"Rule, Britannia!" is a British patriotic song, originating from the 1740 poem "Rule, Britannia" by James Thomson [1] and set to music by Thomas Arne in the same year. [2] It is most strongly associated with the Royal Navy, but is also used by the British Army. [3]
The song was originally the final musical number in Thomas Arne's Alfred , a masque about Alfred the Great, co-written by James Thomson and David Mallet and first performed at Cliveden, the country home of Frederick, Prince of Wales, on 1 August 1740. [4]
The work was initially devised to commemorate the accession of Frederick's grandfather George I and the birthday of the Princess Augusta. [5]
This version is taken from The Works of James Thomson by James Thomson, Published 1763, Vol II, p. 191, which includes the entire text of Alfred.
When Britain first, at Heaven's command
Arose from out the azure main;
This was the charter of the land,
And guardian angels sung this strain:
"Rule, Britannia! rule the waves:
"Britons never will be slaves."
The nations, not so blest as thee,
Must, in their turns, to tyrants fall;
While thou shalt flourish great and free,
The dread and envy of them all.
"Rule, Britannia! rule the waves:
"Britons never will be slaves."
Still more majestic shalt thou rise,
More dreadful, from each foreign stroke;
As the loud blast that tears the skies,
Serves but to root thy native oak.
"Rule, Britannia! rule the waves:
"Britons never will be slaves."
Thee haughty tyrants ne'er shall tame:
All their attempts to bend thee down,
Will but arouse thy generous flame;
But work their woe, and thy renown.
"Rule, Britannia! rule the waves:
"Britons never will be slaves."
To thee belongs the rural reign;
Thy cities shall with commerce shine:
All thine shall be the subject main,
And every shore it circles thine.
"Rule, Britannia! rule the waves:
"Britons never will be slaves."
The Muses, still with freedom found,
Shall to thy happy coast repair;
Blest Isle! With matchless beauty crown'd,
And manly hearts to guard the fair.
"Rule, Britannia! rule the waves:
"Britons never will be slaves."
In 1751 Mallet re-used the text of "Rule, Britannia!", omitting three of the original six stanzas and adding three new ones by Lord Bolingbroke, to form the repeated chorus of the comic song "Married to a Mermaid". This became extremely popular when Mallet produced his masque Britannia at Drury Lane Theatre in 1755. [6]
Married to a Mermaid tells the story of a young man, in some versions a sailor or a farmer, who falls overboard from a ship and is married to a mermaid, and later rises from the sea and says goodbye to his comrades and messmates and his ship's captain. It is a traditional sailors' song and regularly performed by choirs, and its lyrics have many versions. A version written, composed and performed by Arthur Lloyd has the lyrics: [6]
'Twas on the deep Atlantic,
Midst Equinoctial gales;
This young farmer fell overboard
Among the sharks and whales;
He disappeared so quickly,
So headlong down went he,
That he went out of sight
Like a streak of light
To the bottom of the deep blue sea.
Singing Rule Britannia,
Britannia rules the waves
Britons never, never, never shall be slaves...
We lowered a boat to find him,
We thought to see his corse,
When up to the top he came with a bang,
And sang in a voice so hoarse,
'My comrades and my messmates,
Oh, do not weep for me,
For I'm married to a mermaid,
At the bottom of the deep blue sea.'
Singing Rule Britannia,
Britannia rules the waves
Britons never, never, never shall be slaves...
He said that as he went down,
Great fishes he did see;
They seemed to think as he did wink,
That he was rather free.
But down he went so quickly,
Saying, ''Tis all up with me,'
When he met a lovely mermaid
At the bottom of the deep blue sea.
Singing Rule Britannia,
Britannia rules the waves
Britons never, never, never shall be slaves...
She came at once unto him,
And gave him her white hand,
Saying, 'I have waited long, my dear,
To welcome you to land.
Go to your ship and tell them,
You'll leave them all for me;
For you're married to a mermaid
At the bottom of the deep blue sea.'
Singing Rule Britannia,
Britannia rules the waves
Britons never, never, never shall be slaves...
The wind was fair, the sails set,
The ship was running free;
When we all went to the captain bold,
And told what we did see.
He went unto the ship's side,
And loudly bellowed he,
'Be happy as you can, my man,
At the bottom of the deep blue sea.'
Singing Rule Britannia,
Britannia rules the waves
Britons never, never, never shall be slaves.
