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FRANCIS SCOTT KEY. 
 
 1780-1843. 
 
 (By courtesy of the Maryland Historical Society.) 
 
UBRARY OF CONGRESS 
 
 *'The Star Spangled Banner'* 
 
 (Revised and enlarged from the "Report" on the above 
 and other airs, issued in 1909) 
 
 BY 
 
 OSCAR GEORGE THEODORE SONNECK 
 
 CHIEF OF THE DIVISION OF MUSIC 
 
 WASHINGTON 
 
 GOVERNMENT PRINTING OFTICE 
 
 1914 
 
L. C. card, 13-35008 
 
 This volume is for sale by the 
 
 Superintendent of Documents 
 
 Government Printing Office 
 
 Washington, D. C. 
 
 Price, 85c. 
 
PREFATORY NOTE 
 
 In December, 1907, I received iusiructions from the librarian of 
 Congress to "bring together the various versions both of text and of 
 music with notes as to the historical evolution" of "The Star 
 Spangled Banner," "Hail Columbia," "America," and "Yankee 
 Doodle." The result was the special "Report " issued by the Library 
 in 1909. In form it was frankly not such a history of the subject as 
 one would write for popular consumption. In it data were collected, 
 eliminated, or verified; popular theories founded on these data were 
 analyzed, their refutation or acceptance was suggested, and, of course, 
 some theories of my o-wti were offered for critical consideration. All 
 this was done in such a form that the reader was at no step supposed 
 to find a locked door between himself and the argument. He was 
 not expected to accept a single statement of fact or argument unless the 
 evidence submitted compelled him to do so. This plein air treatment 
 of a popular theme distinguished the "Report " somewhat from the bulk 
 of the literature on the subject, and I concluded the prefatory note 
 by saying: "In short, though not intended for popular consumption, 
 it may be used for popular consumption vnih reasonable assurance of 
 accuracy." 
 
 The words "reasonable assurance of accuracy" were not intended 
 to convey the impression that the author had spoken the last word on 
 every phase of the history of the songs treated in his "Report." 
 Sometimes forced to find a way out of a dark lab}Tinth of conflicting 
 testimony, he knew better than any reader of his "Report" could 
 possibly know, how complicated certain matters were. Often he 
 could not go beyond his authorities. They were falhble and their 
 errors became his, unless he detected them. Detection was not alwaA's 
 so very simple as it may look to those whose ambition it is to clear 
 just one of innumerable points. However, the author hoped that his 
 "Report" would lead to the discovery of new data, that would facili- 
 tate the solution of certain problems whidi he could only treat at 
 the time with critical caution and without committing the reader to 
 his personal impressions. Tliis hope has ])eon fulfdled. The "Report" 
 of 1909 undoubtedly stimulated a revival of interest in the history of 
 the songs discussed. With this revival of interest came renewed 
 search for hidden data and a lively controversy arose as to whether 
 or not John Stafford Smith composed "To Anacreon in Heaven." 
 
 3 
 
 r» c: o / > < ik 
 
4 ''The Star Spangled Banner" 
 
 In view of the probability that in September, 1914, Francis Scott 
 Key's memory would be honored by numerous celebrations of the 
 centenary of his ''Star Spangled Banner," the Library of Congress 
 decided to issue the chapter on his national song separately in a revised 
 and enlarged edition. It was to embody the principal literature on 
 the subject since 1909. The principle and method of treatment were 
 to be exactly the same as in the ''Report" of 1909. This accounts 
 for the technique adopted and for much that would be unnecessary 
 and unskillful in a plain historical narrative. 
 
 If in the discussion now and then a word has fallen with a sting to 
 it, the reader, it is hoped, will appreciate how difficult it sometimes is, 
 even in a governmental "Report" to suppress entirely the personal 
 note. After all, Government officials are human beings and facts do 
 not always speak for themselves. To use a musical simile, in a com- 
 plicated orchestral composition often much depends on the instrumen- 
 tation of the thematic idea. Its development may be entirely logical, 
 but, unless it be given to some instrument of piercing tone, it may in 
 that particular moment not reach the ears of the audience at all. 
 
 O. G. SONNECK 
 
 Chief, Music Division 
 Herbert Putnam 
 
 Librarian of Congress 
 
 Washington, B.C., January, 191 J,. 
 
 POSTSCRIPT 
 
 This book was ready for the binder when word reached me that 
 the discussion between Father Henry and Dr. Grattan Flood would 
 be continued in the June number of the "American Catholic His- 
 torical Society of Philadelphia Records." The conclusions reached 
 in my book are not affected in the slightest thereby, inasmuch as 
 Dr. Grattan Flood admittedly was unable to prove his sudden and 
 startling theory that "To Anacreon in Heaven" was sung at Dublin 
 in 1762 and at Edinburgh in 1755. From data since searched for 
 me in Dublin sources, but received too late for insertion in this edi- 
 tion of my book, I have gained the impression that Dr. Grattan 
 Flood was misled into his theory by some unfortunate but pardon- 
 able error in his notes. 
 
 O. G. SoNNECK 
 
 Wiesbaden, June, 1914 
 
CONTENTS 
 
 Page 
 
 Prefatory note . 3-4 
 
 Introductory remarks 7-8 
 
 "To Anacreon xn Heaven" ^-^3 
 
 "The Star-Spangled Banner" 65-103 
 
 Literature used for this Report 105-109 
 
 Index Hl-H^ 
 
 Appendix: Illustrations: Plate 
 
 1. "The Anacreontick Song harmonized by the author,"' on p. 33 of John 
 
 StaffordSmith'3"FifthBookof Canzonets," [1799] ... I 
 
 2. Title-page of the same book II 
 
 3. The Anne Lee, Dublin edition of "The Anacreontic Song" . . Ill 
 
 4. The E. Rhames, Dublin edition of "The Anacreontic Song" . . IV 
 
 5. Earliest known publication (1778) of the text of "To Anacreon in 
 
 Heaven" ^ 
 
 6 "To Anacreon in Heaven," from "The Vocal Enchantress," London, 
 
 1783 VI 
 
 7 "To Anacreon in Heaven," from Exshaw's London Magazine, Dublin, 
 
 1791 VII 
 
 8. The original Longman & Broderip, 26 Cheapside, issue of "The Ana- 
 
 creontic Song," [178—] VIII 
 
 9. The later Longman & Broderip, 26 Cheapside and 13 Hajonarket, issue 
 
 of "The Anacreontic Song," [178— ] IX 
 
 10. Paine's "Adams and Liberty," American Musical Miscellany, 1798 X 
 
 11. "To Anacreon in Heaven," from The Baltimore Musical Miscellany, 
 
 1804 XI 
 
 12. W. Howe's edition (1798?) of "Adams and Liberty" .... XII 
 
 13. The earliest dated publication of the "Star Spangled Banner" text XIII 
 
 14. The text as printed in the Baltimore American, September 21, 1814 . XIV 
 
 15. The original broadside XV 
 
 IG. The original manuscript of the final text of Francis Scott Key's "Star 
 
 Spangled Banner " XVI 
 
 17. The Keim Autograph • . • XVII-XVIII 
 
 18. Mr. Dobbin's facsimile of the Keim autograph .... XIX 
 
 19. "The Star Spangled Banner" as in the "New York Normal Song 
 
 Book," 1851 XX 
 
 20. "The Star Spangled Banner" as in "Fillmore's New Nightingale . . 
 
 on a mathematically constructed plan of notation," Cincinnati, 
 
 1857 XXI 
 
 21. "The Star Spangled Banner "as in "The Vocalist's Pocket Companion," 
 
 Chambersburg, 1839 ("buckwheat" or "patent" notes) . . . XXII 
 22 Firth and Hall's edition of "The Star Soangled Banner" (183—) 
 
 XXIII-XXIV 
 23. Geib & Co.'s edition of "The Star Spangled Banner" (betw. 1816 
 
 and 1825) XXV 
 
 5 
 
INTRODUCTORY REMARKS. 
 
 In the "Report on 'The Star-Spangled Banner,' 'Hail Columbia,' 
 'America,' 'Yankee Doodle'" (Washington, Government Printing 
 Office, 1909), the chapter on "The Star-Spangled Banner" began 
 with an account of the origin of Francis Scott Key's poem. This 
 was followed by a brief summary of the European and American 
 history of the tune "To Anacreon in Heaven," to which "The Star- 
 Spangled Banner" is sung, by a comparative investigation of extant 
 manuscripts of Key's poem, and finally by a survey of the different 
 versions of the melody as now in use. For this revised and enlarged 
 edition of the chapter a division into two independent sections was 
 found to be more logical and convenient, one on "To Anacreon in 
 Heaven," the other on "The Star-Spangled Banner" proper. 
 
 As a prelude to this chapter it is not necessary, but it may not be 
 inadvisable to state, in view of certain tendencies to the contrary in 
 the matter of "The Star-Spangled Banner," that research in musical 
 history, in common with every other kind of historical research, 
 aims solely at the orderly establishment of facts and the logical 
 interpretation of available facts. Such facts or the conclusions 
 from such facts may not always be welcome, but the historian is 
 or should be a seeker after historical truth, often enough stranger 
 and more "romantic" than fiction. He should never allow possible 
 preferences of his compatriots or his personal idiosyncrasies to 
 obscure his historical vision. 
 
 For instance, every patriotic American would rejoice, with the 
 author of this "Report," if it could be shown by documentary or 
 other unimpeachable evidence that " The Star-Spangled Banner," 
 both in words and music, was of American origin. If that can not 
 be shown, then every patriotic American will be sensible enough not 
 to betray irritation of his patriotic pride because the music of our 
 "Star-Spangled Banner" had its origin in some "monarchical" 
 country of Europe, whether that be Turkey, Russia, Germany, France, 
 
8 ''The Star Spangled Banner" 
 
 England, or Ireland. Nor is there any patriotic reason, so far as I 
 can see, why the citizens of the repubUcan United States of America, 
 founded by men of English, German, Irish, or other descent, and 
 fought for by Irishmen against Irishmen, Englishmen against English- 
 men, Germans against Germans, should be expected to smart under 
 the theory that ''To Anacreon in Heaven" was of English, not of 
 Irish, French, or German, origin, and to prefer, for instance, an Irish 
 to an English composer. We took the air and we kept it. Trans- 
 planted on American soil, it thrived. As " To Anacreon in Heaven" 
 of European origin the air is obsolete and extinct; as the air of "The 
 Star-Spangled Banner," it stirs the blood of every American, regard- 
 less of his origin or the origin of the air. 
 
jony .\'TJf-'F<i)h'/» %'}/fT/f. 
 
 I'fm.m.l. ',„ cl- 
 
 1750-1836. 
 (By courtesy of the British Museum.) 
 
TO ANACREON IN HEAT^N 
 
 For methodological reasons it will be best to first submit, with as 
 little preliminary comment as possible, the different theories on the 
 origin and authorship of the song. If at all of a critical bend of mind, 
 the reader will not fail to notice how these different theories either 
 strengthen or weaken each other in certain details, without being 
 subjected to critical cross-examination. He will further notice how 
 some of these theories not only contradict each other, but how full 
 they are of contradictions withm themselves, not to mention the 
 amusing spectacle of one and the same author presenting within three 
 years two totally different theories and both times with equally 
 emphatic assertiveness. The survey of theories will be followed by 
 a survey of the bibliographical history of the song, i. e., extant ver- 
 sions of the song in British eighteenth century publications, so far as 
 known to me, will be examined with an attempt to establish their 
 chronological order. 
 
 This method of procedure wtU permit the automatic elimination of 
 obvious nonsense. It will clear the path for a critical analysis of the 
 controversy on John Stafford Smith's authorship of the air and it 
 will enable the critical reader to accept or reject the conclusions 
 reached by me in a fairly complicated structure of argument. 
 
 In Notes and Queries, second series, 1861, volume 12, page 310, 
 there appeared a note on "The Star-Spangled Banner" by one 
 "Uneda" to the effect that— 
 
 This song, wHch is now to be heard everywhere in the United States, is sung to 
 the tune of ' ' Anacreon in Heaven . " Was there not a Ftill older song to this tune, 
 commencing "^^^len Blbo went down to the regions below? " It has been stated 
 that this song was an Irish bacchanalian song." I^^ the air IrL«h? Is it known 
 who was the composer of it? 
 
 o In the context "this song" refers to "When Bibo, " not "To ^Vnacreon in Heaven." 
 Two versions of the text of ' ' "VSTien Bibo " appear to exist. In the Vocal Magazine, 
 1778, on page 7 appears as ' ' Song 6 . A two-part song. Written by Mr. Prior. When 
 Bibo thought fit from the world to retreat'' (one stanza of six lines, no tune indicated). 
 The three-stanza text of "When Bibo went down to the regions below, " as compari- 
 son will show, is merely an amplified paraphrase of Prior's text. In the Universal 
 Songster, Volume III, London [1827], thore appears the "When Bibo went down" 
 text with note "Air: To Anacreon in Heaven. " I tried to sing the text to the air, 
 but I failed, except for the first few lines, which go well with "To Anacreon in 
 
10 
 
 The Star Spangled Banner 
 
 I pass on to a note on "The Star Spangled Banner'" contributed 
 to Notes and Queries (3d ser., 1864, vol. 6, pp. 429-430) by William 
 Pinkerton. He did not pretend to know the composer of the "old 
 English song" "To Anacreon in Heaven, " but he rendered us a serv- 
 ice by mentioning several parodies of "To Anacreon, " as for instance, 
 ''Britannia — To Neptune enthroned, as he governed the sea," 
 *' Satan's visit to the Jacohine Club — To old Satan in Hell, where he 
 sat in full glee" <» and again, as sirng to the same tune, "When Bibo 
 went down, " mentioning both versions of the text. 
 
 For a long time the tune of "To Anacreon in Heaven" was often 
 attributed, if attributed to any particular composer at all, to Dr. 
 Samuel Arnold (1740-1802). Of this opinion were J. C. (in Balti- 
 more Chpper, 1841), Nason (1869), Salisbury (1872), and others. 
 The general inability to substantiate this nmior finally led to one 
 of the most grotesquely absurd articles in musical Uterature, namely, 
 that in the American Art Journal, 1896 (vol. 68, whole no. 1729, 
 pp. 194-195), by J. Fairfax McLaughlin, under the title "The Star- 
 Spangled Banner. Who composed the music for it? It is American, 
 not English." Mr. McLaughlin challenged any man to point out an 
 
 Heaven." Others may find it possible to stretch, the '"To Anacreon in Heaven" 
 melody so as to cover the long "When Bibo went down" stanza. 
 
 In Da\ddson's Universal Melodist, Volume I, London, 1847, "When Bibo went 
 down" is printed with the note "The words by Thomas Dibdin. The music by 
 Travers. " This melody runs 
 Allegro 
 
 When Bi 
 
 bo went down to the re - gions be - low, when Le - the 
 
 (This downward movement of the melody obviously fits the words better than the 
 upward movement of the "Anacreon in Heaven" melody. This is another reason 
 why I believe that the editor of the Universal Songster was mistaken.) 
 
 Davidson attributed this melody to John Travers (1703-June, 1758), but in Travers' 
 "Eighteen canzonets, for two, and three voices: the words chiefly by M. Prior, " first 
 published at London about 1745, text and melody of "Canzonet lY. An epigram by 
 Matt. Prior" run as follows: 
 
 i 
 
 ffi 
 
 ^ 
 
 ^m 
 
 ^# 
 
 "When Bi - bo 
 
 thought fit 
 
 — y ?^ 
 
 from the world to 
 
 re - treat 
 
 and the same melody appeared in the later separate issues of Travers' "favourite 
 canzonets"! 
 
 a This parody appears to be identical with the one printed without music, so Mr; 
 Frank Kidson informed me on November 29, 1913, in "The M\Ttle and The Vine, " 
 1803, Volume II, page 126, as "Satan's visit to the Jacobine Club." 
 
''The Star Spangled Banner" 11 
 
 English publication of "To Anacreon in Heaven" prior to that of 
 "words and music" by Matthew Carey in liis Vocal Magazine, Phila- 
 delphia, 1796 (a book of mysterious whereabouts, by the way, as will 
 appear later). Mr. McLaughlin further found "after a rather ex- 
 haustive search" that the fii'st publication of the song in Great 
 Britain occurred in the Universal Songster, "pubhshed at London 
 from 1825 to 1834." From this faulty claim of first appearance in 
 America Mr. McLaughlin reached out for the conclusion : "The air as 
 well as the words of our national anthem appear to belong not to 
 England but to the United States." 
 
 In view of such naive and rather irritating ignorance it was easy 
 for X. in the Musical Times, of London, 1896 (pp. 516-519) to 
 challenge Mr. McLaughlin to mortal combat and to elaborately bury 
 his patriotic aspirations. The same service could have been rendered 
 him just as neatly and more quickly by a simple reference to the 
 footnote on page 6 of ^Ir. Stephen SaUsbury's "Essay on the Star- 
 Spangled Banner," 1873, where the contents of a pertinent letter 
 from Mr. WiUiam Chappell, the distinguished Enghsh music mer- 
 chant and scholar, were made pubHc or to an occasional article con- 
 tributed by Mr. Chappell to Notes and Queries, 1873 (fourth ser., 
 vol. 11, pp. 50-51), from which I quote the following: 
 
 In the second half of the last century a very jovial society, called The Anacreon- 
 tic, held its festive and musical meetings at the Crown and Anchor Tavern in the 
 Strand, "a large and curious house, with good rooms and other convenience, 
 fit for entertainments", says Strype. It is now the WTiittington Club, but in 
 the last century it was frequented by such men as Dr. Johnson, Boswell, Sir 
 Joshua Reynolds, and Dr. Percy, especially to sup there. A certain Ralph 
 Tomlinson, Esq., was at one time president of the Anacreontic Society, and 
 he wrote the words of the song adopted by the club, while John Stafford Smith 
 set them to music. 
 
 The style of the club will be best exemplified by the first and last stanzas of 
 the song. [Then follow these two stanzas of "To Anacreon in Heaven. "] The 
 last two lines of each stanza were repeated in chorus. 
 
 One of the early editions of the words and music is entitled "The Anacreontic 
 Song, as sung at the Crown and Anchor Tavern in the Strand, the words by 
 Ralph Tomlinson, Esq., late President of that Society. Price 6d. Printed 
 by Longman & Broderip, No. 26, Cheapside, and No. 13, Haymarket." Here 
 the author of the music is unnamed, but it is in "A fifth Book of Canzonets, 
 Catches, Canons, and Glees, sprightly and plaintive. ... by John Staf- 
 ford Smith, Gent., of His Majesty's Chapels Royal, author of the favourite glees, 
 'Blest pair of Sirens,' 'Hark the hollow Woods,' and of 'The Anacreontic,' and 
 other popular songs. Printed for the author, and sold at his house. No. 7, War- 
 wick Street, Spring Gardens, and at the music shops. " At page 33 of this collec- 
 tion is "The Anacreontic Song," harmonized by the author. 
 
 I have not referred to Stationers' Hall for the date of the Anacreontic Song, 
 but the words and music are included in Calliope, or the Musical Miscellany, 
 published in Edinburgh, in 1788, 8vo.; and, before that, they were published 
 in The Edinburgh Musical Miscellany, of which the date is torn off in my copy. 
 If any regard to copyright was paid in those publications (which is by no means 
 
12 "The Star Spangled Banner" 
 
 certain), the fourteen years of author's right must then have expired, and the 
 date of the eong would be between 1770 and 1775. According to the Biographical 
 Dictionary of Musicians, John Stafford Smith was born "about 1750," was the 
 Bon of the organist of Gloucester Cathedral, and was afterwards a pupil of Dr. 
 Boyce — probably in the Chapel Royal, as ultimately he became a gentleman 
 of the Chapels. With such an education he might well have composed the 
 music between the ages of twenty and twenty-five. The contrary motion be- 
 tween the voice part and the bass shows the musician. 
 
 Mr. Chappell had not included "To Anacreon in Heaven" in his 
 standard work, "Old Enghsh Popular Music," and so llx. H. EUis 
 Woolbridge had no occasion to include the above account in his 
 revised edition (1893) of Chappell's lastingly useful work. Otherwise 
 certain inaccuracies probably would have disappeared from Chap- 
 pell's account. However, on the whole his short, occasional article 
 has the earmarks of correctness, and his deductions were accepted 
 imtil recently as logical so far as Smith's authorship of the air is 
 concerned. They were followed, for instance, by Mr. Frank Kidson 
 in Grove's Dictionary of Music and Musicians, 1908. In his neces- 
 sarily brief article, Mr. Kidson dated Smith's Fifth Book as "circa 
 1780," called attention to the claims of American origin, and, as 
 had done X. in the Musical Times, pointed out the appearance of 
 the text of the poem in The Vocal Magazine, 1778. 
 
 In the book on "English Music (1604 to 1904), being the lectures 
 given at the Music Loan Exhibition of the Worshipful Company of 
 Musicians, held at Fishmongers' Hall, London Bridge, June-July, 
 1904," London, 1906, Mr. WiUiam H. Cummings in his lecture on 
 "Om- Enghsh Songs" had this to say on page 51: 
 
 I would fain dwell on this union of race, this marriage of heart and voice, and 
 will therefore call your attention to a song, the product of an Englishman, which 
 has, by adoption, become one of the national songs of our kith and kin on the 
 other side of the Atlantic. "The Star-Spangled Banner," beloved by all our 
 brethren in the United States, was originally composed by John Stafford Smith, 
 in London, about 1750, for a club which met at the "Crown and Anchor " Tavern 
 in the Strand. The club was called the "Anacreontic", and for its social gath- 
 erings the president, Ralph Tomlinson, wrote an ode commencing "To Anacreon 
 in Heaven". This was first published without a composer's name, but shortly 
 afterwards Smith brought out a collection of Canzonets, Catches, and Glees, 
 which he sold at his house, 7 Warwick Street, Spring Gardens. In this volume, 
 which contained only compositions by himself, we find ' ' To Anacreon in Heaven. " 
 The music of the Anacreon ode and that of "The Star-Spangled Banner" is the 
 same. I have brought a copy of the original publication of the ode . . . [On p. 
 52 the air with words of first stanza is added in C major. On pp. 65-66 Mr. Cum- 
 mings says and this with the above is all he says on "To Anacreon in Heaven:"] 
 
 The volume which contains the original publication of [M. Arne's] "The lass 
 with the delicate air", and also "To Anacreon in Heaven", I have here. It 
 is a very remarkable collection of 116 sheet-songs, put together in the years 1778-82. 
 Amongst other curios are some songs "printed and sold by H. Fougt, at the 
 'Lyre and Owl', in St. Martin's Lane, near Long-acre. The choicest ballads 
 at a peimy a piece, or eighteen for a shilling. " There would have been no room 
 for the street pirates in those days. 
 
"The Star Spangled Banner" 13 
 
 This brief account has been inserted here for reasons that will 
 appear later. Mr. Cummings's date ''about 1750" may be merely a 
 misprint, because John Stafford Smith O750-183Q) can not very weU 
 have composed anything ''about 1750," because the "Anacreontic 
 Society" did not exist until about 15 years later, and because the 
 title page of the collection of canzonets, etc., mentioned by Mr. 
 Cummings (Smith's Fifth Book) can not have been pubhshed until after 
 Smith had been appointed a "Gent, of His Majesty's Chapels Royal" 
 on December 16, 1784. The significance of this last fact, though 
 plainly put forth in both editions of Grove's Dictionary, escaped me 
 at the time of writing my "Report" in 1909, as it had escaped Mr. 
 Chappell in 1873. The entry in Grove was called to my attention by 
 Mr. W. H. Grattan Flood in a letter of date December 29, 1909. 
 
 End of May, 1909, Mr. A. H. RoSewig, of Philadelphia, copyrighted 
 a 4-page folio sheet with title "Anacreon in Heaven. The origin of 
 'The Star Spangled-Banner' with its complete history, by A. H. 
 RoSewig, Mus. Doc." In tliis article, which originally had appeared 
 in the Philadelphia North American, Sunday, February 14, 1909, 
 Mr. RoSewig lays claim to sundry discoveries in support of John 
 Stafford Smith's authorship of the "To Anacreon in Heaven" air. 
 As a matter of fact, Mr. RoSewig discovered nothing that was not 
 known to others and accessible in the printed literature on the sub- 
 ject. The center of interest in his article is held by a twentieth 
 century transcript of "The Anacreontic Song" with title and imprint 
 in type, as if in imitation of that used by Anne Lee, Dublin, in her 
 pubUcation of the song. However, Mr. RoSewig has added the date 
 "Anno 1780" to the imprint, which contains no such date in Anne 
 Lee's publication, and his transcript of the song is followed (in type, 
 not in manuscript) by the remark "Also harmonised by the author 
 in his Fifth Book of Popular Songs, Catches, etc., page 33." I feel 
 confident that if Mr. RoSewig had foreseen how these additions to 
 his transcript of "To Anacreon in Heaven" might create confusion, 
 as they did, that he would have preferred to print a photographic 
 facsimile of Anne Lee's publication instead of a transcript with mis- 
 leading comment. 
 
 To this article of Mr. RoSewig's the editor of Church Music (a very 
 excellent magazine, now unfortunately defunct) drew attention in 
 the miscellaneous "Notes" of the May number, 1909. Thereupon 
 he received from Mr. W. H. Grattan Flood, of Eimisworthy, Ireland, 
 an article called "The original air of The Star-Spangled Baimer" 
 with subheading "Notes on the Origin of To Anacreon in Heaven," 
 and this article appeared in Church Music, September, 1909, pages 
 281-282. Except for the introductory remarks, it is identical with 
 manuscript "Notes on the origin of To Anacreon in Heaven" sent 
 me under date of June 5, 1908, by Mr. Grattan Flood during the 
 
14 ''The Star Spangled Banner" 
 
 course of a correspondence with him and other British authors on 
 certain phases of the ''Star-Spangled Banner" subject. These 
 "Notes" came to me so unsohcited and unexpected that I thanked 
 Mr. Grattan Flood under date of June 29, 1909, for "having gone out 
 of his way to help me." In my "Report" of 1909, "while fully 
 appreciating the courtesy of Mr. W. H. Grattan Flood in transmitting 
 these notes," I regretted "the inadvisabihty of using them, except 
 in connection with other sources, because these notes are singularly 
 at variance with the contents of several letters sent me by Mr. Grattan 
 Flood on the same subject, and because these notes contain certain 
 positive statements without reference to source which it would be 
 unmethodical to accept unreservedly." 
 
 Mr. Grattan Flood's article in Church Music reads as follows: 
 
 THE ORIGINAL AIR OF "tHE STAR-SPANGLED BANNER." 
 
 In the May issue of Church Music I find a correspondent belauding the recent 
 discovery of the original composer of the air to which the "Star-Spangled Banner " 
 is Bung. This announcement is somewhat belated. It is now some six years 
 since I examined the Dublin printed copy of the original song "To Anacreon 
 in Heaven," and I also examined the copy containing the information that the 
 music was composed by John Stafford Smith. In June, 1904 — over five years 
 ago — Dr. Cummings, in his lecture on "Old English Songs" at the Music Loan 
 Exhibition in London, proved conclusively that Smith was the composer, 
 and exhibited a copy of the setting which Smith, in 1771, sold at his 
 house. No. 7 Warwick Street, Spring Gardens. This lecture is included in 
 English Music, published by Charles Scribner's Sons, New York, in the admirable 
 "Music Story Series." 
 
 In January, 1908, 1 was asked by Mr. 0. G. Sonneck, head of the Music Division 
 in the Library of Congress at Washington, D. C, to write some notes on "Yankee 
 Doodle" (proving it an Irish air) and on the original air to which the Anacreontic 
 ode was siing, to form part of an ofiicial report on the National Airs ot America 
 to be presented to Congress.** I herewith subjoin my notes on "To Anacreon 
 in Heaven," as, doubtless, they will prove of interest to many readers of Church 
 Music. It is worthy of note that while "Yankee Doodle" is of Irish origin the 
 "Star-Spangled Banner" had ita provenance in England. 
 
 NOTES ON THE GRIGLN OP "tO ANACREON IN HEAVEN." 
 
 There is much confusion as to the authorship of the song ''To Anacreon in 
 Heaven." However, it is now tolerably certain that the song was written by 
 Ralph Tomlinson in 1770 or 1771, as the charter song of the Anacreontic Society. 
 
 As to the melody, it was composed by John Stafford Smith, a pupil of Dr. 
 Boyce, in 1771. 
 
 There is no doubt as to the fact that Ralph Tomlinson wrote the song in the 
 winter of 1770. He was president of the Anacreontic Society, which met in the 
 
 o But compare my statement above. Furthermore, far from accepting Mr. Grattan 
 Flood's theory of the identity of the Irish time "All the Way to Galway" with 
 "Yankee Doodle," a comparison of the two tunes (see my "Report" of 1909, pp. 146- 
 150) has demonstrated, I believe, to the satisfaction of most everj'body except Mr. 
 Grattan Flood, that the two tunes are characteristically different. This difference 
 does not, of course, preclude the possibility of an Irish origin of "Yankee Doodle." 
 
"The Star Spangled Banner" 15 
 
 Crown and Anchor Tavern, London, and there is ample evidence that his song 
 was sung from 1771 onwards. The words were printed on broadsides, and 
 appeared in the Vocal Magazine for 1778. Four years later (1782) Mr. Mulia was 
 appointed President, and he sang the charter song on several occasions in the 
 years 1782-3. At a later meeting on January 10th, 1791, Haydn was present 
 when the song was sung. The Anacreontic Society was dissolved in 1796. 
 
 Elson in his National Music of America, and again in his History of American 
 Music, says that the composer of the tune to which "To Anacreon" was sung, 
 was either Dr. Arnold or John Stafford Smith, and he waxes merry at the thought 
 that " there is no tune resembling it in Smith's Musica Antiqua " — quite oblivious 
 of the fact that Smith's work of that name contained only music "from the 12th 
 to the beginning of the 18th century." 
 
 Smith was in his 21st year when he composed the music in 1770-1, and internal 
 evidence clearly points to the influence of Boyce, under whom he was then 
 studying, and some of the phrases are strongly reminiscent of Boyce's "Heart 
 of Oak." 
 
 The words and music of "To Anacreon" were published by Longman and 
 Broderip in 1779-1780, and were reprinted by Anne Lee of Dublin (71780) in 
 1781. Dr. Cummings says that he saw a copy printed by Henry Fought — at 
 least it is made up with single sheet songs printed by Fought — but this ia scarcely 
 likely, as Fought did not print after 1770, and the song and music were not in 
 existence till 1770-71. The copy in the Vocal Magazine (1778) has no music. 
 
 The most decisive proof of the fact that the tune was composed by Smith is 
 that he includes it in his Fifth Collection of Canzonets, Catches, etc., in 1781. 
 (His name does not appear in Longman and Broderip's issue, nor in that of 
 Anne Lee in 1780). The song with music was published by Brown, of Perth 
 (Scotland), in his Musical Miscellany, in 1786. A copy of this rare book is in 
 the writer's musical library. Two years later it appeared in Calliope (1788). 
 
 Apparently the song (and tune) was brought to America about the year 1790, 
 and it was sung on August 10, 1796, at Savannah, as chronicled by Mr. O. J. 
 Sonneck in his admirable Early Concert Life in America. No doubt, it was sung 
 in 1795 and subsequently by the Columbian Anacreontic Society. Anyhow, it 
 was popularized in America between the years 1795 and 1797, and at length was 
 adapted by Paine in May, 1798, for "Adams and Liberty," printed in 1798. 
 
 Holden of Dublin printed the Anacreontic Song to Masonic words in 1796, 
 and it was reprinted in 1802. Elson's copy of what he styles the "Original 
 Music " is not quite correct. 
 
 (Signed) "W. H. Grattan Flood, 
 
 Mus.D., K. S. G., M. R. I. A. 
 
 Enniscobthy, June 5th, 1908. 
 
 A tone of finality sounds through this article, but the same tone of 
 finaUty is even louder in an article, again hy Mr. W. H. Grattan Flood, 
 which appeared in the magazine Ave Maria on July 6, 1912, pages 
 19-20, under the title of "The Irish origin of the tune of The Star- 
 Spangled Banner." In this article, drawn to my attention by Rev. 
 H. T. Henry, of Philadelphia, formerly editor of Church Music, Mr. 
 W. H. Grattan Flood says: 
 
 It being, therefore, admitted as beyond any question that Francis Scott Key 
 adapted his song to the tune of "Anacreon in Heaven," the question remains as 
 to the origin of the tune. Mr. Sonneck is wrong in following Chappell's view 
 both as regards the composer of the melody and the date. He says that John 
 
16 ''The Star Spangled Banner" 
 
 Stafford Smith included the tune in his Fifth Book of Canzonets, published 
 between 1780 and 1790, and that Smith "probably" composed it about the year 
 1771. 
 
 Let jne here definitely state that Smith himself never claimed the tune as 
 his, although he lived after the tune had been sung for thirty years, and even 
 after Key had adapted "The Star-Spangled Banner" to "Anacreon in Heaven." 
 It is simply amazing how one writer blindly copies another without taking paina 
 to verify facts. Mr. Sonneck complacently followed the statement made by 
 Chappell as to the music of "Anacreon in Heaven." 
 
 The song was known in 1771, and at that date Smith had composed nothing. 
 He was born in 1750, and studied under Dr. Boyce. His first efforts were a catch 
 and a canon in 1773. The earliest appearance in print of the song was in 1771, 
 and it was included in a song-book called "The Vocal Magazine; or, Compleat 
 British Songster," in 1778. Two years later the music and words were printed 
 by Anne Lee, of Dublin; and they were reprinted in the Vocal Enchantress in 1783. 
 
 In order to bolster up Stafford Smith's claim as a composer of the tune, Chap- 
 pell and his copyists give the date of his Fifth Book of Canzonets as "1780 or 
 1785." Fortunately for historical accuracy, a wealthy Irish-American, Mr. 
 John Henry Blake, went to the Copyright Office, Stationers' Hall, London, and 
 searched the record indexes of the copyright department from 1746 to 1799, inclu- 
 sively, with the result that he discovered the actual date on which Smith entered 
 the copyright, namely, May 14, 1799. This was not the only discovery made by 
 Mr. Blake. He also found indisputable evidence that Smith merely arranged 
 the tune in the form of a "glee," and that he did not claim any copjTight for the 
 tune. Nay, more: Smith lived till the year 1836, and he never asserted his 
 claim as composer of his melody, although Key had written "The Star-Spangled 
 Banner" to it in 1814. Surely it stands to reason that if Smith had composed 
 the tune, and that the said tune (whether set to "Anacreon in Heaven" and 
 "The Star-Spangled Banner") had been sung, printed, and circulated all over 
 the British possessions and in America, he would, as a true Britisher, have 
 asserted his claim to it. 
 
 An examination of Smith's Fifth Book of Canzonets reveals not only the inter- 
 esting fact that this fourth-rate musician merely arranged the long-existing melody 
 of "Anacreon," but he also arranged, in a different voliune, another Anacreontic 
 song, and likewise "God save the King," and had the audacity to assert that 
 "the whole was composed by John Stafford Smith about the year 1780." 
 
 Smith's claim to the tune of "Anacreon in Heaven " must therefore be rejected. 
 But still the query remains. Who composed it? First, let me note that the words of 
 the Anacreontic song, now replaced by the words of "The Star-Spangled Banner," 
 are of Irish origin and evidently emanated from Ireland about the year 1765. 
 They were slightly altered in 1770, and as such, were printed in 1778, while some 
 further alterations were made in the version published in 1781. The ascription 
 of the words of the song to "Ralph Tomlinson, Esq," is based solely on the fact 
 that it was sung by that gentleman as president of the Anacreontic Club in Lon- 
 don about the year 1771. And it will be of interest to American readers to learn 
 that the song first appeared in an American song-book, The Vocal Companion, 
 printed and published by an Irishman, Mathew Carey, at Philadelphia, in 1796. 
 To the same tune was adapted "Adams and Liberty," by Thomas Payne, in 
 June, 1798, and published in the American Musical Miscellany during the same 
 year. 
 
 Having thus eliminated the English claim to the tune, I have no hesitation in 
 claiming the tune as of Irish origin. Furthermore, it has all the characteristics 
 of a composition by tlie famous Turlough O'Carolan, as can easily be tested by a 
 
"The Star Spangled Banner" 17 
 
 comparison of "Anacreon" with O'Carolan's "Bumpers, Squire Jones." As 
 O'Carolan died on March 25, 1738, the tune may be dated from about the year 
 1730, if not earlier. His fine melody known as the "Arethusa" was appropriated by 
 the English, and was included for over a century as a "fine old English melody," 
 until I disproved the ascription and showed its rightful provenance. 
 
 It is not a little remarkable that the tune "Yankee Doodle" is also of Irish 
 origin — a fact which I first pointed out in the Dolphin in 1905. I now assert that 
 the tune of "The Star-Spangled Banner" is Irish, and is most probably the work 
 of Turlough O'Carolan. 
 
 I feel sure that Mr. Sonneck, if a future edition of his official report is called for, 
 will reject the English claim to the tune of "The Star-Spangled Banner" and will 
 admit that of O'Carolan. 
 
 Whatever the merits of Mr. Grattan Flood's contentions may be, 
 no reader can fail to notice how boldly and assertively his article of 
 1912 contradicts his article of 1908 (1909) in almost all essential 
 points, just as if Mr. Grattan Flood in 1912 had completely forgotten 
 what he had written in 1908 (1909). In 1908 (1909), for instance, 
 Mr. Grattan Flood, after confidently stating that the melody of "To 
 Anacreon in Heaven" "was composed by John Stafford Smith, a 
 pupil of Dr. Boyce, in 1771," did not hesitate to say: 
 
 •Internal evidence clearly points to the influence of Boyce, under whom he was then 
 studying, and eome of the phrases are strongly reminiscent of Boyce' s "Heart of 
 Oak,'' 
 
 but in 1912 Mr. Grattan Flood, turning his back on his article of 1909 
 with the asserted English characteristics of the tune, wrote : 
 
 Having thus eliminated the English claim to the tune, / have no hesitation in 
 claiming the tune as of Irish origin. Furthermore, it has all the characteristics of 
 a composition by the famous O'Carolan, as can easily be tested by a comparison 
 of "Anacreon" with O'Carolan's "Bumpers, Squire Jones." As O'Carolan died 
 on March 25, 1738, the tune may be dated from about the year 1730, if not earlier. 
 ... I now assert that the tune of "The Star-Spangled Banner" is Irish and is 
 most probably the work of Turlough O'Carolan. 
 
 Contradictions like these unfortunately can not but undermine the 
 layman's respect for expert opinion in matters of musical history! 
 
 The article of 1912 was bound to be subjected, sooner or later, to 
 the acid test of historical criticism. This ungrateful task was under- 
 taken recently by Rev. H. T. Henry in the Records of the American 
 Catholic Historical Society, December, 1913 (vol. 23, p. 289-335), in 
 a brilliant article headed "The air of the Star-Spangled Banner." 
 With the dialectic technique of the trained theologian Father Henry 
 reaches practically the same historical conclusions as I had reached 
 simultaneously with the argumentative technique of the bibliog- 
 rapher. Father Henry, incorporating some of my own arguments 
 with which he felt himself in accord, sums up more or less the whole 
 controversy. For this reason, consideration of his article, so far as 
 consideration will still be necessary, shall be deferred until the previ- 
 24115*'— 14 2 
 
18 "The Star Spangled Banner" 
 
 ous literature on the subject has been reported. Father Henry hoped 
 to show — and few, if any of his readers, will deny his success — that 
 (I am quoting his words) . 
 
 1. The article in the Ave Maria is misleading both in its assertions and in 
 its omissions. 
 
 2. "Anacreon" has hardly any characteristic resemblance to "Bumper." 
 
 3. The words were most probably composed by Tomlinson; the tune by Smith. 
 
 4. Mr. Sonneck's singularly careful "Report" to Congress is completely mis- 
 represented in Dr. Flood's article. 
 
 5. There is no evidence, or even what purports to be such, that the tune is 
 Irish in origin, or that the words "emanated from Ireland about the year 1765." 
 In brief, there is no real basis for Dr. Flood's claim. 
 
 It is noteworthy that Father Henry, while tearing to shreds Mr. 
 Grattan Flood's tissue of fact and fancy, did so with a sense of 
 charitable humor and without undue harshness or sarcasm. 
 
 In the "Report" of 1909 I said, after enumeration of some sources 
 in which "To Anacreon in Heaven" appeared in print: 
 
 The inference to be drawn from the insertion of "To Anacreon in Heaven" in 
 the quoted collections, not to mention many later collections, is plain. As those 
 collections were among the most important and most popular of the time, "To 
 Anacreon in Heaven " must have been familiar to all convivial souls in the British 
 Isles toward 1800. Now it is a fact that with the possible exception of that mys- 
 terious sheet song of 1771, not one of these publications alludes to the composer of 
 the tune. It was not the rule to do so in miscellaneous collections, yet it is a 
 curious fact that, while contrary to custom, Stewart's Vocal Magazine, 1797, 
 mentions in a separate index the composers of many of the airs, it leaves "To 
 Anacreon in Heaven " without a composer. Possibly the editor doubted the now 
 generally accepted authorship of John Stafford Smith, or he was still unaware 
 of the peculiar form of entry (mentioned by Wm. Chappell as early as 1873!) of 
 "To Anacreon in Heaven" in — 
 
 The [recte A ] fifth book of canzonets, catches, canons & glees, sprightly and plaintive with a part 
 for the piano-forte subjoined where necessary to melodize the score; dedicated by permission to 
 Viscount Dudley and Ward, by John Stafford Smith, Gent, of His Majesty's Chapels Royal, author 
 of the favorite glees, Blest pair of Syrens, Hark the hollow woods, etc. The anacreontic, and other 
 popular songs. Printed for the author. . . . 
 
 This collection was published between 1780 and 1790, the exact date being 
 
 unknown. "To Anacreon in Heaven " appears on page 33, as reproduced here in 
 
 facsimile. (Appendix, Plate I.) The words "harmonized by the author" may 
 
 of course mean harmonized by the author of the collection and do not necessarily 
 
 mean harmonized by the author of the air, but these words, together with the fact 
 
 that the collection contains none but Smith's own glees, etc., and the wording of 
 
 the title renders it probable that Smith refers to himself as the composer of the 
 
 music. But why the words "harmonized by the autlior?" If one looks at the 
 
 song in its garb as a glee, the bass starting out full of confidence, and the other 
 
 voices continuing the melody and juggling with it, one is almost apt to see in this 
 
 peculiar cooperation of the high and low male voices a plausible explanation of the 
 
 notoriously wide range of "The Star-Spangled Banner," if sung by one voice. 
 
 This explanation is possible only if the form of "To Anacreon in Heaven" in 
 
 Smith's Fifth Book was the original form. That we do not know, yet the word 
 
 ' ' harmonized " renders it improbable. Furthermore, if that was the original form 
 
 of the piece, then some very radical melodic changes must have taken place in the 
 
 melody shortly afterwards, as a comparison of the two facsimiles will show. 
 
 Probably Smitti composed it, if he really did compose the tune, as a song for one 
 
''The Star Spangled Banner" 19 
 
 voice, and in "harmonizing" it for several and different A'oices he felt obliged to 
 wander away from the original. Of course, if the supposed 1771 sheet song was 
 a sheet song for one voice, and if it contained Smith's name as composer, then all 
 doubt as to original form and to the composer vanishes. We would still have a 
 very simple explanation for the extensive range of the tune. Such a wide range 
 waa then (and still is, for that matter) considered the sine qua non of effective 
 drinking songs. Two fine examples, "Anacreon a poet of excellent skill " and 
 "Ye mortals whom trouble & sorrow attend, " may be found in the "Anacreontic 
 Songs" of the very conductor of the Anacreontic Society, namely. Dr. Arnold, 
 and, after all, it should not be forgotten that John Stafford Smith could not possi- 
 bly foresee that his anacreontic masterpiece would some day have to be sung by 
 old and young of an entire nation. 
 
