'Do you recollect the date,' said Mr. Dick, looking
earnestly at me, and taking up his pen to note it down,
'when the bull got into the china warehouse and did
so much mischief?'
In the proof Dickens struck out all the words after 'when,'
and inserted in their place the following:
'King Charles the First had his head cut off?'
I said I believed it happened in the year sixteen
hundred and forty-nine.
'Well,' returned Mr. Dick, scratching his ear with his
pen and looking dubiously at me, 'so the books say,
but I don't see how that can be. Because if it was so
long ago, how could the people about him have made that
mistake of putting some of the trouble out of his head,
after it was taken off, into mine?'
The whole of the substituted passage is inserted in the margin
at the bottom of the page. Again, when Mr. Dick shows David
Copperfield his kite covered with manuscript, David was made to
say in the proof: 'I thought I saw some allusion to the bull
again in one or two places.' Here Dickens has struck through
the words, 'the bull,' and replaced them with 'King Charles
the First's head.'
The original reference was to a very popular song of the period
called 'The Bull in the China Shop,' words by C. Dibdin, Junior,
and music by W. Reeve. Produced about 1808, it was popularized
by the celebrated clown Grimaldi. The first verse is:
You've heard of a frog in an opera hat,
'Tis a very old tale of a mouse and a rat,
I could sing you another as pleasant, mayhap,
Of a kitten that wore a high caul cap;
But my muse on a far nobler subject shall drop,
Of a bull who got into a china shop,
With his right leg, left leg, upper leg, under leg,
St. Patrick's day in the morning.
[17] Mr. Alfred Payne writes thus: 'Some time ago an old
friend told me that he had heard from a Hertfordshire
organist that Dr. W.H. Monk (editor of _Hymns
Ancient and Modern_) adapted "Belmont" from the highly
classical melody of which a few bars are given above.
Monk showed this gentleman the notes, being the actual
arrangement he had made from this once popular song,
back in the fifties. This certainly coincides with
its appearance in Severn's _Islington Collection_,
1854.'--See _Hymn-Tunes and their Story_, p. 354.
[18] The Marshalsea was a debtors' prison formerly situated
in Southwark. It was closed about the middle of the
last century, and demolished in 1856.
CHAPTER VII
SOME NOTED SINGERS
_The Micawbers_
Dickens presents us with such an array of characters
who reckon singing amongst their various accomplishments
that it is difficult to know where to begin. Perhaps the
marvellous talents of the Micawber family entitle them to first
place. Mrs. Micawber was famous for her interpretation of 'The
Dashing White Sergeant' and 'Little Taffline' when she lived
at home with her papa and mamma, and it was her rendering of
these songs that gained her a spouse, for, as Mr. Micawber
told Copperfield,
when he heard her sing the first one, on the first
occasion of his seeing her beneath the parental roof,
she had attracted his attention in an extraordinary
degree, but that when it came to 'Little Tafflin,' he
had resolved to win that woman or perish in the attempt.
It will be remembered that Mr. Bucket (_B.H._) gained a wife by
a similar display of vocal talent. After singing 'Believe me,
if all those endearing young charms,' he informs his friend
Mrs. Bagnet that this ballad was
his most powerful ally in moving the heart of
Mrs. Bucket when a maiden, and inducing her to approach
the altar. Mr. Bucket's own words are 'to come up to
the scratch.'
Mrs. Micawber's 'Little Taffline' was a song in Storace's
ballad opera _Three and the Deuce_, words by Prince Hoare. It
will be interesting to see what the song which helped to mould
Micawber's fate was like.
LITTLE TAFFLINE.
[Figure 5]
Should e'er the fortune be my lot
To be made a wealthy bride,
I'll glad my parents' lowly cot,
All their pleasure and their pride:
And when I'm drest all in my best,
I'll trip away like lady gay,
I'll trip, I'll trip away.
And the lads will say, Dear heart, what a flash!
Look at little Taffline with a silken sash,
And the lads will say, Dear heart, what a flash!
And the lads will say, Dear heart, what a flash!
Look at little Taffline, Look at little Taffline,
Oh, look at little Taffline with the silken sash!
There was also a character called Little Taffline in T. Dibdin's
_St. David's Day_, the music for which was compiled and composed
by Thomas Attwood, organist of St. Paul's Cathedral.
Her other song, 'The Dashing White Sergeant,' was a martial
and very popular setting of some words by General Burgoyne.
Micawber could both sing and hum, and when music failed him
he fell back on quotations. As he was subject to extremes
of depression and elevation it was nothing unusual for him
to commence a Saturday evening in tears and finish up with
singing 'about Jack's delight being his lovely Nan' towards
the end of it. Here we gather that one of his favourite songs
was C. Dibdin's 'Lovely Nan,' containing these two lines:
But oh, much sweeter than all these
Is Jack's delight, his lovely Nan.
His musical powers made him useful at the club-room in the
King's Bench, where David discovered him leading the chorus of
'Gee up, Dobbin.' This would be 'Mr. Doggett's Comicall Song'
in the farce _The Stage Coach_, containing the lines--
With a hey gee up, gee up, hay ho;
With a hay gee, Dobbin, hey ho!
'Auld Lang Syne' was another of Mr. Micawber's favourites,
and when David joined the worthy pair in their lodgings at
Canterbury they sang it with much energy. To use Micawber's
words--
When we came to 'Here's a hand, my trusty frere' we
all joined hands round the table; and when we declared
we would 'take a right gude willie waught,' and hadn't
the least idea what it meant, we were really affected.
The memory of this joyous evening recurred to Mr. M. at a later
date, after the feast in David's rooms, and he calls to mind
how they had sung
We twa had run about the braes
And pu'd the gowans fine.
He confesses his ignorance as to what gowans are,
but I have no doubt that Copperfield and myself would
frequently have taken a pull at them, if it had been
feasible.
In the last letter he writes he makes a further quotation from
the song. On another occasion, however, under the stress of
adverse circumstances he finds consolation in a verse from
'Scots, wha hae',' while at the end of the long epistle in
which he disclosed the infamy of Uriah Heep, he claims to
have it said of him, 'as of a gallant and eminent naval Hero,'
that what he has done, he did
For England, home, and beauty.
'The Death of Nelson,' from which this line comes, had a
long run of popularity. Braham, the composer, was one of the
leading tenors of the day, and thus had the advantage of being
able to introduce his own songs to the public. The novelist's
dictum that 'composers can very seldom sing their own music or
anybody else's either' (_P.P._ 15) may be true in the main, but
scarcely applies to Braham, who holds very high rank amongst
English tenors. Another song which he wrote with the title
'The Victory and Death of Lord Viscount Nelson' met with no
success. The one quoted by Micawber was naturally one of Captain
Cuttle's favourites, and it is also made use of by Silas Wegg.
The musical gifts of Mr. and Mrs. Micawber descended to
their son Wilkins, who had 'a remarkable head voice,' but
having failed to get into the cathedral choir at Canterbury,
he had to take to singing in public-houses instead of in
sacred edifices. His great song appears to have been 'The
Woodpecker Tapping.' When the family emigrated Mr. M. expressed
the hope that 'the melody of my son will be acceptable at the
galley fire' on board ship. The final glimpse we get of him
is at Port Middlebay, where he delights a large assembly by
his rendering of 'Non Nobis' (see p. 149), and by his dancing
with the fourth daughter of Mr. Mell.
The 'Woodpecker' song is referred to in an illustrative way
by Mrs. Finching (_L.D._), who says that her papa
is sitting prosily breaking his new-laid egg in the
back parlour like the woodpecker tapping.
_Captain Cuttle_
Captain Cuttle is almost as full of melody as Micawber, though
his repertoire is chiefly confined to naval ditties. His great
song is 'Lovely Peg,' and his admiration for Florence Dombey
induces him to substitute her name in the song, though the
best he can accomplish is 'Lovely Fleg.'
There are at least three eighteenth-century ballads with Peg,
or Lovely Peg, for the subject, and it is not certain which
of these the Captain favoured. This is one of them:
Once more I'll tune the vocal shell,
To Hills and Dales my passion tell,
A flame which time can never quell,
That burns for lovely Peggy.
Then comes this tuneful refrain:
[Figure 6]
Lovely Peggy, lovely Peggy,
Lovely, lovely, lovely Peggy;
The heav'ns should sound with echoes rung
In praise of lovely Peggy.
The two others of this period that I have seen are called
'Peggy' and 'Lovely Peggy, an imitation.' However, it is most
probable that the one that the Captain favoured--in spite of
the mixture of names--was C. Dibdin's 'Lovely Polly.'
LOVELY POLLY
[Figure 7]
A seaman's love is void of art,
Plain sailing to his port the heart;
He knows no jealous folly,
He knows no jealous folly.
'Tis hard enough at sea to war
With boist'rous elements that jar--
All's peace with lovely Polly,
All's peace with lovely Polly,
with lovely Polly, lovely Polly,
All's peace with lovely Polly.
Dickens was very familiar with Dibdin's songs, while the
eighteenth-century ones referred to he probably never heard of,
as they are very rarely found.
The worthy Captain enjoys a good rollicking song, preferably
of a patriotic turn, but is very unreliable as to the sources
of his ditties.
'Wal'r, my boy,' replied the Captain, 'in the Proverbs
of Solomon you will find the following words, "May
we never want a friend in need, nor a bottle to give
him!" When found, made a note of.'
This is taken from a song by J. Davy, known as 'Since the
first dawn of reason,' and was sung by Incledon.
Since the first dawn of reason that beam'd on my mind,
And taught me how favoured by fortune my lot,
To share that good fortune I still am inclined,
And impart to who wanted what I wanted not.
It's a maxim entitled to every one's praise,
When a man feels distress, like a man to relieve him;
And my motto, though simple, means more than it says,
'May we ne'er want a friend or a bottle to give him.'
He is equally unreliable as to the source of a still more
famous song. When Florence Dombey goes to see him the Captain
intimates his intention of standing by old Sol Gills,
'and not desert until death do us part, and when the
stormy winds do blow, do blow, do blow--overhaul
the Catechism,' said the Captain parenthetically,
'and there you'll find these expressions.'
I have not heard of any church that has found it necessary to
include this old refrain in its Catechism, nor even to mix it
up with the Wedding Service.
A further mixture of quotations occurs when he is talking of
Florence on another occasion. Speaking of the supposed death
of Walter he says,
Though lost to sight, to memory dear, and
England, home, and beauty.
The first part--which is one of Cuttle's favourite
quotations--is the first line of a song by G. Linley.
He composed a large number of operas and songs, many of which
were very popular. The second part of the quotation is from
Braham's 'Death of Nelson' (see p. 116).
In conversation with his friend Bunsby, Cuttle says--
Give me the lad with the tarry trousers as shines to
me like di'monds bright, for which you'll overhaul the
'Stanfell's Budget,' and when found make a note.
Elsewhere he mentions Fairburn's 'Comic Songster' and the
'Little Warbler' as his song authorities.
The song referred to here is classed by Dr. Vaughan Williams
amongst Essex folk-songs, but it is by no means confined to
that county. It tells of a mother who wants her daughter to
marry a tailor, and not wait for her sailor bold.
My mother wants me to wed with a tailor
And not give me my heart's delight;
But give me the man with the tarry trousers,
That shines to me like diamonds bright.
After the firm of Dombey has decided to send Walter to Barbados,
the boy discusses his prospects with his friend the Captain,
and finally bursts into song--
How does that tune go that the sailors sing?
For the port of Barbados, Boys!
Cheerily!
Leaving old England behind us, boys!
Cheerily!
Here the Captain roared in chorus,
Oh cheerily, cheerily!
Oh cheer-i-ly!
