FIELD, John (1782-1837), one of the most remarkable pianists of his time and of the few composers of British origin whose works have acquired European reputation, was born at Dublin in 1782. He was descended from a musical family, his father being a violinist, and his grandfather the organist in one of the churches of Dublin. From the latter the boy received his first musical education. When a few years later the family settled in London, Field became the favourite pupil of the celebrated Clementi, whom he accompanied to Paris, and later, in 1802, on his great concert tour through France, Germany, and Russia. Under the auspices of his master Field appeared in public in most of the great European capitals, especially in St Petersburg, and in that city he remained when Clementi returned to England. During his stay with the great pianist Field had to suffer many privations, owing to Clementi’s all but unexampled parsimony; but when the latter left Russia his splendid connexion amongst the highest circles of the capital became Field’s inheritance. Fame and wealth were now within his grasp, but owing to his extravagant and dissipated way of life the composer was never free from care; and to the same cause his early end must no doubt be attributed. His marriage with a French lady of the name of Charpentier was anything but happy, and had soon to be dissolved. Field made frequent concert tours to the chief cities of Russia, and in 1820 settled permanently in Moscow. In 1831 he came to England for a short time, and for the next four years led a migratory life in France, Germany, and Italy, exciting the admiration of amateurs wherever he appeared in public. In Naples he fell seriously ill, and lay several months in the hospital, till a Russian family discovered him and ...brought him back to Moscow.
There he lingered for several years till his death on January 11, 1837. Field was not a prolific writer, but he has left many works which will not easily be forgotten. His training and the cast of his genius were not of a kind to enable him to excel in the larger forms of instrumental music, and of his seven concerti for the pianoforte few if any are heard in concert-rooms now-a-days. Neither do his quartets for strings and pianoforte hold their own by the side of those of the great masters. But in the minor forms of composition he has shown gifts surpassed by few of his contemporaries. Especially his “nocturnes,” a form of music highly developed if not actually created by him, remain all but unrivalled for their tenderness and dreaminess of conception, combined with a continuous flow of beautiful melody. But their best claim to immortality is the fact that they have been the models of Chopin’s still higher efforts in the same direction. Field’s execution on the pianoforte was nearly allied to the nature of his compositions, beauty and poetical charm of touch being mentioned by contemporaries as one of the chief characteristics of his style. A certain monotony was the almost necessary complement of these qualities. Moscheles, who heard Field in 1831, speaks of his “enchanting legato.” “I again,” he writes on another occasion, “admired his tenderness and elegance and his beautiful touch; but he wants spirit and accent, light and shade, and intensity of feeling.”
FIELD, Nathan, a dramatist and actor of the time of Elizabeth, was probably born about but not later than 1587. He was the son of the rector of Cripplegate, the Rev. John Field, and early became one of the children of Queen Elizabeth’s chapel, and in 1600 he played one of the principal parts in Ben Jonson’s Cynthia's Bevels, which was acted by children. Next year he played in the Poetaster, in 1607 in Bussy d,'Ambois, and in 1608 in Epicene, on which occasion his is the only name among the “children” of 1600 which still remains. In 1612, when he must have been very young, he brought out his first play, the original comedy of A Woman is α Weathercock, in which the inconstancy of woman is made a theme fertile in humour. In 1613 he was engaged with Daborne in writing a play which has not been handed down to us; and soon afterwards we find these two authors, in conjunction with Massinger, praying Henslowe for a small sum of money to free them from imprisonment. In 1618 Field printed Amends far Ladies, in which he reversed the judgment of his first comedy, and, in the persons of a virtuous maid, wife, and widow, vindicated womankind against himself. It has been supposed that Field had some hand in editing the first folio Shakespeare in 1623; he certainly assisted Massinger in that year in composing his tragedy of The Fatal Dowry, and the play bears evident traces of his co-operation. In 1639 he reprinted the Amends for Ladies, and in 1641 he was dead. There exists a portrait of Field in Dulwich College. He was the poetic “son” of George Chapman, and the associate of many dramatic poets of that age. His elder brother Theophilus, also a writer of verse, entered the church, and rose to be bishop of Llandaff and afterwards of Hereford. The two unassisted plays of Nathan Field are comedies of contemporary London life, and are mainly written in very smooth and flowing blank verse. They contain one or two lyrics, which, in conjunction which certain passages in The Fatal Dowry, prove Field to have surpassed Massinger in lyrical power. Amends for Ladies is greatly superior to its companion play in animation, plausibility, and humour; but the passages between Scudmore and Bellafront in A Woman is a Weathercock perhaps display the serious style of Field at its best. His song “Rise, lady mistress, rise,” in Amends for Ladies, is a charming aubade. It is to be regretted that we possess so little of the work of this bright and sensible writer. His plays have never been collected.
