Shakespeare and Music - Edward W. Naylor

Скачать книгу

canon composed by his friend, a gentleman of rank.

      We find that a Fellow of Trinity at the same time was expected to sing "his part" in chapel as a matter of course. We find Edward VI., Mary, and Elizabeth to have all been capable players on lute or virginals. We find that it was the merest qualification that an Elizabethan bishop should be able to sing well; and that young University gentlemen of birth thought it nothing out of the way to learn all the mysteries of both prick-song (a written part) and descant (an extempore counterpoint), and to solace their weary hours by singing "in parts."

      Immediately after Shakespeare's time, we find a courtier of James I., and the ill-fated Prince Charles himself, both enthusiasts in both church and chamber music; and lastly, two years after the Regicide, we find the University of Oxford to have been a perfect hotbed of musical cultivation. Men who afterwards became Bishops, Archdeacons, Prebendaries, besides sixteen Fellows of Colleges, and sundry gentlemen of family, were not ashamed to practise chamber music and singing to an extent which really has no parallel whatever nowadays.

      There is plenty of evidence, though more indirect in kind, that the lower classes were as enthusiastic about music as the higher. A large number of passages in contemporary authors shows clearly that singing in parts (especially of "catches") was a common amusement with blacksmiths, colliers, cloth-workers, cobblers, tinkers, watchmen, country parsons, and soldiers.

      In Damon and Pithias, 1565, Grimme, the collier, sings "a bussing [buzzing] base," and two of his friends, Jack and Will, "quiddel upon it," i.e., they sing the tune and words, while he buzzes the burden.

      Peele's Old Wives Tale, 1595, says, "This smith leads a life as merry as a king; Sirrah Frolic, I am sure you are not without some round or other; no doubt but Clunch [the smith] can bear his part."

      Beaumont and Fletcher's Coxcomb has

"Where were the watch the while? good sober gentlemen, They were, like careful members of the city, Drawing in diligent ale, and singing catches."

      Also in B. and F.'s Faithful Friends—

      "Bell.—Shall's have a catch, my hearts?

      Calve.—Aye, good lieutenant.

      Black.—Methinks a soldier[3] should sing nothing else; catch, that catch may is all our life, you know."

      

      [In Bonduca, a play of B. and F's., altered for operatic setting by Purcell in 1695, there is a catch in three parts, sung by the Roman soldiers.]

      In Sir William Davenant's (Davenant flourished 1635) comedy The Wits, Snore, one of the characters, says—

"It must be late, for gossip Nock, the nailman, Had catechized his maids, and sung three catches And a song, ere we set forth."

      Samuel Harsnet, in his Declaration of Egregious Impostures, 1603, mentions a 'merry catch,' 'Now God be with old Simeon' (for which see Rimbault's Rounds, Canons, and Catches of England), which he says was sung by tinkers 'as they sit by the fire, with a pot of good ale between their legs.'

      And in The Merry Devill of Edmonton, 1631, there is a comical story of how Smug the miller was singing a catch with the merry Parson in an alehouse, and how they 'tost' the words "I'll ty my mare in thy ground," 'so long to and fro,' that Smug forgot he was singing a catch, and began to quarrel with the Parson, 'thinking verily, he had meant (as he said in his song) to ty his mare in his ground.'

      Finally, in Pammelia, a collection of Rounds and Catches of 3, 4, 5, 6, 7, 8, 9, and 10 parts, edited by Thomas Ravenscroft, and published in 1609, there is a curious preface, which states that 'Catches are so generally affected … because they are so consonant to all ordinary musical capacity, being such, indeed, as all such whose love of musick exceeds their skill, cannot but commend.' The preface further asserts that the book is 'published only to please good company.'

      To go on to instrumental music among the lower classes of Elizabethan and Shakespearian times; there is an allusion in the above quoted passage from Morley (1597) to the habit of playing on an instrument in a barber's shop while waiting one's turn to be shaved. This is also referred to in Ben Jonson's Alchemist and Silent Woman. In the latter play, Cutberd the barber has recommended a wife to Morose. Morose finds that instead of a mute helpmate he has got one who had 'a tongue with a tang,' and exclaims 'that cursed barber! I have married his cittern that is common to all men': meaning that as the barber's cittern was always being played, so his wife was always talking.

      There is a poem of the 18th century which speaks of the old times,

'In former time 't hath been upbrayded thus, That barber's musick was most barbarous.'

      However true that may have been—at all events it is certain that in the 16th and 17th centuries it was customary to hear instrumental music in a barber's shop, generally of a cittern, which had four strings and frets, like a guitar, and was thought a vulgar instrument.[4]

      Another use of instrumental music was to entertain the guests in a tavern. A pamphlet called The Actor's Remonstrance, printed 1643, speaks of the decay of music in taverns, which followed the closing of theatres in 1642, as follows:—"Our music, that was held so delectable and precious [i.e., in Shakespeare's times], that they scorned to come to a tavern under twenty shillings salary for two hours, now wander [i.e., 1643] with their instruments under their cloaks—I mean, such as have any—into all houses of good fellowship, saluting every room where there is company with, 'Will you have any music, gentlemen?'"

      Finally, in Gosson's "Short Apologie of the Schoole of Abuse," 1587, we find that "London is so full of unprofitable pipers and fiddlers, that a man can no sooner enter a tavern, than two or three cast of them hang at his heels, to give him a dance before he depart." These men sang ballads and catches as well. Also they played during dinner. Lyly says—"Thou need no more send for a fidler to a feast, than a beggar to a fair."

      All this leads to the just conclusion, that if ever a country deserved to be called 'musical,' that country was England, in the 16th and 17th centuries. King and courtier, peasant and ploughman, each could 'take his part,' with each music was a part of his daily life; while so far from being above knowing the difference between a minim and a crotchet, a gentleman would have been ashamed not to know it.

      In this respect, at any rate, the 'good old days' were indeed better than those that we now see. Even a public-house song in Elizabeth's day was a canon in three parts, a thing which could only be managed 'first time through' nowadays by the very first rank of professional singers.

       Table of Contents

       Table of Contents

       Table of Contents

      We now proceed to consider some representative passages of Shakespeare which deal with music.

      These may be taken roughly in six divisions—viz. (1) Technical Terms and Instruments, (2) Musical Education, (3) Songs and Singing, (4) Serenades and other domestic 'Music,' (5) Dances and Dancing, (6) Miscellaneous, including Shakespeare's account of the more spiritual side of music.

      To

Скачать книгу