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The Project Gutenberg EBook of Shakespeare and Music, by Edward W. Naylor This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: Shakespeare and Music With Illustrations from the Music of the 16th and 17th centuries Author: Edward W. Naylor Release Date: October 31, 2006 [EBook #19676] Language: English Character set encoding: ASCII *** START OF THIS PROJECT GUTENBERG EBOOK SHAKESPEARE AND MUSIC *** Produced by David Newman, Linda Cantoni, and the Online Distributed Proofreading Team at http://www.pgdp.net SHAKESPEARE AND MUSIC WITH ILLUSTRATIONS FROM THE MUSIC OF THE 16TH AND 17TH CENTURIES BY EDWARD W. NAYLOR, M.A., MUS. BAC. LONDON J.M. DENT & CO., ALDINE HOUSE, E.C. 1896 _All rights reserved._ [Transcriber's Notes: 1. The original text uses a "fraction" format for citations to Shakespeare's plays, e.g.: 3 _Rom._ ----- 5, 25 For clarity, in this e-text the "fractions" have been converted to a one-line citation, e.g., _Rom._ III, v, 25 (signifying Act III, scene v, line 25). Where the original does not use the fraction format, the citation style has not been altered. 2. The original text sometimes misspells "Passamezzo" as "Passemezzo" and "viol da gamba" as "viol de gamba." These have been corrected in this e-text. 3. The original text inconsistently uses a breve over the e in "Parthenia" and "Passameso." For clarity, the breve has been removed in this e-text, as it is not part of the usual spelling of these words, and has in fact been omitted from the 1931 revised edition of the book.] PREFACE This book contains little that is not tolerably well known both to Shakespeare scholars and musicians who have any acquaintance with the history of music. It is hoped that it may be of some use to a large class of students of Shakespeare who have no opportunity to gather up the general information which will be found here. The author also ventures to believe that some brother musicians will be gratified to see at one view what a liberal treatment the great Poet has given to our noble art. It will be observed that settings of Shakespearian Songs of a later date than the generation immediately succeeding
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