o be found in Chappell, Vol. I. p.
175. Its date is some time before 1626,[6] and verse 1 begins, 'From
the hagg and hungrie Goblin,' and the whole is as full of ejaculations
of 'Poor Tom' as Act III. of _Lear_.

[Footnote 6: Rimbault's preface to the Musical Antiquarian Society's
reprint of Purcell's opera, "Bonduca," says that Mad Tom was written
by Coperario in 1612, for the Masque of the Inner Temple and Gray's
Inn, by Beaumont. This was, 'Forth from my sad and darksome sell.']

The last sentence has yet another play on the double meaning of
'divisions.' A few lines further on Edmund explains what kind of
'divisions' he expects to follow the eclipses--namely, 'between the
child and the parent ... dissolutions of ancient amities; divisions in
state,' etc. But the very use of the word in the quoted lines brings
its musical meaning into his head, for he promptly carries off his
assumed blindness to Edgar's presence by humming over his 'fa, sol,
la, mi.' [Burney, Hist., Vol. III. p. 344, has a sensible observation
on this passage--that Edgar alludes to the unnatural division of
parent and child, etc., in this musical phrase, which contains the
augmented fourth, or _mi contra fa_, of which the old theorists used
to say 'diabolus est.']

Guido d'Arezzo (or Aretinus), in his Micrologus (about 1024), named
the six notes of the Hexachord (_e.g._, C, D, E, F, G, A), thus--Ut,
Re, Mi, Fa, Sol, La. These were the first syllables of certain words
in the Hymn for the feast of St John Baptist, the words and tune of
which are in Hawkins, p. 163.

"UT queant laxis
RE-sonare fibris
MI-ra gestorum
FA-muli tuorum
SOL-ve polluti
LA-bii reatum, Sancte Joannes."

A rough translation of which is--

'That thy servants may be able with free hearts to sound
forth the wonders of thy deeds; release us, O Holy John,
from the guilt of a defiled lip.'

In the ancient tune of this verse, the notes assigned to the syllables
in capitals were successively those of the scale, C, D, E, F, G, A,
and these same syllables were still used in singing in the 16th
century. It was noticed, however, that the scale could be easily
expressed by fewer names, and accordingly we find Christopher Sympson
(1667) saying, in his 'Compendium,' that Ut and Re are 'superfluous,
and therefore laid aside by most Modern Teachers.' In his book, the
whole scale of _eight_ notes is named thus--Fa, Sol, La, Fa, Sol, La,
_mi_