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<span class="vector-toc-numb">1.3</span> <span>Sadler's Wells, Haymarket and Covent Garden</span> </div> </a> <ul id="toc-Sadler's_Wells,_Haymarket_and_Covent_Garden-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-The_Royal_Circus_and_other_ventures" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#The_Royal_Circus_and_other_ventures"> <div class="vector-toc-text"> <span class="vector-toc-numb">1.4</span> <span>The Royal Circus and other ventures</span> </div> </a> <ul id="toc-The_Royal_Circus_and_other_ventures-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Monodramatic_entertainments_at_King_Street_and_Leicester_Place" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Monodramatic_entertainments_at_King_Street_and_Leicester_Place"> <div class="vector-toc-text"> <span class="vector-toc-numb">1.5</span> <span>Monodramatic entertainments at King Street and Leicester Place</span> </div> </a> <ul id="toc-Monodramatic_entertainments_at_King_Street_and_Leicester_Place-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-An_impression_of_Dibdin" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#An_impression_of_Dibdin"> <div class="vector-toc-text"> <span class="vector-toc-numb">1.6</span> <span>An impression of Dibdin</span> </div> </a> <ul id="toc-An_impression_of_Dibdin-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-War_songs_and_later_years" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#War_songs_and_later_years"> <div class="vector-toc-text"> <span class="vector-toc-numb">1.7</span> <span>War songs and later years</span> </div> </a> <ul id="toc-War_songs_and_later_years-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Other_writings" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Other_writings"> <div class="vector-toc-text"> <span class="vector-toc-numb">1.8</span> <span>Other writings</span> </div> </a> <ul id="toc-Other_writings-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Allusions_in_music_and_literature" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Allusions_in_music_and_literature"> <div class="vector-toc-text"> <span class="vector-toc-numb">2</span> <span>Allusions in music and literature</span> </div> </a> <ul id="toc-Allusions_in_music_and_literature-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Family" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Family"> <div class="vector-toc-text"> <span class="vector-toc-numb">3</span> <span>Family</span> </div> </a> <ul id="toc-Family-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Public_memorials" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Public_memorials"> <div class="vector-toc-text"> <span class="vector-toc-numb">4</span> <span>Public memorials</span> </div> </a> <ul id="toc-Public_memorials-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Recordings" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Recordings"> <div class="vector-toc-text"> <span class="vector-toc-numb">5</span> <span>Recordings</span> </div> </a> <ul id="toc-Recordings-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Notes" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Notes"> <div class="vector-toc-text"> <span class="vector-toc-numb">6</span> <span>Notes</span> </div> </a> <ul id="toc-Notes-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-References" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#References"> <div class="vector-toc-text"> <span class="vector-toc-numb">7</span> <span>References</span> </div> </a> <ul id="toc-References-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-External_links" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#External_links"> <div class="vector-toc-text"> <span class="vector-toc-numb">8</span> <span>External links</span> </div> </a> <ul id="toc-External_links-sublist" class="vector-toc-list"> </ul> </li> </ul> </div> </div> </nav> </div> </div> <div class="mw-content-container"> <main id="content" class="mw-body"> <header class="mw-body-header vector-page-titlebar"> <nav aria-label="Contents" class="vector-toc-landmark"> <div id="vector-page-titlebar-toc" class="vector-dropdown vector-page-titlebar-toc vector-button-flush-left" > <input type="checkbox" id="vector-page-titlebar-toc-checkbox" role="button" aria-haspopup="true" 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href="https://cy.wikipedia.org/wiki/Charles_Dibdin" title="Charles Dibdin – Welsh" lang="cy" hreflang="cy" data-title="Charles Dibdin" data-language-autonym="Cymraeg" data-language-local-name="Welsh" class="interlanguage-link-target"><span>Cymraeg</span></a></li><li class="interlanguage-link interwiki-de mw-list-item"><a href="https://de.wikipedia.org/wiki/Charles_Dibdin" title="Charles Dibdin – German" lang="de" hreflang="de" data-title="Charles Dibdin" data-language-autonym="Deutsch" data-language-local-name="German" class="interlanguage-link-target"><span>Deutsch</span></a></li><li class="interlanguage-link interwiki-es mw-list-item"><a href="https://es.wikipedia.org/wiki/Charles_Dibdin" title="Charles Dibdin – Spanish" lang="es" hreflang="es" data-title="Charles Dibdin" data-language-autonym="Español" data-language-local-name="Spanish" class="interlanguage-link-target"><span>Español</span></a></li><li class="interlanguage-link interwiki-fr mw-list-item"><a href="https://fr.wikipedia.org/wiki/Charles_Dibdin" title="Charles Dibdin – French" lang="fr" hreflang="fr" data-title="Charles Dibdin" data-language-autonym="Français" data-language-local-name="French" class="interlanguage-link-target"><span>Français</span></a></li><li class="interlanguage-link interwiki-it mw-list-item"><a href="https://it.wikipedia.org/wiki/Charles_Dibdin" title="Charles Dibdin – Italian" lang="it" hreflang="it" data-title="Charles Dibdin" data-language-autonym="Italiano" data-language-local-name="Italian" class="interlanguage-link-target"><span>Italiano</span></a></li><li class="interlanguage-link interwiki-kn mw-list-item"><a href="https://kn.wikipedia.org/wiki/%E0%B2%9A%E0%B2%BE%E0%B2%B0%E0%B3%8D%E0%B2%B2%E0%B3%8D%E0%B2%B8%E0%B3%8D_%E0%B2%A1%E0%B2%BF%E0%B2%AC%E0%B3%8D%E0%B2%A1%E0%B2%BF%E0%B2%A8%E0%B3%8D" title="ಚಾರ್ಲ್ಸ್ ಡಿಬ್ಡಿನ್ – Kannada" lang="kn" hreflang="kn" data-title="ಚಾರ್ಲ್ಸ್ ಡಿಬ್ಡಿನ್" data-language-autonym="ಕನ್ನಡ" data-language-local-name="Kannada" class="interlanguage-link-target"><span>ಕನ್ನಡ</span></a></li><li class="interlanguage-link interwiki-ml mw-list-item"><a href="https://ml.wikipedia.org/wiki/%E0%B4%9A%E0%B4%BE%E0%B5%BE%E0%B4%B8%E0%B5%8D_%E0%B4%A1%E0%B4%BF%E0%B4%AC%E0%B5%8D%E0%B4%A1%E0%B4%BF%E0%B5%BB" title="ചാൾസ് ഡിബ്ഡിൻ – Malayalam" lang="ml" hreflang="ml" data-title="ചാൾസ് ഡിബ്ഡിൻ" data-language-autonym="മലയാളം" data-language-local-name="Malayalam" class="interlanguage-link-target"><span>മലയാളം</span></a></li><li class="interlanguage-link interwiki-arz mw-list-item"><a href="https://arz.wikipedia.org/wiki/%D8%AA%D8%B4%D8%A7%D8%B1%D9%84%D8%B2_%D8%AF%D9%8A%D8%A8%D8%AF%D9%8A%D9%86" title="تشارلز ديبدين – Egyptian Arabic" lang="arz" hreflang="arz" data-title="تشارلز ديبدين" data-language-autonym="مصرى" data-language-local-name="Egyptian Arabic" class="interlanguage-link-target"><span>مصرى</span></a></li><li class="interlanguage-link interwiki-pl mw-list-item"><a href="https://pl.wikipedia.org/wiki/Charles_Dibdin" title="Charles Dibdin – Polish" lang="pl" hreflang="pl" data-title="Charles Dibdin" data-language-autonym="Polski" data-language-local-name="Polish" class="interlanguage-link-target"><span>Polski</span></a></li><li class="interlanguage-link interwiki-ru mw-list-item"><a href="https://ru.wikipedia.org/wiki/%D0%94%D0%B8%D0%B1%D0%B4%D0%B8%D0%BD,_%D0%A7%D0%B0%D1%80%D0%BB%D0%B7" title="Дибдин, Чарлз – Russian" lang="ru" hreflang="ru" data-title="Дибдин, Чарлз" data-language-autonym="Русский" data-language-local-name="Russian" class="interlanguage-link-target"><span>Русский</span></a></li><li class="interlanguage-link interwiki-sv mw-list-item"><a href="https://sv.wikipedia.org/wiki/Charles_Dibdin" title="Charles Dibdin – Swedish" lang="sv" hreflang="sv" data-title="Charles Dibdin" data-language-autonym="Svenska" data-language-local-name="Swedish" class="interlanguage-link-target"><span>Svenska</span></a></li> </ul> <div class="after-portlet after-portlet-lang"><span class="wb-langlinks-edit 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class="vector-body" aria-labelledby="firstHeading" data-mw-ve-target-container> <div class="vector-body-before-content"> <div class="mw-indicators"> </div> <div id="siteSub" class="noprint">From Wikipedia, the free encyclopedia</div> </div> <div id="contentSub"><div id="mw-content-subtitle"></div></div> <div id="mw-content-text" class="mw-body-content"><div class="mw-content-ltr mw-parser-output" lang="en" dir="ltr"><div class="shortdescription nomobile noexcerpt noprint searchaux" style="display:none">English composer, musician, dramatist, novelist, singer and actor</div> <style data-mw-deduplicate="TemplateStyles:r1236090951">.mw-parser-output .hatnote{font-style:italic}.mw-parser-output div.hatnote{padding-left:1.6em;margin-bottom:0.5em}.mw-parser-output .hatnote i{font-style:normal}.mw-parser-output .hatnote+link+.hatnote{margin-top:-0.5em}@media print{body.ns-0 .mw-parser-output .hatnote{display:none!important}}</style><div role="note" class="hatnote navigation-not-searchable">For his son, the English dramatist, composer, writer and theatre proprietor, see <a href="/wiki/Charles_Dibdin_(the_younger)" class="mw-redirect" title="Charles Dibdin (the younger)">Charles Dibdin (the younger)</a>.</div> <p class="mw-empty-elt"> </p> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Charles_Dibdin_by_Thomas_Phillips.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/9/9b/Charles_Dibdin_by_Thomas_Phillips.jpg/170px-Charles_Dibdin_by_Thomas_Phillips.jpg" decoding="async" width="170" height="206" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/9/9b/Charles_Dibdin_by_Thomas_Phillips.jpg/255px-Charles_Dibdin_by_Thomas_Phillips.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/9/9b/Charles_Dibdin_by_Thomas_Phillips.jpg/340px-Charles_Dibdin_by_Thomas_Phillips.jpg 2x" data-file-width="2400" data-file-height="2904" /></a><figcaption><i>Charles Dibdin</i>, 1799, by <a href="/wiki/Thomas_Phillips" title="Thomas Phillips">Thomas Phillips</a> (died 1845), oil on canvas</figcaption></figure> <p><b>Charles Dibdin</b> (before 4 March 1745 – 25 July 1814) was an English composer, musician, dramatist, novelist, singer and actor. With over 600 songs to his name, for many of which he wrote both the lyrics and the music and performed them himself, he was in his time the most prolific English singer-songwriter. He is best known as the composer of "Tom Bowling", one of his many sea songs, which often features at the <a href="/wiki/Last_Night_of_the_Proms" class="mw-redirect" title="Last Night of the Proms">Last Night of the Proms</a>. He also wrote about 30 dramatic pieces, including the operas <i>The Waterman</i> (1774) and <i>The Quaker</i> (1775), and several novels, memoirs and histories. His works were admired by <a href="/wiki/Haydn" class="mw-redirect" title="Haydn">Haydn</a> and <a href="/wiki/Beethoven" class="mw-redirect" title="Beethoven">Beethoven</a>. </p> <meta property="mw:PageProp/toc" /> <div class="mw-heading mw-heading2"><h2 id="Life_and_career">Life and career</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Charles_Dibdin&action=edit&section=1" title="Edit section: Life and career"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <div class="mw-heading mw-heading3"><h3 id="Early_life_and_early_successes">Early life and early successes</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Charles_Dibdin&action=edit&section=2" title="Edit section: Early life and early successes"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>The son of a silversmith,<sup id="cite_ref-1" class="reference"><a href="#cite_note-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> Dibdin was privately baptised on 4 March 1745 in <a href="/wiki/Southampton" title="Southampton">Southampton</a> and is often described as the youngest child of eighteen born to a 50-year-old