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diff --git a/16595.txt b/16595.txt new file mode 100644 index 0000000..4875170 --- /dev/null +++ b/16595.txt @@ -0,0 +1,6679 @@ +Project Gutenberg's Charles Dickens and Music, by James T. Lightwood + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Charles Dickens and Music + +Author: James T. Lightwood + +Release Date: August 25, 2005 [EBook #16595] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK CHARLES DICKENS AND MUSIC *** + + + + +Produced by David Newman, Daniel Emerson Griffith and the +Online Distributed Proofreading Team at https://www.pgdp.net + + + + + + [Illustration] + + TOM PINCH AT THE ORGAN. + _Frontispiece._ + + + +CHARLES DICKENS AND MUSIC + +BY JAMES T. LIGHTWOOD + +AUTHOR OF 'HYMN-TUNES AND THEIR STORY' + +London +CHARLES H. KELLY +25-35 CITY ROAD, AND 26 PATERNOSTER ROW, E.C. + +_First Edition, 1912_ + +IN PLEASANT MEMORY OF MANY HAPPY YEARS AT PEMBROKE HOUSE, LYTHAM + + + + +PREFACE + + +For many years I have been interested in the various musical +references in Dickens' works, and have had the impression that +a careful examination of his writings would reveal an aspect of +his character hitherto unknown, and, I may add, unsuspected. +The centenary of his birth hastened a work long contemplated, +and a first reading (after many years) brought to light an +amount of material far in excess of what I anticipated, while a +second examination convinced me that there is, perhaps, no great +writer who has made a more extensive use of music to illustrate +character and create incident than Charles Dickens. From an +historical point of view these references are of the utmost +importance, for they reflect to a nicety the general condition +of ordinary musical life in England during the middle of the +last century. We do not, of course, look to Dickens for a +history of classical music during the period--those who want +this will find it in the newspapers and magazines; but for the +story of music in the ordinary English home, for the popular +songs of the period, for the average musical attainments of +the middle and lower classes (music was not the correct thing +amongst the 'upper ten'), we must turn to the pages of Dickens' +novels. It is certainly strange that no one has hitherto thought +of tapping this source of information. In and about 1887 the +papers teemed with articles that outlined the history of music +during the first fifty years of Victoria's reign; but I have +not seen one that attempted to derive first-hand information +from the sources referred to, nor indeed does the subject of +'Dickens and Music' ever appear to have received the attention +which, in my opinion, it deserves. + +I do not profess to have chronicled _all_ the musical references, +nor has it been possible to identify every one of the numerous +quotations from songs, although I have consulted such excellent +authorities as Dr. Cummings, Mr. Worden (Preston), and Mr. J. +Allanson Benson (Bromley). I have to thank Mr. Frank Kidson, who, +I understand, had already planned a work of this description, +for his kind advice and assistance. There is no living writer +who has such a wonderful knowledge of old songs as Mr. Kidson, +a knowledge which he is ever ready to put at the disposal of +others. Even now there are some half-dozen songs which every +attempt to run to earth has failed, though I have tried to +'mole 'em out' (as Mr. Pancks would say) by searching through +some hundreds of song-books and some thousands of separate songs. + +Should any of my readers be able to throw light on dark +places I shall be very glad to hear from them, with a view to +making the information here presented as complete and correct +as possible if another edition should be called for. May +I suggest to the Secretaries of our Literary Societies, +Guilds, and similar organizations that a pleasant evening +might be spent in rendering some of the music referred to by +Dickens. The proceedings might be varied by readings from his +works or by historical notes on the music. Many of the pieces +are still in print, and I shall be glad to render assistance in +tracing them. Perhaps this idea will also commend itself to the +members of the Dickens Fellowship, an organization with which +all lovers of the great novelist ought to associate themselves. + + JAMES T. LIGHTWOOD. + LYTHAM, + _October, 1912._ + + + + I truly love Dickens; and discern in the inner man of + him a tone of real Music which struggles to express + itself, as it may in these bewildered, stupefied + and, indeed, very crusty and distracted days--better + or worse! + + THOMAS CARLYLE. + + + + +CONTENTS + + + CHAP. PAGE + + I. DICKENS AS A MUSICIAN 1 + + II. INSTRUMENTAL COMBINATIONS 23 + + III. VARIOUS INSTRUMENTS: FLUTE, ORGAN, GUITAR + (AND SOME HUMMERS) 36 + + IV. VARIOUS INSTRUMENTS (_continued_) 56 + + V. CHURCH MUSIC 69 + + VI. SONGS AND SOME SINGERS 83 + + VII. SOME NOTED SINGERS 112 + + LIST OF SONGS, &c., MENTIONED BY DICKENS 135 + + INDEX OF MUSICAL INSTRUMENTS 164 + + INDEX OF CHARACTERS 165 + + GENERAL INDEX 169 + + LIST OF MUSIC TITLES, &c., FOUNDED ON + DICKENS' CHARACTERS 172 + + + + +LIST OF WORKS REFERRED TO + +_With Abbreviations Used_ + + + _American Notes_ 1842 _A.N._ + _Barnaby Rudge_ 1841 _B.R._ + _Battle of Life_ 1848 _B.L._ + _Bleak House_ 1852-3 _B.H._ + _Chimes_ 1844 _Ch._ + _Christmas Carol_ 1843 _C.C._ + _Christmas Stories_ -- _C.S._ + _Christmas Stories_-- + Dr. Marigold's Prescription 1865 _Dr. M._ + Going into Society 1855 _G.S._ + Holly Tree 1855 _H.T._ + Mugby Junction 1866 _M.J._ + Mrs. Lirriper's Lodgings 1863 -- + No Thoroughfare 1867 _N.T._ + Somebody's Luggage 1862 _S.L._ + Wreck of the Golden Mary 1856 _G.M._ + _Collected Papers_ -- _C.P._ + _Cricket on the Hearth_ 1845 _C.H._ + _Dombey & Son_ 1847-8 _D. & S._ + _David Copperfield_ 1849-50 _D.C._ + _Edwin Drood_ 1870 _E.D._ + _Great Expectations_ 1860-1 _G.E._ + _Hard Times_ 1854 _H.T._ + _Haunted House_ 1859 -- + _Haunted Man_ 1848 _H.M._ + _Holiday Romance_ -- _H.R._ + _Little Dorrit_ 1855-6 _L.D._ + _Martin Chuzzlewit_ 1843-4 _M.C._ + _Master Humphrey's Clock_ 1840-1 _M.H.C._ + _Mystery of Edwin Drood_ 1870 _E.D._ + _Nicholas Nickleby_ 1838-9 _N.N._ + _Old Curiosity Shop_ 1840 _O.C.S._ + _Oliver Twist_ 1837-8 _O.T._ + _Our Mutual Friend_ 1864 _O.M.F._ + _Pickwick Papers_ 1836-7 _P.P._ + _Pictures from Italy_ 1846 _It._ + _Reprinted Pieces_-- + Our Bore 1852 -- + Our English Watering-Place 1851 -- + Our French Watering-Place 1854 -- + Our School 1851 -- + Out of the Season 1856 -- + _Sketches by Boz_ 1835-6 _S.B._ + Characters -- _S.B.C._ + Our Parish -- -- + Scenes -- _S.B.S._ + Tales -- _S.B.T._ + _Sunday under Three Heads_ 1836 -- + _Sketches of Young People_ 1840 -- + _Sketches of Young Gentlemen_ 1838 -- + _Tale of Two Cities, A_ 1859 -- + _Uncommercial Traveller_ 1860-9 _U.T._ + + + +CHARLES DICKENS AND MUSIC + + + + +CHAPTER I + +DICKENS AS A MUSICIAN + + +The attempts to instil the elements of music into Charles +Dickens when he was a small boy do not appear to have been +attended with success. Mr. Kitton tells us that he learnt the +piano during his school days, but his master gave him up in +despair. Mr. Bowden, an old schoolfellow of the novelist's when +he was at Wellington House Academy, in Hampstead Road, says that +music used to be taught there, and that Dickens received lessons +on the violin, but he made no progress, and soon relinquished +it. It was not until many years after that he made his third +and last attempt to become an instrumentalist. During his +first transatlantic voyage he wrote to Forster telling him +that he had bought an accordion. + + The steward lent me one on the passage out, and I + regaled the ladies' cabin with my performances. You + can't think with what feelings I play 'Home, Sweet Home' + every night, or how pleasantly sad it makes us. + +On the voyage back he gives the following description of the +musical talents of his fellow passengers: + + One played the accordion, another the violin, and + another (who usually began at six o'clock a.m.) the key + bugle: the combined effect of which instruments, when + they all played different tunes, in different parts + of the ship, at the same time, and within hearing of + each other, as they sometimes did (everybody being + intensely satisfied with his own performance), was + sublimely hideous. + +He does not tell us whether he was one of the performers on +these occasions. + +But although he failed as an instrumentalist he took +delight in hearing music, and was always an appreciative yet +critical listener to what was good and tuneful. His favourite +composers were Mendelssohn--whose _Lieder_ he was specially +fond of[1]--Chopin, and Mozart. He heard Gounod's _Faust_ +whilst he was in Paris, and confesses to having been quite +overcome with the beauty of the music. 'I couldn't bear it,' +he says, in one of his letters, 'and gave in completely. The +composer must be a very remarkable man indeed.' At the same +time he became acquainted with Offenbach's music, and heard +_Orphee aux enfers_. This was in February, 1863. Here also he +made the acquaintance of Auber, 'a stolid little elderly man, +rather petulant in manner.' He told Dickens that he had lived +for a time at 'Stock Noonton' (Stoke Newington) in order to +study English, but he had forgotten it all. In the description +of a dinner in the _Sketches_ we read that + + The knives and forks form a pleasing accompaniment to + Auber's music, and Auber's music would form a pleasing + accompaniment to the dinner, if you could hear anything + besides the cymbals. + +He met Meyerbeer on one occasion at Lord John Russell's. The +musician congratulated him on his outspoken language on Sunday +observance, a subject in which Dickens was deeply interested, +and on which he advocated his views at length in the papers +entitled _Sunday under Three Heads_. + +Dickens was acquainted with Jenny Lind, and he gives the +following amusing story in a letter to Douglas Jerrold, dated +Paris, February 14, 1847: + + I am somehow reminded of a good story I heard the + other night from a man who was a witness of it and + an actor in it. At a certain German town last autumn + there was a tremendous _furore_ about Jenny Lind, who, + after driving the whole place mad, left it, on her + travels, early one morning. The moment her carriage + was outside the gates, a party of rampant students who + had escorted it rushed back to the inn, demanded to be + shown to her bedroom, swept like a whirlwind upstairs + into the room indicated to them, tore up the sheets, + and wore them in strips as decorations. An hour or two + afterwards a bald old gentleman of amiable appearance, + an Englishman, who was staying in the hotel, came to + breakfast at the _table d'hote_, and was observed to be + much disturbed in his mind, and to show great terror + whenever a student came near him. At last he said, in + a low voice, to some people who were near him at the + table, 'You are English gentlemen, I observe. Most + extraordinary people, these Germans. Students, + as a body, raving mad, gentlemen!' 'Oh, no,' said + somebody else: 'excitable, but very good fellows, + and very sensible.' 'By God, sir!' returned the old + gentleman, still more disturbed, 'then there's something + political in it, and I'm a marked man. I went out for + a little walk this morning after shaving, and while I + was gone'--he fell into a terrible perspiration as he + told it--'they burst into my bedroom, tore up my sheets, + and are now patrolling the town in all directions with + bits of 'em in their button-holes.' I needn't wind + up by adding that they had gone to the wrong chamber. + +It was Dickens' habit wherever he went on his Continental +travels to avail himself of any opportunity of visiting the +opera; and his criticisms, though brief, are always to the +point. He tells us this interesting fact about Carrara: + + There is a beautiful little theatre there, built of + marble, and they had it illuminated that night in my + honour. There was really a very fair opera, but it is + curious that the chorus has been always, time out of + mind, made up of labourers in the quarries, who don't + know a note of music, and sing entirely by ear. + +But much as he loved music, Dickens could never bear the +least sound or noise while he was studying or writing, and +he ever waged a fierce war against church bells and itinerant +musicians. Even when in Scotland his troubles did not cease, +for he writes about 'a most infernal piper practising under +the window for a competition of pipers which is to come off +shortly.' Elsewhere he says that he found Dover 'too bandy' +for him (he carefully explains he does not refer to its legs), +while in a letter to Forster he complains bitterly of the +vagrant musicians at Broadstairs, where he 'cannot write half +an hour without the most excruciating organs, fiddles, bells, +or glee singers.' The barrel-organ, which he somewhere calls +an 'Italian box of music,' was one source of annoyance, but +bells were his special aversion. 'If you know anybody at St. +Paul's,' he wrote to Forster, 'I wish you'd send round and ask +them not to ring the bell so. I can hardly hear my own ideas +as they come into my head, and say what they mean.' His bell +experiences at Genoa are referred to elsewhere (p. 57). + +How marvellously observant he was is manifest in the numerous +references in his letters and works to the music he heard in +the streets and squares of London and other places. Here is +a description of Golden Square, London, W. (_N.N._): + + Two or three violins and a wind instrument from + the Opera band reside within its precincts. Its + boarding-houses are musical, and the notes of pianos + and harps float in the evening time round the head of + the mournful statue, the guardian genius of the little + wilderness of shrubs, in the centre of the square.... + Sounds of gruff voices practising vocal music invade + the evening's silence, and the fumes of choice tobacco + scent the air. There, snuff and cigars and German + pipes and flutes, and violins and violoncellos, divide + the supremacy between them. It is the region of song + and smoke. Street bands are on their mettle in Golden + Square, and itinerant glee singers quaver involuntarily + as they raise their voices within its boundaries. + +We have another picture in the description of Dombey's house, +where-- + + the summer sun was never on the street but in the + morning, about breakfast-time.... It was soon gone + again, to return no more that day, and the bands of + music and the straggling Punch's shows going after + it left it a prey to the most dismal of organs and + white mice. + + +_As a Singer_ + +Most of the writers about Dickens, and especially his personal +friends, bear testimony both to his vocal power and his love +of songs and singing. As a small boy we read of him and his +sister Fanny standing on a table singing songs, and acting them +as they sang. One of his favourite recitations was Dr. Watts' +'The voice of the sluggard,' which he used to give with great +effect. The memory of these words lingered long in his mind, +and both Captain Cuttle and Mr. Pecksniff quote them with +excellent appropriateness. + +When he grew up he retained his love of vocal music, and showed +a strong predilection for national airs and old songs. Moore's +_Irish Melodies_ had also a special attraction for him. In +the early days of his readings his voice frequently used to +fail him, and Mr. Kitton tells us that in trying to recover +the lost power he would test it by singing these melodies to +himself as he walked about. It is not surprising, therefore, +to find numerous references to these songs, as well as to +other works by Moore, in his writings. + +From a humorous account of a concert on board ship we gather +that Dickens possessed a tenor voice. Writing to his daughter +from Boston in 1867, he says: + + We had speech-making and singing in the saloon of the + _Cuba_ after the last dinner of the voyage. I think I + have acquired a higher reputation from drawing out the + captain, and getting him to take the second in 'All's + Well' and likewise in 'There's not in the wide world'[2] + (your parent taking the first), than from anything + previously known of me on these shores.... We also sang + (with a Chicago lady, and a strong-minded woman from + I don't know where) 'Auld Lang Syne,' with a tender + melancholy expressive of having all four been united + from our cradles. The more dismal we were, the more + delighted the company were. Once (when we paddled i' + the burn) the captain took a little cruise round the + compass on his own account, touching at the Canadian + Boat Song,[3] and taking in supplies at Jubilate, 'Seas + between us braid ha' roared,' and roared like ourselves. + +J.T. Field, in his _Yesterdays with Authors_, says: 'To hear him +sing an old-time stage song, such as he used to enjoy in his +youth at a cheap London theatre ... was to become acquainted +with one of the most delightful and original companions in +the world.' + +When at home he was fond of having music in the evening. His +daughter tells us that on one occasion a member of his family +was singing a song while he was apparently deep in his book, +when he suddenly got up and saying 'You don't make enough of +that word,' he sat down by the piano and showed how it should +be sung. + +On another occasion his criticism was more pointed. + + One night a gentleman visitor insisted on singing + 'By the sad sea waves,' which he did vilely, and he + wound up his performance by a most unexpected and + misplaced embellishment, or 'turn.' Dickens found the + whole ordeal very trying, but managed to preserve a + decorous silence till this sound fell on his ear, when + his neighbour said to him, 'Whatever did he mean by + that extraneous effort of melody?' 'Oh,' said Dickens, + 'that's quite in accordance with rule. When things + are at their worst they always take a _turn_.' + +Forster relates that while he was at work on the _Old Curiosity +Shop_ he used to discover specimens of old ballads in his +country walks between Broadstairs and Ramsgate, which so +aroused his interest that when he returned to town towards +the end of 1840 he thoroughly explored the ballad literature +of Seven Dials,[4] and would occasionally sing not a few of +these wonderful discoveries with an effect that justified +his reputation for comic singing in his childhood. We get a +glimpse of his investigations in _Out of the Season_, where +he tells us about that 'wonderful mystery, the music-shop,' +with its assortment of polkas with coloured frontispieces, and +also the book-shop, with its 'Little Warblers and Fairburn's +Comic Songsters.' + + Here too were ballads on the old ballad paper and + in the old confusion of types, with an old man in a + cocked hat, and an armchair, for the illustration + to Will Watch the bold smuggler, and the Friar of + Orders Grey, represented by a little girl in a hoop, + with a ship in the distance. All these as of yore, + when they were infinite delights to me. + +On one of his explorations he met a landsman who told him +about the running down of an emigrant ship, and how he heard +a sound coming over the sea 'like a great sorrowful flute or +Aeolian harp.' He makes another and very humorous reference to +this instrument in a letter to Landor, in which he calls to mind + + that steady snore of yours, which I once heard piercing + the door of your bedroom ... reverberating along the + bell-wire in the hall, so getting outside into the + street, playing Aeolian harps among the area railings, + and going down the New Road like the blast of a trumpet. + +The deserted watering-place referred to in _Out of the Season_ +is Broadstairs, and he gives us a further insight into its +musical resources in a letter to Miss Power written on July 2, +1847, in which he says that + + a little tinkling box of music that stops at 'come' + in the melody of the Buffalo Gals, and can't play 'out + to-night,' and a white mouse, are the only amusements + left at Broadstairs. + +'Buffalo Gals' was a very popular song 'Sung with great +applause by the Original Female American Serenaders.' (_c._ +1845.) The first verse will explain the above allusion: + + As I went lum'rin' down de street, down de street, + A 'ansom gal I chanc'd to meet, oh, she was fair to view. + Buffalo gals, can't ye come out to-night, come out to-night, + come out to-night; + Buffalo gals, can't ye come out to-night, and dance by the + light of the moon. + +We find some interesting musical references and memories in +the novelist's letters. Writing to Wilkie Collins in reference +to his proposed sea voyage, he quotes Campbell's lines from +'Ye Mariners of England': + + As I sweep + Through the deep + When the stormy winds do blow. + +There are other references to this song in the novels. I have +pointed out elsewhere that the last line also belongs to a +seventeenth-century song. + +Writing to Mark Lemon (June, 1849) he gives an amusing parody of + + Lesbia hath a beaming eye, + +beginning + + Lemon is a little hipped. + +In a letter to Maclise he says: + + My foot is in the house, + My bath is on the sea, + And before I take a souse, + Here's a single note to thee. + +These lines are a reminiscence of Byron's ode to Tom Moore, +written from Venice on July 10, 1817: + + My boat is on the shore, + And my bark is on the sea, + But before I go, Tom Moore, + Here's a double health to thee! + +The words were set to music by Bishop. This first verse had a +special attraction for Dickens, and he gives us two or three +variations of it, including a very apt one from Dick Swiveller +(see p. 126). + +Henry F. Chorley, the musical critic, was an intimate friend +of Dickens. On one occasion he went to hear Chorley lecture on +'The National Music of the World,' and subsequently wrote him +a very friendly letter criticizing his delivery, but speaking +in high terms of the way he treated his subject. + +In one of his letters he makes special reference to the +singing of the Hutchinson family.[5] Writing to the Countess +of Blessington, he says: + + I must have some talk with you about these American + singers. They must never go back to their own country + without your having heard them sing Hood's 'Bridge + of Sighs.' + +Amongst the distinguished visitors at Gad's Hill was Joachim, +who was always a welcome guest, and of whom Dickens once said +'he is a noble fellow.' His daughter writes in reference to +this visit: + + I never remember seeing him so wrapt and absorbed as + he was then, on hearing him play; and the wonderful + simplicity and _un_-self-consciousness of the genius + went straight to my father's heart, and made a fast + bond of sympathy between those two great men. + + +_In Music Drama_ + +Much has been written about Dickens' undoubted powers as +an actor, as well as his ability as a stage manager, and +it is well known that it was little more than an accident +that kept him from adopting the dramatic profession. He ever +took a keen interest in all that pertained to the stage, and +when he was superintending the production of a play he was +always particular about the musical arrangements. There is in +existence a play-bill of 1833 showing that he superintended a +private performance of _Clari_. This was an opera by Bishop, +and contains the first appearance of the celebrated 'Home, Sweet +Home,' a melody which, as we have already said, he reproduced +on the accordion some years after. He took the part of Rolano, +but had no opportunity of showing off his singing abilities, +unless he took a part in the famous glee 'Sleep, gentle lady,' +which appears in the work as a quartet for alto, two tenors, +and bass, though it is now arranged in other forms. + +In his dealings with the drama Dickens was frequently his +own bandmaster and director of the music. For instance, in +_No Thoroughfare_ we find this direction: 'Boys enter and +sing "God Save the Queen" (or any school devotional hymn).' +At Obenreizer's entrance a 'mysterious theme is directed +to be played,' that gentleman being 'well informed, clever, +and a good musician.' + +Dickens was concerned in the production of one operetta--_The +Village Coquettes_--for which he wrote the words, and John +Hullah composed the music. It consists of songs, duets, and +concerted pieces, and was first produced at St. James's Theatre, +London, on December 6, 1836. The following year it was being +performed at Edinburgh when a fire broke out in the theatre, +and the instrumental scores together with the music of the +concerted pieces were destroyed. No fresh copy was ever made, +but the songs are still to be obtained. Mr. Kitton, in his +biography of the novelist, says, 'The play was well received, +and duly praised by prominent musical journals.' + +The same writer gives us to understand that Hullah originally +composed the music for an opera called _The Gondolier_, but +used the material for _The Village Coquettes_. Braham, the +celebrated tenor, had a part in it. Dickens says in a letter to +Hullah that he had had some conversation with Braham about the +work. The singer thought very highly of it, and Dickens adds: + + His only remaining suggestion is that Miss + Rainforth[6] will want another song when the piece is + in rehearsal--'a bravura--something in "The soldier + tired" way.' + +We have here a reference to a song which had a long run of +popularity. It is one of the airs in Arne's _Artaxerxes_, +an opera which was produced in 1761, and which held the +stage for many years. There is a reference to this song in +_Sketches by Boz_, when Miss Evans and her friends visited +the Eagle. During the concert 'Miss Somebody in white satin' +sang this air, much to the satisfaction of her audience. + +Dickens wrote a few songs and ballads, and in most cases he +fell in with the custom of his time, and suggested the tune +(if any) to which they were to be sung. In addition to those +that appear in the various novels, there are others which +deserve mention here. + +In 1841 he contributed three political squibs in verse to +the _Examiner_, one being the 'Quack Doctor's Proclamation,' +to the tune of 'A Cobbler there was,' and another called +'The fine old English Gentleman.' + +For the _Daily News_ (of which he was the first editor) he +wrote 'The British Lion, a new song but an old story,' which +was to be sung to the tune of the 'Great Sea Snake.' This was +a very popular comic song of the period, which described a +sea monster of wondrous size: + + One morning from his head we bore + With every stitch of sail, + And going at ten knots an hour + In six months came to his tail. + +Three of the songs in the _Pickwick Papers_ (referred to +elsewhere) are original, while Blandois' song in _Little +Dorrit_, 'Who passes by this road so late,' is a translation +from the French. This was set to music by R.S. Dalton. + +In addition to these we find here and there impromptu lines +which have no connexion with any song. Perhaps the best known +are those which 'my lady Bowley' quotes in _The Chimes_, +and which she had 'set to music on the new system': + + Oh let us love our occupations, + Bless the squire and his relations, + Live upon our daily rations, + And always know our proper stations. + +The reference to the 'new system' is not quite obvious. Dickens +may have been thinking of the 'Wilhem' method of teaching +singing which his friend Hullah introduced into England, or it +may be a reference to the Tonic Sol-fa system, which had already +begun to make progress when _The Chimes_ was written in 1844.