John Aikin

An Essay of Song-Writing.

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Editionsbericht
Literatur: Aikin
Literatur: Anthologie
Literatur: Lied/Song
Literatur: Vorwort

[VII] THE poetical composition termed a Song is essentially characterized by the circumstance of being adapted to vocal music; but this is applicable to pieces so various in their style and subject, that some discrimination is obviously requisite to afford a precise idea of the different kinds of productions which rank under this general head.

The alliance between poetry and music is of very ancient date, and appears originally to have been constant. The praises of gods and heroes, the triumphal strains [VIII] of happiness and victory, and the lamentations of affliction and defeat, were sung in measure to the sound of the rude instruments which early art had invented in almost every country of which we possess historical records. In process of time, however, as poetry became the vehicle of a wider range of sentiment, and of long continued narrative, the accompaniment of music was often found inconvenient, and a recitation more approaching to common speech was substituted; while the poetical character of the piece was sufficiently indicated by a peculiarity of diction, and the artifice of versification. How early this divorce took place is not ascertained; but it seems probable that the Homeric rhapsodies, at some distance from the age of the poet, were rather recited, than sung, before those to whom the tale of Troy was so interesting a topic. At least is it certain that in the later times of [IX] cultivated Greek and Roman poetry, the epic, didactic, pastoral, elegiac, and various other species of poetry were, as with us, simply read or repeated.

Still, however, a large class of compositions was reserved for association with musical tones, with the expressions of which their subjects were supposed peculiarly adapted to harmonize; and under the name of Lyric poetry (defined by Horace "verba socianda chordis") some of the most celebrated productions of the Greek and Latin Muses were the objects of general admiration in their own times, and have delighted all subsequent ages as far as those languages have been cultivated. These, indeed, have come down to us detached from the vocal and instrumental notes to which they were originally united; but they are on that account better suited to serve as examples or comparisons for similar compositions of mo[X]dern times, which are for the most part presented equally separate from the tunes that may have been once accommodated to them, and are merely regarded as pieces of poetry. It is obviously in this light that they must be considered when they have become part of the poetical reading of a country, addressed to the critical judgement of those, who may either be destitute of musical taste, or may never have heard the words actually sung or played. This must be the case with respect to almost all those pieces which can claim an antiquity beyond the present generation; for nothing is more short-lived than the vocality of even the most fashionable song of course, the greatest number of those distinguished for poetical merit must be dead to the singer, and existing only to the reader. And when we cast our eyes on the trash which modern musical composers seem in pre[XI]ference to select as the vehicles of their notes, we may be excused if, in treating on song-writing as a species of poetry, we entirely neglect the circumstance of musical accompaniment, further than to regard it as essential that neither in point of length, nor measure, any obvious unfitness for being set to a tune should appear in a composition bearing the distinctive appellation of a song.

The Lyric poetry of the ancients comprehended a great variety of topics: indeed, it is not easy to say what it rejected that other poetry admitted, except the continued narrative of the Epic, and the methodical instruction of the Didactic. Homer (if the hymns ascribed to him be genuine), and Callimachus, sung the praises of the Gods: Pindar celebrated kings and the victors in the Grecian games, and also, as we learn from Horace, adapted to his lyre the pathetic incidents [XII] of domestic life. Alceus breathed the lofty sentiments of patriotic heroism. Horace himself mingles in his lyrical miscellany the heroical, the martial, the philosophical, the tender, the gay, and the amorous, and seems to adapt his measures with equal felicity to all. The range of song, however, as we understand the word, is more limited; for, relinquishing to the ode the more elevated subjects and elaborate exertions of the lyric muse, it chiefly confines itself to lighter topics, and especially delights to express the pleasures and pains of love, and the unrestrained hilarity of the convivial board. Not that it entirely discards more serious arguments; but always having in view a real or possible union with vocal music, it regulates itself in its subjects, and the mode of treating them, by the usual occasions in which such music is called for. Hence it is precluded from the compass, [XIII] digression, and inequality of measure, permitted to the ode; and for the same reason it adopts a simpler and more intelligible style of diction; not, however, rejecting the rich and glowing, when suited to the subject; and even demanding in most cases a high degree of polished elegance. But before we enter into further particulars relative to the arrangement and rules of construction of these compositions, it will be necessary to clear the way by disposing of the claims to kindred of an ambiguous species of production often confounded with the song, namely, the ballad.