mother. His parents, intending him for the clergy, sent Dibdin to <a href="/wiki/Winchester_College" title="Winchester College">Winchester College</a>, but his love of music soon diverted his thoughts from the clerical profession. He possessed 'a remarkable good voice' at a young age and was in demand for concerts even as a boy. Anthems were composed for him by <a href="/wiki/James_Kent_(composer)" title="James Kent (composer)">James Kent</a> and his successor Peter Fussell, organists of <a href="/wiki/Winchester_Cathedral" title="Winchester Cathedral">Winchester Cathedral</a>, where he was a chorister between 1756 and 1759. He went to London at the age of fifteen at his brother's invitation, and was first employed tuning harpsichords in a music warehouse in <a href="/wiki/Cheapside" title="Cheapside">Cheapside</a>. Through Mr. Berenger<sup id="cite_ref-2" class="reference"><a href="#cite_note-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> he was introduced to <a href="/wiki/John_Rich_(producer)" title="John Rich (producer)">John Rich</a> (of whom he became a favourite) and <a href="/wiki/John_Beard_(tenor)" title="John Beard (tenor)">John Beard</a>, and, growing addicted to theatre-going,<sup id="cite_ref-3" class="reference"><a href="#cite_note-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> he soon became a singing actor at <a href="/wiki/Theatre_Royal,_Covent_Garden" class="mw-redirect" title="Theatre Royal, Covent Garden">Theatre Royal, Covent Garden</a>. As his voice was not yet settled, Rich thought he would become a bass, and marked out the <a href="/wiki/Pantomime" title="Pantomime">pantomime</a> roles of <a href="/wiki/Richard_Leveridge" title="Richard Leveridge">Richard Leveridge</a> for him. Dibdin held back from this path, but made the most of his introductions: when Rich died in 1761 and Beard succeeded him as manager and part-proprietor, fresh opportunities arose.<sup class="noprint Inline-Template Template-Fact" style="white-space:nowrap;">[<i><a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed"><span title="This claim needs references to reliable sources. (August 2017)">citation needed</span></a></i>]</sup> </p><p>With Beard's encouragement Dibdin wrote his first work, both words and music of <i>The Shepherd's Artifice</i>, an <a href="/wiki/Operetta" title="Operetta">operetta</a> in two acts, which was produced as Dibdin's benefit at Covent Garden on 21 May 1762 and repeated in 1763.<sup id="cite_ref-4" class="reference"><a href="#cite_note-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-5" class="reference"><a href="#cite_note-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup> As an actor, Dibdin had constant opportunities to study <a href="/wiki/David_Garrick" title="David Garrick">Garrick</a>'s performances, and befriended his associates, notably his prompter, who could remember <a href="/wiki/Colley_Cibber" title="Colley Cibber">Cibber</a>. He enjoyed two seasons touring at the Vauxhall in Birmingham, and another at Richmond. Beard exercised a benign and encouraging influence over Dibdin's early career, choosing him, in his first important appearance, for the part of Ralph, in the 1765 premiere of <a href="/wiki/Samuel_Arnold_(composer)" title="Samuel Arnold (composer)">Samuel Arnold</a>'s opera <i>The Maid of the Mill</i> at Covent Garden. He gained so much success over a run of more than fifty nights, that 'Ralph' handkerchiefs were worn in compliment to him. He agreed to article himself, both as actor and musician, to Beard for three years at a salary rising from three to five pounds a week. However, his contract established a precedent by which actors were not paid in case of absence through sickness.<sup id="cite_ref-6" class="reference"><a href="#cite_note-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup> </p><p>The script for <i>The Maid of the Mill</i> was by playwright <a href="/wiki/Isaac_Bickerstaffe" title="Isaac Bickerstaffe">Isaac Bickerstaffe</a>, who had written the libretto for <i><a href="/wiki/Love_in_a_Village" title="Love in a Village">Love in a Village</a></i>, the highly popular opera (called the first English comic opera) by Dr. <a href="/wiki/Thomas_Arne" title="Thomas Arne">Thomas Arne</a>, produced in 1762. For Dibdin the next turning-point was in the 1767 premiere and short run of Bickerstaffe's <i>Love in the City</i>, in which he played Watty Cockney, and for which he produced a good deal of the music and airs. He had already confided to Beard that he disliked acting because of the jealousy and spite which his success brought upon him from other actors. Hence he had turned again to composition. But now some of the orchestra complained to Beard that his music was discreditable to the theatre: whereupon Dibdin obtained the direct intervention of Dr. Arne, who (according to Dibdin) pronounced that this was a scandalous attempt to ruin the reputation of a young man whom it was their duty to encourage and protect. <i>Love in the City</i> was abandoned, but Dibdin's music was successful and was transferred into a play called <i><a href="/wiki/The_Romp_(play)" title="The Romp (play)">The Romp</a></i>.<sup id="cite_ref-7" class="reference"><a href="#cite_note-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> The association with Bickerstaffe continued in Dibdin's music for the play <i>Lionel and Clarissa</i> at Covent Garden in 1767,<sup id="cite_ref-8" class="reference"><a href="#cite_note-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> the year of Beard's retirement. </p> <div class="mw-heading mw-heading3"><h3 id="Drury_Lane_with_Garrick">Drury Lane with Garrick</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Charles_Dibdin&action=edit&section=3" title="Edit section: Drury Lane with Garrick"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>By 1768, his articles completed, and receiving harsh treatment from his new manager <a href="/wiki/George_Colman_the_Elder" title="George Colman the Elder">George Colman</a>, Dibdin was ready to part company with Covent Garden. Garrick, who had coached him a little at Richmond in the previous year, was eager to win over Bickerstaffe to <a href="/wiki/Theatre_Royal,_Drury_Lane" title="Theatre Royal, Drury Lane">Drury Lane</a>: and as hopes for his new play <i><a href="/wiki/The_Padlock" title="The Padlock">The Padlock</a></i> projected for the <a href="/wiki/Haymarket_Theatre" class="mw-redirect" title="Haymarket Theatre">Haymarket Theatre</a> faded, Garrick acquired it, and acquired Dibdin as composer, whose music for this work was, at Garrick's suggestion, given anonymously. Dibdin made only £40 from it while Bickerstaffe made a fortune. <i>The Padlock</i> was produced at Drury Lane under Garrick's management in 1768, Dibdin taking the part of Mungo (a <a href="/wiki/Blackface" title="Blackface">blackface</a> role<sup id="cite_ref-9" class="reference"><a href="#cite_note-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup>) so as to cause "that degree of sensation in the public which is called a <i>rage</i>."<sup id="cite_ref-10" class="reference"><a href="#cite_note-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> </p><p>In 1769 for Garrick (who had placed him under some financial obligation) he also composed for Garrick's Shakespeare Jubilee at Stratford, but found that Garrick had quietly substituted commissions to Arne and to <a href="/wiki/William_Boyce_(composer)" title="William Boyce (composer)">Boyce</a>. Garrick, it seemed, wished to control both Bickerstaffe and Dibdin, in case their work should find other patrons, and busied them both, inducing Dibdin to revise and write new music for Cibber's <i>Damon and Phillida</i>.<sup id="cite_ref-11" class="reference"><a href="#cite_note-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> In addition he provided the score for Bickerstaffe's <a href="/wiki/Burletta" title="Burletta">burletta</a> <i><a href="/wiki/The_Recruiting_Serjeant" title="The Recruiting Serjeant">The Recruiting Serjeant</a></i>, and for his <i>The Maid the Mistress</i>, and <i>The Ephesian Matron</i> in that year, which were all produced in 1769 at <a href="/wiki/Ranelagh_Gardens" title="Ranelagh Gardens">Ranelagh Gardens</a> under a two-year contract with the Ranelagh managers for £100 per annum for whatever music he should supply them with.<sup id="cite_ref-12" class="reference"><a href="#cite_note-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup> </p><p>Dibdin set a text by Garrick for <i>The Installation of the Garter</i> in 1771. In February 1773 the comic opera <i>The Wedding Ring</i> based on an Italian opera <i>Il filosofo di campagna</i> was brought out, but was almost withdrawn on the first night owing to the rumour that it was written by Bickerstaffe, who had fled to France, utterly ruined by the accusation of an 'abominable (i.e. homosexual) attempt'. Dibdin was obliged to appear on stage and claim authorship of both words and music, while salacious tittle-tattle (and worse) sought to embroil both him and Garrick in Bickerstaffe's offence.<sup id="cite_ref-13" class="reference"><a href="#cite_note-13"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup> In November 1773, in a production of the musical drama <i>The Deserter</i> which he had adapted from the <a href="/wiki/Le_d%C3%A9serteur_(opera)" title="Le déserteur (opera)">French opera of 1769</a> by <a href="/wiki/Michel-Jean_Sedaine" title="Michel-Jean Sedaine">Michel-Jean Sedaine</a> and <a href="/wiki/Pierre-Alexandre_Monsigny" title="Pierre-Alexandre Monsigny">Pierre-Alexandre Monsigny</a>, he introduced the song 'There was a miller's daughter' and modified other songs without Garrick's knowledge or consent, but with great success.<sup id="cite_ref-14" class="reference"><a href="#cite_note-14"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> During the same year he worked closely with Garrick at <a href="/wiki/Hampton,_London" title="Hampton, London">Hampton</a> to compose songs and music for Garrick's winter piece, <i>The Christmas Tale</i>. From this ordeal he acquired the technique of composing the music entire in his mind, writing down nothing until the finished manuscript was needed: to this method he afterwards adhered.<sup id="cite_ref-15" class="reference"><a href="#cite_note-15"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup> </p><p>Meanwhile, from 1772 he was also engaged by <a href="/wiki/Thomas_King_(actor)" title="Thomas King (actor)">Thomas King</a> to write regularly for <a href="/wiki/Sadler%27s_Wells" class="mw-redirect" title="Sadler's Wells">Sadler's Wells</a>, and in that year produced songs for the Musical Dialogues <i>The Palace of Mirth</i> and Bickerstaffe's <i>The Brickdustman</i>.<sup id="cite_ref-16" class="reference"><a href="#cite_note-16"><span class="cite-bracket">[</span>16<span class="cite-bracket">]</span></a></sup> He followed that in 1773 with the interlude <i>The Mischance</i>, and the dialogues <i>The Grenadier</i> (text by Garrick), <i>The Ladle</i>, <i>England against Italy</i>, and <i>None so blind as those who won't see</i>:<sup id="cite_ref-17" class="reference"><a href="#cite_note-17"><span class="cite-bracket">[</span>17<span class="cite-bracket">]</span></a></sup> and furthermore in the same year he wrote songs for <i>The Trip to Portsmouth</i> (words by G. A. Stevens), performed by <a href="/wiki/Charles_Bannister" title="Charles Bannister">Charles Bannister</a> at the Haymarket, for which the overture and dances were written by <a href="/wiki/Thomas_Arne" title="Thomas Arne">Thomas Arne</a>.<sup id="cite_ref-18" class="reference"><a href="#cite_note-18"><span class="cite-bracket">[</span>18<span class="cite-bracket">]</span></a></sup> </p><p>Dibdin's most lasting opera, <i>The Waterman</i>, a comic opera, the music of which he sold for £30, was produced first at the Haymarket Theatre in 1774.