[7] + +There are some well-known lines which owners of books were +fond of writing on the fly-leaf in order that there might be +no mistake as to the name of the possessor. The general form +was something like this: + + John Wigglesworth is my name, + And England is my nation; + London is my dwelling-place, + And Christ is my salvation. + +(See _Choir_, Jan., 1912, p. 5.) Dickens gives us at least +two variants of this. In _Edwin Drood_, Durdles says of the +Mayor of Cloisterham: + + Mister Sapsea is his name, + England is his nation, + Cloisterham's his dwelling-place, + Aukshneer's his occupation. + +And Captain Cuttle thus describes himself, ascribing the +authorship of the words to Job--but then literary accuracy +was not the Captain's strong point: + + Cap'en Cuttle is my name, + And England is my nation, + This here is my dwelling-place, + And blessed be creation. + +It is said that there appeared in the _London Singer's Magazine_ +for 1839 'The Teetotal Excursion, an original Comic Song by +Boz, sung at the London Concerts,' but it is not in my copy +of this song-book, nor have I ever seen it. + +Dickens was always very careful in his choice of names and +titles, and the evolution of some of the latter is very +interesting. One of the many he conceived for the magazine +which was to succeed _Household Words_ was _Household Harmony_, +while another was _Home Music_. Considering his dislike of +bells in general, it is rather surprising that two other +suggestions were _English Bells_ and _Weekly Bells_, but the +final choice was _All the Year Round_. Only once does he make +use of a musician's name in his novels, and that is in _Great +Expectations_. Philip, otherwise known as Pip, the hero, becomes +friendly with Herbert Pocket. The latter objects to the name +Philip, 'it sounds like a moral boy out of a spelling-book,' +and as Pip had been a blacksmith and the two youngsters were +'harmonious,' Pocket asks him: + + 'Would you mind Handel for a familiar name? There's + a charming piece of music, by Handel, called the + "Harmonious Blacksmith."' + + 'I should like it very much.' + +Dickens' only contribution to hymnology appeared in the _Daily +News_ February 14, 1846, with the title 'Hymn of the Wiltshire +Labourers.' It was written after reading a speech at one of +the night meetings of the wives of agricultural labourers in +Wiltshire, held with the object of petitioning for Free Trade. +This is the first verse: + + O God, who by Thy Prophet's hand + Did'st smite the rocky brake, + Whence water came at Thy command + Thy people's thirst to slake, + Strike, now, upon this granite wall, + Stern, obdurate, and high; + And let some drop of pity fall + For us who starve and die! + +We find the fondness for Italian names shown by vocalists and +pianists humorously parodied in such self-evident forms as +Jacksonini, Signora Marra Boni, and Billsmethi. Banjo Bones is +a self-evident _nom d'occasion_, and the high-sounding name of +Rinaldo di Velasco ill befits the giant Pickleson (_Dr. M._), +who had a little head and less in it. As it was essential that +the Miss Crumptons of Minerva House should have an Italian +master for their pupils, we find Signer Lobskini introduced, +while the modern rage for Russian musicians is to some extent +anticipated in Major Tpschoffki of the Imperial Bulgraderian +Brigade (_G.S._). His real name, if he ever had one, is said +to have been Stakes. + +Dickens has little to say about the music of his time, but in +the reprinted paper called _Old Lamps for New Ones_ (written in +1850), which is a strong condemnation of pre-Raphaelism in art, +he attacks a similar movement in regard to music, and makes +much fun of the Brotherhood. He detects their influence in +things musical, and writes thus: + + In Music a retrogressive step in which there is much + hope, has been taken. The P.A.B., or pre-Agincourt + Brotherhood, has arisen, nobly devoted to consign to + oblivion Mozart, Beethoven, Handel, and every other + such ridiculous reputation, and to fix its Millennium + (as its name implies) before the date of the first + regular musical composition known to have been achieved + in England. As this institution has not yet commenced + active operations, it remains to be seen whether the + Royal Academy of Music will be a worthy sister of the + Royal Academy of Art, and admit this enterprising body + to its orchestra. We have it, on the best authority, + that its compositions will be quite as rough and + discordant as the real old original. + +Fourteen years later he makes use of a well-known phrase in +writing to his friend Wills (October 8, 1864) in reference to +the proofs of an article. + + I have gone through the number carefully, and have + been down upon Chorley's paper in particular, which + was a 'little bit' too personal. It is all right now + and good, and them's my sentiments too of the Music + of the Future.[8] + +Although there was little movement in this direction when +Dickens wrote this, the paragraph makes interesting reading +nowadays in view of some musical tendencies in certain quarters. + + +[1] In his speech at Birmingham on 'Literature and Art' + (1853) he makes special reference to the 'great music + of Mendelssohn.' + +[2] Moore's _Irish Melodies_. + +[3] Moore. + +[4] 'Seven Dials! the region of song and poetry--first + effusions and last dying speeches: hallowed by the + names of Catnac and of Pitts, names that will entwine + themselves with costermongers and barrel-organs, when + penny magazines shall have superseded penny yards of + song, and capital punishment be unknown!' (_S.B.S._ 5.) + +[5] The 'Hutchinson family' was a musical troupe composed of + three sons and two daughters selected from the 'Tribe of + Jesse,' a name given to the sixteen children of Jesse + and Mary Hutchinson, of Milford, N.H. They toured in + England in 1845 and 1846, and were received with great + enthusiasm. Their songs were on subjects connected + with Temperance and Anti-Slavery. On one occasion + Judson, one of the number, was singing the 'Humbugged + Husband,' which he used to accompany with the fiddle, + and he had just sung the line 'I'm sadly taken in,' + when the stage where he was standing gave way and he + nearly disappeared from view. The audience at first + took this as part of the performance. + +[6] Miss Rainforth was the soloist at the first production + of Mendelssohn's 'Hear my Prayer.' (See _The Choir_, + March, 1911.) + +[7] John Curwen published his _Grammar of Vocal Music_ + in 1842. + +[8] Quoted in Mr. R.C. Lehmann's _Dickens as an Editor_ + (1912). + + + + +CHAPTER II + +INSTRUMENTAL COMBINATIONS + +VIOLIN, VIOLONCELLO, HARP, PIANO + + +Dickens' orchestras are limited, both in resources and in the +number of performers; in fact, it would be more correct to +call them combinations of instruments. Some of them are of +a kind not found in modern works on instrumentation, as, for +instance, at the party at Trotty Veck's (_Ch._) when a 'band of +music' burst into the good man's room, consisting of a drum, +marrow-bones and cleavers, and bells, 'not _the_ bells but a +portable collection on a frame.' We gather from Leech's picture +that other instrumentalists were also present. Sad to relate, +the drummer was not quite sober, an unfortunate state of things, +certainly, but not always confined to the drumming fraternity, +since in the account of the Party at Minerva House (_S.B.T._) +we read that amongst the numerous arrivals were 'the pianoforte +player and the violins: the harp in a state of intoxication.' + +We have an occasional mention of a theatre orchestra, as, +for instance, when the Phenomenon was performing at Portsmouth +(_N.N._): + + 'Ring in the orchestra, Grudden.' + + That useful lady did as she was requested, and shortly + afterwards the tuning of three fiddles was heard, + which process, having been protracted as long as it + was supposed that the patience of the orchestra could + possibly bear it, was put a stop to by another jerk of + the bell, which, being the signal to begin in earnest, + set the orchestra playing a variety of popular airs + with involuntary variations. + +On one occasion Dickens visited Vauxhall Gardens by day, where +'a small party of dismal men in cocked hats were "executing" +the overture to _Tancredi_,' but he does not, unfortunately, +give us any details about the number or kind of instruments +employed. This would be in 1836, when the experiment of day +entertainments was given a trial, and a series of balloon +ascents became the principal attraction. Forster tells us +that Dickens was a frequent visitor at the numerous gardens +and places of entertainment which abounded in London, and +which he knew better than any other man. References will +be found elsewhere to the music at the Eagle (p. 47) and the +White Conduit Gardens (p. 93). + + +_Violin and Kit._ + +We meet with but few players on the violin, and it is usually +mentioned in connexion with other instruments, though it was to +the strains of a solitary fiddle that Simon Tappertit danced a +hornpipe for the delectation of his followers, while the same +instrument supplied the music at the Fezziwig's ball. + + In came a fiddler with a music-book, and went up to + the lofty desk, and made an orchestra of it, and tuned + like fifty stomach-aches. + +The orchestra at the 'singing-house' provided for Jack's +amusement when ashore (_U.T._ 5) consisted of a fiddle and +tambourine; while at dances the instruments were fiddles +and harps. It was the harps that first aroused Mr. Jingle's +curiosity, as he met them being carried up the staircase +of The Bull at Rochester, while, shortly after, the tuning +of both harps and fiddles inspired Mr. Tupman with a strong +desire to go to the ball. Sometimes the orchestra is a little +more varied. At the private theatricals which took place at +Mrs. Gattleton's (_S.B.T._ 9), the selected instruments were +a piano, flute, and violoncello, but there seems to have been +a want of proper rehearsal. + + Ting, ting, ting! went the prompter's bell at eight + o'clock precisely, and dash went the orchestra into + the overture to the _Men of Prometheus_. The pianoforte + player hammered away with laudable perseverance, and the + violoncello, which struck in at intervals, sounded very + well, considering. The unfortunate individual, however, + who had undertaken to play the flute accompaniment + 'at sight' found, from fatal experience, the perfect + truth of the old adage, 'Out of sight, out of mind'; + for being very near-sighted, and being placed at + a considerable distance from his music-book, all he + had an opportunity of doing was to play a bar now and + then in the wrong place, and put the other performers + out. It is, however, but justice to Mr. Brown to + say that he did this to admiration. The overture, + in fact, was not unlike a race between the different + instruments; the piano came in first by several bars, + and the violoncello next, quite distancing the poor + flute; for the deaf gentleman _too-too'd_ away, quite + unconscious that he was at all wrong, until apprised, + by the applause of the audience, that the overture + was concluded. + +It was probably after this that the pianoforte player fainted +away, owing to the heat, and left the music of _Masaniello_ to +the other two. There were differences between these remaining +musicians and Mr. Harleigh, who played the title role, the +orchestra complaining that 'Mr. Harleigh put them out, while the +hero declared that the orchestra prevented his singing a note.' + +It was to the strains of a wandering harp and fiddle that Marion +and Grace Jeddler danced 'a trifle in the Spanish style,' +much to their father's astonishment as he came bustling out +to see who 'played music on his property before breakfast.' + +The little fiddle commonly known as a 'kit' that dancing-masters +used to carry in their capacious tail coat pockets was much more +in evidence in the middle of last century than it is now. Caddy +Jellyby (_B.H._), after her marriage to a dancing-master, +found a knowledge of the piano and the kit essential, and so +she used to practise them assiduously. When Sampson Brass +hears Kit's name for the first time he says to Swiveller: + + 'Strange name--name of a dancing-master's fiddle, + eh, Mr. Richard?' + +We must not forget the story of a fine young Irish gentleman, +as told by the one-eyed bagman to Mr. Pickwick and his friends, +who, + + being asked if he could play the fiddle, replied he + had no doubt he could, but he couldn't exactly say + for certain, because he had never tried. + + +_Violoncello_ + +Mr. Morfin (_D. & S._), 'a cheerful-looking, hazel-eyed elderly +bachelor,' was + + a great musical amateur--in his way--after business, + and had a paternal affection for his violoncello, which + was once in every week transported from Islington, + his place of abode, to a certain club-room hard by + the Bank, where quartets of the most tormenting and + excruciating nature were executed every Wednesday + evening by a private party. + +His habit of humming his musical recollections of these +evenings was a source of great annoyance to Mr. James Carker, +who devoutly wished 'that he would make a bonfire of his +violoncello, and burn his books with it.' There was only a thin +partition between the rooms which these two gentlemen occupied, +and on another occasion Mr. Morfin performed an extraordinary +feat in order to warn the manager of his presence. + + I have whistled, hummed tunes, gone accurately through + the whole of Beethoven's Sonata in B, to let him know + that I was within hearing, but he never heeded me. + +This particular sonata has not hitherto been identified. + +It is comforting to know that the fall of the House of Dombey +made no difference to Mr. Morfin, who continued to solace +himself by producing 'the most dismal and forlorn sounds +out of his violoncello before going to bed,' a proceeding +which had no effect on his deaf landlady, beyond producing +'a sensation of something rumbling in her bones.' + +Nor were the quartet parties interfered with. They came round +regularly, his violoncello was in good tune, and there was +nothing wrong in _his_ world. Happy Mr. Morfin! + +Another 'cellist was the Rev. Charles Timson, who, when +practising his instrument in his bedroom, used to give strict +orders that he was on no account to be disturbed. + +It was under the pretence of buying 'a second-hand wiolinceller' +that Bucket visited the house of the dealer in musical instruments +in order to effect the arrest of Mr. George (_B.H._). + + +_Harp_ + +The harp was a fashionable drawing-room instrument in the +early Victorian period, although the re-introduction of +the guitar temporarily detracted from its glory. It was +also indispensable in providing music for dancing-parties +and concerts. When Esther Summerson went to call on the +Turveydrops (_B.H._) she found the hall blocked up with a +grand piano, a harp, and various other instruments which had +been used at a concert. As already stated, it was the sight +of these instruments being carried up the stairs at The Bull +in Rochester that aroused Mr. Jingle's curiosity (_P.P._) +and led to the discovery that a ball was in prospect. + +We must not forget the eldest Miss Larkins, one of David +Copperfield's early, fleeting loves. He used to wander up and +down outside the home of his beloved and watch the officers +going in to hear Miss L. play the harp. On hearing of her +engagement to one of these he mourned for a very brief period, +and then went forth and gloriously defeated his old enemy +the butcher boy. What a contrast between this humour and the +strange scene in the drawing-room at James Steerforth's home +after Rosa Dartle had sung the strange weird Irish song to +the accompaniment of her harp! And how different, again, the +scene in the home of Scrooge's nephew (_C.C._) when, after tea, +'they had some music.' + + Scrooge's niece played well upon the harp; and played, + among other things, a simple little air. + +It reminded Scrooge of a time long past. + + He softened more and more; and thought that if he + could have listened to it often, years ago, he might + have cultivated the kindnesses of life for his own + happiness with his own hand. + +Little Paul Dombey told Lady Skettles at the breaking-up party +that he was very fond of music, and he was very, very proud of +his sister's accomplishments both as player and singer. Did they +inherit this love from their father? 'You are fond of music,' +said the Hon. Mrs. Skewton to Mr. Dombey during an interval +in a game of picquet. 'Eminently so,' was the reply. But the +reader must not take him at his word. When Edith (the future +Mrs. Dombey) entered the room and sat down to her harp, + + Mr. Dombey rose and stood beside her, listening. He + had little taste for music, and no knowledge of the + strain she played; but he saw her bending over it, + and perhaps he heard among the sounding strings some + distant music of his own. + +Yet when she went to the piano and commenced to sing Mr. Dombey +did not know that it was 'the air that his neglected daughter +sang to his dead son'! + + +_Piano_ + +Lady musicians are numerous, and of very varied degrees of +excellence. Amongst the pianists is Miss Teresa Malderton, who +nearly fell a prey to that gay deceiver Mr. Horatio Sparkins +(_S.B.T._ 5). Her contribution to a musical evening was +'The Fall of Paris,' played, as Mr. Sparkins declared, in a +masterly manner. + +There was a song called 'The Fall of Paris,' but it is most +probable that Dickens was thinking of a very popular piece +which he must have often heard in his young days, of which +the full title was + + THE SURRENDER OF PARIS. A characteristic Divertimento + for the Pianoforte, including the events from the Duke + of Wellington and Prince Blucher's marching to that + capital to the evacuation by the French troops and + taking possession by the Allies, composed by Louis + Jansen, 1816. + +Not the least curious section of this piece of early programme +music is a _moderato_ recording the various articles of the +capitulation. These are eighteen in number, and each has +its own 'theme.' The interspersion of some discords seems to +imply serious differences of opinion between the parties to +the treaty. + +There was also a song called 'The Downfall of Paris,' the +first verse of which was + + Great news I have to tell you all, + Of Bonaparte and a' that; + How Paris it has got a fall, + He's lost his plans and a' that. + + _Chorus._ + + Rise up, John Bull, rise up and sing, + Your chanter loudly blaw that; + Lang live our auld and worthy king, + Success to Britain, a' that. + +The instrument beloved of Miss Tox (_D. & S._) was the +harpsichord, and her favourite piece was the 'Bird Waltz,' while +the 'Copenhagen Waltz' was also in her repertoire. Two notes of +the instrument were dumb from disuse, but their silence did not +impoverish the rendering. Caddy Jellyby found it necessary to +know something of the piano, in order that she might instruct +the 'apprentices' at her husband's dancing-school. Another +performer was Mrs. Namby, who entertained Mr. Pickwick with +solos on a square piano while breakfast was being prepared. When +questioned by David Copperfield as to the gifts of Miss Sophy +Crewler, Traddles explained that she knew enough of the piano +to teach it to her little sisters, and she also sang ballads to +freshen up her family a little when they were out of spirits, +but 'nothing scientific.' The guitar was quite beyond her. David +noted with much satisfaction (though he did not say so) that +his Dora was much more gifted musically. + +When Dickens wrote his earlier works it was not considered +the correct thing for a gentleman to play the piano, though +it might be all very well for the lower classes and the music +teacher. Consequently we read of few male performers on the +instrument. Mr. Skimpole could play the piano, and of course +Jasper had a 'grand' in his room at Cloisterham. + +At one time, if we may believe the turnkey at the Marshalsea +prison, William Dorrit had been a pianist, a fact which raised +him greatly in the turnkey's opinion. + + Brought up as a gentleman, he was, if ever a man was. + Educated at no end of expense. Went into the Marshal's + house once to try a new piano for him. Played it, + I understand, like one o'clock--beautiful. + +In the _Collected Papers_ we have a picture of the 'throwing +off young gentleman,' who strikes a note or two upon the piano, +and accompanies it correctly (by dint of laborious practice) +with his voice. He assures + + a circle of wondering listeners that so acute was his + ear that he was wholly unable to sing out of tune, + let him try as he would. + +Mr. Weller senior laid a deep plot in which a piano was to +take a prominent part. His object was to effect Mr. Pickwick's +escape from the Fleet. + + Me and a cab'net-maker has dewised a plan for + gettin' him out. 'A pianner, Samivel, a pianner,' + said Mr. Weller, striking his son on the chest with + the back of his hand, and falling back a step or two. + + 'Wot do you mean?' said Sam. + + 'A pianner-forty, Samivel,' rejoined Mr. Weller, in a + still more mysterious manner, 'as he can have on hire; + vun as von't play, Sammy.' + + 'And wot 'ud be the good of that?' said Sam. + + 'There ain't no vurks in it,' whispered his father. 'It + 'ull hold him easy, vith his hat and shoes on; and + breathe through the legs, vich is holler.' + +But the usually dutiful Sam showed so little enthusiasm for +his father's scheme that nothing more was heard of it. + + + + +CHAPTER III + +VARIOUS INSTRUMENTS + +FLUTE, ORGAN, GUITAR (AND SOME HUMMERS) + + +_Flute_ + +We find several references to the flute, and Dickens contrives +to get much innocent fun out of it. First comes Mr. Mell, +who used to carry his instrument about with him and who, in +response to his mother's invitation to 'have a blow at it' +while David Copperfield was having his breakfast, made, said +David, 'the most dismal sounds I have ever heard produced +by any means, natural or artificial.' After he had finished +he unscrewed his flute into three pieces, and deposited them +underneath the skirts of his coat. + +Dickens' schoolmasters seem to have been partial to the +flute. Mr. Squeers, it is true, was not a flautist, but +Mr. Feeder, B.A., was, or rather he was going to be. When +little Paul Dombey visited his tutor's room he saw 'a flute +which Mr. Feeder couldn't play yet, but was going to make a +point of learning, he said, hanging up over the fireplace.' + +He also had a beautiful little curly second-hand 'key bugle,' +which was also on the list of things to be accomplished on +some future occasion, in fact he has unlimited confidence in +the power and influence of music. Here is his advice to the +love-stricken Mr. Toots, whom he recommends to + + learn the guitar, or at least the flute; for women + like music when you are paying your addresses to 'em, + and he has found the advantage of it himself. + +The flute was the instrument that Mr. Richard Swiveller took +to when he heard that Sophy Wackles was lost to him for ever, + + thinking that it was a good, sound, dismal occupation, + not only in unison with his own sad thoughts, but + calculated to awaken a fellow feeling in the bosoms + of his neighbours. + +So he got out his flute, arranged the light and a small +oblong music-book to the best advantage, and began to play +'most mournfully.' + + The air was 'Away with Melancholy,' a composition which, + when it is played very slowly on the flute, in bed, + with the further disadvantage of being performed + by a gentleman but imperfectly acquainted with the + instrument, who repeats one note a great many times + before he can find the next, has not a lively effect. + +So Mr. Swiveller spent half the night or more over this pleasing +exercise, merely stopping now and then to take breath and +soliloquize about the Marchioness; and it was only after he +'had nearly maddened the people of the house, and at both the +next doors, and over the way,' that he shut up the book and +went to sleep. The result of this was that the next morning +he got a notice to quit from his landlady, who had been in +waiting on the stairs for that purpose since the dawn of day. + +Jack Redburn, too (_M.H.C._), seems to have found consolation +in this instrument, spending his wet Sundays in 'blowing a +very slow tune on the flute.' + +There is one, and only one, recorded instance of this very +meek instrument suddenly asserting itself by going on strike, +and that is in the sketch entitled _Private Theatres_ (_S.B.S._ +13), where the amateurs take so long to dress for their parts +that 'the flute says he'll be blowed if he plays any more.' + +We must on no account forget the serenade with which the +gentlemen boarders proposed to honour the Miss Pecksniffs. The +performance was both vocal and instrumental, and the description +of the flute-player is delightful. + + It was very affecting, very. Nothing more dismal could + have been desired by the most fastidious taste.... The + youngest gentleman blew his melancholy into a flute. He + didn't blow much out of it, but that was all the better. + +After a description of the singing we have more about the flute. + + The flute of the youngest gentleman was wild and + fitful. It came and went in gusts, like the wind. For + a long time together he seemed to have left off, and + when it was quite settled by Mrs. Todgers and the + young ladies that, overcome by his feelings, he had + retired in tears, he unexpectedly turned up again at + the very top of the tune, gasping for breath. He was + a tremendous performer. There was no knowing where to + have him; and exactly when you thought he was doing + nothing at all, then was he doing the very thing that + ought to astonish you most. + +Yet another performer is the domestic young gentleman (_C.P._) +who holds skeins of silk for the ladies to wind, and who then + + brings down his flute in compliance with a request + from the youngest Miss Gray, and plays divers tunes + out of a very small book till supper-time. + +When Nancy went to the prison to look for Oliver Twist, she +found nobody in durance vile except a man who had been taken +up for playing the flute, and who was bewailing the loss of +the same, which had been confiscated for the use of the county. + +The gentleman who played the violoncello at Mrs. Gattleton's +party has already been referred to, and it only remains to +mention Mr. Evans, who 'had such lovely whiskers' and who +played the flute on the same occasion, to bring the list of +players to an end. + + +_Hummers_ + +We meet with a remarkable musician in _Dombey and Son_ in +the person of Harriet Carker's visitor, a scientific one, +according to the description: + + A certain skilful action of his fingers as he hummed + some bars, and beat time on the seat beside him, + seemed to denote the musician; and the extraordinary + satisfaction he derived from humming something very + slow and long, which had no recognizable tune, seemed + to denote that he was a scientific one. + +A less capable performer was Sampson Brass, who hummed + + in a voice that was