of a tempest, in the "Nauplius" of Timotheus, Dorion said, "he had seen a better in a boiling cauldron." Having lost a large shoe at a banquet, which he wore on account of his foot being violently swelled by the gout, "the only harm I wish the thief," said he, "is, that my shoe may fit him." These little lively stories are, it is believed, perfectly genuine, and are curious, as exhibiting the humour of an individual more than two thousand years ago. first waking in the morning; and it is said of good Bishop Ken that, immediately on rising from his bed, he seized his guitar, and played some sprightly strain for this purpose." Lasus, Aristoxenus, Euclid, and Ptolemy, were all notable musical theorists; but space will not permit us to speak of them as they deserve, or to advert at all to the Scolia, or songs of the ancient Greeks. 66 We pass on to say a few rapid words about Immense prices were given for flutes. We are Greek music. Though a fiercely disputed point told that Ismenias, a celebrated musician of among learned writers of the last century, it is Thebes, gave three talents, or £581. 5s., for one now a pretty well established fact that the at Corinth; and that Theodorus, a flute-maker Greeks were ignorant of harmony, or the effects of Athens, made so much wealth by his pro- arising from the combination of musical sounds fession as to be enabled to bear one of the hea- simultaneously heard. The word "harmony" viest burdens to which a citizen of that city was it is true, frequently occurs in their writings; liable, that of furnishing a choir or chorus for but it meant what we understand by the term his tribe or ward, at festivals and religious cere- melody, viz., "a well ordered succession of monies. With respect to the salaries of great sounds." The oldest musical scale of the Greeks performers, a circumstance quoted from Athe-Dr. Burney considers to be nearly identical with næus, shows that the profusion and extravagance of the present age, in gratifying the ministers of our pleasures, is inferior to that of the Athenians during the period now under consideration; for it is asserted that Amabæus, the harper, whenever he appeared on the stage, was paid an Attic talent, or £193. 15s. a day, for his performance; though he lived, it is added, close to the theatre. The most celebrated female flute-player of antiquity was Lamia. She was regarded as a prodigy of excellence; her abilities in her profession, united with wit and beauty, rendered her the wonder of her age. Before the conquest of Greece by the Romans, and the total separation of Music and Poetry, the distinguished names of Anacreon, Eschylus, Sophocles, and Euripides, appear in history; but of these well-known poet-musicians it is unnecessary to say anything. the Scottish scale; and the latter Mr. Nathan proves to be closely similar to the Chinese scale. A large volume, however, would be necessary to elucidate the subject of national music in a comprehensive and satisfactory manner. The musical scale of the Greeks never reached, at its greatest extent, beyond two octaves: narrow limits, truly, in comparison with our modern compass of eight octaves! It resembled the present scale in the disposition of its intervals, and consequently in the kind of melody which it was calculated to produce. In place of being arranged in octaves, it was disposed into tetrachords, or groups of four notes each. The Greek Music too, like the modern, had its three genera-the diatonic, or natural scale; the chromatic, and the enharmonic. There was a variety of modes, similar to the variety of keys in modern music: these were distinguished by the names of different districts, as the Dorian, Lydian, Phrygian, &c., and are described as acting differently on the feelings; the Lydian being soft and soothing, the Phrygian bold and warlike, and so with the others. These differences could not have arisen from the difference in the pitch merely-the only dissimilarity of modern keys there must have been some diversity of rhythm, or some peculiarity in the manner of performance belonging to each mode, of which we have no explanation. There were several eminent musical theorists amongst the ancient Greek writers. Pythagoras, the Samian philosopher, was the first who attempted to give a theory of sounds; he was also the inventor of the monochord, an instrument for measuring and adjusting musical intervals; as well as a profound musical mathematician. The sublime idea of the “Harmony of the Spheres" is attributed to him, as also the addition of a string to the lyre and the invention of Greek notation. Pythagoras is said, by the writers of It is generally supposed that the Greeks had his life, to have regarded Music as something no musical rhythm, except that which regulated celestial and divine, and to have had such an their poetry, so that the length of the notes and opinion of its power over the human affections, the different kinds of musical feet in the airs, that he ordered his disciples to be waked every were regulated entirely by the quantities of the morning, and lulled to sleep every night by syllables, and the feet of the poetry to which sweet sounds. He likewise considered it as they were united. The Greek system of notation greatly conducive to health, and made use of it was excessively complicated; and, consequently, in disorders of the body as well as in those of imperfectly understood. The letters of the alphathe mind. That this practice of rousing and in-bet formed the basis of this notation, and were vigorating