New Light on John Dowland’s Songs of Darkness Anthony Rooley Early Music, Vol. 11, No. 1, Tenth Anniversary Issue (Jan., 1983), 6-21. Stable URL: http fink stor.orgsici?sici=0306-1078% 28198301929 L1%3A | %ACO%SANLOIDS%3E2,0.CO%SB2-H Early Music is currently published by Oxford University Press, Your use of the ISTOR archive indicates your acceptance of ISTOR's Terms and Conditions of Use, available at flip: feworwjtor org/aboutterms.htmal. ISTOR's Terms and Conditions of Use provides, in par, that unless you fave obtained pcior permission, you may not dowaload an cnt isus of @ journal or multiple copies of articles, and you may use content inthe ISTOR archive only for your personal, non-commercial uss. Please contact the publisher cegarding any further use of this work. Publisher contact information may be obtained at baupsferwer,jstor.orp/jounals/oup.htal. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transtnission. ISTOR is an independent not-for-profit organization dedicated to creating and preserving a digital archive of scholarly journals. For more information regarding ISTOR, please contact support @jstor.org- hup:thrwwjstor.orgy Wed Aug 10 14:34:33 2008Anthony Rooley New light on John Dowland’s songs of darkness on ty tees lamprey, Doneewineigiediarseahe tet Pre ear ‘Lachamae mole fl mys, Th Scan Poa of Sage énd, 12, opening John Dowlancl's abiding love of tears, grief, woe, anguish, melancholy, blackness, night, death and darkness has left a deep impression which posterity has intecpreted, naturally, in the most obvious way: Dowland was an unhappy man. atodds with fartune— in madetn terminology, a depressive. In the wards of his biographer and chief champion, Diana Poulton, he vwas'highly emotional and volatile. .. self-centred. subject to attacks of melancholy . . . doomed to disappointment. She feels he nursed ‘a sense of persecution’ and had ‘a mentality disposed (0 intro spectian and depression [which] nourished a morbid ‘condicion’." tis my contention that Dowland's concern for dark: imagery is nt necessarily, and certainly not pricaarly, a reflection of his own condition. I hope to show that he carefully constructed and maintained an artistic ‘persona’ which suited, his considered intentions. He was consciously posturing and his highly manneted art elaborated his ‘impresa’, Flow my rears’ or ‘Lack imac’ was his epigram, the famous four-nare macit (see ilus.1} was his musical emblem, and much of his music was 2 gloss, or expansion, on these devices. AS with all Renaissance ‘figures’, the possible interpre Tations are manifold. Usually the mostobvious reading is the least satisfying ultimately, and the whole “icapresa’ tradition requires deeper study if we are (0 penetrate the layers of esoteric meaning. Thus article intends to begin the process of penetration by calling 6 GARLY MUSIC JANUARY 1963, ‘on Dowland’s own words, thase of his conterporaries who understoad his deep secrets, and modesn critical studies in ather disciplines by such august scholars as Fritz Sax, Frances Yates, Alistair Fowler and numerous others. Ultimately, though. 1 must he held responsible for the syncretic interpretation that results Tis one way of looking at Dawland: I hope itis a way that he would not only have recognized but heartily and cheerfully endorsed, for he was ’s cheerful person passing his days in lawful merrimenc’* and, after all his own work cavers all moods and emations—only 14 of his 67 songs are songs of unrelieved. world-weary grief and many ofhis tunes, in danceand song, tell af more jayous and lightsome experience. Dowland's own words on tears, and what they meant for him, provide a good way into this enquiry and will serve as a point of reference: And though thecile doth promiseteares unfit guests inthese joyful times, yet no doubt pleasant are the teares whicl ‘Mosicke weepes, netthes ate teares shed alayes i saciowe, bur sometime in joy and glaeresse. Vouchsafe then {worthy Goddlesse} your Grécious protection to these showers of Harmonie, [east if you frowne on them, they bee Meta rmorphosed into cue teates Ie is the ‘Englishness’ of Dowlanc’s music that strikes one most forcefully, and [ shall return to dhs; but f want to begin by placing hima in the European tradition, starting with the Italian connection. John Dowlanc’s admisation for Luca Marenzio is well documented: he travelled to Italy with the express intention of meeting the great [talian master, and in the preface to the epack-making Firsle Rooke of Sanges (1597) he is at pains to show his indebtedness to Marenzio: Yet can t not dissemble te gceat concent J found in the proferd amity of the most famous Ica Marenzio, whose sundyy lecers [ received from Rome, and one of them, Decause itis butshort, have thought good to setdowne, not ‘hinking it any disgrace tobe proud of te judgement of 39 excellent a man He even reprints a brief letter from Marenzlo to him, hough why is a mystery for it offers only mild praise New material has recently come to light whichct Wold iy cone her fat nf my en, ‘Tre Face Rooke of Songe (1599) 0.6, Bars 1-4 [Bcd Luca Marenato, ht, dsoiare mane, inthe Engh vrson los what ¢urached MY, by Thomas Watson, fom The Fit Seo aan Madnglls Engiched London. 