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she turnd a - way her face, And bid me get

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My heart went bump against my breast,
And broke a score of ribs at least,
The live-long day I had no rest,

A woeful plight for John:
I am so bad – at times that I,
For ought I know may come to die,
If she keeps on this cruelty

And bids me get me gone.

a 4 cor de Chasse.

(Rossini.)

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charming effect, and on a serene day their tones glide over the surface to a great extent. The writer once heard a German band distinctly perform the most delicate passages at the distance of more than a mile. The notes of the horn are but few, and are only occasionally introduced.* The following are those which composers generally use:

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As a solo instrument, it is now brought to the highest pitch of perfection by the celebrated Signor Puzzi. In his hands it breathes the most delicious and soothing tones. Unlike the violin, there is nothing in its temper sharp or fretful. Its language is that of sincerity,—drawing like a friend the opposing instruments together into a band of concordant harmony.

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sick, just as I have formerly been when in love with my wife, that I could think of nothing else.'

* Daly, at a rehearsal in the Dublin Theatre, observing the persons who played the two French horns occasionally leaving off, and conceiving it proceeded from inattention, hastened to the front of the stage, close to the orchestra, and addressing them with much warmth, said, 'Gentlemen horn-players, why don't you play on, as the others do? What do you mean by stopping?'. Sir,' replied one of them, 'we have twenty bars rest. "Rest!' said Daly, 'what do you mean by rest? I can get none in this theatre, and, by Jasus! you shan't. — Parke's Memoirs.

LA

CHAPTER XXV.

THE HA RP.

A THOUSAND years prior to the Christian Era, we read of David playing upon the harp before Saul. Even at this early period we find it in the hands of shepherds, whose occupation and leisure, in those times, enabled them to excel in music. The pipe resounded through the vales, and called their flocks together, while the harp was left at home for the song and the dance. The Italian and French trace the origin of this instrument to England:-we refer it to the Irish and Welsh. If, as some suppose, Ireland was colonized by the Phænicians, we may reasonably conclude that the harp was originally brought from the east by that people.* Of the few

* The most ancient harp is shewn in the museum of Trinity College, Dublin. According to generally-received tradition, it was carried to Rome by Donagh, on his father being dethroned, in 1064; and the exile is said to have laid the harp, with the crown and other regalia of the Irish monarch, at the feet of the Pope, as a full submission of the kingdom of Ireland. It is even asserted, that Adrian avowed this circumstance as one of the principal grounds for the title, which, by his alleged Bull, he transferred to Henry II. These symbols of homage remained in the Vatican till the reign of Henry VIII., when the Pope, reserving to himself the crown, which was of massive gold, sent the harp to that English sovereign. The tyrant, however, placing but little value on the instrument, gave it to the first Earl of Clanricard, in whose family it continued till the beginning of the last century, when it passed in the female line into other custody, and has been ultimately deposited in the museum before mentioned.

instruments known to the ancients, the lyre or harp was the best adapted to accompanying their declamations. Its sharp and decided tone supported the voice without incommoding it; and notwithstanding the extravagant descriptions of the Greek authors, their music probably did not exceed in effect that of recitative of the rudest kind.

The simplicity and uncouth structure of their instruments at once prove the truth of this assertion. But their taste in language, no doubt, was great and refined.*

The fury of the orator, accompanied with the sweep of the lyre, and the soft touches mingled with the melting tones of the lover, produced the wonderful effects which the ancients have so much extolled. Hence arose our bards and their min

* The author was favored with the sight of an ancient lyre, taken out of a tomb at Athens, by Lord Elgin. Though in a mutilated state, and in fifty pieces, the parts could be so put together, as to leave no doubt of its figure and action. The wood was of cedar, and in size similar to that held in the hand of Apollo. Having lain in the earth nearly three thousand years, it was surprising that the woodwork was not at all decayed, though the metallic parts were completely dissolved. It evidently had eight strings, from the number of little rollers which turned upon the cross bar, as seen in figure 7, Burney's History of Music. On each roller there was a small projecting peg, upon which the string was looped; then, by turning the roller, it was raised in pitch, and the mode of fixing it was by slipping the end of the roller (which was notched) upon a fastened piece of wood of corresponding shape. By a method so clumsy, it was impossible to put the instrument into tune, according to our notions of accuracy; and we need not be long in determining, that the ears of the performers were as rude as the instruments upon which they played.

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