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<div class="c2">
<h3 class="c1">Joel I. Kramme</h3>
</div>
<div class="c2">
<h3 class="c3">A Country Masque for Hodge Trillindle and His Zweet Hort
Malkyn:</h3>
</div>
<div class="c2">
<h3 class="c3">The Dramatic Elements of <a
href="http://www.pbm.com/~lindahl/ravenscroft/">Thomas Ravenscroft's</a>
'Enamoring' Section of the Harmonies from <a
href="http://www.pbm.com/~lindahl/ravenscroft/brief/"><i>A Briefe
Discourse</i>, 1614</a></h3>
</div>
<p><br>
<b><a href="#Background">Background of the Composer and His Works</a></b></p>
<p class="c4"><a href="#Discourse">The "Discourse" and the "Harmonies" of <i>A
Briefe Discourse</i>, 1614</a></p>
<p class="c4"><a href="#Lyrics">The Music and Lyric Texts of the 'Enamoring'
Section from <i>A Briefe Discourse</i>, 1614</a></p>
<p><b><a href="#Bibiography">Works Cited</a></b><br>
�</p>
<h3><a name="Background"></a><b>Background of the Composer and His
Works</b></h3>
<p>Music scholars appear to be nearly unanimous in their assessment of
Ravenscroft's talents as a composer, with David Mateer, his biographer in the
<i>New Grove Dictionary of Music and Musicians</i>, describing him as "a man
of great versatility, though of slender talent," (Sadie, ed. 15: 623-4) and an
earlier biographer as "a useful man in his own age, if he was not exactly a
brilliant one" (Pulver 405). More recent scholarship, however, underscores his
importance to music:</p>
<p class="c5">Thomas Ravenscroft, music theorist, composer, collector, editor,
and one-time chorister of st. Paul's Cathedral, is the single most important
figure in the preservation of the meager repertoire of children's dramatic
songs that have survived to the present day. Ravenscroft published four very
eclectic collections of secular music between 1609 and 1614, each of which
includes musical settings of contemporary dramatic lyrics. But it has recently
been shown that the only plays for which he preserves unique settings of
undisputed dramatic origin were acted by the children of Paul's between c.
1597 and c. 1604, the approximate years for which Ravenscroft was a member of
the St. Paul's Cathedral Choir. Since the musical manuscripts actually used by
the children's companies have apparently vanished into the mists of time,
Ravenscroft's collections are extremely important. They not only add
significantly to the extant body of late Renaissance theatrical songs, but
preserve a unique musical record, sparse though it may be, of a once
celebrated London dramatic company (Austern 212-13).</p>
<p>The earliest apparent mention of Thomas Ravenscroft is to be found in the
records of Chichester Cathedral where Thomas 'Raniscroft' is listed as a
chorister in 1594. His name appears next in a list of the choir members at St.
Paul's Cathedral, London in 1598, although a similar list of choristers at St.
Pauls in 1594 does not include him. Ravenscroft was still at St. Pauls in 1600
when Edward Pearce was the organist and choir director. Austern suggests
Ravenscroft's tenure at St. Paul's continued until 1604 when he left for
Cambridge (Austern 20) The precise date of his birth remains a mystery, due in
part to his apparent status as a child prodigy, for in the prefatory poem to
<i>A Briefe Discourse</i>, the author (R. LL.) describes Ravenscroft as a
youth of twenty-two years of age, while a marginal note confirming this states
that he received the bachelor of music when he was fourteen (Ravenscroft,
<i>Discourse</i> "In Approbation"). Indeed, the University Book of Supplicats
lists a 'Thomas Rangecraft' from Pembroke Hall as having taken that degree in
1605. Mateer suggests a birthdate of c. 1582, while Ian Payne in a later
article attempts to show that Ravenscroft was born c. 1587 (707-9).</p>
<p>Ravenscroft dedicates <i><a
href="http://www.pbm.com/~lindahl/ravenscroft/brief/">A Briefe
Discourse</a></i> "To the Right Worshipful, most worthy Grave Senators,
Guardians, of Gresham College in London," and notes his indebtedness for
having received "first Instructions, Exercise, and Encouragement" in his music
studies "at that most famous College." Both Mateer and Austern assume
Ravenscroft retained his position at St. Pauls while pursuing his studies at