anything but musical certain + vocal snatches which appeared to have reference to the + union between Church and State, inasmuch as they were + compounded of the Evening Hymn and 'God Save the King.' + +Musicians of various degrees abound in the _Sketches_. Here is +Mr. Wisbottle, whistling 'The Light Guitar' at five o'clock +in the morning, to the intense disgust of Mr. John Evenson, +a fellow boarder at Mrs. Tibbs'. Subsequently he came down to +breakfast in blue slippers and a shawl dressing-gown, whistling +'Di piacer.' Mr. Evenson can no longer control his feelings, +and threatens to start the triangle if his enemy will not stop +his early matutinal music. A suggested name for this whistler +is the 'humming-top,' from his habit of describing semi-circles +on the piano stool, and 'humming most melodiously.' There are +a number of characters who indulge in the humming habit either +to cover their confusion, or as a sign of light-heartedness and +contentment. Prominent amongst these are Pecksniff, who, like +Morfin, hums melodiously, and Micawber, who can both sing and +hum. Nor must we omit to mention Miss Petowker, who 'hummed a +tune' as her contribution to the entertainment at Mrs. Kenwigs' +party. Many of the characters resort to humming to conceal +their temporary discomfiture, and perhaps no one ever hummed +under more harassing circumstances than when Mr. Pecksniff had +to go to the door to let in some very unwelcome guests, who +had already knocked several times. But he was a past master +in the art of dissimulation. He is particularly anxious to +conceal from his visitors the fact that Jonas Chuzzlewit is +in the house. So he says to the latter-- + + 'This may be a professional call. Indeed I am pretty + sure it is. Thank you.' Then Mr. Pecksniff, gently + warbling a rustic stave, put on his garden hat, seized + a spade, and opened the street door; calmly appearing + on the threshold as if he thought he had, from his + vineyard, heard a modest rap, but was not quite certain. + +Then he tells his visitors 'I do a little bit of Adam still.' +He certainly had a good deal of the old Adam in him. + + +_Clarionet_ + +The clarionet is associated with the fortunes of Mr. Frederick +Dorrit, who played the instrument at the theatre where his +elder niece was a dancer, and where Little Dorrit sought an +engagement. After the rehearsal was over she and her sister +went to take him home. + + He had been in that place six nights a week for many + years, but had never been observed to raise his eyes + above his music-book.... The carpenters had a joke + that he was dead without being aware of it. + +At the theatre he had no part in what was going on except the +part written for the clarionet. In his young days his house +had been the resort of singers and players. When the fortunes +of the family changed his clarionet was taken away from him, on +the ground that it was a 'low instrument.' It was subsequently +restored to him, but he never played it again. + +Of quite a different stamp was one of the characters in +_Going into Society_, who played the clarionet in a band at +a Wild Beast Show, and played it all wrong. He was somewhat +eccentric in dress, as he had on 'a white Roman shirt and a +bishop's mitre covered with leopard skin.' We are told nothing +about him, except that he refused to know his old friends. In +his story of the _Seven Poor Travellers_ Dickens found the +clarionet-player of the Rochester Waits so communicative that +he accompanied the party across an open green called the Vines, + + and assisted--in the French sense--at the performance + of two waltzes, two polkas, and three Irish melodies. + + +_Bassoon_ + +A notable bassoon player was Mr. Bagnet, who had a voice +somewhat resembling his instrument. The ex-artilleryman +kept a little music shop in a street near the Elephant and +Castle. There were + + a few fiddles in the window, and some Pan's pipes and + a tambourine, and a triangle, and certain elongated + scraps of music. + +It was to this shop that Bucket the detective came under +the pretence of wanting a second-hand 'wiolinceller' (see +p. 29). In the course of conversation it turns out that Master +Bagnet (otherwise 'Woolwich') 'plays the fife beautiful,' +and he performs some popular airs for the benefit of his +audience. Mr. Bucket also claims to have played the fife +himself when a boy, 'not in a scientific way, but by ear.' + + +_Bagpipes_ + +Two references to the bagpipes deserve notice. One is in +_David Copperfield_, where the novelist refers to his own +early experiences as a shorthand reporter. He has no high +opinion of the speeches he used to take down. + + One joyful night, therefore, I noted down the music + of the parliamentary bagpipes for the last time, and + I have never heard it since; though I still recognize + the old drone in the newspapers. + +In _O.M.F._ (II.) we read of Charley Hexam's fellow pupils +keeping themselves awake + + by maintaining a monotonous droning noise, as if they + were performing, out of time and tune, on a ruder sort + of bagpipe. + +The peculiar subdued noise caused by a lot of children in a +school is certainly suggestive of the instrument. + + +_Trombone_ + +Little is said about the trombone. We are told, in reference +to the party at Dr. Strong's (_D.C._), that the good Doctor +knew as much about playing cards as he did about 'playing the +trombone.' In 'Our School' (_R.P._) we are told a good deal +about the usher who 'made out the bills, mended the pens, +and did all sorts of things.' + + He was rather musical, and on some remote quarter-day + had bought an old trombone; but a bit of it was lost, + and it made the most extraordinary sounds when he + sometimes tried to play it of an evening. + +In a similarly dismembered state was the flute which Dickens +once saw in a broker's shop. It was 'complete with the exception +of the middle joint.' + +This naturally calls to mind the story of the choir librarian +who was putting away the vocal parts of a certain funeral +anthem. After searching in vain for two missing numbers he +was obliged to label the parcel + + 'His body is buried in peace.' Two parts missing. + + +_Organ_ + +The references to the organ are both numerous and interesting, +and it is pretty evident that this instrument had a great +attraction for Dickens. The gentle Tom Pinch (_M.C._), whom +Gissing calls 'a gentleman who derives his patent of gentility +direct from God Almighty,' first claims our attention. He used +to play the organ at the village church 'for nothing.' It was a +simple instrument, 'the sweetest little organ you ever heard,' +provided with wind by the action of the musician's feet, +and thus Tom was independent of a blower, though he was so +beloved that + + there was not a man or boy in all the village and + away to the turnpike (tollman included) but would have + blown away for him till he was black in the face. + +What a delight it must have been to him to avail himself of +the opportunity to play the organ in the cathedral when he +went to meet Martin! + + As the grand tones resounded through the church they + seemed, to Tom, to find an echo in the depth of every + ancient tomb, no less than in the deep mystery of his + own heart. + +And he would have gone on playing till midnight 'but for a +very earthy verger,' who insisted on locking up the cathedral +and turning him out. + +On one occasion, while he was practising at the church, the +miserable Pecksniff entered the building and, hiding behind +a pew, heard the conversation between Tom and Mary that led +to the former being dismissed from the architect's office, +so he had to leave his beloved organ, and mightily did the +poor fellow miss it when he went to London! Being an early +riser, he had been accustomed to practise every morning, +and now he was reduced to taking long walks about London, +a poor substitute indeed! + +Nor was the organ the only instrument that he could play, +for we read how he would spend half his nights poring over the +'jingling anatomy of that inscrutable old harpsichord in the +back parlour,' and amongst the household treasures that he +took to London were his music and an old fiddle. + +The picture which forms our frontispiece shows Tom Pinch playing +his favourite instrument. At the sale of the original drawings +executed by 'Phiz' for _Martin Chuzzlewit_ this frontispiece, +which is an epitome of the salient characters and scenes in +the novel, was sold for L35. + +We read in _Christmas Stories_ that + + Silas Jorgan + Played the organ, + +but we are not told the name of the artist who at the concert +at the Eagle (_S.B.C._ 4) accompanied a comic song on the +organ--and such an organ! + + Miss J'mima Ivins's friend's young man whispered it + had cost 'four hundred pound,' which Mr. Samuel Wilkins + said was 'not dear neither.' + +The singer was probably either Howell or Glindon. Dickens +appears to have visited the Eagle Tavern in 1835 or 1836. It +was then a notable place of entertainment consisting of gardens +with an orchestra, and the 'Grecian Saloon,' which was furnished +with an organ and a 'self-acting piano.' Here concerts were +given every evening, which in Lent took a sacred turn, and +consisted of selections from Handel and Mozart. In 1837 the +organ was removed, and a new one erected by Parsons. + +The Eagle gained a wide reputation through its being introduced +into a once popular song. + + Up and down the City Road, + In and out the Eagle, + That's the way the money goes, + Pop goes the weasel. + +This verse was subsequently modified (for nursery purposes) +thus: + + Half a pound of tuppenny rice, + Half a pound of treacle, + That's the way the money goes,[9] + Pop goes the weasel. + +Many explanations have been given of 'weasel.' Some say +it was a purse made of weasel skin; others that it was a +tailor's flat-iron which used to be pawned (or 'popped') +to procure the needful for admission to the tavern. A third +(and more intelligible) suggestion is that the line is simply +a catch phrase, without any meaning. + +There is a notable reference to the organ in _Little +Dorrit_. Arthur Clennam goes to call on old Frederick Dorrit, +the clarionet player, and is directed to the house where he +lived. 'There were so many lodgers in this house that the +door-post seemed to be as full of bell handles as a cathedral +organ is of stops,' and Clennam hesitates for a time, 'doubtful +which might be the clarionet stop.' + +Further on in the same novel we are told that it was the organ +that Mrs. Finching was desirous of learning. + + I have said ever since I began to recover the blow of + Mr. F's death that I would learn the organ of which + I am extremely fond but of which I am ashamed to say + I do not yet know a note. + +The following fine description of the tones of an organ occurs +in _The Chimes_: + + The organ sounded faintly in the church below. Swelling + by degrees the melody ascended to the roof, and filled + the choir and nave. Expanding more and more, it rose + up, up; up, up; higher, higher, higher up; awakening + agitated hearts within the burly piles of oak, the + hollow bells, the iron-bound doors, the stairs of + solid stone; until the tower walls were insufficient + to contain it, and it soared into the sky. + +The effect of this on Trotty Veck was very different from that +which another organ had on the benevolent old lady we read of +in _Our Parish_. She subscribed L20 towards a new instrument +for the parish church, and was so overcome when she first +heard it that she had to be carried out by the pew-opener. + +There are various references to the organs in the City churches, +and probably the description of one of them given in _Dombey +and Son_ would suit most instruments of the period. + + The organ rumbled and rolled as if it had got the + colic, for want of a congregation to keep the wind + and damp out. + + +_Barrel-Organ_ + +In real life the barrel-organ was a frequent source of annoyance +to Dickens, who found its ceaseless strains very trying when +he was busy writing, and who had as much trouble in evicting +the grinders as David Copperfield's aunt had with the donkeys. + +However, he takes a very mild revenge on this deservedly +maligned instrument in his works, and the references are, as +usual, of a humorous character. A barrel-organ formed a part of +the procession to celebrate the election of Mr. Tulrumble[10] +as Mayor of Mudfog, but the player put on the wrong stop, +and played one tune while the band played another. + +This instrument had an extraordinary effect on Major Tpschoffki, +familiarly and more easily known as 'Chops,' the dwarf, +'spirited but not proud,' who was desirous of 'Going into +Society' (_G.S._), and who had got it into his head that he +was entitled to property: + + His ideas respectin' his property never come upon him so + strong as when he sat upon a barrel-organ, and had the + handle turned. Arter the wibration had run through him + a little time he would screech out, 'Toby, I feel my + property coming--grind away! I'm counting my guineas + by thousands, Toby--grind away! Toby, I shall be a + man of fortun! I feel the Mint a-jingling in me, Toby, + and I'm swelling out into the Bank of England.' Such + is the influence of music on a poetic mind. + +Dickens found the streets in New York very different from +those in London, and specially remarks how quiet they were--no +itinerant musicians or showmen of any kind. He could only +remember hearing one barrel-organ with a dancing-monkey. +'Beyond that, nothing lively, no, not so much as a white mouse +in a twirling cage.' + +We must not forget that he has two references to pipe organs +in his _American Notes_. When he visited the Blind School at +Boston he heard a voluntary played on the organ by one of the +pupils, while at St. Louis he was informed that the Jesuit +College was to be supplied with an organ sent from Belgium. + +The barrel-organ brings to mind Jerry and his troupe of +dancing-dogs (_O.C.S._), especially the unfortunate animal who +had lost a halfpenny during the day, and consequently had to +go without his supper. In fact, his master made the punishment +fit the crime; for, having set the stop, he made the dog play +the organ while the rest had their evening meal. + + When the knives and forks rattled very much, or any + of his fellows got an unusually large piece of fat, + he accompanied the music with a short howl; but he + immediately checked it on his master looking round + and applied himself with increased diligence to the + Old Hundredth. + +In _Dombey and Son_ there is a very apt comparison of +Mr. Feeder, B.A., to this instrument. He was Doctor Blimber's +assistant master, and was entrusted with the education of +little Paul. + + Mr. Feeder, B.A. ... was a kind of human barrel-organ + with a little list of tunes at which he was continually + working, over and over again, without any variation. He + might have been fitted up with a change of barrels, + perhaps, in early life, if his destiny had been + favourable, but it had not been. + +So he had only one barrel, his sole occupation being +to 'bewilder the young ideas of Dr. Blimber's young +gentlemen.' Sometimes he had his Virgil stop on, and at other +times his Herodotus stop. In trying to keep up the comparison, +however, Dickens makes a curious mistake. In the above quotation +Feeder is assigned one barrel only, while in Chapter XLI we +are told that he had 'his other barrels on a shelf behind him.' + +We find another comparison in _Little Dorrit_, when the +long-suffering Pancks turns round on Casby, his employer, +and exposes his hypocrisy. Pancks, who has had much difficulty +in getting his master's rents from the tenants, makes up his +mind to leave him; and before doing so he tells the whole truth +about Casby to the inhabitants of Bleeding Heart Yard. 'Here's +the Stop,' said Pancks, 'that sets the tune to be ground. And +there is but one tune, and its name is "Grind! Grind! Grind!"' + + +_Guitar_ + +Although the guitar was a fashionable instrument sixty +years ago, there are but few references to it. This was the +instrument that enabled the three Miss Briggses, each of them +performers, to eclipse the glory of the Miss Tauntons, who could +only manage a harp. On the eventful day of 'The Steam Excursion' +(_S.B._) the three sisters brought their instruments, carefully +packed up in dark green cases, + + which were carefully stowed away in the bottom of the + boat, accompanied by two immense portfolios of music, + which it would take at least a week's incessant playing + to get through. + +At a subsequent stage of the proceedings they were asked to +play, and after replacing a broken string, and a vast deal of +screwing and tightening, they gave 'a new Spanish composition, +for three voices and three guitars,' and secured an encore, +thus completely overwhelming their rivals. In the account of +the _French Watering-Place_ (_R.P._) we read about a guitar +on the pier, 'to which a boy or woman sings without any voice +little songs without any tune.' + +On one of his night excursions in the guise of an 'Uncommercial +Traveller' Dickens discovered a stranded Spaniard, named +Antonio. In response to a general invitation 'the swarthy youth' +takes up his cracked guitar and gives them the 'feeblest ghost +of a tune,' while the inmates of the miserable den kept time +with their heads. + +Dora used to delight David Copperfield by singing enchanting +ballads in the French language and accompanying herself 'on a +glorified instrument, resembling a guitar,' though subsequent +references show it was that instrument and none other. + +We read in _Little Dorrit_ that Young John Chivery wore +'pantaloons so highly decorated with side stripes, that each +leg was a three-stringed lute.' This appears to be the only +reference to this instrument, and a lute of three strings is the +novelist's own conception, the usual number being about nine. + + +[9] Or, 'Mix it up and make it nice.' + +[10] _The Public Life of Mr. Tulrumble_, 1837. + + + + +CHAPTER IV + +VARIOUS INSTRUMENTS (continued) + + +Many musical instruments and terms are mentioned by way of +illustration. Blathers, the Bow Street officer (_O.T._), +plays carelessly with his handcuffs as if they were a pair of +castanets. Miss Miggs (_B.R._) clanks her pattens as if they +were a pair of cymbals. Mr. Bounderby (_H.T._), during his +conversation with Harthouse, + + with his hat in his hand, gave a beat upon the crown + at every division of his sentences, as if it were + a tambourine; + +and in the same work the electric wires rule 'a colossal strip +of music-paper out of the evening sky.' + +Perhaps the most extraordinary comparison is that instituted +by Mrs. Lirriper in reference to her late husband. + + My poor Lirriper was a handsome figure of a man, + with a beaming eye and a voice as mellow as a musical + instrument made of honey and steel. + +What a vivid imagination the good woman had! Her descriptive +powers remind us of those possessed by Mrs. Gamp in speaking +of the father of the mysterious Mrs. Harris. + + As pleasant a singer, Mr. Chuzzlewit, as ever you heerd, + with a voice like a Jew's-harp in the bass notes. + +There are many humorous references to remarkable performances on +various instruments more or less musical in their nature. During +the election at Eatanswill the crier performed two concertos +on his bell, and shortly afterwards followed them up with a +fantasia on the same instrument. Dickens suffered much from +church bells, and gives vent to his feelings about them in +_Little Dorrit_, where he says that + + Maddening church bells of all degrees of dissonance, + sharp and flat, cracked and clear, fast and slow, + made the brick-and-mortar echoes hideous. + +In his _Pictures from Italy_ he wrote thus: + + At Genoa the bells of the church ring incessantly, + not in peals, or any known form of sound, but in + horrible, irregular, jerking dingle, dingle, dingle; + with a sudden stop at every fifteenth dingle or so, + which is maddening.... The noise is supposed to be + particularly obnoxious to evil spirits. + +But it was these same bells, which he found so maddening, +that inspired him with the title of a well-known story. He +had chosen a subject, but was at a loss for a name. As he sat +working one morning there suddenly rose up from Genoa + + the clang and clash of all its steeples, pouring into + his ears, again and again, in a tuneless, grating, + discordant jerking, hideous vibration that made his + ideas spin round and round till they lost themselves + in a whirl of vexation and giddiness, and dropped + down dead.... Only two days later came a letter in + which not a syllable was written but 'We have heard + THE CHIMES at midnight, Master Shallow,' and I knew + he had discovered what he wanted.[11] + +Yet, in spite of all this, Dickens shows--through his +characters--a deep interest in bells and bell-lore. Little Paul +Dombey finds a man mending the clocks at Dr. Blimber's Academy, +and asks a multitude of questions about chimes and clocks; +as, whether people watched up in the lonely church steeples +by night to make them strike, and how the bells were rung +when people died, and whether those were different bells from +wedding-bells, or only sounded dismal in the fancies of the +living; and then the precocious small boy proceeds to give +the astonished clockmaker some useful information about King +Alfred's candles and curfew-bells. + +As Smike and Nicholas tramp their long journey to Portsmouth +they hear the sheep-bells tinkling on the downs. To Tom Pinch +journeying Londonwards 'the brass work on the harness was a +complete orchestra of little bells.' + +What a terror the bells are to Jonas Chuzzlewit just before +he starts on his evil journey! He hears + + the ringers practising in a neighbouring church, and + the clashing of their bells was almost maddening. Curse + the clamouring bells! they seemed to know that he + was listening at the door, and to proclaim it in a + crowd of voices to all the town! Would they never be + still? They ceased at last, and then the silence was + so new and terrible that it seemed the prelude to some + dreadful noise. + +The boom of the bell is associated with many of the villains +of the novels. Fagin hears it when under sentence of death. +Blackpool and Carker hear the accusing bells when in the midst +of planning their evil deeds. + +We can read the characters of some by the way they ring a +bell. The important little Mr. Bailey, when he goes to see his +friend Poll Sweedlepipe (_M.C._) 'came in at the door with +a lunge, to get as much sound out of the bell as possible,' +while Bob Sawyer gives a pull as if he would bring it up by +the roots. Mr. Clennam pulls the rope with a hasty jerk, +and Mr. Watkins Tottle with a faltering jerk, while Tom Pinch +gives a gentle pull. And how angry Mr. Mantalini is with +Newman Noggs because he keeps him + + 'ringing at this confounded old cracked tea-kettle + of a bell, every tinkle of which is enough to throw + a strong man into convulsions, upon my life and + soul,--oh demmit.' + +The introduction of electric bells has been a great trial to +those who used to vent their wrath on the wire-pulled article +or the earlier bell-rope, which used not infrequently to add +unnecessary fuel by coming incontinently down on the head of +the aggrieved one. What a pull the fierce gentleman must have +given whose acquaintance Mr. Pickwick made when he was going +to Bath! He had been kept waiting for his buttered toast, +so he (Captain Dowler) + + rang the bell with great violence, and told the waiter + he'd better bring the toast in five seconds, or he'd + know the reason why. + +Dickens rang far more changes on the bells than there is space +to enumerate; but I have shown to what extent he makes their +sound a commentary on innumerable phases of life. A slight +technical knowledge of bell phraseology is found in _Barnaby +Rudge_ (7), where he mentions the variations known as a +'triple bob major.' Finally there is an interesting reference +in _Master Humphrey's Clock_ to a use of the bell which has +now passed into history. Belinda says in a postscript to a +letter to Master Humphrey, 'The bellman, rendered impatient +by delay, is ringing dreadfully in the passage'; while in a +second PS. she says, 'I open this to say the bellman is gone, +and that you must not expect it till the next post.' + +In the old days it was the custom for the letter-carriers to +collect letters by ringing a bell. + +There is no doubt that a most extraordinary, certainly a +most original, musical effect is that secured by Mr. George +(_B.H._), who had just finished smoking. + + 'Do you know what that tune is, Mr. Smallweed?' he adds, + after breaking off to whistle one, accompanied on the + table with the empty pipe. + + 'Tune,' replies the old man. 'No, we never have + tunes here.' + + 'That's the "Dead March" in _Saul_. They bury soldiers + to it, so it's the natural end of the subject.' + +Surely a highly original way of bringing a conversation to +a close! + +This march is referred to in _Our Mutual Friend_, where +Mr. Wilfer suggests that going through life with Mrs. Wilfer +is like keeping time to the 'Dead March' in _Saul_, from +which singular simile we may gather that this lady was not +the liveliest of companions. + +Several other instruments are casually mentioned. Mr. Hardy +(_S.B.T._ 7) was a master of many accomplishments. + + He could sing comic songs, imitate hackney coachmen + and fowls, play airs on his chin, and execute concertos + on the Jew's harp. + +The champion 'chin' performer of the early Victorian period +was Michael Boai, 'The celebrated chin melodist,' who was +announced to perform 'some of his admired pieces' at many +of the places of entertainment. There is another reference +to this extraordinary way of producing music in _Sketches by +Boz_, where Mrs. Tippin performed an air with variations on the +guitar, 'accompanied on the chin by Master Tippin.' To return +to Mr. Hardy, this gentleman was evidently deeply interested +in all sorts and degrees of music, but he got out of his depth +in a conversation with the much-travelled Captain Helves. After +the three Miss Briggses had finished their guitar performances, +Mr. Hardy approached the Captain with the question, 'Did you +ever hear a Portuguese tambourine?' + + 'Did _you_ ever hear a tom-tom, sir?' sternly inquired + the Captain, who lost no opportunity of showing off + his travels, real or pretended. + + 'A what?' asked Hardy, rather taken aback. + + 'A tom-tom.' + + 'Never.' + + 'Nor a gum-gum?' + + 'Never.' + + 'What _is_ a gum-gum?' eagerly inquired several + young ladies. + +The question is unanswered to this day, though Hardy afterwards +suggests it is another name for a humbug. + +When Dickens visited the school where the half-time system +was in force, he found the boys undergoing military and naval +drill. A small boy played the fife while the others went +through their exercises. After that a boys' band appeared, +the youngsters being dressed in a neat uniform. Then came +a choral class, who sang 'the praises of a summer's day to +a harmonium.' In the arithmetical exercises the small piper +excels (_U.T._ 29). + + Wise as the serpent is the four feet of performer on + the nearest approach to that instrument. + +This was written when the serpent was practically extinct, but +Dickens would be very familiar with the name of the instrument, +and may have seen and heard it in churches in his younger days. + +In referring to another boy's attempt at solving the +arithmetical puzzles, he mentions the cymbals, combined with +a faint memory of St. Paul. + + I observe the player of the cymbals to dash at a + sounding answer now and then rather than not cut in at + all; but I take that to be in the way of his instrument. + +In _Great Expectations_ Mr. Wopsle, who is a parish clerk +by profession, had an ambition not only to tread the boards, +but to start off as Hamlet. His appearance was not a success, +and the audience was derisive. + + On his taking the recorders--very like a little black + flute that had just been played in the orchestra and + handed out at the door--he was called upon unanimously + for 'Rule Britannia.' + +Reference has already been made to Bucket's music-shop, +so we must not forget to visit Caleb Plummer's little room, +where there were + + scores of melancholy little carts which, when the + wheels went round, performed most doleful music. Many + small fiddles, drums, and other instruments of torture. + +The old man made a rude kind of harp specially for his poor +blind daughter, and on which Dot used to play when she visited +the toy-maker's. Caleb's musical contribution would be 'a +Bacchanalian song, something about a sparkling bowl,' which +much annoyed his grumpy employer. + + 'What! you're singing, are you?' said Tackleton, putting + his head in at the door. 