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his poetry, and a great deal of the music he composed was written for theatrical incidental music. However, under his own name and hand, he was a prolific songwriter and balladeer, and he wrote the lyrics for almost all of these songs. Further, he wrote numerous operas and plays. His life is illustrative of the professional author in the early 18th century. Without inheritance or title or governmental position, he wrote for all of the remunerative venues, and yet he also kept his own political point of view and was able to score significant points against the ministry of the day. Further, he was one of the leading lights of the new
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765:. At the same time, Carey's productions were noted in his own day for their political acuity and bravery (if not foolhardiness). He was willing to offend and suffer the consequences of his convictions, but he made his political statements in a diverting and apparently frivolous manner, thereby allowing his friends to respond to his politics and his enemies to dismiss his levity. In the
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have recognized, however, the subtle gifts necessary for Carey's music, and theater historians are beginning to recognize the context of his plays. He was the most prolific
English song composer of 1715–1740, and he wrote his own lyrics to all but twelve of his two hundred and fifty songs (Gillespie
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to the mother in the nursery, and the latter provided the occasion for Carey to exaggerate. Philips had employed a 2.5' iambic line, and Carey devastatingly claimed that the half-line matched
Philips's halfwitted conception. The poem was so successful that Carey himself began to be known as "Namby
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later in his life, in 1734, when he was best paid and most famous. Since he was writing for pay when he had theatrical successes, it seems reasonable that he had been hiring his pen for quite some time. In the 18th century, he did hack work for the periodicals of the day. His first accredited
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satirist and also as a patriot. Several of his melodies continue to be sung today, and he was widely praised in the generation after his death. Because he worked in anonymity, selling his own compositions to others to pass off as their own, contemporary scholarship can only be certain of some of
252:) at Drury Lane. From 1723 to 1733, Carey was the "unofficial composer in residence" for Drury Lane, and he wrote and performed much of the music between acts, preludes, and epilogue music, as well as the music called for by dances and other entertainments in the plays (Gillespie 127).
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The play debuted at the
Haymarket, where its coded attack on Walpole would have been clear, but its long run occurred after it moved to Covent Garden, which had a much greater capacity for staging. Part of its satire of opera was that it had all of the words sung, including the
75:. Carey did not make the claim himself, but he did use "Savile" as the name of three of his male children, and these corresponded to the births of Halifax's own three sons. Furthermore, he dedicated all of his major works to Halifax (Gillespie 127). His biography in
488:, of Bath, who says that Mr. Henry Carey... came to him with the words and melody of the song in question, desiring him to correct the bass, which Mr. Smith told him was not proper; and at Mr. Carey’s request, Mr. Smith wrote down another in correct harmony.
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also stated that Carey received a "generous annuity" from the Savile family, but that seems less likely and remains unconfirmed. The fact that, even when his most popular plays were on the boards, Carey would write for pay argues against such an annuity.
707:, a patriotic play about a sailor leaving his beloved to fight against the Spanish. As with other works, Carey's point was primarily patriotic. Patriotic plays at the time were often demurrals of official policy and England's foreign entanglements.
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in
January through March 1710. This work was aimed at a female readership and was written with a clear expectation of an intelligent, educated, and populous set of readers. He also appears as a singer of Italian and English entre-acte songs at
612:. The Queen was attacked for her alliance with Robert Walpole and her general caprice. It also had a generous amount of music by Carey. If contemporary allies understood the criticisms inherent in the play, it was also possible to see it as a
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Henry Carey never ceased to be a composer nor to work as a singer and musician. Even as he began to have greater success as a poet and playwright, he continued to work in music. He worked in a theatre that was associated with the Whig party.
769:-dominated view of literary history of the early 20th-century, Carey was represented as a balladeer whose fundamental moroseness was proven by his shameful suicide, and his plays, now devoid of topicality, were set as broad entertainments.
660:, punctured the vacuous operatic conventions and pointed a satirical barb at Robert Walpole and his taxation policies. The play was a huge success. Its initial run was sixty-nine performances in the first season, which exceeded even
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Pamby Carey" (while
Philips became known as "Namby Pamby"), and the poem even came to be used as children's literature. Furthermore, the term "namby pamby" came into widespread usage to describe any nonsensical frippery. "
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was set as well as written by Carey, and its main characters are a sailor, Nancy, and a Press Gang officer. The play broke new ground in explicitly treating a contemporary matter of social concern in song (Gillespie 128).
