Chapter 16
'If you'll come to the bower I've shaded for you.' From 'Will you Come to the Bower'
_T. Moore_
Will you come to the Bower I've shaded for you, Our bed shall be roses, all spangled with dew. Will you, will you, will you, will you come to the Bower? Will you, will you, will you, will you come to the Bower?
A LIST OF SONGS AND INSTRUMENTAL MUSIC MENTIONED BY DICKENS
WITH HISTORICAL NOTES
_The figures in brackets denote the chapter in the novel referred to_
A COBBLER THERE WAS (_D. & S._ 2)
A cobbler there was, and he lived in a stall, Which serv'd him for parlour, for kitchen and hall, No coin in his pocket, nor care in his pate, No ambition had he, nor no duns at his gate, Derry down, down, down, derry down.
The melody appeared in _Beggar's Opera_, 1728, and _Fashionable Lady_, 1730.
A FROG HE WOULD (_P.P._ 32)
The theme of the ballad belongs to the late sixteenth century.
A frog he would a-wooing go, Heigho! said Rowley, Whether his mother would let him or no, With his rowly powly, Gammon and spinnage, O heigh! said Anthony Rowley.
We are told that Jack Hopkins sang 'The King, God Bless Him,' to a novel air, compounded of 'The Bay of Biscay' and 'A Frog He Would.' The latter was evidently the modern setting by C.E. Horn.
ALICE GRAY
See 'Yet Lov'd I.'
ALL HAIL TO THE VESSEL OF PECKSNIFF THE SIRE (_M.C._ 11)
Perhaps a parody on 'All Hail to the Chief.'
ALL IN THE DOWNS (_P.P._ 3)
See 'Black-Eyed Susan.'
ALL'S WELL (_O.C.S._ 56).
See p. 125.
Duet in _The English Fleet_.
(_T. Dibdin_) _J. Braham._
Deserted by the waning moon, When skies proclaim night's cheerless gloom, On tower, fort, or tented ground, The sentry walks his lonely round; And should a footstep haply stray Where caution marks the guarded way, Who goes there? Stranger, quickly tell, A friend. The word? Good-night. All's well.
AND SHE SHALL WALK (_O.C.S._ 66)
Words by _Susan Blamire_.
And ye shall walk in silk attire, And siller ha'e to spare, Gin ye'll consent to be my bride, Nor think on Donald mair.
Susan Blamire was born at Carden Hall, near Carlisle. Very few of her poems were published under her own name, as well-born ladies of those days disliked seeing their names published as authors. 'The Siller Crown,' from which this verse is taken, is in the Cumberland dialect. It first appeared anonymously in the _Scots Musical Museum_, 1790, and the authorship was subsequently settled by members of the family.
AND YOU NEEDN'T, MR. VENUS, BE YOUR BLACK BOTTLE (_O.M.F._).
See p. 134.
A STIFF NOR'-WESTER'S BLOWING, BILL (_D. & S._ 49)
From 'The Sailor's Consolation.'
One night came on a hurricane, The seas were mountains rolling, When Barney Buntline turned his quid, And said to Billy Bowling, A stiff Nor'-Wester's blowing, Bill, Hark, don't you hear it roar now? Lord help 'em! how I pity's all Unhappy folk ashore now.
Mr. Kidson says in reference to this: 'I do not know that it was ever written to music, though I fancy more than one popular tune has been set to the words, which are by a person named Pitt.'
AULD LANG SYNE ('Holly Tree,' _D.C._ 17, 28)
Words by _Burns_.
A version of the melody occurs at the end of the overture to Shield's _Rosina_, 1783, and is either his own composition or an imitation of some Scotch melody. As, however, such melody has not hitherto been discovered, no great importance can be attached to this theory. _Rosina_ was performed in Edinburgh.
Some maintain that the tune is taken from a Scotch reel known as the 'Miller's Wedding,' found in Bremner's _Reels_ (1757-1761).
AWAY WITH MELANCHOLY (_O.C.S._ 58, _O.M.F._ ii. 6, _P.P._ 44, _D.C._ 8)
The melody is from Mozart's _Magic Flute_, 'Das klinget so herrlich'--a chorus with glockenspiel accompaniment. The writer of the words is unknown.