'Go it, _I_ can't sing.' + + Nobody would have suspected him of it. He hadn't what + is generally termed a singing face, by any means. + +The wonderful duet between the cricket and the kettle at the +commencement of _The Cricket on the Hearth_ certainly deserves +mention, though it is rather difficult to know whether to +class the performers as instrumentalists or singers. The kettle +began it with a series of short vocal snorts, which at first +it checked in the bud, but finally it burst into a stream of +song, 'while the lid performed a sort of jig, and clattered +like a deaf and dumb cymbal that had never known the use of its +twin brother.' Then the cricket came in with its chirp, chirp, +chirp, and at it they went in fierce rivalry until 'the kettle, +being dead beat, boiled over, and was taken off the fire.' + +Dickens was certainly partial to the cricket, for elsewhere +(_M.H.C._) we read of the clock that + + makes cheerful music, like one of those chirping + insects who delight in the warm hearth. + +There are two or three references to the key bugle, which +also used to be known as the Kent bugle. It was a popular +instrument half a century ago, as the addition of keys gave +it a much greater range of notes than the ordinary bugle +possessed. A notable though inefficient performer was the +driver who took Martin Chuzzlewit up to London. + + He was musical, besides, and had a little key bugle in + his pocket on which, whenever the conversation flagged, + he played the first part of a great many tunes, and + regularly broke down in the second. + +This instrument was on Mr. Feeder's _agenda_. + +Two more instruments demand our attention. At the marriage +of Tackleton and May Fielding (_C.H._) there were to be +marrow-bones and cleavers, while to celebrate the union of +Trotty Veck's daughter Meg and Richard they had a band including +the aforesaid instruments and also the drum and the bells. It +was formerly the custom for butchers' assistants to provide +themselves with marrow-bones and cleavers for musical effects. +Each cleaver was ground so that when it was struck with the +bone it emitted a certain note.[12] A complete band would +consist of eight men, with their cleavers so tuned as to give +an octave of notes. After more or less practice they would +offer their services as bandsmen on the occasion of marriage +ceremonies, which they had a wonderful faculty for locating, +and they would provide music (of a kind) _ad libitum_ until the +requisite fee was forthcoming. If their services were declined +the butchers would turn up all the same, and make things very +unpleasant for the marriage party. The custom dates from the +eighteenth century, and though it has gradually fallen into +disuse a marrow-bone and cleaver band is still available in +London for those who want it. A band took part in a wedding +ceremony at Clapham as recently as the autumn of 1911. + +The following extract, referring to the second marriage of +Mr. Dombey, shows what bridal parties had to put up with in +the good old days: + + The men who play the bells have got scent of the + marriage; and the marrow-bones and cleavers too; + and a brass band too. The first are practising in + a back settlement near Battle-bridge[13]; the second + put themselves in communication, through their chief, + with Mr. Tomlinson, to whom they offer terms to be + bought off; and the third, in the person of an artful + trombone, lurks and dodges round the corner, waiting + for some traitor-tradesman to reveal the place and + hour of breakfast, for a bribe. + +Other instruments casually referred to are the Pan's pipes, +which in one place is also called a mouth-organ (_S.B.S._ 20), +the flageolet, and the triangle. It is difficult to classify +the walking-stick on which Mr. Jennings Rudolph played tunes +before he went behind the parlour door and gave his celebrated +imitations of actors, edgetools, and animals (_S.B.C._ 8). + + +[11] Forster, _Life of Charles Dickens._ + +[12] This is rather a modern development. + +[13] Near King's Cross Station (G.N.R.). + + + + +CHAPTER V + +CHURCH MUSIC + + +Dickens has not much to say about church music as such, but the +references are interesting, inasmuch as they throw some light +upon it during the earlier years of his life. In _Our Parish_ +(_S.B._) we read about the old naval officer who + + finds fault with the sermon every Sunday, says that the + organist ought to be ashamed of himself, and offers to + back himself for any amount to sing the psalms better + than all the children put together. + +This reminds us that during the first half of last century, +and indeed later in many places, the church choir as we know +it did not exist, and the leading of the singing was entrusted +to the children of the charity school under the direction of +the clerk, a custom which had existed since the seventeenth +century. The chancel was never used for the choir, and the +children sat up in the gallery at the west end, on either side +of the organ. In a City church that Dickens attended the choir +was limited to two girls. The organ was so out of order that +he could 'hear more of the rusty working of the stops than of +any music.' When the service began he was so depressed that, +as he says, + + I gave but little heed to our dull manner of ambling + through the service; to the brisk clerk's manner of + encouraging us to try a note or two at psalm time; + to the gallery congregation's manner of enjoying a + shrill duet, without a notion of time or tune; to the + whity-brown man's manner of shutting the minister into + the pulpit, and being very particular with the lock + of the door, as if he were a dangerous animal. + +Elsewhere he found in the choir gallery an 'exhausted +charity school' of four boys and two girls. The congregations +were small, a state of things which at any rate satisfied +Mrs. Lirriper, who had a pew at St. Clement Danes and was +'partial to the evening service not too crowded.' + +In _Sunday under Three Heads_ we have a vivid picture of the +state of things at a fashionable church. Carriages roll up, +richly dressed people take their places and inspect each other +through their glasses. + + The organ peals forth, the hired singers commence a + short hymn, and the congregation condescendingly rise, + stare about them and converse in whispers. + +Dickens passes from church to chapel. Here, he says, + + the hymn is sung--not by paid singers, but by the + whole assembly at the loudest pitch of their voices, + unaccompanied by any musical instrument, the words + being given out, two lines at a time, by the clerk. + +It cannot be said that, as far as the music is concerned, +either of these descriptions is exaggerated when we remember +the time at which they were written (1838). Very few chapels +in London had organs, or indeed instruments of any kind, and +there is no doubt that the congregations, as a rule, _did_ +sing at the tops of their voices, a proceeding known under +the more euphonious title of 'hearty congregational singing.' + +He gives a far more favourable account of the music in the +village church. In the essay just referred to he mentions +the fact that he attended a service in a West of England +church where the service 'was spoken--not merely read--by a +grey-headed minister.' + + The psalms were accompanied by a few instrumental + performers, who were stationed in a small gallery + extending across the church at the lower end; and the + voices were led by the clerk, who, it was evident, + derived no slight pride and gratification from this + portion of the service. + +But if the church music in England was not of a very high +quality when Dickens wrote the above, it was, according to his +own account, far superior to what he heard in certain churches +in Italy. When in Rome he visited St. Peter's, where he was +quite unimpressed by the music. + + I have been infinitely more affected in many English + cathedrals when the organ has been playing, and in + many English country churches when the congregation + have been singing. + +On another occasion he attended church at Genoa on a feast day, +and he writes thus about the music: + + The organ played away lustily, and a full band did the + like; while a conductor, in a little gallery opposite + the band, hammered away on the desk before him, with a + scroll, and a tenor, without any voice, sang. The band + played one way, the organ played another, the singer + went a third, and the unfortunate conductor banged and + banged, and flourished his scroll on some principle + of his own; apparently well satisfied with the whole + performance. I never did hear such a discordant din. + + +_Parish Clerks_ + +We have but few references to parish clerks in the +novels. Mr. Wopsle (_G.E._)--whom Mr. Andrew Lang calls 'one +of the best of Dickens' minor characters'--'punished the Amens +tremendously,'[14] and when he gave out the psalms--always +giving the whole verse--he looked all round the congregation +first, as much as to say 'You have heard our friend overhead; +oblige me with your opinion of this style.' This gentleman +subsequently became a 'play-actor,' but failed to achieve +the success he desired. Solomon Daisy (_B.R._) is bell-ringer +and parish clerk of Chigwell, though we hear nothing of his +exploits in these capacities. However, he must have been a +familiar figure to the villagers as he stood in his little desk +on the Sunday, giving out the psalms and leading the singing, +because when in the rifled and dismantled Maypole he appeals to +the poor witless old Willet as to whether he did not know him-- + + 'You know us, don't you, Johnny?' said the little + clerk, rapping himself on the breast. 'Daisy, you + know--Chigwell Church--bell-ringer--little desk on + Sundays--eh, Johnny?' + + Mr. Willet reflected for a few moments, and then + muttered as it were mechanically: 'Let us sing to the + praise and glory of--' + + 'Yes, to be sure,' cried the little man hastily, + 'that's it, that's me, Johnny.' + +Besides the numerous body of more or less distinguished artists +whom the novelist introduces to us and whose achievements +are duly set forth in these pages, there are two others whose +connexion with Cloisterham gives them a prominent position in +our list. One of these is the Rev. Mr. Crisparkle (_E.D._), +Minor Canon of Cloisterham: + + early riser, musical, classical, cheerful, kind, + good-natured, social, contented, and boy-like. + +What a contrast to the Stiggins and Chadband type! He is a +member of the 'Alternate Musical Wednesdays' Society, and +amongst his lesser duties is that of corrector-in-chief of +the un-Dean-like English of the cathedral verger. + + It is Mr. Crisparkle's custom to sit up last of the + early household, very softly touching his piano and + practising his parts in concerted vocal music. + +Over a closet in his dining-room, where occasional refreshments +were kept, + + a portrait of Handel in a flowing wig beamed down at + the spectator, with a knowing air of being up to the + contents of the closet, and a musical air of intending + to combine all its harmonies in one delicious fugue. + +The Minor Canon is a warm admirer of Jasper's musical talents, +and on one occasion in particular is much impressed with +his singing. + + I must thank you, Jasper, for the pleasure with which + I have heard you to-day. Beautiful! Delightful! + +And thus we are introduced to the other musician, whose position +at Cloisterham Cathedral is almost as much a mystery as that of +Edwin Drood himself. He was the lay precentor or lay clerk, and +he was also a good choirmaster. It is unnecessary to criticize +or examine too closely the exact position that Jasper held. In +answer to a question on this subject, Mr. B. Luard-Selby, +the present organist of Rochester Cathedral, writes thus: + + We have never had in the choir of Rochester Cathedral + such a musical functionary as Dickens describes in _The + Mystery of Edwin Drood_. The only person approaching + Jasper in the choir is one of the lay clerks who looks + after the music, but who of course has nothing to do + with _setting_ the music for the month. I don't think + Dickens had much idea of church order or of cathedral + worship, though he may have gone over the cathedral + with a verger on occasions. The music of a cathedral + is always in the hands of the precentor, assisted by + the organist. + +It is Edwin Drood himself who says that Jasper was lay precentor +or lay clerk at the cathedral. He had a great reputation as a +choir-trainer and teacher of music, but he is already weary of +his position and takes little notice of words of eulogy. He was +well acquainted with the old melodies, and on one occasion we +find him sitting at the piano singing brave songs to Mr. Sapsea. + + No kickshaw ditties, favourites with national enemies, + but ... genuine George the Third home brewed, + exhorting him (as 'my brave boys') to reduce to a + smashed condition all other islands but this island, + and all continents, peninsulas, isthmuses, promontories, + and other geographical forms of land soever, besides + sweeping the sea in all directions. In short he rendered + it pretty clear that Providence made a distinct mistake + in originating so small a nation of hearts of oak, + and so many other verminous peoples. + +We have a different picture of him on another occasion, as +he sits 'chanting choir music in a low and beautiful voice, +for two or three hours'--a somewhat unusual exercise even for +the most enthusiastic choirmaster. But this was before the +strange journey with Durdles, and we can only guess at the +weird thoughts which were passing through the musician's mind +as he sat in his lonely room. + +We have only a brief reference to the choir of Cloisterham +Cathedral. Towards the end we read of them 'struggling into +their nightgowns' before the service, while they subsequently +are 'as much in a hurry to get their bedgowns off as they were +but now to get them on'--and these were almost the last words +that came from the Master's pen. + + +_Anthems_ + +There is an interesting reference to anthems in connexion +with the Foundling Hospital,[15] an institution which Dickens +mentions several times. Mr. Wilding (_N.T._), after he had +been pumped on by his lawyer in order to clear his head, +names the composers of the anthems he had been accustomed to +sing at the Foundling. + + Handel, Mozart, Haydn, Kent, Purcell, Doctor Arne, + Greene, Mendelssohn. I know the choruses to those + anthems by heart. Foundling Chapel collection. + +Mr. Wilding had a scheme of forming his household retainers +and dependents into a singing-class in the warehouse, and a +choir in the neighbouring church. Only one member, Joey Ladle, +refused to join, for fear he should 'muddle the 'armony,' +and his remark that + + Handel must have been down in some of them foreign + cellars pretty much for to go and say the same thing + so many times over + +is certainly not lacking in originality. + + +_Hymns and Hymn-Tunes_ + +There are many purists in church music who object to adaptations +of any kind, and we do not know what their feelings are on +reading the account of the meeting of the Brick Lane Branch of +the United Grand Junction Ebenezer Temperance Association. In +order to vary the proceedings Mr. Anthony Humm announced that + + Brother Mordlin had adapted the beautiful words of + 'Who hasn't heard of a Jolly Young Waterman' to the + tune of the Old Hundredth, which he would request them + to join in singing. (Great applause.) And so the song + commenced, the chairman giving out two lines at a time, + in proper orthodox fashion. + +It was this air that Mr. Jerry's dog, as already related, ground +out of the barrel-organ, but, besides this particular melody, +we do not find that Dickens mentions any other hymn-tune. The +hymns referred to are rather more in number. In _The Wreck +of the Golden Mary_ Mrs. Atherfield sang Little Lucy to sleep +with the Evening Hymn. There is a veiled reference to Ken's +Morning Hymn in _O.C.S._, where Sampson Brass says: + + 'Here we are, Mr. Richard, rising with the sun to run + our little course--our course of duty, sir.' + +Dr. Watts makes several appearances, Dickens made the +acquaintance of this noted hymnist in early youth (see p. 7), +and makes good use of his knowledge. In _The Cricket on the +Hearth_ Mrs. Peerybingle asks John if he ever learnt 'How +doth the little' when he went to school. 'Not to quite know +it,' John returned. 'I was very near it once.' Another of +the Doctor's hymns is suggested by the behaviour of the Young +Tetterbys (_H.M._). + + The contentions between the Tetterbys' children for + the milk and water jug, common to all, which stood + upon the table, presented so lamentable an instance + of angry passions risen very high indeed, that it was + an outrage on the memory of Dr. Watts. + +The pages of history abound with instances of misguided amateurs +who have amended the hymns (and tunes) of others in order to +bring them into their way of thinking, and a prominent place +in their ranks must be assigned to Miss Monflathers (_O.C.S._), +who managed to parody the good Doctor's meaning to an alarming +extent and to insist that + + In books, or work or healthful play[16] + +is only applicable to _genteel_ children, while all poor +people's children, such as Little Nell, should spend their time. + + In work, work, work. In work alway, + Let my first years be passed, + That I may give for ev'ry day + Some good account at last, + +which is far from the good Doctor's meaning. + +Dr. Strong, David Copperfield's second schoolmaster, was fond +of quoting this great authority on mischief, but Mr. Wickfield +suggests that Dr. Watts, had he known mankind well, would +also have written 'Satan finds some mischief still for busy +hands to do.' + +Some years ago a question was raised in _Notes and Queries_ +as to the identity of the 'No. 4 Collection' of hymns which +appeared to afford consolation to Job Trotter. No answer +was vouchsafed, the fact being that the title is a pure +invention, and no such collection has ever existed. It is +scarcely necessary to add that history is silent as to the +identity of the hymn-book which Uriah Heep was reading when +David Copperfield and others visited him in prison. + +We are indebted to Dickens for the introduction to the literary +world of Adelaide Procter, many of whose sacred verses have +found their way into our hymnals. The novelist wrote an +introduction to her _Legends and Lyrics_, in which he tells +the story of how, as editor of _Household Words_, he accepted +verses sent him from time to time by a Miss Mary Berwick, +and only discovered, some months later, that his contributor +was the daughter of his friend Procter, who was known under +the _nom de plume_ of Barry Cornwall. + +There seems to be some difficulty in regard to the authorship +of the hymn + + Hear my prayer, O Heavenly Father, + Ere I lay me down to sleep; + Bid Thy angels, pure and holy, + Round my bed their vigil keep. + +It has already been pointed out (see _Choir_, February, 1912) +that this hymn appeared in the Christmas number of _Household +Words_ for 1856, in a story entitled _The Wreck of the Golden +Mary_. The chief authorities on the works of Dickens claim it +as his composition, and include it in his collected works. On +the other hand, Miller, in his _Our Hymns_ (1866), states that +Miss Harriet Parr informed him that the hymn, and the story +of _Poor Dick_, in which it occurs, were both her own. We may +add that when Dr. Allon applied for permission to include it +in his new hymn-book Dickens referred him to the authoress. + +Dr. Julian takes this as authoritative, and has no hesitation +in ascribing the hymn to Miss Parr. On the other hand, Forster +records in his _Life of Dickens_ that a clergyman, the Rev. +R.H. Davies, had been struck by this hymn when it appeared in +_Household Words_, and wrote to thank him for it. 'I beg to +thank you,' Dickens answered (Christmas Eve, 1856), 'for your +very acceptable letter, not the less because I am myself the +writer you refer to.' Here Dickens seems to claim the authorship, +but it is possible he was referring to something else in the +magazine when he wrote these words, and not to the hymn. + + +[14] Dickens frequently uses the word in this sense. + Tom Pinch says, 'I shall punish the Boar's Head + tremendously.' It is also interesting to note that + Dickens uses the phrase 'I don't think' in its modern + slang meaning on at least two occasions. Tom Pinch + remarks 'I'm a nice man, I don't think, as John used + to say' (_M.C._ 6), and Sam Weller (_P.P._ 38) says + to Mr. Winkle 'you're a amiably-disposed young man, + sir, I don't think.' Mark Tapley uses the expression + 'a pious fraud' (_M.C._ 13). + +[15] 'Pet' (_L.D._ 2) was a frequent visitor to the Hospital. + +[16] From the poem on _Industry_. + + + + +CHAPTER VI + +SONGS AND SOME SINGERS + + +The numerous songs and vocal works referred to by Dickens +in his novels and other writings furnish perhaps the most +interesting, certainly the most instructive, branch of this +subject. His knowledge of song and ballad literature was +extraordinary, and he did not fail to make good use of it. Not +only are the quotations always well chosen and to the point, +but the use of them has greatly added to the interest of such +characters as Swiveller, Micawber, Cuttle, and many others, +all of whom are of a very musical turn of mind. These songs +may be conveniently divided into three classes, the first +containing the national and popular airs of the eighteenth +century, of which 'Rule Britannia' and 'Sally in our Alley' +are notable examples. Many of these are referred to in the +following pages, while a full list will be found on pp. 135-163. + + +I.--_National Songs_ + +There are numerous references to 'Rule Britannia.' Besides +those mentioned elsewhere we have the picture of little David +Copperfield in his dismal home. + + What evenings when the candles came, and I was + expected to employ myself, but not daring to read + an entertaining book, pored over some hard-headed, + harder-hearted treatise on arithmetic; when the tables + of weights and measures set themselves to tunes as + 'Rule Britannia,' or 'Away with Melancholy'! + +No wonder he finally went to sleep over them! + +In _Dombey and Son_ Old Sol has a wonderful story of the +_Charming Sally_ being wrecked in the Baltic, while the crew +sang 'Rule Britannia' as the ship went down, 'ending with one +awful scream in chorus.' Walter gives the date of the tragedy +as 1749. (The song was written in 1740.) + +Captain Cuttle had a theory that 'Rule Britannia,' 'which the +garden angels sang about so many times over,' embodied the +outlines of the British Constitution. It is perhaps unnecessary +to explain that the Captain's 'garden angels' appear in the +song as 'guardian angels.' + +Mark Tapley, when in America, entertained a grey-haired black +man by whistling this tune with all his might and main. The +entry of Martin Chuzzlewit caused him to stop the tune + + at that point where Britons generally are supposed + to declare (when it is whistled) that they never, + never, never-- + +In the article on 'Wapping Workhouse' (_U.T._) Dickens +introduces the first verse of the song in criticizing the +workhouse system and its treatment of old people, and in the +_American Notes_ he tells us that he left Canada with 'Rule +Britannia' sounding in his ears. + +'British Grenadiers,' said Mr. Bucket to Mr. Bagnet, 'there's +a tune to warm an Englishman up! _Could_ you give us "British +Grenadiers," my fine fellow?' And the 'fine fellow,' who +was none other than Bagnet junior (also known as 'Woolwich'), +promptly + + fetches his fife and performs the stirring melody, + during which performance Mr. Bucket, much enlivened, + beats time, and never fails to come in sharp with the + burden 'Brit Ish Gra-a-anadeers.' + +Our national anthem is frequently referred to. In the +description of the public dinner (_S.B.S._ 19)-- + + 'God Save the Queen' is sung by the professional + gentlemen, the unprofessional gentlemen joining in + the chorus, and giving the national anthem an effect + which the newspapers, with great justice, describe as + 'perfectly electrical.' + +On another occasion we are told the company, sang the national +anthem with national independence, each one singing it according +to his own ideas of time and tune. This is the usual way of +singing it at the present day. + +In addition to those above mentioned we find references to +'The Marseillaise' and 'Ca ira,' both of which Dickens says +he heard in Paris. In _Little Dorrit_ Mr. Meagles says: + + As to Marseilles, we know what Marseilles is. It sent + the most insurrectionary tune into the world that was + ever composed. + +Without disputing the decided opinion expressed by the speaker, +there is no doubt that some would give the palm to 'Ca ira,' +which the novelist refers to in one of his letters. The words +of this song were adapted in 1790 to the tune of 'Carillon +National.' This was a favourite air of Marie Antoinette, +and she frequently played it on the harpsichord. After her +downfall she heard it as a cry of hatred against herself--it +followed her from Versailles to the capital, and she would +hear it from her prison and even when going to her death. + +When Martin Chuzzlewit and Mark Tapley were on their way to +America, one of their fellow travellers was + + an English gentleman who was strongly suspected of + having run away from a bank, with something in his + possession belonging to its strong-box besides the key + [and who] grew eloquent upon the subject of the rights + of man, and hummed the Marseillaise Hymn constantly. + +In an article on this tune in the _Choir_ (Nov., 1911) +it is stated that it was composed in 1792 at Strasburg, but +received its name from the fact that a band of soldiers going +from Marseilles to Paris made the new melody their marching +tune. A casual note about it appears to be the only musical +reference in _A Tale of Two Cities_. + +From America we have 'Hail Columbia' and 'Yankee Doodle.' In +_Martin Chuzzlewit_ we meet the musical coach-driver who +played snatches of tunes on the key bugle. A friend of his +went to America, and wrote home saying he was always singing +'Ale Columbia.' In his _American Notes_ Dickens tells about a +Cleveland newspaper which announced that America had 'whipped +England twice, and that soon they would sing "Yankee Doodle" +in Hyde Park and "Hail Columbia" in the scarlet courts of +Westminster.' + + +II.