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pointing a permanent organist, who shall have full control over the instrument, instead of letting any inexperienced person tamper with such a wonderful piece of workmanship. The appointed organist will be required to give one hundred performances during the year.
The last concert of the Leeds Town Hall Concert for the season was given last Saturday evening, and was conducted by Mr. Spark. The season, on the whole, has not been quite successful either in a pecuniary or a musical point of view; and so long as the executive committee is composed of men notoriously ignorant in musical matters, no other result can accrue.
Birmingham.—A musical event of some importance took place on Sunday, March 25th. This was the re-opening of the organ at St. Philip's Church, after a thorough repair and cleaning. The organ, which is the finest in Birmingham, and one of the finest in the kingdom, was built, in the year 1805, by George Pike England, the son of the celebrated Geo. England, and the predecessor of the equally celebrated Mr. Hill of our own day. It was originally divided into two key-boards, swell and great, and consisted of the following stops :—In the great organ, open diapason; ditto (front); stopped diapason, principal; twelfth-fifteenth; sesqui.iltera mixture; trumpet, and solo trumpet (the last an inimitable stop). The swell contained open diapason; stopped ditto, principal; fifteenth mixture; bassoon; hautbois; trumpet, and cornet. The pedal organ had one stop of very fine open pipes, made of oak. In the year 1845, the instrument was altered and re-constructed by Mr. Hill. The old swell was made into a choir organ, and a new swell added, consisting of the following stops :—double diapason; open diapason; stopped ditto, principal; cornopean, and hautboy. The trumpet, in the original swell, was replaced by a cremona, and a wald flute was added, as was also a fine pedal-stop of 16 feet. The re-opening of this noble instrument was celebrated with a performance of sacred music, from Handel, Haydn, Beethoven, and Mendelssohn. The services were, Dr. Boyce in C, and Ebdon in C. The anthem in the morning was, "We will rejoice in thy salvation," by Dr. Croft; that in the evening, "Oh praise God in his holiness," by Dr. Clarke. The choir, which was full and complete, was selected from the leading choral ladies of the town, and Miss Poyser, a local artist of some celebrity, was principal soprano. Mr. Simons, the organist of the church, presided with the ability and excellent taste which have so long distinguished him, and drew forth, in his voluntaries, tones from that noble instrument that delighted the numerous congregation, who, till this day, scarcely believed that it was capable of producing such wondrous effects. A collection was made after each service to defray the necessary outlay incurred by the repairs.
MUSIC AND THEATRES IN PARIS.
March 28, 1860.
If the problem of perpetual motion could be solved, it would be in this gay city. There seems a constant succession of excitement going on. Hardly has all one's power of admiration been called into play by some wondrous woik of art—some lyrical gem, or some great architectural wonder—than some fresh object rapidly succeeds, with all the ever-changing brilliancy of a kaleidoscopic view, to efface the remembrance of its predecessor. For once, however, there is a slight repose. Pierre de Medicis, the great subject of conversation with the dilettanti of the day, has had its various merits so discussed, that of course every one eager to judge for themselves will flock to the Opera. The 130,000 francs expended in decorations are made too much of, as they will be well repaid ere the end of the season. But it is the wonderful C sharp of Tamberlik—the force, the passion with which he sends out this note—which electrifies the public at the Italian Opera. Under the aspect of the terrible Moor he has once more made his appearance amongst us. And with the Borghi-Mamo as Desdemona, the success could not fail to be great. But in the Trovatore his voice comes out as pure and sweet as the notes of a flute. One can hardly imagine the wonderful tones to which, as the opera goes on, the voice will rise. Last night he was called on after the air of "Di quella
pira," three times ; he sang it twice. An aecident which occurred in this Act threatened to bring the opera to an untimely end. Just as Tamberlik draws his sword to rush off and save his mother, whom he sees from the window they are preparing to burn on the pyre, Mad. Penco, who plays the part of Leonora, frantically implores him to stay. In approaohing the foot-lights in one of her movements, the long tulle wedding veil she has on took fire. Mad. Penco did not perceive it, but fortunately two of the chorus-soldiers threw themselves on their knees, gathering her dress round, and extinguished the flames. It was a moment of breathless excitement in the house ; and poor Madame Penco was so overcome by terror and emotion, that before the curtain drew up for the last act, the stage-manager came on, and begged for a few moments' indulgence for her. As it was, she cut out the air "D' amor sul all' rosa." It was most fortunate for Madame Penco that the dress she had on was a silk moire trimmed with ermine; for, had she worn a tulle dress, it would have been impossible to save her. There was some unknown person who performed the part of the gipsy mother ; but it would be better to touch