• MUSIC ■ 
 
 TABLEAUX 
 
 ^4 
 
 •DANCER- 
 
Cornell University Library 
 PR 2771.H27 
 
 An evening with Shaki 
 
 enterbin .. 
 
 3 1924 022 381 820 
 
 CORNELL 
 
 UNIVERSITY 
 
 LIBRARY 
 
 FROM 
 
 Mrs.Wm.P.l.Gurley 
 
 MUSIC 
 
Cornell University 
 Library 
 
 The original of tiiis book is in 
 tine Cornell University Library. 
 
 There are no known copyright restrictions in 
 the United States on the use of the text. 
 
 http://www.archive.org/details/cu31924022381820 
 
AN EVENING WITH SHAKESPEARE 
 
 BY T. MASKELL HARDY 
 
 BEING AN EXTRA VOLUME OF THE 
 LAMB SHAKESPEARE FOR THE YOUNG 
 UNDER THE GENERAL EDITORSHIP OF 
 PROFESSOR I. GOLLANCZ : . . . 
 
FOREWORD 
 
 Although " An Evening with Shakespeare " 
 was originally compiled for the annual enter- 
 tainment given by the children of Bolingbroke 
 Road L.C.C. School, Old Batteftea, it is quite 
 as suitable for performance by adults as by 
 children. 
 
 The plan of the entertainment is as follows : 
 
 A series of the most popular of Shake- 
 speare's songs is sung by a choir, which should 
 be either concealed, or placed on the floor of 
 the hall, in front of the platform. 
 
 As each song is sung by the choir, it is 
 illustrated by an appropriate tableau performed 
 upon the stage or platform. Suitable actions 
 should be introduced into most of the tableaux. 
 Many such actions are indicated in the direc- 
 tions printed after each song. Others will 
 readily occur to all practical teachers. 
 
 It is suggested that all the tableaux, except 
 Nos. 6, 7, and 9, be performed by very little 
 
FOREWORD 
 
 children ; Nos. 7 and 9 should be performed 
 by girls only, while the prologue and the 
 scene from "Twelfth Night" — No. 6 — will 
 require boys of a larger growth. In the final 
 tableau, "Homage to Shakespeare," the whole 
 of the performers should be grouped upon the 
 stage around a bust of Shakespeare. If a bust 
 cannot be obtained, a rough portrait painted 
 upon cardboard may be substituted. 
 
 It will be seen that an " introduction " is 
 placed before each tableau ; this should be 
 read in each instance, previous to the raising 
 of the curtain. Such reading will not only 
 enable the audience to understand and enjoy 
 the tableau the better, but will also obviate a 
 tiresome " wait " while the necessary arrange- 
 ments for changing scenes, &c., are being made 
 behind the curtain. 
 
 The scenery need not be elaborate; The 
 " back-scene " should represent a high cliff on 
 the right and the sea-shore on the left. For the 
 scenes in the forest a large " wing " on which 
 are painted trees, &c., should be placed in 
 front of the sea-shore. By this device the 
 necessity of providing two " back-scenes " will 
 be overcome. The "side-wings" should re- 
 
 vi 
 
FOREWORD 
 
 present trees, and the forest scenes will be made 
 very realistic if a number of " practicable " 
 trees, as shown in the illustration of " Where 
 the Bee sucks," be placed in the body of 
 the stage. These trees should be painted on 
 pieces of stiff cardboard, suitably shaped and 
 nailed on to wooden standards. A weighted 
 foot should be attached to each standard, so 
 that each tree will need no other support. 
 The bat, on which Ariel is seated, should 
 also be painted on cardboard and nailed to 
 a wooden seat, suspended by " invisible " 
 (pianoforte) wire. The use of coloured lime- 
 lights will add much to the beauty of the 
 various tableaux. 
 
 The style of the dresses will be suggested 
 by the illustrations. The material used for 
 them may be silk or satin, but a less expensive 
 and equally effective substitute will be found 
 in "sateen." 
 
 Great pains have been taken in the pre- 
 paration of the music, which has, in each 
 case, been arranged from the original sources, 
 specially for the " Lamb " Shakespeare. 
 
 T. M. H. 
 
 vii & 
 
ILLUSTRATIONS 
 
 Ferdinand, Ariel ; " Full Fathom Five thy Father 
 
 Lies" (The Tempest, see p. 19) . . . . Frontispiece 
 
 "Where the Bee Sucks." Ariel: "On the Bat's 
 
 Back I do Fly " ( The Tempest) Facing p. 4 
 
 " Come unto these Yellow Sands." Fairies : " Hark ! 
 
 I Hear the Watch-dog Bark" {The Tempest) . ,, 12 
 
 "Sigh no More, Ladies" {Much Ado About Nothing) . ,, 26 
 
 "Under the Greenwood Tree" {As You Like It) . ,, 36 
 
 Sir Toby Belch, the Jester, Sir Andrew Ague- 
 cheek : "O Mistress Mine" {Twelfth Night) . ,, 48 
 
 "I Know a Bank" {A Midsummer Nighf s Dream) . . „ 60 
 
 " Blow, Blow, thou Winter Wind" {As You Like It) . ,, 82 
 
 "You Spotted Snakes." Fairies: "Sing in our 
 
 Sweet Lullaby" {A Midsummer Nighf s Dream) . „ go 
 
 "It was a Lover and his Lass" {As You Like It) . ,, 98 
 
 "Lawn as White as Driven Snow." Autolycus : 
 
 "Cous.'&\i\\" {The Winter's Tale) 104 
 
 Finale : Homage to Shakespeare „ 1 10 
 
 The photographs from which the illustrations have been reproduced 
 are by Durrell, of Norwood Road, London, S.B. 
 
AN EVENING JVITH 
 SHAKESPEARE 
 
 PROLOGUE 1 
 
 TO BE SPOKEN BEFORE THE CURTAIN 
 
 " To the memory of my beloved master, William 
 Shakespeare, and what he hath left us." — 
 
 " Soul of the age ! 
 The applause ! delight ! the wonder of our 
 
 stage ! 
 My Shakespeare, rise ! I will not lodge 
 
 thee by 
 Chaucer, or Spenser, or bid Beaumont lie 
 A little further, to make thee a room : 
 
 1 N.B. The Prologue — Ben Jonson's lines in praise of Shake- 
 speare — may be spoken by any one of the characters in the 
 sixth tableau — Sir Andrew Aguecheek, Sir Toby Belch, or Feste 
 the Jester, at the discretion of the stage-manager. 
 
 -^ _^ 
 
AN EVENING WITH SHAKESPEARE 
 
 Thou art a monument without a tomb. 
 And art alive still while thy book doth live 
 And we have wits to read, and praise to 
 
 give. 
 And though thou hadst small Latin and less 
 
 Greek, 
 From thence to honour thee, I would not 
 
 seek 
 For names : but call forth thund'ring iEschy- 
 
 lus, 
 Euripides, and Sophocles to us, 
 Pacuvius, Accius, him of Cordova dead. 
 To live again, to hear thy buskin tread 
 And shake a stage : or when thy socks 
 
 were on. 
 Leave thee alone for the comparison 
 Of all that insolent Greece or haughty Rome 
 Sent forth, or since did from their ashes 
 
 come. 
 Triumph, my Britain, thou hast one to 
 
 show. 
 To whom all Scenes of Europe homage owe. 
 He was not of an age, but for all time ! 
 And all the Muses still were in their prime. 
 When, like Apollo, he came forth to warm 
 Our ears, or like a Mercury to charm 1 
 
 2 
 
AN EVENING WITH SHAKESPEARE 
 
 Sweet Swan of Avon ! what a sight it were 
 
 To see thee in our waters yet appear. 
 
 And make those flights upon the banks of 
 
 Thames, 
 That so did take Eliza, and our James ! 
 But stay, I see thee in the hemisphere 
 Advanced, and made a constellation there ! 
 Shine forth, thou Star of Poets, and with 
 
 rage. 
 Or influence, chide or cheer the drooping 
 
 stage. 
 Which, since thy flight from hence, hath 
 
 mourned like night. 
 And despairs day, but for thy volume's 
 
 light." [Exit. 
 
TABLEAU I 
 
 « 
 
 Introductory Reading 
 
 Our first song is called " Where the Bee Sucks, 
 there Suck I." This and the two follow- 
 ing songs are taken from the play of " The 
 Tempest," the last play written by Shakespeare 
 before he retired to Stratford-on-Avon — and 
 by many considered to be the poet's master- 
 piece. The story, told very briefly, is as follows : 
 Prospero, Duke of Milan, was so fond of his 
 books and of study that he quite neglected the 
 government of his dukedom, and so allowed 
 his wicked brother, helped by the King of 
 Naples, Prospero's enemy, to thrust him from 
 his throne and usurp his place. Prospero, 
 with his baby-daughter Miranda, was then 
 cast adrift upon the open sea in a little 
 boat, into which an honest old counsellor had 
 secretly conveyed food, and what Prospero 
 prized even more than food, his beloved books. 
 
 4 
 
1 
 
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AN EVENING WITH SHAKESPEARE 
 
 These books, as was frequently the custom in 
 those old days, treated of the magic art, in 
 which Prospero had become, so the story goes, 
 very learned and proficient. 
 
 After a long time the boat was cast up 
 upon a lonely island, the home of many 
 wonderful and powerful spirits. The island 
 had formerly been in the power of Sycorax, 
 an evil-minded witch, who, because the spirits 
 would not obey her wicked commands, had 
 imprisoned many of them in the hearts of 
 living trees. She had since died, and the 
 poor spirits would have remained in their 
 melancholy plight for ever, had not Prospero, 
 who was of a mild and gentle nature, set them 
 free by the power of the wonderful art which 
 he had learned from his books, and so bound 
 them to himself by cords of love. The chief 
 of these liberated spirits, who now delighted 
 in serving Prospero, was a little tricksy sprite 
 called Ariel. To him, as a reward for his 
 cheerful obedience, Prospero had promised 
 complete liberty and independence. 
 
 The tableau shows Ariel revelling in his 
 newly acquired freedom, and flying on the 
 back of the bat, while he is supposed to be 
 
 5* 
 
AN EVENING WITH SHAKESPEARE 
 
 expressing his joy in the beautiful song now 
 to be sung, " Where the Bee Sucks." 
 
 The music to this song is not the original 
 setting, which is not a very interesting com- 
 position, but was written in 1746 by one of 
 the greatest of English musicians, Thomas 
 Augustine Arne, Doctor in Music. Other 
 musicians have composed music to this song, 
 but Arne's is so thoroughly English in char- 
 acter and so well expresses the sentiment of 
 the words, that public taste has refused to 
 recognise any other tune but this. It has 
 been asserted that the short staccato, or jerky 
 movements of the melody, are intended to 
 suggest the curious flight of the bat. 
 
 6 
 
WHERE THE BEE SUCKS 
 
 Composed in 1746 
 
 Music by Dr. Arne, 1710-1778. 
 
 PlARO. 
 
 
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 ^feEE^ 
 
 Where the bee sucks,there suck I; In a cowslip's bell, I 
 
 Doh is p. 
 
 I In :-.f|s :1 Ir :s In :— I :n.f|s_£i:l Ifjrs } 
 
WHERE THE BEE SUCKS 
 
 lie ; There I couch when owls do cry, when owls do 
 
 Key C- 
 
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 cry, when owls do cry ; 
 
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 On the bat's back I . . do . . 
 
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 fly ....... . af ter 
 
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WHERE THE BEE SUCKS 
 
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 D.S. .» 
 
