)
)
1===~~=Mttf~t~;=~=;-,-=iSttTIg:
ft
::~~
I
;
~
.
..
....
II ~~[~~~-wt~=rr'cr! ~ --.~ -, -~ ....... · ~ ~
.
~t ~ uic;~;n-4~if;;;:>:;~
\
~fi=f'~c.W=J,cc:.::=tHH-fl:C=~
..
~tm
•
hold.
~
~_ _
"L-B'HUtb~3;;=LUt-ttt~>:··
.-~. . . " ""
f~
.I::L - -! I t;C[:.g d Wj1
••••
C-)
......
·
- : --~~~ _-'-'--if
and Laughter hold11 fld La - chert, La -
=r
~:.:~
and
und
r=
-.-
, ,
.....
-- -
~r:r=F=r~=:*~=r--t=---~~f-
=t===F=
~
I •
~--=--r==t-
~
It
~
-~~H0;~
--~~~-=
tJ
II
·"""
··
I
La -
~=t
I=-
.. .. ---
Laugh - ter
La - chen,
r-:.:-:r':.:=:t=~~~-:t
:c1Mrt,
_ ing both his sides,
Id2s vor Wh.n-nestb·~nt,
.
..
•
hold La -
~
.
~--==f"
..,. ..
~~
Example 8.
(page 20, measures 68-70)
.
'"
I
-
.
-47the word UgoR in short, staccato quarter notes rising in
pitch.
The highest note of the melody occurs on the first
word of the second phrase "onA __ Aon the light fantastic
toe."
Thus continuous movement is implied from one line
of poetry to the next (example 9a).
At this pOint the
entrance of the beautiful sound of the violins on a high G
followed by a descending scale in even eighth notes, and
climaxed by four rapid sixteenth notes establishes a motive
which precisely captures the exuberant momentum of a dance
(example 9b).
Milton's vision of dancing feet is transformed aurally
when Handel adds the chorus to the scoring.
Sopranos sing
the words "trip it" on short notes which are immediately
imitated by the altos on different pitches.
A bright six-
teenth note accompaniment in the harpsichord emerges through
the staccato eighth note patterns.
The sound of the harp-
sichord juxtaposed on the alternating repeated words presents
a dancing musical image (example 10).
Milton's life-long pursuit of inner harmony and
peace comes to fruition in Handel's II Penseroso Arioso,
"Come, but keep thy wonted state/With even step and musing
gait" (II. 37-38; sc. 28-29) and the Accompagnato and Chorus,
"Join with thee calm Peace and Quiet (1. 45; sc. 29-33).
The Arioso commences in a slOW, walking tempo (Andante
-
larghetto) maintained by cellos, basses, and harpsichord
-48)
I
-A
~
--
~~
iJ "
-
----~~--~~--~--.~----.
-
I
-
-
I
-
I
-
I
..
I
~..J~~
f-------
~
I-=t=t=
I
.
r
..
~t-
•
:~
:
I
"
j
!
i
~
llJ
I
'\
~~g=l lEW J 3~~g~ah ~ WjJ JJr
I
"I
I rttr
;;;j tl I
Ir P~
on
the light fan-
'J
as_you go,
euca zunz Kranz,
schwebt im
~~~::=t=--t=
6
<;
-
._--
-
g
-
-
I
-]
IJJ
3
6
-----
.. -~--
---
-~
.--_._------
~-'-------
Example 9a.
)
1\
I
--'---".
-~-------~
(page 2,2, measures 15-19)
20
-
--
~.~
~~
1\
----~------.--.-.--
~~
~-~---
.
f
.
•
I
~
f
.
,
-
f
-
. .....
I
~
)
'I
toe.
(
zar-ten Tanz.
tas-tic
.K
•
"'""--
--....."
----;------------,,--
Example 9b.
-
....
f ..
-
-
col Fal[.
I
....
---
(page 23, measures 20-22)
I
----
el - len -
c:
EJ· I\
6
-- .
-49.J ~.
I!.;.,
,_.
~
,
--..
i
~
11.
~
'-
.
I
1 ..
-
"
~"
,
~
4!J
J
A
~ 11 •
I
4!J
trip it,
sc/ltilt-get,
--1\ ---a. -..-----i-
i
trip it,
sC/tlin-get,
~ ,q~
tnp It,
sclttin-get,
, trip it,
scMin-get,
J
.
'~
.
tnp
7
It,
sc~t~n - get,
trip it,
sc/ttin _get,
J
:==t
-.,
~
--
-a.----+ -+---
trip it,
schtin -get,
\
trip it,
sclttin - get,
-hdl}1FtooCfr_ rFry
I
.-
--..q
Example 10.
throughout the movement.
-
-
-~."-
59
~
(page 25, measures 56-57)
The even, steady eighth note
"basso oontinuo" aocompaniment enables the listener to feel
the meaning of "even step" and "musing gait" (example 11).
The advanced vocal technique of Baroque singers enabled
-
Handel to distinguish the chasm between the pensive nun's
)
)
8. Arioso
.
And
1\
Piolino I
Violino II
~
0
L
h
~
u
~
"
p
I
u
P
•
Viola
~
p
11
I
\J\
o
I
I
f
SOP1'aIlO
r ~
r ....
Come,. come, come, but keep thy wont-cd state,
KOtlt'lll, 0
/comm, wie es ia stets dein JUme,
U
Bassi
O'iolonccllo,l'iolone,
Cembalo)
~
\
••
L~~
p
~
6 6
Example 11.
_~
fI
6
r1"""ri
••
3*
~~
6 6
-
(page 28, measures 1-5)
~
5
...
....
~r
6
~
. h c -vcn
r
ill gleickc1lt
Wlt
-.
-51thoughts of a celestial nature and earthly contemplation.
He scored notes covering an extensive vocal range for the
soprano expressing the concept, "There held in holy passion
still" (1. 41; sc. 29).
The soprano begins the vocal
solo on a low C and progresses in an ascending melodic line
to a high A.
The word "passion" embraces the three highest
notes of the melodic line and in this manner translates
the inspirational thoughts achieved through divine meditation (example 12).
There held in
Und so, van
so, von
ho - ly pas keil'-ger Glut _
sion still
er - fu,lU,
ho - ly pas - sion still
Iteil'-ger Glut_ er - fitlU,
IJ
I)
Example 12.
rr r
(page 29, measures 2-4)
In contrast the desoending melody acoompanying the
words "With a sad leaden downward cast/Thou fix them on
-
the earth as fast"
(11. 43-44; sc. 29-30) defines the
-
-52-
.
limi tat1.ons of human comprehension.
