Chapter IV: Part 4

The other account says Arne "died of a spasm on his lungs, retaining his faculties to the last moment of his existence. He had originally been instructed in the principles of the Romish Church: these however he had for many years wholly neglected, as inconsistent with a life of ease and gallantry, in which he indulged to the fullest extent of his purse and constitution. In his last stage, the dormant seeds of early maxims and prejudices, as is usually the case, revived in his bosom, too strong to be checked, or perhaps discriminated by sound reason. The complicated train of doubts, hopes, and fears, operated so forcibly on the Doctor's feelings at this awful period, that a priest was sent for, by whom he was awed into a state of most submissive repentance. In thus renewing the duties of a Christian, those of his professional line were not forgotten; for about an hour before his death he sung an harmonious Halleluja, a flight of fancy, calculated as it were to usher him into the other world." These narratives, though not precisely similar in detail, leave no doubt in the mind of the reader that Arne died repentant, doubtless the happier for having been reconciled to his wife. "Notwithstanding the number and excellence of his publications, Dr. Arne left little or no property behind him; a circumstance which will not appear extraordinary to those who consider his real character and life. He was naturally fond of vicious pleasure, to which he sacrificed every other consideration." The Will he made is at Somerset House, and recites as follows:--"In the Name of God Amen--I Thomas Augustine Arne of Bow Street Covent Garden in the County of Middlesex doctor in Music being of sound mind memory and understanding hereby make and pronounce this to be my last Will and Testament revoking all former Wills made or pretended to be made whatever Whereas I am possessed of a small Personal Estate consisting of goods Chattels and Effects most of them now standing lying or being in the House I rent of Mrs. Woodeville in Bow Street aforesaid and particularized in the Schedule hereto annexed I leave give and bequeath them in manner and form following First to my beloved wife Cecilia and only son Michael I give and bequeath the sad remains of my once excellent Organ mangled trod to pieces and ruined by and through the Villainy of wicked Servants that they may dispose of the same to the best advantage and share the profits equally between them Secondly I give and bequeath to the said Cecilia and Michael all my Worldly Goods Chattels Estate Personal whatever and wherever to be found (except as hereafter excepted) Books musical and for reading Plate and every other thing now situate standing or lying in my house in Bow Street aforesaid or in any other place to be found As to all books Musical or Literary and all Manuscripts in either branch written or composed by me or other Persons My Will is that such as may by performance at any time or in any place produce any profit or Benefit to the said Cecilia and Michael The expenses attending such Performances being first paid and defrayed equally between them The Profits or Benefits arising from the Sale or Public Performance thereof shall be equally divided between them share and share alike And the said Property being liable to an exception before limited I shall make it here viz. That the share and proportion of the said Michael is only circumscribed or limited in this particular viz. that when by sale of the Goods or part of them or by Public Performance or Performances of any of my Works, have received to his share the sum of seventy Pounds that he shall pay or cause to be paid to his Daughter Jemima the sum of ten Guineas as a present from me to his said Daughter for her Love and Kindness to me It is therefore my last will that all my works in particular Shall be and remain in the Possession of my said wife Cecilia subject to their being called forth used and employed for the mutual benefit profit and emolument of my said son as well as my wife, for Security of which to the said Cecilia she has and shall have by virtue hereof (before the delivery of any work) an unquestionable right to be satisfied As to the Probability of Success in the undertaking and an equal right to elect a Trustee or Treasurer to sit in the Treasurers Office on all and every Night whereon any of my works are performed And after all the charges attending such performance or performances shall be duly deducted to take and receive for and to the use of the said Cecilia one clear half or Moiety of the Monies or Profits arising therefrom and then take the Score and Parts of such Work or Works and reconvey it or them in Safety to the said Cecilia And this same just method of Proceeding shall duly be observed for the said Cecilia's equal Security in Case that either of the said dramatic Productions shall by their mutual consent be disposed of for their mutual Profits or Advantage to either of the Patent Theatres And in case that the said Cecilia shall depart this Life before the Death of the said Michael in such case the whole Personal Estate and Property above mentioned shall devolve or come down in right to the said Michael as sole Successor by this my last Will and Testament And lastly I hereby nominate and appoint the said Cecilia and Michael my joint and sole Executors of this my last will and Testament hereby impowering them to sue for and recover all debts and Demands whatever due to me on any account whatever whether in Law or Equity As Witness my hand and Seal this sixth of December in the seventeenth year of the Reign of Our Sovereign Lord George the third and in the year of our Lord One thousand seven hundred and seventy-seven.

THO^{S.} AUG^{NE.} ARNE.

Sealed and delivered being first duly stamp'd in the presence of Stephen Paxton Maria Barthelemon.[28]

On the 6th of March, 1778, the _Morning Chronicle_ had a short paragraph: "yesterday, died Dr. Arne, at his house in Bow-Street, whose musical talents were an honour to himself and this country."

Arne was interred in the burial ground on the north side of St. Paul's Church, Covent Garden, on the 15th of March, and the fact was noted in the Parish Register, he being described simply as "Thomas Arne." No memorial of him was erected, but his son suggested a scheme for placing a monument in Westminster Abbey. This, like most of Michael Arne's projects, ended in talk; indeed, he only survived his father eight years, and died in South Lambeth on the 14th of January, 1786, leaving a widow, his second wife, in destitute circumstances. His career had been a varied one. His aunt, Mrs. Cibber, taught him as a child how to act on the stage, and he appeared as the Page in Otway's tragedy "The Orphan." His father gave him singing lessons, and procured him engagements at the Marylebone Gardens in 1751. He became a skilled harpsichord player, and made a good reputation as a composer of songs and ballads. His music to Garrick's romance, "Cymon," produced at Drury Lane in 1767, was very popular. He married one of his father's pupils, Elizabeth Wright, in 1766, who became a successful stage-vocalist; she died in 1774-5. He inherited much of his father's talent, but, infatuated with the determination to discover the mystery of the philosopher's stone, he built a laboratory at Chelsea, and ruined himself. Removing to Ireland, he resumed his profession of music, and revived his fortune; but the old mania returned, and he retired to Clontarf to make experiments which he believed would enable him to manufacture gold, with the result that he again beggared himself, and was arrested and confined in a sponging-house in Dublin. From this, by the exertions of friends, he was released. He returned to London, and again took up work as a teacher and composer, but with only moderate success.