All efforts to trace this song have failed, and for various
reasons I am inclined to think that Dickens made up the lines
to fit the occasion; while the words 'Oh cheerily, cheerily'
are a variant of a refrain common in sea songs, and the Captain
teaches Rob the Grinder to sing it at a later period of the
story. The arguments against the existence of such a song are:
first, that the Dombey firm have already decided to send the
boy to Barbados, and as there is no song suitable, the novelist
invents one; and in the second place there has never been a
time in the history of Barbados to give rise to such a song
as this, and no naval expedition of any consequence has ever
been sent there. It is perhaps unnecessary to urge that there
is no such place as the 'Port of Barbados.'
_Dick Swiveller_
None of Dickens' characters has such a wealth of poetical
illustration at command as Mr. Richard Swiveller. He lights
up the Brass office 'with scraps of song and merriment,' and
when he is taking Kit's mother home in a depressed state after
the trial he does his best to entertain her with 'astonishing
absurdities in the way of quotation from song and poem.' From
the time of his introduction, when he 'obliged the company with
a few bars of an intensely dismal air,' to when he expresses
his gratitude to the Marchioness--
And she shall walk in silk attire,
And siller have to spare--
there is scarcely a scene in which he is present when he does
not illumine his remarks by quotations of some kind or other,
though there are certainly a few occasions when his listeners
are not always able to appreciate their aptness. For instance
in the scene between Swiveller and the single gentleman,
after the latter has been aroused from his slumbers, and has
intimated he is not to be disturbed again.
'I beg your pardon,' said Dick, halting in his passage
to the door, which the lodger prepared to open,
'when he who adores thee has left but the name--'
'What do you mean?'
'But the name,' said Dick, 'has left but the name--in
case of letters or parcels--'
'I never have any,' said the lodger.
'Or in case anybody should call.'
'Nobody ever calls on me.'
'If any mistake should arise from not having the name,
don't say it was my fault, sir,' added Dick, still
lingering; 'oh, blame not the bard--'
'I'll blame nobody,' said the lodger.
But that Mr. Swiveller's knowledge of songs should be both
'extensive and peculiar' is only to be expected from one who
held the distinguished office of 'Perpetual Grand Master of
the Glorious Apollers,' although he seems to have been more
in the habit of quoting extracts from them than of giving
vocal illustrations. On one occasion, however, we find him
associated with Mr. Chuckster 'in a fragment of the popular
duet of "All's Well" with a long shake at the end.'
The following extract illustrates the 'shake':
ALL'S WELL (DUET).
_Sung by Mr. Braham and Mr. Charles Braham._
_Music by Mr. Braham._
[Figure 8]
All's well, All's well;
Above, below,
All, all's well.
Although most of Swiveller's quotations are from songs, he does
not always confine himself to them, as for instance, when he
sticks his fork into a large carbuncular potato and reflects
that 'Man wants but little here below,' which seems to show
that in his quieter moments he had studied Goldsmith's _Hermit_.
Mr. Swiveller's quotations are largely connected with his
love-passages with Sophy Wackles, and they are so carefully
and delicately graded that they practically cover the whole
ground in the rise and decline of his affections. He begins
by suggesting that 'she's all my fancy painted her.'
From this he passes to
She's like the red, red rose,
That's newly sprung in June.
She's also like a melody,
That's sweetly played in tune.
then
When the heart of a man is depressed with fears,
The mist is dispelled when Miss Wackles appears,
which is his own variant of
If the heart of a man is depressed with care,
The mist is dispelled when a woman appears.
But at the party given by the Wackleses Dick finds he is cut
out by Mr. Cheggs, and so makes his escape saying, as he goes--
My boat is on the shore, and my bark is on the sea; but
before I pass this door, I will say farewell to thee,
and he subsequently adds--
Miss Wackles, I believed you true, and I was blessed
in so believing; but now I mourn that e'er I knew a
girl so fair, yet so deceiving.
The _dénouement_ occurs some time after, when, in the course
of an interview with Quilp, he takes from his pocket
a small and very greasy parcel, slowly unfolding it,
and displaying a little slab of plum cake, extremely
indigestible in appearance and bordered with a paste
of sugar an inch and a half deep.
'What should you say this was?' demanded Mr. Swiveller.
'It looks like bride-cake,' replied the dwarf, grinning.
'And whose should you say it was?' inquired
Mr. Swiveller, rubbing the pastry against his nose
with dreadful calmness. 'Whose?'
'Not--'
'Yes,' said Dick, 'the same. You needn't mention her
name. There's no such name now. Her name is Cheggs
now, Sophy Cheggs. Yet loved I as man never loved that
hadn't wooden legs, and my heart, my heart is breaking
for the love of Sophy Cheggs.'
With this extemporary adaptation of a popular ballad
to the distressing circumstances of his own case,
Mr. Swiveller folded up the parcel again, beat it very
flat upon the palms of his hands, thrust it into his
breast, buttoned his coat over it, and folded his arms
upon the whole.
And then he signifies his grief by pinning a piece of crape
on his hat, saying as he did so,
'Twas ever thus: from childhood's hour
I've seen my fondest hopes decay;
I never loved a tree or flower
But 'twas the first to fade away;
I never nursed a dear gazelle,
To glad me with its soft black eye,
But when it came to know me well,
And love me, it was sure to marry a market gardener.
He is full of song when entertaining the Marchioness. 'Do they
often go where glory waits 'em?' he asks, on hearing that
Sampson and Sally Brass have gone out for the evening. He
accepts the statement that Miss Brass thinks him a 'funny
chap' by affirming that 'Old King Cole was a merry old soul';
and on taking his leave of the little slavey he says,
'Good night, Marchioness. Fare thee well, and if for
ever then for ever fare thee well--and put up the chain,
Marchioness, in case of accidents.
Since life like a river is flowing,
I care not how fast it rolls on, ma'am,
While such purl on the bank still is growing,
And such eyes light the waves as they run.'
On a later occasion, after enjoying some games of cards he
retires to rest in a deeply contemplative mood.
'These rubbers,' said Mr. Swiveller, putting on his
nightcap in exactly the same style as he wore his hat,
'remind me of the matrimonial fireside. Cheggs's wife
plays cribbage; all-fours likewise. She rings the
changes on 'em now. From sport to sport they hurry her,
to banish her regrets; and when they win a smile from
her they think that she forgets--but she don't.'
Many of Mr. Swiveller's quotations are from Moore's _Irish
Melodies_, though he has certainly omitted one which, coming
from him, would not have been out of place, viz. 'The time
I've lost in wooing'!
On another occasion Swiveller recalls some well-known lines
when talking to Kit. 'An excellent woman, that mother of yours,
Christopher,' said Mr. Swiveller; '"Who ran to catch me when
I fell, and kissed the place to make it well? My mother."'
This is from Ann Taylor's nursery song, which has probably
been more parodied than any other poem in existence. There is
a French version by Madame à Taslie, and it has most likely
been translated into other languages.
Dick gives us another touching reference to his mother. He
is overcome with curiosity to know in what part of the Brass
establishment the Marchioness has her abode.
My mother must have been a very inquisitive woman; I
have no doubt I'm marked with a note of interrogation
somewhere. My feelings I smother, but thou hast been
the cause of this anguish, my--
This last remark is a memory of T.H. Bayly's celebrated song
'We met,' which tells in somewhat incoherent language the story
of a maiden who left her true love at the command of her mother,
and married for money.
The world may think me gay,
For my feelings I smother;
Oh _thou_ hast been the cause
Of this anguish--my mother.
T. Haynes Bayly was a prominent song-writer some seventy
years ago (1797-1839). His most popular ballad was 'I'd be
a Butterfly.' It came out with a coloured title-page, and
at once became the rage, in fact, as John Hullah said, 'half
musical England was smitten with an overpowering, resistless
rage for metempsychosis.' There were many imitations, such as
'I'd be a Nightingale' and 'I'd be an Antelope.'
_Teachers and Composers_
Although we read so much about singers, the singing-master
is rarely introduced, in fact Mr. M'Choakumchild (_H.T._),
who 'could teach everything from vocal music to general
cosmography,' almost stands alone. However, in view of the
complaints of certain adjudicators about the facial distortions
they beheld at musical competitions, it may be well to record
Mrs. General's recipe for giving 'a pretty form to the lips'
(_L.D._).
Papa, potatoes, poultry, prunes, and prism are all
very good words for the lips, especially prunes and
prism. You will find it serviceable in the formation
of a demeanour.
Nor do composers receive much attention, but amongst
the characters we may mention Mr. Skimpole (_B.H._),
who composed half an opera, and the lamp porter at Mugby
Junction, who composed 'Little comic songs-like.' In this
category we can scarcely include Mrs. Kenwigs, who 'invented
and composed' her eldest daughter's name, the result being
'Morleena.' Mr. Skimpole, however, has a further claim upon
our attention, as he 'played what he composed with taste,' and
was also a performer on the violoncello. He had his lighter
moments, too, as when he went to the piano one evening at 11
p.m. and rattled hilariously
That the best of all ways to lengthen our days
Was to steal a few hours from Night, my dear!
It is evident that his song was 'The Young May Moon,' one of
Moore's _Irish Melodies_.
The young May moon is beaming, love,
The glow-worm's lamp is gleaming, love,
How sweet to rove
Through Morna's grove
While the drowsy world is dreaming, love!
Then awake--the heavens look bright, my dear!
'Tis never too late for delight, my dear!
And the best of all ways
To lengthen our days
Is to steal a few hours from the night, my dear!
_Silas Wegg's Effusions_
We first meet Silas Wegg in the fifth chapter of _Our Mutual
Friend_, where he is introduced to us as a ballad-monger. His
intercourse with his employer, Mr. Boffin, is a frequent
cause of his dropping into poetry, and most of his efforts
are adaptations of popular songs. His character is not one
that arouses any sympathetic enthusiasm, and probably no one
is sorry when towards the end of the story Sloppy seizes hold
of the mean little creature, carries him out of the house, and
deposits him in a scavenger's cart 'with a prodigious splash.'
The following are Wegg's poetical effusions, with their sources
and original forms.
Book I, Ch. 5.
'Beside that cottage door, Mr. Boffin,' from 'The Soldier's Tear'
_Alexander Lee_
Beside that cottage porch
A girl was on her knees;
She held aloft a snowy scarf
Which fluttered in the breeze.
She breath'd a prayer for him,
A prayer he could not hear;
But he paused to bless her as she knelt,
And wip'd away a tear.
Book I, Ch. 15.
The gay, the gay and festive scene,
I'll tell thee how the maiden wept, Mrs. Boffin.
From 'The Light Guitar.' (See Index of Songs.)
Book I, Ch. 15.
'Thrown on the wide world, doomed to wander and roam.' From
'The Peasant Boy'
_J. Parry_
Thrown on the wide world, doom'd to wander and roam,
Bereft of his parents, bereft of his home,
A stranger to pleasure, to comfort and joy,
Behold little Edmund, the poor Peasant Boy.
Book I, Ch. 15.
'Weep for the hour.' From 'Eveleen's Bower' _T. Moore_
Oh! weep for the hour
When to Eveleen's bower
The lord of the valley with false vows came.
Book I, Ch 15.
'Then farewell, my trim-built wherry.' From 'The Waterman'
_C. Dibdin_
Book II, Ch. 7.
'Helm a-weather, now lay her close.' From 'The Tar for all
Weathers'
_Unknown_
Book III, Ch. 6.
'No malice to dread, sir.' From verse 3 of 'My Ain Fireside.'
Words by _Mrs. E. Hamilton_
Nae falsehood to dread, nae malice to fear,
But truth to delight me, and kindness to cheer;
O' a' roads to pleasure that ever were tried,
There's nane half so sure as one's own fireside.
My ain fireside, my ain fireside,
Oh sweet is the blink o' my ain fireside.
