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umbrella, seeing the lights gradually We went to these celebrated gar- put out. It was a very refreshing dens on the night of the late storm, sight. and stood under the orchestra and an
To the Editor of the London Magazine. Mr. Editor. I observe that the for their pattern :-examples of this would Reviewer of Peele's Jests, in the last be needless and endless. Mr. Jonson proLondon, is somewhat puzzled by posed Plautus for his model, and not only the epithet clenches, applied to them borrowed from him, but initated his way
of wit in English. There are none who have by Ant. à Wood, and hazards a con
read him, but are acquainted with his way jecture, that it means “ shifts or of playing with words. I will give one stratagems.” In this, however, he example for all, which the reader may find is mistaken—it was formerly a com- in the very entrance of his works,- I mean mon expression for a quibble, or the prologue to · Amphitrion.' play upon words, though about its
Justam rem et facilem oratum à vobis volo; etymon I am quite as much in the Nam juste ab justis justus sum Orator dadark as the Reviewer himself. I do not just now recollect the occurrence Nam injusta ab justis impetrare non decet; of the term in any of our earliest Justa autem ab injustis petere insipiendramatists, and rather think it was
tia 'st. introduced about the commencement Nor might this be the sole reason for of the seventeenth century:-in many
Mr. Jonson's imitation, for possibly 'twas of our dictionaries it still retains a his compliance with his age that induced place. The latest instance of its use
him to this way of writing, it being then, I can hit upon is in a paper called
as Mr. Dryden observes, in the postscript to
his “ Conquest of Granada," the mode of “A New Session of Poets for the
wit, the vice of the age, and not Ben Jon. Year 1730," printed in the Gent.
son's. And besides Mr. Dryden's taxing Magazine for 1731.
Sir Philip Sydney for playing with his Some brought in whole volumes of clenches words, I may adı, that I find it practised
by several dramatic poets who were Mr. And one by mistake brought a parcel of Jonson's coten poraries; and, notwithduns.
standing the advantage which this_age The inclosed extract from Lang- claims over the last we find Mr. Drybaine's “ Account of the Dramatic
den himself, as well as Mr. Jonson, not Poets,” 1691, p. 149, you will find
only given to CLINCHES, but sometimes very
a CarWICHET, a QUARTER-QUIBBLE, “germain to ye matter.”
or a bare Pun serves his turn. Give me leave to say a word or two in defence of Mr. Jonson's way of wit, which
I shall conclude my remarks on Mr. Dryden calls CLENCHES.
this weighty affair with a “ modern There have been few great poets which instance," consisting of a whole string have not proposed some eminent author of clenches :
SONNET ON A YOUTH WHO DIED OF EXCESSIVE FRUIT-PIE.
Currants have check’d the current of my blood,
And berries brought me to be buried here;
And plums and plumbers spare not one so spare.
Lessens not fate, yet 'tis a lesson good;
Wears quickly, and its rude touch soon is rued.
That lies not as it lies upon my clay,
Prays all to pity a poor patty's prey :
REPORT OF MUSIC. There was a time, and that not half other which is to be held at Welch
а a century back, when, if music could pool. We alluded also to those at Bath not be said to be wholly unknown in and Cambridge, contracted for by the provinces, there was nothing ap- the grand undertaker Madame Cataproaching to a demonstration of the lani, who may be said to have perfull powers of the art to be found formed her own funeral in this cabeyond the walls of the metropolis; pacity, and paid the last obsequies nor indeed there until Joah Bates, an to her departed honours as a conamateur be it remembered, assembled ductress. The Bath festival was not that prodigious company of minstrels however so defective as the Camin Westminster Abbey to commemo- bridge. At Bath there was a band, rate worthily the greatest of their and there were choruses, and there fraternity. The design was magni- were parts, and there was a more ficent, and it was not less splendidly than nominal conductor. Nothing executed, and the result has been to was wanting but Madame herself, diffuse throughout a nation a know- who was so grievously indisposed as ledge of what music is able to effect. to be under the necessity of apoloFrom that time endeavours have gizing instead of singing at three of been made, and successfully made, to the performances. Monsieur Valimitate, with more or less approxi- lebreque asserts, it is said, that he mation to perfection according to lost by this engagement, i. e. procircumstances, the excellence then bably he esteems that a loss which attained, and to spread by the same he intended to have gained. At means a general understanding and Cambridge he came off better in a general feeling of the beauties of point of profit, and worse in point the art; nay more, such efforts have of reputation. The demerits of this been combined with the purposes of concert deserve a little detail as a benevolence, and made to give and memento to Corporate Bodies who receive support from the strengthen- lend the interests of the institutions ing aid of charity. For while assist- they befriend as a lure to the public. ance has been sought from music The performances were founded in and directed towards great public the desire to assist Addenbrooke's institutions, minds insensible to Hospital, to which Madame Catamusic have been awakened to bene- lani had engaged to give a fifth of ficence, and thus assistance has the entire receipts (at Bath she gave been drawn from new sources and we understand, a tenth), she reservreciprocally exerted.
