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
[Illustration: CLIEFDEN IN 1740.]
RULE, BRITANNIA.
His Royal Highness Frederick Prince of Wales, son of King George the
Second, was opposed to his father not only in politics, but also in
his tastes and amusements. The King had no liking for, or appreciation
of, British men and things; the Prince, on the contrary, assiduously
cultivated a knowledge of the English laws and constitution, and
strove to assimilate his tastes and feelings to those of the people
he expected one day to rule and govern. He zealously promoted such
measures as he thought desirable for the public welfare, and patronized
men of eminence connected with arts, science, and literature. His
beautiful residence, Cliefden,[32] on the banks of the Thames, was
the recognized resort of the most distinguished men of letters and
art. The under-secretary of the Prince was David Mallet, to whom he
paid a stipend of two hundred pounds per annum; Thomson the poet was
also one of his protégés. A change of government deprived Thomson of
a lucrative appointment, and being introduced to the Prince of Wales
the latter gaily interrogated him about the state of his affairs; the
poet replied, "they were in a more poetical posture than formerly,"
whereupon the Prince granted him a pension of one hundred pounds a year.
In 1740 the Prince of Wales resolved to celebrate in a special manner
two important events--the Accession of the House of Hanover to the
throne of England, and the anniversary of the birth of his little
daughter, the Princess Augusta, born on the 31st of July, 1737.
For the occasion the services of Mallet and Thomson were called
into requisition. John Rich, the successful actor-manager, was also
commissioned to prepare various stage performances. Rich had become
popular from his connection with Gay's "Beggar's Opera," which he had
the good fortune to produce at the theatre in Lincoln's Inn Fields
in 1728, and thereby netted four thousand pounds. The author received
six hundred and ninety-three pounds three shillings and sixpence. This
remarkable success called forth the witty saying that "the 'Beggar's
Opera' made Gay rich, and Rich gay." Rich was the founder of Covent
Garden Theatre, in 1731, and was doubtless on excellent terms with the
aristocratic patrons of the stage, including the Prince of Wales. On
the 5th of September, 1740, he piloted the Prince through the mazes of
Bartholomew Fair, Smithfield. A witness of the scene has described it
thus: "The multitude behind was impelled violently forwards, a broad
blaze of red light, issuing from a score of flambeaux, streamed into
the air; several voices were loudly shouting 'Room there for Prince
George! make way for the Prince!' Presently the pressure became much
greater, the voices louder, the light stronger, and as the train came
onward it might be seen that it consisted of a party of yeomen of the
guard clearing the way; then several more of them bearing flambeaux and
flanking the procession, while in the midst of all appeared a tall,
fair and handsome young man, having something of a plump, foreign
visage, seemingly about four-and-thirty years of age, dressed in a
ruby-coloured frock coat, very richly guarded with gold lace, and
having his long flowing hair curiously curled over his forehead and
at the sides, and finished with a very large bag and courtly queue
behind. The air of dignity with which he walked, the blue ribbon and
star and garter with which he was decorated, the small three-cornered
silk hat which he wore, whilst all around him were uncovered, the
numerous suite, as well of gentlemen as of guards, which marshalled
him along, the obsequious attention of a short, stout person, who by
his flourishing manner seemed to be a player,--all these particulars
indicated that the amiable Frederick Prince of Wales was visiting
Bartholomew Fair by torchlight, and that Manager Rich was introducing
his royal guest to all the entertainments of the place."
Great preparations were made at Cliefden, and on the 1st of August,
the Prince of Wales received his guests. An interesting account of
the proceedings was printed in the _London Daily Post and General
Advertiser_ of Saturday, the 2nd, in the following words: "Last
night was performed at the gardens of Cliefden, (in commemoration
of the Accession of his late Majesty King George, and in Honour of
the Birth of the Princess Augusta; their Royal Highnesses the Prince
and Princess of Wales, with all their Court being present,) a new
Masque of Two Acts, taken from the various Fortunes of Alfred the
Great by Mr. Thomson; and performed by Mr. Quin, Mr. Milward, Mrs.
Horton, and others from both Theatres;--also a Masque of Music, call'd
'The Judgement of Paris' writ by Mr. Dryden;[33] and concluded with
several Scenes out of Mr. Rich's Pantomime Entertainment, perform'd
by himself, and others of his appointing particularly the Skeleton
Scene in Merlin's Cave, and the Dwarf Scene in Orpheus and Euridice.
