M. Ted... in response to your opening question in this thread, I revisited that very passage on the seven stages of a quarrel when I was looking for something to post in my journal to celebrate the bard's birth/deathday. I latched on to the lines just before the ones you quoted above, because they remind me of online flamewars... some things never change.

JAQUES
But, for the seventh cause; how did you find the
quarrel on the seventh cause?

TOUCHSTONE
Upon a lie seven times removed:--bear your body more
seeming, Audrey:--as thus, sir. I did dislike the
cut of a certain courtier's beard: he sent me word,
if I said his beard was not cut well, he was in the
mind it was: this is called the Retort Courteous.
If I sent him word again 'it was not well cut,' he
would send me word, he cut it to please himself:
this is called the Quip Modest. If again 'it was
not well cut,' he disabled my judgment: this is
called the Reply Churlish. If again 'it was not
well cut,' he would answer, I spake not true: this
is called the Reproof Valiant. If again 'it was not
well cut,' he would say I lied: this is called the
Counter-cheque Quarrelsome: and so to the Lie
Circumstantial and the Lie Direct.

JAQUES
And how oft did you say his beard was not well cut?

TOUCHSTONE
I durst go no further than the Lie Circumstantial,
nor he durst not give me the Lie Direct; and so we
measured swords and parted.

* * *

Peter K -- One instance I can think of where a song was given to a member of the nobility (and very likely a song that Shakespeare himself composed, as it is in the play as newly written for the occasion), is this song from Much Ado about Nothing (Act 5, scene 3), which Claudio sings at Hero's family crypt:

Pardon, goddess of the night,
Those that slew thy virgin knight;
For the which, with songs of woe,
Round about her tomb they go.
Midnight, assist our moan;
Help us to sigh and groan,
Heavily, heavily:
Graves, yawn and yield your dead,
Till death be uttered,
Heavily, heavily.

* * *

One fabulously musical scene in Shakespeare is Act 4, scene 4 of A Winter's Tale. Here, we are witness to a shepherd's feast, and one of the comic characters arrives disguised as a pedlar to sell trinkets and ballad broadsides to the assembled guests.   Here is his introduction:

Servant
O master, if you did but hear the pedlar at the
door, you would never dance again after a tabour and
pipe; no, the bagpipe could not move you: he sings
several tunes faster than you'll tell money; he
utters them as he had eaten ballads and all men's
ears grew to his tunes.

Clown
He could never come better; he shall come in. I
love a ballad but even too well, if it be doleful
matter merrily set down, or a very pleasant thing
indeed and sung lamentably.

Servant
He hath songs for man or woman, of all sizes; no
milliner can so fit his customers with gloves: he
has the prettiest love-songs for maids; so without
bawdry, which is strange; with such delicate
burthens of dildos and fadings, 'jump her and thump
her;' and where some stretch-mouthed rascal would,
as it were, mean mischief and break a foul gap into
the matter, he makes the maid to answer 'Whoop, do me
no harm, good man;' puts him off, slights him, with
'Whoop, do me no harm, good man.'

(okay, now there's a Mudcat challenge: can anyone here find the song with the refrain: "Whoop, do me no harm, good man"?