THE MENTAL HISTORY OF POETRY.

BY JOSEPH GODDARD.

"To search through all I felt or saw, The springs of life, the depths of awe, And reach the law within the law."

Continued from page 215.

Tennyson.

Let any one recite the above line according to this principle of rhythmical impression, and pronounce if such an absurd effect ever entered into the idea of the poet. It will be said, however, that it is the great Art of Poetry to skilfully vary the normal positions of the accents in the rhythm occasionally, in order to appropriately develop the expression of the literal burthen involved. We maintain that this artistic deviation in the order of the accentuated impression is not produced by any such artificial and laborious process as would be involved in the nice calculation of the endless resources for producing variety which the general effect of rhythm contains; but that it is dictated spontaneously by the musical instinct of "Time" in the breast, appropriate to the exigency requiring it. Here, then, is the true rhythmical idea (expressed by musical notation) which in the breast of the poet, dictated the metrical flow of the above passage:

In the former interpretation of this rhythmical conception every single effect it contains is exactly accounted for, is embraced by the general law there prevailing, without producing the slightest irregularity, or involving an exception in the smallest detail,-and is represented by the musical system in the exact relative proportion in which it exists in the vitality of recitation. But, by the latter method of interpretation, even a glance will betray that this conception of rhythm is here met by no real system that it is here brought under no general principle. For, in the first series of impressions, or foot, there is one impression long and two short; in the second, one long and three short; in the third, one long and one short; in the fourth, one long and two short (the latter understood). Now, in the actual recitation of the passage, some of these short impressions would be produced more rapidly than others, in order to maintain a dominant and regular effect in the alternation of the accented impressions, but by this system of interpretation all the short impressions in the general rhythmical flow are similarly expressed, whereas, in the musical system of interpretation, the particularly rapid impressions are distinctively represented.

Thus, amongst other facts tending to verify the claims of "Music" as involving the true parentage of all rhythmical conceptions in Poetry, is this, that it offers one system, in its property of "Time," capable of interpreting and expressing every rhythmical variety to be found in the poets, or that can possibly be conceived; whereas the ordinary methods of rhythm generally appealed to for interpreting effects of poetical accentuation involve neither a regular system nor a general principle (such as the principle of Music); and in the application of these methods to particular cases, they, in almost every new case, involve new exceptions, and require fresh modification.

Selecting a more ordinary specimen of what is understood as the same species of poetical metre as that involved in the last example:

"Our thoughts as boundless, and our souls as free."

In this case the common method serves to demonstrate appropriately the abstract rhythmical impression produced by the passage. Here is the same passage interpreted by the musical system

and thickness of the signs ▲ A. Now, observe how exactly the purely musical rhythmical passage expressed above coincides with that rhythmical flow most appropriately associated with the above line of poetry, and which the spirit of that line unmistakeably dictates. In like manner, every example of poetical rhythm can be, by the musical system of Time, as faithfully interpreted and expressed.

Here is an example of another species of poetical accentuation interpreted musically. With regard to this character of rhythm, the musical system of Time enjoins the accents to fall upon the first and fourth impressions of each series, as the marks above demonstrate.

In this example it is observable that at the end of each poetical line there is an interval filled up by lengthening the last rhythmical impression in each line, and inserting what is understood in music by " a rest," in order that the succeeding series of impressions or bars may be produced without causing a break or irregularity in the general rhythmical flow.

Now mark again how exactly and faithfully this musical system of rhythm interprets the spirit of the poetical rhythmical conception as excmplified in this case. For, in the recitation of this passage,

"Religion, what treasure untold Resides in that Heavenly word!"

it is a moral necessity to make a similar pause at the end of each line, and to take up the subject at the exact point of time indicated for its continuation by the musical notation.

Thus we perceive that the musical system for interpreting rhythmical effect in poetry is capable of expressing not only those shorter impressions which the circumstances in which the rhythm is cast impels to be uttered more rapidly than is the case generally with regard to unaccented impressions, but it is capable of expressing and accurately measuring those absolute silences in the recitation of the passage which moral feeling and natural propriety enjoin, and which, by all other methods of rhythm, it is solely left for these qualities to prescribe.

Now, in the divisions of the poetical strain which these pauses effect, we may perceive indications in poetry of the " Phrase of music." In fact, in the musical interpretation of the rhythmical idea involved in the present example, there is expressed virtually and literally two complete musical phrases, as may be perceived at a glance.

