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+Project Gutenberg's Charles Dickens and Music, by James T. Lightwood
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Charles Dickens and Music
+
+Author: James T. Lightwood
+
+Release Date: August 25, 2005 [EBook #16595]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK CHARLES DICKENS AND MUSIC ***
+
+
+
+
+Produced by David Newman, Daniel Emerson Griffith and the
+Online Distributed Proofreading Team at https://www.pgdp.net
+
+
+
+
+
+                         [Illustration]
+
+            TOM PINCH AT THE ORGAN.
+                                     _Frontispiece._
+
+
+
+CHARLES DICKENS AND MUSIC
+
+BY JAMES T. LIGHTWOOD
+
+AUTHOR OF 'HYMN-TUNES AND THEIR STORY'
+
+London
+CHARLES H. KELLY
+25-35 CITY ROAD, AND 26 PATERNOSTER ROW, E.C.
+
+_First Edition, 1912_
+
+IN PLEASANT MEMORY OF MANY HAPPY YEARS AT PEMBROKE HOUSE, LYTHAM
+
+
+
+
+PREFACE
+
+
+For many years I have been interested in the various musical
+references in Dickens' works, and have had the impression that
+a careful examination of his writings would reveal an aspect of
+his character hitherto unknown, and, I may add, unsuspected.
+The centenary of his birth hastened a work long contemplated,
+and a first reading (after many years) brought to light an
+amount of material far in excess of what I anticipated, while a
+second examination convinced me that there is, perhaps, no great
+writer who has made a more extensive use of music to illustrate
+character and create incident than Charles Dickens. From an
+historical point of view these references are of the utmost
+importance, for they reflect to a nicety the general condition
+of ordinary musical life in England during the middle of the
+last century. We do not, of course, look to Dickens for a
+history of classical music during the period--those who want
+this will find it in the newspapers and magazines; but for the
+story of music in the ordinary English home, for the popular
+songs of the period, for the average musical attainments of
+the middle and lower classes (music was not the correct thing
+amongst the 'upper ten'), we must turn to the pages of Dickens'
+novels. It is certainly strange that no one has hitherto thought
+of tapping this source of information. In and about 1887 the
+papers teemed with articles that outlined the history of music
+during the first fifty years of Victoria's reign; but I have
+not seen one that attempted to derive first-hand information
+from the sources referred to, nor indeed does the subject of
+'Dickens and Music' ever appear to have received the attention
+which, in my opinion, it deserves.
+
+I do not profess to have chronicled _all_ the musical references,
+nor has it been possible to identify every one of the numerous
+quotations from songs, although I have consulted such excellent
+authorities as Dr. Cummings, Mr. Worden (Preston), and Mr. J.
+Allanson Benson (Bromley). I have to thank Mr. Frank Kidson, who,
+I understand, had already planned a work of this description,
+for his kind advice and assistance. There is no living writer
+who has such a wonderful knowledge of old songs as Mr. Kidson,
+a knowledge which he is ever ready to put at the disposal of
+others. Even now there are some half-dozen songs which every
+attempt to run to earth has failed, though I have tried to
+'mole 'em out' (as Mr. Pancks would say) by searching through
+some hundreds of song-books and some thousands of separate songs.
+
+Should any of my readers be able to throw light on dark
+places I shall be very glad to hear from them, with a view to
+making the information here presented as complete and correct
+as possible if another edition should be called for. May
+I suggest to the Secretaries of our Literary Societies,
+Guilds, and similar organizations that a pleasant evening
+might be spent in rendering some of the music referred to by
+Dickens. The proceedings might be varied by readings from his
+works or by historical notes on the music. Many of the pieces
+are still in print, and I shall be glad to render assistance in
+tracing them. Perhaps this idea will also commend itself to the
+members of the Dickens Fellowship, an organization with which
+all lovers of the great novelist ought to associate themselves.
+
+                                         JAMES T. LIGHTWOOD.
+  LYTHAM,
+    _October, 1912._
+
+
+
+    I truly love Dickens; and discern in the inner man of
+    him a tone of real Music which struggles to express
+    itself, as it may in these bewildered, stupefied
+    and, indeed, very crusty and distracted days--better
+    or worse!
+
+                                          THOMAS CARLYLE.
+
+
+
+
+CONTENTS
+
+
+    CHAP.                                             PAGE
+
+      I.  DICKENS AS A MUSICIAN                          1
+
+     II.  INSTRUMENTAL COMBINATIONS                     23
+
+    III.  VARIOUS INSTRUMENTS: FLUTE, ORGAN, GUITAR
+          (AND SOME HUMMERS)                            36
+
+     IV.  VARIOUS INSTRUMENTS (_continued_)             56
+
+      V.  CHURCH MUSIC                                  69
+
+     VI.  SONGS AND SOME SINGERS                        83
+
+    VII.  SOME NOTED SINGERS                           112
+
+          LIST OF SONGS, &c., MENTIONED BY DICKENS     135
+
+          INDEX OF MUSICAL INSTRUMENTS                 164
+
+          INDEX OF CHARACTERS                          165
+
+          GENERAL INDEX                                169
+
+          LIST OF MUSIC TITLES, &c., FOUNDED ON
+          DICKENS' CHARACTERS                          172
+
+
+
+
+LIST OF WORKS REFERRED TO
+
+_With Abbreviations Used_
+
+
+    _American Notes_                     1842       _A.N._
+    _Barnaby Rudge_                      1841       _B.R._
+    _Battle of Life_                     1848       _B.L._
+    _Bleak House_                        1852-3     _B.H._
+    _Chimes_                             1844       _Ch._
+    _Christmas Carol_                    1843       _C.C._
+    _Christmas Stories_                    --       _C.S._
+    _Christmas Stories_--
+          Dr. Marigold's Prescription    1865       _Dr. M._
+          Going into Society             1855       _G.S._
+          Holly Tree                     1855       _H.T._
+          Mugby Junction                 1866       _M.J._
+          Mrs. Lirriper's Lodgings       1863         --
+          No Thoroughfare                1867       _N.T._
+          Somebody's Luggage             1862       _S.L._
+          Wreck of the Golden Mary       1856       _G.M._
+    _Collected Papers_                     --       _C.P._
+    _Cricket on the Hearth_              1845       _C.H._
+    _Dombey & Son_                       1847-8     _D. & S._
+    _David Copperfield_                  1849-50    _D.C._
+    _Edwin Drood_                        1870       _E.D._
+    _Great Expectations_                 1860-1     _G.E._
+    _Hard Times_                         1854       _H.T._
+    _Haunted House_                      1859         --
+    _Haunted Man_                        1848       _H.M._
+    _Holiday Romance_                      --       _H.R._
+    _Little Dorrit_                      1855-6     _L.D._
+    _Martin Chuzzlewit_                  1843-4     _M.C._
+    _Master Humphrey's Clock_            1840-1     _M.H.C._
+    _Mystery of Edwin Drood_             1870       _E.D._
+    _Nicholas Nickleby_                  1838-9     _N.N._
+    _Old Curiosity Shop_                 1840       _O.C.S._
+    _Oliver Twist_                       1837-8     _O.T._
+    _Our Mutual Friend_                  1864       _O.M.F._
+    _Pickwick Papers_                    1836-7     _P.P._
+    _Pictures from Italy_                1846       _It._
+    _Reprinted Pieces_--
+          Our Bore                       1852         --
+          Our English Watering-Place     1851         --
+          Our French Watering-Place      1854         --
+          Our School                     1851         --
+          Out of the Season              1856         --
+    _Sketches by Boz_                    1835-6     _S.B._
+          Characters                       --       _S.B.C._
+          Our Parish                       --         --
+          Scenes                           --       _S.B.S._
+          Tales                            --       _S.B.T._
+    _Sunday under Three Heads_           1836         --
+    _Sketches of Young People_           1840         --
+    _Sketches of Young Gentlemen_        1838         --
+    _Tale of Two Cities, A_              1859         --
+    _Uncommercial Traveller_             1860-9     _U.T._
+
+
+
+CHARLES DICKENS AND MUSIC
+
+
+
+
+CHAPTER I
+
+DICKENS AS A MUSICIAN
+
+
+The attempts to instil the elements of music into Charles
+Dickens when he was a small boy do not appear to have been
+attended with success. Mr. Kitton tells us that he learnt the
+piano during his school days, but his master gave him up in
+despair. Mr. Bowden, an old schoolfellow of the novelist's when
+he was at Wellington House Academy, in Hampstead Road, says that
+music used to be taught there, and that Dickens received lessons
+on the violin, but he made no progress, and soon relinquished
+it. It was not until many years after that he made his third
+and last attempt to become an instrumentalist. During his
+first transatlantic voyage he wrote to Forster telling him
+that he had bought an accordion.
+
+    The steward lent me one on the passage out, and I
+    regaled the ladies' cabin with my performances. You
+    can't think with what feelings I play 'Home, Sweet Home'
+    every night, or how pleasantly sad it makes us.
+
+On the voyage back he gives the following description of the
+musical talents of his fellow passengers:
+
+    One played the accordion, another the violin, and
+    another (who usually began at six o'clock a.m.) the key
+    bugle: the combined effect of which instruments, when
+    they all played different tunes, in different parts
+    of the ship, at the same time, and within hearing of
+    each other, as they sometimes did (everybody being
+    intensely satisfied with his own performance), was
+    sublimely hideous.
+
+He does not tell us whether he was one of the performers on
+these occasions.
+
+But although he failed as an instrumentalist he took
+delight in hearing music, and was always an appreciative yet
+critical listener to what was good and tuneful. His favourite
+composers were Mendelssohn--whose _Lieder_ he was specially
+fond of[1]--Chopin, and Mozart. He heard Gounod's _Faust_
+whilst he was in Paris, and confesses to having been quite
+overcome with the beauty of the music. 'I couldn't bear it,'
+he says, in one of his letters, 'and gave in completely. The
+composer must be a very remarkable man indeed.' At the same
+time he became acquainted with Offenbach's music, and heard
+_Orph�e aux enfers_. This was in February, 1863. Here also he
+made the acquaintance of Auber, 'a stolid little elderly man,
+rather petulant in manner.' He told Dickens that he had lived
+for a time at 'Stock Noonton' (Stoke Newington) in order to
+study English, but he had forgotten it all. In the description
+of a dinner in the _Sketches_ we read that
+
+    The knives and forks form a pleasing accompaniment to
+    Auber's music, and Auber's music would form a pleasing
+    accompaniment to the dinner, if you could hear anything
+    besides the cymbals.
+
+He met Meyerbeer on one occasion at Lord John Russell's. The
+musician congratulated him on his outspoken language on Sunday
+observance, a subject in which Dickens was deeply interested,
+and on which he advocated his views at length in the papers
+entitled _Sunday under Three Heads_.
+
+Dickens was acquainted with Jenny Lind, and he gives the
+following amusing story in a letter to Douglas Jerrold, dated
+Paris, February 14, 1847:
+
+    I am somehow reminded of a good story I heard the
+    other night from a man who was a witness of it and
+    an actor in it. At a certain German town last autumn
+    there was a tremendous _furore_ about Jenny Lind, who,
+    after driving the whole place mad, left it, on her
+    travels, early one morning. The moment her carriage
+    was outside the gates, a party of rampant students who
+    had escorted it rushed back to the inn, demanded to be
+    shown to her bedroom, swept like a whirlwind upstairs
+    into the room indicated to them, tore up the sheets,
+    and wore them in strips as decorations. An hour or two
+    afterwards a bald old gentleman of amiable appearance,
+    an Englishman, who was staying in the hotel, came to
+    breakfast at the _table d'h�te_, and was observed to be
+    much disturbed in his mind, and to show great terror
+    whenever a student came near him. At last he said, in
+    a low voice, to some people who were near him at the
+    table, 'You are English gentlemen, I observe. Most
+    extraordinary people, these Germans. Students,
+    as a body, raving mad, gentlemen!' 'Oh, no,' said
+    somebody else: 'excitable, but very good fellows,
+    and very sensible.' 'By God, sir!' returned the old
+    gentleman, still more disturbed, 'then there's something
+    political in it, and I'm a marked man. I went out for
+    a little walk this morning after shaving, and while I
+    was gone'--he fell into a terrible perspiration as he
+    told it--'they burst into my bedroom, tore up my sheets,
+    and are now patrolling the town in all directions with
+    bits of 'em in their button-holes.' I needn't wind
+    up by adding that they had gone to the wrong chamber.
+
+It was Dickens' habit wherever he went on his Continental
+travels to avail himself of any opportunity of visiting the
+opera; and his criticisms, though brief, are always to the
+point. He tells us this interesting fact about Carrara:
+
+    There is a beautiful little theatre there, built of
+    marble, and they had it illuminated that night in my
+    honour. There was really a very fair opera, but it is
+    curious that the chorus has been always, time out of
+    mind, made up of labourers in the quarries, who don't
+    know a note of music, and sing entirely by ear.
+
+But much as he loved music, Dickens could never bear the
+least sound or noise while he was studying or writing, and
+he ever waged a fierce war against church bells and itinerant
+musicians. Even when in Scotland his troubles did not cease,
+for he writes about 'a most infernal piper practising under
+the window for a competition of pipers which is to come off
+shortly.' Elsewhere he says that he found Dover 'too bandy'
+for him (he carefully explains he does not refer to its legs),
+while in a letter to Forster he complains bitterly of the
+vagrant musicians at Broadstairs, where he 'cannot write half
+an hour without the most excruciating organs, fiddles, bells,
+or glee singers.' The barrel-organ, which he somewhere calls
+an 'Italian box of music,' was one source of annoyance, but
+bells were his special aversion. 'If you know anybody at St.
+Paul's,' he wrote to Forster, 'I wish you'd send round and ask
+them not to ring the bell so. I can hardly hear my own ideas
+as they come into my head, and say what they mean.' His bell
+experiences at Genoa are referred to elsewhere (p. 57).
+
+How marvellously observant he was is manifest in the numerous
+references in his letters and works to the music he heard in
+the streets and squares of London and other places. Here is
+a description of Golden Square, London, W. (_N.N._):
+
+    Two or three violins and a wind instrument from
+    the Opera band reside within its precincts. Its
+    boarding-houses are musical, and the notes of pianos
+    and harps float in the evening time round the head of
+    the mournful statue, the guardian genius of the little
+    wilderness of shrubs, in the centre of the square....
+    Sounds of gruff voices practising vocal music invade
+    the evening's silence, and the fumes of choice tobacco
+    scent the air. There, snuff and cigars and German
+    pipes and flutes, and violins and violoncellos, divide
+    the supremacy between them. It is the region of song
+    and smoke. Street bands are on their mettle in Golden
+    Square, and itinerant glee singers quaver involuntarily
+    as they raise their voices within its boundaries.
+
+We have another picture in the description of Dombey's house,
+where--
+
+    the summer sun was never on the street but in the
+    morning, about breakfast-time.... It was soon gone
+    again, to return no more that day, and the bands of
+    music and the straggling Punch's shows going after
+    it left it a prey to the most dismal of organs and
+    white mice.
+
+
+_As a Singer_
+
+Most of the writers about Dickens, and especially his personal
+friends, bear testimony both to his vocal power and his love
+of songs and singing. As a small boy we read of him and his
+sister Fanny standing on a table singing songs, and acting them
+as they sang. One of his favourite recitations was Dr. Watts'
+'The voice of the sluggard,' which he used to give with great
+effect. The memory of these words lingered long in his mind,
+and both Captain Cuttle and Mr. Pecksniff quote them with
+excellent appropriateness.
+
+When he grew up he retained his love of vocal music, and showed
+a strong predilection for national airs and old songs. Moore's
+_Irish Melodies_ had also a special attraction for him. In
+the early days of his readings his voice frequently used to
+fail him, and Mr. Kitton tells us that in trying to recover
+the lost power he would test it by singing these melodies to
+himself as he walked about. It is not surprising, therefore,
+to find numerous references to these songs, as well as to
+other works by Moore, in his writings.
+
+From a humorous account of a concert on board ship we gather
+that Dickens possessed a tenor voice. Writing to his daughter
+from Boston in 1867, he says:
+
+    We had speech-making and singing in the saloon of the
+    _Cuba_ after the last dinner of the voyage. I think I
+    have acquired a higher reputation from drawing out the
+    captain, and getting him to take the second in 'All's
+    Well' and likewise in 'There's not in the wide world'[2]
+    (your parent taking the first), than from anything
+    previously known of me on these shores.... We also sang
+    (with a Chicago lady, and a strong-minded woman from
+    I don't know where) 'Auld Lang Syne,' with a tender
+    melancholy expressive of having all four been united
+    from our cradles. The more dismal we were, the more
+    delighted the company were. Once (when we paddled i'
+    the burn) the captain took a little cruise round the
+    compass on his own account, touching at the Canadian
+    Boat Song,[3] and taking in supplies at Jubilate, 'Seas
+    between us braid ha' roared,' and roared like ourselves.
+
+J.T. Field, in his _Yesterdays with Authors_, says: 'To hear him
+sing an old-time stage song, such as he used to enjoy in his
+youth at a cheap London theatre ... was to become acquainted
+with one of the most delightful and original companions in
+the world.'
+
+When at home he was fond of having music in the evening. His
+daughter tells us that on one occasion a member of his family
+was singing a song while he was apparently deep in his book,
+when he suddenly got up and saying 'You don't make enough of
+that word,' he sat down by the piano and showed how it should
+be sung.
+
+On another occasion his criticism was more pointed.
+
+    One night a gentleman visitor insisted on singing
+    'By the sad sea waves,' which he did vilely, and he
+    wound up his performance by a most unexpected and
+    misplaced embellishment, or 'turn.' Dickens found the
+    whole ordeal very trying, but managed to preserve a
+    decorous silence till this sound fell on his ear, when
+    his neighbour said to him, 'Whatever did he mean by
+    that extraneous effort of melody?' 'Oh,' said Dickens,
+    'that's quite in accordance with rule. When things
+    are at their worst they always take a _turn_.'
+
+Forster relates that while he was at work on the _Old Curiosity
+Shop_ he used to discover specimens of old ballads in his
+country walks between Broadstairs and Ramsgate, which so
+aroused his interest that when he returned to town towards
+the end of 1840 he thoroughly explored the ballad literature
+of Seven Dials,[4] and would occasionally sing not a few of
+these wonderful discoveries with an effect that justified
+his reputation for comic singing in his childhood. We get a
+glimpse of his investigations in _Out of the Season_, where
+he tells us about that 'wonderful mystery, the music-shop,'
+with its assortment of polkas with coloured frontispieces, and
+also the book-shop, with its 'Little Warblers and Fairburn's
+Comic Songsters.'
+
+    Here too were ballads on the old ballad paper and
+    in the old confusion of types, with an old man in a
+    cocked hat, and an armchair, for the illustration
+    to Will Watch the bold smuggler, and the Friar of
+    Orders Grey, represented by a little girl in a hoop,
+    with a ship in the distance. All these as of yore,
+    when they were infinite delights to me.
+
+On one of his explorations he met a landsman who told him
+about the running down of an emigrant ship, and how he heard
+a sound coming over the sea 'like a great sorrowful flute or
+Aeolian harp.' He makes another and very humorous reference to
+this instrument in a letter to Landor, in which he calls to mind
+
+    that steady snore of yours, which I once heard piercing
+    the door of your bedroom ... reverberating along the
+    bell-wire in the hall, so getting outside into the
+    street, playing Aeolian harps among the area railings,
+    and going down the New Road like the blast of a trumpet.
+
+The deserted watering-place referred to in _Out of the Season_
+is Broadstairs, and he gives us a further insight into its
+musical resources in a letter to Miss Power written on July 2,
+1847, in which he says that
+
+    a little tinkling box of music that stops at 'come'
+    in the melody of the Buffalo Gals, and can't play 'out
+    to-night,' and a white mouse, are the only amusements
+    left at Broadstairs.
+
+'Buffalo Gals' was a very popular song 'Sung with great
+applause by the Original Female American Serenaders.' (_c._
+1845.) The first verse will explain the above allusion:
+
+    As I went lum'rin' down de street, down de street,
+    A 'ansom gal I chanc'd to meet, oh, she was fair to view.
+    Buffalo gals, can't ye come out to-night, come out to-night,
+            come out to-night;
+    Buffalo gals, can't ye come out to-night, and dance by the
+            light of the moon.
+
+We find some interesting musical references and memories in
+the novelist's letters. Writing to Wilkie Collins in reference
+to his proposed sea voyage, he quotes Campbell's lines from
+'Ye Mariners of England':
+
+    As I sweep
+    Through the deep
+    When the stormy winds do blow.
+
+There are other references to this song in the novels. I have
+pointed out elsewhere that the last line also belongs to a
+seventeenth-century song.
+
+Writing to Mark Lemon (June, 1849) he gives an amusing parody of
+
+    Lesbia hath a beaming eye,
+
+beginning
+
+    Lemon is a little hipped.
+
+In a letter to Maclise he says:
+
+    My foot is in the house,
+      My bath is on the sea,
+    And before I take a souse,
+      Here's a single note to thee.
+
+These lines are a reminiscence of Byron's ode to Tom Moore,
+written from Venice on July 10, 1817:
+
+    My boat is on the shore,
+      And my bark is on the sea,
+    But before I go, Tom Moore,
+      Here's a double health to thee!
+
+The words were set to music by Bishop. This first verse had a
+special attraction for Dickens, and he gives us two or three
+variations of it, including a very apt one from Dick Swiveller
+(see p. 126).
+
+Henry F. Chorley, the musical critic, was an intimate friend
+of Dickens. On one occasion he went to hear Chorley lecture on
+'The National Music of the World,' and subsequently wrote him
+a very friendly letter criticizing his delivery, but speaking
+in high terms of the way he treated his subject.
+
+In one of his letters he makes special reference to the
+singing of the Hutchinson family.[5] Writing to the Countess
+of Blessington, he says:
+
+    I must have some talk with you about these American
+    singers. They must never go back to their own country
+    without your having heard them sing Hood's 'Bridge
+    of Sighs.'
+
+Amongst the distinguished visitors at Gad's Hill was Joachim,
+who was always a welcome guest, and of whom Dickens once said
+'he is a noble fellow.' His daughter writes in reference to
+this visit:
+
+    I never remember seeing him so wrapt and absorbed as
+    he was then, on hearing him play; and the wonderful
+    simplicity and _un_-self-consciousness of the genius
+    went straight to my father's heart, and made a fast
+    bond of sympathy between those two great men.
+
+
+_In Music Drama_
+
+Much has been written about Dickens' undoubted powers as
+an actor, as well as his ability as a stage manager, and
+it is well known that it was little more than an accident
+that kept him from adopting the dramatic profession. He ever
+took a keen interest in all that pertained to the stage, and
+when he was superintending the production of a play he was
+always particular about the musical arrangements. There is in
+existence a play-bill of 1833 showing that he superintended a
+private performance of _Clari_. This was an opera by Bishop,
+and contains the first appearance of the celebrated 'Home, Sweet
+Home,' a melody which, as we have already said, he reproduced
+on the accordion some years after. He took the part of Rolano,
+but had no opportunity of showing off his singing abilities,
+unless he took a part in the famous glee 'Sleep, gentle lady,'
+which appears in the work as a quartet for alto, two tenors,
+and bass, though it is now arranged in other forms.
+
+In his dealings with the drama Dickens was frequently his
+own bandmaster and director of the music. For instance, in
+_No Thoroughfare_ we find this direction: 'Boys enter and
+sing "God Save the Queen" (or any school devotional hymn).'
+At Obenreizer's entrance a 'mysterious theme is directed
+to be played,' that gentleman being 'well informed, clever,
+and a good musician.'
+
+Dickens was concerned in the production of one operetta--_The
+Village Coquettes_--for which he wrote the words, and John
+Hullah composed the music. It consists of songs, duets, and
+concerted pieces, and was first produced at St. James's Theatre,
+London, on December 6, 1836. The following year it was being
+performed at Edinburgh when a fire broke out in the theatre,
+and the instrumental scores together with the music of the
+concerted pieces were destroyed. No fresh copy was ever made,
+but the songs are still to be obtained. Mr. Kitton, in his
+biography of the novelist, says, 'The play was well received,
+and duly praised by prominent musical journals.'
+
+The same writer gives us to understand that Hullah originally
+composed the music for an opera called _The Gondolier_, but
+used the material for _The Village Coquettes_. Braham, the
+celebrated tenor, had a part in it. Dickens says in a letter to
+Hullah that he had had some conversation with Braham about the
+work. The singer thought very highly of it, and Dickens adds:
+
+    His only remaining suggestion is that Miss
+    Rainforth[6] will want another song when the piece is
+    in rehearsal--'a bravura--something in "The soldier
+    tired" way.'
+
+We have here a reference to a song which had a long run of
+popularity. It is one of the airs in Arne's _Artaxerxes_,
+an opera which was produced in 1761, and which held the
+stage for many years. There is a reference to this song in
+_Sketches by Boz_, when Miss Evans and her friends visited
+the Eagle. During the concert 'Miss Somebody in white satin'
+sang this air, much to the satisfaction of her audience.
+
+Dickens wrote a few songs and ballads, and in most cases he
+fell in with the custom of his time, and suggested the tune
+(if any) to which they were to be sung. In addition to those
+that appear in the various novels, there are others which
+deserve mention here.
+
+In 1841 he contributed three political squibs in verse to
+the _Examiner_, one being the 'Quack Doctor's Proclamation,'
+to the tune of 'A Cobbler there was,' and another called
+'The fine old English Gentleman.'
+
+For the _Daily News_ (of which he was the first editor) he
+wrote 'The British Lion, a new song but an old story,' which
+was to be sung to the tune of the 'Great Sea Snake.' This was
+a very popular comic song of the period, which described a
+sea monster of wondrous size:
+
+    One morning from his head we bore
+      With every stitch of sail,
+    And going at ten knots an hour
+      In six months came to his tail.
+
+Three of the songs in the _Pickwick Papers_ (referred to
+elsewhere) are original, while Blandois' song in _Little
+Dorrit_, 'Who passes by this road so late,' is a translation
+from the French. This was set to music by R.S. Dalton.
+
+In addition to these we find here and there impromptu lines
+which have no connexion with any song. Perhaps the best known
+are those which 'my lady Bowley' quotes in _The Chimes_,
+and which she had 'set to music on the new system':
+
+    Oh let us love our occupations,
+    Bless the squire and his relations,
+    Live upon our daily rations,
+    And always know our proper stations.
+
+The reference to the 'new system' is not quite obvious. Dickens
+may have been thinking of the 'Wilhem' method of teaching
+singing which his friend Hullah introduced into England, or it
+may be a reference to the Tonic Sol-fa system, which had already
+begun to make progress when _The Chimes_ was written in 1844.[7]
+
+There are some well-known lines which owners of books were
+fond of writing on the fly-leaf in order that there might be
+no mistake as to the name of the possessor. The general form
+was something like this:
+
+    John Wigglesworth is my name,
+      And England is my nation;
+    London is my dwelling-place,
+      And Christ is my salvation.
+
+(See _Choir_, Jan., 1912, p. 5.) Dickens gives us at least
+two variants of this. In _Edwin Drood_, Durdles says of the
+Mayor of Cloisterham:
+
+    Mister Sapsea is his name,
+      England is his nation,
+    Cloisterham's his dwelling-place,
+      Aukshneer's his occupation.
+
+And Captain Cuttle thus describes himself, ascribing the
+authorship of the words to Job--but then literary accuracy
+was not the Captain's strong point:
+
+    Cap'en Cuttle is my name,
+      And England is my nation,
+    This here is my dwelling-place,
+      And blessed be creation.
+
+It is said that there appeared in the _London Singer's Magazine_
+for 1839 'The Teetotal Excursion, an original Comic Song by
+Boz, sung at the London Concerts,' but it is not in my copy
+of this song-book, nor have I ever seen it.
+
+Dickens was always very careful in his choice of names and
+titles, and the evolution of some of the latter is very
+interesting. One of the many he conceived for the magazine
+which was to succeed _Household Words_ was _Household Harmony_,
+while another was _Home Music_. Considering his dislike of
+bells in general, it is rather surprising that two other
+suggestions were _English Bells_ and _Weekly Bells_, but the
+final choice was _All the Year Round_. Only once does he make
+use of a musician's name in his novels, and that is in _Great
+Expectations_. Philip, otherwise known as Pip, the hero, becomes
+friendly with Herbert Pocket. The latter objects to the name
+Philip, 'it sounds like a moral boy out of a spelling-book,'
+and as Pip had been a blacksmith and the two youngsters were
+'harmonious,' Pocket asks him:
+
+    'Would you mind Handel for a familiar name? There's
+    a charming piece of music, by Handel, called the
+    "Harmonious Blacksmith."'
+
+    'I should like it very much.'
+
+Dickens' only contribution to hymnology appeared in the _Daily
+News_ February 14, 1846, with the title 'Hymn of the Wiltshire
+Labourers.' It was written after reading a speech at one of
+the night meetings of the wives of agricultural labourers in
+Wiltshire, held with the object of petitioning for Free Trade.
+This is the first verse:
+
+    O God, who by Thy Prophet's hand
+      Did'st smite the rocky brake,
+    Whence water came at Thy command
+      Thy people's thirst to slake,
+    Strike, now, upon this granite wall,
+      Stern, obdurate, and high;
+    And let some drop of pity fall
+      For us who starve and die!
+
+We find the fondness for Italian names shown by vocalists and
+pianists humorously parodied in such self-evident forms as
+Jacksonini, Signora Marra Boni, and Billsmethi. Banjo Bones is
+a self-evident _nom d'occasion_, and the high-sounding name of
+Rinaldo di Velasco ill befits the giant Pickleson (_Dr. M._),
+who had a little head and less in it. As it was essential that
+the Miss Crumptons of Minerva House should have an Italian
+master for their pupils, we find Signer Lobskini introduced,
+while the modern rage for Russian musicians is to some extent
+anticipated in Major Tpschoffki of the Imperial Bulgraderian
+Brigade (_G.S._). His real name, if he ever had one, is said
+to have been Stakes.
+
+Dickens has little to say about the music of his time, but in
+the reprinted paper called _Old Lamps for New Ones_ (written in
+1850), which is a strong condemnation of pre-Raphaelism in art,
+he attacks a similar movement in regard to music, and makes
+much fun of the Brotherhood. He detects their influence in
+things musical, and writes thus:
+
+    In Music a retrogressive step in which there is much
+    hope, has been taken. The P.A.B., or pre-Agincourt
+    Brotherhood, has arisen, nobly devoted to consign to
+    oblivion Mozart, Beethoven, Handel, and every other
+    such ridiculous reputation, and to fix its Millennium
+    (as its name implies) before the date of the first
+    regular musical composition known to have been achieved
+    in England. As this institution has not yet commenced
+    active operations, it remains to be seen whether the
+    Royal Academy of Music will be a worthy sister of the
+    Royal Academy of Art, and admit this enterprising body
+    to its orchestra. We have it, on the best authority,
+    that its compositions will be quite as rough and
+    discordant as the real old original.
+
+Fourteen years later he makes use of a well-known phrase in
+writing to his friend Wills (October 8, 1864) in reference to
+the proofs of an article.
+
+    I have gone through the number carefully, and have
+    been down upon Chorley's paper in particular, which
+    was a 'little bit' too personal. It is all right now
+    and good, and them's my sentiments too of the Music
+    of the Future.[8]
+
+Although there was little movement in this direction when
+Dickens wrote this, the paragraph makes interesting reading
+nowadays in view of some musical tendencies in certain quarters.
+
+
+[1]  In his speech at Birmingham on 'Literature and Art'
+     (1853) he makes special reference to the 'great music
+     of Mendelssohn.'
+
+[2]  Moore's _Irish Melodies_.
+
+[3]  Moore.
+
+[4]  'Seven Dials! the region of song and poetry--first
+     effusions and last dying speeches: hallowed by the
+     names of Catnac and of Pitts, names that will entwine
+     themselves with costermongers and barrel-organs, when
+     penny magazines shall have superseded penny yards of
+     song, and capital punishment be unknown!' (_S.B.S._ 5.)
+
+[5]  The 'Hutchinson family' was a musical troupe composed of
+     three sons and two daughters selected from the 'Tribe of
+     Jesse,' a name given to the sixteen children of Jesse
+     and Mary Hutchinson, of Milford, N.H. They toured in
+     England in 1845 and 1846, and were received with great
+     enthusiasm. Their songs were on subjects connected
+     with Temperance and Anti-Slavery. On one occasion
+     Judson, one of the number, was singing the 'Humbugged
+     Husband,' which he used to accompany with the fiddle,
+     and he had just sung the line 'I'm sadly taken in,'
+     when the stage where he was standing gave way and he
+     nearly disappeared from view. The audience at first
+     took this as part of the performance.
+
+[6]  Miss Rainforth was the soloist at the first production
+     of Mendelssohn's 'Hear my Prayer.' (See _The Choir_,
+     March, 1911.)
+
+[7]  John Curwen published his _Grammar of Vocal Music_
+     in 1842.
+
+[8]  Quoted in Mr. R.C. Lehmann's _Dickens as an Editor_
+     (1912).
+
+
+
+
+CHAPTER II
+
+INSTRUMENTAL COMBINATIONS
+
+VIOLIN, VIOLONCELLO, HARP, PIANO
+
+
+Dickens' orchestras are limited, both in resources and in the
+number of performers; in fact, it would be more correct to
+call them combinations of instruments. Some of them are of
+a kind not found in modern works on instrumentation, as, for
+instance, at the party at Trotty Veck's (_Ch._) when a 'band of
+music' burst into the good man's room, consisting of a drum,
+marrow-bones and cleavers, and bells, 'not _the_ bells but a
+portable collection on a frame.' We gather from Leech's picture
+that other instrumentalists were also present. Sad to relate,
+the drummer was not quite sober, an unfortunate state of things,
+certainly, but not always confined to the drumming fraternity,
+since in the account of the Party at Minerva House (_S.B.T._)
+we read that amongst the numerous arrivals were 'the pianoforte
+player and the violins: the harp in a state of intoxication.'
+
+We have an occasional mention of a theatre orchestra, as,
+for instance, when the Phenomenon was performing at Portsmouth
+(_N.N._):
+
+    'Ring in the orchestra, Grudden.'
+
+    That useful lady did as she was requested, and shortly
+    afterwards the tuning of three fiddles was heard,
+    which process, having been protracted as long as it
+    was supposed that the patience of the orchestra could
+    possibly bear it, was put a stop to by another jerk of
+    the bell, which, being the signal to begin in earnest,
+    set the orchestra playing a variety of popular airs
+    with involuntary variations.
+
+On one occasion Dickens visited Vauxhall Gardens by day, where
+'a small party of dismal men in cocked hats were "executing"
+the overture to _Tancredi_,' but he does not, unfortunately,
+give us any details about the number or kind of instruments
+employed. This would be in 1836, when the experiment of day
+entertainments was given a trial, and a series of balloon
+ascents became the principal attraction. Forster tells us
+that Dickens was a frequent visitor at the numerous gardens
+and places of entertainment which abounded in London, and
+which he knew better than any other man. References will
+be found elsewhere to the music at the Eagle (p. 47) and the
+White Conduit Gardens (p. 93).
+
+
+_Violin and Kit._
+
+We meet with but few players on the violin, and it is usually
+mentioned in connexion with other instruments, though it was to
+the strains of a solitary fiddle that Simon Tappertit danced a
+hornpipe for the delectation of his followers, while the same
+instrument supplied the music at the Fezziwig's ball.
+
+    In came a fiddler with a music-book, and went up to
+    the lofty desk, and made an orchestra of it, and tuned
+    like fifty stomach-aches.
+
+The orchestra at the 'singing-house' provided for Jack's
+amusement when ashore (_U.T._ 5) consisted of a fiddle and
+tambourine; while at dances the instruments were fiddles
+and harps. It was the harps that first aroused Mr. Jingle's
+curiosity, as he met them being carried up the staircase
+of The Bull at Rochester, while, shortly after, the tuning
+of both harps and fiddles inspired Mr. Tupman with a strong
+desire to go to the ball. Sometimes the orchestra is a little
+more varied. At the private theatricals which took place at
+Mrs. Gattleton's (_S.B.T._ 9), the selected instruments were
+a piano, flute, and violoncello, but there seems to have been
+a want of proper rehearsal.
+
+    Ting, ting, ting! went the prompter's bell at eight
+    o'clock precisely, and dash went the orchestra into
+    the overture to the _Men of Prometheus_. The pianoforte
+    player hammered away with laudable perseverance, and the
+    violoncello, which struck in at intervals, sounded very
+    well, considering. The unfortunate individual, however,
+    who had undertaken to play the flute accompaniment
+    'at sight' found, from fatal experience, the perfect
+    truth of the old adage, 'Out of sight, out of mind';
+    for being very near-sighted, and being placed at
+    a considerable distance from his music-book, all he
+    had an opportunity of doing was to play a bar now and
+    then in the wrong place, and put the other performers
+    out. It is, however, but justice to Mr. Brown to
+    say that he did this to admiration. The overture,
+    in fact, was not unlike a race between the different
+    instruments; the piano came in first by several bars,
+    and the violoncello next, quite distancing the poor
+    flute; for the deaf gentleman _too-too'd_ away, quite
+    unconscious that he was at all wrong, until apprised,
+    by the applause of the audience, that the overture
+    was concluded.
+
+It was probably after this that the pianoforte player fainted
+away, owing to the heat, and left the music of _Masaniello_ to
+the other two. There were differences between these remaining
+musicians and Mr. Harleigh, who played the title r�le, the
+orchestra complaining that 'Mr. Harleigh put them out, while the
+hero declared that the orchestra prevented his singing a note.'
+
+It was to the strains of a wandering harp and fiddle that Marion
+and Grace Jeddler danced 'a trifle in the Spanish style,'
+much to their father's astonishment as he came bustling out
+to see who 'played music on his property before breakfast.'
+
+The little fiddle commonly known as a 'kit' that dancing-masters
+used to carry in their capacious tail coat pockets was much more
+in evidence in the middle of last century than it is now. Caddy
+Jellyby (_B.H._), after her marriage to a dancing-master,
+found a knowledge of the piano and the kit essential, and so
+she used to practise them assiduously. When Sampson Brass
+hears Kit's name for the first time he says to Swiveller:
+
+    'Strange name--name of a dancing-master's fiddle,
+    eh, Mr. Richard?'
+
+We must not forget the story of a fine young Irish gentleman,
+as told by the one-eyed bagman to Mr. Pickwick and his friends,
+who,
+
+    being asked if he could play the fiddle, replied he
+    had no doubt he could, but he couldn't exactly say
+    for certain, because he had never tried.
+
+
+_Violoncello_
+
+Mr. Morfin (_D. & S._), 'a cheerful-looking, hazel-eyed elderly
+bachelor,' was
+
+    a great musical amateur--in his way--after business,
+    and had a paternal affection for his violoncello, which
+    was once in every week transported from Islington,
+    his place of abode, to a certain club-room hard by
+    the Bank, where quartets of the most tormenting and
+    excruciating nature were executed every Wednesday
+    evening by a private party.
+
+His habit of humming his musical recollections of these
+evenings was a source of great annoyance to Mr. James Carker,
+who devoutly wished 'that he would make a bonfire of his
+violoncello, and burn his books with it.' There was only a thin
+partition between the rooms which these two gentlemen occupied,
+and on another occasion Mr. Morfin performed an extraordinary
+feat in order to warn the manager of his presence.
+
+    I have whistled, hummed tunes, gone accurately through
+    the whole of Beethoven's Sonata in B, to let him know
+    that I was within hearing, but he never heeded me.
+
+This particular sonata has not hitherto been identified.
+
+It is comforting to know that the fall of the House of Dombey
+made no difference to Mr. Morfin, who continued to solace
+himself by producing 'the most dismal and forlorn sounds
+out of his violoncello before going to bed,' a proceeding
+which had no effect on his deaf landlady, beyond producing
+'a sensation of something rumbling in her bones.'
+
+Nor were the quartet parties interfered with. They came round
+regularly, his violoncello was in good tune, and there was
+nothing wrong in _his_ world. Happy Mr. Morfin!
+
+Another 'cellist was the Rev. Charles Timson, who, when
+practising his instrument in his bedroom, used to give strict
+orders that he was on no account to be disturbed.
+
+It was under the pretence of buying 'a second-hand wiolinceller'
+that Bucket visited the house of the dealer in musical instruments
+in order to effect the arrest of Mr. George (_B.H._).
+
+
+_Harp_
+
+The harp was a fashionable drawing-room instrument in the
+early Victorian period, although the re-introduction of
+the guitar temporarily detracted from its glory. It was
+also indispensable in providing music for dancing-parties
+and concerts. When Esther Summerson went to call on the
+Turveydrops (_B.H._) she found the hall blocked up with a
+grand piano, a harp, and various other instruments which had
+been used at a concert. As already stated, it was the sight
+of these instruments being carried up the stairs at The Bull
+in Rochester that aroused Mr. Jingle's curiosity (_P.P._)
+and led to the discovery that a ball was in prospect.
+
+We must not forget the eldest Miss Larkins, one of David
+Copperfield's early, fleeting loves. He used to wander up and
+down outside the home of his beloved and watch the officers
+going in to hear Miss L. play the harp. On hearing of her
+engagement to one of these he mourned for a very brief period,
+and then went forth and gloriously defeated his old enemy
+the butcher boy. What a contrast between this humour and the
+strange scene in the drawing-room at James Steerforth's home
+after Rosa Dartle had sung the strange weird Irish song to
+the accompaniment of her harp! And how different, again, the
+scene in the home of Scrooge's nephew (_C.C._) when, after tea,
+'they had some music.'
+
+    Scrooge's niece played well upon the harp; and played,
+    among other things, a simple little air.
+
+It reminded Scrooge of a time long past.
+
+    He softened more and more; and thought that if he
+    could have listened to it often, years ago, he might
+    have cultivated the kindnesses of life for his own
+    happiness with his own hand.
+
+Little Paul Dombey told Lady Skettles at the breaking-up party
+that he was very fond of music, and he was very, very proud of
+his sister's accomplishments both as player and singer. Did they
+inherit this love from their father? 'You are fond of music,'
+said the Hon. Mrs. Skewton to Mr. Dombey during an interval
+in a game of picquet. 'Eminently so,' was the reply. But the
+reader must not take him at his word. When Edith (the future
+Mrs. Dombey) entered the room and sat down to her harp,
+
+    Mr. Dombey rose and stood beside her, listening. He
+    had little taste for music, and no knowledge of the
+    strain she played; but he saw her bending over it,
+    and perhaps he heard among the sounding strings some
+    distant music of his own.
+
+Yet when she went to the piano and commenced to sing Mr. Dombey
+did not know that it was 'the air that his neglected daughter
+sang to his dead son'!
+
+
+_Piano_
+
+Lady musicians are numerous, and of very varied degrees of
+excellence. Amongst the pianists is Miss Teresa Malderton, who
+nearly fell a prey to that gay deceiver Mr. Horatio Sparkins
+(_S.B.T._ 5). Her contribution to a musical evening was
+'The Fall of Paris,' played, as Mr. Sparkins declared, in a
+masterly manner.
+
+There was a song called 'The Fall of Paris,' but it is most
+probable that Dickens was thinking of a very popular piece
+which he must have often heard in his young days, of which
+the full title was
+
+    THE SURRENDER OF PARIS. A characteristic Divertimento
+    for the Pianoforte, including the events from the Duke
+    of Wellington and Prince Blucher's marching to that
+    capital to the evacuation by the French troops and
+    taking possession by the Allies, composed by Louis
+    Jansen, 1816.
+
+Not the least curious section of this piece of early programme
+music is a _moderato_ recording the various articles of the
+capitulation. These are eighteen in number, and each has
+its own 'theme.' The interspersion of some discords seems to
+imply serious differences of opinion between the parties to
+the treaty.
+
+There was also a song called 'The Downfall of Paris,' the
+first verse of which was
+
+    Great news I have to tell you all,
+      Of Bonaparte and a' that;
+    How Paris it has got a fall,
+      He's lost his plans and a' that.
+
+    _Chorus._
+
+    Rise up, John Bull, rise up and sing,
+      Your chanter loudly blaw that;
+    Lang live our auld and worthy king,
+      Success to Britain, a' that.
+
+The instrument beloved of Miss Tox (_D. & S._) was the
+harpsichord, and her favourite piece was the 'Bird Waltz,' while
+the 'Copenhagen Waltz' was also in her repertoire. Two notes of
+the instrument were dumb from disuse, but their silence did not
+impoverish the rendering. Caddy Jellyby found it necessary to
+know something of the piano, in order that she might instruct
+the 'apprentices' at her husband's dancing-school. Another
+performer was Mrs. Namby, who entertained Mr. Pickwick with
+solos on a square piano while breakfast was being prepared. When
+questioned by David Copperfield as to the gifts of Miss Sophy
+Crewler, Traddles explained that she knew enough of the piano
+to teach it to her little sisters, and she also sang ballads to
+freshen up her family a little when they were out of spirits,
+but 'nothing scientific.' The guitar was quite beyond her. David
+noted with much satisfaction (though he did not say so) that
+his Dora was much more gifted musically.
+
+When Dickens wrote his earlier works it was not considered
+the correct thing for a gentleman to play the piano, though
+it might be all very well for the lower classes and the music
+teacher. Consequently we read of few male performers on the
+instrument. Mr. Skimpole could play the piano, and of course
+Jasper had a 'grand' in his room at Cloisterham.
+
+At one time, if we may believe the turnkey at the Marshalsea
+prison, William Dorrit had been a pianist, a fact which raised
+him greatly in the turnkey's opinion.
+
+    Brought up as a gentleman, he was, if ever a man was.
+    Educated at no end of expense. Went into the Marshal's
+    house once to try a new piano for him. Played it,
+    I understand, like one o'clock--beautiful.
+
+In the _Collected Papers_ we have a picture of the 'throwing
+off young gentleman,' who strikes a note or two upon the piano,
+and accompanies it correctly (by dint of laborious practice)
+with his voice. He assures
+
+    a circle of wondering listeners that so acute was his
+    ear that he was wholly unable to sing out of tune,
+    let him try as he would.
+
+Mr. Weller senior laid a deep plot in which a piano was to
+take a prominent part. His object was to effect Mr. Pickwick's
+escape from the Fleet.
+
+    Me and a cab'net-maker has dewised a plan for
+    gettin' him out. 'A pianner, Samivel, a pianner,'
+    said Mr. Weller, striking his son on the chest with
+    the back of his hand, and falling back a step or two.
+
+    'Wot do you mean?' said Sam.
+
+    'A pianner-forty, Samivel,' rejoined Mr. Weller, in a
+    still more mysterious manner, 'as he can have on hire;
+    vun as von't play, Sammy.'
+
+    'And wot 'ud be the good of that?' said Sam.
+
+    'There ain't no vurks in it,' whispered his father. 'It
+    'ull hold him easy, vith his hat and shoes on; and
+    breathe through the legs, vich is holler.'
+
+But the usually dutiful Sam showed so little enthusiasm for
+his father's scheme that nothing more was heard of it.
+
+
+
+
+CHAPTER III
+
+VARIOUS INSTRUMENTS
+
+FLUTE, ORGAN, GUITAR (AND SOME HUMMERS)
+
+
+_Flute_
+
+We find several references to the flute, and Dickens contrives
+to get much innocent fun out of it. First comes Mr. Mell,
+who used to carry his instrument about with him and who, in
+response to his mother's invitation to 'have a blow at it'
+while David Copperfield was having his breakfast, made, said
+David, 'the most dismal sounds I have ever heard produced
+by any means, natural or artificial.' After he had finished
+he unscrewed his flute into three pieces, and deposited them
+underneath the skirts of his coat.
+
+Dickens' schoolmasters seem to have been partial to the
+flute. Mr. Squeers, it is true, was not a flautist, but
+Mr. Feeder, B.A., was, or rather he was going to be. When
+little Paul Dombey visited his tutor's room he saw 'a flute
+which Mr. Feeder couldn't play yet, but was going to make a
+point of learning, he said, hanging up over the fireplace.'
+
+He also had a beautiful little curly second-hand 'key bugle,'
+which was also on the list of things to be accomplished on
+some future occasion, in fact he has unlimited confidence in
+the power and influence of music. Here is his advice to the
+love-stricken Mr. Toots, whom he recommends to
+
+    learn the guitar, or at least the flute; for women
+    like music when you are paying your addresses to 'em,
+    and he has found the advantage of it himself.
+
+The flute was the instrument that Mr. Richard Swiveller took
+to when he heard that Sophy Wackles was lost to him for ever,
+
+    thinking that it was a good, sound, dismal occupation,
+    not only in unison with his own sad thoughts, but
+    calculated to awaken a fellow feeling in the bosoms
+    of his neighbours.
+
+So he got out his flute, arranged the light and a small
+oblong music-book to the best advantage, and began to play
+'most mournfully.'
+
+    The air was 'Away with Melancholy,' a composition which,
+    when it is played very slowly on the flute, in bed,
+    with the further disadvantage of being performed
+    by a gentleman but imperfectly acquainted with the
+    instrument, who repeats one note a great many times
+    before he can find the next, has not a lively effect.
+
+So Mr. Swiveller spent half the night or more over this pleasing
+exercise, merely stopping now and then to take breath and
+soliloquize about the Marchioness; and it was only after he
+'had nearly maddened the people of the house, and at both the
+next doors, and over the way,' that he shut up the book and
+went to sleep. The result of this was that the next morning
+he got a notice to quit from his landlady, who had been in
+waiting on the stairs for that purpose since the dawn of day.
+
+Jack Redburn, too (_M.H.C._), seems to have found consolation
+in this instrument, spending his wet Sundays in 'blowing a
+very slow tune on the flute.'
+
+There is one, and only one, recorded instance of this very
+meek instrument suddenly asserting itself by going on strike,
+and that is in the sketch entitled _Private Theatres_ (_S.B.S._
+13), where the amateurs take so long to dress for their parts
+that 'the flute says he'll be blowed if he plays any more.'
+
+We must on no account forget the serenade with which the
+gentlemen boarders proposed to honour the Miss Pecksniffs. The
+performance was both vocal and instrumental, and the description
+of the flute-player is delightful.
+
+    It was very affecting, very. Nothing more dismal could
+    have been desired by the most fastidious taste.... The
+    youngest gentleman blew his melancholy into a flute. He
+    didn't blow much out of it, but that was all the better.
+
+After a description of the singing we have more about the flute.
+
+    The flute of the youngest gentleman was wild and
+    fitful. It came and went in gusts, like the wind. For
+    a long time together he seemed to have left off, and
+    when it was quite settled by Mrs. Todgers and the
+    young ladies that, overcome by his feelings, he had
+    retired in tears, he unexpectedly turned up again at
+    the very top of the tune, gasping for breath. He was
+    a tremendous performer. There was no knowing where to
+    have him; and exactly when you thought he was doing
+    nothing at all, then was he doing the very thing that
+    ought to astonish you most.
+
+Yet another performer is the domestic young gentleman (_C.P._)
+who holds skeins of silk for the ladies to wind, and who then
+
+    brings down his flute in compliance with a request
+    from the youngest Miss Gray, and plays divers tunes
+    out of a very small book till supper-time.
+
+When Nancy went to the prison to look for Oliver Twist, she
+found nobody in durance vile except a man who had been taken
+up for playing the flute, and who was bewailing the loss of
+the same, which had been confiscated for the use of the county.
+
+The gentleman who played the violoncello at Mrs. Gattleton's
+party has already been referred to, and it only remains to
+mention Mr. Evans, who 'had such lovely whiskers' and who
+played the flute on the same occasion, to bring the list of
+players to an end.
+
+
+_Hummers_
+
+We meet with a remarkable musician in _Dombey and Son_ in
+the person of Harriet Carker's visitor, a scientific one,
+according to the description:
+
+    A certain skilful action of his fingers as he hummed
+    some bars, and beat time on the seat beside him,
+    seemed to denote the musician; and the extraordinary
+    satisfaction he derived from humming something very
+    slow and long, which had no recognizable tune, seemed
+    to denote that he was a scientific one.
+
+A less capable performer was Sampson Brass, who hummed
+
+    in a voice that was anything but musical certain
+    vocal snatches which appeared to have reference to the
+    union between Church and State, inasmuch as they were
+    compounded of the Evening Hymn and 'God Save the King.'
+
+Musicians of various degrees abound in the _Sketches_. Here is
+Mr. Wisbottle, whistling 'The Light Guitar' at five o'clock
+in the morning, to the intense disgust of Mr. John Evenson,
+a fellow boarder at Mrs. Tibbs'. Subsequently he came down to
+breakfast in blue slippers and a shawl dressing-gown, whistling
+'Di piacer.' Mr. Evenson can no longer control his feelings,
+and threatens to start the triangle if his enemy will not stop
+his early matutinal music. A suggested name for this whistler
+is the 'humming-top,' from his habit of describing semi-circles
+on the piano stool, and 'humming most melodiously.' There are
+a number of characters who indulge in the humming habit either
+to cover their confusion, or as a sign of light-heartedness and
+contentment. Prominent amongst these are Pecksniff, who, like
+Morfin, hums melodiously, and Micawber, who can both sing and
+hum. Nor must we omit to mention Miss Petowker, who 'hummed a
+tune' as her contribution to the entertainment at Mrs. Kenwigs'
+party. Many of the characters resort to humming to conceal
+their temporary discomfiture, and perhaps no one ever hummed
+under more harassing circumstances than when Mr. Pecksniff had
+to go to the door to let in some very unwelcome guests, who
+had already knocked several times. But he was a past master
+in the art of dissimulation. He is particularly anxious to
+conceal from his visitors the fact that Jonas Chuzzlewit is
+in the house. So he says to the latter--
+
+    'This may be a professional call. Indeed I am pretty
+    sure it is. Thank you.' Then Mr. Pecksniff, gently
+    warbling a rustic stave, put on his garden hat, seized
+    a spade, and opened the street door; calmly appearing
+    on the threshold as if he thought he had, from his
+    vineyard, heard a modest rap, but was not quite certain.
+
+Then he tells his visitors 'I do a little bit of Adam still.'
+He certainly had a good deal of the old Adam in him.
+
+
+_Clarionet_
+
+The clarionet is associated with the fortunes of Mr. Frederick
+Dorrit, who played the instrument at the theatre where his
+elder niece was a dancer, and where Little Dorrit sought an
+engagement. After the rehearsal was over she and her sister
+went to take him home.
+
+    He had been in that place six nights a week for many
+    years, but had never been observed to raise his eyes
+    above his music-book.... The carpenters had a joke
+    that he was dead without being aware of it.
+
+At the theatre he had no part in what was going on except the
+part written for the clarionet. In his young days his house
+had been the resort of singers and players. When the fortunes
+of the family changed his clarionet was taken away from him, on
+the ground that it was a 'low instrument.' It was subsequently
+restored to him, but he never played it again.
+
+Of quite a different stamp was one of the characters in
+_Going into Society_, who played the clarionet in a band at
+a Wild Beast Show, and played it all wrong. He was somewhat
+eccentric in dress, as he had on 'a white Roman shirt and a
+bishop's mitre covered with leopard skin.' We are told nothing
+about him, except that he refused to know his old friends. In
+his story of the _Seven Poor Travellers_ Dickens found the
+clarionet-player of the Rochester Waits so communicative that
+he accompanied the party across an open green called the Vines,
+
+    and assisted--in the French sense--at the performance
+    of two waltzes, two polkas, and three Irish melodies.
+
+
+_Bassoon_
+
+A notable bassoon player was Mr. Bagnet, who had a voice
+somewhat resembling his instrument. The ex-artilleryman
+kept a little music shop in a street near the Elephant and
+Castle. There were
+
+    a few fiddles in the window, and some Pan's pipes and
+    a tambourine, and a triangle, and certain elongated
+    scraps of music.
+
+It was to this shop that Bucket the detective came under
+the pretence of wanting a second-hand 'wiolinceller' (see
+p. 29). In the course of conversation it turns out that Master
+Bagnet (otherwise 'Woolwich') 'plays the fife beautiful,'
+and he performs some popular airs for the benefit of his
+audience. Mr. Bucket also claims to have played the fife
+himself when a boy, 'not in a scientific way, but by ear.'
+
+
+_Bagpipes_
+
+Two references to the bagpipes deserve notice. One is in
+_David Copperfield_, where the novelist refers to his own
+early experiences as a shorthand reporter. He has no high
+opinion of the speeches he used to take down.
+
+    One joyful night, therefore, I noted down the music
+    of the parliamentary bagpipes for the last time, and
+    I have never heard it since; though I still recognize
+    the old drone in the newspapers.
+
+In _O.M.F._ (II.) we read of Charley Hexam's fellow pupils
+keeping themselves awake
+
+    by maintaining a monotonous droning noise, as if they
+    were performing, out of time and tune, on a ruder sort
+    of bagpipe.
+
+The peculiar subdued noise caused by a lot of children in a
+school is certainly suggestive of the instrument.
+
+
+_Trombone_
+
+Little is said about the trombone. We are told, in reference
+to the party at Dr. Strong's (_D.C._), that the good Doctor
+knew as much about playing cards as he did about 'playing the
+trombone.' In 'Our School' (_R.P._) we are told a good deal
+about the usher who 'made out the bills, mended the pens,
+and did all sorts of things.'
+
+    He was rather musical, and on some remote quarter-day
+    had bought an old trombone; but a bit of it was lost,
+    and it made the most extraordinary sounds when he
+    sometimes tried to play it of an evening.
+
+In a similarly dismembered state was the flute which Dickens
+once saw in a broker's shop. It was 'complete with the exception
+of the middle joint.'
+
+This naturally calls to mind the story of the choir librarian
+who was putting away the vocal parts of a certain funeral
+anthem. After searching in vain for two missing numbers he
+was obliged to label the parcel
+
+    'His body is buried in peace.' Two parts missing.
+
+
+_Organ_
+
+The references to the organ are both numerous and interesting,
+and it is pretty evident that this instrument had a great
+attraction for Dickens. The gentle Tom Pinch (_M.C._), whom
+Gissing calls 'a gentleman who derives his patent of gentility
+direct from God Almighty,' first claims our attention. He used
+to play the organ at the village church 'for nothing.' It was a
+simple instrument, 'the sweetest little organ you ever heard,'
+provided with wind by the action of the musician's feet,
+and thus Tom was independent of a blower, though he was so
+beloved that
+
+    there was not a man or boy in all the village and
+    away to the turnpike (tollman included) but would have
+    blown away for him till he was black in the face.
+
+What a delight it must have been to him to avail himself of
+the opportunity to play the organ in the cathedral when he
+went to meet Martin!
+
+    As the grand tones resounded through the church they
+    seemed, to Tom, to find an echo in the depth of every
+    ancient tomb, no less than in the deep mystery of his
+    own heart.
+
+And he would have gone on playing till midnight 'but for a
+very earthy verger,' who insisted on locking up the cathedral
+and turning him out.
+
+On one occasion, while he was practising at the church, the
+miserable Pecksniff entered the building and, hiding behind
+a pew, heard the conversation between Tom and Mary that led
+to the former being dismissed from the architect's office,
+so he had to leave his beloved organ, and mightily did the
+poor fellow miss it when he went to London! Being an early
+riser, he had been accustomed to practise every morning,
+and now he was reduced to taking long walks about London,
+a poor substitute indeed!
+
+Nor was the organ the only instrument that he could play,
+for we read how he would spend half his nights poring over the
+'jingling anatomy of that inscrutable old harpsichord in the
+back parlour,' and amongst the household treasures that he
+took to London were his music and an old fiddle.
+
+The picture which forms our frontispiece shows Tom Pinch playing
+his favourite instrument. At the sale of the original drawings
+executed by 'Phiz' for _Martin Chuzzlewit_ this frontispiece,
+which is an epitome of the salient characters and scenes in
+the novel, was sold for �35.
+
+We read in _Christmas Stories_ that
+
+    Silas Jorgan
+    Played the organ,
+
+but we are not told the name of the artist who at the concert
+at the Eagle (_S.B.C._ 4) accompanied a comic song on the
+organ--and such an organ!
+
+    Miss J'mima Ivins's friend's young man whispered it
+    had cost 'four hundred pound,' which Mr. Samuel Wilkins
+    said was 'not dear neither.'
+
+The singer was probably either Howell or Glindon. Dickens
+appears to have visited the Eagle Tavern in 1835 or 1836. It
+was then a notable place of entertainment consisting of gardens
+with an orchestra, and the 'Grecian Saloon,' which was furnished
+with an organ and a 'self-acting piano.' Here concerts were
+given every evening, which in Lent took a sacred turn, and
+consisted of selections from Handel and Mozart. In 1837 the
+organ was removed, and a new one erected by Parsons.
+
+The Eagle gained a wide reputation through its being introduced
+into a once popular song.
+
+    Up and down the City Road,
+      In and out the Eagle,
+    That's the way the money goes,
+      Pop goes the weasel.
+
+This verse was subsequently modified (for nursery purposes)
+thus:
+
+    Half a pound of tuppenny rice,
+      Half a pound of treacle,
+    That's the way the money goes,[9]
+      Pop goes the weasel.
+
+Many explanations have been given of 'weasel.' Some say
+it was a purse made of weasel skin; others that it was a
+tailor's flat-iron which used to be pawned (or 'popped')
+to procure the needful for admission to the tavern. A third
+(and more intelligible) suggestion is that the line is simply
+a catch phrase, without any meaning.
+
+There is a notable reference to the organ in _Little
+Dorrit_. Arthur Clennam goes to call on old Frederick Dorrit,
+the clarionet player, and is directed to the house where he
+lived. 'There were so many lodgers in this house that the
+door-post seemed to be as full of bell handles as a cathedral
+organ is of stops,' and Clennam hesitates for a time, 'doubtful
+which might be the clarionet stop.'
+
+Further on in the same novel we are told that it was the organ
+that Mrs. Finching was desirous of learning.
+
+    I have said ever since I began to recover the blow of
+    Mr. F's death that I would learn the organ of which
+    I am extremely fond but of which I am ashamed to say
+    I do not yet know a note.
+
+The following fine description of the tones of an organ occurs
+in _The Chimes_:
+
+    The organ sounded faintly in the church below. Swelling
+    by degrees the melody ascended to the roof, and filled
+    the choir and nave. Expanding more and more, it rose
+    up, up; up, up; higher, higher, higher up; awakening
+    agitated hearts within the burly piles of oak, the
+    hollow bells, the iron-bound doors, the stairs of
+    solid stone; until the tower walls were insufficient
+    to contain it, and it soared into the sky.
+
+The effect of this on Trotty Veck was very different from that
+which another organ had on the benevolent old lady we read of
+in _Our Parish_. She subscribed �20 towards a new instrument
+for the parish church, and was so overcome when she first
+heard it that she had to be carried out by the pew-opener.
+
+There are various references to the organs in the City churches,
+and probably the description of one of them given in _Dombey
+and Son_ would suit most instruments of the period.
+
+    The organ rumbled and rolled as if it had got the
+    colic, for want of a congregation to keep the wind
+    and damp out.
+
+
+_Barrel-Organ_
+
+In real life the barrel-organ was a frequent source of annoyance
+to Dickens, who found its ceaseless strains very trying when
+he was busy writing, and who had as much trouble in evicting
+the grinders as David Copperfield's aunt had with the donkeys.
+
+However, he takes a very mild revenge on this deservedly
+maligned instrument in his works, and the references are, as
+usual, of a humorous character. A barrel-organ formed a part of
+the procession to celebrate the election of Mr. Tulrumble[10]
+as Mayor of Mudfog, but the player put on the wrong stop,
+and played one tune while the band played another.
+
+This instrument had an extraordinary effect on Major Tpschoffki,
+familiarly and more easily known as 'Chops,' the dwarf,
+'spirited but not proud,' who was desirous of 'Going into
+Society' (_G.S._), and who had got it into his head that he
+was entitled to property:
+
+    His ideas respectin' his property never come upon him so
+    strong as when he sat upon a barrel-organ, and had the
+    handle turned. Arter the wibration had run through him
+    a little time he would screech out, 'Toby, I feel my
+    property coming--grind away! I'm counting my guineas
+    by thousands, Toby--grind away! Toby, I shall be a
+    man of fortun! I feel the Mint a-jingling in me, Toby,
+    and I'm swelling out into the Bank of England.' Such
+    is the influence of music on a poetic mind.
+
+Dickens found the streets in New York very different from
+those in London, and specially remarks how quiet they were--no
+itinerant musicians or showmen of any kind. He could only
+remember hearing one barrel-organ with a dancing-monkey.
+'Beyond that, nothing lively, no, not so much as a white mouse
+in a twirling cage.'
+
+We must not forget that he has two references to pipe organs
+in his _American Notes_. When he visited the Blind School at
+Boston he heard a voluntary played on the organ by one of the
+pupils, while at St. Louis he was informed that the Jesuit
+College was to be supplied with an organ sent from Belgium.
+
+The barrel-organ brings to mind Jerry and his troupe of
+dancing-dogs (_O.C.S._), especially the unfortunate animal who
+had lost a halfpenny during the day, and consequently had to
+go without his supper. In fact, his master made the punishment
+fit the crime; for, having set the stop, he made the dog play
+the organ while the rest had their evening meal.
+
+    When the knives and forks rattled very much, or any
+    of his fellows got an unusually large piece of fat,
+    he accompanied the music with a short howl; but he
+    immediately checked it on his master looking round
+    and applied himself with increased diligence to the
+    Old Hundredth.
+
+In _Dombey and Son_ there is a very apt comparison of
+Mr. Feeder, B.A., to this instrument. He was Doctor Blimber's
+assistant master, and was entrusted with the education of
+little Paul.
+
+    Mr. Feeder, B.A. ... was a kind of human barrel-organ
+    with a little list of tunes at which he was continually
+    working, over and over again, without any variation. He
+    might have been fitted up with a change of barrels,
+    perhaps, in early life, if his destiny had been
+    favourable, but it had not been.
+
+So he had only one barrel, his sole occupation being
+to 'bewilder the young ideas of Dr. Blimber's young
+gentlemen.' Sometimes he had his Virgil stop on, and at other
+times his Herodotus stop. In trying to keep up the comparison,
+however, Dickens makes a curious mistake. In the above quotation
+Feeder is assigned one barrel only, while in Chapter XLI we
+are told that he had 'his other barrels on a shelf behind him.'
+
+We find another comparison in _Little Dorrit_, when the
+long-suffering Pancks turns round on Casby, his employer,
+and exposes his hypocrisy. Pancks, who has had much difficulty
+in getting his master's rents from the tenants, makes up his
+mind to leave him; and before doing so he tells the whole truth
+about Casby to the inhabitants of Bleeding Heart Yard. 'Here's
+the Stop,' said Pancks, 'that sets the tune to be ground. And
+there is but one tune, and its name is "Grind! Grind! Grind!"'
+
+
+_Guitar_
+
+Although the guitar was a fashionable instrument sixty
+years ago, there are but few references to it. This was the
+instrument that enabled the three Miss Briggses, each of them
+performers, to eclipse the glory of the Miss Tauntons, who could
+only manage a harp. On the eventful day of 'The Steam Excursion'
+(_S.B._) the three sisters brought their instruments, carefully
+packed up in dark green cases,
+
+    which were carefully stowed away in the bottom of the
+    boat, accompanied by two immense portfolios of music,
+    which it would take at least a week's incessant playing
+    to get through.
+
+At a subsequent stage of the proceedings they were asked to
+play, and after replacing a broken string, and a vast deal of
+screwing and tightening, they gave 'a new Spanish composition,
+for three voices and three guitars,' and secured an encore,
+thus completely overwhelming their rivals. In the account of
+the _French Watering-Place_ (_R.P._) we read about a guitar
+on the pier, 'to which a boy or woman sings without any voice
+little songs without any tune.'
+
+On one of his night excursions in the guise of an 'Uncommercial
+Traveller' Dickens discovered a stranded Spaniard, named
+Antonio. In response to a general invitation 'the swarthy youth'
+takes up his cracked guitar and gives them the 'feeblest ghost
+of a tune,' while the inmates of the miserable den kept time
+with their heads.
+
+Dora used to delight David Copperfield by singing enchanting
+ballads in the French language and accompanying herself 'on a
+glorified instrument, resembling a guitar,' though subsequent
+references show it was that instrument and none other.
+
+We read in _Little Dorrit_ that Young John Chivery wore
+'pantaloons so highly decorated with side stripes, that each
+leg was a three-stringed lute.' This appears to be the only
+reference to this instrument, and a lute of three strings is the
+novelist's own conception, the usual number being about nine.
+
+
+[9]  Or, 'Mix it up and make it nice.'
+
+[10] _The Public Life of Mr. Tulrumble_, 1837.
+
+
+
+
+CHAPTER IV
+
+VARIOUS INSTRUMENTS (continued)
+
+
+Many musical instruments and terms are mentioned by way of
+illustration. Blathers, the Bow Street officer (_O.T._),
+plays carelessly with his handcuffs as if they were a pair of
+castanets. Miss Miggs (_B.R._) clanks her pattens as if they
+were a pair of cymbals. Mr. Bounderby (_H.T._), during his
+conversation with Harthouse,
+
+    with his hat in his hand, gave a beat upon the crown
+    at every division of his sentences, as if it were
+    a tambourine;
+
+and in the same work the electric wires rule 'a colossal strip
+of music-paper out of the evening sky.'
+
+Perhaps the most extraordinary comparison is that instituted
+by Mrs. Lirriper in reference to her late husband.
+
+    My poor Lirriper was a handsome figure of a man,
+    with a beaming eye and a voice as mellow as a musical
+    instrument made of honey and steel.
+
+What a vivid imagination the good woman had! Her descriptive
+powers remind us of those possessed by Mrs. Gamp in speaking
+of the father of the mysterious Mrs. Harris.
+
+    As pleasant a singer, Mr. Chuzzlewit, as ever you heerd,
+    with a voice like a Jew's-harp in the bass notes.
+
+There are many humorous references to remarkable performances on
+various instruments more or less musical in their nature. During
+the election at Eatanswill the crier performed two concertos
+on his bell, and shortly afterwards followed them up with a
+fantasia on the same instrument. Dickens suffered much from
+church bells, and gives vent to his feelings about them in
+_Little Dorrit_, where he says that
+
+    Maddening church bells of all degrees of dissonance,
+    sharp and flat, cracked and clear, fast and slow,
+    made the brick-and-mortar echoes hideous.
+
+In his _Pictures from Italy_ he wrote thus:
+
+    At Genoa the bells of the church ring incessantly,
+    not in peals, or any known form of sound, but in
+    horrible, irregular, jerking dingle, dingle, dingle;
+    with a sudden stop at every fifteenth dingle or so,
+    which is maddening.... The noise is supposed to be
+    particularly obnoxious to evil spirits.
+
+But it was these same bells, which he found so maddening,
+that inspired him with the title of a well-known story. He
+had chosen a subject, but was at a loss for a name. As he sat
+working one morning there suddenly rose up from Genoa
+
+    the clang and clash of all its steeples, pouring into
+    his ears, again and again, in a tuneless, grating,
+    discordant jerking, hideous vibration that made his
+    ideas spin round and round till they lost themselves
+    in a whirl of vexation and giddiness, and dropped
+    down dead.... Only two days later came a letter in
+    which not a syllable was written but 'We have heard
+    THE CHIMES at midnight, Master Shallow,' and I knew
+    he had discovered what he wanted.[11]
+
+Yet, in spite of all this, Dickens shows--through his
+characters--a deep interest in bells and bell-lore. Little Paul
+Dombey finds a man mending the clocks at Dr. Blimber's Academy,
+and asks a multitude of questions about chimes and clocks;
+as, whether people watched up in the lonely church steeples
+by night to make them strike, and how the bells were rung
+when people died, and whether those were different bells from
+wedding-bells, or only sounded dismal in the fancies of the
+living; and then the precocious small boy proceeds to give
+the astonished clockmaker some useful information about King
+Alfred's candles and curfew-bells.
+
+As Smike and Nicholas tramp their long journey to Portsmouth
+they hear the sheep-bells tinkling on the downs. To Tom Pinch
+journeying Londonwards 'the brass work on the harness was a
+complete orchestra of little bells.'
+
+What a terror the bells are to Jonas Chuzzlewit just before
+he starts on his evil journey! He hears
+
+    the ringers practising in a neighbouring church, and
+    the clashing of their bells was almost maddening. Curse
+    the clamouring bells! they seemed to know that he
+    was listening at the door, and to proclaim it in a
+    crowd of voices to all the town! Would they never be
+    still? They ceased at last, and then the silence was
+    so new and terrible that it seemed the prelude to some
+    dreadful noise.
+
+The boom of the bell is associated with many of the villains
+of the novels. Fagin hears it when under sentence of death.
+Blackpool and Carker hear the accusing bells when in the midst
+of planning their evil deeds.
+
+We can read the characters of some by the way they ring a
+bell. The important little Mr. Bailey, when he goes to see his
+friend Poll Sweedlepipe (_M.C._) 'came in at the door with
+a lunge, to get as much sound out of the bell as possible,'
+while Bob Sawyer gives a pull as if he would bring it up by
+the roots. Mr. Clennam pulls the rope with a hasty jerk,
+and Mr. Watkins Tottle with a faltering jerk, while Tom Pinch
+gives a gentle pull. And how angry Mr. Mantalini is with
+Newman Noggs because he keeps him
+
+    'ringing at this confounded old cracked tea-kettle
+    of a bell, every tinkle of which is enough to throw
+    a strong man into convulsions, upon my life and
+    soul,--oh demmit.'
+
+The introduction of electric bells has been a great trial to
+those who used to vent their wrath on the wire-pulled article
+or the earlier bell-rope, which used not infrequently to add
+unnecessary fuel by coming incontinently down on the head of
+the aggrieved one. What a pull the fierce gentleman must have
+given whose acquaintance Mr. Pickwick made when he was going
+to Bath! He had been kept waiting for his buttered toast,
+so he (Captain Dowler)
+
+    rang the bell with great violence, and told the waiter
+    he'd better bring the toast in five seconds, or he'd
+    know the reason why.
+
+Dickens rang far more changes on the bells than there is space
+to enumerate; but I have shown to what extent he makes their
+sound a commentary on innumerable phases of life. A slight
+technical knowledge of bell phraseology is found in _Barnaby
+Rudge_ (7), where he mentions the variations known as a
+'triple bob major.' Finally there is an interesting reference
+in _Master Humphrey's Clock_ to a use of the bell which has
+now passed into history. Belinda says in a postscript to a
+letter to Master Humphrey, 'The bellman, rendered impatient
+by delay, is ringing dreadfully in the passage'; while in a
+second PS. she says, 'I open this to say the bellman is gone,
+and that you must not expect it till the next post.'
+
+In the old days it was the custom for the letter-carriers to
+collect letters by ringing a bell.
+
+There is no doubt that a most extraordinary, certainly a
+most original, musical effect is that secured by Mr. George
+(_B.H._), who had just finished smoking.
+
+    'Do you know what that tune is, Mr. Smallweed?' he adds,
+    after breaking off to whistle one, accompanied on the
+    table with the empty pipe.
+
+    'Tune,' replies the old man. 'No, we never have
+    tunes here.'
+
+    'That's the "Dead March" in _Saul_. They bury soldiers
+    to it, so it's the natural end of the subject.'
+
+Surely a highly original way of bringing a conversation to
+a close!
+
+This march is referred to in _Our Mutual Friend_, where
+Mr. Wilfer suggests that going through life with Mrs. Wilfer
+is like keeping time to the 'Dead March' in _Saul_, from
+which singular simile we may gather that this lady was not
+the liveliest of companions.
+
+Several other instruments are casually mentioned. Mr. Hardy
+(_S.B.T._ 7) was a master of many accomplishments.
+
+    He could sing comic songs, imitate hackney coachmen
+    and fowls, play airs on his chin, and execute concertos
+    on the Jew's harp.
+
+The champion 'chin' performer of the early Victorian period
+was Michael Boai, 'The celebrated chin melodist,' who was
+announced to perform 'some of his admired pieces' at many
+of the places of entertainment. There is another reference
+to this extraordinary way of producing music in _Sketches by
+Boz_, where Mrs. Tippin performed an air with variations on the
+guitar, 'accompanied on the chin by Master Tippin.' To return
+to Mr. Hardy, this gentleman was evidently deeply interested
+in all sorts and degrees of music, but he got out of his depth
+in a conversation with the much-travelled Captain Helves. After
+the three Miss Briggses had finished their guitar performances,
+Mr. Hardy approached the Captain with the question, 'Did you
+ever hear a Portuguese tambourine?'
+
+    'Did _you_ ever hear a tom-tom, sir?' sternly inquired
+    the Captain, who lost no opportunity of showing off
+    his travels, real or pretended.
+
+    'A what?' asked Hardy, rather taken aback.
+
+    'A tom-tom.'
+
+    'Never.'
+
+    'Nor a gum-gum?'
+
+    'Never.'
+
+    'What _is_ a gum-gum?' eagerly inquired several
+    young ladies.
+
+The question is unanswered to this day, though Hardy afterwards
+suggests it is another name for a humbug.
+
+When Dickens visited the school where the half-time system
+was in force, he found the boys undergoing military and naval
+drill. A small boy played the fife while the others went
+through their exercises. After that a boys' band appeared,
+the youngsters being dressed in a neat uniform. Then came
+a choral class, who sang 'the praises of a summer's day to
+a harmonium.' In the arithmetical exercises the small piper
+excels (_U.T._ 29).
+
+    Wise as the serpent is the four feet of performer on
+    the nearest approach to that instrument.
+
+This was written when the serpent was practically extinct, but
+Dickens would be very familiar with the name of the instrument,
+and may have seen and heard it in churches in his younger days.
+
+In referring to another boy's attempt at solving the
+arithmetical puzzles, he mentions the cymbals, combined with
+a faint memory of St. Paul.
+
+    I observe the player of the cymbals to dash at a
+    sounding answer now and then rather than not cut in at
+    all; but I take that to be in the way of his instrument.
+
+In _Great Expectations_ Mr. Wopsle, who is a parish clerk
+by profession, had an ambition not only to tread the boards,
+but to start off as Hamlet. His appearance was not a success,
+and the audience was derisive.
+
+    On his taking the recorders--very like a little black
+    flute that had just been played in the orchestra and
+    handed out at the door--he was called upon unanimously
+    for 'Rule Britannia.'
+
+Reference has already been made to Bucket's music-shop,
+so we must not forget to visit Caleb Plummer's little room,
+where there were
+
+    scores of melancholy little carts which, when the
+    wheels went round, performed most doleful music. Many
+    small fiddles, drums, and other instruments of torture.
+
+The old man made a rude kind of harp specially for his poor
+blind daughter, and on which Dot used to play when she visited
+the toy-maker's. Caleb's musical contribution would be 'a
+Bacchanalian song, something about a sparkling bowl,' which
+much annoyed his grumpy employer.
+
+    'What! you're singing, are you?' said Tackleton, putting
+    his head in at the door. 'Go it, _I_ can't sing.'
+
+    Nobody would have suspected him of it. He hadn't what
+    is generally termed a singing face, by any means.
+
+The wonderful duet between the cricket and the kettle at the
+commencement of _The Cricket on the Hearth_ certainly deserves
+mention, though it is rather difficult to know whether to
+class the performers as instrumentalists or singers. The kettle
+began it with a series of short vocal snorts, which at first
+it checked in the bud, but finally it burst into a stream of
+song, 'while the lid performed a sort of jig, and clattered
+like a deaf and dumb cymbal that had never known the use of its
+twin brother.' Then the cricket came in with its chirp, chirp,
+chirp, and at it they went in fierce rivalry until 'the kettle,
+being dead beat, boiled over, and was taken off the fire.'
+
+Dickens was certainly partial to the cricket, for elsewhere
+(_M.H.C._) we read of the clock that
+
+    makes cheerful music, like one of those chirping
+    insects who delight in the warm hearth.
+
+There are two or three references to the key bugle, which
+also used to be known as the Kent bugle. It was a popular
+instrument half a century ago, as the addition of keys gave
+it a much greater range of notes than the ordinary bugle
+possessed. A notable though inefficient performer was the
+driver who took Martin Chuzzlewit up to London.
+
+    He was musical, besides, and had a little key bugle in
+    his pocket on which, whenever the conversation flagged,
+    he played the first part of a great many tunes, and
+    regularly broke down in the second.
+
+This instrument was on Mr. Feeder's _agenda_.
+
+Two more instruments demand our attention. At the marriage
+of Tackleton and May Fielding (_C.H._) there were to be
+marrow-bones and cleavers, while to celebrate the union of
+Trotty Veck's daughter Meg and Richard they had a band including
+the aforesaid instruments and also the drum and the bells. It
+was formerly the custom for butchers' assistants to provide
+themselves with marrow-bones and cleavers for musical effects.
+Each cleaver was ground so that when it was struck with the
+bone it emitted a certain note.[12] A complete band would
+consist of eight men, with their cleavers so tuned as to give
+an octave of notes. After more or less practice they would
+offer their services as bandsmen on the occasion of marriage
+ceremonies, which they had a wonderful faculty for locating,
+and they would provide music (of a kind) _ad libitum_ until the
+requisite fee was forthcoming. If their services were declined
+the butchers would turn up all the same, and make things very
+unpleasant for the marriage party. The custom dates from the
+eighteenth century, and though it has gradually fallen into
+disuse a marrow-bone and cleaver band is still available in
+London for those who want it. A band took part in a wedding
+ceremony at Clapham as recently as the autumn of 1911.
+
+The following extract, referring to the second marriage of
+Mr. Dombey, shows what bridal parties had to put up with in
+the good old days:
+
+    The men who play the bells have got scent of the
+    marriage; and the marrow-bones and cleavers too;
+    and a brass band too. The first are practising in
+    a back settlement near Battle-bridge[13]; the second
+    put themselves in communication, through their chief,
+    with Mr. Tomlinson, to whom they offer terms to be
+    bought off; and the third, in the person of an artful
+    trombone, lurks and dodges round the corner, waiting
+    for some traitor-tradesman to reveal the place and
+    hour of breakfast, for a bribe.
+
+Other instruments casually referred to are the Pan's pipes,
+which in one place is also called a mouth-organ (_S.B.S._ 20),
+the flageolet, and the triangle. It is difficult to classify
+the walking-stick on which Mr. Jennings Rudolph played tunes
+before he went behind the parlour door and gave his celebrated
+imitations of actors, edgetools, and animals (_S.B.C._ 8).
+
+
+[11] Forster, _Life of Charles Dickens._
+
+[12] This is rather a modern development.
+
+[13] Near King's Cross Station (G.N.R.).
+
+
+
+
+CHAPTER V
+
+CHURCH MUSIC
+
+
+Dickens has not much to say about church music as such, but the
+references are interesting, inasmuch as they throw some light
+upon it during the earlier years of his life. In _Our Parish_
+(_S.B._) we read about the old naval officer who
+
+    finds fault with the sermon every Sunday, says that the
+    organist ought to be ashamed of himself, and offers to
+    back himself for any amount to sing the psalms better
+    than all the children put together.
+
+This reminds us that during the first half of last century,
+and indeed later in many places, the church choir as we know
+it did not exist, and the leading of the singing was entrusted
+to the children of the charity school under the direction of
+the clerk, a custom which had existed since the seventeenth
+century. The chancel was never used for the choir, and the
+children sat up in the gallery at the west end, on either side
+of the organ. In a City church that Dickens attended the choir
+was limited to two girls. The organ was so out of order that
+he could 'hear more of the rusty working of the stops than of
+any music.' When the service began he was so depressed that,
+as he says,
+
+    I gave but little heed to our dull manner of ambling
+    through the service; to the brisk clerk's manner of
+    encouraging us to try a note or two at psalm time;
+    to the gallery congregation's manner of enjoying a
+    shrill duet, without a notion of time or tune; to the
+    whity-brown man's manner of shutting the minister into
+    the pulpit, and being very particular with the lock
+    of the door, as if he were a dangerous animal.
+
+Elsewhere he found in the choir gallery an 'exhausted
+charity school' of four boys and two girls. The congregations
+were small, a state of things which at any rate satisfied
+Mrs. Lirriper, who had a pew at St. Clement Danes and was
+'partial to the evening service not too crowded.'
+
+In _Sunday under Three Heads_ we have a vivid picture of the
+state of things at a fashionable church. Carriages roll up,
+richly dressed people take their places and inspect each other
+through their glasses.
+
+    The organ peals forth, the hired singers commence a
+    short hymn, and the congregation condescendingly rise,
+    stare about them and converse in whispers.
+
+Dickens passes from church to chapel. Here, he says,
+
+    the hymn is sung--not by paid singers, but by the
+    whole assembly at the loudest pitch of their voices,
+    unaccompanied by any musical instrument, the words
+    being given out, two lines at a time, by the clerk.
+
+It cannot be said that, as far as the music is concerned,
+either of these descriptions is exaggerated when we remember
+the time at which they were written (1838). Very few chapels
+in London had organs, or indeed instruments of any kind, and
+there is no doubt that the congregations, as a rule, _did_
+sing at the tops of their voices, a proceeding known under
+the more euphonious title of 'hearty congregational singing.'
+
+He gives a far more favourable account of the music in the
+village church. In the essay just referred to he mentions
+the fact that he attended a service in a West of England
+church where the service 'was spoken--not merely read--by a
+grey-headed minister.'
+
+    The psalms were accompanied by a few instrumental
+    performers, who were stationed in a small gallery
+    extending across the church at the lower end; and the
+    voices were led by the clerk, who, it was evident,
+    derived no slight pride and gratification from this
+    portion of the service.
+
+But if the church music in England was not of a very high
+quality when Dickens wrote the above, it was, according to his
+own account, far superior to what he heard in certain churches
+in Italy. When in Rome he visited St. Peter's, where he was
+quite unimpressed by the music.
+
+    I have been infinitely more affected in many English
+    cathedrals when the organ has been playing, and in
+    many English country churches when the congregation
+    have been singing.
+
+On another occasion he attended church at Genoa on a feast day,
+and he writes thus about the music:
+
+    The organ played away lustily, and a full band did the
+    like; while a conductor, in a little gallery opposite
+    the band, hammered away on the desk before him, with a
+    scroll, and a tenor, without any voice, sang. The band
+    played one way, the organ played another, the singer
+    went a third, and the unfortunate conductor banged and
+    banged, and flourished his scroll on some principle
+    of his own; apparently well satisfied with the whole
+    performance. I never did hear such a discordant din.
+
+
+_Parish Clerks_
+
+We have but few references to parish clerks in the
+novels. Mr. Wopsle (_G.E._)--whom Mr. Andrew Lang calls 'one
+of the best of Dickens' minor characters'--'punished the Amens
+tremendously,'[14] and when he gave out the psalms--always
+giving the whole verse--he looked all round the congregation
+first, as much as to say 'You have heard our friend overhead;
+oblige me with your opinion of this style.' This gentleman
+subsequently became a 'play-actor,' but failed to achieve
+the success he desired. Solomon Daisy (_B.R._) is bell-ringer
+and parish clerk of Chigwell, though we hear nothing of his
+exploits in these capacities. However, he must have been a
+familiar figure to the villagers as he stood in his little desk
+on the Sunday, giving out the psalms and leading the singing,
+because when in the rifled and dismantled Maypole he appeals to
+the poor witless old Willet as to whether he did not know him--
+
+    'You know us, don't you, Johnny?' said the little
+    clerk, rapping himself on the breast. 'Daisy, you
+    know--Chigwell Church--bell-ringer--little desk on
+    Sundays--eh, Johnny?'
+
+    Mr. Willet reflected for a few moments, and then
+    muttered as it were mechanically: 'Let us sing to the
+    praise and glory of--'
+
+    'Yes, to be sure,' cried the little man hastily,
+    'that's it, that's me, Johnny.'
+
+Besides the numerous body of more or less distinguished artists
+whom the novelist introduces to us and whose achievements
+are duly set forth in these pages, there are two others whose
+connexion with Cloisterham gives them a prominent position in
+our list. One of these is the Rev. Mr. Crisparkle (_E.D._),
+Minor Canon of Cloisterham:
+
+    early riser, musical, classical, cheerful, kind,
+    good-natured, social, contented, and boy-like.
+
+What a contrast to the Stiggins and Chadband type! He is a
+member of the 'Alternate Musical Wednesdays' Society, and
+amongst his lesser duties is that of corrector-in-chief of
+the un-Dean-like English of the cathedral verger.
+
+    It is Mr. Crisparkle's custom to sit up last of the
+    early household, very softly touching his piano and
+    practising his parts in concerted vocal music.
+
+Over a closet in his dining-room, where occasional refreshments
+were kept,
+
+    a portrait of Handel in a flowing wig beamed down at
+    the spectator, with a knowing air of being up to the
+    contents of the closet, and a musical air of intending
+    to combine all its harmonies in one delicious fugue.
+
+The Minor Canon is a warm admirer of Jasper's musical talents,
+and on one occasion in particular is much impressed with
+his singing.
+
+    I must thank you, Jasper, for the pleasure with which
+    I have heard you to-day. Beautiful! Delightful!
+
+And thus we are introduced to the other musician, whose position
+at Cloisterham Cathedral is almost as much a mystery as that of
+Edwin Drood himself. He was the lay precentor or lay clerk, and
+he was also a good choirmaster. It is unnecessary to criticize
+or examine too closely the exact position that Jasper held. In
+answer to a question on this subject, Mr. B. Luard-Selby,
+the present organist of Rochester Cathedral, writes thus:
+
+    We have never had in the choir of Rochester Cathedral
+    such a musical functionary as Dickens describes in _The
+    Mystery of Edwin Drood_. The only person approaching
+    Jasper in the choir is one of the lay clerks who looks
+    after the music, but who of course has nothing to do
+    with _setting_ the music for the month. I don't think
+    Dickens had much idea of church order or of cathedral
+    worship, though he may have gone over the cathedral
+    with a verger on occasions. The music of a cathedral
+    is always in the hands of the precentor, assisted by
+    the organist.
+
+It is Edwin Drood himself who says that Jasper was lay precentor
+or lay clerk at the cathedral. He had a great reputation as a
+choir-trainer and teacher of music, but he is already weary of
+his position and takes little notice of words of eulogy. He was
+well acquainted with the old melodies, and on one occasion we
+find him sitting at the piano singing brave songs to Mr. Sapsea.
+
+    No kickshaw ditties, favourites with national enemies,
+    but ... genuine George the Third home brewed,
+    exhorting him (as 'my brave boys') to reduce to a
+    smashed condition all other islands but this island,
+    and all continents, peninsulas, isthmuses, promontories,
+    and other geographical forms of land soever, besides
+    sweeping the sea in all directions. In short he rendered
+    it pretty clear that Providence made a distinct mistake
+    in originating so small a nation of hearts of oak,
+    and so many other verminous peoples.
+
+We have a different picture of him on another occasion, as
+he sits 'chanting choir music in a low and beautiful voice,
+for two or three hours'--a somewhat unusual exercise even for
+the most enthusiastic choirmaster. But this was before the
+strange journey with Durdles, and we can only guess at the
+weird thoughts which were passing through the musician's mind
+as he sat in his lonely room.
+
+We have only a brief reference to the choir of Cloisterham
+Cathedral. Towards the end we read of them 'struggling into
+their nightgowns' before the service, while they subsequently
+are 'as much in a hurry to get their bedgowns off as they were
+but now to get them on'--and these were almost the last words
+that came from the Master's pen.
+
+
+_Anthems_
+
+There is an interesting reference to anthems in connexion
+with the Foundling Hospital,[15] an institution which Dickens
+mentions several times. Mr. Wilding (_N.T._), after he had
+been pumped on by his lawyer in order to clear his head,
+names the composers of the anthems he had been accustomed to
+sing at the Foundling.
+
+    Handel, Mozart, Haydn, Kent, Purcell, Doctor Arne,
+    Greene, Mendelssohn. I know the choruses to those
+    anthems by heart. Foundling Chapel collection.
+
+Mr. Wilding had a scheme of forming his household retainers
+and dependents into a singing-class in the warehouse, and a
+choir in the neighbouring church. Only one member, Joey Ladle,
+refused to join, for fear he should 'muddle the 'armony,'
+and his remark that
+
+    Handel must have been down in some of them foreign
+    cellars pretty much for to go and say the same thing
+    so many times over
+
+is certainly not lacking in originality.
+
+
+_Hymns and Hymn-Tunes_
+
+There are many purists in church music who object to adaptations
+of any kind, and we do not know what their feelings are on
+reading the account of the meeting of the Brick Lane Branch of
+the United Grand Junction Ebenezer Temperance Association. In
+order to vary the proceedings Mr. Anthony Humm announced that
+
+    Brother Mordlin had adapted the beautiful words of
+    'Who hasn't heard of a Jolly Young Waterman' to the
+    tune of the Old Hundredth, which he would request them
+    to join in singing. (Great applause.) And so the song
+    commenced, the chairman giving out two lines at a time,
+    in proper orthodox fashion.
+
+It was this air that Mr. Jerry's dog, as already related, ground
+out of the barrel-organ, but, besides this particular melody,
+we do not find that Dickens mentions any other hymn-tune. The
+hymns referred to are rather more in number. In _The Wreck
+of the Golden Mary_ Mrs. Atherfield sang Little Lucy to sleep
+with the Evening Hymn. There is a veiled reference to Ken's
+Morning Hymn in _O.C.S._, where Sampson Brass says:
+
+    'Here we are, Mr. Richard, rising with the sun to run
+    our little course--our course of duty, sir.'
+
+Dr. Watts makes several appearances, Dickens made the
+acquaintance of this noted hymnist in early youth (see p. 7),
+and makes good use of his knowledge. In _The Cricket on the
+Hearth_ Mrs. Peerybingle asks John if he ever learnt 'How
+doth the little' when he went to school. 'Not to quite know
+it,' John returned. 'I was very near it once.' Another of
+the Doctor's hymns is suggested by the behaviour of the Young
+Tetterbys (_H.M._).
+
+    The contentions between the Tetterbys' children for
+    the milk and water jug, common to all, which stood
+    upon the table, presented so lamentable an instance
+    of angry passions risen very high indeed, that it was
+    an outrage on the memory of Dr. Watts.
+
+The pages of history abound with instances of misguided amateurs
+who have amended the hymns (and tunes) of others in order to
+bring them into their way of thinking, and a prominent place
+in their ranks must be assigned to Miss Monflathers (_O.C.S._),
+who managed to parody the good Doctor's meaning to an alarming
+extent and to insist that
+
+    In books, or work or healthful play[16]
+
+is only applicable to _genteel_ children, while all poor
+people's children, such as Little Nell, should spend their time.
+
+    In work, work, work. In work alway,
+      Let my first years be passed,
+    That I may give for ev'ry day
+      Some good account at last,
+
+which is far from the good Doctor's meaning.
+
+Dr. Strong, David Copperfield's second schoolmaster, was fond
+of quoting this great authority on mischief, but Mr. Wickfield
+suggests that Dr. Watts, had he known mankind well, would
+also have written 'Satan finds some mischief still for busy
+hands to do.'
+
+Some years ago a question was raised in _Notes and Queries_
+as to the identity of the 'No. 4 Collection' of hymns which
+appeared to afford consolation to Job Trotter. No answer
+was vouchsafed, the fact being that the title is a pure
+invention, and no such collection has ever existed. It is
+scarcely necessary to add that history is silent as to the
+identity of the hymn-book which Uriah Heep was reading when
+David Copperfield and others visited him in prison.
+
+We are indebted to Dickens for the introduction to the literary
+world of Adelaide Procter, many of whose sacred verses have
+found their way into our hymnals. The novelist wrote an
+introduction to her _Legends and Lyrics_, in which he tells
+the story of how, as editor of _Household Words_, he accepted
+verses sent him from time to time by a Miss Mary Berwick,
+and only discovered, some months later, that his contributor
+was the daughter of his friend Procter, who was known under
+the _nom de plume_ of Barry Cornwall.
+
+There seems to be some difficulty in regard to the authorship
+of the hymn
+
+    Hear my prayer, O Heavenly Father,
+      Ere I lay me down to sleep;
+    Bid Thy angels, pure and holy,
+      Round my bed their vigil keep.
+
+It has already been pointed out (see _Choir_, February, 1912)
+that this hymn appeared in the Christmas number of _Household
+Words_ for 1856, in a story entitled _The Wreck of the Golden
+Mary_. The chief authorities on the works of Dickens claim it
+as his composition, and include it in his collected works. On
+the other hand, Miller, in his _Our Hymns_ (1866), states that
+Miss Harriet Parr informed him that the hymn, and the story
+of _Poor Dick_, in which it occurs, were both her own. We may
+add that when Dr. Allon applied for permission to include it
+in his new hymn-book Dickens referred him to the authoress.
+
+Dr. Julian takes this as authoritative, and has no hesitation
+in ascribing the hymn to Miss Parr. On the other hand, Forster
+records in his _Life of Dickens_ that a clergyman, the Rev.
+R.H. Davies, had been struck by this hymn when it appeared in
+_Household Words_, and wrote to thank him for it. 'I beg to
+thank you,' Dickens answered (Christmas Eve, 1856), 'for your
+very acceptable letter, not the less because I am myself the
+writer you refer to.' Here Dickens seems to claim the authorship,
+but it is possible he was referring to something else in the
+magazine when he wrote these words, and not to the hymn.
+
+
+[14] Dickens frequently uses the word in this sense.
+     Tom Pinch says, 'I shall punish the Boar's Head
+     tremendously.' It is also interesting to note that
+     Dickens uses the phrase 'I don't think' in its modern
+     slang meaning on at least two occasions. Tom Pinch
+     remarks 'I'm a nice man, I don't think, as John used
+     to say' (_M.C._ 6), and Sam Weller (_P.P._ 38) says
+     to Mr. Winkle 'you're a amiably-disposed young man,
+     sir, I don't think.' Mark Tapley uses the expression
+     'a pious fraud' (_M.C._ 13).
+
+[15] 'Pet' (_L.D._ 2) was a frequent visitor to the Hospital.
+
+[16] From the poem on _Industry_.
+
+
+
+
+CHAPTER VI
+
+SONGS AND SOME SINGERS
+
+
+The numerous songs and vocal works referred to by Dickens
+in his novels and other writings furnish perhaps the most
+interesting, certainly the most instructive, branch of this
+subject. His knowledge of song and ballad literature was
+extraordinary, and he did not fail to make good use of it. Not
+only are the quotations always well chosen and to the point,
+but the use of them has greatly added to the interest of such
+characters as Swiveller, Micawber, Cuttle, and many others,
+all of whom are of a very musical turn of mind. These songs
+may be conveniently divided into three classes, the first
+containing the national and popular airs of the eighteenth
+century, of which 'Rule Britannia' and 'Sally in our Alley'
+are notable examples. Many of these are referred to in the
+following pages, while a full list will be found on pp. 135-163.
+
+
+I.--_National Songs_
+
+There are numerous references to 'Rule Britannia.' Besides
+those mentioned elsewhere we have the picture of little David
+Copperfield in his dismal home.
+
+    What evenings when the candles came, and I was
+    expected to employ myself, but not daring to read
+    an entertaining book, pored over some hard-headed,
+    harder-hearted treatise on arithmetic; when the tables
+    of weights and measures set themselves to tunes as
+    'Rule Britannia,' or 'Away with Melancholy'!
+
+No wonder he finally went to sleep over them!
+
+In _Dombey and Son_ Old Sol has a wonderful story of the
+_Charming Sally_ being wrecked in the Baltic, while the crew
+sang 'Rule Britannia' as the ship went down, 'ending with one
+awful scream in chorus.' Walter gives the date of the tragedy
+as 1749. (The song was written in 1740.)
+
+Captain Cuttle had a theory that 'Rule Britannia,' 'which the
+garden angels sang about so many times over,' embodied the
+outlines of the British Constitution. It is perhaps unnecessary
+to explain that the Captain's 'garden angels' appear in the
+song as 'guardian angels.'
+
+Mark Tapley, when in America, entertained a grey-haired black
+man by whistling this tune with all his might and main. The
+entry of Martin Chuzzlewit caused him to stop the tune
+
+    at that point where Britons generally are supposed
+    to declare (when it is whistled) that they never,
+    never, never--
+
+In the article on 'Wapping Workhouse' (_U.T._) Dickens
+introduces the first verse of the song in criticizing the
+workhouse system and its treatment of old people, and in the
+_American Notes_ he tells us that he left Canada with 'Rule
+Britannia' sounding in his ears.
+
+'British Grenadiers,' said Mr. Bucket to Mr. Bagnet, 'there's
+a tune to warm an Englishman up! _Could_ you give us "British
+Grenadiers," my fine fellow?' And the 'fine fellow,' who
+was none other than Bagnet junior (also known as 'Woolwich'),
+promptly
+
+    fetches his fife and performs the stirring melody,
+    during which performance Mr. Bucket, much enlivened,
+    beats time, and never fails to come in sharp with the
+    burden 'Brit Ish Gra-a-anadeers.'
+
+Our national anthem is frequently referred to. In the
+description of the public dinner (_S.B.S._ 19)--
+
+    'God Save the Queen' is sung by the professional
+    gentlemen, the unprofessional gentlemen joining in
+    the chorus, and giving the national anthem an effect
+    which the newspapers, with great justice, describe as
+    'perfectly electrical.'
+
+On another occasion we are told the company, sang the national
+anthem with national independence, each one singing it according
+to his own ideas of time and tune. This is the usual way of
+singing it at the present day.
+
+In addition to those above mentioned we find references to
+'The Marseillaise' and '�a ira,' both of which Dickens says
+he heard in Paris. In _Little Dorrit_ Mr. Meagles says:
+
+    As to Marseilles, we know what Marseilles is. It sent
+    the most insurrectionary tune into the world that was
+    ever composed.
+
+Without disputing the decided opinion expressed by the speaker,
+there is no doubt that some would give the palm to '�a ira,'
+which the novelist refers to in one of his letters. The words
+of this song were adapted in 1790 to the tune of 'Carillon
+National.' This was a favourite air of Marie Antoinette,
+and she frequently played it on the harpsichord. After her
+downfall she heard it as a cry of hatred against herself--it
+followed her from Versailles to the capital, and she would
+hear it from her prison and even when going to her death.
+
+When Martin Chuzzlewit and Mark Tapley were on their way to
+America, one of their fellow travellers was
+
+    an English gentleman who was strongly suspected of
+    having run away from a bank, with something in his
+    possession belonging to its strong-box besides the key
+    [and who] grew eloquent upon the subject of the rights
+    of man, and hummed the Marseillaise Hymn constantly.
+
+In an article on this tune in the _Choir_ (Nov., 1911)
+it is stated that it was composed in 1792 at Strasburg, but
+received its name from the fact that a band of soldiers going
+from Marseilles to Paris made the new melody their marching
+tune. A casual note about it appears to be the only musical
+reference in _A Tale of Two Cities_.
+
+From America we have 'Hail Columbia' and 'Yankee Doodle.' In
+_Martin Chuzzlewit_ we meet the musical coach-driver who
+played snatches of tunes on the key bugle. A friend of his
+went to America, and wrote home saying he was always singing
+'Ale Columbia.' In his _American Notes_ Dickens tells about a
+Cleveland newspaper which announced that America had 'whipped
+England twice, and that soon they would sing "Yankee Doodle"
+in Hyde Park and "Hail Columbia" in the scarlet courts of
+Westminster.'
+
+
+II.--_Songs from 1780-1840_
+
+We then come to a group of songs dating, roughly, from
+1780. This includes several popular sea songs by Charles Dibdin
+and others, some ballad opera airs, the _Irish Melodies_ and
+other songs by Thomas Moore, and a few sentimental ditties.
+Following these we have the songs of the early Victorian
+period, consisting of more sentimental ditties of a somewhat
+feebler type, with a few comic and nigger minstrel songs.
+The task of identifying the numerous songs referred to has
+been interesting, but by no means easy. No one who has not had
+occasion to refer to them can have any idea of the hundreds,
+nay, of the thousands, of song-books that were turned out from
+the various presses under an infinitude of titles during the
+eighteenth and early nineteenth centuries. There is nothing like
+them at the present day, and the reasons for their publication
+have long ceased to exist. It should be explained that the
+great majority of these books contained the words only, very
+few of them being furnished with the musical notes. Dickens has
+made use of considerably over a hundred different songs. In
+some cases the references are somewhat obscure, but their
+elucidation is necessary to a proper understanding of the
+text. An example of this occurs in Chapter IX of _Martin
+Chuzzlewit_, where we are told the history of the various
+names given to the young red-haired boy at Mrs. Todgers'
+commercial boarding-house. When the Pecksniffs visited the house
+
+    he was generally known among the gentlemen as Bailey
+    Junior, a name bestowed upon him in contradistinction
+    perhaps to Old Bailey, and possibly as involving the
+    recollection of an unfortunate lady of the same name,
+    who perished by her own hand early in life and has
+    been immortalized in a ballad.
+
+The song referred to here is 'Unfortunate Miss Bailey,' by
+George Colman, and sung by Mr. Mathews in the comic opera of
+_Love Laughs at Locksmiths_. It tells the story of a maid who
+hung herself, while her persecutor took to drinking ratafia.
+
+Dickens often refers to these old song-books, either under
+real or imaginary names. Captain Cuttle gives 'Stanfell's
+Budget' as the authority for one of his songs, and this was
+probably the song-book that formed one of the ornaments which
+he placed in the room he was preparing for Florence Dombey.
+Other common titles are the 'Prentice's Warbler,' which Simon
+Tappertit used, 'Fairburn's Comic Songster,' and the 'Little
+Warbler,' which is mentioned two or three times. Of the songs
+belonging to this second period, some are embedded in ballad
+operas and plays, popular enough in their day, but long since
+forgotten. An example is Mr. Jingle's quotation when he tells
+the blushing Rachel that he is going
+
+    In hurry, post haste for a licence,
+      In hurry, ding dong I come back,
+
+though he omitted the last two lines:
+
+    For that you shan't need bid me twice hence,
+      I'll be here and there in a crack.
+
+This verse is sung by Lord Grizzle in Fielding's _Tom Thumb_,
+as arranged by Kane O'Hara.
+
+_Paul and Virginia_ is mentioned by Mrs. Flora Finching
+(_L.D._) as being one of the things that ought to have been
+returned to Arthur Clennam when their engagement was broken
+off. This was a ballad opera by Reeve and Mazzinghi, and the
+opening number is the popular duet 'See from ocean rising,'
+concerning which there is a humorous passage in 'The Steam
+Excursion' (_S.B._), where it is sung by one of the Miss
+Tauntons and Captain Helves. The last-named, 'after a great
+deal of preparatory crowing and humming,' began
+
+    in that grunting tone in which a man gets down,
+    heaven knows where, without the remotest chance of
+    ever getting up again. This in private circles is
+    frequently designated a 'bass voice.'
+
+
+    [Figure 1]
+
+    See from ocean rising
+    Bright flame, the orb of day;
+    From yon grove the varied song
+    Shall slumber from Virginia chase, chase away,
+    Slumber from Virginia chase, chase away.
+
+Dickens is not quite correct in this description, as the
+part of Paul was created by Incledon, the celebrated tenor,
+but there are still to be found basses who insist on singing
+tenor when they think that part wants their assistance.
+
+
+III.--_Contemporary Comic Songs_
+
+When Dickens visited Vauxhall (_S.B.S._ 14) in 1836, he heard
+a variety entertainment, to which some reference has already
+been made. Amongst the performers was a comic singer who bore
+the name of one of the English counties, and who
+
+    sang a very good song about the seven ages, the first
+    half hour of which afforded the assembly the purest
+    delight.
+
+The name of this singer was Mr. Bedford, though there was also
+a Mr. Buckingham in the Vauxhall programmes of those days. There
+are at least four songs, all of them lengthy, though not to the
+extent Dickens suggests, which bear on the subject. They are:
+
+  1.--'All the World's a Stage,' a popular medley written by
+      Mr. L. Rede, and sung by Mrs. Kelley in the _Frolic
+      of the Fairies_.
+
+  2.--'Paddy McShane's Seven Ages,' sung by Mr. Johnstone at
+      Drury Lane.
+
+  3.--'The Seven Ages,' as sung by Mr. Fuller (eight very
+      long verses).
+
+  4.--'The Seven Ages of Woman,' as sung by Mr. Harley.
+
+        You've heard the seven ages of great Mister Man,
+        And now Mistress Woman's I'll chaunt, if I can.
+
+This was also a very long song, each verse being sung to a
+different tune.
+
+Some of these songs are found in a scarce book called
+_London Oddities_ (1822), which also contains 'Time of Day,'
+probably the comic duet referred to in _The Mistaken Milliner_
+(_S.B._). This sketch was written in 1835 for _Bell's Life
+in London_, the original title being _The Vocal Dressmaker_,
+and contains an account of a concert (real or imaginary) at the
+White Conduit House. This place of entertainment was situated in
+Penton Street, Islington, near the top of Pentonville Road, and
+when Dickens wrote his sketch the place had been in existence
+nearly a hundred years. Early in the nineteenth century it
+became a place of varied amusements, from balloon ascents
+to comic songs. Dickens visited the place about 1835. The
+titles of some of the pieces he mentions as having been sung
+there are real, while others (such as 'Red Ruffian, retire')
+appear to be invented.