Handel's music literally defines the phrase "and hears
the Muses in a ring/ • • • round about Jove's altar sing"
(11. 47 ..,48, sc. 30-31).
He uses vocal melodic figures that
rise and. fall combined with the steady eighth note accompaniment.
Through these devices one can actually sense the
slow, ci.rcular movement of the nine muses as they rotate
"in a
ri~
(example 13a).
"Jove's altar" is exalted by a
Bbheld i.n the soprano voice for several beats (example 13b).
Confidence and harmony are inspired through lack of
confusion and dependability.
The continuous even beat of
the lower strings accompanying the soft harmonious voices
of the choir in combination with the slurred notes in
the upper strings projects a perfect sense of " •• • calm
Peace and Quietl1 (1. 45; sc. 32-33).
Two birds are described in Milton's poems, the cheerful
"lark" and the melancholy "nightingale."
Handel's musical
treatment of the different birds produces genre tone paintings of individual artistry.
The lark is associated with
Mirth and is characterized in the brilliant L'Allegro Air,
"Mirth, admit me of thy crew" (1. 38; sc. 34-38).
Handel
selects the cheerful harmony of G Major as a setting for
this bird, and combines the bright vibrations of the unison
violins' E string with the vibrato of the soprano voice in
-
a high register enabling the listener "To hear the lark
-.
-.53...
---'
-
)"
I
~
I
27
--
/
•
\
... -.-
tJ
•
~
~1'
r
~
"
"
~
-""""'"
sing,
and hears
thc_
-.-Mu
tar,
lind oft-
bez"m
Sang
Ii
-
tJ
'-'
and hcars
thc_
Mu
tar,
uJld o/t_
beim
Sang
Example l3a.
)"
,
'--'
scs In_
der Mu
-
a
-u
h)l
-...
L
"
-.:r
I
/J
L
-
r
tJ r
a-bout Jo Vaan
-
-
-
I ro
-
ve's al - tar
terZeus' At
-
J)tJi II
l
- tar
ter Zeus'_ .Al-
ve's al
U J t;Ji%P~ I rffr E11&
~.
Example 13b.
sitzt_
--
sz"tzL
J
--.,..---.
-
-----
fere r ~-#I
(page 31, measures 27-29)
a-bout Jo an
Va -
-
I
rounc
ring,
sen - seltar
T
.Il~
'\
-
--
,)
T
rounc
J
tJ
~
ring,
~
J •
.~
\
a
sen - sellar
I r r Er L fEr I (
rr r r r r
'I
-
der Mu.
l
SlOg,
~&il
,
-.-ses In_
~
li
h. . .
i
r
l
J
tJ
-
--
I
•
-
I
(page 31, measures 30-31)
-
.
-.54begin his flight/And singing startle the dull night"
(11. 41-42; sc. 36-38).
The fragmented bird song is emulated through accurate
musical notation.
Unison solo violins repeat a portion of
a theme several times.
They play the same note in a declama-
tory fashion, a high D on the E string represented by a
dotted quarter note.
This is followed by a drop in the
melodic line of two steps which are then played as sixteenth
notes leading back to the original note D (example 14) •.
-~-
....-
. .- ....
"'."
... - ' . '..
Example 14.
_._....
._----------
(page 34, measures .5-7)
Another imitative device is achieved through the violins
playing a repeated sixteenth note pattern representing a
rapid melodic turn culminating on a note of higher pitch.
At
the same time the soprano sings a different rhythmic pattern
of notes; a dotted eighth note followed by a sixteenth note.
The two final notes of each pattern move in opposite melodic
directions and coincide simultaneously.
-
The repetitive,
rhythmic and melodic contrast produced by the voice and
-55violins increasing in dynamic level to a loud "forte" depicts
the cheerful warbling of the "lark" in "his flight,· chirping
a melody which startles the silence of the "dull night(example 15).
at ___ my _ _ wIn
1ltick_ aln _ _ Fen
-
dow _ _
bid _ _ good_ mor
ster _ _
grullt_ zurn_Mor
Example 15.
The~
ge7t,
,.
I-
t
row,
-
*
~
6
(page 38, measures 67-68)
morning sound of the lark is cheerfully projected
by the constant repetition of "good morrow" by the soprano
sung against the melodic motive in the violins (example 16).
-
1@J
"~
t.J
good mor
good mor - row,
Mar - gen,
.,
/'
ZUlU
ZU7n
!I
J
Mor
-
•
!
'\
5
6
I
6
fl
5
-~"-
Example 16.
row,
gen,
..- . - -
(page 38, measures 70-71)
A oontrasting mood oharaoterizing the nightingale is
--
established in the soprano reoitative introduoing the song
-
-.56-
.
of aPhilomel • • • in her sweetest, saddest plight/Smoothing
the rugged brow of Night a (11 • .56-58; sc. 39). Sustained
chord progressions modulate through minor keys - e minor,
b minor and f# minor expressing a poignant lament.
Handel
is an imagist in his concrete representation of bird calls.
His imaginative scoring for the solo obligato flute, violins,
and soprano magically transforms the notation to the
exquisite sounds of a nightingale.
This effect is created
through the rapid alternation of chord tones in octaves and
other intervals in varying rhythmic patterns.
One of his
most frequently occurring rhythms is the repeated longer
dotted sixteenth note followed by a short thirty-second note.
An even progression of very fast thirty-second notes precedes
this rhythm.
Rapidly ascending scales and the ornamentation
of trills
color to the sound and emulate the warble of
aO.d
a soaring nightingale with precise clarity (Example 17).
The soprano literally woos the achauntress • • • to
hear thy even song" (11. 63-65; sc. 43).
She sings a short
eighth note on E which is a pickup to a higher note A.
This
melodic progression of a fourth expresses the words "I woo."
These notes are immediately imitated by the flute implying an
intimate interaction between the singer and flute (nightingale).
An outburst of bird song ensues in melodic passages performed
by alternating flute and violins. (example l8a).
-
These
instruments sing their melodies in unison while the soprano
-57
''-
.
~
.'
1
,"
.1
\ ,Q
,
I
I
~~
[T
C"'I
I
\f\
C"'I
til
<1>
~
::::!
r"
til
~
~
a
I
<1>
-'
j
I
.di
1--
..
