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gentleman, my worthy friend and patient, Mr. Smith, has often told me what follows, viz., "That your father came to him with the words and music, desiring him to correct the bass which was not proper; and at your father's request Mr. Smith wrote another bass in harmony. Mr. Smith (John Christopher Smith, Handel's amanuensis), to whom I read your letter this day, repeated the same account, and on this authority I pledged myself for the truth of the statement. HARINGTON, H., 1795, Letter to George Savile Carey, June 13.

Objections may be taken to Carey's claim, because "God save the King" was published anonymously. I do not attach any importance to that fact, because I have before me several others of his songs so printed. The copies were, in all probability, obtained surreptitiously. He complains of this piracy in the preface to the first volume of "The Musical Century," 1737, and states his losses on that account to have averaged nearly 300£ a year.

Carey's last musical publication bears date Jan., 1740, and that is the year in which he is stated to have sung "God save the King'at a Tavern in Cornhill. The celebration of Admiral Vernon's victory was certainly an appropriate time for its production. Carey died in October, 1743, and "God save the King" first became extensively popular in October, 1745. It was the rebellion of that year that called forth such repeated expressions of loyalty, and caused so much enthusiasm. when the song was sung at all the theatres.-CHAPPELL, WILLIAM, 1855-59, Popular Music of the Olden Time, vol. II, p. 703.

Its first public performance is said to have been at a dinner in 1740 to celebrate the taking of Portobello by Admiral Vernon (Nov. 20, 1739), when it is said to have been sung by Henry Carey as his own composition, both words and music. The nearest known copy to that date is that in the "Harmonia Anglicana" of 1742 or 43. . . . This is the nearest we can arrive at to the original form of the air and words, and both will be found somewhat different from those with which we are familiar. The fact that Henry Carey was the author of both, is testified to by J. Christopher Smith, Handel's amanuensis, and by Dr. Harington.

The

Pretender was proclaimed at Edinburgh Sept. 16, and the first appearance of "God save the King" was at Drury Lane, Sept. 28. For a month or so it was much sung at both Covent Garden and Drury Lane; Burney harmonised it for the former, and Arne for the latter. Both words and music were printed, the latter in their present form, in the Gentleman's Magazine, Oct. 1745. How far "God save the King" was complied from older airs will probably never be known. Several exsit with a certain resemblance to the modern tune. -GROVE, GEORGE, 1879, A Dictionary of Music and Musicians, vol. I, p. 605.

Carey has been credited with the authorship of "God save the Queen." The first known publication of this was in the "Harmonia Anglicana," 1742, where it is anonymous. Carey did not include it in his "Century." It first being popular after his death, during the rebellion of 1745. The actor Victor describes the performance in a contemporary letter to Garrick, and says that it was an old anthem sung in the chapel of James II. when William III. was expected. Arne arranged it for Drury Lane, and Burney for Covent Garden. Burney told Isaac D'Israeli that the authorship was unknown, and gives the same account of its origin as Victor. Fifty years later, Carey's son, George Savile Carey, claimed it for his father in order to justify a request for a pension. His only authority was J. C. Smith, who told Dr. Harington of Bath, on 13 June, 1795, that Henry Carey had brought it to him in order to correct the bass.

Smith was the friend of Handel, and had been a collaborator with Carey. A Mr. Townshend is said to have told John Ashley of Bath, who told W. L. Bowles, in 1828, that he had heard Carey sing the anthem at a tavern on occasion of Vernon's capture of Portobello in 1740. Some internal evidence in favor of Carey is suggested in Bowles's "Life of Ken," but the improbability that Carey should have left the authorship unclaimed, that his family should not have claimed it when it became popular, and that Arne (to whom he must have been well known) and Burney should have been unable to discover the authorship at the time, seems to overbalance the small probability of the much later statements, which, moreover, if

accepted, do not establish Carey's authorship. STEPHEN, LESLIE, 1887, Dictionary of National Biography, vol. IX, p. 71.

Will it ever be definitely known who wrote and composed our national anthem -an anthem that is familiar all the whole wide world over? During the Chicago Exhibition a body of World's Fair representatives of twenty-seven different nationalities, speaking when at home fifteen different languages, crossed the Canadian frontier at Gretna in Manitoba on August 29th, 1893, for the purpose of heartily cheering Queen Victoria and singing "God Save the Queen." Yet, particulars concerning the origin of the melody are so conflicting that we doubt if it will ever be absolutely proved whence it sprang. The vast majority of those who have gone into the subject incline to favour the claim put forward for Henry Carey.-FITZGERALD, S. J. ADAIR, 1898, Stories of Famous Songs, p. 384.

