ABSTRACT
This chapter interrogates the possibility that the boys singing the roles of Ophelia and Desdemona may have been Armin's apprentices, either formally, or, more likely, informally, in addition to examining the songs of Ophelia and Desdemona with a focus on what their ballads contribute to a literary understanding of two of Shakespeare's most famous tragic heroines. Ophelia's most famous song is 'Walsingham'. An examination of words and music illustrates that the song powerfully reveals her mental instability. The early modern music may provide a message similar to that of the words of 'To-morrow is Saint Valentine's Day': harmony and melody contribute to a lascivious connotation. Desdemona's 'Willow, Willow' and its reprise by Emilia are second only to Ophelia's singing in terms of critical attention. The singing of both Ophelia and Desdemona may well move the audience to resonate with their complicated emotional states.