Also the famous Le Barbarini (newly arriv'd with Mr. Rich from
Paris,) performed several Dances, and so much to the satisfaction
of their Royal Highnesses, that his Royal Highness was pleas'd to
make her a very handsome Present, and the work was conducted with
the utmost Magnificence and Decorum." The Fête was repeated on the
following evening, but unfortunately a violent rain-storm interrupted
the proceedings, and the Masque of Alfred had to be performed in the
house. The _Daily Post_, of August the 5th, reported that "the whole
was exhibited upon a Theatre in the Garden, composed of Vegetables and
decorated with Festoons of Flowers, at the End of which was erected a
Pavilion for Their Royal Highnesses the Prince of Wales, Prince George,
and Princess Augusta."
It is remarkable that the newspaper report makes no mention of Thomas
Arne, who composed the music for both Masques, whose work alone has
rescued from oblivion the memory of the proceedings. One of the songs
in "Alfred" was "Rule, Britannia." The Masque is forgotten; poet and
composer, and they who first heard its thrilling burst from chorus and
orchestra are mouldering in their tombs; the halls through which the
strain resounded have long since perished; but the enthusiasm then
awakened still vibrates in the British heart to the sound of the words,
Rule, Britannia, Britannia rule the waves.
Thomas Arne resided at Cliefden before and during the Fête; his wife,
who was one of the principal vocalists in both Masques, many years
afterwards told her grand-niece, Cecilia Maria Barthelemon, that she
witnessed a curious scene on one of the lawns: "Two men were mowing,
when the hinder man severely cut the calf of the leg of the other,
and the Prince of Wales immediately dipped a cambric handkerchief in
some Arquebusade[34] and himself wrapped it round the man's leg, which
needed no other cure."
Very shortly after the performance, on the 19th of August, Millar, the
bookseller and publisher, issued the libretto of "Alfred": the title
of the book reads: "Alfred, a Masque Represented before Their Royal
Highnesses the Prince and Princess of Wales, At Clifden, (_sic_) on the
First of August, 1740. London Printed for A. Millar, over against St.
Clement's Church in the Strand MDCCXL." A perusal of the publication
shows that Mr. Milward represented King Alfred; Mrs. Horton, the King's
wife, Eltruda; Mr. Quin, a Hermit; Mr. Mills, the Earl of Devon; Mr.
Salway, Corin, a Shepherd; Mrs. Clive, Emma, the Shepherd's wife. Two
other characters, a Bard and a Spirit, have no names attached, but we
know that the part of the Spirit was sung by Mrs. Arne. The Masque
consists almost entirely of speaking parts; the first introduction of
music is a song for Emma, the Shepherd's wife, who has a delightful
little ditty to the words:
O peace! the fairest child of heaven,
To whom the sylvan reign was given,
The vale, the fountain and the grove,
With every softer scene of love.
Return, sweet peace, and cheer the weeping swain;
Return with ease and pleasure in thy train.
This charming song was doubtless well sung by Kitty Clive, who, a few
years later, was the first to warble Arne's exquisite melody, "Where
the bee sucks."
The third scene opens with a stage direction--"Solemn music is heard
at a distance. It comes nearer in full symphony: after which a single
trumpet sounds a high and awakening air. Then the following stanzas are
sung by two aerial spirits unseen:
"Hear, _Alfred_, father of the state
Thy genius heaven's high will declare!
What proves the hero truly great,
Is never, never to despair:
Thy hope awake, thy heart expand
With all its vigour, all its fires.
Arise! and save a sinking land--
Thy country calls, and heaven inspires."
If Arne composed music for the above, it was never published.
The next air is sung by Eltruda, the Queen, represented by Mrs.
Horton. It was sung off the stage, and according to Arne's score was
accompanied by harpsichord and flute, the latter instrument echoing the
voice-part. The libretto has two verses, but only the following was
performed:
Sweet valley, say, where, pensive lying,
For me, our children, _England_, sighing,
The best of mortals leans his head.
Ye fountains, dimpled by my sorrow,
Ye brooks that my complainings borrow,
O lead me to his lonely bed:
Or if my lover,
Deep woods, you cover,
Ah, whisper where your shadows o'er him spread!
In the third scene, second Act, after a dialogue between Alfred,
Eltruda and the Hermit, the latter summons the "Genius of England."
