ntions
an Englishman, John Price, who was an accomplished player. It is
played on by Ariel, see a subsequent quotation from _The Tempest_ III,
ii, 126 and 152. Also _Much Ado_ II, iii, 13; and the tabor alone, in
_Twelfth Night_ III, i.

The Bagpipe[17] was very similar to the instruments of that name which
still exist. At the present moment there are four kinds in
use--Highland Scotch, Lowland Scotch, Northumbrian, and Irish. The
last has bellows instead of a 'bag,' but in other ways they are very
much alike. They all have 'drones,' which sound a particular note or
notes continually, while the tune is played on the 'chanter.'
Shakespeare himself tells us of another variety--viz., the
Lincolnshire bagpipe, in _Hen. 4. A._ I, ii, 76, where Falstaff
compares his low spirits to the melancholy 'drone of a Lincolnshire
bagpipe.'[18]

[Footnote 17: The Bagpipe appears on a coin of Nero. Also there is a
figure of an _angel_ playing it, in a crosier given by William of
Wykeham to New Coll., Oxon., in 1403.]

[Footnote 18: What is a 'woollen bagpipe'? See _Merchant_ IV, i, 55.]

The servant's second speech refers to the character of the words of
the popular ballads, which were too often coarse and even indecent.

'Love-songs' are quite a large class, frequently referred to. For
instance, _Two Gent._ II, i, 15.

_Val._ Why, how know you that I am in love?

_Speed._ Marry by these special marks.
First, you have learn'd ...
_To relish a love song_, like a robin-redbreast;

_Rom._ II, iv, 15.

_Mercutio._ 'Alas, poor Romeo! he is already dead;
... run thorough the ear _with a love-song_.'

besides the passage from _Twelfth Nt._ II, iii, quoted further on,
where Feste offers Sir Toby and Sir Andrew their choice between 'a
love-song, or a song of good life.'

The 'delicate burdens,' 'dildos and fadings,' 'jump her and thump
her,' are to be found in examples of the period. A Round of Matt.
White, 'The Courtier scorns the country clowns' (date about 1600) has
for its third and last line 'With a fading, fading, fading, fading,'
etc. 'Whoop, do me no harm' has already been spoken of.

In l. 214 of the _Winter's Tale_ passage, Perdita again takes
precaution against Autolycus using 'scurrilous words.'

From l. 285 to l. 327, the passage refers to a very interesting
department of 16th century singing--viz., the habit of performing
songs in three vocal parts. The singers were call