Book III, Ch. 6.
And you needn't, Mr. Venus, be your black bottle,
For surely I'll be mine,
And we'll take a glass with a slice of lemon in it,
to which you're partial,
For auld lang syne.
A much altered version of verse 5 of Burns' celebrated song.
Book III, Ch. 6.
Charge, Chester, charge,
On Mr. Venus, on.
From Scott's _Marmion_.
Book IV, Ch. 3.
'If you'll come to the bower I've shaded for you.' From 'Will
you Come to the Bower'
_T. Moore_
Will you come to the Bower I've shaded for you,
Our bed shall be roses, all spangled with dew.
Will you, will you, will you, will you come to the Bower?
Will you, will you, will you, will you come to the Bower?
A LIST OF SONGS AND INSTRUMENTAL MUSIC MENTIONED BY DICKENS
WITH HISTORICAL NOTES
_The figures in brackets denote the chapter in the novel
referred to_
A COBBLER THERE WAS (_D. & S._ 2)
A cobbler there was, and he lived in a stall,
Which serv'd him for parlour, for kitchen and hall,
No coin in his pocket, nor care in his pate,
No ambition had he, nor no duns at his gate,
Derry down, down, down, derry down.
The melody appeared in _Beggar's Opera_, 1728, and _Fashionable
Lady_, 1730.
A FROG HE WOULD (_P.P._ 32)
The theme of the ballad belongs to the late sixteenth century.
A frog he would a-wooing go,
Heigho! said Rowley,
Whether his mother would let him or no,
With his rowly powly,
Gammon and spinnage,
O heigh! said Anthony Rowley.
We are told that Jack Hopkins sang 'The King, God Bless Him,'
to a novel air, compounded of 'The Bay of Biscay' and 'A Frog
He Would.' The latter was evidently the modern setting by
C.E. Horn.
ALICE GRAY
See 'Yet Lov'd I.'
ALL HAIL TO THE VESSEL OF PECKSNIFF THE SIRE (_M.C._ 11)
Perhaps a parody on 'All Hail to the Chief.'
ALL IN THE DOWNS (_P.P._ 3)
See 'Black-Eyed Susan.'
ALL'S WELL (_O.C.S._ 56).
See p. 125.
Duet in _The English Fleet_.
(_T. Dibdin_) _J. Braham._
Deserted by the waning moon,
When skies proclaim night's cheerless gloom,
On tower, fort, or tented ground,
The sentry walks his lonely round;
And should a footstep haply stray
Where caution marks the guarded way,
Who goes there? Stranger, quickly tell,
A friend. The word? Good-night. All's well.
AND SHE SHALL WALK (_O.C.S._ 66)
Words by _Susan Blamire_.
And ye shall walk in silk attire,
And siller ha'e to spare,
Gin ye'll consent to be my bride,
Nor think on Donald mair.
Susan Blamire was born at Carden Hall, near Carlisle. Very few
of her poems were published under her own name, as well-born
ladies of those days disliked seeing their names published as
authors. 'The Siller Crown,' from which this verse is taken,
is in the Cumberland dialect. It first appeared anonymously
in the _Scots Musical Museum_, 1790, and the authorship was
subsequently settled by members of the family.
AND YOU NEEDN'T, MR. VENUS, BE YOUR BLACK BOTTLE (_O.M.F._).
See p. 134.
A STIFF NOR'-WESTER'S BLOWING, BILL (_D. & S._ 49)
From 'The Sailor's Consolation.'
One night came on a hurricane,
The seas were mountains rolling,
When Barney Buntline turned his quid,
And said to Billy Bowling,
A stiff Nor'-Wester's blowing, Bill,
Hark, don't you hear it roar now?
Lord help 'em! how I pity's all
Unhappy folk ashore now.
Mr. Kidson says in reference to this: 'I do not know that it was
ever written to music, though I fancy more than one popular tune
has been set to the words, which are by a person named Pitt.'
AULD LANG SYNE ('Holly Tree,' _D.C._ 17, 28)
Words by _Burns_.
A version of the melody occurs at the end of the overture to
Shield's _Rosina_, 1783, and is either his own composition or
an imitation of some Scotch melody. As, however, such melody
has not hitherto been discovered, no great importance can be
attached to this theory. _Rosina_ was performed in Edinburgh.
Some maintain that the tune is taken from a Scotch reel known as
the 'Miller's Wedding,' found in Bremner's _Reels_ (1757-1761).
AWAY WITH MELANCHOLY (_O.C.S._ 58, _O.M.F._ ii. 6, _P.P._ 44,
_D.C._ 8)
The melody is from Mozart's _Magic Flute_, 'Das klinget
so herrlich'--a chorus with glockenspiel accompaniment.
The writer of the words is unknown.
The air was introduced into an arrangement of Shakespeare's
_Tempest_, and set to the words 'To moments so delighting!'
sung by Miss Stephens. Also found as a duet 'composed by
Sigr. Mozart, arranged by F.A. Hyde.'
BAY OF BISCAY (_U.T._ 31, _D. & S._ 39, _P.P._ 32)
Words by _Andrew Cherry_. _J. Davy._
Also see under 'A Frog He Would.'
BEETHOVEN'S SONATA IN B.
See p. 28.
BEGONE, DULL CARE (_O.C.S._ 7, _E.D._ 2)
Author unknown. The words occur in various song-books of the
eighteenth century. The tune is seventeenth century, possibly
derived from the 'Queen's Jigg' in the _Dancing Master_.
Begone, dull care, I prithee begone from me;
Begone, dull care, you and I can never agree.
The words were set as a glee by John Sale, and this may be
the music that Dickens knew.
BELIEVE ME, IF ALL JARLEY'S WAXWORKS SO RARE (_O.C.S._ 27)
A parody on the following.
BELIEVE ME, IF ALL THOSE ENDEARING YOUNG CHARMS (_B.H._ 55)
Words by _T. Moore_.
Set to the old melody 'My Lodging is on the Cold Ground.' This
appears to have come into existence about the middle of
the eighteenth century. It is found in _Vocal Music, or the
Songster's Companion_, 1775, and it was claimed by Moore to
be an Irish melody, but some authorities deny this. It has
also been claimed as Scotch, but the balance of opinion is in
favour of its English origin (F. Kidson).
BESIDE THAT COTTAGE DOOR, MR. BOFFIN (_O.M.F._)
See p. 133.
BID ME DISCOURSE (_S.B.T._ 4)
Words adapted from Shakespeare's _Venus and Adonis_.
_H.R. Bishop._
BIRD WALTZ (_D. & S._ 29, 38)
_Panormo._
A very popular piano piece of the pre-Victorian period.
BLACK-EYED SUSAN (_A.N._), OR ALL IN THE DOWNS (_P.P._ 3)
Words by _John Gay_. _R. Leveridge._
This song was printed in sheet form previous to 1730, in which
year it appeared in Watts' _Musical Miscellany_, Vol. IV.,
and was also inserted about that time in several ballad operas.
BOLD TURPIN VUNCE (_P.P._ 43)
Mr. Frank Kidson has pointed out that Sam Weller's song is
founded upon a ballad entitled 'Turpin and the Bishop,' which
appears in _Gaieties and Gravities_, by one of the authors
of _Rejected Addresses_. The author is said to be Horatio
Smith. There is a good four-part setting of the words by Sir
F. Bridge.
BRAVE LODGINGS FOR ONE (_P.P._ 29)
Original.
BRITISH GRENADIERS (_B.H._ 49)
The tune as we know it now is the growth of centuries, the
foundation probably being a tune in _The Fitzwilliam Virginal
Book_. The Grenadiers were founded in 1678. The second verse
refers to 'hand grenades,' and the regiment ceased to use
these in the reign of Queen Anne. The author is unknown.
BRITONS, STRIKE HOME (_S.L._)
The well-known song in Purcell's _Bonduca_ gave its name to an
opera by Charles Dibdin, published in 1803. This work probably
suggested the phrase to Dickens. It was written with a view
to arousing a patriotic feeling. The following verse occurs
in the work:
When Dryden wrote and Purcell sung
Britons, strike home,
The patriot-sounds re-echoing rung
The vaulted dome.
BUFFALO GALS (_Letters_)
See p. 10.
BY THE SAD SEA WAVES (_Letters_)
_Julius Benedict._
A once popular song from the opera _The Brides of Venice_.
CHEER, BOYS, CHEER (_U.T._ 29)
Words by _Charles Mackay_. _Henry Russell._
Cheer! boys, cheer! no more of idle sorrow--
Courage! true hearts shall bear us on our way,
Hope points before, and shows the bright to-morrow,
Let us forget the darkness of to-day.
One of Russell's most popular songs. He sold the copyright for
£3, and shortly afterwards learnt that the publisher had to
keep thirty-nine presses at work on it night and day to meet
the demand.
COPENHAGEN WALTZ (_D. & S._ 7)
Also known as the _Danish Waltz_.
DEAD MARCH.
From the oratorio _Saul_. _Handel._
See p. 61.
DEATH OF NELSON (_D.C._ 52, _D. & S._ 48, _O.M.F._ iv. 3)
See p. 116.
_J. Braham._
Too well the gallant hero fought,
For England, home, and beauty.
DI PIACER (_S.B.T._ 1)
_Rossini._
A favourite air from the opera _La Gazza Ladra_.
DOWNFALL OF PARIS
See p. 31.
DRAGON OF WANTLEY (_D.C._ 38)
An eighteenth-century popular burlesque opera.
Words by _H. Carey_, music by _Lampe_.
DRINK TO ME ONLY WITH THINE EYES (_O.M.F._ iii. 14)
Words by _Ben Jonson_.
The composer is unknown. The air was originally issued as a
glee for three voices.
DUMBLEDUMDEARY (_S.B.S._ 10)
A refrain rarely found in old songs. It occurs in 'Richard of
Taunton Dean.' Also (as in the reference) the name of a dance.
EVENING BELLS (_D.C._ 38)
Duet by _G. Alexander Lee_.
Come away, come away, evening bells are ringing,
Sweetly, sweetly; 'tis the vesper hour.
FARE THEE WELL, AND IF FOR EVER (_O.C.S._ 58)
Words by _Byron_.
Included in 'Domestic Pieces.'
Fare thee well, and if for ever,
Still for ever, fare thee well;
Even though unforgiving, never
'Gainst thee shall my heart rebel.
About 1825 the words were set to an air from Mozart's _La
Clemenza di Tito_. There are original settings by Parke,
S. Webbe, and six other composers.
FILL THE BUMPER FAIR (_N.T._)
Moore's _Irish Melodies_, air 'Bob and Joan.'
FLOW ON, THOU SHINING RIVER (_S.B.T._ 1)
Moore's _National Melodies_.
Said to be a 'Portuguese Air.' The melody has been utilized
as a hymn-tune.
FLY, FLY FROM THE WORLD, MY BESSY, WITH ME (_S.B.S._ 2)
Words and music by _T. Moore_.
FOR ENGLAND
See 'Death of Nelson.'
FOR ENGLAND, HOME, AND BEAUTY
See 'Death of Nelson.'
FOR THE PORT OF BARBADOS, BOYS (_D. & S._ 15)
Original (?) See p. 122.
FROM SPORT TO SPORT (_O.C.S._ 58)
From 'Oh no, we never mention her.'
Words by _T.H. Bayly_. _H.R. Bishop._
From sport to sport they hurry me,
To banish my regret;
And when they win a smile from me,
They think that I forget.
GEE UP, DOBBIN (_D.C._ 12)
In the Burney Collection is a tune 'Gee Ho, Dobbin.' Also in
_Apollo's Cabinet_, 1757, Vol. II, and _Love in a Village_,
1762. The tune was frequently used for ephemeral songs.
It is doubtful if Dickens would know this song, the title of
which has passed into a common phrase.
