propriety, and I feel much pleasure in telling you, that he par- de Musique et de Danse in Paris. If we look at the works takes more of my style than any scholar I ever had ; and I predict by which the reputation of this great establishment has been that he will prove a sound musician.” Mozart was very liberal

upheld for the last five years, we shall find that they all in giving praise to those who deserved it; but felt a thorough

belong to the French school. Les Huguenots struck the contempt for insolent mediocrity.

first blow against Italian opera at Covent Garden, and

L'Etoile du Nord put the first nail in its coffin. In fact, so THE MUSICAL WORLD. far has this change been recognised by Meyerbeer himself,

that it would surprise nobody if the illustrious composer LONDON, SATURDAY, SEPTEMBER 29TH, 1855.

should write an opera for Covent Garden, or even bring ont his long-talked-of, much-desired L'Africaine. Therefore, we

say, there is room for two operas, one confining itself entirely NEVER was there a greater dearth of musical news than at l to the Italian répertoire-like Her Majesty's Theatre of old the present moment. We in vain look through the papers

-the other relying for its chief support on French works. to obtain some information, whereby our readers might be / With respect to the difficulty of procuring singers enough enlightened or amused. The provinces, musically speaking, for such important and exacting theatres as Her Majesty's are dumb this week. Even our own Correspondents-not

| and Covent Garden, it may be sufficient to state that two of excluding the most fluent and untiring of our ex-metropolitan the most renowned artists of modern times-Malle. Alboni contributors, Messrs. Manchester and Leeds-have no voice, and Malle. Sophie Cruvelli-were absent from the Royal and cannot draw upon their imagination for want of a spark. | Italian Opera in the past season. Would this have happened Our foreign correspondents, too, as if leagued with those at

in those at had both Operas been open ? We think not. home, have locked up their pens and sent us nothing. Above What about English national Opera ? Nothing. What of all, our Paris Correspondent—“Our Own”-so regular in its prospects? Nothing. We have neither realities nor transmission, so plethoric in his information, so comprehen- I hopes presented to us. There was a rumour sometime sive a newsmonger, and so indefatigable a seeker after ma

since of an incorporated society for the establishment terials, has cut us altogether for two weeks, doubtless having of a National Lyric Theatre. The prospectus was printed. nothing to write about. Is this the pause in the musical

we believe ; but the speculation halted on the very atmosphere that foreruns the tempest; or has the war ab

ne tempest; or has the war ab- | threshold of undertaking. Whether it will step forward or sorbed all thought, all consideration, all news? Have the

deration, all news? Have the backward we cannot say. We desire, as much as anybody, roar of the cannons at Sebastopol, the rattling thunder of

the establishment of a National Opera, and have no doubt the musketry, the shrieks of the wounded, annihilated all

that materials in abundance are in existence; but we have softer sounds, music among the rest ?

little faith in its foundation, as long as British musicians will If we look round us to see what is going forward in the

refuse to co-operate and give up their cliques—the great musical world of London, we find nothing-literally nothing. To be sure Drury Lane is opened as an operatic establish

are allowed to desecrate the name of music with such performent, and nightly doles out, what it calls, musical entertain

mances as are being perpetrated at one of the leading ment at the lowest possible price per head. But the “ lyric”

theatres. doings at Old Drury come as little under the category of

A crusade against managers, who are at the same time “Musical Performances” as the primitive essays of the militia

incompetent and mercenary, and against artists who lend recruits under the title of “ Military Evolutions." We would

their talents and their reputation to such keeping, would be except individual artists who appertain to the establishment

hardly less worthy, and might prove no less beneficial in a from this censure; it is the sum total that is open to

universal point of view, than the war directed against the criticism.