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 Mer-ri-Iy, mer-ri-ly, shall I live 
 
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 D-s. ■» J- _j_ 
 
 <ff Un - der the blossom that hangs on the bough, 
 
 Ir :— Is :n.s[f.r: .fin :d.n|r : 
 
 Mer-ri - ly, 
 
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 WHERE THE BEE SUCKS 
 
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 mer-ri -ly, shall I live now, 
 
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 Un - der the blos-som that hangs on the 
 
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 bough, Un - der the blossom that hangs on the bough. 
 
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 lO 
 
AN EVENING WITH SHAKESPEARE 
 
 Directions 
 
 The curtain is raised at the end of the 
 fourth bar of the pianoforte introduction, and 
 Ariel is discovered seated on a bat as in the 
 illustration facing page 4. 
 
 The bat should be made to sway back- 
 wards and forwards by means of a cord worked 
 from the " side-wings." 
 
 The curtain is dropped at the close of the 
 singing, while the last four bars are being 
 played on the pianoforte. 
 
 II 
 
TABLEAU II 
 
 Introductory Reading 
 
 The next song is entitled " Come unto 
 these Yellow Sands." When Prospero and 
 his daughter had lived upon the island for 
 some twelve years, a lucky chance brought 
 all his enemies, including his brother and the 
 King of Naples — together with the King's 
 son, Ferdinand — within his power ; for the 
 ship in which they were all sailing came 
 near Prospero's island, and he was able by 
 the help of his spirits to raise a terrible 
 "Tejnpest," in which to all appearances the 
 ship was totally wrecked and every one 
 aboard her drowned. As a matter of fact, 
 the ship was perfectly safe and none of its 
 inmates injured in the least, for they were 
 all safely landed on the island, although each 
 believed his fellow to be lost. 
 
 Now is the time for Prospero's revenge — 
 
 12 
 
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 o 
 J 
 J 
 u 
 
AN EVENING WITH SHAKESPEARE 
 
 now can he wreak vengeance upon his ancient 
 enemies for the wrong they did him of old. 
 But this is not the lesson that Shakespeare 
 would teach us. Far from it ; Shakespeare — 
 whose works have been well described as a 
 lay Bible — wishes to teach us, as he does in 
 all his plays, that " Kindness is nobler ever 
 than revenge." And so we find that Prospero 
 has decided to settle his long-standing injury 
 by the power of love, and for this reason he 
 determines that Ferdinand, the King's son, 
 and his own daughter, Miranda, shall fall 
 in love with each other, and so heal the 
 deadly strife between the two families. With 
 this noble end in view, he causes Ariel and 
 his fellow-spirits to lead Ferdinand towards 
 Miranda's cell. They are to do this by sing- 
 ing in mid-air and leading him on to the 
 " yellow sea-sands." Although we shall see 
 the little sprites dancing and sporting upon 
 the yellow sands, yet are they invisible to the 
 eye of Ferdinand, who is constrained to follow 
 the music, the whereabouts of which he cannot 
 locate, not being able to determine whether it 
 is " i' the air or th' earth," but thinking " it 
 waits upon some god o' th' island." 
 
 13 
 
AN EVENING WITH SHAKESPEARE 
 
 The music to this song is more than two 
 hundred years old, having been written in 
 1 690, for a revival of " The Tempest," by 
 Henry Purcell, organist of Westminster 
 Abbey, and without doubt the greatest musical 
 genius England has ever produced. English 
 music sustained an irreparable loss by his 
 unfortunate death at the early age of thirty- 
 seven. 
 
 14 
 
COME UNTO THESE YELLOW SANDS 
 
 Piano, < 
 
 Music by Henry Purcell (1658-1695) 
 
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COME UNTO THESE YELLOW SANDS 
 
 Come un - to these yel .... low sands,And 
 Doh is C- 
 ||s :d' Id'.t ;1 .s I I .,s:f .,Hs Jm .,s | f .,n ; r.pi |f .n :r.d}. 
 
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 1 15^ time. 
 
 there take hands ; there take hands ; Foot it feat - ly 
 
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 ist time. 
 
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 2nd time. 
 
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 here and there, And let the rest the bur - then bear. 
 
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COME UNTO THESE YELLOW SANDS 
 Chorus. 
 1st Voice. 
 
 Hark I hark! the watch-dogs bark ; Hark! hark! I hear the 
 
 {|d' : |r' : .r'|pi' :^^d'|s' : |d' ;n'.d'|l :t.d'| 
 
 znd Voice. 
 
 Hark! hark! the watch-dogs bark ; Hark! harkll hear the 
 
 '8 : It : .t{d' :d' |t : |s :n.n|l 
 
 3rd Voice. 
 
 «> War 
 
 ^ 
 
 Um 
 
 s:qs= 
 
 ^^=^ 
 
 F# 
 
 Hark ! hark I the watch-dogs bark ; Hark! hark! I hear the 
 
 iln : |s : .sis :fe |s : In :s.s|f : .n\ 
 
 strain of Chanticleer, Hark! hark 1 1 hear .. the strain of Chanticleer. 
 
 ||s :t ld'.,d':d' |d' ;n'.d'|l ;t.d'[s :t |d'.,d':d' 
 
 Strain 
 
 of Chanticleer, Hark! harkl I hear the strain of Chanticleer 
 
 -.s|s.,8:s Is :i<i.n|l : .sis :-.s|s.,s:s 
 
 strain of Chanticleer, Harkiharkll hear the strain of Chanticleer. 
 
 In :r |n.,n:n In :s.s|f : .n In. :r |n.,n:n 
 
 Note.— When possible, the Chorus should be sune in three parts, as above. If, 
 however, this cannot be done, the first-voice part is to be sung in unison, accompanied 
 by the pianoforte. 
 
 17 B 
 
AN EVENING WITH SHAKESPEARE 
 
 Directions 
 
 The curtain is raised during the last six 
 bars of the introduction. Concurrently with 
 the beginning of the singing, two groups of 
 tiny boys and girls dance on to the stage, one 
 group from each side. At the words " Take 
 hands," the children join hands and form 
 into two circles, skipping lightly round and 
 round. An attitude of listening is assumed 
 at the words " Hark ! the watch-dogs bark," 
 the right hand being raised as in the illustra- 
 tion facing page 12. At the words " Hark ! 
 I hear," &c., the children turn round and 
 raise the left instead of the right hand. 
 
 The curtain is lowered immediately on 
 the conclusion of the singing. 
 
 18 
 
TABLEAU III 
 
 Introductory Reading 
 
 " Full fathom five thy father lies " is the 
 next song. Prospero's little spirits, headed by 
 Ariel, have at length brought Ferdinand quite 
 near to Miranda's cell, and Ariel is ordered 
 by Prospero to sing to Ferdinand this beauti- 
 ful sea-dirge, or funeral song for one lost at 
 sea, in which, in the wonderful language of 
 Shakespeare, he is told that his father lies 
 five fathoms (or fadom) deep in the sea and 
 " of his bones are coral made." 
 
 Prospero's design is to stir the best feel- 
 ings in Ferdinand's breast, love for his lost 
 father ; " this tenderness of filial love stirred by 
 the song, calls forth upon his face the highest 
 spiritual beauty ; " and then it is that Prospero 
 first lets Miranda see him. The charm works : 
 the young folk fall in love each with the 
 other ; Prospero brings the remaining char- 
 acters together to witness their love, and 
 
 19 
 
AN EVENING WITH SHAKESPEARE 
 
 forgives his enemies, who repent of their mis- 
 deeds ; Ferdinand and Miranda are married, 
 and all ends happily. 
 
 The tableau represents Ariel still invisible 
 to Ferdinand, singing to him of his father's 
 supposed death. 
 
 The music which is to be sung to these 
 words is most interesting, for there is no doubt 
 that this is the very tune which was sung 
 at the first production of " The Tempest," 
 when perhaps the gentle Shakespeare himself 
 stood in the " side-wings," directing the per- 
 formance. 
 
 The melody was written in 1612, three 
 hundred years ago, by Robert Johnson, a 
 famous player on the lute, and was sung in 
 the play by a precocious boy called Jack 
 Wilson, who afterwards, as the learned Mr. 
 John Wilson, Doctor in Music, arranged the 
 tune as a three-men's song and published it in 
 1660 in a book of "Cheerful Ayres or Ballets." 
 That book is still in the British Museum and 
 from it this old-world composition has been 
 arranged for performance to-night, not as a 
 three-men's, but as a three-boys' song. It will 
 be sung in unison with a three-part chorus. 
 
 20 
 
FULL FATHOM FIVE 
 
 Arranged for this work from " Cheerful Ayres or Ballads" for three 
 voices, published by Dr. John Wilson in 1660. This is undoubtedly 
 the original setting, as sung in Shakespeare's time. 
 
 Piano. . 
 
 Melody written by Robert Johnson in 1612. 
 
 1^ 
 
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 m 
 
 ^-M=^:= 
 
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 Full fath - om five thy fa - ther 
 
 Doh is A. 
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 ifV 1 
 
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 mf 
 
 
 21 
 
FULL FATHOM FIVE 
 
 ^ 
 
 Of his bones aregor - al made; Those are 
 |— :n.f Is :- .d In :r^ Ir :— |r :-.nl 
 
 ■£±1 
 
 i 
 
 pearls 
 
 that were his eyes : 
 
 :d Id :r In 
 
 No-thing of him 
 
 In :fe js :r ]. 
 
 
 ^ 
 
 |ife^ 
 
 ^¥S 
 
 m 
 
 that doth fade, 
 If 
 
 Butdothsuf-fer a sea change 
 :r .r \n :r.n Ir :-,pi |f : 
 
 22 
 
FULL FATHOM FIVE 
 
 In - to something rich and strange. Seanymphshourly 
 {|f :r |s£:ta |1 :-.s|s :— ||r :t, |n :d } 
 
 '^^ 
 
 ^1 
 
 =ff=p= 
 
 ring his knell: 
 {|f :r Is 
 
 Hark 1 now I hear them, Hark ! . . 
 
 |s :— I— :f.n|r :r |f :— j. 
 
 D.S. 
 
 II- 
 
 now I hear them, Ding - dong bell, 
 
 ■ :n.r|d :d In :— |r :— |d 
 
 |r :- |d :- |- :- 
 
 D.S. 
 
 23 
 
FULL FATHOM FIVE 
 
 ^i^m 
 
 Ding-dong, ding-dong bell, 
 
 \\s :-.f|n :r |d 
 
 and Voice, 
 
 ding-dong, ding-dong 
 
 |1 :-.s|f :n | 
 
 Ding-dong, ding-dong, ding-dong, ding-dong 
 
 Id :-.tai|l| :si If :-.n|r :d I 
 
 ^m 
 
 =^EEEEE3^E 
 
 23- 
 
 bell, 
 
 If. :- } 
 
 Ding-dong, ding-dong, ding-dong bell, 
 
 |d :-.Ui|l| :s, If I :ni lf| : 
 
 bell, 
 
 ■• J r - 
 
 ding-dong, ding-dong bell. 
 
 Is :-.f In :r |d 
 
 =^ c 
 
 ^^m=^ 
 
 zatit 
 
 bell, ding - dong, ding-dong, ding-dong bell. 
 
 It, :— Is :-.f In :-.r |d :-.t||d :— 
 
 ding-dong, ding-dong bell, 
 
 {|s, :-.fi|n, :r, jd, 
 
 ding-dong bell. 
 
 Is, :s, Id :— 
 
 Note. — When possible, the Chorus should be sung in three parts, as above. If, 
 however, this cannot be done, the lir^t-voice part is to be sung in unison, accompanied 
 by the pianoforte. 
 
 24 
 
AN EVENING WITH SHAKESPEARE 
 
 Directions 
 
 The curtain is raised at the fourth bar of 
 the introduction, Ferdinand and Ariel being 
 discovered as in the illustration printed as 
 frontispiece. 
 