--_Songs from 1780-1840_ + +We then come to a group of songs dating, roughly, from +1780. This includes several popular sea songs by Charles Dibdin +and others, some ballad opera airs, the _Irish Melodies_ and +other songs by Thomas Moore, and a few sentimental ditties. +Following these we have the songs of the early Victorian +period, consisting of more sentimental ditties of a somewhat +feebler type, with a few comic and nigger minstrel songs. +The task of identifying the numerous songs referred to has +been interesting, but by no means easy. No one who has not had +occasion to refer to them can have any idea of the hundreds, +nay, of the thousands, of song-books that were turned out from +the various presses under an infinitude of titles during the +eighteenth and early nineteenth centuries. There is nothing like +them at the present day, and the reasons for their publication +have long ceased to exist. It should be explained that the +great majority of these books contained the words only, very +few of them being furnished with the musical notes. Dickens has +made use of considerably over a hundred different songs. In +some cases the references are somewhat obscure, but their +elucidation is necessary to a proper understanding of the +text. An example of this occurs in Chapter IX of _Martin +Chuzzlewit_, where we are told the history of the various +names given to the young red-haired boy at Mrs. Todgers' +commercial boarding-house. When the Pecksniffs visited the house + + he was generally known among the gentlemen as Bailey + Junior, a name bestowed upon him in contradistinction + perhaps to Old Bailey, and possibly as involving the + recollection of an unfortunate lady of the same name, + who perished by her own hand early in life and has + been immortalized in a ballad. + +The song referred to here is 'Unfortunate Miss Bailey,' by +George Colman, and sung by Mr. Mathews in the comic opera of +_Love Laughs at Locksmiths_. It tells the story of a maid who +hung herself, while her persecutor took to drinking ratafia. + +Dickens often refers to these old song-books, either under +real or imaginary names. Captain Cuttle gives 'Stanfell's +Budget' as the authority for one of his songs, and this was +probably the song-book that formed one of the ornaments which +he placed in the room he was preparing for Florence Dombey. +Other common titles are the 'Prentice's Warbler,' which Simon +Tappertit used, 'Fairburn's Comic Songster,' and the 'Little +Warbler,' which is mentioned two or three times. Of the songs +belonging to this second period, some are embedded in ballad +operas and plays, popular enough in their day, but long since +forgotten. An example is Mr. Jingle's quotation when he tells +the blushing Rachel that he is going + + In hurry, post haste for a licence, + In hurry, ding dong I come back, + +though he omitted the last two lines: + + For that you shan't need bid me twice hence, + I'll be here and there in a crack. + +This verse is sung by Lord Grizzle in Fielding's _Tom Thumb_, +as arranged by Kane O'Hara. + +_Paul and Virginia_ is mentioned by Mrs. Flora Finching +(_L.D._) as being one of the things that ought to have been +returned to Arthur Clennam when their engagement was broken +off. This was a ballad opera by Reeve and Mazzinghi, and the +opening number is the popular duet 'See from ocean rising,' +concerning which there is a humorous passage in 'The Steam +Excursion' (_S.B._), where it is sung by one of the Miss +Tauntons and Captain Helves. The last-named, 'after a great +deal of preparatory crowing and humming,' began + + in that grunting tone in which a man gets down, + heaven knows where, without the remotest chance of + ever getting up again. This in private circles is + frequently designated a 'bass voice.' + + + [Figure 1] + + See from ocean rising + Bright flame, the orb of day; + From yon grove the varied song + Shall slumber from Virginia chase, chase away, + Slumber from Virginia chase, chase away. + +Dickens is not quite correct in this description, as the +part of Paul was created by Incledon, the celebrated tenor, +but there are still to be found basses who insist on singing +tenor when they think that part wants their assistance. + + +III.--_Contemporary Comic Songs_ + +When Dickens visited Vauxhall (_S.B.S._ 14) in 1836, he heard +a variety entertainment, to which some reference has already +been made. Amongst the performers was a comic singer who bore +the name of one of the English counties, and who + + sang a very good song about the seven ages, the first + half hour of which afforded the assembly the purest + delight. + +The name of this singer was Mr. Bedford, though there was also +a Mr. Buckingham in the Vauxhall programmes of those days. There +are at least four songs, all of them lengthy, though not to the +extent Dickens suggests, which bear on the subject. They are: + + 1.--'All the World's a Stage,' a popular medley written by + Mr. L. Rede, and sung by Mrs. Kelley in the _Frolic + of the Fairies_. + + 2.--'Paddy McShane's Seven Ages,' sung by Mr. Johnstone at + Drury Lane. + + 3.--'The Seven Ages,' as sung by Mr. Fuller (eight very + long verses). + + 4.--'The Seven Ages of Woman,' as sung by Mr. Harley. + + You've heard the seven ages of great Mister Man, + And now Mistress Woman's I'll chaunt, if I can. + +This was also a very long song, each verse being sung to a +different tune. + +Some of these songs are found in a scarce book called +_London Oddities_ (1822), which also contains 'Time of Day,' +probably the comic duet referred to in _The Mistaken Milliner_ +(_S.B._). This sketch was written in 1835 for _Bell's Life +in London_, the original title being _The Vocal Dressmaker_, +and contains an account of a concert (real or imaginary) at the +White Conduit House. This place of entertainment was situated in +Penton Street, Islington, near the top of Pentonville Road, and +when Dickens wrote his sketch the place had been in existence +nearly a hundred years. Early in the nineteenth century it +became a place of varied amusements, from balloon ascents +to comic songs. Dickens visited the place about 1835. The +titles of some of the pieces he mentions as having been sung +there are real, while others (such as 'Red Ruffian, retire') +appear to be invented. + +Of a different kind is the one sung by the giant Pickleson, +known in the profession as Rinaldo di Vasco, a character +introduced to us by Dr. Marigold. + + I gave him sixpence (for he was kept as short as he + was long), and he laid it out on two three penn'orths + of gin-and-water, which so brisked him up that he sang + the favourite comic of 'Shivery Shakey, ain't it cold?' + +Perhaps in no direction does the taste of the British public +change so rapidly and so completely as in their idea of humour +as depicted in the comic song, and it is unlikely that what +passed for humour sixty years ago would appeal to an audience +of the present day. The song here referred to had a great +though brief popularity. This is the first verse: + + THE MAN THAT COULDN'T GET WARM. + + _Words by J. Beuler._ _Accompaniment by J. Clinton._ + + All you who're fond in spite of price + Of pastry, cream and jellies nice + Be cautious how you take an ice + Whenever you're overwarm. + A merchant who from India came, + And Shiverand Shakey was his name, + A pastrycook's did once entice + To take a cooling, luscious ice, + The weather, hot enough to kill, + Kept tempting him to eat, until + It gave his corpus such a chill + He never again felt warm. + Shiverand Shakey O, O, O, + Criminy Crikey! Isn't it cold, + Woo, woo, woo, oo, oo, + Behold the man that couldn't get warm. + +Some people affect to despise a comic song, but there are +instances where a good specimen has helped to make history, +or has added a popular phrase to our language. An instance of +the latter is MacDermott's 'Jingo' song 'We don't want to fight +but by Jingo if we do.' An illustration of the former comes from +the coal strike of March, 1912, during which period the price of +that commodity only once passed the figure it reached in 1875, +as we gather from the old song 'Look at the price of coals.' + + We don't know what's to be done, + They're forty-two shillings a ton. + +There are two interesting references in a song which +Mrs. Jarley's poet adapted to the purposes of the Waxwork +Exhibition, 'If I'd a donkey as wouldn't go.' The first verse +of the song is as follows: + + If I'd a donkey wot wouldn't go, + D'ye think I'd wollop him? No, no, no; + But gentle means I'd try, d'ye see, + Because I hate all cruelty. + If all had been like me in fact, + There'd ha' been no occasion for Martin's Act + Dumb animals to prevent getting crackt + On the head, for-- + If I had a donkey wot wouldn't go, + I never would wollop him, no, no, no; + I'd give him some hay, and cry gee O, + And come up Neddy. + +The singer then meets 'Bill Burns,' who, 'while crying out his +greens,' is ill-treating his donkey. On being interfered with, +Bill Burns says, + + 'You're one of these Mr. Martin chaps.' + +Then there was a fight, when the 'New Police' came up and +'hiked' them off before the magistrate. There is a satisfactory +ending, and 'Bill got fin'd.' Here is a reminder that we are +indebted to Mr. Martin, M.P., for initiating the movement which +resulted in the 'Royal Society for the Prevention of Cruelty +to Animals' being established in 1824. Two years previously +Parliament had passed what is known as Martin's Act (1822), +which was the first step taken by this or any other country +for the protection of animals. In Scene 7 of _Sketches by Boz_ +there is a mention of 'the renowned Mr. Martin, of costermonger +notoriety.' The reference to the New Police Act reminds us +that the London police force was remodelled by Mr. (afterwards +Sir Robert) Peel in 1829. Hence the date of the song will be +within a year or two of this. + +Mr. Reginald Wilfer (_O.M.F._) owed his nickname to the +conventional chorus of some of the comic songs of the +period. Being a modest man, he felt unable to live up to the +grandeur of his Christian name, so he always signed himself +'R. Wilfer.' Hence his neighbours provided him with all sorts +of fancy names beginning with R, but his popular name was +Rumty, which a 'gentleman of convivial habits connected with +the drug market' had bestowed upon him, and which was derived +from the burden-- + + Rumty iddity, row dow dow, + Sing toodlely teedlely, bow wow wow. + +The third decade of the nineteenth century saw the coming of the +Christy Minstrels. One of the earliest of the so-called 'negro' +impersonators was T.D. Rice, whose song 'Jim Crow' (_A.N._) took +England by storm. It is useless to attempt to account for the +remarkable popularity of this and many another favourite, but +the fact remains that the song sold by thousands. In this case +it may have been due to the extraordinary antics of the singer, +for the words certainly do not carry weight (see p. 146). + +Rice made his first appearance at the Surrey Theatre in 1836, +when he played in a sketch entitled _Bone Squash Diabolo_, in +which he took the part of 'Jim Crow.' The song soon went all +over England, and 'Jim Crow' hats and pipes were all the rage, +while _Punch_ caricatured a statesman who changed his opinions +on some question of the day as the political 'Jim Crow.' To +this class also belongs the song 'Buffalo Gals' (see p. 10). + +Amongst the contents of the shop window at the watering-place +referred to in _Out of the Season_ was + + every polka with a coloured frontispiece that ever was + published; from the original one, where a smooth male + or female Pole of high rank are coming at the observer + with their arms akimbo, to the 'Ratcatcher's Daughter.' + +This last piece is of some slight interest from the fact that +certain people have claimed that the hymn-tune 'Belmont' is +derived therefrom. We give the first four lines, and leave +our readers to draw their own conclusions. It is worth while +stating that the first appearance of the hymn-tune took place +soon after the song became popular.[17] + + [Figure 2] + + In Westminster, not long ago, + There lived a ratcatcher's daughter; + She was not born in Westminster + But on t'other side of the water. + + +_Some Singers_ + +In the _Pickwick Papers_ we have at least three original +poems. Wardle's carol-- + + I care not for Spring; on his fickle wing + Let the blossoms and buds be borne-- + +has been set to music, but Dickens always preferred that +it should be sung to the tune of 'Old King Cole,' though a +little ingenuity is required to make it fit in. The 'wild and +beautiful legend,' + + Bold Turpin vunce, on Hounslow Heath + His bold mare Bess bestrode--er, + +with which Sam Weller favoured a small but select company on a +memorable occasion appears to have been overlooked by composers +until Sir Frederick Bridge set it to excellent music. It will +be remembered that Sam intimated that he was not + + wery much in the habit o' singin' without the + instrument; but anythin' for a quiet life, as the man + said wen he took the sitivation at the lighthouse. + +Sam was certainly more obliging than another member of the +company, the 'mottled-faced' gentleman, who, when asked +to sing, sturdily and somewhat offensively declined to do +so. We also find references to other crusty individuals who +flatly refuse to exercise their talents, as, for instance, +after the accident to the coach which was conveying Nicholas +Nickleby and Squeers to Yorkshire. In response to the call +for a song to pass the time away, some protest they cannot, +others wish they could, others can do nothing without the +book, while the 'very fastidious lady entirely ignored the +invitation to give them some little Italian thing out of the +last opera.' A somewhat original plea for refusing to sing when +asked is given by the chairman of the musical gathering at the +Magpie and Stump (_P.P._). When asked why he won't enliven +the company he replies, 'I only know one song, and I have sung +it already, and it's a fine of glasses round to sing the same +song twice in one night.' Doubtless he was deeply thankful to +Mr. Pickwick for changing the subject. At another gathering +of a similar nature, we are told about a man who knew a song +of seven verses, but he couldn't recall them at the moment, +so he sang the first verse seven times. + +There is no record as to what the comic duets were that Sam +Weller and Bob Sawyer sang in the dickey of the coach that was +taking the party to Birmingham, and this suggests what a number +of singers of all kinds are referred to, though no mention is +made of their songs. What was Little Nell's repertoire? It must +have been an extensive one according to the man in the boat +(_O.C.S._ 43). + + 'You've got a very pretty voice' ... said this + gentleman ... 'Let me hear a song this minute.' + + 'I don't think I know one, sir,' returned Nell. + + 'You know forty-seven songs,' said the man, with + a gravity which admitted of no altercation on the + subject. 'Forty-seven's your number.' + + And so the poor little maid had to keep her rough + companions in good humour all through the night. + +Then Tiny Tim had a song about a lost child travelling in the +snow; the miner sang a Christmas song--'it had been a very +old song when he was a boy,' while the man in the lighthouse +(_C.C._) consoled himself in his solitude with a 'sturdy' +ditty. What was John Browdie's north-country song? (_N.N._). +All we are told is that he took some time to consider the words, +in which operation his wife assisted him, and then + + began to roar a meek sentiment (supposed to be uttered + by a gentle swain fast pining away with love and + despair) in a voice of thunder. + +The Miss Pecksniffs used to come singing into the room, but +their songs are unrecorded, as well as those that Florence +Dombey used to sing to Paul, to his great delight. What was +the song Miss Mills sang to David Copperfield and Dora + + about the slumbering echoes in the cavern of Memory; + as if she was a hundred years old. + +When we first meet Mark Tapley he is singing merrily, and there +are dozens of others who sing either for their own delight +or to please others. Even old Fips, of Austin Friars, the +dry-as-dust lawyer, sang songs to the delight of the company +gathered round the festive board in Martin Chuzzlewit's rooms in +the Temple. Truly Dickens must have loved music greatly himself +to have distributed such a love of it amongst his characters. + +It is not to be expected that Sampson Brass would be musical, +and we are not surprised when on an occasion already referred +to we find him + + humming in a voice that was anything but musical certain + vocal snatches which appeared to have reference to the + union between Church and State, inasmuch as they were + compounded of the Evening Hymn and 'God Save the King.' + +Whatever music he had in him must have been of a sub-conscious +nature, for shortly afterwards he affirms that + + the still small voice is a-singing comic songs within + me, and all is happiness and joy. + +His sister Sally is not a songster, nor is Quilp, though he +quotes 'Sally in our Alley' in reference to the former. All +we know about his musical attainments is that he + + occasionally entertained himself with a melodious + howl, intended for a song but bearing not the faintest + resemblance to any scrap of any piece of music, vocal + or instrumental, ever invented by man. + +Bass singers, and especially the Basso Profundos, will be glad +to know that Dickens pays more attention to them than to the +other voices, though it must be acknowledged that the references +are of a humorous nature. 'Bass!' as the young gentleman in one +of the _Sketches_ remarks to his companion about the little +man in the chair, 'bass! I believe you. He can go down lower +than any man; so low sometimes that you can't hear him.' + + And so he does. To hear him growling away, gradually + lower and lower down, till he can't get back again, + is the most delightful thing in the world. + +Of similar calibre is the voice of Captain Helves, already +referred to on p. 62. + +Topper, who had his eye on one of Scrooge's niece's sisters +(_C.C._), + + could growl away in the bass like a good one, and + never swell the large veins in his forehead or get + red in the face over it. + +Dickens must certainly have had much experience of basses, as he +seems to know their habits and eccentricities so thoroughly. In +fact it seems to suggest that at some unknown period of his +career, hitherto unchronicled by his biographers, he must have +been a choirmaster. + +He also shows a knowledge of the style of song the basses +delighted in + + at the harmony meetings in which the collegians at the + Marshalsea[18] used to indulge. Occasionally a vocal + strain more sonorous than the generality informed the + listener that some boastful bass was in blue water + or the hunting field, or with the reindeer, or on the + mountain, or among the heather, but the Marshal of the + Marshalsea knew better, and had got him hard and fast. + +We are not told what the duet was that Dickens heard at +Vauxhall, but the description is certainly vivid enough: + + It was a beautiful duet; first the small gentleman + asked a question and then the tall lady answered + it; then the small gentleman and the tall lady sang + together most melodiously; then the small gentleman + went through a little piece of vehemence by himself, + and got very tenor indeed, in the excitement of his + feelings, to which the tall lady responded in a similar + manner; then the small gentleman had a shake or two, + after which the tall lady had the same, and then they + both merged imperceptibly into the original air. + +Our author is quite impartial in his distribution of his +voices. In _P.P._ we read of a boy of fourteen who was a tenor +(not the fat boy), while the quality of the female voices is +usually left to the imagination. + +If Mrs. Plornish (_L.D._) is to be believed, her father, +Mr. John Edward Nandy, was a remarkable singer. He was + + a poor little reedy piping old gentleman, like a + worn-out bird, who had been in what he called the + music-binding business. + +But Mrs. P. was very proud of her father's talents, and in +response to her invitation, 'Sing us a song, father,' + + Then would he give them Chloe, and if he were in + pretty good spirits, Phyllis also--Strephon he had + hardly been up to since he went into retirement--and + then would Mrs. Plornish declare she did believe there + never was such a singer as father, and wipe her eyes. + +Old Nandy evidently favoured the eighteenth-century songs, +in which the characters here referred to were constantly +occurring. At a subsequent period of his history Nandy's vocal +efforts surprised even his daughter. + + 'You never heard father in such voice as he is at + present,' said Mrs. Plornish, her own voice quavering, + she was so proud and pleased. 'He gave us Strephon + last night, to that degree that Plornish gets up and + makes him this speech across the table, "John Edward + Nandy," says Plornish to father, "I never heard you + come the warbles as I have heard you come the warbles + this night." Ain't it gratifying, Mr. Pancks, though; + really.' + +The Mr. Pancks here referred to did not mind taking his part in +a bit of singing. He says, in reference to a 'Harmony evening' +at the Marshalsea: + + 'I am spending the evening with the rest of 'em,' + said Pancks. 'I've been singing. I've been taking + a part in "White Sand and Grey Sand." I don't know + anything about it. Never mind. I'll take part in + anything, it's all the same, if you're loud enough.' + +Here we have a round of considerable antiquity, though the +date and author are alike unknown. + + [Figure 3] or [Figure 4] + + White sand and grey sand: + Who'll buy my white sand? + Who'll buy my grey sand? + + +_Glee-Singing_ + +A feature of the Harmonic Meetings at the 'Sol' (_B.H._) was +the performance of Little Swills, who, after entertaining +the company with comic songs, took the 'gruff line' in a +concerted piece, and adjured 'his friends to listen, listen, +listen to the wa-ter-fall!' Little Swills was also an adept +at 'patter and gags.' Glee and catch singing was a feature +at the Christmas party given by Scrooge's nephew, for 'they +were a musical family, and knew what they were about.' This +remark can scarcely be applied to the Malderton family, who, +assisted by the redoubtable Mr. Horatio Sparkins, + + tried over glees and trios without number; they having + made the pleasing discovery that their voices harmonized + beautifully. To be sure, they all sang the first part; + and Horatio, in addition to the slight drawback of + having no ear, was perfectly innocent of knowing a note + of music; still, they passed the time very agreeably. + +Glee-singing seems to have been a feature in the social life +of Cloisterham (_E.D._). + + 'We shall miss you, Jasper' (said Mr. Crisparkle), + 'at the "Alternate Musical Wednesdays" to-night; but + no doubt you are best at home. Good-night, God bless + you. "Tell me shepherds te-e-ell me: tell me-e-e have + you seen (have you seen, have you seen, have you seen) + my-y-y Flo-o-ora-a pass this way!"' + +It was a different kind of glee party that left the Blue +Boar after the festivities in connexion with Pip's indentures +(_G.E._). + + They were all in excellent spirits on the road home, + and sang 'O Lady Fair,' Mr. Wopsle taking the bass, + and assisting with a tremendously strong voice (in + reply to the inquisitive bore who leads that piece + of music in a most impertinent manner by wanting to + know all about everybody's private affairs) that _he_ + was the man with his white locks flowing, and that he + was upon the whole the weakest pilgrim going. + +Perhaps the most remarkable glee party that Dickens gives us +is the one organized by the male boarders at Mrs. Todgers', +with a view to serenading the two Miss Pecksniffs. + + It was very affecting, very. Nothing more dismal could + have been desired by the most fastidious taste. The + gentleman of a vocal turn was head mute, or chief + mourner; Jinkins took the bass, and the rest took + anything they could get.... If the two Miss Pecksniffs + and Mrs. Todgers had perished by spontaneous combustion, + and the serenade had been in honour of their ashes, it + would have been impossible to surpass the unutterable + despair expressed in that one chorus: 'Go where glory + waits thee.' It was a requiem, a dirge, a moan, a howl, + a wail, a lament, an abstract of everything that is + sorrowful and hideous in sound. + +The song which the literary boarder had written for the +occasion, 'All hail to the vessel of Pecksniff, the sire,' +is a parody of Scott's 'All hail to the chief who in triumph +advances,' from the _Lady of the Lake_. + +Two words that by themselves have a musical meaning are +'Chaunter' and 'Drums'; but the Chaunter referred to is one +of Edward Dorrit's creditors, and the word means 'not a singer +of anthems, but a seller of horses.' To this profession also +Simpson belonged, on whom Mr. Pickwick was 'chummed' in the +Fleet prison. A 'drum' is referred to in the description of +the London streets at night in _Barnaby Rudge_, and signifies a +rout or evening party for cards; while one where stakes ran high +and much noise accompanied the play was known as a 'drum major.' + +In _Our Bore_ (_R.P._) this sentence occurs: + + He was at the Norwich musical festival when the + extraordinary echo, for which science has been wholly + unable to account, was heard for the first and last + time. He and the bishop heard it at the same moment, + and caught each other's eye. + +Dr. A.H. Mann, who knows as much about Norwich and its festivals +as any one, is quite unable to throw any light on this mystic +remark. There were complaints about the acoustics of the +St. Andrew's Hall many years ago, but there appears to be no +historic foundation for Dickens' reference. It would certainly +be interesting to know what suggested the idea to him. + +There is a curious incident connected with Uncle Dick, whose +great ambition was 'to beat the drum.' It was only by a mere +chance that his celebrated reference to King Charles's head +got into the story. Dickens originally wrote as follows (in +Chapter 14, _D.C._): + + 'Do you recollect the date,' said Mr. Dick, looking + earnestly at me, and taking up his pen to note it down, + 'when the bull got into the china warehouse and did + so much mischief?' + +In the proof Dickens struck out all the words after 'when,' +and inserted in their place the following: + + 'King Charles the First had his head cut off?' + + I said I believed it happened in the year sixteen + hundred and forty-nine. + + 'Well,' returned Mr. Dick, scratching his ear with his + pen and looking dubiously at me, 'so the books say, + but I don't see how that can be. Because if it was so + long ago, how could the people about him have made that + mistake of putting some of the trouble out of his head, + after it was taken off, into mine?' + +The whole of the substituted passage is inserted in the margin +at the bottom of the page. Again, when Mr. Dick shows David +Copperfield his kite covered with manuscript, David was made to +say in the proof: 'I thought I saw some allusion to the bull +again in one or two places.' Here Dickens has struck through +the words, 'the bull,' and replaced them with 'King Charles +the First's head.' + +The original reference was to a very popular song of the period +called 'The Bull in the China Shop,' words by C. Dibdin, Junior, +and music by W. Reeve. Produced about 1808, it was popularized +by the celebrated clown Grimaldi. The first verse is: + + You've heard of a frog in an opera hat, + 'Tis a very old tale of a mouse and a rat, + I could sing you another as pleasant, mayhap, + Of a kitten that wore a high caul cap; + But my muse on a far nobler subject shall drop, + Of a bull who got into a china shop, + With his right leg, left leg, upper leg, under leg, + St. Patrick's day in the morning. + + +[17] Mr. Alfred Payne writes thus: 'Some time ago an old + friend told me that he had heard from a Hertfordshire + organist that Dr. W.H. Monk (editor of _Hymns + Ancient and Modern_) adapted "Belmont" from the highly + classical melody of which a few bars are given above. + Monk showed this gentleman the notes, being the actual + arrangement he had made from this once popular song, + back in the fifties. This certainly coincides with + its appearance in Severn's _Islington Collection_, + 1854.'