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Horgan analyses the importance of songs in British eighteenth-century culture with specific reference to their political meaning. Using an interdisciplinary methodology, combining the perspectives of literary studies and cultural history, the utilitarian power of songs emerges across four major case studies.
"Analyzes the importance of songs in British eighteenth-century culture with specific references to their political meaning"--Back cover.
This study offers a radical reassessment of a crucial period of political and cultural history. By looking at some 400 songs, many of which are made available to hear, and at their writers, singers, and audiences, it questions both our relationship with song, and ordinary Britons' relationship with Napoleon, the war, and the idea of Britain itself.
This deeply researched collection offers a comprehensive introduction to the eighteenth-century trade in street literature – ballads, chapbooks, and popular prints – in England and Scotland. Offering detailed studies of a selection of the printers, types of publication, and places of publication that constituted the cheap and popular print trade during the period, these essays delve into ballads, slip songs, story books, pictures, and more to push back against neat divisions between low and high culture, or popular and high literature. The breadth and depth of the contributions give a much fuller and more nuanced picture of what was being widely published and read during this period than has previously been available. It will be of great value to scholars and students of eighteenth-century popular culture and literature, print history and the book trade, ballad and folk studies, children’s literature, and social history.
This volume brings together new approaches to music history to reveal the interdependence of music and religion in nineteenth-century culture. As composers and performers drew inspiration from the Bible and new historical sciences called into question the historicity of Scripture, controversies raged over the performance, publication and censorship of old and new musical forms. From oratorio to opera, from parlour song to pantomime, and from hymn to broadside, nineteenth-century Britons continually encountered elements of the biblical past in song. Both elite and popular music came to play a significant role in the formation, regulation and contestation of religious and cultural identity and were used to address questions of class, nation and race, leading to the beginnings of ethnomusicology. This richly interdisciplinary volume brings together musicologists, historians, literary and art historians and theologians to reveal points of intersection between music, religion and cultural history.
For three centuries, ballad-singers thrived at the heart of life in London. One of history's great paradoxes, they were routinely disparaged and persecuted, living on the margins, yet playing a central part in the social, cultural, and political life of the nation. This history spans the Georgian heyday and Victorian decline of those who sang in the city streets in order to sell printed songs. Focusing on the people who plied this musical trade, Oskar Cox Jensen interrogates their craft and their repertoire, the challenges they faced and the great changes in which they were caught up. From orphans to veterans, prostitutes to preachers, ballad-singers sang of love and loss, the soil and the sea, mediating the events of the day to an audience of hundreds of thousands. Complemented by sixty-two recorded songs, this study demonstrates how ballad-singers are figures of central importance in the cultural, social, and political processes of continuity, contestation, and change across the nineteenth-century world.
Not since 1066 – at least in popular myth – has an enemy force set foot on British soil. The Declaration of War with Revolutionary France in 1793 changed all that. In Ireland, the desire for home rule led Irish republicans to seek support from France and like-minded radicals in England. The scene was set for the most dangerous period in British history since William the Conqueror. Irish dreams of independence, and of Revolutionary France’s goal of securing her borders against the monarchies of Europe, coalesced. What better way of keeping Britain out of a war if her troops were tied down in Ireland? If the French could support an Irish Revolution, this would ensure the British Crown would be more focused on internal security than fighting overseas. The French, with a network of secret agents in Ireland and England, made their preparations for invasion The invasion plan had been prepared by the English-born American political activist, philosopher, theorist and revolutionary Thomas Paine, whose writings had helped inspire the Americans to fight for independence from Britain. Paine sought to seize on discontent in England against the government of William Pitt and the increasing radicalism fostered by Wolfe Tone in Ireland for home rule, to topple the government, and bring about an Irish and English Republic. A network of spies spread out across the England, Scotland and Ireland gathering information for the French and arming radical groups. Everything was set for an invasion. Mad King George’s throne was set to be toppled, Charles James Fox installed as leader of the embryonic English Republic, while Ireland, under Wolfe Tone, would have home rule – so too Scotland. But it took six years for the French to finally mount their attacks upon Britain. And when the invasions were eventually launched, they crumbled into chaos. This book seeks to charts the events that led up to the French invasion of Ireland in 1798, and how the invasion was foiled by William Pitt’s own web of secret agents. William Huskisson, best known for being killed at the opening of the Liverpool and Manchester Railway, led a dangerous life as a spy master, whose agents foiled the French at every step. Drawing on documents in the French Army Archives, as well as the records of the French Foreign Ministry and The National Archives in London, the largely forgotten story of the last invasion of Britain in 1797, as well as the final act of 1798, is revealed. Key documents are the campaign diary of the French commander from 1798, General Humbert, which has never been published in French or English. This, then, is the complete untold story of the French invasions and their sabotage, told for the first time in some 200 years.