 [Foot note.] John Stafford Smith was bom, 1750, at Gloucester [Brown and Strat- 
 ton in British Musical Biography, 1897, say "born at Gloucester about March, 1750." 
 The Gloucester Cathedral Registers (searched for the Library of Congress, 1913) 
 show that he was baptized March 30, 1750. The day of birth is still unknown] and 
 he died at London September 3, 1836. His principal teacher was Dr. Boyce. He 
 became an "able organist, an eflScient tenor singer, an excellent composer, and an 
 accomplished antiquary." From 1773 on he won many prizes of the Catch Club 
 for catches, glees, etc., and his five books of glees contain, in the words of Grove, 
 "compositions which place him in the foremost rank of English composers." His 
 famous "Musica Antiqua" appeared in 1812, containing a selection of music 
 "from the 12th to the beginning of the 18th century," for which simple reason it 
 would be futile to look for "To Anacreon in Heaven " in Musica Antiqua. 
 
 For certain reasons, tlie title of Smith's Fifth Book, has been 
 quoted above with the same typographical error "Hark the hollow 
 woods, etc. The Anacreontic" as in the "Report" of 1909 instead 
 of "Hark the hollow woods, etc. the Anacreontic." A reduced fac- 
 simile of the correct and complete title will be found in the Appendix 
 as Plate H. 
 
 Furthermore, the date of Smith's death, given as above in the 
 "Report" of 1909, appears to be incorrect. Mr. WilUam H. Husk in 
 the old edition of Grove's Dictionary, 1883, had September 20, 1836, 
 but in the new edition of 1908 he has September 21, 1836, as have 
 Brown and Stratton in British Musical Biography, 1897. I have been 
 informed that doubts have been expressed as to the correctness of the 
 year 1836. In view of this doubt, it may not be amiss to quote 
 Mr. Husk (Grove, 1883) to the effect that Smith's will was dated 
 January 21, 1834, and that his widow, Gertrude Stafford Smith, proved 
 the will on October 20, 1836. In addition, the following entertaining 
 bit of gossip will prove incidentally the correctness of the year 1836. 
 Says The Musical World, London, October 14, 1836 (vol. 3, No. 31, 
 p 78), after having stated in No. 30, October 7, that in their last sup- 
 plement [John] Stafford Smith, Gentleman of His Majesty's Chapels 
 Royal, etc., had been included "among the deceased musicians," 
 whereas he "did not die till the Wednesday succeeding:" 
 
 This gentleman was buried at Chelsea, and (from a whim of posthumous vanity) 
 in his full court dress, of a blue silk coat, white satin breeches, waistcoat to corre- 
 spond, pimips and silver buckles, rings on his fingers, with his goldheaded cane in 
 his hand. . . . 
 
20 "The Star Spangled Banner" 
 
 In the number of October 28, 1836, John Roberts indignantly stated 
 that he saw the corpse of his ''late valued friend, Mr. Stafford Smith, 
 put into the coffin," and that he vouched *'for the falsehood (from 
 beginning to end) of the article on October 14" respecting the dress it 
 was in. 
 
 It is safe to say that Mr. Grattan Flood would never have written 
 his article of 1912 without the stimulating perusal of one of the most 
 curious pamphlets that ever came to my notice during a somewhat 
 extensive association with books on music. The complete pamphlet 
 (in foho) bears the title: 
 
 American National Anthem 'Star Spangled Banner.' Made 'Singable' for the 
 voices of the people. History of the origin of the words and music written for the 
 information and use of the American people with modern music setting for all 
 voices and all instruments. Dedicated to the officers and men of the American 
 Army and the officers and men of the American Na\'y by John Henry Blake . . . 
 Published by John Henry Blake, 503 Fifth Avenue, New York, America, 1912. 
 
 As a matter of fact this is merely a 1912 title-page added to a com- 
 posite pamphlet, the body of which (pp. 2-6) consists of a "History of 
 the origin of the American National Anthem, Brought up to Novem- 
 ber, 1910" and pubHshed with the claim of ''Copyright, 1910, by 
 John Henry Blake," no such claim appearing in the records of the 
 United States Copyi-ight Office. Even the body of the pamphlet is a 
 composite affair, inasmuch as the several sections of this history were 
 written at slightly different dates. Mr. Blake submits them to his 
 readers in their chronological order without having kneaded them into 
 a homogeneous whole and it is this more or less disjointed method of 
 presentation which makes the attempt so difficult to "report" the 
 pamphlet briefly or to cope with the discoveries, theories, idiosyn- 
 cracies, and contradictions therein contained. However, and under 
 the circumstances, no escape is possible from an attempt to do the 
 pamphlet justice yro et contra, but we need not concern ourselves 
 here with Mr. Blake's effort to make "The Star-Spangled Banner" 
 more "singable," nor with his conception of the origin of "God save 
 the King," nor with his personal career, nor with any other matter 
 touched upon by Mr. Blake, unless it has an unquestionable and direct 
 bearing on the history of "The Star-Spangled Banner." Further- 
 more, consideration of the pamphlet must be restricted, so far as 
 possible, to Mr. Blake's own contributions to the subject. It will be 
 seen that much less space is needed to analyze, accept, or reject his 
 theories than to "report" them. 
 
 Mr. Blake starts his argument with the statement that the date 
 1778 of the first edition of the 
 
 Vocal Magazine is the Mason and Dixon dead line of the whole controversy, 
 as it fixes absolutely the exact date when the song first appeared in print. 
 
''The Star Spangled Banner" 21 
 
 Nevertheless, after mentionmg the reappearance of the song in the 
 Vocal Enchantress of 1783 and other songsters, and disposmg of the 
 KoSewig pubhcation of 1909, with the date "Anno 1780," etc., added 
 to his version of the Anne Lee, Dublin, sheet-song edition of "To 
 Anacreon in Heaven" as an "unintentional forgery"; and as a 
 "dangerous dereUct" that "should be dynamited," he says that this 
 Anne Lee edition 
 
 ifi the oldest copy in the British Museum, its date being between 1776 and 1781, 
 and is bo acknowledged by such eminent authorities as W. H. Grattan Flood 
 . . . and Frank Kidson. 
 
 This contradiction is followed a few lines later by two paragraphs, 
 which must be quoted verbatim: 
 
 As the words of the Song appeared in a bound volume or book, The Vocal Mag- 
 azine, in 1778, it is reasonable to suppose that it existed as sheet music at least 
 two years before. This is how Kidson attaches his date of 1776 to the Anne 
 Lee, Dublin copy. Naturally it may have existed in manuscript many years 
 before. 
 
 That the words already existed in 1778 is shown by the paraphrasing from the 
 standard words by Tomlinson in the Vocal Magazine, Leeds Library, Song 566. 
 The second verse, seventh Line, is altered to "a fig for Parnassus to Rowley's 
 we'll fly," and in the tlaird verse, second Line, changed thus, "To the hill of 
 old Lud will Incontinent flee." This wording changes the scene to London. 
 It is such a flagrant piece of paraplirasing that it proves that the song already 
 existed. It also casts a cloud on TomUnson's claim to the composition of the 
 original words. Kidson has recently got wise to tliis situation. However, we 
 have no interest in the old words except as an aid to trace the composer of the 
 Music. 
 
 The reader will not have failed to notice that the claim of "a 
 flagrant piece of paraphrasing" of the text as it stands in the Vocal 
 Magazine, 1778," is based on the assumption that the date of the 
 undated Anne Lee edition is two years earlier, namely, 1776, and 
 on the fact, which Mr. Blake forgot to make clear, that the text of 
 the Anne Lee edition differs from the text in the Vocal Magazine, 
 1778, in this, that it contains no reference "to the hill of old Lud" 
 (Ludgate Hill) in London. 
 
 Mr. Blake's next step is what he terms the "explosion and com- 
 plete annihilation of the theory that John Stafford Smith . . . 
 
 a Mr. Blake says: "There were tliree editions of it— 1778, 1779, and 1781. The 
 British Museum has only the 1781 edition, but the PubKc Library at Leeds has the 
 edition of 1778." So has the Library of Congress. In liis letter of November 24, 1913, 
 Mr. Frank Kidson informs me: "I have never seen or heard of a 1779 edition of the 
 Vocal Magazine except that in Sir J. Stainer's 'Catalogue of Song books' he mentions 
 that besides this 1781 edition, which he has, there were ones for 1778 and 1779." 
 It will interest bibliographers to learn that the Library of Congress recently acquired 
 a London, Harrison and Co., 1754 edition, contents identical with those of the 1778 
 ed., except that it has no preface. 
 
22 ''The Star Spangled Banner'' 
 
 composed the music of "Anacreon m Heaven." He takes this 
 step by adding to a quotation from Chappell's Notes and Queries 
 article (1873) the following "comment:" 
 
 In October, 1910, we diligently aeaxched the record indexes of the Copyright 
 Department in Stationer's Hall, London, from the year 1746 to the year 1799, 
 both inclusive, and found only the Copyright Claim of this "Fifth Book of Can- 
 zonets, Catches, <fec." which contains on page 33 the Glee taken from "The Ana- 
 creontic Song, "Author, John Stafford Smith— entered May 8, 1799. See Official 
 Certificate below of Stationer's Hall dated October 20, 1910. 
 
 We will gladly pay anyone who can find any entry of copyright of the Song 
 "Anacreon in Heaven," two pounds for an official certificate of such entry, for 
 their time in looking up the records. We can find no copyright of it anywhere 
 in Stationer's Hall. . . . 
 
 Mr. Chappell might have gone down to Stationer's Hall himseh', or sent a boy, 
 aa he had a score of employees. We are sorry to be obUged to cause the Music 
 Publishers so much trouble, but thirty-seven years is a long interval in which 
 no one had sufficient enterprise to consult the copyright office at Stationer's 
 HaU. The date, 1799, completely eliminates J. W. [!] Smith as original com- 
 poser. He claimed for a copjTight on the "Anacreontic Song" arranged as a 
 Glee only. On page 33 it is arranged aa a Glee for three voices. And he takes 
 particular trouble to disclaim original Authorship, not only in the Index, but 
 also at top of the Music on page 33 by stating, "Harmonized by the Author y The 
 music and words of the Glee are a "high old mix." The Music Dictionary defini- 
 tion of "Glee" is "a secular composition for three or more unaccompanied solo 
 voices peculiar to England." 
 
 Chappell being a skilled musician ought to have said, "The Anacreontic Song" 
 arranged as a "Glee" — his omission has made a whole lot of trouble. Smith'a 
 compositions consisted almost entirely of Glees [!?]. This evidence not only 
 eliminates J. W. [!] Smith, but opens up the composition to the world, with a 
 probability of its being Irish or French, or possibly American. 
 
 Not satisfied with his discovery of the date of copyright of Smith's 
 Fifth Book — a discovery for which Mr. Blake deserves fullest credit, 
 since it involved a good deal of patience — Mr. Blake procured a 
 certified copy of the origmal entry from the Registrar of the Copyright 
 Office at Stationers' Hall. It appears that on May 8, 1799, copy- 
 right entry was made for — 
 
 A Fifth Book . . . [for complete title compare Appendix, Plate II] . . . 
 dedicated ... by John Stafford Smith . . . Author of the favourite 
 glees, Blest pair of SjTens, Hark the Hollow Woods, etc.. The Anacreontic, and 
 other popular Songs. [N. B. the comma before The with its capital T] 
 
 Under "Property of" we read ''Author," under "SJutre" we read 
 " Whole," and the "Certificate [was] given May 14th, 1799." 
 Mr. Blake then quotes from his "rapid-fixe correspondence" with 
 
 Mr. Eadson, who, on October 23, 1910, wrote: 
 
 I don't see that this entry in the least alters the contention that John Stafford 
 Smith composed the air "To Anacreon in Heaven" long before he published hia 
 Fifth Book of Conzonets. 
 
 On the title page of this book he definitely states that he is the " author ' ' (mean- 
 ing composer) of certain works, including "The Anacreontic, and other popular 
 
"The Star Spangled Banner" 23 
 
 songs," and on page 33 he etatea that it is "harmonized by the author," thus again 
 
 claiming the air ivhkh he noio alters into a Glee. All this is quite probable, and 
 
 until you can make him out a deliberate liar you have to accept his very reasonable 
 
 statement. 
 Again you say that you believe that Ralph Tomlinson did not write the words, 
 
 but paraphrased them. I can not see any grounds for this beUef in face of the fact 
 
 that Tomlinson 's name as author of the words is attached to dozens of contemporary 
 
 copies. . . 
 From a previous letter by Mr. Kidson (Oct. 21, 1910) the foUowing 
 sentence must be quoted in justice to Mr. Kidson, as it gives his views 
 of the date of the Anne Lee edition of "To Anacreon in Heaven:" 
 
 Words and Music on a Sheet Song by Anne Lee, Dublin, after February 1776 
 
 (when her husband died and she took the business and before 1788 when she gave 
 
 up the business). 
 
 To this sentence Mr. Blake added in parenthesis " Granted by Blake." 
 
 Mr. Blake's comment on the Kidson letter of October 23 was: 
 
 The above is a very nice letter, but a copyright certificate stating he is the 
 
 Author (not composer) holds good in a court of law, and is a very stubborn fact. 
 
 The "Glee" copyright entry of May 8th, 1799, absolutely disposes of Chappell'a 
 
 claim for J. S. Smith. 
 
 It is here not yet the place to show that a "glee" copyright by no 
 
 means "annihilates" the possibility that the claimant many years 
 
 previously had been the author, id est, composer of the air (theme) of 
 
 the glee in form of a song for one voice and chorus refrain, which 
 
 song he or the original publisher neglected to enter at Stationers' 
 
 Hall for copyright. 
 
 Mr. Blake then uiforms us that he sent to the United States War 
 and Navy Departments photographs of the title page of the Fifth 
 Book, "One of the Glee, page 33," of the Fifth Book, one of the Anne 
 Lee, Dublin, edition of "To Anacreon in Heaven" (reproduced m 
 facsimile in Appendix, Plate IH, by permission of the Navy Depart- 
 ment), and "One of the Song, To Anacreon in Heaven, by E. Rhames, 
 Dublin, who, Kidson says, published from 1775 to 1790. This 
 Rhames copy was obtained through the courtesy of W. H. Grattan 
 Flood, and may be as early as 1775." (Also reproduced in facsimUe 
 in Appendix, Plate IV, by permission of the Navy Department.) 
 
 How utterly impossible this date "as early as 1775" is, will be seen 
 subsequently. It will also be seen how this impossibility elunmates 
 all implied deductions from so early a date as to the authorship of the 
 text, the "flagrant paraphrasing" the text, etc. 
 Mr. Blake continues by saying: 
 
 Had Smith claimed composition for the original music of this Song, "To Anac- 
 reon in Heaven," he would probably have invalided his Glee copyright. We 
 iudc^e Smiti was a good business man. The words of "To Anacreon in Heaven 
 appeared in the 1778 edition of the Vocal Magazine, and Smith clauned for his 
 Glee in 1799, or twenty-one years afterwards. In the meantime scores [!?] of 
 
24 ''The Star Spangled Banner" 
 
 publishers in Ireland, Scotland, America and England published perhaps a 
 million [!??] copies of the song, and gave the honor of the composition to no man. 
 And Smith, although he lived till 1836, never claimed that honor, but on the 
 contrary he disclaimed the honor in order to get copyright on hia "Glee." 
 
 We repeat that there is a probability of the origin of the music being Irish or 
 French, or possibly American. 
 
 Francis Scott Key produced "The Star-Spangled Banner" in 1814, and Smith 
 lived for twenty- two years afterwards and never claimed the Music! Smith never 
 had the reputation of being a philanthropist, yet the royalties on the original com- 
 position would have made him a millionaire [!??] in those days! 
 
 Discounting Mr. Blake's rather fantastic estimate of eighteenth 
 century royalties, etc., an attentive reader will immediately ask: 
 "Even if John Stafford Smith were annihilated as composer of 'To 
 Anacreon in Heaven' would that reaUy destroy the possibility that 
 nevertheless the air was of English origin ? Why would the elimina- 
 tion of just one English composer eliminate all other English com- 
 posers and argue eo ipso for the probability of the music being Irish 
 or French or possibly American" ? To these very natural questions 
 Mr. Blake ventures no reply. Probably they never occurred to him 
 in his strenuous effort to remove from the music of "The Star- 
 Spangled Banner" the (to his eyes offensive) stain of a "monarch- 
 ical" English origin. 
 
 However, according to Mr. Blake, it is "aU a mistake ia punctua- 
 tion." He says: 
 
 William Chappell, Frank Kidson, The Library of Congress (see page 22, where 
 the error is very pronounced), all fell into the same punctuation trap and never 
 discovered it. In the Transcription of the Title Page of Smith's Fifth Book, &c., 
 they all say when it comes to the point or "real target" "The Anacreontic " com- 
 mencing the word "the" before Anacreontic with a capital "T, " and putting a 
 period before the word, and thus commencing an entirely new sentence and thus 
 throwing the Anacreontic out of the Glees. (Kidson admits it is a " Glee. ") 
 
 In the engraved title page it is a small "t, " and the period belongs to the abbre- 
 viated "&c."— continuing on the same sentence and retaining the Anacreontic 
 among the Glees. Look at and compare the Title page photograph sent herewith. 
 It changes the whole meaning. We discovered this about the first time we looked 
 at the real title page, but no one would beHeve it unless backed up by the testi- 
 mony of the photograph of the Title Page, by the photograph of the Glee on page 
 33, and the certificate of Copyright in 1799, and we had a bad three weeks finding 
 that Copyright record. Compare the photograph. 
 
 Mr. Blake correctly noticed in my "Report" of 1909 the typo- 
 graphical error described above, but the reader is warned not to 
 accept Mr. Blake's grammatical deductions therefrom before these 
 deductions have been scrutinized. 
 
 The same warning applies to Mr. Blake's half sarcastic: 
 
 Discovery that Smith wrote two "Anacreontic" glees, one in the year 1780 
 and the other in the year 1799, and also the British anthem "God Save the 
 King." 
 
"The Star Spangled Banner" 25 
 
 This hne of attack is based on Mr. Blake's acquisition of another 
 well-known collection of music by John Stafford Smith. A copy 
 of this is in the Library of Congress, which possesses more "books 
 bearing on the American National Anthem, or relating and apper- 
 taining thereto" than AIi\ Blake would have his readers believe in 
 the face of certain quotations and facsimiles from such books m my 
 "Report" of 1909 which was known and used by Mr. Blake. In fair- 
 ness to !Mr. Blake, but also in fairness to John Stafford Smith, ^Ir. 
 Blake's entire argument, divested of irrelevant embroidery, must here 
 be quoted at the risk of swelling this chapter to inordinate length. Mr. 
 Blake writes : 
 
 A Miscellaneous Collection of New Songs, Catches, and Glees for one, two, three, 
 four, and five Voices, particularly an Occasional Ode Song after Dinner at the 
 Pantheon, which gained the Premium tlxia year, and a Cantata entitled "The 
 Frantic Lady. " The whole composed by John Stafford Smith, London, Printed 
 and Sold by James Blundell, Music Seller to his Royal Highness, The Duke of 
 Cumberland, No. 10, Hay Market, facing the Opera House. 
 
 Size page 9§ X 13^ oblong . 51 pages . all complete. (Please note there is no 
 punctuation error here, and that Smith "claims" the whole!) 
 
 INDEX. 
 
 When to the Muses Ode page 2 
 
 Is it Summer Glee " 35 
 
 Si Deus pro nobis Canon " 27 
 
 On page 2. " The Occasional Ode for 1780, which gained a Premium. " This 
 fixes absolutely the date of the book and Ode, 1780. The Ode occupies eleven 
 pages of music and words, and is remarkably well printed. 
 
 Commencing on page 35 under title Anacreontic is a glee occupying seven pages 
 of words and music. The words commence "Is it Summer?" The words and 
 music bear not the slightest resemblance to the song "To Anacreon in Heaven,' ' 
 but Smith calls it ''Anacreontic'^ in large type and by that one word only. It 
 does not bear the slightest resemblance to the music of the "Star Spangled 
 Banner. " 
 
 This enables our esteemed opponents, Chappell, Kidson, and Groves' Dictionary 
 to retire in good order on their "Claim " that Smith wrote an Anacreontic in 1780. 
 They all were merely "barking up the wrong tree. " 
 
 On Page 27. A Canon in Subdiapente, 2 in (one), on a plain Song. 
 
 The peculiarity of the heading caught our eye, and we must admit that the 
 phrase is entirely too technical for our limited vocabulary. We noticed it was a 
 Glee for tliree voices. Then we read the words "Si Deus pro nobis, quis contra 
 nos, " repeated ad libitum by XSiq first and third voices. Then we were electrified 
 to find the intermediate second voice roaring gloriously away on our old familiar 
 friend in the King's own English, "God Save Great George our King, long live 
 our noble King, God Save the King, God Save the King. " The music is prac- 
 tically that of Dr. John Bull, and quite the same as the Music is sung to-day. 
 And tlxis in the year 1780, of which tlie date is absolutely fixed by the title page 
 and 1780 in bold type on page 2 and on page 34, ''Round for 1780," which is 
 directly opposite the Anacreontic, page 35. 
 
 Verily this man Smith was a Wonder — he was determined to get on record 
 in the National Anthem of America whichever of the two is finally chosen. 
 
26 ''The Star Spangled Banner" 
 
 He composed a "Glee" on "God Save the King" 175 years after the original 
 music was written by Dr. John Bull. He composed a "Glee" on "To Anacreon 
 in Heaven" 21 years after that Mystery appeared in print in 1778. In the year 
 1780 he published a book of his compositions, one of which was an ^'Anacreontic,''^ 
 yet all his long life of 86 years he never claimed composition of "To Anacreon 
 in Heaven." 
 
 However, his English friends save him the trouble, and consequently ''claim '* 
 he was the composer of the original music of "The Star Spangled Banner," and 
 also of "God Save the King." They say read his title pages. Yes, read themll 
 "They are hoist with their own petard ! " It is not necessary to descend to vul- 
 garity, but simply to say that Smith confined himself to the deliberate legal 
 truth!!! 
 
 Mr. Blake will not take offense, it is hoped, if his "Annual Supple- 
 ment, November, 1911," on page 7 of his pamphlet, is not here re- 
 ported, since it is wholly irrelevant and since it deals with Mr. Blake's 
 personal affairs just as lively and naively as with the poet Anacreon. 
 This supplement is preceded by a section headed "In conclusion," 
 from which the following is quoted: 
 
 We have now produced evidence that we believe would prove to any Army or 
 Navy Board that "Music composed in his Majestie'a Chapels Royal by John 
 Stafford Smith " (see Library of Congress Report, page 22) does not belong on 
 "The Star Spangled Banner," and as an American citizen we demand it be 
 taken off, and believe that some Members of Congress will help to take it off. 
 The wording is too Monarchical for Americans. What is the use of having the 
 Munroe Doctrine and leaving a Monarchical Claim on our National Anthem. 
 
 Who composed the Music of Anacreon in Heaven? We do not know. No one 
 knows; it is a Mystery. No one has dared to claim the Music, not in one hundred 
 and forty years. . . . 
 
 It may be Irish, for why all these pre-historic beautifully printed and com- 
 plete standard copies from Dublin. Of course the Anne Lee Copy in the British 
 Museum is "claimed " to be the oldest, perhaps because it says "Sung in London," 
 but is it older than the Lizzie Rhames copy, equally as well printed (photo- 
 graphs of both enclosed) which says nothing about London, and naturally can- 
 not be found in the British Museum? . . . 
 
 It may be French, for the Anne Lee Copy is bound up with a lot of French Songs, 
 and part French and English word songs, published by the same Lee family, 
 and at about the same date, and the very first time it appeared in America under 
 the verified date of 1797 it was set to the words "The Genius of France from his 
 Star begemmed throne," meaning Napoleon, and in honor of the French Inde- 
 pendence Day, July 14th. ..." 
 
 It may be American, for did not an American "claim " it for us in 1896? There 
 was an Anacreontic Society in New York in 1795. 
 
 In our humble opinion the Music has come down through the ages, probably 
 through the Troubadours, for it has always been a Song for men, and no one but 
 an opera singer of the "premier etoile" quality can negotiate it. Even English 
 or Irish voices of to-day cannot do it justice. 
 
 It may have been composed by Richard Coeur de Lion, who as a Troubadour 
 could compose and sing a good song, and as a Crusader could swing a mighty 
 battle-axe in the Cause of Christianity. Perhaps it was the very song that led 
 to his release when made a captive by the King of Germany, on his return journey 
 from the Crusades and immured for a year in a castle in an obscure village. . . . 
 
''The Star Spangled Banner" 27 
 
 It requires voices produced only in that climate where the sunlit valleys of 
 Southern France and the plains of Northern Italy meet, to sing it with justice, 
 and "admiration." That climate which produces voices that draw a salary 
 equal to a small fortune each night they sing. 
 
 Somewhere in some old forgotten manuscript, in some Library, or Monastery, 
 or Antiquary Shop, the Original Music may be revealed; as was "God Save the 
 King" after two hundred years; a disputation of another hundred years more 
 will probably follow. 
 The discovery of an authentic origmal manuscript of "To Anacreon 
 in Heaven" with the composer's autograph signature, or even of a 
 contemporary pubUcation of the song with the composer's name, 
 would perhaps settle this whole controversy indeed, and, to the rehef 
 of all concerned, would relegate the efforts of historians to estabUsh 
 the composer from circumstantial evidence to the shelves of obUvion. 
 On the other hand, it is to be feared that musical history can not be 
 written with anachronistic imagination, such as Mr. Blake displays. 
 If a musical scholar, fairly expert in "stilkritische" distinctions and 
 not famihar with the controversy here under discussion, were asked 
 to date the anonymous "To Anacreon in Heaven," his answer per- 
 haps would read: 
 
 The melody of "To Anacreon in Heaven" with its unusual de- 
 mands of range of voice is hardly that of a folk-song. Unless 
 the words were fitted to an existmg melody, the impression is 
 prompted that the melody was composed for the effective display 
 of a voice of wide range, either of the composer himself or in 
 anticipation of some other smger of reUable ability. The struc- 
 ture of the melody suggests the homo phonic period. The "Ana- 
 creontic" text points to the wave of taste that was still at its 
 height toward the end of the eighteenth century w^th countless 
 "Anacreontic" songs inspired by the philosophy of life of the 
 poet Anacreon. Barrmg conflictmg evidence, the melody, there- 
 fore, may be said to perhaps have had its origin duiing the last 
 quarter of the eighteenth century. Its characteristic quaUty is a 
 stately, enthusiastic, and youthful optimism, well suited to official 
 convivial purposes of an Anacreontic society. It may be that 
 the melody appealed so strongly to the traditionally optimistic 
 people of the United States exactly because of its optimistic 
 atmosphere. 
 Disregarding minor matters, the main and troublesome question 
 appears to be: Did or did not John Stafford Smith compose "To 
 Anacreon m Heaven"? As was stated above, his name does not 
 seem to appear in any of the eighteenth century pubUcations of the 
 song except in his oav^ Fifth Book. As against Chappell's plausible 
 mterpretation of this fact in favor of Smith's authorship, Mr. Blake 
 argues an "annihilation" of the claim put up for Smith from the very 
 
28 ''The Star Spangled Banner" 
 
 same Fifth Book! Let us see if perhaps an investigation of the 
 history of '"The Anacreontic Society" will lead to a firm and clear 
 path out of the jungle of claims and counterclaims. 
 
 In his Musical Memoirs (1830, Vol. I, pp. 80-84) W. T. Parke 
 entered imder the year 1786 these entertaining lines: 
 
 This season I became an honorary member of the Anacreontic Society, and at 
 the first meeting played a concerto on the oboe, as did Cramer on the violin. The 
 assemblage of subscribers was as usual very numerous, amongst whom were sev- 
 eral noblemen and gentlemen of the first distinction. Sir Richard Hankey 
 (the banker) was the chairman. This fashionable society consisted of a limited 
 nvmiber of members, each of whom had the pri^dlege of introducing a friend, for 
 which he paid in his subscription accordingly. The meetings were held in the 
 great ballroom of the Crown and Anchor Tavern in the Strand, onj:e a fortnight 
 during the season, and the entertainments of the evening consisted of a grand 
 concert, in which all the flower of the musical profession assisted as honorary 
 members. After the concert an elegant supper was served up; and when the 
 cloth was removed, the constitutional song, beginning, ' ' To Anacreon in Heaven, ' ' 
 was simg by the chairman or his deputy. This was followed by songs in all the 
 varied styles, by theatrical singers and the members, and catches and glees were 
 given by some of the first vocalists in the kingdom. The late chairman, Mr. 
 Mulso, possessed a good tenor voice, and sang the song alluded to with great 
 effect . . . 
 
 This society, to become members of which noblemen and gentlemen would 
 wait a year for a vacancy, was by an act of gallantry brought to a premature dis- 
 solution. The Duchess of Devonshire, the great leader of the haul ton, ha\dng 
 heard the Anacreontic highly extolled, expressed a particular wish to some of 
 its members to be permitted to be privately present to hear the concert, &c., 
 which being made known to the directors, they caused the elevated orchestra 
 occupied by the musicians at balls to be fitted up, with a lattice affixed to the 
 front of it, for the accommodation of her grace and party, so that they could see^ 
 without being seen; but some of the comic songs, not being exactly calculated 
 for the entertainment of ladies, the singers were restrained; which displeasing 
 many of the members, they resigned one after another; and a general meeting 
 being called, the society was dissolved. 
 
 Misreading slightly !Mr. Parke's reminiscences, C[harles] M.[acke- 
 son] in Grove's Dictionary claimed that Parke wrote of the dissolu- 
 tion of the club in 1786, which he, of course, did not do. Nor would 
 the year 1786 be tenable, since Pohl in his scholarly book on ''Mozart 
 and Haydn in London," 1867 (v. 2, p. 107), gleaned from the Gazet- 
 teer of January 14, 1791, that Haydn was the guest of honor at the 
 society's concert on January 12. Nor is Mr. Grattan Flood correct 
 if he, in his ''Notes on the Origin of 'To Anacreon in Heaven,'" sent 
 me in Jime, 1908, dates the dissolution of the society 1796. The 
 "Musical Directory for the Year 1794" in the "List of various musical 
 societies" states distinctly: "The Anacreontic Society which met at 
 the Crown and Anchor Tavern in the Strand, the festivities of which 
 were heightened by a very Select Band." Consequently the society 
 
''The Star Spangled Banner" 29 
 
 no longer existed in 1794.'* This is not at all contradicted by the 
 entry under Dr. Samuel Ai'nold ''Conductor at Acad[emy of Ancient 
 Music], Ana[creontic Society]/' because the title-page distinctly reads 
 "musical societies of which they [the professors of music] are or have 
 leen members." (To avoid confusion it mav here be added that 
 "To Anacreon in Heaven" is not contained in the "Anacreontic 
 Songs for 1, 2, 3, & 4 voices composed and selected by Dr. Arnold and 
 dedicated hj permission to the Anacreontic Society," London, J. 
 Bland, 1785. The absence from this book is a strong argument 
 against Arnold's authorship of " To Anacreon in Heaven.") 
 
 In the seventh edition of the first part of "The Festival of Anacreon. 
 Containing a collection of modern songs, written for the Anacreontic 
 Society, the Beef-Steak, and Humbug Clubs. By Captain Morris, 
 Mr. Brownlow [etc.], London, George Peacock, n. d." there appears 
 on pages 80-83 the text of "To Anacreon, m Heaven," headed as 
 "Song. Simg by Mr. Bamiister, at the Anacreontic Society" and on 
 pages 6-7 this 
 
 "short account of the anacreontic society. 
 
 In the infant state of this admirable institution, the members met as they no\v 
 do, once a fortnight, during the winter season, at the London Coffee-house, on 
 Ludgate-hill, who were chiefly of the sprightly class of citizens; but the popu- 
 larity of the club soon increased the number of its members, and it w aa found expe- 
 dient to remove the meeting to a place where the members could be more commo- 
 diously accommodated; the Crown and Anchor in the Strand was accordingly 
 fixed on, where this meeting has ever since been held. 
 
 oThis conjecture is not necessarily contradicted by "The Ugly Club: a dramatic 
 caricature in one act. Performed on the 6th of June, 1798, at the Theatre Royal, 
 Drury-Lane ... By Edmund Speneer, the younger," London, Printed and pub- 
 lished for the author, 1798. (40 p. 21J cm. Library of Congress, Longe collection, vol. 
 273. ) This piece winds up with: 
 
 SONG. 
 
 To the lame old Gold-smith, who was wiv'd from the sea, 
 
 The Sons of Deformity sent a petition. 
 That he their inspirer and patron would be: — 
 Soon this answer arrived from rickety Vulcan, 
 ' To the call I attend. 
 Quick from heaven descend, 
 Frolic Pan with his cittern I'll bring in my hand. 
 Repeated shouts of loud mirth the world shall apprise, 
 That men may be happy without nose, feet, or eyes.' 
 Follow five more stanzas of this obvious parody of ' To Anacreon in Heaven ' and in 
 last stanza at first line ' ' Come, Sons of Deformity, let's join hand in hand " occurs this 
 footnote : 
 
 "The Club rise, as is customary in the Anacreontic Society, and join hands." 
 Either, then, the society still existed when this play was written (which might have 
 been years before 1798) or the author did not know of its dissolution. 
 
30 "The Star Spangled Banner'' 
 
 ANACREON, the renown'd convivial Bard of ancient Greece, aa distinguished 
 for the delicacy of his wit, as he is for the easy, elegant and natural turn of his 
 poesy, is the character from which this society derives its title, and who has been 
 happily celebrated in the Constitutional Song, beginning, 'To Anacreon, in 
 heaven,' &c. universally acknowledged to be a verj' classical, poetic, and well- 
 adapted composition; and if our information does not mislead us, it was written 
 by a gentleman of the Temple, now dead, whose name was Tomlinson, and origi- 
 nally sung by Mr. Webster, and afterwards by Charles Bannister, whose secession 
 from the society, in consequence of some frivolous punctilios, is much to be 
 regretted; for to do justice to the song, a very animated execution is requisite: 
 that power of voice, happy discrimination, and \ivacity, which seems peculiar 
 to the well-known exertions of Mr. Bannister in this composition, never fail of 
 producing him what he justly merits — unbounded applause. 
 
 Mr. Hankey, the Banker, a gentleman highly spoken of, as a man of polished 
 maimers and most liberal sentiments, now presides at this meeting, by whose 
 management, in conjunction with the other directors, every thing is conducted 
 under the influence of the strictest propriety and decorum. 
 
 The Concert, which commences at eight o'clock, and concludes at ten, is entirely 
 composed of professional men in the first class of genius, science, and execution, 
 which the present age can boast of. After the concert is over, the company 
 adjourns to a spacious adjacent apartment, partake of a cold coUation, and then 
 return to the concert-room, where the remainder of the evening is totally devoted 
 to wit, harmony, and the God of wine." 
 Of the exceedmgly scarce The Festival of Anacreon, the Library of 
 Congress possesses also the undated sixth edition of the second part. 
 The British Museum lists only a copy of the third part with conjec- 
 tural date 1810. The evasive first edition of The Festival of Ana- 
 creon must have appeared after 1780, because July 16, 1780, is men- 
 tioned on page 72 of the first part as date of death of Sir John Moore, 
 the author of "Aylesbury Races. A ballad." Furthermore, during 
 the club season of 1786-87, according to Parke, Sir Richard Hankey 
 was the chairman, evidently the gentleman mentioned in The Festival 
 of Anacreon. Therefore we have 1786-87 as approximate date of 
 pubhcation. Indeed we seem to have good reason for dating the 
 first edition 1788 or 1789, since the two frontispieces in the Library 
 of Congress copy are dated November 8 and October 15, 1788. In 
 that case. Sir Richard Hankey would seem to have succeeded himself 
 in the chair for several seasons. ° 
 
 However, even before Sir Richard's presidency The Anacreontic 
 Society had aroused the interest of magazine writers, including for- 
 eigners. As proof I submit in translation what a London corre- 
 spondent to Cramer's Magazin der Musik, Hamburg, May 9, 1783 
 (p. 550-551), wrote under date of April, 1783: 
 
 Several weeks ago I was in\dted to a concert ... It is called the Ana- 
 creontic Society and this institution is said to be more than three hundred years 
 old. There was music from 7.30 to 10 o'clock; the invited virtuosos play gratis, 
 but in turn hear vocal music for nothing. About ten o'clock we went to another 
 room for supper. During supper, tables and benches were placed in the concert- 
 
 oAs against these conjectural dates Lowndes Bibliographer's Manual (1871) has 
 1783 as date for first part and 1789 as date of its sixth edition. 
 
''The Star Spangled Banner" 31 
 
 room and the platform, where the orchestra had been before, was now occupied 
 with vocalists and the tables were supplied with punch, "Biechoff " and wine. 
 This was the arrangement found by us after supper and it was quite a pleasure 
 to hear good songs without accompaniment over a glass of punch. They sang 
 mostly canons and very well indeed. The vocalists, seated at their tables on 
 the platform and mostly amateurs "punschten mit", and the leader announced 
 the toasts. On this institution I hope to procure you detailed information, which 
 probably would be welcome to you. 
 
 Unfortunately the correspondent did not do so. At any rate, 
 Cramer's Magazine contains no further reference to "The Anacreontic 
 Society. " Between the lines one may read that the London corre- 
 spondent had his polite doubts about the society being "more than 
 three hundred years old," which would carry us farther back than 
 the discovery of America. Since others may be more credulous than 
 our German correspondent, the following anonymous "History of the 
 Anacreontic Society" addressed to Mr. Urban, the editor of the 
 Gentleman's Magazine, London, and there published in May, 1780, 
 pages 224-225, is here added immediately: 
 
 I will not pay you so ill a compliment to suppose you have never heard of the 
 Anacreontic Society. I therefore flatter myself the following account of its 
 institution and progress will not be unacceptable to you or your polite readers. — 
 It was begot and christened by a Mr. S— th (1) [in footnote: Mr. S— th, better 
 known amongst his acquaintances by the familiar appellation of Jack S — th, is a 
 Dog at a Catch, and a corner-stone of Society] about the year 1766, at a genteel 
 public-house near the Mansion-house, was nursed at the Feathers and Half-moon 
 Taverns in Cheapside, and received a great part of its establishment at the London 
 Coffee-house (2) [in footnote: Mr. Bellas, President]. 
 
 The society at this house consisted of 25 members, and each member admitted 
 his friend. Applications for admittance at this time became so numerous, it was 
 thought necessary to remove the society to a house where the accommodations 
 were more spacious. It was therefore carried to the Crown and Anchor in the 
 Strand (3) [in footnote: Mr. Tomlinson, President], and the number of members 
 increased to 40, with the former indulgence of admitting friends. The year fol- 
 lowing, ten new members were admitted, and friends introduced the alternate 
 nights only. About two years since (4) [in footnote: Mr. Mulso, President] the 
 number of members were increased to fourscore (5) [in footnote: The present mem- 
 bers consist of Peers, Commoners, Aldermen, Gentlemen, Proctors, Actors, and 
 Polite Tradesmen], and each member admits a visitor as before. The subscrip- 
 tion at present is three guineas, and to a new member three and a half. The 
 expense to non-subscribers is six shillings. The society opens generally about 
 the middle of November, and their entertainments are on every other Wednesday 
 till the twelve nights are accomplished. The concert, which consi.sta of the best 
 performers (who are honorary members) in London, begins at half past seven, 
 and ends at a quarter before ten. The company then adjourns to another room, 
 where an elegant supper is provided ; in the meantime, the grand room is prepared 
 for their return. The tables at the upper end of the room are elevated for the 
 vocal performers. Here conviviality reigns in every shape, catches and glees in 
 their proper stile, single songs from the first performers, imitations by gentlemen, 
 muct beyond any stage exhibition, salt-box solos, and miniature puppet-shewe; 
 in short, every thing that mirth can suggest. 
 
 The following classical song, WTitten by poor Ralph Tomlinson, their late presi- 
 dent, is chorused by the whole company, and opens the mirth of the evening. 
 [Follows the text of "To Anacreon in Heaven" headed "Anacreontic Song."] 
 
32 "The Star Spangled Banner" 
 
 These entertaining accounts of the aims and habits of the "Ana- 
 creontic Society" of London « wUl have made it clear that the club 
 generally "opened" about the middle of November and ended its sea- 
 son about the middle of May. Now, "about two years since" May, 
 1780 — magazines were then generally pubhshed at the end not at the 
 beginning of the month — would be about May, 1778. "Ten new 
 members" had been admitted the year previous, which would be the 
 year 1777. This happened "the year following" the removal of the 
 "Anacreontic Society" from the "London Coffee House" on Lud- 
 gate Hill to the Crown and Anchor Tavern in the Strand during the 
 presidency of Ralph Tomlinson. In other words, the year of Tom- 
 linson's presidency and of the club's removal from the London Coffee 
 House to the Crown and Anchor seems to have been 1776, either 
 during the club season 1775-76 or 1776-77. The reader will do well 
 to keep this seemingly insignificant point in mind. 
 
 The admittedly earhest known appearance of the text of "To 
 Anacreon in Heaven" occurs in the first edition of "The Vocal Maga- 
 zine, or, British Songster's Miscellany, containing all the English, 
 Scotch, and Irish Songs, Cantatas, Glees, Catches, Airs, Ballads, etc., 
 deemed any way worthy of being transmitted to posterity. Volume 
 the first. London, Printed by J. Harrison for J. Bew, 1778." The 
 "magazine" is announced in the preface to be "regularly published 
 every month." This explains why the volume with its 1,286 texts 
 of songs is divided into nine "Numbers," and why the dates of the 
 two copperplates with portraits of vocal performers accompanying 
 each number nm from May 1, 1778, to January 1, 1779. (The vol- 
 ume is entirely without music. The tunes are not even indicated 
 by title.) To have compiled this treasure house of texts of fugitive 
 but once more or less popular songs of every description must have 
 taken the editor years, which is another point I request the reader to 
 bear in mind. 
 
 In Number IV of this Vocal Magazine, 1778 (compare Appendix, 
 Plate V), the copperplates being dated August 1, 1778, are published 
 on pages 147-148 as Song 566, the words of, 
 
 ANACREONTIC SOCIETY. 
 Written by Ralph Tomlinson, Esq. 
 To Anacreon, in Heav'n, where he sat in full glee, 
 
 A few eons of harmony sent a petition, 
 That he their inspirer and patron would be; 
 
 "When this answer arriv'd from the jolly old Grecian — 
 Voice, fiddle, and flute, 
 No longer be mute; 
 I'll lend ye my name, and inspire ye to boot: 
 And, besides, I'll instruct ye, like me, to intwine 
 The myrtle of Venus with Bacchus's \dne. 
 
 oThe "Anacreontic Society" (1729-1865) of Dublin from the brief allusions in 
 Mr. Wm. H. Grattan Flood's History of Irish Music, Dublin, 1905, appears to have been 
 a musical society of the more customary tj-pe. 
 
"The Star Spangled Banner" 33 
 
 The news through Olympus immediately flew; 
 
 When old Thunder pretended to give himself aire— 
 If these mortals are suffer'd their scheme to pursue, 
 The devil a goddess will stay above stairs. 
 Hark! already they cry, 
 In transports of joy, 
 A fig for Parnassus ! to Rowley's we'll fly; 
 Ajid there, my good fellows, we'll learn to intwine 
 The myrtle of Venus with Bacchus's vine. 
 
 The yellow-hair'd god, and his nine fusty maids, 
 To the hill of old Lud will incontinent flee, 
 Idalia will boast but of tenantless shades, 
 
 Jmd the biforked hill a mere desert will be. 
 My thunder, no fear on't, 
 "Will soon do its errand. 
 And, dam'me ! I'll swinge the ringleaders, I warrant. 
 I'll trim the young dogs, for thus daring to twine 
 The myrtle of Venus with Bacchus's vine. 
 
 Apollo rose up; and said, Pr'ythee ne'er quarrel, 
 
 Good king of the gods, with my vot'ries below ! 
 Your thunder is useless — then, shewing his laurel, 
 Cry'd, Sic evitabile fulmen, you know ! 
 Then over each head 
 My laurels I'll spread; 
 So my sons from your crackers no miijchief shall dread, 
 Whilst snug in their club-room, they jo\-ially twine 
 The myrtle of Venus with Bacchus's vine. 
 
 Next Momus got up, with his risible phiz. 
 
 And swore with Apollo he'd chearfully join— 
 The full tide of harmony still shall be his. 
 
 But the song, and the catch, and the laugh shall be mine: 
 Then, Jove, be not jealous 
 Of these honest fellows. 
 Cry'd Jove, We relent, since the truth you now tell us; 
 And swear, by Old Styx, that they long sliall intwine 
 The myrtle of Venus with Bacchus's vine. 
 
 Ye sons of Anacreon, then, join hand in hand; 
 Preserve unanimity, friendship, and love. 
 'Tie your'a to support what's so happily plan'd; 
 
 You've the sanction of gods, and the fiat of Jove. 
 While thus we agree, 
 Our toast let it be. 
 May our club flourish liappy, united, and free ! 
 And long may tlie sons of Anacreon intwine 
 The myrtle of Venus with Bacchus's \'ine. 
 
 These further appearances of the text of " To Anacreon in Heaven," 
 with or without music, in eighteenth century magazines and songsters 
 24115"— 14 3 
 
34 ''The Star Spangled Banner" 
 
 are known to me. (Unless acknowledgment of source is made, the 
 books are understood to be in the Librar}^ of Congress.) 
 
 1780. March, in the London Magazine, p. 134. Headed " Anacreontick Song. 
 By the late R. Tomlinson." (Text only.) 
 
 1780. May, p. 224-225 in the Gentleman's Magazine, London. Headed '-Ana- 
 creontic Song." (Text only.) 
 
 1780. The Bullfinch, London, p. 362, as "Song CCCCLVII. The Anacreontick 
 Song. By Ralph Tomlinson, Esq., late President of that Society." (Text 
 only. Communication by Mr. Frank Kidson, November 3, and November 
 24, 1913.) 
 
 [1783] The Vocal Enchantress, London, J. Fielding (frontispiece dated 1783), 
 p. 336-337. Headed simply "Song CLX VII." (Text and air. Compare 
 Appendix, Plate VI.) 
 
 1785. The Humming Bird or A complete collection of the most esteemed songs 
 
 . . . Third Edition . . . Canterbury, 1785, p. 300. (Text only. No title 
 given to any of the songs. Communication of Mr. Frank Kidson, November 
 29, 1913.) 
 
 1786. The Musical Miscellany, Perth. Headed "Song XII To Anacreon in 
 Heaven." (Communication by Mr. Grattan Flood, December 29, 1909, 
 and Mr. Kidson, November 29, 1913.) 
 
 1788. Calliope; or The Musical Miscellany, London, C. Elliot and T. Kay, p. 5-7, 
 headed "Song IV, To Anacreon in Heaven." (Text and air.) « 
 
 [1788] The festival of Anacreon, London, first part, seventh ed., p. 80-83. (1788 
 
 being the approximate date of the first ed.) Headed "Song. Sung by Mr. 
 
 Bannister, at the Anacreontic Society." (Text only.) 
 [1788] The Royalty Songster and Convivial Companion (frontispiece dated 1788), 
 
 p. 9. Headed "Anacreontic Song, Sung by Mr. Bannister." (Text only. 
 
 Communication of Mr. Frank Kidson, November 3, 1913.) 
 
 1789. The New Vocal Enchantress ... a new edition for 1788. On p. 289 as 
 "Song; sung by Mr. Sedgwick at the Anacreontic Society." (Text only. 
 Communication of Mr. Frank Kidson, November 29, 1913.) 
 
 [1790] The Busy Bee, vol. II, p. 80. Headed "LXX. Sung by Mr. Bannister 
 at the Anacreontic. Written by Mr. Thomlinson." (Text only. Com- 
 munication by Mr. Frank Kidson, November 3 and November 24, 1913.) 
 
 1790. The Billington or Town and Country Songster, p. 311. Headed "Ana- 
 creontic Song. By Mr. Bannister." (Text only. Communication by 
 Mr. Frank Kidson, November 3, 1913.) b 
 
 1790. The Banquet of Thalia, pref. dated York, 1790. On p. 85 as "Song. Ana- 
 creontic." (Text only. Communication of Mr. Frank Kidson, November 
 29, 1913.) 
 
 1791. September, in the London Magazine and Monthly Chronology, Dublin, 
 Exshaw. Headed "The Anacreontic Song. Sung by Mr. Incledon with 
 universal applause." (Text and music. Mr. W. J. Lawrence in his 
 article on "Eighteenth-century magazine music," Musical Antiquary, 
 October, 1911. Facsimile, by permission of the Royal Library, Dublin, 
 see Appendix, Plate VII.) 
 
 oOf this songster the editor says in a prefatory note: "May properly be considered 
 as a new edition, although under a different title" of the Musical Miscellany (a collec- 
 tion published at Perth in 1786.) 
 
 *> Mr. Kidson adds this entertaining bit of information that on page 314 of the same 
 Bongster appears, and in the metre of "To Anacreon in Heaven " of which it obviously 
 is a parody: "A new Anacreontic Song. Sung by Mr. Sedgwick with great applause 
 at the Royalty Theatre," beginning "To banish life's troubles the Grecian old sage." 
 
''The Star Spangled Banner" 35 
 
 1792. Edinburgh Musical Miscellany, Vol. I, p. 1-4. Headed "Song I. To Ana- 
 creon in Heaven. Sung by Mr. Bannister at the Anacreontic Society." 
 (Text and air.) 
 
 1792. The Banquet of Thalia, pref. dated York, 1792. On p. 85 as "Song Ana- 
 creontic." (Text only. Communication of Mr. Frank Kidson, November 
 29, 1913.) 
 
 179-? The Banquet of Thalia. On p. 78 as "The Anacreontic Song." (Textonly. 
 Communication of Mr. Frank Kidson, November 29, 1913, who says that the 
 song is no longer in the 1812 ed.) 
 
 [1796] The Busy Bee, Vol. II. Headed "LXX. Sung by Mr. Bannister at the 
 Anacreontic. Written by Mr. Thomlinson." (Text only. Communica- 
 tion of Mr. Frank Kidson, November 29, 1913.) 
 
 1797. Stewart's Vocal Magazine, Edinburgh, Vol. I. Headed "Song LXXXVII. 
 To Anacreon in Heaven." (Text and air with bass.) 
 
 1799. The London Musical Museum, Glasgow, 1799. On p. 43 as "The Sons of 
 Anacreon." (Text only. Communication of Mr. Frank Kidson, Decem- 
 ber 21, 1913.) 
 
 1804. The Soul of Harmony, Norwich, plate dated 1804. On p. 1 of pt. II as 
 "The Anacreontic Song by Ralph Tomlinson, esq." (Text only. Com- 
 munication of Mr. Frank Kidson, November 29, 1913.) 
 
 Smollet Holden, of Dublin, made a curious use of the air by includ- 
 ing a "Masonic ode, song and chorus, written by Mr. Connel, on be- 
 half of the Masonic Orphan School," to the air of "To Anacreon in 
 Heaven" in his "A selection of Masonic Songs." The collection is 
 undated, but according to Mr. Grattan Flood (under date of January 
 24, 1910), Holden's book contains a tune with words "by the late 
 celebrated Bro: Robert Burns," so that the date of his death— July 
 27^ 179(5_would approximately fix the date of pubUcation of the first 
 edition. A second edition bears the imprint "Dubhn, A. L. 5802" 
 (A. D. 1802), and Mr. Elson inserted a photographic facsimile of this 
 Masonic ode, another parody of "To Anacreon in Heaven," (first 
 words: "To old Hiram, in Heav'n where he sat in full glee") from his 
 copy of the second edition in his book on the National Music of 
 America. 
 
 This excursion into the history of the Anacreontic Society and mto 
 the bibliographical history of its constitutional song "To Anacreon in 
 Heaven" has proved at least one important fact: 
 
 In view of the contemporary evidence already accumulated, Ralph 
 Tomlinson's authorship of the text of "To Anacreon in 
 Heaven" is clear beyond reasonable doubt and Mr. Grattan 
 Flood's statement in 1912 that the words "are of Irish origin, and 
 evidently emanated from Ireland about the year 1765" painfully 
 betrays its nature of a raw assertion. Irish in origin the text was 
 only, if Ralph Tomlinson wa.s an Irishman. Mr. Grattan Flood was 
 prompted to his assertion by an argument hesitatingly advanced by 
 Mr. Blake, but before long it will be seen how the premise of Mr. 
 Blake's argument, and therewith the argument itself, collapses. 
 
36 "The Star Spangled Banner" 
 
 If it is clear on the one hand that Ralph Tomlmson indeed wrote 
 ''To Anacreon in Heaven/' it is not clear just when this poem was 
 written by him whom the London Magazine in March, 1780, called 
 the ''Late Ralph Tomlinson," thereby establishing (compare also the 
 account m the Gentleman's Magazine) his date of death at the latest 
 as early in 1780.° 
 
 If Tomlinson was a founder of the Anacreontic Society of London or 
 one of its earliest members, then he might have written his "To 
 Anacreon in Heaven" poem "about 1766," or shortly after this 
 approximate date of foundation of the society given in the Gentle- 
 man's Magazine. I am inclined to doubt such an early origin of the 
 poem. Though his poetry is not of a high order, Tomlinson 
 "in twined the myrtle of Venus with Bacchus's vine" with very much 
 more fetching inspiration and spirit than many other poets of fugitive 
 convivial poems of typically eighteenth century Anacreontic atmos- 
 phere which I have read. For this reason the poem, even though 
 perhaps at first jealously guarded by the Anacreontic Society against 
 publicity, could not fail to gradually attract attention, and if written 
 "about 1766" its first definitely known appearance in fashionable 
 songsters of the time at so late a date as 1778 would be surprising. 
 In fact, it is not imreasonable to surmise that either the writing of the 
 poem led to Tomlinson's election as their president by the enthusi- 
 astic "sons of harmony," or that his election as president inspired 
 Tomlinson to write a club song for the Anacreontic Society. Barring 
 indisputable proof of earlier appearance in print, with or without 
 music, this would suggest the years between 1770 and 1776, inclusive 
 of a wide safety margin. 
 
 That the text of "To Anacreon in Heaven" existed at the latest in 
 July, 1778, is obvious from its inclusion in the August, 1778, number 
 of the Vocal Magazine. Mr. Blake's logic that therefore "it is reason- 
 able to suppose that it existed as sheet music at least two years before " 
 I am utterly unable to comprehend. Ordinarily the writing and 
 printing of a poem precede its musical setting by a composer, unless 
 the poem is fitted to an existing melody. If Tomlinson did not utilize 
 an existing melody, then it would be more reasonable to suppose that 
 the text of the poem existed at least two years before it existed as 
 sheet music. That the song — other considerations aside — "may have 
 
 a The British Museum possesses under Ralph Tomlinson "A slang pastoral; being a 
 parody on a celebrated poem of Dr. Byron's [!]. Written by R. Tomlinson. London, 
 1780." 
 
 I have been vmable to find in the Gentleman's Magazine and several other maga- 
 zines or in works like Brydges' Censura Literaria, Nichol'a Literary Anecdotes, etc., 
 anything further on the career of Ralph TomUnson; I am therefore not in a position to 
 prove the obvious conjecture that the author of the British Museum pamphlet is iden- 
 tical with the author of "To Anacreon in Heaven." 
 
'^The Star Spangled Banner" 37 
 
 existed in manuscript many years" before it appeared in print, with 
 or without music, will not be disputed by any author or composer 
 who has had dealings with publishers. 
 
 "To Anacreon in Heaven" was written by Ralph Tomlinson, and 
 was adopted as the constitutional song by the Anacreontic Society, 
 founded "about 1766." It could not very well be adopted as such 
 without appropriate music. Hence, unless Tomlinson adapted his 
 poem to an existing melody, the argument will hold good that the 
 music was composed shortly after the completion of the poem, and 
 presumably by a musician who was a member of the society. Both 
 poem and music, of course, must have existed in manuscript before 
 "To Anacreon in Heaven" appeared in print, with or without music. 
 Whether or not the Anacreontic Society jealously guarded its club 
 song against publicity — the best way of accomplishing this was by 
 keeping the song unpublished, but without publication the song could 
 not be copyrighted, a dilemma in which other societies with club songs 
 have found themselves — we do not know, but obviously the text of the 
 song must have been known to the compiler of the Vocal Magazine. 
 Whatever attention "To Anacreon in Heaven" had gained outside 
 of the Anacreontic Society, the poem clearly appealed to the compiler 
 sufficiently for inclusion in the first volume of his collection of — 
 
 The Vocal Magazine . . . containiiig all the English, Scotch, and Irish Songs . . . 
 Glees . . . Ballads, etc., deemed any way worthy of being transmitted to posterity. 
 
 Now this collection contains about 1 ,300 poems (without music) . The 
 compilation, selection, distribution, etc., alone of such a vast number 
 of more or less fugitive poems must have kept the compiler busy for 
 many months. Under the circumstances it is just a trifle too fanciful 
 to accuse him, as did Mr. Blake, of deliberately and flagrantly having 
 paraphrased the text of "To Anacreon in Heaven," in order to change 
 the neutral locale of the text to London. What earthly object could 
 the compiler have had in picking out exactly "To Anacreon in 
 Heaven " for a flagrant piece of paraphrasing ? A diabolical. Machia- 
 vellian creature he must have been to include in liis collection so many 
 Irish poems and yet to change the pliraseology of "To Anacreon in 
 Heaven "so as to fraudulently create in the minds of future historians, 
 bent on investigating the origin of "The Star-Spangled Banner," the 
 impression that this particular poem was of English and not of Irish 
 provenience ! 
 
 Is is not much more impartial to take it for granted that the com- 
 piler of the Vocal Magazine published the poem as it actually read 
 when acquired by him for incorporation in his songster? And, if 
 two different versions of the text existed about the time that he was 
 preparing his accumulation of many hundreds of poems for publica- 
 tion, is it not fair to assume that he knew of only one ? Furthermore, 
 
38 ''The Star Spangled Banner" 
 
 if the difference in date between these two versions was but rela- 
 tively slight, perhaps a difference of only one, two, or three years, is 
 not the surmise reasonable that these textual differences were intro- 
 duced after the compiler of the Vocal Magazine had acquired the 
 "To Anacreon in Heaven" text for his purposes and that the changes 
 had not yet attracted his attention when he published the text in 
 August, 1778? Indeed, in case that a plausible reason be adduced 
 why the Anacreontic Society should have found it necessary to 
 amend the text of its constitutional song during those years, does it 
 not stand to reason that the compiler of the Vocal Magazine had the 
 earlier, the original, text in his possession for future use and not yet 
 the amended text ? 
 
 Whether the reader be willmg or not to answer these questions in 
 the affirmative, one fact stands out like a rock: The earliest known 
 DATED appearance of the text of "To Anacreon in Heaven" is in 
 the Vocal Magazine of 1778. Until a dated earlier publication of 
 the text (with or without music) be found or unless circumstantial 
 evidence absolutely forces us to date an undated publication earlier 
 than 1778, the text of "To Anacreon in Heaven," as it stands in the 
 Vocal Magazine, must be considered for methodological reasons as 
 the earliest version, of the text extant! 
 
 We have seen that the growth of the Anacreontic Society forced it 
 to change quarters repeatedly, until it moved from the London Coffee 
 House on Ludgate Hill to the more spacious Crown and Anchor 
 Tavern in the Strand. By deduction I have suggested 1776 as 
 the year of this removal. Well, then! If the original text of "To 
 Anacreon in Heaven" contained any reference whatsoever to Lud- 
 gate HiU, not only can Tomlinson not have written his poem before 
 the (to us unknown) date of the club's removal to Ludgate Hill, but 
 an amendment of the text became immediately necessary upon the 
 club's removal from Ludgate Hill to the Crowii and Anchor in the 
 Strand. 
 
 Casual comparison of the texts submitted or recorded would reveal 
 no differences except differences of interpunctuation, orthography, 
 and others here negligible. More careful comparison discloses tex- 
 tual differences that shed further light on the bibliographical history 
 of the music of the song, and therewith, as bibliographical research 
 so often does, help to clear out the weeds that have interfered with 
 the normal growth of our knowledge of the song's liistory. 
 
 In the second stanza of the earliest known publication and version 
 of the text, in the Vocal Magazine, 1778, the seventh line reads: 
 
 A fig for Parnassus: To Rowley's we' II fly 
 and in the third staixza the second line: 
 
 To the hill of old Lud will incontinent flee. 
 
''The Star Spangled Banner" 39 
 
 "Th(? hill of old Lud," of course, means old Ludgate Hill, and with 
 this line we find ourselves in the midst of London. "To Kowley's 
 we'll fly" can mean nothing from the context of Tomlinson's poem 
 except that "the yeUow-hair'd god and his nine fusty maids" will 
 fly "To Rowley's" to the Anacreontic Society. Apparently we have 
 here an allusion to an inn on Ludgate HiU. "To Rowley's" would 
 either mean in general a "name . . . known to have been com- 
 mon as applied to taverns, in honour of the socaUed 'merry monarch,' 
 Charles II," as X. in the Musical Times article of 1896 has it, or 
 Rowley's was an iim on Ludgate Hill well known by the name of its 
 proprietor, or an inn well enough known by the proprietor's name to 
 have fitted into the verse with less difficulty and more poetry than 
 the trade name of the inn and without obscurity in the mind of the 
 reader of the poem. In other words, "To Rowley's" suggested to 
 the members the place at which the Anacreontic Society met at the 
 time that the poem was written. Supposing, for instance, that one 
 Rowley was the proprietor of the London Coffee House on Ludgate 
 HiU, even a very minor poet would have had compunctions about 
 wilting "To the London Coffee House we'll fly," whereas "To Row- 
 ley's we'll fly" was abundantly clear to the initiated and sounded less 
 prosaic.° 
 
 When the Anacreontic Society, probably in 1776, moved from the 
 London Coffee House on Ludgate Hill to the Crown and Anchor in 
 the Strand, immediately the allusion to the former locale of the 
 society was out of place and had to be removed from the t^ext of 
 
 « I have at last, I think, been able to definitely connect the name Rowley with the 
 London Coffee House. In the London Dirocton' for 1799, I find "Rowley and Leech, 
 Wine Merchants, 24 Ludgate Hill "' and in John Timbs' book on Clubs and Club life in 
 London (London, 1908), under "London Coffee House": "At the bar of the London 
 Coffee House was sold Rowley's British Cephalic Snuff." This last bit of in formation is 
 also in Thornbury's "Old and New London," who moreover states (Vol. I, p. 227-228) 
 that the London Coffee House, 24 to 26 Ludgate Hill, was first opened in May, 1731. 
 That WTieatley in " London Past and Present " (Vol. II, p. 426) has the date of open- 
 ing as late as January 5, 1771, does not conflict with the main point, since from a 
 rough sketch made for me by Miss Constance WHiite (London) of a portion of sheet 
 D2 in R. Horwood's " Plan of the Cities of London and Westminster, 1799 (at the 
 British Museum, also in the Library of Congress), it appears that the London Coffee 
 House occupied the premises on No. 24, i. e., where Rowley and Leech held forth as 
 wine merchants. It is quite suggestive, by the way, that, as Miss Wliite found out, 
 in the London directories a James Rowley, Linen draper, of Ludgate St. appears for 
 the first time in 1763, and that he lived from 1768-73 at 29 Ludgate St. Finally, it 
 is also suggestive that the London City directory of 1912 shews at 42 Ludgate Hill 
 "Ye Old London Coffee House," next door to St. Martin Ludgate Church. There 
 it stood in the eighteenth century, too, but the number was then 24 not 42. In 1867 
 the original house seems to have been closed. According to WTieatley, "The Lon- 
 don Coffee House was at one time a great resort of Americans." Stationers' Hall 
 was just around the corner of Rowley's. 
 
40 ''The Star Spangled Banner" 
 
 this constitutional song. What was more natural or prudent in view 
 of this experience than to not only amend the text but to so amend 
 it that "To Rowley's we'll fly" and "To the hill of old Lud" were 
 replaced by words of absolutely neutral character without any per- 
 sonal or topographical allusions that might be subject to change at 
 any time ? Now, then, it is a fact that all texts submitted or recorded 
 above with the only exception of the earliest one Tcnown, that in the 
 Vocal Magazine of 1778, have in the second stanza the amended line 
 
 AWAY TO THE SONS OF ANACREON We'lL FLY 
 
 and in the third stanza the amended line 
 
 FROM Helicon's banks will incontinent flee. 
 
 These certainly were lines that could be sung anywhere.*^ 
 
 Allowing for the hypothetical possibiUty that the society moved 
 from Rowley's to its new quarters about simultaneously with the 
 insertion of the original instead of the amended text in the Vocal 
 Magazine, or that the editor was just a Uttle behind the times, never- 
 theless it follows with probability that the amended text can not be 
 dated much earHer than 1776. Furthermore, if any existing text 
 refers in its title or elsewhere to the "late" Ralph Tomlinson then 
 that particular text can not have been published before the death of 
 Ralph Tomlmson, who apparently died at the latest early in 1780 or 
 at the latest after the printing of his poem in the Vocal Magazine 
 (about August), 1778, where he is not yet called the "late" Ralph 
 Tomlinson. If, however, a publication says "the late president," 
 then of course these words do not necessarily mean "the president 
 who lately died," but may mean "lately president." In the latter 
 case the date of the publication would be circumscribed by the terms 
 of Ralph Tomlinson's presidency. We know from the Gentleman's 
 Magazine that Mr. Midso succeeded Tomlinson in the chair in 1776 
 or 1777, but Tomlinson may have been elected president again, after 
 the expiration of Mr. Mulso's term. Finally, if any text refers in its 
 title or elsewhere to the "Crown and Anchor," then it can not have 
 been published until after the society's removal to this tavern, and it 
 follows with necessity that even the earliest text with the amended 
 topographically neutral lines must be dated later than the removal of the 
 Anacreontic Society from Rowley'' s on Ludgate Hill to the Crown and 
 Anchor in the Strand. In other words, 1776 or later, if 1776 was the 
 date of the removal. 
 
 These are the criteria on which, individually or jointly and together 
 with other incidental criteria, the chronology of undated pubHcations, 
 
 <* I hasten to add that the 1781 and 1784 editions of the Vocal Magazine still have 
 "To Rowley's we'll fly" and "To the hill of old Lud." This is quite natural, since 
 they were merely reissues (without the preface) of the 1778 edition, not revised 
 editions. 
 
"The Star Spangled Banner" 41 
 
 with or without music, of " To Anacreon in Heaven ' ' will have to be 
 based. My personal impression from all these facts, circumstances, 
 clews, deductions, etc., is that very Ukely all undated publications 
 of "To Anacreon in Heaven" with the amended text of the song 
 were of later date than 1778, the date of the Vocal Magazine. This 
 personal impression is particularly strong in case of publishers whose 
 career as publishers lasted longer after 1778 than before. 
 
 It is now time to apply these and other criteria to three editions of 
 "To Anacreon in Heaven" in sheet-music form, which on purpose 
 have not been drawn into the argument so far. Tlicir titles read : 
 
 la. The Anacreontic Song as Sung at the Crown and Anchor Tavern in the Strand. 
 The words by Ralph Tomlinson Esqr. late President of that Society. Price 
 6d. London, Printed by Longman & Broderip, 26 Cheapside. (For facsimile 
 of copy in possession of Mr. Frank Kidson see Appendix, Plate VIII.) 
 
 lb. Same title but with imprint: Longman & Broderip No. 26 Cheapside and No. 
 13, Hay Market (Comp. facsimile in Appendix, Plate IX. By permission 
 of the Boston Public Library.) 
 
 (la and lb consist of a four page folio music sheet; p. [I] blank, on p. 2 air 
 and bass; p. 3 four-part "Chorus" and stanzas 2-6 of text; p. 4 arrangement 
 of the air for guitar and for German flute. Pages 2-3 in 6/4 time. C major.) 
 
 2. The Anacreontic Song. As Sung at the Crown and Anchor Tavern in the 
 
 Strand, London, with General Admiration, [lower margin] Published by 
 Anne Lee in Dame Street (No. 2) 
 
 (Ip. folio. 6/4 time. D major. Air and bass. Six stanzas of text. No 
 "chorus " or arrangement for other instruments. Compare facsimile in Ap- 
 pendix, Plate III.) 
 
 3. The Anacreontic Song. Sung by Mr. Incledon with great Applause. Dublin. 
 
 Published by E. Rhames, at her Musical Circulating Library, No. 16, Exchange 
 Street. 
 
 (Ip. folio. 6/4 time. D major. Airand bass. Six stanzasof text, followed 
 by F major arrangement of the air for guitar. No "chorus." Compare fac- 
 Bimile in Appendix, Plate IV.) 
 
 These editions, too, have the amended lines "Away to the sons of 
 Anacreon we'U fly" and "From Helicon's banks mil incontinent 
 flee." Furthermore, they are all undated. Hence, acceptance of the 
 above criteria would establish roughly the date of publication of all 
 three editions as prohahly 1776 or later, if not prohahly 1778 or later. 
 This even without the further arguments presented below. 
 
 One of the most useful books to music bibliographers is Mr. Frank 
 Kidson's British Music Pubhshers, London [1900]. In this we are 
 told that Benjamin Rhames was succeeded by his widow Ehzabeth 
 at 16 Upper Blind Quarry "before 1775." Apparently it was this 
 remark which caused Mr. Blake to surmise that her edition of "To 
 Anacreon in Heaven" may have been published as early as 1775. 
 Mr. Blake overlooked the further remark of Mr. Kidson's that "Gil- 
 bert's 'Dublin' tells us . . . that about 1776 Upper Blind Quary, in 
 consequence of its evil repute, had its name altered to Exchange 
 Street." It is this address which appears on Elizabeth Rhames's 
 
42 "The Star Spangled Banner" 
 
 edition of the song and "since she was succeeded by her son, Francis 
 Ehames, probably near the year 1790-5" we have the rather wide 
 range of from "about 1776" to "1790-5" as the possible date of 
 publication of the Khames edition. But Mr. Blake overlooked 
 another important clew, or at least he does not seem to have reaUzed 
 its importance. I mean the reference Lq the title to Charles Benjamin 
 Incledon, the famous English tenor, who possessed a voice of remark- 
 ably wide range. Incledon died in 1826 and he was born in 1763! 
 This year of birth, of course, makes it absolutely impossible to date 
 the Ehzabeth Rhames edition anywhere near 1775. Indeed, since 
 he was in the Enghsh navy from 1779 to 1783, since he made his 
 fii'st appearance as a professional singer in 1784, and since there 
 would have been ver}' httle business sense in putting the words 
 "Sung by Mr. Incledon with great applause" on a sheet song, before 
 Incledon had become popular enough for his name to attract the 
 attention of the music-buying public, it foUows that the Elizabeth 
 Rhames edition of "To Anacreon in Heaven" probably did not appear 
 until after 1784. Indeed, the fact that Incledon's name figures in a 
 similar manner on Exshaw's pubhcation of "To Anacreon in Heaven " 
 in his London Magazine, September, 1791, would lead one to suspect 
 that Elizabeth Ehames did not pubhsh the song untU about 1791. 
 This impression is strengthened by the fact that, as Mr. W. J. Law- 
 rence informed me in his letter of November 15, 1913, "Incledon 
 made his first appearance in Dublin at the Crow Street Theatre on 
 June 20, 1791, remaining there tiU August 1st." But, whether 1791 
 or 1784 be the approximately earliest date, clearly the Elizabeth 
 Ehames edition can have absolutely no bearing on the early history oj 
 " To ATMiyreon in Heaven,'^ and tentative deductions from this edi- 
 tion as to the Irish origin of the text or its original version collapse 
 eo ipso, and pitifully! 
 
 According to Mr. Kidson's historical sketch of the important firm 
 of Longman & Co., "in 1779 [the name of] Lukey is absent from the 
 firm, which now remains as Longman & Broderip and exists tiU 
 1798 . . . Before 1785 Longman & Broderip had taken another 
 branch shop at 13 Haymarket" in addition to their place of business 
 at "26 Cheapside." How long before 1785 this happened Mr. Kidson 
 does not know, but in his letter of November 3, 1913, he tells me 
 that they "were not there much before 1783." 
 
 At any rate, Longman &Broderip's earlier issue of "To Anacreon 
 in Heaven" without "13 Haymarket" in the imprint, was not pub- 
 Hshed before 1779 nor after the opening of the Haymarket branch 
 shop. Incidentally, therefore, this sheet song does not interfere with 
 the conjecture based on the Vocal Magazine that texts (with or with- 
 
''The Star Spangled Banner" 43 
 
 out music) which have the amended lines, a reference to the ''Crown 
 and Anchor" and a reference to the "late president" Tomlinson, 
 probably appeared later than the Vocal Magazine of 1778. On the 
 contrary, even the earliest Longman & Broderip edition of "To An- 
 acreon in Heaven" corroborates that conjecture. 
 
 Mr. Frank Kidson, the possessor of two copies of this exceedingly 
 scarce original Longman & Broderip issue, generously ceded one as 
 gift to the Library of Congress. If merely the fairly frequent issue 
 with the hnprint 26 Cheapside and 13 Haymarket were extant, it 
 would not be clear that this was merely the reissue of the original 
 with changed imprint. Furthermore, no entry of "To Anacreon in 
 Heaven" will be found in the firm's "Complete Catalogue" dated 
 1789 (m the Library of Congress) nor in their catalogues of 1781-82, 
 1786, 1790, as Mr. Kidson, who possesses these and the one of 1789, 
 informed me on November 24, 1913. This, together with the other 
 fact that they advertised "The Anacreontic Song" in a catalogue on 
 verso of index to Warren's thirtieth Collection of Catches, containing 
 the prize-medal catches of 1791 (in the Library of Congress) could 
 have led to the argument that Longman & Broderip did not publish 
 the song until after 1790. Possibly the reissue actuaUy did not 
 appear until then, perhaps because the original edition had become 
 exhausted, but this much is clear that it can not very well have 
 appeared before the firm opened its branch shop at 13 Haymarket. 
 Consequently, if Mr. W. Barclay Squire m his impressive catalogue 
 of printed music in the British Museum added to this reissue (pre- 
 sumably not known to him to be merely a reissue) the date [1780], 
 this date would seem to be too early by a few years and would seem 
 to apply more correctly, if at all, to the origmal Longman & Broderip 
 issue without 13 Havmarket m the imprint. However, aside from 
 all such bibliographical considerations, hardly any musician who has 
 read the contemporary accounts of the Anacreontic Society will deny 
 that Longman & Broderip published "To Anacreon in Heaven" m 
 the form actuaUy sung by the society, first by an effective solo voice 
 of wide range, and the refrain repeated m chorus. 
 
 As to the Anne Lee, Dublm edition, even Mr. Blake granted that 
 its' date of pubhcation swhigs leisurely between February, 1776, 
 when Anne Lee succeeded her husband in business, , and the year 
 1788, when she was out of busmess. At any rate Mr. Kidson furnishes 
 proof that she was stiU publishing under lier own name in 1781. In 
 her title Anne Lee says "As sung at the Crown and Anchor Tavern 
 in the Strand, London, with general admhation." A plausible m- 
 ference would be that at that time "To Anacreon in Heaven," or at 
 least the music, was not yet well known in DubUn; otherwise the 
 
44 ''The Star Spangled Banner" 
 
 reference to London would have been wholly unnecessary. Perhaps 
 Anne Lee imported a manuscript copy of words and music, but is it 
 not much more plausible that she simply copied a printed London 
 edition of the song ? In that case, we immediately recall the original 
 Longman & Broderip issue of [1780?] and begm to see the reason 
 why the British Museum dated its copy of Anne Lee's edition also 
 as [1780?]. 
 
 Mr. Kidson says in his letter of November 3, 1913: 
 
 It is without doubt a copy from the Longman sheet, the music however being 
 transposed one note higher & neither Chorus or guitar & flute parts are reprinted. 
 
 Comparison proved tliat the texts are absolutely the same except 
 that, for instance, in the first stanza tlie Longman edition has 
 "Patron wou'd be," whereas Anne Lee has "Patron would be." 
 As to the music, comparison will show that the Anne Lee edition has 
 not the trill in the last bar, that the chorus refrain is indicated by a 
 dotted line and a repetition sign, that at the word "fiddle" Anne 
 Lee retains the same note as at "voice," instead of as in the Long- 
 man edition taking tlie higher octave, and that at the words "lend 
 you my" faulty printing gives us (at least in the photograph) three 
 natural Bs, instead of D, C sharp, B natural. 
 
 Aside from these insignificant differences, the transposed Anne 
 Lee edition shows all the peculiarities in notation, phrasing, harmo- 
 nization, rhythm, etc., of the Longman & Broderip edition. The 
 probabihty is therefore pronounced that she indeed used a copy of 
 the Longman cS; Broderip for her purposes — unless an edition of "To 
 Anacreon in Heaven " turns up of unquestionably earlier date than 
 the Longman & Broderip edition and with which in appearance 
 the Anne Lee edition is even more closely related. Until then, the 
 Anne Lee edition will best be dated as about 1780 or later. 
 
 A point lias been reached to which the last pages have been lead- 
 ing up gradually but systematically. 
 
 Said Mr. Grattan Flood in his "Note" of 1908 (1909): 
 
 The words and music of "To Anacreon" were published by Longman & Brod- 
 erip in 1779-1780, and were reprinted by Anne Lee of Dublin (? 1780) in 1781. 
 Dr. Cummings says that he saw a copy printed by Henry Fought— at least it is 
 made up with single sheet songs printed by Fought — but this is scarcely likely, 
 as Fought did not print after 1770, and the Song and music were not in existence 
 tiU 1770-71. . ." 
 
 Whether or not ^Ir. Grattan Flood was present at Mr. Cummings's 
 Music Loan Exliibition lecture in 1904 I do not know, nor where, 
 when, and how he got the above information or impression. In his 
 lecture — and it does not detract in the sUghtest from my respect for 
 Mr. Cummings's scholarly attainments if I say that his casual remarks 
 
"The Star Spangled Banner" 45 
 
 about "To Anacreon in Heaven" are not up to his customary stand- 
 ard of carefuhiess and accuracy — Mr. Cummings simply said: ''I have 
 brought a copy of the original pubhcation of the ode." Nor have I 
 seen elsewhere any printed statement by Air. Cummings that "he 
 saw a copy printed by Fought" (according to Mr. Kidson, November 
 8, 1913, the correct spelhng is Fougt). In reply to a pertinent 
 inquiry Mr. Cummings sent, under date of November 7, 1908, this 
 brief note: 
 
 I had a copy of Smith's "To Anacreon" pub.[lished] in 1771. I showed it at 
 a public lecture, but cannot now find it. I have two copies of a little later date. 
 The first named was a single sheet song. 
 
 Mr. Cummmgs evidently was not willing to commit his memory 
 under the circumstances on the point of imprint, nor does he make 
 it clear whether or no Smith's name appeared on the sheet song as 
 that of the composer. On the other hand, his words would lead us 
 to beheve that the sheet song was actually "pub. m 1771," though 
 Mr. Cummings by no means says that the sheet song actually contains 
 this date. 
 
 !Mr. Cummings added to the casual remarks in his lecture the air 
 of "To Anacreon in Heaven," and it is suggestive that he gave the 
 air in C major. Mr. Cummings is not of the kind to simpUfy music 
 for babes in the wood. I suspect that the air actually occurred on 
 that mysterious sheet in C major, the same key in wliich Longman 
 & Broderip pubhshed their edition. It is to be hoped that Mr. Cum- 
 mings's sheet song turns up again, so that it may be put under the 
 bibhographical microscope. If then the criteria enumerated above 
 be apphed, presumably all mystery will disappear and we shall know 
 just how this particular edition affects the history of "To Anacreon 
 in Heaven." For reasons unkno\\Ti to me I received no reply to a 
 letter addressed by me on the subject to Mr. Cummings under date 
 of October .30, 1913. However, this much we know from a com- 
 munication of Mr. James Warrington, the hymnologist, to Father 
 Henry, that Mr. Cummings sent him a copy of the title of this mys- 
 terious sheet song some years ago and that Ilalj)h Tomlinson's name 
 appeared on it. 
 
 The ground has now been prepared and cleared for consideration 
 of the main question: Who composed "To Anacreon in Heaven" ? 
 
 Mr. Blake was the first to deny not merely the probability but also 
 the possibility that John Stafford Smith composed "To Anacreon 
 in Heaven." Encouraged by his "explosion" and "annihilation" 
 of John Stafford Smith, Mr. Grattan Flood in his Ave Maria article 
 of 1912 advanced the theory that the melody is Irish; that it has all 
 the characteristics of Furlough O 'Carolan's "Bumpers, Squire Jones," 
 and is most probably his work. 
 
46 
 
 ''The Star Spangled Banner 
 
 In lieu of argument I simply submit O 'Carolan 's melody as it stands 
 in Hime's Favourite Collection of O 'Carolan 's tunes, Dublin [17 — ]: 
 
 Comment, I trust, is superfluous. If this melody of O 'Carolan 's is 
 the nearest that Mr. Grattan ^Flood with his very extensive knowl- 
 edge of Irish music of every description could come to "The Star 
 Spangled Banner," scil. "To Anacreon in Heaven," after all these 
 years of enthusiastic research in behalf of Irish music, we may rest 
 assured, that the air of "To Anacreon in Heaven" will not be found 
 in any Irish music publication or manuscript of an authentic and 
 genuine date prior to the time when Ralph Tomlinson wTote the 
 text. Nor has Mr. Frank Kidson, so he informs me, under date of 
 November 3, 1918, run across any melody in British collections, 
 printed or manuscript, that could by any stretch of imagination be 
 identified with the air of "To Anacreon in Heaven." The word of 
 such an authoritative and industrious collector of British folk and 
 popular airs carries tenfold more weight than the statement that 
 I, too, have failed to find any such air in the fairly numerous eight- 
 eenth century British song publications in the Library of Congress. 
 On the other hand, some weight may attach to my statement that 
 I have not found the air mentioned in American publications or 
 manuscripts prior to the latter part of the last decade of the eight- 
 eenth century. 
 
 That single melodic snatches, phrases, motives, or half motives 
 of "To Anacreon in Heaven" are common enough in musical litera- 
 ture, nobody will deny, just as otherwise totally different poems 
 may have words in common, but in its entirety as melody "To Ana- 
 
"The Star Spangled Banner" 47 
 
 creon in Heaven" appears to have had no prototype.'* Everything, 
 indeed, tends to imply that Ralph Tomlinson did not use an already 
 existing melody but that the melody of "To Anacreon in Heaven" 
 was composed after and not before he wrote his poem. 
 
 The reader may ask : Did, perhaps, the founder of the Anacreontic 
 Society, Jack Smith, "a sly dog at a catch" try his hand at Tomlin- 
 son 's poem ? The reader may even suspect some connection between 
 this Jack Smith and John Stafford Smith, so sly a dog at a catch 
 that he repeatedly was given prize medals of the Catch Gub, but 
 with such suggestive speculations I shall not concern myself here. 
 Impossible the identity of the two Smiths would not be, though John 
 Stafford Smith was but a youngster "about 1766" when the Anac- 
 reontic Society was founded. However, Smith would not have been 
 the first nor the last youngster, as I can testify from personal experi- 
 ence, to have founded a club at so early an age. If Mr. Grattan 
 Flood maintains that John Stafford Smith could not, in 1771, have 
 composed "To Anacreon in Heaven," because Smith's earliest known 
 composition dates from 1773, I fear that his argument will lead us 
 nowhere. Not only is there absolutely no reason why a trained 
 musician of about 21 years should have been too young to compose 
 "To Anacreon in Heaven" — think of the precocity of innumerable 
 composers, great and not great — but Mr. Grattan Flood will find in 
 Thomas Warren's eleventh Collection of Catches, Canons, and Glees 
 [17721 with the prize-medal pieces of 1772 on pages 10-16, the four- 
 part canzonet "Stay, Shepherd, Stay," and on pages 32-37 the glee 
 "Sleep, Poor Youth," both printed as by John Stafford Smith. 
 
 If Smith was a printed composer in 1772, it stands to reason that he 
 was not quite a novice in setting music to texts that struck his fancy. 
 But, as I have said, such speculation leads us nowhere, except to 
 demonstrate that John Stafford Smith, if called upon at that time, 
 could have composed Tomlinson 's "To Anacreon in Heaven" about 
 1771. And, if the poem was not written until about 1775, then, of 
 
 «» As a pleasant pastime I suggest to the reader to slightly shift the rhythm of the 
 following melody and he will have the beginning of our "Star Spangled Banner." 
 
 Bush of Boon 
 
 For the benefit of those who might have no hesitation in asserting that the tune of 
 "To Anacreon in Heaven" shows all the characteristics of "Bush of Boon," and most 
 probably is the same, my source may here bo mentioned: Fielding's ballad farce 
 "An Old Man Taught Wisdom, " London, J. Watts, 1735, where the tune is sung to the 
 words "Oh, dear papa! don't look so grum." 
 
48 ''The Star Spangled Banner" 
 
 course, all chronological scruples vanish absolutely, because by that 
 time John Stafford Smith had gained distinction as a composer. 
 
 Since the rumor that Dr. Samuel Arnold composed ''To Anacreon 
 in Heaven" has been sUenced by unanimous consent, and since 
 John Stafford Smith is the only other British composer to whom that 
 honor has been credited with sound argurnent, I here restrict myself 
 absolutely to the arguments for and against his authorship. It 
 so happened that Kev. H. T. Henry, of Philadelphia, took up the 
 cudgels for John Stafford Smith against Mr. Blake and IVIr. Grattan 
 Flood exactly at the time that I was preparing a revised edition 
 of my "Star-Spangled Banner" chapter. In order to preserve as 
 much as possible its nature of a ''Report," in order to give Father 
 Henry all credit due him, and because we found ourselves in accord 
 on such vital arguments as are now ripe for presentation, Father 
 Henry's essay in the Records of the American Catholic Historical 
 Society (Dec, 1913) will now be drawn upon to estabHsh, if possible, 
 the composer of "To Anacreon in Heaven." 
 
 First of all, it is but fair to look into Mr. Blake's and IVIr. Grattan 
 Flood's attacks on John Stafford Smith's veracity and character as a 
 gentleman. Says Father Henry in tliis connection, on pages 329-333 : 
 
 I do not know with what intent Dr. Flood introduces hig remark concerning 
 the "audacity" of Smith, in the following paragraph; but I may fairly con- 
 jecture that the purpose was to impugn Smith's trustworthiness when, in 1799, 
 he claimed that the air of "Anacreon" was "harmonized by the author." This 
 conjecture is not, indeed, very logical, becauoe Mr. Blake and, following him, 
 Dr. Flood, contend that by "author" Smith did not mean "composer." The 
 major part of Mr. Blake's and Dr. Flood's argument turns on this (to their minds 
 obvious) interpretation of "author;" and accordingly both should most earnestly 
 affirm the absolute trustworthiness of Smith. That Smith's veracity should be 
 impeached (and, of all men, by the two consentient interpreters of Smith's 
 own words) is not, of course, a logical thing; but I am at a loss how else to interpret 
 Dr. Flood's indignation at Smith's "audacity." But now to his impeachment 
 of Smith: 
 
 An examination of Smith's Fifth Book of Cazonets reveals not only the interesting fact that this 
 foiuth-rate musician merely arranged the long-existing melody of "Anacreon," but he also arranged 
 in a diflerent volume another Anacreontic song and likewise " God Save the King! " and had the 
 audacity to assert that "the whole was composed by John StaSord Smith about the year 1780." (The 
 italics are Dr. Flood's.) 
 
 The hastily-written English of this paragraph might easily mislead the reader. 
 It is not an examination of Smith's Fifth Book which will reveal to us his com- 
 position of "another Anacreontic song, and likewise 'Grod Save the King!' 
 . . ,'.' etc. These things were revealed to Mr. Blake when he came across 
 the 1780 volume of Smith's in an old bookshop in London. 
 
 But once more to our sheep. Dr. Flood marvels at the audacity of Smiuh 
 in declaring that he had composed the whole of a volvime containing "God Save 
 the King!" Readers who are not familiar with the long controversies waged 
 about the text and tune of the British national anthem will fail to realize fully 
 the enormous audacity of Smith in claiming that air as his own composition . . . 
 
''The Star Spangled Banner'' 49 
 
 Had Smith . . . declared that he was the composer of an air which so many 
 people could testify that they had heard sung or had seen in print before he was 
 born, his act would not have been one of ''audacity,'' but rather one of the 
 greatest foolhardiness possible to mortal man. With about equal foolishnesa 
 might the present writer claim to have composed the "Star-Spangled Banner." 
 
 Dr. Flood could not but know that the anthem was popular before Smith was 
 born; and it is indeed because of this knowledge that he charges Smith with 
 "audacity." I am not enough of a psychologist to explain how, under these 
 circumstances, Dr. Flood could have considered Smith's act "audacious" rather 
 than idiotic. He must (I presume) have "complacently followed" Mr. Blake 
 down the rushing tide of the latter's mistaken enthusiasm. For Mr. Blake 
 had discovered Smith's volume published in 1780, in an old bookshop in Lon- 
 don; had purchased it for 80 cents (although, as he remarks, he would gladly 
 have given |8, and adds — ^jocularly, I suppose — that he would sell it to Congress 
 for $800); had found "God Save the King" in it; had read on the title page that 
 Smith composed the "whole" of the volume and had been properly scandalized 
 at such incomprehensible audacity. But Mr. Blake was not a musician; he was 
 an inventor of a device for rifles, and his invention was adopted (so the biograph- 
 ical note affixed to the binding of his pamphlet tells us) by the United States 
 in the Spanish- American War. That Dr. Flood should have "complacently 
 followed" Mr. Blake is the truly wonderful thing; for Dr. Flood is a musician, as 
 well as a historian of music, and should immediately have suspected that some- 
 thing was "out of gear" in Mr. Blake's views concerning Smith's claim to the 
 authorship of the British national anthem. A few moment's inspection of the 
 volume itself would have enlightened him as to the exact claim of Smith, but 
 he followed Mr. Blake, whose offer to sell the book to Congress was quite super- 
 fluous, for Congress possesses both the 1780 voiume and that of 1799. 
 
 WTiat, then, is the explanation of the mystery of Smith's audacity? In his 
 letters to me of 18 and 27 October, Mr. Sonneck tells simply and clearly what it 
 really was that Smith laid claim to as composer: 
 
 "Blake refers to the words, 'the whole compos'd by John Stafford Smith,' on 
 "the title-page of his A Miscellaneous Collection of New Songs, Catches, and 
 "Glees, London, James Blundell (published, as the contents prove, in the year 
 "1780), and deduces his imputation that Smith fraudulently claimed with the 
 "above words to have been the composer of 'God Save the Eling' from the 
 "fact that on p. 27 'God Save the King' appears in 'A Canon in Subdiapente; 
 "2 in 1 on a plain Song.' Mr. Blake, who is not by profession a musician or 
 "historian, breaks down under his own argument by quoting Smith's Index, in 
 " which this particular piece appears as 'Si Deus pro nobis . . . Canon . . . 27.' 
 *'The puzzle is simple enough for a musician: 'Si Deus pro nobis' are the 
 "words put to the 'Canon in Subdiapente; 2 in 1,' and the 'plain song,' or 
 " 'cantus firmus,' as we would say nowadays, on which Smith composed his 
 "canon was the melody of 'God Save Great George our King,' duly printed 
 " with these words. . . . Dear old Smith's Index shows to what he laid claims 
 "as 'composer' of 'the whole': the canon (as was correct) and nothing 
 "more."« 
 
 a On p. 32 of the same collection Smith haa "A Canon on aground baas; real London 
 Cries." According to the logic of Mr. Blake and Mr. Grattan Flood this would mean 
 that Smith, claiming to be the composer of "The wliole"' collection, had the audacity 
 to pose as the composer of these "real London Cries. " I can not make myself believe 
 that John Stafford Smith was quite such an audacious idiot as all that. 
 
 24115°— 14 4 
 
60 ''The Star Spangled Banner" 
 
 Though my quotation of O'Carolan's sprightly air of "Bumper, 
 Squire Jones" makes further comparison of it with ''To Anacreon in 
 Heaven" unnecessary, I can not abstain from treatmg the reader to 
 at least part of Rev, Henry's deliciously humorous and for Mr. Flood 
 really disastrous 
 
 COMPARISON OF "bUMPER" WITH "aNACREOX." 
 
 As already stated, the only argument of apparent value advanced by Dr. Flood 
 for the Irish origin of the air of our national anthem is the one he bases on musical 
 "characteristics," for the melody of "Anacreon" has, he declares, "all the char- 
 acteristics" of O'Carolan's "Bumper, Squire Jones." JSe invites his readers to 
 make the comparison, assuring them that the truth of his assertion "can easily 
 be tested" in this way. The test is not, however, quite so easily made, for the 
 readers must catch their hare first — must first of all find O'Carolan's air — and then 
 must proceed to cook it, as it were, in the same pot with "Anacreon." 
 
 To facilitate for them the process of comparison, I have transposed "Anacreon " 
 from the key of C into the "Bumper" [condensation used by Rev. Henry merely 
 in the interest of brevity] key of B-flat, and have turned its 6-4 time into the 6-8 
 time of "Bumper." Something is lost to my demonstration of the dissimilarity 
 between the two airs by this change in the apparent rhythm of "Anacreon" — 
 this change of quarter notes into eighth notes; for the tendency is a natural 
 (although not, it is true, a necessary) one, to sing 6-8 faster than 6-4 time, and to 
 give "Anacreon" something of the rollicking gait of "Bumper." We are thus 
 tempted to turn what may have been a fairly slow or at least a fairly moderate 
 tempo of "Anacreon" into what was most probably a fairly fast tempo of "Bump- 
 er." But if the comparison is to be made with ease and some approximation to 
 accuracy, the change of "Anacreon" to the same key and the same apparent 
 rhythm as those of "Bumper" is almost a necessity. . . . 
 
 . . . The only characteristic in which "Bumper" and "Anacreon" agree is 
 the apparently perfect agreement to disagree perfectly; for where one melody 
 ascends the other descends, and vice versa. This agreement to disagree begins with 
 the very first notes and continues throughout to the end, except in the first half of 
 the eleventh bar. So true is this that if the reader looks at any two connected 
 staves, he will fancy that he is gazing at an illustration of scholastic counterpoint 
 in contrary motion. If he should have a very literal mind, he will gravely count 
 the notes on which the two melodies agree as they pass each other, and will not 
 be surprised that they are so very few in number. The "Anacreon " air has 100 
 notes, and only 7 of these coincide with notes in O'Carolan's air. Seven per cent 
 is not a notable agreement. 
 
 . . . The comparison of the tunes of "Bumper" and "Anacreon" makes the 
 contention of Dr. Flood unacceptable to us. If "Bumper" is characteristically 
 Irish, then its antithesis, "Anacreon," must be characteristically non-Irish. But 
 the matter is even more curious than this. After I had transcribed the ' ' Bumper " 
 song from an antique volume of music; I chanced to look over the chapter on 
 disputed ascriptions in O'Neill's Irish Folk Music, and there learned that — 
 mirabile dictu— the tune of "Bumper" had been adjudged English by Burk 
 Thumoth (who in 1720 published the first collections of Irish airs), who placed it 
 among the "Twelve English Airs" in his second volume. Hereupon O'Neill 
 remarks that the air is duly accredited to O'Carolan in The Hibernian Muse, "the 
 editor of which in this instance ventured to doubt Thumoth's infallibility. ' ' Can 
 humor further go? 
 
The Star Spangled Banner" 
 
 51 
 
 COMPARISON OF CHARACTERISTICS 
 
 II. "Anacreon," etc. 
 
 I 
 
52 ''The Star Spangled Banner" 
 
 On pages 312-323 Eev. Henry deals with " the negative argument" 
 as foUows: 
 
 I think the question of the authorship of the tune has been simplified by elim- 
 ination of the Irish claim (so far, of course, as that claim rests on the bases furnished 
 by Dr. Flood's article). We are now able to consider the effect of Mr. Blake's 
 discovery on the commonly accepted view that Smith is the author. In rejecting 
 this view (which had in 1909 been held by him) Dr. Flood writes: 
 
 In order to bolster up Stafford Smith's claim as a composer of the tune, Chappell and his copyists 
 give the date of his Fifth Book of Canzonets as " 1780 or 1785." Fortunately for historical accuracy, a 
 wealthy Irish-American, Mr. John Henry Blake, went to the copyright office. Stationers' Hall, Lon- 
 don, and searched the record indexes of the copyright department from 1746 to 1799, inclusively, 
 with the result that he discovered the actual date on which Smith entered the copyright, namely. 
 May 14, 1799. [recte May 8. Sonneck.] 
 
 Dr. Flood is very severe on "Chappell and his copyists," who attempted to 
 "bolster up" Smith's claim by assigning too early a date for his volume. But 
 as late as 1909 Dr. Flood himself wrote in Church Music: 
 
 The most decisive proof of the fact that the time was composed by Smith is the fact that he includes 
 it in his Fifth Collection of Canzonets, Catches, etc., in 1781. 
 
 Shall we reckon Dr. Flood among the "copyists" who attempted to "bolster 
 up " Smith's claim by assigning a date for his volume at least 18 years before the 
 appearance of the volume? 
 
 . . . This "Fifth Book of Canzonets," then, is the book whose date of copy- 
 right was found (in October, 1910) by Mr. John Henry Blake, an American, after 
 a search in the records of Stationers' Hall, London, from the dates 1746-1799. 
 He located the copyright entry of the Fifth Book of Canzonets as 8 May, 1799, 
 and notes a misprint of the title (as given above by Mr. Sonneck) of which he 
 furnishes a photographic facsimile in his monograph. The period-mark placed 
 before "The Anacreontic, and other popular songs," should be a comma, and 
 the word "The" should begin with a small letter — thus associating, Mr. Blake 
 argues, the Anacreontic, not with "other popular songs," but with the previously 
 mentioned "glees." Mr. Blake elevates into a point of capital importance what 
 is merely a printer's error. 
 
 . . . Mr. Blake's very argument may be neatly turned against himself. Mr. 
 Sonneck, in letters to me dated October 18 and 27, 1913, does this in the follow- 
 ing mariner: 
 
 "Mr. Blake is correct in stating that in my transcript of the title of Smith's 
 ' ' Fifth Book there is an error. It should be ' author of the favorite glees . . . 
 "Hark the hollow woods, etc. the Anacreontic, and other popular songs,' and 
 "not 'woods, etc. The Anacreontic . . .' (the printer did not follow copy, 
 "but followed office rules in using a capital letter after a period sign, and when 
 "reading proof under pressure of other business I overlooked the error). 
 "Mr. Blake waxes enthusiastic over this discovery, claiming that Smith by 
 "using the lower case letter in 'the' included 'the Anacreontic' among his 
 " aforesaid grZees composed by him and not among his ' popular songs. ' There- 
 " fore, as ' To Anacreon in Heaven ' first appeared as a song, not as a glee. Smith 
 "himself did not claim to have composed it, etc. All nonsense, of course, but 
 "it ia this kind of nonsense which one has to combat. The very fact, it seems 
 "tome, that the title reads 'etc. the' shows that 'the Anacreontic' belongs 
 "grammatically to 'and other popular songs' and that ' the Anacreontic ' was 
 "meant as a 'song'; and the word 'other,' it further |seems to me, compels 
 * ' this interpretation. And again Mr. Blake breaks down under his own infor- 
 "mation, because, as if the registrar wished to make the point raised by me 
 
''The Star Spangled Banner" 53 
 
 "above perfectly clear, he transcribed Smith's copyright certificate for Mr. 
 "Blake as follows: 'the Hollow Woods, etc., The Anacreontic, and other 
 "popular songs.' "o 
 
 . . . Continuing the narrative of Blake's discoveries. Dr. Flood writes in the 
 Ave Maria: 
 
 He also found indisputable evidence that Smith merely arranged the tune in the form of a "glee," 
 and that he did not claim any copyright for the tune. 
 
 The "indisputable evidence" seems to have been the fact that Smith, in hia 
 Fifth Book of Canzonets (copyrighted May 8, 1799), writes that the tune was 
 "harmonized by the author." ^\^^at does "author " mean here? Does it mean 
 the author (that is, the compiler and editor) of the Fifth Book, namely. Smith; 
 or does it mean the author (that is, the composer) of the tune? Blake contends 
 that "author" can not mean "composer" . . . 
 
 A reader who is not well versed in the literatiu-e of the present discussion 
 might perhaps suppose that Mr. Blake had "discovered" in Smith's Fifth Book 
 the phrase "harmonized by the author " in reference to the song "To Anacreon in 
 Heaven." Not only was the phrase and its relation to the song well known long 
 since, but a facsimile of the page (in the Fifth Book) containing that phrase 
 appeared in Mr. Sonneck's Report in 1909. 
 
 Again, Smith does not refer to his arrangement of "Anacreon" as a "glee." 
 It is not wrong so to characterize his composition; but he himself did not so 
 characterize it. He called it "Anacreontick Song." 
 
 As will be seen further on, the copyright certificate appears to establish the 
 meaning of "author" to be nothing less than "composer." He was the author 
 (composer) of the "whole" work, the tune of the Anacreontic Song included. 
 
 Where, then, is the "indisputable e\-idence" that Smith "merely arranged ihe 
 tune in the form of a 'glee'"? 
 
 The remaining argument against Smith's authorship of the tune is stated by 
 Dr. Flood in the Ave Maria as follows: 
 
 Smith lived till the year 1836, and he never asserted his claim as composer of his melody, although 
 Key had written "The Star-Spangled Banner " to it in 1814. Surely it stands to reason that if Smith 
 had composed the tune, and that the said tune (whether set to "Anacreon in Heaven " and the "Star- 
 Spangled Banner") had been sung, printed, and circulated all over the British possessions and in 
 America, he would, as a true Britisher, have asserted his claim to it. 
 
 Here much is made of Smith's failure to lay claim to the authorship of the tune. 
 In his Fifth Book of Canzonets, etc., Smith did declare that the tune there given 
 was "harmonized by the Author." Blake (and, following his lead, Flood) can 
 see in this declaration only a confession that Smith was not the author of the 
 tune, but merely the author of the collection; and that if Smith desired to vin- 
 dicate his authorship of the tune, he should have used the word "composer" 
 instead of "author." Mr. Kidson could not see the force of this contention. In 
 his Report Mr. Sonneck had already discussed (p. 23) this interesting question: 
 
 The words "harmonized by the author'' may of course mean harmonized by the author of the 
 collection and do not necessarily mean harmonized by the author of the air, but these words, together 
 with the fact that the collection contains none but Smith's own glees, etc., and the wording of the 
 title renders it probable that Smith refers to himself as the composer of the music. . . . Probably 
 Smith composed it, if he really did compose the tune, as a song for one voic-e, and in " harmonizing " 
 it for several and different voices he felt obliged to wander away from the original. 
 
 oThe transcript of the record made in November, 1913, for the Library of Congress 
 reads, "Woods, etc., the Anacreontic, and." In other words, if this "t" instead of 
 a "T" in "the" is correct, then the registrar followed Smith's title exactly, adding 
 the comma between etc. and the in order to make matters absolutely clear. 
 
54 '^The Star Spangled Banner" 
 
 This brief extract from the -Report shows us that Mr. Sonneck (a) held his 
 judgment in suspense as to the meaning of "author," and (b) had not committed 
 himself — ("if he really did compose the tune" are his words) — to the common 
 ascription of the air to Smith. But here it is highly interesting to note with 
 what felicity he is able to make use of the copyright certificate subsequently 
 given to Mr. Blake by the registrar of Stationers' Hall records, to emphasize 
 (almost, if not indeed quite, to the point of con^dction) the contention that 
 Smith really did mean by the word "author" nothing less than "composer." 
 This interesting argument is thus stated in Mr. Sonneck's letters to me (18 and 
 27 October, 1913): 
 
 " Now the copyright record, as quoted with great glee but little understanding 
 "by Mr. Blake, distinctly says imder 'Property of:' 'Author,' and under 
 " ' Share:' ' Whole.' Consequently, if copyright certificates have any evidential 
 "value at all. Smith was oflicially recorded as claiming the copyright in the 
 " whole ' Fifth Book ' as 'Author' (i. e., composer, because to my knowledge 
 " author was the official term used in the statute for all copj-xightable matter, in- 
 " eluding miisical works, and not corn-poser f- and author can mean in this instance 
 " and under the circumstances composer only and nothing else, since Smith does 
 "not pose as compiler of the music, much less as author of the texts (in several 
 "instances he mentions the authors of the texts). Ergo, if his words on p. 33: 
 " ' The Anacreontick Song (sic! poor Mr. Blake) harmonized by the author ' could 
 "leave the doubt expressed on p. 23 of my 'Report' as to what Smith meant 
 "by these words, these words in conjunction with Smith's copyright certificate 
 " now would appear to establish, beyond reasonable doubt, that Smith claimed 
 "to be the author (composer) of ' The Anacreontick Song^: 'To Anacreon in 
 "Heaven,' 'harmonized' by him in this 'Fifth Book' as a part-song, and 
 " designated a glee by me in my ' Report ' (but not by Smith himself!). 
 
 "And this (it seems to me) inevitable conclusion stops up the keyhole, which 
 " Mr. Blake can not keep open for escape, that there is in Smith's Miscellaneous 
 " Collection of 1780, on p. 35, a four-part piece headed simply 'Anacreontic' 
 " In the index it is called, 'Is it summer . . . GLEE,' Thereby Mr. Blake, 
 " or anybody else, is enjoined from operating with the over-nice distinction be- 
 "tween 'song' and 'glee' {i. e., only when it suits their purpose). They can 
 " not say that Smith, in the title-page of his ' Fifth Book,' referred to this 'glee' 
 "as the popular Anacreontic songr composed by him and not to 'Anacreon in 
 " Heaven. ' No, the title-page apparently refers to ' Anacreon in Heaven, ' and to 
 " this Anacreontick Song (popularly known as the Anacreontick song) in a harmon- 
 " ized version Smith laid copyright claim on "May 8, 1799, as author (composer). 
 
 « Mr. Ernest Bruncken, Assistant Reg'ster of Copyright in the Library of Congress, 
 had the kindness to inform me as follows: 
 
 MUrSical copyright. The firet case is that of Bach v. Longman (Cowp., 623), in 1777. 
 Held, that the same rules apply to both literary and musical compositions, because 
 the words of the act of 1710, "books or other writings," were not confined to letters 
 and language only. 
 
 In D'ALmaine v. Boosey (1 Y. & C. Exch., 299) it is stated as a fact that "a gi-eat 
 deal of music" was entered at Stationers' Hall as books; and as a matter of law that 
 "printed music, in whatever form it may be published, is to be considered in refer- 
 ence to copyright proceedings as books." 
 
 The terms "author" and "composer" seem to be in use interchangeably. In the 
 statute the word "author" only is used. 
 
 "Musical composition" as a special object of protection by cop>Tight is not men- 
 tioned in these terms in any copyright acts of Parliament until the act of 1842. 
 
''The Star Spangled Banner" 55 
 
 " Perhaps he lied; but it is up to our friends Blake and Grattan Flood to prove 
 "that he lied. Until they produce proof of fraudulent claim, Smith's ctom at 
 " least will stand good in any court of scientific inquiry, and I can not see how, 
 " under the circumstances, we can deny that Smith composed 'To Anacreon in 
 " Heaven,' unless a prior authenticated claim by some other composer is pro- 
 " duced. 
 
 "And with [read in view of] Smith's own copyright claim the silly ai^ument 
 " collapses that, if Smith had been the composer, he would have taken pains to 
 "tell the world that he was the composer. Well, he did, on May 8, 1799, and 
 "that is all there is to this phase of the matter at present, so far as I can see." 
 
 To sum up: Even the most obstinate opponent of Smith has so far 
 not denied that, ''To Anacreon in Heaven" excepted, John Stafford 
 Smith was the composer of the music in his Filth Book. The word 
 author used by Smith in the title, in the copyi-ight entiy, and in the 
 dedication to Viscount Dudley and Ward, where he says: "These glees 
 and songs . . . are . . . himibly inscribed by the obliged author," 
 has so far not been denied to be the equivalent not merely of com- 
 piler of the collection called Fifth Book, but of composer of the music 
 therein contained, with exception of the disputed "To Anacreon in 
 Heaven." Should now the opponents of John Stafford Smith deny 
 that he was the actual composer of all other music contained in the 
 Fifth Book, in order to operate vntb. the word "author" in the sense 
 of "compiler" with special reference to "To Anacreon in Heaven," 
 then the burden of proof would be entirely on their shoulders. Their 
 mere denial mil be valueless m a court of scientific inquiry until such 
 proof is fuinished. Until then the word "author" used by Smith, 
 as occasionally by other eighteenth century composers, will be con- 
 strued by every unbiased historian in its, under the circumstances, 
 most natural and indeed obvious sense ot composer. 
 
 "To Anacreon in Heaven" became popularly known, as the reader 
 can not fail to have noticed, as "The Anacreon tick Song." Of the 
 many Anacreontic songs of the time it appears to have been the only 
 one to have gamed such distmction. In the title of his Fifth Book 
 John Stafford Smith calls himself the author of " the Anacreontic, 
 and other popular songs." In the copyright entry of this Fifth Book 
 on May 8, 1799, Smith laid copyright claim to the whole book as 
 author. On page 33 of this Filth Book "To Anacreon m Heaven" 
 appears m a version "harmonized by the author." Though, if so 
 inclmed, one may designate this arrangement as a glee. Smith him- 
 self did not so designate it. He headed this harmonized version of 
 "To Anacreon in Heaven" simply as "The Anacreontick Song," and 
 in the index "To Anacreon in Heaven . . . harmonized" is one of 
 the only two pieces in the book called "Song." If an obstmate 
 opponent of Smith's claim argues that, strictly speakmg, "harmo- 
 nized by the author" may mean harmonized by the author of the 
 words, Ralph Tomlinson, then the deduction is all the more inevitable 
 
56 ''The Star Spangled Banner" 
 
 that John Stafford Smith claimed to be the author of the music (i. e. 
 composer) of "The Anacreontick Song" with "To Anacreon in 
 Heaven" as text. 
 
 Without unduly wishing to influence readers of this revised * 'Report " 
 one way or the other, self -protection against misrepresentation demands 
 that I put myself squarely on record with this personal opinion: 
 
 Available evidence, and a more thorough study of it, than in 
 1909, together with the deductive force of Mr. Blake's discovery 
 of the copyright entry of Smith's Fifth Book compel me to believe 
 that the music of ralph tomlinson's poem "to anacreon in 
 
 heaven" was indeed composed by JOHN STAFFORD SMITH. 
 
 Words and music of this song, later on popularly kno-vvn as 
 "The Anacreontick Song," probably originated about the year 
 1775; at any rate, before the Anacreontic Society moved from 
 Ludgate Hill, London, to the Crown and Anchor Tavern in the 
 Strand." 
 
 One may indeed express surprise that John Stafford Smith waited 
 until 1799 before he publicly claimed the music of "To Anacreon in 
 Heaven" as his own. But are we really certain that he did not claim 
 it years before? May there not be hidden away somewhere in "the 
 wreck of time" — Bacon's beautiful phrase used by Rev. Henry — 
 direct evidence of Smith's authorship, if not his own manuscript, then 
 perhaps some reference in contemporary letters or the like? Even 
 in the absence of such evidence, so late a claim as that of Smith would 
 not be without a parallel. Rev. Henry strikingly illustrates this by 
 pointing to Father Clarence Walworth's translation "Holy God, we 
 praise thy name" of the "Te Deum, " published anonymously in 
 1853 in a Redemptorist "Mission Book." His hymn found its way 
 into many books. Catholic and Protestant, but this translation was 
 never printed with his name until 1880 and then in an "Evangelical 
 Hymnal." Father Walworth himself did not publicly lay claim to 
 his hymn until 1888, when he published his "Andiatorocte, etc.," 
 
 a On purpose the method of fixing authorship by "internal evidence," "stilistic 
 characteristics," etc., was not dragged into this matter. Legitimate enough and 
 necessary where no binding proof of authorship in the hand of the author or no posi- 
 tive claim by him of authorship exists, it is often an unsafe method and lends itself 
 easily to pedantry or preconceived preferences. It is doubly unsafe in our case. 
 Neither do the few bars of "To Anacreon in Heaven " abound in stilistic peculiari- 
 ties, nor do the five books of Smith's music reveal stilistic characteristics sufficiently 
 tangible for profitable comparison with "To Anacreon in Heaven." My impression 
 is that the music in these five books, on the whole, does not conjure memories of 
 "To Anacreon in Heaven," though now and then, as in Smith's prize medal glee 
 of 1777 "Return blest days" at the words "Breast if e'er my cheek" {In Smith's 
 "Select collection of catches . . .") I was startlingly reminded of "To Anacreon in 
 Heaven.'' However, such impressions are too personal to be of any evidential 
 value. 
 
''The Star Spangled Banner" 57 
 
 that is, 35 years after it had first appeared in print[ ! ] " Supposing," 
 says Rev. Henry, the EvangeHcal Hymnal of 1880 "had disappeared 
 and Father Walworth had not lived to bring out his volume of poems, 
 we should not find it an easy matter to settle at this late day the 
 question of authorship. Late day — but 13 years after his death." 
 
 We, who daily have to catalogue music, know best how much 
 anonymous music exists in manuscript and in print. Some composer 
 must be responsible for the individual piece, but it is the exception, 
 rather than the rule, if circumstantial evidence enables us to credit 
 the music with some degree of certainty to its composer. The path 
 of cataloguers and bibliographers would be smooth indeed, though 
 perhaps less interesting, if signposts so prominent as in the case of 
 "To Anacreon in Heaven" always guided them in their work. Very 
 often we have to struggle forward without such signposts. An author 
 or composer is at perfect liberty to withhold his authorship of a work 
 from the public or not. He may have reasons for keeping a work 
 anonymous that influence him more than the considerations of glory 
 or of the convenience of cataloguers, historians, and readers. He 
 runs the risk of never being identified with a work that may live 
 through many centuries as a master work, but we have no right to 
 quarrel with him for running such a risk. If he finally, after many 
 years, and again for reasons, known or unknown to us, does consent 
 to lift the veil of anonymity, at least we bibliographers feel grateful, 
 do not quarrel with him, give him the benefit of the doubt, and do 
 not cast suspicions on his tardy claim of authorship, unless compelled 
 by convincing evidence to the contrary. 
 
 Mr. Blake's patient search through the Stationers' Hall records 
 from 1746 to 1799 and search through the same records from 1770 to 
 1800, undertaken in 1913 for the Library of Congress, have made it 
 fairly certain that "To Anacreon in Heaven" was not entered in any 
 form for copyright either by the composer or by a publisher prior to 
 May 8, 1799.** Now, mere copyright entry wiU never prove author- 
 ship eo ipso. If a piece of music is entered for copyright, the pre- 
 sumption of authorship wiU of course be so strongly in favor of the 
 composer mentioned that bibliographers or historians will accept 
 his authorship in the absence of proof to the contrary. However, 
 the moment their suspicions are aroused, they wiU look upon a 
 copyright entry as, what historically considered it reaUy is, a mere 
 
 o The only time that ''To Anacreon in Heaven" was incidentally mentioned in 
 these records from 1770 to 1800 appears to have occurred when P. Jung on February 9, 
 1793 "entred for his Copy Tlie Knave's Necklace, or Every Rogue a Halter, a new 
 Anacreontic, the words by a gentleman. Sung at a loyal Association at T — r previous 
 to burning Tom Paine in Effigy to the Tune of To Anacreon in Heaven." This is 
 again (indirect) proof that the tune was not protected by copyright and could be used 
 for other than the original words. 
 
68 "The Star Spangled Banner" 
 
 piece of circumstantial evidence of authorship, and will insist on 
 other corroborative evidence, at the very least, in the particular 
 pubUcation itself." On the other hand, neglect of copyright entry 
 may invalidate a composer's proprietory rights legally, but never his 
 authorship historically, if such authorship can be proved by direct or 
 indirect evidence. This is the case of "To Anacreon in Heaven," 
 where Smith's copyright claim together with other evidence has estab- 
 lished his musical authorship beyond reasonable doubt. 
 
 Had Smith or a pubUsher registered "To Anacreon in Heaven" at 
 Stationers' Hall immediately upon pubhcation, they could have 
 vindicated the copyright of the song as Rev. Henry pointed out 
 "nowhere save in Great Britain:" 
 
 The Englisli copyright law then in existence did not extend to Ireland until 
 after the Act of Union in 1800. . . . English copyrighted books were freely pub- 
 lished in Dublin and sometimes, to the great annoyance of English publishers, 
 were carried into England ... in the American colonies, the Kevolution removed 
 publishers from all liability to English law, whether statute or common and . . . 
 the British colonies were not under the operation of the English copyright law. 
 If Smith ... as might easily have been the case, had transferred his common- 
 law right to the publisher of some "collection" of music, his name would not 
 appear in the records of Stationers' Hall. 
 
 Once copyright entry was neglected, Smith was practically power- 
 less to stop piracy of his song in its original form (piracy in the ethical, 
 not in the legal sense) even in Great Britain. His only opportunity for 
 a copyright claim after that would have been to register the song in 
 an arrangement. By the copyright act then in force an author could 
 obtain cop^Tight for two terms of 14 years each, or for a possible total 
 of 28 years. Now, there is a very remote possibility that "To Anacreon 
 in Heaven" was first published in 1771, i. e. exactly 28 years before 
 1799. A peculiar coincidence this is, and shrewdly Rev. Henry seizes 
 upon it, for a possible explanation of entry. Smith waited until 1799 
 before he laid claim to "To Anacreon in Heaven" because 
 
 Had Smith written his tune in 1770-1771, his right to it could not sui-\'ive the 
 year 1799; and it is quite permissible to suppose that he was ready, in that year, 
 with an arrangement of the tune as a glee, so that a new term of copyright 
 might be granted him. 
 
 o As an illustration of how valueless a mere copyright entry may become for purely 
 historical purposes, I submit the following case recently brought to my attention. A 
 young and fairly well known composer submitted the manuscript of a song to a 
 prominent American publisher for publication. Had the publisher accepted it, 
 the song in due course of time would have been registered for copyright and this 
 Bong in the form published would probably have been legally safe against reprint not 
 only, but the presumption of authorship would have been very strongly and per- 
 manently in favor of the composer mentioned. The firm's "tester" of manuscripts 
 had his suspicions aroused by some melodic phrase in the song and he found that, 
 though the text was new, the music was practically identical with that of one of Schu- 
 bert's beautiful but fairly unknown songs. Needless to say, this song by Schubert 
 "composed" by the audacious young gentleman was not published, at any rate not 
 by that particular firm. 
 
''The Star Spangled Banner' 
 
 59 
 
 Of course, the new term of copyright would have applied to 'To 
 Anacreon in Heaven " in its ' ' harmonized ' ' version, but not in its orig- 
 inal form as song for one voice," which had become pubHc property. 
 
 Personally, I doubt very much that ''To Anacreon in Heaven" was 
 published as a sheet song as early as 1771. I also doubt that Smith's 
 inclusion of it in a ''harmonized" version in his Fifth Book was due 
 to any special consideration of the copyright laws. I am inclined to 
 believe that it simply had struck Smith's fancy as a composer to 
 
 " a As stated in my "Report" of 1909, the "Anacreontic Songs for 1, 2, 3 & 4 voices 
 composed and selected by Doctr. Arnold and dedicated by permission to the Anacreon- 
 tic Society. London. Printed for J. Bland, No. 45 Holborn, 1785 " and, so a manu- 
 script note in the Library of Congress copy informs us, "pubd. as the Act directs 4th 
 June 1785" do not include "To Anacreon in Heaven." In this very scarce collection 
 Arnc, Arnold, Baildon, Boyce, Green, Handel, etc. are mentioned as composers but not 
 John'stafford Smith. Now, there occurs on the pictorial title-page an obvious allusion 
 to Tomlinson's poem, since Mmnus ivith his rinhle phiz is pictured showing to old 
 Thunder ' ' The humble petition of the members of the Anacreontic . " In addition some 
 kind of a winged being with a herald's trumpet is bearing a legend "Anacreontic 
 Society." Under these circumstances, we certainly have a right to wonder at the ex- 
 clusion of the society's by that time fairly famous constitutional song from Arnold's 
 collection. Rev. Henry advances this explanation: "Apparently some copyright 
 law forbade the inclusion of the tune. If, at that early day, nobody claimed it, it 
 seems hard to explain, why, of all the songs open to Dr. Arnold for inclusion, it should 
 have been passed over in silence." Difficult of proof, as this explanation is, it ib 
 plausible Of course, the puzzle would disappear if it should turn out that the Library 
 of Congress copy is incomplete and should reaUy contain also ' ' To Anacreon m Heaven. ' ' 
 The make-up of the collection is pecuUar. After the title page (verso blank) come p. 
 [1] 2-63. On verso of this p. 63 begins Arnold'ssong "Flow thou regal purple stream" 
 from his "Castle of Andalusia " and the song has the pagination 2^. With it our copy 
 stops There is no index and nothing to indicate that our copy is incomplete, but as it 
 appears to coincide with that at the British Museum, it probably is complete. On 
 the other hand there are plenty of indications that previously published music plates 
 had simply been pressed into service for this compilation by Arnold. Supposing, then, 
 that minute bibUographical research should establish the fact that the book, with 
 exception perhaps of one or two compositions by Arnold, contains none but songs, etc., 
 previously/ published on plates of the same size, would not that fact suggest perhaps the 
 probability that Bland did not care to go to the expense of engraving and printing 
 music still in manuscript? If "To Anacreon in Heaven" in 1785 was still m manu- 
 script, i. e. as sung by the "Anacreontic Society," would not that fact, then, furnish 
 another plausible explanation, why the song was not inserted by Arnold? Of course, 
 "To Anacreon in Heaven" can not very well have been in manuscript in 1785 in the 
 form as sung by the "Anacreontic Society," if Longman & Broderip, who published 
 the song with the double address of the firm in the imprint, liad actually opened their 
 branch shop at 13, Haymarket before 1785. With just a little imagination, one may 
 stumble upon other explanations. For instance, there may have existed intense pro- 
 fessional rivalry between Smith and Arnold, and Smith may have forbidden the 
 insertion of his song in a compilation by Arnold or Arnold did not care to insert 
 music by Smith; or, the Anacreontic Society ^-iewed the publicity its constitutional 
 song had already gained with displeasure and (in vain) did all in its power to prevent 
 further publicity. I leave it to others to indulge in futile speculation along these 
 lines, but, to repeat it, if Arnold had composed "To Anacreon in Heaven " he pre- 
 sumably would have inserted it in the collection. 
 
60 ''The Star Spangled Banner" 
 
 "harmonize" his song or that somebody, perhaps members of the 
 Anacreontic Society, had suggested an arrangement of his and their 
 "To Anacreon in Heaven" as a glee for club purposes. I am all the 
 more incUned to such a simple explanation, because Smith's other 
 collections did not always contain his music in its orginal form. For 
 instance, in his Mscellaneous Collection of New Songs, [1780] liis 
 "Chearful glee" (on p. 42) had been "alter'd & adapted for treble 
 voices" by him. 
 
 Those who with jMt. Blake take it for granted that John Stafford 
 Smith was a "good business man" probably will stiU insist on asking: 
 Does it not stand to reason that Smith would have safeguarded his 
 financial interests by entering "To Anacreon in Heaven" for copy- 
 right, if he reaUy was the composer ? and Since he apparently did not 
 copyright the song, does not this absence of a copyright claim ai^ue 
 against his authorship ? Why, then, if he was the composer, did he 
 not copyright "To Anacreon in Heaven" in its original form as a 
 song? To ask such questions is very much easier than to answer 
 them to the satisfaction of those who ask them. In themselves these 
 questions are reasonable enough, but they proceed from a faulty 
 premise. If by neglect of copyright entry of "To Anacreon in 
 Heaven" Smith had furnished a glaring exception to a universal 
 rule, then, indeed, but only then would these questions have the 
 force of negative arguments. As a matter of fact — this opinion was 
 recently verified through Miss Constance H. White for the Library 
 of Congress by the ofiicials of Stationers' Hall — copyright entry at 
 Stationers' Hall was never compulsory, and though even many 
 sheet songs were entered and certified for copyright, much music 
 was published in England between the years 1770 and 1800 without 
 having been copyrighted at all. This important fact applies not 
 merely to obscure British composers or music publishers, but with 
 equal force to the best known, and it applies also to a good deal of 
 valuable music issued anonymously, as every student of Mr. Barclay 
 Squire's catalogue appreciates. How are we to know at this late 
 date why this or that "good business man" among composers and 
 music pubUshers neglected to put himself under the protecting wing 
 of the copyright act? To speculate along these lines appears, at 
 least to me, to be futile. Moreover, such speculation projects mod- 
 ern practices into the past with its different practices and against 
 such inapplicable, anachronistic comparison those who dabble in 
 history can not be warned too strongly. To lose their amateurish 
 flavor and to partake of legitimate historical curiosity, questions like 
 the above would have to be amended thus: If Smith was in the 
 habit of copyrighting his music and if he did compose "To Anacreon 
 in Heaven," does it not stand to reason that he would have copy- 
 righted also this song ? and If he did not copyright it, does not this 
 
The Star Spangled Banner" 
 
 61 
 
 fact, considering his habits in such matters, argue against his author- 
 ship ? A satisfactory answer to these legitimate questions with their 
 inferential force can only be given by establishing first Smith's habits 
 in the matter of copyright claims. Accordingly, the Library of 
 Congress instructed its London agents to search the Stationers Hall 
 records from 1770 to 1800 with special reference to the following 
 works of Jolin Stafford Smith preceding his Fifth Book of 1799 and 
 all in our possession: 
 
 A Select collection of catches canons and glees of different kinds . . . com- 
 posed by J. S. Smith, London, John Welcker [1780?] 
 
 A Miscellaneous collection of New Songs, catches and glees ... the whole 
 compos'd by John Stafford Smith, London, James Blundell [1780] 
 
 A collection of glees . . . including some . . . which have S^J^^d pnze 
 medals ... the whole composed by J. S. Smith. London, ;\«l^^f'- tl^^^^^^J .^, 
 A Collection of Songs of various kinds . . . Composed by John Stafford Smith. 
 
 London, J. Preston [date?] 
 
 W6 loere informed that no copyright entry was found for any of these 
 worls, nor for any other worl hy John Stafford Smith, except has Fijth 
 
 Boole! ' . , . , • 1 
 
 Evidently Smith was not in the habit of copyrighting his works. 
 If he did not consider it necessary to claim copyright m four out 
 of his five collections, we have no right to find fault with him-fault 
 belated and based on the inapplicable practice of modern composers- 
 for having neglected to copyright "To Anacreon m Heaven ! Still 
 less the right to play out unsound "business" arguments against the 
 word of a Gentleman of His Majesty's Chapels Royal that he, John 
 Stafford Smith, was the author (composer) of ''To Anacreon m 
 Heaven," once popular as "The Anacreontic Song '• 
 
 Tracing the American history of the air, or rather the history of its 
 use in America, one runs across these statements m Mr. Salisbury s 
 "Essay on The Star-Spangled Banner," 1873, page 7: 
 
 I do not discover that it was a favorite -^en Robert Treat Paine, jr.. used it« 
 measure in his spirited song entitled "Adams and Liberty [1798]. 
 
 Page 9: 
 
 \fter sixteen years, in which the tune of the Anacreontic song was seldom 
 he'^d L'hi^country orin Europe, it was applied to the pathetic versesof Mr. Key. 
 The second of these statements is nonsensical, the first at least 
 improbable, because it is now known that the "^^^^^^^^^f/^^^^";^^ 
 between England and America was too lively m those dajs to have 
 permitted such a weU-known air as "To Anacreon m Heaven pub- 
 fished in the most popular -Uectons, to have renamed bar.e^^^^ 
 our shores The chances are entu-ely m favor of the possibihtj that 
 the song had its votaries here in the seventies or eighties the more so 
 as Parke states Sir Richard Hankey, later on president of the Anacre- 
 ontic Society, to have served in the British army durmg our war for 
 independence Nor would it be at aU reasonable to assume that the 
 "coCb an Anacreontic Society" founded in imitation of the Lon- 
 
62 ^'The Star Spangled Banner" 
 
 don Society in 1795 at New York, the moving spirit of which was for 
 years the great actor-vocaHst and bon vivant John Hodgkinson, 
 should not have helped to spread a familiarity with * 'To Anacreon in 
 Heaven, " Indeed, at least one performance of it in public is reason- 
 ably certain, namely, when the "Anacreontic Song" was sung by Mr. 
 J. West at a concert at Savannah, Ga., August 19, 1796. However, 
 Mr. Salisbury himself assists in undermining his theory that ''To 
 Anacreon in Heaven" was little known in America before it was 
 applied to Key's "pathetic verses. " On page 5 of his essay he writes 
 of having seen it in his copy of "The Vocal Companion, published in 
 Philadelphia, by Matthew Carey in 1796." It matters little that no 
 copy of this mysterious collection is preserved at the Library of Con- 
 gress, Boston Pubhc, New York PubUc, Brown University, Phila- 
 delphia Library Company, Pennsylvania Historical Society, Princeton 
 University, American Antiquarian Society; Mr. Salisbury must have 
 seen the song in a copy of some collection in his possession. Then 
 he mentions Robert Treat (scil. Thomas) Paine's spirited "Adams 
 and Liberty" ("Ye Sons of Columbia who bravely have fought") 
 written for and sung to the tune of "To Anacreon in Heaven" at the 
 anniversary of the Massachusetts Charitable Fire Society in Boston 
 on June 1, 1798. A photographic facsimile of this famous song is 
 given here as it was published in the very popular "American Musical 
 Miscellany" of 1798. (Appendix, Plate X.) Mr. Salisbury further 
 mentions Paine's song "Spain" set to the same tune for a Boston fes- 
 tival in honor of the Spanish patriots, January 24, 1809. He also 
 mentions (in footnote, p. 10) a "patriotic offshot" of the Anacreontic 
 song, "perhaps as good as any other commonly known before 1814" [!] 
 which appeared in The New York Remembrancer, Albany, 1802, with 
 the first line "To the Gods who preside o'er the nation below," 
 attributed by the Boston Daily Advertiser, May 1, 1873, to Jonathan 
 Mitchell Sewall, of Portsmouth, N. H. 
 
 To these four instances of the early American use of "To xlnacreon 
 in Heaven" may be added these in the following collections: 
 
 1797. Columbian Songster, New York, p. 136. Song: For the glorious Four- 
 teenth of July. (" The Genius of France from his star begem'd throne. ") 
 1799. Columbian Songster, Wrentham, Mass. Song. 32: Union of the gods. 
 
 1799. A Collection of Songs selected from the works of Mr. Charles Dibdin, to 
 
 which are added the newest and most favorite American Patriotic 
 
 Songs, Philadelphia, 
 p. 315. Boston Patriotic Song [Adams and Liberty], 
 p. 326. Our Country's efficiency ("Ye sons of Columbia, determined 
 to keep"). 
 
 1800. American Songster, Baltimore: 
 
 p. 9. "To Colimabia, who gladly reclin'd at her ease . . . 
 p. 13. "Ye Sons of Columbia, unite in the cause." 
 
 No tunes are indicated for these two, but the metre plainly suggests 
 "To Anacreon in Heav'n." 
 p. 233. "To Anacreon in Heav'n." 
 
''The Star Spangled Banner" 63 
 
 1802. Vocal companion, Boston. Song XVI. By J. F. Stanfield, Sunderland. 
 
 ("Not the fictions of Greece, nor the dreams of old Rome.") 
 
 1803. The American Republican Harmonist: 
 
 p. 4. "New Song sung at the celebration of the 4th of July, at Sara- 
 toga and Waterford, N. Y. By William Foster" (Brave sons 
 of Columbia, your triumph behold). 
 
 p. 30. Jefferson and Liberty. ("Ye sons of Columbia, who cherish 
 the prize." Text merely altered from Adams and Liberty.) 
 
 p. 105. Song [for the fourth of July, 1803] ("In years which are past, 
 when America fought). 
 
 p. 111. Song. Sung on the 4th of March, at an entertainment given by 
 the American Consul at London. ("Well met, fellow free 
 men! lets cheerfully greet.") 
 
 p. 126. Song for the anniversary festival of the Tammany Society, 
 May 12, 1803. Written by Brother D. E. 
 
 1804. 'Nightingale,' selected by Samuel Larkin, Portsmouth. 
 
 p. 69. Adams and Liberty, 
 p. 188. To Anacreon in Heaven. 
 1804. Baltimore Musical Miscellany: 
 
 V. 1, p. 26. Anacreon in Heaven (given in Appendix in facsimile, 
 PI. XI). 
 p. 29. "When Bibo went down to the regions below." 
 p. 121. Sons of Columbia [Adams and Liberty]. 
 V. 2, p. 158. The Social Club. 
 1811. Musical Repository, Augusta. 
 
 p. 22. Young Bibo. ("For worms when old Bibo prov'd delicate 
 
 fun.") 
 p. 140. Adams and Liberty [without indication of the tune], 
 p. 207. Union of the Gods. ("To Columbia, who gladly clined at 
 her ease.") 
 1813. James J. Wilson, National Song Book, Trenton. 
 
 p. 43. "For the Fourth of July" ("Columbians arise! let the cannon 
 
 resound . " ) 
 p. 66. "Embargo and Peace" ("When our sky was illuminated by 
 
 freedom's bright dawn.") 
 p. 68. "Union and Liberty." ("Hark! The Trumpet of war from 
 
 the East sounds alarm.") 
 p. 70. "Freedom." ("Of the victory won over tyrany's power.") 
 p. 87. "The Fourth of July." ("O'er the forest crowned hills, the 
 
 rich vallies and streams.") 
 p. 88. "Jefferson's Election." Sung by the Americans in London, 
 March 4, 1802. "Well met, fellow freemen! Let's cheer- 
 fully greet.") 
 In addition to these references should be mentioned the very 
 scarce sheet song in possession of the Boston Public Library 
 (reproduced by permission in the Appendix, Plate XII): ''Adams 
 and Liberty. The Boston Patriotic Song. Written by Thomas 
 Paine, A. M. ...New York. Printed & Sold by W. Howe, Organ 
 Builder & Importer of all Kinds of Musical Instruments. No. 
 320 Pearl Street." (This sheet song can not have appeared before 
 1798 nor after 1799 since we find in the New York City Directory of 
 1800 "Howe, widow of William, musical store, 320 Pearl St." The 
 date probably is 1798.) 
 
THE STAR-SPANGLED BANNER 
 
 Opinions differ widely on the merits of "The Star-Spangled Banner" 
 as a national song. Some critics fail to see in Francis Scott Key's 
 inspired lines poetry of more than patriotic value. Some look upon 
 it merely as a flag song, a military song, but not as a national hymn. 
 Some criticize the melody for its excessive range, but others see no 
 defects in "The Star-Spangled Banner" and feel not less enthusiastic 
 over its esthetic merits as a national song than over its sincere patri- 
 otic sentiment. This controversy will be decided, whether rightly or 
 wrongly, by the American people regardless of critical analysis, leg- 
 islative acts, or naive efforts to create national songs by prize com- 
 petition. This report does not concern itseff at all with such quasi 
 esthetic problems, nor is it here the place to trace the political history 
 of "The Star-Spangled Banner" beyond what is necessary for the 
 understanding of its history as a national song. 
 
 Until recently the first, though brief , account of the origin of "The 
 Star-Spangled Banner" was believed to have appeared m the Balti- 
 more American on September 21, 1814, but Mr. John C. Fitzpatrick, 
 of the Manuscript Division of the Library of Congress, found in our 
 volume of the Baltunore Patriot (publishers, Munroe & French), 
 which had not been accessible to me when I wrote my "Report" of 
 1909, the foUowmg account m No. 59, September 20, 1814, the first 
 issue of the paper after its temporary suspension of publication with 
 No. 58, September 10, 1814: 
 
 DEFENSE OF FORT m'HENRY. 
 
 [The following beautiful and animating effusion, which is destined long to outlast 
 the occasion and outlive the impulse which produced it, has already been exten- 
 sively circulated. In our first renewal of publication we rejoice in an opportunity 
 to enliven the sketch of an exploit so illustrious, with strains which a:) fitly cele- 
 brate it.]— Ed. Pat. 
 
 The annexed song was composed under the following circumstances: A gentle- 
 man had left Baltimore in a flag of truce for the purpose of getting released from the 
 British fleet a friend of his who had been captured at Mariborough. He went as 
 far as the mouth of the Patuxent, and was not pennitted to return lest the intended 
 attack on Baltimore should be disclosed. He was therefore brought up the bay 
 to the mouth of the Patapsco, where the flag vessel was kept under the guns of a 
 frigate, and he was compelled to witness the bombardment of Fort McHenry, 
 which 'the admiral liad boasted that he would carry in a few hours, and that the 
 city must fall. He watched the flag at the fort through the whole day vnth. an 
 anxiety that can be better felt than described, until the night prevented hun from 
 seeing it. In the night he watched the bombshells, and at early dawn his eye 
 was again greeted by the proudly waving flag of his country. 
 
 24115°— 14 5 ^ 
 
66 ''The Star Spangled Banner" 
 
 This account is followed by the text of Key's poem without special 
 title, but with the indication: "Tune: Anacreon in Heaven." (See 
 Appendix, Plate XIII.) One day later the Baltimore American 
 printed the same historical account, with text of Key's poem and 
 indication of the tune, but without the so curiously prophetic remarks 
 of the editor and without any allusion to previous extensive cir- 
 culation of account and text." 
 
 As this account was printed almost immediately after the events 
 therein described took place, and were in every reader's memory, the 
 newspaper editors, of course, omitted specific dates, but it is a matter 
 of history that the gallant defense of Fort McHenry under Maj. 
 Armistead began on the morning of Tuesday, September 13, and 
 lasted until the early hours of September 14, 1814. The gentleman 
 is, of course, Francis Scott Key, and either his own modesty or an 
 editorial whim kept his authorship from the pubHc. 
 
 The first detailed and authentic account of the origin of "The Star- 
 Spangled Banner" practically came from Francis Scott Key himself, 
 who narrated it shortly after the British designs on Baltimore failed, 
 to his brother-in-law, ilr. R. B. Taney, subsequently Chief Justice of 
 our Supreme Court. When in 1856 Mr. Henry V. D. Jones edited 
 the "Poems of the Late Francis S. Key, Esq. . . ." (New York, 1857), 
 Chief Justice Taney contributed Key's version from memory, in an 
 introductory "letter . . . narrating the incidents connected with the 
 origin of the song 'The Star-Spangled Banner.'" This interesting 
 narrative has been made the basis of all subsequent accounts. Its 
 substance is this: When, after the battle of Bladensburg, the main 
 body of the British army had passed through the town of Upper 
 Marlborough, some stragglers, who had left the ranks to plunder or 
 from some other motive, made their appearance from time to time, 
 singly or in small squads, and a Dr. Beanes, who had previously 
 been very hospitable to the British officers, "put himself at the head 
 of a smaU body of citizens to pursue and make prisoners" of the 
 stragglers. Information of this proceeding reached the British and 
 Dr. Beanes was promptly seized. The British "did not seem to 
 regard him, and certainly did not treat him, as a prisoner of war, 
 but as one who had deceived and broken his faith to them." Dr. 
 Beanes was the leading physician of his town and so highly respected 
 that the news of his imprisonment fiUed his friends with alarm. They 
 
 o Mr. Da\-id E. Roberts, of the Library' of Congress, had the kindness to verify for 
 me the following facts: The last issue of the Baltimore American (publishers, "W. 
 Pechin, G. Dobbin, and Murphy) before suspension was on September 10, 1814, -with 
 No. 4762. The first issue after suspension appeared on September 20, 1814, as No. 
 4766, but this number of September 20, 1814, did not contain Key's poem. The 
 Baltimore American printed it on September 21, 1814, but not before. By courtesy 
 of the Mar^iand Historical Society a facsimile of the Baltimore American text appears 
 in the appendix as Plate XIV. 
 
"The Star Spangled Banner" 67 
 
 "hastened to the headquarters of the English army to solicit liis 
 release, but it was peremptorily refused," and they were informed 
 that he had been carried as a prisoner on board the fleet. Francis 
 Scott Key happened also to be one of the doctor's intimate friends, 
 and as ^Mr. Key, just then a volunteer in Maj. Peter's Light Artil- 
 lery, but a lawyer by profession, was a resident of Georgetown, which 
 means practically Washington, the other friends requested him — 
 
 to obtain the sanction of the Government to liis going on board the admiral's ship 
 under a flag of truce and endeavoring to prociu:e the release of Dr. Beanes, before 
 the fleet sailed. 
 
 . . . Mr. Key readily agreed to undertake the mission in Ms favor, and the Presi- 
 dent [Madison] promptly gave his sanction to it. Orders were immediately issued 
 to the vessel usually employed as a cartel [the Minden] in the communications 
 with the fleet in the Chesapeake to be made ready without delay; and Mr. John S. 
 Skinner, who was agent for the Government for flags of truce and excliange of pris- 
 oners, and who was well known as such to the officers of the fleet, was directed to 
 accompany Mr. Key. And as soon as the arrangements were made, he hastened 
 to Baltimore, where the vessel was, to embark; . . . 
 
 We heard nothing from him until the enemy retreated from Baltimore, which, 
 as well aa I can now recollect, was a week or ten days after he left us; and we were 
 becoming uneasy about him when, to our great joy, he made his appearance at my 
 house, on his way to join his family. 
 
 He told me that he found the British fleet at the mouth of the Potomac, pre- 
 paring for the expedition against Baltimore. He was comteously received by 
 Admiral Cochrane and the officers of the army, as well as the navy. But when 
 he made known his business his application was received so coldly tliat he feared 
 he would fail. General Ross and Admiral Cockburn— who accompanied the expe- 
 dition to Washington — particularly the latter, spoke of Dr. Beanes in very liarsh 
 terms, and seemed at first not disposed to release him. It, however, happened, 
 fortunately, that Mr. Skinner carried letters from the wounded British officers left 
 at Bladensburg, and in these letters to their friends on board the fleet they all 
 spoke of the humanity and kindness with which they had been treated after they 
 • had fallen into our hands. And after a good deal of conversation and strong repre- 
 sentations from Mr. Key as to the character and standing of Dr. Beanes, and of the 
 deep interest which the community in wliich he lived took in liis fate, Gen. Ross 
 said that Dr. Beanes deserved much more punishment than he had received; 
 but that he felt himself bound to make a return for the kindness wluch had been 
 shown to his wounded officers, whom he had been compelled to leave at Bladens- 
 burg; and upon that ground, and that only, he would release him. But Mr. Key 
 was at the same time informed that neither he, nor any one else, would be per- 
 mitted to leave the fleet for some days, and must be detained until the attack on 
 Baltimore, wliich was then about to be made, was over. But he was assured that 
 they would make liim and Mr. Skinner as comfortable as possible while they 
 detained him. Admiral Coclirane, with whom they dined on tlie day of their 
 arrival, apoligized for not accommodating them on Ids own ship, saying that it 
 was crowded already with officers of the army, but tliat they would be well taken 
 care of in the frigate Surprise, commanded by liis son, Sir Tliomaa Coclirane. 
 And to this frigate they were accordingly transferred. 
 
 Mr. Key liad an interview with Dr. Beanes before General Ross consented to 
 release him. I do not recollect whether he was on board the admiral's sliip or 
 the Surprise, but I believe it was the former. He found liim in the forward part 
 of the ship, among the sailors and soldiers; he had not had a change of clothes 
 
"The Star Spangled Banner" 
 
 from the time he waa seized; was constantly treated with indignity by those 
 around him, and no officer would speak to him. He waa treated as a culprit, 
 and not as a prisoner of war. And this harsh and humiliating treatment con- 
 tinued until he was placed on board the cartel. 
 
 Mr. Key and Mr. Skinner continued on board of the Surprise, where they were 
 very kindly treated by Sir Thomas Cochrane, until the fleet reached the Patapsco, 
 and preparations were making for landing the troops. Admiral Cochrane then 
 shifted his flags to the frigate, in order that he might be able to move farther up 
 the river, and superintend in person, the attack by water, on the fort. And Mr. 
 Key and Mr. Skinner were then sent on board their own vessel, with a guard of 
 sailors, or marines, to prevent them from landing. They were permitted to take 
 Dr. Beanes with them and they thought themselves fortunate in being anchored 
 in a position which enabled them to see distinctly the flag of Fort McHenry from 
 the deck of the vessel. He proceeded then with much animation to describe the 
 scene on the night of the bombardment. He and Mr. Skinner remained on deck 
 during the night, watching every shell, from the moment it was fired, until it fell, 
 listening with breathless interest to hear if an explosion followed . While the bom- 
 bardment continued , it was sufficient proof that the fort had not surrendered . But 
 it suddenly ceased some time before day; and as they had no communication with 
 any of the enemy's ships, they did not know whether the fort had surrendered, or 
 the attack upon it been abandoned. They paced the deck for the residue of the 
 night in painful suspense, watching with intense anxiety for the return of day, and 
 looking every few minutes at their watches, to see how long they must wait for it; 
 and as soon as it dawned, and before it was light enough to see objects at a distance, 
 their glasses were turned to the fort, uncertain whether they shoiild see there the 
 Stars and Stripes, or the flag of the enemy. At length the light came, and they saw 
 that "our flag was still there." And as the day advanced, they discovered, from 
 the movements of the boats between the shore and the fleet, that the troops had 
 been roughly handled, and that many woiinded men were carried to the ships. At 
 length he waa informed that the attack on Baltimore had failed, and the British 
 army was reembarking, and that he and Mr. Skinner, and Dr. Beanes would be 
 permitted to leave them, and go where they pleased, as soon as the troops were on 
 board, and the fleet ready to sail. 
 
 He then told me that, under the excitement of the time, he had written a song, 
 and handed me a printed copy of "The Star-Spangled Banner." When I had 
 read it, and expressed my admiration, I asked him how he found time, in the 
 scenes he had been passing through, to compose such a song? He said he com- 
 menced it on the deck of their vessel, in the fervor of the moment, when he saw 
 the enemy hastily retreating to their ships, and looked at the flag he had watched 
 for BO anxiously as the morning opened; that he had written some lines, or brief 
 notes that would aid him in calling them to mind, upon the back cf a letter which 
 he happened to have in his pocket; and for some of the lines, as he proceeded, 
 he was obliged to rely altogether on his memory; and that he finished it in the 
 boat on his way to the shore, and wrote it out as it now stands, at the hotel, on 
 the night he reached Baltimore, and immediately after he arrived. He said 
 that on the next morning, he took it to Judge Nicholson, to ask him what he 
 thought of it, that he was so much pleased with it, that he immediately sent 
 it to a printer, and directed copies to be struck off in hand-bill form; and that he, 
 Mr. Key, believed it to have been favorably received by the Baltimore public. 
 
 Judge Nicholson and Mr. Key, you know, were nearly connected by marriage, 
 Mrs. Key and Mrs. Nicholson being sisters. The judge was a man of cultivated 
 taste, had at one time been distinguished among the leading men in Congress, 
 and waa at the period of which I am speaking the Chief Justice of the Baltimore, 
 
''The Star Spangled Banner" 69 
 
 and one of the Judges of the Court of Appeals, of Maryland . Notwithstanding his 
 judicial character, which exempted him from military service, he accepted the 
 command of a volunteer company of artillery. And when the enemy approached, 
 and an attack on the fort was expected, he and his company offered their serv- 
 ices to the Government, to assist in its defence. They were accepted, and formed 
 a part of the garrison, during the bombardment. The Judge had been relieved 
 from duty, and returned to his family only the night before Mr. Key showed 
 him his song. And you may easily imagine the feelings with which, at such 
 a moment, he read it, and gave it to the public. It was, no doubt, as Mr. Key 
 modestly expressed it, favorably received. In less than an hour aft^r it was 
 placed in the hands of the printer, it ^vas all over totm, and hailed with enthusiasm, 
 and took its place at once as a national song . . fi 
 More than 40 years had elapsed since Chief Justice Taney had 
 heard this story for the first time from Francis Scott Key, and 
 though it probably was modified or embellished in course of time, yet 
 in substance it has the earmarks of authenticity. Exactly for this 
 reason, if for no other, Chief Justice Taney's account furnished the 
 foundation for all further accounts, but it should be noticed that the 
 Chief Justice does not tell us anything beyond how the words came 
 to be written, until struck off in handbill form. We do not learn 
 when and under what circumstances the broadside was printed, 
 how the poem was wedded to its music, or when and by whom the 
 song was first read or sung. If certain waiters do include such state- 
 ments in their quotations from Taney's account, they certainly did 
 not read Taney's introductory letter, but most probably copied 
 then- quotations from Admiral Preble, who indeed but carelessly 
 attributes such statements to the Chief Justice. The data not con- 
 tained in Taney's account had to be supplied by others, and it is 
 very curious that instantly this part of the historv' of "The Star-Span- 
 gled Banner" became confused, whereas Chief Justice Taney's 
 account remained unchallenged except in unimportant points, as 
 for instance, the reasons for Dr. Beanes's arrest. Under this head 
 Chief Justice Taney was rather vague; not so Mrs. Anna H. Dorsey, 
 who in the Washington Sunday Morning Clironiclo added some 
 "lesser facts," which were reprinted in Dawson's Historical Maga- 
 zine, 1861, volume 5, pages 282-283. According to Mrs. Dorsey, 
 Dr William Beanes, the uncle of her mother, was celebratmg vni\v 
 copious libations a rumored British defeat at Washington when 
 "three foot-sore, dusty, and weary soldiers made their appearance 
 on the scene in quest of water." Somewhat under the mfiuence of 
 the excellent punch, Dr. Beanes and his friends made them pris- 
 
 a Had Chief Justice Taney foreseen how eaf<ily his words here printed in italics lent 
 themselves to uncritical repetition and paraphrase, I have no doubt that he would 
 have used more conservative language to express his thought and not those words 
 which involve an absolute physical impoeaibility, and the la«t words an hHtorical 
 impossibility. 
 
70 "The Star Spangled Banner" 
 
 oners of war, and very naturally, the British resented this, to say 
 the least, indiscreet act. This Beanes-Dorsey family tradition is 
 given here for all it is worth, but if correct, then it would be a singular 
 coincidence that an English drinking song called "To Anacreon in 
 Heaven" furnished the melody for a poem which had its root in 
 an event inspired by Bacchus. Indeed Dr. Beanes and his friends 
 might have been voicing their sentiments " to Anacreon in Heaven." 
 
 Different is the account written by Mr. F. S. Key Smith for the 
 Republic Magazine, 1908, April, pages 10-20, on "Fort McHenry 
 and the Star-Spangled Banner." According to Mr. Smith, a party 
 of maraudmg stragglers came into the doctor's garden and intruded 
 themselves upon him and his little company. "Elated over their 
 supposed victor}' of the day previous, of which the Doctor and his 
 friends had heard nothing," says Mr. Smith, "they were boisterous, 
 disorderly, and insolent, and upon being ordered to leave the prem- 
 ises became threatening. Whereupon, at the instance of Doctor 
 Beanes and his friends, they were arrested by the town authorities 
 and lodged in the Marlborough jail." 
 
 This version, too, is quoted here for all it is worth; but it should 
 be noted that throughout this article, dealing elaborately only with 
 the political history of Key's poem, Mr. Smith is conspicuously silent 
 about his authorities, thus preventing critical readers from accepting 
 his statements without skepticism. A case in point is his continua- 
 tion of Chief Justice Taney's narrative: 
 
 He [Judge Nicholson, also Key's brother-in-law] took it [what Mr. Smith calls 
 "the first complete draft of the song"] to the printing office of Captain Benjamin 
 Edes on North Street near the comer of Baltimore street, but the Captain not 
 ha\dng returned from duty with the Twenty-Sixth Maryland Regiment, his oflBce 
 was closed, and Judge Nicholson proceeded to the newspaper office of the Balti- 
 more American and Commercial Daily Advertiser, where the words were set in 
 type by Samuel Sands, an apprentice at the time, but who in later life became 
 associated with Colonel Skinner in the editing and publishing of the American 
 Farmer, the first agricultural paper published in the United States and possibly 
 in the world. Copies of the song were struck off in handbUl form, and promis- 
 cously distributed on the street. Catching with popular favor like prairie fire it 
 spread in every direction, was read and discussed, until, in less than an hour, 
 the news was all over the city. Picked up by a crowd assembled about Captain 
 McCauley's tavern, next to the Holliday Street Theater, where two brothers Charles 
 and Ferdinand Durang, musicians and actors, were stopping, the latter mounted a 
 chair, and rendered it in fine style to a large assemblage. 
 
 On the evening of the same day that Mr. Charles [!!] Durang first sang " The Star 
 Spangled Banner," it was again rendered upon the stage of the Holliday Street Theater 
 by an actress, and the theater is said to have gained thereby a national reputation. 
 In less than a week it had reached New Orleans [!] and was publicly played by a 
 military band, and shortly thereafter was heard in nearly, if not all, the principal 
 cities and towns throughout the country . . . 
 
 On March 28, 1911, Mr. Smith pubUshed an attractive book under 
 the title "Francis Scott Key. Author of the Star Spangled Banner, 
 
''The Star Spangled Banner" 71 
 
 "What else he was and who. By F. S. Key-Smith, Esq." Again Mr. 
 Smith was conspicuously silent about his authorities in the matter 
 of the disputed points here under discussion, but it is interesting to 
 note that ^Ir. Smith quietly changed the words itaUcized by me above 
 hi the quotation from ^Mr. Smith's article of 1908 to read, \\dth addi- 
 tions and omissions, in his book of 1911, as follows: 
 
 Picked up by a crowd of soldiers assembled, some accounts put it about Captain 
 McCauley's tavern, next to the Holiday-Street Theater others have it around their 
 tents on the out-skirts of the city [NB. the omission], Ferdinand Durang, a musi- 
 cian, adapted the words to the old tune of " Anacreon in Heaven," and, mounting 
 a chair, rendered it in fine style. [NB. the omission] 
 
 On the evening of the same day [NB. the omission] it was again rendered . . . 
 [same as in 1908] In about a fortnight [N. B. the difference] it had reached New 
 Orleans . . . [same as in 1908] 
 
 Inconsistencies Uke these illustrate glaringly the necessity of 
 reference in historical work to the author's sources, whether they be 
 original manuscripts in his possession or what not. Such references 
 can be made even in magazine articles unobtrusively, with just a 
 modicum of literary skiU, and without the cumbersome apparatus of 
 legal articles. It is the duty of the would-be historian to record his 
 "authorities" of his own accord and in the j^roper place, and not to 
 wait for the critics to ring his door bell. Otherwise, the absence of 
 ** authorities" from disputed points of historical narrative will prompt 
 even an impartially inclined but sceptical reviewer to call accounts 
 like the above "merely the hastily concocted and uncritically diluted 
 essence of previous articles, including that by Taney," as I did in my 
 ' ' Report " of 1909. To this severe criticism Mr. Smith quite naturally 
 took offence in letters addressed to me and to the Librarian of Con- 
 gress on March 3, 1911, claiming that liis account had been based on 
 an "original manuscript in his possession," the nature of which ^Mr. 
 Smith disclosed neither in his letters nor in his book. Notwith- 
 standing this "original manuscript," ^Ir. Smith, as is shown above, 
 found himseK obUged in his book of 1911 to contradict his article of 
 1908 as soon as he reached the points here under discussion. The 
 more reason, it would seem to me, to have disclosed unasked the 
 nature and authenticity of this manuscript. Moreover, in itself, no 
 "origmal manuscript" has any standing in a court of historical 
 inquiry, unless the contents of the manuscript successfully resist 
 critical pressure. 
 
 To his article of 1908, so far as it concerns us here, Mr. Smith added 
 a quotation from the same letter by wSamuel Sands, which will be 
 presently quoted by me, some remarks about the flag that inspired 
 Francis Scott Key and this reference to the "Report" of 1909: 
 
 The accuracy of the version herein given of the arrest of Dr. Beans, as well as 
 the statements that Samuel Sands first set the words of the Star Spangled Banner 
 in type, seems to be questioned by Oscar George Theodore Sonneck ... It 
 
72 ''The Star Spangled Banner" 
 
 would appear that he prefers to accept the verBion . . . [follows the Beans- 
 Dorsey family tradition, with comment] ... As for the statement that Mr. 
 Sands first set the song in t>-pe, his own letter, herein published ... is a suf- 
 ficient justification and, it is submitted, better evidence than the claims of 
 friends and descendants of others anxious to gain some share in the honor con- 
 nected with writing and publishing the National Anthem. It is most unfortunate 
 that such errors should appear in a publication bearing the official stamp of our 
 Government . 
 
 From ''seems to be questioned" to "such errors" is a rather abrupt 
 step. Mr. Smith is challenged to point out a single statement in the 
 "Report" of 1909 which would justify him in claiming that I favored 
 one version of the Dr. Beans episode as against the others. He is 
 further challenged to point out where I questioned the accuracy of 
 the statement that Samuel Sands first set the words of "The Star- 
 Spangled Banner" in type." Finally, it may interest Mr. Smith to 
 know, as it may others, that the United States officially is still without 
 a national anthem. True, the Army and ]Savy use "The Star- 
 Spangled Banner" officially. True, also, that the majority of our 
 people seem to favor and to use "The Star-Spangled Banner" on 
 patriotic occasions; but it is also true that as yet, at the date of writing, 
 the United States has not officially, through its Representatives in 
 Congress, designated "The Star-Spangled Banner" or any other of our 
 national songs as '^the national anthem." ^ 
 
 In the following no attempt will be made to dissect or even pay 
 much attention to the second-hand compilations from original sources, 
 no matter how spirited or otherwise attractive they may be. 
 
 One C. D., in the Historical Magazine of 1864, volume 8, pages 347- 
 348, has this to say: 
 
 One of your correspondents inquires in what form the song of the Star Spangled 
 Banner was first printed. I think that in the History of the Philadelphia Stage 
 you will find that subject clearly explained. The song was first printed and put 
 
 a On p. 29-31 of my "Report" (now p. 85-88) I refuted Preble's assumption that 
 Samuel Sands set the elaborate broadside fac-similed by Dielman, therewith proving 
 that it was the other broadside which Sands set up in type. Mr. Smith apparently 
 did not notice this distinction. 
 
 ?> In the House of Representatives, January 30, 1913, Mr. Jefferson M. Levy intro- 
 duced the following joint resolution [H. J. Res. 391, 62d Congress, 3d Session]; which 
 was referred to the Committee on the Judiciary and ordered to be printed: 
 
 Joint resolution recognizing "The Star- Spangled Banner" as the official anthem of the United States of 
 
 America. 
 
 Resolved by the Senate and House of Representatives of the United States of America in Congress assembled. 
 That on and after the passage of this resolution "The Star-Spangled Banner" shall be recognized as the 
 oflBcial anthem of the United States of America. 
 
 Sec. 2. Thatwhenever " The Star-Spangled Banner" is played on any occasionat any public place where 
 persons belonging to any branch of the Government sarvice are present they will stand at attention, and 
 all other citizens wDl stand, such positions being retained until the last note of " The Star-Spangled 
 Banner." 
 
 The clerk of the Judiciary Committee informed us on November 13, 1913, and again 
 on March 18, 1914, that no further action had been taken. 
 
''The Star Spangled Banner" 73 
 
 upon the press by Captain Edes, of Baltimore, who belonged to Colonel Long's 
 Twenty-seventh Regiment of militia. He kept his printing office at the corner 
 of Baltimore and Gay Streets. It was given him by the author, Mr. Key, of 
 Washington, in its amended form, after the battle of North Point, about the 
 latter end of September, 1814. Tlie original draft, with its interlineations and 
 amendatory erasures, etc., was purchased by the late Gen. George Keim, of 
 Reading, and I suppose his heirs have it now. It was printed on a small piece 
 of paper in the style of our old ballads that were wont to be hawked about the 
 streets in days of yore. It was first sung by about twenty volunteer soldiers in 
 front of the Holliday Street Theater, who used to congregate at the adjoining 
 tavern to get their early mint juleps. Ben. Edes brought it round to them on 
 one of those libating mornings or matinees. I was one of the group. My brother 
 sang it. We all formed the chorus. This is its history . . . 
 
 The reference to the History of the Philadelphia Stage and to 
 "my brother" immediately implies the identity of this C. D. with 
 Charles Durang, brother of Ferdinand Durang (both actors), and 
 joint author, or, rather, editor, of his father John's History of the 
 Philadelphia Stage, published serially in the Philadelphia Sunday 
 Dispatch, 1854-55. Consequently we have here the (unfortunately 
 not very accurate) testimony of a contemporary earwitness. A 
 few years later, in 1867, Col. John L. Warner read before the Penn- 
 sylvania Historical Society a paper on "The origin of the American 
 national anthem called The Star-Spangled Banner," and this paper 
 was printed in the Historical Magazine, 1867, Volume II, pages 
 279-280, As will be seen from the following quotation, it does not 
 contradict Charles Durang's account, but merely supplements it. 
 Says Col. Warner: 
 
 It was first sung when fresh from his [Capt. Benjamin Edes!] press, at a small 
 frame one-story house, occupied as a tavern next to the Iloliday Street Theatre. 
 
 This tavern had long been kept by the widow Berling, and then by a Col. 
 MacConkey, a house where the players "most did congregate," with the quid 
 nuncs of that day, to do honor to, and to prepare for, the daily military drills in 
 Gay Street (for every able man was then a soldier); and here came, also, Capt. 
 Benjamin Edes, of the Twenty-seventh Regiment; Captain Long and Captain 
 Thomas Warner, of the Thirty-ninth Regiment; and Major Frailey. Warner was 
 a silversmith of good repute in that neighborhood. 
 
 It was the latter end of September, 1814, when a lot of the young volunteer 
 defenders of the Monumental City were thus assembled. Captain Edes and Cap- 
 tain Thomas Warner came early along one morning and forthwith called the group 
 (quite merry with the British defeat) to order, to listen to a patriotic song wliich 
 the former had just struck off at his press. He then read it to all the young 
 volunteers there assembled, who greeted each verse with hearty shouts. It was 
 then suggested that it should be sung; but who was able to sing it? Ferdinand 
 Durang, who was a soldier in the cause and known to ])e a Aocalist, being among 
 the group, was a.ssigned the task of vocalising this truly inspired patriotic hymn 
 of the lamented Key. The old air of "Anacreon in Heaven" had been adapted 
 to it by the author, and Mr. Edes was desired so to print it on the top of the ballad. 
 
 Its solemn melody and impressive notes seem naturally allied to the poetry, 
 and speak emphatically the musical taste and judgment of Mr. Key. Ferdinand 
 Durang mounted an old-fashioned rush-bottomed chair, and sang this admirable 
 
74 ''The Star Spangled Banner '* 
 
 national song for the first time in our Union, the chorus to each verse being re- 
 echoed by those present with infinite harmony of voices. It was thus sung 
 several times during the morning. When the theater was opened by Warren 
 and Wood, it was sung nightly, after the play, by Paddy McFarland and the 
 company. 
 
 So far the historian would have plain sailing, but his troubles begin 
 with an article written for Harper's Magazine, 1871, volume 43, pages 
 254-258, by IVirs. Nellie Eyster, as appears from the printed index. 
 Under the title of "The Star-Spangled Banner: An hour with an 
 octogenarian," she reports an interview held on November 20, 1870, 
 with Mr. Hendon, of Frederick, Md., who knew Francis Scott Key 
 personally as a boy and who moved in 1809 to Lancaster, Pa., whence 
 hoth. the Durangs hailed. Together with Charles and Ferdinand 
 Durang he belonged to the Pennsylvania Volunteer Militia, which on 
 August 1, 1814, left Harrisburg in defense of Baltimore, but, remem- 
 bers Mr, Hendon, they "marched to the seat of war three days after 
 the battle had been won," and with special reference to the defense of 
 Fort McHenry he "was chafing like a caged tiger because [he] was not 
 in it." He further says that " they remained upon Gallows Hill, near 
 Baltimore, for three months, daily waiting for an enemy that never 
 came. Then, for the first time since leaving York [Pa.], [they] took 
 breathing time and looked about for amusement." Follows what 
 Admiral George Henry Preble called a more fanciful version than 
 Warner's account when he copied Mr. Hendon's words for a foot- 
 note (p. 494) in the chapter on "Our National Songs" (pp. 490-511) 
 in the first edition (Albany, 1872) of his industrious and popular 
 compilation, Our Flag: 
 
 "Have you heard Francis Key's poem?" said one of our men, coming in one 
 evening, as we lay scattered over the green hill near the captain's marquee. It 
 was a rude copy, and written in a scrawl which Horace Greeley might have mis- 
 taken for his own. He read it aloud, once, twice, three times, until the entire 
 division seemed electrified by its pathetic eloquence. 
 
 An idea seized Ferd. Durang. Hunting up a volume of flute music, which 
 was in somebody's tent, he impatiently whistled snatches of tune after tune, 
 just as they caught his quick eye. One, called " Anacreon in Heaven," (I have 
 played it often for it was in my book that he found it), struck his fancy and 
 riveted his attention. Note after note fell from his puckered lips until, with a 
 leap and shout, he exclaimed "Boys, I've hit it!" and fitting the tune to the 
 words, they sang out for the first time the song of the Star-Spangled Banner. 
 How the men shouted and clapped, for never was there a wedding of poetry to 
 music made under such inspiring influences! Getting a brief furlough, the 
 brothers [!!] sang it in public soon after . . . 
 
 In the second edition of his work (1880), then called History of 
 the Flag of the United States of America, Admiral Preble reprinted 
 this fanciful story, together with the Charles Durang and Col. Warner 
 account, but again without the slightest attempt at critical com- 
 parison and apparently without noticing that we do not have to 
 
''The Star Spangled Banner" 75 
 
 deal here with more or less fanciful differences, but with reminiscent 
 accounts that exclude each other. What subsequent writers con- 
 tributed in this vein to the literature on "The Star-Spangled Ban- 
 ner" may be disregarded, since they merely paraphrased with more 
 or less accuracy what they found in Preble or in his sources, as, for 
 instance, when one writer in the American Historical Record, 1873, 
 volume 2, pages 24-25, carelessly mentions Charles instead of Ferdi- 
 nand Durang as the first singer of "The Star-Spangled Banner." 
 However, a belated version with fanciful variations of the main 
 theme should be noticed, as it was printed some time in 1897 in the 
 Philadelphia Ledger and from there reprinted in substance in the 
 Iowa Historical Record, July, 1897, page 144. According to this, 
 "the second day after the words were written, Ferdinand Durang 
 was rummaging in his trunk in a tavern in Baltimore, where he had 
 his baggage, for music to suit the words, and finally selected that of 
 'Anacreon in Heaven.' By the time he had sung the third verse, in 
 trying the music to the words, the little tavern was full of people, 
 who spontaneously joined in the chorus. The company was soon 
 joined by the author of the words, Francis Scott Key, to whom the 
 tune was submitted for approval, who also took up the refrain of the 
 chorus, thus indorsing the music. A few nights afterward 'The Star- 
 Spangled Banner' being called for by the audience at the Holliday 
 Street Theater, in Baltimore, Ferdinand Durang sang it from the 
 stage. Durang died in New York in 1832. Durang had a brother, 
 Charles, also a soldier in the 'Blues,' who was likewise an actor, who 
 died in Philadelphia in 1875. . . ." 
 
 That to Ferdinand Durang belongs the honor of having first sung 
 Key's poem is unanimously asserted (except by those who confuse 
 him with his brother Charles), but it remains an open question when 
 and where he might so have done. On this point the two earwit- 
 nesses, Charles Durang and Mr. Hendon, disagree. Accordmg to the 
 reminiscences of the latter, the event must have happened at least 
 three months after September 14 in camp on Gallows Hill near Bal- 
 timore. Now, it has already been mentioned that the brief account of 
 the circumstances leading to the writing of Key's poem prmted in 
 the Baltimore Patriot on September 20, preceded the full text of 
 the poem under the heading "Defence of Fort M'Henry" with the 
 remark ''Tune: Anacreon in Heaven." It may be that Mr. Hendon 
 heard Ferdinand Durang smg the hynm in camp after September 20, 
 but it stands to reason that at least as early as September 20 other 
 vocally inclined readers of the Baltimore Patriot enjoyed the com- 
 bination of Key's "Defence of Fort M'Henry," and the tune "To 
 Anacreon in Heaven." If we possessed no other contemporary evi- 
 dence, Ferdinand Durang's claims would rest upon very shaky 
 grounds indeed, nor is the rest of Mr. Hendon's story at all of a nature 
 
76 "The Star Spangled Banner" 
 
 as to inspire reliance upon his memory. Mr, Elson in his ' ' National 
 Music of America" (p. 202) bluntly expressed his suspicion to the 
 effect that "never was a bolder or more fantastical claim set up in 
 musical history," and every musician will agree with him that the 
 "puckered lips" and the frantic hunt for a suitable tune in a volume 
 of flute music is sheer journalistic nonsense, which verdict applies 
 also to the Philadelphia Ledger account. And his hunt for a melody 
 happened three months after the tune, with which the words were to 
 keep company, had been publicly announced! 
 
 The suspicious character of Mr. Hendon's long-distance reminis- 
 cences leaves those of Charles Durang to stand on their own merits, 
 but unfortunately they do not help us in fixing the exact date of the 
 first performance of "The Star-Spangled Banner." Charles Durang 
 merely remembered having been one of the chorus when his brother 
 Ferdinand and about twenty volunteer soldiers who used to con- 
 gregate at the adjoining tavern in the morning first sang the song 
 after Benj. Edes brought it round to them on oTie of those libating 
 mornings. This may have been the morning of September 15, when 
 Samuel Sands, the apprentice, is popularly supposed to have set 
 the poem as a broadside, or any other morning, including a morning 
 after September 20, when the poem had appeared with indication of 
 the tune in the Baltimore Patriot, Nor is Col. Warner's account, 
 who perhaps was a descendant of Capt, Thomas Warner, which pos- 
 sibility would give his account the strength of a family tradition, 
 more expUcit on this point. At this tavern, it being a southern Sep- 
 tember morning, may mean practically the same as in Charles Du- 
 rang's version, in front of the adjoining Holliday Street Theater. 
 There Capt. Edes, in company of Capt. Thomas Warner, is said to 
 have called the attention of the group of volunteers "to a patriotic 
 song which [he] had just struck off at his press," Consequently, 
 neither Durang nor Warner substantiate the popular version that 
 Ferdinand Durang sang "The Star-Spangled Banner" for the first 
 time on September 15, 1814. Nor do they even substantiate the 
 frequently accepted story that the broadside was struck off Edes's 
 press [from which it was not struck off at all] on September 15! 
 Indeed, not even Key-Taney's report: "Judge Nicholson , . . im- 
 mediately sent it [the manuscript] to a printer, and directed copies 
 to be struck off in hand-bill form," necessarily impUes the conclusion 
 that they were struck off on the morning of September 15, At any 
 rate, the story that Key's poem was taken to a printer, set as a 
 broadside, distributed about town, read, discussed, sung with great 
 gusto, etc, and all this on the morning of September 15, 1814, belongs 
 to the realm of unwholesome historical fiction! 
 
 On the evening of September 15 "The Star-Spangled Banner," 
 says Mr, F, S. Key Smith, was "rendered upon the stage of the 
 
"The Star Spangled Banner" 77 
 
 HoUiday Street Theater by an actress." Also Ferdmand Durang is 
 mentioned in this connection by some writers, and others proffer 
 other names. What are the facts ? In the first place, the suspicions 
 of the historians should have been aroused by the observation that 
 the actor-manager. Wood, in his autobiography does not mention 
 any theatrical performances at Baltimore in September, 1814. In 
 the second place, if they had consulted the Baltimore papers of that 
 period, such as the Federal Gazette, Baltimore Patriot, Baltimore 
 American — none of which was published, by the way, by Benjamin 
 Edes! — they would have found no theatrical performances announced 
 in September, 1814, at all, but they would have found a notice in 
 the Federal Gazette, September 20, to the effect that "about 600 
 Pennsylvania troops arrived yesterday," among them a Lancaster 
 company, apparently the very militia troops to which Ferdinand 
 Durang belonged. Not only this, the historians would further have 
 found from the same source that the theater was not opened until 
 Odoher 12, I8I4. No reference to "The Star-Spangled Banner" 
 appears in the announcements of this evening or of the benefit per- 
 formance on October 14 "to aid the fund for the defense of the 
 city," unless hidden away on the benefit program as "a patriotic 
 epilogue by Mrs. Mason." On this evening Ferdinand Durang did 
 appear — dancing a "military hornpipe." With a little patience the 
 historians at last would have found in the announcement of the' 
 historical play "Count Benyowski" for Wednesday evening, Octo- 
 ber 19, 1814 (in the Baltimore American appears October 15 as a 
 misprint), the following lines, which at last shed the light of fact on 
 the whole matter : 
 
 After the play, Mr. Harding [the Federal Gazette spells the name Hardinge] 
 will sing a much admired Neiv Song, -written by a gentleman of Maryland, in 
 commemoration of the gallant Defense op Fort M'Henry, called, The Star- 
 Spangled Banner. . . . 
 
 The rather immaterial question of whether or not and when and 
 where Ferdinand Durang possibly sang "The Star-Spangled Banner" 
 for the first time leads up to the much more important question: 
 How came the tune of "To Anacreon in Heaven," and no other, to be 
 wedded to Key's poem? Chief Justice Taney, as anybody can see 
 and as all should have seen before rushing into print vnih their 
 stories, is absolute^ silent on this point. So is Charles Durang. 
 Col. Warner says: 
 
 The old air of Anacreon in Ueaven had been adapted to it by the author, and Mr. 
 Edes was desired so to print it on to the top of the ballad. 
 
 The most reliable reports, therefore, do not mention Ferdinand 
 Durang at all in this connection. He figures as musical godfather 
 to "The Star-Spangled Banner" in the journalistic reports only and 
 under rather suspicious circumstances. However, there exists 
 
78 ''The Star Spangled Banner" 
 
 another and different version. Mrs. Rebecca Lloyd Shippen, of 
 Baltimore, a granddaughter of Judge Joseph Hopper Nicholson and 
 a greatniece of Francis Scott Key, contributed to the Pennsylvania 
 Magazine of History and Biography, 1901-2, volume 25, pages 427- 
 428, an article on "The original manuscript of The Star-Spangled 
 Banner," of which more will have to be said further on. In this 
 article we read : 
 
 Judge Nicholson wrote a little piece that appears at the heading of the lines, 
 above which he also wrote the name of the tune "Anacreon in Heaven" — a tune 
 which Mrs. Charles Howard, the daughter of Francis Scott Key, told me was a 
 common one at that day — and Judge Nicholson, being a musician among his 
 other accomplishments and something of a poet, no doubt took but a few minutes 
 to see that the lines given him by Francis Scott Key could be simg to that tune, 
 and, in all haste to give the lines as a song to the public, he thus marked it. I 
 possess this rare original manuscript, kept carefully folded by his wife, Rebecca 
 Lloyd Nicholson, and taken from her private papers by myself [Mrs. Shippen] 
 Eind framed. 
 
 Judge Nicholson's part in the history of "The Star-Spangled Ban- 
 ner" was narrated in substantially the same manner in editorial foot- 
 notes to an article on "The Star-Spangled Banner " written by 
 Mrs. Shippen for the Pennsylvania Magazine of History and Biog- 
 raphy, 1898-99, volume 22, pages 321-325, and similar to Taney's 
 version. It foUows that the editor was either inspired by Mrs. 
 Shippen or Mrs. Shippen by the editor. Careful reading of this par- 
 ticular part of the article implies that we do not have to face here 
 strictly contemporary evidence. Waiving aside for the present some 
 doubts as to the accuracy of the story as quoted above, the main 
 contention appears to be that Judge Nicholson supplied the tune. 
 Light is shed on the whole matter by the history of the tune "To 
 Anacreon in Heaven" in England and America investigated in the 
 preceding pages. 
 
 The summary there given of publications of "To Anacreon in 
 Heaven" was not intended as an exhaustive attempt to trace the 
 tune "To Anacreon in Heaven" in early American song publications, 
 but merely to prove and to corroborate bj^ facts that "the tune was 
 a common one at that day" in America, as Francis Scott Key's own 
 daughter, Mrs. Howard, told Mrs. Shippen. 
 
 We have some further contemporary evidence in this communi- 
 cation sent by Mr. Charles V. Hagner to the American Historical 
 Record, 1873, volume 2, page 129: 
 
 At the time it was written by Mr. Key, during the attack on Fort McHenrj', 
 Sept., 1814, there was a very popular and fashionable new song in vogue, viz: 
 "To Anacreon in Heaven," every one who could sing seemed to be singing it. 
 The writer of this was at the time (Sept., 1814), one of some three to four thou- 
 sand men composing the advance Light Brigade, chiefly volunteers from Phila- 
 delphia, under the command of General John Cadwalader, then encamped in 
 the State of Delaware. In the evenings before tattoo, many of the men would 
 assemble in squads and sing this song, hundreds joining in the chorus. Mr. 
 Key must have caught the infection and adapted his words to the same air. 
 
'^The Star Spangled Banner" 79 
 
 Francis Scott Key simply can not have escaped ''To Anacreon in 
 Heaven" ! Indeed so common was the tune that, after Thomas Paine 
 had set the example with his "Adams and Liberty, " the music and the 
 rather involved form and meter of "To Anacreon in Heaven" were 
 adopted as standards by poetically inclined patriots. This historical 
 fact apphes with all its force to Francis Scott Key. The form and 
 meter of "To Anacreon in Heaven," "Adams and Liberty," and 
 "The Star-Spangled Banner" are practically the same, as the juxta- 
 position of the first stanza will prove, if such proof be necessary. 
 
 TO ANACREON IN HEAVEN. 
 
 To Anacreon in heaven, where he sat in full glee, 
 
 A few sons of Harmony sent a petition, 
 That he their inspirer and patron would be. 
 
 When this answer arrived from the jolly old Grecian: 
 "Voice, fiddle, and flute, 
 "No longer be mute, 
 "I'll lend ye my name, and inspire ye to boot: 
 
 "And besides, I'll instruct you, like me, to entwine 
 "The myrtle of Venus with Bacchus's vine. " 
 
 THE STAR-SPANGLED BANNER. 
 
 O say, can you see by the dawn's early light, 
 
 What so proudly we hailed at the twilight's last gleaming? 
 Whose broad stripes and bright stars through the perilous fight. 
 O'er the ramparts we watched, were so gallantly streaming! 
 And the rocket's red glare, 
 The bombs bursting in air 
 Gave proof through the night that our flag was still there; 
 O say, does that star-spangled banner yet wave 
 O'er the land of the free and the home of the brave? 
 
 It is absurd to think that any poetically inclined patriot of those 
 days hke Key on the spur of the moment could have set himself to 
 writing a poem of such involved meter and peculiar form as his is 
 without consciously or unconsciously using a model. It is equally 
 absurd under the circumstances to believe any story, tradition, or 
 anecdote from whatever source to the effect that others, with more or 
 less difficulty, suppUed a tune which fits the words almost more 
 smoothly than does John Stafford Smith's air the Anacreontic text 
 of Ralph Tomlinson. Internal evidence proves that Francis Scott 
 Key, when his imagination took fire from the bombardment of Fort 
 McHenry, had either the meter and form of the words or words and 
 air of "To Anacreon in Heaven" or one of its American offshoots in 
 mind as a scaffold. If this be now taken for granted, two possibiUties 
 offer themselves: First, Key wrote his inspired lines as a poem with- 
 out anticipating its musical use. When shortly afterwards a desire 
 was felt to sing his poem, the identity of poetic meter and form of 
 both poems necessarily, and, as it were, automatically, suggested to 
 
80 "The Star Spangled Banner" 
 
 Key Mmself or any other person of culture the air of "To Anacreon 
 m Heaven." The second possibiUty is that Key did anticipate the 
 musical possibilities of his poem and intended it as a song to be sung. 
 In that case the fact, as will be seen, that his so-called original 
 manuscript does not contain any indication of the tune may be 
 explained by assuming that Key, very much like the editor of the 
 American Songster, Baltimore (1800), considered it unnecessary to 
 mention what was self-evident to him as the author. Col. Warner's 
 statement that "The old air of 'Anacreon in Heaven' had been 
 adapted to it [the poem] by the author" seems to approach the 
 truth, though if a very fine distinction were to be made we should 
 rather say that the poem was adapted by the author to one of the 
 then current poetic mates of the old air "To Anacreon in Heaven." 
 The first possibihty is really the more plausible in view of what Mr. 
 W. U. Hensel, Lancaster, Pa., wrote me under date of March 10, 1910: 
 
 ... I believe, however, that you have fallen into a misapprehension as to 
 the likelihood of Key having had in his miad and memory the air of "To Anacreon 
 in Heaven." I doubt whe>-her Key knew enough about music to carry any air 
 in his mind. You no doubt have access to the files of the [Philadelphia] Press 
 in the National Library, and you may be interested to know upon the authority 
 of his immediate relatives that I said in my article [Aug. 1, 1881, on Key's early 
 poetry]: Whatever the merits of its composition, it was a matter of little concern 
 to its author. Inclined as he was to rhythmical expression of his fancies he had 
 an ignorance of musical composition that would be utterly inconceivable if it 
 were not, by a most remarkable illustration of the law of heredity' made plain 
 in the case of some of his descendants. He could not tell one tune from another. 
 Old Hundred, Yankee Doodle, HaU Columbia, and the Star-Spangled Banner 
 were entirely undistinguishable to the ear of Francis Scott Key. Upon the occa- 
 sion of the visit to Tuscaloosa, before referred to, he was serenaded, and the local 
 band naturally played the music of his famous song. To the great astonishment 
 and amusement of the gentlemen about him, he innocently remarked that "it 
 was a pretty air," densely ignorant of the tune they were playing. A daughter 
 iaherited the same lack of musical aptitude and her daughter, in turn; and now, 
 in the fourth generation, a great-granddaughter of the author of the S tar-Spangled 
 Banner has vainly tried for years to accomplish enough musical knowledge to 
 know that tune when it is played. 
 
 Even if literally true, this entertaining bit of information would 
 not affect the substance of my argument. I am not claiming that 
 Key must have had in his mind and memory the music of the air of 
 "To Anacreon in Heaven." Even if Key had been absolutely deaf 
 and not merely tone-deaf, it was but necessary for him or one of 
 his associates to have in mind and memory the name of the air that 
 was generally sung to patriotic songs in the uncommon meter of 
 Key's poem. If Francis Scott Key was so unmusical that he did not 
 even consider the possibility of singing his poem (which, like hun- 
 dreds of other patriotic poems, would probably have died a natural 
 death without the preserving power of music) not so Judge Nicholson. 
 
"The Star Spangled Banner'' 81 
 
 He was a "musician and something of a poet," so his granddaughter 
 infonned us: I therefore think that her view of the matter is abso- 
 lutely correct — provided that Key himself did not propose the tune 
 of "To Anacreon in Heaven," or any of its then current American 
 equivalents — if she says: 
 
 Judge Nicholson ... no doubt took but a few minutes to see that the lines 
 
 given him by Francis Scott Key could be sung to that tune, and, in all haste 
 
 to give the lines as a song to the public, he thus marked it. 
 
 Whether or not he really thus marked Key's mamiscri'pt is imma- 
 terial, but the really noteworthy fact appears to be that perhaps 
 "The Star-Spangled Banner" owes as much of its popularity to its 
 musically cultured press agent, Judge Joseph Hopper Nicholson, as to 
 its possibly unmusical author Francis Scott Key. 
 
 Finally an account deserves to be reprinted here in part, because 
 it mentioned the person who set Key's poem in type, though otherwise 
 the lines quoted are not overly accurate, as the reader of the Taney 
 letter wiU notice. It appeared in the Baltimore American on Sep- 
 tember 12, 1872, together with a reprint of the article, etc., of 
 September 21, 1814, and reads in part: 
 
 We have placed at the head of this article this now immortal national song 
 just as it first [incorrect; this honor belongs, as was seen, to the Baltimore Patriot] 
 saw the light in print fifty-eight years ago . . . This song, as the form in which 
 it is given shows, was published anonymously. The poet, P'rancis Scott Key, 
 was too modest to announce himself, and it was some time after its appearance 
 that he became known as its author. . . . Mr. Skinner chanced to meet Mr. 
 Key on the flag-of-truce boat, obtained from him a copy of his song, and he fur- 
 nished the manuscript to "The American" after the fight was over. It was at 
 once put in type and published. It was also printed in slips and extensively 
 circulated. The "printer's boy," then employed in the office of "The Ameri- 
 can," who put this song in type, survives in full vigor, our respected friend, the 
 editor and publisher of the "American Farmer," Samuel Sands, Esq. 
 
 Fortunately the facts, as recollected by liim, have been narrated 
 by Mr. Samuel Sands himself in a letter written under date of January 
 1, 1877, from the office of the American Farmer to Gen. Brantz Mayer. 
 Mr. John T. Loomis of the firm of W. H. Lowdermilk & Co., Wash- 
 ington, D. C, in 1910 kindly gave me access to this very long but 
 very interesting letter and permission to quote the following for my 
 purposes. Mr, Sands tells the general that he takes the earliest 
 opportmiity of giving "a statement of my recollections and impres- 
 sions of the participation I had in the promulgation of the original 
 copy of our great national song, the Star-Spangled Banner." Pre- 
 viously, he says, he had given sundry items to the editor of the 
 Baltimore American for "the centennial edition of the paper," 
 also, he beUeved, to Col. Scharff for his chronicles of Baltunorc, and 
 more recently, in June, 1874, had printed in the American Farmer a 
 24115°— 14 6 
 
82 "The Star Spangled Banner" 
 
 more detailed account. Follows an introductory historical narra- 
 tive based on Taney's letter and remarks on the military quarters 
 of the "citizen soldiers," mostly from Baltimore, "upon Louden- 
 slagers Hill, just eastward of the city borders." Sands then con- 
 tinues : 
 
 'V^Tiilst thus located, Mr. Thos. Murphy, one of the members of Capt. Aisquith's 
 First Baltimore Sharp Shooters, obtained leave of absence, and returned to the 
 city, and again opened the counting room of the American which with all the other 
 newspapers of the day, had suspended publication for the time being, the editors, 
 journeymen, and apprentices able to bear arms being in the military service. 
 According to the best of my recollection I was the only one belonging to the 
 printing office that was left who was not in the military service; being then but 
 fourteen years of age, and not capable of bearing arms, I whiled away the time 
 during the suspense of the invasion in looking after the office and in occasional 
 visits to the *'boys" at the entrenchments. After Mr. Murphy's return, the manu- 
 script copy of the song was brought to the office — I always had the impression 
 that Mr. John S. Skinner brought it, but I never so stated it as a fact, for I had 
 no proof thereof, but it was a mere idea and I never considered it of sufficient im- 
 portance to make inquiry upon the subject from my old and valued friend, Mr. 
 Murphy, or from Mr. Skinner, who was subsequently engaged with me in the 
 editing of my farm journal and who was the founder thereof — but the letter of 
 Judge Taney alluded to above, proves that I was mistaken in that matter — 
 Mr. Skinner was a cartel agent for our Government in its intercourse with the 
 British fleet in our Bay and I took up the impression that he on his return from 
 the fleet had brought from Mr. Key the manuscript, but Judge Taney gives the 
 particulars of the examination and copying of the song, in this city, by Judge 
 Nicholson and Mr. Key, and remarks that one of these gentlemen took it to the 
 printers. 
 
 When it was brought up to the printing office my impression is, and ever has 
 been, that I was the only one of those belonging to the establishment who was 
 on hand, and that it was put in type and what the printers call "galley proofs" 
 were struck off previous to the renewal of the publication of this paper, and it 
 may be and probably was the case that from one of these proof slips handbills 
 were printed and circulated through the city. 
 
 This is simply all the part which I had in the transaction alluded to. Although 
 the song obtained celebrity in a little time after it was first presented to the world, 
 yet the unimportant and very secondary consideration as to who first printed 
 and issued it was never mooted for probably fifty years thereafter when I was 
 called upon by sundry persons to give my recollections upon the subject which 
 called forth the responses in the several publications alluded to already. 
 
 At the time I put the song in type I was an apprentice in the office of the Balti- 
 more American and lived in the family of Mr. Murphy. . . . 
 
 One of the popular legends is that Key's poem with its music 
 spread like wUdfire beyond Baltimore, and in a short time became 
 a national song. The popular mind seems to consider it a blemish, a 
 reflection on the intrinsic merits of a song (or any other work of art) 
 if it does not obtam immediate popularity, and writers who cater 
 to the tastes and prejudices of the multitude do not hesitate to 
 amputate the facts accordingly. "The Star-Spangled Banner" 
 rather gains than loses in merit if the silly anecdotes of its wildfire 
 
''The Star Spangled Banner" 83 
 
 progress are not heeded, and if we adhere to what is still common 
 knowledge among the older generations, namely, that "The Star- 
 Spangled Banner" was not rushed to the front of our national songs 
 untU the Civil War. Before that time its progress as a national song 
 had been steady, but comparatively slow, as anybody may see who 
 follows its career through the American song collections. This 
 statement in no wise interferes with the fact that Francis Scott Key 
 put it too modestly if he "believed it to have been favorably received 
 by the Baltimore public." His poem unquestionably soon aroused 
 patriotic interest outside of Baltimore. For instance, The Analectic 
 Magazine, Philadelphia, 1814, volume 4, November number, page 433 
 (I, owe this reference to ^Ir. Charles E. Gannon, of Washington, D. C), 
 printed Key's poem and the original historical note together with 
 these significant introductory remarks : 
 
 These lines have been abeady published in several of our newspapers; they 
 may still, however, be new to many of our readers. Besides, we think that their 
 merit entitles them to preservation iu some more permanent form than the columns 
 of a daily paper. 
 
 How Key's poem, originally written without a title, was beginning 
 to gain ground under the name of "The Star-Spangled Banner" is 
 Hhistrated by this advertisement, reprinted from the Washington 
 National Intelligencer, January 6, 1815, in the University Musical 
 Encyclopedia, 1911, Volume U: 
 
 Star Spangled Banner and Ye Seamen op Columbia. — Two favorite patri- 
 otic songs, this day received and for sale by Richard & Mallory, Bridge Street, 
 Georgetown . 
 
 By whom the songs were published and where I do not know, 
 never having seen a copy. From the wording of the advertisement 
 I infer that perhaps these publications were not broadsides of the 
 customary kind, with mere indication of the tune, but music sheets. 
 In that case, the advertised publication may have been the first ap- 
 pearance in print of Key's poem and Smith's air under the title of 
 "The Star-Spangled Banner." 
 
 It would be quite possible to trace with infinite patience the 
 progress of "The Star-Spangled Banner" through the American song 
 collections, but this report hardly calls for such a laborious undertak- 
 ing. However, to illustrate the point raised above, one would find 
 that the text of "The Star-Spangled Banner" appears in such song- 
 sters as The American Songster, New York, n. d.; New American 
 Songster, Philadelphia, 1817; Bird of Birds, New York, 1818; The 
 Star-Spangled Banner, Wilmington, 1816; The Songster's Magazine, 
 New York, 1820; American Naval and Patriotic Songster, Baltimore, 
 1831; but not in such as The Songster's Companion, Brattleborough, 
 Vt., 1815; The Songster's Miscellany, Philadelphia, 1817; The Song- 
 ster's Museum, Hartford, 1826. In other words, 20 years after its 
 
84 '^The Star Spangled Banner" 
 
 conception Key's " Star-Spangle d Banner" was not yet so generally 
 accepted as a national song as to necessitate insertion in every songster. 
 
 Furthermore, no publication of "The Star-Spangled Banner" 
 appears among the songs deposited for copyright in the several dis- 
 trict courts during the years 1819 to 1844 and preserved at the 
 Library of Congress. Unfortunately not aU copyright deposits have 
 been thus preserved, Nevertheless the fact of absence is suggestive, 
 as is the fact that of our 89 school songbooks published in America 
 between 1834 and 1860 and classified as school songbooks in the 
 Library of Congi-ess only 15 include the "Star-Spangled Banner." 
 The two earliest appearances in our school songbooks are in Johnson 
 and Osgood's Normal Song Book, Boston, 1851 (deposited January 
 15, 1852), and in Benjamin and Woodbury's New York Normal 
 School Song Book, 1851 (deposited April 12, 1851). In this it forms 
 No. 12 (the last) of part first of "America. Represented in the form 
 of a juvenile oratorio" (compare Appendix, Plate XX). The second 
 part of this patriotic pasticcio concludes with "Hail Columbia," and 
 it is quite obvious from an examination of these 89 school songbooks 
 that "Hail Columbia" and "America," even the "Marseilles Hymn" 
 interested the compilers more than did "The Star-Spangled Banner." 
 As Plate XXI the reader wiU find in Appendix a facsimile of the 
 "Star-Spangled Banner" as it appears in "Fillmore's New Nightin- 
 gale; or Normal School Singer . . . on a mathematically constructed 
 plan of notation," Cincinnati, 1857. Not less curious is the ver- 
 sion in "buckwheat notes" or "patent notes" in Smith and 
 Ruby's The Vocalist's Pocket Companion, (^ambersburg (''1839), 
 facsimiled on Plate XXII. No earHer dated edition of "The Star- 
 Spangled Banner" for part-song purposes has so far been found in 
 the Library of Congress. It seems to antedate our numerous song- 
 books for "singing classes," "musical conventions," etc., but with 
 its queer notation offeis not half so comical an appearance as the 
 version in Suffern's The Excelsior, Cincinnati, 1862, which presents 
 "The Star-Spangled Banner" with a regular tum-ta-ta, tum-ta-ta 
 waltz accompaniment. 
 
 If the idea should prevail that at least the "singing class" type of 
 songbooks generally included "The Star-Spangled Banner," I am in- 
 clined to disagree. At any rate, the "Star-Spangled Banner" will not 
 be found in such popular songbooks as B. F. Baker's The Philharmonic, 
 1847; A. D. Fillmore's The Universal Musician, 1850; Ch. Jarvis's 
 Yotmg Folk's Glee Book, 1856; W. B. Bradbury's MetropoUtan Glee 
 Book, 1852; Lowell and WilHam Mason's Asoph, 1861; Geo. F. Root's 
 The Coronet, 1865. The plain truth of the matter is that "The Star- 
 Spangled Banner" was slow in gaining popular consideration equal 
 to that accorded to "Hail Columbia" and "America." It took two 
 wars, first the Civil War and, some 30 vears later, the Spanish War, 
 
''The Star Spangled Banner" 85 
 
 to crowd other national songs into the background in favor of ''The 
 Star-Spangled Banner," and that fact, it seems to me, is not quite 
 without significance. As hist illustration (on Plate XXIII-XXIV) 
 will be found in the Appendix, Firth & Hall's edition of "The Star- 
 Spangled Banner." This edition does not appear to have been copy- 
 righted, and therefore the exact date of publication is unknown to me. 
 The ih-m of Firth & Hall, so Mr, Warren Pond, of the old and distin- 
 guished New York music firm of Wm. A. Pond & Co., informed me 
 on December 18, 1913, "started about the year 1821." Our copyright 
 records show that the last copyright entry under Firth & Hall was on 
 September 15, 1845, and the first entry under Firth, Hall & Pond on 
 September 24, 1845. It so happens that our copy bears the stamp 
 of "W. E. Millet's Music Saloon, 375 Broadway, N. Y." According 
 to the city directories. Millet was at this address from 1836-37 to 
 1838-39. From 1839-40 on his address was at 329 Broadway. 
 Obviously, then, the piece must have been pubhshed before 1840. 
 The firm of Firth & Hall was not at 1 Franklin Square before 1832. 
 Hence the years 1832 and 1839 give a rough idea of the age of the 
 piece. At any rate, it is the earhest music sheet ecUtion of "The 
 Star-Spangled Banner" in the Library of Congress, though, peihaps, 
 not the earhest pubhshed in our country." 
 
 Key's poem was accessible to the pubhc as a broadside possibly as 
 early as the morning of September 15, 1814. Here must be quoted 
 what Admiral Preble said on page 725 of the second edition, of his 
 "History of our Flag": 
 
 Tlie song on this broadside was enclosed in an elliptical border composed of 
 the common type ornament of the day. Around that border, and a little distance 
 from it, on a line of the same are the words "Bombardment of Fort McHenry." 
 The letters of these words are wide apart, and each one surrounded by a circle 
 of stars. Below the song and within the ellipsis are the words "Written by 
 Francis S. Key, of Georgetown, D. C." 
 
 This description appUcs to the ''Fac-simile of broadside as the 
 song first appeared in print," contained in L. H. Dielman's pamphlet 
 "The Seventh Star," pubhshed at Baltimore by the board of public 
 works for the Louisiana Purchase Exposition, 1904. Howevei-, it 
 may be pointed out by way of correction that merely the initial " F" 
 and not the full name of Francis is printed, that we read M'Henry, 
 not McHenry, that a rather pretty and effective ornamental outer 
 border follows the shape of the broadside, and that the four corners 
 contain additional ornamental designs. What arouses the curiosity 
 
 a This book was in proof sheets when my attention was drawn to an edition of 
 "The Star-Spangled Banner," published by " Geib & Co., No. 23 Maiden Lane," 
 of New York. From the New York city directories I infer that the piece was pub- 
 Ushed between 1816 and 1825. It is facsimiled in Appendix as Plate XXV, by per- 
 miesion of the Boston Public Library. 
 
86 ''The Star Spangled Banner" 
 
 of the historian most is that Key's authorship is not withheld; that 
 Admiral Preble does not mention this fact at all; that the title 
 of the poem here is ''The Star-Spangled Banner," and that no tune is 
 indicated. 
 
 If Preble's description tallies with a broadside as facsimiled by 
 Dielman, it absolutely differs from " one of those first 'printed handbills" 
 which, so Mrs. Shippen stated in her article, first was in possession of 
 her grandfather, Judge Joseph Hopper Nicholson, then of his wife, 
 after that in Mrs. Shippen's possession, and recently was acquired 
 together with a Star-Spangled Banner autograph by Mr. Henry 
 Walters, of Baltimore. The latter courteously granted permission to 
 examine these treasuies, and I found that his broadside (about 6^ 
 by 5^ inches) is without any ornamental design whatsoever, does not 
 mention Key's name at all, and does not bear any title except "De- 
 fence of Fort M'Henry." (Facsimile deposited in Library of Con- 
 gress as Historical Documents, No. 3, by Mr. J. E. H. Post. Compare 
 Appendix, Plate XV.) This is followed by the same historical 
 note as appeared in the Baltimore Patriot of September 20, 1814, 
 then by the indication "Tune: Anacreon in Heaven," and lastly by 
 practically the same text of the poem as it appears in the Judge 
 Nicholson- Widow Nicholson-Mrs. Shippen-Mr. Walters autograph. 
 The only differences, apart from the differences in interpunctuation, 
 etc., are these: 
 
 (1) In the first stanza was printed the "Bombs" instead of the 
 bomb. 
 
 (2) In the second stanza the misprint "reflected new shines" 
 instead of "reflected now shines." 
 
 (3) In the broadside capital letters frequently appear where they 
 are not found in the autograph, f. i, "The Rocket's," "Land of the 
 Free," "Home of the Brave." On the other hand, the autograph 
 has "Country" whereas this broadside has "country." 
 
 Here then are two broadsides, both of which are claimed to have 
 belonged to that edition set up on the morning of September 15, 
 1814. We are not permitted to accept Mrs. Shippen's claims for her 
 broadside offhand, since her account is clearly a mixture of family 
 tradition, personal opinion, and sediment from reading on the subject. 
 The broadsides to be authentic must stand the test of analytical 
 criticism, and if by this process one is eUminated, then all reason- 
 able skepticism will vanish from the other. 
 
 The observations called forth by the broadside championed by 
 Preble and Diehnan are curious indeed in view of the fact that the 
 Baltimore Patriot, when pubHshing Key's poem on September 20, 
 1814, with a prefatory historical note, did not print the title "The 
 Star-Spangled Banner," but instead "Defence of Fort M'Henry," 
 
"The Star Spangled Banner" 87 
 
 did not mention Key by name at all, but added: "Tmie: Anacreon 
 in Heaven." Key's poem — and this is a fact hitherto rarely, if ever, 
 pointed out— made its first appearance in an American songster in 
 the very rare "National Songster, or, a collection of the most admired 
 patriotic songs, on the brilliant victories achieved by the naval and 
 military-heroes . . . Fhst Hagerstown edition," Hagerstown [Md.], 
 John Gruber and Daniel May, ISlJt on p. 30-31 under the title of 
 
 "DEFE>fCE OP FORT m'hENRY. 
 Tune: Anacreon in Heaven. 
 Wrote by an American Gentleman [!], who was compelled to witness the bom- 
 bardment of Fort M'Henry, on board of a flag vessel at the mouth of the Patapsco." 
 
 Evidently the compiler of the National Songster clipped Key's 
 poem from the Baltimore Patriot or Baltimore American and did 
 not use a copy of this broadside. If, as Mrs. Shippen insists (Pa. 
 Mag. of Hist., 1901-2, pp. 427-428), her grandfather's broadside was 
 " One of those first printed handbills," why was Key's name suppressed 
 in the earliest newspaper accounts after Judge Nicholson had per- 
 mitted it to go on the handbill which he himself had ordered at a 
 printing office? One might suspect that in view of the vindictive 
 natm-e of the British it was deemed safer for Mr. Key to suppress the 
 name of the author of "Theh foul footsteps' pollution" m a paper 
 of fairly healthy chculation, but this explanation is not plausible, 
 because the historical note in the Baltimore papers could have left 
 no doubt of the offender's identity in the minds of British officers 
 should they have been in a position to catch Key. Possibly Key's 
 modesty w-ould not permit disclosure of his authorship, but what 
 could his modesty avail him if a broadside with his name had 
 already been favorably received by the public of Baltimore? And 
 not merely this, we have the words of Mrs. Shippen: 
 
 Judge Nicholson wrote a little piece that appears at the heading of the lines, 
 above which he also wrote the "name of the tune Anacreon in Heaven." 
 
 Obviously this action of Judge Nicholson can not apply to that 
 broadside wliich contains ''no little piece" nor indication of the tune, 
 but it does apply to the account in the Baltimore papers. Hence it 
 would have been Judge Nicholson himself who withheld Key's name 
 from the newspapers after he had given it to the pubUc in the Dielman 
 broadside. Furthermore, the Baltimore newspaper account was bodily 
 reprmted in the National Intelligencer September 27, 1814, under the 
 same title " Defence of Fort M'Henry," and at the bottom of the anony- 
 mous poem appears the editorial note : " Whoever is the author of those 
 lines they do equal honor to his principles and liis talent!" Conse- 
 quently, not even the editor of a paper prmted at Wasliington, D. C, 
 practically Key's home, knew of liis authorship as late as September 27. 
 
88 ''The Star Spangled Banner" 
 
 Indeed, the anonymous "gentleman" figures ui the Baltknore Amer- 
 ican at least as late as October 19, 1814. There is another suspi- 
 cious circumstance. It should have aroused surprise before this that 
 Samuel Sands, the apprentice, set up at a moment's notice such 
 an elaborate ornamental handbill as described by Preble and fac- 
 similed by Diehnan. The boy must have had remarkably precocious 
 artistic instincts indeed, and very rapid hands and eyes. But why 
 did he refuse to follow copy; why are there several differences between 
 his broadside and the so-called original manuscript? Thus one 
 becomes convinced that this Dielman Iroadside is not and can not Tiave 
 teen a copy of the one struck off before the publication in the Baltimore 
 Patriot and Baltimore American, but a copy of a broadside pubUshed 
 considerably after that date, when Key's authorship was no longer 
 kept a secret, when his poem had changed — at least in print, the 
 earUest manuscript extant has none — its title from " Defence of Fort 
 M'Henry" to "The Star-Spangled Banner," and when verbal differ- 
 ences in the text had commenced to be quite frequent. The Preble- 
 Diehnan broadside thus being eliminated, only the Nicholson-Shippen- 
 Walters broadside remains for serious consideration, and as far as I 
 can see, it contains absolutely nothing to arouse our suspicion. In 
 absence of proof to the contrary, it may indeed be called a copy, 
 perhaps a unique copy, of the original broadside edition! 
 
 We turn our attention to the whereabouts of the original manu- 
 script of Key's poem. 
 
 Mrs. Shippen writes in the article already quoted: 
 
 Having heard several times of late that there are in existence several original 
 copies, of the lines written on the night of September 12 [sic!], 1814 ... by 
 Francis Scott Key . . . and as I am the fortunate possessor of the only document 
 that could exist of these lines— the original manuscript — I will explain how it 
 seems possible that there could be more than one . . . [follows a partly inaccu- 
 rate account based on Taney] ... It is the bach of that old letter, unsigned, that 
 Francis Scott Key (my great-uncle) gave to Judge Joseph Hopper Nicholson 
 (my grandfather) that I possess, together with one of those first printed handbills 
 . . . Judge Nicholson [seeing] that the lines given him by Francis Scott Key 
 could be sung to that tune [to Anacreon in Heaven] and in all haste to give the 
 lines as a song to the public, he thus marked it. I possess this rare original man- 
 uscript, kept carefully folded by his wife, Rebecca Lloyd Nicholson and taken 
 from her private papers by myself and framed. . . . 
 
 This is a clear-cut claim of possession of the original manuscript, 
 and yet ^Irs. Shippen herself undermines the claim by closing her 
 interesting article thus : 
 
 . . . The first piece of paper on which the lines he composed were written on 
 the night of his arrival in Baltimore I have in my possession; the same that Mr. 
 Key himself gave to Judge Nicholson. 
 
 These statements shghtly contradict each other, as a careful read- 
 ing of Chief Justice Taney's account, on which ^Mrs. Shippen partly 
 
''The Star Spangled Banner" 89 
 
 (though perhaps indirectly) bases her claim, will prove. According 
 to Taney, Francis Scott Key told him that — 
 
 (1) He commenced it [the poem] on the deck of their vessel . . . 
 that he had written some lines or brief notes that would aid him in 
 calling them to mind, upon the back of a letter which he happened 
 to have in his pocket; and for some of the lines, as he proceeded, 
 he was obliged to rely altogether on his memory. 
 
 (2) He finished it in the boat on his way to the shore. 
 
 (3) He wrote it out as it now stands, at the hotel, on the night he 
 reached Baltimore and immediately after he arrived. 
 
 (4) On the next morning he took it to Judge Nicholson. 
 Consequently, a distinction is here made between the autograph 
 
 sTcetch or draftoi the poem as commenced on the cartel vessel &nd finished 
 on the back of a letter in the boat before reaching Baltimore, and 
 the final autograph text as written out as it now stands after Key's 
 arrival at Baltimore. It is this first clean copy and final version of 
 the text which Key took to Judge Nicholson for his critical opinion, 
 and, of course, not the first complete sketch or draft on the back of 
 the letter. In the first quotation from her article Mrs. Shippen 
 describes this draft; in the second quotation, the manuscript as 
 written out after Key's arrival at Baltimore. These two manuscripts 
 she confuses, not realizing the bibliographical distinction implied in 
 Chief Justice Taney's narrative. Hence she considered herself Judge 
 Nicholson's heir to the original manuscript of "The Star-Spangled 
 Banner," whereas she really possessed, and Mr. Henry Walters, oj 
 Baltimore, now possesses, not the original manuscript (i. e., the first 
 complete manuscript draft on the back of a letter), hut Key^s first 
 clean copy of the original manuscript (i. e., the manuscript "written 
 out" by Key after his arrival at Baltimore). What became of the 
 real original manuscript we do not know. Presumably Key had no 
 further use for the draft, after he had neatly wTitten out his poem at 
 the hotel and probably destroyed it. 
 
 The Library of Congress, by permission of Mr. I. E. H. Post who 
 deposited a photograph facsimile of the Key manuscript as "Historical 
 Documents, No. 1, " is now in a position to inclose here for purpose of 
 comparison and analysis a reproduction of this facsimile of the Key 
 manuscript, acquired by Mr. Walters. (Compare Appendix, Plate 
 XVI.) Other facsimiles may be found in the Century Magazine, 
 1894, page 362, and in Dielman's pamphlet "Maryland, the Seventh 
 Star." Nobody looking at these facsimiles or the original can con- 
 cede that the latter has the appearance of a sketch or draft. It is too 
 neatly WTittcn for that, the lines are too symmetrically spaced and the 
 whole manuscript contains practically only two corrections: In the 
 first stanza Key wrote and then crossed out "through'^ instead of " by 
 the dawn's early light," and in the third, "They have wash'd out" 
 
90 ''The Star Spangled Banner" 
 
 instead of " Their hlood has wash'd out.'' The manuscript contains 
 no signature, no title, nor indication of tune. This is mentioned par- 
 ticularly because Mrs. Shippen's article might convey the impression 
 that the manuscript is " thus marked. " The visible effects of folding 
 do not point at all to the "old letter" in Key's pocket, since Mrs. 
 Shippen's manuscript had been "kept carefully folded" by Judge 
 Nicholson's -wife. 
 
 Unquestionably, the manuscript now at the Walters Gallery is the 
 earliest extant of "The Star-Spangled Banner." It may perhaps 
 best be described as the original manuscript of the final and corrected 
 text. In after years Key presented signed autograph copies to friends 
 and others, but just how many such copies he made is not kno's\'n. 
 At any rate, it is not surprising that the existence of several auto- 
 graph copies led to confusion as to their chronological sequence. An 
 attempt shall now be made to separate intelligently such copies as 
 have come to my notice principally by the way of Admiral Preble's 
 several contradictory contributions to the subject. 
 
 Charles Durang, in the Historical Magazine, 1864, pages 347-348, 
 claimed that "the origmal draft, \\-ith its interlinations and amend- 
 atory erasures, etc., was purchased by the late Gen. George Keim, 
 of Reading, and I suppose his heirs have it now." 
 
 Without the slightest hesitation Preble used this statement in his 
 book "Our Flag" (1st ed., 1872, p. 495). In 1874 Preble wrote in 
 his essay "Three historic flags" (New Engl. Hist, and Gen. Reg., 
 pp. 39-40) that this particular copy was 
 
 Presented by Mr. Key in 1842 to Gen. George Keim and is now in possession 
 of his son Henry May Keim, Esq., of Reading, Perm. ... I have a photo- 
 graphic copy of the autograph in the possession of Mr. Keim. 
 
 Retracting his former statement about the original draft, with its 
 erasures, in a footnote on the same page, Preble states that his pho- 
 tograph shows it to be "a fair copy, %\Titten out by Mr. Key, and I 
 learn from Gen. Keim's son that the autograph was presented to his 
 father by ^Ir. Key. ' ' 
 
 A facsimile of this was made for the Baltimore Sanitary Fair in 
 1864, so Mr. Keim informed Admiral Preble January 8, 1874 (see 
 New Engl. Hist, and Gen. Reg., 1877, pp. 29), but, if made, it cer- 
 tainly was not included by Kennedy and Bliss in their "Autograph 
 Leaves," as the Library of Congress copy of this work proves. Pre- 
 ble gave the text of the Keim copy, though not in facsimile, in his 
 essay, "Three historic flags" (1874). In the second edition of his 
 History of Our Flag (1880) he then informed his readers that Gen. 
 George Keim's copy had "since [been] presented to the Pennsylvania 
 Historical Society by his son. " This statement is somewhat puzzling, 
 because the text of the Keim copy quoted by Preble, 1874, the 
 dedication "To Gen. Keim," and the undated signature "F. S. Key" 
 
''The Star Spangled Banner" 91 
 
 are identical with those of a supposed "Star-Spangled Banner" auto- 
 graph in possession of Mr. Robert A. Dobbin, of Baltimore, Md. 
 When generously loaning this to the Library of Congress for exhi- 
 bition purposes and granting us the privilege to reproduce it in fac- 
 simile (see AppendLx, Plate XIX), Mr. Dobbin, under date of March 
 24, 1909, wTote: 
 
 Mr. Key was an intimate friend of Gen. Keim of Pennsylvania. On account 
 of this intimacy and as a mark of the friendship which existed between them, 
 Mr. Key gave this copy, which I have loaned you, to General Keim. You will 
 note that Gen. Keim's name is in Mr. Key's handwriting. 
 
 Mr. Charles W. Keim, a son of General Keim, came into possession of this 
 copy after the death of his father, and a few years before his own death presented 
 it to my late wife, who was a granddaughter of Mr. Francis Scott Key. 
 Mr. Dobbin apparently was not aware of the fact that he possessed 
 a photograph, not an original autograph, the photograph even show- 
 ing the marks of thumb tacks. Consequently, not he but the Penn- 
 sylvania Historical Society is in the possession of the Keim copy, 
 which, with its approximate date, 1842, is, of course, as far removed 
 from the original draft with its erasures as is possible. It is here 
 reproduced by permission of the society (see Appendix, Plate XVII.) 
 Benson John Lossmg wrote m footnote (p. 956), in his Pictorial 
 Fieldbook of the War of 1812, first edition, 1868: 
 
 The facsimile of the original manuscript of the first stanza of the "Star- 
 Spangled Banner," given on the opposite page, was first published, by permission 
 of its owner (Mrs. Howard) daughter of the author [Key], in "Autograph Leaves 
 of our Country's Authors," a volume edited by John P. Kennedy and Alexander 
 BUss for the Baltimore Sanitary Fair, 1864. 
 Accepting Lossing's statement, Preble in his essay, "Three historic 
 flags," 1874, credited Mrs. Charles Howard, of Baltimore, with the 
 possession of this autograph. As the facsmiilc m the "Autograph 
 Leaves" shows, it bears the title "The Star-Spangled Banner" and 
 the signature "F. S. Key," but no dedication and no date. The 
 handw^ritmg has not the firmness of youth, and it stands to reason 
 that Key wrote this manuscript ui late Ufe. Admhal Preble had 
 occasion in his essay, "The Star-Spangled Banner," New England 
 Historical and Genealogical Register, 1877, pages 28-31, to correct 
 Lossmg's statement of ownership, smce Mrs. Howard wTOte him under 
 date of April 25, 1874: 
 
 I do not think I ever had an autograph of The Star-Spangled Banner. My 
 father [F. S. Key] gave his children from the time they could speak, the habit of 
 committing poetry to memory, and in that way only has the song been preserved 
 to me. Except in one or two words, Mr. Keim's version, as you have it, is the 
 one I have ever remembered. 
 Though, therefore, Mrs. Howard disclaimed ownership of this par- 
 ticular autograph, yet it must have existed and is, to judge by the 
 facsimile, genuine. 
 
92 ''The Star Spangled Banner" 
 
 Another autograph of ''The Star-Spangled Banner" was thus 
 described by Preble in his book, Our Flag, 1872: 
 
 A copy of the poem in Key's own handwriting, a copy prepared many years 
 after its composition, and evidently in the exact language intended by its author 
 (as it was presented by him to James Mahar, who for thirty years was the gardener 
 of the executive mansion), was a few years since exhibited in the window of 
 Messrs. Phillip & Solomons, on Pennsylvania avenue, Washington. The iden- 
 tity of the handwriting was certified to by Judge Dunlop, Nicholas Callen, Esq., 
 Peter Force, and others, all of whom were intimately acquainted with Mr. Key 
 and perfectly familiar with his style of penmanship. In fact his style was so 
 peculiar and uniform that it would be almost impossible for anyone who had ever 
 noticed it with ordinary care to be mistaken. 
 
 This report Preble evidently took from a copy of the National 
 IntelUgencer, from which he further quoted "verbatim" the text of 
 the Mahar autograph which evidently bore the title: "The Star- 
 Spangled Banner" and the signature "For Mr. Jas. Mahar, of Wash- 
 ington city, Washington, June 7, 1842. From F. S, Key." 
 
 In his essay, "Three historic flags," Preble merely added that the 
 Mahar copy was exhibited at Washington "in 1843, after Mr. Key's 
 death." The present whereabouts of the Mahar copy is unknown 
 to me. 
 
 Finally, in his essay, "The Star-Spangled Banner," 1877 (already 
 quoted above), Preble remarked of a copy, dated October 21, 1840: 
 It was first published in facsimile in the American Historical and Literary Curi- 
 osities (PI. LV) by John Jay Smith [Sec. Ser. N. Y. 1860, pi. 55] who stated the 
 original was in the possession of Louis J. Cist. 
 
 Preble enhvened his narrative by adding a reduced facsimile of this 
 1840 copy, and he again used it in the second edition of his History 
 of Our Flag, 1880. From there it was reproduced by Miss Mary L. D. 
 Ferris in the New England Magazine, 1890, for her article on "Our 
 national songs ' ' (pp. 483-504) . Another facsimile is in the possession 
 of the American Antiquarian Society, Worcester, as ;Mr. E. M. Barton, 
 the librarian, informed me. The American Antiquarian Society re- 
 ceived it on October 21, 1875, from Maj. Albert H. Hoyt, then editor 
 of the New England Historical and Genealogical Register. The orig- 
 inal seems to have disappeared until offered for sale as No. 273 in Stan. 
 V. Henkel's catalogue of the Rogers collection of autograph letters, 
 etc., 1895. The added facsimile shows absolute identity in date, 
 signature, orthography, appearance, and every other detail with the 
 facsimile at Worcester. 
 
 To sum up, it appears that, not counting the original draft (i. e. the 
 real original manuscript) at least five copies of "The Star-Spangled 
 Banner" in Francis Scott Key's handwriting exist, or at least existed: 
 
 (1) The Judge Nicholson-Mrs. Shippen-Walters copy, 1814. (Walters.) 
 
 (2) The Louis J. Cist copy, 1840. (Cist, present whereabouts unknown.) 
 
 (3) The supposed Howard copy, ca. 1840. (Howard.) 
 
 (4) The Gen. Keim-Pennsylvania Historical Soc. copy. (Pa. Hist. Soc.) 
 
 (5) The Mahar copy, 1842. (Mahar.) 
 
''The Star Spangled Banner" 93 
 
 There may be other copies, but those five are sufficient for the pur- 
 pose of showing the changes Francis Scott Key himself made in his 
 poem. The different versions would, as often happens in such cases, 
 be used by different compilers. In course of time verbal inaccuracies 
 would creep from one song book into the other. Also the compilers 
 themselves have sometimes felt justified in improving Key's text. 
 The result of all this has been, of course, that gradually Key's text 
 became unsettled. As earl}^ as 1872 Preble marked the verbal differ- 
 ences between certain different versions, and since then surely the 
 confusion has not decreased. Hence, very properly, the cry for an 
 authoritative text has been raised. What should constitute such a 
 text, whether one of Key's own version, or a combination of them, or 
 any later "improved" version, it is not for me to say, though I may 
 be permitted to remark that in my opinion there is no reason for going 
 outside of Key's own mtentions. At any rate, I do not consider it my 
 duty to' wade through endless song books in order to trace all the 
 verbal inaccuracies and alterations of the text of "The Star-Spangled 
 Banner," '^ The comparison wiU be extensive enough for all practical 
 purposes if it be limited to Key's own five versions, to the earliest 
 
 « In this connection part of the memorandum of Dr. A. R. Spofford, November 19, 
 1907, is very instructive. He wrote: 
 
 "A collation of this authentic copy [i e., the Cist copy], with several widely cir- 
 culated collections of songs, shows numerous variations and omissions. Following is 
 a statement of a few of these, with the number of discrepancies found in each : 
 
 "Nason (E.). A Monogram [!] on our National Songs. Albany, 1869. (11 varia- 
 tions from original, and one stanza omitted.) 
 
 "Higgins (Edwin). The Star-Spangled Banner. Baltimore, 1898. (7 variations.) 
 "Sousa (J. P.). National and Patriotic Airs of All Lands. Philadelphia, 1890. 
 (14 variations, with a fifth stanza added, which was not written by Key.) 
 
 "Brj^ant (W. C). Library of Poetr>- and Song. New York, 1880. (8 variations.) 
 "Dana (C. D.). Household Poetrj-. New York, 1859. (7 variations.) 
 "Coates (H. T.). Fireside Encyclopoedia of Poetry. Philadelphia, 1879. (9 
 variations.) 
 
 "Stedman (E. C). American Anthology. Boston, 1900. (5 variations.) 
 "WTiile some of these alterations from the author's manuscript may seem unim- 
 portant, others actually change the meaning of the lines, as in the second stanza, 
 where Key wrote — 
 
 " 'What is that which the breeze, o'er the towering steep 
 "As it fitfully blows, half conceals, half discloses?' 
 
 "The second line is perverted into — 
 
 " 'As it fitfully blows, now conceals, now discloses?' 
 
 "In all except three of the reprints before noted this change occurs. 
 
 "It is fur the worse, for two reasons: 
 
 "(1) It destroys the fine image of the wind flapping the flag so as to show and con- 
 ceal alternately parts of the stars and stripes; while the substitution makes the breeze 
 sometimes conceal the whole star-spangled banner. 
 
