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1-27-1962
An introduction to John Dowland's lute songsAnne LaVerne Morrow
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Recommended CitationMorrow, Anne LaVerne, "An introduction to John Dowland's lute songs" (1962). Honors Theses. Paper 609.
UNIVERSITY OF RICHMOND LIBRARIES
llllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllll 3 3082 01 028 1953
Ln:rn,"-.R'f llNMRSITY OF RIOH~~N@ - YIRGINIA 231711
~·
Art Introduction to John Dowland's
Lute Songs
by
Anne LaVerne Morrow
Prepared for Miss Kidd
Music History 331
Westhampton
University of Richmond
January 27, 1962
. .VH1Gii~lA .23173
1·0 ~ri-lE l{IC~Irr IIC)NORARLE SIH GEOHGE
CAlC\', OF THE :\lUST IIO~Ul\:\HLE 01\DER
OF TJJ E C.\ I\ TEl~ K:\ IG liT,
Haro" oj 1/uusdou, Caj>laiuc uf llt'r .\laieslies Gct~tlemt'n J>eusiot~trs,
Cc~twrnor of the ble of \Vight, Lieutenant of the Countie of ~outht:
Lor./ Clwmbal.ltn~ of lt~r .\l,zjr.,tirs most Royall lloust, a"J of
her ll•ghnes mo•t honorable priuie Counsell.
T II A r harrn11ny (Hil-{ht honorable) which is skilfullie exprest by Instruments, albeit, by reason of the
\';uu·tv of number & proportion of it selfe, it easily stirs up the mind~ of th~ hearers to :ulm~ration
.'\: deh~-:ht, yet for ha~her authority any power hath been euer worthily attnbuted tfl that k1nd of
~I u-.icJ,,., wluc!, to the sweetnes of instrument applies tlw liuely voice of man, expressin~ some worthy
r.l'nt.-awl" or , .. o-,·IJtont l'ot-me. Hence (as all antiquity can witness~) first grew the heat:enly Art of mu..;icke: for
/."'", CJrf•h.:tll ami tlae n~st, :weanling to the number and time of the Poemes, farst framed the numbc~rs :wei
tmw·. of lllll'>ll'kt·: S11 th:n Plato dc•tines melody to consist of harmony, number and word'>; harmony nal,ed of
al ····lk: w •• rdc·-. tiH' orr1.1rnent of la:trrnony, nurnb~r the common friend and uniter of them both. This small bool-a~
1 •lll::tlltllt~ tlw 1 un~,·:at of ... pt•akang harmony, ic;ned with the most musicall i:htrurnent the Lute, l>r.ing my far'>t
hl"llll, I h.uw pa•·,,tuned to dedicate to your Lordship, who for your yertue and nobility are best able to protect
it. ,\ t,ll Y•'llr honor:~.blt: fauors toward-. me, best de,;eruiug my ducty and seruic''· Hc~ide'i your noble
1111 l:n.tti,,n .uhl loue to all ~ood Arts, and namely the cleuine S<;ience of musicke, dflth challenge the patronage of
l•tl! h·.tanull-!, thf'n wluch no greatt>r titlt" can be added to Nobility. Neither in these your honours may I let
1'-'""r thl" ,lutifldl rt>mt>anbr:mce of your n·rtuous I ... ·uJy my honorable mistris, whose singular graces towards
It~·,. h:wt' a.J,Ic..l ~pa11t to my unforturute labours. \\'hat time and dali~;ence 1 haue bestowed in the search of
: M., .... , kt', wlut traudl an forreaue cuuntraes, what succcs:>e and estiuutaun euen among strangers I haue fO!md, I
l,.;t ,... tn : ,,,.. rq "'' t of othrb. Yet all t ha-; in V;lllle were it not tlut your honourable hands have vouchsaft to
upl:,,!,i am· 1"-'->rl" f<>rtunt>s, whach I now wholy recomrn"'!Hl to )·our gratious protection, with these my fint
tu.ll'u,,r ... huaul>ly be:>ec"Chmg )"OU to accept and cht•rish them with your rontinued fauouni.
Table of Contents
An Introduction to John Dowland's Lute Songs
Part I ••••• Context of his life and music Part II •••• Biography Part III ••• Analysis
Footnotes
Bibliography
List of Music Available Music other than the songs available in Richmond Discography
Photographs
The two photographs at the beginning of the paper are from the First Book of Songs ~ Ayres, by John Dowland.
About the photographs
Leonard Owen ~orrow, now a PhD candidate at
Cornell University, Ithaca, New York, made these
copies for me from: the Firat and Second Book of
Songs; Muaica. Britannica, vol..VI; and English
MB:drip;~l Comoosers, by Dr. Fellowes.
~en a brief glance at the context of .Tohn Dowland' a life
can be helpful in arranging insights into an introductory under
standing of his life ~nd music. Dr. Edmund Fellowea, one of
the great scholars of this period of music history, said that
the Ehglish have always appeared to prefer vocal music over
instrumental music. Arid one of the eras when England "stood
first in music", he said, was during the Elizabethan days and
up to the close of the Tudor period.
Before the great flourishing of the madrigals and lute
songs in England there were English secular songs, but little
is known about this national art. Along with it there began
to develop an interest in the Italian madrigal. It is impor
tant to try to realize the tremendous influence Italian music
obviously had over the great English composers of this period
in order to a9preciate those, such as William Byrd and John
Dowland, who were more individualistic in their a9proach to
composition.
In 1588 the first volume of Musica Transalpina was pub
lished, con ta.ining works by Marenzio, Palestrina, Ferrabosco,
Lassus, de lf.onte, ~.nd others, as well a.s two pieces by the
English composer Willi~m Byrd. This was the first printed
collection of Italia11 madrigals including an English transla
tion. Evidently singing Italian and Italo-Flemish madrigals
was customary by this time, at least among certain classes,
for we find Nicholas Yonge, editor of the book, dedicating it
to the guests in his house, "furnishing them with Bookes of
that kind yeerly aent me out of Italy and other places."
-2-
!following the publication of Musica TrR.nsR-lpina there was an
increase in the popularity of the Italo-Flemish·madrigal and
much artistic music was produced which was greatly influenced
by this form.
In 1590 there appeared further evidence of the Italian in
fluence in English music;· Thomas Watson edited The First ~ of
Ita~ 1:!adriga.ls Enp;liahed·. Twenty-three of the twenty-eight
madrigals included were composed by Luca. Marenzio who became the
model of English madrigalists, and who was associated with John
Dowland.
Some important names from the early era of the English
madrigal are Thomas Morley (1557-c.l603), William Byrd (1542/43-
1623), Thomas Weelkes (d.lo23), and John Wilbye (1574-1638), -
while later we find Orl~do Gibbons (1583-16~5), John Ward, Thomas
Tomkins (1573-1656), and Frances Pilkington {d.l638).
The madrigals of these and other composers were a great
success in England, and educated persona were expected to be
quite capable of participating at sight in madrigal singing or
in a consort or viols. But the madrigal having edged out the
national song art in popularity began itself to recede after a
brief period of flourishing. It is doubtful if madrigals were
sung much after lo4o, and in fact, interest in them has really
only been revived in this century. 1
But while the madrigal was still at ita height a new music
appeared on the ~nglish scene, the music of the lutenist school,
new to England 13,lthough original songs for solo voice and lute
accompaniment had been published on the Continent sixty-two
-3-
years before their first publication in En$land. It is in
teresting that the lutenist school could have arisen so success
fully amidst the popularity or the madrigals; someone has
called it "almost unbelievable". 2 In the very year, 1597, which
marked the publication or John Dowland's First Book 2£ Ayres
as well as the official beginning of the lutenist school there
also appe~red the second volume of Musica Tra.nsalpina. And in
1601, a year after the Second Book of Ayres by John Dowland had
been issued, The Triumphs£! Oria~ was published. This was a
collection of madrigals which resembled the Italian book Il
trionfo di ~ (1592) in name, number of contributing composers,
and the refrain, "Long live fair Oriana''.
Yet despite the madrigal's popularity the new music did
develop a.nd was welcomed. Though we have not found any con
crete reasons for the growth of such music we do know a few
things. Its development was not the result of a rebellion
against the past. There was no sudden revolutionary change of
style3 even though there are differences between the madrigal
and the lute song. Such differences are the less artificial
nature of the lute ayres4, the more rhythmic outline of the
ayres5, the frequent homophony of the ayres in contrast to the
four and five part counterpoint of the madrigals6, the predomi
nance of one voice in the lute songs - even when sung by four
voices - as opposed to the equality of parts in the madrigal,
the fewer repetitions in the ayre which were considered an
essential part of the madrigal, and the presence of a lute
accompaniment in the original editions of the lute songs.7
-4-
Another important difference is that the sixteenth century
English mR.drigal w.11s a. copy of the Italian form and as such
did not demonstrate much originality. The lute ayres, however,
especially those of John Dowland, '1 are much more typical of
pure mglish a'rt". 8
John Dowland and other composers were evidently anxious
about the reception or their new type of music for they arranged
it to be sung not only by solo voice and lute, but in madri-
gal fashion as well.9 Thomas Morley, one of England's greatest
madrigalists, must have observed a change bec.11use he published
his Canzonets of little Short Aers in 1597 which included an
alternate part for lute accompaniment. By 1600 the last set
of his work was issued, a.nd it pri!'IIarily contained lute ayres. 10
Although, as we have said, 1597 does mark the beginning
of the lutenist school we would assume that interest in the
songs probably originated before then, for we have already
noted that Morley's book containing a. few a.yres was printed in
the same year. Furthermore, there had, earlier in 1571,
appeared Songes Q! three, fewer, and five voyces, by Thomas
Whythorne. These were for unaccompanied voices, but like the
lute songs the highest voice had the predominant role. Peter
Warlock stated that some of these songs are as fine as "the
best of the later a.yres." Finally, it would seem logical that
men such as John Dowland would try out some of their own songs
a~ong friends, colleagues, and patrons before publishing them.