The poetical order of rhythm, termed "octo-syllabic," corresponds with the Musical "Time" of two-fourths of a semibreve to the bar or series of impressions; thus-

2

04

Our thoughts as bound - less, and our souls as free. Although in this the musical illustration of the rhythmical design involved in the passage the distinction between the accented and unaccented impressions is not so conspicuous to the eye as in the last form of illustration, every one at all conversant with the rudiments of music is aware that, in series of impressions of the length and order of the above, the main accent of each series falls upou the first impression in that series or "bar," whilst a slightly reduced accent falls upon the third. This in the above diagram is expressed by the relative position

In this illustration it is observable that there is an interval at the end of each line where it is necessary to allow the rhythmical evolutions of accent and fall to silently proceed, before the simultaneous utterance of syllables is again conjoined to them, in order to produce the rhythmical series ("feet' or "bars") of the next line in exact coincidence with those constituting the metrical space of the preceding line. But, in the musical illustration last adduced there is no interval of unuttered accentuation; in this case the recitation of the second line may be commenced upon the very next rhythmical impression to that which concludes the rhythmical series of the first line, consistent with the order, in which the series of rhythmical impressions are produced in both lines, exactly coinciding. Here we have the explanation why, in the recitation of the passage of poetry accruing to the first adduced of the two illustrations we are speaking of, there is a moral necessity to make a "pause at the end of each line; whilst in the utterance of lines, such as those accruing to the last adduced illustration, the delivery may uninterruptedly proceed, and connect all the lines of poetry involved into one sustained and totally undiverted strain of speech, as far as physical conditions permit. And thus we perceive the reason of the aptitude of this order of rhythmical design for containing poetical passages of a rapidly-narrative character, involving swift and vigorous utterance. fact, it may be generally asserted, that in the "Musical" interpretation of any passage of poetry, wherever at the end of a line there is required an interval of unuttered accentuation, before the following line can be conjoined to its appropriate rhythmical accompaniment, in such a case there will inevitably be a sympathetic and moral necessity to make a pause at the end of the line in the "Poetical" recitation of the passage. We have now seen that the property of "Time" in music is very strikingly indicated in the effect of "Rhythm" in poetry, and that also there may be observed in poetry very intelligible though simple examples of the phraseological constructions of "Music." In the following example may be perceived, just foreshadowed in poetry, that change in the rhythmical basis, and consequently in the general character of musical expression, termed change in "Movement

And oft around the cavern fire
On visionary schemes debate,

To snatch the Rayahs from their fate-
So let them ease their hearts with prate
Of equal rights which man ne'er knew;

I have a love for freedom, too.

Ay! let me like the ocean-Patriarch roam, Or only know on land the Tartar's home.

In

With reference to the musical illustrations which have been here given, let it be understood that they are not intended to convey the idea of any effect of musical sound, although, as they really stand, they do literally represent certain musical sounds. It is only the abstract rhythmical impressions they represent that are here intended to be taken account of. The musical system of "Time" is calculated to represent every effect of accentuation and of rhythmical design that can possibly be conceived, and, under the great and inscrutable law of natural propriety, there is ordained a particular stage in the development of this general principle of rhythm at which it must put on the vesture of musical sound. It is only through the early portion of its progress, in its simpler exemplifications, where it is calculated to be accompanied by that species of sound, appropriate for forming human language. In its elaborate developments it relinquishes this dull and mixed effect, and demands to be enrolled in the purer, clearer, more positive, and spiritual

medium of musical sound.*

It may also be remarked, with reference to this system of measuring and interpreting effects of rhythm in poetry by the method of "Time" in music, generally, that it is not assumed to be a perfectly appropriate system, insomuch that it is calculated to embrace the more elaborate developments of the principle of rhythm, and consequently to refer mostly to that species of sound adapted to form music, not poetry. It is a machinery, if anything, too important for the occasion. But it is the only apparatus containing the right key to the subject, and the only system that completely grasps it.

