I liv'd thro' future ages; felt the virtue,
The great the glorious passions that will fire
Distant posterity: when guardian laws
Are by the patriot, in the glowing senate,
Won from corruption; when th' impatient arm
Of liberty, invincible, shall scourge
The tyrants of mankind,--and when the Deep,
Through all her swelling waves, shall proudly joy
Beneath the boundless empire of thy sons.
Alfred the King speaks:
In thoughtless, gay prosperity, when all
Attends our wish; when nought is seen around us
But kneeling flattery, and obedient fortune;
Then are blind mortals apt, within themselves
To fix their stay, forgetful of the giver,
But when thus humbled, ALFRED, as thou art,
When to their feeble natural powers reduc'd,
'Tis then they feel this universal truth--
That heaven is all--and man is nothing.
The 1745 book doubtless owed its rearrangement and some of its lyrics
to Mallet; it provides twenty sets of words which require music, but
if these were set by Arne, eight can no longer be traced. In 1754 a
new version of the libretto was published with the title: "Alfred the
Great, an Oratorio, As it was Represented at the Theatre-Royal in
Drury-Lane. The Musick was composed by Mr. Arne. London: Printed for
A. Miller, in the Strand. MDCCLIV." The advertisement, or preface, to
the book reads: "This Oratorio is altered from _Alfred_, a Masque,
represented before their Royal Highnesses the Prince and Princess of
Wales, at Clifeden, August 1, 1740; being the Birth-Day of the Princess
Augusta, written by the late Mr. Thomson and Mr. Mallet, and afterwards
new written by Mr. Mallet, and acted at the Theatre Royal in Drury
Lane,[40] in 1751." Thomson died in 1748; Mallet had therefore a free
hand, a liberty of which he availed himself very fully; lines were
altered, new ones introduced, and several verses added for songs and
for chorus. The music for all the songs and solo music is contained in
the volume published by Arne, but the music for the choruses is not
given; probably it no longer exists. Amongst the additions made by
Mallet is a Pastoral Invocation, or song, commencing:
Nymphs and shepherds, come away,
and he makes the second Act end with a _Grand Chorus_:
How sleep the Brave, who sink to Rest,
By all their Country's Wishes blest!
When Spring, with dewy Fingers cold,
Returns to deck their hallow'd Mould,
She then shall dress a sweeter Sod
Than Fancy's Feet have ever trod.
There Honour comes, a Pilgrim grey,
To bless the Turf that wraps their clay;
And Freedom shall a while repair,
To dwell a weeping Hermit there.
By Hands unseen the Knell is rung;
By Fairy Forms their Dirge is sung.
These exquisite lines were written by William Collins in 1746; but
when Mallet annexed and printed them, without acknowledgment, the
unfortunate author was in a lunatic asylum, and therefore quite
incapable of protecting himself. When Mallet produced his version of
"Alfred" for Garrick in 1751, he endeavoured to make folk believe that
he wrote the words of the Ode, "Rule, Britannia." They had been printed
in Edinburgh in a popular song-book, "The Charmer," with Thomson's
initials, J. T., and by the friends of the poet were generally known
to be his. Mallet's literary honesty or dishonesty is now generally
appreciated, but it must not be forgotten that for years he posed as
the author of the ballad "William and Margaret," and unflinchingly
accepted all the encomiums passed upon him in connection with it. In
1880 William Chappell called attention to a folio black-letter sheet in
the British Museum, which, with the exception of the first two lines,
was identical with Mallet's print. The date of the publication of the
Museum copy was 1711, Mallet's 1724, and the ballad is believed to have
been popular when quoted by Fletcher in the "Knight of the Burning
Pestle," in 1611.
The celebrity of "Rule, Britannia" appears to have been immediate and
general. Hanoverians and Jacobites adopted it as a popular ditty; the
latter party produced several parodies, amongst them the chorus:
Rule, Britannia, Britannia rise and fight,
Restore your injured Monarch's right.
The following words in a collection of songs called "The True Royalist"
are directed to be sung to the tune, "When Britain first, at heav'n's
command":
Britannia, rouse at heav'n's command!
And crown thy native Prince again;
Then Peace shall bless thy happy land,
And Plenty pour in from the main:
Then shalt thou be--Britannia, thou shalt be
From home and foreign tyrants free.
Behold great Charles! thy godlike son,
With majesty and sweetness crown'd;
His worth th' admiring world doth own,
And fame's loud trump proclaims the sound.
