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+ font-variant:normal; font-weight:normal; + border:1px solid silver; padding:1px 3px; } + a.blank:after { content:"" !important; } + a.pagebreak:after { content:attr(title); } + + /* ]]> */ + --> + </style> +</head> +<body> + + +<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 /> +‘Hymn-Tunes and their Story’</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—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 ‘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. +</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 ‘mole 'em out’ (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—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, &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, &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>1852–3</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">—</td> +<td><i>C.S.</i></td></tr><!--Doesn't appear in text--> +<tr><td colspan="3"><i>Christmas Stories</i>—</td></tr> +<tr><td class="indent"> Dr. Marigold's Prescription</td> +<td>1865</td> +<td><i>Dr. M.</i></td></tr> +<tr><td class="indent"> Going into Society</td> +<td>1855</td> +<td><i>G.S.</i></td></tr> +<tr><td class="indent"> Holly Tree</td> +<td>1855</td> +<td><i>H.T.</i></td></tr><!--Doesn't appear in text--> +<tr><td class="indent"> Mugby Junction</td> +<td>1866</td> +<td><i>M.J.</i></td></tr> +<tr><td class="indent"> Mrs. Lirriper's Lodgings</td> +<td>1863</td> +<td class="empty">—</td></tr> +<tr><td class="indent"> No Thoroughfare</td> +<td>1867</td> +<td><i>N.T.</i></td></tr> +<tr><td class="indent"> Somebody's Luggage</td> +<td>1862</td> +<td><i>S.L.</i></td></tr> +<tr><td class="indent"> 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">—</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 & Son</i></td> +<td>1847–8</td> +<td><i>D. & S.</i></td></tr> +<tr><td><i>David Copperfield</i></td> +<td>1849–50</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>1860–1</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">—</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">—</td> +<td><i>H.R.</i></td></tr> +<tr><td><i>Little Dorrit</i></td> +<td>1855–6</td> +<td><i>L.D.</i></td></tr> +<tr><td><i>Martin Chuzzlewit</i></td> +<td>1843–4</td> +<td><i>M.C.</i></td></tr> +<tr><td><i>Master Humphrey's Clock</i></td> +<td>1840–1</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>1838–9</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>1837–8</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>1836–7</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>—</td></tr> +<tr><td class="indent"> Our Bore</td> +<td>1852</td> +<td class="empty">—</td></tr> +<tr><td class="indent"> Our English Watering-Place</td> +<td>1851</td> +<td class="empty">—</td></tr> +<tr><td class="indent"> Our French Watering-Place</td> +<td>1854</td> +<td class="empty">—</td></tr> +<tr><td class="indent"> Our School</td> +<td>1851</td> +<td class="empty">—</td></tr> +<tr><td class="indent"> Out of the Season</td> +<td>1856</td> +<td class="empty">—</td></tr> +<tr><td><i>Sketches by Boz</i></td> +<td>1835–6</td> +<td><i>S.B.</i></td></tr> +<tr><td class="indent"> Characters</td> +<td class="empty">—</td> +<td><i>S.B.C.</i></td></tr> +<tr><td class="indent"> Our Parish</td> +<td class="empty">—</td> +<td class="empty">—</td></tr> +<tr><td class="indent"> Scenes</td> +<td class="empty">—</td> +<td><i>S.B.S.</i></td></tr> +<tr><td class="indent"> Tales</td> +<td class="empty">—</td> +<td><i>S.B.T.</i></td></tr> +<tr><td><i>Sunday under Three Heads</i></td> +<td>1836</td> +<td class="empty">—</td></tr> +<tr><td><i>Sketches of Young People</i></td> +<td>1840</td> +<td class="empty">—</td></tr> +<tr><td><i>Sketches of Young Gentlemen</i></td> +<td>1838</td> +<td class="empty">—</td></tr> +<tr><td><i>Tale of Two Cities, A</i></td> +<td>1859</td> +<td class="empty">—</td></tr> +<tr><td><i>Uncommercial Traveller</i></td> +<td>1860–9</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 ‘Home, Sweet Home’ 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—whose +<i>Lieder</i> he was specially fond of<a class="fn" href="#fn01"> 1 </a>—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. ‘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 +<a class="pagebreak" name="page3" id="page3" +title="3"></a><i>Orphée aux enfers</i>. 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 <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'hôte</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, ‘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. +</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 ‘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. <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— +</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' ‘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. +</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 ‘All's Well’ and likewise in <a name="ft02"></a>‘There's not +in the wide world’<a class="fn" href="#fn02"> 2 </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) ‘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. <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"> 3 </a> and taking in supplies at +Jubilate, ‘Seas between us braid ha' roared,’ and roared like +ourselves. +</p> +</blockquote> + +<p> +J.T. Field, in his <i>Yesterdays with Authors</i>, 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.’ +</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 ‘You don't make +enough of that word,’ 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 ‘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 <i>turn</i>.’ +</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"> 4 </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 ‘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.’ +</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 ‘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 +</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 ‘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. +</p> +</blockquote> + +<p> +‘Buffalo Gals’ was a very popular song ‘Sung +<a class="pagebreak" name="page11" id="page11" +title="11"></a>with great applause by the Original Female American +Serenaders.’ (<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 ‘Ye +Mariners of England’: +</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"> My bath is on the sea,</span><br /> +<span class="i0">And before I take a souse,</span><br /> +<span class="i1"> 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"> And my bark is on the sea,</span><br /> +<span class="i0">But before I go, Tom Moore,</span><br /> +<span class="i1"> 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 ‘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. +</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"> 5 </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 ‘Bridge of Sighs.’ +</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 ‘he is a noble fellow.’ +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 +‘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. +</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: ‘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.’ +</p> + +<p> +Dickens was concerned in the production of one +<a class="pagebreak" name="page15" id="page15" +title="15"></a>operetta—<i>The Village Coquettes</i>—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.’ +</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"> 6 </a> will want +another song when the piece is in rehearsal—‘a bravura—something +in “The soldier tired” way.’ +</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 ‘Miss Somebody in white satin’ +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 ‘Quack +Doctor's Proclamation,’ to the tune of ‘A Cobbler +there was,’ and another called ‘The fine old English +Gentleman.’ +</p> + +<p> +For the <i>Daily News</i> (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: +</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"> With every stitch of sail,</span><br /> +<span class="i0">And going at ten knots an hour</span><br /> +<span class="i1"> 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>, ‘Who passes by this road so late,’ 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 +‘my lady Bowley’ quotes in <i>The Chimes</i>, and which +she had ‘set to music on the new system’: +</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 ‘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, <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"> 7 </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"> And England is my nation;</span><br /> +<span class="i0">London is my dwelling-place,</span><br /> +<span class="i1"> 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"> England is his nation,</span><br /> +<span class="i0">Cloisterham's his dwelling-place,</span><br /> +<span class="i1"> Aukshneer's his occupation.