NOTE TOPAGE 76.

Risum teneatis amici?O what is Music to the ear that’s deaf;Or a goose pye to him that has no taste?

London: Printed for the Author.”

In the preface, Arne says: “The fairest apologies I can offer in excuse for this Parody on Alexander’s Feast, which, by its ludicrous turn, may be thoughtan attempt to depreciate one of the noblest poems in the English, or perhaps any other language, are, First, that the impossibility, in any degree, to lessen the value of so perfect an ode was a capital motive. The second was an irresistible propensity (which perhaps I may have mistaken for genius) to the comic muse.” The preface ends with an intimation that the author hopes the “oddity of the attempt, with the intense application bestowed on the music, and the great expence at which it is performed, will compensate for any defects in the parody, and invite a good-humoured audience to support it.” “April the 10th, 1776. From my Garret, in Cat and Harp Alley.”—“The Scribbler.”

The libretto is printed in double columns, the left giving Dryden’s text, the right the College Wag’s parody. It may suffice to say that there are seventeen pages of vulgarity and sometimes indecency. The music, which extends to two hundred and fifty pages in the manuscript score, is superior to the poetry. There is no Overture; the various songs and choruses are palpably meant to be in imitation of Handel, but like the words they fail to detract from the value of the originals they vainly burlesque. There is evidence that Arne intended to have a public performance of “Whittington’s Feast”; but circumstances, probably indifferent health, prevented it.

Arne, by Zoffany.

In October, 1777, Arne and his wife met and became again a united and affectionate pair. This happy reconciliation was brought about by the intervention of their grand-niece, Cecilia Maria Barthelemon. A memorandum written by her, stillpreserved by one of her descendants, is worth quoting verbatim: “In former days the Doctor [Arne] had taken great pleasure in hearing my mother[27]sing the songs forMandanein his Opera ofArtaxerxes, and latterly she used to visit him for the purpose of receiving her Aunt’s seperate maintenance money, and the last time she called for this purpose, she took her little daughter with her, then about ten years old. The Doctor who was always kind to the child, had her seated on his knee all the time: and when her mother was about to leave, she ventured to say, that she began to be tired of calling for this purpose, and thought it would be far better for him to be reconciled to his good wife, who had always been so irreproachable herself. He, however, answered her in a manner so violent and angry, that the child who both loved and revered her great-aunt, burst into tears and cried aloud; and her mother at once rose to take leave, observing also that she wouldnever take the trouble to call upon him again. A few days after, however, she received a letter from the Doctor, apologizing for his conduct, adding that the tears of the dear child had affected him more than could a host of men, and that if his dear old wife would be reconciled, he would be happy to see her and her niece and nephew Barthelemon, and the dear child also, to dine with him on the following Sunday. The good Mrs. Arne shed tears of joy, gave her ready consent, and lovingly embraced her little grand niece.” The narrative continues: “The Doctor and his wife lived happily together (alas)only for six months after this long wished for reconciliation (after a separation of thirty years)—often expressing the wish that it had taken place years, instead of only months before.”

We learn from an entry made by Mawhood in his diary, dated the 6th of December, 1777, that he saw Dr. Arne, “who has conformed and is now very ill; he has made his will betwixt Mrs. Arne and Michael.” Another entry in the diary, dated the 10th, stated: “Mr. Paxton called, says Dr. Arne is now on the recovery.” The improvement in his health, however, proved only temporary, and on the 5th of the following March, 1778, the diarist wrote, “Dr. Arne died this evening at eight o’clock.”

The grand-niece previously quoted says: “Dr. Arne died a sincere penitent, and a firm Catholic. His confessor buried him according to the ceremony of his Church. A cross was put on his coffin, and he was interred in the burial ground of St. Paul’s, Covent Garden, on the right hand side going in.” There are two contemporary printed accounts of the last moments of the distinguished composer; one from his intimate friend, the popular tenor singer, Vernon, who, at that time engaged in the neighbouring Drury Lane Theatre, was in the habit of visiting Arne daily at his residence in Bow Street. The morning after Arne’s decease he told the company assembled in the music-room at the theatre that he “was talking on the subject of music with the Doctor, who suffered much from exhaustion, when, in attempting to illustrate what he had advanced, he in a very feeble and tremulous voice sung part of an air, during which he becameprogressively more faint, until he breathed his last, making as our immortal Shakespeare expresses it, a swan-like end fading in music.”