<sup id="cite_ref-19" class="reference"><a href="#cite_note-19"><span class="cite-bracket">[</span>19<span class="cite-bracket">]</span></a></sup> His dialogues and songs for <i>The Cobbler, or, A Wife of Ten Thousand</i> (based on Sedaine's <i><a href="/wiki/Blaise_le_savetier" title="Blaise le savetier">Blaise le savetier</a></i>), were acted as a ballad opera at Drury Lane in 1774,<sup id="cite_ref-20" class="reference"><a href="#cite_note-20"><span class="cite-bracket">[</span>20<span class="cite-bracket">]</span></a></sup> and his famous short opera <i>The Quaker</i> was produced there on 3 May 1775, which Dibdin had sold to Brereton for £70, who sold it on to Garrick for a hundred.<sup id="cite_ref-21" class="reference"><a href="#cite_note-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> Charles Bannister was again prominent in the cast of all three operas. After being connected with Drury Lane both as composer and as actor for several years, a series of disagreements with Garrick,<sup id="cite_ref-22" class="reference"><a href="#cite_note-22"><span class="cite-bracket">[</span>22<span class="cite-bracket">]</span></a></sup> partly over Dibdin's desertion of his second partner Mrs Davenet and his children by her,<sup id="cite_ref-23" class="reference"><a href="#cite_note-23"><span class="cite-bracket">[</span>23<span class="cite-bracket">]</span></a></sup> led to the termination of his engagement. </p> <div class="mw-heading mw-heading3"><h3 id="Sadler's_Wells,_Haymarket_and_Covent_Garden"><span id="Sadler.27s_Wells.2C_Haymarket_and_Covent_Garden"></span>Sadler's Wells, Haymarket and Covent Garden</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Charles_Dibdin&action=edit&section=4" title="Edit section: Sadler's Wells, Haymarket and Covent Garden"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Despite the rift with Garrick, Dibdin's output continued successfully. The dialogue <i>The Imposter, or, All's not gold that glitters</i>, was written for Sadler's Wells in 1776, and his comic opera <i>The Metamorphosis</i> modelled on <a href="/wiki/Moli%C3%A8re" title="Molière">Molière</a>'s <i>Sicilian</i>, but with songs and music his own, was performed at the <a href="/wiki/Haymarket_Theatre" class="mw-redirect" title="Haymarket Theatre">Haymarket</a> in the same year. His comic opera <i>The Seraglio</i>, incorporating the famous rondeau song 'Blow High, Blow Low' (written during a gale returning from Calais) was first acted at Covent Garden in November 1776.<sup id="cite_ref-24" class="reference"><a href="#cite_note-24"><span class="cite-bracket">[</span>24<span class="cite-bracket">]</span></a></sup> The productive season of 1777 included songs for <i>The vineyard revels</i> (a pantomime), <i>She is mad for a husband</i>, <i>Yo, Yea, or, The friendly tars</i>, <i>The old woman of eighty</i> and <i>The razor grinder</i>, all at Sadler's Wells. In 1778 the important <a href="/wiki/Burletta" title="Burletta">burletta</a> <i>Poor Vulcan</i> was produced at Covent Garden, but in Dibdin's absence in France many of the songs were altered by another hand. There also he wrote the libretto of <i>The Gipsies</i>, for which Thomas Arne wrote the music, first performed at the Haymarket in 1778.<sup id="cite_ref-25" class="reference"><a href="#cite_note-25"><span class="cite-bracket">[</span>25<span class="cite-bracket">]</span></a></sup> </p><p>On his return from France in 1778 <a href="/wiki/Thomas_Harris_(theatre_manager)" title="Thomas Harris (theatre manager)">Thomas Harris</a>, the Theatre Manager, appointed him Musical Director at Covent Garden (to write exclusively for him) at the then huge salary of £10 (equivalent to £1,610 in 2023)<sup id="cite_ref-inflation-UK_26-0" class="reference"><a href="#cite_note-inflation-UK-26"><span class="cite-bracket">[</span>26<span class="cite-bracket">]</span></a></sup> a week. Attempting to introduce a taste for the French variety theatre, he had adapted six short interludes, with his own music, with a view that one should be introduced between the play and the farce usually presented on the same evening. They included <i>Rose and Colin</i>, <i>Wives revenged</i> and <i>Annette and Lubin</i>; but Harris instead lumped them together as an after-piece and Dibdin's subtler intention was thwarted.<sup id="cite_ref-27" class="reference"><a href="#cite_note-27"><span class="cite-bracket">[</span>27<span class="cite-bracket">]</span></a></sup> In the following January his speaking pantomime <i>The Touchstone</i> (with songs) was produced, but Mr Pilon, Mr Cumberland, Mrs Cowley and Mr Lee Lewis were permitted to alter it so much that it became almost unrecognisable. However, Dibdin did accept two clever emendations suggested by Garrick, which resulted in a reconciliation between the two men: it is claimed that Garrick's very last step upon the stage was during a rehearsal for <i>The Touchstone</i> a night or two before the opening.<sup id="cite_ref-28" class="reference"><a href="#cite_note-28"><span class="cite-bracket">[</span>28<span class="cite-bracket">]</span></a></sup> </p><p>Covent Garden productions continued with <i>The Chelsea pensioners</i>, and <i>The Mirror, or, Harlequin everywhere</i> (a pantomime) (both 1779), and in 1780 the comic opera <i>The Shepherdess of the Alps</i>, and the three-act opera <i>The Islanders</i>, most of which was re-presented as a two-act farce called <i>The Marriage Act</i> in 1781.<sup id="cite_ref-29" class="reference"><a href="#cite_note-29"><span class="cite-bracket">[</span>29<span class="cite-bracket">]</span></a></sup> After the British victory at the <a href="/wiki/Siege_of_Savannah" title="Siege of Savannah">Siege of Savannah</a>, he added a scene in <i>The Mirror</i> depicting British grenadiers (one of whom was played by <a href="/wiki/Frederick_Charles_Reinhold" title="Frederick Charles Reinhold">Frederick Charles Reinhold</a>) defeating the <a href="/wiki/Charles_Henri_Hector,_Count_of_Estaing" title="Charles Henri Hector, Count of Estaing">Comte d'Estaing</a>, leader of the French forces during the battle, and then singing "<a href="/wiki/The_British_Grenadiers" title="The British Grenadiers">The British Grenadiers</a>."<sup id="cite_ref-30" class="reference"><a href="#cite_note-30"><span class="cite-bracket">[</span>30<span class="cite-bracket">]</span></a></sup> He also arranged, wrote and composed the 1780 Christmas pantomime, <i>Harlequin freemason</i>, for which <a href="/w/index.php?title=Messink&action=edit&redlink=1" class="new" title="Messink (page does not exist)">Messink</a> (Garrick's pantomime specialist) contributed the inventions.<sup id="cite_ref-31" class="reference"><a href="#cite_note-31"><span class="cite-bracket">[</span>31<span class="cite-bracket">]</span></a></sup> In 1781 Dibdin adapted <a href="/wiki/John_Dryden" title="John Dryden">John Dryden</a>'s play <i>Amphytrion, or Juno and Alcmena</i> into an opera. He attempted to rewrite it so as to avoid some of the impropriety of the original, and was at first encouraged by Harris, who later changed his mind. Dibdin was left with a difficult task and the result was not a popular success. </p> <div class="mw-heading mw-heading3"><h3 id="The_Royal_Circus_and_other_ventures">The Royal Circus and other ventures</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Charles_Dibdin&action=edit&section=5" title="Edit section: The Royal Circus and other ventures"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>There was then an argument between Dibdin and Harris over payment for the work, with the result that Dibdin instead embarked on a project to construct the Royal Circus, (afterwards known as the <a href="/wiki/Surrey_Theatre" title="Surrey Theatre">Surrey Theatre</a>) for mixed entertainments of various kinds, he planning to form a combination of the stage and an equestrian ring or hippodrome. Several parties including the landowner advanced the funds and became proprietors, and Dibdin was appointed sole manager for life, to receive a quarter of the profits.<sup id="cite_ref-32" class="reference"><a href="#cite_note-32"><span class="cite-bracket">[</span>32<span class="cite-bracket">]</span></a></sup> Dibdin is credited with coining the term "circus".<sup id="cite_ref-33" class="reference"><a href="#cite_note-33"><span class="cite-bracket">[</span>33<span class="cite-bracket">]</span></a></sup> </p><p>Meanwhile, a dialogue, <i>The Fortune Hunter</i>, had appeared at <a href="/wiki/Sadler%27s_Wells_Theatre" title="Sadler's Wells Theatre">Sadler's Wells</a> in 1780, and at the Haymarket. Dibdin had contributed songs to an entertainment called <i>Pasquin's Budget</i> in which characters were represented by puppets, and their songs were performed by singers behind the scenes. It is said that in <i>The Comic Mirror</i> Dibdin had ridiculed prominent contemporary figures through the medium of a puppet show. Such things had been tried elsewhere, for instance at the Marylebone Gardens: but on the first night at the Haymarket 'the puppets were goosed off, and the manager made to apologise for the insult offered to the audience.' Nonetheless some of the songs, including Dibdin's 'Reasonable animals' and 'Pandora', became very popular, and <i>Pandora</i> was later acted at the Circus.<sup id="cite_ref-34" class="reference"><a href="#cite_note-34"><span class="cite-bracket">[</span>34<span class="cite-bracket">]</span></a></sup> </p><p>Between 1782 and 1783 he engaged some sixty children to act as dancers and singers for his various lively productions at the Circus, for which he supplied many airs, pantomimes, intermezzi and ballets, under such titles as <i>Clump and Cudden</i>, <i>The benevolent tar</i>, <i>The saloon</i>, <i>The talisman</i>, <i>The graces</i>, <i>Long odds</i>, <i>Tom Thumb</i>, <i>The Passions</i>, <i>The Lancashire witches</i>, <i>The Barrier of Parnassus</i>, <i>The Milkmaid</i>, <i>The Refusal of Harlequin</i>, <i>The Land of Simplicity</i>, <i>The Statue</i>, <i>The regions of Accomplishment</i>, and <i>Cestus</i> (a kind of mythological burlesque in which the Homeric gods discoursed in a low vernacular).<sup id="cite_ref-35" class="reference"><a href="#cite_note-35"><span class="cite-bracket">[</span>35<span class="cite-bracket">]</span></a></sup> His opera <i>Liberty Hall</i>, containing the successful songs "Jock Ratlin", "The Highmettled Racer" and "<a href="/wiki/The_Bells_of_Aberdovey" title="The Bells of Aberdovey">The Bells of Aberdovey</a>", was produced at the <a href="/wiki/Theatre_Royal,_Drury_Lane" title="Theatre Royal, Drury Lane">Drury Lane theatre</a> on 8 February 1784.<sup id="cite_ref-36" class="reference"><a href="#cite_note-36"><span class="cite-bracket">[</span>36<span class="cite-bracket">]</span></a></sup> </p><p>After three years at the circus, in which Dibdin fell out with his partners and became entangled in litigation; in 1785, he withdrew, and, instead, entered into a speculation to build a theatre at St. Pancras. However, while under construction this was blown down during a storm, and the project had to be abandoned. He then came to an arrangement to supply the manager of the Dublin theatre with music at a cost of £600, of which he received only £140; at the same time he began publishing a weekly magazine, called <i>The Devil</i>, which failed after 21 issues.<sup id="cite_ref-37" class="reference"><a href="#cite_note-37"><span class="cite-bracket">[</span>37<span class="cite-bracket">]</span></a></sup> His last opera of this period was <i>Harvest Home</i>, a two-act comic opera first performed at the Haymarket in 1787. </p> <div class="mw-heading mw-heading3"><h3 id="Monodramatic_entertainments_at_King_Street_and_Leicester_Place">Monodramatic entertainments at King Street and Leicester Place</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Charles_Dibdin&action=edit&section=6" title="Edit section: Monodramatic entertainments at King Street and Leicester Place"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Charles_Dibdin_-_Mourn_ye_damsels_of_the_court._(BL_Add_MS_30956_f._56r).jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/e/e1/Charles_Dibdin_-_Mourn_ye_damsels_of_the_court._%28BL_Add_MS_30956_f._56r%29.jpg/220px-Charles_Dibdin_-_Mourn_ye_damsels_of_the_court._%28BL_Add_MS_30956_f._56r%29.jpg" decoding="async" width="220" height="180" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/e/e1/Charles_Dibdin_-_Mourn_ye_damsels_of_the_court._%28BL_Add_MS_30956_f._56r%29.jpg/330px-Charles_Dibdin_-_Mourn_ye_damsels_of_the_court._%28BL_Add_MS_30956_f._56r%29.