</span> +</p> +</blockquote> + +<p class="flush"> +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: +</p> + +<blockquote> +<p class="stanza"> +<span class="i0">Cap'en Cuttle is my name,</span><br /> +<span class="i1"> And England is my nation,</span><br /> +<span class="i0">This here is my dwelling-place,</span><br /> +<span class="i1"> 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 ‘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. +</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, ‘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: +</p> + +<blockquote> +<p> +‘Would you mind Handel for a familiar name? There's a +charming piece of music, by Handel, called the “Harmonious +Blacksmith.”’ +</p> + +<p> +‘I should like it very much.’ +</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 +‘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: +</p> + +<blockquote> +<p class="stanza"> +<span class="i0">O God, who by Thy Prophet's hand</span><br /> +<span class="i1"> Did'st smite the rocky brake,</span><br /> +<span class="i0">Whence water came at Thy command</span><br /> +<span class="i1"> Thy people's thirst to slake,</span><br /> +<span class="i0">Strike, now, upon this granite wall,</span><br /> +<span class="i1"> Stern, obdurate, and high;</span><br /> +<span class="i0">And let some drop of pity fall</span><br /> +<span class="i1"> 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 ‘little +<a class="pagebreak" name="page22" id="page22" +title="22"></a>bit’ 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"> 8 </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"> 1 </a></span><a name="fn01"></a> +In his speech at Birmingham on ‘Literature and Art’ (1853) he +makes special reference to the ‘great music of Mendelssohn.’</p> + +<p class="fn"><span><a class="fn" href="#ft02"> 2 </a></span><a name="fn02"></a> +Moore's <i>Irish Melodies</i>.</p> + +<p class="fn"><span><a class="fn" href="#ft03"> 3 </a></span><a name="fn03"></a> +Moore.</p> + +<p class="fn"><span><a class="fn" href="#ft04"> 4 </a></span><a name="fn04"></a> +‘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!’ (<i><abbr title="Sketches by Boz: Scenes">S.B.S.</abbr></i> 5.)</p> + +<p class="fn"><span><a class="fn" href="#ft05"> 5 </a></span><a name="fn05"></a> +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.</p> + +<p class="fn"><span><a class="fn" href="#ft06"> 6 </a></span><a name="fn06"></a> +Miss Rainforth was the soloist at the first production of Mendelssohn's +‘Hear my Prayer.’ (See <i>The Choir</i>, March, 1911.)</p> + +<p class="fn"><span><a class="fn" href="#ft07"> 7 </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"> 8 </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 ‘band +of music’ burst into the good man's room, consisting +of a drum, marrow-bones and cleavers, and +bells, ‘not <i>the</i> 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 (<i><abbr title="Sketches by Boz: Tales">S.B.T.</abbr></i>) +we read that amongst the numerous arrivals were +‘the pianoforte player and the violins: the harp +in a state of intoxication.’ +</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> +‘Ring in the orchestra, Grudden.’ +</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 ‘a small party of dismal men in cocked +hats were “executing” the overture to <i>Tancredi</i>,’ 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 ‘singing-house’ 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 ‘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 <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 rôle, the +orchestra complaining that ‘Mr. Harleigh put them +out, while the hero declared that the orchestra +prevented his singing a note.’ +</p> + +<p> +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 +<a class="pagebreak" name="page27" id="page27" +title="27"></a>astonishment as he came bustling out to see who +‘played music on his property before breakfast.’ +</p> + +<p> +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 (<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> +‘Strange name—name of a dancing-master's fiddle, eh, Mr. +Richard?’ +</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 & Son">D. & S.</abbr></i>), ‘a cheerful-looking, hazel-eyed +elderly bachelor,’ was +</p> + +<blockquote> +<p class="flush"> +a great musical amateur—in his way—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 ‘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. +</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 ‘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.’ +</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 ‘a second-hand +wiolinceller’ 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, ‘they had some music.’ +</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? ‘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, +</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 ‘the +air that his neglected daughter sang to his dead +son’! +</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 ‘The +Fall of Paris,’ 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 ‘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 +</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 ‘theme.’ 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 ‘The Downfall of +Paris,’ 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"> Of Bonaparte and a' that;</span><br /> +<span class="i0">How Paris it has got a fall,</span><br /> +<span class="i1"> 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"> Your chanter loudly blaw that;</span><br /> +<span class="i0">Lang live our auld and worthy king,</span><br /> +<span class="i1"> 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 & Son">D. & S.</abbr></i>) +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. +</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 ‘grand’ 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—beautiful. +</p> +</blockquote> + +<p> +In the <i>Collected Papers</i> 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 +</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. ‘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. +</p> + +<p> +‘Wot do you mean?’ said Sam. +</p> + +<p> +‘A pianner-forty, Samivel,’ rejoined Mr. Weller, in a still +<a class="pagebreak" name="page35" id="page35" +title="35"></a>more mysterious manner, ‘as he can have on hire; vun as von't +play, Sammy.’ +</p> + +<p> +‘And wot 'ud be the good of that?’ said Sam. +</p> + +<p> +‘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.’ +</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 ‘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. +</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 ‘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.’ +</p> + +<p> +<a class="pagebreak" name="page37" id="page37" +title="37"></a>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 +</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 ‘most mournfully.’ +</p> + +<blockquote> +<p> +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. +</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 ‘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. +</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 ‘blowing a very slow tune on the flute.’ +</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 ‘the flute +says he'll be blowed if he plays any more.’ +</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 ‘had such +<a class="pagebreak" name="page40" id="page40" +title="40"></a>lovely whiskers’ 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 ‘God Save the King.’ +</p> +</blockquote> + +<p> +Musicians of various degrees abound in the <i>Sketches</i>. +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 +<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 ‘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— +</p> + +<blockquote> +<p> +‘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 +<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 ‘I do a little bit of Adam +still.’ 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 ‘low instrument.’ 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 ‘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 <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—in the French sense—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>‘wiolinceller’ (see p. <a href="#page29">29</a>). 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.’ +</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 ‘playing the trombone.’ In ‘Our +School’ (<i><abbr title="Reprinted Pieces">R.P.