TWO LATIN PLAY SONGS

NOTES

• For two earlier examples of musical settings contained within play-texts, see Andrew J. Sabol, ‘A Three-Man Song in Fulwell's “Like Will to Like” at the Folget,’ Renaissance News, 10 (1957), 139–42, and idem., ‘Two Songs with Accompaniment for an Elizabethan Choirboy Play’, Studies in the Renaissance, 5 (1958), 153.
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• Alfred Bennett Harbage, Annals of English Drama, 975–1700, rev. Samuel Schoenbaum (London, 1964).
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• William Prynne, Histriomastix. The Players Scourge, or, Actors Tragaedie (London, 1633; facsimile New York & London, 1974), 491. In all English and Latin quotations, contractions have been tacitly expanded and modern letters substituted ('i' for ‘j’, V for ‘u’, etc.).
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• Ibid.
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• George Charles Moore Smith, College Plays Performed in the University of Cambridge (Cambridge, 1923), 10. For further background see also [anon.], ‘The Latin Plays Acted Before the University of Cambridge’, The Retrospective Review, 12/1 (1825), 1–42.
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• The Queens' College stage house is described in D.F. McKenzie, ‘A Cambridge Playhouse of 1638’, Renaissance Drama, new series, 3 (1970), 263–72. The date of performance of Valetudinarium is given in EMM. Information on the cast, all of them members of Queens' College, is given in Smith, College Plays, 88.
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• Johnson was ordained priest in 1640 and later became archdeacon of Huntingdon and prebend of St Paul's, 1666–7. See William George Searle, The History of the Queens' College of St Margaret and St Bernard in the University of Cambridge. Part II. 1560–1662, Cambridge Antiquarian Society Octavo Publications, 13 (Cambridge, 1871), 516; John and J.A. Venn, Alumni Cantabrigienses. Part I. From the Earliest Times to 1751 (Cambridge, 1922–7), II, 483; Smith, College Plays, 93; Gerald Eades Bentley, The Jacobean and Caroline Stage (Oxford, 1941–68), IV, 600.
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• Harbage, Annals of English Drama, has been used as the authority for information on extant texts of Valetudinarium, Zeno.
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• Songs that induce sleep and aim to calm and alleviate strong emotions or illness also occur in other Caroline plays, for example The Inconstant Lady (II, iv) and The Siege, or Love's Convert (III, v).
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• William John Lawrence, ‘Music and Song in the Elizabethan Theatre’, The Elizabethan Playhouse and Other Studies, 1 (Stratford-upon-Avon, 1912), 82. The 1648 edition of Paria, another Caroline Latin comedy performed at Cambridge, contains the lyrics of inter-act songs.
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• Edward Bliss Reed, ed., Songs from the British Drama (New Haven & London, 1925), 346–7; Thomas Middleton, Hengist, King of Kent, or the Mayor of Queensborough, ed. R.C. Bald (New York & London, 1938), xxxiii; William R. Bowden, The English Dramatic Lyric, 1603–1642. A Study in Stuart Dramatic Technique (New Haven & London, 1951), 90–1.
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• Reed, ed., Songs from the British Drama, 347.
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• Andrew J. Sabol, ‘Recent Studies in Music and English Renaissance Drama’, Shakespearean Research and Opportunities, 4(1968–9), 13.
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• Smith, College Plays, 88.
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• Ian Spink, ‘English Cavalier Songs, 1620–60’, Proceedings of the Royal Musical Association, 86 (1959–60), 69.
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• For quotation from the Peterhouse and Trinity records, see Craig Monson, Voices and Viols in England, 1600–1650. The Sources and the Music (Ann Arbor, Michigan, 1982), 127. The Queens' College bursarial accounts are quoted in George Charles Moore Smith, ed., ‘The Academic Drama at Cambridge: Extracts from College Records’, M alone Society Collections, 2/2 (n.p., 1923), 192–3.
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• Smith, College Plays, 32 and 1–2.
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• Peter Aston, ‘George Jeffreys’, The Musical Times, 110 (1969), 772 and 774; idem., Tradition and Experiment in the Devotional Music of George Jeffreys', Proceedings of the Royal Musical Association, 99 (1972–3), 105–8; Peter Le Huray, ‘George Jeffreys’, The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie (London, 1980), IX, 583–6.
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• James Lukens McConaughy, The School Drama Including Palsgrave's Introduction to Acolastus (New York, 1913), 71, 73. For further references to the Jesuits' employment of the educational value of drama, see L.-V. Gofflot, Le Théâtre au Collége du Moyen Age à Nos Jours (Paris, 1907), 92–3; T.H. Vail Motter, The School Drama in England (London, New York & Toronto, 1929), 228; G.P. Sandham, ‘An English Jesuit Dramatist. Fr Joseph Simeon, 1593–1671’, The Month, 24 (1960), 308; Hubert Chadwick, St Omers to Stony hurst. A History of Two Centuries (London, 1962), 133–4.