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/e/e1/Charles_Dibdin_-_Mourn_ye_damsels_of_the_court._%28BL_Add_MS_30956_f._56r%29.jpg/440px-Charles_Dibdin_-_Mourn_ye_damsels_of_the_court._%28BL_Add_MS_30956_f._56r%29.jpg 2x" data-file-width="1500" data-file-height="1225" /></a><figcaption>Manuscript in Dibdin's hand of "Mourn Ye Damsels of the Court"</figcaption></figure> <p>In 1788, having dissolved his connection with the existing theatres and in financial straits, Dibdin considered moving to India. His eldest brother, Captain Thomas Dibdin, had formerly invited him to visit, but had since died, prompting Dibdin to write his greatest song, "Tom Bowling". He now hoped to be received by his brother's old friends, and perhaps to collect certain debts owing to him. Therefore, he made a tour of England to raise money by giving entertainments of songs and recitations, and he sold the musical compositions he had available at very unfavourable rates to the greedy publishers. He set sail for the <a href="/wiki/East_Indies" title="East Indies">East Indies</a> in summer 1788, but the vessel was forced to put in at <a href="/wiki/Torbay" title="Torbay">Torbay</a> because of bad weather.<sup id="cite_ref-38" class="reference"><a href="#cite_note-38"><span class="cite-bracket">[</span>38<span class="cite-bracket">]</span></a></sup> </p><p>Dibdin then changed his mind and returned to London, resolving to put himself before the public rather than applying again to the theatres. Instead, building on what he had done in his tour, he commenced a new kind of one-man-show, musical variety entertainments, in which he appeared in his own person on the stage seated at a harpsichord and played the accompaniments to his own songs, without attempting any theatrical personification of his characters.<sup id="cite_ref-39" class="reference"><a href="#cite_note-39"><span class="cite-bracket">[</span>39<span class="cite-bracket">]</span></a></sup> <i>The Whim of the Moment</i> was such an entertainment consisting of recitations and songs, and played from October 1788 until the following April, during the whole of which time Dibdin was a prisoner in the <a href="/wiki/King%27s_Bench_Prison" title="King's Bench Prison">King's Bench</a>. This was first given at the <a href="/wiki/Lyceum_Theatre,_London" title="Lyceum Theatre, London">Lyceum Theatre</a> in <a href="/wiki/Strand,_London" title="Strand, London">The Strand</a>, and afterwards at Fisher's or Stevens' Auction Room in King Street, in Covent Garden. For several years he also repeated the entertainments in the daytime at the Paul's Head Assembly Rooms in Cateaton Street. </p><p>His monodramatic entertainments continued after 1795 at a theatre which he built, the <a href="/wiki/Sans_Souci_Theatre" title="Sans Souci Theatre">Sans Souci Theatre</a> in <a href="/wiki/Leicester_Square" title="Leicester Square">Leicester Place</a>. Dibdin introduced very many songs which gained wide popularity, including "Poor Jack," "'Twas in the good ship 'Rover'," "Saturday Night at Sea," and "I sailed from the Downs in the 'Nancy.'" His songs, music and recitations here finally established his fame as a lyric poet. He continued this form of entertainment for nearly twenty years, usually between October and April, in which time he produced eighteen entirely original three-act or three-part productions, as well as several one-act pieces on contemporary themes, or in which to re-introduce some of his popular songs. At Christmas-time or during the spring he commonly cut short the main production to make room for a revival of some items brought out in previous years. Dibdin states that in all these entertainments, he had only the words before him, never having written down the music which was, however, fully composed in his mind.<sup id="cite_ref-40" class="reference"><a href="#cite_note-40"><span class="cite-bracket">[</span>40<span class="cite-bracket">]</span></a></sup> </p><p>The three-act novelties of each season, or Entertainments Sans-Souci,<sup id="cite_ref-41" class="reference"><a href="#cite_note-41"><span class="cite-bracket">[</span>41<span class="cite-bracket">]</span></a></sup> and their sequels, were as follows:<sup id="cite_ref-42" class="reference"><a href="#cite_note-42"><span class="cite-bracket">[</span>42<span class="cite-bracket">]</span></a></sup> </p> <ul><li><i>The Whim of the Moment, or, Nature in Little</i> – Auction rooms, King Street, Covent Garden.</li> <li><i>The Oddities</i> (1789) – Lyceum.</li> <li><i>The Wags, or, The Camp of Pleasure</i> (1790) – Lyceum.</li> <li><i>Private Theatricals, or Nature in Nubibus</i> (1791) – Royal Polygraphic Rooms, The Strand; followed by <i>The Coalition</i>, a compilation from the preceding.</li> <li><i>The Quizzes, or, A Trip to Elysium</i> (1792); followed by a compilation from all the preceding.</li> <li><i>Castles in the Air</i> (1793)</li> <li><i>Great News, or, A Trip to the Antipodes</i> (1794) – followed by an <i>Ode</i> in honour of the royal marriage.</li> <li><i>The Will o' the Wisp</i> (1795) – followed by <i>Christmas Gambols</i></li> <li><i>The General Election</i> (1796) – the first production at Dibdin's new Theatre Sans Souci; followed by <i>Datchet mead</i>, in honour of the marriage of the Princess Royal.</li> <li><i>The Sphinx</i> (1797); followed by a Christmas piece <i>The Goose and the Gridiron</i>.</li> <li><i>The Tour to the Land's End</i> (1798); followed by <i>King and Queen</i> (one act).</li> <li><i>Tom Wilkins</i> (1799).</li> <li><i>The Cake-house</i> (1800).</li> <li><i>A Frisk</i> (1801).</li> <li><i>Most Votes</i> (1802).</li> <li><i>Britons, Strike Home</i> (1803). This included a series of war-songs with military-band accompaniments.</li> <li>In 1804 there was a one-act novelty <i>Valentine's Day</i>, and three compilations of older pieces, namely <i>The Election</i> (from <i>Most Votes</i>); <i>The Frolic</i> (from <i>Britons, Strike Home</i>); and, <i>A trip to the Coast</i>.</li> <li><i>Heads and Tails</i> (1805); followed by <i>Cecilia, or the Progress of Industry.</i></li> <li><i>Professional Volunteers</i> (1808). (Given at the Lyceum during Lent, supported by professional assistants, though still, after 48 years before the public, playing his own accompaniments).</li> <li><i>The Rent-day, or, The Yeoman's Friend</i> (1808) – Sans-Pareil Theatre (later the <a href="/wiki/Adelphi_Theatre" title="Adelphi Theatre">Adelphi Theatre</a>) in the Strand.</li> <li><i>Commodore Pennant</i> (1809) – the last of these entertainments, a slight piece, was given in a room in the author's shop in the Strand.</li></ul> <p><a href="/wiki/John_Adolphus" title="John Adolphus">John Adolphus</a>, writing of Dibdin's involvement in the entertainment <i>Bannister's Budget</i>, wrote: "Charles Dibdin, year after year... had been giving delight and, for a time, acquiring great emolument, by means of entertainments under different names, in which he not only pleased but instructed the public; advancing the cause of morals by natural and energetic sentiments, and raising the flame of patriotism and loyalty by songs and speeches, just in conception and illustration, and impressive on the memory and the judgement by vivid imagery and pointed expression. His sea-songs form a class by themselves: they are calculated alike to cheer solitude and to animate social assemblages, to raise the laugh and the tear, and to engrave on the heart benevolence, courage, and a trust in Providence."<sup id="cite_ref-43" class="reference"><a href="#cite_note-43"><span class="cite-bracket">[</span>43<span class="cite-bracket">]</span></a></sup> Charles's son Thomas Dibdin, a close associate of <a href="/wiki/John_Bannister_(actor)" title="John Bannister (actor)">John Bannister</a>, wrote that "Charles Bannister, and his exemplary son John, were two of [Dibdin's] most intimate friends."<sup id="cite_ref-44" class="reference"><a href="#cite_note-44"><span class="cite-bracket">[</span>44<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="An_impression_of_Dibdin">An impression of Dibdin</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Charles_Dibdin&action=edit&section=7" title="Edit section: An impression of Dibdin"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>The author of his memoir, who witnessed one of Dibdin's Entertainments Sans Souci when a lad, offers the following picture: 'Dibdin was then a handsome man, of middle size, with an open pleasing countenance, and a very gentlemanlike appearance and address. His costume was a blue coat, white waistcoat, and black silk breeches and stockings; and he wore his hair, in the fashion of the day, fully dressed and profusely powdered. His manner of speaking was easy and colloquial; and his air was more that of a person entertaining a party of friends in a private drawing-room, than of a performer exhibiting to a public audience. He was near-sighted; and, when seated at his instrument, he would bend his head close to his book for a few moments, and then, laying it down, throw himself back in his chair, and deliver his song without further reference to book or music. His voice was a <i>baryton</i> (a medium between the tenor and the bass) of no great power or compass, but of a sweet and mellow quality. He sang with simplicity, without any attempt at ambitious ornament, but with a great deal of taste and expression; and, being a poet as well as a musician, he was particularly attentive to a clear and emphatic utterance of the words... In singing, he accompanied himself with facility and neatness, on an instrument of a peculiar kind, combining the properties of the pianoforte and the chamber organ, and so constructed that the performer could produce the tones of either instrument separately, or of both in combination. To this instrument were attached a set of bells, a side drum, a tambourine, and a gong, which he could bring into play by various mechanical contrivances, so as to give a pleasing variety to his accompaniments.'<sup id="cite_ref-45" class="reference"><a href="#cite_note-45"><span class="cite-bracket">[</span>45<span class="cite-bracket">]</span></a></sup> </p><p>'His manner of coming upon the stage was in a happy style; he ran on sprightly and with nearly a laughing face, like a friend who enters hastily to impart to you some good news.'<sup id="cite_ref-46" class="reference"><a href="#cite_note-46"><span class="cite-bracket">[</span>46<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="War_songs_and_later_years">War songs and later years</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Charles_Dibdin&action=edit&section=8" title="Edit section: War songs and later years"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Dibdin's patriotic sea songs and their melodious refrains<sup id="cite_ref-47" class="reference"><a href="#cite_note-47"><span class="cite-bracket">[</span>47<span class="cite-bracket">]</span></a></sup> powerfully influenced the national spirit<sup id="cite_ref-48" class="reference"><a href="#cite_note-48"><span class="cite-bracket">[</span>48<span class="cite-bracket">]</span></a></sup> and were officially appropriated to the use of the British navy during the war with France. They were not <a href="/wiki/Sea_shanty" title="Sea shanty">shanties</a> or working songs, but a form of distinctively English ballad combining the tonality of the hornpipe with vivid if sentimentalized depictions of the comradeship, the separations from love, the simple patriotism, loyalty and manly courage of Tom, England's <a href="/wiki/Jack_Tar" title="Jack Tar">Jack Tar</a>. In 1803 he was induced by Pitt's government, with a pension of £200 a year (equivalent to £23,100 in 2023),<sup id="cite_ref-inflation-UK_26-1" class="reference"><a href="#cite_note-inflation-UK-26"><span class="cite-bracket">[</span>26<span class="cite-bracket">]</span></a></sup> to abandon provincial engagements to compose and sing 'War Songs' to keep up the ferment of popular feeling against France. This was withdrawn for a time under the administration of Lord Grenville, but afterwards partly restored. </p><p>Dibdin still provided texts for operas, including <i>The Cabinet</i>, which was presented at Covent Garden in February 1803 with <a href="/wiki/John_Braham_(tenor)" title="John Braham (tenor)">John Braham</a>, <a href="/wiki/Nancy_Storace" title="Nancy Storace">Nancy Storace</a> and <a href="/wiki/Charles_Incledon" title="Charles Incledon">Charles Incledon</a>, and in December <i>The British Fleet in 1342</i>.