Proctor English Songs Essay

— The Corvey Poets Project at the University of Nebraska —

British Poetry of the later Eighteenth and Earlier Nineteenth Centuries

Bibliographical and Contextual Apparatus

[Proctor, Bryan W.], pseud. “Barry Cornwall”

English Songs, and Other Small Poems. London: Moxon, 1832.

Descriptive Essay

Edition used for this propject: Cornwall, Barry [Procter, Bryan W.]. English Songs and Other Small Poems. Boston: Ticknor, Reed, and Fields, 1851. Pp. v + 385.

Beneath the tattered brown cover and broken bindings of this agedbook are the words forgotten in this the twenty-first century of world literature. English Songs and Other Small Poems, written by Barry Cornwall [Bryan Waller Procter] enveloped the true accounts of an average poet. Though only a second-class writer , he used stature and raw emotions to develop his creative works.

Readers begin with a note from the publisher (iii) which reserves the right of this publication and presents a phrase from the author about his previous inferior work. The introduction followed by a paragraph by an unknown source (iv) praising Cornwall. Likely it is not the author himself doing the writing because he hardly regards his material to be of a higher standard, let alone his personal life.

The introduction (v-xii), which is to the first edition of English Songs, conveys two preliminary points. Procter makes the prominent point that England is not considered a country known for its songs. In the following section of works, Cornwall tries to give his homeland a need for national pride through its music. He believes his work is a step forward in this direction. Cornwall is also saying thank you and goodbye to his literary audience. He states that he is giving these songs as a farewell offering to the people for their kindness as he is to leave this literary world for another occupation.

The table of contents (xiii-xxiv) divides this volume into two main significant parts: "Songs" and "Dramatic Fragments". "Songs" is further divided into four main sections: Part The First, Part The Second, Part The Third, and Additional Songs. "Dramatic Fragments" has only two main sections: Part The First and Part the Second. All of these sections, taken together, encompass around four hundred songs and dramatic fragments.

English Songs and Other Small Poems has been highly criticized because certain critics and poets from a supposedly higher order believed Cornwall was not invoking the words of a nation. Though I do agree that he did not have the public in mind, he was writing from a perspective of a native Englishman. This certainly gives him the predisposition to speak on behalf of England.

His life and times were influenced by the dramatic scene of nineteenth century England. The author found beauty in every step he took patrolling the streets of London. In "Hurrah for Merry England" (35), Cornwall expresses patriotism for his nation:
          Hurrah for the Land of England!
          Firm-set in the subject sea;
          Where the woman are fair;
          And the men (like air)
          Are all lovers of liberty!
          Hurrah! for merry England
          Long life, without strife for England!
          Hurrah, for the Spirit of England!
          The bold, the true, the free;
          Who stretcheth his hand,
          With a king's command,
          All over the circling sea!
          Hurrah! for merry England
          Long life, without strife for England!
          Let tyrants rush forth on the nations,
          And strive to chain down the free;
          But do Thou stand fast,
          From the first to the last,
          For "The Right,"—whatsoever it be!
          O merry and noble England!
          Long life to the Spirit of England!
          Hurrah, for William of England!
          Our friend, — as a King should be;
          Who casteth aside
          Man's useless pride,
          And leans on his people free!
          Hurrah! For the King of England!
          The friend of merry England!
          Her King is a friend of England;
          Her guards are her ships at sea;
          But her beauties lies
          In her woman's eyes,
          And her strength in people free!
          So, Hurrah for merry England!
          For the King and the free Men of England!
Cornwall uses this simplistic tone to create a visual representation of national pride. Using the King of England and giving England "woman eyes" allows for the reader to relate to the strength of England's personhood. The recurring chorus in italics praises England in its entire splendor. The opinion of one poet takes fight in the mouths of many to circulate the people's national pride.

In other aspects of his poetry, Cornweall's description of certain monotonous behavior and love experiences intertwined the strings of the hearts of the masses. The public could relate to every poetic verse created by this contemporary; a statement which only added to his popularity.

Cornwall used realism as a tool for finding and appreciating the beauty of everyday life. He did not need nor choose to develop a feeling into anything but what lay before the eye; giving the reader not only a look at the poet's perspective, but also what they might miss as they conduct their own mundane lives.

The author received much criticism for his use of simplicity of text and for his attempts at song-like poetry. Cornwall states in the introduction that he is not composing these words merely for its verse, but for the music intended to be used with it. Though they do include rhyme throughout, Cornwall's poems don't seem to have the appeal of song worthiness. This may be simply because they appear completely out of context, due to the lack of an accompanying musical composition. A number of these pieces seem to be set to the music of the Chevalier Neukomm. Maybe one day the public will see them in correlation, in a volume that brings together the words and the musical scores.

The "Dramatic Fragments" portion of this volume seems to only be the small phrases and ideas that author wanted to say in common conversation, but would usually rule against That is, they do not seem to be "complete" poems in the way that the Songs are. Though lacking in poetic strength, they do tell the story of a poet in small pieces. In "A Rich Man" (361), Cornwall speaks of another person in not an envious tone, but just to make him not forget he has more than he needs in life.
          Rich? Ask'st thou if he's rich? Observe me, Sir!
          His money bags are torpid,—they're so full!
          Crammed, glutton-like, with lumps of spendthrift gold,
          They swell their sides and sleep!

It is a great distinction to recognize a person's work while the artist was still living. English Songs and Other Small Poems carried the tune of Cornwall's word into the lives of many through verse, song, and popularity. His public appearance, stature, and livelihood also worked to benefit the publicity of his work.

At the end of this edition, the publisher lists a collection of new books and new editions published under their cooperation logo. These include writing, poetry, and children's books from such famous authors as Alfred Tennyson, Nathaniel Hawthorne, and many others. Some of Barry Cornwall's other works are included among these.