The Caledonian. [volume] (St. Johnsbury, Vt.) 1837-1867, 1855-07-14
FROM ENGLISH SONGS.
0nsrOslusc0iO .

lar. Poetry ITSELF which NJ. de Lamartine
asserts to be 1.-The guardian angel Of human
ity in every age is considered by many not
otherwise uninteligent people to be identical
With verse-an idle art unworthy of an age
OF practical usefulness; while song writing is
held to be the most frivolous department Of a
frivolous pursuit Even many of more
correct and better educated taste scarcely
know the difference between song and any
other short poem. The multitude who sing
feel what song is-but the smaller class,
who reason and refine. are as vet scarcely a.
greed upor the meaning of the term song
unless the va-ue definition that it is 'somc-
thing ~h;' Ii may !e sum can be considered
estimation Of such critics as these, is as little
a. can be- imagined: and It has become a
price riilc,,lou>ly low, TO say that it has
been bought "ior song" On the other hand
there are people who somewhat overratc the
value and Importance of song. and who re-
peat the phrase made popular by Fletcher
OF Saltoun. that the song-writer has more
influence upon the mind of the people than
the law-makcr.
Both these estimates arc wrong. \ song
rs neither so small nor so great matter as
is represented. The many beautiful compo-
sitons in the Eng glish language, that may
strictly be called songs, and which we owe
to the genius Of some Of our most ilustriOuS
writer's, from the age of Shakespeare to our
own, arc sufficient proofs that that the depre-
cation Of those who deny all value to this
form of poetry is unjust and untounded, while
the absence OF any great number OF songs.
popular enough TO model the life-to swav
the passions to stir tie patriotism of
the English multitude. prove that, as regards
our nation at least Fletcher of Saltoun, and
those who repeat his opinion, have to con-
siderable extent overrated their influence.
Yet who knows how much Of Loyalty might
have remained uncxcitcd if the music of the
National Anthem had not been so mayniii-
cent and it the air Of Rule britannia had
not been so inspiritin.? The song writer,
without the musician, is, in fact, but writer
OF shCrt poems and "i.nmortal verse" must
BE married to Immortal music" before it can
exercise its full influence upon the mind Of
people.
a sung ana a ballad have points OF reSein-
bance and of difference. \ ballad, which
at present seems 70 signify song wherein a
storr is told. originally meant a short. or e.
ven long poem. modulated in the recital to
selvc as a musical accompaniment to a dance
from Ja! are, to dance. y song, strictly.
should express sentiment only hut the
distinction has been often 'lisregarled by our
oest writers, and some of the most beautiful
c0r,posit chs o. this class in the Engli III Ian
gua:e partake largely of the characteristics
of bot. hrt Z song is more difficult and
excellent ccrposi,on than ballad. \ song
should be like an epiyram and en-
tire-a perfect chrv Solte-brlliant on every
>sla. I, Il should give voice to one pervading
idea, which should he illustrated naturally
and elessnfi,. II should contain no word
that could Ike omitted without injury to the
music or the meaning: and should avoid the
lar OF inharmonious cOnsonants, which in the
English language are so difficult to sing
Every stanza should be the very twin and
counterpart of the others as regards the
rhythm; and the whole composition, whether
sprightly, tender, patriotic, convivial, or mel
ancholv, should be short and ter>e, and end
with the natural climax of the sentiment. A
ballad, while it should be perfect as regards
the rhythm. is allowed more license, and
may extend to any length consistent with the
interest of the story told in it, or the power
Of voice in the singer. Some writers and
critics have confined the legitimate topics of
sony to the expression of amatorv, convivial,
or patriotic sentiment. This, however, is an
undue limitation. for not only love and pat
cd by the Bacchanalian phrenzy, but joy,
hope, tenderness. gratitude, cheerfulnesS,
melancholy, and even grief, are the proper
themes Of song. Their expression by musi-
aal cadcnces is as natural to men in all ages
aud climates as speech itself All high emo
tion is rhythmical. Wherever there is life
and hope, JOY or sorrow. there are the mate
rials of songs and the youthful, more espc-
cially give vent to their feelings in this ma
terial music. as we may suppose the birds
give vent to theirs, finding in the expression
its own reward. The tender passion in all
ages, and in all languages has ever been the
most prolific source Of songs. The hope and
fear-the JOY and sorrow-the quarrels and
reconciliation-th the guilt and remorse, and
even the hatred of lovers, have all found ex
preston in tbesee popular compositions -
and, while there are Young hearts to feel, and
old ones to be interested in that passion, it is
to be anticipated that songs will continue to
lie made and sung in celebration of the tr-
umphs CT love. No progress of philosophy
or refinement will rot from the heart that
feeling which the American philosopher Em-
erson calls the divine rage and enthusiasm,
which siezes on man at one period, and works
revolution in his mind and body, unites him
to his race, pledges him to the domestic and