lines run as follows:--

_R R R R_ [fermata symbol over next word] poung.

_R R R_ pou _R R_ pou tou pou _R_ tou pou _R_ [fermata symbol
over next word] poung potang.

See the appendix for the translation into musical notes, which is
given in the warrant itself, but the accuracy of which is
questionable.

It seems pretty clear that this ancient march of England is of a
period long anterior to the warrant of Charles I. Several passages of
that document point to this. At any rate, it was so old as to have
almost dropped out of knowledge in 1610.

Hawkins gives an interesting note, in which he mentions that the
characteristic of the old English march of the foot was 'dignity and
gravity,' in which it differed greatly from that of the French, which
is given by Mersennus (_b._ 1588) as 'brisk and alert.'

There is a curious story of a conversation between Marshal Biron, a
French general, and Sir Roger Williams, a gallant Low-country soldier
of Elizabeth's time. The marshal observed that the English march
_being beaten by the drum_, was slow, heavy, and sluggish. 'That may
be true,' answered Sir Roger, 'but slow as it is, it has traversed
your master's country from one end to the other.'

The references in Shakespeare all go to confirm the opinion that the
March was played by drums alone--_e.g._, _H. 6. C._ I, ii, 69, where
the stage direction is _A march afar off_, which is immediately
followed by 'I hear their _drums_.' Again, in the same play, Act IV.,
sc. vii. line 50, '_Drummer_, strike up, and let us _march_ away. [_A
march begun._]

_Hautboys._ This is an important musical term, and occurs about
fourteen times in eight plays. It always implies a certain special
importance in the music, and is generally connected with a Royal
banquet, masque, or procession. In six cases, at least, the direction
has some special qualification--_e.g._, Hautboys playing _loud_ music;
_A lofty strain or two_ to the hautboys; Trumpets and hautboys
sounded, and drums beaten _all together_. In _Ant._ IV, iii, 12,
Hautboys supply the supposed ominous 'music in the air.'

The term is closely connected with 'Music,' the remarks on which apply
equally to the present case. (See above, on 'Music,' and the music of
16th century plays).

Not long after Shakespeare's time, orchestral music for the theatre
consisted of stringed instruments only (_i.e._, the violin family,
violins, violas, violoncellos, and the sole surviving