C"'I
~
(J)
b.O
as
A
•
t:'r-I
(J)
r-/
A
S
as
~
iLl
-
-.
-5Bcontinues with her melodic fragment "I woo."
She climaxes
the bird song with a descending scale on the words, "to
hear thy even sorg .• "
An immediate entrance by all
instruments on a quick ascending scale inspires the nightingale to soar to the beautiful tone colors of violin
strings and vibrating flute (example IBb).
Thls Air depicting the nightingale is in
form.
II
da capo"
The form is characterized by a second new musical
idea which is introduced following the performance of
the first section of a piece.
After the second idea is
stated the first section is repeated until the composer
brings the entire movement to a close.
Following the
first section including the obligato flute and soprano
solos, Handel introduces a contrasting portion illustrating
"And misSing thee, I walk unseen/On the dry smooth-shaven
green" (11. 65-66; sc. 4B).
A continuous, even pattern of
eighth notes played by all instruments specifically describes
"walk."
Milton's words, liTo behold the wand'ring moon/Riding
near her highest noon" (11. 67-68; sc. 49) enables Handel
to musically translate Milton's philosophy of the harmony
in the music of the spheres, and his concept of measure.
A steady rhythm maintained by the instruments accompanies
the soprano melody moving in stepwise progression in both
-
Whole and half-steps until a climax is achieved on a high A
)
1 solo
,
\
~w+g ~. ~
Of
r
g
J
t
~
:
r
"7
~ !
woods a-mong, I woo,
I
ria ins, es zieht zu dir,
zu
I
\.r\
-I
"
trl~
3
~ - ~
.-
---
~u
I)
~
I
I, II
.!!.
L
L
~d#~
~
-----
-
"~
-----
u
-4-j;r . . - - . ~~~
u
~
woo
diT
to hear
711Zclt
Itin
--:--R--++=' .~+-thy
de ill
---
==-=-t
,
c - yen song,
A - btfltd-lied,
fh;x;
1f-7"::.!it-
'----1
6
-
Example l8a.
I
F~F,.t:
u
1\
'"
______________________
(pages 42-43, measures 29-32)
.!!.
!
.It.
"
)
)
f
M=~ff¥f=-t [rF rfrf7f=rfrf~+8-~- )~~mr rFrEcd]~' ~~-"I
IftMWl[EEmFrtrfrfHrM 1 . ~@fillm
-~ ==~-5_g=rpJ· jJ. ~
~00~ ----~-~--~- ~ -----.!"--~~=t=i.-+
_~_n
•
!f ~ rr r
r& If r ~;)L
"'==4 tf ~b! DV F7$f1fE===~==============================
f
.
f
I woo
~
lL -~--
Zlt
dir
to
1lIiclt
hcar __ thy c ltill __ deill A -
vcn ,song.
o,,,dC"a!.
.,. . ~-- ~.~-~------J% j u
:..~
~~/ fa~ ~.
. r. c-I~
.-g:=-:=-O
4
1/
f
6
Example l8b (page 43, measures 33-35)
(,
r
-
J J4.J
6
I
0'-
o
I
-
-61-
.
depicting Uhighest noon.-
This masterful combination of
rhythm and melody literally portrays the melancholy protagonist observing the steady movement of the moon as it
rises to its full height as evening approaches (example 19).
85
"
)
-
~
~u
1111
-
I
LL~
~
~~~~ ~ ~
•
..
t:-t:- t:-
t:-
tJ
JiL
~.
1.
-
I
-L
~
t:- t:-- t:-
~~ ~
~
tJ
• • "f.
~
t:- t:-
.
~
"
. ..
II.
••••
~1J:~
.
?
~~~
u
noon
nae/tt,
U
J
ri - ding ncar
steigt em - por
her
high~est
noon,
ri - ding
WIt
jifit-ter - lltle/d,
steig t em
I
t t ~E E E E I r r gr r r r It E EE EE
4,
i __ _
~F
2
Example 19.
6
t.
6
(page 49, measures 85-87)
At this point Handel returns to the first section once
again depicting the nightingale singing "thy even song" in
the most beautiful musical phrases.
Since vocal and instru-
mental technique were greatly advanced during the Baroque
period, Handel freely places enormous technical demands on
the vocalist as well as flutist.
Each is assigned an
extremely difficult technical passage in imitation of the
-
other.
A superb effect is achieved when both the soprano
and flute trill on high notes Simultaneously.
The soprano
-.
-62maintains this trill for several beats while the flute
performs rapid notes on alternating chord tones.
Tremendous
breath control is required of the vocalist as she executes
these technical passages on the word "even."
This scoring
denotes a remarkable awareness of the potential of musical
sounds (example 20).
At the conclusion of the Air Handel notates -ad
libitum."
The solo flutist and soprano are thus given the
freedom to improvise a bird song and express their individuality and technical mastery.
Rapid passages in the treble
range of the harpsichord provide a perfect blend of delicate
sonority with the voice and flute throughout this Air.
The
movement illustrates original musical invention conceived by
the imagination of a genius.
Milton suggests to Handel the exact instrument to
depict the cheerful antiCipation of hunters and hounds in
the words, "Oft list'ning how the hounds and horn/Cheerly
rouse the slumb1ring mornll (11. 53-54; sc. 52) sung in the
L'Allegro Air, nMirth admit me of thy crew" (1. 38; sc. 50-53).
Handel conceives a perfect marriage of resonance and mellowness by combining the E b french horn with a bass voca11st.
He selects a danc1ng duple meter (6/8) to establish a tempo
of animated gaiety.
An exact hunting call depicted through
rising and falling wide intervallic leaps is sung by the
-
bass and reinforced through repetition by the horn soloist.
-
-63-
.
I
I
I
rrrlJ
c~
.
~
;:::
:.
'<::>
'"
I
I
I
,
I
,
I
,
I
,
1
~
.,~
II
.J
J
I
f
I
I
~
.1
-;.'
~""'I
L-..
~
I
I'
\
~
"".~
I
I
\
I
;,
(
_ L_
(
.!
.J
!.J..
~
-
., .,
I
•
o
I
I
•
o
•
I
I
I
I
'
1-;
i~
I~
I~
.;;
•
~
lb.
:
.....
~
!:.;.
I.....
.;:
1 •
I
I:.;.
I. . .
~
....
I
!~
i=-:
.... ..
