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diminution of the price of the goods fa- It is, perhaps, superfluons to offer any bricated by the machine; and, singular commendation of a work in wbich sane as it may appear, no class of the public principles, and correct feelings, accuracy, receives greater benefit from the intro- propriety, aud perspicuity, conspire to duction of those processes which abridge attest the merit of the author and equally manual labour, than the working classes, extort esteein and admiration for her as it is they who are most interested in moral and intellectual endowments. the cheapness of the goods."

IMPARTIAL AND CRITICAL REVIEW OF MUSICAL PUBLICATIONS. Mariamne, an Introductory Movement, The variation (p. 8 brillante) is well

and Air with Variations for the Piano conducted, and the passages are conForte, with an Accompaniment, dd sistently united. The first E at bar libitum, for the Keyed Harmonica or 8, in the accompaniment, were better F Flute, composed by J. Hunter.. (5th line) as with A and F, the E is The first movement is in a pleasing ing the 7th in the preceding bar

barsh, being a 7th immediately followand graceful style; the imitation responsive to the piano forte part in that

The concluding movement in waltz of the fute from bar 12 to 18 bas an ex

measure is well inanaged and playful

, cellent effect. In the 4th bar of the 3d though not trivial. In the Uth page is page, the first crotchet in the base an oversight, causing two consecotive should be B on the 2d line in that clef.

perfect fifths between the 9th and 11th The subject of the allegretto (page 4) if bars: these would be avoided by mak not characterised by novelty, is rather ing the base of the bar B, D, G, an attractive melody, and given in a marked manner, commencing in a style : of march. The descant from F (oth

instead of G, B, D. line) to E (the 1st) through four thirds, in the 15th and 16th bars, has, for some

thus forming a sixth upon B, liable to time, become a prominent feature in

no exception. This is, on the whole, a the fashionable vocal cadenzas: viz.

meritorious little piece, and calculated

to improve young students on the inIn the present in

strument for which it is desigued.

Shakspear's Dramatic Songs, &c. by stance we think that the first third taken Wm. Linley, Esq. Vol. II. (conlinued as a loth, more melodious, and that the froin the last number, page 160.) immediate rise afterwards of a flat sixth

Ar the sth page of this 2d volume wc produces pleasing variety, thus :-

meet with the elegant and expressive

melody of the late Dr. Arne to the paThe variations thetic words “ Blow, blow, thou winter

wind,” (to be sung by Amiens in the play are spirited, and the air well preserved of “ As you like it”) and which is abi through them ; the change into the re- harmonized, and skilfully arranged by Jative minor (D) in the 7th page, and

the author of this interesting work. The concluded in the 8th, is impressive, and

accompaninentis particularly rich and relieves the ear from too frequent repe.

effective at the commencement of the tition of the topic and dominant chords.

2d strain (viz. bar 17 to 94), and in the In the same page, the upper part of the 29th bar (p. 9) the four quavers moving bass (or we will

call it the tenor) instead above the voice part are most happily of being C sharp and A, in two crotchets,

introduced. In the 20th bar of p. 8, would be improved, were it to move in

and the 3d bar of p. 10. the base, per sixths, and in quavers with the treble,

haps, would bave a better effect standing G, a crotchet on the 1st line, than

divided as it is into two quavers ; viz. e. g. *C, E, F, D,

G 4th space, and 1st line, for they someX

what interrupt the melody, though two 5ths are thereby avoided between the tenor and base parts, but this is also space) on account of the previous F in done by adopting the proposed crotchet the upper voice part with B in the base, on the 1st line.

which form a perfect fifth, and B (3d The sprightly movement which fol. line) with E (3d space, base) immedilows, " Heigh"bo, the holly” (by our ately following, give another perfect author) is in gay, pleasant, and appro. fifth in the same direction, a progression priate style, the accompaniment enliv. to be avoided in strictness of composiening it all through.