--See _Hymn-Tunes and their Story_, p. 354. + +[18] The Marshalsea was a debtors' prison formerly situated + in Southwark. It was closed about the middle of the + last century, and demolished in 1856. + + + + +CHAPTER VII + +SOME NOTED SINGERS + + +_The Micawbers_ + +Dickens presents us with such an array of characters +who reckon singing amongst their various accomplishments +that it is difficult to know where to begin. Perhaps the +marvellous talents of the Micawber family entitle them to first +place. Mrs. Micawber was famous for her interpretation of 'The +Dashing White Sergeant' and 'Little Taffline' when she lived +at home with her papa and mamma, and it was her rendering of +these songs that gained her a spouse, for, as Mr. Micawber +told Copperfield, + + when he heard her sing the first one, on the first + occasion of his seeing her beneath the parental roof, + she had attracted his attention in an extraordinary + degree, but that when it came to 'Little Tafflin,' he + had resolved to win that woman or perish in the attempt. + +It will be remembered that Mr. Bucket (_B.H._) gained a wife by +a similar display of vocal talent. After singing 'Believe me, +if all those endearing young charms,' he informs his friend +Mrs. Bagnet that this ballad was + + his most powerful ally in moving the heart of + Mrs. Bucket when a maiden, and inducing her to approach + the altar. Mr. Bucket's own words are 'to come up to + the scratch.' + +Mrs. Micawber's 'Little Taffline' was a song in Storace's +ballad opera _Three and the Deuce_, words by Prince Hoare. It +will be interesting to see what the song which helped to mould +Micawber's fate was like. + + LITTLE TAFFLINE. + + [Figure 5] + + Should e'er the fortune be my lot + To be made a wealthy bride, + I'll glad my parents' lowly cot, + All their pleasure and their pride: + + And when I'm drest all in my best, + I'll trip away like lady gay, + I'll trip, I'll trip away. + + And the lads will say, Dear heart, what a flash! + Look at little Taffline with a silken sash, + And the lads will say, Dear heart, what a flash! + And the lads will say, Dear heart, what a flash! + Look at little Taffline, Look at little Taffline, + Oh, look at little Taffline with the silken sash! + +There was also a character called Little Taffline in T. Dibdin's +_St. David's Day_, the music for which was compiled and composed +by Thomas Attwood, organist of St. Paul's Cathedral. + +Her other song, 'The Dashing White Sergeant,' was a martial +and very popular setting of some words by General Burgoyne. + +Micawber could both sing and hum, and when music failed him +he fell back on quotations. As he was subject to extremes +of depression and elevation it was nothing unusual for him +to commence a Saturday evening in tears and finish up with +singing 'about Jack's delight being his lovely Nan' towards +the end of it. Here we gather that one of his favourite songs +was C. Dibdin's 'Lovely Nan,' containing these two lines: + + But oh, much sweeter than all these + Is Jack's delight, his lovely Nan. + +His musical powers made him useful at the club-room in the +King's Bench, where David discovered him leading the chorus of +'Gee up, Dobbin.' This would be 'Mr. Doggett's Comicall Song' +in the farce _The Stage Coach_, containing the lines-- + + With a hey gee up, gee up, hay ho; + With a hay gee, Dobbin, hey ho! + +'Auld Lang Syne' was another of Mr. Micawber's favourites, +and when David joined the worthy pair in their lodgings at +Canterbury they sang it with much energy. To use Micawber's +words-- + + When we came to 'Here's a hand, my trusty frere' we + all joined hands round the table; and when we declared + we would 'take a right gude willie waught,' and hadn't + the least idea what it meant, we were really affected. + +The memory of this joyous evening recurred to Mr. M. at a later +date, after the feast in David's rooms, and he calls to mind +how they had sung + + We twa had run about the braes + And pu'd the gowans fine. + +He confesses his ignorance as to what gowans are, + + but I have no doubt that Copperfield and myself would + frequently have taken a pull at them, if it had been + feasible. + +In the last letter he writes he makes a further quotation from +the song. On another occasion, however, under the stress of +adverse circumstances he finds consolation in a verse from +'Scots, wha hae',' while at the end of the long epistle in +which he disclosed the infamy of Uriah Heep, he claims to +have it said of him, 'as of a gallant and eminent naval Hero,' +that what he has done, he did + + For England, home, and beauty. + +'The Death of Nelson,' from which this line comes, had a +long run of popularity. Braham, the composer, was one of the +leading tenors of the day, and thus had the advantage of being +able to introduce his own songs to the public. The novelist's +dictum that 'composers can very seldom sing their own music or +anybody else's either' (_P.P._ 15) may be true in the main, but +scarcely applies to Braham, who holds very high rank amongst +English tenors. Another song which he wrote with the title +'The Victory and Death of Lord Viscount Nelson' met with no +success. The one quoted by Micawber was naturally one of Captain +Cuttle's favourites, and it is also made use of by Silas Wegg. + +The musical gifts of Mr. and Mrs. Micawber descended to +their son Wilkins, who had 'a remarkable head voice,' but +having failed to get into the cathedral choir at Canterbury, +he had to take to singing in public-houses instead of in +sacred edifices. His great song appears to have been 'The +Woodpecker Tapping.' When the family emigrated Mr. M. expressed +the hope that 'the melody of my son will be acceptable at the +galley fire' on board ship. The final glimpse we get of him +is at Port Middlebay, where he delights a large assembly by +his rendering of 'Non Nobis' (see p. 149), and by his dancing +with the fourth daughter of Mr. Mell. + +The 'Woodpecker' song is referred to in an illustrative way +by Mrs. Finching (_L.D._), who says that her papa + + is sitting prosily breaking his new-laid egg in the + back parlour like the woodpecker tapping. + + +_Captain Cuttle_ + +Captain Cuttle is almost as full of melody as Micawber, though +his repertoire is chiefly confined to naval ditties. His great +song is 'Lovely Peg,' and his admiration for Florence Dombey +induces him to substitute her name in the song, though the +best he can accomplish is 'Lovely Fleg.' + +There are at least three eighteenth-century ballads with Peg, +or Lovely Peg, for the subject, and it is not certain which +of these the Captain favoured. This is one of them: + + Once more I'll tune the vocal shell, + To Hills and Dales my passion tell, + A flame which time can never quell, + That burns for lovely Peggy. + +Then comes this tuneful refrain: + + [Figure 6] + + Lovely Peggy, lovely Peggy, + Lovely, lovely, lovely Peggy; + The heav'ns should sound with echoes rung + In praise of lovely Peggy. + +The two others of this period that I have seen are called +'Peggy' and 'Lovely Peggy, an imitation.' However, it is most +probable that the one that the Captain favoured--in spite of +the mixture of names--was C. Dibdin's 'Lovely Polly.' + + LOVELY POLLY + + [Figure 7] + + A seaman's love is void of art, + Plain sailing to his port the heart; + He knows no jealous folly, + He knows no jealous folly. + + 'Tis hard enough at sea to war + With boist'rous elements that jar-- + All's peace with lovely Polly, + All's peace with lovely Polly, + with lovely Polly, lovely Polly, + All's peace with lovely Polly. + +Dickens was very familiar with Dibdin's songs, while the +eighteenth-century ones referred to he probably never heard of, +as they are very rarely found. + +The worthy Captain enjoys a good rollicking song, preferably +of a patriotic turn, but is very unreliable as to the sources +of his ditties. + + 'Wal'r, my boy,' replied the Captain, 'in the Proverbs + of Solomon you will find the following words, "May + we never want a friend in need, nor a bottle to give + him!" When found, made a note of.' + +This is taken from a song by J. Davy, known as 'Since the +first dawn of reason,' and was sung by Incledon. + + Since the first dawn of reason that beam'd on my mind, + And taught me how favoured by fortune my lot, + To share that good fortune I still am inclined, + And impart to who wanted what I wanted not. + It's a maxim entitled to every one's praise, + When a man feels distress, like a man to relieve him; + And my motto, though simple, means more than it says, + 'May we ne'er want a friend or a bottle to give him.' + +He is equally unreliable as to the source of a still more +famous song. When Florence Dombey goes to see him the Captain +intimates his intention of standing by old Sol Gills, + + 'and not desert until death do us part, and when the + stormy winds do blow, do blow, do blow--overhaul + the Catechism,' said the Captain parenthetically, + 'and there you'll find these expressions.' + +I have not heard of any church that has found it necessary to +include this old refrain in its Catechism, nor even to mix it +up with the Wedding Service. + +A further mixture of quotations occurs when he is talking of +Florence on another occasion. Speaking of the supposed death +of Walter he says, + + Though lost to sight, to memory dear, and + England, home, and beauty. + +The first part--which is one of Cuttle's favourite +quotations--is the first line of a song by G. Linley. +He composed a large number of operas and songs, many of which +were very popular. The second part of the quotation is from +Braham's 'Death of Nelson' (see p. 116). + +In conversation with his friend Bunsby, Cuttle says-- + + Give me the lad with the tarry trousers as shines to + me like di'monds bright, for which you'll overhaul the + 'Stanfell's Budget,' and when found make a note. + +Elsewhere he mentions Fairburn's 'Comic Songster' and the +'Little Warbler' as his song authorities. + +The song referred to here is classed by Dr. Vaughan Williams +amongst Essex folk-songs, but it is by no means confined to +that county. It tells of a mother who wants her daughter to +marry a tailor, and not wait for her sailor bold. + + My mother wants me to wed with a tailor + And not give me my heart's delight; + But give me the man with the tarry trousers, + That shines to me like diamonds bright. + +After the firm of Dombey has decided to send Walter to Barbados, +the boy discusses his prospects with his friend the Captain, +and finally bursts into song-- + + How does that tune go that the sailors sing? + + For the port of Barbados, Boys! + Cheerily! + Leaving old England behind us, boys! + Cheerily! + + Here the Captain roared in chorus, + + Oh cheerily, cheerily! + Oh cheer-i-ly! + +All efforts to trace this song have failed, and for various +reasons I am inclined to think that Dickens made up the lines +to fit the occasion; while the words 'Oh cheerily, cheerily' +are a variant of a refrain common in sea songs, and the Captain +teaches Rob the Grinder to sing it at a later period of the +story. The arguments against the existence of such a song are: +first, that the Dombey firm have already decided to send the +boy to Barbados, and as there is no song suitable, the novelist +invents one; and in the second place there has never been a +time in the history of Barbados to give rise to such a song +as this, and no naval expedition of any consequence has ever +been sent there. It is perhaps unnecessary to urge that there +is no such place as the 'Port of Barbados.' + + +_Dick Swiveller_ + +None of Dickens' characters has such a wealth of poetical +illustration at command as Mr. Richard Swiveller. He lights +up the Brass office 'with scraps of song and merriment,' and +when he is taking Kit's mother home in a depressed state after +the trial he does his best to entertain her with 'astonishing +absurdities in the way of quotation from song and poem.' From +the time of his introduction, when he 'obliged the company with +a few bars of an intensely dismal air,' to when he expresses +his gratitude to the Marchioness-- + + And she shall walk in silk attire, + And siller have to spare-- + +there is scarcely a scene in which he is present when he does +not illumine his remarks by quotations of some kind or other, +though there are certainly a few occasions when his listeners +are not always able to appreciate their aptness. For instance +in the scene between Swiveller and the single gentleman, +after the latter has been aroused from his slumbers, and has +intimated he is not to be disturbed again. + + 'I beg your pardon,' said Dick, halting in his passage + to the door, which the lodger prepared to open, + 'when he who adores thee has left but the name--' + + 'What do you mean?' + + 'But the name,' said Dick, 'has left but the name--in + case of letters or parcels--' + + 'I never have any,' said the lodger. + + 'Or in case anybody should call.' + + 'Nobody ever calls on me.' + + 'If any mistake should arise from not having the name, + don't say it was my fault, sir,' added Dick, still + lingering; 'oh, blame not the bard--' + + 'I'll blame nobody,' said the lodger. + +But that Mr. Swiveller's knowledge of songs should be both +'extensive and peculiar' is only to be expected from one who +held the distinguished office of 'Perpetual Grand Master of +the Glorious Apollers,' although he seems to have been more +in the habit of quoting extracts from them than of giving +vocal illustrations. On one occasion, however, we find him +associated with Mr. Chuckster 'in a fragment of the popular +duet of "All's Well" with a long shake at the end.' + +The following extract illustrates the 'shake': + + ALL'S WELL (DUET). + + _Sung by Mr. Braham and Mr. Charles Braham._ + + _Music by Mr. Braham._ + [Figure 8] + + All's well, All's well; + Above, below, + All, all's well. + +Although most of Swiveller's quotations are from songs, he does +not always confine himself to them, as for instance, when he +sticks his fork into a large carbuncular potato and reflects +that 'Man wants but little here below,' which seems to show +that in his quieter moments he had studied Goldsmith's _Hermit_. + +Mr. Swiveller's quotations are largely connected with his +love-passages with Sophy Wackles, and they are so carefully +and delicately graded that they practically cover the whole +ground in the rise and decline of his affections. He begins +by suggesting that 'she's all my fancy painted her.' + +From this he passes to + + She's like the red, red rose, + That's newly sprung in June. + She's also like a melody, + That's sweetly played in tune. + +then + + When the heart of a man is depressed with fears, + The mist is dispelled when Miss Wackles appears, + +which is his own variant of + + If the heart of a man is depressed with care, + The mist is dispelled when a woman appears. + +But at the party given by the Wackleses Dick finds he is cut +out by Mr. Cheggs, and so makes his escape saying, as he goes-- + + My boat is on the shore, and my bark is on the sea; but + before I pass this door, I will say farewell to thee, + +and he subsequently adds-- + + Miss Wackles, I believed you true, and I was blessed + in so believing; but now I mourn that e'er I knew a + girl so fair, yet so deceiving. + +The _denouement_ occurs some time after, when, in the course +of an interview with Quilp, he takes from his pocket + + a small and very greasy parcel, slowly unfolding it, + and displaying a little slab of plum cake, extremely + indigestible in appearance and bordered with a paste + of sugar an inch and a half deep. + + 'What should you say this was?' demanded Mr. Swiveller. + + 'It looks like bride-cake,' replied the dwarf, grinning. + + 'And whose should you say it was?' inquired + Mr. Swiveller, rubbing the pastry against his nose + with dreadful calmness. 'Whose?' + + 'Not--' + + 'Yes,' said Dick, 'the same. You needn't mention her + name. There's no such name now. Her name is Cheggs + now, Sophy Cheggs. Yet loved I as man never loved that + hadn't wooden legs, and my heart, my heart is breaking + for the love of Sophy Cheggs.' + + With this extemporary adaptation of a popular ballad + to the distressing circumstances of his own case, + Mr. Swiveller folded up the parcel again, beat it very + flat upon the palms of his hands, thrust it into his + breast, buttoned his coat over it, and folded his arms + upon the whole. + +And then he signifies his grief by pinning a piece of crape +on his hat, saying as he did so, + + 'Twas ever thus: from childhood's hour + I've seen my fondest hopes decay; + I never loved a tree or flower + But 'twas the first to fade away; + I never nursed a dear gazelle, + To glad me with its soft black eye, + But when it came to know me well, + And love me, it was sure to marry a market gardener. + +He is full of song when entertaining the Marchioness. 'Do they +often go where glory waits 'em?' he asks, on hearing that +Sampson and Sally Brass have gone out for the evening. He +accepts the statement that Miss Brass thinks him a 'funny +chap' by affirming that 'Old King Cole was a merry old soul'; +and on taking his leave of the little slavey he says, + + 'Good night, Marchioness. Fare thee well, and if for + ever then for ever fare thee well--and put up the chain, + Marchioness, in case of accidents. + + Since life like a river is flowing, + I care not how fast it rolls on, ma'am, + While such purl on the bank still is growing, + And such eyes light the waves as they run.' + +On a later occasion, after enjoying some games of cards he +retires to rest in a deeply contemplative mood. + + 'These rubbers,' said Mr. Swiveller, putting on his + nightcap in exactly the same style as he wore his hat, + 'remind me of the matrimonial fireside. Cheggs's wife + plays cribbage; all-fours likewise. She rings the + changes on 'em now. From sport to sport they hurry her, + to banish her regrets; and when they win a smile from + her they think that she forgets--but she don't.' + +Many of Mr. Swiveller's quotations are from Moore's _Irish +Melodies_, though he has certainly omitted one which, coming +from him, would not have been out of place, viz. 'The time +I've lost in wooing'! + +On another occasion Swiveller recalls some well-known lines +when talking to Kit. 'An excellent woman, that mother of yours, +Christopher,' said Mr. Swiveller; '"Who ran to catch me when +I fell, and kissed the place to make it well? My mother."' + +This is from Ann Taylor's nursery song, which has probably +been more parodied than any other poem in existence. There is +a French version by Madame a Taslie, and it has most likely +been translated into other languages. + +Dick gives us another touching reference to his mother. He +is overcome with curiosity to know in what part of the Brass +establishment the Marchioness has her abode. + + My mother must have been a very inquisitive woman; I + have no doubt I'm marked with a note of interrogation + somewhere. My feelings I smother, but thou hast been + the cause of this anguish, my-- + +This last remark is a memory of T.H. Bayly's celebrated song +'We met,' which tells in somewhat incoherent language the story +of a maiden who left her true love at the command of her mother, +and married for money. + + The world may think me gay, + For my feelings I smother; + Oh _thou_ hast been the cause + Of this anguish--my mother. + +T. Haynes Bayly was a prominent song-writer some seventy +years ago (1797-1839). His most popular ballad was 'I'd be +a Butterfly.' It came out with a coloured title-page, and +at once became the rage, in fact, as John Hullah said, 'half +musical England was smitten with an overpowering, resistless +rage for metempsychosis.' There were many imitations, such as +'I'd be a Nightingale' and 'I'd be an Antelope.' + + +_Teachers and Composers_ + +Although we read so much about singers, the singing-master +is rarely introduced, in fact Mr. M'Choakumchild (_H.T._), +who 'could teach everything from vocal music to general +cosmography,' almost stands alone. However, in view of the +complaints of certain adjudicators about the facial distortions +they beheld at musical competitions, it may be well to record +Mrs. General's recipe for giving 'a pretty form to the lips' +(_L.D._). + + Papa, potatoes, poultry, prunes, and prism are all + very good words for the lips, especially prunes and + prism. You will find it serviceable in the formation + of a demeanour. + +Nor do composers receive much attention, but amongst +the characters we may mention Mr. Skimpole (_B.H._), +who composed half an opera, and the lamp porter at Mugby +Junction, who composed 'Little comic songs-like.' In this +category we can scarcely include Mrs. Kenwigs, who 'invented +and composed' her eldest daughter's name, the result being +'Morleena.' Mr. Skimpole, however, has a further claim upon +our attention, as he 'played what he composed with taste,' and +was also a performer on the violoncello. He had his lighter +moments, too, as when he went to the piano one evening at 11 +p.m. and rattled hilariously + + That the best of all ways to lengthen our days + Was to steal a few hours from Night, my dear! + +It is evident that his song was 'The Young May Moon,' one of +Moore's _Irish Melodies_. + + The young May moon is beaming, love, + The glow-worm's lamp is gleaming, love, + How sweet to rove + Through Morna's grove + While the drowsy world is dreaming, love! + + Then awake--the heavens look bright, my dear! + 'Tis never too late for delight, my dear! + And the best of all ways + To lengthen our days + Is to steal a few hours from the night, my dear! + + +_Silas Wegg's Effusions_ + +We first meet Silas Wegg in the fifth chapter of _Our Mutual +Friend_, where he is introduced to us as a ballad-monger. His +intercourse with his employer, Mr. Boffin, is a frequent +cause of his dropping into poetry, and most of his efforts +are adaptations of popular songs. His character is not one +that arouses any sympathetic enthusiasm, and probably no one +is sorry when towards the end of the story Sloppy seizes hold +of the mean little creature, carries him out of the house, and +deposits him in a scavenger's cart 'with a prodigious splash.' + +The following are Wegg's poetical effusions, with their sources +and original forms. + + +Book I, Ch. 5. + +'Beside that cottage door, Mr. Boffin,' from 'The Soldier's Tear' + + _Alexander Lee_ + + Beside that cottage porch + A girl was on her knees; + She held aloft a snowy scarf + Which fluttered in the breeze. + She breath'd a prayer for him, + A prayer he could not hear; + But he paused to bless her as she knelt, + And wip'd away a tear. + + +Book I, Ch. 15. + + The gay, the gay and festive scene, + I'll tell thee how the maiden wept, Mrs. Boffin. + +From 'The Light Guitar.' (See Index of Songs.) + + +Book I, Ch. 15. + +'Thrown on the wide world, doomed to wander and roam.' From +'The Peasant Boy' + + _J. Parry_ + + Thrown on the wide world, doom'd to wander and roam, + Bereft of his parents, bereft of his home, + A stranger to pleasure, to comfort and joy, + Behold little Edmund, the poor Peasant Boy. + + +Book I, Ch. 15. + +'Weep for the hour.' From 'Eveleen's Bower' _T. Moore_ + + Oh! weep for the hour + When to Eveleen's bower + The lord of the valley with false vows came. + + +Book I, Ch 15. + +'Then farewell, my trim-built wherry.' From 'The Waterman' + + _C. Dibdin_ + + +Book II, Ch. 7. + +'Helm a-weather, now lay her close.' From 'The Tar for all +Weathers' + + _Unknown_ + + +Book III, Ch. 6. + +'No malice to dread, sir.' From verse 3 of 'My Ain Fireside.' + + Words by _Mrs. E. Hamilton_ + + Nae falsehood to dread, nae malice to fear, + But truth to delight me, and kindness to cheer; + O' a' roads to pleasure that ever were tried, + There's nane half so sure as one's own fireside. + My ain fireside, my ain fireside, + Oh sweet is the blink o' my ain fireside. + + +Book III, Ch. 6. + + And you needn't, Mr. Venus, be your black bottle, + For surely I'll be mine, + And we'll take a glass with a slice of lemon in it, + to which you're partial, + For auld lang syne. + +A much altered version of verse 5 of Burns' celebrated song. + + +Book III, Ch. 6. + + Charge, Chester, charge, + On Mr. Venus, on. + +From Scott's _Marmion_. + + +Book IV, Ch. 3. + +'If you'll come to the bower I've shaded for you.' From 'Will +you Come to the Bower' + + _T. Moore_ + + Will you come to the Bower I've shaded for you, + Our bed shall be roses, all spangled with dew. + Will you, will you, will you, will you come to the Bower? + Will you, will you, will you, will you come to the Bower? + + + + +A LIST OF SONGS AND INSTRUMENTAL MUSIC MENTIONED BY DICKENS + +WITH HISTORICAL NOTES + + +_The figures in brackets denote the chapter in the novel +referred to_ + + +A COBBLER THERE WAS (_D. & S._ 2) + + A cobbler there was, and he lived in a stall, + Which serv'd him for parlour, for kitchen and hall, + No coin in his pocket, nor care in his pate, + No ambition had he, nor no duns at his gate, + Derry down, down, down, derry down. + +The melody appeared in _Beggar's Opera_, 1728, and _Fashionable +Lady_, 1730. + + +A FROG HE WOULD (_P.P._ 32) + +The theme of the ballad belongs to the late sixteenth century. + + A frog he would a-wooing go, + Heigho! said Rowley, + Whether his mother would let him or no, + With his rowly powly, + Gammon and spinnage, + O heigh! said Anthony Rowley. + +We are told that Jack Hopkins sang 'The King, God Bless Him,' +to a novel air, compounded of 'The Bay of Biscay' and 'A Frog +He Would.' The latter was evidently the modern setting by +C.E. Horn. + + +ALICE GRAY + +See 'Yet Lov'd I.' + + +ALL HAIL TO THE VESSEL OF PECKSNIFF THE SIRE (_M.C._ 11) + +Perhaps a parody on 'All Hail to the Chief.' + + +ALL IN THE DOWNS (_P.P._ 3) + +See 'Black-Eyed Susan.' + + +ALL'S WELL (_O.C.S._ 56). + +See p. 125. + +Duet in _The English Fleet_. + +(_T. Dibdin_) _J. Braham._ + + Deserted by the waning moon, + When skies proclaim night's cheerless gloom, + On tower, fort, or tented ground, + The sentry walks his lonely round; + And should a footstep haply stray + Where caution marks the guarded way, + Who goes there? Stranger, quickly tell, + A friend. The word? Good-night. All's well. + + +AND SHE SHALL WALK (_O.C.S._ 66) + +Words by _Susan Blamire_. + + And ye shall walk in silk attire, + And siller ha'e to spare, + Gin ye'll consent to be my bride, + Nor think on Donald mair. + +Susan Blamire was born at Carden Hall, near Carlisle. Very few +of her poems were published under her own name, as well-born +ladies of those days disliked seeing their names published as +authors. 