The supernatural occurrence, forming the groundwork of one of the ballads which I have made the harbinger of doom to the house of Rookwood, is ascribed, by popular superstition, to a family resident in Sussex; upon whose estate the fatal tree — a gigantic lime, with mighty arms and huge girth of trunk, as described in the song — is still carefully preserved. Cuckfield Place, to which this singular piece of timber is attached, is, I may state, for the benefit of the curious, the real Rookwood Hall; for I have not drawn upon imagination, but upon memory, in describing the seat and domains of that fated family. The general features of the venerable structure, several of its chambers, the old garden, and, in particular, the noble park, with its spreading prospects, its picturesque views of the Hall, “like bits of Mrs. Radcliffe,”— as the poet Shelley once observed of the same scene — its deep glades, through which the deer come lightly tripping down, its uplands, slopes, brooks, brakes, coverts, and groves, are carefully delineated.
The superstition of a fallen branch affording a presage of approaching death is not peculiar to the family I have mentioned. Many other old houses have been equally favored: in fact, there is scarcely an ancient family in the kingdom without a boding sign. For instance, the Breretons of Brereton, in Cheshire, were warned by the appearance of stocks of trees floating, like the swollen bodies of long-drowned men, upon the surface of a sombre lake — called Blackmere, from the inky color of its waters — adjoining their residence; and numerous other examples might be given. The death-presage of the Breretons is alluded to by Drayton in the “Polyolbion.”
It has been well observed by Barry Cornwall, “that the songs which occur in dramas are more natural than those which proceed from the author in person.” With equal force does the reasoning apply to the romance, which may be termed the drama of the closet. It would seem strange, on a first view, that an author should be more at home in an assumed character than his own. But experience shows the position to be correct. Conscious he is no longer individually associated with his work, the writer proceeds with all the freedom of irresponsibility. His idiosyncrasy is merged in that of the personages he represents. He thinks with their thoughts, sees with their eyes, speaks with their tongues. His strains are such as he himself —per se— would not, perhaps could not, have originated. In this light he may be said to bring to his subject not one mind, but several; he becomes not one poet, but many; for each actor in his drama has a share, and an important share, in the lyrical estro to which he gives birth. This it is which has imparted any verve, variety, or dramatic character they possess, to the ballads contained in this production. Turpin I look upon as the real songster of “Black Bess;” to Jerry Juniper I am unquestionably indebted for a flash melody which, without his hint, would never have been written, while to the sexton I owe the solitary gleam of light I have been enabled to throw upon the horrors and mystery of the churchyard.
As I have casually alluded to the flash song of Jerry Juniper, I may, perhaps, be allowed to make a few observations upon this branch of versification. It is somewhat curious, with a dialect so racy, idiomatic, and plastic as our own cant, that its metrical capabilities should have been so little essayed. The French have numerous chansons d’argot, ranging from the time of Charles Bourdigné and Villon down to that of Vidocq and Victor Hugo, the last of whom has enlivened the horrors of his “Dernier Jour d’un Condamné” by a festive song of this class. The Spaniards possess a large collection of Romances de Germania, by various authors, amongst whom Quevedo holds a distinguished place. We, on the contrary, have scarcely any slang songs of merit. With a race of depredators so melodious and convivial as our highwaymen, this is the more to be wondered at. Had they no bards amongst their bands? Was there no minstrel at hand to record their exploits? I can only call to mind one robber who was a poet — Delany, and he was an Irishman. This barrenness, I have shown, is not attributable to the poverty of the soil, but to the want of due cultivation. Materials are at hand in abundance, but there have been few operators. Dekker, Beaumont and Fletcher, and Ben Jonson have all dealt largely in this jargon, but not lyrically; and one of the earliest and best specimens of a canting-song occurs in Brome’s “Jovial Crew;” and in the “Adventures of Bamfylde Moore Carew” there is a solitary ode, addressed by the mendicant fraternity to their newly-elected monarch; but it has little humor, and can scarcely be called a genuine canting-song. This ode brings us down to our own time; to the effusions of the illustrious Pierce Egan; to Tom Moore’s Flights of “Fancy;” to John Jackson’s famous chant, “On the High Toby Spice Flash the Muzzle,” cited by Lord Byron in a note to “Don Juan;” and to the glorious Irish ballad, worth them all put together, entitled “The Night Before Larry Was Stretched.” This facetious performance is attributed to the late Dean Burrowes, of Cork. It is worthy of note that almost all modern aspirants to the graces of the Musa Pedestris are Irishmen. Of all rhymesters of the “Road,” however, Dean Burrowes is, as yet, most fully entitled to the laurel. Larry is quite “the potato!”
And here, as the candidates are so few, and their pretensions so humble,
I can’t help putting in my claim for praise.
I venture to affirm that I have done something more than has been accomplished by my predecessors, or contemporaries, with the significant language under consideration. I have written a purely flash song, of which the great and peculiar merit consists in its being utterly incomprehensible to the uninformed understanding, while its meaning must be perfectly clear and perspicuous to the practised patterer of Romany, or Pedlar’s French. I have, moreover, been the first to introduce and naturalize amongst us a measure which, though common enough in the Argotic minstrelsy of France, has been hitherto utterly unknown to our pedestrian poetry. Some years afterwards, the song alluded to, better known under the title of “Nix My Dolly, Pals — Fake Away!” sprang into extraordinary popularity, being set to music by Rodwell, and chanted by glorious Paul Bedford and clever little Mrs. Keeley.
Before quitting the subject of these songs, I may mention that they probably would not have been written at all if one of the earliest of them — a chance experiment — had not excited the warm approbation of my friend, Charles Ollier, author of the striking romance of “Ferrers.” This induced me to prosecute the vein accidentally opened.
Turpin was the hero of my boyhood. I had always a strange passion for highwaymen, and have listened by the hour to their exploits, as narrated by my father, and especially to those of “Dauntless Dick,” that “chief minion of the moon.” One of Turpin’s adventures in particular, the ride to Hough Green, which took deep hold of my fancy, I have recorded in song. When a boy, I have often lingered by the side of the deep old road where this robbery was committed, to cast wistful glances into its mysterious windings; and when night deepened the shadows of the trees, have urged my horse on his journey, from a vague apprehension of a visit from the ghostly highwayman. And then there was the Bollin, with its shelvy banks, which Turpin cleared at a bound; the broad meadows over which he winged his flight; the pleasant bowling-green of the pleasant old inn at Hough, where he produced his watch to the Cheshire squires, with whom he was upon terms of intimacy; all brought something of the gallant robber to mind. No wonder, in after-years, in selecting a highwayman for a character in a tale, I should choose my old favorite, Dick Turpin.
In reference to two of the characters here introduced, and drawn from personages living at the time the tale was written, it may be mentioned that poor Jerry Juniper met his death from an accident at Chichester, while he was proceeding to Goodwood races; and that the knight of Malta — Mr. Tom, a brewer of Truro, the self-styled Sir William Courtenay, who played the strange tricks at Canterbury chronicled in a song given in these pages — after his release from Banning Heath Asylum, was shot through the head while leading on a mob of riotous Kentish yeomen, whom he had persuaded that he was the Messiah!
If the design of Romance be, what it has been held, the exposition of a useful truth by means of an interesting story, I fear I have but imperfectly fulfilled the office imposed upon me; having, as I will freely confess, had, throughout, an eye rather to the reader’s amusement than his edification. One wholesome moral, however, may, I trust, be gathered from the perusal of this Tale;