some garden fruits, especially oranges and lemons; the houses poor, suiting the inhabitants; yet having dreign'd or fresh provisions somewhat low, and wee tyred of being so long in our moving tower, a Spanish bait, relish't not ill, though in their dirty houses. (July 28.) The town is shadowed by an extravagant high hill, which no more than 3 or 4 (of many that attempted it) could climb; on the top is a watch-tower, in which finding a Spaniard, and asking him (while I had scarce strength to do so) for some water to quench or violent heat and thirst, the only comfort was this answer, 'aqua d'infierno !' 'water from hell;' but a lemon by chance I brought with me serv'd or necessitys. Upon this hill lives a hermit, who, when he espies ships at sea, puts out basketts to the towneward to signify how many they be, and from what parts they come. From the top of this hill into the sea is a horrid precipice, so high yt its prospect is said to reach 50 leagues, but I dare say I could see from it about 100 miles. After 2 days wee set sail from Gibralter, but gain'd no further ya ye Granada Hills, under which wee were in extremity of heat, becalm'd about 9 days, very near the shore, the violent reflex" of the sun burning and schorching us; while ye tops of the mountains or our heads were covered with snow as with a sheet, or fowls and sheep rotted alive, and stunk before they could be kill'd, drest, and sett upon the table; and ye very sea, for want of motion, grew exceeding noisom; or bread was full of worms; or beer sower, and or water putrified: but, thanks be to God, at last wee had a prosperous gale, conveying us in a short space from ye Spanish continent to the Iland of Majorca, where our necessitys had a welcome supply. Majorca is a fair iland, about 3 times as big as Thanet, very abundant in olives, so as to load about 10 good ships in a year with oyle, as also in divers garden fruits, but chiefly in oranges and lemons, which wee bought fresh from ye trees for about 6d. per cwt. The iland and city is governed by the Viceroy and a Bishop, under ye King of Spain, who hearing that an English Ambassadr was come, sent each some of their attendants

to bid him welcome, and yt wth their presents of fruits and fresh provisions. These afterwards invited his Lordsh❞ on shore; but to avoid those courtesies, wch from great persons have their inconveniences, his Lords" was pleased to be indisposed. However, Mr. Bendysh, Dr. Reyner, with 2 more gentlemen and myself (under the notion of young merchants), went ashore, where squire Bendysh being soon discovered, wee were all requested to ye Bp's palace, finding him nobly attended, and stately accommodated: but whilst all that came kist his garments, wee were set in chairs beside him and (after an hour's discourse in Latin) treated with a large banquet; and this done, hee in person attended us to shew us his stately garden, his pictures, his aviary, and his private chappell, beautified with a glorious altar, at which one of his chief fryers took occasion to tempt me to remain with them, and to be of y religion. Having courted us with what his house afforded, he came with us to his gate, where unexpectedly wee found provided for us 2 of his best coaches drawn by stately mules, and in each coach a gentleman to accompany us; and thus were we carried round the city to see what was in it remarkable; which were some fair streets, a handsome exchange or burse, divers pretty convents and prettyer nuns; their great church, in which (besides many other reliques) is the body of a famous St. in mummy, said to have endured 400 years; but our best recreo was their cathedral mussique, wch (fortuning to be on a festival) was performed very solemnly, with nuns' voices, and great variety of wind-instruments, better suited with a quire than any cordall instruments whatsoever, in that they resemble a voice more lively. The next day wee provided a handsome treat on shore, in return to ye gentlemen who had favored us the day before; when after or last course came in from ye Bishop a very rich banquet, and thus wee received from him the last compliment, as well as the first entertainment; only wee requited his gentlemen with some English regalios from on board our ship.

(To be continued.)

Mr. URBAN,

IN arranging the detached fragments of evidence respecting the History of

God Save the King, which I proposed (in p. 142) to select from Mr. Clark's volume entitled "An Account of the

3 B

young Pretender was born; or before Sept. 6, 1701, when King James the Second died. Notwithstanding that one of the other glasses (as mentioned in the note) named " King James the Eighth," I am somewhat inclined to refer these stanzas to the earlier period; 1. because the term "true-born Prince of Wales" appears to allude to the warming-pan story; and 2. the wording of the latter part of the verse seems to imply that" the Familie" were not yet supplanted in the throne (as they were after the Hanoverian succession); only that "the King" himself was deprived of his right, as he was whilst his daughters still represented" the Familie."

Though usurped by the Hanoverians, the Jacobites could scarcely relinquish their loyal Anthem. The Doctor [Campbell, before mentioned] was a conscientious adherer to the Stuart interest; and I have heard him say, more than once, that he could cordially unite with the most staunch Whigs in singing their favourite air, as reminding him of his poor deluded Sovereign.'" And Mr. Denne (Gent. Mag. March, 1796) mentions that "a neat and significant parody was Ichorussed with high glee" by the Tories at Oxford.

