Elizabethan : INTRODUCTION (xi plays, the best source of information is perforce the plays them- selves.