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character; but as there are so many indiscriminate novel readers In the world, we apprehend any thing we can say will have but little effect- Such of our readers as wHI take the trouble to cut open the pages of Happiness, a Tale for the Grave and the Gay, will, we think, be inclined to concur in our opinion. It is an attempt to unite two of the most opposite things in the world—satire and sanctity; and dandies and serious christians are mingled together in strange confusion. It is perhaps useless to say any thing further of a work which, like many of its cotemporaries, is fated to take its silent stand on the greenbaize-protected shelves of country circulating libraries.
To the other works of Mrs, Taylor of Ongar, all distinguished by their plain good sense and useful tendency, is now added Retrospection, a Tale; in which, from a review supposed to be taken by an elderly unmarried lady,in the middle ranks of life, it is intended to point out those errors of temper and indiscretion, which, in the absence of greater calamities, suffice to make human life abundantly miserable. The story is quite unaffected, and follows with an air of great reality the ordinary course of domestic events, yet the interest is well supported. After all other means of happiness fail, the old lady finds it at last in the arms of devotion, a resource by no means uncommonly resorted to by persons of that age and sex, in all times and countries. There is a decided spirit of evangelical devotion in this little volume, accompanied however with such correct feelings and sentiments, that we do not feel inclined to find fault with it, or to quarrel on dogmatical points with a work which is obviously intended and adapted to promote the cause of virtue. If not brilliant, the abilities of this lady are solid, and in their exertion, useful.
To those who are fond of novel reading, we think we can recommend The Sisters, a Novel in four volumes, as a well-written work and not devoid of instruction. The story, which relates the fate of two sisters, the one attached to the world and all its fashionable frivolities, the other of a nobler and purer mind, is well told, and possesses a reasonable share of interest. The character of Felicia is by no means heroinelike, in the sense in which many of our modern novelists would use the term; she is rather serious and useful, than romantic and sentimental. Perhaps she will be con sidere .1 by some of our readers as too strict a disciple of Mrs. Hannah More, and we must confess that her seriousness is sometimes a little too overpowering for our taste Rosalind's character is sketched with a good deal of power and truth, and in spite of ourselves gains an interest in our hearts. Evanmore, the hero of the tale, is drawn
somewhat after the model of Miss Edgeworth's Vivian. The Interest of. the novel increases as the reader proceeds, and is finely wrought up in some parts of the last volume.
It is with unmixed pleasure that we once more behold Miss Edgeworth before the public in the shape in which she is so pre-eminently excellent. Perhaps there is not a single writer of the present day who has been the means of bestowing at once so much instruction and delight, as this lady. To our juvenile friends her early lessons are well known, and many older eyes have perused them with almost equal pleasure. To those excellent little volumes Miss Edgeworth has lately added a continuation, called Rosamond, a sequel to Early Lessons, which exhibits our old friend more advanced towards womanhood, but possessing the same engaging frankness of disposition and purity of heart. It is superfluous to say that these volumes inculcate the best morality; it is sufficient perhaps to add that they fully equal any of the writer's former productions.
A small volume of Miscellaneous Poetry, by Samuel Bamford, wearer, of Middleton, Lancashire, has just issued from the press, which, amidst some rude composition, exhibits so much energy of thought and diction, that it well deserves a longer notice than we can in this place bestow upon it. There is a bold and manly love of liberty in the mind of this humble bard, which needs no assistance from the tricks of art, to make a deep impression on the feelings. His style and matter are all his own, and display as singular an instance as we can recollect of a naturally strong and poetical mind struggling against the disadvantages of station and education. The author is a professed radical reformer, and during the suspension of the habeas corpus act, was imprisoned in different goals; a circumstance which gives his political allusions a bitterness bordering sometimes on coarseness. Setting, however, such passages as these out of the question, we do not hesitate to say that Mr.Bamford possesses originality ot genius and more than common powers of mind. The book has not been well edited, many obvious errors of one sort or other, existing in every page; but we hope soon to see a second edition, which, if passed through competent and careful hands, will prove the justice of these observations.
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The celebrated Overture to the Grand SeriousOpera O/'ilratto Dipr.oser.pina. Composed by Winter, and arranyedfor the Piano Forte, with Accompaniments (ad libitum) for a Flu'e and Violoncello, by I. H. Little. 3s. 6d.
ri^HIS is one of Winter's best syinJL phonic productions. The leading movement (an Andante Pastorale), possesses much sweetness, and is very ori
ginal. The key is G major; but af'pr twenty-eight bars of a soothing and truly rural cast, it bursts into a strain of a bold and animated description, in the minor of the same key, in which the powers of imagination, and the evolutions of science, are largely displayed. A subject, or burthen, prevails through the movement, but without shackling the excursive fancy of the composer composer, or excluding that relief and variety which form so prominent a beauty in musical composition^ Mr. Little, in his transformation of this orchestral production to a piano-forte exercise, has fully evinced his competency to such a task. The passages are judiciously re-modelled, and well-arranged for the finger, while the management of the flute and violoncello accompaniments, announces a thorough acquaintance with the powers of those instruments, and with the art of their combination.
"Oh smile, and all your cares shall end.''' A Duett, composed by M. P. Corri. Is. 6d.
If the production now before us, is not of the highest description of excellence, neither is it wanting in a respectable degree of merit; though the ideas are not particularly novel or striking, they are smooth, natural, and connected ; and the two parts blend with good effect. The passage in the relative minor, beginning al the words " Be every vain endeavour," affords a very pleasing relief to the previous porl ion of the strain; and returns with ease and grace to the principal theme. As a chamber duet, we feel assured, this composition will prove very acceptable to the lovers of vocal music.
The celebrated Hungarian Waltz, with Variations for the Piano Forte. Composed by T. H. Butler. 2s. 6d. Respecting the qualities of a melody which has been so often heard at every minor theatre, and in every public street, it is scarcely necessary to echo the general voice, by dwelling on its simplicity and beauty. The proper object of our criticism is the new form and auxiliary additions it has derived from Mr. Butler's talents and science. These, we must say, are highly creditable to the labour he has bestowed upon it. The piano-forte exercise into which he lias magnified an air of a few bars is, so respectable, and useful, as to be attributable only to the efforts of superior qualifications; and the more this ingenious master furnishes practitioners with compositions as well calculated to please and improve, as are his variations to this popular waltz, the more they will be obliged to him.
"All my Soul's love.'' Composed by YV. A. Wordsworth. Is. 6d. * In this little rondo, there is a visible spark of talent; but of talent that, as
visibly, wants further cultivation. The inelody is alia polacca; but the passages are not always modelled to triple time; and the bass is far from being uniformly legitimate; and in very few instances, is the best that might have been selected. We have, however, allowed Mr. Wordsworth a scintilla of genius; and that is equivalent to admitting, that brightened by exertion, and. guided by an improved judgment, it may hereafter shine forth in a superior style of composition. Charles N. Weiss's Tenth Fanstasia, for the Flute, with a Piano-Forte Accompaniment. 4s.
This Fantasia (in which Mr. Weiss has introduced the air of The Blue Bells of Scotland) is what amateurs call a shewy piece. It has much execution, some eccentricity, and a considerable portion of brilliant passages. The opening movement is bold, rapid, and striking; the variations given to the Blue Bells are florid and fantastic, and the total desertion of the subject, in the seventh page, though savouring of wildness, is scarcely objectionable in its effect. On the whole, this publication is far above mediocrity; and to the library of flute and piano-forte performers, will prove an eligible acquisition.
"Oh, Clara, Clara!'' A Ballad; the Music composed by W. A. Mozart. Is. 6d.
This ballad, the words of which are by Walter McGregor, is easy and graceful in its melody; but not of very distinguished beauty in its general effect. It wants that passionate appeal without which, songs founded on the teuderest sentiments of the heart, fail of their intended interest. The pianoforte accompaniment is commendable on account of its simplicity, and proper subordination to the notes of its principal.
"They tempt me not." Suny by Miss B.
Corri ; composed by M. P. Corri. ls.6d.
This is an interesting little ballad of two verses, the burden of each of which consists of the four monosyllables that furnish the title of the song. The passages of the air are elegantly and effectively turned; and the general impression is strong and. appropriate. We venture little in prognosticating that" They tenipt me not,'" will become a general and lasting favourite, in musical and tasteful families.