Next we have two examples of 'Music at Home.' In the case of the Duke in Twelfth Night, it is 'concerted' music, and the players seem to be performing such a quaint old piece as 'The Lord of Salisbury his Pavin,' by Gibbons, in _Parthenia_, the last 'strain' of which has just such a 'dying fall' as is mentioned in line 4. [See the remarks on the passage from _Lucrece_ in Section I. on the _technical_ meaning of 'strain.'] _Twelfth Night_ I, i. _Duke._ If _music_ be the _food of love_, play on; Give me excess of it, that, surfeiting, The appetite may sicken, and so die.-- _That strain again!_ it had a _dying fall_: O! it came o'er my ear like the _sweet sound_ That breathes upon a bank of violets, Stealing and giving odour.--Enough! no more: 'Tis not so sweet now, as it was before. Brutus' musical establishment is on a smaller scale than the Duke's. He keeps a 'good boy,' who can sing to his own accompaniment on the lute, and is such a willing servant as to perform when almost overcome by sleep. _Julius Caesar_ IV, iii, 256. Brutus and his servant Lucius. _Bru._ Bear with me, good boy, I am much forgetful. Canst thou hold up thy heavy eyes awhile, And _touch_ thy _instrument_ a _strain_ or two? _Luc._ Ay, my lord, an't please you. _Bru._ It does, my boy. I trouble thee too much, but thou art willing. * * * * * [Boy sings to lute.] _Bru._ This is a _sleepy tune_: [Boy drops off]--O murderous slumber! Lay'st thou thy leaden mace upon my boy, _That plays thee music_?--Gentle knave, good night; I will not do thee so much wrong to wake thee. If thou dost nod, thou _break'st thy instrument: I'll take it from thee_; and, good boy, good night.-- [Ghost of Caesar appears.] L. 290. _Bru._ Boy!--Lucius!--Varro! Claudius! sirs, awake!--Claudius! _Luc._ [asleep]. _The strings_, my lord, _are false_. _Bru._ He thinks he still is _at his instrument_. In _Henry VIII._ III, i is a case of the same kind. _Queen Catherine._ Take thy _lute_, wench: my soul grows sad with troubles: _Sing, and disperse them_, if thou canst. Leave working. [Song. 'Orpheus.'] The next passage brings us to another class of music--viz., dirges, funeral songs, or 'good-nights.' [See _H. 4. B._ III, ii, 322]. In _Cymbeline_ IV, ii, 184, Cadwal (Arviragus) sounds an 'ingenious instrument' to signify Imogen's death. Polydore (Guiderius) says they had not used it since their mother died. The song, or more properly, duet, which they sing directly after, in memory of Imogen, may be taken in this connection. Unfortunately there seems to be no musical setting of 'Fear no more the heat o' the sun' any older than 1740. In the following quotation 'dirges' are mentioned by name.