+
+Of a different kind is the one sung by the giant Pickleson,
+known in the profession as Rinaldo di Vasco, a character
+introduced to us by Dr. Marigold.
+
+    I gave him sixpence (for he was kept as short as he
+    was long), and he laid it out on two three penn'orths
+    of gin-and-water, which so brisked him up that he sang
+    the favourite comic of 'Shivery Shakey, ain't it cold?'
+
+Perhaps in no direction does the taste of the British public
+change so rapidly and so completely as in their idea of humour
+as depicted in the comic song, and it is unlikely that what
+passed for humour sixty years ago would appeal to an audience
+of the present day. The song here referred to had a great
+though brief popularity. This is the first verse:
+
+    THE MAN THAT COULDN'T GET WARM.
+
+    _Words by J. Beuler._       _Accompaniment by J. Clinton._
+
+    All you who're fond in spite of price
+    Of pastry, cream and jellies nice
+    Be cautious how you take an ice
+      Whenever you're overwarm.
+    A merchant who from India came,
+    And Shiverand Shakey was his name,
+    A pastrycook's did once entice
+    To take a cooling, luscious ice,
+    The weather, hot enough to kill,
+    Kept tempting him to eat, until
+    It gave his corpus such a chill
+      He never again felt warm.
+    Shiverand Shakey O, O, O,
+    Criminy Crikey! Isn't it cold,
+    Woo, woo, woo, oo, oo,
+      Behold the man that couldn't get warm.
+
+Some people affect to despise a comic song, but there are
+instances where a good specimen has helped to make history,
+or has added a popular phrase to our language. An instance of
+the latter is MacDermott's 'Jingo' song 'We don't want to fight
+but by Jingo if we do.' An illustration of the former comes from
+the coal strike of March, 1912, during which period the price of
+that commodity only once passed the figure it reached in 1875,
+as we gather from the old song 'Look at the price of coals.'
+
+    We don't know what's to be done,
+    They're forty-two shillings a ton.
+
+There are two interesting references in a song which
+Mrs. Jarley's poet adapted to the purposes of the Waxwork
+Exhibition, 'If I'd a donkey as wouldn't go.' The first verse
+of the song is as follows:
+
+    If I'd a donkey wot wouldn't go,
+    D'ye think I'd wollop him? No, no, no;
+    But gentle means I'd try, d'ye see,
+    Because I hate all cruelty.
+    If all had been like me in fact,
+    There'd ha' been no occasion for Martin's Act
+    Dumb animals to prevent getting crackt
+        On the head, for--
+    If I had a donkey wot wouldn't go,
+    I never would wollop him, no, no, no;
+    I'd give him some hay, and cry gee O,
+        And come up Neddy.
+
+The singer then meets 'Bill Burns,' who, 'while crying out his
+greens,' is ill-treating his donkey. On being interfered with,
+Bill Burns says,
+
+    'You're one of these Mr. Martin chaps.'
+
+Then there was a fight, when the 'New Police' came up and
+'hiked' them off before the magistrate. There is a satisfactory
+ending, and 'Bill got fin'd.' Here is a reminder that we are
+indebted to Mr. Martin, M.P., for initiating the movement which
+resulted in the 'Royal Society for the Prevention of Cruelty
+to Animals' being established in 1824. Two years previously
+Parliament had passed what is known as Martin's Act (1822),
+which was the first step taken by this or any other country
+for the protection of animals. In Scene 7 of _Sketches by Boz_
+there is a mention of 'the renowned Mr. Martin, of costermonger
+notoriety.' The reference to the New Police Act reminds us
+that the London police force was remodelled by Mr. (afterwards
+Sir Robert) Peel in 1829. Hence the date of the song will be
+within a year or two of this.
+
+Mr. Reginald Wilfer (_O.M.F._) owed his nickname to the
+conventional chorus of some of the comic songs of the
+period. Being a modest man, he felt unable to live up to the
+grandeur of his Christian name, so he always signed himself
+'R. Wilfer.' Hence his neighbours provided him with all sorts
+of fancy names beginning with R, but his popular name was
+Rumty, which a 'gentleman of convivial habits connected with
+the drug market' had bestowed upon him, and which was derived
+from the burden--
+
+    Rumty iddity, row dow dow,
+    Sing toodlely teedlely, bow wow wow.
+
+The third decade of the nineteenth century saw the coming of the
+Christy Minstrels. One of the earliest of the so-called 'negro'
+impersonators was T.D. Rice, whose song 'Jim Crow' (_A.N._) took
+England by storm. It is useless to attempt to account for the
+remarkable popularity of this and many another favourite, but
+the fact remains that the song sold by thousands. In this case
+it may have been due to the extraordinary antics of the singer,
+for the words certainly do not carry weight (see p. 146).
+
+Rice made his first appearance at the Surrey Theatre in 1836,
+when he played in a sketch entitled _Bone Squash Diabolo_, in
+which he took the part of 'Jim Crow.' The song soon went all
+over England, and 'Jim Crow' hats and pipes were all the rage,
+while _Punch_ caricatured a statesman who changed his opinions
+on some question of the day as the political 'Jim Crow.' To
+this class also belongs the song 'Buffalo Gals' (see p. 10).
+
+Amongst the contents of the shop window at the watering-place
+referred to in _Out of the Season_ was
+
+    every polka with a coloured frontispiece that ever was
+    published; from the original one, where a smooth male
+    or female Pole of high rank are coming at the observer
+    with their arms akimbo, to the 'Ratcatcher's Daughter.'
+
+This last piece is of some slight interest from the fact that
+certain people have claimed that the hymn-tune 'Belmont' is
+derived therefrom. We give the first four lines, and leave
+our readers to draw their own conclusions. It is worth while
+stating that the first appearance of the hymn-tune took place
+soon after the song became popular.[17]
+
+    [Figure 2]
+
+    In Westminster, not long ago,
+    There lived a ratcatcher's daughter;
+    She was not born in Westminster
+    But on t'other side of the water.
+
+
+_Some Singers_
+
+In the _Pickwick Papers_ we have at least three original
+poems. Wardle's carol--
+
+    I care not for Spring; on his fickle wing
+    Let the blossoms and buds be borne--
+
+has been set to music, but Dickens always preferred that
+it should be sung to the tune of 'Old King Cole,' though a
+little ingenuity is required to make it fit in. The 'wild and
+beautiful legend,'
+
+    Bold Turpin vunce, on Hounslow Heath
+    His bold mare Bess bestrode--er,
+
+with which Sam Weller favoured a small but select company on a
+memorable occasion appears to have been overlooked by composers
+until Sir Frederick Bridge set it to excellent music. It will
+be remembered that Sam intimated that he was not
+
+    wery much in the habit o' singin' without the
+    instrument; but anythin' for a quiet life, as the man
+    said wen he took the sitivation at the lighthouse.
+
+Sam was certainly more obliging than another member of the
+company, the 'mottled-faced' gentleman, who, when asked
+to sing, sturdily and somewhat offensively declined to do
+so. We also find references to other crusty individuals who
+flatly refuse to exercise their talents, as, for instance,
+after the accident to the coach which was conveying Nicholas
+Nickleby and Squeers to Yorkshire. In response to the call
+for a song to pass the time away, some protest they cannot,
+others wish they could, others can do nothing without the
+book, while the 'very fastidious lady entirely ignored the
+invitation to give them some little Italian thing out of the
+last opera.' A somewhat original plea for refusing to sing when
+asked is given by the chairman of the musical gathering at the
+Magpie and Stump (_P.P._). When asked why he won't enliven
+the company he replies, 'I only know one song, and I have sung
+it already, and it's a fine of glasses round to sing the same
+song twice in one night.' Doubtless he was deeply thankful to
+Mr. Pickwick for changing the subject. At another gathering
+of a similar nature, we are told about a man who knew a song
+of seven verses, but he couldn't recall them at the moment,
+so he sang the first verse seven times.
+
+There is no record as to what the comic duets were that Sam
+Weller and Bob Sawyer sang in the dickey of the coach that was
+taking the party to Birmingham, and this suggests what a number
+of singers of all kinds are referred to, though no mention is
+made of their songs. What was Little Nell's repertoire? It must
+have been an extensive one according to the man in the boat
+(_O.C.S._ 43).
+
+    'You've got a very pretty voice' ... said this
+    gentleman ... 'Let me hear a song this minute.'
+
+    'I don't think I know one, sir,' returned Nell.
+
+    'You know forty-seven songs,' said the man, with
+    a gravity which admitted of no altercation on the
+    subject. 'Forty-seven's your number.'
+
+    And so the poor little maid had to keep her rough
+    companions in good humour all through the night.
+
+Then Tiny Tim had a song about a lost child travelling in the
+snow; the miner sang a Christmas song--'it had been a very
+old song when he was a boy,' while the man in the lighthouse
+(_C.C._) consoled himself in his solitude with a 'sturdy'
+ditty. What was John Browdie's north-country song? (_N.N._).
+All we are told is that he took some time to consider the words,
+in which operation his wife assisted him, and then
+
+    began to roar a meek sentiment (supposed to be uttered
+    by a gentle swain fast pining away with love and
+    despair) in a voice of thunder.
+
+The Miss Pecksniffs used to come singing into the room, but
+their songs are unrecorded, as well as those that Florence
+Dombey used to sing to Paul, to his great delight. What was
+the song Miss Mills sang to David Copperfield and Dora
+
+    about the slumbering echoes in the cavern of Memory;
+    as if she was a hundred years old.
+
+When we first meet Mark Tapley he is singing merrily, and there
+are dozens of others who sing either for their own delight
+or to please others. Even old Fips, of Austin Friars, the
+dry-as-dust lawyer, sang songs to the delight of the company
+gathered round the festive board in Martin Chuzzlewit's rooms in
+the Temple. Truly Dickens must have loved music greatly himself
+to have distributed such a love of it amongst his characters.
+
+It is not to be expected that Sampson Brass would be musical,
+and we are not surprised when on an occasion already referred
+to we find him
+
+    humming in a voice that was anything but musical certain
+    vocal snatches which appeared to have reference to the
+    union between Church and State, inasmuch as they were
+    compounded of the Evening Hymn and 'God Save the King.'
+
+Whatever music he had in him must have been of a sub-conscious
+nature, for shortly afterwards he affirms that
+
+    the still small voice is a-singing comic songs within
+    me, and all is happiness and joy.
+
+His sister Sally is not a songster, nor is Quilp, though he
+quotes 'Sally in our Alley' in reference to the former. All
+we know about his musical attainments is that he
+
+    occasionally entertained himself with a melodious
+    howl, intended for a song but bearing not the faintest
+    resemblance to any scrap of any piece of music, vocal
+    or instrumental, ever invented by man.
+
+Bass singers, and especially the Basso Profundos, will be glad
+to know that Dickens pays more attention to them than to the
+other voices, though it must be acknowledged that the references
+are of a humorous nature. 'Bass!' as the young gentleman in one
+of the _Sketches_ remarks to his companion about the little
+man in the chair, 'bass! I believe you. He can go down lower
+than any man; so low sometimes that you can't hear him.'
+
+    And so he does. To hear him growling away, gradually
+    lower and lower down, till he can't get back again,
+    is the most delightful thing in the world.
+
+Of similar calibre is the voice of Captain Helves, already
+referred to on p. 62.
+
+Topper, who had his eye on one of Scrooge's niece's sisters
+(_C.C._),
+
+    could growl away in the bass like a good one, and
+    never swell the large veins in his forehead or get
+    red in the face over it.
+
+Dickens must certainly have had much experience of basses, as he
+seems to know their habits and eccentricities so thoroughly. In
+fact it seems to suggest that at some unknown period of his
+career, hitherto unchronicled by his biographers, he must have
+been a choirmaster.
+
+He also shows a knowledge of the style of song the basses
+delighted in
+
+    at the harmony meetings in which the collegians at the
+    Marshalsea[18] used to indulge. Occasionally a vocal
+    strain more sonorous than the generality informed the
+    listener that some boastful bass was in blue water
+    or the hunting field, or with the reindeer, or on the
+    mountain, or among the heather, but the Marshal of the
+    Marshalsea knew better, and had got him hard and fast.
+
+We are not told what the duet was that Dickens heard at
+Vauxhall, but the description is certainly vivid enough:
+
+    It was a beautiful duet; first the small gentleman
+    asked a question and then the tall lady answered
+    it; then the small gentleman and the tall lady sang
+    together most melodiously; then the small gentleman
+    went through a little piece of vehemence by himself,
+    and got very tenor indeed, in the excitement of his
+    feelings, to which the tall lady responded in a similar
+    manner; then the small gentleman had a shake or two,
+    after which the tall lady had the same, and then they
+    both merged imperceptibly into the original air.
+
+Our author is quite impartial in his distribution of his
+voices. In _P.P._ we read of a boy of fourteen who was a tenor
+(not the fat boy), while the quality of the female voices is
+usually left to the imagination.
+
+If Mrs. Plornish (_L.D._) is to be believed, her father,
+Mr. John Edward Nandy, was a remarkable singer. He was
+
+    a poor little reedy piping old gentleman, like a
+    worn-out bird, who had been in what he called the
+    music-binding business.
+
+But Mrs. P. was very proud of her father's talents, and in
+response to her invitation, 'Sing us a song, father,'
+
+    Then would he give them Chloe, and if he were in
+    pretty good spirits, Phyllis also--Strephon he had
+    hardly been up to since he went into retirement--and
+    then would Mrs. Plornish declare she did believe there
+    never was such a singer as father, and wipe her eyes.
+
+Old Nandy evidently favoured the eighteenth-century songs,
+in which the characters here referred to were constantly
+occurring. At a subsequent period of his history Nandy's vocal
+efforts surprised even his daughter.
+
+    'You never heard father in such voice as he is at
+    present,' said Mrs. Plornish, her own voice quavering,
+    she was so proud and pleased. 'He gave us Strephon
+    last night, to that degree that Plornish gets up and
+    makes him this speech across the table, "John Edward
+    Nandy," says Plornish to father, "I never heard you
+    come the warbles as I have heard you come the warbles
+    this night." Ain't it gratifying, Mr. Pancks, though;
+    really.'
+
+The Mr. Pancks here referred to did not mind taking his part in
+a bit of singing. He says, in reference to a 'Harmony evening'
+at the Marshalsea:
+
+    'I am spending the evening with the rest of 'em,'
+    said Pancks. 'I've been singing. I've been taking
+    a part in "White Sand and Grey Sand." I don't know
+    anything about it. Never mind. I'll take part in
+    anything, it's all the same, if you're loud enough.'
+
+Here we have a round of considerable antiquity, though the
+date and author are alike unknown.
+
+    [Figure 3] or [Figure 4]
+
+    White sand and grey sand:
+    Who'll buy my white sand?
+    Who'll buy my grey sand?
+
+
+_Glee-Singing_
+
+A feature of the Harmonic Meetings at the 'Sol' (_B.H._) was
+the performance of Little Swills, who, after entertaining
+the company with comic songs, took the 'gruff line' in a
+concerted piece, and adjured 'his friends to listen, listen,
+listen to the wa-ter-fall!' Little Swills was also an adept
+at 'patter and gags.' Glee and catch singing was a feature
+at the Christmas party given by Scrooge's nephew, for 'they
+were a musical family, and knew what they were about.' This
+remark can scarcely be applied to the Malderton family, who,
+assisted by the redoubtable Mr. Horatio Sparkins,
+
+    tried over glees and trios without number; they having
+    made the pleasing discovery that their voices harmonized
+    beautifully. To be sure, they all sang the first part;
+    and Horatio, in addition to the slight drawback of
+    having no ear, was perfectly innocent of knowing a note
+    of music; still, they passed the time very agreeably.
+
+Glee-singing seems to have been a feature in the social life
+of Cloisterham (_E.D._).
+
+    'We shall miss you, Jasper' (said Mr. Crisparkle),
+    'at the "Alternate Musical Wednesdays" to-night; but
+    no doubt you are best at home. Good-night, God bless
+    you. "Tell me shepherds te-e-ell me: tell me-e-e have
+    you seen (have you seen, have you seen, have you seen)
+    my-y-y Flo-o-ora-a pass this way!"'
+
+It was a different kind of glee party that left the Blue
+Boar after the festivities in connexion with Pip's indentures
+(_G.E._).
+
+    They were all in excellent spirits on the road home,
+    and sang 'O Lady Fair,' Mr. Wopsle taking the bass,
+    and assisting with a tremendously strong voice (in
+    reply to the inquisitive bore who leads that piece
+    of music in a most impertinent manner by wanting to
+    know all about everybody's private affairs) that _he_
+    was the man with his white locks flowing, and that he
+    was upon the whole the weakest pilgrim going.
+
+Perhaps the most remarkable glee party that Dickens gives us
+is the one organized by the male boarders at Mrs. Todgers',
+with a view to serenading the two Miss Pecksniffs.
+
+    It was very affecting, very. Nothing more dismal could
+    have been desired by the most fastidious taste. The
+    gentleman of a vocal turn was head mute, or chief
+    mourner; Jinkins took the bass, and the rest took
+    anything they could get.... If the two Miss Pecksniffs
+    and Mrs. Todgers had perished by spontaneous combustion,
+    and the serenade had been in honour of their ashes, it
+    would have been impossible to surpass the unutterable
+    despair expressed in that one chorus: 'Go where glory
+    waits thee.' It was a requiem, a dirge, a moan, a howl,
+    a wail, a lament, an abstract of everything that is
+    sorrowful and hideous in sound.
+
+The song which the literary boarder had written for the
+occasion, 'All hail to the vessel of Pecksniff, the sire,'
+is a parody of Scott's 'All hail to the chief who in triumph
+advances,' from the _Lady of the Lake_.
+
+Two words that by themselves have a musical meaning are
+'Chaunter' and 'Drums'; but the Chaunter referred to is one
+of Edward Dorrit's creditors, and the word means 'not a singer
+of anthems, but a seller of horses.' To this profession also
+Simpson belonged, on whom Mr. Pickwick was 'chummed' in the
+Fleet prison. A 'drum' is referred to in the description of
+the London streets at night in _Barnaby Rudge_, and signifies a
+rout or evening party for cards; while one where stakes ran high
+and much noise accompanied the play was known as a 'drum major.'
+
+In _Our Bore_ (_R.P._) this sentence occurs:
+
+    He was at the Norwich musical festival when the
+    extraordinary echo, for which science has been wholly
+    unable to account, was heard for the first and last
+    time. He and the bishop heard it at the same moment,
+    and caught each other's eye.
+
+Dr. A.H. Mann, who knows as much about Norwich and its festivals
+as any one, is quite unable to throw any light on this mystic
+remark. There were complaints about the acoustics of the
+St. Andrew's Hall many years ago, but there appears to be no
+historic foundation for Dickens' reference. It would certainly
+be interesting to know what suggested the idea to him.
+
+There is a curious incident connected with Uncle Dick, whose
+great ambition was 'to beat the drum.' It was only by a mere
+chance that his celebrated reference to King Charles's head
+got into the story. Dickens originally wrote as follows (in
+Chapter 14, _D.C._):
+
+    'Do you recollect the date,' said Mr. Dick, looking
+    earnestly at me, and taking up his pen to note it down,
+    'when the bull got into the china warehouse and did
+    so much mischief?'
+
+In the proof Dickens struck out all the words after 'when,'
+and inserted in their place the following:
+
+    'King Charles the First had his head cut off?'
+
+    I said I believed it happened in the year sixteen
+    hundred and forty-nine.
+
+    'Well,' returned Mr. Dick, scratching his ear with his
+    pen and looking dubiously at me, 'so the books say,
+    but I don't see how that can be. Because if it was so
+    long ago, how could the people about him have made that
+    mistake of putting some of the trouble out of his head,
+    after it was taken off, into mine?'
+
+The whole of the substituted passage is inserted in the margin
+at the bottom of the page. Again, when Mr. Dick shows David
+Copperfield his kite covered with manuscript, David was made to
+say in the proof: 'I thought I saw some allusion to the bull
+again in one or two places.' Here Dickens has struck through
+the words, 'the bull,' and replaced them with 'King Charles
+the First's head.'
+
+The original reference was to a very popular song of the period
+called 'The Bull in the China Shop,' words by C. Dibdin, Junior,
+and music by W. Reeve. Produced about 1808, it was popularized
+by the celebrated clown Grimaldi. The first verse is:
+
+    You've heard of a frog in an opera hat,
+    'Tis a very old tale of a mouse and a rat,
+    I could sing you another as pleasant, mayhap,
+    Of a kitten that wore a high caul cap;
+    But my muse on a far nobler subject shall drop,
+    Of a bull who got into a china shop,
+        With his right leg, left leg, upper leg, under leg,
+        St. Patrick's day in the morning.
+
+
+[17] Mr. Alfred Payne writes thus: 'Some time ago an old
+     friend told me that he had heard from a Hertfordshire
+     organist that Dr. W.H. Monk (editor of _Hymns
+     Ancient and Modern_) adapted "Belmont" from the highly
+     classical melody of which a few bars are given above.
+     Monk showed this gentleman the notes, being the actual
+     arrangement he had made from this once popular song,
+     back in the fifties. This certainly coincides with
+     its appearance in Severn's _Islington Collection_,
+     1854.'--See _Hymn-Tunes and their Story_, p. 354.
+
+[18] The Marshalsea was a debtors' prison formerly situated
+     in Southwark. It was closed about the middle of the
+     last century, and demolished in 1856.
+
+
+
+
+CHAPTER VII
+
+SOME NOTED SINGERS
+
+
+_The Micawbers_
+
+Dickens presents us with such an array of characters
+who reckon singing amongst their various accomplishments
+that it is difficult to know where to begin. Perhaps the
+marvellous talents of the Micawber family entitle them to first
+place. Mrs. Micawber was famous for her interpretation of 'The
+Dashing White Sergeant' and 'Little Taffline' when she lived
+at home with her papa and mamma, and it was her rendering of
+these songs that gained her a spouse, for, as Mr. Micawber
+told Copperfield,
+
+    when he heard her sing the first one, on the first
+    occasion of his seeing her beneath the parental roof,
+    she had attracted his attention in an extraordinary
+    degree, but that when it came to 'Little Tafflin,' he
+    had resolved to win that woman or perish in the attempt.
+
+It will be remembered that Mr. Bucket (_B.H._) gained a wife by
+a similar display of vocal talent. After singing 'Believe me,
+if all those endearing young charms,' he informs his friend
+Mrs. Bagnet that this ballad was
+
+    his most powerful ally in moving the heart of
+    Mrs. Bucket when a maiden, and inducing her to approach
+    the altar. Mr. Bucket's own words are 'to come up to
+    the scratch.'
+
+Mrs. Micawber's 'Little Taffline' was a song in Storace's
+ballad opera _Three and the Deuce_, words by Prince Hoare. It
+will be interesting to see what the song which helped to mould
+Micawber's fate was like.
+
+    LITTLE TAFFLINE.
+
+    [Figure 5]
+
+    Should e'er the fortune be my lot
+    To be made a wealthy bride,
+    I'll glad my parents' lowly cot,
+    All their pleasure and their pride:
+
+    And when I'm drest all in my best,
+    I'll trip away like lady gay,
+    I'll trip, I'll trip away.
+
+    And the lads will say, Dear heart, what a flash!
+    Look at little Taffline with a silken sash,
+    And the lads will say, Dear heart, what a flash!
+    And the lads will say, Dear heart, what a flash!
+    Look at little Taffline, Look at little Taffline,
+    Oh, look at little Taffline with the silken sash!
+
+There was also a character called Little Taffline in T. Dibdin's
+_St. David's Day_, the music for which was compiled and composed
+by Thomas Attwood, organist of St. Paul's Cathedral.
+
+Her other song, 'The Dashing White Sergeant,' was a martial
+and very popular setting of some words by General Burgoyne.
+
+Micawber could both sing and hum, and when music failed him
+he fell back on quotations. As he was subject to extremes
+of depression and elevation it was nothing unusual for him
+to commence a Saturday evening in tears and finish up with
+singing 'about Jack's delight being his lovely Nan' towards
+the end of it. Here we gather that one of his favourite songs
+was C. Dibdin's 'Lovely Nan,' containing these two lines:
+
+    But oh, much sweeter than all these
+    Is Jack's delight, his lovely Nan.
+
+His musical powers made him useful at the club-room in the
+King's Bench, where David discovered him leading the chorus of
+'Gee up, Dobbin.' This would be 'Mr. Doggett's Comicall Song'
+in the farce _The Stage Coach_, containing the lines--
+
+    With a hey gee up, gee up, hay ho;
+    With a hay gee, Dobbin, hey ho!
+
+'Auld Lang Syne' was another of Mr. Micawber's favourites,
+and when David joined the worthy pair in their lodgings at
+Canterbury they sang it with much energy. To use Micawber's
+words--
+
+    When we came to 'Here's a hand, my trusty frere' we
+    all joined hands round the table; and when we declared
+    we would 'take a right gude willie waught,' and hadn't
+    the least idea what it meant, we were really affected.
+
+The memory of this joyous evening recurred to Mr. M. at a later
+date, after the feast in David's rooms, and he calls to mind
+how they had sung
+
+    We twa had run about the braes
+    And pu'd the gowans fine.
+
+He confesses his ignorance as to what gowans are,
+
+    but I have no doubt that Copperfield and myself would
+    frequently have taken a pull at them, if it had been
+    feasible.
+
+In the last letter he writes he makes a further quotation from
+the song. On another occasion, however, under the stress of
+adverse circumstances he finds consolation in a verse from
+'Scots, wha hae',' while at the end of the long epistle in
+which he disclosed the infamy of Uriah Heep, he claims to
+have it said of him, 'as of a gallant and eminent naval Hero,'
+that what he has done, he did
+
+    For England, home, and beauty.
+
+'The Death of Nelson,' from which this line comes, had a
+long run of popularity. Braham, the composer, was one of the
+leading tenors of the day, and thus had the advantage of being
+able to introduce his own songs to the public. The novelist's
+dictum that 'composers can very seldom sing their own music or
+anybody else's either' (_P.P._ 15) may be true in the main, but
+scarcely applies to Braham, who holds very high rank amongst
+English tenors. Another song which he wrote with the title
+'The Victory and Death of Lord Viscount Nelson' met with no
+success. The one quoted by Micawber was naturally one of Captain
+Cuttle's favourites, and it is also made use of by Silas Wegg.
+
+The musical gifts of Mr. and Mrs. Micawber descended to
+their son Wilkins, who had 'a remarkable head voice,' but
+having failed to get into the cathedral choir at Canterbury,
+he had to take to singing in public-houses instead of in
+sacred edifices. His great song appears to have been 'The
+Woodpecker Tapping.' When the family emigrated Mr. M. expressed
+the hope that 'the melody of my son will be acceptable at the
+galley fire' on board ship. The final glimpse we get of him
+is at Port Middlebay, where he delights a large assembly by
+his rendering of 'Non Nobis' (see p. 149), and by his dancing
+with the fourth daughter of Mr. Mell.
+
+The 'Woodpecker' song is referred to in an illustrative way
+by Mrs. Finching (_L.D._), who says that her papa
+
+    is sitting prosily breaking his new-laid egg in the
+    back parlour like the woodpecker tapping.
+
+
+_Captain Cuttle_
+
+Captain Cuttle is almost as full of melody as Micawber, though
+his repertoire is chiefly confined to naval ditties. His great
+song is 'Lovely Peg,' and his admiration for Florence Dombey
+induces him to substitute her name in the song, though the
+best he can accomplish is 'Lovely Fleg.'
+
+There are at least three eighteenth-century ballads with Peg,
+or Lovely Peg, for the subject, and it is not certain which
+of these the Captain favoured. This is one of them:
+
+    Once more I'll tune the vocal shell,
+    To Hills and Dales my passion tell,
+    A flame which time can never quell,
+      That burns for lovely Peggy.
+
+Then comes this tuneful refrain:
+
+    [Figure 6]
+
+    Lovely Peggy, lovely Peggy,
+    Lovely, lovely, lovely Peggy;
+    The heav'ns should sound with echoes rung
+      In praise of lovely Peggy.
+
+The two others of this period that I have seen are called
+'Peggy' and 'Lovely Peggy, an imitation.' However, it is most
+probable that the one that the Captain favoured--in spite of
+the mixture of names--was C. Dibdin's 'Lovely Polly.'
+
+    LOVELY POLLY
+
+    [Figure 7]
+
+    A seaman's love is void of art,
+    Plain sailing to his port the heart;
+    He knows no jealous folly,
+    He knows no jealous folly.
+
+    'Tis hard enough at sea to war
+    With boist'rous elements that jar--
+    All's peace with lovely Polly,
+    All's peace with lovely Polly,
+    with lovely Polly, lovely Polly,
+    All's peace with lovely Polly.
+
+Dickens was very familiar with Dibdin's songs, while the
+eighteenth-century ones referred to he probably never heard of,
+as they are very rarely found.
+
+The worthy Captain enjoys a good rollicking song, preferably
+of a patriotic turn, but is very unreliable as to the sources
+of his ditties.
+
+    'Wal'r, my boy,' replied the Captain, 'in the Proverbs
+    of Solomon you will find the following words, "May
+    we never want a friend in need, nor a bottle to give
+    him!" When found, made a note of.'
+
+This is taken from a song by J. Davy, known as 'Since the
+first dawn of reason,' and was sung by Incledon.
+
+    Since the first dawn of reason that beam'd on my mind,
+      And taught me how favoured by fortune my lot,
+    To share that good fortune I still am inclined,
+      And impart to who wanted what I wanted not.
+    It's a maxim entitled to every one's praise,
+      When a man feels distress, like a man to relieve him;
+    And my motto, though simple, means more than it says,
+      'May we ne'er want a friend or a bottle to give him.'
+
+He is equally unreliable as to the source of a still more
+famous song. When Florence Dombey goes to see him the Captain
+intimates his intention of standing by old Sol Gills,
+
+    'and not desert until death do us part, and when the
+    stormy winds do blow, do blow, do blow--overhaul
+    the Catechism,' said the Captain parenthetically,
+    'and there you'll find these expressions.'
+
+I have not heard of any church that has found it necessary to
+include this old refrain in its Catechism, nor even to mix it
+up with the Wedding Service.
+
+A further mixture of quotations occurs when he is talking of
+Florence on another occasion. Speaking of the supposed death
+of Walter he says,
+
+    Though lost to sight, to memory dear, and
+    England, home, and beauty.
+
+The first part--which is one of Cuttle's favourite
+quotations--is the first line of a song by G. Linley.
+He composed a large number of operas and songs, many of which
+were very popular. The second part of the quotation is from
+Braham's 'Death of Nelson' (see p. 116).
+
+In conversation with his friend Bunsby, Cuttle says--
+
+    Give me the lad with the tarry trousers as shines to
+    me like di'monds bright, for which you'll overhaul the
+    'Stanfell's Budget,' and when found make a note.
+
+Elsewhere he mentions Fairburn's 'Comic Songster' and the
+'Little Warbler' as his song authorities.
+
+The song referred to here is classed by Dr. Vaughan Williams
+amongst Essex folk-songs, but it is by no means confined to
+that county. It tells of a mother who wants her daughter to
+marry a tailor, and not wait for her sailor bold.
+
+    My mother wants me to wed with a tailor
+      And not give me my heart's delight;
+    But give me the man with the tarry trousers,
+      That shines to me like diamonds bright.
+
+After the firm of Dombey has decided to send Walter to Barbados,
+the boy discusses his prospects with his friend the Captain,
+and finally bursts into song--
+
+    How does that tune go that the sailors sing?
+
+      For the port of Barbados, Boys!
+              Cheerily!
+      Leaving old England behind us, boys!
+              Cheerily!
+
+    Here the Captain roared in chorus,
+
+            Oh cheerily, cheerily!
+            Oh cheer-i-ly!
+
+All efforts to trace this song have failed, and for various
+reasons I am inclined to think that Dickens made up the lines
+to fit the occasion; while the words 'Oh cheerily, cheerily'
+are a variant of a refrain common in sea songs, and the Captain
+teaches Rob the Grinder to sing it at a later period of the
+story. The arguments against the existence of such a song are:
+first, that the Dombey firm have already decided to send the
+boy to Barbados, and as there is no song suitable, the novelist
+invents one; and in the second place there has never been a
+time in the history of Barbados to give rise to such a song
+as this, and no naval expedition of any consequence has ever
+been sent there. It is perhaps unnecessary to urge that there
+is no such place as the 'Port of Barbados.'
+
+
+_Dick Swiveller_
+
+None of Dickens' characters has such a wealth of poetical
+illustration at command as Mr. Richard Swiveller. He lights
+up the Brass office 'with scraps of song and merriment,' and
+when he is taking Kit's mother home in a depressed state after
+the trial he does his best to entertain her with 'astonishing
+absurdities in the way of quotation from song and poem.' From
+the time of his introduction, when he 'obliged the company with
+a few bars of an intensely dismal air,' to when he expresses
+his gratitude to the Marchioness--
+
+    And she shall walk in silk attire,
+      And siller have to spare--
+
+there is scarcely a scene in which he is present when he does
+not illumine his remarks by quotations of some kind or other,
+though there are certainly a few occasions when his listeners
+are not always able to appreciate their aptness. For instance
+in the scene between Swiveller and the single gentleman,
+after the latter has been aroused from his slumbers, and has
+intimated he is not to be disturbed again.
+
+    'I beg your pardon,' said Dick, halting in his passage
+    to the door, which the lodger prepared to open,
+    'when he who adores thee has left but the name--'
+
+    'What do you mean?'
+
+    'But the name,' said Dick, 'has left but the name--in
+    case of letters or parcels--'
+
+    'I never have any,' said the lodger.
+
+    'Or in case anybody should call.'
+
+    'Nobody ever calls on me.'
+
+    'If any mistake should arise from not having the name,
+    don't say it was my fault, sir,' added Dick, still
+    lingering; 'oh, blame not the bard--'
+
+    'I'll blame nobody,' said the lodger.
+
+But that Mr. Swiveller's knowledge of songs should be both
+'extensive and peculiar' is only to be expected from one who
+held the distinguished office of 'Perpetual Grand Master of
+the Glorious Apollers,' although he seems to have been more
+in the habit of quoting extracts from them than of giving
+vocal illustrations. On one occasion, however, we find him
+associated with Mr. Chuckster 'in a fragment of the popular
+duet of "All's Well" with a long shake at the end.'
+
+The following extract illustrates the 'shake':
+
+    ALL'S WELL (DUET).
+
+    _Sung by Mr. Braham and Mr. Charles Braham._
+
+                                        _Music by Mr. Braham._
+    [Figure 8]
+
+    All's well, All's well;
+    Above, below,
+    All, all's well.
+
+Although most of Swiveller's quotations are from songs, he does
+not always confine himself to them, as for instance, when he
+sticks his fork into a large carbuncular potato and reflects
+that 'Man wants but little here below,' which seems to show
+that in his quieter moments he had studied Goldsmith's _Hermit_.
+
+Mr. Swiveller's quotations are largely connected with his
+love-passages with Sophy Wackles, and they are so carefully
+and delicately graded that they practically cover the whole
+ground in the rise and decline of his affections. He begins
+by suggesting that 'she's all my fancy painted her.'
+
+From this he passes to
+
+    She's like the red, red rose,
+      That's newly sprung in June.
+    She's also like a melody,
+      That's sweetly played in tune.
+
+then
+
+    When the heart of a man is depressed with fears,
+    The mist is dispelled when Miss Wackles appears,
+
+which is his own variant of
+
+    If the heart of a man is depressed with care,
+    The mist is dispelled when a woman appears.
+
+But at the party given by the Wackleses Dick finds he is cut
+out by Mr. Cheggs, and so makes his escape saying, as he goes--
+
+    My boat is on the shore, and my bark is on the sea; but
+    before I pass this door, I will say farewell to thee,
+
+and he subsequently adds--
+
+    Miss Wackles, I believed you true, and I was blessed
+    in so believing; but now I mourn that e'er I knew a
+    girl so fair, yet so deceiving.
+
+The _d�nouement_ occurs some time after, when, in the course
+of an interview with Quilp, he takes from his pocket
+
+    a small and very greasy parcel, slowly unfolding it,
+    and displaying a little slab of plum cake, extremely
+    indigestible in appearance and bordered with a paste
+    of sugar an inch and a half deep.
+
+    'What should you say this was?' demanded Mr. Swiveller.
+
+    'It looks like bride-cake,' replied the dwarf, grinning.
+
+    'And whose should you say it was?' inquired
+    Mr. Swiveller, rubbing the pastry against his nose
+    with dreadful calmness. 'Whose?'
+
+    'Not--'
+
+    'Yes,' said Dick, 'the same. You needn't mention her
+    name. There's no such name now. Her name is Cheggs
+    now, Sophy Cheggs. Yet loved I as man never loved that
+    hadn't wooden legs, and my heart, my heart is breaking
+    for the love of Sophy Cheggs.'
+
+    With this extemporary adaptation of a popular ballad
+    to the distressing circumstances of his own case,
+    Mr. Swiveller folded up the parcel again, beat it very
+    flat upon the palms of his hands, thrust it into his
+    breast, buttoned his coat over it, and folded his arms
+    upon the whole.
+
+And then he signifies his grief by pinning a piece of crape
+on his hat, saying as he did so,
+
+    'Twas ever thus: from childhood's hour
+      I've seen my fondest hopes decay;
+    I never loved a tree or flower
+      But 'twas the first to fade away;
+    I never nursed a dear gazelle,
+      To glad me with its soft black eye,
+    But when it came to know me well,
+      And love me, it was sure to marry a market gardener.
+
+He is full of song when entertaining the Marchioness. 'Do they
+often go where glory waits 'em?' he asks, on hearing that
+Sampson and Sally Brass have gone out for the evening. He
+accepts the statement that Miss Brass thinks him a 'funny
+chap' by affirming that 'Old King Cole was a merry old soul';
+and on taking his leave of the little slavey he says,
+
+    'Good night, Marchioness. Fare thee well, and if for
+    ever then for ever fare thee well--and put up the chain,
+    Marchioness, in case of accidents.
+
+      Since life like a river is flowing,
+        I care not how fast it rolls on, ma'am,
+      While such purl on the bank still is growing,
+        And such eyes light the waves as they run.'
+
+On a later occasion, after enjoying some games of cards he
+retires to rest in a deeply contemplative mood.
+
+    'These rubbers,' said Mr. Swiveller, putting on his
+    nightcap in exactly the same style as he wore his hat,
+    'remind me of the matrimonial fireside. Cheggs's wife
+    plays cribbage; all-fours likewise. She rings the
+    changes on 'em now. From sport to sport they hurry her,
+    to banish her regrets; and when they win a smile from
+    her they think that she forgets--but she don't.'
+
+Many of Mr. Swiveller's quotations are from Moore's _Irish
+Melodies_, though he has certainly omitted one which, coming
+from him, would not have been out of place, viz. 'The time
+I've lost in wooing'!
+
+On another occasion Swiveller recalls some well-known lines
+when talking to Kit. 'An excellent woman, that mother of yours,
+Christopher,' said Mr. Swiveller; '"Who ran to catch me when
+I fell, and kissed the place to make it well? My mother."'
+
+This is from Ann Taylor's nursery song, which has probably
+been more parodied than any other poem in existence. There is
+a French version by Madame � Taslie, and it has most likely
+been translated into other languages.
+
+Dick gives us another touching reference to his mother. He
+is overcome with curiosity to know in what part of the Brass
+establishment the Marchioness has her abode.
+
+    My mother must have been a very inquisitive woman; I
+    have no doubt I'm marked with a note of interrogation
+    somewhere. My feelings I smother, but thou hast been
+    the cause of this anguish, my--
+
+This last remark is a memory of T.H. Bayly's celebrated song
+'We met,' which tells in somewhat incoherent language the story
+of a maiden who left her true love at the command of her mother,
+and married for money.
+
+    The world may think me gay,
+      For my feelings I smother;
+    Oh _thou_ hast been the cause
+      Of this anguish--my mother.
+
+T. Haynes Bayly was a prominent song-writer some seventy
+years ago (1797-1839). His most popular ballad was 'I'd be
+a Butterfly.' It came out with a coloured title-page, and
+at once became the rage, in fact, as John Hullah said, 'half
+musical England was smitten with an overpowering, resistless
+rage for metempsychosis.' There were many imitations, such as
+'I'd be a Nightingale' and 'I'd be an Antelope.'
+
+
+_Teachers and Composers_
+
+Although we read so much about singers, the singing-master
+is rarely introduced, in fact Mr. M'Choakumchild (_H.T._),
+who 'could teach everything from vocal music to general
+cosmography,' almost stands alone. However, in view of the
+complaints of certain adjudicators about the facial distortions
+they beheld at musical competitions, it may be well to record
+Mrs. General's recipe for giving 'a pretty form to the lips'
+(_L.D._).
+
+    Papa, potatoes, poultry, prunes, and prism are all
+    very good words for the lips, especially prunes and
+    prism. You will find it serviceable in the formation
+    of a demeanour.
+
+Nor do composers receive much attention, but amongst
+the characters we may mention Mr. Skimpole (_B.H._),
+who composed half an opera, and the lamp porter at Mugby
+Junction, who composed 'Little comic songs-like.' In this
+category we can scarcely include Mrs. Kenwigs, who 'invented
+and composed' her eldest daughter's name, the result being
+'Morleena.' Mr. Skimpole, however, has a further claim upon
+our attention, as he 'played what he composed with taste,' and
+was also a performer on the violoncello. He had his lighter
+moments, too, as when he went to the piano one evening at 11
+p.m. and rattled hilariously
+
+    That the best of all ways to lengthen our days
+    Was to steal a few hours from Night, my dear!
+
+It is evident that his song was 'The Young May Moon,' one of
+Moore's _Irish Melodies_.
+
+    The young May moon is beaming, love,
+    The glow-worm's lamp is gleaming, love,
+            How sweet to rove
+            Through Morna's grove
+    While the drowsy world is dreaming, love!
+
+    Then awake--the heavens look bright, my dear!
+    'Tis never too late for delight, my dear!
+            And the best of all ways
+            To lengthen our days
+    Is to steal a few hours from the night, my dear!
+
+
+_Silas Wegg's Effusions_
+
+We first meet Silas Wegg in the fifth chapter of _Our Mutual
+Friend_, where he is introduced to us as a ballad-monger. His
+intercourse with his employer, Mr. Boffin, is a frequent
+cause of his dropping into poetry, and most of his efforts
+are adaptations of popular songs. His character is not one
+that arouses any sympathetic enthusiasm, and probably no one
+is sorry when towards the end of the story Sloppy seizes hold
+of the mean little creature, carries him out of the house, and
+deposits him in a scavenger's cart 'with a prodigious splash.'
+
+The following are Wegg's poetical effusions, with their sources
+and original forms.
+
+
+Book I, Ch. 5.
+
+'Beside that cottage door, Mr. Boffin,' from 'The Soldier's Tear'
+
+                                               _Alexander Lee_
+
+    Beside that cottage porch
+    A girl was on her knees;
+    She held aloft a snowy scarf
+    Which fluttered in the breeze.
+    She breath'd a prayer for him,
+    A prayer he could not hear;
+    But he paused to bless her as she knelt,
+    And wip'd away a tear.
+
+
+Book I, Ch. 15.
+
+    The gay, the gay and festive scene,
+    I'll tell thee how the maiden wept, Mrs. Boffin.
+
+From 'The Light Guitar.' (See Index of Songs.)
+
+
+Book I, Ch. 15.
+
+'Thrown on the wide world, doomed to wander and roam.' From
+'The Peasant Boy'
+
+                                                    _J. Parry_
+
+    Thrown on the wide world, doom'd to wander and roam,
+    Bereft of his parents, bereft of his home,
+    A stranger to pleasure, to comfort and joy,
+    Behold little Edmund, the poor Peasant Boy.
+
+
+Book I, Ch. 15.
+
+'Weep for the hour.' From 'Eveleen's Bower'         _T. Moore_
+
+    Oh! weep for the hour
+    When to Eveleen's bower
+    The lord of the valley with false vows came.
+
+
+Book I, Ch 15.
+
+'Then farewell, my trim-built wherry.' From 'The Waterman'
+
+                                                   _C. Dibdin_
+
+
+Book II, Ch. 7.
+
+'Helm a-weather, now lay her close.' From 'The Tar for all
+Weathers'
+
+                                                     _Unknown_
+
+
+Book III, Ch. 6.
+
+'No malice to dread, sir.' From verse 3 of 'My Ain Fireside.'
+
+                                   Words by _Mrs. E. Hamilton_
+
+    Nae falsehood to dread, nae malice to fear,
+    But truth to delight me, and kindness to cheer;
+    O' a' roads to pleasure that ever were tried,
+    There's nane half so sure as one's own fireside.
+          My ain fireside, my ain fireside,
+          Oh sweet is the blink o' my ain fireside.
+
+
+Book III, Ch. 6.
+
+    And you needn't, Mr. Venus, be your black bottle,
+        For surely I'll be mine,
+    And we'll take a glass with a slice of lemon in it,
+            to which you're partial,
+        For auld lang syne.
+
+A much altered version of verse 5 of Burns' celebrated song.
+
+
+Book III, Ch. 6.
+
+    Charge, Chester, charge,
+    On Mr. Venus, on.
+
+From Scott's _Marmion_.
+
+
+Book IV, Ch. 3.
+
+'If you'll come to the bower I've shaded for you.' From 'Will
+you Come to the Bower'
+
+                                                    _T. Moore_
+
+    Will you come to the Bower I've shaded for you,
+    Our bed shall be roses, all spangled with dew.
+    Will you, will you, will you, will you come to the Bower?
+    Will you, will you, will you, will you come to the Bower?
+
+
+
+
+A LIST OF SONGS AND INSTRUMENTAL MUSIC MENTIONED BY DICKENS
+
+WITH HISTORICAL NOTES
+
+
+_The figures in brackets denote the chapter in the novel
+referred to_
+
+
+A COBBLER THERE WAS (_D. & S._ 2)
+
+    A cobbler there was, and he lived in a stall,
+    Which serv'd him for parlour, for kitchen and hall,
+    No coin in his pocket, nor care in his pate,
+    No ambition had he, nor no duns at his gate,
+            Derry down, down, down, derry down.
+
+The melody appeared in _Beggar's Opera_, 1728, and _Fashionable
+Lady_, 1730.
+
+
+A FROG HE WOULD (_P.P._ 32)
+
+The theme of the ballad belongs to the late sixteenth century.
+
+    A frog he would a-wooing go,
+      Heigho! said Rowley,
+    Whether his mother would let him or no,
+      With his rowly powly,
+      Gammon and spinnage,
+        O heigh! said Anthony Rowley.
+
+We are told that Jack Hopkins sang 'The King, God Bless Him,'
+to a novel air, compounded of 'The Bay of Biscay' and 'A Frog
+He Would.' The latter was evidently the modern setting by
+C.E. Horn.
+
+
+ALICE GRAY
+
+See 'Yet Lov'd I.'
+
+
+ALL HAIL TO THE VESSEL OF PECKSNIFF THE SIRE (_M.C._ 11)
+
+Perhaps a parody on 'All Hail to the Chief.'
+
+
+ALL IN THE DOWNS (_P.P._ 3)
+
+See 'Black-Eyed Susan.'
+
+
+ALL'S WELL (_O.C.S._ 56).
+
+See p. 125.
+
+Duet in _The English Fleet_.
+
+(_T. Dibdin_)                                     _J. Braham._
+
+    Deserted by the waning moon,
+    When skies proclaim night's cheerless gloom,
+    On tower, fort, or tented ground,
+    The sentry walks his lonely round;
+    And should a footstep haply stray
+    Where caution marks the guarded way,
+    Who goes there? Stranger, quickly tell,
+    A friend. The word? Good-night. All's well.
+
+
+AND SHE SHALL WALK (_O.C.S._ 66)
+
+Words by _Susan Blamire_.
+
+    And ye shall walk in silk attire,
+      And siller ha'e to spare,
+    Gin ye'll consent to be my bride,
+      Nor think on Donald mair.
+
+Susan Blamire was born at Carden Hall, near Carlisle. Very few
+of her poems were published under her own name, as well-born
+ladies of those days disliked seeing their names published as
+authors. 'The Siller Crown,' from which this verse is taken,
+is in the Cumberland dialect. It first appeared anonymously
+in the _Scots Musical Museum_, 1790, and the authorship was
+subsequently settled by members of the family.
+
+
+AND YOU NEEDN'T, MR. VENUS, BE YOUR BLACK BOTTLE (_O.M.F._).
+
+See p. 134.
+
+
+A STIFF NOR'-WESTER'S BLOWING, BILL (_D. & S._ 49)
+
+From 'The Sailor's Consolation.'
+
+    One night came on a hurricane,
+      The seas were mountains rolling,
+    When Barney Buntline turned his quid,
+      And said to Billy Bowling,
+    A stiff Nor'-Wester's blowing, Bill,
+      Hark, don't you hear it roar now?
+    Lord help 'em! how I pity's all
+      Unhappy folk ashore now.
+
+Mr. Kidson says in reference to this: 'I do not know that it was
+ever written to music, though I fancy more than one popular tune
+has been set to the words, which are by a person named Pitt.'
+
+
+AULD LANG SYNE ('Holly Tree,' _D.C._ 17, 28)
+
+Words by _Burns_.
+
+A version of the melody occurs at the end of the overture to
+Shield's _Rosina_, 1783, and is either his own composition or
+an imitation of some Scotch melody. As, however, such melody
+has not hitherto been discovered, no great importance can be
+attached to this theory. _Rosina_ was performed in Edinburgh.
+
+Some maintain that the tune is taken from a Scotch reel known as
+the 'Miller's Wedding,' found in Bremner's _Reels_ (1757-1761).
+
+
+AWAY WITH MELANCHOLY (_O.C.S._ 58, _O.M.F._ ii. 6, _P.P._ 44,
+_D.C._ 8)
+
+The melody is from Mozart's _Magic Flute_, 'Das klinget
+so herrlich'--a chorus with glockenspiel accompaniment.
+The writer of the words is unknown.
+
+The air was introduced into an arrangement of Shakespeare's
+_Tempest_, and set to the words 'To moments so delighting!'
+sung by Miss Stephens. Also found as a duet 'composed by
+Sigr. Mozart, arranged by F.A. Hyde.'
+
+
+BAY OF BISCAY (_U.T._ 31, _D. & S._ 39, _P.P._ 32)
+
+Words by _Andrew Cherry_.                           _J. Davy._
+
+Also see under 'A Frog He Would.'
+
+
+BEETHOVEN'S SONATA IN B.
+
+See p. 28.
+
+
+BEGONE, DULL CARE (_O.C.S._ 7, _E.D._ 2)
+
+Author unknown. The words occur in various song-books of the
+eighteenth century. The tune is seventeenth century, possibly
+derived from the 'Queen's Jigg' in the _Dancing Master_.
+
+    Begone, dull care, I prithee begone from me;
+    Begone, dull care, you and I can never agree.
+
+The words were set as a glee by John Sale, and this may be
+the music that Dickens knew.
+
+
+BELIEVE ME, IF ALL JARLEY'S WAXWORKS SO RARE (_O.C.S._ 27)
+
+A parody on the following.
+
+
+BELIEVE ME, IF ALL THOSE ENDEARING YOUNG CHARMS (_B.H._ 55)
+
+Words by _T. Moore_.
+
+Set to the old melody 'My Lodging is on the Cold Ground.' This
+appears to have come into existence about the middle of
+the eighteenth century. It is found in _Vocal Music, or the
+Songster's Companion_, 1775, and it was claimed by Moore to
+be an Irish melody, but some authorities deny this. It has
+also been claimed as Scotch, but the balance of opinion is in
+favour of its English origin (F. Kidson).
+
+
+BESIDE THAT COTTAGE DOOR, MR. BOFFIN (_O.M.F._)
+
+See p. 133.
+
+
+BID ME DISCOURSE (_S.B.T._ 4)
+
+Words adapted from Shakespeare's _Venus and Adonis_.
+
+                                                _H.R. Bishop._
+
+
+BIRD WALTZ (_D. & S._ 29, 38)
+                                                    _Panormo._
+
+A very popular piano piece of the pre-Victorian period.
+
+
+BLACK-EYED SUSAN (_A.N._), OR ALL IN THE DOWNS (_P.P._ 3)
+
+Words by _John Gay_.                           _R. Leveridge._
+
+This song was printed in sheet form previous to 1730, in which
+year it appeared in Watts' _Musical Miscellany_, Vol. IV.,
+and was also inserted about that time in several ballad operas.
+
+
+BOLD TURPIN VUNCE (_P.P._ 43)
+
+Mr. Frank Kidson has pointed out that Sam Weller's song is
+founded upon a ballad entitled 'Turpin and the Bishop,' which
+appears in _Gaieties and Gravities_, by one of the authors
+of _Rejected Addresses_. The author is said to be Horatio
+Smith. There is a good four-part setting of the words by Sir
+F. Bridge.
+
+
+BRAVE LODGINGS FOR ONE (_P.P._ 29)
+
+Original.
+
+
+BRITISH GRENADIERS (_B.H._ 49)
+
+The tune as we know it now is the growth of centuries, the
+foundation probably being a tune in _The Fitzwilliam Virginal
+Book_. The Grenadiers were founded in 1678. The second verse
+refers to 'hand grenades,' and the regiment ceased to use
+these in the reign of Queen Anne. The author is unknown.
+
+
+BRITONS, STRIKE HOME (_S.L._)
+
+The well-known song in Purcell's _Bonduca_ gave its name to an
+opera by Charles Dibdin, published in 1803. This work probably
+suggested the phrase to Dickens. It was written with a view
+to arousing a patriotic feeling. The following verse occurs
+in the work:
+
+    When Dryden wrote and Purcell sung
+      Britons, strike home,
+    The patriot-sounds re-echoing rung
+      The vaulted dome.
+
+
+BUFFALO GALS (_Letters_)
+
+See p. 10.
+
+
+BY THE SAD SEA WAVES (_Letters_)
+                                            _Julius Benedict._
+
+A once popular song from the opera _The Brides of Venice_.
+
+
+CHEER, BOYS, CHEER (_U.T._ 29)
+
+Words by _Charles Mackay_.                    _Henry Russell._
+
+    Cheer! boys, cheer! no more of idle sorrow--
+      Courage! true hearts shall bear us on our way,
+    Hope points before, and shows the bright to-morrow,
+      Let us forget the darkness of to-day.
+
+One of Russell's most popular songs. He sold the copyright for
+�3, and shortly afterwards learnt that the publisher had to
+keep thirty-nine presses at work on it night and day to meet
+the demand.
+
+
+COPENHAGEN WALTZ (_D. & S._ 7)
+
+Also known as the _Danish Waltz_.
+
+
+DEAD MARCH.
+
+From the oratorio _Saul_.                            _Handel._
+
+See p. 61.
+
+
+DEATH OF NELSON (_D.C._ 52, _D. & S._ 48, _O.M.F._ iv. 3)
+
+See p. 116.
+                                                  _J. Braham._
+
+    Too well the gallant hero fought,
+    For England, home, and beauty.
+
+
+DI PIACER (_S.B.T._ 1)
+                                                    _Rossini._
+
+A favourite air from the opera _La Gazza Ladra_.
+
+
+DOWNFALL OF PARIS
+
+See p. 31.
+
+
+DRAGON OF WANTLEY (_D.C._ 38)
+
+An eighteenth-century popular burlesque opera.
+
+Words by _H. Carey_, music by _Lampe_.
+
+
+DRINK TO ME ONLY WITH THINE EYES (_O.M.F._ iii. 14)
+
+Words by _Ben Jonson_.
+
+The composer is unknown. The air was originally issued as a
+glee for three voices.
+
+
+DUMBLEDUMDEARY (_S.B.S._ 10)
+
+A refrain rarely found in old songs. It occurs in 'Richard of
+Taunton Dean.' Also (as in the reference) the name of a dance.
+
+
+EVENING BELLS (_D.C._ 38)
+
+Duet by _G. Alexander Lee_.
+
+    Come away, come away, evening bells are ringing,
+    Sweetly, sweetly; 'tis the vesper hour.
+
+
+FARE THEE WELL, AND IF FOR EVER (_O.C.S._ 58)
+
+Words by _Byron_.
+
+Included in 'Domestic Pieces.'
+
+    Fare thee well, and if for ever,
+      Still for ever, fare thee well;
+    Even though unforgiving, never
+      'Gainst thee shall my heart rebel.
+
+About 1825 the words were set to an air from Mozart's _La
+Clemenza di Tito_. There are original settings by Parke,
+S. Webbe, and six other composers.
+
+
+FILL THE BUMPER FAIR (_N.T._)
+
+Moore's _Irish Melodies_, air 'Bob and Joan.'
+
+
+FLOW ON, THOU SHINING RIVER (_S.B.T._ 1)
+
+Moore's _National Melodies_.
+
+Said to be a 'Portuguese Air.' The melody has been utilized
+as a hymn-tune.
+
+
+FLY, FLY FROM THE WORLD, MY BESSY, WITH ME (_S.B.S._ 2)
+
+Words and music by _T. Moore_.
+
+
+FOR ENGLAND
+
+See 'Death of Nelson.'
+
+
+FOR ENGLAND, HOME, AND BEAUTY
+
+See 'Death of Nelson.'
+
+
+FOR THE PORT OF BARBADOS, BOYS (_D. & S._ 15)
+
+Original (?) See p. 122.
+
+
+FROM SPORT TO SPORT (_O.C.S._ 58)
+
+From 'Oh no, we never mention her.'
+
+Words by _T.H. Bayly_.                          _H.R. Bishop._
+
+    From sport to sport they hurry me,
+      To banish my regret;
+    And when they win a smile from me,
+      They think that I forget.
+
+
+GEE UP, DOBBIN (_D.C._ 12)
+
+In the Burney Collection is a tune 'Gee Ho, Dobbin.' Also in
+_Apollo's Cabinet_, 1757, Vol. II, and _Love in a Village_,
+1762. The tune was frequently used for ephemeral songs.
+
+It is doubtful if Dickens would know this song, the title of
+which has passed into a common phrase.
+
+
+GLORIOUS APOLLO (_O.C.S._ 13, 56)
+                                                   _S. Webbe._
+
+The title of this glee probably suggested the name of the
+'Glorious Apollers.' See p. 124.
+
+
+GO WHERE GLORY WAITS THEE (_M.C._ 11)
+
+('Do they often go where glory waits 'em?' _O.C.S._ 58)
+
+Moore's _Irish Melodies_, set to the air 'Maid of the Valley.'
+
+
+GOD BLESS THE PRINCE OF WALES (_U.T._ 29)
+
+Words by _J. Ceiriog Hughes_.
+Trans, by G. Linley.              _H. Brinley Richards_, 1862.
+
+
+GOD BLESS YOU, MERRY GENTLEMEN (_C.C._)
+
+Origin unknown. The second word should be 'rest,' and the
+correct reading is
+
+    God rest you merry, gentlemen.
+
+
+GOD SAVE THE KING (_S.B.S._ 19, &c.)
+
+GOD SAVE THE QUEEN (_M.C._ 29)
+
+It is unnecessary here to discuss the origin and sources of
+this air. The form in which we know it is probably due to
+Henry Carey, and the first recorded public performance was on
+September 28, 1745.
+
+
+HAD I A HEART FOR FALSEHOOD FRAMED (_D. & S._ 14)
+
+Words by _R.B. Sheridan_.
+
+Sung by Mr. Leoni (see _Choir_, May, 1912).
+
+In the _Duenna_, 1775. Set to the air now known as 'The Harp
+that once through Tara's Halls.'
+
+Moore, in his _Irish Melodies_, calls the melody 'Gramachree.'
+
+
+HAIL COLUMBIA (_M.C._ 13, _A.N._)
+
+Mr. Elson (_National Music of America_) says that the music
+was originally known as the 'President's March,' probably by
+a German composer. The words were subsequently adapted to the
+air by Dr. Joseph Hopkinson.
+
+
+HARMONIOUS BLACKSMITH (_G.E._ 21)
+
+From Handel's _Suite de Pieces pour le Clavecin_, Set I.
+
+See p. 19.
+
+
+HAS SHE THEN FAILED IN HER TRUTH (_N.N._ 49)
+
+_Anon._                                         _H.R. Bishop._
+
+    And has she then failed in her truth,
+      The beautiful maid I adore?
+    Shall I never again hear her voice,
+      Nor see her lov'd form any more?
+
+
+HEART OF OAK (_B.R._ 7, _E.D._ 12, _U.T._ 20, parody)
+
+Words by _D. Garrick_.                             _W. Boyce._
+
+It is important to notice that the correct title is as given,
+and not '_Hearts_ of Oak.'
+
+
+HELM A WEATHER, NOW LAY HER CLOSE (_O.M.F._)
+
+See p. 133.
+
+
+HOW DOTH THE LITTLE-- (_Ch._)
+                                                  _Dr. Watts._
+
+See p. 79.
+
+
+I AM A FRIAR OF ORDERS GREY (_S.B.S._ 8) (_Out of Season_)
+
+Words by _John O'Keefe_.                          _Wm. Reeve._
+
+Appeared in _Merry Sherwood_, 1795.
+
+
+I CARE NOT FOR SPRING
+
+See p. 99.
+
+
+I'D CROWNS RESIGN, TO CALL HER MINE (_D.C._ 25)
+
+'Lass of Richmond Hill.'
+
+Words by _L. MacNally_.                             _J. Hook._
+
+    I'd crowns resign, to call her mine,
+      Sweet lass of Richmond Hill.
+
+For a long time there was a dispute between the partisans of
+Surrey and Yorkshire as to which 'Richmond Hill' was referred
+to. The former county was the favourite for a long time,
+till a communication in _Notes and Queries_ (10th series
+iii. p. 290) pulverized its hopes and definitely placed the
+locality in Yorkshire.
+
+
+IF I HAD A DONKEY (_O.C.S._ 27)
+
+See p. 95.
+
+
+IF YOU'LL COME TO THE BOWER (_O.M.F._)
+
+See p. 134.
+
+
+I'LL TELL THEE HOW THE MAIDEN WEPT (_O.M.F._)
+
+See p. 133.
+
+
+IN HURRY, POST HASTE FOR A LICENCE (_P.P._ 10)
+
+See p. 90.
+
+
+I SAW HER AT THE FANCY FAIR (_S.B.T._ 11)
+
+
+I SAW THY SHOW IN YOUTHFUL PRIME (_O.C.S._ 27)
+
+Moore's _Irish Melodies_, air 'Domhnall.'
+
+    I saw thy form in youthful prime,
+      Nor thought that pale decay
+    Would steal before the steps of time,
+      And waste its bloom away, Mary.
+
+
+ISLE OF THE BRAVE AND LAND OF THE FREE (_M.J._)
+
+Original.
+
+
+IT MAY LIGHTEN AND STORM (_M.C._ 42)
+
+Possibly from some old ballad opera, but more probably original.
+
+
+JACK'S DELIGHT (TO) HIS LOVELY NAN (_D.C._ 11)
+
+Words and music by _C. Dibdin_.
+
+From 'Lovely Nan.' Last two lines:
+
+    But oh, much sweeter than all these,
+    Is Jack's delight, his lovely Nan.
+
+
+JIM CROW (_A.N._)
+                                                    _Unknown._
+
+See p. 97.
+
+    I come from old Kentucky,
+      A long time ago,
+    Where I first larn to wheel about,
+      And jump Jim Crow;
+    Wheel about and turn about,
+      And do jis so,
+    Eb'ry time I wheel about,
+      I jump Jim Crow.
+
+
+JOLLY YOUNG WATERMAN (_It._, _P.P._ 33)
+
+Words and music by _C. Dibdin_ in _The Waterman_.
+
+
+KING DEATH (_B.H._ 33)
+
+Words by _Barry Cornwall_.                          _Neukomm._
+
+    King Death was a rare old fellow,
+      He sat where no sun could shine,
+    And he lifted his hand so yellow,
+      And pour'd out his coal-black wine.
+        Hurrah for the coal-black wine!
+
+John Leech used to sing 'King Death,' and it was of his voice
+that Jerrold once remarked, 'I say, Leech, if you had the same
+opportunity of exercising your voice as you have of using your
+pencil, how it would _draw_!'
+
+
+LESBIA HATH A BEAMING EYE (_Letter to Lemon_)
+
+Words by _Moore_.
+
+Set to the delightfully gay air 'Nora Creina.'
+
+    Lesbia hath a beaming eye,
+      But no one knows for whom it beameth,
+    Right and left its arrows fly,
+      But what they aim at no one dreameth!
+
+
+LISTEN TO THE WATERFALL (_B.H._ 32)
+                                            _Lord Mornington._
+
+From the glee 'Here in cool grot.'
+
+
+LITTLE TAFFLINE (_D.C._ 28)
+
+Words by _Prince Hoare_.                         _S. Storace._
+
+In the opera _Three and The Deuce_, produced in 1806.
+
+See pp. 112, 113.
+
+There is a character 'Little Taffline' in T. Dibdin's
+_St. David's Day_, music composed and compiled by Attwood. There
+is another setting said to be 'composed by J. Parry,' but it
+is merely an altered form of the original.
+
+
+LOVELY PEG (_D. & S._ 10)
+
+See pp. 117-119.
+
+
+MARSEILLAISE (_M.C._ 15, _E.D._ 2, _L.D._ 2)
+
+                                            _Rouget de Lisle._
+
+For brief history see _The Choir_ (Nov., 1911)
+
+
+MASANIELLO (_S.B.T._ 9)
+
+Opera by _Auber_.
+
+See p. 26.
+
+
+MAY WE NE'ER WANT A FRIEND (_D. & S._ 15)
+
+See 'When the first dawn of reason.'
+
+
+MEN OF PROMETHEUS (_S.B.T._ 9)
+
+See p. 26.
+
+This was the name given to the first edition of Beethoven's
+ballet music to _Prometheus_, composed in 1800.
+
+
+MISS WACKLES, I BELIEVED YOU TRUE (_O.C.S._ 8)
+
+'Mary, I believed thee true,' _Moore_ (one of his 'Juvenile
+Poems').
+
+    Mary, I believed thee true,
+      And I was blest in so believing,
+    But now I mourn that e'er I knew
+      A girl so fair and so deceiving!
+
+It has been suggested that these words were adapted and sung
+to the Scotch air 'Gala Water.'
+
+
+MY BOAT IS ON THE SHORE (_G.S._) (_D.C._ 54, _Letters_)
+
+Words by _Lord Byron_.                               _Bishop._
+
+See p. 12.
+
+Also set by W. Cratherne.
+
+
+MY FEELINGS I SMOTHER (_O.C.S._ 36)
+
+See 'We met.'
+
+
+MY HEART'S IN THE HIGHLANDS (_O.C.S._ 2, _S.B.S._ 2)
+
+Words partly by _Burns_.
+
+In Captain Fraser's _Airs Peculiar to the Scottish Highlands_,
+1816.
+
+There is a parody by Dickens (see Forster's _Life_, ch. 8).
+
+
+NEVER LEAVE OFF DANCING (_D.C._ 41)
+
+Said to be the subject of a French song.
+
+
+NO MALICE TO DREAD, SIR (_O.M.F._)
+
+See p. 134.
+
+
+NON NOBIS (_S.B.S._ 19)
+
+This celebrated canon, by Byrd, has been performed at public
+dinners from time immemorial. It also used to be performed at
+the Theatre Royal, Covent Garden.
+
+
+NOW'S THE DAY, AND NOW'S THE HOUR (_D.C._ 54)
+
+Verse 2 of 'Scots, Wha Hae' (_Burns_).
+
+    Now's the day, and now's the hour,
+    See the front o' battle lour,
+    See approach proud Edward's power,
+        Chains and slaverie.
+
+
+OF ALL THE GIRLS THAT ARE SO SMART (_O.C.S._ 50)
+
+Words and music by _Henry Carey_.
+
+Carey composed his melody in 1715. It soon became popular,
+but owing to the similarity of certain phrases to those of
+an older tune known as 'The Country Lass,' the two gradually
+got mixed up, with the result that the latter became the
+recognized setting.
+
+
+OFF SHE GOES (_S.B.T._ 7)
+
+A once popular dance air.
+
+
+OFT IN THE STILLY NIGHT (_S.B.S._ 13)
+
+From T. Moore's _National Airs_, set to an air possibly of
+Scotch origin. There are also settings by Stevenson and Hullah.
+
+
+OH BLAME NOT THE BARD (_O.C.S._ 35)
+
+Words by _T. Moore_.
+
+In _Irish Melodies_. Set to the tune 'Kitty Tyrrel.'
+
+
+OH GIVE ME BUT MY ARAB STEED (_O.C.S._ 21)
+
+Words by _T.H. Bayly_.                          _G.A. Hodson._
+
+Written in 1828. Sung by Braham.
+
+    Oh give me but my Arab steed,
+      My prince defends his right,
+    And I will to the battle speed,
+      To guard him in the fight.
+
+
+OH CHEERILY, CHEERILY (_D. & S._ 32)
+
+Original, but a refrain similar to this is not uncommon in
+old sea songs.
+
+
+OH LADY FAIR (_G.E._ 13)
+
+Trio by _Moore_.
+
+See 'Strew then, O strew.'
+
+
+OH LET US LOVE OUR OCCUPATIONS (_Ch._)
+
+Original lines by Dickens. 'Set to music on the new system,'
+probably refers to Hullah's method (c. 1841), or possibly the
+Tonic Sol-fa (c. 1843), see p. 17.
+
+
+OH LANDSMEN ARE FOLLY (_H.R._)
+
+Original.
+
+
+OLD CLEM (_G.E._ 12, 15)
+
+A custom prevailed at Chatham of holding a procession
+on St. Clement's day, and the saint, who was irreverently
+designated 'Old Clem,' was personated by a young smith disguised
+for the occasion.
+
+Dickens frequently writes a verse in the form of prose, and
+this is an example. Written out properly, it reads thus:
+
+    Hammer boys round--Old Clem,
+    With a thump and a sound--Old Clem,
+    Beat it out, beat it out--Old Clem,
+    With a cluck for the stout--Old Clem,
+    Blow the fire, blow the fire--Old Clem,
+    Roaring drier, soaring higher--Old Clem.
+
+
+OLD KING COLE (_O.C.S._ 58, _P.P._ 36)
+
+The personality of this gentleman has never been settled.
+Chappell suggests he was 'Old Cole,' a cloth-maker of Reading
+_temp._ Henry I. Wardle's carol 'I care not for spring' (_P.P._
+36) was adapted to this air, and printed in How's _Illustrated
+Book of British Song_.
+
+
+OVER THE HILLS AND FAR AWAY (_Dr. M._, _M.C._ 36)
+
+An old saying, both in song and as a phrase. It occurs in two
+songs in D'Urfey's _Pills to Purge Melancholy_, 1709, one of
+which is,
+
+    Tom he was a piper's son,
+    He learned to play when he was young;
+    But all the tune that he could play
+    Was over the hills and far away.
+                                          (Vol. iv.)
+
+Doctor Marigold's version is probably original:
+
+    North and South and West and East,
+    Winds liked best and winds liked least,
+    Here and there and gone astray,
+    Over the hills and far away.
+
+
+OVER THE WATER TO CHARLIE (_O.C.S._ 27)
+
+Tune in Johnson's _Musical Museum_, Vol. II, 1788.
+
+    Come boat me o'er, come row me o'er,
+      Come boat me o'er to Charlie,
+    I'll gie John Brown another half-crown,
+      To boat me o'er to Charlie;
+    We'll o'er the water, we'll o'er the sea,
+      We'll o'er the water to Charlie,
+    Come weal, come woe, we'll gather and go,
+      And live or die wi' Charlie.
+
+Another Jacobite song was the cause of an amusing incident at
+Edinburgh. On the occasion of one of his visits there Dickens
+went to the theatre, and he and his friends were much amazed
+and amused by the orchestra playing 'Charlie is my darling'
+amid tumultuous shouts of delight.
+
+
+PAUL AND VIRGINIA (_S.B.T._ 7, _L.D._ 13)
+                                               _J. Mazzinghi._
+
+The popular duet from this opera 'See from ocean rising'
+was sung by Mr. Johnstone and Mr. Incledon. See p. 91.
+
+
+POLLY PUT THE KETTLE ON (_B.R._ 24)
+
+An old country dance.
+
+
+RED RUFFIAN, RETIRE! (_S.B.C._ 8)
+
+Probably an imaginary title, invented by Dickens.
+
+
+RULE BRITANNIA (_D. & S._ 4, 39, _U.T._ 2, _M.C._ 11, 17,
+_A.N._, _D.C._ 8)
+
+Words by _Thomson_ or _Mallet_.                        _Arne._
+
+First appeared in print at the end of the masque _The Judgement
+of Paris_, but it was composed for the masque of _Alfred_,
+which was first performed on August 1, 1740. See _Musical
+Times_, April, 1900.
+
+
+SALLY IN OUR ALLEY
+
+See 'Of all the girls.'
+
+
+SATAN FINDS SOME MISCHIEF STILL (_D.C._ 16)
+
+See p. 80.
+                                                  _Dr. Watts._
+
+
+SEE FROM OCEAN RISING (_S.B.T._ 7)
+
+See _Paul and Virginia_.
+
+
+SHE'S ALL MY FANCY PAINTED HER (_O.C.S._ 7)
+
+('Alice Gray.')
+
+See 'Yet lov'd I.'
+
+
+SHE'S LIKE THE RED, RED ROSE (_O.C.S._ 8)
+
+Burns revised the words from an old song.
+
+The music is in _Caledonian Pocket Companion_, Bk. VII, 1754,
+under the name 'Low Down in the Broom.'
+
+
+SHIVERY SHAKEY, AIN'T IT COLD (_Dr. M._)
+
+See p. 94.
+
+
+SINCE LAWS WERE MADE FOR EVERY DEGREE (_O.C.S._ 66, _L.D._
+ii. 12)
+
+    TYBURN TREE.
+
+    Since laws were made for ev'ry degree
+    To curb vice in others as well as me,
+    I wonder we han't better company
+          Upon Tyburn Tree.
+
+From _Beggar's Opera_. Words by _Gay_.
+
+Set to the tune of 'Greensleeves,' which dates from 1580. This
+tune is twice mentioned by Shakespeare in _The Merry Wives
+of Windsor_. An earlier 'Tyburn' version is a song entitled
+'A Warning to False Traitors,' which refers to the execution
+of six people at 'Tyborne' on August 30, 1588.
+
+
+SINCE THE FIRST DAWN OF REASON
+                                                    _J. Davy._
+
+See p. 120.
+
+
+SONG ABOUT A SPARKLING BOWL (_Ch._)
+
+There are several songs of this nature, such as 'The Flowing
+Bowl' ('Fill the bowl with sparkling nectar'). Another began
+'Fill, fill the bowl with sparkling wine.'
+
+
+SONG ABOUT THE SLUMBERING ECHOES IN THE CAVERN OF MEMORY
+(_D.C._ 33)
+
+Not at present traced.
+
+
+STREW THEN, OH STREW A BED OF RUSHES (_O.C.S._ 65)
+
+Words and music by _Moore_.
+
+From the glee 'Holy be the Pilgrim's Sleep,' which is a sequel
+to 'Oh Lady Fair' (q.v.).
+
+Moore wrote two inane songs, entitled 'Holy be the Pilgrim's
+Sleep' and 'Oh Lady Fair.' For both pilgrim and lady arrangements
+are made for spending the night somewhere, and in each song occur
+the words
+
+    Strew then, oh strew his [our] bed of rushes,
+    Here he shall [we must] rest till morning blushes.
+
+
+TAMAROO (_M.C._ 32)
+
+Said to be taken from an English ballad in which it is
+supposed to express the bold and fiery nature of a certain
+hackney coachman.
+
+According to _Notes and Queries_ (x. 1), this was sung
+at Winchester School some seventy or eighty years ago.
+
+The following is quoted as the first verse:
+
+    Ben he was a coachman rare
+    ('Jarvey! Jarvey!' 'Here I am, yer honour'),
+    Crikey! how he used to swear!
+    How he'd swear, and how he'd drive,
+    Number two hundred and sixty-five.
+        Tamaroo! Tamaroo! Tamaroo!
+
+Dr. Sweeting, the present music-master at Winchester, says,
+'The song "Tamaroo" is quite unknown here now, and if it was
+sung here seventy or eighty years ago, I should imagine that
+that was only because it was generally well known. Dickens'
+allusion to it seems to suggest that it was a song he had heard,
+and he utilized its character to label one of his characters
+in his own fanciful way.'
+
+
+TARRY TROUSERS (_D. & S._ 39)
+
+An old folk-song. A mother wants her daughter to marry a tailor,
+and not wait for her sailor bold, telling her that it is quite
+time she was a bride. The daughter says:
+
+    My mother wants me to wed with a tailor,
+      And not give me my heart's delight,
+    But give me the man with the tarry trousers,
+      That shine to me like diamonds bright.
+
+
+TELL ME, SHEPHERDS (_E.D._ 2)
+                                                  _Mazzinghi._
+
+Glee. 'Ye Shepherds, tell me' (or 'The Wreath').
+
+
+THE BRAVE OLD OAK (_S.B.S._ 2.)
+
+Words by _H.F. Chorley_.                         _E.J. Loder._
+
+    A song for the oak, the brave old oak,
+      Who hath ruled in the greenwood long;
+    Here's health and renown to his broad green crown,
+      And his fifty arms so strong!
+
+
+THE BULL IN THE CHINA SHOP
+
+See p. 111.
+
+
+THE CHERUB THAT SITS UP ALOFT (_U.T._ 5)
+
+From 'Poor Jack.'                                 _C. Dibdin._
+
+    For d'ye see, there's a cherub sits smiling aloft
+    To keep watch for the life of Poor Jack.
+
+                      (_Last two lines of verse 3._)
+
+
+THE CORDIAL THAT SPARKLED FOR HELEN (_O.C.S._ 61)
+
+Moore's _Irish Melodies_.
+
+
+THE DASHING WHITE SERGEANT (_D.C._ 28)
+
+Words by _General Burgoyne_.                    _H.R. Bishop._
+
+    If I had a beau, for a soldier who'd go,
+    Do you think I'd say no? No, no, not I.
+
+
+THE GAY, THE GAY AND FESTIVE SEASON (_O.M.F._)
+
+See 'The Light Guitar.'
+
+
+THE GREAT SEA SNAKE
+
+Set to the air 'Rampant Moll.'
+
+    Perhaps you have all of you heard of a yarn
+      Of a famous large sea snake,
+    That once was seen off the Isle Pitcairn
+      And caught by Admiral Blake.
+
+See p. 16.
+
+
+THE IVY GREEN (_P.P._ 6.)
+
+Words by _Dickens_. The most popular musical setting is that
+by _Henry Russell_.
+
+
+THE LIGHT GUITAR (_S.B.T._ 1, _O.C.S._)
+                                                    _Barnett._
+
+    Oh leave the gay and festive scene,
+      The halls of dazzling light,
+    And rove with me through forests green
+      Beneath the silent night.
+
+
+THE MILLER OF THE DEE (_O.M.F._ ii. 1)
+
+Words, c. 1762.                                    Tune, 1728.
+
+Referring to a disused boiler and a great iron wheel, Dickens
+says they are
+
+    Like the Miller of questionable jollity in the song.
+    They cared for Nobody, no not they, and Nobody cared
+    for them.
+
+The air is found in _The Quaker's Opera_, 1728.
+
+
+THE RATCATCHER'S DAUGHTER (_Out of Season_)
+
+See p. 98.
+
+
+THE SEVEN AGES (_S.B.S._ 14)
+
+See pp. 91, 92.
+
+
+THE SOLDIER, TIRED (_S.B.C._ 4)
+                                                       _Arne._
+
+Dr. Arne translated the words from the _Artaserse_ of
+Metastasio. This song was the great 'show song' for sopranos
+for many years. It was originally sung by Miss Brent.
+
+    The soldier, tired of war's alarms,
+    Forswears the clang of hostile arms,
+      And scorns the spear and shield;
+    But if the brazen trumpet sound,
+    He burns with conquest to be crowned,
+      And dares again the field.
+
+
+THE WOODPECKER TAPPING (_D.C._ 36, _L.D._ 35, _S.B.T._ 1,
+_M.C._ 25)
+
+Words by _Moore_.                                  _M. Kelly._
+
+    Every leaf was at rest, and I heard not a sound
+    But the woodpecker tapping the hollow beech-tree.
+
+
+THE YOUNG MAY MOON
+
+See p. 131.
+
+
+THEN FAREWELL, MY TRIM-BUILT WHERRY (_O.M.F._)
+
+See p. 133.
+
+
+THERE LET 'EM BE, MERRY AND FREE, TOOR-RUL-LAL-LA (_O.C.S._ 56)
+
+Probably original.
+
+
+THOUGH LOST TO SIGHT, TO MEMORY DEAR (_D. & S._ 48)
+
+Words and music by _G. Linley_.
+
+    Tho' lost to sight, to mem'ry dear
+      Thou ever wilt remain,
+    One only hope my heart can cheer:
+      The hope to meet again.
+
+
+THROWN ON THE WIDE WORLD (_O.M.F._)
+
+See p. 133.
+
+
+TIME OF DAY (_S.B.C._ 8)
+
+See p. 92.
+
+
+'TIS THE VOICE OF THE SLUGGARD (_M.C._ 9)
+                                                  _Dr. Watts._
+
+
+'TWAS EVER THUS FROM CHILDHOOD'S HOUR (_O.C.S._ 56, _D.C._ 38)
+
+('Oh ever,' &c.)
+
+Words by _Moore_.
+
+From 'Lalla Rookh.' Has been set to music by S. Glover,
+E. Souper, and Verini.
+
+
+VILLIKENS AND HIS DINAH
+
+Sung by Mr. Robson and by S. Cowell.
+
+Composer unknown.               A very popular song 1850-1860.
+
+    It's of a liquor merchant who in London did dwell,
+    He had but one darter, a beautiful gal.
+    Her name it was Dinah, just sixteen years old,
+    And she had a large fortune in silver and gold.
+        To my too-ral-lal loo-ral-li loo-ral-li-day.
+
+
+WAPPING OLD STAIRS (_U.T._ 3)
+                                                   _J. Percy._
+
+
+WEEP FOR THE HOUR (_O.M.F._)
+
+See p. 133.
+
+
+WE MET (_O.C.S._ 36, _S.B.T._ 11)
+                                                 _T.H. Bayly._
+
+The story of a girl who was compelled by her mother to jilt
+her true love and marry some one else. The story ends with
+the words misquoted by Swiveller:
+
+    The world may think me gay,
+      For my feelings I smother--
+    Oh! _thou_ hast been the cause
+      Of this anguish, my mother!
+
+
+WE'RE A'NODDIN' (_B.H._ 39)
+
+_Anonymous._
+
+A once popular Scotch song.
+
+    O we're a' noddin, nid nid noddin,
+    O we're a' noddin at our house at home;
+    How's o' wi' ye, kimmer? And how do ye thrive,
+    And how many bairns hae ye now? Bairns I hae five.
+
+
+WE WON'T GO HOME TILL MORNING (_P.P._ 7)
+
+Said in the _London Singer's Magazine_ (c. 1839) to be
+written and composed by C. Blondel ('adapted and arranged'
+might be more correct). The tune is founded on an air known
+as Malbrough, or Malbrook, which originated during the Duke
+of Marlborough's campaign, 1704-1709, known as 'The War of
+the Spanish Succession.'
+
+
+WHAT ARE THE WILD WAVES SAYING?
+
+Words by _J.E. Carpenter_.                   _Stephen Glover._
+
+This duet was founded upon the question little Paul Dombey
+asks his sister:
+
+    I want to know what it says--the sea, Floy, what is
+    it that it keeps on saying?
+
+
+WHEN HE WHO ADORES THEE (_O.C.S._ 35)
+
+Words by _Moore_.
+
+In _Irish Melodies_ to the air 'The Fox's Sleep.'
+
+
+WHEN I WENT TO LUNNON TOWN, SIRS (_G.E._ 15)
+
+Probably original. The nearest I have found to it is--
+
+    THE ASTONISHED COUNTRYMAN, OR,
+    A BUSTLING PICTURE OF LONDON.
+
+    When first I came to London Town,
+      How great was my surprise,
+    Thought I, the world's turned upside down,
+      Such wonders met my eyes.
+
+And in _The Universal Songster_--
+
+    When I arrived in London Town,
+    I got my lesson pat, &c.
+
+
+WHEN IN DEATH I SHALL CALM RECLINE
+
+Moore's _Irish Melodies_.
+
+In 1833 Dickens wrote a travesty called _O' Thello_, in which
+is a humorous solo of eight lines, to be sung to the air to
+which the above is set.
+
+
+WHEN LOVELY WOMAN STOOPS TO FOLLY (_O.C.S._ 56)
+
+    'Do my pretty Olivia,' cried she, 'let us have that
+    little melancholy air your papa was so fond of;
+    your sister Sophy has already obliged us. Do, child,
+    it will please your old father.' She complied in a
+    manner so exquisitely pathetic, as moved me.
+
+      When lovely woman stoops to folly,
+        And finds, too late, that men betray,
+      What charm can soothe her melancholy?
+        What art can wash her guilt away?
+
+       (Goldsmith's _Vicar of Wakefield_, ch. xxiv.)
+
+
+WHEN THE HEART OF A MAN (_D.C._ 24, _O.M.F._ iii. 14)
+
+Words by _Gay_ (_Beggar's Opera_). Set to a seventeenth-century
+air.
+
+    If the heart of a man is depressed with care,
+    The mist is dispelled when a woman appears,
+    Like the notes of a fiddle she sweetly, sweetly
+    Raises our spirits and charms our ears.
+
+
+WHEN THE STORMY WINDS (_D.C._ 21, _D. & S._ 23)
+
+Words by _Campbell_, who may have taken them from an earlier
+source. See 'You Gentlemen of England.'
+
+
+WHITE SAND (_L.D._ i. 32)
+
+An old glee. See p. 106.
+
+
+WHO PASSES BY THIS ROAD SO LATE (_L.D._ i. 1)
+
+(Blandois' Song.)
+
+Words by _C. Dickens_.                        _H.R.S. Dalton._
+
+An old French children's singing game. Dickens' words are
+a literal translation. See _Eighty Singing Games_ (Kidson
+and Moffat).
+
+
+WHO RAN TO CATCH ME WHEN I FELL (_O.C.S._ 38)
+
+From Ann Taylor's nursery song 'My Mother.'
+
+
+WIFE SHALL DANCE AND I WILL SING, SO MERRILY PASS THE DAY
+
+From 'Begone, dull care' (q.v.).
+
+
+WILL WATCH, THE BOLD SMUGGLER (_Out of Season_)
+                                                  _John Davy._
+
+
+YANKEE DOODLE (_U.T._, _A.N._)
+
+Mr. F. Kidson has traced this to 'A selection of Scotch,
+English, Irish, and Foreign Airs,' published in Glasgow by
+James Aird, c. 1775 or 1776.
+
+
+YET LOV'D I AS MAN NE'ER LOVED (_O.C.S._ 50)
+
+Words by _William Mee_.                             _Millard._
+
+From 'Alice Gray.'
+
+    She's all my fancy painted her,
+      She's lovely, she's divine,
+    But her heart it is another's,
+      It never can be mine.
+    Yet lov'd I as ne'er man loved,
+      A love without decay,
+    Oh my heart, my heart is breaking,
+      For the love of _Alice Gray_!
+
+'Alice Gray.' A ballad, sung by Miss Stephens, Miss Palon,
+and Miss Grant. Composed and inscribed to Mr. A. Pettet by
+Mrs. Philip Millard.
+
+Published by A. Pettet, Hanway Street.
+
+
+YOU GENTLEMEN OF ENGLAND (_D. & S._ 23)
+
+Old English Ballad.
+
+A seventeenth-century song, the last line of each verse being
+'When the stormy winds do blow.'
+
+
+YOUNG LOVE LIVED ONCE (_S.B.S._ 20)
+
+In _Sketches by Boz_ this sentence occurs:
+
+    'When we say a "shed" we do not mean the conservatory
+    kind of building which, according to the old song,
+    Love frequented when a young man.'
+
+The song referred to is by T. Moore.
+
+    Young love lived once in a humble shed,
+      Where roses breathing,
+      And woodbines wreathing,
+    Around the lattice their tendrils spread,
+    As wild and sweet as the life he led.
+
+It is one of the songs in _M.P., or The Blue-Stocking_,
+a comic opera in three acts.
+
+
+
+
+INDEX OF MUSICAL INSTRUMENTS
+
+
+  Accordion, 1, 2
+  Aeolian Harp, 10
+
+  Bagpipes, 5, 44
+  Banjo, [20]
+  Barrel-Organ, 5, 6, 10, 50, 53, 78
+  Bassoon, 43
+  Bells (church) 55, 57
+  Bells (various), 23, 57, 61, 66
+
+  Castanets, 56
+  'Chaunter,' 109
+  Chin-playing, 62
+  Clarionet, 42, 43
+  Cymbals, 3, 56, 64
+
+  Drum, 23, 64, 66, 110
+  'Drums,' 109
+
+  Fiddle, see Violin
+  Fife, 44, 63, 85
+  Flageolet, 67
+  Flute, 6, 25, 26, 36, 37-40, 45
+
+  Guitar, 37, 54, 55, 62
+  'Gum-gum,' 63
+
+  Harmonium, 63
+  Harp, 6, 23, 25, 26, 29, 30, 31, 64
+  Harpsichord, 33, 47
+
+  Jew's-harp, 57
+
+  Key Bugle (or Kent Bugle), 2, 3, 65, 66, 87
+  Kit, 27
+
+  Lute, 55
+
+  Marrowbones and Cleaver, 23, 66, 67
+  Mouth-organ, 67
+
+  Organ, 45-50, 52, 69-72
+
+  Pan's Pipes, 43, 67
+  Piano, 1, 6, 25-29, 31-35, 74, 76
+  Piano ('self acting'), 48
+
+  Recorders, 64
+
+  Serpent, 63
+
+  Tambourine, 25, 43, 56, 62
+  Tom-tom, 62
+  Triangle, 41, 43, 68
+  Trombone, 43, 67
+
+  Violin, 1, 2, 5, 6, 23-29, 47, 64
+  Violoncello, 6, 25, 29, 44
+
+
+
+
+INDEX OF CHARACTERS
+
+
+  Antonio (_U.T._), 54
+  Atherfield, Mrs. (_G.M._), 78
+
+  Bagnet, Mrs. (_B.H._), 113
+  Bagnet (_B.H._), 43, 85
+  Bagnet, Master (_B.H._), 44, 85
+  Bailey, Jr. (_M.C._), 59, 89
+  Banjo Bones (_U.T._ 5), 20
+  Belinda (_M.H.C._), 61
+  Billsmethi (_S.B.C._ 9), 20
+  Blackpool, S. (_H.T._), 59
+  Blandois (_L.D._), 17
+  Blathers (_O.T._), 56
+  Blimber, Dr. (_D.C._), 53, 58
+  Boffin (_O.M.F._), 133
+  Bounderby (_H.T._), 56
+  Brass, Sally (_O.C.S._), 103, 128
+  Brass, Sampson (_O.C.S._), 27, 40, 78, 102, 128
+  Briggses, Miss (_S.B.T._ 7), 54, 62
+  Browdie, John (_N.N._), 101
+  Brown, Mr. (_S.B.T._ 9), [26]
+  Bucket (_B.H._), 29, 43, 44, 64, 85, 112
+  Bunsby (_L.D._), 121
+
+  Carker, Harriet (_D. & S._), 40
+  Carker, James (_D. & S._), 28, 59
+  Casby (_L.D._), 53
+  Chadband, Rev. (_B.H._), 74
+  Cheggs (_O.C.S._), 126
+  Chivery, Young (_L.D._), 55
+  Chuckster (_O.C.S._), 125
+  Chuzzlewit, Jonas (_M.C._), 41, 59
+  Chuzzlewit, Martin (_M.C._), 102
+  Chuzzlewit, M., Jr., 46, 66, 84, 86
+  Clennam, Arthur (_L.D._), 49, 59, 90
+  Copperfield, David (_D.C._), 30, 33, 36, 55, 80, 84, 102, 112, 115
+  Crewler, Sophy (_D.C._), 33
+  Crisparkle, Rev. (_E.D._), 74, 107
+  Crumptons, Miss (_S.B.T._ 3), 20
+  Cuttle, Capt. (_D. & S._), 7, 18, 83, 84, 89, 117-123
+
+  Daisy, Solomon (_B.R._), 73
+  Dartle, Rosa (_D.C._), 30
+  Dick, Mr. (_D.C._), 110
+  Dombey, Mr. (_D. & S._), 6, 31, 67
+  Dombey, Florence (_D. & S._), 89, 101, 118, 120, 121
+  Dombey, Paul (_D. & S._), 30, 36, 53, 58, 101
+  Dorrit, E. (_L.D._), 109
+  Dorrit, F. (_L.D._), 42, 49
+  Dorrit, W. (_L.D._), 34
+  Dorrit, Miss (_L.D._), 42
+  Dorrit, Little (_L.D._), 42
+  Dowler (_P.P._), 60
+  Drood, E. (_E.D._), 75
+  Durdles (_E.D._), 18, 76
+
+  Evans, Jemima (_S.B.C._ 4), 16, 48
+  Evans, Mr. (_S.B.T._ 9), 39
+  Evenson (_S.B.T._ 1), 40
+
+  Fagin (_O.T._), 59
+  Feeder (_D. & S._), 36, 52, 53, 66
+  Fezziwig, Mrs. (_C.C._), 25
+  Fielding, May (_C.H._), 66
+  Finching, Flora (_L.D._), 49, 90, 117
+  Fips (_M.C._), 102
+
+  Gamp, Mrs. (_M.C._), 57
+  Gattleton, Mrs. (_S.B.T._ 9), 25, 39
+  Gay, Walter (_D. & S._), 84, 120, 121
+  General, Mrs. (_L.D._), 131
+  George, Mr. (_B.H._), 29, 44, 61
+  Gills ('Old Sol') (_D. & S._), 120
+  Graham, Mary (_M.C._), 47
+
+  Handel (_G.E._), see Pirrip
+  Hardy (_S.B.T._ 7), 62, 63
+  Harleigh (_S.B.T._ 9), 9
+  Harris, Mrs. (_M.C._), 57
+  Heep (_D.C._), 80, 116
+  Helves, Capt. (_S.B.T._ 7), 62, 90, 103
+  Hexham (_O.M.F._), 44
+  Hopkins, 135
+  Humm (_P.P._), 78
+  Humphrey, Master (_M.H.C._), 61
+  Hunter, Mrs. (_P.P._)
+
+  Jacksonini (_Letters_), 20
+  Jarley, Mrs. (_O.C.S._), 95
+  Jasper (_E.D._), 34, 74, 75, 107
+  Jeddler (_B.L._), 26
+  Jellyby, Caddy (_B.H._), 27, 33
+  Jerry (_O.C.S._), 52, 78
+  Jingle (_P.P._), 25, 29, 90
+  Jorgan (_P.P._), 47
+
+  Kenwigs, Mrs. (_N.N._), 41, 131
+  Kit, see Nubbles
+
+  Ladle, Joey (_N.T._), 77
+  Larkins, Miss (_D.C._), 30
+  Lirriper, Mrs. (_L.L._), 56, 70
+  Lobskini (_S.B.T._ 3), 20
+
+  M'Choakumchild (_H.T._), 130
+  Malderton, Miss (_S.B.T._ 5), 31, 107
+  Maldon, Jack (_D.C._)
+  Mantalini (_N.N._), 60
+  Marchioness, The (_O.C.S._), 38, 123, 128, 129
+  Marigold, Dr., 93
+  Marra Boni (_S.B.C._ 8), 20
+  Meagles (_L.D._), 86
+  Meagles, Miss ('Pet'), 77
+  Mell (_D.C._), 36, 117
+  Micawber (_D.C._), 41, 83, 112-117
+  Micawber, Mrs. (_D.C._), 112, 113, 117
+  Micawber, W. (_D.C._), 117
+  Miggs, Miss (_B.R._), 56
+  Mills, Miss (_D.C._), 102
+  Monflathers, Mrs. (_O.C.S._), 79
+  Mordlin, Brother (_P.P._), 78
+  Morfin (_D. & S._), 27, 28, 29, 41
+
+  Namby, Mrs. (_P.P._), 33
+  Nancy (_O.T._), 39
+  Nandy (_L.D._), 105, 106
+  Nell, Little (_O.C.S._), 79, 101
+  Nickleby (_N.N._), 58, 100
+  Noggs (_N.N._), 60
+  Nubbles ('Kit') (_O.C.S._), 27, 129
+
+  Obenreizer (_N.T._), 14
+  'Old Clem,' 151
+  'Old Sol,' see Gills
+
+  Pancks (_L.D._), vii, 53, 106
+  Pecksniff (_M.C._), 7, 41, 46
+  Pecksniffs, Miss (_M.C._), 38, 89, 101, 108
+  Peerybingle, Mrs. (_C.H._), 79
+  'Pet,' see Meagles, Miss
+  Petowker, Miss (_N.N._), 41
+  Phenomenon, The (_N.N._), 24
+  Pickleson (_Dr. M._), 20, 93
+  Pickwick, Mr. (_P.P._), 27, 33, 34, 60, 100
+  Pinch, Tom (_M.C._), 46, 47, 59, 60, 72 (&c.)
+  Pirrip ('Pip' or 'Handel'), 19, 108
+  Pip (_G.E._), see Pirrip
+  Plornish, Mrs. (_L.D._), 105, 106
+  Plornish, Mr. (_L.D._), 106
+  Plummer (_C.H._), 64
+  Pocket, Herbert (_G.E._), 19
+
+  Quilp (_O.C.S._), 103, 127
+
+  Redburn, Jack (_M.H.C._), 38
+  Rob the Grinder (_D. & S._), 123
+  Rudolph, Jennings (_S.B.C._ 8), 68
+
+  Sapsea, Mr. (_E.D._), 18, 76
+  Sawyer, Bob (_P.P._), 59, 100
+  Scrooge (_C.C._), 30
+  Scrooge's Nephew (_C.C._), 30, 107
+  Simpson (_P.P._), 109
+  Skettles, Lady (_D. & S._), 30
+  Skewton, Hon. Mrs. (_D. & S._), 31
+  Skimpole (_B.H._), 33, 131
+  Smike (_N.N._), 58
+  Sparkins (_S.B.T._ 5), 31, 107
+  Spenlow, Dora (_D.C._) 33, 55, 102
+  Squeers (_N.N._), 36, 100
+  Steerforth (_D.C._) 30
+  Stiggins (_P.P._), 74
+  Strong, Dr. (_D.C._) 45, 80
+  Summerson, Esther (_B.H._), 29
+  Sweedlepipe (_M.C._), 59
+  Swills, Little (_B.H._), 107
+  Swiveller, Dick (_O.C.S._), 12, 27, 37, 78, 83, 123-130
+
+  Tackleton (_C.H._), 65, 66
+  Tapley, Mark (_M.C._), 73, 84, 86, 102
+  Tappertit (_B.R._), 25
+  Tauntons, Miss (_S.B.T._ 7), 54, 90
+  Tetterby Family (_H.M._), 79
+  Tibbs, Mrs. (_S.B.T._ 1), 40
+  Timson, Rev. (_S.B.T._ 10), 29
+  Tiny Tim (_C.C._), 101
+  Tippin, Mrs. (_S.B.T._ 4), 62
+  Tippin, Master (_S.B.T._ 4), 62
+  Todgers, Mrs. (_M.C._), 89, 108
+  Tomlinson (_D. & S._), 67
+  Toots (_D.C._), 37
+  Topper (_C.C._), 103
+  Tottle, Watkins (_S.B.T._ 10), 59
+  Tox, Miss (_D. & S._), 33
+  Tpschoffki (_G.S._), 20, 51
+  Traddles (_D.C._), 33
+  Trotter, Job (_P.P._), 80
+  Trotwood, Miss (_D.C._), 50
+  Tulrumble (_M.P._), 51
+  Tupman (_P.P._), 25
+  Turveydrop (_B.H._), 29
+  Twist, Oliver (_O.T._), 39
+
+  Varden, Mrs. (_B.R._)
+  Veck, Toby ('Trotty') (_Ch._), 23, 50, 66
+  Velasco, Rinaldo di, see Pickleson
+
+  Wackles, Sophy (_O.C.S._), 37, 125-128
+  Wardle (_P.P._), 99
+  Wegg, Silas (_O.M.F._), 132-134
+  Weller, Mr. (_P.P._), 34
+  Weller, Sam (_P.P._), 34, 73 (&c.), 99, 100
+  Wickfield (_D.C._), 80
+  Wilding (_N.T._), 77
+  Wilfer (_O.M.F._), 61, 96
+  Wilkins (_S.B.C._), 48
+  Willet, Joe (_B.R._), 73
+  Wisbottle (_S.B.T._ 1), 40
+  Wopsle (_G.E._), 64, 72, 108
+
+
+
+
+GENERAL INDEX
+
+
+  Allon, Dr., 81
+  Arne, Dr., 16, 77, 153, 157
+  Attwood, T., 114
+  Auber, 3
+
+  Barnett, J., 157
+  Bath, 60
+  Bayly, T.H., 130, 159
+  Bedford (singer), 91
+  Beethoven, 21, 148
+  _Beggar's Opera_, 135, 153, 161
+  _Bell's Life in London_, 92
+  'Belmont' (Hymn-tune), 98
+  Benedict, Sir J., 140
+  Bishop, Sir H., 12, 14, 138, 142, 144, 148, 156
+  Blamire, S., 136
+  Blondel, C., 159
+  Boai, M., 62
+  Boston (U.S.A.), 7, 32
+  Bowden, 1
+  Boyce, W., 144
+  Braham (singer), 15, 116, 136, 140
+  Bridge, Sir F., 99, 139
+  Broadstairs, 5, 9, 10
+  Buckingham (singer), 92
+  Burgoyne, 156
+  Burns, 137, 149, 153
+  Byrd, 149
+  Byron, 12, 141
+
+  Campbell, 11, 161
+  Carey, H., 141, 143, 149
+  Carpenter, J.E., 160
+  Carrara, 4
+  Chappell, W., 151
+  'Chaunter,' 109
+  Cherry, Andrew, 137
+  _Choir_, The, 18, 87
+  Chopin, 2
+  Chorley, H., 12, 21
+  Clapham, 67
+  _Clari_, 14
+  Collins, Wilkie, 11
+  Cowell (singer), 139
+  Curwen, John, 17
+
+  _Daily News_, The, 16, 20
+  Dalton, H.R.S., 17, 161
+  Davies, Rev. R., 82
+  Davy, J., 120, 137, 154, 162
+  Dibdin, C., 88, 115, 119, 133, 139, 146, 156
+  Dibdin, C., Jr., 111
+  Dibdin, T., 114, 147
+  Dover, 5
+  'Drums,' 109
+  D'Urfey, 151
+
+  'Eagle,' The, 24, 27, 47, 48
+  'Elephant and Castle,' The, 43
+  Elson, C., 144
+
+  Fairburn (song publisher), 9, 89, 121
+  Field, J.T., 8
+  Forster, J., 1, 5, 9, 24, 58, 82
+  Foundling Hospital, 77
+
+  Garrick, D., 144
+  Gay, 153, 161
+  Genoa, 5, 72
+  Gissing, 46
+  Glindon, 48
+  Glover, S., 158, 160
+  Golden Square, 6
+  Goldsmith, 161
+  Gounod, 2
+  Greene, M., 77
+  Grimaldi, 111
+
+  Hamilton, Mrs. E., 134
+  Handel, 21, 45, 48, 74, 77, 140, 144
+  Haydn, 77
+  Hoare, Prince, 113
+  Hodson, G.A., 150
+  Hook, J., 145
+  Horn, C.E., 135
+  _Household Words_, 19, 80-82
+  Howell, 48
+  Hughes, J.C., 143
+  Hullah, 15, 17, 130, 150
+  Hutchinson Family, 13
+
+  Incledon, 91, 152
+  _Irish Melodies_, 7, 8, 88, 129, 131, 142 et seq.
+
+  Jonson, Ben, 141
+  Jerrold, D., 3
+  Joachim, 13
+  Julian, Dr., 81
+
+  Kelly, M., 158
+  Kent (composer), 77
+  Kidson, Mr. F., 137, 139, 161, 162
+  Kitton, F.G., 1, 7, 15
+
+  Lampe, J.F., 141
+  Landor, 10
+  Lang, A., 72
+  Lee, G.A., 133, 141
+  Leech, J., 23
+  Lemon, Mark, 11
+  Leveridge, R., 139
+  Lind, Jenny, 3
+  Linley, G., 121, 143, 158
+  Lisle, Rouget de, 148
+  _Little Warbler_, 9, 89, 121
+  Loder, E.J., 155
+  _London Oddities_, 92
+  _London Singer's Magazine_, 18, 159
+  Luard-Selby, B., 75
+
+  Macdermott, 94
+  Maclise, 12
+  Mallet, 153
+  Mann, Dr. A.H., 109
+  Marseilles, 86
+  Marshalsea, 34
+  Martin's Act, 96
+  Mazzinghi, 152, 155
+  Mendelssohn, 2, 77
+  Meyerbeer, 3
+  Millard, Mrs., 162
+  Miller, Rev. J., 81
+  Moffat, J., 161
+  Moore, T., 7, 12, 133, 134, 142 et seq.
+  Mornington, Lord, 147
+  Mozart, 2, 21, 48, 77, 137, 141
+  _Musical Times_, The, 153
+
+  Neukomm, 147
+  Norwich Festival, 109
+  'Number Four Collection,' 80
+
+  Offenbach, 2
+
+  Panormo, 138
+  Parke, 141
+  Parr, Miss, 81
+  Parry, J., 133
+  Parsons, 48
+  Peel, Sir R., 96
+  Percy, J., 159
+  'Phiz,' 47
+  Power, Miss, 10
+  _Prentice's Warbler_, 89
+  Procter, A., 80
+  Purcell, 77, 139
+
+  Rainforth, Miss, 15
+  Reeve, W., 111, 145
+  Rice, T.D., 97
+  Richards, Brinley, 143
+  Robson (singer), 159
+  Rochester, 43, 75
+  Rossini, 141
+  Royal Academy of Music, 21
+  Russell, Henry, 140, 156
+  Russell, Lord John, 3
+
+  St. Clement Danes, 70
+  St. Peter's, Rome, 72
+  Seven Dials, 9
+  Shakespeare, 154
+  Sheridan, R.B., 144
+  Shield, 137
+  Stanfell's Budget, 89
+  Storace, S., 113, 147
+  Souper, E., 158
+  Sweeting, Dr., 155
+
+  Thomson, 153
+  Tonic Sol-Fa, 17, 150
+
+  Vauxhall Gardens, 24, 91, 104
+  Verini, 158
+  Vicar of Wakefield, 161
+
+  Watts, Dr., 7, 78, 79, 80, 145, 153, 158
+  Webbe, S., 141, 143
+  Wellington House Academy, 1
+  White Conduit gardens, 24, 93
+  Williams, Dr. V., 122
+  Wills, 21
+
+
+
+
+A LIST OF VOCAL AND INSTRUMENTAL MUSIC
+
+ASSOCIATED WITH DICKENS AND WITH THE CHARACTERS IN HIS NOVELS
+
+_All these pieces are in the possession of Mr. W. Miller,
+Librarian of the Dickens Fellowship_
+
+
+Songs in the VILLAGE COQUETTES. Words by _Charles Dickens_.
+Music by _Hullah_.
+
+THE IVY GREEN. Song. Words by _Charles Dickens_. Music by
+_Mrs. Henry Dale_.
+
+THE IVY GREEN. Song. Music by _A. De Belfer_.
+
+THE IVY GREEN. Song. Music by W. _Lovell Phillips_.
+
+THE IVY GREEN. Song. Music by _Henry Russell_.
+
+    (This song has been published by almost every music
+    publisher in London and America.)
+
+Introduction and familiar variations on THE IVY GREEN arranged
+for the pianoforte by _Ricardo Linter_.
+
+Russell's Song THE IVY GREEN, with introduction and variations
+for the pianoforte by _Stephen Glover_.
+
+THE IVY GREEN as a vocal duet. Music by _Henry Russell_.
+
+A CHRISTMAS CAROL. Words by _Charles Dickens_. Music by _Henry
+Russell_.
+
+A CHRISTMAS CAROL. Words by _Charles Dickens_. Music by _Henry
+Russell_ to the tune of OLD KING COLE.
+
+BOLD TURPIN. Words by _Charles Dickens_. Music by _Sir J.F.
+Bridge_.