1580), 107, opening Section beg = ss Sy — = ee == SS =e eee ae oe ana ee shows concrete evidence of Dowland's debt to Maren- Zio. This is found—significantly, in view of the prefarory material—in song no.16 in the first book, Would my conceit that first enforced my woe. The text belongs in the category of despairing plaints and is ‘one of three such in the book the three stanzas unfold 4 tautly argued cry of inner anguish, following the six stages of advancing an argument according to the ancient rules of rhetoric. By contemplating the anguish of the human condition, the supplicane is relieved of somneof that anguish: the poetry and music combine to create catharsis, Dowland chose to set the poem in an appropriately formal manner, though he gives unusual independence to all four vocal lines. In contrast to his normal cancus-dominated style of four-part writing, Would my cancett is more freely madvigalian, This observation is confirmed by the fact that Dowland quotes extensively from 2 madrigal by Marenzio which was ‘Englished' by Thomas Watson and published in 1590 under the title Alas, what a wretched life is ohis:£ ‘This ‘Englished’ poem is a very free translation of the ‘original Petrarch ballata Ahi dispietata mozte set by Marenzio. Pevarch’s poem is addressed to ‘Laura’, but in Dowland’s there is na lady as the objectoof the lament. ‘This is typical of all 14 of Dowland's songs of despair: they express wretched grieving over an internal con- dition which has no outer cause ather than the very ‘ground of woe—the human condition. So Dowland sets the Marenzio madrigal in a new context, he Dorrows or quotes existing material for his awn ends. As exx and 2 show, he begins with Marenzio's opening phrase. In the middle section (not shown here) Dowland pursues an independent course which only echoes the rather freer development of the model; but his final section is virtually an exact quotation of Marenzio's (exc3 and 4). Here then is Conclusive evidence of Dowland's admiration for Marenzio. and perhaps many more such quotations or paraphrases remain to be noticed Another common device, which Dowland made particularly his own, is the madrigalian stack figure of EARLY MUSIC JANUARY 198373 eld my concae bars 17-28 S55 ibys peSeree teeta fet —S = = ah Fe 2S See the six note chromatic theme. Cipriano da Rove seers to have been the first to use it and, following him, tralian composers readily drew on this kind of chra~ ‘maticism, the sienote motif became a cliché for expressing distressed emotion and persisted until che end of the madrigal era. Although in the music of the Italians it had no particularly potent significance, 8 BARLY MUSIC JANUARY 1983, Dowland integrated the figure in his musical vocabulary in both ascending and descending forms and invested it with mote than merely musical meaning. [tis partly through the precise use of this device that we can pinpoint Dowland’s conscious application of nam: exology and afstruse philosophy to his music. ta his hands such a formula takes on a symbaiic power akinto 4 magical potion, and it is 4 comerstone of our ‘understanding of the functional nature of his music as a means of divine gnosis. Dowland uses four distinctive musical emblems: he cear or Lachrimae’ motif (illus. and 2) and the six: note chromatic theme (illus.3 and), both occuring in ascending and descending forms. These have in ‘common that they all decorate the interval of 24th. In basic numerology (our represents physical creation expressed in the four seasons, the four elements, the four humours, the four points of the compass and so ‘an, The musical interval of a 4th was felt by Pietro Bongo. Sir William Ingpen, Robert Fludd and others to express Man's earthly condition as weak, vacillating and uncertain, In their thinking the 4th concrasted markedly with the Sch, the ‘dominan¢ interval, which symbolized rhe security and strength received by the devout man of deep wisdom through his awareness of God Al this was standard num erology, and it was part of natural, everyday life, but some creative spirits evinced a desite for mote power- ful similitudes through number and proportio “Die ilyeuchags tenes ended,» MT ORERR oT 2 Inverted Lachenie’ naif Dar you chong, The Fee Book of Senge 1597, 107 opening pennant sual deft ‘The ory emitted by the pure spirl capped in. spirit is epitomized by the agonized chromatic descent, while the tar shed by the soul on real imprisonment is the ‘Lachrimae’ motif. explores 50 effect register of the lute SERED Onvinsmbroragetiresi the Fereva (er0, dor he cpl tga string in the ascending chramatic theme. fs likely to he intended to portray the