ing to herself four-fifths for her risk Such is the brief history of the rise and exertions. Now it is obvious and progress of those great county that this bargain must have been festivals which are now becoming so provident or improvident on the part universal, and, we may add, so useful of the gentlemen of Cambridge, acin spreading the love of art, in aiding cording to the stipulations they made public charities, and in promoting a for a competent band, and according circulation of the stagnant wealth of to the receipts; for if the one was the country. The power of example is small and the other large, it must be like the power of numbers; or, more clear that the benefit would be great like the rising of an inundation, there to Madame Catalani, and comparais a point in the progression where tively little to the hospital. Madame, the force is accumulated to a degree however, was limited by no stipulathat becomes irresistible. Thus the tions, and her execution of this treaty example of Birmingham at last upon the basis of honour is a singular wrought upon other places to emu- proof of a faithful and generous inlate the greatness of their exhibition, terpretation. The singers advertised and Liverpool and York have kindled were Mesdames Catalani, Colbran, the same spirit almost throughout the Rossini, and Pasta ; Miss Stephens whole country. In our last report we and Miss George; Messrs. Rossini, enumerated seven festivals which are Sapio, Placci, Kellner, and Phillips. concluded upon for the next three It is generally understood at such months, and we may now add an- meetings that the singers announced are to be heard at all the perform- from London for the last two conances unless it is expressly stated to certs. The pieces were performed the contrary. In this instance Ros- in no regular succession ; but as the sini and his wife appeared only on pressure of the moment required. the first two evening concerts. Ma- Madame Catalani transposed her dame Pasta on the last day only, and songs at pleasure to the entire destrucMiss George and Mr. Phillips not at tion of the composer's intention; and all. The sacred performances were the management was altogether remade up almost entirely of recita- proachful. tives and airs, and there was not a The receipts are estimated at asingle chorus. At the evening con- bout 2,5001., exclusive of donations, certs Rossini sang “Se fiato in Corpo" which were awarded by the Comwith Catalani, and “ Con Patienza ;” mittee of Management to be the inbut he seemed to seek distinction divisible property of the Hospital, in rather for comic humour than fine spite of a claim which M. de Vallesinging, of which there were few or breque is reported to have set up to no traces, though he has unquestion- share (in the proportion of four-fifths ably great comic powers, so great to himself) these benevolences. Maindeed that the sensitive Catalani dame Catalani will therefore be cut could not withstand their effect, but down to from 300 to 4001. as her relaughed when she ought to have compense for her services—the exsung.
Her planet was indeed in pences being between 1,6001. and eclipse, being completely obscured 1,7001., and the Hospital drawing by Miss Stephens and Madame Pasta, 5001. for its fifth, besides the whole except in Rule Britannia and God of the donations. We happen to save the King, where she touched know Madame has refused four hunthe hearts of all her hearers by her dred and fifty guineas for merely singvast energy, her prodigious volume ing at a provincial meeting for a of voice, and her fine countenance Charity-insisting upon a share.and acting. Pasta and Stephens were Bath and Cambridge will, we hope, however beyond dispute the favour- have instructed her better ; but in ites. The former by her Il Sacrifixio this, as in most other cases, repentďAbraam at the church, which was ance will probably come too late. certainly supremely excellent in ex- Her course is nearly run in England, pression, and by her Di tanti palpiti and we unfeignedly regret that so and Che faro at the Senate House. bright a meridian should have been Both triumphed by the natural ma- followed by so dark a setting of so jesty of a style as simple as it is great a light. now-a-days rare. Mr. Sapio was By a transition far more natural much applauded in his songs. Of and just than that by which Madame Mr. Kellner there is nothing to be Catalani finds herself the Conductress said. He was looked upon as one of Provincial Music Meetings, her of the undertaker's men, and the name brings us back to the Italian audience only wished he had been a Opera, where Zingarelli's Romeo é mute.
Giulietta has been produced for the As a whole, this grand festival, benefit of Madame Pasta. When we considered in relation to others, was first understood the piece was in premost disgraceful. The instrumental paration, we mentioned Madame band consisted of no more than Pasta as about to appear in Giulitwenty-eight performers; and, as we etta, forgetting for the moment in our said before, there was no chorus, an haste, that Romeo was written for a indispensable requisite to relieve the contralto, in the probability that she sameness of recitative and air, and to would personate the principal female. the production of those sublime and We take this opportunity of correctimposing effects which indeed are ing our inadvertency. the very first attributes of a meeting The libralto is complete speciof this nature ; for single airs and men of the modern Italian metamorduets may be heard at every concert phosis of one of the plays of our imin town or country. The marks of mortal Bard. - Ancient Rome, under want of arrangement were visible the dominion of the Pope, is not more throughout; there was a scarcity of unlike to its original greatness. parts, and no printed books arrived The piece opens with a nuptial
feast at the palace of the Capelli, or tivated powers of a true artist. She the Capulets, where Romeo with his shone unrivalled in the delivery of friend Gilberto appears. A mutual the recitativo parlante, rendering every fascination seizes upon the lover and word effective. In the last scene, the Giuliettu, which the chorus, who are greater part of which she supports employed like that of the Greek tra- alone, the conjoined effects of her gedy, to be the observers and com- singing and acting were almost too mentators upon all that passes, in- much to bear. The recitative “Tranterpret very sagely, as well as faith- . quillo io sono,” just before the adjurafully, into “Imania freme, duolse, e
tion of Giulietta's spirit, was as exgeme.” At this moment Everardo quisite as can be imagined. In the Capelli (Capulet himself) appears with duet, “ Ahimè gia vengo meno," the Tebaldo (Tibault), who is betrothed, gradual failing of the vital powers and about to be united, to Giulietta. were depicted with an agonizing fideIn the very crisis of the husband's lity. Madame Pasta had gained a and the father's delights, Romeo is reputation in this character abroad, discovered, -all is suspicion and jea- which had spread her fame throughlousy, and the festival is suddenly out the world, and truly her merit has broken off. The scenes next in suc- not been exaggerated. She has well cession, are interviews between the earned the praises bestowed upon her. father and his friends—the lovers and On the first night Madame Biagioli their confidants. Romeo, at length, was the heroine, and she sustained enters the gardens, and soon after is the part creditably enough, taking into found in a retired part, Tebaldo lying account the feebleness of her natural dead, slain by him. The agitations powers,
In the later representaattending this discovery are the sub- tions Madame Ronzi di Begnis playject of the finale of the first act.- ed Giulietta, and with much success. The second opens with an interview Amongst the most striking portions between Romeo and Giulietta, who were the duets, “Qual Oggetto," and swear eternal affection and constancy“ Dunque mio bene," the last of which and separate. Gilberto, in the next was given with exquisite expressivescene, prepares the expedient of the ness, with far greater purity than the sleeping draught, which Giulietta audiences of the King's Theatre hare swallows. Her father comes to urge been accustomed to since the reign of her marriage with Tebuldo, and dur- Rossini began. ing his menaces she falls into the tor- Nor must Signor Garcia be passed pidity which Capelli mistakes for over in silence. In his character death. The scene at the tomb closes there was little to set off a singer, the piece much as in the original, ex
but of that little he made a great cept that the chorus conducts Romeo deal indeed. His first air was one to the spot-who dies, and Giulietta of rapturous delight, and although faints upon the body.
subsequent parts of the opera allowed Such are the materials of this us a full acquaintance with his paopera, in which there is not a single thetic powers, yet without detracting trait of the sentiments or the lan- from his ability in this the grander guage of Shakspeare. It may be walk of the drama, we may be altruly said to be made up of excla- lowed to remark, that in airs which mations. But of such stuff is an admit of almost unlimited expatiation opera constructed, and the passionate he is most at home. His singing parts are sufficiently expressive to always reminds us of the soaring of lead the composer to some very fine the lark. His soul is in every note musical illustrations.