'The Siller Crown,' from which this verse is taken, +is in the Cumberland dialect. It first appeared anonymously +in the _Scots Musical Museum_, 1790, and the authorship was +subsequently settled by members of the family. + + +AND YOU NEEDN'T, MR. VENUS, BE YOUR BLACK BOTTLE (_O.M.F._). + +See p. 134. + + +A STIFF NOR'-WESTER'S BLOWING, BILL (_D. & S._ 49) + +From 'The Sailor's Consolation.' + + One night came on a hurricane, + The seas were mountains rolling, + When Barney Buntline turned his quid, + And said to Billy Bowling, + A stiff Nor'-Wester's blowing, Bill, + Hark, don't you hear it roar now? + Lord help 'em! how I pity's all + Unhappy folk ashore now. + +Mr. Kidson says in reference to this: 'I do not know that it was +ever written to music, though I fancy more than one popular tune +has been set to the words, which are by a person named Pitt.' + + +AULD LANG SYNE ('Holly Tree,' _D.C._ 17, 28) + +Words by _Burns_. + +A version of the melody occurs at the end of the overture to +Shield's _Rosina_, 1783, and is either his own composition or +an imitation of some Scotch melody. As, however, such melody +has not hitherto been discovered, no great importance can be +attached to this theory. _Rosina_ was performed in Edinburgh. + +Some maintain that the tune is taken from a Scotch reel known as +the 'Miller's Wedding,' found in Bremner's _Reels_ (1757-1761). + + +AWAY WITH MELANCHOLY (_O.C.S._ 58, _O.M.F._ ii. 6, _P.P._ 44, +_D.C._ 8) + +The melody is from Mozart's _Magic Flute_, 'Das klinget +so herrlich'--a chorus with glockenspiel accompaniment. +The writer of the words is unknown. + +The air was introduced into an arrangement of Shakespeare's +_Tempest_, and set to the words 'To moments so delighting!' +sung by Miss Stephens. Also found as a duet 'composed by +Sigr. Mozart, arranged by F.A. Hyde.' + + +BAY OF BISCAY (_U.T._ 31, _D. & S._ 39, _P.P._ 32) + +Words by _Andrew Cherry_. _J. Davy._ + +Also see under 'A Frog He Would.' + + +BEETHOVEN'S SONATA IN B. + +See p. 28. + + +BEGONE, DULL CARE (_O.C.S._ 7, _E.D._ 2) + +Author unknown. The words occur in various song-books of the +eighteenth century. The tune is seventeenth century, possibly +derived from the 'Queen's Jigg' in the _Dancing Master_. + + Begone, dull care, I prithee begone from me; + Begone, dull care, you and I can never agree. + +The words were set as a glee by John Sale, and this may be +the music that Dickens knew. + + +BELIEVE ME, IF ALL JARLEY'S WAXWORKS SO RARE (_O.C.S._ 27) + +A parody on the following. + + +BELIEVE ME, IF ALL THOSE ENDEARING YOUNG CHARMS (_B.H._ 55) + +Words by _T. Moore_. + +Set to the old melody 'My Lodging is on the Cold Ground.' This +appears to have come into existence about the middle of +the eighteenth century. It is found in _Vocal Music, or the +Songster's Companion_, 1775, and it was claimed by Moore to +be an Irish melody, but some authorities deny this. It has +also been claimed as Scotch, but the balance of opinion is in +favour of its English origin (F. Kidson). + + +BESIDE THAT COTTAGE DOOR, MR. BOFFIN (_O.M.F._) + +See p. 133. + + +BID ME DISCOURSE (_S.B.T._ 4) + +Words adapted from Shakespeare's _Venus and Adonis_. + + _H.R. Bishop._ + + +BIRD WALTZ (_D. & S._ 29, 38) + _Panormo._ + +A very popular piano piece of the pre-Victorian period. + + +BLACK-EYED SUSAN (_A.N._), OR ALL IN THE DOWNS (_P.P._ 3) + +Words by _John Gay_. _R. Leveridge._ + +This song was printed in sheet form previous to 1730, in which +year it appeared in Watts' _Musical Miscellany_, Vol. IV., +and was also inserted about that time in several ballad operas. + + +BOLD TURPIN VUNCE (_P.P._ 43) + +Mr. Frank Kidson has pointed out that Sam Weller's song is +founded upon a ballad entitled 'Turpin and the Bishop,' which +appears in _Gaieties and Gravities_, by one of the authors +of _Rejected Addresses_. The author is said to be Horatio +Smith. There is a good four-part setting of the words by Sir +F. Bridge. + + +BRAVE LODGINGS FOR ONE (_P.P._ 29) + +Original. + + +BRITISH GRENADIERS (_B.H._ 49) + +The tune as we know it now is the growth of centuries, the +foundation probably being a tune in _The Fitzwilliam Virginal +Book_. The Grenadiers were founded in 1678. The second verse +refers to 'hand grenades,' and the regiment ceased to use +these in the reign of Queen Anne. The author is unknown. + + +BRITONS, STRIKE HOME (_S.L._) + +The well-known song in Purcell's _Bonduca_ gave its name to an +opera by Charles Dibdin, published in 1803. This work probably +suggested the phrase to Dickens. It was written with a view +to arousing a patriotic feeling. The following verse occurs +in the work: + + When Dryden wrote and Purcell sung + Britons, strike home, + The patriot-sounds re-echoing rung + The vaulted dome. + + +BUFFALO GALS (_Letters_) + +See p. 10. + + +BY THE SAD SEA WAVES (_Letters_) + _Julius Benedict._ + +A once popular song from the opera _The Brides of Venice_. + + +CHEER, BOYS, CHEER (_U.T._ 29) + +Words by _Charles Mackay_. _Henry Russell._ + + Cheer! boys, cheer! no more of idle sorrow-- + Courage! true hearts shall bear us on our way, + Hope points before, and shows the bright to-morrow, + Let us forget the darkness of to-day. + +One of Russell's most popular songs. He sold the copyright for +L3, and shortly afterwards learnt that the publisher had to +keep thirty-nine presses at work on it night and day to meet +the demand. + + +COPENHAGEN WALTZ (_D. & S._ 7) + +Also known as the _Danish Waltz_. + + +DEAD MARCH. + +From the oratorio _Saul_. _Handel._ + +See p. 61. + + +DEATH OF NELSON (_D.C._ 52, _D. & S._ 48, _O.M.F._ iv. 3) + +See p. 116. + _J. Braham._ + + Too well the gallant hero fought, + For England, home, and beauty. + + +DI PIACER (_S.B.T._ 1) + _Rossini._ + +A favourite air from the opera _La Gazza Ladra_. + + +DOWNFALL OF PARIS + +See p. 31. + + +DRAGON OF WANTLEY (_D.C._ 38) + +An eighteenth-century popular burlesque opera. + +Words by _H. Carey_, music by _Lampe_. + + +DRINK TO ME ONLY WITH THINE EYES (_O.M.F._ iii. 14) + +Words by _Ben Jonson_. + +The composer is unknown. The air was originally issued as a +glee for three voices. + + +DUMBLEDUMDEARY (_S.B.S._ 10) + +A refrain rarely found in old songs. It occurs in 'Richard of +Taunton Dean.' Also (as in the reference) the name of a dance. + + +EVENING BELLS (_D.C._ 38) + +Duet by _G. Alexander Lee_. + + Come away, come away, evening bells are ringing, + Sweetly, sweetly; 'tis the vesper hour. + + +FARE THEE WELL, AND IF FOR EVER (_O.C.S._ 58) + +Words by _Byron_. + +Included in 'Domestic Pieces.' + + Fare thee well, and if for ever, + Still for ever, fare thee well; + Even though unforgiving, never + 'Gainst thee shall my heart rebel. + +About 1825 the words were set to an air from Mozart's _La +Clemenza di Tito_. There are original settings by Parke, +S. Webbe, and six other composers. + + +FILL THE BUMPER FAIR (_N.T._) + +Moore's _Irish Melodies_, air 'Bob and Joan.' + + +FLOW ON, THOU SHINING RIVER (_S.B.T._ 1) + +Moore's _National Melodies_. + +Said to be a 'Portuguese Air.' The melody has been utilized +as a hymn-tune. + + +FLY, FLY FROM THE WORLD, MY BESSY, WITH ME (_S.B.S._ 2) + +Words and music by _T. Moore_. + + +FOR ENGLAND + +See 'Death of Nelson.' + + +FOR ENGLAND, HOME, AND BEAUTY + +See 'Death of Nelson.' + + +FOR THE PORT OF BARBADOS, BOYS (_D. & S._ 15) + +Original (?) See p. 122. + + +FROM SPORT TO SPORT (_O.C.S._ 58) + +From 'Oh no, we never mention her.' + +Words by _T.H. Bayly_. _H.R. Bishop._ + + From sport to sport they hurry me, + To banish my regret; + And when they win a smile from me, + They think that I forget. + + +GEE UP, DOBBIN (_D.C._ 12) + +In the Burney Collection is a tune 'Gee Ho, Dobbin.' Also in +_Apollo's Cabinet_, 1757, Vol. II, and _Love in a Village_, +1762. The tune was frequently used for ephemeral songs. + +It is doubtful if Dickens would know this song, the title of +which has passed into a common phrase. + + +GLORIOUS APOLLO (_O.C.S._ 13, 56) + _S. Webbe._ + +The title of this glee probably suggested the name of the +'Glorious Apollers.' See p. 124. + + +GO WHERE GLORY WAITS THEE (_M.C._ 11) + +('Do they often go where glory waits 'em?' _O.C.S._ 58) + +Moore's _Irish Melodies_, set to the air 'Maid of the Valley.' + + +GOD BLESS THE PRINCE OF WALES (_U.T._ 29) + +Words by _J. Ceiriog Hughes_. +Trans, by G. Linley. _H. Brinley Richards_, 1862. + + +GOD BLESS YOU, MERRY GENTLEMEN (_C.C._) + +Origin unknown. The second word should be 'rest,' and the +correct reading is + + God rest you merry, gentlemen. + + +GOD SAVE THE KING (_S.B.S._ 19, &c.) + +GOD SAVE THE QUEEN (_M.C._ 29) + +It is unnecessary here to discuss the origin and sources of +this air. The form in which we know it is probably due to +Henry Carey, and the first recorded public performance was on +September 28, 1745. + + +HAD I A HEART FOR FALSEHOOD FRAMED (_D. & S._ 14) + +Words by _R.B. Sheridan_. + +Sung by Mr. Leoni (see _Choir_, May, 1912). + +In the _Duenna_, 1775. Set to the air now known as 'The Harp +that once through Tara's Halls.' + +Moore, in his _Irish Melodies_, calls the melody 'Gramachree.' + + +HAIL COLUMBIA (_M.C._ 13, _A.N._) + +Mr. Elson (_National Music of America_) says that the music +was originally known as the 'President's March,' probably by +a German composer. The words were subsequently adapted to the +air by Dr. Joseph Hopkinson. + + +HARMONIOUS BLACKSMITH (_G.E._ 21) + +From Handel's _Suite de Pieces pour le Clavecin_, Set I. + +See p. 19. + + +HAS SHE THEN FAILED IN HER TRUTH (_N.N._ 49) + +_Anon._ _H.R. Bishop._ + + And has she then failed in her truth, + The beautiful maid I adore? + Shall I never again hear her voice, + Nor see her lov'd form any more? + + +HEART OF OAK (_B.R._ 7, _E.D._ 12, _U.T._ 20, parody) + +Words by _D. Garrick_. _W. Boyce._ + +It is important to notice that the correct title is as given, +and not '_Hearts_ of Oak.' + + +HELM A WEATHER, NOW LAY HER CLOSE (_O.M.F._) + +See p. 133. + + +HOW DOTH THE LITTLE-- (_Ch._) + _Dr. Watts._ + +See p. 79. + + +I AM A FRIAR OF ORDERS GREY (_S.B.S._ 8) (_Out of Season_) + +Words by _John O'Keefe_. _Wm. Reeve._ + +Appeared in _Merry Sherwood_, 1795. + + +I CARE NOT FOR SPRING + +See p. 99. + + +I'D CROWNS RESIGN, TO CALL HER MINE (_D.C._ 25) + +'Lass of Richmond Hill.' + +Words by _L. MacNally_. _J. Hook._ + + I'd crowns resign, to call her mine, + Sweet lass of Richmond Hill. + +For a long time there was a dispute between the partisans of +Surrey and Yorkshire as to which 'Richmond Hill' was referred +to. The former county was the favourite for a long time, +till a communication in _Notes and Queries_ (10th series +iii. p. 290) pulverized its hopes and definitely placed the +locality in Yorkshire. + + +IF I HAD A DONKEY (_O.C.S._ 27) + +See p. 95. + + +IF YOU'LL COME TO THE BOWER (_O.M.F._) + +See p. 134. + + +I'LL TELL THEE HOW THE MAIDEN WEPT (_O.M.F._) + +See p. 133. + + +IN HURRY, POST HASTE FOR A LICENCE (_P.P._ 10) + +See p. 90. + + +I SAW HER AT THE FANCY FAIR (_S.B.T._ 11) + + +I SAW THY SHOW IN YOUTHFUL PRIME (_O.C.S._ 27) + +Moore's _Irish Melodies_, air 'Domhnall.' + + I saw thy form in youthful prime, + Nor thought that pale decay + Would steal before the steps of time, + And waste its bloom away, Mary. + + +ISLE OF THE BRAVE AND LAND OF THE FREE (_M.J._) + +Original. + + +IT MAY LIGHTEN AND STORM (_M.C._ 42) + +Possibly from some old ballad opera, but more probably original. + + +JACK'S DELIGHT (TO) HIS LOVELY NAN (_D.C._ 11) + +Words and music by _C. Dibdin_. + +From 'Lovely Nan.' Last two lines: + + But oh, much sweeter than all these, + Is Jack's delight, his lovely Nan. + + +JIM CROW (_A.N._) + _Unknown._ + +See p. 97. + + I come from old Kentucky, + A long time ago, + Where I first larn to wheel about, + And jump Jim Crow; + Wheel about and turn about, + And do jis so, + Eb'ry time I wheel about, + I jump Jim Crow. + + +JOLLY YOUNG WATERMAN (_It._, _P.P._ 33) + +Words and music by _C. Dibdin_ in _The Waterman_. + + +KING DEATH (_B.H._ 33) + +Words by _Barry Cornwall_. _Neukomm._ + + King Death was a rare old fellow, + He sat where no sun could shine, + And he lifted his hand so yellow, + And pour'd out his coal-black wine. + Hurrah for the coal-black wine! + +John Leech used to sing 'King Death,' and it was of his voice +that Jerrold once remarked, 'I say, Leech, if you had the same +opportunity of exercising your voice as you have of using your +pencil, how it would _draw_!' + + +LESBIA HATH A BEAMING EYE (_Letter to Lemon_) + +Words by _Moore_. + +Set to the delightfully gay air 'Nora Creina.' + + Lesbia hath a beaming eye, + But no one knows for whom it beameth, + Right and left its arrows fly, + But what they aim at no one dreameth! + + +LISTEN TO THE WATERFALL (_B.H._ 32) + _Lord Mornington._ + +From the glee 'Here in cool grot.' + + +LITTLE TAFFLINE (_D.C._ 28) + +Words by _Prince Hoare_. _S. Storace._ + +In the opera _Three and The Deuce_, produced in 1806. + +See pp. 112, 113. + +There is a character 'Little Taffline' in T. Dibdin's +_St. David's Day_, music composed and compiled by Attwood. There +is another setting said to be 'composed by J. Parry,' but it +is merely an altered form of the original. + + +LOVELY PEG (_D. & S._ 10) + +See pp. 117-119. + + +MARSEILLAISE (_M.C._ 15, _E.D._ 2, _L.D._ 2) + + _Rouget de Lisle._ + +For brief history see _The Choir_ (Nov., 1911) + + +MASANIELLO (_S.B.T._ 9) + +Opera by _Auber_. + +See p. 26. + + +MAY WE NE'ER WANT A FRIEND (_D. & S._ 15) + +See 'When the first dawn of reason.' + + +MEN OF PROMETHEUS (_S.B.T._ 9) + +See p. 26. + +This was the name given to the first edition of Beethoven's +ballet music to _Prometheus_, composed in 1800. + + +MISS WACKLES, I BELIEVED YOU TRUE (_O.C.S._ 8) + +'Mary, I believed thee true,' _Moore_ (one of his 'Juvenile +Poems'). + + Mary, I believed thee true, + And I was blest in so believing, + But now I mourn that e'er I knew + A girl so fair and so deceiving! + +It has been suggested that these words were adapted and sung +to the Scotch air 'Gala Water.' + + +MY BOAT IS ON THE SHORE (_G.S._) (_D.C._ 54, _Letters_) + +Words by _Lord Byron_. _Bishop._ + +See p. 12. + +Also set by W. Cratherne. + + +MY FEELINGS I SMOTHER (_O.C.S._ 36) + +See 'We met.' + + +MY HEART'S IN THE HIGHLANDS (_O.C.S._ 2, _S.B.S._ 2) + +Words partly by _Burns_. + +In Captain Fraser's _Airs Peculiar to the Scottish Highlands_, +1816. + +There is a parody by Dickens (see Forster's _Life_, ch. 8). + + +NEVER LEAVE OFF DANCING (_D.C._ 41) + +Said to be the subject of a French song. + + +NO MALICE TO DREAD, SIR (_O.M.F._) + +See p. 134. + + +NON NOBIS (_S.B.S._ 19) + +This celebrated canon, by Byrd, has been performed at public +dinners from time immemorial. It also used to be performed at +the Theatre Royal, Covent Garden. + + +NOW'S THE DAY, AND NOW'S THE HOUR (_D.C._ 54) + +Verse 2 of 'Scots, Wha Hae' (_Burns_). + + Now's the day, and now's the hour, + See the front o' battle lour, + See approach proud Edward's power, + Chains and slaverie. + + +OF ALL THE GIRLS THAT ARE SO SMART (_O.C.S._ 50) + +Words and music by _Henry Carey_. + +Carey composed his melody in 1715. It soon became popular, +but owing to the similarity of certain phrases to those of +an older tune known as 'The Country Lass,' the two gradually +got mixed up, with the result that the latter became the +recognized setting. + + +OFF SHE GOES (_S.B.T._ 7) + +A once popular dance air. + + +OFT IN THE STILLY NIGHT (_S.B.S._ 13) + +From T. Moore's _National Airs_, set to an air possibly of +Scotch origin. There are also settings by Stevenson and Hullah. + + +OH BLAME NOT THE BARD (_O.C.S._ 35) + +Words by _T. Moore_. + +In _Irish Melodies_. Set to the tune 'Kitty Tyrrel.' + + +OH GIVE ME BUT MY ARAB STEED (_O.C.S._ 21) + +Words by _T.H. Bayly_. _G.A. Hodson._ + +Written in 1828. Sung by Braham. + + Oh give me but my Arab steed, + My prince defends his right, + And I will to the battle speed, + To guard him in the fight. + + +OH CHEERILY, CHEERILY (_D. & S._ 32) + +Original, but a refrain similar to this is not uncommon in +old sea songs. + + +OH LADY FAIR (_G.E._ 13) + +Trio by _Moore_. + +See 'Strew then, O strew.' + + +OH LET US LOVE OUR OCCUPATIONS (_Ch._) + +Original lines by Dickens. 'Set to music on the new system,' +probably refers to Hullah's method (c. 1841), or possibly the +Tonic Sol-fa (c. 1843), see p. 17. + + +OH LANDSMEN ARE FOLLY (_H.R._) + +Original. + + +OLD CLEM (_G.E._ 12, 15) + +A custom prevailed at Chatham of holding a procession +on St. Clement's day, and the saint, who was irreverently +designated 'Old Clem,' was personated by a young smith disguised +for the occasion. + +Dickens frequently writes a verse in the form of prose, and +this is an example. Written out properly, it reads thus: + + Hammer boys round--Old Clem, + With a thump and a sound--Old Clem, + Beat it out, beat it out--Old Clem, + With a cluck for the stout--Old Clem, + Blow the fire, blow the fire--Old Clem, + Roaring drier, soaring higher--Old Clem. + + +OLD KING COLE (_O.C.S._ 58, _P.P._ 36) + +The personality of this gentleman has never been settled. +Chappell suggests he was 'Old Cole,' a cloth-maker of Reading +_temp._ Henry I. Wardle's carol 'I care not for spring' (_P.P._ +36) was adapted to this air, and printed in How's _Illustrated +Book of British Song_. + + +OVER THE HILLS AND FAR AWAY (_Dr. M._, _M.C._ 36) + +An old saying, both in song and as a phrase. It occurs in two +songs in D'Urfey's _Pills to Purge Melancholy_, 1709, one of +which is, + + Tom he was a piper's son, + He learned to play when he was young; + But all the tune that he could play + Was over the hills and far away. + (Vol. iv.) + +Doctor Marigold's version is probably original: + + North and South and West and East, + Winds liked best and winds liked least, + Here and there and gone astray, + Over the hills and far away. + + +OVER THE WATER TO CHARLIE (_O.C.S._ 27) + +Tune in Johnson's _Musical Museum_, Vol. II, 1788. + + Come boat me o'er, come row me o'er, + Come boat me o'er to Charlie, + I'll gie John Brown another half-crown, + To boat me o'er to Charlie; + We'll o'er the water, we'll o'er the sea, + We'll o'er the water to Charlie, + Come weal, come woe, we'll gather and go, + And live or die wi' Charlie. + +Another Jacobite song was the cause of an amusing incident at +Edinburgh. On the occasion of one of his visits there Dickens +went to the theatre, and he and his friends were much amazed +and amused by the orchestra playing 'Charlie is my darling' +amid tumultuous shouts of delight. + + +PAUL AND VIRGINIA (_S.B.T._ 7, _L.D._ 13) + _J. Mazzinghi._ + +The popular duet from this opera 'See from ocean rising' +was sung by Mr. Johnstone and Mr. Incledon. See p. 91. + + +POLLY PUT THE KETTLE ON (_B.R._ 24) + +An old country dance. + + +RED RUFFIAN, RETIRE! (_S.B.C._ 8) + +Probably an imaginary title, invented by Dickens. + + +RULE BRITANNIA (_D. & S._ 4, 39, _U.T._ 2, _M.C._ 11, 17, +_A.N._, _D.C._ 8) + +Words by _Thomson_ or _Mallet_. _Arne._ + +First appeared in print at the end of the masque _The Judgement +of Paris_, but it was composed for the masque of _Alfred_, +which was first performed on August 1, 1740. See _Musical +Times_, April, 1900. + + +SALLY IN OUR ALLEY + +See 'Of all the girls.' + + +SATAN FINDS SOME MISCHIEF STILL (_D.C._ 16) + +See p. 80. + _Dr. Watts._ + + +SEE FROM OCEAN RISING (_S.B.T._ 7) + +See _Paul and Virginia_. + + +SHE'S ALL MY FANCY PAINTED HER (_O.C.S._ 7) + +('Alice Gray.') + +See 'Yet lov'd I.' + + +SHE'S LIKE THE RED, RED ROSE (_O.C.S._ 8) + +Burns revised the words from an old song. + +The music is in _Caledonian Pocket Companion_, Bk. VII, 1754, +under the name 'Low Down in the Broom.' + + +SHIVERY SHAKEY, AIN'T IT COLD (_Dr. M._) + +See p. 94. + + +SINCE LAWS WERE MADE FOR EVERY DEGREE (_O.C.S._ 66, _L.D._ +ii. 12) + + TYBURN TREE. + + Since laws were made for ev'ry degree + To curb vice in others as well as me, + I wonder we han't better company + Upon Tyburn Tree. + +From _Beggar's Opera_. Words by _Gay_. + +Set to the tune of 'Greensleeves,' which dates from 1580. This +tune is twice mentioned by Shakespeare in _The Merry Wives +of Windsor_. An earlier 'Tyburn' version is a song entitled +'A Warning to False Traitors,' which refers to the execution +of six people at 'Tyborne' on August 30, 1588. + + +SINCE THE FIRST DAWN OF REASON + _J. Davy._ + +See p. 120. + + +SONG ABOUT A SPARKLING BOWL (_Ch._) + +There are several songs of this nature, such as 'The Flowing +Bowl' ('Fill the bowl with sparkling nectar'). Another began +'Fill, fill the bowl with sparkling wine.' + + +SONG ABOUT THE SLUMBERING ECHOES IN THE CAVERN OF MEMORY +(_D.C._ 33) + +Not at present traced. + + +STREW THEN, OH STREW A BED OF RUSHES (_O.C.S._ 65) + +Words and music by _Moore_. + +From the glee 'Holy be the Pilgrim's Sleep,' which is a sequel +to 'Oh Lady Fair' (q.v.). + +Moore wrote two inane songs, entitled 'Holy be the Pilgrim's +Sleep' and 'Oh Lady Fair.' For both pilgrim and lady arrangements +are made for spending the night somewhere, and in each song occur +the words + + Strew then, oh strew his [our] bed of rushes, + Here he shall [we must] rest till morning blushes. + + +TAMAROO (_M.C._ 32) + +Said to be taken from an English ballad in which it is +supposed to express the bold and fiery nature of a certain +hackney coachman. + +According to _Notes and Queries_ (x. 1), this was sung +at Winchester School some seventy or eighty years ago. + +The following is quoted as the first verse: + + Ben he was a coachman rare + ('Jarvey! Jarvey!' 'Here I am, yer honour'), + Crikey! how he used to swear! + How he'd swear, and how he'd drive, + Number two hundred and sixty-five. + Tamaroo! Tamaroo! Tamaroo! + +Dr. Sweeting, the present music-master at Winchester, says, +'The song "Tamaroo" is quite unknown here now, and if it was +sung here seventy or eighty years ago, I should imagine that +that was only because it was generally well known. Dickens' +allusion to it seems to suggest that it was a song he had heard, +and he utilized its character to label one of his characters +in his own fanciful way.' + + +TARRY TROUSERS (_D. & S._ 39) + +An old folk-song. A mother wants her daughter to marry a tailor, +and not wait for her sailor bold, telling her that it is quite +time she was a bride. The daughter says: + + My mother wants me to wed with a tailor, + And not give me my heart's delight, + But give me the man with the tarry trousers, + That shine to me like diamonds bright. + + +TELL ME, SHEPHERDS (_E.D._ 2) + _Mazzinghi._ + +Glee. 