_Hor._ Madam, before you _touch_ the instrument,
To learn the _order of my fingering_,
I must begin with _rudiments_ of art;
To teach you _gamut_ in a briefer sort.
* * * * *
_Bianca._ Why, I am _past my gamut_ long ago.
_Hor._ Yet read the gamut of Hortensio.
The first of these three passages will be quite clear to the reader in
the light of the remarks on the lute already made. The second should
be read in connection with the name of the doleful dance above
mentioned, the Dump. [See Appendix.]
The third quotation contains interesting allusions to the
peculiarities of the lute. Lines 22-25 are very naturally accounted
for. The lute, having at least eleven strings, took a long time to get
into tune. Even our modern violins, with only four strings, want
constant attention in this respect; and the lute, therefore,
especially in the hands of an amateur, might well get a name for being
a troublesome instrument. The reference to the 'treble' and 'bass'
strings (_i.e._, the 1st and 6th) has been explained before. 'Spit in
the hole, man,' Lucentio's very rude advice to Hortensio, will direct
our attention to the variously shaped 'holes' which were made in the
belly of all stringed instruments to let out the sound. On the lute,
this hole was commonly a circular opening, not clearly cut out, but
fretted in a circle of small holes with a star in the middle. But this
was not the only way. A lute in South Kensington Museum has _three_
round holes, placed in an oblique line, nearly at the bottom of the
instrument.[14] The holes on the viol were generally in the form of
crescents, and were put one on each side of the bridge. On the modern
violins, as everybody has seen, they are in the shape of
[Illustration], and are known as '_f_' holes.
[Footnote 14: See Frontispiece.]
Line 59, about 'lessons in three parts,' is of interest. Primarily, it
is another form of 'Two's company, three is none'--but its musical
meaning is very plainly present. In the 16th and 17th centuries it was
very common to call the pieces of music in any volume for an
instrument by the name 'Lessons.' The first meaning, of course, was
that they were examples for the pupil in music, but the word was used
quite freely with the purely general signification of 'Pieces' or
'Movements.'
One more word deserves remark--viz., 'to touch,' in line 63. This is
used technically, and means strictly 'to play' on the instrument. The
word comes both in meaning and form from Ital., _toccare_.
_Toccata_ was a common word for a Prelude (often extempore), intended
as a kind of introduction to two or three more formal movements. The
Italian for a peal of bells is _tocco di campana_, and we have the
word in English under the form _tocsin_, an alarm bell. The
trumpet-call known as 'Tucket,' which occurs seven times in the stage
directions of six Shakespeare plays, and is also found once in the
text (_Henry V._ IV, ii, 35), also is derived from _toccare_.
Similarly with the German 'Tusch,' a flourish of trumpets and other
brass instruments, which may be heard under that name to the present
day.
The next passage confirms Morley's account of the high estimation in
which music was held as a part of a liberal education. Baptista
evidently considers 'good bringing up' to include 'music, instruments,
and poetry.' Moreover, the visiting master was to be well paid,--'to
cunning men I will be very kind.'
_Shrew_ I, i, 81.
_Bianca._ Sir to your pleasure humbly I subscribe:
My books, and _instruments_, shall be my company,
On them to look, and _practise by myself_.
* * * * *
_Baptista_ (To Hortensio and Gremio).
Go in, Bianca. [_Exit_ Bianca].
And for I know, she taketh most delight
In _music_, _instruments_, and _poetry_,
Schoolmasters will I keep within my house,
Fit to instruct her youth.--If you, Hortensio,
Or Signior Gremio, you, know any such,
Refer them hither; for _to cunning men
I will be very kind_, and liberal
To mine own children in _good bringing up_.
We find further on, in the same play, that to bring one's lady-love a
music master was thought a handsome compliment.
_Shrew_ I, ii, 170.
_Hortensio._ 'Tis well: and I have met a gentleman,
Hath promis'd me to help me to another,
_A fine musician to instruct our mistress_.
Moreover, in _Pericles_ IV, vi, 185, we find that Marina, daughter of
Prince Pericles, can '_sing_, weave, sew, and _dance_.' Also see V, i,
78, where Marina actually does sing, to rouse her father from his
melancholy.