+
+PICKWICK. Set to Music by _George L. Jeune_. Words by _George
+Soane_.
+
+THE WERY LAST OBSERVATIONS OF WELLER SENIOR TO BOZ ON HIS
+DEPARTURE FROM LONDON. Written and sung by _J.M. Field, Esq._
+Adapted to an old air. Boston, 1842.
+
+THE ORIGINAL SET OF PICKWICK QUADRILLES. Edited by _'Boz'
+Junior_.
+
+SAM WELLER'S ADVENTURES. Reprinted in _The Life and Times of
+James Catnach_.
+
+GABRIEL GRUB. Cantata Seria Buffa. Adapted by _Frederick
+Wood_. Music by _George Fox_.
+
+PICKWICK TARANTELLE.
+
+MR. STIGGINS. Song. Maliciously written and composed by
+'_Tony Weller_.'
+
+THE PICKWICK QUADRILLE. Composed by _Fred Revallin_.
+
+THE PICKWICK LANCERS. Composed by _Camille D'Aubert_.
+
+PICKWICK. Songs and Dances by _Edward Solomon_. Words of songs
+by _Sir F.C. Burnand_.
+
+OLIVER TWIST. Written by _H. Copeland_ from a song by _W.T.
+Townsend_.
+
+THE ARTFUL DODGER. Written by _Charles Sloman_ and _Sam
+Cowell_. Music by _Fred Bridgeman_. Sung by _Sam Cowell_.
+
+NICHOLAS NICKLEBY QUADRILLE AND NICKLEBY GALOP. By _Sydney
+Vernon_.
+
+MASTER HUMPHREY'S CLOCK, 'DID YOU HEAR ANYTHING KNOCK?' Song
+by _Beuler_.
+
+MASTER HUMPHREY'S QUADRILLES. Music by _'Boz' Junior_.
+
+THE CHIMES OF MASTER HUMPHREY'S CLOCK. Arranged for the
+pianoforte by _Charles Arnold_.
+
+THE GHOST OF THE BARON OF GROG-SWIG. Written by _John
+Major_. Arranged by _J. Monro_.
+
+LITTLE NELL. Words by _Miss Charlotte Young_. Music by _George
+Linley_.
+
+LITTLE NELL. Composed by _George Linley_. Arranged for the
+pianoforte by _Carlo Totti_.
+
+NELL. Song. Composed by _H.L. Winter_.
+
+LITTLE NELL. By _Miss Hawley_.
+
+LITTLE NELL. Waltz by _Dan Godfrey_.
+
+NELL. Words by _Edward Oxenford_. Music by _Alfred J.
+Caldicott_.
+
+LITTLE NELLIE'S POLKA. Composed by _J. Pridham_.
+
+BARNABY RUDGE TARANTELLE. By _Clementine Ward_.
+
+DOLLY VARDEN. Ballad. Words and Music by _Cotsford Dick_.
+
+_G.W. Hunt's_ Popular Song DOLLY VARDEN.
+
+DOLLY VARDEN. Comic Song. Words by _Frank W. Green_.
+Music _Alfred Lee_.
+
+_Vance's_ DOLLY VARDEN. Written, composed, and sung by _Alfred
+G. Vance_.
+
+_G.W. Moore's_ Great Song DRESSED AS A DOLLY VARDEN. Written,
+composed, and sung by _G.W. Moore_.
+
+DOLLY VARDEN'S WEDDING. Comic Song. Written, composed, and
+arranged by _T.R. Tebley_.
+
+DOLLY VARDEN WALTZ. By _Henry Parker_.
+
+DOLLY VARDEN VALSE. Composed by _Sara Leumas_.
+
+THE DOLLY VARDEN POLKA. By _Brinley Richards_.
+
+THE DOLLY VARDEN POLKA. By _W.C. Levey_.
+
+DOLLY VARDEN POLKA. By _Henry Parker_.
+
+THE DOLLY VARDEN POLKA. Arranged by _T.C. Lewis_. Composed by
+_G. Discongi_.
+
+DOLLY VARDEN POLKA. By _George Gough_.
+
+DOLLY VARDEN GALOP. By _Charles Coote, jun._
+
+DOLLY VARDEN SCHOTTISCHE. By _Helene_.
+
+THE DOLLY VARDEN SCHOTTISCHE. By _H. King_.
+
+DOLLY VARDEN GAVOTTE. By _Clementine Ward_.
+
+DOLLY VARDEN QUADRILLE. By _Henry Parker_.
+
+DOLLY VARDEN QUADRILLE, on old English Tunes. By _C.H.R.
+Marriott_.
+
+MAYPOLE HUGH. Song. Words by _Charles Bradberry_. Music by
+_George Fox_.
+
+YANKEE NOTES FOR ENGLISH CIRCULATION; or BOZ IN A-MERRY-KEY.
+Comic Song. Written by _James Briton_. Music arranged to an
+American Air by _Geo. Loder_.
+
+THE CHRISTMAS CAROL QUADRILLES. By _Edwin Merriott_.
+
+TINY TIM. Words by _Edward Oxenford_. Music by _Alfred J.
+Caldicott_.
+
+TINY TIM. Words by _Harry Lynn_. Music by _W. Knowles_.
+
+THE SONG OF CHRISTMAS. Song sung in _A Christmas Carol_ at
+the Theatre Royal, Adelphi. Composed by _C. Herbert Rodwell_.
+
+TINY TIM. Written and composed by _Arthur Wingham_.
+
+'GOD BLESS US EVERY ONE.' Words by _Geo. Cooper_. Music by
+_Herbert Foster_.
+
+THE CHIMES. Song. Written by _J.E. Carpenter_. Music composed
+by _F. Nicholls Crouch_.
+
+THE CHIMES. By _Jullien_.
+
+THE CHIMES QUADRILLES. By _Henry Oakey_.
+
+THE CHIMES QUADRILLES. By _Lancelott_.
+
+THE CHIMES GAVOTTE. For the pianoforte, with bell accompaniment
+(ad lib.). Composed by _Wm. West_, Organist and Choirmaster
+of St. Margaret Pattens (Rood Lane, E.C.).
+
+LILLIAN. Ballad from _The Chimes_. The Poetry by _Fanny E.
+Lacey_. Music by _Edward L. Hime_.
+
+THE SPIRIT OF THE CHIMES. Written and composed by _Fanny
+E. Lacey_.
+
+THE CRICKET ON THE HEARTH. Song. By _James E. Stewart_,
+Cincinnati, U.S.A.
+
+THE CRICKET ON THE HEARTH. A Domestic Ballad. Written by
+_Edward J. Gill_. Music by _J. Blewitt_.
+
+THE CRICKET POLKA.
+
+THE CRICKET POLKA. Composed by _Jullien_.
+
+THE CRICKET ON THE HEARTH QUADRILLES. Composed by _S.D.
+Saunders_.
+
+THE CRICKET ON THE HEARTH. A set of Quadrilles. By _T.L.
+Rowbotham_.
+
+THE CRICKET ON THE HEARTH. A new Christmas Quadrille.
+By _F. Lancelott_.
+
+THE NEW CRICKET POLKA. Composed by _Johann Lupeski_.
+
+THE BATTLE OF LIFE. Song. Words by _O.C. Lynn_. Music by
+_R. Graylott_. Published in _The Illustrated London News_,
+March 20, 1847.
+
+THE FRUIT GATHERERS' SONG ('The Battle of Life'). Written by
+_Fanny E. Lacey_. Composed by _Edwin Flood_.
+
+THE HAUNTED MAN QUADRILLES. By _Wm. West_.
+
+WHAT ARE THE WILD WAVES SAYING? Written by _J.E.
+Carpenter_. Music by _Stephen Glover_.
+
+WHAT ARE THE WILD WAVES SAYING? (_Stephen Glover_). Arranged
+for the pianoforte by _Brinley Richards_.
+
+A VOICE FROM THE WAVES (an answer to the above). Words by
+_R. Ryan_. Music by _Stephen Glover_.
+
+LITTLE PAUL BALLAD. Poetry by _Miss C. Young_. Music by _W.T.
+Wrighton_.
+
+PAUL. Song. Words by _Edward Oxenford_. Music by _Alfred J.
+Caldicott_.
+
+FLORENCE. Song. Written by _Charles Jeffrey_.
+
+POOR FLORENCE. Song. Music composed by _W.T. Wrighton_.
+
+WALTER AND FLORENCE. Song. Written by _Johanna Chandler_.
+Music by _Stephen Glover_.
+
+DOMBEY AND SON QUADRILLE. By _Miss Harriet Frances Brown_.
+
+THE DAVID COPPERFIELD POLKA. Composed by _W. Wilson_.
+
+THE MICAWBER QUADRILLE (played in the drama of _Little Em'ly_,
+at the Olympic Theatre, in 1869). Composed by _J. Winterbottom_.
+
+LITTLE EM'LY VALSES. By _John Winterbottom_. (Played in the
+drama of _Little Em'ly_, at the Olympic Theatre, in 1869.)
+
+THE LITTLE EM'LY POLKA. Composed by _W.G. Severn_.
+
+AGNES; or I HAVE LOVED YOU ALL MY LIFE. Ballad. Written by
+_Ger Vere Irving_. Composed by _Gerald Stanley_.
+
+DORA; or THE CHILD-WIFE'S FAREWELL. Ballad. Written by _George
+Linley_. Composed by _Gerald Stanley_.
+
+PEGGOTTY THE WANDERER. Ballad. Written by _William Martin_.
+Music by _James William Etherington_.
+
+DORA TO AGNES. Song. Words by _Charles Jeffrey_. Music by
+_J.H. Tully_.
+
+LITTLE BLOSSOM. Ballad by _Stephen Glover_. Words by _Charlotte
+Young_.
+
+HOUSEHOLD WORDS. Duet. Written by _Charlotte Young_.
+Composed by _John Blockley_.
+
+Songs and Ballads from _Bleak House_:
+
+  (1) THE SONG OF ESTHER SUMMERSON, 'Farewell to the Old
+      Home.' Written by _Charles Jeffrey_. Music by _Charles
+      W. Glover_.
+
+  (2) ADA CLARE. Written by _Charles Jeffrey_. Set to Music
+      by _Charles W. Glover_.
+
+POOR JO! Ballad. Written by _H.B. Farnie_. Composed by
+_C.F.R. Marriott_.
+
+POOR JO! Song and Chorus. Written by _W.R. Gordon_. Composed
+by _Alfred Lee_.
+
+'JO.' Galop for the pianoforte upon airs from the celebrated
+drama, by _Edward Solomon_.
+
+'HE WAS WERY GOOD TO ME.' Poor Jo's song. Written and composed
+by _Alfred Allen_.
+
+THE TOKEN FLOWERS. Song founded on 'Caddy's Flowers' in
+_Bleak House_. Written by _Joseph Edward Carpenter_. Music by
+_B. Moligne_.
+
+HARD TIMES. Polka. By _C.W._
+
+LITTLE DORRIT. Ballad. Written and composed by _John Caulfield_.
+
+LITTLE DORRIT. Song. Written by _Henry Abrahams_. Music by
+_C. Stanley_.
+
+LITTLE DORRIT'S POLKA. Composed by _Jules Norman_.
+
+AS YOU LIKE IT; or LITTLE DORRIT'S POLKA. By _W.H. Montgomery_.
+
+LITTLE DORRIT'S VIGIL. By the composer of LITTLE NELL.
+
+LITTLE DORRIT'S SCHOTTISCHE. Composed by _W.M. Parker_.
+
+LITTLE DORRIT SERENADE. By _Clementine Ward_.
+
+'MY DEAR OLD HOME.' Ballad. Written by _J.E. Carpenter_.
+Composed by _John Blockley_.
+
+WHO PASSES BY THIS ROAD SO LATE? Blandois' song from _Little
+Dorrit_. Words by _Charles Dickens_. Music by _H.R.S. Dalton_.
+(This song was suggested to Dickens by the French song entitled
+'Le Chevalier du guet.')
+
+FLOATING AWAY BALLAD. Written by _J.E. Carpenter_. Music by
+_John Blockley_.
+
+ALL THE YEAR ROUND; or THE SEARCH FOR HAPPINESS. Song.
+Written by _W.S. Passmore_. Composed by _John Blockley_.
+
+ALL THE YEAR ROUND QUADRILLES. By _E. Frewin_.
+
+ALL THE YEAR ROUND VARSOVIANA. By _W.H. Montgomery_.
+
+THE TWO CITIES QUADRILLES. By _W.H. Montgomery_.
+
+TOM TIDDLER'S POLKA. Composed by _W. Wilson_.
+
+GREAT EXPECTATIONS. Ballad.
+
+_Coote's_ Lancers, 'SOMEBODY'S LUGGAGE.'
+
+MRS. LIRRIPER'S QUADRILLE. Written by _Adrian Victor_.
+
+JENNY WREN (THE DOLL'S DRESSMAKER). Song. Words by _Edward
+Oxenford_. Music by _Alfred J. Caldicott_.
+
+JENNY WREN QUADRILLES. Arranged by _Rosabel_.
+
+MUGBY JUNCTION GALOP. By _Charles Coote, jun._
+
+NO THOROUGHFARE GALOP. Composed by _Charles Coote, jun._
+
+
+
+
+[From an edition:]
+
+PRINTED BY THE
+
+'SOUTHAMPTON TIMES' CO., LTD.,
+
+70 ABOVE BAR, SOUTHAMPTON
+
+
+
+
+TRANSCRIBER'S NOTES
+
+
+The musical extracts are marked [Figure 1]-[Figure 8].
+These are available as MIDI files.
+Italic text is marked _thus_ with underscores.
+
+Alterations:
+
+Page  10  "and can't play 'out to-night,'"
+          Hyphen not inked in original.
+
+Page  25  "and tuned like fifty stomach-aches."
+          Corrected typo: "tuned liked"
+
+Page  40  "which had no recognizable tune"
+          Corrected typo: "recognizable time"
+
+Page  89  "given to the young red-haired boy"
+          Corrected typo: "young red-haired boots"
+
+Page  93  "penn'orths"
+Page 104  "hunting field,"
+          Letter 't' not inked in original.
+
+Page 115  "His musical powers made him useful at the club-room"
+          Hyphen at line-end: could be "clubroom".
+
+Page 116  "'as of a gallant and eminent naval Hero,'"
+          Closing quote missing in original.
+
+Page 146  "(_O.C.S._ 27)"
+          Corrected typo: "_D.C.S._"
+
+Page 148  "See 'Since the first dawn of reason.'"
+          Original had "When the first dawn of reason."
+
+Page 150  "See 'Strew then, Oh strew.'"
+          Original had "Strew then, O strew."
+
+Page 152  "Come weal, come woe, we'll gather and go,"
+          Line indented in original.
+
+Page 164  "Banjo"
+Page 165  "Brown, Mr."
+          Page numbers missing in original.
+
+Pages 27, 33, 166, 177
+          "Cadby" corrected to "Caddy"
+
+
+
+
+
+End of Project Gutenberg's Charles Dickens and Music, by James T. Lightwood
+
+*** END OF THIS PROJECT GUTENBERG EBOOK CHARLES DICKENS AND MUSIC ***
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+<pre>
+
+Project Gutenberg's Charles Dickens and Music, by James T. Lightwood
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Charles Dickens and Music
+
+Author: James T. Lightwood
+
+Release Date: August 25, 2005 [EBook #16595]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK CHARLES DICKENS AND MUSIC ***
+
+
+
+
+Produced by David Newman, Daniel Emerson Griffith and the
+Online Distributed Proofreading Team at https://www.pgdp.net
+
+
+
+
+
+
+</pre>
+
+
+<blockquote class="flush">
+<p class="central">
+<a class="blankpage" name="pagei" id="pagei"
+title="i"></a><a class="pagebreak" name="pageii" id="pageii"
+title="ii"></a><a href="images/front_lg.png">
+<img src="images/front_sm.png" width="371" height="570"
+ alt="[Cartoon with pin men in the style of musical notation and other characters around the organ]" /></a><br />
+<span class="sc">Tom Pinch at the Organ.</span></p>
+
+<p class="right"><i>Frontispiece.</i></p>
+</blockquote>
+
+
+
+<div class="frontmatter">
+<h1><a class="pagebreak" name="pageiii" id="pageiii"
+title="iii"></a>CHARLES DICKENS AND MUSIC</h1>
+
+<p>
+BY<br />
+<big>JAMES T. LIGHTWOOD</big>
+</p>
+
+<p>
+<span class="sc">Author of<br />
+&lsquo;Hymn-Tunes and their Story&rsquo;</span>
+</p>
+
+<p class="break">
+London<br />
+CHARLES H. KELLY<br />
+25-35 CITY ROAD, AND 26 PATERNOSTER ROW, E.C.
+</p>
+
+<p>
+<a class="pagebreak" name="pageiv" id="pageiv"
+title="iv"></a><i>First Edition, 1912</i>
+</p>
+
+<p class="break">
+<a class="pagebreak" name="pagev" id="pagev"
+title="v"></a>IN PLEASANT MEMORY<br />
+OF
+MANY HAPPY YEARS<br />
+AT
+PEMBROKE HOUSE, LYTHAM
+</p>
+</div>
+
+
+
+<div class="main">
+<h2><a class="blankpage" name="pagevi" id="pagevi"
+title="vi"></a><a class="pagebreak" name="pagevii" id="pagevii"
+title="vii"></a>PREFACE</h2>
+
+
+<p class="flush"><span>For</span>
+many years I have been interested in the various
+musical references in Dickens' works, and have had
+the impression that a careful examination of his
+writings would reveal an aspect of his character
+hitherto unknown, and, I may add, unsuspected.
+The centenary of his birth hastened a work long
+contemplated, and a first reading (after many years)
+brought to light an amount of material far in excess
+of what I anticipated, while a second examination
+convinced me that there is, perhaps, no great writer
+who has made a more extensive use of music to
+illustrate character and create incident than Charles
+Dickens. From an historical point of view these
+references are of the utmost importance, for they
+reflect to a nicety the general condition of ordinary
+musical life in England during the middle of the
+last century. We do not, of course, look to Dickens
+for a history of classical music during the period&mdash;those
+who want this will find it in the newspapers
+and magazines; but for the story of music in the
+ordinary English home, for the popular songs of the
+period, for the average musical attainments of the
+<a class="pagebreak" name="pageviii" id="pageviii"
+title="viii"></a>middle and lower classes (music was not the correct
+thing amongst the &lsquo;upper ten&rsquo;), we must turn to
+the pages of Dickens' novels. It is certainly
+strange that no one has hitherto thought of tapping
+this source of information. In and about 1887
+the papers teemed with articles that outlined the
+history of music during the first fifty years of
+Victoria's reign; but I have not seen one that
+attempted to derive first-hand information from the
+sources referred to, nor indeed does the subject
+of &lsquo;Dickens and Music&rsquo; ever appear to have
+received the attention which, in my opinion, it
+deserves.
+</p>
+
+<p>
+I do not profess to have chronicled <i>all</i> the musical
+references, nor has it been possible to identify every
+one of the numerous quotations from songs, although
+I have consulted such excellent authorities as Dr.
+Cummings, Mr. Worden (Preston), and Mr. J.
+Allanson Benson (Bromley). I have to thank Mr.
+Frank Kidson, who, I understand, had already
+planned a work of this description, for his kind
+advice and assistance. There is no living writer
+who has such a wonderful knowledge of old songs
+as Mr. Kidson, a knowledge which he is ever ready
+to put at the disposal of others. Even now there
+are some half-dozen songs which every attempt
+<a class="pagebreak" name="pageix" id="pageix"
+title="ix"></a>to run to earth has failed, though I have tried
+to &lsquo;mole 'em out&rsquo; (as Mr. Pancks would say)
+by searching through some hundreds of song-books
+and some thousands of separate songs.
+</p>
+
+<p>
+Should any of my readers be able to throw light
+on dark places I shall be very glad to hear from
+them, with a view to making the information here
+presented as complete and correct as possible if
+another edition should be called for. May I
+suggest to the Secretaries of our Literary Societies,
+Guilds, and similar organizations that a pleasant
+evening might be spent in rendering some of the
+music referred to by Dickens. The proceedings
+might be varied by readings from his works or
+by historical notes on the music. Many of the
+pieces are still in print, and I shall be glad to render
+assistance in tracing them. Perhaps this idea will
+also commend itself to the members of the Dickens
+Fellowship, an organization with which all lovers
+of the great novelist ought to associate themselves.
+</p>
+
+<p class="signature"><big>JAMES T. LIGHTWOOD.</big></p>
+<p class="place"><span class="sc">Lytham,</span></p>
+<p class="date"><i>October, 1912.</i></p>
+
+<blockquote class="break">
+<p>
+<a class="pagebreak" name="pagex" id="pagex"
+title="x"></a>I truly love Dickens; and discern in the
+inner man of him a tone of real Music which
+struggles to express itself, as it may in these
+bewildered, stupefied and, indeed, very crusty
+and distracted days&mdash;better or worse!
+</p>
+
+<p class="signature"><span class="sc">Thomas Carlyle.</span></p>
+</blockquote>
+
+
+
+
+<h2><a class="pagebreak" name="pagexi" id="pagexi"
+title="xi"></a>CONTENTS</h2>
+
+
+<table class="toc" summary="">
+<tr><th>Chap.</th><th></th><th>Page</th></tr>
+<tr><td class="chap">I.</td>
+<td><span class="sc">Dickens as a Musician</span></td>
+<td class="page"><a href="#page1">1</a></td></tr>
+<tr><td class="chap">II.</td>
+<td><span class="sc">Instrumental Combinations</span></td>
+<td class="page"><a href="#page23">23</a></td></tr>
+<tr><td class="chap">III.</td>
+<td><span class="sc">Various Instruments: Flute, Organ, Guitar
+(and Some Hummers)</span></td>
+<td class="page"><a href="#page36">36</a></td></tr>
+<tr><td class="chap">IV.</td>
+<td><span class="sc">Various Instruments</span> (<i>continued</i>)</td>
+<td class="page"><a href="#page56">56</a></td></tr>
+<tr><td class="chap">V.</td>
+<td><span class="sc">Church Music</span></td>
+<td class="page"><a href="#page69">69</a></td></tr>
+<tr><td class="chap">VI.</td>
+<td><span class="sc">Songs and Some Singers</span></td>
+<td class="page"><a href="#page83">83</a></td></tr>
+<tr><td class="chap">VII.</td>
+<td><span class="sc">Some Noted Singers</span></td>
+<td class="page"><a href="#page112">112</a></td></tr>
+<tr><td></td><td><span class="sc">List of Songs, &amp;c.,
+Mentioned by Dickens</span></td>
+<td class="page"><a href="#page135">135</a></td></tr>
+<tr><td></td><td><span class="sc">Index of Musical Instruments</span></td>
+<td class="page"><a href="#page164">164</a></td></tr>
+<tr><td></td><td><span class="sc">Index of Characters</span></td>
+<td class="page"><a href="#page165">165</a></td></tr>
+<tr><td></td><td><span class="sc">General Index</span></td>
+<td class="page"><a href="#page169">169</a></td></tr>
+<tr><td></td><td><span class="sc">List of Music Titles, &amp;c.,
+Founded on Dickens' Characters</span></td>
+<td class="page"><a href="#page172">172</a></td></tr>
+</table>
+
+
+
+
+<h2><a class="blankpage" name="pagexii" id="pagexii"
+title="xii"></a><a class="pagebreak" name="pagexiii" id="pagexiii"
+title="xiii"></a>LIST OF WORKS REFERRED TO<br />
+<small><i>With Abbreviations Used</i></small></h2>
+
+
+<table summary="">
+<tr><td><i>American Notes</i></td>
+<td>1842</td>
+<td><i>A.N.</i></td></tr>
+<tr><td><i>Barnaby Rudge</i></td>
+<td>1841</td>
+<td><i>B.R.</i></td></tr>
+<tr><td><i>Battle of Life</i></td>
+<td>1848</td>
+<td><i>B.L.</i></td></tr>
+<tr><td><i>Bleak House</i></td>
+<td>1852&ndash;3</td>
+<td><i>B.H.</i></td></tr>
+<tr><td><i>Chimes</i></td>
+<td>1844</td>
+<td><i>Ch.</i></td></tr>
+<tr><td><i>Christmas Carol</i></td>
+<td>1843</td>
+<td><i>C.C.</i></td></tr>
+<tr><td><i>Christmas Stories</i></td>
+<td class="empty">&mdash;</td>
+<td><i>C.S.</i></td></tr><!--Doesn't appear in text-->
+<tr><td colspan="3"><i>Christmas Stories</i>&mdash;</td></tr>
+<tr><td class="indent">&nbsp;&nbsp;Dr. Marigold's Prescription</td>
+<td>1865</td>
+<td><i>Dr. M.</i></td></tr>
+<tr><td class="indent">&nbsp;&nbsp;Going into Society</td>
+<td>1855</td>
+<td><i>G.S.</i></td></tr>
+<tr><td class="indent">&nbsp;&nbsp;Holly Tree</td>
+<td>1855</td>
+<td><i>H.T.</i></td></tr><!--Doesn't appear in text-->
+<tr><td class="indent">&nbsp;&nbsp;Mugby Junction</td>
+<td>1866</td>
+<td><i>M.J.</i></td></tr>
+<tr><td class="indent">&nbsp;&nbsp;Mrs. Lirriper's Lodgings</td>
+<td>1863</td>
+<td class="empty">&mdash;</td></tr>
+<tr><td class="indent">&nbsp;&nbsp;No Thoroughfare</td>
+<td>1867</td>
+<td><i>N.T.</i></td></tr>
+<tr><td class="indent">&nbsp;&nbsp;Somebody's Luggage</td>
+<td>1862</td>
+<td><i>S.L.</i></td></tr>
+<tr><td class="indent">&nbsp;&nbsp;Wreck of the Golden Mary</td>
+<td>1856</td>
+<td><i>G.M.</i></td></tr>
+<tr><td><i>Collected Papers</i></td>
+<td class="empty">&mdash;</td>
+<td><i>C.P.</i></td></tr>
+<tr><td><i>Cricket on the Hearth</i></td>
+<td>1845</td>
+<td><i>C.H.</i></td></tr>
+<tr><td><i>Dombey &amp; Son</i></td>
+<td>1847&ndash;8</td>
+<td><i>D. &amp; S.</i></td></tr>
+<tr><td><i>David Copperfield</i></td>
+<td>1849&ndash;50</td>
+<td><i>D.C.</i></td></tr>
+<tr><td><i>Edwin Drood</i></td>
+<td>1870</td>
+<td><i>E.D.</i></td></tr>
+<tr><td><i>Great Expectations</i></td>
+<td>1860&ndash;1</td>
+<td><i>G.E.</i></td></tr>
+<tr><td><i>Hard Times</i></td>
+<td>1854</td>
+<td><i>H.T.</i></td></tr>
+<tr><td><i>Haunted House</i></td>
+<td>1859</td>
+<td class="empty">&mdash;</td></tr>
+<tr><td><i>Haunted Man</i></td>
+<td>1848</td>
+<td><i>H.M.</i></td></tr>
+<tr><td><i>Holiday Romance</i></td>
+<td class="empty">&mdash;</td>
+<td><i>H.R.</i></td></tr>
+<tr><td><i>Little Dorrit</i></td>
+<td>1855&ndash;6</td>
+<td><i>L.D.</i></td></tr>
+<tr><td><i>Martin Chuzzlewit</i></td>
+<td>1843&ndash;4</td>
+<td><i>M.C.</i></td></tr>
+<tr><td><i>Master Humphrey's Clock</i></td>
+<td>1840&ndash;1</td>
+<td><i>M.H.C.</i></td></tr>
+<tr><td><a class="pagebreak" name="pagexiv" id="pagexiv"
+title="xiv"></a><i>Mystery of Edwin Drood</i></td><!--also listed as Edwin Drood-->
+<td>1870</td>
+<td><i>E.D.</i></td></tr>
+<tr><td><i>Nicholas Nickleby</i></td>
+<td>1838&ndash;9</td>
+<td><i>N.N.</i></td></tr>
+<tr><td><i>Old Curiosity Shop</i></td>
+<td>1840</td>
+<td><i>O.C.S.</i></td></tr>
+<tr><td><i>Oliver Twist</i></td>
+<td>1837&ndash;8</td>
+<td><i>O.T.</i></td></tr>
+<tr><td><i>Our Mutual Friend</i></td>
+<td>1864</td>
+<td><i>O.M.F.</i></td></tr>
+<tr><td><i>Pickwick Papers</i></td>
+<td>1836&ndash;7</td>
+<td><i>P.P.</i></td></tr>
+<tr><td><i>Pictures from Italy</i></td>
+<td>1846</td>
+<td><i>It.</i></td></tr>
+<tr><td colspan="3"><i>Reprinted Pieces</i>&mdash;</td></tr>
+<tr><td class="indent">&nbsp;&nbsp;Our Bore</td>
+<td>1852</td>
+<td class="empty">&mdash;</td></tr>
+<tr><td class="indent">&nbsp;&nbsp;Our English Watering-Place</td>
+<td>1851</td>
+<td class="empty">&mdash;</td></tr>
+<tr><td class="indent">&nbsp;&nbsp;Our French Watering-Place</td>
+<td>1854</td>
+<td class="empty">&mdash;</td></tr>
+<tr><td class="indent">&nbsp;&nbsp;Our School</td>
+<td>1851</td>
+<td class="empty">&mdash;</td></tr>
+<tr><td class="indent">&nbsp;&nbsp;Out of the Season</td>
+<td>1856</td>
+<td class="empty">&mdash;</td></tr>
+<tr><td><i>Sketches by Boz</i></td>
+<td>1835&ndash;6</td>
+<td><i>S.B.</i></td></tr>
+<tr><td class="indent">&nbsp;&nbsp;Characters</td>
+<td class="empty">&mdash;</td>
+<td><i>S.B.C.</i></td></tr>
+<tr><td class="indent">&nbsp;&nbsp;Our Parish</td>
+<td class="empty">&mdash;</td>
+<td class="empty">&mdash;</td></tr>
+<tr><td class="indent">&nbsp;&nbsp;Scenes</td>
+<td class="empty">&mdash;</td>
+<td><i>S.B.S.</i></td></tr>
+<tr><td class="indent">&nbsp;&nbsp;Tales</td>
+<td class="empty">&mdash;</td>
+<td><i>S.B.T.</i></td></tr>
+<tr><td><i>Sunday under Three Heads</i></td>
+<td>1836</td>
+<td class="empty">&mdash;</td></tr>
+<tr><td><i>Sketches of Young People</i></td>
+<td>1840</td>
+<td class="empty">&mdash;</td></tr>
+<tr><td><i>Sketches of Young Gentlemen</i></td>
+<td>1838</td>
+<td class="empty">&mdash;</td></tr>
+<tr><td><i>Tale of Two Cities, A</i></td>
+<td>1859</td>
+<td class="empty">&mdash;</td></tr>
+<tr><td><i>Uncommercial Traveller</i></td>
+<td>1860&ndash;9</td>
+<td><i>U.T.</i></td></tr>
+</table>
+
+
+<p class="central break">
+<a class="pagebreak" name="page1" id="page1"
+title="1"></a><big>CHARLES DICKENS AND MUSIC</big>
+</p>
+
+
+
+
+<h2>CHAPTER I<br />
+<small><b>DICKENS AS A MUSICIAN</b></small></h2>
+
+
+<p class="flush"><span>The</span>
+attempts to instil the elements of music into
+Charles Dickens when he was a small boy do not
+appear to have been attended with success. Mr.
+Kitton tells us that he learnt the piano during
+his school days, but his master gave him up in
+despair. Mr. Bowden, an old schoolfellow of the
+novelist's when he was at Wellington House
+Academy, in Hampstead Road, says that music used
+to be taught there, and that Dickens received
+lessons on the violin, but he made no progress,
+and soon relinquished it. It was not until many
+years after that he made his third and last attempt
+to become an instrumentalist. During his first
+transatlantic voyage he wrote to Forster telling him
+that he had bought an accordion.
+</p>
+
+<blockquote>
+<p>
+The steward lent me one on the passage out, and I regaled the
+ladies' cabin with my performances. You can't think with
+what feelings I play &lsquo;Home, Sweet Home&rsquo; every night, or how
+pleasantly sad it makes us.
+</p>
+</blockquote>
+
+<p>
+<a class="pagebreak" name="page2" id="page2"
+title="2"></a>On the voyage back he gives the following description
+of the musical talents of his fellow
+passengers:
+</p>
+
+<blockquote>
+<p>
+One played the accordion, another the violin, and another
+(who usually began at six o'clock a.m.) the key bugle: the
+combined effect of which instruments, when they all played
+different tunes, in different parts of the ship, at the same time,
+and within hearing of each other, as they sometimes did (everybody
+being intensely satisfied with his own performance), was
+sublimely hideous.
+</p>
+</blockquote>
+
+<p>
+He does not tell us whether he was one of the
+performers on these occasions.
+</p>
+
+<p>
+But although he failed as an instrumentalist
+he took delight in hearing music, and was always
+an appreciative yet critical listener to what was good
+and tuneful. <a name="ft01"></a>His favourite composers were Mendelssohn&mdash;whose
+<i>Lieder</i> he was specially fond of<a class="fn" href="#fn01">&nbsp;1&nbsp;</a>&mdash;Chopin,
+and Mozart. He heard Gounod's <i>Faust</i> whilst
+he was in Paris, and confesses to having been quite
+overcome with the beauty of the music. &lsquo;I couldn't
+bear it,&rsquo; he says, in one of his letters, &lsquo;and gave in
+completely. The composer must be a very remarkable
+man indeed.&rsquo; At the same time he became
+acquainted with Offenbach's music, and heard
+<a class="pagebreak" name="page3" id="page3"
+title="3"></a><i>Orph�e aux enfers</i>. This was in February, 1863.
+Here also he made the acquaintance of Auber,
+&lsquo;a stolid little elderly man, rather petulant in
+manner.&rsquo; He told Dickens that he had lived for a
+time at &lsquo;Stock Noonton&rsquo; (Stoke Newington) in
+order to study English, but he had forgotten it all.
+In the description of a dinner in the <i>Sketches</i> we
+read that
+</p>
+
+<blockquote>
+<p>
+The knives and forks form a pleasing accompaniment to
+Auber's music, and Auber's music would form a pleasing accompaniment
+to the dinner, if you could hear anything besides the
+cymbals.
+</p>
+</blockquote>
+
+<p>
+He met Meyerbeer on one occasion at Lord John
+Russell's. The musician congratulated him on his
+outspoken language on Sunday observance, a subject
+in which Dickens was deeply interested, and
+on which he advocated his views at length in the
+papers entitled <i>Sunday under Three Heads</i>.
+</p>
+
+<p>
+Dickens was acquainted with Jenny Lind, and
+he gives the following amusing story in a letter to
+Douglas Jerrold, dated Paris, February 14, 1847:
+</p>
+
+<blockquote>
+<p>
+I am somehow reminded of a good story I heard the other night
+from a man who was a witness of it and an actor in it. At a
+certain German town last autumn there was a tremendous <i>furore</i>
+about Jenny Lind, who, after driving the whole place mad,
+<a class="pagebreak" name="page4" id="page4"
+title="4"></a>left it, on her travels, early one morning. The moment her
+carriage was outside the gates, a party of rampant students
+who had escorted it rushed back to the inn, demanded to be
+shown to her bedroom, swept like a whirlwind upstairs into the
+room indicated to them, tore up the sheets, and wore them in
+strips as decorations. An hour or two afterwards a bald old
+gentleman of amiable appearance, an Englishman, who was
+staying in the hotel, came to breakfast at the <i>table d'h�te</i>, and
+was observed to be much disturbed in his mind, and to show
+great terror whenever a student came near him. At last he
+said, in a low voice, to some people who were near him at the
+table, &lsquo;You are English gentlemen, I observe. Most extraordinary
+people, these Germans. Students, as a body, raving
+mad, gentlemen!&rsquo; &lsquo;Oh, no,&rsquo; said somebody else: &lsquo;excitable,
+but very good fellows, and very sensible.&rsquo; &lsquo;By God, sir!&rsquo;
+returned the old gentleman, still more disturbed, &lsquo;then there's
+something political in it, and I'm a marked man. I went out for
+a little walk this morning after shaving, and while I was gone&rsquo;&mdash;he
+fell into a terrible perspiration as he told it&mdash;&lsquo;they burst
+into my bedroom, tore up my sheets, and are now patrolling
+the town in all directions with bits of 'em in their button-holes.&rsquo;
+I needn't wind up by adding that they had gone to the wrong
+chamber.
+</p>
+</blockquote>
+
+<p>
+It was Dickens' habit wherever he went on his
+Continental travels to avail himself of any opportunity
+of visiting the opera; and his criticisms,
+though brief, are always to the point. He tells
+us this interesting fact about Carrara:
+</p>
+
+<blockquote>
+<p>
+There is a beautiful little theatre there, built of marble, and
+they had it illuminated that night in my honour. There was
+<a class="pagebreak" name="page5" id="page5"
+title="5"></a>really a very fair opera, but it is curious that the chorus has been
+always, time out of mind, made up of labourers in the quarries,
+who don't know a note of music, and sing entirely by ear.
+</p>
+</blockquote>
+
+<p>
+But much as he loved music, Dickens could never
+bear the least sound or noise while he was studying
+or writing, and he ever waged a fierce war against
+church bells and itinerant musicians. Even when
+in Scotland his troubles did not cease, for he writes
+about &lsquo;a most infernal piper practising under the
+window for a competition of pipers which is to come
+off shortly.&rsquo; Elsewhere he says that he found
+Dover &lsquo;too bandy&rsquo; for him (he carefully explains
+he does not refer to its legs), while in a letter to
+Forster he complains bitterly of the vagrant musicians
+at Broadstairs, where he &lsquo;cannot write half
+an hour without the most excruciating organs,
+fiddles, bells, or glee singers.&rsquo; The barrel-organ,
+which he somewhere calls an &lsquo;Italian box of music,&rsquo;
+was one source of annoyance, but bells were his
+special aversion. &lsquo;If you know anybody at St.
+Paul's,&rsquo; he wrote to Forster, &lsquo;I wish you'd send
+round and ask them not to ring the bell so. I can
+hardly hear my own ideas as they come into my
+head, and say what they mean.&rsquo; His bell experiences
+at Genoa are referred to elsewhere (p. <a href="#page57">57</a>).
+</p>
+
+<p>
+How marvellously observant he was is manifest
+<a class="pagebreak" name="page6" id="page6"
+title="6"></a>in the numerous references in his letters and works
+to the music he heard in the streets and squares
+of London and other places. Here is a description
+of Golden Square, London, W. (<i><abbr title="Nicholas Nickleby">N.N.</abbr></i>):
+</p>
+
+<blockquote>
+<p>
+Two or three violins and a wind instrument from the Opera
+band reside within its precincts. Its boarding-houses are musical,
+and the notes of pianos and harps float in the evening time
+round the head of the mournful statue, the guardian genius of
+the little wilderness of shrubs, in the centre of the square....
+Sounds of gruff voices practising vocal music invade the evening's
+silence, and the fumes of choice tobacco scent the air. There,
+snuff and cigars and German pipes and flutes, and violins and
+violoncellos, divide the supremacy between them. It is the
+region of song and smoke. Street bands are on their mettle
+in Golden Square, and itinerant glee singers quaver involuntarily
+as they raise their voices within its boundaries.
+</p>
+</blockquote>
+
+<p>
+We have another picture in the description of
+Dombey's house, where&mdash;
+</p>
+
+<blockquote>
+<p class="flush">
+the summer sun was never on the street but in the
+morning, about breakfast-time.... It was soon gone again,
+to return no more that day, and the bands of music and the
+straggling Punch's shows going after it left it a prey to the
+most dismal of organs and white mice.
+</p>
+</blockquote>
+
+
+<h3><i>As a Singer</i></h3>
+
+<p>
+Most of the writers about Dickens, and especially
+his personal friends, bear testimony both to his
+vocal power and his love of songs and singing. As
+<a class="pagebreak" name="page7" id="page7"
+title="7"></a>a small boy we read of him and his sister Fanny
+standing on a table singing songs, and acting them
+as they sang. One of his favourite recitations
+was Dr. Watts' &lsquo;The voice of the sluggard,&rsquo; which
+he used to give with great effect. The memory
+of these words lingered long in his mind, and both
+Captain Cuttle and Mr. Pecksniff quote them with
+excellent appropriateness.
+</p>
+
+<p>
+When he grew up he retained his love of vocal
+music, and showed a strong predilection for national
+airs and old songs. Moore's <i>Irish Melodies</i> had
+also a special attraction for him. In the early days
+of his readings his voice frequently used to fail
+him, and Mr. Kitton tells us that in trying to recover
+the lost power he would test it by singing
+these melodies to himself as he walked about. It
+is not surprising, therefore, to find numerous
+references to these songs, as well as to other works
+by Moore, in his writings.
+</p>
+
+<p>
+From a humorous account of a concert on board
+ship we gather that Dickens possessed a tenor voice.
+Writing to his daughter from Boston in 1867, he
+says:
+</p>
+
+<blockquote>
+<p>
+We had speech-making and singing in the saloon of the <i>Cuba</i>
+after the last dinner of the voyage. I think I have acquired a
+higher reputation from drawing out the captain, and getting him
+<a class="pagebreak" name="page8" id="page8"
+title="8"></a>to take the second in &lsquo;All's Well&rsquo; and likewise in <a name="ft02"></a>&lsquo;There's not
+in the wide world&rsquo;<a class="fn" href="#fn02">&nbsp;2&nbsp;</a> (your parent taking the first), than from
+anything previously known of me on these shores.... We
+also sang (with a Chicago lady, and a strong-minded woman
+from I don't know where) &lsquo;Auld Lang Syne,&rsquo; with a tender
+melancholy expressive of having all four been united from our
+cradles. The more dismal we were, the more delighted the
+company were. <a name="ft03"></a>Once (when we paddled i' the burn) the captain
+took a little cruise round the compass on his own account,
+touching at the Canadian Boat Song,<a class="fn" href="#fn03">&nbsp;3&nbsp;</a> and taking in supplies at
+Jubilate, &lsquo;Seas between us braid ha' roared,&rsquo; and roared like
+ourselves.
+</p>
+</blockquote>
+
+<p>
+J.T. Field, in his <i>Yesterdays with Authors</i>, says:
+&lsquo;To hear him sing an old-time stage song, such as
+he used to enjoy in his youth at a cheap London
+theatre ... was to become acquainted with one
+of the most delightful and original companions in the
+world.&rsquo;
+</p>
+
+<p>
+When at home he was fond of having music
+in the evening. His daughter tells us that on one
+occasion a member of his family was singing a song
+while he was apparently deep in his book, when he
+suddenly got up and saying &lsquo;You don't make
+enough of that word,&rsquo; he sat down by the piano
+and showed how it should be sung.
+</p>
+
+<p>
+On another occasion his criticism was more
+pointed.
+</p>
+
+<blockquote>
+<p>
+<a class="pagebreak" name="page9" id="page9"
+title="9"></a>One night a gentleman visitor insisted on singing &lsquo;By the
+sad sea waves,&rsquo; which he did vilely, and he wound up his
+performance by a most unexpected and misplaced embellishment,
+or &lsquo;turn.&rsquo; Dickens found the whole ordeal very trying, but
+managed to preserve a decorous silence till this sound fell on his
+ear, when his neighbour said to him, &lsquo;Whatever did he mean
+by that extraneous effort of melody?&rsquo; &lsquo;Oh,&rsquo; said Dickens,
+&lsquo;that's quite in accordance with rule. When things are at their
+worst they always take a <i>turn</i>.&rsquo;
+</p>
+</blockquote>
+
+<p>
+Forster relates that while he was at work on the
+<i>Old Curiosity Shop</i> he used to discover specimens of
+old ballads in his country walks between Broadstairs
+and Ramsgate, <a name="ft04"></a>which so aroused his interest
+that when he returned to town towards the end of
+1840 he thoroughly explored the ballad literature
+of Seven Dials,<a class="fn" href="#fn04">&nbsp;4&nbsp;</a> and would occasionally sing not a
+few of these wonderful discoveries with an effect
+that justified his reputation for comic singing in his
+childhood. We get a glimpse of his investigations in
+<i>Out of the Season</i>, where he tells us about that &lsquo;wonderful
+mystery, the music-shop,&rsquo; with its assortment
+of polkas with coloured frontispieces, and also the
+book-shop, with its &lsquo;Little Warblers and Fairburn's
+Comic Songsters.&rsquo;
+</p>
+
+<blockquote>
+<p>
+<a class="pagebreak" name="page10" id="page10"
+title="10"></a>Here too were ballads on the old ballad paper and in the old
+confusion of types, with an old man in a cocked hat, and an armchair,
+for the illustration to Will Watch the bold smuggler, and
+the Friar of Orders Grey, represented by a little girl in a hoop,
+with a ship in the distance. All these as of yore, when they
+were infinite delights to me.
+</p>
+</blockquote>
+
+<p>
+On one of his explorations he met a landsman who
+told him about the running down of an emigrant
+ship, and how he heard a sound coming over the
+sea &lsquo;like a great sorrowful flute or Aeolian harp.&rsquo;
+He makes another and very humorous reference to
+this instrument in a letter to Landor, in which he
+calls to mind
+</p>
+
+<blockquote>
+<p class="flush">
+that steady snore of yours, which I once heard piercing the door
+of your bedroom ... reverberating along the bell-wire in the
+hall, so getting outside into the street, playing Aeolian harps
+among the area railings, and going down the New Road like
+the blast of a trumpet.
+</p>
+</blockquote>
+
+<p>
+The deserted watering-place referred to in <i>Out
+of the Season</i> is Broadstairs, and he gives us a further
+insight into its musical resources in a letter to Miss
+Power written on July 2, 1847, in which he says that
+</p>
+
+<blockquote>
+<p class="flush">
+a little tinkling box of music that stops at &lsquo;come&rsquo; in the melody
+of the Buffalo Gals, and can't play &lsquo;out to-night,&rsquo; and a white
+mouse, are the only amusements left at Broadstairs.
+</p>
+</blockquote>
+
+<p>
+&lsquo;Buffalo Gals&rsquo; was a very popular song &lsquo;Sung
+<a class="pagebreak" name="page11" id="page11"
+title="11"></a>with great applause by the Original Female American
+Serenaders.&rsquo; (<i>c.</i> 1845.) The first verse will explain
+the above allusion:
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">As I went lum'rin' down de street, down de street,</span><br />
+<span class="i0">A 'ansom gal I chanc'd to meet, oh, she was fair to view.</span><br />
+<span class="i0">Buffalo gals, can't ye come out to-night, come out to-night, come out to-night;</span><br />
+<span class="i0">Buffalo gals, can't ye come out to-night, and dance by the light of the moon.</span>
+</p>
+</blockquote>
+
+<p>
+We find some interesting musical references and
+memories in the novelist's letters. Writing to
+Wilkie Collins in reference to his proposed sea
+voyage, he quotes Campbell's lines from &lsquo;Ye
+Mariners of England&rsquo;:
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">As I sweep</span><br />
+<span class="i0">Through the deep</span><br />
+<span class="i0">When the stormy winds do blow.</span>
+</p>
+</blockquote>
+
+<p>
+There are other references to this song in the
+novels. I have pointed out elsewhere that the last
+line also belongs to a seventeenth-century song.
+</p>
+
+<p>
+Writing to Mark Lemon (June, 1849) he gives
+an amusing parody of
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">Lesbia hath a beaming eye,</span>
+</p>
+</blockquote>
+
+<p class="flush">
+beginning
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">Lemon is a little hipped.</span>
+</p>
+</blockquote>
+
+<p>
+<a class="pagebreak" name="page12" id="page12"
+title="12"></a>In a letter to Maclise he says:
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">My foot is in the house,</span><br />
+<span class="i1">&nbsp;&nbsp;My bath is on the sea,</span><br />
+<span class="i0">And before I take a souse,</span><br />
+<span class="i1">&nbsp;&nbsp;Here's a single note to thee.</span>
+</p>
+</blockquote>
+
+<p>
+These lines are a reminiscence of Byron's ode
+to Tom Moore, written from Venice on July 10,
+1817:
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">My boat is on the shore,</span><br />
+<span class="i1">&nbsp;&nbsp;And my bark is on the sea,</span><br />
+<span class="i0">But before I go, Tom Moore,</span><br />
+<span class="i1">&nbsp;&nbsp;Here's a double health to thee!</span>
+</p>
+</blockquote>
+
+<p>
+The words were set to music by Bishop. This
+first verse had a special attraction for Dickens,
+and he gives us two or three variations of it,
+including a very apt one from Dick Swiveller
+(see p. <a href="#page126">126</a>).
+</p>
+
+<p>
+Henry F. Chorley, the musical critic, was an
+intimate friend of Dickens. On one occasion he
+went to hear Chorley lecture on &lsquo;The National
+Music of the World,&rsquo; and subsequently wrote him
+a very friendly letter criticizing his delivery, but
+speaking in high terms of the way he treated his
+subject.
+</p>
+
+<p>
+In one of his letters he makes special reference
+<a class="pagebreak" name="page13" id="page13"
+title="13"></a>to <a name="ft05"></a>the singing of the Hutchinson family.<a class="fn" href="#fn05">&nbsp;5&nbsp;</a> Writing
+to the Countess of Blessington, he says:
+</p>
+
+<blockquote>
+<p>
+I must have some talk with you about these American singers.
+They must never go back to their own country without your
+having heard them sing Hood's &lsquo;Bridge of Sighs.&rsquo;
+</p>
+</blockquote>
+
+<p>
+Amongst the distinguished visitors at Gad's Hill
+was Joachim, who was always a welcome guest, and
+of whom Dickens once said &lsquo;he is a noble fellow.&rsquo;
+His daughter writes in reference to this visit:
+</p>
+
+<blockquote>
+<p>
+I never remember seeing him so wrapt and absorbed as he
+was then, on hearing him play; and the wonderful simplicity and
+<i>un</i>-self-consciousness of the genius went straight to my father's
+heart, and made a fast bond of sympathy between those two
+great men.
+</p>
+</blockquote>
+
+
+<h3><i>In Music Drama</i></h3>
+
+<p>
+Much has been written about Dickens' undoubted
+powers as an actor, as well as his ability as a stage
+manager, and it is well known that it was little more
+<a class="pagebreak" name="page14" id="page14"
+title="14"></a>than an accident that kept him from adopting
+the dramatic profession. He ever took a keen
+interest in all that pertained to the stage, and when
+he was superintending the production of a play he
+was always particular about the musical arrangements.
+There is in existence a play-bill of 1833
+showing that he superintended a private performance
+of <i>Clari</i>. This was an opera by Bishop, and
+contains the first appearance of the celebrated
+&lsquo;Home, Sweet Home,&rsquo; a melody which, as we have
+already said, he reproduced on the accordion some
+years after. He took the part of Rolano, but had
+no opportunity of showing off his singing abilities,
+unless he took a part in the famous glee &lsquo;Sleep,
+gentle lady,&rsquo; which appears in the work as a quartet
+for alto, two tenors, and bass, though it is now
+arranged in other forms.
+</p>
+
+<p>
+In his dealings with the drama Dickens was
+frequently his own bandmaster and director of the
+music. For instance, in <i>No Thoroughfare</i> we find
+this direction: &lsquo;Boys enter and sing &ldquo;God Save
+the Queen&rdquo; (or any school devotional hymn).&rsquo;
+At Obenreizer's entrance a &lsquo;mysterious theme is
+directed to be played,&rsquo; that gentleman being &lsquo;well
+informed, clever, and a good musician.&rsquo;
+</p>
+
+<p>
+Dickens was concerned in the production of one
+<a class="pagebreak" name="page15" id="page15"
+title="15"></a>operetta&mdash;<i>The Village Coquettes</i>&mdash;for which he wrote
+the words, and John Hullah composed the music.
+It consists of songs, duets, and concerted pieces,
+and was first produced at St. James's Theatre,
+London, on December 6, 1836. The following year
+it was being performed at Edinburgh when a fire
+broke out in the theatre, and the instrumental
+scores together with the music of the concerted
+pieces were destroyed. No fresh copy was ever
+made, but the songs are still to be obtained. Mr.
+Kitton, in his biography of the novelist, says, &lsquo;The
+play was well received, and duly praised by
+prominent musical journals.&rsquo;
+</p>
+
+<p>
+The same writer gives us to understand that
+Hullah originally composed the music for an opera
+called <i>The Gondolier</i>, but used the material for
+<i>The Village Coquettes</i>. Braham, the celebrated
+tenor, had a part in it. Dickens says in a letter
+to Hullah that he had had some conversation with
+Braham about the work. The singer thought very
+highly of it, and Dickens adds:
+</p>
+
+<blockquote>
+<p>
+<a name="ft06"></a>His only remaining suggestion is that Miss Rainforth<a class="fn" href="#fn06">&nbsp;6&nbsp;</a> will want
+another song when the piece is in rehearsal&mdash;&lsquo;a bravura&mdash;something
+in &ldquo;The soldier tired&rdquo; way.&rsquo;
+</p>
+</blockquote>
+
+<p>
+<a class="pagebreak" name="page16" id="page16"
+title="16"></a>We have here a reference to a song which had a
+long run of popularity. It is one of the airs in Arne's
+<i>Artaxerxes</i>, an opera which was produced in 1761,
+and which held the stage for many years. There is
+a reference to this song in <i>Sketches by Boz</i>, when Miss
+Evans and her friends visited the Eagle. During
+the concert &lsquo;Miss Somebody in white satin&rsquo;
+sang this air, much to the satisfaction of her
+audience.
+</p>
+
+<p>
+Dickens wrote a few songs and ballads, and in
+most cases he fell in with the custom of his time, and
+suggested the tune (if any) to which they were to
+be sung. In addition to those that appear in the
+various novels, there are others which deserve
+mention here.
+</p>
+
+<p>
+In 1841 he contributed three political squibs in
+verse to the <i>Examiner</i>, one being the &lsquo;Quack
+Doctor's Proclamation,&rsquo; to the tune of &lsquo;A Cobbler
+there was,&rsquo; and another called &lsquo;The fine old English
+Gentleman.&rsquo;
+</p>
+
+<p>
+For the <i>Daily News</i> (of which he was the first
+editor) he wrote &lsquo;The British Lion, a new song but
+an old story,&rsquo; which was to be sung to the tune of the
+&lsquo;Great Sea Snake.&rsquo; This was a very popular comic
+song of the period, which described a sea monster
+of wondrous size:
+</p>
+
+<blockquote>
+<p class="stanza">
+<a class="pagebreak" name="page17" id="page17"
+title="17"></a><span class="i0">One morning from his head we bore</span><br />
+<span class="i1">&nbsp;&nbsp;With every stitch of sail,</span><br />
+<span class="i0">And going at ten knots an hour</span><br />
+<span class="i1">&nbsp;&nbsp;In six months came to his tail.</span>
+</p>
+</blockquote>
+
+<p>
+Three of the songs in the <i>Pickwick Papers</i> (referred
+to elsewhere) are original, while Blandois' song in
+<i>Little Dorrit</i>, &lsquo;Who passes by this road so late,&rsquo; is
+a translation from the French. This was set to
+music by R.S. Dalton.
+</p>
+
+<p>
+In addition to these we find here and there impromptu
+lines which have no connexion with any
+song. Perhaps the best known are those which
+&lsquo;my lady Bowley&rsquo; quotes in <i>The Chimes</i>, and which
+she had &lsquo;set to music on the new system&rsquo;:
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">Oh let us love our occupations,</span><br />
+<span class="i0">Bless the squire and his relations,</span><br />
+<span class="i0">Live upon our daily rations,</span><br />
+<span class="i0">And always know our proper stations.</span>
+</p>
+</blockquote>
+
+<p>
+The reference to the &lsquo;new system&rsquo; is not quite
+obvious. Dickens may have been thinking of the
+&lsquo;Wilhem&rsquo; method of teaching singing which his
+friend Hullah introduced into England, <a name="ft07"></a>or it may
+be a reference to the Tonic Sol-fa system, which had
+already begun to make progress when <i>The Chimes</i>
+was written in 1844.<a class="fn" href="#fn07">&nbsp;7&nbsp;</a>
+</p>
+
+<p>
+<a class="pagebreak" name="page18" id="page18"
+title="18"></a>There are some well-known lines which owners of
+books were fond of writing on the fly-leaf in order
+that there might be no mistake as to the name of
+the possessor. The general form was something
+like this:
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">John Wigglesworth is my name,</span><br />
+<span class="i1">&nbsp;&nbsp;And England is my nation;</span><br />
+<span class="i0">London is my dwelling-place,</span><br />
+<span class="i1">&nbsp;&nbsp;And Christ is my salvation.</span>
+</p>
+</blockquote>
+
+<p class="flush">
+(See <i>Choir</i>, Jan., 1912, p. 5.) Dickens gives us at
+least two variants of this. In <i>Edwin Drood</i>, Durdles
+says of the Mayor of Cloisterham:
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">Mister Sapsea is his name,</span><br />
+<span class="i1">&nbsp;&nbsp;England is his nation,</span><br />
+<span class="i0">Cloisterham's his dwelling-place,</span><br />
+<span class="i1">&nbsp;&nbsp;Aukshneer's his occupation.</span>
+</p>
+</blockquote>
+
+<p class="flush">
+And Captain Cuttle thus describes himself,
+ascribing the authorship of the words to Job&mdash;but
+then literary accuracy was not the Captain's strong
+point:
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">Cap'en Cuttle is my name,</span><br />
+<span class="i1">&nbsp;&nbsp;And England is my nation,</span><br />
+<span class="i0">This here is my dwelling-place,</span><br />
+<span class="i1">&nbsp;&nbsp;And blessed be creation.</span>
+</p>
+</blockquote>
+
+<p>
+It is said that there appeared in the <i>London
+<a class="pagebreak" name="page19" id="page19"
+title="19"></a>Singer's Magazine</i> for 1839 &lsquo;The Teetotal Excursion,
+an original Comic Song by Boz, sung at the
+London Concerts,&rsquo; but it is not in my copy of this
+song-book, nor have I ever seen it.
+</p>
+
+<p>
+Dickens was always very careful in his choice of
+names and titles, and the evolution of some of the
+latter is very interesting. One of the many he conceived
+for the magazine which was to succeed
+<i>Household Words</i> was <i>Household Harmony</i>, while
+another was <i>Home Music</i>. Considering his dislike
+of bells in general, it is rather surprising that two
+other suggestions were <i>English Bells</i> and <i>Weekly
+Bells</i>, but the final choice was <i>All the Year Round</i>.
+Only once does he make use of a musician's name in
+his novels, and that is in <i>Great Expectations</i>. Philip,
+otherwise known as Pip, the hero, becomes friendly
+with Herbert Pocket. The latter objects to the name
+Philip, &lsquo;it sounds like a moral boy out of a spelling-book,&rsquo;
+and as Pip had been a blacksmith and the
+two youngsters were &lsquo;harmonious,&rsquo; Pocket asks
+him:
+</p>
+
+<blockquote>
+<p>
+&lsquo;Would you mind Handel for a familiar name? There's a
+charming piece of music, by Handel, called the &ldquo;Harmonious
+Blacksmith.&rdquo;&rsquo;
+</p>
+
+<p>
+&lsquo;I should like it very much.&rsquo;
+</p>
+</blockquote>
+
+<p>
+Dickens' only contribution to hymnology appeared
+<a class="pagebreak" name="page20" id="page20"
+title="20"></a>in the <i>Daily News</i> February 14, 1846, with the title
+&lsquo;Hymn of the Wiltshire Labourers.&rsquo; It was written
+after reading a speech at one of the night meetings
+of the wives of agricultural labourers in Wiltshire,
+held with the object of petitioning for Free Trade.
+This is the first verse:
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">O God, who by Thy Prophet's hand</span><br />
+<span class="i1">&nbsp;&nbsp;Did'st smite the rocky brake,</span><br />
+<span class="i0">Whence water came at Thy command</span><br />
+<span class="i1">&nbsp;&nbsp;Thy people's thirst to slake,</span><br />
+<span class="i0">Strike, now, upon this granite wall,</span><br />
+<span class="i1">&nbsp;&nbsp;Stern, obdurate, and high;</span><br />
+<span class="i0">And let some drop of pity fall</span><br />
+<span class="i1">&nbsp;&nbsp;For us who starve and die!</span>
+</p>
+</blockquote>
+
+<p>
+We find the fondness for Italian names shown by
+vocalists and pianists humorously parodied in such
+self-evident forms as Jacksonini, Signora Marra Boni,
+and Billsmethi. Banjo Bones is a self-evident <i>nom
+d'occasion</i>, and the high-sounding name of Rinaldo di
+Velasco ill befits the giant Pickleson (<i><abbr title="Dr. Marigold's Prescription">Dr. M.</abbr></i>), who
+had a little head and less in it. As it was essential
+that the Miss Crumptons of Minerva House should
+have an Italian master for their pupils, we find
+Signer Lobskini introduced, while the modern rage
+for Russian musicians is to some extent anticipated
+in Major Tpschoffki of the Imperial Bulgraderian
+<a class="pagebreak" name="page21" id="page21"
+title="21"></a>Brigade (<i><abbr title="Going into Society">G.S.</abbr></i>). His real name, if he ever had one,
+is said to have been Stakes.
+</p>
+
+<p>
+Dickens has little to say about the music of his
+time, but in the reprinted paper called <i>Old
+Lamps for New Ones</i> (written in 1850), which
+is a strong condemnation of pre-Raphaelism in
+art, he attacks a similar movement in regard to
+music, and makes much fun of the Brotherhood.
+He detects their influence in things musical, and
+writes thus:
+</p>
+
+<blockquote>
+<p>
+In Music a retrogressive step in which there is much hope,
+has been taken. The P.A.B., or pre-Agincourt Brotherhood,
+has arisen, nobly devoted to consign to oblivion Mozart, Beethoven,
+Handel, and every other such ridiculous reputation, and
+to fix its Millennium (as its name implies) before the date of the
+first regular musical composition known to have been achieved
+in England. As this institution has not yet commenced active
+operations, it remains to be seen whether the Royal Academy
+of Music will be a worthy sister of the Royal Academy of Art,
+and admit this enterprising body to its orchestra. We have it,
+on the best authority, that its compositions will be quite as
+rough and discordant as the real old original.
+</p>
+</blockquote>
+
+<p>
+Fourteen years later he makes use of a well-known
+phrase in writing to his friend Wills (October 8,
+1864) in reference to the proofs of an article.
+</p>
+
+<blockquote>
+<p>
+I have gone through the number carefully, and have been
+down upon Chorley's paper in particular, which was a &lsquo;little
+<a class="pagebreak" name="page22" id="page22"
+title="22"></a>bit&rsquo; too personal. <a name="ft08"></a>It is all right now and good, and them's my
+sentiments too of the Music of the Future.<a class="fn" href="#fn08">&nbsp;8&nbsp;</a>
+</p>
+</blockquote>
+
+<p>
+Although there was little movement in this
+direction when Dickens wrote this, the paragraph
+makes interesting reading nowadays in view of
+some musical tendencies in certain quarters.
+</p>
+
+<hr />
+
+<p class="fn"><span><a class="fn" href="#ft01">&nbsp;1&nbsp;</a></span><a name="fn01"></a>
+In his speech at Birmingham on &lsquo;Literature and Art&rsquo; (1853) he
+makes special reference to the &lsquo;great music of Mendelssohn.&rsquo;</p>
+
+<p class="fn"><span><a class="fn" href="#ft02">&nbsp;2&nbsp;</a></span><a name="fn02"></a>
+Moore's <i>Irish Melodies</i>.</p>
+
+<p class="fn"><span><a class="fn" href="#ft03">&nbsp;3&nbsp;</a></span><a name="fn03"></a>
+Moore.</p>
+
+<p class="fn"><span><a class="fn" href="#ft04">&nbsp;4&nbsp;</a></span><a name="fn04"></a>
+&lsquo;Seven Dials! the region of song and poetry&mdash;first effusions and
+last dying speeches: hallowed by the names of Catnac and of Pitts,
+names that will entwine themselves with costermongers and barrel-organs,
+when penny magazines shall have superseded penny yards of
+song, and capital punishment be unknown!&rsquo; (<i><abbr title="Sketches by Boz: Scenes">S.B.S.</abbr></i> 5.)</p>
+
+<p class="fn"><span><a class="fn" href="#ft05">&nbsp;5&nbsp;</a></span><a name="fn05"></a>
+The &lsquo;Hutchinson family&rsquo; was a musical troupe composed of three
+sons and two daughters selected from the &lsquo;Tribe of Jesse,&rsquo; a name given
+to the sixteen children of Jesse and Mary Hutchinson, of Milford, N.H.
+They toured in England in 1845 and 1846, and were received with great
+enthusiasm. Their songs were on subjects connected with Temperance
+and Anti-Slavery. On one occasion Judson, one of the number, was
+singing the &lsquo;Humbugged Husband,&rsquo; which he used to accompany with
+the fiddle, and he had just sung the line &lsquo;I'm sadly taken in,&rsquo; when the
+stage where he was standing gave way and he nearly disappeared from
+view. The audience at first took this as part of the performance.</p>
+
+<p class="fn"><span><a class="fn" href="#ft06">&nbsp;6&nbsp;</a></span><a name="fn06"></a>
+Miss Rainforth was the soloist at the first production of Mendelssohn's
+&lsquo;Hear my Prayer.&rsquo; (See <i>The Choir</i>, March, 1911.)</p>
+
+<p class="fn"><span><a class="fn" href="#ft07">&nbsp;7&nbsp;</a></span><a name="fn07"></a>
+John Curwen published his <i>Grammar of Vocal Music</i> in 1842.</p>
+
+<p class="fn"><span><a class="fn" href="#ft08">&nbsp;8&nbsp;</a></span><a name="fn08"></a>
+Quoted in Mr. R.C. Lehmann's <i>Dickens as an Editor</i> (1912).</p>
+
+
+
+
+<h2><a class="pagebreak" name="page23" id="page23"
+title="23"></a>CHAPTER II<br />
+<small><b>INSTRUMENTAL COMBINATIONS</b></small><br />
+<small>VIOLIN, VIOLONCELLO, HARP, PIANO</small></h2>
+
+
+<p class="flush"><span>Dickens'</span>
+orchestras are limited, both in resources
+and in the number of performers; in fact, it would
+be more correct to call them combinations of instruments.
+Some of them are of a kind not found
+in modern works on instrumentation, as, for instance,
+at the party at Trotty Veck's (<i><abbr title="Chimes">Ch.</abbr></i>) when a &lsquo;band
+of music&rsquo; burst into the good man's room, consisting
+of a drum, marrow-bones and cleavers, and
+bells, &lsquo;not <i>the</i> bells but a portable collection on a
+frame.&rsquo; We gather from Leech's picture that
+other instrumentalists were also present. Sad to
+relate, the drummer was not quite sober, an unfortunate
+state of things, certainly, but not always
+confined to the drumming fraternity, since in the
+account of the Party at Minerva House (<i><abbr title="Sketches by Boz: Tales">S.B.T.</abbr></i>)
+we read that amongst the numerous arrivals were
+&lsquo;the pianoforte player and the violins: the harp
+in a state of intoxication.&rsquo;
+</p>
+
+<p>
+<a class="pagebreak" name="page24" id="page24"
+title="24"></a>We have an occasional mention of a theatre
+orchestra, as, for instance, when the Phenomenon
+was performing at Portsmouth (<i><abbr title="Nicholas Nickleby">N.N.</abbr></i>):
+</p>
+
+<blockquote>
+<p>
+&lsquo;Ring in the orchestra, Grudden.&rsquo;
+</p>
+
+<p>
+That useful lady did as she was requested, and shortly afterwards
+the tuning of three fiddles was heard, which process,
+having been protracted as long as it was supposed that the
+patience of the orchestra could possibly bear it, was put a stop to
+by another jerk of the bell, which, being the signal to begin in
+earnest, set the orchestra playing a variety of popular airs with
+involuntary variations.
+</p>
+</blockquote>
+
+<p>
+On one occasion Dickens visited Vauxhall Gardens
+by day, where &lsquo;a small party of dismal men in cocked
+hats were &ldquo;executing&rdquo; the overture to <i>Tancredi</i>,&rsquo; but
+he does not, unfortunately, give us any details about
+the number or kind of instruments employed. This
+would be in 1836, when the experiment of day
+entertainments was given a trial, and a series of
+balloon ascents became the principal attraction.
+Forster tells us that Dickens was a frequent
+visitor at the numerous gardens and places of
+entertainment which abounded in London, and
+which he knew better than any other man.
+References will be found elsewhere to the music at
+the Eagle (p. <a href="#page47">47</a>) and the White Conduit Gardens
+(p. <a href="#page93">93</a>).
+</p>
+
+
+<h3><a class="pagebreak" name="page25" id="page25"
+title="25"></a><i>Violin and Kit</i></h3>
+
+<p>
+We meet with but few players on the violin, and
+it is usually mentioned in connexion with other
+instruments, though it was to the strains of a
+solitary fiddle that Simon Tappertit danced a
+hornpipe for the delectation of his followers, while
+the same instrument supplied the music at the
+Fezziwig's ball.
+</p>
+
+<blockquote>
+<p>
+In came a fiddler with a music-book, and went up to the lofty
+desk, and made an orchestra of it, and tuned like fifty stomach-aches.
+</p>
+</blockquote>
+
+<p>
+The orchestra at the &lsquo;singing-house&rsquo; provided
+for Jack's amusement when ashore (<i><abbr title="Uncommercial Traveller">U.T.</abbr></i> 5) consisted
+of a fiddle and tambourine; while at dances
+the instruments were fiddles and harps. It was the
+harps that first aroused Mr. Jingle's curiosity, as he
+met them being carried up the staircase of The
+Bull at Rochester, while, shortly after, the tuning of
+both harps and fiddles inspired Mr. Tupman with a
+strong desire to go to the ball. Sometimes the
+orchestra is a little more varied. At the private
+theatricals which took place at Mrs. Gattleton's
+(<i><abbr title="Sketches by Boz: Tales">S.B.T.</abbr></i> 9), the selected instruments were a piano,
+flute, and violoncello, but there seems to have been
+a want of proper rehearsal.
+</p>
+
+<blockquote>
+<p>
+<a class="pagebreak" name="page26" id="page26"
+title="26"></a>Ting, ting, ting! went the prompter's bell at eight o'clock
+precisely, and dash went the orchestra into the overture to the
+<i>Men of Prometheus</i>. The pianoforte player hammered away
+with laudable perseverance, and the violoncello, which struck
+in at intervals, sounded very well, considering. The unfortunate
+individual, however, who had undertaken to play the flute
+accompaniment &lsquo;at sight&rsquo; found, from fatal experience, the
+perfect truth of the old adage, &lsquo;Out of sight, out of mind&rsquo;; for
+being very near-sighted, and being placed at a considerable distance
+from his music-book, all he had an opportunity of doing
+was to play a bar now and then in the wrong place, and put the
+other performers out. It is, however, but justice to Mr. Brown
+to say that he did this to admiration. The overture, in fact, was
+not unlike a race between the different instruments; the piano
+came in first by several bars, and the violoncello next, quite
+distancing the poor flute; for the deaf gentleman <i>too-too'd</i> away,
+quite unconscious that he was at all wrong, until apprised, by
+the applause of the audience, that the overture was concluded.
+</p>
+</blockquote>
+
+<p>
+It was probably after this that the pianoforte
+player fainted away, owing to the heat, and left
+the music of <i>Masaniello</i> to the other two. There
+were differences between these remaining musicians
+and Mr. Harleigh, who played the title r�le, the
+orchestra complaining that &lsquo;Mr. Harleigh put them
+out, while the hero declared that the orchestra
+prevented his singing a note.&rsquo;
+</p>
+
+<p>
+It was to the strains of a wandering harp and
+fiddle that Marion and Grace Jeddler danced &lsquo;a
+trifle in the Spanish style,&rsquo; much to their father's
+<a class="pagebreak" name="page27" id="page27"
+title="27"></a>astonishment as he came bustling out to see who
+&lsquo;played music on his property before breakfast.&rsquo;
+</p>
+
+<p>
+The little fiddle commonly known as a &lsquo;kit&rsquo; that
+dancing-masters used to carry in their capacious
+tail coat pockets was much more in evidence in the
+middle of last century than it is now. Caddy
+Jellyby (<i><abbr title="Bleak House">B.H.</abbr></i>), after her marriage to a dancing-master,
+found a knowledge of the piano and the kit
+essential, and so she used to practise them assiduously.
+When Sampson Brass hears Kit's name
+for the first time he says to Swiveller:
+</p>
+
+<blockquote>
+<p>
+&lsquo;Strange name&mdash;name of a dancing-master's fiddle, eh, Mr.
+Richard?&rsquo;
+</p>
+</blockquote>
+
+<p>
+We must not forget the story of a fine young Irish
+gentleman, as told by the one-eyed bagman to Mr.
+Pickwick and his friends, who,
+</p>
+
+<blockquote>
+<p class="flush">
+being asked if he could play the fiddle, replied he had no doubt
+he could, but he couldn't exactly say for certain, because he had
+never tried.
+</p>
+</blockquote>
+
+
+<h3><i>Violoncello</i></h3>
+
+<p>
+Mr. Morfin (<i><abbr title="Dombey &amp; Son">D. &amp; S.</abbr></i>), &lsquo;a cheerful-looking, hazel-eyed
+elderly bachelor,&rsquo; was
+</p>
+
+<blockquote>
+<p class="flush">
+a great musical amateur&mdash;in his way&mdash;after business, and had a
+paternal affection for his violoncello, which was once in every
+<a class="pagebreak" name="page28" id="page28"
+title="28"></a>week transported from Islington, his place of abode, to a certain
+club-room hard by the Bank, where quartets of the most
+tormenting and excruciating nature were executed every Wednesday
+evening by a private party.
+</p>
+</blockquote>
+
+<p>
+His habit of humming his musical recollections of
+these evenings was a source of great annoyance to
+Mr. James Carker, who devoutly wished &lsquo;that he
+would make a bonfire of his violoncello, and burn
+his books with it.&rsquo; There was only a thin partition
+between the rooms which these two gentlemen
+occupied, and on another occasion Mr. Morfin performed
+an extraordinary feat in order to warn the
+manager of his presence.
+</p>
+
+<blockquote>
+<p>
+I have whistled, hummed tunes, gone accurately through
+the whole of Beethoven's Sonata in B, to let him know that I
+was within hearing, but he never heeded me.
+</p>
+</blockquote>
+
+<p>
+This particular sonata has not hitherto been
+identified.
+</p>
+
+<p>
+It is comforting to know that the fall of the House
+of Dombey made no difference to Mr. Morfin, who
+continued to solace himself by producing &lsquo;the most
+dismal and forlorn sounds out of his violoncello
+before going to bed,&rsquo; a proceeding which had no
+effect on his deaf landlady, beyond producing &lsquo;a
+sensation of something rumbling in her bones.&rsquo;
+</p>
+
+<p>
+<a class="pagebreak" name="page29" id="page29"
+title="29"></a>Nor were the quartet parties interfered with.
+They came round regularly, his violoncello was in
+good tune, and there was nothing wrong in <i>his</i>
+world. Happy Mr. Morfin!
+</p>
+
+<p>
+Another 'cellist was the Rev. Charles Timson, who,
+when practising his instrument in his bedroom, used
+to give strict orders that he was on no account
+to be disturbed.
+</p>
+
+<p>
+It was under the pretence of buying &lsquo;a second-hand
+wiolinceller&rsquo; that Bucket visited the house
+of the dealer in musical instruments in order to
+effect the arrest of Mr. George (<i><abbr title="Bleak House">B.H.</abbr></i>).
+</p>
+
+
+<h3><i>Harp</i></h3>
+
+<p>
+The harp was a fashionable drawing-room instrument
+in the early Victorian period, although
+the re-introduction of the guitar temporarily detracted
+from its glory. It was also indispensable
+in providing music for dancing-parties and concerts.
+When Esther Summerson went to call on the Turveydrops
+(<i><abbr title="Bleak House">B.H.</abbr></i>) she found the hall blocked up with a
+grand piano, a harp, and various other instruments
+which had been used at a concert. As already
+stated, it was the sight of these instruments being
+carried up the stairs at The Bull in Rochester that
+<a class="pagebreak" name="page30" id="page30"
+title="30"></a>aroused Mr. Jingle's curiosity (<i><abbr title="Pickwick Papers">P.P.</abbr></i>) and led to the
+discovery that a ball was in prospect.
+</p>
+
+<p>
+We must not forget the eldest Miss Larkins, one
+of David Copperfield's early, fleeting loves. He
+used to wander up and down outside the home of
+his beloved and watch the officers going in to hear
+Miss L. play the harp. On hearing of her engagement
+to one of these he mourned for a very brief
+period, and then went forth and gloriously defeated
+his old enemy the butcher boy. What a contrast
+between this humour and the strange scene in the
+drawing-room at James Steerforth's home after
+Rosa Dartle had sung the strange weird Irish song to
+the accompaniment of her harp! And how different,
+again, the scene in the home of Scrooge's nephew
+(<i><abbr title="Christmas Carol">C.C.</abbr></i>) when, after tea, &lsquo;they had some music.&rsquo;
+</p>
+
+<blockquote>
+<p>
+Scrooge's niece played well upon the harp; and played, among
+other things, a simple little air.
+</p>
+</blockquote>
+
+<p>
+It reminded Scrooge of a time long past.
+</p>
+
+<blockquote>
+<p>
+He softened more and more; and thought that if he could have
+listened to it often, years ago, he might have cultivated the
+kindnesses of life for his own happiness with his own hand.
+</p>
+</blockquote>
+
+<p>
+Little Paul Dombey told Lady Skettles at the
+breaking-up party that he was very fond of music,
+<a class="pagebreak" name="page31" id="page31"
+title="31"></a>and he was very, very proud of his sister's accomplishments
+both as player and singer. Did they
+inherit this love from their father? &lsquo;You are fond
+of music,&rsquo; said the Hon. Mrs. Skewton to Mr.
+Dombey during an interval in a game of picquet.
+&lsquo;Eminently so,&rsquo; was the reply. But the reader must
+not take him at his word. When Edith (the future
+Mrs. Dombey) entered the room and sat down to her
+harp,
+</p>
+
+<blockquote>
+<p class="flush">
+Mr. Dombey rose and stood beside her, listening. He had
+little taste for music, and no knowledge of the strain she played;
+but he saw her bending over it, and perhaps he heard among
+the sounding strings some distant music of his own.
+</p>
+</blockquote>
+
+<p>
+Yet when she went to the piano and commenced
+to sing Mr. Dombey did not know that it was &lsquo;the
+air that his neglected daughter sang to his dead
+son&rsquo;!
+</p>
+
+
+<h3><i>Piano</i></h3>
+
+<p>
+Lady musicians are numerous, and of very varied
+degrees of excellence. Amongst the pianists is
+Miss Teresa Malderton, who nearly fell a prey to
+that gay deceiver Mr. Horatio Sparkins (<i><abbr title="Sketches by Boz: Tales">S.B.T.</abbr></i> 5).
+Her contribution to a musical evening was &lsquo;The
+Fall of Paris,&rsquo; played, as Mr. Sparkins declared,
+in a masterly manner.
+</p>
+
+<p>
+<a class="pagebreak" name="page32" id="page32"
+title="32"></a>There was a song called &lsquo;The Fall of Paris,&rsquo; but
+it is most probable that Dickens was thinking of a
+very popular piece which he must have often heard
+in his young days, of which the full title was
+</p>
+
+<blockquote>
+<p>
+<span class="sc">The Surrender of Paris.</span> A characteristic Divertimento
+for the Pianoforte, including the events from the Duke of Wellington
+and Prince Blucher's marching to that capital to the
+evacuation by the French troops and taking possession by the
+Allies, composed by Louis Jansen, 1816.
+</p>
+</blockquote>
+
+<p>
+Not the least curious section of this piece of early
+programme music is a <i>moderato</i> recording the various
+articles of the capitulation. These are eighteen in
+number, and each has its own &lsquo;theme.&rsquo; The interspersion
+of some discords seems to imply serious
+differences of opinion between the parties to the
+treaty.
+</p>
+
+<p>
+There was also a song called &lsquo;The Downfall of
+Paris,&rsquo; the first verse of which was
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">Great news I have to tell you all,</span><br />
+<span class="i1">&nbsp;&nbsp;Of Bonaparte and a' that;</span><br />
+<span class="i0">How Paris it has got a fall,</span><br />
+<span class="i1">&nbsp;&nbsp;He's lost his plans and a' that.</span>
+</p>
+
+<h4><i>Chorus.</i></h4>
+
+<p class="stanza">
+<span class="i0">Rise up, John Bull, rise up and sing,</span><br />
+<span class="i1">&nbsp;&nbsp;Your chanter loudly blaw that;</span><br />
+<span class="i0">Lang live our auld and worthy king,</span><br />
+<span class="i1">&nbsp;&nbsp;Success to Britain, a' that.</span>
+</p>
+</blockquote>
+
+<p>
+<a class="pagebreak" name="page33" id="page33"
+title="33"></a>The instrument beloved of Miss Tox (<i><abbr title="Dombey &amp; Son">D. &amp; S.</abbr></i>)
+was the harpsichord, and her favourite piece was the
+&lsquo;Bird Waltz,&rsquo; while the &lsquo;Copenhagen Waltz&rsquo; was
+also in her repertoire. Two notes of the instrument
+were dumb from disuse, but their silence did not
+impoverish the rendering. Caddy Jellyby found
+it necessary to know something of the piano, in
+order that she might instruct the &lsquo;apprentices&rsquo; at
+her husband's dancing-school. Another performer
+was Mrs. Namby, who entertained Mr. Pickwick with
+solos on a square piano while breakfast was being
+prepared. When questioned by David Copperfield
+as to the gifts of Miss Sophy Crewler, Traddles explained
+that she knew enough of the piano to teach
+it to her little sisters, and she also sang ballads to
+freshen up her family a little when they were out of
+spirits, but &lsquo;nothing scientific.&rsquo; The guitar was
+quite beyond her. David noted with much satisfaction
+(though he did not say so) that his Dora was
+much more gifted musically.
+</p>
+
+<p>
+When Dickens wrote his earlier works it was not
+considered the correct thing for a gentleman to play
+the piano, though it might be all very well for the
+lower classes and the music teacher. Consequently
+we read of few male performers on the instrument.
+Mr. Skimpole could play the piano, and of
+<a class="pagebreak" name="page34" id="page34"
+title="34"></a>course Jasper had a &lsquo;grand&rsquo; in his room at
+Cloisterham.
+</p>
+
+<p>
+At one time, if we may believe the turnkey at the
+Marshalsea prison, William Dorrit had been a pianist,
+a fact which raised him greatly in the turnkey's
+opinion.
+</p>
+
+<blockquote>
+<p>
+Brought up as a gentleman, he was, if ever a man was.
+Educated at no end of expense. Went into the Marshal's house
+once to try a new piano for him. Played it, I understand, like one
+o'clock&mdash;beautiful.
+</p>
+</blockquote>
+
+<p>
+In the <i>Collected Papers</i> we have a picture of the
+&lsquo;throwing off young gentleman,&rsquo; who strikes a note
+or two upon the piano, and accompanies it correctly
+(by dint of laborious practice) with his voice. He
+assures
+</p>
+
+<blockquote>
+<p class="flush">
+a circle of wondering listeners that so acute was his ear that he
+was wholly unable to sing out of tune, let him try as he would.
+</p>
+</blockquote>
+
+<p>
+Mr. Weller senior laid a deep plot in which a
+piano was to take a prominent part. His object
+was to effect Mr. Pickwick's escape from the Fleet.
+</p>
+
+<blockquote>
+<p>
+Me and a cab'net-maker has dewised a plan for gettin' him
+out. &lsquo;A pianner, Samivel, a pianner,&rsquo; said Mr. Weller, striking
+his son on the chest with the back of his hand, and falling back a
+step or two.
+</p>
+
+<p>
+&lsquo;Wot do you mean?&rsquo; said Sam.
+</p>
+
+<p>
+&lsquo;A pianner-forty, Samivel,&rsquo; rejoined Mr. Weller, in a still
+<a class="pagebreak" name="page35" id="page35"
+title="35"></a>more mysterious manner, &lsquo;as he can have on hire; vun as von't
+play, Sammy.&rsquo;
+</p>
+
+<p>
+&lsquo;And wot 'ud be the good of that?&rsquo; said Sam.
+</p>
+
+<p>
+&lsquo;There ain't no vurks in it,&rsquo; whispered his father. &lsquo;It 'ull
+hold him easy, vith his hat and shoes on; and breathe through
+the legs, vich is holler.&rsquo;
+</p>
+</blockquote>
+
+<p>
+But the usually dutiful Sam showed so little
+enthusiasm for his father's scheme that nothing
+more was heard of it.
+</p>
+
+
+
+
+<h2><a class="pagebreak" name="page36" id="page36"
+title="36"></a>CHAPTER III<br />
+<small><b>VARIOUS INSTRUMENTS</b></small><br />
+<small>FLUTE, ORGAN, GUITAR (AND SOME HUMMERS)</small></h2>
+
+
+<h3><i>Flute</i></h3>
+
+<p class="flush"><span>We</span>
+find several references to the flute, and Dickens
+contrives to get much innocent fun out of it. First
+comes Mr. Mell, who used to carry his instrument
+about with him and who, in response to his mother's
+invitation to &lsquo;have a blow at it&rsquo; while David
+Copperfield was having his breakfast, made, said
+David, &lsquo;the most dismal sounds I have ever heard
+produced by any means, natural or artificial.&rsquo; After
+he had finished he unscrewed his flute into three
+pieces, and deposited them underneath the skirts of
+his coat.
+</p>
+
+<p>
+Dickens' schoolmasters seem to have been partial
+to the flute. Mr. Squeers, it is true, was not a
+flautist, but Mr. Feeder, B.A., was, or rather he was
+going to be. When little Paul Dombey visited his
+tutor's room he saw &lsquo;a flute which Mr. Feeder
+couldn't play yet, but was going to make a point
+of learning, he said, hanging up over the fireplace.&rsquo;
+</p>
+
+<p>
+<a class="pagebreak" name="page37" id="page37"
+title="37"></a>He also had a beautiful little curly second-hand
+&lsquo;key bugle,&rsquo; which was also on the list of things to
+be accomplished on some future occasion, in fact he
+has unlimited confidence in the power and influence
+of music. Here is his advice to the love-stricken
+Mr. Toots, whom he recommends to
+</p>
+
+<blockquote>
+<p class="flush">
+learn the guitar, or at least the flute; for women like music
+when you are paying your addresses to 'em, and he has found
+the advantage of it himself.
+</p>
+</blockquote>
+
+<p>
+The flute was the instrument that Mr. Richard
+Swiveller took to when he heard that Sophy Wackles
+was lost to him for ever,
+</p>
+
+<blockquote>
+<p class="flush">
+thinking that it was a good, sound, dismal occupation, not only
+in unison with his own sad thoughts, but calculated to awaken a
+fellow feeling in the bosoms of his neighbours.
+</p>
+</blockquote>
+
+<p>
+So he got out his flute, arranged the light and a
+small oblong music-book to the best advantage, and
+began to play &lsquo;most mournfully.&rsquo;
+</p>
+
+<blockquote>
+<p>
+The air was &lsquo;Away with Melancholy,&rsquo; a composition which,
+when it is played very slowly on the flute, in bed, with the further
+disadvantage of being performed by a gentleman but imperfectly
+acquainted with the instrument, who repeats one note a great
+many times before he can find the next, has not a lively effect.
+</p>
+</blockquote>
+
+<p>
+So Mr. Swiveller spent half the night or more over
+this pleasing exercise, merely stopping now and then
+<a class="pagebreak" name="page38" id="page38"
+title="38"></a>to take breath and soliloquize about the Marchioness;
+and it was only after he &lsquo;had nearly maddened the
+people of the house, and at both the next doors,
+and over the way,&rsquo; that he shut up the book and went
+to sleep. The result of this was that the next
+morning he got a notice to quit from his landlady,
+who had been in waiting on the stairs for that
+purpose since the dawn of day.
+</p>
+
+<p>
+Jack Redburn, too (<i><abbr title="Master Humphrey's Clock">M.H.C.</abbr></i>), seems to have found
+consolation in this instrument, spending his wet
+Sundays in &lsquo;blowing a very slow tune on the flute.&rsquo;
+</p>
+
+<p>
+There is one, and only one, recorded instance of
+this very meek instrument suddenly asserting itself
+by going on strike, and that is in the sketch entitled
+<i>Private Theatres</i> (<i><abbr title="Sketches by Boz: Scenes">S.B.S.</abbr></i> 13), where the amateurs
+take so long to dress for their parts that &lsquo;the flute
+says he'll be blowed if he plays any more.&rsquo;
+</p>
+
+<p>
+We must on no account forget the serenade with
+which the gentlemen boarders proposed to honour
+the Miss Pecksniffs. The performance was both
+vocal and instrumental, and the description of the
+flute-player is delightful.
+</p>
+
+<blockquote>
+<p>
+It was very affecting, very. Nothing more dismal could have
+been desired by the most fastidious taste.... The youngest
+gentleman blew his melancholy into a flute. He didn't blow
+much out of it, but that was all the better.
+</p>
+</blockquote>
+
+<p>
+<a class="pagebreak" name="page39" id="page39"
+title="39"></a>After a description of the singing we have more
+about the flute.
+</p>
+
+<blockquote>
+<p>
+The flute of the youngest gentleman was wild and fitful. It
+came and went in gusts, like the wind. For a long time together
+he seemed to have left off, and when it was quite settled by Mrs.
+Todgers and the young ladies that, overcome by his feelings, he
+had retired in tears, he unexpectedly turned up again at the very
+top of the tune, gasping for breath. He was a tremendous
+performer. There was no knowing where to have him; and
+exactly when you thought he was doing nothing at all, then was
+he doing the very thing that ought to astonish you most.
+</p>
+</blockquote>
+
+<p>
+Yet another performer is the domestic young
+gentleman (<i><abbr title="Collected Papers">C.P.</abbr></i>) who holds skeins of silk for the
+ladies to wind, and who then
+</p>
+
+<blockquote>
+<p class="flush">
+brings down his flute in compliance with a request from the
+youngest Miss Gray, and plays divers tunes out of a very small
+book till supper-time.
+</p>
+</blockquote>
+
+<p>
+When Nancy went to the prison to look for
+Oliver Twist, she found nobody in durance vile
+except a man who had been taken up for playing the
+flute, and who was bewailing the loss of the same,
+which had been confiscated for the use of the
+county.
+</p>
+
+<p>
+The gentleman who played the violoncello at Mrs.
+Gattleton's party has already been referred to, and
+it only remains to mention Mr. Evans, who &lsquo;had such
+<a class="pagebreak" name="page40" id="page40"
+title="40"></a>lovely whiskers&rsquo; and who played the flute on the
+same occasion, to bring the list of players to an end.
+</p>
+
+
+<h3><i>Hummers</i></h3>
+
+<p>
+We meet with a remarkable musician in <i>Dombey
+and Son</i> in the person of Harriet Carker's visitor,
+a scientific one, according to the description:
+</p>
+
+<blockquote>
+<p>
+A certain skilful action of his fingers as he hummed some bars,
+and beat time on the seat beside him, seemed to denote the
+musician; and the extraordinary satisfaction he derived from
+humming something very slow and long, which had no recognizable
+tune, seemed to denote that he was a scientific one.
+</p>
+</blockquote>
+
+<p>
+A less capable performer was Sampson Brass,
+who hummed
+</p>
+
+<blockquote>
+<p class="flush">
+in a voice that was anything but musical certain vocal snatches
+which appeared to have reference to the union between Church
+and State, inasmuch as they were compounded of the Evening
+Hymn and &lsquo;God Save the King.&rsquo;
+</p>
+</blockquote>
+
+<p>
+Musicians of various degrees abound in the <i>Sketches</i>.
+Here is Mr. Wisbottle, whistling &lsquo;The Light Guitar&rsquo;
+at five o'clock in the morning, to the intense disgust
+of Mr. John Evenson, a fellow boarder at Mrs.
+Tibbs'. Subsequently he came down to breakfast
+in blue slippers and a shawl dressing-gown, whistling
+&lsquo;Di piacer.&rsquo; Mr. Evenson can no longer control
+<a class="pagebreak" name="page41" id="page41"
+title="41"></a>his feelings, and threatens to start the triangle if
+his enemy will not stop his early matutinal music.
+A suggested name for this whistler is the &lsquo;humming-top,&rsquo;
+from his habit of describing semi-circles on the
+piano stool, and &lsquo;humming most melodiously.&rsquo;
+There are a number of characters who indulge in the
+humming habit either to cover their confusion, or as
+a sign of light-heartedness and contentment. Prominent
+amongst these are Pecksniff, who, like Morfin,
+hums melodiously, and Micawber, who can both
+sing and hum. Nor must we omit to mention Miss
+Petowker, who &lsquo;hummed a tune&rsquo; as her contribution
+to the entertainment at Mrs. Kenwigs' party. Many
+of the characters resort to humming to conceal their
+temporary discomfiture, and perhaps no one ever
+hummed under more harassing circumstances than
+when Mr. Pecksniff had to go to the door to let in
+some very unwelcome guests, who had already
+knocked several times. But he was a past master
+in the art of dissimulation. He is particularly
+anxious to conceal from his visitors the fact that
+Jonas Chuzzlewit is in the house. So he says to
+the latter&mdash;
+</p>
+
+<blockquote>
+<p>
+&lsquo;This may be a professional call. Indeed I am pretty sure it
+is. Thank you.&rsquo; Then Mr. Pecksniff, gently warbling a rustic
+stave, put on his garden hat, seized a spade, and opened the street
+<a class="pagebreak" name="page42" id="page42"
+title="42"></a>door; calmly appearing on the threshold as if he thought he had,
+from his vineyard, heard a modest rap, but was not quite certain.
+</p>
+</blockquote>
+
+<p class="flush">
+Then he tells his visitors &lsquo;I do a little bit of Adam
+still.&rsquo; He certainly had a good deal of the old
+Adam in him.
+</p>
+
+
+<h3><i>Clarionet</i></h3>
+
+<p>
+The clarionet is associated with the fortunes of
+Mr. Frederick Dorrit, who played the instrument at
+the theatre where his elder niece was a dancer, and
+where Little Dorrit sought an engagement. After
+the rehearsal was over she and her sister went to
+take him home.
+</p>
+
+<blockquote>
+<p>
+He had been in that place six nights a week for many years,
+but had never been observed to raise his eyes above his music-book....
+The carpenters had a joke that he was dead without
+being aware of it.
+</p>
+</blockquote>
+
+<p>
+At the theatre he had no part in what was going
+on except the part written for the clarionet. In his
+young days his house had been the resort of singers
+and players. When the fortunes of the family
+changed his clarionet was taken away from him,
+on the ground that it was a &lsquo;low instrument.&rsquo; It
+was subsequently restored to him, but he never
+played it again.
+</p>
+
+<p>
+<a class="pagebreak" name="page43" id="page43"
+title="43"></a>Of quite a different stamp was one of the characters
+in <i>Going into Society</i>, who played the clarionet in a
+band at a Wild Beast Show, and played it all
+wrong. He was somewhat eccentric in dress, as
+he had on &lsquo;a white Roman shirt and a bishop's
+mitre covered with leopard skin.&rsquo; We are told
+nothing about him, except that he refused to know
+his old friends. In his story of the <i>Seven Poor
+Travellers</i> Dickens found the clarionet-player of the
+Rochester Waits so communicative that he accompanied
+the party across an open green called the
+Vines,
+</p>
+
+<blockquote>
+<p class="flush">
+and assisted&mdash;in the French sense&mdash;at the performance of two
+waltzes, two polkas, and three Irish melodies.
+</p>
+</blockquote>
+
+
+<h3><i>Bassoon</i></h3>
+
+<p>
+A notable bassoon player was Mr. Bagnet, who
+had a voice somewhat resembling his instrument.
+The ex-artilleryman kept a little music shop in a
+street near the Elephant and Castle. There were
+</p>
+
+<blockquote>
+<p class="flush">
+a few fiddles in the window, and some Pan's pipes and a tambourine,
+and a triangle, and certain elongated scraps of music.
+</p>
+</blockquote>
+
+<p>
+It was to this shop that Bucket the detective
+came under the pretence of wanting a second-hand
+<a class="pagebreak" name="page44" id="page44"
+title="44"></a>&lsquo;wiolinceller&rsquo; (see p. <a href="#page29">29</a>). In the course of conversation
+it turns out that Master Bagnet (otherwise
+&lsquo;Woolwich&rsquo;) &lsquo;plays the fife beautiful,&rsquo; and
+he performs some popular airs for the benefit of
+his audience. Mr. Bucket also claims to have
+played the fife himself when a boy, &lsquo;not in a
+scientific way, but by ear.&rsquo;
+</p>
+
+
+<h3><i>Bagpipes</i></h3>
+
+<p>
+Two references to the bagpipes deserve notice.
+One is in <i>David Copperfield</i>, where the novelist refers
+to his own early experiences as a shorthand reporter.
+He has no high opinion of the speeches he used to
+take down.
+</p>
+
+<blockquote>
+<p>
+One joyful night, therefore, I noted down the music of the
+parliamentary bagpipes for the last time, and I have never heard
+it since; though I still recognize the old drone in the newspapers.
+</p>
+</blockquote>
+
+<p>
+In <i><abbr title="Our Mutual Friend">O.M.F.</abbr></i> (II.) we read of Charley Hexam's
+fellow pupils keeping themselves awake
+</p>
+
+<blockquote>
+<p class="flush">
+by maintaining a monotonous droning noise, as if they were
+performing, out of time and tune, on a ruder sort of bagpipe.
+</p>
+</blockquote>
+
+<p>
+The peculiar subdued noise caused by a lot of
+children in a school is certainly suggestive of the
+instrument.
+</p>
+
+
+<h3><a class="pagebreak" name="page45" id="page45"
+title="45"></a><i>Trombone</i></h3>
+
+<p>
+Little is said about the trombone. We are told,
+in reference to the party at Dr. Strong's (<i><abbr title="David Copperfield">D.C.</abbr></i>), that
+the good Doctor knew as much about playing cards
+as he did about &lsquo;playing the trombone.&rsquo; In &lsquo;Our
+School&rsquo; (<i><abbr title="Reprinted Pieces">R.P.</abbr></i>) we are told a good deal about the
+usher who &lsquo;made out the bills, mended the pens,
+and did all sorts of things.&rsquo;
+</p>
+
+<blockquote>
+<p>
+He was rather musical, and on some remote quarter-day had
+bought an old trombone; but a bit of it was lost, and it made
+the most extraordinary sounds when he sometimes tried to play
+it of an evening.
+</p>
+</blockquote>
+
+<p>
+In a similarly dismembered state was the flute
+which Dickens once saw in a broker's shop. It was
+&lsquo;complete with the exception of the middle joint.&rsquo;
+</p>
+
+<p>
+This naturally calls to mind the story of the choir
+librarian who was putting away the vocal parts
+of a certain funeral anthem. After searching in
+vain for two missing numbers he was obliged to
+label the parcel
+</p>
+
+<blockquote>
+<p>
+&lsquo;His body is buried in peace.&rsquo; Two parts missing.
+</p>
+</blockquote>
+
+
+<h3><i>Organ</i></h3>
+
+<p>
+The references to the organ are both numerous
+and interesting, and it is pretty evident that this
+<a class="pagebreak" name="page46" id="page46"
+title="46"></a>instrument had a great attraction for Dickens. The
+gentle Tom Pinch (<i><abbr title="Martin Chuzzlewit">M.C.</abbr></i>), whom Gissing calls &lsquo;a
+gentleman who derives his patent of gentility direct
+from God Almighty,&rsquo; first claims our attention. He
+used to play the organ at the village church &lsquo;for
+nothing.&rsquo; It was a simple instrument, &lsquo;the sweetest
+little organ you ever heard,&rsquo; provided with wind
+by the action of the musician's feet, and thus Tom
+was independent of a blower, though he was so
+beloved that
+</p>
+
+<blockquote>
+<p class="flush">
+there was not a man or boy in all the village and away to the
+turnpike (tollman included) but would have blown away for him
+till he was black in the face.
+</p>
+</blockquote>
+
+<p>
+What a delight it must have been to him to avail
+himself of the opportunity to play the organ in the
+cathedral when he went to meet Martin!
+</p>
+
+<blockquote>
+<p>
+As the grand tones resounded through the church they seemed,
+to Tom, to find an echo in the depth of every ancient tomb,
+no less than in the deep mystery of his own heart.
+</p>
+</blockquote>
+
+<p>
+And he would have gone on playing till midnight
+&lsquo;but for a very earthy verger,&rsquo; who insisted on locking
+up the cathedral and turning him out.
+</p>
+
+<p>
+On one occasion, while he was practising at the
+church, the miserable Pecksniff entered the building
+and, hiding behind a pew, heard the conversation
+<a class="pagebreak" name="page47" id="page47"
+title="47"></a>between Tom and Mary that led to the former being
+dismissed from the architect's office, so he had to
+leave his beloved organ, and mightily did the poor
+fellow miss it when he went to London! Being an
+early riser, he had been accustomed to practise
+every morning, and now he was reduced to taking
+long walks about London, a poor substitute indeed!
+</p>
+
+<p>
+Nor was the organ the only instrument that he
+could play, for we read how he would spend half his
+nights poring over the &lsquo;jingling anatomy of that
+inscrutable old harpsichord in the back parlour,&rsquo;
+and amongst the household treasures that he took
+to London were his music and an old fiddle.
+</p>
+
+<p>
+The picture which forms our <a href="#pageii">frontispiece</a> shows
+Tom Pinch playing his favourite instrument. At
+the sale of the original drawings executed by &lsquo;Phiz&rsquo;
+for <i>Martin Chuzzlewit</i> this frontispiece, which is an
+epitome of the salient characters and scenes in the
+novel, was sold for �35.
+</p>
+
+<p>
+We read in <i>Christmas Stories</i> that
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">Silas Jorgan</span><br />
+<span class="i0">Played the organ,</span>
+</p>
+</blockquote>
+
+<p class="flush">
+but we are not told the name of the artist who at the
+concert at the Eagle (<i><abbr title="Sketches by Boz: Characters">S.B.C.</abbr></i> 4) accompanied a
+comic song on the organ&mdash;and such an organ!
+</p>
+
+<blockquote>
+<p>
+<a class="pagebreak" name="page48" id="page48"
+title="48"></a>Miss J'mima Ivins's friend's young man whispered it had
+cost &lsquo;four hundred pound,&rsquo; which Mr. Samuel Wilkins said
+was &lsquo;not dear neither.&rsquo;
+</p>
+</blockquote>
+
+<p>
+The singer was probably either Howell or Glindon.
+Dickens appears to have visited the Eagle Tavern
+in 1835 or 1836. It was then a notable place of
+entertainment consisting of gardens with an orchestra,
+and the &lsquo;Grecian Saloon,&rsquo; which was furnished
+with an organ and a &lsquo;self-acting piano.&rsquo; Here
+concerts were given every evening, which in Lent
+took a sacred turn, and consisted of selections from
+Handel and Mozart. In 1837 the organ was
+removed, and a new one erected by Parsons.
+</p>
+
+<p>
+The Eagle gained a wide reputation through its
+being introduced into a once popular song.
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">Up and down the City Road,</span><br />
+<span class="i1">&nbsp;&nbsp;In and out the Eagle,</span><br />
+<span class="i0">That's the way the money goes,</span><br />
+<span class="i1">&nbsp;&nbsp;Pop goes the weasel.</span>
+</p>
+</blockquote>
+
+<p>
+This verse was subsequently modified (for nursery
+purposes) thus:
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">Half a pound of tuppenny rice,</span><br />
+<span class="i1">&nbsp;&nbsp;Half a pound of treacle,</span><br />
+<span class="i0"><a name="ft09"></a>That's the way the money goes,<a class="fn" href="#fn09">&nbsp;9&nbsp;</a></span><br />
+<span class="i1">&nbsp;&nbsp;Pop goes the weasel.</span>
+</p>
+</blockquote>
+
+<p>
+<a class="pagebreak" name="page49" id="page49"
+title="49"></a>Many explanations have been given of &lsquo;weasel.&rsquo;
+Some say it was a purse made of weasel skin; others
+that it was a tailor's flat-iron which used to be
+pawned (or &lsquo;popped&rsquo;) to procure the needful for
+admission to the tavern. A third (and more intelligible)
+suggestion is that the line is simply a catch
+phrase, without any meaning.
+</p>
+
+<p>
+There is a notable reference to the organ in <i>Little
+Dorrit</i>. Arthur Clennam goes to call on old
+Frederick Dorrit, the clarionet player, and is
+directed to the house where he lived. &lsquo;There were
+so many lodgers in this house that the door-post
+seemed to be as full of bell handles as a cathedral
+organ is of stops,&rsquo; and Clennam hesitates for a time,
+&lsquo;doubtful which might be the clarionet stop.&rsquo;
+</p>
+
+<p>
+Further on in the same novel we are told that
+it was the organ that Mrs. Finching was desirous
+of learning.
+</p>
+
+<blockquote>
+<p>
+I have said ever since I began to recover the blow of Mr. F's
+death that I would learn the organ of which I am extremely
+fond but of which I am ashamed to say I do not yet know a note.
+</p>
+</blockquote>
+
+<p>
+The following fine description of the tones of an
+organ occurs in <i>The Chimes</i>:
+</p>
+
+<blockquote>
+<p>
+The organ sounded faintly in the church below. Swelling
+by degrees the melody ascended to the roof, and filled the choir
+<a class="pagebreak" name="page50" id="page50"
+title="50"></a>and nave. Expanding more and more, it rose up, up; up, up;
+higher, higher, higher up; awakening agitated hearts within the
+burly piles of oak, the hollow bells, the iron-bound doors, the
+stairs of solid stone; until the tower walls were insufficient to
+contain it, and it soared into the sky.
+</p>
+</blockquote>
+
+<p>
+The effect of this on Trotty Veck was very different
+from that which another organ had on the benevolent
+old lady we read of in <i>Our Parish</i>. She subscribed
+�20 towards a new instrument for the parish
+church, and was so overcome when she first heard
+it that she had to be carried out by the pew-opener.
+</p>
+
+<p>
+There are various references to the organs in the
+City churches, and probably the description of one
+of them given in <i>Dombey and Son</i> would suit most
+instruments of the period.
+</p>
+
+<blockquote>
+<p>
+The organ rumbled and rolled as if it had got the colic, for
+want of a congregation to keep the wind and damp out.
+</p>
+</blockquote>
+
+
+<h3><i>Barrel-Organ</i></h3>
+
+<p>
+In real life the barrel-organ was a frequent source
+of annoyance to Dickens, who found its ceaseless
+strains very trying when he was busy writing,
+and who had as much trouble in evicting the
+grinders as David Copperfield's aunt had with the
+donkeys.
+</p>
+
+<p>
+<a class="pagebreak" name="page51" id="page51"
+title="51"></a>However, he takes a very mild revenge on this
+deservedly maligned instrument in his works, and the
+references are, as usual, of a humorous character.
+<a name="ft10"></a>A barrel-organ formed a part of the procession to
+celebrate the election of Mr. Tulrumble<a class="fn" href="#fn10">&nbsp;10&nbsp;</a> as
+Mayor of Mudfog, but the player put on the wrong
+stop, and played one tune while the band played
+another.
+</p>
+
+<p>
+This instrument had an extraordinary effect on
+Major Tpschoffki, familiarly and more easily known
+as &lsquo;Chops,&rsquo; the dwarf, &lsquo;spirited but not proud,&rsquo;
+who was desirous of &lsquo;Going into Society&rsquo; (<i><abbr title="Going into Society">G.S.</abbr></i>),
+and who had got it into his head that he was
+entitled to property:
+</p>
+
+<blockquote>
+<p>
+His ideas respectin' his property never come upon him so
+strong as when he sat upon a barrel-organ, and had the handle
+turned. Arter the wibration had run through him a little time he
+would screech out, &lsquo;Toby, I feel my property coming&mdash;grind
+away! I'm counting my guineas by thousands, Toby&mdash;grind
+away! Toby, I shall be a man of fortun! I feel the Mint
+a-jingling in me, Toby, and I'm swelling out into the Bank of
+England.&rsquo; Such is the influence of music on a poetic mind.
+</p>
+</blockquote>
+
+<p>
+Dickens found the streets in New York very
+different from those in London, and specially remarks
+how quiet they were&mdash;no itinerant musicians
+<a class="pagebreak" name="page52" id="page52"
+title="52"></a>or showmen of any kind. He could only remember
+hearing one barrel-organ with a dancing-monkey.