SALLY IN OUR ALLEY

A vulgar error having long prevailed among many persons, who imagine Sally Salisbury the subject of this ballad, the Author begs leave to undeceive and assure them it has not the least allusion to her, he being a stranger to her very name at the time this Song was composed. For as innocence and virtue were ever the boundaries to his Muse, so in this little poem he had no other view than to set forth the beauty of a chaste and disinterested passion, even in the lowest class of human life. The real occasion was this: a Shoemaker's 'Prentice making holiday with his Sweetheart, treated her with a sight of Bedlam, the puppet-shows, the flying-chairs, and all the elegancies of Moorfields from whence proceeding to the Farthing-pie-house, he gave her a collation of buns, cheese-cakes, gammon of bacon, stuff'd beef, and bottled ale; through all which scenes the Author dodged them (charmed with the simplicity of their courtship), from whence he drew his little sketch of nature; but being then young and obscure, he was very much ridiculed by some of his acquaintance for this performance; which nevertheless made its way into the polite world, and amply recompensed him by the applause of the divine Addison, who was

pleased (more than once) to mention it with approbation.-CAREY, HENRY, 1729, Sally in Our Alley, Preface.

Though he had but little skill in music, he had a prolific invention, and very early in his life distinguished himself by the composition of songs, being the author both of the words and the music: one of these, beginning "Of all the girls that are so smart, "he set to an air so very pretty, and withal so original, that it was sung by everybody.-HAWKINS, SIR JOHN, 1776, A General History of the Science and Practice of Music, vol. II, p. 827.

Of all his compositions, the most popular, and that which will transmit his name to posterity, is his ballad of "Sally in our Alley," one of the most striking and original melodies that ever emanated from the brain of a musician.-HUSK, WILLIAM H., cians, ed. Grove, vol. I, p. 310. 1879, A Dictionary of Music and Musi

GENERAL

Carey was a true son of the Muses, and the most successful writer in our language. He is the author of several little national poems. In early life he successfully burlesqued the affected versification of Ambrose Philips, in his baby poems, to which he gave the fortunate appellation of "Namby Pamby, a panegyric on the new versification;" a term descriptive in sound of those chiming follies, and now become a technical term in modern criticism. Carey's "Namby Pamby" was at first considered by Swift as the satirical effusion of Pope, and by Pope as the humorous ridicule of Swift. His ballad of "Sally in our Alley" was more than once commended for its nature by Addison, and is sung to this day. Of the national song, "God save the King," it is supposed he was the author both of the words and of the music. He was very successful on the stage, and wrote admirable burlesques of the Italian Opera, in "The Dragon of Wantley," and "The Dragoness;" and the mock tragedy of "Chrononhotonthologos" is not forgotten. Among his Poems lie still concealed several original pieces; those which have a political turn are particularly good, for the politics of Carey were those of a poet and a patriot.-DISRAELI, ISAAC, 181213, The Despair of Young Poets, Calamities of Authors.

Daniel Neal

1678-1743.

Born at London, Dec. 14, 1678: died at Bath, April 4, 1743. An English historian. He was educated at the Merchant Taylors' School and at the universities of Utrecht and Leyden. In 1706 he settled as an independent clergyman in London. He wrote a "History of New England" (1720), and (his chief work) the "History of the Puritans" (1732-38).—SMITH, BENJAMIN E., ed., 1894-97, The Century Cyclopedia of Names, p. 726.

HISTORY OF THE PURITANS
1732-38

Neal opposes a more elaborate history; where these "great and good men," the puritans and the presbyterians, "are placed among the reformers;" while their fame is blanched into angelic purity. Neal and his party opined that the protestant had not sufficienlty protested, and that the reformation itself needed to be reformed. They wearied the impatient Elizabeth, and her ardent churchmen; and disputed with the learned James, and his courtly bishops, about such ceremonial trifles, that the historian may blush or smile who has to record them. And when the puritan was thrown out of preferment, and seceded into separation, he turned into a presbyter. Nonconformity was their darling sin, and their sullen triumph. -DISRAELI, ISAAC, 1791-1824, "Political Religionism," Curiosities of Literature.

The most dishonest book in our language, Dodd's "Roman Catholic Church History," not excepted. - SOUTHEY, ROBERT, 1823, Burnet's History of his Own Time, Quarterly Review, vol. 29, p. 166.

Neals' "History of the Puritans" is almost wholly compiled as far as this (Elizabeth's reign) is concerned, from Strype, and from a manuscript written by some Puritan about the time. It was answered by Madox, afterwards bishop of Worcester, in a "Vindication of the

Church of England," published anonymously in 1733. Neal replied with tolerable success; but Madox's book is still an useful corrective. Both, however, were, like most controversialists, prejudiced men, loving the interests of their respective factions better than truth, and not very scrupulous about misrepresenting an adversary. But Neal has got rid of the intolerant spirit of the Puritans; while Madox labours to justify every act of Whitgift and Parker.-HALLAM, HENRY, 1827-46, Constitutional History of England, vol. 1, ch. iv, note. I,

A valuable and instructive history, with a strong bias in favour of his subjects, but an upright mind.-BICKERSTETH, EDWARD, 1844, The Christian Student.

