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instances is even yet suffered to exist, as the introduction of theatrical performers into a christian church choir; it has given occasion to call those places of worship "opera churches;" and the young and thoughtless delight as much in thus naming them, as the more discreet and sober worshippers listen to it with grief and indignation. The apology which has generally been made for such conduct, is, that these persons are peculiarly skilled in music; that they sing more correctly and with more taste and elegance than others! and, therefore, they may be allowed to render the exercises of the sanctuary more delightful and pleasant!! I appeal to Christians of every name, whether that holy word, on which their religion is founded, sanctions such a practice, and whether it was exercised by the primitive church of our exalted Redeemer. The Lord commanded Da

vid to restrict the priesthood to the tribe of Levi; and it appears, that when David first regulated the musical establishments for the service of religion, not only the select band of singingmen and singing-women, but also the four thousand performers upon instruments, were all

selected from the families of the Levites. "Solomon appointed according to the order of David his father, the courses of the priests to their service, and the Levites to their charges, to praise and minister before the priests, as the duty of every day required." 2 Chron. viii. 14. Under the Gospel dispensation, it is true, indeed, that no special directions on this subject were given by its Divine Author, though we are commanded to "sing with the spirit." It would exceed my limits, if I should give an explanation and a comment on this text: Christians know, and feel its import. But, in what manner can we account for the abuse which has crept into our places of worship, by the introduction of theatrical performers in the choir?

It is usual for Christians to examine the practice of the primitive church in all such matters and ceremonies, on which the sacred Scriptures are totally silent, or where the meaning is difficult to be understood. And I am pleased to find that sacred music was so much venerated by the early Christians, as to correspond with the dignity and importance which the Scriptures express on the subject. Clemens Alexandrinus has the following passage in allusion to religious music: "This is the chosen mountain of the Lord, unlike Citharon, which has furnished subjects to tragedy: it is dedicated to truth: a mountain of greater purity overspread with chaste shades. It is inhabited by the daughters of GOD, the fair lambs who celebrate together the venerable orgies collecting the chosen choir. The singers are holy men; their song is the hymn of the Almighty King; virgins chant, angels glorify, prophets discourse, while music sweetly sounding is heard." This was before churches were built, and be

fore the christian religion was established by law. Indeed, for some time after this period, such a distinction is visible; the primitive Christians utterly abhorred the customs and the idolatry of the Pagans, and were firmly opposed to their numerous games and theatres, so that we may suppose, that the performers in these exhibitions were excluded from their society. The abuse now under consideration, seems therefore of a more modern origin; and

"To-morrow's sun." "In useful toil."

"Works do follow them." "Fulness of the sea." These rendered familiar, without reference to time or tune, let a single line, such as "Fall'n is thy throne, O Israel," be sung several times successively, in as simple a tune as Sterling, till every letter and syllable is perfectly audible to a listener, in any part of the largest room. From single lines, let the performer proceed with whole stanzas, first in tunes with short notes, not slurred, and not too slow or too rapid in movement; and afterwards, by degrees, in tunes which are less simple. By such exercises as these, especially with the aid of a prompter, a distinct utterance may be very soon acquired; and when this acquirement is fairly mastered, then let the powers of language be consulted, as in good reading or speaking. The

take it for granted, that some of these theatricals have fine voices, and that they know how to manage them to advantage, it is, nevertheless, not likely that such singers will, or can mechanically assume feelings to which their hearts are strangers. Can it be supposed, that praises emanating from the lips of persons who show by their practice, and by the occupation of their lives, a total disregard to divine things-can it be supposed, I say, that the praises of those who sing six days out of seven in a theatre, and on the Lord's day in his temple, will prove an acceptable offering unto the Divine Majesty? Certainly not. Were they "to sing with the spirit and the understanding also," is it likely that they would continue to perform in places from which religion is excluded, and where it is generally ridiculed? I think they would not. Why should Christians be negligent in culti-language will at first appear unnatural, and the vating their own vocal powers, which they are privileged to use in the service of their GOD? Are not their thanks and their praises the noblest incense which they can offer up to Him? Has not the Jewish church set us an example worthy to be imitated ? and is the theme which

has fallen to our lot, not far more exalted than that of the Israelites? Yes, the Christian can sing the wonders of redeeming love, the cross, and the hope of glory.