+&lsquo;Beyond that, nothing lively, no, not so much as a
+white mouse in a twirling cage.&rsquo;
+</p>
+
+<p>
+We must not forget that he has two references to
+pipe organs in his <i>American Notes</i>. When he visited
+the Blind School at Boston he heard a voluntary
+played on the organ by one of the pupils, while
+at St. Louis he was informed that the Jesuit
+College was to be supplied with an organ sent from
+Belgium.
+</p>
+
+<p>
+The barrel-organ brings to mind Jerry and his
+troupe of dancing-dogs (<i><abbr title="Old Curiosity Shop">O.C.S.</abbr></i>), especially the
+unfortunate animal who had lost a halfpenny during
+the day, and consequently had to go without his
+supper. In fact, his master made the punishment
+fit the crime; for, having set the stop, he made the
+dog play the organ while the rest had their evening
+meal.
+</p>
+
+<blockquote>
+<p>
+When the knives and forks rattled very much, or any of his
+fellows got an unusually large piece of fat, he accompanied the
+music with a short howl; but he immediately checked it on his
+master looking round and applied himself with increased diligence
+to the Old Hundredth.
+</p>
+</blockquote>
+
+<p>
+In <i>Dombey and Son</i> there is a very apt comparison
+of Mr. Feeder, B.A., to this instrument. He was
+<a class="pagebreak" name="page53" id="page53"
+title="53"></a>Doctor Blimber's assistant master, and was entrusted
+with the education of little Paul.
+</p>
+
+<blockquote>
+<p>
+Mr. Feeder, B.A. ... was a kind of human barrel-organ with
+a little list of tunes at which he was continually working, over
+and over again, without any variation. He might have been
+fitted up with a change of barrels, perhaps, in early life, if his
+destiny had been favourable, but it had not been.
+</p>
+</blockquote>
+
+<p>
+So he had only one barrel, his sole occupation
+being to &lsquo;bewilder the young ideas of Dr. Blimber's
+young gentlemen.&rsquo; Sometimes he had his Virgil
+stop on, and at other times his Herodotus stop.
+In trying to keep up the comparison, however,
+Dickens makes a curious mistake. In the above
+quotation Feeder is assigned one barrel only, while
+in Chapter XLI we are told that he had &lsquo;his other
+barrels on a shelf behind him.&rsquo;
+</p>
+
+<p>
+We find another comparison in <i>Little Dorrit</i>, when
+the long-suffering Pancks turns round on Casby,
+his employer, and exposes his hypocrisy. Pancks,
+who has had much difficulty in getting his master's
+rents from the tenants, makes up his mind to leave
+him; and before doing so he tells the whole truth
+about Casby to the inhabitants of Bleeding Heart
+Yard. &lsquo;Here's the Stop,&rsquo; said Pancks, &lsquo;that sets
+the tune to be ground. And there is but one tune,
+and its name is &ldquo;Grind! Grind! Grind!&rdquo;&rsquo;
+</p>
+
+
+<h3><a class="pagebreak" name="page54" id="page54"
+title="54"></a><i>Guitar</i></h3>
+
+<p>
+Although the guitar was a fashionable instrument
+sixty years ago, there are but few references to it.
+This was the instrument that enabled the three Miss
+Briggses, each of them performers, to eclipse the
+glory of the Miss Tauntons, who could only manage
+a harp. On the eventful day of &lsquo;The Steam
+Excursion&rsquo; (<i><abbr title="Sketches by Boz">S.B.</abbr></i>) the three sisters brought their
+instruments, carefully packed up in dark green cases,
+</p>
+
+<blockquote>
+<p class="flush">
+which were carefully stowed away in the bottom of the boat,
+accompanied by two immense portfolios of music, which it
+would take at least a week's incessant playing to get through.
+</p>
+</blockquote>
+
+<p>
+At a subsequent stage of the proceedings they were
+asked to play, and after replacing a broken string,
+and a vast deal of screwing and tightening, they
+gave &lsquo;a new Spanish composition, for three voices
+and three guitars,&rsquo; and secured an encore, thus completely
+overwhelming their rivals. In the account
+of the <i>French Watering-Place</i> (<i><abbr title="Reprinted Pieces">R.P.</abbr></i>) we read about
+a guitar on the pier, &lsquo;to which a boy or woman sings
+without any voice little songs without any tune.&rsquo;
+</p>
+
+<p>
+On one of his night excursions in the guise of an
+&lsquo;Uncommercial Traveller&rsquo; Dickens discovered a
+stranded Spaniard, named Antonio. In response
+to a general invitation &lsquo;the swarthy youth&rsquo; takes
+<a class="pagebreak" name="page55" id="page55"
+title="55"></a>up his cracked guitar and gives them the &lsquo;feeblest
+ghost of a tune,&rsquo; while the inmates of the miserable
+den kept time with their heads.
+</p>
+
+<p>
+Dora used to delight David Copperfield by singing
+enchanting ballads in the French language and
+accompanying herself &lsquo;on a glorified instrument,
+resembling a guitar,&rsquo; though subsequent references
+show it was that instrument and none other.
+</p>
+
+<p>
+We read in <i>Little Dorrit</i> that Young John Chivery
+wore &lsquo;pantaloons so highly decorated with side
+stripes, that each leg was a three-stringed lute.&rsquo;
+This appears to be the only reference to this instrument,
+and a lute of three strings is the novelist's own
+conception, the usual number being about nine.
+</p>
+
+<hr />
+
+<p class="fn"><span><a class="fn" href="#ft09">&nbsp;9&nbsp;</a></span><a name="fn09"></a>
+Or, &lsquo;Mix it up and make it nice.&rsquo;</p>
+
+<p class="fn"><span><a class="fn" href="#ft10">&nbsp;10&nbsp;</a></span><a name="fn10"></a>
+<i>The Public Life of Mr. Tulrumble</i>, 1837.</p>
+
+
+
+
+<h2><a class="pagebreak" name="page56" id="page56"
+title="56"></a>CHAPTER IV<br />
+<small><b>VARIOUS INSTRUMENTS (continued)</b></small></h2>
+
+
+<p class="flush"><span>Many</span>
+musical instruments and terms are mentioned
+by way of illustration. Blathers, the Bow Street
+officer (<i><abbr title="Oliver Twist">O.T.</abbr></i>), plays carelessly with his handcuffs
+as if they were a pair of castanets. Miss Miggs (<i><abbr title="Barnaby Rudge">B.R.</abbr></i>)
+clanks her pattens as if they were a pair of cymbals.
+Mr. Bounderby (<i><abbr title="Hard Times">H.T.</abbr></i>), during his conversation
+with Harthouse,
+</p>
+
+<blockquote>
+<p class="flush">
+with his hat in his hand, gave a beat upon the crown at every
+division of his sentences, as if it were a tambourine;
+</p>
+</blockquote>
+
+<p class="flush">
+and in the same work the electric wires rule &lsquo;a colossal
+strip of music-paper out of the evening sky.&rsquo;
+</p>
+
+<p>
+Perhaps the most extraordinary comparison is that
+instituted by Mrs. Lirriper in reference to her late
+husband.
+</p>
+
+<blockquote>
+<p>
+My poor Lirriper was a handsome figure of a man, with a
+beaming eye and a voice as mellow as a musical instrument made
+of honey and steel.
+</p>
+</blockquote>
+
+<p class="flush">
+What a vivid imagination the good woman had!
+<a class="pagebreak" name="page57" id="page57"
+title="57"></a>Her descriptive powers remind us of those possessed
+by Mrs. Gamp in speaking of the father of the
+mysterious Mrs. Harris.
+</p>
+
+<blockquote>
+<p>
+As pleasant a singer, Mr. Chuzzlewit, as ever you heerd, with
+a voice like a Jew's-harp in the bass notes.
+</p>
+</blockquote>
+
+<p>
+There are many humorous references to remarkable
+performances on various instruments more or
+less musical in their nature. During the election
+at Eatanswill the crier performed two concertos on
+his bell, and shortly afterwards followed them up
+with a fantasia on the same instrument. Dickens
+suffered much from church bells, and gives vent to his
+feelings about them in <i>Little Dorrit</i>, where he says
+that
+</p>
+
+<blockquote>
+<p class="flush">
+Maddening church bells of all degrees of dissonance, sharp and
+flat, cracked and clear, fast and slow, made the brick-and-mortar
+echoes hideous.
+</p>
+</blockquote>
+
+<p>
+In his <i>Pictures from Italy</i> he wrote thus:
+</p>
+
+<blockquote>
+<p>
+At Genoa the bells of the church ring incessantly, not in peals,
+or any known form of sound, but in horrible, irregular, jerking
+dingle, dingle, dingle; with a sudden stop at every fifteenth
+dingle or so, which is maddening.... The noise is supposed
+to be particularly obnoxious to evil spirits.
+</p>
+</blockquote>
+
+<p>
+But it was these same bells, which he found
+so maddening, that inspired him with the title
+<a class="pagebreak" name="page58" id="page58"
+title="58"></a>of a well-known story. He had chosen a subject,
+but was at a loss for a name. As he sat working one
+morning there suddenly rose up from Genoa
+</p>
+
+<blockquote>
+<p class="flush">
+the clang and clash of all its steeples, pouring into his ears,
+again and again, in a tuneless, grating, discordant jerking, hideous
+vibration that made his ideas spin round and round till they
+lost themselves in a whirl of vexation and giddiness, and dropped
+down dead.... <a name="ft11"></a>Only two days later came a letter in which
+not a syllable was written but &lsquo;We have heard <span class="sc">The Chimes</span> at
+midnight, Master Shallow,&rsquo; and I knew he had discovered what
+he wanted.<a class="fn" href="#fn11">&nbsp;11&nbsp;</a>
+</p>
+</blockquote>
+
+<p>
+Yet, in spite of all this, Dickens shows&mdash;through
+his characters&mdash;a deep interest in bells and bell-lore.
+Little Paul Dombey finds a man mending the clocks
+at Dr. Blimber's Academy, and asks a multitude of
+questions about chimes and clocks; as, whether
+people watched up in the lonely church steeples by
+night to make them strike, and how the bells were
+rung when people died, and whether those were
+different bells from wedding-bells, or only sounded
+dismal in the fancies of the living; and then the
+precocious small boy proceeds to give the astonished
+clockmaker some useful information about King
+Alfred's candles and curfew-bells.
+</p>
+
+<p>
+As Smike and Nicholas tramp their long journey
+<a class="pagebreak" name="page59" id="page59"
+title="59"></a>to Portsmouth they hear the sheep-bells tinkling on
+the downs. To Tom Pinch journeying Londonwards
+&lsquo;the brass work on the harness was a
+complete orchestra of little bells.&rsquo;
+</p>
+
+<p>
+What a terror the bells are to Jonas Chuzzlewit
+just before he starts on his evil journey! He hears
+</p>
+
+<blockquote>
+<p class="flush">
+the ringers practising in a neighbouring church, and the clashing
+of their bells was almost maddening. Curse the clamouring
+bells! they seemed to know that he was listening at the door,
+and to proclaim it in a crowd of voices to all the town! Would
+they never be still? They ceased at last, and then the silence
+was so new and terrible that it seemed the prelude to some
+dreadful noise.
+</p>
+</blockquote>
+
+<p>
+The boom of the bell is associated with many of
+the villains of the novels. Fagin hears it when
+under sentence of death. Blackpool and Carker
+hear the accusing bells when in the midst of planning
+their evil deeds.
+</p>
+
+<p>
+We can read the characters of some by the way
+they ring a bell. The important little Mr. Bailey,
+when he goes to see his friend Poll Sweedlepipe (<i><abbr title="Martin Chuzzlewit">M.C.</abbr></i>)
+&lsquo;came in at the door with a lunge, to get as much
+sound out of the bell as possible,&rsquo; while Bob Sawyer
+gives a pull as if he would bring it up by the roots.
+Mr. Clennam pulls the rope with a hasty jerk, and
+Mr. Watkins Tottle with a faltering jerk, while Tom
+<a class="pagebreak" name="page60" id="page60"
+title="60"></a>Pinch gives a gentle pull. And how angry Mr.
+Mantalini is with Newman Noggs because he keeps
+him
+</p>
+
+<blockquote>
+<p class="flush">
+&lsquo;ringing at this confounded old cracked tea-kettle of a bell,
+every tinkle of which is enough to throw a strong man into convulsions,
+upon my life and soul,&mdash;oh demmit.&rsquo;
+</p>
+</blockquote>
+
+<p>
+The introduction of electric bells has been a great
+trial to those who used to vent their wrath on the
+wire-pulled article or the earlier bell-rope, which used
+not infrequently to add unnecessary fuel by coming
+incontinently down on the head of the aggrieved one.
+What a pull the fierce gentleman must have given
+whose acquaintance Mr. Pickwick made when he
+was going to Bath! He had been kept waiting
+for his buttered toast, so he (Captain Dowler)
+</p>
+
+<blockquote>
+<p class="flush">
+rang the bell with great violence, and told the waiter he'd better
+bring the toast in five seconds, or he'd know the reason why.
+</p>
+</blockquote>
+
+<p>
+Dickens rang far more changes on the bells than
+there is space to enumerate; but I have shown to
+what extent he makes their sound a commentary
+on innumerable phases of life. A slight technical
+knowledge of bell phraseology is found in <i>Barnaby
+Rudge</i> (7), where he mentions the variations known
+as a &lsquo;triple bob major.&rsquo; Finally there is an interesting
+reference in <i>Master Humphrey's Clock</i> to a
+<a class="pagebreak" name="page61" id="page61"
+title="61"></a>use of the bell which has now passed into history.
+Belinda says in a postscript to a letter to Master
+Humphrey, &lsquo;The bellman, rendered impatient
+by delay, is ringing dreadfully in the passage&rsquo;;
+while in a second PS. she says, &lsquo;I open this to
+say the bellman is gone, and that you must not
+expect it till the next post.&rsquo;
+</p>
+
+<p>
+In the old days it was the custom for the letter-carriers
+to collect letters by ringing a bell.
+</p>
+
+<p>
+There is no doubt that a most extraordinary,
+certainly a most original, musical effect is that
+secured by Mr. George (<i><abbr title="Bleak House">B.H.</abbr></i>), who had just finished
+smoking.
+</p>
+
+<blockquote>
+<p>
+&lsquo;Do you know what that tune is, Mr. Smallweed?&rsquo; he adds,
+after breaking off to whistle one, accompanied on the table with
+the empty pipe.
+</p>
+
+<p>
+&lsquo;Tune,&rsquo; replies the old man. &lsquo;No, we never have tunes here.&rsquo;
+</p>
+
+<p>
+&lsquo;That's the &ldquo;Dead March&rdquo; in <i>Saul</i>. They bury soldiers to it,
+so it's the natural end of the subject.&rsquo;
+</p>
+</blockquote>
+
+<p>
+Surely a highly original way of bringing a conversation
+to a close!
+</p>
+
+<p>
+This march is referred to in <i>Our Mutual Friend</i>,
+where Mr. Wilfer suggests that going through life with
+Mrs. Wilfer is like keeping time to the &lsquo;Dead March&rsquo;
+in <i>Saul</i>, from which singular simile we may gather
+that this lady was not the liveliest of companions.
+</p>
+
+<p>
+<a class="pagebreak" name="page62" id="page62"
+title="62"></a>Several other instruments are casually mentioned.
+Mr. Hardy (<i><abbr title="Sketches by Boz: Tales">S.B.T.</abbr></i> 7) was a master of many accomplishments.
+</p>
+
+<blockquote>
+<p>
+He could sing comic songs, imitate hackney coachmen and
+fowls, play airs on his chin, and execute concertos on the Jew's
+harp.
+</p>
+</blockquote>
+
+<p>
+The champion &lsquo;chin&rsquo; performer of the early
+Victorian period was Michael Boai, &lsquo;The celebrated
+chin melodist,&rsquo; who was announced to perform &lsquo;some
+of his admired pieces&rsquo; at many of the places of
+entertainment. There is another reference to this
+extraordinary way of producing music in <i>Sketches
+by Boz</i>, where Mrs. Tippin performed an air with
+variations on the guitar, &lsquo;accompanied on the chin
+by Master Tippin.&rsquo; To return to Mr. Hardy, this
+gentleman was evidently deeply interested in all
+sorts and degrees of music, but he got out of his
+depth in a conversation with the much-travelled
+Captain Helves. After the three Miss Briggses
+had finished their guitar performances, Mr. Hardy
+approached the Captain with the question, &lsquo;Did you
+ever hear a Portuguese tambourine?&rsquo;
+</p>
+
+<blockquote>
+<p>
+&lsquo;Did <i>you</i> ever hear a tom-tom, sir?&rsquo; sternly inquired the
+Captain, who lost no opportunity of showing off his travels, real
+or pretended.
+</p>
+
+<p>
+<a class="pagebreak" name="page63" id="page63"
+title="63"></a>&lsquo;A what?&rsquo; asked Hardy, rather taken aback.
+</p>
+
+<p>
+&lsquo;A tom-tom.&rsquo;
+</p>
+
+<p>
+&lsquo;Never.&rsquo;
+</p>
+
+<p>
+&lsquo;Nor a gum-gum?&rsquo;
+</p>
+
+<p>
+&lsquo;Never.&rsquo;
+</p>
+
+<p>
+&lsquo;What <i>is</i> a gum-gum?&rsquo; eagerly inquired several young
+ladies.
+</p>
+</blockquote>
+
+<p>
+The question is unanswered to this day, though
+Hardy afterwards suggests it is another name for a
+humbug.
+</p>
+
+<p>
+When Dickens visited the school where the
+half-time system was in force, he found the boys
+undergoing military and naval drill. A small boy
+played the fife while the others went through their
+exercises. After that a boys' band appeared, the
+youngsters being dressed in a neat uniform. Then
+came a choral class, who sang &lsquo;the praises of a
+summer's day to a harmonium.&rsquo; In the arithmetical
+exercises the small piper excels (<i><abbr title="Uncommercial Traveller">U.T.</abbr></i> 29).
+</p>
+
+<blockquote>
+<p>
+Wise as the serpent is the four feet of performer on the nearest
+approach to that instrument.
+</p>
+</blockquote>
+
+<p>
+This was written when the serpent was practically
+extinct, but Dickens would be very familiar with the
+name of the instrument, and may have seen and heard
+it in churches in his younger days.
+</p>
+
+<p>
+In referring to another boy's attempt at solving
+<a class="pagebreak" name="page64" id="page64"
+title="64"></a>the arithmetical puzzles, he mentions the cymbals,
+combined with a faint memory of St. Paul.
+</p>
+
+<blockquote>
+<p>
+I observe the player of the cymbals to dash at a sounding
+answer now and then rather than not cut in at all; but I take
+that to be in the way of his instrument.
+</p>
+</blockquote>
+
+<p>
+In <i>Great Expectations</i> Mr. Wopsle, who is a parish
+clerk by profession, had an ambition not only to
+tread the boards, but to start off as Hamlet. His
+appearance was not a success, and the audience was
+derisive.
+</p>
+
+<blockquote>
+<p>
+On his taking the recorders&mdash;very like a little black flute that
+had just been played in the orchestra and handed out at the
+door&mdash;he was called upon unanimously for &lsquo;Rule Britannia.&rsquo;
+</p>
+</blockquote>
+
+<p>
+Reference has already been made to Bucket's
+music-shop, so we must not forget to visit Caleb
+Plummer's little room, where there were
+</p>
+
+<blockquote>
+<p class="flush">
+scores of melancholy little carts which, when the wheels went
+round, performed most doleful music. Many small fiddles,
+drums, and other instruments of torture.
+</p>
+</blockquote>
+
+<p>
+The old man made a rude kind of harp specially
+for his poor blind daughter, and on which Dot
+used to play when she visited the toy-maker's.
+Caleb's musical contribution would be &lsquo;a Bacchanalian
+song, something about a sparkling bowl,&rsquo; which
+much annoyed his grumpy employer.
+</p>
+
+<blockquote>
+<p>
+<a class="pagebreak" name="page65" id="page65"
+title="65"></a>&lsquo;What! you're singing, are you?&rsquo; said Tackleton, putting
+his head in at the door. &lsquo;Go it, <i>I</i> can't sing.&rsquo;
+</p>
+
+<p>
+Nobody would have suspected him of it. He hadn't what is
+generally termed a singing face, by any means.
+</p>
+</blockquote>
+
+<p>
+The wonderful duet between the cricket and the
+kettle at the commencement of <i>The Cricket on the
+Hearth</i> certainly deserves mention, though it is
+rather difficult to know whether to class the performers
+as instrumentalists or singers. The kettle
+began it with a series of short vocal snorts, which
+at first it checked in the bud, but finally it burst into
+a stream of song, &lsquo;while the lid performed a sort of
+jig, and clattered like a deaf and dumb cymbal that
+had never known the use of its twin brother.&rsquo;
+Then the cricket came in with its chirp, chirp, chirp,
+and at it they went in fierce rivalry until &lsquo;the
+kettle, being dead beat, boiled over, and was taken
+off the fire.&rsquo;
+</p>
+
+<p>
+Dickens was certainly partial to the cricket, for
+elsewhere (<i><abbr title="Master Humphrey's Clock">M.H.C.</abbr></i>) we read of the clock that
+</p>
+
+<blockquote>
+<p class="flush">
+makes cheerful music, like one of those chirping insects who
+delight in the warm hearth.
+</p>
+</blockquote>
+
+<p>
+There are two or three references to the key bugle,
+which also used to be known as the Kent bugle.
+It was a popular instrument half a century ago, as
+<a class="pagebreak" name="page66" id="page66"
+title="66"></a>the addition of keys gave it a much greater range
+of notes than the ordinary bugle possessed. A
+notable though inefficient performer was the driver
+who took Martin Chuzzlewit up to London.
+</p>
+
+<blockquote>
+<p>
+He was musical, besides, and had a little key bugle in his
+pocket on which, whenever the conversation flagged, he played
+the first part of a great many tunes, and regularly broke down
+in the second.
+</p>
+</blockquote>
+
+<p>
+This instrument was on Mr. Feeder's <i>agenda</i>.
+</p>
+
+<p>
+Two more instruments demand our attention.
+At the marriage of Tackleton and May Fielding
+(<i><abbr title="Cricket on the Hearth">C.H.</abbr></i>) there were to be marrow-bones and cleavers,
+while to celebrate the union of Trotty Veck's
+daughter Meg and Richard they had a band
+including the aforesaid instruments and also the
+drum and the bells. It was formerly the custom
+for butchers' assistants to provide themselves
+with marrow-bones and cleavers for musical effects.
+<a name="ft12"></a>Each cleaver was ground so that when it was
+struck with the bone it emitted a certain note.<a class="fn" href="#fn12">&nbsp;12&nbsp;</a>
+A complete band would consist of eight men,
+with their cleavers so tuned as to give an octave
+of notes. After more or less practice they would
+offer their services as bandsmen on the occasion
+<a class="pagebreak" name="page67" id="page67"
+title="67"></a>of marriage ceremonies, which they had a wonderful
+faculty for locating, and they would provide music
+(of a kind) <i>ad libitum</i> until the requisite fee was
+forthcoming. If their services were declined the
+butchers would turn up all the same, and make
+things very unpleasant for the marriage party.
+The custom dates from the eighteenth century,
+and though it has gradually fallen into disuse a
+marrow-bone and cleaver band is still available
+in London for those who want it. A band took part
+in a wedding ceremony at Clapham as recently as
+the autumn of 1911.
+</p>
+
+<p>
+The following extract, referring to the second
+marriage of Mr. Dombey, shows what bridal parties
+had to put up with in the good old days:
+</p>
+
+<blockquote>
+<p>
+The men who play the bells have got scent of the marriage;
+and the marrow-bones and cleavers too; and a brass band too.
+<a name="ft13"></a>The first are practising in a back settlement near Battle-bridge<a class="fn" href="#fn13">&nbsp;13&nbsp;</a>;
+the second put themselves in communication, through their
+chief, with Mr. Tomlinson, to whom they offer terms to be
+bought off ; and the third, in the person of an artful trombone,
+lurks and dodges round the corner, waiting for some traitor-tradesman
+to reveal the place and hour of breakfast, for a bribe.
+</p>
+</blockquote>
+
+<p>
+Other instruments casually referred to are the
+Pan's pipes, which in one place is also called a
+mouth-organ (<i><abbr title="Sketches by Boz: Scenes">S.B.S.</abbr></i> 20), the flageolet, and the
+<a class="pagebreak" name="page68" id="page68"
+title="68"></a>triangle. It is difficult to classify the walking-stick
+on which Mr. Jennings Rudolph played tunes before
+he went behind the parlour door and gave his celebrated
+imitations of actors, edgetools, and animals
+(<i><abbr title="Sketches by Boz: Characters">S.B.C.</abbr></i> 8).
+</p>
+
+<hr />
+
+<p class="fn"><span><a class="fn" href="#ft11">&nbsp;11&nbsp;</a></span><a name="fn11"></a>
+Forster, <i>Life of Charles Dickens</i>.</p>
+
+<p class="fn"><span><a class="fn" href="#ft12">&nbsp;12&nbsp;</a></span><a name="fn12"></a>
+This is rather a modern development.</p>
+
+<p class="fn"><span><a class="fn" href="#ft13">&nbsp;13&nbsp;</a></span><a name="fn13"></a>
+Near King's Cross Station (G.N.R.).</p>
+
+
+
+
+<h2><a class="pagebreak" name="page69" id="page69"
+title="69"></a>CHAPTER V<br />
+<small><b>CHURCH MUSIC</b></small></h2>
+
+
+<p class="flush"><span>Dickens</span>
+has not much to say about church music
+as such, but the references are interesting, inasmuch
+as they throw some light upon it during the earlier
+years of his life. In <i>Our Parish</i> (<i><abbr title="Sketches by Boz">S.B.</abbr></i>) we read about
+the old naval officer who
+</p>
+
+<blockquote>
+<p class="flush">
+finds fault with the sermon every Sunday, says that the organist
+ought to be ashamed of himself, and offers to back himself for any
+amount to sing the psalms better than all the children put
+together.
+</p>
+</blockquote>
+
+<p>
+This reminds us that during the first half of last
+century, and indeed later in many places, the church
+choir as we know it did not exist, and the leading
+of the singing was entrusted to the children of the
+charity school under the direction of the clerk,
+a custom which had existed since the seventeenth
+century. The chancel was never used for the choir,
+and the children sat up in the gallery at the west end,
+on either side of the organ. In a City church that
+Dickens attended the choir was limited to two girls.
+<a class="pagebreak" name="page70" id="page70"
+title="70"></a>The organ was so out of order that he could &lsquo;hear
+more of the rusty working of the stops than of any
+music.&rsquo; When the service began he was so depressed
+that, as he says,
+</p>
+
+<blockquote>
+<p class="flush">
+I gave but little heed to our dull manner of ambling through the
+service; to the brisk clerk's manner of encouraging us to try a
+note or two at psalm time; to the gallery congregation's manner
+of enjoying a shrill duet, without a notion of time or tune; to the
+whity-brown man's manner of shutting the minister into the
+pulpit, and being very particular with the lock of the door, as
+if he were a dangerous animal.
+</p>
+</blockquote>
+
+<p>
+Elsewhere he found in the choir gallery an
+&lsquo;exhausted charity school&rsquo; of four boys and two
+girls. The congregations were small, a state of
+things which at any rate satisfied Mrs. Lirriper, who
+had a pew at St. Clement Danes and was &lsquo;partial
+to the evening service not too crowded.&rsquo;
+</p>
+
+<p>
+In <i>Sunday under Three Heads</i> we have a vivid
+picture of the state of things at a fashionable church.
+Carriages roll up, richly dressed people take their
+places and inspect each other through their glasses.
+</p>
+
+<blockquote>
+<p>
+The organ peals forth, the hired singers commence a short
+hymn, and the congregation condescendingly rise, stare about
+them and converse in whispers.
+</p>
+</blockquote>
+
+<p>
+Dickens passes from church to chapel. Here, he
+says,
+</p>
+
+<blockquote>
+<p>
+<a class="pagebreak" name="page71" id="page71"
+title="71"></a>the hymn is sung&mdash;not by paid singers, but by the whole
+assembly at the loudest pitch of their voices, unaccompanied
+by any musical instrument, the words being given out, two
+lines at a time, by the clerk.
+</p>
+</blockquote>
+
+<p>
+It cannot be said that, as far as the music is concerned,
+either of these descriptions is exaggerated
+when we remember the time at which they were
+written (1838). Very few chapels in London had
+organs, or indeed instruments of any kind, and there
+is no doubt that the congregations, as a rule, <i>did</i> sing
+at the tops of their voices, a proceeding known under
+the more euphonious title of &lsquo;hearty congregational
+singing.&rsquo;
+</p>
+
+<p>
+He gives a far more favourable account of the
+music in the village church. In the essay just
+referred to he mentions the fact that he attended a
+service in a West of England church where the
+service &lsquo;was spoken&mdash;not merely read&mdash;by a grey-headed
+minister.&rsquo;
+</p>
+
+<blockquote>
+<p>
+The psalms were accompanied by a few instrumental performers,
+who were stationed in a small gallery extending across
+the church at the lower end; and the voices were led by the
+clerk, who, it was evident, derived no slight pride and gratification
+from this portion of the service.
+</p>
+</blockquote>
+
+<p>
+But if the church music in England was not of a
+very high quality when Dickens wrote the above,
+<a class="pagebreak" name="page72" id="page72"
+title="72"></a>it was, according to his own account, far superior to
+what he heard in certain churches in Italy. When
+in Rome he visited St. Peter's, where he was quite
+unimpressed by the music.
+</p>
+
+<blockquote>
+<p>
+I have been infinitely more affected in many English cathedrals
+when the organ has been playing, and in many English
+country churches when the congregation have been singing.
+</p>
+</blockquote>
+
+<p>
+On another occasion he attended church at Genoa
+on a feast day, and he writes thus about the music:
+</p>
+
+<blockquote>
+<p>
+The organ played away lustily, and a full band did the like;
+while a conductor, in a little gallery opposite the band, hammered
+away on the desk before him, with a scroll, and a tenor,
+without any voice, sang. The band played one way, the organ
+played another, the singer went a third, and the unfortunate
+conductor banged and banged, and flourished his scroll on some
+principle of his own; apparently well satisfied with the whole
+performance. I never did hear such a discordant din.
+</p>
+</blockquote>
+
+
+<h3><i>Parish Clerks</i></h3>
+
+<p>
+We have but few references to parish clerks in the
+novels. <a name="ft14"></a>Mr. Wopsle (<i><abbr title="Great Expectations">G.E.</abbr></i>)&mdash;whom Mr. Andrew
+Lang calls &lsquo;one of the best of Dickens' minor
+characters&rsquo;&mdash;&lsquo;punished the Amens tremendously,&rsquo;<a class="fn" href="#fn14">&nbsp;14&nbsp;</a>
+<a class="pagebreak" name="page73" id="page73"
+title="73"></a>and when he gave out the psalms&mdash;always giving the
+whole verse&mdash;he looked all round the congregation
+first, as much as to say &lsquo;You have heard our friend
+overhead; oblige me with your opinion of this
+style.&rsquo; This gentleman subsequently became a
+&lsquo;play-actor,&rsquo; but failed to achieve the success he
+desired. Solomon Daisy (<i><abbr title="Barnaby Rudge">B.R.</abbr></i>) is bell-ringer and
+parish clerk of Chigwell, though we hear nothing
+of his exploits in these capacities. However, he
+must have been a familiar figure to the villagers as
+he stood in his little desk on the Sunday, giving out
+the psalms and leading the singing, because when in
+the rifled and dismantled Maypole he appeals to
+the poor witless old Willet as to whether he did not
+know him&mdash;
+</p>
+
+<blockquote>
+<p>
+&lsquo;You know us, don't you, Johnny?&rsquo; said the little clerk,
+rapping himself on the breast. &lsquo;Daisy, you know&mdash;Chigwell
+Church&mdash;bell-ringer&mdash;little desk on Sundays&mdash;eh, Johnny?&rsquo;
+</p>
+
+<p>
+Mr. Willet reflected for a few moments, and then muttered
+as it were mechanically: &lsquo;Let us sing to the praise and glory
+of&mdash;&rsquo;
+</p>
+
+<p>
+&lsquo;Yes, to be sure,&rsquo; cried the little man hastily, &lsquo;that's it,
+that's me, Johnny.&rsquo;
+</p>
+</blockquote>
+
+<p>
+<a class="pagebreak" name="page74" id="page74"
+title="74"></a>Besides the numerous body of more or less
+distinguished artists whom the novelist introduces
+to us and whose achievements are duly set forth in
+these pages, there are two others whose connexion
+with Cloisterham gives them a prominent position
+in our list. One of these is the Rev. Mr. Crisparkle
+(<i><abbr title="Edwin Drood">E.D.</abbr></i>), Minor Canon of Cloisterham:
+</p>
+
+<blockquote>
+<p class="flush">
+early riser, musical, classical, cheerful, kind, good-natured, social,
+contented, and boy-like.
+</p>
+</blockquote>
+
+<p>
+What a contrast to the Stiggins and Chadband
+type! He is a member of the &lsquo;Alternate Musical
+Wednesdays&rsquo; Society, and amongst his lesser duties
+is that of corrector-in-chief of the un-Dean-like
+English of the cathedral verger.
+</p>
+
+<blockquote>
+<p>
+It is Mr. Crisparkle's custom to sit up last of the early household,
+very softly touching his piano and practising his parts in
+concerted vocal music.
+</p>
+</blockquote>
+
+<p>
+Over a closet in his dining-room, where occasional
+refreshments were kept,
+</p>
+
+<blockquote>
+<p class="flush">
+a portrait of Handel in a flowing wig beamed down at the spectator,
+with a knowing air of being up to the contents of the closet,
+and a musical air of intending to combine all its harmonies in
+one delicious fugue.
+</p>
+</blockquote>
+
+<p>
+The Minor Canon is a warm admirer of Jasper's
+<a class="pagebreak" name="page75" id="page75"
+title="75"></a>musical talents, and on one occasion in particular
+is much impressed with his singing.
+</p>
+
+<blockquote>
+<p>
+I must thank you, Jasper, for the pleasure with which I have
+heard you to-day. Beautiful! Delightful!
+</p>
+</blockquote>
+
+<p>
+And thus we are introduced to the other musician,
+whose position at Cloisterham Cathedral is almost as
+much a mystery as that of Edwin Drood himself.
+He was the lay precentor or lay clerk, and he was
+also a good choirmaster. It is unnecessary to
+criticize or examine too closely the exact position
+that Jasper held. In answer to a question on this
+subject, Mr. B. Luard-Selby, the present organist
+of Rochester Cathedral, writes thus:
+</p>
+
+<blockquote>
+<p>
+We have never had in the choir of Rochester Cathedral such
+a musical functionary as Dickens describes in <i>The Mystery of
+Edwin Drood</i>. The only person approaching Jasper in the
+choir is one of the lay clerks who looks after the music, but who
+of course has nothing to do with <i>setting</i> the music for the month.
+I don't think Dickens had much idea of church order or of
+cathedral worship, though he may have gone over the cathedral
+with a verger on occasions. The music of a cathedral is always
+in the hands of the precentor, assisted by the organist.
+</p>
+</blockquote>
+
+<p>
+It is Edwin Drood himself who says that Jasper
+was lay precentor or lay clerk at the cathedral.
+He had a great reputation as a choir-trainer and
+teacher of music, but he is already weary of his
+<a class="pagebreak" name="page76" id="page76"
+title="76"></a>position and takes little notice of words of eulogy.
+He was well acquainted with the old melodies, and
+on one occasion we find him sitting at the piano
+singing brave songs to Mr. Sapsea.
+</p>
+
+<blockquote>
+<p>
+No kickshaw ditties, favourites with national enemies, but
+... genuine George the Third home brewed, exhorting him
+(as &lsquo;my brave boys&rsquo;) to reduce to a smashed condition all other
+islands but this island, and all continents, peninsulas, isthmuses,
+promontories, and other geographical forms of land soever,
+besides sweeping the sea in all directions. In short he rendered
+it pretty clear that Providence made a distinct mistake in
+originating so small a nation of hearts of oak, and so many other
+verminous peoples.
+</p>
+</blockquote>
+
+<p>
+We have a different picture of him on another
+occasion, as he sits &lsquo;chanting choir music in a low
+and beautiful voice, for two or three hours&rsquo;&mdash;a
+somewhat unusual exercise even for the most
+enthusiastic choirmaster. But this was before the
+strange journey with Durdles, and we can only guess
+at the weird thoughts which were passing through
+the musician's mind as he sat in his lonely room.
+</p>
+
+<p>
+We have only a brief reference to the choir of
+Cloisterham Cathedral. Towards the end we read
+of them &lsquo;struggling into their nightgowns&rsquo; before
+the service, while they subsequently are &lsquo;as much
+in a hurry to get their bedgowns off as they were
+<a class="pagebreak" name="page77" id="page77"
+title="77"></a>but now to get them on&rsquo;&mdash;and these were almost
+the last words that came from the Master's pen.
+</p>
+
+
+<h3><i>Anthems</i></h3>
+
+<p>
+<a name="ft15"></a>There is an interesting reference to anthems in
+connexion with the Foundling Hospital,<a class="fn" href="#fn15">&nbsp;15&nbsp;</a> an institution
+which Dickens mentions several times. Mr.
+Wilding (<i><abbr title="No Thoroughfare">N.T.</abbr></i>), after he had been pumped
+on by his lawyer in order to clear his head, names
+the composers of the anthems he had been accustomed
+to sing at the Foundling.
+</p>
+
+<blockquote>
+<p>
+Handel, Mozart, Haydn, Kent, Purcell, Doctor Arne, Greene,
+Mendelssohn. I know the choruses to those anthems by heart.
+Foundling Chapel collection.
+</p>
+</blockquote>
+
+<p>
+Mr. Wilding had a scheme of forming his household
+retainers and dependents into a singing-class in
+the warehouse, and a choir in the neighbouring
+church. Only one member, Joey Ladle, refused to
+join, for fear he should &lsquo;muddle the 'armony,&rsquo; and
+his remark that
+</p>
+
+<blockquote>
+<p class="flush">
+Handel must have been down in some of them foreign cellars
+pretty much for to go and say the same thing so many times
+over
+</p>
+</blockquote>
+
+<p class="flush">
+is certainly not lacking in originality.
+</p>
+
+
+<h3><a class="pagebreak" name="page78" id="page78"
+title="78"></a><i>Hymns and Hymn-Tunes</i></h3>
+
+<p>
+There are many purists in church music who
+object to adaptations of any kind, and we do not
+know what their feelings are on reading the account
+of the meeting of the Brick Lane Branch of the
+United Grand Junction Ebenezer Temperance
+Association. In order to vary the proceedings Mr.
+Anthony Humm announced that
+</p>
+
+<blockquote>
+<p class="flush">
+Brother Mordlin had adapted the beautiful words of &lsquo;Who
+hasn't heard of a Jolly Young Waterman&rsquo; to the tune of the Old
+Hundredth, which he would request them to join in singing.
+(Great applause.) And so the song commenced, the chairman
+giving out two lines at a time, in proper orthodox fashion.
+</p>
+</blockquote>
+
+<p>
+It was this air that Mr. Jerry's dog, as already
+related, ground out of the barrel-organ, but, besides
+this particular melody, we do not find that Dickens
+mentions any other hymn-tune. The hymns
+referred to are rather more in number. In <i>The
+Wreck of the Golden Mary</i> Mrs. Atherfield sang
+Little Lucy to sleep with the Evening Hymn.
+There is a veiled reference to Ken's Morning Hymn
+in <i><abbr title="Old Curiosity Shop">O.C.S.</abbr></i>, where Sampson Brass says:
+</p>
+
+<blockquote>
+<p>
+&lsquo;Here we are, Mr. Richard, rising with the sun to run our
+little course&mdash;our course of duty, sir.&rsquo;
+</p>
+</blockquote>
+
+<p>
+Dr. Watts makes several appearances, Dickens
+<a class="pagebreak" name="page79" id="page79"
+title="79"></a>made the acquaintance of this noted hymnist in
+early youth (see p. <a href="#page7">7</a>), and makes good use of his
+knowledge. In <i>The Cricket on the Hearth</i> Mrs.
+Peerybingle asks John if he ever learnt &lsquo;How doth
+the little&rsquo; when he went to school. &lsquo;Not to quite
+know it,&rsquo; John returned. &lsquo;I was very near it once.&rsquo;
+Another of the Doctor's hymns is suggested by the
+behaviour of the Young Tetterbys (<i><abbr title="Haunted Man">H.M.</abbr></i>).
+</p>
+
+<blockquote>
+<p>
+The contentions between the Tetterbys' children for the milk
+and water jug, common to all, which stood upon the table,
+presented so lamentable an instance of angry passions risen
+very high indeed, that it was an outrage on the memory of Dr.
+Watts.
+</p>
+</blockquote>
+
+<p>
+The pages of history abound with instances of
+misguided amateurs who have amended the hymns
+(and tunes) of others in order to bring them into
+their way of thinking, and a prominent place in
+their ranks must be assigned to Miss Monflathers
+(<i><abbr title="Old Curiosity Shop">O.C.S.</abbr></i>), who managed to parody the good Doctor's
+meaning to an alarming extent and to insist that
+</p>
+
+<blockquote>
+<p>
+<a name="ft16"></a>In books, or work or healthful play<a class="fn" href="#fn16">&nbsp;16&nbsp;</a>
+</p>
+</blockquote>
+
+<p class="flush">
+is only applicable to <i>genteel</i> children, while all poor
+people's children, such as Little Nell, should spend
+their time.
+</p>
+
+<blockquote>
+<p class="stanza">
+<a class="pagebreak" name="page80" id="page80"
+title="80"></a><span class="i0">In work, work, work. In work alway,</span><br />
+<span class="i1">&nbsp;&nbsp;Let my first years be passed,</span><br />
+<span class="i0">That I may give for ev'ry day</span><br />
+<span class="i1">&nbsp;&nbsp;Some good account at last,</span>
+</p>
+</blockquote>
+
+<p class="flush">
+which is far from the good Doctor's meaning.
+</p>
+
+<p>
+Dr. Strong, David Copperfield's second schoolmaster,
+was fond of quoting this great authority
+on mischief, but Mr. Wickfield suggests that Dr.
+Watts, had he known mankind well, would also
+have written &lsquo;Satan finds some mischief still for
+busy hands to do.&rsquo;
+</p>
+
+<p>
+Some years ago a question was raised in <i>Notes and
+Queries</i> as to the identity of the &lsquo;No. 4 Collection&rsquo;
+of hymns which appeared to afford consolation to
+Job Trotter. No answer was vouchsafed, the fact
+being that the title is a pure invention, and no such
+collection has ever existed. It is scarcely necessary
+to add that history is silent as to the identity of the
+hymn-book which Uriah Heep was reading when
+David Copperfield and others visited him in prison.
+</p>
+
+<p>
+We are indebted to Dickens for the introduction
+to the literary world of Adelaide Procter, many of
+whose sacred verses have found their way into
+our hymnals. The novelist wrote an introduction
+to her <i>Legends and Lyrics</i>, in which he tells the story
+of how, as editor of <i>Household Words</i>, he accepted
+<a class="pagebreak" name="page81" id="page81"
+title="81"></a>verses sent him from time to time by a Miss Mary
+Berwick, and only discovered, some months later,
+that his contributor was the daughter of his friend
+Procter, who was known under the <i>nom de plume</i> of
+Barry Cornwall.
+</p>
+
+<p>
+There seems to be some difficulty in regard to
+the authorship of the hymn
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">Hear my prayer, O Heavenly Father,</span><br />
+<span class="i1">&nbsp;&nbsp;Ere I lay me down to sleep;</span><br />
+<span class="i0">Bid Thy angels, pure and holy,</span><br />
+<span class="i1">&nbsp;&nbsp;Round my bed their vigil keep.</span>
+</p>
+</blockquote>
+
+<p>
+It has already been pointed out (see <i>Choir</i>, February,
+1912) that this hymn appeared in the
+Christmas number of <i>Household Words</i> for 1856, in
+a story entitled <i>The Wreck of the Golden Mary</i>.
+The chief authorities on the works of Dickens claim
+it as his composition, and include it in his collected
+works. On the other hand, Miller, in his <i>Our Hymns</i>
+(1866), states that Miss Harriet Parr informed him
+that the hymn, and the story of <i>Poor Dick</i>, in which
+it occurs, were both her own. We may add that
+when Dr. Allon applied for permission to include
+it in his new hymn-book Dickens referred him to the
+authoress.
+</p>
+
+<p>
+Dr. Julian takes this as authoritative, and has no
+<a class="pagebreak" name="page82" id="page82"
+title="82"></a>hesitation in ascribing the hymn to Miss Parr. On
+the other hand, Forster records in his <i>Life of Dickens</i>
+that a clergyman, the Rev. R.H. Davies, had been
+struck by this hymn when it appeared in <i>Household
+Words</i>, and wrote to thank him for it. &lsquo;I beg to
+thank you,&rsquo; Dickens answered (Christmas Eve, 1856),
+&lsquo;for your very acceptable letter, not the less because
+I am myself the writer you refer to.&rsquo; Here Dickens
+seems to claim the authorship, but it is possible
+he was referring to something else in the magazine
+when he wrote these words, and not to the hymn.
+</p>
+
+<hr />
+
+<p class="fn"><span><a class="fn" href="#ft14">&nbsp;14&nbsp;</a></span><a name="fn14"></a>
+Dickens frequently uses the word in this sense. Tom Pinch says,
+&lsquo;I shall punish the Boar's Head tremendously.&rsquo; It is also interesting
+to note that Dickens uses the phrase &lsquo;I don't think&rsquo; in its modern
+slang meaning on at least two occasions. Tom Pinch remarks &lsquo;I'm
+a nice man, I don't think, as John used to say&rsquo; (<i><abbr title="Martin Chuzzlewit">M.C.</abbr></i> 6), and Sam
+Weller (<i><abbr title="Pickwick Papers">P.P.</abbr></i> 38) says to Mr. Winkle &lsquo;you're a amiably-disposed
+young man, sir, I don't think.&rsquo; Mark Tapley uses the expression &lsquo;a
+pious fraud&rsquo; (<i><abbr title="Martin Chuzzlewit">M.C.</abbr></i> 13).</p>
+
+<p class="fn"><span><a class="fn" href="#ft15">&nbsp;15&nbsp;</a></span><a name="fn15"></a>
+&lsquo;Pet&rsquo; (<i><abbr title="Little Dorrit">L.D.</abbr></i> 2) was a frequent visitor to the Hospital.</p>
+
+<p class="fn"><span><a class="fn" href="#ft16">&nbsp;16&nbsp;</a></span><a name="fn16"></a>
+From the poem on <i>Industry</i>.</p>
+
+
+
+
+<h2><a class="pagebreak" name="page83" id="page83"
+title="83"></a>CHAPTER VI<br />
+<small><b>SONGS AND SOME SINGERS</b></small></h2>
+
+
+<p class="flush"><span>The</span>
+numerous songs and vocal works referred to by
+Dickens in his novels and other writings furnish
+perhaps the most interesting, certainly the most
+instructive, branch of this subject. His knowledge
+of song and ballad literature was extraordinary,
+and he did not fail to make good use of it. Not
+only are the quotations always well chosen and to the
+point, but the use of them has greatly added to the
+interest of such characters as Swiveller, Micawber,
+Cuttle, and many others, all of whom are of a very
+musical turn of mind. These songs may be conveniently
+divided into three classes, the first containing
+the national and popular airs of the eighteenth
+century, of which &lsquo;Rule Britannia&rsquo; and
+&lsquo;Sally in our Alley&rsquo; are notable examples. Many
+of these are referred to in the following pages, while
+a full list will be found on pp. <a href="#page135">135&ndash;163</a>.
+</p>
+
+
+<h3>I.&mdash;<i>National Songs</i></h3>
+
+<p>
+There are numerous references to &lsquo;Rule Britannia.&rsquo;
+Besides those mentioned elsewhere we have
+<a class="pagebreak" name="page84" id="page84"
+title="84"></a>the picture of little David Copperfield in his dismal
+home.
+</p>
+
+<blockquote>
+<p>
+What evenings when the candles came, and I was expected
+to employ myself, but not daring to read an entertaining book,
+pored over some hard-headed, harder-hearted treatise on arithmetic;
+when the tables of weights and measures set themselves
+to tunes as &lsquo;Rule Britannia,&rsquo; or &lsquo;Away with Melancholy&rsquo;!
+</p>
+</blockquote>
+
+<p>
+No wonder he finally went to sleep over them!
+</p>
+
+<p>
+In <i>Dombey and Son</i> Old Sol has a wonderful story
+of the <i>Charming Sally</i> being wrecked in the Baltic,
+while the crew sang &lsquo;Rule Britannia&rsquo; as the ship
+went down, &lsquo;ending with one awful scream in
+chorus.&rsquo; Walter gives the date of the tragedy as
+1749. (The song was written in 1740.)
+</p>
+
+<p>
+Captain Cuttle had a theory that &lsquo;Rule Britannia,&rsquo;
+&lsquo;which the garden angels sang about so many
+times over,&rsquo; embodied the outlines of the British
+Constitution. It is perhaps unnecessary to explain
+that the Captain's &lsquo;garden angels&rsquo; appear in the
+song as &lsquo;guardian angels.&rsquo;
+</p>
+
+<p>
+Mark Tapley, when in America, entertained a
+grey-haired black man by whistling this tune with
+all his might and main. The entry of Martin
+Chuzzlewit caused him to stop the tune
+</p>
+
+<blockquote>
+<p class="flush">
+at that point where Britons generally are supposed to declare
+(when it is whistled) that they never, never, never&mdash;
+</p>
+</blockquote>
+
+<p>
+<a class="pagebreak" name="page85" id="page85"
+title="85"></a>In the article on &lsquo;Wapping Workhouse&rsquo; (<i><abbr title="Uncommercial Traveller">U.T.</abbr></i>)
+Dickens introduces the first verse of the song in
+criticizing the workhouse system and its treatment
+of old people, and in the <i>American Notes</i> he tells us
+that he left Canada with &lsquo;Rule Britannia&rsquo; sounding
+in his ears.
+</p>
+
+<p>
+&lsquo;British Grenadiers,&rsquo; said Mr. Bucket to Mr.
+Bagnet, &lsquo;there's a tune to warm an Englishman
+up! <i>Could</i> you give us &ldquo;British Grenadiers,&rdquo;
+my fine fellow?&rsquo; And the &lsquo;fine fellow,&rsquo; who was
+none other than Bagnet junior (also known as
+&lsquo;Woolwich&rsquo;), promptly
+</p>
+
+<blockquote>
+<p class="flush">
+fetches his fife and performs the stirring melody, during
+which performance Mr. Bucket, much enlivened, beats time,
+and never fails to come in sharp with the burden &lsquo;Brit Ish
+Gra-a-anadeers.&rsquo;
+</p>
+</blockquote>
+
+<p>
+Our national anthem is frequently referred to.
+In the description of the public dinner (<i><abbr title="Sketches by Boz: Scenes">S.B.S.</abbr></i> 19)&mdash;
+</p>
+
+<blockquote>
+<p>
+&lsquo;God Save the Queen&rsquo; is sung by the professional gentlemen,
+the unprofessional gentlemen joining in the chorus, and giving
+the national anthem an effect which the newspapers, with great
+justice, describe as &lsquo;perfectly electrical.&rsquo;
+</p>
+</blockquote>
+
+<p>
+On another occasion we are told the company,
+sang the national anthem with national independence,
+each one singing it according to his own ideas of
+<a class="pagebreak" name="page86" id="page86"
+title="86"></a>time and tune. This is the usual way of singing
+it at the present day.
+</p>
+
+<p>
+In addition to those above mentioned we find
+references to &lsquo;The Marseillaise&rsquo; and &lsquo;�a ira,&rsquo;
+both of which Dickens says he heard in Paris. In
+<i>Little Dorrit</i> Mr. Meagles says:
+</p>
+
+<blockquote>
+<p>
+As to Marseilles, we know what Marseilles is. It sent the most
+insurrectionary tune into the world that was ever composed.
+</p>
+</blockquote>
+
+<p>
+Without disputing the decided opinion expressed
+by the speaker, there is no doubt that some would
+give the palm to &lsquo;�a ira,&rsquo; which the novelist refers
+to in one of his letters. The words of this song
+were adapted in 1790 to the tune of &lsquo;Carillon
+National.&rsquo; This was a favourite air of Marie
+Antoinette, and she frequently played it on the
+harpsichord. After her downfall she heard it as a
+cry of hatred against herself&mdash;it followed her from
+Versailles to the capital, and she would hear it from
+her prison and even when going to her death.
+</p>
+
+<p>
+When Martin Chuzzlewit and Mark Tapley were
+on their way to America, one of their fellow travellers
+was
+</p>
+
+<blockquote>
+<p class="flush">
+an English gentleman who was strongly suspected of having
+run away from a bank, with something in his possession belonging
+to its strong-box besides the key [and who] grew eloquent
+<a class="pagebreak" name="page87" id="page87"
+title="87"></a>upon the subject of the rights of man, and hummed the
+Marseillaise Hymn constantly.
+</p>
+</blockquote>
+
+<p>
+In an article on this tune in the <i>Choir</i> (Nov., 1911)
+it is stated that it was composed in 1792 at Strasburg,
+but received its name from the fact that a band of
+soldiers going from Marseilles to Paris made the new
+melody their marching tune. A casual note about
+it appears to be the only musical reference in <i>A Tale
+of Two Cities</i>.
+</p>
+
+<p>
+From America we have &lsquo;Hail Columbia&rsquo; and
+&lsquo;Yankee Doodle.&rsquo; In <i>Martin Chuzzlewit</i> we meet
+the musical coach-driver who played snatches of
+tunes on the key bugle. A friend of his went to
+America, and wrote home saying he was always
+singing &lsquo;Ale Columbia.&rsquo; In his <i>American Notes</i>
+Dickens tells about a Cleveland newspaper which
+announced that America had &lsquo;whipped England
+twice, and that soon they would sing &ldquo;Yankee
+Doodle&rdquo; in Hyde Park and &ldquo;Hail Columbia&rdquo; in
+the scarlet courts of Westminster.&rsquo;
+</p>
+
+
+<h3>II.&mdash;<i>Songs from 1780&ndash;1840</i></h3>
+
+<p>
+We then come to a group of songs dating,
+roughly, from 1780. This includes several popular
+<a class="pagebreak" name="page88" id="page88"
+title="88"></a>sea songs by Charles Dibdin and others, some
+ballad opera airs, the <i>Irish Melodies</i> and other
+songs by Thomas Moore, and a few sentimental
+ditties. Following these we have the songs
+of the early Victorian period, consisting of
+more sentimental ditties of a somewhat feebler
+type, with a few comic and nigger minstrel
+songs. The task of identifying the numerous songs
+referred to has been interesting, but by no means
+easy. No one who has not had occasion to refer
+to them can have any idea of the hundreds, nay,
+of the thousands, of song-books that were turned
+out from the various presses under an infinitude of
+titles during the eighteenth and early nineteenth
+centuries. There is nothing like them at the present
+day, and the reasons for their publication have long
+ceased to exist. It should be explained that the
+great majority of these books contained the words
+only, very few of them being furnished with
+the musical notes. Dickens has made use of considerably
+over a hundred different songs. In
+some cases the references are somewhat obscure,
+but their elucidation is necessary to a proper
+understanding of the text. An example of this
+occurs in Chapter IX of <i>Martin Chuzzlewit</i>,
+where we are told the history of the various
+<a class="pagebreak" name="page89" id="page89"
+title="89"></a>names given to the young red-haired boy at
+Mrs. Todgers' commercial boarding-house. When
+the Pecksniffs visited the house
+</p>
+
+<blockquote>
+<p class="flush">
+he was generally known among the gentlemen as Bailey Junior,
+a name bestowed upon him in contradistinction perhaps to Old
+Bailey, and possibly as involving the recollection of an unfortunate
+lady of the same name, who perished by her own hand
+early in life and has been immortalized in a ballad.
+</p>
+</blockquote>
+
+<p>
+The song referred to here is &lsquo;Unfortunate Miss
+Bailey,&rsquo; by George Colman, and sung by Mr.
+Mathews in the comic opera of <i>Love Laughs at
+Locksmiths</i>. It tells the story of a maid who hung
+herself, while her persecutor took to drinking
+ratafia.
+</p>
+
+<p>
+Dickens often refers to these old song-books,
+either under real or imaginary names. Captain
+Cuttle gives &lsquo;Stanfell's Budget&rsquo; as the authority for
+one of his songs, and this was probably the song-book
+that formed one of the ornaments which he placed
+in the room he was preparing for Florence Dombey.
+Other common titles are the &lsquo;Prentice's Warbler,&rsquo;
+which Simon Tappertit used, &lsquo;Fairburn's Comic
+Songster,&rsquo; and the &lsquo;Little Warbler,&rsquo; which is mentioned
+two or three times. Of the songs belonging to
+this second period, some are embedded in ballad
+operas and plays, popular enough in their day, but
+<a class="pagebreak" name="page90" id="page90"
+title="90"></a>long since forgotten. An example is Mr. Jingle's
+quotation when he tells the blushing Rachel that
+he is going
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">In hurry, post haste for a licence,</span><br />
+<span class="i1">&nbsp;&nbsp;In hurry, ding dong I come back,</span>
+</p>
+</blockquote>
+
+<p class="flush">
+though he omitted the last two lines:
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">For that you shan't need bid me twice hence,</span><br />
+<span class="i1">&nbsp;&nbsp;I'll be here and there in a crack.</span>
+</p>
+</blockquote>
+
+<p>
+This verse is sung by Lord Grizzle in Fielding's
+<i>Tom Thumb</i>, as arranged by Kane O'Hara.
+</p>
+
+<p>
+<i>Paul and Virginia</i> is mentioned by Mrs. Flora
+Finching (<i><abbr title="Little Dorrit">L.D.</abbr></i>) as being one of the things that
+ought to have been returned to Arthur Clennam
+when their engagement was broken off. This was
+a ballad opera by Reeve and Mazzinghi, and the
+opening number is the popular duet &lsquo;See from ocean
+rising,&rsquo; concerning which there is a humorous
+passage in &lsquo;The Steam Excursion&rsquo; (<i><abbr title="Sketches by Boz">S.B.</abbr></i>), where it
+is sung by one of the Miss Tauntons and Captain
+Helves. The last-named, &lsquo;after a great deal of
+preparatory crowing and humming,&rsquo; began
+</p>
+
+<blockquote>
+<p class="flush">
+in that grunting tone in which a man gets down, heaven knows
+where, without the remotest chance of ever getting up again.
+This in private circles is frequently designated a &lsquo;bass voice.&rsquo;
+</p>
+</blockquote>
+
+<blockquote class="flush">
+<p class="central">
+<a class="pagebreak" name="page91" id="page91"
+title="91"></a>[<a href="midi/figure_1.mid">MIDI</a>]<br />
+<img src="images/fig_1.png" width="461" height="243"
+ alt="[Score to See from ocean rising]" />
+</p>
+<p class="stanza hidden">
+<span class="i0">See from ocean rising</span><br />
+<span class="i0">Bright flame, the orb of day;</span><br />
+<span class="i0">From yon grove the varied song</span><br />
+<span class="i0">Shall slumber from Virginia chase, chase away,</span><br />
+<span class="i0">Slumber from Virginia chase, chase away.</span>
+</p>
+</blockquote>
+
+<p>
+Dickens is not quite correct in this description,
+as the part of Paul was created by Incledon, the
+celebrated tenor, but there are still to be found
+basses who insist on singing tenor when they think
+that part wants their assistance.
+</p>
+
+
+<h3>III.&mdash;<i>Contemporary Comic Songs</i></h3>
+
+<p>
+When Dickens visited Vauxhall (<i><abbr title="Sketches by Boz: Scenes">S.B.S.</abbr></i> 14)
+in 1836, he heard a variety entertainment, to
+which some reference has already been made.
+Amongst the performers was a comic singer who
+bore the name of one of the English counties,
+and who
+</p>
+
+<blockquote>
+<p class="flush">
+sang a very good song about the seven ages, the first half hour
+of which afforded the assembly the purest delight.
+</p>
+</blockquote>
+
+<p>
+The name of this singer was Mr. Bedford, though
+<a class="pagebreak" name="page92" id="page92"
+title="92"></a>there was also a Mr. Buckingham in the Vauxhall
+programmes of those days. There are at least
+four songs, all of them lengthy, though not to the
+extent Dickens suggests, which bear on the subject.
+They are:
+</p>
+
+<blockquote class="outdent">
+<p>
+1.&mdash;&lsquo;All the World's a Stage,&rsquo; a popular medley
+written by Mr. L. Rede, and sung by Mrs.
+Kelley in the <i>Frolic of the Fairies</i>.
+</p>
+
+<p>
+2.&mdash;&lsquo;Paddy McShane's Seven Ages,&rsquo; sung by Mr.
+Johnstone at Drury Lane.
+</p>
+
+<p>
+3.&mdash;&lsquo;The Seven Ages,&rsquo; as sung by Mr. Fuller (eight
+very long verses).
+</p>
+
+<p>
+4.&mdash;&lsquo;The Seven Ages of Woman,&rsquo; as sung by Mr.
+Harley.
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">You've heard the seven ages of great Mister Man,</span><br />
+<span class="i0">And now Mistress Woman's I'll chaunt, if I can.</span>
+</p>
+</blockquote>
+</blockquote>
+
+<p class="flush">
+This was also a very long song, each verse being sung
+to a different tune.
+</p>
+
+<p>
+Some of these songs are found in a scarce book
+called <i>London Oddities</i> (1822), which also contains
+&lsquo;Time of Day,&rsquo; probably the comic duet referred to
+in <i>The Mistaken Milliner</i> (<i><abbr title="Sketches by Boz">S.B.</abbr></i>). This sketch was
+written in 1835 for <i>Bell's Life in London</i>, the original
+title being <i>The Vocal Dressmaker</i>, and contains
+<a class="pagebreak" name="page93" id="page93"
+title="93"></a>an account of a concert (real or imaginary) at the
+White Conduit House. This place of entertainment
+was situated in Penton Street, Islington, near the
+top of Pentonville Road, and when Dickens wrote
+his sketch the place had been in existence nearly
+a hundred years. Early in the nineteenth century
+it became a place of varied amusements, from
+balloon ascents to comic songs. Dickens visited
+the place about 1835. The titles of some of the
+pieces he mentions as having been sung there are
+real, while others (such as &lsquo;Red Ruffian, retire&rsquo;)
+appear to be invented.
+</p>
+
+<p>
+Of a different kind is the one sung by the giant
+Pickleson, known in the profession as Rinaldo di
+Vasco, a character introduced to us by Dr.
+Marigold.
+</p>
+
+<blockquote>
+<p>
+I gave him sixpence (for he was kept as short as he was long),
+and he laid it out on two three penn'orths of gin-and-water,
+which so brisked him up that he sang the favourite comic of
+&lsquo;Shivery Shakey, ain't it cold?&rsquo;
+</p>
+</blockquote>
+
+<p>
+Perhaps in no direction does the taste of the
+British public change so rapidly and so completely as
+in their idea of humour as depicted in the comic song,
+and it is unlikely that what passed for humour
+sixty years ago would appeal to an audience of the
+<a class="pagebreak" name="page94" id="page94"
+title="94"></a>present day. The song here referred to had a great
+though brief popularity. This is the first verse:
+</p>
+
+
+<blockquote>
+<h4 class="central">THE MAN THAT COULDN'T GET WARM.</h4>
+
+<p><i>Words by J. Beuler.</i></p>
+<p class="right"><i>Accompaniment by J. Clinton.</i></p>
+
+<p class="stanza">
+<span class="i0">All you who're fond in spite of price</span><br />
+<span class="i0">Of pastry, cream and jellies nice</span><br />
+<span class="i0">Be cautious how you take an ice</span><br />
+<span class="i1">&nbsp;&nbsp;Whenever you're overwarm.</span><br />
+<span class="i0">A merchant who from India came,</span><br />
+<span class="i0">And Shiverand Shakey was his name,</span><br />
+<span class="i0">A pastrycook's did once entice</span><br />
+<span class="i0">To take a cooling, luscious ice,</span><br />
+<span class="i0">The weather, hot enough to kill,</span><br />
+<span class="i0">Kept tempting him to eat, until</span><br />
+<span class="i0">It gave his corpus such a chill</span><br />
+<span class="i1">&nbsp;&nbsp;He never again felt warm.</span><br />
+<span class="i0">Shiverand Shakey O, O, O,</span><br />
+<span class="i0">Criminy Crikey! Isn't it cold,</span><br />
+<span class="i0">Woo, woo, woo, oo, oo,</span><br />
+<span class="i1">&nbsp;&nbsp;Behold the man that couldn't get warm.</span>
+</p>
+</blockquote>
+
+<p>
+Some people affect to despise a comic song, but
+there are instances where a good specimen has helped
+to make history, or has added a popular phrase to
+our language. An instance of the latter is MacDermott's
+&lsquo;Jingo&rsquo; song &lsquo;We don't want to fight
+but by Jingo if we do.&rsquo; An illustration of the former
+comes from the coal strike of March, 1912, during
+<a class="pagebreak" name="page95" id="page95"
+title="95"></a>which period the price of that commodity only once
+passed the figure it reached in 1875, as we gather from
+the old song &lsquo;Look at the price of coals.&rsquo;
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">We don't know what's to be done,</span><br />
+<span class="i0">They're forty-two shillings a ton.</span>
+</p>
+</blockquote>
+
+<p>
+There are two interesting references in a song
+which Mrs. Jarley's poet adapted to the purposes of
+the Waxwork Exhibition, &lsquo;If I'd a donkey as
+wouldn't go.&rsquo; The first verse of the song is as
+follows:
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">If I'd a donkey wot wouldn't go,</span><br />
+<span class="i0">D'ye think I'd wollop him? No, no, no;</span><br />
+<span class="i0">But gentle means I'd try, d'ye see,</span><br />
+<span class="i0">Because I hate all cruelty.</span><br />
+<span class="i0">If all had been like me in fact,</span><br />
+<span class="i0">There'd ha' been no occasion for Martin's Act</span><br />
+<span class="i0">Dumb animals to prevent getting crackt</span><br />
+<span class="i2">&nbsp;&nbsp;&nbsp;&nbsp;On the head, for&mdash;</span><br />
+<span class="i0">If I had a donkey wot wouldn't go,</span><br />
+<span class="i0">I never would wollop him, no, no, no;</span><br />
+<span class="i0">I'd give him some hay, and cry gee O,</span><br />
+<span class="i2">&nbsp;&nbsp;&nbsp;&nbsp;And come up Neddy.</span>
+</p>
+</blockquote>
+
+<p>
+The singer then meets &lsquo;Bill Burns,&rsquo; who, &lsquo;while
+crying out his greens,&rsquo; is ill-treating his donkey.
+On being interfered with, Bill Burns says,
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">&lsquo;You're one of these Mr. Martin chaps.&rsquo;</span>
+</p>
+</blockquote>
+
+<p class="flush">
+<a class="pagebreak" name="page96" id="page96"
+title="96"></a>Then there was a fight, when the &lsquo;New Police&rsquo; came
+up and &lsquo;hiked&rsquo; them off before the magistrate.
+There is a satisfactory ending, and &lsquo;Bill got fin'd.&rsquo;
+Here is a reminder that we are indebted to Mr. Martin,
+M.P., for initiating the movement which resulted in
+the &lsquo;Royal Society for the Prevention of Cruelty
+to Animals&rsquo; being established in 1824. Two years
+previously Parliament had passed what is known as
+Martin's Act (1822), which was the first step taken
+by this or any other country for the protection of
+animals. In Scene 7 of <i>Sketches by Boz</i> there is a
+mention of &lsquo;the renowned Mr. Martin, of costermonger
+notoriety.&rsquo; The reference to the New
+Police Act reminds us that the London police force
+was remodelled by Mr. (afterwards Sir Robert)
+Peel in 1829. Hence the date of the song will
+be within a year or two of this.
+</p>
+
+<p>
+Mr. Reginald Wilfer (<i><abbr title="Our Mutual Friend">O.M.F.</abbr></i>) owed his nickname
+to the conventional chorus of some of the comic songs
+of the period. Being a modest man, he felt unable
+to live up to the grandeur of his Christian name, so
+he always signed himself &lsquo;R. Wilfer.&rsquo; Hence his
+neighbours provided him with all sorts of fancy
+names beginning with R, but his popular name
+was Rumty, which a &lsquo;gentleman of convivial
+habits connected with the drug market&rsquo; had
+<a class="pagebreak" name="page97" id="page97"
+title="97"></a>bestowed upon him, and which was derived from
+the burden&mdash;
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">Rumty iddity, row dow dow,</span><br />
+<span class="i0">Sing toodlely teedlely, bow wow wow.</span>
+</p>
+</blockquote>
+
+<p>
+The third decade of the nineteenth century saw
+the coming of the Christy Minstrels. One of the
+earliest of the so-called &lsquo;negro&rsquo; impersonators was
+T.D. Rice, whose song &lsquo;Jim Crow&rsquo; (<i><abbr title="American Notes">A.N.</abbr></i>) took
+England by storm. It is useless to attempt to
+account for the remarkable popularity of this and
+many another favourite, but the fact remains that
+the song sold by thousands. In this case it may
+have been due to the extraordinary antics of the
+singer, for the words certainly do not carry
+weight (see p. <a href="#page146">146</a>).
+</p>
+
+<p>
+Rice made his first appearance at the Surrey
+Theatre in 1836, when he played in a sketch entitled
+<i>Bone Squash Diabolo</i>, in which he took the part of
+&lsquo;Jim Crow.&rsquo; The song soon went all over England,
+and &lsquo;Jim Crow&rsquo; hats and pipes were all the rage,
+while <i>Punch</i> caricatured a statesman who changed
+his opinions on some question of the day as the
+political &lsquo;Jim Crow.&rsquo; To this class also belongs the
+song &lsquo;Buffalo Gals&rsquo; (see p. <a href="#page10">10</a>).
+</p>
+
+<p>
+Amongst the contents of the shop window at
+<a class="pagebreak" name="page98" id="page98"
+title="98"></a>the watering-place referred to in <i>Out of the Season</i>
+was
+</p>
+
+<blockquote>
+<p class="flush">
+every polka with a coloured frontispiece that ever was published;
+from the original one, where a smooth male or female
+Pole of high rank are coming at the observer with their arms
+akimbo, to the &lsquo;Ratcatcher's Daughter.&rsquo;
+</p>
+</blockquote>
+
+<p class="flush">
+This last piece is of some slight interest from the fact
+that certain people have claimed that the hymn-tune
+&lsquo;Belmont&rsquo; is derived therefrom. We give the first
+four lines, and leave our readers to draw their own
+conclusions. <a name="ft17"></a>It is worth while stating that the first
+appearance of the hymn-tune took place soon
+after the song became popular.<a class="fn" href="#fn17">&nbsp;17&nbsp;</a>
+</p>
+
+<blockquote class="flush">
+<p class="central">
+[<a href="midi/figure_2.mid">MIDI</a>]<br />
+<img src="images/fig_2.png" width="461" height="241"
+ alt="[Score to The Ratcatcher's Daughter]" />
+</p>
+<p class="stanza hidden">
+<span class="i0">In Westminster, not long ago,</span><br />
+<span class="i0">There lived a ratcatcher's daughter;</span><br />
+<span class="i0">She was not born in Westminster</span><br />
+<span class="i0">But on t'other side of the water.</span>
+</p>
+</blockquote>
+
+
+<h3><a class="pagebreak" name="page99" id="page99"
+title="99"></a><i>Some Singers</i></h3>
+
+<p>
+In the <i>Pickwick Papers</i> we have at least three
+original poems. Wardle's carol&mdash;
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">I care not for Spring; on his fickle wing</span><br />
+<span class="i0">Let the blossoms and buds be borne&mdash;</span>
+</p>
+</blockquote>
+
+<p class="flush">
+has been set to music, but Dickens always preferred
+that it should be sung to the tune of &lsquo;Old King Cole,&rsquo;
+though a little ingenuity is required to make it fit
+in. The &lsquo;wild and beautiful legend,&rsquo;
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">Bold Turpin vunce, on Hounslow Heath</span><br />
+<span class="i0">His bold mare Bess bestrode&mdash;er,</span>
+</p>
+</blockquote>
+
+<p class="flush">
+with which Sam Weller favoured a small but select
+company on a memorable occasion appears to have
+been overlooked by composers until Sir Frederick
+Bridge set it to excellent music. It will be remembered
+that Sam intimated that he was not
+</p>
+
+<blockquote>
+<p class="flush">
+wery much in the habit o' singin' without the instrument; but
+anythin' for a quiet life, as the man said wen he took the sitivation
+at the lighthouse.
+</p>
+</blockquote>
+
+<p>
+Sam was certainly more obliging than another
+member of the company, the &lsquo;mottled-faced&rsquo;
+gentleman, who, when asked to sing, sturdily and
+somewhat offensively declined to do so. We also find
+<a class="pagebreak" name="page100" id="page100"
+title="100"></a>references to other crusty individuals who flatly
+refuse to exercise their talents, as, for instance,
+after the accident to the coach which was conveying
+Nicholas Nickleby and Squeers to Yorkshire. In
+response to the call for a song to pass the time away,
+some protest they cannot, others wish they could,
+others can do nothing without the book, while
+the &lsquo;very fastidious lady entirely ignored the invitation
+to give them some little Italian thing out of the
+last opera.&rsquo; A somewhat original plea for refusing
+to sing when asked is given by the chairman of the
+musical gathering at the Magpie and Stump (<i><abbr title="Pickwick Papers">P.P.</abbr></i>).
+When asked why he won't enliven the company he
+replies, &lsquo;I only know one song, and I have sung it
+already, and it's a fine of glasses round to sing the
+same song twice in one night.&rsquo; Doubtless he was
+deeply thankful to Mr. Pickwick for changing the
+subject. At another gathering of a similar nature,
+we are told about a man who knew a song of seven
+verses, but he couldn't recall them at the moment,
+so he sang the first verse seven times.
+</p>
+
+<p>
+There is no record as to what the comic duets
+were that Sam Weller and Bob Sawyer sang in the
+dickey of the coach that was taking the party to
+Birmingham, and this suggests what a number
+of singers of all kinds are referred to, though no
+<a class="pagebreak" name="page101" id="page101"
+title="101"></a>mention is made of their songs. What was Little
+Nell's repertoire? It must have been an extensive
+one according to the man in the boat (<i><abbr title="Old Curiosity Shop">O.C.S.</abbr></i> 43).
+</p>
+
+<blockquote>
+<p>
+&lsquo;You've got a very pretty voice&rsquo; ... said this gentleman ...
+&lsquo;Let me hear a song this minute.&rsquo;
+</p>
+
+<p>
+&lsquo;I don't think I know one, sir,&rsquo; returned Nell.
+</p>
+
+<p>
+&lsquo;You know forty-seven songs,&rsquo; said the man, with a gravity
+which admitted of no altercation on the subject. &lsquo;Forty-seven's
+your number.&rsquo;
+</p>
+
+<p>
+And so the poor little maid had to keep her rough companions
+in good humour all through the night.
+</p>
+</blockquote>
+
+<p>
+Then Tiny Tim had a song about a lost child
+travelling in the snow; the miner sang a Christmas
+song&mdash;&lsquo;it had been a very old song when he was a
+boy,&rsquo; while the man in the lighthouse (<i><abbr title="Christmas Carol">C.C.</abbr></i>) consoled
+himself in his solitude with a &lsquo;sturdy&rsquo; ditty. What
+was John Browdie's north-country song? (<i><abbr title="Nicholas Nickleby">N.N.</abbr></i>).
+All we are told is that he took some time to consider
+the words, in which operation his wife assisted
+him, and then
+</p>
+
+<blockquote>
+<p class="flush">
+began to roar a meek sentiment (supposed to be uttered by a
+gentle swain fast pining away with love and despair) in a voice
+of thunder.
+</p>
+</blockquote>
+
+<p>
+The Miss Pecksniffs used to come singing into the
+room, but their songs are unrecorded, as well as those
+that Florence Dombey used to sing to Paul, to his
+<a class="pagebreak" name="page102" id="page102"
+title="102"></a>great delight. What was the song Miss Mills sang to
+David Copperfield and Dora
+</p>
+
+<blockquote>
+<p class="flush">
+about the slumbering echoes in the cavern of Memory; as if
+she was a hundred years old.
+</p>
+</blockquote>
+
+<p>
+When we first meet Mark Tapley he is singing
+merrily, and there are dozens of others who sing
+either for their own delight or to please others.
+Even old Fips, of Austin Friars, the dry-as-dust
+lawyer, sang songs to the delight of the company
+gathered round the festive board in Martin Chuzzlewit's
+rooms in the Temple. Truly Dickens must
+have loved music greatly himself to have distributed
+such a love of it amongst his characters.
+</p>
+
+<p>
+It is not to be expected that Sampson Brass
+would be musical, and we are not surprised when on
+an occasion already referred to we find him
+</p>
+
+<blockquote>
+<p class="flush">
+humming in a voice that was anything but musical certain vocal
+snatches which appeared to have reference to the union between
+Church and State, inasmuch as they were compounded of the
+Evening Hymn and &lsquo;God Save the King.&rsquo;
+</p>
+</blockquote>
+
+<p class="flush">
+Whatever music he had in him must have been of a
+sub-conscious nature, for shortly afterwards he
+affirms that
+</p>
+
+<blockquote>
+<p class="flush">
+the still small voice is a-singing comic songs within me, and all
+is happiness and joy.
+</p>
+</blockquote>
+
+<p class="flush">
+<a class="pagebreak" name="page103" id="page103"
+title="103"></a>His sister Sally is not a songster, nor is Quilp, though
+he quotes &lsquo;Sally in our Alley&rsquo; in reference to the
+former. All we know about his musical attainments
+is that he
+</p>
+
+<blockquote>
+<p class="flush">
+occasionally entertained himself with a melodious howl, intended
+for a song but bearing not the faintest resemblance to any
+scrap of any piece of music, vocal or instrumental, ever invented
+by man.
+</p>
+</blockquote>
+
+<p>
+Bass singers, and especially the Basso Profundos,
+will be glad to know that Dickens pays more attention
+to them than to the other voices, though it must
+be acknowledged that the references are of a humorous
+nature. &lsquo;Bass!&rsquo; as the young gentleman in one
+of the <i>Sketches</i> remarks to his companion about the
+little man in the chair, &lsquo;bass! I believe you. He
+can go down lower than any man; so low sometimes
+that you can't hear him.&rsquo;
+</p>
+
+<blockquote>
+<p>
+And so he does. To hear him growling away, gradually lower
+and lower down, till he can't get back again, is the most delightful
+thing in the world.
+</p>
+</blockquote>
+
+<p class="flush">
+Of similar calibre is the voice of Captain Helves,
+already referred to on p. <a href="#page62">62</a>.
+</p>
+
+<p>
+Topper, who had his eye on one of Scrooge's
+niece's sisters (<i><abbr title="Christmas Carol">C.C.</abbr></i>),
+</p>
+
+<blockquote>
+<p class="flush">
+could growl away in the bass like a good one, and never swell
+the large veins in his forehead or get red in the face over it.
+</p>
+</blockquote>
+
+<p>
+<a class="pagebreak" name="page104" id="page104"
+title="104"></a>Dickens must certainly have had much experience
+of basses, as he seems to know their habits and
+eccentricities so thoroughly. In fact it seems to suggest
+that at some unknown period of his career,
+hitherto unchronicled by his biographers, he must
+have been a choirmaster.
+</p>
+
+<p>
+He also shows a knowledge of the style of song the
+basses delighted in
+</p>
+
+<blockquote>
+<p class="flush">
+<a name="ft18"></a>at the harmony meetings in which the collegians at the Marshalsea<a class="fn" href="#fn18">&nbsp;18&nbsp;</a>
+used to indulge. Occasionally a vocal strain more sonorous
+than the generality informed the listener that some boastful
+bass was in blue water or the hunting field, or with the
+reindeer, or on the mountain, or among the heather, but the
+Marshal of the Marshalsea knew better, and had got him hard
+and fast.
+</p>
+</blockquote>
+
+<p>
+We are not told what the duet was that Dickens
+heard at Vauxhall, but the description is certainly
+vivid enough:
+</p>
+
+<blockquote>
+<p>
+It was a beautiful duet; first the small gentleman asked a
+question and then the tall lady answered it; then the small
+gentleman and the tall lady sang together most melodiously;
+then the small gentleman went through a little piece of vehemence
+by himself, and got very tenor indeed, in the excitement of his
+feelings, to which the tall lady responded in a similar manner;
+then the small gentleman had a shake or two, after which the tall
+<a class="pagebreak" name="page105" id="page105"
+title="105"></a>lady had the same, and then they both merged imperceptibly
+into the original air.
+</p>
+</blockquote>
+
+<p>
+Our author is quite impartial in his distribution of
+his voices. In <i><abbr title="Pickwick Papers">P.P.</abbr></i> we read of a boy of fourteen
+who was a tenor (not the fat boy), while the
+quality of the female voices is usually left to the
+imagination.
+</p>
+
+<p>
+If Mrs. Plornish (<i><abbr title="Little Dorrit">L.D.</abbr></i>) is to be believed, her
+father, Mr. John Edward Nandy, was a remarkable
+singer. He was
+</p>
+
+<blockquote>
+<p class="flush">
+a poor little reedy piping old gentleman, like a worn-out bird,
+who had been in what he called the music-binding business.
+</p>
+</blockquote>
+
+<p>
+But Mrs. P. was very proud of her father's talents,
+and in response to her invitation, &lsquo;Sing us a song,
+father,&rsquo;
+</p>
+
+<blockquote>
+<p>
+Then would he give them Chloe, and if he were in pretty good
+spirits, Phyllis also&mdash;Strephon he had hardly been up to since
+he went into retirement&mdash;and then would Mrs. Plornish declare
+she did believe there never was such a singer as father, and
+wipe her eyes.
+</p>
+</blockquote>
+
+<p>
+Old Nandy evidently favoured the eighteenth-century
+songs, in which the characters here referred
+to were constantly occurring. At a subsequent
+period of his history Nandy's vocal efforts surprised
+even his daughter.
+</p>
+
+<blockquote>
+<p>
+<a class="pagebreak" name="page106" id="page106"
+title="106"></a>&lsquo;You never heard father in such voice as he is at present,&rsquo;
+said Mrs. Plornish, her own voice quavering, she was so proud and
+pleased. &lsquo;He gave us Strephon last night, to that degree that
+Plornish gets up and makes him this speech across the table,
+&ldquo;John Edward Nandy,&rdquo; says Plornish to father, &ldquo;I never
+heard you come the warbles as I have heard you come the
+warbles this night.&rdquo; Ain't it gratifying, Mr. Pancks, though;
+really.&rsquo;
+</p>
+</blockquote>
+
+<p>
+The Mr. Pancks here referred to did not mind
+taking his part in a bit of singing. He says, in
+reference to a &lsquo;Harmony evening&rsquo; at the Marshalsea:
+</p>
+
+<blockquote>
+<p>
+&lsquo;I am spending the evening with the rest of 'em,&rsquo; said Pancks.
+&lsquo;I've been singing. I've been taking a part in &ldquo;White Sand
+and Grey Sand.&rdquo; I don't know anything about it. Never
+mind. I'll take part in anything, it's all the same, if you're
+loud enough.&rsquo;
+</p>
+</blockquote>
+
+<p class="flush">
+Here we have a round of considerable antiquity,
+though the date and author are alike unknown.
+</p>
+
+<blockquote class="flush">
+<p class="central">
+[<a href="midi/figure_3.mid">MIDI</a> or
+<a href="midi/figure_4.mid">MIDI</a>]<br />
+<img src="images/fig_3-4.png" width="461" height="227"
+ alt="[Score to White sand and grey sand]" />
+</p>
+<p class="stanza hidden">
+<span class="i0">White sand and grey sand:</span><br />
+<span class="i0">Who'll buy my white sand?</span><br />
+<span class="i0">Who'll buy my grey sand?</span>
+</p>
+</blockquote>
+
+
+<h3><a class="pagebreak" name="page107" id="page107"
+title="107"></a><i>Glee-Singing</i></h3>
+
+<p>
+A feature of the Harmonic Meetings at the &lsquo;Sol&rsquo;
+(<i><abbr title="Bleak House">B.H.</abbr></i>) was the performance of Little Swills, who,
+after entertaining the company with comic songs,
+took the &lsquo;gruff line&rsquo; in a concerted piece, and adjured
+&lsquo;his friends to listen, listen, listen to the
+wa-ter-fall!&rsquo; Little Swills was also an adept at
+&lsquo;patter and gags.&rsquo; Glee and catch singing was a
+feature at the Christmas party given by Scrooge's
+nephew, for &lsquo;they were a musical family, and knew
+what they were about.&rsquo; This remark can scarcely
+be applied to the Malderton family, who, assisted by
+the redoubtable Mr. Horatio Sparkins,
+</p>
+
+<blockquote>
+<p class="flush">
+tried over glees and trios without number; they having made
+the pleasing discovery that their voices harmonized beautifully.
+To be sure, they all sang the first part; and Horatio, in addition
+to the slight drawback of having no ear, was perfectly innocent
+of knowing a note of music; still, they passed the time very
+agreeably.
+</p>
+</blockquote>
+
+<p>
+Glee-singing seems to have been a feature in the
+social life of Cloisterham (<i><abbr title="Edwin Drood">E.D.</abbr></i>).
+</p>
+
+<blockquote>
+<p>
+&lsquo;We shall miss you, Jasper&rsquo; (said Mr. Crisparkle), &lsquo;at the
+&ldquo;Alternate Musical Wednesdays&rdquo; to-night; but no doubt you
+are best at home. Good-night, God bless you. &ldquo;Tell me shepherds
+te-e-ell me: tell me-e-e have you seen (have you seen,
+have you seen, have you seen) my-y-y Flo-o-ora-a pass this
+way!&rdquo;&rsquo;
+</p>
+</blockquote>
+
+<p>
+<a class="pagebreak" name="page108" id="page108"
+title="108"></a>It was a different kind of glee party that left the
+Blue Boar after the festivities in connexion with
+Pip's indentures (<i><abbr title="Great Expectations">G.E.</abbr></i>).
+</p>
+
+<blockquote>
+<p>
+They were all in excellent spirits on the road home, and sang
+&lsquo;O Lady Fair,&rsquo; Mr. Wopsle taking the bass, and assisting with
+a tremendously strong voice (in reply to the inquisitive bore who
+leads that piece of music in a most impertinent manner by
+wanting to know all about everybody's private affairs) that
+<i>he</i> was the man with his white locks flowing, and that he was
+upon the whole the weakest pilgrim going.
+</p>
+</blockquote>
+
+<p>
+Perhaps the most remarkable glee party that
+Dickens gives us is the one organized by the male
+boarders at Mrs. Todgers', with a view to serenading
+the two Miss Pecksniffs.
+</p>
+
+<blockquote>
+<p>
+It was very affecting, very. Nothing more dismal could have
+been desired by the most fastidious taste. The gentleman
+of a vocal turn was head mute, or chief mourner; Jinkins took
+the bass, and the rest took anything they could get.... If the
+two Miss Pecksniffs and Mrs. Todgers had perished by spontaneous
+combustion, and the serenade had been in honour of their
+ashes, it would have been impossible to surpass the unutterable
+despair expressed in that one chorus: &lsquo;Go where glory waits
+thee.&rsquo; It was a requiem, a dirge, a moan, a howl, a wail, a
+lament, an abstract of everything that is sorrowful and hideous
+in sound.
+</p>
+</blockquote>
+
+<p>
+The song which the literary boarder had written
+for the occasion, &lsquo;All hail to the vessel of Pecksniff,
+the sire,&rsquo; is a parody of Scott's &lsquo;All hail to the chief
+<a class="pagebreak" name="page109" id="page109"
+title="109"></a>who in triumph advances,&rsquo; from the <i>Lady of the
+Lake</i>.
+</p>
+
+<p>
+Two words that by themselves have a musical
+meaning are &lsquo;Chaunter&rsquo; and &lsquo;Drums&rsquo;; but
+the Chaunter referred to is one of Edward
+Dorrit's creditors, and the word means &lsquo;not a
+singer of anthems, but a seller of horses.&rsquo;
+To this profession also Simpson belonged, on
+whom Mr. Pickwick was &lsquo;chummed&rsquo; in the
+Fleet prison. A &lsquo;drum&rsquo; is referred to in the
+description of the London streets at night in
+<i>Barnaby Rudge</i>, and signifies a rout or evening party
+for cards; while one where stakes ran high and
+much noise accompanied the play was known as a
+&lsquo;drum major.&rsquo;
+</p>
+
+<p>
+In <i>Our Bore</i> (<i><abbr title="Reprinted Pieces">R.P.</abbr></i>) this sentence occurs:
+</p>
+
+<blockquote>
+<p>
+He was at the Norwich musical festival when the extraordinary
+echo, for which science has been wholly unable to
+account, was heard for the first and last time. He and the
+bishop heard it at the same moment, and caught each other's
+eye.
+</p>
+</blockquote>
+
+<p class="flush">
+Dr. A.H. Mann, who knows as much about Norwich
+and its festivals as any one, is quite unable to throw
+any light on this mystic remark. There were complaints
+about the acoustics of the St. Andrew's Hall
+many years ago, but there appears to be no historic
+<a class="pagebreak" name="page110" id="page110"
+title="110"></a>foundation for Dickens' reference. It would certainly
+be interesting to know what suggested the
+idea to him.
+</p>
+
+<p>
+There is a curious incident connected with
+Uncle Dick, whose great ambition was &lsquo;to beat
+the drum.&rsquo; It was only by a mere chance that
+his celebrated reference to King Charles's head got
+into the story. Dickens originally wrote as follows
+(in Chapter 14, <i><abbr title="David Copperfield">D.C.</abbr></i>):
+</p>
+
+<blockquote>
+<p>
+&lsquo;Do you recollect the date,&rsquo; said Mr. Dick, looking earnestly
+at me, and taking up his pen to note it down, &lsquo;when the bull
+got into the china warehouse and did so much mischief?&rsquo;
+</p>
+</blockquote>
+
+<p>
+In the proof Dickens struck out all the words after
+&lsquo;when,&rsquo; and inserted in their place the following:
+</p>
+
+<blockquote>
+<p>
+&lsquo;King Charles the First had his head cut off?&rsquo;
+</p>
+
+<p>
+I said I believed it happened in the year sixteen hundred and
+forty-nine.
+</p>
+
+<p>
+&lsquo;Well,&rsquo; returned Mr. Dick, scratching his ear with his pen and
+looking dubiously at me, &lsquo;so the books say, but I don't see how
+that can be. Because if it was so long ago, how could the people
+about him have made that mistake of putting some of the trouble
+out of his head, after it was taken off, into mine?&rsquo;
+</p>
+</blockquote>
+
+<p>
+The whole of the substituted passage is inserted
+in the margin at the bottom of the page. Again,
+when Mr. Dick shows David Copperfield his kite
+covered with manuscript, David was made to say in
+<a class="pagebreak" name="page111" id="page111"
+title="111"></a>the proof: &lsquo;I thought I saw some allusion to the bull
+again in one or two places.&rsquo; Here Dickens has struck
+through the words, &lsquo;the bull,&rsquo; and replaced them
+with &lsquo;King Charles the First's head.&rsquo;
+</p>
+
+<p>
+The original reference was to a very popular
+song of the period called &lsquo;The Bull in the China
+Shop,&rsquo; words by C. Dibdin, Junior, and music by
+W. Reeve. Produced about 1808, it was popularized
+by the celebrated clown Grimaldi. The first verse is:
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">You've heard of a frog in an opera hat,</span><br />
+<span class="i0">'Tis a very old tale of a mouse and a rat,</span><br />
+<span class="i0">I could sing you another as pleasant, mayhap,</span><br />
+<span class="i0">Of a kitten that wore a high caul cap;</span><br />
+<span class="i0">But my muse on a far nobler subject shall drop,</span><br />
+<span class="i0">Of a bull who got into a china shop,</span><br />
+<span class="i2">&nbsp;&nbsp;&nbsp;&nbsp;With his right leg, left leg, upper leg, under leg,</span><br />
+<span class="i2">&nbsp;&nbsp;&nbsp;&nbsp;St. Patrick's day in the morning.</span>
+</p>
+</blockquote>
+
+<hr />
+
+<p class="fn"><span><a class="fn" href="#ft17">&nbsp;17&nbsp;</a></span><a name="fn17"></a>
+Mr. Alfred Payne writes thus: &lsquo;Some time ago an old friend told
+me that he had heard from a Hertfordshire organist that Dr. W.H.
+Monk (editor of <i>Hymns Ancient and Modern</i>) adapted &ldquo;Belmont&rdquo;
+from the highly classical melody of which a few bars are given above.
+Monk showed this gentleman the notes, being the actual arrangement
+he had made from this once popular song, back in the fifties. This
+certainly coincides with its appearance in Severn's <i>Islington Collection</i>,
+1854.&rsquo;&mdash;See <i>Hymn-Tunes and their Story</i>, p. 354.</p>
+
+<p class="fn"><span><a class="fn" href="#ft18">&nbsp;18&nbsp;</a></span><a name="fn18"></a>
+The Marshalsea was a debtors' prison formerly situated in Southwark.
+It was closed about the middle of the last century, and demolished
+in 1856.</p>
+
+
+
+
+<h2><a class="pagebreak" name="page112" id="page112"
+title="112"></a>CHAPTER VII<br />
+<small><b>SOME NOTED SINGERS</b></small></h2>
+
+
+<h3><i>The Micawbers</i></h3>
+
+<p class="flush"><span>Dickens</span>
+presents us with such an array of characters
+who reckon singing amongst their various accomplishments
+that it is difficult to know where to begin.
+Perhaps the marvellous talents of the Micawber
+family entitle them to first place. Mrs. Micawber
+was famous for her interpretation of &lsquo;The Dashing
+White Sergeant&rsquo; and &lsquo;Little Taffline&rsquo; when she
+lived at home with her papa and mamma, and it
+was her rendering of these songs that gained her a
+spouse, for, as Mr. Micawber told Copperfield,
+</p>
+
+<blockquote>
+<p class="flush">
+when he heard her sing the first one, on the first occasion
+of his seeing her beneath the parental roof, she had attracted his
+attention in an extraordinary degree, but that when it came to
+&lsquo;Little Tafflin,&rsquo; he had resolved to win that woman or perish
+in the attempt.
+</p>
+</blockquote>
+
+<p>
+It will be remembered that Mr. Bucket (<i><abbr title="Bleak House">B.H.</abbr></i>)
+gained a wife by a similar display of vocal talent.
+After singing &lsquo;Believe me, if all those endearing
+<a class="pagebreak" name="page113" id="page113"
+title="113"></a>young charms,&rsquo; he informs his friend Mrs. Bagnet
+that this ballad was
+</p>
+
+<blockquote>
+<p class="flush">
+his most powerful ally in moving the heart of Mrs. Bucket when
+a maiden, and inducing her to approach the altar. Mr. Bucket's
+own words are &lsquo;to come up to the scratch.&rsquo;
+</p>
+</blockquote>
+
+<p>
+Mrs. Micawber's &lsquo;Little Taffline&rsquo; was a song
+in Storace's ballad opera <i>Three and the Deuce</i>,
+words by Prince Hoare. It will be interesting
+to see what the song which helped to mould
+Micawber's fate was like.
+</p>
+
+<blockquote class="flush">
+<h4 class="central">LITTLE TAFFLINE.</h4>
+
+<p class="central">
+[<a href="midi/figure_5.mid">MIDI</a>]<br />
+<img src="images/fig_5.png" width="531" height="687"
+ alt="[Score to Little Taffline]" />
+</p>
+<p class="stanza hidden">
+<span class="i0">Should e'er the fortune be my lot</span><br />
+<span class="i0">To be made a wealthy bride,</span><br />
+<span class="i0">I'll glad my parents' lowly cot,</span><br />
+<span class="i0">All their pleasure and their pride:</span>
+</p>
+<p class="stanza hidden">
+<span class="i0">And when I'm drest all in my best,</span><br />
+<span class="i0">I'll trip away like lady gay,</span><br />
+<span class="i0">I'll trip, I'll trip away.</span>
+</p>
+<p class="stanza hidden">
+<span class="i0">And the lads will say, Dear heart, what a flash!</span><br />
+<span class="i0">Look at little Taffline with a silken sash,</span><br />
+<span class="i0">And the lads will say, Dear heart, what a flash!</span><br />
+<span class="i0">And the lads will say, Dear heart, what a flash!</span><br />
+<span class="i0">Look at little Taffline, Look at little Taffline,</span><br />
+<span class="i0">Oh, look at little Taffline with the silken sash!</span>
+</p>
+</blockquote>
+
+<p>
+<a class="pagebreak" name="page114" id="page114"
+title="114"></a>There was also a character called Little Taffline
+in T. Dibdin's <i>St. David's Day</i>, the music for which
+was compiled and composed by Thomas Attwood,
+organist of St. Paul's Cathedral.
+</p>
+
+<p>
+Her other song, &lsquo;The Dashing White Sergeant,&rsquo;
+was a martial and very popular setting of some
+words by General Burgoyne.
+</p>
+
+<p>
+Micawber could both sing and hum, and when
+music failed him he fell back on quotations. As
+he was subject to extremes of depression and elevation
+it was nothing unusual for him to commence a
+Saturday evening in tears and finish up with singing
+&lsquo;about Jack's delight being his lovely Nan&rsquo; towards
+the end of it. Here we gather that one of his
+<a class="pagebreak" name="page115" id="page115"
+title="115"></a>favourite songs was C. Dibdin's &lsquo;Lovely Nan,&rsquo; containing
+these two lines:
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">But oh, much sweeter than all these</span><br />
+<span class="i0">Is Jack's delight, his lovely Nan.</span>
+</p>
+</blockquote>
+
+<p class="flush">
+His musical powers made him useful at the club-room
+in the King's Bench, where David discovered
+him leading the chorus of &lsquo;Gee up, Dobbin.&rsquo; This
+would be &lsquo;Mr. Doggett's Comicall Song&rsquo; in the
+farce <i>The Stage Coach</i>, containing the lines&mdash;
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">With a hey gee up, gee up, hay ho;</span><br />
+<span class="i0">With a hay gee, Dobbin, hey ho!</span>
+</p>
+</blockquote>
+
+<p>
+&lsquo;Auld Lang Syne&rsquo; was another of Mr. Micawber's
+favourites, and when David joined the worthy pair
+in their lodgings at Canterbury they sang it with
+much energy. To use Micawber's words&mdash;
+</p>
+
+<blockquote>
+<p>
+When we came to &lsquo;Here's a hand, my trusty frere&rsquo; we all
+joined hands round the table; and when we declared we would
+&lsquo;take a right gude willie waught,&rsquo; and hadn't the least idea
+what it meant, we were really affected.
+</p>
+</blockquote>
+
+<p>
+The memory of this joyous evening recurred to
+Mr. M. at a later date, after the feast in David's
+rooms, and he calls to mind how they had sung
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">We twa had run about the braes</span><br />
+<span class="i0">And pu'd the gowans fine.</span>
+</p>
+</blockquote>
+
+<p>
+<a class="pagebreak" name="page116" id="page116"
+title="116"></a>He confesses his ignorance as to what gowans are,
+</p>
+
+<blockquote>
+<p class="flush">
+but I have no doubt that Copperfield and myself would frequently
+have taken a pull at them, if it had been feasible.
+</p>
+</blockquote>
+
+<p>
+In the last letter he writes he makes a further
+quotation from the song. On another occasion,
+however, under the stress of adverse circumstances
+he finds consolation in a verse from &lsquo;Scots, wha
+hae',&rsquo; while at the end of the long epistle in which he
+disclosed the infamy of Uriah Heep, he claims to
+have it said of him, &lsquo;as of a gallant and eminent
+naval Hero,&rsquo; that what he has done, he did
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">For England, home, and beauty.</span>
+</p>
+</blockquote>
+
+<p class="flush">
+&lsquo;The Death of Nelson,&rsquo; from which this line comes,
+had a long run of popularity. Braham, the composer,
+was one of the leading tenors of the day, and
+thus had the advantage of being able to introduce
+his own songs to the public. The novelist's dictum
+that &lsquo;composers can very seldom sing their own
+music or anybody else's either&rsquo; (<i><abbr title="Pickwick Papers">P.P.</abbr></i> 15) may be
+true in the main, but scarcely applies to Braham,
+who holds very high rank amongst English tenors.
+Another song which he wrote with the title &lsquo;The
+Victory and Death of Lord Viscount Nelson&rsquo; met
+with no success. The one quoted by Micawber
+<a class="pagebreak" name="page117" id="page117"
+title="117"></a>was naturally one of Captain Cuttle's favourites,
+and it is also made use of by Silas Wegg.
+</p>
+
+<p>
+The musical gifts of Mr. and Mrs. Micawber
+descended to their son Wilkins, who had &lsquo;a remarkable
+head voice,&rsquo; but having failed to get into the
+cathedral choir at Canterbury, he had to take to
+singing in public-houses instead of in sacred edifices.
+His great song appears to have been &lsquo;The Woodpecker
+Tapping.&rsquo; When the family emigrated Mr.
+M. expressed the hope that &lsquo;the melody of my son
+will be acceptable at the galley fire&rsquo; on board ship.
+The final glimpse we get of him is at Port Middlebay,
+where he delights a large assembly by his rendering
+of &lsquo;Non Nobis&rsquo; (see p. <a href="#page149">149</a>), and by his dancing
+with the fourth daughter of Mr. Mell.
+</p>
+
+<p>
+The &lsquo;Woodpecker&rsquo; song is referred to in an
+illustrative way by Mrs. Finching (<i><abbr title="Little Dorrit">L.D.</abbr></i>), who says
+that her papa
+</p>
+
+<blockquote>
+<p class="flush">
+is sitting prosily breaking his new-laid egg in the back parlour
+like the woodpecker tapping.
+</p>
+</blockquote>
+
+
+<h3><i>Captain Cuttle</i></h3>
+
+<p>
+Captain Cuttle is almost as full of melody as
+Micawber, though his repertoire is chiefly confined
+to naval ditties. His great song is &lsquo;Lovely Peg,&rsquo;
+<a class="pagebreak" name="page118" id="page118"
+title="118"></a>and his admiration for Florence Dombey induces
+him to substitute her name in the song, though the
+best he can accomplish is &lsquo;Lovely Fleg.&rsquo;
+</p>
+
+<p>
+There are at least three eighteenth-century
+ballads with Peg, or Lovely Peg, for the subject,
+and it is not certain which of these the Captain
+favoured. This is one of them:
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">Once more I'll tune the vocal shell,</span><br />
+<span class="i0">To Hills and Dales my passion tell,</span><br />
+<span class="i0">A flame which time can never quell,</span><br />
+<span class="i1">&nbsp;&nbsp;That burns for lovely Peggy.</span>
+</p>
+</blockquote>
+
+<p class="flush">
+Then comes this tuneful refrain:
+</p>
+
+<blockquote class="flush">
+<p class="central">
+[<a href="midi/figure_6.mid">MIDI</a>]<br />
+<img src="images/fig_6.png" width="461" height="265"
+ alt="[Score to Lovely Peggy]" />
+</p>
+<p class="stanza hidden">
+<span class="i0">Lovely Peggy, lovely Peggy,</span><br />
+<span class="i0">Lovely, lovely, lovely Peggy;</span><br />
+<span class="i0">The heav'ns should sound with echoes rung</span><br />
+<span class="i1">&nbsp;&nbsp;In praise of lovely Peggy.</span>
+</p>
+</blockquote>
+
+<p>
+The two others of this period that I have seen are
+called &lsquo;Peggy&rsquo; and &lsquo;Lovely Peggy, an imitation.&rsquo;
+However, it is most probable that the one that
+<a class="pagebreak" name="page119" id="page119"
+title="119"></a>the Captain favoured&mdash;in spite of the mixture of
+names&mdash;was C. Dibdin's &lsquo;Lovely Polly.&rsquo;
+</p>
+
+<blockquote class="flush">
+<h4 class="central">LOVELY POLLY</h4>
+
+<p class="central">
+[<a href="midi/figure_7.mid">MIDI</a>]<br />
+<img src="images/fig_7.png" width="461" height="507"
+ alt="[Score to Lovely Polly]" />
+</p>
+<p class="stanza hidden">
+<span class="i0">A seaman's love is void of art,</span><br />
+<span class="i0">Plain sailing to his port the heart;</span><br />
+<span class="i0">He knows no jealous folly,</span><br />
+<span class="i0">He knows no jealous folly.</span>
+</p>
+<p class="stanza hidden">
+<span class="i0">'Tis hard enough at sea to war</span><br />
+<span class="i0">With boist'rous elements that jar&mdash;</span><br />
+<span class="i0">All's peace with lovely Polly,</span><br />
+<span class="i0">All's peace with lovely Polly,</span><br />
+<span class="i0">with lovely Polly, lovely Polly,</span><br />
+<span class="i0">All's peace with lovely Polly.</span>
+</p>
+</blockquote>
+
+<p>
+Dickens was very familiar with Dibdin's songs,
+while the eighteenth-century ones referred to he
+<a class="pagebreak" name="page120" id="page120"
+title="120"></a>probably never heard of, as they are very rarely
+found.
+</p>
+
+<p>
+The worthy Captain enjoys a good rollicking song,
+preferably of a patriotic turn, but is very unreliable
+as to the sources of his ditties.
+</p>
+
+<blockquote>
+<p>
+&lsquo;Wal'r, my boy,&rsquo; replied the Captain, &lsquo;in the Proverbs of
+Solomon you will find the following words, &ldquo;May we never
+want a friend in need, nor a bottle to give him!&rdquo; When found,
+made a note of.&rsquo;
+</p>
+</blockquote>
+
+<p>
+This is taken from a song by J. Davy, known
+as &lsquo;Since the first dawn of reason,&rsquo; and was sung by
+Incledon.
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">Since the first dawn of reason that beam'd on my mind,</span><br />
+<span class="i1">&nbsp;&nbsp;And taught me how favoured by fortune my lot,</span><br />
+<span class="i0">To share that good fortune I still am inclined,</span><br />
+<span class="i1">&nbsp;&nbsp;And impart to who wanted what I wanted not.</span><br />
+<span class="i0">It's a maxim entitled to every one's praise,</span><br />
+<span class="i1">&nbsp;&nbsp;When a man feels distress, like a man to relieve him;</span><br />
+<span class="i0">And my motto, though simple, means more than it says,</span><br />
+<span class="i1">&nbsp;&nbsp;&lsquo;May we ne'er want a friend or a bottle to give him.&rsquo;</span>
+</p>
+</blockquote>
+
+<p class="flush">
+He is equally unreliable as to the source of a still
+more famous song. When Florence Dombey goes
+to see him the Captain intimates his intention of
+standing by old Sol Gills,
+</p>
+
+<blockquote>
+<p class="flush">
+&lsquo;and not desert until death do us part, and when the stormy
+winds do blow, do blow, do blow&mdash;overhaul the Catechism,&rsquo; said
+<a class="pagebreak" name="page121" id="page121"
+title="121"></a>the Captain parenthetically, &lsquo;and there you'll find these expressions.&rsquo;
+</p>
+</blockquote>
+
+<p>
+I have not heard of any church that has found it
+necessary to include this old refrain in its Catechism,
+nor even to mix it up with the Wedding Service.
+</p>
+
+<p>
+A further mixture of quotations occurs when he
+is talking of Florence on another occasion. Speaking
+of the supposed death of Walter he says,
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">Though lost to sight, to memory dear, and</span><br />
+<span class="i0">England, home, and beauty.</span>
+</p>
+</blockquote>
+
+<p>
+The first part&mdash;which is one of Cuttle's favourite
+quotations&mdash;is the first line of a song by G. Linley.
+He composed a large number of operas and songs,
+many of which were very popular. The second
+part of the quotation is from Braham's &lsquo;Death of
+Nelson&rsquo; (see p. <a href="#page116">116</a>).
+</p>
+
+<p>
+In conversation with his friend Bunsby, Cuttle
+says&mdash;
+</p>
+
+<blockquote>
+<p>
+Give me the lad with the tarry trousers as shines to me like
+di'monds bright, for which you'll overhaul the &lsquo;Stanfell's
+Budget,&rsquo; and when found make a note.
+</p>
+</blockquote>
+
+<p class="flush">
+Elsewhere he mentions Fairburn's &lsquo;Comic Songster&rsquo;
+and the &lsquo;Little Warbler&rsquo; as his song authorities.
+</p>
+
+<p>
+The song referred to here is classed by Dr. Vaughan
+<a class="pagebreak" name="page122" id="page122"
+title="122"></a>Williams amongst Essex folk-songs, but it is by
+no means confined to that county. It tells of a
+mother who wants her daughter to marry a tailor,
+and not wait for her sailor bold.
