A few months back, I discussed that As You like It had actually the most songs of any kind of Shakespeare play. Yet as I check out Twelfth Night, this one feels much more musical. So, let’s take a look.

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As You prefer It includes seven songs v lyrics:

Act Two, step Seven’s song by Amiens (“Under the greenwood tree…”) i beg your pardon Jaques and the lords reprise later in the scene.Jaques’ mocking song to Amiens and the lords adhering to their track (“If it do concerned pass…”) in action Two, scene Five.The song sung through Amiens (“Blow, blow, thou winter wind…”) after Orlando return to the fight it out with Adam in act Two, step SevenTouchstone’s snippet that “O sweet Oliver” from end of act Three, scene ThreeThe post-hunt song sung by the lords for Jaques (“What candlestick he have that killed the deer…”) in plot Four, scene Two.The track the duke’s pages song for Touchstone and also Audrey (“It to be a lover and his lass…”) in plot Five, step ThreeHymen’s three-part wedding song (“Then is there mirth in heaven…”) from action Five, step Four

In Twelfth Night, the first song sung comes in act Two, scene Three, as soon as Feste sings “a love song” (II.iii.35) come the drunken Sirs Toby and Andrew:

O mistress mine, where room you roaming?O, stay and hear! your truelove’s coming,That have the right to sing both high and also low.Trip no further, nice sweeting.Journeys end in lovers meeting,Every way man’s son doth know.…What is love? ‘Tis no hereafter.Present mirth hath existing laughter.What’s to come is still unsure.In hold-up there lies no plenty,Then come kiss me, sweet and also twenty.Youth’s a stuff will certainly not endure.

A love track tinged with loss: love is just for the present, as “what’s come come is quiet unsure” and also “Youth’s a stuff will not endure.”

A 2nd song indigenous the scene is not plainly defined. That a “catch” (II.iii.66 stage direction), and also though there are pieces delineated, the feels improvised and also unwritten (which have the right to be wonderfully liberating for a phase team).

The following scene brings another song by Feste, this time for fight it out Orsino in a command performance:

Come away, come away, death,And in sad cypress permit me be laid.Fly away, paris away, breath,I to be slain by a fair devilish maid.My shroud of white, grounding all v yew,O, prepare it!My component of death, nobody so trueDid re-publishing it.Not a flower, not a flower sweetOn my black color coffin let there be strown;Not a friend, not a friend greetMy negative corpse, whereby my skeleton shall be thrown.A thousand thousand sighs come save,Lay me, O, whereSad true lover never discover my grave,To weep there.

It’s a tune that Orsino says “did relieve (his) enthusiasm much” (II.iv.4) the night before. A sad tune (of a guy “slain by a fair devilish maid” and also whose human body is in a “black coffin”) for a sad man, and one the prompts Orsino to send Cesario ago to Olivia. Nothing quite like a tortured love track for an unrequited lover.

Feste sings a snippet of one old song (“Hey, Robin, jolly Robin” ) purely because that the purpose of announcing his visibility for the tormented Malvolio. When Feste pipeline Malvolio and also the scene, the is with another song:

I am gone, sir,And anon, sir,I’ll be through you again,In a trice,Like to the old Vice,Your must sustain.Who v dagger that lath,In his rage and also his wrath,Cries “aha!” to the devil;Like a foolish lad, “Pare your nails, dad!Adieu, goodman devil.”

It’s a biting song, casually devilish to an currently tormented audience, and also speaks come Feste’s motivation: revenge for an earlier slight, together he will certainly later define (V.i.364-70).

After the play proper is over, we gain Feste’s last song, one the takes us from cradle to grave:

When that i was and also a small tiny boy,With hey, ho, the wind and the rain,A foolish thing was yet a toy,For the rain that raineth every day.But as soon as I involved man’s estate,With hey, ho, the wind and also the rain,’Gainst knaves and thieves men shut your gate,For the rain the raineth every day.

But when I came, alas, come wive,With hey, ho, the wind and the rain,By swaggering might I never ever thrive,For the rain it raineth every day.

But once I came unto my beds,With hey, ho, the wind and the rain,With tosspots still had actually drunken heads,For the rain that raineth every day.

A great while back the civilization begun,With hey, ho, the wind and the rain,But that’s every one, ours play is done,And fine strive to you re welcome you every day.


It’s almost a musical version of Jaques’ “seven eras of man” speech from As You favor It, just here, the all an initial person and also just five stages (boyhood, adulthood, husband, decline, fatality (“our pat is done”).

Here, though, the tune is a bit much more hopeful, courtesy of an exciting verb selection there in the last line… “we’ll strive” to you re welcome in the future. Not all is past. Over there is something come come, together opposed come Feste’s first song in the play, wherein the current will “not endure.”

So As You prefer It has seven songs, Twelfth Night only six (if you counting the fragment Feste sings to acquire Malvolio’s attention…and i do). So, i guess As You choose It has an ext songs. However as I stated that the opening of this entry, I stated Twelfth Night felt more musical.

And the is. Begin with the six, yet then remember the the opening scene contains music (prompting Orsino’s very first line). We likewise get music together we wait for Feste’s arrival in act Two, step Four. And also don’t forget the improvised “catch” as the clown and also Sirs Toby and also Andrew are caught by Malvolio in action Two, scene Three.

As You choose It, more songs. Twelfth Night, much more music.

Nick Cooper

This misses the end snatches of two more songs; “The Ballad of constant Susannah” (the first line – “There dwelt a man in Babylon, Lady, lady” by sir Toby and “Farewell dear Heart” (alternate currently sung by teacher Toby and also Feste come taunt Malvolio), both in act 2 iii.

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“Hold Thy tranquility Thou Knave” was obviously so well-known as a capture that Shakespeare didn’t feeling it necessary to incorporate the words, assuming the audience would gain the joke. The words and tune were published in cutting board Ravenscroft’s Deutromelia, published in 1609 and also described together a catch for 3 voices.