{"id":1075,"date":"2016-03-13T21:42:59","date_gmt":"2016-03-13T20:42:59","guid":{"rendered":"http:\/\/www.elizabethanpartsongs.nl\/wordpress\/?page_id=1075"},"modified":"2017-10-21T09:47:05","modified_gmt":"2017-10-21T07:47:05","slug":"part-1-complete","status":"publish","type":"page","link":"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/contents-summaries\/three-elizabethan-partsongs\/part-1-complete\/","title":{"rendered":"Part 1"},"content":{"rendered":"<h2><strong>THE ART OF RALPH VAUGHAN WILLIAMS<\/strong><\/h2>\n<p><span class=\"Apple-style-span\"><em>A textcritical approach of the Elizabethan partsongs<\/em><\/span><\/p>\n<p><span style=\"color: #ffffff;\">&#8212;<\/span><\/p>\n<p><span style=\"color: #ffffff;\">&#8212;<\/span><\/p>\n<h2 style=\"text-align: left;\">PRELUDE<\/h2>\n<h4><em>A short introduction to this paper.<\/em><\/h4>\n<p style=\"text-align: justify;\">One of the most outstanding features of the human mind, is its strange incapability to accept &#8211; or even to recognize &#8211; the most obvious facts. That is to say: inconvenient facts.<\/p>\n<p style=\"text-align: justify;\">Such an ostrich-like attitude is in general no help to improve knowledge. But this seems not always to be a disadvantage. As demonstrated in the case of that ancient historian, who once upon a time had to judge the truth in certain court gossip about the ancestry of his sovereign. It was only a couple of generations before his own time that some sceptical courtiers had suggested a young nobleman as the more likely father for the newborn Heir Apparent than the elderly King, who was senior to his Queen by quite a lot of decades. In the end this historian was able to produce two undeniable facts to refute this rumour as completely unfounded.<\/p>\n<ul>\n<li style=\"text-align: justify;\">Fact One: the courtier in question was to the Queen a lifelong friend, from the<br \/>\nday of her arrival at court onward.<\/li>\n<li style=\"text-align: justify;\">Fact Two: the heir developed during childhood an everlasting hatred towards<br \/>\nthis same gentleman.<\/li>\n<\/ul>\n<p style=\"text-align: justify;\">And as the historian brilliantly pointed out: things would have been exactly the other way round if this gentleman indeed had saved the dynasty from extinction. A conclusion that reveals a mind both working with scientific logic, and blessed with a deep insight in human psychology. This was in that age a rare combination of virtues, and therefore it was a remarkable achievement to combine these two unconnected observations to a single piece of evidence on the heir\u2019s legitimacy. But once it was done, it appeared, as all sparks of genius, to be the summit of simplicity.<\/p>\n<p style=\"text-align: justify;\"><span class=\"Apple-style-span\">It learns the truth at first sight, just by taking facts at face value: To begin with; people cannot but love their natural parents. So, who would imagine an absolute monarch, his power and glory based solely on his descent, to be capable of hating the guts of the man supposed to have broken the chain of succession, if it had been true? And wouldn\u2019t it be downright ridiculous to expect a man and a woman to remain friends for life if they indeed ever had produced a child together?<\/span><\/p>\n<p style=\"text-align: justify;\">Even centuries after date it is hard to find some flaw in this line of reasoning. Explaining why nobody doubted the heir\u2019s legitimacy ever after. His descendands continued to rule their country without a worry in the world, and if their dynasty is not extinct or overthrown, they still do this very day.<\/p>\n<p style=\"text-align: justify;\">At least this historian had achieved that his findings could never be abused to cause a grave constitutional crisis.<\/p>\n<p style=\"text-align: justify;\">Time has long since turned this powder keg into a harmless anecdote, fitting perfectly to the central theme of this article. But never ask me to reveal who was who. What can be gained from blackening a great queen\u2019s reputation? As a rule, however, it is to a disastrous effect when experts submerge their heads in sand. Take for instance all those admiring comments on the short Elizabethan love song\u00a0<em>O Mistress Mine<\/em>. The author being William Shakespeare himself is apparently all it takes to leave a dramatic collapse of quality &#8211; in only twelve lines &#8211; unmentioned. There is in fact as little poetry in the final triplet as there is clothing on an emperor in a certain tale by Andersen.<\/p>\n<p style=\"text-align: justify;\">Yet, the title of OMM should be written in capitals. Its final chord might sound a little disappointing at first, but for those willing to accept this, there is a host of hidden extra\u2019s in this song. Turning it into a box where sweets compacted lie.<\/p>\n<p style=\"text-align: justify;\">The courage to bring Shakespeare down to one\u2019s own level, is of course only to be found in another genius. As a result I had my own first taste of these sweets on a September evening in 2001, when the conductor of a Dutch chamber choir handed out twelve pages with choral music by the English composer Ralph Vaughan Williams (1872-1958):<\/p>\n<p style=\"text-align: justify;\"><span style=\"color: #ffffff;\">&#8212;<\/span><\/p>\n<p style=\"text-align: justify;\"><span style=\"color: #ffffff;\">&#8212;<\/span><\/p>\n<p style=\"text-align: right;\">Due to a barrage of spam, the comment option had to be disabled.