Then the stage direction is "Music grand and awful. The Genius
descending sings the following song":
From these eternal regions bright,
Where suns, that never set in night,
Diffuse the golden day:
Where spring unfading pours around,
O'er all the dew-impearled ground,
Her thousand colors gay:
O whether on the fountain's flowery side,
Whence living waters glide,
Or in the fragrant grove
Whose shade embosoms peace and love,
New pleasures all your hours employ,
And rapture every sense with every joy!
Great heirs of empire! yet unborn,
Who shall this island late adorn;
A monarch's drooping thought to chear,
Appear! Appear! Appear!
Possibly this song may have been omitted at the performance. Music
for it cannot be found. The spirits of Edward the Third, Philipa his
Queen, and their son the Black Prince, arise together; afterwards
Queen Elizabeth, succeeded by William the Third--all are described by
the Hermit. The next scene opens with a "Symphony of Martial music."
The last scene affords an opportunity for Emma, the Shepherd's wife,
represented by Kitty Clive, to sing a bright and sprightly melody,
accompanied by the string orchestra in gavotte time to the following
words:
If those, who live in Shepherd's bower,
Press not the rich and stately bed:
The new-mown hay and breathing flower
A softer couch beneath them spread.
If those, who sit at Shepherd's board,
Soothe not their taste by wanton art:
They take what Nature's gifts afford,
And take it with a chearful heart.
If those, who drain the Shepherd's bowl,
No high and sparkling wines can boast,
With wholesome cups they chear the soul,
And crown them with the village toast.
If those who join in Shepherd's sport,
Gay-dancing on the daizy'd ground.
Have not the splendor of a court;
Yet Love adorns the merry round.
A short dialogue between Alfred and Eltruda follows, and then the
Hermit speaks, "Behold, my Lord, our venerable Bard,
"Aged and blind, him whom the Muses favour.
You ere you go, in our lov'd country's praise,
That noblest theme, hear what his rapture breathes."
This is immediately succeeded by
AN ODE.
When _Britain_ first at heaven's command,
Arose from out the azure main:
_This_ was the charter of the land,
And guardian Angels sung _this_ strain:
"Rule, _Britannia_, rule the waves:
Britons never will be slaves."
The nations, not so blest as thee,
Must in their turns, to tyrants fall:
While thou shalt flourish great and free,
The dread and envy of them all.
"Rule," etc.
Still more majestic shalt thou rise,
More dreadful, from each foreign stroke:
As the loud blast that tears the skies,
Serves but to root thy native oak.
"Rule," etc.
Thee haughty tyrants ne'er shall tame:
All their attempts to bend thee down,
Will but arouse thy generous flame;
But work their woe, and thy renown.
"Rule," etc.
To thee belongs the rural reign;
Thy cities shall with commerce shine;
All thine shall be the subject main,
And every shore it circles thine.
"Rule," etc.
The Muses, still with freedom found,
Shall to thy happy coast repair:
Blest isle! with matchless beauty crown'd,
And manly hearts to guard the fair.
"Rule, _Britannia_, rule the waves,
Britons never will be slaves."
Each of the foregoing verses was sung as a solo with the choral refrain
"Rule, Britannia." The venerable bard was represented by Mr. Thomas
Lowe,[35] a favourite singer who was engaged at Cliefden, and sang
the tenor solos on that occasion in the "Judgement of Paris." We know
from the report in the _Daily Post_ that there were "other performers
from both theatres,"[36] doubtless a good and efficient chorus. The
Ode would have made a splendid climax to the Masque,[37] but the
libretto shows that the Hermit followed with a speech which is worthy
of reproduction; the last four lines are particularly deserving of
attention:
Alfred, go forth! lead on the radiant years,
To thee reveal'd in vision.----Lo! they rise!
Lo! patriots, heroes, sages, crowd to birth:
And bards to sing them in immortal verse!
I see thy commerce, _Britain_, grasp the world:
All nations serve thee; every foreign flood,
Subjected, pays its tribute to the _Thames_.
Thither the golden South obedient pours
His sunny treasures: thither the soft East
Her spices, delicacies, gentle gifts;
And thither his rough trade the stormy North.
See, where beyond the vast Atlantic surge,
By boldest keels untouch'd, a dreadful space!
Shores, yet unfound, arise! in youthful prime,
With towering forests, mighty rivers crown'd!
These stoop to _Britain's_ thunder. This new world,
Shook to the centre, trembles at her name:
And there, her sons with aim exalted, sow
The seeds of rising empire, arts, and arms.
