Page:Notes and Queries - Series 12 - Volume 5.djvu/92

 86

NOTES AND QUERIES. [12 s. v. APRIL, 1919.

[22.] Feles a marye.

7 b. ss. ddd. rrrb. ss.d. ss.rrr. b.ss.ddd. rrr. b. ss. d. rrr. b.

[23.] Filis a marer. b'b'. ss. ddd. rrrb. [and so on, as above],

[24.] Petyrson.

bb. ss. ddddd. ss. rrrb. ss. ddd. ss. rrrb. ss. d. ss. rrrb. ss. ddddd. ss. rrrb.

[25.] Joyvs asspor.

dd. ss. ddddd. rrr b. ss. dd. rr. b'. [26.] The Kyngis basse Dauucc.

bb. ss. ddddd. ss. rrr b'b'. ss. d. rrrb. ss- d. rb.

Robert Peterson was a member of Lin- coln's Inn who^e translations from the Italian were printed in 1576 and 1606. Whether no. 24, the third tune in this page, owed its name or its authorship to him I do not know.

The tune (22) called ' Feles a marye,' or (23) * Filis a marer,' occurs likewise twice on the preceding page, the notation being there the same, except that a different clef is prefixed "ff" in the place of " 1 b " or "b'bV The name is there differently (or, so far a^ the French goes, indifferently) spelt (no. 1) 'Feleys a marye,' and (no. 5) ' Feles A marer.' Miss Warner suggests that the original name was ' Filles o marier,' and that it may have been once upon a time a tune as familiar and as popular as ' Come, Lasses and Lads.'

The names of the remaining tunes, as written on the recto page, are these :

2. Feteron.

3. le Fraunces.

4. Amors.

6. la bell'.

7. la a Jenyon.

8. la Dame.

9. la brandon.

10. la Gylderos.

11. la (^p)rinces.

12 (and 15). la basse dance de Spayfi. [Key of it (and bb).]

13 (and 14). la havtte de bourgoiie. [Key of ft (and b'b' crossed).]

16. la basse daunce de Venise.

17. la basse daunce de gent Beneir.

18. Nenemi.

19. mo maters.

20. To been paria.

21. la basse daunce hautce la ba.

Every one of the tunes begins with the letter d (immediately preceded by a clef, viz., either ff, or 66, or 6'6', or 6, or, in the single instance of ' Joyvs asspor,' dd ; and the ss or bar), the initial d occurring singly in the opening of ' La Belle ' ; but it is thrice or five times repeated at the beginning of the other tunes. All of them conclude upon

6, or 6' (crossed). The only other note which occurs besides d and 6 is r, which is some- times repeated twice consecutively, some- times thrice ; or occasionally, as in the tune called ' La Dame,' a single r occurs between d and 6.

La Dame, ft. ss. ddd rrr. b. ss. drb. ss. dddrb

La basse Daunce de Venise. bb. ss. ddd ss. rd.r.b'. ss. d. ss. rrr. b'b'. ss. ddd. rdrb'. ss. d.rrrb'b'. ss. ddddd. ss. rd.r.b. ss. ddd. ss. rrr bb.d.rb'.

CHR. WORDSWORTH. St. Nicholas', Salisbury.

' DOUBLE FALSEHOOD ' :

SHAKESPEARE, FLETCHER, AND

THEOBALD.

(See ante, pp. 30, 60.)

I HAVE not endeavoured to work out the percentages of end-stopt lines or of feminine endings or of any other of the special metrical characteristics of Fletcher in those fragments of scenes where his work appears not to have been interfered with, because they are somewhat too brief to afford us any certain footing ; but his tricks of repeti- tion and of sentence-building and his phraseology all find place here, and the habit of thought is his. The characteriza- tion is so badly blurred that it is difficult to draw any conclusion from it ; but, as Mr. Bradford remarks, the two old men, who are barely mentioned in the Cervantes story, are " exactly the types of garrulous, waspish, fretful, pompous old men " dear to Fletcher. For other matters, Mr. Bradford points out quite justly that betrayal of friendship forms the subject of 'Double Falsehood ' as of ' Two Noble Kinsmen ' ; that as the lovelorn gaoler's daughter in the one is overtaken by madness, so is the wronged Julio in the other ; that the conduct of the story is on the lines of the Beaumont and Fletcher romantic dramas as well as on those of the later Shakespearian drama ; that Fletcher was very fond of going to Cervantes for his plots ; that here, as in ' Pericles,' ' Winter's Tale,' ' The Tempest,' and * Cymbeline,' " an important element of the denouement is the common romantic theme of the restoration of lost children to their parents " ; that the piling up of climax on climax in the closing scene is similar to the nature and conduct of the