Dr. Arne, as we have seen, died on the 5th of March, and on the 28th of the succeeding month (April) a performance was given at the Theatre Royal in the Haymarket for the benefit of Mrs. Arne, which was attended by the old family friend Mr. Mawhood, and duly recorded in his diary. The programme included Dr. Arne's Elegy Glee, "Come, shepherds, we'll follow the hearse," specially instrumented for the occasion by Dr. Samuel Arnold.

Previous to the reconciliation with her husband, Mrs. Arne had resided with Barthelemon and his wife; after Dr. Arne's death she again went to live with them at their house in Vauxhall. Here she enjoyed a few years of peaceful happiness, loving and beloved. An extract from a letter addressed to Mrs. Barthelemon in 1788 by a near relative will be read with interest: "We rest in hope Mrs. Arne continues on the mending hand, she has been a good woman, and has long attended to the future rest of her soul, which becomes the most important of all charges, though many of us decline it to a late moment. Mrs. Scott desires to be kindly remembered to Mr. Barthelemon, Mrs. Lampe, Miss Lampe, and _dear_ Mrs. Arne, Yours affectionately, John Scott."[29]

"At the advanced age of seventy-nine Mrs. Arne continued to observe the hours of prayer, and the usual fast-days of her Church, with a rigour suitable to the austerity of primitive times, although that Church's discipline excused such habits of severe self-denial in its members at her time of life. Her manners, her habits, and her person at that great age, were not only inoffensive and untroublesome, but edifying, affecting, and affection-moving to those around her."

"When she was ill and supposed to be dying, notwithstanding their different Communions they [the Barthelemon family] read the Psalms and Lessons together in Mrs. Arne's bedroom, where, at her bed's head, was a Crucifix, at the foot of which was a little vase full of holy water." "One day, she was supposed to be dead, and the Doctor, whose name was Carson, being present assured Mrs. Barthelemon that she was gone. She, however, could not resign herself to that belief, although he said he wished he could be as certain of going to heaven as he was that she was already there. Mrs. Barthelemon, however, tried to delay his departure, and accompanied him to the house door, when she implored him to look at her aunt once more, and to this he impatiently consented, and almost angrily applied a flame to her mouth and nose to show that breathing had ceased, when he suddenly called out for the strongest cordial at hand, the result of which was the revival of the supposed deceased, who soon exclaimed--'Oh! my dears, you have called me back from the glories described in the Te Deum.'" This restoration took place nine months before she eventually expired, on the 6th of October, 1789. Her mortal remains were placed in the vaults of the church of St. Martin-in-the-Fields. Ten years later her loved niece, Mrs. Barthelemon, was buried in the same vault, "the two coffins being linked together by a chain."

The following interesting letter addressed to Mr. and Mrs. Barthelemon, written by Dr. Burney on the 21st of October, 1789, throws a flood of light on the life and character of Mrs. Arne:

"DEAR SIR AND MADAM.--Having been in Norfolk a considerable time, the melancholy news of my old and worthy friend did not arrive at my knowledge till a few days ago, otherwise we should certainly have been more early in communicating our condolence. Except yourselves, whose anxious care and benevolence have been so uninterruptedly manifested for such a series of years, no one of the friends or acquaintances of _the good Mrs. Arne_ could wish to be of some use to her more heartily than I have constantly done, ever since I first saw her at Chester, on her way from Ireland, in the Autumn of 1744; and it has of late years been a matter of real affliction to me that it has not been in my power to give more proofs of my zeal. I never had forgotten the good soul's kindness to me during my residence with Dr. Arne; when, it is not too much to say, I profited more in my studies by the advantage of accompanying her in her vocal exercises than by any instructions which the Doctor had leisure to give me. She was indeed, not only desirous of my professional improvement, but had a parental attention to my morals and conduct. As long as I remained under the same roof, I tried everything in my power, and not unsuccessfully, to contribute to domestic harmony, so necessary to the welfare of the whole family, as well as the comfort of individuals; and I did flatter myself, if I had continued longer with them, the union would have been of longer duration.

"The Doctor, rest his soul! with all his genius and abilities, was too _volage_ at every period of his life, to merit the title of a good family man; and soon after I quitted him, I heard with grief that our late _dear worthy friend_ was no longer under the same roof. During a residence of nine years in Norfolk, I lost sight of her, but never forgot the goodness of her heart, or the talents and professional merits of her younger years. There was a time when her voice, shake and manner of singing, were superior to those of any female performer in the country.

"I always respected that benevolence of heart which inclined you both to afford the poor soul an asylum after age and infirmity had deprived her of those talents, and however inconvenient it may have sometimes been, I am certain you will always think of it with the pleasure which reflecting upon good actions constantly affords to minds capable of performing them.

"It gave me great satisfaction to hear that our well disposed and virtuous friend had the comfort of religion in her last moments. _She was always attentive to the duties of a sincere and worthy member of her church_; a disposition to be honoured and had in reverence among Christians of every denomination. Mrs. Burney sincerely joins in condolence and best compliments, and I beg you will believe me to be with unfeigned regard, dear Sir and Madam,

"Your affectionate friend and faithful Servant,

"CHAS. BURNEY.

"(P.S.) I cannot help regarding the loss of Mrs. Arne with a kind of filial sorrow; she was the last survivor among those to whom I attached the idea of a parent. I lost my poor mother about 12 years ago, at the great age of 86. This letter must not be sealed before I have added my compliments and good wishes for the health of Miss Cecilia, sincerely hoping she will continue a constant source of comfort to you to your lives' end!"

The following is a chronological list of music composed by Dr. Arne.