<\/p>\n<p style=\"text-align: right;\">Serious replies will be copied to this page from the link below<\/p>\n<p style=\"text-align: right;\"><a href=\"mailto:playfulartofpoetry-comments@ziggo.nl\">enter a comment<\/a><\/p>\n<p style=\"text-align: justify;\"><span style=\"color: #ffffff;\">&#8212;<\/span><\/p>\n<p style=\"text-align: justify;\"><span style=\"color: #ffffff;\">&#8212;<\/span><\/p>\n<p><strong>CONTENTS <\/strong><\/p>\n<p>Part One ;<em> or, An Impossible Combination<\/em><\/p>\n<ul>\n<li><a href=\"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/contents-summaries\/three-elizabethan-partsongs\/part-1-complete\/a-footnote-in-a-composers-life\/\" target=\"_blank\" rel=\"noopener\">a footnote in a composer&#8217;s life<\/a><\/li>\n<li><a href=\"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/contents-summaries\/three-elizabethan-partsongs\/part-1-complete\/complete-and-unabridged\/\" target=\"_blank\" rel=\"noopener\">complete and unabridged<\/a><\/li>\n<li><a href=\"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/contents-summaries\/three-elizabethan-partsongs\/part-1-complete\/in-reversed-style\/\" target=\"_blank\" rel=\"noopener\">in reversed style<\/a><\/li>\n<li><a href=\"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/contents-summaries\/three-elizabethan-partsongs\/part-1-complete\/some-dozen-or-sixteen-lines\/\" target=\"_blank\" rel=\"noopener\">some dozen or sixteen lines<\/a><\/li>\n<li><a href=\"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/contents-summaries\/three-elizabethan-partsongs\/part-1-complete\/untill-death-us-do-part\/\" target=\"_blank\" rel=\"noopener\">untill death us do part<\/a><\/li>\n<li><a href=\"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/contents-summaries\/three-elizabethan-partsongs\/part-1-complete\/take-the-word-of-one-who-lies\/\" target=\"_blank\" rel=\"noopener\">take the word of one who lies<\/a><\/li>\n<li><a href=\"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/contents-summaries\/three-elizabethan-partsongs\/part-1-complete\/postlude\/\" target=\"_blank\" rel=\"noopener\">postlude<\/a><\/li>\n<\/ul>\n<p><a href=\"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/contents-summaries\/three-elizabethan-partsongs\/part-2-complete\/\">Part Two<\/a> ; or, <em>Adults Only<\/em><\/p>\n<p><a href=\"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/contents-summaries\/three-elizabethan-partsongs\/part-3-complete\/\">Part Three<\/a> ; or, <em>Revolutionary Art<\/em><\/p>\n<p><span style=\"color: #ffffff;\">&#8212;<\/span><\/p>\n<p><span style=\"color: #ffffff;\">&#8212;<\/span><\/p>\n<p><strong><span class=\"Apple-style-span\">A FOOTNOTE IN A COMPOSER&#8217;S LIFE<\/span><\/strong><\/p>\n<p>In 1913 Ralph Vaughan Williams published a small collection of short but charming pieces for mixed choir as:<\/p>\n<p style=\"text-align: center;\"><em>&#8220;Three Elizabethan Part Songs&#8221;<\/em><\/p>\n<p style=\"text-align: justify;\">This music never attracted too much attention, which is well illustrated by the fact there is, as far as I know, only one CD-recording of it available. The little impact of these songs\u2019 release was not only because the Great War followed shortly after, they also seem to be nothing but a few unrelated pieces from the shelf, and very long stored pieces for that. The most recent composition, Sweet Day, is from 1896, the other two are dated 1891.<\/p>\n<blockquote>\n<h5 style=\"text-align: justify;\"><em><span style=\"color: #0000ff;\">The website of the\u00a0<a href=\"http:\/\/www.rvwsociety.com\/workschoral.html\" target=\"_blank\" rel=\"noopener\">RVW Society<\/a>\u00a0dates the partsongs 1899 (previously 1898). I therefore can\u2019t rely on the dates 1891 &amp; 1896 in my cd-booklet to originate from\u00a0 RVW himself. And without his co-operation my research is partly based on quicksand. Who can help me out?<\/span><\/em><\/h5>\n<\/blockquote>\n<p style=\"text-align: justify;\">In 1896 Vaughan Williams was (almost) 24 and yet the music in this three pieces points allready clearly towards the mature composer, a strong indication that at least two of them have been antedated. One of the purposes of this article is therefore to present all evidence that this collection of Elizabethan partsongs is in fact not so much Victorian as Edwardian. Redating this music however, is only a side-step. More important dates are hiding under its humble appearance. The songs might be modest in scale and number, and they might lack unity, yet the \u2018cycle\u2019 established by following three little songs deserves far better than to be regarded as a footnote in a composer\u2019s life:<\/p>\n<p style=\"text-align: center;\"><span class=\"Apple-style-span\">Sweet Day<br \/>\n\u2013 \u2013 \u2013 \u2013 \u2013 \u2013 \u2013 \u2013 \u2013 \u2013<br \/>\nThe Willow Song<br \/>\n\u2013 \u2013 \u2013 \u2013 \u2013 \u2013 \u2013 \u2013 \u2013 \u2013<br \/>\nO Mistress Mine<\/span><\/p>\n<p style=\"text-align: left;\"><span style=\"color: #ffffff;\">&#8212;<\/span><\/p>\n<p><b>C<\/b><b>OMPLETE<\/b><b>\u00a0<\/b><b>AND<\/b><b>\u00a0<\/b><b>UNABRIDGED<\/b><\/p>\n<p style=\"text-align: justify;\">Almost every single word in their scores needs a carefull look, if only to\u00a0recognize the remarkable fact that in some cases even the shape of their\u00a0letters is tale-telling. Such a look demands to reproduce at this spot the\u00a0complete wordsequence. Which, as it happens, occurs to be less easy than one\u00a0should expect; in spite of leaving out nothing but a few irrelevancies, this\u00a0transcription from the 1995 Galliard-edition is all but complete:<\/p>\n<div><\/div>\n<h4 style=\"text-align: center;\">THREE ELIZABETHAN PART SONGS<br \/>\nI<\/h4>\n<h4 style=\"text-align: center;\"><strong>Sweet Day<\/strong><\/h4>\n<p><span class=\"Apple-style-span\">George Herbert<span style=\"color: #ffffff;\">&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;-<\/span>Ralph Vaughan Williams<\/span><\/p>\n<p style=\"text-align: left; padding-left: 150px;\"><span class=\"Apple-style-span\"><em>Sweet day! so cool, so calm, so bright,<\/em><br \/>\n<em>The bridal of the earth and sky,<\/em><br \/>\n<em>The dew shall weep thy fall tonight;<\/em><br \/>\n<em><span style=\"color: #ffffff;\">&#8212;&#8212;-<\/span>For thou must die.