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FIELDFARE, Anglo-Saxon Fealo-for ( = Fallow-farer), a largo species of Thrush, the Turdus pilaris of Linnaeus— well known as a regular and common autumnal visitor throughout the British Islands and a great part of Europe, besides Western Asia, and even reaching Northern Africa. It is the Veldjakkeτ and Velddyster of the Dutch, the Wachholderdrossel and Kramtsvogel of Germans, the Litorne of the French, and the Cesena of Italians. This bird is of all Thrushes the most gregarious in habit, not only migrating in large bands and keeping in flocks during the winter, but even commonly breeding in society—200 nests or more having been seen within a very small space. The birch-forests of Norway, Sweden, and Russia are its chief resorts in summer, but it is known also to breed sparingly in some districts of Germany. Though its nest has been many times reported to have been found in Scotland, there is perhaps no record of such an incident that is not open to doubt; and unquestionably the Mistletoe-Thrush (T. visciυorus) has been often mistaken for the Fieldfare by indifferent observers. The head, neck, upper part of the back, and the rump are grey; the wings, wing-coverts, and middle of the back are rich hazel-brown; the throat is ochraceous, and the breast reddish-brown—both being streaked or spotted with black, while the belly and lower wing-coverts are white, and the legs and toes very dark brown. The nest and eggs resemble those of the Blackbird (7 τ . merula), but the former is usually built high up in a tree, The Fieldfare’s call-note is harsh and loud, sounding like echaid ’ chat: its song is low, twittering, and poor. It usually arrives in Britain about the middle or end of October, but sometimes earlier, and often remains till the middle of May before ...departing for its northern breeding-places. In hard weather it throngs to the berry-bearing bushes which then afford it sustenance, but in open winters the flocks spread over the fields in search of animal food—worms, slugs, and the larvae of insects. In very severe seasons it will altogether leave the country, and then return for a shorter or longer time as spring approaches. From the author of William of Palerne to the writers of our own day the Fieldfare has occasionally been noticed by British poets with varying propriety. Thus Chaucer’s association of its name with frost is as happy as true, while Scott was more than unlucky in his well-known reference to its “lowly nest” in the Highlands.
Structurally very like the Fieldfare, but differing greatly in many other respects, is the bird known in North America as the “Robin”—its ruddy breast and familiar habits reminding the early British settlers in the New World of the household favourite of their former homes. This bird, the Turdus migratoriτιs of Linnaeus, has a wide geographical range, extending from the Atlantic to the Pacific, and from Greenland to Guatemala, and, except at its extreme limits, is almost everywhere a very abundant species. As its scientific name imports, it is essentially a migrant, and gathers in flocks to pass the winter in the south, though a few remain in New England throughout the year. Yet its social instincts point rather in the direction of man than of its own kind, and it is not known to breed in companies, while it affects the homesteads, villages, and even the parks and gardens of the large cities, where its fine song, its attractive plumage, and its great services as a destroyer of noxious insects, combine to make it justly popular, (a. n.)
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