1733 Rosamond. Tom Thumb. Dido and Æneas.

1736 Zara. Serenata, Love and Glory. The fall of Phæton.

1738 Comus.

1739 An Hospital for fools.

1740 Alfred. Rule, Britannia. Judgment of Paris. As you like it.

1741 Twelfth Night. The Blind Beggar of Bethnal Green.

1742 Miss Lucy in town. Merchant of Venice.

1743 Britannia. Eliza.

1744 The death of Abel. Theodosius. The Rehearsal.

1745 The Temple of Dulness. King Pepin's Campaign. Colin and Phoebe.

1746 The Tempest. Neptune and Amphitrite. Capochio and Dorinna. Miss in
her Teens.

1747 The Tender Husband. Love's Labour's Lost.[30]

1749 Don Saverio. Much Ado about Nothing[30]. The Provok'd Wife.[30]

1750 Dirge in "Romeo and Juliet." Ode on Cheerfulness.

1752 Harlequin Sorcerer. The Oracle.

1756 The Pincushion. The Sacrifice of Iphigenia.

1759 The Prophetess. The Sultan. Exercise Mus.Doc. Cymbeline. The She
Gallants.

1760 Thomas and Sally. The Desert Island.

1761 Judith.

1762 Artaxerxes. Love in a Village.

1763 The Birth of Hercules.

1764 The Guardian Outwitted. Olimpiade. Perseus and Andromeda. Arcadian
Nuptials.

1769 Shakespeare Ode. The Jovial Crew.

1770 Dirge. King Arthur. The Ladies' Frolic.

1771 The Fairy Prince.

1772 The Cooper. Trip to Portsmouth. Squire Badger. Reffley Spring. The
Rose. Elfrida.

1773 Pasticcio. The Contest of Beauty and Virtue. Achilles in
Petticoats.

1774 The Rival Queens.

1775 Caractacus.

1776 Little Gipsy. Whittington's Feast. Phoebe at Court. Phillis.

Arne composed many pieces for the "Nobleman's Catch Club"; thirty-seven of these are printed in "Warren's Collection" and in "Vocal Harmony." Fifteen are English and Italian Catches, fourteen are Glees, and eight are Canons. There are published numerous songs, concertos, sonatas for harpsichord, and for violins and harpsichord. These are not dated in the foregoing list. In his orchestral compositions Arne employed piccolo, flutes, clarinets, bassoons, horns, trumpets and drums in addition to the usual strings, violins, violas, violetta, violoncelli, double-basses and harp. He used the device of pizzicato and of sordino; he also occasionally labelled imitative passages, for example, "The Owl," in "Where the bee sucks." He used the abbreviation [Music] for [Music]; possibly he introduced it.

Arne was the acknowledged author of the libretti of many stage-pieces and wrote the poetry of numerous songs. His known libretti included "Don Saverio," 1750; "Artaxerxes," 1762; "The Guardian Outwitted," 1764; "The Rose," 1772; "The Cooper," 1772; "The Contest of Beauty and Virtue," 1773; a "Pasticcio," 1773; "Phoebe at Court," 1776; and "Whittington's Feast," 1776.

NOTE TO PAGE 76. [31] Dr. Arne presents his love to Mrs. Arne, desiring to be inform'd of her health, which he sincerely hopes she enjoys. He cou'd not possibly call upon her in the hurry of this new Piece; but will take a speedy opportunity. Begs the favour of her signing the inclos'd receipt for the money he has paid, which he thinks was sixteen Guineas, and five more, sent herewith, make one and twenty.

Reciev'd Nov. ye 21st, of Dr. Arne, the sume of twenty-one Guineas, in part of the money due to me, at the rate of forty pounds a year, agreed to be paid for my board, lodging and maintenance.

Dr. Arne' Accot. of Arrears due to Mrs. Arne from the Allowance made to her of 16s. 8d. p. week, which from April 16th, 1771, to Novr. 26th following is Eight Months and two Days and which amounts to

26 18 10½
Recd. at Sundry times 16 16 0
---------
Remaining due 10 2 10½
5 5 0
---------
4 17 10½

RULE, BRITANNIA.

His Royal Highness Frederick Prince of Wales, son of King George the Second, was opposed to his father not only in politics, but also in his tastes and amusements. The King had no liking for, or appreciation of, British men and things; the Prince, on the contrary, assiduously cultivated a knowledge of the English laws and constitution, and strove to assimilate his tastes and feelings to those of the people he expected one day to rule and govern. He zealously promoted such measures as he thought desirable for the public welfare, and patronized men of eminence connected with arts, science, and literature. His beautiful residence, Cliefden,[32] on the banks of the Thames, was the recognized resort of the most distinguished men of letters and art. The under-secretary of the Prince was David Mallet, to whom he paid a stipend of two hundred pounds per annum; Thomson the poet was also one of his protégés. A change of government deprived Thomson of a lucrative appointment, and being introduced to the Prince of Wales the latter gaily interrogated him about the state of his affairs; the poet replied, "they were in a more poetical posture than formerly," whereupon the Prince granted him a pension of one hundred pounds a year.

In 1740 the Prince of Wales resolved to celebrate in a special manner two important events--the Accession of the House of Hanover to the throne of England, and the anniversary of the birth of his little daughter, the Princess Augusta, born on the 31st of July, 1737. For the occasion the services of Mallet and Thomson were called into requisition. John Rich, the successful actor-manager, was also commissioned to prepare various stage performances. Rich had become popular from his connection with Gay's "Beggar's Opera," which he had the good fortune to produce at the theatre in Lincoln's Inn Fields in 1728, and thereby netted four thousand pounds. The author received six hundred and ninety-three pounds three shillings and sixpence. This remarkable success called forth the witty saying that "the 'Beggar's Opera' made Gay rich, and Rich gay." Rich was the founder of Covent Garden Theatre, in 1731, and was doubtless on excellent terms with the aristocratic patrons of the stage, including the Prince of Wales. On the 5th of September, 1740, he piloted the Prince through the mazes of Bartholomew Fair, Smithfield. A witness of the scene has described it thus: "The multitude behind was impelled violently forwards, a broad blaze of red light, issuing from a score of flambeaux, streamed into the air; several voices were loudly shouting 'Room there for Prince George! make way for the Prince!' Presently the pressure became much greater, the voices louder, the light stronger, and as the train came onward it might be seen that it consisted of a party of yeomen of the guard clearing the way; then several more of them bearing flambeaux and flanking the procession, while in the midst of all appeared a tall, fair and handsome young man, having something of a plump, foreign visage, seemingly about four-and-thirty years of age, dressed in a ruby-coloured frock coat, very richly guarded with gold lace, and having his long flowing hair curiously curled over his forehead and at the sides, and finished with a very large bag and courtly queue behind. The air of dignity with which he walked, the blue ribbon and star and garter with which he was decorated, the small three-cornered silk hat which he wore, whilst all around him were uncovered, the numerous suite, as well of gentlemen as of guards, which marshalled him along, the obsequious attention of a short, stout person, who by his flourishing manner seemed to be a player,--all these particulars indicated that the amiable Frederick Prince of Wales was visiting Bartholomew Fair by torchlight, and that Manager Rich was introducing his royal guest to all the entertainments of the place."