<\/em><\/span><\/p>\n<p style=\"text-align: left; padding-left: 150px;\"><span class=\"Apple-style-span\"><em>Sweet spring! full of sweet days and roses,<\/em><br \/>\n<em>A box where sweets compacte<\/em><em>d lie,<\/em><br \/>\n<em>My music shows ye have your closes,<\/em><br \/>\n<em><span style=\"color: #ffffff;\">&#8212;&#8212;-<\/span>And all must die. \u00a0<\/em><\/span><\/p>\n<p style=\"text-align: left; padding-left: 150px;\"><span class=\"Apple-style-span\"><em>Only a sweet and virtuous soul,<br \/>\nLike\u00a0seasoned timber, never gives;<br \/>\nBut though the whole world turn to coal,<br \/>\n<span style=\"color: #ffffff;\">&#8212;&#8212;-<\/span>Then chiefly lives.<\/em><i>\u00a0<\/i><\/span><\/p>\n<p style=\"text-align: left;\"><span class=\"Apple-style-span\">Copyright 1913 by Stainer &amp; Bell Ltd.<\/span><\/p>\n<p style=\"text-align: left;\"><span style=\"color: #ffffff;\">&#8212;<\/span><\/p>\n<h4 style=\"text-align: center;\">THREE ELIZABETHAN PART SONGS<br \/>\nII<\/h4>\n<h4 style=\"text-align: center;\"><strong>The Willow Song<\/strong><\/h4>\n<p><span class=\"Apple-style-span\">Words from Shakespeare\u2019s \u201cOthello\u201d<span style=\"color: #ffffff;\">&#8212;&#8212;&#8212;&#8212;-<\/span>Music by Ralph Vaughan Williams<\/span><\/p>\n<p style=\"text-align: left; padding-left: 150px;\"><span class=\"Apple-style-span\"><em>The poor soul sat sighing by a sycamore tree,<\/em><br \/>\n<em><span style=\"color: #ffffff;\">&#8212;&#8212;-<\/span>Sing all a green willow;<\/em><br \/>\n<em>Her hand on her bosom, her head on her knee,<\/em><br \/>\n<em><span style=\"color: #ffffff;\">&#8212;&#8212;-<\/span>Sing, willow, willow, willow:<\/em><br \/>\n<em>The fresh streams ran by her, and murmur\u2019d her moans;<\/em><br \/>\n<em><span style=\"color: #ffffff;\">&#8212;&#8212;-<\/span>Sing, willow, willow, willow;<\/em><br \/>\n<em>Her salt tears fell from her, and soften\u2019d the stones;<\/em><br \/>\n<em><span style=\"color: #ffffff;\">&#8212;&#8212;-<\/span>Sing, willow, willow, willow:<\/em><br \/>\n<em>Sing all a green willow must be my garland.<\/em><\/span><\/p>\n<p style=\"text-align: left;\"><span class=\"Apple-style-span\">Copyright 1913 by Joseph Williams Limited.<\/span><\/p>\n<p style=\"text-align: left;\"><span class=\"Apple-style-span\" style=\"color: #ffffff;\">&#8212;<\/span><\/p>\n<h4 style=\"text-align: center;\">THREE ELIZABETHAN PART SONGS<br \/>\nIII<\/h4>\n<h4 style=\"text-align: center;\"><strong>O MISTRESS MINE<\/strong><\/h4>\n<p style=\"text-align: center;\"><span class=\"Apple-style-span\">William Shakespeare<span style=\"color: #ffffff;\">&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;<\/span>Ralph Vaughan Williams<\/span><\/p>\n<p style=\"text-align: left; padding-left: 150px;\"><span class=\"Apple-style-span\"><em>O mistress mine! where are you roaming?<\/em><br \/>\n<em>O! stay and hear; your true love\u2019s coming,<\/em><br \/>\n<em><span style=\"color: #ffffff;\">&#8212;&#8211;<\/span>That can sing both high and low.<\/em><br \/>\n<em>Trip no further, pretty sweeting;<\/em><br \/>\n<em>Journeys end in lovers meeting,<\/em><br \/>\n<em><span style=\"color: #ffffff;\">&#8212;&#8211;<\/span>Every wise man\u2019s son doth know.<\/em><\/span><\/p>\n<p style=\"padding-left: 150px;\"><span class=\"Apple-style-span\"><em>What is love? \u2018t is not hereafter;<\/em><br \/>\n<em>Present mirth hath present laughter;<\/em><br \/>\n<em><span style=\"color: #ffffff;\">&#8212;&#8211;<\/span>What\u2019s to come is still unsure:<\/em><br \/>\n<em>In delay there lies no plenty;<\/em><br \/>\n<em>Then come kiss me, sweet-and-twenty,<\/em><br \/>\n<em><span style=\"color: #ffffff;\">&#8212;&#8211;<\/span>Youth\u2019s a stuff will not endure.<\/em><\/span><\/p>\n<p><span class=\"Apple-style-span\">Copyright 1913 Ralph Vaughan Williams assigned to Stainer &amp; Bell Ltd.<\/span><\/p>\n<p><span style=\"color: #ffffff;\">&#8212;<\/span><\/p>\n<p><b><\/b><span style=\"color: #ffffff;\">&#8212;<\/span><\/p>\n<p><strong>IN REVERSED STYLE<\/strong><\/p>\n<p style=\"text-align: justify;\">Being of very different moods these texts are apparently an haphazard grasp from the highlights of English Literature. This makes them of course not very suitable to combine in a cycle, and the composer avoids in a very peculiar way to do so: the mid-section is published by a different company than the cornerparts. This outer pair sharing their publisher must of course not implicate any relation whatsoever, hence these parts differ not only in textwriter, but in copyright as well.<\/p>\n<p style=\"text-align: justify;\">Such a strange reversal of the usual habits from authors, who normally place their different titles at the same publisher, and have no reason at all to tamper with their copyrights, strongly denies what a common title should stand for: unity. But the particular one heading all title pages is merely invented for the very purpose of a combined release. So Vaughan Williams now contradicts himself, or formulated by the letter: \u2018the smallprint underneath each song reveals an extremely difficult way of doing things, achieving nothing in the process but a contradiction of what is written in capitals above.\u2019 And if these minor additions to the original words are telling such a funny story, what will a close examination of the poems themselves reveal?