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breast, and I longed for the dark wa As he concluded, he covered his ters to roll over me. The world face with his hands and sighed deepseemed dead-for I had none now ly, and remained for some time apto love-none to cherish me-and parently lost in thought. The night the skies, and the trees, and the hills, was closing around us, and the anaand the waves had become hateful to quaw was pouring its sad notes on my sight. I felt that I could never the winds; we arose from our leafy know happiness again, for Ayana seat, and it was with a melancholy was gone from me, like the rainbow feeling that I saw the heart-stricken from a sky of clouds and storms Indian go on his way to the town of like a sun-ray from the valleys it had the white men. brightened.
THE IDLER'S EPISTLE TO JOHN CLARE.
So loth, friend John, to quit the town?
Have left thee there ;
To rural air.
For such as thou;
But think'st not now.
On many a tree,
John Clare! for thee.
With birds and flowers ;
Than brooks and bowers. ,
What lurks below:
The cheek's heart-glow.
Of phrase or rhyme;
Who lives through time.
Or Dyer's tone ;
Is still unknown.
Naicly, Watchmen : authority, Samuel Taylor Coleridge.
Some grievously suspect thee, Clare !
prayer; Thou dost not cant, and so they stare
And smell free-thinking ;
And vote thee sinking.
Against each other :
In man a brother.
Its powers away;
Some distant day.
While yet you can;
Your outward man. Drugs ?-Can the balm of Gilead yield Health like the cowslip-yellowed field ? Come sail down Avon and be healed,
Thou cockney Clare !
Sun, sea, and air.
For 'faith I'll own
must take some pains
To match the town.
With easy strain ?
At Herbert's vein ?
With roaring glee,
The spirit free?
But, Clare! the birds will soon be flown ;
To Devon's valley;
The table-talk of London still
Of season'd mirth;
Six feet in earth.
On treeless fen;
My man of men !
Dilate thy gaze;
For future lays.
Pallet on thumb;
John Clare is come.
The quiet smile,
Once in a way;
AN IDI.ER. + The lady's name is Guppy; but the rhyme was inexorable, and said Gupp. She is immortalized by the invention of a machine to keep muffins hot over the lid of the tea-urn.
ELEMENTS OF VOCAL SCIENCE.*
There is an increasing predilec- serve it for our inconstancy. In the tion for music in this country, but music of the present day, there is no our actual improvement in the sci one style that can in justice be called ence does not seem proportionate. English. Most of our composers With us, every style has been tried, seem to set about their work with as and after all we have not been able much apathy as a puppet-maker to fix upon one, and adopt it for our would evince in the manufacturing own. Each has, in its turn, been of a doll. They make, as it were, abandoned the instant its novelty had musical figures: taking Mozart for worn off, and its characters were be the body-Cimarosa and Paisiello for ginning to be understood. We have the arms-Guglielmo for the headpaid rakish court to an infinite num and clapping on Weber and Boieldieu, ber, and are jilted at last. We are awkwardly enough to be sure, for not harmoniously married, but re- they are not at all in proportion, main musical bachelors, and we de- either in size or muscular strength,
* Elements of Vocal Science; being a Philosophical Inquiry into some of the Principles of Singing. By Richard Mackenzie Bacon. London: Baldwin, 1824.
to form the legs; whilst Rossini is that we, now feeble, should be strong,
the compositions of our countrymen. For attention than has generally been although the simple grandeur, the pure and conceded to it. He is determined to
nervous cast of sentiment which appear to divest it of its street-playing associa: of English writing and of English execu
me to constitute the original characteristics tions, and to tear the vagabond coat tion, are not absolutely obliterated, they from its back. He has made up his are lapsing fast into the fascinating langour mind to strip it of its last dying and delightful facility of Italian art. I speech” attributes, and he has fully cannot help thinking we are arrived at a succeeded. We consider, judging pitch of acquirement that enables us to by the present production, that Mr. compare and class the materials we have Bacon is eminently qualified to write been so long amassing. We ought at least on the theme which he has chosen. to begin the work of arrangement, to supTo superior inusical and literary port by our natural strength the delicacy of knowledge he joins a love of his sub- our exoticelegance, and to diversify and adorn ject, which tends almost as much as with the collected graces of foreign study, his argument to convince us that he the severer virtues of native growth. We
have no other defence against the arts of is right. He throws down his gaunt- Italy, who is now alluring our musicians let to the vituperators, and woe be into an alliance which can hardly fail to to them who shall take it up. He terminate in the extinction of the name of does not need our assistance, or we English music, and in our annexation to would follow him to the field, and the musical conquests of that country, attle on his side. Assured
which enslaves, as her Capua did the
army of the Carthaginian, by voluptuous confined to one pursuit. I would thereinsinuation. (P.23, 24.)