Rest assured, Mr. Editor, the introduction of theatrical performers into a church choir, is an evil much to be regretted. It is highly injurious to the cause of sacred music, as well as to the end for which it was intended. I confess, that I am frequently delighted with secular music, and know how to estimate the talented performer who distinguishes himself by a melodious and cultivated voice; but the church is not the proper place for his performance, nor should he lead in the devotions of the congregation. "Holiness becometh the temple of the Lord;" it is the place where his honor dwelleth, and where Christians ought to worship.

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ANSWER. Let the performer at once recur to first principles, beginning with vowels, and afterwards adding consonants to them: first in separate syllables; next in words; then in phrases; and finally in sentences, or whole lines of poetry. For instance: let him first sing the

simple letters, a, e, i, o, u, which can be done

at once without the least effort. Next let him

nouncing the vowels as before, but whispering sing the syllables, fall, fell, file, fole, full, prothe f with comparative violence, and uttering the 's distinctly at the moment the sound ceases. This also can be done at the first effort.

Then let him take the words fallen, fellow, filed, follow, fulness, putting the syllables close together, but making a distinction between the words. This also may be readily done. After these and similar exercises shall have been rendered familiar, let such phrases as the following be attempted :—

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music harsh; but a little time will overcome the difficulty. See Walker's introduction to his octavo Dictionary; also, almost any of the modern works upon elocution. The point ultimately to be gained is an easy flowing language, distinctly uttered, in agreeable song. Little else will be required but systematic practice; yet practice, without system, will fail of accomplishing the object.

[From the Christian Spectator.] THOUGHTS

ON SINGING,

H.

AS A PART OF SOCIAL AND PUBLIC WORSHIP.

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[Learning to sing-a scriptural duty.] There is nothing naturally sacred in singing, any more than in playing on an instrument. Its propriety and importance depend on its influence in exciting pious feelings, and aiding the devotion of the heart. The language of ancient saints was, 0 come, let us sing unto the Lord; let us make a joyful noise to the rock of our salvation. Let us come before his presence with thanksgiving, and make a joyful noise unto him in psalms. Sing unto the Lord a new song, and his praise in the congregation of his saints." The Apostolic injunction was, 66 Be filled with the spirit; speaking to yourselves in psalms and hymns, and spiritual songs; singing and making melody in your heart to the Lord. Is any merry, let him sing psalms." Such singing is as much a part of divine worship, as prayer or preaching, for they were all instituted by the same authority and for the same great purpose. And if it is a duty to sing in order to worship GoD acceptably, no one, we think, can neglect the proper means of learning to sing, without disobeying the known will of GOD. None of our powers are more susceptible of improvement, than those exercised in that of music. It expands the soul, refines the singing; and perhaps there is no pursuit that imparts greater interest in its progress, than taste, and gives a higher sense of enjoyment. To the Christian, particularly, it is a source of his mind with great and glowing conceptions, the most exalted and refined pleasure. It fills warms and invigorates devotion, allays the turbulent and awakens the more heavenly passions, elevates joy into rapture, and, in connection with appropriate instruction, produces far more deep and permanent impressions on the mind, than could be produced without it.

When David touched his harp, the evil spirit departed from Saul; so music, bursting forth

from the soul of the christian, will expel many evil spirits. There are, indeed, affections to be set in motion and graces to be brought into exercise, which absolutely require the aid of music. If music awakens, deepens, expresses, and improves devotional feelings, elevates their tone and fans their fire, then it is an important handmaid to religion.

[Propriety of using instruments in divine worship.] Whether vocal music should be accompanied with instrumental, is a question that will probably be decided by different individuals according to their taste or previous habits of association. It is certain, however, that the people of Gon were anciently commanded to use all their various kinds of instruments in divine worship; and the propriety of using instruments now, will depend principally on their adaptation to aid devotion by quickening and elevating the affections in the worship of GOD. "Why that," says Bishop Horne, "which saints are represented as doing in heaven, should not be done, according to their skill and ability, by saints upon earth, or why instrumental music should be abolished as a legal ceremony, and vocal music, which was as much so, should be retained, no good reason can be assigned." Says Dr. Brown, "In great towns where a good organ is skilfully and devoutly employed by a sensible organist, the union of this instrument with the voices of a well instructed congregation, forms one of the grandest scenes of unaffected piety, that

human nature can afford."

For ourselves, we see not why any instrument, that will harmonize with the human voice, may not be consecrated to sacred purposes, and used as such with perfect propriety. We have witnessed in some Moravian and German congregations, the use of a great variety of musical instruments with the happiest effect. [Character of the pieces to be performed.] Very much of the utility of sacred music depends on the character of the pieces performed. At the time of the Reformation, the gorgeous services and imposing pageantry of the Romish church went into disuse, and gave place to a beautiful simplicity in the forms and modes of worship. Prayers and sermons were composed in plain, simple, intelligible language; and the church music was slow, chaste, and solemn; fitted to excite love to GoD and ardent zeal for his cause, to inspire immortal hopes, and nerve the soul to the most holy and selfdenying purposes. We apprehend there never has been, on the whole, a better style of church music, one better adapted to all the of purposes devotion, than that which prevailed immediately after the Reformation. The melodies most in use among the Reformers, were simple and easy, adapted to the whole congregation, and harmonized so beautifully, that the flame of devotion raised by them, spread from breast to breast, and excited the highest pleasurable emotions. Though many of the tunes were spirited in their movement, they were always solemn and majestic; and much better calculated, than those more difficult and elaborate, to excite pious and sublime emotions. Great variety or rapidity of transitions from one tone or measure to another, instead of being an excellence, tends directly to throw the mind from a devotional frame, and efface from it the impressions made by the solemn truths of religion.

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Of these, such tunes as 'Cranbrook," and many of the fugues formerly in use, will supply an illustration.

[Character and duties of singers; the most important requisites in good singing, &c.] The melodies adopted for church service ought to be free from tawdriness and affectation, requiring but little skill in the performance, for even the simplest melodies, performed with proper intonation, expression, and pronunciation, will not fail to touch the heart. But to perform well, a choir must have frequent practice together; and in order to do justice to a tune, they must enter into the spirit of it, and aim particularly at expression. Other things being equal, a truly religious choir will always produce by far the greatest effect. We might say then, that the first and most important requisite in good singing is, to have a heart attuned to the praises of GOD,-a soul sanctified and made to harmonize with the spirit of heaven. One may,

without doubt, as a matter of taste or intellectual exercise and gratification, cultivate music with great success, and sing to the edification of others. But a heart softened and refined by grace, would be an invaluable addition to every other accomplishment. Having this in connection with a clear voice, a proper self-command, a simple and unaffected manner, one may rise to high eminence as a singer. It is necessary, however, that particular attention be paid to just and distinct articulation and intonation; and in order to this, every singer ought to understand and feel the import of the words he is singing. Should a public speaker deliver his discourse in a monotonous manner, without regard to quantity, or tone of voice, or the pauses, no one would expect to be much interested or benefited by it. But a gaping, monotonous, unexpressive manner of singing, where the movement and tone of voice are not varied to express the different sentiments and passions, would be equally deadening in its effect, and altogether inexcusable. To counteract it, no exertion should be spared. Let singers cultivate their taste for music, as they should all their other powers, with a view the better to serve GOD, and they will soon find what it is to "sing with the spirit, and with the understanding also."

[Qualifications of teachers.]

The introduc

tion of a proper style of church music and the improvement of the public taste, will depend principally upon the qualifications of those, who are employed as teachers. If, as the ancient critics remarked, it is necessary that an orator should be a good man, much more should those have this character, who profess to teach sacred music. They hold much the same relation to this branch of public worship, that Theological Professors do to preaching. There is, in our view, a radical error in the common method of teaching music. As for instance; a teacher gives out a few tunes of a promiscuous and heterogeneous character, and drills his pupils upon them during a whole season; and in the end, though they may be able to sing these tunes tolerably well,-that is, give a proper sound to every note without regard to expression or effect,-they know nothing comparatively of the general principles of music, have no ability to read it-no confidence in themselves, and very little knowledge of the keys.

Now we apprehend, that the business of read

ing music at first sight, is as easy and practicable, as that of reading a common book or newspaper; and that in ordinary cases, pupils of adult years may, in a few months, be made masters of music for most practical purposes. Let the teacher, after having taught his pupils the first principles of the art, drill them first on a number of tunes of the same key, then on a class of another, and so on, till they can sing any tune on any of the keys, upon which they have been exercised. This course, accompanied by frequent explanations from the teacher, will enable most pupils in a short time to become independent singers, and to read music with nearly the same facility, as any thing else.

[The reason why there are not more singers.] Another radical error relates to the frequent discouragements placed before beginners, to deter them from learning to sing. If they do not at once manifest a musical voice, and modulate it so as to touch every note in the octave, they are told that they are incapacitated by nature for learning to sing, and are thus, without questioning the truth of the assertion, discouraged from any further attempt. This idea is evidently founded in error, and fraught with much evil. There is no physical difficulty to prevent any person from learning to sing; for precisely the same, and no other organs are used in singing, as in speaking; and speaking also requires as great a compass, variety, and inflection of voice, as any kind of singing. Hence, unless there is deafness or some disease in the ear, any person may learn to sing; or, in other words, the possession of the vocal organs usually exercised in the art of speech, and the hearing organs, by which the common modulations and inflections of voice in others are distinguished, is sufficient evidence in all cases of an ability to learn to sing. The instrument exists in perfection, and a person only needs direction and practice in learning to play upon it. The only reason then, why all are not singers, is either a want of proper opportunities to learn, or what is more common, want of early cultivation. Let the same pains be taken to teach people to sing, as to talk, and the result would be the same in both cases. But if the business is neglected till they arrive at mature age, they will labor under great disadvantages;-it will be to them like learning a foreign language. The importance of the business, however, demands great and persevering efforts. None of our powers come to perfection at once: all are susceptible of culture, and improve by degrees in skill and pliability.

The truth of the above position stands upon the clear evidence of facts. Experiments have generally been perfectly conclusive and satisfactory. Among the Germans and Moravians, all without exception, are taught to sing; the same is true of the Indians of every tribe, and the people of color every where; and of the children in our infant schools. Having visited many infant schools in different parts of the country, we have never yet found a child, who was unable to sing after he had been in the school a proper length of time. We would say, then, let every person young and old, be encouraged to learn to sing; his duty will soon become his delight, and the languid fire of devotion will be lighted up to a flame by the music of the skies.

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THE MOTHER'S NURSERY SONGS. By Thomas Hastings, Author of "A Dissertation on Musical Taste," "6 Spiritual Songs," &c. NewYork. John P. Haven. 1834. 72 pp. 12 mo. We feel happy, in commencing our Department of Reviews, that we are permitted to introduce to our readers the new work announced at the head of this paper. The object of this publication, we are told in the preface, is "to aid mothers in attuning the voices of their infant offspring, and inspiring them with the love of vocal music. When the Saviour was on earth, young children cried hosanna: and ere he is again revealed in the glories of the .atter day-his praise shall be perfected out of the mouth of babes and sucklings. Yet they must first be instructed; and this work should be commenced by the mother."

In his " Introduction," Mr. Hastings offers many excellent remarks, which are both reasonable and philosophical, in relation to cultivating the ear and voice. We think, he shows conclusively, that all children, the deaf and dumb excepted, may be taught to sing; an opinion which we are happy to state, is now prevailing extensively among practical musicians. He says, "the principle chiefly employed in forming the voice is imitation. The child, under favorable circumstances, acquires the management of its voice in singing just as it acquires in speaking the accurate pronunciation of the mother tongue. In both cases it is the imitative pupil of its mother, or nurse." "Infancy, then, is the most favorable period for commencing the work. The foundation must be laid then, if distinguished excellence is ever afterwards to be attained."

The many valuable directions given by the author, to aid mothers in performing this important and delightful duty, we conceive to be plain and perfectly practicable. He says:"If the course here recommended, be faithfully and perseveringly tried, he will consent to be responsible for its success."

The field is evidently new. and difficult in some respects. But Mr. Hastings has been a musical pioneer too long to be disconcerted. He has struck out a path in the work before us, which cannot fail to result for good to the rising generation.

The volume contains 65 little songs or poems, written by Mrs. Brown, of Massachusetts, Mrs. Sigourney, and others; and these are adapted to the same number of different melodies. chiefly original, arranged in one, two, and three parts, by Mr. Hastings. They are inserted under four distinct heads, viz:

I. The Cradle.

II. The Nursery.

III. The Class Room. IV. The Altar.

In these several departments, the author has introduced articles written and selected with singular adaptedness. His aim seems to have been to render Music judiciously attractive to children of both sexes.

"THE CRADLE" embraces songs designed chiefly to aid the mother in soothing her infant

to sleep, or in mitigating its sufferings in hours of sickness or distress. And they are excellent substitutes for the worthless trash now so generally in use.