~fuat ever else happened it w~.s in this year that John
DowlAnd's very significant First~ Q! Ayres appeared,
-5-
establishing both the lutenist school and his own reputation
as a composer. 11 Its full title indicates the aforementioned
desire to encourage acceptance of the new music by wri t1ng
it so it could be performed* both in the popular four voice
fashion or as solo voice with lute accompaniment, or even as·
one voice supported by one or two other voices: THE FIRST
BOOKE OF SONGS OR AYRES OF foure parts, with Tablature for
the Lute SO MADE, THAT ALL THE parts together, or either of
them seuerally, may be sung to the Lute, Orpherian, or Viol
de gambo.
It was not until the following year that a book of songs
written only for solo voice and lute was published; it was
Cavendish's 14 Ayres in Tabletorie to the~. John Dowland
and other composers, however, continued to have their works'
published with the various methods of performance provided.
Before discussing the lutenist school any farther let
us briefly look at the lute itself (see the illustration and
description of the Renaissance lute on page 6). This instru-
ment, along with its varieties, was the favorite instrument 12 13 of the Renaissance; it was the piano of its day. The
lute ~d the church organ and other keyboard instruments be
came the significant mediums of that time due to their capacity
for the rendering of polyphonic music, which was the important
style of the age. Their performance was considered more
accurate and aesthetically satisfying than the "raucous," "not
well-tuned wind instruments, many of which could not play . chromatic tunes." 14
*Performance refers to private rendition in this paper.
-6-
The Renaissance lutel5 h d a ''pe~.r-shaped gr ceful body built of staves of wood or ivory, its belly pierced by several sound holes 1n A decorative 'rose' pattern. ~ttached to the body was a neck of moder"~te length covered by a finger board divided by frets of brass or cat~ut into a measured ac~le, and ending in a pegbox turned back at right angles to the neck." 16
-7-
During the sixteenth and seventeenth centuries in England
lute music attained gre~ter significance than did the music
of the keyboard instruments. ~ven though keyboard music was
rather well developed by the sixteenth century we find twice
RS mqny lute songs (about 2,000) as virginal pieces surviving;
there are very few songs for voice and virginal while there
are hundreds for the voice and lute; there is little ensemble
music for virginals, and this has been described as having
small artistic value, while there are two or three hundred
marvelous pieces for lute in combination with other lutes or
instruments. Another contrast is that the keyboard music
was not widely known outside of ~ngland whereas English lute
music and lutenists were quite famous. 17
Lute music, along with that of some other instruments,
was not.!lted in tabl.£J.ture, a system which indicated the string,
fret, or key to be played. The tablature varied with different
countries, and today'a musician does not possess a. notation
which can trl'l.nsla.te all the "subtleties .!lnd details of execution
that characterize this music.'' 18
The system of English lute tablature as Dr. Fellowes
described it utilizes a six line stave which has no interpre-
tive connection with our present five line staff. Their stave
represented the six strings of the lute.
On the stave were placed letters from ~ to h which re
ferred to the frets to be played, the frets being fixed onto
the finger-board of the lute. Sach fret could raise the pitch
a semitone, and this was done by the pressure of the player's
-8-
fingers on the strings behind a fret thereby shortening the
length of the string a measured amount a.nd thus rai·sing the
pitch. The fret to be •• stopped 01, thus producing a given
musical sound, was notRted on the stave by a letter. of the
alphabet. The letter~ indicated the "open string", and each
following letter represented successive half-steps in the
ascending chromatic scale. (See the following illustrations)
The six strings of the lute reading downward were the
treble, sm~.11 me~n, great mean, countertenor, tenor, and bass,
~nd all except the treble were strung double. The usual tuning
was to the notes:
0 0
0
Often the bass string was tuned to E instead of Q. Sometimes
a seventh string, usually tuned to D, was added below the bass
string and was represented by what we would term leger linea.
Below is a diagram of the lute stave (as given by Dr. Fellowes)
and ita translation into our musical terms. For a literal ~ ~ ·
~~ ''Go, cry&t~l te-ars*'
-l h ..... 1...-.. v rlf':J '"" ., I ,, - Jk.-. n -,.,....,. :':1"-' ..:e- ?'5 - 7 \..LI '-" ~-.~· '% ~ -(") '1't' ~ ,.,,, ~ I-. .A lh;;; . ... 0 , ...... 7 ..... :1#=-e-
(;..) ,.. '-"' ;~
:~r--& t --e-
6o bo bo -f7l-
-- br> , ,.. .(' ~ ~~---- I() --a;;o I ,.., .Jit~ v lr 'J _'- , --.;:;;;> ...... ..... t'O tl'"J ...., '11_ "1;..1' -- D7"50 ' I -a :# 0 ..... ........... l - 0 .iYO ..... l l _/_ - rk-. 0 '-" '1 l I
~ . '1 .....
-9-
transcription of the lute accompaniment of one of John Dow
l~nd's songs see photograph no. II and/or no. V (in the
envelope).
This system indicates the exact moment for the striking
of the note, but is ambiguous where the harmonic structure is
concerned. 'Uuch of the harmony is evidently left to "the
imagination of the listener, such imagination being itsel·f
based upon a conventional experience as regards the resolution
of certain discords and other harmonic details." 19
One other technical feature is that of measuring or barring
the music. The music in the madrigA-l part-books was printed
without qny barlines. In the lutenists' ayres barring occurred
in the lute accompaniment ir. order to simplify reading of the
lute t1blature. The lines usually extended into the cantua
part which was printed ~bove the lute aceompani~ent, but were
not present in the other voices. (See photograph no. I in the
envelope.) The regularity of the barlines varied, sometimes
agreeing with the words of the music, and occasionally being
~bsent for awhile. In other words, the barring was not usually
metrical. The Tudor composers did not define barlines as indica
tions of periodic accents; they evidently realized the danger
of misinterpretation And false a.c~ent ~hich could occur with
a system of barlines. Hence the presence of barring in vocal
parte and tho metrical barring used in some modern editions
should be recognized for what it is, a system for convenience
and not for musical accents or phrasing. 20
~ough of technical considerations for now; let us view the
-10-
lutenist school briefly and in general. Dr. Fellowes began
his general preface to the English lute songs by stating, "The
English School of Lutenist song-writers stR.nds by itself as
something which had no parallel in the contemporary Schools
of music in Europe."· Our research ha.s not included any elabora
tion on this point connecting it with the former point that
compositions for solo voice and lute were written in Surope
prior to its development in Sngland. But there are factors,
which have only been referred to in the various books used,
which indicate that Dr. Fellowes' statement is adequate. These
ideas especially include the fact already mentioned, that the
lute ayres seemed more typical of English music than other
previous forms such as the madrigal.
We have already contrasted the lute ayre and the madrigal;
some of the ayres in their four voice arrangement {including
some of John Dowland's), however, are almost indistinguishable
from the madrigal style.21 Dr. Fellowes stated that the
lute song as arr~nged for four voices usually resembles the
modern pa.rt-song more closely than it does the madrigal. This
is because the lutenist song composers' primary concern was to
write solo songs with lute accompanim~t, and secondly to
~rra.nge these for a choral group.
Although we are studying only one type of lute song there
were really three kinds of lute a.yres: one was a dialogue for
two solo voices ending with a choral entrance, with each solo
part being accompanied by instruments (lu~e and/or viols). An
example of this is John Dowland' a "Come when I call", Book III,
-ll-
no.21.22 The second ty9e was the solo song with lute and
string accompqniment with a repetition of the refrain utilizing
a chorus in the repetition, such as John Dowland's '1 From Si
lent Nip;ht'', A Pilgrimes Solace, no.lo. 23 The third category
is the one we hR.ve frequently referred to and are studying,
that of the solo song with lute accompaniment also arranged
for a vocal group.
The English lutenist song books differ from those of
other countries bec!)use thEf{ contain these two versions of the
Sqme ayre. The music was 9rinted on two facing pages. (see
photograph no. I) of ~ book so th~t the lutenist Rnd solo-
1st could r~ad from one part, and if a group wanted to sing
they could qll st~d or sit around the book and re~d from it.
This method of printing the part-books has caused some scholars
to wonder if the lute accompR.niment was to be used with the
choral versions, for occasionally there is a conflict in the
harmonies of the choral pR.rta as compared to those of the lute
accompaniment and solo voice. Then too, the lutenist, skilled
though he might be, would obviously h~ve a terrible time con
densing, for his instrument, at sight all four parts scattered
~round the page. 24
The printing of madrigals wqs not done this way, neither
was it done in score, but separqte p~rts ware printed in sep-
arate books. The performance of both madrigals and lute ayres
was done without the aid of conductors, and thus called for
complete attention and skill on the part of the individual.