 There is no action in this tableau, and the 
 curtain falls immediately upon the conclusion 
 of the singing. 
 
 ?5 
 
TABLEAU IV 
 
 Introductory Reading 
 
 " Sigh no more, ladies." This delightful little 
 song is taken from the play of " Much Ado 
 about Nothing." In it Shakespeare pokes fun 
 at the ladies, telling them not to mourn be- 
 cause their sweethearts prove unfaithful and 
 untrue, for, as he says, " men were deceivers 
 ever," always wanting to rove about, with 
 " one foot on sea and one on shore." The 
 ladies are therefore told not to sigh but to 
 keep themselves " blithe and bonny," turning 
 all their " sounds of woe to hey nonny nonny." 
 This phrase, " hey nonny nonny," was a 
 very common ending to the songs of Shake- 
 speare's time, and formed what was called the 
 burthen, or as we should say nowadays, chorus. 
 We shall notice this burthen again, later on, 
 in another of the old songs, " It was a lover 
 and his lass." 
 
 26 
 
•^ 
 
 X 
 
AN EVENING WITH SHAKESPEARE 
 
 The music to " Sigh no more " was written 
 about one hundred and twenty years ago, by 
 R. J. S. Stevens, the organist of the Temple 
 Church. It is a fine example of the Glee, 
 a form of unaccompanied music which has 
 always been very popular in England. At 
 the time of which we are speaking, the 
 school of English glee-writers reached its 
 zenith, and stood unrivalled among all the 
 countries of Europe. Moreover, their efforts 
 in this beautiful branch of music, which is 
 essentially a product peculiar to English soil, 
 have never been surpassed either by English 
 or foreign composers. Of this brilliant band, 
 R. J. S. Stevens was one of the ablest and most 
 powerful. " Sigh no more," originally written 
 as a five-part song, is often sung as a solo and 
 the composer's intentions thus quite ignored. 
 As it is impossible for children to sing the 
 original five parts, a very careful arrangement 
 from Stevens' score has been made for three 
 parts, and this will now be sung, rinac- 
 companied. 
 
 27 
 
SIGH NO MORE, LADIES 
 
 (Arranged from the original Five-part Glee, for Unaccompanied Singing 
 by Three Treble Voices.) 
 
 Voice. 
 
 2nd 
 Voice. 
 
 3rd 
 Voice. 
 
 Music by R. J. S. Stevens, 1757 — 1837. 
 
 Allegro. •'-100. 
 
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 I Sigh no more, la dies. Ladies, sigh no more ! 
 B — a 1 
 
 3= 
 
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 I. Sigh no more, la dies. Ladies, sigh no more! 
 
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 -M=^ 
 
 E^H^ 
 
 -i^ -J J: 
 
 |d :t, id :-|l^|d :-|f, :n, Ir, :d, |s,:— j-:— } 
 
 fe 
 
 dim. 
 
 m 
 
 =.«=(!= 
 
 i 
 
 g -P— I- 
 
 EIE^ 
 
 ||n :n .f |s :n 11 :s j 
 
 Men were de-ceiv-ers ev - er, 
 
 m 
 
 3^^ 
 
 Is :f .n |r :( 
 
 men were de-ceiv-< 
 
 ^^m 
 
 dim. 
 
 ||d :d .r |n :d 
 
 Men were de-ceiv-ers 
 
 :n 
 
 er, 
 
 
 =t: 
 
 In :r .d |ti : 
 
 men were de-ceiv- 
 
 ers 
 dim. 
 
 ^^ 
 
 =*=* 
 
 I |d :d .d Id :d |d 
 
 :d 
 
 28 
 
 Id :— I— :d .d js, 
 
 men , . 
 
 :n, } 
 
I=*. 
 
 SIGH NO MORE, LADIES 
 
 -* K- 
 
 ^^^^i^^ 
 
 ^^le 
 
 {|r :d 
 ev - er: 
 
 |=1 > 1 
 
 One 
 
 |r :r |s 
 
 foot in sea, 
 
 I- :s } 
 
 and 
 
 lit 
 ev - er 
 
 i 
 
 :d I- :- 
 
 |t. 
 
 One 
 
 It, :t, |d 
 foot in sea. 
 
 I- :d } 
 
 and 
 
 ^^m 
 
 m 
 
 ^^mw 
 
 ||s, :d I— :— |s, :— |S|^:ivri|n, :— |— :n, } 
 
 t 
 
 on 
 
 shore. 
 
 S^znS: 
 
 1^^ 
 
 r :r In :n |r :d I 
 
 To one thing con- stant 
 
 |[ li :-.ti|d :r | d ;— |t, :t, [d :d |t, :1, } 
 
 one on shore. To one thing con- stant 
 
 ill 
 
 Mi 
 
 ^^^ 
 
 --P^ 
 
 ^ 
 
 I- :f. 
 
 I— :s, |d ri; Isei :1, } 
 
 ||r :d I— :n |fji:ind|t, :d 
 
 nev - er, to one thing con-stant 
 
 t| 
 nev 
 
, Chorus, 
 
 SIGH NO MORE, LADIES 
 eras. 
 
 |pi, :-.ni[ f,.s,:l|.s,|l|.s,:f|.n, [ri :-.ni|f|.ri;n,J,| 
 
 And be you blithe and bon - ny. 
 
 and 
 
 |[ s|.li:t|.l,|t,.s ,:l|.t||d :t, |d :d |d :d 
 
 go ! And be you blithe and Don - ny, 
 
 :n I 
 
 and 
 
 p e^^^ illi 
 
 f 
 
 ||8 :1_^ |L^ :fji In :r 
 
 be you blithe and ton - ny, 
 
 I— :S| |si ;l|.t||d 
 
 Con - vert - ing all 
 
 ; r .n I 
 your 
 
 m^ 
 
 =m^ 
 
 
 ||n :f£i |f\n :r^ |d :t, |- 
 
 be you blithe and bon - ny, 
 
 :s, lsi :s, Id :d I 
 
 Con - vert - ing all your 
 
SIGH NO MORE, LADIES 
 
 
 
 ||f :nj|n :d Id :rji |f :nS\s :f£|l :1 
 
 sounds of woe, con - vert - ing all your sounds of woe, To 
 
 :1*=>=Fls 
 
 ^ 
 
 ||1, :t, Id :d |d 
 
 sounds 
 
 d Id :d |d :d |d 
 
 of woe, con -vert -ing all your sounds of woe. 
 
 :d 
 
 To 
 
 ES-i 
 
 E|J=^— ^ 
 
 i 
 
 ||r, :s, Id :d |d :ta, |1, :s^|n, :n, |f, :f, } 
 
 ||s 
 
 hey 
 
 ■ \n :d Ir :d | 
 
 non- ny, non-ny, 
 
 =f< — i^-i_s— k " 
 
 Jd :-|d :d |t, :d |d 
 
 hey non- ny, non-ny, hey 
 
 — |-:— It, :d |d :t, | : 
 
 non-ny, non-ny, 
 
 ||pi, :— Is, :n, |s, :d j 
 
 ^=^ 
 
 : In :— |r :d Id :8, |s, :— 
 
 hey non- ny, non-ny, hey 
 
 } 
 
 l!=P= 
 
 =t= 
 
 =|Sizz«= 
 
 eI 
 
 {|s: 
 
 hey 
 
 M- 
 
 {In 
 
 hey 
 
 If :in |1 :s I : J: 
 
 non-ny, non-ny, he 
 
 non-ny, non-ny. 
 
 -|r :d |f :n |d 
 
 non-ny, non-ny, hey 
 
 s :— In :d Ir :d |- 
 
 ley non -ny, non-ny. 
 
 -|-:-|d :s, |t,:d |- 
 
 non -ny, non-ny. 
 
 - It, :d |d :d I 
 
 non-ny, non-ny. 
 
 In, :— |d, :n. Is, :d |- 
 hey non -ny, non-ny. 
 
 31 
 
SIGH NO MORE, LADIES 
 
 w 
 
 2. Sing no more 
 
 m 
 
 dit 
 
 In :- |r :d |f 
 
 ties, La - dies, sing 
 
 =1= 
 
 ^ 
 
 no 
 
 II' 
 
 2. Sing no more 
 
 |r :— :d :— |1, :s, |t, :d } 
 
 dit ties, La - dies, sing no 
 
 {|d :t, Id 
 
 t, :d :— |f| :ni Ir, 
 
 :d. } 
 
 a=»= 
 
 y-S^^E^^-. 
 
 11"- 
 
 *l= 
 
 |r :r In :n.f|s :n 11 :s | -s I 
 
 Of dumps so dull and heav-y, of 
 
 :^=^^ 
 
 -3^sE 
 
 ili- 
 moe. 
 
 - It, 
 
 :t, Id :d£|n :d If :n 
 Of dumps so dull and neav- y. 
 
 zfc---«:^.-=S;zrz> : 
 
 il 
 
 of 
 
 I- :s, |d :d Id :d |d :d jd :— } 
 
 r^Jt- 
 
 ^ 
 
 ^ P S 
 
 :^ 
 
 I 
 
 m 
 
 ils :f^ |r :d 
 
 dumps so dull and 
 
 :d I- :- 
 
 tieav- y ! 
 
 I :r |r :r ]. 
 
 The fraud of 
 
 'ssi^--* 
 
 ^. 
 
 =?^ 
 
 M 
 
 { 
 
 n 
 
 :r.d|t 
 
 It, 
 
 w 
 
 dumps so dull and heav- y ! 
 Hte ifc: ^dim.^ 
 
 :t, It, :t, } 
 
 The fraud of 
 
 ^^^^ 
 
 {l« 
 
 Is, :n, |s, :d |— :— | :s, |s,.f,;n^r,| 
 
 32 
 
SIGH NO MORE, LADIES 
 
 i 
 
 ¥^ 
 
 ^= 
 
 ^ 
 
 ^^ 
 
 i In :n 
 
 sum - mer 
 
 tf- 
 
 |r 
 
 first 
 
 :d 
 
 ■was 
 
 E^ 
 
 r 
 
 leaf 
 
 :d 
 
 y. 
 
 :n 
 
 since 
 
 S^ 
 
 3^^= 
 
 IT 
 
 |]d :d It, :1, 
 
 sum mer first was 
 
 |[f .n : r .d |t, :d 
 
 sum mer first was 
 
 t, :1, 
 
 leaf - y. 
 
AN EVENING WITH SHAKESPEARE 
 
 Directions 
 
 As this song is to be sung unaccompanied, 
 there is no instrumental introduction. The 
 curtain is raised therefore as the chord of A is 
 struck upon the pianoforte. 
 
 The performers are discovered as in the 
 illustration facing page 26. The little boys 
 imitate the actions of singing, and playing on 
 the guitar ; while the little girls put on a woe- 
 begone appearance, raising their hands above 
 their heads, sighing vigorously, and looking 
 generally wretched and dejected. 
 
 The curtain falls immediately upon the 
 conclusion of the singing. 
 
 34 
 
TABLEAU V 
 
 Introductory Reading 
 
 We now come to the pastoral play of " As 
 You Like It," the greater part of which is 
 supposed to take place in the imaginary forest 
 of Arden. 
 
 The story goes that a certain duke of 
 France had been deposed by his younger 
 brother, and driven from his kingdom. 
 
 The banished duke, with a few faithful 
 followers, retired to the forest of Arden, and 
 there led a life of careless ease, which soon 
 became more sweet to them than the un- 
 meaning splendours of the duke's court. 
 There they passed the time carelessly, as they 
 did who lived in the golden age. 
 
 One of their songs was " Under the green- 
 wood tree," in which the jolly foresters sing 
 of their careless out-of-door life during the 
 bright summer-time, when a man " tunes his 
 merry note to the sweet bird's throat." 
 
