By Oskar Cox Jensen
This research bargains a thorough reassessment of a very important interval of political and cultural historical past. through taking a look at a few four hundred songs, lots of that are made on hand to listen to, and at their writers, singers, and audiences, it questions either our courting with track, and traditional Britons' dating with Napoleon, the battle, and the assumption of england itself.
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Extra info for Napoleon and British Song, 1797–1822 (War, Culture and Society, 1750–1850)
The decision to purchase indicates a successful initial impact upon the listener. These artefacts could then be shared further, both orally and (among the literate) by copying. 163 We cannot support these anecdotal practices with data, however. The existence of multiple editions of a song, implying that a ﬁrst printing sold out, might suggest a successful impact. Yet during the Wars in particular, we cannot assume a free and objective market, as loyalist and, potentially, radical patrons are known to have funded the free distribution of certain songs.
13 One variation of the slightly later song ‘Battle of the Nile’ itself dwells, in a future tense construction of an event that had already happened, on how the news was to be met: But now the Battle’s o’er, and Toulon’s ﬂeet’s no more, Great News we shall send unto George our King, All the Kingdoms in Europe shall join us in chorus, ‘Threats of the Carmagnols’: Contesting the Nation, 1797–1805 43 The bells they shall ring, and boneﬁres [sic] they shall blaze, Rule Britannia shall be sung, through country and town, While sailors, hand in hand, round the can do sing14 The mood was self-consciously celebratory.
121 Yet Place’s statement, applying merely to London in 1792 to 1793, is contradicted by the commentators cited above, decrying the pernicious effects of singers in streets, fairs, and marketplaces. Some environments were harder to police than others. 123 This communal workers’ mentality was resistant to external interference. 124 It was no simple matter to police even the public streets via the watch, or the vigilante intimidation of loyalist groups that Place remembered. 126 Nor was subversive singing conﬁned to dark alleys.
Napoleon and British Song, 1797–1822 (War, Culture and Society, 1750–1850) by Oskar Cox Jensen