GLORIOUS APOLLO (_O.C.S._ 13, 56)
_S. Webbe._
The title of this glee probably suggested the name of the
'Glorious Apollers.' See p. 124.
GO WHERE GLORY WAITS THEE (_M.C._ 11)
('Do they often go where glory waits 'em?' _O.C.S._ 58)
Moore's _Irish Melodies_, set to the air 'Maid of the Valley.'
GOD BLESS THE PRINCE OF WALES (_U.T._ 29)
Words by _J. Ceiriog Hughes_.
Trans, by G. Linley. _H. Brinley Richards_, 1862.
GOD BLESS YOU, MERRY GENTLEMEN (_C.C._)
Origin unknown. The second word should be 'rest,' and the
correct reading is
God rest you merry, gentlemen.
GOD SAVE THE KING (_S.B.S._ 19, &c.)
GOD SAVE THE QUEEN (_M.C._ 29)
It is unnecessary here to discuss the origin and sources of
this air. The form in which we know it is probably due to
Henry Carey, and the first recorded public performance was on
September 28, 1745.
HAD I A HEART FOR FALSEHOOD FRAMED (_D. & S._ 14)
Words by _R.B. Sheridan_.
Sung by Mr. Leoni (see _Choir_, May, 1912).
In the _Duenna_, 1775. Set to the air now known as 'The Harp
that once through Tara's Halls.'
Moore, in his _Irish Melodies_, calls the melody 'Gramachree.'
HAIL COLUMBIA (_M.C._ 13, _A.N._)
Mr. Elson (_National Music of America_) says that the music
was originally known as the 'President's March,' probably by
a German composer. The words were subsequently adapted to the
air by Dr. Joseph Hopkinson.
HARMONIOUS BLACKSMITH (_G.E._ 21)
From Handel's _Suite de Pieces pour le Clavecin_, Set I.
See p. 19.
HAS SHE THEN FAILED IN HER TRUTH (_N.N._ 49)
_Anon._ _H.R. Bishop._
And has she then failed in her truth,
The beautiful maid I adore?
Shall I never again hear her voice,
Nor see her lov'd form any more?
HEART OF OAK (_B.R._ 7, _E.D._ 12, _U.T._ 20, parody)
Words by _D. Garrick_. _W. Boyce._
It is important to notice that the correct title is as given,
and not '_Hearts_ of Oak.'
HELM A WEATHER, NOW LAY HER CLOSE (_O.M.F._)
See p. 133.
HOW DOTH THE LITTLE-- (_Ch._)
_Dr. Watts._
See p. 79.
I AM A FRIAR OF ORDERS GREY (_S.B.S._ 8) (_Out of Season_)
Words by _John O'Keefe_. _Wm. Reeve._
Appeared in _Merry Sherwood_, 1795.
I CARE NOT FOR SPRING
See p. 99.
I'D CROWNS RESIGN, TO CALL HER MINE (_D.C._ 25)
'Lass of Richmond Hill.'
Words by _L. MacNally_. _J. Hook._
I'd crowns resign, to call her mine,
Sweet lass of Richmond Hill.
For a long time there was a dispute between the partisans of
Surrey and Yorkshire as to which 'Richmond Hill' was referred
to. The former county was the favourite for a long time,
till a communication in _Notes and Queries_ (10th series
iii. p. 290) pulverized its hopes and definitely placed the
locality in Yorkshire.
IF I HAD A DONKEY (_O.C.S._ 27)
See p. 95.
IF YOU'LL COME TO THE BOWER (_O.M.F._)
See p. 134.
I'LL TELL THEE HOW THE MAIDEN WEPT (_O.M.F._)
See p. 133.
IN HURRY, POST HASTE FOR A LICENCE (_P.P._ 10)
See p. 90.
I SAW HER AT THE FANCY FAIR (_S.B.T._ 11)
I SAW THY SHOW IN YOUTHFUL PRIME (_O.C.S._ 27)
Moore's _Irish Melodies_, air 'Domhnall.'
I saw thy form in youthful prime,
Nor thought that pale decay
Would steal before the steps of time,
And waste its bloom away, Mary.
ISLE OF THE BRAVE AND LAND OF THE FREE (_M.J._)
Original.
IT MAY LIGHTEN AND STORM (_M.C._ 42)
Possibly from some old ballad opera, but more probably original.
JACK'S DELIGHT (TO) HIS LOVELY NAN (_D.C._ 11)
Words and music by _C. Dibdin_.
From 'Lovely Nan.' Last two lines:
But oh, much sweeter than all these,
Is Jack's delight, his lovely Nan.
JIM CROW (_A.N._)
_Unknown._
See p. 97.
I come from old Kentucky,
A long time ago,
Where I first larn to wheel about,
And jump Jim Crow;
Wheel about and turn about,
And do jis so,
Eb'ry time I wheel about,
I jump Jim Crow.
JOLLY YOUNG WATERMAN (_It._, _P.P._ 33)
Words and music by _C. Dibdin_ in _The Waterman_.
KING DEATH (_B.H._ 33)
Words by _Barry Cornwall_. _Neukomm._
King Death was a rare old fellow,
He sat where no sun could shine,
And he lifted his hand so yellow,
And pour'd out his coal-black wine.
Hurrah for the coal-black wine!
John Leech used to sing 'King Death,' and it was of his voice
that Jerrold once remarked, 'I say, Leech, if you had the same
opportunity of exercising your voice as you have of using your
pencil, how it would _draw_!'
LESBIA HATH A BEAMING EYE (_Letter to Lemon_)
Words by _Moore_.
Set to the delightfully gay air 'Nora Creina.'
Lesbia hath a beaming eye,
But no one knows for whom it beameth,
Right and left its arrows fly,
But what they aim at no one dreameth!
LISTEN TO THE WATERFALL (_B.H._ 32)
_Lord Mornington._
From the glee 'Here in cool grot.'
LITTLE TAFFLINE (_D.C._ 28)
Words by _Prince Hoare_. _S. Storace._
In the opera _Three and The Deuce_, produced in 1806.
See pp. 112, 113.
There is a character 'Little Taffline' in T. Dibdin's
_St. David's Day_, music composed and compiled by Attwood. There
is another setting said to be 'composed by J. Parry,' but it
is merely an altered form of the original.
LOVELY PEG (_D. & S._ 10)
See pp. 117-119.
MARSEILLAISE (_M.C._ 15, _E.D._ 2, _L.D._ 2)
_Rouget de Lisle._
For brief history see _The Choir_ (Nov., 1911)
MASANIELLO (_S.B.T._ 9)
Opera by _Auber_.
See p. 26.
MAY WE NE'ER WANT A FRIEND (_D. & S._ 15)
See 'When the first dawn of reason.'
MEN OF PROMETHEUS (_S.B.T._ 9)
See p. 26.
This was the name given to the first edition of Beethoven's
ballet music to _Prometheus_, composed in 1800.
MISS WACKLES, I BELIEVED YOU TRUE (_O.C.S._ 8)
'Mary, I believed thee true,' _Moore_ (one of his 'Juvenile
Poems').
Mary, I believed thee true,
And I was blest in so believing,
But now I mourn that e'er I knew
A girl so fair and so deceiving!
It has been suggested that these words were adapted and sung
to the Scotch air 'Gala Water.'
MY BOAT IS ON THE SHORE (_G.S._) (_D.C._ 54, _Letters_)
Words by _Lord Byron_. _Bishop._
See p. 12.
Also set by W. Cratherne.
MY FEELINGS I SMOTHER (_O.C.S._ 36)
See 'We met.'
MY HEART'S IN THE HIGHLANDS (_O.C.S._ 2, _S.B.S._ 2)
Words partly by _Burns_.
In Captain Fraser's _Airs Peculiar to the Scottish Highlands_,
1816.
There is a parody by Dickens (see Forster's _Life_, ch. 8).
NEVER LEAVE OFF DANCING (_D.C._ 41)
Said to be the subject of a French song.
NO MALICE TO DREAD, SIR (_O.M.F._)
See p. 134.
NON NOBIS (_S.B.S._ 19)
This celebrated canon, by Byrd, has been performed at public
dinners from time immemorial. It also used to be performed at
the Theatre Royal, Covent Garden.
NOW'S THE DAY, AND NOW'S THE HOUR (_D.C._ 54)
Verse 2 of 'Scots, Wha Hae' (_Burns_).
Now's the day, and now's the hour,
See the front o' battle lour,
See approach proud Edward's power,
Chains and slaverie.
OF ALL THE GIRLS THAT ARE SO SMART (_O.C.S._ 50)
Words and music by _Henry Carey_.
Carey composed his melody in 1715. It soon became popular,
but owing to the similarity of certain phrases to those of
an older tune known as 'The Country Lass,' the two gradually
got mixed up, with the result that the latter became the
recognized setting.
OFF SHE GOES (_S.B.T._ 7)
A once popular dance air.
OFT IN THE STILLY NIGHT (_S.B.S._ 13)
From T. Moore's _National Airs_, set to an air possibly of
Scotch origin. There are also settings by Stevenson and Hullah.
OH BLAME NOT THE BARD (_O.C.S._ 35)
Words by _T. Moore_.
In _Irish Melodies_. Set to the tune 'Kitty Tyrrel.'
OH GIVE ME BUT MY ARAB STEED (_O.C.S._ 21)
Words by _T.H. Bayly_. _G.A. Hodson._
Written in 1828. Sung by Braham.
Oh give me but my Arab steed,
My prince defends his right,
And I will to the battle speed,
To guard him in the fight.
OH CHEERILY, CHEERILY (_D. & S._ 32)
Original, but a refrain similar to this is not uncommon in
old sea songs.
OH LADY FAIR (_G.E._ 13)
Trio by _Moore_.
See 'Strew then, O strew.'
OH LET US LOVE OUR OCCUPATIONS (_Ch._)
Original lines by Dickens. 'Set to music on the new system,'
probably refers to Hullah's method (c. 1841), or possibly the
Tonic Sol-fa (c. 1843), see p. 17.
OH LANDSMEN ARE FOLLY (_H.R._)
Original.
OLD CLEM (_G.E._ 12, 15)
A custom prevailed at Chatham of holding a procession
on St. Clement's day, and the saint, who was irreverently
designated 'Old Clem,' was personated by a young smith disguised
for the occasion.
Dickens frequently writes a verse in the form of prose, and
this is an example. Written out properly, it reads thus:
Hammer boys round--Old Clem,
With a thump and a sound--Old Clem,
Beat it out, beat it out--Old Clem,
With a cluck for the stout--Old Clem,
Blow the fire, blow the fire--Old Clem,
Roaring drier, soaring higher--Old Clem.
OLD KING COLE (_O.C.S._ 58, _P.P._ 36)
The personality of this gentleman has never been settled.
Chappell suggests he was 'Old Cole,' a cloth-maker of Reading
_temp._ Henry I. Wardle's carol 'I care not for spring' (_P.P._
36) was adapted to this air, and printed in How's _Illustrated
Book of British Song_.
OVER THE HILLS AND FAR AWAY (_Dr. M._, _M.C._ 36)
An old saying, both in song and as a phrase. It occurs in two
songs in D'Urfey's _Pills to Purge Melancholy_, 1709, one of
which is,
Tom he was a piper's son,
He learned to play when he was young;
But all the tune that he could play
Was over the hills and far away.
(Vol. iv.)
Doctor Marigold's version is probably original:
North and South and West and East,
Winds liked best and winds liked least,
Here and there and gone astray,
Over the hills and far away.
OVER THE WATER TO CHARLIE (_O.C.S._ 27)
Tune in Johnson's _Musical Museum_, Vol. II, 1788.