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• William McCabe, ‘The Play-List of the English College of St Omers 1592–1762’, Revue de Littérature Comparée, 17 (1937), 356.
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• For information on drama at St Omers, see McCabe, ‘The Play-List’, 355–75; idem., ‘Notes on the St Omers College Theatre’, Philological Quarterly, 17 (1938), 225–39; Chadwick, St Omers to Stonyhurst, 125–40.
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• Henry Foley, Records of the English Province of the Society of Jesus (London, 1875–83), I,272–3; VI, 278; VII/1,463–4; Leslie Stephen and Sydney Lee, eds., The Dictionary of National Biography (London, 1885–1901), LII, 257–8; McCabe, ‘The Play- List’, 357; Bentley, The Jacobean and Caroline Stage, V, 1172; Sandham, ‘An English Jesuit Dramatist’, 309; Suzanne Gossett, ‘Drama in the English College, Rome, 1591–1660’, English Literary Renaissance, 3 (1973), 65.
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• For information on where Zeno was first performed, see Smith, College Plays, 96, and McCabe, ‘The Play-List’, 364. The date of the first performance is given on f.37v of London, British Library, MS Add. 9354 (‘Registrum Audomarensis Anglorum Gymnasii’).
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• Gossett, ‘Drama in the English College’, 64; on the elaborate revival of Zeno at the English College at Rome in 1634, see ibid., 72 and 79–83.
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• William McCabe, ‘Music and Dance on a Seventeenth-Century College Stage’, The Musical Quarterly, 24 (1938), 317–18.
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• The manuscript texts of Zeno are divided into Protasis (Actus I in the British Library MS), Epitasis, Catastasis and Catastrophe; the printed editions are in five acts.
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• William McCabe, ‘The Imperial Tragedy’, Philological Quarterly, 15 (1936), 311–14.
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• On the stage convention of first reciting, then singing lyrics, see William John Lawrence, ‘The Wedding of Poetry and Song’, Those Nut-Cracking Elizabethans. Studies of the Early Theatre and Drama (London, 1935).
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• Another Caroline play, Fuimus Troes, quotes the lyrics of the songs at the ends of the acts; some of these comment on the action in the manner of a Chorus.
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• For example, in Scene ii of the Catastasis.
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• The characteristics of a prompt copy are described in Ronald Brunlees McKerrow, ‘The Elizabethan Printer and Dramatic Manuscripts’, The Library, 4th series, 12 (1931), 270–2. See also Sir Walter Wilson Greg, Dramatic Documents from the Elizabethan Playhouses (Oxford, 1931), Commentary, 204.
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• See Bowden, The English Dramatic Lyric (cited in note 11 above), 90.
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• Oxford, Bodleian Library, MS Mus.B.1 is incomplete in a similar way; ‘most of the songs are given in the treble and unfigured bass arrangement common to song collections of the time, but in [this] manuscript space has been left for the insertion of the lute tablature’: Vincent Duckles, ‘The “Curious” Art of John Wilson (1595–1674): An Introduction to his Songs and Lute Music’, Journal of the American Musicological Society, 7 (1954), 96. It is interesting to compare the accompaniment for ‘Astrorum iubar’ with the sketchy keyboard parts for two Jacobean songs in the John Bull MS (Cambridge, Fitzwilliam Museum, MS Mu 782); neither provides ‘a musical accompaniment as it stands, being more of an indication of the harmony and the way it is to be developed than a fully written-out setting’: John Harley, ‘Two Jacobean Songs’, Early Music, 6 (1978), 385–6.
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• In The Imperial Tragedy, the English adaptation of Zeno, the word ‘lute’ is adopted.
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• 1971 . 43 – 9 . On the use of the Lyra viol in song accompaniment, see Mary Cyr, ‘Song Accompaniments for Lyra Viol and Lute’, Journal of the Lute Society of America, 4 (, and Peter Walls, ‘Lyra Viol Song’, Chelys, 5 (1973–4), 68-36Biographical information on this man is to be found in Foley, Records (see note 22 above), VII/2, 713; Wilfrid Kelly, ed., Liber Ruber Venerabilis Collegii Anglorum de Urbe. I. Annales Collegii. Pars Prima. Nomina Alumnorum. I. A.D. 1579- 1630, Catholic Record Society, 37 (London, 1940, 208; Anthony Kenny, ed., The Responsa Scholarum of the English College Rome. Part Two. 1622–1685, Catholic Record Society, 55 (n.p., 1963), 383; Godfrey Anstruther, The Seminary Priests; A Dictionary of the Secular Clergy of England and Wales, 1558–1850 (Great Wakering, 1969–77), II, 278; Geoffrey Holt, St Omers and Bruges Colleges, 1593–1773. A Biographical Dictionary, Catholic Record Society, 69 (n.p., 1979), 230.
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