And with the sudden whirlwind of thy breath You were not wont to make your visitation So short and careless. Nev. Tis your jealousy, That makes you think it so; for, by my soul, All things that might be burdensome, and oppress me.~ And the morn faster goes away from me, Scud. Good morrow, Sir. Think I durst show it you Nev. Now, by my life, I not desire it, Sir; Nor ever lov'd these prying list'ning men, That ask of others 'states and passages: Not one among a hundred but proves false, Envious and sland'rous, and will cut that throat He twines his arms about. I love that Poet, That gave us reading "Not to seek ourselves Beyond ourselves." Farewell. Scud. You shall not go. I cannot now redeem the fault I have made Nev. Now, if you love me, do not wrong me so; Scud. O you have pierced my entrails with your words, And I must now explain all to your eyes. (Gives him the Letter.) Read; and be happy in my happiness. Nev. Yet think on't; keep thy secret and thy friend A probable reason to distrust thy friend, I starve for counsel; take it, look upon If you do not, it is an equal plague As if it been known and published. it. For God's sake, read; but with this caution,- Or a dear son exhausted out of them, Should you betray the soul of all my hopes, Nev. I read it, fearless of the forfeiture :- Scud. What means my Nev. This day this Bellafront, this rich heir Scud. I prithee do not mock me ;-married!— Scud. O that this stroke were thunder to my breast, For, Nevill, thou hast spoke my heart in twain; "That the music of the ancients," says Jeremy Collier, "could command farther than the modern, is past dispute. Whether they were masters of a greater compass of notes, or knew the secret of varying them the more artificially; whether they adjusted the intervals of silence more exactly, had their hands or their voices further improved, or their instruments better contrived; whether they had a deeper insight into the philosophy of nature, or understood the laws of the union of the soul and body more thoroughly; and thence were enabled to touch the passions, strengthen the sense, or prepare the medium with greater advantage; whether they excelled us in all, or in how many of these ways, is not so clear; however, this is certain, that our improvements in this kind are little better than ale-house crowds (fiddles) with respect to theirs," The effects of music among the ancients, are said to have been almost miraculous. The celebrated ode of Dryden has made every one acquainted with the magic power of Timotheus over the emotions of the human heart. And all, who have read any thing of ancient history, must have remarked the wonderful effects attributed to the musical instrument in the hand of a master. Among a hundred other stories, which evince the power of music, is the following: Pythagoras was once likely to be troubled at his lecture, by a company of young men, inflamed with wine, and petulant with the natural insolence of youthful levity. The philosopher wished to repress their turbulence; but forbore to address them in the language of philosophy, which they would either not have attended to, or have treated with derision. He said nothing; but ordered the musician to play a grave majestic tune, of the Doric style. The effect was powerful and instantaneous. The young men were brought to their sober senses, were ashamed of their wanton behaviour, and with one accord tore off the chaplets of flowers with which they had decorated their temples in the hour of convivial gaiety. They listened to the philosopher. Their hearts were opened to instruction by music, and the powerful impression being well timed, produced in them a permanent reformation. How desirable is it to revive the music of Pythagoras! How concise a method of philosophizing to the purpose! What sermon or moral lecture would have produced a similar effect so suddenly? But nothing of this kind was ever produced by the most successful efforts of modern music. Let us suppose a case somewhat similar to the preceding. Let us imagine a number of intoxicated rakes entering the theatre with a professed intention to cause a riot. Such a case has often been real. The music in the orchestra has done all that it could do to sooth the growing rage; but it was as impotent and contemptible as a pistol against a battery. It would be a fine thing for the proprietors, if a tune or two could save the benches, and the fiddlers preclude the carpenters. But Timotheus and the Doric strains are no more; yet, surely, in so general a study of music it might be expected that something of their perfection might be revived.