ascent of the 1 Fate Aape Feneve [Cambrldge, Ualversiey Library, 04935(C), fE167-17) x evel Pncasy (Cambie, University bray, DA45-78(3HF. 1430-49) EARLY MUSIC JANUARY 1985 9soul, rising above the world of sense to fing liberation and union, ‘This esateric reading of Dowlend's music has ample suppor. The words of All ye wham ave or fortune hack betrayed that fall on the chromatic motif amplify our understanding, The fest stanza has ‘Lend ears and tears 1a me, most hapless man’ (see flus3), and the second stanza has “Tears, sighs and ceaseless cries alone I spend’. The whole paem is an address ca all chose with ears to hear to join in a lament for the poet's sorrowdul condition. This lament is expressed in the song itself, in which the conjunction of poetry. music and esoteric lore gives a more powerful expression than could any of these sciences alone. T now turn to Dowland’s tee in France, his early Formative years between 1580 and 1586 when he was in the service of Sit Henry Cobham, the queen's ambassador to France. AL this time the French acad emies fad direct support from their king, Hemel TH and there was at work the powerful and pervasive Influence of nea-Platonic philosophy cultivated in lian academies of the previous 50 years, The thinking of such great figures as Marsilio Ficin, Pico della Mirandola and Cornelius Agrippa was avidly studied and imitated by dhe French philosopher poets and musicians, Frances Yates's brilliant study The Prench Academies of the Stxteenth Cenaury London. 1947/1968} conizins 2 wealth of information which thas still not heen thoroughly digested in the work of ‘mare recent scholars. Though nota musician, she has ‘much ta offer us, not least hecause of her synereue approach ta her subject. Pontus de Tyaxd was a focal point far Platonic philosophy and he was admired ahove all others by the poets and musteians at the tlme Dawland was tn Paris, ils name and work were familiar to all men of learning and Dowland carinat have failed to pick up some of these fashionable ideas, even if at second hand. Ina long philosophical meditation on the nature of art ar divine inspiration,* Poncus de Tyard gives the following remarkable description of Iirmself as the character Solitaire coming upon the heavenly lady Pasithée {found her seated and holding 2 Late inher hands, mingllag her sweet arc easy voice withthe saund af the-chards which she touched divinely: a graciously did she measure a French ode thac (was vavshed, 2s by a celestial hemany, ‘a and ees 19 me me pee PR RR OB ok Bis ea & ee ee 5 Sic nove chromasietheee lye whan vee fine han Nery, The Fate Boo of anges {1587} oA, second tection 4 swenate chromatic theme: Fm stint mits, A ignnes solace (L662, 9010 bare 14-20 10 EARLY MUSIC JANDARY 19634 Inamaren: omisptece from R Surton Te Aaomy of alent dha, 3/1628) and rceftaived ftom entering, remaining sent 30 25 not to tnteraupt her pleasure or the contentment which I received from che carsemplation of her graces. (Yates. p79) Later in the story Solitaire takes the lute from her hands, and in a transport of inspiration sings same measured verses 1@ his own accompaniment, The effects of this union of poetry and music are profound. and Tyard describes therm drarnatically she remained silent as thowgh overwhelmed by a new melancholy, which, in spite ofall ay effors to hide i, had 2s alteady seized upon both ey heart and my countenance fates. p85) For hit, as for Ficino and Agrippa before him, divine inspiration guides the mind and hand ofthe anise, who in turn can draw the observer or listener into a rapt meditation of things divine. Through the union of poetry and music a kind of initiation may take place 6 atencto & engraving by Albrecht Oure, (514 (London, MarsellCatleesion) which effects a heightened realization so that the condition of the auditor is permanently changed The righic use of the arts will lead back to the Divine, the inital source of the inspiration. Gnosis teaugh art Decomes che highest goal af artistic activity. Dawland’s famous preface to his Firste Booke of Songes displays more than a casual knowledge af the Platonic authority for the union of music and poetry, But a further cadhition links the melancholic humour ‘with the playing of the lute. As late as 1637 Thomas Nabbes reiterates the Renaissance emblem for melan- choly: ‘A Musician: his complexion haire and clothes black a lute in hls hands, He is likewise an amorist" It is also clear fram this that black is the colour of the melancholic complexion; itis a colour that Dowland thoroughly exptoits in his 14 songs of darkness, Robert Burton's famaus Anatomy of Melancholy enlarges on the EARLY MUSIC JANUARY 198511same imagery. The ‘Argument of the Frontispiece deserves the character of Burtor’s Inamorato’ who ts illustrated there (ils 5 Tnamorate with folded hand Down hangs his ead, tse and pote. Some lie sure he dath indice His lute and books around bis he ‘As symptoms of his