The next three lines are very similar. Line 5 is more elaborate, and the last two lines run as follows:—
| R | R | R | R | poung. |
| R | R | R | pou | R | R | pou | tou | pou | R | tou | pou | R | poung | potang. |
See the [appendix] for the translation into musical notes, which is given in the warrant itself, but the accuracy of which is questionable.
It seems pretty clear that this ancient march of England is of a period long anterior to the warrant of Charles I. Several passages of that document point to this. At any rate, it was so old as to have almost dropped out of knowledge in 1610.
Hawkins gives an interesting note, in which he mentions that the characteristic of the old English march of the foot was 'dignity and gravity,' in which it differed greatly from that of the French, which is given by Mersennus (b. 1588) as 'brisk and alert.'
There is a curious story of a conversation between Marshal Biron, a French general, and Sir Roger Williams, a gallant Low-country soldier of Elizabeth's time. The marshal observed that the English march being beaten by the drum, was slow, heavy, and sluggish. 'That may be true,' answered Sir Roger, 'but slow as it is, it has traversed your master's country from one end to the other.'
The references in Shakespeare all go to confirm the opinion that the March was played by drums alone—e.g., H. 6. C. I, ii, 69, where the stage direction is A march afar off, which is immediately followed by 'I hear their drums.' Again, in the same play, Act IV., sc. vii. line 50, 'Drummer, strike up, and let us march away. [A march begun.]
Hautboys. This is an important musical term, and occurs about fourteen times in eight plays. It always implies a certain special importance in the music, and is generally connected with a Royal banquet, masque, or procession. In six cases, at least, the direction has some special qualification—e.g., Hautboys playing loud music; A lofty strain or two to the hautboys; Trumpets and hautboys sounded, and drums beaten all together. In Ant. IV, iii, 12, Hautboys supply the supposed ominous 'music in the air.'
The term is closely connected with 'Music,' the remarks on which apply equally to the present case. (See above, on 'Music,' and the music of 16th century plays).