Thy captain him, Britannia, him declare,
Of kings and heroes he's the heir.
The second hope young Hero claims,
Th' extended empire of the main;
His breast with fire and courage flames,
With Nature's bounds to fix thy reign.
He (Neptune-like), Britannia will defy
All but the thunder of the sky.
The happiest states must yield to thee,
When free from dire corruption's thrall,
Of land and sea, thou'lt Emp'ror be.
Britannia, unite! Britannia must prevail,
Her powerful hand must guide the scale.
Then Britons, rouse! with trumpets' sound
Proclaim this solemn, happy day!
Let mirth, with cheerful music crown'd,
Drive sullen thoughts and cares away!
Come, Britons, sing! Britannia, draw thy sword,
And use it for thy rightful lord.
Another example will suffice:
When our great Prince, with his choice band
Arriv'd from o'er the azure main,
Heav'n smil'd with pleasure on the land,
And guardian angels sing this strain:
Go, brave hero; brave hero, boldly go,
And wrest thy sceptre from thy foe.
A striking proof of the general popularity of the music of the Ode is
the quotation made from it by Handel in 1745-6, when he composed the
"Occasional Oratorio" to commemorate the suppression of the Rebellion.
The words "war shall cease, welcome peace" are set to music, evidently
intentionally taken from the song of the day, "Rule, Britannia":
[Music: war shall cease, ... wel-come peace]
We may note here that the music of the beautiful recitative, "Ah me,
what fears oppress my throbbing heart?" followed by the air, "Guardian
angels now descend," first printed in the 1754 "Alfred" libretto, is
modelled on Handel's recitative, "O worse than death," and air, "Angels
ever bright and fair," composed in 1749 and performed in March, 1750.
No doubt "Rule, Britannia" was heard in Germany very soon after its
first performance at Cliefden. A copy of the Ode in vocal score,
with harpsichord accompaniment, was published in Hanover with the
brief-title "Rule Britannia Frey Uebersetzt, Hanover, Gedruckt bey J.
L. Lamminger Hofbuchdrucker." The German words, freely translated from
the English, are as follow:
Britannia, aus des Meeres Schoos,
stieg auf des Schöpfers Wink hervor.
Dir zog hochahndend dein Genius das Loos,
und jubelnd sang ein Engelchor:
Herrsch' Britannia! der weite Ocean
sey deinem Scepter untherthan.
There are five more verses which need not be reproduced. The
publication is undated, and gives no name of poet or composer.
Subsequently the same publisher issued a more complete edition with
the original English words and a German translation. The title-page
is "Rule, Britannia am Höchsterfreulichen Geburtsfeste Ihro Majestat
der Königinn Charlotte den 18. Januar 1799 auf dem Grossen Königlichen
Schlosstheater vom Herrn Schauspiel-Director Ignaz Walter nach der von
I. G. F. Brauer versuchten Uebersetzung gesungen."
Beethoven showed his appreciation of the Air of "Rule, Britannia" by
using it not only for a pianoforte piece with variations in 1804,
but also by incorporating it in the Battle Symphony, "Wellingtons
Sieg, oder Schlacht bei Vittoria," which was performed at a concert
in Vienna, in 1813, given for the benefit of the soldiers wounded at
Hanau, and again in 1814 during the Vienna Congress, conducted by the
composer.
Wagner declared that the first eight notes of "Rule, Britannia"
embodied the whole character of the British people, and as a
tribute to the English nation he set himself the task of composing
an Overture with Arne's music as the motif. The history of this
interesting composition of Wagner's has never been accurately stated.
The preliminary sketch of the music was made by Wagner in 1836, and
is still preserved at Bayreuth. The composition was completed and
performed in March, 1837, at Königsberg, and was again played at
Riga, on each occasion under the direction of Wagner. He sent the
score to the Philharmonic Society in London; but its receipt was
not acknowledged. Therefore, when in 1839 he made his first visit
to London, he wrote to the secretary of the Society with the result
recorded in the Philharmonic Society's minute-book, under date "April
19, 1840. Present, Mr. Neate, in the Chair, Messrs. Potter, F.