vanity Ir dhs do nat enough disclose, To pain ie, cake thy by 1 nse ‘The Renaissance attitudes to melancholy are power- fully characterized in Albrecht Dixe’s Famous one paving Melencolia F (1514; illus.6) and in Aguippe's Gescription of inspired melancholy, which has three manifestations A generation of schalays has elaborated ‘on these ideas, notably Panofsky and Saxlf and more recently Yates. The essence of thei findings is that a state of inspived melancholy is achieved in theee stages: through the union af music and poetry, through the study of philosophy, and carough divine revelation, Direysdelencoia fs thoughtto be the fest ‘of a series of tixee engravings, but the other two ‘cannot be taced. Agrippa's expansive literal account #8, however, extant, his work was known ta English arists not only through the French academies (and ‘rom studies by acadernicians wanslated into English, Dut directly in the Latin orginal with which several poets and dramatists (for example George Chapman and Wiliary Shakespeare) show a familiarity By taking melancholy 2s his artistic persona, Dow. land embraced the highest ambition in the Renaissance tradition of inspired melancholy —through his ast and his choice of pent mages he hoped (0 achieve the deepest possible contemplation. To understand this more specifically we need to consider his position ‘within the immediate English tradition, and also within the eiecle of his patrons ‘The fashionable cult of melancholy at the English court in the fast decade of the i6th century lett itself ‘wide open to sate and mockery. After about 1594 a play would hari be complete without a casicature of melancholy, in one oF another manifestation: the lover, the scholar, the madman, the musician or the ‘poet Society was perhaps protecting itself from a tendency towards brooding intaspection. certainly the malady of melancholy seems to have spread into any areas of daily life. But there was a wide circle of artists, poets and musicians wha, despite ridicule and bbuffoonery, persevered. with the notion of inspired melancholy One convenient emblem for dark studies 12 EARLY MUSIC JANUARY 1983, was Queen Blizaheth herself. She-was synonymous with the Maan {ar Cynthia) and the Goddess of the Night for Diana}, and was sometimes called Astraea, the star shining brightly in the night fireamenc. The adulation of the queen in these related guises en couraged numerous works of great, and deliberate, obscurity—the very obscurity was partof the symhallc exercise George Chapman, in 1594, published a pait of hymns called, together, The Shadaw af Night, which extolled the virtues of the night, the moon and all the related symbols at considerable length. His writing is 80 convoluted that scholars still debate is real intentions, but all agree that he is calling on the secret subjects of Hermeticism, alchemy and magic, and iCis clear that his work inspired many others (0 write in praise of Night, the enchantress, and ler dark works. Marlowe, Raleigh, Drayton, Donne and Shakespeare are only sorte of the cantributors ca this cule. Nor wes (Queen Elizabeth the only focal paint for this symbolism. The attractive and intelligent Lucy Harrington(ilus 7) was one of the bight young ladies-in-waiting who attended Elizabeth in her last years, and was also one of the first to heftiend Queen Anne when she and James T were enthroned in 1604, Lucy's osin marriage to Edward Russell, Third Earl of Redford. cook place in 1594, and from that date a flood of works was dedicated ta her. Sne hecame ane of the greatest patrons of the ats in England at this time and deserves 4 much fuller stody than she has yet recefved. My own 7 Lucy Russell Countess of Bedford painting by (220 Olver 41627 (Cambdge, Fewilam Museu)efforts to uncover information about her were made initially because Dowland dedicated his Serond Boake of Songs to her in. 1600, when she was at the height of her fame. These efforts have been intensified since because af several curians discoveries Te may be that Lucy Bedford is more. central to the poetic cult of darkness than has hitherto been sup posed, even what is known about Ner already casts considerable fresh light om John Dowland's songs, Mast of the poets I have mentioned so fax received some degree of support from Lucy and the rall-call of names is sufficient to show her taste and discrimination in poetic matters: Hen Jonson, Samuel Danyel and Sir John Davies of Hereford can he added to Drayton, Chapman and, above all, fohn Donne (illus 8} Five af Donne's mast enigmatic poems are addressed to Lucy. wha seems co have been delighted by the most abstruse works, Her father, Sir John Harrington (the {queen's gadson, had armused the court for years with ‘his witey, pithy epigeams. His daughter seems to have Inherited bis taste for these, and in addition became England's leading authority on“ancientmedalls—the source of many embletts and devices of the time. Ben Jonson wrote a series of epigrams for Lucy. One begins: Lucy, you brightnesse of our sphere, who ate fe ofthe Muses! day, chet morning-sart, Keends: Lacy, you beightnesse of our sphere, wha are ‘The Muses! evening, as chet mosning-starre."