“What hast here, ballads? I love a ballad in print; for then we are sure they are true.”—Shakspeare.
“Street Ballads on a Subject.”—There is a class of ballads which may with perfect propriety be called street ballads, as they are written by street authors for street singing and street sale. These effusions, however, are known in the trade by a title appropriate enough,—“Ballads on a Subject.” The most successful workers of this branch of the profession are the men described as patterers and chaunters.
The “Ballads on a Subject” are always on a political, criminal, or exciting public event, or one that has interested the public, and the celerity with which one of them is written, and then sung in the streets, is in the spirit of “these railroad times.” After any great event “a ballad on a subject” is often written, printed, and sung “in honour,” it was announced “of Lord John Russell’s resignation.” Of course there is no time for either correction of the rhymes or of the press; but this is regarded as of little consequence,—while an early “start” with a new topic is of great consequence, I am assured; “Yes, indeed, both for the sake of meals and rents.” If, however, the songs were ever so carefully revised, their sale would not be greater.
It will have struck the reader that all the street lays quoted as popular have a sort of burthen or jingle at the end of each verse. I was corrected, however, by a street chaunter for speaking of this burthen as a jingle. “It’s a chorus, sir,” he said. “In a proper ballad on a subject there’s often twelve verses, none of them under eight lines, and there’s a four-line chorus to every verse; and, if it’s the right sort, it’ll sell the ballad.” I was told, on all hands, that it was not the words that ever made a ballad, but the subject, and, more than the subject,—the chorus; and, far more than either,—the tune! Indeed, many of the street-singers of ballads on a subject, have as supreme a contempt for words as can be felt for any modern composer. To select a tune for a ballad, however, is a matter of deep deliberation. To adapt the ballad to a tune too common or popular is injudicious; for then, I was told, any one can sing it—boys and all. To select a more elaborate and less-known air, however appropriate, may not be pleasing to some of the members of “the school” of ballad-singers who may feel it beyond their vocal powers; neither may it be relished by the critical in street songs, whose approving criticism induces them to purchase as well as to admire.
The license enjoyed by the court jesters, and in some respects by the minstrels of old, is certainly enjoyed, undiminished, by the street writers and singers of ballads on a subject. They are unsparing satirists, who, with rare impartiality, lash all classes and all creeds, as well as any individual. One man, upon whose information I can rely, told me that, many years ago, he himself had “worked” in town and country, twenty-three different songs at the same period and the same subject—the Marriage of the Queen. They all “sold”—but the most profitable was one “as sung by Prince Albert in character.” It was to the air of “Dusty Miller;” and “it was good,” said the ballad-man, “because we could easily dress up to the character given to Albert. And what’s more, sir,” continued my informant, “not very long after the honeymoon, the Duchess of L—— drove up in her carriage to the printer’s, and bought all the songs in honour to Victoria’s wedding, and gave a sovereign for them and wouldn’t take the change. It was a Duchess. Why I’m sure about it—though I can’t say whether it were the Duchess of L—— or S——; for didn’t the printer, like an honest man, when he’d stopped the price of the papers, hand over to us chaps the balance to drink, and didn’t we drink it! There can’t be a mistake about that.”
The “Ballads on a Subject” are certainly “the rude uncultivated verse in which the popular tale of the times is recorded,” and what may be the character of the nation as displayed in them, I leave to the reader’s judgment.—Henry Mayhew’s London Labour and the London Poor.
The writer of an able article in the Quarterly Review, 1867, on “The Poetry of Seven Dials,” remarks that ‘Our next section of ‘Modern Events’ is characterised throughout by such a general sameness of treatment as to need few examples by way of illustration. They are clearly written, for the most part hastily, on the spur of the moment; and though they may command a good sale at first, they do so not by the wit, beauty, or aptness of the verse, but by the absorbing interest of the calamity which it describes. Thus, say, an appalling accident happens in London; the news spreads like wildfire throughout the city, and gives rise to rumours, even more dreadful than the reality. Before night it is embalmed in verse by one out of five or six well-known bards who get their living by writing for Seven Dials, and then chanting their own strains to the people. The inspiration of the poet is swift, the execution of the work rapid,—how rapid may be judged from the following fact. On Thursday, February 21, a woman named Walker was brought before the magistrate and charged with robbing Mr. F. Brown, her master, a publican, to whom she had offered her services as a man. She was sent to prison, and there her sex was discovered. The next morning, at 10 a.m., two men and two women were singing her personal history and adventures in the New Cut, to a large but not select audience, under the title of ‘The She Barman of Southwark.’ It was great trash, but sold well—but the pay for such work is small. ‘I gets a shilling a copy for my verses’ (says one), ‘besides what I can make by selling ’em.’ But the verses are ready and go to press at once. A thousand or two copies are struck off instantly, and the ‘Orfle Calamity’ is soon flying all over London from the mouths of a dozen or twenty minstrels, in the New Cut, in Leather Lane, Houndsditch, Bermondsey, Whitechapel, High Street, Tottenham-court-road—or wherever a crowd of listeners can be easily and safely called together. If the subject admits of it, two minstrels chant the same strain
‘In lofty verse
‘Pathetic they alternately rehearse.’
each taking a line in turn, and each vying with the other in doleful tragedy of look and voice. A moment suffices to give out in sepulchral accents, ‘Dreadful Accident this day on the Ice in Regent’s Park,’ &c., &c.