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">My mother wants me to wed with a tailor</span><br />
+<span class="i1">&nbsp;&nbsp;And not give me my heart's delight;</span><br />
+<span class="i0">But give me the man with the tarry trousers,</span><br />
+<span class="i1">&nbsp;&nbsp;That shines to me like diamonds bright.</span>
+</p>
+</blockquote>
+
+<p class="flush">
+After the firm of Dombey has decided to send
+Walter to Barbados, the boy discusses his prospects
+with his friend the Captain, and finally bursts into
+song&mdash;
+</p>
+
+<blockquote>
+<p>
+How does that tune go that the sailors sing?
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">For the port of Barbados, Boys!</span><br />
+<span class="i4">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Cheerily!</span><br />
+<span class="i0">Leaving old England behind us, boys!</span><br />
+<span class="i4">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Cheerily!</span>
+</p>
+</blockquote>
+
+<p>
+Here the Captain roared in chorus,
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i3">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Oh cheerily, cheerily!</span><br />
+<span class="i3">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Oh cheer-i-ly!</span>
+</p>
+</blockquote>
+</blockquote>
+
+<p>
+All efforts to trace this song have failed, and for
+various reasons I am inclined to think that Dickens
+made up the lines to fit the occasion; while the
+words &lsquo;Oh cheerily, cheerily&rsquo; are a variant of a
+refrain common in sea songs, and the Captain
+<a class="pagebreak" name="page123" id="page123"
+title="123"></a>teaches Rob the Grinder to sing it at a later period
+of the story. The arguments against the existence
+of such a song are: first, that the Dombey firm have
+already decided to send the boy to Barbados, and as
+there is no song suitable, the novelist invents one;
+and in the second place there has never been a time
+in the history of Barbados to give rise to such a song
+as this, and no naval expedition of any consequence
+has ever been sent there. It is perhaps unnecessary
+to urge that there is no such place as the &lsquo;Port of
+Barbados.&rsquo;
+</p>
+
+
+<h3><i>Dick Swiveller</i></h3>
+
+<p>
+None of Dickens' characters has such a wealth of
+poetical illustration at command as Mr. Richard
+Swiveller. He lights up the Brass office &lsquo;with
+scraps of song and merriment,&rsquo; and when he is
+taking Kit's mother home in a depressed state after
+the trial he does his best to entertain her with
+&lsquo;astonishing absurdities in the way of quotation
+from song and poem.&rsquo; From the time of his introduction,
+when he &lsquo;obliged the company with a few
+bars of an intensely dismal air,&rsquo; to when he expresses
+his gratitude to the Marchioness&mdash;
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">And she shall walk in silk attire,</span><br />
+<span class="i1">&nbsp;&nbsp;And siller have to spare&mdash;</span>
+</p>
+</blockquote>
+
+<p>
+<a class="pagebreak" name="page124" id="page124"
+title="124"></a>there is scarcely a scene in which he is present when
+he does not illumine his remarks by quotations of
+some kind or other, though there are certainly a few
+occasions when his listeners are not always able to
+appreciate their aptness. For instance in the scene
+between Swiveller and the single gentleman, after
+the latter has been aroused from his slumbers, and
+has intimated he is not to be disturbed again.
+</p>
+
+<blockquote>
+<p>
+&lsquo;I beg your pardon,&rsquo; said Dick, halting in his passage to the
+door, which the lodger prepared to open, &lsquo;when he who adores
+thee has left but the name&mdash;&rsquo;
+</p>
+
+<p>
+&lsquo;What do you mean?&rsquo;
+</p>
+
+<p>
+&lsquo;But the name,&rsquo; said Dick, &lsquo;has left but the name&mdash;in case
+of letters or parcels&mdash;&rsquo;
+</p>
+
+<p>
+&lsquo;I never have any,&rsquo; said the lodger.
+</p>
+
+<p>
+&lsquo;Or in case anybody should call.&rsquo;
+</p>
+
+<p>
+&lsquo;Nobody ever calls on me.&rsquo;
+</p>
+
+<p>
+&lsquo;If any mistake should arise from not having the name, don't
+say it was my fault, sir,&rsquo; added Dick, still lingering; &lsquo;oh,
+blame not the bard&mdash;&rsquo;
+</p>
+
+<p>
+&lsquo;I'll blame nobody,&rsquo; said the lodger.
+</p>
+</blockquote>
+
+<p>
+But that Mr. Swiveller's knowledge of songs
+should be both &lsquo;extensive and peculiar&rsquo; is only to be
+expected from one who held the distinguished office
+of &lsquo;Perpetual Grand Master of the Glorious Apollers,&rsquo;
+although he seems to have been more in the habit
+of quoting extracts from them than of giving vocal
+illustrations. On one occasion, however, we find
+<a class="pagebreak" name="page125" id="page125"
+title="125"></a>him associated with Mr. Chuckster &lsquo;in a fragment
+of the popular duet of &ldquo;All's Well&rdquo; with a long
+shake at the end.&rsquo;
+</p>
+
+<p>
+The following extract illustrates the &lsquo;shake&rsquo;:
+</p>
+
+<blockquote class="flush">
+<h4 class="central">ALL'S WELL (<span class="sc">Duet</span>).</h4>
+
+<p><i>Sung by Mr. Braham and Mr. Charles Braham.</i></p>
+<p class="right"><i>Music by Mr. Braham.</i></p>
+
+<p class="central">
+[<a href="midi/figure_8.mid">MIDI</a>]<br />
+<img src="images/fig_8.png" width="467" height="345"
+ alt="[Score to All's well]" />
+</p>
+<p class="stanza hidden">
+<span class="i0">All's well, All's well;</span><br />
+<span class="i0">Above, below,</span><br />
+<span class="i0">All, all's well.</span>
+</p>
+</blockquote>
+
+<p>
+Although most of Swiveller's quotations are from
+songs, he does not always confine himself to them,
+as for instance, when he sticks his fork into a large
+carbuncular potato and reflects that &lsquo;Man wants but
+little here below,&rsquo; which seems to show that in his
+quieter moments he had studied Goldsmith's <i>Hermit</i>.
+</p>
+
+<p>
+<a class="pagebreak" name="page126" id="page126"
+title="126"></a>Mr. Swiveller's quotations are largely connected
+with his love-passages with Sophy Wackles, and
+they are so carefully and delicately graded that
+they practically cover the whole ground in the
+rise and decline of his affections. He begins by
+suggesting that &lsquo;she's all my fancy painted her.&rsquo;
+</p>
+
+<p>
+From this he passes to
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">She's like the red, red rose,</span><br />
+<span class="i1">&nbsp;&nbsp;That's newly sprung in June.</span><br />
+<span class="i0">She's also like a melody,</span><br />
+<span class="i1">&nbsp;&nbsp;That's sweetly played in tune.</span>
+</p>
+</blockquote>
+
+<p class="flush">
+then
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">When the heart of a man is depressed with fears,</span><br />
+<span class="i0">The mist is dispelled when Miss Wackles appears,</span>
+</p>
+</blockquote>
+
+<p class="flush">
+which is his own variant of
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">If the heart of a man is depressed with care,</span><br />
+<span class="i0">The mist is dispelled when a woman appears.</span>
+</p>
+</blockquote>
+
+<p>
+But at the party given by the Wackleses Dick
+finds he is cut out by Mr. Cheggs, and so makes his
+escape saying, as he goes&mdash;
+</p>
+
+<blockquote>
+<p>
+My boat is on the shore, and my bark is on the sea; but before
+I pass this door, I will say farewell to thee,
+</p>
+</blockquote>
+
+<p class="flush">
+and he subsequently adds&mdash;
+</p>
+
+<blockquote>
+<p>
+Miss Wackles, I believed you true, and I was blessed in so
+believing; but now I mourn that e'er I knew a girl so fair, yet
+so deceiving.
+</p>
+</blockquote>
+
+<p>
+<a class="pagebreak" name="page127" id="page127"
+title="127"></a>The <i>d�nouement</i> occurs some time after, when, in
+the course of an interview with Quilp, he takes from
+his pocket
+</p>
+
+<blockquote>
+<p class="flush">
+a small and very greasy parcel, slowly unfolding it, and displaying
+a little slab of plum cake, extremely indigestible in
+appearance and bordered with a paste of sugar an inch and a
+half deep.
+</p>
+
+<p>
+&lsquo;What should you say this was?&rsquo; demanded Mr. Swiveller.
+</p>
+
+<p>
+&lsquo;It looks like bride-cake,&rsquo; replied the dwarf, grinning.
+</p>
+
+<p>
+&lsquo;And whose should you say it was?&rsquo; inquired Mr. Swiveller,
+rubbing the pastry against his nose with dreadful calmness.
+&lsquo;Whose?&rsquo;
+</p>
+
+<p>
+&lsquo;Not&mdash;&rsquo;
+</p>
+
+<p>
+&lsquo;Yes,&rsquo; said Dick, &lsquo;the same. You needn't mention her name.
+There's no such name now. Her name is Cheggs now, Sophy
+Cheggs. Yet loved I as man never loved that hadn't wooden
+legs, and my heart, my heart is breaking for the love of Sophy
+Cheggs.&rsquo;
+</p>
+
+<p>
+With this extemporary adaptation of a popular ballad to the
+distressing circumstances of his own case, Mr. Swiveller folded
+up the parcel again, beat it very flat upon the palms of his
+hands, thrust it into his breast, buttoned his coat over it, and
+folded his arms upon the whole.
+</p>
+</blockquote>
+
+<p class="flush">
+And then he signifies his grief by pinning a piece of
+crape on his hat, saying as he did so,
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">'Twas ever thus: from childhood's hour</span><br />
+<span class="i1">&nbsp;&nbsp;I've seen my fondest hopes decay;</span><br />
+<span class="i0">I never loved a tree or flower</span><br />
+<span class="i1">&nbsp;&nbsp;But 'twas the first to fade away;</span><br />
+<a class="pagebreak" name="page128" id="page128"
+title="128"></a><span class="i0">I never nursed a dear gazelle,</span><br />
+<span class="i1">&nbsp;&nbsp;To glad me with its soft black eye,</span><br />
+<span class="i0">But when it came to know me well,</span><br />
+<span class="i1">&nbsp;&nbsp;And love me, it was sure to marry a market gardener.</span>
+</p>
+</blockquote>
+
+<p>
+He is full of song when entertaining the
+Marchioness. &lsquo;Do they often go where glory waits
+'em?&rsquo; he asks, on hearing that Sampson and Sally
+Brass have gone out for the evening. He accepts
+the statement that Miss Brass thinks him a &lsquo;funny
+chap&rsquo; by affirming that &lsquo;Old King Cole was a merry
+old soul&rsquo;; and on taking his leave of the little
+slavey he says,
+</p>
+
+<blockquote>
+<p>
+&lsquo;Good night, Marchioness. Fare thee well, and if for ever
+then for ever fare thee well&mdash;and put up the chain, Marchioness,
+in case of accidents.
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">Since life like a river is flowing,</span><br />
+<span class="i1">&nbsp;&nbsp;I care not how fast it rolls on, ma'am,</span><br />
+<span class="i0">While such purl on the bank still is growing,</span><br />
+<span class="i1">&nbsp;&nbsp;And such eyes light the waves as they run.&rsquo;</span>
+</p>
+</blockquote>
+</blockquote>
+
+<p>
+On a later occasion, after enjoying some games
+of cards he retires to rest in a deeply contemplative
+mood.
+</p>
+
+<blockquote>
+<p>
+&lsquo;These rubbers,&rsquo; said Mr. Swiveller, putting on his nightcap
+in exactly the same style as he wore his hat, &lsquo;remind me of
+the matrimonial fireside. Cheggs's wife plays cribbage; all-fours
+likewise. She rings the changes on 'em now. From sport
+<a class="pagebreak" name="page129" id="page129"
+title="129"></a>to sport they hurry her, to banish her regrets; and when they
+win a smile from her they think that she forgets&mdash;but she
+don't.&rsquo;
+</p>
+</blockquote>
+
+<p>
+Many of Mr. Swiveller's quotations are from
+Moore's <i>Irish Melodies</i>, though he has certainly
+omitted one which, coming from him, would not have
+been out of place, viz. &lsquo;The time I've lost in
+wooing&rsquo;!
+</p>
+
+<p>
+On another occasion Swiveller recalls some well-known
+lines when talking to Kit. &lsquo;An excellent
+woman, that mother of yours, Christopher,&rsquo; said
+Mr. Swiveller; &lsquo;&ldquo;Who ran to catch me when I fell,
+and kissed the place to make it well? My mother.&rdquo;&rsquo;
+</p>
+
+<p>
+This is from Ann Taylor's nursery song, which has
+probably been more parodied than any other poem
+in existence. There is a French version by Madame
+� Taslie, and it has most likely been translated into
+other languages.
+</p>
+
+<p>
+Dick gives us another touching reference to his
+mother. He is overcome with curiosity to know in
+what part of the Brass establishment the Marchioness
+has her abode.
+</p>
+
+<blockquote>
+<p>
+My mother must have been a very inquisitive woman; I have
+no doubt I'm marked with a note of interrogation somewhere.
+My feelings I smother, but thou hast been the cause of this
+anguish, my&mdash;
+</p>
+</blockquote>
+
+<p>
+<a class="pagebreak" name="page130" id="page130"
+title="130"></a>This last remark is a memory of T.H. Bayly's
+celebrated song &lsquo;We met,&rsquo; which tells in somewhat
+incoherent language the story of a maiden who left
+her true love at the command of her mother, and
+married for money.
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">The world may think me gay,</span><br />
+<span class="i1">&nbsp;&nbsp;For my feelings I smother;</span><br />
+<span class="i0">Oh <i>thou</i> hast been the cause</span><br />
+<span class="i1">&nbsp;&nbsp;Of this anguish&mdash;my mother.</span>
+</p>
+</blockquote>
+
+<p>
+T. Haynes Bayly was a prominent song-writer
+some seventy years ago (1797&ndash;1839). His most
+popular ballad was &lsquo;I'd be a Butterfly.&rsquo; It came
+out with a coloured title-page, and at once became
+the rage, in fact, as John Hullah said, &lsquo;half musical
+England was smitten with an overpowering, resistless
+rage for metempsychosis.&rsquo; There were many
+imitations, such as &lsquo;I'd be a Nightingale&rsquo; and
+&lsquo;I'd be an Antelope.&rsquo;
+</p>
+
+
+<h3><i>Teachers and Composers</i></h3>
+
+<p>
+Although we read so much about singers, the
+singing-master is rarely introduced, in fact Mr.
+M'Choakumchild (<i><abbr title="Hard Times">H.T.</abbr></i>), who &lsquo;could teach everything
+from vocal music to general cosmography,&rsquo;
+almost stands alone. However, in view of the
+<a class="pagebreak" name="page131" id="page131"
+title="131"></a>complaints of certain adjudicators about the facial
+distortions they beheld at musical competitions, it
+may be well to record Mrs. General's recipe for
+giving &lsquo;a pretty form to the lips&rsquo; (<i><abbr title="Little Dorrit">L.D.</abbr></i>).
+</p>
+
+<blockquote>
+<p>
+Papa, potatoes, poultry, prunes, and prism are all very good
+words for the lips, especially prunes and prism. You will find
+it serviceable in the formation of a demeanour.
+</p>
+</blockquote>
+
+<p class="flush">
+Nor do composers receive much attention, but
+amongst the characters we may mention Mr. Skimpole
+(<i><abbr title="Bleak House">B.H.</abbr></i>), who composed half an opera, and the
+lamp porter at Mugby Junction, who composed
+&lsquo;Little comic songs-like.&rsquo; In this category we can
+scarcely include Mrs. Kenwigs, who &lsquo;invented and
+composed&rsquo; her eldest daughter's name, the result
+being &lsquo;Morleena.&rsquo; Mr. Skimpole, however, has a
+further claim upon our attention, as he &lsquo;played
+what he composed with taste,&rsquo; and was also a
+performer on the violoncello. He had his lighter
+moments, too, as when he went to the piano one
+evening at 11 p.m. and rattled hilariously
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">That the best of all ways to lengthen our days</span><br />
+<span class="i0">Was to steal a few hours from Night, my dear!</span>
+</p>
+</blockquote>
+
+<p class="flush">
+It is evident that his song was &lsquo;The Young May
+Moon,&rsquo; one of Moore's <i>Irish Melodies</i>.
+</p>
+
+<blockquote>
+<p class="stanza">
+<a class="pagebreak" name="page132" id="page132"
+title="132"></a><span class="i0">The young May moon is beaming, love,</span><br />
+<span class="i0">The glow-worm's lamp is gleaming, love,</span><br />
+<span class="i4">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;How sweet to rove</span><br />
+<span class="i4">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Through Morna's grove</span><br />
+<span class="i0">While the drowsy world is dreaming, love!</span>
+</p>
+
+<p class="stanza">
+<span class="i0">Then awake&mdash;the heavens look bright, my dear!</span><br />
+<span class="i0">'Tis never too late for delight, my dear!</span><br />
+<span class="i4">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;And the best of all ways</span><br />
+<span class="i4">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;To lengthen our days</span><br />
+<span class="i0">Is to steal a few hours from the night, my dear!</span>
+</p>
+</blockquote>
+
+
+<h3><i>Silas Wegg's Effusions</i></h3>
+
+<p>
+We first meet Silas Wegg in the fifth chapter of
+<i>Our Mutual Friend</i>, where he is introduced to us as
+a ballad-monger. His intercourse with his employer,
+Mr. Boffin, is a frequent cause of his dropping into
+poetry, and most of his efforts are adaptations of
+popular songs. His character is not one that
+arouses any sympathetic enthusiasm, and probably
+no one is sorry when towards the end of the
+story Sloppy seizes hold of the mean little
+creature, carries him out of the house, and
+deposits him in a scavenger's cart &lsquo;with a
+prodigious splash.&rsquo;
+</p>
+
+<p>
+The following are Wegg's poetical effusions, with
+their sources and original forms.
+</p>
+</div>
+
+<div class="effusions">
+<h4><a class="pagebreak" name="page133" id="page133"
+title="133"></a>Book I, Ch. 5.</h4>
+
+<p>
+&lsquo;Beside that cottage door, Mr. Boffin,&rsquo; from
+&lsquo;The Soldier's Tear&rsquo;
+</p>
+
+<p class="right"><i>Alexander Lee</i></p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">Beside that cottage porch</span><br />
+<span class="i0">A girl was on her knees;</span><br />
+<span class="i0">She held aloft a snowy scarf</span><br />
+<span class="i0">Which fluttered in the breeze.</span><br />
+<span class="i0">She breath'd a prayer for him,</span><br />
+<span class="i0">A prayer he could not hear;</span><br />
+<span class="i0">But he paused to bless her as she knelt,</span><br />
+<span class="i0">And wip'd away a tear.</span>
+</p>
+</blockquote>
+
+
+<h4>Book I, Ch. 15.</h4>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">The gay, the gay and festive scene,</span><br />
+<span class="i0">I'll tell thee how the maiden wept, Mrs. Boffin.</span>
+</p>
+</blockquote>
+
+<p>
+From &lsquo;The Light Guitar.&rsquo; (See <a href="#page157">Index of Songs</a>.)
+</p>
+
+
+<h4>Book I, Ch. 15.</h4>
+
+<p>
+&lsquo;Thrown on the wide world, doomed to
+wander and roam.&rsquo; From &lsquo;The Peasant Boy&rsquo;
+</p>
+
+<p class="right"><i>J. Parry</i></p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">Thrown on the wide world, doom'd to wander and roam,</span><br />
+<span class="i0">Bereft of his parents, bereft of his home,</span><br />
+<span class="i0">A stranger to pleasure, to comfort and joy,</span><br />
+<span class="i0">Behold little Edmund, the poor Peasant Boy.</span>
+</p>
+</blockquote>
+
+
+<h4>Book I, Ch. 15.</h4>
+
+<p>
+&lsquo;Weep for the hour.&rsquo; From &lsquo;Eveleen's
+Bower&rsquo;
+</p>
+
+<p class="right"><i>T. Moore</i></p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">Oh! weep for the hour</span><br />
+<span class="i0">When to Eveleen's bower</span><br />
+<span class="i0">The lord of the valley with false vows came.</span>
+</p>
+</blockquote>
+
+
+<h4>Book I, Ch. 15.</h4>
+
+<p>
+&lsquo;Then farewell, my trim-built wherry.&rsquo; From
+&lsquo;The Waterman&rsquo;
+</p>
+
+<p class="right"><i>C. Dibdin</i></p>
+
+
+<h4>Book II, Ch. 7.</h4>
+
+<p>
+&lsquo;Helm a-weather, now lay her close.&rsquo; From
+&lsquo;The Tar for all Weathers&rsquo;
+</p>
+
+<p class="right"><i>Unknown</i></p>
+
+
+<h4><a class="pagebreak" name="page134" id="page134"
+title="134"></a>Book III, Ch. 6.</h4>
+
+<p>
+&lsquo;No malice to dread, sir.&rsquo; From verse 3 of
+&lsquo;My Ain Fireside.&rsquo;
+</p>
+
+<p class="right">Words by <i>Mrs. E. Hamilton</i></p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">Nae falsehood to dread, nae malice to fear,</span><br />
+<span class="i0">But truth to delight me, and kindness to cheer;</span><br />
+<span class="i0">O' a' roads to pleasure that ever were tried,</span><br />
+<span class="i0">There's nane half so sure as one's own fireside.</span><br />
+<span class="i3">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;My ain fireside, my ain fireside,</span><br />
+<span class="i3">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Oh sweet is the blink o' my ain fireside.</span>
+</p>
+</blockquote>
+
+
+<h4>Book III, Ch. 6.</h4>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">And you needn't, Mr. Venus, be your black bottle,</span><br />
+<span class="i1">&nbsp;&nbsp;For surely I'll be mine,</span><br />
+<span class="i0">And we'll take a glass with a slice of lemon in it, to which you're partial,</span><br />
+<span class="i1">&nbsp;&nbsp;For auld lang syne.</span>
+</p>
+</blockquote>
+
+<p>
+A much altered version of verse 5 of Burns' celebrated
+song.
+</p>
+
+
+<h4>Book III, Ch. 6.</h4>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">Charge, Chester, charge,</span><br />
+<span class="i0">On Mr. Venus, on.</span>
+</p>
+</blockquote>
+
+<p>
+From Scott's <i>Marmion</i>.
+</p>
+
+
+<h4>Book IV, Ch. 3.</h4>
+
+<p>
+&lsquo;If you'll come to the bower I've shaded for
+you.&rsquo; From &lsquo;Will you Come to the Bower&rsquo;
+</p>
+
+<p class="right"><i>T. Moore</i></p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">Will you come to the Bower I've shaded for you,</span><br />
+<span class="i0">Our bed shall be roses, all spangled with dew.</span><br />
+<span class="i0">Will you, will you, will you, will you come to the Bower?</span><br />
+<span class="i0">Will you, will you, will you, will you come to the Bower?</span>
+</p>
+</blockquote>
+</div>
+
+
+
+<div class="songlist">
+<h2><a class="pagebreak" name="page135" id="page135"
+title="135"></a>A LIST OF SONGS
+AND
+INSTRUMENTAL MUSIC MENTIONED BY DICKENS<br />
+<small>WITH HISTORICAL NOTES</small></h2>
+
+
+<p class="central">
+<i>The figures in brackets denote the chapter in the novel referred to</i>
+</p>
+
+
+<h3><span class="sc">A Cobbler There Was</span> (<i><abbr title="Dombey &amp; Son">D. &amp; S.</abbr></i> 2)</h3>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">A cobbler there was, and he lived in a stall,</span><br />
+<span class="i0">Which serv'd him for parlour, for kitchen and hall,</span><br />
+<span class="i0">No coin in his pocket, nor care in his pate,</span><br />
+<span class="i0">No ambition had he, nor no duns at his gate,</span><br />
+<span class="i4">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Derry down, down, down, derry down.</span>
+</p>
+</blockquote>
+
+<p>
+The melody appeared in <i>Beggar's Opera</i>, 1728, and
+<i>Fashionable Lady</i>, 1730.
+</p>
+
+
+<h3><a name="a_frog"></a><span class="sc">A Frog He Would</span> (<i><abbr title="Pickwick Papers">P.P.</abbr></i> 32)</h3>
+
+<p>
+The theme of the ballad belongs to the late sixteenth
+century.
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">A frog he would a-wooing go,</span><br />
+<span class="i1">&nbsp;&nbsp;Heigho! said Rowley,</span><br />
+<span class="i0">Whether his mother would let him or no,</span><br />
+<span class="i1">&nbsp;&nbsp;With his rowly powly,</span><br />
+<span class="i1">&nbsp;&nbsp;Gammon and spinnage,</span><br />
+<span class="i2">&nbsp;&nbsp;&nbsp;&nbsp;O heigh! said Anthony Rowley.</span>
+</p>
+</blockquote>
+
+<p>
+We are told that Jack Hopkins sang &lsquo;The King, God
+Bless Him,&rsquo; to a novel air, compounded of &lsquo;The Bay
+of Biscay&rsquo; and &lsquo;A Frog He Would.&rsquo; The latter was
+evidently the modern setting by C.E. Horn.
+</p>
+
+
+<h3><span class="sc">Alice Gray</span></h3>
+
+<p>
+See &lsquo;<a href="#yet_lovd_i">Yet Lov'd I</a>.&rsquo;
+</p>
+
+
+<h3><span class="sc">All Hail to the Vessel of Pecksniff the Sire</span>
+(<i><abbr title="Martin Chuzzlewit">M.C.</abbr></i> 11)</h3>
+
+<p>
+Perhaps a parody on &lsquo;All Hail to the Chief.&rsquo;
+</p>
+
+
+<h3><span class="sc">All in the Downs</span> (<i><abbr title="Pickwick Papers">P.P.</abbr></i> 3)</h3>
+
+<p>
+See &lsquo;<a href="#page139">Black-Eyed Susan</a>.&rsquo;
+</p>
+
+
+<h3><a class="pagebreak" name="page136" id="page136"
+title="136"></a><span class="sc">All's Well</span> (<i><abbr title="Old Curiosity Shop">O.C.S.</abbr></i> 56).</h3>
+
+<p>See p. <a href="#page125">125</a>.</p>
+
+<p>
+Duet in <i>The English Fleet</i>.
+</p>
+
+(<i>T. Dibdin</i>)
+
+<p class="right"><i>J. Braham.</i></p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">Deserted by the waning moon,</span><br />
+<span class="i0">When skies proclaim night's cheerless gloom,</span><br />
+<span class="i0">On tower, fort, or tented ground,</span><br />
+<span class="i0">The sentry walks his lonely round;</span><br />
+<span class="i0">And should a footstep haply stray</span><br />
+<span class="i0">Where caution marks the guarded way,</span><br />
+<span class="i0">Who goes there? Stranger, quickly tell,</span><br />
+<span class="i0">A friend. The word? Good-night. All's well.</span>
+</p>
+</blockquote>
+
+
+<h3><span class="sc">And She Shall Walk</span> (<i><abbr title="Old Curiosity Shop">O.C.S.</abbr></i> 66)</h3>
+
+<p>
+Words by <i>Susan Blamire</i>.
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">And ye shall walk in silk attire,</span><br />
+<span class="i1">&nbsp;&nbsp;And siller ha'e to spare,</span><br />
+<span class="i0">Gin ye'll consent to be my bride,</span><br />
+<span class="i1">&nbsp;&nbsp;Nor think on Donald mair.</span>
+</p>
+</blockquote>
+
+<p>
+Susan Blamire was born at Carden Hall, near Carlisle.
+Very few of her poems were published under her own
+name, as well-born ladies of those days disliked seeing
+their names published as authors. &lsquo;The Siller Crown,&rsquo;
+from which this verse is taken, is in the Cumberland
+dialect. It first appeared anonymously in the <i>Scots
+Musical Museum</i>, 1790, and the authorship was subsequently
+settled by members of the family.
+</p>
+
+
+<h3><span class="sc">And You Needn't, Mr. Venus, be Your Black Bottle</span>
+(<i><abbr title="Our Mutual Friend">O.M.F.</abbr></i>).</h3>
+
+<p>See p. <a href="#page134">134</a>.</p>
+
+
+<h3><span class="sc">A Stiff Nor'-Wester's Blowing, Bill</span> (<i><abbr title="Dombey &amp; Son">D. &amp; S.</abbr></i> 49)</h3>
+
+<p>
+From &lsquo;The Sailor's Consolation.&rsquo;
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">One night came on a hurricane,</span><br />
+<span class="i1">&nbsp;&nbsp;The seas were mountains rolling,</span><br />
+<span class="i0">When Barney Buntline turned his quid,</span><br />
+<span class="i1">&nbsp;&nbsp;And said to Billy Bowling,</span><br />
+<span class="i0">A stiff Nor'-Wester's blowing, Bill,</span><br />
+<span class="i1">&nbsp;&nbsp;Hark, don't you hear it roar now?</span><br />
+<span class="i0">Lord help 'em! how I pity's all</span><br />
+<span class="i1">&nbsp;&nbsp;Unhappy folk ashore now.</span>
+</p>
+</blockquote>
+
+<p>
+<a class="pagebreak" name="page137" id="page137"
+title="137"></a>Mr. Kidson says in reference to this: &lsquo;I do not know
+that it was ever written to music, though I fancy more
+than one popular tune has been set to the words, which
+are by a person named Pitt.&rsquo;
+</p>
+
+
+<h3><span class="sc">Auld Lang Syne</span> (&lsquo;Holly Tree,&rsquo; <i><abbr title="David Copperfield">D.C.</abbr></i> 17, 28)</h3>
+
+<p>
+Words by <i>Burns</i>.
+</p>
+
+<p>
+A version of the melody occurs at the end of the
+overture to Shield's <i>Rosina</i>, 1783, and is either his own
+composition or an imitation of some Scotch melody.
+As, however, such melody has not hitherto been discovered,
+no great importance can be attached to this
+theory. <i>Rosina</i> was performed in Edinburgh.
+</p>
+
+<p>
+Some maintain that the tune is taken from a Scotch
+reel known as the &lsquo;Miller's Wedding,&rsquo; found in Bremner's
+<i>Reels</i> (1757&ndash;1761).
+</p>
+
+
+<h3><span class="sc">Away With Melancholy</span> (<i><abbr title="Old Curiosity Shop">O.C.S.</abbr></i> 58, <i><abbr title="Our Mutual Friend">O.M.F.</abbr></i> ii. 6, <i><abbr title="Pickwick Papers">P.P.</abbr></i> 44,
+<i><abbr title="David Copperfield">D.C.</abbr></i> 8)</h3>
+
+<p>
+The melody is from Mozart's <i>Magic Flute</i>, &lsquo;Das klinget
+so herrlich&rsquo;&mdash;a chorus with glockenspiel accompaniment.
+The writer of the words is unknown.
+</p>
+
+<p>
+The air was introduced into an arrangement of Shakespeare's
+<i>Tempest</i>, and set to the words &lsquo;To moments so
+delighting!&rsquo; sung by Miss Stephens. Also found as a
+duet &lsquo;composed by Sigr. Mozart, arranged by
+F.A. Hyde.&rsquo;
+</p>
+
+
+<h3><span class="sc">Bay of Biscay</span> (<i><abbr title="Uncommercial Traveller">U.T.</abbr></i> 31, <i><abbr title="Dombey &amp; Son">D. &amp; S.</abbr></i> 39, <i><abbr title="Pickwick Papers">P.P.</abbr></i> 32)</h3>
+
+<p>
+Words by <i>Andrew Cherry</i>.
+</p>
+
+<p class="right"><i>J. Davy.</i></p>
+
+<p>
+Also see under &lsquo;<a href="#a_frog">A Frog He Would</a>.&rsquo;
+</p>
+
+
+<h3><span class="sc">Beethoven's Sonata in B.</span></h3>
+
+<p>
+See p. <a href="#page28">28</a>.
+</p>
+
+
+<h3><a class="pagebreak" name="page138" id="page138"
+title="138"></a><span class="sc">Begone, Dull Care</span> (<i><abbr title="Old Curiosity Shop">O.C.S.</abbr></i> 7, <i><abbr title="Edwin Drood">E.D.</abbr></i> 2)</h3>
+
+<p>
+Author unknown. The words occur in various song-books
+of the eighteenth century. The tune is seventeenth
+century, possibly derived from the &lsquo;Queen's
+Jigg&rsquo; in the <i>Dancing Master</i>.
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">Begone, dull care, I prithee begone from me;</span><br />
+<span class="i0">Begone, dull care, you and I can never agree.</span>
+</p>
+</blockquote>
+
+<p>
+The words were set as a glee by John Sale, and this
+may be the music that Dickens knew.
+</p>
+
+
+<h3><span class="sc">Believe Me, if All Jarley's Waxworks so Rare</span> (<i><abbr title="Old Curiosity Shop">O.C.S.</abbr></i> 27)</h3>
+
+<p>
+A parody on the following.
+</p>
+
+
+<h3><span class="sc">Believe Me, if all Those Endearing Young Charms</span>
+(<i><abbr title="Bleak House">B.H.</abbr></i> 55)</h3>
+
+<p>
+Words by <i>T. Moore</i>.
+</p>
+
+<p>
+Set to the old melody &lsquo;My Lodging is on the Cold
+Ground.&rsquo; This appears to have come into existence
+about the middle of the eighteenth century. It
+is found in <i>Vocal Music, or the Songster's Companion</i>,
+1775, and it was claimed by Moore to be an
+Irish melody, but some authorities deny this. It has
+also been claimed as Scotch, but the balance of opinion
+is in favour of its English origin (F. Kidson).
+</p>
+
+
+<h3><span class="sc">Beside that Cottage Door, Mr. Boffin</span> (<i><abbr title="Our Mutual Friend">O.M.F.</abbr></i>)</h3>
+
+<p>
+See p. <a href="#page133">133</a>.
+</p>
+
+
+<h3><span class="sc">Bid Me Discourse</span> (<i><abbr title="Sketches by Boz: Tales">S.B.T.</abbr></i> 4)</h3>
+
+<p>
+Words adapted from Shakespeare's <i>Venus and Adonis</i>.
+</p>
+
+<p class="right"><i>H.R. Bishop.</i></p>
+
+
+<h3><span class="sc">Bird Waltz</span> (<i><abbr title="Dombey &amp; Son">D. &amp; S.</abbr></i> 29, 38)</h3>
+
+<p class="right"><i>Panormo.</i></p>
+
+<p>
+A very popular piano piece of the pre-Victorian period.
+</p>
+
+
+<h3><a class="pagebreak" name="page139" id="page139"
+title="139"></a><span class="sc">Black-eyed Susan</span> (<i><abbr title="American Notes">A.N.</abbr></i>), <span class="sc">or All in the Downs</span> (<i><abbr title="Pickwick Papers">P.P.</abbr></i> 3)</h3>
+
+<p>
+Words by <i>John Gay</i>.
+</p>
+
+<p class="right"><i>R. Leveridge.</i></p>
+
+<p>
+This song was printed in sheet form previous to 1730,
+in which year it appeared in Watts' <i>Musical Miscellany</i>,
+Vol. IV., and was also inserted about that time in
+several ballad operas.
+</p>
+
+
+<h3><span class="sc">Bold Turpin Vunce</span> (<i><abbr title="Pickwick Papers">P.P.</abbr></i> 43)</h3>
+
+<p>
+Mr. Frank Kidson has pointed out that Sam Weller's
+song is founded upon a ballad entitled &lsquo;Turpin and
+the Bishop,&rsquo; which appears in <i>Gaieties and Gravities</i>,
+by one of the authors of <i>Rejected Addresses</i>. The
+author is said to be Horatio Smith. There is a good
+four-part setting of the words by Sir F. Bridge.
+</p>
+
+
+<h3><span class="sc">Brave Lodgings for One</span> (<i><abbr title="Pickwick Papers">P.P.</abbr></i> 29)</h3>
+
+<p>
+Original.
+</p>
+
+
+<h3><span class="sc">British Grenadiers</span> (<i><abbr title="Bleak House">B.H.</abbr></i> 49)</h3>
+
+<p>
+The tune as we know it now is the growth of centuries,
+the foundation probably being a tune in <i>The Fitzwilliam
+Virginal Book</i>. The Grenadiers were founded
+in 1678. The second verse refers to &lsquo;hand grenades,&rsquo;
+and the regiment ceased to use these in the reign of
+Queen Anne. The author is unknown.
+</p>
+
+
+<h3><span class="sc">Britons, Strike Home</span> (<i><abbr title="Somebody's Luggage">S.L.</abbr></i>)</h3>
+
+<p>
+The well-known song in Purcell's <i>Bonduca</i> gave its
+name to an opera by Charles Dibdin, published in 1803.
+This work probably suggested the phrase to Dickens.
+It was written with a view to arousing a patriotic feeling.
+<a class="pagebreak" name="page140" id="page140"
+title="140"></a>The following verse occurs in the work:
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">When Dryden wrote and Purcell sung</span><br />
+<span class="i1">&nbsp;&nbsp;Britons, strike home,</span><br />
+<span class="i0">The patriot-sounds re-echoing rung</span><br />
+<span class="i1">&nbsp;&nbsp;The vaulted dome.</span>
+</p>
+</blockquote>
+
+
+<h3><span class="sc">Buffalo Gals</span> (<i>Letters</i>)</h3>
+
+<p>
+See p. <a href="#page10">10</a>.
+</p>
+
+
+<h3><span class="sc">By the Sad Sea Waves</span> (<i>Letters</i>)</h3>
+
+<p class="right"><i>Julius Benedict.</i></p>
+
+<p>
+A once popular song from the opera <i>The Brides of
+Venice</i>.
+</p>
+
+
+<h3><span class="sc">Cheer, Boys, Cheer</span> (<i><abbr title="Uncommercial Traveller">U.T.</abbr></i> 29)</h3>
+
+<p>
+Words by <i>Charles Mackay</i>.
+</p>
+
+<p class="right"><i>Henry Russell.</i></p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">Cheer! boys, cheer! no more of idle sorrow&mdash;</span><br />
+<span class="i1">&nbsp;&nbsp;Courage! true hearts shall bear us on our way,</span><br />
+<span class="i0">Hope points before, and shows the bright to-morrow,</span><br />
+<span class="i1">&nbsp;&nbsp;Let us forget the darkness of to-day.</span>
+</p>
+</blockquote>
+
+<p>
+One of Russell's most popular songs. He sold the
+copyright for �3, and shortly afterwards learnt that
+the publisher had to keep thirty-nine presses at work
+on it night and day to meet the demand.
+</p>
+
+
+<h3><span class="sc">Copenhagen Waltz</span> (<i><abbr title="Dombey &amp; Son">D. &amp; S.</abbr></i> 7)</h3>
+
+<p>
+Also known as the <i>Danish Waltz</i>.
+</p>
+
+
+<h3><span class="sc">Dead March.</span></h3>
+
+<p>
+From the oratorio <i>Saul</i>.
+</p>
+
+<p class="right"><i>Handel.</i></p>
+
+<p>
+See p. <a href="#page61">61</a>.
+</p>
+
+
+<h3><a name="death_of_nelson"></a><span class="sc">Death of Nelson</span> (<i><abbr title="David Copperfield">D.C.</abbr></i> 52, <i><abbr title="Dombey &amp; Son">D. &amp; S.</abbr></i> 48, <i><abbr title="Our Mutual Friend">O.M.F.</abbr></i> iv. 3)</h3>
+
+<p>
+See p. <a href="#page116">116</a>.
+</p>
+
+<p class="right"><i>J. Braham.</i></p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">Too well the gallant hero fought,</span><br />
+<span class="i0">For England, home, and beauty.</span>
+</p>
+</blockquote>
+
+
+<h3><a class="pagebreak" name="page141" id="page141"
+title="141"></a><span class="sc">Di Piacer</span> (<i><abbr title="Sketches by Boz: Tales">S.B.T.</abbr></i> 1)</h3>
+
+<p class="right"><i>Rossini.</i></p>
+
+<p>
+A favourite air from the opera <i>La Gazza Ladra</i>.
+</p>
+
+
+<h3><span class="sc">Downfall of Paris</span></h3>
+
+<p>
+See p. <a href="#page31">31</a>.
+</p>
+
+
+<h3><span class="sc">Dragon of Wantley</span> (<i><abbr title="David Copperfield">D.C.</abbr></i> 38)</h3>
+
+<p>
+An eighteenth-century popular burlesque opera.
+</p>
+
+<p>
+Words by <i>H. Carey</i>, music by <i>Lampe</i>.
+</p>
+
+
+<h3><span class="sc">Drink to Me Only With Thine Eyes</span> (<i><abbr title="Our Mutual Friend">O.M.F.</abbr></i> iii. 14)</h3>
+
+<p>
+Words by <i>Ben Jonson</i>.
+</p>
+
+<p>
+The composer is unknown. The air was originally
+issued as a glee for three voices.
+</p>
+
+
+<h3><span class="sc">Dumbledumdeary</span> (<i><abbr title="Sketches by Boz: Scenes">S.B.S.</abbr></i> 10)</h3>
+
+<p>
+A refrain rarely found in old songs. It occurs in
+&lsquo;Richard of Taunton Dean.&rsquo; Also (as in the reference)
+the name of a dance.
+</p>
+
+
+<h3><span class="sc">Evening Bells</span> (<i><abbr title="David Copperfield">D.C.</abbr></i> 38)</h3>
+
+<p>
+Duet by <i>G. Alexander Lee</i>.
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">Come away, come away, evening bells are ringing,</span><br />
+<span class="i0">Sweetly, sweetly; 'tis the vesper hour.</span>
+</p>
+</blockquote>
+
+
+<h3><span class="sc">Fare Thee Well, and if For Ever</span> (<i><abbr title="Old Curiosity Shop">O.C.S.</abbr></i> 58)</h3>
+
+<p>
+Words by <i>Byron</i>.
+</p>
+
+<p>
+Included in &lsquo;Domestic Pieces.&rsquo;
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">Fare thee well, and if for ever,</span><br />
+<span class="i1">&nbsp;&nbsp;Still for ever, fare thee well;</span><br />
+<span class="i0">Even though unforgiving, never</span><br />
+<span class="i1">&nbsp;&nbsp;'Gainst thee shall my heart rebel.</span>
+</p>
+</blockquote>
+
+<p>
+About 1825 the words were set to an air from Mozart's
+<i>La Clemenza di Tito</i>. There are original settings by
+Parke, S. Webbe, and six other composers.
+</p>
+
+
+<h3><a class="pagebreak" name="page142" id="page142"
+title="142"></a><span class="sc">Fill the Bumper Fair</span> (<i><abbr title="No Thoroughfare">N.T.</abbr></i>)</h3>
+
+<p>
+Moore's <i>Irish Melodies</i>, air &lsquo;Bob and Joan.&rsquo;
+</p>
+
+
+<h3><span class="sc">Flow On, Thou Shining River</span> (<i><abbr title="Sketches by Boz: Tales">S.B.T.</abbr></i> 1)</h3>
+
+<p>
+Moore's <i>National Melodies</i>.
+</p>
+
+<p>
+Said to be a &lsquo;Portuguese Air.&rsquo; The melody has been
+utilized as a hymn-tune.
+</p>
+
+
+<h3><span class="sc">Fly, Fly from the World, My Bessy, With Me</span> (<i><abbr title="Sketches by Boz: Scenes">S.B.S.</abbr></i> 2)</h3>
+
+<p>
+Words and music by <i>T. Moore</i>.
+</p>
+
+
+<h3><span class="sc">For England</span></h3>
+
+<p>
+See &lsquo;<a href="#death_of_nelson">Death of Nelson</a>.&rsquo;
+</p>
+
+
+<h3><span class="sc">For England, Home, and Beauty</span></h3>
+
+<p>
+See &lsquo;<a href="#death_of_nelson">Death of Nelson</a>.&rsquo;
+</p>
+
+
+<h3><span class="sc">For the Port of Barbados, Boys</span> (<i><abbr title="Dombey &amp; Son">D. &amp; S.</abbr></i> 15)</h3>
+
+<p>
+Original (?) See p. <a href="#page122">122</a>.
+</p>
+
+
+<h3><span class="sc">From Sport to Sport</span> (<i><abbr title="Old Curiosity Shop">O.C.S.</abbr></i> 58)</h3>
+
+<p>
+From &lsquo;Oh no, we never mention her.&rsquo;
+</p>
+
+<p>
+Words by <i>T.H. Bayly</i>.
+</p>
+
+<p class="right"><i>H.R. Bishop.</i></p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">From sport to sport they hurry me,</span><br />
+<span class="i1">&nbsp;&nbsp;To banish my regret;</span><br />
+<span class="i0">And when they win a smile from me,</span><br />
+<span class="i1">&nbsp;&nbsp;They think that I forget.</span>
+</p>
+</blockquote>
+
+
+<h3><span class="sc">Gee Up, Dobbin</span> (<i><abbr title="David Copperfield">D.C.</abbr></i> 12)</h3>
+
+<p>
+In the Burney Collection is a tune &lsquo;Gee Ho, Dobbin.&rsquo;
+Also in <i>Apollo's Cabinet</i>, 1757, Vol. II, and <i>Love in a
+<a class="pagebreak" name="page143" id="page143"
+title="143"></a>Village</i>, 1762. The tune was frequently used for
+ephemeral songs.
+</p>
+
+<p>
+It is doubtful if Dickens would know this song, the
+title of which has passed into a common phrase.
+</p>
+
+
+<h3><span class="sc">Glorious Apollo</span> (<i><abbr title="Old Curiosity Shop">O.C.S.</abbr></i> 13, 56)</h3>
+
+<p class="right"><i>S. Webbe.</i></p>
+
+<p>
+The title of this glee probably suggested the name of the
+&lsquo;Glorious Apollers.&rsquo; See p. <a href="#page124">124</a>.
+</p>
+
+
+<h3><span class="sc">Go Where Glory Waits Thee</span> (<i><abbr title="Martin Chuzzlewit">M.C.</abbr></i> 11)</h3>
+
+<p>
+(&lsquo;Do they often go where glory waits 'em?&rsquo; <i><abbr title="Old Curiosity Shop">O.C.S.</abbr></i> 58)
+</p>
+
+<p>
+Moore's <i>Irish Melodies</i>, set to the air &lsquo;Maid of the
+Valley.&rsquo;
+</p>
+
+
+<h3><span class="sc">God Bless the Prince of Wales</span> (<i><abbr title="Uncommercial Traveller">U.T.</abbr></i> 29)</h3>
+
+<p>
+Words by <i>J. Ceiriog Hughes</i>.
+</p>
+
+<p>
+Trans, by G. Linley.
+</p>
+
+<p class="right"><i>H. Brinley Richards</i>, 1862.</p>
+
+
+<h3><span class="sc">God Bless You, Merry Gentlemen</span> (<i><abbr title="Christmas Carol">C.C.</abbr></i>)</h3>
+
+<p>
+Origin unknown. The second word should be &lsquo;rest,&rsquo;
+and the correct reading is
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">God rest you merry, gentlemen.</span>
+</p>
+</blockquote>
+
+
+<h3><span class="sc">God Save the King</span> (<i><abbr title="Sketches by Boz: Scenes">S.B.S.</abbr></i> 19, &amp;c.)
+
+<span class="sc">God Save the Queen</span> (<i><abbr title="Martin Chuzzlewit">M.C.</abbr></i> 29)</h3>
+
+<p>
+It is unnecessary here to discuss the origin and sources
+of this air. The form in which we know it is probably
+due to Henry Carey, and the first recorded public performance
+was on September 28, 1745.
+</p>
+
+
+<h3><a class="pagebreak" name="page144" id="page144"
+title="144"></a><span class="sc">Had I a Heart for Falsehood Framed</span> (<i><abbr title="Dombey &amp; Son">D. &amp; S.</abbr></i> 14)</h3>
+
+<p>
+Words by <i>R.B. Sheridan</i>.
+</p>
+
+<p>
+Sung by Mr. Leoni (see <i>Choir</i>, May, 1912).
+</p>
+
+<p>
+In the <i>Duenna</i>, 1775. Set to the air now known as
+&lsquo;The Harp that once through Tara's Halls.&rsquo;
+</p>
+
+<p>
+Moore, in his <i>Irish Melodies</i>, calls the melody
+&lsquo;Gramachree.&rsquo;
+</p>
+
+
+<h3><span class="sc">Hail Columbia</span> (<i><abbr title="Martin Chuzzlewit">M.C.</abbr></i> 13, <i><abbr title="American Notes">A.N.</abbr></i>)</h3>
+
+<p>
+Mr. Elson (<i>National Music of America</i>) says that the
+music was originally known as the &lsquo;President's March,&rsquo;
+probably by a German composer. The words were
+subsequently adapted to the air by Dr. Joseph Hopkinson.
+</p>
+
+
+<h3><span class="sc">Harmonious Blacksmith</span> (<i><abbr title="Great Expectations">G.E.</abbr></i> 21)</h3>
+
+<p>
+From Handel's <i>Suite de Pieces pour le Clavecin</i>, Set I.
+</p>
+
+<p>
+See p. <a href="#page19">19</a>.
+</p>
+
+
+<h3><span class="sc">Has She Then Failed in Her Truth</span> (<i><abbr title="Nicholas Nickleby">N.N.</abbr></i> 49)</h3>
+
+<p>
+<i>Anon.</i>
+</p>
+
+<p class="right"><i>H.R. Bishop.</i></p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">And has she then failed in her truth,</span><br />
+<span class="i1">&nbsp;&nbsp;The beautiful maid I adore?</span><br />
+<span class="i0">Shall I never again hear her voice,</span><br />
+<span class="i1">&nbsp;&nbsp;Nor see her lov'd form any more?</span>
+</p>
+</blockquote>
+
+
+<h3><span class="sc">Heart of Oak</span> (<i><abbr title="Barnaby Rudge">B.R.</abbr></i> 7, <i><abbr title="Edwin Drood">E.D.</abbr></i> 12, <i><abbr title="Uncommercial Traveller">U.T.</abbr></i> 20, parody)</h3>
+
+<p>
+Words by <i>D. Garrick</i>.
+</p>
+
+<p class="right"><i>W. Boyce.</i></p>
+
+<p>
+It is important to notice that the correct title is as given,
+and not &lsquo;<i>Hearts</i> of Oak.&rsquo;
+</p>
+
+
+<h3><span class="sc">Helm a Weather, Now Lay Her Close</span> (<i><abbr title="Our Mutual Friend">O.M.F.</abbr></i>)</h3>
+
+<p>
+See p. <a href="#page133">133</a>.
+</p>
+
+
+<h3><a class="pagebreak" name="page145" id="page145"
+title="145"></a><span class="sc">How Doth the Little&mdash;</span> (<i><abbr title="Chimes">Ch.</abbr></i>)</h3>
+
+<p class="right"><i>Dr. Watts.</i></p>
+
+<p>
+See p. <a href="#page79">79</a>.
+</p>
+
+
+<h3><span class="sc">I am a Friar of Orders Grey</span> (<i><abbr title="Sketches by Boz: Scenes">S.B.S.</abbr></i> 8) (<i>Out of Season</i>)</h3>
+
+<p>
+Words by <i>John O'Keefe</i>.
+</p>
+
+<p class="right"><i>Wm. Reeve.</i></p>
+
+<p>
+Appeared in <i>Merry Sherwood</i>, 1795.
+</p>
+
+
+<h3><span class="sc">I Care Not For Spring</span></h3>
+
+<p>
+See p. <a href="#page99">99</a>.
+</p>
+
+
+<h3><span class="sc">I'd Crowns Resign, To Call Her Mine</span> (<i><abbr title="David Copperfield">D.C.</abbr></i> 25)</h3>
+
+<p>
+&lsquo;Lass of Richmond Hill.&rsquo;
+</p>
+
+<p>
+Words by <i>L. MacNally</i>.
+</p>
+
+<p class="right"><i>J. Hook.</i></p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">I'd crowns resign, to call her mine,</span><br />
+<span class="i1">&nbsp;&nbsp;Sweet lass of Richmond Hill.</span>
+</p>
+</blockquote>
+
+<p>
+For a long time there was a dispute between the partisans
+of Surrey and Yorkshire as to which &lsquo;Richmond
+Hill&rsquo; was referred to. The former county was the
+favourite for a long time, till a communication in <i>Notes
+and Queries</i> (10th series iii. p. 290) pulverized its hopes
+and definitely placed the locality in Yorkshire.
+</p>
+
+
+<h3><span class="sc">If I Had a Donkey</span> (<i><abbr title="Old Curiosity Shop">O.C.S.</abbr></i> 27)</h3>
+
+<p>
+See p. <a href="#page95">95</a>.
+</p>
+
+
+<h3><span class="sc">If You'll Come to the Bower</span> (<i><abbr title="Our Mutual Friend">O.M.F.</abbr></i>)</h3>
+
+<p>
+See p. <a href="#page134">134</a>.
+</p>
+
+
+<h3><span class="sc">I'll Tell Thee How the Maiden Wept</span> (<i><abbr title="Our Mutual Friend">O.M.F.</abbr></i>)</h3>
+
+<p>
+See p. <a href="#page133">133</a>.
+</p>
+
+
+<h3><span class="sc">In Hurry, Post Haste for a Licence</span> (<i><abbr title="Pickwick Papers">P.P.</abbr></i> 10)</h3>
+
+<p>
+See p. <a href="#page90">90</a>.
+</p>
+
+
+<h3><a class="pagebreak" name="page146" id="page146"
+title="146"></a><span class="sc">I Saw Her at the Fancy Fair</span> (<i><abbr title="Sketches by Boz: Tales">S.B.T.</abbr></i> 11)</h3>
+
+
+<h3><span class="sc">I Saw Thy Show in Youthful Prime</span> (<i><abbr title="Old Curiosity Shop">O.C.S.</abbr></i> 27)</h3>
+
+<p>
+Moore's <i>Irish Melodies</i>, air &lsquo;Domhnall.&rsquo;
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">I saw thy form in youthful prime,</span><br />
+<span class="i1">&nbsp;&nbsp;Nor thought that pale decay</span><br />
+<span class="i0">Would steal before the steps of time,</span><br />
+<span class="i1">&nbsp;&nbsp;And waste its bloom away, Mary.</span>
+</p>
+</blockquote>
+
+
+<h3><span class="sc">Isle of the Brave and Land of the Free</span> (<i><abbr title="Mugby Junction">M.J.</abbr></i>)</h3>
+
+<p>
+Original.
+</p>
+
+
+<h3><span class="sc">It May Lighten and Storm</span> (<i><abbr title="Martin Chuzzlewit">M.C.</abbr></i> 42)</h3>
+
+<p>
+Possibly from some old ballad opera, but more probably
+original.
+</p>
+
+
+<h3><span class="sc">Jack's Delight (to) His Lovely Nan</span> (<i><abbr title="David Copperfield">D.C.</abbr></i> 11)</h3>
+
+<p>
+Words and music by <i>C. Dibdin</i>.
+</p>
+
+<p>
+From &lsquo;Lovely Nan.&rsquo; Last two lines:
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">But oh, much sweeter than all these,</span><br />
+<span class="i0">Is Jack's delight, his lovely Nan.</span>
+</p>
+</blockquote>
+
+
+<h3><span class="sc">Jim Crow</span> (<i><abbr title="American Notes">A.N.</abbr></i>)</h3>
+
+<p class="right"><i>Unknown.</i></p>
+
+<p>
+See p. <a href="#page97">97</a>.
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">I come from old Kentucky,</span><br />
+<span class="i1">&nbsp;&nbsp;A long time ago,</span><br />
+<span class="i0">Where I first larn to wheel about,</span><br />
+<span class="i1">&nbsp;&nbsp;And jump Jim Crow;</span><br />
+<span class="i0">Wheel about and turn about,</span><br />
+<span class="i1">&nbsp;&nbsp;And do jis so,</span><br />
+<span class="i0">Eb'ry time I wheel about,</span><br />
+<span class="i1">&nbsp;&nbsp;I jump Jim Crow.</span>
+</p>
+</blockquote>
+
+
+<h3><span class="sc">Jolly Young Waterman</span> (<i><abbr title="Pictures from Italy">It.</abbr></i>, <i><abbr title="Pickwick Papers">P.P.</abbr></i> 33)</h3>
+
+<p>
+Words and music by <i>C. Dibdin</i> in <i>The Waterman</i>.
+</p>
+
+
+<h3><a class="pagebreak" name="page147" id="page147"
+title="147"></a><span class="sc">King Death</span> (<i><abbr title="Bleak House">B.H.</abbr></i> 33)</h3>
+
+<p>
+Words by <i>Barry Cornwall</i>.
+</p>
+
+<p class="right"><i>Neukomm.</i></p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">King Death was a rare old fellow,</span><br />
+<span class="i1">&nbsp;&nbsp;He sat where no sun could shine,</span><br />
+<span class="i0">And he lifted his hand so yellow,</span><br />
+<span class="i1">&nbsp;&nbsp;And pour'd out his coal-black wine.</span><br />
+<span class="i2">&nbsp;&nbsp;&nbsp;&nbsp;Hurrah for the coal-black wine!</span>
+</p>
+</blockquote>
+
+<p>
+John Leech used to sing &lsquo;King Death,&rsquo; and it was of his
+voice that Jerrold once remarked, &lsquo;I say, Leech, if you
+had the same opportunity of exercising your voice as
+you have of using your pencil, how it would <i>draw</i>!&rsquo;
+</p>
+
+
+<h3><span class="sc">Lesbia Hath a Beaming Eye</span> (<i>Letter to Lemon</i>)</h3>
+
+<p>
+Words by <i>Moore</i>.
+</p>
+
+<p>
+Set to the delightfully gay air &lsquo;Nora Creina.&rsquo;
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">Lesbia hath a beaming eye,</span><br />
+<span class="i1">&nbsp;&nbsp;But no one knows for whom it beameth,</span><br />
+<span class="i0">Right and left its arrows fly,</span><br />
+<span class="i1">&nbsp;&nbsp;But what they aim at no one dreameth!</span>
+</p>
+</blockquote>
+
+
+<h3><span class="sc">Listen to the Waterfall</span> (<i><abbr title="Bleak House">B.H.</abbr></i> 32)</h3>
+
+<p class="right"><i>Lord Mornington.</i></p>
+
+<p>
+From the glee &lsquo;Here in cool grot.&rsquo;
+</p>
+
+
+<h3><span class="sc">Little Taffline</span> (<i><abbr title="David Copperfield">D.C.</abbr></i> 28)</h3>
+
+<p>
+Words by <i>Prince Hoare</i>.
+</p>
+
+<p class="right"><i>S. Storace.</i></p>
+
+<p>
+In the opera <i>Three and The Deuce</i>, produced in 1806.
+</p>
+
+<p>
+See pp. <a href="#page112">112</a>, <a href="#page113">113</a>.
+</p>
+
+<p>
+There is a character &lsquo;Little Taffline&rsquo; in T. Dibdin's
+<i>St. David's Day</i>, music composed and compiled by
+Attwood. There is another setting said to be &lsquo;composed
+by J. Parry,&rsquo; but it is merely an altered form of
+the original.
+</p>
+
+
+<h3><a class="pagebreak" name="page148" id="page148"
+title="148"></a><span class="sc">Lovely Peg</span> (<i><abbr title="Dombey &amp; Son">D. &amp; S.</abbr></i> 10)</h3>
+
+<p>
+See pp. <a href="#page117">117&ndash;119</a>.
+</p>
+
+
+<h3><span class="sc">Marseillaise</span> (<i><abbr title="Martin Chuzzlewit">M.C.</abbr></i> 15, <i><abbr title="Edwin Drood">E.D.</abbr></i> 2, <i><abbr title="Little Dorrit">L.D.</abbr></i> 2)</h3>
+
+<p class="right"><i>Rouget de Lisle.</i></p>
+
+<p>
+For brief history see <i>The Choir</i> (Nov., 1911)
+</p>
+
+
+<h3><span class="sc">Masaniello</span> (<i><abbr title="Sketches by Boz: Tales">S.B.T.</abbr></i> 9)</h3>
+
+<p>
+Opera by <i>Auber</i>.
+</p>
+
+<p>
+See p. <a href="#page26">26</a>.
+</p>
+
+
+<h3><span class="sc">May We Ne'er Want a Friend</span> (<i><abbr title="Dombey &amp; Son">D. &amp; S.</abbr></i> 15)</h3>
+
+<p>
+See &lsquo;<a href="#dawn_of_reason">Since the first dawn of reason</a>.&rsquo;
+</p>
+
+
+<h3><span class="sc">Men of Prometheus</span> (<i><abbr title="Sketches by Boz: Tales">S.B.T.</abbr></i> 9)</h3>
+
+<p>
+See p. <a href="#page26">26</a>.
+</p>
+
+<p>
+This was the name given to the first edition of Beethoven's
+ballet music to <i>Prometheus</i>, composed in 1800.
+</p>
+
+
+<h3><span class="sc">Miss Wackles, I Believed You True</span> (<i><abbr title="Old Curiosity Shop">O.C.S.</abbr></i> 8)</h3>
+
+<p>
+&lsquo;Mary, I believed thee true,&rsquo; <i>Moore</i> (one of his
+&lsquo;Juvenile Poems&rsquo;).
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">Mary, I believed thee true,</span><br />
+<span class="i1">&nbsp;&nbsp;And I was blest in so believing,</span><br />
+<span class="i0">But now I mourn that e'er I knew</span><br />
+<span class="i1">&nbsp;&nbsp;A girl so fair and so deceiving!</span>
+</p>
+</blockquote>
+
+<p>
+It has been suggested that these words were adapted
+and sung to the Scotch air &lsquo;Gala Water.&rsquo;
+</p>
+
+
+<h3><span class="sc">My Boat is on the Shore</span> (<i><abbr title="Going into Society">G.S.</abbr></i>) (<i><abbr title="David Copperfield">D.C.</abbr></i> 54, <i>Letters</i>)</h3>
+
+<p>
+Words by <i>Lord Byron</i>.
+</p>
+
+<p class="right"><i>Bishop.</i></p>
+
+<p>
+See p. <a href="#page12">12</a>.
+</p>
+
+<p>
+Also set by W. Cratherne.
+</p>
+
+
+<h3><a class="pagebreak" name="page149" id="page149"
+title="149"></a><span class="sc">My Feelings I Smother</span> (<i><abbr title="Old Curiosity Shop">O.C.S.</abbr></i> 36)</h3>
+
+<p>
+See &lsquo;<a href="#we_met">We met</a>.&rsquo;
+</p>
+
+
+<h3><span class="sc">My Heart's in the Highlands</span> (<i><abbr title="Old Curiosity Shop">O.C.S.</abbr></i> 2, <i><abbr title="Sketches by Boz: Scenes">S.B.S.</abbr></i> 2)</h3>
+
+<p>
+Words partly by <i>Burns</i>.
+</p>
+
+<p>
+In Captain Fraser's <i>Airs Peculiar to the Scottish Highlands</i>,
+1816.
+</p>
+
+<p>
+There is a parody by Dickens (see Forster's <i>Life</i>, ch. 8).
+</p>
+
+
+<h3><span class="sc">Never Leave off Dancing</span> (<i><abbr title="David Copperfield">D.C.</abbr></i> 41)</h3>
+
+<p>
+Said to be the subject of a French song.
+</p>
+
+
+<h3><span class="sc">No Malice to Dread, Sir</span> (<i><abbr title="Our Mutual Friend">O.M.F.</abbr></i>)</h3>
+
+<p>
+See p. <a href="#page134">134</a>.
+</p>
+
+
+<h3><span class="sc">Non Nobis</span> (<i><abbr title="Sketches by Boz: Scenes">S.B.S.</abbr></i> 19)</h3>
+
+<p>
+This celebrated canon, by Byrd, has been performed at
+public dinners from time immemorial. It also used
+to be performed at the Theatre Royal, Covent Garden.
+</p>
+
+
+<h3><span class="sc">Now's the Day, and Now's the Hour</span> (<i><abbr title="David Copperfield">D.C.</abbr></i> 54)</h3>
+
+<p>
+Verse 2 of &lsquo;Scots, Wha Hae&rsquo; (<i>Burns</i>).
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">Now's the day, and now's the hour,</span><br />
+<span class="i0">See the front o' battle lour,</span><br />
+<span class="i0">See approach proud Edward's power,</span><br />
+<span class="i2">&nbsp;&nbsp;&nbsp;&nbsp;Chains and slaverie.</span>
+</p>
+</blockquote>
+
+
+<h3><a name="of_all_the_girls"></a><span class="sc">Of All the Girls That Are so Smart</span> (<i><abbr title="Old Curiosity Shop">O.C.S.</abbr></i> 50)</h3>
+
+<p>
+Words and music by <i>Henry Carey</i>.
+</p>
+
+<p>
+Carey composed his melody in 1715. It soon became
+popular, but owing to the similarity of certain phrases
+to those of an older tune known as &lsquo;The Country Lass,&rsquo;
+the two gradually got mixed up, with the result that the
+latter became the recognized setting.
+</p>
+
+
+<h3><a class="pagebreak" name="page150" id="page150"
+title="150"></a><span class="sc">Off She Goes</span> (<i><abbr title="Sketches by Boz: Tales">S.B.T.</abbr></i> 7)</h3>
+
+<p>
+A once popular dance air.
+</p>
+
+
+<h3><span class="sc">Oft in the Stilly Night</span> (<i><abbr title="Sketches by Boz: Scenes">S.B.S.</abbr></i> 13)</h3>
+
+<p>
+From T. Moore's <i>National Airs</i>, set to an air possibly
+of Scotch origin. There are also settings by Stevenson
+and Hullah.
+</p>
+
+
+<h3><span class="sc">Oh Blame Not the Bard</span> (<i><abbr title="Old Curiosity Shop">O.C.S.</abbr></i> 35)</h3>
+
+<p>
+Words by <i>T. Moore</i>.
+</p>
+
+<p>
+In <i>Irish Melodies</i>. Set to the tune &lsquo;Kitty Tyrrel.&rsquo;
+</p>
+
+
+<h3><span class="sc">Oh Give Me But My Arab Steed</span> (<i><abbr title="Old Curiosity Shop">O.C.S.</abbr></i> 21)</h3>
+
+<p>
+Words by <i>T.H. Bayly</i>.
+</p>
+
+<p class="right"><i>G.A. Hodson.</i></p>
+
+<p>
+Written in 1828. Sung by Braham.
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">Oh give me but my Arab steed,</span><br />
+<span class="i1">&nbsp;&nbsp;My prince defends his right,</span><br />
+<span class="i0">And I will to the battle speed,</span><br />
+<span class="i1">&nbsp;&nbsp;To guard him in the fight.</span>
+</p>
+</blockquote>
+
+
+<h3><span class="sc">Oh Cheerily, Cheerily</span> (<i><abbr title="Dombey &amp; Son">D. &amp; S.</abbr></i> 32)</h3>
+
+<p>
+Original, but a refrain similar to this is not uncommon
+in old sea songs.
+</p>
+
+
+<h3><a name="oh_lady_fair"></a><span class="sc">Oh Lady Fair</span> (<i><abbr title="Great Expectations">G.E.</abbr></i> 13)</h3>
+
+<p>
+Trio by <i>Moore</i>.
+</p>
+
+<p>
+See &lsquo;<a href="#strew_then">Strew then, Oh strew</a>.&rsquo;
+</p>
+
+
+<h3><span class="sc">Oh Let us Love Our Occupations</span> (<i><abbr title="Chimes">Ch.</abbr></i>)</h3>
+
+<p>
+Original lines by Dickens. &lsquo;Set to music on the new
+system,&rsquo; probably refers to Hullah's method (c. 1841),
+or possibly the Tonic Sol-fa (c. 1843), see p. <a href="#page17">17</a>.
+</p>
+
+
+<h3><a class="pagebreak" name="page151" id="page151"
+title="151"></a><span class="sc">Oh Landsmen are Folly</span> (<i><abbr title="Holiday Romance">H.R.</abbr></i>)</h3>
+
+<p>
+Original.
+</p>
+
+
+<h3><span class="sc">Old Clem</span> (<i><abbr title="Great Expectations">G.E.</abbr></i> 12, 15)</h3>
+
+<p>
+A custom prevailed at Chatham of holding a procession
+on St. Clement's day, and the saint, who was irreverently
+designated &lsquo;Old Clem,&rsquo; was personated by a
+young smith disguised for the occasion.
+</p>
+
+<p>
+Dickens frequently writes a verse in the form of
+prose, and this is an example. Written out properly,
+it reads thus:
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">Hammer boys round&mdash;Old Clem,</span><br />
+<span class="i0">With a thump and a sound&mdash;Old Clem,</span><br />
+<span class="i0">Beat it out, beat it out&mdash;Old Clem,</span><br />
+<span class="i0">With a cluck for the stout&mdash;Old Clem,</span><br />
+<span class="i0">Blow the fire, blow the fire&mdash;Old Clem,</span><br />
+<span class="i0">Roaring drier, soaring higher&mdash;Old Clem.</span>
+</p>
+</blockquote>
+
+
+<h3><span class="sc">Old King Cole</span> (<i><abbr title="Old Curiosity Shop">O.C.S.</abbr></i> 58, <i><abbr title="Pickwick Papers">P.P.</abbr></i> 36)</h3>
+
+<p>
+The personality of this gentleman has never been settled.
+Chappell suggests he was &lsquo;Old Cole,&rsquo; a cloth-maker of
+Reading <i>temp.</i> Henry I. Wardle's carol &lsquo;I care not
+for spring&rsquo; (<i><abbr title="Pickwick Papers">P.P.</abbr></i> 36) was adapted to this air, and printed
+in How's <i>Illustrated Book of British Song</i>.
+</p>
+
+
+<h3><span class="sc">Over the Hills and Far Away</span> (<i><abbr title="Dr. Marigold's Prescription">Dr. M.</abbr></i>, <i><abbr title="Martin Chuzzlewit">M.C.</abbr></i> 36)</h3>
+
+<p>
+An old saying, both in song and as a phrase. It occurs
+in two songs in D'Urfey's <i>Pills to Purge Melancholy</i>,
+1709, one of which is,
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">Tom he was a piper's son,</span><br />
+<span class="i0">He learned to play when he was young;</span><br />
+<span class="i0">But all the tune that he could play</span><br />
+<span class="i0">Was over the hills and far away.</span>
+</p>
+
+<p class="citation">(Vol. iv.)</p>
+</blockquote>
+
+<p>
+<a class="pagebreak" name="page152" id="page152"
+title="152"></a>Doctor Marigold's version is probably original:
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">North and South and West and East,</span><br />
+<span class="i0">Winds liked best and winds liked least,</span><br />
+<span class="i0">Here and there and gone astray,</span><br />
+<span class="i0">Over the hills and far away.</span>
+</p>
+</blockquote>
+
+
+<h3><span class="sc">Over the Water to Charlie</span> (<i><abbr title="Old Curiosity Shop">O.C.S.</abbr></i> 27)</h3>
+
+<p>
+Tune in Johnson's <i>Musical Museum</i>, Vol. II, 1788.
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">Come boat me o'er, come row me o'er,</span><br />
+<span class="i1">&nbsp;&nbsp;Come boat me o'er to Charlie,</span><br />
+<span class="i0">I'll gie John Brown another half-crown,</span><br />
+<span class="i1">&nbsp;&nbsp;To boat me o'er to Charlie;</span><br />
+<span class="i0">We'll o'er the water, we'll o'er the sea,</span><br />
+<span class="i1">&nbsp;&nbsp;We'll o'er the water to Charlie,</span><br />
+<span class="i0">Come weal, come woe, we'll gather and go,</span><br />
+<span class="i1">&nbsp;&nbsp;And live or die wi' Charlie.</span>
+</p>
+</blockquote>
+
+<p>
+Another Jacobite song was the cause of an amusing
+incident at Edinburgh. On the occasion of one of his
+visits there Dickens went to the theatre, and he and
+his friends were much amazed and amused by the
+orchestra playing &lsquo;Charlie is my darling&rsquo; amid
+tumultuous shouts of delight.
+</p>
+
+
+<h3><a name="paul_and_virginia"></a><span class="sc">Paul and Virginia</span> (<i><abbr title="Sketches by Boz: Tales">S.B.T.</abbr></i> 7, <i><abbr title="Little Dorrit">L.D.</abbr></i> 13)</h3>
+
+<p class="right"><i>J. Mazzinghi.</i></p>
+
+<p>
+The popular duet from this opera &lsquo;See from ocean
+rising&rsquo; was sung by Mr. Johnstone and Mr. Incledon.
+See p. <a href="#page91">91</a>.
+</p>
+
+
+<h3><span class="sc">Polly Put the Kettle On</span> (<i><abbr title="Barnaby Rudge">B.R.</abbr></i> 24)</h3>
+
+<p>
+An old country dance.
+</p>
+
+
+<h3><span class="sc">Red Ruffian, Retire!</span> (<i><abbr title="Sketches by Boz: Characters">S.B.C.</abbr></i> 8)</h3>
+
+<p>
+Probably an imaginary title, invented by Dickens.
+</p>
+
+
+<h3><a class="pagebreak" name="page153" id="page153"
+title="153"></a><span class="sc">Rule Britannia</span> (<i><abbr title="Dombey &amp; Son">D. &amp; S.</abbr></i> 4, 39, <i><abbr title="Uncommercial Traveller">U.T.</abbr></i> 2, <i><abbr title="Martin Chuzzlewit">M.C.</abbr></i> 11, 17, <i><abbr title="American Notes">A.N.</abbr></i>,
+<i><abbr title="David Copperfield">D.C.</abbr></i> 8)</h3>
+
+<p>
+Words by <i>Thomson</i> or <i>Mallet</i>.
+</p>
+
+<p class="right"><i>Arne.</i></p>
+
+<p>
+First appeared in print at the end of the masque <i>The
+Judgement of Paris</i>, but it was composed for the masque
+of <i>Alfred</i>, which was first performed on August 1, 1740.
+See <i>Musical Times</i>, April, 1900.
+</p>
+
+
+<h3><span class="sc">Sally in Our Alley</span></h3>
+
+<p>
+See &lsquo;<a href="#of_all_the_girls">Of all the girls</a>.&rsquo;
+</p>
+
+
+<h3><span class="sc">Satan Finds Some Mischief Still</span> (<i><abbr title="David Copperfield">D.C.</abbr></i> 16)</h3>
+
+<p>
+See p. <a href="#page80">80</a>.
+</p>
+
+<p class="right"><i>Dr. Watts.</i></p>
+
+
+<h3><span class="sc">See from Ocean Rising</span> (<i><abbr title="Sketches by Boz: Tales">S.B.T.</abbr></i> 7)</h3>
+
+<p>
+See <a href="#paul_and_virginia"><i>Paul and Virginia</i></a>.
+</p>
+
+
+<h3><span class="sc">She's All My Fancy Painted Her</span> (<i><abbr title="Old Curiosity Shop">O.C.S.</abbr></i> 7)</h3>
+
+<p>
+(&lsquo;Alice Gray.&rsquo;)
+</p>
+
+<p>
+See &lsquo;<a href="#yet_lovd_i">Yet lov'd I</a>.&rsquo;
+</p>
+
+
+<h3><span class="sc">She's Like the Red, Red Rose</span> (<i><abbr title="Old Curiosity Shop">O.C.S.</abbr></i> 8)</h3>
+
+<p>
+Burns revised the words from an old song.
+</p>
+
+<p>
+The music is in <i>Caledonian Pocket Companion</i>, Bk. VII,
+1754, under the name &lsquo;Low Down in the Broom.&rsquo;
+</p>
+
+
+<h3><span class="sc">Shivery Shakey, Ain't It Cold</span> (<i><abbr title="Dr. Marigold's Prescription">Dr. M.</abbr></i>)</h3>
+
+<p>
+See p. <a href="#page94">94</a>.
+</p>
+
+
+<h3><span class="sc">Since Laws Were Made for Every Degree</span> (<i><abbr title="Old Curiosity Shop">O.C.S.</abbr></i> 66, <i><abbr title="Little Dorrit">L.D.</abbr></i>
+ii. 12)</h3>
+
+<blockquote>
+<h4><span class="sc">Tyburn Tree.</span></h4>
+
+<p class="stanza">
+<span class="i0">Since laws were made for ev'ry degree</span><br />
+<span class="i0">To curb vice in others as well as me,</span><br />
+<span class="i0">I wonder we han't better company</span><br />
+<span class="i3">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Upon Tyburn Tree.</span>
+</p>
+</blockquote>
+
+<p>
+From <i>Beggar's Opera</i>. Words by <i>Gay</i>.
+</p>
+
+<p>
+<a class="pagebreak" name="page154" id="page154"
+title="154"></a>Set to the tune of &lsquo;Greensleeves,&rsquo; which dates from
+1580. This tune is twice mentioned by Shakespeare
+in <i>The Merry Wives of Windsor</i>. An earlier &lsquo;Tyburn&rsquo;
+version is a song entitled &lsquo;A Warning to False Traitors,&rsquo;
+which refers to the execution of six people at &lsquo;Tyborne&rsquo;
+on August 30, 1588.
+</p>
+
+
+<h3><a name="dawn_of_reason"></a><span class="sc">Since the First Dawn of Reason</span></h3>
+
+<p class="right"><i>J. Davy.</i></p>
+
+<p>
+See p. <a href="#page120">120</a>.
+</p>
+
+
+<h3><span class="sc">Song About a Sparkling Bowl</span> (<i><abbr title="Chimes">Ch.</abbr></i>)</h3>
+
+<p>
+There are several songs of this nature, such as &lsquo;The
+Flowing Bowl&rsquo; (&lsquo;Fill the bowl with sparkling nectar&rsquo;).
+Another began &lsquo;Fill, fill the bowl with sparkling wine.&rsquo;
+</p>
+
+
+<h3><span class="sc">Song About the Slumbering Echoes in the Cavern
+of Memory</span> (<i><abbr title="David Copperfield">D.C.</abbr></i> 33)</h3>
+
+<p>
+Not at present traced.
+</p>
+
+
+<h3><a name="strew_then"></a><span class="sc">Strew Then, Oh Strew a Bed of Rushes</span> (<i><abbr title="Old Curiosity Shop">O.C.S.</abbr></i> 65)</h3>
+
+<p>
+Words and music by <i>Moore</i>.
+</p>
+
+<p>
+From the glee &lsquo;Holy be the Pilgrim's Sleep,&rsquo; which
+is a sequel to &lsquo;Oh Lady Fair&rsquo; (<a href="#oh_lady_fair">q.v.</a>).
+</p>
+
+<p>
+Moore wrote two inane songs, entitled &lsquo;Holy be the
+Pilgrim's Sleep&rsquo; and &lsquo;Oh Lady Fair.&rsquo; For both pilgrim
+and lady arrangements are made for spending the night
+somewhere, and in each song occur the words
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">Strew then, oh strew his [our] bed of rushes,</span><br />
+<span class="i0">Here he shall [we must] rest till morning blushes.</span>
+</p>
+</blockquote>
+
+
+<h3><span class="sc">Tamaroo</span> (<i><abbr title="Martin Chuzzlewit">M.C.</abbr></i> 32)</h3>
+
+<p>
+Said to be taken from an English ballad in which it is
+supposed to express the bold and fiery nature of a
+certain hackney coachman.
+</p>
+
+<p>
+<a class="pagebreak" name="page155" id="page155"
+title="155"></a>According to <i>Notes and Queries</i> (x. 1), this was sung at
+Winchester School some seventy or eighty years ago.
+The following is quoted as the first verse:
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">Ben he was a coachman rare</span><br />
+<span class="i0">(&lsquo;Jarvey! Jarvey!&rsquo; &lsquo;Here I am, yer honour&rsquo;),</span><br />
+<span class="i0">Crikey! how he used to swear!</span><br />
+<span class="i0">How he'd swear, and how he'd drive,</span><br />
+<span class="i0">Number two hundred and sixty-five.</span><br />
+<span class="i2">&nbsp;&nbsp;&nbsp;&nbsp;Tamaroo! Tamaroo! Tamaroo!</span>
+</p>
+</blockquote>
+
+<p>
+Dr. Sweeting, the present music-master at Winchester,
+says, &lsquo;The song &ldquo;Tamaroo&rdquo; is quite unknown here
+now, and if it was sung here seventy or eighty years
+ago, I should imagine that that was only because it was
+generally well known. Dickens' allusion to it seems to
+suggest that it was a song he had heard, and he utilized
+its character to label one of his characters in his own
+fanciful way.&rsquo;
+</p>
+
+
+<h3><span class="sc">Tarry Trousers</span> (<i><abbr title="Dombey &amp; Son">D. &amp; S.</abbr></i> 39)</h3>
+
+<p>
+An old folk-song. A mother wants her daughter to
+marry a tailor, and not wait for her sailor bold, telling
+her that it is quite time she was a bride. The daughter
+says:
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">My mother wants me to wed with a tailor,</span><br />
+<span class="i1">&nbsp;&nbsp;And not give me my heart's delight,</span><br />
+<span class="i0">But give me the man with the tarry trousers,</span><br />
+<span class="i1">&nbsp;&nbsp;That shine to me like diamonds bright.</span>
+</p>
+</blockquote>
+
+
+<h3><span class="sc">Tell Me, Shepherds</span> (<i><abbr title="Edwin Drood">E.D.</abbr></i> 2)</h3>
+
+<p class="right"><i>Mazzinghi.</i></p>
+
+<p>
+Glee. &lsquo;Ye Shepherds, tell me&rsquo; (or &lsquo;The Wreath&rsquo;).
+</p>
+
+
+<h3><span class="sc">The Brave Old Oak</span> (<i><abbr title="Sketches by Boz: Scenes">S.B.S.</abbr></i> 2.)</h3>
+
+<p>
+Words by <i>H.F. Chorley</i>.
+</p>
+
+<p class="right"><i>E.J. Loder.</i></p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">A song for the oak, the brave old oak,</span><br />
+<span class="i1">&nbsp;&nbsp;Who hath ruled in the greenwood long;</span><br />
+<span class="i0">Here's health and renown to his broad green crown,</span><br />
+<span class="i1">&nbsp;&nbsp;And his fifty arms so strong!</span>
+</p>
+</blockquote>
+
+
+<h3><a class="pagebreak" name="page156" id="page156"
+title="156"></a><span class="sc">The Bull in the China Shop</span></h3>
+
+<p>
+See p. <a href="#page111">111</a>.
+</p>
+
+
+<h3><span class="sc">The Cherub That Sits Up Aloft</span> (<i><abbr title="Uncommercial Traveller">U.T.</abbr></i> 5)</h3>
+
+<p>
+From &lsquo;Poor Jack.&rsquo;
+</p>
+
+<p class="right"><i>C. Dibdin.</i></p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">For d'ye see, there's a cherub sits smiling aloft</span><br />
+<span class="i0">To keep watch for the life of Poor Jack.</span>
+</p>
+
+<p class="right">(<i>Last two lines of verse 3.</i>)</p>
+</blockquote>
+
+
+<h3><span class="sc">The Cordial That Sparkled for Helen</span> (<i><abbr title="Old Curiosity Shop">O.C.S.</abbr></i> 61)</h3>
+
+<p>
+Moore's <i>Irish Melodies</i>.
+</p>
+
+
+<h3><span class="sc">The Dashing White Sergeant</span> (<i><abbr title="David Copperfield">D.C.</abbr></i> 28)</h3>
+
+<p>
+Words by <i>General Burgoyne</i>.
+</p>
+
+<p class="right"><i>H.R. Bishop.</i></p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">If I had a beau, for a soldier who'd go,</span><br />
+<span class="i0">Do you think I'd say no? No, no, not I.</span>
+</p>
+</blockquote>
+
+
+<h3><span class="sc">The Gay, the Gay and Festive Season</span> (<i><abbr title="Our Mutual Friend">O.M.F.</abbr></i>)</h3>
+
+<p>
+See &lsquo;<a href="#page157">The Light Guitar</a>.&rsquo;
+</p>
+
+
+<h3><span class="sc">The Great Sea Snake</span></h3>
+
+<p>
+Set to the air &lsquo;Rampant Moll.&rsquo;
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">Perhaps you have all of you heard of a yarn</span><br />
+<span class="i1">&nbsp;&nbsp;Of a famous large sea snake,</span><br />
+<span class="i0">That once was seen off the Isle Pitcairn</span><br />
+<span class="i1">&nbsp;&nbsp;And caught by Admiral Blake.</span>
+</p>
+</blockquote>
+
+<p>
+See p. <a href="#page16">16</a>.
+</p>
+
+
+<h3><span class="sc">The Ivy Green</span> (<i><abbr title="Pickwick Papers">P.P.</abbr></i> 6.)</h3>
+
+<p>
+Words by <i>Dickens</i>. The most popular musical setting
+is that by <i>Henry Russell</i>.
+</p>
+
+
+<h3><a class="pagebreak" name="page157" id="page157"
+title="157"></a><span class="sc">The Light Guitar</span> (<i><abbr title="Sketches by Boz: Tales">S.B.T.</abbr></i> 1, <i><abbr title="Old Curiosity Shop">O.C.S.</abbr></i>)</h3>
+
+<p class="right"><i>Barnett.</i></p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">Oh leave the gay and festive scene,</span><br />
+<span class="i1">&nbsp;&nbsp;The halls of dazzling light,</span><br />
+<span class="i0">And rove with me through forests green</span><br />
+<span class="i1">&nbsp;&nbsp;Beneath the silent night.</span>
+</p>
+</blockquote>
+
+
+<h3><span class="sc">The Miller of the Dee</span> (<i><abbr title="Our Mutual Friend">O.M.F.</abbr></i> ii. 1)</h3>
+
+<p>
+Words, c. 1762.
+</p>
+
+<p class="right">Tune, 1728.</p>
+
+<p>
+Referring to a disused boiler and a great iron wheel,
+Dickens says they are
+</p>
+
+<blockquote>
+<p>
+Like the Miller of questionable jollity in the song.
+They cared for Nobody, no not they, and Nobody
+cared for them.
+</p>
+</blockquote>
+
+<p>
+The air is found in <i>The Quaker's Opera</i>, 1728.
+</p>
+
+
+<h3><span class="sc">The Ratcatcher's Daughter</span> (<i>Out of Season</i>)</h3>
+
+<p>
+See p. <a href="#page98">98</a>.
+</p>
+
+
+<h3><span class="sc">The Seven Ages</span> (<i><abbr title="Sketches by Boz: Scenes">S.B.S.</abbr></i> 14)</h3>
+
+<p>
+See pp. <a href="#page91">91</a>, <a href="#page92">92</a>.
+</p>
+
+
+<h3><span class="sc">The Soldier, Tired</span> (<i><abbr title="Sketches by Boz: Characters">S.B.C.</abbr></i> 4)</h3>
+
+<p class="right"><i>Arne.</i></p>
+
+<p>
+Dr. Arne translated the words from the <i>Artaserse</i> of
+Metastasio. This song was the great &lsquo;show song&rsquo; for
+sopranos for many years. It was originally sung by
+Miss Brent.
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">The soldier, tired of war's alarms,</span><br />
+<span class="i0">Forswears the clang of hostile arms,</span><br />
+<span class="i1">&nbsp;&nbsp;And scorns the spear and shield;</span><br />
+<span class="i0">But if the brazen trumpet sound,</span><br />
+<span class="i0">He burns with conquest to be crowned,</span><br />
+<span class="i1">&nbsp;&nbsp;And dares again the field.</span>
+</p>
+</blockquote>
+
+
+<h3><a class="pagebreak" name="page158" id="page158"
+title="158"></a><span class="sc">The Woodpecker Tapping</span> (<i><abbr title="David Copperfield">D.C.</abbr></i> 36, <i><abbr title="Little Dorrit">L.D.</abbr></i> 35, <i><abbr title="Sketches by Boz: Tales">S.B.T.</abbr></i> 1, <i><abbr title="Martin Chuzzlewit">M.C.</abbr></i>
+25)</h3>
+
+<p>
+Words by <i>Moore</i>.
+</p>
+
+<p class="right"><i>M. Kelly.</i></p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">Every leaf was at rest, and I heard not a sound</span><br />
+<span class="i0">But the woodpecker tapping the hollow beech-tree.</span>
+</p>
+</blockquote>
+
+
+<h3><span class="sc">The Young May Moon</span></h3>
+
+<p>
+See p. <a href="#page131">131</a>.
+</p>
+
+
+<h3><span class="sc">Then Farewell, My Trim-Built Wherry</span> (<i><abbr title="Our Mutual Friend">O.M.F.</abbr></i>)</h3>
+
+<p>
+See p. <a href="#page133">133</a>.
+</p>
+
+
+<h3><span class="sc">There Let 'em Be, Merry and Free, Toor-rul-lal-la</span>
+(<i><abbr title="Old Curiosity Shop">O.C.S.</abbr></i> 56)</h3>
+
+<p>
+Probably original.
+</p>
+
+
+<h3><span class="sc">Though Lost to Sight, to Memory Dear</span> (<i><abbr title="Dombey &amp; Son">D. &amp; S.</abbr></i> 48)</h3>
+
+<p>
+Words and music by <i>G. Linley</i>.
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">Tho' lost to sight, to mem'ry dear</span><br />
+<span class="i1">&nbsp;&nbsp;Thou ever wilt remain,</span><br />
+<span class="i0">One only hope my heart can cheer:</span><br />
+<span class="i1">&nbsp;&nbsp;The hope to meet again.</span>
+</p>
+</blockquote>
+
+
+<h3><span class="sc">Thrown on the Wide World</span> (<i><abbr title="Our Mutual Friend">O.M.F.</abbr></i>)</h3>
+
+<p>
+See p. <a href="#page133">133</a>.
+</p>
+
+
+<h3><span class="sc">Time of Day</span> (<i><abbr title="Sketches by Boz: Characters">S.B.C.</abbr></i> 8)</h3>
+
+<p>
+See p. <a href="#page92">92</a>.
+</p>
+
+
+<h3><span class="sc">'Tis the Voice of the Sluggard</span> (<i><abbr title="Martin Chuzzlewit">M.C.</abbr></i> 9)</h3>
+
+<p class="right"><i>Dr. Watts.</i></p>
+
+
+<h3><span class="sc">'Twas Ever Thus From Childhood's Hour</span> (<i><abbr title="Old Curiosity Shop">O.C.S.</abbr></i> 56, <i><abbr title="David Copperfield">D.C.</abbr></i> 38)</h3>
+
+<p>
+(&lsquo;Oh ever,&rsquo; &amp;c.)
+</p>
+
+<p>
+Words by <i>Moore</i>.
+</p>
+
+<p>
+From &lsquo;Lalla Rookh.&rsquo; Has been set to music by
+S. Glover, E. Souper, and Verini.
+</p>
+
+
+<h3><a class="pagebreak" name="page159" id="page159"
+title="159"></a><span class="sc">Villikens and His Dinah</span></h3>
+
+<p>
+Sung by Mr. Robson and by S. Cowell.
+</p>
+
+<p>
+Composer unknown.
+</p>
+
+<p class="right">A very popular song 1850&ndash;1860.</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">It's of a liquor merchant who in London did dwell,</span><br />
+<span class="i0">He had but one darter, a beautiful gal.</span><br />
+<span class="i0">Her name it was Dinah, just sixteen years old,</span><br />
+<span class="i0">And she had a large fortune in silver and gold.</span><br />
+<span class="i2">&nbsp;&nbsp;&nbsp;&nbsp;To my too-ral-lal loo-ral-li loo-ral-li-day.</span>
+</p>
+</blockquote>
+
+
+<h3><span class="sc">Wapping Old Stairs</span> (<i><abbr title="Uncommercial Traveller">U.T.</abbr></i> 3)</h3>
+
+<p class="right"><i>J. Percy.</i></p>
+
+
+<h3><span class="sc">Weep for the Hour</span> (<i><abbr title="Our Mutual Friend">O.M.F.</abbr></i>)</h3>
+
+<p>
+See p. <a href="#page133">133</a>.
+</p>
+
+
+<h3><a name="we_met"></a><span class="sc">We Met</span> (<i><abbr title="Old Curiosity Shop">O.C.S.</abbr></i> 36, <i><abbr title="Sketches by Boz: Tales">S.B.T.</abbr></i> 11)</h3>
+
+<p class="right"><i>T.H. Bayly.</i></p>
+
+<p>
+The story of a girl who was compelled by her mother
+to jilt her true love and marry some one else. The story
+ends with the words misquoted by Swiveller:
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">The world may think me gay,</span><br />
+<span class="i1">&nbsp;&nbsp;For my feelings I smother&mdash;</span><br />
+<span class="i0">Oh! <i>thou</i> hast been the cause</span><br />
+<span class="i1">&nbsp;&nbsp;Of this anguish, my mother!</span>
+</p>
+</blockquote>
+
+
+<h3><span class="sc">We're a'Noddin'</span> (<i><abbr title="Bleak House">B.H.</abbr></i> 39)</h3>
+
+<p>
+<i>Anonymous.</i>
+</p>
+
+<p>
+A once popular Scotch song.
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">O we're a' noddin, nid nid noddin,</span><br />
+<span class="i0">O we're a' noddin at our house at home;</span><br />
+<span class="i0">How's o' wi' ye, kimmer? And how do ye thrive,</span><br />
+<span class="i0">And how many bairns hae ye now? Bairns I hae five.</span>
+</p>
+</blockquote>
+
+
+<h3><span class="sc">We Won't Go Home Till Morning</span> (<i><abbr title="Pickwick Papers">P.P.</abbr></i> 7)</h3>
+
+<p>
+Said in the <i>London Singer's Magazine</i> (c. 1839) to be
+written and composed by C. Blondel (&lsquo;adapted and arranged&rsquo;
+might be more correct). The tune is founded
+<a class="pagebreak" name="page160" id="page160"
+title="160"></a>on an air known as Malbrough, or Malbrook, which
+originated during the Duke of Marlborough's campaign,
+1704&ndash;1709, known as &lsquo;The War of the Spanish
+Succession.&rsquo;
+</p>
+
+
+<h3><span class="sc">What Are the Wild Waves Saying?</span></h3>
+
+<p>
+Words by <i>J.E. Carpenter</i>.
+</p>
+
+<p class="right"><i>Stephen Glover.</i></p>
+
+<p>
+This duet was founded upon the question little Paul
+Dombey asks his sister:
+</p>
+
+<blockquote>
+<p>
+I want to know what it says&mdash;the sea, Floy, what is it
+that it keeps on saying?
+</p>
+</blockquote>
+
+
+<h3><span class="sc">When He Who Adores Thee</span> (<i><abbr title="Old Curiosity Shop">O.C.S.</abbr></i> 35)</h3>
+
+<p>
+Words by <i>Moore</i>.
+</p>
+
+<p>
+In <i>Irish Melodies</i> to the air &lsquo;The Fox's Sleep.&rsquo;
+</p>
+
+
+<h3><span class="sc">When I Went to Lunnon Town, Sirs</span> (<i><abbr title="Great Expectations">G.E.</abbr></i> 15)</h3>
+
+<p>
+Probably original. The nearest I have found to it is&mdash;
+</p>
+
+<blockquote>
+<h4><span class="sc">The Astonished Countryman, or, a Bustling Picture
+of London.</span></h4>
+
+<p class="stanza">
+<span class="i0">When first I came to London Town,</span><br />
+<span class="i1">&nbsp;&nbsp;How great was my surprise,</span><br />
+<span class="i0">Thought I, the world's turned upside down,</span><br />
+<span class="i1">&nbsp;&nbsp;Such wonders met my eyes.</span>
+</p>
+</blockquote>
+
+<p>
+And in <i>The Universal Songster</i>&mdash;
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">When I arrived in London Town,</span><br />
+<span class="i0">I got my lesson pat, &amp;c.</span>
+</p>
+</blockquote>
+
+
+<h3><span class="sc">When in Death I Shall Calm Recline</span></h3>
+
+<p>
+Moore's <i>Irish Melodies</i>.
+</p>
+
+<p>
+In 1833 Dickens wrote a travesty called <i>O' Thello</i>, in
+which is a humorous solo of eight lines, to be sung to
+the air to which the above is set.
+</p>
+
+
+<h3><a class="pagebreak" name="page161" id="page161"
+title="161"></a><span class="sc">When Lovely Woman Stoops to Folly</span> (<i><abbr title="Old Curiosity Shop">O.C.S.</abbr></i> 56)</h3>
+
+<blockquote>
+<p>
+&lsquo;Do my pretty Olivia,&rsquo; cried she, &lsquo;let us have that
+little melancholy air your papa was so fond of; your
+sister Sophy has already obliged us. Do, child, it will
+please your old father.&rsquo; She complied in a manner
+so exquisitely pathetic, as moved me.
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">When lovely woman stoops to folly,</span><br />
+<span class="i1">&nbsp;&nbsp;And finds, too late, that men betray,</span><br />
+<span class="i0">What charm can soothe her melancholy?</span><br />
+<span class="i1">&nbsp;&nbsp;What art can wash her guilt away?</span>
+</p>
+
+<p class="right">(Goldsmith's <i>Vicar of Wakefield</i>, ch. xxiv.)</p>
+</blockquote>
+</blockquote>
+
+
+<h3><span class="sc">When the Heart of a Man</span> (<i><abbr title="David Copperfield">D.C.</abbr></i> 24, <i><abbr title="Our Mutual Friend">O.M.F.</abbr></i> iii. 14)</h3>
+
+<p>
+Words by <i>Gay</i> (<i>Beggar's Opera</i>). Set to a seventeenth-century
+air.
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">If the heart of a man is depressed with care,</span><br />
+<span class="i0">The mist is dispelled when a woman appears,</span><br />
+<span class="i0">Like the notes of a fiddle she sweetly, sweetly</span><br />
+<span class="i0">Raises our spirits and charms our ears.</span>
+</p>
+</blockquote>
+
+
+<h3><span class="sc">When the Stormy Winds</span> (<i><abbr title="David Copperfield">D.C.</abbr></i> 21, <i><abbr title="Dombey &amp; Son">D. &amp; S.</abbr></i> 23)</h3>
+
+<p>
+Words by <i>Campbell</i>, who may have taken them
+from an earlier source. See &lsquo;<a href="#you_gentlemen">You Gentlemen of
+England</a>.&rsquo;
+</p>
+
+
+<h3><span class="sc">White Sand</span> (<i><abbr title="Little Dorrit">L.D.</abbr></i> i. 32)</h3>
+
+<p>
+An old glee. See p. <a href="#page106">106</a>.
+</p>
+
+
+<h3><span class="sc">Who Passes by This Road so Late</span> (<i><abbr title="Little Dorrit">L.D.</abbr></i> i. 1)</h3>
+
+<p>
+(Blandois' Song.)
+</p>
+
+<p>
+Words by <i>C. Dickens</i>.
+</p>
+
+<p class="right"><i>H.R.S. Dalton.</i></p>
+
+<p>
+An old French children's singing game. Dickens' words
+are a literal translation. See <i>Eighty Singing Games</i>
+(Kidson and Moffat).
+</p>
+
+
+<h3><span class="sc">Who Ran to Catch Me When I Fell</span> (<i><abbr title="Old Curiosity Shop">O.C.S.</abbr></i> 38)</h3>
+
+<p>
+From Ann Taylor's nursery song &lsquo;My Mother.&rsquo;
+</p>
+
+
+<h3><a class="pagebreak" name="page162" id="page162"
+title="162"></a><span class="sc">Wife Shall Dance and I Will Sing, so Merrily Pass the
+Day</span></h3>
+
+<p>
+From &lsquo;Begone, dull care&rsquo; (<a href="#page138">q.v.</a>).
+</p>
+
+
+<h3><span class="sc">Will Watch, the Bold Smuggler</span> (<i>Out of Season</i>)</h3>
+
+<p class="right"><i>John Davy.</i></p>
+
+
+<h3><span class="sc">Yankee Doodle</span> (<i><abbr title="Uncommercial Traveller">U.T.</abbr></i>, <i><abbr title="American Notes">A.N.</abbr></i>)</h3>
+
+<p>
+Mr. F. Kidson has traced this to &lsquo;A selection of Scotch,
+English, Irish, and Foreign Airs,&rsquo; published in Glasgow
+by James Aird, c. 1775 or 1776.
+</p>
+
+
+<h3><a name="yet_lovd_i"></a><span class="sc">Yet Lov'd I as Man Ne'er Loved</span> (<i><abbr title="Old Curiosity Shop">O.C.S.</abbr></i> 50)</h3>
+
+<p>
+Words by <i>William Mee</i>.
+</p>
+
+<p class="right"><i>Millard.</i></p>
+
+<p>
+From &lsquo;Alice Gray.&rsquo;
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">She's all my fancy painted her,</span><br />
+<span class="i1">&nbsp;&nbsp;She's lovely, she's divine,</span><br />
+<span class="i0">But her heart it is another's,</span><br />
+<span class="i1">&nbsp;&nbsp;It never can be mine.</span><br />
+<span class="i0">Yet lov'd I as ne'er man loved,</span><br />
+<span class="i1">&nbsp;&nbsp;A love without decay,</span><br />
+<span class="i0">Oh my heart, my heart is breaking,</span><br />
+<span class="i1">&nbsp;&nbsp;For the love of <i>Alice Gray</i>!</span>
+</p>
+</blockquote>
+
+<p>
+&lsquo;Alice Gray.&rsquo; A ballad, sung by Miss Stephens, Miss
+Palon, and Miss Grant. Composed and inscribed to
+Mr. A. Pettet by Mrs. Philip Millard.
+</p>
+
+<p>
+Published by A. Pettet, Hanway Street.
+</p>
+
+
+<h3><a name="you_gentlemen"></a><span class="sc">You Gentlemen of England</span> (<i><abbr title="Dombey &amp; Son">D. &amp; S.</abbr></i> 23)</h3>
+
+<p>
+Old English Ballad.
+</p>
+
+<p>
+A seventeenth-century song, the last line of each
+verse being &lsquo;When the stormy winds do blow.&rsquo;
+</p>
+
+
+<h3><a class="pagebreak" name="page163" id="page163"
+title="163"></a><span class="sc">Young Love Lived Once</span> (<i><abbr title="Sketches by Boz: Scenes">S.B.S.</abbr></i> 20)</h3>
+
+<p>
+In <i>Sketches by Boz</i> this sentence occurs:
+</p>
+
+<blockquote>
+<p>
+&lsquo;When we say a &ldquo;shed&rdquo; we do not mean the conservatory
+kind of building which, according to the old
+song, Love frequented when a young man.&rsquo;
+</p>
+</blockquote>
+
+<p>
+The song referred to is by T. Moore.
+</p>
+
+<blockquote>
+<p class="stanza">
+<span class="i0">Young love lived once in a humble shed,</span><br />
+<span class="i1">&nbsp;&nbsp;Where roses breathing,</span><br />
+<span class="i1">&nbsp;&nbsp;And woodbines wreathing,</span><br />
+<span class="i0">Around the lattice their tendrils spread,</span><br />
+<span class="i0">As wild and sweet as the life he led.</span>
+</p>
+</blockquote>
+
+<p>
+It is one of the songs in <i>M.P., or The Blue-Stocking</i>,
+a comic opera in three acts.