™ Jonson's poem was printed with Donne's Satyres (1633) and serves ta introduce us ta the deep relation ship heaseen Donne and Lucy. Twa of Donne's most curious poems are addressed to her. Twickenham Gardens begins: blasted wich sighs, and surrounded with tears, Hiner I come ta seek the spring, And at mine eyes, and at mine eares, Receive suck balies, as else cure everything There. are several images here that strongly recall Dowland's chief preoccupations— particularly ‘tears, sighs’ and ‘eyes'—and later [a the paem Danne Introduces the phrase ‘weeping fountains’, which is also typical of Dowland’s texts Theseimagesand more are employed in Donne's A Necrumalt upon $. Lucies Day. Being the Shortest Day. The central stanza of the five will serve co evoke the mood All exh, fro all things, draw all chats good, Lie, soule. forme, sprit, whence chey beeing have: 8 Joha Donne: porta by an unknows artist ipivate collection Marguess af Latha) I. by loves limbecke, arm the grave Of all, that's nothing. Of Mood Have woe reo wept, and s0 Drownd the whole world us Wo: oft 6d we grow “To be ewo Chaoses, when we did sow Care te be ough else, and often absences vathrew out soules, and made us carcasses. ‘The imagery af weeping Is extravagantly emploved, but of yet greater Interest isthe link that Danne makes inhis title herween Lucy Bedford and her namesake, St Ley, asecand-century Christian martyr whase patronal day 18 13 December. From that day for 2 week, ta the 2Ist (which is St Thomas's day), there is 2 celebration af darkness, coinciding with the darkest part of the year when the days are shortest and the rights longest. Dawlané's echoing phrase, In darkness let me dwell, belongs to this nocturnal celebationy it occurs in three of his songs, the earliest being the second ané fifth songs of the secand book, dedicated {0 Lucy Bedford. ‘The name ‘Lucy’ is, of course, taker from the Latin word Tux, meaning light, and yet T am postulating 2 celebration of darkness in connection with her. How EARLY MUSIC JANUARY 1983.13fae ‘pits ety bedded 6 PRO RRFT Sea ree = PPR PRRRPR ORR i Te cree of CAPR RTE == SS does this paradox resolve? Lucy Bedford is praised by all hee paet admirers as being filled wih light, vivacicy and brightness, and yet the imagery thac is eammon to their a¢oration isof grief, blacknessand weepingeyes. The resolution Ites, 1 think. in the story of the martyrdom of St Lucy, the gruesome details of which were well known throughout the Middle Ages and the Renaissance, though they are largely forgotten taday. St Lucy suffered several atrocities which tested her faith ungl death, arwong them the putting out of her ‘eves by her antagonists, only for themtiahe miraculously restared the nexcday; her saint's day begins the week of the shortest days and longest nights in recognition ‘of her sightless agony. The miraculous restoration of ‘eyes and sight ensured that the emblems associated with her were light, eyes and weeping Lucy Bedford was identified with this entire vadition. Le EARLY ACUSIC JANUARY 1985, 2 Sor say, the Sed Boake Senge NGO, 05, ast vez 50 that it became a conventian to address poems an such subjects or using such images co her, It is particularly in the paems af Donne and che songs of Dawland that this “conceit can be mast thoroughty enjoyed In the Second Baoke of Songs che first five pieces relate to the dedicatee: Isaw my Lady weep acts as a dedication and extols the powers and virtues of melancholy music; Faw my tears is the epigeammatic centre af Dowland’s lachrymase art. The other three of the five songs form a powerful trilogy—a contention between hope and despate: Seow stay, with its famous ‘But down, down, down } fall/and arise I never shall’ ulus 9}, isthe eplcome of despair, in Die noe before chy day the Lady Hope suggests that all might not be lost (illus.10}; and Maura mourn day is wutk darkness fled fillus.11, over) expresses, in alchemical opposites, refutation—hope is of no value (illus.12, over)Almost haif of Dowlanc's songs of darkness come from the second book, but in the light of the Lucy Bedford tradicion a preponderance of such texts is not surprising, Iris necessary, though, since as many such songs again are not directly linked with her patronage. (0 establish a general conceptual frame for all the songs. From che background [ have given, certain statements can now be made: 1 Dowland consciously adopted an artistic persona of inspired melancholy. 2 This decision was in cune with culeural trends that were emerging towards the end of the century, 3 Many poe:s and a few musicians contributed ca the Increasing use of imagery relating to che night. 