Cramer, Dance, Anderson, Calkin. Letter from Wagner. Resolved that
the score of the Overture be returned, with an apology for having
kept it so long, and explaining that written upon a theme which
is here very commonplace, precludes the performance of it at the
Philharmonic Concerts." Wagner resided in London at the "King's Arms"
boarding-house, Great Compton Street, Soho, only eight days, and then
went to Paris. Presumably his removal was not known to the Philharmonic
secretary, who sent the letter and score to Wagner's London address;
the proprietor of the hotel then forwarded it to Paris, but without
defraying the carriage. Wagner in his autobiography wrote: "One
morning, when we had been anxiously consulting as to the possibility
of raising our first quarter's rent, a carrier appeared with a parcel
addressed to me from London. I thought it was an intervention of
Providence, and broke open the seal. At the same moment a receipt-book
was thrust into my face for signature, in which I at once saw that I
had to pay seven francs for carriage. I recognised, moreover, that
the parcel contained my overture, 'Rule, Britannia,' returned to me
from the London Philharmonic Society. In my fury I told the bearer
that I would not take in the parcel, whereupon he remonstrated in the
liveliest fashion, as I had already opened it. It was no use; I did
not possess seven francs, and told him he should have presented the
bill for the carriage before I had opened the parcel. So I made him
return the only copy of my overture to Messrs. Lafitte & Galliard's
firm, to do what they liked with it, and I never cared to inquire what
became of that manuscript." Its recovery is a mystery; the conductor of
the band of the Leicester Opera House, Mr. E. W. Thomas, a few years
since disposed of his belongings, including a pile of manuscript music
which was purchased by Mr. Cyrus Gamble, who, in May, 1904, looking
through the collection, discovered the long-lost Wagner autograph,
signed and dated "Richard Wagner 15 March 1837 Königsberg in Prussia."
Arne's orchestral score is limited to strings, two oboes, two trumpets,
one bassoon, and kettle-drums; Wagner's score requires strings, two
piccolos, two flutes, two oboes, two clarinets, two bassoons, serpent,
double-bassoon, four horns, four trumpets, three trombones, ophicleide,
side-drum, triangle, grosse caisse, cymbals and kettle-drums.
Passing notice is all that is necessary of the gross want of reverence
and good taste exhibited by the Rev. Rowland Hill, of Surrey Chapel,
who wrote a hymn for the music of "Rule, Britannia," which was sung on
the 4th of December, 1803, by a crowded congregation of Volunteers, and
printed in a collection of hymns sung at Surrey Chapel.
At the Coronation of William IV., the Sailor King, at Westminster
Abbey, September 8th, 1831, an anthem, "O Lord, grant the King a
long life," was sung, having been composed by Thomas Attwood. The
introductory symphony and the concluding chorus have quotations from
the melody of "Rule, Britannia," introduced in a very ingenious and
admirable manner.
Sir Alexander Mackenzie has also made masterly use of the tune in his
brilliant "Britannia" Overture.
FOOTNOTES:
[1] The register does not specify the day of the month.
[2] The autograph in my possession.--W. H. C.
[3] On the Report of this Committee, John Huggins, the Warden of the
Fleet was tried for murder, but acquitted. James Barnes, his agent, by
whom this outrage was committed, fled, and was never tried. However,
Lord Chief Justice Raymond was of opinion, that had he been on his
trial, and the fact proved against him, he would undoubtedly have been
found guilty of murder.
[4] Mrs. Arne rode on a pillion, behind Burney, on horse-back, from
Chester to London.
[5] In October, 1758, Cibber was crossing the sea to fulfil an
engagement with Sheridan in Dublin, when the vessel was shipwrecked,
and he with nearly all the passengers drowned.
[6] Mrs. Arne soon became a convert to the Roman Church.
[7] These are published by Novello & Co., Ltd.
[8] The Choir of Christ Church Cathedral, in 1742, consisted of six
Vicars Choral, Messrs. John Warrall, Charles Taylor, William Jones,
John Eusebius Smith, John Mason and Mr. John Church; there were also
six Stipendiaries, Messrs. John Phipps, James Baily, William Lamb,
Joseph Ward, Timothy Carter, John Hill; with six chorister boys. The
Choir of St. Patrick's Cathedral at the same date included nine Vicars
Choral, Messrs. James Baily, William Tavernor, Robert Hall, Robert
Woffington, William Lambe, John Eusebius Smith, Joseph Ward, John Hill,
James Colgan. There were also six chorister boys, five of these being
the same in both Cathedrals. The organist of both Cathedrals was Ralph
Rosengrave.
[9] "Twelve Duettos for Two French Horns, or Two German Flutes,
composed by Mr. Charles." A rare publication.