The chorus, from Rule, Britannia!, is sometimes performed as:
Singing Rule Britannia,
Britannia rules the waves
Britons never, never, never shall be
Married to a mermaid
At the bottom of the deep blue sea
In this song, "Married to a mermaid" is pronounced as "marry-i-ed to a mer-may-ed", and "captain" as "cap-i-tain". Some versions replace "broad Atlantic" for "deep Atlantic".
"Rule, Britannia!" soon developed an independent life of its own, separate from the masque of which it had formed a part. First heard in London in 1745, it achieved instant popularity. It quickly became so well known that Handel quoted it in his Occasional Oratorio in the following year. Handel used the first phrase as part of the Act II soprano aria, "Prophetic visions strike my eye", when the soprano sings it at the words "War shall cease, welcome peace!" [7] The song was seized upon by the Jacobites, who altered Thomson's words to a pro-Jacobite version. [8]
According to Armitage [9] "Rule, Britannia" was the most lasting expression of the conception of Britain and the British Empire that emerged in the 1730s, "predicated on a mixture of adulterated mercantilism, nationalistic anxiety and libertarian fervour". He equates the song with Bolingbroke's On the Idea of a Patriot King (1738), also written for the private circle of Frederick, Prince of Wales, in which Bolingbroke had "raised the spectre of permanent standing armies that might be turned against the British people rather than their enemies". [10] Hence British naval power could be equated with civil liberty, since an island nation with a strong navy to defend it could afford to dispense with a standing army which, since the time of Cromwell, was seen as a threat and a source of tyranny.
At the time it appeared, the song was not a celebration of an existing state of naval affairs, but an exhortation. Although the Dutch Republic, which in the 17th century presented a major challenge to English sea power, was obviously past its peak by 1745, Britain did not yet "rule the waves", although, since it was written during the War of Jenkins' Ear, it could be argued that the words referred to the alleged Spanish aggression against British merchant vessels that caused the war. The time was still to come when the Royal Navy would be an unchallenged dominant force on the oceans. The jesting lyrics of the mid-18th century would assume a material and patriotic significance by the end of the 19th century.
"Rule, Britannia!" is often written as simply "Rule Britannia", omitting both the comma and the exclamation mark, which changes the interpretation of the lyric by altering the punctuation. Richard Dawkins recounts in his 1976 book The Selfish Gene that the repeated exclamation "Rule, Britannia! Britannia, rule the waves!" is often rendered as "Rule, Britannia! Britannia rules the waves!", changing the meaning of the verse. This addition of a terminal 's' to the lyrics is used as an example of a successful meme. [11]
Maurice Willson Disher notes that the change from "Britannia, rule the waves" to "Britannia rules the waves" occurred in the Victorian era, at a time when the British did rule the waves and no longer needed to be exhorted to rule them. Disher also notes that the Victorians changed "will" to "shall" in the line "Britons never shall be slaves". [12]
The song assumed extra significance in 1945 at the conclusion of World War II when it was played at the ceremonial surrender of the Japanese imperial army in Singapore. A massed military band of Australian, British and American forces played as Supreme Allied Commander Louis Mountbatten, 1st Earl Mountbatten of Burma arrived. [13]
"Rule, Britannia!" (in an orchestral arrangement by Sir Malcolm Sargent) is traditionally performed at the BBC's Last Night of the Proms, normally with a guest soloist (past performers have included Jane Eaglen, Bryn Terfel, Thomas Hampson, Joseph Calleja, and Felicity Lott). It has always been the last part of Sir Henry Wood's 1905 Fantasia on British Sea Songs, except that for many years up until 2000, the Sargent arrangement has been used. However, in recent years the inclusion of the song and other patriotic tunes has been much criticised—notably by Leonard Slatkin—and the presentation has been occasionally amended. [14] For some years the performance at the Last Night of the Proms reverted to Sir Henry Wood's original arrangement. When Bryn Terfel performed it at the Proms in 1994 and 2008 he sang the third verse in Welsh. The text is available at Rule Britannia (in Welsh).
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Arne's tune has been used by, or at least quoted by, a great many composers of which the following are a few examples.
The melody was the theme for a set of variations for piano by Ludwig van Beethoven (WoO 79) [15] and he also used it in "Wellington's Victory", Op. 91, and in extracted and varied form in the second movement of his Piano Sonata No. 24, Op. 78, "À Thérèse".
The music has been used for the American patriotic song Rise Columbia. [16]
It was also quoted in Combat naval ("Britannia: an allegorical overture") by Daniel Steibelt.