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On 13 July 1717, Carey lost both of his posts, at Drury Lane and at
Lincoln's Inn, for a singular political statement: Harley had just been freed from the Tower and had attended Lincoln's Inn Church, and Carey set
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in 1732. These two characteristics—a love of opera and frustration at its abuses and a love of patriotism and frustration at
Walpole's policies—would show up in all of Carey's professional works.
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Aside from rumor, it is impossible to be sure of Carey's parents. It is possible that a Henry and a Mary Carey, both school teachers, were his parents. Indeed, his first profession, according to
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say that he was despondent over financial difficulties. Grief over the death of his son is another possible explanation of his suicide, and
Suzanne Aspden speculates that Carey suffered from
739:, while others have suspected that he had depression or other maladies. His daughter Anne became an actress and bore an illegitimate son, Edmund Carey, who later was known as the actor
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for the middle gentry, a position he held while also working as an author, so these two Careys are the most likely candidates for at least his surrogate, if not his biological, parents.
691:, and in the 19th century opinion of Carey's clear, simple, and memorable ballad tunes went even higher. Also in 1738, he helped found the Fund for Decayed Musicians, and he produced
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Henry Carey's work has been tarred with allegations of triviality since his own day. He had an extraordinary gift with melody and wordplay, and later authors, such as
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says that Carey had an annuity, he left a pregnant second wife (Sarah, whom he married between 1729 and 1733) and three dependent children, and both
Hawkins and
676:(Gillespie 128). The play itself is very brief on the page, as it relied extensively on absurd theatrics, dances, and other non-textual entertainments.
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Even though Carey lost those two positions, he was soon back at Drury Lane, and he married
Elizabeth Pearks in September. He produced his second play,
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project. Their goal was to revive serious opera in English. Together, they formed the English Opera Company, and Carey wrote two librettos, for
414:, a well-known figure among those opposed to Robert Walpole, and the poem had been praised by Alexander Pope (as "Sally in our Alley" had been by
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to satirize the abandonment of drama for puppets), and Carey provided the music to some of these productions. In 1723, he wrote the music for
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and Alexander Pope, thought that the operatic stars were absurd. Therefore, he began to satirize opera in 1726 and in that year he produced
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Carey's son, Charles, died in 1743, and Carey hanged himself at his home in London later that year. He was buried in St James Churchyard,
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407:", one of Carey's songs, was also exceptionally successful, and it has been performed by many singers through to the modern era.
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The uncertainty concerning the author of the words and music of "God save the King", has been removed by the testimony of Mr.
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Having satirized the foreignness of opera, in 1734 Carey turned his attention to the poorly written, mass-produced tragedy.
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It concludes with "Our soul is escaped as a bird out of the snare of the fowlers: the snare is broken, and we are escaped."
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in two volumes. Although Carey complained that his enemies were calling him "Ballad-maker," the work was praised later by
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around 1710 (Gillespie 127). His first poetry publication came in 1713, the year of the height of the Tory ministry under
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A Library of Poetry and Song: Being Choice Selections from The Best Poets. With An Introduction by William Cullen Bryant
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152:. He performed there with his music students. The Tory ministry fell with the death of Anne, and Robert Walpole's
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Scholars have trouble identifying Carey's first works, because he was probably writing anonymously. According to
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and satire in opera did. He had previously satirized the exoticism and emptiness of the English public's love of
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meeting, and there is some reason to attribute the song to him. The Bath Chronicle of 13 August 1795 recounted:
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54:(c. 26 August 1687 – 5 October 1743) was an English poet, dramatist and composer. He is remembered as an anti-
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into a full mock-opera. This literary adaptation was a step beyond adapting literary plays into ballads (as
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to the later style of Arne by combining popular English folks song and tavern song with Italian flourishes.
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was a great popular success, but the opera company failed, and the project came to nought (Gillespie 128).
286:, he was aiming not at the musicians and composers, but rather at the replacement of drama with spectacle.
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The earliest published version of God Save the King (for two voices) seems to date from the early 1740s.