The air was introduced into an arrangement of Shakespeare's _Tempest_, and set to the words 'To moments so delighting!' sung by Miss Stephens. Also found as a duet 'composed by Sigr. Mozart, arranged by F.A. Hyde.'
BAY OF BISCAY (_U.T._ 31, _D. & S._ 39, _P.P._ 32)
Words by _Andrew Cherry_. _J. Davy._
Also see under 'A Frog He Would.'
BEETHOVEN'S SONATA IN B.
See p. 28.
BEGONE, DULL CARE (_O.C.S._ 7, _E.D._ 2)
Author unknown. The words occur in various song-books of the eighteenth century. The tune is seventeenth century, possibly derived from the 'Queen's Jigg' in the _Dancing Master_.
Begone, dull care, I prithee begone from me; Begone, dull care, you and I can never agree.
The words were set as a glee by John Sale, and this may be the music that Dickens knew.
BELIEVE ME, IF ALL JARLEY'S WAXWORKS SO RARE (_O.C.S._ 27)
A parody on the following.
BELIEVE ME, IF ALL THOSE ENDEARING YOUNG CHARMS (_B.H._ 55)
Words by _T. Moore_.
Set to the old melody 'My Lodging is on the Cold Ground.' This appears to have come into existence about the middle of the eighteenth century. It is found in _Vocal Music, or the Songster's Companion_, 1775, and it was claimed by Moore to be an Irish melody, but some authorities deny this. It has also been claimed as Scotch, but the balance of opinion is in favour of its English origin (F. Kidson).
BESIDE THAT COTTAGE DOOR, MR. BOFFIN (_O.M.F._)
See p. 133.
BID ME DISCOURSE (_S.B.T._ 4)
Words adapted from Shakespeare's _Venus and Adonis_.
_H.R. Bishop._
BIRD WALTZ (_D. & S._ 29, 38) _Panormo._
A very popular piano piece of the pre-Victorian period.
BLACK-EYED SUSAN (_A.N._), OR ALL IN THE DOWNS (_P.P._ 3)
Words by _John Gay_. _R. Leveridge._
This song was printed in sheet form previous to 1730, in which year it appeared in Watts' _Musical Miscellany_, Vol. IV., and was also inserted about that time in several ballad operas.
BOLD TURPIN VUNCE (_P.P._ 43)
Mr. Frank Kidson has pointed out that Sam Weller's song is founded upon a ballad entitled 'Turpin and the Bishop,' which appears in _Gaieties and Gravities_, by one of the authors of _Rejected Addresses_. The author is said to be Horatio Smith. There is a good four-part setting of the words by Sir F. Bridge.
BRAVE LODGINGS FOR ONE (_P.P._ 29)
Original.
BRITISH GRENADIERS (_B.H._ 49)
The tune as we know it now is the growth of centuries, the foundation probably being a tune in _The Fitzwilliam Virginal Book_. The Grenadiers were founded in 1678. The second verse refers to 'hand grenades,' and the regiment ceased to use these in the reign of Queen Anne. The author is unknown.
BRITONS, STRIKE HOME (_S.L._)
The well-known song in Purcell's _Bonduca_ gave its name to an opera by Charles Dibdin, published in 1803. This work probably suggested the phrase to Dickens. It was written with a view to arousing a patriotic feeling. The following verse occurs in the work:
When Dryden wrote and Purcell sung Britons, strike home, The patriot-sounds re-echoing rung The vaulted dome.
BUFFALO GALS (_Letters_)
See p. 10.
BY THE SAD SEA WAVES (_Letters_) _Julius Benedict._
A once popular song from the opera _The Brides of Venice_.
CHEER, BOYS, CHEER (_U.T._ 29)
Words by _Charles Mackay_. _Henry Russell._
Cheer! boys, cheer! no more of idle sorrow-- Courage! true hearts shall bear us on our way, Hope points before, and shows the bright to-morrow, Let us forget the darkness of to-day.
One of Russell's most popular songs. He sold the copyright for £3, and shortly afterwards learnt that the publisher had to keep thirty-nine presses at work on it night and day to meet the demand.
COPENHAGEN WALTZ (_D. & S._ 7)
Also known as the _Danish Waltz_.
DEAD MARCH.