4 The preoccupation with melancholy and its 25s0- lated symbolism was an Engtish phenomenon but it had strong connections with artistic and phitosophic: movements in Europe which stemmed from the Florentine Ptatonists at the beginning of the century, 5 The imagery of weeping, grief and darkness brought several strands or schools of thought together and can therefore be seen as a syncretic or unifying tendency Sartow stay Soniow, tas lend true repentant tars ‘To a woeful wretched wight Hence, Despair with thy tormenting fears 0 do not my poe heart aftright Pity, helpt now or never, Mark me not ra endless pan, Alas Tam condernned ever, No hope, no help there doth remain, But dawn, down, dows ! fall, ‘And arige I never shall, aC a Lime of great fiction between religious faiths. 6 The tendency for poets to speak of deep or secret Knowledge helped to protect the convention from ‘open attack Dowland’s universal popularity in his own time would seem to belie an esoteric reading of his works, but today the extent of the influence of syncretic philosophy tends to he overshadawed hy the study af the various factions, which show mainly strife anc, separation, The desire for unity in spiritual matters was, in fact. very strong, and many af the finest minds were less incerested in Protestant or Catholic. causes chan in universal values. Dowlandl's work is not even specifically Christian until the final, repentant volume. A Pllgrimes Solace, of 1612. The orthodox line was that over-indulgence in misery and despair was a vile sin against the faith. Dowland’s songs of world-weary grief hold out no hape, and one Christian reaction to this seemingly bleak message can be seenin the bowdlerized version of Sorow stay by William Wigthorp, who felt obliged to add a plea for pity and help fram Jesus Dowland's Sorrow Sorrow camie! lend tue repentant tears ‘To 4 woetu) wretched wight. Hence, Despat! witn sad cormenting fears 0 do not my poor heart affighe, Pity, sweet Jesu, help now ox never: ‘Mark me nat to endless pair. Alas that { have sinned, hope, {nape help doth remain ‘Though that dover, dows, down | fall, Yer | shall vse and never (all ae Exlyedeeihly Goat wongy ther enki wlig og. Re 1 ie eee ty ay, he Son Boake of Sings 1600), n0. nal section c EARLY MUSIC JANUARY 1983.15canre, Hla aa pyataie Owes, wane, dy wd fed,wtebenen en prendre TPP rie Lear 18 ees ad, he woh oe Se in al Shwe Pore 2 RPP ore nor Fovoatlemnf ea more. dh nar aie, de fam Ex Thea it a dy te xy in daiele Teme Teel Ratrtistrgy ia 1 ow mam day wath darn ld, The Stand Boeke of Sones (1600.00 5 Bur the philosophy expressed in Dowland's songs af darkness js nat ultimately a hopeless philosophy. The Intention isthe apposite, butiris best understood from. ‘outside the arhadox Christian and classical literary leaching. Several of hegreat patrons for whom Dowland ‘worked in Europe were schooled in neo-Platonism ard 16 EARLY MUSIC JANUARY 1985 Peer PRR EPPR TR erp RAPT ae Be Seid Sow wien Reef supported men of exotic fearing. John Dee, the English magus, found more friendsin northern Europe than he did at home, and the same can he said for Dowland, who received a royal welcome from Christian. [Vof Denmark. Heinrich Julius Duke of Brunswickand Moritz Landgrave of Hesse—all men renowned for12 Sun and moon ia alchemical bate the visual image of ou, smoure dap wth dares fd. oman alchemeal teatixe ofthe Renaissance period. arora concurs (zie, Zena. Cort thenovecensto 172,10) their learning in Christian, Platonic and Hermetic philosophies. One might simply define the neo-Platonism of the 16th century as the helief in the attainment of gnasts| chyough an optimistic view of Man's condition. The ‘020-Platonist regarded the whole of creation as given by God to rernind Man of his true home, af which this world, though bounteous, was but a pale reflection: by contemplation of ideal forms, it was believed, the sou!’s desire tp return would be kindled, Hermetic philosophy wasthe harmonious anuitiesis of this view, and has been described as “pessimist gnosis’. It depicted the first soul as having been created by God to share with hint in heaven the joy af looking at the creation stetched out belaw. But on looking down at Mother Nature, Man fell in love wich her and desired her, Being divine, his wish was granted: he was instantly tore from heaven and, emitting an awful cry or groan, fell Uiaugh the several levels of heaven (0 earth, there 10 be raated and locked with: Nature. The androgynous figure symbolizes this lacked condition. Trapped in the sensual world, the soul is unaware of its origin, and experiences only grief and torment in its dark travail. {ts condition is likened 10 deep sleep. In its ignorance, the soul seeks worldly pleasures in order to find happiness, but only becomes further enchajned. This worldly experience is hell, itis ‘not possible to descend lower. In Christopher Marlowe's ‘words: "Why thls is Hell, nor am t out of i. Even the light o this creation only discloses shame—the