Gresham College. Few details survive of Ravenscroft's activities between the
time spent at Cambridge and his appointment as music master at Christ's
Hospital (1618-22), but it is likely he maintained his association with the
London theater. The year of his death is unknown, but the date generally
accepted lies between 1630 and 1635.</p>
<p>In 1609, Ravenscroft published <i><a
href="http://www.pbm.com/~lindahl/ravenscroft/pammelia/">Pammelia. Mvsicks
Miscellanie</a></i>, and <i><a
href="http://www.pbm.com/~lindahl/ravenscroft/deuteromelia/">Deuteromelia</a></i>,
the first a collection of 100 rounds and catches in English and in Latin , and
the second a collection of seventeen catches and fourteen freemen's songs for
three and four voices in English. In these two collections, Ravenscroft serves
primarily as a collector of popular songs and their texts by anonymous
composers, but we assume the freemen's song are set by Ravenscroft. The
subject matter of the texts in <i>Pammelia</i> varies from Latin sacred songs
to lusty songs in English concerned with drinking, dalliance of various kinds,
and characterizations of miscellaneous peoples and animals, while those in
<i>Deuteromelia</i> are similar, but without any Latin texts or sacred
subjects.</p>
<p><i><a
href="http://www.pbm.com/~lindahl/ravenscroft/melismata/">Melismata</a></i>,
Ravenscroft's third publication, is similar to <i>Deuteromelia</i> in content,
but arranges the nine rounds and fourteen part-songs into the five categories
of Court Varieties, City Rounds, City Conceits, Country Rounds, and Country
Pastimes, not unlike five categories found in <i>A Briefe Discourse</i>:
Hunting, Hawking, Dancing, Drinking, and Enamoring. Further, like <i>A Briefe
Discourse</i>, the part-sings all have descriptive titles apart from the text
incipit, titles that suggest an effort to create continuity among the songs in
the collection, i.e., numbers four and five of the first section are entitled
"The Courtiers Courtship to his Mistress" (Will ye love me lady sweet) and
"The Mistress to the Courtier" (Fie away, fie away). Finally, like his 1614
publication, nearly all of the part-songs in <i>Melismata</i> are consort
songs which require a consort of viols to accompany the solo voice. The
settings include five for the medius, four for the treble and three for the
tenor voice. While only one song from <i>Melismata</i>, "The Scriveners
Servants Song of Holborne," can be found to have been performed in one of the
children's plays, Andrew Sabol suggests that several others may have
performed, but their texts omitted in the printed version of the plays (Sabol
4-9).</p>
<p>Shortly after publication of <i>A Briefe Discourse</i> in 1614, Ravenscroft
was appointed to the position at Christ's Hospital, and his interest in the
collection and setting of popular secular songs apparently ceased. In 1621, he
published <i>The Whole booke of psalmes: with the hymnes euangelicall and
songs spirituall</i>. with an enlarged edition published in 1633. It consists
of 105 Psalm settings by various composers of his day, including fifty-five by
Ravenscroft, and it is one of the most important psalters of the period.<br>
�</p>
<h3><a name="Discourse"></a><b>The "Discourse" and the "Harmonies" of <a
href="http://www.pbm.com/~lindahl/ravenscroft/brief/"><i>A Briefe
Discourse</i>, 1614</a></b></h3>
Ravenscroft no doubt assigned great importance to his fourth collection, for
the prefatory material is lofty in tone and extensive in its verbiage. In
addition to the three pages of dedication, there is an Apologie of six pages
length which begins with a reference to Plutarch and contains additional
references to the theorist Glareanus and composer/theorist Thomas Morley. The
"Approbation of this Worke" follows, and Ravenscroft enlists the aid of
Nathaniel Giles, Thomas Campion, John Dowland, John Davies, Martin Peerson,
William Austin, Thomas Pearce and others to sing his praises in verse.
Following a preface of a half-dozen pages, the author presents his thesis that
contemporary misuse of mensuration signs is causing "Disrepute, and lowe
Estimation [in] Musicke in these days" (<i>Discourse</i> A). Most scholars
agree that Ravenscroft's argument is unconvincing, if not ambiguous, and find
little of value in his treatise.