 35 
 
AN EVENING WITH SHAKESPEARE 
 
 The music to this song, like " Where the 
 Bee Sucks," was written by our typical English 
 composer. Dr. Thomas Augustine Arne, in 
 1 74 1, for a performance of " As You Like It " 
 at Drury Lane Theatre — the play having been 
 laid aside for quite forty years previous to that 
 date. 
 
 It is interesting to note that young Arne, 
 like many another musical genius, was for- 
 bidden the practice of his beloved art when 
 a young man ; in fact he was placed in a 
 solicitor's office and intended for the law. So 
 fond, however, was he of music, that, manag- 
 ing to buy an old spinet, he smuggled it into 
 his bedroom, and by placing a cloth over the 
 strings was able to practise during the nights, 
 undetected. He also spent his pocket-money 
 in obtaining lessons on the violin. Sometimes 
 he would even borrow a servant's livery in 
 order that he might gain free admittance to 
 the servants' gallery of the opera. 
 
 He soon attained such skill on the violin 
 that he became the leader of a small private 
 orchestra which held its rehearsals at the 
 house of an enthusiastic amateur. There he 
 was at last discovered by his father, who, 
 
 36 
 
AN EVENING WITH SHAKESPEARE 
 
 seeing that resistance was unavailing, consented 
 to the young fellow's following music pro- 
 fessionally. In a very short time his genius 
 placed him in the highest rank of English 
 musicians, and some of his songs, such as this 
 about to be sung, will never die. 
 
 Arne was the first English musician to use 
 female voices for singing the soprano and alto 
 parts of the choruses of his oratorios. 
 
 37 
 
UNDER THE GREENWOOD TREE 
 
 (Composed in 1740.) 
 
 Briskly, and with well-marked rhythm. 
 
 FlAUO. 
 
 Music by Dr. Arne (1710-1778). 
 (Original key, F.) 
 
 i-e-t' T-^- 
 
 .T-^^Y^ 
 
 —m — «— f 
 
 9 ,m -, 1 
 
 — 1 =] — 1— 
 
 -^f- 
 
 *-^ 
 
 W.-rh i- 
 
 -F =i--iS^ 
 
 r 
 
 -.-»-=— 
 
 
 
 '^bh »■ 
 
 !dE^ 
 
 
 1 w^ 
 
 
 
 38 
 
UNDER THE GREENWOOD TREE 
 
 ^^^^mm 
 
 L l^ ^ 1 
 
 Who loves to lie with 
 
 Vrc- der the greenwood tree, 
 Doh is EI^. 
 
 ||s :-.f:nll :— :t jd' :-:— | : :s [1_^ :d' |f :-:ii } 
 
 S 
 
 ^^^ 
 
 M=s- 
 
 '^^mm^m 
 
 :^^E 
 
 ^5E 
 
 ^ 
 
 -^^ 
 
 ^ 
 
 i^- 
 
 m 
 
 ^^^ 
 
 N I 
 
 :5t=5l= 
 
 me, 
 
 ||r:- 
 
 And tune his mer-ry note, his 
 
 :s |pi.f :s ;s |s :s :— Is :— :— I ; :8 I 
 
 
 =^* 
 
 gte^ 
 
 ^^ 
 
 s;^ 
 
 11 
 
 mer-ry mer-ry note, Un- to . . the sweet bird's 
 
 n :s :— Id' :s :— Is :— :s |r':t :s Id' :— :— |t :— : 
 
 i 
 
 ^ 
 
 ^^ 
 
 ^^ 
 
 M 
 
 Tm-Sn 
 
 Mi^^^=^ 
 
 -t^J==l=C: 
 
 39 
 
UNDER THE GREENWOOD TREE 
 
 throat. And tune his merry note, Un-to the 
 
 I II :— :— I : ;'^'s I ni :s ;s |s :s :— Is :— :srlti:— :r | 
 
 ^a 
 
 ^- 
 
 :^=¥= 
 
 S==5 
 
 i 
 
 -^ 
 
 ^^ g 
 
 z»=:z|5: 
 
 ::ts=t:^ 
 
 sweet bird's throat, Come hither, 
 
 I Is :— :— Id :— :— It,:— :— I : :r In :s : 
 
 m 
 
 @5i=S= 
 
 ^^ 
 
 ^^^^^ 
 
 come hith-er, come hither, come hith 
 
 hith-er, 
 
 In :s : j : :d If :f :n jr :r :d II 
 
 =5"=^ 
 
 ^= 
 
 er, come 
 
 :-|s :-:f } 
 
 / 
 
 ^A 
 
 m 
 
 40 
 
UNDER THE GREENWOOD TREE 
 
 hith-er, come hi tb-er, come bith-er : 
 
 ||n :r :cl |r :s, :t, Id :d :— | 
 
 : I : : } 
 
 ^^^^^^^^^^^^M 
 
 
 i 
 
 -^ 
 
 ^^EE^ ^^^^^ 
 
 =s=^ 
 
 Here shall he see No en-e-my, But winter and rough 
 
 |fs:r :d | t| :r :f In :r :d | : :n Ir :ti :s, jf, :— :— j. 
 
 41 
 
UNDER THE GREENWOOD TREE 
 
 ^^^^m ^^^ 
 
 s. 
 
 ^^ 
 
 ~=rT~ 
 
 weather, Here shall he see . . No ea - e - my, But 
 
 Ijn, :d : | : : I'sir :d Itjjr :f In :r :d | : :n } 
 
 winter and rough weather, 
 
 ||r :t| :s, If, :— :— |n, :d : | 
 
 Here shall he see No 
 E(7. {Lah is Q.) 
 
 ht :se:n |r|^:d' :t I 
 
UNDER THE GREENWOOD TREE 
 
 ad lib. 
 
 win- ter and lOugh weather,roughweather, but win-ter and rough 
 
 If :n :r |se:— :— 11 :1 :s |f :n :r Id :ti:l||n :— 
 
 ^i^^i 
 
 
 mi 
 
 Un-der the greenwood tree, Who loves to lie with 
 
 |s :-i:n II :-:t |d' :— :-| : :s |1_^ :d' |f :— :pi } 
 
 N _ _ _ rTT- 
 
 
 43 
 
i 
 
 ^E 
 
 UNDER THE GREENWOOD TREE 
 
 _|l»-, — laDi^ P« — I 1*- 
 
 m 
 
 :«t:il=S= 
 
 i 
 
 ~y—i- 
 
 r :— : 
 
 And tune his mer - ry note, Un-to the 
 -I : :s ln.f:s :s |s :— :s Ir' :— :s |s :— :s } 
 
 m 
 
 ^3^ 
 
 ^^HE 
 
 E^ 
 
 Zi(= 
 
 sweet bird's throat, 
 
 {|d':— :-|f :-:-|n :— 
 
 and tune his mer - ry 
 
 :pi |1 :— :f |r_Mn :f } 
 
 f f 35- 3?- f 
 
 
 ^ 
 
 =±12= 
 
 1^ 
 
 note, Un to the sweet bird's throat, Come 
 
 ||s :— :n \Ajt :n |f :— :— |n :— :— Ir :— :— | : :s J 
 
 ■m. M- -it- W- .0- ' ' ' 
 
 ^^ 
 
 ;f^ 
 
 zB=!t=A- 
 
 -S —£m^—0- 
 
 -^ 
 
 p-rl?-i^ 
 
 =g=q5= 
 
 44 
 
UNDER THE GREENWOOD TREE 
 
 m^ 
 
 ^'=g^-^— r^^; 
 
 1p<- 
 hith-er. 
 
 Is :d' : 
 
 hith-er, 
 
 {|1 :d': I 
 
 hith-er, 
 
 11 :d': 
 
 EfeiEE^; 
 
 ^m 
 
 ::^=P= 
 
 ^ i-:^t. uii-u «. u:<.i • u:4.u t.:i.i. 
 
 hith-er. 
 
 come hith-er, come hither, come hith-er, come hith-er, come 
 
 ||s :d': I : :d |f :f :n |1 :1 :s |d' :d' :t |1 :s :f } 
 
 
 {\ 
 
 hith-er, come hither, come hith-er. 
 
 n :s :d'Ir :d :t |d' :d' : I 
 
 /7^ 
 
AN EVENING WITH SHAKESPEARE 
 
 Directions 
 
 The curtain rises during the last four bars 
 of the introduction, discovering groups of little 
 boys dressed as foresters, and arranged as in 
 the illustration facing page 36. Some are busy 
 sharpening their arrows, others are bending 
 their bows at imaginary deer, while the re- 
 mainder walk up and down engaged in con- 
 versation. The curtain falls during the playing 
 of the last four bars. 
 
 46 
 
TABLEAU VI 
 
 Introductory Reading 
 
 The next item is not a tableau^ but a scene 
 from the rollicking comedy of "Twelfth 
 Night," in which the songs, " O mistress 
 mine " and " Hold thy peace " will be sung. 
 
 The music to " O mistress mine " is very 
 quaint and interesting, as it was extant in 
 Shakespeare's time, although its composer is 
 not known. It is probable that Shakespeare 
 wrote his words to fit the popular version of 
 this tune. 
 
 It was fiiSt published in 1599 in Thomas 
 Morley's " Consort Lessons," and again in 
 161 1 in the so-called "Queen Elizabeth's 
 Virginal Book," where it was edited and 
 arranged by William Byrd — a gentleman of the 
 Chapel Royal, and a great English musician, 
 whose masses are still frequently sung at the 
 Brompton Oratory. 
 
 47 
 
AN EVENING WITH SHAKESPEARE 
 
 The scene about to be played is supposed 
 to take place in the grounds of the Countess 
 Olivia's house, and the characters represented 
 are Sir Toby Belch, who is the Countess's 
 drunken uncle, his friend Sir Andrew Ague- 
 cheek — a weak-minded and conceited fop — 
 and the Countess's Jester, Feste by name. The 
 three have been, to use a vulgarism, " making 
 a night of it," and are now supposed to be 
 putting a crown upon their enjoyment, by sing- 
 ing, or rather shouting together the old catch, 
 " Hold thy peace, thou knave," 
 
 In Shakespeare's time so musical were 
 English folk that no gentleman's education 
 was considered complete who could not bear 
 his " part " in a catch or madrigal. 
 
 Nowadays, by the term " catch " we 
 understand a kind of round or canon, in 
 which the words are so arranged that, when 
 the singers are all singing together and catch- 
 ing up each other's phrases, the words are 
 wrested from their original meaning, and an 
 element of fun introduced. 
 
 In Elizabeth's time, however, a catch 
 simply denoted what we should now call a 
 round, in which the singers, as it were, 
 
 48 
 

AN EVENING WITH SHAKESPEARE 
 
 " catch " each other up, one after the ' 
 other. 
 
 The catch about to be sung is written for 
 three voices, and was therefore called a three- 
 men's song. The special joke of the piece 
 seems to be the fact that each singer calls the 
 other a knave. In modern stage representa- 
 tions of " Twelfth Night " it is customary to 
 omit this catch, and substitute the part song, 
 " Which is the properest day to drink ? " r 
 
 We, however, will have the real , old 
 English catch, of which both the words and 
 music were very old, three hundred years ago, 
 when it was sung before Shakespeare himself 
 at the first performance of the play. 
 
 49 " 
 
O MISTRESS MINE 
 
 (First" published in Morley's " Consort Lessons " in 1599, and in the so-callsd 
 Queen-Elizabeth's Virginal Book in i6ti.} 
 
 Fl&NO. 
 
 Melody Traditional. 
 
 Raf her slowly. 
 