<sup id="cite_ref-49" class="reference"><a href="#cite_note-49"><span class="cite-bracket">[</span>49<span class="cite-bracket">]</span></a></sup> At least two further operas appeared: <i>Broken Gold</i> was a farce in two acts on the occasion of <a href="/wiki/Lord_Nelson" class="mw-redirect" title="Lord Nelson">Lord Nelson</a>'s victory and death, produced at Drury Lane with John Bannister in 1806, which was 'damned on the first night, and never published'.<sup id="cite_ref-50" class="reference"><a href="#cite_note-50"><span class="cite-bracket">[</span>50<span class="cite-bracket">]</span></a></sup> His last production, <i>The Round Robin</i>, was first acted at the Haymarket in June 1811. This incorporated his highly successful song 'The standing toast,' which had been written some time before.<sup id="cite_ref-51" class="reference"><a href="#cite_note-51"><span class="cite-bracket">[</span>51<span class="cite-bracket">]</span></a></sup> </p><p>During this period, in 1805, he sold Sans Souci and opened a music shop in the <a href="/wiki/Strand,_London" title="Strand, London">Strand</a> (opposite the <i>Lyceum</i>), but the venture was a failure and he was declared bankrupt. He retired from public life in 1805, disposing of his stock (including the copyright of 360 songs) to a firm in <a href="/wiki/Oxford_Street" title="Oxford Street">Oxford Street</a> for £1,800, with £100 a year for the next three years in consideration of whatever songs he might write. He took up residence in <a href="/wiki/Arlington_Road,_London" title="Arlington Road, London">Arlington Road</a> in <a href="/wiki/Camden_Town" title="Camden Town">Camden Town</a>, where he suffered a paralytic stroke in 1813 after which the government granted him a pension of £200. In 1810 a subscription dinner and concert was held for his benefit. This raised £640, of which £560 was invested in <a href="/wiki/Life_annuity" title="Life annuity">long annuities</a> for himself and his family. He died on 25 July 1814 in comparative poverty, and was buried in St Martin's churchyard there. His widow placed a stone over his grave inscribed with a quatrain from "Tom Bowling". </p> <div class="mw-heading mw-heading3"><h3 id="Other_writings">Other writings</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Charles_Dibdin&action=edit&section=9" title="Edit section: Other writings"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Besides his <i>Musical Tour through England</i> (1788), his <i>Professional Life</i>, an autobiography published in 4 volumes in 1803, a <i>Complete History of the British Stage</i> (5 vols, 1795), <i>Observations on a Tour</i> through England and Scotland (2 vols, 1803) and several smaller works, he wrote upwards of 1400 songs and about thirty dramatic pieces. He also wrote the following novels: <i>The Devil</i> (2 vols, 1785); <i>Hannah Hewitt</i> (3 vols, 1792); <i>The Younger Brother</i> (3 vols, 1793) and <i>Henry Hooka</i> (3 vols, 1806). An edition of his songs by G. Hogarth (1843) contains a memoir of his life. </p> <div class="mw-heading mw-heading2"><h2 id="Allusions_in_music_and_literature">Allusions in music and literature</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Charles_Dibdin&action=edit&section=10" title="Edit section: Allusions in music and literature"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>The tune of "Tom Bowling" forms part of Sir <a href="/wiki/Henry_Wood" title="Henry Wood">Henry Wood</a>'s 1905 <i><a href="/wiki/Fantasia_on_British_Sea_Songs" title="Fantasia on British Sea Songs">Fantasia on British Sea Songs</a></i> customarily played on the <a href="/wiki/Last_Night_of_the_Proms" class="mw-redirect" title="Last Night of the Proms">Last Night of the Proms</a>. Verdant Green, eponymous hero of <a href="/wiki/The_Adventures_of_Mr._Verdant_Green" title="The Adventures of Mr. Verdant Green">the novel</a> by <a href="/wiki/Cuthbert_Bede" class="mw-redirect" title="Cuthbert Bede">Cuthbert Bede</a>, learns to row and 'feathers his oars with skill and dexterity' (Part II Chapter VI), borrowing a line from Dibdin's song "The Jolly Young Waterman." The great Victorian baritone Sir <a href="/wiki/Charles_Santley" title="Charles Santley">Charles Santley</a> made his farewell performance at Covent Garden in 1911 in the role of Tom Tug in Dibdin's opera <i>The Waterman</i>. And in <a href="/wiki/James_Joyce" title="James Joyce">James Joyce</a>'s story "<a href="/wiki/Eveline_(short_story)" title="Eveline (short story)">Eveline</a>" (from <i><a href="/wiki/Dubliners" title="Dubliners">Dubliners</a></i>), Frank 'sang about the lass that loves a sailor' from the song of the same name (also called 'The standing toast') by Dibdin. </p><p>Just before his marriage, James Boswell wrote a song, "A Matrimonial Thought" which was given a tune "by the very ingenious Mr. Dibden." </p> <blockquote> <p>In the blithe days of honey-moon,<br /> With Kathe's allurements smitten,<br /> I lov'd her late, I lov'd her soon<br /> And I called her dearest kitten.<br /> But now my kitten's grown a cat,<br /> And cross like other wives,<br /> O! by my soul, my honest Mat,<br /> I fear she has nine lives.<sup id="cite_ref-52" class="reference"><a href="#cite_note-52"><span class="cite-bracket">[</span>52<span class="cite-bracket">]</span></a></sup> </p> </blockquote> <div class="mw-heading mw-heading2"><h2 id="Family">Family</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Charles_Dibdin&action=edit&section=11" title="Edit section: Family"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Dibdin had married early in life, but deserted his first wife and left her destitute. He then formed an illicit connection with <a href="/wiki/Harriett_Pitt" class="mw-redirect" title="Harriett Pitt">Harriett Pitt</a> (stage name Mrs. Davenet), a chorus-singer at Covent Garden Theatre, and had some children by her.<sup id="cite_ref-53" class="reference"><a href="#cite_note-53"><span class="cite-bracket">[</span>53<span class="cite-bracket">]</span></a></sup> In time he deserted Harriet in favour of Ann Wyld, with whom he remained and had several further children during his wife's lifetime, and finally married Wyld in 1798 after his first wife died. She and only one daughter of that union survived him.<sup id="cite_ref-54" class="reference"><a href="#cite_note-54"><span class="cite-bracket">[</span>54<span class="cite-bracket">]</span></a></sup> </p><p>Dibdin's two sons with Harriet − <a href="/wiki/Charles_Dibdin_(the_younger)" class="mw-redirect" title="Charles Dibdin (the younger)">Charles</a> and <a href="/wiki/Thomas_John_Dibdin" title="Thomas John Dibdin">Thomas John Dibdin</a>, whose works are often confused with those of their father − were also popular dramatists in their day. Through his son Thomas, Dibdin was an ancestor of the British politician <a href="/wiki/Michael_Heseltine" title="Michael Heseltine">Michael Heseltine</a>.<sup id="cite_ref-55" class="reference"><a href="#cite_note-55"><span class="cite-bracket">[</span>55<span class="cite-bracket">]</span></a></sup> </p><p>He was also the uncle of the bibliographer <a href="/wiki/Thomas_Frognall_Dibdin" title="Thomas Frognall Dibdin">Thomas Frognall Dibdin</a>. </p> <div class="mw-heading mw-heading2"><h2 id="Public_memorials">Public memorials</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Charles_Dibdin&action=edit&section=12" title="Edit section: Public memorials"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure typeof="mw:File/Thumb"><a href="/wiki/File:Grave_of_Sir_John_Barrow_and_monument_to_Charles_Dibdin_-_geograph.org.uk_-_654411.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/0/01/Grave_of_Sir_John_Barrow_and_monument_to_Charles_Dibdin_-_geograph.org.uk_-_654411.jpg/250px-Grave_of_Sir_John_Barrow_and_monument_to_Charles_Dibdin_-_geograph.org.uk_-_654411.jpg" decoding="async" width="250" height="188" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/0/01/Grave_of_Sir_John_Barrow_and_monument_to_Charles_Dibdin_-_geograph.org.uk_-_654411.jpg/375px-Grave_of_Sir_John_Barrow_and_monument_to_Charles_Dibdin_-_geograph.org.uk_-_654411.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/0/01/Grave_of_Sir_John_Barrow_and_monument_to_Charles_Dibdin_-_geograph.org.uk_-_654411.jpg/500px-Grave_of_Sir_John_Barrow_and_monument_to_Charles_Dibdin_-_geograph.org.uk_-_654411.jpg 2x" data-file-width="640" data-file-height="480" /></a><figcaption>Celtic cross memorial to Dibdin, erected by public subscription in 1889, after his original tomb collapsed, in St Martin's Gardens, <a href="/wiki/Camden_Town" title="Camden Town">Camden Town</a></figcaption></figure> <p>Seven years after his death a subscription to raise a monument to Dibdin was set in train under the patronage of the <a href="/wiki/William_IV_of_the_United_Kingdom" class="mw-redirect" title="William IV of the United Kingdom">Duke of Clarence</a> and Admiral Sir George York. At a public dinner and concert a large sum was raised, but insufficient to complete the project. A second grand musical entertainment, <i>The Feast of Neptune,</i> raised a further £400 and the monument was eventually raised in the Veterans' Library at the <a href="/wiki/Royal_Hospital,_Greenwich" class="mw-redirect" title="Royal Hospital, Greenwich">Royal Hospital, Greenwich</a>, which is now the Peacock Room, part of the <a href="/wiki/Trinity_Laban_Conservatoire_of_Music_and_Dance" title="Trinity Laban Conservatoire of Music and Dance">Trinity Laban Conservatoire of Music and Dance</a>. </p><p>British politician <a href="/wiki/Michael_Heseltine" title="Michael Heseltine">Michael Heseltine</a> is a distant descendant of Dibdin, having 'Dibdin' as one of his middle names. He is a fan of Dibdin's works, and was responsible for the government's erection of a statue of Dibdin in <a href="/wiki/Greenwich" title="Greenwich">Greenwich</a>.<sup class="noprint Inline-Template Template-Fact" style="white-space:nowrap;">[<i><a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed"><span title="This claim needs references to reliable sources. (December 2011)">citation needed</span></a></i>]</sup> </p><p>On the west face of the tower of <a href="/wiki/Holyrood_Church" title="Holyrood Church">Holyrood Church</a> in <a href="/wiki/Southampton" title="Southampton">Southampton</a> is a <a href="/wiki/Memorial_plaque" class="mw-redirect" title="Memorial plaque">memorial plaque</a> to Dibdin, where he is described as a "native of Southampton, poet, dramatist and composer, author of Tom Bowling, Poor Jack and other sea songs".<sup id="cite_ref-56" class="reference"><a href="#cite_note-56"><span class="cite-bracket">[</span>56<span class="cite-bracket">]</span></a></sup> </p><p>In 1889 a <a href="/wiki/Celtic_cross" title="Celtic cross">Celtic cross</a> memorial was erected, by public subscription, in St Martin's Gardens, <a href="/wiki/Camden_Town" title="Camden Town">Camden Town</a>, after his original tomb collapsed. A verse from "Tom Bowling" is inscribed upon it: </p> <dl><dd>His form was of the manliest beauty,</dd> <dd>His heart was kind and soft,</dd> <dd>Faithful, below, he did his duty;</dd> <dd>But now he's gone aloft.</dd></dl> <p>Also in Camden, in <a href="/wiki/Joseph_Grimaldi_Park" title="Joseph Grimaldi Park">Joseph Grimaldi Park</a> a grave-style musical memorial for Dibdin is placed next to one for <a href="/wiki/Joseph_Grimaldi" title="Joseph Grimaldi">Joseph Grimaldi</a>. </p> <div class="mw-heading mw-heading2"><h2 id="Recordings">Recordings</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Charles_Dibdin&action=edit&section=13" title="Edit section: Recordings"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Three recent discs of Dibdin's music have been recorded and released by Retrospect Opera. The first, which appeared in 2017, comprises <i>Christmas Gambols</i> and <i>The Musical Tour of Mr Dibdin</i>.