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To show that music was very dear to the English of Shakspere's
time, and that the latter himself was particularly devoted to it
-the popular love for music among the English much under-
estimated development of the feeling in America - people in
all ranks of society in the sixteenth century either sang or
played upon some instrument-Henry VIII's personal taste for
music-Queen Elizabeth's musical achievements and Shak-
spere's allusion to them"divisions"-evidence in The
Winter's Tale of musical knowledge among the lowest classes
-universality of part-song intimated also in Twelfth Night-
base viols kept in the drawing-room for amusement of waiting
visitors-barber-shops had virginals in one corner. - nature of
the virginals the cittern found in the same place- the latter
the most popular instrument of the time-important functions
of the barber-many musical similes in the poetry of the
period-Thomas Tusser's advice to choose tuneful servants -
distaste for music associated with dishonesty-music in the
education of young ladies-musical scenes from Taming of the
Shrew several music-teachers to royalty who came to un-
timely ends-great number of ballads-Chaucer's testimony as
to English love of music-Langland's Plowman reproaches
the clergy for knowing no "mynstralcy"-interesting to
note that with all this love for music there has never been a great
English composer- same conditions true of women—a hun-
dred and sixty-seven references to music in the plays, most of
which show Shakspere's passionate love for the art-instances
of his deep musical understanding in The Merchant of Venice
and Richard II- wonderful stories of the power of music in
ancient times- Saxo Grammaticus's tale of King Eric of Den-
mark and his harper
Rabbinical fable of Adam's soul.
line of next lecture.

CHAPTER XIV THE MUSIC OF SHAKSPERE'S TIME-II .

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The music that Shakspere knew "discant"

Pope Gregory
the Great and his antiphonarium, or collection of the Gregorian
chants composers in Shakspere's time did not attempt to
originate new tunes, but treated old ones contrapuntally

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great
age of many of the Gregorian chants- Bishop Ambrose of
Milan and his use of psalms and hymns as a means of consola-
tion St. Augustine's pleasure in the Ambrosian chant-
these hymns referred to by Pliny in the second century the
world in possession of a stock of tunes as far back as the begin-
ning of our era, as shown by the Gospels-hymn sung by the
disciples on the evening of the Last Supper possibly used in the
churches to-day-some of our tunes probably much older than
the Christian era- -definition of discant from the old play of
Damon and Pythias - Cuckoo Song the first English verse with
music attached discovered
on a monk's commonplace-
book in Harleian Library. slow progress of music in those
times analysis of Cuckoo Song as a typical song of Shakspere's
day this a "canon in the unison with a burden” — many
varieties, such as motett, fugue, round, etc.- -"prolation
and "division " 66
discant'
extempore
song" origin of term "counterpoint "

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and " prick-
"plain song" and
plain chant" terms closely associated with this contrapuntal
music -rage for part-songs in sixteenth century-story of Dr.
John Bull which illustrates this religious objections to these
musical extravagances in the churches the words a mere "pre-
tence for singing," according to Dr. Burney-an old poem
upon the woes of a music pupil-impressment of children in
order to keep up the cathedral choirs Marbeck publishes
the Book of Common Praier Notes —versification of Psalms by
Sternhold and Hopkins-Dr. Christopher Tye's versification
of the Acts- his retort to Queen Elizabeth-Clement Marot
and Theodore Beza versify the Psalms in French-Calvin has
the Psalms set to music-some forgotten composers who as-
sisted in this work—some of the psalm-tunes of secular origin
- Clown's remark in Winter's Tale about the Puritan who
"sings psalms to hornpipes" mention of Green Sleeves
and the Hundredth Psalm in The Merry Wives of Windsor -
the latter noble melody arranged by Claude Lejeune — some
other composers of sacred music the most prominent forms

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of secular music derivations of the name and nature of the
madrigal its great popularity - a typical madrigal by Thomas
Weelkes- - first English ones written by William Bird- The
Triumphs of Oriana and its composers Sir Hugh Evans
and his comical use of Marlowe's Come live with me - the
catch and the round early forms of the Mother Goose
rimes in Shakspere's Taming of the Shrew - Pammelia and
Deuteromelia-nonsensical words to many of the catches.