 1. Mistress mine, where are you roaming ? 
 
 2. What is Love ? 'tis not here - af - ter ; 
 
 DohisF. ild' :n .n :r Id :n .fe :s .s I 
 
 ^^1^ 
 
 i^^^sOi 
 
 mf 
 
 50 
 
O MISTRESS MINE 
 
 ■-> — h = 
 
 :Sz*z 
 
 cms. 
 
 ^£^^ 
 
 m 
 
 O . . Mis-tress mine, 
 What . . is . . Love ? 
 
 Id .,r: n .n :r 
 
 where are you roam- ing ? 
 
 'tis not here - ,af ter ; 
 
 :n ie :s .s 
 
 l« 
 
 m 
 
 =3=^ 
 
 ^ 
 
 53= 
 
 o, 
 
 Pres 
 
 II' 
 
 $ 
 
 stay and hear ! 
 ent mirth 
 
 :1 .1 :1 
 
 j- 
 
 your 
 hath 
 
 true love's com-ing, 
 pres- ent laugh-ter, 
 
 :s .s :s .s I 
 
 m 
 
 m 
 
 =1= 
 
 dim. 
 
 -J- 
 
 EE 
 
 =S= 
 
 That . . can sing 
 What's . . to come 
 
 I Is :1 .s :d' 
 
 both 
 is 
 
 in :r 
 
 high and low : 
 still un - sure : 
 
 d :f 
 
 51 
 
p 
 
 MISTRESS MINE 
 
 ^^^1^=1 
 
 Trip . . no fur-ther, pret - ty sweet - ing! 
 In . . de - lay there lies no plea - ty ; 
 
 :r .d :s .s Id .,r :pi .r :d 
 
 dim. 
 
 in lov - ers meet- ing, 
 
 me, sweet and twen- ty ! 
 
 n :r .d :f i j. 
 
 Ev 'ry wise man's son . . doth know. 
 
 Youth's . . a stuff will not . . en -dure! 
 
 .d :s .s Id .,r:n .r :d 
 
 52 
 
HOLD THY PEACE. 
 
 (First published in 1609 in " Deuteromelia ; or the second part of Mustek's Melodie, 
 or melodious Musiclte of Pleasant Roundelaies ; Freemen's (Threemen's?) Sungs and 
 delightful Catches.") 
 
 CATCH FOR THREE VOICES, UNACCOMPANIED. 
 
 Music Traditional, 
 Edited by Thos. Ravenscroft, 1582 ? — 1633. ? 
 Briskly, counting four in a bar. 
 
 ttf 
 
 ^m 
 
 Hold thy peace, and I prithee, hold thy peace, 
 
 Doh is A- 
 
 |ld :- .S| Id :- .t|,d |r .r :r .1| |r 
 
 M 
 
 ^^ii 
 
 -^^ 
 
 -P- 
 
 =»-=!= 
 
 thou Knave ! 
 
 ||n :d 
 
 Hold thy peace, thou Knave, 
 
 |f .s :1 Ife :r } 
 
 Repeat ad lib. 
 
 
 11 
 
 thou Knave ! 
 |s :I1 
 
 The Catch in Shakespeare's time meant simply a Round for three or more voices. 
 The Catch was for each succeeding singer to take up or catch his part in time. One 
 of the mottoes on the title-page of Deuteromelia is " Catch that catch can." 
 
 In the above example, the first singer leads off alone, the second singer beginning 
 when the first reaches t1ie note marked by the asteriskj and the third following suit as 
 bis predecessor arrives at the same point. 
 
 53 
 
AN EVENING WITH SHAKESPEARE 
 
 Directions 
 
 The curtain rises, discovering Sir Toby 
 Belch and Sir Andrew Aguecheek meeting 
 in the centre of the stage. 
 
 Sir Toby. Approach, Sir Andrew : not to 
 be a-bed after midnight, is to be up betimes ; 
 and diluculo surgere, thou know'st, — 
 
 Sir And. Nay, by my troth, I know not : 
 but I know, to be up late, is to be up late. 
 
 Sir Toby. A false conclusion ; I hate it as 
 an unfilled can : To be up after midnight, 
 and to go to bed then, is early ; so that, to go 
 to bed after midnight, is to go to bed betimes. 
 Do not our lives consist of the four elements ? 
 
 Sir And. 'Faith, so they say ; but, I think, 
 it rather consists of eating and drinking. 
 
 Sir Toby. Thou art a scholar ; let us there- 
 fore eat and drink. — Marian, I say ! — a stoop 
 of wine ! ^ : 
 
 "Enter Clown. 
 
 Sir And. Here comes the fool, i' faith. 
 Clo. How now, my hearts .? Did you 
 never see the picture of we three ? 
 
 54 
 
AN EVENING WITH SHAKESPEARE 
 
 Sir Toby. Welcome, ass. Now let's have 
 a catch. 
 
 Sir And. By my troth, the fool has an 
 excellent breast. I had rather than forty 
 shillings I had such a leg ; and so sweet a 
 breath to sing as the fool has. In sooth, thou 
 wast in very gracious fooling last night, when 
 thou spokest of Pigrogromitus, of the Vapians 
 passing the equinoctial of Queubus ; 'twas 
 very good, i' faith. I sent thee sixpence for 
 thy leman : Hadst it ? 
 
 Clo. I did impeticos thy gratillity ; for 
 Malvolio's nose is. no whipstock : my lady has 
 a white hand, and the myrmidons are no 
 bottle-ale houses. 
 
 Sir And. Excellent ! Why, this is the 
 best fooling, when all is done. Now, a song. 
 
 Sir Toby. Come on ; there is sixpence for 
 you : let's have a song. 
 
 Sir And. There's a testril of me too : if 
 one knight give a 
 
 Clo. Would you have a love-song, or a 
 song of good life ? 
 
 Sir Toby. A love-song, a love-song. 
 
 Sir And. Ay, ay : I care not for good 
 life. 
 
 55 
 
AN EVENING WITH SHAKESPEARE 
 
 Song {Clown). 
 
 O mistress mine, where are you roaming? 
 O, stay and hear ; your true love's coming. 
 That can sing both high and low: 
 Trip no further, pretty sweeting ; 
 Journeys end in lovers meeting. 
 Every wise mans son doth know. 
 
 Sir And. Excellent good, i' faith ! 
 Sir Toby. Good, good. 
 
 Clown 
 
 What is love ? ^tis not hereafter ; 
 Present mirth hath present laughter ; 
 Whafs to come is still unsure : 
 In delay there lies no plenty ; 
 Then come kiss me, sweet-and-twenty, 
 Tenth's a stuff will not endure. 
 
 Sir And. A mellifluous voice, as I am true 
 knight. 
 
 Sir Toby. A contagious breath. 
 
 Sir And. Very sweet and contagious, i' 
 faith. , 
 
 Sir Toby. To hear by the nose, it is 
 dulcet in contagion. But shall we make 
 
 56 
 
AN EVENING WITH SHAKESPEARE 
 
 the welkin dance indeed ? Shall we rouse 
 the night owl in a catch, that will draw 
 three souls out of one weaver ? shall we do 
 that ? 
 
 Sir. And. An you love me, let's do't : I 
 am dog at a catch. 
 
 Clo. By'r lady, sir, and some dogs will 
 catch well. 
 
 Sir And. Most certain : let our catch be, 
 Thou knave. 
 
 Clo. Hold thy peace, thou knave, knight ? 
 I shall be constrain 'd in't to call thee knave, 
 knight. 
 
 Sir And. 'Tis not the first time I have 
 constrain'd one to call me knave. Begin, fool, 
 it begins. Hold thy peace. 
 
 Clo. I shall never begin, if I hold my 
 peace. 
 
 Sir And. Good, 'i faith ! Come, begin, 
 
 (They sing the catch, " Hold thy peace.") 
 
 The actors should be dressed as in the illus- 
 tration facing page 48. " O Mistress Mine " 
 may be sung as a solo by the Jester, and 
 " Hold thy Peace " as a trio by Sir Toby, 
 
 57 
 
AN EVENING WITH SHAKESPEARE 
 
 Sir Andrew, and the Jester ; or both pieces 
 may be sung by the concealed choir. 
 
 During the singing of the catch, which 
 should be repeated over and over again, many 
 extravagant antics should be performed. The 
 fun waxes fast and furious, and the performers 
 taking hands, twirl round in a ring, endeavour- 
 ing to keep time with the singing, which 
 gradually becomes quicker and quicker. At 
 length they fall upon the ground exhausted, 
 bursting into loud laughter as the curtain 
 rapidly descends. 
 
 58 
 
TABLEAU VII 
 
 Introductory Reading 
 
 Our next song is taken from the beautiful 
 fairy play called " A Midsummer Night's 
 Dream." 
 
 In olden times the belief in the existence 
 of fairies was very general, and even in 
 Shakespeare's day* it was only just beginning 
 to die out. By his wonderful art the great 
 poet has made these airy, fanciful little people 
 appear so natural and life-like, that not only 
 has he prevented the belief in them from 
 dying out, but has succeeded in making them 
 immortal. 
 
 The beautiful words of this song describe 
 the abode of the Fairy Queen Titania and 
 her attendant sprites, where she " sleeps some- 
 time of the night, luU'd in the flowers with 
 dances and delight." The tableau is an 
 attempt to depict this retreat of the Fairy 
 
 59 
 
AN EVENING WITH SHAKESPEARE 
 
 Queen, with her little elves amusing her by 
 dancing on the greensward, beneath the pale 
 light of the moon. The music, written about 
 one hundred years ago by C. E. Horn, for two 
 solo voices, has always been very popular on 
 account of the sweetness and beauty of the 
 melody given to each of the voices. 
 
 60 
 

Original key, E flat. 
 And ifiU. 
 
 I KNOW A BANK 
 
 Composed in 1823 
 
 Music by C. E. Horn, 1786-1849. 
 
 Piano. 
 
 TTl. 
 
 m^ 
 
 1^^: 
 
 1 — r 
 
 =■(=?:: 
 
 Tt^%~ 
 
 ff 
 
 ^^ 
 
 ^m 
 
 i 
 
 -1— gr 
 
 T-^- 
 
 ■s- 
 
 Doh is C- 
 
 {| 
 
 ^^^^^^ 
 
 I know a bank whereon the wild thyme blows, 
 
 I In :n .,n|s .,s:pi.s If :r jn 
 
 •» 
 
 ^m 
 
 r=¥ 
 
 gE^ 
 
 ^^^1^ 
 
 61 
 
I KNOW A BANK 
 
 I 
 
 know a bank whereon the wild thyme blows, 
 
 :d' ..r'ld' .t :t .,d'|t :!• |s 
 
 ^^^^^^^E^=EE§. 
 
 I 
 
 In 
 
 $ 
 
 know a bank whereon the wild thyme blows, Where 
 
 :n .,f In .r :r .,n Is :f |n :s |, 
 
 y— '^ zjjE^ 
 
 4==^ 
 
 =1= 
 
 
 -»-s- 
 
 -^= 
 
 s^=]- 
 
 {| 
 
 fe 
 
 ■=t- 
 
 Where 
 
 ^^^^ 
 
 -^ 
 
 lips and the nodding vio -let grows, where 
 
 :s In :s If .n :f .s |n :s l 
 
 legato. 
 
 m 
 
 
 62 
 
1 KNOW A BANK 
 
 ox - lips and the nodding vio-let grows, I 
 
 {It :s |d' :- .s If ,n :f .s |n : .n I 
 
 ^l 
 
 m 
 
 ^^^^^^^ 
 
 -0s: 
 
 ox 
 
 If 
 
 lips 
 
 and 
 
 h 
 
 the nodding vio-let grows, 
 
 .n Ir .d :r .ti |d 
 
 I 
 .n } 
 
 ^=3=*=-=^ 
 
 2t=5==S= 
 
 
 §^ 
 
 Ei^i 
 
 ^= 
 
 38 *— 
 
 -V— *^ 
 
 ^ii 
 
 . . the 
 
 Id' .1 ; f .r' } 
 
 know a bank whereon- the wild thyme blows, 
 
 f .8 :1 .t Id' .,t:d' .r' |n; :t^ 
 
 11 
 
 ^^i^i 
 
 know a bank whereon the wild thyme blows, 
 
 Ijr .n :f .s |1 .,se:l .t Id' :se 
 
 ^=^^8^--=g;gHg£g^ 
 
 caUavaci, 
 
 -:a|- 
 
 ^^ 
 
 1^ 
 
 63 
 
I KNOW A BANK 
 
 wild 
 ||d' ^ 
 
 thyme . . blows, 
 
 It :d',t.l,t|d' :- 
 
 blows ; 
 
 lid' : 
 
 ad lib. 
 