"THE NURSERY" contains pieces and tunes of a somewhat higher order; but all of them well adapted for children who are just beginning to imbibe first impressions. Under this head, various pleasing performances are introduced, with a view to render attractive those nursery duties that are now considered so irksome to the child.

"THE CLASS ROOM" is a step still further advanced; and it is one well graduated to the progress of the young mind. First, outward impressions now begin to seek their reflection within. Sentiments and opinions begin to be stored in the secret chambers of the soul.

"THE ALTAR" contains a variety of songs or hymns, which are strictly devotional. A specimen from each of these departments will be found on page 15.

correct.

It is almost needless for us to say, that the tunes are pleasing and good, and the harmony The reputation of the author is a sufficient guaranty on this head; and does not require any critique from us. With all due deference to the opinion of Mr. Hastings, however, we think the work would be more extensively useful, had several of the pieces been set in a lower key. An illustration of this remark will be found on pages 10, 28, 48, and 58, where some of the notes are on A in alt., (first leger line above the treble staff.) From long experience in teaching music, our observation has led us to adopt the principle, that tunes intended for general use, should be so constructed, as not to require the voice to reach and sustain notes above F, or, at most, G in alt. In practising the scales, however, the voice may be allowed to ascend to any extent, that nature and cultivation will permit. But, this must not be done too often.

We hope these hints will induce teachers and others to furnish us with their views on this important subject—the use and ability of the human voice.

In conclusion, we recommend the "Nursery Songs," to the notice of the public, and hope it may have a place in every family.

EVENING MELODIES. A Collection of Sacred Mu sic, original and selected, adapted to various occasions of social and public worship. To which is PREfixed [added] an Appendix, containing a new and improved system of elementary instruction in the art of singing. By ABNER JONES. N. York. Moore & Payne. 1834. We believe this is the fourth Music book, all materially differing in character and design, which Mr. Jones has published during the last five years. He is known by many in this city, as a most indefatigable teacher of music, and one deserving much credit for his perseverance in pursuit of the science. How far his labors, both as a teacher and author, have been appreciated, we are not enabled precisely to state. The character of the work now under consideration, appears to be adapted to the improvement of the younger classes of learners. The tunes are easy of execution, flowing and chaste, and designed "for the use of social circles, private families, and individuals."

It would seem, from the author's brief statement of his views, that he is under an unfavorable impression respecting the continuance in our devotions of the old parochial melodies, unless they be modernized. His effort in the present instance, may be considered in the light of a gardener engaged in weeding old parterres, rather than in laying out those entirely new, for it is not to be presumed, that the 'Evening Melodies" can lay great claim to originality, as many of the tunes bear a marked resemblance to those found in other books.

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We would give a few examples by the introduction of parallel lines of notes, in illustration of this remark, had we room. We shall, however, name only two instances of this similarity. The tune called "Gillet," on page 4, looks and sounds as if the author had "Ward," in the Boston Handel and Haydn Society Collection, in the eye of his mind, if not before him, when he wrote. The tune "Walker," on page 48, appears nearly the same, (with the variation of the third line,) as "Uxbridge," also in the Boston Collection.

These instances are too palpable to admit of a doubt-and there are others which might be given, where the author has borrowed but in part from different writers. These, however, stand in connexion with many passages that are highly creditable .o the author. On page 19, the strain set to the words,

"On the islands that sit in the regions of night,
The lands of despair, to oblivion a prey,"-

is very expressive.

On page 41-tune "Chelsey," the phrase adapted to the familiar words,

"Hallelujah to the Lamb,

Who hath purchased our pardon,”—

is sweet and effective.

"

'Joy to the world," has some fine passages. There are also several other pieces to which we might advantageously point the reader.— The Music of the work is generally harmonized with a good degree of correctness; though a Handel or a Haydn would construct some of the lines differently.

We give a favorable specimen from the “Melodies," on page 16, of our present impression.

The method of instruction which the author claims to have originated, and to which his Appendix in the work before us, is devoted, shall receive attention at some future time.

MUSICAL SOCIETIES.

There are serious difficulties in the way of extended notices of the Music Institutions of this country, and especially of this city. We need not repeat all those difficulties in this place. It is quite sufficient that they exist.