_Britons_ proceed, the subject _Deep_ command,
Awe with your navies every hostile land.
In vain their threats; their armies all in vain:
They rule the balanc'd world, who rule the main.
Although the libretto of "Alfred" was published a few days after the
performance at Cliefden, the music remained in manuscript; possibly
Arne did not consider the number of pieces, only five, sufficient to
warrant the expense of publication; it is certain however that the
"Rule, Britannia" Ode caught the public ear, and became celebrated.
When therefore the "Judgement of Paris" Masque was published, about
1741, the opportunity was taken of printing the score of "Rule,
Britannia." The volume consists of sixty-one pages, and the title-page
reads: "The music in the Judgement of Paris, consisting of All the
Songs, Duettos and Trio, with the Overture in Score, as perform'd by
Mr. Beard, Mr. Lowe, Mrs. Arne, Mrs. Clive, Miss Edwards and others
at the Theatre Royal in Drury Lane. To which (by particular Desire of
Several Encouragers of the Work) are added the _Celebrated Ode, in
Honour of Great-Britain call'd Rule, Britannia_, and Sawney and Jenney,
a favourite Dialogue, in the Scotch Stile. The whole compos'd by Thomas
Augustine Arne. Opera Sesta. London. Printed for Henry Waylett, at the
Black Lyon in Exeter Change in the Strand, and sold by him, and at all
the music shops in London and Westminster, where may be had five other
volumes of the Author's Works."
It was not before 1751 that the other music of "Alfred" was published.
The title-page reads: "The Masque of Alfred compos'd by Mr. Arne.
London. Printed for I. Walsh in Catherine Street in the Strand." The
volume consists of eighty-three pages; but the "celebrated Ode" is
conspicuous by its absence. No doubt Waylett, the publisher of the
"Judgement of Paris," was unwilling to permit its insertion without
some adequate recompense. In what way the matter was adjusted we do not
know; but an arrangement was made, and a second edition of "Alfred"
issued which included the "Celebrated Ode." The plates used were those
from which the music was printed in the "Judgement of Paris"; this is
evident from the double-paging visible on the pages of "Alfred": 62-84,
63-85, 64-86. The first set of numbers belong to the "Judgement of
Paris," and the second set to "Alfred."
[Music: The Score of The celebrated ODE in Honour of Great BRITAIN
call'd Rule Britannia.]
The first published score of "Rule, Britannia" enables us to note that
both words and music have undergone considerable changes, some of them
undoubtedly improvements and others the reverse. The elimination of
the short ritornelles, or symphonies, which Arne wrote between the
several lines of the verses, brings the subject-matter closer together
and makes it more adaptable for a national song. On the other hand,
the alteration of the melody in the last bar of the solo cannot be
commended, neither can the change of melody and harmony at the end of
the first bar of the chorus. As originally composed it was very strong,
virile, and characteristic of Arne. It would, however, be injudicious
now to attempt to restore the original; custom and the popular ear have
stereotyped the prevailing version. It is noteworthy that Chappell's
"Popular Music of the Olden Time," and also the reprint of that work,
give the erroneous version without comment. The _Gentleman's Magazine_
of 1755, with the exception of some typographical errors, faithfully
follows the composer. It would be interesting to ascertain who first
tampered with the Ode. William Horsley published an edition about
1840, which is correct. The words have also been badly treated. The
original says "guardian angels _sung_ this strain," and the command
"Rule, Britannia, _rule_ the waves" has been changed to an assertion
that "Britannia rules the waves." This error may without difficulty be
avoided in future.
After the performance of "Alfred" at Cliefden, we can trace no public
representation of any of the music before the 21st July, 1742, when
Mrs. Arne sang the air, "O Peace, thou fairest child of Heaven," at a
concert in Dublin.
