do not disdain to employ the pen in their service; and it is now found easy to render familiar subjects intelligible to the infant mind by plain and simple illustrations in elegant language. This is a very material advantage; and Authors who will thus condescend to instruct, are rendering service to the world at large. This little work of" Always Happy!" is written certainly by an enlightened female, who has been very judicious in the formation of an interesting story. In which opinion, we flatter ourselves, such of our Readers who may be induced to peruse it, will coincide with us. 43. The Holiday Reward; or, Tales to instruct and amuse Good Children, during the Christmas and Midsummer Vacations. By Mrs. Ventum. Harris, pp. 168. THIS would prove a very pretty and acceptable present to add to the Juvenile Library, containing eight instructive and most entertaining Tales. The story of "Industry and Idleness" is very impressively exemplified in William Wellings and Edward Travers. "The Industrious and Pious Sailor Boy" conveys an admirable moral, and there are many beyond the first stage of childhood, who might at least derive amusement, if not information, from these wellwritten Tales. 44. The Little Scholar's Mirror: consisting of instructive and amusing Tales. By a Lady. Harris. 12mo. pp. 234. THERE is no vehicle by which instruction can be so pleasantly, and at the same time so effectually conveyed to the young mind, as by the well-constructed and well- adapted Tale. Our young friends will find in the "Little Scholar's Mirror," whilst their fancy is beguiled with amusement, many excitements to virtuous exertions, and warning examples against vice. The Tale on "Imprudence" may caution the giddy to restrain themselves in their hours of sport. And "The Friends," present a noble instance of honour and integrity. Many useful applications may also be made from the other Tales. 45. Original Letters of Advice to a Young Lady. By the Author of The Polite Reasoner." Souter, 12mo. pp. 84. THESE Letters are by a female. Anthor, who, in a modest preface, claims only the merit of good intentions; a meed of praise we are by no means disposed to withhold. On the numerous subjects treated of, are some very excellent observations, but so strangely introduced and thrown together, that the title of Original Letters is most aptly applied.2 REVIEW OF NEW MUSICAL PUBLICATIONS. "A musical composition should have a beautiful natural melody; the connecting ideas should be well combined; it should have few ornaments, and especially should be free from curious refinements and all redundant accompaniments." 12. A Madrigal for Six Voices, inscribed to J. Fisher, Esq. by the Composer, Sam. Webbe, senn. pp. 10. 3s. 6d-A Motett, for Six Voices, inscribed to J. P. Salomon, Esq. by the Composer, Sam. Webbe, junr, pp. 8. 3s. 6d. A Madrigal, for Four Voices, inscribed to William Linley, Esq. by the Composer, Samuel Webbe, junr. pp.6. 2s. * THE principal distinction between madrigal and motet, at present, is, that the subject of the words of the former are pastoral, and that of the latter, religious. The modern names of these, according to Doctor Crotch, are glee, and serious glee, notwith * Published by Mr. Webbe, jun. 33, Newman-street, London. HAYDN. standing the received sense of the word glee. Yet he remarks that a madrigal generally consists of more than four vocal parts, while we observe that a glee usually consists of only three or four. Dr. Burney defines a glee to be "a song of three or more parts, upon a gay or merry subject, in which all the voices begin and end together, singing the same words." The melody of madrigals is distributed among the va rious parts more equally than the melody of glees, or, technically speaking, is more in the polyodic style; and the different voices cross and imitate one another more frequently: the harmony too is commonly more elaborate, and the modulation more antique antique. With the French, a motet is any piece of musick set to Latin words for the use of the Church. These words were anciently a very short sentence, on which account it is thought to have obtained the name "mottet, comme si ce n'étoit qu'un mot." Bethizy informs us that though the choruses of some motets have only four parts, the majority have five, aud others have six, seven, or a greater number. Mr. Webbe's motet is for two sopranos, an alto, tenor, and two basses. It consists of two movements, one in common time alla breve, the other in simple triple time of three minims, in the major mode of C. The motet begins in A minor, and ends in the relative major. No part rests more than four measures at a time, except the first soprano at the beginning. It would far exceed our limits to give any thing like a useful and satisfactory analysis of these meritorious compositions; we shall therefore content ourselves with recommending them to those musical societies wherein such scientific compositions can be performed with proper effect, and to the students of vocal harmony who would emulate the successful authors of these learned and interesting productions. The first madrigal is for a soprano, alto, two tenors, and two basses, aud consists of only one movement, which is in the major key of G. All these six melodies are in the compass of three octaves, and yet move with freedom, and are really melodious. We imagine there is too much sameness, on page 4, where each part in succession repeats "My Celia brighter," to the same notes; but we have had no better means of verifying this opinion than executing all the parts together, as far as possible, on a keyed-instrument. The last madrigal is for a soprano, alto, tenor, and bass, in D major. The soprano ends on the dominant *. 