Finally—a Parthian shot—
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'Standing in corners like as it were a spye, Whether that the wether be whot, colde, wet, or dry.' |
Thus, one hundred years before Shakespeare was born, Serenades of voices and instruments were common, and in general practice by all classes of young men, and not only laymen, but also yonge fooles of the spiritualtie.
The instruments mentioned are such as were still in use in Shakespeare's time—viz., harp, lute, 'foolish' pipe, bagpipe, and 'foolish' flute, besides the several varieties of song, which evidently included both solo and part singing—'feigned' ballads for a single voice [ballads, that is, in the more refined 'keys' of 'Musica Ficta'], and 'Countering,' which implies that two voices at least took part.
The following passage is an example of this nocturnal serenading by a company of gentlemen.
Two Gent. III, ii, 83.
Proteus (advises Thurio)
'Visit by night your lady's chamber window
With some sweet concert: to their instruments
Tune a deploring dump:'
Thu. And thy advice this night I'll put in practice.
Therefore, sweet Proteus, my direction-giver,
Let us into the city presently,
To sort some gentlemen well skilled in music.
Proteus advises Thurio to get a 'consort' (probably of viols) to play a 'dump' under Silvia's window. He goes to arrange for some of his friends to attend for this purpose. The serenade takes place in the next Act, where, in the 2nd scene, line 17, it is called 'evening music,' but does not include the 'dump,' for Thurio has 'a sonnet that will serve the turn,' so they sing 'Who is Silvia.'
Here is the passage, which is full of quibbles on musical terms.
Two Gent. IV, ii, 16.