fore here only recommend the student to He then says:
fix his first attention on the great style, to My distinct and definite object is the study principles, and to form as correct
and pure a taste as possible, for if nature preservation of the strength and majesty should have denied him those of our national musical character. As the basis of a school of our own, novelty is he will descend to any subordinate station,
are necessary to maintain the highest rank, not more necessary merely as novelty and with advantages not commonly enjoyed by as food for the delicate and changeful ap- those with whom he is to contend; while petite of the public, than for the introduc
on the contrary, if he be too much emtion of new passages and new modes of expression, which mark the progress of ployed in the practice of the mechanical
parts of the art, he will become attached invention and of taste. It is come to a
by habit to inferior excellences, and can plain and simple alternative. We must either adopt the style and the manner of tion of the accomplishments that are the
never elevate his mind to the contemplaItaly and Germany, both in composition most truly desirable of attainment.—(P.51, and in execution, or we must be governed
52.) by laws of our own.-(P. 40, 41.)
We pass over the three letters These observations may be true that follow on the Vocal Music of the enough, but we question whether Church, the Concert, and the Theait is not rather too late in the day tre (which are very ably written) to think of being “ governed by our and proceed to give a specimen from own laws” in music. The wanton letter the 6th, on the Vocal Music of Muse of Italy dances over the grave the Chamber. It gives us a fasciof English song, and few appear in- nating, but assuredly not overdrawn dignant at the one, or seem to sympa- picture of one of the best delights of thize with the other. For our own « Home, sweet Home.” After speakparts, we consider that Rossini has ing of the public exercise of singing, given the final blow to our national the author thus proceeds: taste, and many of our composers
It is, however, in the absolute or in the (and among them, Bishop, who is
comparative privacy of the Chamber, that worthy of better employment) have vocal art is capable, if not of the most for some time past been giving us
grand, forceful, and sublime effects, yet nothing but feeble imitations of a
of the most pleasing, most pervading, and feeble original-Rossini. Their com most homefelt gratifications. Its power of positions are like the last worn-out penetration is commensurate with the fine impressions from an originally imper- temper and delicacy of the instrument em. fect plate. Rossini is the bleak of ployed. It is here, and here only, that music, he skims along the surface, music receives its utmost polish, and is but goes not to the depths of hará heightened by the praise and participation mony. He has grace-but little of those whom respect, friendship, esteem, energy :-a flow of ideas with but and love incite us to please. In public we
admire and we are astonished at the magni. confined variety of expression :-oc- ficent combinations of various art, and at the casional feeling, but no sublimity; facility to which a life of labour, devoted He is not to be mentioned with
to the attainment of execution, at length Mozart. Rossini seems to flirt with ascends; but in private, if we contract and Polyhymnia. Mozart, on the con concentrate our notions of the powers of trary, is overhead and ears in love the art, we combine them with the affecwith her. Rossini kisses her hand- tions. There can be no stronger proof of Mozart presses her to his bosom. this fact, than that those to whom it would Rossini is content with her words, be almost annihilation to witness the perMozart drinks in her sighs.
formance of a daughter, a sister, or a misFrom letter the 2d, “ On Style the finest powers, do yet derive from the
tress in public, admitting that they possess and Manner,” we extract with plea- limited exhibition of the same faculties in sure the following salutary and ex
the chamber, the highest possible intelleccellent advice:
tual enjoyment. The truth is, that our Experience shews us that scarce any one associations are in this respect boundless in singer, of whatever eminence, has risen to their empire over us, and not the least of the top of his art in more than one style. them is the conviction which we experience, Indeed there are causes which render the that the expression of particular passions possession of a diversity of talents almost and sentiments is connected with personal impossible. Like judgment and wit, the habits and recollections. These we appropowers which constitute the one destroy the priate. But we cannot bear that there other. The mind must be directed and should become the objects of indiscrimi