The other account says Arne “died of a spasm on his lungs, retaining his faculties to the last moment of his existence. He had originally been instructed in the principles of the Romish Church: these however he had for many years wholly neglected, as inconsistent with a life of ease and gallantry, in which he indulged to the fullest extent of his purse and constitution. In his last stage, the dormant seeds of early maxims and prejudices, as is usually the case, revived in his bosom, too strong to be checked, or perhaps discriminated by sound reason. The complicated train of doubts, hopes, and fears, operated so forcibly on the Doctor’s feelings at this awful period, that a priest was sent for, by whom he was awed into a state of most submissive repentance. In thus renewing the duties of a Christian, those of his professional line were not forgotten; for about an hour before his death he sung an harmonious Halleluja, a flight of fancy, calculated as it were to usher him into the other world.” These narratives, though not precisely similar in detail, leave no doubt in the mind of the reader that Arne died repentant, doubtless the happier for having been reconciled to his wife.“Notwithstanding the number and excellence of his publications, Dr. Arne left little or no property behind him; a circumstance which will not appear extraordinary to those who consider his real character and life. He was naturally fond of vicious pleasure, to which he sacrificed every other consideration.” The Will he made is at Somerset House, and recites as follows:—“In the Name of God Amen—I Thomas Augustine Arne of Bow Street Covent Garden in the County of Middlesex doctor in Music being of sound mind memory and understanding hereby make and pronounce this to be my last Will and Testament revoking all former Wills made or pretended to be made whatever Whereas I am possessed of a small Personal Estate consisting of goods Chattels and Effects most of them now standing lying or being in the House I rent of Mrs. Woodeville in Bow Street aforesaid and particularized in the Schedule hereto annexed I leave give and bequeath them in manner and form following First to my beloved wife Cecilia and only son Michael I give and bequeath the sad remains of my once excellent Organ mangled trod to pieces and ruined by and through the Villainy of wicked Servants that they may dispose of the same to the best advantage and share the profits equally between them Secondly I give and bequeath to the said Cecilia and Michael all my Worldly Goods Chattels Estate Personal whatever and wherever to be found (except as hereafter excepted) Books musical and for reading Plate and every other thing now situate standing or lying in my house in Bow Street aforesaid or in any other place to be found As to all books Musical or Literary and all Manuscripts in either branch written or composed by me or other Persons My Will is that such as may by performance at any time or in any place produce any profit or Benefit to the said Cecilia and Michael The expenses attending such Performances being first paid anddefrayed equally between them The Profits or Benefits arising from the Sale or Public Performance thereof shall be equally divided between them share and share alike And the said Property being liable to an exception before limited I shall make it here viz. That the share and proportion of the said Michael is only circumscribed or limited in this particular viz. that when by sale of the Goods or part of them or by Public Performance or Performances of any of my Works, have received to his share the sum of seventy Pounds that he shall pay or cause to be paid to his Daughter Jemima the sum of ten Guineas as a present from me to his said Daughter for her Love and Kindness to me It is therefore my last will that all my works in particular Shall be and remain in the Possession of my said wife Cecilia subject to their being called forth used and employed for the mutual benefit profit and emolument of my said son as well as my wife, for Security of which to the said Cecilia she has and shall have by virtue hereof (before the delivery of any work) an unquestionable right to be satisfied As to the Probability of Success in the undertaking and an equal right to elect a Trustee or Treasurer to sit in the Treasurers Office on all and every Night whereon any of my works are performed And after all the charges attending such performance or performances shall be duly deducted to take and receive for and to the use of the said Cecilia one clear half or Moiety of the Monies or Profits arising therefrom and then take the Score and Parts of such Work or Works and reconvey it or them in Safety to the said CeciliaAnd this same just method of Proceeding shall duly be observed for the said Cecilia’s equal Security in Case that either of the said dramatic Productions shall by their mutual consent be disposed of for their mutual Profits or Advantage to either of the Patent Theatres And in case that the said Cecilia shall depart this Life before the Death of the said Michael in such case the whole Personal Estate and Property above mentioned shall devolve or come down in right to the said Michael as sole Successor by this my last Will and Testament And lastly I hereby nominate and appoint the said Cecilia and Michael my joint and sole Executors of this my last will and Testament hereby impowering them to sue for and recover all debts and Demands whatever due to me on any account whatever whether in Law or Equity As Witness my hand and Seal this sixth of December in the seventeenth year of the Reign of Our Sovereign Lord George the third and in the year of our Lord One thousand seven hundred and seventy-seven.