. ~ of
-
;;
,.t
-~~ ~-
:r •
:lI
..-i
~1l'i1
~
f;i
~ :~
I
~
-'.
-
-64-
.
Dec1amatc)ry tones expressed in the rhythm of broad dotted
quarter llotes instantly "rouse the slumb'ring morn"
(example 21).
)
65
"
.
••
-
..J
A L
..
)
•
..
.
through
UNa
~.
the
im
---~
-
•••
..
~
high
wood,
Hoclt - wala
r
-
I
.
~
f:. #+;:-'
~
~.
"""-
• •
L.....J....J
;--~ -.r-'
.
through the high
wi - rler - Ita llt,
wood
im
r
6
I
---
Example 21.
(page 53, measures 65-68)
Handel defines the word lIecho· with great skill by
using a melisma.
The bassist sings E b chords in different
melodic combinations on the syllable "e."
These are
expressed in a rising tonality in repeated rhythms of a
triplet followed by a dotted quarter note.
Each rhythmic
and melodic progression is echoed exactly by the horn.
When
the horn. and voice finally merge it appears that the echo
overtakes its source as Milton's words lIechoing shrill"
are concluded with resonant reality (Example 22).
A charming II Penseroso Air for soprano
and.
strings
perfectly interprets "Oft on a plat of rising ground/I hear
.--
the far-off curfew sound/Over some wide-watered shore/
Swinging slow with sullen roar" (11. 73-76; sc. 54-55).
)
.I '
------
~I
, IJ] F-
-
~,
-l2:
-wrFr
, - 'PEtF
.. .- I
It Err LelID aD I J)"j nl~t r t
,
I
mIre ew lEn l]j
r- 1fm! wIF mIdiE; f:;1;:1::
::t
H
rr
~'i:4cl
i /)
F"
c-
I
-
I Er Er"
____
_
Hoeft -
1ft
i,-
:'*t'4C1 r Vr p I F pr P I F H ~ I r PC ~ I ~
I
' ) " ~lJ
~
I~-r
"
u
I
-~-~.,...
•
-1.
=a:raJ
fT
-
-
-
.C()IF.~
J Fr CirrI
p IR H4
tri . r r11 fEE au
~
u::J
IiiiiiiiiiIiiii
LO:JOOOOJ
............
__
~
"*"-1+
~=ffl1:LRf=--=r .} I e:
/,
_ _ _
n
_
•
f
lc--+-
.-
-
f
I
-
- 1valrl
chomg shrIll.
1vi - der - Itilllt.
c::rr rfIT r r I f rFEr
~ ~
t
'I f rf f~ rIT
r
~~ r r rrt1a *1 IJ] J f~., F PF P1F PF P' F PF PI r PF P.
II
4
3
Example 22.
(page 53, measures 69-81)
I
0-.
\J\
I
j
-
-66The swinging motion of the water is represented by a
descending melodic line of slurred notes in thirds played
by the violins.
A distant sound of the curfew is emulated
by pizzicato (plucked) notes occurring on the first and
third beat of a measure in unison cellos, violas, and
cembalo.
The deep sounds of the lower strings in combin-
ation wi.th the articulation of the cembalo creates an
imitation of muted, remote sounds (example 23).
I
~
tl'
---
)A "
I
~
II
I
;-~ .,.~
-~
l'"'T-!-t tr
~
-
-~
--t-+
.....,
I
,
I
~
~
--
-1~
t:J!K
~.
-{= ~.
t
dd
"I
-4.1...~
Ccmb. tasto solo
)
-
Ve. e VjO]Ol1C pizzo
IJ3 fHJ
-J
Example 23.
t
J
t
1
J kbHPbd
t
. __~J
(page 54, measures 5-9)
Handel describes the pleasures of L1Allegro in the
country in a lilting Siciliana Air of a pastorale nature.
A siciliana is a 17th or 18th century dance in medium
12/8 tempo.
It employs dotted rhythms and a flowing
melodic line depicting the "ploughman" whistling,
II
milkmaid ll
Singing, "mower" whetting his scythe, and "shepherd" telling
his tale (sc. 59-60).
-67Skillfully blending the multi-colors in his musioal
palette, Handel paints an exquisite genre portrait of a
rustic sunshine holiday in the Air and ohorus, "Or 'let
the merry bells ring round'" (1. 93; so. 66-78).
The
tempo, Andante allegro, is marked by a rapid basio beat
of four notes to a measure.
The entire pieoe is based on
desoending soale passages through whioh Handel aohieves
thematio unity.
His eoonomy in using materials to aohieve
effeots marks his oreative genius.
An initial statement
of the theme by the soprano in a desoending scale of even
eighth notes establishes the merry mood.
This scale is
immediately imitated by the unison upper strings and tinkling
glookenspiel which combine their treble registers and
oreate brightness of sound.
Each repetition of the first
theme occurs in oontrasting dynamios of loud (f) or soft (p)
intensity (example 24).
It is later played in a rhythm
twice as fast in sixteenth notes.
The felicitous spirit
is reinforoed through melodio repetition and rhythmio
acoeleration (example 25).
Gaiety is also expressed through rhythmic variety.
The soprano adopts a new danoing rhythm of a dotted
eighth note followed by a sixteenth note defining "And
the jocund rebecks sound" (1. 94; so. 67).
The violins
representing rebeoks) playa triplet figure which occurs
simultaneously with the dotted rhythm in the vocal melodio
line.
When the soprano sings "Dancing in the chequered
-68--:-~dante-aUegro
-
I
--
u:
~-::
U
~
j
r
f
P
k;) :h I J t the mer- ry bells ring round,
FV
....
1
-.f
I::::=:
~
,U
~~B
"p
P#
~. ~
-
rIM
,
)
-
::::;
Or let
Horch,1vie das Glolt-kell-spiel er - klillgt,
I
-------.--~-~~- ~---
i
--
Example 24.
(page 66, measures 1-)
--------
~~~tS------f:-
~~-EE IT r I (
f
----------
£f: t~ 1 r r
Example 25.
j
r
I rITE F l r
p
(page 67, measures 8-10)
r
~,
Ed
-
-69-
.
shade" (1. 96; sc. 68) the second note of the triplet played
by the violins is subdivided into sixteenth notes, and this
rhythm is constantly repeated in the upper strings.
When
these various rhythms are played and sung simultaneously the
melodies literally dance (example 26).
At times the soprano
sings a melisma on the word "dancing" and changes her
rhythmic: pattern joining the upper strings in a unison dotted
rhythm.