[10] Written by Fielding, produced in 1742.
[11] Dubourg a fine violinist and pupil of Geminiani, was noted for his
brilliant technique; on one occasion he indulged in a Cadenza of such
length and diffuseness, that at its close Handel, who was conducting,
called out "Welcome home, Mr. Dubourg."
[12] In the King's Library, Buckingham Palace.
[13] Lampe died at Edinburgh in 1751. His wife was sister to Mrs. Arne.
[14] Miss Polly Young was the daughter of Charles Young, Mrs. Arne's
brother.
[15] Polly Young.
[16] He had been studying the science of music under the learned Dr.
Pepusch.
[17] The Crown and Anchor, in the Strand, was a favourite resort for
concert-givers. In my youthful days the "Abbey Glee Club" and other
Musical Societies met there.--W. H. C.
[18] The name of Madame Tenducci was not publicly announced.
[19] Master Norris had been a chorister in Salisbury Cathedral; he
was born in 1741, and seems to have continued singing soprano up to
1762. His voice must have been in a transition state. He sang at the
Gloucester Festival of 1766 as a tenor. He became organist of Christ
Church Cathedral, Oxford; a Mus. Bac., and a singer of good repute.
[20] The audience was much incommoded by the wet; incessant September
rain poured through the roof, and converted the floor into a swamp.
Eventually the four hundred people who were present, wet through, took
refuge on the benches and orchestra.
[21] Mr. William Mawhood, born in 1723, died in 1797, was a merchant,
residing in West Smithfield, and an accomplished musical amateur. An
account of him will be found in the _Musical Times_ of January, 1910,
written by Mr. Barclay Squire.
[22] Michael Arne, his son.
[23] Mrs. Michael Arne, the popular vocalist, Elizabeth Wright.
[24] Miss Abrams.
[25] Miss Weller and her sister.
[26] David Garrick's brother.
[27] Mary Barthelemon, _née_ Young.
[28] Proved. 16 March, 1778, by Cecilia Arne, widow, relict of the
deceased, one of the executors with power reserved, 21 March, 1778, by
Michael Arne, son of the deceased, the other executor named in the will.
[29] nephew by marriage of Mrs. Arne.
[30] The date of production is uncertain.
[31] The autograph in my possession.--W. H. C.
[32] Cliefden House, originally erected for George Villiers, second
Duke of Buckingham, was built of red brick with stone dressings,
having at each end a square wing connected with the main building by
a colonnade, and fronted by a magnificent terrace four hundred and
forty feet long. The Duke expended large sums on the house and grounds;
for the latter, consisting of about one hundred and thirty-six acres,
he procured, regardless of cost, the choicest specimens of trees,
shrubs and flowers, native and foreign, and so enhanced the natural
beauties of the site that it was reputed to surpass all other estates
in England. At the death of the Duke, Cliefden was purchased by Lord
George Hamilton, afterwards Earl of Orkney; he died without male issue,
and the property and title passed to his daughter. She leased the
estate to the Prince of Wales, who regularly resided there until his
death in 1751. The splendid mansion was destroyed by fire on the 20th
of May, 1795, owing to the carelessness of a maidservant, who, whilst
reading in bed, was startled by the curtains bursting into flame. With
the exception of the wings, the building was entirely burnt, together
with valuable furniture, tapestry and paintings. Sir George Warrender
bought the estate and rebuilt the house in 1830. At his death it was
sold to the Duke of Sutherland, and on the 15th of March, 1849, fire
again destroyed the building, which was afterwards rebuilt from designs
by Barry.
[33] A mistake; the "Judgement of Paris" was written by Congreve.
[34] Arquebusade water was a concoction of spirits and herbs commonly
applied to gunshot wounds.
[35] Dr. Burney observes, "Lowe had the finest tenor voice I ever heard
in my life."
[36] "This day was rehears'd at Drury-Lane Theatre a Masque entitled
'Alfred,' in order to be represented before the Prince and Princess,
at Cliefden House on the first of August."--(_Gent. Mag._, July 28th,
1740.)
[37] When "Alfred" was performed at Drury Lane Theatre, in 1751, the
part for the Hermit was deleted and the drama concluded with the Ode,
which was cut down to four verses. The solos were sung alternately by
Alfred and Eltruda (Mr. Beard and Signora Frasi).
