University of Virginia Library

Maurice Greene, Florimel, or Love's Revenge, facsimile with an introduction by H. Diack Johnstone, Music for London Entertainment 1660-1800, Series C Volume 6 (London, 1995).

The Rev. Thomas Greene (1648-1720), sometime Fellow of Peterhouse, was Vicar of the united parishes of St Olave, Jewry, and St Martin, Ironmonger Lane; he was also a canon of Salisbury Cathedral and one of His Majesty's 48 Chaplains in Ordinary. Hoadly is several times mentioned in Thomas Greene's diaries still in the possession of the family.

John Nichols, Biographical Anecdotes of William Hogarth (London, 1781), p. 35. The D.N.B. (s.v. 'Hoadly, John') remarks that on one such occasion Hogarth, together with Garrick and Hoadly, 'enacted a vulgar parody on the ghost scene in Shakespeare's "Julius Caesar"'. This particular 'performance' evidently took place at Hoadly's Old Alresford Rectory in July 1746; for further details, see Ronald Paulson, Hogarth: His Life, Art and Times (New Haven, 1971), vol. ii, pp. 32-34.

Bayly had in fact been a gentleman of the Chapel Royal since January 1741, and in his case the 1744 appointment was to a Priest's place. For details (as also of those various other members of the St Paul's Cathedral, Westminster Abbey and Chapel Royal choirs who sang for both Greene and Handel), see Donald Burrows, 'Handel and the English Chapel Royal during the reigns of Queen Anne and King George I' (Ph.D. dissertation, Open University, 1981), vol. 2, appendix 5. The Apollo Academy, a semi-private London musical society, had been founded by Greene sometime between 1731 and 1733 and met in the 'Great Room' at the Devil Tavern, Temple Bar.

There are various references to George Bowes and his family in Edward Hughes' North Country Life in the Eighteenth Century (London, 1952). The Bowes' only child, a daughter, married John Lyon, the tyrannical 9th Earl of Strathmore in 1767, and her fascinating life-story is told by Ralph Arnold in The Unhappy Countess and her Grandson John Bowes (London, 1957). The autograph of the last of Greene's orchestrally accompanied settings of the Te Deum (Bodleian, MS Mus. c. 17) is dated 'Gibside June 27 1750'.

The Judgment of Hercules, a poem. By a student of Oxford (Glasgow, 1743). As printed in the third volume of Robert Dodsley's Collection of Poems (1748), however, it is entitled 'The Choice of Hercules'.

See A. Glyn Williams, 'The Life and Works of John Stanley (1712-86)', (Ph.D. thesis, University of Reading, 1977), ii, 34.

See D.F. Foxon, English Verse 1701-1750 (Cambridge, 1975). All were ultimately based on an episode in Xenophon's Memorabilia, and so too, it appears, was Thomas Cooke's The Tryal of Hercules, an ode on glory, virtue and pleasure (1752).

For a full discussion of this point, see Ruth Smith's fascinating book, Handel's Oratorios and Eighteenth-Century Thought (Cambridge, 1995), pp. 338-344.

Information from Donald Burrows op. cit., vol. ii, p. 162v.

See The Private Correspondence of David Garrick With the Most Celebrated Persons Of His Time, 2 vols. [ed. James Boaden] (London 1831-32), vol. ii, p.81. The Beggar's Garland ('all in songs') is also referred to in a letter from Hoadly to Garrick dated 28 April 1771 (ibid., vol. i, pp. 420-421), and in a couple of later letters too. One of these (i, 524) claims the 'chief novelty' of the piece to be the fact that it consists entirely of songs 'without any recitative or prose speaking'. For details of Hoadly's other dramatic works and publications not mentioned here, see D.N.B. and the various Hoadly letters printed in Boaden op. cit. ; also George Winchester Stone, Jr. and George M. Kahrl, David Garrick: A Critical Biography (Carbondale, 1979), pp. 106-112. A letter of 2 February 1772 (i, 457) would seem to suggest that John himself actually had a hand in Benjamin Hoadly's celebrated play, 'The Suspicious Husband' (1747).

See also letter of 25 July 1775 (ibid., pp. 68-69).

