Search

In England more than in any other country, music has been constantly associated with the performance of stage plays. There is very early evidence of this. In the Miracle Play (1512) the minstrels are asked “to do their diligence” before the prologue and at the end “To give us a daunce.” Shakespeare relied on music to emphasize certain dramatic situations. No fewer than some three hundred times do his stage directions demand the employment of music. I do not speak of references to music on the part of his characters; these are frequent, always correct, and often jocular, but to actual demand for music,—such as “Music plays “—“Soft music within,” and the like. Dr. Naylor in his interesting little work “Shakespeare and Music” declares that such stage directions as these appear no less than forty-one times, music during speeches seven times, and that eighteen times a march is required. Of songs—catches—dirges—trumpets—hautboys, countless examples are to be found in the plays. Very often Shakespeare makes quite subtle distinctions to suit the situation in his directions for music. In “King Lear” there are some interesting examples of this. The first appearance of Lear in regal state is heralded by a Flourish of Trumpets. Later on, in Scene 4, Horns are directed to be played before his entrance. This is no doubt done with a view to denoting his lessened state. He has also just returned from hunting. This shows, I think, that more than a casual thought was given to the matter. Again, in “Lear,” in Act 4, we find the direction “Soft music playing.” Lear is on a bed asleep. That Shakespeare intended the music to continue through the scene and dialogue is evident, as the doctor refers to it in his lines “Louder the music there.” At this point the dramatist no doubt' felt that the beautiful words of Cordelia, “O my dear father ! Restoration, hang thy medicine on my lips,” would be greatly helped by the musical support. The very next scene opens with drums beating and soldiers marching, music very different in character from the “Soft music playing” of the previous scene This I feel sure was not mere accident, and that Shakespeare well knew the value of this contrast which at the same time connects the two scenes.

n/a