Come boat me o'er, come row me o'er,
Come boat me o'er to Charlie,
I'll gie John Brown another half-crown,
To boat me o'er to Charlie;
We'll o'er the water, we'll o'er the sea,
We'll o'er the water to Charlie,
Come weal, come woe, we'll gather and go,
And live or die wi' Charlie.
Another Jacobite song was the cause of an amusing incident at
Edinburgh. On the occasion of one of his visits there Dickens
went to the theatre, and he and his friends were much amazed
and amused by the orchestra playing 'Charlie is my darling'
amid tumultuous shouts of delight.
PAUL AND VIRGINIA (_S.B.T._ 7, _L.D._ 13)
_J. Mazzinghi._
The popular duet from this opera 'See from ocean rising'
was sung by Mr. Johnstone and Mr. Incledon. See p. 91.
POLLY PUT THE KETTLE ON (_B.R._ 24)
An old country dance.
RED RUFFIAN, RETIRE! (_S.B.C._ 8)
Probably an imaginary title, invented by Dickens.
RULE BRITANNIA (_D. & S._ 4, 39, _U.T._ 2, _M.C._ 11, 17,
_A.N._, _D.C._ 8)
Words by _Thomson_ or _Mallet_. _Arne._
First appeared in print at the end of the masque _The Judgement
of Paris_, but it was composed for the masque of _Alfred_,
which was first performed on August 1, 1740. See _Musical
Times_, April, 1900.
SALLY IN OUR ALLEY
See 'Of all the girls.'
SATAN FINDS SOME MISCHIEF STILL (_D.C._ 16)
See p. 80.
_Dr. Watts._
SEE FROM OCEAN RISING (_S.B.T._ 7)
See _Paul and Virginia_.
SHE'S ALL MY FANCY PAINTED HER (_O.C.S._ 7)
('Alice Gray.')
See 'Yet lov'd I.'
SHE'S LIKE THE RED, RED ROSE (_O.C.S._ 8)
Burns revised the words from an old song.
The music is in _Caledonian Pocket Companion_, Bk. VII, 1754,
under the name 'Low Down in the Broom.'
SHIVERY SHAKEY, AIN'T IT COLD (_Dr. M._)
See p. 94.
SINCE LAWS WERE MADE FOR EVERY DEGREE (_O.C.S._ 66, _L.D._
ii. 12)
TYBURN TREE.
Since laws were made for ev'ry degree
To curb vice in others as well as me,
I wonder we han't better company
Upon Tyburn Tree.
From _Beggar's Opera_. Words by _Gay_.
Set to the tune of 'Greensleeves,' which dates from 1580. This
tune is twice mentioned by Shakespeare in _The Merry Wives
of Windsor_. An earlier 'Tyburn' version is a song entitled
'A Warning to False Traitors,' which refers to the execution
of six people at 'Tyborne' on August 30, 1588.
SINCE THE FIRST DAWN OF REASON
_J. Davy._
See p. 120.
SONG ABOUT A SPARKLING BOWL (_Ch._)
There are several songs of this nature, such as 'The Flowing
Bowl' ('Fill the bowl with sparkling nectar'). Another began
'Fill, fill the bowl with sparkling wine.'
SONG ABOUT THE SLUMBERING ECHOES IN THE CAVERN OF MEMORY
(_D.C._ 33)
Not at present traced.
STREW THEN, OH STREW A BED OF RUSHES (_O.C.S._ 65)
Words and music by _Moore_.
From the glee 'Holy be the Pilgrim's Sleep,' which is a sequel
to 'Oh Lady Fair' (q.v.).
Moore wrote two inane songs, entitled 'Holy be the Pilgrim's
Sleep' and 'Oh Lady Fair.' For both pilgrim and lady arrangements
are made for spending the night somewhere, and in each song occur
the words
Strew then, oh strew his [our] bed of rushes,
Here he shall [we must] rest till morning blushes.
TAMAROO (_M.C._ 32)
Said to be taken from an English ballad in which it is
supposed to express the bold and fiery nature of a certain
hackney coachman.
According to _Notes and Queries_ (x. 1), this was sung
at Winchester School some seventy or eighty years ago.
The following is quoted as the first verse:
Ben he was a coachman rare
('Jarvey! Jarvey!' 'Here I am, yer honour'),
Crikey! how he used to swear!
How he'd swear, and how he'd drive,
Number two hundred and sixty-five.
Tamaroo! Tamaroo! Tamaroo!
Dr. Sweeting, the present music-master at Winchester, says,
'The song "Tamaroo" is quite unknown here now, and if it was
sung here seventy or eighty years ago, I should imagine that
that was only because it was generally well known. Dickens'
allusion to it seems to suggest that it was a song he had heard,
and he utilized its character to label one of his characters
in his own fanciful way.'
TARRY TROUSERS (_D. & S._ 39)
An old folk-song. A mother wants her daughter to marry a tailor,
and not wait for her sailor bold, telling her that it is quite
time she was a bride. The daughter says:
My mother wants me to wed with a tailor,
And not give me my heart's delight,
But give me the man with the tarry trousers,
That shine to me like diamonds bright.
TELL ME, SHEPHERDS (_E.D._ 2)
_Mazzinghi._
Glee. 'Ye Shepherds, tell me' (or 'The Wreath').
THE BRAVE OLD OAK (_S.B.S._ 2.)
Words by _H.F. Chorley_. _E.J. Loder._
A song for the oak, the brave old oak,
Who hath ruled in the greenwood long;
Here's health and renown to his broad green crown,
And his fifty arms so strong!
THE BULL IN THE CHINA SHOP
See p. 111.
THE CHERUB THAT SITS UP ALOFT (_U.T._ 5)
From 'Poor Jack.' _C. Dibdin._
For d'ye see, there's a cherub sits smiling aloft
To keep watch for the life of Poor Jack.
(_Last two lines of verse 3._)
THE CORDIAL THAT SPARKLED FOR HELEN (_O.C.S._ 61)
Moore's _Irish Melodies_.
THE DASHING WHITE SERGEANT (_D.C._ 28)
Words by _General Burgoyne_. _H.R. Bishop._
If I had a beau, for a soldier who'd go,
Do you think I'd say no? No, no, not I.
THE GAY, THE GAY AND FESTIVE SEASON (_O.M.F._)
See 'The Light Guitar.'
THE GREAT SEA SNAKE
Set to the air 'Rampant Moll.'
Perhaps you have all of you heard of a yarn
Of a famous large sea snake,
That once was seen off the Isle Pitcairn
And caught by Admiral Blake.
See p. 16.
THE IVY GREEN (_P.P._ 6.)
Words by _Dickens_. The most popular musical setting is that
by _Henry Russell_.
THE LIGHT GUITAR (_S.B.T._ 1, _O.C.S._)
_Barnett._
Oh leave the gay and festive scene,
The halls of dazzling light,
And rove with me through forests green
Beneath the silent night.
THE MILLER OF THE DEE (_O.M.F._ ii. 1)
Words, c. 1762. Tune, 1728.
Referring to a disused boiler and a great iron wheel, Dickens
says they are
Like the Miller of questionable jollity in the song.
They cared for Nobody, no not they, and Nobody cared
for them.
The air is found in _The Quaker's Opera_, 1728.
THE RATCATCHER'S DAUGHTER (_Out of Season_)
See p. 98.
THE SEVEN AGES (_S.B.S._ 14)
See pp. 91, 92.
THE SOLDIER, TIRED (_S.B.C._ 4)
_Arne._
Dr. Arne translated the words from the _Artaserse_ of
Metastasio. This song was the great 'show song' for sopranos
for many years. It was originally sung by Miss Brent.
The soldier, tired of war's alarms,
Forswears the clang of hostile arms,
And scorns the spear and shield;
But if the brazen trumpet sound,
He burns with conquest to be crowned,
And dares again the field.
THE WOODPECKER TAPPING (_D.C._ 36, _L.D._ 35, _S.B.T._ 1,
_M.C._ 25)
Words by _Moore_. _M. Kelly._
Every leaf was at rest, and I heard not a sound
But the woodpecker tapping the hollow beech-tree.
THE YOUNG MAY MOON
See p. 131.
THEN FAREWELL, MY TRIM-BUILT WHERRY (_O.M.F._)
See p. 133.
THERE LET 'EM BE, MERRY AND FREE, TOOR-RUL-LAL-LA (_O.C.S._ 56)
Probably original.
THOUGH LOST TO SIGHT, TO MEMORY DEAR (_D. & S._ 48)
Words and music by _G. Linley_.
Tho' lost to sight, to mem'ry dear
Thou ever wilt remain,
One only hope my heart can cheer:
The hope to meet again.
THROWN ON THE WIDE WORLD (_O.M.F._)
See p. 133.
TIME OF DAY (_S.B.C._ 8)
See p. 92.
'TIS THE VOICE OF THE SLUGGARD (_M.C._ 9)
_Dr. Watts._
'TWAS EVER THUS FROM CHILDHOOD'S HOUR (_O.C.S._ 56, _D.C._ 38)
('Oh ever,' &c.)
Words by _Moore_.
From 'Lalla Rookh.' Has been set to music by S. Glover,
E. Souper, and Verini.
VILLIKENS AND HIS DINAH
Sung by Mr. Robson and by S. Cowell.
Composer unknown. A very popular song 1850-1860.
It's of a liquor merchant who in London did dwell,
He had but one darter, a beautiful gal.
Her name it was Dinah, just sixteen years old,
And she had a large fortune in silver and gold.
To my too-ral-lal loo-ral-li loo-ral-li-day.
WAPPING OLD STAIRS (_U.T._ 3)
_J. Percy._
WEEP FOR THE HOUR (_O.M.F._)
See p. 133.
WE MET (_O.C.S._ 36, _S.B.T._ 11)
_T.H. Bayly._
The story of a girl who was compelled by her mother to jilt
her true love and marry some one else. The story ends with
the words misquoted by Swiveller:
The world may think me gay,
For my feelings I smother--
Oh! _thou_ hast been the cause
Of this anguish, my mother!
WE'RE A'NODDIN' (_B.H._ 39)
_Anonymous._
A once popular Scotch song.
O we're a' noddin, nid nid noddin,
O we're a' noddin at our house at home;
How's o' wi' ye, kimmer? And how do ye thrive,
And how many bairns hae ye now? Bairns I hae five.
WE WON'T GO HOME TILL MORNING (_P.P._ 7)
Said in the _London Singer's Magazine_ (c. 1839) to be
written and composed by C. Blondel ('adapted and arranged'
might be more correct). The tune is founded on an air known
as Malbrough, or Malbrook, which originated during the Duke
of Marlborough's campaign, 1704-1709, known as 'The War of
the Spanish Succession.'
WHAT ARE THE WILD WAVES SAYING?
Words by _J.E. Carpenter_. _Stephen Glover._
This duet was founded upon the question little Paul Dombey
asks his sister:
I want to know what it says--the sea, Floy, what is
it that it keeps on saying?
WHEN HE WHO ADORES THEE (_O.C.S._ 35)
Words by _Moore_.
In _Irish Melodies_ to the air 'The Fox's Sleep.'
WHEN I WENT TO LUNNON TOWN, SIRS (_G.E._ 15)
Probably original. The nearest I have found to it is--
THE ASTONISHED COUNTRYMAN, OR,
A BUSTLING PICTURE OF LONDON.
When first I came to London Town,
How great was my surprise,
Thought I, the world's turned upside down,
Such wonders met my eyes.
And in _The Universal Songster_--
When I arrived in London Town,
I got my lesson pat, &c.
WHEN IN DEATH I SHALL CALM RECLINE
Moore's _Irish Melodies_.
In 1833 Dickens wrote a travesty called _O' Thello_, in which
is a humorous solo of eight lines, to be sung to the air to
which the above is set.
