248 LITERATURE. commendation from us; and anxious as we might feel to dwell on the merits of her charming volume, it has placed us in an awkward predicament; for lo, it is printed but not published, intended only for private circulation. True, the contents have appeared in various periodicals; but it is delightful to have so many poems, “ grave and gay," pathetic or witty, thus assembled together; and we feel it is a tantalizing theme to expatiate on a volume which cannot be bought. We only know this-it is better worth money than nine out of ten of the volumes of so-called "Poems" which come before us. Our extract shall be one of those clever pieces in the style which our valued friend and contributor has made completely her own: BURNS' FIRESIDE LIBRARY: "The Magic, readers to need a word of introduction or reRing," a new translation from the German of De la Motte Fouqué; "Marco Visconti," from the Italian of Tomaso Grossi; "The Maid of Orleans," from the German of Schiller; "William Tell," from the German of Schiller.-The above are some recent numbers of the charming and deservedly popular "Fireside Library," a work which we always hail with satisfaction, and which we have so often had occasion to commend, that it must be familiar to our readers., The two "knightly romances" appear to be very able translations, and with that large class of readers who delight in minute "picture painting" they must be favourites. We turn, however, to the magnificent Dramas of the great German Poet as to those masterpieces of art which are to be studied rather than criticised by inferior minds. The plan of each of the two compositions is essentially different. In "William Tell" the facts of history are preserved with great fidelity; these admitting of powerful delineation of character, and the power and gorgeousness of poetical diction. But in the "Maid of Orleans" Schiller has aimed at illustrating something even higher than the truths of out ward action. In altering the catastrophe, and suffering Joan to fall by the sword while rescuing her King from his enemies, he but moulds her destiny as we could wish fate had done in reality; so that, after her death, conjecture would have loved to dwell on all that "might have been," picturing a king's and a nation's gratitude, and serene days of honour and happiness. The woman's heart and the unhappy love, which Schiller has bestowed upon her, bring her down from the wonder-working enthusiast to the human sufferer we can love and pity. The scene in which she is accused of sorcery by her father, and her tongue refuses to deny the foul charge--for she is stricken dumb by the consciousness of her own weakness, and cannot swear that she belongs to the " 'pure and holy" -is of surpassing beauty. And again, when she finds herself in the presence of Lionel, how strong is her resolve, how firm her faith, how completely in the most dread hour of temptation does she rise to the heroine; or, looking at her as the inspired of heaven, the Christian saint! We may remark that Mr. Henry Thompson, the able translator, has dedicated his work, by permission, to H. R. H. Prince Albert; and in cordially recommending this masterpiece of genius to such of our readers as have not the power of enjoying it in the original, we promise them a rich feast, especially if they feel and understand how high a branch of literature the Drama-apart from its fitness or unfitness for theatrical representation-really is. POEMS, BY MRS. ABDY.-This gifted and versatile writer is happily too well known to our THE WIFE OF A POPULAR MAN. Oh! what grief in my family circle was shown, day, Like Jenny's sad mother in "Auld Robin Gray," There, the envied possessor of fame universal a ban Is a common-place wife to a Popular Man!" Meanwhile, like a cherish'd young Queen on her | A moment's attention I rarely can find throne Is the bride lately wedded to Benjamin Drone; scan, Were she known as the wife of a Popular Man! Our scanty finances grow weekly more low, From these high-flown etherial "daughters of mind," Save my raised fever'd flush gives the cheering pre sumption That I glow with the deep hectic tint of consumption! Then my symptoms by each anxious damsel are reckon'd, Who longs to become Mrs. Brightly the second, MUSI C. "The Musical Treasury." G. H. Davidson, Water-street, New Bridge-street. This is a beautifully "got up" volume of vocal and instrumental music, wondrously cheap, and which, while it contains the greatest imaginable variety, from Beethoven's "Fidelio" to the "Russell Quadrilles," from Mr. Russell's songs, proves that a most correct judgment has been exercised in the selection. Every piece included here appears to us the best of its class, and many of the arrangements have been executed expressly for the work. Gems from the "Stabat Mater" of Rossini, "Martin Luther's Hymn," and several of Handel's sublime compositions, are here to be found. Favourite airs from many sources are variously arranged, and the most admired