<sup id="cite_ref-57" class="reference"><a href="#cite_note-57"><span class="cite-bracket">[</span>57<span class="cite-bracket">]</span></a></sup> The second, released in 2019, includes Dibdin's <i>The Jubilee</i>, <i>Queen Mab</i> and <i>Datchet Mead</i>.<sup id="cite_ref-58" class="reference"><a href="#cite_note-58"><span class="cite-bracket">[</span>58<span class="cite-bracket">]</span></a></sup> The third, "The Wags", was released in late 2021. All feature the singer Simon Butteriss and the keyboardist Stephen Higgins. <i>The Jubilee</i> also features the singers <a href="/wiki/Soraya_Mafi" title="Soraya Mafi">Soraya Mafi</a>, Robert Murray and Heather Shipp. </p><p>A previous disc featuring Dibdin's <i>The Ephesian Matron</i>, <i>The Brickdust Man</i> and <i>The Grenadier</i>, conducted by <a href="/wiki/Peter_Holman" title="Peter Holman">Peter Holman</a>, was released on the <a href="/wiki/Hyperion_Records" title="Hyperion Records">Hyperion</a> label in 1992. There have also been many recordings of Dibdin's most famous song, <i>Tom Bowling</i>. </p> <div class="mw-heading mw-heading2"><h2 id="Notes">Notes</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Charles_Dibdin&action=edit&section=14" title="Edit section: Notes"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1239543626">.mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}</style><div class="reflist reflist-columns references-column-width" style="column-width: 30em;"> <ol class="references"> <li id="cite_note-1"><span class="mw-cite-backlink"><b><a href="#cite_ref-1">^</a></b></span> <span class="reference-text">Robert Chambers' Book of Days. See C. Dibdin, <i>Professional Life of Mr Dibdin</i> (1803), Vol. 1 p. 15.</span> </li> <li id="cite_note-2"><span class="mw-cite-backlink"><b><a href="#cite_ref-2">^</a></b></span> <span class="reference-text">Presumably <a href="/wiki/Richard_Berenger" title="Richard Berenger">Richard Berenger</a>, <a href="/wiki/Gentleman_of_the_Horse" title="Gentleman of the Horse">Gentleman of the Horse</a> 1760–1782, to whom <a href="/wiki/David_Garrick" title="David Garrick">David Garrick</a> lent £280.10s.0d. in 1762, see <i>The Private Correspondence of David Garrick</i>, Vol 2 (Henry Colburn & Richard Bentley, London 1832), <a rel="nofollow" class="external text" href="https://books.google.com/books?id=Mv5DAQAAIAAJ">p. 297-98</a>.</span> </li> <li id="cite_note-3"><span class="mw-cite-backlink"><b><a href="#cite_ref-3">^</a></b></span> <span class="reference-text">Dibdin, <i>Professional Life</i> (1803), Vol 1, pp. 19–22.</span> </li> <li id="cite_note-4"><span class="mw-cite-backlink"><b><a href="#cite_ref-4">^</a></b></span> <span class="reference-text">G. Hogarth (Ed.), <i>The Songs of Charles Dibdin, Chronologically Arranged, with Notes Historical, Biographical and Critical, with a Memoir of the Author</i>, 2 Vols. (G.H. Davidson, London 1842, 1848), Vol. 1, p. 1. Dibdin, <i>Professional Life</i> (1803), Vol. 1 pp. 29–30.</span> </li> <li id="cite_note-5"><span class="mw-cite-backlink"><b><a href="#cite_ref-5">^</a></b></span> <span class="reference-text">For a very extended listing of Dibdin's operas, 1764-1788, see <a href="/wiki/Margaret_Ross_Griffel" title="Margaret Ross Griffel">Margaret Ross Griffel</a>, <i>Operas in English: A Dictionary</i> Revised Edition (Scarecrow Press, 2012), pp. 748-750 <a rel="nofollow" class="external text" href="https://books.google.com/books?id=Y8bQAwAAQBAJ&q=Shepherd%27s+Artifice">Read here</a>.</span> </li> <li id="cite_note-6"><span class="mw-cite-backlink"><b><a href="#cite_ref-6">^</a></b></span> <span class="reference-text">Dibdin, <i>Professional Life</i> (1803), Vol. 1, pp. 46–54.</span> </li> <li id="cite_note-7"><span class="mw-cite-backlink"><b><a href="#cite_ref-7">^</a></b></span> <span class="reference-text">Dibdin, <i>Professional Life</i> (1803), Vol. 1 pp. 53–57.</span> </li> <li id="cite_note-8"><span class="mw-cite-backlink"><b><a href="#cite_ref-8">^</a></b></span> <span class="reference-text"><i>Lionel and Clarissa, a Comic Opera</i> (W. Griffin, London 1768) <a rel="nofollow" class="external text" href="https://archive.org/stream/lionelclarissaco00bickiala#page/n7/mode/2up">Read here</a>.</span> </li> <li id="cite_note-9"><span class="mw-cite-backlink"><b><a href="#cite_ref-9">^</a></b></span> <span class="reference-text">For a description of the character of Mungo, see <i>The Private Correspondence of David Garrick</i> Vol. 1 (Henry Colburn & Richard Bentley, London 1831), <a rel="nofollow" class="external text" href="https://books.google.com/books?id=5_5DAQAAIAAJ&q=Dibdin">p. xlvi</a>. For an illustration of Dibdin in the role, see 'Mr. Dibden in the Character of Mungo in the Celebrated Opera of the Padlock', engraved for Robert Sayer and John Smith, <i>Dramatic characters, or different portraits of the English stage</i> (London 1769–73), (after miniature drawing by Johann Ludwig Wernhard Fäsch, cf. Harvard University, Houghton Library Catalogue ref. MS Thr 647): See at Folger Shakespeare Library, ART File D544.5 <a rel="nofollow" class="external autonumber" href="http://luna.folger.edu/luna/servlet/detail/FOLGERCM1~6~6~271566~118750:Mr--Dibdin-in-the-character-of-Mung?qvq=q:Dibdin;lc:FOLGERCM1~6~6,BINDINGS~1~1&mi=0&trs=488">[1]</a>.</span> </li> <li id="cite_note-10"><span class="mw-cite-backlink"><b><a href="#cite_ref-10">^</a></b></span> <span class="reference-text">For a discussion of the impact of this role, see Monica L. Miller, <i>Slaves to Fashion: Black Dandyism and the Styling of Black Diasporic Identity</i> (Duke University Press, 2010), Chapter 1 'Mungo Macaroni' at <a rel="nofollow" class="external text" href="https://books.google.com/books?id=Bh4I_r6qV_8C&pg=PA28">pp. 27–31</a>.</span> </li> <li id="cite_note-11"><span class="mw-cite-backlink"><b><a href="#cite_ref-11">^</a></b></span> <span class="reference-text">Hogarth (Ed.), <i>Songs of Charles Dibdin</i> (1848), Vol. 1 p. 5. Dibdin, <i>Professional Life</i> (1803), Vol. 1 pp. 70–74, 79–81.</span> </li> <li id="cite_note-12"><span class="mw-cite-backlink"><b><a href="#cite_ref-12">^</a></b></span> <span class="reference-text">Dibdin, <i>Professional Life</i> (1803), Vol. 1 p. 73.</span> </li> <li id="cite_note-13"><span class="mw-cite-backlink"><b><a href="#cite_ref-13">^</a></b></span> <span class="reference-text">Hogarth (Ed.), <i>Songs of Charles Dibdin</i> (1848), Vol. 1 p. 8. See also 'List of Publications of Charles Dibdin' in the same, pp. xxxiii–xxxiv.</span> </li> <li id="cite_note-14"><span class="mw-cite-backlink"><b><a href="#cite_ref-14">^</a></b></span> <span class="reference-text">Hogarth (Ed.), <i>Songs of Charles Dibdin</i> (1848), Vol. 1 p. 37.</span> </li> <li id="cite_note-15"><span class="mw-cite-backlink"><b><a href="#cite_ref-15">^</a></b></span> <span class="reference-text">Dibdin, <i>Professional Life</i> (1803) Vol. 1 pp. 102–04.</span> </li> <li id="cite_note-16"><span class="mw-cite-backlink"><b><a href="#cite_ref-16">^</a></b></span> <span class="reference-text">Hogarth (Ed.), <i>Songs of Charles Dibdin</i> (1848), Vol. 1 pp. 6–7.</span> </li> <li id="cite_note-17"><span class="mw-cite-backlink"><b><a href="#cite_ref-17">^</a></b></span> <span class="reference-text">Hogarth (Ed.), <i>Songs of Charles Dibdin</i> (1848), Vol. 1 pp. 9, 16–19.</span> </li> <li id="cite_note-18"><span class="mw-cite-backlink"><b><a href="#cite_ref-18">^</a></b></span> <span class="reference-text">Hogarth (Ed.), <i>Songs of Charles Dibdin</i> (1848), Vol. 1 p. 19.</span> </li> <li id="cite_note-19"><span class="mw-cite-backlink"><b><a href="#cite_ref-19">^</a></b></span> <span class="reference-text"><i>The Waterman; or, The First of August: A Ballad Opera, in Two Acts</i> (T. Becket, London 1774). Cast: Tug, Charles Bannister; Mr Bundle, Mr Wilson; Robin, Mr. Weston; Mrs Bundle, Mrs Thompson; Wilelmina, Mrs Jewell. <a rel="nofollow" class="external text" href="https://books.google.com/books?id=DthZAAAAcAAJ&dq=The+Waterman+Dibdin&pg=PA14">Read here</a>.</span> </li> <li id="cite_note-20"><span class="mw-cite-backlink"><b><a href="#cite_ref-20">^</a></b></span> <span class="reference-text">For the circumstances, see Dibdin, <i>Professional Life</i> (1803) Vol. 1 pp. 140–44.</span> </li> <li id="cite_note-21"><span class="mw-cite-backlink"><b><a href="#cite_ref-21">^</a></b></span> <span class="reference-text">Hogarth (Ed.), <i>Songs of Charles Dibdin</i> (1848), Vol. 1 pp. 51, 53.</span> </li> <li id="cite_note-22"><span class="mw-cite-backlink"><b><a href="#cite_ref-22">^</a></b></span> <span class="reference-text">See a letter of 1775 from Dibdin to Garrick, defending himself against an imputation of breach of contract, in <i> Private Correspondence of David Garrick</i>, Vol. 2 (1832), <a rel="nofollow" class="external text" href="https://books.google.com/books?id=Mv5DAQAAIAAJ&q=Dibdin">pp.119–20</a>.</span> </li> <li id="cite_note-23"><span class="mw-cite-backlink"><b><a href="#cite_ref-23">^</a></b></span> <span class="reference-text">J.W. Ebsworth, "Dibdin, Charles" in (old) <i><a href="/wiki/Dictionary_of_National_Biography" title="Dictionary of National Biography">Dictionary of National Biography</a></i> Vol. XV.</span> </li> <li id="cite_note-24"><span class="mw-cite-backlink"><b><a href="#cite_ref-24">^</a></b></span> <span class="reference-text">Hogarth (Ed.), <i>Songs of Charles Dibdin</i> (1848), Vol. 1 pp. 62, 66.</span> </li> <li id="cite_note-25"><span class="mw-cite-backlink"><b><a href="#cite_ref-25">^</a></b></span> <span class="reference-text">Hogarth (Ed.), <i>Songs of Charles Dibdin</i> (1848), Vol. 1 pp. 82, 85–6, 89, 96.</span> </li> <li id="cite_note-inflation-UK-26"><span class="mw-cite-backlink">^ <a href="#cite_ref-inflation-UK_26-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-inflation-UK_26-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">UK <a href="/wiki/Retail_Price_Index" title="Retail Price Index">Retail Price Index</a> inflation figures are based on data from <style data-mw-deduplicate="TemplateStyles:r1238218222">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}</style><cite id="CITEREFClark2017" class="citation web cs1">Clark, Gregory (2017). <a rel="nofollow" class="external text" href="https://measuringworth.com/datasets/ukearncpi/">"The Annual RPI and Average Earnings for Britain, 1209 to Present (New Series)"</a>. <i><a href="/wiki/MeasuringWorth" title="MeasuringWorth">MeasuringWorth</a></i><span class="reference-accessdate">. Retrieved <span class="nowrap">7 May</span> 2024</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=MeasuringWorth&rft.atitle=The+Annual+RPI+and+Average+Earnings+for+Britain%2C+1209+to+Present+%28New+Series%29&rft.date=2017&rft.aulast=Clark&rft.aufirst=Gregory&rft_id=https%3A%2F%2Fmeasuringworth.com%2Fdatasets%2Fukearncpi%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACharles+Dibdin" class="Z3988"></span></span> </li> <li id="cite_note-27"><span class="mw-cite-backlink"><b><a href="#cite_ref-27">^</a></b></span> <span class="reference-text">Dibdin, <i>Professional Life</i> (1803) Vol. 2 pp. 1–13.</span> </li> <li id="cite_note-28"><span class="mw-cite-backlink"><b><a href="#cite_ref-28">^</a></b></span> <span class="reference-text">Hogarth (Ed.), <i>Songs of Charles Dibdin</i> (1848), Vol. 1 pp. 99, 100, 104–05. See C. Dibdin, <i>The Musical Tour of Mr Dibdin; in which, previous to his embarkation to India, he finished his career as a public character</i> (Author, J. Gales, Sheffield 1788), Letter XXIX, p. 115.</span> </li> <li id="cite_note-29"><span class="mw-cite-backlink"><b><a href="#cite_ref-29">^</a></b></span> <span class="reference-text">Hogarth (Ed.), <i>Songs of Charles Dibdin</i> (1848), Vol. 1 pp. 106, 111, 113, 116.