diminution of the price of the goods fabricated by the machine; and, singular as it may appear, no class of the public receives greater benefit from the introduction of those processes which abridge manual labour, than the working classes, as it is they who are most interested in the cheapness of the goods." It is, perhaps, superfluous to offer any commendation of a work in which sane principles, and correct feelings,accuracy, propriety, and perspicuity, conspire to attest the merit of the author, and equally extort esteem and admiration for her moral and intellectual endowments. IMPARTIAL AND CRITICAL REVIEW OF MUSICAL PUBLICATIONS. Mariamne, an Introductory Movement, and Air with Variations for the Piano Forte, with an Accompaniment, ad libitum, for the Keyed Harmonica or Flute, composed by J. Hunter. THE first movement is in a pleasing and graceful style; the imitation responsive to the piano forte part in that of the flute from bar 12 to 18 has an excellent effect. In the 4th bar of the 3d page, the first crotchet in the base should be B on the 2d line in that clef. The subject of the allegretto (page 4) if not characterised by novelty, is rather an attractive melody, and given in a marked manner, commencing in a style of march. The descant from F (5th line) to E (the 1st) through four thirds, in the 15th and 16th bars, has, for some time, become a prominent feature in the fashionable vocal cadenzas: viz. In the present in stance we think that the first third taken as a 10th, more melodious, and that the immediate rise afterwards of a flat sixth produces pleasing variety, thus The variation (p. 8 brillante) is well conducted, and the passages are con sistently united. The first E at bar 8, in the accompaniment, were better F (5th line) as with A and F, the E is harsh, being a 7th immediately following the 7th in the preceding bar. The concluding movement in waltz measure is well managed and playful, though not trivial. In the 11th page is an oversight, causing two consecutive perfect fifths between the 9th and 11th bars; these would be avoided by making the base of the bar B, D, G, instead of G, B, D. thus forming a sixth upon B, liable to no exception. This is, on the whole, a meritorious little piece, and calculated to improve young students on the instrument for which it is designed. Shakspear's Dramatic Songs, &c. by Wm. Linley, Esq. Vol. II. (continued from the last number, page 160.) Ar the 8th page of this 2d volume we 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 of "As you like it") and which is ably harmonized, and skilfully arranged by the author of this interesting work. The accompanimentis particularly rich and effective at the commencement of the 2d strain (viz. bar 17 to 24), and in the 29th bar (p. 9) the four quavers moving above the voice part are most happily introduced. In the 20th bar of p. 8, and the 3d bar of p. 10. the base, perhaps, would have a better effect standing G, a crotchet on the 1st line, than divided as it is into two quavers; viz. G 4th space, and 1st line, for they somewhat interrupt the melody, though two 5ths are thereby avoided between the are spirited, and the air well preserved through them; the change into the relative minor (D) in the 7th page, and concluded in the 8th, is impressive, and relieves the ear from too frequent repetition of the tonic and dominant chords. In the same page, the upper part of the bass (or we will call it the tenor) instead of being C sharp and A, in two crotchets, would be improved, were it to move in sixths, and in quavers with the treble, e. g. *C, E, F, D, tenor and base parts, but this is also done by adopting the proposed crotchet on the 1st line. The sprightly movement which follows, "Heigh ho, the holly" (by our author) is in gay, pleasant, and appropriate style, the accompaniment enlivening it all through. The trio of foresters (p. 12) "what shall he have that killed the deer," is principally the composition of Mr. J. S. Smith, announced as such in Mr. Linley's" Observations" after his Introduction to this 2d volume. The symphonies and accompaniments are added by him, producing an encreased sprightliness of effect. We submit the following remarks to the candid consideration of Mr. Linley, not doubting that they will be accepted in good part.-We are conscious that they proceed from our sincere zeal for the perfection of every page in this work. It seems, in the 2d and 3d bars of page 15 the quaver D in the treble of the accompaniment should have A (as a third) with it, and B (also a fourth) would more enrich the chord, and the following crotchet E wants G with it (a third also, and B, a fifth, would not be superfluous), in the accompaniment, the mere octave of F E being alone too thin in effect. We think that the quaver E in the base of the 12th bar in the same page were better G (the fourth space) on account of the previous F in the upper voice part with B in the base, which form a perfect fifth, and B (3d line) with E (3d space, base) immediately following, give another perfect fifth in the same direction, a progression to be avoided in strictness of composition. In p. 16, bar the 1st, F on the 4th line in the base is preferable to E (as the concluding quaver) as also B on the 3d line (for the last quaver in the treble accompaniment) rather than C on the 3d space. The next piece is a duet sung by two pages in the 5th act of the same play; "It was a lover and his lass." Mr. L. remarks that "Mr. Stevens has been eminently successful in his glee" to these words; adding, however, as a very sufficient reason why it could not be introduced here, that, being composed for several voices, "and so perfect in its kind, that any attempt at curtailment or compressment would have been deservedly reprobated." The melody is smooth and pleasing the author has accentuated the words "With a hey and a ho, &c." quite differently from Mr. Stevens, who lays the emphasis on the 3d, 6th, 9th, and 12th syllables, thus; "With a hey, and a ho, and a hey nony no;" and this seems correct. In page 17 of the present work, the 1st, 4th, 7th, and 10th syllables are accentuated thus: the following mode of emphasis is recommended as more eligible; With a hey and a ho and a hey nony no because grammatical particles scarcely ever need a strong accent.-Page 18 is excellent both in melody and accompa niment. In the 12th bar, the crotchet Cin the upper voice, would agree better with the accompaniment were it changed to B and C in quavers (3d line and space), and the lower voice had better remain B throughout the bar, than change the last crotchet to C in the 3d space. The descant and harmony of the concluding bars (from " hey ding a ding") are eminently masterly and beautiful, and the effect of the 7th by the second voice (at the 2d bar of the last line) is not less felicitous than unexpected. At page 19, the change into A, the subdominant of the key, produces a pleasing variety, as also the transition into F minor. In the 8th bar of this page the 3d quaver in the base were better B sharp (above the lines) than G the 4th space, because the preceding F followed by G are octaves (in the same direction) with the voice part, a trilling oversight. (To be continued.) WE THEATRICAL JOURNAL. E lament exceedingly to find the opening of the Winter Theatres marked by individual squabblings indecently obtruded on the public. If there prevail certain lurkings of envy, hatred, and malice in any one party towards another, we have to observe, without reflecting on the ex-management of Drury Lane Theatre, that the recent distinguished Committee conduct the business of the scene in a way most honourable to their high character, their disinterestedness, their zeal, and their talents. Now, although we desire to treat all this with contempt, it may be expected that we should lay some sketch before our country readers. Mr. Arnold, of the Lyceum, has complained, by an address, thro' his Manager, to his audience, that two ladies, announced in his bill for the evening, were prevented from appearing by an express order issued by an individual of the Sub-Committee of Drury Lane; and that, in short, all performers attached to the Winter Houses were peremptorily interdicted from acting on his boards. The address was adapted to touch the humanities of John Bull, ever more ready to obey an aroused impulse than to await the decision of sober judgment. How far custom may justify this apparent stretch of power, we know not; but we fear that private pique has much to do in this untoward business. The Public are infinitely indebted to Mr. Kinnaird and his honourable co-adjutors, for the sacrifice of their time and interests to the welfare of the drama, which at Drury Lane they have restored to legitimate dignity and if, in this instance Mr. K. is supported in his solitary interdictiou, we must presume the motive to be founded, not only in policy, but justice: whether he be, or not, time will explain. We would offer a friendly whisper to Miss Kelly, who has few more ardent admirers than ourselves. We delight in her popularity, and rejoice always in its extension; but, the publication of Green Room insinuations, seldom on reflection adds to the writer's fame.This language, probably, will not soften the observations which we understand to have been made on our criticisms during the last season. We have been accused of occasionally evincing personality; and of delighting in unjust and unmerited censure. We disclaim personality-but we indulge the privilege of Englishmen, whose birth-right it is to THINK and to WRITE with honest freedom. It may be offensive, still it is not an injustice, to say to an actor of the present day, that he can neither look nor move the Fine Gentleman of former times. Have the rising generation ever resembled their ancestors in costume and manners? The distinction in dress, in politeness, in dignity which therefore marked the travelled man of fashion half a century since, can only Now be worn in caricature: and the old beau of the Old School dwindles into the insignificance of Tom Errand strutting in Beau Clincher's clothes. Hence it is, that many of our finest comedies are disrobed of their attrac tion by odd fashioned representatives. AGAIN, is it unjust that we reprove, when new readings, sacrificing discern ment to caprice, are hailed with transport by a majority, who mistake the flash that glitters on the senses for the more imposing conviction of the Educated judgment-yet. these are the severities with which we stand accused. Let it, however, be clearly understood-that, behind the scenes we know no one: that we shall discrimi nate with our best judgment whatever appears before the curtain-to extenuate nothing, nor to set down anght in malice-trusting, our intentions may be fairly appretiated-and that it is our wish rather to amend than reprove. DRURY SEPT. 7. "The School for Scandal." This admirable comody was the open LANE. ing of the season, in compliment to its brilliant and deceased author. It