* * * * *
_Hor._ Madam, _'tis now in tune_.
_Luc._ All but the _base_.
_Hor._ _The base is right_; 'tis the _base knave that jars_.
Hortensio now takes his place, and addresses the classical Lucentio--
L. 58.
_Hor._ You may go walk, and give me leave awhile:
My _lessons_ make no music in _three parts_.
* * * * *
L. 63.
_Hor._ Madam, before you _touch_ the instrument,
To learn the _order of my fingering_,
I must begin with _rudiments_ of art;
To teach you _gamut_ in a briefer sort.
* * * * *
_Bianca._ Why, I am _past my gamut_ long ago.
_Hor._ Yet read the gamut of Hortensio.
The first of these three passages will be quite clear to the reader in
the light of the remarks on the lute already made. The second should
be read in connection with the name of the doleful dance above
mentioned, the Dump. [See Appendix.]
The third quotation contains interesting allusions to the
peculiarities of the lute. Lines 22-25 are very naturally accounted
for. The lute, having at least eleven strings, took a long time to get
into tune. Even our modern violins, with only four strings, want
constant attention in this respect; and the lute, therefore,
especially in the hands of an amateur, might well get a name for being
a troublesome instrument.
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