The words of No. 2 are not so easily set to music as the nonsense verses put into most composers' hands,—and by them rarely discovered to be nonsense. Mr. Callcott, who well knows how to read his author, has not altogether failed in this, but his success has been less than has attended some of his other efforts.

Lady Blessington's verses to Miss Bury were not intended to be lyrical, great as their other merit may be, and Signor Liverati was unfortunate in undertaking to set them; it follows, therefore, that, in our opinion, he has failed in the attempt: though it is fair to add, that our belief is, that no one would have met with greater success.

No. 4 is set with great feeling, much taste, and in a most musicianlike manner: in one respect too much like a musician, for the only defect it exhibits is at the words, 'When the tempest raves on high,' which, though not meant to be descriptive, the composer has accompanied with a tempestuous base of demisemiquavers, much to the grief of all commonsense people who possess the song.

No. 5 is a simple, easy, pleasing ballad, but none must be disappointed at not meeting with much originality in it.

No 6 is pleasing if not new in melody, but the accentuation in many places is very strikingly erroneous.

No. 7 has been sung at a public theatre, it seems, and by a favorite performer; with what success is not stated: but we feel compelled to say, that words set with so little regard to their connexion with each other, so wholly in defiance of meaning and accent, we have seldom had the ill fortune to encounter.

No. 8 is a lively, pretty, dancing melody; easy, and sure of welcome, if only sung in time and tune.

SONG,

For never are men half so frightful,

As when they have all their own way.' Sung by Mad. Vestris, in Mr. C. Dance's Burletta, How to get off. The symphonies and accompaniments by J. H. TULLY. (Sold by the principal music-sellers.)

Concerning the merits of this song, the Times newspaper expressed a very honest and correct opinion; not a very favourable one, certainly. But the preface to it is entertaining, and, moreover, instructive: it lets us behind the curtain rather unexpectedly, and exhibits certain theatrical machinery which accounts for the lyrical nonsense frequently introduced on the stage; though it by no means explains why the public so commonly not only tolerate, but applaud, the absurdities served up to them. This preface is so explanatory that we give it in an entire state; and must confess, that the author's argument appears to us irrefragable.

'It is with much reluctance that I print, with this song, an outline of the peculiar circumstances attending its publication;-but no alternative is left me. The title-page describes it as being sung by Madame Vestris, in my Burletta, called "How to get off," and it is not sung by her; for this variation I am bound to account.

'Having been informed by Madame Vestris (for the first time during the five seasons I have written for her theatre) that, in the event of my publishing this song, she should expect to be paid for singing it; and having answered in a tone of unaffected surprise at so extraordinary a demand, she replied, that payment was not to come from me, but from the publisher.

'I should here observe, that although no precise amount was mentioned, I am justified in believing that twenty pounds was the sum expected.

Finding that the song was much applauded, and frequently encored, I applied to two of the most respectable music-sellers in London, to know whether they were willing to give me whatever we might mutually agree upon as fair terms for the song, and to pay Madame Vestris besides a sum of money for singing it. The answer was much the same in both cases: "We cannot pay you and her both." As it was thus evident that the money must come out of my pocket, I imagined that I had only to make Madame Vestris aware of the fact, to cause an instant withdrawal of the demand; and I was not a little astonished to find it persisted in.

• It was in vain that I urged every argument which suggested itself to me. Among others, that it was a demand unsustained by reason, justice, or precedent; that it was Madame Vestris's duty as an actress to sing the song which belonged to her part; and that in seeking to be paid extra for doing so, she was taking advantage of her position as lessee, to do that which, as lessee, she would assuredly prevent any other singer from doing;—that making an author pay her in her capacity of singer, for singing his own song in his own piece, was neither more nor less than making him repay her that which, in her capacity of lessee, she had paid him for writing it.

These and fifty other arguments were constantly met by Madame Vestris's representative, with a simple repetition of the old assertion,"Madame Vestris will be paid-she does not want you to pay her, but

she will be paid." At length came the alternative," or, she will not sing the song."

I now determined to reduce the question within the narrowest possible limits, by publishing the song on my own account, and at my own sole risk. I gave notice that I should do so, and immediately afterwards (I believe on the twenty-eighth night of the burletta) Madame Vestris omitted the song.

'I feel sorry for the management which could thus deliberately seek to injure me, by diminishing the sale of my song, at the very time when my fifteenth successful piece was assisting nightly to fill the theatre, but I have no feeling of anger to gratify.

I wish Madame Vestris and her theatre every possible success from those sources of gain which properly belong to herself, but, for the sake of justice and equity, I trust and believe that my brother dramatic authors will resist any demand of this nature, as I have done, if the lessee herself, or any other singer shall hereafter be so ill-advised as to make it.

A NEW singer, Mlle. Kolmetz, made her appearance here on the 31st of October, at the Theatre Royal, in the part of Emmeline in the Swiss Family. Her voice is good, and her acting for a beginner very meritorious; she was applauded and called for with great spirit by the audience. On the 3rd of November, MM. Ries, Maurer, Böhmer, and Just commenced their quartets for the winter season. On the 5th, M. M. C. Möser opened his instrumental concerts, and performed Haydn's quartet in c, with the variations on God preserve the Emperor;' another by Mozart in the same key with the celebrated enharmonic introduction, and Beethoven's first quartet in F major.

6

A concert was given at the theatre on the 6th of November, which was remarkable for a violin contest between M. Pott and M. Ries, but to whom the palm is to be adjudged is yet undecided. Madlle. Kolmetz again made her appearance on this occasion, as well as at a concert given on the following Saturday by M. Pott; however, she is scarcely matured enough for a concert singer.

The celebrated Lafont gave his first concert in the saloon of the theatre, on Monday, November the 17th: this was not so well attended as we could wish; however, his second and third took place on the 2nd and 12th of December, when he met with the most distinguished applause.

Among the most interesting occurrences of the active month of November we may record the revival of Gluck's oratorio of Belshazzar : as it is extremely long, the process of curtailing might be adopted with success, especially as, together with many beauties, it contains much which time has antiquated.

Mad. Holst-Friedrichs from London, and a new singer Madlle. Lithander, appeared on the 24th of November at a concert given by the brothers Ganz. The former lady gave a concert on the 1st of December, in which she much distinguished herself by her performance on the pedal harp.

The activity of the musical world began to decline here towards the middle of December. Perhaps the most interesting occurrences were a concert given by the music-director Grell, in commemoration of Zelter's birth-day; and the celebration of Beethoven's birth-day by M. Möser on which occasion M. Tauber played that composer's fine concerto in c minor, and M. Bader sang the song of Herz mein herz’ ́ (Heart, my heart). We rejoice to say that the room was crowded to

excess.

We have said nothing of the theatrical branch of music, except the début of Madlle. Kolmetz. The occurrences of that class were as follow. On the 18th of November M. Wurda, from the Grand Ducal Theatre at Strelitz, made his appearance in Zampa: his voice is a fine tenor, and on the whole we may pronounce him promising; he has since appeared in Otello. A new opera, a great favourite with the Italians, The New Figaro, by Ricci, has been produced at the Königsstadt. Ricci is neither so good nor so bad a composer as Bellini. The opera, however, as a critic somewhat humorously observes, has a leading fault; it is so tedious, that it may be recommended as a homoëpathic remedy for the locked jaw, which, as is well known, sometimes arises from yawning.' Madlle. Stephan has appeared at the Theatre Royal as the Countess in Figaro, and sung but indifferently: she was forced to transpose two airs, and even then could not produce the high notes. M. Eichberger has appeared in the part of Nadori.

'

Though perhaps not strictly coming under the head of intelligence, we must not omit to mention a new Dictionary of Greek Music, the prospectus of which has been issued by Schlesinger; the author is M. F. v. Drieberg. It may not also be uninteresting to the English to know that Byron's Hebrew Melodies have been translated into German, and set to music by M. C. Löwe*.

* One of these, the best, has appeared in the MUSICAL LIBRARY,

WEIMAR.

The Hof Kapell concert took place at the Grand Ducal Theatre, on the 9th of November, and was attended by a numerous audience, some of whom even came from a remote distance; so great is the interest which these concerts excite. It opened with Beethoven's Pastoral Symphony, which was executed in a style that perhaps was never heard before, the great Hummel being conductor. It was gratifying to observe the profound attention of the public, whose sympathy with the music gradually increased, and who accompanied the close of every movement with the liveliest bursts of applause: a proof against the opinion of those who think that Beethoven's symphonies (the three first excepted) are utterly unfit for the public at large. The other pieces were, Glück und Treue (Fortune and Fidelity), a song by Paul Fleming.This is composed in a simple style, and was well sung by M. Genast; a duet from Bellini's Pirata, finely and tastefully sung by Madlle. Schmidt and Mad. Eberwein; an adagio and polonaise for two violoncellos by Dotzauer, played with much applause by MM. Apel and Ulrich. The second act was somewhat too long; the pieces were, the somewhat hackneyed finale of Mozart's symphony in c major, which might as well have been omitted, as these isolated finales have much the same effect as the last scene of a play; a cavatina with chorus from Rossini's Bianca e Faliero, sung most admirably by a very accomplished singer, Mad. Streit. An andante with variations by Flad, played by M. Hüttenrauch. Another Italian air by Mercadante, excellently sung by Madlle. Schmidt. We must not forget to say that a whisper was heard saying, That piece has been sung already!' and the whisperer was not altogether wrong, for the modern Italian airs are as similar as egg to egg. Good heavens! is our German music so poor that we must patch it up with this foreign trash! The audience were however refreshed by an Improvisation on the piano by M. Hummel.

VIENNA.

On the 6th of November the great musical festival was held: five hundred voices and three hundred and fifty instruments were exerted on this occasion to perform Handel's oratorio of Belshazzar. They went through their parts with an accuracy almost unequalled. The Empress and some members of the imperial family attended.

CASSEL.

It is with regret that we have to state the death of Doretta Spohr, wife of the celebrated Kapellmeister, which took place on the 20th of November. She was a daughter of the musician Scheidler, and born at Gotha on the 2nd of May, 1786. In the year 1806 she was married to Spohr. She was always a distinguished player on the harp, but after her marriage attained still greater perfection, and accompanied her husband on many travels, who, for the sake of playing with her, arranged many difficult pieces for the harp and violin. Mad. Spohr was the first female harpist who could vie with the French and Italian Longhi, Pollet and Démars, whom she in many respects excelled. In the year 1826 she was forced to give up the harp on account of the weakness of her nerves, but since that time she occasionally appeared as an accomplished player on the piano-forte.

DÜSSELDORF.

The series of concerts announced by the Musical Union commenced on the 23rd of October, under the direction of M. F. Mendelssohn Bartholdy.

MÜNSTER.

The third musical festival was held in the great Lutheran church on the noon of the 2nd of October. About 800 professors from the adjoining and even distant parts were there. The ten vocal pieces which were performed were by the most distinguished composers, and went off with considerable success under the conduct of M. Engelhardt, the musical professor from Soest. It would be well if similar festivals were held in various parts of Germany, and even of our district, for not only do they excite a transient pleasure, but lay a deep foundation for the improvement of church singing, which with us has sunk to so low a grade. On the 23rd of November the Musical Union celebrated the Cecilian festival, by the performance of Haydn's Creation. On the whole, both solos and chorusses did great credit to the Union, as well as to the talents of M. Music-director Schindler.

LEIPZIG.

The university has (honoris causa) bestowed on the royal Hanoverian Kapellmeister, M. H. A. Marschner, of Zittau, the dignity of Doctor of Philosophy and Master of Arts.

NEUCHÂTEL.

On the 20th of November, M. Krähmer from Vienna, first oboe player at the Imperial Hoftheater, and his wife, a player on the violin and clarinet, gave a concert, which was received with the most tumultuous applause.

M. Krähmer is in possession of three manuscripts of those German heroes, Mozart, Haydn, and Beethoven. On the 3rd of last September, at the concert held in Mozart's native town, and in the presence of Mo-> others by the same great masters. zart's widow, these compositions were performed, together with several

HALLE.

On the 17th of November the Musical Union gave their second great concert, under the direction of M. Schmidt. Kalliwoda's first symphony, and Spohr's oratorio Die letzten Dinge, were performed. The solos were sung by Mad. Schmidt, M. Nauenberg, and two dilettanti.

MAGDEBURG.

Our winter concerts were distinguished by the very successful performance of Beethoven's symphony in c minor, and Kalliwoda's symphony in F minor. Beethoven's symphonies in C, B, and D major did not go off so well. M. Schapler, an excellent violoncellist, played a concerto by Romberg in first-rate style; and Mlle. Clara Wieck, the distinguished pianist from Leipzig, met with the greatest applause. This young lady played several compositions by Pixis, Herz, Chopin, and Beethoven's trio in в major. MILAN.

Mad. Malibran concluded her engagement at the Teatro alla Scala with Bellini's Norma. At the conclusion she was called for eighteen times. PARIS.

M. Zimmermann has given several musical soirées, the last of which was dedicated to the memory of Boieldieu. The distinguished singers Ponchard, Rubini, Mad. Ponchard, Martin, &c., sang pieces by this great composer. Rossini presided at the piano. The greatest part of the musical and literary world was present.

Marliani's opera, Le Marchand Forain, (the Foreign Merchant) has not been so successful as his Bravo. The overture is but poor.

At the last concert given by M. Berlioz, M. Panoska, the German violinist, appeared for the first time since his arrival in this metropolis. He played a fantasia on Gretry's well known theme from Richard Cœur de Lion, une fievre brulante, which was received with the greatest applause. This concert was also distinguished by the appearance of Mad. Willien Bordogni, daughter of the celebrated tenor, and educated in his school.

Signora Brambilla (who was engaged some seasons ago in London) has appeared in La Semiramide, as Arsace. Her powers are limited, and her success has been but moderate.

NAPLES.

The performance of Mlle. Caroline Ungher in Parisina has been the source of much difference of opinion. The truth is, that she is a singer of mediocre talent. Some things she does tolerably well; others as much the reverse. But the critics here are influenced in various ways; and not a few write without having any of the requisite qualifications for judging. Mlle. Ungher is engaged at the Teatro Valle, at Rome, for the Carnival.

The company which administer the affairs of the royal theatres ought to engage Donzelli, or Rubini, for the want of a good tenor is much felt. VENICE.

A Signora Elisa Toccani has appeared in the Sonnambula, and displayed talents of the first order, both as actress and singer. She has been most warmly applauded.

From the heroi-comic opera of Matilde von Guise, act iii; composed by J. N. HUMMEL.

CANZONET (Page 38).

She never told her love,

But let concealment, like a worm i' the bud, Feed on her damask cheek.

She sat like Patience on a monument,
Smiling at Grief.

From Shakspeare's Twelfth Night, act iii. scene 4. Viola, disguised as Cesario, describes her own situation, under pretence that it was her sister's, to the Duke, of whom she is enamoured, and, unknown by him, is acting as his page.

It was a bold attempt to set words having so little of the lyric character in them; but HAYDN knew his own strength, and triumphed over a difficulty which only so vast a genius could successfully have encountered. This is from his second set of

canzonets.

GLEE (Page 40).

You gave me your heart t' other day,

I thought it as safe as my own:
I've not lost it; but-what shall I say?—

Not your heart from mine can be known.

Written by JOSEPH CRADOCK, Esq., F.S.A., whose entertaining and interesting Literary and Miscellaneous Memoirs are pretty generally known. The composer is SAMUEL WEBBE: he obtained for this glee the prize gold medal from the Catch Club, in 1776.

AIR-(Page 42).

1.

Blow, blow, thou winter wind,
Thou art not so unkind

As man's ingratitude;

Thy tooth is not so keen,

Because thou art not seen,

Although thy breath be rude.

Heigh, ho! sing, heigh, ho! unto the green holly:

Most friendship is feigning, most loving mere folly."

Then heigh, ho, the holly!

This life is most jolly.

2.

Freeze, freeze, thou bitter sky,
Thou dost not bite so nigh

As benefits forgot:

Though thou the waters warp,
Thy sting is not so sharp

As friend remember'd not.

Heigh, ho! sing heigh, ho! &c.

The song of Amiens, in act iii. scene 8, of Shakspeare's As you Like it. Amiens is one of the lords attendant on the banished Duke, and evidently introduced only for the purpose of enlivening the scene by his vocal talent.

The first part of the air is by DR. ARNE. The accompaniment to the first stanza is now made out from the composer's base; and that to the second, as well as the whole of the last movement, Then heigh, ho,' &c., is by WILLIAM LINLEY, Esq., from his Dramatic Songs of Shakspeare.

DEATH SONG of the CHEROKEE INDIANS-(Page 45).

The sun sets in night, and the stars shun the day,
But glory remains when their lights fade away.
Begin, ye tormentors, your threats are in vain,
For the son of Alknomook shall never complain.
Remember the arrows he shot from his bow!
Remember the chiefs by his hatchet laid low!'
Why so slow?-do ye wait till I shrink from the pain?
No! the son of Alknomook will never complain.

Remember the wood where in ambush we lay,
And the scalps which we bore from your nation away!
Now the flame rises fast, you exult in my pain,
But the son of Alknomook can never complain.

I go to the land where my father is gone,

His ghost shall rejoice in the fame of his son.

Death comes like a friend, he relieves me from pain, And thy son, O Alknomook! has scorn'd to complain. These energetic verses are from the pen of the accomplished

ANNE HOME,

(sister of the late Sir Everard Home) afterwards wife of the justly-celebrated John Hunter. Among many elegant poetical effusions of the same lady, are the words to Haydn's first set of six canzonets. To her we are also indebted for a small thin volume, which appeared about sixty years ago, under the title of NINE CANZONETS for Two VOICES, and SIX AIRS, by A LADY. To which is added the DEATH SONG of the CHEROKEE INDIANS, now first published by the Author. Among these is the duet, once so popular, 'In airy dreams.' And therein is also given, by the author, the following account of the above song:-The Death Song of the Cherokee Indians, though not much of a piece with the rest of the publication, has been added by the desire of persons whose taste and judgment have some weight with the author. This simple melody was brought to England, ten years ago, by a gentleman named Turner, who had (owing to some singular events in his life) spent nine years among the natives of America. He assured the author that it was peculiar to that tribe, or nation, called the Cherokees, and that they chanted it to a barbarous jargon implying contempt for their enemies, in the moments of torture and death. The words here annexed have been thought characteristic of the spirit and sentiments of those brave savages. We look upon the fierce and stubborn courage of the dying Indian with a mixture of respect, pity, and horror; and it is to those sentiments in the breast of the hearer that the Death Song must owe its effect.'

DUET (Page 46.)

Faust. Still confiding, ever loving,

Freely follow; we'll away!

Through yon lonely meadows roving,
Dearest, let us joyous stray.

Rosa. Yes, I follow, ever loving,

Fears and scruples melt away; Through yon lonely meadows roving, Freely, dearest, will I stray.

Both. Ah, new transports fill my breast,

There to dwell with thee united!

Heart for heart to give delighted, Thus with love, with pleasure blest. Faust. There no eye, no tongue shall curb us, Dearest, no restraint shall bind.

Rosa. No! The soul should tell its feelings, Ever free and unconfined.

Both. Ah! new transports, &c.

Translated by John Oxenford, Esq., from GOETHE'S Faust, as altered and put into an operatic form. The music by LUDWIG SPOHR.

SONG (PAGE 50).

Down by the river there grows a green willow;
Sing all for my true love, my true love, O!
I'll weep out the night there, the bank for my pillow,
And all for my true love, my true love, O!
When bleak blow the winds, and tempests are beating,
I'll count all the clouds, as I mark them retreating,-
For true lovers' joys, well-a-day! are as fleeting.

Sing O for my true love, &c.

Maids. come in pity, when I am departed;

Sing all for my true love, &c.

When dead on the bank I am found, broken-hearted,

And all for my true love, &c.

Make me a grave, all the while the wind's blowing,
Close to the stream, where my tears once were flowing,
And over my corse, keep the green willow growing,
"Tis all for my true love, &c.

Sung by Barbara, in COLMAN's Iron Chest, when she is alarmed at the dangers to which her lover, Wilford, is exposed. The character was represented by Signora Storace, who sang this beautiful ballad, as well as the other musical pieces in the part, with a feeling and taste that are still spoken of with enthusiasm by those who witnessed and recollect the effect she produced. The music is one of the many happy compositions of STEPHEN STORACE.

ARIA (Page 52).

Rendi il sereno al ciglio,

Madre, non pianger più. Temer d'alcun periglio

Oggi come peroi tu?

Rendi, &c.

From the opera of Sosarme, written by MATTEO NORRIS*. Elmira, daughter of Haliarte, king of Lydia, in the above words addresses her mother, Erenice, who is alarmed for the fate of both her royal husband and her son, the latter, deceived by appearances, being in open rebellion against his father. The drama ends happily.

The music was composed by HANDEL, and produced at the King's Theatre in 1732. The present aria, which, with the exception of Fra l'ombre,' is the only one in the opera that has survived, was sung by Signora Strada in the key of B. Dr. Arnold transposed it into B flat, and adapted the words, Lord, remember David,' to it, for the pasticcio oratorio, The Redemption. It now is transposed into A, to suit the generality of soprano voices; and we may take this opportunity to observe that, owing to the rise in concert pitch, which has been very gradual but unceasing, for a number of years past, the probability is that there is the difference of nearly a whole tone between our concert pitch, and that adopted a century ago.

ON MUSIC AS AN AMUSEMENT FOR THE
LOWER ORDERS.

In this country we are, generally speaking, utterly ignorant of the progress making by music among the people on the Continent, of the improvement which it has wrought in their morals, and of the large addition it has made to their happiness. It has long been confessed, that to the superiority of Catholic church music over our parochial psalmody, is to be attributed the superior aptitude and taste for harmony so conspicuous in Catholic countries: but this furnishes no reason why we should be so far behind—as we notoriously are-the Lutherans, Protestants, and other sects in Germany, Switzerland, &c. To the impolitic neglect of music in our churches-or, rather, to the distasteful form it there commonly assumes―our backwardness may in some degree be imputed; but on our police laws, and on the harsh manner in which they are frequently administered, the blame chiefly rests. These, rigorously interpreted as they too often are by the magistrates, especially by those of the metropolitan districts, virtually forbid the innocent recreation of music, by refusing licenses to such houses as provide it for the amusement of their customers; thus compelling the lower orders-who have as much right as the upper classes to enjoy a reasonable share of relaxation-to spend their leisure hours wholly in gross sensuality, in drinking, instead of passing most of that time in an indulgence which, to say the least of it, is innoxious, and in which, under prudent regulations, their wives and children might participate.