WHEN LOVELY WOMAN STOOPS TO FOLLY (_O.C.S._ 56)
'Do my pretty Olivia,' cried she, 'let us have that
little melancholy air your papa was so fond of;
your sister Sophy has already obliged us. Do, child,
it will please your old father.' She complied in a
manner so exquisitely pathetic, as moved me.
When lovely woman stoops to folly,
And finds, too late, that men betray,
What charm can soothe her melancholy?
What art can wash her guilt away?
(Goldsmith's _Vicar of Wakefield_, ch. xxiv.)
WHEN THE HEART OF A MAN (_D.C._ 24, _O.M.F._ iii. 14)
Words by _Gay_ (_Beggar's Opera_). Set to a seventeenth-century
air.
If the heart of a man is depressed with care,
The mist is dispelled when a woman appears,
Like the notes of a fiddle she sweetly, sweetly
Raises our spirits and charms our ears.
WHEN THE STORMY WINDS (_D.C._ 21, _D. & S._ 23)
Words by _Campbell_, who may have taken them from an earlier
source. See 'You Gentlemen of England.'
WHITE SAND (_L.D._ i. 32)
An old glee. See p. 106.
WHO PASSES BY THIS ROAD SO LATE (_L.D._ i. 1)
(Blandois' Song.)
Words by _C. Dickens_. _H.R.S. Dalton._
An old French children's singing game. Dickens' words are
a literal translation. See _Eighty Singing Games_ (Kidson
and Moffat).
WHO RAN TO CATCH ME WHEN I FELL (_O.C.S._ 38)
From Ann Taylor's nursery song 'My Mother.'
WIFE SHALL DANCE AND I WILL SING, SO MERRILY PASS THE DAY
From 'Begone, dull care' (q.v.).
WILL WATCH, THE BOLD SMUGGLER (_Out of Season_)
_John Davy._
YANKEE DOODLE (_U.T._, _A.N._)
Mr. F. Kidson has traced this to 'A selection of Scotch,
English, Irish, and Foreign Airs,' published in Glasgow by
James Aird, c. 1775 or 1776.
YET LOV'D I AS MAN NE'ER LOVED (_O.C.S._ 50)
Words by _William Mee_. _Millard._
From 'Alice Gray.'
She's all my fancy painted her,
She's lovely, she's divine,
But her heart it is another's,
It never can be mine.
Yet lov'd I as ne'er man loved,
A love without decay,
Oh my heart, my heart is breaking,
For the love of _Alice Gray_!
'Alice Gray.' A ballad, sung by Miss Stephens, Miss Palon,
and Miss Grant. Composed and inscribed to Mr. A. Pettet by
Mrs. Philip Millard.
Published by A. Pettet, Hanway Street.
YOU GENTLEMEN OF ENGLAND (_D. & S._ 23)
Old English Ballad.
A seventeenth-century song, the last line of each verse being
'When the stormy winds do blow.'
YOUNG LOVE LIVED ONCE (_S.B.S._ 20)
In _Sketches by Boz_ this sentence occurs:
'When we say a "shed" we do not mean the conservatory
kind of building which, according to the old song,
Love frequented when a young man.'
The song referred to is by T. Moore.
Young love lived once in a humble shed,
Where roses breathing,
And woodbines wreathing,
Around the lattice their tendrils spread,
As wild and sweet as the life he led.
It is one of the songs in _M.P., or The Blue-Stocking_,
a comic opera in three acts.
INDEX OF MUSICAL INSTRUMENTS
Accordion, 1, 2
Aeolian Harp, 10
Bagpipes, 5, 44
Banjo, [20]
Barrel-Organ, 5, 6, 10, 50, 53, 78
Bassoon, 43
Bells (church) 55, 57
Bells (various), 23, 57, 61, 66
Castanets, 56
'Chaunter,' 109
Chin-playing, 62
Clarionet, 42, 43
Cymbals, 3, 56, 64
Drum, 23, 64, 66, 110
'Drums,' 109
Fiddle, see Violin
Fife, 44, 63, 85
Flageolet, 67
Flute, 6, 25, 26, 36, 37-40, 45
Guitar, 37, 54, 55, 62
'Gum-gum,' 63
Harmonium, 63
Harp, 6, 23, 25, 26, 29, 30, 31, 64
Harpsichord, 33, 47
Jew's-harp, 57
Key Bugle (or Kent Bugle), 2, 3, 65, 66, 87
Kit, 27
Lute, 55
Marrowbones and Cleaver, 23, 66, 67
Mouth-organ, 67
Organ, 45-50, 52, 69-72
Pan's Pipes, 43, 67
Piano, 1, 6, 25-29, 31-35, 74, 76
Piano ('self acting'), 48
Recorders, 64
Serpent, 63
Tambourine, 25, 43, 56, 62
Tom-tom, 62
Triangle, 41, 43, 68
Trombone, 43, 67
Violin, 1, 2, 5, 6, 23-29, 47, 64
Violoncello, 6, 25, 29, 44
INDEX OF CHARACTERS
Antonio (_U.T._), 54
Atherfield, Mrs. (_G.M._), 78
Bagnet, Mrs. (_B.H._), 113
Bagnet (_B.H._), 43, 85
Bagnet, Master (_B.H._), 44, 85
Bailey, Jr. (_M.C._), 59, 89
Banjo Bones (_U.T._ 5), 20
Belinda (_M.H.C._), 61
Billsmethi (_S.B.C._ 9), 20
Blackpool, S. (_H.T._), 59
Blandois (_L.D._), 17
Blathers (_O.T._), 56
Blimber, Dr. (_D.C._), 53, 58
Boffin (_O.M.F._), 133
Bounderby (_H.T._), 56
Brass, Sally (_O.C.S._), 103, 128
Brass, Sampson (_O.C.S._), 27, 40, 78, 102, 128
Briggses, Miss (_S.B.T._ 7), 54, 62
Browdie, John (_N.N._), 101
Brown, Mr. (_S.B.T._ 9), [26]
Bucket (_B.H._), 29, 43, 44, 64, 85, 112
Bunsby (_L.D._), 121
Carker, Harriet (_D. & S._), 40
Carker, James (_D. & S._), 28, 59
Casby (_L.D._), 53
Chadband, Rev. (_B.H._), 74
Cheggs (_O.C.S._), 126
Chivery, Young (_L.D._), 55
Chuckster (_O.C.S._), 125
Chuzzlewit, Jonas (_M.C._), 41, 59
Chuzzlewit, Martin (_M.C._), 102
Chuzzlewit, M., Jr., 46, 66, 84, 86
Clennam, Arthur (_L.D._), 49, 59, 90
Copperfield, David (_D.C._), 30, 33, 36, 55, 80, 84, 102, 112, 115
Crewler, Sophy (_D.C._), 33
Crisparkle, Rev. (_E.D._), 74, 107
Crumptons, Miss (_S.B.T._ 3), 20
Cuttle, Capt. (_D. & S._), 7, 18, 83, 84, 89, 117-123
Daisy, Solomon (_B.R._), 73
Dartle, Rosa (_D.C._), 30
Dick, Mr. (_D.C._), 110
Dombey, Mr. (_D. & S._), 6, 31, 67
Dombey, Florence (_D. & S._), 89, 101, 118, 120, 121
Dombey, Paul (_D. & S._), 30, 36, 53, 58, 101
Dorrit, E. (_L.D._), 109
Dorrit, F. (_L.D._), 42, 49
Dorrit, W. (_L.D._), 34
Dorrit, Miss (_L.D._), 42
Dorrit, Little (_L.D._), 42
Dowler (_P.P._), 60
Drood, E. (_E.D._), 75
Durdles (_E.D._), 18, 76
Evans, Jemima (_S.B.C._ 4), 16, 48
Evans, Mr. (_S.B.T._ 9), 39
Evenson (_S.B.T._ 1), 40
Fagin (_O.T._), 59
Feeder (_D. & S._), 36, 52, 53, 66
Fezziwig, Mrs. (_C.C._), 25
Fielding, May (_C.H._), 66
Finching, Flora (_L.D._), 49, 90, 117
Fips (_M.C._), 102
Gamp, Mrs. (_M.C._), 57
Gattleton, Mrs. (_S.B.T._ 9), 25, 39
Gay, Walter (_D. & S._), 84, 120, 121
General, Mrs. (_L.D._), 131
George, Mr. (_B.H._), 29, 44, 61
Gills ('Old Sol') (_D. & S._), 120
Graham, Mary (_M.C._), 47
Handel (_G.E._), see Pirrip
Hardy (_S.B.T._ 7), 62, 63
Harleigh (_S.B.T._ 9), 9
Harris, Mrs. (_M.C._), 57
Heep (_D.C._), 80, 116
Helves, Capt. (_S.B.T._ 7), 62, 90, 103
Hexham (_O.M.F._), 44
Hopkins, 135
Humm (_P.P._), 78
Humphrey, Master (_M.H.C._), 61
Hunter, Mrs. (_P.P._)
Jacksonini (_Letters_), 20
Jarley, Mrs. (_O.C.S._), 95
Jasper (_E.D._), 34, 74, 75, 107
Jeddler (_B.L._), 26
Jellyby, Caddy (_B.H._), 27, 33
Jerry (_O.C.S._), 52, 78
Jingle (_P.P._), 25, 29, 90
Jorgan (_P.P._), 47
Kenwigs, Mrs. (_N.N._), 41, 131
Kit, see Nubbles
Ladle, Joey (_N.T._), 77
Larkins, Miss (_D.C._), 30
Lirriper, Mrs. (_L.L._), 56, 70
Lobskini (_S.B.T._ 3), 20
M'Choakumchild (_H.T._), 130
Malderton, Miss (_S.B.T._ 5), 31, 107
Maldon, Jack (_D.C._)
Mantalini (_N.N._), 60
Marchioness, The (_O.C.S._), 38, 123, 128, 129
Marigold, Dr., 93
Marra Boni (_S.B.C._ 8), 20
Meagles (_L.D._), 86
Meagles, Miss ('Pet'), 77
Mell (_D.C._), 36, 117
Micawber (_D.C._), 41, 83, 112-117
Micawber, Mrs. (_D.C._), 112, 113, 117
Micawber, W. (_D.C._), 117
Miggs, Miss (_B.R._), 56
Mills, Miss (_D.C._), 102
Monflathers, Mrs. (_O.C.S._), 79
Mordlin, Brother (_P.P._), 78
Morfin (_D. & S._), 27, 28, 29, 41
Namby, Mrs. (_P.P._), 33
Nancy (_O.T._), 39
Nandy (_L.D._), 105, 106
Nell, Little (_O.C.S._), 79, 101
Nickleby (_N.N._), 58, 100
Noggs (_N.N._), 60
Nubbles ('Kit') (_O.C.S._), 27, 129
Obenreizer (_N.T._), 14
'Old Clem,' 151
'Old Sol,' see Gills
Pancks (_L.D._), vii, 53, 106
Pecksniff (_M.C._), 7, 41, 46
Pecksniffs, Miss (_M.C._), 38, 89, 101, 108
Peerybingle, Mrs. (_C.H._), 79
'Pet,' see Meagles, Miss
Petowker, Miss (_N.N._), 41
Phenomenon, The (_N.N._), 24
Pickleson (_Dr. M._), 20, 93
Pickwick, Mr. (_P.P._), 27, 33, 34, 60, 100
Pinch, Tom (_M.C._), 46, 47, 59, 60, 72 (&c.)