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and actually came to blows the next year during a performance of Handel. In the next year, he wrote
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and his circle, and yet Carey appears to have been an unambiguous supporter of the Tory ministry of
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had done), for it began with a folk ballad and transformed it into opera. The play, with music by
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Although Carey's attempt to revive serious, patriotic English opera did not work, his attempts at
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plays he had collaborated on at Drury Lane. The play was daring, for it was a satire of
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from 1739 contains engravings showing how the staging was performed (Gillespie 128).
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over the coming months, and, while St. John fled, Harley was imprisoned in the
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Aspden, Suzanne. "Henry Carey," in Matthew, H.C.G. and Brian Harrison, eds.
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Then they had swallowed us up quick, when their wrath was kindled against us:
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work was a weekly publication of a serialized romance fictions entitled
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As a playwright, Carey was a significant figure in the re-emergence of
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Then the waters had overwhelmed us, the stream had gone over our soul."
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to a jaunty, celebratory tune and sang it. The Psalm concerns the
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Henry Carey was born in London and was the illegitimate son of
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924:. Vol. 5 (11th ed.). Cambridge University Press.
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128). He was responsible for linking the vocal style of
575:(an opposition playhouse favored by Henry Fielding)) and
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In the same year, Carey may have been the first to sing "
418:). Carey was an admirer and subscriber to the operas of
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were on the rise. The leaders of the former government,
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434:. Faustina was at that time in a hissing fight with
216:'s satire of pantomime and puppet theatricals, 1724.
877:(scanned books original editions color illustrated)
685:The Musical Century in one Hundred English Ballads
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571:(set by Lampe and acted at the Little Theatre at
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882:The New Grove Dictionary of Music and Musicians.
831:, New York, J.B. Ford and Company, 1871, p. 52.
638:singers and castrati, but in 1737, he adapted
904:. Vol. 9. London: Smith, Elder & Co.
522:Carey was favored by the older generation of
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701:He had another popular success in 1739 with
693:Margery, or, a Worse Plague than the Dragon,
264:, and Barton Booth were patronized first by
856:The Oxford Dictionary of National Biography
394:'s wrath. Philips had written a series of
299: There's none like pretty Sally;
172:. In 1715, Carey wrote his first play, an
518:drama in the 1730s. After the success of
144:In 1714, Carey had a job as a psalmist at
984:International Music Score Library Project
803:"Henry Carey - National Portrait Gallery"
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600:and, particularly, the very hack-written
360:O, then we'll wed, and then we'll bed, -
940:Eighteenth-Century Poetry Archive (ECPA)
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311: And she lives in our alley.
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30:For other people named Henry Carey, see
1043:English male dramatists and playwrights
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620:. He followed that up with the ballad
453:In 1730, he added music and introduced
350: Make game of me and Sally,
345: And she lives in our alley.
333: O, then I shall have money!
328: And she lives in our alley.
316: I dearly love but one day,
303: And she lives in our alley.
14:
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880:Gillespie, Norman. "Henry Carey," in
358: O, then I'll marry Sally!
356:But when my seven long years are out,
354: A slave, and row a galley;
341: I'd give it all to Sally;
337: I'll give it to my honey;
324: To walk abroad with Sally;
318:And that's the day that comes betwixt
307: Is half so sweet as Sally;
276:and Harley and the literary circle of
73:George Savile, 1st Marquess of Halifax
27:English poet, dramatist and songwriter
339:O, would it were ten thousand pound!
320: The Saturday and Monday;
290:Namby Pamby and anti-Walpolean satire
335:I'll hoard it up, and, box and all,
192:of the Israelites, announcing that
1053:18th-century British male musicians
343:For she's the darling of my heart,
297:Of all the girls that are so smart
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1018:English dramatists and playwrights
544:, Carey turned to writing musical
428:Faustina, or, the Roman Songstress
390:, a frequent and famous target of
362: But not in our alley!