Our remarks, therefore, on the performances of different societies will mostly be of a general character; for the reason that but few of them are based on principles strictly in consonance with those of the Minstrel. Many of the public performances of our times are unquestionably advantageous, in several respects; but in general they partake too much of the Theatre and Opera House to be patronized by practical Christians.

We had intended further to pursue this subject, (which is a fruitful theine of necessary remark,) when we commenced writing this article, but find that our columns forbid us saying more at present.

POETICAL LITERATURE.

OBJECT OF POETRY.

Poetry should be a sacred thing, not to be thrown away on the dull and low realities of life. It should live only with those feelings and imaginations, which are above this world, and are the anticipations of a brighter and better being. It should be the creator of a sublimity undebased by any thing earthly, and the embodier of a beauty, that mocks at all defilement and decay. It should be, in fine, the historian of human nature in its fullest possible perfection, and the painter of all those lines and touches in earth and heaven, which nothing, but taste, can see and feel. It should give to its forms the expression of angels, and throw over its pictures the hues of immortality.There can be but one extravagance in poetry; it is, to clothe feeble conceptions in mighty language. But if the mind can keep pace with the pen; if the fancy can fill and dilate the words, it summons to array its images; no matter how high its flights, how seemingly wild its reaches; the soul that can rise, will follow it with pleasure, and find, in the harmony of its own emotions with the high creations around it, the surest evidence that such things are not distempered ravings, and that, in the society of beings so pure and so exalted, it is good to be present.

PERCIVAL.

[From the Editor's Scrap Book.]

WINTER.

What heart does not feel,

More than language can tell,

When the rude reign of winter commences?

When the roses of May

Quickly wither away,

With the flow'rets that bloom'd in the fences.

The leaves of the wood,
Which long have withstood

The fierce darting rays of the sun,
Assume a brown hue,

While, mournful to view!

They fall to the ground, one by one.

The staunch ever-green,
Which still may be seen,
When others are leafless and dry,
Seems pensive and sad,
And in deep mourning clad
For the joys of the summer gone by.

The caroling choirs,

Which tuned their sweet lyres So gaily when the skies were serene; Like the slow tolling bell, Sound the funeral knell

Of times ne'er again to be seen!

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In mourning and grief
We seek for relief,

When friends to a distance have flown;
And but for that Friend,
Who loves without end,
The heart would be left all alone.

"GOD IS LOVE."

BY MISS PERRY,OF PROVIDENCE, R. I.

SOLO.

When lost in guilt we went astray,
Nor grace nor hope in us was found,
Lo! still did GoD his vengeance stay,
For us did mercy still abound.

CHORUS.

Hear! oh, hear the sound from heaven,
Angels chant in songs above,
Pledge of peace to man is given,
From on high; for "GoD is Love."

SOLO.

Though guilt offends his purer eyes, Compassion quells his holy wrath, He sends our ransom from the skies To save from everlasting death.

CHORUS.

Sound! oh, sound his name abroad,
Let his praise our voices move,
Let nations join in sweet accord,
Proclaiming loud, that "GoD is Love."

SOLO.

Bright Star of hope! o'er sinners rise, And guide our wandering footsteps on, To find that all-excelling prize,

The wond'rous gift, GoD's only Son!

CHORUS.

Oh, then! again our voice we'll raise
To Father, Son, and Holy Dove,
And join with angels, still to praise
This blessed proof, that "GOD is Love.'

[From the London Baptist Magazine.] DIVINE FAVOR THE HIGHEST HONOR. How can we believe, which receive honor one of another, and seek not the honor that cometh from GoD only.John v. 44.

What are earth's honors and allies,
Titles and noble blood,

Compared with theirs, thro' faith who rise
To sons and heirs of GOD!

Princes confide in kindred dust, Their persons to protect; Angels are guardians of the just, And wait on God's elect.

All earthly thrones have tottering proved;
Here empires wax and wane;
There is a kingdom can't be moved,
Where saints forever reign.

Warriors, who far-famed victories win,
Wear but a fading plume;
The man who conquers self and sin,
Shall triumph o'er the tomb.

Great GOD! unite my soul with theirs
Whose honors come from thee;
All that is truly noble, bears
Thy stamp-ETERNITY.

SONG TO A CHILD.