Autocrat of the Russias, who himself is but an ill-manager But, as there is little or nothing doing, there is little or

that considers art and artists as playthings of his caprice, or nothing forthcoming. The Future is as barren as the Pre

food for speculation, to humour his fancy, or bring him forsent. Those immediately concerned with operatic affairs,

tune. Without much stretch of the fancy may not Drury for instance, are anxious to know what are the prospects for

Lane be entitled the Sebastopol of Music ? the opening of Her Majesty's Theatre next season. We cannot inform them-we wish we could. From what we MR

M. Bosisio, the well-known composer, and conductor at the have heard, and continue to hear, nevertheless, we are

ess, we are Cremorne Gardens, has gained the prize for the dance music in inclined to believe that the great lyric establishment in the the competition which took place last week at the Concorde Haymarket will open its doors once more in the ensuing Musicale at Paris. spring. Furthermore deponent sayeth not. It has been SIGNOR VERDI has been created, by his Majesty the Emperor said that Competition was fatal both to Her Majesty's of the French, an officer of the Legion of Honour. Theatre and to the Royal Italian Opera. We can hardly

RONCONI.—The celebrated barytone, Georgio Ronconi, at the coincide with this opinion. It is certain that the rival

close of his late engagement at Grenada, distributed thirty

thousand reals among the poor of the town. On his way to theatres both suffered severe losses in the last two seasons

St. Petersburgh, where he is engaged for the winter, he of the elder house; but the cause, we think, must be sought appeared one night at Cadiz, in Maria di Rohan, and achieved an for in something entirely extraneous to Competition. That immense success. there is room enough and hope enough for two Operas MADAME PLEYEL has arrived in Paris, and is engaged to play in London---as long as there is no English opera-is the | this week at the Salle Herz. general belief. Covent Garden is fast falling away from an

RACHEL AT NEW YORK.-Mademoiselle Rachel has made her Italian opera-strictly so called and merging into the

appearance at New York in Les Horaces, and been received with

enthusiasm. Some of Jonathan's criticisms upon the acting of French or German-French opera. Indeed, we should not the great French artist are curious specimens of what is generally be surprised to find the Royal Italian Opera occupying, in a termed “fine writing.” Here is a specimen from the columns few years, the exact position held by the Académie Imperiale of a journal which maintains, and deservedly, an intellectual position in the great go-a-head city:-"But the paramount power

MUSICAL FESTIVALS.. she wields is such that, from the moment she enters on the stage,

(From the Sunday Times.) we cannot let our eyes leave her for an instant. It is an indescribable fascination. We feel that every movement, every

The two Festivals, 'at Hereford and Birmingham, just congesture, even her very breathing, is replete with some thought | cluded, afford us an opportunity of saying something about the which we fear to lose if she passes from us. Yet so rapid is her importance of such meetings in general, and the means required movement, so intent is she in losing as little time as possible

for their continuance. In any point of view, a provincial festival with what is insignificant, and concentrating her whole soul upon

| is an important affair. It is a week of magnificent music, of rare rendering with the utmost intensity what is of moment, that, gaiety and excitement, of much gain to hotels, and some little, while we see those strange eyes at one moment darkening with perhaps, to innkeepers, and of profit to the special charities of the almost a graceful coquetry, as if to cover some of the superfluous

occasion, more or less, as the management has been better or words the poet puts into her mouth, again lit up with a dazzling,

worse. At all events, it is one of those holiday times much piercing gaze, and look on that mouth, so eloquent in its silence

looked forward to, and keenly enjoyed when they arrive, which and so imperious in its utterance, we feel a certain strange sense

and the more that they come but once in three years—we should of mystery come over us, and realise that we are in the presence

much regret to see fall into disuse. But vastly pleasant as is of a truly great artist, one stamped by the finger-mark of genius

| all this kind of thing, there is a much higher purpose served by as a tragedian whose very breath is full of classic fragrance, and

the triennial festival, than the mere sociable enlivenment of whose very robe is full of thrilling folds."

a town. Its really important function is, to keep alive that love St. MATTHEW'S CHURCH, CITY ROAD.-A full cathedral choir for the truly great in music, which the long residence of Händel in 'has been established at this church, consisting of fifteen cho

this country did so much to establish, but which, also, is now risters from the Sacred Harmonic Societies, and a proportionate

assailed by every temptation of which the meretricious and number of boys. The prayers are intoned and the responses

ephemeral styles of art are capable. Formerly the midland throughout the service chanted, as at the cathedrals. Friday and northern districts of England were thickly planted with se'nnight, being the festival of St. Matthew, the church was de

choral and instrumental societies, wholly unselfish in their corated and an evening service given, at which Dr. Elvey's object, purely delighting in the practice of all the best music, anthem, “In that day.” was performed.' St. Matthew's church and, in giving their periodical concerts, seeking no pecuniary is of recent erection, and is amongst the first–if not the very

return for their labours, save what might be necessary to cover first-parish, or district church, in London which have adopted the expenses of their meetings. These societies, though still the full cathedral service. The organ, a splendid one, by Messrs. existing, are-especially in the smaller towns—but a shadow Gray and Davidson, is placed beside the chancel, and the choir

of their former selves. The “touring” parties of the Londonis under the direction of Mr. Wesley.

ers have done their best to supplant them, with precisely CHACUN A SON GOUT.-Sir Sydney Smith, it is well known,

the most dangerous kind of commodity-namely, à better was not very impressible to sweet sounds. Talking of monster

| performance of far worse music. The madames and sigconcerts and the sacred performances at Exeter Hall, he said,

nors who scour the provinces, on the strength of a few “Music for such a length of time-unless under sentence of a

| stale Italian cavatinas and duets, with a jingling pianojury-I will not submit to. Nothing can be more disgusting

forte accompaniment, exercise an influence not possessed by than an oratorio. How absurd to see five hundred people

the local societies, with a plain Mr. at their head, though they fiddling like madmen about the Israelites in the Red Sea."

collect a respectable band and chorus, and announce Elijah or Charles Lamb, who was nervously susceptible of sounds, once,

Israel in Egypt. The provincial townsfolk, though horribly when tortured by the rat-tat-tat of a carpenter's hammer, ex

jealous of any meddling with their municipal affairs, and having claimed, “Even these unconnected and unset sounds are better

a thorough and hearty dread of centralisation in any other shape. than the measured malice of music.”

appear, when music is concerned, to prefer a rechauffée of the stale dishes of a London season, served up neither hot nor in

good style, to any home efforts, however exalting or meritorious HAYMARKET THEATRE.-Miss Blanche Fane has been main

their character. It is not our business to dictate how people taining her popularity by the performance of Roxilana in The

should spend their money about matters of amusement. If a Sultan. This piece has been laid aside since the time of Mrs.

man chances to prefer trash richly garnished to wholesome food Jordan, whose inimitable acting alone is said to have kept it on

au naturel, he must have it. But the consequence of this peculiar the stage. Miss Fane contrived to elicit some sparks of humour

taste undoubtedly is a decline in these local societies, which once from the fair slave's pert and pointless volubility; and for

so much flourished, and the importance of which to music in the rest,

general cannot, we are persuaded, be too highly estimated. At “If to her share some female errors fall,

present, they are mainly sustained by the periodical recurrence Look in her face, and you'll forget them all.”

of the festivals, the choral department of which could scarcely Her eastern costume was particularly becoming. Miss Fane be otherwise supplied ; and it is not too much to fear that, should was as well received as before, and seems now to have succeeded any continued ill fortune extinguish these great music meetings. in dividing attention with the Terpsichorean grace-Perea Nena. | their fate would but anticipate that of the small local societies

SURREY THEATRE.-On Monday se'nnight, Messrs. Shepherd throughout the provinces. and Creswick commenced their winter season. Fresh painting

The splendid results at Birmingham-to say nothing of the and decoration, added to a new and brilliantly-coloured drop

| diminished loss' at Hereford-would seem to justify the hope, scene, have renovated the appearance of the theatre. There rather than fear, for the continuance of musical festivals : yet have been several debutants. Mr. · Creswick has long these may prove exceptional cases, not too much to be relied on. needed an efficient tragedian to second and support him,

It is certain, at least, that the general number of these triennial and he has at last lighted upon one in Mr. Rickards, who celebrations has greatly diminished. York used to be famed barring a few provincial habits-made a very effective Julian

for the excellence of its music-meetings. The last, however, St. Pierre in The Wife. Miss Marriott-another first appearance took place in 1832, and there is no prospect of their recommence-played Marian, and though not so successful as the gentleman, ment-at least in the life-time of the present dean. After a very is à Sirius in comparison to the small "stars” that have been long cessation, Liverpool has resumed festival operations this from time to time, endeavouring to shed their rays over the | year, on the occasion of opening St. George's Hall, but with such Surrey hemisphere. This lady promises, with time and expe- ill-success as to render a repetition of the experiment but too rience, to prove an important acquisition to the establishment. doubtful. Manchester, again-one of the most musical towns in Mr. McVickers, the American actor, is of the school of Joshua the kingdom-has been without its usual festival for years, and Silsbee, the Yankee popularity of four years ago. The new shows no note of preparation for its re-establishment. Derby piece, Sam Patch, is merely a vehicle to enable Mr. McVickers and Chester, also, were among the triennial seats of these gatherto make the audience laugh, in which he certainly succeeded. \ings, but have long since retired from the list. Besides these places, where festivals had a regular occurrence, several towns on the liberality of the neighbouring gentry, it is by no means of minor importance used occasionally to venture on musical per- improbable that the "meetings of the three choirs" may speedily formances of great magnitude, but with the exception, perhaps become among the number of the extinct festivals-thus leaving of Hull-have wholly discontinued the attempt. At present, but Birmingham and Norwich in a state of regular existence. the only festivals, the occurrence of which can be at all relied There can be no doubt that, with firm and business-like manageon, are those of Birmingham, Norwich, and the "meeting of the ment, the music meetings now in being may be profitably sustained, three choirs" of Worcester, Hereford, and Gloucester. For and, also, that others might be resuscitated with every prospect this extraordinary and lamentable falling-off there are two of success. All this should be looked to in time, for it is, we are reasons, the first and most important of which is pecuniary ill- convinced, impossible to overrate the value of these provincial success. In the matter of profit, Birmingham has invariably gatherings in a musical point of view. held the first rank throughout the kingdom, a result secured by the size and convenience of the Town Hall, the spirited manage

ORIGINAL CORRESPONDENCE. ment of the committee, and the general reputation of the performances. At Norwich, the festivals have been generally, though not extensively, remunerative; while the “meet

ITINERANT MUSIC-S ELLERS. ings of the three choirs” have notoriously been sustained

To the Editor of the Musical World. for years by the public spirit of the stewards, who, in SIR,_The " Professor" is really such a "terrible Turk" that there is order to preserve to the charity the advantages of the “col- no pleasing him any how. He first finds fault with his " friend” (see lections,” have been content to make up the heavy deficiency Mus. World No. 32) for giving his pupils the benefit of his lucubraby which the sale of tickets falls short of the expenses. Pecu tions, and then falls foul of me because I choose to let mine remain in niary loss, though the general, has not been the sole agent in modest obscurity. I ought, however, to feel extremely grateful for all diminishing the number of our provincial festivals. After the the rare qualifications with which he has endowed me; but there is one last meeting at York, the dean declared that he would never virtue to which I am afraid I have no sort of claim whatever, viz.: the again permit his cathedral to be desecrated by musical per

ability to refuse a good bargain when it falls in my way. He makes me formances, to which people paid for admission; but, probably,

turn a deaf ear to the entreaties of the publishers to buy their wares at at that time, had not discovered the superior scandal of simony.

my own price! I can only say that when they offer such a boon, I shall To be sure, the route taken by the proceeds made much of the

not be slow to avail myself of their unprecedented liberality.

The “Professor," I am sorry to say, has lost his equanimity, and difference: in the one case, the profit went to various characters, in the other, entirely into the pocket of the chapter. Doubtless,

exhibited a large amount of bad temper, because I ventured to point this clerical jealousy of any more powerful stimulant to alms

out two or three slips of the pen, which, probably, he had overlooked

in the hurry of composition. Now, as I am a simple-minded indivi. giving than preaching has had much influence in the suppression

dual, and pretend to none of the “brilliancy" for which he gives me of many others of the extinct festivals. It is notorious that,

credit, I very naturally interpreted the passages in question in a com. both in Birmingham and Norwich, the festivals are invariably mon-sense way. I am sure I had no intention of quibbling, much less made objects of the fiercest invective by a certain section of of perpetrating pups, and yet it would seem that my application of an the clergy. Although in neither place are the performances old adage has * cut him to the quick!" given in a sacred edifice, they are assailed, for weeks before The " Professor" has taken a vast deal of pains to expound the so. they commence, with every species of priestly denunciation called quibbles. I am quite content, however, to abide by the decision that is likely to deter the timid from taking part, both in of your readers as to how far I was justified in putting such a con. the good they do and the pleasure they confer. For this struction on the passages. My antagonist complains that I did not most unnatural evil there is no remedy but perseverance.

quote his words. "I shall remedy that omission now, that your readers Sensible people will speedily discover that there is quite as

may have the opportunity of appreciating their “unmistakeable plainlittle harm in good music as in bad preaching, and will exercise

Quotation No. 1: “The teacher should follow the example of the a very excusable preference in patronising the former; as for the rest of the world, they may be safely left to seek their own

physician who has long since ceased to be an apothecary. Since he has

thrown over the trade of dealing in drugs," &c. Here, it is to be welfare, temporal and eternal, after their own fashion.

observed, is no mention of “medical practitioner," " doctor," or any. The pecuniary uncertainties of these festivals, however, can

thing else to lead an ordinary reader to suppose the writer meant other be more clearly dealt with, and must be met by a more eco- !

met by a more eco- wise than simply physician. nomical expenditure. This must not be done, however, in | Quotation No. 2 : “ Poor silversmiths.” The “ Professor" says he any way that will affect the large musical aim of the per-spoke of them “in a tone of commiseration.” Well, I wont give your formances. Not a voice must be spared from the chorus, not readers the trouble to examine this point, as I might have fallen into a fiddle less must appear in the orchestra. The saving must a slight error from my habit of giving things their literal meaning. be effected by a determined resistance to the exorbitant de- I shall, therefore, proceed to mands of some of the principal singers. The payment of Quotation to No.3: The “ Professor” in expounding quibble the three or four hundred pounds to any person, no matter of third, says: “I spoke of the music which the master sells to his pupils what name or reputation, for singing on one of these occasions | without intending it to be played, as like the razors'--the iuference is sheer folly, and, indeed, something worse. No one person

being that both are meant for sale not use." I shall not stop to inquire can be, commercially speaking, worth such a price, and to pay it

how far this agrees with his remark, that the remainder is “for pracis merely to tempt the certainty of pecuniary loss, and, at the

tice during the holidays;" neither will I attempt to define the differsame time, to perpetuate the evil practice of extravagantly

ence between practice and playing : it will be sufficient for me to quote rewarding one species of talent to the detriment of others quite

the disputed passage, which is as follows: “It is apparent to the disas important. The failure at Liverpool was mainly owing to this

| appointed parents that the surplus music was not intended for use

| (like the razors), but was only a piece of sharp practice,'" &c. Your absurd prodigality; and, in most other similar cases, the relation

| readers will now be able to estimate the relative value of the “Profesof cause and effect is just as clearly traceable. At Hereford, Wor

sor's” gloss and my readings. cester, and Gloucester, as already stated, the stewards are accus

| So much, then, for the three " contemptible quibbles." tomed to submit to a "call” varying from 50l. to 100l.each, because

I hsve only

to add, that I am “tradesman” enough to understand the value of the sale of tickets never covers the expenditure, and because the time, and I must, therefore, decline continuing the discussion on its capitulars of these cities permit the use of their cathedrals solely present footing. When the “ Professor" feels himself competent to on condition that the "collections” made in the buildings are answer the arguments I brought forward in my first letter, I shall be handed over intact to their charities. But an end must come to this happy to go on with the correspondence, when, I have no doubt, I shall kind of thing. Sooner or later, people will grow tired of the honour be able to furnish him with a "Rowland” for his “Oliver.” of a “stewardship,” with the attached responsibility of giving

A TEACHER OP FOURTEEN YEARS STANDING. large musical performances merely to fatten a class of charities P.S. -I take this opportunity of thanking Mr. Crane for his bighly which, with a proper management of church property, would be interesting paper on the St. James's organ. It would be a happy day wholly unnecessary. With this invariable loss, imposed as a tax for organists were such churchwardens more numerous,

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To the Editor of the Musical World.

SIR,-Prior to the recent Hereford Festival, you very justly blamed
the authorities of that meeting for instituting comparisons in their

(Continued from page 610.) own favour over Birmingham. A number of the Atheneum London Journal has just fallen into my hands, in which the writer, not content

PART II. with lauding the Birmingham meeting in general, and Mr. Costa's Oratorio, or Oratorium, in particular, up to the skies, speaks disparagingly

CHAPTER VI. of the Three Choirs, and, in so doing, has certainly been mistaken, or has received wrong information. He speaks of these meetings as The miracle of the poetic work is distinguished from that of becoming “smaller and smaller, less and less satisfactory,” &c. Now,

the religious dogma, inasmuch as it does not, like the latter, sussuch is not the case, and, in confirmation of my statement, I subjoin

pend the nature of things, but, on the contrary, renders it inthe number of tickets sold in the following years, by which it will be

telligible to the feelings. seen that, far from decreasing in popularity, they have considerably

The Jewish-Christian miracle destroyed the connection of improved their position.

natural events, in order that it might cause the Divine will to Number of Tickets sold:

appear as placed above Nature. There was not anything at all GLOUCESTER. WORCESTER.

HEREFORD. like a more extended connection invented in it, for the purpose 1829...4147 1836...4171


of its intelligence by the involuntary feelings, but it was em1841...5357 1851...5529


ployed entirely for itself alone: people demanded it, as a proof 1852...8422 1854...7192


of superhuman power, from Him who announced himself to be In the Musical World of September the 1st, you gave the statistics of divine origin, and in whom they would not believe until he of the collections, by which it will be seen that they have, on the whole,

had proved himself, before the material eyes of mankind, the presented a satisfactory appearance, especially at Gloucester, where

Lord of Nature, that is to say, able, at will, to change the natural they were generally the least of the Three Choirs. From 1841, there has been a steady increase : in that year £642 18s. 6d. was received at

order of things. This kind of miracle was, consequently, required the doors; and in 1833, £917 13s. 6d. was the amount by which the

of one whom, of himself and from his own natural acts, people Charity benefitted.

did not accept as true, but whom they determined to believe Moreover it must be taken into consideration, that of late years

only when he effected something incredible, and unintelligible. the stewards have considerably added to the expenses by augmenting

The fundamental denial of the understanding, was, therefore, the band and chorus very materially, and by engaging the first avail.

something imperiously presupposed by him who demanded as able talent, vocal and instrumental.

well as by him who performed the miracle, while, on the other If another proof were wanting of the increasing popularity of our hand, absolute faith was what was required by the latter and triennial meetings, it is to be found in this fact, that whereas some few granted by the former. years since it was with the greatest difficulty that half a dozen stewards The poetizing understanding, however, cares nothing for the could be procured, and they only came forward at the eleventh hour to impression produced by its communication about faith, but Bave the Festivals from dying a natural death, such was the confidence merely about the understanding of the feelings. The object is to entertained of the future success of the Gloucester Festival, that represent a wide range of connected natural facts, in a picture within two or three months after the last meeting of 1853, more than that shall be quickly intelligible, and this picture must, theretwenty gentlemen voluntarily came forward to undertake the responsi

fore, be one corresponding in such a manner to the facts, that bilities of office for 1856. I should think this is pretty conclusive

the involuntary feelings shall receive it without repugnance, and evidence that our Festivals are not becoming “smaller and smaller, and

without being first required to give an interpretation of it, while, less and less satisfactory.” Gloucester, Sept. 27, 1855. YOUR OWN CORRESPONDENT.

on the other hand, the characteristic feature of the dogmatic miracle consists precisely in its imperiously subjecting beneath

its yoke, by the manifest impossibility of explaining it, the MR. GUSTAVUS V. BROOKE IN AUSTRALIA.–Our distant understanding which involuntarily seeks an explanation, and its friends interested in theatrical matters, will doubtless be anxious looking for its effect in this very subjection. The dogmatic to learn the result of Mr. Gustavus V. Brooke's professional miracle is, therefore, as ill-adapted for the purposes of Art, as visit to the Antipodes. His reception has been enthusiastic, and the poetized miracle is the highest and most necessary produchis success complete, as regards the high estimation in which his tion of the artistic faculty of contemplation and representation. eminent abilities are held here. We fear, however, that in a If we represent to ourselves more clearly the course pursued financial point of view, the speculation into which Mr. Brooke by the poet in the creation of his miracle, we perceive, in the and Mr. Coppin entered in England will scarcely prove a profit- first place, that, in order to be enabled to represent, in an intelable one. Arriving in Sydney at a time when at our two ligible survey, a wide and connected range of actions reciprocally theatres effective companies were engaged at considerable ex-pre-supposing one another, he must compress them into such pense, the addition of Mr. Coppin's corps dramatique was one proportions, that, even at the most cursory glance, they shall which could not be sustained with any reasonable hope of profit. lose nothing of the fulness of their purport. A mere abridgThe raising of the prices, too, has not been attended with favour. ment or rejection of less important points of action, would, of The furor which arose when Miss Catherine Hayes arrived here itself, merely distort the points retained, since these latter, is not likely to be renewed for some time; be the new arrivals being stronger, can only be justified for the feelings as an of even more than ordinary celebrity. Whilst this may be re- increased effect arising from the less important ones. The points gretted by lovers of the liberal arts, it is to be accounted for on rejected for the sake of rendering the poetic space easily pervarious grounds. As the friends of Mr. Brooke have called atten ceptible, must, therefore, be even transferred to the principal tion, in terms of disappointment, to the prospect of his visit to points retained, that is to say: they must, in some manner our shores not proving a profitable one, we have adverted to knowable by the feelings, be contained in the said principal it; but at the same time repeat the high opinion which we enter-points. The only reason, however, why the feelings cannot distain of his great talent.--Sydney Morning Herald.

pense with them, is because they need, for the compre* BUCHAREST.-There is to be an Italian opera company here | hension of the principal action, to experience, also, the causes this winter. Meyerbeer's Etoile du Nord, with the recitatives from which the latter sprang, and which were manifested composed for the Royal Italian Opera, London, is to be one of in the less important points before-mentioned. The culminating the novelties produced.

point of an action is of itself a moment flitting quickly SCHAFFHAUSEN.—Herr Carl Keller, well-known throughout past, and which, as a simple fact, is without significance, Germany as a lieder composer, died lately at the advanced age of directly it does not appear caused by views, which, of themseventy-one.

selves, enlist our sympathies; the heaping-up of such points GRATZ.-Santa Chiara, Les Vépres Siciliennes, Tannhäuser, and must deprive the poet of all capability of justifying them L'Etoile du Nord will shortly be produced.

to our feelings, for it is precisely this justification, the represen

tation of the motives, which has to occupy the space of the work with the poet, to renounce miracles even for poetry, and this of art, that would be altogether thrown away, if filled with a happened at the period when the natural phenomena, previously mass of unjustifiable points of action.

viewed only with the eye of fancy, were made the objects of the In the interest of intelligibility, the poet has, therefore, so to s operations of the scientific understanding. But even the scienlimit the points of the action as to gain the space necessary to tific understanding had no clear idea of the essential attributes enable him to account fully for those retained: all the motives, of these phenomena, as long as it thought it could represent contained in the points rejected, he must introduce into the them intelligibly only by the anatomical exposure of all their motives for the principal action, in such a manner that the latter | inward details; we had not attained certainty with regard to may not appear isolated, because, if isolated, it would also pre- | them, until we recognised Nature as a living organisation, and suppose its especial points of action—the very ones that have not as a system of mechanism constructed on purpose ; until we been rejected ; these must, on the contrary, be so contained in perceived clearly that she was not created, but is herself the the principal motive as not to split it up into various parts, but i principle always springing afresh into being;* that she contained to strengthen it as a whole. This strengthening of the motive, in herself, at the same time, the procreative and the producing however, presupposes, further, the strengthening of the point of principle, as male and female ; that space and time, by which action, which is, of itself, only the suitable expression of the we supposed her to be surrounded, were merely abstractions of motive. A strong motive cannot be expressed in a weak point her reality; and that, furthermore, we can be satisfied generally of action, for both the action and the motive would be thereby with this knowledge, because, for its confirmation, we no longer rendered unintelligible.

