The argument recommends itself--"If he is trustworthy in this subject,
he is trustworthy in all."
To a professional reader at all events, it argues very much indeed in
a writer's favour, that the "layman" has managed to write the simplest
sentence about a specialty, without some more or less serious blunder.
Finally, no Shakespeare student will deny that some general help is
necessary, when Schmidt's admirable Lexicon commits itself to such a
misleading statement as that a virginal is a kind of small pianoforte,
and when a very distinguished Shakespeare scholar has allowed a
definition of a viol as a six-stringed guitar to appear in print under
his name.
Out of thirty-seven plays of Shakespeare, there are no less than
thirty-two which contain interesting references to music and musical
matters _in the text itself_. There are also over three hundred stage
directions which are musical in their nature, and these occur in
thirty-six out of thirty-seven plays.
The musical references in the text are most commonly found in the
comedies, and are generally the occasion or instrument of
word-quibbling and witticisms; while the musical stage directions
belong chiefly to the tragedies, and are mostly of a military nature.
As it is indispensable that the student of Shakespeare and Music
should have a clear idea of the social status and influence of music
in Shakespearian times, here follows a short sketch of the history of
this subject, which the reader is requested to peruse with the
deliberate object of finding every detail confirmed in Shakespeare's
works.
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