+</p>
+</div>
+
+
+
+
+<h2><a class="pagebreak" name="page164" id="page164"
+title="164"></a>INDEX OF MUSICAL INSTRUMENTS</h2>
+
+
+<ul>
+<li>Accordion, <a href="#page1">1</a>, <a href="#page2">2</a></li>
+<li>Aeolian Harp, <a href="#page10">10</a></li>
+</ul><ul>
+<li>Bagpipes, <a href="#page5">5</a>, <a href="#page44">44</a></li>
+<li>Banjo, <ins title="Page number missing in original."><a href="#page20">20</a></ins></li>
+<li>Barrel-Organ, <a href="#page5">5</a>, <a href="#page6">6</a>, <a href="#page10">10</a>, <a href="#page50">50</a>, <a href="#page53">53</a>, <a href="#page78">78</a></li>
+<li>Bassoon, <a href="#page43">43</a></li>
+<li>Bells (church) <a href="#page55">55</a>, <a href="#page57">57</a></li>
+<li>Bells (various), <a href="#page23">23</a>, <a href="#page57">57</a>, <a href="#page61">61</a>, <a href="#page66">66</a></li>
+</ul><ul>
+<li>Castanets, <a href="#page56">56</a></li>
+<li>&lsquo;Chaunter,&rsquo; <a href="#page109">109</a></li>
+<li>Chin-playing, <a href="#page62">62</a></li>
+<li>Clarionet, <a href="#page42">42</a>, <a href="#page43">43</a></li>
+<li>Cymbals, <a href="#page3">3</a>, <a href="#page56">56</a>, <a href="#page64">64</a></li>
+</ul><ul>
+<li>Drum, <a href="#page23">23</a>, <a href="#page64">64</a>, <a href="#page66">66</a>, <a href="#page110">110</a></li>
+<li>&lsquo;Drums,&rsquo; <a href="#page109">109</a></li>
+</ul><ul>
+<li>Fiddle, see <a href="#violin">Violin</a></li>
+<li>Fife, <a href="#page44">44</a>, <a href="#page63">63</a>, <a href="#page85">85</a></li>
+<li>Flageolet, <a href="#page67">67</a></li>
+<li>Flute, <a href="#page6">6</a>, <a href="#page25">25</a>, <a href="#page26">26</a>, <a href="#page36">36</a>, <a href="#page37">37&ndash;40</a>, <a href="#page45">45</a></li>
+</ul><ul>
+<li>Guitar, <a href="#page37">37</a>, <a href="#page54">54</a>, <a href="#page55">55</a>, <a href="#page62">62</a></li>
+<li>&lsquo;Gum-gum,&rsquo; <a href="#page63">63</a></li>
+</ul><ul>
+<li>Harmonium, <a href="#page63">63</a></li>
+<li>Harp, <a href="#page6">6</a>, <a href="#page23">23</a>, <a href="#page25">25</a>, <a href="#page26">26</a>, <a href="#page29">29</a>, <a href="#page30">30</a>, <a href="#page31">31</a>, <a href="#page64">64</a></li>
+<li>Harpsichord, <a href="#page33">33</a>, <a href="#page47">47</a></li>
+</ul><ul>
+<li>Jew's-harp, <a href="#page57">57</a></li>
+</ul><ul>
+<li>Key Bugle (or Kent Bugle), <a href="#page2">2</a>, <a href="#page3">3</a>, <a href="#page65">65</a>, <a href="#page66">66</a>, <a href="#page87">87</a></li>
+<li>Kit, <a href="#page27">27</a></li>
+</ul><ul>
+<li>Lute, <a href="#page55">55</a></li>
+</ul><ul>
+<li>Marrowbones and Cleaver, <a href="#page23">23</a>, <a href="#page66">66</a>, <a href="#page67">67</a></li>
+<li>Mouth-organ, <a href="#page67">67</a></li>
+</ul><ul>
+<li>Organ, <a href="#page45">45&ndash;50</a>, <a href="#page52">52</a>, <a href="#page69">69&ndash;72</a></li>
+</ul><ul>
+<li>Pan's Pipes, <a href="#page43">43</a>, <a href="#page67">67</a></li>
+<li>Piano, <a href="#page1">1</a>, <a href="#page6">6</a>, <a href="#page25">25&ndash;29</a>, <a href="#page31">31&ndash;35</a>, <a href="#page74">74</a>, <a href="#page76">76</a></li>
+<li>Piano (&lsquo;self acting&rsquo;), <a href="#page48">48</a></li>
+</ul><ul>
+<li>Recorders, <a href="#page64">64</a></li>
+</ul><ul>
+<li>Serpent, <a href="#page63">63</a></li>
+</ul><ul>
+<li>Tambourine, <a href="#page25">25</a>, <a href="#page43">43</a>, <a href="#page56">56</a>, <a href="#page62">62</a></li>
+<li>Tom-tom, <a href="#page62">62</a></li>
+<li>Triangle, <a href="#page41">41</a>, <a href="#page43">43</a>, <a href="#page68">68</a></li>
+<li>Trombone, <a href="#page43">43</a>, <a href="#page67">67</a></li>
+</ul><ul>
+<li><a name="violin"></a>Violin, <a href="#page1">1</a>, <a href="#page2">2</a>, <a href="#page5">5</a>, <a href="#page6">6</a>, <a href="#page23">23&ndash;29</a>, <a href="#page47">47</a>, <a href="#page64">64</a></li>
+<li>Violoncello, <a href="#page6">6</a>, <a href="#page25">25</a>, <a href="#page29">29</a>, <a href="#page44">44</a></li>
+</ul>
+
+
+
+
+<h2><a class="pagebreak" name="page165" id="page165"
+title="165"></a>INDEX OF CHARACTERS</h2>
+
+
+<ul>
+<li>Antonio (<i><abbr title="Uncommercial Traveller">U.T.</abbr></i>), <a href="#page54">54</a></li>
+<li>Atherfield, Mrs. (<i><abbr title="Wreck of the Golden Mary">G.M.</abbr></i>), <a href="#page78">78</a></li>
+</ul><ul>
+<li>Bagnet, Mrs. (<i><abbr title="Bleak House">B.H.</abbr></i>), <a href="#page113">113</a></li>
+<li>Bagnet (<i><abbr title="Bleak House">B.H.</abbr></i>), <a href="#page43">43</a>, <a href="#page85">85</a></li>
+<li>Bagnet, Master (<i><abbr title="Bleak House">B.H.</abbr></i>), <a href="#page44">44</a>, <a href="#page85">85</a></li>
+<li>Bailey, Jr. (<i><abbr title="Martin Chuzzlewit">M.C.</abbr></i>), <a href="#page59">59</a>, <a href="#page89">89</a></li>
+<li>Banjo Bones (<i><abbr title="Uncommercial Traveller">U.T.</abbr></i> 5), <a href="#page20">20</a></li>
+<li>Belinda (<i><abbr title="Master Humphrey's Clock">M.H.C.</abbr></i>), <a href="#page61">61</a></li>
+<li>Billsmethi (<i><abbr title="Sketches by Boz: Characters">S.B.C.</abbr></i> 9), <a href="#page20">20</a></li>
+<li>Blackpool, S. (<i><abbr title="Hard Times">H.T.</abbr></i>), <a href="#page59">59</a></li>
+<li>Blandois (<i><abbr title="Little Dorrit">L.D.</abbr></i>), <a href="#page17">17</a></li>
+<li>Blathers (<i><abbr title="Oliver Twist">O.T.</abbr></i>), <a href="#page56">56</a></li>
+<li>Blimber, Dr. (<i><abbr title="David Copperfield">D.C.</abbr></i>), <a href="#page53">53</a>, <a href="#page58">58</a></li>
+<li>Boffin (<i><abbr title="Our Mutual Friend">O.M.F.</abbr></i>), <a href="#page133">133</a></li>
+<li>Bounderby (<i><abbr title="Hard Times">H.T.</abbr></i>), <a href="#page56">56</a></li>
+<li>Brass, Sally (<i><abbr title="Old Curiosity Shop">O.C.S.</abbr></i>), <a href="#page103">103</a>, <a href="#page128">128</a></li>
+<li>Brass, Sampson (<i><abbr title="Old Curiosity Shop">O.C.S.</abbr></i>), <a href="#page27">27</a>, <a href="#page40">40</a>, <a href="#page78">78</a>, <a href="#page102">102</a>, <a href="#page128">128</a></li>
+<li>Briggses, Miss (<i><abbr title="Sketches by Boz: Tales">S.B.T.</abbr></i> 7), <a href="#page54">54</a>, <a href="#page62">62</a></li>
+<li>Browdie, John (<i><abbr title="Nicholas Nickleby">N.N.</abbr></i>), <a href="#page101">101</a></li>
+<li>Brown, Mr. (<i><abbr title="Sketches by Boz: Tales">S.B.T.</abbr></i> 9), <ins title="Page number missing in original."><a href="#page26">26</a></ins></li>
+<li>Bucket (<i><abbr title="Bleak House">B.H.</abbr></i>), <a href="#page29">29</a>, <a href="#page43">43</a>, <a href="#page44">44</a>, <a href="#page64">64</a>, <a href="#page85">85</a>, <a href="#page112">112</a></li>
+<li>Bunsby (<i><abbr title="Little Dorrit">L.D.</abbr></i>), <a href="#page121">121</a></li>
+</ul><ul>
+<li>Carker, Harriet (<i><abbr title="Dombey &amp; Son">D. &amp; S.</abbr></i>), <a href="#page40">40</a></li>
+<li>Carker, James (<i><abbr title="Dombey &amp; Son">D. &amp; S.</abbr></i>), <a href="#page28">28</a>, <a href="#page59">59</a></li>
+<li>Casby (<i><abbr title="Little Dorrit">L.D.</abbr></i>), <a href="#page53">53</a></li>
+<li>Chadband, Rev. (<i><abbr title="Bleak House">B.H.</abbr></i>), <a href="#page74">74</a></li>
+<li>Cheggs (<i><abbr title="Old Curiosity Shop">O.C.S.</abbr></i>), <a href="#page126">126</a></li>
+<li>Chivery, Young (<i><abbr title="Little Dorrit">L.D.</abbr></i>), <a href="#page55">55</a></li>
+<li>Chuckster (<i><abbr title="Old Curiosity Shop">O.C.S.</abbr></i>), <a href="#page125">125</a></li>
+<li>Chuzzlewit, Jonas (<i><abbr title="Martin Chuzzlewit">M.C.</abbr></i>), <a href="#page41">41</a>, <a href="#page59">59</a></li>
+<li>Chuzzlewit, Martin (<i><abbr title="Martin Chuzzlewit">M.C.</abbr></i>), <a href="#page102">102</a></li>
+<li>Chuzzlewit, M., Jr., <a href="#page46">46</a>, <a href="#page66">66</a>, <a href="#page84">84</a>, <a href="#page86">86</a></li>
+<li>Clennam, Arthur (<i><abbr title="Little Dorrit">L.D.</abbr></i>), <a href="#page49">49</a>, <a href="#page59">59</a>, <a href="#page90">90</a></li>
+<li>Copperfield, David (<i><abbr title="David Copperfield">D.C.</abbr></i>), <a href="#page30">30</a>, <a href="#page33">33</a>, <a href="#page36">36</a>, <a href="#page55">55</a>, <a href="#page80">80</a>, <a href="#page84">84</a>, <a href="#page102">102</a>, <a href="#page112">112</a>, <a href="#page115">115</a></li>
+<li>Crewler, Sophy (<i><abbr title="David Copperfield">D.C.</abbr></i>), <a href="#page33">33</a></li>
+<li>Crisparkle, Rev. (<i><abbr title="Edwin Drood">E.D.</abbr></i>), <a href="#page74">74</a>, <a href="#page107">107</a></li>
+<li>Crumptons, Miss (<i><abbr title="Sketches by Boz: Tales">S.B.T.</abbr></i> 3), <a href="#page20">20</a></li>
+<li>Cuttle, Capt. (<i><abbr title="Dombey &amp; Son">D. &amp; S.</abbr></i>), <a href="#page7">7</a>, <a href="#page18">18</a>, <a href="#page83">83</a>, <a href="#page84">84</a>, <a href="#page89">89</a>, <a href="#page117">117&ndash;123</a></li>
+</ul><ul>
+<li>Daisy, Solomon (<i><abbr title="Barnaby Rudge">B.R.</abbr></i>), <a href="#page73">73</a></li>
+<li>Dartle, Rosa (<i><abbr title="David Copperfield">D.C.</abbr></i>), <a href="#page30">30</a></li>
+<li>Dick, Mr. (<i><abbr title="David Copperfield">D.C.</abbr></i>), <a href="#page110">110</a></li>
+<li>Dombey, Mr. (<i><abbr title="Dombey &amp; Son">D. &amp; S.</abbr></i>), <a href="#page6">6</a>, <a href="#page31">31</a>, <a href="#page67">67</a></li>
+<li>Dombey, Florence (<i><abbr title="Dombey &amp; Son">D. &amp; S.</abbr></i>), <a href="#page89">89</a>, <a href="#page101">101</a>, <a href="#page118">118</a>, <a href="#page120">120</a>, <a href="#page121">121</a></li>
+<li>Dombey, Paul (<i><abbr title="Dombey &amp; Son">D. &amp; S.</abbr></i>), <a href="#page30">30</a>, <a href="#page36">36</a>, <a href="#page53">53</a>, <a href="#page58">58</a>, <a href="#page101">101</a></li>
+<li>Dorrit, E. (<i><abbr title="Little Dorrit">L.D.</abbr></i>), <a href="#page109">109</a></li>
+<li>Dorrit, F. (<i><abbr title="Little Dorrit">L.D.</abbr></i>), <a href="#page42">42</a>, <a href="#page49">49</a></li>
+<li>Dorrit, W. (<i><abbr title="Little Dorrit">L.D.</abbr></i>), <a href="#page34">34</a></li>
+<li>Dorrit, Miss (<i><abbr title="Little Dorrit">L.D.</abbr></i>), <a href="#page42">42</a></li>
+<li>Dorrit, Little (<i><abbr title="Little Dorrit">L.D.</abbr></i>), <a href="#page42">42</a></li>
+<li>Dowler (<i><abbr title="Pickwick Papers">P.P.</abbr></i>), <a href="#page60">60</a></li>
+<li>Drood, E. (<i><abbr title="Edwin Drood">E.D.</abbr></i>), <a href="#page75">75</a></li>
+<li>Durdles (<i><abbr title="Edwin Drood">E.D.</abbr></i>), <a href="#page18">18</a>, <a href="#page76">76</a></li>
+</ul><ul>
+<li><a class="pagebreak" name="page166" id="page166"
+title="166"></a>Evans, Jemima (<i><abbr title="Sketches by Boz: Characters">S.B.C.</abbr></i> 4), <a href="#page16">16</a>, <a href="#page48">48</a></li>
+<li>Evans, Mr. (<i><abbr title="Sketches by Boz: Tales">S.B.T.</abbr></i> 9), <a href="#page39">39</a></li>
+<li>Evenson (<i><abbr title="Sketches by Boz: Tales">S.B.T.</abbr></i> 1), <a href="#page40">40</a></li>
+</ul><ul>
+<li>Fagin (<i><abbr title="Oliver Twist">O.T.</abbr></i>), <a href="#page59">59</a></li>
+<li>Feeder (<i><abbr title="Dombey &amp; Son">D. &amp; S.</abbr></i>), <a href="#page36">36</a>, <a href="#page52">52</a>, <a href="#page53">53</a>, <a href="#page66">66</a></li>
+<li>Fezziwig, Mrs. (<i><abbr title="Christmas Carol">C.C.</abbr></i>), <a href="#page25">25</a></li>
+<li>Fielding, May (<i><abbr title="Cricket on the Hearth">C.H.</abbr></i>), <a href="#page66">66</a></li>
+<li>Finching, Flora (<i><abbr title="Little Dorrit">L.D.</abbr></i>), <a href="#page49">49</a>, <a href="#page90">90</a>, <a href="#page117">117</a></li>
+<li>Fips (<i><abbr title="Martin Chuzzlewit">M.C.</abbr></i>), <a href="#page102">102</a></li>
+</ul><ul>
+<li>Gamp, Mrs. (<i><abbr title="Martin Chuzzlewit">M.C.</abbr></i>), <a href="#page57">57</a></li>
+<li>Gattleton, Mrs. (<i><abbr title="Sketches by Boz: Tales">S.B.T.</abbr></i> 9), <a href="#page25">25</a>, <a href="#page39">39</a></li>
+<li>Gay, Walter (<i><abbr title="Dombey &amp; Son">D. &amp; S.</abbr></i>), <a href="#page84">84</a>, <a href="#page120">120</a>, <a href="#page121">121</a></li>
+<li>General, Mrs. (<i><abbr title="Little Dorrit">L.D.</abbr></i>), <a href="#page131">131</a></li>
+<li>George, Mr. (<i><abbr title="Bleak House">B.H.</abbr></i>), <a href="#page29">29</a>, <a href="#page44">44</a>, <a href="#page61">61</a></li>
+<li><a name="gills"></a>Gills (&lsquo;Old Sol&rsquo;) (<i><abbr title="Dombey &amp; Son">D. &amp; S.</abbr></i>), <a href="#page120">120</a></li>
+<li>Graham, Mary (<i><abbr title="Martin Chuzzlewit">M.C.</abbr></i>), <a href="#page47">47</a></li>
+</ul><ul>
+<li>Handel (<i><abbr title="Great Expectations">G.E.</abbr></i>), see <a href="#pirrip">Pirrip</a></li>
+<li>Hardy (<i><abbr title="Sketches by Boz: Tales">S.B.T.</abbr></i> 7), <a href="#page62">62</a>, <a href="#page63">63</a></li>
+<li>Harleigh (<i><abbr title="Sketches by Boz: Tales">S.B.T.</abbr></i> 9), <a href="#page9">9</a></li>
+<li>Harris, Mrs. (<i><abbr title="Martin Chuzzlewit">M.C.</abbr></i>), <a href="#page57">57</a></li>
+<li>Heep (<i><abbr title="David Copperfield">D.C.</abbr></i>), <a href="#page80">80</a>, <a href="#page116">116</a></li>
+<li>Helves, Capt. (<i><abbr title="Sketches by Boz: Tales">S.B.T.</abbr></i> 7), <a href="#page62">62</a>, <a href="#page90">90</a>, <a href="#page103">103</a></li>
+<li>Hexham (<i><abbr title="Our Mutual Friend">O.M.F.</abbr></i>), <a href="#page44">44</a></li>
+<li>Hopkins, <a href="#page135">135</a></li>
+<li>Humm (<i><abbr title="Pickwick Papers">P.P.</abbr></i>), <a href="#page78">78</a></li>
+<li>Humphrey, Master (<i><abbr title="Master Humphrey's Clock">M.H.C.</abbr></i>), <a href="#page61">61</a></li>
+<li>Hunter, Mrs. (<i><abbr title="Pickwick Papers">P.P.</abbr></i>)</li>
+</ul><ul>
+<li>Jacksonini (<i>Letters</i>), <a href="#page20">20</a></li>
+<li>Jarley, Mrs. (<i><abbr title="Old Curiosity Shop">O.C.S.</abbr></i>), <a href="#page95">95</a></li>
+<li>Jasper (<i><abbr title="Edwin Drood">E.D.</abbr></i>), <a href="#page34">34</a>, <a href="#page74">74</a>, <a href="#page75">75</a>, <a href="#page107">107</a></li>
+<li>Jeddler (<i><abbr title="Battle of Life">B.L.</abbr></i>), <a href="#page26">26</a></li>
+<li>Jellyby, Caddy (<i><abbr title="Bleak House">B.H.</abbr></i>), <a href="#page27">27</a>, <a href="#page33">33</a></li>
+<li>Jerry (<i><abbr title="Old Curiosity Shop">O.C.S.</abbr></i>), <a href="#page52">52</a>, <a href="#page78">78</a></li>
+<li>Jingle (<i><abbr title="Pickwick Papers">P.P.</abbr></i>), <a href="#page25">25</a>, <a href="#page29">29</a>, <a href="#page90">90</a></li>
+<li>Jorgan (<i><abbr title="Pickwick Papers">P.P.</abbr></i>), <a href="#page47">47</a></li>
+</ul><ul>
+<li>Kenwigs, Mrs. (<i><abbr title="Nicholas Nickleby">N.N.</abbr></i>), <a href="#page41">41</a>, <a href="#page131">131</a></li>
+<li>Kit, see <a href="#nubbles">Nubbles</a></li>
+</ul><ul>
+<li>Ladle, Joey (<i><abbr title="No Thoroughfare">N.T.</abbr></i>), <a href="#page77">77</a></li>
+<li>Larkins, Miss (<i><abbr title="David Copperfield">D.C.</abbr></i>), <a href="#page30">30</a></li>
+<li>Lirriper, Mrs. (<i><abbr title="Mrs. Lirriper's Lodgings / Mrs. Lirriper's Legacy">L.L.</abbr></i>), <a href="#page56">56</a>, <a href="#page70">70</a></li>
+<li>Lobskini (<i><abbr title="Sketches by Boz: Tales">S.B.T.</abbr></i> 3), <a href="#page20">20</a></li>
+</ul><ul>
+<li>M'Choakumchild (<i><abbr title="Hard Times">H.T.</abbr></i>), <a href="#page130">130</a></li>
+<li>Malderton, Miss (<i><abbr title="Sketches by Boz: Tales">S.B.T.</abbr></i> 5), <a href="#page31">31</a>, <a href="#page107">107</a></li>
+<li>Maldon, Jack (<i><abbr title="David Copperfield">D.C.</abbr></i>)</li>
+<li>Mantalini (<i><abbr title="Nicholas Nickleby">N.N.</abbr></i>), <a href="#page60">60</a></li>
+<li>Marchioness, The (<i><abbr title="Old Curiosity Shop">O.C.S.</abbr></i>), <a href="#page38">38</a>, <a href="#page123">123</a>, <a href="#page128">128</a>, <a href="#page129">129</a></li>
+<li>Marigold, Dr., <a href="#page93">93</a></li>
+<li>Marra Boni (<i><abbr title="Sketches by Boz: Characters">S.B.C.</abbr></i> 8), <a href="#page20">20</a></li>
+<li>Meagles (<i><abbr title="Little Dorrit">L.D.</abbr></i>), <a href="#page86">86</a></li>
+<li><a name="miss_meagles"></a>Meagles, Miss (&lsquo;Pet&rsquo;), <a href="#page77">77</a></li>
+<li>Mell (<i><abbr title="David Copperfield">D.C.</abbr></i>), <a href="#page36">36</a>, <a href="#page117">117</a></li>
+<li>Micawber (<i><abbr title="David Copperfield">D.C.</abbr></i>), <a href="#page41">41</a>, <a href="#page83">83</a>, <a href="#page112">112&ndash;117</a></li>
+<li>Micawber, Mrs. (<i><abbr title="David Copperfield">D.C.</abbr></i>), <a href="#page112">112</a>, <a href="#page113">113</a>, <a href="#page117">117</a></li>
+<li>Micawber, W. (<i><abbr title="David Copperfield">D.C.</abbr></i>), <a href="#page117">117</a></li>
+<li>Miggs, Miss (<i><abbr title="Barnaby Rudge">B.R.</abbr></i>), <a href="#page56">56</a></li>
+<li>Mills, Miss (<i><abbr title="David Copperfield">D.C.</abbr></i>), <a href="#page102">102</a></li>
+<li>Monflathers, Mrs. (<i><abbr title="Old Curiosity Shop">O.C.S.</abbr></i>), <a href="#page79">79</a></li>
+<li>Mordlin, Brother (<i><abbr title="Pickwick Papers">P.P.</abbr></i>), <a href="#page78">78</a></li>
+<li><a class="pagebreak" name="page167" id="page167"
+title="167"></a>Morfin (<i><abbr title="Dombey &amp; Son">D. &amp; S.</abbr></i>), <a href="#page27">27</a>, <a href="#page28">28</a>, <a href="#page29">29</a>, <a href="#page41">41</a></li>
+</ul><ul>
+<li>Namby, Mrs. (<i><abbr title="Pickwick Papers">P.P.</abbr></i>), <a href="#page33">33</a></li>
+<li>Nancy (<i><abbr title="Oliver Twist">O.T.</abbr></i>), <a href="#page39">39</a></li>
+<li>Nandy (<i><abbr title="Little Dorrit">L.D.</abbr></i>), <a href="#page105">105</a>, <a href="#page106">106</a></li>
+<li>Nell, Little (<i><abbr title="Old Curiosity Shop">O.C.S.</abbr></i>), <a href="#page79">79</a>, <a href="#page101">101</a></li>
+<li>Nickleby (<i><abbr title="Nicholas Nickleby">N.N.</abbr></i>), <a href="#page58">58</a>, <a href="#page100">100</a></li>
+<li>Noggs (<i><abbr title="Nicholas Nickleby">N.N.</abbr></i>), <a href="#page60">60</a></li>
+<li><a name="nubbles"></a>Nubbles (&lsquo;Kit&rsquo;) (<i><abbr title="Old Curiosity Shop">O.C.S.</abbr></i>), <a href="#page27">27</a>, <a href="#page129">129</a></li>
+</ul><ul>
+<li>Obenreizer (<i><abbr title="No Thoroughfare">N.T.</abbr></i>), <a href="#page14">14</a></li>
+<li>&lsquo;Old Clem,&rsquo; <a href="#page151">151</a></li>
+<li>&lsquo;Old Sol,&rsquo; see <a href="#gills">Gills</a></li>
+</ul><ul>
+<li>Pancks (<i><abbr title="Little Dorrit">L.D.</abbr></i>), vii, <a href="#page53">53</a>, <a href="#page106">106</a></li>
+<li>Pecksniff (<i><abbr title="Martin Chuzzlewit">M.C.</abbr></i>), <a href="#page7">7</a>, <a href="#page41">41</a>, <a href="#page46">46</a></li>
+<li>Pecksniffs, Miss (<i><abbr title="Martin Chuzzlewit">M.C.</abbr></i>), <a href="#page38">38</a>, <a href="#page89">89</a>, <a href="#page101">101</a>, <a href="#page108">108</a></li>
+<li>Peerybingle, Mrs. (<i><abbr title="Cricket on the Hearth">C.H.</abbr></i>), <a href="#page79">79</a></li>
+<li>&lsquo;Pet,&rsquo; see <a href="#miss_meagles">Meagles, Miss</a></li>
+<li>Petowker, Miss (<i><abbr title="Nicholas Nickleby">N.N.</abbr></i>), <a href="#page41">41</a></li>
+<li>Phenomenon, The (<i><abbr title="Nicholas Nickleby">N.N.</abbr></i>), <a href="#page24">24</a></li>
+<li><a name="pickleson"></a>Pickleson (<i><abbr title="Dr. Marigold's Prescription">Dr. M.</abbr></i>), <a href="#page20">20</a>, <a href="#page93">93</a></li>
+<li>Pickwick, Mr. (<i><abbr title="Pickwick Papers">P.P.</abbr></i>), <a href="#page27">27</a>, <a href="#page33">33</a>, <a href="#page34">34</a>, <a href="#page60">60</a>, <a href="#page100">100</a></li>
+<li>Pinch, Tom (<i><abbr title="Martin Chuzzlewit">M.C.</abbr></i>), <a href="#page46">46</a>, <a href="#page47">47</a>, <a href="#page59">59</a>, <a href="#page60">60</a>, <a href="#page72">72 (&amp;c.)</a></li>
+<li><a name="pirrip"></a>Pirrip (&lsquo;Pip&rsquo; or &lsquo;Handel&rsquo;), <a href="#page19">19</a>, <a href="#page108">108</a></li>
+<li>Pip (<i><abbr title="Great Expectations">G.E.</abbr></i>), see <a href="#pirrip">Pirrip</a></li>
+<li>Plornish, Mrs. (<i><abbr title="Little Dorrit">L.D.</abbr></i>), <a href="#page105">105</a>, <a href="#page106">106</a></li>
+<li>Plornish, Mr. (<i><abbr title="Little Dorrit">L.D.</abbr></i>), <a href="#page106">106</a></li>
+<li>Plummer (<i><abbr title="Cricket on the Hearth">C.H.</abbr></i>), <a href="#page64">64</a></li>
+<li>Pocket, Herbert (<i><abbr title="Great Expectations">G.E.</abbr></i>), <a href="#page19">19</a></li>
+</ul><ul>
+<li>Quilp (<i><abbr title="Old Curiosity Shop">O.C.S.</abbr></i>), <a href="#page103">103</a>, <a href="#page127">127</a></li>
+</ul><ul>
+<li>Redburn, Jack (<i><abbr title="Master Humphrey's Clock">M.H.C.</abbr></i>), <a href="#page38">38</a></li>
+<li>Rob the Grinder (<i><abbr title="Dombey &amp; Son">D. &amp; S.</abbr></i>), <a href="#page123">123</a></li>
+<li>Rudolph, Jennings (<i><abbr title="Sketches by Boz: Characters">S.B.C.</abbr></i> 8), <a href="#page68">68</a></li>
+</ul><ul>
+<li>Sapsea, Mr. (<i><abbr title="Edwin Drood">E.D.</abbr></i>), <a href="#page18">18</a>, <a href="#page76">76</a></li>
+<li>Sawyer, Bob (<i><abbr title="Pickwick Papers">P.P.</abbr></i>), <a href="#page59">59</a>, <a href="#page100">100</a></li>
+<li>Scrooge (<i><abbr title="Christmas Carol">C.C.</abbr></i>), <a href="#page30">30</a></li>
+<li>Scrooge's Nephew (<i><abbr title="Christmas Carol">C.C.</abbr></i>), <a href="#page30">30</a>, <a href="#page107">107</a></li>
+<li>Simpson (<i><abbr title="Pickwick Papers">P.P.</abbr></i>), <a href="#page109">109</a></li>
+<li>Skettles, Lady (<i><abbr title="Dombey &amp; Son">D. &amp; S.</abbr></i>), <a href="#page30">30</a></li>
+<li>Skewton, Hon. Mrs. (<i><abbr title="Dombey &amp; Son">D. &amp; S.</abbr></i>), <a href="#page31">31</a></li>
+<li>Skimpole (<i><abbr title="Bleak House">B.H.</abbr></i>), <a href="#page33">33</a>, <a href="#page131">131</a></li>
+<li>Smike (<i><abbr title="Nicholas Nickleby">N.N.</abbr></i>), <a href="#page58">58</a></li>
+<li>Sparkins (<i><abbr title="Sketches by Boz: Tales">S.B.T.</abbr></i> 5), <a href="#page31">31</a>, <a href="#page107">107</a></li>
+<li>Spenlow, Dora (<i><abbr title="David Copperfield">D.C.</abbr></i>), <a href="#page33">33</a>, <a href="#page55">55</a>, <a href="#page102">102</a></li>
+<li>Squeers (<i><abbr title="Nicholas Nickleby">N.N.</abbr></i>), <a href="#page36">36</a>, <a href="#page100">100</a></li>
+<li>Steerforth (<i><abbr title="David Copperfield">D.C.</abbr></i>), <a href="#page30">30</a></li>
+<li>Stiggins (<i><abbr title="Pickwick Papers">P.P.</abbr></i>), <a href="#page74">74</a></li>
+<li>Strong, Dr. (<i><abbr title="David Copperfield">D.C.</abbr></i>), <a href="#page45">45</a>, <a href="#page80">80</a></li>
+<li>Summerson, Esther (<i><abbr title="Bleak House">B.H.</abbr></i>), <a href="#page29">29</a></li>
+<li>Sweedlepipe (<i><abbr title="Martin Chuzzlewit">M.C.</abbr></i>), <a href="#page59">59</a></li>
+<li>Swills, Little (<i><abbr title="Bleak House">B.H.</abbr></i>), <a href="#page107">107</a></li>
+<li>Swiveller, Dick (<i><abbr title="Old Curiosity Shop">O.C.S.</abbr></i>), <a href="#page12">12</a>, <a href="#page27">27</a>, <a href="#page37">37</a>, <a href="#page78">78</a>, <a href="#page83">83</a>, <a href="#page123">123&ndash;130</a></li>
+</ul><ul>
+<li>Tackleton (<i><abbr title="Cricket on the Hearth">C.H.</abbr></i>), <a href="#page65">65</a>, <a href="#page66">66</a></li>
+<li>Tapley, Mark (<i><abbr title="Martin Chuzzlewit">M.C.</abbr></i>), <a href="#page73">73</a>, <a href="#page84">84</a>, <a href="#page86">86</a>, <a href="#page102">102</a></li>
+<li>Tappertit (<i><abbr title="Barnaby Rudge">B.R.</abbr></i>), <a href="#page25">25</a></li>
+<li>Tauntons, Miss (<i><abbr title="Sketches by Boz: Tales">S.B.T.</abbr></i> 7), <a href="#page54">54</a>, <a href="#page90">90</a></li>
+<li><a class="pagebreak" name="page168" id="page168"
+title="168"></a>Tetterby Family (<i><abbr title="Haunted Man">H.M.</abbr></i>), <a href="#page79">79</a></li>
+<li>Tibbs, Mrs. (<i><abbr title="Sketches by Boz: Tales">S.B.T.</abbr></i> 1), <a href="#page40">40</a></li>
+<li>Timson, Rev. (<i><abbr title="Sketches by Boz: Tales">S.B.T.</abbr></i> 10), <a href="#page29">29</a></li>
+<li>Tiny Tim (<i><abbr title="Christmas Carol">C.C.</abbr></i>), <a href="#page101">101</a></li>
+<li>Tippin, Mrs. (<i><abbr title="Sketches by Boz: Tales">S.B.T.</abbr></i> 4), <a href="#page62">62</a></li>
+<li>Tippin, Master (<i><abbr title="Sketches by Boz: Tales">S.B.T.</abbr></i> 4), <a href="#page62">62</a></li>
+<li>Todgers, Mrs. (<i><abbr title="Martin Chuzzlewit">M.C.</abbr></i>), <a href="#page89">89</a>, <a href="#page108">108</a></li>
+<li>Tomlinson (<i><abbr title="Dombey &amp; Son">D. &amp; S.</abbr></i>), <a href="#page67">67</a></li>
+<li>Toots (<i><abbr title="David Copperfield">D.C.</abbr></i>), <a href="#page37">37</a></li>
+<li>Topper (<i><abbr title="Christmas Carol">C.C.</abbr></i>), <a href="#page103">103</a></li>
+<li>Tottle, Watkins (<i><abbr title="Sketches by Boz: Tales">S.B.T.</abbr></i> 10), <a href="#page59">59</a></li>
+<li>Tox, Miss (<i><abbr title="Dombey &amp; Son">D. &amp; S.</abbr></i>), <a href="#page33">33</a></li>
+<li>Tpschoffki (<i><abbr title="Going into Society">G.S.</abbr></i>), <a href="#page20">20</a>, <a href="#page51">51</a></li>
+<li>Traddles (<i><abbr title="David Copperfield">D.C.</abbr></i>), <a href="#page33">33</a></li>
+<li>Trotter, Job (<i><abbr title="Pickwick Papers">P.P.</abbr></i>), <a href="#page80">80</a></li>
+<li>Trotwood, Miss (<i><abbr title="David Copperfield">D.C.</abbr></i>), <a href="#page50">50</a></li>
+<li>Tulrumble (<i><abbr title="Mudfog and Other Sketches: The Public Life of Mr. Tulrumble">M.P.</abbr></i>), <a href="#page51">51</a></li>
+<li>Tupman (<i><abbr title="Pickwick Papers">P.P.</abbr></i>), <a href="#page25">25</a></li>
+<li>Turveydrop (<i><abbr title="Bleak House">B.H.</abbr></i>), <a href="#page29">29</a></li>
+<li>Twist, Oliver (<i><abbr title="Oliver Twist">O.T.</abbr></i>), <a href="#page39">39</a></li>
+</ul><ul>
+<li>Varden, Mrs. (<i><abbr title="Barnaby Rudge">B.R.</abbr></i>)</li>
+<li>Veck, Toby (&lsquo;Trotty&rsquo;) (<i><abbr title="Chimes">Ch.</abbr></i>), <a href="#page23">23</a>, <a href="#page50">50</a>, <a href="#page66">66</a></li>
+<li>Velasco, Rinaldo di, see <a href="#pickleson">Pickleson</a></li>
+</ul><ul>
+<li>Wackles, Sophy (<i><abbr title="Old Curiosity Shop">O.C.S.</abbr></i>), <a href="#page37">37</a>, <a href="#page125">125&ndash;128</a></li>
+<li>Wardle (<i><abbr title="Pickwick Papers">P.P.</abbr></i>), <a href="#page99">99</a></li>
+<li>Wegg, Silas (<i><abbr title="Our Mutual Friend">O.M.F.</abbr></i>), <a href="#page132">132&ndash;134</a></li>
+<li>Weller, Mr. (<i><abbr title="Pickwick Papers">P.P.</abbr></i>), <a href="#page34">34</a></li>
+<li>Weller, Sam (<i><abbr title="Pickwick Papers">P.P.</abbr></i>), <a href="#page34">34</a>, <a href="#page73">73 (&amp;c.)</a>, <a href="#page99">99</a>, <a href="#page100">100</a></li>
+<li>Wickfield (<i><abbr title="David Copperfield">D.C.</abbr></i>), <a href="#page80">80</a></li>
+<li>Wilding (<i><abbr title="No Thoroughfare">N.T.</abbr></i>), <a href="#page77">77</a></li>
+<li>Wilfer (<i><abbr title="Our Mutual Friend">O.M.F.</abbr></i>), <a href="#page61">61</a>, <a href="#page96">96</a></li>
+<li>Wilkins (<i><abbr title="Sketches by Boz: Characters">S.B.C.</abbr></i>), <a href="#page48">48</a></li>
+<li>Willet, Joe (<i><abbr title="Barnaby Rudge">B.R.</abbr></i>), <a href="#page73">73</a></li>
+<li>Wisbottle (<i><abbr title="Sketches by Boz: Tales">S.B.T.</abbr></i> 1), <a href="#page40">40</a></li>
+<li>Wopsle (<i><abbr title="Great Expectations">G.E.</abbr></i>), <a href="#page64">64</a>, <a href="#page72">72</a>, <a href="#page108">108</a></li>
+</ul>
+
+
+
+
+<h2><a class="pagebreak" name="page169" id="page169"
+title="169"></a>GENERAL INDEX</h2>
+
+
+<ul>
+<li>Allon, Dr., <a href="#page81">81</a></li>
+<li>Arne, Dr., <a href="#page16">16</a>, <a href="#page77">77</a>, <a href="#page153">153</a>, <a href="#page157">157</a></li>
+<li>Attwood, T., <a href="#page114">114</a></li>
+<li>Auber, <a href="#page3">3</a></li>
+</ul><ul>
+<li>Barnett, J., <a href="#page157">157</a></li>
+<li>Bath, <a href="#page60">60</a></li>
+<li>Bayly, T.H., <a href="#page130">130</a>, <a href="#page159">159</a></li>
+<li>Bedford (singer), <a href="#page91">91</a></li>
+<li>Beethoven, <a href="#page21">21</a>, <a href="#page148">148</a></li>
+<li><i>Beggar's Opera</i>, <a href="#page135">135</a>, <a href="#page153">153</a>, <a href="#page161">161</a></li>
+<li><i>Bell's Life in London</i>, <a href="#page92">92</a></li>
+<li>&lsquo;Belmont&rsquo; (Hymn-tune), <a href="#page98">98</a></li>
+<li>Benedict, Sir J., <a href="#page140">140</a></li>
+<li>Bishop, Sir H., <a href="#page12">12</a>, <a href="#page14">14</a>, <a href="#page138">138</a>, <a href="#page142">142</a>, <a href="#page144">144</a>, <a href="#page148">148</a>, <a href="#page156">156</a></li>
+<li>Blamire, S., <a href="#page136">136</a></li>
+<li>Blondel, C., <a href="#page159">159</a></li>
+<li>Boai, M., <a href="#page62">62</a></li>
+<li>Boston (U.S.A.), <a href="#page7">7</a>, <a href="#page32">32</a></li>
+<li>Bowden, <a href="#page1">1</a></li>
+<li>Boyce, W., <a href="#page144">144</a></li>
+<li>Braham (singer), <a href="#page15">15</a>, <a href="#page116">116</a>, <a href="#page136">136</a>, <a href="#page140">140</a></li>
+<li>Bridge, Sir F., <a href="#page99">99</a>, <a href="#page139">139</a></li>
+<li>Broadstairs, <a href="#page5">5</a>, <a href="#page9">9</a>, <a href="#page10">10</a></li>
+<li>Buckingham (singer), <a href="#page92">92</a></li>
+<li>Burgoyne, <a href="#page156">156</a></li>
+<li>Burns, <a href="#page137">137</a>, <a href="#page149">149</a>, <a href="#page153">153</a></li>
+<li>Byrd, <a href="#page149">149</a></li>
+<li>Byron, <a href="#page12">12</a>, <a href="#page141">141</a></li>
+</ul><ul>
+<li>Campbell, <a href="#page11">11</a>, <a href="#page161">161</a></li>
+<li>Carey, H., <a href="#page141">141</a>, <a href="#page143">143</a>, <a href="#page149">149</a></li>
+<li>Carpenter, J.E., <a href="#page160">160</a></li>
+<li>Carrara, <a href="#page4">4</a></li>
+<li>Chappell, W., <a href="#page151">151</a></li>
+<li>&lsquo;Chaunter,&rsquo; <a href="#page109">109</a></li>
+<li>Cherry, Andrew, <a href="#page137">137</a></li>
+<li><i>Choir</i>, The, <a href="#page18">18</a>, <a href="#page87">87</a></li>
+<li>Chopin, <a href="#page2">2</a></li>
+<li>Chorley, H., <a href="#page12">12</a>, <a href="#page21">21</a></li>
+<li>Clapham, <a href="#page67">67</a></li>
+<li><i>Clari</i>, <a href="#page14">14</a></li>
+<li>Collins, Wilkie, <a href="#page11">11</a></li>
+<li>Cowell (singer), <a href="#page139">139</a></li>
+<li>Curwen, John, <a href="#page17">17</a></li>
+</ul><ul>
+<li><i>Daily News</i>, The, <a href="#page16">16</a>, <a href="#page20">20</a></li>
+<li>Dalton, H.R.S., <a href="#page17">17</a>, <a href="#page161">161</a></li>
+<li>Davies, Rev. R., <a href="#page82">82</a></li>
+<li>Davy, J., <a href="#page120">120</a>, <a href="#page137">137</a>, <a href="#page154">154</a>, <a href="#page162">162</a></li>
+<li>Dibdin, C., <a href="#page88">88</a>, <a href="#page115">115</a>, <a href="#page119">119</a>, <a href="#page133">133</a>, <a href="#page139">139</a>, <a href="#page146">146</a>, <a href="#page156">156</a></li>
+<li>Dibdin, C., Jr., <a href="#page111">111</a></li>
+<li>Dibdin, T., <a href="#page114">114</a>, <a href="#page147">147</a></li>
+<li>Dover, <a href="#page5">5</a></li>
+<li>&lsquo;Drums,&rsquo; <a href="#page109">109</a></li>
+<li>D'Urfey, <a href="#page151">151</a></li>
+</ul><ul>
+<li>&lsquo;Eagle,&rsquo; The, <a href="#page24">24</a>, <a href="#page27">27</a>, <a href="#page47">47</a>, <a href="#page48">48</a></li>
+<li>&lsquo;Elephant and Castle,&rsquo; The, <a href="#page43">43</a></li>
+<li>Elson, C., <a href="#page144">144</a></li>
+</ul><ul>
+<li>Fairburn (song publisher), <a href="#page9">9</a>, <a href="#page89">89</a>, <a href="#page121">121</a></li>
+<li>Field, J.T., <a href="#page8">8</a></li>
+<li>Forster, J., <a href="#page1">1</a>, <a href="#page5">5</a>, <a href="#page9">9</a>, <a href="#page24">24</a>, <a href="#page58">58</a>, <a href="#page82">82</a></li>
+<li>Foundling Hospital, <a href="#page77">77</a></li>
+</ul><ul>
+<li><a class="pagebreak" name="page170" id="page170"
+title="170"></a>Garrick, D., <a href="#page144">144</a></li>
+<li>Gay, <a href="#page153">153</a>, <a href="#page161">161</a></li>
+<li>Genoa, <a href="#page5">5</a>, <a href="#page72">72</a></li>
+<li>Gissing, <a href="#page46">46</a></li>
+<li>Glindon, <a href="#page48">48</a></li>
+<li>Glover, S., <a href="#page158">158</a>, <a href="#page160">160</a></li>
+<li>Golden Square, <a href="#page6">6</a></li>
+<li>Goldsmith, <a href="#page161">161</a></li>
+<li>Gounod, <a href="#page2">2</a></li>
+<li>Greene, M., <a href="#page77">77</a></li>
+<li>Grimaldi, <a href="#page111">111</a></li>
+</ul><ul>
+<li>Hamilton, Mrs. E., <a href="#page134">134</a></li>
+<li>Handel, <a href="#page21">21</a>, <a href="#page45">45</a>, <a href="#page48">48</a>, <a href="#page74">74</a>, <a href="#page77">77</a>, <a href="#page140">140</a>, <a href="#page144">144</a></li>
+<li>Haydn, <a href="#page77">77</a></li>
+<li>Hoare, Prince, <a href="#page113">113</a></li>
+<li>Hodson, G.A., <a href="#page150">150</a></li>
+<li>Hook, J., <a href="#page145">145</a></li>
+<li>Horn, C.E., <a href="#page135">135</a></li>
+<li><i>Household Words</i>, <a href="#page19">19</a>, <a href="#page80">80&ndash;82</a></li>
+<li>Howell, <a href="#page48">48</a></li>
+<li>Hughes, J.C., <a href="#page143">143</a></li>
+<li>Hullah, <a href="#page15">15</a>, <a href="#page17">17</a>, <a href="#page130">130</a>, <a href="#page150">150</a></li>
+<li>Hutchinson Family, <a href="#page13">13</a></li>
+</ul><ul>
+<li>Incledon, <a href="#page91">91</a>, <a href="#page152">152</a></li>
+<li><i>Irish Melodies</i>, <a href="#page7">7</a>, <a href="#page8">8</a>, <a href="#page88">88</a>, <a href="#page129">129</a>, <a href="#page131">131</a>, <a href="#page142">142 et seq.</a></li>
+</ul><ul>
+<li>Jonson, Ben, <a href="#page141">141</a></li>
+<li>Jerrold, D., <a href="#page3">3</a></li>
+<li>Joachim, <a href="#page13">13</a></li>
+<li>Julian, Dr., <a href="#page81">81</a></li>
+</ul><ul>
+<li>Kelly, M., <a href="#page158">158</a></li>
+<li>Kent (composer), <a href="#page77">77</a></li>
+<li>Kidson, Mr. F., <a href="#page137">137</a>, <a href="#page139">139</a>, <a href="#page161">161</a>, <a href="#page162">162</a></li>
+<li>Kitton, F.G., <a href="#page1">1</a>, <a href="#page7">7</a>, <a href="#page15">15</a></li>
+</ul><ul>
+<li>Lampe, J.F., <a href="#page141">141</a></li>
+<li>Landor, <a href="#page10">10</a></li>
+<li>Lang, A., <a href="#page72">72</a></li>
+<li>Lee, G.A., <a href="#page133">133</a>, <a href="#page141">141</a></li>
+<li>Leech, J., <a href="#page23">23</a></li>
+<li>Lemon, Mark, <a href="#page11">11</a></li>
+<li>Leveridge, R., <a href="#page139">139</a></li>
+<li>Lind, Jenny, <a href="#page3">3</a></li>
+<li>Linley, G., <a href="#page121">121</a>, <a href="#page143">143</a>, <a href="#page158">158</a></li>
+<li>Lisle, Rouget de, <a href="#page148">148</a></li>
+<li><i>Little Warbler</i>, <a href="#page9">9</a>, <a href="#page89">89</a>, <a href="#page121">121</a></li>
+<li>Loder, E.J., <a href="#page155">155</a></li>
+<li><i>London Oddities</i>, <a href="#page92">92</a></li>
+<li><i>London Singer's Magazine</i>, <a href="#page18">18</a>, <a href="#page159">159</a></li>
+<li>Luard-Selby, B., <a href="#page75">75</a></li>
+</ul><ul>
+<li>Macdermott, <a href="#page94">94</a></li>
+<li>Maclise, <a href="#page12">12</a></li>
+<li>Mallet, <a href="#page153">153</a></li>
+<li>Mann, Dr. A.H., <a href="#page109">109</a></li>
+<li>Marseilles, <a href="#page86">86</a></li>
+<li>Marshalsea, <a href="#page34">34</a></li>
+<li>Martin's Act, <a href="#page96">96</a></li>
+<li>Mazzinghi, <a href="#page152">152</a>, <a href="#page155">155</a></li>
+<li>Mendelssohn, <a href="#page2">2</a>, <a href="#page77">77</a></li>
+<li>Meyerbeer, <a href="#page3">3</a></li>
+<li>Millard, Mrs., <a href="#page162">162</a></li>
+<li>Miller, Rev. J., <a href="#page81">81</a></li>
+<li>Moffat, J., <a href="#page161">161</a></li>
+<li>Moore, T., <a href="#page7">7</a>, <a href="#page12">12</a>, <a href="#page133">133</a>, <a href="#page134">134</a>, <a href="#page142">142 et seq.</a></li>
+<li>Mornington, Lord, <a href="#page147">147</a></li>
+<li>Mozart, <a href="#page2">2</a>, <a href="#page21">21</a>, <a href="#page48">48</a>, <a href="#page77">77</a>, <a href="#page137">137</a>, <a href="#page141">141</a></li>
+<li><i>Musical Times</i>, The, <a href="#page153">153</a></li>
+</ul><ul>
+<li>Neukomm, <a href="#page147">147</a></li>
+<li><a class="pagebreak" name="page171" id="page171"
+title="171"></a>Norwich Festival, <a href="#page109">109</a></li>
+<li>&lsquo;Number Four Collection,&rsquo; <a href="#page80">80</a></li>
+</ul><ul>
+<li>Offenbach, <a href="#page2">2</a></li>
+</ul><ul>
+<li>Panormo, <a href="#page138">138</a></li>
+<li>Parke, <a href="#page141">141</a></li>
+<li>Parr, Miss, <a href="#page81">81</a></li>
+<li>Parry, J., <a href="#page133">133</a></li>
+<li>Parsons, <a href="#page48">48</a></li>
+<li>Peel, Sir R., <a href="#page96">96</a></li>
+<li>Percy, J., <a href="#page159">159</a></li>
+<li>&lsquo;Phiz,&rsquo; <a href="#page47">47</a></li>
+<li>Power, Miss, <a href="#page10">10</a></li>
+<li><i>Prentice's Warbler</i>, <a href="#page89">89</a></li>
+<li>Procter, A., <a href="#page80">80</a></li>
+<li>Purcell, <a href="#page77">77</a>, <a href="#page139">139</a></li>
+</ul><ul>
+<li>Rainforth, Miss, <a href="#page15">15</a></li>
+<li>Reeve, W., <a href="#page111">111</a>, <a href="#page145">145</a></li>
+<li>Rice, T.D., <a href="#page97">97</a></li>
+<li>Richards, Brinley, <a href="#page143">143</a></li>
+<li>Robson (singer), <a href="#page159">159</a></li>
+<li>Rochester, <a href="#page43">43</a>, <a href="#page75">75</a></li>
+<li>Rossini, <a href="#page141">141</a></li>
+<li>Royal Academy of Music, <a href="#page21">21</a></li>
+<li>Russell, Henry, <a href="#page140">140</a>, <a href="#page156">156</a></li>
+<li>Russell, Lord John, <a href="#page3">3</a></li>
+</ul><ul>
+<li>St. Clement Danes, <a href="#page70">70</a></li>
+<li>St. Peter's, Rome, <a href="#page72">72</a></li>
+<li>Seven Dials, <a href="#page9">9</a></li>
+<li>Shakespeare, <a href="#page154">154</a></li>
+<li>Sheridan, R.B., <a href="#page144">144</a></li>
+<li>Shield, <a href="#page137">137</a></li>
+<li>Stanfell's Budget, <a href="#page89">89</a></li>
+<li>Storace, S., <a href="#page113">113</a>, <a href="#page147">147</a></li>
+<li>Souper, E., <a href="#page158">158</a></li>
+<li>Sweeting, Dr., <a href="#page155">155</a></li>
+</ul><ul>
+<li>Thomson, <a href="#page153">153</a></li>
+<li>Tonic Sol-Fa, <a href="#page17">17</a>, <a href="#page150">150</a></li>
+</ul><ul>
+<li>Vauxhall Gardens, <a href="#page24">24</a>, <a href="#page91">91</a>, <a href="#page104">104</a></li>
+<li>Verini, <a href="#page158">158</a></li>
+<li>Vicar of Wakefield, <a href="#page161">161</a></li>
+</ul><ul>
+<li>Watts, Dr., <a href="#page7">7</a>, <a href="#page78">78</a>, <a href="#page79">79</a>, <a href="#page80">80</a>, <a href="#page145">145</a>, <a href="#page153">153</a>, <a href="#page158">158</a></li>
+<li>Webbe, S., <a href="#page141">141</a>, <a href="#page143">143</a></li>
+<li>Wellington House Academy, <a href="#page1">1</a></li>
+<li>White Conduit gardens, <a href="#page24">24</a>, <a href="#page93">93</a></li>
+<li>Williams, Dr. V., <a href="#page122">122</a></li>
+<li>Wills, <a href="#page21">21</a></li>
+</ul>
+
+
+<h2><a class="pagebreak" name="page172" id="page172"
+title="172"></a>A LIST OF VOCAL AND INSTRUMENTAL
+MUSIC
+ASSOCIATED WITH DICKENS AND WITH THE
+CHARACTERS IN HIS NOVELS</h2>
+
+<p class="central">
+<i>All these pieces are in the possession of Mr. W. Miller, Librarian
+of the Dickens Fellowship</i>
+</p>
+
+<div class="outdent">
+<p>
+Songs in the <span class="sc">Village Coquettes</span>. Words by <i>Charles Dickens</i>.
+Music by <i>Hullah</i>.
+</p>
+
+<p>
+<span class="sc">The Ivy Green.</span> Song. Words by <i>Charles Dickens</i>. Music by
+<i>Mrs. Henry Dale</i>.
+</p>
+
+<p>
+<span class="sc">The Ivy Green.</span> Song. Music by <i>A. De Belfer</i>.
+</p>
+
+<p>
+<span class="sc">The Ivy Green.</span> Song. Music by W. <i>Lovell Phillips</i>.
+</p>
+
+<p>
+<span class="sc">The Ivy Green.</span> Song. Music by <i>Henry Russell</i>.
+</p>
+
+<blockquote>
+<p>
+(This song has been published by almost every music publisher
+in London and America.)
+</p>
+</blockquote>
+
+<p>
+Introduction and familiar variations on <span class="sc">The Ivy Green</span>
+arranged for the pianoforte by <i>Ricardo Linter</i>.
+</p>
+
+<p>
+Russell's Song <span class="sc">The Ivy Green</span>, with introduction and variations
+for the pianoforte by <i>Stephen Glover</i>.
+</p>
+
+<p>
+<span class="sc">The Ivy Green</span> as a vocal duet. Music by <i>Henry Russell</i>.
+</p>
+
+<p>
+<span class="sc">A Christmas Carol.</span> Words by <i>Charles Dickens</i>. Music by
+<i>Henry Russell</i>.
+</p>
+
+<p>
+<span class="sc">A Christmas Carol.</span> Words by <i>Charles Dickens</i>. Music by
+<i>Henry Russell</i> to the tune of <span class="sc">Old King Cole</span>.
+</p>
+
+<p>
+<span class="sc">Bold Turpin.</span> Words by <i>Charles Dickens</i>. Music by <i>Sir J.F.
+Bridge</i>.
+</p>
+
+<p>
+<span class="sc">Pickwick.</span> Set to Music by <i>George L. Jeune</i>. Words by
+<i>George Soane</i>.
+</p>
+
+<p>
+<span class="sc">The Wery Last Observations of Weller senior to Boz on
+his Departure from London.</span> Written and sung by
+<i>J.M. Field, Esq.</i> Adapted to an old air. Boston, 1842.
+</p>
+
+<p>
+<span class="sc">The Original Set of Pickwick Quadrilles.</span> Edited by
+<i>&lsquo;Boz&rsquo; Junior</i>.
+</p>
+
+<p>
+<a class="pagebreak" name="page173" id="page173"
+title="173"></a><span class="sc">Sam Weller's Adventures.</span> Reprinted in <i>The Life and Times
+of James Catnach</i>.
+</p>
+
+<p>
+<span class="sc">Gabriel Grub.</span> Cantata Seria Buffa. Adapted by <i>Frederick
+Wood</i>. Music by <i>George Fox</i>.
+</p>
+
+<p>
+<span class="sc">Pickwick Tarantelle.</span>
+</p>
+
+<p>
+<span class="sc">Mr. Stiggins.</span> Song. Maliciously written and composed by
+&lsquo;<i>Tony Weller</i>.&rsquo;
+</p>
+
+<p>
+<span class="sc">The Pickwick Quadrille.</span> Composed by <i>Fred Revallin</i>.
+</p>
+
+<p>
+<span class="sc">The Pickwick Lancers.</span> Composed by <i>Camille D'Aubert</i>.
+</p>
+
+<p>
+<span class="sc">Pickwick.</span> Songs and Dances by <i>Edward Solomon</i>. Words of
+songs by <i>Sir F.C. Burnand</i>.
+</p>
+
+<p>
+<span class="sc">Oliver Twist.</span> Written by <i>H. Copeland</i> from a song by <i>W.T.
+Townsend</i>.
+</p>
+
+<p>
+<span class="sc">The Artful Dodger.</span> Written by <i>Charles Sloman</i> and <i>Sam
+Cowell</i>. Music by <i>Fred Bridgeman</i>. Sung by <i>Sam Cowell</i>.
+</p>
+
+<p>
+<span class="sc">Nicholas Nickleby Quadrille and Nickleby Galop.</span> By
+<i>Sydney Vernon</i>.
+</p>
+
+<p>
+<span class="sc">Master Humphrey's Clock, &lsquo;Did You Hear Anything
+Knock?&rsquo;</span> Song by <i>Beuler</i>.
+</p>
+
+<p>
+<span class="sc">Master Humphrey's Quadrilles.</span> Music by <i>&lsquo;Boz&rsquo; Junior</i>.
+</p>
+
+<p>
+<span class="sc">The Chimes of Master Humphrey's Clock.</span> Arranged for the
+pianoforte by <i>Charles Arnold</i>.
+</p>
+
+<p>
+<span class="sc">The Ghost of the Baron of Grog-swig.</span> Written by <i>John
+Major</i>. Arranged by <i>J. Monro</i>.
+</p>
+
+<p>
+<span class="sc">Little Nell.</span> Words by <i>Miss Charlotte Young</i>. Music by
+<i>George Linley</i>.
+</p>
+
+<p>
+<span class="sc">Little Nell.</span> Composed by <i>George Linley</i>. Arranged for the
+pianoforte by <i>Carlo Totti</i>.
+</p>
+
+<p>
+<span class="sc">Nell.</span> Song. Composed by <i>H.L. Winter</i>.
+</p>
+
+<p>
+<span class="sc">Little Nell.</span> By <i>Miss Hawley</i>.
+</p>
+
+<p>
+<span class="sc">Little Nell.</span> Waltz by <i>Dan Godfrey</i>.
+</p>
+
+<p>
+<span class="sc">Nell.</span> Words by <i>Edward Oxenford</i>. Music by <i>Alfred J.
+Caldicott</i>.
+</p>
+
+<p>
+<span class="sc">Little Nellie's Polka.</span> Composed by <i>J. Pridham</i>.
+</p>
+
+<p>
+<span class="sc">Barnaby Rudge Tarantelle.</span> By <i>Clementine Ward</i>.
+</p>
+
+<p>
+<span class="sc">Dolly Varden.</span> Ballad. Words and Music by <i>Cotsford Dick</i>.
+</p>
+
+<p>
+<i>G.W. Hunt's</i> Popular Song <span class="sc">Dolly Varden</span>.
+</p>
+
+<p>
+<span class="sc">Dolly Varden.</span> Comic Song. Words by <i>Frank W. Green</i>.
+Music <i>Alfred Lee</i>.
+</p>
+
+<p>
+<a class="pagebreak" name="page174" id="page174"
+title="174"></a><i>Vance's</i> <span class="sc">Dolly Varden</span>. Written, composed, and sung by
+<i>Alfred G. Vance</i>.
+</p>
+
+<p>
+<i>G.W. Moore's</i> Great Song <span class="sc">Dressed as a Dolly Varden</span>.
+Written, composed, and sung by <i>G.W. Moore</i>.
+</p>
+
+<p>
+<span class="sc">Dolly Varden's Wedding.</span> Comic Song. Written, composed,
+and arranged by <i>T.R. Tebley</i>.
+</p>
+
+<p>
+<span class="sc">Dolly Varden Waltz.</span> By <i>Henry Parker</i>.
+</p>
+
+<p>
+<span class="sc">Dolly Varden Valse.</span> Composed by <i>Sara Leumas</i>.
+</p>
+
+<p>
+<span class="sc">The Dolly Varden Polka.</span> By <i>Brinley Richards</i>.
+</p>
+
+<p>
+<span class="sc">The Dolly Varden Polka.</span> By <i>W.C. Levey</i>.
+</p>
+
+<p>
+<span class="sc">Dolly Varden Polka.</span> By <i>Henry Parker</i>.
+</p>
+
+<p>
+<span class="sc">The Dolly Varden Polka.</span> Arranged by <i>T.C. Lewis</i>. Composed
+by <i>G. Discongi</i>.
+</p>
+
+<p>
+<span class="sc">Dolly Varden Polka.</span> By <i>George Gough</i>.
+</p>
+
+<p>
+<span class="sc">Dolly Varden Galop.</span> By <i>Charles Coote, jun.</i>
+</p>
+
+<p>
+<span class="sc">Dolly Varden Schottische.</span> By <i>Helene</i>.
+</p>
+
+<p>
+<span class="sc">The Dolly Varden Schottische.</span> By <i>H. King</i>.
+</p>
+
+<p>
+<span class="sc">Dolly Varden Gavotte.</span> By <i>Clementine Ward</i>.
+</p>
+
+<p>
+<span class="sc">Dolly Varden Quadrille.</span> By <i>Henry Parker</i>.
+</p>
+
+<p>
+<span class="sc">Dolly Varden Quadrille</span>, on old English Tunes. By <i>C.H.R.
+Marriott</i>.
+</p>
+
+<p>
+<span class="sc">Maypole Hugh.</span> Song. Words by <i>Charles Bradberry</i>. Music
+by <i>George Fox</i>.
+</p>
+
+<p>
+<span class="sc">Yankee Notes for English Circulation</span>; or <span class="sc">Boz in A-Merry-Key</span>.
+Comic Song. Written by <i>James Briton</i>. Music
+arranged to an American Air by <i>Geo. Loder</i>.
+</p>
+
+<p>
+<span class="sc">The Christmas Carol Quadrilles.</span> By <i>Edwin Merriott</i>.
+</p>
+
+<p>
+<span class="sc">Tiny Tim.</span> Words by <i>Edward Oxenford</i>. Music by <i>Alfred J.
+Caldicott</i>.
+</p>
+
+<p>
+<span class="sc">Tiny Tim.</span> Words by <i>Harry Lynn</i>. Music by <i>W. Knowles</i>.
+</p>
+
+<p>
+<span class="sc">The Song of Christmas.</span> Song sung in <i>A Christmas Carol</i> at
+the Theatre Royal, Adelphi. Composed by <i>C. Herbert
+Rodwell</i>.
+</p>
+
+<p>
+<span class="sc">Tiny Tim.</span> Written and composed by <i>Arthur Wingham</i>.
+</p>
+
+<p>
+<span class="sc">&lsquo;God Bless us Every One.&rsquo;</span> Words by <i>Geo. Cooper</i>. Music by
+<i>Herbert Foster</i>.
+</p>
+
+<p>
+<span class="sc">The Chimes.</span> Song. Written by <i>J.E. Carpenter</i>. Music composed
+by <i>F. Nicholls Crouch</i>.
+</p>
+
+<p>
+<span class="sc">The Chimes.</span> By <i>Jullien</i>.
+</p>
+
+<p>
+<a class="pagebreak" name="page175" id="page175"
+title="175"></a><span class="sc">The Chimes Quadrilles.</span> By <i>Henry Oakey</i>.
+</p>
+
+<p>
+<span class="sc">The Chimes Quadrilles.</span> By <i>Lancelott</i>.
+</p>
+
+<p>
+<span class="sc">The Chimes Gavotte.</span> For the pianoforte, with bell accompaniment
+(ad lib.). Composed by <i>Wm. West</i>, Organist and
+Choirmaster of St. Margaret Pattens (Rood Lane, E.C.).
+</p>
+
+<p>
+<span class="sc">Lillian.</span> Ballad from <i>The Chimes</i>. The Poetry by <i>Fanny E.
+Lacey</i>. Music by <i>Edward L. Hime</i>.
+</p>
+
+<p>
+<span class="sc">The Spirit of the Chimes.</span> Written and composed by <i>Fanny
+E. Lacey</i>.
+</p>
+
+<p>
+<span class="sc">The Cricket on the Hearth.</span> Song. By <i>James E. Stewart</i>,
+Cincinnati, U.S.A.
+</p>
+
+<p>
+<span class="sc">The Cricket on the Hearth.</span> A Domestic Ballad. Written by
+<i>Edward J. Gill</i>. Music by <i>J. Blewitt</i>.
+</p>
+
+<p>
+<span class="sc">The Cricket Polka.</span>
+</p>
+
+<p>
+<span class="sc">The Cricket Polka.</span> Composed by <i>Jullien</i>.
+</p>
+
+<p>
+<span class="sc">The Cricket on the Hearth Quadrilles.</span> Composed by <i>S.D.
+Saunders</i>.
+</p>
+
+<p>
+<span class="sc">The Cricket on the Hearth.</span> A set of Quadrilles. By <i>T.L.
+Rowbotham</i>.
+</p>
+
+<p>
+<span class="sc">The Cricket on the Hearth.</span> A new Christmas Quadrille.
+By <i>F. Lancelott</i>.
+</p>
+
+<p>
+<span class="sc">The New Cricket Polka.</span> Composed by <i>Johann Lupeski</i>.
+</p>
+
+<p>
+<span class="sc">The Battle of Life.</span> Song. Words by <i>O.C. Lynn</i>. Music
+by <i>R. Graylott</i>. Published in <i>The Illustrated London News</i>,
+March 20, 1847.
+</p>
+
+<p>
+<span class="sc">The Fruit Gatherers' Song</span> (&lsquo;The Battle of Life&rsquo;). Written
+by <i>Fanny E. Lacey</i>. Composed by <i>Edwin Flood</i>.
+</p>
+
+<p>
+<span class="sc">The Haunted Man Quadrilles.</span> By <i>Wm. West</i>.
+</p>
+
+<p>
+<span class="sc">What are the Wild Waves Saying?</span> Written by <i>J.E.
+Carpenter</i>. Music by <i>Stephen Glover</i>.
+</p>
+
+<p>
+<span class="sc">What are the Wild Waves Saying?</span> (<i>Stephen Glover</i>). Arranged
+for the pianoforte by <i>Brinley Richards</i>.
+</p>
+
+<p>
+<span class="sc">A Voice from the Waves</span> (an answer to the above). Words by
+<i>R. Ryan</i>. Music by <i>Stephen Glover</i>.
+</p>
+
+<p>
+<span class="sc">Little Paul Ballad.</span> Poetry by <i>Miss C. Young</i>. Music by <i>W.T.
+Wrighton</i>.
+</p>
+
+<p>
+<span class="sc">Paul.</span> Song. Words by <i>Edward Oxenford</i>. Music by <i>Alfred J.
+Caldicott</i>.
+</p>
+
+<p>
+<span class="sc">Florence.</span> Song. Written by <i>Charles Jeffrey</i>.
+</p>
+
+<p>
+<a class="pagebreak" name="page176" id="page176"
+title="176"></a><span class="sc">Poor Florence.</span> Song. Music composed by <i>W.T. Wrighton</i>.
+</p>
+
+<p>
+<span class="sc">Walter and Florence.</span> Song. Written by <i>Johanna Chandler</i>.
+Music by <i>Stephen Glover</i>.
+</p>
+
+<p>
+<span class="sc">Dombey and Son Quadrille.</span> By <i>Miss Harriet Frances
+Brown</i>.
+</p>
+
+<p>
+<span class="sc">The David Copperfield Polka.</span> Composed by <i>W. Wilson</i>.
+</p>
+
+<p>
+<span class="sc">The Micawber Quadrille</span> (played in the drama of <i>Little
+Em'ly</i>, at the Olympic Theatre, in 1869). Composed by
+<i>J. Winterbottom</i>.
+</p>
+
+<p>
+<span class="sc">Little Em'ly Valses.</span> By <i>John Winterbottom</i>. (Played in
+the drama of <i>Little Em'ly</i>, at the Olympic Theatre,
+in 1869.)
+</p>
+
+<p>
+<span class="sc">The Little Em'ly Polka.</span> Composed by <i>W.G. Severn</i>.
+</p>
+
+<p>
+<span class="sc">Agnes</span>; or <span class="sc">I Have Loved You all My Life</span>. Ballad. Written
+by <i>Ger Vere Irving</i>. Composed by <i>Gerald Stanley</i>.
+</p>
+
+<p>
+<span class="sc">Dora</span>; or <span class="sc">The Child-Wife's Farewell</span>. Ballad. Written by
+<i>George Linley</i>. Composed by <i>Gerald Stanley</i>.
+</p>
+
+<p>
+<span class="sc">Peggotty the Wanderer.</span> Ballad. Written by <i>William Martin</i>.
+Music by <i>James William Etherington</i>.
+</p>
+
+<p>
+<span class="sc">Dora to Agnes.</span> Song. Words by <i>Charles Jeffrey</i>. Music by
+<i>J.H. Tully</i>.
+</p>
+
+<p>
+<span class="sc">Little Blossom.</span> Ballad by <i>Stephen Glover</i>. Words by
+<i>Charlotte Young</i>.
+</p>
+
+<p>
+<span class="sc">Household Words.</span> Duet. Written by <i>Charlotte Young</i>.
+Composed by <i>John Blockley</i>.
+</p>
+
+<p>
+Songs and Ballads from <i>Bleak House</i>:
+</p>
+
+<blockquote>
+<p>
+(1) <span class="sc">The Song of Esther Summerson</span>, &lsquo;Farewell to the
+Old Home.&rsquo; Written by <i>Charles Jeffrey</i>. Music by
+<i>Charles W. Glover</i>.
+</p>
+
+<p>
+(2) <span class="sc">Ada Clare.</span> Written by <i>Charles Jeffrey</i>. Set to
+Music by <i>Charles W. Glover</i>.
+</p>
+</blockquote>
+
+<p>
+<span class="sc">Poor Jo!</span> Ballad. Written by <i>H.B. Farnie</i>. Composed by
+<i>C.F.R. Marriott</i>.
+</p>
+
+<p>
+<span class="sc">Poor Jo!</span> Song and Chorus. Written by <i>W.R. Gordon</i>. Composed
+by <i>Alfred Lee</i>.
+</p>
+
+<p>
+<span class="sc">&lsquo;Jo.&rsquo;</span> Galop for the pianoforte upon airs from the celebrated
+drama, by <i>Edward Solomon</i>.
+</p>
+
+<p>
+<span class="sc">&lsquo;He was Wery Good to Me.&rsquo;</span> Poor Jo's song. Written and
+composed by <i>Alfred Allen</i>.
+</p>
+
+<p>
+<a class="pagebreak" name="page177" id="page177"
+title="177"></a><span class="sc">The Token Flowers.</span> Song founded on &lsquo;Caddy's Flowers&rsquo; in
+<i>Bleak House</i>. Written by <i>Joseph Edward Carpenter</i>. Music
+by <i>B. Moligne</i>.
+</p>
+
+<p>
+<span class="sc">Hard Times.</span> Polka. By <i>C.W.</i>
+</p>
+
+<p>
+<span class="sc">Little Dorrit.</span> Ballad. Written and composed by <i>John
+Caulfield</i>.
+</p>
+
+<p>
+<span class="sc">Little Dorrit.</span> Song. Written by <i>Henry Abrahams</i>. Music
+by <i>C. Stanley</i>.
+</p>
+
+<p>
+<span class="sc">Little Dorrit's Polka.</span> Composed by <i>Jules Norman</i>.
+</p>
+
+<p>
+<span class="sc">As You Like It</span>; or <span class="sc">Little Dorrit's Polka</span>. By <i>W.H. Montgomery</i>.
+</p>
+
+<p>
+<span class="sc">Little Dorrit's Vigil.</span> By the composer of <span class="sc">Little Nell.</span>
+</p>
+
+<p>
+<span class="sc">Little Dorrit's Schottische.</span> Composed by <i>W.M. Parker</i>.
+</p>
+
+<p>
+<span class="sc">Little Dorrit Serenade.</span> By <i>Clementine Ward</i>.
+</p>
+
+<p>
+<span class="sc">&lsquo;My Dear Old Home.&rsquo;</span> Ballad. Written by <i>J.E. Carpenter</i>.
+Composed by <i>John Blockley</i>.
+</p>
+
+<p>
+<span class="sc">Who Passes by this Road so Late?</span> Blandois' song from
+<i>Little Dorrit</i>. Words by <i>Charles Dickens</i>. Music by <i>H.R.S.
+Dalton</i>. (This song was suggested to Dickens by the
+French song entitled &lsquo;Le Chevalier du guet.&rsquo;)
+</p>
+
+<p>
+<span class="sc">Floating Away Ballad.</span> Written by <i>J.E. Carpenter</i>. Music
+by <i>John Blockley</i>.
+</p>
+
+<p>
+<span class="sc">All the Year Round</span>; or <span class="sc">The Search for Happiness</span>. Song.
+Written by <i>W.S. Passmore</i>. Composed by <i>John Blockley</i>.
+</p>
+
+<p>
+<span class="sc">All the Year Round Quadrilles.</span> By <i>E. Frewin</i>.
+</p>
+
+<p>
+<span class="sc">All the Year Round Varsoviana.</span> By <i>W.H. Montgomery</i>.
+</p>
+
+<p>
+<span class="sc">The Two Cities Quadrilles.</span> By <i>W.H. Montgomery</i>.
+</p>
+
+<p>
+<span class="sc">Tom Tiddler's Polka.</span> Composed by <i>W. Wilson</i>.
+</p>
+
+<p>
+<span class="sc">Great Expectations.</span> Ballad.
+</p>
+
+<p>
+<i>Coote's</i> Lancers, <span class="sc">&lsquo;Somebody's Luggage.&rsquo;</span>
+</p>
+
+<p>
+<span class="sc">Mrs. Lirriper's Quadrille.</span> Written by <i>Adrian Victor</i>.
+</p>
+
+<p>
+<span class="sc">Jenny Wren (The Doll's Dressmaker).</span> Song. Words by
+<i>Edward Oxenford</i>. Music by <i>Alfred J. Caldicott</i>.
+</p>
+
+<p>
+<span class="sc">Jenny Wren Quadrilles.</span> Arranged by <i>Rosabel</i>.
+</p>
+
+<p>
+<span class="sc">Mugby Junction Galop.</span> By <i>Charles Coote, jun.</i>
+</p>
+
+<p>
+<span class="sc">No Thoroughfare Galop.</span> Composed by <i>Charles Coote, jun.</i>
+</p>
+</div>
+
+
+
+
+<p class="central break">
+<a class="pagebreak" name="page178" id="page178"
+title="178"></a>[From an edition:]<br />
+PRINTED BY THE<br />
+&lsquo;SOUTHAMPTON TIMES&rsquo; CO., LTD.,<br />
+70 ABOVE BAR, SOUTHAMPTON
+</p>
+
+
+
+
+<h2><a class="pagebreak" name="page179" id="page179"
+title="179"></a>TRANSCRIBER'S NOTES</h2>
+
+
+<table summary="">
+<tr><td><a href="#page10">Page 10</a></td>
+<td>&ldquo;and can't play &lsquo;out to-night,&rsquo;&rdquo;</td></tr>
+<tr><td></td>
+<td class="tn">Hyphen not inked in original.</td></tr>
+<tr><td><a href="#page25">Page 25</a></td>
+<td>&ldquo;and tuned like fifty stomach-aches.&rdquo;</td></tr>
+<tr><td></td>
+<td class="tn">Corrected typo: &ldquo;tuned liked&rdquo;</td></tr>
+<tr><td><a href="#page40">Page 40</a></td>
+<td>&ldquo;which had no recognizable tune&rdquo;</td></tr>
+<tr><td></td>
+<td class="tn">Corrected typo: &ldquo;recognizable time&rdquo;</td></tr>
+<tr><td><a href="#page89">Page 89</a></td>
+<td>&ldquo;given to the young red-haired boy&rdquo;</td></tr>
+<tr><td></td>
+<td class="tn">Corrected typo: &ldquo;young red-haired boots&rdquo;</td></tr>
+<tr><td><a href="#page93">Page 93</a></td>
+<td>&ldquo;penn'orths&rdquo;</td></tr>
+<tr><td><a href="#page104">Page 104</a></td>
+<td>&ldquo;hunting field,&rdquo;</td></tr>
+<tr><td></td>
+<td class="tn">Letter &lsquo;t&rsquo; not inked in original.</td></tr>
+<tr><td><a href="#page115">Page 115</a></td>
+<td>&ldquo;His musical powers made him useful at the club-room&rdquo;</td></tr>
+<tr><td></td>
+<td class="tn">Hyphen at line-end: could be &ldquo;clubroom&rdquo;.</td></tr>
+<tr><td><a href="#page116">Page 116</a></td>
+<td>&ldquo;&lsquo;as of a gallant and eminent naval Hero,&rsquo;&rdquo;</td></tr>
+<tr><td></td>
+<td class="tn">Closing quote missing in original.</td></tr>
+<tr><td><a href="#page146">Page 146</a></td>
+<td>&ldquo;(<i><abbr title="Old Curiosity Shop">O.C.S.</abbr></i> 27)&rdquo;</td></tr>
+<tr><td></td>
+<td class="tn">Corrected typo: &ldquo;<i>D.C.S.</i>&rdquo;</td></tr>
+<tr><td><a href="#page148">Page 148</a></td>
+<td>&ldquo;See &lsquo;Since the first dawn of reason.&rsquo;&rdquo;</td></tr>
+<tr><td></td>
+<td class="tn">Original had &ldquo;When the first dawn of reason.&rdquo;</td></tr>
+<tr><td><a href="#page150">Page 150</a></td>
+<td>&ldquo;See &lsquo;Strew then, Oh strew.&rsquo;&rdquo;</td></tr>
+<tr><td></td>
+<td class="tn">Original had &ldquo;Strew then, O strew.&rdquo;</td></tr>
+<tr><td><a href="#page152">Page 152</a></td>
+<td>&ldquo;Come weal, come woe, we'll gather and go,&rdquo;</td></tr>
+<tr><td></td>
+<td class="tn">Line indented in original.</td></tr>
+<tr><td><a href="#page164">Page 164</a></td>
+<td>&ldquo;Banjo&rdquo;</td></tr>
+<tr><td><a href="#page165">Page 165</a></td>
+<td>&ldquo;Brown, Mr.&rdquo;</td></tr>
+<tr><td></td>
+<td class="tn">Page numbers missing in original.</td></tr>
+<tr><td>Pages <a href="#page27">27</a>, <a href="#page33">33</a>,
+ <a href="#page166">166</a>, <a href="#page177">177</a></td>
+<td>&ldquo;Cadby&rdquo; corrected to &ldquo;Caddy&rdquo;</td></tr>
+</table>
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of Project Gutenberg's Charles Dickens and Music, by James T. Lightwood
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+</body>
+</html>
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diff --git a/16595-h/lilypond/fig_1.ly b/16595-h/lilypond/fig_1.ly
new file mode 100644
index 0000000..6341873
--- /dev/null
+++ b/16595-h/lilypond/fig_1.ly
@@ -0,0 +1,30 @@
+\version "2.4"
+\paper{ linewidth=13\cm leftmargin=4\cm rightmargin=4\cm indent=0\mm }
+
+% SEE FROM OCEAN RISING
+
+\score {
+ \new Staff \relative c'' {
+  \clef treble
+  \key g \major
+  \autoBeamOff
+  \set Score.barNumberVisibility = ##f
+  \override Lyrics.LyricText #'font-name = #"pplr8r"
+  \override Voice.Rest #'style = #'classical
+  \override Staff.TimeSignature #'style = #'()
+  \time 4/4
+  g2 a2 | b4 c8.[( a16]) fis4 g4 | g2 a4. a8 | b4 a8[( g8]) a2 |
+  d4. c8 c4( b8.) b16 | c4. b8 b[( a]) g4 | d'8. c16 b8. c16 d4 b4 |
+  g4 a8. a16 b4 r4 | d8. c16 b8. c16 d4 e4 | a,4 d8. b16 g4 \bar "||"
+ }
+ \addlyrics {
+  See from o -- cean ris -- ing
+  Bright flame, the orb of day;
+  From yon grove the var -- ied song
+  Shall slum -- ber from Vir -- gin -- ia chase, chase a -- way,
+  Slum -- ber from Vir -- gin -- ia chase, chase a -- way.
+ }
+ \layout { }
+ \midi { \tempo 4=100 }
+}
+
diff --git a/16595-h/lilypond/fig_2.ly b/16595-h/lilypond/fig_2.ly
new file mode 100644
index 0000000..48988b1
--- /dev/null
+++ b/16595-h/lilypond/fig_2.ly
@@ -0,0 +1,28 @@
+\version "2.4"
+\paper{ linewidth=13\cm leftmargin=4\cm rightmargin=4\cm indent=0\mm }
+
+% THE RATCATCHER'S DAUGHTER
+
+\score {
+ \new Staff \relative c'' {
+  \clef treble
+  \key d \major
+  \autoBeamOff
+  \set Score.barNumberVisibility = ##f
+  \override Lyrics.LyricText #'font-name = #"pplr8r"
+  \time 2/4
+  \partial 8
+  a8 | fis'8. e16 d8 cis | b d a d | cis d e fis16 fis |
+  fis8 e4 e8 | fis e d cis | b d a a16 a |
+  b8 a'16[( g]) fis8 e16 e | e8 d4 \bar "||"
+ }
+ \addlyrics {
+  In West -- min -- ster, not long a -- go,
+  There lived a rat -- catch -- er's daugh -- ter;
+  She was not born in West -- min -- ster
+  But on t'o -- ther side of the wa -- ter.
+ }
+ \layout { }
+ \midi { \tempo 4=80 }
+}
+
diff --git a/16595-h/lilypond/fig_3-4.ly b/16595-h/lilypond/fig_3-4.ly
new file mode 100644
index 0000000..523a344
--- /dev/null
+++ b/16595-h/lilypond/fig_3-4.ly
@@ -0,0 +1,49 @@
+\version "2.4"
+\paper{ linewidth=13\cm leftmargin=4\cm rightmargin=4\cm indent=0\mm }
+
+% WHITE SAND AND GREY SAND
+
+\book {
+
+\score {
+ \new Staff \relative c'' {
+  \clef treble
+  \key bes \major
+  \set Score.barNumberVisibility = ##f
+  \override Lyrics.LyricText #'font-name = #"pplr8r"
+  \override Staff.TimeSignature #'style = #'()
+  \time 4/4
+  bes2 c4 bes | a2 bes | d es4 d | \break
+  c2 d |
+  <<
+   {bes g4 es | f2 bes \bar "||" }
+   \new Staff \with {
+    fontSize = #-2
+    \remove "Time_signature_engraver"
+    \override StaffSymbol #'staff-space = #(magstep -2)
+   } {
+    \key bes \major
+    bes2 es,4 es | f2 bes \bar "||"
+   }
+  >>
+ }
+ \addlyrics {
+  White sand and grey sand:
+  Who'll buy my white sand?
+  Who'll buy my grey sand?
+ }
+ \layout { \context { \Score \remove System_start_delimiter_engraver } }
+}
+
+\score {
+ \new Staff \relative c'' {
+  bes2 c4 bes | a2 bes | d es4 d |
+  c2 d | bes g4 es | f2 bes
+% or
+%  c2 d | bes es,4 es | f2 bes
+ }
+ \midi { \tempo 2=80 }
+}
+
+}
+
diff --git a/16595-h/lilypond/fig_5.ly b/16595-h/lilypond/fig_5.ly
new file mode 100644
index 0000000..7bdeb7b
--- /dev/null
+++ b/16595-h/lilypond/fig_5.ly
@@ -0,0 +1,103 @@
+\version "2.4"
+\paper{ linewidth=15\cm leftmargin=3\cm rightmargin=3\cm indent=0\mm }
+
+% LITTLE TAFFLINE
+
+\book {
+
+\score {
+ \new Staff \relative c'' {
+  \clef treble
+  \key g \major
+  \autoBeamOff
+  \set Score.barNumberVisibility = ##f
+  \override Lyrics.LyricText #'font-name = #"pplr8r"
+  \time 2/4
+  \partial 8
+  d8 | c c c64[( d e16.]) d16[( c]) |
+  \grace {c16} b16[( a]) b[( c]) d8 g,16 fis |
+
+  e8 fis16[( g]) a8 a | d,4. d'8 | c c c64[( d e16.]) d16[( c]) |
+
+  \grace {c16} b16[( a]) b[( c]) d8 g16 d |
+  b[( g]) b[( d]) d[( c]) b[( a]) | g4 r8 b16[( g]) |
+
+  a8 d d  b16[( g]) | a8 d d  fis16[( d]) |
+  b8 g'16[( e]) cis[( a]) b[( cis]) |
+
+  d[( e]) fis[( d]) a8 d | b8. g'16 fis[( d]) e[( cis]) |
+  d4\fermata r8 d16 d |
+
+  c8 c c64[( d e16.]) d16[( c]) | \grace {c16} b16[( a]) b c d8 b16 a |
+  g g fis[( g]) e8 fis16 g |
+
+  a8 fis d\fermata d'16 c | \grace {c16} b16[( a]) b[( c]) d8 g |
+  g16[( a,]) a a a8 c16 b |
+
+  \grace {b16} a16[( g]) a[( b]) c8 a' | a16[( b,]) b b b8 d16 b |
+  c e g8 g e16 c |
+
+  b g d'8 d\fermata g16[( a,]) | fis e fis g a e' d c | b8 g g \bar "||"
+ }
+ \addlyrics {
+  Should e'er the for -- tune _ be my lot
+  To be made a wealth -- y bride,
+  I'll glad my par -- ents' _ low -- ly cot,
+  All their plea -- sure and their pride:
+
+  And when I'm drest all in my best,
+  I'll trip a -- way like la -- dy gay,
+  I'll trip, I'll trip a -- way.
+
+  And the lads will say, Dear _ heart, what a flash!
+  Look at lit -- tle Taf -- fline with a silk -- en sash,
+  And the _ lads will say, Dear heart, what a flash!
+  And the _ lads will say, Dear heart, what a flash!
+  Look at lit -- tle Taf -- fline, Look at lit -- tle Taf -- fline,
+  Oh, look at lit -- tle Taf -- fline with the silk -- en sash!
+ }
+ \layout { }
+}
+
+\score {
+ \new Staff \relative c'' {
+  \clef treble
+  \key g \major
+  \autoBeamOff
+  \set Score.barNumberVisibility = ##f
+  \set Score.timing = ##f
+  d8 c c c64[( d e16.]) d16[( c])
+  c32 b[( a16]) b[( c]) d8 g,16 fis
+
+  e8 fis16[( g]) a8 a d,4. d'8 c c c64[( d e16.]) d16[( c])
+
+  c32 b[( a16]) b[( c]) d8 g16 d
+  b[( g]) b[( d]) d[( c]) b[( a]) g4 r8 b16[( g])
+
+  a8 d d  b16[( g]) a8 d d  fis16[( d])
+  b8 g'16[( e]) cis[( a]) b[( cis])
+
+  d[( e]) fis[( d]) a8 d b8. g'16 fis[( d]) e[( cis])
+  d4.
+  r8 d16 d
+
+  c8 c c64[( d e16.]) d16[( c]) c32 b[( a16]) b c d8 b16 a
+  g g fis[( g]) e8 fis16 g
+
+  a8 fis
+  d4
+  d'16 c c32 b[( a16]) b[( c]) d8 g
+  g16[( a,]) a a a8 c16 b
+
+  b32 a[( g16]) a[( b]) c8 a' a16[( b,]) b b b8 d16 b
+  c e g8 g e16 c
+
+  b g d'8
+  d4
+  g16[( a,]) fis e fis g a e' d c b8 g g
+ }
+ \midi { \tempo 4=54 }
+}
+
+}
+
diff --git a/16595-h/lilypond/fig_6.ly b/16595-h/lilypond/fig_6.ly
new file mode 100644
index 0000000..7a6d6a1
--- /dev/null
+++ b/16595-h/lilypond/fig_6.ly
@@ -0,0 +1,39 @@
+\version "2.4"
+\paper{ linewidth=13\cm leftmargin=4\cm rightmargin=4\cm indent=0\mm }
+
+% LOVELY PEGGY
+
+\score {
+ \new Staff \relative c'' {
+  \clef treble
+  \key g \major
+  \autoBeamOff
+  \set Score.barNumberVisibility = ##f
+  \override Staff.Rest #'staff-position = #0
+  \override Lyrics.LyricText #'font-name = #"pplr8r"
+  \override TextScript #'font-name = #"pplr8r"
+  \override TextScript #'padding = #2.0
+  \override Staff.Rest #'style = #'classical
+  \override Staff.TimeSignature #'style = #'()
+  \time 4/4
+  d4 d8.[( c16]) b8 d^\markup{ \center-align < Flute. > }
+  << {g[ b]} \\ {r4} >> |
+  e,4 e8.[( d16]) c8 e << {c'[ e]} \\ {r4} >> |
+  d,8.[( c16]) b4 e8.[( d16]) c4 | \break
+
+  d8[( b]) g'[( b,]) b4 a8 d |
+  e8.[( g16]) e8.[( g16]) d8.[( b16]) d8.[( b16]) | \break
+
+  e8.[( g16]) e8.[( g16]) d4 e8[( fis]) |
+  g4. g,8 d'16[( b8.]) a8.[( b16]) | g4.( a8) g4 \bar "||"
+ }
+ \addlyrics {
+  Love -- ly Peg -- gy, love -- ly Peg -- gy,
+  Love -- ly, love -- ly, love -- ly Peg -- gy;
+  The heav'ns should sound with e -- choes rung
+  In praise of love -- ly Peg -- gy.
+ }
+ \layout { }
+ \midi { \tempo 4=92 }
+}
+
diff --git a/16595-h/lilypond/fig_7.ly b/16595-h/lilypond/fig_7.ly
new file mode 100644
index 0000000..c68bd21
--- /dev/null
+++ b/16595-h/lilypond/fig_7.ly
@@ -0,0 +1,82 @@
+\version "2.4"
+\paper{ linewidth=13\cm leftmargin=4\cm rightmargin=4\cm indent=0\mm }
+
+% LOVELY POLLY
+
+\book {
+
+\score {
+ \new Staff \relative c' {
+  \clef treble
+  \key bes \major
+  \autoBeamOff
+  \set Score.barNumberVisibility = ##f
+  \override Lyrics.LyricText #'font-name = #"pplr8r"
+  \override Voice.Rest #'style = #'classical
+  \override Staff.TimeSignature #'style = #'()
+  \time 4/4
+  \partial 8
+  f8 | bes8.[( a16]) bes8.[( c16]) d4 f, | es4. d8 c4 c' |
+
+  c8.[( bes16]) c8.[( d16]) es4 f8[( g]) | bes,4 a bes d8.[( c16]) |
+  bes4. d8 bes4. a8 |
+
+  f'4 c r f,8.[( g16]) | a8.[( bes16]) c8.[( d16]) f,4 e | a f r c' |
+
+  bes8[( a]) g[( f]) f'4. es8 | d4 es8[( f]) bes,4 a |
+  g4. g8 g'4 f8[( es]) |
+
+  \override Voice.Slur #'transparent = ##t
+  \acciaccatura d8 c4. bes8 \acciaccatura bes8 a4\fermata r8 f |
+  \override Voice.Slur #'transparent = ##f
+  bes4 d es d | d c\fermata r c8[( b]) |
+
+  c4 es g, c | a f' r f | d es8[( f]) g4 es |
+
+  c d8[( es]) f4 d8\fermata d\fermata | es4 f8[( g]) bes,4 a |
+  c-> bes r \bar "||"
+ }
+ \addlyrics {
+  A sea -- man's love is void of art,
+  Plain sail -- ing to his port the heart;
+  He knows no jea -- lous fol -- ly,
+  He knows no jea -- lous fol -- ly.
+
+  'Tis hard e -- nough at sea to war
+  With bois -- t'rous el -- e -- ments that jar--
+  All's peace with love -- ly Pol -- ly,
+  All's peace with love -- ly Pol -- ly,
+  with love -- ly Pol -- ly, love -- ly Pol -- ly,
+  All's peace with love -- ly Pol -- ly.
+ }
+ \layout { }
+}
+
+\score {
+ \new Staff \relative c' {
+  \clef treble
+  \key bes \major
+  \set Score.timing = ##f
+  f8 bes8.[( a16]) bes8.[( c16]) d4 f, es4. d8 c4 c'
+
+  c8.[( bes16]) c8.[( d16]) es4 f8[( g]) bes,4 a bes d8.[( c16])
+  bes4. d8 bes4. a8
+
+  f'4 c r f,8.[( g16]) a8.[( bes16]) c8.[( d16]) f,4 e a f r c'
+
+  bes8[( a]) g[( f]) f'4. es8 d4 es8[( f]) bes,4 a
+  g4. g8 g'4 f8[( es])
+
+  d16 c16~c4 bes8 bes16 a16~a4. r8 f
+  bes4 d es d d c2 r4 c8[( b])
+
+  c4 es g, c a f' r f d es8[( f]) g4 es
+
+  c d8[( es]) f4 d2 d4 es4 f8[( g]) bes,4 a
+  c-> bes r \bar "||"
+ }
+ \midi { \tempo 4=104 }
+}
+
+}
+
diff --git a/16595-h/lilypond/fig_8.ly b/16595-h/lilypond/fig_8.ly
new file mode 100644
index 0000000..8e27d50
--- /dev/null
+++ b/16595-h/lilypond/fig_8.ly
@@ -0,0 +1,82 @@
+\version "2.4"
+\paper{ linewidth=13\cm leftmargin=4\cm rightmargin=4\cm indent=0\mm }
+
+% ALL'S WELL
+
+global = {
+  \clef treble
+  \key g \major
+  \autoBeamOff
+  \set Score.barNumberVisibility = ##f
+%  \override Lyrics.LyricText #'font-name = #"pplr8r"
+  \override Voice.Rest #'style = #'classical
+  \time 2/4
+}
+
+tempotext = \markup { \large { \italic Adagio. } }
+barRestFermata = \markup { \musicglyph #"scripts-ufermata" }
+
+oneNotes = \relative c'' {
+ \global
+ R2 | R2 | g4( \grace {b16} a8.[ g16]) | g4 r |
+ \stemUp g32[ a b c d e g] s \stemNeutral d4\fermata | \break
+ R2 | b4\fermata a8.[(\fermata^\trill g16]) | g4 r \bar "||"
+}
+
+oneExtraNotes = \relative c'' { s2^\tempotext | s2*3 | g4 s4 | s2*3 }
+
+oneWords = \lyricmode { All's __ well; A -- bove, All, all's well. }
+
+twoNotes = \relative c'' {
+ \global
+ g4( \grace {b16} a8.[ g16]) | g4 r |
+ b4( \grace {d16} c8.[ b16]) | b4 r | R2^\barRestFermata |
+ e16*2/3[ fis32*2/3 e d c b a g fis e d] c4 |
+ g'4\fermata d4\fermata | b4 r \bar "||"
+}
+
+twoExtraNotes = \relative c'' { s2*5 | e4 s4 | s2*2 }
+
+twoWords = \lyricmode {
+ All's __ well, All's __ well; be -- low, All, all's well.
+}
+
+\book {
+
+\score {
+ \context ChoirStaff <<
+  \context Staff = oneStaff <<
+   \context Voice = oneMusic { \oneNotes }
+   \context Voice = oneExtra { \voiceTwo \oneExtraNotes }
+  >>
+  \lyricsto oneMusic \new Lyrics { \oneWords }
+  \context Staff = twoStaff <<
+   \context Voice = twoMusic { \twoNotes }
+   \context Voice = twoExtra { \voiceTwo \twoExtraNotes }
+  >>
+  \lyricsto twoMusic \new Lyrics { \twoWords }
+ >>
+ \layout { }
+}
+
+\score {
+ <<
+  \new Staff \relative c'' {
+   \set Score.timing = ##f
+   r2  r2  g4( b16 a8[ g16])  g4 r
+   << {g32*8/7[ a b c d e g]} \\ {g,4} >> d'2
+   r2  b2 b16. a32 b a b a b a b a b a g16  g4 r
+  }
+  \new Staff \relative c'' {
+   \set Score.timing = ##f
+   g4( b16 a8[ g16]) g4 r
+   b4( d16 c8[ b16]) b4 r r2.
+   << {e16*2/3[ fis32*2/3 e d c b a g fis e d]} \\ {e'4} >> c,4
+   g'2 d2  b4 r
+  }
+ >>
+ \midi { \tempo 4=80 }
+}
+
+}
+
diff --git a/16595-h/midi/figure_1.mid b/16595-h/midi/figure_1.mid
new file mode 100644
index 0000000..636c5ec
--- /dev/null
+++ b/16595-h/midi/figure_1.mid
diff --git a/16595-h/midi/figure_2.mid b/16595-h/midi/figure_2.mid
new file mode 100644
index 0000000..4a8a122
--- /dev/null
+++ b/16595-h/midi/figure_2.mid
diff --git a/16595-h/midi/figure_3.mid b/16595-h/midi/figure_3.mid
new file mode 100644
index 0000000..5b3ca2f
--- /dev/null
+++ b/16595-h/midi/figure_3.mid
diff --git a/16595-h/midi/figure_4.mid b/16595-h/midi/figure_4.mid
new file mode 100644
index 0000000..af0af82
--- /dev/null
+++ b/16595-h/midi/figure_4.mid
diff --git a/16595-h/midi/figure_5.mid b/16595-h/midi/figure_5.mid
new file mode 100644
index 0000000..d576ce4
--- /dev/null
+++ b/16595-h/midi/figure_5.mid
diff --git a/16595-h/midi/figure_6.mid b/16595-h/midi/figure_6.mid
new file mode 100644
index 0000000..14a6f0c
--- /dev/null
+++ b/16595-h/midi/figure_6.mid
diff --git a/16595-h/midi/figure_7.mid b/16595-h/midi/figure_7.mid
new file mode 100644
index 0000000..b48d16b
--- /dev/null
+++ b/16595-h/midi/figure_7.mid
diff --git a/16595-h/midi/figure_8.mid b/16595-h/midi/figure_8.mid
new file mode 100644
index 0000000..509e4f1
--- /dev/null
+++ b/16595-h/midi/figure_8.mid
diff --git a/16595.txt b/16595.txt
new file mode 100644
index 0000000..4875170
--- /dev/null
+++ b/16595.txt
@@ -0,0 +1,6679 @@
+Project Gutenberg's Charles Dickens and Music, by James T. Lightwood
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Charles Dickens and Music
+
+Author: James T. Lightwood
+
+Release Date: August 25, 2005 [EBook #16595]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK CHARLES DICKENS AND MUSIC ***
+
+
+
+
+Produced by David Newman, Daniel Emerson Griffith and the
+Online Distributed Proofreading Team at https://www.pgdp.net
+
+
+
+
+
+                         [Illustration]
+
+            TOM PINCH AT THE ORGAN.
+                                     _Frontispiece._
+
+
+
+CHARLES DICKENS AND MUSIC
+
+BY JAMES T. LIGHTWOOD
+
+AUTHOR OF 'HYMN-TUNES AND THEIR STORY'
+
+London
+CHARLES H. KELLY
+25-35 CITY ROAD, AND 26 PATERNOSTER ROW, E.C.
+
+_First Edition, 1912_
+
+IN PLEASANT MEMORY OF MANY HAPPY YEARS AT PEMBROKE HOUSE, LYTHAM
+
+
+
+
+PREFACE
+
+
+For many years I have been interested in the various musical
+references in Dickens' works, and have had the impression that
+a careful examination of his writings would reveal an aspect of
+his character hitherto unknown, and, I may add, unsuspected.
+The centenary of his birth hastened a work long contemplated,
+and a first reading (after many years) brought to light an
+amount of material far in excess of what I anticipated, while a
+second examination convinced me that there is, perhaps, no great
+writer who has made a more extensive use of music to illustrate
+character and create incident than Charles Dickens. From an
+historical point of view these references are of the utmost
+importance, for they reflect to a nicety the general condition
+of ordinary musical life in England during the middle of the
+last century. We do not, of course, look to Dickens for a
+history of classical music during the period--those who want
+this will find it in the newspapers and magazines; but for the
+story of music in the ordinary English home, for the popular
+songs of the period, for the average musical attainments of
+the middle and lower classes (music was not the correct thing
+amongst the 'upper ten'), we must turn to the pages of Dickens'
+novels. It is certainly strange that no one has hitherto thought
+of tapping this source of information. In and about 1887 the
+papers teemed with articles that outlined the history of music
+during the first fifty years of Victoria's reign; but I have
+not seen one that attempted to derive first-hand information
+from the sources referred to, nor indeed does the subject of
+'Dickens and Music' ever appear to have received the attention
+which, in my opinion, it deserves.
+
+I do not profess to have chronicled _all_ the musical references,
+nor has it been possible to identify every one of the numerous
+quotations from songs, although I have consulted such excellent
+authorities as Dr. Cummings, Mr. Worden (Preston), and Mr. J.
+Allanson Benson (Bromley). I have to thank Mr. Frank Kidson, who,
+I understand, had already planned a work of this description,
+for his kind advice and assistance. There is no living writer
+who has such a wonderful knowledge of old songs as Mr. Kidson,
+a knowledge which he is ever ready to put at the disposal of
+others. Even now there are some half-dozen songs which every
+attempt to run to earth has failed, though I have tried to
+'mole 'em out' (as Mr. Pancks would say) by searching through
+some hundreds of song-books and some thousands of separate songs.
+
+Should any of my readers be able to throw light on dark
+places I shall be very glad to hear from them, with a view to
+making the information here presented as complete and correct
+as possible if another edition should be called for. May
+I suggest to the Secretaries of our Literary Societies,
+Guilds, and similar organizations that a pleasant evening
+might be spent in rendering some of the music referred to by
+Dickens. The proceedings might be varied by readings from his
+works or by historical notes on the music. Many of the pieces
+are still in print, and I shall be glad to render assistance in
+tracing them. Perhaps this idea will also commend itself to the
+members of the Dickens Fellowship, an organization with which
+all lovers of the great novelist ought to associate themselves.
+
+                                         JAMES T. LIGHTWOOD.
+  LYTHAM,
+    _October, 1912._
+
+
+
+    I truly love Dickens; and discern in the inner man of
+    him a tone of real Music which struggles to express
+    itself, as it may in these bewildered, stupefied
+    and, indeed, very crusty and distracted days--better
+    or worse!
+
+                                          THOMAS CARLYLE.
+
+
+
+
+CONTENTS
+
+
+    CHAP.                                             PAGE
+
+      I.  DICKENS AS A MUSICIAN                          1
+
+     II.  INSTRUMENTAL COMBINATIONS                     23
+
+    III.  VARIOUS INSTRUMENTS: FLUTE, ORGAN, GUITAR
+          (AND SOME HUMMERS)                            36
+
+     IV.  VARIOUS INSTRUMENTS (_continued_)             56
+
+      V.  CHURCH MUSIC                                  69
+
+     VI.  SONGS AND SOME SINGERS                        83
+
+    VII.  SOME NOTED SINGERS                           112
+
+          LIST OF SONGS, &c., MENTIONED BY DICKENS     135
+
+          INDEX OF MUSICAL INSTRUMENTS                 164
+
+          INDEX OF CHARACTERS                          165
+
+          GENERAL INDEX                                169
+
+          LIST OF MUSIC TITLES, &c., FOUNDED ON
+          DICKENS' CHARACTERS                          172
+
+
+
+
+LIST OF WORKS REFERRED TO
+
+_With Abbreviations Used_
+
+
+    _American Notes_                     1842       _A.N._
+    _Barnaby Rudge_                      1841       _B.R._
+    _Battle of Life_                     1848       _B.L._
+    _Bleak House_                        1852-3     _B.H._
+    _Chimes_                             1844       _Ch._
+    _Christmas Carol_                    1843       _C.C._
+    _Christmas Stories_                    --       _C.S._
+    _Christmas Stories_--
+          Dr. Marigold's Prescription    1865       _Dr. M._
+          Going into Society             1855       _G.S._
+          Holly Tree                     1855       _H.T._
+          Mugby Junction                 1866       _M.J._
+          Mrs. Lirriper's Lodgings       1863         --
+          No Thoroughfare                1867       _N.T._
+          Somebody's Luggage             1862       _S.L._
+          Wreck of the Golden Mary       1856       _G.M._
+    _Collected Papers_                     --       _C.P._
+    _Cricket on the Hearth_              1845       _C.H._
+    _Dombey & Son_                       1847-8     _D. & S._
+    _David Copperfield_                  1849-50    _D.C._
+    _Edwin Drood_                        1870       _E.D._
+    _Great Expectations_                 1860-1     _G.E._
+    _Hard Times_                         1854       _H.T._
+    _Haunted House_                      1859         --
+    _Haunted Man_                        1848       _H.M._
+    _Holiday Romance_                      --       _H.R._
+    _Little Dorrit_                      1855-6     _L.D._
+    _Martin Chuzzlewit_                  1843-4     _M.C._
+    _Master Humphrey's Clock_            1840-1     _M.H.C._
+    _Mystery of Edwin Drood_             1870       _E.D._
+    _Nicholas Nickleby_                  1838-9     _N.N._
+    _Old Curiosity Shop_                 1840       _O.C.S._
+    _Oliver Twist_                       1837-8     _O.T._
+    _Our Mutual Friend_                  1864       _O.M.F._
+    _Pickwick Papers_                    1836-7     _P.P._
+    _Pictures from Italy_                1846       _It._
+    _Reprinted Pieces_--
+          Our Bore                       1852         --
+          Our English Watering-Place     1851         --
+          Our French Watering-Place      1854         --
+          Our School                     1851         --
+          Out of the Season              1856         --
+    _Sketches by Boz_                    1835-6     _S.B._
+          Characters                       --       _S.B.C._
+          Our Parish                       --         --
+          Scenes                           --       _S.B.S._
+          Tales                            --       _S.B.T._
+    _Sunday under Three Heads_           1836         --
+    _Sketches of Young People_           1840         --
+    _Sketches of Young Gentlemen_        1838         --
+    _Tale of Two Cities, A_              1859         --
+    _Uncommercial Traveller_             1860-9     _U.T._
+
+
+
+CHARLES DICKENS AND MUSIC
+
+
+
+
+CHAPTER I
+
+DICKENS AS A MUSICIAN
+
+
+The attempts to instil the elements of music into Charles
+Dickens when he was a small boy do not appear to have been
+attended with success. Mr. Kitton tells us that he learnt the
+piano during his school days, but his master gave him up in
+despair. Mr. Bowden, an old schoolfellow of the novelist's when
+he was at Wellington House Academy, in Hampstead Road, says that
+music used to be taught there, and that Dickens received lessons
+on the violin, but he made no progress, and soon relinquished
+it. It was not until many years after that he made his third
+and last attempt to become an instrumentalist. During his
+first transatlantic voyage he wrote to Forster telling him
+that he had bought an accordion.
+
+    The steward lent me one on the passage out, and I
+    regaled the ladies' cabin with my performances. You
+    can't think with what feelings I play 'Home, Sweet Home'
+    every night, or how pleasantly sad it makes us.
+
+On the voyage back he gives the following description of the
+musical talents of his fellow passengers:
+
+    One played the accordion, another the violin, and
+    another (who usually began at six o'clock a.m.) the key
+    bugle: the combined effect of which instruments, when
+    they all played different tunes, in different parts
+    of the ship, at the same time, and within hearing of
+    each other, as they sometimes did (everybody being
+    intensely satisfied with his own performance), was
+    sublimely hideous.
+
+He does not tell us whether he was one of the performers on
+these occasions.
+
+But although he failed as an instrumentalist he took
+delight in hearing music, and was always an appreciative yet
+critical listener to what was good and tuneful. His favourite
+composers were Mendelssohn--whose _Lieder_ he was specially
+fond of[1]--Chopin, and Mozart. He heard Gounod's _Faust_
+whilst he was in Paris, and confesses to having been quite
+overcome with the beauty of the music. 'I couldn't bear it,'
+he says, in one of his letters, 'and gave in completely. The
+composer must be a very remarkable man indeed.' At the same
+time he became acquainted with Offenbach's music, and heard
+_Orphee aux enfers_. This was in February, 1863. Here also he
+made the acquaintance of Auber, 'a stolid little elderly man,
+rather petulant in manner.' He told Dickens that he had lived
+for a time at 'Stock Noonton' (Stoke Newington) in order to
+study English, but he had forgotten it all. In the description
+of a dinner in the _Sketches_ we read that
+
+    The knives and forks form a pleasing accompaniment to
+    Auber's music, and Auber's music would form a pleasing
+    accompaniment to the dinner, if you could hear anything
+    besides the cymbals.
+
+He met Meyerbeer on one occasion at Lord John Russell's. The
+musician congratulated him on his outspoken language on Sunday
+observance, a subject in which Dickens was deeply interested,
+and on which he advocated his views at length in the papers
+entitled _Sunday under Three Heads_.
+
+Dickens was acquainted with Jenny Lind, and he gives the
+following amusing story in a letter to Douglas Jerrold, dated
+Paris, February 14, 1847:
+
+    I am somehow reminded of a good story I heard the
+    other night from a man who was a witness of it and
+    an actor in it. At a certain German town last autumn
+    there was a tremendous _furore_ about Jenny Lind, who,
+    after driving the whole place mad, left it, on her
+    travels, early one morning. The moment her carriage
+    was outside the gates, a party of rampant students who
+    had escorted it rushed back to the inn, demanded to be
+    shown to her bedroom, swept like a whirlwind upstairs
+    into the room indicated to them, tore up the sheets,
+    and wore them in strips as decorations. An hour or two
+    afterwards a bald old gentleman of amiable appearance,
+    an Englishman, who was staying in the hotel, came to
+    breakfast at the _table d'hote_, and was observed to be
+    much disturbed in his mind, and to show great terror
+    whenever a student came near him. At last he said, in
+    a low voice, to some people who were near him at the
+    table, 'You are English gentlemen, I observe. Most
+    extraordinary people, these Germans. Students,
+    as a body, raving mad, gentlemen!' 'Oh, no,' said
+    somebody else: 'excitable, but very good fellows,
+    and very sensible.' 'By God, sir!' returned the old
+    gentleman, still more disturbed, 'then there's something
+    political in it, and I'm a marked man. I went out for
+    a little walk this morning after shaving, and while I
+    was gone'--he fell into a terrible perspiration as he
+    told it--'they burst into my bedroom, tore up my sheets,
+    and are now patrolling the town in all directions with
+    bits of 'em in their button-holes.' I needn't wind
+    up by adding that they had gone to the wrong chamber.
+
+It was Dickens' habit wherever he went on his Continental
+travels to avail himself of any opportunity of visiting the
+opera; and his criticisms, though brief, are always to the
+point. He tells us this interesting fact about Carrara:
+
+    There is a beautiful little theatre there, built of
+    marble, and they had it illuminated that night in my
+    honour. There was really a very fair opera, but it is
+    curious that the chorus has been always, time out of
+    mind, made up of labourers in the quarries, who don't
+    know a note of music, and sing entirely by ear.
+
+But much as he loved music, Dickens could never bear the
+least sound or noise while he was studying or writing, and
+he ever waged a fierce war against church bells and itinerant
+musicians. Even when in Scotland his troubles did not cease,
+for he writes about 'a most infernal piper practising under
+the window for a competition of pipers which is to come off
+shortly.' Elsewhere he says that he found Dover 'too bandy'
+for him (he carefully explains he does not refer to its legs),
+while in a letter to Forster he complains bitterly of the
+vagrant musicians at Broadstairs, where he 'cannot write half
+an hour without the most excruciating organs, fiddles, bells,
+or glee singers.' The barrel-organ, which he somewhere calls
+an 'Italian box of music,' was one source of annoyance, but
+bells were his special aversion. 'If you know anybody at St.
+Paul's,' he wrote to Forster, 'I wish you'd send round and ask
+them not to ring the bell so. I can hardly hear my own ideas
+as they come into my head, and say what they mean.' His bell
+experiences at Genoa are referred to elsewhere (p. 57).
+
+How marvellously observant he was is manifest in the numerous
+references in his letters and works to the music he heard in
+the streets and squares of London and other places. Here is
+a description of Golden Square, London, W. (_N.N._):
+
+    Two or three violins and a wind instrument from
+    the Opera band reside within its precincts. Its
+    boarding-houses are musical, and the notes of pianos
+    and harps float in the evening time round the head of
+    the mournful statue, the guardian genius of the little
+    wilderness of shrubs, in the centre of the square....
+    Sounds of gruff voices practising vocal music invade
+    the evening's silence, and the fumes of choice tobacco
+    scent the air. There, snuff and cigars and German
+    pipes and flutes, and violins and violoncellos, divide
+    the supremacy between them. It is the region of song
+    and smoke. Street bands are on their mettle in Golden
+    Square, and itinerant glee singers quaver involuntarily
+    as they raise their voices within its boundaries.
+
+We have another picture in the description of Dombey's house,
+where--
+
+    the summer sun was never on the street but in the
+    morning, about breakfast-time.... It was soon gone
+    again, to return no more that day, and the bands of
+    music and the straggling Punch's shows going after
+    it left it a prey to the most dismal of organs and
+    white mice.
+
+
+_As a Singer_
+
+Most of the writers about Dickens, and especially his personal
+friends, bear testimony both to his vocal power and his love
+of songs and singing. As a small boy we read of him and his
+sister Fanny standing on a table singing songs, and acting them
+as they sang. One of his favourite recitations was Dr. Watts'
+'The voice of the sluggard,' which he used to give with great
+effect. The memory of these words lingered long in his mind,
+and both Captain Cuttle and Mr. Pecksniff quote them with
+excellent appropriateness.