arche- ypal shame symbolized by a black bird living off its 13 The andeogyne and nighes black bind the vtwal image recalled in Fn my tors an the Hermetic view of Man's condition: fram Aura consign, end paper ‘own young The text of Dowland's Flow my rears refers directly to this Image (illus.13) Flow my tears. fall from your springs! Exiled forever, tet we mourn: Where nights black bie her sad infamy sings, There ler me live falar The sun appears atnactive, but its yet anather snate for the unwary soul ‘Down vata lights, shine you no more’ and ‘Light doth but shame disclose’. Only By embracing the darkness wholly, by spurning all hope, can the troubled soul begin to wake from the deep sleep of ignorance. As the soul stirs, sa doesa memory fits origin, and with greateffart and study i begins to RARLY MUSIC JANUARY 1983.17aw Die ee per Fe torre on ae ut teagan A. cmp, Eni Falher Ses Bo Sepoatick alte CRP RPE E PREF Gita lara! Ta ren RT 14 ow my tos, The Second Boake of "+ Sang 1600), na, fst section 15 John Danyet yes bet no mare Songs forte ace hal and Vac (Landon, 1605) 18 ZRLT7O, a0 fet section EARLY MUSIC JANUARY 1963find new strength. Eventually, che light of the divine so fills the soul's awareness that the dark, loathesome World af sense is seen for the treacherous unteality it ig, I¢isa world only of seeming, not being. The sot! is, filled with a rapturous love forthe divine and wishes to -merge with it—which union is finaly effected by the Divine himselt. This brief description is my own gloss on a very subtle philosophy of ‘pessimist gnosis. It is at the heart, think, of the whole convention with which we have been concerned. The stages f have described were first translated from the Corpus Hermericum' by Marsilia Ficino, were further elaborated and, spread abroad by Cornelius Agrippa and were then taken up by men of learning such as Pontus de Tyard, Giordano Bruna, John Dee and athers, By the end of the 16th century these ideas had become woven inta art, music and poetry to varying degrees. As yet our appreciation of these influences in ‘music isin its infancy, but Dowland provides a good starting-point (or such work, for he is steeped in this tradition. His eycle of lackrymaeor Seaven Teares figured Jn Seaven Possionate Pavans, for example, car be seen as a Hermetic cycle describing the fall and rise of the journeying soul, Fortunately his epigrammatic Latin tutles provide the key ta his intentions in these pavans: without them we would have been left orever in the dark Dowland {s 2 good place to start because his influence on ottiers was 50 very great. He created almast single-handed, the language of ‘Lachrimae’, which others acknowledged. imitated and embellished, Dowland's contemporary Antony Holbore excelled in composing melancholic pavans, many of which have links with Dowland. Halbarne's colourful idles confirm their affinity with the ‘Lachrimae‘ convention: Pavana Ex? John Ward, of hove endo enter, The Ft Se of Foglch Medngas (Landaa, 164, 20:20, opening section : = = i oe tet ‘ Oe £ — SSS = == = 2 zl =e EARLY MUSIC JANUARY 1993. 19ioravit The Image of Melanchaly, Infersum and so on. Younger composers like Jolm Danyel, Robert Janes, Joha Ward, John Coprario an many others also contributed €0 the ‘Lachrimae’ convention. ( do not ean by this a mere reiteration of the weeping four. note motif, buta thorough suffusion oftheir warks with, Dowland's musical vocabulary. Jahn Danyel's song, Eyes 100k no more turns out on close inspection to be a thorough reworking and extension af Dowland's Flow ‘my cears, creating a most subtle parody of, and comple: ment co, Dowand’s original {ilus.14 and 15). “The two great song cycles by John Copratio, Funeral Teares (1606) anc Songs of Mouming (1613), belong to the same convention, They are naturally eancerned, with weeping imagery, for they were bat! written in ‘memory of departed patrons; but Dowiané's influence 1s very specifi: the first song of the Songs of Mouming begins by quoting the Lackrimae motif in a very eliberate reference to tears on the word ‘guef. Coprario's song writing is individual and quitediffeseat from Dowland's, ard yetin creating a musical emblem that epitomizes the first line of a poem he shows the same unerring skill as Dowland. Compare, for example, the apening motif of Dowland's Comme heavy sleep. the essence of @ deep yawn. with Coprasio's is now dead night, the epitome of descending darkness. The madrigals of John Ward deserve full stady, for he is a genius of great individuality {n Of have F tendered tributary teas (ex.7} he borrows Dowland’ tear motif, quoting it no fewer than 21 times in a veritable flood of weeping Dowland’s Influence passed from this generation of composers to the young cavaliers, such as the Lawes brothers, who were open to many new influences; itis manifested most obviously in William Lawes's freely ‘worked, rhapsodic pavan on the Lachrimae theme and in his