Pirrip ('Pip' or 'Handel'), 19, 108
Pip (_G.E._), see Pirrip
Plornish, Mrs. (_L.D._), 105, 106
Plornish, Mr. (_L.D._), 106
Plummer (_C.H._), 64
Pocket, Herbert (_G.E._), 19
Quilp (_O.C.S._), 103, 127
Redburn, Jack (_M.H.C._), 38
Rob the Grinder (_D. & S._), 123
Rudolph, Jennings (_S.B.C._ 8), 68
Sapsea, Mr. (_E.D._), 18, 76
Sawyer, Bob (_P.P._), 59, 100
Scrooge (_C.C._), 30
Scrooge's Nephew (_C.C._), 30, 107
Simpson (_P.P._), 109
Skettles, Lady (_D. & S._), 30
Skewton, Hon. Mrs. (_D. & S._), 31
Skimpole (_B.H._), 33, 131
Smike (_N.N._), 58
Sparkins (_S.B.T._ 5), 31, 107
Spenlow, Dora (_D.C._) 33, 55, 102
Squeers (_N.N._), 36, 100
Steerforth (_D.C._) 30
Stiggins (_P.P._), 74
Strong, Dr. (_D.C._) 45, 80
Summerson, Esther (_B.H._), 29
Sweedlepipe (_M.C._), 59
Swills, Little (_B.H._), 107
Swiveller, Dick (_O.C.S._), 12, 27, 37, 78, 83, 123-130
Tackleton (_C.H._), 65, 66
Tapley, Mark (_M.C._), 73, 84, 86, 102
Tappertit (_B.R._), 25
Tauntons, Miss (_S.B.T._ 7), 54, 90
Tetterby Family (_H.M._), 79
Tibbs, Mrs. (_S.B.T._ 1), 40
Timson, Rev. (_S.B.T._ 10), 29
Tiny Tim (_C.C._), 101
Tippin, Mrs. (_S.B.T._ 4), 62
Tippin, Master (_S.B.T._ 4), 62
Todgers, Mrs. (_M.C._), 89, 108
Tomlinson (_D. & S._), 67
Toots (_D.C._), 37
Topper (_C.C._), 103
Tottle, Watkins (_S.B.T._ 10), 59
Tox, Miss (_D. & S._), 33
Tpschoffki (_G.S._), 20, 51
Traddles (_D.C._), 33
Trotter, Job (_P.P._), 80
Trotwood, Miss (_D.C._), 50
Tulrumble (_M.P._), 51
Tupman (_P.P._), 25
Turveydrop (_B.H._), 29
Twist, Oliver (_O.T._), 39
Varden, Mrs. (_B.R._)
Veck, Toby ('Trotty') (_Ch._), 23, 50, 66
Velasco, Rinaldo di, see Pickleson
Wackles, Sophy (_O.C.S._), 37, 125-128
Wardle (_P.P._), 99
Wegg, Silas (_O.M.F._), 132-134
Weller, Mr. (_P.P._), 34
Weller, Sam (_P.P._), 34, 73 (&c.), 99, 100
Wickfield (_D.C._), 80
Wilding (_N.T._), 77
Wilfer (_O.M.F._), 61, 96
Wilkins (_S.B.C._), 48
Willet, Joe (_B.R._), 73
Wisbottle (_S.B.T._ 1), 40
Wopsle (_G.E._), 64, 72, 108
GENERAL INDEX
Allon, Dr., 81
Arne, Dr., 16, 77, 153, 157
Attwood, T., 114
Auber, 3
Barnett, J., 157
Bath, 60
Bayly, T.H., 130, 159
Bedford (singer), 91
Beethoven, 21, 148
_Beggar's Opera_, 135, 153, 161
_Bell's Life in London_, 92
'Belmont' (Hymn-tune), 98
Benedict, Sir J., 140
Bishop, Sir H., 12, 14, 138, 142, 144, 148, 156
Blamire, S., 136
Blondel, C., 159
Boai, M., 62
Boston (U.S.A.), 7, 32
Bowden, 1
Boyce, W., 144
Braham (singer), 15, 116, 136, 140
Bridge, Sir F., 99, 139
Broadstairs, 5, 9, 10
Buckingham (singer), 92
Burgoyne, 156
Burns, 137, 149, 153
Byrd, 149
Byron, 12, 141
Campbell, 11, 161
Carey, H., 141, 143, 149
Carpenter, J.E., 160
Carrara, 4
Chappell, W., 151
'Chaunter,' 109
Cherry, Andrew, 137
_Choir_, The, 18, 87
Chopin, 2
Chorley, H., 12, 21
Clapham, 67
_Clari_, 14
Collins, Wilkie, 11
Cowell (singer), 139
Curwen, John, 17
_Daily News_, The, 16, 20
Dalton, H.R.S., 17, 161
Davies, Rev. R., 82
Davy, J., 120, 137, 154, 162
Dibdin, C., 88, 115, 119, 133, 139, 146, 156
Dibdin, C., Jr., 111
Dibdin, T., 114, 147
Dover, 5
'Drums,' 109
D'Urfey, 151
'Eagle,' The, 24, 27, 47, 48
'Elephant and Castle,' The, 43
Elson, C., 144
Fairburn (song publisher), 9, 89, 121
Field, J.T., 8
Forster, J., 1, 5, 9, 24, 58, 82
Foundling Hospital, 77
Garrick, D., 144
Gay, 153, 161
Genoa, 5, 72
Gissing, 46
Glindon, 48
Glover, S., 158, 160
Golden Square, 6
Goldsmith, 161
Gounod, 2
Greene, M., 77
Grimaldi, 111
Hamilton, Mrs. E., 134
Handel, 21, 45, 48, 74, 77, 140, 144
Haydn, 77
Hoare, Prince, 113
Hodson, G.A., 150
Hook, J., 145
Horn, C.E., 135
_Household Words_, 19, 80-82
Howell, 48
Hughes, J.C., 143
Hullah, 15, 17, 130, 150
Hutchinson Family, 13
Incledon, 91, 152
_Irish Melodies_, 7, 8, 88, 129, 131, 142 et seq.
Jonson, Ben, 141
Jerrold, D., 3
Joachim, 13
Julian, Dr., 81
Kelly, M., 158
Kent (composer), 77
Kidson, Mr. F., 137, 139, 161, 162
Kitton, F.G., 1, 7, 15
Lampe, J.F., 141
Landor, 10
Lang, A., 72
Lee, G.A., 133, 141
Leech, J., 23
Lemon, Mark, 11
Leveridge, R., 139
Lind, Jenny, 3
Linley, G., 121, 143, 158
Lisle, Rouget de, 148
_Little Warbler_, 9, 89, 121
Loder, E.J., 155
_London Oddities_, 92
_London Singer's Magazine_, 18, 159
Luard-Selby, B., 75
Macdermott, 94
Maclise, 12
Mallet, 153
Mann, Dr. A.H., 109
Marseilles, 86
Marshalsea, 34
Martin's Act, 96
Mazzinghi, 152, 155
Mendelssohn, 2, 77
Meyerbeer, 3
Millard, Mrs., 162
Miller, Rev. J., 81
Moffat, J., 161
Moore, T., 7, 12, 133, 134, 142 et seq.
Mornington, Lord, 147
Mozart, 2, 21, 48, 77, 137, 141
_Musical Times_, The, 153
Neukomm, 147
Norwich Festival, 109
'Number Four Collection,' 80
Offenbach, 2
Panormo, 138
Parke, 141
Parr, Miss, 81
Parry, J., 133
Parsons, 48
Peel, Sir R., 96
Percy, J., 159
'Phiz,' 47
Power, Miss, 10
_Prentice's Warbler_, 89
Procter, A., 80
Purcell, 77, 139
Rainforth, Miss, 15
Reeve, W., 111, 145
Rice, T.D., 97
Richards, Brinley, 143
Robson (singer), 159
Rochester, 43, 75
Rossini, 141
Royal Academy of Music, 21
Russell, Henry, 140, 156
Russell, Lord John, 3
St. Clement Danes, 70
St. Peter's, Rome, 72
Seven Dials, 9
Shakespeare, 154
Sheridan, R.B., 144
Shield, 137
Stanfell's Budget, 89
Storace, S., 113, 147
Souper, E., 158
Sweeting, Dr., 155
Thomson, 153
Tonic Sol-Fa, 17, 150
Vauxhall Gardens, 24, 91, 104
Verini, 158
Vicar of Wakefield, 161
Watts, Dr., 7, 78, 79, 80, 145, 153, 158
Webbe, S., 141, 143
Wellington House Academy, 1
White Conduit gardens, 24, 93
Williams, Dr. V., 122
Wills, 21
A LIST OF VOCAL AND INSTRUMENTAL MUSIC
ASSOCIATED WITH DICKENS AND WITH THE CHARACTERS IN HIS NOVELS
_All these pieces are in the possession of Mr. W. Miller,
Librarian of the Dickens Fellowship_
Songs in the VILLAGE COQUETTES. Words by _Charles Dickens_.
Music by _Hullah_.
THE IVY GREEN. Song. Words by _Charles Dickens_. Music by
_Mrs. Henry Dale_.
THE IVY GREEN. Song. Music by _A. De Belfer_.
THE IVY GREEN. Song. Music by W. _Lovell Phillips_.
THE IVY GREEN. Song. Music by _Henry Russell_.
(This song has been published by almost every music
publisher in London and America.)
Introduction and familiar variations on THE IVY GREEN arranged
for the pianoforte by _Ricardo Linter_.
Russell's Song THE IVY GREEN, with introduction and variations
for the pianoforte by _Stephen Glover_.
THE IVY GREEN as a vocal duet. Music by _Henry Russell_.
A CHRISTMAS CAROL. Words by _Charles Dickens_. Music by _Henry
Russell_.
A CHRISTMAS CAROL. Words by _Charles Dickens_. Music by _Henry
Russell_ to the tune of OLD KING COLE.
BOLD TURPIN. Words by _Charles Dickens_. Music by _Sir J.F.
Bridge_.
PICKWICK. Set to Music by _George L. Jeune_. Words by _George
Soane_.
THE WERY LAST OBSERVATIONS OF WELLER SENIOR TO BOZ ON HIS
DEPARTURE FROM LONDON. Written and sung by _J.M. Field, Esq._
Adapted to an old air. Boston, 1842.
THE ORIGINAL SET OF PICKWICK QUADRILLES. Edited by _'Boz'
Junior_.
SAM WELLER'S ADVENTURES. Reprinted in _The Life and Times of
James Catnach_.
GABRIEL GRUB. Cantata Seria Buffa. Adapted by _Frederick
Wood_. Music by _George Fox_.
PICKWICK TARANTELLE.
MR. STIGGINS. Song. Maliciously written and composed by
'_Tony Weller_.'
THE PICKWICK QUADRILLE. Composed by _Fred Revallin_.
THE PICKWICK LANCERS. Composed by _Camille D'Aubert_.
PICKWICK. Songs and Dances by _Edward Solomon_. Words of songs
by _Sir F.C. Burnand_.
OLIVER TWIST. Written by _H. Copeland_ from a song by _W.T.
Townsend_.
THE ARTFUL DODGER. Written by _Charles Sloman_ and _Sam
Cowell_. Music by _Fred Bridgeman_. Sung by _Sam Cowell_.
NICHOLAS NICKLEBY QUADRILLE AND NICKLEBY GALOP. By _Sydney
Vernon_.
MASTER HUMPHREY'S CLOCK, 'DID YOU HEAR ANYTHING KNOCK?' Song
by _Beuler_.
MASTER HUMPHREY'S QUADRILLES. Music by _'Boz' Junior_.
THE CHIMES OF MASTER HUMPHREY'S CLOCK. Arranged for the
pianoforte by _Charles Arnold_.
THE GHOST OF THE BARON OF GROG-SWIG. Written by _John
Major_. Arranged by _J. Monro_.
LITTLE NELL. Words by _Miss Charlotte Young_. Music by _George
Linley_.