<\/p>\n<p style=\"text-align: justify;\">The prelude is written by George Herbert (1593-1633), and this fact is a first hint that the dating of this song might be unreliable: there is little reason to regard \u2018Elizabethan\u2019 as a proper time-indication to a text whose author was still looking forward to his tenth birthday when the immortal queen died. Apart from this, there is nothing strange about its appearance in a cycle of songs, for\u00a0<em>Sweet Day<\/em>\u00a0says halfway down:<\/p>\n<p style=\"text-align: center;\"><em>My music shows ye have your closes<\/em><\/p>\n<p style=\"text-align: justify;\">Yet, this line raises questions: according to the context it is evidently about our limited days (George Herbert was a clergyman). But the choise of words suggests some deeper ground; as to be expected from good poetry. And whatever it is, what lies under the obvious interpretation as:<\/p>\n<p style=\"text-align: center;\">\u2018My song foretells your ends\u2019<\/p>\n<p style=\"text-align: justify;\">must be something important, because the line does everything to attract attention. And not for its grammar only; I was never able to sing this at rehearsals without wondering why on earth it speaks of \u2018my music\u2019. It seems so fitting to a partsong, but Herbert never was a songwriter; all his religious poetry was first published after his death, and was in consequence during his lifetime unknown to any composer. Therefore this line deals with music that does not exist at all (when it finally dawned on me that poetry equals \u2018spoken music\u2019, this literal interpretation had already proved its value). It had to wait centuries before RVW did something about it. And even then not in full extend, for the second quatrain of the poem, originally published as\u00a0<em>Virtue<\/em>, is missing.<\/p>\n<p style=\"text-align: justify;\">Reducing\u00a0<em>Virtue<\/em>\u00a0to a part song Vaughan Williams focuses his music on words that in their turn place (the word) music central. This is an extremely difficult way to contradict oneself, because the reversion only works when it is obvious that the music\u2018s sole task is to carry its words. Therefore it is no surprise to find in the partsongs a textexpression as precise as in the standard setting music of Bach. The most obvious example of this imitative style, is the music to die slowly away on \u2018die\u2019, but it is also applied on the more obscure details. And even on the totally invisible one:\u00a0<em>Virtue<\/em>\u2019s textreduction from 16 to 12 lines is reflected in the choise of measure. Choises actually: in the end\u00a0<em>Sweet Day<\/em>\u00a0is still telling a complete story, and so the 3\/4 beat is in the two final bars replaced by a 4\/4.<\/p>\n<p style=\"text-align: justify;\">A few paragraphs ago a reversion contradicted the unity heading each song in capitals, and now a reversion contradicts the text-expression that is written in capitals in every detail of the music. It makes one wonder. Especially as the second song also deals with the theme of approaching death. Leaving only the last piece, a lightfooted love song, on itself. In short ; RVW does\u00a0everything within his power to keep his songs apart. But because he contradicts himself by all possible means, nothing can\u2019t prevent the first two from\u00a0flocking together :<\/p>\n<p style=\"text-align: center;\"><span class=\"Apple-style-span\">Sweet Day<br \/>\nThe Willow Song<br \/>\n\u2013 \u2013 \u2013 \u2013 \u2013 \u2013 \u2013 \u2013 \u2013 \u2013<br \/>\nO Mistress Mine<\/span><\/p>\n<p style=\"text-align: left;\"><span style=\"color: #ffffff;\">&#8212;<\/span><\/p>\n<p style=\"text-align: left;\"><strong>SOME DOZEN OR SIXTEEN LINES<\/strong><\/p>\n<p style=\"text-align: justify;\">Death is not the only connection between the rev. Herbert\u2019s short(ened) sermon and one of the most famous tearjerkers in world literature. For\u00a0<em>The Song of Willow<\/em>\u00a0as it is immortalized by William Shakespeare suffered the loss of a few lines as well. The score\u2019s source-indication emphasises strongly its origin as a folk song, in which quality it is still in existence; there is (or was) almost certainly a manuscript in RVW\u2019s own hand in the composer\u2019s private collection of traditional music. Still, this shortened and even incomplete version must be far better stuff than the original, for Vaughan Williams, chooses to use the<\/p>\n<p style=\"text-align: center;\">words from Shakespeare\u2019s \u2018Othello\u2019<\/p>\n<p style=\"text-align: justify;\">and reverses the ones Shakespeare used for a title. Again the score is in three-quarters and this time the words are cut down to size even twice. The song in which Desdemona unwittingly foretells her untimely end, peters out in confusion as she doesn\u2019t remember it very well. This leaves Vaughan Williams little choise but to ignore the final four of Shakespeare\u2019s 13 lines. Meanwhile Desdemona\u2019s faulty memory in this rather long play is to be regarded as a blessing in disguise to both audience and pocket calculator; where the original version demands to sing 54 lines, the 1623 edition (the first complete works-edition, based on the lost original manuscripts) manages to have it printed in sixteen, some inserted dialogue included. This dialogue turns every single word in these sixteen lines into an integrated part of\u00a0<em>\u2018Othello\u2019s<\/em>\u00a0story, which is very much contrary to the original song; which is refrain almost throughout. And leaves it to a modest twelve lines to cover the story it is telling. Because of this increase of the story lines to sixteen, one might say that in reducing\u00a0<em>Virtue<\/em>Vaughan Williams exactly reverses the way Shakespeare deals with the\u00a0<em>Song of Willow<\/em>. Pointing at the weeping willow\u2019s roots as\u00a0<em>\u2018words from Othello\u2019<\/em>\u00a0also brings the words to attention RVW omitted. These final lines reveal why the poor soul is flowing fresh tears by the stream. And as causes are always preceding results, we are facing a reversion once again; of chronology this time. The cause, by the way, is love. So a common main subject now unites both Shakespeare-texts against Herbert\u2019s view on mortality.