arson, 'thinking verily, he had
meant (as he said in his song) to _ty his mare in his ground_.'

Finally, in _Pammelia_, a collection of Rounds and Catches of 3, 4,
5, 6, 7, 8, 9, and 10 parts, edited by Thomas Ravenscroft, and
published in 1609, there is a curious preface, which states that
'Catches are so _generally affected_ ... because they are so consonant
to _all ordinary musical capacity_, being such, indeed, as all such
_whose love of musick exceeds their skill_, cannot but commend.' The
preface further asserts that the book is 'published only _to please
good company_.'

To go on to _instrumental_ music among the lower classes of
Elizabethan and Shakespearian times; there is an allusion in the above
quoted passage from Morley (1597) to the habit of playing on an
instrument in a barber's shop while waiting one's turn to be shaved.
This is also referred to in Ben Jonson's _Alchemist_ and _Silent
Woman_. In the latter play, Cutberd the barber has recommended a wife
to Morose. Morose finds that instead of a mute helpmate he has got one
who had 'a tongue with a tang,' and exclaims 'that cursed _barber_! I
have married his _cittern_ that is common to all men': meaning that as
the barber's cittern was always being played, so his wife was always
talking.

There is a poem of the 18th century which speaks of the old times,

'In former time 't hath been upbrayded thus,
That _barber's musick_ was most _barbarous_.'

However true that may have been--at all events it is certain that in
the 16th and 17th centuries it was customary to hear instrumental
music in a barber's shop, generally of a cittern, which had four
strings and frets, like a guitar, and was thought a vulgar
instrument.[4]

[Footnote 4: The Cittern of the barber's shop had four double strings
of wire, tuned thus--1st, E in 4th space of treble staff; 2nd, D a
tone lower; 3rd, G on 2nd line; 4th, B on 3rd line. The instrument had
a carved head. See _L.L.L._ V. ii., lines 600-603, of Holofernes'
head. Also the frontispiece, where the treble viol and viol-da-gamba
have carved heads, both human, but of different types. Fantastic
heads, as of dragons or gargoyles, were often put on these
instruments.]

Another use of instrumental music was to entertain the guests in a
tavern. A pamphlet called _The Actor's Remonstrance_, printed 1643,
speaks of the _decay_ of music in taverns, which followed the closing
of theatres in 1642, as follows:--"Our music,