Richard Wagner wrote a concert overture in D major based on the theme in 1837 (WWV 42). He subsequently made it the basis of his "Große Sonata" for piano, Op. 4. Ferdinand Ries quotes from it in "The Dream" (also known as "Il sogno") for piano, Op. 49, and wrote Variations on Rule Britannia for orchestra, Op. 116. Johann Strauss I quoted the song in full as the introduction to his 1838 waltz "Huldigung der Königin Victoria von Grossbritannien" (Homage to Queen Victoria of Great Britain), Op. 103, where he also quotes the British national anthem "God Save the Queen" at the end of the piece.
The French organist-composer Alexandre Guilmant included this tune in his Fantaisie sur deux mélodies anglaises for organ Op. 43, where he also makes use of the song "Home! Sweet Home!". Likewise, the French composer Alexandre Goria used the tune as part of his Salut à la Grande Brétagne - Six airs anglese transcrite et variée, 1re. Suite No. 8, Op. 44.
Arthur Sullivan quoted from "Rule, Britannia!" on at least three occasions in music for his comic operas written with W. S. Gilbert and Bolton Rowe. In Utopia Limited , Sullivan used airs from "Rule, Britannia!" to highlight references to Great Britain. In The Zoo (written with Rowe) Sullivan applied the tune of "Rule, Britannia!" to an instance in which Rowe's libretto quotes directly from the patriotic march. Finally, to celebrate the jubilee of Queen Victoria in 1887, Sullivan added a chorus of "Rule, Britannia!" to the finale of HMS Pinafore , which was playing in revival at the Savoy Theatre. Sullivan also quoted the tune in his 1897 ballet Victoria and Merrie England , which traced the "history" of England from the time of the Druids up to Victoria's Diamond Jubilee, an event the ballet was meant to celebrate.
During the 2020 BBC Proms, held at the Royal Albert Hall, London, a recorded version of the song featuring Welsh mezzo-soprano Della Jones charted at number 10 on the UK Singles Chart. [17]
| Chart (2020) | Peak position |
|---|---|
| UK Singles (OCC) [18] | 10 |
"God Save the King" is the national anthem of the United Kingdom, one of two national anthems of New Zealand, and the royal anthem of the Isle of Man, Canada and some other Commonwealth realms. The author of the tune is unknown and it may originate in plainchant, but an attribution to the composer John Bull has sometimes been made.
"Heart of Oak" is the official march of the Royal Navy. It is also the official march of several Commonwealth navies, including the Royal Canadian Navy and the Royal New Zealand Navy. It was the official march of the Royal Australian Navy, but has now been replaced by the new march, "Royal Australian Navy".
"Land of Hope and Glory" is a British patriotic song, with music by Edward Elgar, written in 1901 and with lyrics by A. C. Benson added in 1902.
The masque was a form of festive courtly entertainment that flourished in 16th- and early 17th-century Europe, though it was developed earlier in Italy, in forms including the intermedio. A masque involved music, dancing, singing and acting, within an elaborate stage design, in which the architectural framing and costumes might be designed by a renowned architect, to present a deferential allegory flattering to the patron. Professional actors and musicians were hired for the speaking and singing parts. Masquers who did not speak or sing were often courtiers: the English queen Anne of Denmark frequently danced with her ladies in masques between 1603 and 1611, and Henry VIII and Charles I of England performed in the masques at their courts. In the tradition of masque, Louis XIV of France danced in ballets at Versailles with music by Jean-Baptiste Lully.
Britannia is the national personification of Britain as a helmeted female warrior holding a trident and shield. An image first used by the Romans in classical antiquity, the Latin Britannia was the name variously applied to the British Isles, Great Britain, and the Roman province of Britain during the Roman Empire. Typically depicted reclining or seated with spear and shield since appearing thus on Roman coins of the 2nd century AD, the classical national allegory was revived in the early modern period. On coins of the pound sterling issued by Charles II of England, Scotland, and Ireland, Britannia appears with her shield bearing the Union Flag. To symbolise the Royal Navy's victories, Britannia's spear became the characteristic trident in 1797, and a helmet was added to the coinage in 1825.
The BBC Proms is an eight-week summer season of daily orchestral classical music concerts and other events held annually, predominantly in the Royal Albert Hall in central London. Robert Newman founded The Proms in 1895. Since 1927, the BBC has organised and broadcast The Proms. Each season consists of concerts in the Royal Albert Hall, chamber music concerts at Cadogan Hall, additional Proms in the Park events across the UK on the Last Night of the Proms, and associated educational and children's events. Recently, concerts have been held in additional cities across different nations of the UK, as part of Proms Around the UK. The season is a significant event in British culture and in classical music. Czech conductor Jiří Bělohlávek described the Proms as "the world's largest and most democratic musical festival".