Great preparations were made at Cliefden, and on the 1st of August, the Prince of Wales received his guests. An interesting account of the proceedings was printed in the _London Daily Post and General Advertiser_ of Saturday, the 2nd, in the following words: "Last night was performed at the gardens of Cliefden, (in commemoration of the Accession of his late Majesty King George, and in Honour of the Birth of the Princess Augusta; their Royal Highnesses the Prince and Princess of Wales, with all their Court being present,) a new Masque of Two Acts, taken from the various Fortunes of Alfred the Great by Mr. Thomson; and performed by Mr. Quin, Mr. Milward, Mrs. Horton, and others from both Theatres;--also a Masque of Music, call'd 'The Judgement of Paris' writ by Mr. Dryden;[33] and concluded with several Scenes out of Mr. Rich's Pantomime Entertainment, perform'd by himself, and others of his appointing particularly the Skeleton Scene in Merlin's Cave, and the Dwarf Scene in Orpheus and Euridice. Also the famous Le Barbarini (newly arriv'd with Mr. Rich from Paris,) performed several Dances, and so much to the satisfaction of their Royal Highnesses, that his Royal Highness was pleas'd to make her a very handsome Present, and the work was conducted with the utmost Magnificence and Decorum." The Fête was repeated on the following evening, but unfortunately a violent rain-storm interrupted the proceedings, and the Masque of Alfred had to be performed in the house. The _Daily Post_, of August the 5th, reported that "the whole was exhibited upon a Theatre in the Garden, composed of Vegetables and decorated with Festoons of Flowers, at the End of which was erected a Pavilion for Their Royal Highnesses the Prince of Wales, Prince George, and Princess Augusta."

It is remarkable that the newspaper report makes no mention of Thomas Arne, who composed the music for both Masques, whose work alone has rescued from oblivion the memory of the proceedings. One of the songs in "Alfred" was "Rule, Britannia." The Masque is forgotten; poet and composer, and they who first heard its thrilling burst from chorus and orchestra are mouldering in their tombs; the halls through which the strain resounded have long since perished; but the enthusiasm then awakened still vibrates in the British heart to the sound of the words,

Rule, Britannia, Britannia rule the waves.

Thomas Arne resided at Cliefden before and during the Fête; his wife, who was one of the principal vocalists in both Masques, many years afterwards told her grand-niece, Cecilia Maria Barthelemon, that she witnessed a curious scene on one of the lawns: "Two men were mowing, when the hinder man severely cut the calf of the leg of the other, and the Prince of Wales immediately dipped a cambric handkerchief in some Arquebusade[34] and himself wrapped it round the man's leg, which needed no other cure."

Very shortly after the performance, on the 19th of August, Millar, the bookseller and publisher, issued the libretto of "Alfred": the title of the book reads: "Alfred, a Masque Represented before Their Royal Highnesses the Prince and Princess of Wales, At Clifden, (_sic_) on the First of August, 1740. London Printed for A. Millar, over against St. Clement's Church in the Strand MDCCXL." A perusal of the publication shows that Mr. Milward represented King Alfred; Mrs. Horton, the King's wife, Eltruda; Mr. Quin, a Hermit; Mr. Mills, the Earl of Devon; Mr. Salway, Corin, a Shepherd; Mrs. Clive, Emma, the Shepherd's wife. Two other characters, a Bard and a Spirit, have no names attached, but we know that the part of the Spirit was sung by Mrs. Arne. The Masque consists almost entirely of speaking parts; the first introduction of music is a song for Emma, the Shepherd's wife, who has a delightful little ditty to the words:

O peace! the fairest child of heaven,
To whom the sylvan reign was given,
The vale, the fountain and the grove,
With every softer scene of love.
Return, sweet peace, and cheer the weeping swain;
Return with ease and pleasure in thy train.

This charming song was doubtless well sung by Kitty Clive, who, a few years later, was the first to warble Arne's exquisite melody, "Where the bee sucks."

The third scene opens with a stage direction--"Solemn music is heard at a distance. It comes nearer in full symphony: after which a single trumpet sounds a high and awakening air. Then the following stanzas are sung by two aerial spirits unseen:

"Hear, _Alfred_, father of the state
Thy genius heaven's high will declare!
What proves the hero truly great,
Is never, never to despair:
Thy hope awake, thy heart expand
With all its vigour, all its fires.
Arise! and save a sinking land--
Thy country calls, and heaven inspires."

If Arne composed music for the above, it was never published.

The next air is sung by Eltruda, the Queen, represented by Mrs. Horton. It was sung off the stage, and according to Arne's score was accompanied by harpsichord and flute, the latter instrument echoing the voice-part. The libretto has two verses, but only the following was performed:

Sweet valley, say, where, pensive lying,
For me, our children, _England_, sighing,
The best of mortals leans his head.
Ye fountains, dimpled by my sorrow,
Ye brooks that my complainings borrow,
O lead me to his lonely bed:
Or if my lover,
Deep woods, you cover,
Ah, whisper where your shadows o'er him spread!