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musical declamation-different kinds of instrumental music-

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part-songs played by instruments-music for virginals Queen
Elizabeth's Virginal Book-Dowland's Lachrimae dances of
the time: the pavan, galliard, etc.— illustrations from Twelfth
Night-Sir John Davies's The Orchestra - Robert Dowland
and his "Frog Galliard" - mention of him in The Passionate
Pilgrim his lute-playing and music-lutes and viols of the
period Queen Elizabeth's musicians—the coranto, the paspy,
and the morris-dance- musical perception in Shakspere's
eighth sonnet-the music of Shakspere's life music de-
pends on opposition—in the moral as in the physical world
the musical tone must be caused by two forces, the one acting
athwart the other- the fearful antagonisms and wonderful har-
monies we find in the life of this master poet.

CHAPTER XV THE DOMESTIC LIFE OF SHAKSPERE'S TIME-I

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The treatment of domestic life to centre upon Shakspere himself
-Stratford, the Warwickshire fields and lands, and Kenilworth
cover the whole of English life-Shakspere's models for his
characters all about him- special meaning of "gentlemen" in
those days — evidence in Midsummer Night's Dream that Shak-
had visited Kenilworth
spere
striking events of the world's
history just previous to and during Shakspere's time-summary
of these notable events that make up the "outer life of the Re-
naissance," from the invention of printing in 1440 to the death
of Shakspere in 1616.

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CHAPTER XVI THE DOMESTIC LIFE OF SHAKSPERE'S TIME-II

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To give a ground-plan of the romance of Shakspere's youth for
which time is lacking—the night visit of the Earl of Leicester's
man to John Shakspere, the glover-night work on the Earl's
gloves young Shakspere starts out to deliver the parcel at
Long Ichington for the hunt-his lunch by the brookside
falls asleep over Wyatt's "And wilt thou leave me thus?"
Leicester's plans for the hunt-Queen Elizabeth rides off alone
and comes upon young Shakspere asleep she rallies Leicester
upon this new rival, and invites the boy to Kenilworth - Robert
Laneham, the Queen's usher, and his letter to Master Hum-
phrey Martin on the pageant-probably the original of Don
Adriano de Armado in Love's Labour's Lost - passages from
this letter and its amusing portraiture of the writer the eat-
ables and drinkables consumed-detailed description of the
Queen's progress and reception-Gascoigne's account of the
Echo-Laneham's picture of the bear-baiting the fireworks
Arion, Triton, and the dolphin with music in his belly.
suggestions of Midsummer Night's Dream in all this - Shakspere
stops at the Warwick inn on his way home to see a play the

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73

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inn-yards in which plays were then given the inn-yard was
the original of the pit - our modern theatres constructed on the
same general model as these early makeshifts - first theatre
erected by James Burbage in 1576-John Heywood's inter-
lude of The Four P's and the spirit of the first English comedy.
nature of the interlude Puttenham's sneer at "John Hey-

wood the Epigrammatist"-suggestion in The Four P's of

the porter's soliloquy in Macbeth-its flippant treatment of

great matters childishness of sixteenth-century audience—

the interlude has really a moral purpose Shakspere's own

more reverential nature -extracts from The Four P's - ras

cality of the characters and low plane of the whole thing the

contest in lying-childish idea of hell exhibited—the Palmer

wins the contest by declaring he never saw a woman out of

patience good doctrine from the Pedler.