</span> </li> <li id="cite_note-30"><span class="mw-cite-backlink"><b><a href="#cite_ref-30">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFCole1981" class="citation journal cs1">Cole, Richard C. (Fall 1981). "The Siege of Savannah and the British Press, 1779-1780". <i>The Georgia Historical Quarterly</i>. <b>65</b> (3): 189–202. <a href="/wiki/JSTOR_(identifier)" class="mw-redirect" title="JSTOR (identifier)">JSTOR</a> <a rel="nofollow" class="external text" href="https://www.jstor.org/stable/40580789">40580789</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Georgia+Historical+Quarterly&rft.atitle=The+Siege+of+Savannah+and+the+British+Press%2C+1779-1780&rft.ssn=fall&rft.volume=65&rft.issue=3&rft.pages=189-202&rft.date=1981&rft_id=https%3A%2F%2Fwww.jstor.org%2Fstable%2F40580789%23id-name%3DJSTOR&rft.aulast=Cole&rft.aufirst=Richard+C.&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACharles+Dibdin" class="Z3988"></span></span> </li> <li id="cite_note-31"><span class="mw-cite-backlink"><b><a href="#cite_ref-31">^</a></b></span> <span class="reference-text">Hogarth (Ed.), <i>Songs of Charles Dibdin</i> (1848), Vol. 1 p. 124.</span> </li> <li id="cite_note-32"><span class="mw-cite-backlink"><b><a href="#cite_ref-32">^</a></b></span> <span class="reference-text">Hogarth (Ed.), <i>Songs of Charles Dibdin</i> (1848), Vol. 1 pp. 132–33, and at p. xxi.</span> </li> <li id="cite_note-33"><span class="mw-cite-backlink"><b><a href="#cite_ref-33">^</a></b></span> <span class="reference-text"><a rel="nofollow" class="external text" href="http://www.vam.ac.uk/content/articles/t/the-first-circus/">"The First Circus"; Victoria and Albert Museum</a></span> </li> <li id="cite_note-34"><span class="mw-cite-backlink"><b><a href="#cite_ref-34">^</a></b></span> <span class="reference-text">Hogarth (Ed.), <i>Songs of Charles Dibdin</i> (1848), Vol. 1 p. 128.</span> </li> <li id="cite_note-35"><span class="mw-cite-backlink"><b><a href="#cite_ref-35">^</a></b></span> <span class="reference-text">Hogarth (Ed.), <i>Songs of Charles Dibdin</i> (1848), Vol. 1 pp. 133–53.</span> </li> <li id="cite_note-36"><span class="mw-cite-backlink"><b><a href="#cite_ref-36">^</a></b></span> <span class="reference-text">Hogarth (Ed.), <i>Songs of Charles Dibdin</i> (1848), Vol. 1 p. 153 (states 1784).</span> </li> <li id="cite_note-37"><span class="mw-cite-backlink"><b><a href="#cite_ref-37">^</a></b></span> <span class="reference-text">Hogarth (Ed.), <i>Songs of Charles Dibdin</i> (1848), Vol. 1 p. xxi.</span> </li> <li id="cite_note-38"><span class="mw-cite-backlink"><b><a href="#cite_ref-38">^</a></b></span> <span class="reference-text">Hogarth (Ed.), <i>Songs of Charles Dibdin</i> (1848), Vol. 1 p. xxi–xxii.</span> </li> <li id="cite_note-39"><span class="mw-cite-backlink"><b><a href="#cite_ref-39">^</a></b></span> <span class="reference-text">Hogarth (Ed.), <i>Songs of Charles Dibdin</i> (1848), Vol. 1 pp. 176–77.</span> </li> <li id="cite_note-40"><span class="mw-cite-backlink"><b><a href="#cite_ref-40">^</a></b></span> <span class="reference-text">Dibdin, <i>Professional Life</i> (1803) Vol. 1, pp. 102–04.</span> </li> <li id="cite_note-41"><span class="mw-cite-backlink"><b><a href="#cite_ref-41">^</a></b></span> <span class="reference-text">The meaning of 'Sans-Souci' is expressed in a poem, 'Le Philosophe de Sans-Souci', sent by the Revd. P. Stockdale to David Garrick, with the intention that Dibdin should compose an air for it, in 1773. See <i>Private Correspondence of David Garrick</i> Vol. 1 (1831), <a rel="nofollow" class="external text" href="https://books.google.com/books?id=5_5DAQAAIAAJ&q=Dibdin">pp. 576–77</a>.</span> </li> <li id="cite_note-42"><span class="mw-cite-backlink"><b><a href="#cite_ref-42">^</a></b></span> <span class="reference-text">Hogarth (Ed.), <i>Songs of Charles Dibdin</i> (1848), Vol. 1 pp. 176–77.</span> </li> <li id="cite_note-43"><span class="mw-cite-backlink"><b><a href="#cite_ref-43">^</a></b></span> <span class="reference-text">J. Adolphus, <i>Memoirs of John Bannister, Comedian</i> Vol. 2 (Richard Bentley, London 1839), <a rel="nofollow" class="external text" href="https://archive.org/stream/memoirsofjohnban02adol#page/174/mode/2up">pp. 174–76</a>.</span> </li> <li id="cite_note-44"><span class="mw-cite-backlink"><b><a href="#cite_ref-44">^</a></b></span> <span class="reference-text">Thomas Dibdin, 'Songs, naval and national, of the late Charles Dibdin, with a Memoir... with characteristic sketches by <a href="/wiki/George_Cruikshank" title="George Cruikshank">George Cruikshank</a>' (John Murray, London 1841), <a rel="nofollow" class="external text" href="https://archive.org/stream/songsnavalandna00cruigoog#page/n20/mode/2up">p. xiii</a>.</span> </li> <li id="cite_note-45"><span class="mw-cite-backlink"><b><a href="#cite_ref-45">^</a></b></span> <span class="reference-text">Hogarth (Ed.), <i>Songs of Charles Dibdin</i> (1848), Vol. 1 p. xxv.</span> </li> <li id="cite_note-46"><span class="mw-cite-backlink"><b><a href="#cite_ref-46">^</a></b></span> <span class="reference-text">John O'Keeffe, 'Recollections of the Life of John O'Keeffe', in <i>The New Monthly Magazine</i> Vol. XVII, No. LXVII, July 1826, pp. 17-30, at <a rel="nofollow" class="external text" href="https://books.google.com/books?id=90UFAAAAQAAJ&pg=PA21">p. 20</a>.</span> </li> <li id="cite_note-47"><span class="mw-cite-backlink"><b><a href="#cite_ref-47">^</a></b></span> <span class="reference-text">W. Kitchiner (ed.), <i>The Sea Songs of Charles Dibdin, with a Memoir of his Life and Writings</i> (G. and W.B. Whittaker, London 1823) <a rel="nofollow" class="external autonumber" href="https://books.google.com/books?id=yAc2AQAAMAAJ&pg=PT8">[2]</a></span> </li> <li id="cite_note-48"><span class="mw-cite-backlink"><b><a href="#cite_ref-48">^</a></b></span> <span class="reference-text">For Dibdin's portrayal of nautical character, see VIII, 'Wapping High Street' in Walter G. Bell, <i>Unknown London</i> (John Lane, The Bodley Head, London 1922), <a rel="nofollow" class="external text" href="https://archive.org/stream/unknownlondon00belluoft#page/106/mode/2up">pp. 107-27</a>.</span> </li> <li id="cite_note-49"><span class="mw-cite-backlink"><b><a href="#cite_ref-49">^</a></b></span> <span class="reference-text">William Parke, <i>Musical Memoirs</i> (Richard Burton, London 1830), Vol. 1, pp. 304–06, 324.</span> </li> <li id="cite_note-50"><span class="mw-cite-backlink"><b><a href="#cite_ref-50">^</a></b></span> <span class="reference-text">Adolphus, <i>Memoirs of John Bannister</i>, II, <a rel="nofollow" class="external text" href="https://archive.org/stream/memoirsofjohnban02adol#page/140/mode/2up">p. 140</a>.</span> </li> <li id="cite_note-51"><span class="mw-cite-backlink"><b><a href="#cite_ref-51">^</a></b></span> <span class="reference-text">Hogarth (Ed.), <i>Songs of Charles Dibdin</i> (1848), Vol. 1 pp. 166, 169, 173.</span> </li> <li id="cite_note-52"><span class="mw-cite-backlink"><b><a href="#cite_ref-52">^</a></b></span> <span class="reference-text">Everyman's Edition of Boswell's Life of Johnson, Vol. I, p. 381.</span> </li> <li id="cite_note-53"><span class="mw-cite-backlink"><b><a href="#cite_ref-53">^</a></b></span> <span class="reference-text">Dwayne Brenna, 'Pitt, Ann (c.1720–1799)', Oxford Dictionary of National Biography, Oxford University Press, 2004; online edn, January 2013 <a rel="nofollow" class="external text" href="http://www.oxforddnb.com/view/article/22326,">accessed 9 February 2015</a></span> </li> <li id="cite_note-54"><span class="mw-cite-backlink"><b><a href="#cite_ref-54">^</a></b></span> <span class="reference-text">Stephen, Leslie, ed. Dibdin, Charles, <a href="/wiki/Dictionary_of_National_Biography" title="Dictionary of National Biography">Dictionary of National Biography</a>, 1921–1922, London, England: Oxford University Press, 1921–1922.</span> </li> <li id="cite_note-55"><span class="mw-cite-backlink"><b><a href="#cite_ref-55">^</a></b></span> <span class="reference-text">Michael Crick, <i>Michael Heseltine: A Biography</i> (Hamish Hamilton, 1997), p. 6.</span> </li> <li id="cite_note-56"><span class="mw-cite-backlink"><b><a href="#cite_ref-56">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://www.urban75.org/photos/southampton/southampton-02.html">"Southampton photos: Towards the Town Quay and the docks and harbour"</a>. urban75. March 2007<span class="reference-accessdate">. Retrieved <span class="nowrap">7 November</span> 2009</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Southampton+photos%3A+Towards+the+Town+Quay+and+the+docks+and+harbour&rft.pub=urban75&rft.date=2007-03&rft_id=http%3A%2F%2Fwww.urban75.org%2Fphotos%2Fsouthampton%2Fsouthampton-02.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACharles+Dibdin" class="Z3988"></span></span> </li> <li id="cite_note-57"><span class="mw-cite-backlink"><b><a href="#cite_ref-57">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20190620200611/http://retrospectopera.org.uk/DIBDIN/CGambols.html">"Retrospect Opera"</a>. <i>retrospectopera.org.uk</i>. Archived from <a rel="nofollow" class="external text" href="http://retrospectopera.org.uk/DIBDIN/CGambols.html">the original</a> on 20 June 2019<span class="reference-accessdate">. Retrieved <span class="nowrap">21 June</span> 2019</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=retrospectopera.org.uk&rft.atitle=Retrospect+Opera&rft_id=http%3A%2F%2Fretrospectopera.org.uk%2FDIBDIN%2FCGambols.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACharles+Dibdin" class="Z3988"></span></span> </li> <li id="cite_note-58"><span class="mw-cite-backlink"><b><a href="#cite_ref-58">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20190620200450/http://retrospectopera.org.uk/DIBDIN/Shakespeare.html">"Retrospect Opera"</a>. <i>retrospectopera.org.uk</i>. Archived from <a rel="nofollow" class="external text" href="http://retrospectopera.org.uk/DIBDIN/Shakespeare.html">the original</a> on 20 June 2019<span class="reference-accessdate">. Retrieved <span class="nowrap">21 June</span> 2019</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=retrospectopera.org.uk&rft.atitle=Retrospect+Opera&rft_id=http%3A%2F%2Fretrospectopera.org.uk%2FDIBDIN%2FShakespeare.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACharles+Dibdin" class="Z3988"></span></span> </li> </ol></div> <div class="mw-heading mw-heading2"><h2 id="References">References</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Charles_Dibdin&action=edit&section=15" title="Edit section: References"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFChisholm1911" class="citation encyclopaedia cs1"><a href="/wiki/Hugh_Chisholm" title="Hugh Chisholm">Chisholm, Hugh</a>, ed. (1911). <span class="cs1-ws-icon" title="s:1911 Encyclopædia Britannica/Dibdin, Charles"><a class="external text" href="https://en.wikisource.org/wiki/1911_Encyclop%C3%A6dia_Britannica/Dibdin,_Charles">"Dibdin, Charles" </a></span>. <i><a href="/wiki/Encyclop%C3%A6dia_Britannica_Eleventh_Edition" title="Encyclopædia Britannica Eleventh Edition">Encyclopædia Britannica</a></i> (11th ed.). Cambridge University Press.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Dibdin%2C+Charles&rft.btitle=Encyclop%C3%A6dia+Britannica&rft.edition=11th&rft.pub=Cambridge+University+Press&rft.date=1911&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACharles+Dibdin" class="Z3988"></span></li> <li>Anon (Ed.), Memoir, in C. Dibdin, Sea Songs: A New Edition (London, H G Clarke & Hayward and Adam 1846), v–xi.</li> <li>Charles Dibdin, <a rel="nofollow" class="external text" href="http://quod.lib.umich.edu/e/ecco/004897532.0001.000/1:94?rgn=div1;view=toc"><i>The Musical Tour of Mr Dibdin; In Which, previous to his embarkation to India, he finished his career as a public character</i></a> (For the author, by J. Gales, Sheffield 1788).