was Set with their Sun-but still have left behind The enduring produce of immortal Mind, Fruits of a genial morn, and glorious noon, A deathless part of him who died too soon. But small that portion of the wondrous whole, These sparkling segments of that circling soul, Which all embraced-and lightened over ail, To cheer-to pierce-to please- or to appall, From the charmed council-to the festive board Of human feelings the unbounded lord, if it do not possess very glowing beauties as a poem, boasts the more glowing (a) When the loud cry of trampled Hindostan Arose to heaven in her appeal from man, His was the thunder-his the avenging rod, The wrath-the delegated voice of God! Which shook the nations through his lipsand blazed Till vanquished senates trembled as they praised. And here, oh! here, where yet all young and warm The gay creations of his spirit charm, Home to our hearts the truth from which they spring These wondrous beings of his Fancy wrought To fullness by the fiat of his thought, meet Bright with the hues of his Promethean heat, A halo of the light of other days Which still the splendour of its orb betrays. But should there be to whom the fatal blight Of failing Wisdom yields a base delight, Men who exult when minds of heavenly tone Jar in the music which was born their own, Still let them pause-Ah! little do they know That what to them seemed Vice might be but Woe. Hard is his fate on whom the public gaze Is fixed for ever to detract or praise, Repose denies her requiem to his name, And Folly loves the martyrdom of Fame. The secret enemy whose sleepless eye Stands sentinel-accuser-judge-and spy, The foe the fool-the jealous-and the vain, The envious who but breathe in others' pain, Behold the host! delighting to deprave, Who track the steps of Glory to the grave, Watch every fault that daring Genius Owes Half to the ardour which its birth bestows, (a) See Fox, Burke, and Pitt's eulogy on Mr. Sheridan's speech on the charges exhibited against Mr. Hastings in the House of Commons. Mr. Pitt entreated the House to adjourn, to give time for a calmer consideration of the question than could then occur after the immediate effect of that oration, If the high Spirit must forget to soar, And stoop to strive with Misery at the door, To soothe Indignity-and face to face Meet sordid Rage-and wrestle with Disgrace, To find in Hope but the renewed caress, The serpent-fold of further Faithlessness, If such may be the 1lls which men assail, What marvel if at last the mightiest fail? Breasts to whom all the strength of feeling given Bear hearts electric-charged with fire from Heaven, Black with the rude collision-inly torn, By clouds surrounded, and on whirlwinds borne, Driven o'er the lowering Atmosphere that nurst Thoughts which have turned to thunderscorch-and burst. But far from us and from our mimic Scene Such things should be-if such have ever been; Our's be the gentler wish, the kinder task, Of praise in payment of a long delight. Ye Orators! whom yet our councils yield, Mourn for the veteran Hero of your field! He was your Master-emulate him here! While Powers of Mind almost of boundless range Complete in kind-as various in their change, While Eloquence Wit Poesy-and Mirth That humbler Harmonist of care on Earth, Survive within our souls-while lives our genius. On the play itself no eulo gium could be deemed flattery; but it is one of those not adapted to the personation of the day: it is one of those which compels memory to "cast a longing lingering look behind” at the this precious gem. In the bloom of superb enchasement that once circled youth and elegance of deportment Miss O'Neill surpasses Mrs. Davison in Lady Teazle; but in vivacity, archness, raillery, and picquante dialogue, the latter is altogether pre-eminent. Mr. Munden's Sir Peter is far superior to Mr. Faucett's, but by no means good. Mr. Rae and Mr. C. Kemble are equally gentlemen-but neither is Charles Surface. Had the former played Joseph, we are satisfied his sententious libertine would have restored the elegant bow, the insidious deference, and the insinuating accomplishment of the lamented John Palmer to the vacant scene. Joseph Surface is unintelligible to Mr. Wallack, otherwise a deserving performer: he need not frown; for we have almost said as much of Mr. Young in the same character. The remaining Personæ, excepting Sir Oliver, are not entitled to comment. Dowton, always true to nature, is excellent-so indeed is Mr. Terry. This SEPT. 12. "The Duenna." elegant opera, which we believe ran the whole season at its original coming out in 1775, ranks highly as a comedy divested of the music; and the songs are poems independently of the drama. The principal acting character is that of Isaac Mendoza, and was the foundation of Mr. Quick's subsequent celebrity: it is a character, which, since his day, has been grossly mistaken by its various representatives. The Jew is perfectly conscious of the littleness of his own merits, and by no means considers his rich dress a passe-partout for those defects which must render him ridiculous in the eyes of a lady. He, therefore, prepares to visit his mistress with the timidity of self-debasement: it is not a blush of modesty, but the embarassment of an uncultivated mind, that he should assume-an aukwardness wholly free from extravagance—an air, indeed, Judicrous, neither broad nor vulgar; forming on the whole a combination of Sighing that Nature formed but one such man And broke the die in moulding Sheridan! |