"Listen, lady, to my measures,
While they softly, gently flow,
While I sing the harmless pleasures
Of the classic, silver Po," etc.
The war-cry of "The Arcadian" was of course "King and Constitution," for its editor was Conservative, or rather Tory (the former euphuism was not then in vogue) to the heart's core. Much, too, of that personality was introduced in its pages, which rendered its more fortunate successor, the John Bull, so formidable. The same contemptuous tone, in treating of theatricals, is observable both in the John Bull and its tiny predecessor. "The Arcadian" contains a most exquisite critique, a perfect masterpiece of irony, upon the "first appearance" of a certain young lady, and some caustic remarks on the stage and its attractions, curious as coming from a popular dramatist, writing in the thirty-second year of his age.
Full of fun and spirit as the little magazine was, it nevertheless came to an untimely end: only two numbers ever made their appearance. Such was the difficulty which the publisher experienced in making up the second, owing to Hook's listlessness, or more probably preoccupation, that he declined venturing on a third.
This was the prelude of John Bull. The most important event with which the name of Theodore Hook stands connected, is unquestionably the establishment of the John Bull newspaper, at the close of 1820. The universal, instantaneous, and appreciable effect produced on the great political movements of the day by its appearance, is perhaps unparalleled in the history of periodical literature.
The Queen's affair had gone on all the summer and autumn; the madness of popular exacerbation gaining new intenseness with every week that passed. None who remember the feelings and aspects of the time will think it possible to exaggerate either in description: but we shall make no such attempt. The explosion scattered brilliant terror far and wide. No first appearance of any periodical work of any class whatever has, in our time at least, produced such a startling sensation—it told at once from the convulsed centre to every extremity of the kingdom. There was talent of every sort, apparently, that could have been desired or devised for such a purpose. It seemed as if a legion of sarcastic devils had brooded in synod over the elements of withering derision. But, as far as Hook's MSS. allowed his biographers to judge, he was really and truly alone; and, at all events, they exonerate most completely certain other persons who were at first saddled with a large share of the merit and the obloquy of the Bull. Of the famous songs during the winter of 1820-21, only one, he used to say, was an extraneous contribution.
The paper set out with one specific object: the extinction of the Brandenburgh House party; and, to accomplish this, Hook's varied talents—his wit and humour, his sarcasm and bitterness, his keenness of argument, fiery zeal, and unscrupulous daring—were all brought to bear with concentrated energy upon the ranks of the Opposition. Any man reckless of legal consequences, or beyond their reach, familiar with the current scandal of the day, and having so powerful an engine as a public paper at his disposal, may inflict a vast amount of injury upon his adversaries; but to these conditions, in the present case, may be added powers, if not of the very highest order, doubtless the best adapted to the purpose, sources of information peculiar and inexplicable, a singleness of purpose, and firm conviction of its justice, that combined to render Bull the most formidable antagonist that had as yet entered the lists against the Queen.
Many of Bull's songs, in construction, and even in execution, were very little different from those which Hook used to improvise in the course of a festive evening. It has been said by one who knew him, that a person who never witnessed that marvellous performance could not take a better notion of what it was than from such a piece as the "Visit of Mrs. Muggins," in thirty-one stanzas.