In the third scene, second Act, after a dialogue between Alfred, Eltruda and the Hermit, the latter summons the "Genius of England." Then the stage direction is "Music grand and awful. The Genius descending sings the following song":

From these eternal regions bright,
Where suns, that never set in night,
Diffuse the golden day:
Where spring unfading pours around,
O'er all the dew-impearled ground,
Her thousand colors gay:
O whether on the fountain's flowery side,
Whence living waters glide,
Or in the fragrant grove
Whose shade embosoms peace and love,
New pleasures all your hours employ,
And rapture every sense with every joy!
Great heirs of empire! yet unborn,
Who shall this island late adorn;
A monarch's drooping thought to chear,
Appear! Appear! Appear!

Possibly this song may have been omitted at the performance. Music for it cannot be found. The spirits of Edward the Third, Philipa his Queen, and their son the Black Prince, arise together; afterwards Queen Elizabeth, succeeded by William the Third--all are described by the Hermit. The next scene opens with a "Symphony of Martial music." The last scene affords an opportunity for Emma, the Shepherd's wife, represented by Kitty Clive, to sing a bright and sprightly melody, accompanied by the string orchestra in gavotte time to the following words:

If those, who live in Shepherd's bower,
Press not the rich and stately bed:
The new-mown hay and breathing flower
A softer couch beneath them spread.
If those, who sit at Shepherd's board,
Soothe not their taste by wanton art:
They take what Nature's gifts afford,
And take it with a chearful heart.
If those, who drain the Shepherd's bowl,
No high and sparkling wines can boast,
With wholesome cups they chear the soul,
And crown them with the village toast.
If those who join in Shepherd's sport,
Gay-dancing on the daizy'd ground.
Have not the splendor of a court;
Yet Love adorns the merry round.

A short dialogue between Alfred and Eltruda follows, and then the Hermit speaks, "Behold, my Lord, our venerable Bard,

"Aged and blind, him whom the Muses favour.
You ere you go, in our lov'd country's praise,
That noblest theme, hear what his rapture breathes."

This is immediately succeeded by

AN ODE.

When _Britain_ first at heaven's command,
Arose from out the azure main:
_This_ was the charter of the land,
And guardian Angels sung _this_ strain:
"Rule, _Britannia_, rule the waves:
Britons never will be slaves."

The nations, not so blest as thee,
Must in their turns, to tyrants fall:
While thou shalt flourish great and free,
The dread and envy of them all.
"Rule," etc.

Still more majestic shalt thou rise,
More dreadful, from each foreign stroke:
As the loud blast that tears the skies,
Serves but to root thy native oak.
"Rule," etc.

Thee haughty tyrants ne'er shall tame:
All their attempts to bend thee down,
Will but arouse thy generous flame;
But work their woe, and thy renown.
"Rule," etc.

To thee belongs the rural reign;
Thy cities shall with commerce shine;
All thine shall be the subject main,
And every shore it circles thine.
"Rule," etc.

The Muses, still with freedom found,
Shall to thy happy coast repair:
Blest isle! with matchless beauty crown'd,
And manly hearts to guard the fair.
"Rule, _Britannia_, rule the waves,
Britons never will be slaves."

Each of the foregoing verses was sung as a solo with the choral refrain "Rule, Britannia." The venerable bard was represented by Mr. Thomas Lowe,[35] a favourite singer who was engaged at Cliefden, and sang the tenor solos on that occasion in the "Judgement of Paris." We know from the report in the _Daily Post_ that there were "other performers from both theatres,"[36] doubtless a good and efficient chorus. The Ode would have made a splendid climax to the Masque,[37] but the libretto shows that the Hermit followed with a speech which is worthy of reproduction; the last four lines are particularly deserving of attention:

Alfred, go forth! lead on the radiant years,
To thee reveal'd in vision.----Lo! they rise!
Lo! patriots, heroes, sages, crowd to birth:
And bards to sing them in immortal verse!
I see thy commerce, _Britain_, grasp the world:
All nations serve thee; every foreign flood,
Subjected, pays its tribute to the _Thames_.
Thither the golden South obedient pours
His sunny treasures: thither the soft East
Her spices, delicacies, gentle gifts;
And thither his rough trade the stormy North.
See, where beyond the vast Atlantic surge,
By boldest keels untouch'd, a dreadful space!
Shores, yet unfound, arise! in youthful prime,
With towering forests, mighty rivers crown'd!
These stoop to _Britain's_ thunder. This new world,
Shook to the centre, trembles at her name:
And there, her sons with aim exalted, sow
The seeds of rising empire, arts, and arms.

_Britons_ proceed, the subject _Deep_ command,
Awe with your navies every hostile land.
In vain their threats; their armies all in vain:
They rule the balanc'd world, who rule the main.

Although the libretto of "Alfred" was published a few days after the performance at Cliefden, the music remained in manuscript; possibly Arne did not consider the number of pieces, only five, sufficient to warrant the expense of publication; it is certain however that the "Rule, Britannia" Ode caught the public ear, and became celebrated. When therefore the "Judgement of Paris" Masque was published, about 1741, the opportunity was taken of printing the score of "Rule, Britannia." The volume consists of sixty-one pages, and the title-page reads: "The music in the Judgement of Paris, consisting of All the Songs, Duettos and Trio, with the Overture in Score, as perform'd by Mr. Beard, Mr. Lowe, Mrs. Arne, Mrs. Clive, Miss Edwards and others at the Theatre Royal in Drury Lane. To which (by particular Desire of Several Encouragers of the Work) are added the _Celebrated Ode, in Honour of Great-Britain call'd Rule, Britannia_, and Sawney and Jenney, a favourite Dialogue, in the Scotch Stile. The whole compos'd by Thomas Augustine Arne. Opera Sesta. London. Printed for Henry Waylett, at the Black Lyon in Exeter Change in the Strand, and sold by him, and at all the music shops in London and Westminster, where may be had five other volumes of the Author's Works."