This varied rhythmical treatment implies several
different dance patterns.
Following the Air for soprano and instruments, the
chorus joins the revelry joyfully interpreting "And young
and old come forth to play/On a sunshine holiday/Till the
livelong daylight fail" (11. 97-99; sc. 70-73).
The full-
bodied c:horus adopts the themes and rhythms animating the
first selction and brings this "sunshine holiday" celebration
to a cli.max.
I t repeats the words "till the livelong
daylight fail" several times in a loud (forte) dynamic level
thereby establishing a feeling of excitement.
An impressive color is achieved when the chorus firmly
sings the first syllable "day" and makes a sudden dimuendo
to a soft "piano," which sound continues to decrease as the
chorus sings "daylight fail."
This musical effect enables
one to "feel" the approach of twilight.
After a short rest
Handel creates a moment of unsurpassed beauty.
-
He sets the
next phrase in slower moving quarter notes in a d minor
)
)
# ' ;;
,
,
I
I~~=-=======
.
r g)
~tt~·
FE
t=
hade",
~.
liEt'=:-#4~J!~.~
toma-ny a youth andma-ny a maid ~
Iblllltl
ri .
~~. ~
7lacl. ill, - rem Spiel tallzt i71_ der'iulld
JE~r"
r
-I,J
Example 26.
f"
r
-r
£
(page 68, measures 2)-25)
d an-clllglIl
""
t h cchcqu-cra
Hunclt ulldNaidim Sellat - lclt
-=c
r= r
I
-..J
o
I
_
-71tonality.
Commencing on a high A the melodic line gracefully
descends sung softly by the chorus in harmony illustrating
"Thus past the day, to bed they creep" (sc. 74).
The nobil-
ity of this melody captures memories of a wonderful holiday
(example 27a).
Thus past
the
day,
to
So geM del'
Tag,
sie weI' - dell
bed
they
creep,
miid,
@=Et=~-~i=-=f-~~:{~~:r~- -.:~--~= -l~==-~=
Thus past the
day,
So geM der
to
bed
they
Tag, sic
1L'er - lfell
Thus past the
day,
to
bed they
Sa gekt der
Tag,
sie 1ver - delt
creep,
711 ii 1/,
creep,
mud,
1~g(_r-=--d~F=#~
1\
Example 27a.
6
n
';;
6
6
~
6
(page 74, measures 51-53)
Soft voices "whlsp'ring" in the chorus joined by an undulating, legato slurred sixteenth note figure in the violins
perfectly emulates the sound of "whisp'ring winds"
-
(Example 27 b).
-72-
-t==---.
by
leis
whisp'ring winds soon lull'd to
singt tler'· .. Wirrii ein Schht7!l-1lIer -
Example 27b.
(page 74, measure 54)
Balance and unity in this movement is established
at the conclusion when Handel assigns a different descending melody to the words, "Thus past the day, to bed they
creep/By whispering winds soon lulled to sleep (11. 115116; sc. 77).
The chorus sings the descending scale pas-
sage in quarter notes delaying melodic progression through
repeated articulation of the same note.
Slower rhythm
combined with repeated notes creates a feeling of smoothness and peace which accompanies the relaxationpreceeding
sleep.
An appearance of a dissonant chord on each repeated
note resolving to a consonant pitch defines the alternating
-
tension and relaxation of approaching repose (example 28).
)
)
/'
p
•~
-==F
t-----r -~~~----~~= -~ ~ -~r===-f===-r==t=::~~-=F
-r==~~J
-~=t==+~ - ~ F
~-
Thus past
So gdtt
the
!leT
day, to
Tllg, sic
bed thq
mel' - delt
lcreep, by whisp'ring
IlIIiid, leis sillgt aeT
Ir&f=§--·· - •. ~j+-==:i:-;;0c=t~1:CCll~l~ ~~r=j
sleep.
lied.
Thus past
So geld
the
del'
IJi/g,
dav,
f!j---'-"==----to
bed they
IreI' - dell
- -
---.
creep, by whisp'ring
deT
711iitl, leis silwt
n
+
I
I
f
r=
winds soon lull'd to
Wind ein Sc!llzllll1l1er
L ________ •
---------~
I
-..J
to
der
soon lull'd
ein Schlu7!I
to
Ste
winds soon lull'd to
ilTilld eill Sch/u71171ler
sleep. Thus past
IJllg; sic
bed they
1/'lil'-
dell
the
day,
to
bed they
mer - lied. So geM del'
Til,.!!"
sie
lIJer - den
Icree p , by whisp'ring
!It lid, leis Sill.'rt deT
Iwinds soon lull'd to
Wind eilt Schlu7Il711er
creep, by whisp'ring
mud, leis singt der-
winds soon lull'd to
Wind eill Schlummer
~~~--~~~-=-=:==t~=t===J-=ktJg~~==t:~=rt¥==t=rr=F F
2
6
7
fl
:
P
II
5
Example 28.
:l
II
5
a
II
5
II
{)
a
(page 77, measures 61-65>
II
5
3
6
5
\.N
I
-74The cheerful tonality of the D Major key established
at the beginning of the Air characterizes the joyful daytime activities of the shepherds, and the related key of
d-minor which brings the movement to a close depicts the
weariness and rest experienced at the end of day leading
to slumber.
Milton believed the harmony of music could be emulated
thereby providing peace for man's restless soul.
For
this reason he loved music and apprehended its sounds in
the world around him.
In the hauntingly expressive Air,
"Hide me from Day's Garish eyea (1. 141; sc. 110-111) Handel
adopted the wisdom of George Herbert's observations in
Jordan II stating, "There is in love a sweetnesse readie
penned:
Copie out onely that and save expense (11. 17_18).46
The sublj.me beauty of this movement emerges because of the
Simplicity of musical form.
A sustained soprano solo in a slow (Largo) tempo
accompanied by strings on a soft dynamic level (pianissimo)
creates an atmosphere of peace.
"While the bee with honied
thigh/That at her flowery work doth sing/And the waters
murmuring" (II. 143-144; sc. 110) are the sounds of Nature
Milton describes which "Entice the dewy-feathered Sleep"
(I. 146).
These sounds are imitated by the upper string
46F• E. Hutchinson, ed., "Jordan (II)," ~ Works
G ori 8 Herbert (1941; rpt. Oxford: Clarendon Press,
1964 , p. 103.