From the oratorio _Saul_. _Handel._
See p. 61.
DEATH OF NELSON (_D.C._ 52, _D. & S._ 48, _O.M.F._ iv. 3)
See p. 116. _J. Braham._
Too well the gallant hero fought, For England, home, and beauty.
DI PIACER (_S.B.T._ 1) _Rossini._
A favourite air from the opera _La Gazza Ladra_.
DOWNFALL OF PARIS
See p. 31.
DRAGON OF WANTLEY (_D.C._ 38)
An eighteenth-century popular burlesque opera.
Words by _H. Carey_, music by _Lampe_.
DRINK TO ME ONLY WITH THINE EYES (_O.M.F._ iii. 14)
Words by _Ben Jonson_.
The composer is unknown. The air was originally issued as a glee for three voices.
DUMBLEDUMDEARY (_S.B.S._ 10)
A refrain rarely found in old songs. It occurs in 'Richard of Taunton Dean.' Also (as in the reference) the name of a dance.
EVENING BELLS (_D.C._ 38)
Duet by _G. Alexander Lee_.
Come away, come away, evening bells are ringing, Sweetly, sweetly; 'tis the vesper hour.
FARE THEE WELL, AND IF FOR EVER (_O.C.S._ 58)
Words by _Byron_.
Included in 'Domestic Pieces.'
Fare thee well, and if for ever, Still for ever, fare thee well; Even though unforgiving, never 'Gainst thee shall my heart rebel.
About 1825 the words were set to an air from Mozart's _La Clemenza di Tito_. There are original settings by Parke, S. Webbe, and six other composers.
FILL THE BUMPER FAIR (_N.T._)
Moore's _Irish Melodies_, air 'Bob and Joan.'
FLOW ON, THOU SHINING RIVER (_S.B.T._ 1)
Moore's _National Melodies_.
Said to be a 'Portuguese Air.' The melody has been utilized as a hymn-tune.
FLY, FLY FROM THE WORLD, MY BESSY, WITH ME (_S.B.S._ 2)
Words and music by _T. Moore_.
FOR ENGLAND
See 'Death of Nelson.'
FOR ENGLAND, HOME, AND BEAUTY
See 'Death of Nelson.'
FOR THE PORT OF BARBADOS, BOYS (_D. & S._ 15)
Original (?) See p. 122.
FROM SPORT TO SPORT (_O.C.S._ 58)
From 'Oh no, we never mention her.'
Words by _T.H. Bayly_. _H.R. Bishop._
From sport to sport they hurry me, To banish my regret; And when they win a smile from me, They think that I forget.
GEE UP, DOBBIN (_D.C._ 12)
In the Burney Collection is a tune 'Gee Ho, Dobbin.' Also in _Apollo's Cabinet_, 1757, Vol. II, and _Love in a Village_, 1762. The tune was frequently used for ephemeral songs.
It is doubtful if Dickens would know this song, the title of which has passed into a common phrase.
GLORIOUS APOLLO (_O.C.S._ 13, 56) _S. Webbe._
The title of this glee probably suggested the name of the 'Glorious Apollers.' See p. 124.
GO WHERE GLORY WAITS THEE (_M.C._ 11)
('Do they often go where glory waits 'em?' _O.C.S._ 58)
Moore's _Irish Melodies_, set to the air 'Maid of the Valley.'
GOD BLESS THE PRINCE OF WALES (_U.T._ 29)
Words by _J. Ceiriog Hughes_. Trans, by G. Linley. _H. Brinley Richards_, 1862.
GOD BLESS YOU, MERRY GENTLEMEN (_C.C._)
Origin unknown. The second word should be 'rest,' and the correct reading is
God rest you merry, gentlemen.
GOD SAVE THE KING (_S.B.S._ 19, &c.)
GOD SAVE THE QUEEN (_M.C._ 29)
It is unnecessary here to discuss the origin and sources of this air. The form in which we know it is probably due to Henry Carey, and the first recorded public performance was on September 28, 1745.
HAD I A HEART FOR FALSEHOOD FRAMED (_D. & S._ 14)
Words by _R.B. Sheridan_.
Sung by Mr. Leoni (see _Choir_, May, 1912).