</abbr></i>) we are told a good deal about the +usher who ‘made out the bills, mended the pens, +and did all sorts of things.’ +</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 +‘complete with the exception of the middle joint.’ +</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> +‘His body is buried in peace.’ 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 ‘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 +</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 +‘but for a very earthy verger,’ 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 ‘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. +</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 ‘Phiz’ +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—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 ‘four hundred pound,’ which Mr. Samuel Wilkins said +was ‘not dear neither.’ +</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 ‘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. +</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"> In and out the Eagle,</span><br /> +<span class="i0">That's the way the money goes,</span><br /> +<span class="i1"> 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"> 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"> 9 </a></span><br /> +<span class="i1"> Pop goes the weasel.</span> +</p> +</blockquote> + +<p> +<a class="pagebreak" name="page49" id="page49" +title="49"></a>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. +</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. ‘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.’ +</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"> 10 </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 ‘Chops,’ the dwarf, ‘spirited but not proud,’ +who was desirous of ‘Going into Society’ (<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, ‘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. +</p> +</blockquote> + +<p> +Dickens found the streets in New York very +different from those in London, and specially remarks +how quiet they were—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. +‘Beyond that, nothing lively, no, not so much as a +white mouse in a twirling cage.’ +</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 ‘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.’ +</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. ‘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!”’ +</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 ‘The Steam +Excursion’ (<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 ‘a new Spanish composition, for three voices +and three guitars,’ 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, ‘to which a boy or woman sings +without any voice little songs without any tune.’ +</p> + +<p> +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 +<a class="pagebreak" name="page55" id="page55" +title="55"></a>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. +</p> + +<p> +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. +</p> + +<p> +We read in <i>Little Dorrit</i> 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. +</p> + +<hr /> + +<p class="fn"><span><a class="fn" href="#ft09"> 9 </a></span><a name="fn09"></a> +Or, ‘Mix it up and make it nice.’</p> + +<p class="fn"><span><a class="fn" href="#ft10"> 10 </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 ‘a colossal +strip of music-paper out of the evening sky.’ +</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 ‘We have heard <span class="sc">The Chimes</span> at +midnight, Master Shallow,’ and I knew he had discovered what +he wanted.<a class="fn" href="#fn11"> 11 </a> +</p> +</blockquote> + +<p> +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. +</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 +‘the brass work on the harness was a +complete orchestra of little bells.’ +</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>) +‘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 +<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"> +‘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.’ +</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 ‘triple bob major.’ 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, ‘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.’ +</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> +‘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. +</p> + +<p> +‘Tune,’ replies the old man. ‘No, we never have tunes here.’ +</p> + +<p> +‘That's the “Dead March” in <i>Saul</i>. They bury soldiers to it, +so it's the natural end of the subject.’ +</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 ‘Dead March’ +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 ‘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 <i>Sketches +by Boz</i>, 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?’ +</p> + +<blockquote> +<p> +‘Did <i>you</i> ever hear a tom-tom, sir?’ 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>‘A what?’ asked Hardy, rather taken aback. +</p> + +<p> +‘A tom-tom.’ +</p> + +<p> +‘Never.’ +</p> + +<p> +‘Nor a gum-gum?’ +</p> + +<p> +‘Never.’ +</p> + +<p> +‘What <i>is</i> a gum-gum?’ 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 ‘the praises of a +summer's day to a harmonium.’ 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—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.’ +</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 ‘a Bacchanalian +song, something about a sparkling bowl,’ which +much annoyed his grumpy employer. +</p> + +<blockquote> +<p> +<a class="pagebreak" name="page65" id="page65" +title="65"></a>‘What! you're singing, are you?’ said Tackleton, putting +his head in at the door. ‘Go it, <i>I</i> can't sing.’ +</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, ‘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.’ +</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"> 12 </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"> 13 </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"> 11 </a></span><a name="fn11"></a> +Forster, <i>Life of Charles Dickens</i>.</p> + +<p class="fn"><span><a class="fn" href="#ft12"> 12 </a></span><a name="fn12"></a> +This is rather a modern development.</p> + +<p class="fn"><span><a class="fn" href="#ft13"> 13 </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 ‘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, +</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 +‘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.’ +</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—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 ‘hearty congregational +singing.’ +</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 ‘was spoken—not merely read—by a grey-headed +minister.’ +</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>)—whom Mr. Andrew +Lang calls ‘one of the best of Dickens' minor +characters’—‘punished the Amens tremendously,’<a class="fn" href="#fn14"> 14 </a> +<a class="pagebreak" name="page73" id="page73" +title="73"></a>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 (<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— +</p> + +<blockquote> +<p> +‘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?’ +</p> + +<p> +Mr. Willet reflected for a few moments, and then muttered +as it were mechanically: ‘Let us sing to the praise and glory +of—’ +</p> + +<p> +‘Yes, to be sure,’ cried the little man hastily, ‘that's it, +that's me, Johnny.’ +</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 ‘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. +</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 ‘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. +</p> +</blockquote> + +<p> +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. +</p> + +<p> +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 +<a class="pagebreak" name="page77" id="page77" +title="77"></a>but now to get them on’—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"> 15 </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 ‘muddle the 'armony,’ 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 ‘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. +</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> +‘Here we are, Mr. Richard, rising with the sun to run our +little course—our course of duty, sir.’ +</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 ‘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 (<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"> 16 </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"> Let my first years be passed,</span><br /> +<span class="i0">That I may give for ev'ry day</span><br /> +<span class="i1"> 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 ‘Satan finds some mischief still for +busy hands to do.’ +</p> + +<p> +Some years ago a question was raised in <i>Notes and +Queries</i> 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. +</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"> Ere I lay me down to sleep;</span><br /> +<span class="i0">Bid Thy angels, pure and holy,</span><br /> +<span class="i1"> 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. ‘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. +</p> + +<hr /> + +<p class="fn"><span><a class="fn" href="#ft14"> 14 </a></span><a name="fn14"></a> +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’ (<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 ‘you're a amiably-disposed +young man, sir, I don't think.’ Mark Tapley uses the expression ‘a +pious fraud’ (<i><abbr title="Martin Chuzzlewit">M.C.</abbr></i> 13).</p> + +<p class="fn"><span><a class="fn" href="#ft15"> 15 </a></span><a name="fn15"></a> +‘Pet’ (<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"> 16 </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 ‘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. <a href="#page135">135–163</a>. +</p> + + +<h3>I.—<i>National Songs</i></h3> + +<p> +There are numerous references to ‘Rule Britannia.’ +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 ‘Rule Britannia,’ or ‘Away with Melancholy’! +</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 ‘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.) +</p> + +<p> +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.’ +</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— +</p> +</blockquote> + +<p> +<a class="pagebreak" name="page85" id="page85" +title="85"></a>In the article on ‘Wapping Workhouse’ (<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 ‘Rule Britannia’ sounding +in his ears. +</p> + +<p> +‘British Grenadiers,’ said Mr. Bucket to Mr. +Bagnet, ‘there's a tune to warm an Englishman +up! <i>Could</i> you give us “British Grenadiers,” +my fine fellow?’ And the ‘fine fellow,’ who was +none other than Bagnet junior (also known as +‘Woolwich’), 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 ‘Brit Ish +Gra-a-anadeers.’ +</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)— +</p> + +<blockquote> +<p> +‘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.’ +</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 ‘The Marseillaise’ and ‘Ça ira,’ +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 ‘Ça 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. +</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 ‘Hail Columbia’ and +‘Yankee Doodle.’ 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 ‘Ale Columbia.’ In his <i>American Notes</i> +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.’ +</p> + + +<h3>II.—<i>Songs from 1780–1840</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 ‘Unfortunate Miss +Bailey,’ 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 ‘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 +<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"> 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"> 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 ‘See from ocean +rising,’ concerning which there is a humorous +passage in ‘The Steam Excursion’ (<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, ‘after a great deal of +preparatory crowing and humming,’ 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 ‘bass voice.’ +</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.—<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.—‘All the World's a Stage,’ a popular medley +written by Mr. L. Rede, and sung by Mrs. +Kelley in the <i>Frolic of the Fairies</i>. +</p> + +<p> +2.—‘Paddy McShane's Seven Ages,’ sung by Mr. +Johnstone at Drury Lane. +</p> + +<p> +3.—‘The Seven Ages,’ as sung by Mr. Fuller (eight +very long verses). +</p> + +<p> +4.—‘The Seven Ages of Woman,’ 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 +‘Time of Day,’ 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 ‘Red Ruffian, retire’) +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 +‘Shivery Shakey, ain't it cold?’ +</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"> 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"> 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"> 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 +‘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 +<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 ‘Look at the price of coals.’ +</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, ‘If I'd a donkey as +wouldn't go.’ 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"> On the head, for—</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"> And come up Neddy.</span> +</p> +</blockquote> + +<p> +The singer then meets ‘Bill Burns,’ who, ‘while +crying out his greens,’ is ill-treating his donkey. +On being interfered with, Bill Burns says, +</p> + +<blockquote> +<p class="stanza"> +<span class="i0">‘You're one of these Mr. Martin chaps.’</span> +</p> +</blockquote> + +<p class="flush"> +<a class="pagebreak" name="page96" id="page96" +title="96"></a>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 <i>Sketches by Boz</i> 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. +</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 ‘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 +<a class="pagebreak" name="page97" id="page97" +title="97"></a>bestowed upon him, and which was derived from +the burden— +</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 ‘negro’ impersonators was +T.D. Rice, whose song ‘Jim Crow’ (<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 +‘Jim Crow.’ The song soon went all over England, +and ‘Jim Crow’ 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 ‘Jim Crow.’ To this class also belongs the +song ‘Buffalo Gals’ (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 ‘Ratcatcher's Daughter.’ +</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 +‘Belmont’ 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"> 17 </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— +</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—</span> +</p> +</blockquote> + +<p class="flush"> +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,’ +</p> + +<blockquote> +<p class="stanza"> +<span class="i0">Bold Turpin vunce, on Hounslow Heath</span><br /> +<span class="i0">His bold mare Bess bestrode—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 ‘mottled-faced’ +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 ‘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 (<i><abbr title="Pickwick Papers">P.P.</abbr></i>). +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. +</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> +‘You've got a very pretty voice’ ... said this gentleman ... +‘Let me hear a song this minute.’ +</p> + +<p> +‘I don't think I know one, sir,’ returned Nell. +</p> + +<p> +‘You know forty-seven songs,’ said the man, with a gravity +which admitted of no altercation on the subject. ‘Forty-seven's +your number.’ +</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—‘it had been a very old song when he was a +boy,’ while the man in the lighthouse (<i><abbr title="Christmas Carol">C.C.</abbr></i>) consoled +himself in his solitude with a ‘sturdy’ 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 ‘God Save the King.’ +</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 ‘Sally in our Alley’ 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. ‘Bass!’ as the young gentleman in one +of the <i>Sketches</i> 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.’ +</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"> 18 </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, ‘Sing us a song, +father,’ +</p> + +<blockquote> +<p> +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. +</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>‘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.’ +</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 ‘Harmony evening’ at the Marshalsea: +</p> + +<blockquote> +<p> +‘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.’ +</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 ‘Sol’ +(<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 ‘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, +</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> +‘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!”’ +</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 +‘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 +<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: ‘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. +</p> +</blockquote> + +<p> +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 +<a class="pagebreak" name="page109" id="page109" +title="109"></a>who in triumph advances,’ from the <i>Lady of the +Lake</i>. +</p> + +<p> +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 +<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 +‘drum major.’ +</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 ‘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, <i><abbr title="David Copperfield">D.C.</abbr></i>): +</p> + +<blockquote> +<p> +‘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?’ +</p> +</blockquote> + +<p> +In the proof Dickens struck out all the words after +‘when,’ and inserted in their place the following: +</p> + +<blockquote> +<p> +‘King Charles the First had his head cut off?’ +</p> + +<p> +I said I believed it happened in the year sixteen hundred and +forty-nine. +</p> + +<p> +‘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?’ +</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: ‘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.’ +</p> + +<p> +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: +</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"> With his right leg, left leg, upper leg, under leg,</span><br /> +<span class="i2"> St. Patrick's day in the morning.</span> +</p> +</blockquote> + +<hr /> + +<p class="fn"><span><a class="fn" href="#ft17"> 17 </a></span><a name="fn17"></a> +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 <i>Hymns Ancient and Modern</i>) 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 <i>Islington Collection</i>, +1854.’—See <i>Hymn-Tunes and their Story</i>, p. 354.</p> + +<p class="fn"><span><a class="fn" href="#ft18"> 18 </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 ‘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, +</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 +‘Little Tafflin,’ 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 ‘Believe me, if all those endearing +<a class="pagebreak" name="page113" id="page113" +title="113"></a>young charms,’ 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 ‘to come up to the scratch.’ +</p> +</blockquote> + +<p> +Mrs. Micawber's ‘Little Taffline’ 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, ‘The Dashing White Sergeant,’ +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 +‘about Jack's delight being his lovely Nan’ 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 ‘Lovely Nan,’ 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 ‘Gee up, Dobbin.’ This +would be ‘Mr. Doggett's Comicall Song’ in the +farce <i>The Stage Coach</i>, containing the lines— +</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> +‘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— +</p> + +<blockquote> +<p> +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. +</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 ‘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 +</p> + +<blockquote> +<p class="stanza"> +<span class="i0">For England, home, and beauty.</span> +</p> +</blockquote> + +<p class="flush"> +‘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’ (<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 ‘The +Victory and Death of Lord Viscount Nelson’ 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 ‘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. <a href="#page149">149</a>), and by his dancing +with the fourth daughter of Mr. Mell. +</p> + +<p> +The ‘Woodpecker’ 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 ‘Lovely Peg,’ +<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 ‘Lovely Fleg.’ +</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"> 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"> In praise of lovely Peggy.</span> +</p> +</blockquote> + +<p> +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 +<a class="pagebreak" name="page119" id="page119" +title="119"></a>the Captain favoured—in spite of the mixture of +names—was C. Dibdin's ‘Lovely Polly.’ +</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—</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> +‘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.’ +</p> +</blockquote> + +<p> +This is taken from a song by J. Davy, known +as ‘Since the first dawn of reason,’ 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"> 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"> 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"> 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"> ‘May we ne'er want a friend or a bottle to give him.’</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"> +‘and not desert until death do us part, and when the stormy +winds do blow, do blow, do blow—overhaul the Catechism,’ said +<a class="pagebreak" name="page121" id="page121" +title="121"></a>the Captain parenthetically, ‘and there you'll find these expressions.’ +</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—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. <a href="#page116">116</a>). +</p> + +<p> +In conversation with his friend Bunsby, Cuttle +says— +</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 ‘Stanfell's +Budget,’ and when found make a note. +</p> +</blockquote> + +<p class="flush"> +Elsewhere he mentions Fairburn's ‘Comic Songster’ +and the ‘Little Warbler’ 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"> 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"> 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— +</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"> Cheerily!</span><br /> +<span class="i0">Leaving old England behind us, boys!</span><br /> +<span class="i4"> Cheerily!</span> +</p> +</blockquote> + +<p> +Here the Captain roared in chorus, +</p> + +<blockquote> +<p class="stanza"> +<span class="i3"> Oh cheerily, cheerily!</span><br /> +<span class="i3"> 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 ‘Oh cheerily, cheerily’ 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 ‘Port of +Barbados.’ +</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 ‘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— +</p> + +<blockquote> +<p class="stanza"> +<span class="i0">And she shall walk in silk attire,</span><br /> +<span class="i1"> And siller have to spare—</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> +‘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—’ +</p> + +<p> +‘What do you mean?’ +</p> + +<p> +‘But the name,’ said Dick, ‘has left but the name—in case +of letters or parcels—’ +</p> + +<p> +‘I never have any,’ said the lodger. +</p> + +<p> +‘Or in case anybody should call.’ +</p> + +<p> +‘Nobody ever calls on me.’ +</p> + +<p> +‘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—’ +</p> + +<p> +‘I'll blame nobody,’ said the lodger. +</p> +</blockquote> + +<p> +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 +<a class="pagebreak" name="page125" id="page125" +title="125"></a>him associated with Mr. Chuckster ‘in a fragment +of the popular duet of “All's Well” with a long +shake at the end.’ +</p> + +<p> +The following extract illustrates the ‘shake’: +</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 ‘Man wants but +little here below,’ 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 ‘she's all my fancy painted her.’ +</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"> That's newly sprung in June.</span><br /> +<span class="i0">She's also like a melody,</span><br /> +<span class="i1"> 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— +</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— +</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>dénouement</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> +‘What should you say this was?’ demanded Mr. Swiveller. +</p> + +<p> +‘It looks like bride-cake,’ replied the dwarf, grinning. +</p> + +<p> +‘And whose should you say it was?’ inquired Mr. Swiveller, +rubbing the pastry against his nose with dreadful calmness. +‘Whose?’ +</p> + +<p> +‘Not—’ +</p> + +<p> +‘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.’ +</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"> I've seen my fondest hopes decay;</span><br /> +<span class="i0">I never loved a tree or flower</span><br /> +<span class="i1"> 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"> 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"> And love me, it was sure to marry a market gardener.</span> +</p> +</blockquote> + +<p> +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, +</p> + +<blockquote> +<p> +‘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. +</p> + +<blockquote> +<p class="stanza"> +<span class="i0">Since life like a river is flowing,</span><br /> +<span class="i1"> 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"> And such eyes light the waves as they run.’