The first of May: a new version of a celebrated modern ballad sixth edition — Key Ideas to Explore

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Drury, Anna H. (Anna Harriet), 1824-1912 Project Gutenberg 2021 Not confirmed
Great Exhibition (1851 : London, England) -- Poetry Readers of public-domain and historical texts
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Words 5,177
Reading time 23 min
Text sections 1

The source record for The first of May: a new version of a celebrated modern ballad sixth edition — Key Ideas to Explore measures this digital text at 5,177 words, 23 min estimated reading time, and 1 detected text section.

The text analysis averages about 25.9 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “Great Exhibition (1851 : London, England) -- Poetry,” connecting these edition facts with the source record’s subject description.

Anna Harriet Drury's comic ballad recounts the planning and controversies surrounding the 1851 Great Exhibition, using a mock-heroic voice, recurring imagery of letters and packages, and shifts between royal anxiety and public satire.
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That was never seen before. By the Cinque Ports he swore it, And named an opening day: And letters wrote to left and right, To bid the universe unite Upon the First of May.

Left and right the letters went, To city, realm, and coast; And answers came most civilly, By the return of post. Shame on the lazy Nation, That will not join her share, With Albert and Britannia, To swell the World’s great Fair!

The parcels and the packages Come bundling in amain, By many a creaking waggon; By many a flying train; By many a van of Pickford’s, That filled with ponderous care, Makes every passer by exclaim, “Good gracious, just look there!”

From autocratic Russia, Where growls the unctuous Bear, Who covers native Poles with grief, And British polls with hair; From France, the land of elegance, And witty elocution, Whose clever hands make all things well Except a constitution;

From the far-off Republic, On Transatlantic waves, Who blazons stars of liberty Upon the stripes of slaves; From where the Alpine snows surround The workshops of the free; From where in fettered sadness burns The muse of Italy!

The Prince and the Commission A weary life they led: No time had they for dining, And rather less for bed. They couldn’t choose a building, They couldn’t find a site: And our good Queen Victoria Grew tired--as well she might.

For good advice in pamphlets, And prophecies in calf, And groans to make him shudder, And sneers to make him laugh, And hints and threats and warnings, Plan, diagram, and view, Choked up the Prince’s davenport, And filled his pockets too.

“To eastward and to westward,” ’Twas said, “alarm is spreading; “The foreigners will eat us “Out of house and home and bedding; “Taxation will be trebled, “And sadder far to tell, “Thanks to the horrid papers, “_The tickets will not sell!_”

I wis, in all the Palace There was no heart so bold, But wished himself well out of it, When that ill news was told. Up rose at length Prince Albert, Up rose the whole Commission, And at the footstool of the throne They laid the Exhibition.

Just then burst in a messenger, With cold sweat on his brow: “Look here, look here, my gracious Prince! “They say there’ll be a row!” Upon the fatal newspaper Prince Albert turned his eye, And saw a night of wretchedness Darken his sunny sky.

And plainly and more plainly In history’s page he read, The gibes and jeers and sarcasms, Heaped on his luckless head: And the stigma of ridiculous, More terrible than guilt, Stamped by unborn Macaulays, On “the House that Albert built.”

And plainly and more plainly He heard the words of doom, When all the year’s expenses Are checked by Joseph Hume; And the outcry of the journals, And the angry people’s hisses, And his loving consort’s mild reproof, “You know whose doing _this_ is!”

And the Prince’s voice was sad, And dim his eye of blue: “It’s come to this, my gracious wife, “We don’t know what to do! “There’s not a soul contented; “The tickets will not sell; “And now the papers prophesy “Such things I fear to tell!

“The French will spoil our morals, “The Russians cheat and _knout_ us-- “They’ll haunt us like musquitoes, “Like snakes they’ll twine about us-- “The Chartist and the Communist “Will hand in hand combine, “And break the Crystal Palace “About your head and mine!

Then out spake Queen Victoria, And brightly glanced her eye: “I never heard such nonsense! “I only wish they’d try! “Don’t mind those vile reports, dear-- “’Twill all come right, you’ll see: “Just keep the workmen moving, “And leave the rest to me!

“I’ll order out the carriage, “My royal robes I’ll wear, “And though the crowd be millions deep, “No matter--I’ll be there! “And in the face of rough John Bull, “Whate’er he means to do, “I’ll smile until he smiles again, “And gives a cheer for you!

“There’ll be some foolish people there, “Indeed, where are they not? “Perhaps they’ll throw a stone or two, “Or fire a little shot: “They never hit me yet, dear, “Except upon my bonnet; “So don’t persuade me not to go-- “I’ve set my heart upon it!

“Unpack the parcels, gentlemen, “As quickly as ye may: “Tell all your foreign colleagues, “I’ll hear of no delay! “Though foemen league in millions, “We’ll charm away their malice, “And walk together, arm in arm, “Right through the Crystal Palace!”

“My heart of hearts,” the Prince replied, “You talk just like a book.” And the relieved Commissioners Cheered till the throne-room shook: And through the streets of London, Fast, fast, the news was borne; And strange was the commotion, Upon the morrow morn.

Then none would hear of waiting; Then all were wild to go; Then did the ticket offices With claimants overflow; And every British lady Spared neither rhyme nor reason, To wring from consort or from sire A ticket for the season.

Bright are the silks and satins That gleam in Howell’s panes; Matchless the lace of Hayward, The ribbon at Redmayne’s; Best of all gloves are Melnotte’s, That mortal ever wore; Best of all treats a young bride loves A Continental tour.

But now, o’er Howell’s counter, No fairy buyers lean; No snowy fingers test the lace, Or ribbons blue and green; In vain are Melnotte’s prices Raised up to three-and-three; And vainly advertises The Steamboat Company!

This year no golden harvest Shall prima donnas reap; This year no Baden Croupier Shall shear the travelling sheep; And the landladies of Brighton, Shall wail o’er cliff and down, Those cruel season tickets, That keep the world in town!

But meanwhile, preparations Are briskly carried on; And agonized exhibitors Are told they must begone. The floor is swept and sprinkled, The panes are polished bright, And all that isn’t finished Is hustled out of sight.

Then come the season tickets, In carriage, cab, and brougham; And long before eleven, There is scarcely standing room; And as at every instant The ladies’ ranks increase, Pretty, to see the skirmishes They have with the police.

But lo, the cry is “_Paxton!_” And as the waves divide, The Architect of crystal Comes forth with modest pride. Well may all voices cheer him, When they see what he has done; For such a graceful victory No mortal ever won!

Now Statesmen and Ambassadors From all the globe flock in; And that warm-hearted gentleman, The Chinese Mandarin. And with his gallant comrade, The first in danger’s van, Comes England’s white-haired Hero, To welcome PEACE TO MAN.

But when the face of Arthur Is seen amid the throng, A cheer that shakes the crystal roof, Bursts forth the ranks among. On the benches smiles no beauty But would his hand have kissed; For the fairest lip were honoured To touch that brown old fist.

And when weak-minded foreigners Ask what it’s all about, With what enthusiastic pride All haste to point him out! “Now, welcome, welcome, Arthur!” The greetings still increase: “Thrice welcome on thy birthday morn, “To the Waterloo of Peace!”

Since five o’clock this morning, Nay, some have said, before, The folks have been collecting By myriads and more. Franticly strive officials To keep the passage free: As well might Brighton lobsters Attempt to stop the sea!

For like a herd scholastic, Let loose from desk and form, John Bull and all his family, Carry the Park by storm. From Palace e’en to Palace, Can only heads be seen, That pushing past, in wild career, Policeman, Guardsman, Grenadier, Rush on to meet the Queen.

Then round our good Victoria, As slowly on she past, A hundred winged whispers Come floating thick and fast. “What if these millions rise in arms? “Think on the Bourbon’s fate! “What if but _one_ assail thee? “Back--ere it be too late!”

Round gazed she, as not deigning Such fears to entertain: Yes--if indeed they hated her, Then had she lived in vain! For the people’s glow of welcome Is the Monarch’s purest gem-- And her heart was calm and confident In its honest love for _them_!

“O England--gallant England! “So tried--and yet so true! “You will not do your sovereign wrong, “Who trusts her all to you!” So she spake, and smiling showed The young heir by her side, And mid a thunder of applause, Sailed through the living tide.

And now she gains the Transept, And now her royal throne: Now burst the sweet young voices, And swells the organ’s tone: Now with her Lord and children, And smiles of winning grace, She passes through the joyous crowd, That all may see her face.

And that face will be remembered To many a distant day, When the glitter of the pageant Like a dream has passed away; And the frankness and the kindliness Of that auspicious scene, Shall link with all our better thoughts, Our English-hearted Queen!

And in the homes of labour, When all have learnt to know The one sweet tie of brotherhood God knit for man below-- When honest toil is resting Beside his quiet hearth, And forgets the gloom of forge and loom, In his children’s fearless mirth;

When the wrongs are all forgiven, And the law of kindness rules, When the swords are turned to ploughshares, And the prisons into schools; When rich and poor together, Flock to the House of Prayer, And not a cloud of bitterness Disturbs the sunshine _there_;

When the actors in this pageant Have all been laid to rest, And the youngest head among us, Is white as Snowdon’s crest; May that glad generation Recal this glorious day, And Labour’s first Ovation, Upon the First of May!

C. WHITTINGHAM, CHISWICK.

_Recently, by the same Authoress, in One Thick Volume, fcp. 8vo. price 8s. 6d._

“The charm of this pretty rural tale is, that it gives a faithful picture of life and manners in an English country parish in our own times. It bears that stamp of historical value which Jeffrey praised in the novels of Fielding. To those at a distance from such scenes, to the dwellers in great towns, for instance, or to Scotch cousins or American friends, or to any who wish to know what goes on in English Village Life in the days of Queen Victoria, we would say, amongst other books, read Miss Drury’s tale of ‘Eastbury.’”

“Another book, still nearer to the elaboration of the novel in its analysis of society, its development of character, and its conversational vivacity--a book of singular moral beauty united with artistic skill--may be added to our little catalogue. It is called _Eastbury_--and is also the production of a lady. There is a great deal of quiet but constant action in this book--not merely outward movement, but mental emotion; it is strewn over with pictures of country life and scenery painted in with remarkable minuteness and effect; the characters that pass across the scene are people we all know perfectly well, and are sure to remember when we meet them again; and with a strong tinge of sincere religious feeling all through, it displays an intimate knowledge of particular phases of the world, which it pourtrays without the least tendency to that sort of pious affectation which so often destroys the efficacy of the religious novel. This may be said to be a religious novel in its spirit, which is sweet and full of goodness; in all else it paints society as we see it around us.”.... From the Article “_Little Books with Large Aims_.”

_Fraser’s Magazine, July._

Anna Harriet Drury's The First of May is a comic ballad that chronicles the lead-up to the 1851 Great Exhibition, casting Prince Albert as a beleaguered hero. The poem opens with a mock-heroic vow: Prince Albert swears by the Cinque Ports to create an exhibition "never seen before." This sets a tone of playful grandeur that persists throughout. The narrative moves rapidly from the dispatch of letters to the arrival of parcels, then to the Prince's mounting worries. Drury's voice is brisk and satirical, punctuated by exclamations and direct addresses. The structure follows a chronological arc from planning to crisis, but the poem's energy comes from its accumulation of concrete details—creaking wagons, flying trains, and the Prince's choked davenport—rather than from plot development.

Letters, Parcels, and the Machinery of Preparation

The poem's first movement is dominated by images of correspondence and transport. Prince Albert writes letters "to left and right," and answers return "by the return of post." This bureaucratic frenzy is soon literalized in the arrival of parcels and packages, which come "bundling in amain" via "many a creaking waggon" and "many a flying train." Drury names Pickford's vans, a specific carrier, grounding the fantastical scale in recognizable commerce. The repetition of "many a" creates a cumulative rhythm that mirrors the piling up of goods. The stanza describing Russia, France, the United States, and Italy uses a series of compact, satirical portraits—each nation reduced to a single trait or product. This catalogue structure, common in ballad tradition, serves both to celebrate international participation and to mock national stereotypes.