In the _Duenna_, 1775. Set to the air now known as 'The Harp that once through Tara's Halls.'
Moore, in his _Irish Melodies_, calls the melody 'Gramachree.'
HAIL COLUMBIA (_M.C._ 13, _A.N._)
Mr. Elson (_National Music of America_) says that the music was originally known as the 'President's March,' probably by a German composer. The words were subsequently adapted to the air by Dr. Joseph Hopkinson.
HARMONIOUS BLACKSMITH (_G.E._ 21)
From Handel's _Suite de Pieces pour le Clavecin_, Set I.
See p. 19.
HAS SHE THEN FAILED IN HER TRUTH (_N.N._ 49)
_Anon._ _H.R. Bishop._
And has she then failed in her truth, The beautiful maid I adore? Shall I never again hear her voice, Nor see her lov'd form any more?
HEART OF OAK (_B.R._ 7, _E.D._ 12, _U.T._ 20, parody)
Words by _D. Garrick_. _W. Boyce._
It is important to notice that the correct title is as given, and not '_Hearts_ of Oak.'
HELM A WEATHER, NOW LAY HER CLOSE (_O.M.F._)
See p. 133.
HOW DOTH THE LITTLE-- (_Ch._) _Dr. Watts._
See p. 79.
I AM A FRIAR OF ORDERS GREY (_S.B.S._ 8) (_Out of Season_)
Words by _John O'Keefe_. _Wm. Reeve._
Appeared in _Merry Sherwood_, 1795.
I CARE NOT FOR SPRING
See p. 99.
I'D CROWNS RESIGN, TO CALL HER MINE (_D.C._ 25)
'Lass of Richmond Hill.'
Words by _L. MacNally_. _J. Hook._
I'd crowns resign, to call her mine, Sweet lass of Richmond Hill.
For a long time there was a dispute between the partisans of Surrey and Yorkshire as to which 'Richmond Hill' was referred to. The former county was the favourite for a long time, till a communication in _Notes and Queries_ (10th series iii. p. 290) pulverized its hopes and definitely placed the locality in Yorkshire.
IF I HAD A DONKEY (_O.C.S._ 27)
See p. 95.
IF YOU'LL COME TO THE BOWER (_O.M.F._)
See p. 134.
I'LL TELL THEE HOW THE MAIDEN WEPT (_O.M.F._)
See p. 133.
IN HURRY, POST HASTE FOR A LICENCE (_P.P._ 10)
See p. 90.
I SAW HER AT THE FANCY FAIR (_S.B.T._ 11)
I SAW THY SHOW IN YOUTHFUL PRIME (_O.C.S._ 27)
Moore's _Irish Melodies_, air 'Domhnall.'
I saw thy form in youthful prime, Nor thought that pale decay Would steal before the steps of time, And waste its bloom away, Mary.
ISLE OF THE BRAVE AND LAND OF THE FREE (_M.J._)
Original.
IT MAY LIGHTEN AND STORM (_M.C._ 42)
Possibly from some old ballad opera, but more probably original.
JACK'S DELIGHT (TO) HIS LOVELY NAN (_D.C._ 11)
Words and music by _C. Dibdin_.
From 'Lovely Nan.' Last two lines:
But oh, much sweeter than all these, Is Jack's delight, his lovely Nan.
JIM CROW (_A.N._) _Unknown._
See p. 97.
I come from old Kentucky, A long time ago, Where I first larn to wheel about, And jump Jim Crow; Wheel about and turn about, And do jis so, Eb'ry time I wheel about, I jump Jim Crow.
JOLLY YOUNG WATERMAN (_It._, _P.P._ 33)
Words and music by _C. Dibdin_ in _The Waterman_.
KING DEATH (_B.H._ 33)
Words by _Barry Cornwall_. _Neukomm._
King Death was a rare old fellow, He sat where no sun could shine, And he lifted his hand so yellow, And pour'd out his coal-black wine. Hurrah for the coal-black wine!
John Leech used to sing 'King Death,' and it was of his voice that Jerrold once remarked, 'I say, Leech, if you had the same opportunity of exercising your voice as you have of using your pencil, how it would _draw_!'
LESBIA HATH A BEAMING EYE (_Letter to Lemon_)
Words by _Moore_.
