surrounding integuments are erysipelatous. The discharge is thin and serous, and the pain considerable. This is divisible into two varieties: first, the true phagedenic, which does not go deeper than the skin, but spreads rapidly along the surface. This kind frequently stops in its progress suddenly, and skins over as fast as it spread. Second, the noma, or penetrating phagedena, which extends deeply, penetrating sometimes perpendicularly down through the cellular substance to the muscular fascia; at other times, proceeding more irregularly, penetrating deeper at one part than another, and having its margins ending less abruptly in the neighbouring skin. This never cicatrizes rapidly; but, sometimes, when the sore assumes a healing appearance, it suddenly becomes again diseased, and a considerable portion sloughs off. The alternation of proceeding a certain length in the cure, and relapsing, is frequently repeated, and often renders the disease very tedious.' The method of cure recommended is, according to the nature of the morbid surface, either to destroy it by caustics, or to stimulate by the application of opium in powder, mixed with simple ointment. This dissertation contains some very curious descriptions of anomalous ulcers, which may be perused with great advantage: but it would be unjust to the author to attempt an abridgment of what ought to be attentively considered in detail. In the fourth Dissertation, Mr. Burns introduces to our notice a disease, which he considers as either not yet described by writers, or as improperly referred by them to the class of cancers -he terms it the Sponguid Inflammation. We insert his description of it: This disease begins with a small colourless tumor, which, if there be no thick covering over it, such as the fascia of a muscle, or the aponeurosis of the foot, is soft and elastic, but tense if otherwise. It is at first free from uneasiness; but, by degrees, a sharp acute pain darts occasionally through it, more and more frequently, until the sensation becomes continued. For a considerable time, the tumor is smooth and even, but afterwards it projects irregularly in one or more points; and the skin at this place becomes of a livid red colour, and feels thinner. It here readily yields to pressure, but instantly bounds up again. Small openings now form in these projections, through which is discharged a thin bloody matter. Almost immediately after these tumors burst, a small fungus protrudes, like a papilla, and this rapidly increases, both in breadth and heighth, and has exactly the appearance of a carcinomatous fungus, and frequently bleeds profusely. The matter is thin, and exceedingly fœtid, and the pain becomes of the smarting kind. The integuments, for a little around these ulcers, are red, and tender. After ulceration takes place, the neighbouring glands swell, and assume exactly the spongy qualities of the primary tumor. If the patient still survive the disease in its present advanced progress, similar tumors form in other parts of the body, and the patient dies hectic. 6 • 00 On examining the affected parts after death or amputation, the tumor itself is found to consist of a soft substance, somewhat like the brain, of a greyish colour, and greasy appearance, with thin membranous-looking divisions running through it, and cells, or abscesses, in different places, containing a thin bloody matter, occasionally in very considerable quantity. There does not seem uniformly to be any entire cyst surrounding the tumor, for it very frequently dives down betwixt the muscles, or down to the bone, to which it often appears to adhere. The neighbouring muscles are of a pale colour, and lose their fibrous appearance, becoming more like liver than muscle. The bones are uniformly caries, when in the vi cinity of these tumors. If large, they are found rough, and broken off into fragments; if small, they are generally soft and porous. This tumor is sometimes caused by external violence; but often it appears without any evident cause.’ The only remedy proposed for this disease is early extirpation. Most of the cases related at length by Mr. Burns, to support his view of the disease, appear to be only instances of the white caries; a disease well understood among the surgeons of this country. Dissertation V. treats of Scrophulous Inflammation; and, as it contains less affectation of new terms than most other parts of the work, it will be read with more pleasure, and more benefit; though, on such a subject, novelty is not to be expected. Mr. Burns has found the nitrous acid useful in scrophulous ulcers. In the last Dissertation, we are presented with a view of Cancerous Inflammation; and here we meet with many judicious remarks, unfortunately obscured by the new language which we hope the author will employ more sparingly in his promised additional volume, containing an account of Venereal InflamWhile the medical public are pressing forwards with essential improvements, they will feel impatience when the Opinionum Commenta occupy too large a space in new books. ART. XII. Dramas and other Poems, of the Abate Pietro Metastasio. Translated from the Italian by John Hoole. 3 Vols. 8vo. 11. 1S. Boards. Otridge and Son. 1800. We have felt considerable compunction at being so long prevented, by a crowd of other articles, from giving our opinion of this pleasing publication :-but our concern was. somewhat abated by the recollection that six of the dramas of Metastasio, rendered into English by this diligent Italian translator, had gone through our hands many years ago; and that, as those six dramas constitute a part of the present volumes, our delay might be deemed more excusable. Mr. Hoole manifests that he is a very honest editor, by pointing out to English readers, in his preface, all that the most severe Italian critics on his Hero have urged against him, after his decease. From some of these charges, however, Mr. H. might have defended his original author; and, without flattering him, or deceiving the public, he might have safely said that Metastasio was regarded as the most perfect lyric poet that modern languages and modern times have known. Homer, Virgil, and Milton, have had their censurers, and so has Metastasio-but who shall dispute the palm with him in writing dramas for music that will bear perusal in the closet, when separated from that exquisite composition, and those bewitching vocal talents, which rendered an audience indifferent and inattentive to the poetical merit of his pieces?