lightly on so painful a subject. Where were Madame Alboni and Borghi-Mamo 1 The revival of QalaMe at the Op6ra-Comique has brought nightly receipts of 5000 francs, so it is likely to be continued. Jocomte, with M. Faure as the hero, has also been revived with entire success. Madame Miolan-Carvalho will appear in Philtmon et Baucis: the loss of her mother obliged her to suspend for a short time her performances after the Oil Bias of M. Lemet has been brought out, and she will go to London for the season. A very pretty little piece in one act and in prose, has been brought out at the Theatre-Frangais ;it is from the pen of M. Theodore Barridre, and is entitled the Feu au Convent. Of course, from the title, one would expect to hear a good deal about a convent: nothing of the sort. It is merely this: a young girl, Adrienne de Tavenay, has been obliged to be sent home, as the convent she was in took fire, and, of course, all the young ladies and nuns were obliged to disperse till some new abode should be arranged. Adrienne arrives at home, and finds her father, who has been all night at a ball, asleep on the sofa: ere he wakes, her fairy fingers change the aspect of the room, that was rather disorderly and bachelorlooking, into that home-like appearance that only the fingers of a woman can give a room. Her father wakes, and is equally astonished and delighted at the beauty and grace of his child, whom he had not seen for years; for, left a widower at fiveand-twenty, he had sent Miss Adrienne to a convent, and led the life of a single man since. As he sits listening to his child's prattle with delight, while she unfolds her project that he is to marry a teacher, Mdlle. H&e'ne, who has been like a mother to her, the recollection of a duel he is to fight this morning flashes over him, and destroys all his pleasure. He had sought a quarrel with a Brazilian, as he had made a bet at his club that before the end of the year he would fight six duels: the year will expire the next day, and the duels must be fought that morning. On leaving his child, he confides her to M. de Meriel, a young philosopher of twenty, and in case of his death, constitutes him her guardian. They are left alone, while the father goes away. Adrienne has a presentiment of danger, from her lather's manner, and in seeking to calm her, M. de Meriel begins to love—at last, as her despair for her father is at its height, the door opens, and he enters safe and well. The great practical joker of the club, M. Fortemin, had resolved M. de Tavenay should lose his bet, and had challenged and fought the Brazilian in his place, receiving a slight wound; of course all ends happily, de Meriel and Adrienne are to be married—the father says he will marry the friend of his daughter, Mad. Heldne. The subject may not be much, but the acting is all: Bressant is touching and charming as the father; and Mdlle. Emma Fleury as the naive and witty little schoolgirl, goes through her partwiththe greatest Iclat. It is what may be called a "refreshing" piece, after the tirade of nonsense— of absurdities and immorality—with which the French sta^e is too often overwhelmed. A new piece, Daniel Lambert, will be brought out in a few days at the Odeon: it is from the pen of M, Charles de Courcy; and also a new piece will succeed the
Compire GuiMery, at the Ambigu: it is entitled La Sirine de Paris, and is written by MM. Grange and Montepin.
The concerts are going on with unabated vigour. Last Thursday a Concert d'Artiste was given at the Tuiileries. MM. Tamberlik and Graziani; Mesdmes. Penco and Alboni. The Princess Clotilde presented Mdme. Alboni with a magnificent fan to replace a paper one she had made herself on account of the great heat. Alard played on the violin; Prudent, on the piano. The Concerts d'Amateurs at the Palace are still kept up, and equally successful. The Comte de Morny and the Pr6fect de la Seine are also giving concerts. Mad. Pleyel will give some more of her charming concert*. The Soci6te de Jeunes Artistes gave, the other day, another of their concerts under the direction of M. Pas-de-Loup: it gave great satisfaction. The symphony by Charles Gounod, that in C major by Beethoven, and the overture to Semiramis were remarkably well performed. Faure sang the solo in the benediction scene of the flags in the Siege de Corinthe. Last Thursday the Salle Beethoven was the spot chosen for an excellent concert, in which MM. Brimer and Paldilke greatly distinguished themselves. There is a great deal of talk about building a new Italian Opera, and not before it is wanted; anything more uncomfortable than some of the boxes it is impossible to conceive, and amidst all the wonderful improvements takincr place, it would be impossible to leave this alone unregarded. The aspect of Paris is rapidly changing; for to a person who has not visited for some few months one quarter of Paris, they gaze astonished, and ask whether the magic lamp of Aladdin has been discovered and brought into use, for from ground or wretched spots where hovels stood, rows of palaces almost are rising, but more durable than the palace of the Chinese prince, they will last for ages to come. Some excellent pictures of living artists have been exhibiting on the Boulevards. I have not yet been able to spare a minute to see them, but next week will say something more about them. From all accounts, London is destined to have a brilliant season; and already the talk is about the doings that will take place there.
Weimar.—An after-celebration of Mozart's birthday has taken place, when the performance began with a festival composition, with music and tableaux vivants, entitled Die Tonkunst und vier Deutsche Meister, by Dr. Julius Pabste. Then came Don Juan. The house was crammed, and the poem, as well as the suggestive and admirably arranged tableaux, was tumultously applauded. When, at the last, the four stars, in which shone the names of Gluck, Beethoven, Mozart, and Weber, were visible on the horizon, when, in poetical juxtaposition, the figures out of Iphigenie, Fidelio, Don Juan, and Preciosa, appeared beneath the sky, and the godlike, ever-youthful music of the Past was heard, we wondered whether, in another hundred years, the masters of the Future, now so often named, would be greeted and worshipped with equal enthusiasm.
Leifsic.—C. Reinecke is named as the probable successor of J. Bietz, appointed Hof-Capelmeister at Dresden. Nothing has yet been beard from Breslau on the subject.
Musical Society Of London.—On Wednesday evening, at the Marylebone Institution, there wasatrial of chamber instrumental pieces, in the presence of some members of the Council and a sprinkling of the Fellows. The pieces tried were a string quartet by Mr. Beaumer, a pianoforte trio by Herr Adolphe Schloesser, and a string quartet by Mr. Deane. Mr. Blagrove was the first violin and Herr Schloesser,. assisted by Mr. Blagrove and M. Daubert, played the trio. There should be more of these "trials" of new works, which are eminently calculated to advance the objects for which the Musical Society of London was professedly instituted. We should have stated that a sestet for pianoforte and wind instruments by Mr. Aguilar was to have been rehearsed; but it was impossible to get together the necessary complement of "wind." With whom the fault lies we are unable to say.
THE illuess of M. Jullien having, with fatal rapidity, terminated In death, it has been resolved that che donations to the JULLIEN FUNDaball be applied in the manner which would have been most in accordance with the wishes of the deceased, had it been permitted him to express them, viz., to the relief of his widow and family, who, by his loss, ore left totally unprovided for.
Committee for the distribution of the Jullien Fund.
Messrs. Couttsand Co., Strand ; Hoy wood, Kennards, and Co., Lombard-street; London and County Bunk, Hanover-square ;—who, as well as the Honorary Treasurers, have kindly consented to receive subscriptions.
Subscriptions already advertised, a?330 14s. 6d.
J. Standell, Esq. .. .. 0 10 0
H. T. Heeling, Esq 0 10 0
W. T. Mocatta, Esq 0 10 0
J. B 0 9 0
The Boys 0 6 0
II. Sill 0 6 0
Anonymous .. .. .. 0 5 0
D., per Bailey, Brothers .. 0 5 0
Additional Subscription", of
small amounts under 5s.,
received by Mr. Austin.
St. James Hall .. .. 0 11 0 Police, ViDe-street, A, reserved 0 1710
Chai>pcll and Co 0 8 6
Mr. Hammond 4 8 0
Messrs. Cramer and Co. .. 17 0
Mr. Mitchell 0 3 0
•Deposit Bank, Leicoater-sq. 8 6 6
Mr. Duncan Davison .. .. 0 16 0
•Messrs. Pask and Co. .. 0 3 6
Messrs. B dley. Brothers .. 0 9 0
Messrs. Keith, Prowse, & Co. 13 6
•Sunday Tima Office .. .. 0 13 0 mentioned in the Timet as receiving
ROYAL ITALIAN OPERA, COVENT GARDEN— The Nobility, Gentry, Subscribers, and the public are most respectfully informed that, the Season of 1860 will commence on Tuesday next, April 10, on. which occasion will be performed, Moyirbo. r'a New Romantic Opera, entitled DINORAH; or, II Pellegrinaggio de Ploermol. Dinorah, Madame MiolanCarvalho (her seventh appear nco iu En.'laud); Una Cipraia, M lllo. Rtpasr.iui (her first api earance in England); Un Oaprai", Mdlle. Giudita Sylvia (nor first appear nee in bi.gland); Corentino. Signor Gardoni; Un Caceiatoro, Signor TagliaBco; Un Mletitore, 81gnor Nerl Baraldi; and Hoel, M, Faure (for whom the part was originally composed: his first appearance iu England).
Conductor—MR. UOSTA. The Opera will commence ac half-past eight o'clock. Pit tickets, 10s. Cd.; Amphitheatre Stall?, 7s. and 5s ; Amphitheatre, 2s 6d.
Prospectuses, with full partrculars of the arrangements, may be had at the Box Office, uuder the portico of the theatre, and at the principal music-sollers and librarians.
The Musical World may be obtained direct from the Office, 28, Holies-street, by quarterly subscription of five shillings, payable \n advance; or by order of any Neicsvendor. Advertisements are received until Three o'clock on Friday Afternoon, and must be paid for when delivered. Terms:—
Three lines (about thirty words) 2s. 6d.
Every additional line (ten words) ... 0s. 6d.
THE MUSICAL WORLD.
LONDON, SATURDAY, Apart 7th, 1860.
The prospectus of the Royal Italian Opera, besides announcing the re-engagement of most of the old favourites, promises two new singers of eminence, two operatic revivals of great importance, and one or two works that have not been heard before. Mdlle. Lotti della Santa, and Mdlle. Marai, no longer appear in the list of artists; but Mdlle. Rosa Csillag, if report does not err, will more than atone for the loss of the former; while, if Mad. Miolan-Carvalho fills the part of Marguerite de Valois, in the Huguenots, and Mdlle. ilosa Csillag that of Elvira in Don Giovanni, formerly sustained by Mdlle. Marai, there will be nothing to complain of. Other contemplated changes will be equally for the better— aa, for instance, Madame Penco, vice Mdlle. J/Otti, in Ninetta (Gazza Ladra), and M. Faure, from the Op6raComique, vice Signor Graziani, as Hoel (Dinorah), and (if the Italian language and Italian music are femiliar to him), vice Signor De Bassini, in Fernando (La Gazza Ladra). Mdlle. Csillag and M. Faure are both unknown to the English public. The lady, it is true, appeared at one of the Philharmonic Society's performances last season, with very considerable success; but little can be predicted of her talent as a dramatic singer from this solitary exhibition in the concert-room, Mdlle. Csillag comes from the Imperial
Opera of Vienna, where she holds a distinguished post. She will make her first appearance in Fidelio. If M. Faure creates as favourable an impression at the Royal Italian Opera as at the Opera-Comique, he can hardly fail to become a valuable acquisition to Mr. Gye's company.
Among the ladies we find two unfamiliar names, viz.: Mdlle. Rapazzini and Mdlle. Giudita Sylvia. Of these, knowing nothing of their antecedents, we can say no more than that the latter, a contralto, is to make her first essay with Madame Nantier-Didiee's part in Dinorah, on the opening night, and that the former is entrusted with one of the subordinate characters in the same opera.
While on the subject of new comers, we may cite Signors Patriossi, Vairo, and Rossi, as barytones, or basses, about whom no rumours have travelled to cis-Alpine regions— unless, by the way, Signor Rossi should happen to be the gentleman who played Don Pasquale and other buffo parts at Her Majesty's Theatre in 1857 and N1858.