The r~nge of most of the songs appears to have been for
-12-
tenor or baritone, but some were either composed to women
or intended to be sung by them.
Occasionally the bass viol was used to double the bass
line which could not be sust~ined by the lute. Some composers
even considered replacing the lute with the viol. Whatever
instrument was used the "essence of the monody remained un-
changed and the solitary singer could accompany himself and
enjoy the great variety of songs then in vogue." 25
The most prolific songwriters were Thomas Campian and
Robert Jones (five volumea each), and John Dowland (four volumes).
Besides Campian (1567-1620), Jones (dates unknown), ~nd
Dowland (1553-1626), other important composers of· the era
include Thomas Morley, Philip Rosseter (c.l575-1623), Thomas
Ford ( c.l580-1648), William Corkine (unknown), and Fr~mces
Pilkington. Note that two of these, Harley and Pilkington,
were earlier rnent ioned among the outstanding m8.d rigalists of
3:ngland.
One of the outstanding features of the lute ayres is the
splendid relationship between beautiful poetry and beautiful
music. As Denis Stevens said, ''there is a marriage of music
and poetry in the best of these songs that makes them shine
like jewels." Dr. Fellowes stated that there is within the
lute songs a ·• rich store of national song, the music of which
is wedded to superb verse belonging to the finest period of
our national (English) literature."
The clue to their success in this may be their vivid
realization that meter and rhythm are not identical, which
refers us back to our remarks concerning barlines. A good
-13-
discussion or this subject is included in Peter Warlock's book,
The English Ayre. As for us, we shall only mention that in
the context of this discussion meter is a formal frr-Jmework
which allows the reader's eye and mind to comprehend the struc-
ture of the verse or piece more quickly than he would without
it. A'good reader will read the verse stressing the rhythms as
related to the underst~nding of the words, leaving the meter
to the hearer's own comprehension. Despite the variety in the
length qnd rhythm of the poetry's phrases the total number of
b~ats within it can be divided into regular sections of three
or four beats, according to the time signature of the music.
Hence it c~m be said that the Snglish songs of this· period are
•• based upon a metrical scheme as prec 1se and regular as that
of the poem which prompted it. 11 26 This regularity is .,
notated in present editions by metrically reucrring barlines
which, as we have sqid, had no accent value.
The poetry of the lute songs was taken from the litera
ture of the day. There is speculation that the composers often
wrote their own poetry, but there is little evidence to support
this, except in the case of Thomas Campion. He wrote most of
the poetry in his book of ayres ·md possibly all of it. While
the evidence is lacking in relation to the other composers it
is believed that the lutenists, more so than the mArlrigalists,
composed both the words and music of their songs. 27
In some inst;~.nces the music and poetry do not appee.r to
a~ree until one rearranges the words. Usually only the first
verse was placed under the words, and the other verses were
-14-
printed in metric~l form. So disagreements as to the pl~cing
of the syllable could conceivably arise. In John Dowland's
''Come, heavy sleep'1 (Book I, no.20) the second verse is "Come,
shadow of my end, and shape of rest"; in order to sing this
with the music it should be changed to read "Come, shape of
rest, and shadow of my end". 28 This necess1 ty for the al tera
tion of words in verses other than the first has led some
authorities to speculate that the composers concentrated their
efforts on fitting only the first verse to music. 29
The lutenist school of composers, somewhat similar to the
madri~glists, experienced a short period of greatness. In 1597
with the publication of John Dowland's First Book Of Ayres the
lute song beg~n to overpower the madrigal, and by 1610 more
lute song books were being published than madrigal books. The
lutenists experienced much fame, but the close of their
immediate greatness was almost upon them by the time of John
Dowland's publication A'Pilgrimes Solace in 1612. A single
and final example of this music a?peared in 1622, a volume of
John .1\ttey' s songs. 30
Though the time w~s short (about twenty-five years), the
music w~s of supreme value. It did not, however, produce any
direct influence upon the composition of music following it in
England or on the Continent.31
For some reason the music of the Tudor composers was ne-
glected soon after its period of greatness, and much of the
music wa.s lost or destroyed. Between 1597 and 1612 about thir-·
ty volumes or sets of lute songs were published, with approxi-
-15-
mately twenty songs in e~ch set, but only a single ex~mple of
many of these exists today, and none of the original manus
cripts have been found. Dr. Fellowes ~ttributed this "decay in
public taste" p~rtly to the influence of ~gland's Civil War ,qnd
its ideas then of the wickedness of song and dance, and to the
rising popularity of a different type of music, one that con
tained orchestral interludes. The composers of this new music
were quite prolific which aided in lessening the performances of
Tudor music.
Sditions of the lute songs were scarce for some time which
may be due in pa.rt to the decrease of interest in them ~nd to
the barri,qr of lute tablature. Peter Warlock, writing about
1926, commented that the songs of the lutenists were inaccess
ible to the general public for an ext rem ely long time. For
this reason he wondered a great deal at the passage in James
Joyce's Ulysees in which on June lb, 1904 Stephen Dedalus and
Mr. Leopold Bloom were wandering through the Dublin streets
with Ur. Bloom talking of the music of v~rious com~osers
when Dedalus ''launched out into praises of 3ha.keapeare' a songs,
at least of in or about thqt period, the lutenist Dowl~nd who
lived in Fetter Lane near Gerard the herbalist, and Farnaby nnd
son with their dux ~nd comes conceits and Byrd, who played the
virgin~ls in the '~ueen' a Chapel or anywhere he found them ,q_nd
one Tomkins who made toys or ~yrea ~nd John Bull'!.
Dr. Fellowes, who edited music of the lutenist song
writers, complained in one of his books (publiahed in 1921)
that ~my •'bookseller can, qt short notice, supply the complete
-16-
works of almost every ~lizqbethqn poet, ~nd it is more than a
little discredit"lble to mglish musiciqns thRt it is not 9ossi
ble to comply with a similqr request for the complete works of
Tallis, Tye, Gibbons, DowVmd, or Byrd ••• definitive modern
edi tiona of these Tudor com,tJosers are practically non-existent'1•
Arid then he added th~t until "the works of the Tudor musicians,
both sacred and secular, have b '3en printed in complete a.nd
qccessible form it is idle to talk of their greatness, almost
impossible to attempt a satisfactOFJ criticism of their works,
and useless to suggest their perform!'mce. If, ·on the other hand,
this splendid music were r~adily accessible there cqn be no
question whqtever that it would quickly win for itself a wide
appreci"ltion <tmon~ Sn~lish chor!!l sinp;ers and c.qthedrr:ll choirs.''
-17-
Part II
1562/63 John Dowl~nd born.
1580 Goes to Fr·r-mce in the service of the English ambassador. Is converted to the Roman Catholic faith.
1592 Returns to En~land. Sometime later ml't.rries.
1596
1538
1592
1594
1595
1596
1597
1598
1599
1600
1601
1603
1605
Son, Robert Dowland is born.
r~J\:es degree of Jf.us.B~c. at Oxford, in company with Thomas 1/.orl ey.
Contributes harmonized tunes to Sate's Whole Book Q! Psalmes.
Fails to obtain position ~s one of ~ueen il;lizabeth's musicians on account of his c~tholicism. Le~ves fugl~nd ~nd travels from court to court in Germany ~nd Itqly.
Writes long qutobiogrq.phica.l letter to Sir Robert Cecil, in which he confesses his reconversion to Protest~nism. (quoted in full in The English Ayre)
Some of his lute-music printed without his permission by ~illiam Barley in A~ Booke of Tabliture.
Publishes his First Booke of Songes or A~·
Receives q'Jpointm :mt as ins trum en tali s t at the court of King Christi qn IV of Denmark, ~nd is ?aid An unusu,qlly high s~1q.ry.
Contributes l,qudatory poem to Richard Alison's Psalmes Q1 D,qvid in meter.
His Second Booke of 3ongs Qr Avres published in London, with a dedic1.tor:r preface ,,ritten from ~lsinore in Denmark.
Sent to Sn~la.nd to ourcha.se musical instruments for the Danish court. Decorllted by the King of D·.;nmark.
His Third ~nd Last 3ooke of 3ongs or Airs published in London.
His Lachrimae ~ Seavgn Tea.res figured in Seav~ Passionllte ?~vans ••• s9t for'uh for the Lute, Viols, or Violons, in live oarts, published in London.
1606 February. Dismissed from his post at the Danish court.
1508
1609
1610
1612
1613
1514
1526
1626
-18-
Prefqced book by Rich~rd Alison, An Howres Recreation in Husicke ••• with complimentary verses. Third edition of the First 3ook of Songs printed.
Fourth edition of the First Book of 3on~ printed.
Publishes his translation of Andreas Ornithopn.rcus his }.~icrolo~us or Introduction containinf?i the Art of Singing. Living in Fetter Lane, London.
Contributes some 'Observations belonging to Lute-playin~' to his son Robert's Varietie of Lute-Lessons, and three songs to Robert's Musicall Banquet.
Publishes ~ Pilgrimes Solace. Lutenist to Henry Pe~cham 1 s poem in ~HnervR Bri tr-mnica the neglect of Dowland in his own country. one of King J~mes' muslci~ns for the lutes.