-Apostolo Zeno in Italy, and Quinault in France, are the only competitors of Metastasio; and Italy has long preferred his dramas to those of his learned predecessors. Apostolo Zeno had great judgment, but little poetry. Quinault had great genius and true poetry: but his language and the plan of his operas were less favourable to music; and the music itself, with which Lulli invested his dramas, has long since been pronounced barbarous by all Europe. The writings of the imperial laureat, however, have lately been so amply detailed, and their merits so thoroughly discussed, in the memoirs of his life by Dr. Burney *, that little more remains to be said on the subject. To dissect, and tear limb from limb, productions that have so long stood the test of time, would be cruelty to a deceased author who constantly pleased and delighted the age in which he lived. If improvements and refinements in the musical drama have been discovered since his death, he is no more blameable for not having been the first to find them, than are his contemporaries for having been contented without them. The Egyptian kings, indeed, we are told, were tried after their decease: but few authors are so formidable as to stop sufficient inquiry into their merits during life. In looking back at our examination of the first six dramas of Metastasio, of which Mr. H. published his translation in 1767, we were rather surprized at the severity with which we had treated Artaxerxes; a drama which we find to have been more frequently set and sung in Italy than any of his other pieces. The music of Vinci at Rome, of Hasse at Venice, and the voice of Farinelli in London, had silenced P. $1. *See Rev. Vol. xx. N. S. p. 373. + See Rev. vol. xxxvii. poetical poetical critics: but we are not sure that Dr. Arne's bald version had not lowered this drama in our opinion, beyond the power of Mr. Hoole's better translation to lift it up. It obtained, however, more success on our stage than any English opera ever had, in spite of its dishabille. We now see blemishes and incongruities in this composition; yet the language, conduct, and sentiments are such, in the original, that they soften rigour; except in the character of Artabano, which is outrageously atrocious. The faults in the other personages arise from excess of virtue. To the Olympiad we were more lenient :-indeed there is a scene in that drama, which all Europe has allowed to be exquisitely beautiful and affecting; and the duet of that opera has been recommended by Rousseau and other opera critics, as a model of perfection. Titus had disarmed us; and this drama, as well as its hero, continues still to be the delight of human kind. In Demophoon, as an opera, has always retained its favour; and we still think as highly of it as we did 30 years ago. the year 1770, Mr. Hoole brought it on the stage as an English tragedy, under the title of Timanthes; with as much succes as pieces written in a taste so different from our own usually gain. Besides the operas of which a version had been previously published by Mr. H. we have now in the 1st vol. the Dream of Scipio; with five Cantatas, the most elegant productions of the kind, when they were first written, and when Cantatas were in fashion. The Dream of Scipio is too serious and philosophical for public exhibition, and for music: but it should be remembered that it was written as a festal song, or birth-day ode, for a court; and not for a mixed audience, before whom bustle, stage business, and variety of interesting events are necessary to keep attention awake, and to please all palates. The reasoning and sentiments, the Roman costumi, and the knowlege of the great characters introduced as interlocutors, manifest the abilities of a superior writer; and it must reflect honour on the poet's memory, that he never lost an opportunity, on these occasions, of giving such lessons of morality, wisdom, and virtue, as great personages seldom receive in a drawing-room under a royal roof.-The Advice reads best, among the Cantatas. How they all sing in the original, those lovers of music best know who have heard them performed by Pacchierotti, Rubinelli, or Marchesi, to the music of Sarti, Cimarosa, and Paesiello. Vol. II. All the pieces in this volume are new translations, except Demophoon, which was one of the dramas in Mr. Hoole's first publication. The rest are the following: Achilles in Scyros; Adrian in Syria; Dido; Etius; the Uninhabited Island; and the Triumph of Glory. All these operas, except the first, have been often performed in England; and they have been the favourite melo-dramas in Italy, Germany, Spain, Portugal, and all the northern capitals. The present translation of them confers a real benefit on lovers of music, in our metropolis, who frequent the opera without a sufficient knowlege of the Italian language to accompany the performers in the original. It will likewise enable them to form a more faithful idea of the beauties of Metastasio's poetry and sentiments, than they can ever acquire from the hasty and mangled translations which are purchased at the opera house. The Triumph of Glory is a beautiful and spirited Cantata on the subject of Achilles in disguise. As it seems also to be an abridgement of the drama written on that fable, we shall present it to our readers; in order to exemplify the translator's" success in these smaller pieces, which, in the original, are gems of the highest polish: THE TRIUMPH OF GLORY. The Son of Thetis languish'd out his hours To keep him still his own he every art bestow'd, Each word she spoke, Each simple, unaffected look, Fresh toils that might Achilles' heart ensnare Throughout the splendid walls around In silent groves, the friends to stol❜n delight, The feather'd songsters tune their wanton lay: Their limped course, and murmuring break, The enamour'd Hero wastes his days: Nor arms nor battle here employ'd his care, Contention, |