* Vicesimus Knox. MUSICAL ANECDOTES. A GRAND MOVEMENT. As it A musical instrument-maker of Bremen was on the point of failure, and his creditors watched him so close, that he could not get a pin's worth carried away. He be thought himself of a singular stratagem for deceiving his watchmen. He got together about a hundred and fifty musicians, his friends, in the shop, and set them all playing with the different instruments there, the overture of the "Gazza Ladra." was night, at each movement of the orches tra, he contrived to throw some article of furniture from the back window, and the fall was so managed, that, from the noise of the instruments, no one perceived it. At last, to finish the affair so happily begun, at the end of the concert, each musi cian went out with his instrument. The artist went out last, and locked the shopdoor, leaving nothing to his creditors but a bust of Ramus. AN ACCOMPANIMENT. The most singular spit in the world is that of the count de Castel Maria, one of the most opulent lords of Treviso. This roasts at once, and plays twenty-four tunes, spit turns one hundred and thirty different and whatever it plays, corresponds to a certain degree of cooking, which is perfectly understood by the cook. Thus, a lent at the 12th air; a fowl à la Flamande, leg of mutton à l'Anglaise, will be excelwill be juicy at the 18th, and so on. It would be difficult, perhaps, to carry farther the love of music and gormandizing.* BEETHOVEN. Ludwig von Beethoven was born in 1770 at Baun, where his father was then tenor singer in the chapel of the elector of Cologne. At an unusually early age he was able to perform that first of all works for forming a finished player on the organ of the piano-forte, the preludes and fugues of Sebastian Bach, called "Le Clavecin bie tempéré." At this time he displayed equal progress in composition; for, in the same year, he published variations to a march, sonatas, and songs, all for the piano-forte. In 1792, he was sent by the elector to Vienna, as court-organist, to study the theory of music under the celebrated J. Haydn, who, on leaving Vienna for London Furet de Londres. two years after, intrusted his pupil to the care of the learned Albrechtsberger. He was then more distinguished for his performance than his composition. Judging by the criticisms of his early works, harsh ness of modulation, melodies more singular than pleasing, and an evident struggle to be original, were among the principal faults of which he was accused. Severe as these critics were on him as a composer, they were lavish in their praises of him as a player. In their opinion, no one could equal him in spirit and brilliancy of execution; and nothing more was wanting to perfect his performance, than more precision and distinctness of touch. His greatest power consisted in extemporary performance, and in the art of varying any given theme without the least premeditation. In this he approached nearest to Mozart, and has never had a rival since. The precarious situation of the court of Cologne during the war, and the death of the elector in 1801, in whom the art of music lost one of its most zealous patrons, induced Beethoven to choose Vienna as his permanent residence. As original and independent in his general way of thinking, as in his musical productions, a decided enemy to flattery, an utter stranger to every thing dishonourable, he disdained to court the favour of any one, however wealthy or high in rank. He has consequently resided nearly thirty years in that splendid metropolis, in open hostility with many; and in friendship with only a few, whom the admiration of his great genius will not allow to take offence, either at the singularity of his manner, or the candour with which he gives his honest opinions. Till very lately, he had hardly any other emolument than what his compositions produced him, and consequently he was too often in circumStances very unworthy of such a great genius. In Austria, the native composers have experienced a neglect similar to that which Frederick the Great displayed to the literati of Prussia. Salieri, the Italian, has all the honours and emoluments of principal maestro di capella to their majesties; whereas the inimitable Beethoven relies entirely on his own strength, without the smallest portion of imperial munificence. It must have been a consideration like this, together with the increase of difficulties, that determined him, in 1809, to accept an offer from the new Westphalian court of Jerome Buonaparte, of the situation of maestro di capella. Fortunately, for the honour of Vienna and of Austria, the archduke Rudolph, and the princes Lobkowitz and Kinsky, induced him to alter this resolution. In expressions at once the most favourable and delicate, these princes had a document drawn up, by which they settled on Beethoven an an nuity of 4000 florins, with no other condi tion, than that so long as he derives the benefit of it, he must reside at Vienna, or in some other part of the Austrian domi. nions; but he cannot travel into foreign countries, unless with the consent of his patrons. Vienna has thus become the place of his abode during the principal part of his life. Although he had a great wish to see foreign countries, particularly England, he has never applied for leave of absence to the archduke Rudolph, who is now his only patron, the princes Lobkowitz and Kinsky being dead. It has, however, been doubted whether his presence would add, either here or any where else, to his celebrity. His warmth of temper, extreme frankness, and singularity of manners, (which he is little able to rule according to the prescribed forms of society,) his little reserve in judging of people, and above all, his great deafness, seem little calculated to endear his person to the true admirers of his genius. Notwithstanding these foibles, which more frequently belong to great than to ordinary men, his character, as a man and as a citizen, ranks deservedly high. There is a rectitude in his moral conduct, which ensures to him the esteem of every honourable person. Beethoven's works are universally acknowledged to be, for the greater part, productions of the highest order. In the loftier strains of composition, he has attained so eminent a rank, that it is difficult to say who excels him. In many of his orchestral symphonies, overtures, quarlettos for the violin, concertos, trios, and sonatas for the piano-forte, he may be placed without the slightest presumption by the side of Haydn and Mozart. His overture to the "Men of Prometheus," and his pianoforte concerto in C minor, Op. 37, would alone be sufficient to immortalize him. They will ever be heard with delight after any overture or concerto, even of Mozart. A list of his works is copied from that very excellent periodical work, the "Harmonicon," into the "Biographical Dictionary of Musicians," from whence the present notice of Beethoven is derived. The talents of a Haydn and Mozart raised instrumental composition in Germany to an astonishing elevation; and Beethoven may be said not only to have maintained the art in that stupendous alti tude, but even in some respects to have brought it to still higher perfection. Reichardt, in his letters from Vienna, says, "Haydn drew his quartets from the pure source of his sweet and unsophisticated nature, his captivating simplicity and cheerfulness; in these works he is still without an equal. Mozart's mightier genius and richer imagination took a more extended range, and embodied in several passages the most profound and sublime qualities of his own mind. Moreover, he was much greater as a performer than Haydn, and as such, expected more from instruments than the latter did. He also allowed more merit to highly wrought and complicated compositions, and thus raised a gorgeous palace within Haydn's fairy bower. Of this palace Beethoven was an early inmate; and in order adequately to express his own peculiar forms of style, he had no other means but to surmount the edifice with that defying and colossal tower, which no one will probably presume to carry higher with impunity." "If any man," says the Quarterly, Musical Review," can be said to enjoy an almost universal admiration as a composer, it is Beethoven; who, disdaining to copy his predecessors in any, the most distant, manner, has, notwithstanding, by his ener getic, bold, and uncommon style of writing, carried away the prize from our modern Olympus. His peculiar beauties may be enumerated as follows: originality of invention uncommon passages -a very energetic manner-imitative passages almost innumerable-and abstruse scientific modulation. The first of these peculiarities, no sincere lover of music who has heard any of his symphonies will refuse to admit ; and it is principally to this prominent feature in all his works that the fame he has acquired is owing. There is something in the first movements of all his overtures and symphonies, which, to the hearer, conveys a clear impression that the piece is not similar to any he ever heard before by other composers. The frequent employment of discords unresolved with a full harmony, the apparent sombre cast of expression by a continual richness and depth of the bass, the evident preparation for some beautiful allegro or vivace movement; all these conspire to raise the author in our estimation, and to keep our attention alive. Yet, when he does lead us to the quick, it is not upon a light, unmeaning, or dance-like passage, that he chooses to work; conscious of his resources, he gives an excellent subject, gradually rising into importance as the in struments one after the other join in the stringed chorus; and when (as Maister Mace would say) that vast concording unity of the whole band comes thundering in,' we perceive with what admirable skill the orchestra are brought together, and afterwards, to the latter part of the piece, continue our admiration of the scientific manner in which the parts are worked up. The conclusion leaves us in regret." In Beethoven's" Mount of Olives," the introductory symphony is considered to be so affecting and appropriate as to be equal, if not superior, to Haydn's introduction, or representation of "Chaos" in the "Creation." The whole is a striking instance of his originality of invention. With respect to his energetic manner, nearly the whole of his works abound with specimens of this description of beauty. Yet, however, in the midst of his energy, variety, and abstruseness, ideas may sometimes be discovered which create enthusiasm solely from their simplicity. Of this description is the wellknown passage in his "Battle Sinfonia," where the one fifer is supposed to be heard attempting to rally the disordered ranks of the French army, by playing their national air of " Malbrouk," which he performs in a minor key, from his own presumed thirst and fatigue. It is said that Beethoven does not write down a single note of his compositions till he has mentally completed them, and that he holds his own earlier compositions in contempt. He usually passes the summer at the pleasant village of Baden, about twelve miles from Vienna. He is very deaf, but can hear without the assistance of any machine, when addressed loudly and distinctly. His principal amusement in the country is taking long walks in the most romantic parts of the vicinity; these excursions he sometimes extends even through the night." ANNE DE MONTMORENCY. Of the sanguinary character of this constable of France some idea may be formed by the specimen which Brantome has given of his favourite orders." Go! Let me see those rascals stabbed or shot directly! Hang me that fellow on yonder tree! Hack me to pieces those scoundrels this moment, who dared to defend that church against the king's forces! Set fire to that village, d'ye hear! Burn me all the country for a mile round this spot!" Biographical Dict. of Musicians. Fac-simile of a French Assignat for Ten Sous, REFERRED TO IN THE FOLLOWING COMMUNICATION. To the Editor. Dear sir,-Perhaps you may esteem the enclosed as a curiosity worthy of a place in the Table Book. It is a genuine specimen of the assignats used in lieu of money during the French revolution. I believe there are very few now to be had. It was given to me by a French gentleman, whose father (a native of Normandy) had lost considerable sums by them. He had unfortunately converted most of his property into assignats, as a precaution during those times, which, although eventually of so much benefit to the French nation, were so distressing while they lasted. But when the use of coin was resumed, he found his intention frustrated, and himself deprived of all his fortune. This gentleman had been the means of assisting the duke and duchess of Chartres in their escape to England, after having concealed them for some time in his own house. They left him with reiterated assurances of liberal recompense and future patronage, should they ever be so fortunate as to return to their native country-they did return-but their Norman benefactor was forgotten-he never heard any thing more of them." Telle est la récompense de loyauté !" was the concluding remark of his son, who related the story to me. pos. He was a pleasant specimen of a Frenchman-light, kind-hearted, and extremely enthusiastic; but his enthusiasm was equally bestowed on the most important or the most trivial occasion. I have seen him rise from his seat, stretch his clasped hands out at full length, and utter with rapturous ecstasy through his clenched teeth, "Ah Dieu! que c'étoit beau !" when perhaps the subject of his eulogy was the extraordinary leap of some rope-dancer, or the exaggerated shout of some opera-singer, whose greatest recommendation was, that she sessed " une voix à enlever le toit." He had a habit of telling immensely long stories, and always forgot that you had heard him relate them often and often before. He used to tack his sentences together by an awful" alors," which was the sure sign of his being in the humour (although by the by he never was otherwise) for telling one of his pet anecdotes, or, more properly, interminable narratives, for such he made them by his peculiar tact at spinning them out. He had three special favourites;-the one above related of aristocratic ingratitude;-another about Buonaparte's going incognito every morning, while he was at Boulogne sur Mer, to drink new milk at the cottage of an old woman, with whom he used to take snuff, and talk quite familiarly; and the last and best-beloved, an |