+
+When he grew up he retained his love of vocal music, and showed
+a strong predilection for national airs and old songs. Moore's
+_Irish Melodies_ had also a special attraction for him. In
+the early days of his readings his voice frequently used to
+fail him, and Mr. Kitton tells us that in trying to recover
+the lost power he would test it by singing these melodies to
+himself as he walked about. It is not surprising, therefore,
+to find numerous references to these songs, as well as to
+other works by Moore, in his writings.
+
+From a humorous account of a concert on board ship we gather
+that Dickens possessed a tenor voice. Writing to his daughter
+from Boston in 1867, he says:
+
+    We had speech-making and singing in the saloon of the
+    _Cuba_ after the last dinner of the voyage. I think I
+    have acquired a higher reputation from drawing out the
+    captain, and getting him to take the second in 'All's
+    Well' and likewise in 'There's not in the wide world'[2]
+    (your parent taking the first), than from anything
+    previously known of me on these shores.... We also sang
+    (with a Chicago lady, and a strong-minded woman from
+    I don't know where) 'Auld Lang Syne,' with a tender
+    melancholy expressive of having all four been united
+    from our cradles. The more dismal we were, the more
+    delighted the company were. Once (when we paddled i'
+    the burn) the captain took a little cruise round the
+    compass on his own account, touching at the Canadian
+    Boat Song,[3] and taking in supplies at Jubilate, 'Seas
+    between us braid ha' roared,' and roared like ourselves.
+
+J.T. Field, in his _Yesterdays with Authors_, says: 'To hear him
+sing an old-time stage song, such as he used to enjoy in his
+youth at a cheap London theatre ... was to become acquainted
+with one of the most delightful and original companions in
+the world.'
+
+When at home he was fond of having music in the evening. His
+daughter tells us that on one occasion a member of his family
+was singing a song while he was apparently deep in his book,
+when he suddenly got up and saying 'You don't make enough of
+that word,' he sat down by the piano and showed how it should
+be sung.
+
+On another occasion his criticism was more pointed.
+
+    One night a gentleman visitor insisted on singing
+    'By the sad sea waves,' which he did vilely, and he
+    wound up his performance by a most unexpected and
+    misplaced embellishment, or 'turn.' Dickens found the
+    whole ordeal very trying, but managed to preserve a
+    decorous silence till this sound fell on his ear, when
+    his neighbour said to him, 'Whatever did he mean by
+    that extraneous effort of melody?' 'Oh,' said Dickens,
+    'that's quite in accordance with rule. When things
+    are at their worst they always take a _turn_.'
+
+Forster relates that while he was at work on the _Old Curiosity
+Shop_ he used to discover specimens of old ballads in his
+country walks between Broadstairs and Ramsgate, which so
+aroused his interest that when he returned to town towards
+the end of 1840 he thoroughly explored the ballad literature
+of Seven Dials,[4] and would occasionally sing not a few of
+these wonderful discoveries with an effect that justified
+his reputation for comic singing in his childhood. We get a
+glimpse of his investigations in _Out of the Season_, where
+he tells us about that 'wonderful mystery, the music-shop,'
+with its assortment of polkas with coloured frontispieces, and
+also the book-shop, with its 'Little Warblers and Fairburn's
+Comic Songsters.'
+
+    Here too were ballads on the old ballad paper and
+    in the old confusion of types, with an old man in a
+    cocked hat, and an armchair, for the illustration
+    to Will Watch the bold smuggler, and the Friar of
+    Orders Grey, represented by a little girl in a hoop,
+    with a ship in the distance. All these as of yore,
+    when they were infinite delights to me.
+
+On one of his explorations he met a landsman who told him
+about the running down of an emigrant ship, and how he heard
+a sound coming over the sea 'like a great sorrowful flute or
+Aeolian harp.' He makes another and very humorous reference to
+this instrument in a letter to Landor, in which he calls to mind
+
+    that steady snore of yours, which I once heard piercing
+    the door of your bedroom ... reverberating along the
+    bell-wire in the hall, so getting outside into the
+    street, playing Aeolian harps among the area railings,
+    and going down the New Road like the blast of a trumpet.
+
+The deserted watering-place referred to in _Out of the Season_
+is Broadstairs, and he gives us a further insight into its
+musical resources in a letter to Miss Power written on July 2,
+1847, in which he says that
+
+    a little tinkling box of music that stops at 'come'
+    in the melody of the Buffalo Gals, and can't play 'out
+    to-night,' and a white mouse, are the only amusements
+    left at Broadstairs.
+
+'Buffalo Gals' was a very popular song 'Sung with great
+applause by the Original Female American Serenaders.' (_c._
+1845.) The first verse will explain the above allusion:
+
+    As I went lum'rin' down de street, down de street,
+    A 'ansom gal I chanc'd to meet, oh, she was fair to view.
+    Buffalo gals, can't ye come out to-night, come out to-night,
+            come out to-night;
+    Buffalo gals, can't ye come out to-night, and dance by the
+            light of the moon.
+
+We find some interesting musical references and memories in
+the novelist's letters. Writing to Wilkie Collins in reference
+to his proposed sea voyage, he quotes Campbell's lines from
+'Ye Mariners of England':
+
+    As I sweep
+    Through the deep
+    When the stormy winds do blow.
+
+There are other references to this song in the novels. I have
+pointed out elsewhere that the last line also belongs to a
+seventeenth-century song.
+
+Writing to Mark Lemon (June, 1849) he gives an amusing parody of
+
+    Lesbia hath a beaming eye,
+
+beginning
+
+    Lemon is a little hipped.
+
+In a letter to Maclise he says:
+
+    My foot is in the house,
+      My bath is on the sea,
+    And before I take a souse,
+      Here's a single note to thee.
+
+These lines are a reminiscence of Byron's ode to Tom Moore,
+written from Venice on July 10, 1817:
+
+    My boat is on the shore,
+      And my bark is on the sea,
+    But before I go, Tom Moore,
+      Here's a double health to thee!
+
+The words were set to music by Bishop. This first verse had a
+special attraction for Dickens, and he gives us two or three
+variations of it, including a very apt one from Dick Swiveller
+(see p. 126).
+
+Henry F. Chorley, the musical critic, was an intimate friend
+of Dickens. On one occasion he went to hear Chorley lecture on
+'The National Music of the World,' and subsequently wrote him
+a very friendly letter criticizing his delivery, but speaking
+in high terms of the way he treated his subject.
+
+In one of his letters he makes special reference to the
+singing of the Hutchinson family.[5] Writing to the Countess
+of Blessington, he says:
+
+    I must have some talk with you about these American
+    singers. They must never go back to their own country
+    without your having heard them sing Hood's 'Bridge
+    of Sighs.'
+
+Amongst the distinguished visitors at Gad's Hill was Joachim,
+who was always a welcome guest, and of whom Dickens once said
+'he is a noble fellow.' His daughter writes in reference to
+this visit:
+
+    I never remember seeing him so wrapt and absorbed as
+    he was then, on hearing him play; and the wonderful
+    simplicity and _un_-self-consciousness of the genius
+    went straight to my father's heart, and made a fast
+    bond of sympathy between those two great men.
+
+
+_In Music Drama_
+
+Much has been written about Dickens' undoubted powers as
+an actor, as well as his ability as a stage manager, and
+it is well known that it was little more than an accident
+that kept him from adopting the dramatic profession. He ever
+took a keen interest in all that pertained to the stage, and
+when he was superintending the production of a play he was
+always particular about the musical arrangements. There is in
+existence a play-bill of 1833 showing that he superintended a
+private performance of _Clari_. This was an opera by Bishop,
+and contains the first appearance of the celebrated 'Home, Sweet
+Home,' a melody which, as we have already said, he reproduced
+on the accordion some years after. He took the part of Rolano,
+but had no opportunity of showing off his singing abilities,
+unless he took a part in the famous glee 'Sleep, gentle lady,'
+which appears in the work as a quartet for alto, two tenors,
+and bass, though it is now arranged in other forms.
+
+In his dealings with the drama Dickens was frequently his
+own bandmaster and director of the music. For instance, in
+_No Thoroughfare_ we find this direction: 'Boys enter and
+sing "God Save the Queen" (or any school devotional hymn).'
+At Obenreizer's entrance a 'mysterious theme is directed
+to be played,' that gentleman being 'well informed, clever,
+and a good musician.'
+
+Dickens was concerned in the production of one operetta--_The
+Village Coquettes_--for which he wrote the words, and John
+Hullah composed the music. It consists of songs, duets, and
+concerted pieces, and was first produced at St. James's Theatre,
+London, on December 6, 1836. The following year it was being
+performed at Edinburgh when a fire broke out in the theatre,
+and the instrumental scores together with the music of the
+concerted pieces were destroyed. No fresh copy was ever made,
+but the songs are still to be obtained. Mr. Kitton, in his
+biography of the novelist, says, 'The play was well received,
+and duly praised by prominent musical journals.'
+
+The same writer gives us to understand that Hullah originally
+composed the music for an opera called _The Gondolier_, but
+used the material for _The Village Coquettes_. Braham, the
+celebrated tenor, had a part in it. Dickens says in a letter to
+Hullah that he had had some conversation with Braham about the
+work. The singer thought very highly of it, and Dickens adds:
+
+    His only remaining suggestion is that Miss
+    Rainforth[6] will want another song when the piece is
+    in rehearsal--'a bravura--something in "The soldier
+    tired" way.'
+
+We have here a reference to a song which had a long run of
+popularity. It is one of the airs in Arne's _Artaxerxes_,
+an opera which was produced in 1761, and which held the
+stage for many years. There is a reference to this song in
+_Sketches by Boz_, when Miss Evans and her friends visited
+the Eagle. During the concert 'Miss Somebody in white satin'
+sang this air, much to the satisfaction of her audience.
+
+Dickens wrote a few songs and ballads, and in most cases he
+fell in with the custom of his time, and suggested the tune
+(if any) to which they were to be sung. In addition to those
+that appear in the various novels, there are others which
+deserve mention here.
+
+In 1841 he contributed three political squibs in verse to
+the _Examiner_, one being the 'Quack Doctor's Proclamation,'
+to the tune of 'A Cobbler there was,' and another called
+'The fine old English Gentleman.'
+
+For the _Daily News_ (of which he was the first editor) he
+wrote 'The British Lion, a new song but an old story,' which
+was to be sung to the tune of the 'Great Sea Snake.' This was
+a very popular comic song of the period, which described a
+sea monster of wondrous size:
+
+    One morning from his head we bore
+      With every stitch of sail,
+    And going at ten knots an hour
+      In six months came to his tail.
+
+Three of the songs in the _Pickwick Papers_ (referred to
+elsewhere) are original, while Blandois' song in _Little
+Dorrit_, 'Who passes by this road so late,' is a translation
+from the French. This was set to music by R.S. Dalton.
+
+In addition to these we find here and there impromptu lines
+which have no connexion with any song. Perhaps the best known
+are those which 'my lady Bowley' quotes in _The Chimes_,
+and which she had 'set to music on the new system':
+
+    Oh let us love our occupations,
+    Bless the squire and his relations,
+    Live upon our daily rations,
+    And always know our proper stations.
+
+The reference to the 'new system' is not quite obvious. Dickens
+may have been thinking of the 'Wilhem' method of teaching
+singing which his friend Hullah introduced into England, or it
+may be a reference to the Tonic Sol-fa system, which had already
+begun to make progress when _The Chimes_ was written in 1844.[7]
+
+There are some well-known lines which owners of books were
+fond of writing on the fly-leaf in order that there might be
+no mistake as to the name of the possessor. The general form
+was something like this:
+
+    John Wigglesworth is my name,
+      And England is my nation;
+    London is my dwelling-place,
+      And Christ is my salvation.
+
+(See _Choir_, Jan., 1912, p. 5.) Dickens gives us at least
+two variants of this. In _Edwin Drood_, Durdles says of the
+Mayor of Cloisterham:
+
+    Mister Sapsea is his name,
+      England is his nation,
+    Cloisterham's his dwelling-place,
+      Aukshneer's his occupation.
+
+And Captain Cuttle thus describes himself, ascribing the
+authorship of the words to Job--but then literary accuracy
+was not the Captain's strong point:
+
+    Cap'en Cuttle is my name,
+      And England is my nation,
+    This here is my dwelling-place,
+      And blessed be creation.
+
+It is said that there appeared in the _London Singer's Magazine_
+for 1839 'The Teetotal Excursion, an original Comic Song by
+Boz, sung at the London Concerts,' but it is not in my copy
+of this song-book, nor have I ever seen it.
+
+Dickens was always very careful in his choice of names and
+titles, and the evolution of some of the latter is very
+interesting. One of the many he conceived for the magazine
+which was to succeed _Household Words_ was _Household Harmony_,
+while another was _Home Music_. Considering his dislike of
+bells in general, it is rather surprising that two other
+suggestions were _English Bells_ and _Weekly Bells_, but the
+final choice was _All the Year Round_. Only once does he make
+use of a musician's name in his novels, and that is in _Great
+Expectations_. Philip, otherwise known as Pip, the hero, becomes
+friendly with Herbert Pocket. The latter objects to the name
+Philip, 'it sounds like a moral boy out of a spelling-book,'
+and as Pip had been a blacksmith and the two youngsters were
+'harmonious,' Pocket asks him:
+
+    'Would you mind Handel for a familiar name? There's
+    a charming piece of music, by Handel, called the
+    "Harmonious Blacksmith."'
+
+    'I should like it very much.'
+
+Dickens' only contribution to hymnology appeared in the _Daily
+News_ February 14, 1846, with the title 'Hymn of the Wiltshire
+Labourers.' It was written after reading a speech at one of
+the night meetings of the wives of agricultural labourers in
+Wiltshire, held with the object of petitioning for Free Trade.
+This is the first verse:
+
+    O God, who by Thy Prophet's hand
+      Did'st smite the rocky brake,
+    Whence water came at Thy command
+      Thy people's thirst to slake,
+    Strike, now, upon this granite wall,
+      Stern, obdurate, and high;
+    And let some drop of pity fall
+      For us who starve and die!
+
+We find the fondness for Italian names shown by vocalists and
+pianists humorously parodied in such self-evident forms as
+Jacksonini, Signora Marra Boni, and Billsmethi. Banjo Bones is
+a self-evident _nom d'occasion_, and the high-sounding name of
+Rinaldo di Velasco ill befits the giant Pickleson (_Dr. M._),
+who had a little head and less in it. As it was essential that
+the Miss Crumptons of Minerva House should have an Italian
+master for their pupils, we find Signer Lobskini introduced,
+while the modern rage for Russian musicians is to some extent
+anticipated in Major Tpschoffki of the Imperial Bulgraderian
+Brigade (_G.S._). His real name, if he ever had one, is said
+to have been Stakes.
+
+Dickens has little to say about the music of his time, but in
+the reprinted paper called _Old Lamps for New Ones_ (written in
+1850), which is a strong condemnation of pre-Raphaelism in art,
+he attacks a similar movement in regard to music, and makes
+much fun of the Brotherhood. He detects their influence in
+things musical, and writes thus:
+
+    In Music a retrogressive step in which there is much
+    hope, has been taken. The P.A.B., or pre-Agincourt
+    Brotherhood, has arisen, nobly devoted to consign to
+    oblivion Mozart, Beethoven, Handel, and every other
+    such ridiculous reputation, and to fix its Millennium
+    (as its name implies) before the date of the first
+    regular musical composition known to have been achieved
+    in England. As this institution has not yet commenced
+    active operations, it remains to be seen whether the
+    Royal Academy of Music will be a worthy sister of the
+    Royal Academy of Art, and admit this enterprising body
+    to its orchestra. We have it, on the best authority,
+    that its compositions will be quite as rough and
+    discordant as the real old original.
+
+Fourteen years later he makes use of a well-known phrase in
+writing to his friend Wills (October 8, 1864) in reference to
+the proofs of an article.
+
+    I have gone through the number carefully, and have
+    been down upon Chorley's paper in particular, which
+    was a 'little bit' too personal. It is all right now
+    and good, and them's my sentiments too of the Music
+    of the Future.[8]
+
+Although there was little movement in this direction when
+Dickens wrote this, the paragraph makes interesting reading
+nowadays in view of some musical tendencies in certain quarters.
+
+
+[1]  In his speech at Birmingham on 'Literature and Art'
+     (1853) he makes special reference to the 'great music
+     of Mendelssohn.'
+
+[2]  Moore's _Irish Melodies_.
+
+[3]  Moore.
+
+[4]  'Seven Dials! the region of song and poetry--first
+     effusions and last dying speeches: hallowed by the
+     names of Catnac and of Pitts, names that will entwine
+     themselves with costermongers and barrel-organs, when
+     penny magazines shall have superseded penny yards of
+     song, and capital punishment be unknown!' (_S.B.S._ 5.)
+
+[5]  The 'Hutchinson family' was a musical troupe composed of
+     three sons and two daughters selected from the 'Tribe of
+     Jesse,' a name given to the sixteen children of Jesse
+     and Mary Hutchinson, of Milford, N.H. They toured in
+     England in 1845 and 1846, and were received with great
+     enthusiasm. Their songs were on subjects connected
+     with Temperance and Anti-Slavery. On one occasion
+     Judson, one of the number, was singing the 'Humbugged
+     Husband,' which he used to accompany with the fiddle,
+     and he had just sung the line 'I'm sadly taken in,'
+     when the stage where he was standing gave way and he
+     nearly disappeared from view. The audience at first
+     took this as part of the performance.
+
+[6]  Miss Rainforth was the soloist at the first production
+     of Mendelssohn's 'Hear my Prayer.' (See _The Choir_,
+     March, 1911.)
+
+[7]  John Curwen published his _Grammar of Vocal Music_
+     in 1842.
+
+[8]  Quoted in Mr. R.C. Lehmann's _Dickens as an Editor_
+     (1912).
+
+
+
+
+CHAPTER II
+
+INSTRUMENTAL COMBINATIONS
+
+VIOLIN, VIOLONCELLO, HARP, PIANO
+
+
+Dickens' orchestras are limited, both in resources and in the
+number of performers; in fact, it would be more correct to
+call them combinations of instruments. Some of them are of
+a kind not found in modern works on instrumentation, as, for
+instance, at the party at Trotty Veck's (_Ch._) when a 'band of
+music' burst into the good man's room, consisting of a drum,
+marrow-bones and cleavers, and bells, 'not _the_ bells but a
+portable collection on a frame.' We gather from Leech's picture
+that other instrumentalists were also present. Sad to relate,
+the drummer was not quite sober, an unfortunate state of things,
+certainly, but not always confined to the drumming fraternity,
+since in the account of the Party at Minerva House (_S.B.T._)
+we read that amongst the numerous arrivals were 'the pianoforte
+player and the violins: the harp in a state of intoxication.'
+
+We have an occasional mention of a theatre orchestra, as,
+for instance, when the Phenomenon was performing at Portsmouth
+(_N.N._):
+
+    'Ring in the orchestra, Grudden.'
+
+    That useful lady did as she was requested, and shortly
+    afterwards the tuning of three fiddles was heard,
+    which process, having been protracted as long as it
+    was supposed that the patience of the orchestra could
+    possibly bear it, was put a stop to by another jerk of
+    the bell, which, being the signal to begin in earnest,
+    set the orchestra playing a variety of popular airs
+    with involuntary variations.
+
+On one occasion Dickens visited Vauxhall Gardens by day, where
+'a small party of dismal men in cocked hats were "executing"
+the overture to _Tancredi_,' but he does not, unfortunately,
+give us any details about the number or kind of instruments
+employed. This would be in 1836, when the experiment of day
+entertainments was given a trial, and a series of balloon
+ascents became the principal attraction. Forster tells us
+that Dickens was a frequent visitor at the numerous gardens
+and places of entertainment which abounded in London, and
+which he knew better than any other man. References will
+be found elsewhere to the music at the Eagle (p. 47) and the
+White Conduit Gardens (p. 93).
+
+
+_Violin and Kit._
+
+We meet with but few players on the violin, and it is usually
+mentioned in connexion with other instruments, though it was to
+the strains of a solitary fiddle that Simon Tappertit danced a
+hornpipe for the delectation of his followers, while the same
+instrument supplied the music at the Fezziwig's ball.
+
+    In came a fiddler with a music-book, and went up to
+    the lofty desk, and made an orchestra of it, and tuned
+    like fifty stomach-aches.
+
+The orchestra at the 'singing-house' provided for Jack's
+amusement when ashore (_U.T._ 5) consisted of a fiddle and
+tambourine; while at dances the instruments were fiddles
+and harps. It was the harps that first aroused Mr. Jingle's
+curiosity, as he met them being carried up the staircase
+of The Bull at Rochester, while, shortly after, the tuning
+of both harps and fiddles inspired Mr. Tupman with a strong
+desire to go to the ball. Sometimes the orchestra is a little
+more varied. At the private theatricals which took place at
+Mrs. Gattleton's (_S.B.T._ 9), the selected instruments were
+a piano, flute, and violoncello, but there seems to have been
+a want of proper rehearsal.
+
+    Ting, ting, ting! went the prompter's bell at eight
+    o'clock precisely, and dash went the orchestra into
+    the overture to the _Men of Prometheus_. The pianoforte
+    player hammered away with laudable perseverance, and the
+    violoncello, which struck in at intervals, sounded very
+    well, considering. The unfortunate individual, however,
+    who had undertaken to play the flute accompaniment
+    'at sight' found, from fatal experience, the perfect
+    truth of the old adage, 'Out of sight, out of mind';
+    for being very near-sighted, and being placed at
+    a considerable distance from his music-book, all he
+    had an opportunity of doing was to play a bar now and
+    then in the wrong place, and put the other performers
+    out. It is, however, but justice to Mr. Brown to
+    say that he did this to admiration. The overture,
+    in fact, was not unlike a race between the different
+    instruments; the piano came in first by several bars,
+    and the violoncello next, quite distancing the poor
+    flute; for the deaf gentleman _too-too'd_ away, quite
+    unconscious that he was at all wrong, until apprised,
+    by the applause of the audience, that the overture
+    was concluded.
+
+It was probably after this that the pianoforte player fainted
+away, owing to the heat, and left the music of _Masaniello_ to
+the other two. There were differences between these remaining
+musicians and Mr. Harleigh, who played the title role, the
+orchestra complaining that 'Mr. Harleigh put them out, while the
+hero declared that the orchestra prevented his singing a note.'
+
+It was to the strains of a wandering harp and fiddle that Marion
+and Grace Jeddler danced 'a trifle in the Spanish style,'
+much to their father's astonishment as he came bustling out
+to see who 'played music on his property before breakfast.'
+
+The little fiddle commonly known as a 'kit' that dancing-masters
+used to carry in their capacious tail coat pockets was much more
+in evidence in the middle of last century than it is now. Caddy
+Jellyby (_B.H._), after her marriage to a dancing-master,
+found a knowledge of the piano and the kit essential, and so
+she used to practise them assiduously. When Sampson Brass
+hears Kit's name for the first time he says to Swiveller:
+
+    'Strange name--name of a dancing-master's fiddle,
+    eh, Mr. Richard?'
+
+We must not forget the story of a fine young Irish gentleman,
+as told by the one-eyed bagman to Mr. Pickwick and his friends,
+who,
+
+    being asked if he could play the fiddle, replied he
+    had no doubt he could, but he couldn't exactly say
+    for certain, because he had never tried.
+
+
+_Violoncello_
+
+Mr. Morfin (_D. & S._), 'a cheerful-looking, hazel-eyed elderly
+bachelor,' was
+
+    a great musical amateur--in his way--after business,
+    and had a paternal affection for his violoncello, which
+    was once in every week transported from Islington,
+    his place of abode, to a certain club-room hard by
+    the Bank, where quartets of the most tormenting and
+    excruciating nature were executed every Wednesday
+    evening by a private party.
+
+His habit of humming his musical recollections of these
+evenings was a source of great annoyance to Mr. James Carker,
+who devoutly wished 'that he would make a bonfire of his
+violoncello, and burn his books with it.' There was only a thin
+partition between the rooms which these two gentlemen occupied,
+and on another occasion Mr. Morfin performed an extraordinary
+feat in order to warn the manager of his presence.
+
+    I have whistled, hummed tunes, gone accurately through
+    the whole of Beethoven's Sonata in B, to let him know
+    that I was within hearing, but he never heeded me.
+
+This particular sonata has not hitherto been identified.
+
+It is comforting to know that the fall of the House of Dombey
+made no difference to Mr. Morfin, who continued to solace
+himself by producing 'the most dismal and forlorn sounds
+out of his violoncello before going to bed,' a proceeding
+which had no effect on his deaf landlady, beyond producing
+'a sensation of something rumbling in her bones.'
+
+Nor were the quartet parties interfered with. They came round
+regularly, his violoncello was in good tune, and there was
+nothing wrong in _his_ world. Happy Mr. Morfin!
+
+Another 'cellist was the Rev. Charles Timson, who, when
+practising his instrument in his bedroom, used to give strict
+orders that he was on no account to be disturbed.
+
+It was under the pretence of buying 'a second-hand wiolinceller'
+that Bucket visited the house of the dealer in musical instruments
+in order to effect the arrest of Mr. George (_B.H._).
+
+
+_Harp_
+
+The harp was a fashionable drawing-room instrument in the
+early Victorian period, although the re-introduction of
+the guitar temporarily detracted from its glory. It was
+also indispensable in providing music for dancing-parties
+and concerts. When Esther Summerson went to call on the
+Turveydrops (_B.H._) she found the hall blocked up with a
+grand piano, a harp, and various other instruments which had
+been used at a concert. As already stated, it was the sight
+of these instruments being carried up the stairs at The Bull
+in Rochester that aroused Mr. Jingle's curiosity (_P.P._)
+and led to the discovery that a ball was in prospect.
+
+We must not forget the eldest Miss Larkins, one of David
+Copperfield's early, fleeting loves. He used to wander up and
+down outside the home of his beloved and watch the officers
+going in to hear Miss L. play the harp. On hearing of her
+engagement to one of these he mourned for a very brief period,
+and then went forth and gloriously defeated his old enemy
+the butcher boy. What a contrast between this humour and the
+strange scene in the drawing-room at James Steerforth's home
+after Rosa Dartle had sung the strange weird Irish song to
+the accompaniment of her harp! And how different, again, the
+scene in the home of Scrooge's nephew (_C.C._) when, after tea,
+'they had some music.'
+
+    Scrooge's niece played well upon the harp; and played,
+    among other things, a simple little air.
+
+It reminded Scrooge of a time long past.
+
+    He softened more and more; and thought that if he
+    could have listened to it often, years ago, he might
+    have cultivated the kindnesses of life for his own
+    happiness with his own hand.
+
+Little Paul Dombey told Lady Skettles at the breaking-up party
+that he was very fond of music, and he was very, very proud of
+his sister's accomplishments both as player and singer. Did they
+inherit this love from their father? 'You are fond of music,'
+said the Hon. Mrs. Skewton to Mr. Dombey during an interval
+in a game of picquet. 'Eminently so,' was the reply. But the
+reader must not take him at his word. When Edith (the future
+Mrs. Dombey) entered the room and sat down to her harp,
+
+    Mr. Dombey rose and stood beside her, listening. He
+    had little taste for music, and no knowledge of the
+    strain she played; but he saw her bending over it,
+    and perhaps he heard among the sounding strings some
+    distant music of his own.
+
+Yet when she went to the piano and commenced to sing Mr. Dombey
+did not know that it was 'the air that his neglected daughter
+sang to his dead son'!
+
+
+_Piano_
+
+Lady musicians are numerous, and of very varied degrees of
+excellence. Amongst the pianists is Miss Teresa Malderton, who
+nearly fell a prey to that gay deceiver Mr. Horatio Sparkins
+(_S.B.T._ 5). Her contribution to a musical evening was
+'The Fall of Paris,' played, as Mr. Sparkins declared, in a
+masterly manner.
+
+There was a song called 'The Fall of Paris,' but it is most
+probable that Dickens was thinking of a very popular piece
+which he must have often heard in his young days, of which
+the full title was
+
+    THE SURRENDER OF PARIS. A characteristic Divertimento
+    for the Pianoforte, including the events from the Duke
+    of Wellington and Prince Blucher's marching to that
+    capital to the evacuation by the French troops and
+    taking possession by the Allies, composed by Louis
+    Jansen, 1816.
+
+Not the least curious section of this piece of early programme
+music is a _moderato_ recording the various articles of the
+capitulation. These are eighteen in number, and each has
+its own 'theme.' The interspersion of some discords seems to
+imply serious differences of opinion between the parties to
+the treaty.
+
+There was also a song called 'The Downfall of Paris,' the
+first verse of which was
+
+    Great news I have to tell you all,
+      Of Bonaparte and a' that;
+    How Paris it has got a fall,
+      He's lost his plans and a' that.
+
+    _Chorus._
+
+    Rise up, John Bull, rise up and sing,
+      Your chanter loudly blaw that;
+    Lang live our auld and worthy king,
+      Success to Britain, a' that.
+
+The instrument beloved of Miss Tox (_D. & S._) was the
+harpsichord, and her favourite piece was the 'Bird Waltz,' while
+the 'Copenhagen Waltz' was also in her repertoire. Two notes of
+the instrument were dumb from disuse, but their silence did not
+impoverish the rendering. Caddy Jellyby found it necessary to
+know something of the piano, in order that she might instruct
+the 'apprentices' at her husband's dancing-school. Another
+performer was Mrs. Namby, who entertained Mr. Pickwick with
+solos on a square piano while breakfast was being prepared. When
+questioned by David Copperfield as to the gifts of Miss Sophy
+Crewler, Traddles explained that she knew enough of the piano
+to teach it to her little sisters, and she also sang ballads to
+freshen up her family a little when they were out of spirits,
+but 'nothing scientific.' The guitar was quite beyond her. David
+noted with much satisfaction (though he did not say so) that
+his Dora was much more gifted musically.
+
+When Dickens wrote his earlier works it was not considered
+the correct thing for a gentleman to play the piano, though
+it might be all very well for the lower classes and the music
+teacher. Consequently we read of few male performers on the
+instrument. Mr. Skimpole could play the piano, and of course
+Jasper had a 'grand' in his room at Cloisterham.
+
+At one time, if we may believe the turnkey at the Marshalsea
+prison, William Dorrit had been a pianist, a fact which raised
+him greatly in the turnkey's opinion.
+
+    Brought up as a gentleman, he was, if ever a man was.
+    Educated at no end of expense. Went into the Marshal's
+    house once to try a new piano for him. Played it,
+    I understand, like one o'clock--beautiful.
+
+In the _Collected Papers_ we have a picture of the 'throwing
+off young gentleman,' who strikes a note or two upon the piano,
+and accompanies it correctly (by dint of laborious practice)
+with his voice. He assures
+
+    a circle of wondering listeners that so acute was his
+    ear that he was wholly unable to sing out of tune,
+    let him try as he would.
+
+Mr. Weller senior laid a deep plot in which a piano was to
+take a prominent part. His object was to effect Mr. Pickwick's
+escape from the Fleet.
+
+    Me and a cab'net-maker has dewised a plan for
+    gettin' him out. 'A pianner, Samivel, a pianner,'
+    said Mr. Weller, striking his son on the chest with
+    the back of his hand, and falling back a step or two.
+
+    'Wot do you mean?' said Sam.
+
+    'A pianner-forty, Samivel,' rejoined Mr. Weller, in a
+    still more mysterious manner, 'as he can have on hire;
+    vun as von't play, Sammy.'
+
+    'And wot 'ud be the good of that?' said Sam.
+
+    'There ain't no vurks in it,' whispered his father. 'It
+    'ull hold him easy, vith his hat and shoes on; and
+    breathe through the legs, vich is holler.'
+
+But the usually dutiful Sam showed so little enthusiasm for
+his father's scheme that nothing more was heard of it.
+
+
+
+
+CHAPTER III
+
+VARIOUS INSTRUMENTS
+
+FLUTE, ORGAN, GUITAR (AND SOME HUMMERS)
+
+
+_Flute_
+
+We find several references to the flute, and Dickens contrives
+to get much innocent fun out of it. First comes Mr. Mell,
+who used to carry his instrument about with him and who, in
+response to his mother's invitation to 'have a blow at it'
+while David Copperfield was having his breakfast, made, said
+David, 'the most dismal sounds I have ever heard produced
+by any means, natural or artificial.' After he had finished
+he unscrewed his flute into three pieces, and deposited them
+underneath the skirts of his coat.
+
+Dickens' schoolmasters seem to have been partial to the
+flute. Mr. Squeers, it is true, was not a flautist, but
+Mr. Feeder, B.A., was, or rather he was going to be. When
+little Paul Dombey visited his tutor's room he saw 'a flute
+which Mr. Feeder couldn't play yet, but was going to make a
+point of learning, he said, hanging up over the fireplace.'
+
+He also had a beautiful little curly second-hand 'key bugle,'
+which was also on the list of things to be accomplished on
+some future occasion, in fact he has unlimited confidence in
+the power and influence of music. Here is his advice to the
+love-stricken Mr. Toots, whom he recommends to
+
+    learn the guitar, or at least the flute; for women
+    like music when you are paying your addresses to 'em,
+    and he has found the advantage of it himself.
+
+The flute was the instrument that Mr. Richard Swiveller took
+to when he heard that Sophy Wackles was lost to him for ever,
+
+    thinking that it was a good, sound, dismal occupation,
+    not only in unison with his own sad thoughts, but
+    calculated to awaken a fellow feeling in the bosoms
+    of his neighbours.
+
+So he got out his flute, arranged the light and a small
+oblong music-book to the best advantage, and began to play
+'most mournfully.'
+
+    The air was 'Away with Melancholy,' a composition which,
+    when it is played very slowly on the flute, in bed,
+    with the further disadvantage of being performed
+    by a gentleman but imperfectly acquainted with the
+    instrument, who repeats one note a great many times
+    before he can find the next, has not a lively effect.
+
+So Mr. Swiveller spent half the night or more over this pleasing
+exercise, merely stopping now and then to take breath and
+soliloquize about the Marchioness; and it was only after he
+'had nearly maddened the people of the house, and at both the
+next doors, and over the way,' that he shut up the book and
+went to sleep. The result of this was that the next morning
+he got a notice to quit from his landlady, who had been in
+waiting on the stairs for that purpose since the dawn of day.
+
+Jack Redburn, too (_M.H.C._), seems to have found consolation
+in this instrument, spending his wet Sundays in 'blowing a
+very slow tune on the flute.'
+
+There is one, and only one, recorded instance of this very
+meek instrument suddenly asserting itself by going on strike,
+and that is in the sketch entitled _Private Theatres_ (_S.B.S._
+13), where the amateurs take so long to dress for their parts
+that 'the flute says he'll be blowed if he plays any more.'
+
+We must on no account forget the serenade with which the
+gentlemen boarders proposed to honour the Miss Pecksniffs. The
+performance was both vocal and instrumental, and the description
+of the flute-player is delightful.
+
+    It was very affecting, very. Nothing more dismal could
+    have been desired by the most fastidious taste.... The
+    youngest gentleman blew his melancholy into a flute. He
+    didn't blow much out of it, but that was all the better.
+
+After a description of the singing we have more about the flute.
+
+    The flute of the youngest gentleman was wild and
+    fitful. It came and went in gusts, like the wind. For
+    a long time together he seemed to have left off, and
+    when it was quite settled by Mrs. Todgers and the
+    young ladies that, overcome by his feelings, he had
+    retired in tears, he unexpectedly turned up again at
+    the very top of the tune, gasping for breath. He was
+    a tremendous performer. There was no knowing where to
+    have him; and exactly when you thought he was doing
+    nothing at all, then was he doing the very thing that
+    ought to astonish you most.
+
+Yet another performer is the domestic young gentleman (_C.P._)
+who holds skeins of silk for the ladies to wind, and who then
+
+    brings down his flute in compliance with a request
+    from the youngest Miss Gray, and plays divers tunes
+    out of a very small book till supper-time.
+
+When Nancy went to the prison to look for Oliver Twist, she
+found nobody in durance vile except a man who had been taken
+up for playing the flute, and who was bewailing the loss of
+the same, which had been confiscated for the use of the county.
+
+The gentleman who played the violoncello at Mrs. Gattleton's
+party has already been referred to, and it only remains to
+mention Mr. Evans, who 'had such lovely whiskers' and who
+played the flute on the same occasion, to bring the list of
+players to an end.
+
+
+_Hummers_
+
+We meet with a remarkable musician in _Dombey and Son_ in
+the person of Harriet Carker's visitor, a scientific one,
+according to the description:
+
+    A certain skilful action of his fingers as he hummed
+    some bars, and beat time on the seat beside him,
+    seemed to denote the musician; and the extraordinary
+    satisfaction he derived from humming something very
+    slow and long, which had no recognizable tune, seemed
+    to denote that he was a scientific one.
+
+A less capable performer was Sampson Brass, who hummed
+
+    in a voice that was anything but musical certain
+    vocal snatches which appeared to have reference to the
+    union between Church and State, inasmuch as they were
+    compounded of the Evening Hymn and 'God Save the King.'
+
+Musicians of various degrees abound in the _Sketches_. Here is
+Mr. Wisbottle, whistling 'The Light Guitar' at five o'clock
+in the morning, to the intense disgust of Mr. John Evenson,
+a fellow boarder at Mrs. Tibbs'. Subsequently he came down to
+breakfast in blue slippers and a shawl dressing-gown, whistling
+'Di piacer.' Mr. Evenson can no longer control his feelings,
+and threatens to start the triangle if his enemy will not stop
+his early matutinal music. A suggested name for this whistler
+is the 'humming-top,' from his habit of describing semi-circles
+on the piano stool, and 'humming most melodiously.' There are
+a number of characters who indulge in the humming habit either
+to cover their confusion, or as a sign of light-heartedness and
+contentment. Prominent amongst these are Pecksniff, who, like
+Morfin, hums melodiously, and Micawber, who can both sing and
+hum. Nor must we omit to mention Miss Petowker, who 'hummed a
+tune' as her contribution to the entertainment at Mrs. Kenwigs'
+party. Many of the characters resort to humming to conceal
+their temporary discomfiture, and perhaps no one ever hummed
+under more harassing circumstances than when Mr. Pecksniff had
+to go to the door to let in some very unwelcome guests, who
+had already knocked several times. But he was a past master
+in the art of dissimulation. He is particularly anxious to
+conceal from his visitors the fact that Jonas Chuzzlewit is
+in the house. So he says to the latter--
+
+    'This may be a professional call. Indeed I am pretty
+    sure it is. Thank you.' Then Mr. Pecksniff, gently
+    warbling a rustic stave, put on his garden hat, seized
+    a spade, and opened the street door; calmly appearing
+    on the threshold as if he thought he had, from his
+    vineyard, heard a modest rap, but was not quite certain.
+
+Then he tells his visitors 'I do a little bit of Adam still.'
+He certainly had a good deal of the old Adam in him.
+
+
+_Clarionet_
+
+The clarionet is associated with the fortunes of Mr. Frederick
+Dorrit, who played the instrument at the theatre where his
+elder niece was a dancer, and where Little Dorrit sought an
+engagement. After the rehearsal was over she and her sister
+went to take him home.
+
+    He had been in that place six nights a week for many
+    years, but had never been observed to raise his eyes
+    above his music-book.... The carpenters had a joke
+    that he was dead without being aware of it.
+
+At the theatre he had no part in what was going on except the
+part written for the clarionet. In his young days his house
+had been the resort of singers and players. When the fortunes
+of the family changed his clarionet was taken away from him, on
+the ground that it was a 'low instrument.' It was subsequently
+restored to him, but he never played it again.
+
+Of quite a different stamp was one of the characters in
+_Going into Society_, who played the clarionet in a band at
+a Wild Beast Show, and played it all wrong. He was somewhat
+eccentric in dress, as he had on 'a white Roman shirt and a
+bishop's mitre covered with leopard skin.' We are told nothing
+about him, except that he refused to know his old friends. In
+his story of the _Seven Poor Travellers_ Dickens found the
+clarionet-player of the Rochester Waits so communicative that
+he accompanied the party across an open green called the Vines,
+
+    and assisted--in the French sense--at the performance
+    of two waltzes, two polkas, and three Irish melodies.
+
+
+_Bassoon_
+
+A notable bassoon player was Mr. Bagnet, who had a voice
+somewhat resembling his instrument. The ex-artilleryman
+kept a little music shop in a street near the Elephant and
+Castle. There were
+
+    a few fiddles in the window, and some Pan's pipes and
+    a tambourine, and a triangle, and certain elongated
+    scraps of music.
+
+It was to this shop that Bucket the detective came under
+the pretence of wanting a second-hand 'wiolinceller' (see
+p. 29). In the course of conversation it turns out that Master
+Bagnet (otherwise 'Woolwich') 'plays the fife beautiful,'
+and he performs some popular airs for the benefit of his
+audience. Mr. Bucket also claims to have played the fife
+himself when a boy, 'not in a scientific way, but by ear.'
+
+
+_Bagpipes_
+
+Two references to the bagpipes deserve notice. One is in
+_David Copperfield_, where the novelist refers to his own
+early experiences as a shorthand reporter. He has no high
+opinion of the speeches he used to take down.
+
+    One joyful night, therefore, I noted down the music
+    of the parliamentary bagpipes for the last time, and
+    I have never heard it since; though I still recognize
+    the old drone in the newspapers.
+
+In _O.M.F._ (II.) we read of Charley Hexam's fellow pupils
+keeping themselves awake
+
+    by maintaining a monotonous droning noise, as if they
+    were performing, out of time and tune, on a ruder sort
+    of bagpipe.
+
+The peculiar subdued noise caused by a lot of children in a
+school is certainly suggestive of the instrument.
+
+
+_Trombone_
+
+Little is said about the trombone. We are told, in reference
+to the party at Dr. Strong's (_D.C._), that the good Doctor
+knew as much about playing cards as he did about 'playing the
+trombone.' In 'Our School' (_R.P._) we are told a good deal
+about the usher who 'made out the bills, mended the pens,
+and did all sorts of things.'
+
+    He was rather musical, and on some remote quarter-day
+    had bought an old trombone; but a bit of it was lost,
+    and it made the most extraordinary sounds when he
+    sometimes tried to play it of an evening.
+
+In a similarly dismembered state was the flute which Dickens
+once saw in a broker's shop. It was 'complete with the exception
+of the middle joint.'
+
+This naturally calls to mind the story of the choir librarian
+who was putting away the vocal parts of a certain funeral
+anthem. After searching in vain for two missing numbers he
+was obliged to label the parcel
+
+    'His body is buried in peace.' Two parts missing.
+
+
+_Organ_
+
+The references to the organ are both numerous and interesting,
+and it is pretty evident that this instrument had a great
+attraction for Dickens. The gentle Tom Pinch (_M.C._), whom
+Gissing calls 'a gentleman who derives his patent of gentility
+direct from God Almighty,' first claims our attention. He used
+to play the organ at the village church 'for nothing.' It was a
+simple instrument, 'the sweetest little organ you ever heard,'
+provided with wind by the action of the musician's feet,
+and thus Tom was independent of a blower, though he was so
+beloved that
+
+    there was not a man or boy in all the village and
+    away to the turnpike (tollman included) but would have
+    blown away for him till he was black in the face.
+
+What a delight it must have been to him to avail himself of
+the opportunity to play the organ in the cathedral when he
+went to meet Martin!
+
+    As the grand tones resounded through the church they
+    seemed, to Tom, to find an echo in the depth of every
+    ancient tomb, no less than in the deep mystery of his
+    own heart.
+
+And he would have gone on playing till midnight 'but for a
+very earthy verger,' who insisted on locking up the cathedral
+and turning him out.
+
+On one occasion, while he was practising at the church, the
+miserable Pecksniff entered the building and, hiding behind
+a pew, heard the conversation between Tom and Mary that led
+to the former being dismissed from the architect's office,
+so he had to leave his beloved organ, and mightily did the
+poor fellow miss it when he went to London! Being an early
+riser, he had been accustomed to practise every morning,
+and now he was reduced to taking long walks about London,
+a poor substitute indeed!
+
+Nor was the organ the only instrument that he could play,
+for we read how he would spend half his nights poring over the
+'jingling anatomy of that inscrutable old harpsichord in the
+back parlour,' and amongst the household treasures that he
+took to London were his music and an old fiddle.
+
+The picture which forms our frontispiece shows Tom Pinch playing
+his favourite instrument. At the sale of the original drawings
+executed by 'Phiz' for _Martin Chuzzlewit_ this frontispiece,
+which is an epitome of the salient characters and scenes in
+the novel, was sold for L35.
+
+We read in _Christmas Stories_ that
+
+    Silas Jorgan
+    Played the organ,
+
+but we are not told the name of the artist who at the concert
+at the Eagle (_S.B.C._ 4) accompanied a comic song on the
+organ--and such an organ!
+
+    Miss J'mima Ivins's friend's young man whispered it
+    had cost 'four hundred pound,' which Mr. Samuel Wilkins
+    said was 'not dear neither.'
+
+The singer was probably either Howell or Glindon. Dickens
+appears to have visited the Eagle Tavern in 1835 or 1836. It
+was then a notable place of entertainment consisting of gardens
+with an orchestra, and the 'Grecian Saloon,' which was furnished
+with an organ and a 'self-acting piano.' Here concerts were
+given every evening, which in Lent took a sacred turn, and
+consisted of selections from Handel and Mozart. In 1837 the
+organ was removed, and a new one erected by Parsons.
+
+The Eagle gained a wide reputation through its being introduced
+into a once popular song.
+
+    Up and down the City Road,
+      In and out the Eagle,
+    That's the way the money goes,
+      Pop goes the weasel.
+
+This verse was subsequently modified (for nursery purposes)
+thus:
+
+    Half a pound of tuppenny rice,
+      Half a pound of treacle,
+    That's the way the money goes,[9]
+      Pop goes the weasel.
+
+Many explanations have been given of 'weasel.' Some say
+it was a purse made of weasel skin; others that it was a
+tailor's flat-iron which used to be pawned (or 'popped')
+to procure the needful for admission to the tavern. A third
+(and more intelligible) suggestion is that the line is simply
+a catch phrase, without any meaning.
+
+There is a notable reference to the organ in _Little
+Dorrit_. Arthur Clennam goes to call on old Frederick Dorrit,
+the clarionet player, and is directed to the house where he
+lived. 'There were so many lodgers in this house that the
+door-post seemed to be as full of bell handles as a cathedral
+organ is of stops,' and Clennam hesitates for a time, 'doubtful
+which might be the clarionet stop.'
+
+Further on in the same novel we are told that it was the organ
+that Mrs. Finching was desirous of learning.
+
+    I have said ever since I began to recover the blow of
+    Mr. F's death that I would learn the organ of which
+    I am extremely fond but of which I am ashamed to say
+    I do not yet know a note.
+
+The following fine description of the tones of an organ occurs
+in _The Chimes_:
+
+    The organ sounded faintly in the church below. Swelling
+    by degrees the melody ascended to the roof, and filled
+    the choir and nave. Expanding more and more, it rose
+    up, up; up, up; higher, higher, higher up; awakening
+    agitated hearts within the burly piles of oak, the
+    hollow bells, the iron-bound doors, the stairs of
+    solid stone; until the tower walls were insufficient
+    to contain it, and it soared into the sky.
+
+The effect of this on Trotty Veck was very different from that
+which another organ had on the benevolent old lady we read of
+in _Our Parish_. She subscribed L20 towards a new instrument
+for the parish church, and was so overcome when she first
+heard it that she had to be carried out by the pew-opener.
+
+There are various references to the organs in the City churches,
+and probably the description of one of them given in _Dombey
+and Son_ would suit most instruments of the period.
+
+    The organ rumbled and rolled as if it had got the
+    colic, for want of a congregation to keep the wind
+    and damp out.
+
+
+_Barrel-Organ_
+
+In real life the barrel-organ was a frequent source of annoyance
+to Dickens, who found its ceaseless strains very trying when
+he was busy writing, and who had as much trouble in evicting
+the grinders as David Copperfield's aunt had with the donkeys.
+
+However, he takes a very mild revenge on this deservedly
+maligned instrument in his works, and the references are, as
+usual, of a humorous character. A barrel-organ formed a part of
+the procession to celebrate the election of Mr. Tulrumble[10]
+as Mayor of Mudfog, but the player put on the wrong stop,
+and played one tune while the band played another.
+
+This instrument had an extraordinary effect on Major Tpschoffki,
+familiarly and more easily known as 'Chops,' the dwarf,
+'spirited but not proud,' who was desirous of 'Going into
+Society' (_G.S._), and who had got it into his head that he
+was entitled to property:
+
+    His ideas respectin' his property never come upon him so
+    strong as when he sat upon a barrel-organ, and had the
+    handle turned. Arter the wibration had run through him
+    a little time he would screech out, 'Toby, I feel my
+    property coming--grind away! I'm counting my guineas
+    by thousands, Toby--grind away! Toby, I shall be a
+    man of fortun! I feel the Mint a-jingling in me, Toby,
+    and I'm swelling out into the Bank of England.' Such
+    is the influence of music on a poetic mind.
+
+Dickens found the streets in New York very different from
+those in London, and specially remarks how quiet they were--no
+itinerant musicians or showmen of any kind. He could only
+remember hearing one barrel-organ with a dancing-monkey.
+'Beyond that, nothing lively, no, not so much as a white mouse
+in a twirling cage.'
+
+We must not forget that he has two references to pipe organs
+in his _American Notes_. When he visited the Blind School at
+Boston he heard a voluntary played on the organ by one of the
+pupils, while at St. Louis he was informed that the Jesuit
+College was to be supplied with an organ sent from Belgium.
+
+The barrel-organ brings to mind Jerry and his troupe of
+dancing-dogs (_O.C.S._), especially the unfortunate animal who
+had lost a halfpenny during the day, and consequently had to
+go without his supper. In fact, his master made the punishment
+fit the crime; for, having set the stop, he made the dog play
+the organ while the rest had their evening meal.
+
+    When the knives and forks rattled very much, or any
+    of his fellows got an unusually large piece of fat,
+    he accompanied the music with a short howl; but he
+    immediately checked it on his master looking round
+    and applied himself with increased diligence to the
+    Old Hundredth.
+
+In _Dombey and Son_ there is a very apt comparison of
+Mr. Feeder, B.A., to this instrument. He was Doctor Blimber's
+assistant master, and was entrusted with the education of
+little Paul.
+
+    Mr. Feeder, B.A. ... was a kind of human barrel-organ
+    with a little list of tunes at which he was continually
+    working, over and over again, without any variation. He
+    might have been fitted up with a change of barrels,
+    perhaps, in early life, if his destiny had been
+    favourable, but it had not been.
+
+So he had only one barrel, his sole occupation being
+to 'bewilder the young ideas of Dr. Blimber's young
+gentlemen.' Sometimes he had his Virgil stop on, and at other
+times his Herodotus stop. In trying to keep up the comparison,
+however, Dickens makes a curious mistake. In the above quotation
+Feeder is assigned one barrel only, while in Chapter XLI we
+are told that he had 'his other barrels on a shelf behind him.'
+
+We find another comparison in _Little Dorrit_, when the
+long-suffering Pancks turns round on Casby, his employer,
+and exposes his hypocrisy. Pancks, who has had much difficulty
+in getting his master's rents from the tenants, makes up his
+mind to leave him; and before doing so he tells the whole truth
+about Casby to the inhabitants of Bleeding Heart Yard. 'Here's
+the Stop,' said Pancks, 'that sets the tune to be ground. And
+there is but one tune, and its name is "Grind! Grind! Grind!"'
+
+
+_Guitar_
+
+Although the guitar was a fashionable instrument sixty
+years ago, there are but few references to it. This was the
+instrument that enabled the three Miss Briggses, each of them
+performers, to eclipse the glory of the Miss Tauntons, who could
+only manage a harp. On the eventful day of 'The Steam Excursion'
+(_S.B._) the three sisters brought their instruments, carefully
+packed up in dark green cases,
+
+    which were carefully stowed away in the bottom of the
+    boat, accompanied by two immense portfolios of music,
+    which it would take at least a week's incessant playing
+    to get through.
+
+At a subsequent stage of the proceedings they were asked to
+play, and after replacing a broken string, and a vast deal of
+screwing and tightening, they gave 'a new Spanish composition,
+for three voices and three guitars,' and secured an encore,
+thus completely overwhelming their rivals. In the account of
+the _French Watering-Place_ (_R.P._) we read about a guitar
+on the pier, 'to which a boy or woman sings without any voice
+little songs without any tune.'
+
+On one of his night excursions in the guise of an 'Uncommercial
+Traveller' Dickens discovered a stranded Spaniard, named
+Antonio. In response to a general invitation 'the swarthy youth'
+takes up his cracked guitar and gives them the 'feeblest ghost
+of a tune,' while the inmates of the miserable den kept time
+with their heads.
+
+Dora used to delight David Copperfield by singing enchanting
+ballads in the French language and accompanying herself 'on a
+glorified instrument, resembling a guitar,' though subsequent
+references show it was that instrument and none other.
+
+We read in _Little Dorrit_ that Young John Chivery wore
+'pantaloons so highly decorated with side stripes, that each
+leg was a three-stringed lute.' This appears to be the only
+reference to this instrument, and a lute of three strings is the
+novelist's own conception, the usual number being about nine.
+
+
+[9]  Or, 'Mix it up and make it nice.'
+
+[10] _The Public Life of Mr. Tulrumble_, 1837.
+
+
+
+
+CHAPTER IV
+
+VARIOUS INSTRUMENTS (continued)
+
+
+Many musical instruments and terms are mentioned by way of
+illustration. Blathers, the Bow Street officer (_O.T._),
+plays carelessly with his handcuffs as if they were a pair of
+castanets. Miss Miggs (_B.R._) clanks her pattens as if they
+were a pair of cymbals. Mr. Bounderby (_H.T._), during his
+conversation with Harthouse,
+
+    with his hat in his hand, gave a beat upon the crown
+    at every division of his sentences, as if it were
+    a tambourine;
+
+and in the same work the electric wires rule 'a colossal strip
+of music-paper out of the evening sky.'
+
+Perhaps the most extraordinary comparison is that instituted
+by Mrs. Lirriper in reference to her late husband.
+
+    My poor Lirriper was a handsome figure of a man,
+    with a beaming eye and a voice as mellow as a musical
+    instrument made of honey and steel.
+
+What a vivid imagination the good woman had! Her descriptive
+powers remind us of those possessed by Mrs. Gamp in speaking
+of the father of the mysterious Mrs. Harris.
+
+    As pleasant a singer, Mr. Chuzzlewit, as ever you heerd,
+    with a voice like a Jew's-harp in the bass notes.
+
+There are many humorous references to remarkable performances on
+various instruments more or less musical in their nature. During
+the election at Eatanswill the crier performed two concertos
+on his bell, and shortly afterwards followed them up with a
+fantasia on the same instrument. Dickens suffered much from
+church bells, and gives vent to his feelings about them in
+_Little Dorrit_, where he says that
+
+    Maddening church bells of all degrees of dissonance,
+    sharp and flat, cracked and clear, fast and slow,
+    made the brick-and-mortar echoes hideous.
+
+In his _Pictures from Italy_ he wrote thus:
+
+    At Genoa the bells of the church ring incessantly,
+    not in peals, or any known form of sound, but in
+    horrible, irregular, jerking dingle, dingle, dingle;
+    with a sudden stop at every fifteenth dingle or so,
+    which is maddening.... The noise is supposed to be
+    particularly obnoxious to evil spirits.
+
+But it was these same bells, which he found so maddening,
+that inspired him with the title of a well-known story. He
+had chosen a subject, but was at a loss for a name. As he sat
+working one morning there suddenly rose up from Genoa
+
+    the clang and clash of all its steeples, pouring into
+    his ears, again and again, in a tuneless, grating,
+    discordant jerking, hideous vibration that made his
+    ideas spin round and round till they lost themselves
+    in a whirl of vexation and giddiness, and dropped
+    down dead.... Only two days later came a letter in
+    which not a syllable was written but 'We have heard
+    THE CHIMES at midnight, Master Shallow,' and I knew
+    he had discovered what he wanted.[11]
+
+Yet, in spite of all this, Dickens shows--through his
+characters--a deep interest in bells and bell-lore. Little Paul
+Dombey finds a man mending the clocks at Dr. Blimber's Academy,
+and asks a multitude of questions about chimes and clocks;
+as, whether people watched up in the lonely church steeples
+by night to make them strike, and how the bells were rung
+when people died, and whether those were different bells from
+wedding-bells, or only sounded dismal in the fancies of the
+living; and then the precocious small boy proceeds to give
+the astonished clockmaker some useful information about King
+Alfred's candles and curfew-bells.
+
+As Smike and Nicholas tramp their long journey to Portsmouth
+they hear the sheep-bells tinkling on the downs. To Tom Pinch
+journeying Londonwards 'the brass work on the harness was a
+complete orchestra of little bells.'
+
+What a terror the bells are to Jonas Chuzzlewit just before
+he starts on his evil journey! He hears
+
+    the ringers practising in a neighbouring church, and
+    the clashing of their bells was almost maddening. Curse
+    the clamouring bells! they seemed to know that he
+    was listening at the door, and to proclaim it in a
+    crowd of voices to all the town! Would they never be
+    still? They ceased at last, and then the silence was
+    so new and terrible that it seemed the prelude to some
+    dreadful noise.
+
+The boom of the bell is associated with many of the villains
+of the novels. Fagin hears it when under sentence of death.
+Blackpool and Carker hear the accusing bells when in the midst
+of planning their evil deeds.
+
+We can read the characters of some by the way they ring a
+bell. The important little Mr. Bailey, when he goes to see his
+friend Poll Sweedlepipe (_M.C._) 'came in at the door with
+a lunge, to get as much sound out of the bell as possible,'
+while Bob Sawyer gives a pull as if he would bring it up by
+the roots. Mr. Clennam pulls the rope with a hasty jerk,
+and Mr. Watkins Tottle with a faltering jerk, while Tom Pinch
+gives a gentle pull. And how angry Mr. Mantalini is with
+Newman Noggs because he keeps him
+
+    'ringing at this confounded old cracked tea-kettle
+    of a bell, every tinkle of which is enough to throw
+    a strong man into convulsions, upon my life and
+    soul,--oh demmit.'
+
+The introduction of electric bells has been a great trial to
+those who used to vent their wrath on the wire-pulled article
+or the earlier bell-rope, which used not infrequently to add
+unnecessary fuel by coming incontinently down on the head of
+the aggrieved one. What a pull the fierce gentleman must have
+given whose acquaintance Mr. Pickwick made when he was going
+to Bath! He had been kept waiting for his buttered toast,
+so he (Captain Dowler)
+
+    rang the bell with great violence, and told the waiter
+    he'd better bring the toast in five seconds, or he'd
+    know the reason why.
+
+Dickens rang far more changes on the bells than there is space
+to enumerate; but I have shown to what extent he makes their
+sound a commentary on innumerable phases of life. A slight
+technical knowledge of bell phraseology is found in _Barnaby
+Rudge_ (7), where he mentions the variations known as a
+'triple bob major.' Finally there is an interesting reference
+in _Master Humphrey's Clock_ to a use of the bell which has
+now passed into history. Belinda says in a postscript to a
+letter to Master Humphrey, 'The bellman, rendered impatient
+by delay, is ringing dreadfully in the passage'; while in a
+second PS. she says, 'I open this to say the bellman is gone,
+and that you must not expect it till the next post.'
+
+In the old days it was the custom for the letter-carriers to
+collect letters by ringing a bell.
+
+There is no doubt that a most extraordinary, certainly a
+most original, musical effect is that secured by Mr. George
+(_B.H._), who had just finished smoking.
+
+    'Do you know what that tune is, Mr. Smallweed?' he adds,
+    after breaking off to whistle one, accompanied on the
+    table with the empty pipe.
+
+    'Tune,' replies the old man. 'No, we never have
+    tunes here.'
+
+    'That's the "Dead March" in _Saul_. They bury soldiers
+    to it, so it's the natural end of the subject.'
+
+Surely a highly original way of bringing a conversation to
+a close!
+
+This march is referred to in _Our Mutual Friend_, where
+Mr. Wilfer suggests that going through life with Mrs. Wilfer
+is like keeping time to the 'Dead March' in _Saul_, from
+which singular simile we may gather that this lady was not
+the liveliest of companions.
+
+Several other instruments are casually mentioned. Mr. Hardy
+(_S.B.T._ 7) was a master of many accomplishments.
+
+    He could sing comic songs, imitate hackney coachmen
+    and fowls, play airs on his chin, and execute concertos
+    on the Jew's harp.
+
+The champion 'chin' performer of the early Victorian period
+was Michael Boai, 'The celebrated chin melodist,' who was
+announced to perform 'some of his admired pieces' at many
+of the places of entertainment. There is another reference
+to this extraordinary way of producing music in _Sketches by
+Boz_, where Mrs. Tippin performed an air with variations on the
+guitar, 'accompanied on the chin by Master Tippin.' To return
+to Mr. Hardy, this gentleman was evidently deeply interested
+in all sorts and degrees of music, but he got out of his depth
+in a conversation with the much-travelled Captain Helves. After
+the three Miss Briggses had finished their guitar performances,
+Mr. Hardy approached the Captain with the question, 'Did you
+ever hear a Portuguese tambourine?'
+
+    'Did _you_ ever hear a tom-tom, sir?' sternly inquired
+    the Captain, who lost no opportunity of showing off
+    his travels, real or pretended.
+
+    'A what?' asked Hardy, rather taken aback.
+
+    'A tom-tom.'
+
+    'Never.'
+
+    'Nor a gum-gum?'
+
+    'Never.'
+
+    'What _is_ a gum-gum?' eagerly inquired several
+    young ladies.
+
+The question is unanswered to this day, though Hardy afterwards
+suggests it is another name for a humbug.
+
+When Dickens visited the school where the half-time system
+was in force, he found the boys undergoing military and naval
+drill. A small boy played the fife while the others went
+through their exercises. After that a boys' band appeared,
+the youngsters being dressed in a neat uniform. Then came
+a choral class, who sang 'the praises of a summer's day to
+a harmonium.' In the arithmetical exercises the small piper
+excels (_U.T._ 29).
+
+    Wise as the serpent is the four feet of performer on
+    the nearest approach to that instrument.
+
+This was written when the serpent was practically extinct, but
+Dickens would be very familiar with the name of the instrument,
+and may have seen and heard it in churches in his younger days.
+
+In referring to another boy's attempt at solving the
+arithmetical puzzles, he mentions the cymbals, combined with
+a faint memory of St. Paul.
+
+    I observe the player of the cymbals to dash at a
+    sounding answer now and then rather than not cut in at
+    all; but I take that to be in the way of his instrument.
+
+In _Great Expectations_ Mr. Wopsle, who is a parish clerk
+by profession, had an ambition not only to tread the boards,
+but to start off as Hamlet. His appearance was not a success,
+and the audience was derisive.
+
+    On his taking the recorders--very like a little black
+    flute that had just been played in the orchestra and
+    handed out at the door--he was called upon unanimously
+    for 'Rule Britannia.'
+
+Reference has already been made to Bucket's music-shop,
+so we must not forget to visit Caleb Plummer's little room,
+where there were
+
+    scores of melancholy little carts which, when the
+    wheels went round, performed most doleful music. Many
+    small fiddles, drums, and other instruments of torture.
+
+The old man made a rude kind of harp specially for his poor
+blind daughter, and on which Dot used to play when she visited
+the toy-maker's. Caleb's musical contribution would be 'a
+Bacchanalian song, something about a sparkling bowl,' which
+much annoyed his grumpy employer.
+
+    'What! you're singing, are you?' said Tackleton, putting
+    his head in at the door. 'Go it, _I_ can't sing.'
+
+    Nobody would have suspected him of it. He hadn't what
+    is generally termed a singing face, by any means.
+
+The wonderful duet between the cricket and the kettle at the
+commencement of _The Cricket on the Hearth_ certainly deserves
+mention, though it is rather difficult to know whether to
+class the performers as instrumentalists or singers. The kettle
+began it with a series of short vocal snorts, which at first
+it checked in the bud, but finally it burst into a stream of
+song, 'while the lid performed a sort of jig, and clattered
+like a deaf and dumb cymbal that had never known the use of its
+twin brother.' Then the cricket came in with its chirp, chirp,
+chirp, and at it they went in fierce rivalry until 'the kettle,
+being dead beat, boiled over, and was taken off the fire.'
+
+Dickens was certainly partial to the cricket, for elsewhere
+(_M.H.C._) we read of the clock that
+
+    makes cheerful music, like one of those chirping
+    insects who delight in the warm hearth.
+
+There are two or three references to the key bugle, which
+also used to be known as the Kent bugle. It was a popular
+instrument half a century ago, as the addition of keys gave
+it a much greater range of notes than the ordinary bugle
+possessed. A notable though inefficient performer was the
+driver who took Martin Chuzzlewit up to London.
+
+    He was musical, besides, and had a little key bugle in
+    his pocket on which, whenever the conversation flagged,
+    he played the first part of a great many tunes, and
+    regularly broke down in the second.
+
+This instrument was on Mr. Feeder's _agenda_.
+
+Two more instruments demand our attention. At the marriage
+of Tackleton and May Fielding (_C.H._) there were to be
+marrow-bones and cleavers, while to celebrate the union of
+Trotty Veck's daughter Meg and Richard they had a band including
+the aforesaid instruments and also the drum and the bells. It
+was formerly the custom for butchers' assistants to provide
+themselves with marrow-bones and cleavers for musical effects.
+Each cleaver was ground so that when it was struck with the
+bone it emitted a certain note.[12] A complete band would
+consist of eight men, with their cleavers so tuned as to give
+an octave of notes. After more or less practice they would
+offer their services as bandsmen on the occasion of marriage
+ceremonies, which they had a wonderful faculty for locating,
+and they would provide music (of a kind) _ad libitum_ until the
+requisite fee was forthcoming. If their services were declined
+the butchers would turn up all the same, and make things very
+unpleasant for the marriage party. The custom dates from the
+eighteenth century, and though it has gradually fallen into
+disuse a marrow-bone and cleaver band is still available in
+London for those who want it. A band took part in a wedding
+ceremony at Clapham as recently as the autumn of 1911.
+
+The following extract, referring to the second marriage of
+Mr. Dombey, shows what bridal parties had to put up with in
+the good old days:
+
+    The men who play the bells have got scent of the
+    marriage; and the marrow-bones and cleavers too;
+    and a brass band too. The first are practising in
+    a back settlement near Battle-bridge[13]; the second
+    put themselves in communication, through their chief,
+    with Mr. Tomlinson, to whom they offer terms to be
+    bought off; and the third, in the person of an artful
+    trombone, lurks and dodges round the corner, waiting
+    for some traitor-tradesman to reveal the place and
+    hour of breakfast, for a bribe.
+
+Other instruments casually referred to are the Pan's pipes,
+which in one place is also called a mouth-organ (_S.B.S._ 20),
+the flageolet, and the triangle. It is difficult to classify
+the walking-stick on which Mr. Jennings Rudolph played tunes
+before he went behind the parlour door and gave his celebrated
+imitations of actors, edgetools, and animals (_S.B.C._ 8).
+
+
+[11] Forster, _Life of Charles Dickens._
+
+[12] This is rather a modern development.
+
+[13] Near King's Cross Station (G.N.R.).
+
+
+
+
+CHAPTER V
+
+CHURCH MUSIC
+
+
+Dickens has not much to say about church music as such, but the
+references are interesting, inasmuch as they throw some light
+upon it during the earlier years of his life. In _Our Parish_
+(_S.B._) we read about the old naval officer who
+
+    finds fault with the sermon every Sunday, says that the
+    organist ought to be ashamed of himself, and offers to
+    back himself for any amount to sing the psalms better
+    than all the children put together.
+
+This reminds us that during the first half of last century,
+and indeed later in many places, the church choir as we know
+it did not exist, and the leading of the singing was entrusted
+to the children of the charity school under the direction of
+the clerk, a custom which had existed since the seventeenth
+century. The chancel was never used for the choir, and the
+children sat up in the gallery at the west end, on either side
+of the organ. In a City church that Dickens attended the choir
+was limited to two girls. The organ was so out of order that
+he could 'hear more of the rusty working of the stops than of
+any music.' When the service began he was so depressed that,
+as he says,
+
+    I gave but little heed to our dull manner of ambling
+    through the service; to the brisk clerk's manner of
+    encouraging us to try a note or two at psalm time;
+    to the gallery congregation's manner of enjoying a
+    shrill duet, without a notion of time or tune; to the
+    whity-brown man's manner of shutting the minister into
+    the pulpit, and being very particular with the lock
+    of the door, as if he were a dangerous animal.
+
+Elsewhere he found in the choir gallery an 'exhausted
+charity school' of four boys and two girls. The congregations
+were small, a state of things which at any rate satisfied
+Mrs. Lirriper, who had a pew at St. Clement Danes and was
+'partial to the evening service not too crowded.'
+
+In _Sunday under Three Heads_ we have a vivid picture of the
+state of things at a fashionable church. Carriages roll up,
+richly dressed people take their places and inspect each other
+through their glasses.
+
+    The organ peals forth, the hired singers commence a
+    short hymn, and the congregation condescendingly rise,
+    stare about them and converse in whispers.
+
+Dickens passes from church to chapel. Here, he says,
+
+    the hymn is sung--not by paid singers, but by the
+    whole assembly at the loudest pitch of their voices,
+    unaccompanied by any musical instrument, the words
+    being given out, two lines at a time, by the clerk.
+
+It cannot be said that, as far as the music is concerned,
+either of these descriptions is exaggerated when we remember
+the time at which they were written (1838). Very few chapels
+in London had organs, or indeed instruments of any kind, and
+there is no doubt that the congregations, as a rule, _did_
+sing at the tops of their voices, a proceeding known under
+the more euphonious title of 'hearty congregational singing.'
+
+He gives a far more favourable account of the music in the
+village church. In the essay just referred to he mentions
+the fact that he attended a service in a West of England
+church where the service 'was spoken--not merely read--by a
+grey-headed minister.'
+
+    The psalms were accompanied by a few instrumental
+    performers, who were stationed in a small gallery
+    extending across the church at the lower end; and the
+    voices were led by the clerk, who, it was evident,
+    derived no slight pride and gratification from this
+    portion of the service.
+
+But if the church music in England was not of a very high
+quality when Dickens wrote the above, it was, according to his
+own account, far superior to what he heard in certain churches
+in Italy. When in Rome he visited St. Peter's, where he was
+quite unimpressed by the music.
+
+    I have been infinitely more affected in many English
+    cathedrals when the organ has been playing, and in
+    many English country churches when the congregation
+    have been singing.
+
+On another occasion he attended church at Genoa on a feast day,
+and he writes thus about the music:
+
+    The organ played away lustily, and a full band did the
+    like; while a conductor, in a little gallery opposite
+    the band, hammered away on the desk before him, with a
+    scroll, and a tenor, without any voice, sang. The band
+    played one way, the organ played another, the singer
+    went a third, and the unfortunate conductor banged and
+    banged, and flourished his scroll on some principle
+    of his own; apparently well satisfied with the whole
+    performance. I never did hear such a discordant din.
+
+
+_Parish Clerks_
+
+We have but few references to parish clerks in the
+novels. Mr. Wopsle (_G.E._)--whom Mr. Andrew Lang calls 'one
+of the best of Dickens' minor characters'--'punished the Amens
+tremendously,'[14] and when he gave out the psalms--always
+giving the whole verse--he looked all round the congregation
+first, as much as to say 'You have heard our friend overhead;
+oblige me with your opinion of this style.' This gentleman
+subsequently became a 'play-actor,' but failed to achieve
+the success he desired. Solomon Daisy (_B.R._) is bell-ringer
+and parish clerk of Chigwell, though we hear nothing of his
+exploits in these capacities. However, he must have been a
+familiar figure to the villagers as he stood in his little desk
+on the Sunday, giving out the psalms and leading the singing,
+because when in the rifled and dismantled Maypole he appeals to
+the poor witless old Willet as to whether he did not know him--
+
+    'You know us, don't you, Johnny?' said the little
+    clerk, rapping himself on the breast. 'Daisy, you
+    know--Chigwell Church--bell-ringer--little desk on
+    Sundays--eh, Johnny?'
+
+    Mr. Willet reflected for a few moments, and then
+    muttered as it were mechanically: 'Let us sing to the
+    praise and glory of--'
+
+    'Yes, to be sure,' cried the little man hastily,
+    'that's it, that's me, Johnny.'
+
+Besides the numerous body of more or less distinguished artists
+whom the novelist introduces to us and whose achievements
+are duly set forth in these pages, there are two others whose
+connexion with Cloisterham gives them a prominent position in
+our list. One of these is the Rev. Mr. Crisparkle (_E.D._),
+Minor Canon of Cloisterham:
+
+    early riser, musical, classical, cheerful, kind,
+    good-natured, social, contented, and boy-like.
+
+What a contrast to the Stiggins and Chadband type! He is a
+member of the 'Alternate Musical Wednesdays' Society, and
+amongst his lesser duties is that of corrector-in-chief of
+the un-Dean-like English of the cathedral verger.
+
+    It is Mr. Crisparkle's custom to sit up last of the
+    early household, very softly touching his piano and
+    practising his parts in concerted vocal music.
+
+Over a closet in his dining-room, where occasional refreshments
+were kept,
+
+    a portrait of Handel in a flowing wig beamed down at
+    the spectator, with a knowing air of being up to the
+    contents of the closet, and a musical air of intending
+    to combine all its harmonies in one delicious fugue.
+
+The Minor Canon is a warm admirer of Jasper's musical talents,
+and on one occasion in particular is much impressed with
+his singing.
+
+    I must thank you, Jasper, for the pleasure with which
+    I have heard you to-day. Beautiful! Delightful!
+
+And thus we are introduced to the other musician, whose position
+at Cloisterham Cathedral is almost as much a mystery as that of
+Edwin Drood himself. He was the lay precentor or lay clerk, and
+he was also a good choirmaster. It is unnecessary to criticize
+or examine too closely the exact position that Jasper held. In
+answer to a question on this subject, Mr. B. Luard-Selby,
+the present organist of Rochester Cathedral, writes thus:
+
+    We have never had in the choir of Rochester Cathedral
+    such a musical functionary as Dickens describes in _The
+    Mystery of Edwin Drood_. The only person approaching
+    Jasper in the choir is one of the lay clerks who looks
+    after the music, but who of course has nothing to do
+    with _setting_ the music for the month. I don't think
+    Dickens had much idea of church order or of cathedral
+    worship, though he may have gone over the cathedral
+    with a verger on occasions. The music of a cathedral
+    is always in the hands of the precentor, assisted by
+    the organist.
+
+It is Edwin Drood himself who says that Jasper was lay precentor
+or lay clerk at the cathedral. He had a great reputation as a
+choir-trainer and teacher of music, but he is already weary of
+his position and takes little notice of words of eulogy. He was
+well acquainted with the old melodies, and on one occasion we
+find him sitting at the piano singing brave songs to Mr. Sapsea.
+
+    No kickshaw ditties, favourites with national enemies,
+    but ... genuine George the Third home brewed,
+    exhorting him (as 'my brave boys') to reduce to a
+    smashed condition all other islands but this island,
+    and all continents, peninsulas, isthmuses, promontories,
+    and other geographical forms of land soever, besides
+    sweeping the sea in all directions. In short he rendered
+    it pretty clear that Providence made a distinct mistake
+    in originating so small a nation of hearts of oak,
+    and so many other verminous peoples.
+
+We have a different picture of him on another occasion, as
+he sits 'chanting choir music in a low and beautiful voice,
+for two or three hours'--a somewhat unusual exercise even for
+the most enthusiastic choirmaster. But this was before the
+strange journey with Durdles, and we can only guess at the
+weird thoughts which were passing through the musician's mind
+as he sat in his lonely room.
+
+We have only a brief reference to the choir of Cloisterham
+Cathedral. Towards the end we read of them 'struggling into
+their nightgowns' before the service, while they subsequently
+are 'as much in a hurry to get their bedgowns off as they were
+but now to get them on'--and these were almost the last words
+that came from the Master's pen.
+
+
+_Anthems_
+
+There is an interesting reference to anthems in connexion
+with the Foundling Hospital,[15] an institution which Dickens
+mentions several times. Mr. Wilding (_N.T._), after he had
+been pumped on by his lawyer in order to clear his head,
+names the composers of the anthems he had been accustomed to
+sing at the Foundling.
+
+    Handel, Mozart, Haydn, Kent, Purcell, Doctor Arne,
+    Greene, Mendelssohn. I know the choruses to those
+    anthems by heart. Foundling Chapel collection.
+
+Mr. Wilding had a scheme of forming his household retainers
+and dependents into a singing-class in the warehouse, and a
+choir in the neighbouring church. Only one member, Joey Ladle,
+refused to join, for fear he should 'muddle the 'armony,'
+and his remark that
+
+    Handel must have been down in some of them foreign
+    cellars pretty much for to go and say the same thing
+    so many times over
+
+is certainly not lacking in originality.
+
+
+_Hymns and Hymn-Tunes_
+
+There are many purists in church music who object to adaptations
+of any kind, and we do not know what their feelings are on
+reading the account of the meeting of the Brick Lane Branch of
+the United Grand Junction Ebenezer Temperance Association. In
+order to vary the proceedings Mr. Anthony Humm announced that
+
+    Brother Mordlin had adapted the beautiful words of
+    'Who hasn't heard of a Jolly Young Waterman' to the
+    tune of the Old Hundredth, which he would request them
+    to join in singing. (Great applause.) And so the song
+    commenced, the chairman giving out two lines at a time,
+    in proper orthodox fashion.
+
+It was this air that Mr. Jerry's dog, as already related, ground
+out of the barrel-organ, but, besides this particular melody,
+we do not find that Dickens mentions any other hymn-tune. The
+hymns referred to are rather more in number. In _The Wreck
+of the Golden Mary_ Mrs. Atherfield sang Little Lucy to sleep
+with the Evening Hymn. There is a veiled reference to Ken's
+Morning Hymn in _O.C.S._, where Sampson Brass says:
+
+    'Here we are, Mr. Richard, rising with the sun to run
+    our little course--our course of duty, sir.'
+
+Dr. Watts makes several appearances, Dickens made the
+acquaintance of this noted hymnist in early youth (see p. 7),
+and makes good use of his knowledge. In _The Cricket on the
+Hearth_ Mrs. Peerybingle asks John if he ever learnt 'How
+doth the little' when he went to school. 'Not to quite know
+it,' John returned. 'I was very near it once.' Another of
+the Doctor's hymns is suggested by the behaviour of the Young
+Tetterbys (_H.M._).
+
+    The contentions between the Tetterbys' children for
+    the milk and water jug, common to all, which stood
+    upon the table, presented so lamentable an instance
+    of angry passions risen very high indeed, that it was
+    an outrage on the memory of Dr. Watts.
+
+The pages of history abound with instances of misguided amateurs
+who have amended the hymns (and tunes) of others in order to
+bring them into their way of thinking, and a prominent place
+in their ranks must be assigned to Miss Monflathers (_O.C.S._),
+who managed to parody the good Doctor's meaning to an alarming
+extent and to insist that
+
+    In books, or work or healthful play[16]
+
+is only applicable to _genteel_ children, while all poor
+people's children, such as Little Nell, should spend their time.
+
+    In work, work, work. In work alway,
+      Let my first years be passed,
+    That I may give for ev'ry day
+      Some good account at last,
+
+which is far from the good Doctor's meaning.
+
+Dr. Strong, David Copperfield's second schoolmaster, was fond
+of quoting this great authority on mischief, but Mr. Wickfield
+suggests that Dr. Watts, had he known mankind well, would
+also have written 'Satan finds some mischief still for busy
+hands to do.'
+
+Some years ago a question was raised in _Notes and Queries_
+as to the identity of the 'No. 4 Collection' of hymns which
+appeared to afford consolation to Job Trotter. No answer
+was vouchsafed, the fact being that the title is a pure
+invention, and no such collection has ever existed. It is
+scarcely necessary to add that history is silent as to the
+identity of the hymn-book which Uriah Heep was reading when
+David Copperfield and others visited him in prison.
+
+We are indebted to Dickens for the introduction to the literary
+world of Adelaide Procter, many of whose sacred verses have
+found their way into our hymnals. The novelist wrote an
+introduction to her _Legends and Lyrics_, in which he tells
+the story of how, as editor of _Household Words_, he accepted
+verses sent him from time to time by a Miss Mary Berwick,
+and only discovered, some months later, that his contributor
+was the daughter of his friend Procter, who was known under
+the _nom de plume_ of Barry Cornwall.
+
+There seems to be some difficulty in regard to the authorship
+of the hymn
+
+    Hear my prayer, O Heavenly Father,
+      Ere I lay me down to sleep;
+    Bid Thy angels, pure and holy,
+      Round my bed their vigil keep.
+
+It has already been pointed out (see _Choir_, February, 1912)
+that this hymn appeared in the Christmas number of _Household
+Words_ for 1856, in a story entitled _The Wreck of the Golden
+Mary_. The chief authorities on the works of Dickens claim it
+as his composition, and include it in his collected works. On
+the other hand, Miller, in his _Our Hymns_ (1866), states that
+Miss Harriet Parr informed him that the hymn, and the story
+of _Poor Dick_, in which it occurs, were both her own. We may
+add that when Dr. Allon applied for permission to include it
+in his new hymn-book Dickens referred him to the authoress.
+
+Dr. Julian takes this as authoritative, and has no hesitation
+in ascribing the hymn to Miss Parr. On the other hand, Forster
+records in his _Life of Dickens_ that a clergyman, the Rev.
+R.H. Davies, had been struck by this hymn when it appeared in
+_Household Words_, and wrote to thank him for it. 'I beg to
+thank you,' Dickens answered (Christmas Eve, 1856), 'for your
+very acceptable letter, not the less because I am myself the
+writer you refer to.' Here Dickens seems to claim the authorship,
+but it is possible he was referring to something else in the
+magazine when he wrote these words, and not to the hymn.
+
+
+[14] Dickens frequently uses the word in this sense.
+     Tom Pinch says, 'I shall punish the Boar's Head
+     tremendously.' It is also interesting to note that
+     Dickens uses the phrase 'I don't think' in its modern
+     slang meaning on at least two occasions. Tom Pinch
+     remarks 'I'm a nice man, I don't think, as John used
+     to say' (_M.C._ 6), and Sam Weller (_P.P._ 38) says
+     to Mr. Winkle 'you're a amiably-disposed young man,
+     sir, I don't think.' Mark Tapley uses the expression
+     'a pious fraud' (_M.C._ 13).
+
+[15] 'Pet' (_L.D._ 2) was a frequent visitor to the Hospital.
+
+[16] From the poem on _Industry_.
+
+
+
+
+CHAPTER VI
+
+SONGS AND SOME SINGERS
+
+
+The numerous songs and vocal works referred to by Dickens
+in his novels and other writings furnish perhaps the most
+interesting, certainly the most instructive, branch of this
+subject. His knowledge of song and ballad literature was
+extraordinary, and he did not fail to make good use of it. Not
+only are the quotations always well chosen and to the point,
+but the use of them has greatly added to the interest of such
+characters as Swiveller, Micawber, Cuttle, and many others,
+all of whom are of a very musical turn of mind. These songs
+may be conveniently divided into three classes, the first
+containing the national and popular airs of the eighteenth
+century, of which 'Rule Britannia' and 'Sally in our Alley'
+are notable examples. Many of these are referred to in the
+following pages, while a full list will be found on pp. 135-163.
+
+
+I.--_National Songs_
+
+There are numerous references to 'Rule Britannia.' Besides
+those mentioned elsewhere we have the picture of little David
+Copperfield in his dismal home.
+
+    What evenings when the candles came, and I was
+    expected to employ myself, but not daring to read
+    an entertaining book, pored over some hard-headed,
+    harder-hearted treatise on arithmetic; when the tables
+    of weights and measures set themselves to tunes as
+    'Rule Britannia,' or 'Away with Melancholy'!
+
+No wonder he finally went to sleep over them!
+
+In _Dombey and Son_ Old Sol has a wonderful story of the
+_Charming Sally_ being wrecked in the Baltic, while the crew
+sang 'Rule Britannia' as the ship went down, 'ending with one
+awful scream in chorus.' Walter gives the date of the tragedy
+as 1749. (The song was written in 1740.)
+
+Captain Cuttle had a theory that 'Rule Britannia,' 'which the
+garden angels sang about so many times over,' embodied the
+outlines of the British Constitution. It is perhaps unnecessary
+to explain that the Captain's 'garden angels' appear in the
+song as 'guardian angels.'
+
+Mark Tapley, when in America, entertained a grey-haired black
+man by whistling this tune with all his might and main. The
+entry of Martin Chuzzlewit caused him to stop the tune
+
+    at that point where Britons generally are supposed
+    to declare (when it is whistled) that they never,
+    never, never--
+
+In the article on 'Wapping Workhouse' (_U.T._) Dickens
+introduces the first verse of the song in criticizing the
+workhouse system and its treatment of old people, and in the
+_American Notes_ he tells us that he left Canada with 'Rule
+Britannia' sounding in his ears.
+
+'British Grenadiers,' said Mr. Bucket to Mr. Bagnet, 'there's
+a tune to warm an Englishman up! _Could_ you give us "British
+Grenadiers," my fine fellow?' And the 'fine fellow,' who
+was none other than Bagnet junior (also known as 'Woolwich'),
+promptly
+
+    fetches his fife and performs the stirring melody,
+    during which performance Mr. Bucket, much enlivened,
+    beats time, and never fails to come in sharp with the
+    burden 'Brit Ish Gra-a-anadeers.'
+
+Our national anthem is frequently referred to. In the
+description of the public dinner (_S.B.S._ 19)--
+
+    'God Save the Queen' is sung by the professional
+    gentlemen, the unprofessional gentlemen joining in
+    the chorus, and giving the national anthem an effect
+    which the newspapers, with great justice, describe as
+    'perfectly electrical.'
+
+On another occasion we are told the company, sang the national
+anthem with national independence, each one singing it according
+to his own ideas of time and tune. This is the usual way of
+singing it at the present day.
+
+In addition to those above mentioned we find references to
+'The Marseillaise' and 'Ca ira,' both of which Dickens says
+he heard in Paris. In _Little Dorrit_ Mr. Meagles says:
+
+    As to Marseilles, we know what Marseilles is. It sent
+    the most insurrectionary tune into the world that was
+    ever composed.
+
+Without disputing the decided opinion expressed by the speaker,
+there is no doubt that some would give the palm to 'Ca ira,'
+which the novelist refers to in one of his letters. The words
+of this song were adapted in 1790 to the tune of 'Carillon
+National.' This was a favourite air of Marie Antoinette,
+and she frequently played it on the harpsichord. After her
+downfall she heard it as a cry of hatred against herself--it
+followed her from Versailles to the capital, and she would
+hear it from her prison and even when going to her death.
+
+When Martin Chuzzlewit and Mark Tapley were on their way to
+America, one of their fellow travellers was
+
+    an English gentleman who was strongly suspected of
+    having run away from a bank, with something in his
+    possession belonging to its strong-box besides the key
+    [and who] grew eloquent upon the subject of the rights
+    of man, and hummed the Marseillaise Hymn constantly.
+
+In an article on this tune in the _Choir_ (Nov., 1911)
+it is stated that it was composed in 1792 at Strasburg, but
+received its name from the fact that a band of soldiers going
+from Marseilles to Paris made the new melody their marching
+tune. A casual note about it appears to be the only musical
+reference in _A Tale of Two Cities_.
+
+From America we have 'Hail Columbia' and 'Yankee Doodle.' In
+_Martin Chuzzlewit_ we meet the musical coach-driver who
+played snatches of tunes on the key bugle. A friend of his
+went to America, and wrote home saying he was always singing
+'Ale Columbia.' In his _American Notes_ Dickens tells about a
+Cleveland newspaper which announced that America had 'whipped
+England twice, and that soon they would sing "Yankee Doodle"
+in Hyde Park and "Hail Columbia" in the scarlet courts of
+Westminster.'
+
+
+II.--_Songs from 1780-1840_
+
+We then come to a group of songs dating, roughly, from
+1780. This includes several popular sea songs by Charles Dibdin
+and others, some ballad opera airs, the _Irish Melodies_ and
+other songs by Thomas Moore, and a few sentimental ditties.
+Following these we have the songs of the early Victorian
+period, consisting of more sentimental ditties of a somewhat
+feebler type, with a few comic and nigger minstrel songs.
+The task of identifying the numerous songs referred to has
+been interesting, but by no means easy. No one who has not had
+occasion to refer to them can have any idea of the hundreds,
+nay, of the thousands, of song-books that were turned out from
+the various presses under an infinitude of titles during the
+eighteenth and early nineteenth centuries. There is nothing like
+them at the present day, and the reasons for their publication
+have long ceased to exist. It should be explained that the
+great majority of these books contained the words only, very
+few of them being furnished with the musical notes. Dickens has
+made use of considerably over a hundred different songs. In
+some cases the references are somewhat obscure, but their
+elucidation is necessary to a proper understanding of the
+text. An example of this occurs in Chapter IX of _Martin
+Chuzzlewit_, where we are told the history of the various
+names given to the young red-haired boy at Mrs. Todgers'
+commercial boarding-house. When the Pecksniffs visited the house
+
+    he was generally known among the gentlemen as Bailey
+    Junior, a name bestowed upon him in contradistinction
+    perhaps to Old Bailey, and possibly as involving the
+    recollection of an unfortunate lady of the same name,
+    who perished by her own hand early in life and has
+    been immortalized in a ballad.
+
+The song referred to here is 'Unfortunate Miss Bailey,' by
+George Colman, and sung by Mr. Mathews in the comic opera of
+_Love Laughs at Locksmiths_. It tells the story of a maid who
+hung herself, while her persecutor took to drinking ratafia.
+
+Dickens often refers to these old song-books, either under
+real or imaginary names. Captain Cuttle gives 'Stanfell's
+Budget' as the authority for one of his songs, and this was
+probably the song-book that formed one of the ornaments which
+he placed in the room he was preparing for Florence Dombey.
+Other common titles are the 'Prentice's Warbler,' which Simon
+Tappertit used, 'Fairburn's Comic Songster,' and the 'Little
+Warbler,' which is mentioned two or three times. Of the songs
+belonging to this second period, some are embedded in ballad
+operas and plays, popular enough in their day, but long since
+forgotten. An example is Mr. Jingle's quotation when he tells
+the blushing Rachel that he is going
+
+    In hurry, post haste for a licence,
+      In hurry, ding dong I come back,
+
+though he omitted the last two lines:
+
+    For that you shan't need bid me twice hence,
+      I'll be here and there in a crack.
+
+This verse is sung by Lord Grizzle in Fielding's _Tom Thumb_,
+as arranged by Kane O'Hara.
+
+_Paul and Virginia_ is mentioned by Mrs. Flora Finching
+(_L.D._) as being one of the things that ought to have been
+returned to Arthur Clennam when their engagement was broken
+off. This was a ballad opera by Reeve and Mazzinghi, and the
+opening number is the popular duet 'See from ocean rising,'
+concerning which there is a humorous passage in 'The Steam
+Excursion' (_S.B._), where it is sung by one of the Miss
+Tauntons and Captain Helves. The last-named, 'after a great
+deal of preparatory crowing and humming,' began
+
+    in that grunting tone in which a man gets down,
+    heaven knows where, without the remotest chance of
+    ever getting up again. This in private circles is
+    frequently designated a 'bass voice.'
+
+
+    [Figure 1]
+
+    See from ocean rising
+    Bright flame, the orb of day;
+    From yon grove the varied song
+    Shall slumber from Virginia chase, chase away,
+    Slumber from Virginia chase, chase away.
+
+Dickens is not quite correct in this description, as the
+part of Paul was created by Incledon, the celebrated tenor,
+but there are still to be found basses who insist on singing
+tenor when they think that part wants their assistance.
+
+
+III.--_Contemporary Comic Songs_
+
+When Dickens visited Vauxhall (_S.B.S._ 14) in 1836, he heard
+a variety entertainment, to which some reference has already
+been made. Amongst the performers was a comic singer who bore
+the name of one of the English counties, and who
+
+    sang a very good song about the seven ages, the first
+    half hour of which afforded the assembly the purest
+    delight.
+
+The name of this singer was Mr. Bedford, though there was also
+a Mr. Buckingham in the Vauxhall programmes of those days. There
+are at least four songs, all of them lengthy, though not to the
+extent Dickens suggests, which bear on the subject. They are:
+
+  1.--'All the World's a Stage,' a popular medley written by
+      Mr. L. Rede, and sung by Mrs. Kelley in the _Frolic
+      of the Fairies_.
+
+  2.--'Paddy McShane's Seven Ages,' sung by Mr. Johnstone at
+      Drury Lane.
+
+  3.--'The Seven Ages,' as sung by Mr. Fuller (eight very
+      long verses).
+
+  4.--'The Seven Ages of Woman,' as sung by Mr. Harley.
+
+        You've heard the seven ages of great Mister Man,
+        And now Mistress Woman's I'll chaunt, if I can.
+
+This was also a very long song, each verse being sung to a
+different tune.
+
+Some of these songs are found in a scarce book called
+_London Oddities_ (1822), which also contains 'Time of Day,'
+probably the comic duet referred to in _The Mistaken Milliner_
+(_S.B._). This sketch was written in 1835 for _Bell's Life
+in London_, the original title being _The Vocal Dressmaker_,
+and contains an account of a concert (real or imaginary) at the
+White Conduit House. This place of entertainment was situated in
+Penton Street, Islington, near the top of Pentonville Road, and
+when Dickens wrote his sketch the place had been in existence
+nearly a hundred years. Early in the nineteenth century it
+became a place of varied amusements, from balloon ascents
+to comic songs. Dickens visited the place about 1835. The
+titles of some of the pieces he mentions as having been sung
+there are real, while others (such as 'Red Ruffian, retire')
+appear to be invented.
+
+Of a different kind is the one sung by the giant Pickleson,
+known in the profession as Rinaldo di Vasco, a character
+introduced to us by Dr. Marigold.
+
+    I gave him sixpence (for he was kept as short as he
+    was long), and he laid it out on two three penn'orths
+    of gin-and-water, which so brisked him up that he sang
+    the favourite comic of 'Shivery Shakey, ain't it cold?'
+
+Perhaps in no direction does the taste of the British public
+change so rapidly and so completely as in their idea of humour
+as depicted in the comic song, and it is unlikely that what
+passed for humour sixty years ago would appeal to an audience
+of the present day. The song here referred to had a great
+though brief popularity. This is the first verse:
+
+    THE MAN THAT COULDN'T GET WARM.
+
+    _Words by J. Beuler._       _Accompaniment by J. Clinton._
+
+    All you who're fond in spite of price
+    Of pastry, cream and jellies nice
+    Be cautious how you take an ice
+      Whenever you're overwarm.
+    A merchant who from India came,
+    And Shiverand Shakey was his name,
+    A pastrycook's did once entice
+    To take a cooling, luscious ice,
+    The weather, hot enough to kill,
+    Kept tempting him to eat, until
+    It gave his corpus such a chill
+      He never again felt warm.
+    Shiverand Shakey O, O, O,
+    Criminy Crikey! Isn't it cold,
+    Woo, woo, woo, oo, oo,
+      Behold the man that couldn't get warm.
+
+Some people affect to despise a comic song, but there are
+instances where a good specimen has helped to make history,
+or has added a popular phrase to our language. An instance of
+the latter is MacDermott's 'Jingo' song 'We don't want to fight
+but by Jingo if we do.' An illustration of the former comes from
+the coal strike of March, 1912, during which period the price of
+that commodity only once passed the figure it reached in 1875,
+as we gather from the old song 'Look at the price of coals.'
+
+    We don't know what's to be done,
+    They're forty-two shillings a ton.
+
+There are two interesting references in a song which
+Mrs. Jarley's poet adapted to the purposes of the Waxwork
+Exhibition, 'If I'd a donkey as wouldn't go.' The first verse
+of the song is as follows:
+
+    If I'd a donkey wot wouldn't go,
+    D'ye think I'd wollop him? No, no, no;
+    But gentle means I'd try, d'ye see,
+    Because I hate all cruelty.
+    If all had been like me in fact,
+    There'd ha' been no occasion for Martin's Act
+    Dumb animals to prevent getting crackt
+        On the head, for--
+    If I had a donkey wot wouldn't go,
+    I never would wollop him, no, no, no;
+    I'd give him some hay, and cry gee O,
+        And come up Neddy.
+
+The singer then meets 'Bill Burns,' who, 'while crying out his
+greens,' is ill-treating his donkey. On being interfered with,
+Bill Burns says,
+
+    'You're one of these Mr. Martin chaps.'
+
+Then there was a fight, when the 'New Police' came up and
+'hiked' them off before the magistrate. There is a satisfactory
+ending, and 'Bill got fin'd.' Here is a reminder that we are
+indebted to Mr. Martin, M.P., for initiating the movement which
+resulted in the 'Royal Society for the Prevention of Cruelty
+to Animals' being established in 1824. Two years previously
+Parliament had passed what is known as Martin's Act (1822),
+which was the first step taken by this or any other country
+for the protection of animals. In Scene 7 of _Sketches by Boz_
+there is a mention of 'the renowned Mr. Martin, of costermonger
+notoriety.' The reference to the New Police Act reminds us
+that the London police force was remodelled by Mr. (afterwards
+Sir Robert) Peel in 1829. Hence the date of the song will be
+within a year or two of this.
+
+Mr. Reginald Wilfer (_O.M.F._) owed his nickname to the
+conventional chorus of some of the comic songs of the
+period. Being a modest man, he felt unable to live up to the
+grandeur of his Christian name, so he always signed himself
+'R. Wilfer.' Hence his neighbours provided him with all sorts
+of fancy names beginning with R, but his popular name was
+Rumty, which a 'gentleman of convivial habits connected with
+the drug market' had bestowed upon him, and which was derived
+from the burden--
+
+    Rumty iddity, row dow dow,
+    Sing toodlely teedlely, bow wow wow.
+
+The third decade of the nineteenth century saw the coming of the
+Christy Minstrels. One of the earliest of the so-called 'negro'
+impersonators was T.D. Rice, whose song 'Jim Crow' (_A.N._) took
+England by storm. It is useless to attempt to account for the
+remarkable popularity of this and many another favourite, but
+the fact remains that the song sold by thousands. In this case
+it may have been due to the extraordinary antics of the singer,
+for the words certainly do not carry weight (see p. 146).
+
+Rice made his first appearance at the Surrey Theatre in 1836,
+when he played in a sketch entitled _Bone Squash Diabolo_, in
+which he took the part of 'Jim Crow.' The song soon went all
+over England, and 'Jim Crow' hats and pipes were all the rage,
+while _Punch_ caricatured a statesman who changed his opinions
+on some question of the day as the political 'Jim Crow.' To
+this class also belongs the song 'Buffalo Gals' (see p. 10).
+
+Amongst the contents of the shop window at the watering-place
+referred to in _Out of the Season_ was
+
+    every polka with a coloured frontispiece that ever was
+    published; from the original one, where a smooth male
+    or female Pole of high rank are coming at the observer
+    with their arms akimbo, to the 'Ratcatcher's Daughter.'
+
+This last piece is of some slight interest from the fact that
+certain people have claimed that the hymn-tune 'Belmont' is
+derived therefrom. We give the first four lines, and leave
+our readers to draw their own conclusions. It is worth while
+stating that the first appearance of the hymn-tune took place
+soon after the song became popular.[17]
+
+    [Figure 2]
+
+    In Westminster, not long ago,
+    There lived a ratcatcher's daughter;
+    She was not born in Westminster
+    But on t'other side of the water.
+
+
+_Some Singers_
+
+In the _Pickwick Papers_ we have at least three original
+poems. Wardle's carol--
+
+    I care not for Spring; on his fickle wing
+    Let the blossoms and buds be borne--
+
+has been set to music, but Dickens always preferred that
+it should be sung to the tune of 'Old King Cole,' though a
+little ingenuity is required to make it fit in. The 'wild and
+beautiful legend,'
+
+    Bold Turpin vunce, on Hounslow Heath
+    His bold mare Bess bestrode--er,
+
+with which Sam Weller favoured a small but select company on a
+memorable occasion appears to have been overlooked by composers
+until Sir Frederick Bridge set it to excellent music. It will
+be remembered that Sam intimated that he was not
+
+    wery much in the habit o' singin' without the
+    instrument; but anythin' for a quiet life, as the man
+    said wen he took the sitivation at the lighthouse.
+
+Sam was certainly more obliging than another member of the
+company, the 'mottled-faced' gentleman, who, when asked
+to sing, sturdily and somewhat offensively declined to do
+so. We also find references to other crusty individuals who
+flatly refuse to exercise their talents, as, for instance,
+after the accident to the coach which was conveying Nicholas
+Nickleby and Squeers to Yorkshire. In response to the call
+for a song to pass the time away, some protest they cannot,
+others wish they could, others can do nothing without the
+book, while the 'very fastidious lady entirely ignored the
+invitation to give them some little Italian thing out of the
+last opera.' A somewhat original plea for refusing to sing when
+asked is given by the chairman of the musical gathering at the
+Magpie and Stump (_P.P._). When asked why he won't enliven
+the company he replies, 'I only know one song, and I have sung
+it already, and it's a fine of glasses round to sing the same
+song twice in one night.' Doubtless he was deeply thankful to
+Mr. Pickwick for changing the subject. At another gathering
+of a similar nature, we are told about a man who knew a song
+of seven verses, but he couldn't recall them at the moment,
+so he sang the first verse seven times.
+
+There is no record as to what the comic duets were that Sam
+Weller and Bob Sawyer sang in the dickey of the coach that was
+taking the party to Birmingham, and this suggests what a number
+of singers of all kinds are referred to, though no mention is
+made of their songs. What was Little Nell's repertoire? It must
+have been an extensive one according to the man in the boat
+(_O.C.S._ 43).
+
+    'You've got a very pretty voice' ... said this
+    gentleman ... 'Let me hear a song this minute.'
+
+    'I don't think I know one, sir,' returned Nell.
+
+    'You know forty-seven songs,' said the man, with
+    a gravity which admitted of no altercation on the
+    subject. 'Forty-seven's your number.'
+
+    And so the poor little maid had to keep her rough
+    companions in good humour all through the night.
+
+Then Tiny Tim had a song about a lost child travelling in the
+snow; the miner sang a Christmas song--'it had been a very
+old song when he was a boy,' while the man in the lighthouse
+(_C.C._) consoled himself in his solitude with a 'sturdy'
+ditty. What was John Browdie's north-country song? (_N.N._).
+All we are told is that he took some time to consider the words,
+in which operation his wife assisted him, and then
+
+    began to roar a meek sentiment (supposed to be uttered
+    by a gentle swain fast pining away with love and
+    despair) in a voice of thunder.
+
+The Miss Pecksniffs used to come singing into the room, but
+their songs are unrecorded, as well as those that Florence
+Dombey used to sing to Paul, to his great delight. What was
+the song Miss Mills sang to David Copperfield and Dora
+
+    about the slumbering echoes in the cavern of Memory;
+    as if she was a hundred years old.
+
+When we first meet Mark Tapley he is singing merrily, and there
+are dozens of others who sing either for their own delight
+or to please others. Even old Fips, of Austin Friars, the
+dry-as-dust lawyer, sang songs to the delight of the company
+gathered round the festive board in Martin Chuzzlewit's rooms in
+the Temple. Truly Dickens must have loved music greatly himself
+to have distributed such a love of it amongst his characters.
+
+It is not to be expected that Sampson Brass would be musical,
+and we are not surprised when on an occasion already referred
+to we find him
+
+    humming in a voice that was anything but musical certain
+    vocal snatches which appeared to have reference to the
+    union between Church and State, inasmuch as they were
+    compounded of the Evening Hymn and 'God Save the King.'
+
+Whatever music he had in him must have been of a sub-conscious
+nature, for shortly afterwards he affirms that
+
+    the still small voice is a-singing comic songs within
+    me, and all is happiness and joy.
+
+His sister Sally is not a songster, nor is Quilp, though he
+quotes 'Sally in our Alley' in reference to the former. All
+we know about his musical attainments is that he
+
+    occasionally entertained himself with a melodious
+    howl, intended for a song but bearing not the faintest
+    resemblance to any scrap of any piece of music, vocal
+    or instrumental, ever invented by man.
+
+Bass singers, and especially the Basso Profundos, will be glad
+to know that Dickens pays more attention to them than to the
+other voices, though it must be acknowledged that the references
+are of a humorous nature. 'Bass!' as the young gentleman in one
+of the _Sketches_ remarks to his companion about the little
+man in the chair, 'bass! I believe you. He can go down lower
+than any man; so low sometimes that you can't hear him.'
+
+    And so he does. To hear him growling away, gradually
+    lower and lower down, till he can't get back again,
+    is the most delightful thing in the world.
+
+Of similar calibre is the voice of Captain Helves, already
+referred to on p. 62.
+
+Topper, who had his eye on one of Scrooge's niece's sisters
+(_C.C._),
+
+    could growl away in the bass like a good one, and
+    never swell the large veins in his forehead or get
+    red in the face over it.
+
+Dickens must certainly have had much experience of basses, as he
+seems to know their habits and eccentricities so thoroughly. In
+fact it seems to suggest that at some unknown period of his
+career, hitherto unchronicled by his biographers, he must have
+been a choirmaster.
+
+He also shows a knowledge of the style of song the basses
+delighted in
+
+    at the harmony meetings in which the collegians at the
+    Marshalsea[18] used to indulge. Occasionally a vocal
+    strain more sonorous than the generality informed the
+    listener that some boastful bass was in blue water
+    or the hunting field, or with the reindeer, or on the
+    mountain, or among the heather, but the Marshal of the
+    Marshalsea knew better, and had got him hard and fast.
+
+We are not told what the duet was that Dickens heard at
+Vauxhall, but the description is certainly vivid enough:
+
+    It was a beautiful duet; first the small gentleman
+    asked a question and then the tall lady answered
+    it; then the small gentleman and the tall lady sang
+    together most melodiously; then the small gentleman
+    went through a little piece of vehemence by himself,
+    and got very tenor indeed, in the excitement of his
+    feelings, to which the tall lady responded in a similar
+    manner; then the small gentleman had a shake or two,
+    after which the tall lady had the same, and then they
+    both merged imperceptibly into the original air.
+
+Our author is quite impartial in his distribution of his
+voices. In _P.P._ we read of a boy of fourteen who was a tenor
+(not the fat boy), while the quality of the female voices is
+usually left to the imagination.
+
+If Mrs. Plornish (_L.D._) is to be believed, her father,
+Mr. John Edward Nandy, was a remarkable singer. He was
+
+    a poor little reedy piping old gentleman, like a
+    worn-out bird, who had been in what he called the
+    music-binding business.
+
+But Mrs. P. was very proud of her father's talents, and in
+response to her invitation, 'Sing us a song, father,'
+
+    Then would he give them Chloe, and if he were in
+    pretty good spirits, Phyllis also--Strephon he had
+    hardly been up to since he went into retirement--and
+    then would Mrs. Plornish declare she did believe there
+    never was such a singer as father, and wipe her eyes.
+
+Old Nandy evidently favoured the eighteenth-century songs,
+in which the characters here referred to were constantly
+occurring. At a subsequent period of his history Nandy's vocal
+efforts surprised even his daughter.
+
+    'You never heard father in such voice as he is at
+    present,' said Mrs. Plornish, her own voice quavering,
+    she was so proud and pleased. 'He gave us Strephon
+    last night, to that degree that Plornish gets up and
+    makes him this speech across the table, "John Edward
+    Nandy," says Plornish to father, "I never heard you
+    come the warbles as I have heard you come the warbles
+    this night." Ain't it gratifying, Mr. Pancks, though;
+    really.'
+
+The Mr. Pancks here referred to did not mind taking his part in
+a bit of singing. He says, in reference to a 'Harmony evening'
+at the Marshalsea:
+
+    'I am spending the evening with the rest of 'em,'
+    said Pancks. 'I've been singing. I've been taking
+    a part in "White Sand and Grey Sand." I don't know
+    anything about it. Never mind. I'll take part in
+    anything, it's all the same, if you're loud enough.'
+
+Here we have a round of considerable antiquity, though the
+date and author are alike unknown.
+
+    [Figure 3] or [Figure 4]
+
+    White sand and grey sand:
+    Who'll buy my white sand?
+    Who'll buy my grey sand?