It was not before 1751 that the other music of "Alfred" was published. The title-page reads: "The Masque of Alfred compos'd by Mr. Arne. London. Printed for I. Walsh in Catherine Street in the Strand." The volume consists of eighty-three pages; but the "celebrated Ode" is conspicuous by its absence. No doubt Waylett, the publisher of the "Judgement of Paris," was unwilling to permit its insertion without some adequate recompense. In what way the matter was adjusted we do not know; but an arrangement was made, and a second edition of "Alfred" issued which included the "Celebrated Ode." The plates used were those from which the music was printed in the "Judgement of Paris"; this is evident from the double-paging visible on the pages of "Alfred": 62-84, 63-85, 64-86. The first set of numbers belong to the "Judgement of Paris," and the second set to "Alfred."

[Music: The Score of The celebrated ODE in Honour of Great BRITAIN call'd Rule Britannia.]

The first published score of "Rule, Britannia" enables us to note that both words and music have undergone considerable changes, some of them undoubtedly improvements and others the reverse. The elimination of the short ritornelles, or symphonies, which Arne wrote between the several lines of the verses, brings the subject-matter closer together and makes it more adaptable for a national song. On the other hand, the alteration of the melody in the last bar of the solo cannot be commended, neither can the change of melody and harmony at the end of the first bar of the chorus. As originally composed it was very strong, virile, and characteristic of Arne. It would, however, be injudicious now to attempt to restore the original; custom and the popular ear have stereotyped the prevailing version. It is noteworthy that Chappell's "Popular Music of the Olden Time," and also the reprint of that work, give the erroneous version without comment. The _Gentleman's Magazine_ of 1755, with the exception of some typographical errors, faithfully follows the composer. It would be interesting to ascertain who first tampered with the Ode. William Horsley published an edition about 1840, which is correct. The words have also been badly treated. The original says "guardian angels _sung_ this strain," and the command "Rule, Britannia, _rule_ the waves" has been changed to an assertion that "Britannia rules the waves." This error may without difficulty be avoided in future.

After the performance of "Alfred" at Cliefden, we can trace no public representation of any of the music before the 21st July, 1742, when Mrs. Arne sang the air, "O Peace, thou fairest child of Heaven," at a concert in Dublin.

The work was advertised for performance in Dublin in 1743, but was not actually produced until the following year. On the 28th of February and 3rd of March an advertisement appeared in _Faulkner's Journal_--"The Third Night of the Subscription, at the Theatre-royal in Smock Alley, on Saturday next, being the 10th of this Inst., March, will be performed the Judgement of Paris, written by Mr. Congreve and set to music by Mr. Arne, with all the Chorusses as performed at the Theatre Royal in Drury-Lane; after which will be performed a new Serenata, called Alfred, composed by Mr. Arne, at the special Command of his Royal Highness, Frederick Prince of Wales, and never performed but at his Palace at Cliefden, which concludes with a favourite Ode in Honour of Great Britain, beginning, When Britain first at Heav'n's command. N.B. Attendance will be given at the Theatre on each Day of Performance." In May and June, 1744, for the benefit of the composer and his wife, two performances were given of "Alfred" and the "Judgement of Paris." The _Dublin Journal_ announced by advertisement as follows: "Being particularly desired. For the benefit of Mr. and Mrs. Arne. At Mr. Neale's great Room in Fishamble street, on Wednesday the 30th of this Inst. May 1, will be performed the Judgement of Paris, written by Mr. Congreve, and now set to music by Mr. Arne, after which will be performed a Serenata, call'd Alfred, composed by Mr. Arne at the special Command of his Royal Highness Frederick Prince of Wales, and performed at his Palace at Cliefden, on the Birthday of the young Princess Augusta. To conclude with the celebrated Ode in Honour of Great Britain, beginning (When Britain first at Heaven's Command). The principal Parts to be sung by Mr. Lowe, Mr. Cologan, and Mrs. Arne, being the last Time but one that Mr. Arne, Mrs. Arne or Mr. Lowe will perform in Publick this Season. Mr. Arne will accompany the Performance on the Violin, Mr. Welch on the Organ, and Signior Pasqualino on the Violoncello. N.B. This Performance will be done to great Advantage, on account of the Organ, and the assistance of Mr. Cologan, and several Gentlemen in the Chorusses, who could not perform at the Theatre. Ticket a British Crown. To begin precisely at half an Hour after 6 o'Clock. Vivat Rex. Tickets to be had at Mr. Arne's in Aungier street." The repeat performance took place on the 6th of June. It may be noted that Mr. Cologan (James Colgan) was a vicar-choral of St. Patrick's Cathedral; probably the several gentlemen in the chorus were also attached to St. Patrick's or Christ Church Cathedrals, and thus precluded from assisting in performances on the theatre stage. Mr. Welch was Mr. George Walsh, the organist of St. Ann's Church, Dublin. The next performance of "Alfred" took place in London. The _General Advertiser_ of 20th March, 1745, printed the following: "for the benefit of Mrs. Arne, an Historical Musical Drama, call'd Alfred the Great, King of England. The Musick was composed by Command of His Royal Highness the Prince of Wales, and never performed in England, but at His Royal Highness's Palace at Cliefden. The music by Mr. Arne. To conclude with a celebrated Ode in Honour of Great Britain, in imitation of those formerly sung at the Banquets of Kings and Heroes: Boxes, 6s.; Pit, 4s.; First Gallery, 2s. 6d.; and Upper Gallery, 1s. 6d. Mr. Arne humbly hopes the Town will not be offended at the small advance of the Price, this Performance being exhibited at an Extra Expence, with regard to the Number of Hands, Chorus Singers, building the stage, and erecting an Organ; besides all other incidents as usual. The Ladies are desir'd to send their Servants[38] by Four o'clock. The above day is fix'd on to avoid interfering with Mr. Handel."[39]

For this performance the libretto had been considerably altered, re-written in fact, and Arne had composed the additional music required; the title-page of the revised book reads: "Alfred, an Opera. Alter'd from the Play, written by Mr. Thomson and Mr. Mallet, in Honour of the Birth-Day of Her Royal Highness, The Young Princess Augusta. The Musick was composed by Mr. Arne, and perform'd with the Play at Cliffden in Buckinghamshire at the Special Command of His Royal Highness, Frederic, Prince of Wales. London. Printed for A. Millar at Buchanan's Head, Opposite Catherine Street in the Strand. M.DCC.XLX."