~
r
-75instruments which constantly play slurred notes in stepwise
melodic progression upward and downward.
Thus a soothing
musical rhythm is produced reminiscent of a rocking cradle.
Handel translates "And let some strange mysterious dream/Wave
at his wings in airy stream/Of lively portraiture displayed\l
(11. 147-149; sc. 110-111) in slurred, repeated intervals
of fourths or fifths.
The notes are played alternately;
first the upper note of the interval and then the lower note.
Soon the melodic line is alternated, and the violins play
the lower note first and then the upper note.
Throughout
this harmonic progression the soprano sings a lovely solo
slowly ascending to a high A and descending in eighth notes
more rapidly on the word "eyelids."
This is all accomplished
very smoothly and delicately portrays a dream hovering on
II Penseroso's eyelids (example 29).
Music is omni-present in Milton's phrases, \lAnd as I
wake, sweet music breathe/Above, about, or underneath"
(11. 150-152; sc. 111).
Handel interprets the ideal harmony
surrounding II Penseroso in a unison theme expressed by the
violins and soprano supported by harmonizing string instruments.
A flowing triple meter of half notes followed by
quarter notes is synchronized with the iambic measure of the
poetry.
The vocalist's breathing is perfectly coordinated
with the bow changes in the string instruments.
-
This simul-
taneous rhythmic and harmonic balance of poetry and music
denotes the peace experienced by II Penseroso as he is
)
)
---)"
1
-~-----~--
~~-....,~, ~,
--
---
.f.' -f-' .f.'
.fL- t--_
-
----
,. -
... - - - - r - -
..-.
~
.--
.--
---
;-.
-,.
I
-~
.J~
I
1
,. •
=1==-=t-t=
t.J
!
live
rlluscltt
-
ly
por
nOll
san/
-
trai - ture
telt
Hal'
•
.
-
•
soft - ly
selt zdt's
7lIO - !liel/,
on
hold
-~
I
I
Example 29.
.
I
-"J
0-.
I
+.
:1
dis - play'd
-
.
.
e--._
•
- -F-"'+p.-:.......
--
I
,--:.~#
---+-
Ii
. -#.
-t--
-.J~
t.J
,.,
. _-
I
!1
~
r. r.;;2
t~H~-E ~ ---,J~
(page Ill, measures 37-44)
my
vor -
eye
jj,
-
-
lids laid.
ber zieltn.
I
-
-77encompassed by music.
Milt.on was profoundly religious and he believed man
could only acquire inner peace and harmony when his thoughts
were attuned to God's eternal truths, and that the study
and practice of these truths must be constant and motivated by love.
These concepts are sung by II Penseroso
in a Recitative, "But let my due feet never fail/To walk
the studtous cloister's pale" (11. 155-56; sc. 141).
Milton
selects the organ as the ideal instrument to express his
sublime thoughts.
Handel's skill as an organist enables him
to write for this instrument with sensitive understanding
and reveal the celestial music inherent in Milton's words.
John Dryden describes the "holy love" which the organ inspires
in "A Song for St. Cecilia's day:"
But Ot what art can teach,
What human VOice can reach
Thl9 sacred organ's praise?
Notes inspiring holy love,
Notes that wing their heav'nly ways
To mend the choirs above (11. 42-47).47
The organ and cello, used as a basso continuo instrument,
play sustained chords while the soprano soloist sings
Milton's words expressing his love of the religious atmos-
" roof/With
phere of a church, "And love the high embowed
-
47Bredvold, 1ha ~ ~ Dryden, p. 301.
-
-78antique pillars massy proof/And storied windows richly dight/
Casting a dim religious light" (11. 157-160; sc. 141).
The
effect is electrifying when Handel adds the chorus to the
organ i:n response to the thoughts "There let the pealing
organ blow/To the full-voiced quire below· (11. 161-162;
sc. 141).
Handel's mastery of the German style is evidenced
in this magnificent chorale.
A short interlude of organ
music enhances each sentence sung by the chorus.
Milton's II Penseroso expresses the idea that the most
intense light man can experience is the illumination of
knowledge perceived through religious contemplation.
These
thoughts are embodied in the phrases that refer to the
sound of the organ and choir which " • • • may with sweetness through mine ear/Dissolve me into ecstasies/And bring
all heav'n before mine eyes" (11. 164-166; sc. 142).
The
beautiful, harmonious voices of the choir Singing the chorale,
accompanied by the rich sonority of the organ, are effectively
contrasted by an unaccompanied solo in the soprano.
The
words "into ecstasies" are emphasized by a melodic leap of
an interval of a sixth, and climaxed by an even greater
melodic leap of an octave which defines "all heav'n before
mine eyes."
Through the exquisite treatment of the melodic
line Hand.el momentarily captures the divine revelation which
Milton e:nvisions (example 30).
Following the soprano solo a brief fugue on the organ is
)
)
.
14
I~~
r
---=t=
F;:.
~...: --
--. - =t.-=~---
--
::::-1
~.
~'-u-nt _-=-~_
!}'.~~=.; ··l...~~- _ <i-_~- ---.----:;:;;:;--E---:- ===------L
.---
-= .
~~l_!--n "i4_--=.f' -~
tjr~-:'p~-
1*
~
I~J-·+--~
ear
.Ih"llllg;
, .~:~-..:-
··ftii
v
~:f.---:---
D:*
r·· _V4~:::+~r=~::-a; -~ -- •
.~
r-~
dis-solvc lIlC
der mit };'lIt
in - to
ziik- kelt
.. _.. _----_._.
-I
cc sta sics,
gallz lIIiclt fiiUt
and bring all
1Ilid
al - Ie
~~
•
Hcav'n _ __
Him -
I
--:J
-~
be
mel
'"I
..,
fore
7IIir
mme
ertt -
eyes.
kiillt.
-----
F=-
--t -
---r
-~--:;--~~+
--
--
t---
f
~~Wl==-==~=~;=r~~-----~~!·n
'T - ' k r I"
Z~;-.
Example 30.
(page 142, measures 14-19)
..
•
-80improvisE~d.
point.
A fugue is the most advanced form of counter-
According to Winton Dean on the record jacket of
L'AlleirQ,
~!l
Penseroso, " • • • the fugue inserted here
incorporates Handel's own working of the subject, also in
the Fitzwilliam Museum."48
Handel's superb treatment of rhythm to denote emotions
is evidenced throughout this composition.