<p>The music of <i>A Briefe Discourse</i> includes six works by John Bennet,
two by Edward Pearce, and twelve by Ravenscroft that represent some of his
finest effort. All but six require recourse to instrumental accompaniment-as
always, a viol consort-and of this number, four are dances with lyric texts,
obviously designed to be sung, played and danced. Of these, the unattributed
"Urchin' s Dance" and Bennet's "Elve's Dance" can definitely be assigned to
the repertoire of songs from the children's dramas, and the other two dances
are of the same style and voice disposition. While some scholars see stylistic
elements from the madrigal in the four, four-part dances (Austern 217), the
present author views the homophonic, four-square nature of the music to be a
reflection of its association with the contemporary London theater, be it real
or imagined. From the Stuart court masque to Shakespeare's plays, the satyrs,
elves, and fairies that were said to populate "our hallowed greene" were
played by young boys singing in the treble and median voice-range in a musical
style reflective of their diminutive stature and simple needs. Not
infrequently, they probably played the instruments upon which they were taught
music at St. Paul's Cathedral, the viol, as well as sundry other common
instruments available to the boy actors.<br>
�</p>
<h3><a name="Lyrics"></a><b>The Music and Lyric Texts of the 'Enamoring'
Section from <i>A Briefe Discourse</i>, 1614</b></h3>
Upon a cursory examination, one might first conclude that the eight selections
representing the "Enamoring" section of <i>A Briefe Discourse</i> were written
to be performed as a "jig-like cantata" (Mateer 623) or some other popular
stage musical. But scholars have noted that number fifteen in the collection,
Pearce's "The Mistris of her Servant," is found as a professional love song to
Fontinell from Act V, scene ii of the anonymous, <i>Blurt, Master
Constable</i>. Once again, Ravenscroft is indebted to the children's drama
repertoire for some of his music. The dramatic continuity of the Enamoring
section is further challenged by including two selections by John Bennet, the
opening "Three Fooles," and "The Servant of his Mistress," which follows
immediately. The balance and symmetry reflected in the musical styles of
Bennet's "The Servant" and that of Pearce's "The Mistress," however, should be
noted, as they make a perfect paired response to the prologue nature of the
opening dialogue found in "Three Fooles." In their musical style, they
represent the English consort song, with that by Bennet being more in the
style of the lute song ayre set for viols, while that by Pearce has phrases of
irregular and unpredictable length, as one would expect of the
16<sup><u>th</u></sup>-century consort song. The texts of both contain the
usual Arcadian references found in madrigals and masque songs of the period.
<p>Ravenscroft's "Their Marriage Zolemnized" follows. This selection-which is
printed "Their Marriage Solemnized" in the index- is a refrain response to the
preceding soliloquies, framing a treble solo that once again reflects the
Arcadian style found in contemporary songs from the court masque of the Stuart
period, particularly those written to be performed as part of a nuptial
ceremony, as was often the case. The refrain is simple and homophonic, with
but a hint of imitation, while the solo section is in a typical light consort
song style.</p>
<p>The next two selections introduce the two principle characters, Malkyn and
Hodge (Roger) Trillindle, both of whom sing in the dialect native to Kent, the
county southeast of London famous for its wool production and economic ties to
Holland and other regions of the low countries. Malkyn and Hodge are the
classic comic country bumpkin couple universally celebrated in verse, song,
and drama. For a keener understanding of their individual characters, we have
only to turn to Ravenscroft's earlier publications.</p>
<p>A <a
href="http://www.pbm.com/~lindahl/ravenscroft/modern/come.ps.gz">five-voice
round in <i>Pammelia</i></a> has the following lyrics:<br>
�</p>
<table class="c6" width="100%"
summary="This table contains lyrics for the round 'Come follow me merily my mates' from Pammelia">
<tbody>
<tr valign="top">
<td width="50%">Come follow me merily my mates,<br>
��� lets all agree and have no faults<br>
Take heed of time, tune and eare,<br>
��� And then without all doubt,<br>
wee need not fear<br>
��� to sing this catch throughout:
<p>Malkyn was a country maid,<br>
��� a country maid trick and trim,<br>
��� tricke and trim as she might be,<br>
she would needes to the Court she said<br>
��� to sell milk and firmenty,</p>
</td>
<td>hey hoe, have you now to Westminster,<br>
��� but before you come there,<br>
because the way is farre<br>
��� some pretty talk lets heare.