+
+
+_Glee-Singing_
+
+A feature of the Harmonic Meetings at the 'Sol' (_B.H._) was
+the performance of Little Swills, who, after entertaining
+the company with comic songs, took the 'gruff line' in a
+concerted piece, and adjured 'his friends to listen, listen,
+listen to the wa-ter-fall!' Little Swills was also an adept
+at 'patter and gags.' Glee and catch singing was a feature
+at the Christmas party given by Scrooge's nephew, for 'they
+were a musical family, and knew what they were about.' This
+remark can scarcely be applied to the Malderton family, who,
+assisted by the redoubtable Mr. Horatio Sparkins,
+
+    tried over glees and trios without number; they having
+    made the pleasing discovery that their voices harmonized
+    beautifully. To be sure, they all sang the first part;
+    and Horatio, in addition to the slight drawback of
+    having no ear, was perfectly innocent of knowing a note
+    of music; still, they passed the time very agreeably.
+
+Glee-singing seems to have been a feature in the social life
+of Cloisterham (_E.D._).
+
+    'We shall miss you, Jasper' (said Mr. Crisparkle),
+    'at the "Alternate Musical Wednesdays" to-night; but
+    no doubt you are best at home. Good-night, God bless
+    you. "Tell me shepherds te-e-ell me: tell me-e-e have
+    you seen (have you seen, have you seen, have you seen)
+    my-y-y Flo-o-ora-a pass this way!"'
+
+It was a different kind of glee party that left the Blue
+Boar after the festivities in connexion with Pip's indentures
+(_G.E._).
+
+    They were all in excellent spirits on the road home,
+    and sang 'O Lady Fair,' Mr. Wopsle taking the bass,
+    and assisting with a tremendously strong voice (in
+    reply to the inquisitive bore who leads that piece
+    of music in a most impertinent manner by wanting to
+    know all about everybody's private affairs) that _he_
+    was the man with his white locks flowing, and that he
+    was upon the whole the weakest pilgrim going.
+
+Perhaps the most remarkable glee party that Dickens gives us
+is the one organized by the male boarders at Mrs. Todgers',
+with a view to serenading the two Miss Pecksniffs.
+
+    It was very affecting, very. Nothing more dismal could
+    have been desired by the most fastidious taste. The
+    gentleman of a vocal turn was head mute, or chief
+    mourner; Jinkins took the bass, and the rest took
+    anything they could get.... If the two Miss Pecksniffs
+    and Mrs. Todgers had perished by spontaneous combustion,
+    and the serenade had been in honour of their ashes, it
+    would have been impossible to surpass the unutterable
+    despair expressed in that one chorus: 'Go where glory
+    waits thee.' It was a requiem, a dirge, a moan, a howl,
+    a wail, a lament, an abstract of everything that is
+    sorrowful and hideous in sound.
+
+The song which the literary boarder had written for the
+occasion, 'All hail to the vessel of Pecksniff, the sire,'
+is a parody of Scott's 'All hail to the chief who in triumph
+advances,' from the _Lady of the Lake_.
+
+Two words that by themselves have a musical meaning are
+'Chaunter' and 'Drums'; but the Chaunter referred to is one
+of Edward Dorrit's creditors, and the word means 'not a singer
+of anthems, but a seller of horses.' To this profession also
+Simpson belonged, on whom Mr. Pickwick was 'chummed' in the
+Fleet prison. A 'drum' is referred to in the description of
+the London streets at night in _Barnaby Rudge_, and signifies a
+rout or evening party for cards; while one where stakes ran high
+and much noise accompanied the play was known as a 'drum major.'
+
+In _Our Bore_ (_R.P._) this sentence occurs:
+
+    He was at the Norwich musical festival when the
+    extraordinary echo, for which science has been wholly
+    unable to account, was heard for the first and last
+    time. He and the bishop heard it at the same moment,
+    and caught each other's eye.
+
+Dr. A.H. Mann, who knows as much about Norwich and its festivals
+as any one, is quite unable to throw any light on this mystic
+remark. There were complaints about the acoustics of the
+St. Andrew's Hall many years ago, but there appears to be no
+historic foundation for Dickens' reference. It would certainly
+be interesting to know what suggested the idea to him.
+
+There is a curious incident connected with Uncle Dick, whose
+great ambition was 'to beat the drum.' It was only by a mere
+chance that his celebrated reference to King Charles's head
+got into the story. Dickens originally wrote as follows (in
+Chapter 14, _D.C._):
+
+    'Do you recollect the date,' said Mr. Dick, looking
+    earnestly at me, and taking up his pen to note it down,
+    'when the bull got into the china warehouse and did
+    so much mischief?'
+
+In the proof Dickens struck out all the words after 'when,'
+and inserted in their place the following:
+
+    'King Charles the First had his head cut off?'
+
+    I said I believed it happened in the year sixteen
+    hundred and forty-nine.
+
+    'Well,' returned Mr. Dick, scratching his ear with his
+    pen and looking dubiously at me, 'so the books say,
+    but I don't see how that can be. Because if it was so
+    long ago, how could the people about him have made that
+    mistake of putting some of the trouble out of his head,
+    after it was taken off, into mine?'
+
+The whole of the substituted passage is inserted in the margin
+at the bottom of the page. Again, when Mr. Dick shows David
+Copperfield his kite covered with manuscript, David was made to
+say in the proof: 'I thought I saw some allusion to the bull
+again in one or two places.' Here Dickens has struck through
+the words, 'the bull,' and replaced them with 'King Charles
+the First's head.'
+
+The original reference was to a very popular song of the period
+called 'The Bull in the China Shop,' words by C. Dibdin, Junior,
+and music by W. Reeve. Produced about 1808, it was popularized
+by the celebrated clown Grimaldi. The first verse is:
+
+    You've heard of a frog in an opera hat,
+    'Tis a very old tale of a mouse and a rat,
+    I could sing you another as pleasant, mayhap,
+    Of a kitten that wore a high caul cap;
+    But my muse on a far nobler subject shall drop,
+    Of a bull who got into a china shop,
+        With his right leg, left leg, upper leg, under leg,
+        St. Patrick's day in the morning.
+
+
+[17] Mr. Alfred Payne writes thus: 'Some time ago an old
+     friend told me that he had heard from a Hertfordshire
+     organist that Dr. W.H. Monk (editor of _Hymns
+     Ancient and Modern_) adapted "Belmont" from the highly
+     classical melody of which a few bars are given above.
+     Monk showed this gentleman the notes, being the actual
+     arrangement he had made from this once popular song,
+     back in the fifties. This certainly coincides with
+     its appearance in Severn's _Islington Collection_,
+     1854.'--See _Hymn-Tunes and their Story_, p. 354.
+
+[18] The Marshalsea was a debtors' prison formerly situated
+     in Southwark. It was closed about the middle of the
+     last century, and demolished in 1856.
+
+
+
+
+CHAPTER VII
+
+SOME NOTED SINGERS
+
+
+_The Micawbers_
+
+Dickens presents us with such an array of characters
+who reckon singing amongst their various accomplishments
+that it is difficult to know where to begin. Perhaps the
+marvellous talents of the Micawber family entitle them to first
+place. Mrs. Micawber was famous for her interpretation of 'The
+Dashing White Sergeant' and 'Little Taffline' when she lived
+at home with her papa and mamma, and it was her rendering of
+these songs that gained her a spouse, for, as Mr. Micawber
+told Copperfield,
+
+    when he heard her sing the first one, on the first
+    occasion of his seeing her beneath the parental roof,
+    she had attracted his attention in an extraordinary
+    degree, but that when it came to 'Little Tafflin,' he
+    had resolved to win that woman or perish in the attempt.
+
+It will be remembered that Mr. Bucket (_B.H._) gained a wife by
+a similar display of vocal talent. After singing 'Believe me,
+if all those endearing young charms,' he informs his friend
+Mrs. Bagnet that this ballad was
+
+    his most powerful ally in moving the heart of
+    Mrs. Bucket when a maiden, and inducing her to approach
+    the altar. Mr. Bucket's own words are 'to come up to
+    the scratch.'
+
+Mrs. Micawber's 'Little Taffline' was a song in Storace's
+ballad opera _Three and the Deuce_, words by Prince Hoare. It
+will be interesting to see what the song which helped to mould
+Micawber's fate was like.
+
+    LITTLE TAFFLINE.
+
+    [Figure 5]
+
+    Should e'er the fortune be my lot
+    To be made a wealthy bride,
+    I'll glad my parents' lowly cot,
+    All their pleasure and their pride:
+
+    And when I'm drest all in my best,
+    I'll trip away like lady gay,
+    I'll trip, I'll trip away.
+
+    And the lads will say, Dear heart, what a flash!
+    Look at little Taffline with a silken sash,
+    And the lads will say, Dear heart, what a flash!
+    And the lads will say, Dear heart, what a flash!
+    Look at little Taffline, Look at little Taffline,
+    Oh, look at little Taffline with the silken sash!
+
+There was also a character called Little Taffline in T. Dibdin's
+_St. David's Day_, the music for which was compiled and composed
+by Thomas Attwood, organist of St. Paul's Cathedral.
+
+Her other song, 'The Dashing White Sergeant,' was a martial
+and very popular setting of some words by General Burgoyne.
+
+Micawber could both sing and hum, and when music failed him
+he fell back on quotations. As he was subject to extremes
+of depression and elevation it was nothing unusual for him
+to commence a Saturday evening in tears and finish up with
+singing 'about Jack's delight being his lovely Nan' towards
+the end of it. Here we gather that one of his favourite songs
+was C. Dibdin's 'Lovely Nan,' containing these two lines:
+
+    But oh, much sweeter than all these
+    Is Jack's delight, his lovely Nan.
+
+His musical powers made him useful at the club-room in the
+King's Bench, where David discovered him leading the chorus of
+'Gee up, Dobbin.' This would be 'Mr. Doggett's Comicall Song'
+in the farce _The Stage Coach_, containing the lines--
+
+    With a hey gee up, gee up, hay ho;
+    With a hay gee, Dobbin, hey ho!
+
+'Auld Lang Syne' was another of Mr. Micawber's favourites,
+and when David joined the worthy pair in their lodgings at
+Canterbury they sang it with much energy. To use Micawber's
+words--
+
+    When we came to 'Here's a hand, my trusty frere' we
+    all joined hands round the table; and when we declared
+    we would 'take a right gude willie waught,' and hadn't
+    the least idea what it meant, we were really affected.
+
+The memory of this joyous evening recurred to Mr. M. at a later
+date, after the feast in David's rooms, and he calls to mind
+how they had sung
+
+    We twa had run about the braes
+    And pu'd the gowans fine.
+
+He confesses his ignorance as to what gowans are,
+
+    but I have no doubt that Copperfield and myself would
+    frequently have taken a pull at them, if it had been
+    feasible.
+
+In the last letter he writes he makes a further quotation from
+the song. On another occasion, however, under the stress of
+adverse circumstances he finds consolation in a verse from
+'Scots, wha hae',' while at the end of the long epistle in
+which he disclosed the infamy of Uriah Heep, he claims to
+have it said of him, 'as of a gallant and eminent naval Hero,'
+that what he has done, he did
+
+    For England, home, and beauty.
+
+'The Death of Nelson,' from which this line comes, had a
+long run of popularity. Braham, the composer, was one of the
+leading tenors of the day, and thus had the advantage of being
+able to introduce his own songs to the public. The novelist's
+dictum that 'composers can very seldom sing their own music or
+anybody else's either' (_P.P._ 15) may be true in the main, but
+scarcely applies to Braham, who holds very high rank amongst
+English tenors. Another song which he wrote with the title
+'The Victory and Death of Lord Viscount Nelson' met with no
+success. The one quoted by Micawber was naturally one of Captain
+Cuttle's favourites, and it is also made use of by Silas Wegg.
+
+The musical gifts of Mr. and Mrs. Micawber descended to
+their son Wilkins, who had 'a remarkable head voice,' but
+having failed to get into the cathedral choir at Canterbury,
+he had to take to singing in public-houses instead of in
+sacred edifices. His great song appears to have been 'The
+Woodpecker Tapping.' When the family emigrated Mr. M. expressed
+the hope that 'the melody of my son will be acceptable at the
+galley fire' on board ship. The final glimpse we get of him
+is at Port Middlebay, where he delights a large assembly by
+his rendering of 'Non Nobis' (see p. 149), and by his dancing
+with the fourth daughter of Mr. Mell.
+
+The 'Woodpecker' song is referred to in an illustrative way
+by Mrs. Finching (_L.D._), who says that her papa
+
+    is sitting prosily breaking his new-laid egg in the
+    back parlour like the woodpecker tapping.
+
+
+_Captain Cuttle_
+
+Captain Cuttle is almost as full of melody as Micawber, though
+his repertoire is chiefly confined to naval ditties. His great
+song is 'Lovely Peg,' and his admiration for Florence Dombey
+induces him to substitute her name in the song, though the
+best he can accomplish is 'Lovely Fleg.'
+
+There are at least three eighteenth-century ballads with Peg,
+or Lovely Peg, for the subject, and it is not certain which
+of these the Captain favoured. This is one of them:
+
+    Once more I'll tune the vocal shell,
+    To Hills and Dales my passion tell,
+    A flame which time can never quell,
+      That burns for lovely Peggy.
+
+Then comes this tuneful refrain:
+
+    [Figure 6]
+
+    Lovely Peggy, lovely Peggy,
+    Lovely, lovely, lovely Peggy;
+    The heav'ns should sound with echoes rung
+      In praise of lovely Peggy.
+
+The two others of this period that I have seen are called
+'Peggy' and 'Lovely Peggy, an imitation.' However, it is most
+probable that the one that the Captain favoured--in spite of
+the mixture of names--was C. Dibdin's 'Lovely Polly.'
+
+    LOVELY POLLY
+
+    [Figure 7]
+
+    A seaman's love is void of art,
+    Plain sailing to his port the heart;
+    He knows no jealous folly,
+    He knows no jealous folly.
+
+    'Tis hard enough at sea to war
+    With boist'rous elements that jar--
+    All's peace with lovely Polly,
+    All's peace with lovely Polly,
+    with lovely Polly, lovely Polly,
+    All's peace with lovely Polly.
+
+Dickens was very familiar with Dibdin's songs, while the
+eighteenth-century ones referred to he probably never heard of,
+as they are very rarely found.
+
+The worthy Captain enjoys a good rollicking song, preferably
+of a patriotic turn, but is very unreliable as to the sources
+of his ditties.
+
+    'Wal'r, my boy,' replied the Captain, 'in the Proverbs
+    of Solomon you will find the following words, "May
+    we never want a friend in need, nor a bottle to give
+    him!" When found, made a note of.'
+
+This is taken from a song by J. Davy, known as 'Since the
+first dawn of reason,' and was sung by Incledon.
+
+    Since the first dawn of reason that beam'd on my mind,
+      And taught me how favoured by fortune my lot,
+    To share that good fortune I still am inclined,
+      And impart to who wanted what I wanted not.
+    It's a maxim entitled to every one's praise,
+      When a man feels distress, like a man to relieve him;
+    And my motto, though simple, means more than it says,
+      'May we ne'er want a friend or a bottle to give him.'
+
+He is equally unreliable as to the source of a still more
+famous song. When Florence Dombey goes to see him the Captain
+intimates his intention of standing by old Sol Gills,
+
+    'and not desert until death do us part, and when the
+    stormy winds do blow, do blow, do blow--overhaul
+    the Catechism,' said the Captain parenthetically,
+    'and there you'll find these expressions.'
+
+I have not heard of any church that has found it necessary to
+include this old refrain in its Catechism, nor even to mix it
+up with the Wedding Service.
+
+A further mixture of quotations occurs when he is talking of
+Florence on another occasion. Speaking of the supposed death
+of Walter he says,
+
+    Though lost to sight, to memory dear, and
+    England, home, and beauty.
+
+The first part--which is one of Cuttle's favourite
+quotations--is the first line of a song by G. Linley.
+He composed a large number of operas and songs, many of which
+were very popular. The second part of the quotation is from
+Braham's 'Death of Nelson' (see p. 116).
+
+In conversation with his friend Bunsby, Cuttle says--
+
+    Give me the lad with the tarry trousers as shines to
+    me like di'monds bright, for which you'll overhaul the
+    'Stanfell's Budget,' and when found make a note.
+
+Elsewhere he mentions Fairburn's 'Comic Songster' and the
+'Little Warbler' as his song authorities.
+
+The song referred to here is classed by Dr. Vaughan Williams
+amongst Essex folk-songs, but it is by no means confined to
+that county. It tells of a mother who wants her daughter to
+marry a tailor, and not wait for her sailor bold.
+
+    My mother wants me to wed with a tailor
+      And not give me my heart's delight;
+    But give me the man with the tarry trousers,
+      That shines to me like diamonds bright.
+
+After the firm of Dombey has decided to send Walter to Barbados,
+the boy discusses his prospects with his friend the Captain,
+and finally bursts into song--
+
+    How does that tune go that the sailors sing?
+
+      For the port of Barbados, Boys!
+              Cheerily!
+      Leaving old England behind us, boys!
+              Cheerily!
+
+    Here the Captain roared in chorus,
+
+            Oh cheerily, cheerily!
+            Oh cheer-i-ly!
+
+All efforts to trace this song have failed, and for various
+reasons I am inclined to think that Dickens made up the lines
+to fit the occasion; while the words 'Oh cheerily, cheerily'
+are a variant of a refrain common in sea songs, and the Captain
+teaches Rob the Grinder to sing it at a later period of the
+story. The arguments against the existence of such a song are:
+first, that the Dombey firm have already decided to send the
+boy to Barbados, and as there is no song suitable, the novelist
+invents one; and in the second place there has never been a
+time in the history of Barbados to give rise to such a song
+as this, and no naval expedition of any consequence has ever
+been sent there. It is perhaps unnecessary to urge that there
+is no such place as the 'Port of Barbados.'
+
+
+_Dick Swiveller_
+
+None of Dickens' characters has such a wealth of poetical
+illustration at command as Mr. Richard Swiveller. He lights
+up the Brass office 'with scraps of song and merriment,' and
+when he is taking Kit's mother home in a depressed state after
+the trial he does his best to entertain her with 'astonishing
+absurdities in the way of quotation from song and poem.' From
+the time of his introduction, when he 'obliged the company with
+a few bars of an intensely dismal air,' to when he expresses
+his gratitude to the Marchioness--
+
+    And she shall walk in silk attire,
+      And siller have to spare--
+
+there is scarcely a scene in which he is present when he does
+not illumine his remarks by quotations of some kind or other,
+though there are certainly a few occasions when his listeners
+are not always able to appreciate their aptness. For instance
+in the scene between Swiveller and the single gentleman,
+after the latter has been aroused from his slumbers, and has
+intimated he is not to be disturbed again.
+
+    'I beg your pardon,' said Dick, halting in his passage
+    to the door, which the lodger prepared to open,
+    'when he who adores thee has left but the name--'
+
+    'What do you mean?'
+
+    'But the name,' said Dick, 'has left but the name--in
+    case of letters or parcels--'
+
+    'I never have any,' said the lodger.
+
+    'Or in case anybody should call.'
+
+    'Nobody ever calls on me.'
+
+    'If any mistake should arise from not having the name,
+    don't say it was my fault, sir,' added Dick, still
+    lingering; 'oh, blame not the bard--'
+
+    'I'll blame nobody,' said the lodger.
+
+But that Mr. Swiveller's knowledge of songs should be both
+'extensive and peculiar' is only to be expected from one who
+held the distinguished office of 'Perpetual Grand Master of
+the Glorious Apollers,' although he seems to have been more
+in the habit of quoting extracts from them than of giving
+vocal illustrations. On one occasion, however, we find him
+associated with Mr. Chuckster 'in a fragment of the popular
+duet of "All's Well" with a long shake at the end.'
+
+The following extract illustrates the 'shake':
+
+    ALL'S WELL (DUET).
+
+    _Sung by Mr. Braham and Mr. Charles Braham._
+
+                                        _Music by Mr. Braham._
+    [Figure 8]
+
+    All's well, All's well;
+    Above, below,
+    All, all's well.
+
+Although most of Swiveller's quotations are from songs, he does
+not always confine himself to them, as for instance, when he
+sticks his fork into a large carbuncular potato and reflects
+that 'Man wants but little here below,' which seems to show
+that in his quieter moments he had studied Goldsmith's _Hermit_.
+
+Mr. Swiveller's quotations are largely connected with his
+love-passages with Sophy Wackles, and they are so carefully
+and delicately graded that they practically cover the whole
+ground in the rise and decline of his affections. He begins
+by suggesting that 'she's all my fancy painted her.'
+
+From this he passes to
+
+    She's like the red, red rose,
+      That's newly sprung in June.
+    She's also like a melody,
+      That's sweetly played in tune.
+
+then
+
+    When the heart of a man is depressed with fears,
+    The mist is dispelled when Miss Wackles appears,
+
+which is his own variant of
+
+    If the heart of a man is depressed with care,
+    The mist is dispelled when a woman appears.
+
+But at the party given by the Wackleses Dick finds he is cut
+out by Mr. Cheggs, and so makes his escape saying, as he goes--
+
+    My boat is on the shore, and my bark is on the sea; but
+    before I pass this door, I will say farewell to thee,
+
+and he subsequently adds--
+
+    Miss Wackles, I believed you true, and I was blessed
+    in so believing; but now I mourn that e'er I knew a
+    girl so fair, yet so deceiving.
+
+The _denouement_ occurs some time after, when, in the course
+of an interview with Quilp, he takes from his pocket
+
+    a small and very greasy parcel, slowly unfolding it,
+    and displaying a little slab of plum cake, extremely
+    indigestible in appearance and bordered with a paste
+    of sugar an inch and a half deep.
+
+    'What should you say this was?' demanded Mr. Swiveller.
+
+    'It looks like bride-cake,' replied the dwarf, grinning.
+
+    'And whose should you say it was?' inquired
+    Mr. Swiveller, rubbing the pastry against his nose
+    with dreadful calmness. 'Whose?'
+
+    'Not--'
+
+    'Yes,' said Dick, 'the same. You needn't mention her
+    name. There's no such name now. Her name is Cheggs
+    now, Sophy Cheggs. Yet loved I as man never loved that
+    hadn't wooden legs, and my heart, my heart is breaking
+    for the love of Sophy Cheggs.'
+
+    With this extemporary adaptation of a popular ballad
+    to the distressing circumstances of his own case,
+    Mr. Swiveller folded up the parcel again, beat it very
+    flat upon the palms of his hands, thrust it into his
+    breast, buttoned his coat over it, and folded his arms
+    upon the whole.
+
+And then he signifies his grief by pinning a piece of crape
+on his hat, saying as he did so,
+
+    'Twas ever thus: from childhood's hour
+      I've seen my fondest hopes decay;
+    I never loved a tree or flower
+      But 'twas the first to fade away;
+    I never nursed a dear gazelle,
+      To glad me with its soft black eye,
+    But when it came to know me well,
+      And love me, it was sure to marry a market gardener.
+
+He is full of song when entertaining the Marchioness. 'Do they
+often go where glory waits 'em?' he asks, on hearing that
+Sampson and Sally Brass have gone out for the evening. He
+accepts the statement that Miss Brass thinks him a 'funny
+chap' by affirming that 'Old King Cole was a merry old soul';
+and on taking his leave of the little slavey he says,
+
+    'Good night, Marchioness. Fare thee well, and if for
+    ever then for ever fare thee well--and put up the chain,
+    Marchioness, in case of accidents.
+
+      Since life like a river is flowing,
+        I care not how fast it rolls on, ma'am,
+      While such purl on the bank still is growing,
+        And such eyes light the waves as they run.'
+
+On a later occasion, after enjoying some games of cards he
+retires to rest in a deeply contemplative mood.
+
+    'These rubbers,' said Mr. Swiveller, putting on his
+    nightcap in exactly the same style as he wore his hat,
+    'remind me of the matrimonial fireside. Cheggs's wife
+    plays cribbage; all-fours likewise. She rings the
+    changes on 'em now. From sport to sport they hurry her,
+    to banish her regrets; and when they win a smile from
+    her they think that she forgets--but she don't.'
+
+Many of Mr. Swiveller's quotations are from Moore's _Irish
+Melodies_, though he has certainly omitted one which, coming
+from him, would not have been out of place, viz. 'The time
+I've lost in wooing'!
+
+On another occasion Swiveller recalls some well-known lines
+when talking to Kit. 'An excellent woman, that mother of yours,
+Christopher,' said Mr. Swiveller; '"Who ran to catch me when
+I fell, and kissed the place to make it well? My mother."'
+
+This is from Ann Taylor's nursery song, which has probably
+been more parodied than any other poem in existence. There is
+a French version by Madame a Taslie, and it has most likely
+been translated into other languages.
+
+Dick gives us another touching reference to his mother. He
+is overcome with curiosity to know in what part of the Brass
+establishment the Marchioness has her abode.
+
+    My mother must have been a very inquisitive woman; I
+    have no doubt I'm marked with a note of interrogation
+    somewhere. My feelings I smother, but thou hast been
+    the cause of this anguish, my--
+
+This last remark is a memory of T.H. Bayly's celebrated song
+'We met,' which tells in somewhat incoherent language the story
+of a maiden who left her true love at the command of her mother,
+and married for money.
+
+    The world may think me gay,
+      For my feelings I smother;
+    Oh _thou_ hast been the cause
+      Of this anguish--my mother.
+
+T. Haynes Bayly was a prominent song-writer some seventy
+years ago (1797-1839). His most popular ballad was 'I'd be
+a Butterfly.' It came out with a coloured title-page, and
+at once became the rage, in fact, as John Hullah said, 'half
+musical England was smitten with an overpowering, resistless
+rage for metempsychosis.' There were many imitations, such as
+'I'd be a Nightingale' and 'I'd be an Antelope.'
+
+
+_Teachers and Composers_
+
+Although we read so much about singers, the singing-master
+is rarely introduced, in fact Mr. M'Choakumchild (_H.T._),
+who 'could teach everything from vocal music to general
+cosmography,' almost stands alone. However, in view of the
+complaints of certain adjudicators about the facial distortions
+they beheld at musical competitions, it may be well to record
+Mrs. General's recipe for giving 'a pretty form to the lips'
+(_L.D._).
+
+    Papa, potatoes, poultry, prunes, and prism are all
+    very good words for the lips, especially prunes and
+    prism. You will find it serviceable in the formation
+    of a demeanour.
+
+Nor do composers receive much attention, but amongst
+the characters we may mention Mr. Skimpole (_B.H._),
+who composed half an opera, and the lamp porter at Mugby
+Junction, who composed 'Little comic songs-like.' In this
+category we can scarcely include Mrs. Kenwigs, who 'invented
+and composed' her eldest daughter's name, the result being
+'Morleena.' Mr. Skimpole, however, has a further claim upon
+our attention, as he 'played what he composed with taste,' and
+was also a performer on the violoncello. He had his lighter
+moments, too, as when he went to the piano one evening at 11
+p.m. and rattled hilariously
+
+    That the best of all ways to lengthen our days
+    Was to steal a few hours from Night, my dear!
+
+It is evident that his song was 'The Young May Moon,' one of
+Moore's _Irish Melodies_.
+
+    The young May moon is beaming, love,
+    The glow-worm's lamp is gleaming, love,
+            How sweet to rove
+            Through Morna's grove
+    While the drowsy world is dreaming, love!
+
+    Then awake--the heavens look bright, my dear!
+    'Tis never too late for delight, my dear!
+            And the best of all ways
+            To lengthen our days
+    Is to steal a few hours from the night, my dear!
+
+
+_Silas Wegg's Effusions_
+
+We first meet Silas Wegg in the fifth chapter of _Our Mutual
+Friend_, where he is introduced to us as a ballad-monger. His
+intercourse with his employer, Mr. Boffin, is a frequent
+cause of his dropping into poetry, and most of his efforts
+are adaptations of popular songs. His character is not one
+that arouses any sympathetic enthusiasm, and probably no one
+is sorry when towards the end of the story Sloppy seizes hold
+of the mean little creature, carries him out of the house, and
+deposits him in a scavenger's cart 'with a prodigious splash.'
+
+The following are Wegg's poetical effusions, with their sources
+and original forms.
+
+
+Book I, Ch. 5.
+
+'Beside that cottage door, Mr. Boffin,' from 'The Soldier's Tear'
+
+                                               _Alexander Lee_
+
+    Beside that cottage porch
+    A girl was on her knees;
+    She held aloft a snowy scarf
+    Which fluttered in the breeze.
+    She breath'd a prayer for him,
+    A prayer he could not hear;
+    But he paused to bless her as she knelt,
+    And wip'd away a tear.
+
+
+Book I, Ch. 15.
+
+    The gay, the gay and festive scene,
+    I'll tell thee how the maiden wept, Mrs. Boffin.
+
+From 'The Light Guitar.' (See Index of Songs.)
+
+
+Book I, Ch. 15.
+
+'Thrown on the wide world, doomed to wander and roam.' From
+'The Peasant Boy'
+
+                                                    _J. Parry_
+
+    Thrown on the wide world, doom'd to wander and roam,
+    Bereft of his parents, bereft of his home,
+    A stranger to pleasure, to comfort and joy,
+    Behold little Edmund, the poor Peasant Boy.
+
+
+Book I, Ch. 15.
+
+'Weep for the hour.' From 'Eveleen's Bower'         _T. Moore_
+
+    Oh! weep for the hour
+    When to Eveleen's bower
+    The lord of the valley with false vows came.
+
+
+Book I, Ch 15.
+
+'Then farewell, my trim-built wherry.' From 'The Waterman'
+
+                                                   _C. Dibdin_
+
+
+Book II, Ch. 7.
+
+'Helm a-weather, now lay her close.' From 'The Tar for all
+Weathers'
+
+                                                     _Unknown_
+
+
+Book III, Ch. 6.
+
+'No malice to dread, sir.' From verse 3 of 'My Ain Fireside.'
+
+                                   Words by _Mrs. E. Hamilton_
+
+    Nae falsehood to dread, nae malice to fear,
+    But truth to delight me, and kindness to cheer;
+    O' a' roads to pleasure that ever were tried,
+    There's nane half so sure as one's own fireside.
+          My ain fireside, my ain fireside,
+          Oh sweet is the blink o' my ain fireside.
+
+
+Book III, Ch. 6.
+
+    And you needn't, Mr. Venus, be your black bottle,
+        For surely I'll be mine,
+    And we'll take a glass with a slice of lemon in it,
+            to which you're partial,
+        For auld lang syne.
+
+A much altered version of verse 5 of Burns' celebrated song.
+
+
+Book III, Ch. 6.
+
+    Charge, Chester, charge,
+    On Mr. Venus, on.
+
+From Scott's _Marmion_.
+
+
+Book IV, Ch. 3.
+
+'If you'll come to the bower I've shaded for you.' From 'Will
+you Come to the Bower'
+
+                                                    _T. Moore_
+
+    Will you come to the Bower I've shaded for you,
+    Our bed shall be roses, all spangled with dew.
+    Will you, will you, will you, will you come to the Bower?
+    Will you, will you, will you, will you come to the Bower?
+
+
+
+
+A LIST OF SONGS AND INSTRUMENTAL MUSIC MENTIONED BY DICKENS
+
+WITH HISTORICAL NOTES
+
+
+_The figures in brackets denote the chapter in the novel
+referred to_
+
+
+A COBBLER THERE WAS (_D. & S._ 2)
+
+    A cobbler there was, and he lived in a stall,
+    Which serv'd him for parlour, for kitchen and hall,
+    No coin in his pocket, nor care in his pate,
+    No ambition had he, nor no duns at his gate,
+            Derry down, down, down, derry down.
+
+The melody appeared in _Beggar's Opera_, 1728, and _Fashionable
+Lady_, 1730.
+
+
+A FROG HE WOULD (_P.P._ 32)
+
+The theme of the ballad belongs to the late sixteenth century.
+
+    A frog he would a-wooing go,
+      Heigho! said Rowley,
+    Whether his mother would let him or no,
+      With his rowly powly,
+      Gammon and spinnage,
+        O heigh! said Anthony Rowley.
+
+We are told that Jack Hopkins sang 'The King, God Bless Him,'
+to a novel air, compounded of 'The Bay of Biscay' and 'A Frog
+He Would.' The latter was evidently the modern setting by
+C.E. Horn.
+
+
+ALICE GRAY
+
+See 'Yet Lov'd I.'
+
+
+ALL HAIL TO THE VESSEL OF PECKSNIFF THE SIRE (_M.C._ 11)
+
+Perhaps a parody on 'All Hail to the Chief.'
+
+
+ALL IN THE DOWNS (_P.P._ 3)
+
+See 'Black-Eyed Susan.'
+
+
+ALL'S WELL (_O.C.S._ 56).
+
+See p. 125.
+
+Duet in _The English Fleet_.
+
+(_T. Dibdin_)                                     _J. Braham._
+
+    Deserted by the waning moon,
+    When skies proclaim night's cheerless gloom,
+    On tower, fort, or tented ground,
+    The sentry walks his lonely round;
+    And should a footstep haply stray
+    Where caution marks the guarded way,
+    Who goes there? Stranger, quickly tell,
+    A friend. The word? Good-night. All's well.
+
+
+AND SHE SHALL WALK (_O.C.S._ 66)
+
+Words by _Susan Blamire_.
+
+    And ye shall walk in silk attire,
+      And siller ha'e to spare,
+    Gin ye'll consent to be my bride,
+      Nor think on Donald mair.
+
+Susan Blamire was born at Carden Hall, near Carlisle. Very few
+of her poems were published under her own name, as well-born
+ladies of those days disliked seeing their names published as
+authors. 'The Siller Crown,' from which this verse is taken,
+is in the Cumberland dialect. It first appeared anonymously
+in the _Scots Musical Museum_, 1790, and the authorship was
+subsequently settled by members of the family.
+
+
+AND YOU NEEDN'T, MR. VENUS, BE YOUR BLACK BOTTLE (_O.M.F._).
+
+See p. 134.
+
+
+A STIFF NOR'-WESTER'S BLOWING, BILL (_D. & S._ 49)
+
+From 'The Sailor's Consolation.'
+
+    One night came on a hurricane,
+      The seas were mountains rolling,
+    When Barney Buntline turned his quid,
+      And said to Billy Bowling,
+    A stiff Nor'-Wester's blowing, Bill,
+      Hark, don't you hear it roar now?
+    Lord help 'em! how I pity's all
+      Unhappy folk ashore now.
+
+Mr. Kidson says in reference to this: 'I do not know that it was
+ever written to music, though I fancy more than one popular tune
+has been set to the words, which are by a person named Pitt.'
+
+
+AULD LANG SYNE ('Holly Tree,' _D.C._ 17, 28)
+
+Words by _Burns_.
+
+A version of the melody occurs at the end of the overture to
+Shield's _Rosina_, 1783, and is either his own composition or
+an imitation of some Scotch melody. As, however, such melody
+has not hitherto been discovered, no great importance can be
+attached to this theory. _Rosina_ was performed in Edinburgh.
+
+Some maintain that the tune is taken from a Scotch reel known as
+the 'Miller's Wedding,' found in Bremner's _Reels_ (1757-1761).
+
+
+AWAY WITH MELANCHOLY (_O.C.S._ 58, _O.M.F._ ii. 6, _P.P._ 44,
+_D.C._ 8)
+
+The melody is from Mozart's _Magic Flute_, 'Das klinget
+so herrlich'--a chorus with glockenspiel accompaniment.
+The writer of the words is unknown.
+
+The air was introduced into an arrangement of Shakespeare's
+_Tempest_, and set to the words 'To moments so delighting!'
+sung by Miss Stephens. Also found as a duet 'composed by
+Sigr. Mozart, arranged by F.A. Hyde.'
+
+
+BAY OF BISCAY (_U.T._ 31, _D. & S._ 39, _P.P._ 32)
+
+Words by _Andrew Cherry_.                           _J. Davy._
+
+Also see under 'A Frog He Would.'
+
+
+BEETHOVEN'S SONATA IN B.
+
+See p. 28.
+
+
+BEGONE, DULL CARE (_O.C.S._ 7, _E.D._ 2)
+
+Author unknown. The words occur in various song-books of the
+eighteenth century. The tune is seventeenth century, possibly
+derived from the 'Queen's Jigg' in the _Dancing Master_.
+
+    Begone, dull care, I prithee begone from me;
+    Begone, dull care, you and I can never agree.
+
+The words were set as a glee by John Sale, and this may be
+the music that Dickens knew.
+
+
+BELIEVE ME, IF ALL JARLEY'S WAXWORKS SO RARE (_O.C.S._ 27)
+
+A parody on the following.
+
+
+BELIEVE ME, IF ALL THOSE ENDEARING YOUNG CHARMS (_B.H._ 55)
+
+Words by _T. Moore_.
+
+Set to the old melody 'My Lodging is on the Cold Ground.' This
+appears to have come into existence about the middle of
+the eighteenth century. It is found in _Vocal Music, or the
+Songster's Companion_, 1775, and it was claimed by Moore to
+be an Irish melody, but some authorities deny this. It has
+also been claimed as Scotch, but the balance of opinion is in
+favour of its English origin (F. Kidson).
+
+
+BESIDE THAT COTTAGE DOOR, MR. BOFFIN (_O.M.F._)
+
+See p. 133.
+
+
+BID ME DISCOURSE (_S.B.T._ 4)
+
+Words adapted from Shakespeare's _Venus and Adonis_.
+
+                                                _H.R. Bishop._
+
+
+BIRD WALTZ (_D. & S._ 29, 38)
+                                                    _Panormo._
+
+A very popular piano piece of the pre-Victorian period.
+
+
+BLACK-EYED SUSAN (_A.N._), OR ALL IN THE DOWNS (_P.P._ 3)
+
+Words by _John Gay_.                           _R. Leveridge._
+
+This song was printed in sheet form previous to 1730, in which
+year it appeared in Watts' _Musical Miscellany_, Vol. IV.,
+and was also inserted about that time in several ballad operas.
+
+
+BOLD TURPIN VUNCE (_P.P._ 43)
+
+Mr. Frank Kidson has pointed out that Sam Weller's song is
+founded upon a ballad entitled 'Turpin and the Bishop,' which
+appears in _Gaieties and Gravities_, by one of the authors
+of _Rejected Addresses_. The author is said to be Horatio
+Smith. There is a good four-part setting of the words by Sir
+F. Bridge.
+
+
+BRAVE LODGINGS FOR ONE (_P.P._ 29)
+
+Original.
+
+
+BRITISH GRENADIERS (_B.H._ 49)
+
+The tune as we know it now is the growth of centuries, the
+foundation probably being a tune in _The Fitzwilliam Virginal
+Book_. The Grenadiers were founded in 1678. The second verse
+refers to 'hand grenades,' and the regiment ceased to use
+these in the reign of Queen Anne. The author is unknown.
+
+
+BRITONS, STRIKE HOME (_S.L._)
+
+The well-known song in Purcell's _Bonduca_ gave its name to an
+opera by Charles Dibdin, published in 1803. This work probably
+suggested the phrase to Dickens. It was written with a view
+to arousing a patriotic feeling. The following verse occurs
+in the work:
+
+    When Dryden wrote and Purcell sung
+      Britons, strike home,
+    The patriot-sounds re-echoing rung
+      The vaulted dome.
+
+
+BUFFALO GALS (_Letters_)
+
+See p. 10.
+
+
+BY THE SAD SEA WAVES (_Letters_)
+                                            _Julius Benedict._
+
+A once popular song from the opera _The Brides of Venice_.
+
+
+CHEER, BOYS, CHEER (_U.T._ 29)
+
+Words by _Charles Mackay_.                    _Henry Russell._
+
+    Cheer! boys, cheer! no more of idle sorrow--
+      Courage! true hearts shall bear us on our way,
+    Hope points before, and shows the bright to-morrow,
+      Let us forget the darkness of to-day.
+
+One of Russell's most popular songs. He sold the copyright for
+L3, and shortly afterwards learnt that the publisher had to
+keep thirty-nine presses at work on it night and day to meet
+the demand.
+
+
+COPENHAGEN WALTZ (_D. & S._ 7)
+
+Also known as the _Danish Waltz_.
+
+
+DEAD MARCH.
+
+From the oratorio _Saul_.                            _Handel._
+
+See p. 61.
+
+
+DEATH OF NELSON (_D.C._ 52, _D. & S._ 48, _O.M.F._ iv. 3)
+
+See p. 116.
+                                                  _J. Braham._
+
+    Too well the gallant hero fought,
+    For England, home, and beauty.
+
+
+DI PIACER (_S.B.T._ 1)
+                                                    _Rossini._
+
+A favourite air from the opera _La Gazza Ladra_.
+
+
+DOWNFALL OF PARIS
+
+See p. 31.
+
+
+DRAGON OF WANTLEY (_D.C._ 38)
+
+An eighteenth-century popular burlesque opera.
+
+Words by _H. Carey_, music by _Lampe_.
+
+
+DRINK TO ME ONLY WITH THINE EYES (_O.M.F._ iii. 14)
+
+Words by _Ben Jonson_.
+
+The composer is unknown. The air was originally issued as a
+glee for three voices.
+
+
+DUMBLEDUMDEARY (_S.B.S._ 10)
+
+A refrain rarely found in old songs. It occurs in 'Richard of
+Taunton Dean.' Also (as in the reference) the name of a dance.
+
+
+EVENING BELLS (_D.C._ 38)
+
+Duet by _G. Alexander Lee_.
+
+    Come away, come away, evening bells are ringing,
+    Sweetly, sweetly; 'tis the vesper hour.
+
+
+FARE THEE WELL, AND IF FOR EVER (_O.C.S._ 58)
+
+Words by _Byron_.
+
+Included in 'Domestic Pieces.'
+
+    Fare thee well, and if for ever,
+      Still for ever, fare thee well;
+    Even though unforgiving, never
+      'Gainst thee shall my heart rebel.
+
+About 1825 the words were set to an air from Mozart's _La
+Clemenza di Tito_. There are original settings by Parke,
+S. Webbe, and six other composers.
+
+
+FILL THE BUMPER FAIR (_N.T._)
+
+Moore's _Irish Melodies_, air 'Bob and Joan.'
+
+
+FLOW ON, THOU SHINING RIVER (_S.B.T._ 1)
+
+Moore's _National Melodies_.
+
+Said to be a 'Portuguese Air.' The melody has been utilized
+as a hymn-tune.
+
+
+FLY, FLY FROM THE WORLD, MY BESSY, WITH ME (_S.B.S._ 2)
+
+Words and music by _T. Moore_.
+
+
+FOR ENGLAND
+
+See 'Death of Nelson.'
+
+
+FOR ENGLAND, HOME, AND BEAUTY
+
+See 'Death of Nelson.'
+
+
+FOR THE PORT OF BARBADOS, BOYS (_D. & S._ 15)
+
+Original (?) See p. 122.
+
+
+FROM SPORT TO SPORT (_O.C.S._ 58)
+
+From 'Oh no, we never mention her.'
+
+Words by _T.H. Bayly_.                          _H.R. Bishop._
+
+    From sport to sport they hurry me,
+      To banish my regret;
+    And when they win a smile from me,
+      They think that I forget.
+
+
+GEE UP, DOBBIN (_D.C._ 12)
+
+In the Burney Collection is a tune 'Gee Ho, Dobbin.' Also in
+_Apollo's Cabinet_, 1757, Vol. II, and _Love in a Village_,
+1762. The tune was frequently used for ephemeral songs.
+
+It is doubtful if Dickens would know this song, the title of
+which has passed into a common phrase.
+
+
+GLORIOUS APOLLO (_O.C.S._ 13, 56)
+                                                   _S. Webbe._
+
+The title of this glee probably suggested the name of the
+'Glorious Apollers.' See p. 124.
+
+
+GO WHERE GLORY WAITS THEE (_M.C._ 11)
+
+('Do they often go where glory waits 'em?' _O.C.S._ 58)
+
+Moore's _Irish Melodies_, set to the air 'Maid of the Valley.'
+
+
+GOD BLESS THE PRINCE OF WALES (_U.T._ 29)
+
+Words by _J. Ceiriog Hughes_.
+Trans, by G. Linley.              _H. Brinley Richards_, 1862.
+
+
+GOD BLESS YOU, MERRY GENTLEMEN (_C.C._)
+
+Origin unknown. The second word should be 'rest,' and the
+correct reading is
+
+    God rest you merry, gentlemen.
+
+
+GOD SAVE THE KING (_S.B.S._ 19, &c.)
+
+GOD SAVE THE QUEEN (_M.C._ 29)
+
+It is unnecessary here to discuss the origin and sources of
+this air. The form in which we know it is probably due to
+Henry Carey, and the first recorded public performance was on
+September 28, 1745.
+
+
+HAD I A HEART FOR FALSEHOOD FRAMED (_D. & S._ 14)
+
+Words by _R.B. Sheridan_.
+
+Sung by Mr. Leoni (see _Choir_, May, 1912).
+
+In the _Duenna_, 1775. Set to the air now known as 'The Harp
+that once through Tara's Halls.'
+
+Moore, in his _Irish Melodies_, calls the melody 'Gramachree.'
+
+
+HAIL COLUMBIA (_M.C._ 13, _A.N._)
+
+Mr. Elson (_National Music of America_) says that the music
+was originally known as the 'President's March,' probably by
+a German composer. The words were subsequently adapted to the
+air by Dr. Joseph Hopkinson.
+
+
+HARMONIOUS BLACKSMITH (_G.E._ 21)
+
+From Handel's _Suite de Pieces pour le Clavecin_, Set I.
+
+See p. 19.
+
+
+HAS SHE THEN FAILED IN HER TRUTH (_N.N._ 49)
+
+_Anon._                                         _H.R. Bishop._
+
+    And has she then failed in her truth,
+      The beautiful maid I adore?
+    Shall I never again hear her voice,
+      Nor see her lov'd form any more?
+
+
+HEART OF OAK (_B.R._ 7, _E.D._ 12, _U.T._ 20, parody)
+
+Words by _D. Garrick_.                             _W. Boyce._
+
+It is important to notice that the correct title is as given,
+and not '_Hearts_ of Oak.'
+
+
+HELM A WEATHER, NOW LAY HER CLOSE (_O.M.F._)
+
+See p. 133.
+
+
+HOW DOTH THE LITTLE-- (_Ch._)
+                                                  _Dr. Watts._
+
+See p. 79.
+
+
+I AM A FRIAR OF ORDERS GREY (_S.B.S._ 8) (_Out of Season_)
+
+Words by _John O'Keefe_.                          _Wm. Reeve._
+
+Appeared in _Merry Sherwood_, 1795.
+
+
+I CARE NOT FOR SPRING
+
+See p. 99.
+
+
+I'D CROWNS RESIGN, TO CALL HER MINE (_D.C._ 25)
+
+'Lass of Richmond Hill.'
+
+Words by _L. MacNally_.                             _J. Hook._
+
+    I'd crowns resign, to call her mine,
+      Sweet lass of Richmond Hill.
+
+For a long time there was a dispute between the partisans of
+Surrey and Yorkshire as to which 'Richmond Hill' was referred
+to. The former county was the favourite for a long time,
+till a communication in _Notes and Queries_ (10th series
+iii. p. 290) pulverized its hopes and definitely placed the
+locality in Yorkshire.
+
+
+IF I HAD A DONKEY (_O.C.S._ 27)
+
+See p. 95.
+
+
+IF YOU'LL COME TO THE BOWER (_O.M.F._)
+
+See p. 134.
+
+
+I'LL TELL THEE HOW THE MAIDEN WEPT (_O.M.F._)
+
+See p. 133.
+
+
+IN HURRY, POST HASTE FOR A LICENCE (_P.P._ 10)
+
+See p. 90.
+
+
+I SAW HER AT THE FANCY FAIR (_S.B.T._ 11)
+
+
+I SAW THY SHOW IN YOUTHFUL PRIME (_O.C.S._ 27)
+
+Moore's _Irish Melodies_, air 'Domhnall.'
+
+    I saw thy form in youthful prime,
+      Nor thought that pale decay
+    Would steal before the steps of time,
+      And waste its bloom away, Mary.
+
+
+ISLE OF THE BRAVE AND LAND OF THE FREE (_M.J._)
+
+Original.
+
+
+IT MAY LIGHTEN AND STORM (_M.C._ 42)
+
+Possibly from some old ballad opera, but more probably original.
+
+
+JACK'S DELIGHT (TO) HIS LOVELY NAN (_D.C._ 11)
+
+Words and music by _C. Dibdin_.
+
+From 'Lovely Nan.' Last two lines:
+
+    But oh, much sweeter than all these,
+    Is Jack's delight, his lovely Nan.
+
+
+JIM CROW (_A.N._)
+                                                    _Unknown._
+
+See p. 97.
+
+    I come from old Kentucky,
+      A long time ago,
+    Where I first larn to wheel about,
+      And jump Jim Crow;
+    Wheel about and turn about,
+      And do jis so,
+    Eb'ry time I wheel about,
+      I jump Jim Crow.
+
+
+JOLLY YOUNG WATERMAN (_It._, _P.P._ 33)
+
+Words and music by _C. Dibdin_ in _The Waterman_.
+
+
+KING DEATH (_B.H._ 33)
+
+Words by _Barry Cornwall_.                          _Neukomm._
+
+    King Death was a rare old fellow,
+      He sat where no sun could shine,
+    And he lifted his hand so yellow,
+      And pour'd out his coal-black wine.
+        Hurrah for the coal-black wine!
+
+John Leech used to sing 'King Death,' and it was of his voice
+that Jerrold once remarked, 'I say, Leech, if you had the same
+opportunity of exercising your voice as you have of using your
+pencil, how it would _draw_!'
+
+
+LESBIA HATH A BEAMING EYE (_Letter to Lemon_)
+
+Words by _Moore_.
+
+Set to the delightfully gay air 'Nora Creina.'
+
+    Lesbia hath a beaming eye,
+      But no one knows for whom it beameth,
+    Right and left its arrows fly,
+      But what they aim at no one dreameth!
+
+
+LISTEN TO THE WATERFALL (_B.H._ 32)
+                                            _Lord Mornington._
+
+From the glee 'Here in cool grot.'
+
+
+LITTLE TAFFLINE (_D.C._ 28)
+
+Words by _Prince Hoare_.                         _S. Storace._
+
+In the opera _Three and The Deuce_, produced in 1806.
+
+See pp. 112, 113.
+
+There is a character 'Little Taffline' in T. Dibdin's
+_St. David's Day_, music composed and compiled by Attwood. There
+is another setting said to be 'composed by J. Parry,' but it
+is merely an altered form of the original.
+
+
+LOVELY PEG (_D. & S._ 10)
+
+See pp. 117-119.
+
+
+MARSEILLAISE (_M.C._ 15, _E.D._ 2, _L.D._ 2)
+
+                                            _Rouget de Lisle._
+
+For brief history see _The Choir_ (Nov., 1911)
+
+
+MASANIELLO (_S.B.T._ 9)
+
+Opera by _Auber_.
+
+See p. 26.
+
+
+MAY WE NE'ER WANT A FRIEND (_D. & S._ 15)
+
+See 'When the first dawn of reason.'
+
+
+MEN OF PROMETHEUS (_S.B.T._ 9)
+
+See p. 26.
+
+This was the name given to the first edition of Beethoven's
+ballet music to _Prometheus_, composed in 1800.
+
+
+MISS WACKLES, I BELIEVED YOU TRUE (_O.C.S._ 8)
+
+'Mary, I believed thee true,' _Moore_ (one of his 'Juvenile
+Poems').
+
+    Mary, I believed thee true,
+      And I was blest in so believing,
+    But now I mourn that e'er I knew
+      A girl so fair and so deceiving!
+
+It has been suggested that these words were adapted and sung
+to the Scotch air 'Gala Water.'
+
+
+MY BOAT IS ON THE SHORE (_G.S._) (_D.C._ 54, _Letters_)
+
+Words by _Lord Byron_.                               _Bishop._
+
+See p. 12.
+
+Also set by W. Cratherne.
+
+
+MY FEELINGS I SMOTHER (_O.C.S._ 36)
+
+See 'We met.'
+
+
+MY HEART'S IN THE HIGHLANDS (_O.C.S._ 2, _S.B.S._ 2)
+
+Words partly by _Burns_.
+
+In Captain Fraser's _Airs Peculiar to the Scottish Highlands_,
+1816.
+
+There is a parody by Dickens (see Forster's _Life_, ch. 8).
+
+
+NEVER LEAVE OFF DANCING (_D.C._ 41)
+
+Said to be the subject of a French song.
+
+
+NO MALICE TO DREAD, SIR (_O.M.F._)
+
+See p. 134.
+
+
+NON NOBIS (_S.B.S._ 19)
+
+This celebrated canon, by Byrd, has been performed at public
+dinners from time immemorial. It also used to be performed at
+the Theatre Royal, Covent Garden.
+
+
+NOW'S THE DAY, AND NOW'S THE HOUR (_D.C._ 54)
+
+Verse 2 of 'Scots, Wha Hae' (_Burns_).
+
+    Now's the day, and now's the hour,
+    See the front o' battle lour,
+    See approach proud Edward's power,
+        Chains and slaverie.
+
+
+OF ALL THE GIRLS THAT ARE SO SMART (_O.C.S._ 50)
+
+Words and music by _Henry Carey_.
+
+Carey composed his melody in 1715. It soon became popular,
+but owing to the similarity of certain phrases to those of
+an older tune known as 'The Country Lass,' the two gradually
+got mixed up, with the result that the latter became the
+recognized setting.
+
+
+OFF SHE GOES (_S.B.T._ 7)
+
+A once popular dance air.
+
+
+OFT IN THE STILLY NIGHT (_S.B.S._ 13)
+
+From T. Moore's _National Airs_, set to an air possibly of
+Scotch origin. There are also settings by Stevenson and Hullah.
+
+
+OH BLAME NOT THE BARD (_O.C.S._ 35)
+
+Words by _T. Moore_.
+
+In _Irish Melodies_. Set to the tune 'Kitty Tyrrel.'
+
+
+OH GIVE ME BUT MY ARAB STEED (_O.C.S._ 21)
+
+Words by _T.H. Bayly_.                          _G.A. Hodson._
+
+Written in 1828. Sung by Braham.
+
+    Oh give me but my Arab steed,
+      My prince defends his right,
+    And I will to the battle speed,
+      To guard him in the fight.
+
+
+OH CHEERILY, CHEERILY (_D. & S._ 32)
+
+Original, but a refrain similar to this is not uncommon in
+old sea songs.
+
+
+OH LADY FAIR (_G.E._ 13)
+
+Trio by _Moore_.
+
+See 'Strew then, O strew.'
+
+
+OH LET US LOVE OUR OCCUPATIONS (_Ch._)
+
+Original lines by Dickens. 'Set to music on the new system,'
+probably refers to Hullah's method (c. 1841), or possibly the
+Tonic Sol-fa (c. 1843), see p. 17.
+
+
+OH LANDSMEN ARE FOLLY (_H.R._)
+
+Original.
+
+
+OLD CLEM (_G.E._ 12, 15)
+
+A custom prevailed at Chatham of holding a procession
+on St. Clement's day, and the saint, who was irreverently
+designated 'Old Clem,' was personated by a young smith disguised
+for the occasion.
+
+Dickens frequently writes a verse in the form of prose, and
+this is an example. Written out properly, it reads thus:
+
+    Hammer boys round--Old Clem,
+    With a thump and a sound--Old Clem,
+    Beat it out, beat it out--Old Clem,
+    With a cluck for the stout--Old Clem,
+    Blow the fire, blow the fire--Old Clem,
+    Roaring drier, soaring higher--Old Clem.
+
+
+OLD KING COLE (_O.C.S._ 58, _P.P._ 36)
+
+The personality of this gentleman has never been settled.
+Chappell suggests he was 'Old Cole,' a cloth-maker of Reading
+_temp._ Henry I. Wardle's carol 'I care not for spring' (_P.P._
+36) was adapted to this air, and printed in How's _Illustrated
+Book of British Song_.
+
+
+OVER THE HILLS AND FAR AWAY (_Dr. M._, _M.C._ 36)
+
+An old saying, both in song and as a phrase. It occurs in two
+songs in D'Urfey's _Pills to Purge Melancholy_, 1709, one of
+which is,
+
+    Tom he was a piper's son,
+    He learned to play when he was young;
+    But all the tune that he could play
+    Was over the hills and far away.
+                                          (Vol. iv.)
+
+Doctor Marigold's version is probably original:
+
+    North and South and West and East,
+    Winds liked best and winds liked least,
+    Here and there and gone astray,
+    Over the hills and far away.
+
+
+OVER THE WATER TO CHARLIE (_O.C.S._ 27)
+
+Tune in Johnson's _Musical Museum_, Vol. II, 1788.
+
+    Come boat me o'er, come row me o'er,
+      Come boat me o'er to Charlie,
+    I'll gie John Brown another half-crown,
+      To boat me o'er to Charlie;
+    We'll o'er the water, we'll o'er the sea,
+      We'll o'er the water to Charlie,
+    Come weal, come woe, we'll gather and go,
+      And live or die wi' Charlie.
+
+Another Jacobite song was the cause of an amusing incident at
+Edinburgh. On the occasion of one of his visits there Dickens
+went to the theatre, and he and his friends were much amazed
+and amused by the orchestra playing 'Charlie is my darling'
+amid tumultuous shouts of delight.
+
+
+PAUL AND VIRGINIA (_S.B.T._ 7, _L.D._ 13)
+                                               _J. Mazzinghi._
+
+The popular duet from this opera 'See from ocean rising'
+was sung by Mr. Johnstone and Mr. Incledon. See p. 91.
+
+
+POLLY PUT THE KETTLE ON (_B.R._ 24)
+
+An old country dance.
+
+
+RED RUFFIAN, RETIRE! (_S.B.C._ 8)
+
+Probably an imaginary title, invented by Dickens.
+
+
+RULE BRITANNIA (_D. & S._ 4, 39, _U.T._ 2, _M.C._ 11, 17,
+_A.N._, _D.C._ 8)
+
+Words by _Thomson_ or _Mallet_.                        _Arne._
+
+First appeared in print at the end of the masque _The Judgement
+of Paris_, but it was composed for the masque of _Alfred_,
+which was first performed on August 1, 1740. See _Musical
+Times_, April, 1900.
+
+
+SALLY IN OUR ALLEY
+
+See 'Of all the girls.'
+
+
+SATAN FINDS SOME MISCHIEF STILL (_D.C._ 16)
+
+See p. 80.
+                                                  _Dr. Watts._
+
+
+SEE FROM OCEAN RISING (_S.B.T._ 7)
+
+See _Paul and Virginia_.
+
+
+SHE'S ALL MY FANCY PAINTED HER (_O.C.S._ 7)
+
+('Alice Gray.')
+
+See 'Yet lov'd I.'
+
+
+SHE'S LIKE THE RED, RED ROSE (_O.C.S._ 8)
+
+Burns revised the words from an old song.
+
+The music is in _Caledonian Pocket Companion_, Bk. VII, 1754,
+under the name 'Low Down in the Broom.'
+
+
+SHIVERY SHAKEY, AIN'T IT COLD (_Dr. M._)
+
+See p. 94.
+
+
+SINCE LAWS WERE MADE FOR EVERY DEGREE (_O.C.S._ 66, _L.D._
+ii. 12)
+
+    TYBURN TREE.
+
+    Since laws were made for ev'ry degree
+    To curb vice in others as well as me,
+    I wonder we han't better company
+          Upon Tyburn Tree.
+
+From _Beggar's Opera_. Words by _Gay_.
+
+Set to the tune of 'Greensleeves,' which dates from 1580. This
+tune is twice mentioned by Shakespeare in _The Merry Wives
+of Windsor_. An earlier 'Tyburn' version is a song entitled
+'A Warning to False Traitors,' which refers to the execution
+of six people at 'Tyborne' on August 30, 1588.
+
+
+SINCE THE FIRST DAWN OF REASON
+                                                    _J. Davy._
+
+See p. 120.
+
+
+SONG ABOUT A SPARKLING BOWL (_Ch._)
+
+There are several songs of this nature, such as 'The Flowing
+Bowl' ('Fill the bowl with sparkling nectar'). Another began
+'Fill, fill the bowl with sparkling wine.'
+
+
+SONG ABOUT THE SLUMBERING ECHOES IN THE CAVERN OF MEMORY
+(_D.C._ 33)
+
+Not at present traced.
+
+
+STREW THEN, OH STREW A BED OF RUSHES (_O.C.S._ 65)
+
+Words and music by _Moore_.
+
+From the glee 'Holy be the Pilgrim's Sleep,' which is a sequel
+to 'Oh Lady Fair' (q.v.).
+
+Moore wrote two inane songs, entitled 'Holy be the Pilgrim's
+Sleep' and 'Oh Lady Fair.' For both pilgrim and lady arrangements
+are made for spending the night somewhere, and in each song occur
+the words
+
+    Strew then, oh strew his [our] bed of rushes,
+    Here he shall [we must] rest till morning blushes.
+
+
+TAMAROO (_M.C._ 32)
+
+Said to be taken from an English ballad in which it is
+supposed to express the bold and fiery nature of a certain
+hackney coachman.
+
+According to _Notes and Queries_ (x. 1), this was sung
+at Winchester School some seventy or eighty years ago.
+
+The following is quoted as the first verse:
+
+    Ben he was a coachman rare
+    ('Jarvey! Jarvey!' 'Here I am, yer honour'),
+    Crikey! how he used to swear!
+    How he'd swear, and how he'd drive,
+    Number two hundred and sixty-five.
+        Tamaroo! Tamaroo! Tamaroo!
+
+Dr. Sweeting, the present music-master at Winchester, says,
+'The song "Tamaroo" is quite unknown here now, and if it was
+sung here seventy or eighty years ago, I should imagine that
+that was only because it was generally well known. Dickens'
+allusion to it seems to suggest that it was a song he had heard,
+and he utilized its character to label one of his characters
+in his own fanciful way.'
+
+
+TARRY TROUSERS (_D. & S._ 39)
+
+An old folk-song. A mother wants her daughter to marry a tailor,
+and not wait for her sailor bold, telling her that it is quite
+time she was a bride. The daughter says:
+
+    My mother wants me to wed with a tailor,
+      And not give me my heart's delight,
+    But give me the man with the tarry trousers,
+      That shine to me like diamonds bright.
+
+
+TELL ME, SHEPHERDS (_E.D._ 2)
+                                                  _Mazzinghi._
+
+Glee. 'Ye Shepherds, tell me' (or 'The Wreath').
+
+
+THE BRAVE OLD OAK (_S.B.S._ 2.)
+
+Words by _H.F. Chorley_.                         _E.J. Loder._
+
+    A song for the oak, the brave old oak,
+      Who hath ruled in the greenwood long;
+    Here's health and renown to his broad green crown,
+      And his fifty arms so strong!
+
+
+THE BULL IN THE CHINA SHOP
+
+See p. 111.
+
+
+THE CHERUB THAT SITS UP ALOFT (_U.T._ 5)
+
+From 'Poor Jack.'                                 _C. Dibdin._
+
+    For d'ye see, there's a cherub sits smiling aloft
+    To keep watch for the life of Poor Jack.
+
+                      (_Last two lines of verse 3._)
+
+
+THE CORDIAL THAT SPARKLED FOR HELEN (_O.C.S._ 61)
+
+Moore's _Irish Melodies_.
+
+
+THE DASHING WHITE SERGEANT (_D.C._ 28)
+
+Words by _General Burgoyne_.                    _H.R. Bishop._
+
+    If I had a beau, for a soldier who'd go,
+    Do you think I'd say no? No, no, not I.
+
+
+THE GAY, THE GAY AND FESTIVE SEASON (_O.M.F._)
+
+See 'The Light Guitar.'
+
+
+THE GREAT SEA SNAKE
+
+Set to the air 'Rampant Moll.'
+
+    Perhaps you have all of you heard of a yarn
+      Of a famous large sea snake,
+    That once was seen off the Isle Pitcairn
+      And caught by Admiral Blake.
+
+See p. 16.
+
+
+THE IVY GREEN (_P.P._ 6.)
+
+Words by _Dickens_. The most popular musical setting is that
+by _Henry Russell_.
+
+
+THE LIGHT GUITAR (_S.B.T._ 1, _O.C.S._)
+                                                    _Barnett._
+
+    Oh leave the gay and festive scene,
+      The halls of dazzling light,
+    And rove with me through forests green
+      Beneath the silent night.
+
+
+THE MILLER OF THE DEE (_O.M.F._ ii. 1)
+
+Words, c. 1762.                                    Tune, 1728.
+
+Referring to a disused boiler and a great iron wheel, Dickens
+says they are
+
+    Like the Miller of questionable jollity in the song.
+    They cared for Nobody, no not they, and Nobody cared
+    for them.
+
+The air is found in _The Quaker's Opera_, 1728.
+
+
+THE RATCATCHER'S DAUGHTER (_Out of Season_)
+
+See p. 98.
+
+
+THE SEVEN AGES (_S.B.S._ 14)
+
+See pp. 91, 92.
+
+
+THE SOLDIER, TIRED (_S.B.C._ 4)
+                                                       _Arne._
+
+Dr. Arne translated the words from the _Artaserse_ of
+Metastasio. This song was the great 'show song' for sopranos
+for many years. It was originally sung by Miss Brent.
+
+    The soldier, tired of war's alarms,
+    Forswears the clang of hostile arms,
+      And scorns the spear and shield;
+    But if the brazen trumpet sound,
+    He burns with conquest to be crowned,
+      And dares again the field.
+
+
+THE WOODPECKER TAPPING (_D.C._ 36, _L.D._ 35, _S.B.T._ 1,
+_M.C._ 25)
+
+Words by _Moore_.                                  _M. Kelly._
+
+    Every leaf was at rest, and I heard not a sound
+    But the woodpecker tapping the hollow beech-tree.
+
+
+THE YOUNG MAY MOON
+
+See p. 131.
+
+
+THEN FAREWELL, MY TRIM-BUILT WHERRY (_O.M.F._)
+
+See p. 133.
+
+
+THERE LET 'EM BE, MERRY AND FREE, TOOR-RUL-LAL-LA (_O.C.S._ 56)
+
+Probably original.
+
+
+THOUGH LOST TO SIGHT, TO MEMORY DEAR (_D. & S._ 48)
+
+Words and music by _G. Linley_.
+
+    Tho' lost to sight, to mem'ry dear
+      Thou ever wilt remain,
+    One only hope my heart can cheer:
+      The hope to meet again.
+
+
+THROWN ON THE WIDE WORLD (_O.M.F._)
+
+See p. 133.
+
+
+TIME OF DAY (_S.B.C._ 8)
+
+See p. 92.
+
+
+'TIS THE VOICE OF THE SLUGGARD (_M.C._ 9)
+                                                  _Dr. Watts._
+
+
+'TWAS EVER THUS FROM CHILDHOOD'S HOUR (_O.C.S._ 56, _D.C._ 38)
+
+('Oh ever,' &c.)
+
+Words by _Moore_.
+
+From 'Lalla Rookh.' Has been set to music by S. Glover,
+E. Souper, and Verini.
+
+
+VILLIKENS AND HIS DINAH
+
+Sung by Mr. Robson and by S. Cowell.
+
+Composer unknown.               A very popular song 1850-1860.
+
+    It's of a liquor merchant who in London did dwell,
+    He had but one darter, a beautiful gal.
+    Her name it was Dinah, just sixteen years old,
+    And she had a large fortune in silver and gold.
+        To my too-ral-lal loo-ral-li loo-ral-li-day.
+
+
+WAPPING OLD STAIRS (_U.T._ 3)
+                                                   _J. Percy._
+
+
+WEEP FOR THE HOUR (_O.M.F._)
+
+See p. 133.
+
+
+WE MET (_O.C.S._ 36, _S.B.T._ 11)
+                                                 _T.H. Bayly._
+
+The story of a girl who was compelled by her mother to jilt
+her true love and marry some one else. The story ends with
+the words misquoted by Swiveller:
+
+    The world may think me gay,
+      For my feelings I smother--
+    Oh! _thou_ hast been the cause
+      Of this anguish, my mother!
+
+
+WE'RE A'NODDIN' (_B.H._ 39)
+
+_Anonymous._
+
+A once popular Scotch song.
+
+    O we're a' noddin, nid nid noddin,
+    O we're a' noddin at our house at home;
+    How's o' wi' ye, kimmer? And how do ye thrive,
+    And how many bairns hae ye now? Bairns I hae five.
+
+
+WE WON'T GO HOME TILL MORNING (_P.P._ 7)
+
+Said in the _London Singer's Magazine_ (c. 1839) to be
+written and composed by C. Blondel ('adapted and arranged'
+might be more correct). The tune is founded on an air known
+as Malbrough, or Malbrook, which originated during the Duke
+of Marlborough's campaign, 1704-1709, known as 'The War of
+the Spanish Succession.'
+
+
+WHAT ARE THE WILD WAVES SAYING?
+
+Words by _J.E. Carpenter_.                   _Stephen Glover._
+
+This duet was founded upon the question little Paul Dombey
+asks his sister:
+
+    I want to know what it says--the sea, Floy, what is
+    it that it keeps on saying?
+
+
+WHEN HE WHO ADORES THEE (_O.C.S._ 35)
+
+Words by _Moore_.
+
+In _Irish Melodies_ to the air 'The Fox's Sleep.'
+
+
+WHEN I WENT TO LUNNON TOWN, SIRS (_G.E._ 15)
+
+Probably original. The nearest I have found to it is--
+
+    THE ASTONISHED COUNTRYMAN, OR,
+    A BUSTLING PICTURE OF LONDON.
+
+    When first I came to London Town,
+      How great was my surprise,
+    Thought I, the world's turned upside down,
+      Such wonders met my eyes.
+
+And in _The Universal Songster_--
+
+    When I arrived in London Town,
+    I got my lesson pat, &c.
+
+
+WHEN IN DEATH I SHALL CALM RECLINE
+
+Moore's _Irish Melodies_.
+
+In 1833 Dickens wrote a travesty called _O' Thello_, in which
+is a humorous solo of eight lines, to be sung to the air to
+which the above is set.
+
+
+WHEN LOVELY WOMAN STOOPS TO FOLLY (_O.C.S._ 56)
+
+    'Do my pretty Olivia,' cried she, 'let us have that
+    little melancholy air your papa was so fond of;
+    your sister Sophy has already obliged us. Do, child,
+    it will please your old father.' She complied in a
+    manner so exquisitely pathetic, as moved me.
+
+      When lovely woman stoops to folly,
+        And finds, too late, that men betray,
+      What charm can soothe her melancholy?
+        What art can wash her guilt away?
+
+       (Goldsmith's _Vicar of Wakefield_, ch. xxiv.)
+
+
+WHEN THE HEART OF A MAN (_D.C._ 24, _O.M.F._ iii. 14)
+
+Words by _Gay_ (_Beggar's Opera_). Set to a seventeenth-century
+air.
+
+    If the heart of a man is depressed with care,
+    The mist is dispelled when a woman appears,
+    Like the notes of a fiddle she sweetly, sweetly
+    Raises our spirits and charms our ears.
+
+
+WHEN THE STORMY WINDS (_D.C._ 21, _D. & S._ 23)
+
+Words by _Campbell_, who may have taken them from an earlier
+source. See 'You Gentlemen of England.'
+
+
+WHITE SAND (_L.D._ i. 32)
+
+An old glee. See p. 106.
+
+
+WHO PASSES BY THIS ROAD SO LATE (_L.D._ i. 1)
+
+(Blandois' Song.)
+
+Words by _C. Dickens_.                        _H.R.S. Dalton._
+
+An old French children's singing game. Dickens' words are
+a literal translation. See _Eighty Singing Games_ (Kidson
+and Moffat).
+
+
+WHO RAN TO CATCH ME WHEN I FELL (_O.C.S._ 38)
+
+From Ann Taylor's nursery song 'My Mother.'
+
+
+WIFE SHALL DANCE AND I WILL SING, SO MERRILY PASS THE DAY
+
+From 'Begone, dull care' (q.v.).
+
+
+WILL WATCH, THE BOLD SMUGGLER (_Out of Season_)
+                                                  _John Davy._
+
+
+YANKEE DOODLE (_U.T._, _A.N._)
+
+Mr. F. Kidson has traced this to 'A selection of Scotch,
+English, Irish, and Foreign Airs,' published in Glasgow by
+James Aird, c. 1775 or 1776.
+
+
+YET LOV'D I AS MAN NE'ER LOVED (_O.C.S._ 50)
+
+Words by _William Mee_.                             _Millard._
+
+From 'Alice Gray.'
+
+    She's all my fancy painted her,
+      She's lovely, she's divine,
+    But her heart it is another's,
+      It never can be mine.
+    Yet lov'd I as ne'er man loved,
+      A love without decay,
+    Oh my heart, my heart is breaking,
+      For the love of _Alice Gray_!
+
+'Alice Gray.' A ballad, sung by Miss Stephens, Miss Palon,
+and Miss Grant. Composed and inscribed to Mr. A. Pettet by
+Mrs. Philip Millard.
+
+Published by A. Pettet, Hanway Street.
+
+
+YOU GENTLEMEN OF ENGLAND (_D. & S._ 23)
+
+Old English Ballad.
+
+A seventeenth-century song, the last line of each verse being
+'When the stormy winds do blow.'
+
+
+YOUNG LOVE LIVED ONCE (_S.B.S._ 20)
+
+In _Sketches by Boz_ this sentence occurs:
+
+    'When we say a "shed" we do not mean the conservatory
+    kind of building which, according to the old song,
+    Love frequented when a young man.'
+
+The song referred to is by T. Moore.
+
+    Young love lived once in a humble shed,
+      Where roses breathing,
+      And woodbines wreathing,
+    Around the lattice their tendrils spread,
+    As wild and sweet as the life he led.
+
+It is one of the songs in _M.P., or The Blue-Stocking_,
+a comic opera in three acts.
+
+
+
+
+INDEX OF MUSICAL INSTRUMENTS
+
+
+  Accordion, 1, 2
+  Aeolian Harp, 10
+
+  Bagpipes, 5, 44
+  Banjo, [20]
+  Barrel-Organ, 5, 6, 10, 50, 53, 78
+  Bassoon, 43
+  Bells (church) 55, 57
+  Bells (various), 23, 57, 61, 66
+
+  Castanets, 56
+  'Chaunter,' 109
+  Chin-playing, 62
+  Clarionet, 42, 43
+  Cymbals, 3, 56, 64
+
+  Drum, 23, 64, 66, 110
+  'Drums,' 109
+
+  Fiddle, see Violin
+  Fife, 44, 63, 85
+  Flageolet, 67
+  Flute, 6, 25, 26, 36, 37-40, 45
+
+  Guitar, 37, 54, 55, 62
+  'Gum-gum,' 63
+
+  Harmonium, 63
+  Harp, 6, 23, 25, 26, 29, 30, 31, 64
+  Harpsichord, 33, 47
+
+  Jew's-harp, 57
+
+  Key Bugle (or Kent Bugle), 2, 3, 65, 66, 87
+  Kit, 27
+
+  Lute, 55
+
+  Marrowbones and Cleaver, 23, 66, 67
+  Mouth-organ, 67
+
+  Organ, 45-50, 52, 69-72
+
+  Pan's Pipes, 43, 67
+  Piano, 1, 6, 25-29, 31-35, 74, 76
+  Piano ('self acting'), 48
+
+  Recorders, 64
+
+  Serpent, 63
+
+  Tambourine, 25, 43, 56, 62
+  Tom-tom, 62
+  Triangle, 41, 43, 68
+  Trombone, 43, 67
+
+  Violin, 1, 2, 5, 6, 23-29, 47, 64
+  Violoncello, 6, 25, 29, 44
+
+
+
+
+INDEX OF CHARACTERS
+
+
+  Antonio (_U.T._), 54
+  Atherfield, Mrs. (_G.M._), 78
+
+  Bagnet, Mrs. (_B.H._), 113
+  Bagnet (_B.H._), 43, 85
+  Bagnet, Master (_B.H._), 44, 85
+  Bailey, Jr. (_M.C._), 59, 89
+  Banjo Bones (_U.T._ 5), 20
+  Belinda (_M.H.C._), 61
+  Billsmethi (_S.B.C._ 9), 20
+  Blackpool, S. (_H.T._), 59
+  Blandois (_L.D._), 17
+  Blathers (_O.T._), 56
+  Blimber, Dr. (_D.C._), 53, 58
+  Boffin (_O.M.F._), 133
+  Bounderby (_H.T._), 56
+  Brass, Sally (_O.C.S._), 103, 128
+  Brass, Sampson (_O.C.S._), 27, 40, 78, 102, 128
+  Briggses, Miss (_S.B.T._ 7), 54, 62
+  Browdie, John (_N.N._), 101
+  Brown, Mr. (_S.B.T._ 9), [26]
+  Bucket (_B.H._), 29, 43, 44, 64, 85, 112
+  Bunsby (_L.D._), 121
+
+  Carker, Harriet (_D. & S._), 40
+  Carker, James (_D. & S._), 28, 59
+  Casby (_L.D._), 53
+  Chadband, Rev. (_B.H._), 74
+  Cheggs (_O.C.S._), 126
+  Chivery, Young (_L.D._), 55
+  Chuckster (_O.C.S._), 125
+  Chuzzlewit, Jonas (_M.C._), 41, 59
+  Chuzzlewit, Martin (_M.C._), 102
+  Chuzzlewit, M., Jr., 46, 66, 84, 86
+  Clennam, Arthur (_L.D._), 49, 59, 90
+  Copperfield, David (_D.C._), 30, 33, 36, 55, 80, 84, 102, 112, 115
+  Crewler, Sophy (_D.C._), 33
+  Crisparkle, Rev. (_E.D._), 74, 107
+  Crumptons, Miss (_S.B.T._ 3), 20
+  Cuttle, Capt. (_D. & S._), 7, 18, 83, 84, 89, 117-123
+
+  Daisy, Solomon (_B.R._), 73
+  Dartle, Rosa (_D.C._), 30
+  Dick, Mr. (_D.C._), 110
+  Dombey, Mr. (_D. & S._), 6, 31, 67
+  Dombey, Florence (_D. & S._), 89, 101, 118, 120, 121
+  Dombey, Paul (_D. & S._), 30, 36, 53, 58, 101
+  Dorrit, E. (_L.D._), 109
+  Dorrit, F. (_L.D._), 42, 49
+  Dorrit, W. (_L.D._), 34
+  Dorrit, Miss (_L.D._), 42
+  Dorrit, Little (_L.D._), 42
+  Dowler (_P.P._), 60
+  Drood, E. (_E.D._), 75
+  Durdles (_E.D._), 18, 76
+
+  Evans, Jemima (_S.B.C._ 4), 16, 48
+  Evans, Mr. (_S.B.T._ 9), 39
+  Evenson (_S.B.T._ 1), 40
+
+  Fagin (_O.T._), 59
+  Feeder (_D. & S._), 36, 52, 53, 66
+  Fezziwig, Mrs. (_C.C._), 25
+  Fielding, May (_C.H._), 66
+  Finching, Flora (_L.D._), 49, 90, 117
+  Fips (_M.C._), 102
+
+  Gamp, Mrs. (_M.C._), 57
+  Gattleton, Mrs. (_S.B.T._ 9), 25, 39
+  Gay, Walter (_D. & S._), 84, 120, 121
+  General, Mrs. (_L.D._), 131
+  George, Mr. (_B.H._), 29, 44, 61
+  Gills ('Old Sol') (_D. & S._), 120
+  Graham, Mary (_M.C._), 47
+
+  Handel (_G.E._), see Pirrip
+  Hardy (_S.B.T._ 7), 62, 63
+  Harleigh (_S.B.T._ 9), 9
+  Harris, Mrs. (_M.C._), 57
+  Heep (_D.C._), 80, 116
+  Helves, Capt. (_S.B.T._ 7), 62, 90, 103
+  Hexham (_O.M.F._), 44
+  Hopkins, 135
+  Humm (_P.P._), 78
+  Humphrey, Master (_M.H.C._), 61
+  Hunter, Mrs. (_P.P._)
+
+  Jacksonini (_Letters_), 20
+  Jarley, Mrs. (_O.C.S._), 95
+  Jasper (_E.D._), 34, 74, 75, 107
+  Jeddler (_B.L._), 26
+  Jellyby, Caddy (_B.H._), 27, 33
+  Jerry (_O.C.S._), 52, 78
+  Jingle (_P.P._), 25, 29, 90
+  Jorgan (_P.P._), 47
+
+  Kenwigs, Mrs. (_N.N._), 41, 131
+  Kit, see Nubbles
+
+  Ladle, Joey (_N.T._), 77
+  Larkins, Miss (_D.C._), 30
+  Lirriper, Mrs. (_L.L._), 56, 70
+  Lobskini (_S.B.T._ 3), 20
+
+  M'Choakumchild (_H.T._), 130
+  Malderton, Miss (_S.B.T._ 5), 31, 107
+  Maldon, Jack (_D.C._)
+  Mantalini (_N.N._), 60
+  Marchioness, The (_O.C.S._), 38, 123, 128, 129
+  Marigold, Dr., 93
+  Marra Boni (_S.B.C._ 8), 20
+  Meagles (_L.D._), 86
+  Meagles, Miss ('Pet'), 77
+  Mell (_D.C._), 36, 117
+  Micawber (_D.C._), 41, 83, 112-117
+  Micawber, Mrs. (_D.C._), 112, 113, 117
+  Micawber, W. (_D.C._), 117
+  Miggs, Miss (_B.R._), 56
+  Mills, Miss (_D.C._), 102
+  Monflathers, Mrs. (_O.C.S._), 79
+  Mordlin, Brother (_P.P._), 78
+  Morfin (_D. & S._), 27, 28, 29, 41
+
+  Namby, Mrs. (_P.P._), 33
+  Nancy (_O.T._), 39
+  Nandy (_L.D._), 105, 106
+  Nell, Little (_O.C.S._), 79, 101
+  Nickleby (_N.N._), 58, 100
+  Noggs (_N.N._), 60
+  Nubbles ('Kit') (_O.C.S._), 27, 129
+
+  Obenreizer (_N.T._), 14
+  'Old Clem,' 151
+  'Old Sol,' see Gills
+
+  Pancks (_L.D._), vii, 53, 106
+  Pecksniff (_M.C._), 7, 41, 46
+  Pecksniffs, Miss (_M.C._), 38, 89, 101, 108
+  Peerybingle, Mrs. (_C.H._), 79
+  'Pet,' see Meagles, Miss
+  Petowker, Miss (_N.N._), 41
+  Phenomenon, The (_N.N._), 24
+  Pickleson (_Dr. M._), 20, 93
+  Pickwick, Mr. (_P.P._), 27, 33, 34, 60, 100
+  Pinch, Tom (_M.C._), 46, 47, 59, 60, 72 (&c.)
+  Pirrip ('Pip' or 'Handel'), 19, 108
+  Pip (_G.E._), see Pirrip
+  Plornish, Mrs. (_L.D._), 105, 106
+  Plornish, Mr. (_L.D._), 106
+  Plummer (_C.H._), 64
+  Pocket, Herbert (_G.E._), 19
+
+  Quilp (_O.C.S._), 103, 127
+
+  Redburn, Jack (_M.H.C._), 38
+  Rob the Grinder (_D. & S._), 123
+  Rudolph, Jennings (_S.B.C._ 8), 68
+
+  Sapsea, Mr. (_E.D._), 18, 76
+  Sawyer, Bob (_P.P._), 59, 100
+  Scrooge (_C.C._), 30
+  Scrooge's Nephew (_C.C._), 30, 107
+  Simpson (_P.P._), 109
+  Skettles, Lady (_D. & S._), 30
+  Skewton, Hon. Mrs. (_D. & S._), 31
+  Skimpole (_B.H._), 33, 131
+  Smike (_N.N._), 58
+  Sparkins (_S.B.T._ 5), 31, 107
+  Spenlow, Dora (_D.C._) 33, 55, 102
+  Squeers (_N.N._), 36, 100
+  Steerforth (_D.C._) 30
+  Stiggins (_P.P._), 74
+  Strong, Dr. (_D.C._) 45, 80
+  Summerson, Esther (_B.H._), 29
+  Sweedlepipe (_M.C._), 59
+  Swills, Little (_B.H._), 107
+  Swiveller, Dick (_O.C.S._), 12, 27, 37, 78, 83, 123-130
+
+  Tackleton (_C.H._), 65, 66
+  Tapley, Mark (_M.C._), 73, 84, 86, 102
+  Tappertit (_B.R._), 25
+  Tauntons, Miss (_S.B.T._ 7), 54, 90
+  Tetterby Family (_H.M._), 79
+  Tibbs, Mrs. (_S.B.T._ 1), 40
+  Timson, Rev. (_S.B.T._ 10), 29
+  Tiny Tim (_C.C._), 101
+  Tippin, Mrs. (_S.B.T._ 4), 62
+  Tippin, Master (_S.B.T._ 4), 62
+  Todgers, Mrs. (_M.C._), 89, 108
+  Tomlinson (_D. & S._), 67
+  Toots (_D.C._), 37
+  Topper (_C.C._), 103
+  Tottle, Watkins (_S.B.T._ 10), 59
+  Tox, Miss (_D. & S._), 33
+  Tpschoffki (_G.S._), 20, 51
+  Traddles (_D.C._), 33
+  Trotter, Job (_P.P._), 80
+  Trotwood, Miss (_D.C._), 50
+  Tulrumble (_M.P._), 51
+  Tupman (_P.P._), 25
+  Turveydrop (_B.H._), 29
+  Twist, Oliver (_O.T._), 39
+
+  Varden, Mrs. (_B.R._)
+  Veck, Toby ('Trotty') (_Ch._), 23, 50, 66
+  Velasco, Rinaldo di, see Pickleson
+
+  Wackles, Sophy (_O.C.S._), 37, 125-128
+  Wardle (_P.P._), 99
+  Wegg, Silas (_O.M.F._), 132-134
+  Weller, Mr. (_P.P._), 34
+  Weller, Sam (_P.P._), 34, 73 (&c.), 99, 100
+  Wickfield (_D.C._), 80
+  Wilding (_N.T._), 77
+  Wilfer (_O.M.F._), 61, 96
+  Wilkins (_S.B.C._), 48
+  Willet, Joe (_B.R._), 73
+  Wisbottle (_S.B.T._ 1), 40
+  Wopsle (_G.E._), 64, 72, 108
+
+
+
+
+GENERAL INDEX
+
+
+  Allon, Dr., 81
+  Arne, Dr., 16, 77, 153, 157
+  Attwood, T., 114
+  Auber, 3
+
+  Barnett, J., 157
+  Bath, 60
+  Bayly, T.H., 130, 159
+  Bedford (singer), 91
+  Beethoven, 21, 148
+  _Beggar's Opera_, 135, 153, 161
+  _Bell's Life in London_, 92
+  'Belmont' (Hymn-tune), 98
+  Benedict, Sir J., 140
+  Bishop, Sir H., 12, 14, 138, 142, 144, 148, 156
+  Blamire, S., 136
+  Blondel, C., 159
+  Boai, M., 62
+  Boston (U.S.A.), 7, 32
+  Bowden, 1
+  Boyce, W., 144
+  Braham (singer), 15, 116, 136, 140
+  Bridge, Sir F., 99, 139
+  Broadstairs, 5, 9, 10
+  Buckingham (singer), 92
+  Burgoyne, 156
+  Burns, 137, 149, 153
+  Byrd, 149
+  Byron, 12, 141
+
+  Campbell, 11, 161
+  Carey, H., 141, 143, 149
+  Carpenter, J.E., 160
+  Carrara, 4
+  Chappell, W., 151
+  'Chaunter,' 109
+  Cherry, Andrew, 137
+  _Choir_, The, 18, 87
+  Chopin, 2
+  Chorley, H., 12, 21
+  Clapham, 67
+  _Clari_, 14
+  Collins, Wilkie, 11
+  Cowell (singer), 139
+  Curwen, John, 17
+
+  _Daily News_, The, 16, 20
+  Dalton, H.R.S., 17, 161
+  Davies, Rev. R., 82
+  Davy, J., 120, 137, 154, 162
+  Dibdin, C., 88, 115, 119, 133, 139, 146, 156
+  Dibdin, C., Jr., 111
+  Dibdin, T., 114, 147
+  Dover, 5
+  'Drums,' 109
+  D'Urfey, 151
+
+  'Eagle,' The, 24, 27, 47, 48
+  'Elephant and Castle,' The, 43
+  Elson, C., 144
+
+  Fairburn (song publisher), 9, 89, 121
+  Field, J.T., 8
+  Forster, J., 1, 5, 9, 24, 58, 82
+  Foundling Hospital, 77
+
+  Garrick, D., 144
+  Gay, 153, 161
+  Genoa, 5, 72
+  Gissing, 46
+  Glindon, 48
+  Glover, S., 158, 160
+  Golden Square, 6
+  Goldsmith, 161
+  Gounod, 2
+  Greene, M., 77
+  Grimaldi, 111
+
+  Hamilton, Mrs. E., 134
+  Handel, 21, 45, 48, 74, 77, 140, 144
+  Haydn, 77
+  Hoare, Prince, 113
+  Hodson, G.A., 150
+  Hook, J., 145
+  Horn, C.E., 135
+  _Household Words_, 19, 80-82
+  Howell, 48
+  Hughes, J.C., 143
+  Hullah, 15, 17, 130, 150
+  Hutchinson Family, 13
+
+  Incledon, 91, 152
+  _Irish Melodies_, 7, 8, 88, 129, 131, 142 et seq.
+
+  Jonson, Ben, 141
+  Jerrold, D., 3
+  Joachim, 13
+  Julian, Dr., 81
+
+  Kelly, M., 158
+  Kent (composer), 77
+  Kidson, Mr. F., 137, 139, 161, 162
+  Kitton, F.G., 1, 7, 15
+
+  Lampe, J.F., 141
+  Landor, 10
+  Lang, A., 72
+  Lee, G.A., 133, 141
+  Leech, J., 23
+  Lemon, Mark, 11
+  Leveridge, R., 139
+  Lind, Jenny, 3
+  Linley, G., 121, 143, 158
+  Lisle, Rouget de, 148
+  _Little Warbler_, 9, 89, 121
+  Loder, E.J., 155
+  _London Oddities_, 92
+  _London Singer's Magazine_, 18, 159
+  Luard-Selby, B., 75
+
+  Macdermott, 94
+  Maclise, 12
+  Mallet, 153
+  Mann, Dr. A.H., 109
+  Marseilles, 86
+  Marshalsea, 34
+  Martin's Act, 96
+  Mazzinghi, 152, 155
+  Mendelssohn, 2, 77
+  Meyerbeer, 3
+  Millard, Mrs., 162
+  Miller, Rev. J., 81
+  Moffat, J., 161
+  Moore, T., 7, 12, 133, 134, 142 et seq.
+  Mornington, Lord, 147
+  Mozart, 2, 21, 48, 77, 137, 141
+  _Musical Times_, The, 153
+
+  Neukomm, 147
+  Norwich Festival, 109
+  'Number Four Collection,' 80
+
+  Offenbach, 2
+
+  Panormo, 138
+  Parke, 141
+  Parr, Miss, 81
+  Parry, J., 133
+  Parsons, 48
+  Peel, Sir R., 96
+  Percy, J., 159
+  'Phiz,' 47
+  Power, Miss, 10
+  _Prentice's Warbler_, 89
+  Procter, A., 80
+  Purcell, 77, 139
+
+  Rainforth, Miss, 15
+  Reeve, W., 111, 145
+  Rice, T.D., 97
+  Richards, Brinley, 143
+  Robson (singer), 159
+  Rochester, 43, 75
+  Rossini, 141
+  Royal Academy of Music, 21
+  Russell, Henry, 140, 156
+  Russell, Lord John, 3
+
+  St. Clement Danes, 70
+  St. Peter's, Rome, 72
+  Seven Dials, 9
+  Shakespeare, 154
+  Sheridan, R.B., 144
+  Shield, 137
+  Stanfell's Budget, 89
+  Storace, S., 113, 147
+  Souper, E., 158
+  Sweeting, Dr., 155
+
+  Thomson, 153
+  Tonic Sol-Fa, 17, 150
+
+  Vauxhall Gardens, 24, 91, 104
+  Verini, 158
+  Vicar of Wakefield, 161
+
+  Watts, Dr., 7, 78, 79, 80, 145, 153, 158
+  Webbe, S., 141, 143
+  Wellington House Academy, 1
+  White Conduit gardens, 24, 93
+  Williams, Dr. V., 122
+  Wills, 21
+
+
+
+
+A LIST OF VOCAL AND INSTRUMENTAL MUSIC
+
+ASSOCIATED WITH DICKENS AND WITH THE CHARACTERS IN HIS NOVELS
+
+_All these pieces are in the possession of Mr. W. Miller,
+Librarian of the Dickens Fellowship_
+
+
+Songs in the VILLAGE COQUETTES. Words by _Charles Dickens_.
+Music by _Hullah_.
+
+THE IVY GREEN. Song. Words by _Charles Dickens_. Music by
+_Mrs. Henry Dale_.
+
+THE IVY GREEN. Song. Music by _A. De Belfer_.
+
+THE IVY GREEN. Song. Music by W. _Lovell Phillips_.
+
+THE IVY GREEN. Song. Music by _Henry Russell_.
+
+    (This song has been published by almost every music
+    publisher in London and America.)
+
+Introduction and familiar variations on THE IVY GREEN arranged
+for the pianoforte by _Ricardo Linter_.
+
+Russell's Song THE IVY GREEN, with introduction and variations
+for the pianoforte by _Stephen Glover_.
+
+THE IVY GREEN as a vocal duet. Music by _Henry Russell_.
+
+A CHRISTMAS CAROL. Words by _Charles Dickens_. Music by _Henry
+Russell_.
+
+A CHRISTMAS CAROL. Words by _Charles Dickens_. Music by _Henry
+Russell_ to the tune of OLD KING COLE.
+
+BOLD TURPIN. Words by _Charles Dickens_. Music by _Sir J.F.
+Bridge_.
+
+PICKWICK. Set to Music by _George L. Jeune_. Words by _George
+Soane_.
+
+THE WERY LAST OBSERVATIONS OF WELLER SENIOR TO BOZ ON HIS
+DEPARTURE FROM LONDON. Written and sung by _J.M. Field, Esq._
+Adapted to an old air. Boston, 1842.
+
+THE ORIGINAL SET OF PICKWICK QUADRILLES. Edited by _'Boz'
+Junior_.
+
+SAM WELLER'S ADVENTURES. Reprinted in _The Life and Times of
+James Catnach_.
+
+GABRIEL GRUB. Cantata Seria Buffa. Adapted by _Frederick
+Wood_. Music by _George Fox_.
+
+PICKWICK TARANTELLE.
+
+MR. STIGGINS. Song. Maliciously written and composed by
+'_Tony Weller_.'
+
+THE PICKWICK QUADRILLE. Composed by _Fred Revallin_.
+
+THE PICKWICK LANCERS. Composed by _Camille D'Aubert_.
+
+PICKWICK. Songs and Dances by _Edward Solomon_. Words of songs
+by _Sir F.C. Burnand_.
+
+OLIVER TWIST. Written by _H. Copeland_ from a song by _W.T.
+Townsend_.
+
+THE ARTFUL DODGER. Written by _Charles Sloman_ and _Sam
+Cowell_. Music by _Fred Bridgeman_. Sung by _Sam Cowell_.
+
+NICHOLAS NICKLEBY QUADRILLE AND NICKLEBY GALOP. By _Sydney
+Vernon_.
+
+MASTER HUMPHREY'S CLOCK, 'DID YOU HEAR ANYTHING KNOCK?' Song
+by _Beuler_.
+
+MASTER HUMPHREY'S QUADRILLES. Music by _'Boz' Junior_.
+
+THE CHIMES OF MASTER HUMPHREY'S CLOCK. Arranged for the
+pianoforte by _Charles Arnold_.
+
+THE GHOST OF THE BARON OF GROG-SWIG. Written by _John
+Major_. Arranged by _J. Monro_.
+
+LITTLE NELL. Words by _Miss Charlotte Young_. Music by _George
+Linley_.
+
+LITTLE NELL. Composed by _George Linley_. Arranged for the
+pianoforte by _Carlo Totti_.
+
+NELL. Song. Composed by _H.L. Winter_.
+
+LITTLE NELL. By _Miss Hawley_.
+
+LITTLE NELL. Waltz by _Dan Godfrey_.
+
+NELL. Words by _Edward Oxenford_. Music by _Alfred J.
+Caldicott_.
+
+LITTLE NELLIE'S POLKA. Composed by _J. Pridham_.
+
+BARNABY RUDGE TARANTELLE. By _Clementine Ward_.
+
+DOLLY VARDEN. Ballad. Words and Music by _Cotsford Dick_.
+
+_G.W. Hunt's_ Popular Song DOLLY VARDEN.
+
+DOLLY VARDEN. Comic Song. Words by _Frank W. Green_.
+Music _Alfred Lee_.
+
+_Vance's_ DOLLY VARDEN. Written, composed, and sung by _Alfred
+G. Vance_.
+
+_G.W. Moore's_ Great Song DRESSED AS A DOLLY VARDEN. Written,
+composed, and sung by _G.W. Moore_.
+
+DOLLY VARDEN'S WEDDING. Comic Song. Written, composed, and
+arranged by _T.R. Tebley_.
+
+DOLLY VARDEN WALTZ. By _Henry Parker_.
+
+DOLLY VARDEN VALSE. Composed by _Sara Leumas_.
+
+THE DOLLY VARDEN POLKA. By _Brinley Richards_.
+
+THE DOLLY VARDEN POLKA. By _W.C. Levey_.
+
+DOLLY VARDEN POLKA. By _Henry Parker_.
+
+THE DOLLY VARDEN POLKA. Arranged by _T.C. Lewis_. Composed by
+_G. Discongi_.
+
+DOLLY VARDEN POLKA. By _George Gough_.
+
+DOLLY VARDEN GALOP. By _Charles Coote, jun._
+
+DOLLY VARDEN SCHOTTISCHE. By _Helene_.
+
+THE DOLLY VARDEN SCHOTTISCHE. By _H. King_.
+
+DOLLY VARDEN GAVOTTE. By _Clementine Ward_.
+
+DOLLY VARDEN QUADRILLE. By _Henry Parker_.
+
+DOLLY VARDEN QUADRILLE, on old English Tunes. By _C.H.R.
+Marriott_.
+
+MAYPOLE HUGH. Song. Words by _Charles Bradberry_. Music by
+_George Fox_.
+
+YANKEE NOTES FOR ENGLISH CIRCULATION; or BOZ IN A-MERRY-KEY.
+Comic Song. Written by _James Briton_. Music arranged to an
+American Air by _Geo. Loder_.
+
+THE CHRISTMAS CAROL QUADRILLES. By _Edwin Merriott_.
+
+TINY TIM. Words by _Edward Oxenford_. Music by _Alfred J.
+Caldicott_.
+
+TINY TIM. Words by _Harry Lynn_. Music by _W. Knowles_.
+
+THE SONG OF CHRISTMAS. Song sung in _A Christmas Carol_ at
+the Theatre Royal, Adelphi. Composed by _C. Herbert Rodwell_.
+
+TINY TIM. Written and composed by _Arthur Wingham_.
+
+'GOD BLESS US EVERY ONE.' Words by _Geo. Cooper_. Music by
+_Herbert Foster_.
+
+THE CHIMES. Song. Written by _J.E. Carpenter_. Music composed
+by _F. Nicholls Crouch_.
+
+THE CHIMES. By _Jullien_.
+
+THE CHIMES QUADRILLES. By _Henry Oakey_.
+
+THE CHIMES QUADRILLES. By _Lancelott_.
+
+THE CHIMES GAVOTTE. For the pianoforte, with bell accompaniment
+(ad lib.). Composed by _Wm. West_, Organist and Choirmaster
+of St. Margaret Pattens (Rood Lane, E.C.).
+
+LILLIAN. Ballad from _The Chimes_. The Poetry by _Fanny E.
+Lacey_. Music by _Edward L. Hime_.
+
+THE SPIRIT OF THE CHIMES. Written and composed by _Fanny
+E. Lacey_.
+
+THE CRICKET ON THE HEARTH. Song. By _James E. Stewart_,
+Cincinnati, U.S.A.
+
+THE CRICKET ON THE HEARTH. A Domestic Ballad. Written by
+_Edward J. Gill_. Music by _J. Blewitt_.
+
+THE CRICKET POLKA.
+
+THE CRICKET POLKA. Composed by _Jullien_.
+
+THE CRICKET ON THE HEARTH QUADRILLES. Composed by _S.D.
+Saunders_.
+
+THE CRICKET ON THE HEARTH. A set of Quadrilles. By _T.L.
+Rowbotham_.
+
+THE CRICKET ON THE HEARTH. A new Christmas Quadrille.
+By _F. Lancelott_.
+
+THE NEW CRICKET POLKA. Composed by _Johann Lupeski_.
+
+THE BATTLE OF LIFE. Song. Words by _O.C. Lynn_. Music by
+_R. Graylott_. Published in _The Illustrated London News_,
+March 20, 1847.
+
+THE FRUIT GATHERERS' SONG ('The Battle of Life'). Written by
+_Fanny E. Lacey_. Composed by _Edwin Flood_.
+
+THE HAUNTED MAN QUADRILLES. By _Wm. West_.
+
+WHAT ARE THE WILD WAVES SAYING? Written by _J.E.
+Carpenter_. Music by _Stephen Glover_.
+
+WHAT ARE THE WILD WAVES SAYING? (_Stephen Glover_). Arranged
+for the pianoforte by _Brinley Richards_.
+
+A VOICE FROM THE WAVES (an answer to the above). Words by
+_R. Ryan_. Music by _Stephen Glover_.
+
+LITTLE PAUL BALLAD. Poetry by _Miss C. Young_. Music by _W.T.
+Wrighton_.
+
+PAUL. Song. Words by _Edward Oxenford_. Music by _Alfred J.
+Caldicott_.
+
+FLORENCE. Song. Written by _Charles Jeffrey_.
+
+POOR FLORENCE. Song. Music composed by _W.T. Wrighton_.
+
+WALTER AND FLORENCE. Song. Written by _Johanna Chandler_.
+Music by _Stephen Glover_.
+
+DOMBEY AND SON QUADRILLE. By _Miss Harriet Frances Brown_.
+
+THE DAVID COPPERFIELD POLKA. Composed by _W. Wilson_.
+
+THE MICAWBER QUADRILLE (played in the drama of _Little Em'ly_,
+at the Olympic Theatre, in 1869). Composed by _J. Winterbottom_.
+
+LITTLE EM'LY VALSES. By _John Winterbottom_. (Played in the
+drama of _Little Em'ly_, at the Olympic Theatre, in 1869.)
+
+THE LITTLE EM'LY POLKA. Composed by _W.G. Severn_.
+
+AGNES; or I HAVE LOVED YOU ALL MY LIFE. Ballad. Written by
+_Ger Vere Irving_. Composed by _Gerald Stanley_.
+
+DORA; or THE CHILD-WIFE'S FAREWELL. Ballad. Written by _George
+Linley_. Composed by _Gerald Stanley_.
+
+PEGGOTTY THE WANDERER. Ballad. Written by _William Martin_.
+Music by _James William Etherington_.
+
+DORA TO AGNES. Song. Words by _Charles Jeffrey_. Music by
+_J.H. Tully_.
+
+LITTLE BLOSSOM. Ballad by _Stephen Glover_. Words by _Charlotte
+Young_.
+
+HOUSEHOLD WORDS. Duet. Written by _Charlotte Young_.
+Composed by _John Blockley_.
+
+Songs and Ballads from _Bleak House_:
+
+  (1) THE SONG OF ESTHER SUMMERSON, 'Farewell to the Old
+      Home.' Written by _Charles Jeffrey_. Music by _Charles
+      W. Glover_.
+
+  (2) ADA CLARE. Written by _Charles Jeffrey_. Set to Music
+      by _Charles W. Glover_.
+
+POOR JO! Ballad. Written by _H.B. Farnie_. Composed by
+_C.F.R. Marriott_.
+
+POOR JO! Song and Chorus. Written by _W.R. Gordon_. Composed
+by _Alfred Lee_.
+
+'JO.' Galop for the pianoforte upon airs from the celebrated
+drama, by _Edward Solomon_.
+
+'HE WAS WERY GOOD TO ME.' Poor Jo's song. Written and composed
+by _Alfred Allen_.
+
+THE TOKEN FLOWERS. Song founded on 'Caddy's Flowers' in
+_Bleak House_. Written by _Joseph Edward Carpenter_. Music by
+_B. Moligne_.
+
+HARD TIMES. Polka. By _C.W._
+
+LITTLE DORRIT. Ballad. Written and composed by _John Caulfield_.
+
+LITTLE DORRIT. Song. Written by _Henry Abrahams_. Music by
+_C. Stanley_.
+
+LITTLE DORRIT'S POLKA. Composed by _Jules Norman_.
+
+AS YOU LIKE IT; or LITTLE DORRIT'S POLKA. By _W.H. Montgomery_.
+
+LITTLE DORRIT'S VIGIL. By the composer of LITTLE NELL.
+
+LITTLE DORRIT'S SCHOTTISCHE. Composed by _W.M. Parker_.
+
+LITTLE DORRIT SERENADE. By _Clementine Ward_.
+
+'MY DEAR OLD HOME.' Ballad. Written by _J.E. Carpenter_.
+Composed by _John Blockley_.
+
+WHO PASSES BY THIS ROAD SO LATE? Blandois' song from _Little
+Dorrit_. Words by _Charles Dickens_. Music by _H.R.S. Dalton_.
+(This song was suggested to Dickens by the French song entitled
+'Le Chevalier du guet.')
+
+FLOATING AWAY BALLAD. Written by _J.E. Carpenter_. Music by
+_John Blockley_.
+
+ALL THE YEAR ROUND; or THE SEARCH FOR HAPPINESS. Song.
+Written by _W.S. Passmore_. Composed by _John Blockley_.
+
+ALL THE YEAR ROUND QUADRILLES. By _E. Frewin_.
+
+ALL THE YEAR ROUND VARSOVIANA. By _W.H. Montgomery_.
+
+THE TWO CITIES QUADRILLES. By _W.H. Montgomery_.
+
+TOM TIDDLER'S POLKA. Composed by _W. Wilson_.
+
+GREAT EXPECTATIONS. Ballad.
+
+_Coote's_ Lancers, 'SOMEBODY'S LUGGAGE.'
+
+MRS. LIRRIPER'S QUADRILLE. Written by _Adrian Victor_.
+
+JENNY WREN (THE DOLL'S DRESSMAKER). Song. Words by _Edward
+Oxenford_. Music by _Alfred J. Caldicott_.
+
+JENNY WREN QUADRILLES. Arranged by _Rosabel_.
+
+MUGBY JUNCTION GALOP. By _Charles Coote, jun._
+
+NO THOROUGHFARE GALOP. Composed by _Charles Coote, jun._
+
+
+
+
+[From an edition:]
+
+PRINTED BY THE
+
+'SOUTHAMPTON TIMES' CO., LTD.,
+
+70 ABOVE BAR, SOUTHAMPTON
+
+
+
+
+TRANSCRIBER'S NOTES
+
+
+The musical extracts are marked [Figure 1]-[Figure 8].
+These are available as MIDI files.
+Italic text is marked _thus_ with underscores.
+
+Alterations:
+
+Page  10  "and can't play 'out to-night,'"
+          Hyphen not inked in original.
+
+Page  25  "and tuned like fifty stomach-aches."
+          Corrected typo: "tuned liked"
+
+Page  40  "which had no recognizable tune"
+          Corrected typo: "recognizable time"
+
+Page  89  "given to the young red-haired boy"
+          Corrected typo: "young red-haired boots"
+
+Page  93  "penn'orths"
+Page 104  "hunting field,"
+          Letter 't' not inked in original.
+
+Page 115  "His musical powers made him useful at the club-room"
+          Hyphen at line-end: could be "clubroom".
+
+Page 116  "'as of a gallant and eminent naval Hero,'"
+          Closing quote missing in original.
+
+Page 146  "(_O.C.S._ 27)"
+          Corrected typo: "_D.C.S._"
+
+Page 148  "See 'Since the first dawn of reason.'"
+          Original had "When the first dawn of reason."
+
+Page 150  "See 'Strew then, Oh strew.'"
+          Original had "Strew then, O strew."
+
+Page 152  "Come weal, come woe, we'll gather and go,"
+          Line indented in original.
+
+Page 164  "Banjo"
+Page 165  "Brown, Mr."
+          Page numbers missing in original.
+
+Pages 27, 33, 166, 177
+          "Cadby" corrected to "Caddy"
+
+
+
+
+
+End of Project Gutenberg's Charles Dickens and Music, by James T. Lightwood
+
+*** END OF THIS PROJECT GUTENBERG EBOOK CHARLES DICKENS AND MUSIC ***
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+Project Gutenberg (https://www.gutenberg.org) public repository for
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author	Roger Frank <rfrank@pglaf.org>	2025-10-15 04:49:14 -0700
committer	Roger Frank <rfrank@pglaf.org>	2025-10-15 04:49:14 -0700
commit	575273071f1f95a1ff0d7b20ad40fa14ae6c9a25 (patch)
tree	c36c339812768933c33a49560f100c6b65a25ebc