Shakespeare and Music Part 13

Finally--a Parthian shot--

'Standing in corners like as it were a spye, Whether that the wether be whot, colde, wet, or dry.'

Thus, one hundred years before Shakespeare was born, Serenades of voices and instruments were common, and in general practice by all cla.s.ses of young men, and not only laymen, but also yonge fooles of the spiritualtie.

The instruments mentioned are such as were still in use in Shakespeare's time--viz., harp, lute, 'foolish' pipe, bagpipe, and 'foolish' flute, besides the several varieties of song, which evidently included both solo and part singing--'feigned' ballads for a single voice [ballads, that is, in the more refined 'keys' of 'Musica Ficta'], and 'Countering,' which implies that two voices at least took part.

The following pa.s.sage is an example of this nocturnal serenading by a company of gentlemen.

_Two Gent._ III, ii, 83.

_Proteus_ (advises Thurio) 'Visit by night your lady's chamber window With some _sweet concert_: to their _instruments_ Tune a _deploring dump_:'

_Thu._ And thy advice this night I'll put in practice.

Therefore, sweet Proteus, my direction-giver, Let us into the city presently, _To sort some gentlemen well skilled in music_.

Proteus advises Thurio to get a 'consort' (probably of viols) to play a 'dump' under Silvia's window. He goes to arrange for some of his friends to attend for this purpose. The serenade takes place in the next Act, where, in the 2nd scene, line 17, it is called 'evening music,' but does not include the 'dump,' for Thurio has 'a sonnet that will serve the turn,' so they sing 'Who is Silvia.'

Here is the pa.s.sage, which is full of quibbles on musical terms.

_Two Gent._ IV, ii, 16.

_Proteus._ ... 'Now must we to her window, And give _some evening music to her ear_.'

L. 24.

_Thu._ ... Now, gentlemen, _Let's tune._

L. 28.

_Host_ (to Julia, in boy's clothes). I'll bring you where you shall _hear music_, and see the gentleman that you ask'd for.

_Jul._ But shall I _hear him speak_?

_Host._ Ay, that you shall.

_Jul._ _That will be music._

L. 54.

_Host._ How do you, man? (_i.e._, Julia) the _music likes you not_.

_Jul._ You mistake: the _musician_ (_i.e._, Proteus) _likes me not_.

_Host._ Why, my pretty youth?

_Jul._ He _plays false_, father.

_Host._ How? _out of tune on the strings_?

_Jul._ Not so; but yet _so false_, that he grieves my very _heart-strings_.

_Host._ You have a _quick ear_.

_Jul._ Ay; I would I were deaf! it makes me have a _slow heart_.

_Host._ I perceive, _you delight not in music_.

_Jul._ Not a whit, when it _jars_ so.

_Host._ Hark! what fine _change_ is in the music.

_Jul._ Ay, that _change_ (Proteus' unfaithfulness) is the spite.

_Host_ (misunderstanding again). You would have them _always_ play but _one thing_?

_Jul._ I would always have _one_ (Proteus) play but one thing.

L. 85.

_Silvia_ (from window). 'I thank you for your music, gentlemen.'

The next pa.s.sage is of a serenade in the early morning. Cloten arranges for the musicians (who seem in this case to be professional players) to give two pieces, one instrumental, followed by a song.

_Cymbeline_ II, iii, 11. Cloten serenades Imogen.

_Cloten._ I would this _music would come_. I am advised to give her _music o' mornings_; they say, it will penetrate.

_Enter Musicians._

Come on: _tune_. If you can penetrate her with your _fingering_, so; we'll try with _tongue_ too: ... _First_, a very excellent good-conceited thing; _after_, a wonderful sweet air, with admirable rich words to it,--_and then_ let her consider.

[The musicians perform 'Hark! hark! the lark.']

So, get you gone. If this penetrate, I will consider your _music the better_; if it do not, it is a vice in _her ears_, which _horse-hairs_, and _calves'-guts_, ... can never amend.

In l. 14, 'fingering' and 'tongue' correspond to 'playing' and 'singing.' The first is to be a 'Fancy' for viols, 'a very excellent good-conceited thing'; the second is the 'wonderful sweet air,' Hark!

hark! the lark.

'Good-conceited' means having many 'conceits.' These 'fancies' were always contrapuntal, and the various artificial contrivances, answering of points, imitations, and what not, are referred to under this t.i.tle. The mention of 'horse-hairs and calves'-guts' makes it clear that the instruments in this 'morning music' were Viols.

Another 'evening music' is provided by Pericles, Prince of Tyre.

_Pericles_ II, v, 24. Pericles, a musician [his education had been 'in _arts_ and arms,' see II, iii, 82].

_Per._ All fortune to the good Simonides!

_Sim._ To you as much, sir! _I am beholding to you For your sweet music this last night_: I do Protest, my ears were never better fed With such _delightful pleasing harmony_.