tion. In p. 16, bar the 1st, F on the 4th The trio of foresters (p. 12) “what line in the base is preferable to E (as shall he have that killed the deer,” is the concluding quaver) as also B on the principally the composition of Mr. J. S. 3d line (for the last quaver in the treble Smith, announced as such in Mr. Lin- accompaniment) rather than C on the ley's “ Observations ” after his Intro. 3d space. duction to this 2d volume. The sym. The next piece is a duet sung by two phonies and accompaniments are added pages in the 5th act of the same play ; by him, producing an encreased spright. * It was a lover and his lass.” Mr. L. liness of effect. --We submit the follow- remarks that “ Mr. Stevens has been ing remarks to the candid consideration eminently successful in his glee” to of Mr. Linley, not doubting that they these words ; adding, however, as a very will be accepted in good part.-We are sufficient reason why it could not be conscious that they proceed from our introduced here, that, being composed siacere zeal for the perfection of every for several voices, “and so perfect in page in this work.

its kind, that any attempt at curtail. it seems, in the 2d and 3d bars of ment or compressment would have been page 15 the quaver D in the treble of deservedly reprobated.” The melody is the accompaniment should have A (as a smooth and pleasing : the author has third) with it, and B (also a fourth) accentuated ihe words. With a hey would more enrich the chord, and the and a bo, &c.” quite differently from following crotchet & 'wants G with it Mr. Stevens, who lays the empbasis on (a tbird also, and B, a fifth, would not the 3d, 6th, 9th, and 12th syllables, be superfiuous), in the accompaniment, thus ; " With a hey, and a ho, and a hey the niere octave of E E being alone too nony no;” and this seems correct. In tbin in effect. We think that the qua- page 17 of the present work, the Ist, ver B in the base of the 12th bar in the 416, 7th, and 10th syllables are accentusame page were better G (the fourth ated thus:


With a hey and a ho and a hey nony no
the following mode of emphasis is recommended as more eligible;

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With a hey and a ho and a heypony no because grammatical particles scarcely second voice (at the 2d bar of the last ever need a strong accent.-- Page 18 is line) is not less felicitous than unexexcellent both in melody and accompa. pected. At page 19, the change into Diment. In the 12th bår, the crotchet A, the subdominant of the key, proCin the upper voice, would agree better duces a pleasing variety, as also the with the accompaniment were it chang- transition into F minor. In the 8th ed to B and C in quavers (3d line and bar of this page the 3d quaver in the space), and the lower voice had better base were better B sharp (above the remain B throughout the bar, than lines) than G the 4th space, because the change the last crotchet to C in the 3d preceding F followed by G are octaves space. The descant and harmony of the (in the same direction) with the voice concluding bars (from “ hey ding a part, a tribing oversight. ding") are eminently masterly and beau

(To be continued.) tiful, and the effect of the 7th by the




TE lament exceedingly to find the publication of Green Room insinuations,

opening of the Winter Theatres seldom reflection adds to the marked by individual squabblings inde- writer's fame.- This language, procently obtruded on the public. If there bably, will not soften the observations prevail certain lurkings of envy, hatred, which we understand to have been made and malice in any one party towards on our criticisms during the last seaanother, we have to observe, with

We have been accused of occaout reflecting on the ex-management sionally evincing personality; and of Drury Lane Theatre, that the of delighting in unjust and unmerecent distinguished Committee con- rited censure. We disclaim personduct the business of the scene in a ality--but we indulge the privilege of way most honourable to their high Englishmen, whose birtb-right it is to character, their disinterestedness, their THINK and to WRITE with honest freezeal, and their talents. Now, al. dom. It may be offensive, still it is not though we desire to treat all this with an injustice, to say to an actor of the contempt, it may be expected that we

present day, that he can neither should lay some sketch before our look nor move the Fine Gentleman country readers. Mr. Arnold, of the of former times. Have the rising Lyceum, has complained, by an address, generation ever resembled their authro' his Manager, to bis audience, cestors in costume and manners! that two ladies, announced in his bill The distinction in dress, in politeness, for the evening, were prevented from in dignity which therefore marked the appearing by an express order issued by travelled man of fashion half a century an individual of the Sub-Committee of since, can only now be worn in carica. Drury Lane; and that, in short, all ture: and the old beau of the Old performers attached to the Winter Hou- School dwindles into the insignificance ses were peremptorily interdicted from of acting on his boards. The address was adapted to touch the humanities of Tom Errand strutting in Beau Clincher's John Bull, ever more ready to obey an

