Yankee Doodle — The Air and Words
There are so many versions of the origin of this popular and now national air, as well as the words, that we offer the following to our readers without note or comment.
In Burgh’s Anecdotes of Music, vol. iii. p. 405, after speaking of Dr. Arne and John Frederick Lampe, the author proceeds:—“Besides Lampe and Arne, there were at this time [1731] other candidates for musical fame of the same description. Among these were Mr. John Christian Smith, who set two English operas for Lincoln’s Inn Fields,—Teraminta and Ulysses,—and Dr. Tresh, author of the oratorio of Judith.”
About the year 1797, after having become a tolerable proficient on the German flute, I took it into my head to learn the bassoon, and for this purpose procured an instrument and book of instructions from the late Mr. Joseph Carr, who had then recently opened a music-store in Baltimore City, being the first regular establishment of the kind in this country. In this book there was an “Air from Ulysses,” which was the identical air now called Yankee Doodle, with the exception of a few notes which time and fancy may have added.
Here is another version:—
In the simultaneous attacks that were made upon the French posts in America in 1755, that against Fort Du Quesne (the present site of Pittsburg) was conducted by General Braddock, and those against Niagara and Frontenac by Governor Shirley, of Massachusetts, and General Johnston, of New York. The following is an extract from Judge Martin’s History of North Carolina, giving an account of those expeditions:—
“The army of the latter (Shirley and Johnston), during the summer, lay on the eastern bank of the Hudson, a little south of the city of Albany. In the early part of June the troops of the Eastern provinces began to pour in, company after company; and such a motley assemblage of men never before thronged together on such an occasion, unless an example may be found in the ragged regiment of Sir John Falstaff. It would have relaxed the gravity of an anchorite to have seen the descendants of the Puritans, marching through the streets of that ancient city (Albany), take their situations on the left of the British army,—some with long coats, and others with no coats at all, with colors as various as the rainbow,—some with their hair cropped like the army of Cromwell, and others with wigs, the locks of which floated with grace around their shoulders. Their march, their accoutrements, and the whole arrangement of the troops, furnished matter of amusement to the rest of the British army. The music played the airs of two centuries ago; and the tout ensemble, upon the whole, exhibited a sight to the wondering strangers, to which they had been unaccustomed. Among the club of wits that belonged to the British army there was a Doctor Shackburg, attached to the staff, who combined with the science of surgeon the skill and talents of a musician. To please the new-comers, he composed a tune, and with much gravity recommended it to the officers as one of the most celebrated airs of martial music. The joke took, to the no small amusement of the British. Brother Jonathan exclaimed it was nation fine, and in a few days nothing was heard in the provincial camp but the air of Yankee Doodle. Little did the author in his composition then suppose that an air made for the purpose of levity and ridicule should ever be marked for such high destinies. In twenty years from that time the national march inspired the heroes of Bunker Hill, and in less than thirty years Lord Cornwallis and his army marched into the American lines to the tune of Yankee Doodle.”
“Watson, in his “Occurrences of the War of Independence,” says,—
“This tune, so celebrated as a national air of the Revolution, has an origin almost unknown to the mass of the people of the present day. An aged and respectable lady, born in New England, told me she remembered it well, long before the Revolution, under another name. It was then universally called ‘Lydia Fisher,’ and was a favorite New England jig. It was then the practice with it, as with Yankee Doodle now, to sing it with various impromptu verses,—such as
‘Lydia Locket lost her pocket,
Lydia Fisher found it;
Not a bit of money in it,
Only binding round it.’
“The British, preceding the war, when disposed to ridicule the simplicity of the Yankee manners and hilarity, were accustomed to sing airs or songs set to words invented for the passing occasion, having for their object to satirize and sneer at the New Englanders. This, as I believe, they called Yankee Doodle, by way of reproach, and as a slur upon their favorite ‘Lydia Fisher.’ It is remembered that the English officers then among us, acting under civil and military appointments, often felt lordly over us as colonists, and by countenancing such slurs they sometimes expressed their superciliousness. When the battles of Concord and Lexington began the war, the English, when advancing in triumph, played along the road, ‘God save the King;’ but when the Americans had made the retreat so disastrous to the invaders, these then struck up the scouted Yankee Doodle,—as if to say, ‘See what we simple Jonathans can do!’ From that time the term of intended derision was assumed throughout all the American colonies, as the national air of the Sons of Liberty; even as the Methodists—once reproachfully so called—assumed it as their acceptable appellation. Even the name of ‘Sons of Liberty,’ which was so popular at the outset, was a name adopted from the appellation given us in Parliament by Colonel Barré in his speech! Judge Martin, in his History of North Carolina, has lately given another reason for the origin of ‘Yankee Doodle,’ saying it was first formed at Albany, in 1755, by a British officer, then there, indulging his pleasantry on the homely array of the motley Americans then assembling to join the expedition of General Johnston and Governor Shirley. To ascertain the truth in the premises, both his and my accounts were published in the gazettes, to elicit, if possible, further information, and the additional facts ascertained seem to corroborate the foregoing idea. The tune and quaint words, says a writer in the ‘Columbian Gazette,’ at Washington, were known as early as the time of Cromwell, and were so applied to him then, in a song called ‘Nankee Doodle,’ as ascertained from the collection he had seen of a gentleman at Cheltenham, in England, called ‘Musical Antiquities of England,’ to wit:—
“‘Nankee Doodle came to town
Upon a little pony,
With a feather in his hat,
Upon a macaroni,’ &c.
“The term feather, &c. alluded to Cromwell’s going into Oxford on a small horse, with his single plume fastened in a sort of knot called a ‘macaroni.’ The idea that such an early origin may have existed seems strengthened by the fact communicated by an aged gentleman of Massachusetts, who well remembered that, about the time the strife was engendering at Boston, they sometimes conveyed muskets to the country concealed in their loads of manure, &c. Then came abroad verses, as if set forth from their military masters, saying,—
“‘Yankee Doodle came to town
For to buy a firelock:
We will tar and feather him,
And so we will John Hancock.’
“The similarity of the first lines of the above two examples, and the term ‘feather’ in the third line, seem to mark in the latter some knowledge of the former precedent. As, however, other writers have confirmed their early knowledge of ‘Lydia Locket,’ such as,
“‘Lydy Locket lost her pocket
In a rainy shower,’ &c.,
we seem led to the choice of reconciling them severally with each other. We conclude, therefore, that the Cavaliers, when they originally composed ‘Nankee Doodle,’ may have set it to the jig-tune of ‘Lydia Fisher,’ to make it the more offensive to the Puritans. In this view it was even possible for the British officer at Albany, in 1755, as a man skilled in music, to have before heard of the old ‘Nankee Doodle,’ and to have renewed it on that occasion. That the air was uniformly deemed a good retort on British royalists, we must be confirmed in from the fact that it was played by us at the battle of Lexington when repelling the foe, again at the surrender of Burgoyne, and finally at Yorktown surrender, when Lafayette, who ordered the tune, meant it as a retort on an intended affront.”
The following is the first verse in the original American Yankee Doodle song:—
“Yankee Doodle, keep it up,
Do it neat and handy:
The boy to flog the British troops
Is Yankee Doodle Dandy.”