331:When Christmas comes about again,
322:For then I'm drest all in my best
314:Of all the days that's in the week
234:plays in London (inducing a young
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901:Dictionary of National Biography
348:My master and the neighbors all
868:"Boz" (Ed.) (Charles Dickens),
727:While the anonymous account in
579:(set by Smith and performed at
467:Betty, or, The Country Bumpkins
326:She is the darling of my heart,
309:She is the darling of my heart,
301:She is the darling of my heart,
95:Early musical and literary work
1068:Suicides by hanging in England
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352:And but for her I'd better be
87:, was as a music teacher in a
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956:Works by or about Henry Carey
891:"Carey, Henry (d.1743)"
840:Grimaldi (Boz edition), p. 94
704:Nancy, or, The Parting Lovers
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994:Choral Public Domain Library
683:From 1737 to 1740, he wrote
305:There is no lady in the land
32:Henry Carey (disambiguation)
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1023:English classical composers
971:(public domain audiobooks)
563:and Henry Carey formed the
268:and his circle and then by
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990:Free scores by Henry Carey
980:Free scores by Henry Carey
870:Memoirs of Joseph Grimaldi
610:George II of Great Britain
596:was a parody of bombastic
496:Carey as dramatic satirist
248:(text, such as it was, by
138:Poems on Several Occasions
29:
1028:English Baroque composers
860:vol. 10, 80–81. London:
626:The Honest Yorkshire-Man.
461:, and put the play on as
129:Theatre Royal, Drury Lane
111:wits, Carey worked as a "
888:Stephen, Leslie (1887).
729:The Gentleman's Magazine
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77:The Gentleman's Magazine
921:Encyclopædia Britannica
678:The Musical Entertainer
457:for his previous play,
398:to "all persons", from
784:References and sources
697:The Dragon of Wantley.
561:John Christopher Smith
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45:John Faber the Younger
1073:Suicides in Islington
747:Literary significance
641:The Dragon of Wantley
504:An 1818 playbill for
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463:The Clown's Stratagem
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18:Henry Carey (d. 1743)
965:Works by Henry Carey
947:Works by Henry Carey
915:"Carey, Henry"
762:Chrononhotonthologos
658:John Frederick Lampe
593:Chrononhotonthologos
581:Lincoln's Inn Fields
553:John Frederick Lampe
534:'s invention of the
507:Chrononhotonthologos
459:Hanging and Marriage
370:"Sally In Our Alley"
223:Hanging and Marriage
662:The Beggar's Opera.
606:Caroline of Ansbach
440:Mocking is Catching
148:church and also at
101:Laetitia Pilkington
63:movement in drama.
1058:English male poets
541:The Beggar's Opera
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405:Sally in Our Alley
386:(1725), satirized
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164:, were accused of
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951:Project Gutenberg
884:vol. 15, 127–128.
474:God Save the King
436:Francesca Cuzzoni
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936:Henry Carey
757:Namby Pamby
753:Edward Lear
741:Edmund Kean
722:Clerkenwell
667:recitatives
636:prima donna
557:Thomas Arne
412:Namby Pamby
383:Namby Pamby
283:The Dunciad
61:"Patriotic"
52:Henry Carey
1012:Categories
812:5 February
807:npg.org.uk
789:References
546:burlesques
380:His poem,
174:afterpiece
150:Drury Lane
133:Queen Anne
67:Early life
614:burlesque
602:spectacle
577:Teraminta
551:In 1732,
530:. After
516:satirical
368:From the
241:Harlequin
232:spectacle
228:pantomime
186:Psalm 124
176:entitled
113:subaltern
56:Walpolean
969:LibriVox
767:Macaulay
737:paranoia
654:John Gay
532:John Gay
448:castrati
444:Senesino
424:John Gay
992:in the
986:(IMSLP)
982:at the
958:at the
938:at the
898:(ed.).
873:, from
864:, 2004.
848:Sources
671:da capo
644:from a
598:tragedy
476:" at a
455:ballads
245:Faustus
166:treason
650:ballad
632:parody
585:Amelia
569:Amelia
420:Handel
190:Exodus
894:. In
716:Death
709:Nancy
674:arias
648:folk
622:farce
616:with
538:with
486:Smith
372:poem
154:Whigs
135:with
115:" to
814:2019
759:and
669:and
608:and
583:).
524:Tory
396:odes
243:Dr.
230:and
160:and
109:Tory
47:1729
967:at
949:at
862:OUP
624:of
1014::
918:.
805:.
743:.
724:.
559:,
555:,
260:,
858:.
816:.
509:.
181:.
140:.
34:.
20:)
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