clothes. aroused impulse than to await the de- Hence it is, that many of our finest cision of suber judgnient. How far comedies are disrobed of their attraccustom may justify this apparent stretch tion by odd fashioned representatives. of power, we know not; but we fear Again, is it unjust that we reprove, that private pique has much to do in when new readings, sacrificing discera. this untoward business. The Public ment to caprice, are hailed with transare infinitely indebted to Mr. Kinnaird port by a majority, who mistake the and his honourable co.adjutors, for the flash that glitters on the senses for the sacrifice of their time and interests to more imposing conviction of the Eduthe welfare of the drama, which at cated judgmeut--yet, these are the Drury Lanc they have restored to legi. severities with which we stand actimate dignity: and if, in this instance cused. Let it, however, be clearly unMr. K. is supported in his solilary in- derstood--that, behind the scenes we terdictiou, we must presume the motive know no one: that we shall discrime to be founded, not only in policy, but nate with our best judgment whatever justice: whether he be, or not, time appears before the curtain to extenuwill explaio. We would offer a friendly ale nothing, por to set down aught in whisper to Miss Kelly, who has few malice--trusting, our intentions may more ardent admirers than ourselves. be fairly appretiated-and that it is our We delight in her popularity, and re- wish rather to amend than reprove. joice always in its extension; but, the

DRURY LASE. Sept. 7. “ The School for Scandal." ing of the season, in compliment to its This adinirable comody was the open- brilliant aud deceased author. it was

prefaced by a Moody,* written by a if it do not possess very glowing beauimember of the Sub-Committee; which, ties as a poem, boasts the more glowing




• Of which the following is a copy. (a)When the loud cry of trampled Hin

dostan When the last sunshine of expiring day Arose to heaven in her appeal from man, In summer's twilight weeps itself away,

His was the thunder-his the avenging rod, Who hath not felt the sofiness of the hour The wrath--the delegated voice of God! Sink on the heart-as dew along the flow. Which shook the nations through bis lipser:

and blazed With a pure feeling which absorbs and Till vanquished senates trembled as they

praised. While Nature makes that melancholy

And here, oh! here, where yet all young pause,

and warm Her breathing moment on the bridge where the gay creations of bis spirit charm, Time

The matchless dialogue- the deathless wit Of light and darkness forms an arch sub- Which knew not what it was to intermit, lime,

The glowing portraits fresh from life that Who bath not shared that calm so still and


Home to our hearts the truth from which The voiceless thought which would not they spring speak but weep,

These wondrous beings of his Fancy A bols concord -- and a bright regret,

wrought A glorious sympathy with sous that set? To fulloess by the fiat of his thought, 'Iis not harsh sorrow-but a tenderer

Here in their first abode you still may

meet Nameless

, but dear to gentle hearts below, Bright with the hues of his Promethean Felt without bitterness--but full and clear,

heat, A seer dejection-a transparent tear A halo of the light of other days Uu.uixed with worldly grief-or selfish Which still the splendour of its orb bewain,

trays. Shed without shame and secret without But should there be to whom the fatal pain.

blight Even as the tenderness that hour instills nr failing Wisdom yields a base delight, When Summer's day declines along the Men who exult when minds of heavenly

tone So feels the fulness of our heart and eyes Jar in the music which was born their own, When all of Genius which can perish – Still let them pause-Ah! little do they

know A mighty spirit is eclipsed-a Power That what to them seemed Vice might be llath paned from day to darkness --to

but Woe. whose hour

Hard is his fate on whom the public Of light no likeness is bequeathed-no

gaze nume,

Is fixed for ever to detract or praise, Focus at once of all the rays of Fame! Repose denies her requiem to his name, The flash of Wit- the bright Intelligence, And Folly loves the martyrdom of Fame. The beam of Song--the blaze of bilo- The secret epemy whose sleepless eye quence,

Stands sentinel -accuser-judge-and spy, Set wito their Sun-but still bave left The foe-the fool-the jealous--and the behind

vain, The enduring produce of immortal sind, The envious who but breathe in others' Fruits of a genial morn, and glorious noon, pain, A deathless part of him who died too soon). Behold the host! delighting to deprave, But :mall trat portion of the wondrous Who track the steps of Glory to the grave,