</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> +‘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 +<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—but she +don't.’ +</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. ‘The time I've lost in +wooing’! +</p> + +<p> +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.”’ +</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 +à 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— +</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 ‘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. +</p> + +<blockquote> +<p class="stanza"> +<span class="i0">The world may think me gay,</span><br /> +<span class="i1"> For my feelings I smother;</span><br /> +<span class="i0">Oh <i>thou</i> hast been the cause</span><br /> +<span class="i1"> Of this anguish—my mother.</span> +</p> +</blockquote> + +<p> +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.’ +</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 ‘could teach everything +from vocal music to general cosmography,’ +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 ‘a pretty form to the lips’ (<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 +‘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 +</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 ‘The Young May +Moon,’ 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"> How sweet to rove</span><br /> +<span class="i4"> 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—the heavens look bright, my dear!</span><br /> +<span class="i0">'Tis never too late for delight, my dear!</span><br /> +<span class="i4"> And the best of all ways</span><br /> +<span class="i4"> 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 ‘with a +prodigious splash.’ +</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> +‘Beside that cottage door, Mr. Boffin,’ from +‘The Soldier's Tear’ +</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 ‘The Light Guitar.’ (See <a href="#page157">Index of Songs</a>.) +</p> + + +<h4>Book I, Ch. 15.</h4> + +<p> +‘Thrown on the wide world, doomed to +wander and roam.’ From ‘The Peasant Boy’ +</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> +‘Weep for the hour.’ From ‘Eveleen's +Bower’ +</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> +‘Then farewell, my trim-built wherry.’ From +‘The Waterman’ +</p> + +<p class="right"><i>C. Dibdin</i></p> + + +<h4>Book II, Ch. 7.</h4> + +<p> +‘Helm a-weather, now lay her close.’ From +‘The Tar for all Weathers’ +</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> +‘No malice to dread, sir.’ From verse 3 of +‘My Ain Fireside.’ +</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"> My ain fireside, my ain fireside,</span><br /> +<span class="i3"> 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"> 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"> 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> +‘If you'll come to the bower I've shaded for +you.’ From ‘Will you Come to the Bower’ +</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 & Son">D. & 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"> 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"> Heigho! said Rowley,</span><br /> +<span class="i0">Whether his mother would let him or no,</span><br /> +<span class="i1"> With his rowly powly,</span><br /> +<span class="i1"> Gammon and spinnage,</span><br /> +<span class="i2"> O heigh! said Anthony Rowley.</span> +</p> +</blockquote> + +<p> +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. +</p> + + +<h3><span class="sc">Alice Gray</span></h3> + +<p> +See ‘<a href="#yet_lovd_i">Yet Lov'd I</a>.’ +</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 ‘All Hail to the Chief.’ +</p> + + +<h3><span class="sc">All in the Downs</span> (<i><abbr title="Pickwick Papers">P.P.</abbr></i> 3)</h3> + +<p> +See ‘<a href="#page139">Black-Eyed Susan</a>.’ +</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"> And siller ha'e to spare,</span><br /> +<span class="i0">Gin ye'll consent to be my bride,</span><br /> +<span class="i1"> 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. ‘The Siller Crown,’ +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 & Son">D. & S.</abbr></i> 49)</h3> + +<p> +From ‘The Sailor's Consolation.’ +</p> + +<blockquote> +<p class="stanza"> +<span class="i0">One night came on a hurricane,</span><br /> +<span class="i1"> The seas were mountains rolling,</span><br /> +<span class="i0">When Barney Buntline turned his quid,</span><br /> +<span class="i1"> And said to Billy Bowling,</span><br /> +<span class="i0">A stiff Nor'-Wester's blowing, Bill,</span><br /> +<span class="i1"> 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"> 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: ‘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.’ +</p> + + +<h3><span class="sc">Auld Lang Syne</span> (‘Holly Tree,’ <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 ‘Miller's Wedding,’ found in Bremner's +<i>Reels</i> (1757–1761). +</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>, ‘Das klinget +so herrlich’—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 ‘To moments so +delighting!’ sung by Miss Stephens. Also found as a +duet ‘composed by Sigr. Mozart, arranged by +F.A. Hyde.’ +</p> + + +<h3><span class="sc">Bay of Biscay</span> (<i><abbr title="Uncommercial Traveller">U.T.</abbr></i> 31, <i><abbr title="Dombey & Son">D. & 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 ‘<a href="#a_frog">A Frog He Would</a>.’ +</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 ‘Queen's +Jigg’ 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 ‘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 <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 & Son">D. & 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 ‘Turpin and +the Bishop,’ 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 ‘hand grenades,’ +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"> Britons, strike home,</span><br /> +<span class="i0">The patriot-sounds re-echoing rung</span><br /> +<span class="i1"> 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—</span><br /> +<span class="i1"> 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"> 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 & Son">D. & 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 & Son">D. & 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 +‘Richard of Taunton Dean.’ 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 ‘Domestic Pieces.’ +</p> + +<blockquote> +<p class="stanza"> +<span class="i0">Fare thee well, and if for ever,</span><br /> +<span class="i1"> Still for ever, fare thee well;</span><br /> +<span class="i0">Even though unforgiving, never</span><br /> +<span class="i1"> '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 ‘Bob and Joan.’ +</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 ‘Portuguese Air.’ 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 ‘<a href="#death_of_nelson">Death of Nelson</a>.’ +</p> + + +<h3><span class="sc">For England, Home, and Beauty</span></h3> + +<p> +See ‘<a href="#death_of_nelson">Death of Nelson</a>.’ +</p> + + +<h3><span class="sc">For the Port of Barbados, Boys</span> (<i><abbr title="Dombey & Son">D. & 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 ‘Oh no, we never mention her.’ +</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"> To banish my regret;</span><br /> +<span class="i0">And when they win a smile from me,</span><br /> +<span class="i1"> 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 ‘Gee Ho, Dobbin.’ +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 +‘Glorious Apollers.’ 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> +(‘Do they often go where glory waits 'em?’ <i><abbr title="Old Curiosity Shop">O.C.S.</abbr></i> 58) +</p> + +<p> +Moore's <i>Irish Melodies</i>, set to the air ‘Maid of the +Valley.’ +</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 ‘rest,’ +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, &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 & Son">D. & 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 +‘The Harp that once through Tara's Halls.’ +</p> + +<p> +Moore, in his <i>Irish Melodies</i>, calls the melody +‘Gramachree.’ +</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 ‘President's March,’ +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"> The beautiful maid I adore?</span><br /> +<span class="i0">Shall I never again hear her voice,</span><br /> +<span class="i1"> 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 ‘<i>Hearts</i> of Oak.’ +</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—</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> +‘Lass of Richmond Hill.’ +</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"> 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 ‘Richmond +Hill’ 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 ‘Domhnall.’ +</p> + +<blockquote> +<p class="stanza"> +<span class="i0">I saw thy form in youthful prime,</span><br /> +<span class="i1"> Nor thought that pale decay</span><br /> +<span class="i0">Would steal before the steps of time,</span><br /> +<span class="i1"> 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 ‘Lovely Nan.’ 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"> A long time ago,</span><br /> +<span class="i0">Where I first larn to wheel about,</span><br /> +<span class="i1"> And jump Jim Crow;</span><br /> +<span class="i0">Wheel about and turn about,</span><br /> +<span class="i1"> And do jis so,</span><br /> +<span class="i0">Eb'ry time I wheel about,</span><br /> +<span class="i1"> 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"> He sat where no sun could shine,</span><br /> +<span class="i0">And he lifted his hand so yellow,</span><br /> +<span class="i1"> And pour'd out his coal-black wine.</span><br /> +<span class="i2"> Hurrah for the coal-black wine!</span> +</p> +</blockquote> + +<p> +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 <i>draw</i>!’ +</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 ‘Nora Creina.’ +</p> + +<blockquote> +<p class="stanza"> +<span class="i0">Lesbia hath a beaming eye,</span><br /> +<span class="i1"> But no one knows for whom it beameth,</span><br /> +<span class="i0">Right and left its arrows fly,</span><br /> +<span class="i1"> 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 ‘Here in cool grot.’ +</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 ‘Little Taffline’ in T. Dibdin's +<i>St. David's Day</i>, 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. +</p> + + +<h3><a class="pagebreak" name="page148" id="page148" +title="148"></a><span class="sc">Lovely Peg</span> (<i><abbr title="Dombey & Son">D. & S.</abbr></i> 10)</h3> + +<p> +See pp. <a href="#page117">117–119</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 & Son">D. & S.</abbr></i> 15)</h3> + +<p> +See ‘<a href="#dawn_of_reason">Since the first dawn of reason</a>.’ +</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> +‘Mary, I believed thee true,’ <i>Moore</i> (one of his +‘Juvenile Poems’). +</p> + +<blockquote> +<p class="stanza"> +<span class="i0">Mary, I believed thee true,</span><br /> +<span class="i1"> 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"> 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 ‘Gala Water.’ +</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 ‘<a href="#we_met">We met</a>.’ +</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 ‘Scots, Wha Hae’ (<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"> 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 ‘The Country Lass,’ +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 ‘Kitty Tyrrel.’ +</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"> My prince defends his right,</span><br /> +<span class="i0">And I will to the battle speed,</span><br /> +<span class="i1"> To guard him in the fight.</span> +</p> +</blockquote> + + +<h3><span class="sc">Oh Cheerily, Cheerily</span> (<i><abbr title="Dombey & Son">D. & 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 ‘<a href="#strew_then">Strew then, Oh strew</a>.’ +</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. ‘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. <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 ‘Old Clem,’ 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—Old Clem,</span><br /> +<span class="i0">With a thump and a sound—Old Clem,</span><br /> +<span class="i0">Beat it out, beat it out—Old Clem,</span><br /> +<span class="i0">With a cluck for the stout—Old Clem,</span><br /> +<span class="i0">Blow the fire, blow the fire—Old Clem,</span><br /> +<span class="i0">Roaring drier, soaring higher—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 ‘Old Cole,’ a cloth-maker of +Reading <i>temp.</i> Henry I. Wardle's carol ‘I care not +for spring’ (<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"> 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"> 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"> 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"> 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 ‘Charlie is my darling’ 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 ‘See from ocean +rising’ 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 & Son">D. & 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 ‘<a href="#of_all_the_girls">Of all the girls</a>.’ +</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> +(‘Alice Gray.’) +</p> + +<p> +See ‘<a href="#yet_lovd_i">Yet lov'd I</a>.’ +</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 ‘Low Down in the Broom.’ +</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"> 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 ‘Greensleeves,’ which dates from +1580. This tune is twice mentioned by Shakespeare +in <i>The Merry Wives of Windsor</i>. 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. +</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 ‘The +Flowing Bowl’ (‘Fill the bowl with sparkling nectar’). +Another began ‘Fill, fill the bowl with sparkling wine.’ +</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 ‘Holy be the Pilgrim's Sleep,’ which +is a sequel to ‘Oh Lady Fair’ (<a href="#oh_lady_fair">q.v.</a>). +</p> + +<p> +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 +</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">(‘Jarvey! Jarvey!’ ‘Here I am, yer honour’),</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"> Tamaroo! Tamaroo! Tamaroo!</span> +</p> +</blockquote> + +<p> +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.’ +</p> + + +<h3><span class="sc">Tarry Trousers</span> (<i><abbr title="Dombey & Son">D. & 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"> 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"> 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. ‘Ye Shepherds, tell me’ (or ‘The Wreath’). +</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"> 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"> 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 ‘Poor Jack.’ +</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 ‘<a href="#page157">The Light Guitar</a>.’ +</p> + + +<h3><span class="sc">The Great Sea Snake</span></h3> + +<p> +Set to the air ‘Rampant Moll.’ +</p> + +<blockquote> +<p class="stanza"> +<span class="i0">Perhaps you have all of you heard of a yarn</span><br /> +<span class="i1"> Of a famous large sea snake,</span><br /> +<span class="i0">That once was seen off the Isle Pitcairn</span><br /> +<span class="i1"> 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"> The halls of dazzling light,</span><br /> +<span class="i0">And rove with me through forests green</span><br /> +<span class="i1"> 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 ‘show song’ 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"> 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"> 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 & Son">D. & 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"> Thou ever wilt remain,</span><br /> +<span class="i0">One only hope my heart can cheer:</span><br /> +<span class="i1"> 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> +(‘Oh ever,’ &c.) +</p> + +<p> +Words by <i>Moore</i>. +</p> + +<p> +From ‘Lalla Rookh.’ 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 1850–1860.</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"> 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"> For my feelings I smother—</span><br /> +<span class="i0">Oh! <i>thou</i> hast been the cause</span><br /> +<span class="i1"> 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 (‘adapted and arranged’ +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, +1704–1709, known as ‘The War of the Spanish +Succession.’ +</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—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 ‘The Fox's Sleep.’ +</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— +</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"> How great was my surprise,</span><br /> +<span class="i0">Thought I, the world's turned upside down,</span><br /> +<span class="i1"> Such wonders met my eyes.</span> +</p> +</blockquote> + +<p> +And in <i>The Universal Songster</i>— +</p> + +<blockquote> +<p class="stanza"> +<span class="i0">When I arrived in London Town,</span><br /> +<span class="i0">I got my lesson pat, &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> +‘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. +</p> + +<blockquote> +<p class="stanza"> +<span class="i0">When lovely woman stoops to folly,</span><br /> +<span class="i1"> And finds, too late, that men betray,</span><br /> +<span class="i0">What charm can soothe her melancholy?