Lord Walden. ~lludes to Appointed
Fifth edition of the First Book of 3ongs printed.
Contributes two hymns to 31r W'illiam Leighton's reares or L~mentAtions of~ Sorrowfull Soule.
Janu~ry 21. John Dowlqnd died in London.
Son Robert Dowland succeeds him as one of King's lutenists12
John Dowland's name h~s exp~rienced many varieties of spell-
ing; the pronunciation of it, however, should ~robably rhyme with
blue and not ~. 33
John DowVmd was quite ~. versa.tile mustdi!'ln •. He··was more
f<>mous th~n <>nv other compos~r of his time34 composing secular
~nd sacred music ~nd writing for both the voice and instruments.
In writ1n~ of 1nstrument~.l d~nces of ~reat worth l'aul H. La.ng
stated th~t Dowland ''contributed the most orir;inal and at the sAme
time most ftn1shed work, in his Lachr~lmae, Q!: Seven 'reBr~, lli-
ured in Seven .?aV'!M ( 1605)." Not only WllS he a composer, but
Dowland W"ls considered the '1 unsurpllssed lute virtuoso of his day" 35
as well as being a not!:!ble singer. He is one of the 13reatest of
-19-
lt " '36 all the ]nglish song-writers not excepting even Purcell •
In comparing John Dowland to his contemporaries we can
find statements which constantly refer to him as an excellent
musician. Concerning 1'homas Campi an we read: "'next to Dowland,
Campian is the most prominent personality of the English lute-
nists." 37 Robert Jones: "Several beautiful songs are to be
found in these books (his five books of ayres), although few of
them can be compared with those of Dowland." 38 Thomas l''ord: the
first set of ten Aries for 4. Voices to the Lute, Orphorion, Qt
Basse-Viol "is one of the most beautiful of the lutenists' publi
cations, for Ford's work, simple as it is, ·may be compared with 39 that of Dowland for beauty of melody." Thomas Morley: was
not influenced by the "harmonic experiments of Wealkes, DowlRnd, 40
and Kirbye''. John Danyel, a lutenist composer not mentioned
thus far, is Rlmost unknown today, but was considered to be 41 on the level of Dowland by his contemporaries. A'final reference
is found in a discussion of seventeenth century French solo song
'Nhere we read that it is difficult to find here any ••vocal
composition displaying such rhythmic and melodic flexibility com
bined with depth of expression 9.S we find in some of the songs
of John Dowland." 42
DowlRnd earn9d a great reputation among his contemporaries,
but in spite of this he found himself neglected in his old age,
and he expressed bitterness over it all in his address to the
reader in his last publication, A Pilgrimes Solace, which we quote
here:
"Worthy Gentlemen, ~nd my loving countrymen: moved by your many and fore-tasted courtesies, I am constrained
-20-
to appeqr ~gain unto you. True it is, I hRve lien long obscured from your sight, because I received a kingly ent !3rt ainment in a foreign climate, which could not attain to any (though never so mean) pl~ce at home; yet hqve I held up my head within this horizon, ~nd not ~ltogether been unaffected else where, since some part of my poor labours have found favour in the greatest part of Euro9es, and been printed in eight most famous cities beyond the seas, viz: Paris, Antwerpe, Collein, Nurenburge, Franckfort, Liepsig, Amsterdam, and Hamburgs (yea, ~nd some of them also authorized under the Smperor's privilege). Yet I must tell you, as I have been a stranger, so have I again found strange entertainment since my return, especially by the opposition of two sorts of people that shroud themselves under the title of musicians. The first are some simple Cantore, or vocal singers, who though they seem excellent in their blind division-making, are merely ignorant, even in the first elements of music, and also in the true order of the mutation of the Hexachord in the system, (which hath been approved by all the learned and skilful men of Christendom this Boo years); yet do these fellows give their verdict of me behind my ba.ck, and say what I do is after the old manner. But I will speak openly to them, and would h~ve them know that the proudest Cantor of them dares not oppose himself face to face against me. The second are young men, professors of the lute, who vaunt themselves, to the dieparageml3nt ofsuch ~s ha·Te been before their time, (wherein I myself am a party) that there never was the like of them. To these men I say little be-cause of my love ~nd hope to see some deeds ensue their brave words, and q,lso being that here under their own noses hath been published a book in defence of the Viol de Gamba, wherein not only all other the beat and principal instruments have been abased, but especially the lute by name ••• Moreover that here are and daily doth come into our moat famous kingdom divers strangers from beyond the seas, which aver before our own faces th!l.t we have no true method of application or fingering of the lute. Now if these gallant young lutenists be such as they would have the world believe and of which I make no doubt, let them remember that4their skill lieth not in their fingers ends ••• " 5
Evidently Dowland was not alone in his concept of the neglect
of himself ~.nd his music, for we find a poem printed the same year
-21-
as A Pilgrimes Solace (1612) in Minerva Britannica by Henry
Peach~m. Above the ~oem is pictured ~bird sitting on a bush
of briars in the midst of a storm ~nd surrounded by signs of
the neglect or a house, fence, and land. The poem reads:
uHeere Philomel, in silence sits alone, In de~th of winter, on the bared brier, 'Vhereas the Rose, hA.d once her beautie showen; Which Lordes, and L~dies, did so much desire:
But fruitles now, in wint3rs frost, and snow, It doth despis'd, ~nd vnregarded grow,
So since (old frend,) thy y eares have made thee white, And thou for oth3rs, hast consu'd thy spring, How few regard thee, whome thou didst delight, And farre, and neere, came once to he~re thee sing: Ingratefull times, and worthles age of ours, u 44 That let's us pine, whsn it hat cropt our flowers.
We have found no explanation for such a situation. Dowland's
music is so bequtiful and expressive that it is difficult to
understand any musici l3n' s neglect of him. Peter 1fl'arlock
said that there is not one b~d or uninteresting song among all
of Dowland's ninty-eight .qyres. While he was not a.s prolific
as Schubert 9nd some other famous song-writers he gave each
song ~ certain individuality and wa3 very versatile in express
ing diverse moods. This stands in opposition to the monotony
contained in 9ome of his contemporaries' music. 45 There is
the pathos of "In darknesg let me dwell", the smooth flowing
words and rhythm of the meloncholy ·•Go cryst'l.l tears'1 ~ the
beautiful s~cred song "Where sin sore wounding••, R.nd the
lightness of "Fine Knacks for Ladies•• to refer to only a few.
In contrast to his contemporaries Dowland r9mained close
to the form of the poems he set to music. Usually the melody
and ~ccom~anie~ent enhance the poetry in simple means rather
-~2-
than detr~cting from it by elaborate devices.46
As we have
mentioned previously th~re is no evidence as to whether John
Dowland wrote some of the poetry for his Ayres or not. The
poets known to have been used by him ~re Ful~e Greville,
George Peele, Sir 'Sdward Dyer, Nicholas Breton, And some A.re
attributed to John Donne.
Many scholars proclaim the originality of Dowland's music
yet few give ~ore insight into this. Dr. Fellowes stated that
the First Book of 3o!:!.S..§ .!21: Ayres formed the basis for the
school of lutenists ~nd had no pnrallel in Europe. From his
first book which represented something new in music to his last
publication he demonstrated that he w~s Hsearching for new
forms, -=~nd for fr'3sh combinations of instrum~nts And voices
for the purpose of expressing his ideas," just ~s m~.ny of the 47
gre~t poets and composers of his time were doing. Yet despite
this s~~rch his music a~Jpeqrs to be mature. Dr. Fellowee wrote
that as Wyatt ~nd Surrey were pioneers in the development of
new forms of expression within the sonnet, eo the early mAdri
gqlists appear as pioneers next to Wilbye or Dowland.
John Dowland's lute songs did introduce a ''new class of 48
vocal music". This is seen especially in his use of harmonies.
'.Vithin the brief scope of my own ~malysis of very few of his
songs the chord progressions mAy often be a.nalyzed according
to tr-=~ditional h~rmony. Dr. Fellowes, in a discussion of
Thomas Weelkes' music, at"ited that Weelkes and Dowland were
both innov~tors using hArmonies not commonly employed agR.in
for many decades.
-23-
Nowhere was there an obvious available discussion of
Dowland's harmony, but Dr. Fellowes said that within his music
are ''instances of almost every h'3.rmonic novelty of the period •••
and the subject of his h.,rmoni es provides m1=1.t erial for special
study." Because his songs were not strictly madrigals, even
when arranged for four voices, they could conceivably have been
more easily adapted to a free harmoni~ treatment than would
the strict madrigals.
Dowland's use of chromaticism (see the following page for
qn ex~mple of his use of chromaticism in ''When the poor crfpple",
ex. given by Dr. Fellowes) appears to have been another
innovation. Dr. Fellowes implies that Dowland evidently under
stood what he was doing when he used A//- ("From silent night", };
Pilp;rimes Solace, no .10) and E//- ("Sweet, stay awhile", ! .P il
grimes Solace, no.2) gnd wns thus not just experimenting, but
included these as a part of the expressiveness of the song.
These were rarely used tones in the ruder madrigals.