Madame Grisi "is engaged for twelve nights;" which may be interpreted, that she is at length definitively to take leave of the stage. Why the prospectus does not speak more explicitely on this head, we are unable to say. Perhaps the remembrance of 1854 may have something to do with it. Before the Norma of Normas, the Lucrezia of Lucrezias, the Semiramide of Semiramides, the Anna Bolena of —— (but space warns us to desist) abandons us for ever, we should like to be assured of a competent successor. The prospectus further relates that " she will appear in those parts which have chiefly contributed to her great popularity, during her long-continued and brilliant career." Nevertheless, we find no mention of Ninetta (La Gazza Ladra), Elvira (/ Puritani), Norina (Don Pasquale), Semiramide and Anna Bolena—to one and all of which, it will scarcely be denied, some of those laurels are due. Mad. Miolan-Carvalho is evidently intended to fill up the dreary vacuum created by the loss of Angiolina Bosio. Besides Dinorah, she is to appear as Rosina (Barbiere), and Zerlina (Fra Diavoh)—two of Madame Bosio's most renowned impersonations—in addition to Amina (La Sonnambula), and Marguerite de Valois (Les Huguenots). That Madame Carvalho will make an admirable Zerlina, and an admirable Marguerite, we cannot for a moment doubt, and only hope that her essays in Italian opera proper will be to match. Madame Penco, is not only put down for Ninetta (La Gazza Ladra), but for Lady Henrietta (Martha), Gilda (Rigohtto), and one of the two sisters in Cimarosa's Matrimonio Segreto. Madame Nantier-Didiee,—although (for reasons unexplained) she does not (at present at least) reassume her favourite part of the Goat-herd in Dinorah, for which Meyerbeer graciously composed the new air, "Fanciulle che il core"—retains her post as principal contralto. The name of Madame Tagliafico, too, re-appears as comprimaria.
The tenors are precisely the same as in 1859—Signors Mario, Tamberlik, Gardoni, Neri-Baraldi, Luchesi—a strong and gallant company. The basses and barytones we have still to name are—Signors Graziani, Polonini, and Tagliafico, M. Zelger, and last, not least, Signor Ronconi
The repertoire for the season embraces twenty-four operas, of which two are novelties and four revivals. The novelties are M. Flotow's StradeUa, and M. Victor Massee's one-act operetta, Les Noces de Jeannette, under the Italian title of Le Nozze di Giannetta. In the former, Signor Mario will sustain the principal part, while the latter is to be produced especially for Madame Miolan-Carvalho— the original Jeannette at the Th6atre-Lyrique—and Signor Ronconi. The "revivals" include Beethoven's Fidelio, for Mdlle. Csillag and Signor Tamberlik; Meyerbeer's Prophile, with Mdlle. Csillag as Fides, Signor Tamberlik as Jean of Leyden, and (" peraunter") Madame Miolan-Oarvalho as Bertha; and Cimarosa's Matrimonii) Segreto. There is a rethat M. Felicien David's Herculaneum will be given; respecting this we can state nothing definitively beyond the fact that M. David has arrived in London. Upon the revival of the Prophete the management is determined to expend all the means at its disposal. If, as is probable, the magnificence of former days is revived, Meyerbeer's grand lyrio drama will be the most brilliant feature of the season. The cast of the Matrimonio Segreto includes Mesdames Miolan-Carvalho, Penco, and Nantier-Didiee, Signors Ronconi, Gardoni, and Graziani. The ladies are well placed, and from Sig. Ronconi's Geronimo, great things may be expected.
Four grand ooncerts are announced—one, "at least," to take place in the New Floral Hall. At the seoond concert, Gliick's Orfeo will be performed, with costumes, scenery, and decorations.
About the ballet nothing is stated, beyond the fact that Mdlle. Zina Richard, the deserved favourite of the last two seasons, is engaged as principal danseuse.
"The full orchestra and chorus of the Royal Italian Opera," and Mr. Costa, as " director of the music, composer, and conductor"—these are items which speak for themselves.
Mr. Augustus Harris is again stage-manager, and Messrs. Grieve and Telbin, the bond fide scene-painters of the Royal Italian Opera, are associated with Mr. William Beverley, who is also scenic artist at Her Majesty's Theatre. Mr. Smithson is chorus-master ; Sig Maggioni, poet; Mr. Godfrey, leader of the military band ; M. Nadaud, leader of the ballet; and M. Desplaces, maitre-de-ballet.
One important consideration arising from an examination of the programmes of both operas, is the decline of the vocal art in Italy. How else account for the fact that in both houses the chief parts are filled by foreign singers. At Her Majesty's Theatre, the prima donna assoluta, Mdlle. Titiens, is a German; while two others—Madame Marie Cabel and Mdlle. Brunetti (Brunet) — are French. At the Royal Italian Opera, Mdlle. Csillag is a German, while Mesdames Miolan-Carvalho and Nantier-Didiee are French. At Her Majesty's Theatre, Signor Everardi (M. Everard), Signor Vialetti (M. Vialette) and M. Gassier, are French. At the Royal Italian Opera, M. Faure and Signor Tagliafico are French, while M. Zelger is a Belgian. Furthermore, one theatre opens with a Russian, and the other with a French opera. While Art rejoices over the disruption of a monopoly which threatened to arrest her progress, Italy weeps that her lyric temple should be invaded by the foreigner.
Getting up early last Tuesday morning, and walking into the room, which, because it was equally destitute of books and writing materials, was called his study, Pantagruel was not a little amazed to find both Panurge and Epistemon deeply immersed in thought. The former was gravely turning over a battered terrestrial globe, which with two chairs and a table constituted the sole furniture of the carpetless apartment; the latter was holding straight before him a sheet of written paper, at which he was staring with all his might and main, with the aspect rather of the connoisseur who is examining a picture, than of the student who is reading.
"May I be eternally ," began Pantagruel, in his usual
strong manner, when he was checked by a solemn "Hush!" uttered by both the philosophers.
"Odi profanum vulgus, et arceo," said Panurge.
"Favete Unguis," continued Epistemon.
"Out upon ye, for a couple of accursed rebels!" bellowed Pantagruel, though he was well-nigh choked with rage. "How dare ye apply to me the term 'profanum vulgusV
Think you I am the company of the theatre, all rolled
into a one person, like the forty enchantresses of whom I read in Mr. Dickens's admirable periodical. It is not with my tongue, but with my foot I will discourse, if I am thus contumaciously treated 1"
"Why, look ye, Master mine," said Panurge, "I meant not to offend thee. In fact my mind was so absorbed that I took thee for the Field Lane Ragged School—"
[At this juncture, Epistemon, thinking that the ensuing dialogue might disturb his meditations, took out the brass pin that fastened together the front of his shirt, pinned his paper against the wall, and clapping a hand on each ear so as to impede the entrance of sound, stared at the writing in such ridiculous fashion that Pantagruel, in spite of his choler, burst out into a roar of laughter, so loud, that all the singingbirds in St. Andrews-street quaked with terror in their little green cages.]
"Look ye, Master," said Panurge, "A manager of great wisdom and experience hath been likening his theatre to a ship."
"A very good simile too," replied Pantagruel, still chuckling at the appearance of Epistemon; "Horace did the same with respect to the Roman State: "O navis, referent in mare te novi Fluctua? Oquidagiap Fortiter ocoupa Portum."
"Nay, Master," cried Panurge, "the manager in question says he is in port already."
"Nonne Tides nt
Nudum remigio latus,"
proceeded Pantagruel, with beautiful complacency, mightily delighted with his own power of quotation.
"Totally inapplicable," shouted Panurge, "there's a very fair crew,—why, there's Miss Louise Keeley, and Mrs. Young, and Mrs. Weston, and Mr. George Melville, and Mr. Saker, and Mr. Frank Matthews,—and they all pull very well together."
But Pantagruel would go on:—
"Et malus celeri saucius Africo."
"Nothing at all to do with it!" shrieked Panurge, almost crying at the immensity of the boredom. "Thou thinkest thou art talking of some manager who has engaged an Ethiopian company,—not being the Christy's,—there has been nothing of the sort at the Princess's."
But there was no stopping Pantagruel. He proceeded thus :—
——" Non tibi sunt integra lintea."
"Now, that is worse than all," snivelled Panurge, dancing with impatience. "The scenes at the Princess's are in admirable condition. There is the gorgeous stock left byCharles Kean—the model of managers and tragedians,—and some beautiful new scenes have been added by Mr. Harris, whose pantomime was unquestionably the best in London.**
But Pantagruel went on :—
"Non di, quos iterum preesa yooea malo."
"I tell you the pantomime was the best in London, and the gods were delighted!" screamed Panurge, whose loyalty had become as small as the audience of the Strand Theatre prior to the reign of Miss Swanborough.
But with the most idiotic of smiles, Pantagruel proceeded :—
"Quamvis Pontica pinus."
"By all the devils!" shouted Panurge, "Horace is now taking you to the Royal English Opera, to which I make no reference! Hold your tongue, and be to you."
This treasonable exclamation brought Pantagruel to a sadden stop, but his countenance was so awful that the Polish refugee, who lived over the way, and saw him through the window, took him for the ghost of the wicked king Popiel, who, as we all know, was devoured by mice, like Archbishop Hatto. However, Panurge, glad to attain a pause at any price, said with wondrous fortitude :—
"The manager, who likened his theatre to a ship, said that he had taken it into the speculative waters of the Theatrical Ocean. Now I'm looking at this globe to find where those waters are situated, perfectly satisfied that the ocean in question is not the Pacific."
But Pantagruel, who had been bottling up his wrath, now went off like Vesuvius or ginger-beer, and poured the whole force of his colossal lungs into the single monosyllable "There!" accompanied by a blow of his right fist on the globe, which made a big hole just about the middle of the Atlantic. Into this hole did he with his left hand cram the paralysed Panurge, and immediately afterwards kicked the globe through the window. Over many streets and neighbourhoods did it pass, while little boys below saluted it on its journey with cries of "Ah-bah-loon !" till at last it fell into the garden of the Royal Grecian, where Mr. George Conquest, who not only writes the pieces for the establishment, but is an exceedingly clever gymnast, instantly performed upon it a feat well known in amphitheatrical Circles.
Panurge having been thus satisfactorily removed, Pantagruel strode up to Epistemon's paper, which was pinned against the wall, and to his own infinite disgust read as follows :—
"Although many works on this subject have been already presented to the public, it has not yet been treated in a manner so as at once to satisfy the general reader and the earnest student. To supply a deficiency so utterly unaccountable, the present work was undertaken, and will, it is hoped, thoroughly answer the purpose of everybody. While the universal intellect has been thus sedulously, and, it is hoped, conscientiously consulted, pains have been taken to please the universal eye by a typography, which, it is hoped, will be found unexceptionable. Moreover, it is hoped"
"It is hoped, it is hoped, it is hoped," said Pantagruel, forcibly removing Epistemon's hands from his ears, and thus compelling him to hear. "What hopeful stuff is this that is involved in such a wilderness of platitudes? Truly it would be a pleasure to enter Dante's Hell, where no hope is allowed to enter, when hope finds such dreary modes of expression. Campbell, besides writing the Lochiel, which Miss Amy Sedgwick reads with such surpassing eloquence at the Haymarket Theatre, likewise composed a poem called the Pleasures of Hope.' Now this essay, or letter, or oration, or whatever in the Devil's name thou stylest it, should be named the 'Pains of Hope.' And pray what is the all-important subject which the blockhead is about to treat i"
"The blockhead, who is myself," said Epistemon, "has not the slightest notion. Only having heard the directress of the Lyceum Theatre declare that her past season was the preface of a book not yet commenced, I drew up that document that I might learn what such a preface was like."
Pantagruel was about to reply, when the musical snuffbox, which he carried in his pocket, and into which he had slipped the fourth "Carmen" of Catullus, warbled forth thus:
The skiff, vap friends, which here you see,
As Pantagruel was very touchy on the subject of his box Epistemon, who was very sharp with his criticism, contrived to slip out of the room before the above was finished, and descending into the street, paused before the window of a neighbouring bird-fancier, when he read with intense interest the announcement of a rat-hunt that was about to take place at "Westminster.
Did not a Greek sage say that no one was to be accounted happy until the manner of his death was known 1 Heaven knows that poor Jullien was not happy either towards the close of his life or in his last illness, which was terrible indeed, and since his decease his memory has received one of the greatest slights that could possibly have been offered to it. He has not been vilified and calumniated in any direct manner by adeclared enemy, because no one could have accused Jullieu of a dishonest or dishonourable action. This is what has happened to him; he has been sneered at by a journalist. However, he is no longer of this world, and nU nisi malum is what the perpetrator of the sneer might be expected to say of the dead. "Jullien," we are told, " was an adventurer," which he decidedly was not, because an adventurer is always changing his occupation, whereas Jullien was never anything but a musician. "He began life, unless we are mistaken, at sea." The sneerer is again mistaken; he did not begin life at sea, but as a musician in a military band. "Thence," saya the writer—no, let us be exact, he says "from thence"— "by what steps we know not, but obviously not those of a sound musical education, he stumbled into the place of a dance-conductor." Jullien was for years a pupil of