<p>Adew you dainty dames,<br>
��� goe whether you will for me,<br>
you are the very same<br>
��� I took you for to be.</p>
</td>
</tr>
</tbody>
</table>
<p>As her name would suggest, Malkyn is a comely milk maid whose ambition it
is to go to court to sell her wares, perhaps with ambition to sell more than
the diary products she represents. The male narrator-the piece begins in
f-clef<sup>4</sup> leaving no doubt of the gender of the narrator-convinces
her to stay a while for some "pretty talk," dismissing her more aristocratic
counterparts in the process.</p>
<p>While the character of Hodge does not appear in any other songs by
Ravenscroft, a similar nameless Kentish lad is to be found in "<a
href="http://www.pbm.com/~lindahl/ravenscroft/modern/ihave_p1.ps.gz">A wooing
Song of a Yeoman of Kent's Sonne</a>," number twenty-two of <i>Melismata</i>.
The dialect in which the song is written is of particular interest, as it
parallels that employed in <i>A Briefe Discourse</i>. The ballad also portrays
the romantic, impatient and clownish yearnings of its narrator when he closes
the first and last verses with "I cannot come every day to woo"(Baskerville,
194-97, 255) an expression found in other similar ballads (see for example,
Richard Nicolson's madrigal cycle "Joan, quoth John," Morehen 75-100)<br>
�<br>
�</p>
<table class="c6" width="100%"
summary="This table contains lyrics for the dialect ballad 'A wooing Song of a Yeoman of Kent's Sonne' from 'Melismata'">
<tbody>
<tr valign="top">
<td width="50%">��� I Haue house and land in Kent,<br>
��� And if you'l loue me, loue me now:<br>
��� Two pence halfe-peny is my rent,<br>
��� I cannot come euery day to woo.<br>
<i>Chorus</i> <br>
��� Two pence halfe-peny is his rent,<br>
��� And he cannot come euery day to woo.
<p>��� Ich am my vathers eldest zonne,<br>
��� My mouther eke doth loue well;<br>
��� For ich can brauely clout my shoone,<br>
��� And ich full well can ring a bell.<br>
<i>Chorus</i><br>
��� For he can brauely clout his shoone,<br>
��� And he full well can ring a bell.</p>
<p>��� My vather, he gaue me a hogge,<br>
��� My mouther, she gave me a zow;<br>
��� I have a god-vather dwells there by,<br>
��� And on me bestowed a plow.<br>
<i>Chorus</i><br>
��� He has a god-vather dwells there by,<br>
��� And on him bestowed a plow.</p>
<p>��� One time I gaue thee a paper of pins,<br>
��� Anoder time a taudry lace<br>
��� And if thou wilt not grant me loue,<br>
��� In truth, ich die beuore thy vace.<br>
<i>Chorus</i><br>
��� And if thou wilt not grant me loue,<br>
��� In truth, ich die beuore thy vace.<br>
�</p>
</td>
<td>��� Ich haue been twise our Whitson Lord,<br>
��� Ich haue had ladies many vare;<br>
��� And eke thou hast my heart in hold,<br>
��� And in my minde zeemes passing rare.<br>
<i>Chorus</i> <br>
��� And eke thou hast his heart in hold,<br>
��� And in his minde zeemes passing rare.
<p>��� Ich will put on my best white sloppe,<br>
��� And ich will weare my yellow hose,<br>
��� And on my head a good gray hat,<br>
��� And in't ich sticke a louely rose<br>
<i>Chorus</i><br>
��� And on his head a good gray hat,<br>
��� And in't ich sticke a louely rose</p>
<p>��� Wherefore cease off, make no delay,<br>
��� And if you'l loue me, loue me now.<br>
��� Or els ich zeeke zome other oder-where,<br>
��� For I cannot come euery day to woo.<br>
<i>Chorus</i><br>
��� Or els ich zeeke zome other oder-where,<br>
��� For I cannot come euery day to woo.</p>
<p><span class="c7">Notes: Observe the use of v for f; z for s; ich
for I and I'll; d for th, as in oder.</span><br>
<span class="c7">9. Clout my shoone, patch or mend my
shoes.</span><br>
<span class="c7">10. Ring a bell, I.e., ring a church bell.</span><br>
<span class="c7">19 pins were given as presents.</span><br>
<span class="c7">20 taudry lace, a piece of lace bought at St.