He employs slower,
steady tempos to express contemplation, nobility, and peace.
A lovely cello solo maintains a smooth rhythm in even eighth
notes throughout the Air, "And may at last my weary agel
Find out the peaceful hermitage" (11. 167-168. sc. 143-144).
A wise elderly person is serene, and the steadiness of the
rhythm reflects this mood.
The music depicts the flow of
an aged person's thoughts, uninterrupted by worldly cares,
which are tempered by
1I
0 ld
experience ll and lIattain • • •
something like prophetic strain, (11. 73-74).
The concluding words of Milton's II Penseroso, nThese
pleasures, Melancholy, give/And I with thee will choose
to live" (11. 175-176; sc. 144-152), are glorified. by Handel
in a magnificent double fugue for chorus and orchestra.
A double fugue is an imitative composition based on two
melodies or subjects.
Each of these two subjects appears
and reappears in different voices at different times, and
Handel uses them imaginatively in various combinations.
-
48Winton Dean, L'Al1egro Ed.!.! Penseroso, Record Jacket,
Philomusica of London, Conducted by David Willcocks.
-81-
.- .
The sense of variety he thus creates could be related to the
variety of pleasures experienced by II Penseroso (exa:nple 31).
Toward the end of the movement Handel fragments his theme into
smaller IIlotivic units which are passed from one voice to
another imitatively (example 32).
In the concluding five
measures the imitation ceases as the voices unite in rhythmic
unison creating a mood of grandeur and majesty.
All of the "delights" of LIAllegro are brilliantly
depicted in the Air and Chorus, "These delights if thou
canst gi'iTe/Mirth, with thee I mean to live" (11. 150-151,
sc. 123-140).
No listener can be immune to the contagious
joy created in this movement.
The brilliant sounds of the
trumpets, oboes, violins, and tenor voice express happiness.
A bright mood is established at once by a loud declamatory
quarter note on D announcing the key of D Major.
This note
is followed by a rest, and the solo trumpet then plays the
theme in staccato notes that will continue throughout the
movement.
The upper instruments imitate this theme which
is follo'wed by passages of rapid sixteenth notes giving an
effect of gaiety, animation, and warmth (example 33).
A
cheerful effect is achieved when the solo tenor sings a
melisma on the word "delights" in unison with the solo
trumpet.
The melodic line moves rapidly in repeated
sixteenth notes which alternate in stepwise progression
(example 34).
)
)
II
bt-i:;
Oboe J,II
12
----
--
--
.-
-
.
----
riolino I
Viotino II
~
---
~
t
--
-:;;t
..
"
f)
I) "
live.
nie.
.-
I
-
I
--
-
4.-
-
I
~
;.-
These
Solek'
plea
~t
-
-
Freu
q
ex>
-
N
I
~-
---
- -
-
sures,M~
-
.. ..
Tenore
-
den gib,
-_ -.----==--r
•
- an
Me
.t;~-
-
1Ii----
•
chol - y,
give, and
- Ian - cho - lie,
1""t!
-
-
..
we with thee
il' wolt'", v()n
JI)
-_._.
live,
and
11 !U/
rde,
we with thee will
wir ViOl! 'n ?l()n riir
---
Basso
.
--
--------.-~-
--
=-=tt=;Fr
6
Example 31.
will
dir
--
and we with thee will choose to
1lnd wirllJollii 1)()n dll'
las - set!
-
)
-----
f)
(Violoncello, Violone,
Fag-otto, Organa)
--
~
I
Soprano
Bassi
-.t-
•
---
1--&
-t
-
..
~
-
t-
-~
.. ....
-----+----
--9-~-J -
j\
--
-
--~
-rJ-
Viola
Alto
n
-
-1 - --
---
~ ,..
u
Soprano solo
-
I
~f)
(page 145, measures 12-15)
Ij
-
- ---~
j
jgj
Il
!o!
)
)
66~---- ~-.
)"
~-.,
~~-
.~..
•
lot
~"'~'
..-.-" --,._ .. _...... -- - - - - - - - - -
I..
-~'--
~--.-.---------.-----
..
~~~-.----
----.. <>---_.-
~
f
-
:-----~
(
.
..
.. ,......-......;.
I.
~
~
~
i
!
-
tJ
II
.
!
--_.
I
I
i
~~
.-.
&;
. .
.
-~
-
~-
~
~.
"
-
~
-
J
"t*-
tl
"
-
-
-
-
-
and we,
- sen nie,
-
-
and
und
with thee, with
u:oll'll las, sell
thee
lIie,
.
-~
tJ
and we with thee
und wir woll'n nie,
.
.
~
give,
i
we
11Jir
and we with
ufld 11Jir 2mltlt
.fL.
Ii
--
and we,
ulld wir,
J1~
r I c:J r
Example 32.
and we with
ulld wir u:oltn
"i
t
r ±~
.
~
I
and
und
wtll
choose to live,
von dir las - sen nie,
thee,
11 ie,
.. ..
lie,
I
00
\..oJ
with thte will ch60se
und wir noll'n vall
to
dir
-f---
~-
thee, with
nie, und
thee
wir
I E -L.
~
r
(page 151, measures 60-62)
will choose
u:oll'n von
!j
~
r
to
dir
~
:±
-
-.
-84,
~
i
~
~
i
,
~
I
I
.
i
II
..
•
I,
I
I
III
,II \~
r
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~
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•
II
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I
.
~.
•
" "
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I
t
t:
,
I
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7
.
,
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"
,
•
•,
~
~
,
~
~
I
I
.
•
I
1
I
.....,
.
I
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,
I
i
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I
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,
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rt""", I ., ~"
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;-_ .. r!=rl-oo ~J~
...,
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Example 34 (page 125, measures 19-22)
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I
-86The introduction of the chorus repeating Milton's
phrases and Handel's bright melodic subjects reinforces
the joyfu.l mood of LIAllegro.
The vocalists and other
instruments emulate the short, staccato sound of the
trumpets throughout the piece.
Following the choral
interludEl, a solo trumpet once again states the original
theme.
As the first trumpet trills brightly on a high A,
a second trumpet repeats the theme.
Soon all the instruments
enter maintaining the felicitous mood.
At this point Handel
introducE~s
the powerful, booming sound of the drum which
emphasizE~s
the already familiar staccato rhythm, and the
movement comes to an exuberant climax.
Mil-con, one of the greatest poets to sing of man's
experiences, realized that music and poetry are inseparable.
