THE QUEEN’S REQUIREMENTS 115 
But the songs in the plays are not the only nor the chief evi- 
dence that the requirements for the vocal training of the boys 
was specially emphasized and fully carried out. Under the mas- 
tership of Gyles the Children presented before her Majesty at 
Court “a showe w™ musycke and speciall songes prepared for y® 
purpose on Twelfth day at night,’*—Monday, Feb. 6, 1600-[1]. 
This was the same year in which the Queen attended Blackfriars, 
and within two months after Clifton’s son had been taken up,—the 
very time when Clifton declares to the Queen that the Children 
did not and could not sing and were not taught to sing.2, Hamlet 
in the same year testifies to their singing, and suggests that they 
are maintained as actors only so long as they can sing, as if their 
singing were the basic consideration of their employment and 
their acting but consequential.* Within a year after these two 
testimonies and within six months after the Evans-Kirkham re- 
organization of the management consequent upon the Star Cham- 
ber Decree against Evans, the present Diary of the Duke of Stet- 
tin, September, 1602, says this provision is carried out and shows 
by an example how extensive the training must have been. So _ 
charmingly sang one of the Boys cum voce tremula that unless 
II, iii, 85, “Cantat” [Mulligrub, all 
lathered with shaving-suds, here 
juvenum cantantes et saltantes. 
[Exeunt saltan.” III, i, p. 290a, 
The “Chimney-sweep” song by Lo- 
renzo. IV, i, p. 296a, Quintiliano 
sings. 
The Widow's Tears (Sept. 
1602).—I, i, “He dances and sings.” 
[This is the only direction for sing- 
ing in the play. Yet it was this 
play that was preceded by a musi- 
cale of an hour’s duration, with the 
charming singing, as reported by 
the Diary of the Duke of Stettin— 
cj. infra, 115-18°.] 
The Dutch Courtezan (fall— 
wint., 1602).—(ed. 1633, and Bul- 
fae PEBY Tt, 1. 218, Enter 
Franceschina with her lute; 219, she 
sings to her lute; 220-27, the song. 
IJ, i, Enter Freevill, pages with 
torches, and gentlemen with music. 
Then at |. 8, a serenade of music and 
song under Beatrice’s window. II, 
i, 68, The nightingales sing. II, ii, 
55, “[Franc.] Cantat Gallicé.” II, ii, 
61-65, Franceschina sings, with al- 
ternating comments on the lines. 
seems the singer]. III, i, 3, Bea- 
trice sings. Three lines of song 
given, then “&c.” IV, v, 70-83, 
Cockledemoy disguised as the Bell- 
man sings rather than speaks a 
rhymed , ribald cry; V; 1, 19, 
“[Franc.] _Cantat saltatque cum 
cithera.” V, ii, 35, Freevill sings; 
36-43, the song. 
The Malcontent (spring, 1603).— 
I,.i, A song. II, iii, A song within. 
While the song is singing, enter 
Mendoza, &c. III, ii, Song by sec- 
ond and third pages. V, ii,- Enter 
from opposite sides Malevole and 
Maquerelle singing. [On the omis- 
sion of the music elements of this 
play as originally presented at 
Blackfriars, see infra, 116°-17.] 
*See complete work, vol. II, 
Plays at Court. Also cf. 112", 121°- 
oo Sie: 
* Supra, 80°, 1137-14. 
°Infra, 180. 
229 