13. La Fête des Rois, a grand, heroic, military, and festive Divertisement, for the Piano-forte; composed in Honour of the Royal Visit of the Em * Giacomo Arcadelt, kapellmeister des cardinal di Lorena im 16ten jahrhunderte, ist der erste gewesen, welcher zu nom Madrigale in musik gesetzt hat, von welchen er ums jahr 1572 zu Venedig 5 bücher hat drucken lassen.' Kocu, 1309. peror of Russia and the King of Prussia to the Court of Great Britain, in 1814. By M. P. King. pp. 10. 4s. Button and Whitaker. WE know Mr. K. as the author of some theoretical works and favourite vocal musick, and we think the present publication will not add much to his fame, whatever it may to his purse. This Divertisement consists of 8 or 9 different movements in the key of D and its adjuncts, à la Russe, à la Prusse, the royal court, the grand banquet, the grand ball, the royal Prussian waltz, &c. Of all the pages, the title-page has the most merit. The border round the musick-plates is childish and unsightly. 14. 1 "O my Heart," petit Rondeau ; the Words and Music by David Huston. Is. AS this appears to mark Mr. Huston's debut as a composer, we are disposed to judge of his performance with more lenity than would be due to the more experienced musician. In several places, the bass of his little rondo shews the novice in harmonic combination, particularly in the sixth measure, where the minor triad of C inverted is followed by the major triad of B flat, the tonic of the piece; and in the 25th measure, where the bass note is injudiciously doubled. Middle D, as a crotchet, would improve the beginning of the 8th and 16th measures; D in the 23d, and G in the 31st measures, do not belong to the leading chord of the perfect cadence which the ear expects. The melody of the 17th, 18th, and 19th measures is rather languid, but the rest is pretty. In its rhythm it is exactly similar to Here's the bower,' whose muby Moore, an author sick we cannot hold up for imitation. We persuade ourselves Mr. H. possesses musical talent which deserves higher cultivation than it has yet received; and we shall therefore expect a new opportunity of recommending his composition. Mr. VON ESCH, (No. 20, High-street, Mary-le-bone) is about to publish, by Subscription, eight New Compositions, from letter I to Q, for the Piano-forte, Harp, &c. Subscription 21s. Mr. NICHOLSON intends publishing a new Flute Preceptor. SELECT SELECT POETRY. LOVE. By Lord BYRON. -YES! Love, indeed, is light from Heaven, A spark of that immortal-fire- To lift from Earth our low desire. On the Death of SIR PETER PARKER, Bart. THERE is a tear for all that die, A mourner o'er the humblest grave; But Nations swell the funeral cry, And Triumph weeps, above the Brave. For them is Sorrow's purest sigh O'er Ocean's heaving bosom sent: All Earth becomes their monument! Grows hush'd-their name the only While deep Remembrance pours to Worth The goblet's tributary round. A theme to crowds that knew them not Lamented by admiring Foes-Who would not share their glorious lot? Who would not die the death they chose? And, gallant PARKER! thus enshrin'd Thy life, thy fall, thy fame, shall be; And Early Valour, glowing, find A model in thy memory! But there are breasts that bleed with thee Where one so dear, so dauntless, fell. fed by Fame. Who ne'er gave cause to mourn before. On receiving a Lock of Mrs. WEST'S Hair. FAIR Berenice's locks of gold, By flattering courtiers we are told, But WEST's "blanch'd tresses," doubly dear To grateful hearts and love sincere, the season, With pleasures tumultuous and brief; To Sentiment sacred, to Friendship and Reason, Be that of the Fall of the Leaf. His feverish ardour attemper'd to sanity, The sun gives to nature relief; Disposing to tenderness, kindness, urbanity, He glows at the fall of the leaf. Her promise fulfill'd, Nature seems as reposing, The farmer has hous'd-in his sheaf; The gleaner, well loaded, her poor hovel goes in, Well pleas'd, at the fall of the leaf. 'Tis the season of bland, intellectual enjoyment, Content of its pleasures is chief; Anxiety sleeps, and each rustic employ ment Soon shall rest, at the fall of the leaf. Oh, thou! on whose cheek youthful springtide is glowing While Autumn, exceeding belief, Has matur'd thy young mind, like the orange-tree showing At once the fruit, blossom, and leaf. Ah, with thee might I rove, round the cropt sallow stubble, While Fancy's luxurious grief Should picture lost friends 'scap'd this valley of trouble, Recall'd by the fall of the leaf: Or stroll where the wood is with varied tints glowing, That give to each other relief; And Nature her richest apparel is showing, Ere she strip at the fall of the leaf. For oh, my young friend! the next season is Winter, On tiptoe Time steals like a thief; Life knows but four seasons-how few the last enter, But