Written for the Ladies' Garland. THE INFANT MARTYRS. below was quite delightful to the old couple been among the first to blame Mr. Hilbury -no complaints of the insolence and extrava- for marrying, actually proposed for her hand; gance of servants. Barbara was a treasure but she replied "that she knew that he only above all price. Four months after Barbara wanted her money; but, that when she did had entered her new service, the old lady marry, it would be a man who would esteem was taken ill; she required constant attend- and be kind to her." Barbara kept her word. ance, and she was occasionally rather fretful. She made a rational second choice, and enMrs. Deacon did not feel herself equal to sit-joyed all the happiness her good conduct deting up night after night. Barbara, who felt served. grateful to her benefactress, tendered her services, when she made herself so useful, that the old lady preferred her to Mrs. Deacon. Barbara was never sleepy; she was never seen with a frown upon her face, no matter how unreasonable her mistress might be; she never bounced about the room as the housemaid did, but walked in so cautious a manner that her step was not heard. In spite, however, of the celebrity of the Bath doctors, the old lady died, recommending Barbara to the care of the old gentleman, and in her will leaving her faithful attendant a handsome present. Such proofs of regard were enough to raise a little envy on the part of Mrs. Deacon, had not Barbara borne her prosperity in the meekest manner possible, and still continued her plain simple style of dress, and her modest demeanor. Mrs. Deacon, soon after the death of her mistress, fell into bad health; her native air was recommended to her, and she set off for Devonshire, leaving Barbara to take care of her master, whose gout had been rather troublesome. But Barbara was so gentle in wrapping up his gouty foot, and so well adjusted his velvet shoe without giving him pain, that he began to consider Barbara as great a treasure as his wife had been. And he thought within himself, what would become of me if Barbara should leave me, or, if she should marry? and now I think of it, I suspect the grocer's foreman is looking after her. Barbara is good looking and sweet tempered.— Thus did the old gentleman cogitate day after day upon the possibility of Barbara leaving him, until at length he determined to make her his own, by the firmest of ties; and, to the damsel's astonishment, proposed to marry her. She had no particular attachment to any one, and they soon settled the affair, to the amazement of all Bath, which was in quite an uproar upon the occasion. If he had been a poor man nobody would have given themselves any trouble about him; but for the rich Mr. Hilbury to degrade himself, was scandalous. Barbara was as good a wife as she had been a servant, and conducted herself so much to the satisfaction of her husband, that, at his death, which occurred some years after, he left all his wealth to his widow, who had in a short time admirers and lovers even amongst the nobility. One of those who had The Eastern Magi came from far, Had told of One who should arise Th' eternal Lord of earth and skies! Should point where its Creator lay, To Him their gifts and praise to pay. The cunning Herod-cruel king Was fain the holy Babe to slay; But they, in dreams by Heaven forewarn’d— The tyrant-monarch, mad with rage, Then many a smitten mother, wild 'Twas heard in heaven, that mother's cry! *Micah v. 2. A SONG,-COMPOSED FOR THE LADIES' GARLAND,-BY C. S. PERCIVAL. In a note accompanying the following, the author says "The words of the enclosed Song were composed nearly a year ago, and published a few months since, in a little volume of poems. * * *. The tune was lately composed for the words, and I now offer them together for publication in the Garland." Come o'er the lea, my love, with me, The breeze is floating balmily; For Spring again comes o'er the main, And flow'rets deck the dewy plain. Then come with me we'll pluck the flow'rs, And There is no standard of tone or pitch among musical men, and there is no certainty that that which is called the note C now, shall not be called D or E in time to come. It may be said, that we have tuning-forks, and they are standards. Still we are in a great dilemma to get a standard of tone, or pitch in music. Tuning-forks seldom agree in the tone, and the pitch of a tuning-fork will be made lower by heat and higher by cold. Supposing two celebrated violin players were tuning their instruments together, if one had kept his pitch-key in his waistcoat pocket, and the other in his coat pocket, one violin would be screwed up higher than the other. Tuning-forks would not, be put inconveniently out of tune by being carried in the pocket. But to such a degree have notes altered, that what was C two hundred years ago, is now B flat. The great bell of London, we are told, is marked C, and it is now B flat. The great bell of Lincoln, the oldest in England, is also marked C, and it is now A. The pitch of the bell is not sunk, but the pitch of the musicians has increased, and there is no reason why they should not keep screw ing up their instruments till they alter the note C still farther, till C corresponds to the D or the E of the present scale. This is very inconvenient both in vocal and instrumental performances, as the instruments made twenty years ago are now quite out of tune. The instruments of this country are screwed up half a tone higher than in Italy. This is the reason why Italian singers when they first come here, cannot sing; they attribute it to the atmosphere and other fanciful causes, when the true reason is, that the instruments in this country are higher than those in Italy. It may be asked, how can this alteration in pitch be prevented. By employing a tonometer, a measurer of tone, in conjunction with a thermometer and barometer. We must take air of a certain pressure, for example, 60 degrees of the barometer. The tonometer must then be set in motion until, by means of the hands travelling over the dials, we can ascertain that there have been 240 openings of the holes in the instrument, when the note C, the middle C of the piano, will be sounded. |