ThoS.AugNE.Arne.

Sealed and delivered being first duly stamp’d in the presence of Stephen Paxton Maria Barthelemon.[28]

On the 6th of March, 1778, theMorning Chroniclehad a short paragraph: “yesterday, died Dr. Arne, at his house in Bow-Street, whose musical talents were an honour to himself and this country.”

Arne was interred in the burial ground on the north side of St. Paul’s Church, Covent Garden, on the 15th of March, and the fact was noted in the Parish Register, he being described simply as “Thomas Arne.” No memorial of him was erected, but his son suggested a scheme for placing a monument in Westminster Abbey. This, like most of Michael Arne’s projects, ended in talk; indeed, he only survived his father eight years, and died in South Lambeth on the 14th of January, 1786, leaving a widow, his second wife, in destitute circumstances. His career had been a varied one. His aunt, Mrs. Cibber, taught him as a child how to act on the stage, and he appeared as the Page in Otway’s tragedy “The Orphan.” His father gave him singing lessons, and procured him engagements at the Marylebone Gardens in 1751. He became a skilled harpsichord player, and made a good reputation as a composer of songs and ballads. His music to Garrick’s romance, “Cymon,” produced at Drury Lane in 1767, was very popular. He married one of his father’s pupils, Elizabeth Wright, in 1766, who became a successful stage-vocalist; she died in 1774-5. He inherited much of his father’s talent, but, infatuated with the determination to discover the mystery of the philosopher’s stone, he built a laboratory at Chelsea, and ruined himself. Removing to Ireland, he resumed his profession of music, and revived his fortune; but the old mania returned, and he retired to Clontarf to make experiments which he believed would enable him to manufacture gold, with the result that he again beggared himself, and was arrested and confined in a sponging-house in Dublin.From this, by the exertions of friends, he was released. He returned to London, and again took up work as a teacher and composer, but with only moderate success.

Dr. Arne, as we have seen, died on the 5th of March, and on the 28th of the succeeding month (April) a performance was given at the Theatre Royal in the Haymarket for the benefit of Mrs. Arne, which was attended by the old family friend Mr. Mawhood, and duly recorded in his diary. The programme included Dr. Arne’s Elegy Glee, “Come, shepherds, we’ll follow the hearse,” specially instrumented for the occasion by Dr. Samuel Arnold.

Previous to the reconciliation with her husband, Mrs. Arne had resided with Barthelemon and his wife; after Dr. Arne’s death she again went to live with them at their house in Vauxhall. Here she enjoyed a few years of peaceful happiness, loving and beloved. An extract from a letter addressed to Mrs. Barthelemon in 1788 by a near relative will be read with interest: “We rest in hope Mrs. Arne continues on the mending hand, she has been a good woman, and has long attended to the future rest of her soul, which becomes the most important of all charges, though many of us decline it to a late moment. Mrs. Scott desires to be kindly remembered to Mr. Barthelemon, Mrs. Lampe, Miss Lampe, anddearMrs. Arne, Yours affectionately, John Scott.”[29]

“At the advanced age of seventy-nine Mrs. Arne continued to observe the hours of prayer, and the usual fast-days of her Church, with a rigour suitable to the austerity of primitive times, although that Church’s discipline excused such habits of severe self-denial in its members at her time of life. Her manners, her habits, and her person at that great age, were not only inoffensive and untroublesome, but edifying, affecting, and affection-moving to those around her.”