 -J 
 
 ^=t 
 
 JigJ'-s'- 
 
 wild 
 
 thyme . blows, 
 
 |r ;n,r.d,r[n :— |- 
 
 blows ; - 
 
 II n :- I- 
 
 I 1st time. 
 
 i).i\ II znU time. 
 
 m 
 
 E35^ 
 
 =*z3j:i 
 
 
 =S±S:S- 
 
 m 
 
 m=^ 
 
 -S:-- -S- 
 
 ■z|:-^- 
 
 There sleeps the Jai 
 
 (f')|t, :t, .,d|r 
 
 :si 
 
 legato. 
 
 B^ 
 
 .^. 
 
 =^ 
 
 * In repeating this pas<;age, it is customary for the voices to exchange parts. 
 
 64 
 
I KNOW A BANK 
 
 rail. 
 
 Queen, the 
 
 I |d :ta, 
 
 fai 
 II. 
 
 :fi 
 
 Queen. 
 
 I- 
 
 i giigi-j^j ^&ii^^^^l 
 
 
 mi 
 
 ^" 
 
 ^=A- 
 
 {: I : I : 
 
 a tempo, espress. 
 
 I l^now a bank where-on the wild thyme blows, And tfa^ 
 
 -[:si In :- ,f^lr :- .iv|d .t| :d .r |S| :d .t, I 
 
 p a tempo. 
 
 m 
 
 I^^EEE^^E^E^E 
 
 ss 
 
I KNOW A BANK 
 
 nodding.nodding vio 
 
 [11, .t, :d ."r Is, 
 
 let grows, 
 
 : 1. -ti |d 
 
 a tempo. 
 
 h 
 
 ^ 
 
 ^ 
 
 m 
 
 ^ 
 
 i^ 
 
 know 
 
 1= 
 
 a. bank whereon the wild thyme blows.'iAnd the 
 
 'f,n|r :- /n^\i .t, :d .r Is, :d ..t,} 
 
 i 
 
 II 
 
 $ 
 
 m 
 
 i=V 
 
 ^EJ^ 
 
 p a tempo. 
 
 le 
 
 
 66 
 
I KNOW A BANK 
 
 ad lib. 
 
 -* |i 
 
 ^^ti^r 
 
 s 
 
 =s=*= 
 
 ^t^ 
 
 nodding, nodding vio 
 
 ||1, .t, :d .r In 
 
 let grows, 
 
 c. 
 
 :»f.r l^s :— 
 
 s 
 
 Piit allegro. 
 
 {\ 
 
 P 
 
 cantahile. 
 
 ^= 
 
 ^P 
 
 There sleeps the fai 
 
 1 1 (3)8 :pi .,ria 
 
 :d' 
 
 Queen, 
 
 Id' :t 
 
 pm aHegro. 
 
 67 
 
I KNOW A BANK 
 
 {1 
 
 There . , sleeps some - time of the night, 
 
 {|s :- .1 Is :f |n :iv.f^|s : } 
 
 $ 
 
 A K-.F q= 
 
 S^^ 
 
 jS -* J-3 -Zi=l^ 
 
 LuU'd 
 lid' 
 
 in the flow'rs . . with dan -ces and de - 
 
 Is :n [ d' :1 |f : .r jl :s. |s"'":Kt} 
 
 
 =11==s= 
 
 ==^: 
 
 68 
 
I KNOW A BANK 
 
 There sleeps the fai - ry . . 
 
 :n .,r |d .n :s .d' I 
 
 Queen, 
 {| d'.r'.d':t I 
 
 There . , sleeps some - 
 
 [s :Jl Is :f } 
 
 {1 
 
 W 
 
 ^m 
 
 69 
 
I KNOW A BANK 
 
 i 
 
 s=!S= 
 
 rj «!• * 
 
 m^ ^^^ 
 
 -time of the night, Lull'd . . in the flow'rs . . with 
 
 {In :n .,f|s : [ d'.n';d ' .s |n.a ;n.s I d' ;1 |f : .r I 
 
 {| = ' 
 
 ^ 
 
 ^^^^^p^^i^ 
 
 dan-ces and de - light, 
 ||1 :s Is :^^r'|d' :— |— : [ 
 
 with 
 
 m 
 
 con anima. 
 
 ^ 
 
 {| 
 
 with dan - ces and de 
 
 I :s If :s In :s I 
 
 ^^?^i^= 
 
 P con anima. 
 
 m^mi 
 
 70 
 
I KNOW A BANK 
 
 i 
 
 ^E 
 
 ^ 
 
 dan 
 
 -light, 
 IK 
 
 ces 
 :s 
 
 and de - light, 
 
 Id' :s Ir' 
 
 with 
 
 with 
 
 dan ces . . and de 
 [ f ■r',d' ; t,Uf |n : d',t.I,g }. 
 
 3^3^ 
 
 3^3^=3^: 
 
 g^p 
 
 35=:Ki: 
 
 ^^^ 
 
 ■ffr«i«:K=:e: 
 
 bft-f 
 
 dan - ces . . and de light, 
 
 { |t_^ : d',t.l,s |d' .n' :r' ,d'.t,d' |r' :— 
 
 m 
 
 with 
 
 I- :s 
 
 ^^m 
 
 -light. 
 
 Zeal- 
 and 
 
 In 
 
 de 
 
 light, 
 If 
 
 with 
 
 :s 
 
 :=1=: 
 
 *- 
 
 i^^=^ 
 
 / 
 
 ^8-- 
 
 r 
 
 71 
 
I KNOW A BANK 
 
 dan 
 
 { I n .f',n';r'.n',r'|d'.r'.d';t .d',t 1 1 .t,l:s .l.s|f ■s,f:n .f,s I 
 
 dan 
 
 { [ fl' -1 :t .s jl .f ;s .n [ f .r ;n .d |r .t, :d .r,pi } 
 
 ! t T , ! 
 
 ! t » I 
 
 ^^m^mM^^^^. 
 
 w- 
 
 ^ 
 
 t 
 
 :^=S- 
 
 s 
 
 and 
 Is , 
 
 de 
 
 :t 
 
 light, 
 Id" 
 
 
 ces and de 
 
 {|L 
 
 In . :r I 
 
 light, 
 PI 
 
 ^--9- 
 
 i^^^^ 
 
 m 
 
 -^ 
 
 ^ 
 
 72 
 
I KNOW A BANK 
 
 ^^^^l^=^-3g^^^gl 
 
 dan 
 
 { I fi' .f',n';r' .nSi'ld' .r',d':t -d'.t 1 1 . t,l:s .l,s| f .s,f :pi .f.s ). 
 
 dan 
 
 I [ d',t.l ;t,1.8 |l,8.f ;s,f.n I f, n.r in,r.d |r,d.t[ :d .r,n I 
 
 II I ? 
 
 f 1 » f 
 
 ^^^^^^^^^m 
 
 m 
 
 ^i=^^ 
 
 — 1 -H s' 
 
 EE^ 
 
 ces and de - light, with dan - ces and de . 
 
 ||1 :dU|s :t |d' : |d' :- |d' :r^d'|t :-.t} 
 
 ces and de - light, with 
 
 If :li^|n :r In : |n :- 
 
 dan - ces and 
 
 If rfjnir :-.rl 
 
 ^i= 
 
 SflNS 
 
 73 
 
I KNOW A BANK 
 rit. ~. 
 
 A 
 
 ■i^ 
 
 ^^^^. 
 
 - light, with 
 
 {[d' :- In' 
 
 dan - ces and de - light. 
 
 In' :r'.d'|t :-.t*'|d' : 
 
 - light, with dan - ces and de - light, 
 
 Ijn :— ' Is :— Is ifji |r :-.r''-''ln :— |— :— I 
 
 | 5E^ %Pg^g^£ 
 
 3^=tS=^ 
 
 rit. 
 
 ff a tempo. 
 
 ^:-j— J EJE^-|l£^2g^ 
 
 -I 1 — J- 
 
 r^Tf 
 
 iP^ 
 
 !-l 1 J— I 1 T^ 
 
 ._-j _i -I m sb- 
 
 =it=«nS=^=* 
 
 -m- -est- 
 
 '^^^ 
 
 -J — s= 
 
 # 
 
 -i*: -tf 
 
 pp 
 
 -=:*-• -*- -C5- 
 
 -^- i 
 
 74 
 
AN EVENING WITH SHAKESPEARE 
 
 Directions 
 
 The curtain rises at the fourth bar of the 
 introduction, discovering twelve little girls 
 dressed as fairies with wreaths of flowers, &c., 
 as shown in the illustration facing page 60, 
 
 
 DIAGRAM A. 
 
 Q 
 
 Q 
 
 Q 
 
 Q 
 
 
 
 -ii 
 
 
 \ ■»■ N 
 
 
 
 ■"-A 
 
 Front of Stage. 
 
 the stage being flooded with a dark purple 
 light. The children stand in the position 
 shown in Diagram A. 
 
 First Figure (4 bars of music). 
 
 As soon as the voices commence singing, 
 the "fairies," with a polka-step — i.e. resting 
 
 75 
 
AN EVENING WITH SHAKESPEARE 
 
 after every third step — lightly skip across the 
 stage and assume the position shown in Dia- 
 gram B. 
 
 
 
 
 DIAGRAM B. 
 
 
 
 
 
 *^^ 
 
 '^^N 
 
 
 
 ,,'-'' 
 
 
 
 ^. 
 
 
 -Q 
 
 \ 
 
 0^' 
 
 0^- 
 
 
 .-r 
 
 -- 
 
 -0 
 
 "^-^Q 
 
 \ O"'' 
 
 Q- 
 
 ,'' 
 
 Q 
 
 --., 
 
 ^Q 
 
 
 Q 
 
 0- 
 
 ,'' 
 
 Q 
 
 Front of Stage. 
 
 This occupies the first four bars of the 
 
 song. 
 
 Second Figure (2 iars). 
 
 During the next two bars the performers 
 dance backwards in the directions indicated 
 by the arrows in Diagram B, and assume the 
 position shown in Diagram C. 
 
 76 
 
AN EVENING WITH SHAKESPEARE 
 
 Third Figure (6 bars — Le. to the end of 
 the bar marked '■'■ \st time " ). 
 
 From the position shown in Diagram C, 
 each line, dancing in single file, makes a com- 
 plete circuit of the stage, as shown by the 
 arrows. The dancers pass each other at the 
 spot marked *, eventually returning to their 
 original places in readiness for the fourth figure. 
 
 DIAGRAM C. 
 
 if 
 \Q\ 
 
 \o\ 
 
 ^ 
 
 *- 
 
 JK. 
 
 Front of Stage 
 
 >Qi 
 
 ioi 
 
 iQj 
 
 Ioi 
 
 .0 
 
 Fourth Figure (8 bars). 
 