The dramatis personæ were all singers, Mr. Lowe, the tenor, represented Alfred, King of England; Master Connel, Prince Edward, son of Alfred; Mr. Baildon, Earl of Devon; Mr. Baker, Corin, a shepherd; Mrs. Arne, Eltruda, Queen of England; Miss Young, the First Spirit; Miss Sybilla, the Second Spirit; Miss Young, a Shepherdess, wife of Corin.

The first libretto (1740) of "Alfred" was certainly written by Thomson. It contained many fine lines which are not to be found in the 1745 book. Two examples will suffice. The Hermit, addressing Alfred, says:

A vision to my phantasy appear'd--
I liv'd thro' future ages; felt the virtue,
The great the glorious passions that will fire
Distant posterity: when guardian laws
Are by the patriot, in the glowing senate,
Won from corruption; when th' impatient arm
Of liberty, invincible, shall scourge
The tyrants of mankind,--and when the Deep,
Through all her swelling waves, shall proudly joy
Beneath the boundless empire of thy sons.

Alfred the King speaks:

In thoughtless, gay prosperity, when all
Attends our wish; when nought is seen around us
But kneeling flattery, and obedient fortune;
Then are blind mortals apt, within themselves
To fix their stay, forgetful of the giver,
But when thus humbled, ALFRED, as thou art,
When to their feeble natural powers reduc'd,
'Tis then they feel this universal truth--
That heaven is all--and man is nothing.

The 1745 book doubtless owed its rearrangement and some of its lyrics to Mallet; it provides twenty sets of words which require music, but if these were set by Arne, eight can no longer be traced. In 1754 a new version of the libretto was published with the title: "Alfred the Great, an Oratorio, As it was Represented at the Theatre-Royal in Drury-Lane. The Musick was composed by Mr. Arne. London: Printed for A. Miller, in the Strand. MDCCLIV." The advertisement, or preface, to the book reads: "This Oratorio is altered from _Alfred_, a Masque, represented before their Royal Highnesses the Prince and Princess of Wales, at Clifeden, August 1, 1740; being the Birth-Day of the Princess Augusta, written by the late Mr. Thomson and Mr. Mallet, and afterwards new written by Mr. Mallet, and acted at the Theatre Royal in Drury Lane,[40] in 1751." Thomson died in 1748; Mallet had therefore a free hand, a liberty of which he availed himself very fully; lines were altered, new ones introduced, and several verses added for songs and for chorus. The music for all the songs and solo music is contained in the volume published by Arne, but the music for the choruses is not given; probably it no longer exists. Amongst the additions made by Mallet is a Pastoral Invocation, or song, commencing:

Nymphs and shepherds, come away,

and he makes the second Act end with a _Grand Chorus_:

How sleep the Brave, who sink to Rest,
By all their Country's Wishes blest!
When Spring, with dewy Fingers cold,
Returns to deck their hallow'd Mould,
She then shall dress a sweeter Sod
Than Fancy's Feet have ever trod.
There Honour comes, a Pilgrim grey,
To bless the Turf that wraps their clay;
And Freedom shall a while repair,
To dwell a weeping Hermit there.
By Hands unseen the Knell is rung;
By Fairy Forms their Dirge is sung.

These exquisite lines were written by William Collins in 1746; but when Mallet annexed and printed them, without acknowledgment, the unfortunate author was in a lunatic asylum, and therefore quite incapable of protecting himself. When Mallet produced his version of "Alfred" for Garrick in 1751, he endeavoured to make folk believe that he wrote the words of the Ode, "Rule, Britannia." They had been printed in Edinburgh in a popular song-book, "The Charmer," with Thomson's initials, J. T., and by the friends of the poet were generally known to be his. Mallet's literary honesty or dishonesty is now generally appreciated, but it must not be forgotten that for years he posed as the author of the ballad "William and Margaret," and unflinchingly accepted all the encomiums passed upon him in connection with it. In 1880 William Chappell called attention to a folio black-letter sheet in the British Museum, which, with the exception of the first two lines, was identical with Mallet's print. The date of the publication of the Museum copy was 1711, Mallet's 1724, and the ballad is believed to have been popular when quoted by Fletcher in the "Knight of the Burning Pestle," in 1611.

The celebrity of "Rule, Britannia" appears to have been immediate and general. Hanoverians and Jacobites adopted it as a popular ditty; the latter party produced several parodies, amongst them the chorus:

Rule, Britannia, Britannia rise and fight,
Restore your injured Monarch's right.

The following words in a collection of songs called "The True Royalist" are directed to be sung to the tune, "When Britain first, at heav'n's command":

Britannia, rouse at heav'n's command!
And crown thy native Prince again;
Then Peace shall bless thy happy land,
And Plenty pour in from the main:
Then shalt thou be--Britannia, thou shalt be
From home and foreign tyrants free.

Behold great Charles! thy godlike son,
With majesty and sweetness crown'd;
His worth th' admiring world doth own,
And fame's loud trump proclaims the sound.
Thy captain him, Britannia, him declare,
Of kings and heroes he's the heir.

The second hope young Hero claims,
Th' extended empire of the main;
His breast with fire and courage flames,
With Nature's bounds to fix thy reign.
He (Neptune-like), Britannia will defy
All but the thunder of the sky.

The happiest states must yield to thee,
When free from dire corruption's thrall,
Of land and sea, thou'lt Emp'ror be.
Britannia, unite! Britannia must prevail,
Her powerful hand must guide the scale.

Then Britons, rouse! with trumpets' sound
Proclaim this solemn, happy day!
Let mirth, with cheerful music crown'd,
Drive sullen thoughts and cares away!
Come, Britons, sing! Britannia, draw thy sword,
And use it for thy rightful lord.