Wanda Landowska has referred to the influence that Dow-
land's years in foreign countries must have had upon him. He
would most probably hqve come into cant act with the a.rt music
of the countries he visited which could have intensified his
fertility and his knowledge. Yet one cannot carry this to
the extreme and explqin away his origimtlity by calling it a
product of foreign influences, for the type of song as he
presented it was not known as such in his day. 49 Paul H.
Lang S!'J.id th'3.t ''here the genius of !!:nglish music is aga.in
expressly enriched but not altered oy foreign influences."
. . - .. \,' . - ' 1 '
.. ..... ....
.. .
- ___ .. _ .
---------------~ :.:-----.~-• ·-.-:..-:~-·-_. _ I ~ r.= . ---···~- -·~ . - --~ -~····---·- ......... ---
-~~...._.•...__·-- __ ¥_-~_.........___. ___
... "' ~· • ..... . \
In llfCkr to cPt1\'t'\' ~~ mun· r••mplt't(' idt·,\ nt t h·· n,\t llt\' ,,t the f•tl~lTiahtv of Dnwbn•l'-. wntm~. thi~ further Jllu~tratitlll \\ill
• L
l~«· f(•tJn(i int•·r•·-..tin£: : 1t form~ the• concluding pa-": ... ~l;:c of B'hrtt tlu t>n:1r (rtf>plr (~o. th of ' .\ Pilgrinws ~ola,-:t• ')
'-"l'. r·lt' •n
-24-
sven though specific det~ils concerning the harmonies
~nd other technical aspects of his music were not discovered
the auth0rities gener~lly ~greed th~t Dowland's music is both
mod ern ~nd a composite of many streams of Snglish music. Only
Burney sounded r.~. discordant note on this. He w~.s very dis
appointed in Dowlrmd' s "scanty abilities in counterpoint",
and he complained about Dowlqnd 's chromaticism, .t'md other
things as well.
Despite Dr. Burney we, along v1ith eminent comvmy, continue
to delight in John Dowland's lute songs. Their ''simplicity, 50
purity of melody, r~nd perfection of verbal phrasing" cannot
be described or explained away on paper. There follows a
brief ~nalysis of six of his lute songs, but to really discover
their rr.agic one should study th.e scores, play the music, r.tnd
select good recordin~s of the songs. No writing can ever
substitute for the aur~l experience of his music.
-25-
.Part III
Before launching into our analysis of six of the lute
ayres we should mention three it ems in pa ising. .Peter
Warlock considers DowVmd 's l.gst publication, A Pi1..grimes
SolAce (1612), to be his m!3.sterpiece. All his former mea.na
of expression ~re intensified in this work. We hA.Ve q.nalyzed
only one song from this group of sacred songs, "Where sin
sore wounding", but it is one of 'the most beautiful we h~ve
yet seen 9.nd he~rd.
Another deeply moving song is "In darkness let me dwell ..
which is noted for its use of disson~nce, its pervading gloom,
ita passionate outbursts, ita use or intervals to "heighten the
meaning of the text", 51 ~.nd thd endinF; which repe11ts the be-
ginning statement with the solo voice being heard last of all,
unqccompanied on the last note. This, unlike many of his songs,
is non-strophic; Denis Stevens described it as "a. kind of
rr.elodrqma, or scen.q. '' It exists only in the form of solo voice
~nd instrumentRl accomp~niement as do some of his other songs.
(A discussion of this song is given in The English Avre.)
The third song is "Flow, my teqrs", or "Lachrymae", his
"most famous song". 52 It exists ~s a solo son~ with accom-
paniment ~nd "'.lso ~s a ;>~.van for lute. The dram.1.tists of his
day referred to it frequently:
"Now thou pl~yeat Dowland's Lachrymae to thy master." (Thomas ?liddleton, No Wit, no Help like _g WomR.n, 1613)
''No 1 the ID!:!.n In the moon dance a coranto, his bush At s back a-fire; qnd his dog piping Lachrymae." (Ben
Jonson, Time Vindicated, 1624)
-26-
"You '11 be made dance Lachrymae, I fear, at tbe cart's tail." (John Webster, The Devil's Law Case, 1623) ~3
This melody was borrowed and reset by many com~osers,
such as '.Villia.m Byrd and Giles Farnaby (for virginals) and
John Danyel (voice). 54
In our own analysis we have considered the following
points: (1.) variations in the editions of the text and melody;
( 2.) the h~rmony, analyzed according to traditional harmony,
~noticing ~he dissonances used, and the possible use or chromati
cism; (3.) the relation of the melody, words, and rhythm, con
sidering the phrasing of the melody (its cadential points and
the poetry in relation to this), barring, ~nd general melodic
and rhythmic balance, the intervals used in the melody; (4.)
the inner parts related to the melody, to each other, and to
themselves including counterpoint, word repetition, range of
voices, simil~rity betw~en p~tterns in the voices, and the
intervals used in each part; ~nd (5.) the lute accompaniment.
~nalyzing only six of almost one hundred ayres does not
give one the authority to draw any conclusions. Having
briefly examined a number of his songs we have selected these
f~r further study. ~ach of his publications of songs is rep
resented here. ~e have not included the entire analytical
process; it h~s in fact been ~reatly condensed and some omit
ted (such as intervals used in the voices, barring, etc.). We
have instead included only the most significant points and
occasionally made brief, but hopefully adequate, remarks con
cerning the songs studied.
The photographs of these songs are enclosed in the folder
-27-
to facilitqte reference to them. They are numbered from I
to IX, but all mention of examples with a letter beside the
number designates ex~ples, not photographs, as ex. no. III a.
Underneath the songs is an analysis of the harmony.
Accidentals appear next to some chords such as V~, V~, I~, etc.
The me,:~ning of these varies according to the context. In the
key of G minor a v9 would mean V is a minor chord, while in the
key of C minor it would denote a major chord.
The symbols used to indicate non-chord tones are the
familiar ones: P, passing tone; R, returning tone; A, antici
pation; N"', neighboring tone left by 9. leap; ...N, nei~hboring tone
approached by a leap; R, appo~~iatura; and S, suspension.
Dotted lines refer to tritones. There are numerous incidences
of cross-relations, but these have not been included. Attempts
to show any significance in Dowland's hannonic vocabulary and
his use of non-chord tones are not in the scope of this paper,
although brief statements concerning this have been included.
Inadequate f~miliarity with other music of the period and that
immedi?tely preceeding it prevents such attempts.
Phrasing has been done only in the melody, and occasion-
ally this coninc1ded with the phrasing of other voices. Fre
quently very sm~=tll similarities occurred between the voices, and
while these were observed they ha.ve not here been mentioned.
Three editions of the songs were available, Dr. E. H.
Fell owes' edition, r.~usica Britannic a, vol. VI, ~md a paperback
book. There were only three volumes available in The English
School of Lutenist Son~ Writers, tr~scribed and edited by Dr.
Fellowes: Book I, no.l-10; Book II, Part I, no.l-lOi and Part II,
-28-
po.ll-22. Compare photograph no. I with Fellowes' edition
of that song, photograph no. II; notice Dr. Fellowes gave the
lute accompaniment ~s it w~s and also tr~nscribed it. He
further made a freer version of each song for the piano.
!•~usicR Bri tanni cR., vol, VI, contains Dowland's ayres arranE~
ed for four voices, transcribed by Dr. Fellowes and edited by
Thurston D9.rt and Nigel Fortune. The ayres are barred metrically.
An Elizabethan Song Book, music edited by Noah Greenberg,
contains sixteen of Dowland's songs arranged for solo and
accompaniment (paperback). The songs are meAsured according to
the origin~l barring in the lute accompaniment and also have
dotted lines indicating metrical barring. This edition also
uses the Slizabethan spelling while the others do not.
The symbols used in referring to these editions are as
follows: Dr. Fellowes School of ••• , Sf; Musica Britannica, 4A;
and An :!;lizabeth~n :')ong Book, N. Also, Dr. Fellowes' edition
of Sna:lish ~·radrigql Verse (symbol, Bk) was used whenever Dr.
Fellowes' edition of the music w.1s not available. There a.re
differences in the accom9animents of the three editions (ex. no.
III a-c), but these are not included in the paper.
Go crystal tears (no. III); from the First Book of Songs
This was first composed for four voices.55 The text is that
of a lover lamenting his rejection. There are three differences
in the text which would not influence the music. In the first verse
Sf has •• sweetly weep into .!!l.Y. lAdies breast'', but 4A and_N have
"sweetly weep into thy ladies breast". In the second verse
4A R.nd Ef read "Haste, restless sighs•' while N reads '1Haste,
haoless sit;hs''. L'lter in the verse Ef R.nd N use "whose frozen
-+~----=====; ~ r----~---~·~f~-----0~~~~~ -----------------------------t·· $•"'"""' wk.ilst I ~,..""'
No. III b
~ ~=J=-.__. =--=--~-,::s~--_r:-=-~~---_~-~-~r~--~=-r-----· ~---r-~-~~:r.~~~~=---=--~-=-=-=-=-=-=-bD So~ w\VIsi l ~N....._ ku• s leers
J
"' ~l'.. ::_ ,.. I I O--~--~ ..J ()--- --d-'-- H---------------.. . v ____ <:1 ___ , __ , ___ ..,--1--r- --o ----- - -------------------------
~-- lrr f 1 1 j f 9T '>~u.u a.r.c:o-rnl,..e.._t
;~-=--------=-«~=~~o~P--~~ -===-==---·---==-~ r r- , t-
Nt>.]J[ c.. 4_A L,.;t.e ... ....,..