Ibid., pp. 99-101. In the letter, Linley goes on at some length (and quite interestingly too) about the kinds of words which he regarded as most suitable for setting to music. Linley's intention of setting both 'as soon and in the best manner I am able' is reaffirmed in a letter to Garrick of 28 September (ibid., pp. 101-102).

The score is in the Royal Music Library at the British Library, MS R.M. 21.h.9.

Dougald MacMillan, Drury Lane Calendar, 1747-1776 (Oxford, 1938), p. xxviii.

Private Correspondence of David Garrick, vol. ii, pp. 93-94. The use of a speaker was obviously designed to shorten the work in performance by getting rid of the recitative and by incorporating the gist of some at least of the airs in the spoken text.

The song was incorporated in a pantomime by Edward Phillips called 'The Royal Chace; or, Merlin's Cave' and first produced, with music by Galliard, at Covent Garden on 23 January 1736. It was first published later that same year in vol. v of The British Musical Miscellany. Fiske's suggestion (op. cit., p. 165) that it was 'probably written . . . for Jupiter and Europa in 1723' is unfounded. To my colleague, Dr Thomas Keymer, I owe the alternative suggestion that the piece might conceivably have been written for inclusion in The Contrast, a burlesque (never printed) which was apparently hatched up by John and Benjamin Hoadly jointly, first performed at Lincoln's Inn Fields on 30 April 1731, and almost immediately withdrawn at the insistence, it seems, of their father, the Bishop (see Martin C. Battestin, Henry Fielding: A Life [London, 1989], p. 201; also Stone and Kahrl, op. cit., p. 107

April 1776 issue, p. 165. The words were first published in the Gentleman's Magazine for October 1736 as 'A Song. By Mr. H.', and with Greene's music in vol. vi of The British Music Miscellany [1736]. It was also available as a single half-sheet song under the title of 'The Bonny Seaman' and, as 'Fair Sally', it was included in Greene's anonymously published The Chaplet, being a Collection of Twelve English Songs (1738). Some fifty years later, the poem was also set by John Percy and, in a paraphrased form, by James Hook. It consists of six seven-line stanzas, the first of which is as follows:

Greene's setting has recently been recorded by Emma Kirkby on a CD of the composer's songs and keyboard works (Columns Musica Oscura, 1995).

Modern reprint with introduction by Michael Suarez (London 1996).

The first dated source of the music is The London Magazine and Monthly Chronologer (April, 1745), but two single-sheet editions may be earlier, as also is The Agreeable Amusement which is thought to have been published in 1744. John Hoadly's authorship of all the poems listed in this paragraph is acknowledged in a letter of his to Robert Dodsley dated 18 October 1757 (British Library, Add. MS 30262) and reproduced in W.P. Courtney, Dodsley's Collection of Poetry, its contents & contributors: a chapter in the history of English literature in the eighteenth century (privately printed, London, 1910), pp. 102-103.

Both John Hoadly and his elder brother Benjamin were educated at Newcome's school in Hackney before going up to Cambridge.

These were in response to some verses by the Rev. John Straight of Magdalen College, Oxford, which had been addressed 'To Mr. J. H. at the Temple, [and] occasioned by a Translation of an Epistle of Horace. 1730.' (see pp. 244-248). An 'Answer to the foregoing, 1731.' also by 'J.S.' follows on pp. 251-253.

In the first edition, the whole of this Hoadly group appears not in volume three but in volume four which, though dated 1749 on the title-page, was evidently not published until March 1755; see W. P. Courtney, op. cit., p.3.

Courtney, op. cit., p. 31. Thomas Percy's copy (now in the Bodleian Library, Oxford) is not mentioned by Courtney, but the Walpole copy cited is in the British Library. The Walpole attributions in vols. 1 ,2, and 4 are reproduced in the Bodleian copy of the first edition (Don. f. 17-20).

That said, both Thomas Percy and Horace Walpole were among the several literary figures with whom Isaac Reed corresponded (see D.N.B., s.v. 'Reed, Isaac"). I think it unlikely, but it could be, therefore, that the 1782 attribution to Benjamin Hoadly rather than John is based on information received from one or other of these two sources.

Unusually for Dodsley, no date is given, but, under the title of 'The Pangs of Forsaken Love', the piece had been published (with the music) in Watts' Musical Miscellany, vi (1731); also in The Merry Musician, iii [1731]. The words only were printed anonymously in the December 1737 issue of The London Magazine.