Set to the delightfully gay air 'Nora Creina.'
Lesbia hath a beaming eye, But no one knows for whom it beameth, Right and left its arrows fly, But what they aim at no one dreameth!
LISTEN TO THE WATERFALL (_B.H._ 32) _Lord Mornington._
From the glee 'Here in cool grot.'
LITTLE TAFFLINE (_D.C._ 28)
Words by _Prince Hoare_. _S. Storace._
In the opera _Three and The Deuce_, produced in 1806.
See pp. 112, 113.
There is a character 'Little Taffline' in T. Dibdin's _St. David's Day_, music composed and compiled by Attwood. There is another setting said to be 'composed by J. Parry,' but it is merely an altered form of the original.
LOVELY PEG (_D. & S._ 10)
See pp. 117-119.
MARSEILLAISE (_M.C._ 15, _E.D._ 2, _L.D._ 2)
_Rouget de Lisle._
For brief history see _The Choir_ (Nov., 1911)
MASANIELLO (_S.B.T._ 9)
Opera by _Auber_.
See p. 26.
MAY WE NE'ER WANT A FRIEND (_D. & S._ 15)
See 'When the first dawn of reason.'
MEN OF PROMETHEUS (_S.B.T._ 9)
See p. 26.
This was the name given to the first edition of Beethoven's ballet music to _Prometheus_, composed in 1800.
MISS WACKLES, I BELIEVED YOU TRUE (_O.C.S._ 8)
'Mary, I believed thee true,' _Moore_ (one of his 'Juvenile Poems').
Mary, I believed thee true, And I was blest in so believing, But now I mourn that e'er I knew A girl so fair and so deceiving!
It has been suggested that these words were adapted and sung to the Scotch air 'Gala Water.'
MY BOAT IS ON THE SHORE (_G.S._) (_D.C._ 54, _Letters_)
Words by _Lord Byron_. _Bishop._
See p. 12.
Also set by W. Cratherne.
MY FEELINGS I SMOTHER (_O.C.S._ 36)
See 'We met.'
MY HEART'S IN THE HIGHLANDS (_O.C.S._ 2, _S.B.S._ 2)
Words partly by _Burns_.
In Captain Fraser's _Airs Peculiar to the Scottish Highlands_, 1816.
There is a parody by Dickens (see Forster's _Life_, ch. 8).
NEVER LEAVE OFF DANCING (_D.C._ 41)
Said to be the subject of a French song.
NO MALICE TO DREAD, SIR (_O.M.F._)
See p. 134.
NON NOBIS (_S.B.S._ 19)
This celebrated canon, by Byrd, has been performed at public dinners from time immemorial. It also used to be performed at the Theatre Royal, Covent Garden.
NOW'S THE DAY, AND NOW'S THE HOUR (_D.C._ 54)
Verse 2 of 'Scots, Wha Hae' (_Burns_).
Now's the day, and now's the hour, See the front o' battle lour, See approach proud Edward's power, Chains and slaverie.
OF ALL THE GIRLS THAT ARE SO SMART (_O.C.S._ 50)
Words and music by _Henry Carey_.
Carey composed his melody in 1715. It soon became popular, but owing to the similarity of certain phrases to those of an older tune known as 'The Country Lass,' the two gradually got mixed up, with the result that the latter became the recognized setting.
OFF SHE GOES (_S.B.T._ 7)
A once popular dance air.
OFT IN THE STILLY NIGHT (_S.B.S._ 13)
From T. Moore's _National Airs_, set to an air possibly of Scotch origin. There are also settings by Stevenson and Hullah.
OH BLAME NOT THE BARD (_O.C.S._ 35)
Words by _T. Moore_.
In _Irish Melodies_. Set to the tune 'Kitty Tyrrel.'
OH GIVE ME BUT MY ARAB STEED (_O.C.S._ 21)
Words by _T.H. Bayly_. _G.A. Hodson._
Written in 1828. Sung by Braham.
Oh give me but my Arab steed, My prince defends his right, And I will to the battle speed, To guard him in the fight.
OH CHEERILY, CHEERILY (_D. & S._ 32)
Original, but a refrain similar to this is not uncommon in old sea songs.
OH LADY FAIR (_G.E._ 13)
Trio by _Moore_.