-he seems let loose from earth, The piece was produced for Ma- and the more boundless his flight, dame Pasta's honour, and her tri- the more full of ecstasy is his song, umphs, both as an actress and a singer, for herein lies the grand difference were certainly very complete. It is between Garcia and every other impossible to imagine more beautiful florid singer it has fallen to our lot and more perfect expression. Her to hear. He makes every passage performance indicates sensibility and expressive, by the ardour and the a taste thoroughly formed-in a word, ease and the feeling with which he all the attributes of high intellect, as “ wautous in the wiles of sound.” well as of the most industriously culs His last aria, “ Misero che faro,” gave
proofs never to be forgotten of the The practice of such a lesson will go fax deep sensibility with which he enters to confer the execution it is intended to into passages of pathos. The words display. Misero,” and “ mia figlia,” were
La Speranza is a very elegant com, uttered with a tone and emphasis position, by Mr. Abel, combining expresthat touched the very soul.
sion and mechanical excellence.
Mr. Ries's Variations on a March in NEW MUSIC.
Tancredi and a Rondo on Bishop's air, The Publications this month are com- “When in Disgrace," are in his best style. paratively few.
Mr. Duruset has published a set of Mr. Kalkbrenner's Fantasia and Varia- Solfeggios, selected from the exercises of tions on the celebrated Jäger Chor from Crescentini, Paer, and Pelegrini, intended Weber's Opera, Der Freischütz, must be for the improvement of those who are studied in order to be appreciated. It has already acquainted with the principles of pot melody enough to render it generally the art. They appear more calculated pleasing, but its scientific construction will to confer execution than the portamento make it interesting to the student. It della voce, and we should not recommend appears to us to be a work of labour and their adoption until the voice has acquired science rather than of genius and imagi: the steadiness and quality of voicing which nation.
the practice of the scale alone confers. Impromptus, or Brilliant Variations on Their style is perhaps more modern and a Cotillon, by Galenberg, is evidently the more strictly allied to that now in fashion, production of a fine piano-forte player. than any Solfeggi extant.
IMPORTANT INTELLIGENCE FROM NEW SOUTH WALES.
DISCOVERY OF BRISBANE RIVER. The following interesting particu- fectly fresh. Mr. Oxley proceeded lars have been communicated to us 30 miles further up the river without by a gentleman just arrived from finding any diminution, in either the New South Wales.
breadth or depth of it, except that Mr. Oxley has at last discovered a in one place, to the extent of 30 river of considerable magnitude, with yards, a ridge of detached rocks an embouchure to the sea; Mr. stretches across, having not more Cunningham, the botanical collec- than 12 feet at high water; and he tor for Kew Gardens, has explored a obtained from a hill a view of its appass through a fine country, from parent course for 30 or 40' miles fure Bathurst to Liverpool Plains; and ther. As far as Mr. Oxley went, the Mr. Bell, jun. has effected a way tide rose four feet six inches. It was from Richmond to Bathurst, which impossible to pursue the investigation will avoid the difficulties of crossing then from sickness, heat of weather, the Blue Mountains. But the great- and shortness of provisions ; but he est and most unexpected discovery of was to renew his survey early in the all is, that of the river which Mr. autumn. The country was level all Oxley has called the Brisbane, and round, from south to north-west, in which discharges its waters into the apparent south-west course of Moreton Bay, 400 miles to the north- the river; from which circumstance, ward of the settlement at Port Jack- and the slowness of the current, and son. This valuable discovery was the depth of the water, Mr. Oxley made only in December last, in the was led to conclude that the river course of a survey of Moreton Bay, will be found navigable for vessels of with a view to form a convict penal burthen to a much greater distance, establishment there, in pursuance of probably not less than 50 miles. the recommendation of the commis- There was no appearance of its being sioner of inquiry, Mr. Bigge. The flooded ; and from the nature of the river flows through a rich country, country and other circumstances, he and is navigable for 20 miles for ves- does not think that the sources of the sels of considerable burthen, if not river will be found in a mountainous drawing more than 16 feet of water. region, but rather that it flows from From this distance the water is per- some lake, which will prove to be Aug. 1821.