Another example will suffice:

When our great Prince, with his choice band
Arriv'd from o'er the azure main,
Heav'n smil'd with pleasure on the land,
And guardian angels sing this strain:
Go, brave hero; brave hero, boldly go,
And wrest thy sceptre from thy foe.

A striking proof of the general popularity of the music of the Ode is the quotation made from it by Handel in 1745-6, when he composed the "Occasional Oratorio" to commemorate the suppression of the Rebellion. The words "war shall cease, welcome peace" are set to music, evidently intentionally taken from the song of the day, "Rule, Britannia":

[Music: war shall cease, ... wel-come peace]

We may note here that the music of the beautiful recitative, "Ah me, what fears oppress my throbbing heart?" followed by the air, "Guardian angels now descend," first printed in the 1754 "Alfred" libretto, is modelled on Handel's recitative, "O worse than death," and air, "Angels ever bright and fair," composed in 1749 and performed in March, 1750.

No doubt "Rule, Britannia" was heard in Germany very soon after its first performance at Cliefden. A copy of the Ode in vocal score, with harpsichord accompaniment, was published in Hanover with the brief-title "Rule Britannia Frey Uebersetzt, Hanover, Gedruckt bey J. L. Lamminger Hofbuchdrucker." The German words, freely translated from the English, are as follow:

Britannia, aus des Meeres Schoos,
stieg auf des Schöpfers Wink hervor.
Dir zog hochahndend dein Genius das Loos,
und jubelnd sang ein Engelchor:
Herrsch' Britannia! der weite Ocean
sey deinem Scepter untherthan.

There are five more verses which need not be reproduced. The publication is undated, and gives no name of poet or composer. Subsequently the same publisher issued a more complete edition with the original English words and a German translation. The title-page is "Rule, Britannia am Höchsterfreulichen Geburtsfeste Ihro Majestat der Königinn Charlotte den 18. Januar 1799 auf dem Grossen Königlichen Schlosstheater vom Herrn Schauspiel-Director Ignaz Walter nach der von I. G. F. Brauer versuchten Uebersetzung gesungen."

Beethoven showed his appreciation of the Air of "Rule, Britannia" by using it not only for a pianoforte piece with variations in 1804, but also by incorporating it in the Battle Symphony, "Wellingtons Sieg, oder Schlacht bei Vittoria," which was performed at a concert in Vienna, in 1813, given for the benefit of the soldiers wounded at Hanau, and again in 1814 during the Vienna Congress, conducted by the composer.

Wagner declared that the first eight notes of "Rule, Britannia" embodied the whole character of the British people, and as a tribute to the English nation he set himself the task of composing an Overture with Arne's music as the motif. The history of this interesting composition of Wagner's has never been accurately stated. The preliminary sketch of the music was made by Wagner in 1836, and is still preserved at Bayreuth. The composition was completed and performed in March, 1837, at Königsberg, and was again played at Riga, on each occasion under the direction of Wagner. He sent the score to the Philharmonic Society in London; but its receipt was not acknowledged. Therefore, when in 1839 he made his first visit to London, he wrote to the secretary of the Society with the result recorded in the Philharmonic Society's minute-book, under date "April 19, 1840. Present, Mr. Neate, in the Chair, Messrs. Potter, F. Cramer, Dance, Anderson, Calkin. Letter from Wagner. Resolved that the score of the Overture be returned, with an apology for having kept it so long, and explaining that written upon a theme which is here very commonplace, precludes the performance of it at the Philharmonic Concerts." Wagner resided in London at the "King's Arms" boarding-house, Great Compton Street, Soho, only eight days, and then went to Paris. Presumably his removal was not known to the Philharmonic secretary, who sent the letter and score to Wagner's London address; the proprietor of the hotel then forwarded it to Paris, but without defraying the carriage. Wagner in his autobiography wrote: "One morning, when we had been anxiously consulting as to the possibility of raising our first quarter's rent, a carrier appeared with a parcel addressed to me from London. I thought it was an intervention of Providence, and broke open the seal. At the same moment a receipt-book was thrust into my face for signature, in which I at once saw that I had to pay seven francs for carriage. I recognised, moreover, that the parcel contained my overture, 'Rule, Britannia,' returned to me from the London Philharmonic Society. In my fury I told the bearer that I would not take in the parcel, whereupon he remonstrated in the liveliest fashion, as I had already opened it. It was no use; I did not possess seven francs, and told him he should have presented the bill for the carriage before I had opened the parcel. So I made him return the only copy of my overture to Messrs. Lafitte & Galliard's firm, to do what they liked with it, and I never cared to inquire what became of that manuscript." Its recovery is a mystery; the conductor of the band of the Leicester Opera House, Mr. E. W. Thomas, a few years since disposed of his belongings, including a pile of manuscript music which was purchased by Mr. Cyrus Gamble, who, in May, 1904, looking through the collection, discovered the long-lost Wagner autograph, signed and dated "Richard Wagner 15 March 1837 Königsberg in Prussia." Arne's orchestral score is limited to strings, two oboes, two trumpets, one bassoon, and kettle-drums; Wagner's score requires strings, two piccolos, two flutes, two oboes, two clarinets, two bassoons, serpent, double-bassoon, four horns, four trumpets, three trombones, ophicleide, side-drum, triangle, grosse caisse, cymbals and kettle-drums.

Passing notice is all that is necessary of the gross want of reverence and good taste exhibited by the Rev. Rowland Hill, of Surrey Chapel, who wrote a hymn for the music of "Rule, Britannia," which was sung on the 4th of December, 1803, by a crowded congregation of Volunteers, and printed in a collection of hymns sung at Surrey Chapel.

At the Coronation of William IV., the Sailor King, at Westminster Abbey, September 8th, 1831, an anthem, "O Lord, grant the King a long life," was sung, having been composed by Thomas Attwood. The introductory symphony and the concluding chorus have quotations from the melody of "Rule, Britannia," introduced in a very ingenious and admirable manner.

Sir Alexander Mackenzie has also made masterly use of the tune in his brilliant "Britannia" Overture.

FOOTNOTES: