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Subject Area: Political Theory
Collection: The Collected Works of John Stuart Mill

197.: FLOWER’S HYMN OF THE POLISH EXILES EXAMINER, 17 FEB., 1833, P. 101 - John Stuart Mill, The Collected Works of John Stuart Mill, Volume XXIII - Newspaper Writings August 1831 - October 1834 Part II [1831]

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The Collected Works of John Stuart Mill, Volume XXIII - Newspaper Writings August 1831 - October 1834 Part II, ed. Ann P. Robson and John M. Robson, Introduction by Ann P. Robson and John M. Robson (Toronto: University of Toronto Press, London: Routledge and Kegan Paul, 1986).

Part of: Collected Works of John Stuart Mill, in 33 vols.

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197.

FLOWER’S HYMN OF THE POLISH EXILES

EXAMINER, 17 FEB., 1833, P. 101

After the military revolt late in 1830 against Russian domination was put down in September 1831, the rebel leaders were exiled to Siberia; many other Poles took part in the “great emigration” of the 1830s to 1850s to France, Britain, and other countries. Mill’s review of Eliza Flower’s Hymn of the Polish Exiles by the Siberian Sea (London: Novello and Fox, 1833) indicates his political sympathies as well as his interest in music (he played the piano and composed airs for his own pleasure), and his continuing encouragement of the work of Miss Flower (see Nos. 112 and 155). The review, in the “Musical” section, is headed “Hymn of the Polish Exiles by the Siberian Sea; composed by the Author of ‘Musical Illustrations of the Waverley Novels,’ ‘Songs of the Seasons,’ &c. The words from ‘The Charmed Sea,’ a Tale, by Harriet Martineau.” The Charmed Sea was No. 13 of the Illustrations of Political Economy, 9 vols. (London: Fox, 1833) by Harriet Martineau (1802-76), the prolific writer who was at this time contributing essays to the Monthly Repository for W.J. Fox. The “Hymn” that provided Flower’s text is on p. 104 of The Charmed Sea. The review is described in Mill’s bibliography as “A notice of Miss Flower’s ‘Hymn of the Polish Exiles’ in the Examiner of 17th February 1833” (MacMinn, p. 25). In the Somerville College set of the Examiner, it is similarly listed (“Review” replacing “A notice”) and enclosed in square brackets.

the words of this hymn or prayer, notwithstanding some faults, were not unworthy to be chosen by Miss Flower, as the vehicle of one of her inspired strains: and Miss Martineau, or any one else who writes with a meaning, may be congratulated on meeting with a composer who is able and resolved to make that meaning felt, even when the collocation and rhythm of the words renders this a task of some difficulty. The skilful manner in which the unpleasant effect of a fault in the metre of the first line is obviated in the music, exemplifies our remark.

The air is an Adagio in C minor, terminating in a chorus, and its expression accords with the imploring, desponding, yet not despairing character belonging to the words and to the situation. The composer has shown her usual command over the resources of her art, both in respect to harmony and modulation. The concluding passage, “Give us our heritage again,” is highly characteristic and beautiful. [P. 4.]

It is proper to mention that this composition, which, by the ordinary tricks of publishers, might easily have been spread over at least two sheets, is compressed into the compass of one.1 It is printed, not engraved, and is sold for one shilling. We trust that this low price will be made up for by extensive circulation, and that the song will contribute largely to the diffusion of that sympathy with Polish heroism and misfortune, which may still administer consolation for the woes it cannot remedy.

[1 ]The one sheet is a folio, yielding four numbered pages.