which might have been traced by the "trenchant glaive with which Sir Gawaine and his brethren slew King Pellinore, or by the point-kissing extremities of the shears of the Parce, and which Mr. Punch has put forth earlier or later in the current of this same year of luck, "38" it is clear that he is at intellectual odds with the present style, or want of style, of musical criticism now obtaining in the ancient city of King Lud. Mr. Punch finds our reviewers either too affectedly profound or too profoundly affected, and girding up his loins, brandishes a spear pointed with venom and dipped in gall, smiting one after another under rib No. 5. The aim of the "Notice of a Street Concert," reprinted by ourselves ante, vol. 27, page forgotten (we quote from memory) was not to be mistaken. Still less open to conjecture was an article intituled Classical Pantomime Quartets, which we declined to reprint under the (then existing) circumstances, but which—Time having more or less softened its asperity may peraunter (Head-printer * volens) find an out-of-the-way corner in our actual impression. Since then the doors of our office have been shut to further extracts of a similar "kidney," for reasons which fully account for the occlusion of portals previously patulous. But now in the very recentest issue of Mr. Punch's square sheet, which, up to the point under cited, we had perused with hungry avidity, we are compelled to note a return to the old sin. As Sir Launcelot, after failing to "achieve the Sancgreall" (or Holy Pot), returned to his old passion for. Queen Guenever, so Mr. Punch, after having failed to roast the musical critics, has returned to his old passion for spitting their technical vocabulary.

Our hook-nosed brother would now place in the index expurgatorius the Italian terms of "obbligato" and "tremolo." Read his Erasmic quirk:

THY VOICE, O HARMONY ! Conductor-" Heasy with them bones, Bill." Bones-" But I'm a playin Hobligarter.” Conductor-"Well, I didn't say as no yer wasn't; but yer needn't go and drownd my Tremerler."

We have enclosed this mordant Juvenalium in a mourning frame. Is our contemporary about to follow at the obsequies of his own vivacity? Or whence this Naninaric crunch?

"Neuvièmement". -as our absorbing (and "volatile ") neighbours say-(we omit the first eight protests); neuvièmement-what language would Mr. Punch have our musical reviewers entertain? Would he make of them neologists? or reduce them to the dimensions of the necydale? Seriously, does he consider that ignorance of the terms which musicians use to express the forms and conditions of their art is a recommendation to the critic's office? Would he revive (in this fleeting period of "revivals ") those "palmy" days when the report of a new opera consisted of a column of plot, a half column of scenery anddecorations, a quarter column on the performers, and half a line on the music? That Mr. Punch is no less a stiff reformer than a griping satirist and an oily-headed citizen, none will deny; but it is a new manner of reforming to disturb the grave of the past, and rake up the bones of old-exploded error. There can be nothing absurd in the use of appropriate terms, while speaking or writing of any

"Op.

subject whatever-even music. The ridiculous side of tech nical expressions (unless they are misemployed) is beyond our observation. Why, then, should they be used as pegs upon which to hang the gibus of gibing, or the mackintosh of merry-punchism? The little boy in the squares was wont to cry (he don't now, since Lord Brougham has been "abroad") "Parley wow," to the ambulant alien. Mr. Punch, even in his nonage, much less in his teens, was never that little boy-far from that little boy! Yet, we put it to his wisdom,-what is there to laugh at in obbligato? what in "tremolo?" what in "C major?" what, we will venture so boldly as to inquire, in "D minor?" These terms express what can be intelligibly expressed by no others (let Mr. Punch himself try). They are sans synonyme, “every each one," therefore not legitimate ground for pleasantry. 20,❞ too means the 20th work ("Op." is the short for Opus, as Mr. Punch's Latinity may have helped him to detect); "Op. 30" signifies the thirtieth work, neither more nor less. Where then is the joke, or rather the point of it, so frequently iterated, of "Q minor," "Z major," "Op. 926," and "Op. 9,000,000? If there were as many keys as there are letters in the alphabet, or if any composer lived and wrote long enough to produce nine million operas, “Z major," would very aptly express the key of a piece in the key of z major, and "Op. 9,000,000 precisely designate the nine-millionth work of that extremely prolific composer. No one quizzes a painter for calling red "red," blue "blue," an easel an easel," a brush a "brush," a pallet a "pallet," or-we may even go so far as to add-Green Bice, "Green Bice," Burnt Sienna, "Burnt Sienna," and Burnt Umber, "Burnt Umber. Green Bice, Burnt Sienna, Burnt Umber! Here are themes to pun and play upon ! Veuillez les aborder cherissime Monsieur Punch? Our critics are not all angels, we admit; nor, on the other hand, are they all geta; but if they must be roasted for calling C " C," and Op. 50 "Op. 50," they may just as well "slope" into some other arena for bread-winning. At any rate, C major does NOT mean radish, nor Op. 50 a hole in the wall; they mean exactly what they express. Not less explicit are "tremolo" and "obbligato.' To conclude-when A is flat, B (according to the theory of J. M. Langford) being sharp, discusses how C may make A natural. In other difficulties, B begins to consider what Cought to do for language (that of the late Canon Smith)-"When A is in him. Quod est to be demonstrajed. "ENTER ROMMI." PETIPACE OF WINCHILSEA.

