Part 7

"Nov. 17. SIR,--As you have causelessly dropped the friend, I have sense enough to write at a becoming distance. You will undoubtedly hear, by the freshest advice, the _tête-à-tête_ alteration between your brother and me. How could it happen otherwise, when the first salutation I received was 'Dr. Arne, we have considered of the farce, and PROTEST AGAINST IT'; which nearly led me into a mistake; for how could I suppose he meant the farce you had first promised to do, and after the last rehearsal concluded on? But on his warm repititions, I found that I should have protested against the farce that has been so long acting ex-parte managers, and tragedy on the composer's part. I answered, 'I am not surprised, it tallies exactly with the treatment I have all along received,' (meaning not only on account of the farce, but the discharge of two young women,[25] handsome, perfect figures, and possessed of better talents than most on either stage have set out with:) I scorn to retract my words, and think Mr. G. Garrick[26] will equally scorn to aggravate them. The young women brought three very good houses for the opening of a season, and met with more public applause than I have ever heard; and though inexperience, mixed with sensibility, might intimidate Miss Weller so as sometimes to exceed the exact sound, it was so little that the audience were not susceptible of it. If you had no intention to retain them, one night's performance had surely been sufficient for their condemnation; but they had not then been supplanted by my son's application;--permit me to give you joy of the acquisition. As to singing in tune, by my salvation! not above three in both theatres can do it, though several have had nearly twenty years' experience. I did not, _as has been done to you more than once_, impose my young pupils on you as finished singers; why then should they be discharged for what you knew before their appearance, especially after three warm receptions? Your public declaration this morning appeared as meant to complete the many shocks which I and mine have received--it was ineffectual: I shall think myself happy to be mistaken. If you are willing to show a friendship which I shall deem an honour to receive, it will not be sufficient that you perform the piece; I shall have the presumption to hope that you will further its success; though I fear that the cold breath of the manager, like a wintry blast, has chilled the hearts of his dependents; it is a distemper as catching as the itch. There has been but one decent rehearsal which was in your presence; though, even then, two principals were absent; nor can I expect any better, till the manager will either graciously appear, or at least send his general mandate: and, but for the respect due to the author, I had long since withdrawn the prettiest music, in the light style, that I ever wrote; but I will not, uncompelled, incur the resentment of a gentleman, a man of fortune and a scholar, respected by the first personages of the University of Oxford, by assuring him, from your promise, that his piece will be performed with all possible expedition; then, that it is in rehearsal, and now, by writing him word that you 'protest against it'? I once had a sparring of this kind with Mr. Rich; he generously acknowledged that he had not treated me kindly, and misunderstanding was the cement of our friendship ever after. May this candid explanation prove equally successful! It shall not be my fault if it does not, being ever desirous of proving myself, your real humble servant,

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

Garrick's reply is very short and sharp:

"DEAR SIR.--I have read your play and rode your horse, and do not approve of either. They both want particular spirit which alone can give pleasure to the reader and the rider. When the one wants wits, and the other the spur, they both jog on very heavily. I must keep the horse, but I have returned you the play. I pretend to some little knowledge of the last; but as I am no jockey, they cannot say that the knowing one is taken in. I am, Sir, your most obedient servant. D. G."

Endorsed "Designed for Dr. Arne, who sold me a horse, a very dull one; and sent me a comic opera, ditto."

In 1776, early in the year, Miss Abrams, referred to in a letter from Dr. Arne to Garrick, made her first appearance on the Drury Lane stage in Garrick and Arne's "May-day, or the Little Gipsy." She possessed a sweet voice and good taste, which had been excellently cultivated under Arne's tuition. At the last rehearsal of the piece, which took place on the morning of the day of performance, Garrick suddenly conceived that a dance of rustics would improve the play, and told Dr. Arne of his idea, adding, "I suppose it would be impossible for you to compose a tune for it in time?" The Doctor, smiling and rubbing his elbow, according to his usual practice, replied, "We'll see what can be done," and calling for pen, ink, and music paper, sat down at the prompter's table, and in less than five minutes produced one of the prettiest dancing tunes ever heard, which, when played by the band, astonished and delighted Garrick so much that, forgetting his age, he ran up to the Doctor, and embracing, took him by the hands and danced with him round the stage with much grace and animation, to the admiration of all who witnessed it.

In 1776, Arne was engaged to compose music for the Rev. William Mason's drama, "Caractacus." The original libretto was written in 1759; but considerably revised, altered, and adapted for stage purposes in 1776 by the author, and this amended version, with Arne's incidental music, was produced at Covent Garden Theatre on the 6th of December. That it was a complete success is evident; the _New Morning Post, or General Advertiser_, on the day following the performance, congratulated the town "on the acquisition of so fine an entertainment as 'Caractacus' where poetry and music unite their fascinating powers." Dr. Samuel Arnold, the composer, who was attached to Covent Garden Theatre when "Caractacus" was produced, spoke in the highest terms of Arne's music. Unfortunately every vestige of this has disappeared; according to the testimony of Dr. Arnold and of Dr. Thomas Busby, "One of the latest and finest of Dr. Arne's theatrical compositions, was an Opera called 'Caractacus,' founded on a piece of that name written by Mason. Every portion of the music, as the late Dr. Arnold, who had seen it, informed the compilor of this work, evinced a vigour and warmth of imagination worthy of the flower of early manhood. At Dr. Arne's decease, this production came into the possession of his son, Mr. Michael Arne, who unfortunately sold the manuscript to one Harrison, a bookseller in Paternoster-row, who becoming a bankrupt before the piece was published, it was publicly sold together with his other effects, to whom it is not now known, and never has been heard of since." Six years after Dr. Arne's death, in 1784, _The Universal Magazine_ announced that Mr. Michael Arne was intending to publish his father's "Death of Abel, Caractacus, and a Set of Concertos for the Harpsichord or Pianoforte with the Choruses in Judith." Michael Arne died in 1786, without having accomplished his desire; in 1793 the Concertos appeared, having been edited by Mr. Groombridge, and from the interesting preface to the volume we learn that this was the only piece which had been published. Quite recently an anonymous publication of music for Mason's "Caractacus" has been attributed to Dr. Arne, but the composition is so faulty and puerile that, even if other evidence were wanting, it would be impossible to suppose it the work of an experienced and accomplished musician like Arne. The book in question has a water-mark in the paper, 1794, which was sixteen years after Dr. Arne's death. The author's preface to the publication was evidently written by some one alive at that date; it is therefore not necessary to waste more space in discussing it.