the mind in the early morning by music, was followed by one whose memory is revered in our own country, appears from the following passage in one of Bishop Horne's sermons:-"Music was used by the Pythagoreans to dissipate the dulness of the mind at multiplied by distortions and mutilations of their forms, producing above 1,600 signs or characters; to learn and acquire the use of which, we are informed by the Greek writers, cost the labour of several years! A few fragments of ancient Greek Music are still in existence. Three hymns-to Apollo, | in a barbarous state. It has been already said Calliope, and Nemesis-have been discovered in that the elements of Music exist originally in the three different ancient manuscripts, and in cir- human mind; all mankind being not only gifted cumstances which leave no doubt of their being with a sensibility to musical sounds, but so genuine. Dr. Burney has given them, with an formed as to be pleased with sounds belonging interpretation in modern notes: the result, how-to a scale or series, which is found in every part ever, does not repay the labour which has been of the world. The Greeks, therefore, must have bestowed on these relics of antiquity; for the had a national music, corresponding in its qualimusic, as thus rendered by him, is a mere jargon, ties to the character of the people and their lanbarbarous and rude as the attempts of savages: guage; and this species of music-understood we cannot believe it to be such as afforded plea- and enjoyed by the great mass of the population sure to the most elegant and refined people of must have been that on which the more artiantiquity; and are the more ready to withhold ficial music was founded. our belief when we consider how uncertain it is whether the ancient notes are properly interpreted. These fragments, therefore, cannot in the least assist us in forming an idea of the character of Grecian Music; for, even supposing them all to be not only genuine, but correctly rendered into modern notes, there may have been conventional rules and methods of performance (as is the case among ourselves) not expressed by the notation, of which we cannot have any conception, and which may have rendered the effect of the music totally different from that which is conveyed to us by the translation. The powerful influence of this Music on the passions and feelings argues nothing in favour of its intrinsic excellence. We find that a Highland pibroch, played on the bagpipe, is as strong an incitement to courage in the day of battle as the strains of Tyrtæus! The great moral agency of the songs of Dibdin, in inspiring our sailors, not only with courage, but with manly and generous sentiments, must be ascribed much more to the verses than to the airs; and the political influence of Music is of the same kind. As to the effect of music merely instrumental, in battle, it must be ascribed, partly at least, to some direct influence which seems to be possessed by certain sounds. The clangour of the trumpet has, in itself, something rousing and warlike; and the "spirit-stirring" quality of the drum, especially when combined with "The pomp and circumstance of glorious war," is universally felt. 66 For all that is known concerning the Music of Greece, let us refer those who have no inclination to read the dry works of the Greeks themselves, to a little tract of the learned Wallis, which he printed as an appendix to the "Harmonies of Ptolemy;" to the " Dictionary of Music," by Rousseau, "whose pen,' says Sir William Jones, formed to elucidate all the Arts, had the property of spreading light before it on the darkest subjects, as if he had written with phosphorus on the sides of a cavern ;" and, "who lastly, to the dissertation of Dr. Burney, passing slightly over all that is obscure," says the same writer, explains with perspicuity whatever is explicable, and gives dignity to the character of a modern Musician by uniting it with that of a Scholar and Philosopher." 66 It may well be believed that in Music, as in the other Arts, the genius of Greece had left little for the Romans to do but admire and imitate. Yet we must not forget that another element had been introduced into the Arts of Rome, as well as into her language and government; one which was derived from Etruria, and partook of an Oriental character. Every species of musical instrument found on Greek works of art is found also on Etruscan. No doubt the early Roman Music was rude and coarse, still from the most ancient times mention is made of hymns and flutes in their triumphal processions. The Twelve Tables, or code of laws, allowed at funerals ten players on the flute, and enjoined that "the praises of great men should be sung in mournful songs, accompanied by the flute." Some The year B. C. 365 marks an era in Roman Music by its adaptation to theatrical amusements. While we do not believe that the effects of the It is in this year we find mention of the cereMusic of Greece were produced by any peculiar mony of placing images of the gods on couches, qualities unknown to the Art in modern times, and offering sacrifices to them, as though present neither are we inclined to agree with those who, in person; at which actors were first brought forming an estimate of it from the fragments from Etruria, who, without verses, danced in which survive, and arguing from its want of dumb show to the sound of the flute. harmony, suppose it to have been rude and in-time later, Livy mentions a curious tale of the artificial. These surviving