Andrew's fair.</span><br>
<span class="c7">25. Whitson Lord. At the Whitsun-ales, or festivals
at Whitsuntide, a lord and lady of the ale were duly
chosen.</span><br>
<span class="c7">27. In hold, in your keeping.</span><br>
<span class="c7">28. Sloppe, loose frock. (Skeat, Rev. Walter 1
43-47)</span></p>
</td>
</tr>
</tbody>
</table>
<p>In <a href="ftp://ftp.gmd.de/music/scores/ravenscroft/enamour.ps">number
17</a>, Hodge presents his case to Malkyn, asking her to "loave me (Zweet,
Zweet, Zweet,) a little tyny vit [fit]," and to commit wedlock with him.
During his soliloquy, he asks her to set aside her distaff and spindle,
leaving little doubt of her agrarian status. The music is in the style of the
tenor consort song, and contains some modest intervalic leaps suggesting Hodge
is indeed able to live up to his name of Trillindle! Malkyn's response in
number eighteen suggest she has some reservations about his intent, and notes
that she will not believe him until she sees that his words and deeds, like
"Beeanes and Bacoan," do agree. Again, the music is that of a typical treble
consort song, with a single dramatic text, befitting the scene. Unlike the
song sung by Hodge, that of Malkyn closes with a burden sung in dialect by the
people of the village. They urge that everyone get "Grounds, Boagpipes, Harbs
and Dabors" to lead them in a festive wedding dance. Unlike the burden of
number sixteen which is sung in the lofty Elizabethan English expected of the
court, the burden of Malkyn's response to Hodge leaves no doubt about the
social status and ethnic background of the "chorus" members.</p>
<p>The dramatic tension created by the solo songs of Hodge and Malkyn
continues and increases in <a
href="ftp://ftp.gmd.de/music/scores/ravenscroft/enamour.ps">number
nineteen</a>. Hodge sings of his desire to swear an oath of love to Malkyn,
but while attempting to do so, is continuously interrupted by her. After two
unsuccessful attempts to swear an oath "by Iawhay," (Yahweh), he finally
completes his oath, and immediately asks her to do the same. She does, and the
dramatic tension and clownish comedy come to an end. This consort song is a
clever dialogue between the treble and tenor voices, and its meaning and
intent are easily obscured by the Kentish dialect and virtuosic intervalic
leaps in both voice parts, and especially that of the tenor. Malkyn's
response, for example, "thowlt byte I zweare my wozen," could be transcribed
either "thou'lt bite, I swear my wozen," or "thou'lt, by it I swear my wozen,"
with the present author preferring the former because of Malkyn's concern
about Roger's "gaping" mouth. Wozen is a corruption of weasand, a term meaning
esophagus, gullet,trachea, or windpipe.</p>
<p>The last selection of the <i>Enamoring</i> section consists of two burdens
sung by the local villagers, but separated by short solo sections sung first
by Hodge and followed by Malkyn, confirming the "Borgen" proclaimed earlier.
The villagers note that "A Borgens a Borgen, bee't good, bee it ill, A Borgens
a Borgen vor weale or vor woe, zo ever led dis bleasing burden goe," a clever
pun on the musical term meaning refrain. Unlike previous consort songs with
burdens in <i>A Briefe Discourse</i>, this one is through composed. Although
the melodic content of both is similar, Ravenscroft lengthens the return of
the burden to add more weight to its position as the last selection of the
section.</p>
<p>Ravenscroft's purpose in concluding <i>A Briefe Discourse</i> with a
miniature musical stage work was probably not to provide a work intended for
staged dramatic purposes, but rather, it was a vehicle to carry diverse
selections by various composers, and yet provide some continuity to the music.
