Part 8

"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.