].~J_er to No. 1I[ an. d. M -\::.e tka.-t: Ill ,......_ - -~r-' ~ -t---~ -the: 1 ...... '\:e-a:~c.-o~ra hi:m-e.~ ~-----"1 h
-I(-( _)r 17 I ,_1_, .J I
~-:-. I\ v ,_,_ :---'-' ·-)~ ... ~e._S~:""'"t c;Gl\:1:;~, n,s_"t:Ke._ ~~s -, o~ -1::."'-e ~~ e.r uoi~ e s, I"•IJeV' t.l.4.e.
1~---11'-IJ )' J_ so,.ow-a~ 0 u~e.
-+ -t--t-- q---,--- ------ -----... . .
, 17 1\ .f.. $te . I a.., ~-H-t-;1 11 , , II' . I ,.
I I ~------~~~e~lo~d~~~~~s~~~~~~"~"-------------------~~-----------------------------
---- ----------------- --·---
1-·------.-----------------------------·-------------------------
-?.9-
rip;our'1, but 4A (bqsed on Bk which uses '1 whose") reads '1while'1
•
A difference in the melody of each occurs on the words
"And as the d ew s '' • Sf uses Ab (ex. no. III d) on the word
the, but the other versions have A~. There is no great change
in the chord structure since this is ~ passing tone in either
CRse. The fqct that an Ab follows in the accompaniment and in
the next measure does not lead to any conclusion because cross
relations occur in the lute songs frequently.
Looking ~t no. III (photograph) note how the phrasing of
the melody qnd the words enclosed corr9spond to the phrasing
of the poetry. Note qlso the infrequent repetition of words
by the inner voices, and the lqte entrance of the bass.
Of the numb9r of simil1.r patterns only two will be mentioned.
One is the simultaneous movement in thirds of the bass and soprano
on the words "To quicken up the thoughts of my desert" as well
.t:!.S their s~me rhythmic pattern on those words. The other point
is found in the bass itself (ex. no. III e).
There are no other accidentals used th~ those contained in
the concept of the minor key.
2hall 1 ~ (no. IV, 4A; no. V, Ef); from the Second Book of Ayres
There are no differences in the texts or melodies of the
two editions (4A, Ef) availqble. Note the phrasing of the melo
dy and the few repetitions of words in no. IV.
Two patterns will be commented upon. One refers to the
similqrity of the phrase 11 9hall I strive to a heav'nly joy with
qn'earthly love?~ and that of "or a sigh can ascend the clouds
to attain so high?" in all the voices, especially that of the
soprano. Observe the note and rhythmic patterns in these
No. ]I[ d.. t~ ·~---~~ 1----~~~'~---l~--~~~---------------------
=r~.~~~--f-r--J=J--Y-Q--+o---j---I,-=-""J,.-----;;-f , ______________ _ -1e ' ~ _ ..
- -,~-+ l--r-lf-1-~ - t,n-V--t-----t----r-:1 I I ,{ .I - ~~ -:;; • , , 1P3 :::·t=_-=..-n-------------, ~ ~ f -r r ~ '+ 0
.':._:-__ i);l-~r-, --.,~r:-=-Ee-~=-CF _ _,_t;,,_-o======~~=-=--~~~---.:=--------=----===:---~ ·-· :Lt; 1:, ______ __,_r-==1 __ __,_=_--_1== __ --~-- =t=-_·-__ k}------_--i_t-----=--~-=--_--~-=----_ =-=======
·--------------
---------------
--------------------------- ----- ------------ ---- --·----------- ----
-----------------------------------------
No.rr a. <f,Q - So,.ra.M
!1@~-,L-,~=til=H=l-' f£-r-#~1~1~-------, .... ~~e) sllatl... love.
.::----------------------------------------------------
,------' ·:·----------------=--------- ·---~~
-~· -------------------------------------------------
-30-
phrases. The {IV a) soprano line corresponds to each phrase
more closely than de ~ny of the other voices. Secondly, the
first part of the song has an interesting rhythmic pattern:
sop.). altQ}
J' J J Shall
j}
J II .I tenor) . J bassJ Shall (no. IV)
) J C&.} _ _!_j_t_~ J. for grace? Shall .~
\ , J. prove?
No other ac~identals ~re used than those of th~ minor key.
Weep~ nQ ~~ (no. VI); from the Third Book of Songs
There are no differences in the texts or melodies of the
two editions (4A, N) ~vailable. This song was not f!!S easily
an9.lyzed as w8re the others studied. It could be fitted into a
number of keys, but considering the ~ural as well as written
cadential points the piece appears to begin in G minor and
modulate to ~minor with ~n ambiguous reference to ~major on
the way.
The following pattern occurs within ) . ;. .~ .1' J' " } 1 "
~Veep you no more, s~d fount~ins What
the soprano line: ) ,. /' ) J
need you flow so fas~
Look how the snow--y J/' J\ ft l' ~
mountains
~ 1' '
/) Heav'n's sun doth gently waste. t ) ! f. p
'-"' . Another patt9rn, very elabor~te in comparison to the others
we've discussed thus far, begins with the phr11se "That now lie
sleeping" and continues until the end. (ex. no. VI a-d) Each
voice has a regularly recurring p~ttern, both rhythmically
(some variations) and accordin~ to intervals. Observe also
in this same phrase the simil~ri ty of the bass and soprano
where notes are concerned. (ex. no. VI e) The bass begins
the pattern ~.nd then the soprano copies it for a few measures.
A final p11ttern is in the entrAnces of the voices on the
tlo. Yr h 'Ill· Rtt-
-------
-~i__,-n,__'f-. gm1~-sr=1m~~~~~,.;~~~~;~t@lll.· =~-Tkt.t: ... £.. l-- ~ b st••ffl<.j
---------------------------------
-----------------------------------------------
---
-
No.J[ f, </A s. 'II
~ ~-I~
11· ., rryy
-1-.:
T. - - ·: _L - ~g-_ f I - v - ;..
t ~~ ----1-lft-= -,-1---
=b-t=---------'lieuJ 1\.CI't ~ ....... v>~t.t'· ••• : ... ~
~---
-1--~ A ~ J-.et!· I ~ r c,_, _,.
I ': ·f -4-y;eVI
l• , h' 1--~---J...~-t-1 -I
I/ v. v _U I '1., .. v:e.w
:1~; ~ ,,--~ =-=---= ~~~- }=~~~.: -~P- ~v-- --t V= , , __ ~ -- --- ------ ,_
- ------ ---
-
------- ----------------
-31-
phrase "View not your weeping". (ex. no. VI f) The phrase is
begun by the bass with each voice entering individually a.fter
the bass ~nd copying his pattern to a small extent.
The only use of chromaticism here can be explained by the
concept of the minor key.
The lowest trees have~ (no. VII); from the Third Book of Songs
There is a difference in the texts of the two versions
available (4A, N) as well as a difference in the melody line of
the two editions. In 4A ·the phr.q3e in question reads "And bees
have sting" with the note !'on the word sting, while inN we
find "And bees have stinM'' with ~tn f on the word stings.
Not ice the ber.;inning of the two phrases "Artd slender hairs=
cast shadows, though but sm~ll," and the one following it.
Another similarity is found in measure 10 between the alto and
bass on the words '' sprin'3s, shallow springs". (ex. no. VII a)
All the accidentals may be understood when related to the
minor key and to the use of secondary dominants.
Me, ~ ~nd ~but~ (no. VIII); from the Third Book of Songs
Whereas "Go, crystal tears" and ''Shall I sue" are songs
of love, unrequited love, 11 The lowest trees have top~1 is also
about love, yet it is not the same as they are in thought.
''Weep you no more sad fountains" and "Me, me and none but me"
are both songs referring to death, yet the two express their
grief in different ways, both poetically 1.nd musically. -.
Only one edition of this (4A) was available. There is a
difference in the text of 4A'and Bk in the second verse; 4A
reads "He never haopier liv'd11, but Bk usee 11 He never happy
lived 11 • Alfred ·:Deller, :in· his recording of this song, uses
the latter ·.wording. Also, he· changes the first. verse to this
No. Yl[ a 4/J..
Aft:' -- l
------------------· --------------------------------
--No.~I/R n/i:o
(\L
---.t~~~~-~----~-,,==r~=====~=-====~-=~=~-=~~l==~,~,---f--------·~·-------------------------_~_-=--=--=:~~:1}::::=,:==~~-· :=--~=-=--_....4+=-~~=-T;=B_~ r-;t·----;- -,=----~~~.::-.:+,~.::-.::-.::-.::-::.::.-.::.-.:=============-=---=--=--=--=------
.. lJAt:. ... ::]:: IT ...,... -;- _,_ fu.i- ••• ffc
_ ~ass- A jl . 1
_ __._~_· ,_:~.. ,, ; td= :~J ~t--=-·-.. -_~;_-_-+=--=t-~--:--_!='r----=t:::~---_-C<::~=lt=--=-~--=-=-.---===·=~.::---=~-=-~-=-~-=--~-=--~~.~~~~-~~=~=-~=--~=-_==-=~=--_=-. =-_ lb.··· "'=• ... t~&.r •.• t~
------- ---· -----
:phrasing: ''Unto my faithful, unto my faithful .••• '' instead
of "unto my faithful dove, unto my ••• '' The ·first interpreta
tion emph~sizes the similarity between the beginning of those
two ~roups of words. (ex. no. VIII a)
One simil~rity occurs between the alto qnd the bass on the
words "unto my faithful and beloved turtle ••• " (ex. no. VIII b)
The bass follows the note qnd rhythmic patterns of the alto quite
closely. Another thin~ to be aware of is the quick beginning
of the firs~two phrases (no. VIII) and then the slow following
phr!lse.