It has, however, been objected that it is dangerous to tempt men to introduce their families at the public-house. Granted, while none can enter such place, except for the purpose of drinking-drinking by compulsion-in proportion to the house-room

The original title of this opera,' Dr. Burney tells us, was Alphonso Primo: but Handel, after adhering to the author's dramatis persona when he first set the music, changed all the names in his foul score, before it was performed.'—(Hist. of Music, iv. 357, note.)

and time occupied. But if a family were allowed to pay a small sum, say three-pence, for beer, and as much to hear a song, a sonata, and a glee, the whole party would be better both in body and mind for so temperate a refreshment, and so rational an entertainment: they would be happier, and therefore work with more effect, because, with more alacrity, and obey those placed in authority over them' with more cheerfulness.

Still there are some who will not be reconciled to the workingman's club-house,—to his Brookes's, his Athenæum, his Carlton, i. e., his public-house, however fairly licensed and well regulated. Will these persons permit him to enjoy a little music in the open street, where he can procure nothing to intoxicate, or even to quench his thirst, except rain-water? No-a recent act of parliament forbids music in the street, in a no less peremptory manner, than that in which the magistrates prohibit it in the publichouse. The fact cannot be denied, as the following case, reported some time back from the Marlborough-street police office, will

show:

'William Henry and Joseph Perrigalli, a couple of street musicians, were charged with having created a mob by playing in the public streets, and with having resisted the police, who attempted to remove them; and two respectable tradesmen in Jermyn-street, named O'Hara and Duncan, were also charged with having assaulted the police, and attempted to rescue the other defendants from custody.-It had been the practice for some time of the musical defendants to station themselves in Jermynstreet, and to amuse the inhabitants by a gratuitous concert. Some of the residents wished to have them removed. Others, more musically disposed, insisted upon the musicians being suffered to play.-Last Saturday night it was determined to bring the matter to an issue; accordingly, about ten o'clock, when some thirty or forty persons were assembled in Jermyn-street, listening to the strains of the musicians, a policeman made his appearance, and ordered the performers to move on. The spectators espoused the cause of the musicians, upon which the policeman went for assistance, captured the fiddlers, and took off also the other two defendants, because they were taking an active part in the proceedings.-Mr. Chambers said that the musical defendants had by playing in the public streets, according to the recent act of Parliament, become vagrants, and therefore the police constables had a right to remove them, especially as it had been shown that an obstruction had been created. He should therefore direct them to put in bail for resisting the constables.'

A Sunday paper, at about the time when this act of vagrancy was committed, made some excellent remarks on the subject. The word obstruction,' the writer observes, has different senses, according to the context. . . . . An obstruction in the streets is associated with working jackets, worsted stockings,' &c. But let us see how the benevolent mind of a Wordsworth contemplates an obstruction and an act of vagrancy :'—

POWER OF MUSIC.

An Orpheus! an Orpheus! Yes, Faith may grow bold,
And take to herself all the wonders of old:
Near the stately Pantheon you'll meet with the same,
In the street that from Oxford hath borrowed its name.
His station is there-and he works on the crowd;
He sways them with harmony merry and loud-
He fills with his power all their hearts to the brim—
Was aught ever heard like his fiddle and him?
What an eager assembly!-what an empire is this!
The weary have life, and the hungry have bliss:
The mourner is cheered, and the anxious have rest;
And the guilt-burthened soul is no longer opprest.
As the moon brightens round her the clouds of the night,
So he, where he stands, is the centre of light;
It gleams on the face there of dusty-brown Jack,
And the pale-visaged baker's, with basket on back.
That errand-bound 'prentice was passing in haste-
What matter!-he's caught, and his time runs to waste:
The newsman is stopped, though he stops on the fret,
And the half-breathless lamplighter-he's in the net.
The porter sits down on the weight which he bore;
The lass with her barrow wheels hither her store-
If a thief could be here, he might pilfer at ease-
She sees the musician-'tis all that she sees!

He stands, backed by the wall-he abates not his din-
His hat gives him vigour, with boons dropping in
From the old and the young-from the poorest-and there!
The one-pennied boy has a penny to spare.