By the light of these recent considerations we cannot avoid perceiving the unimportant but rather irreverent fact, that all that enjoyment which classical scholars profess to derive out of the pure metrical charm of ancient Greek and Latin poems, must be purely imaginary. If, as doubtless is the case, there really exists in these poems latent and inherent metrical charm, this must have been imparted to them, as only

*The precise circumstances of this chrysalis-like change in the progress of the principle of rhythm, from its earthly probation in human language to its winged state of music, are defined in "The Philosophy of Music."

true rhythmical effect can be imparted, from that innate instinct of "Time," that latent feeling for musical effect, in the breast, which, being part of the general endowment of man's nature, has doubtless in all ages exhibited itself. But, in working its expression upon the surface medium of language, it is evident that only in that variety of aural effect involved in the actual pronunciation of a language can this instinct become visible; only in the motion and undulation attending the actual life of language can the very bases for effects of rhythm, the precise points of position for the accent and fall of numbers, be determined. When, however, the pronunciation of a language has been swept away by time, the very foundations of all original rhythmical design in that language must also lie buried. How impossible, then, where this has been the case, when the actual pronunciation of the language in which a poem was written is completely forgotten, to even catch a broken murmur proceeding from the now dumb and still tide of accentuation! As well attempt to perceive, as from the sea, the crested verdure and rivers of a distant continent before its mountains and valleys are visible.

(To be continued.)

DUSSEK'S PLUS ULTRA.-"This was altogether a truly great performance, but still not finer than Miss Arabella Goddard's rendering of Dussek's Plus Ultra,' which is as superior to the Ne Plus Ultra' of Woelf (to rival which it is supposed to have been written) as sunlight to fireworks. How chastely and beautifully she sang on her instrument the lovely second subject of the first movement; with what clearness, accent, and force she gave the ascending syncopated melodic outline, and its accompanying florid passages divided between both hands, which follow this second subject; how sweetly, tenderly, and passionately she rendered the delightful adagio, the exquisite delicacy and fancy that characterised her performance of the dreamy and poetical scherzo, together with the spirit and refined taste which distinguished her reading of the sportive and elegant finale, would tempt us to write an eulogistic essay, if time, space, and the patience of our readers might permit it. The simple statement, however, that this was one of the very finest specimens of pianoforte playing we ever listened to must suffice. Miss Arabella Goddard, with all her long list of artistic successes, never distinguished herself more honourably.”—Morning Post.

THE "CORNHILL MAGAZINE.”—Mr. Thackeray concludes his editorship of this periodical with the following address :-"To Contributors and Correspondents.-March 18, 1862.-Ladies and gentlemen (who will continue in spite of the standing notice below to send papers to the other house when you learn that the editor of the Cornhill Magazine no editor's private residence), perhaps you will direct the postman to some longer lives in mine. My esteemed successor lives at No.

., but have troubles enough in that thorn-cushioned editorial chair which is I will not intrude upon the poor man's brief interval of quiet. He will forwarded to him by the Parcels' (Happy) Delivery Company. In our first number, ladies and gentlemen, your obedient servant likened himself to the captain of a ship, to which and whom I wished a pleasant voyage. Pleasant! Those who have travelled on shipboard know disturbed, quiet impossible, rest interrupted, such is the lot of captains. what a careworn, oppressed, uncomfortable man the captain is. Meals This one resigns his commission. I had rather have a quiet life than gold lace and epaulets; and deeper than did ever plummet sound I fling my speaking-trumpet. Once in a voyage to America I met a manded. No man could be more happy, cheerful, courteous than this. sea captain who was passenger in the ship which he formerly had comand its captain; he surveyed the storm as being another gentleman's He rode through the gale with the most perfect confidence in the ship business; and his great delight was to be called at his watch, to invoke crib and go to sleep again. Let my successor command the Cornhill, a blessing on the steward's boy who woke him, and to turn round in his giving me always a passage on board; and if the printer's boy rings at my door of an early morning, with a message that there are three pages wanting, or four too much, I will send out my benediction to that printer's boy, and take t'other half-hour's dose. Though editor no more, I hope long to remain a contributor to my friend's magazine. I believe my own special readers will agree that my books will not suffer when their author is released from the daily task of reading, accepting, refusing, losing and finding the works of other people. To say "No" has often cost me a morning's peace and a day's work. I tremble recenti metu. Oh, those hours of madness, spent in searching for Louisa's lost lines to her dead piping bullfinch! or Nhoj Senoj's mislaid essay! I tell them for the last time that the (late) editor will not be responsible for rejected communications, and herewith send off the chair and the great Cornhill Magazine tin-box with its load of care. While the present tale of

Evening, April 21, 1862, on which occasion

HERR JOACHIM

Will make his Sixth Appearance at these Concerts.
PROGRAMME.

