the exceptionable* parts left out; and a third class is formed of separate passages scattered through several pieces, which are attempted to be formed into regular and distinct odes". (p. 46.) This is pretty much what I have attempted to do with English Songs in my Collection.

I think, therefore, we shall not differ very widely in considering how far it is allowable and expedient to alter productions according to our ideas of propriety.

But to leave these preliminary remarks, and proceed to the consideration of the volume itself: I will, however, first observe, that in your ideas of Vocal Poetry or of English Song, it appears to me, Sir, you have taken much too confined a view. Vocal Poetry and vocal Music, as it exists at present in this kingdom, may be considered, first, as Sacred, including the Psalms, Hymns, and Anthems, sung in our Churches, and the Oratorios, performed occasionally in our Churches, at the Theatres during Lent, and sometimes at Concerts. In the second place we may rank Theatrical vocal music, consisting of the Songs sung in Operas and other Dramatic Pieces, the Entertain

* By exceptionable, I suppose Mrs. B. means not applicable to our circumstances.

ments of Professional men, as Collins, Dibdin, and others, and the Songs sung at concerts, which are, for the most part, selected from all or most of the preceding descriptions. Next to these may be considered the vocal music of the convivial board, both private parties and public meetings, at which Theatrical and Concert Songs are mostly sung, with others peculiarly adapted to the occasions; and, lastly, the vocal music of the private room, or domestic circle, including all, or most of the former, as may be seen by turning over the Collections to be met with in almost every private house wherein there are any persons who have a taste for music. These are the sources to which I have chiefly applied in forming my Collection of Songs in 3 volumes, and these I have attempted to class, as far as distinction appeared to me to be practicable; but, as the primary object of these Letters is to examine the Songs you have chosen, according to your own selection and arrangement, and the observations you have made upon them, I shall consider each of your classes separately, and then shall make such further remarks as the subject seems to require. I am, Sir,

with great respect,

your obedient humble Servant,

JAMES PLUMPTRE.

LETTER II.

ON BALLADS AND PASTORAL SONGS.

Sept. 5, 1810.

SIR,

IN conformity with the order which you have yourself observed in your Volume of Vocal Poetry, I shall, in this Letter, make some remarks upon that part of your Essay on Songwriting which relates to Ballads and Pastoral Songs; and shall then proceed to make my observations upon the Ballads and Songs themselves in the order in which they stand.

Your remarks on the Ballad and its properties appear to me in general to be just; but I cannot

say that I agree with you in preferring the Bal

lads of "Lord Ronald", (that is what Mr. Walter Scott calls "Glenfinlas, or Lord Ronald's Coronach,") and "Cadyow Castle," from the Minstrelsy of the Scottish Border, to those of William and Margaret, Colin and Lucy, and the Hermit of Goldsmith. The particular merits of these pieces I shall consider hereafter; but I will just observe that if

"Glenfinlas" and "Cadyow Castle" surpass the others in vigour of poetry, the others have the advantage of subject. Glenfinlas is calculated only to nourish that love for the marvellous and supernatural to which the human mind is too prone, and Cadyow Castle sets an act of deliberate and bloody revenge in the light of an heroic action. After mentioning these, and adverting to some French metrical pieces, you say, (p. xvii.) that "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 ears; whence such compositions must be considered as addressed merely to readers, and be referred to the class of minor poetry". The Ballads of William and Margaret, Colin and Lucy, and the Hermit, have, I believe, been all set to music and sung at Concerts; and though the generality of hearers of songs in this age are not remarkable for giving very long attention to any one subject, yet they will sit to hear some tolerably long productions of this kind, when the words are interesting, the tune simple and pathetic or lively and well adapted to narrative, and the words well articulated. Some of the Songs of Collins and of Mr. Dibdin are nearly,

if not quite, as long as some of these, and have been listened to with delight by numerous audiences. Shorter than these, but, for sweetness of effect, worthy the attention of every lover of simple vocal music, Collins's Roman Veteran or Date Obolum Belisario, and Dibdin's Sailor's Journal, Tom Tackle, Labourer's Welcome Home, and Nongtongpaw, might be listened to without tædium were they twice or three times the length. The lower classes, I believe, have some long narrations amongst their popular songs. But I do not see why the simple recitation of such pieces might not be introduced with effect at festive meetings. On some public occasions I believe this has been tried and succeeded.

You have afterwards, Sir, (p. xxi.) called attention to some ballads, which, I think, had been better consigned to oblivion, than mentioned as they are by you one receiving the engaging appellation of "sprightly ballad," and another recommended by saying that the author "gained great applause", and that it is "remarkable for the ease of its language and the liveliness of its imagery". The stage has long since relinquished the former.* The

* While the managers of the theatres have very commendably purified the stage from much offensive matter, it is to