ou me faul dra mou rir. - PDF document

7 ou me faul dra mou rir. ou me faul dra mou rir. ou me faul dra mou rir. ou me faul dra mou rir. Source: Translated from the original French, available online at http://www.graner.net/nicolas/arbeau/ 6 graci eux, Viens tost me secou rir ou graci eux, Viens tost me secou rir ou Superius me faul dra mou rir. Viens tost me secou rir me faul dra mou rir. Viens tost me secou rir me faul dra mou rir. Viens tost me secou rir me faul dra mou rir. Viens tost me secou rir 5 Bel le qui tiens ma vi e cap tive dans tes Superius yeulx, Qui m’as la me ra vi e d’un soubz-riz yeulx, Qui m’as la me ra vi e d’un soubz-riz yeulx, Qui m’as la me ra vi e d’un soubz-riz yeulx, Qui m’as la me ra vi e d’un soubz-riz Superius graci eux, Viens tost me secou rir ou graci eux, Viens tost me secou rir ou 4 to the pavane: it is used by kings, princes, and digni ed lords, as they present them- And said pavanes, played by shawms and sackbuts, announce the “grand ball” and they prefer dancing forward and backward. Pavanes are also used at those moments of ceremonial entry, as when appear triumphant  oats carrying masquerade gods and god-This I’ll gladly do so that such honest dances may be reinstated, in place of licen-tious and dishonest ones that were introduced to the regret of wise lords and ladies and matrons of good judgment. First, I will provide for you a pavane in duple meter supported by tenor, alto, and bass, which will be suf cient for you to know how to dance all other pavanes. And if you wish to dance it, get a group to sing or play it in all four parts. . . . . The pavane [below], in four voices, contains two forward units and two backward units, indicated by the characters in this fashion “ss d ss d ss d ss d” and thirty-two beats on the drum. To extend it, it can be played as many times as agreeable to the performers. And because you may want someday to sing the entire Superius Bel le qui tiens ma vi e cap tive dans tes Bel le qui tiens ma vi e cap tive dans tes Bel le qui tiens ma vi e cap tive dans tes 3 And note that when dancing it the two and said moving forward com- and the going backward com-Speci cally, when you approach the end, you make the lady go straight ahead, and you she is stepping because if she steps on something while moving backward, she could fall, and it would appear to be your fault, and you would lose face. And thus it seems are beautiful and digni ed, and appropriate for A gentleman can dance it wearing a cloak and a sword, and you others [academics] dies so too, yet with a humble countenance with eyes cast down, except to throw an 2 nd it a good discipline, and necessary to public discourse, but I’m sorry that when in their learning. Now on my return [to Langres] I  nd myself in polite society where, to put it succinctly, I appear to be with neither tongue nor feet, judged to be no better Your saving grace has been that the old professors excused you, taking into account the men. But my shortcoming is dancing, which I will need to be attractive to young ladies, and on which entirely depends, it seems to me, the reputation of an eligible and interpretations, and Arbeau devotes many pages to it. Because we can all learn to interpretations, and Arbeau devotes many pages to it. Because we can all learn to mally danced before the basse danse. Said pavane has by no means been abolished or gone out of fashion, nor do I believe it ever will. True, it is not as popular as it once was, but our instrumentalists still play it when a young lady of standing is led to the While waiting for you to tell me about the galliard, explain the movements that are The pavane is easy to dance because it only involves two and a [and pre-sumably a reverence at the beginning, as most of Arbeau’s dances do] going forward and 1 IN THEIR OWN WORDS Jehan Tabourot (1520–1595), a priest from Burgundy, France. The title of the trea-cussion of dance and the music for it written in the West before 1600, providing us with, in effect, an encyclopedic overview of the subject, at least as it was then understood in France. Virtually every one of the then-known dances—what we would today call “ballroom dances”—is discussed. In addition to telling us the mance practices of the day (on what instruments the dance music should be played and even sung, for example) and on the social customs and graces of the period. Although written by a man in his sixties, Arbeau is surprisingly up to date. He recognizes, for example, that the pavane, the dance discussed in the excerpt below, is somewhat out of date by 1589, and he also knows that there are more ) and Spain was the term then used to identify the cient in fencing and tennis but unskilled in the ways of the oor. Indeed, in the Renaissance, dancing was more than just social interaction Sire Arbeau, greetings, you don’t recognize me any more, but six or seven years ago, before I left Langres to go to Paris and then to Orléans, I was your student in Certainly I didn’t recognize you at  rst because you’ve grown a lot since that time, and I’m sure that you have also grown accordingly in mind and virtue, and in your