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extremely questionable: “I am sa- proceed to the interior, and taste the tisfied that Catullus, Tibullus, Pro- fruits he has provided for us. His pertius, and Ovid, were in love with prose and poetry are, however, so their mistresses, while they upbraid very much alike, that if you were to them, quarrel with them, threaten shake the whole out into sentences, them, and forswear them ; but I con- and mingle them together, it would fess I cannot believe Petrarch in love incapacitate the reader from knowing with his, when he writes conceits which was the real Simon Pure:upon her name, her gloves, and the you might take the Introduction, and place of her birth.” Mr. Lamb en- “ cut it out in little stars” for private larges upon this profound assertion, poetical use ;-and ladies of fashion and never stops to enquire into its and gentle taste would find them'stick correctness. We do not ever ques- fiery indeed in the polite firmainents tion the love of Catullus for Lesbia; of their drawing rooms and arbours. but when the character of the lady The first poem is the Dedication to is recollected, there will remain small Cornelius Nepos (an old cune accause for wonder that he quarrelled quaintance of ours at School), and with her, threatened her, upbraided Mr. Lamb starts dolefully indeed her, and abjured her; the sister of My little volume is complete, the infamous Clodius, while she fas
With all the care, and polish neat, cinated the poet, gave him ample That make it fuir to see ;room for disgust and rebuke. The Where is the “ pumice expolituzn," love of Catullus was a sensual, sus
which is so characteristic of the manpicious passion; it was not the same love that was kindled in the heart of ners of the time?—The "fair to see Petrarch, and that never expired !
is a poor recompence for this unroman that burned in his breast perpetually, interpretation. The second piece, like the sacred light in the temple! Catullus to Lesbia's Sparrow, and
which is the celebrated Address of Petrarch loved, and through his imagination. Love came to him in all begins so prettily in the originalits glory! he saw Laura, and he saw
“ Passer deliciæ meæ puellæ "_fares her for ever! Time brightened her
no better in the hands of Mr. Lamb. image, and charmed all objects which Dear Sparrow, long my fair's delight, had the remotest connexion with, or Which in her breast to lay, reference to her. Whatever her eyes To give her finger to whose bite, shone upon, became, on the instant, Whose puny anger to excite, sacred to the mind of Petrarch ;
She oft is wont in play. whatever her hand touched, was at We very much fear that the transonce changed to gold in his eyes! lator has intrusted the rendering of Her name was poetry to him—was a this little poem to the head butler, or world of sweet thought-a paradise one of the upper servants in his for his ingenuity to revel in. Her house ;—so very menially is it "done glove was associated with herself; into English.” A waterman, in the and he saw the form which her hand leisure of a hard winter, would make had left. Her birth place too !- Is better lines on the bench at Westthe birth place of the lady of the minster-bridge. The last stanza is heart, a common—unmeaning - indif
as lively as the first :ferent spot of earth ?-Oh no!--Petrarch beheld in it the garden where- Thou wilt be welcome, as 'tis known in his magic flower grew, and his
Was to the nimble maid soul hallowed it !-Is Petrarch then The golden fruit that loosed the zone, to be doubted, because he felt thus Her virgin guard, and bade her own
A lover's warmth repaid. truly,--thus intensely? Is his love to be denied, because he did not revile Poor Atalanta !-run down a second the object of his deathless passion? time! and by a Lamb too! Surely Walsh could never have loved, The Dedication of a Pinnace to or he would never have erred so Castor and Pollux, which has been coldly. Mr. Lamb might, indeed, often translated, is made equal to the have quoted a happier passage.
worst of Mr. Lamb's translations. It We shall not tarry longer at the has not even the merit of being threshold of Mr. Lamb's book, but “ faithful,” like Hamlet when his
wits were gone. In the original, the The conclusion of this poem, which Pinnace speaks; but Mr. Lamb “cuts in the original is very unpleasant to short all intermission," and speaks in our feelings, is most cleverly and its stead : and the boat, good sooth, justly managed. may think itself well off, and shake The Complaint to Cornificius, anits old planks with joy at the escape. other exquisite little poem, struck off The stanzas “ To Himself” are so at a heat, as it should seem, and as. coldly and feebly given that we wish natural as the human heart, is “ much Mr. Lamb had kept them according abused” by the Catullus of Whiteto the prescription.
hall. All the fretful haste and meThe Address to the Peninsula of lancholy relapses are cut away withŞirmio has none of the natural plea- out reinorse;" the pruning hooksure of the original; and yet we the pruning hook !” but Puff's lopknow not where the fault lies, for it pings were nothing to those of the is not strongly marked with error :- unfortunate Roman. How plaintively Too bad for a blessing—too good for a
begins this piece in the original !