LITTLE NELL. Composed by _George Linley_. Arranged for the
pianoforte by _Carlo Totti_.
NELL. Song. Composed by _H.L. Winter_.
LITTLE NELL. By _Miss Hawley_.
LITTLE NELL. Waltz by _Dan Godfrey_.
NELL. Words by _Edward Oxenford_. Music by _Alfred J.
Caldicott_.
LITTLE NELLIE'S POLKA. Composed by _J. Pridham_.
BARNABY RUDGE TARANTELLE. By _Clementine Ward_.
DOLLY VARDEN. Ballad. Words and Music by _Cotsford Dick_.
_G.W. Hunt's_ Popular Song DOLLY VARDEN.
DOLLY VARDEN. Comic Song. Words by _Frank W. Green_.
Music _Alfred Lee_.
_Vance's_ DOLLY VARDEN. Written, composed, and sung by _Alfred
G. Vance_.
_G.W. Moore's_ Great Song DRESSED AS A DOLLY VARDEN. Written,
composed, and sung by _G.W. Moore_.
DOLLY VARDEN'S WEDDING. Comic Song. Written, composed, and
arranged by _T.R. Tebley_.
DOLLY VARDEN WALTZ. By _Henry Parker_.
DOLLY VARDEN VALSE. Composed by _Sara Leumas_.
THE DOLLY VARDEN POLKA. By _Brinley Richards_.
THE DOLLY VARDEN POLKA. By _W.C. Levey_.
DOLLY VARDEN POLKA. By _Henry Parker_.
THE DOLLY VARDEN POLKA. Arranged by _T.C. Lewis_. Composed by
_G. Discongi_.
DOLLY VARDEN POLKA. By _George Gough_.
DOLLY VARDEN GALOP. By _Charles Coote, jun._
DOLLY VARDEN SCHOTTISCHE. By _Helene_.
THE DOLLY VARDEN SCHOTTISCHE. By _H. King_.
DOLLY VARDEN GAVOTTE. By _Clementine Ward_.
DOLLY VARDEN QUADRILLE. By _Henry Parker_.
DOLLY VARDEN QUADRILLE, on old English Tunes. By _C.H.R.
Marriott_.
MAYPOLE HUGH. Song. Words by _Charles Bradberry_. Music by
_George Fox_.
YANKEE NOTES FOR ENGLISH CIRCULATION; or BOZ IN A-MERRY-KEY.
Comic Song. Written by _James Briton_. Music arranged to an
American Air by _Geo. Loder_.
THE CHRISTMAS CAROL QUADRILLES. By _Edwin Merriott_.
TINY TIM. Words by _Edward Oxenford_. Music by _Alfred J.
Caldicott_.
TINY TIM. Words by _Harry Lynn_. Music by _W. Knowles_.
THE SONG OF CHRISTMAS. Song sung in _A Christmas Carol_ at
the Theatre Royal, Adelphi. Composed by _C. Herbert Rodwell_.
TINY TIM. Written and composed by _Arthur Wingham_.
'GOD BLESS US EVERY ONE.' Words by _Geo. Cooper_. Music by
_Herbert Foster_.
THE CHIMES. Song. Written by _J.E. Carpenter_. Music composed
by _F. Nicholls Crouch_.
THE CHIMES. By _Jullien_.
THE CHIMES QUADRILLES. By _Henry Oakey_.
THE CHIMES QUADRILLES. By _Lancelott_.
THE CHIMES GAVOTTE. For the pianoforte, with bell accompaniment
(ad lib.). Composed by _Wm. West_, Organist and Choirmaster
of St. Margaret Pattens (Rood Lane, E.C.).
LILLIAN. Ballad from _The Chimes_. The Poetry by _Fanny E.
Lacey_. Music by _Edward L. Hime_.
THE SPIRIT OF THE CHIMES. Written and composed by _Fanny
E. Lacey_.
THE CRICKET ON THE HEARTH. Song. By _James E. Stewart_,
Cincinnati, U.S.A.
THE CRICKET ON THE HEARTH. A Domestic Ballad. Written by
_Edward J. Gill_. Music by _J. Blewitt_.
THE CRICKET POLKA.
THE CRICKET POLKA. Composed by _Jullien_.
THE CRICKET ON THE HEARTH QUADRILLES. Composed by _S.D.
Saunders_.
THE CRICKET ON THE HEARTH. A set of Quadrilles. By _T.L.
Rowbotham_.
THE CRICKET ON THE HEARTH. A new Christmas Quadrille.
By _F. Lancelott_.
THE NEW CRICKET POLKA. Composed by _Johann Lupeski_.
THE BATTLE OF LIFE. Song. Words by _O.C. Lynn_. Music by
_R. Graylott_. Published in _The Illustrated London News_,
March 20, 1847.
THE FRUIT GATHERERS' SONG ('The Battle of Life'). Written by
_Fanny E. Lacey_. Composed by _Edwin Flood_.
THE HAUNTED MAN QUADRILLES. By _Wm. West_.
WHAT ARE THE WILD WAVES SAYING? Written by _J.E.
Carpenter_. Music by _Stephen Glover_.
WHAT ARE THE WILD WAVES SAYING? (_Stephen Glover_). Arranged
for the pianoforte by _Brinley Richards_.
A VOICE FROM THE WAVES (an answer to the above). Words by
_R. Ryan_. Music by _Stephen Glover_.
LITTLE PAUL BALLAD. Poetry by _Miss C. Young_. Music by _W.T.
Wrighton_.
PAUL. Song. Words by _Edward Oxenford_. Music by _Alfred J.
Caldicott_.
FLORENCE. Song. Written by _Charles Jeffrey_.
POOR FLORENCE. Song. Music composed by _W.T. Wrighton_.
WALTER AND FLORENCE. Song. Written by _Johanna Chandler_.
Music by _Stephen Glover_.
DOMBEY AND SON QUADRILLE. By _Miss Harriet Frances Brown_.
THE DAVID COPPERFIELD POLKA. Composed by _W. Wilson_.
THE MICAWBER QUADRILLE (played in the drama of _Little Em'ly_,
at the Olympic Theatre, in 1869). Composed by _J. Winterbottom_.
LITTLE EM'LY VALSES. By _John Winterbottom_. (Played in the
drama of _Little Em'ly_, at the Olympic Theatre, in 1869.)
THE LITTLE EM'LY POLKA. Composed by _W.G. Severn_.
AGNES; or I HAVE LOVED YOU ALL MY LIFE. Ballad. Written by
_Ger Vere Irving_. Composed by _Gerald Stanley_.
DORA; or THE CHILD-WIFE'S FAREWELL. Ballad. Written by _George
Linley_. Composed by _Gerald Stanley_.
PEGGOTTY THE WANDERER. Ballad. Written by _William Martin_.
Music by _James William Etherington_.
DORA TO AGNES. Song. Words by _Charles Jeffrey_. Music by
_J.H. Tully_.
LITTLE BLOSSOM. Ballad by _Stephen Glover_. Words by _Charlotte
Young_.
HOUSEHOLD WORDS. Duet. Written by _Charlotte Young_.
Composed by _John Blockley_.
Songs and Ballads from _Bleak House_:
(1) THE SONG OF ESTHER SUMMERSON, 'Farewell to the Old
Home.' Written by _Charles Jeffrey_. Music by _Charles
W. Glover_.
(2) ADA CLARE. Written by _Charles Jeffrey_. Set to Music
by _Charles W. Glover_.
POOR JO! Ballad. Written by _H.B. Farnie_. Composed by
_C.F.R. Marriott_.
POOR JO! Song and Chorus. Written by _W.R. Gordon_. Composed
by _Alfred Lee_.
'JO.' Galop for the pianoforte upon airs from the celebrated
drama, by _Edward Solomon_.
'HE WAS WERY GOOD TO ME.' Poor Jo's song. Written and composed
by _Alfred Allen_.
THE TOKEN FLOWERS. Song founded on 'Caddy's Flowers' in
_Bleak House_. Written by _Joseph Edward Carpenter_. Music by
_B. Moligne_.
HARD TIMES. Polka. By _C.W._
LITTLE DORRIT. Ballad. Written and composed by _John Caulfield_.
LITTLE DORRIT. Song. Written by _Henry Abrahams_. Music by
_C. Stanley_.
LITTLE DORRIT'S POLKA. Composed by _Jules Norman_.
AS YOU LIKE IT; or LITTLE DORRIT'S POLKA. By _W.H. Montgomery_.
LITTLE DORRIT'S VIGIL. By the composer of LITTLE NELL.
LITTLE DORRIT'S SCHOTTISCHE. Composed by _W.M. Parker_.
LITTLE DORRIT SERENADE. By _Clementine Ward_.
'MY DEAR OLD HOME.' Ballad. Written by _J.E. Carpenter_.
Composed by _John Blockley_.
WHO PASSES BY THIS ROAD SO LATE? Blandois' song from _Little
Dorrit_. Words by _Charles Dickens_. Music by _H.R.S. Dalton_.
(This song was suggested to Dickens by the French song entitled
'Le Chevalier du guet.')
FLOATING AWAY BALLAD. Written by _J.E. Carpenter_. Music by
_John Blockley_.
ALL THE YEAR ROUND; or THE SEARCH FOR HAPPINESS. Song.
Written by _W.S. Passmore_. Composed by _John Blockley_.
ALL THE YEAR ROUND QUADRILLES. By _E. Frewin_.
ALL THE YEAR ROUND VARSOVIANA. By _W.H. Montgomery_.
THE TWO CITIES QUADRILLES. By _W.H. Montgomery_.
TOM TIDDLER'S POLKA. Composed by _W. Wilson_.
GREAT EXPECTATIONS. Ballad.
_Coote's_ Lancers, 'SOMEBODY'S LUGGAGE.'
MRS. LIRRIPER'S QUADRILLE. Written by _Adrian Victor_.
JENNY WREN (THE DOLL'S DRESSMAKER). Song. Words by _Edward
Oxenford_. Music by _Alfred J. Caldicott_.
JENNY WREN QUADRILLES. Arranged by _Rosabel_.
MUGBY JUNCTION GALOP. By _Charles Coote, jun._
NO THOROUGHFARE GALOP. Composed by _Charles Coote, jun._
[From an edition:]
PRINTED BY THE
'SOUTHAMPTON TIMES' CO., LTD.,
70 ABOVE BAR, SOUTHAMPTON
TRANSCRIBER'S NOTES
The musical extracts are marked [Figure 1]-[Figure 8].
These are available as MIDI files.
Italic text is marked _thus_ with underscores.
Alterations:
Page 10 "and can't play 'out to-night,'"
Hyphen not inked in original.
Page 25 "and tuned like fifty stomach-aches."
Corrected typo: "tuned liked"
Page 40 "which had no recognizable tune"
Corrected typo: "recognizable time"
Page 89 "given to the young red-haired boy"
Corrected typo: "young red-haired boots"
Page 93 "penn'orths"
Page 104 "hunting field,"
Letter 't' not inked in original.
Page 115 "His musical powers made him useful at the club-room"
Hyphen at line-end: could be "clubroom".
Page 116 "'as of a gallant and eminent naval Hero,'"
Closing quote missing in original.
Page 146 "(_O.C.S._ 27)"
Corrected typo: "_D.C.S._"
Page 148 "See 'Since the first dawn of reason.'"
Original had "When the first dawn of reason."
Page 150 "See 'Strew then, Oh strew.'"
Original had "Strew then, O strew."
Page 152 "Come weal, come woe, we'll gather and go,"
Line indented in original.
Page 164 "Banjo"
Page 165 "Brown, Mr."
Page numbers missing in original.
Pages 27, 33, 166, 177
"Cadby" corrected to "Caddy"
End of Project Gutenberg's Charles Dickens and Music, by James T. Lightwood