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SELECT POETRY.

EXTRACTS.

We view RELIGIOUS POETRY as a most efficient aid of virlue, and love rather the plain unvarnished moral, than the caudy tinsel of poetic licentiousness.

THE SYRIAN CAMP.

HEBREW-II KINGS, vii. 6. Where had thy war-host, oh Israel! fled, When ye crouch'd at the sound of the Syrian's tread, Nor raised was the banner, nor grappled the sword, l'et the Syrian shrunk at the voice of the Lord. 't came when at midnight was closed every eyelark! startling and searsul it bursts from the sky ! and chariot and horsemen with crash and with clang All trackless and wild o'er the slumberers rang!

WHAT IS HEAVEN? It is the city of God—the peculiar residence of the Most High-the Throne of Eternal glory, grace, and truth. These are general terms; but let us consider two particulars. It is the central point of universal government, the Metropolis of the whole universe. Suppose we were to dwell for a moment on all the vast systems of created matter, revealed to us by the telescope of Herschell, and then calculate the vast number that are far beyond the reach of human optics, and arrange them before the mind's eye as the empire of Jehovah-heaven is the centre of the whole; the place from whence emanate all the laws by which they exist, and from whence the angels that do his will go forth to administer God's government over them all. How sublime the reflection! Second; Heaven is the capital city of an infinite dominion, and is the home of all the holy and pure intelligences which exist in the universe. Not merely of cherubim and seraphim, angels and spirits redeemed on earth—but all, all, from every planet and system where God has placed them. What numbers then are round about the throne of God! And this is the home of the Christian.

The foreman leap'd up-fly, oh fly from the strife-
Leave purple and silver, and rush for your life!
Through thy forests, Manasah, they swept like the wind,
And the anger of Heaven roll'd fiercely behind !
Rise, daughters of Judah--no wail for the slain
Shall mingle a sigh with your harp's merry strain-
And gather young garlands and bind on your brow,
The red drop rests not on their loneliness now.

Yet no Chieftain shall laugh in the pride of his might-
To the King of the Kingly the sword of the fight,
Be the gush of your heart at his altar-seat pour'd
And wreath a green leaf round the shrine of the Lord!

NORNA.

GOD IS NEAR.

There is a time to pray. 'Tis when the heart is full, too full of grief

To breathe its bitterness to mortal ear, 'Tis then in prayer the soul may find relief, 'Tis then the mourner feels that God is near

Then is the time for prayer.

There is a time for joy. When the soul proves that earthly pleasure cloys,

That all is vain and unsubstantial here, And turns to heaven for more enduring joys, And finds, with transport finds, that God is near

Then is the time for joy.

SUNDAY EVENING. What can be a more beautiful and interesting sight, than to see the principal of a family, surrounded by his children, and all the various persons of which the household is composed, from the humble domestic, to the valued friend or relative, with the book of holy law before him, reading and expounding to them its contents, deterring them from evil by its awful threatening, encouraging them of piety by its delightful promises? I have frequently been witness of such a scene--and as I looked with veneration on the charming group, methought the countenance of the principal object had something angelic about it, and it seemed that its benign aspect indicated that he should in futurity reap the reward of his faith and obedience,

There is a time for sadness. 'Tis when we mark the young and gay glide fast

Upon the stream of life, without one fear of future ills, one thought upon the

past, One hope of heaven, forgetting God is near

Then is the time for sadness.

THE DEATH

OF THE

There is a time for praise. When each new day does some new joy afford, And

peace and loving-kindness crown the year: When death, dark angel, stays his fatal sword, And spares us, then we feel that God is near

Then is the time to praise.

There is a time to mourn.
We mourn, when those we loved, the blest, depart!

Why weep ye then? They dwell in yon bright sphere! Nay, mourn, when, lost to heaven, some anguish'd heart Lies down in death, without a Saviour near

Then is the time to mourn.

There is a tim: to die.
Yes, all must taste the last, last bitter cup;

But soar my soul above this chilling fear;
Oh! may I yield my heaven-born spirit up,
And feel the blest assurance-God is near-
Thus 't were no pain to die.

F. M. B. Record of Genius.

YOUNG. Beautiful is that season of life when we can say in the language of Scripture, “ Thou hast the dew of thy youth." But of these flowers, death gathers many. He places them upon his bosom, and his form is changed to something less terrific than before. We learn to gaze and shudder not; for he carries in his arms the sweet blossoms of our earthly hopes. We shall see them all again, blooming in a happier land. Yes, death brings us again to our friends. They are waiting for us, and we shall not be long. They have gone before us, and are like the angels in heaven. They stand upon the borders of the grave, to welcome us with the countenance of affection, which they wore on earth, yet more lovely, more spiritual. Death has taken thee, too, sweet sister, and “thou hast the dew of thy youth.” He hath placed thee upon his bosom, and his stern countenance wears a smile. The “far country” seems nearer, and the way less dark, for thou hast gone before, passing so quickly to thy rest, that day itself dies not more calmly. And thou art there waiting to bid us welcome, when we shall have done here the work given us to do, and shall go hence, to be seen no more on earth. Prof. LONGFELLOW.

THE PAST, THE PRESENT, THE FUTURE.

Respice! Aspice! Prospice !
The Past,--the Present, and the Future:-these
Are Time's three portions; and Eternity's
Can be no greater. Strange is their division:
Each with each making union and collision.
They were, or are, or will be, each the same;
And each the other, in their order, name
And being. Yet two of these are infinite :-
The Past, still refluent on the deepening night
Of pre-eternity, whose unborn source
Receives, absorbs, accelerates its course:
The Future, from its post-eternal store
Forth issuing, and extending more and more:
The Present, --how shall we its state define ?
What hand shall meet its nice and narrow line ?
Gone, even in iis coming, -subtle shade,
Whose advent by no art of man is stay'd,
Nor its departure speeded; that small space,
Whose point the Future and the Past efface
In the same instant. It will be the Past,
And it hath been the Future; yet doth last,
The unchanged, always changing, Present; still
Blending the boundaries of was and will.
The Isthmians* now of each Eternity,
Trining the has-been, being, and to-be;
The bridge of either Ever, single-arch'd,
O'er whose short span the ceaseless Past hath march'd
From the quick Future, which its track pursues,
O'ertakes, impels, effaces, and renews,
The far Past fades behind Oblivion's veil;
The nearer gleams through Memor's reflex pale;-
Dark as the distant Future; while the near
Takes the prismatic tints of hope and fear.
Our gires possess'd the Past-its state was their's;
Our children are the Future's destined heirs:
While between either range ourselves are thrown
The waste forgotten, and the waste unknown;-
So are the twain a lifeless void to us-
The anti-natal, and the posthumous,
Shedding alike their deep, impervious gloom,
Before the cradle and behind the tomb.
But the immediate Present-which doth dwell
On its own instant indivisible-
The speck of time, incapable of pause-
It was what will be, and will be what was,
Yet ever is,-a filling, emptying, sea;
Through which the river of Futurity
Exhaustless rolls into the broad and deep
Gulf of the Past with never-tiring eweep.
How strange, that what is nothing should be all-
Continual lime, a timeless interval-
A viewless atom, slipping from the sense,
An orb of undescribed circumference,
Forbear the enlarging thought,-nor urge a theme
Which he alone can reach-the power Supreme,-
Within the glance of whose all-seeing eye,
The Past, the Present, and the Future lie, -
A tri-une point in one eternity.
Yet hence a seasonable lesson may
Well be extended
Be then our net with Present wisdom cast,
To catch the Future, ere it be the Pust!

E. L. L. S.

*0, lise,
Thou weak-built Isthmus, thou dost proudly rise,
Up between two eternities!

Cowley.
Tait's Edinburgh Magazine.

THE BRIDE'S DECORATIONS.

BY MRS. RICHARDSON.

TAK' out thae jewels frae her hair!
Aneth them's set a bonnier pair;
O mony a queen wad gladly wear

Thae gems o' nature's sorting!
Ye need na trouble to provide
Sic costly braws to busk the bride;
Fashions can nowther mend nor hide

The graces round her sporting.

THE REWARD OF KINDNESS.

When young, what triumphs fill'd my breast
'Tis truth once known-To bless, is to be blest !
I led the bending beggar on bis way;
(Bare were his feet-his tresses silver grey ;)
Soothed the keen pangs his aged spirit felt,
And on his tale with mute aflection dwelt,
And in his scrip I dropp'd my little store,
And wept to think that little was no more-
He breathed this prayer—"Long may such goodness

live!"
'Twas all he gave 'twas all he had to give.

She's clad in happiness and youth-
In sweet simplicity and truth-
The sang o'mirth, the tale o' ruth,

Her varying bloom gupplying;
She needs na ribbons, paints, and lace-
Kind heart, pure thoughts, wi' speerit trace,
Shed beauties on her winsome face

Beyond a kingdom's buying.

“TELL ME, WANDERER, WILDLY ROVING.

A Hymu.
WORDS FROM THE “GEMS OF SACRED POETRY." MUSIC BY PAESIELLO.

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A REPOSITORY OF MUSIC AND POETRY.

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FOR THE FAMILY MINSTREL.

POR THE FAMILY MINSTREL.

DR.

ARNE.

Pe, v. 9.

How metre warms:

How vice it tames,

MUSICAL BIOGRAPHY. voice and love of music, now induced her to be

CHURCH CHOIRS: come a singer by profession, and to share her

THE MODERN versus THE ANCIENT. brother's praises and rewards. At this time, A. D.

1733, he was but nine-and-twenty years of age.
"How music charms,
His next composition was a burletta, or comic

"There is no faithfulness in their mouth."
opera, on Fielding's “Tom Thumb, or the Trage-

The Jewish rule excluded from their choirs all Parent of actions good and brave!

dy of Tragedies.” In the year 1738, appeared vocal performers, except the Levites. To take How worth inflames !"- Young. his “ Comus." And at the same period, some

the name of the Most Holy upon their lips, in Some of the finest strains in our modern music of his finest cantatas, duets and trios were pro- celebrating his divine attributes, they regarded, owe their origin to the genius of this eminent comduced.

as it is in truth, a solemn act, that should absorb poser. And as he exerted so remarkable an His original and marked style arrested general the devout feelings of those who led this part of influence upon the style of English Melody, it is attention. It was so natural, so sweet, so clear worship. It is a disputed point among the both interesting and instructive, to trace the pro- and flowing, that it soon won upon the ear, and learned, whether any Israelites, not of the tribe gress of his mind.

at last gained the heart of the whole community. of Levi, could take part even in the instruThomas Augustin ARNE, born at London, in It gave a new turn to the national taste. It mental music of the sanctuary. “If any,” says the year 1704, was the son of an upholsterer, in marked a new epoch, in the history of English that able writer on this subject, Dr. LightFOOT, that city. It was his father's purpose, that he

music. And such has been its predominating they were to be as near the priesthood as posshould pursue the study of the law; and with this influence, that if any particular mode of modu- sible, both for alliance and qualifications; and view he was sent to Eton College. But at an lation and of harmony may be called English, it when they were come to the highest they could, early age, bis native genius for music became is the natural and easy style of Dr. Arne. they were not admitied to join roices with the the arbiter of his best thoughts. While his fel- Having married Miss Cecelia Young, a cele- vocal music, which was the proper song, and the low-students were devoted to their daily tasks, brated pupil of Geminiani, he went with her to

proper service, but only to join with the instruhe was as earnestly devoted to his favorite study. | Ireland, in the year 1742, and remained two years

mental:—which was but thus much, that if any They had their Virgil, or their Horace, or their in that country, flattered with unlimited success.

man of worth or piety, or in near affinity with Juvenal; but he preferred, froin an irresistible On his return to England, he published numerous

the priesthood, had addicted himself to musical predilection, the beauties of EUTERPE. It may minor works, and, in the year 1762, his two

devotions, and to pour out his praises to God well be thought, that he did not long continue at oratorios “ Abel” and “ Judith.” Then appeared that way (as that was then greatly in use,) if he Eton, which could give no countenance to one his “Britannia," "Judgment of Paris,' "Thomas

came to offer to join his skill and devotion to the whose only manual was a fute, and whose only and Sally,” “ Eliza,” and “ Artaxerxes." It was

temple chorus, they refused him not, but let him prosody was the “concord of sweet sounds." | at this period, that he received from the Universi- put in with his instrument among the instru. Much to his father's grief, he soon came back to ty of Oxford, the degree of Doctor of Music.

ments; but among the voices he might not join, London. Still the study of the law was made And among the many who have borne this title, for that belonged only to the Levites.” Vol. ix. his ostensible employment; and his fond parent none in England have been more worthy of it, p. 56. looked forward to the time, when, as a barrister, than the author, who could charm every ear with

How far we in modern times have deviated his son might “ found a name," and become an the beauties of bis “ Rule Britannia," and could

from the spirit of this ancient rule, and how any ornament of his age and country. so happily decide a nation's taste, by his natural

one can sanction the employment of a professed But as in the case of Handel, ARNE was to simplicity, and unaffected sweetness. Among dramatic singer in a Christian Church Choir, is exchange the law for a more congenial pursuit. his airs to the songs of Shakspeare, some are

for the clergy and the Lord's people to examine, His father's strong opposition served but to in- unrivalled for these qualities.

and to decide.

MORE ANOx. crease his zest for what he loved. He used every As long as a sound taste shall prevail, the

MUSICAL INSTRUMENTS: artifice to gratify his prevailing disposition. greatest pleasure must continue to be yielded, by Dressed like a servant, to elude suspicion, he such airs as “Rule Britannia,” “Rise, Glory, would frequent the public musical entertainments Rise," “ Where the bee sucks, there lurk I," of the metropolis. Having secretly purchased “Now Phæbus sinketh in the west," and other MR. EDITOR, — The following interesting acor borrowed an old spinnet, and carefully muffled similar beauties from the works of Arne; and his count of the elements of our modern orchestra, all the strings, he would for hours, after all the memory must ever be embalmed by all, who have I have chiefly compiled from the pages of two family were merged in sleep, regale himself in hearts attuned to the most amiable and the ten- foreign works, in the hope that it may appear in his private attic story. It inight be truly said, that derest sensibilities of our nature.

your valuable paper, and afford others the satis. the love of music was his passion. It was un- It was not until he had attained the 74th year faction which I have myself derived from it. controllable. of his age, after a long and uninterrupted course

Your friend, OVERTURE. His execution on the spinnet rapidly improved; of successes, that he closed his earthly career, on and to his study of the flute he added, under the the 5th day of March, A. D. 1778,—the just pride Sound," says a distinguished French author, tuition of Festing, a thorough knowledge of the and boast of Englishmen, and the author of some is only air put in motion and modified different violin. His power of genius soon swayed all of the sweetest melodies and richest harmonies, ways; but what variety is there, in the modificahis father's plans and projects for his appearing that have ever, in the wide range of musical tions of a principle so simple! What a difference at the bar. And with his manacles now broken, science, conveyed pleasing or elevating emotions between the nature of a tone in a bell, and that of a he gave himself for life to “ the bliss of Har. to the soul.

wind, keyed, or bomo instrument. And again, in mony."

* Arne, what hand can touch the string so fine;

each of these grand divisions, what delicate relaHe became the tutor of his sister, Susanna Who up the lofty diapason roll

tions in the quality of sounds." When we think Maria, afterward the celebrated Mrs. CIBBER.

Such surel, such sad, such solemn airs divine; that new discoveries are daily produced in the

Then let thein down again into the soul! It was for her that he set to music Addison's

fabrication of instruments, cach of which brings

Nw rising love they sann'd, now pleasing dole “ Rosamond,” in which she was the heroine ;

They breathed in tender musings through the hcart;

forth some strange and unheard species of tone, and the piece was publicly received with the As wien seraphic hand; a hyinn impari.

the resources of music justly appear to us as strongest marks of approbation. Her admirable

8. infinite as the endless variety of form.

THEIR NATURE, HISTORY AND CHARACTER.

FOR THE FAMILY MINSTREL.

use.

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Towards the end of the sixteenth century we The principal defects of it, which are more or labor are requisite, to acquire a mastery ; for in find

less apparent, according to the skill of the per- some persons the conformation of the lips is an TAE VIOLIN

fornier, are in its lower part, where the sounds invincible impediment to good performance. indicated, in Italian scores, piccoli violini alla are too flat compared with the upper notes. The

THE PIANO-FORTE, francese, which renders it probable, that the bassoon is perhaps the most effective wind which has superseded the harpsichord, has a reduction of the ancient viola to the present instrument of the orchestra, and fills various greater strength, fulness, and duration of tone. dimensions of the violin, took place if France. offices in the harmony, sometimes tenor, some- Grand piano-fortes, used as concert instruments, This instrument is tuned by fifths, and the supetimes bass. In Germany, a large species of this have the greatest compass and strength. The riority of its tone soon brought it into genera instrument, called the double bassoon, CONTRA

common compass, at present, is six octaves. Fagotto, is sometimes used, and gives the octave THE Viola,

below; but, in addition to its articulating sounds reduced to four strings, and tuned a fifth lower

very slowly, it is extremely difficult to play, and than the violin, is the only one of its ancient

requires a very robust constitution. family, that the moderns have preserved. In

THE CLARION ET the orchestra, it plays the contr' alto part.

is much more modern than the oboe or bassoon, THE VIOLONCELLO.

and was invented by Denner, an instrument The bass viola, a difficult instrument to play, maker at Nuremberg, in A. D. 1690. Such are has now long been supplanted by the violoncello, the difficulties of execution upon the clarionet, the tone of which is more energetic, and fitted that three different sorts are employed in the for orchestral effect.

orchestra, to facilitate the performance in various THE DOUBLE Bass,

keys. One in A serves for those in which there The piano was invented by Christian Gottlieb at the present day the foundation of the orches- are many sharps; another in B flat, in like man- Schroeder, of Hohenstein, in Saxony, about tra, was constructed in Italy, about the begin- ner, where flats abound; and composers some

A. D. 1740. ning of the eighteenth century. It is furnished times write for another sort, in C. Military

The ORGAN with three thick strings, which give the octave bands present many varieties of this instrument,

is the monarch of instruments, and is capable of below the violoncello. In France, this instru- as well as of others. In its voluminous tones,

effects scarcely to be believed. The compass of ment is tuned by fifths, which renders the exe- at once round and soft, the clarionet is unlike

the manual is cution extremely laborious; in Italy, Germany any other instrument, particularly in its lower and England, it is tuned by fourths.

part, which is in France termed le chalumeau. The GERMAN FLUTE,

In Weber's Freischutz are to be found some which, like wind instruments in general, was

striking effects from an unusual employment of defective in many notes, has had its imperfec- these low notes. tions corrected by keys, which have given the

THE CORNO DI BASSETTO, power of executing many passages, which were the tone of which is exquisite as an obligato

and the compass of the pedal is impossible upon the ancient Aute. While how- accompaniment to the voice in a solo, is the ever its scale has been extended, and this facility contr' alto of the clarionet, and extends a fifth gained, the multiplicity of keys is embarrassing deeper. A model for the use of this instrument to a performer, as well as injurious to the tone may be found in the Clemenza di Tito by Moof the instrument. Naturally the flute is in the

THE HORN key of D,

gives but a few sounds pure, free and open.
Others are obtained, by placing the hand in the

Among its various improvements, there is found bell; but as these artificial tones are sometimes

a stop, the idea of which is singular, and the the most frequently wanted, crooks have been

effect a mystery. This stop, generally known invented, which, in lengthening the tube, put the but it may be played in any other key. For par

by the name of the mutation-stop, (in England, horn in a different key. Yet, notwithstanding ticularly piercing effects, composers sometimes

the sesquialtra, coinet or mixture,) is divided the ingenuity of this method, composers, in par- into the furniture mixture and cymbals. Each use an octave flute, or piccolo,-for instance, in

ticular modulations which do not afford time to imitation of the wind in a tempest.

of these stops is composed of four, five, six, or change the crooks, are obliged to suppress their even ten pipes to a note. THE OBOE, OR HAUTBOY,

These pipes, which horn parts. This instrument is precious, for the

are of small dimensions and of an acute tone, when well played, has a quality of tone peculiarly variety of its effects, and its equal capacity for

are tuned to the third, fifth, or fourth octave, so expressive, and more various than the flute. the expression of tenderness or of violent pas

that each note produces the perfect common Although but of small proportions, it has much sion. The art of combining horns, is a modern

chord many times redoubled. Hence it happower, and will surmount the most formidable resource, which has been well developed by

pens, that the organist cannot play several notes orchestra. It is, however, rare to meet with a Weber, among others of the German school.

in succession, without producing a like succesreally good tone, and fine execution upon the

The TRUMPET

sion of major thirds, fifths and octaves. But this oboe. The English HORN,

is the soprano of the horn, to which it sounds the is not all. If the performer plays chords, each

octave above. It is less extensive, having none of the notes which he employs gives as many forms the contr' alto of the oboe, and, on account

of the artificial sounds, which in the latter are of the length of its tube, it extends a fifth lower,

perfect common chords, doubled or trebled, making The tone is wailing and plaintive, and fitted for

produced by the hand, and its quality is more it appear that a frightful cacophany, or chaos of slow movements. Mozart has employed these

silvery, clear and penetrating. Additional tubes, sounds, must be the result; but, by a species of

or crooks as they are called, modify the intonation magic, when these stops are combined with diahorns in the Requiem.

of the trumpet, as they do of the horn; though The Bassoon,

pason pipes of two, four, eight, sixteen or thirtythe shape of the former has undergone various two feet in length, there is produced an ensemble which belongs to the Oboe species and forms its

alterations. The ancient model is the one now bass, was invented by Afranio, a Canon of Pavia, generally adopted.

the most majestic and astonishing that can be

coneeived, and of which no other combination in A. D. 1539. Its compass is about three oc

THE TROMBONE taves and a half, from the B b under the bass

of sounds can convey any idea. Thus the Organ is of three sorts, alto, tenor, and bass. It is capa- may be said to triumph over the united power of clef upwards.

ble, by means of a slide which shortens or length-the orchestra, and to exult in a magnificence and ens the tube, of giving all its notes in open profusion of harmony, which render it the fittest

sounds. In brass instruments, great practice is 5

among all instruments of music, to enter into necessary. to acquire what is called the tongue- the sacred courts of the Most High, and to give ing; and in the proper application of the lips to utterance to the solemnities of worship in his the mouth-piece, natural qualifications as well as holy temple.

zart.

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