A thorough musicianship enabled him to express his
noble thoughts in phrases possessing lyrical beauty,
proportion, and rhythm.
Unfortunately Handel was born
after Milton's death, yet Milton apprehended the creation
of sympathetic music for his concepts which would together
penetrate the confusion and discord in manls spirit and
reveal an undiscovered inner peace.
Milton prophesied
the release of "the abler soul B through the union of music
and poetry when he wrote in L'Allegro:
And ever against eating cares
Lap me in soft Lydian airs,
-.
-87Ma.rried to immortal verse,
Such as the meeting soul may pierce
In notes with many a winding bout
Of linked sweetness long drawn out,
With wanton heed and giddy cunning,
Thl9 melting voice through mazes running,
Untwisting all the chains that tie
The hidden soul of harmony; (11. 135-44)
Handel, England's greatest musician, was the ideal
composer to interpret Milton's work.
He understood the
singer-poet, Milton, because of his similar musical
education, environment, and sensitivity to life.
Handel's
vast comprehension of music and genius enabled him to
precisely define the verbal imagery of Milton's thoughts
through imaginatively inspired musical pprases.
Such talent
brings to mind Shakespeare's instructions to actors:
"•
• • Suit the action to the word, the word to the action,
with this special observance, that you o'er step not the
modesty of nature.,,48
By substituting the term "musical
phrase" for the word "action," the famous advice is literally
followed by Handel for he suits the "musical phrase" to the
"word,n and the "word" to the "musical phrase."
This perfect
blending of music and poetry becomes "the abler soul" which
,-
48William Shakespeare, ~ Tragedy ~ Hamlet, Prince ~
Denmark, in The Works of Shakespeare, ed. John Dover Wilson,
2nd ed. (1936; rpt. Cambridge: University Press), p. 65.
-88inspires the listener to apprehend those rare moments of
truth
~l
beauty Handel and Milton perceived.
A sensitive description of the spiritual edification
experienoed by an observer to the union of two minds in
creative sympathy is expressed in John Donne's words:
He (though he knew not which soul spake,
Because both meant, both spake the same)
Mig;ht thence a new concoction take,
Anli part far purer than he came (11. 25_28).49
In
I~onclusion,
Milton's yearning to capture man's mind
and heart in poetic song came to fruition through Handel's
musical artistry.
The conception, L'Alleg-ro, II Penseroso,
created by the united talents of these masters transcends
time and immortalizes the universal experiences of men
throughout all ages of history.
-
49Bennett, ed., ItThe Ecstasy," 1lul Complete Poems
D.!. lWm Donne, p. 34.
A Selected Bibliography
Apel, Willi.
Haryard Dictionary
~
Music.
Harvard University Press, 1947.
Massachusetts:
Brooks, Cleanth and Hardy, John Edward.
Il Penseroso. u
in Analysis.
Dean, Winton.
~
Poems
L'Alleiro
~
~
~
"L'Allegro and
lQbn Milton:
Essays
Gardian Press, 1968, pp. 131-44.
New York:
11 Penseroso.
Philomusica of London.
Donne, John.
Cambridge,
Record Jacket.
Conducted by David Willcocks.
Complete Poems
~
i2bn Donne.
1946; rpt.
ed. Roger E. Bennett.
Chicago:
"The Ecstasy,"
Packard
and Company, 1942, pp. 34-36.
"Rococo and Enlightenment. a
Dorian, Frederick.
~
Music in Performance.
~
History
W. W. Norton, 1942,
New York:
pp. 138-139.
Dryden, John.
:!llA futa.t
~
Dryden.
Poesy,' ed. Louis I. Bredvold.
and Sons,
Espey, John J.
"An Essay of Dramatic
New York:
Thomas Nelson
1933, p. 432.
~
Composition.
Pound's Mauberley:
A Study.1n
Berkeley and Los Angeles:
University of
California Press, 1955, p. 119.
~
Graye's DictiOnary
ed. Eric Blom.
1966.
Music
5th Ed.
Musicians.
New York:
"Handel."
St. Martin's Press,
IV, pp. 39-41.
Grunfeld, Frederick V.
Great Music.
.-----
~
"The Baroque Era. II
New York:
Time Inc •
~
Story .Qf
-
-90Hadow, William Henry.
"Miltonls Knowledge of Music."
Memorial Lectures l2Qa.
ed. Percy W. Ames.
Milton
New York:
Haskell House, 1964, pp. 11-22.
L'Alle~ro,!l
Handel, George Friedrich.
Penseroso, II Moderato.
ed. James S. Hall, Martin V. Hall.
Ausgabe, ed.
Barenreiter:
~
XVI.
A Milton Handbook.
F. S. Crofts, 1947, pp. 148-153.
New York:
Herbert, George.
Sere I.
Kassel, 1965.
"The Minor Poems."
Hanford, James Holly.
4th ed.
Hallische Handel-
"Jordan (II),·
Works Q! George Herbert.
ed. F. E. Hutchinson.
1941; rpt.
Oxford:
Clarendon
Press, 1964, p. 103.
Johnson, Samuel, L.L.D., "Milton."
Poets.
Lives Q!
ed. George Bierbeck Hill.
Press, 1905.
Lang, Paul Henry.
~
Oxford:
EUilish
Clarendon
I, p. 166.
George Frideric Handel.
New York:
W. W.
Norton, 1966.
Machlis, Joseph.
~
"Medieval, Renaissance and Baroque Music."
Enjoyment Q! Music.
3rd ed.
New York:
W. W.
Norton, pp. 347-359.
Milton, John.
~
Complete Poetical Works Q!
"LIAllegro and II Penseroso."
~
Milton.
ed. Douglas Bush.
Boston:
Houghton Mifflin Company, 1965, pp. 88-96.
Myers, Robert Manson.
and Milton.
-
"Handel and Milton."
London:
Handel, Dryden,
Bowes and Bowes, 1956, pp. 45-80.
_
-91-
I
Shakespeare, William.
D~nmark.
rpt.
Spaeth, Sigmund.
~
Tra&edy
~
Hamlet, Prince Q!
The Works of Shakespeare.
London:
Michigan:
~
2nd ed. 1936;
Cambridge University Press, 1967, p. 65.
Milton's Knowledge Q! Music.
Ann Arbor,
University of Michigan Press, 1963.
Norton Anthology Qf English Literature.
W. W. Norton, 1968.
I, 995.
(New York: