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THE LILY OF KILLARNEY,
A ROMANTIC OPERA,
DION BOUCICAULT AND JOHN OXENFORD,
ii' [COMPOSED BY
THE OPERA COMPLETE, BOUND IN CLOTH, 25s.
$. d. OVERTURE - - - . - .40 SONG—A bachelor's life. (Hardress) DUET — The moon has rais'd the lamp above. (Hardress
and Danny Mann) - - - - - 26 SONG- The above arranged as a song - - - 2 0 SONG—It is a charming girl I love. - (Myles). in B flat
and in A - - - SONG – In my wild mountain valley. (Eily). In D minor and in C minor - -
- - 2 6 SONG, with CHORUS, ad lib.—The Cruiskeen Lawn · 26
S. d. THE OVERTURE. Arranged by the Author - - 4 0 The Favourite Airs. In two Books. William Hutchins Callcott
- 5 Ditto. As Duets. In two Books. William Hutchins
Callcott - - - - - - 6 0 THE FAVOURITE Airs. In two Books. Franz Nava Ditto. As Duets. In two Books. Franz Nava - - 6 0 Set or QUADRILLES. Charles Coote - w • 4 0 Ditto. As Duets - - -
- 4 0 SET OF QUADRILLES. “ The Cruiskeen Lawn Pierre
Laroche. Illustrated by Brandard - - -4 0 Waltz.“ Eily Mavourneen.” Charles Coote. Illustrated
by Brandard - - - - . - 4 0 Set of Waltzes. Pierre Laroche. Illustrated by Brandard 4 0 GALOP. Pierre Laroche - .
• 2 6 BRINLEY RICHARDS, “Eily Mavourneen"
• 3 0 “ I'm alone"
• 3 0 " It is a charming girl I love”. .. 30
“ The Cruiskeen Lawn” Kune. Fantasia on favourite Airs
Grand Waltz - -
2. "The Lullaby" - -
ACT II. CHORUS—The Hunting Chorus . . . . 36 AIR and DUET — The eye of love is keen. (Ann Chute and Hardress)
• - 40 SCENA — A lowly peasant girl. (Danny Mann). - 36 ROMANCE (separately) — The Colleen Bawn. (Danny Mann) - - - -
- 26 BALLAD— I'm alone. (Eily). In E flat and in C - 26 DUET — I give the best advice. (Eily and Myles) .
ACT III. SONG– The Lullaby. (Myles). In A and in F . . 2 6 TRIO— Blessings on that rev'rend head. (Eily, Myles and Father Tom.) In D and in D flat
3 0 DUET — Let the mystic orange flowers. (For two equal
voices) - - - - - - - 2 6 BALLAD_Eily Mavourneen. (Hardress). In F and in D 2 6 RONDO FINALE-By sorrow tried severely. (Eily) - 2 6
CHAPPELL & CO., 50 NEW BOND STREET.
Printed by GEORGE ANDREW SPOTTISWOODE, of No. 12 James Street, Buckingham Gate, in the Parish of St. Margaret, in the City of Westminster, at No.5 New-street Square
in the Parish of St. Bride, in the City of London. Published by Yohn Boosky, at the Office of BOOSEY & SONS, 28 Holles Street, Saturday, Marck 16, 1862
"The Worth Of Art Appears Most Eminent In Music, Since It Requires No Material, No Subject-matter, Whose Effect Most Be Deducted: It 18 Wholly Form And Power, And It Raises And Ennobles Whatever It Expresses"—G&thc.
SUBSCRIPTION—Stamped for Postage—20s. PER ANNUM Payable in advance by Cash or Post-Office Order to B00SEY & SONS, 28 Holies Street, Cavendish Square, London, W.
NEW ILLUSTRATED ART PAPER. On SATURDAY, March 1,1SC2, price Fivepencb (Stamped for Tost Sixpence), No I. of
THE ART-WORLD, AND INTERNATIONAL EX
*' Everywhere I see around me
This Journal will give a faithful report of all the productions and doings in the whole circle of the Fine and Decorative Arts—Original Articles upon the History of Art, and the interests of Artists in their profession ; Reviews of New Books relating to Art and Belles-Lcttres; besides a summary of the proceedings of Artistic and Learned Societies, Art On.dits, Notes of Important Sales of Works of Art and Vertu, Correspondence, &c, copiously illustrated In a novel style.
The tone of criticism in THE ART-WORLD will be candid and impartial ; intolerant of glaring error and presumptuous mediocrity ; generous and encouraging in every case where merit or promise is recognised.
The contents of the International Exhibition of 1863, coming within the scope of Fine or Decorative Art, will be amply described and illustrated in THE ARTWORLD. Each Number of THE ART-WORLD will contain thirty-two handsome P»i£esi printed in the best style upon paper of a fine quality.
Published by S. H. Lindlky, at the Office, 19 Catherine Street, Strand, where communications for the Editor, Advertisements, Stc.t are to be addressed ; aud by Kent ft Co., Paternoster Row.
ROYAL ITALIAN OPERA, COVENT GARDEN. MR. GV E has the honour to announce that the OPERA SEASON of 1862 will commence on TUESDAY, April S.
The Prospectus, with full particulars of the Arrangement, will be issued on Monday, March 24.
TVTLLE. LOUISA VAN NOORDEN, Prima Donna of
AU. the Theatre Pagliona, Florence, will ARRIVE in Town for the Season 18C2, on the lath April.
All Communications, respecting Engagements for Concerts, Oratorios, Soirees. &c, may be addressed to Mr. P. E. Van Nooiden, USA Great Russell Street, Bedford Square.
MESSRS. KLINDWORTH, H. BLAGROVE, DEICHMANN, R. BLAGROVE and DAUBERT'S CONCERTS FOR CHAMBER MU SIC (Second Season). Hanover Square Rooms, Second Concert, Tuesday Even wig, March 2Mb, half-past eight o'clock.
Programme—Quintet (Piano and Wind Instruments); Rubinstein (Messrs Kllndworth, Svendsen, Pollard, C*. Harper, Hausser); Sonata (Piano and Violoncello, Op, 102), Beethoven; Trio, Schubert; Stringed Quartet, Mozart, Vocalist—Miss Sosanna Cola.
Family Tickets, to admit Three, £1 is,.. Single ditto, 10s. Gd., at the principal M inu-.-el lers, and of the Concert Givers.
MR. DEACON begs to announce THREE STANCES OF CLASSICAL INSTRUMENTAL MUSIC, to take place at 10 Grosvenor Street, W. (by the kind permission of Messrs. Collard), on the Mornings of Tuesday, March 25th, and April 8th, and Monday, May 26th, commencing at three o'clock.
Executants: Violin, M. Sainton, Mr. Clemen s and Mr. Corrodus; Viola, Mr. B. Webb; Violoncello, Slg. Pezze; Contrabasso, Mr. C. Severn , Pianoforte, Mr. Deacon.
Tickets, for the Series, One Guinea; for a Single Seance, Hair-a.Gulnea; to Admit Three to a Single Seance, One Guinea; to be had of Mr. R. W. Olllvler, 19 Old Bood Street, W.; or of Mr. Deacon, 72 Welbeck Street, Cavendish Square, W.
MLLE. GEORGI is now at liberty to Accept Engagement, for Concerts, &c, &c. All Communications to be addressed to Mr. H. Jarrett, Musical and Concert Agent, at Messrs. Duncan Davison ft Co.': Foreign Music Warehouse, 24* Regent Street, W.
ST. JAMES'S HALL.
NEW PHILHARMONIC CONCERTS.
DlRRCTOR AND CONDUCTOR M DR. WYLDE.
Principals Of The Orchestra HERR MOLIQUE and MR. H. BLAGROVE.
IELEVENTH SEASON.—The Subscription is for FIVE Is1 GRAND VOCAL and INSTRUMENTAL CONCERTS, and FIVE GRAND PUBLIC REHEARSALS, on the Saturday Afternoons preceding the Concerts. Terms, V. 2s., 1/. Us. (lid., and It. lg.
The first CONCERT will take place on MONDAY EVENING, April 7th, and the PUBLIC REHEARSAL on SATURDAY AFTERNOON, April 5th, when Miss Arabella Goddard will perform, and Mile. Titiens will make her first appearance in London this Season.
The second CONCERT will take place on WEDNESDAY EVENING, May 7tli. and the PUBLIC REHEARSAL on SATURDAY, May 3rd, when the Sisters Marciltsio, Mr. J. F. Barnett and Herr Joachiu will appear.
The Orchestra and Choir will consist, as in former Seasons, of nearly 300 performers. The Orchestra will perform the great Instrumental Works of Mozart, Beethoven, Mendelssohn, Weber, Spoilt-, &c. The following eminent solo artists have been engaged at these Concerts, many of whom, with others who may arrive in London, will take part in the ensuing Concerts:—Mile. Titiens, Mad. Borghi-Mamo, Miss Louisa Pyne, Mad. Lemmens-Sherriiigton, Mile. Parepa, Mad. Anna Bishop, Mad. SaintonDolby, Mad. Rudersdorff; Si?. Giuglini, Mr. Sims Reeves, Slf. BeUrt, Herr Reichardt, Mr. Wllbye Cooper, Mr. Perren, Herr Formes, Sig. Betletti. Mr. Weiss, Mr. Santley. Pianists: Miss Arabella Goddard Mad. Schumann. Mad. I'leyel, Mile. Clauss; Mr. J. F. Barnett, Mr. Hubenstein, Herr Lubcck, Mr. C. Halle. Violinists: Herr Joachim, Herr Ernst, Herr Wieniawski, Slg. Slrori, M. Vieuxtemps, Mr. H. Blagrore, Herr Becker. Violoncellist: Sig. Piatti.
Prospectuses, showing the dates of the Concerts and a list of the Subscribers, are now ready.
Messrs. Cramer & Co., 201 Regent Street ; Keith, Prowie St Co., 28 Cheapslde; Mr. Austin's Ticket Office, St. James's Hall.
THE SISTERS MARCHISIO The celebrated artists, Mile. CARLOTTA MARCHISIO (Soprano) and Mile. BARBARA MARCHISIO (Contralto), will RETURN to London for the Season, the last week in April.
Applications relative to Concerts, &c, to be addressed to Mr. Land, 4 Cambridge Place, Regent's Park.
ROBERT COCKS AND CO'S
LIST OF NEW MUSIC.
rpO CHORAL SOCIETIES, Singing Classes, &c—178
.JL Glee*, Part Song , &c, and 118 Anthems, &c, in Vocal Scores, with Piano or Organ Accompaniments, in numbers, 2d., and 4d. each ; or in volumes, each containing upwards or AO pieces, price, bound in cloth, each 61. Also, 105 Rounds, Canons, &c. (words by W. Hill*), 13 numbers, each 2d.; or, complete, limp cloth, 3«. List of contents gratis and postage free. Also, now ready, Sir k\ A. Gore Ouseley. Dart's Series of Anthems, in Score and separate parts.
WELSH FANTASIAS, by BRLNLEY RICHARDS. No I. NORTH WALES. No. 2. SOUTH WALES. Cash 4s. Performed at the several celebrations of St. David's Day.
"The principal features of the concert were the Pianoforte performances of Mr. Brinley Richards, w hose brilliant arrangements of popular melodies in every portfolio, and the Harp performances of Mr. John Thomas .... Mr. Richards playing is like his arrangements, clear, brilliant, and poviertu]"—Manchester Examiner.—[See Musical World.]
TOHN GILPIN'S GALOP FOR PIANO. Composed
O by CARL FAUST. Finely Illustrated. as. 6d.
TTIOLIN AND PIANO MUSIC. — Popular Classical
f Pieces, from the works of the (treat master., arranged by W. M0RR1. Four books, each, 4*>j alio, for Violin and Piano, Fantasia on Old English Airs by N MORI, 4s. Also for the Violin, Solo, arranged by W. MOM. 100 Dances, Is, fid 100 Scotch, Eng Ish, Irish, and American Airs, ll, Gd.; 100 Operatic Alrl, Is. Cd.' and 100 English Songs, tec. Is. 6d.
VINCENT WALLACE,—"FORGET ME NOT."
. . • Romance, for piano, 3s. '\Gra2iella Nocturne," for piano, 3j. * La Plainte du licrger," Idylle, pour piano, 3s. "We find In them the brilliancy of Thulberg and the graceful melody of Mozart, while their execution is not beyond the reach of the generality of good performers."— Press.
"T\AVIDS PRAYER," Sacred Song. The words from
JL/ Holy Writ. Music by R. TOPL1FF. 2s. Cd.
THE SPIRITS' CALL," Song. Words by Miss S. DOUDNEY. Music by R. TOPLIFF. 2s. 6d.
- QWEET LITTLE BIRD," Song. Words by J. G.
kJ MINOT. Music by R. TOPLIFF. 2s. Od.
DIXEY'S LAND," Transcribed for the Pianoforte. By H. BARTON. 2s.
"rpHE PRIMROSE DELL," Ballad. Words by J. P.
JL DOUGLAS. Music by HENRY SMART. 2s. 6d.
HARK! THE GOAT BELLS RINGING." Words by F.ENOCH. Music by HENRY SMART, ll.
"rpHE HOLYDAY DUET," for two Voices, by the
JL Author and Composer of 11 What are the Wild Waves Saying?*' 3s.
"■\TTHAT ARE THE WILD WAVES SAYING?"
V V Vocal Duet. Words by J, E. CARPENTER, Esq. Music by STEPHEN GLOVER, 3s.; ditto Piano Solo, by BR1NLEY RICHARDS, 3s,: ditto Piano Duet, 4s.
London: Robert Cocks auil Co., New Burlington Street, aud of all musicsellers.
G2. Howard Glover's New Optra, " Ruy Bias," for the Pianoforte,
63. Christmas Annual of Dance Music for 1862, Is,
64. Twenty-five Comic Songs, Is,
65. One Hundred Reels, Country Dances, Pianoforte, Is.
66. One Hundred Christy's Airs, for Pianoforte, Is.
67. Twenty-four Pieces, lor Juveniles, Is.
68. Thirty Classical Gems, for Piano, Is.
69. Twenty-eight Easy Songs to Popular Melodies, Is.
70. Twenty New Christy's Songs (5th solectlon). Is,
71. Twenty New Christy's Songs (6th selection). Is*
72. Twenty Sacred Works, for Pianoforte, Is, Any Number post-free for Is. 2d,
Boosby 8t Sons, Holies Street.
SAINT MARTIN'S HALL, Long Acre.—TO BE LET, with immediate possession, on Lease, by the Week, or Night, comprising the Grand Hall, Minor Hall, Class, Refreshment and other Room*, with the excellent Residence in Long Acre.
For full particulars, terms, and cards to view, apply to Philip Roberts, Esq.,Solicitor, No. 2 South Square, Gray's Inn.
HILHARMONIC SOCIETY.—Second CONCERT,
at tho Hanover Square Rooms, on MONDAY EVENING, March 24.
Spohr't. Sinfonla," The power of sound;" Beethoven's Slnfonla, in P, No. 8; Mendelssohn'*. Overture to Athalic, and Weber's Overture to Qberon.
Miss Arabella Goddakd will play Sterndale Bennett's Caprice in E major, and Bach's Prelude aud Fugue alia Tamutella.
Vocal performers, Mile. Parkpa and Mr. Tennant. Conductor, Professor Ste«nDalb Bennett.
Single Tickets IM., to be had or Messrs. Addison, Ilollier & Lucas, 210 Regent Street, W.
"The Morning Ride" — words by Clabibell music by
Bernhabd Althaus (Duncan Davison & Co.). Pretty verses, like all the verses we have seen from the playful pen of "Claribel," and set to music by Herr Althaus with a kindred feeling. A ballad likely to prove effective, not only in the drawing-room, but in the more trying and responsible arena of the public concert-hall.
"Capriccio "— for the pianoforte— by Edward Thurnam
(Robert Cocks & Co.). A sort of " Lied ohne worte," set off by a brilliant and wellsustained "arpeggio," alternately for the right and left hand, a la Thalberg.
"Castles in the Air " — words by J. Palgrave Simpson; music by J. F. Erskine Goodeve (Duncan Davison & Co.).
A sentimental ballad in A flat — very well written, but not very new.
"It is not always May " — words by Longfellow; music
by J. F. Erskine Goodeve (Duncan Davison & Co.). We prefer this song to its companion, Mr. Goodeve's muse being decidedly in a fresher mood, and doubtless inspired by such beautiful lines as the following :—
"The sun is bright, the air is clear,
The darting swallows soar and sing,
The blue bird prophesying Spring.
It seems an outlet from the sky,
The freighted clouds at anchor lie.
"All things rejoice in youth and love,
The fullness of their first delight!
The melting tenderness of night.
Enjoy thy youth, it will not stay j
For, oh! it is not always May."
"Cherry Ripe " — fantasia on Horn's popular ballad — by
J. Benedict (Boosey & Sons). A beautiful melody beautifully set—a sunny picture framed by a master hand. Of all Mr. Benedict's fantasias on wellknown airs, this is the least difficult, but by no means on that account the least graceful, finished and effective. It has already been played in public by Miss Arabella Goddard, and those who heard it (at Mr. Hansford's concert) were enchanted with its artless elegance and refinement. "Simplex tnunditiis," interpreted from a philanthropic point of view, might well serve for its motto. In the drawing-room, as in the concert-room, Mr. Benedict's "Cherry Ripe " is, or we are greatly mistaken, destined to attain universal popularity.
"One Hundred and Eighty Chants, Ancient and Modern" — by William Shelmerdine (Arthur Hall, Virtue & Co.).
When we say that Mr. Shelmerdine is organist of the Mechanic's Hall, Nottingham, as well as conductor of the Sacred Harmonic Society of the same town, we shall have advanced sufficient to show that he is no incompetent labourer in the field of sacred music. The Chants, which are all arranged
for four voices, with an accompaniment for the organ or pianoforte, are divided into single and double; and the catalogue includes the names of some of the most famous composers of ancient and modern times. Mr. Shelmerdine has supplied nine of the single, and twenty-one of the double chants. Whether for the use of churches or to the ordinary practitioner, we can unhesitatingly recommend this little book of chants.
"Charming Maiden "—words by W. Bartholomew ; music by Mrs. Mounsey Bartholomew (Duncan Davison & Co.).
An unaffectedly pretty ballad, melodious, and written with the utmost purity, against which, indeed, the sourest critic would hardly presume to raise a finger.
THE SUM PAID TO ROSSINI FOR HIS OPERA OF
JL BAUBIERE. The following is a curious document, not without interest for the history of music. It is the agreement between Rossini and the manager of the Argentina Theatre at Rome, for composing and superintending the production of 11 Barbiere. We translate it literally.
"Nobil Teatro di Torre Argentina.
"26th December, 1815.
"By the present deed, drawn up by private individuals, but not the less valid on that account, and in conformity with the terms agreed on by the contracting parties, it has been stipulated as follows:—
"The Signor Puca Sforza Ccsarini, manager of the above theatre, engages the maestro Giaochino Iiossini for the coming carnival season of 1816; the said Rossini promises and binds himself to compose and place upon the stage the second buffo drama represented during tho aforesaid season at the theatre already mentioned, and to suit it to the libretto which shall be given him by the same manager; whether this libretto be new or "eld, the maestro Rossini undertakes to send in his score by the middle of the month of January, and to adapt it to the voices of the singers; he binds himself, moreover, if called upon, to make all the alterations which shall be necessary, both for the good execution of the music, and the convenience and requirements of the singers.
"The maestro Rossini promises and binds himself, also, to be at Rome, for the purpose of fulfilling his engagement, not later than the end of December of the present year, and to deliver to the copyist tho first act of his opera, completely finished, on the 20th January, 1816; the 20th January is selected, in order that the rehearsals and concerted music may be promptly proceeded with, and the opera placed on the stage on the day desired by the manager, the first performance being fixed, from this time, at about the 5th February. The maestro Rossini is bound, also, to deliver to the copyist, on the day required, his second act, in order that there may be time to practice and rehearse, so as to produce the opera on the evening previously mentioned, otherwise the maestro Rossini will be liable for all losses, since it must be thus and not otherwise.
"Furthermore, the maestro Rossini will bo bound to superintend the getting-up of his opera, according to custom, and to be present at all the rehearsals of the vocalists and orchestra, whenever this shall be requisite, either in the theatre or elsewhere, at the desire of the manager; he undertakes, also, to be present at the first three performances, which will be given consecutively, and to conduct at the piano, because it must be so and not otherwise. In consideration of his trouble, the manager binds himself to pay the maestro Rossini the sum and quantity di scudi quatro cento romuni (of four hundred Roman crowns), immediately after the first three performances which he shall conduct at the piano.
"It is further agreed that, in the case of an interdiction, or of the theatre being closed, either by the authorities, or from any other unforeseen cause, the same course shall be taken which is usually pursued in the theatres of Rome, or in any other country, under similar circumstances.
,i. 'at a,8uaranteo for the complete execution of this agreement, the latter shall be signed by the manager, and also by the maestro Giaochino Rossini; moreover, the said manager provides the maestro Rossini with lodgings, for the duration of the agreement, in the house assigned to Sig. Euigi Zamboni."
This agreement, by which Rossini obtained about eighty-nine pounds, applied simply to -ft Barbiere di Siviglia.
THE MENTAL HISTORY OF POETRY.'
■'' "To search through all I felt or law,
The springs of life, the depths of awe,
Before we are in a position to directly consider the influence of the art of Music upon that of Poetry, it is necessary to further make reference to that primary expanse of Imagination and high enthusiasm of admiration common in all minds to the precedence of Art generally. In so doing we are led to consider a new and striking principle rising to visible action out of this condition of tho breast, whenever, in these circumstances, language is appealed to (and this constitutes the very contingency which impels the phenomenon of Poetry) as a medium of expression.
This principle is exhibited in the tendency which emotions—begot in the warmth of imagination, or partaking largely of a character of admiration—exert, in exuding into expression through the inert medium of language, to form this language into some marked phraseological design, —to carve it out into aesthetic variety and relief, like the rivers diversify and render picturesque the land over which they flow,— to define its surface character clearly and precisely into those deviations and undulations which are formed by the contrast between "Emphasis" and "Pause," and between all more and less marked effects of accentuation, and to reduce these embryo materials of effect to that intuitively formed yet methodical arrangement, to that cxtcmporally improvised yet esthetic design to that spontaneously woven but impressive form of influence (dwelling in the pure manner of expression) which is termed the influence of Eloquence, Oratory, and Rhetorical Effect.
For all the purely expressional effect which is wrought by that influence, generally understood as the influence of Rhetoric, Eloquence, "Utterance, and the power of speech," is not wholly to be explained by these terms, vaguely conveying the idea of a gracefulness, variety, and imprcssiveness in the manner of utterance and expression. The truth is, these terms include, as their spirit exemplifies, a perfectly original principle, which lies couched amidst the laws of human demonstration. The influence and imprcssiveness they work is not only the emotional influence emanating from the positive matter of the communication they attend—more highly wrought—its light drawn out and reflected around in more dazzling rays and from a brighter focus; but it is a later and more spiritual portion of the communicational burthen itself, as it exists in its completeness in the mind of the conceiver. It is not only that emotional radiation which would obviously attend the possession of certain warm ideas and glowing truths, and surround the path of their conveyance, but it is the manifestation and expression of that more specific and individual emotion—that finer ripple of the mind which lurks behind the main wave of sentiment, peculiar and original to the conceiver alone, and fraught intimately with his idiosyncrasy, which, though calculated to be aroused by, yet, through the circumstance just mentioned, does not obviously and inevitably attend, the material communication to which it relates; and, being a distinctive and new phenomenon, it thus requires and demands some peculiar and original medium for expression and conveyance.
Now the demonstrative influences and resources embraced by the terms "Eloquence," "Oratory," and " Rhetoric," constitute this essential, separate, and etherinl channel of expression; and thus wo are led to observe the above influences in a new light; that is, as containing and exemplifying a fresh and independent principle of expression.
It was observed, in first introducing the subject of this purely expressional influence of "Eloquence," that the general circumstances of its exhibition exist in the communication of ideas and feelings conceived in the warmth of imagination, or partaking largely of a character of admiration. It was just now further observed also concerning the circumstances of its appearance, that it constitutes not only that emotional radiation which would obviously attend the possession of certain warm ideas and glowing truths, and surround the path of their conveyance; but that it is the manifestation and expression of that more specific and individual emotion peculiar and original to the conceiver alone, and fraught intimately with his idiosyncrasy. The former described portion of the circumstances surrounding the exemplification of this quality of eloquence refers more to the inward mental conditions out of which the emotions accruing to the above quality arise—namely, a certain imaginative brightness and expanse, and a warmth of admiration; whilst the latter described portion of these circumstances bears more particular reference to the character of the emotions surrounding oratorical display themselces— they being described as being fraught intimately with their
* Continued from Page 131,
possessor's idiosyncrasy as peculiar to him alone, and thus as of a character particularly specific and original.
Now the reader will not find it difficult to perceive the consistency of those circumstances of the mind, (described as surrounding the advent of oratorical display.) with the character of the emotions springing out of the above circumstances and whose expression this Oratorical display enrobes. He will not find it difficult to understand that the more the faculty of imagination enters into the conception of an emotion the more individually modified will that emotion become, the more peculiar to its possessor alone will it be; and thus the finer, more specific, and original will be the character of that emotion. In fact, so perfect is the connection, so consistent is the relationship of these different orders of circumstances attending the exhibition of the phenomenon of "Eloquence," that in describing the inevitable conditions of its appearance we may state either, that in the expression of emotions, in the communication of truths and ideas, the more their conception is attended by an exertion of the imaginative capacity, in a proportionate degree will their conveyance be fraught with the quality of "Eloquence;'' or that the more specific, original, or peculiar to its possessor alone a certain sentiment or idea may be, the more strongly in the expression of this will he be impelled to employ that separate expressional influence, to borrow that new and inscrutable impressiveness which the intelligent varying of emphasis and pause, the intuitively scsthetic moulding of phrases, in short, which the employment of eloquence affords. To speak somewhat more definitely of the nature of the imaginative influence, in the conception of certain ideas and emotions, we may hero observe that it is by the exercise of our natural perception and common sympathy, either in their ordinary practical and instinctive action, or extended into a moro imaginative sphere, that all emotions and ideas are conceived. In the effect upon us of some material circumstance or incidental truth, for instance, our mental perception or moral sympathy is immediately and unconsciously affected without any exertion of the imagination or guidance of intellect. But in becoming impressed by a general and comprehensive truth, we first, through a series of considerations invoked and sustained by the imagination, explore within this truth till the general order, extent, and nature of its influence is discovered, and this, through inciting an extended action of the mental appreciation or the moral sympathy, arouses certain high and appropriate emotions.
Referring once moro to the circumstances and conditions surrounding the phenomenon of "Eloquence," it will be remembered that, of those circumstances and conditions, we described the state of the mind out of which it arises, and the character of tho Emotion which it attends. But we are now led to observe, in addition to these circumstances of its appearance, the nature of the outward influence by which it is elicited. We are led to observe that this influence will mostly be of a lofty and comprehensive character, and thus, one more demanding of an exertion of the imaginative faculty for its full appreciation and due emotional fruition.
As the mental condition out of which the appearance of this quality of " Eloquence" is seen to arise is one largely fraught with the influence of imagination, so that effect which it is directly seen to work — the visible portion of the process in its general action—is the kindling of the imaginative faculty in the person subject to that action. In fact, it may be generally asserted concerning the particular and specific property of this principle of " Eloquence," in any communication wherein it is employed, —that its tendency is to directly and purely work upon the "Imagination " of those within its operation; to awaken the nervous susceptibility! to excite the abstract warmth and fire of the mind; to kindle and expand the imaginative capacity of the listener into a like sensitiveness to that of the uttcrcr, that similar physical conditions being furnished (which process is accomplished in the literal and material burthen of the communication), similar emotions and ideas shall be evolved. And thus the general office and function of this principle is to assist in demonstrating those ideas, and expressing those emotions which are only visible in tho light and heat of "Imagination "—those thoughts and feelings which are solely attained when the mental perception and moral sympathy are drawn from out their ordinary natural and instinctive sphere into the diversions of the imaginative world.
The main propositions which it is tho object of the present remarks to impress may be thus shortly summed up. The property attending language of " Eloquence" is a totally original and independent principle of expression—a principle of expression quite distinct from those principles on which all the efficacy of the purely material portion of language depends, such as are involved in the simple process of literal "Association," or the more elaborate method of "Representation;" a certain emotion being by the former process suggested to the mind and partially realized to the breast (by means of the great social nerve of human sympathy) through being "associated" with a certain symbol