'Ye Shepherds, tell me' (or 'The Wreath'). + + +THE BRAVE OLD OAK (_S.B.S._ 2.) + +Words by _H.F. Chorley_. _E.J. Loder._ + + A song for the oak, the brave old oak, + Who hath ruled in the greenwood long; + Here's health and renown to his broad green crown, + And his fifty arms so strong! + + +THE BULL IN THE CHINA SHOP + +See p. 111. + + +THE CHERUB THAT SITS UP ALOFT (_U.T._ 5) + +From 'Poor Jack.' _C. Dibdin._ + + For d'ye see, there's a cherub sits smiling aloft + To keep watch for the life of Poor Jack. + + (_Last two lines of verse 3._) + + +THE CORDIAL THAT SPARKLED FOR HELEN (_O.C.S._ 61) + +Moore's _Irish Melodies_. + + +THE DASHING WHITE SERGEANT (_D.C._ 28) + +Words by _General Burgoyne_. _H.R. Bishop._ + + If I had a beau, for a soldier who'd go, + Do you think I'd say no? No, no, not I. + + +THE GAY, THE GAY AND FESTIVE SEASON (_O.M.F._) + +See 'The Light Guitar.' + + +THE GREAT SEA SNAKE + +Set to the air 'Rampant Moll.' + + Perhaps you have all of you heard of a yarn + Of a famous large sea snake, + That once was seen off the Isle Pitcairn + And caught by Admiral Blake. + +See p. 16. + + +THE IVY GREEN (_P.P._ 6.) + +Words by _Dickens_. The most popular musical setting is that +by _Henry Russell_. + + +THE LIGHT GUITAR (_S.B.T._ 1, _O.C.S._) + _Barnett._ + + Oh leave the gay and festive scene, + The halls of dazzling light, + And rove with me through forests green + Beneath the silent night. + + +THE MILLER OF THE DEE (_O.M.F._ ii. 1) + +Words, c. 1762. Tune, 1728. + +Referring to a disused boiler and a great iron wheel, Dickens +says they are + + Like the Miller of questionable jollity in the song. + They cared for Nobody, no not they, and Nobody cared + for them. + +The air is found in _The Quaker's Opera_, 1728. + + +THE RATCATCHER'S DAUGHTER (_Out of Season_) + +See p. 98. + + +THE SEVEN AGES (_S.B.S._ 14) + +See pp. 91, 92. + + +THE SOLDIER, TIRED (_S.B.C._ 4) + _Arne._ + +Dr. Arne translated the words from the _Artaserse_ of +Metastasio. This song was the great 'show song' for sopranos +for many years. It was originally sung by Miss Brent. + + The soldier, tired of war's alarms, + Forswears the clang of hostile arms, + And scorns the spear and shield; + But if the brazen trumpet sound, + He burns with conquest to be crowned, + And dares again the field. + + +THE WOODPECKER TAPPING (_D.C._ 36, _L.D._ 35, _S.B.T._ 1, +_M.C._ 25) + +Words by _Moore_. _M. Kelly._ + + Every leaf was at rest, and I heard not a sound + But the woodpecker tapping the hollow beech-tree. + + +THE YOUNG MAY MOON + +See p. 131. + + +THEN FAREWELL, MY TRIM-BUILT WHERRY (_O.M.F._) + +See p. 133. + + +THERE LET 'EM BE, MERRY AND FREE, TOOR-RUL-LAL-LA (_O.C.S._ 56) + +Probably original. + + +THOUGH LOST TO SIGHT, TO MEMORY DEAR (_D. & S._ 48) + +Words and music by _G. Linley_. + + Tho' lost to sight, to mem'ry dear + Thou ever wilt remain, + One only hope my heart can cheer: + The hope to meet again. + + +THROWN ON THE WIDE WORLD (_O.M.F._) + +See p. 133. + + +TIME OF DAY (_S.B.C._ 8) + +See p. 92. + + +'TIS THE VOICE OF THE SLUGGARD (_M.C._ 9) + _Dr. Watts._ + + +'TWAS EVER THUS FROM CHILDHOOD'S HOUR (_O.C.S._ 56, _D.C._ 38) + +('Oh ever,' &c.) + +Words by _Moore_. + +From 'Lalla Rookh.' Has been set to music by S. Glover, +E. Souper, and Verini. + + +VILLIKENS AND HIS DINAH + +Sung by Mr. Robson and by S. Cowell. + +Composer unknown. A very popular song 1850-1860. + + It's of a liquor merchant who in London did dwell, + He had but one darter, a beautiful gal. + Her name it was Dinah, just sixteen years old, + And she had a large fortune in silver and gold. + To my too-ral-lal loo-ral-li loo-ral-li-day. + + +WAPPING OLD STAIRS (_U.T._ 3) + _J. Percy._ + + +WEEP FOR THE HOUR (_O.M.F._) + +See p. 133. + + +WE MET (_O.C.S._ 36, _S.B.T._ 11) + _T.H. Bayly._ + +The story of a girl who was compelled by her mother to jilt +her true love and marry some one else. The story ends with +the words misquoted by Swiveller: + + The world may think me gay, + For my feelings I smother-- + Oh! _thou_ hast been the cause + Of this anguish, my mother! + + +WE'RE A'NODDIN' (_B.H._ 39) + +_Anonymous._ + +A once popular Scotch song. + + O we're a' noddin, nid nid noddin, + O we're a' noddin at our house at home; + How's o' wi' ye, kimmer? And how do ye thrive, + And how many bairns hae ye now? Bairns I hae five. + + +WE WON'T GO HOME TILL MORNING (_P.P._ 7) + +Said in the _London Singer's Magazine_ (c. 1839) to be +written and composed by C. Blondel ('adapted and arranged' +might be more correct). The tune is founded on an air known +as Malbrough, or Malbrook, which originated during the Duke +of Marlborough's campaign, 1704-1709, known as 'The War of +the Spanish Succession.' + + +WHAT ARE THE WILD WAVES SAYING? + +Words by _J.E. Carpenter_. _Stephen Glover._ + +This duet was founded upon the question little Paul Dombey +asks his sister: + + I want to know what it says--the sea, Floy, what is + it that it keeps on saying? + + +WHEN HE WHO ADORES THEE (_O.C.S._ 35) + +Words by _Moore_. + +In _Irish Melodies_ to the air 'The Fox's Sleep.' + + +WHEN I WENT TO LUNNON TOWN, SIRS (_G.E._ 15) + +Probably original. The nearest I have found to it is-- + + THE ASTONISHED COUNTRYMAN, OR, + A BUSTLING PICTURE OF LONDON. + + When first I came to London Town, + How great was my surprise, + Thought I, the world's turned upside down, + Such wonders met my eyes. + +And in _The Universal Songster_-- + + When I arrived in London Town, + I got my lesson pat, &c. + + +WHEN IN DEATH I SHALL CALM RECLINE + +Moore's _Irish Melodies_. + +In 1833 Dickens wrote a travesty called _O' Thello_, in which +is a humorous solo of eight lines, to be sung to the air to +which the above is set. + + +WHEN LOVELY WOMAN STOOPS TO FOLLY (_O.C.S._ 56) + + 'Do my pretty Olivia,' cried she, 'let us have that + little melancholy air your papa was so fond of; + your sister Sophy has already obliged us. Do, child, + it will please your old father.' She complied in a + manner so exquisitely pathetic, as moved me. + + When lovely woman stoops to folly, + And finds, too late, that men betray, + What charm can soothe her melancholy? + What art can wash her guilt away? + + (Goldsmith's _Vicar of Wakefield_, ch. xxiv.) + + +WHEN THE HEART OF A MAN (_D.C._ 24, _O.M.F._ iii. 14) + +Words by _Gay_ (_Beggar's Opera_). Set to a seventeenth-century +air. + + If the heart of a man is depressed with care, + The mist is dispelled when a woman appears, + Like the notes of a fiddle she sweetly, sweetly + Raises our spirits and charms our ears. + + +WHEN THE STORMY WINDS (_D.C._ 21, _D. & S._ 23) + +Words by _Campbell_, who may have taken them from an earlier +source. See 'You Gentlemen of England.' + + +WHITE SAND (_L.D._ i. 32) + +An old glee. See p. 106. + + +WHO PASSES BY THIS ROAD SO LATE (_L.D._ i. 1) + +(Blandois' Song.) + +Words by _C. Dickens_. _H.R.S. Dalton._ + +An old French children's singing game. Dickens' words are +a literal translation. See _Eighty Singing Games_ (Kidson +and Moffat). + + +WHO RAN TO CATCH ME WHEN I FELL (_O.C.S._ 38) + +From Ann Taylor's nursery song 'My Mother.' + + +WIFE SHALL DANCE AND I WILL SING, SO MERRILY PASS THE DAY + +From 'Begone, dull care' (q.v.). + + +WILL WATCH, THE BOLD SMUGGLER (_Out of Season_) + _John Davy._ + + +YANKEE DOODLE (_U.T._, _A.N._) + +Mr. F. Kidson has traced this to 'A selection of Scotch, +English, Irish, and Foreign Airs,' published in Glasgow by +James Aird, c. 1775 or 1776. + + +YET LOV'D I AS MAN NE'ER LOVED (_O.C.S._ 50) + +Words by _William Mee_. _Millard._ + +From 'Alice Gray.' + + She's all my fancy painted her, + She's lovely, she's divine, + But her heart it is another's, + It never can be mine. + Yet lov'd I as ne'er man loved, + A love without decay, + Oh my heart, my heart is breaking, + For the love of _Alice Gray_! + +'Alice Gray.' A ballad, sung by Miss Stephens, Miss Palon, +and Miss Grant. Composed and inscribed to Mr. A. Pettet by +Mrs. Philip Millard. + +Published by A. Pettet, Hanway Street. + + +YOU GENTLEMEN OF ENGLAND (_D. & S._ 23) + +Old English Ballad. + +A seventeenth-century song, the last line of each verse being +'When the stormy winds do blow.' + + +YOUNG LOVE LIVED ONCE (_S.B.S._ 20) + +In _Sketches by Boz_ this sentence occurs: + + 'When we say a "shed" we do not mean the conservatory + kind of building which, according to the old song, + Love frequented when a young man.' + +The song referred to is by T. Moore. + + Young love lived once in a humble shed, + Where roses breathing, + And woodbines wreathing, + Around the lattice their tendrils spread, + As wild and sweet as the life he led. + +It is one of the songs in _M.P., or The Blue-Stocking_, +a comic opera in three acts. + + + + +INDEX OF MUSICAL INSTRUMENTS + + + Accordion, 1, 2 + Aeolian Harp, 10 + + Bagpipes, 5, 44 + Banjo, [20] + Barrel-Organ, 5, 6, 10, 50, 53, 78 + Bassoon, 43 + Bells (church) 55, 57 + Bells (various), 23, 57, 61, 66 + + Castanets, 56 + 'Chaunter,' 109 + Chin-playing, 62 + Clarionet, 42, 43 + Cymbals, 3, 56, 64 + + Drum, 23, 64, 66, 110 + 'Drums,' 109 + + Fiddle, see Violin + Fife, 44, 63, 85 + Flageolet, 67 + Flute, 6, 25, 26, 36, 37-40, 45 + + Guitar, 37, 54, 55, 62 + 'Gum-gum,' 63 + + Harmonium, 63 + Harp, 6, 23, 25, 26, 29, 30, 31, 64 + Harpsichord, 33, 47 + + Jew's-harp, 57 + + Key Bugle (or Kent Bugle), 2, 3, 65, 66, 87 + Kit, 27 + + Lute, 55 + + Marrowbones and Cleaver, 23, 66, 67 + Mouth-organ, 67 + + Organ, 45-50, 52, 69-72 + + Pan's Pipes, 43, 67 + Piano, 1, 6, 25-29, 31-35, 74, 76 + Piano ('self acting'), 48 + + Recorders, 64 + + Serpent, 63 + + Tambourine, 25, 43, 56, 62 + Tom-tom, 62 + Triangle, 41, 43, 68 + Trombone, 43, 67 + + Violin, 1, 2, 5, 6, 23-29, 47, 64 + Violoncello, 6, 25, 29, 44 + + + + +INDEX OF CHARACTERS + + + Antonio (_U.T._), 54 + Atherfield, Mrs. (_G.M._), 78 + + Bagnet, Mrs. (_B.H._), 113 + Bagnet (_B.H._), 43, 85 + Bagnet, Master (_B.H._), 44, 85 + Bailey, Jr. (_M.C._), 59, 89 + Banjo Bones (_U.T._ 5), 20 + Belinda (_M.H.C._), 61 + Billsmethi (_S.B.C._ 9), 20 + Blackpool, S. (_H.T._), 59 + Blandois (_L.D._), 17 + Blathers (_O.T._), 56 + Blimber, Dr. (_D.C._), 53, 58 + Boffin (_O.M.F._), 133 + Bounderby (_H.T._), 56 + Brass, Sally (_O.C.S._), 103, 128 + Brass, Sampson (_O.C.S._), 27, 40, 78, 102, 128 + Briggses, Miss (_S.B.T._ 7), 54, 62 + Browdie, John (_N.N._), 101 + Brown, Mr. (_S.B.T._ 9), [26] + Bucket (_B.H._), 29, 43, 44, 64, 85, 112 + Bunsby (_L.D._), 121 + + Carker, Harriet (_D. & S._), 40 + Carker, James (_D. & S._), 28, 59 + Casby (_L.D._), 53 + Chadband, Rev. (_B.H._), 74 + Cheggs (_O.C.S._), 126 + Chivery, Young (_L.D._), 55 + Chuckster (_O.C.S._), 125 + Chuzzlewit, Jonas (_M.C._), 41, 59 + Chuzzlewit, Martin (_M.C._), 102 + Chuzzlewit, M., Jr., 46, 66, 84, 86 + Clennam, Arthur (_L.D._), 49, 59, 90 + Copperfield, David (_D.C._), 30, 33, 36, 55, 80, 84, 102, 112, 115 + Crewler, Sophy (_D.C._), 33 + Crisparkle, Rev. (_E.D._), 74, 107 + Crumptons, Miss (_S.B.T._ 3), 20 + Cuttle, Capt. (_D. & S._), 7, 18, 83, 84, 89, 117-123 + + Daisy, Solomon (_B.R._), 73 + Dartle, Rosa (_D.C._), 30 + Dick, Mr. (_D.C._), 110 + Dombey, Mr. (_D. & S._), 6, 31, 67 + Dombey, Florence (_D. & S._), 89, 101, 118, 120, 121 + Dombey, Paul (_D. & S._), 30, 36, 53, 58, 101 + Dorrit, E. (_L.D._), 109 + Dorrit, F. (_L.D._), 42, 49 + Dorrit, W. (_L.D._), 34 + Dorrit, Miss (_L.D._), 42 + Dorrit, Little (_L.D._), 42 + Dowler (_P.P._), 60 + Drood, E. (_E.D._), 75 + Durdles (_E.D._), 18, 76 + + Evans, Jemima (_S.B.C._ 4), 16, 48 + Evans, Mr. (_S.B.T._ 9), 39 + Evenson (_S.B.T._ 1), 40 + + Fagin (_O.T._), 59 + Feeder (_D. & S._), 36, 52, 53, 66 + Fezziwig, Mrs. (_C.C._), 25 + Fielding, May (_C.H._), 66 + Finching, Flora (_L.D._), 49, 90, 117 + Fips (_M.C._), 102 + + Gamp, Mrs. (_M.C._), 57 + Gattleton, Mrs. (_S.B.T._ 9), 25, 39 + Gay, Walter (_D. & S._), 84, 120, 121 + General, Mrs. (_L.D._), 131 + George, Mr. (_B.H._), 29, 44, 61 + Gills ('Old Sol') (_D. & S._), 120 + Graham, Mary (_M.C._), 47 + + Handel (_G.E._), see Pirrip + Hardy (_S.B.T._ 7), 62, 63 + Harleigh (_S.B.T._ 9), 9 + Harris, Mrs. (_M.C._), 57 + Heep (_D.C._), 80, 116 + Helves, Capt. (_S.B.T._ 7), 62, 90, 103 + Hexham (_O.M.F._), 44 + Hopkins, 135 + Humm (_P.P._), 78 + Humphrey, Master (_M.H.C._), 61 + Hunter, Mrs. (_P.P._) + + Jacksonini (_Letters_), 20 + Jarley, Mrs. (_O.C.S._), 95 + Jasper (_E.D._), 34, 74, 75, 107 + Jeddler (_B.L._), 26 + Jellyby, Caddy (_B.H._), 27, 33 + Jerry (_O.C.S._), 52, 78 + Jingle (_P.P._), 25, 29, 90 + Jorgan (_P.P._), 47 + + Kenwigs, Mrs. (_N.N._), 41, 131 + Kit, see Nubbles + + Ladle, Joey (_N.T._), 77 + Larkins, Miss (_D.C._), 30 + Lirriper, Mrs. (_L.L._), 56, 70 + Lobskini (_S.B.T._ 3), 20 + + M'Choakumchild (_H.T._), 130 + Malderton, Miss (_S.B.T._ 5), 31, 107 + Maldon, Jack (_D.C._) + Mantalini (_N.N._), 60 + Marchioness, The (_O.C.S._), 38, 123, 128, 129 + Marigold, Dr., 93 + Marra Boni (_S.B.C._ 8), 20 + Meagles (_L.D._), 86 + Meagles, Miss ('Pet'), 77 + Mell (_D.C._), 36, 117 + Micawber (_D.C._), 41, 83, 112-117 + Micawber, Mrs. (_D.C._), 112, 113, 117 + Micawber, W. (_D.C._), 117 + Miggs, Miss (_B.R._), 56 + Mills, Miss (_D.C._), 102 + Monflathers, Mrs. (_O.C.S._), 79 + Mordlin, Brother (_P.P._), 78 + Morfin (_D. & S._), 27, 28, 29, 41 + + Namby, Mrs. (_P.P._), 33 + Nancy (_O.T._), 39 + Nandy (_L.D._), 105, 106 + Nell, Little (_O.C.S._), 79, 101 + Nickleby (_N.N._), 58, 100 + Noggs (_N.N._), 60 + Nubbles ('Kit') (_O.C.S._), 27, 129 + + Obenreizer (_N.T._), 14 + 'Old Clem,' 151 + 'Old Sol,' see Gills + + Pancks (_L.D._), vii, 53, 106 + Pecksniff (_M.C._), 7, 41, 46 + Pecksniffs, Miss (_M.C._), 38, 89, 101, 108 + Peerybingle, Mrs. (_C.H._), 79 + 'Pet,' see Meagles, Miss + Petowker, Miss (_N.N._), 41 + Phenomenon, The (_N.N._), 24 + Pickleson (_Dr. M._), 20, 93 + Pickwick, Mr. (_P.P._), 27, 33, 34, 60, 100 + Pinch, Tom (_M.C._), 46, 47, 59, 60, 72 (&c.) + Pirrip ('Pip' or 'Handel'), 19, 108 + Pip (_G.E._), see Pirrip + Plornish, Mrs. (_L.D._), 105, 106 + Plornish, Mr. (_L.D._), 106 + Plummer (_C.H._), 64 + Pocket, Herbert (_G.E._), 19 + + Quilp (_O.C.S._), 103, 127 + + Redburn, Jack (_M.H.C._), 38 + Rob the Grinder (_D. & S._), 123 + Rudolph, Jennings (_S.B.C._ 8), 68 + + Sapsea, Mr. (_E.D._), 18, 76 + Sawyer, Bob (_P.P._), 59, 100 + Scrooge (_C.C._), 30 + Scrooge's Nephew (_C.C._), 30, 107 + Simpson (_P.P._), 109 + Skettles, Lady (_D. & S._), 30 + Skewton, Hon. Mrs. (_D. & S._), 31 + Skimpole (_B.H._), 33, 131 + Smike (_N.N._), 58 + Sparkins (_S.B.T._ 5), 31, 107 + Spenlow, Dora (_D.C._) 33, 55, 102 + Squeers (_N.N._), 36, 100 + Steerforth (_D.C._) 30 + Stiggins (_P.P._), 74 + Strong, Dr. (_D.C._) 45, 80 + Summerson, Esther (_B.H._), 29 + Sweedlepipe (_M.C._), 59 + Swills, Little (_B.H._), 107 + Swiveller, Dick (_O.C.S._), 12, 27, 37, 78, 83, 123-130 + + Tackleton (_C.H._), 65, 66 + Tapley, Mark (_M.C._), 73, 84, 86, 102 + Tappertit (_B.R._), 25 + Tauntons, Miss (_S.B.T._ 7), 54, 90 + Tetterby Family (_H.M._), 79 + Tibbs, Mrs. (_S.B.T._ 1), 40 + Timson, Rev. (_S.B.T._ 10), 29 + Tiny Tim (_C.C._), 101 + Tippin, Mrs. (_S.B.T._ 4), 62 + Tippin, Master (_S.B.T._ 4), 62 + Todgers, Mrs. (_M.C._), 89, 108 + Tomlinson (_D. & S._), 67 + Toots (_D.C._), 37 + Topper (_C.C._), 103 + Tottle, Watkins (_S.B.T._ 10), 59 + Tox, Miss (_D. & S._), 33 + Tpschoffki (_G.S._), 20, 51 + Traddles (_D.C._), 33 + Trotter, Job (_P.P._), 80 + Trotwood, Miss (_D.C._), 50 + Tulrumble (_M.P._), 51 + Tupman (_P.P._), 25 + Turveydrop (_B.H._), 29 + Twist, Oliver (_O.T._), 39 + + Varden, Mrs. (_B.R._) + Veck, Toby ('Trotty') (_Ch._), 23, 50, 66 + Velasco, Rinaldo di, see Pickleson + + Wackles, Sophy (_O.C.S._), 37, 125-128 + Wardle (_P.P._), 99 + Wegg, Silas (_O.M.F._), 132-134 + Weller, Mr. (_P.P._), 34 + Weller, Sam (_P.P._), 34, 73 (&c.), 99, 100 + Wickfield (_D.C._), 80 + Wilding (_N.T._), 77 + Wilfer (_O.M.F._), 61, 96 + Wilkins (_S.B.C._), 48 + Willet, Joe (_B.R._), 73 + Wisbottle (_S.B.T._ 1), 40 + Wopsle (_G.E._), 64, 72, 108 + + + + +GENERAL INDEX + + + Allon, Dr., 81 + Arne, Dr., 16, 77, 153, 157 + Attwood, T., 114 + Auber, 3 + + Barnett, J., 157 + Bath, 60 + Bayly, T.H., 130, 159 + Bedford (singer), 91 + Beethoven, 21, 148 + _Beggar's Opera_, 135, 153, 161 + _Bell's Life in London_, 92 + 'Belmont' (Hymn-tune), 98 + Benedict, Sir J., 140 + Bishop, Sir H., 12, 14, 138, 142, 144, 148, 156 + Blamire, S., 136 + Blondel, C., 159 + Boai, M., 62 + Boston (U.S.A.), 7, 32 + Bowden, 1 + Boyce, W., 144 + Braham (singer), 15, 116, 136, 140 + Bridge, Sir F., 99, 139 + Broadstairs, 5, 9, 10 + Buckingham (singer), 92 + Burgoyne, 156 + Burns, 137, 149, 153 + Byrd, 149 + Byron, 12, 141 + + Campbell, 11, 161 + Carey, H., 141, 143, 149 + Carpenter, J.E., 160 + Carrara, 4 + Chappell, W., 151 + 'Chaunter,' 109 + Cherry, Andrew, 137 + _Choir_, The, 18, 87 + Chopin, 2 + Chorley, H., 12, 21 + Clapham, 67 + _Clari_, 14 + Collins, Wilkie, 11 + Cowell (singer), 139 + Curwen, John, 17 + + _Daily News_, The, 16, 20 + Dalton, H.R.S., 17, 161 + Davies, Rev. R., 82 + Davy, J., 120, 137, 154, 162 + Dibdin, C., 88, 115, 119, 133, 139, 146, 156 + Dibdin, C., Jr., 111 + Dibdin, T., 114, 147 + Dover, 5 + 'Drums,' 109 + D'Urfey, 151 + + 'Eagle,' The, 24, 27, 47, 48 + 'Elephant and Castle,' The, 43 + Elson, C., 144 + + Fairburn (song publisher), 9, 89, 121 + Field, J.T., 8 + Forster, J., 1, 5, 9, 24, 58, 82 + Foundling Hospital, 77 + + Garrick, D., 144 + Gay, 153, 161 + Genoa, 5, 72 + Gissing, 46 + Glindon, 48 + Glover, S., 158, 160 + Golden Square, 6 + Goldsmith, 161 + Gounod, 2 + Greene, M., 77 + Grimaldi, 111 + + Hamilton, Mrs. E., 134 + Handel, 21, 45, 48, 74, 77, 140, 144 + Haydn, 77 + Hoare, Prince, 113 + Hodson, G.A., 150 + Hook, J., 145 + Horn, C.E., 135 + _Household Words_, 19, 80-82 + Howell, 48 + Hughes, J.C., 143 + Hullah, 15, 17, 130, 150 + Hutchinson Family, 13 + + Incledon, 91, 152 + _Irish Melodies_, 7, 8, 88, 129, 131, 142 et seq. + + Jonson, Ben, 141 + Jerrold, D., 3 + Joachim, 13 + Julian, Dr., 81 + + Kelly, M., 158 + Kent (composer), 77 + Kidson, Mr. F., 137, 139, 161, 162 + Kitton, F.G., 1, 7, 15 + + Lampe, J.F., 141 + Landor, 10 + Lang, A., 72 + Lee, G.A., 133, 141 + Leech, J., 23 + Lemon, Mark, 11 + Leveridge, R., 139 + Lind, Jenny, 3 + Linley, G., 121, 143, 158 + Lisle, Rouget de, 148 + _Little Warbler_, 9, 89, 121 + Loder, E.J., 155 + _London Oddities_, 92 + _London Singer's Magazine_, 18, 159 + Luard-Selby, B., 75 + + Macdermott, 94 + Maclise, 12 + Mallet, 153 + Mann, Dr. A.H., 109 + Marseilles, 86 + Marshalsea, 34 + Martin's Act, 96 + Mazzinghi, 152, 155 + Mendelssohn, 2, 77 + Meyerbeer, 3 + Millard, Mrs., 162 + Miller, Rev. J., 81 + Moffat, J., 161 + Moore, T., 7, 12, 133, 134, 142 et seq. + Mornington, Lord, 147 + Mozart, 2, 21, 48, 77, 137, 141 + _Musical Times_, The, 153 + + Neukomm, 147 + Norwich Festival, 109 + 'Number Four Collection,' 80 + + Offenbach, 2 + + Panormo, 138 + Parke, 141 + Parr, Miss, 81 + Parry, J., 133 + Parsons, 48 + Peel, Sir R., 96 + Percy, J., 159 + 'Phiz,' 47 + Power, Miss, 10 + _Prentice's Warbler_, 89 + Procter, A., 80 + Purcell, 77, 139 + + Rainforth, Miss, 15 + Reeve, W., 111, 145 + Rice, T.D., 97 + Richards, Brinley, 143 + Robson (singer), 159 + Rochester, 43, 75 + Rossini, 141 + Royal Academy of Music, 21 + Russell, Henry, 140, 156 + Russell, Lord John, 3 + + St. Clement Danes, 70 + St. Peter's, Rome, 72 + Seven Dials, 9 + Shakespeare, 154 + Sheridan, R.B., 144 + Shield, 137 + Stanfell's Budget, 89 + Storace, S., 113, 147 + Souper, E., 158 + Sweeting, Dr., 155 + + Thomson, 153 + Tonic Sol-Fa, 17, 150 + + Vauxhall Gardens, 24, 91, 104 + Verini, 158 + Vicar of Wakefield, 161 + + Watts, Dr., 7, 78, 79, 80, 145, 153, 158 + Webbe, S., 141, 143 + Wellington House Academy, 1 + White Conduit gardens, 24, 93 + Williams, Dr. V., 122 + Wills, 21 + + + + +A LIST OF VOCAL AND INSTRUMENTAL MUSIC + +ASSOCIATED WITH DICKENS AND WITH THE CHARACTERS IN HIS NOVELS + +_All these pieces are in the possession of Mr. W. Miller, +Librarian of the Dickens Fellowship_ + + +Songs in the VILLAGE COQUETTES. Words by _Charles Dickens_. +Music by _Hullah_. + +THE IVY GREEN. Song. Words by _Charles Dickens_. Music by +_Mrs. Henry Dale_. + +THE IVY GREEN. Song. Music by _A. De Belfer_. + +THE IVY GREEN. Song. Music by W. _Lovell Phillips_. + +THE IVY GREEN. Song. Music by _Henry Russell_. + + (This song has been published by almost every music + publisher in London and America.) + +Introduction and familiar variations on THE IVY GREEN arranged +for the pianoforte by _Ricardo Linter_. + +Russell's Song THE IVY GREEN, with introduction and variations +for the pianoforte by _Stephen Glover_. + +THE IVY GREEN as a vocal duet. Music by _Henry Russell_. + +A CHRISTMAS CAROL. Words by _Charles Dickens_. Music by _Henry +Russell_. + +A CHRISTMAS CAROL. Words by _Charles Dickens_. Music by _Henry +Russell_ to the tune of OLD KING COLE. + +BOLD TURPIN. Words by _Charles Dickens_. Music by _Sir J.F. +Bridge_. + +PICKWICK. Set to Music by _George L. Jeune_. Words by _George +Soane_. + +THE WERY LAST OBSERVATIONS OF WELLER SENIOR TO BOZ ON HIS +DEPARTURE FROM LONDON. Written and sung by _J.M. Field, Esq._ +Adapted to an old air. Boston, 1842. + +THE ORIGINAL SET OF PICKWICK QUADRILLES. Edited by _'Boz' +Junior_. + +SAM WELLER'S ADVENTURES. Reprinted in _The Life and Times of +James Catnach_. + +GABRIEL GRUB. Cantata Seria Buffa. Adapted by _Frederick +Wood_. Music by _George Fox_. + +PICKWICK TARANTELLE. + +MR. STIGGINS. Song. Maliciously written and composed by +'_Tony Weller_.' + +THE PICKWICK QUADRILLE. Composed by _Fred Revallin_. + +THE PICKWICK LANCERS. Composed by _Camille D'Aubert_. + +PICKWICK. Songs and Dances by _Edward Solomon_. Words of songs +by _Sir F.C. Burnand_. + +OLIVER TWIST. Written by _H. Copeland_ from a song by _W.T. +Townsend_. + +THE ARTFUL DODGER. Written by _Charles Sloman_ and _Sam +Cowell_. Music by _Fred Bridgeman_. Sung by _Sam Cowell_. + +NICHOLAS NICKLEBY QUADRILLE AND NICKLEBY GALOP. By _Sydney +Vernon_. + +MASTER HUMPHREY'S CLOCK, 'DID YOU HEAR ANYTHING KNOCK?' Song +by _Beuler_. + +MASTER HUMPHREY'S QUADRILLES. Music by _'Boz' Junior_. + +THE CHIMES OF MASTER HUMPHREY'S CLOCK. Arranged for the +pianoforte by _Charles Arnold_. + +THE GHOST OF THE BARON OF GROG-SWIG. Written by _John +Major_. Arranged by _J. Monro_. + +LITTLE NELL. Words by _Miss Charlotte Young_. Music by _George +Linley_. + +LITTLE NELL. Composed by _George Linley_. Arranged for the +pianoforte by _Carlo Totti_. + +NELL. Song. Composed by _H.L. Winter_. + +LITTLE NELL. By _Miss Hawley_. + +LITTLE NELL. Waltz by _Dan Godfrey_. + +NELL. Words by _Edward Oxenford_. Music by _Alfred J. +Caldicott_. + +LITTLE NELLIE'S POLKA. Composed by _J. Pridham_. + +BARNABY RUDGE TARANTELLE. By _Clementine Ward_. + +DOLLY VARDEN. Ballad. Words and Music by _Cotsford Dick_. + +_G.W. Hunt's_ Popular Song DOLLY VARDEN. + +DOLLY VARDEN. Comic Song. Words by _Frank W. Green_. +Music _Alfred Lee_. + +_Vance's_ DOLLY VARDEN. Written, composed, and sung by _Alfred +G. Vance_. + +_G.W. Moore's_ Great Song DRESSED AS A DOLLY VARDEN. Written, +composed, and sung by _G.W. Moore_. + +DOLLY VARDEN'S WEDDING. Comic Song. Written, composed, and +arranged by _T.R. Tebley_. + +DOLLY VARDEN WALTZ. By _Henry Parker_. + +DOLLY VARDEN VALSE. Composed by _Sara Leumas_. + +THE DOLLY VARDEN POLKA. By _Brinley Richards_. + +THE DOLLY VARDEN POLKA. By _W.C. Levey_. + +DOLLY VARDEN POLKA. By _Henry Parker_. + +THE DOLLY VARDEN POLKA. Arranged by _T.C. Lewis_. Composed by +_G. Discongi_. + +DOLLY VARDEN POLKA. By _George Gough_. + +DOLLY VARDEN GALOP. By _Charles Coote, jun._ + +DOLLY VARDEN SCHOTTISCHE. By _Helene_. + +THE DOLLY VARDEN SCHOTTISCHE. By _H. King_. + +DOLLY VARDEN GAVOTTE. By _Clementine Ward_. + +DOLLY VARDEN QUADRILLE. By _Henry Parker_. + +DOLLY VARDEN QUADRILLE, on old English Tunes. By _C.H.R. +Marriott_. + +MAYPOLE HUGH. Song. Words by _Charles Bradberry_. Music by +_George Fox_. + +YANKEE NOTES FOR ENGLISH CIRCULATION; or BOZ IN A-MERRY-KEY. +Comic Song. Written by _James Briton_. Music arranged to an +American Air by _Geo. Loder_. + +THE CHRISTMAS CAROL QUADRILLES. By _Edwin Merriott_. + +TINY TIM. Words by _Edward Oxenford_. Music by _Alfred J. +Caldicott_. + +TINY TIM. Words by _Harry Lynn_. Music by _W. Knowles_. + +THE SONG OF CHRISTMAS. Song sung in _A Christmas Carol_ at +the Theatre Royal, Adelphi. Composed by _C. Herbert Rodwell_. + +TINY TIM. Written and composed by _Arthur Wingham_. + +'GOD BLESS US EVERY ONE.' Words by _Geo. Cooper_. Music by +_Herbert Foster_. + +THE CHIMES. Song. Written by _J.E. Carpenter_. Music composed +by _F. Nicholls Crouch_. + +THE CHIMES. By _Jullien_. + +THE CHIMES QUADRILLES. By _Henry Oakey_. + +THE CHIMES QUADRILLES. By _Lancelott_. + +THE CHIMES GAVOTTE. For the pianoforte, with bell accompaniment +(ad lib.). Composed by _Wm. West_, Organist and Choirmaster +of St. Margaret Pattens (Rood Lane, E.C.). + +LILLIAN. Ballad from _The Chimes_. The Poetry by _Fanny E. +Lacey_. Music by _Edward L. Hime_. + +THE SPIRIT OF THE CHIMES. Written and composed by _Fanny +E. Lacey_. + +THE CRICKET ON THE HEARTH. Song. By _James E. Stewart_, +Cincinnati, U.S.A. + +THE CRICKET ON THE HEARTH. A Domestic Ballad. Written by +_Edward J. Gill_. Music by _J. Blewitt_. + +THE CRICKET POLKA. + +THE CRICKET POLKA. Composed by _Jullien_. + +THE CRICKET ON THE HEARTH QUADRILLES. Composed by _S.D. +Saunders_. + +THE CRICKET ON THE HEARTH. A set of Quadrilles. By _T.L. +Rowbotham_. + +THE CRICKET ON THE HEARTH. A new Christmas Quadrille. +By _F. Lancelott_. + +THE NEW CRICKET POLKA. Composed by _Johann Lupeski_. + +THE BATTLE OF LIFE. Song. Words by _O.C. Lynn_. Music by +_R. Graylott_. Published in _The Illustrated London News_, +March 20, 1847. + +THE FRUIT GATHERERS' SONG ('The Battle of Life'). Written by +_Fanny E. Lacey_. Composed by _Edwin Flood_. + +THE HAUNTED MAN QUADRILLES. By _Wm. West_. + +WHAT ARE THE WILD WAVES SAYING? Written by _J.E. +Carpenter_. Music by _Stephen Glover_. + +WHAT ARE THE WILD WAVES SAYING? (_Stephen Glover_). Arranged +for the pianoforte by _Brinley Richards_. + +A VOICE FROM THE WAVES (an answer to the above). Words by +_R. Ryan_. Music by _Stephen Glover_. + +LITTLE PAUL BALLAD. Poetry by _Miss C. Young_. Music by _W.T. +Wrighton_. + +PAUL. Song. Words by _Edward Oxenford_. Music by _Alfred J. +Caldicott_. + +FLORENCE. Song. Written by _Charles Jeffrey_. + +POOR FLORENCE. Song. Music composed by _W.T. Wrighton_. + +WALTER AND FLORENCE. Song. Written by _Johanna Chandler_. +Music by _Stephen Glover_. + +DOMBEY AND SON QUADRILLE. By _Miss Harriet Frances Brown_. + +THE DAVID COPPERFIELD POLKA. Composed by _W. Wilson_. + +THE MICAWBER QUADRILLE (played in the drama of _Little Em'ly_, +at the Olympic Theatre, in 1869). Composed by _J. Winterbottom_. + +LITTLE EM'LY VALSES. By _John Winterbottom_. (Played in the +drama of _Little Em'ly_, at the Olympic Theatre, in 1869.) + +THE LITTLE EM'LY POLKA. Composed by _W.G. Severn_. + +AGNES; or I HAVE LOVED YOU ALL MY LIFE. Ballad. Written by +_Ger Vere Irving_. Composed by _Gerald Stanley_. + +DORA; or THE CHILD-WIFE'S FAREWELL. Ballad. Written by _George +Linley_. Composed by _Gerald Stanley_. + +PEGGOTTY THE WANDERER. Ballad. Written by _William Martin_. +Music by _James William Etherington_. + +DORA TO AGNES. Song. Words by _Charles Jeffrey_. Music by +_J.H. Tully_. + +LITTLE BLOSSOM. Ballad by _Stephen Glover_. Words by _Charlotte +Young_. + +HOUSEHOLD WORDS. Duet. Written by _Charlotte Young_. +Composed by _John Blockley_. + +Songs and Ballads from _Bleak House_: + + (1) THE SONG OF ESTHER SUMMERSON, 'Farewell to the Old + Home.' Written by _Charles Jeffrey_. Music by _Charles + W. Glover_. + + (2) ADA CLARE. Written by _Charles Jeffrey_. Set to Music + by _Charles W. Glover_. + +POOR JO! Ballad. Written by _H.B. Farnie_. Composed by +_C.F.R. Marriott_. + +POOR JO! Song and Chorus. Written by _W.R. Gordon_. Composed +by _Alfred Lee_. + +'JO.' Galop for the pianoforte upon airs from the celebrated +drama, by _Edward Solomon_. + +'HE WAS WERY GOOD TO ME.' Poor Jo's song. Written and composed +by _Alfred Allen_. + +THE TOKEN FLOWERS. Song founded on 'Caddy's Flowers' in +_Bleak House_. Written by _Joseph Edward Carpenter_. Music by +_B. Moligne_. + +HARD TIMES. Polka. By _C.W._ + +LITTLE DORRIT. Ballad. Written and composed by _John Caulfield_. + +LITTLE DORRIT. Song. Written by _Henry Abrahams_. Music by +_C. Stanley_. + +LITTLE DORRIT'S POLKA. Composed by _Jules Norman_. + +AS YOU LIKE IT; or LITTLE DORRIT'S POLKA. By _W.H. Montgomery_. + +LITTLE DORRIT'S VIGIL. By the composer of LITTLE NELL. + +LITTLE DORRIT'S SCHOTTISCHE. Composed by _W.M. Parker_. + +LITTLE DORRIT SERENADE. By _Clementine Ward_. + +'MY DEAR OLD HOME.' Ballad. Written by _J.E. Carpenter_. +Composed by _John Blockley_. + +WHO PASSES BY THIS ROAD SO LATE? Blandois' song from _Little +Dorrit_. Words by _Charles Dickens_. Music by _H.R.S. Dalton_. +(This song was suggested to Dickens by the French song entitled +'Le Chevalier du guet.') + +FLOATING AWAY BALLAD. Written by _J.E. Carpenter_. Music by +_John Blockley_. + +ALL THE YEAR ROUND; or THE SEARCH FOR HAPPINESS. Song. +Written by _W.S. Passmore_. Composed by _John Blockley_. + +ALL THE YEAR ROUND QUADRILLES. By _E. Frewin_. + +ALL THE YEAR ROUND VARSOVIANA. By _W.H. Montgomery_. + +THE TWO CITIES QUADRILLES. By _W.H. Montgomery_. + +TOM TIDDLER'S POLKA. Composed by _W. Wilson_. + +GREAT EXPECTATIONS. Ballad. + +_Coote's_ Lancers, 'SOMEBODY'S LUGGAGE.' + +MRS. LIRRIPER'S QUADRILLE. Written by _Adrian Victor_. + +JENNY WREN (THE DOLL'S DRESSMAKER). Song. Words by _Edward +Oxenford_. Music by _Alfred J. Caldicott_. + +JENNY WREN QUADRILLES. Arranged by _Rosabel_. + +MUGBY JUNCTION GALOP. By _Charles Coote, jun._ + +NO THOROUGHFARE GALOP. Composed by _Charles Coote, jun._ + + + + +[From an edition:] + +PRINTED BY THE + +'SOUTHAMPTON TIMES' CO., LTD., + +70 ABOVE BAR, SOUTHAMPTON + + + + +TRANSCRIBER'S NOTES + + +The musical extracts are marked [Figure 1]-[Figure 8]. +These are available as MIDI files. +Italic text is marked _thus_ with underscores. + +Alterations: + +Page 10 "and can't play 'out to-night,'" + Hyphen not inked in original. + +Page 25 "and tuned like fifty stomach-aches." + Corrected typo: "tuned liked" + +Page 40 "which had no recognizable tune" + Corrected typo: "recognizable time" + +Page 89 "given to the young red-haired boy" + Corrected typo: "young red-haired boots" + +Page 93 "penn'orths" +Page 104 "hunting field," + Letter 't' not inked in original. + +Page 115 "His musical powers made him useful at the club-room" + Hyphen at line-end: could be "clubroom". + +Page 116 "'as of a gallant and eminent naval Hero,'" + Closing quote missing in original. + +Page 146 "(_O.C.S._ 27)" + Corrected typo: "_D.C.S._" + +Page 148 "See 'Since the first dawn of reason.'" + Original had "When the first dawn of reason." + +Page 150 "See 'Strew then, Oh strew.'" + Original had "Strew then, O strew." + +Page 152 "Come weal, come woe, we'll gather and go," + Line indented in original. + +Page 164 "Banjo" +Page 165 "Brown, Mr." + Page numbers missing in original. + +Pages 27, 33, 166, 177 + "Cadby" corrected to "Caddy" + + + + + +End of Project Gutenberg's Charles Dickens and Music, by James T. Lightwood + +*** END OF THIS PROJECT GUTENBERG EBOOK CHARLES DICKENS AND MUSIC *** + +***** This file should be named 16595.txt or 16595.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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