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the Judgment thail approve, and the and beyond these are Taste, Feeling, and Mind become foothed and charmed into Exprejion, as requisites to the forming a a state of serenity.

distinguished AMATEUR PERFORMER 7. In PERFORMANCE great caution in these days, when the difficulties of Mould be used to avoid becoming a the Finger Board are conquered by Mannerist, or imitator of any particular Lady Players in their earlier years. Master, however eminent as such he 9. Before any AMATEUR PERFORmay be ; else will you gradually acquire Mer delivers a Lesson in Company, it a peculiar Atile and mode of fingering in should be carefully perused, and repeat. executing a Leffon which will characte- edly practised in private, that the Moti, rize you as the Disciple of some certain vo, or Sentiment of each Movement, School, rather than distinguish you as therein may be thoroughly underfood, a Performer of real excellence, and pre. so that the governing Principle of the vent your being held in estimation for Author, in each division of his Compo. Genius, Taste, and Science. To avert fition, may be, on public exhibition, such restriction, on the Finger especially, distindly and emphatically conveyed to a close attention should be given to the the Auditors. A chalte, correct, and stile and mode of Execution in each expressive delivery evinces Judgement Professor; discriminating the points in in the Performer' as well as skill, and which either they excel or are defective; , argues a deference towards the Compo. and treasuring in mind the particular fer; while, on the contrary, an eager merits of cach, and bringing them ha- endeavour ai embellishment, with an bitually into praćlice; açcustom your carneftness to display dexterity of Fino self to diversity; yet, like APELLES, ger, without regard to the text of the selecting from the beft, the best parts Lellon, shews that conceit and Vanity only, until at length, on the balis of predominate in the Performer, who Judgement and Tafie, you establish in plays not to give pleasure, but is labour. yourself a graceful manner, a clear, ing to extort applaute. HAMLET's recorrect, distinct and emphatic mode of queft seems well adapted, as admonition, Execution, without being the Eteve of 10 luch Gallopers over an Instrument. any School whatever. Toatist towards “ Speak the Speech, I pray you, as tiis perfection, after having to long siue it is set dowp for you in the Bock." died under one Matter as to have become 10. Tont, a material qualification thoroughly versed in the Rudiments of towards forming a perfect Performer, is Music, and skilled in its practical part,

a subject on which I will no:v offer you I thouid advise your taking Lelons, my sentiments. Much must depend on occasionally, froin other Teachers, the Inherent Powers of an Instrument. chusing those only of first rate eminence. That richness, that dignity of Sound, I mean not, however, that you are to which a GRAND PIANO FORre will have more than one Master at one tinie, yield, under the hands of a spirited and but to engage them in fucceffion, and judicious Performer, cannot be profo, by a Course of Lessons from each, duced by any one from the feeble SPIN, become conversant in the prevailing NET, or the quilly tinkling Harpsl. manner of each, and thus acquire an CHORD; but as you have at command extenfive knowledge of the varieties of the best Modern Inftrument, improved file in 1:13ering and delivery now in to a state of excellence, it has all the ure. But this idea fould not have properties of Tone, and we may say of adoption until much diligent practice, it, as the Clown did by the Fiddlé, "that and a perfcét knowledge of the Rudie there is certainly music in it: the diffiments of Music have properly qualifed cuity consists in bringing it forth ;" but the Student to discriminate and to decide this with you, will, I trust, be attained on the Merits of Performance in others by ftudious practice, by Atrict attention by Skill in her own.

to the Sounds produced from it by su.. . PRECISION, as to TIME and Ar- perior Players, and by making yourself TICULÁTION, is as indispevtible in wellacquainted with Vydulation. Tone, Music as in Oratory; each note fhould in.js itric sense, is that something, be diftin&ily uttered and properly ac- which a ciaste Ear, a Soul attuned to cented, and all paules, or refts, ruly ob. Melody, and a Passion for Music, alone ferved. The Crojecndo arid Dimin endng cap acquire; it depends on Genius and or, as they are often called, bight and on Feeling, without which neither Fire Stade, must also be produced. These nur Pathas can be displayed, nor can Radicals hould ever be alionded to, Modulation be properly coforced unti

