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.
[Illustration: ARNE, BY ZOFFANY.]
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."
"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.