The style of the Enamoring section owes as much to the contemporary Stuart
court masque as it does the bawdy and energetic stage jigs of Ravenscroft's
day. But each of these genres is indebted as well to the influences of the
<i>Commedia dell'arte</i> that was played a significant role in the culture of
Elizabethan England (Smith 170-200). Surely the use of dialect for the lovers
- the opposite of what one customarily finds in the <i>Commedia dell' arte</i>
- is noteworthy. But it must be remembered that a "country" dialect was but
one of several means to help create humor on the stage. The use of a
"prologue" to help set the scene was as common to London theater patrons as it
was classical Greek audiences. And the abundant use of Greek mythological
references in the dialogue was part of the schooling of all well-educated
Elizabethans. Such references are abundant in the native version of the
madrigal, as they were in the Italian madrigals. The Enamoring section clearly
reflects the imprint of an author whose background in the London theater of
his day was extensive.</p>
<p>Joel I. Kramme<br>
Assistant Professor of Music<br>
1870 Miner Circle<br>
131 Castleman Hall<br>
Rolla, Missouri 65409-0670<br>
���� jkramme@umr.edu<br>
���� (573) 341-4109 Office<br>
���� (573) 364-8264 Home<br>
���� (573) 341-6992 Fax.<br>
�</p>
<h3><a name="Bibiography"></a><b>Works Cited</b></h3>
<b>Primary</b>
<blockquote>
Ravenscroft, Thomas. <i>Pammelia. Mvsicks Miscellanie</i>, London 1609.
Facsimile published by Da Capo Press: Amsterdam, 1971.
<p>Ravenscroft, Thomas. <i>Deuteromelia</i>, London 1609. Facsimile
published by Da Capo Press: Amsterdam, 1971.</p>
<p>Ravenscroft, Thomas. <i>Melismata, Mvsicall Phansies</i>, London 1611.
Facsimile published by Da Capo Press: Amsterdam, 1971.</p>
<p>Ravenscroft, Thomas. <i>A briefe discourse</i>, 1614. 1984. Introduction
by Ian Payne. Boethius Press.</p>
<p>Ravenscroft, Thomas. <i>The Whole booke of psalmes: with the hymnes
euangelicall, and songs spirituall</i>. Published in 1621, with an enlarged
edition published in 1633. The 1621 edition is available on microfilm from
UMI: Early English books, 1475-1640; 1809:12.</p>
<p>Ravenscroft, Thomas. <i>The whole booke of psalmes with the hymnes
evangelicall</i>. Sternhold, Thomas. London, 1621. Magazinsignatur: Film R
360-1339.</p>
</blockquote>
<b>Secondary</b>
<blockquote>
Austern, Linda P. <i>Music in English Children's Drama of the Later
Renaissance</i>. Amsterdam: OPA, 1992.
<p>Baskerville, Charles Read. <i>The Elizabethan Jig and Related Song
Drama.</i> Chicago: University of Chicago Press, 1929. Reprinted in paper.
New York: Dover, 1965.</p>
<p>Fellowes, Edmund H. <i>English Madrigal Verse</i>. London: Oxford UP,
1920</p>
<p>Mateer, David. "Thomas Ravenscroft." <i>New Grove Dictionary of Music and
Musicians</i>. Sadie, Stanley, ed. 20 vols. London: Macmillan, 1980.</p>
<p>Morehen, John, ed. <i>Richard Nicolson-Collected Madrigals</i>. Vol 37 of
<i>The English Madrigalists</i>. London: Stainer & Bell, 1976.</p>
<p>Pulver, Jeffrey. <i>A Biographical Dictionary of Old English Music</i>.
London, 1927. New York: Da Capo Press, 1973.</p>
<p>Sabol, A. J. "Ravenscroft's Melismata and the Children of Paul's."
<i>Renaissance News</i> 12 (1959): 4-9.</p>
<p>Skeat, Rev. Walter, ed. <i>Nine Specimens of English Dialect</i>. Pub.
for the English dialect society. London: H Frowde, Oxford UP, 1896.</p>
<p>Smith, Winifred. <i>The Commedia dell' arte</i>. New York: Bejamin Blom,
1964. 170-200.</p>
</blockquote>
<hr>
<address>
2001-05-14, <a href="mailto:reccmo@doriath.saers.com">Christian Mondrup</a>,
<a href="../../index.html">Werner Icking Music
Archive</a>
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