The present little volume is put forth simply as an instalment of some means, at least, towards the accomplishment of the ends above indicated. A. R., 1867. N.B. To save interruptions in the body of the work, I here place a few notes as to persons mentioned in it : I. Mr. John Caulfield.-His collection is often referred to, and I think it well, in his case, to give his title-page, and a portion of his preface. The title-page runs thus:-"A Collection of the Vocal Music in Shakespeare's Plays, including the whole of the Songs, Duets, Glees, Choruses, &c. Engraved from original MS. and early printed copies; chiefly from the collection of William Kitchiner, M.D. Revised and arranged, with an Accompaniment for the Pianoforte, by Mr. Addison, and most respectfully dedicated to the Hon. Mrs. George Wrottesley.-By John Caulfield." Here is the portion alluded to of Mr. Caulfield's preface: "There are to be found dispersed in various plays, short passages in verse that manifestly require to be sung. These snatches, as it were, are left to the discretion of the performer or manager; but from time immemorial, beautiful old melodies, eminently adapted to each occasion, have been adopted, but were never before collected or published. "The compiler of this work took up the subject upwards of sixty years ago, when connected with the trade as music-seller, and also with the theatre. Numerous inquiries were made of him for the music that was sung in so captivating a manner by Mrs. Jordan, as Ophelia. "It was traditional, but never published, and under those circumstances he was inclined to endeavour to write out the melodies by the ear-which Mrs. Jordan herself was kind enough to listen to, and approve—when, with the addition of a bass by Dr. Arnold, it was published, and met with a success that led to the idea of compiling all the similar adaptations, with the rest of the music of Shakespeare's plays. Materials were eagerly sought for, and the aid of the leading eminent performers of that period solicited for these extra passages, and in all cases, freely given. "Circumstances, however, led to the labour, thus warmly bestowed in former times, having been subsequently neglected; and it is only now, in his very old age, that he has resumed and completed his pleasurable task.” 2. Mr. William Chappell has published two works; the first entitled, "A Collection of National English Airs," &c., 2 vols. 4to., 1838-40; and the second, "Popular Music of the Olden Time," &c., 2 vols. 8vo., 1855-1859. 3. Mr. Thomas Hutchinson.-The name of this composer occurs several times in the ensuing pages. From the prefatory notice to his collection of vocal music (1807), he appears to have been an amateur. Several of his compositions are very pleasing. These words are from Mr. Hutchinson's concluding sentence: "Music, though not professionally exercised by the author, has long formed his study and delight." 4. Mr. William Linley.-Whenever this gentleman's name is mentioned, it is in reference to his happily conceived work, entitled "The Dramatic Songs of Shakespeare." 5. Mr. John Christopher Smith.-Mr. Smith was the friend of Handel, and is always mentioned here in reference to his "Fairies," which was, in fact, an operatised "Midsummer Night's Dream," and also his operatised "Tempest." The following collection contains particulars of the music contained in or connected with Twenty-three of Shakespeare's plays; B and also with his poems-that is, the " Sonnets,' The Passionate Pilgrim," and the "Venus and Adonis." Any mention of the music commonly known as "Locke's Music in Macbeth," is, of purpose, omitted in this "Handbook," on account of its being, in no proper sense of the word, "Shakespeare Music." To enter into any detail concerning it would therefore be quite apart from our present work, but it is wished to mark distinctly why the omission exists. ALL'S WELL THAT ENDS WELL. Act I. Scene 3. Rousillon. A room in the Countess's palace. Enter COUNTESS, STEWARD, and CLOWN. "COUNTESS [to the CLOWN]. Get you gone, sir; I'll talk with you more anon. STEWARD. May it please you, madam, that he bid Helen come to you; of her I am to speak. COUNTESS. Sirrah, tell my gentlewoman, I would speak with her; Helen, I mean. Was this fair face the cause, quoth she, Why the Grecians sacked Troy? Fond done, done fond, Was this king Priam's joy? With that she sighed as she stood, Among nine bad, if one be good, Among nine bad, if one be good, Of this, the one song in "All's Well that Ends Well," Mr. Linley observes that "It is probable that there was an original setting of the Clown's song in this play, as the words would lose much of their point without the aid of music." However this may be, I have not, any more than Mr. Linley himself, met with any such setting. He has accordingly set the words himself. Of the original setting, Mr. Linley suggests that it might have been Something in the tripping style that the author has ventured to express them in." N.B.-Immediately before the above quoted dialogue we find these lines for the Clown: : "For I the ballad will repeat, Which men full true shall find; Your marriage comes by destiny, Your cuckoo sings by kind." cannot tell absolutely To these lines I find no notes, and we whether they were intended to be said or sung. They are not noticed by Mr. Linley, who doubtless considered them as being only spoken. AND CLEOPATRA. ANTONY AND Act II. Scene 7. On board POMPEY'S Galley lying near MISENUM. A Banquet. A Senet Sounded. Enter CESAR, ANTONY, POMPEY, LEPIDUS, AGRIPPA, MECENAS, ENOBARBUS, MENAS, with other Captains. SONG. "Come, thou monarch of the vine, Cup us, till the world go round.” In noting down whatever I have been able to collect as to settings of the splendid Bacchanalian song, “Come, thou monarch of the vine,” I shall begin with Mr. Linley's prefatory notice respecting it. "The author has a faint recollection of having seen the words, 'Come, thou monarch of the vine,' set as a glee; but after the most diligent inquiry, he has not been able to |