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"[...] The Cavalier Ballads of England, like the Jacobite Ballads of England and Scotland at a later period, are mines of wealth for the student of the history and social manners of our ancestors. The rude but often beautiful political lyrics of the early days of the Stuarts were far more interesting and important to the people who heard or repeated them, than any similar compositions can be in our time. When the printing press was the mere vehicle of polemics for the educated minority, and when the daily journal was neither a luxury of the poor, a necessity of the rich, nor an appreciable power in the formation and guidance of public opinion, the song and the ballad appealed to the passion, if not to the intellect of the masses, and instructed them in all the leading events of the time. In our day the people need no information of the kind, for they procure it from the more readily available and more copious if not more reliable, source of the daily and weekly press. The song and ballad have ceased to deal with public affairs. No new ones of the kind are made except as miserable parodies and burlesques that may amuse sober costermongers and half-drunken men about town, who frequent music saloons at midnight, but which are offensive to every one else. Such genuine old ballads as remain in the popular memory are either fast dying out, or relate exclusively to the never-to-be-superseded topics of love, war, and wine. The people of our day have little heart or appreciation for song, except in Scotland and[...]".
Excerpt from The Cavalier Songs and Ballads of England From 1642 to 1684 N 0 new ones of the kind are made except as miser able parodies and burlesques that may amuse sober costermongers and half-drunken men about town, who frequent music saloons at midnight, but which are offensive to every one else. Such genuine old ballads as remain in the popular memory are either fast dying out, or relate exclusively to the never-e to-be-superseded topics of love, war, and wine. The people of our day have little heart or appreciation for song, except in Scotland and Ireland. 'england and America are too prosaic and too busy, and the masses, notwithstanding all their supposed advan tages in education, are much too vulgar to delight in either song or ballad that rises to the dignity of poet ry. They appreciate the buffooneries of the Negro Minstrelsy, and the inanities and the vapidities of sentimental love songs, but the elegance of such writers as Thomas Moore, and the force 0 4. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
“Mr. Pepys and The Turk” is SPECHEL’s first inroad into publication. In line with the mission embodied in its name, this book and subsequent publications will be available in ebook and print-on-demand form, making it considerably more accessible than if it were solely a physical object. “Mr Pepys and Turk” tells of English popular notions of the “Turk” through history, centring upon the diary entries of civil servant Samuel Pepys (1633-1703) and the street ballads which he loved to collect. The author’s fascination with this subject stems from his dual life as an academic/folk singer, but also from having lived and worked most of his adult life in Hungary’s only city with two domed mosques, a minaret and other Turkish remains. Hungary is a country where the Turk gets bad press through incomplete and biased formal education and popular conception, yet one of the most charming children’s rhymes of which (included here in the author’s translation) features Mehmet the Turk. Unlike Hungary, England was not invaded by the Turk, unless you count a very brief visit to the Cornish coast, the only surviving trace of which is England’s oldest public house called “The Turk’s Head”. Yet popular misconceptions abound in both cultures through various media, including a seventeenth-century English street ballad about a battle in Hungary between the European forces and the Ottoman Empire. Here, then, is the “Turk”, not a historical man but a popular concept – lustful, terrible, but also poor and innocent as English popular notions fashion and refashion him through time and perspective.