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THE LILY OF KILLARNEY,
A ROMANTIC OPERA,
DION BOUCICAULT AND JOHN OXENFORD,
L' [COMPOSED BY
THE OPERA COMPLETE, BOUND IN CLOTH, 25s.
$. d. OVERTURE . . . . . . 4 0 SONG—A bachelor's life. (Hardress) - . . 2 6 DUET — The moon has rais'd the lamp above. (Hardress and Danny Mann) -
- 26 SONG - The above arranged as a song
20 SONG-It is a charming girl I love. - (Myles). In B flat and in A .
• 2 6 SONG - In my wild mountain valley. (Eily). In D minor and in C minor - . .
- - 2 6 SONG, with CHORUS, ad lib.—The Cruiskeen Lawn · 2 6
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 - 5 0 Ditto. As Duets. In two Books. Franz Nava - .6 0 SET OF QUADRILLES. Charles Coote
. 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 Brandárd 4 0 Galop. Pierre Laroche . .
- 26 BRINLEY RICHARDS, “ Eily Mavourneen" . . 3
“ I'm alone"
“ The Cruiskeen Lawn" Kuhe. Fantasia on favourite Airs · ·
, Grand Waltz, . G. A. OSBORNE. Fantasia on favourite Airs
“Ricordanza" MADAME OURY. Fantasia on favourite Airs LINDSAY SLOPER. Fantasia on favourite Airs RIMBAULT. Six favourite Airs, casily arranged : No. 1. “In my wild mountain valley” . 2. "The Lullaby" .
. 10 3. “It is a charming girl I love”
• 1 0 4. “Eily Mavourneen"
- 10 5. “I'm alone"
• 1 0 6. “The Colleen Bawn"
. . 10
ACT III. SONG - The Lullaby. (Myles). In A and in F. • TRIO-Blessings on that rev’rend head. (Eily, Myles and
Father Tom.) In D and in D flat - - DUET — Let the mystic orange flowers. (For two equal
voices) - - - - - - BALLAD— Eily Mavourneen. (Hardress). In F and in D RONDO FINALE-By sorrow tried severely. (Eily)
CHAPPELL & CO., 50 NEW BOND STRE E T.
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 John Boosky, at the Office of Boosby & Sons, 28 Holles Street.-Saturday, March 16, 1862
* THE WORTH OF ART APPEARS MOST EMINENT IN MUSIC, SINCE IT REQUIRES NO MATERIAL, NO SUBJECT-MATTER, WHOSE EFFECT MUST BE DEDUCTED : IT IS WHOLLY FORM AND POWER, AND IT RAISES AND ENNOBLES WHATEVER IT EXPRESSES”-Göthe.
SUBSCRIPTION - Stamped for Postage-208. PER ANNUM Payable in advance by Cash or Post-Office Order to BOOSEY & SONS, 28 Holles Street, Cavendish Square, London, W.
NEW PHILHARMONIC CONCERTS.
NEW ILLUSTRATED ART PAPER.
No I. of
HIBITOR: a Weekly Illustrated Journal of Painting, Sculpture, Architecture
“ Everywhere I see around me
Rise the wondrous WORLD OP ART."-LONGFELLOW. This Journal will give a faith ful 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-Lettres ; besides a summary of the proceedings of Artistic and Learned Societies, Art On-dits, Notes of Important Sales of Works of Art and Vertu, Corre. spondence, &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 1862, coming 'within the scope of Fine or Decorative Art, will be amply described and illustrated in THE ART. WORLD. Each Number of THE ART.WORLD will contain thirty-two handsome paiges, printed in the best style upon paper of a fine quality.
Published by S. H. LINDLEY, at the Offee, 19 Catherine Street, Strand, where communications for the Editor, Advertisements, &c., are to be addressed ; aud by K&NT & Co., Paternoster Row.
DIRECTOR AND CONDUCTOR
N GRAND VOCAL and INSTRUMENTAL CONCERTS, and FIVE
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 Mlle. TITIENS will make her first appearance in London this Season.
The second CONCERT will take place on WEDNESDAY EVENING, May 7th, and the PUBLIC REHEARSAL on SATURDAY, May 3rd, when the Sisters MARCHISIO, Mr. J. F. BARNETT and Herr Joachim 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, Spohr, &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:-Mlle. Titiens, Mad. Borghi-Mamo, Miss Louisa Pyne, Mad. Lemmens.Sherrington, Mlle. Parepa, Mad. Anna Bishop, Mad. SainionDolby, Mad. Rudersdorff ; Sig. Giuglini, Mr. Sims Reeves, Sig. Belart, Herr Reichardt, Mr. Wilbye Cooper, Mr. Perren, Herr Formes, Sig. Belletti, Mr. Weiss, Mr. Sanıley. Pianists : Miss Arabella Goddard, Mad. Schumann, Mad. Pleyel, Mlle. Clauss; Mr. J. F. Barnett, Mr. Rubenstein, Herr Lubeck, Mr. C. Hallé. Violinists : Herr Joachim, Herr Ernst, Herr Wieniawski, Sig. Sivori, M. Vieuxtemps, Mr. H. Blagrove, 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, Prowse & Co., 28 Cheapside ; Mr. Austin's Ticket Office, St. James's Hall.
ROYAL ITALIAN OPERA, COVENT GARDEN. IV MR. GYB has the honour to announce that the OPERA SEASON of 1862 will commence on TueSDAY, April 8.
The Prospectus, with full particulars of the Arrangements, will be issued on Monday March 24.
MR. TEDDER will Sing Ascher's “ ALICE, WHERE THE SISTERS MARCHISIO._-The celebrated artists,
1 ART THOU?” at the Assembly Rooms, Kennington, on Monday Evening, Mlle. CARLOTTA MARCHISIO (Soprano) and Mlle. BARBARA MARMarch 31st.
CHISIO (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. MLLE. LOUISA VAN NOORDEN, Prima Donna of
U the Theatre Pagliona, Florence, will ARRIVE in Town for the Season 1862, MISS LASCELLES has REMOVED to No. 8 York on the 15th April. All Communications, respecting Engagements for Concerts, Oratorios, Soirées, &c.,
I Street, Portman Square, W. may be addressed to Mr. P. E. Van Noorden, 116 Great Russell Street, Bedford Square.
RIRKENHEAD MUSIC HALL COMPANY
(LIMITED).- The Directors are prepared to receive APPLICATIONS for the MESSRS. KLINDWORTH, H. BLAGROVE, DEICH | Use of the HALL, for Concerts, Balls, Lectures, Public Meetings, Private Parties, 1 MANN, R. BLAGROVE and DAUBERT'S CONCERT'S FOR CHAMBER
Soirées, &c. The Large Room in the Hall is calculated to seat between 600 and 700 MUSIC (Second Season). Hanover Square Rooms, Second Concert, Tuesday Even- |
people, and the Small Rooms above 200. ing, March 25th, half-past eight o'clock.
For further particulars apply to Josera Coventry, Secretary, 19 Sweeting Street,
APTOMMAS'S HARP RECITALS.
MR. APTOMMAS announces that he will give Six
I Performances of HARP MUSIC, from all the best composers, at 16 Grosvenor Street (by the kind permission of Messrs. Collard & Collard), commencing on
the 29th of April, at 3 o'clock. MR. DEACON begs to announce THREE SEANCES
Prospectuses, and Subscribers' list, at the Music Shops.
MLLE. MARIE WIECK will ARRIVE in London for
the Season, March 22nd. DEACON.
All Communications to be addressed to Messrs. John Broadwood & Sons, Great Tickets, for the Series, One Guinea : for a Single Séance, Half-a.Guinea ; to Admit Pulteney Street, Golden Square. Three to a Single Séance. One Guinea: to be had of Mr. R. W. Ollivier, 19 Old Bond Street, W.; or or Mr. Deacon, 72 Welbeck Street, Cavendish Square, W.
MHE CECILIAN PITCH PIPE (a new invention), for
the waistcoat pocket, is superior to all others, being much more powerful in MILLE. GEORGI is now at liberty to Accept Engage tone than any other at present in use the pitch does not vary, whether sounded Piang 1 ments for Concerts, &c., &c.
or Forte-is easily repaired, or the pitch altered if required. All Communications to be addressed to Mr. H. Jarrett, Musical and Concert Agent.
Price (any note) 23. 6d. Post-free. at Messrs. Duncan Davison & Co.'s Foreign Music Warehouse, 244 Regent Street, W.
Boosey & Chixo, 24 Holles Street, w. 12
ISS ARABELLA GODDARD'S NEW PIECE, TO CHORAL SOCIETIES, Singing Classes, &c.-178
" CHERRY RIPE." By BENEDICT. Performed by her at the Ransfords' 1 Glees, Part Song , &c., and 118 Anthems, &c., in Vocal Scores, with Piano or | Concert, March 6th. Organ Accompaniments, in numbers, 2d., and 4d. each ; or in volumes, each containing
Boosey & Sons, Holles Street. upwards of 50 pieces, price, bound in cloth, each 8s. Also, 105 Rounds, Canons, &c. (words by W. Hills). 13 numbers, each 2d. ; or, complete, limp cloth, 3s. List of contents gratis and postage free. Also, now ready, Sir F. A. Gore Ouseley, Bart's Series
ISS BANK'S NEW SONG, “ DREAM, BABY of Authems, in Score and separate parts.
MINE." Composed expressly for her by VIRGINIA GABRIEL, WELSH FANTASIAS, by BRINLEY RICHARDS.
Boosby & Sons, Ho!les Street. Y No 1. NORTH WALES. No. 2. SOUTH WALES. Cash 4s. Per. formed at the several celebrations of St. David's Day.
“ TIVE O'CLOCK IN THE MORNING.” Cla"The principal features of the concert were the Pianoforte performances of Mr. Brinley Richards, whose brilliant arrangements of popular melodies in every portfolio,
RIBEL's New Ballad. and the Harp performances of Mr. John Thomas . . . . Mr. Richards' playing is
Published this day by Boosby & So.s, Holles Street. like his arrangements, clear, brilliant, and powerful." Manchester Examiner -[See MUSICAL WORLD.]
NHE LIGHT IN THE WINDOW." Mad. SAINTONTOHN GILPIN'S GALOP FOR PIANO. Composed
DOLBY's New Song:
Composed expressly for her by VIRGINIA GABRIEL, by CARL FAUST.
author of "the Skipper and his Boy."
Boosby & Sons, Holles Street. VIOLIN AND PIANO MUSIC. - Popular Classical
V Pieces, from the works of the great masters, arranged by W. MORRI. Four books, each, 4s.; also, for Violin and Piano, Fantasia on Old English Airs, by N. REETHOVEN'S SEPTET for Pianoforte, complete, by MORI, 4s. Also for the Violin, Solo, arranged by W. MORI 100 Dances, ls, 6d.
HUMMEL. Price 28., full size. 100 Scotch, Eng ish, Irish, and American Airs, 19. 60.; 100 Operatic Airs, Is, 6d.; and
Boosey & Sons, Holles Street.
EETHOVEN'S PASTORAL SYMPHONY for du Berger," Idylle, pour piano, 3s. " We find in them the brilliancy of Thalberg and Pianoforte, complete, by HUMMEL. Price 2s., full size. the graceful melody of Mozart, while their execution is not beyond the reach of the
BOOSBY & Sons, Holles Street, generality of good performers."-Press. “DAVIDS PRAYER,” Sacred Song. The words from EETHOVEN’S EROICA SYMPHONY for Holy Writ. Music by R. TOPLIFF. 2s.6d.
Pianoforte, by HUMMEL. Price 28., full size.
Boosey & Sons, Holles Street.
OZART'S JUPITER SYMPHONY for Pianoforte,
Boosey & Sons, Holles Street, “DIXEY'S LAND,” Transcribed for the Pianoforte.
CHOPIN'S MAZURKAS, 6s. complete. The most By H. BARTON. 28.
superb Edition of the whole of Chopin's 40 Mazurka's, printed from engraved “THE PRIMROSE DELL,” Ballad. Words by J. P. plates on large paper, with Portrait of Chopin, and a Biography by the Editor, J. W.
Boosby & Sons, Holles Street,
TUSIC FOR LENT.-Twenty Sacred Compositions « THE HOLYDAY DUET," for two Voices, by the | Rossini's “Stabat Mater" and Mozart's “12th Mass,” for Pianoforte, by Henry SMART,
IT for Pianoforte by the great Masters, price is. (" Musical Cabinet," No, 72). 1 Anthor and Composer of “What are the Wild Waves Saying ?" 3s.
price 3s. each, complete,
BOSSEY & Sons, Holles Street, 6 WHAT ARE THE WILD WAVES SAYING?”
Vocal Duet. Words by J, E. CARPENTER, Esq. Music by STEPHEN GLOVER, 35.; ditto Piano Solo, by BRINLEY RICHARDS, 38, i ditto Piano
NEW NUMBERS OF Duet, 4s.
ROOSE Y'S MUSICAL CABINET. London : Robert Cocks and Co., New Burlington Street, and of all musicsellers.
62. Howard Glover's New Opera, “ Ruy Blas," for the Pianoforte, Is.
63. Christmas Annual of Dance Music for 1862, Is. Just Published, price 3s.
64. Twenty-five Comic Songs, Is.
65. One Hundred Reels, Country Dances, Pianoforte, Is. CAPRICCIO FOR THE PIANOFORTE. 66, One Hundred Christy's Airs, for Pianoforte, Is. Composed and Dedicated by permission to
67. Twenty-four Pieces, tor Juveniles, is. The Right Honourable the COUNTESS SOMERS.
68. Thirty Classical Gems, for Piano, Is. By EDWARD THURNAM.
69. Twenty-eight Easy Songs to Popular Melodies, Is.
70. Twenty New Christy's Songs (5th selection), Is,
72. Twenty Sacred Works, for Pianoforte, 18,
Any Number post-free for 1s. 2d.
Boosey & Sons, Holles Street.
SAINT MARTIN'S HALL, Long Acre.-TO BE LET, As performed in public by the Composer, M. FRANCESCO BERGER, and other eminont
with immediate possession, on Lease, by the Week, or Night, comprising the Pianists. Dundee : W. METHVEN & Co. London : CHAPPELL & Co.
Grand Hall, Minor Hall, Class, Refreshment and other Rooms, 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 Inu. Just Published, Price 4s., SC H E R’S A L I CE. Transcribed for DHILHARMONIC SOCIETY.-Second CONCERT, the Pianoforte, is now ready, and may be obtained of the Publishers,
at the Hanover Square Rooms, on MONDAY EVENING, March 24. DUNCAN DAVISON & Co., 244 Regent Street, W.
Spohr's Sinfonia, " The power of sound;" Beethoven's Sinfonia, in F, No. 8; Mendelssohn's Overture to Athalie, and Weber's Overture to Oberon.
Miss ARABELLA GODDARD will play Sterndale Bennett's Caprice in E major, and
Bach's Prelude and Fugue alla Tarautella.
Vocal performers, Mile. PAREPA and Mr. TenNANT. Conductor, Professor STEAN
Single Tickets 159., to be had of Messrs. Addison, Hellier & Lucas, 210 Regent
for four voices, with an accompaniment for the organ or Reviews.
pianoforte, are divided into single and double; and the cata
logue includes the names of some of the most famous com, « The Morning Ride” words by CLARIBEL : music by | posers of ancient and modern times. Mr. Shelmerdine has BERNHARD ALTHAUS (Duncan Davison & Co.).
supplied nine of the single, and twenty-one of the double
chants. Whether for the use of churches or to the ordinary Pretty verses, like all the verses we have seen from the play
practitioner, we can unhesitatingly recommend this little ful pen of “Claribel," and set to music by Herr Althaus
book of chants. with a kindred feeling. A ballad likely to prove effective, not only in the drawing-room, but in the more trying and
“ Charming Maiden”_words by W. BARTHOLOMEW ; music responsible arena of the public concert-hall..
by Mrs. MOUNSEY BARTHOLOMEW (Duncan Davison
& Co.). “ Capriccio "- for the pianoforte - by EDWARD THURNAM (Robert Cocks & Co.).
An unaffectedly pretty ballad, melodious, and written with
the utmost purity, against which, indeed, the sourest critic A sort of “ Lied ohne worte," set off by a brilliant and well
would hardly presume to raise a finger. sustained “arpeggio,” alternately for the right and left hand, à la Thalberg.
THE SUM PAID TO ROSSINI FOR HIS OPERA OF « Castles in the Air" — words by J. PALGRAVE SIMPSON ;
IL BARBIERE. music by J. F. ERSKINE GOODEVE (Duncan Davison The following is a curious document, not without interest for & Co.).
the history of music. It is the agreement between Rossini and A sentimental ballad in A flat -- very well written, but not the manager of the Argentina Theatre at Rome, for composing
| and superintending the production of Il Barbiere. We translate very new.
it literally. “ It is not always May" — words by LONGFELLOW ; music
“ Nobil Teatro di Torre Argentina. by J. F. ERSKINE GOODEVE (Duncan Davison & Co.).
“ 26th December, 1815. .
“By the present deed, drawn up by private individuals, but not the We prefer this song to its companion, Mr. Goodeve's museless wali
less valid on that account, and in conformity with the terms agreed on being decidedly in a fresher mood, and doubtless inspired by | by the contracting parties, it has been stipulated as follows: such beautiful lines as the following:
“ The Signor Puca Sforza Cesarini, manager of the above theatre,
engages the maestro Giaochino Rossini for the coming carnival season “ The sun is bright, the air is clear,
of 1816; the said Rossini promises and binds himself to compose and The darting swallows soar and sing,
place upon the stage the second buffo drama represented during the And from the stately elms I hear
aforesaid season at the theatre already mentioned, and to suit it to the The blue bird prophesying Spring.
libretto which shall be given him by the same manager; whether this So blue yon winding river flows,
libretto be new or old, the maestro Rossini undertakes to send in his It seems an outlet from the sky,
score by the middle of the month of January, and to adapt it to the Where, waiting till the next wind blows,
voices of the singers ; he binds himself, moreover, if called upon, to The freighted clouds at anchor lie.
make all the alterations which shall be necessary, both for the good
execution of the music, and the convenicnce and requirements of the “ All things rejoice in youth and love,
singers. The fullness of their first delight!
“ The maestro Rossini promises and binds himself, also, to be at And learn from those soft heav'ns above
Rome, for the purpose of fulfilling his engagement, not later than the The melting tenderness of night.
end of December of the present year, and to deliver to the copyist the Maiden, that read'st this simple rhyme,
first act of his opera, completely finished, on the 20th January, 1816; Enjoy thy youth, it will not stay;
the 20th January is selected, in order that the rehearsals and concerted Enjoy the fragrance of thy prime,
music may be promptly proceeded with, and the opera placed on the For, oh! it is not always May.”
stage on the day desired by the manager, the first performance being
fixed, from this time, at about the 5th February. The maestro Rossini “ Cherry Ripe” — fantasia on Horn's popular ballad — by
is bound, also, to deliver to the copyist, on the day required, his second J. BENEDICT (Boosey & Sons).
act, in order that there may be time to practice and rehearse, so as to A beautiful melody beautifully set-a sunny picture framed | produce the opera on the evening previously mentioned, otherwise the by a master hand. Of all Mr. Benedict's fantasias on well. maestro Rossini will be liable for all losses, since it must be thus and
not otherwise. known airs, this is the least difficult, but by no means on
“ Furthermore, the maestro Rossini will be bound to superintend the that account the least graceful, finished and effective. It
getting-up of his opera, according to custom, and to be present at all the has already been played in public by Miss Arabella Goddard,
rehearsals of the vocalists and orchestra, whenever this shall be requisite, and those who heard it (at Mr. Ransford's concert) were en either in the theatre or elsewhere, at the desire of the manager; he unchanted with its artless elegance and refinement. “ Simplex dertakes, also, to be present at the first three performances, which will
be given consecutively, and to conduct at the piano, because it must be munditiis," interpreted from a philanthropic point of view,
so and not otherwise. In consideration of his trouble, the manager binds might well serve for its motto. In the drawing-room, as in himself to pay the maestro Rossini the sum and quantity di scudi quatro the concert-room, Mr. Benedict's “ Cherry Ripe" is, or we
cento romani (of four hundred Roman crowns), immediately after the are greatly mistaken, destined to attain universal popu- | first three performances which he shall conduct at the piano.
“ It is further agreed that, in the case of an interdiction, or of the larity.
theatre being closed, either by the authorities, or from any other un* One Hundred and Eighty Chants, Ancient and Modern ” | foreseen cause, the same course shall be taken which is usually pursued
in the theatres of Rome, or in any other country, under similar circum- by WILLIAM SHELMERDINE (Arthur Hall, Virtue
stances. & Co.).
“And, as a guarantee for the complete execution of this agreement, that no Sholmerdine is organist of the Me. When we say that Mr. Shelmerdine is organist of the Me. | the latter shall be signed by the manager, and also by the maestro Gi.
S redaochino Rossini; moreover, the said manager provides the maestro Roschanic's Hall, Nottingham, as well as conductor of the Sacred a
sini with lodgings, for the duration of the agreement, in the house asHarmonic Society of the same town, we shall have advanced
ve advancea | signed to Sig. Luigi Zamboni.” sufficient to show that he is no incompetent labourer in the This agreement, by which Rossini obtained about eighty-nine field of sacred music. The Chants, which are all arranged pounds, applied simply to Il Barbiere di Siviglia.
THE MENTAL HISTORY OF POETRY.
possessor's idiosyncrasy as peculiar to him alone, and thus as of a BY JOSEPH GODDARD.
character particularly specific and original.
Now the reader will not find it difficult to perceive the consistency of “ To search through all I felt or saw,
those circumstances of the mind. (described as surrounding the advent The springs of life, the depths of awe,
of Oratorical display.) with the character of the emotions springing out And reach the law within the law."
of the above circumstances and whose expression this Oratorical dis
play enrobes. He will not find it difficult to understand that the more BEFORE we are in a position to directly consider the influence of the art
the faculty of imagination enters into the conception of an emotion the of Music upon that of Poetry, it is necessary to further make reference
more individually modified will that emotion become, the more peculiar to that primary expanse of Imagination and high enthusiasm of admira
to its possessor alone will it be; and thus the finer, more specific, and tion common in all minds to the precedence of Art generally. In so
original will be the character of that cmotion. In fact, so perfect is doing we are led to consider a new and striking principle rising to the connection, so consistent is the relationship of these different orders visible action out of this condition of the breast, whenever, in these cir.
of circumstances attending the exhibition of the phenomenon of cumstances, language is appealed to (and this constitutes the very con. “ Eloquence," that in describing the inevitable conditions of its appear. tingency which impels the phenomenon of Poetry) as a medium of
ance we may state either, that in the expression of emotions, in the expression.
communication of truths and ideas, the more their conception is atThis principle is exhibited in the tendency which emotions-begot in
tended by an exertion of the imaginative capacity, in a proportionate the warmth of imagination, or partaking largely of a character of ad
degree will their conveyance be fraught with the quality of “Eloquence;" miration-exert, in exuding into expression through the inert medium of
or that the more specific, original, or peculiar to its possessor alone a language, to form this language into some marked phraseological design,
certain sentiment or idea may be, the more strongly in the expression -to carve it out into æsthetic variety and relief, like the rivers diversify
of this will he be impelled to employ that separate expressional inand render picturesque the land over which they flow,- to define its
fluence, to borrow that new and inscrutable impressiveness which the surface character clearly and precisely into those deviations and undula
intelligent varying of emphasis and pause, the intuitively æsthetic tions which are formed by the contrast between “Emphasis" and
moulding of phrases, in short, which the employment of eloquence “Pause," and between all more and less marked effects of accentuation,
affords. To speak somewhat more definitely of the nature of the and to reduce these embryo materials of effect to that intuitively formed
imaginative influence, in the conception of certain ideas and emotions, yet methodical arrangement, to that extemporally improvised yet
we may here observe that it is by the exercise of our natural perception æsthetic design, to that spontancously woven but impressive form of
and coinmon sympathy, either in their ordinary practical and instinctive influence (dwelling in the pure manner of expression) which is termed
action, or extended into a more imaginative sphere, that all emotions the influence of Eloquence, Oratory, and Rhetorical Effect.
and idcas are conceived. In the effect upon us of some material cirFor all the purely expressional effect which is wrought by that in
cumstance or incidental truth, for instance, our mental perception or fluence, generally understood as the influence of Rhetoric, Eloquence,
moral sympathy is immediately and unconsciously affected without any “ Utterance, and the power of speech," is not wholly to be explained
exertion of the imagination or guidance of intellect. But in becoming by these terms, vaguely conveying the idea of a gracefulness, variety,
impressed by a general and comprehensive truth, we first, through a series and impressiveness in the manner of utterance and expression. The
of considerations invoked and sustained by the imagination, explore truth is, these terms include, as their spirit cxemplifics, a perfectly
within this truth till the general order, extent, and nature of its inoriginal principle, which lies couched amidst the laws of human
fluence is discovered, and this, through inciting an extended action of tbe demonstration. The influence and impressiveness they work is not only
mental appreciation or the moral sympathy, arouses certain high and the emotional influence emanating from the positive matter of the
| appropriate emotions. communication they attend-more highly wrought-its light drawn out
Referring once more to the circumstances and conditions surrounding and reflected around in more dazzling rays and from a brighter focus ;
the phenomenon of “ Eloquence," it will be remembered that, of those but it is a later and more spiritual portion of the communicational
circumstances and conditions, we described the state of the mind out of burlhen itself, as it exists in its completeness in the mind of the con
which it arises, and the character of the Emotion which it attends. ceiver. It is not only that emotional radiation which would obviously
But we are now led to observe, in addition to these circumstances of its attend the possession of certain warm ideas and glowing truths, and
appearance, the nature of the outward influence by which it is elicited. surround the path of their conveyance, but it is the manifestation and
We are led to observe that this influence will mostly be of a lofty and expression of that more specific and individual emotion—that finer
| comprehensive character, and thus, one more demanding of an exertion ripple of the mind which lurks behind the main wave of sentiment,
of the imaginative faculty for its full appreciation and due emotional peculiar and original to the conceiver alone, and fraught intimately with
fruition. his idiosyncrasy, which, though calculated to be aroused by, yet, through
As the mental condition out of which the appearance of this quality the circumstance just mentioned, does not obviously and inevitably attend,
of “ Eloquence" is seen to arise is one largely fraught with the influence the material communication to which it relates; and, being a distinctive
of imagination, so that effect which it is directly scen to work — the and new phenomenon, it thus requires and demands some peculiar and
visible portion of the process in its general action—is the kindling of the originai medium for expression and conveyance.
imaginative faculty in the person subject to that action. In fact, it may be Now the demonstrative influences and resources embraced by the
generally asserted concerning the particular and specific property of this terms “Eloquence,” “Oratory," and " Rhetoric,” constitute this essen
principle of “ Eloquence,” in any communication wherein it is employed, tial, separate, and etherial channel of expression; and thus we are led to
-that its tendency is to directly and purely work upon the “Imaginaobserve the above influences in a new light; that is, as containing and tion” of those within its operation; to awaken the nervous susceptiexcmplifying a fresh and independent principle of expression.
bility, to excitc the abstract warmth and fire of the mind ; to kindle It was observed, in first introducing the subject of this purely expres
and expand the imaginative capacity of the listener into a like sensitivesional influence of “Eloquence," that the general circunstances of its
ness to that of the utterer, that similar physical conditions being exhibition exist in the communication of ideas and feelings conceived
furnished (which process is accomplished in the literal and material in the warmth of imagination, or partaking largely of a character of
burthen of the communication), similar cmotions and ideas shall be admiration. It was just now further observed also concerning the cir
evolved. And thus the general office and function of this principle is to cumstances of its appearance, that it constitutes not only that emotional
assist in demonstrating those ideas, and expressing those emotions radiation which would obviously attend the possession of certain warm
which are only visible in the light and heat of “Imagination ”- thoso ideas and glowing truths, and surround the path of their conveyance ;
thoughts and feelings which are solely attained when the mental percepbut that it is the manifestation and expression of that more specific and
tion and moral sympathy are drawn from out their ordinary natural individual emotion peculiar and original to the conceiver alone, and
and instinctive sphere into the diversions of the imaginative world. fraught intimately with his idiosyncrasy. The former described portion
The main propositions which it is the object of the present remarks of the circumstances surrounding the exemplification of this quality of
to impress may be thus shortly summed up. The property attending eloquence refers more to the inward mental conditions out of which the
language of “ Eloquence” is a totally original and independent principle emotions accruing to the above quality arise—namely, a certain imagina.
of expression, a principle of expression quite distinct from those tive brightness and expanse, and a warmth of admiration ; whilst the
principles on which all the efficacy of the purely matcrial portion of latter described portion of these circumstances bears more particular
language depends, such as are involved in the simple process of literal reference to the character of the emotions surrounding oratorical display
“ Association," or the more elaborate method of “Representation;" a themselves — they being described as being fraught intimately with their
| 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 * Continued from Page 131.
human sympathy) through being “associated” with a certain symbol