<\/p>\n<p style=\"text-align: justify;\">In short ;\u00a0Sweet Day and The Willow Song share the theme of approaching death, and\u00a0a reduction by four lines. They also have both their share of reversions, and\u00a0reducing Virtue from 16 to 12 lines RVW reverses Shakespeare\u2019s expansion\u00a0of The song of Willow by four story-lines. But the songs differ by subject, and\u00a0this unites\u00a0<i>The Willow Song<\/i>\u00a0with\u00a0<i>O Mistress Mine\u00a0<\/i>:<\/p>\n<p style=\"text-align: center;\"><span class=\"Apple-style-span\">Sweet Day<br \/>\n\u2013 \u2013 \u2013 \u2013 \u2013 \u2013 \u2013 \u2013 \u2013 \u2013<br \/>\nThe Willow Song<br \/>\nO Mistress Mine<\/span><\/p>\n<p style=\"text-align: left;\"><span style=\"color: #ffffff;\">&#8212;<\/span><\/p>\n<p><strong><span class=\"Apple-style-span\" style=\"color: #000000; font-size: 14px; line-height: 21px;\">UNTILL DEATH US DO PART<\/span><\/strong><\/p>\n<p style=\"text-align: justify;\">The postlude is measured like its two predecessors, but this time the number of lines offers no visible reason for it; with twelve\u00a0<em>O Mistress Mine<\/em>\u00a0is in itself complete. The only thing missing in the score is a proper source-indication. If this is a hint, it is an enigmatic one, for \u2018William Shakespeare\u2019 is simply insufficient to find out that this text is absolutely not in itself; it is in the play \u2018<em>Twelfth-Night, or; what you will\u2019<\/em>. And this mere fact is enough to alter the numbers:<\/p>\n<p style=\"text-align: justify;\">By good fortune the song\u2019s original theatre music has survived. Interestingly, its most striking feature is the way it spoils things. There is only one explanation why Shakespeare should have allowed his composer Thomas Morley (1557-1603), to ruin the poems\u2019 superb structure by repeating four of its lines: it informed the audience the play features sixteen of them.<\/p>\n<blockquote>\n<h5 style=\"text-align: justify;\"><em><span style=\"color: #0000ff;\">There is no hard evidence to link Morley\u2019s music to the play\u2019s first performance, but it is a plausible option. <\/span><\/em><\/h5>\n<h5 style=\"text-align: justify;\"><em><span style=\"color: #0000ff;\">The original source for both Shakespeare and Morley is a now lost song that was popular enough to deserve it a four part instrumental setting in Morley&#8217;s 1599\u00a0<\/span><\/em><span style=\"color: #0000ff;\">First Book of Consort Lessons<\/span><em><span style=\"color: #0000ff;\">.\u00a0<\/span><\/em><em><span style=\"color: #0000ff;\">Being the sole source of the melody, this setting of a song of sixteen lost lines is adapted to fit Shakespeare&#8217;s text from ca. 1600, whenever it is to be sung on its original tune<\/span><\/em><em><span style=\"color: #0000ff;\">. <\/span><\/em><br \/>\n<em><span style=\"color: #0000ff;\"><span style=\"color: #ffffff;\">&#8212;<\/span>This approach invariably results in a song with the modest instrumental accompaniment that is within the range of the small band of musicians that could be expected on a commercial theatre company \u2019s payroll. While the singer has apart from the period\u2019s usual independency of his line no great technical challenges to face. Which is consistent with a performance by an actor with good singing qualities like Robert Armin: the song\u2019s original performer. <\/span><\/em><br \/>\n<em><span style=\"color: #0000ff;\"><span style=\"color: #ffffff;\">&#8212;<\/span>Against Morley as <\/span><\/em><span style=\"color: #0000ff;\">Twelfth-Night\u2019s<\/span><em><span style=\"color: #0000ff;\"> composer speaks the almost complete loss of the play\u2019s other music; only its final song\u00a0<\/span><\/em><span style=\"color: #0000ff;\">&#8220;The Winde and The Raine&#8221;<\/span><em><span style=\"color: #0000ff;\">\u00a0has come to us in a contemporary setting. An anonymous one, and OMM was its only song to make it into Morley&#8217;s consort book. Especially the omission of\u00a0<\/span><\/em><span style=\"color: #0000ff;\">&#8220;Come away, death&#8221;<\/span><em><span style=\"color: #0000ff;\">\u00a0is disappointing. Perhaps this text was written as late as 1600, but if Morley had been Shakespeare\u2019s composer, the song should be expected to have entered the book\u2019s second edition (1616), because its poetry is of the same exceptional class as OMM.\u00a0<\/span><\/em><\/h5>\n<\/blockquote>\n<p style=\"text-align: justify;\">The new music on OMM is written without a single repeated line, a shortcoming well suited to explain yet another choise for a 3\/4-measure. As mentioned; Vaughan Williams follows the text in every detail: on the word \u2018trip\u2019 the song even turns into a dance, and the forwarded begin of the melody in the top voice on \u2018yourneys\u2019 paints the loneliness before the lovers find each other. Details making his peculiar way to deal with the first line to seem even more inapt:<\/p>\n<p style=\"text-align: center;\"><em>O mistress mine! where are you roaming?<\/em><\/p>\n<p style=\"text-align: justify;\">This line is written on a very popular theme in love-poetry: the unattainable lady (here quite literally a lady keeping her distance). Therefore, as all singers know, it should be accentuated like this:<\/p>\n<p style=\"text-align: center;\">O\u00a0<strong>mis<\/strong>tress mine,\u00a0<strong>where<\/strong>\u00a0are you\u00a0<strong>roa<\/strong>ming?<\/p>\n<p style=\"text-align: justify;\">And if the only traced CD-recording is a representative test sample, they act accordingly. Not because the composer encourages them however. Unlike Morley\u2019s setting, his score completely fails to support these natural accents: the mistress, the song\u2019s principal subject, is carefully stowed away in an upbeat, and \u2018where\u2019 sounds on the second crotchet of a 3\/4-bar. There are very few positions less suitable to stress these words musically. But judged by the precision in which the other 32 lines of the partsongs are handled, a moment of distraction is as likely as a white Christmas in hell. Hence; Vaughan Williams is telling us not even to try. And if this instruction should need any explanation; the second triplet produces an excellent one:<\/p>\n<p style=\"padding-left: 150px;\"><em>Trip no further, pretty sweeting,<\/em><br \/>\n<em>Journeys end in lovers meeting,<\/em><br \/>\n<em><span class=\"Apple-style-span\"><span style=\"color: #ffffff;\">&#8212;&#8211;<\/span><\/span>Every wise man\u2019s son doth know.\u00a0<\/em><\/p>\n<p style=\"text-align: justify;\">The singer, who happens to be the play\u2019s clown (throughout the dialogue consistently pronounced as \u2018fool\u2019), has got only twelve different lines to express his love. But he not only dedicates one to provide her with information everybody knows, he subsequently informs her in yet another line about that particular fact as well: just to bring the message home to her. Because the limited size of the poem does not allow to waste a single word, logic says this mistress must really be in need of the information. Which implicates she must still be unaware of the fact that the search for a lover is finished at the very moment the spark jumps over.<\/p>\n<p style=\"text-align: justify;\">To the fool\u2019s misfortune there is only one way to find out on her ignorance, turning his song into a great fooling of the audience. It now appears the true love is not troubled because she is hard to win, but because it is far too easy! \u00a0And the singer does not ask her where she is, but what she is d\u00f3ing there. A reproach sounding like this:<\/p>\n<p style=\"text-align: center;\">o mistress\u00a0<strong>MINE<\/strong>! where are you\u00a0<strong>ROA<\/strong>ming?<\/p>\n<p style=\"text-align: justify;\">Turning a three part metrical foot into a four part one, these stresses happen to correspond exactly with this partsong\u2019s musical accents. By which means RVW establishes all unity needed to make these songs a real cycle: In TWS (no. 2) the poor soul repents her lack of virtue apparently shortly after it is reduced (no. 1). Her four lines on the resulting marital problems are not omitted, but replaced by the words of her true love. (no. 3).<\/p>\n<p style=\"text-align: justify;\">In short ;\u00a0RVW doesn\u2019t reduce O Mistress Mine by four lines, but he omits in his music\u00a0the four line repetitions from the song\u2019s original theatre music by Thomas\u00a0Morley. The textexpression is very accurate, but in the opening line in disagreement with the obvious interpretation. This forces a three part meter into a\u00a0four part one, and reverses the theme of the unattainable lady. In the\u00a0process uniting the cycle in a coherent story :<\/p>\n<p style=\"text-align: center;\"><span class=\"Apple-style-span\">Sweet Day<br \/>\nThe Willow Song<br \/>\nO Mistress Mine<\/span><\/p>\n<p style=\"text-align: left;\"><span style=\"color: #ffffff;\">&#8212;<\/span><\/p>\n<p><strong>TAKE THE WORD OF ONE WHO LIES<\/strong><\/p>\n<p>Amazing, isn\u2019t it? three stand-alone poems that are interlocking like the pieces of a jig-saw puzzle. But was this achieved according some plan or just by blind chance? If such a complicated interaction requires planning in advance, the unavoidable conclusion must be that the most recent one:<\/p>\n<p style=\"text-align: center;\">Virtue is especially designed for the purpose.<\/p>\n<p style=\"text-align: justify;\">This in turn would implicate that Vaughan Williams was the first to assemble from different times, sources and authors, an existing cycle of poetry. Doing so according a never revealed but rather complicated procedure dating from over two-and-a-half centuries before he was born.<\/p>\n<p style=\"text-align: justify;\">It seems a ridiculous thought, but on this level of interaction a co-incidence seems no better option. So, without giving the matter a further thought,\u00a0 this article was originally based on the presupposition that Vaughan Williams did some excellent research. A lack of judgement causing me a very unpleasant moment when, long after I had completed my analysis, I had the misfortune to attend a life performance of some of Copland\u2019s\u00a0<em>\u2018Old American Songs\u2019<\/em>.<\/p>\n<p style=\"text-align: justify;\">While listening, I realised to my horror the selected five songs from Copland&#8217;s ten independent traditionals are placed in the only possible order that makes them almost as close knit as the three partsongs. In respect of unity the somewhat lower level of interaction is roughly compensated by the almost double number of lucky winners. Resulting in a serious threath to the very foundation of my reasoning; the certainty of\u00a0<em>Virtue<\/em>\u00a0to be reduced in precise accordance to its author\u2019s intentions.<\/p>\n<p style=\"text-align: justify;\">To provide the sequel of this article with a sound base, the slightest whiff of a co-incidence has to be ruled out. Which brings us in the end back to my first introduction of these partsongs. Stranger things might have happened than Herbert unwittingly enabling\u00a0<em>Virtue<\/em>\u00a0to be reduced in a distant future, creating in the process this perfect combination with two independent poems, written two decades earlier and years apart. But such a chance to occur twice is all it needs to make pigs fly:<\/p>\n<blockquote>\n<p style=\"text-align: justify;\"><em>Most sources agree on the three partsongs as to be composed independently from each other, two decades before they were first combined. Yet the texts were placed on music in their original chronology, with a five years interval between both Shakespeare settings and the Herbert.\u00a0<\/em><\/p>\n<\/blockquote>\n<p style=\"text-align: justify;\">Five years is half (1\/2) a decade; the reversal of two (2\/1) decades. Because the closing part of this article will show the musical composition to copy this rather unique regrouping from three stand-alone songtexts to an unity &#8211; via a couple preceding a single, followed by a single preceding a couple &#8211; one should better not dice for money against Ralph Vaughan Williams. But we can at least rely on what he has written in capitals over three songtitles. In reversed order that is:<\/p>\n<p style=\"text-align: center;\"><strong>ELIZABETHAN SONG<\/strong>\u00a0(in)\u00a0<strong>THREE PARTS<\/strong><\/p>\n<p style=\"text-align: left;\"><span style=\"color: #ffffff;\">&#8212;<\/span><\/p>\n<p style=\"text-align: right;\">Due to a barrage of spam, the comment option had to be disabled.<\/p>\n<p style=\"text-align: right;\">Serious replies will be copied to this page from the link below<\/p>\n<p style=\"text-align: right;\"><a href=\"mailto:playfulartofpoetry-comments@ziggo.nl\">enter a comment<\/a><\/p>\n<p style=\"text-align: left;\"><span style=\"color: #ffffff;\">&#8212;<\/span><\/p>\n<p style=\"text-align: left;\"><span style=\"color: #ffffff;\">&#8212;<\/span><\/p>\n<p style=\"text-align: left;\"><strong>POSTLUDE<\/strong><\/p>\n<p style=\"text-align: left;\"><em>a challenge to the reader<\/em><\/p>\n<p style=\"text-align: justify;\">Turning this music into an \u2018Elizabethan Song in Three Parts\u2019 is only a dull but necessary procedure to prepare the ground for the second part of this triplet which is headed: \u2018Adults Only\u2019. Before moving on to\u00a0<em>\u201cThe Art of Ralph Vaughan Williams-Part 2\u201d<\/em>, all puzzle-enthousiasts amongst my audience are invited to explain its title from the structure of\u00a0<em>O Mistress Mine<\/em>. Please keep in mind that \u2018structure\u2019 is about the poem\u2019s construction; so study its design rather than its text. Which contains several matching words anyway. There is no reward but the challenge of testing your analytic powers on the visual crack in the most tricky crossword from four centuries.<\/p>\n<p style=\"text-align: justify;\">As a preparation, less difficult alternative, or maybe just as a hint, I recommend you to find out what exactly unites the seemingly haphazard selection from Copland\u2019s ten\u00a0<em>\u2018Old American Songs\u2019<\/em>. You are welcome to post your solution to this problem, but why should you bother? There is no reward.<\/p>\n<p><span style=\"color: #ffffff;\">&#8212;<\/span><\/p>\n<p style=\"text-align: center;\">FIVE OLD AMERICAN SONGS; a cycle taken from Aaron Copland<\/p>\n<p style=\"text-align: justify;\"><span style=\"color: #ffffff;\">&#8212;<\/span><\/p>\n<p style=\"padding-left: 150px; text-align: left;\"><span class=\"Apple-style-span\"><strong><span style=\"color: #ffffff;\">. . . . . . . .<\/span>\u00a0I<br \/>\nThe Boatmen\u2019s dance<\/strong><br \/>\n<em>Minstrel Song \u2013 1848<\/em><\/span><\/p>\n<p style=\"padding-left: 150px;\"><span class=\"Apple-style-span\">High row the boatmen row,<br \/>\nFloatin\u2019 down the river the Ohio.<\/span><\/p>\n<p style=\"padding-left: 150px;\"><span class=\"Apple-style-span\">The boatmen dance, the boatmen sing,<br \/>\nThe boatmen up to everything.<br \/>\nAnd when the boatmen gets on shore,<br \/>\nHe spends his cash and works for more.<br \/>\nThen dance the boatmen dance,<br \/>\nO dance all night \u2018til broad daylight<br \/>\nAnd go home with the gals in the mornin\u2019.<\/span><\/p>\n<p style=\"padding-left: 150px;\"><span class=\"Apple-style-span\">High row the boatmen row,<br \/>\nFloatin\u2019 down the river the Ohio.<\/span><\/p>\n<p style=\"padding-left: 150px;\"><span class=\"Apple-style-span\">I went on board the other day<br \/>\nTo see what the boatmen had to say.<br \/>\nThen I let my passion loose,<br \/>\nAnd they cram me in the callaboose.<br \/>\nO dance the boatmen dance,<br \/>\nO dance all night \u2018til broad daylight<br \/>\nAnd go home with the gals in the mornin\u2019.<\/span><\/p>\n<p style=\"padding-left: 150px;\"><span class=\"Apple-style-span\">High row the boatmen row,<br \/>\nFloatin\u2019 down the river the Ohio.<\/span><\/p>\n<p style=\"padding-left: 150px;\"><span class=\"Apple-style-span\">The boatman is a thrifty man,<br \/>\nThere\u2019s none can do as the boatman can.<br \/>\nI never see a pretty gal in my life,<br \/>\nBut that she was a boatman\u2019s wife.<br \/>\nO dance the boatmen dance,<br \/>\nO dance all night \u2018til broad daylight<br \/>\nAnd go home with the gals in the mornin\u2019.<\/span><\/p>\n<p style=\"padding-left: 150px;\"><span class=\"Apple-style-span\">High row the boatmen row,<br \/>\nFloatin\u2019 down the river the Ohio.<\/span><\/p>\n<p style=\"padding-left: 150px;\"><span style=\"color: #ffffff;\">&#8212;<\/span><\/p>\n<p style=\"padding-left: 150px;\"><span class=\"Apple-style-span\"><strong><span style=\"color: #ffffff;\">. . . . . . . .<\/span>\u00a0II<\/strong><br \/>\n<strong>The little horses<\/strong><br \/>\n<em>lullaby<\/em><\/span><\/p>\n<p style=\"padding-left: 150px;\"><span class=\"Apple-style-span\">Hush you bye, don\u2019t you cry,<br \/>\nGo to sleepy little baby.<br \/>\nWhen you wake, you shall have<br \/>\nAll the pretty little horses.<\/span><\/p>\n<p style=\"padding-left: 150px;\"><span class=\"Apple-style-span\">Blacks and bays, dapples and grays,<br \/>\nCoach and sixa little horses.\u2013<\/span><\/p>\n<p style=\"padding-left: 150px;\"><span class=\"Apple-style-span\">Hush you bye, don\u2019t you cry,<br \/>\nGo to sleepy little baby.<br \/>\nWhen you wake, you\u2019ll have sweet cake<br \/>\nAnd all the pretty little horses.<\/span><\/p>\n<p style=\"padding-left: 150px;\"><span class=\"Apple-style-span\">A brown and a gray and a black and a bay<br \/>\nCoach and sixa little horses.<\/span><\/p>\n<p style=\"padding-left: 150px;\"><span class=\"Apple-style-span\">Hush you bye, don\u2019t you cry,<br \/>\nOh you pretty little baby.<br \/>\nGo to sleepy little baby,<br \/>\nOh you pretty little baby.<\/span><\/p>\n<p style=\"padding-left: 150px;\"><span style=\"color: #ffffff;\">&#8212;<\/span><\/p>\n<p style=\"padding-left: 150px;\"><span class=\"Apple-style-span\"><strong><span style=\"color: #ffffff;\">. . . . . . . .