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Tone is attained. Thus, as before dexter tricks. Chafte, correct, and enhinted, although there be Tone in the phatic Performance is not, at all times, Instrument, yet to bring it forth in per- duly pract:fed even by Professors of Mufection, “ in this the talk, the mighty fic; and it is indeed, “caviar to the labour lies." To acquire a rich, a full, Multitude," with whom Celerity,Noise, and mellifluous Tone is the Deside. Shakes in abundance, and manual efforts RATUM beyond all other qualities in a of various kinds, pass as proofs of ex. Performer; buc Profeffionalists them- cellence. But permit me to recommend selves do not alike succeed in their at- to vour observance the Selection of such tempes herein. The mellow, impressive, Pieces as are of avowed merit as Com. Organ-like Tone is superior in signifi: positions, and, keeping the Author's Subcance and effect to that quilly and vapid jiet ever in view, execute his Lesson found produced by the generality of with Precision and Articulation as to Piano-Forte Players; those even who Time and Notation, and with every are valily admired for what is called circumstance as set down for your guiExecution, in an age wherein Rapidity dance in the Text; embéilished by your of Finger is held to be the Criterion of finger with the only true graces, Tonea capital performance.

Modulation, and Exprelhion. Thus, A good Tone, such as I have aimed to the Composer, in your good endeavours, describe, and such as I have earnestly will acquire that credit due to his prorecommended, acquired and established, du&tion, and become indebied your Expression becomes an obje&t for consi. Taste and Skill in Performance for that deration, and without which, Sound, approbation which would be given to though it may gratify the Ear, can his Work, while you will have a due rever touch the Heart.. Each move. 1hare of praise for a judicious and modelt mene has its relpective meaning or fig. colouring of his design. Dification, and which can only be con. I should conceive that the several veyed by Tone and Expression in the Movements in music do each require a adaption of both to its Morivo or Sentia respective and distinct mode or manner ment. The Notes may be regarded as of touch on the Keys, such as shall be best the Body, the Motivo as the Soul of adapted to convey to the Ear, and thence Music, and that merits not the name of to the Feelings, the Motivo or Subject. Composition, which is not governed and That pressure and firmness of hand re-. animated by some principle or theme in quisite, perhaps, in the lower moveeach of its divifions, which is its Essence. menis, may not be wanting, or proper When a well-composed Lesson is under even, in Passages of Rapidity, where delivery, how injurious to its Author is flexibility, elalticity, and delicacy of it to obscure its subject, to destroy its touch, are certainly neceffary, and where mcaning, and thus deprive him of that only trick of tinger, Capriciosos, and praile due to his talents, by a frivolous what are called Graces and Embellithand licentious manner of executing it, ments, can with any propriety be intro. merely through the vanity of craverling duced, or have an ad libitum license for the Finger Board with rapidity, and the their admittit. conceit of thewing some studied ambi

(To be continued.)
LYCOPHRON's CASSANDR A.

L. SS.
Ην τόργος υγρόφοιτος εκλοχίνεται.

Quam [Helenam] Aquila undivagus gignit.
INTERPRETERS remark, that is an cagle. 1 he bird of Jupiter is

Tógros, which usually signifies a Vulo fubftituted for Jupiter himself. The ture or Eagle, means bere a Swan. .compound epithet annexed, impófotos, The epichet yrpáfortos, seems to have reminds the reader of the swan, whose Suggested this interpretation. "Let it,” hape the God affumed.' It should leem however, be observed, that in query then, that gépyös ought nor to be ren. other passage of Lycophron, where dered olor, but aquila. The former Terros occors, it fignifies a very different interpretatiou is inartificial, and unauanimal.

thorized ; the peculiarities of CasanOracular language delights in cir. dra's oracular diction are picierved by cumlocutions,

figurative expreifions, thelatter. and symbols. Jupiter is here embletatically represented; and his emblem

SIR

E.

SIR HUGH AND THE MAIDEN,

AN ANCIENT BALLAD. In the present Age of Literary Imposition it is incumbent on every person who exhibits to the Publick the productions of former times to accompany them with such evidence as will enable those who are conversant with such works to judge of their authenticity. This rule however, on the present occasion, we are obliged to dispense with. The following Ballad is sent us by an anonymous Correspondent with assurances that the genuineness of it may be relied vo. It apo pears to bear the marks of the age in which it is said to have been transcribed : the paper is old, the ink faded, and the manner of writing not of a later date, Should any doubt be ftill entertained, we thall be ready to thew the original to any person whom curiofity may prompt to defire an inspection of it. The Spelling of the original is exactly followed.

SIR HUGH AND THE MAIDF.V. NERE to Carleile there dwells [a] And he offered to them whoever wolde.

knight, Of gode and comlye meine,

Who this knight fholde be If Ithis storie tell aright,

That wroght him wrothe in his castle, And folkes take what I meane,

Sholde have lande and goulden fee. His castle is as faire a one

Gladd was the Maide when she did Ase any in the lande

finde And round about bedight with towers The knight was striken with baile, Nere Engishe wood did ftande. Then flilye the hyed her till his bowere

And spake her falling tail.
Sir Hugh his knight was called,
A boid knights fon was he,

I come frae your wife as I ha life,
That ever fauzt with shynand brande, Your wife who is false to thee,
Or ever bent on a knee.

And if I mayefte tell what I ha sene,

I sertenlye killed holde bec. His Lady was of goodly make

Her chekes were redde and white, Speik on, speik on, my Maiden dear, A comlier face was never sene

Bee it truei thou celleift to mee, With glimmering eyn fo brightc. A boone thou shalle ha, and to boote !

wille grant Her father he had many a tower,

Muche goulde and goode cuntrie. Of lynage proude was he, And many a house with coftly bower, O! ncre wille I Nepe till I ha wreked He geide for a dowrie.

My sweards poinie in his bluide,

The mick left vilane that ever has wente Ella te keeped a false woman,

Tween this and Engilh-wood. For that was our Ladys name; A falfer woman thure never was borne, “ O fr, quoth the Maiden, he is nae Than into this castle came.

« knight,

“ Bur a man of lowe degree, She wolde have layne by her ain mas. " And when the sunne is lepein owre ter,

at the hill, If the thoughte he wold not say naye, “ At thy Lady es bowre windowe hele For she wished to ruin her goode Lady,

" bee, And get her a rurned away.

“ Ycladd in your best graine doublett, So traitory stories the often wolde celle, “ And your hod he is bedight, Her Myftress to undo,

“ To make the folke thinke he is Sis Which coming to the knights heering “ Hugh, Did cause him very sore wo.

" And not a franger knight." He writhed his minde baith backe and Now anger and crumpling jeelousıc fro,

Did our knights harte torment, And aie he doubled his brow, He swore to the Maiden by the Holy. For he wished to ha that wily knight

roode
Who crackened his wifes falso vow, That his fere he wolde ha brent.

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Helle tak thee thou carlith theefc They suthe hadd changedd ether clead"To nighte I wroken shall bee

ing : * Bathe of the and my aine false wife The myftresse the maidens did weare; " That I once loved tenderlie.” And proud was the false one so be

deckid, The knight he friken his heid and his

All in her Ladyes geer. brieft, And moned most wofullye ;

This wicked jaide had thereto biddenn

One more of her varietts vile, He grindled his teeth, and rolled his

To go to her Ladies little bowere eyn,

An murdeir her the while. And jumped most myghtilie.

When it was darke the menn did cum, For many a woundrous fyke he gieide,

As the Maiden telled to the ye
His hart was greeved so ;
The caffe of which he thowghte was

For they was as wicked as the herselle

In the wylles of lecherye. truei, As you thall speedelye knoe. They all beene com, and the knyghte

also, Then away sped the Maiden, like a

Undir the greenewoode tre, braid arrowe,

He stopped awhile with his sweard in Shortin frae a truftic bowe ;

his hand, For liken till, whilk alway doth scathe, Till he his fere mighte see. Wherever it maye goe.

The Maiden to the windowe did goe, She fped to her myfresse, her for to

To stand there for a while ; telle,

And lowe her face to the carlith man, Her myftreffe once so deere,

The Knighte for to begyle. A fals leafinge taile of her owne dear The Knight when he saw his Ladyes knight,

face Which you thalle quickely heere.

He at the carlith man fiue, “O! Lady, quoth thee, what I speik And he frikened him wi his sweard " to chee

edge " Leeve it is very truei ;

And thrusten him thruegh and “ This eene thy knight at eventide

through. “I trowe another will wuoi.

Lye there and die, fayde the angric. "O! wo, tell you, quoth the Knights

Knighte, “ Ladye,

Whose lege-man ever you bee :

Such mickle vilanes nere went on earth, "Gramercye on your poor soule; “ If it be falle what I this day trow, .

As two like you and Bree. “ You tall dye ere the curfeu At the same tyme, all in the towere, “ knowles.

The lyke was doinge also ;

But insteede of the Myftresse the man "O Ladye dear, as I hope to ha feere, didd strik , " The hower I am going to dye, The Maiden a wofull blow. " It is not false, but truei as I live,

“What I ha telled to thee. «

Sir Hugh cummin in to catche on his

wife, * And mare at nicht theye ha agreede Astounded he was to see

“In youre best bowere to meete; That he was all bluidye and on the “ To unkenned to

ground « And brok with kiffes Tweete. you,

Meninge moft pitioeuslye. Fair Ella was greived to the hartes But when he kenned that it was the life,

Maiden, And fore perplexed was the,

Ybusked in his Ladies geer, She vowede to faint John that if it be so " Where is my fere, what man is this I fertainleye wroken will bee.

“ Somc'traitorye I do feere." Heere, fayde the Maiden, tak my

clead. “ Hó mercye, ha mercye, sayde the inge,

“ Maiden, And till youre lyttle howere hye; "On iny poore dyeinge shrive. For there you will, witte what is doing " For I am the wickedeste of woman Thrueghe the window fecritlye. "The ever was borne alive.

" Forgive

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" den,

" fere

es Forgive, forgive before I dye, Here tak thy Ladye goode Sir Hugh, “ And I will tell you

ail.

Fora rruere one nere can bee "I do forgive you, you wicked Mai. There is never a knighte in all En.

glande “ As ever came in a Hall."

Has one fairer ot mare comelie. "O! then Sir Knighte, your Ladye The Knight he clasped her in his arms, “ The carle was to ha flayne,

My wife, my sweete Ladye, " In hope that when you lost your

See this vyle Maidden getteth the

palle “ I Moulde ha beene

Shee meined for you and me. youre

aine. 4. Or if he had not killed been,

Mayefte alwayes fyke luck the willye “I wanted to torment

have, “ Your harte with falfinge tailles of

My prayers fhall alway bee, "her,

That themselfes maye alyke be catch6. And so to ha her brent."

eath

In their on treachorye.
The Ladye all this while stoode bye,
Bulked in the Maids atlyre ;

Copyede from a faire book of 280 Nor colde The fpeik a fingle motte, ciantc English Poeffey Ap: 10. 1687.

She choked so wich ire.

THE

LONDON REVIEW

Α Ν D

LITERARY JOURNAL,
For SEPTEMBER 1796.

quia fit pulbrum, quid turpe, quid uile, quid non,

ACATRA; or, a Narrative of Rocent Events: A Novel, in 3 vols. 8vo. 115

Allen and Wçát.
W
RITE, my friend,” said to religion, pity, charity, and friend.

Agatha to the author of this thip; and while that fenfibiluy is di. : Work,“ write my malancholy fory; rected by our realon to its proper chan. and, since you with it, publith it to the rely it is our richest ornament. But world. If it reach the young, that the when our feelings, our patlions, get the , conquest of ourfelves, arduous as it ap- better of ourselves; when, because we pears, is generally attainable, and often have luch and such wishes, and such and zewarded in that atiainment: if it teach such propensities, we feebly yield to them and all, that there are few irials, them, we are no longer free agents, we however severe, but may be supported are under the dominion of those paffiuas with the aid of religion and a conscience which, while they are suffered to goclear of reproach; if ic teaches this, vern us will infallibly render us wretcb. your Agatha will not have lived, the ed; but which if, on the other hand, will not have suffered in vain.

we govern iben, would only serve to “Our feelings were given us for the make us happy, and give a zeft to que dobiest of purposes. Heaven endued us crjsymonis.' with fenfiuility, that we might be alive

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