Italian, 1600.
Carved head, inlaid fingerboard, carved and inlaid tailpiece. 6
strings, 7 frets.
2. LUTE. Italian, 1580. Three plain holes in belly, obliquely.
Ornamental back. Flat head. Pegs turned with key from behind. 12
strings--viz., 1 single (treble), 4 doubles, 1 single, and 2 singles
off the fingerboard (basses). 10 frets.
3. ARCH LUTE. Italian, 17th century. 18 strings, 8 on lower neck, 10
on higher, off the fingerboard. The latter are 'basses,' and probably
half of them duplicates. 7 frets on neck, 5 more on belly.
INTRODUCTORY
A principal character of the works of a very great author is, that in
them each man can find that for which he seeks, and in a form which
includes his own view.
With Shakespeare, as one of the greatest of the great, this is
pre-eminently the case. One reader looks for simply dramatic interest,
another for natural philosophy, and a third for morals, and each is
more than satisfied with the treatment of his own special subject.
It is scarcely a matter of surprise, therefore, that the musical
student should look in Shakespeare for music, and find it treated of
from several points of view, completely and accurately.
This is the more satisfactory, as no subject in literature has been
treated with greater scorn for accuracy, or general lack of real
interest, than this of music.
This statement will admit of comparatively few exceptions, one of
which must here be mentioned.
Pages:
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25