I see thee in life's sunny prime,
All sinless as thou art,

With brow untouch'd by care or time,
And cheek as round as ripen'd lime,

Glad pulse and bounding heart:— Ah, cold are those who idly gaze, Unmoved by Childhood's winning ways! Thy lips to mine are freely prest,

Thou fair and artless child:

No thought of guilt corrodes thy breast,
And heavenly dreams illume thy rest,

Oh, cherub, undefiled!
The morrow hath no pang for thee-
No dread, the dim futurity.
Oh, would thy life might ever pass,
As carelessly as now;
And nestling smiles forever play,
With beauty's new and perfect day-
The light that gilds thy brow;
That time might fly with rosy wing,
pass thee by without a sting.

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As now, unknowing crime :-
No passion lurking in thy bosom,
To canker Virtue's tender blossom.
But who may tell thy coming fate,
Child of a hallow'd love!
Thy path may be all desolate,
And Anguish round thy footsteps wait-
GOD shield thee, gentle dove!
Shield thee from Sin, Want, and Shame-
From all that perils maiden fame.
Go to thy mother, tender one-

Tell her to guide thy feet,—
To lead thee calinly, firmly on,
So that when girlhood's hours are done,
Thy fame may still be sweet:-
That she, while standing by thy side,
May gaze, and point to thee with pride.
Go, and God's blessing on thee rest,
And every ill restrain :
May peace abide within thy breast,
A constant and delighted guest,—

And when life's lamp shall wane, May heavenly pinions then be given, To waft thy spirit on to Heaven! Philadelphia, Oct. 27th.

SONNET.

TO A LADY AT THE HARP.

R. M.

Oh! breathe, melodious Minstrel, once again Thy soul-entrancing song! Responsive tears Attest thy power. Thy gentle voice appears Like sounds of summer's eve, or some sweet strain

That wildly haunts the visionary brain, Or charms the slumbering mourner. Vanish'd years,

That Time's dim twilight hallows and endears,
Return, like shadows, o'er the trembling main
Beneath the lunar beam. Then waken still
Those magic notes, with more than music
fraught-

Angelic harmonies! Each echo seems
A spell from heaven by skill celestial wrought
To cheer the clouded mind, the sad heart thrill
With sacred melodies, and delightful dreams.

[For several years, as opportunity would permit, the Edi. tor of the Minstrel has been collecting materials to be embodied in a convenient volume, for the special use of families. Among the poetical pieces, is the following-presented by a clergyman of this city, now on a tour through Europe, for the benefit of his health. It is one of the Hymns used by an English family, at their morning and evening devotions.]

A FAMILY HYMN.

ALL.

Lord of that family above,

Where thou dost rule in might alone, Eternal Sire! and angels move,

As children round thy burning throne; Look on its type which now draws nigh, With humble prayer and praise to plead, And of the peace which binds on high, Oh, pour some portion on its head.

FATHER.

O Thou, whose image I convey

Amid these suppliants, Father, hear, Grant, as with fearful rule I sway,

Thee of all rule, great source to fear. Correct this heart, this tongue chastise, That whatsoever word shall fall, May in their hearts to wisdom rise, And turn them to the Sire of all.

CHILDREN.

O Thou, before whose awful seat

Ten thousand thousand seraphs bow, Grant us with reverence due to meet,

And own this type of Thee below. Round him in fondness as we cling,

To Thee to bow both heart and knee; Through him, of life the mortal spring, Honor the immortal fount in thee.

ALL.

Thus humbly imitating here
Its holy prototype above,
Oh! may this earthly household bear
Some foretaste of its deathless love.
On thee each wish in union bent,
Bound in the bonds of spirit fast,
Here truly may it represent,
There join the original at last.

FAMILY DEVOTION.

It is a beautiful thing to behold a family at their devotions. Who would not be moved by the tear that trembles in the mother's eye, as she looks to heaven, and pours forth her fervent supplications for the welfare of her children? Who can look with indifference upon the venerable father, surrounded by his family, with his uncovered locks, kneeling in the presence of an Almighty GoD, and praying for their happiness? In whose bosom is not awakened the finest feelings, on beholding a tender child, in the beauty of its innocence, folding its little hands in prayer, and imploring the invisible, yet eternal Father, to bless its parents, its brothers and sisters, and playmates!

RELIGION.

Take away religion, and you take away the foundation of all that is noble and exalted

in man. He who possesses it, looks upon the world with an increase of admiration-he feels himself glowing with a renovated love to his fellow creatures-and at once acknowledges the invisible and all-pervading power of the Eternal. Religion throws a brilliancy upon the

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FEMALE EDUCATION.

