The "Jolly Jack Tar" at sea in Charles Dibdin's songs
Date
1987
Authors
Barrow, Valentine Kathleen
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Abstract
Charles Dibdin, actor, playwright , song writer, was granted a government pension in 1803 " for his nearly 100 songs which, it was said, did more to bring in recruits than did all the press gangs together." The circumstance is sufficiently unique to warrant investigation.
Spanning almost fifty years, Dibdin's career falls into three distinct phases. In phase one , 17 6 0-1775, he was employed in the patent theatres. During that period, while developing his musical skills , he demonstrated an inability to work harmoniously with theatre managers. Phase two, which lasted for some thirteen years , was marked by various unsuccessful theatrical ventures . 1t was a time, however, when he had significant encounters with seamen and the sea. An aborted attempt to emigrate to India in 1788 heralded the beginning of the third phase. Although he had already written twenty-three popular sea songs , the remaining 117 were produced during this final period.
Dibdin's earlier career dictated the form of his last twenty years in the world of entertainment . His inability to cooperate with others led t o his becoming a solo performer. He presented what he called " Entertainments"; evenings of dialogue and song. He says , "It was not enough for me merely to write love-songs. It was necessary to give my labours a decided character." 'Contrary to public opinion, he considered the British tar to be "plain, manly, honest, and patriotic. " These were characteristics which, he wrote, had not very pointedly been put forward. I thought the subject honourable, and commendable, and in some degree novel; especially as it would give an opportunity through public duty of expressing private affection. Therefore, drawing on his experience of sailors and the sea, he proceeded to write songs praising "those heroes who are the natural bulwark of their country."
A brief survey of conditions in the British navy at the time of the Napoleonic wars forms a background against which to assess the songs themselves. Dibdin made little or no direct reference to abuses such as poor pay, poor food, et cetera. It was his opinion that a sermon and a song , even a comic song, may have the same drift , and produce the same effect. The song, written to please, may be so managed as to instruct.
Following his own precepts, he concentrated on drawing attention to the plain and manly virtues, stressing honesty and patriotism. is sailor , stoically facing lengthy separation from loved ones , cheerfully enduring storm and battle, and even dying for king and country emerges larger than life ; a folk hero ; a "Jolly Jack Tar."
The songs gained wide popularity. The lyrics were peppered with colourful nautical jargon which was not only accurate but familiar to a maritime nation and therefore easily understood ; the melodic tunes were "catchy" and easily sung ; many of the songs fostered the rampant patriotism of wartime Britain ; the songs appealed to the sentimental , increasingly humanitarian attitudes of a changing society.
Undoubtedly, Dibdin had contributed in large measure to the development of a new persona for the seaman . It became admirable to be a sailor . Consequently, men volunteered for naval service and Dibdin received a pension . His influence went beyond the navy , however , to the theatre where hi s " Jolly Jack Tar " became the hero of nineteenth century nautical melodrama .
We may conclude that , despite the frustrations and disappointments of the early years , the extent of Dibdin ' s influence ensured that his was a successful career.