Dr. Arne had a very high opinion of his own talent as a poet, and some of his theatrical pieces are said to have suffered comparative failure in consequence of the poor quality of the words. But there was one piece of his, never performed nor ever published, which, while exhibiting his skill as a composer of music, shows also that he was at times wholly wanting in good taste and discretion. There are two copies of the libretto in existence, printed by Arne for publication, but never issued: the title-page is: "Whittington's Feast, a new Parody on Alexander's Feast written by a College Wag. The Overture, Songs, &c., with all the grand chorusses, new composed by Thomas Augustine Arne. Doctor of Music.

Risum teneatis amici? O what is Music to the ear that's deaf; Or a goose pye to him that has no taste?

London: Printed for the Author."

In the preface, Arne says: "The fairest apologies I can offer in excuse for this Parody on Alexander's Feast, which, by its ludicrous turn, may be thought an attempt to depreciate one of the noblest poems in the English, or perhaps any other language, are, First, that the impossibility, in any degree, to lessen the value of so perfect an ode was a capital motive. The second was an irresistible propensity (which perhaps I may have mistaken for genius) to the comic muse." The preface ends with an intimation that the author hopes the "oddity of the attempt, with the intense application bestowed on the music, and the great expence at which it is performed, will compensate for any defects in the parody, and invite a good-humoured audience to support it." "April the 10th, 1776. From my Garret, in Cat and Harp Alley."--"The Scribbler."

The libretto is printed in double columns, the left giving Dryden's text, the right the College Wag's parody. It may suffice to say that there are seventeen pages of vulgarity and sometimes indecency. The music, which extends to two hundred and fifty pages in the manuscript score, is superior to the poetry. There is no Overture; the various songs and choruses are palpably meant to be in imitation of Handel, but like the words they fail to detract from the value of the originals they vainly burlesque. There is evidence that Arne intended to have a public performance of "Whittington's Feast"; but circumstances, probably indifferent health, prevented it.

In October, 1777, Arne and his wife met and became again a united and affectionate pair. This happy reconciliation was brought about by the intervention of their grand-niece, Cecilia Maria Barthelemon. A memorandum written by her, still preserved by one of her descendants, is worth quoting verbatim: "In former days the Doctor [Arne] had taken great pleasure in hearing my mother[27] sing the songs for _Mandane_ in his Opera of _Artaxerxes_, and latterly she used to visit him for the purpose of receiving her Aunt's seperate maintenance money, and the last time she called for this purpose, she took her little daughter with her, then about ten years old. The Doctor who was always kind to the child, had her seated on his knee all the time: and when her mother was about to leave, she ventured to say, that she began to be tired of calling for this purpose, and thought it would be far better for him to be reconciled to his good wife, who had always been so irreproachable herself. He, however, answered her in a manner so violent and angry, that the child who both loved and revered her great-aunt, burst into tears and cried aloud; and her mother at once rose to take leave, observing also that she would _never take the trouble to call upon him again_. A few days after, however, she received a letter from the Doctor, apologizing for his conduct, adding that the tears of the dear child had affected him more than could a host of men, and that if his dear old wife would be reconciled, he would be happy to see her and her niece and nephew Barthelemon, and the dear child also, to dine with him on the following Sunday. The good Mrs. Arne shed tears of joy, gave her ready consent, and lovingly embraced her little grand niece." The narrative continues: "The Doctor and his wife lived happily together (alas) only for six months after this long wished for reconciliation (after a separation of thirty years)--often expressing the wish that it had taken place years, instead of only months before."

We learn from an entry made by Mawhood in his diary, dated the 6th of December, 1777, that he saw Dr. Arne, "who has conformed and is now very ill; he has made his will betwixt Mrs. Arne and Michael." Another entry in the diary, dated the 10th, stated: "Mr. Paxton called, says Dr. Arne is now on the recovery." The improvement in his health, however, proved only temporary, and on the 5th of the following March, 1778, the diarist wrote, "Dr. Arne died this evening at eight o'clock."

The grand-niece previously quoted says: "Dr. Arne died a sincere penitent, and a firm Catholic. His confessor buried him according to the ceremony of his Church. A cross was put on his coffin, and he was interred in the burial ground of St. Paul's, Covent Garden, on the right hand side going in." There are two contemporary printed accounts of the last moments of the distinguished composer; one from his intimate friend, the popular tenor singer, Vernon, who, at that time engaged in the neighbouring Drury Lane Theatre, was in the habit of visiting Arne daily at his residence in Bow Street. The morning after Arne's decease he told the company assembled in the music-room at the theatre that he "was talking on the subject of music with the Doctor, who suffered much from exhaustion, when, in attempting to illustrate what he had advanced, he in a very feeble and tremulous voice sung part of an air, during which he became progressively more faint, until he breathed his last, making as our immortal Shakespeare expresses it, a swan-like end fading in music."

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."