From the sun-baked sierras of Spain, through the stormy waters off Cape Trafalgar to the muddy and bloody fields of Waterloo, Britain’s soldiers and sailors were notching up victories which set the country on the path to becoming the greatest power on the planet. We like to imagine the country was unified against a common enemy, France, and the Tyrant of Europe – Napoleon. Yet if we scratch the surface, we find a nation not just at war with France but with itself. The great successes of Wellington and Nelson, and the glamour of Regency London, cover over the cracks of a divided society, of riots across the industrial north and widespread political opposition. Huge swathes of the country hated the war, booed and hissed at soldiers and ‘lobbed turds’ at the Scots Greys in Halifax. There were repeated ‘Peace Petitions’ which sought to stop the war – and even to prevent the British Army fighting at Waterloo. Armed Associations of gentlemen volunteers and Local Militias led the call to close down the debate on social and democratic reform, while on the other hand thousands of English reformers heeded the call from France and hundreds actually headed to France, with many thousands more believing that the time had come, when its young men were needed to fight for King and Country, for reform. The burgeoning middle class had no vote in parliament; rapidly expanding industrial towns and cities had no MPs, yet small villages – pocket boroughs – often had two. The burden of taxation fell on those least able to afford it; enclosure of common land; corn laws; restrictions on the freedom of expression; the endless killing, all fed into an undercurrent of political dissent that was ideologically opposed to the loyalist cause. It was a battle for the very sole of Britain. For the first time, the shocking reality of life in Britain, during what is often portrayed as being its greatest era, is told through diaries, letters, and newspaper comments. Fighting Napoleon at Home is a startling portrayal of the society from which the soldiers and sailors were drawn and exactly what it was they were fighting to defend. It will become essential reading for anyone attempting to understand why Britain’s aristocracy had to stop Napoleon at any cost and suppress the dangerous ideals of liberté, égalité, fraternité.
Uses the collections of ephemera popular in the late seventeenth century as a way to understand the reading habits, publishing strategies and thought processes of late Stuart print culture. Cheap' genres of print such as ballads, almanacs and playing cards were part of everyday life in seventeenth-century society - ubiquitous and disposable. Toward the end of the century, however, individuals began to preserve, arrange and display articles of cheap print within carefully curated collections. What motivated this sudden urge to preserve the ephemeral? This book answers that question by analysing the social, political and intellectual factors behind the formation of cheap print collections, how these collections were used by their owners, and what this activity can tell us about 'print culture' in the early modern period. The book's central collector is John Bagford (1650-1715), a shoemaker who became a dealer of prints and other 'curiosities' to important collectors of the time such as Samuel Pepys, Hans Sloane and Robert Harley. Bagford's own rich and largely unstudied collection is afascinating study in its own right and his position at the centre of commercial and intellectual networks opens up a whole world of collecting. This world encompasses later Stuart partisan political culture, when modern parties and the 'public sphere' first emerged; the 'New Science' and 'virtuoso culture' with its milieu of natural philosophers, antiquaries and artisans; the aural and visual landscape of marketplaces, streets and alehouses; and developing practices of record-keeping, life-writing and historical writing during the long eighteenth century.
This book is a cultural history of the nineteenth-century songster: pocket-sized anthologies of song texts, usually without musical notation. It examines the musical, social, commercial and aesthetic functions songsters served and the processes by which they were produced and disseminated, the repertory they included, and the singers, printers and entrepreneurs that both inspired their manufacture and facilitated their consumption. Taking an international perspective, chapters focus on songsters from Ireland, North America, Australia and Britain and the varied public and private contexts in which they were used and exploited in oral and print cultures.