The Prince's Burden and the Weight of Public Opinion

As preparations stall, the poem shifts focus to Prince Albert's personal ordeal. He and the Commission have "no time for dining" and "rather less for bed." The physical details—the Prince's davenport choked with plans, his pockets filled with pamphlets—make his anxiety tangible. Drury introduces a chorus of public voices: warnings that "foreigners will eat us out of house and home," and fears that tickets will not sell. The ballad's meter, with its alternating four-stress and three-stress lines, lends a galloping pace to these complaints. The climax of this section is the arrival of a messenger "with cold sweat on his brow," bearing news of a potential riot. Prince Albert reads the newspaper and sees "a night of wretchedness" darken his sky. The poem here verges on melodrama, but Drury undercuts it with the wry image of "unborn Macaulays" stamping ridicule on "the House that Albert built."

Shifting Scenes: From Palace to Public Sphere

Drury moves the action between intimate royal spaces and the broader public realm. The palace is a place of sleepless anxiety, where the Prince and Queen Victoria grow tired. Yet the poem also leaps to the streets, where passersby exclaim at the vans, and to the pages of newspapers that spread alarm. This alternation creates a sense of a nation collectively holding its breath. The ballad's structure reinforces this: each stanza is a self-contained vignette, often beginning with a new location or speaker. The repeated phrase "By the Cinque Ports he swore" acts as a refrain, anchoring the poem to its opening vow even as the scene shifts. The effect is cinematic, cutting from the Prince's study to the loading dock to the throne room, all within a few lines.

Satirical Catalogues and the Ballad's Comic Voice

Drury's satire operates through accumulation and incongruity. The catalogue of nations is a set piece: Russia is a "growling" bear that "covers native Poles with grief, / And British polls with hair"; France is a land of "elegance" that cannot produce a constitution; the United States "blazons stars of liberty / Upon the stripes of slaves." These couplets are sharp but not bitter, their humor deriving from the compression of complex politics into a single rhyme. The poem also mocks the British public's fears—the foreigners who will eat them "out of house and home and bedding"—and the press that spreads panic. Drury's voice is that of a wry observer, not a partisan. She uses the ballad's simple meter and rhyme to deliver punchlines with deadpan timing, as when the Prince's davenport is "choked" with plans. The result is a poem that entertains while slyly critiquing the very event it celebrates.

The First of May rewards attention to its verbal play and structural patterning. Readers may note how Drury balances the epic scale of the Exhibition with the intimate frustrations of its organizers. The poem's brisk stanzas and shifting scenes invite comparison to other comic ballads of the period, but its specific focus on logistics and public opinion gives it a documentary quality. For those interested in Victorian popular verse or the cultural reception of the Great Exhibition, this ballad offers a lively contemporary perspective.

I often think how cheerful the 1851 Exhibition’s fussy letters must have felt, all those packages of plans. And then I recall The shipwreck — Themes and Context, where a different kind of correspondence arrives—not paper, but waves. Both speak of expectation and disaster, though one laughs while the other drowns. A quiet kinship, that. The shipwreck — Themes and Context stays with me like an old tide mark.

Leo Allen
1 month ago

Grace Hernandez
3 weeks ago

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  • ...
    Brenda Lopez - 1 month ago
    While the idea of updating a classic ballad is interesting, the execution falls flat. The modernized language feels disjointed, stripping away the original's poetic grace. The notes are sparse and add little. For those familiar with the original, this version may disappoint. It lacks the emotional depth and musicality that made the ballad celebrated in the first place. A missed opportunity.

  • ...
    Aaron Powers - 3 weeks ago
    The ballad itself is engaging and the revised wording makes it easier to understand than older versions. However, the 'new version' aspect might lose some of the archaic charm that purists appreciate. Still, it's a worthwhile read for its historical significance and the clear printing. A decent choice for a quick poetic diversion.

  • ...
    Kyle Murray - 2 weeks ago
    This new version of the celebrated modern ballad breathes fresh life into a classic story. The rhythmic flow and updated language make it accessible while honoring the original's spirit. A delightful read for poetry lovers and those curious about historical ballads. The sixth edition's refinements show careful editing, and the accompanying notes provide valuable context. Highly recommended for its charm and literary merit.


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