<\/span>\u00a0III<\/strong><br \/>\n<strong>Zion\u2019s walls<\/strong><br \/>\n<em>revivalist song<\/em><\/span><\/p>\n<p style=\"padding-left: 150px;\"><span class=\"Apple-style-span\">Come fathers and mothers,<br \/>\nCome sisters and brothers, come.<br \/>\nJoin us in singing the praises of Zion.<\/span><\/p>\n<p style=\"padding-left: 150px;\"><span class=\"Apple-style-span\">O fathers don\u2019t you feel determined<br \/>\nTo meet within the walls of Zion,<br \/>\nWe\u2019ll shout and go round the walls of Zion.<\/span><\/p>\n<p style=\"padding-left: 150px;\"><span style=\"color: #ffffff;\">&#8212;<\/span><\/p>\n<p style=\"padding-left: 150px;\"><span class=\"Apple-style-span\"><strong><span style=\"color: #ffffff;\">. . . . . . . .<\/span>\u00a0IV<\/strong><br \/>\n<strong>At the river<\/strong><br \/>\n<em>Hymn tune<\/em><\/span><\/p>\n<p style=\"padding-left: 150px;\"><span class=\"Apple-style-span\">Shall we gather by the river,<br \/>\nWhere bright angelfeet have trod,<br \/>\nWith its crystal tide forever<br \/>\nFlowing by the throne of God.<\/span><\/p>\n<p style=\"padding-left: 150px;\"><span class=\"Apple-style-span\">Yes we\u2019ll gather by the river,<br \/>\nThe beautifull, the beautifull river.<br \/>\nGather with the saints by the river<br \/>\nThat flows by the throne of God.<\/span><\/p>\n<p style=\"padding-left: 150px;\"><span class=\"Apple-style-span\">Soon we\u2019ll reach the shining river,<br \/>\nSoon our pilgrimage will cease.<br \/>\nSoon our happy harts will quiver<br \/>\nWith the melody of peace.<\/span><\/p>\n<p style=\"padding-left: 150px;\"><span class=\"Apple-style-span\">Yes we\u2019ll gather by the river,<br \/>\nThe beautifull, the beautifull river.<br \/>\nGather with the saints by the river<br \/>\nThat flows by the throne of God.<\/span><\/p>\n<p style=\"padding-left: 150px;\"><span style=\"color: #ffffff;\">&#8212;<\/span><\/p>\n<p style=\"padding-left: 150px;\"><span class=\"Apple-style-span\"><strong><span style=\"color: #ffffff;\">. . . . . . . .<\/span>\u00a0V<\/strong><br \/>\n<strong>Ching-a-ring chaw<\/strong><br \/>\n<em>Minstrel song<\/em><\/span><\/p>\n<p style=\"padding-left: 150px;\"><span class=\"Apple-style-span\">Ching-a-ring-a-ring ching ching,<br \/>\nHoa ding-a-ding kum larkee,<br \/>\nChing-a-ring-a-ring ching ching,<br \/>\nHoa ding kum larkee.<\/span><\/p>\n<p style=\"padding-left: 150px;\"><span class=\"Apple-style-span\">Brothers gather round,<br \/>\nListen to the story,<br \/>\n\u2018Bout the promised land,<br \/>\nAn\u2019 the promised glory.<\/span><\/p>\n<p style=\"padding-left: 150px;\"><span class=\"Apple-style-span\">You don\u2019 need to fear,<br \/>\nIf you have no money,<br \/>\nYou don\u2019 need\u00a0 none there,<br \/>\nTo buy you milk and honey.<\/span><\/p>\n<p style=\"padding-left: 150px;\"><span class=\"Apple-style-span\">There you\u2019ll ride in style,<br \/>\nCoach with four white horses,<br \/>\nThere you\u2019re evenin\u2019 meal,<br \/>\nHas one two three four courses.<\/span><\/p>\n<p style=\"padding-left: 150px;\"><span class=\"Apple-style-span\">Ching-a-ring-a-ring ching ching,<br \/>\nHoa ding-a-ding kum larkee,<br \/>\nChing-a-ring-a-ring ching ching,<br \/>\nHoa ding kum larkee.<\/span><\/p>\n<p style=\"padding-left: 150px;\"><span class=\"Apple-style-span\">Nights we all will dance,<br \/>\nTo the harp and fiddle,<br \/>\nWaltz and jigg and prance,<br \/>\n\u201cCast down on the middle.<\/span><\/p>\n<p style=\"padding-left: 150px;\"><span class=\"Apple-style-span\">\u201cWhen the mornin\u2019 comes,<br \/>\nAll with grand and splendor,<br \/>\nStand out in the sun,<br \/>\nAnd hear the holy thunder.<\/span><\/p>\n<p style=\"padding-left: 150px;\"><span class=\"Apple-style-span\">Brothers hear me out,<br \/>\nThe Promised Land is comin\u2019,<br \/>\nDance and sing and shout,<br \/>\nI hear them harps astrummin\u2019.<\/span><\/p>\n<p style=\"padding-left: 150px;\"><span class=\"Apple-style-span\">Ching-a-ring ching ching,<br \/>\nChing-a-ring ching ching,<br \/>\nChing-a-ring-a, ching-a-ring-a<br \/>\nRing ching ching ching chaw.<\/span><\/p>\n<p style=\"text-align: left;\"><span class=\"Apple-style-span\" style=\"color: #ffffff;\">&#8212;<\/span><\/p>\n<p style=\"text-align: left;\"><span style=\"color: #ffffff;\">&#8212;<\/span><\/p>\n<p style=\"text-align: right;\"><a href=\"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/contents-summaries\/three-elizabethan-partsongs\/part-2-complete\/\" target=\"_blank\" rel=\"noopener\">Part 2 ; or <em>Adults Only<\/em><\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>THE ART OF RALPH VAUGHAN WILLIAMS A textcritical approach of the Elizabethan partsongs &#8212; &#8212; PRELUDE A short introduction to this paper. One of the most outstanding features of the human mind, is its strange incapability to accept &#8211; or &hellip; <a href=\"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/contents-summaries\/three-elizabethan-partsongs\/part-1-complete\/\">Continue reading <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":10,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"_links":{"self":[{"href":"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/wp-json\/wp\/v2\/pages\/1075"}],"collection":[{"href":"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/wp-json\/wp\/v2\/comments?post=1075"}],"version-history":[{"count":13,"href":"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/wp-json\/wp\/v2\/pages\/1075\/revisions"}],"predecessor-version":[{"id":1704,"href":"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/wp-json\/wp\/v2\/pages\/1075\/revisions\/1704"}],"up":[{"embeddable":true,"href":"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/wp-json\/wp\/v2\/pages\/10"}],"wp:attachment":[{"href":"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/wp-json\/wp\/v2\/media?parent=1075"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}