Male est, Cornifici, tuo Catullo; I would to the Lord you were better or Male est mehercule, et laboriose :
Magisque et magis, in dies et horas. Now, in a piece so famed for its Here the repetitions of melancholy perfect ease and tenderness as this is, words, of which we have before we should have expected the intelli- spoken, are exquisitely beautiful, gent and masterly translator to prove Dr. Nott says of this poem, in a note, his competency for the task he has
“Our poet, in this charming little undertaken.—But in the most cele- carmen, upbraids his friend for his brated passages, and in the brightest neglect of him under some particular poems, Mr. Lamb sinks into tame distress.” And, in his translation, he ness and indolence, and fairly baulks faintly catches the melody of the Laall expectation. When the rope is tin: tightest and most elastic, and the po- Hard, Cornificius, I declare, sition the most capable and attrac- Hard' is the lot I'm doom'd to bear, tive, instead of bounding into the And every day, and every hour,” &c. air, and making himself “ the observed of all observers," Mr. Lamb
The celebrated poem of Acme and suddenly drops his pole, relaxes his Septimius is another instance of Mr. muscles, and droops his foot to have
Lamb's deficiencies on greatoccasious. his sole chalked.-We should, how. In those matchless lines ever, give one poem which is very
At Acme leviter caput reflectens, pleasingly and melodiously turned'; Et dulcis pueri ebrios oculos,
Illo and we wish we could match this
purpureo ore suaviata, with another.
Then Acme gently bent her head, Of all the many loved by me,
Kiss'd with those lips of cherry red, Of all my friends most dear,
The eyes of the delighted boy, Verannius is thy travel o'er,
That swam with glistening floods of joy, And art thou home return'd once more And whisper'd as she closely prest To light thy brother's smile of glee, Thy mother's age to cheer ?
Where are the “ ebrios oculos,” the Thou’rt come. Oh blissful, blessed news!
eyes reeling with rapture? They are Thou’rt come, and I again
busy with “ floods of joy." The Shall see and hear thee, in the way
caput reflectens," too, cuts a sorry I loved in former time, pourtray
figure in English. The splendid towns, the mountain views,
The last poem in the first volume The tribes, and deeds of Spain.
is a mutilated translation of the EpiI warm shall press thee to my breast,
thalamium, written by Catullus, on Where fervent welcomes burn.
the marriage of Manlius and Julia ; What mortal, though he dare to think and here a man must be cold and Of pleasure he may largely drink,
dull, indeed, if he be not occasionally Is half so joyful, or so blest,
inspired. Mr. Lamb is now and then As I in his return?
endurablc in this picce; but he never
accomplishes the conciseness of Ca-'
ON HIS OWN LOVE. tullus, by any chance. He spins out I hate and love ask why- I can't explain; that short brilliant passage
I feel 'tis so, and feel its racking pain.
We have purposely delayed speakfaces Aureas quatiunt comas,
ing of the translation of that wild,
frantic, and magnificent poem, Atys, after this fashion:
until the last, because it is by far the
best piece in Mr. Lamb's book; and The torches high their brilliance rear,
we wish, as Carlos sang to the DuAnd richly shake, with glowing pride, Their golden hair.
enna, to say something civil before we
part. The mad force, and solemn Why could he not say, “The torches gloom, and terrific mystery of this shake their golden hair," and say no strange poem will not be denied; and
He cannot, as the Irishman Mr. Lamb writes here as he writes would say, add to Catullus without no where else in the book. What taking from him.
can be more inspired, or terrible than But our limits warn us to close Mr. the poet's final ejaculation, after the Lamb's Catullus:-we shall, there- dreary and fierce flight of Atys,fore, be very brief in our concluding Oh great! oh fearful goddess ! oh Cybele observations. The second volume is
divine ! better, because it is smaller. At page Oh goddess ! who hast placed on Dindy84 we meet with these two lines,
mus thy shrine ! which, like Adam and Eve, inhabit Far be from my abode thy sacred frenzy's their wire-wove Eden alone. In these lines, Mr. Lamb (to use the happy Madden more willing votaries, more daring phrase of a very eminent personage)
minds inspire. certainly flourishes in “ the full vi- There are several pages of useful gour of his incapacity.”
notes appended to each volume,
REPORT OF MUSIC.
