Eighteenth Century

New Zealand Listener, Volume 13, Issue 323, 31 August 1945, Page 8

Eighteenth Century

HE BBC, whose faults do not include lack of a sense of period, provided a pleasant study in their "Men and Music" series (3YL, Sunday evenings) of Dr. Thomas Arne, the composer of "Rule Britannia." Apparently-or at least this was the theme of the study-nobody now remembers who the composer was or when he lived; and the Doctor’s ghost was dispatched back through the centuries to find him and acquaint him with this shameful neglect. The time-scheme was a trifle bewildering; for instead of an 18th-century Dr. Arne stalking into the present day, the ghost-a morose fellow with very little in common with his earthly self-returned from the 20th century to some obscure Limbo and disturbed Dr. Arne in his eternal slumbers,

The Doctor. sat up-wearing, we felt fairly sure, a tasselled nightcap — and asked indignantly why he was thus pestered and by whom; to which the ghost made himself known, and apparently expected the composer to be alarmed. "The 18th century, sir," snorted the Doctor, "was an age of rational enquiry! Why should I be?" The discussion from that point continued amicably, and we heard the first rehearsal of "Rule Britannia" (in a variety programme now deservedly forgotten). "Britannia rules the waves," mused the Doctor, "I presume, sir, she still does?" The fine forthrightness of this admirable man consorted well with his song, which, when played with the appropriate bounce and gustd, is surprisingly Handelian. And very naturally; for the dates are much the same, and both Arne and Handel express the robust confidence, the broad-bottomed lavishness, of early eighteenth century England, an age which knew how to be Jingo without becoming offensive.