The work was advertised for performance in Dublin in 1743, but was
not actually produced until the following year. On the 28th of
February and 3rd of March an advertisement appeared in _Faulkner's
Journal_--"The Third Night of the Subscription, at the Theatre-royal
in Smock Alley, on Saturday next, being the 10th of this Inst., March,
will be performed the Judgement of Paris, written by Mr. Congreve
and set to music by Mr. Arne, with all the Chorusses as performed at
the Theatre Royal in Drury-Lane; after which will be performed a new
Serenata, called Alfred, composed by Mr. Arne, at the special Command
of his Royal Highness, Frederick Prince of Wales, and never performed
but at his Palace at Cliefden, which concludes with a favourite Ode
in Honour of Great Britain, beginning, When Britain first at Heav'n's
command. N.B. Attendance will be given at the Theatre on each Day
of Performance." In May and June, 1744, for the benefit of the
composer and his wife, two performances were given of "Alfred" and the
"Judgement of Paris." The _Dublin Journal_ announced by advertisement
as follows: "Being particularly desired. For the benefit of Mr. and
Mrs. Arne. At Mr. Neale's great Room in Fishamble street, on Wednesday
the 30th of this Inst. May 1, will be performed the Judgement of
Paris, written by Mr. Congreve, and now set to music by Mr. Arne,
after which will be performed a Serenata, call'd Alfred, composed by
Mr. Arne at the special Command of his Royal Highness Frederick Prince
of Wales, and performed at his Palace at Cliefden, on the Birthday of
the young Princess Augusta. To conclude with the celebrated Ode in
Honour of Great Britain, beginning (When Britain first at Heaven's
Command). The principal Parts to be sung by Mr. Lowe, Mr. Cologan, and
Mrs. Arne, being the last Time but one that Mr. Arne, Mrs. Arne or
Mr. Lowe will perform in Publick this Season. Mr. Arne will accompany
the Performance on the Violin, Mr. Welch on the Organ, and Signior
Pasqualino on the Violoncello. N.B. This Performance will be done to
great Advantage, on account of the Organ, and the assistance of Mr.
Cologan, and several Gentlemen in the Chorusses, who could not perform
at the Theatre. Ticket a British Crown. To begin precisely at half an
Hour after 6 o'Clock. Vivat Rex. Tickets to be had at Mr. Arne's in
Aungier street." The repeat performance took place on the 6th of June.
It may be noted that Mr. Cologan (James Colgan) was a vicar-choral of
St. Patrick's Cathedral; probably the several gentlemen in the chorus
were also attached to St. Patrick's or Christ Church Cathedrals, and
thus precluded from assisting in performances on the theatre stage.
Mr. Welch was Mr. George Walsh, the organist of St. Ann's Church,
Dublin. The next performance of "Alfred" took place in London. The
_General Advertiser_ of 20th March, 1745, printed the following: "for
the benefit of Mrs. Arne, an Historical Musical Drama, call'd Alfred
the Great, King of England. The Musick was composed by Command of His
Royal Highness the Prince of Wales, and never performed in England, but
at His Royal Highness's Palace at Cliefden. The music by Mr. Arne. To
conclude with a celebrated Ode in Honour of Great Britain, in imitation
of those formerly sung at the Banquets of Kings and Heroes: Boxes, 6s.;
Pit, 4s.; First Gallery, 2s. 6d.; and Upper Gallery, 1s. 6d. Mr. Arne
humbly hopes the Town will not be offended at the small advance of
the Price, this Performance being exhibited at an Extra Expence, with
regard to the Number of Hands, Chorus Singers, building the stage, and
erecting an Organ; besides all other incidents as usual. The Ladies are
desir'd to send their Servants[38] by Four o'clock. The above day is
fix'd on to avoid interfering with Mr. Handel."[39]
For this performance the libretto had been considerably altered,
re-written in fact, and Arne had composed the additional music
required; the title-page of the revised book reads: "Alfred, an Opera.
Alter'd from the Play, written by Mr. Thomson and Mr. Mallet, in Honour
of the Birth-Day of Her Royal Highness, The Young Princess Augusta.
The Musick was composed by Mr. Arne, and perform'd with the Play
at Cliffden in Buckinghamshire at the Special Command of His Royal
Highness, Frederic, Prince of Wales. London. Printed for A. Millar at
Buchanan's Head, Opposite Catherine Street in the Strand. M.DCC.XLX."
The dramatis personæ were all singers, Mr. Lowe, the tenor, represented
Alfred, King of England; Master Connel, Prince Edward, son of Alfred;
Mr. Baildon, Earl of Devon; Mr. Baker, Corin, a shepherd; Mrs. Arne,
Eltruda, Queen of England; Miss Young, the First Spirit; Miss Sybilla,
the Second Spirit; Miss Young, a Shepherdess, wife of Corin.
The first libretto (1740) of "Alfred" was certainly written by Thomson.
It contained many fine lines which are not to be found in the 1745
book. Two examples will suffice. The Hermit, addressing Alfred, says: