Abstract
In the early 1810s, just before embarking on his Hebrew Melodies project, Byron engaged in a correspondence with the Scottish song editor George Thomson (1757–1851). While Byron chose not to engage in Thomson’s commission to write lyrics for his collections of Irish and Welsh songs, Thomson nonetheless published a number of Byron’s extant lyrics across his collections over the succeeding decades. This article traces how this happened, looks at Thomson’s final editorial choices and presentations of Byron’s lyrics, and reflects on the role of Byron as national songster alongside Thomson’s most significant poetic contributor, Robert Burns, and Byron’s great singer/songwriter friend Thomas Moore.1
Highlights
In the early 1810s, just before embarking on his Hebrew Melodies project, Byron engaged in a correspondence with the Scottish song editor George Thomson (1757–1851)
Byron’s comment, quoted in the title to this essay, appeared in a letter to the song editor George Thomson (1757–1851) dated 10 September 1813.2 When asked to provide Thomson with national song lyrics for his Select Collection of Original Irish Airs, Byron protested a lack of confidence in ‘producing anything worthy’
Far from lacking lyrical quality, Byron was already fêted for his lyrical skills and achievements.[5]. His reluctance to take up Thomson’s commission lies uncomfortably beside the creative momentum he brought to the Hebrew Melodies project, in which he engaged with Jewish composer Isaac Nathan and tenor John Braham just months after Thomson’s initial letter
Summary
Byron’s comment, quoted in the title to this essay, appeared in a letter to the song editor George Thomson (1757–1851) dated 10 September 1813.2 When asked to provide Thomson with national song lyrics for his Select Collection of Original Irish Airs, Byron protested a lack of confidence in ‘producing anything worthy’.
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