See 'Strew then, O strew.'
OH LET US LOVE OUR OCCUPATIONS (_Ch._)
Original lines by Dickens. 'Set to music on the new system,' probably refers to Hullah's method (c. 1841), or possibly the Tonic Sol-fa (c. 1843), see p. 17.
OH LANDSMEN ARE FOLLY (_H.R._)
Original.
OLD CLEM (_G.E._ 12, 15)
A custom prevailed at Chatham of holding a procession on St. Clement's day, and the saint, who was irreverently designated 'Old Clem,' was personated by a young smith disguised for the occasion.
Dickens frequently writes a verse in the form of prose, and this is an example. Written out properly, it reads thus:
Hammer boys round--Old Clem, With a thump and a sound--Old Clem, Beat it out, beat it out--Old Clem, With a cluck for the stout--Old Clem, Blow the fire, blow the fire--Old Clem, Roaring drier, soaring higher--Old Clem.
OLD KING COLE (_O.C.S._ 58, _P.P._ 36)
The personality of this gentleman has never been settled. Chappell suggests he was 'Old Cole,' a cloth-maker of Reading _temp._ Henry I. Wardle's carol 'I care not for spring' (_P.P._ 36) was adapted to this air, and printed in How's _Illustrated Book of British Song_.
OVER THE HILLS AND FAR AWAY (_Dr. M._, _M.C._ 36)
An old saying, both in song and as a phrase. It occurs in two songs in D'Urfey's _Pills to Purge Melancholy_, 1709, one of which is,
Tom he was a piper's son, He learned to play when he was young; But all the tune that he could play Was over the hills and far away. (Vol. iv.)
Doctor Marigold's version is probably original:
North and South and West and East, Winds liked best and winds liked least, Here and there and gone astray, Over the hills and far away.
OVER THE WATER TO CHARLIE (_O.C.S._ 27)
Tune in Johnson's _Musical Museum_, Vol. II, 1788.
Come boat me o'er, come row me o'er, Come boat me o'er to Charlie, I'll gie John Brown another half-crown, To boat me o'er to Charlie; We'll o'er the water, we'll o'er the sea, We'll o'er the water to Charlie, Come weal, come woe, we'll gather and go, And live or die wi' Charlie.
Another Jacobite song was the cause of an amusing incident at Edinburgh. On the occasion of one of his visits there Dickens went to the theatre, and he and his friends were much amazed and amused by the orchestra playing 'Charlie is my darling' amid tumultuous shouts of delight.
PAUL AND VIRGINIA (_S.B.T._ 7, _L.D._ 13) _J. Mazzinghi._
The popular duet from this opera 'See from ocean rising' was sung by Mr. Johnstone and Mr. Incledon. See p. 91.
POLLY PUT THE KETTLE ON (_B.R._ 24)
An old country dance.
RED RUFFIAN, RETIRE! (_S.B.C._ 8)
Probably an imaginary title, invented by Dickens.
RULE BRITANNIA (_D. & S._ 4, 39, _U.T._ 2, _M.C._ 11, 17, _A.N._, _D.C._ 8)
Words by _Thomson_ or _Mallet_. _Arne._
First appeared in print at the end of the masque _The Judgement of Paris_, but it was composed for the masque of _Alfred_, which was first performed on August 1, 1740. See _Musical Times_, April, 1900.
SALLY IN OUR ALLEY
See 'Of all the girls.'
SATAN FINDS SOME MISCHIEF STILL (_D.C._ 16)
See p. 80. _Dr. Watts._
SEE FROM OCEAN RISING (_S.B.T._ 7)
See _Paul and Virginia_.
SHE'S ALL MY FANCY PAINTED HER (_O.C.S._ 7)
('Alice Gray.')
See 'Yet lov'd I.'
SHE'S LIKE THE RED, RED ROSE (_O.C.S._ 8)
Burns revised the words from an old song.
The music is in _Caledonian Pocket Companion_, Bk. VII, 1754, under the name 'Low Down in the Broom.'
SHIVERY SHAKEY, AIN'T IT COLD (_Dr. M._)
See p. 94.
SINCE LAWS WERE MADE FOR EVERY DEGREE (_O.C.S._ 66, _L.D._