vocal pieces from La Sonnambula, Der Freyschutz, and Fidelio, might alone make it an acceptable collection; but the contents are too numerous to be specified. The vocal arrangements a little preponderate, but not more so than will be agreeable to the generality of amateur musicians. The richness of the binding, and the elegance of the printing, with its miscellaneous contents, render it especially suitable to the drawing-room music-stand. The Royal Artillery March," as played by the Royal Artillery Band at Woolwich. Composed by A. J. Rexford. Cramer, Beale, & Co. This is a very spirited and effective original march, worthy even of the reputation of Miss Rexford, whose former compositions, especially the "Flower Girl" and the Kenning's Waltzes we have by no means forgotten. "Oh, Araby, I often think of thee!" The music composed and sung by Miss Adeline Cooper. Addison and Hodson. A flowing melody in G major, with, for the most part, a graceful arpeggio accompaniment. It is one of the songs which strike the ear at once, and are not to be forgotten, and will no doubt win the popularity it so well deserves. It has the better chance of this, too, from being arranged within a moderate compass, "The Coquette;" a romance. Poetry by Coventry Patmore; music by J. W. Davison. Although coming before us out of the ordi nary channel, that is to say, in the pages of the Musical World, we cannot refrain from noticing this charming production. The lovers of poetry know what a rich volume is that by Coventry Patmore, and will remember the song beginning ""Tis fine, I vow, to see you now; The composer has caught the very spirit of the words, so that it is altogether a delightful song. The publication of first-rate vocal and instrumental pieces is a new feature in the Musical World, a periodical which seems to us to be more ably conducted than ever. It has recently been enriched with a translation from the German, by Albert Smith, in which this versatile writer puts forth new powers. Only those who have attempted it understand the extreme difficulty of executing a vigorous, and yet faithful metrical translation from a great poem. "Ah! why so cruel, fairest maid?" Ballad. The poetry by Dr. R. Mallet Coley, M.D.; the music composed and inscribed to his friend, John Lane, Esq., D.C.L., by George J. O. Allman. Prowse. We candidly confess it is "theme for wonder" to us how songs, which we seldom, or perhaps never hear at concerts, and which no public singer "takes up," and thus makes popular, reach a second edition; and yet (as the publisher informs us) such is the case with the one before us, although it has not been published many months. We do not remember to have met with it on the programme of any concert [our musically-learned friend, who is at our elbow, informs us that it was sung at the late Cheltenham Musical Festival, with, as the playbills have it, "undivided applause"]; and therefore, as it has thus reached a second issue, it is a most convincing proof that there is a great portion of the public who purchase songs for their own intrinsic merit, and not for the "pillar of strength" of the composer's name, or the adventitious aid of some Signora la Soprano or Signor il Tenore being attached to its title. To quote a contemporary-"The idea of the air is new, and the music in which it is expressed is at once scientific and bold." And in strongly recommending it to our readers, we will only add that the compass is so moderate, that it is suited to the register of almost any voice. It is dedicated to a gentleman who, although a barrister-at-law and a civilis legis doctor, is yet a most accomplished musician, besides being the possessor of the highest attainments in nearly all the branches of science and learning, and whose name must be well-known to all who are in any way connected or acquainted with the daily press of Great Britain. "Le Delizie del Salone." Twelve solos on themes of Marco Bordogni; arranged for flute and pianoforte. No. 8. Dedicated to John Lane, Esq., D.C.L. Prowse. though elegant and fanciful productions, are inferior to these. "Thou wilt forget." Ballad. Composed by Alexander Lee. Duff & Hodgson, Oxford-street. "Star of Joy." Song. Composed by Alexander Lee. Duff & Hodgson. Two very sweet songs, in Mr. Lee's best style. Our limits will only allow us to add that the first is the better one, although both are worthy of the popular and prolific muse of the writer. WAR AND PEACE. We took occasion to mention in our last number the Addresses" which are now occupying the atten"Mutual International Friendly tion of a large body of high-minded and philanthropic men on both sides of the Atlantic. It gives us great pleasure to find that this enlightened body are strengthening their numbers every day, and that every mail from America brings some gratifying assurances of Christian and friendly feeling from the New World. We abuses cannot be swept away at a stroke. In are well aware that old errors and time-engrafted the moral as