No. XVII. This month has yielded no novelty sentation, and particularly in those at the Opera-house, or the theatres, which frequently imply the most urif we except an attempt to introduce gent calls for action, the dramatis a new opera, called Dirce, which personæ can be permitted to stop, not was brought out at Drury-lane, for only to sing, but to pace the scene Miss Wilson's benefit, and the dia- during long symphonies: if the imalogue of which was conducted in re- gination, we say, can make allowance citative. We are glad to perceive for such absurdities, surely the one any attempt made to change the consistent notion of an entire action, jumble of music and dialogue, which expressed by music and poetry, with disgraces the English stage, to a bet- their conjoint influences and powers, ter style. Whether music be, or be may be more easily embraced. The not, a suitable vehicle for dramatic time will come, we are persuaded, incident, is not a question now to be when such an arrangement will be argued: the demand for operas has preferred; but, at present, the ears settled that point. It remains for us of an English audience are not reconof this age, only to choose between a ciled to recitative, and poor Dirce mixed jargon of discourse and song, passed from life to death without disand a complete musical drama. Now tinction, and almost without notice. there arises to our minds no possible The King's Theatre continues its reason, why the more conversational career of success, though its musical parts of a performance should not be management does not exhibit that supported by music, as well as those vigor, which we know to have been which are held to be more strictly the characteristic of Mr. Ayrton's lyrical. At all events, it seems more former scheme of management. We consonant with common sense, that are sure, that neither is the engagethe singing should be continuous ra- ment of such singers as Signoras ther than interrupted; for if, in the Marinoni and Albert, though tempomost impassionate parts of the repre- rary, nor the exclusion of Signora Corri, to be attributed to a judgment eminence and attraction, though yet 80 mature as his: an interior cabinet, in her infancy as a singer. a power behind the throne, is there- Mr. Ashe, the veteran conductor of fore to be apprehended ; and, if such the Bath Concerts, has introduced be the fact, the season of success will two daughters to the musical circles be short. The choice of operas has of the metropolis. They are singers not been felicitous; but there is rea- of brilliant acquisitions. son also to suspect, that judgment is The novelty of the season has, cramped, and fettered, by the want of however, been crowned by the arrival greater vocal talent. Il Tancredi was of M. Moschelles, from Vienna. M. destroyed by Marinoni ; and Il Turco. Moschelles is a piano-forte player, in Italia, in every sense a paltry pro- and his reputation had preceded him. duction, was the choice of the De He played at the last Philharmonic Begnis. La Gazza Ladra was not Concert, and his performance greatly eminently successful. No other no- exceeded even the most sanguine exvelty has yet been furnished. We pectations. He combines expression hope to see the King's Theatre re- and execution in a very extraordinary vive ; but we warn the present pro- degree, and while he has introduced prietor, that the Public is the only much novelty in the latter branch of real or valuable patron, and its good his art, his style has perfectly satisopinion can alone be conciliated and fied the feeling and the judgment of retained by the exertion of vigor and the soundest critics. The concerto talent.
itself was also highly esteemed; and The Benefit Concerts have been professors of the best taste declare, remarkably numerous, the Argyll they consider M. Moschelles' playing Rooms having been engaged almost “a predigious performance" in every nightly during the months of May respect. M. Moschelles is about and June. Le jeune Hyppolyte Lar- thirty, and is an exceedingly modest sonneur, the French boy, whose ar- and sensible man. rival we alluded to in our fifteenth Mr. W. F. Collard, of the house of Report, has played at some of these; Clementi, Collard, and Co. of Lonand a very extraordinary child he is. don, has obtained a patent for an His person is very handsome ; but, improvement of the piano-forte, from the manner of curling his hair, which promises great advantages. It and his general dress (which closely is alike applicable to grand horizonresembles that in the miniatures of tal, upright, cabinet, and square inthe young Napoleon), his air and ap- struments. The objects are general; pearance are feminine. This, how- and a large addition to the volume ever, totally disappears when he and richness of tone is the first desibegins to play. His attitude is com- deratum obtained. This is effected manding; and the motion of his bow- by giving a lengthened vibration, arm superior to that of any player we similar to that produced by raising ever saw. His execution is very the dampers; without, however, any perfeet; and, bating that it yet lacks of the confusion which attends the a little of the bolder lights and sha- ter. Mr. Collard has introduced dows of expression, his performance what he terms a “ bridge of reverwould be held to be superior even at beration;” being a third moveable an age far more advanced; for he bridge parallel to the side of the case; seems not to be more than twelve by the action of which, a consenta
neous vibration of other parts of the Miss Angelina Corri, a third daugh- strings than those struck by the ham, ter of Mr. Natale Corri, appeared at mers, takes place; in the way in the concert for the benefit of her sis, which strings in unison are known to ters. Her voice is of the same fine vibrate, when another of the same quality, and will, we anticipate, be pitch is sounded. By this invention, more rich and powerful than even the player is now empowered to use that of the Signora. Per execution, three degrees of tone, and thus greatly too, is of the same light and finished to modify and vary the expression of känd. In person, she is also very his performance. The instrument handsome; and if sufficiently exer- upon the new construction which we cised, she promises to rise to great heard, appeared perfectly to satisfy
expectation in these several points; rious and frequent 'modulation rena and, indeed, to offer an improvement ders this sonata as difficult as does
r beyond what could have been an- the expression. cipated, after the long attention that Mr. Neate's Military Air, with Vahas been given to the mechanism of riations, and Fantasia on the Savage piano-fortes.