drop ere the fall of the leaf! Miseries Miseries of the First of September. RAIN comes on, when just begun, Spoils the powder in your gun; Walk some miles, and make a pother, Hedge impedes-she wants your help; dication, And all black letter dogs* who have passed initiation: These. MY late good-natur'd Eame oft would preach long and sage, [age: Censure idling of youth, extol virtues of For he lov'd his old acres, old woods, and [old books. old rooks, And his old easy chair, with old wine, and As he's dead, it were well in his library seat, [peat, Conning technical phrases that he'd oft reAnd old printers names from their colophons catch, [the sketch. To write life, bibl'ographic:-take scrip of Though born Georgii primo he a CAXTON would prize [round his eyes: 'Bove ten full-bottom'd Caxons to curl And the spell of black letter he ne'er thought absurd, [WORDE. For YOUNG bibliomaniacs love wYNKYN THE In a rebus no lady was half so deep read, Or statesman with devices ere cramm'd so his head; He his CREED thought unknown, but for Long a LEGATE he sought, and a нOOD kept But like TURK to the poor ne'er gave PENNY *See an obsolete poem called "The Pursuits of Literature." No ROOD, NO FOREST he knew, he wou'd swear by the [CAWOOD. Had oak covers to equal his BLACK-Or That the FIELD and the SHAW, and the BANKS near at hand, [COPLAND. Were unrivall'd, except by his WAY--and On the ton of dame fashion he laid little stress, [we guess; Save NOR-TON and SINGLE-TON, in vellum While GRAF-TON with MIDDLE-TON stood cheek by jowl, [his soul. Unique mayster FOLLING-TON raptur'd Oft with smile showing Joy he called ENGLAND his own; [stain'd and BROWN, Boasted BARLEY though short and his CORNE When LYNNE's goats were fox'd he'd a simile steal, [VEÁLE. 'Twas in no CASE to sacrifice ABRAHAM'S He as FISHER Caught FRIES (Walton tells no such thing) [for a LING: While the barb of his HOOKE held the BATE Then he'd COUSIN a CHAPMAN OF KNIGHT to the treat, [CHARD that was beat. Which the BUTLER and COOKE serv'd with WISE OF WODE he would HUNT, a bold RIDER for HILLS, [NICK, and WILL'S, With STIRRUP and REYNES seeking 10HN, As a FOULER he'd wYER that no wOODCOCK could spring; [like KYNGE. At the MEUSE, or in MARSHE, cast of MERLIN As he tippled his ypocras, malmsey, or sack, With PINSON like BEDEL, standing close at his back, He held converse with BERTHELET, GODFRAY, OF FAQUES, [new shakes. Or would chaunt all the carols of KELE * with If careless with BILLY MACHLINIA he sate, A WOLFE upon this side, and a LYON on that, Why his PORTER, or carter, or SHEPPERDE was bid, [KID. Of late, to place NELSON as a guard to his INSOMUCH as 'twas princely he ne'er would complain, [fill'd his brain; That no spinster once PREST him when LUSTE He in sheets long'd for widows: widow RED MAN his joy, [HERFORD to TOY. He clasp'd widow CHARLEWOOD and kept Thus his heart was unbound, as love's BOWER gave room, [dows JOAN BROOME, Widow YETSWEIRT was there, and the wiJOAN WOLFE and JOAN ORWIN, and while soft things he'd utter, [JOAN BETTER. Of famous JOAN JUGGE, he would melt for The faint rays of a well-preserved youth illumined his eyes, even at the verge of ninety-six at the first perusal of those singular specimens of ancient Christmas melodies, reprinted in the Bibliographical Miscellanies, Oxford, 1813. It would be difficult to describe his joy when informed by his bookseller, that he had secured for him the last remaining copy. When his FLOWER was cropt he'd show He'd a vowEL inlaid, and made HARRY TAB MANTELL Uncut, [strut By Charles Lewis in hogskin, who bound his tall MAN, 'Twas with scarlet in bands, dexter gild[ing the van. Here a lerned CLARKE'S FEN might inost glowingly speak, [thiques: Of the bright blazing red in the lettres goOf margins illumin'd, and how borders display [pray. Death and cardinal virtues, inviting to Then rich missal unfold, where the PAIN TER bears part, [infantine art: Whose colouring, though matchless, shows In romance seek a monster that with no text agreeth, [beneath. Nor thing heavenly, earthly, or in wave Nor forget the wood cuts that such raptures afford, [dreas Boarde: Whose inventor founds lineage of AnAnd refer for choice specimens stole from that mint, [reprint. Unto DIEDIN's new Ames, or a TRIPHOOK'S But he's gone:-can one TRIPLET his memory save, [DE-GRAVE? Can his BISHOP interr him? his BOYS WALWith but putting in boards can his spirit be fled? [dead! Why he ne'er got a COFFIN until he was Ah, no, with his volumes would tarry his soul, Etroul, Could folios, could big-belly'd quartos conOr octavos et infra; nay, studious be seen With a twelves in morrocco, or russia sixteen. Shade of PATERSON, shall his collection disperse, [verse? And one alphabet crush ev'ry class prose and Nor tell all that the imp. on fly leaf can portend? [mend? Norimp. that be hallow'd and no devil could What his coll. and per. means, leave the novice to guess; Or, when made in fac simile, per, by M.S. Leave surprise and delight for maniacal lover, [to discover. Neat joints, hollow back, and small squares Leave EDITIO PRINCEPS, uncut, UNIQUE, rare, With SMALL CAPS, and italics, friend LEIGH to declare By large paper catalogue at hammer's deci sion, [mission. As BEN measures margin to enter com CRISTOFER Valdarfer. |