Female influence is felt not only in domestic life; it reaches to every part of society. Every where it ought to be intellectual as well as sensitive; intelligent as well as affable; good as well as pretty. No where, indeed, are they more pure and delicate than among ourselves. Bnt if to those graces of the female character were added suitable mental improvement, the effect on the whole community would be most happy.

A higher spirit of literature would pervade our states; and young men would spend that time in study, which they now waste in dissipation. A loftier tone of moral feeling would be awakened, and we might hope to witness the purity without the extravagance of chivalry.

THE DIORAMA.

[Probably most of our readers are aware, that the first of a series of Dioramic Paintings is now being exhibited at No. 576 Broadway. A writer in the Weekly Messenger uses the following thrilling language on the subject, which forcibly brings the work of the painter into view, and reminds the reader of the descriptive and eloquent style of IRVING.]

THE DEPARTURE OF THE ISRAELITES OUT OF EGYPT.

The picture is of the largest size; and so admirably is it executed, that the mind is slow to believe it to be all one flat piece of canvass. The subject and the situation of this grand painting, both unite to inspire the beholder with the most sublime and elevated emotions. You are riveted, as by enchantment, to the spot. Before you is a portion of one of the proudest cities of ancient Egypt. Its blue pyramids, capped with floating clouds; its hanging colonnades, supported by red pillars that lift on high their giddy summits, with huge idols reposing in every niche; the long palace passage, stretching on amid columns, and towers, and imperial gates, and massive cenotaphs, until the eye rests on the far off mountains, lit up in

the distance by the rising sun; the pendant gardens, with their green and golden trees; all this, with the vivid and distinct minutiæ belonging to every edifice, and hill, and grove, is spread out before the mind like the reality of things that are. We almost involuntarily step forward as we gaze, as if to ask of the beings who now begin to attract attention amid the grander objects of the surrounding scenery, the name and use of the mighty fabrics that stand in such majesty before us. But as we step-eager with expectancy-we are met by the ascending hosts of Israel. They are coming-borne onward by the outstretched arm of GOD-from the house of their prolonged and cruel bondage. In front, beneath a mammoth idol god whom they neither serve nor fear, stand Moses and Aaron, directing the march of the ransomed throng. The wand of the holy prophet is uplifted over the people—that wand which in after years smote the rock that welled forth its life-giving waters—and his eyes are turned to heaven with a look such as mortals have seldom worn. Beneath him, in the wide and level avenue, are seen the marching legions. Their banners are all unfurled to the morning breeze, that bears proudly up the floating turbans and flowing robes. The loaded camels come with erect heads-the elephants toss up their trunks, as if they sympathise in the scene, and snuff the pure air of liberty. Rank on rank-in regular gradation-led on by elders and princes, every tribe fills its appropriate place. Here and there the oxen and the sheep, the implements of husbandry, the handmaidens and children, greet the eye; but boldly in relief appears the sacred ark, upborne by consecrated hands. Every form about it is wrapped in reverence; and we almost stop to listen as we gaze upon it, to catch the notes of worship. Not an eye, not a hand, not a tongue seems disengaged in the waving multitude; but all is motion, life and joy. It is the uprising of a down-trodden nation, to the enjoyment of their liberty and their GoD. It is the outrushing of the pent up waters of an ocean of life. Praise and thanksgiving-triumph and gloryburst in booming accents from all hearts; and ascend up, in echo on echo, along the towers and pyramids, and mountains of Egypt.

But where now is Pharaoh? the haughty, malevolent, heaven-daring Pharaoh? He is yonder, on the left of Moses and Aaron-under a gorgeous canopy of ostrich plumes, and surrounded by the officers of state. Every lineament of his countenance is in motion-every limb of his body shakes with the deep and convulsing agony of his soul. His foot is stamped violently on the marble beneath his throne, as if he would crush something which he cannot-his eye gleams forth lightnings that would destroy if they could-and his hands are clenched as if he would retain a treasure that is eluding his grasp. God-stricken monarch! In vain does the incense roll up its odorous smoke before him. It cannot hide from his view the departing victims of his tyranny and lust. In vain do the harpers strike their noblest, sweetest strains. They cannot hush the loud clangor of the emancipated slaves, now singing their triumphs as they pass out forever. The deed is done. The tyrant is humbled. Israel is free!

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