"

II. Respecting the author of the words, the present Song is so completely a structure of various periods, that little individual merit can be reflected from its authorship. The original germ was evidently the words of a Catch for four voices, composed by Dr. Blow, called, "The King's Health," and written, it is said, "On King Charles the Second" (Clark, who has engraved the music):

"God preserve his Majesty ;
And for ever send him victory;
And confound all his enemies.

Take off your hock, Sir!" In this is contained more than half of what B. Victor has quoted as "the very words" of the "old anthem :"

O Lord our God arise,
Confound the enemies
Of [James] our King;
Send him victorious,
Happy and glorious,
Long to reign over us,

God save the King!

The loyal benediction in the Catch is, in the Anthem, merely converted into a direct Address to the Deity.

In order to lengthen the Anthem into the Song, the two first lines were removed, and amplified into a second stanza; the word confound, being wanted for another line, was altered to scatter; and it may be supposed that the poet had in his view the phrases "Scatter his enemies" and "Confound their devices" in the prayer for the 5th of November, as well as the hymn of Moses before the ark: "Rise up, Lord, and let thine enemies be scattered; and let them that hate thee flee before thee."†

The last stanza was new in 1745; and is characterized at once by its genuine Whiggism and its bad rhymes,-store-pour; laws—cause— voice; reign, and King. There have probably been more additional and occasional verses written to God save the King, than to any other composition whatever many of those are printed by Mr. Clark. Even at the time of its production, in 1745, some ambitious poet made "An attempt to improve the song God save the King,' p. 552, the former words having no merit but their loyalty." (See Gent. Mag. Dec. 1745, p. 662.) But there is another merit for a popular song, more important than correct or figurative poetry, namely, simplicity, which that aspiring improver" and his followers have too generally lost sight of.

"

III. The composer is said to have been either,

1. Henry Purcell.
2. Anthony Jones.
3. Benjamin Rogers.
4. Henry Carey.

1. A. M. T. when conversant among the musicians of the year 1750, always understood that the tune of God save famous Henry Purcell, for the chapel the King' was a composition of the of James the Second, and used there as an anthem." (Gent. Mag. Nov. 1795, p. 907.)

Verax also thinks Dr. Campbell used to add, that the younger Purcell was the composer. (Gent Mag. ibid.) 2. "God save the King is supposed to have been composed by Anthony

Jones, musician, contemporary with Purcell, and grandfather of the late Mrs. Arne, Mrs. Lampe, and Mrs. Jones, all stage-singers, whilst spinsters, by the name of Young." (E. I. in Gent. Mag. for Feb. 1796.)

3. Dr. [Benjamin] Cooke assured me that he believed the tune was composed by a Dr. Rogers, in the time of Henry VIII." (M. in Gent. Mag. 1795.) Dr. Rogers lived in the reign of James the Second; but he is not likely to have composed an anthem in the King's honour, as he was, in 1685, ejected by his Majesty's order from the situation of organist to Magdalen college, Oxford.

4. The claim for Henry Carey was put forward by his son George Savile Carey, who stated, “I have heard the late Mr. Pearce Galliard, an able counsellor in the law, and a colleague of my father, assert, time after time, that my father was the author of God save the King, and that it was produced in the year 1745 or 1746;" and G. S. Carey supported his story by a letter from the celebrated Dr. Harrington of Bath, whose friend Mr. John Smith (assistant to Handel) had "often told me what follows; viz. that your father came to him with the words and music, desiring him to correct the bass, which Mr. Smith told him was not proper, and at your father's request he wrote down another in correct harmony." But, independently of the more credible evidence of other accounts, both these statements carry their refutation with them; the first, because Henry Carey died Oct. 4, 1743,

before the date when his son says he wrote the song; and the second, because Carey's published Ballads and Cantatas prove that he was perfectly equal to the composition of a bass. The circumstance that Henry Carey published, in 1740, a Collection of his Works, in which God save the King is not to be found, is also a testimony against his claim.

The fact is, that G. S. Carey ad

vanced the claim from pecuniary motives, after Charles Dibdin had been allowed 2001. a year for having written so many good songs for the Navy. This induced Carey to try his luck; and he even aimed after the same sum-" As it has been whispered abroad, nay even given in print, that an annuity of 2007. per annum had been bestowed on me in consequence of my father being the author of God save the King, I think it a duty incumbent on me to acquaint the world that no such consideration has yet transpired." This was a pretty strong hint of his expectations: but it did not answer; nor had he better success on making a journey to Windsor to urge his claims; of which he relates the particulars. (See Clark, p. 15). The Duke of Gloucester took the trouble to inquire of Dr. Burney, whether the claim for Henry Carey was well founded; the Doctor replied, that he knew the words were not written for any King George; and then proceeded to relate to the Duke what I have quoted elsewhere. (Gent. Mag. Aug. 1814.)

