Imágenes de página
PDF
ePub

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," pre-, sent a noble instance of honour and integrity. Many useful applications may also be made from the other Tales.

[ocr errors]

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.

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, senr. pp. 10. 3s. 6d-A Mo tett, 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 ma drigals is distributed among the various 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!

antiques

antique. With the French, a motet

name

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 "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 *.

[blocks in formation]

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 vocal musick, and we think the present some theoretical works and favourite publication will not add much to his This Divertisement consists of 8 or 9 fame, whatever it may to his purse. 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 Prusthe title-page has the most merit. sian waltz, &c. Of all the pages, The border round the musick-plates is childish and unsightly.

14. "O my Heart," petit Rondeau ; the Words and Music by David Hus

ton. Is.

AS this appears to mark Mr. Huston's début as a composer, we are disposed to judge of his performauce 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 Cinverted 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 car 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,' by Moore, an author whose musick 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.

[ocr errors]

SELECT POETRY.

LOVE. By Lord BYRON. -YES! Love, indeed, is light from Heaven,

A spark of that immortal fire-
With Angels shared-by ALLA given

To lift from Earth our low desire.
Devotion wafts the mind above,
But Heaven itself descends in Love:
A feeling from the Godhead caught,
To wean from self each sordid thought:
A ray of HIм who form'd the whole,
A glory circling round the soul.

On the Death of SIR PETER PARKER, Bart.
(See our Obituary, p. 400.)
By Lord BYRON.

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:
In vain their bones unburied lie-
All Earth becomes their monument !
A tomb is their's on every page-
An epitaph on every tongue :
The present hours, the future age,

For them bewail--to them belong.
For them the voice of festal Mirth

Grows hush'd-their name the only
sound,

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
In woe that Glory cannot quell,
And shuddering hear of Victory,

Where one so dear, so dauntless, fell.
Where shall they turn to mourn thee less?
When cease to hear thy cherish'd name?
Time cannot teach forgetfulness,

While Grief's full heart is fed by Fame. Alas! for them-though not for thee

They cannot chuse but weep the more; Deep for the dead the grief must be,

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, Swift to the skies ascended;

But WEST's "blanch'd tresses," doubly
dear

To grateful hearts and love sincere,
A bumbler fate attended.

[blocks in formation]

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, urba
nity,

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 val ley 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 sea-
son 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;
Birds are flush'd and pointer beat;
Nothing in your bag to eat;
Gun recoils and gives a shock,
Often goes off at half cock,
Stormy wind up (patience tries),
Blows the powder in your eyes;
Pointer sets-ah! steady Fan!
Only flashes in the pan;
Ready with fatigue to sink,
Very dry, and nought to drink;
Flint escapes from out the socket,
Not another in the pocket;

Walk some miles, and make a pother,
Ere you can procure another;
Come back in a surly fit,
Birds get up, and cannot hit;
Though the game is mark'd by you,
Hill or hedge impedes your view;
Weak and feeble as a mouse,
Five miles off a Public-house;
See a man go on before,
Killing twenty brace or more;
Pointer-bitch is big with whelp;

Hedge impedes-she wants your help;
Friends at home, wish game to kill,
Order'd off by Landlord's will;
Forc'd to traverse home again,
Discontented, full of pain;
Now you reach your own fire-side,
Wife rebukes, and friends deride;
Full of vapour, full of spleen.
These I've witness'd-these I've seen,

[merged small][merged small][merged small][ocr errors][merged small][merged small][merged small]
[blocks in formation]

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,

phons catch,

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 re-
And old printers names from their colo-
[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
WHITCHURCH would pray,
And in dark WINTER'S moru, cry: 66 arise,
it is DAY!"

Long a LEGATE he sought, and a HOOD kept
with care,
[were there;
For saints, JULIAN NOTARY, and CRISPIN
Though proud of an EMPEROWR, he'd an
But like TURK to the poor ne'er gave PĚNNY
OLIVE display,
[away.

*See an obsolete poem called "The Pursuits of Literature."

No

NO FOREST he knew, he wou'd

ROOD,

I'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 ENG-
LAND 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 coоKE serv'd with

WISE or WODE he would HUNT, a bold RIDER
for HILLS,
[NICK, and WILL'S,
With STIRRUP and REYNES seeking 1OHN,
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, GOD-
FRAY, 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, OF CARTER, OF 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.

The sygne of the sunne might its radiance
exhaust,
[FAUST:

To count up from TREVERIS to old German
He had POWELL for Ireland, LEKPREWIK the
SCOTT,
[Eame never got..
But WELCH
THACKWELL, uncertain, my

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 PEN might most
glowingly speak, [thiques:
Of the bright blazing red in the lettres go-
Of margins illumin'd, and how borders dis-
play
[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

[blocks in formation]
« AnteriorContinuar »