Thomas Augustine Arne was an English composer. He is best known for his patriotic song "Rule, Britannia!" and the song "A-Hunting We Will Go", the latter composed for a 1777 production of The Beggar's Opera, which has since become popular as a folk song and a nursery rhyme. Arne was a leading British theatre composer of the 18th century, working at the West End's Drury Lane and Covent Garden. He wrote many operatic entertainments for the London theatres and pleasure gardens, as well as concertos, sinfonias, and sonatas.
"Chester" is a patriotic anthem composed by William Billings and sung during the American Revolutionary War. Billings wrote the first version of the song for his 1770 songbook The New England Psalm Singer, and made improvements for the version in his The Singing Master's Assistant (1778). It is the latter version that is best known today.
James Thomson was a Scottish poet and playwright, known for his poems The Seasons and The Castle of Indolence, and for the lyrics of "Rule, Britannia!"
"Auld Lang Syne" is a Scottish song. In the English-speaking world, it is traditionally sung to bid farewell to the old year at the stroke of midnight on New Year's Eve/Hogmanay. By extension, it is also often heard at funerals, graduations, and as a farewell or ending to other occasions; for instance, many branches of the Scouting movement use it to close jamborees and other functions.
Sir Bryn Terfel Jones,, is a Welsh bass-baritone opera and concert singer. Terfel was initially primarily associated with the roles of Mozart, particularly Figaro, Leporello and Don Giovanni, and has subsequently shifted his attention to heavier roles, especially those by Puccini and Wagner.
"Columbia, the Gem of the Ocean" is an American patriotic song which was popular in the U.S. during the 19th and early 20th centuries. Composed c. 1843, it was long used as an unofficial national anthem of the United States, in competition with other songs. Under the title "Three Cheers for the Red, White, and Blue," the song is mentioned in Chapter IX of MacKinlay Kantor's Pulitzer Prize-winning novel Andersonville (1955). It was also featured in the 1957 musical The Music Man. In 1969, "Columbia, the Gem of the Ocean" was the music performed by a U.S. Navy Band embarked aboard USS Hornet as one of the ship's helicopters recovered the Apollo 11 astronauts from their capsule named Columbia after a splashdown in the Pacific Ocean.
Cool Britannia was a name for the period of increased pride in the culture of the United Kingdom throughout the mid and second half of the 1990s, inspired by Swinging London from 1960s pop culture. This loosely coincided with the latter years of John Major's conservative government and the 1997 United Kingdom general election, which Tony Blair's New Labour won in a landslide. The success of Britpop and musical acts such as Oasis, Blur and the Spice Girls were at the forefront which reflected a renewed feeling of optimism in the United Kingdom following the tumultuous years of the 1970s and 1980s. The name is a pun on the title of the British patriotic song "Rule, Britannia!"
King Arthur, or The British Worthy, is a semi-opera in five acts with music by Henry Purcell and a libretto by John Dryden. It was first performed at the Queen's Theatre, Dorset Garden, London, in late May or early June 1691.
Fantasia on British Sea Songs or Fantasy on British Sea Songs is a medley of British sea songs arranged by Sir Henry Wood in 1905 to mark the centenary of the Battle of Trafalgar. For many years it has been an indispensable item at the BBC's Last Night of the Proms concert.
"The Liberty Song" is a pre-American Revolutionary War song with lyrics by Founding Father John Dickinson. The song is set to the tune of "Heart of Oak", the anthem of the Royal Navy of the United Kingdom. The song itself was first published in two colonial newspapers, the Pennsylvania Journal and the Pennsylvania Gazette, both on July 7, 1768.
—first stanza of James Thomson's "Rule, Britannia", written for the masque Alfred
Alfred is a sung stage work about Alfred the Great with music by Thomas Arne and libretto by David Mallet and James Thomson. The work was initially devised as a masque in 1740 and was first performed at Cliveden, country home of Frederick, Prince of Wales, on 1 August 1740 to commemorate the accession of his grandfather George I and the birthday of the Princess Augusta. Arne later revised the work turning it into an all-sung oratorio in 1745 and then an opera in 1753. It is best known for its finale "Rule, Britannia!".
Richmond Royal Hospital, on Kew Foot Road in Richmond, London, England, is a mental health facility operated by South West London and St George's Mental Health NHS Trust, which has its headquarters at Springfield Hospital in Tooting. The hospital's original block is Grade II listed.
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