There is no Latin for Head-printer, as there were no printers, head or heel, in Latium.-Printer's Devil.

MR. CHARLES BRAHAM leaves London on Monday for Italy, where he is about to make his appearance on the stage, for the first time, as a baritone singer.

Hall, under the patronage of Capt. C. H. Buckle, R. N., Superintendent DEPTFORD.-(From a Correspondent.)-The concert at the Lecture of Her Majesty's Dockyards in this town, took place last week; and as the profits were to be given to aid the band fund of the Royal Dockyard 27th Kent Royal Volunteers, it was not surprising to see a very numesisted of modern songs, duets, &c., together with some pieces from the rous and elegantly dressed audience assembled. The programme con well-known Scotch repertoire of the Misses Bennett and Mr. Angus Fairbairn, who assisted on the occasion. The audience were very enthu siastic, and insisted on encoring a great number of pieces, among which, as deserving especial notice, we may name "The Death of Nelson," sung with great spirit by Mr. George Tedder, and Rossini's "Largo al Factotum," given with immense activity and a deal of comic humour by Mr. Leonard, who also sang Wallace's "Bell-ringer." Miss Rebecca Isaacs and Miss Jane Palmer were the principal lady vocalists. The former, among other things, sang a new "Rifle" song composed expressly for her by Mr. Hodgson, and the latter the ballad of "The Skipper and his Boy." Some instrumental pieces were included in the

Robin Hood declares that all such cruelty shall be dispensed with if the Sompnour will dance for the amusement of the band. With the dance, and the loud laugh of the outlaws, the scene closes. The second scene represents Marian's bower. She watches the dawn of day, imploring Heaven for the success of her lover at the approaching trial of skill. Alice entering, assists her in making preparations for the ensuing fair. The Sheriff, who expresses his sympathy with his daughter's wishes, receives an unexpected hint from Much, the miller's son, who states that Robin Hood will be at the fair, and offers to betray him for the promised reward; but he is soon interrupted by the Sompnour, who recognises him as the most sanguinary of the band, and he is at once taken to prison. Having heard that Robin Hood is to be at the fair, the Sompnour himself prepares to discover him, assuming for that purpose the disguise of a mendicant friar, and the Sheriff heartily approves the plan. The fair, held outside the town, is represented in the third scene, with its various appurtenances of sport and pastime. The Sompnour vainly endeavours to discover Robin Hood among the assembled throng, but is soon perceived by the outlaw himself, who is present in his assumed character of Locksley, and persuades Allan to get the intruder out of the way. At Allan's suggestion the Sompnour is blindfolded and hustled off by a party of merry girls, who are amusing themselves with the game of "Hoodman Blind." When he is removed the archery match begins, and Robin Hood, who can now make his appearance with impunity, defeats all competitors. The prize is bestowed upon him by Marian herself, and the happiness of the lovers seem complete, when the Sompnour, suddenly returning, denounces the victor as the notorious Robin Hood. The Sheriff instantly commands the seizure of the outlaw, and the act closes amid general dismay.

Of act the third, the first scene represents the castle garden: Allan and Alice lament the fate of Robin Hood, who is to be executed on the morrow. The Sheriff, who requires from King Richard I. (newly returned from Palestine) a warrant for the death of the outlaw, is indignant at Allan's refusal to go for the document; but is taunted by Alice, who informs him that his daughter Marian has escaped from the apartment in which she has been confined. The Sompnour, who comes to claim his reward for the apprehension of Robin Hood, and likewise a compenation for the loss of abbey dues, is told that he must first procure he required warrant, a duty which he readily undertakes to fulfil. The " merry men are then shown in the greenwood, wondering at the long absence of their chief. Marian, who enters the wood disguised in boy's clothes, is at first attacked by the outlaws; but she soon reveals to them her real character, and exhorts them to follow her to the castle, in which he is confined, and to give him notice of their proximity by singing one of their most familiar airs. In the third scene, which represents the dungeon, Robin Hood is seen awaiting his fate. At first his case appears desperate, but new hopes are kindled by the voices of Marian and the outlaws, which are heard from without. The last scene is the place of execution. Robin Hood, brought from the castle, and exhorted to confess his sins, requests that his right hand may be set at liberty-a request which is no sooner granted, than he sounds his bugle, and summons his faithful followers, who, headed by Marian, release him from the custody of the Sheriff, to the joy of the surrounding multitude. The outlaws are in their turn overpowered by the force which accompanies the Sompnour, and Robin Hood's case again seems hopeless. But the document brought by the Sompnour proves not to be a death-warrant, but a pardon to the outlaw and all his band, on condition that they enter the service of the king. The Sheriff now consents once more to the union of Robin and Marian, and the piece terminates amid general rejoicing.

The distribution of parts was as follows:

Robin Hood, Mr. Sims Reeves; the Sheriff of Nottingham, Mr. Santley; Hugo, the Sompnour, Mr. George Honey; Allan-a-Dale, Mr. Parkinson; Little John, Mr. Bartleman; Much, the Miller's son, Mr. Paey; Maid Marian, Mad. Lemmens-Sherrington; and Alice, Mad. Lemaire.

The pieces which received most applause on Thursday were the overture, encored and repeated; the duet for Locksley and Marian, "When lovers are parted," exquisitely warbled by

Mr. Sims Reeves and Mad. Sherrington; song, for Marian, "True love, true love in my heart," the subject of which is frequently employed throughout the opera; Locksley's song, "Englishmen by birth are free," magnificently sung by Mr. Sims Reeves, who refused to accept the encore called for by the entire audience; the finale to the first act, commencing with the round, “May the saints protect and guide thee;" Robin Hood's song, "The grasping, rasping Norman race," another splendid piece of vocalisation by Mr. Sims Reeves; the whole fair scene at Nottingham, a masterpiece throughout; Locksley's ballad, "Thy gentle voice would lead me on," the most graceful and flowing air in the opera, and given to perfection by Mr. Sims Reeves; the finale to the second act, the most elaborate and powerful composition in the opera; and Locksley's grand scena in the prison. These are by no means all the good pieces, but they appeared most to enlist the sympathies of the audience. Perhaps there is nothing more charming in the opera than the trio in the last scene, "By all the love that you have shown me," for Marian, Robin Hood and Sheriff, which, we feel assured, will become as popular as any thing in the whole work.

Mad. Lemmens-Sherrington literally took the audience by storm, not only from the brilliancy and exquisite finish of her singingwhich everybody was prepared for who had heard her in the concert-room-but from the ease, animation, and reality of her acting. A slight awkwardness in certain situations excepted, Mad. Sherrington was perfect mistress of her movements and gestures, every one of which seemed instinct with purpose and meaning. That the lady had studied stage tactics off the stage we are bound to suppose, or she is indeed the most extraordinary and gifted actress who ever trod before the foot-lights. Regarding her début from any point of view, a greater acquisition than Mad. Sherrington has not been made by the English operatic stage for many years. Of Mr. Sims Reeves it is impossible to speak too highly. He was never in finer voice, never sang more magnificently, nor, in the course of his lengthened career, did he ever create a more profound impression. The music of Robin Hood is extremely varied, and whether as the sentimental lover wooing Marian, as the freeborn Saxon denouncing foreign oppression, or the doomed outlaw in the gaol, lamenting his approaching fate, 'thesinging of Mr. Reeves was equally admirable.

Mr. Santley sang the music of the Sheriff splendidly, and Mr. Honey made one of the hits of the performance by the humour he infused into the part of the Sompnour. The scene when the outlaws rob the Sompnour and then make him dance for his dinner, was, in Mr. Honey's hands, irresistibly comic, and created roars of laughter. Mad. Lemaire and Mr. Parkinson sustained the small but important parts of Alice and Allan-a-Dale with tolerable suc

cess.

All the artists were recalled after the acts, and at the end Mr. Smith had to come before the curtain, and Mr. Macfarren to bow from his box in obedience to an enthusiastic summons from all parts of the house.

We cannot close our notice without expressing in unqualified terms our admiration of Mr. Charles Hallé's services in the orchestra.

THE LATE WORCESTER FESTIVAL.

(From the Worcester Journal.)

A comparison of the numbers attending our late festival and the visitors at Norwich Music Meeting last week is flattering to Worcester. The highest number that attended any performance at Norwich, was on the last morning, when 1,650 persons went to hear the Messiah. On the corresponding morning of the Worcester Festival, 2,416 persons were present in our Cathedral. The festival at Norwich commenced on Monday, finishing on Friday; whereas the Worcerter festival did not begin until Tuesday, nevertheless the aggregate of the Worcester attendances made up 8,534 persons, while Norwich stopped at 7,832, although there were two novelties given for the first time-the oratorio Abraham, and Mr. Benedict's new cantana Undine. In addition to the supplementary donations to the fund of the Clergymen's, Widows' and Orphans' Charity, announced in our last Journal, we may state that a further sum of 201. has been contributed by Mr. E. P. Shirley, M.P., and that G. J. A. Walker, Esq., has given a donation of 17., making the total collection to this time 1,1987. 14s. 3d.

We learn that this 'morning the accounts of the honorary secretary of the late festival (Rev. R. Sarjeant) have been audited, as usual, by J. W. Isaac, Esq., preparatory to the final meeting of the stewards; and we have the gratifying announcement to make that, after mecting all the expenses of the festival, there is the unprecedented result of a surplus of 661. 5s. 4d. This will have to be added to the amount already invested to the credit of the Worcester charity. An additional donation of 102. 10s. has this week been sent in by T. Chalk, Esq., one of the stewards of the festival, making the total amount received for the charity (independent of the surplus already mentioned) no less than 1,209l. 4s. 3d.

Further a Correspondent writes:

I thought you would like to know the exact result of our Festival, and as everything connected with it is completely wound up, I am enabled to send you full particulars.

The expenses of the Festival being a little more than 2007. above those of 1857, when there was a deficiency of 3521. 10s. to cover present expenses without a call upon the Stewards, there had to be received for sale of tickets over and above the "take" of last Festival those two sums united, 5541. I am glad to inform you that there is a surplus of 66l. 5s. 4d. The collections for the Charity are also most gratifying,amounting to 12141. 8s. 7d., which exceeds those of Gloucester of 1859, the largest till now, by 711. 5s. 7d.

ROBERT BROUGH IN LIVERPOOL. HAVING been intimately acquainted and on the most friendly terms with the late Robert Brough when he lived in Liverpool, and noticing that the memoirs of him, which have been published by G. A. Sala and others do not afford much information as to the origin and commencement of his literary career, I am induced to try and throw a little light upon the facts connected with his residence in the "good old town." I first became acquainted with poor Brough on the day that the Birkenhead Docks were opened, when I was introduced to him by a mutual friend, Mr. G. J. Keet, of Renshaw-street, who informed me that they had decided upon starting a local Punch-like publication, under the title of the Liverpool Lion. At this time Brough (several of whose relatives resided in Liverpool) was an artist by profession, gaining a livelihood chiefly by portrait painting. With Brough and Keet I witnessed the various ceremonies connected with the opening of the docks, and when the first number of the Liverpool Lion appeared, I, in company with some few hundreds who had the curiosity to buy it, was astounded at the wit, humour, and fluency of the versified report of the Birkenhead fêtes which Brough wrote. This, his first published literary effort, was written in various metres, and the styles of several of our most popular poets were imitated à merveille. In addition to his literary articles in the first number of the Lion, Brough also contributed several very amusing sketches after the manner of H. G. Hine, and a full page woodcut, à la John Leech, proving himself as smart with his pencil as with his pen. Though literary prophets, more particularly, are rarely honoured in their own country-London, according to English provin cial ideas, being the only true literary Zion-the Liverpool Lion soon attracted considerable notice, as its contents were found to be very superior to all previous local attempts to imitate the great Punch, and much curiosity was excited as to the identity of the contributors. By degrees, the Lion gradually became to be talked about, for Brough attacked local abuses in a style of trenchant humour, and with a cutting, sorching satire, to which our local magnates were unaccustomed, and men, whom the ordinary sledge-hammer style of denunciation could not move, began to wince at the keen and polished witticisms-pictorial and literary-of the Lion, the circulation of which gradually increased, and for many months reached as high as 1,500 a week. This was, indeed, something wonderful in those days for a local periodical, devoid of news, appealing to no sectional class, capable of being appreciated only by persons of education, and costing also at one time 2d., and at another, 3d. a number. By degrees Robert Brough gradually became recognised as the editor of the Lion, and, to the credit of our townsmen, I am happy to state that the rare literary talents of the poor unknown artist were promptly appreciated by many of them in various stations of society, and that he soon succeeded in gaining a perfect "troop of friends." The Lion (commenced about 1846-7) was, I believe, in existence about two or three years, and during that period Brough was the editor and principal contributor to it, and, in fact, the life and soul of it. He was assisted by his brothers William, Lionel, and John (the two latter then being quite boys), as well as by several local writers, but all the principal articles, particularly those wonderful parodies of Chaucer, which he never surpassed in the days of his metropolitan fame, were

written by Brough, who also always sketched the large "cuts," though he received much artistic assistance at times in connection with the smaller ones, from Mr. Keet, and a gentleman named Fletcher. Several laughable stories might be told in connection with the Liverpool Lion. Brough, like many wits, including poor Hood, was ever delicate and ailing, and I never knew any one who was such a perfect martyr to dyspepsia in its worst form. Then, again, he had no business habits, and like Charles Mathews, he "never did to-day, what he could put off till to-morrow." The natural consequence of all this was, that the poor publisher (Horridge, of Fenwick-street) was often at his wit's end for "cuts" and literary "copy," particularly when the day of publication drew ominously nigh, and nothing was "set up." On these occasions Brough and I, frequently at the last moment, rushed up to the printing office determined to make a decided effort to put a stop to the printers' importunities. We first looked over the correspondence, and sometimes, but rarely, out of fifty contributions, we would find one (with a few alterations) up to the mark. We then read over the newspapers, and consulted as to what portion of their contents was available food for fun; and, as a last resort, Brough would often take up a song-book-always kept at hand in his desk-and, after looking over it for a few minutes, and humming different airs, he would fix upon one, and quick as the pen could move in his fingers, he would write a parody on it,—so closely adhering to the sound and spirit of the original that, spoken hurriedly, it required a quick ear and a keen sense of the humorous to detect the imitation from the reality. In fact, as a parodist, Brough was sui generis; and for neatness and wonderful mastery of language his imitations of the poetical chefs-d'œuvre of our principal writers are unsurpassed. On one occasion, being anxious to obtain correct portraits of some of our leading public men, he went into the Council Chamber amongst the reporters, and he had just "hit off" a worthy alderman, when he noticed that his presence had excited the attention of the august assembly, and after a whispered colloquy amongst some of the local rulers of that day, Mr. Samuel Holme came up to him and said that his early retirement fron the Council Chamber would, perhaps, spare him some annoyance. Brough thanked the worthy alderman (who was, we believe, one of his warmest admirers), and telling him that he had got all he wanted, he left the Mayor and his confrères to pursue their deliberations without the fear of a "chiel" being "amang them takin'"-portraits-for Mr. Earle, Mr. Parker, and other local "bigwigs," were to the Liverpool Lion what Brougham, Peel, Palmerston, and others have been to Punch. In the next number of the Lion this incident was the ground-work of a very funny article, illustrated by a sketch of old Solomon (the keeper of the Town-hall in those days), accompanied by the members of the Corporation, searching the vaults of the Town-hall for the Lion,-as Guy Faux was looked for in the Houses of Parliament. In the latter numbers of the Lion, Brough commenced a series of papers in imitation of “Lamb's tales from Shakspeare," which he intended to collect and to publish in a book, with additions. The portions contributed to the Lion were excessively clever and witty, and it is a pity the writer did not carry out his intentions, though these "Lion's tales" were doubtless the origin of the famous "Life of Sir John Falstaff."

While connected with the Lion, Brough frequently took part in various amateur performances, and his first appearance on the Liverpool stage, was at the Theatre Royal, when a corps of local amateurs played The Twelfth Night and Taming the Shrew, for the fund raised to purchase Shakspeare's house. In these pieces he played Sir Andrew Aguecheek and Petruchio, and in the former character, more particularly, he displayed considerable original quaint and comic humour. For this performance he wrote a very clever epilogue, which materially increased his local literary reputation. He was also at this time much sought after in society-to the detriment of his health-and in domestic circles, his child-like simplicity, his fondness for innocent fun, and his wit and humour made him a general favourite. On these occasions he often sang a medley song of his own, called "Cinderella,” which was quite equal to many of his better known compositions. He never saw it in print himself, but, from my own recollection and those of some of our mutual friends, I have got it printed for circulation amongst those who knew him, and who often heard him sing it with what critics call "great éclat." From a variety of causes which those initiated in the mysteries of publishing can easily imagine and appreciate, the Lion— not from any falling off in circulation-ceased one fine day, and the editor found himself under the necessity of doing something decided to earn a livelihood. Urged by his numerous friends, he resolved to return to London, where his family resided, and where the fame of his talents had, to a certain extent, preceded him. I may here remark, that it is a mistake to speak of the Broughs as Liverpool people. Robert alone resided for a few years in Liverpool. His father (also, in his early youth, a dramatist and littérateur), having failed as a brewer in Wales, owing