 From the position as shown in Diagram C, 
 the performers face each other, advance to the 
 centre of the stage, and then retire to original 
 places. 
 
 77 
 
AN EVENING WITH SHAKESPEARE 
 
 Fifth Figure (4 bars). 
 
 From the C position the dancers, following 
 the directions shown by the arrows, assume 
 the figure of a cross as in Diagram D. 
 
 The music has now reached the end of the 
 bar marked " 2nd time." 
 
 DIAGRAM D. 
 
 40 ♦ ^ 
 
 ^ --. 50 ^ 
 
 *----_ ^ * ^-^ 10 II IE 
 
 'Q O O Tn 
 
 »•- 
 
 o^ 
 
 Front of Stage. 
 
 Sixth Figure (16 bars). 
 
 Keeping the formation of a cross, as shown 
 in Diagram D, the " fairies " make a complete 
 revolution round the centre. This will 
 occupy eight bars. Then, all facing " right- 
 about," another complete revolution is made 
 during the next eight bars. 
 
 78 
 
AN EVENING WITH SHAKESPEARE 
 
 Seventh Figure (12 bars). 
 
 a. (4 bar^. 
 
 From the position in Diagram D, Nos. 4, 
 5, and 6 place themselves behind Nos. i, 2, 
 and 3, while 7, 8, and 9 place themselves in 
 front of 10, II, and 12, thus making two lines 
 as in Diagram E. 
 
 
 
 DIAGRAM E. 
 
 
 
 Q 
 
 
 
 Q 
 
 
 
 
 
 
 
 4 
 
 5 
 
 6 
 
 10 
 
 II 
 
 12 
 
 
 
 
 
 
 
 
 
 
 
 
 
 1 
 
 2 
 
 3 
 
 7 
 
 8 
 
 9 
 
 
 
 Front of 
 
 Stage. 
 
 
 
 b. (4 bars). 
 
 Nos. I, 2, 3, 4, 5, and 6 face " right-about," 
 and then all dance to the back of the stage. 
 
 c. (4 bars). 
 
 All face " right-about " and dance to 
 positions shown in Diagram F. 
 
 79 
 
AN EVENING WITH SHAKESPEARE 
 
 Eighth Figure (12 bars beginning at 
 the bar marked " Con anima "). 
 
 With the quickening of the music ("con 
 anima"), the polka-step is abandoned and the 
 children, running quickly upon the toes, per- 
 form the evolutions of a " maze " as indicated 
 by the arrows in Diagram G. 
 
 
 
 DIAGRAM F. 
 
 
 
 
 5 
 
 Q 
 
 
 10 
 
 Q 
 
 
 
 
 6 
 
 
 6 
 
 
 II 
 
 Q 
 
 
 
 2 
 
 Q 
 
 
 7 
 Q 
 
 
 3 
 
 
 
 1 
 
 
 
 3 
 
 
 
 
 8 
 
 
 
 
 
 
 Front of 
 
 Stage. 
 
 
 
 Care must be taken that the original places, 
 as shown in Diagram F, be assumed at the end 
 of the twelfth bar. 
 
 At the word " with " on page 74, the 
 dancers sway their wreaths to and fro, from 
 left to right, and raising them high above 
 
 80 
 
AN EVENING WITH SHAKESPEARE 
 
 their heads at the word " delight," stand 
 perfectly still until the fall of the curtain at 
 the end of the next bar. 
 
 DIAGRAM G. 
 
 Q 
 
 Q 
 
 -Jtr 
 
 t) 
 
 o 
 
 t 
 
 
 
 Q 
 
 .if 
 
 Q 
 
 
 
 
 
 o 
 
 Q 
 
 '. / 
 
 Front of Stage 
 
 It is important to remember that since the 
 children are dancing to the music of this song, 
 strict time must be preserved throughout the whole 
 performance, and that all the pauses, except the 
 last, must be disregarded. 
 
 8i 
 
TABLEAU VIII 
 
 Introductory Reading 
 
 The next song, "Blow, blow, thou Winter 
 Wind," like " Under the Greenwood Tree," 
 occurs in " As You Like It," and is sung before 
 the exiled duke and his followers during their 
 banishment in the forest. Glorious summer 
 has passed away and chill winter is now upon 
 them, yet they extract a lesson even from the 
 cold winds of winter ; for they say these winds 
 are " not so unkind as man's ingratitude," and 
 although the frost is keen, yet. it does " not 
 bite so nigh as friend remembered not." 
 
 In this philosophical manner do the jolly 
 foresters comfort themselves in their sharp 
 adversity, and so are all the better fitted to 
 enjoy the fruits of power and authority later 
 on, when the banished duke at length " enjoys 
 his own again." 
 
 This music is also by Dr. Arne, and was 
 82 
 
o X 
 
AN EVENING WITH SHAKESPEARE 
 
 composed for the same occasion as " Under 
 the Greenwood Tree." The arrangement 
 which will now be sung is the original version 
 of the song, as published in 1 741, and not 
 the somewhat altered form commonly in use 
 to-day. 
 
 83 
 
BLOW, BLOW, THOU WINTER WIND 
 
 (Composed in December, 1740.) 
 (Dr. Arne's original melody and harmony, as published in 1741-) 
 
 Music by Dr. Arne (1710-1778.) 
 
 FZAHO. 
 
 m 
 
 =gEE 
 
 m 
 
 J L 
 
 $ =t=^^^^ 
 
 "^r=^ 
 
 i 
 
 ^•1^=^' 
 
 ^^^. 
 
 =F= 
 
 1^^ 
 
 
 I I 
 
 1=35 
 
 ^^ 
 
 1. Blow, 
 
 2. Freeze, 
 Doh is p. 
 
 ^^ 
 
 84 
 
^^ 
 
 BLOW, BLOW, THOU WINTER WIND 
 
 *=s= 
 
 * 
 
 n= 
 
 :1= 
 
 St*. 
 
 -it3= 
 
 =S- 
 
 blow, thou win - ter wind ! 
 freeze, thou bit - ter sky ! . . 
 
 ||f^:r^|l :d [d :t, 
 
 Thou art not so un - 
 That dost not bite so 
 
 :d |r_Ji:f_^|s, :f I 
 
 i^Ej^^==]=iz4 
 
 1^^ 
 
 =!=? 
 
 =£=-p- 
 
 ^^*E^ 
 
 ii^ 
 
 e= 
 
 3^ 
 
 =^ 
 
 ^^ 
 
 ^=^ 
 
 =^e3^ 
 
 kind, 
 nigh. 
 
 11^ 
 
 :n — 
 
 Thou art not so un - kind as man's in - 
 That dost not bite so nigh as ben - e - 
 
 :'s |f :f If :f |t :t |d' :f } 
 
 .J=J==d: 
 
 1^ 
 
 grat 
 fits 
 
 i - tude ; 
 for - got ; 
 
 -P 
 
 -^- 
 
 d= 
 
 ^i^ 
 
 Thy tooth is 
 Though thou the 
 
 Bb. 
 
 not 
 wa - 
 
 so 
 ters 
 
BLOW, BLOW, THOU WINTER WIND 
 
 keen, . . Be cause thou art not 
 warp, . . Thy sting is not so 
 
 seen, 
 sharp, 
 
 Thy 
 Thy 
 
 |l r :-.n,f|n :r |r.d ;t|.lild -titlLseil li-titd |— i^'ru} 
 
 d^=i*5F 
 
 ^^^mm^=^^^=^^^^ 
 
 tooth is . . not so keen 
 sting is . . not so sharp 
 
 |If_ji:r_^|Sjf :rKr Is :_- 
 
 Be - cause thou art not 
 As friend re- mem-bered 
 
 z i-i= \ 1- I 
 
 m 
 
 B^ 
 
 ih- 
 
 -JS^ <-!- 
 
 seen, Al - though thy breath be rude, Al - though thy 
 
 not, . . Thy sting is . . not so sharp As friend re 
 
 r I :3 |f_Ji:r^|s tta, |1| :1 |s,n.-;r,f.-^ 
 
 ^^=g- 
 
 ^^ 
 
 3t=a==lsi= 
 
 ^ 
 
 *^ 
 
 m 
 
 r 
 
 :^ 
 
 86 
 
 m 
 
BLOW, BLOW, THOU WINTER WIND 
 
 
 ^ 
 
 breath be 
 
 - mem bered 
 
 rude, 
 not, . 
 
 Al-though thy breath be 
 As friend re - membered 
 
 II d :- |r :— [ n .d':t .1 |s .f ;n .r |n,d.-;l,f.-|n,s.-;t„r.-]. 
 
 gE^E J =k'.^r^^ ^,^ ^^ =^ 
 
 '^ 
 
 rude, 
 not. 
 
 (|a :- I- : I 
 
 i 
 
 
 1 r- 
 
 .^=4 
 
 ^F=-r 
 
 muzm^z 
 
 
 -i« :|t- 
 
 :-to^=a(r 
 
 :=2Sz:: 
 
 87 
 
AN EVENING WITH SHAKESPEARE 
 
 Directions 
 
 The curtain rises at the end of the fifth 
 bar of the introduction, and discovers the 
 " foresters," engaged as in the illustration 
 facing page 82, in preparing a fire. Some are 
 busy blowing the smouldering embers into 
 a flame, whilst others are gathering fallen 
 branches of trees and preparing them for the 
 fire by breaking them across their knees. 
 Several of the performers are seen returning 
 with bundles of fuel on their shoulders. These 
 they throw down near the fire, and walking 
 vigorously up and down, stamp their feet, 
 " blow their nails," &c., and in other ways 
 give the impression of being intensely cold. 
 
 A very pretty effect is obtained if small pieces 
 of paper — to represent snow — are thrown from 
 the "sky-sheets," and blown to and fro by large 
 fans worked on both sides of the stage. 
 
 The curtain falls immediately on the con- 
 clusion of the second verse. 
 
 88 
 
TABLEAU IX 
 
 Introductory Reading 
 
 We now come to the song, " You Spotted 
 Snakes," which is a companion to " I Know 
 a Bank," heard a moment ago, and, hke 
 that song, occurs in "A Midsummer Night's 
 Dream." 
 
 The tableau shows us that very " bank 
 whereon the wild thyme blows," and here 
 we shall see the Fairy Queen commanding 
 her attendant fairies to sing and lull her to 
 sleep. 
 
 They do this by singing the charming 
 lullaby, or cradle song, called " You Spotted 
 Snakes," in which the fairies bid the spotted 
 snakes, the thorny hedgehogs, the weaving 
 spiders, and beetles black, to flee from the 
 presence of the Fairy Queen. Each v^rse 
 ends with a soothing, rocking movement, sung 
 to the words, " Lulla, luUa, lullaby." 
 
 89 
 
AN EVENING WITH SHAKESPEARE 
 
 About two hundred years ago " A Mid- 
 summer Night's Dream " was produced as an 
 opera, of which the setting of this song about 
 to be performed was a number. The whole 
 of the music for the opera was composed by 
 John Christopher Smith, who, when Handel 
 became blind, served as that great composer's 
 amanuensis. Only after Handel's death did 
 Smith begin to publish his own compositions, 
 and although at the present time we hear very 
 little of his music — I question whether this 
 tune was ever heard during the whole of the 
 last century — yet people were so pleased with 
 Smith's compositions during his own lifetime, 
 that it was commonly said that Handel's 
 mantle had fallen upon the shoulders of John 
 Christopher Smith. 
 
 90 
 
^ 
 
YOU SPOTTED SNAKES 
 
 (Arranged from the Opera of " The Fairies,'' published 1755.) 
 
 Music by John Christopher Smith, 1712-1795. 
 (Handel's Amanuensis.) 
 