T is feared that the "music" for the opening of the International Exhibition may not, in the end, precisely realise what the public has been given to expect. We allude to

the compositions merely, inasmuch as, about the execution with Mr. Costa (supported by the Sacred Harmonic So

mance, "The Colleen Bawn," The Lily of Killarney, Mr. SANTLEY (Benedict). Sonata Patetique, in E flat, Op. 13 (by des re), Mr. CHARLES HALLE (Beethoven).

PART II.-Chaconne, in D minor, for Violin Solo (Repeated by general desire), Herr JOACHIM (J. S. Bach). Song, "I'm alone," The Lily of Killarney, Mlle. FLORENCE LANCIA (J. Benedict). Stornello, "Giovinettino dalla bella voce," Mr. Santley (Angelo Mariani). Sonata. in A, Op. 47, for Pianoforte and Violin (dedicated to Kreutzer), Mr. CHARLES HALLE and Herr JOACHIM (Beethoven).

Conductor, MR. BENEDICT. To commence at eight o'clock precisely. NOTICE. It is respectfully suggested that such persons as are not desirous of remaining till the end of the performance can leave either before the commencement of the last instrumental piece, or between any two of the movements, so that those who wish to hear the whole may do so without interruption,

Between the last vocal piece and the Sonata for Pianoforte and Violin, an interval of Five Minutes will be allowed. The Concert will finish before half-past ten o'clock.

N.B. The Programme of every Concert will henceforward include a detailed analysis, with Illustrations in musical type, of the Sonata for Pianoforte alone, at the end of Part 1.

"LADIES AND GENTLEMEN,-The conclusion of our sixth season again devolves on us the pleasing task of thanking you, and all our liberal supporters, and though for a time an unavoidable gloom was cast over us in the irreparable loss of that great patron to us, and all sciences, his Royal Highness the Prince Consort, depriving us of that gracious presence which has hitherto shed a lustre over our proceedings, and given a zest to all our undertakings, we are still happy to announce a successful termination

however, are entertained (if "Rumour is to be credited), whether the work prepared for the occasion (at the express invitation of the Commissioners) by Sig. Verdi (representing "Italy"), or the cantata by Mr. Alfred Tennyson, Poet Laureate, and Dr. Sterndale Bennett, Cambridge Musical Professor (representing "England"), can be produced at all. In that case MM. Meyerbeer and Auber ("Germany" and "France") will have to "walk over the course," in a friendly "dead heat."

A CORRESPONDENT, signing himself "Patriot," is desirous to know why, if there had been a necessity to engage an English prima donna at the Royal Italian Opera, Miss Louisa Pyne was not selected in place of Mlle. Gordosa (anglicè, Miss Botibol). We cannot answer his question. Perhaps it never occurred to the director of the great establishment in Covent Garden to connect Miss Louisa Pyne's name with Italian Opera, even when he preferred Mr. Santley before continental barytones. Perhaps Miss Louisa Pyne never contemplated the Italian stage, and would have rejected the offer of the manager, since there can be no question of her succeeding greatly on any operatic stage. If English artists are to form part of an Italian company, the best no doubt should be chosen, and Miss Louisa Pyne

to this our English operatic season, during which we have produced (what has hitherto been unprecedented in theatrical annals, three new and original English operas, with that careand completeness which we trust has always characterised our managementKillarney, by Jules Benedict; and a fourth opera, by W. Vincent Wallace would have been brought out, but that the long run of the above-mentioned operas, owing to their great success, precluded the possibility of so doing this season: it will, however, be the first novelty offered to the public in the ensuing one, when we trust that the Royal English Opera may find a prominent position amongst our national exhibitions. We think it necessary to observe, our anxiety to keep faith with the public is such, that (although at a great expense) on the very last night of the season we produce Mr. F. Clay's operetta Court and Cottage, intended to be produced on the 15th inst., which, if

successful (and, from the acknowledged talent of the composer and librettist, we cannot doubt it) would have reimbursed us, but for an unfortuitous circumstance, over which we had no control. In bidding you farewell, we beg to return especial thanks to our kind supporters, our subscribers, the nobility, gentry, the public, and the

"Patriot" has brought the subject to our mind's eye, we see no reason why Miss Pyne should not be at one or the other of the Italian operas. Were the grand lyric drama the sole or principal staple of the performances at these establishments, we should hesitate before suggesting Miss Pyne as prima donna; but when such works as Dinorah, Martha, Fra

fatigable in our endeavours to uphold the great cause we have, at so much risk, undertaken, the establishing a " Royal English Opera." With heartfelt thanks to each and all until next season, we beg most respectfully to wish you adieu.

recommendation is strong, as no living vocalist can sing the music with more delightful voice or greater finish. Certainly it does seem an anomaly that French artists of far inferior talent should have the preference; but we must even suppose that it is the singer's own fault. "Patriot may be reminded that Miss Louisa Pyne had sung some years ago at the Royal Italian Opera, on one occasion, as the Queen of Night in the Zauberflöte, when Mlle. Anna Zerr could not appear, and that Miss Louisa Pyne's success was indisputable. But this may be advanced as an additional reason why our English prima donna should go to Covent Garden. At all events, that such a singer should be overlooked for one of such pretensions as Mlle. Gordosa, must surprise all who give attention to the matter.

But why endeavour to elucidate the mysteries of operatic

piece of expression. Other efforts of conspicuous merit were Why do the nations?" by Mr. Santley, and "But thou didst not leave," by Mr. Swift. Mad. Lancia appeared to be suffering from nervousness (not unnaturally, being her second appearance only as an oratorio singer): she contrived nevertheless to distinguish herself most honourably in "Come unto Him" and "How beautiful are the feet"-to both of which her fresh, bright voice imparted a peculiarly sympathetic charm; and still more in "I know that my Redeemer liveth," in which she produced a marked sensation. Mr. Higgs presided at the organ, and Mr. Martin was of course conductor. The hall was crowded.

SACRED HARMONIC SOCIETY.-The Passion Week performance of The Messiah took place on Wednesday night, in presence of the usual crowded audience. The invaluable co-operation of Mr. Sims Reeves, whose engagements with Mad. Lind-Goldschmidt have disabled him from appearing at Exeter Hall as often as usual this season, lent additional importance to the occasion. Never did our gifted tenor invest the familiar strains with greater significance and force. Mr. Reeves enters into the very spirit of Handel's music, and we could name no other living vocalist so capable of imparting a deep and pathetic sentiment (which always goes to the heart and not unfrequently brings tears to the eyes of his audience) to the inspirations of the grand "Musician of the Bible." The second part of the Messiah affords Mr. Reeves opportunities (of which he magnificently avails himself) to display his complete mastery of the most varied phases of expression. All the profound and heartfelt music of the Passion was rendered by him with the deepest and most genuine feeling, while the fire and dramatic energy which he infused into the air "Thou shalt break them with a rod of iron" produced an extraordinary effect. Nor should we leave unrecorded his splendid execution of "Comfort ye, my people," and its florid pendent "Every Valley shall be exalted"-in the interpretation of both of which at present he stands alone. Miss Louisa Pyne, although better known as an operatic phenomenon than as a singer of sacred music, is too accomplished ever to sing otherwise than admirably; while the excellence of Mad. Sainton-Dolby and of Signor Belletti as interpreters of Handel are too well known (the first especially) to need remark. The choruses were even better executed than usual-thanks to the careful rehearsals of the Festival Choir, under Mr. Costa's watchful guidance."

HORN'S ASSEMBLY ROOMS, KENNINGTON.-On Monday evening the members of the Musical Society in connection with the establishment of Messrs. Easton, Amos & Sons, gave a concert under the direction of Mr. George Tedder, which was numerously attended. The vocal department was ably represented by Miss Poole, Miss Rebecca Isaacs, Mr. G. Tedder, Mr. H. Sanders, and Master Edwin Sanders. Miss Poole was encored in Hatton's "Will you go for a Soldier?" Miss R. Isaacs received a similar compliment in one or two favourite ballads; and Mr. George Tedder, in Ascher's " Alice, where art thou?" was honoured with "an ovation." The instrumental portion of the concert was well sustained by Miss Rosina Collins on the violin, Mr. Henry Parker on the Pianoforte, and an orchestra under the direction of Mr. C. Fox, which performed several attractive pieces.

THE VOCAL ASSOCIATION.-Mademoiselle Marie Cruvelli, from the principal Theatres in Italy and Paris, will make her first appearance in England, (after an absence of Eight Years,) at the concert of the Vocal Association on Wednesday evening next, St. James's Hall. The other features of the Programme are, Mendelssohn's Psalm, "Hear my prayer," for Soprano Solo and Chorus, Meyerbeer's, " Pater Noster" (The Lord's prayer), and a Duet on Two Pianofortes, by Miss Eleanor Ward and Mr. Benedict. Herr Formes will also take part in the performance, Mr. Benedict, as usual, being Conductor.

ROYAL ITALIAN OPERA.

Guillaume Tell was given for the third time on Saturday. In the second act, M. Zelger, taken suddenly ill, was led off the stage by Sig. Tamberlik, and the trio for Arnold, Tell and Walter was omitted in consequence, one of the chorus singers taking the place of M. Zelger in the grand finale.

The performance of Il Trovatore on Tuesday attracted an audience at once curious and interested, there being two first appearances, Mlle. Gordosa as Leonora and Mr. Santley as the Count di Luna. The lady, notwithstanding her name, is an Englishwoman,

by name Botibol. She was a pupil of the Royal Academy of Music, and went to Italy to finish her education, where, we believe, she obtained some stage experience, baving performed in some of the minor theatres. She is still young, and must not be judged by a first essay before such an audience as that of the Royal Italian Opera- enough indeed to dash the courage of veteran artists. Mlle. Gordosa has a "soprano" voice of legitimate compass, with good notes in the middle, and the upper notes somewhat worn, and we doubt not that it may at one period have boasted an "agreeable quality." Her timidity was extreme however, and we are thus debarred from forming a decided opinion as to her capabilities. Mr. Santley, on the other hand, made an unmistakeable "hit," as indeed had been generally anticipated. His reception was uproarious, so much so, that it seemed wholly to unnerve him. This was not only very natural, but spoke in favour of the "débutant." The singer who is indifferent under certain conditions can have little feeling; and without feeling there is no real art in music-at least none above "the average.' Mr. Santley was placed unexpectedly in a highly responsible position, and one which precluded indifference. That the vehement applause which greeted his entrance should have more or less unstrung his nerves is easy to understand. But not "frighted by false fires," and conscious of his powers, Mr. Santley rallied almost instantaneously, and soon showed himself as practised a master of the Italian as of the English school of singing. His pronunciation is irreproachable. Indeed he might easily pass for one brought up in the "Land of Song." In the first act, the Count di Luna has not much to do, except in the vociferous trio, where Mr. Santley's fine voice and manly style told with legitimate effect. The popular air in the second act, "Il balen del suo sorriso,"--the "Graziani aria," as it is called-was perhaps his most trying ordeal in presence of the large majority of the audience. Through this he passed triumphantly and obtained an unanimous encore; after which "coup de main" all was plain sailing; and gathering new force as he progressed, he sang better and better, terminating his maiden essay in the first theatre of Europe" with brilliant éclat.

6.

Of Signor Tamberlik's Manrico nothing more need be said than that it was as powerful and impressive as ever; unless it be, indeed, that he gave the graceful cantilena, "Ah si ben mio" with more than ordinary sentiment, and that the cabaletta "Di quella pira,' by the unanticipated introduction of a magnificent ut de poitrine in quite a new place, electrified the audience, who applauded and recalled him with enthusiasm. Mad. Nantier-Didiće (her first appearance this year) was Azucena; Sig. Tagliafico Ferrando. The performance generally was such as we have been accustomed to at the Royal Italian Opera; and if Mad. Verdi (said to be in London) was present, she must have been more than satisfied with all

but

but n'importe!

The Favorita on Thursday re-introduced Mad. Csillag as Leonora, and a new basso, Signor Nanni, as Baldassare. Signor Gardoni was to have appeared as Ferdinando, but for reasons unexplained, the part was alotted to Signor Neri-Baraldi. We shall speak of this performance in our next. Mlle. Adelina Patti is expected the first week in May. The "bijou-prima donna" sera la bienvenue.

MONDAY POPULAR CONCERTS.

66

MISS ARABELLA GODDARD'S PENEFIT. (From The Sunday Times.") "THE concert of Monday last was for the benefit of Miss Arabella Goddard, and if any proof had been needed of the esteem in which this extraordinary pianist is held by the public, it would have been conclusively established on this occasion, for we certainly never saw such a crowd in St. James's Hall, nor have we frequently seen so brilliant a last gratified us much, not alone because we have a keen appreciation company or such an assemblage of fair faces. The presence of these of the beautifully physiognomical, but because we rejoice at finding so many young ladies assembled to hear Beethoven's last sonata, and Bach's Tarantella' prelude and fugue, and to honour the performer thereof. Miss Goddard impressed us most in the wondrous sonata of Beethoven, his thirty-second and last, displaying the most perfect mechanism without at any moment losing sight of the poetry of the work-a faculty only possessed by artists of the first rank. Miss God.