well as in the physical world violent misery. But as the surges of the sea may convulsions cannot take place without ruin and slowly crumble away the cliff and create new An extremely good arrangement of an air of Bordogni's (we suppose one of his solfeggi), simple, yet adapted to the purpose. It is not difficult of execution, but nevertheless is brilliant and effective, and, as such, cannot fail to please all who possess themselves of it. The introduzione is by far the most musicianly part of it. Page 7 looks a little queer, and in page 8 is a land-marks, so do the surges of Public Opinion succession of octaves that might easily have sweep away one by one the dreadful customs been avoided, and we have no doubt has es-Universal history seems but a series of dissolv which owe their birth to the Night of Ignorance. caped the arranger's notice. Altogether it is a very superior work of the kind, and flute-ama-ing views; and the thoughtful feel how much teurs, who should be so much guided by style, cannot but be improved by it. "Six Hieder," for voice and piano; composed by F. Mendelsohn Bartholdy. Wessel, Frith-street. The best of these songs-those most deeply touched with the writer's characteristic and impassioned simplicity-are, "Over the mountain" and "She roves through the garden." The first, an allegretto in D major (9-8), is the farewell of a lover, sung under the lattice of his sleeping mistress. The melody has a charming pastoral simplicity and freshness, and the whole is written with the ease and grace which are as natural to Mendelsohn as the air that he beyond all others this is a Transition Age. Few now breathing may hope to live to see the day when WAR will be universally looked upon as the unchristian, hideous thing it is; but let all on whom the light has dawned do their utmost have felt more than gratified by the circumstance in spreading it to others. For our own part we of several poems, written in the Anti-War spirit, having recently been sent to us. One of the most temperate and it is no contradiction of our own ardent feelings on the subject to saytherefore the most appropriate will be found in our pages. Some are too long for insertion (and one by a popular and most esteemed author is on this account declined), and others replete breathes. "She roves through the garden" is with excellent sentiment are somewhat deficient a delicious morceau; and he that can resist the in literary merit. Violent attacks only strengthen deep and simple eloquence of its appeal, is nei- prejudices, which should be approached by genther lover nor minstrel. It is a grazioso in Atle and persuasive arguments; and while de(6-8), and in style is more decidedly characteristic of the writer than the other song. The point at the bottom of the second page, where the voice has a long note on the dominant while the subject is resumed in the bass, is not only a master-touch, but one peculiarly his own, and an effect, moreover, which has been imitated by many of the song-writers of the day. "Tis thus decreed" is a melody more suited to the EARLY CLOSING OF SHOPS. church than to the chamber. It reminds one The grand Annual Meeting of the Metroof the writer's chorals, and would make an ex-politan Drapers' Association took place at Coventcellent psalm-tune. The rest of the series, al- garden Theatre on the 27th of February, and we 66 precating War-except a defensive one-as an iniquity, let us pay due honour to the Standing Army; which, as the world is at present constituted, is a Stern Necessity, but one of the means by which, under Providence, we may hope to preserve Peace. believe there have been some more recent, keepers will find it their interest to close at though smaller ones. On the occasion to which reasonable hours, and the toil-worn assistants we refer the chair was taken by Lord Ashley, in all trades will have the means of religious, who was supported by several clergymen, mem- moral, and intellectual improvement placed bers of Parliament, and others. The theatre within their reach, as well as the softening, was thronged to such an extent that hundreds elevating influences of the social circle. From were turned away; but the speeches were lis- all these rights they are at present debarred; tened to by that mighty throng with breathless released from business as they are only when attention, and met the most enthusiastic res- lectures are over, and quiet families are retiring ponses. We have so often dwelt upon this to rest, they have no resource but the tavern. subject, that our arguments would seem trite Surely it is a crying shame that such things were we to repeat them; but we are willing to should be, sending thousands to an early grave, keep the exertions of this oppressed class before and degrading and embittering the lives of those our readers, because, after all, the redressing who survive. It is true that in some of the most their wrongs rests chiefly with the gentler sex. respectable metropolitan and provincial establishIf ladies will themselves discontinue late shop-ments the evil is abolished; but would that such ping, and forbid it in their households, shop- were a large majority instead of a minority. AMUSEMENTS HER MAJESTY'S THEATRE. Much as we may and do admire the opera of Nino, which our readers have doubtless witnessed before now, and the music of which has long since been published, we cannot forbear drawing some little attention to the ruler of the baton. Mr. Balfe is unequal to the task his post necessarily imposes on him. His indecision is but too marked, for one professing to lead the orchestra and follow the singer. This, on the first night, we were much inclined to attribute to the new position, not only of the conductor, but of many composing the orchestra; but when we find these glaring faults unremedied, we cannot refrain noticing the error. When we say glaring faults, we may appear to exaggerate; yet what would appear trivial faults elsewhere, here appear indeed glaring because we have been unused to meet with any. But no more on a disagreeable subject. The opera of Nino, or Nabucco, by Verdi, is like the Ernani and I Lombardi by the same artist, deficient in what is perhaps more looked for in the present day than any other desideratum, viz., MELODY; and even when he does launch out, we find him almost invariably basing it on, or taking for a starting point, one or other of the hackneyed forms of Donizetti. But in those portions not only of this composition, but of those we have before named, where declamatory music of the highest passion is introduced, we find Verdi revelling in what is indeed his forte; and though he gives the singers now and then a passage, to them of the most hazardous construction, even occasionally bordering on the extravagant, the frequent bursts of thrilling and beautiful passages render this peculiar gift of the composer perhaps the most vivid among the endowments of modern composers. Such is the concerted piece closing the first act of Nino, also the grand passage commencing "Oh! di qual onta," in the duet in the third act between Nino and Abigaille, and both of which have received a well-earned and deserved encore. Throughout, the opera is "noisy;" and we felt that even the most "sweetly sickliness" of Pasiello would have been a relief from what was not unfrequently an uproar of sound." Signora Sanchioli, in the role of the imperious Abigaille, has great natural power, her voice is both extensive and strong, and she evidently fulfils to the utmost those grandiose cantabile passages which abound in her part; yet before she can rank as a prima donna, there is a little wildness in her singing-resulting, we think, rather from inexperience than timidity-which must be corrected. By training, her acting too, would be greatly improved. Of Signora Corbari we augur more favourably, from her performances in the inferior character of Fenena, her rival. There is an exquisite freshness in her beautifully tuneful voice, not to mention her prepossessing appearance. Signor Corelli is the tenor, and Botelli the second bass. Fornasari, as the impious king, displayed all his excellencies and defects, unchanged from the time he last appeared before a London audience. Ernani is to be produced, but too late for our notice this month, and in which several new vocalists are to be tried. The ballet of Catarina, in which Mdlle. Grahn and M. Perrot take the principal characters, has succeeded to the utmost do not, however, admire the pas introduced, and "footed" by Mdlle. Grahn, with a gun; there is little poetry, little of the gentle poetry of motion in it. The new valse between Mdlle Grahn and M. Perrot, a pas with a mask, and three changes of costume, are also allotted to the fair danseuse, who rendered them very effective. Mdlle. Louise Taglioni made her first curtsey in Catarina, and reminded us, in her manner, of La Sylphide. She has, however, as yet, much to learn, and is fortunate in being so very young, and consequently having so much time before her. The new decorations of the house have been long the general topic of conversation, and so need no adverting to in our present remarks. We DRURY LANE. Mr. Macfarren's opera, Don Quixote, has already vanished from the boards, and one called The Crusaders, the libretto from the pen of Mr. Bunn, and the music by Mr. Benedict, has usurped its place. We are sorry to see the composer sacrificed by a most wearying display of pageantry. It is costly, gaudy, but it is also fulsome; and we apprehend this opera will rather sustain than promote the fame of the talented master from whom it proceeds; yet he does his best, and has fought against the dreadful odds of " pomp and circumstance" (not to mention also a very inefficient orchestra) with a victorious perseverance, and the victory is one that, we are sure, has not been easily obtained. The story is thus constructed :-Bohemond (Mr. Harrison) is loving with "two strings to his bow," viz., Almea (Miss Romer), protegée