fragments, as we have desertion of certain Roman flute-players, who remarked, hardly afford room for conclusions of were only brought back by an amusing strataany kind; and there can be no doubt that the gem. We learn from Valerius Maximus that practice of melody might be carried to a high these flute-players were incorporated into a colpitch of refinement without any aid from har-lege, and Ovid speaks of their ancient impormony. Even in modern times the sweet and expressive tones of a melodious voice, without any accompaniment, afford the utmost delight. It is impossible to believe that an Art, cultivated for a series of ages among a people so ingenious and refined as the Greeks, could have remained tance. We are told that Nero played on the flute, and came in a sort of triumphal procession through Italy, bearing the spoils he had won in eighteen hundred musical contests. To preserve his voice, the emperor used to lie on his back with a thin plate of lead on his stomach; he took frequent emetics and cathartics, and at last transacted all business in writing. After all, he was, most probably, an execrable performer; and it was by the influence of compulsion and terror that he procured attention and applause. He is said to have kept up an establishment of five thousand singers and players on instruments. When about to put himself to death, he cried, "What a pity it is to kill so good a musician!" There does not appear to be any trace of a Roman musical system distinct from the Greek. The Roman musical writers, all of whom flourished between the fourth and sixth centuries of the Christian era, did nothing to improve the Science of Music, and were little more than copyists of their Greek predecessors. The great improvement which the Romans introduced (rather a practical than a theoretical one) was a simplification of the musical nomenclature, effected by rejecting the arbitrary signs in use among the Greeks, and substituting for them the first fifteen letters of the Roman alphabet. This simplification they were enabled to make by a reduction of the modes; indeed it seems very probable that the complicated system had in practice entirely fallen into disuse, as we know that the diatonic genus had usurped the place of the two other genera. Of all Latin authors Boëthius gives the most profound account of the subject. His work is a carrying out of the old Pythagorean system, and is a mere abstract speculation on the nature of Music, which, viewed as one of the four mathematical Sciences, has its foundation in number and proportion. There is no proof that the Romans, any more than the Greeks, had any notation with reference to time. Where vocal Music was united with instrumental, the time was marked by the metre of the song: the want of a notation of time would make us doubt whether any but a very simple style of merely instrumental Music prevailed among them. Notwithstanding all the assistance which the Romans received in the polite Arts, they never advanced so far in them as the modern Italians have done; who, without any foreign help, have greatly surpassed not only their forefathers, the ancient Romans, but even the Greeks themselves, in several of the arts, and in no one so much as that of Music, in which every people of Europe have, at different times, consented to become their scholars. (To be continued.) Strange! that we all lament, Time flies too fastDeath's final goal too quickly we attain; Yet hourly wish days, weeks, months, years were past, Some lesser goals of fancied bliss to gain. J. J. REYNOLDS. THE LANE AND THE GRAVEYARD. BY ADA TREVANION. I. It is the first warm day, Alice- The brightening sky is clear and blue, The building robins sing. The beechen tree is budding green Before our cottage door; Low murmurs from the shore; Oh! sweet is the young violet, Which shrinks with modest mien; And fair the fields whereon the corn Is springing strong and green; And beauteous the half-opened leaves With gem-like dew-drops wet; But they want you, my Alice dear, To make them lovelier yet. Do you remember the old lane Where we sat side by side, On a spring morn, long months ago, Before you were my bride? 'Tis there we'll go to-day, Alice, And, 'mongst the birds and flowers, Forget all things save our young loves And hope-framed future hours. We'll choose us out the self-same bank The soft winds stir our hair, As when we last sat there. The blessed sun is shining bright, The white clouds are at play; The od'rous lime-boughs scent the gale, The rooks caw from the dark wood walk Where hazles trickle dew. 'Midst lights and shades the torrent leaps, From cliffs where wild flowers cling; And glen and lea are joyous with The spirit of the spring. But nought is half so freshly fair Where the pale primrose lifts its head, Beyond 's the little church, Alice; And the sad yew, whose hanging boughs But 'tis too glad and bright a morn So we'll away to the green lane, Where the soft sunlight falls; And there, with the long fields around, Upon the bank where first I wooed II. The spring is come again, Alice, To wake the slumbering earth, But sunshine and green leaves to me Beneath the dark yew tree; And there's a shade o'er hill and vale, Last spring-time, in the old green lane That old haunt is unchanged, Alic", I stood beside your bed, Alice, Though then you clasped with tender smile I've little left to live for now, For in this world so wide We toiled each for the other's sake, Your warm breath on my cheek; And vainly hearken for the words Your hushed voice may not speak. Through the long bitter winter, love, I'm bidding you good bye, Alice; I'll not forget your patient face, They say the land I'm going to And when once more across the main I'll leave those wond'rous shores, darling, And often seek the old green lane And the grave-yard whose turf now hides The bank and elm-tree will recall And the dark yew-boughs bring to mind And the fond smile on your white lips, Which lingered to the last. Ramsgate, Jan. 6, 1850. SONG. The time is gone and over Bend down the willing knee; And sullied thy bright wings, And searched from out their dim repose And the time is gone and over, What time I knew thee noble, My wayward steps to guide; And I laughed at dark-browed sorrow The childhood of the day, I found thy heart was changing, What hope have I, save heaven? Beyond the stormiest wave, A. E. S. A MARRIAGE FOR THE OTHER WORLD. (From the French.) BY MISS M. 8. WATSON. CHAP. VI. (Continued from page 86.) When Mauricette Fauvel recovered her senses, she unclosed her eyes, and looked wonderingly around her. The poor girl had suffered so intensely, that the power of emotion seemed deadened: but the sort of repose she had obtained during her long fainting fit appeared to bring back her sense of anguish with returning strength. Mauricette had lost all recollection of her trouble, in the midst of a circle of men-who had looked, to her, as so many demons, rejoicing in her agony-and in the broad light of day; now she was alone, and twilight scarcely shewed the objects surrounding her. She did not dare to speak, for she expected no sympathy: she rose with difficulty, for her footing was not sure, and lent an attentive ear to the strange sounds over her head -steps which seemed heavy and uncertain; then the falling of heavy chains, and on all sides a cracking and creaking, as if the place she was in was about to break in pieces, under the pressure of some enormous weight. Not understanding what could occasion the incessant continuation of these frightful sounds, she knelt on the couch where she had been lying, and supporting herself as best she might, gazed through the aperture, placed in guise of window. The sight appalled her; and when she saw the ocean below, and the sky above, the remembrance of all that had passed rushed in a torrent on her brain. Oh how she then regretted the convent, where all was so still and tranquil! and her father's house, where at least she was safe. But for her all was gone-all was lost! The only sense of thankfulness she felt was at being alone, after the contact she had been compelled to, with the wretched companions of her imprisonment. She had an indistinct remembrance of the priest, and the words he had addressed to her, when she was brought more than half-dead before him, as he stooped to give her help"Take courage, daughter," he said; "confide in heaven. The Lord remembers those who trust in him he will have pity on you!" and a tear dropped on the hand of the robber's wife. What happened afterwards she could not recollect-or who had brought her where she was: but she knew she had fainted on firm ground, and she was now on the wide ocean! She held her head in her hands, and tried to impose upon herself that it was all a horrid dream; but still the stern reality made itself to be understood, though in a vague, confused manner. She remembered, now, to : have heard that they were to embark on board the "Emerald" for their transportation to the New World. The thought brought certitude, and certitude agony. She pressed her face against the miserable pallet she reclined on, and groaned in anguish of spirit. She was immediately responded to by some one knocking against the partition; and not taking any notice, a voice interrogated her-"Tell us what is the matter with you, Madame Sauvegrain! Madame Sauvegrain! speak, then, if you are alive!" At this name another cry escaped her, and the unhappy girl murmured to herself, "Madame Sauvegrain! Madame Sauvegrain!" and letting her eyes fall on her left hand, she saw the ringundeniable sign of her marriage! With a bound she sprung from the berth, and staggering through the cabin-door, she made her way to the ladder, which she was doing her utmost to climb, when a man descended, and seizing her roughly by the shoulder, demanded where she was going. "On deck." "You cannot go: you are not allowed." But as Mauricette still persisted in forcing herself on, he again reiterated, "What are you going up for? what do you want on deck?" the words burnt her tongue)" for my husband." "Let me pass, sir; I am going to look" (and "Your husband," said the man ;" what is his name?" "Dominick Sauvegrain." "Then you need not go any further; I am he!" A cry of horror responded to these words, and as an arrow from a bow, Mauricette rent herself from his grasp, rushed on deck, and before the men of the watch had time to see her pass, she reached the fore-part of the vessel, and precipitated herself into the boiling waves, exclaiming, "Pardon, oh Lord! pardon, Father!" At the same instant Sauvegrain, who had followed as quick as she fled, without a word, without giving the alarm, jumped overboard to save her. The splash occasioned by the double action attracted the attention of those on deck, and the cry of "A man overboard!" set all the crew in movement: the Captain was furious at such an audacious attempt, and gave his order in a voice of thunder. ""Tis that cut-throat Sauvegrain !" said the sailors. "He thinks to escape;" and, as if attesting their words, they espied at some dis |