Carey and Rogers are thus removed from the contest; whilst for Anthony Jones there seems to be only the assertion of the correspondent of the Gent.'s Mag. who signed E. 1.

B. B. in the Gent. Mag. for March 1796, p. 208, says, The original tune to God save the King (the tune at least which evidently furnished the subject of it) is to be found in a book of Harpsichord Lessons, by Henry Purcell, published by his widow after his death [which occurred in 1695]. It is in four parts: Carey could therefore have no occasion to request the addition of a bass, had he himself been unequal to the composing one."

Among all his engraved music, Mr. Clark has not given this of Purcell. I leave to those skilled in the art to discover the composition, and pronounce its identity; but, in the present uncertainty, as the Catch was Blow's, and as he was one of James the Second's

Private Musicians, and Master of the Children at the Chapel Royal, I would suggest also a search among the works of John Blow, Mus. D.

IV. The time of the Song's revival and rise to popularity, is fixed with more certainty than that of its origin. We have the testimony of Dr. Burney and others that it was in the year 1745; and its editio princeps in its present form of three stanzas, with the music, was printed in the Gentleman's Magazine for October 1745, in the midst of the Rebellion, being then called (in the Contents) "God save our lord the King, a NEW Song, set for two voices," and (in p. 552) A Song for two Voices, as sung at both Playhouses."

With this agrees the contemporary letter of Benjamin Victor, written in the same month (and in these matters contemporary evidence is worth half a dozen traditions) :-" The Stage, at both Houses, is the most pious, as well as most loyal place, in the three Kingdoms. Twenty men appear at the end of every Play; and one stepping forward from the rest, with uplipted hands and eyes, begins singing, to an old anthem tune, the following words (as in p. 371). "Which are the very words and music," &c. (as before quoted).

To the very powerful influence of popular enthusiasm, bursting forth at this hazardous crisis, may clearly be attributed the universal favour and acceptance to which this Song so rapidly attained; being elevated at once, as it were by acclamation, into the rank of the sovereign of all our popular melodies, the rallying-cry of Britons, and their "National Anthem,"-an honour which its sentiments and its harmony alone, however meritorious, might not have achieved when the public mind was listless and indifferent.

There is an additional verse, which, from the coetaneous nature of its contents, may almost be called a part of the original Song of 1745: though, being of temporary application only, it was but short-lived. Mr. Clark has given a copy of it in p. 8; and it was also stored in the memory of an old friend of my own (who was born in

the very year 1745, and was thus the associate of those who heard it first sung). It is this:

Oh! grant that Marshal Wade
May by thy gracious aid

Victory bring;

May he sedition hush,
And like a torrent rush
Rebellious Scots to crush,

And the French King!*

We have now to consider who was the adapter of the Music on the revival of this Political Hymn. Mr. D'Israeli, in his important lettert on this subject in the Gentleman's Magazine for August 1814, which I have already twice quoted, gives a circumstantial account of this from the mouth of Dr. Burney. "I remember well," says the Doctor," when it was first introduced so as to become a popular air, which was in the year of the Scotch Rebellion, 1745. Dr. ARNE then set it for the Theatre, and it was received with so much delight, that it was reechoed in the streets, and for two or three years subsequent to that time."

This appears very satisfactory, and seems to reply fully to the claim for the adaptation which E. I. (who was before cited in favour of Anthony Jones) had, in 1796, put in for Dr. Burney himself. His statement is :—

During the rebellion in 1745, Dr. Burney, author of the General History of Music, composed parts to the old melody, at the desire of Mrs. Cibber, for Drury-lane Theatre; where it was sung in a slow and solemn manner, in three parts, by Mrs. Cibber, Mr. Beard, and Mr. Reinhold, the father of the present singer of that name, and repeated in chorus, augmented in force usually by the whole audience. It was called for at this theatre for near two years after the suppression of the Rebellion." Gent. Mag. for Feb. 1796.

Mr. Clark, to reconcile these accounts, adopts (in p. 40) the conclusion that it "was harmonized for one theatre by Dr. Arne, and by Dr. Burney for the other;" but this scarcely agrees with the ignorance of the authorship to which Dr. Burney himself is said to have owned, nor with a letter which Miss Burney, his daughter,