The Politics of Songs in Eighteenth-Century Britain, by Kate Horgan

By Kate Horgan

Horgan analyses the significance of songs in British eighteenth-century tradition with particular connection with their political which means. utilizing an interdisciplinary method, combining the views of literary reports and cultural background, the utilitarian strength of songs emerges throughout 4 significant case experiences.

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Extra info for The Politics of Songs in Eighteenth-Century Britain, 1723-1795

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Richard Price’s speech to the Revolution Society entitled A Discourse on the Love of Our Country, delivered on the birthday of William III on 4 November 1789, articulated both of these aims in a tour de force of patriotic sentiment. This chapter examines Edmund Burke’s response to Price in the Reflections on the Revolution in France (1790) and to the reformist agenda of the New Whigs in his Appeal from the Old to the New Whigs (1791) through the metaphors of song and sound that he employs. 142 Demosthenes had denounced the prophesies of the Delphic oracle for ‘philippizing’ in favour of Philip of Macedon in his attempts to warn the citizens of Athens of Philip’s ambition to conquer Greece.

116 A significant amount of scholarship has dismantled the binary opposition between oral transmission and print culture entrenched in these assumptions. 118 Fox cites the ballad of ‘Chevy Chase’ as an example of this, noting that the song would have been carolled aloud and learned by heart, but that it also circulated in manuscript and was included in the folio manuscript upon which Percy ostensibly based his Reliques. 119 In Volume Two of this series, Literacy and Orality in Eighteenth-Century Irish Song (2012), Julie Henigan also questions in similar terms the dichotomy between orality and print in the Irish song tradition.

Montgomery thus became the scapegoat for Gales and for those Sheffield reformers who together with Hardy had escaped prosecution, when he was found guilty of seditious libel in 1795. The reference to Belfast in the song for which Montgomery was tried points to the broader network of song connections that this chapter uncovers. This network includes the emergence of ‘Ça Ira’ in the trial of the Scottish radical Thomas Muir and the response to this by the radical group, the United Irishmen. Chapter Four also traces the circulation of ‘A Patriotic Song by a Clergyman of Belfast’ from a United Irish songbook, to newspapers in England, and finally to William Pitt’s ‘green bag’ as the basis for a state prosecution.

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