 "(2) The substitution is bad literary form, since it twice uses the word 'now,' 
 which the author has applied twice in the two lines immediately following." 
 
94 "The Star Spangled Banner" 
 
 printed versions, and to the one in his collected poems. They will be 
 distinguished from each other, where necessary, by the words written 
 in parenthesis. These printed texts here compared with the earliest 
 manuscript extant are : 
 
 (6) The Walters Broadside. (Broadside I.) 
 
 (7) The Pr^ble-Dielman Broadside. (Broadside II.) 
 
 (8) Baltimore Patriot, 1814. (Patriot.) 
 
 (9) Baltimore American, 1814. (Baltimore Am.) 
 
 (10) The "National Songster." (National Songster.) 
 
 (11) Key's Poems, publ. 1857. (Poems.) 
 
 The comparison is based on the Walters text, without esthetic com- 
 ment. The (later) title "The Star-Spangled Banner" is taken for 
 granted. The words that differ are italicized. Differences in spelling 
 and interpunctuation are disregarded. 
 
 O say can ^ you see by the dawn's early light 
 
 What so proudly we hail'd ^ at the twilight's last gleaming, 
 Whose ^ hroad stripes & bright stars through the * perilous fight 
 O'er the ramparts we watch'd, were so gallantly streaming? 
 And the rocket's red glare, the ^ bomb bursting in air. 
 Gave proof through the night that our flag was still there 
 O say does that star spangled banner yet wave 
 O'er the land of the free & the home of the brave? 
 
 * On the shore dimly seen through the mists of the deep, 
 
 Where the foe's haughty host in dread silence reposes, 
 What is that which the breeze, o'er the towering steep, 
 As it fitfully blows, ^AaZ/ conceals, AaZ/ discloses? 
 
 Now it catches the gleam of the morning's first beam 
 In full glory reflected now shines ® in the stream 
 'Tis the star-spangled banner — O long may it wave 
 O'er the land of the free & the home of the brave ! 
 
 And where ^ is that band who so ^^ vauntingly swore, 
 That the havoc of war & the battle's confusion 
 A home & a Country should leave us no more? 
 
 " Their blood has wash'd out ^^ their foul footstep's pollution 
 No refuge could save the hireling & slave 
 From the terror of flight or the gloom of the grave, 
 And the star-spangled banner in triumph doth wave 
 O'er the land of the free & the home of the brave. 
 
 " thus be it ever when "^^ freemen shall stand 
 
 Between their lov'd ^^home & ^^the ivar's desolation ! 
 Blest with vict'ry & peace may the heav'n rescued land 
 
 Praise the power that hath made & preserved us a nation ! 
 Then conquer we must, when our cause it is just. 
 And this be our motto — ' ' In God is our Trust, ' ' 
 And the star-spangled banner ^' in triumph shall wave 
 O'er the land of the free & the home of the brave. 
 
''The Star Spangled Banner" 95 
 
 DIFFERENCES. 
 
 1 Ye: Cist. 
 
 ^By: Cist. 
 
 3 Bright stars & broad stripes: Cist. 
 
 * Clouds of the: Cist^ Pa. Hist. Soc; Howard; Mahar. 
 
 ^ Bombs: Broadside I and II; Baltimore Am; Patriot; Poems. 
 
 ^ From: Broadside II. 
 
 ^ On that: Cist; Pa. Hist. Soc; Howard: Poems. 
 
 ^ Now-now: Poems. 
 
 ^On: Cist; Mahar; Patriot. 
 
 I Are the foes that: Pa. Hist. Soc.; Howard. 
 Are the foes who: Poems. 
 That host that: Cist. 
 The foe that: Mahar. 
 ^°Sweepingly: Mahar. 
 !• This: Mahar. 
 ^^His: Mahar. 
 ^^And: Broadside II. 
 ^* Foemen: Mahar. 
 
 ^^ Homes: Baltimore Am.; Cist; Pa. Hist. Soc; Howard; Mahar. 
 ^^War's: Mahar. 
 "0 long may it: Broadside II. 
 
 Like other patriotic songs, ''The Star-Spangled Bamier" has had 
 its share of additional stanzas; that is, of verses suggested by the 
 changmg times, the changing spirit of the times, and sectional an- 
 tagonism. On the other hand, at least one stanza often came to be 
 omitted. It is the third, undoubtedly expressive of bitter sentiment 
 against the English, as was natural and logical in 1814, but rather 
 mmatural and illogical after we were again the friends of England. 
 This apparent defect of Key's text for a national hymn, which should 
 stand above party feehng and chauvinism, led to the composition of 
 one of the two additional stanzas, which shall here be briefly con- 
 sidered. Its origin was narrated to Preble in 1876 by Benjamin Rush 
 in the following words printed by the Admiral in liis essay on "The 
 Star-Spangled Banner" (New Eng. Hist, and Gen. Reg., 1877, p. 31): 
 The circumstances under which these additional stanzas to the Star-Spangled 
 Banner first came to my hand were briefly adverted to in the Preface to my 
 edition of my father's book, entitled "Recollections of the EngUsh and French 
 Courts," published in London in 1871, where I then was. The stanzas were also 
 published- but that need not interfere in the least with your desire to insert them 
 in the second edition of your History of the Flag, wherein I should say they 
 would appropriately come in. The name of the author by whom they were com- 
 posed was George Spowers, Esq., and this has never been pubUshed. I thmk 
 it eminently due to him now that his name should be given to the pubUc, con- 
 sidering not only the beauty but the admirable sentiments of the stanzas. He 
 had seen in my hands a manuscript copy of the original song, and asked me to 
 lend it to him, which I did. A day or two aftenvards he returned it to me wth 
 these stanzas. I was quite a boy at the time, at school with my two brothers at 
 liampstead, near London, while my father was residing in London as minister of 
 the United States. It must have been about the year 1S24. 
 
96 "The Star Spangled Banner" 
 
 Mr. Spowers's stanza, well-meant but objectionable, because it, too, 
 drags our national hymn into foreign pohtics, reads: 
 
 But hush'd be that strain! They our Foes are no longer; 
 
 Lo Britain the right hand of Friendship extends, 
 And Albion's fair Isle we behold with affection 
 
 The land of our Fathers — the land of our Friends! 
 
 Long, long may we flourish, Columbia and Britain, 
 In amity still may your children be found. 
 And the Star-Spangled Banner and Red Cross together 
 Wave free and triumphant the wide world aro\md! 
 
 The best known of the additional stanzas is the one written by 
 Oliver Wendell Holmes, as he informed Admiral Preble, April 14,1872, 
 at the request of a lady during our civil war, there being no verse 
 alluding to treasonable attempt against the flag. According to 
 Preble the stanza was first pubUshed in the Boston Evening Tran- 
 script. Preble received a corrected and amended autograph of the 
 stanza from Holmes, and this he reproduced in facsimile in the 
 second edition of his famous work (p. 730). It reads: 
 
 "When our land is illumined with liberty's smile, 
 
 If a foe from within strikes a blow at her glorj^, 
 Down, down with the traitor that dares to defile 
 The flag of the stars, and the page of her story ! 
 By the millions imchained 
 Who their birth-right have gained, 
 We will keep her bright blazon forever unstained; 
 And the Star-Spangled Banner in triumph shall wave, 
 While the land of the free is the home of the brave. 
 
 It has been noticed beiore this that not only the text of "The Star- 
 Spangled Banner" but its music is sung and played with noticeable 
 differences. These occur both in the harmonization of the melody 
 and m the melody itself. To trace the discrepancies in the harmoni- 
 zation would hardly be profitable, since the harmonization of any 
 melody will, to a certain degree, always be a matter of individual taste. 
 Often many ways are possible, several equally good — i. e., equally ap- 
 propiiate — and seldom one the only proper one. The harmonization 
 depends, of course, largely on the bass, and since the harmonization 
 of a national song should be simple and easily g^-asped by the popular 
 mind, there can not be much variance ol opinion as to the bass. 
 However, historical considerations will hardly be helpful in this direc- 
 tion. An authoritative harmonization is less a problem of history 
 than of musical grammar, and authoritative it can be only for those 
 who accept the harmonization recommended by a jury ol musicians 
 as the authoritative one for the persons under their own musical 
 jurisdiction. It is somewhat different with the melody. True, 
 neither an act of Congress nor the recommendation of a board of 
 musicians will stop the process of polishing and modification (either 
 
The Star Spangled Banner" 
 
 97 
 
 for better or for worse) which takes place with all folk, traditional, 
 and patriotic songs. Yet it is obviously imperative for musical and 
 other reasons that at least the melody of a national hymn have as 
 much stability and imiformity as can be forced through official chan- 
 nels on the popular mind. The most suitable form of the melody 
 will again be a matter of decision by a jury of musicians, yet it may 
 be interesting and instructive to contrast "To Anacreon in Heaven," 
 as used and modified, partly for verbal reasons, about 1800, with the 
 common versions of its offshoot "The Star-Spangled Banner" of to- 
 day, which from the beginning must have slightly differed from "To 
 Anacreon in Heaven" by dint of the peculiarities of Key's poem. 
 First, the melody as it appears in the Vocal Enchantress, 1783, the 
 earliest version of indisputable date in the Library of Congress, will 
 be compared bar for bar with ''Adams and Liberty" in the American 
 Musical Miscellany, 1798 (A. M. M.), and with the version in the 
 Baltimore Musical Miscellany, 1804 (B. M. M.). (The facsimile of 
 the "harmonized" version in Smith's Fifth Book shows it to be 
 too garbled for purposes of melodic comparison. The melody given 
 by Longman & Broderip in the probably earliest publication of the 
 music of "To Anacreon in Heaven" is the same as in the Vocal 
 Enchantress.) 
 
 VOCAI. ENCHAKTBBSS. 1783. 
 2 
 
 24115°— 14 
 
The Star Spangled Banner" 
 
 OlFFBBBNCBS 
 
 3 4 
 
 Thus the so-called polishing process had begun %vithin one genera- 
 tion after the Sons of Harmony had adopted "To Anacreon in 
 Heaven " as their constitutional song. How is their club melody sung 
 to the words of "The Star-Spangled Banner" by Americans young 
 and old at the beginning oi the twentieth century ? For the purpose 
 of comparison I have selected at random 12 recent songbooks and 
 John Philip Sousa's "National, patriotic, typical ahs of all lands" 
 (1890), compiled "by authority" for use in the United States Navy. 
 (Sousa.) If these few differ so widely in single bars, what discrep- 
 ancies could be revealed if all the songbooks used in our country 
 were similarly compared ? 
 
 1. W. H. Aiken. Part songs for mixed voices for high schools, 1908. 
 
 2. C. A. Boyle. School praise and song, 1903. (B) 
 
 3. C. H. Famsworth. Songs for schools, 1906. (F) 
 
 4. A. J. Gantvoort. School music reader, 1907 (G) '■ 
 
 5. B. Jepson's New Standard Music Readers, Seventh year, 1904 (J) 
 
 6. McLaughlin-Gilchrist. Fifth Music Reader, 1906. (M) 
 
 7. Ripley-Tapper. Harmonic Fifth Reader, 1904. (R) 
 
 8. E. Smith. Music Course, Book Four, 1908. (Sm) 
 
 9. J. B. Shirley. Part songs for girl's voices, 1908 (Sh.) 
 
 10. H. 0. Siefert. Choice songs, 1902 (Si) 
 
 11. C. E. Whiting. The New public school music course, Third reader, 1909 (W) 
 
 12. E. J. A. Zeiner. The High school song book, 1908. (Z) 
 
''The Star Spangled Banner" 99 
 
 7, 16 8, 16 9, 17 
 
 18 19 
 
 \4= ^ ^ J Ir r ~J I J ,^U^=£=^== ^-^^^^^-^fes^ 
 
 26 27 
 
100 
 
 The Star Spangled Banner 
 
 It is not within the province of the Library of Congress to recom- 
 mend the adoption of one of these different versions against the 
 others, but attention may properly be drawn to "the various efforts 
 made by the music department of the N. E. A. [National Education 
 Association] to secure uniformity in the singing of four of our national 
 songs." A resume of these efforts was recently issued by Mr, A. J. 
 Gantvoort, chairman of the committee in charge of the matter, and 
 reads in part : 
 
 ... 3. At the N. E. A. meeting, held in Cleveland in July, 1908, Mra. Frances E. 
 Clark, president of the department, upon motion, appointed A. J. Gantvoort, 
 Elsie M. Shaw, and Osbourne McConathy a committee to make a singable edition 
 of "America," "The Star-Spangled Banner," "Hail Columbia," and the "Red, 
 White and Blue," giving the committee authority to revise words and music for 
 this purpose. 
 
 At the meeting in Denver in July, 1909, the chairman reported in open meeting 
 that the committee had been unable to agree and upon motion presented his 
 views by playing the songs on the piano. A motion was then made and carried 
 
 o Here we read (p. 791) in the secretary's minutes under date of July 6: "The follow- 
 ing arrangements of the melodies of 'America' and of 'The Star-Spangled Banner' 
 were finally agreed upon as the versions which the Department of Music Education 
 recommends as the standard." They follow with the savie incorrect statement of 
 musical authorship in the heading as in the committee 's version of 1912 and it is quite 
 obvious that in 1910 harmony did not re%n supreme in the discussions. The principal 
 bar of contention seems to have been the fiith. If, as appears from the quotation be- 
 low, three versions with different note value for four verses of the same poem were 
 recommended, then it was a foregone conclusion that this recommendation could not 
 be final. Some version would have to be adopted to which all verses could be sung 
 uniformly — a sine qua non for mass utterance in national songs. 
 
 As reported by the Committee 
 
 ' / i' l r r r 
 
 "What 60 proud - ly we hailed 
 
 As adopted by the Department of Music Education 
 
 ;/ir- r f 
 
 "What so proud - ly we hailed 
 
 pdt 
 
 ^ 
 
 nr t I 
 
 "Where the foe's haugh-ty host 
 
 Be - tween their loved homes 
 
V\. OF H 
 
 ''The Star Sp a n-g^ed Banner'' 101 
 
 that tlie committee be enlarged to seven menbers, but this waa reconsidered at an 
 adjourned meeting to allow the number of members to be changed to ten, aa 
 follows: A. J. Gantvoort, Elsie M. Shaw, Osbourne McConathy, R. G. Cole, 
 Thomas Tapper, Jessie L. Gaynor, E. B. Birge, Mrs. C. B. Kelsey, Charles H. Fams- 
 worth, and Mrs. Frances E. Clark. 
 
 At the meeting held in Boston in 1910, the chairman of the committee made a 
 majority report agreed upon by seven of the members present at a meeting in 
 Cincinnati, and presented copies of its findings before the department. Motion 
 was made and carried to consider only the melodies of these songs, omitting the 
 harmonization. After some discussion, a version of the melody of "America" 
 was unanimously adopted. After considerable discussion, a version of "The 
 Star-Spangled Banner," differing in each stanza, was adopted by a close vote, in 
 which several associate members are said to have voted. The report, as far aa 
 was agreed upon, was published in the volume of proceedings in 1910. « Upon 
 motion, the committee was continued and ordered to finish its report at the next 
 meeting, which was held in San Francisco in 1911. The chairman of the com- 
 mittee, being absent from this meeting, presented through the president of the 
 department the same report as at the Boston meeting, and after much discussion, 
 upon motion, the action of the Boston meeting was ordered to be reconsidered and 
 the whole matter referred back to the committee for a full report the following 
 year. 
 
 At the meeting of 1912 in Chicago, the committee presented a unanimous report, 
 which, after much discussion, was finally unanimously adopted, aa presented on 
 the following pages. & 
 
 A. J. Gantvoort, Chairman. 
 
 o See foot note o, page 100. 
 
 &Mr. Gantvoort informed me that by an oversight the air there continued to 
 he dncor recti ij attributed to Samuel Arnold. When 1 called his attention to the 
 error, his surprise was comical to behold. 
 
102 
 
 2 
 
 "The Star Spangled Banner" 
 THE STAR SPANGLED BANNER 
 
 Francis Scott Key, 1779-1843 
 
 Solo or Unison 
 
 Dr. Samuel Arnold, 1740-1802 
 
 1. Oh! say can you see, by the dawn' sear-ly light. What so proud-ly r/e 
 
 2. Ontheshore.dim-Iy seen thro' the mist of the deep, Where the foe's haughty 
 
 3. Oh! thus be it ev • er when freemen shall stand Be - tween their lov'd 
 
 hailed at the twilight's last gleaming? Whose broad stripes and bright stars thro' the per-il-ous 
 host in dread si lence re-pKJS - es. What is that which the breeze,o' er the tow-er-ing 
 home and the war's des-o - la - tion. Blest with vict' ry and peace, may the Heav'n-r«8-cued 
 
 fight, O' er the ramparts we watched, were so gallantly streaming. And the rockets' red 
 steep, As it fit - ful - ly blows, half conceals, half dis-clos-es? Now it catches the 
 land Praise the Pow'r that halh made and preserved us a na - tion. Then con-quer we 
 
 glare, the bombs bursting in air. Gave proof thro' the night that our flag was still there, 
 gleam of the morning' s first beam, In full glo-ry re-flect-ed, now shines on the stream, 
 must, when our cause it is just. And this be our motto, " In God is our trust." 
 
''The Star Spangled Banner" 103 
 
 3 
 THE STAR SPANGLED BANNER. Continued 
 
 Refrain Suprano and Alto 
 
 2. 'Tis the star span - gled 
 3. And the staf span - gled 
 
 y Bass. 
 
 ban 
 ban 
 
 ner, 
 ner 
 
 ohl 
 
 long 
 tri " 
 
 may 
 
 umph 
 
 It 
 
 shall 
 
 Oh I ^ say does the 
 
 'Tis the star span - gled. 
 
 star spang - gled ban 
 ban - ner, oh! long 
 ban - ner in tri - 
 
 ner 
 may 
 umph 
 
 yet : 
 
 it 
 
 shall 
 
 wave O'er the land of the free and the home of 
 wave O'er the land of the free and the home of 
 
 brave ? 
 brave I 
 
 wave O'er the knd of the free and the home of 
 wave O'er the land of the free and the home of 
 wave O'er the land of the free and the home of 
 
 brave ? 
 brave I 
 brave I 
 
LITERATURE USED FOR THIS REPORT. 
 
 GENERAL. 
 
 Banks, Loins Albert: Immortal songs of camp and field; the story of their inspira- 
 tion, together with striking anecdotes connected with their history . . . Cleve- 
 land, The Burrows bros. co., 1899 [1898]. 298 p. illus. 8°. 
 
 Brinton', Howard Futhey: Patriotic songs of the American people. New Haven, 
 The Tuttle, Morehouse & Taylor co., 1900. Ill p. 12°. 
 
 Brown, James Duff: Characteristic songs and dances of all nations. London, 
 Beyley & Ferguson, c 1901. 276 p. 4°. 
 
 BuTTERWORTH, Hezekiah: The great composers. Rev. and enl. Boston, Lothrop 
 publishing company, 1894. 5 p. 1., 195 p. incl. plates. 18^ cm. pp. 124-160. 
 
 Celebrated folksongs and their true history. Metronome, 1903, v. 19, no. 
 9, p. 9. 
 
 Daniell, Carl A.: National airs and who wrote them. Current literature, 1896, 
 vol. 20, pp. 453-454. 
 
 Elson, Louis Charles: Folk songs of many nations, collected and ed., with preface 
 and annotations. Cincinnati, Chicago [etc.] The J. Church company [1905]. 
 1 p. 1., 171 p. 28 cm. 
 
 Elson, Louis Charles: The national music of America and its sources. Boston, 
 L. C. Page and company, 1900 [1899]. vi, v-\iii, 9-326 p. 4 port. (incl. front.). 
 17i cm. {See also his Hist, of Am. Music, 1904, pp. 140-164.) 
 
 Ferris, Mary L. D.: Our national songs [illus. fac-similes, especially of letter by 
 Rev. S. F. Smith, dated 1889 and narrating origin of "America"]. New England 
 magazine, 1890. new ser. vol. 2, pp. 483-504. 
 
 FiTZ-GERALD, S. J. Adair: Stories of famous songs. London, 1898. 
 
 Johnson, Helen (Kendrick) "Mrs. Rossikr Johnson:'' Our familiar songs and those 
 who made them. More than three hundred standard songs of the EngUsh-speaking 
 race, arranged with piano accompaniment, and preceded by sketches of the writers 
 and histories of the songs. New York, H. Holt and co. 1881 . xiii, 660 p. 4°. 
 
 Johnson, Helen (Kendrick) " Mrs. Rossiter Johnson:'' Our familiar songs and those 
 who made them; three hundred standard songs of the English speaking race, 
 arrange<l with piano accompaniment, and preceded by sketches of the writers and 
 histories of the songs. New York, H. Holt and company, 1889. xiii, 660 p. 
 25i cm. 
 
 Johnson, Helen Kendrick and Dean, Frederic: Famous songa and those who 
 made them .. . New York, Bryan, Taylor & co. 1895. 2 v. 4°. [The American 
 national songs here treated are contained in the first volume.] 
 
 KoBBE, Gustav.: Famous American songs. New York, T. Y. Crowell & co. [1906]. 
 xvii, [1], 168, [1] p. incl. front, plates, ports., facsims. 20^ cm. 
 
 McCarty, Willlam: Songs, odes, and other poems on national subjects. Philadel- 
 phia, 1842. 3v. 
 
 105 
 
106 Literature Used for this Report 
 
 Mead, Leon: The songs of freedom [includes M. Keller's "The American hymn" 
 with music]. Chautauquan, 1900, vol. 3i, pp. 574-584. 
 
 Moore, Frank: Songs and ballads of the American Revolution. New York. D. 
 Appleton & CO., 1856. 
 
 Nason, Elias: A monogram on oirr national song. Albany, J. Munsell, 1869. 69 p. 8°. 
 
 National Melodies of America: The poetry by George P. Morris, esq., adapted 
 and arranged by Chas. E. Horn. Part I. New York, 1839. [Review of the col- 
 lection which does not deal with national melodies but rather with/oZi melodies 
 with a leaning towards negro songs.] Southern literary messenger, 1839. vol. 5, 
 pp. 770-773. 
 
 National songs [merely reprint of two prize poems "Sons of America" and "Old 
 Glory"]. Iowa historical record, 1895, vol. 11, pp. 329-331. 
 
 Our National Songs; with numerous original illustrations by G. T. Tobin. New 
 York, F. A. Stokes co. [1898]. 128 p. illust. 24° [words only.] 
 
 Preble, Henry George: History of the flag of the United States of America. Sec- 
 ond revised edition. Boston, A. Williams and co. 1880. 3 p. 715-768. [Chapter 
 on "National and patriotic songs," also first edition, 1872, used.] 
 
 Reddall, Henry Frederic: Songs that never die . . . enriched with valuable his- 
 torical and biographical sketches . . . Philadelphia National Publishing co. 
 [cl892]. 615 p. 8°. 
 
 RiMBAULT, Edward F.: American national songs [with music]. Leisure hour, 1876, 
 vol. 25, pp. 90-92. 
 
 Saffell, W. T. R.: Hail Columbia, the Flag and Yankee Doodle Dandy. Baltimore, 
 T. Newton Kurtz, 1864. 123 p. 8°. 
 
 Smith, Nicholas: Stories of great national songs. Milwaukee, The Young church- 
 man CO. [etc. etc., 1899]. 238 p. 2 pi., 18 port. (incl. front.). 19J cm. 
 
 SoNNECK, O. G.: Bibliography of early secular American music. Washington, D. C. 
 Printed for the author by H. L. McQueen, 1905. x, 194 p. 29 cm. 
 
 SoNNECK, O.G.: Report on "The Star-Spangled Banner," " Hail Columbia, " "Amer- 
 ica," "Yankee Doodle." Washington, Govt, print, off., 1909. 255 p. incl. 21 
 double facsim. 26^ cm. 
 
 Spofford, Ainsworth R.: The lyric element in American history. Columbia His- 
 torical Society, Records, 1904, vol. 7. (Same printed separately.) 
 
 SousA, John Philip: National, patriotic, and typical airs of all lands, with copious 
 notes. Philadelphia, H. Coleman [cl890]. 283 p. 4°. [Compiled by authority 
 of the Secretary of the Navy, 1889, for the use of the department.] 
 
 Stevenson, E. Irenaeus: Our "national" songs. Independent, 1897, vol. 49, nos. 
 2526-2561. 
 
 Wayne, Flynn: Our national songs and their writers. National magazine, 1899/1900, 
 vol. 11, pp. 284-296. 
 
 White, Richard Grant: National hymns. How they are written and how they are 
 not written. A lyric and national study for the times. New York, Rudd & 
 Carleton [etc.], 1861. x, [11]-152 p. incl. front. 23 cm. 
 
Literature Used for this Report 107 
 
 STAR SPANGLED BANNER— SPECIAL 
 
 Antiquary: Origin of "The Star spangled banner." Music, 1891-92, vol. 1, pp. 
 
 469-471. 
 Appleton, Nathan: The Star Spangled Banner. An address delivered at the Old 
 South Meeting House, Boston ... on June 14, 1877. Boston, Lockwood, 
 Brooks & Co., 1877. 8°. 34p. [on the history of the flag, the song, etc.] 
 Babtlett, Homer N. : E pluribus unum. Musical courier, 1912, v. 64, no. 23, p. 37. 
 Blake, John Henry: American national anthem. "Star spangled banner" made 
 ' 'singable' ' for the voices of the people. History of the origin of the words and 
 music . . . New York, J. H. Blake, 1912. 3 p. 1., 10 p. 34 cm. 
 Browne, C. A.: The story of "The Star-Spangled Banner." Musician, 1907, v. 12, 
 
 p. 541. 
 Carpenter, John C: "The Star Spangled Banner" [with port, and facsimile]. 
 
 Centurj' magazine, 1894, vol. 48, pp. 358-363. 
 Chappell, Wm.: "The Star-Spangled Banner' and "To Anacreon in Heaven" [on 
 the authorship of John Stafford Smith]. Notes and Queries (London), 1873, 
 4th ser., vol. 11, pp. 50-51. 
 CuMMiNGS, William H.: English music (1604 to 1904), being the lectures given at 
 the Music Loan Exhibition . . . 1904, London, The Walter Scott Publishing 
 Co., 1906. (On pp. 51-52 his comment on "To Anacreon in Heaven.") 
 Dorsey, Mrs. Anna H. Origin of the Star Spangled Banner [reprinted from Wash- 
 ington Sunday Morning Chronicle]. (Dawson's) Historical magazine, 1861, vol. 5, 
 pp. 282-283. 
 Flood, W. H. Grattan: The original air of "The Star Spangled Banner." Church 
 
 music, 1909, v. 4, pp. 281-282. 
 Flood, W. H. Grattan: The Irish origin of the tune of The Star Spangled Banner. 
 
 Ave Maria, July 6, 1912, pp. 19-20. 
 For a new National Hymn. North American review, 1906, vol. 183, pp. 947-948. 
 The Francis Scott Key Memorlal. Munsey's magazine, 1898, vol. 20, pp. 325-326. 
 Gebhart, I3. R. : The national anthem. School music, 1911, v. 12, no. 57, pp. 16-17, 20. 
 Hagner, a. B.: Genesis of The Star Spangled Banner. The Historical Bulletin 
 (Washington, D. C), 1905, v. 6, no. 2, pp. 29-33 (with facsimile of the "author's 
 first draft"). 
 Henry, Rev.H.T.: The air of "The Star-Spangled Banner." Records of theAmer- 
 
 icai CathoUc Hist. Soc, 1913, v. 24, no. 4, pp. 289-335. 
 HiGGiNS, Edwin: The national anthem "The Star Spangled Banner," Francis Scott 
 Key', and patriotic lines. BaUimore, 1898 [illustrated reprint of the poem with 
 a brief biographical sketch, 12 p. 16°]. 
 Hill, Marion: The Star Spangled Banner. Does it get weighed? Or yet wade? 
 Uncertainty of many school children on the subject. McClure's magazine, 
 1900, vol. 15, pp. 262-267 [not historical]. 
 Key, Francis Scott: Poems . . . with an introductory letter by Chief Justice Taney. 
 New York, R. Carter & Bros., 1857 [the letter narrates "the incidents connected 
 with the origin of the song The Star Spangled Banner" as told the author by 
 Key]. 
 K[idson], Frank: Star Spangled Banner. Grove's dictionary of music and musi- 
 cians', 2d ed., 1908. vol. 4, pp. 674-675. 
 King, Horatio: The Star Spangled Banner. Magazine of American history. 1883. 
 Vol. X, pp. 516-517. 
 
108 Literature Used for this Report 
 
 KiNNEAR, Wm. B.: The Star Spangled Banner melody. School music, 1912, v. 13, 
 no. 58, pp. 11-15. 
 
 LossiNG, Benson John: The pictorial field-book of the war of 1812. Facsimile of 
 the original manuscript of the first stanza of "The Star Spangled Banner," 
 reprinted from Kennedy and Bliss' "Autograph leaves of our country authors;" 
 origin of the hymn narrated in footnote to pp. 956-958. 
 
 Leinaed, L. : Story of our National song. Piano magazine, 1910, v. 3, no. 6, pp. 31-36. 
 
 McLaughxin, J. Fairfax: "The Star-Spangled Banner!" who composed the music 
 for it. It is American, not English. American Art Journal, 1896. vol. 68, No. 
 13, pp. 194-195. 
 
 Mead, Lucia Ames: Our National Anthem [against "The Star Spangled Banner"]. 
 Outlook, 1903. vol. 75, p. 616. 
 
 Maryland, Board of public works: The seventh star. Facts and figures about 
 the State of Maryland. Her past greatness and her present prosperity . . . Pub. 
 by the board of public works for the Loiusiana purchase exposition. Maryland 
 day, September 12th, 1904. Baltimore, Md. Press of Lucas brothers [1904] 
 [22] p. front., illus., ports., facsims. 23^ cm. Contains facsimiles. Compiled 
 by [L. H. Dielman]. 
 
 A MONUMENT TO Francis Scott Key [by Doyle and port, of K. on p. 128]. The 
 Critic, 1898. new ser. vol. 30, p. 129. 
 
 Municipal bands and our National air. American musician, 1912, v. 28, no. 16, 
 pp. 10-11. 
 
 The National Anthem [on the official adoption of "The Star Spangled Banner" by 
 the Army and Navy]. Outlook, 1903. vol. 75, p. 245. 
 
 National hymnology [on our national anthem with special reference to "The Star 
 Spangled Banner"]. Scribner's magazine, 1907. vol. 42, pp. 380-381. 
 
 PiNKERTON, "Willlam: The Star Spangled Banner. Notes & Queries, 1864. 3d ser. 
 vol. 6, pp. 429-430. 
 
 Preble, George Henry: The Star Spangled Banner, autographic copies, additional 
 verses, etc. (8°. 7p.) published separately in ed. of 100 copies with facsimile. 
 Boston, 1876. 
 
 Preble, Geo. Henry: The Star Spangled Banner. Autograph copies, additional 
 verses, etc. Communicated by Rear Admiral . . . [with facsimile of copy dated 
 Oct. 21, 1840]. New England Historical and Genealogical register, 1877. vol, 
 31, pp. 28-31. 
 
 Peeble, Geo. Henry: Three historic flags and three September victories [contains 
 important matter on "The Star Spangled Banner" especially the different auto- 
 graphs]. New England Historical and Genealogical Register, 1874. vol. 28, pp. 
 17-41. 
 
 RoSewig, a. H.: "Anacreon in Heaven, " the origin of "The Star Spangled Banner" 
 with its complete history. Philadelphia cl909. 4 p. fol. 
 
 Salisbury, Stephen: The Star Spangled Banner and national songs [Read at a meet- 
 ing of the American Antiquarian Society, in Worcester, Oct. 21]. Dwight's 
 journal of music, 1872. vol. 32, pp. 332-333. 
 
 Salisbury, Stephen: The Star Spangled Banner and national airs. [Read before 
 the American Antiquarian Society, Oct. 21, 1872.] American Historical Rec- 
 ord, 1872. vol. 1, pp. 550-554. 
 
 Salisbuey, Stephen: An essay on the Star Spangled Banner and national songs. 
 Read before the society, October 21, 1872. Worcester, 1873. 8°. 15 p. Re- 
 printed from the Proceedings of the American Antiquarian Society. 
 
Literature Used for this Report 109 
 
 Same [second ed.] with additional notes and songs. Worcester, 1873. 8°. 
 
 24 p. (ed. of 100.) 
 Salisburt, Stephen: The Star Spangled Banner and national songs. American 
 
 Antiquarian Society, Proceedings, 1873, pp. 43-53. 
 ScHELL, Frank H: Our great national hymn "The Star Spangled Banner" and its 
 
 origin [inconsequential note]. Leslie's weekly, 1898. vol. 87, p. 85. 
 [The selection of the music for the "Star Spangled Banner" by Ferdinand 
 
 Durang.] Iowa Historical Record, 1897. vol. 13, p. 144. 
 Shippen, Rebecca Lloyd: The original manuscript of "The Star Spangled Banner." 
 
 Pennsylvania Magazine of Hist. & Biogr., 1901. vol. 25, pp. 427-428. 
 Smith, F. S. Key: Fort McHenry and the "Star Spangled Banner" [with port, of 
 
 Francis Scott Key]. The Republic magazine, 1908. vol. 1, No. 4, pp. 10-20. 
 Smith, Francis Scott Key: Francis Scott Key, author of the Star Spangled Banner; 
 
 what else he was and who. Washington, D. C, Key-Smith and Co., [cl911]. 
 
 104 p. 4 pi., 3 port. (incl. front.) facsim. lOJcm. 
 The Star Spangled Banner [facsimile of the handwriting of the author, Francis S. 
 
 Key, dated Washington, October 21, 1840, formerly in possession of Lewis J. Cist]. 
 
 Smith's Americanhistorical and literary curiosities, 2d8er. Philadelphia, PI. LV. 
 The Star Spangled Banner: Dwight's journal of music, 1861. vol. 19, pp. 37, 
 
 39, 46. 
 The Star Spangled Banner: American Historical Record, 1873. vol. 2, pp. 24-25. 
 Star Spangled Banner [inconsequential note]. American notes and queries, 1888. 
 
 vol. 1, pp. 199. 
 The Star Spangled Banner [criticism of J. H. Blake's pamphlet]. Musical news, 
 
 1912. vol. 42, p. 225. 
 Star Spangled Banner in choral form. School music monthly, 1912. vol. 1?, 
 
 no. 61. 
 The Star Spangled Banner. [Facsimile of four stanzas in autograph of F. S. Key, 
 
 dated Oct. 21, 1840] Henkel's Catalogue of autograph letters, etc. No. 738, p. 50. 
 [Taney, Roger B.]: "The Star Spangled Banner" [extract from a letter dated 1856, 
 
 written to her giving the origin of the words and] Contributed by Mrs. Rebecca 
 
 Lloyd Shippen. Pennsylvania magazine of history and biography, 1898/99. 
 
 vol. 22, pp. 321-325. 
 Uneda. Note on "The Star Spangled Banner." Notes and Queries (London), 2d 
 
 Ber., 1861. vol. 12, p. 310. 
 Warner, John L.: The origin of the American National anthem called the Star 
 
 Spangled Banner. [Read before the Pennsylvania Historical Society, at its 
 
 meeting, 1867]. (Dawson's) Historical magazine, 1867. vol. 11, pp. 27{>-280. 
 Wilcox, Marion: America's National song [The Star Spangled Banner] Harper's 
 
 weekly, 1905. vol. 49, p. 373. 
 X. The Star Spangled Banner . . . Musical times, 1896. vol. 37, pp. 516-519. 
 
INDEX 
 
 "Adams and Liberty," 15, 16, 62, 63, 79, 
 
 97, PI. X, XII. 
 Aiken, W. H., 98. 
 "All the way to Gal way," 14. 
 "America," 84. 
 
 "America" ("juvenile oratorio"), 84. 
 American art journal (1896), 10. 
 American Catholic Historical Society, 17, 
 
 48-55. 
 "American Musical Miscellany," 16. 
 American Naval and Patriotic Songster, 
 
 83. 
 The American Republican harmonist, 63. 
 American Songster, 62, 80, 83. 
 "Anacreon a poet of excellent skill," 19. 
 Anacreon in Heaven. See ' ' To Anacreon 
 
 in Heaven." 
 "Anacreontic" (in J. S. Smith's "Miscel- 
 laneous collection"), 25, 54. 
 The Anacreonric Society (Dublin), 32. 
 The Anacreontic Society, London, 11, 12, 
 13, 14, 15, 28-31 (history and descrip- 
 tion), 34, 35, 39, 40, 43. 
 "Anacreontic Society" (same as "To 
 
 Anacreon in Heaven"), 32. 
 "Anacreontic Songs" (Arnold), 19, 29, 59. 
 The Anacreontick Song. See "To Anac- 
 reon in Heaven." 
 The Analectic Magazine, 83. 
 Anonymous music, 57-61. 
 Antiquary (author), 107. 
 Appleton, N., 107. 
 "Arethusa," 17. 
 Armistead, Major, 66. 
 Arnold, Samuel, 10, 15, 19, 29, 48, 59, 100, 
 
 102. 
 Asoph, 84. 
 
 Au^or, copyright term, 54. 
 Ave Maria (magazine), 15. 
 Baltimore American, 65, 66, 70, 81. 
 Baltimore Musical Miscellany, 63. 
 Baltimore Patriot, 65, 66. 
 Banks, L. A., 105. 
 
 Bannister, Charies, 29, 30, 34, 35. 
 
 The Banquet of Thalia, 34, 35. 
 
 Bartlett, H. V., 107. 
 
 Bean(e)s, Dr., 66, 69, 70, 71, 72. 
 
 Beef-steak club, 29. 
 
 Bellas, 31. 
 
 The Billington Songster, 34. 
 
 Bird of Birds, 83. 
 
 Birge, E. B., 101. 
 
 Blake, J. H., 16, 20, 22-27, 35, 36, 37, 
 
 41^5, 48-55, 107. 
 Book, copyright term, 54. 
 "The Boston patriotic song" (same as 
 
 Adams and Liberty), 62, 63. 
 Boston Public Libran,-, 41, 85. 
 Boyce, 14, 16, 19. 
 Boyle, C. A., 98. 
 "Brave sons of Columbia," 63. 
 Brinton, H. F., 105. 
 
 " Britannia— To Neptune enthroned," 10. 
 Brown, J. D., 105. 
 Brown and Stratton, 19. 
 Browne, C. A., 107. 
 Bruncken, E., 54. 
 Bryant, W. C, 93. 
 "The Bullfinch," 34. 
 
 "Bumper(s) Squire Jones," 17,46,50-51. 
 
 "Bush of Boon," 47. 
 The Busy Bee, 35. 
 Butterworth, H., 105. 
 
 C, J., 10. 
 
 "Calliope," 11, 15, 34. 
 
 "A Canon on a ground bass, real London 
 cries," (by J. S. Smith), 49. 
 
 Carey, Matthew, 11, 16. 
 
 Carpenter, J. C, 107. 
 
 Chappell, W., 11-12, 15, 22, 24, 107. 
 
 "Chearful glee" (by J. S. Smith i, 60. 
 
 Church Music (magazine^, 13, 15. 
 
 Cist, L. C, 92. 
 
 Clark, Mrs. V.E., 100, 101. 
 
 Coates, H. T., 93. 
 
 Cole, R. G., 101. 
 
 Ill 
 
112 
 
 Index 
 
 "A collection of songs" (PMla., 1799), 62. 
 Columbian Anacreontic Society, 15, 61. 
 Columbian Songster, 62. 
 "Columbians arise! let the cannon," 63. 
 Composer, copyright term, p. 54. 
 Copyright entry, value for historical pur- 
 poses, 57-58. 
 The Coronet, 84. 
 
 Cramer's Magazin der Musik, 30, 31. 
 Crown and Anchor Tavern, 11, 12, 29, 32, 
 
 39, 40. 
 Cummings, W. H., 12, 13, 14, 44-45, 107. 
 D., C, 72. 
 Dana, C. D., 93. 
 Daniell, Carl A., 105. 
 Dawson's Historical Magazine, 69. 
 "Defense of Fort M'(Mc)Henry," 65,77, 
 
 87. 
 Dielman, 72, 86-88. 
 Dobbin, R. A., 91. 
 Dorsey, Mrs. A. H., 69, 107. 
 Durang, Charles and Ferdinand, 70, 73, 
 
 74, 75, 76, 77, 90. 
 E., Brother D., 63. 
 Edes, Benj., 70, 73, 76. 
 The Edinburgh Musical Miscellany, 11, 
 
 35. 
 Elson, L. C, 15, 35, 76, 105. 
 "Embargo and peace," 63. 
 English music (Music loan Exhibition 
 
 lectures), 12. 
 The Excelsior, 84. 
 Eyster, Mrs. Nellie, 74. 
 Farnsworth, C. H., 98, 101. 
 The Feathers and Half-moon Tavern, 31. 
 Ferris, M. L. D., 105. 
 The Festival of Anacreon, 29, 34. 
 Fielding's " An old man taught wisdom, ' ' 
 
 47. 
 "A Fifth book of canzonets" (by J. S. 
 
 Smith), 11, 12, 13, 15, 16, 18, 19, 22, 23, 
 
 53-55, 61. 
 "A fig for Parnassus," 21, 33, 38, 39. 
 Fitz & Hall, ed. of The St. Sp. B.. 85, 
 
 PI. XXIII-XXIV. 
 Fitz-Gerald, S. J. Adair, 105. 
 Fitzpatrick, J. C, 65. 
 Flood, W. H. Grattan, 1^-18, 20, 21, 23, 
 
 28, 32, 35, 44-45, 46, 47, 48-55, 107. 
 "For worms when old Bibo," 63. 
 Foster, William, 63. 
 Foug(h)t, H., 12, 44-45. 
 "The Fourth of July," 63. 
 
 "The frantic lady" (cantata), 25. 
 
 "Freedom," 63. 
 
 Gannon, Charles E., 83. 
 
 Gantvoort, A. J., 98, 100, 101. 
 
 Gaynor, J. L., 101. 
 
 Gebhart, D. R., 107. 
 
 Geib & Co.'s ed. of The St. Sp. B., 85, 
 
 PI. XXV. 
 " The genius of France, " 26, 62. 
 Gentleman's Magazine, 31, 34. 
 Gilchrist, 98. 
 "God save the King" (as cantus fir mua 
 
 in J. S. Smith's Canon in Subdiapente), 
 
 25, 49. 
 Grove's Dictionary . . . , 12. 
 Hagner, A. B., 107. 
 Hagner, Ch. V., 78. 
 " Hail Columbia, " 84. 
 Hankey, Sir Rich., 30, 61. 
 "Hark! The Trumpet of War, " 63. 
 Haydn, 15, 28. 
 Hendon, 74, 75, 76. 
 Henn,^ H. T., 15, 17, 18, 48-55, 56, 58, 59, 
 
 107. 
 Hensel, W. U., 80. 
 Higgins, E., 93, 107. 
 Hill, M., 107. 
 Hodgkinson, John, 62. 
 Holden, Smollet, 15, 35. 
 Holmes, O. W., 96. 
 Howard, Mrs. Ch., 78, 91. 
 Howe, William, 63, PI. XII. 
 Hoyt, A. H., 92. 
 Humbug Club, 29. 
 "The Humming Bird," 34. 
 Husk, WiUiam H., 19. 
 Incledon, Charles Benj., 35, 41, 42. 
 "Is it summer?" 25. 
 "Jefferson and liberty," 63. 
 "Jefferson's election," 63. 
 Jepson, B., 98. 
 Johnson, Helen, 105. 
 Keim, George, 73, 90, 91. 
 Kelsey, Mrs. C. B., 101. 
 Key, Francis Scott, front., 15, 24, 66, 67, 
 
 68, 69, 70, 71, 72, 73, 75, 77, 78, 79, 80, 
 
 81, etc., to 103. 
 Kidson, F., 10, 12, 21, 22, 23, 24, 34-35, 
 
 41-15, 46, 53, 54, 55, 107. 
 King, H., 107. 
 Kinnear, Wm. B., 108. 
 "The Knave's necklace," 57. 
 Kobb4, G., 105. 
 
Index 
 
 113 
 
 Lawrence, W. J., 34. 
 
 Lee, Anne, 13, 15, 16, 21, 23, 41-42, PI. 
 