[38] Commentary on the practice of securing seats at Drury Lane
Theatre is to be found in the "Private correspondence" addressed to
David Garrick: "SIR.--The many proofs you have given the town of your
desire to oblige them, encourage me to propose to you a scheme no less
advantageous than useful to the public, especially the polite part of
it. The alterations lately made in your theatre for the convenience of
the spectators, naturally suggested to me an inconvenience arising from
the servants who are sent to keep places. I have, with concern, seen a
lady finely dressed forced to sit down by a servant whose clothes and
feet have been very dirty, and behaviour extremely offensive; it has
happened, to my knowledge, that some servants, in order to follow their
own pleasures, have hired common porters of the street to keep their
places, whose company better suited a prison than a place of polite
entertainment."
Signed T. B. Nov. 25, 1762.
[39] Handel gave a performance of his Oratorio "Joseph" at the King's
Theatre, Haymarket, on the 21st of March, 1745.
[40] The singers in 1751 were Mrs. Arne, Signora Galli' Signora Frasi,
Miss Young, Mr. Beard, Mr. Baker, Signor Guadagni.
INDEX.
Abbey Glee Club, 53
Abrams, 81, 91
Acis and Galatea, 8, 23, 28
Addison, 3, 4, 9
Ah me, what fears, 132
Alas, the horrors, 70
Aldrich, 66
Alexander's Feast, 93
Alfred, 15, 20, 33, 41, 46, 114, 116, 122, 124
Alfred, go forth, 121
Allegro, 20
Amelia, Princess, 10
Amphitryon, 29
Anderson, 134
Angels ever bright, 132
Arcadian nuptials, 62
ARNE--
Actor, 30
At Cliefden, 114
At Eton, 3, 6
At Stratford-on-Avon, 67
Birth of composer, 1
Burial, 101
Conductor, 35
Death, 96
Employs ladies in Choir, 51
Father of composer, 1
First composition, 9
Flautist, 7
Grandfather of composer, 1, 4
Harpsichordist, 22
His will, 98
In Dublin, 19
In Edinburgh, 40
Introduces P.F. accomp., 51
Leaves wife in Dublin, 46
Marriage, 21
Member Soc. of Mus., 14
Mother of composer, 2, 11, 13, 15
Mus. Doc. Oxon, 49
Reunited to wife, 94
Son Michael born, 38
Violinist, 8, 22, 125
Wife of composer, 2, 11, 13, 15, 20, 22, 24, 46, 57, 72, 94, 102,
115, 125, 127
Arne, Edward, 4
Arne, Michael, bro. of composer, 9
Arne, Michael, Mrs., 79
Arne, Michael, son of composer, 38, 62, 77, 92, 97, 101
Arne, Susanna, sis. of composer, 9
Arnold, 92, 102
Artaxerxes, 54, 61
As you like it, 17, 28
Attwood, 136
Augusta, Princess, 12, 112
Baddely, 67, 70
Baildon, 24, 27, 66, 127
Baker, 127, 129
Banks, 2
Barbarini, 114
Barbatielli, 29
Barbier, 9
Barnes, 4
Barry, 34, 84
Barthelemon, 50, 74
Barthelemon, Mrs., 67, 95, 102
Barthelemon, Cecelia M., 94, 115
Bartholomew fair, 113
Battle Symphony, 133
Bayly, 47
Beard, 13, 15, 17, 49, 55, 58, 61, 121, 129
Beethoven, 133
Beggar's Opera, 29, 49, 61
Beviamo tutti tre, 66
Bickerstaff, 49, 58, 81
Billington, 57
Blow, thou winter wind, 17
Bradford, 73
Braham, 57
Breathe the pipe, 52
Brent, 41, 43, 45, 49, 55, 60, 85
Brickler, 51
Britannia, rouse, at heaven's command, 131
Brown, 57, 67
Busby, 92
Butler, 45
By dimpled brook, 13
Calkin, 134
Capricious lovers, 81
Caractacus, 91
Catches and Glees, 64, 76
Cathedrals, Dublin, 23
Catley, 61
Cervetto, 15
Chambers, 9