Watch every 'fault that daring Gepius These sparkling segments of that circling

oves soul,

Half to the ardour which its birth bestows, Which all embracedand lightened over To cheer-to pierce-to please - or (a) See Fox, Burke, and Pitt's eulogy appall,

on Mr, Sheridan's speech on the charges From the charmed council-to the festive exbibited against Mr. Hastings in the flouse board

of Commons. Mr. Pitt entreated the of human feelings the unbounded lord, House to adjourn, to give time for a cal. lo whose acclaim the loftiest voices vied, mer consideration of the question thau The prajerd-the proud – who made his could then occur after the imıncdiate effect praise their pride :

of tbat oration,





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feelings of a heart rich in sensibility, genius. On the play itself no euloand carnest to commemorate departed gium could be deemed flattery; but it

is one of those not adapted to the Distort the truth-accumulate the lie

personation of the day: it is one of And pile the Pyramid of Calumoy! those wbich compels niemory to "cart These are his portion—but if joined to

a longing lingering look behind” at the these Gaunt Poverty should league with deep this precious gem. In the bloom of

superb enchasement that once circled Disease, If the high Spirit must forget to soar,

youth and elegance of deportment Miss And stoop to strive with Misery at the O'Neill surpasses Mrs. Davison in Lady door,

Teazle; but in vivacity, arcboess, railTo soothe Iodignity-and face to face lery, and picquante dialogue, the latter Meet sordid Rage-and wrestle with Dis- is altogether pre-eminent. Mr. Mungrace,

den's Sir Peter is far superior to Mr. To find in Hope but the renewed caress, Faucett's, but by no means good. Mr. The serpent-fold of further Faithlessness, - Rae and Mr. c. Kemble are equally If such may be the Ills which men assail,

gentlemen-but neither is Charles Sur What marvel if at last the mightiest fail? Breasts to whom all the strength of feeling face. Had the former played Joseph, given

we are satisfied his sententious libertine Bear hearts electric-charged with fire

would have restored the elegant bow, from Heaven,

the insidious deference, and the insinuaBlack with the rude collision-inly torn, ting accomplishment of the lamented By clouds surrounded, and on whirlwinds John Palmer to the vacant scene. borne,

Joseph Surface is unintelligible to Mr. Driven o'er the lowering Atmosphere that Wallack, otherwise a deserving pernurst

former : he need not frown ; for we have Thoughts wbich have turned to thunder

almost said as much of Mr. Young in scorch- and burst. But far from us and from our mimic the same character.

The remaining

Personæ, excepting Sir Oliver, are not Such things should be-if such have ever

entitled to comment. Dowton, always

true to nature, is excellent-so indeed Qur's be the gentler wish, the kinder task, is Mr. Terry. To give the tribute Glory need not ask, SEPT. 12. “ The Duenna." This To mourn the vanished beam-and add our

elegant opera, which we believe ran the mite

whole season at its original coming out Of praise in payment of a long delight. Ye Orators! whom yet our councils

in 1775, ranks highly as a comedy di

vested of the music; and the songs are yield, Mourn for the veteran Hero of your field! poems independently of the drama. The The worthy rival of the wondrous Three!(a) principal acting character is that of Whose words were sparks of immortality!

Isaac Mendoza, and was the foundation Ye Bards! to whom the Drama's Muse is of Mr. Quick's subsequent celebrity: dear,

it is a character, which, since his das, He was your Master-emulate him here!

has been grossly mistaken by its various Ye men of wit and social eloquence! representatives. The Jew is perfectly He was your Brother-bear his ashes conscious of the littleness of his own

hence! While Powers of Mind almost of bound.

merits, and by no means considers his

rich dress a passe-partout for those de Complete in kind-as various in their

fects which must render hin ridiculous change,

in the eyes of a lady. He, therefore, While Eloquence — Wit Poesy - and prepares to visit his mistress with the Mirth

timidity of self-debasement : it is not a That huinbler Harmonist of

blush of modesty, but the embarass. Earth,

ment of an uncultivated mind, that he Survive within our souls-while lives our should assume-an ankwardness wholly Of pride in Merit's proud pre eminence,

free from extravagance-an air, indeed, Long shall we seek' his likeness—long informing on the whole a combination of

Judicrous, veither broad nor vulgar; vain, And turn to all of him which may remain,

Sighing that Nature formed but one such * Fox-Pit Burke.

And broke the die -- in moulding Sheridas!

been ;

less range





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