 III. 
 Leinard, L., 108. 
 Levy, Jefferson M., 72. 
 London Coffee House, 29, 31, 32, 38, 39, 40. 
 London Cries (worked into a canon by 
 
 J. S. Smith), 49. 
 London Magazine, 34. 
 London Magazine and Monthly Chronol- 
 ogy (Dublin), 34. 
 The London Musical Museum, 35. 
 Longman & Broderip, 11, 15, 41-45, 97. 
 
 See also -pi. in Appendix. 
 Loomis, John T., 81. 
 Lossing, B. J., 91, 108. 
 "Lyre and Owl," 12. 
 McCarty, W., 105. 
 McCauley, Capt.,70,71. 
 McConathy.O., 100,101. 
 McFarland, Paddy, 74. 
 Mackeson, Ch., 28. 
 
 McLaughlin, J. Fairfax, 10-11, 98, 108. 
 Mahar, J., 92. 
 
 Maryland Historical Society, 66. 
 "Masonic ode . . . by Mr. Connel," 35. 
 Masonic version of "To Anacreon in 
 
 Heaven," 15. 
 Mead, L., 106. 
 Metropolitan Glee Book, 84. 
 Millet, W. E., 85. 
 "Monarchical" origin of "The Star 
 
 Spangled Banner," 7-8. 
 Moore, P., 106. 
 Moore, Sir John, 30. 
 Morris, captain, 29. 
 Mulis {recte Mulso), 15. 
 Mulso, 15, 28, 31, 40. 
 Music Loan Exhibition (1904), 12. 
 Musical composition, copyright term, 54. 
 Musical Miscellany (1786), 15, 34. 
 Musical Repository, 63. 
 Musical Times (1896), 11. 
 The Musical World (magazine), 19. 
 The M>Ttle and the Vine, 10. 
 Nason, E., 10,93, 106. 
 National Education Association's version 
 
 of "The Star Spangled Banner," 100- 
 103. 
 National Song Book, 63. 
 National Songster (1814), 87. 
 New American Songster, 83. 
 "A new Anacreontic Song," 34. 
 24115°— 14 8 
 
 New Nightingale, 84. 
 
 The New Vocal Enchantress, 34. 
 
 New York Normal School Song Book, 84. 
 
 Nicholson, Judge J. H., 68, 69, 70, 78, 80, 
 
 81, 86-88, 89. 
 Nightingale, 63. 
 Normal Song Book, 84. 
 "Not the fictions of Greece," 63. 
 O'Carolan, Turlough, 16, 17, 45, 50-51. 
 "The Occasional Ode for 1780," 25. 
 "O'er the forest crowned hills," 63. 
 "Of the victory won," 63. 
 " Oh! dear papa! don't look so grum," 47. 
 "Our country's efficiency," 62. 
 Paine, Thomas (Robert Treat), 15, 16, 61, 
 
 79. 
 Parke, W. T., 28. 
 Peter, Major, 67. 
 The Pliilharmonic, 84. 
 Pinkerton, W., 10, 108. 
 Plagiarism, 58. 
 Pond, Warren, 85. 
 Post, J. E. H., 86, 89. 
 Preble, G. H., 69, 72, 75, 86, 87, 88, 90, 91, 
 
 92, 95, 96, 106. 
 Prior, Matt., 9, 10. 
 Reddall, H. F., 106. 
 
 Report on the Star Spangled Banner, etc. 
 (1909), 3, 7, 14-18, 22-24, 25, 65, 71. 
 
 " Return blest days" (by J. S. Smith), 56. 
 
 Rhames, E., 23, 41-42, PI. IV. 
 
 Rimbault, E. F., 106. 
 
 Ripley, 98. 
 
 Roberts, D. E., 66, 
 
 Roberts, John, 20. 
 
 RoSewig, A. H., 13, 21, 108. 
 
 "Rowley's," 21, 32, 38, 39, 40. 
 
 Royal Library, Dublin, 34. 
 
 The Royalty Songster, 34. 
 
 Rush, Benj., 95. 
 
 Saffell, W. T. R., 106. 
 
 Salisbury', St., 10, 61, 108. 
 
 Sands, Samuel, 70, 71, 72, 76, 81-82, 88. 
 
 "Satan's visit to the Jacobine Club," 10, 
 
 Schell, F. H., 109. 
 
 Sedgwick, 34. 
 
 "The Seventh star, " 109. 
 
 Sewall, Jonathan Mitchell, 62. 
 
 Shaw, Elsie M., 100, 101. 
 
 Shippen, Mrs. R. L., 78, 86, 88, 89, 90, 109. 
 
 Shirley, J. B., 98. 
 
 " Si Deus pro nobis, " 25, 49. 
 
 Siefert, H. 0., 98. 
 
114 
 
 Index 
 
 Skinner, John S., 67, 68, 81, 82. 
 " A slang pastoral " (by R. Tomlinson), 36. 
 " Sleep, poor youth, " 47. 
 Smith, E., 98. 
 
 Smith, F. S. Key, 70-72, 76, 109. 
 Smith, Gertrude Stafford,. 19. 
 S[mith], Jack, 31, 47. 
 Smith, John Stafford, 9, IT, 12, 13, 14, 15, 
 16, 17, 18, 19, 20, 21, 22-24, 25, 26, 45- 
 63! 
 Smith, Nic, 106. 
 "The Social Club," 63. 
 The Songster's Companion, 83. 
 The Songster's Magazine, 83. 
 The Songster's Miscellany, 83. 
 The Songster's Museum, 83. 
 Sonneck, 0. G., 13-18, 49-55, 71, 72, 106. 
 " Sons of Columbia, "63. 
 The Soul of Harmony, 35. 
 Sousa, J. P., 93, 98, 106. 
 " Spain, " 62. 
 
 Spenser, the younger, Edmund, 29. 
 Spofford, A. R., 93, 106. 
 Spowers, G., 95-96. 
 Squire, W. Barclay, 43. 
 Stainer, -Sir J., 21. 
 Stanfield, J. F., 63. 
 
 "The Star Spangled Banner," 65-103 
 See also Introductory remarks. 
 Additional stanzas, 95-96. 
 Air of. See "To Anacreon in Heav- 
 en." 
 Autographs, Key's, 88-92. 
 Bibliography. See Literature used 
 
 for this report, 105-109. 
 Broadsides, early, 69, 70, 71, 72, 73, 
 
 76, 82, 85-88. 
 Composer. See "To Anacreon in 
 
 Heaven, " composer. 
 Congress and the St. Sp. B., 72. 
 Date of origin, 66. 
 Differences in melody, 96-103; in 
 
 text, 86, 89, 93-95, 100. 
 Early appearances in song collec- 
 tions, 83-85. 
 Editions (early), 65, 66, 83-85, 86-88. 
 Esthetic merits, 65. 
 Facsimiles, 89-92, PI. XIII-XXV. 
 First accounts of, 65, 66-69. 
 First mentioned under its present 
 
 title, 77. 
 First printed, 65, 66-69, 72, 76, 81-82, 
 
 83, 86-88. 
 First published under this title, 83. 
 
 ■ The Star Spangled Banner" — Contd. 
 First publisher, 65, 66. 
 First sung, 70, 73, 74, 77. 
 First text, 65, 66. 
 Melody of. See "To Anacreon in 
 
 Heaven." 
 National Anthem, 72. 
 National song, merits as, 65, 95, 96. 
 Origin of music. See "To Anacreon 
 
 in Heaven." 
 Origin of text, 65-69. 
 Original manuscript, 73, 78, 88-90. 
 Popularity, early, 70, 71, 76, 82, 83-85. 
 "Singable." Efforts to make the 
 melody uniformly and, 20, 100-103. 
 Standardization of melody, 96-103. 
 Taney's account, 66-69, 77, 88, 89, 
 
 109. 
 ' ' To Anacreon in Heaven . ' ' See this 
 for historj' of the tune. For the 
 selection of the tune for the St. Sp. 
 B. see 66, 70, 71, 73, 74-76, 77-81. 
 Tune of. See "To Anacreon in 
 Heaven." 
 The Star Spargled Banner (songster), 83. 
 "Stay, Shepherd, Stay," 47. 
 Stedman, E. C, 93. 
 Stevenson, E. I., 106. 
 Stewart's Vocal Magazine, 35. 
 Strype, 11. 
 
 Tammany Society, 63. 
 Tapper, Th., 98, 101. 
 "To Anacreon in Heaven," chapter on, 
 9-63. 
 
 American history, 15, 46, 62-G3. See 
 also "The Star Spangled Banner" 
 chapter. 
 American origin, 10-11, 24, 26. 
 Anonymously published, 57-61. 
 Author, 11, 14, 21, 27, 31, 32-35, 36. 
 Bibliographical histon,-, 32-35, 40-45, 
 
 62-63. 
 Bumper, Squire Jones. See this. 
 Characteristics, 15, 17, 27, 50, 56. 
 Charter song of the Anacreontic So- 
 ciety. See the latter. 
 Composer, 9, 10, 11, 12, 14-18, 21, 27, 
 
 36, 45-63. 
 Copyright entry, 12, 22, 23, 52, 53-55, 
 
 57-59. 
 Criteria for dating undated eds., 39- 
 
 41,44-45. 
 Date of copyright entry, 16. 
 
Index 
 
 115 
 
 "To Anacreon in Heaven," chapter on — 
 Continued. 
 
 Earliest appearance of music in print, 
 
 40-45. 
 Earliest appearance of words in print, 
 32. See also The Vocal Magazine. 
 Earliest publication, 11, 14-18, 21, 
 
 32, 4(M5, 59. 
 Editions, 11, 12, 13, 15, 16, 21, 23. 
 
 34-35, 41-45, 62-63. 
 English origin, 16, 24. See also John 
 
 Stafford Smith. 
 Facsimiles, PI. I-IX, XI. See also 
 ■'Adams and Liberty" and "The 
 Star Spangled Banner." 
 French origin, 26. 
 Glee, arranged as, 16, 18, 22, 24, 53- 
 
 55, 58. 
 Internal evidence, 56. 
 Irish origin, 7, 8, 9, 15-18, 24, 26, 35, 
 
 42, 50-51. See also O'Carolan. 
 Masonic words, 15. 
 Monarchical origin, 26. 
 Origin, 7, 8, 9, 10, 11, 12, 13, 14-18, 
 
 23, 36, 37, 40, 42, 50-51. 
 Original and amended text, 16, 21, 
 
 37^0. 
 Parodies, etc., 10, 29, 34, 35, 62-63. 
 Popularly known as "The Anacreon- 
 
 tick Song, " 55-56. 
 Texts, 11, 29, 31, 32, 34-35, 38, 39-45. 
 "To banish life's troubles," 34. 
 "To Columbia, who gladly reclin'd," 62, 
 
 63. 
 "To Neptune enthroned," 10. 
 "To old Hiram, in Heav'n," 35. 
 "To old Satan in Hell," 10. 
 "To the Gods who preside, " 62. 
 "To the hiU of old Lud, " 21, 33, 38, 39. 
 "To the lame old Gold-smith, " 29. 
 Tomlinson, Ralph, 11, 12, 21, 31, 32-35, 
 
 36, 38, 39, 40, 41^5, 46, 47, 55. 
 Travers, John, 10. 
 The Ugly Club, 29. 
 Uneda, 9, 109. 
 
 "Union and liberty," 63. 
 
 "Union of the gods, " 62, 63. 
 
 Universal Melodist, 10. 
 
 The Universal Miisician, 84. 
 
 Universal Songster, 9, 10. 
 
 The Vocal Companion (1796), 16, 62, 63. 
 
 Vocal Enchantress, 16, 21, 34, 97. 
 
 Vocal magazine (1778, etc.), 9, 12, 15, 16, 
 
 20, 32, 37, 38. 
 The Vocalist's Pocket Companion, 84. 
 Walters, Henry, 86, 89. 
 Walworth, Father Clarence, 56. 
 Warner, John L., 73, 77, 80, 109. 
 Warren; eleventh Coll. of catches, 47. 
 Warren; thirtieth Coll. of catches, 43. 
 Warrington, James, 45. 
 Washington National Intelligencer, 83. 
 Washington Sunday Morning Chronicle, 
 69. 
 
 Wayne, F., 106. 
 
 "Well met, fellow free men, "63. 
 
 West, J., 62. 
 
 "When Bibo went down, " 9, 63. 
 
 "\Mien Bibo thought fit," 9, 10. 
 
 "WTien our sky was illuminated, "63. 
 
 ^\^lite, Miss Constance H., 39, 60. 
 
 WTiite, R. G., 106. 
 
 Whiting, C. E., 98. 
 
 Wilcox, M., 109. 
 
 Woolbridgre, H. E.. 12. ♦ 
 
 X., 11, 12, 109. 
 
 "Yankee Doodle," 14, 17. 
 
 "Ye mortals whom trouble, " 19. 
 
 ,• Ye seamen of Columbia, " 83. 
 
 "Ye sons of Columbia, determined to 
 keep, " 62. 
 
 ••Ye sons of Columbia, unite in the cause," 
 62. 
 
 "Ye Sons of Columbia who bravely have 
 fought, "62. 
 
 •Ye sons of Columbia, who cherish the 
 prize," 63. 
 
 •Young Bibo," 63. 
 
 Young Folk's Glee Book, 84. 
 
 Zeiner, E. J. A., 98. 
 
ILLUSTRATIONS 
 
star Spangled Banner. 
 
 The ANACREONTIC 
 
 pntron woifld be 
 
 FROM JOHN STAFFORD SMITH'S "FIFT 
 
SONG 
 
 harmoaiied ty the Aufhc 
 
 53 
 
 from the jol.ly ol.i GrPci'n 
 
 JOOK OF CANZONETS." LONDON [1799]. 
 
TITLE-PAGE OF JOHN STAFFORD SMITH'S IF 
 
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 JfnuHsfton tc^J^T^" 
 
 ULEy^rr^d Ward, 
 
 > K OVA l; ' • 
 
 .S)ir.u;^(;anlf n«..V at the Music- Shops 
 
 IFTH BOOK OF CANZONETS," LONDON [1799]. 
 
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star Spangled Banner. 
 
 [336] 
 
 3 o N c; crw II. 
 
 I o .\::aacon, :u ii.,v'n, uhe:.; he f^t in full gkt', 
 1- 
 
 i!.oirin-f|ir-crr.nd patron would be; when this 
 ani\vcrar-;k-'arrcn (Ik- j\,Mv old Grecian—" Voi-o 
 
 iiiiiiiiiiii 
 
 fiddle, and flute, no longer be mute, I'll knd 
 you my name aTd inipire you to boot ; and, bef/d"^, 
 
 I'll inftrud you like j^e 
 
 to ia. f.vinc the myrtle of 
 Venus 
 
 'TO ANACREON IN HEAVEN," FROM "1; 
 
Venus with Bac - chcs's vine, and, befides, I'll 
 
 p^^ 
 
 ftruft YOU like mc lo intwinc the myrtle of Venus 
 
 iiii^; 
 
 with Bacchub's vine. 
 
 The news through Olymptis imTnediately A^vv ; 
 
 When old Thunder pretended to ^ve hijnfclf airs-* 
 ^' If thefe mortals arc fufFer'd their TcUcmf^ to purlue, 
 «« The devil a goddcfs will ftay above ftairs. 
 " Hark! already the)rcry^ ^' ^ ' ^ 
 «' In tranfjpotts of joy,\ ' \.» „ 
 " Awavto the fons of Anacrebn "^cMl fl}', . . 
 
 ' And there, with good fellows, we'll learn to mlwinft 
 - The myrtle of Venus with Bacchus'^ vlhe. 
 
 *< The yellow-hair'd God pnd his ninp fully maid., 
 
 «• From Helicon's banks will incontineni tlce, 
 *' IdaThi win bpaft bat.<»f tenantlefs iha<ks, 
 «♦ And the bi-forked hiU a'mere 4erarl wi^l ^e. 
 ' «'.' My thunder, np fe^r oiCt, » 
 
 i" SKall.foon do I^^#rra»d, ,;.„„• 
 
 *' And, dam'mt- 1 I'll (v^'inge tTie ringleaders, T warranty 
 ." riTf im thic young dogs.. f(^ tiiiiadir.ii;^;Qltwiflfi^i^ - 
 ^ TJi^mvnlc of Veaus with ^acchasH vuTt.^ r ■ . 
 
 ^S 
 
 L .A 'Apollo 
 
 T. VOCAL ENCHANTRESS," LONDON, 1783. 
 

 
 
 
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star spangled Banner. 
 
 AXAC^llE (XNTIC BONO 
 ^ — -^^ ^^ tbc (MotW bi) O^ o 
 
 '^lly4Lrn ^/7)AJLL \ '^'OX £/f/'/ff/^(''l\c/My?/ n^^^iat SOCIETY. 
 
 \J_^(>\\^'^^fyjflut/,(//vZoMrMcui !rBroJfrt))^S.'''26&„a^u,'(/^- ' ^^^'i^' 
 
 THE ORIGINAL LONGMAN & BRODERIP. 25 CHEA' 
 
Chorus. 
 
 * , » And be fides I'n 
 
 -ftrnct yoB lite mc to ea. 
 
 Aud be f,d« I'll m.ftract you like irfe to en.l 
 
 Aiid be rides I'll in.fttoct ^u like me to 
 
 Aiid be fide» I'U in-ftroct yoo like 
 
 .US with Bac.CHVS'..s Vine. 
 
 2. 4. 
 
 Tlie news throngh Olymujs ijnm.-.liHtoly flew; ^OLLO rofe np; and faid,"Pr>ythee ue'er quarrel, 
 
 ^^When OLD Tut-NDER. prif tended to give hinifeliAir»J^Good King of the God», with my Vot'rie* below: 
 ^^ir thefe Mortals are f-.iffer'd their Scheme to perfue^Yonr Thunder is ufelefs-then, fhewiug his Laurel, 
 Tlie l>>;vll a Goddefs will ftay above Stairs . Cry'd.lSic n-iiaHUfulniit, yoo know I 
 
 Hark! already they cry, "Then over each Head 
 
 'InTranfiJortsof Joy, "My I^aineUI'U fpread; dread 
 
 ■'Away to the Sons of AnAOlUSOll wt'll fly, ^So my Sons from your Crackers uoXnfrhieffliall' 
 
 And there,with good V.-Uows, we'll learn to intwiae IVhilft fnog in their Club.Room they joviaDy twine 
 "The Mvrtle of VCNVS with BaccHCS's Vine. "The Myrtle of VekvS with Bacch'vs'S Vine. 
 
 __ThL' YEi.Low.nAiR'D God and his nine fofty Maids, Next MoMOS got up, with his riCble Phix, 
 
 Kroni Helicon^ Banks will incontinent flee, And (Vrore with AtOLLO he'd chearfuUy join. 
 
 l^lDALIA will boaft bat of tenantlefs Shades, "The full Tide of Harmony ftiU fhaU be his, 
 
 "Audthi- hi. forked Hill a mere Defart will be "BattheSong,and theCatch,&theLaaghfliaUbemine 
 '"My Thunder, no fear on'l, "Then, JOVE, be not jealous 
 
 J "Shall foon do it'5 F.rrand, "'Of thefe honeft Fellows. ^, 
 
 "Andtdatrfrae; I'll fwinge theRingleaders,! warrant, CryVi JOiVE,"We relent, fukce theTrothyon now tell 
 
 Ijl'll trim the young Dogs.for thus daring to twine 'And fwear,byOu> STYX, that they longfhalliutwine 
 
 Tlo Myrtle of Vevvs with BACCHUs'is Vine. "The MyrUe of Vekvs with Bacchus'* Vine . 
 
 6 
 
 Ye fans of ANACKEOK,thon,joiuHa4idinHand., 
 Preferre Unanimity, Friendfhip,a3d Love. 
 Tis yout's to ftipport what's fo happily plann'd; 
 You've the Sanction of Gods , and t'.ie FlAT of Jon. 
 
 While thus wc agree. 
 
 Our Toaft let it be. 
 May onr Club flonrifli happy, united, and freel 
 And long niaj the Sons of AwACH^os intwine 
 The Myrtle of Vewws with Bacchus's Vine. 
 
 DE ISSUE OF "THE ANACREONTIC SONG" [178-]. 
 
► 
 
 I 
 
star Spangled Banner. 
 
 'A'.//JV/ Vo.uz/. I -SOX y:xn» A,/, /yr/^,/ry,.y ,y ■;];,,/ \or.//r/) 
 
 ^^mm^^^ 
 
 ^mrmmm 
 
 i.R.r be 
 
 THE LATER LONGMAN & BRODERIP, 26 CHEAPSIDE ANI 
 
<^ 
 
 Chorus. 
 
 m^^^^m^Mmm^^^,^^^ 
 
 ■1.. Ir..i.l|>orU, o( Jo> 
 t u.r Soiib cf .«SACj<i;ON v.'ll f.i, 
 .. . ■' . rc.Niil' K"»l KiUow»,w,'ll I. ..r.. I . • 
 11- l>ia of VtNUS Willi b,itClil!>N \n 
 
 "T!..- Y^LH.W-i. .Ia'd cod jiuI ill-. MM. 'u!l 
 
 ',',-.>ni akUCOK'S Hillk> Mill -I... II'.; t fj. 
 
 ''l...>LIA A.lll.o.rt l.«l..( Ui.Ji.ll.l. Sl.4.i.», 
 •^v.,1 •:..:,>.-forl...:HiUj.mr. E.farlvill !• 
 "Mv TUuiil.r no f>..r ..i.'t, 
 "SI.U r. (.11 do id Krr ..id, 
 \U....uaii.>i>.t I I'll ^Wmp-- t;., •»i,.pl...«l. r^ ) 
 ■■'I'U -rim lilt y.„ i.g Di<);s,f..r ilms d iruip In i 
 
 Tl,. Mjrtl. nf ▼tja* .^ iU. IIACCIILS'S V jl 
 
 • ■ imI laid, Pr»y'Ao«MArqtt»rre*, 
 ,1. nitl. uiy Vot'rMf bclo«-T 
 1. I.& ..il..ii,nir«iiinU» Ljurui, 
 ,1. fulf.tti, joo know I 
 1,,,.. ...r ..-jcli H..4d 
 . "J, L.ur.l.I'Ufprwd 
 
 Sd HI) Sums froinyoiirlrjdi.r. .mo Mifdii. rOi.:! d.- 
 • "Wl.iUt.ii.-igiu ill. irtlllb-ft,<,ii..ai>j JoM Mt i.-.i . 
 I'Ti.i MyrU.- of VtSVS .ill. M.itUl^S \ :... . 
 
 Next M<.VIS ROt u|. •ill. liis r-r.;,i. Pl.ii, 
 .\i..llVor. mil. .V^OIXOhi'UI.^jrfiill join - 
 "Tl...- fi.li Ti Jf of H .rii.oi.y Hill n..i) be Iiii . 
 
 "rtUltll>.'Sol>(^,.i..d llii:C:adyv.ai>.'LwgbUi:allicl.lil.i 
 
 *'II. 1^, JOV*;,l<i i.ot jcaipa» 
 ".,f il.^lV li.ji..rt KUo«>, 
 I CryM J«vE,"«.r.l..,t,ri:ui I". T1-inh><Ji now iilln 
 j ".\l.d f'voi.r.h) OLD ST-V-V,ili.A tl.. V Inop; fi:.. I ii.l.,1,., 
 TheMyrU.. ofVBja^wul. BAtCIt-S-.s \ .„< . 
 
 v.- Sons of an.>CR..-.OK,i1j»ii joiiiHiudinHM 
 VT<Ut\^\ n..m.i.it},Kri.,mllVi|i,jnil Lore! 
 ■Ti> ,o!ir»» to fm-ii. ri .vli..tM"ob»p|Mly |>l.i"i:' 
 V.o'.^lli. Salirl.oi. ..f Gu.;.,;.n 
 Vt'liili lliii- ««■ .Kr,-, 
 
 ■ tliil. flolirHI. 
 
 ii.it. 
 
 T of JOVK, 
 lid fr.c! 
 
 HAYMARKET ISSUE OF "THE ANACREONTIC SONG" [178-]. 
 
Star Spangled Banner 
 
 T VrL A M EH I C AN 
 
 r-v^^-T#-*^^-»^-^ 
 
 :g:crt:t:t=£ 
 
 tr L — tH"" — t"! — i 
 
 jl^iPplilliiii 
 
 > ^c fons of Co - lum - bia, who bravely 
 
 Y have fought, For thofe rights, which unftain'd from 
 
 PAINE'S "ADAMS /, 
 
MUSICAL M I S C E L L A N V. 
 
 ^:d::i=r=^r:gzTz~rzr?5r!^r:rr 
 
 ^ your Sires had dc - fccnd cd. May you 
 ^ long u.le the He (Ting* your valour has 
 
 [liiiEiPJiPpi^ill 
 
 ^ bought, And your fons r<'ap tlic foil,which you 
 
 ^ fathers defended, Mid the reign of 
 
 I ijE jre^zpziq:±zdiz; 
 
 LIBERTY." 1793. 
 
star Spangled Banner. 
 
 26 
 
 Hard, hard is my fate! oh, how galling iny char.. 
 
 My life's stcer'd by iniscry'.s chart — 
 And 'tho 'gainst my tyraiits I scorn to complain^ 
 
 Tcar.s gii.sh forth to ease my sad heart : 
 I di.sdalne'en to shrink, tho* I feel t'le .sharp lash; 
 
 Yet my breast bleeds for her I adore ; 
 While round mo the unfeeling billows will dash, 
 
 I sigh! — ^and still tug at the oar. 
 
 How fortune deceives! — I had pleasure in tow. 
 The port where she dwelt we'd in \'lew ; 
 
 But the wi«sh'd nuptial morn was o'erclouded with 
 And, dear Anne, I hurried from you. [woe. 
 
 Our shallop was boarded, and I borne away. 
 To hchold my lov'd Anno no more! 
 
 But (lispair wastes my spirits, my form feols decay- 
 He sigh'd — and expir'd at the oar! 
 
 ANACREON IN HEAVEN. 
 
 To Anatifj!! in Hcav'ii wheiehe -^at in (a^ 
 
 5ICC, A few sons of hariijony sent a petition , 
 
 FROM "BALTIMORE MU 
 
'i'li.il lie their iiisplrcr and pritroM wuuld l).\ 
 
 l-:cv an:! pritroM wuuld I).-, 
 
 x- — 2_! — V — [ — k^ic-r — tf-.j_ 
 
 \v}nMUliis;iii^u'rraiTlvM rio'iulu- jollvu! ? C c c!;,:; : 
 
 A'oicc fiddle an ' llntc no loM-vr !> • My;:'.-, I";! 
 
 Jcixd you my name luid inspire you to boot 
 
 Urn: 
 
 'Aiul bcsiflfs rilJ!) tnict vow liii<?i> - to .• itaia 
 
 mm 
 
 Aiul bcsidrs n 
 
 piiiiiiiSiHii 
 
 'Ihr Myrtle o*' \'«Mius '.viih Bacchns'sVi.ie 
 
 'i '••^ ••"■■> ili.i'u^li (yiyin-ju.. io.ii.c-.iuacly flew, 
 Whrii old Thunder pretcDtcd to ijivc liii/i.v '^ 
 
 AL MISCELLANY," 1804. 
 
star Spangled Banner. 
 
 ADAMS A V V 1, ! B K R T Y 
 Tlic B often Pal rlolic Song 
 
 W. HOWE'S EDITION (1798?; 
 
ln^,-tio<-,»horeric»n!i!fsf<>cd ymartsof the fcrrlcf 
 Whoff Oiorf V are unfhtken by Rnropi-s rryrmorion . 
 fheTrMeni of rommprff OiouH n<^Tr b» li^rlif 
 To •r.c«ir»«helef:itimHi(. powers ofthpcww; 
 Bin Oould fimtfi iriTaa-, 
 Though jp Thunder Hrrny'H , 
 1.»f your C«nron detlHrethefree Choner of TraJe^ 
 For n.vr n,B|1 tke Ton', of COLUMRI A b* f J»»e4, 
 WH !e the e»rth bests « plmitpr the Tm roMi its wxtei 
 
 J 
 Tr •• r.re of OUT lirois.ofoiif !ii»s tVe ti'M f-A:,,, 
 
 Hr4<| (ufily enob!e<J OUT nxtjon in ftory. 
 Tillth- l.rielouds'.r F:.etion ol:rcur'do,.ryr,„n,;d^, 
 An lirt'lopM the fun of ATserican ftory . 
 '■It hi Trxitor* be told, 
 \no their Country »i»f e fold , 
 An ! burter'd their God forhi> im:'.f;>- in fold 
 T^M n,>Vf»!Mth., foM, iVc. 
 
 ■urp;(rri-.iv deTtroy AnnrcTiJ p^ftilent vorm, 
 
 t 0111 Librrty's growth Hotild bechedt'd by for 
 
 rhen let clouds thicken around us.ire heed not fftorm 
 
 Our rex!-. rr;,rsnonioct but|-e»rt!i?c»n eTpIoflnn 
 
 Fo-i :.(t«il us in Taih , 
 
 •nioii.h their rtF.EtS bridfethe mKin 
 
 fForour M,»r. Vt.h-«s with our lives ve'lhm»int,in. 
 
 r.-Vr ill.hefons&re. 
 
 hile Knince h-r hi.-^-e lirrl s ba«h.is recuT)bfr«in blnn 
 indrociety'i b!irethr(>a.s«ith»irf.-dirrolution, 
 :• pe:)celiletheDoie,.horetumd from the flood. 
 ;nd mi Arlof »bodrinourmiMrONSTlTrT10i>( 
 But though pp,,cei< our Aim, 
 VettheboonwedifrI»iin, 
 ')..Kh<yithourSov'RF,rG\Ty.inSTICEorFA.MF 
 n.<.r»!llthefor-vSre. 
 5 
 the fire ofthe flint exrh A-neric.n warns. 
 .et Fonie's h«d|hiy Victors ke»are of col!ifion , 
 tHem brin^ n 1 theVKff,!, of Furopc in irms, 
 >re eWorld by ourfelTej a-difdnin r .llTifion ; 
 Whilewith patriot pride. 
 To ourUtcs xe're allied, 
 : for CKn fubduc us no fi<«tion divide, 
 r ne'er rhHiUhefon»8r<-. 
 
 Ourvounn.ins urecTovn'dwiihimpifrial 0»v , 
 
 Wiofe roots Ii»f our liberties ,»^;^sfc,y,„,u,ifh'j 
 Bui lone e'er ournation fubroits tc the yoke^ 
 
 I « tree fh;,!! be left en the field where it flourinil 
 S!^- oM inTifion impend. 
 Every frore ♦oulj defcend , 
 n ihr hill tops they fhaded o^.r Chores to defend; 
 ne'er ■lilhhercni 8r» . 
 
 d Should <h.-,rTperi of WAPoverTi n 'o'* -yr l..rd, 
 fts bolts could ne'er ren« Treedo^'s teirplnrrunder, 
 Forunmov'd,;ii its port:.lwouWWASHlNGTOvr..:,nd 
 ! rppel with his broart.thetitttitsofyThunder 
 His fword from t.Y.t n wp. 
 Of its sc.ibbsrd «ouIdIe»p, 
 And eond.iet.vitfc it, point tVety fl,!> tothedeep . 
 ne'er*iiltV.crons8r..- 
 « 
 
 Let Fime lotht vorld foun I \-neric»'s ^oiee, 
 No Intrifue can her Tons fro : theifcoternTient fe^er 
 Her pride is her ADAMS _ Us laws iteher choice, 
 .ndrhallflourifhtill LI BFKtYfIu»ber forever. 
 Then unit«,he«rt and k»nd, 
 Like Leonidas' bind, 
 AndTwearto theOODofihe eceanand land; 
 That ne'er itill the foni of COLUMBIA beflares, 
 While, he earth bean » pUntorthefea rolls itsw«Te 
 
 i-'w YORK FriniedSfSc 
 
 I by w-HOWK Or 
 ii'i Z'lO IV- .1 
 
 rv Importer of alUinds of Mun^llnftnimenu 
 
 F "ADAMS AND LIBERTY." 
 

 ■1 5 -- a ' 
 
 
 
 
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star Spangled Banner 
 
 eP'^^ ytcXifiir,^, ^^^ S-OL^^. -^^..^^^^ t^ n^ .^^ ^ -^ i4i>E_^ 
 
 ^ .CA^,4^_^ x^c:d__^^ ^.^i^^U^ 
 
 
 THE KEIM AUTOGRAPH (CA. 1842), IN POSSESSIO if 
 
PLATES XVII-XVIII. 
 
 5 
 
 
 
 
 
 
 F THE PENNSYLVANIA HISTORICAL SOCIETY. 
 
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 ^ i I I 
 
 
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 Y 
 
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star Spangled Banner. 
 
 Nc 
 
 rtn JT-: 
 
 ^ ^ 
 
 12.-THE STAR-SPA 
 
 ■<r ^#' 
 
 j O. say. can yon pee, by the dawn's ear-ly ]ia 
 
 I Whose broail stripes and bright stars. thro' the perilous fig 
 ^ \ On the shore (iini-ly soen thro' the mists of the de 
 ~" I Vv'as it that \vhich the breeze o'er the to\v-er - ing swi 
 ( Auj \vliere is that band, who so vaunt-ing-ly sw 
 / A home aud a coun-lry should leave us no mo 
 
 
 ee 
 
 And the rock - et's red glare, And bombs bursting in 
 Now it ratch - es the gleam Of the morn-ing's first 
 No ref- uce could save The hire - lin^ and 
 
 i/z:^: 
 
 mm 
 
 Chorus. 
 
 i: 
 
 O, say, docs the st.ar-spaii-g;led ban-ner yet ' •« 
 'Tis the star-spangled ban - ner, O, long may 'it w 
 And the star-spangled ban - ner in triumph doth w 
 
 FROM THE "NEW YORK I 
 
LED BANNER-CHORUS. 
 
 J What so proudly we hailed at the twilight's last gleaming, 
 
 SOer the ramparts we watched, were so gal - lant-ly streaming; 
 
 9 Where the foes haughty host in dread si - lence re - pos-es, 
 
 As it fit - ful-ly blows, half con-ceals, half dis-cios es ; 
 
 That the hav - oc of war, and the bat-tie's con - f u - sion, 
 
 Their blood has washed out their foul footsteps' pol - lu - tion. 
 
 Jtit: 
 
 
 :t!t 
 
 -^h 
 
 z^zbtz*^- 
 
 Gave proof thro' the night that our flag was still there. 
 
 In full glo - ry re - fleet - ed now shines on the stream : — ■ 
 
 e From the terror of flight, or the gloom of the grave : 
 
 ^~-0—Mr- -— ■ , P 
 
 '( MAL SONG BOOK." 1851. 
 
star Spangled Banner. 
 
 STAR SrABI 
 
 ^^ 
 
 F^=^; 
 
 ^ 
 
 1. 0, s&j, an you see, by the daw^n's ear - ly light, 
 Whose stripes and bright stars, thro' the per - il-ousnigat, 
 
 3^ 
 
 
 ^ 
 
 --i»- 
 
 ^a 
 
 2. On the shore dimly seen, thro' the mists of the deep. 
 What is that which the breeze, o'er the towering steep. 
 
 qp:: 
 
 e£ 
 
 -^— ^- 
 
 ig 
 
 [i^izz: 
 
 ¥=1^ 
 
 ::^3: 
 
 f= 
 
 1. And the rock-et's red glare, — the bombs bursting in a: 
 
 3_. a P 
 
 ^ 
 
 2. Now it catch - es the gleam of the morn-ing's first bea 
 
 -± X- ^ ^ ^ -rh " 
 
 I_IIL 
 
 X 
 
 :5 ?~~.y 
 
 151 
 
 FROM "FILLMORE'S NEW NIGHTINGALE 
 
 ON A MATHEM 
 
[.ED BANNER. 
 
 American Sonq. 
 
 TT ^-— I 1 s— ±- 
 
 i — b 
 
 W — 3' — 3 
 
 fi 
 
 J 
 
 1 
 
 •t BO proud -ly we hail'd at the twilight's last gleam-ing; 
 r the ram-parts we watch'd, were so gal - lant - ly stream-ing? 
 
 ^■'■W-. 
 
 feSi 
 
 -3'-_it- 
 
 Kttethe foe's haughty host, iii dread si - lence re - 
 it fit - ful - ly blows, half cou ceals, half dis - 
 
 po - 8es, 
 clo - Bes; 
 
 o 
 
 1 ^ ■ 5' 5 5 ■ i 5 
 
 i ■) . L 
 
 
 i 1 1 , ■ 1 i r ■ a ■ 1 
 
 ' i 'T 
 
 tr: 
 
 . JL'_1_JL ' ^ J 1 1 I 
 
 i-H- 
 
 
 
 •J. 
 
 E 
 
 -^ — ^- 
 
 3E33«=E- 
 
 -a— ^ 
 
 ^ave us proof thro' the night, that our flag was still there. 
 
 ? 
 
 
 In full glo - ry re - fleet - ed, now shines in the stream. 
 
 EF=?33E5 
 
 i£d£ 
 
 '^^ 
 
 xz.-g. 
 
 ICALLY CONSTRUCTED PLAN OF NOTATION," CINCINNATI. 1857. 
 
star Spangled Banner. 
 
 »3 {WUh ^jHyft.] STAR 8PA 
 
 SAT, c:m you see, by the 
 )ai1 »tri[)osuinl bright stars ihro 
 
 { 1 OI SAT, csn you see, by the Ja 
 
 I Am. — Whoso Wroail stripes uinl bright stars ihrougl 
 
 ! 2 On tho shore iJiniiy seen throu;;h the 
 
 I \\'liat is tlial which the brcezo, o'er l\ 
 
 lilEilgiSili: 
 
 re: 
 
 ! twili^lil s last rrl'"'!!!""^. / » 1 1 I '11 
 
 I ,, . 1 ^ ^ ,> And the rocket* red s'are. 
 
 I gnllaul - ly itiLamiuyt S ° 
 
 ;rti[==_'JBr;;zzi=-rr;:t±zc:zb:t:zz 
 
 RJlfu'e ri- - ii.M-,fs. / >- • , . , 
 CuS ! ail ,l',r|„M s 1 S -^'^'^' '' catches (he gl.'am ■ 
 ■■'•'■'• '■■>-'•>'=■ -fc— k^ k^ -fit 
 
 FROM "THE VOCALIST'S POCKET COM PANION," CHAI 
 
PLATE XXII. 
 
 »LED BANNER. 
 
 K«T. 
 
 s ear - ly lipht, Wliat so proudly wo hail'd at the 
 ! perilous lij^lit. O'er tlic rainparls we watch'd were so 
 
 its of tho di'ep, "Where the foe's haughiy host in JreaJ 
 )wcr - in.,' sttjrp, As it fit-ful-ly Llovfs, half con- 
 
 iiiiilgligi 
 
 bom'.js b;irsiiiig in air, Gave proof through tho night that our 
 he niornin;,'"s Hrbl heain, In full glo - ry rcllocteJ now 
 
 ERSBURG, 1839 ("BUCKWHEAT" OR "PATENT" NOTES). 
 
star Spangled Banner. 
 
 A^^ 
 
 
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 •Vf: 
 
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 i'tauiv i^ovtc - 
 
 ',,'• /. r/. fril, :.H.lll I I',„,:ll 
 
 6^ 
 
 t fjy Sf^KlKl rfi. 
 
 \, 4: ♦ i- • ^ - - - *",-'" 
 
 ^» ■#^ « *= 
 
 ^ -; J 
 
 
 PUBLISHED BETV 
 
PLATES XXIII-XXIV. 
 
 lait^t{-.Hniiic.Whw«»tH-<iihUiri)-f*mA fiTi^lif fttar«ihn> th* 
 
 ^ ' ^r 
 
 I of Ihrfn. 
 
 HJmtp thp foe* hjituj^htyJiuKt iadt^^itl ivilflicf rejuncs 
 H i,ai ia- tlisi iliic h il>« lir««»e,o'er the tovjfririg ^Krii 
 A« it fiiruliy bluKi half cunceaU btM iit(\utf; 
 No« il c«tchc» lh« iUam.or the aprninga finl beain. 
 In full sl.irir ritieawd nvw »liioe» ih the ureia, 
 
 And :hr fttar apui^Ud hanaer O' lung laay if ««\e. 
 OVr lh» iau'l at ibt trr*, an. I tlir hoaf of (hp b,ra\e. 
 5 
 Aiiii *1><f« la that bami who w vauptlnsl^ awore. 
 That (he havac cf «»r and the battlc'a eunruaiun. 
 A home anil a country alkali Ifave t^a ro «ore^ 
 'ntir Uooi has »aab'd out their Toul Tuufafepa pullu:i..n 
 Ko rcAi^e could ta^e.lhv bircliagauH aja^e, 
 rtom th« («rror »r ni^ht ur the gloom of the grave 
 Aai Um nar a^ncU banner in trinaph <lulh wave 
 OWtkti' iaaU of the free, an.l (h.- l.oac of Ihe brne. 
 ■* 
 Otkua b« it ever »b»* freeMB <ha)l atand, 
 Benrecn their lov'd haae, and IM «»ra deaolalion. 
 Bleat with vict'rjr and peact, aay the hrav'a reacqi'd tanii, 
 I'raiae the Jiow'i that bath wade and (ireaerv'd uaa naliot 
 Then conquer «i| «iuat,'«hcn our cauae U fa juat. 
 And (hia be uu^. Au^to — tn Cr««t ia our trust; 
 
 And the alar ayangUd bauixT ia Iriuafh vhall «a«i 
 0Vi~ the land of Uu free, and the home of the brav.t. 
 
 N 1832 AND 1839. 
 
1 
 
 \ 
 
Star Spangled Banner. 
 
 V 
 
 
 1 a*-^H>,,8v«iE.»«^Co^■'43 Maiden Lai. 
 
 
 ■^^ -1_'°"' '"' ^^'' " '•' tht^mpart^ we M«.U\xd ^..r^ .„ s;»!Unt:y „t 
 
 GEIB & CO.'S EDITION, PUBL 
 
i'. (inir rhoras 
 
 ^^«^=^:r=^:^g^^P^^^ 
 
 iiiil oj tht frici. th. home .,f tht- b^li^. /> Sy 
 
 A^/> /> 
 
 . . „, ►'-'«.■•, ovr (III- lewrring -iwp, ! A. horn' «ni a country, -Kuli l^iT.. ii. i« 
 
 X . .t filfclly blow., h..f . .„-..N, hKir .„«l„.,.i ) Tk... bro-.J h»- „Jb'd «o. -h.ir.ou, 
 wit i-ttcWi tk» gl»«ra ..flhr morniaKS fir,t li„ni, j No rrf.^- '-ulj -v- ih.- Hr-I,t.c >n.! 
 1 ftlli (florj rafltct^a a-w .Lior. U. ih^ .Ii»ub, i Fr<.iD Ih.. t.rror of (l.-Kt rth- (lo'^w 
 
 Tbili»>tw«^aiiltl«lbanaFi«0!tnii(iB«y il warf, ' And tk- ->i. ipao'tl-.l b^ni,-p,i,i 
 
 0>r th« l«aaofth»rw, «Ddib«hom,„Iih, brav*. t OVr ih. |:,,..i of ii... fr-«,,„,Mh-h> 
 
 U»p».(lo(hW»V» 
 
 Pr»»»*> th* R»wV tbiftt 1 
 
 
 ED BETWEEN 1816 AND 1825. 
 
14 DAY USE 
 
 MN TO DESK FROM WHICH t>' ' 
 
 MU5IC LIBrJARY 
 
 This book is due on the last date stamped below, or 
 on the date to which renewed. 
 
 "^i^ 
 
 Renewed books are subjea to immediate recall. 
 
 F> 
 
 ^K? 
 
 for-. 
 
 
 ^ 
 
 ^ti 
 
 
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 ^^ ' '''"^■' 
 
 
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 ^^^ DEC 1 1962 
 
 
 S^ 
 
 5© 
 
 0EC19 1967 
 
 
 
 
 APR0 2 19/a 
 
 
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 JUN 30 1S81 
 
 
 
 ■■^^_ md MUSIC 
 
 
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 ^5^ JAN 3 1985 
 
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 LD 21-50to-6,'59 
 (A2845sl0)476 
 
 General Library 
 
 University of California 
 
 Berkeley 
 
 
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