 Piano. 
 
 N ■ 
 
 ^^^m 
 
 fe==^ 
 
 •» 
 
 ^Si^ 
 
 11 
 
 Key D- Lah is B. 
 
 i I : 
 
 pg^^lll 
 
 You spot- ted snakes, with 
 Weav-ing spi - ders, 
 
 :n |l_J:d'^|l :n } 
 
 i 
 
 1 
 
 i 
 
 •» 
 
 m^^^^^^ 
 
 1 
 
 -^$ 
 
 te=^z 
 
 dou - ble tongue. Thorn - y hedge-hogs, be not seen ! 
 come not here; Hence, you long-legged spinners ! hence ! 
 
 {|l^:dU|l :- |f :-.nlr :s \n :rjn|a :- } 
 
 
 =!■- 
 
 ^^^ 
 
 "^- 
 
 *■ -—t,^ I' 
 
 9^ 
 
YOU SPOTTED SNAKES 
 
 -tt 
 
 ]== 
 
 r.jEE 
 
 New , and blind-worms, do no wrong ! 
 Bee - ties black, ap - preach not near ! 
 
 ||r :-.cl|t| :n In :bje|l :- 
 
 Come . 
 Worm, . 
 Id' :- 
 
 not 
 nor 
 ; f .n } 
 
 ^^i= 
 
 ^^.-EEr^ _ 
 
 z^zzz ;tE 
 
 m 
 
 
 near our Fai - ry Queen ! 
 snail, -do no cf-fence ! 
 If :1 Is :-.s|d :- 
 
 m^ ^^^ M^ 
 
 ^^^g 
 
 0=^^ 
 
 
 92 
 
YOU SPOTTED SNAKES 
 
 
 Phil - o-mel, with mel - o - dy, Sing in our sweet 
 
 |t :-.d'|t :n' |rU:dU.|t :— Jt :-.d'|t :n' } 
 
 * 
 
 ^m 
 
 bttr 
 
 
 3=,=£3; 
 
 ^^m^m 
 
 lul - la - by 
 
 ||r^t:dU|t 
 
 Lul - la, lul - la, lul - la - by ! 
 
 Id'.t :d'.l |se.b :se.ri Id'.t :d'.l Ue 
 
 ^^^^^^ 
 
 {| 
 
 Sing in our sweet lul 
 
 In' :r^d;|t ;d'.r'|t 
 
 la - by ; 
 ■.1|1 
 
 fe== 
 
 ^1^^^ 
 
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 93 
 
YOU SPOTTED SNAKES 
 
 Nev - er harm, nor spell, nor charm, Come our love - ly 
 {|s :-.fln :-.f|s :Kt |d' :- |n :-.r|d :-.r} 
 
 g — !- 
 
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 la dy nigh ! 
 ||n ;b.se|l :— I 
 
 So, good-night, with lul - la 
 In' :r^d||t :d\r'|t :-.!} 
 
AN EVENING WITH SHAKESPEARE 
 
 Directions 
 
 The curtain rises at the fourth bar of 
 the introduction and discovers a forest scene, 
 bathed in a dark purple light. Little fairies 
 dressed as in the illustration facing page 90, 
 and each holding a wand in her hand, are 
 seen lying about the stage. In the centre is 
 a raised-up green bank. At the conclusion of 
 the pianoforte introduction, the Fairy Queen 
 comes forward and delivers the following 
 " speech " to her attendants. 
 
 Fairy Queen 
 
 " Come, now a roundel, and a fairy song ; 
 Then, for the third part of a minute, hence ; 
 Some, to kill cankers in the musk-rose buds ; 
 Some, war with rere-mice for their leathern 
 
 wings. 
 To make my small elves coats ; and some, 
 
 keep back 
 The clamorous owl, that nightly hoots, and 
 
 wonders 
 At our quaint spirits. Sing me now asleep ; 
 Then to your offices, and let me rest." 
 
 95 
 
AN EVENING WITH SHAKESPEARE 
 
 She then lies down upon the bank, the 
 others gathering round her as in the illustra- 
 tion. While this is being done, the pianoforte 
 introduction is again played, this time being 
 followed by the song. During the song the 
 little Pairies perform various simple evolu- 
 tions, marching round the bank, forming into 
 separate groups, waving their wands, imitating 
 the action of driving away the spotted snakes, 
 the thorny hedgehogs, and all the other noxious 
 vermin which are likely to disturb Titania's 
 repose. Towards the end of the song they 
 gradually form themselves into a group, as 
 shown in the illustration, and remain in that 
 position until the fall of the curtain two bars 
 after the conclusion of the song. 
 
 96 
 
TABLEAU X 
 
 Introductory Reading 
 
 The children v/ill now sing " It was a Lover 
 and his Lass," which is taken from " As You 
 Like It," a play in which Shakespeare shows 
 us how invincible is tht power of love. 
 
 In order that the chief motif of the play 
 may have an appropriate setting, the Master, 
 with consummate art, has succeeded in con- 
 veying the impression that the whole action 
 of the play takes place in the Spring of the 
 year. The spirit of spring-time is delight- 
 fully portrayed in our song, where we are told 
 that "Life is but a flower in spring-time," and 
 that " Sweet lovers love the spring, for love is 
 crowned with the prime in spring-time." 
 
 The music, of which the original version 
 will be sung, is very interesting, as it is one 
 of the very few pieces of undoubted Shake- 
 spearean music which have come down to us. 
 
 97 G 
 
AN EVENING WITH SHAKESPEARE 
 
 It is a charmingly fresh and sprightly melody, 
 and like the words, seems to breathe the very 
 spirit of spring. It was composed as far back ■ 
 as 1600 by Thomas Morley, a gentleman of 
 the Chapel Royal, and one of the greatest and 
 most learned musicians of that time, when 
 English music was far ahead of that of any 
 other nation. 
 
 The title of Morley's book in which this 
 song occurs is quaintly styled : " The First 
 Booke of Aires or Little Short Songes to sing 
 and play to the Lute with the Base-Viol." 
 
 98 
 
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IT WAS A LOVER AND HIS LASS 
 
 Published in 1600, in " The First Booke of Aires or Little Short Songeg 
 to sing and play to the Lute with the Base-Viol." 
 
 Piano. ■ 
 
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 Arranged from Thomas Morley (1550 ?-i6o4). 
 
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IT WAS A LOVER AND HIS LASS 
 
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AN EVENING WITH SHAKESPEARE 
 
 Directions 
 
 The curtain rises at the end of the second 
 bar of the introduction, on a woodland scene 
 with a small rustic seat or " practicable " stile. 
 The "lover and his lass" should be i:ery 
 young children. They are dressed as in the 
 illustration facing page 98. The little actors 
 meet in the middle of the stage, and after the 
 "lover" has courteously saluted his lady-love, 
 they walk across the stage, arm in arm, he 
 drawing her attention to the birds which are 
 singing their love-carol in the trees. During 
 the singing of the second verse the little lass 
 seats herself upon the stile, while her " lover " 
 lies upon the ground at her feet. 
 
 In the third verse, at the words, " How 
 that a life was but a flower," he suits the 
 action to the word and offers her a flower, as 
 in the illustration. When the words, " And 
 therefore take the present time," are sung, 
 our "lover" proceeds to kiss his fair one, 
 the curtain descending immediately upon the 
 conclusion of the song. 
 
 102 
 
TABLEAU XI 
 
 Introductory Reading 
 
 The eleventh song and tableau are taken from 
 " The Winter's Tale." 
 
 The scene is a country sheep-shearing 
 feast which is being observed with great joy 
 and merriment. In the midst of it the arrival 
 of the roguish pedlar, Autolycus, is announced. 
 He is received with a boisterous welcome, for 
 his fame as a provoker of fun and laughter has 
 preceded him throughout the whole country- 
 side. The servant, who introduces him to 
 the master of the feast, says that " He sings 
 several tunes faster than you'll tell money ; he 
 utters them as he had eaten ballads, and all 
 men's ears grow to his tunes. He hath songs, 
 for man or woman, of all sizes ... he hath 
 ribbons of all the colours i' the rainbow ; 
 inkles, caddisses, cambrics, lawns : why, he 
 sings them over, as they were gods or 
 
 103 
 
AN EVENING WITH SHAKESPEARE 
 
 gpddesses. You would think a smock were a 
 she-angel, he so chants to the sleeve-hand, and 
 the work about the square on't." 
 
 This merry rascal, with all his jolly " quips 
 and cranks," has " method in his madness," 
 and although " he has the prettiest love-songs 
 for maids," yet he has others of a more 
 practical and business-like nature, in which 
 he so glibly sets forth the merits of the wares 
 he has for sale, that he very quickly succeeds 
 jn reaping a rich harvest from the gaping 
 country-folk who crowd around him to listen 
 to his wonderful tales. 
 
 The tableau shows him inviting the 
 country lads to " Come buy ! or else your 
 lasses cry." 
 
 104 
 
a 
 
LAWN, AS WHITE AS DRIVEN SNOW 
 
 Briskly f counting two in a bar. 
 
 Traditional Melody. 
 
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 Cypress, black as e'er was crow; Gloves, as sweet as 
 
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LAWN, AS WHITE AS DRIVEN SNOW 
 
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LAWN, AS WHITE AS DRIVEN SNOW 
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LAWN, AS WHITE AS DRIVEN SNOW 
 
 
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 Note :— If a three-part Chorus be not available, the song may be sung by a solo voices ' 
 or by a chorus of treble voices in unison, When this is done, the repeat bars, set to 
 the words(a) " Masks for faces, and for noses" an4(6) " Perfume for a lady's chamber," 
 must be omitted. T n ^ 
 
AN EVENING WITH SHAKESPEARE 
 
 Directions 
 
 The curtain rises with the first note of the 
 introduction, discovering a crowd of country- 
 folk expecting Autolycus, who at once comes 
 running on to the stage ; he is received with 
 shouts of welcome, and being hustled on to a 
 stool, commences singing with the choir, at 
 the" same time performing various actions 
 suggested by the words of the song. The 
 curtain falls at the beginning of the last bar of 
 the music. 
 
 109 
 
TABLEAU XII 
 
 Introductory Reading 
 
 The twelfth and last tableau, in which all our 
 little performers will take part, requires no 
 introductory or explanatory remarks. It is 
 entitled " Homage to Shakespeare." 
 
 Unfortunately no old music, suitable for 
 this tableau, is extant ; so that the song now 
 to be sung has been specially written for this 
 occasion. 
 
 no 
 
^^mm 
 
Finale.— HOMAGE TO SHAKESPEARE 
 
 Words by Sydney Harrowing. 
 
 Maestoso^ 
 "'Voice. ^^^^5=3^==^^^ 
 and Voice. 
 
 Music by Maskell Hardy. 
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 HOMAGE X.0 SHAKESPEARE 
 
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 112 
 
HOMAGE TO SHAKESPEARE 
 
 charm'd . . the e4r. 
 
 
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 songs That ■ long have charm'd, have charm'd the ear.^ 
 
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 113 
 
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HOMAGE TO SHAKESPEARE 
 
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 114 
 
HOMAGE TO SHAKESPEARE 
 
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HOMAGE TO SHAKESPEARE 
 3rd Verse. Thy 
 
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 116 
 
HOMAGE TO SHAKESPEARE 
 
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 117 
 
HOMAGE TO SHAKESPEARE 
 
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AN EVENING WITH SHAKESPEARE 
 
 Directions 
 
 The curtain rises with the introductory 
 chord and the performers are discovered, 
 grouped as in the illustration facipg page 1 1 o. 
 
 THE END 
 
Printed by Ballantyne, Hanson &' Co. 
 Edinburgh fir" London