require to assure ourselves, by mathematical calculation, of the In order, consequently, to exhibit the principal point strength- most distant realms of space, since, in our immediate proximity ened by the adoption of all the motives, which in ordinary life are and the least important phenomenon of Nature, we are able to only expressed in a great number of points of action, the action discover proofs of what is capable of being adduced to us from conditional upon it must, also, be strengthened, mighty, and, in its the remotest distance only for the confirmation of our knowledge unity, more comprehensive than it would be if produced by of her. Since then, we know also that we are to enjoy Nature, ordinary life, in which precisely the same action occurs, only in because we can enjoy her; that is to say, are capable of enjoying connection with a number of secondary actions, in a wider space her. The most reasonable enjoyment of Nature, however, is that and more extended period of time. The poet who compresses which satisfies our universal capability of enjoyment; in the not merely these actions, but the more extended time and space universality of the human organs of conception and in the as well, for the benefit of a clearly perceptible comprehension of highest enhancement of their capability of enjoyment, alone, lies them, has not simply to cut down, but to condense their whole the standard by which man has to enjoy, and the artist, who essential purport; but the condensed form of actual life is only deals out this highest capability of enjoyment, has, therefore, to to be understood by the latter when-placed in contrast with it take from this standard alone that, also, of those phenomena it appears to it as enlarged, strengthened, and unusual. In his which he wishes to communicate to man, and this needs to be over-active absence of mind with regard to time and space, man regulated by the expressions of Nature in her phenomena, only is precisely unable to understand his own activity of life; the in so far as they have to correspond to the purport of their picture of this activity compressed for the understanding essential attributes, which the poet, by increasing and strengthenreaches him, however, in the shape created by the poet for con ing, does not distort, but-precisely in his expression-merely templation, a picture in which this activity is condensed to a compresses to the standard which corresponds to that of the point of the greatest strength, which, in itself, certainly appears highest human yearning after the comprehension of a connection unusual and wonderful, but contains its unusual and wonderful of the greatest kind. It was precisely the fullest understanding character exclusively in itself, and is viewed by the spectator in of the essential attributes of Nature which first rendered it no wise as a miracle, but as a most intelligible representation of possible for the poet to introduce her phenomena to us in wonthe reality.

drous shape, for only in this shape will they, as conditions of By means of this miracle, however, the poet is capable of re- enhanced human actions, be intelligible to us. presenting the most immeasurable ranges of connected subjects The understanding alone sees nature in her actual reality, and in the most intelligible unity. He has only to render more separates her into her minutest parts; if it wishes to represent strong the qualities of his figures, the greater and the more com to itself these parts in their lifelike organic connection, the prehensive the connection he wishes to represent; he will, also, calmness of its contemplation is put to flight by a greater and condense, from the most comprehensive expansion, to the most greater state of excitement of the mind, which finally remain, wondrous proportions, space and time, in order to make them only as a frame of feeling. correspond to the movements of the figures—and will thus make . In this state, man unconsciously again refers Nature to himthe qualities of endlessly dispersed points of space and time the self, for it was precisely bis individual human feeling which purport of an enhanced quality, just as he collects the scattered caused him to be in a state, in which he experienced Nature motives into the principal one, and enhance the expression of this according to a certain impression. In the most agitated state quality, just as he strengthened the action through the motive of his feelings, he perceives in Nature a sympathising entity, in question. Even the most unusual shapes, which the poet has for she then, in truth, in the character of her phenomena, most to exhibit in this course of proceeding, will in truth never be inevitably decides that of the state of the human mind. It unnatural, because, if them, the essential attributes of Nature is only in a perfectly egotistical coldness of the understandare not distorted, but the expressions of her only comprehended ing that man is capable of avoiding her immediate influence in a picture which is taken in at a glance, and which alone is - although he must even then say to himself that it still intelligible to the artistic man. The poetical boldness, which | determines him. In great excitement, however, chance exists comprehends the expressions of Nature in a picture of this no longer for man in his meeting with the natural phedescription, can precisely be first our own successfully, for the nomena ; the expressions of Nature, which out of a well-founded very reason that through experience, we are enlightened as to the organic connected series of phenomena come in contact with our essential attributes of Nature.

ordinary life with seeming capriciousness, are regarded by us, As long as the phenomena of Nature were merely an object of when in an indifferent, or egotistically biassed frame of mind, in the fancy of man, the power of the human imagination neces which we have either not the wish or the time to reflect sarily remained in subjection to them; their apparently essen upon their foundation in a natural connection, as chance, tial attributes swayed and determined it even in the contem- which, according to the aim of our human purpose, we plation of the phenomena of the human world in such a manner, strive to turn to account as favourable, or ward off as that they deduced the unexplicable that is, the unexplained unfavourable. The man who is deeply moved on suddenly in that world, from the arbitrary decision of a supernatural and turning from his inward mood of mind to surrounding superhuman power, which finally suspended both Nature and Nature, finds, according to the manner of her manifestation, Man as well, in the miracle. As a reaction against the belief in miracles, the rationally prosaic demand asserted its right

* Das immer Werdende.

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