There are few nations which do not possess records of the events of early times, especially of those in which public or private valour has been signalized, in metrical narratives, stamped indeed with the rudeness of the ages that produced them, but capable by the force of as[XIV]sociation of exciting the most lively emotions. Singing these pieces to the sound of some musical instrument has in many countries formed the sole occupation of a class of men, who thence have obtained high regard from persons of all ranks, and have been the constant attendants at solemn and social festivities. To these national subjects they frequently added legendary and marvellous tales, and remarkable adventures; every thing, in short, that could interest those who were strangers to all other intellectual gratification. Many of these metrical stories ran out to great length, almost reaching the measure of epic narration; but notwithstanding the monotony of a perpetually recurring tune and measure, they were eagerly listened to by the rustic hearers, whilst passing whole nights round the social hearth.

In process of time, as manners and [XV] language became more refined, and the art of writing brought the productions of the mind to a severer test than that of the ear, these rude performances lost their attraction with the superior ranks in society, and were succeeded by others displaying more skill and contrivance. And if the popularity of national stories rendered them still dear to the recollection, they were retold in newer and more polished diction, perhaps retrenched in their prolixity, and enlivened by touches of sentiment. The two editions of the ballad of Chevy Chase, which may be seen and compared in Dr. Percy's "Reliques of Ancient Poetry," form an example of this alteration.

In the further progress of literary taste, these compositions came to be considered as objects of curiosity on account of the insight they afforded into the manners and modes of thinking of remote times; [XVI] while the strokes of nature with which they abounded, and the artless simplicity and strength of their language, excited the admiration of liberal critics. When, therefore, they had long ceased to be current in popular song or recitation, they were carefully collected by poetical antiquaries, and elucidated by historical notes; and thus a secondary importance was attached to them, scarcely inferior to that which they possessed when chanted to the harp of the itinerant minstrel. Admiration naturally produced imitation; and it became a trial of skill to counterfeit or copy these reliques of a distant age. The well-known collection of Dr. Percy above referred to contains numerous specimens both of the genuine and the fictitious historical or narrative ballad, and was very efficacious in diffusing a taste for these compositions. They have, however, lately appeared with more ad[XVII]vantage in the "Minstrelsy of the Scottish Border;" and some of the imitations of these pieces have deviated into poetry of a high class. "Lord Ronald" and "Cadyow Castle" are among the most impressive of modern productions, and in their story and manner greatly surpass such attempts to soften and modernize the ballad, as William and Margaret, Colin and Lucy, and the Hermit of Goldsmith, though the reception given to these has justly entitled them to the character of pleasing performances. None of these, however, equal in beautiful and touching simplicity of language some of the French metrical pieces termed "Romances," especially those composed by Moncrif.

But we are now got beyond the limits of song properly so called, since it is evident that a great number of stanzas, sung to an uniformly repeated simple tune, would be insupportably tedious to modern [XVIII] ears; whence such compositions must be considered as addressed merely to readers, and be referred to the class of minor poetry. There is, however, a numerous tribe of vocal productions which, if ballads be regarded as forming a division in song-writing, must be ranked under it. These are the pieces in which the familiarity, and even vulgarity, of phrase of the old ballad, and its occasional ludicrous imagery, have been adopted for the sake of humour or sarcasm, and with the express purpose of being circulated by the voice. Of these, the most copious source is party; and there has seldom been an occasion of political contest in countries permitting such freedoms, in which appeal has not been made to the popular feelings by means of comic and satirical ballads, often with great effect. The share that "Lilliburlero" had in promoting the Revolution in this country |XIX] has been noticed by grave historians. In the war of the Fronde in France, ballads were a weapon as much employed as muskets, and those written for and against cardinal Mazarin filled several volumes. The French give to these compositions the appropriate title of Vaudeville, implying their fitness to walk the streets; and indeed street-poetry in general belongs to the ballad class. The greater number of these party productions are too coarse in their texture, and too temporary in their topics, to merit preservation. There are some, however, which from their humour and vivacity are still perused with pleasure; and the first wits have not disdained to amuse themselves with composing them. The ballads of Swift are excellent in their kind, and are distinguished by that happy adaptation of familiar phraseology, and that facility of comic rhyming, for which he was so famous. No one better than he [XX] knew how to touch the feelings of the mob; and whilst he was addressing his "Drapier's Letters" to the coffee-house politician, he cried down Wood and his halfpence in the streets of Dublin by the aid of the ballad-singer. Of pieces of this class, however, I shall say no more than just to mention, as one of the most excellent, the popular song of the "Vicar of Bray," in which the pleasantry is directed rather against the trimmer between all parties, than the principles of any one party.

The narrative character of the ancient ballad has been preserved in a great number of modern pieces of this class which turn upon some comic adventure, or some incident in ordinary life, and the length of which does not in general exceed the limits allowable in a song. That there are violations of decorum in many of these, cannot be denied; yet in that respect they [XXI] only partake of the taste of their age in more polished compositions; and they who could sit out all the dialogue of Congreve's "Love for Love," had no reason to retire when the sprightly ballad of "A Soldier and a Sailor" was introduced in it. In the preceding century, the courtły Suckling gained great applause by his Wedding Ballad, "I'll tell thee, Dick, where I have been," which is, indeed, remarkable for the ease of its language and the liveliness of its imagery. Prior's "Thief and Cordelier" is as well known as his most elaborate productions. Gay, of whom Goldsmith happily said, that he had a strain of ballad-thinking, has exercised his talent for natural description and sentiment with great felicity in his well-known ballads of "All in the Downs," and "Twas when the seas were roaring," the turn of which is rather tender and pathetic than gay; though some of his [XXII] other ballads bear the latter character, Of the Scotch songs, a number are formed upon that humorous delineation of incidents in common life which is proper to the ballad, the diction of which they also imitate in the comic and familiar cast of their dialect. That this dialect, however, is capable of the true pathetic, is evinced by the fine song or ballad of "Robin Gray," which has scarcely its equal for the touching effect of a story related in the most simple and unaffected manner, and with no exaggeration of feeling. To the list of pieces in which a little tale related in familiar language is adapted to vocal music, it gives me pleasure to add one of the latest productions of a real genius, Mr. Scott, who, in his "Marmion," has presented an excellent specimen of the sprightly ballad, divested of vulgarity, yet preserving a characteristic ease and negligence.

[XXIII] Another class of compositions of this kind might be formed from those martial songs which have been written on particular occasions for the purpose of preserving the memory of great actions among the people, and rousing the national spirit, Naval exploits have among us been especially celebrated in those ditties, which have doubtless much contributed to the popularity of the maritime character. The sea-fight at La Hogue was the subject of a ballad well-known a century ago, and still preserved in collections, "Hosier's Ghost," written by Glover, had the double purpose of panegyrizing the success of admiral Vernon, and exciting discontent with the pacific ministry which was unwilling to enter into a war with Spain. It is written in a more cultivated style than ordinary ballads, yet does not deviate from a proper simplicity. Many persons may now recollect the first appearance of the [XXIV] popular ballad of "Hearts of Oak," celebrating the triumphs of the glorious year fifty-nine, and have witnessed the warlike enthusiasm which it inspired in the hearers. It may be thought a degradation to the famous national song "Rule, Britannia," to rank it among these compositions, since its writer, Thomson or Mallet, evidently intended to give it a lyrical elevation of style and sentiment. Its present use, however, assimilates it with the ordinary strains of street poetry; and it cannot be doubted that it has produced a great effect in accustoming Britons to the claim of maritime empire.

From the preceding observations relative to the different kinds of ballad-writing, it would appear that the essential character of these productions consists in the narrative strain of the subject, joined to a familiarity of language, often, for comic effect, approaching to vulgarity [XXV] and always adapted to popular comprehension. It is, in fact, the vocal poetry of the lower classes; though sometimes its form is a mask put on for the purpose of giving a zest to wit and satire. It is usual to couple the words with some trivial tune already associated with vulgar humour; and in many ballads, as well as in the French vaudevilles, each stanza concludes with a whimsical combination of unmeaning syllables, called a burden.

There is another species of song, the ambiguous nature of which seems to entitle it to a separate consideration – that resulting from the union of pastoral poetry with vocal music. Though the simplicity of language appropriated to these compositions might seem to refer them to the ballad class, yet they are separated from it by an essential character. Pastoral is a species of poetical fiction, in which the manners and sentiments are derived from [XXVI] an imaginary state of society very different from any thing existing in modern times; it is therefore totally opposite to that tale of real life which constitutes the proper ballad. Yet, as its pictures of natural objects are real, and the affections of the heart which it paints have an actual residence in the human breast, enough of probability is retained to render them interesting to every one whose heart and fancy are not shut against the tender emotions, and the images of rural beauty. When these ideas, therefore, have been transferred to song, such compositions have often become general favourites with persons of all degrees of mental culture; for they have naturally been clothed in language simple, but not coarse; and in their subjects have appealed to feelings common to all ranks. Byrom's well-known piece "My time, O ye Muses," first printed in the Spectator, has been [XXVII] familiarized to almost all readers of that work, in consequence of some pleasing strokes of nature, though it contains some thoughts as strained and artificial as any thing in Italian pastoral. But poets of a much superior class have exercised themselves in the pastoral song or ballad. Prior, Rowe, and Gay, have left specimens of this kind; the second of these, in my opinion, of superior merit. His piece beginning "Despairing beside a clear stream" appears to me a very perfect example of that union of simple language with natural sentiment which best suits the kind of fiction adopted, and is capable of the most pathetic effects. Shenstone has since derived, perhaps, the principal share of his reputation from his performances in this walk, for which, the tenderness of his feelings, and his exquisite taste for the beauties of rural nature, peculiarly qualified him. His "Pastoral Ballad in four [XXVIII] parts, "though unequal in its composition, has given much pleasure to all who were capable of entering into the delicacies of the soft passion in its purest form. Cunningham, his admirer and imitator, has at least equalled him in some pieces written in his manner. All pastoral poetry, however, it must be acknowledged, tends to a languor and insipidity proceeding from the monotony of the imagery and ideas, and the radical want of that reality which is requisite for exciting a lively interest.

Having thus proceeded through the different forms of kindred and dubious compositions, we come at length to what I should term song properly so called, which, as a species of poetical writing, it is the principal purpose of this Essay critically to consider. If language and versification resembling the rude efforts of early poetry be the characteristic of the [XXIX] ballad, the song should be distinguished by the opposite qualities of polish and correctness. It likewise takes a general distinction from its subjects, which do not admit of continued narrative, but are rather the expression of emotions and sentiments. A song, then, may be largely defined, a short poem, divided into portions of returning measure, adapted to vocal music, and turning upon some single thought or feeling. This definition, it will be perceived, leaves a wide scope for particular subjects; and indeed I know of no other limitation in this respect than such as arises from the propriety of introducing some topics, and excluding others, on the occasions in which song is usually in request. The ancients, whose theological system comprised deities of all functions and characters, could ally to the most jocund strains of the lyric Muse the form of a hymn to Venus, Cupid or [XXX] Bacchus. The purity of modern religion will not admit any union of that kind; and therefore, although devout hymns have synonymously been called Spiritual Songs, yet a broad line of distinction is drawn between them and the vocal strains meant for amusement. Moral topics, however, have not been entirely excluded from song-writing, and several pleasing productions of this kind exist, in which content, moderation, and the tranquil enjoyment of life, are inculcated.

There is another fund of moral sentiment, if it may be so termed, from which both ancient lyric poetry and modern songs have drawn deeply. This is the epicurean system of ethics, which, from the consideration of the shortness of life, and the uncertainty of human affairs, derives an incentive to present pleasure. This theme we find perpetually recurring in the Odes of Anacreon and Horace, [XXXI] whence it has been transplanted into the gay and vocal poetry of modern times, of which it constitutes the prevailing strain of sentiment. In a certain temperate degree it coalesces with the rational philosophy before mentioned. When carried further, it may justly excite the censure of the moralist, whatever indulgence be pleaded for it on the grounds of precedent and poetical fitness. Yet as Milton, in his "Comus," has not scrupled to let the advocate of pleasure be heard, and that, in very persuasive language, trusting to the counteraction of more solid arguments in favour of sobriety, it might perhaps be excess of rigour to banish from song-poetry every lively effusion of this kind.

The pleasures which this lax morality of poets has been chiefly employed to excuse and vanish, have at all times been those of love and wine, allowable, indeed, in a certain degree to exhilarate the anxious [XXXII] anxious lives of mortals, but always prone to pass the bounds of moderation. Music has lent a willing aid to these incitements; and the classes of amorous and drinking songs have in all languages been the most copiously furnished. There is, however, a great difference in the variety and compass of intellectual ideas afforded by these two sources of enjoyment. The bacchanalian has little more scope in his lyric effusions, than to ring changes upon the hilarity, or rather delirium, inspired by his favourite indulgence, which puts to flight all the suggestions of care and melancholy, and throws the soul into that state of felicity which springs from exalted animal spirits, and a temporary suspension of the reasoning faculties. The essence, therefore, of this kind of pleasure, if such it can be called, is an excess – something gross and degrading, adverse to thought, and therefore barren of sen[XXXIII]timent. The ingenuity of poets has, indeed, connected it with a vivacity of imagination that is very captivating, especially when enforced by the presence of the flowing bowl and jovial companions; and it must be confessed that actual singing is seldom so heartily enjoyed as in the chorus of a convivial party. But, without such an accompaniment, the drinking-song flattens upon the perusal, and its glowing expressions appear little better than extravagant. It is likewise apt to sink into coarseness and vulgarity; so that the more select collections of vocal poetry will bear but a small admixture of these compositions, which succeed so well in "setting the table in a roar."

Love, on the other hand, is an inexhaustible source of description and sentiment, in which all the faculties of the soul may be displayed in their operations, and almost every object in nature may [XXXIV] find a place as an image of comparison or illustration. It can assume every different colour: it can be rapturous, tender, gay and ingenious; and under all these appearances can happily ally itself with the language of poetry and the tones of music. Love, therefore, in all ages and countries has afforded the most copious store of matter to song-writers; and there is no circumstance belonging to this passion which has not been made the subject of either the grave or the lively strains of the lyrical Muse.

There is, however, a great difference in the manner in which different poets have treated on amatory topics. In early times, when poetry was the genuine and direct expression of the feelings of the heart, to give to this expression all the force of glowing language and imagery, united with the melody of versification, was the study of the poet, whether speaking in [XXXV] his own person, or in that of another. The admired specimen remaining of the strains in which Sappho poured forth the breathings of a soul devoted to the amorous passion is an example of the earnestness which nature, cultivated, but not distorted, dictates to those who really feel the emotions they undertake to describe. This natural mode of writing has been, and ever will be, adopted by ardent and sensible minds, and will excite sympathetic feelings in kindred bosoms, whatever may be the changes of fashion or the refinements of art. It is limited to no age or country; and its ideas are transferable from one language to another without alteration. A version from Sappho or Horace may appear as an English love-song; and in fact, such versions, or imitations of them, have stood at the head of those songs which, in an arrangement formed upon manner rather than subject [XXXVI] would class among the passionate and descriptive. In these pieces love appears in its various forms of desire, admiration, jealousy, hope, despair, suggesting a language warm, rich and figurative.

But in the progress of mental cultivation, it is always found that the love of refinement or the ambition of novelty causes various individuals in all the arts to desert the plain and original mode of exercising them, and substitute something of greater curiosity. Thus, in poetry, uncommon thoughts and fanciful conceptions have at certain periods taken place of natural description; and metaphysical subtleties have been pursued, to the neglect of the simple expressions of feeling. In no poetical department has this change of manner been more conspicuous than in Song-writing. Already, in the sonnets and canzone of Petrarch and other Italians, had love assumed the character of an [XXXVII] assemblage of strained and refined sentiments, derived from every artifical light in which the passion and its objects could be viewed, and entertained rather as an exercise of the wit, than as a concern of the heart. This mode of treating it was copied by other nations as they advanced in lettered politeness; and the poems of which love was the subject became tissues of singular and far-fetched thoughts, often highly ingenious, but very remote from the suggestions of real passion. Song-writers commonly took up one of these thoughts, which, after some turning and twisting, and perhaps adorning with a simile, they brought to a kind of epigrammatic point. Such is the idea of this composition inculcated by Ambrose Phillips in the Guardian, Nº 26, and illustrated by two specimens. For the perfection of a song he requires "a an exact purity of style, with the most easy and flowing [XXXVIII] numbers, an elegant and unaffected turn of wit, with one uniform and simple design;" and he further says that it "should be conducted like an epigram; and that the only difference between them is, that the one does not require the lyric numbers, and is usually employed upon satirical occasions, whereas the business of the other is to express

"Love's pleasing cares, and the free joys of wine."

To the French, Phillips assigns the reputation of surpassing all nations in the excellence of their songs, though he intimates that they are apt to confound song with epigram. A similar confusion Congreve, in his "Double-Dealer," attributes to the lively coxcomb Brisk, when he repeats a piece which he calls "an epigrammatic sonnet."

Now, although I cannot but be of opinion that song composed upon this principle deviates from the original model, [XXXIX] and is less adapted to that union with music which enhances the power of both in exciting emotions, (for musical notes seem to have no correspondence with intellectual notions,) yet it must be acknowledged that many very pleasing productions have been the result of this idea of song-writing; and that, in a collection for reading, the class of ingenious and witty songs would be found peculiarly attractive.

In an arrangement of songs according to their subjects, a place would be claimed by the lovers of the chase for Hunting-songs, than which none are actually sung with higher glee, though their merit often arises more from the musical composer than the writer. Some of these are in the narrative strain, and rather belong to the ballad class. Many have a bacchanalian close, which, doubtless, contributes to the animation with which they are [XL] rehearsed by the convivial party relaxing from the fatigues of the day.

It appears very strange that one of the divisions in English vocal compositions should be that of Mad Songs. I suspect these to be entirely national, corresponding to the mad characters which are so common in the dramatis personæ of our plays. The songs under this title are generally distinguished by an incoherent rant, which costs much less to the invention than the development and decoration of a rational idea. If a song can with any advantage be framed upon the supposed conceptions of a lunatic, it must be one in which some prevailing idea, the cause and essence of the madness, is pursued in a wild but not unconnected strain, with varied and fanciful imagery. The effect of such a piece, aided by suitable music, may be singularly touching; of which an example is given by [XLI] the song of "The Maid in Bedlam." Some short, but very sweet and characteristic songs of this kind are assigned to the Bertha of Miss Baillie's "Ethwald."

It remains to add a few words on the sources whence the best English songs are to be derived.

It might be expected that the writers who have best succeeded in other poetical effusions would also excel in this; for taste and genius are not confined to particular walks in the same art, but display themselves in all that they attempt. And in fact, when great poets have chosen to unbend in these minor exertions, they have generally exhibited the master-hand. Among the occasional and miscellaneous poetry which forms a department in the works of our most eminent writers, are generally found some pieces of the song kind, not unworthy of their reputation. A greater number, however, are to be met [XLII] with in the volumes of those minor poets whose powers or exertions have never reached to compositions of the highest order, but have been particularly employed on performances of the light and amusing class. Of these,

" — the wits of either Charles's days,
The mob of gentlemen who wrote with ease, "

were examples; though, for the most part, that ease degenerated into a negligence which prevented them from polishing their strains to the requisite degree. Their licentiousness, likewise, imparted a taint to most of their productions; and even sometimes appeared in a coarseness of language little corresponding with what might be expected in the style of men of fashion. Many sprightly and unexceptionable songs, however, have been composed by writers of the preceding description, both in earlier and later periods; and upon the whole, the works [XLIII] of the minor poets may be reckoned the most copious store of these pieces. Among these may be included such as have appeared, mostly anonymously, in collections of fugitive and miscellaneous poetry, often written by persons who have taken up the pen only for occasional amusement, but have been well qualified to bestow upon short compositions the care and polish requisite to give them value. Even the more respectable of the periodical publications afford specimens of song-writing, the early attempts of young poets, which are pleasingly marked with the warm feelings and active imagination characteristic of that period of life.

Plays, particularly those of the last and the preceding century, frequently introduce songs in their scenes, some of which are composed in the best style. Congreve has one in each of his comedies; [XLIV] and indeed audiences at that time seem regularly to have expected such an addition to their entertainment. They were written sometimes by the dramatist himself, and sometimes by a friend; and not unfrequently are superior in their kind to the piece which they accompany. might have been expected that the modern introduction of comic operas on our stage would have afforded an abundant store of approved songs, since musical airs are an essential part of those dramas; but, whether from the inferior poetical talents of those who have been employed in these works, or from the circumstance of the songs being written to the tunes, instead of these being composed to the songs, it is a fact, that very few are to be found in them deserving a place in a standing collection. Still less aid can be procured from the pieces written for the orchestras [XLV] of the public gardens, and other places of amusement, which are for the most part extremely contemptible.

There is scarcely, I believe, any other instance of the composition of songs for the express purpose of forming part of a collection, than the recent one of Burns, whose latest poetical exertions were made for the service of a spirited collector of Scottish vocal poetry. Regarding his work as a national publication, he enriched it with many pieces of singular merit, both of the tender and the humorous kind; and indeed no modern poet seems to have possessed so happy a talent for song-writing, when his taste was not contaminated by his habits of vulgar excess.

From the different sources above enumerated, a number of these pleasing compositions may be selected, which will do honour to English genius, and are well entitled to preservation as a portion of the [XLVI] mass of national poetry, even independently of their association with some of the most agreeable strains of musical harmony. Such a selection has been the object of the present editor; and although he is well aware that an uniformity of judgement respecting the admission and rejection of particular pieces cannot be expected, he presumes to hope that he shall not be thought chargeable in general either with inserting mean, vulgar, and improper articles, or with omitting those of acknowledged and decided excellence. There exists, indeed, a numerous class of pieces of a middle rank, many of which, by musical or other associations, may have been rendered favourites to individual readers, who will be disappointed at not finding them in the list; but it has been much more a point with the editor to give a select than a comprehensive collection.

After much consideration respecting [XLVII] arrangement, the following plan was adopted as most correspondent with the editor's ideas.

The first place is allotted to Pastoral Songs, and a few of those compositions termed Ballads, which, in their manner and subject, have the greatest affinity with the pieces composing the body of the collection.

Of Song's more properly so called, the first division consists of the Moral and Miscellaneous. Of the former of these, such have been chosen as inculcate a kind of calm and reasonable philosophy, not so severe as to be inconsistent with the cheerfulness of vocal music in society, and corresponding with some of the sober strains of the Horatian lyre.

A very scanty assortment of Convivial Songs succeeds, dedicated to the festal board, and imitating the gaiety and freedom of the Anacreontic lays. It was im[XLVIII]possible altogether to omit a class so universally received into Song-collections; but as I feel no ambition to be regarded as a priest of Bacchus, I have limited my choice to a small specimen of those which have been inspired by wit and poetry, as well as by wine.

The great bulk of the volume is composed of Amatory Songs, which so much exceed all others in number, that Cupid may be regarded as the peculiar deity of song-writers. In these will be found every kind of expression of the passion of love, and the circumstances attending it; with the exception of such as would give just offence to delicacy. It has already been intimated that there have been two prevailing manners of treating on this affection by the authors of these compositions – the passionate and descriptive, and the witty and ingenious. Yet as they are frequently blended, so as to render it doubtful [XLIX] to which class a piece could with most propriety be referred, no absolute division into two classes has been attempted, but they have been arranged on the general idea of proceeding from the purely passionate to the purely ingenious, leaving a large intermediate space for those of dubious or complex character.

If I were to pronounce in what class of those compositions our English song-writers have displayed the greatest degree of excellence, I should say, in that which contains the tender and ardent expression of the amorous passion; and particularly in those which describe the symptoms and indications of love – a topic originally derived from Sappho's celebrated ode, but dwelt upon with much additional detail of circumstances in several of the pieces here inserted. I am mistaken if more truth and delicacy of representation can be met with in the amatory poets of any [L] other language, ancient and modern; and it is pleasing to observe that many of the best specimens are distinguished by an air of sincerity and faithful attachment, equally remote from licentious heat and from frivolous gallantry.

Notes have been occasionally annexed to particular compositions by way of critical remark or information. The assignment of pieces to their respective authors has been made as correctly as my inquiries would enable me to do it; but there are still some of disputable property, and too many, even of the best, entirely anonymous.

I doubt not that every reader will be gratified by my concluding this Essay with the following piece from Mrs. Barbauld's Poems, addressed to me as the author of the work which was the predecessor of the present volume. –

[LI] THE ORIGIN OF SONG-WRITING

Illic indocto primum se exercuit arcu;
Hei mihi quam doctas nunc habet ille manus!

WHEN Cupid, wanton boy, was young,
His wings unfledged, and rude his tongue,
He loiter'd in Arcadian bowers,
And hid his bow in wreaths of flowers;
Or pierced some fond unguarded heart
With now and then a random dart;
But heroes scorn'd the idle boy,
And love was but a shepherd's toy:
When Venus, vext to see her child
Amidst the forests thus run wild,
Would point him out some nobler game,
Gods and godlike men to tame.
She seized the boy's reluctant hand,
And led him to the virgin band,
Where the sister Muses round
Swell the deep majestic sound,
And in solemn strains unite,
Breathing chaste, severe delight:
Songs of chiefs, and heroes old,
In unsubmitting virtue bold;
[LII] Of even valour's temperate heat,
And toils to stubborn patience sweet;
Of nodding plumes and burnisht arms,
And glory's bright terrific charms.

The potent sounds like lightning dart
Resistless through the glowing heart;
Of power to lift the fixed soul
High o'er fortune's proud controul;
Kindling deep, prophetic musing,
Love of beauteous death infusing;
Scorn, and unconquerable hate
Of tyrant pride's unhallow'd state.
The boy abash'd, and half afraid,
Beheld each chaste immortal maid;
Pallas spread her ægis there;
Mars stood by with threat'ning air;
And stern Diana's icy look
With sudden chill his bosom struck.

"Daughters of Jove, receive the child,"
The queen of beauty said, and smiled:
(Her rosy breath perfumed the air,
And scatter'd sweet contagion there;
Relenting nature learnt to languish,
And sicken'd with delightful anguish:)
[LIII] "Receive him, artless yet and young;
Refine his air, and smooth his tongue;
Conduct him through your fav'rite bowers,
Enrich'd with fair perennial flowers,
To solemn shades, and springs that lie
Remote from each unhallow'd eye;
Teach him to spell those mystic names
That kindlė bright immortal flames;
And guide his young unpractised feet
To reach coy Learning's lofty seat."

Ah luckless hour! mistaken maids!
When Cupid sought the Muses' shades;
Of their sweetest notes beguiled
By the sly insidious child,
Now of power his darts are found
Twice ten thousand times to wound.
Now no more the slacken'd strings
Breathe of high immortal things,
But Cupid tunes the Muses' lyre
To languid notes of soft desire:
In every clime, in every tongue,
'T is love inspires the poet's song.
Hence Sappho's soft infectious page;
Monimia's woe, Othello's rage;
Abandon'd Dido's fruitless prayer,
And Eloisa's long despair;
[LIV] The garland, blest with many a vow,
For haughty Sacharissa's brow;
And, wash'd with tears, the mournful verse
That Petrarch laid on Laura's hearse.

But more than all the sister quire,
Music confess'd the pleasing fire.
Here sovereign Cupid reign'd alone;
Music and song were all his own.
Sweet as in old Arcadian plains,
The British pipe has caught the strains;
And where the Tweed's pure current glides,
Or Liffy rolls her limpid tides,
Or Thames his oozy waters leads
Through rural bowers or yellow meads,
With many an old romantic tale
Has cheer'd the lone sequester'd vale;
With many a sweet and tender lay
Deceived the tiresome summer day.

'T is yours to cull with happy art
Each meaning verse that speaks the heart,
And fair array'd in order meet
To lay the wreath at Beauty's feet.

Erstdruck und Druckvorlage

John Aikin: Vocal Poetry, or, A Select Collection of English Songs.
To Which is Prefixed an Essay on Song-Writing.
London: Printed for J. Johnson and Co. 1810, S. VII-LIV.

Die Textwiedergabe erfolgt nach dem ersten Druck (Editionsrichtlinien).

URL: https://books.google.fr/books?id=8ZKVFOfTSsoC
PURL: https://hdl.handle.net/2027/oxu1.601875477

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