</span><br /> +<span class="i1"> 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 & Son">D. & S.</abbr></i> 23)</h3> + +<p> +Words by <i>Campbell</i>, who may have taken them +from an earlier source. See ‘<a href="#you_gentlemen">You Gentlemen of +England</a>.’ +</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 ‘My Mother.’ +</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 ‘Begone, dull care’ (<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 ‘A selection of Scotch, +English, Irish, and Foreign Airs,’ 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 ‘Alice Gray.’ +</p> + +<blockquote> +<p class="stanza"> +<span class="i0">She's all my fancy painted her,</span><br /> +<span class="i1"> She's lovely, she's divine,</span><br /> +<span class="i0">But her heart it is another's,</span><br /> +<span class="i1"> It never can be mine.</span><br /> +<span class="i0">Yet lov'd I as ne'er man loved,</span><br /> +<span class="i1"> A love without decay,</span><br /> +<span class="i0">Oh my heart, my heart is breaking,</span><br /> +<span class="i1"> For the love of <i>Alice Gray</i>!</span> +</p> +</blockquote> + +<p> +‘Alice Gray.’ 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 & Son">D. & S.</abbr></i> 23)</h3> + +<p> +Old English Ballad. +</p> + +<p> +A seventeenth-century song, the last line of each +verse being ‘When the stormy winds do blow.’ +</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> +‘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.’ +</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"> Where roses breathing,</span><br /> +<span class="i1"> 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>‘Chaunter,’ <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>‘Drums,’ <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">37–40</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>‘Gum-gum,’ <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">45–50</a>, <a href="#page52">52</a>, <a href="#page69">69–72</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">25–29</a>, <a href="#page31">31–35</a>, <a href="#page74">74</a>, <a href="#page76">76</a></li> +<li>Piano (‘self acting’), <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">23–29</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 & Son">D. & S.</abbr></i>), <a href="#page40">40</a></li> +<li>Carker, James (<i><abbr title="Dombey & Son">D. & 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 & Son">D. & 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">117–123</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 & Son">D. & 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 & Son">D. & 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 & Son">D. & 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 & Son">D. & 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 & Son">D. & 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 (‘Old Sol’) (<i><abbr title="Dombey & Son">D. & 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 (‘Pet’), <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">112–117</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 & Son">D. & 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 (‘Kit’) (<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>‘Old Clem,’ <a href="#page151">151</a></li> +<li>‘Old Sol,’ 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>‘Pet,’ 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 (&c.)</a></li> +<li><a name="pirrip"></a>Pirrip (‘Pip’ or ‘Handel’), <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 & Son">D. & 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 & Son">D. & S.</abbr></i>), <a href="#page30">30</a></li> +<li>Skewton, Hon. Mrs. (<i><abbr title="Dombey & Son">D. & 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">123–130</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 & Son">D. & 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 & Son">D. & 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 (‘Trotty’) (<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">125–128</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">132–134</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 (&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>‘Belmont’ (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>‘Chaunter,’ <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>‘Drums,’ <a href="#page109">109</a></li> +<li>D'Urfey, <a href="#page151">151</a></li> +</ul><ul> +<li>‘Eagle,’ The, <a href="#page24">24</a>, <a href="#page27">27</a>, <a href="#page47">47</a>, <a href="#page48">48</a></li> +<li>‘Elephant and Castle,’ 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">80–82</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>‘Number Four Collection,’ <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>‘Phiz,’ <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>‘Boz’ 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 +‘<i>Tony Weller</i>.’ +</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, ‘Did You Hear Anything +Knock?’</span> Song by <i>Beuler</i>. +</p> + +<p> +<span class="sc">Master Humphrey's Quadrilles.</span> Music by <i>‘Boz’ 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">‘God Bless us Every One.’</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> (‘The Battle of Life’). 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>, ‘Farewell to the +Old Home.’ 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">‘Jo.’</span> Galop for the pianoforte upon airs from the celebrated +drama, by <i>Edward Solomon</i>. +</p> + +<p> +<span class="sc">‘He was Wery Good to Me.’</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 ‘Caddy's Flowers’ 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">‘My Dear Old Home.’</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 ‘Le Chevalier du guet.’) +</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">‘Somebody's Luggage.’</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 /> +‘SOUTHAMPTON TIMES’ 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>“and can't play ‘out to-night,’”</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>“and tuned like fifty stomach-aches.”</td></tr> +<tr><td></td> +<td class="tn">Corrected typo: “tuned liked”</td></tr> +<tr><td><a href="#page40">Page 40</a></td> +<td>“which had no recognizable tune”</td></tr> +<tr><td></td> +<td class="tn">Corrected typo: “recognizable time”</td></tr> +<tr><td><a href="#page89">Page 89</a></td> +<td>“given to the young red-haired boy”</td></tr> +<tr><td></td> +<td class="tn">Corrected typo: “young red-haired boots”</td></tr> +<tr><td><a href="#page93">Page 93</a></td> +<td>“penn'orths”</td></tr> +<tr><td><a href="#page104">Page 104</a></td> +<td>“hunting field,”</td></tr> +<tr><td></td> +<td class="tn">Letter ‘t’ not inked in original.</td></tr> +<tr><td><a href="#page115">Page 115</a></td> +<td>“His musical powers made him useful at the club-room”</td></tr> +<tr><td></td> +<td class="tn">Hyphen at line-end: could be “clubroom”.</td></tr> +<tr><td><a href="#page116">Page 116</a></td> +<td>“‘as of a gallant and eminent naval Hero,’”</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>“(<i><abbr title="Old Curiosity Shop">O.C.S.</abbr></i> 27)”</td></tr> +<tr><td></td> +<td class="tn">Corrected typo: “<i>D.C.S.</i>”</td></tr> +<tr><td><a href="#page148">Page 148</a></td> +<td>“See ‘Since the first dawn of reason.’”</td></tr> +<tr><td></td> +<td class="tn">Original had “When the first dawn of reason.”</td></tr> +<tr><td><a href="#page150">Page 150</a></td> +<td>“See ‘Strew then, Oh strew.’”</td></tr> +<tr><td></td> +<td class="tn">Original had “Strew then, O strew.”</td></tr> +<tr><td><a href="#page152">Page 152</a></td> +<td>“Come weal, come woe, we'll gather and go,”</td></tr> +<tr><td></td> +<td class="tn">Line indented in original.</td></tr> +<tr><td><a href="#page164">Page 164</a></td> +<td>“Banjo”</td></tr> +<tr><td><a href="#page165">Page 165</a></td> +<td>“Brown, Mr.”</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>“Cadby” corrected to “Caddy”</td></tr> +</table> + + + + + + + +<pre> + + + + + +End of Project Gutenberg's Charles Dickens and Music, by James T. Lightwood + +*** END OF THIS PROJECT GUTENBERG EBOOK CHARLES DICKENS AND MUSIC *** + +***** This file should be named 16595-h.htm or 16595-h.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/1/6/5/9/16595/ + +Produced by David Newman, Daniel Emerson Griffith and the +Online Distributed Proofreading Team at https://www.pgdp.net + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. 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