Between m'3A.sures 4 .·md 6 there are some accidentals which
~.re the result of secondary dominants, with the exception of
the F~ which can also be explained structurally. (no. VIII)
The alto line is the only one to have even a brief chromatic
passage passing from F~ to F*' , G.#" , A; G # , A; G i . Where sin ~ wounding (IX); from .A Pilgrimes Solace
Only one edition was available for this, 4A, but there are
no differences in the text of:.this and Bk.
Notice that the meter and rhyming of this poem is not the
sAme as the others. This was originally written for a four
voice arrAngement; observe the expressive way in which the
voices interlock and yet flow. Each voice enters separately with'
the sug~estion of counterpoint to follow. But there are, as in
the other songs, sections of homophony, as in the beginning of
the phrases "Daily doth oppress me11 and "Still I shall confess
Thee".
The rhythmic pattern beginning with the last phrase "Father
of mercy'' is of special interest.
(: o cr~ sot: a L -t~4 """ __ .,.~.::rsllrr.,_ '-..----- tAl ~ ...g. ~-~V_t!_Q ---t'Uf}-------
---1 o-l~n-b-cc-----~~.;-· -& ______ -
. ' 0 0
---t-7\---------11_1A--~----liD -6>- bo rrf) - 111 :t:Q -------~It=)~ "'----------_ 1\. ...... /
1\r---------,~~r-~========~~~t-============ - ....... 0
~--~:---0 _-_:_ -~J,----o __ -01-::_ ___ ~--~~-= ~2~===-=--~=~~~~---------o~----
tk• L•w~st-
_-=1 _-a_ -b_ =P_~ ~"'- lo -t::"-~ ~--"'~_ ...... ---~ :fL ___ ----~ !l!=q-====-=-=f~= ~~--"' ............ ill\ol ~~ ... b ... t ~ ~
----~~~G=--=-==~======~o~~~~~Q~-=====-==~IM~~b~p~~==~=~=----=-~~~4_:~~-~~=~~--o~_=_== __ =_=~----==~-w""-'" .. ..,, ... ,,,., ..crDI$.~;":1 7ifj --o--
-6- 1-J--------l~.Ih ~ j u "7"\ -
=--=---------~~~\lU:-::::::_-.-:::::_-_---_-__ -_-_-=-.-_-=--o~-t.L§~1' __ ::_-::_~c.?:: __ :.:_:::=--=_=_==_==:J'1:·~====-=--=--=-__ ~--::::::_#o-17-·_~-----=---=------------P_?~~~== 0
-------------------
------------------------
----------------· ---------------- ------------ ----------~-----------·--
-33-\
s.~ __ d J 3' .: . f'- I 01 J .. ' .1. I l J ~~ ~~ J ,\' • I J • • . -f • 11
I r ... .,__
' , d I i t tl I ,J 17 J } }) :\ J\ _j_ J I' ' A ... ,;. ,.
" , . . # ' ' • . .,. . . TdJ ~ ..'
~\
' I I i'·. '• . ' I ) J .t. ~\ ·.1 ' I ,f J -; I' t'
' "' . • /I I . ~ ~ . • I • , - . I I J J I I J - } ' i· ; J). ( B. ,r. . .. , , • •
Fa.~h.e ......
This is one of the most beautiful songs of Dowland's that
we have yet encountered. The chromaticism used may be realized
within the concept of the minor key .9.nd the use of secondary
dominants.
The r~nge of the voices of these six songs is given in
ex. no. IX a.
Without an ~dequate study of other son~s qnd also the songs
of Dowland's contemporaries, as well qs those of his immediate
'predecessors ~.nd followers, it is useless to make any general
izations. Bven with the study of only six songs we have come to
a fascination centering about this music, its simplicity, the
frequent use of dissonances without harshness, the manner of
Dowland's treatment of the poetry ·and various moods, the limited
range of voices in some songs, the general lack of complicated
J
•
counterpoint, the presence of much stepwise motion in these ayres,
and so on and on. One could spend a. lifetime on this man a.lone
as Dr. Fellowes evidently spent his on the English madrigalists
and lutenists of the sixteenth century.
But in conclusion, though we cqn make no adequate general-
izations, if indeed ~ener~lizations qre ever adequate, we can
summarize our introduction to his lute songs by realizing that
in this music we hqve stumbled upon a lovely meadow, full of
beautiful detqils, and even thou~h we now stand upon the
"
-34-
hill ready to depart, wa know w~ can never lose sight of it,
our eyes having once encompassed the magnificent simplicity
of it ~11.
Footnotes
1. Edmund Fellowes, :mglish Madrigal Composers (Oxford, 1921, p.23
2. Paul Lang, f.!usic in Western Civilization (New York, 1941), p.288
3. Denis Stevens, A Historx of Song (New York, 1960), p.228
4. Gustave Reese, Music in the Renaiss~U£2 (New York, 1954), p.832
5. Fellowes, p.3o4
6. L~ng, p.288
7. Fellowea, p.6o
8. L~ng, p.288
9. Stevens, p.84
10. Reese, p.832
11. Peter Warlock, The English Ayre (London, 1926), p.28
12. Lang, p.241·
13. An Anthology .Q.f English Lute Music, David Lumsden, editor; ~Ql;'Wfl..£c! by Thurston Dart {L'Ond on, 1953), p .i v
14. Lang, p.239
15. ''Lute'', H~rva.rd Brief Dictionary of Music, p.l62
16. L~mg, p.241
17. An ~ntholo~y ••• , Forward, p.iii
18. Lang, p.243
19. Fellowes, p.3o6
20. Ibid, p.l21
21. Ibid, p.3o4
22. Ibid
23. Ibid
24. Ibid
25. Stevens, p.84
26. "Narlock, p.130
Footnotes continued
27. Fellowes, p.l40
28. Fellowes, p.l50
29. Stevens, p.85
30. ~rnund Fellowes, Gener~l rreface to The English School of Lutenist Song Writers (London, 1920), p.iii
3i. Lang, p.288
32. adapted from: Warlock, p.21-22; ~nglish r::adrig::tl Cornposere, p. 309; .!lnd The King's r.rusick (London, 1909), p.66
33. Warlock, p.23
34. Snglish 1-ta.drig~.l Composers, p.3o8
35. LAng, p. 288
36. English ~~adri~al Comoosers, p.313
37. Ibid, p.316
38. Ibid, p.318
39. Ibid, p.321
4o. Ibid, p.113
41. Warlock, p.52
42. Stevens, p.l99
43. quoted in full in ~arlock, p.41.
44. Ibid, p.45
45. Ernest Walker, a History of Music in England (Oxford, 1952),p.l33
46. Fellowes, Preface to songs, p.1ii
47. English Hadrigql ComQosers, p.310
48. Ibid, p.78
49. Lqng, p.289
50. ~nglishMa.drig~l Comoosers, p.313
51. Stevens, p.86
5_2. Ibid
53. Warlock, p.35, 36
54. 11U:.9, p.52
Bibliography
Burney, Charles. A General Hist~ of Music, with notes by Frank Mercer. New York: Dover Publications, Inc., 1957 (Burney's book was written in the 18th century), vol.II.
Dowland, John. Ayres for Four Voices, transcribed by Dr. ?ellowes and edited and prefaced by Thurston Dart and Nigel Fortune. Nusica Britqnnica, vol.VI. London: Stainer and Bell, LTD, 1953.
Fellowes, Edmund. The En~lish Yadrigal Composers. Oxford: Clarendon Press, 1921.
Fellowes, "Sdmund, editor. Snglish Madrigal Verse. Oxford: Clqrendon Press, 1920.
I
Fellowes, Edmund. General Preface to The English School of Lutenist Song Writers. London: Stainer and Bell, LTD, 1920.
Fontaine, Henry Cart de la, editor. Th~ King's Musick. a tr!lnscript of records relating to music and musicians (1460-1700). London: Novello and Company, Limited, c.l909.
Lang, Paul Henry. Music in Western Civilization, New York: W. W. Norton ~nd Com9any, Inc~l941.--- ·
Lumsden, David, editor. An Anthology of English Lute Music. Forward by Thurston Dart. London: Schott and Company, LTD, 1953.
"Lute", The Harvard Brief Dictionary of :.Jusic. Willi Apel and Ralph Daniel, editors. New Yorl~: Washington Square Press Book, 1961, p.l62.
Reese, C'.rUstqve. Music in the Renqissance. New York: W. W. Norton ~nd company, Inc.,-r954:
Stevens, Denis, editor. A History of Song. New York: W. W. Norton and Company, 1960.
Walker, 3rnest. A History of Eusic in England. Oxford: Clarendon Press, 1952.