frequent use of the six-note chromatic matif tex ‘The ‘Lachrimae’ convention {and the associated concern with tears, grief and blackness) interweaves with 90 many facets of early 17¢h-century cultural life hac much study is required to enlarge on this initial exploration. This article rook as its point of departure John Dowland's own words on tears, which revealed the ultimate joy of the ‘Lachrimae verae’—the true tears of the wanscendent soul, Perhaps the nex: point of departure could be William Prynne's enigmatic words, published seven years after Dowland's death, in 1633: Alas there ave but few that finde that ratow way. and those few what ase they? Not dancers, but mourners: not Jaughers but weepers; whose une is Lachrimae whose rusicke, sighes for sine: who know no ather Cinguapace bat this o Heaven, (0 gae mourning all de day long for their iniquites, € mourne in secree bke Doves, to chatter hike cexanes for thelr own and omhers sinnes.” ‘This amiete 1s based on a paper of che same tite delivered at ‘the ninth annual conference on medieval and Renaissance susie, Glasgow, 31 July to 3 August 1981 [ct Wiliam Lawes, Pavan from consent suie nC minor fr vals and organ Wilon Lawes Cots Sts in Fea Parts 00. Pato london 1973), 20 EARLY MUSIC JANUARY 1983"D,Ponkan John Bewiond (Landon, 1972: eeu 2196). 99.39.44, 99,78 Tr. Fuller, The Mery of ze Were of Engin (London, 1865.2, pate "The 14 songs of darkness ate ia the flloming collections ‘he Fete Book of Sages or Ayres of te Paes with Taos fa che ‘uae (Loin 1597/21968 2014, ye whom ov orferume hate eed 00.16, Would my cance that a exfoced my wee, R70. Came oor steep ‘he Seon Baheof ange or Ayes of 2 and Spar et ablenae for ‘he Leo rakes ithe Vill de Gamba condor, 1600/8870}. "802 Flow my ors: 003 Sew ay tenderers 20 Die nt befoe thy day: 0.3. Maur mourn doy swith dina ld: fon 11 leads of ars could eras my ales past 0 20, Tt at ny sou ‘he Thivd ca a Raako of Songs or Aes Newly Campsed Sng ta the "ute Orphanon or Wl (Loncon, 16OWRISTO| na wnat sofest ye furans 11 Lend por eae tomy sao, ond pave Dawland, 4 Mswalt Banquet London. i610} th darkest me det A Pipes Solace Landon, 1612219705 909, Co night care. he emery tt: 0.10, From sen nigh Oe ee of mos ‘Desiesnon co Zaciymee ar Seaton Tears fined i Sean Pasienate Patons (Landon, (O4/R 134) 57 Watson, the Fast Set of Halon MedngalsBnglshed (London, 1390) 107 Pontos de Tard, Dscows phiscophiqu (Pais, 1587}, The English seassladons used here ave Sem Yates’ Me French Academies of he ‘Serr Eoty ST Mabbes, Miencoamus « Mor! MacguetLondan, 1637), p81 NE Panotsy and. Sxl, Diters Melee eae Qual und ypeneesctiehcneUntsuchang, Studien dee Biblithek Warbr. 2 %sce‘Hartrgron (Russel Lucy. Dicaney of Marana Bogan. "en Jonson. Te Compl Pons Penguin Books: Harmardswcnth 1966), Epigrr cw x alsiting apparatus—the reference Is therefore alchemical ‘The dates given here ate chose on which st Lucy's and Se Thomas's feasts ae now kept. ache 17th cei St Lucy Dy wa ‘etenated an 12 Dacombey (0.5, 22 Decomber MS, heday ofthe winter soistice ‘wll Wigthoms collection af eonaoe songs, which ncdes his anangement for voice as vols of Dowland = Somow sty 80 8 secof parhooks, non, Bish Library, Add 7765-31 (gordon M4 and 6. £4: partook 5645) Ad. Fesugiere, Ja enon domes mei 4 ols, (Pai, 1950-541. p84: 2 pp ext NG. Maslowe, Fst, Act 1 Scone 3,176 “The pus Hemencum sa collection of 5 lalogues, aeibuted to Hames Tismagisnus supposedly an Egyptian pest who Lived remote antquty. Marita Fisinas Ganslatane of ese wriungs were made atthe end ofthe (Sth ceneuty See FA. Yate, Gnd na and he Hemet Fada (Lanon 64} PW. Prynne, Haomastn (London, 1653}, THE EARLY MUSIC CENTRE FULL-TIME COURSES, SEPTEMBER 1983 - JULY 1984 LUTE: Curriculum includes Reasissance repertoite 1450-1620, techaique contieuo, lute ensemble, improvisation, Master Classes, history, research and editing. Course Director: Chestopher Wilson. ‘Tutors include: Robin jeffzey, Jakob Lindberg, James Tyler. VOICE; Medieval, Renaissance aod Barogue repertoite, solo songs, ensemble workshops, echoique and oreamentation, baraque acting, language, licersture and history. Tutors: Richard Wistreich, Nancy Long, Andrew Parrott, Emma Kirkby, Students of both courses parcicipare in che ‘Ensemble in Residence’ scheme, EVENTS: SPRING 1983 ‘The Consore of Musicke directed by Anthony Rooley and Emma Kitkby. Two intensive study weeks, The Iealian Renaissance (31 Jan. - 4 Feb.) 17th Cent, Music and Deama (6 10 June) ‘Master Classes: Marion Verbruggen recorder? Feb, 1983, Roget Norrington voice 19 Feb, 1983 Shore Courses: Lute Music of da Milsoo - Christopher Wilsoo Jan/Feb, 1983, The Operas of [Rameia Nicholas Anderson Feb /Macch 1983. Baroque Acting Technique lan Caddy Ruth-Eva Rooen 17 - 22 January 1983. Plus various weekend courses. For farther details apply: David Thomas, The Eaely Music Cente, 17 Goswell Road, Loran ECLV JET. Tel-01-251 2504/5, FARLY MUSIC JANUARY 19832)