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CHAPTER XVII THE DOMESTIC LIFE OF SHAKSPERE'S TIME-III

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Last lecture dealt with several early founts of English humour
now to consider the more serious side of sixteenth-cen-
tury life to look at the books, sermons, and tragedies common
at that time the great debate about this time over plays and
play-going-severe acts of Parliament against strolling players
-Corporation of London expels players from the city unex-
pected effect of this measure the first English theatre building
a result erection of "The Theatre," "The Curtain," and
"The Blackfriars" just outside the city limits — furious attack
of the clergy upon the stage-sermons against it by Wilcocks
and Stockwood - William Prynne's Histriomastix and Rankin's
Mirrour of Monsters-Stephen Gosson and his Schoole of Abuse
his own change of mind- his inappropriate dedication to
Sidney-probability that young Shakspere read the Schoole of
Abuse- - extracts from the book - its attack on poetry, music,
and the drama - his picture of theatre manners of the time
his combative ending-a sample of Gosson's poetry-probable
effect of Gosson's tirade on young Will Shakspere - he goes to
London goes to Paul's Cross to hear the sermon Sunday morn-
ing-an apropos sermon of Hugh Latimer's, though he dates thirty
years earlier-Latimer's sermons before Edward VI- his
strength and sweetness of character-extracts from his sermons
text of his Good Friday sermon.

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CHAPTER XVIII THE DOMESTIC LIFE OF SHAKSPERE'S TIME-IV

Young Shakspere goes to the play Sunday afternoon — the reason

for afternoon performances — takes a box at the Blackfriars

description of a theatre of the time-lack of scenery — method

of changing the locality of the action Ben Jonson's satires on

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145

contemporary stage devices — extract from Every Man in his

Humour-representative plays of the time- Kyd's Spanish

Tragedy Robert Greene and his abuse of Shakspere - his

Groatsworth of Wit and its famous fling at his rival - Chettle's

apology for his own part in this — Greene's influence on Shak-

spere-the first English comedy and tragedy - Nicholas Udall

and his Ralph Royster Doyster — its date —plot of the play and

extracts― Anne Hathaway's escapade — possibly some such ad-

venture the original of the many female masqueraders in men's

clothes in Shakspere's plays after a week Shakspere sees a

tragedy Thomas Sackville, Lord Buckhurst - style and argu-

ment of his Gorbo duc, the first English tragedy - the quaint

"Domme Shew" that preceded it- extracts from the text.

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CHAPTER XIX THE DOCTORS OF SHAKSPERE'S TIME

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The modern doctor and modern medicine really begin in these

spacious times of the great Elizabeth — importance of the phy-

sicians in any picture of modern society― connection between

music and physic in the sixteenth century-Shakspere's por-

trayal of the ideal doctor, Cerimon, in Pericles-
Cerimon pos-

sibly drawn from Shakspere's son-in-law, Dr. John Hall-the

elder John Hall and his Historical Expostulation Against the

Beastly Abuses both of Chirurgery and Physyke in Oure Tyme-

Dr. Hall's ideas of the true chirurgeon"—absurdities of his
Treatise on Anatomie - his account of several medical impostors:
Thomas Luffkin, "Mayster Wynkfelde," "one Nichols, "etc.

Dr. Thomas Gale and his tale of the army surgeons — the
Doctor in Macbeth - Macbeth's "throw physic to the dogs,"
and its parallel in Chaucer's Knight's Tale-connection be-
tween doctor and apothecary—the Apothecary in Romeo and
Juliet-extracts from Heywood's The Four P's- the Poti-
cary in this interlude his curious list of drugs-Shakspere's
strange silence regarding tobacco belief in its medicinal virtue
at this time-habit of smoking on the stage
passages illus-
trating this from Arber's Collections - Dr. Thomas Linacre,
founder of the College of Physicians - Italy the centre of med-
icine in 1480-esteem of foreign physicians in England -
lampoon on this in The Marriage of Wit and Wisdom — length
of medical course at this time - Harvey and his discovery of
the circulation of the blood- his dignity under the attacks of
his enemies-Dr. John Harvey and his touching death words.

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CHAPTER XX THE METRICAL TESTS-I

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Now to apply the theory of forms to the understanding of

Shakspere's character and verse phenomena of tone-colour

reduce themselves to phenomena of rhythm-tone-colour, in fact,

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203