Warlock, Peter. The Sn~lish AyreL London: Oxford University Press, 1926.
An interesting book to look through is A History_ of Music in Pictures, edited by Georg Kinsy, New York: Dover Publications, Inc., 1951. ~ithin it may be found numerous pictures of the lute in paintings, and also three references to Dowland: 100, 101, and 196.
List of Music Available
Ayres for Four Voices, Musica Britannica, vol.VI.
An Slizabethan Son~ Book, music edited by No~h Greenberg; contains sixteen of John Dowland's songs arranged for voice qnd accompaniment.
The English School of Lutenist 3ong Writers, John Dowland, First Book of Songs, Part I; Second Book of Songs; arranged for voice and accompaniment.
Six Songs Qy John_Dowland, arranged by Desmond Dupr~ for voice qnd guitar.
A Tre·asury of Early Music, edited by CR.rl Parrish. Contains one song by John Dowland, "My thoughts are winged with hope'' •md a discussion of this song.
Music other than the songs available in Richmond
An Antholo~ of English Lute Music, edited by David Lumsden; contains seven pieces for lute solo by John Dowland.
Music a Britannica, vol. IX, Jacobean Consort Music, edited by Thurston Dart qnd William Coates; contains one piece by Dowland for four strings ~nd harpsichord and one piece for lyra viol.
Discography
Dowland, John. Ayres for Four Voices, vol.III and IV. Golden Age Singers.
~glish Lute Songs. contains five or Dowland's songs. Alfred Deller, countertenor and Desmond Dupre,. lute.
JU. CANTVS. g::rt:~~E--I=ti=-- -tEEi:~l=i=l me-a=~~=t~r~~~
Y thoughnarcwingdcwriah hopl,ntybepswidJ loac,IDo\1c lola,.. •
the moone an clcercll night, and fay as (he doth in tbc haucas
=tt~F~;~-=-=t:r::~m~~~m,~~ ~~E~~ ,..:::::::J--EEE!l= 't•
mooue inunh (o wanes &tnzctbmyde. llgbc: Andwhirpcrthisbut'*'Y
tt r~ ~P ft r ~ r r~ r rP ~ ' ... "' .. • "' "' "' .. .. ..,. "' • tj') ~r;:. ~r-~h;! "' 'i .c ~tlt .. _ ~~~ ; - t- <: "- j • ... II' .,. I - D I
L . .... -
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f\ ~·~ ~ r.~ ~ 1\- P ~ • · r ~ ~ £. ........ ~ .. t~"' .......
~ ··~Y" .. ~7ll$ i145 5 .. ·~·? i { .. _.:_-Ji~3 ... ; I ... r I~ t I. t _ . ~ft.
And yc-u mvchoughu rhadomemdbuRdocmy,lfOtdorthi•,withcloududoma•ltcberei'a, Jlrotmtllnlll nty rndlnlfednyoubbmc. Andmakethehc.tuau darkcwithhcrd~ ~~y thnugh you alt¢t,yctyoudonon.arry, • Wuhwindtdighcsdi(pcrfcchem uuhc~ A~lllt J-~hchlnge, andycnern:alncmc~ Or wnhthy tcin:tdirrulocthcmintor.aiflt.J • Dlltrun J,nh tnrer barr1 1butnotinfea, Thoughu,hopes,&£ louerml11'etomcno~
AndloucnfwcecdlfutMdwithwlpca. TUfCycbufhineasrheh:aUidonc:bc:fotc.
TENOR.
~ o. J ;,., it >lPP<-":1~ in the r 597 ~-ditiou of TJ~t First Bod~ uf Stmgu or Ayrn, )howing tht: larout of the ~ms on the Opt'll pa!!.:.
~ ~
N
Nt1.11
J
;;:,.: -. ~-
l
t
1\ .,1 II I i
s .,. ... Go,
L " L
A ""W7 eJ
Go, II I
T. \' Go, ..
B
r-- II I
-- l " - - •-L
...c J'k.•f\Qr" r
Obser..,E
((// D tlu. ~""1,"~ i:.C.. a It:
I s IU. 1"\\. a cl ( e-t. N IJ • m} h\ rl 1.{ I" '\ 13 , e t:c.),
d r, m ten - der floc s
3 Lt e to th Wind& my •ghr. b ve Wlrtged been, Yet r my 11gbs and suits repaid WJlh mock t
I pi d, yet she repinetb at my teen. 0, rutbles rigour, harder th n tb rocks,
That both the &bepberd k1lls, ad bj poor flocks.
Go, crystal tears 1 -
cry • &tal tes n, lik ,;--- tJ'i mor • - "'"' fl. I{ ---:r . ' II.
-~ ., ~ ~ , ,. ~
cry . &t •-- te r•,- . ~ 11 , to the mor . "'"'-~
. .. / "
cry - . at 1 tears, lik to the mor • . DlDf
s R t\ i' It
"""-- ~- ~ - -.--. -, -· . --- ... • • . - - . ·h h -- - - - - •- ~ • '
.U':i I 11 1[" r (.li ~) "'f['-1 · Lt.·~-
r
Sh~Jt
t!I
..
h:.ll
tnink th:\t :t p
to a , ,..-
ht<av'n
strive to o.
I
... he,• H"n- 1)1 jo
- ly jf' r
heo. ven-1;.- jov
..,
- lo'ith
.,. with an love?
\\ !lh i\ll el\rth - ly_
I
or wound
1 '
' ~ • • • I7: ~ nr ![" ..m m:
ttJ-~._ 1 •
..
~-
A.
co>nd the ' doud to t . t 1n , o ht b?
--+- -.. / ____ J ____ . ~,-- ,
.. .. I' ' C0\0 l> - Ct'nd thP clouds, s.cend the cloud~; to at- t in ,'so ' hi b?
1' I \
il • I I "
• the clouds, th clouds to I t - t in 0 high? I
~ sigh ~~n" -c nd __ _
. I I
·-Or sigh can as - eend th clouds to at • t in so high?
... - ... ... . . {qf1-: , , . ~ . .. . • - - - ~ I
I 1[ "![ 1!( r Jt'1 r '1 :!
~ Sill wntch,(or ake lh dreams/ of a. vain desire; 0 be htn what high regard/ holy hopes do require . fa our IS as fair thin~ are,/ treMure ts not bought; fa¥our io, not "'on ·•th "ord ,/ nor the "'' h of a tho11ght.
3 Pity is but a poor defence I ror a d ing he rt; Lo.dies' eyes respect no mo:tn/ in mean d strt. She is too v.orthy t rt for worth o bGse; Cruel and but ju t i!'. he I in my ju t di race .
I Ton ~ TPl•
4 ju tJce gives e:~.ch m •. n his own;# though my love be ju t, Yet will not he rlty my grief; I therefore die 1 must. Silly heut, then yi ld to die,/ peri h in despair; Witn s tl bow fain l die/ when l die for the r ir.
Toss not my soul
not my soul (0 Lov) Nil", A "' . • ttl It' ~~,' to
not my oul (O Lo .,.,. AJ Ill • • f<lll(< .
10--•tlJIJ(fP,_
twixt ,.
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9
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'I ll I u ? hall I hall I pray? b 11 I rov .?
' h II I he v~nly joy
p
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cloud
rt~n c
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t'
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r
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so fat>t? Look
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•
the
m:lJ JY:" ![ i!L
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e ea J
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-·-· ·.~ -- - l~ ·11 ·
·~
~ v,~\..· your weep . I Of.
' .... ..._
.. V • t J$ "''~ -tew •.r-11!£,; _ _ ur We4!P • 1ng, . -- ._,_ __ \
-- - _ 'iew not, view 1101
--f'/'_----~---- .... yo~( weep
Vi~w not,
~-- - -T
r
•
view
0
R
n~.t
now lie
weep • ing, your weep ing, Tbat
•
!!: I~~ I )! l:"*
s ~~-
slee,P • iog lltul ___ "1>110 /il! #t!itl .
Soft ly,
l>iecp - ing, oft
now oft
71
Th t_
" :l[.~
l J
r h
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(' , .. pi ' r en,.~,th
- .., ------ \ o. l I'~
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lit-tle spark his h t; I
And
'\ fl ___ h r t. pl n, the lit Ft park hi And
,. . ' U'
- .r. '
I_ ~" .s ~ "' "' • ....-+ ., ?:1, sh. dows, tt.o~b but mall, h !flo ~
fi I -..:-~· ~
1--&. . , .. I .. , .. . dov.s,thoug~1 but
u han c .. ,., h - S!lldll 1 And
" "" I, l
I> i'' I
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sb do ·' thou h but mall, And au I~
- \•p f p ...,...,..,.- ~
-~ -----· ~· · h~- -ca, "h - - -•~ows, th u~h but small, And II p I'
' ~--=-::;::_ pc#-eJ .,.. .,. ~: __ , .... w .,. ---
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b = ' IT -r
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/ J=>
prin "i
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lav
in '
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and In
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r "' lOO I on I this i - dte
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F.Li~ --. -=-- ""-[
" \dr ~00 long, too long thl i - die
.,.,.,. .... ~~:-.... ' draw · too long this i - . dle
II. >I I
)IV .. r · ·--r- / ... - - i:.-- _/ c I II'/
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'
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