of the Man of the Mountain (Mr. Stretton), and a Christian lady, Yseult, of Toulouse (Miss Rainforth), who followed him to the Holy Land, to-find him false. This "delicate distress" is most brilliantly kept up by the plans of the arch-assassin -by Almea's relentings, and plots to save her lover; which plots are traversed by the jealousy of Ismael, an assassin youth (Mr. D. W. King). A siege is supposed to take place, and is fully described in the libretto; after which comes the final tableaux, when, in an unforeseen manner, all differences are settled, much to the satisfaction of the lovers, and doubtless of the audience. The ballet called, La Tarentule, has been received with great satisfaction, by an audience who "go to see a show," and they do see it. The dancing is unquestionably good, and the dresses, appointments, &c., in the usual style. Enough is as good as a feast; what too much is, the public may find out, if they will, within the walls of Drury; witness the superfluous display which, with a scanty allowance of good music, Mr. Bunn, with consummate effrontery, sets forth as a GRAND OPERA. HAYMARKET. Sir Edward Bulwer Lytton's play of Money has been revived, with an entirely new cast; but, alas! it was a lamentable failure in comparison with what we remember the cast to have been on its first representation; indeed many of the actors were quite out of their element. A broad farce, from the pen of Mr. Planche, and adapted from the French, has had great effect. It is called "The Irish Post," and in this the character of Terence O'Grady is cut to fit Mr. Hudson to a nicety. The farce of Lend me Five Shillings has had an undisturbed triumph on the boards. The Cabinet Question, in which Miss Julia Bennett performs so truthfully, and with her natural gaiety of manner, has not been neglected; while to fill up the time prior to the production of a new comedy, London Assurance (an old favourite) has reappeared, though labouring under the disadvantages of a new cast. We have little more space than that which is necessary to record the complete success of the new play with the taking title of The Beggar on Horseback. The metaphor implied is well carried out in the person of a "good-for-nothing," who is permitted to believe himself the owner of a splendid fortune just long enough to show the mischief he would have done had he been so in reality, and to open the eyes of the heroine of the piece, who makes a discovery more common in real life than in plays and romances, namely: that a second love may be a better love than a first one. The acting of Farren, Webster, and Mrs. Glover is beyond all praise, and most ably are they supported by Mr. Hudson, Miss J. Bennett, Mr. Tilbury, and Mrs. Seymour, who sustains the character of Emmeline. PRINCESS'S. We have the most disagreeable task in recording the failure of the masque called The Ruins of Athens, with Beethoven's music. Madame Vestris and Mr. Charles Matthews have had a welcome of the most enthusiastic kind; and in Follies of a Night, A Speaking Likeness, He would be an Actor, and in a new commedietta called Matthews and Co., have sustained their fame with the greatest success. Katherine and Petruchio and The Brigand have enabled Mr. Wallack to display his well-known and appreciated talents. ADELPHI. The Cabin Boy is now the leading piece at this theatre, the details of which were doubtless before our readers in the public journals, early in the month. The novelty has been a new farce, by Mr. Sterling Coyne-Did you ever send your Wife to Camberwell?—and is evidently constructed to suit the peculiar turn of Mr. Wright's talents. The house is in one continued roar from the rise to the fall of the curtain. Mr. Coyne, who is most happy in the construction of pieces like that under notice, has even outdone himself; and this alone would render him one of the most successful dramatic authors of the day. The following is a concise view of the plot, which we extract from the columns of the Morning Herald:—“ Mr. Chesterfield Honeybun, a scapegrace clerk, sends his wife to Camberwell,' to borrow a little money of his aunt, residing there, in order to clear the coast for an assignation which he contemplates. While preparing his outward man for conquest, he is visited by a philosophical enthusiast, Mr. Cranks, who has taken the adjoining chamber, on the sly, wherein to perform experiments for bidden by his better-half at home. Having made a vain application to his neighbour as to the loan of a pair of bellows, the philosopher petulantly retires, leaving his hat inadvertently behind him. His wife, who is seeking her truant husband, and has traced him to the house, enters, and fancying by the well-known hat that she is in the right apartment, places the infant she has brought with her in Honeybun's bed. From this mistake a bundle of humorous dilemmas are evolved. Jealousies arise on all sides, and half an hour is spent very pleasantly in watching the accumulation of cross purposes, |