</li></ul> <div class="mw-heading mw-heading2"><h2 id="External_links">External links</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Charles_Dibdin&action=edit&section=16" title="Edit section: External links"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1235681985">.mw-parser-output .side-box{margin:4px 0;box-sizing:border-box;border:1px solid #aaa;font-size:88%;line-height:1.25em;background-color:var(--background-color-interactive-subtle,#f8f9fa);display:flow-root}.mw-parser-output .side-box-abovebelow,.mw-parser-output .side-box-text{padding:0.25em 0.9em}.mw-parser-output .side-box-image{padding:2px 0 2px 0.9em;text-align:center}.mw-parser-output .side-box-imageright{padding:2px 0.9em 2px 0;text-align:center}@media(min-width:500px){.mw-parser-output .side-box-flex{display:flex;align-items:center}.mw-parser-output .side-box-text{flex:1;min-width:0}}@media(min-width:720px){.mw-parser-output .side-box{width:238px}.mw-parser-output .side-box-right{clear:right;float:right;margin-left:1em}.mw-parser-output .side-box-left{margin-right:1em}}</style><style data-mw-deduplicate="TemplateStyles:r1237033735">@media print{body.ns-0 .mw-parser-output .sistersitebox{display:none!important}}@media screen{html.skin-theme-clientpref-night .mw-parser-output .sistersitebox img[src*="Wiktionary-logo-en-v2.svg"]{background-color:white}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .sistersitebox img[src*="Wiktionary-logo-en-v2.svg"]{background-color:white}}</style><div class="side-box side-box-right plainlinks sistersitebox"><style data-mw-deduplicate="TemplateStyles:r1126788409">.mw-parser-output .plainlist ol,.mw-parser-output .plainlist ul{line-height:inherit;list-style:none;margin:0;padding:0}.mw-parser-output .plainlist ol li,.mw-parser-output .plainlist ul li{margin-bottom:0}</style> <div class="side-box-flex"> <div class="side-box-image"><span class="noviewer" typeof="mw:File"><span><img alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/4/4c/Wikisource-logo.svg/38px-Wikisource-logo.svg.png" decoding="async" width="38" height="40" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/4/4c/Wikisource-logo.svg/57px-Wikisource-logo.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/4/4c/Wikisource-logo.svg/76px-Wikisource-logo.svg.png 2x" data-file-width="410" data-file-height="430" /></span></span></div> <div class="side-box-text plainlist"><a href="/wiki/Wikisource" title="Wikisource">Wikisource</a> has original works by or about:<br /><b style="text-align: center;"><i><a href="https://en.wikisource.org/wiki/Author:Charles_Dibdin_(1745-1814)" class="extiw" title="s:Author:Charles Dibdin (1745-1814)">Charles Dibdin</a></i></b></div></div> </div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1235681985"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1237033735"><div class="side-box side-box-right plainlinks sistersitebox"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1126788409"> <div class="side-box-flex"> <div class="side-box-image"><span class="noviewer" typeof="mw:File"><span><img alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/f/fa/Wikiquote-logo.svg/34px-Wikiquote-logo.svg.png" decoding="async" width="34" height="40" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/f/fa/Wikiquote-logo.svg/51px-Wikiquote-logo.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/f/fa/Wikiquote-logo.svg/68px-Wikiquote-logo.svg.png 2x" data-file-width="300" data-file-height="355" /></span></span></div> <div class="side-box-text plainlist">Wikiquote has quotations related to <i><b><a href="https://en.wikiquote.org/wiki/Special:Search/Charles_Dibdin" class="extiw" title="q:Special:Search/Charles Dibdin">Charles Dibdin</a></b></i>.</div></div> </div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1235681985"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1237033735"><div class="side-box side-box-right plainlinks sistersitebox"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1126788409"> <div class="side-box-flex"> <div class="side-box-image"><span class="noviewer" typeof="mw:File"><span><img alt="" src="//upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/30px-Commons-logo.svg.png" decoding="async" width="30" height="40" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/45px-Commons-logo.svg.png 1.5x, //upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/59px-Commons-logo.svg.png 2x" data-file-width="1024" data-file-height="1376" /></span></span></div> <div class="side-box-text plainlist">Wikimedia Commons has media related to <a href="https://commons.wikimedia.org/wiki/Category:Charles_Dibdin" class="extiw" title="commons:Category:Charles Dibdin"><span style="font-style:italic; font-weight:bold;">Charles Dibdin</span></a>.</div></div> </div> <ul><li><a href="https://imslp.org/wiki/Category:Dibdin,_Charles" class="extiw" title="scores:Category:Dibdin, Charles">Free scores by Charles Dibdin</a> at the <a href="/wiki/International_Music_Score_Library_Project" title="International Music Score Library Project">International Music Score Library Project</a> (IMSLP)</li> <li><a rel="nofollow" class="external text" href="https://librivox.org/author/15768">Works by Charles Dibdin</a> at <a href="/wiki/LibriVox" title="LibriVox">LibriVox</a> (public domain audiobooks) <span typeof="mw:File"><span><img alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/2/21/Speaker_Icon.svg/15px-Speaker_Icon.svg.png" decoding="async" width="15" height="15" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/2/21/Speaker_Icon.svg/23px-Speaker_Icon.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/2/21/Speaker_Icon.svg/30px-Speaker_Icon.svg.png 2x" data-file-width="500" data-file-height="500" /></span></span></li> <li><a rel="nofollow" class="external text" href="http://retrospectopera.org.uk/DIBDIN/CGambols.html">Retrospect Opera: Christmas Gambols</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20190620200611/http://retrospectopera.org.uk/DIBDIN/CGambols.html">Archived</a> 20 June 2019 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a></li> <li><a rel="nofollow" class="external text" href="http://retrospectopera.org.uk/DIBDIN/Shakespeare.html">Retrospect Opera: The Jubilee</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20190620200450/http://retrospectopera.org.uk/DIBDIN/Shakespeare.html">Archived</a> 20 June 2019 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a></li> <li><a rel="nofollow" class="external text" href="https://www.youtube.com/watch?v=ja6dIGmrinE"><span class="plainlinks">"Soldier's Adieu", from "The Wags" (1790)</span></a> on YouTube performed by Helen Neeves, voice and Samantha Carrasco, piano</li> <li>Works written or composed by members of the Dibdin family held in <a rel="nofollow" class="external text" href="https://www.tcd.ie/library/research-collections/named-collections/d.php#Dibdin">the Dibdin Collection</a> at the <a href="/wiki/Library_of_Trinity_College_Dublin" title="Library of Trinity College Dublin">Library of Trinity College Dublin</a>.</li></ul> <div class="navbox-styles"><style data-mw-deduplicate="TemplateStyles:r1129693374">.mw-parser-output .hlist dl,.mw-parser-output .hlist ol,.mw-parser-output .hlist ul{margin:0;padding:0}.mw-parser-output .hlist dd,.mw-parser-output .hlist dt,.mw-parser-output .hlist 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td.hlist ul{padding:0.125em 0}.mw-parser-output .navbox .navbar{display:block;font-size:100%}.mw-parser-output .navbox-title .navbar{float:left;text-align:left;margin-right:0.5em}body.skin--responsive .mw-parser-output .navbox-image img{max-width:none!important}@media print{body.ns-0 .mw-parser-output .navbox{display:none!important}}</style><style data-mw-deduplicate="TemplateStyles:r1038841319">.mw-parser-output .tooltip-dotted{border-bottom:1px dotted;cursor:help}</style></div><div role="navigation" class="navbox authority-control" aria-labelledby="Authority_control_databases_frameless&#124;text-top&#124;10px&#124;alt=Edit_this_at_Wikidata&#124;link=https&#58;//www.wikidata.org/wiki/Q1064116#identifiers&#124;class=noprint&#124;Edit_this_at_Wikidata" style="padding:3px"><table class="nowraplinks hlist mw-collapsible autocollapse navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th scope="col" class="navbox-title" colspan="2"><div id="Authority_control_databases_frameless&#124;text-top&#124;10px&#124;alt=Edit_this_at_Wikidata&#124;link=https&#58;//www.wikidata.org/wiki/Q1064116#identifiers&#124;class=noprint&#124;Edit_this_at_Wikidata" style="font-size:114%;margin:0 4em"><a href="/wiki/Help:Authority_control" title="Help:Authority control">Authority control databases</a> <span class="mw-valign-text-top noprint" typeof="mw:File/Frameless"><a href="https://www.wikidata.org/wiki/Q1064116#identifiers" title="Edit this at Wikidata"><img alt="Edit this at Wikidata" src="//upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png" decoding="async" width="10" height="10" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/15px-OOjs_UI_icon_edit-ltr-progressive.svg.png 1.5x, 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style="width:1%">National</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"><ul><li><span class="uid"><a rel="nofollow" class="external text" href="https://d-nb.info/gnd/118863959">Germany</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://id.loc.gov/authorities/n83020562">United States</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://catalogue.bnf.fr/ark:/12148/cb14820848q">France</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://data.bnf.fr/ark:/12148/cb14820848q">BnF data</a></span></li><li><span class="uid"><span class="rt-commentedText tooltip tooltip-dotted" title="Dibdin, Charles <1745-1814>"><a rel="nofollow" class="external text" href="https://opac.sbn.it/nome/NAPV079351">Italy</a></span></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://nla.gov.au/anbd.aut-an35035420">Australia</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://aleph.nkp.cz/F/?func=find-c&local_base=aut&ccl_term=ica=xx0152401&CON_LNG=ENG">Czech Republic</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="http://catalogo.bne.es/uhtbin/authoritybrowse.cgi?action=display&authority_id=XX5072193">Spain</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="http://id.bnportugal.gov.pt/aut/catbnp/249978">Portugal</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="http://data.bibliotheken.nl/id/thes/p067570453">Netherlands</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://dbn.bn.org.pl/descriptor-details/9810642663205606">Poland</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="http://olduli.nli.org.il/F/?func=find-b&local_base=NLX10&find_code=UID&request=987007260575805171">Israel</a></span></li></ul></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Academics</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"><ul><li><span class="uid"><a rel="nofollow" class="external text" href="https://ci.nii.ac.jp/author/DA06498323?l=en">CiNii</a></span></li></ul></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Artists</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"><ul><li><span class="uid"><a rel="nofollow" class="external text" href="https://www.getty.edu/vow/ULANFullDisplay?find=&role=&nation=&subjectid=500013376">ULAN</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://musicbrainz.org/artist/d86be77c-532a-47bf-bfb3-5228d2bfc842">MusicBrainz</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://rkd.nl/en/explore/artists/22520">RKD Artists</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://adp.library.ucsb.edu/names/104109">Discography of American Historical Recordings</a></span></li></ul></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">People</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"><ul><li><span class="uid"><a rel="nofollow" class="external text" href="https://trove.nla.gov.au/people/807813">Trove</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://www.deutsche-biographie.de/pnd118863959.html?language=en">Deutsche Biographie</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://www.deutsche-digitale-bibliothek.de/person/gnd/118863959">DDB</a></span></li></ul></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Other</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"><ul><li><span class="uid"><a rel="nofollow" class="external text" href="https://www.idref.fr/080006736">IdRef</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://snaccooperative.org/ark:/99166/w64f1zb0">SNAC</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://rism.online/people/164414">RISM</a></span></li></ul></div></td></tr></tbody></table></div>    </div><noscript><img src="https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1" alt="" width="1" height="1" style="border: none; position: absolute;"></noscript> <div class="printfooter" data-nosnippet="">Retrieved from "<a dir="ltr" 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