Dance in Robinson Crusoe, have much A German, named Buschmann, has merit: but they have also the great brought to this country an instru- defect of a general want of melody; ment, called a terpodion, which pro- and the ear is wearied by the unceasduces some beautiful and noveleifects. ing succession of rapid passages. This Many of our readers will probably very rapidity, however, confers great have seen the ædephone, which was brilliancy. The Fantasia suffers prinsome time since exhibited in Cathe- cipally from the poverty of the subrine-street, in the Strand. To the ject: the Military Air is a better ædephone the terpodion bears a close motion ; although, in the selection of resemblance, both in structure and his themes, Mr. Neate has not done tone: indeed, we believe the mecha- justice to his own powers; for every nism to be exactly the same, but thing depends on the choice of a subapplied to wood instead of metal; for ject in pieces of this description. the inventor describes the sonorous Mr. Webbe has arranged Rossini's body to be of beech. The sound Overture to Elisabetta for the harp is produced by a cylinder set in mo- and piano-forte, with accompaniments tion by the foot; and the instrument for the flute and violoncello. is played by keys, like a piano-forte, Mr. Burrowes is adapting Handel's being, however, not so large. choruses on the same plan.
It occupies about four feet by two: The Eighth Number of the Operatic The tone of the principal portion of Airs is by Bontempo. The air from the ter podion resembles a French horn Alessandro in Efeso is by no means finely played, and the upper notes adapted to be the subject of variaare exactly those of a flute. Our tions, for it is uninteresting: and limits deny us the power of describing this want of attraction pervades the more minutely the mechanism of these whole piece. The variations are cominstruments ; but they who are in- plicated, and somewhat difficult. M. clined to the search will find an accu- Bontempo has avoided the beaten rate description in the second number track in their construction ; but his of the Quarterly Musical Review. anxiety to be original has led him too The terprodion would be an admirable far; and the ear cannot follow him substitute for wind instruments in with sufficient facility, to derive pleaconcert rooms; provided it can be sure from the exertion. made to speak with sufficient rapid- The Sixth Number of the Quadrille ity. M. Buschmann came to England Rondos, by M. Latour, is light, lively, with a view to dispose of the art, and elegant. and the right of making the terjadion; Mr. Novello's Second Number of which, for that reason, has not been Airs from Himmel's t'anchon, arranged yet opened to the public.
as duets for the piano-forte, has apMr. Kalkbrenner has published a peared. This adaptation comprevery elaborate and difficult, but beau- hends some exquisite pieces of melotiful, grand sonata ; which he dedi- dy, and affords a delightful series. cates to the memory of his great Nor are Mr. Bennett's Duets upon master, Joseph Haydn. It consists Cease your Funning, and Hope told a of three movements; and opens in a Flattering Tale, less meritorious : style of dignified melancholy, which they are very full of brilliant effects. is finely sustained by various passages The vocal music this month is far descriptive of the agitations of a beyond the common range. Sonie of wounded spirit. The second is upon the songs, indeed, are truly beautiful. the singular subject of “the call of Mr. Horsley's Laura is classically so; the Quail :” simple in itself,—but and, though a ballad, does no diswrought with all the powers of art honour even to the anthor of Gentle through a minor movement, and a Lyre, and The Tempest. Mr. W. F. return to the major. The last is not Collard has written words to the song less singular and original. The va- which Shakspeare is said to have