It contain numerous passages of that homely eloquence, which springs from simple earnestness of feeling, and finds its way directly to the heart. There is occasionally much felicity in the selection of words embodying homely fancies, and which convey the sense by suggesting an image. WHIPPLE, EDWIN P., 1845, Neal's History of the Puritans, North American Review, Jan.; Essays and Reviews.

The whole work was warmly praised by Neal's party, but his occasionally serious misrepresentation or suppression of facts did not pass unchallenged.-MULLINGER, J. BASS, 1894, Dictionary of National Biography vol. XL. p. 135.

Lewis Theobald

1688-1744.

Lewis Theobald, son of an attorney, at Sittingbourne, in Kent, and bred to the law, published, in 1714, a translation of the "Electra" of Sophocles; and produced in the following year an acted tragedy, the "Persian Princess," written before he was nineteen. His "Perfidious Brother," acted in 1716, was on the model of Otway's "Orphan," In 1715 he published translations of the "Edipus" of Sophocles, and versions from Aristophanes of "Plutus" and "The Clouds." To these he had added opera, melodrama, and, in 1725, when Pope issued his "Shakespeare," the pantomime of "Harleguin a Sorcerer," before his attack upon Pope's "Shakespeare," in 1726, with a pamphlet, called "Shakespeare Restored; or, Specimens of Blunders Committed and Unamended in Pope's Edition of this Poet." Theobald understood Shakespeare

better than Pope did, and lived to show it; but this did not lessen the annoyance of his attack, and, fresh from the smart of it, Pope made Theobald the hero of his "Dunciad." In 1727 Theobald gave work to the critics by producing at Drury Lane, as a play of Shakespeare's, "The Double Falsehood; or, The Distrest Lovers."MORLEY, HENRY, 1873, A First Sketch of English Literature, p. 809.

PERSONAL

A notorious idiot, one hight Whachum, who, from an under spurleather to the law, is become an understrapper to the playhouse. DENNIS, JOHN, 1717, Remarks on Pope's Homer.

SHAKESPEARE RESTORED

1726

In the body of the work he confines himself to animadversions on "Hamlet, but in an appendix of some forty-four closely printed pages in small type he deals similarly with portions of most of the other plays. This work not only exposed the incapacity of Pope as an editor, but gave conclusive proof of Theobald's competence for the task in which Pope had failed. Many of Theobald's most felicitous corrections and emendations of Shakespeare's text are to be found in this, his first contribution to textual criticism.

-COLLINS, JOHN CHURTON, 1898, Dictionary of National Biography, vol. LVI, p. 119. Pope found a rigorous critic in Lewis. Theobald, who, although contemptible as a writer of original verse and prose, proved himself the most inspired of all the textual critics of Shakespeare. Pope savagely avenged himself on his censor by holding him up to ridicule as the hero of the "Dunciad." Theobald first displayed his critical skill in 1726 in a volume which deserves to rank as a classic in English literature. The title runs "Shakespeare Restored, or a specimen of the many errors as well committed as unamended by Mr. Pope in his late edition of this poet, designed not only to correct the said edition but to restore the true reading of Shakespeare in all the editions ever yet publish'd."-LEE, SIDNEY, 1900, Shakespeare's Life and Work, p. 175.

EDITION OF SHAKESPEARE

1733

Mr. Theobalds (Mr. Baker tells me) is a very genteel man, and has show'd himself a scholar in his Shakespeare, which I just run over, and might (were it not quite out of my way) have made observations. I noted, however, that he had taken too great liberty. I wish rather he

had follow'd the first editions very exactly, be they faulty or not. Shakespeare wanted learning. He was guilty of pseudography, sometimes perhaps designedly. He (Mr. Theobalds) is too bold in bringing his own conjectures into the text, which (it may be) will lay him too open to his adversaries, and make them say Shakespeare wants as much to be restored as ever, and that his edition is not of much greater authority than that of Mr. Pope, who is much inferior to Mr. Theobalds in learning. Mr. Theobalds hath all along, very often justly enough, discovered and reflected upon Mr. Pope's defects, which will, without doubt, nettle self, he having in his Dunciad (a scurrilMr. Pope, who, however, may thank himous piece against many of the greatest men of the age) treated Mr. Theobalds in a very barbarous manner, for which Mr. Pope is much blamed.-HEARNE, THOMAS, 1734, Reliquiæ Hearniana, ed. Bliss, May 17, vol. I, p. 137.

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This Tibbald, or Theobald, published an edition of Shakespear, of which he was so proud himself as to say, in one of Mist's Journals, June 8, "That to expose any Errors in it was impracticable." And in another, April 27, That whatever care might for the future be taken by any other Editor, he would still give above five hundred emendations, that shall escape them all."-POPE, ALEXANDER, 1743, The Dunciad, bk. i, v. 133, note.

Mr. Theobald was naturally turned to industry and labour. What he read he could transcribe; but as what he thought, if ever he did think, he could but ill express, so he read on; and by that means got a character of learning without risking to every observer the imputation of wanting a better talent. By a punctilious collation of the old books, he corrected what was manifestly wrong in the later editions by what was manifestly right in the earlier. And this is his real merit, and the whole of it... Nor had he either common judgment to see, or critical sagacity to amend, what was manifestly faulty. Hence he generally exerts his conjectural talent in the wrong place. He tampers

with what is sound in the common books, and in the old ones omits all notice of variations the sense of which he did not understand. WARBURTON, WILLIAM,1747, ed. Shakspeare, Preface.

Pope was succeeded by Theobald, a man of narrow comprehension and small acquisitions, with no native and intrinsic splendour of genius, with little of the artificial light of learning, but zealous for minute accuracy, and not negligent in pursuing it. He collated the ancient copies, and ratified many errors. A man so anxiously scrupulous might have been expected to do more, but what little he did was commonly right.-JOHNSON, SAMUEL, 1760, ed. Shakspeare's Plays, Preface.

Among the commentators on Shakspeare, Warburton, always striving to display his own acuteness and scorn of others, deviates more than any one else from the meaning. Theobald was the first who did a little.-HALLAM, HENRY, 1837-39, Introduction to the Literature of Europe, pt. iii, ch. vi, par. 54.

His attempts were limited to the emendation of corrupt passages, and the explanation of obscure ones: the more elevated disquisitions to develop the genius of his author, by principles of criticism applied to his beauties or his defects, he assigned to "a masterly pen." This, at least, was not arrogant. The man who is sensible of his own weakness is safe by not tasking it to the proof. His annotations are amusing from the self-complacency of the writer, who at times seems to have been struck by his now felicitous results; and in truth he was often successful, more than has been honestly avowed by those who have poached on his manor. Theobald exulted over Pope; but he read his triumph in "the Dunciad." The Popeians now sunk the sole merit of the laborious sagacity of "the restorer," as Mr. Pope affectionately called him, to that of "a word-catcher." But "piddling Theobald," branded in the forehead by the immortal "Dunciad," was the first who popularized the neglected writings of Shakespeare. His editions dispersed thirteen thousand copies; while nearly a third of Pope's original subscription edition, of seven hundred and fifty copies, were left unvendible.--DISRAELI, ISAAC, 1841, Shakespeare, Amenities of Literature.

In 1733 he produced an edition of

Shakspere, in seven volumes octavo, which annihilated Pope's quartos and duodecimos. The title-page of Theobald's Shakspere bore that it was "collated with the oldest copies, and corrected, with Notes." Pope's edition was not again reprinted in London; but of Theobald's there have been many subsequent editions, and Steevens asserts that of his first edition thirteen thousand copies were sold. Looking at the advantage which Pope possessed in the pre-eminence of his literary reputation, the preference which was so decidedly given to Theobald's editions is a proof that the public thought for themselves in the matter of Shakspere.KNIGHT, CHARLES, 1849, Studies of Shak

spere.

Theobald, "poor, piddling Tibbald," the first hero of his Dunciad, came after Pope, and is one of the very best editors who have fallen to the lot of Shakespeare. He was the first who did any great service by conjectual emendation, and the judicious use of the quartos.-WHITE, RICHARD GRANT, 1854, Shakespeare's Scholar, p. 9.

Strangely enough, it is not the men of highest intellect that have in this way. done the most for Shakspeare. Pope was one of his editors; so was Warburton; Johnson another; Malone too, a very able man. Mr. Charles Knight is correct in saying that the best of the old editors of Shakspeare is Theobald.-DALLAS, E. S., 1866, The Gay Science, vol. 1, p. 16.

To be regarded not only as the father of Shakspearian criticism, but as the editor to whom our great poet is most deeply indebted. deeply indebted. To speak of any of the eighteenth-century editors in the same breath with him is absurd. In the first place he had what none of them possessed

a fine ear for the rhythm of blank verse, and the nicest sense of the nuances of language as well in relation to single words as to words in combination-faculties which, as it is needless to say, are indispensable to an emendator of Shakspeare, or, indeed, of any other poet. In every department of textual criticism he excelled. In its humbler offices, in collation, in transcription, in the correction of clerical errors, he was, as even his enemies have frankly admitted, the most patient and conscientious of drudges. To the elucidation of obscurities in

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