Champness, 67, 80
Chappell, 130
Charles, 25
Chateauneuf, 30
Chi scherza colle rose, 20
Churchill, 54
Cibber, 10, 13, 19, 35, 58, 79, 84
Cliefden, 111
Clive, 13, 16, 37, 81, 116, 118
Colgan, 23, 27, 125
Colin and Phoebe, 37
Collins, 129
Colman, 73
Come, follow me, 70
Come, if you dare, 68, 80
Come, shepherds, we'll follow, 63, 102
Comus, 12, 19, 24, 28, 33, 40, 44, 61
Comus's Court, 14
Concerto, 92
Congreve, 15, 114, 124
Connel, 127
Corfe, 9
Cornelys, 52
Coronation Anthem, 23
Corry, 43
Country girl at court, 82
Covent Garden Theatre riot, 61
Cramer, 134
Crown and Anchor, 53
Cumberland, Duke of, 10
Cymbeline, 49
Dalton, 12
Dance, 134
Daphne and Amintor, 81
Davis, 24, 27
Death of Abel, 28, 31, 92
Death of Nelson, 65
Delany, 12, 47
Delicæ Musicæ, 66
Dibdin, 51, 77
Dido and Æneas, 10
Dirge, 71
Dodsley, 39
Dragon of Wantley, 22, 30, 40
Drury Lane Theatre, 10, 35, 61
Dryden, 68
Dubourg, 23, 27
Edwards, 16
Elfrida, 79
Eliza, 41, 49
Esther, 20, 38
Eton College, 3, 6
Fairest Isle, 70
Fairies, 40
Faramond, 20
Farinelli, 20
Father of Mercies, 52
Fawcett, 52, 60, 73
Fergusson, 51
Festing, 7, 14
Fielding, 9, 76
Fishamble Street room, 69
Fisher, 76
Fitzpatrick, 62
Fleet prison, 4
Foote, 81
Forest, 74
Foster, 13
Fox, 77
Frasi, 121, 129
Frederick, Prince of Wales, 111, 116
From the eternal regions, 118
From yonder bower, 33
Frost scene, 70
Gainsborough, 7
Galli, 129
Gamble, 135
Garrick, 12, 15, 21, 35, 58, 61, 67, 77, 82, 126
Garrick, G., 88
Gay, 44, 112
Geminiani, 27
Gentle swain, 15
Gentleman's Mag., 123
Giardini, 66
Gifford, 80
Glorious voice, 17
God save the King, 36
Gordon, 35
Green, 14
Grenville, 6, 77
Groombridge, 92
Guadagni, 129
Guardian angels, 132
Guardian outwitted, 62
Hail, immortal Bacchus, 52
Hallam, 62
Hamilton, 77
Handel, 8, 12, 19, 23, 27, 31, 38, 127, 132
Hark! the bonny, 66
Hark! what notes enchant, 43
Harlequin sorcerer, 39
Hasse, 20
Haste to the gardens, 52
Haymarket Theatre, 8, 11
He was despised, 12
Hear, Alfred, 117
Hear, angels, 52
Henry IV., 30
Here, sons of Jacob, 53
Hill, 13, 135
Hither turn thee, 17
Horsley, 124
Horton, 114-116
How blest are the shepherds, 70
How cheerful along the gay mead, 32
How gentle was my Damon's air, 13
How happy the lover, 70
How sleep the brave, 129
Huggins, 4
Hymen, 20
Hymn of Eve, 32
I call you all to Woden-hall, 68
If those, who live in Shepherd's, 119
In thoughtless gay prosperity, 128
Ianthe and Iphis, 39
Indian Kings, 3
Jack, thou'rt a toper, 66
Jameson, 81
Jewell, 77, 81
Johnson, 13, 56, 82
Jones, 9
Joseph, 127
Judgment of Paris, 15, 114, 122, 124
Judith, 50, 62, 68, 76
King Arthur, 68, 79
Kirkman, 5
Kitty, 45
Knight of the Burning Pestle, 130
Knowles, 45
Lacy, 60
Ladies' hoops, 24
Lafitte and Galliard, 135
Lampe, 40
Lampe, Mrs., 38
Lascia cadermi, 20
Lass with the delicate air, 39
Layfield, 27, 30
Legge, 39
Let not a moonbeam, 69
Leveridge, 9
Lincoln's Inn Fields theatre, 9
Little gipsy, 82-91
Live to us, to empire, 56
Lock hospital, 50
Love in a village, 58
Love rapture, 67
Lowe, 17, 27, 30, 33, 39, 120, 125, 127
Mackenzie, 136
Madrigal Society, 62
Mallet, 111, 128
Mansfield, 62
Manzuoli, 63
Mara, 57
Mason, 91
Mattocks, 49, 55
Mawhood, 62, 64, 70, 96, 102
May-day, 83