Part 4 (2/2)

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There are other reasons, of course, of graver import, but they do not enter into our immediate consideration.

All the Tudor monarchs were essentially musical, as being Welsh they well might be. Henry VIII. was a composer of both sacred and secular music. I well remember that the first of an old volume of anthems in the library of Salisbury Cathedral was by no less a personage than that monarch himself. It was not, however, so far as my experience went, ever sung.

Queen Elizabeth was also an accomplished musician and an expert performer on the virginals, as the following quotation goes to prove.

Its interest is peculiarly striking as it shows yet another side of the character of this many-sided, wonderful woman. It is from the memoirs of Sir James Melvil, at the time Scottish Amba.s.sador:--

”The same day after dinner, my Lord of Hunsden drew me up to a quiet gallery that I might hear some music (but he said he durst not avow it), where I might hear the Queen play upon the virginals. After I had harkened awhile I took by the tapestry that hung by the door of the chamber, and seeing her back was toward the door, I entered within the chamber and stood a pretty s.p.a.ce, hearing her play excellently well; but she left off immediately so soon as she turned her about and saw me. She appeared to be surprised to see me, and came forward, seeming to strike me with her hand, alleging she was not used to play before men, but when she was solitary, to shun melancholy. She asked me how I came there? I answered, as I was walking with my Lord Hunsden, as we pa.s.sed by the chamber door, I heard such a melody as ravished me, whereby I was drawn in ere I knew how; excusing my fault of homeliness as being brought up in the Court of France, where such freedom was allowed; declaring myself willing to endure what kind of punishment her Majesty should be pleased to inflict upon me for so great offence. Then she sate down low upon a cus.h.i.+on, and I upon my knees by her; but with her own hand she gave me a cus.h.i.+on to lay under my knee; which at first I refused, but she compelled me to take it. She enquired whether my Queen or she played best. In that I found myself obliged to give her the praise.”

Perhaps the most important form of musical and dramatic art that came into prominence during the Tudor period was the masque.

It was a combination of the various arts of music, acting, dancing and mimicry. Simple and unpretentious in its primitive form, it became subsequently, an entertainment of the most elaborate and gorgeous kind, and one that was conspicuously encouraged and patronised by Royalty. It attained to the highest pitch of artistic splendour and efficiency in the reign of James I.

From nearly every point of view it may be reasonably described as the forerunner of modern opera.

Its origin, like all that has to do with music in England, is obscure and dates back to centuries of which we have little or no record. In all probability it was the outcome of the early performances encouraged by the Church, of representations of biblical subjects, to which we refer in another chapter.

By the time of Henry VIII. it had become as popular a feature in the life of the people as cricket or football is to-day.

Not only did the simple people take part in the performances, but the princ.i.p.al characters were frequently performed by members of the n.o.bility and of the Court, Royalty itself not having altogether resisted their fascination.

The explanation of the vogue to which they attained in the reign of James I. is probably that the monarch was much less in touch generally with art, and particularly that akin to the Shakespearean drama, than was his more enlightened and intellectual predecessor. In fact, the drama proper was altogether beyond his region of intelligence, and since the masque, while making sufficient appeal to the senses, made less demand on his mental capacity, it suited him and enjoyed his particular favour.

His tastes were, it must be said, so far as appertaining to art, of a peculiarly low order.

Ben Jonson, who supplied the literary part of the most famous of these plays, was, for a man of his genius and learning, extraordinarily coa.r.s.e in his language even for those days, and his comedy, ”Bartholomew Fair,”

which was about the worst in this respect that even he perpetrated, was King James' special favourite.

Of music the King knew little and cared less, and it had come, probably in consequence, to play a secondary or even lower part in the productions of this time. In proportion as they increased in splendour they lost in artistic value, and, similarly as they came to be the exclusive amus.e.m.e.nt of the wealthy, so they lost their hold on the people.

In the year 1616 the splendour and extravagance of these displays culminated in the representation of the masque ent.i.tled, ”The Golden Age Restored.” It was played by the ladies and gentlemen of the Court.

George Villiers, Duke of Buckingham, so pleasing his Majesty that the latter cried out in ecstasy, ”By my soul, mon, thou hast done it full weel.” The King is said to have contributed 1000 on the occasion. There is little need for obvious comment on this fact.

It is worthy of remark that for some years before this, most of the performances of which there is any record were given at Whitehall, or in such buildings as the Inns of Court. They had grown out of the simplicity characterising primitive popular spectacles, and had become rather a medium for the idle pastimes of the rich.

The high tide of joyousness and gaiety in the life of the people had been reached in the reign of Queen Elizabeth, and was fast receding. The spirit of the Reformation was getting hold of them and, perhaps, in its most fanatical aspect.

However, the masque had served its purpose. It had been in earlier days a source of harmless vent to the exuberant spirit of the people, and it was later to become the source of inspiration from which the primitive opera, as represented by Purcell's ”Dido and aeneas,” drew breath.

Of secular music, demanding more skill in invention and more proficiency in performance than the ballad, were the madrigal, catch, round, glee, and similar forms of expression. Being concerted pieces demanding the simultaneous singing of various parts, a technical training was, of course, necessary to enable one to join in them.

Their great popularity in all cla.s.ses of society is sufficient proof, however, of the general training in the art that then existed. In fact, it was considered an essential thing in a gentleman's education, and the ability to take part in a ”catch” or ”round” was as natural to him in those days as it is to shoot or play cricket in these.

We cannot give the reader a better means to realise this than by quoting Shakespeare again, in whose words every feature in that wonderful age is held up to the mirror.

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