“When she was ill and supposed to be dying, notwithstanding their different Communions they [the Barthelemon family] read the Psalms and Lessons together in Mrs. Arne’s bedroom, where, at her bed’s head, was a Crucifix, at the foot of which was a little vase full of holy water.” “One day, she was supposed to be dead, and the Doctor, whose name was Carson, being present assured Mrs. Barthelemon that she was gone. She, however, could not resign herself to that belief, although he said he wished he could be as certain of going to heaven as he was that she was already there. Mrs. Barthelemon, however, tried to delay his departure, and accompanied him to the house door, when she implored him to look at her aunt once more, and to this he impatiently consented, and almost angrily applied a flame to her mouth and nose to show that breathing had ceased, when he suddenly called out for the strongest cordial at hand, the result of which was the revival of the supposed deceased, who soon exclaimed—‘Oh! my dears, you have called me back from the glories described in the Te Deum.’” This restoration took place nine months before she eventually expired, on the 6th of October, 1789. Her mortal remains were placed in thevaults of the church of St. Martin-in-the-Fields. Ten years later her loved niece, Mrs. Barthelemon, was buried in the same vault, “the two coffins being linked together by a chain.”

The following interesting letter addressed to Mr. and Mrs. Barthelemon, written by Dr. Burney on the 21st of October, 1789, throws a flood of light on the life and character of Mrs. Arne:

“Dear Sir and Madam.—Having been in Norfolk a considerable time, the melancholy news of my old and worthy friend did not arrive at my knowledge till a few days ago, otherwise we should certainly have been more early in communicating our condolence. Except yourselves, whose anxious care and benevolence have been so uninterruptedly manifested for such a series of years, no one of the friends or acquaintances ofthe good Mrs. Arnecould wish to be of some use to her more heartily than I have constantly done, ever since I first saw her at Chester, on her way from Ireland, in the Autumn of 1744; and it has of late years been a matter of real affliction to me that it has not been in my power to give more proofs of my zeal. I never had forgotten the good soul’s kindness to me during my residence with Dr. Arne; when, it is not too much to say, I profited more in my studies by the advantage of accompanying her in her vocal exercises than by any instructions which the Doctor had leisure to give me. She was indeed, not only desirous of my professional improvement, but had a parental attention to my morals and conduct. As long as I remained under the same roof, I tried everything in my power, and not unsuccessfully, tocontribute to domestic harmony, so necessary to the welfare of the whole family, as well as the comfort of individuals; and I did flatter myself, if I had continued longer with them, the union would have been of longer duration.

“The Doctor, rest his soul! with all his genius and abilities, was toovolageat every period of his life, to merit the title of a good family man; and soon after I quitted him, I heard with grief that our latedear worthy friendwas no longer under the same roof. During a residence of nine years in Norfolk, I lost sight of her, but never forgot the goodness of her heart, or the talents and professional merits of her younger years. There was a time when her voice, shake and manner of singing, were superior to those of any female performer in the country.

“I always respected that benevolence of heart which inclined you both to afford the poor soul an asylum after age and infirmity had deprived her of those talents, and however inconvenient it may have sometimes been, I am certain you will always think of it with the pleasure which reflecting upon good actions constantly affords to minds capable of performing them.

“It gave me great satisfaction to hear that our well disposed and virtuous friend had the comfort of religion in her last moments.She was always attentive to the duties of a sincere and worthy member of her church; a disposition to be honoured and had in reverence among Christians of every denomination. Mrs. Burney sincerely joins in condolence and best compliments, and I beg you will believeme to be with unfeigned regard, dear Sir and Madam,

“Your affectionate friend and faithful Servant,

“Chas. Burney.

“(P.S.) I cannot help regarding the loss of Mrs. Arne with a kind of filial sorrow; she was the last survivor among those to whom I attached the idea of a parent. I lost my poor mother about 12 years ago, at the great age of 86. This letter must not be sealed before I have added my compliments and good wishes for the health of Miss Cecilia, sincerely hoping she will continue a constant source of comfort to you to your lives’ end!”

The following is a chronological list of music composed by Dr. Arne.

Arne composed many pieces for the “Nobleman’s Catch Club”; thirty-seven of these are printed in “Warren’s Collection” and in “Vocal Harmony.” Fifteen are English and Italian Catches, fourteen are Glees, and eight are Canons. There are publishednumerous songs, concertos, sonatas for harpsichord, and for violins and harpsichord. These are not dated in the foregoing list. In his orchestral compositions Arne employed piccolo, flutes, clarinets, bassoons, horns, trumpets and drums in addition to the usual strings, violins, violas, violetta, violoncelli, double-basses and harp. He used the device of pizzicato and of sordino; he also occasionally labelled imitative passages, for example, “The Owl,” in “Where the bee sucks.” He used the abbreviationfor; possibly he introduced it.

Arne was the acknowledged author of the libretti of many stage-pieces and wrote the poetry of numerous songs. His known libretti included “Don Saverio,” 1750; “Artaxerxes,” 1762; “The Guardian Outwitted,” 1764; “The Rose,” 1772; “The Cooper,” 1772; “The Contest of Beauty and Virtue,” 1773; a “Pasticcio,” 1773; “Phœbe at Court,” 1776; and “Whittington’s Feast,” 1776.

[31]Dr. Arne presents his love to Mrs. Arne, desiring to be inform’d of her health, which he sincerely hopes she enjoys. He cou’d not possibly call upon her in the hurry of this new Piece; but will take a speedy opportunity. Begs the favour of her signing the inclos’d receipt for the money he has paid, which he thinks was sixteen Guineas, and five more, sent herewith, make one and twenty.

Reciev’d Nov. ye 21st, of Dr. Arne, the sume of twenty-one Guineas, in part of the money due to me, at the rate of forty pounds a year, agreed to be paid for my board, lodging and maintenance.

Dr. Arne’ Accot. of Arrears due to Mrs. Arne from the Allowance made to her of 16s. 8d. p. week, which from April 16th, 1771, to Novr. 26th following is Eight Months and two Days and which amounts to

Cliefden in 1740.

His Royal Highness Frederick Prince of Wales, son of King George the Second, was opposed to his father not only in politics, but also in his tastes and amusements. The King had no liking for, or appreciation of, British men and things; the Prince, on the contrary, assiduously cultivated a knowledge of the English laws and constitution, and strove to assimilate his tastes and feelings to those of the people he expected one day to rule and govern. He zealously promoted such measures as he thought desirable for the public welfare, and patronized men of eminence connected with arts, science, and literature. His beautiful residence, Cliefden,[32]on the banks of the Thames, was the recognized resort of the most distinguished men of letters and art. The under-secretary of the Prince was David Mallet, to whom he paid a stipend oftwo hundred pounds per annum; Thomson the poet was also one of his protégés. A change of government deprived Thomson of a lucrative appointment, and being introduced to the Prince of Wales the latter gaily interrogated him about the state of his affairs; the poet replied, “they were in a more poetical posture than formerly,” whereupon the Prince granted him a pension of one hundred pounds a year.

In 1740 the Prince of Wales resolved to celebrate in a special manner two important events—the Accession of the House of Hanover to the throne of England, and the anniversary of the birth of his little daughter, the Princess Augusta, born on the 31st of July, 1737. For the occasion the services of Mallet and Thomson were called into requisition. John Rich, the successful actor-manager, was also commissioned to prepare various stage performances. Rich had become popular from his connection with Gay’s “Beggar’s Opera,” which he had the good fortune to produce at the theatre in Lincoln’s Inn Fieldsin 1728, and thereby netted four thousand pounds. The author received six hundred and ninety-three pounds three shillings and sixpence. This remarkable success called forth the witty saying that “the ‘Beggar’s Opera’ made Gay rich, and Rich gay.” Rich was the founder of Covent Garden Theatre, in 1731, and was doubtless on excellent terms with the aristocratic patrons of the stage, including the Prince of Wales. On the 5th of September, 1740, he piloted the Prince through the mazes of Bartholomew Fair, Smithfield. A witness of the scene has described it thus: “The multitude behind was impelled violently forwards, a broad blaze of red light, issuing from a score of flambeaux, streamed into the air; several voices were loudly shouting ‘Room there for Prince George! make way for the Prince!’ Presently the pressure became much greater, the voices louder, the light stronger, and as the train came onward it might be seen that it consisted of a party of yeomen of the guard clearing the way; then several more of them bearing flambeaux and flanking the procession, while in the midst of all appeared a tall, fair and handsome young man, having something of a plump, foreign visage, seemingly about four-and-thirty years of age, dressed in a ruby-coloured frock coat, very richly guarded with gold lace, and having his long flowing hair curiously curled over his forehead and at the sides, and finished with a very large bag and courtly queue behind. The air of dignity with which he walked, the blue ribbon and star and garter with which he was decorated, the small three-cornered silk hat which he wore, whilst allaround him were uncovered, the numerous suite, as well of gentlemen as of guards, which marshalled him along, the obsequious attention of a short, stout person, who by his flourishing manner seemed to be a player,—all these particulars indicated that the amiable Frederick Prince of Wales was visiting Bartholomew Fair by torchlight, and that Manager Rich was introducing his royal guest to all the entertainments of the place.”

Great preparations were made at Cliefden, and on the 1st of August, the Prince of Wales received his guests. An interesting account of the proceedings was printed in theLondon Daily Post and General Advertiserof Saturday, the 2nd, in the following words: “Last night was performed at the gardens of Cliefden, (in commemoration of the Accession of his late Majesty King George, and in Honour of the Birth of the Princess Augusta; their Royal Highnesses the Prince and Princess of Wales, with all their Court being present,) a new Masque of Two Acts, taken from the various Fortunes of Alfred the Great by Mr. Thomson; and performed by Mr. Quin, Mr. Milward, Mrs. Horton, and others from both Theatres;—also a Masque of Music, call’d ‘The Judgement of Paris’ writ by Mr. Dryden;[33]and concluded with several Scenes out of Mr. Rich’s Pantomime Entertainment, perform’d by himself, and others of his appointing particularly the Skeleton Scene in Merlin’s Cave, and the Dwarf Scene in Orpheus and Euridice. Also the famous Le Barbarini (newly arriv’d withMr. Rich from Paris,) performed several Dances, and so much to the satisfaction of their Royal Highnesses, that his Royal Highness was pleas’d to make her a very handsome Present, and the work was conducted with the utmost Magnificence and Decorum.” The Fête was repeated on the following evening, but unfortunately a violent rain-storm interrupted the proceedings, and the Masque of Alfred had to be performed in the house. TheDaily Post, of August the 5th, reported that “the whole was exhibited upon a Theatre in the Garden, composed of Vegetables and decorated with Festoons of Flowers, at the End of which was erected a Pavilion for Their Royal Highnesses the Prince of Wales, Prince George, and Princess Augusta.”

It is remarkable that the newspaper report makes no mention of Thomas Arne, who composed the music for both Masques, whose work alone has rescued from oblivion the memory of the proceedings. One of the songs in “Alfred” was “Rule, Britannia.” The Masque is forgotten; poet and composer, and they who first heard its thrilling burst from chorus and orchestra are mouldering in their tombs; the halls through which the strain resounded have long since perished; but the enthusiasm then awakened still vibrates in the British heart to the sound of the words,

Rule, Britannia, Britannia rule the waves.

Thomas Arne resided at Cliefden before and during the Fête; his wife, who was one of the principal vocalists in both Masques, many years afterwards told her grand-niece, Cecilia Maria Barthelemon, that she witnessed a curious scene onone of the lawns: “Two men were mowing, when the hinder man severely cut the calf of the leg of the other, and the Prince of Wales immediately dipped a cambric handkerchief in some Arquebusade[34]and himself wrapped it round the man’s leg, which needed no other cure.”

Very shortly after the performance, on the 19th of August, Millar, the bookseller and publisher, issued the libretto of “Alfred”: the title of the book reads: “Alfred, a Masque Represented before Their Royal Highnesses the Prince and Princess of Wales, At Clifden, (sic) on the First of August, 1740. London Printed for A. Millar, over against St. Clement’s Church in the Strand MDCCXL.” A perusal of the publication shows that Mr. Milward represented King Alfred; Mrs. Horton, the King’s wife, Eltruda; Mr. Quin, a Hermit; Mr. Mills, the Earl of Devon; Mr. Salway, Corin, a Shepherd; Mrs. Clive, Emma, the Shepherd’s wife. Two other characters, a Bard and a Spirit, have no names attached, but we know that the part of the Spirit was sung by Mrs. Arne. The Masque consists almost entirely of speaking parts; the first introduction of music is a song for Emma, the Shepherd’s wife, who has a delightful little ditty to the words:

O peace! the fairest child of heaven,To whom the sylvan reign was given,The vale, the fountain and the grove,With every softer scene of love.Return, sweet peace, and cheer the weeping swain;Return with ease and pleasure in thy train.

This charming song was doubtless well sung by Kitty Clive, who, a few years later, was the first to warble Arne’s exquisite melody, “Where the bee sucks.”

The third scene opens with a stage direction—“Solemn music is heard at a distance. It comes nearer in full symphony: after which a single trumpet sounds a high and awakening air. Then the following stanzas are sung by two aerial spirits unseen:

“Hear,Alfred, father of the stateThy genius heaven’s high will declare!What proves the hero truly great,Is never, never to despair:Thy hope awake, thy heart expandWith all its vigour, all its fires.Arise! and save a sinking land—Thy country calls, and heaven inspires.”

If Arne composed music for the above, it was never published.

The next air is sung by Eltruda, the Queen, represented by Mrs. Horton. It was sung off the stage, and according to Arne’s score was accompanied by harpsichord and flute, the latter instrument echoing the voice-part. The libretto has two verses, but only the following was performed:

Sweet valley, say, where, pensive lying,For me, our children,England, sighing,The best of mortals leans his head.Ye fountains, dimpled by my sorrow,Ye brooks that my complainings borrow,O lead me to his lonely bed:Or if my lover,Deep woods, you cover,Ah, whisper where your shadows o’er him spread!

In the third scene, second Act, after a dialogue between Alfred, Eltruda and the Hermit, the latter summons the “Genius of England.” Then the stage direction is “Music grand and awful. The Genius descending sings the following song”:

From these eternal regions bright,Where suns, that never set in night,Diffuse the golden day:Where spring unfading pours around,O’er all the dew-impearled ground,Her thousand colors gay:O whether on the fountain’s flowery side,Whence living waters glide,Or in the fragrant groveWhose shade embosoms peace and love,New pleasures all your hours employ,And rapture every sense with every joy!Great heirs of empire! yet unborn,Who shall this island late adorn;A monarch’s drooping thought to chear,Appear! Appear! Appear!

Possibly this song may have been omitted at the performance. Music for it cannot be found. The spirits of Edward the Third, Philipa his Queen, and their son the Black Prince, arise together; afterwards Queen Elizabeth, succeeded by William the Third—all are described by the Hermit. The next scene opens with a “Symphony of Martial music.” The last scene affords an opportunity for Emma, the Shepherd’s wife, represented by Kitty Clive, to sing a bright and sprightly melody,accompanied by the string orchestra in gavotte time to the following words:

If those, who live in Shepherd’s bower,Press not the rich and stately bed:The new-mown hay and breathing flowerA softer couch beneath them spread.If those, who sit at Shepherd’s board,Soothe not their taste by wanton art:They take what Nature’s gifts afford,And take it with a chearful heart.If those, who drain the Shepherd’s bowl,No high and sparkling wines can boast,With wholesome cups they chear the soul,And crown them with the village toast.If those who join in Shepherd’s sport,Gay-dancing on the daizy’d ground.Have not the splendor of a court;Yet Love adorns the merry round.

A short dialogue between Alfred and Eltruda follows, and then the Hermit speaks, “Behold, my Lord, our venerable Bard,

“Aged and blind, him whom the Muses favour.You ere you go, in our lov’d country’s praise,That noblest theme, hear what his rapture breathes.”

This is immediately succeeded by

WhenBritainfirst at heaven’s command,Arose from out the azure main:Thiswas the charter of the land,And guardian Angels sungthisstrain:“Rule,Britannia, rule the waves:Britons never will be slaves.”The nations, not so blest as thee,Must in their turns, to tyrants fall:While thou shalt flourish great and free,The dread and envy of them all.“Rule,” etc.Still more majestic shalt thou rise,More dreadful, from each foreign stroke:As the loud blast that tears the skies,Serves but to root thy native oak.“Rule,” etc.Thee haughty tyrants ne’er shall tame:All their attempts to bend thee down,Will but arouse thy generous flame;But work their woe, and thy renown.“Rule,” etc.To thee belongs the rural reign;Thy cities shall with commerce shine;All thine shall be the subject main,And every shore it circles thine.“Rule,” etc.The Muses, still with freedom found,Shall to thy happy coast repair:Blest isle! with matchless beauty crown’d,And manly hearts to guard the fair.“Rule,Britannia, rule the waves,Britons never will be slaves.”

The nations, not so blest as thee,Must in their turns, to tyrants fall:While thou shalt flourish great and free,The dread and envy of them all.“Rule,” etc.

Still more majestic shalt thou rise,More dreadful, from each foreign stroke:As the loud blast that tears the skies,Serves but to root thy native oak.“Rule,” etc.

Thee haughty tyrants ne’er shall tame:All their attempts to bend thee down,Will but arouse thy generous flame;But work their woe, and thy renown.“Rule,” etc.

To thee belongs the rural reign;Thy cities shall with commerce shine;All thine shall be the subject main,And every shore it circles thine.“Rule,” etc.

The Muses, still with freedom found,Shall to thy happy coast repair:Blest isle! with matchless beauty crown’d,And manly hearts to guard the fair.“Rule,Britannia, rule the waves,Britons never will be slaves.”

Each of the foregoing verses was sung as a solo with the choral refrain “Rule, Britannia.” The venerable bard was represented by Mr. Thomas Lowe,[35]a favourite singer who was engaged at Cliefden, and sang the tenor solos on that occasion in the “Judgement of Paris.” We know from the report in theDaily Postthat there were “other performers from boththeatres,”[36]doubtless a good and efficient chorus. The Ode would have made a splendid climax to the Masque,[37]but the libretto shows that the Hermit followed with a speech which is worthy of reproduction; the last four lines are particularly deserving of attention:

Alfred, go forth! lead on the radiant years,To thee reveal’d in vision.——Lo! they rise!Lo! patriots, heroes, sages, crowd to birth:And bards to sing them in immortal verse!I see thy commerce,Britain, grasp the world:All nations serve thee; every foreign flood,Subjected, pays its tribute to theThames.Thither the golden South obedient poursHis sunny treasures: thither the soft EastHer spices, delicacies, gentle gifts;And thither his rough trade the stormy North.See, where beyond the vast Atlantic surge,By boldest keels untouch’d, a dreadful space!Shores, yet unfound, arise! in youthful prime,With towering forests, mighty rivers crown’d!These stoop toBritain’sthunder. This new world,Shook to the centre, trembles at her name:And there, her sons with aim exalted, sowThe seeds of rising empire, arts, and arms.Britonsproceed, the subjectDeepcommand,Awe with your navies every hostile land.In vain their threats; their armies all in vain:They rule the balanc’d world, who rule the main.

Britonsproceed, the subjectDeepcommand,Awe with your navies every hostile land.In vain their threats; their armies all in vain:They rule the balanc’d world, who rule the main.

Although the libretto of “Alfred” was published a few days after the performance at Cliefden, the music remained in manuscript; possibly Arne did not consider the number of pieces, only five, sufficient to warrant the expense of publication; it is certain however that the “Rule, Britannia” Ode caught the public ear, and became celebrated. When therefore the “Judgement of Paris” Masque was published, about 1741, the opportunity was taken of printing the score of “Rule, Britannia.” The volume consists of sixty-one pages, and the title-page reads: “The music in the Judgement of Paris, consisting of All the Songs, Duettos and Trio, with the Overture in Score, as perform’d by Mr. Beard, Mr. Lowe, Mrs. Arne, Mrs. Clive, Miss Edwards and others at the Theatre Royal in Drury Lane. To which (by particular Desire of Several Encouragers of the Work) are added theCelebrated Ode, in Honour of Great-Britain call’d Rule, Britannia, and Sawney and Jenney, a favourite Dialogue, in the Scotch Stile. The whole compos’d by Thomas Augustine Arne. Opera Sesta. London. Printed for Henry Waylett, at the Black Lyon in Exeter Change in the Strand, and sold by him, and at all the music shops in London and Westminster, where may be had five other volumes of the Author’s Works.”

It was not before 1751 that the other music of “Alfred” was published. The title-page reads: “The Masque of Alfred compos’d by Mr. Arne. London. Printed for I. Walsh in Catherine Street in the Strand.” The volume consists of eighty-three pages; but the “celebrated Ode” is conspicuous by itsabsence. No doubt Waylett, the publisher of the “Judgement of Paris,” was unwilling to permit its insertion without some adequate recompense. In what way the matter was adjusted we do not know; but an arrangement was made, and a second edition of “Alfred” issued which included the “Celebrated Ode.” The plates used were those from which the music was printed in the “Judgement of Paris”; this is evident from the double-paging visible on the pages of “Alfred”: 62-84, 63-85, 64-86. The first set of numbers belong to the “Judgement of Paris,” and the second set to “Alfred.”

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