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diff --git a/old/66519-h/66519-h.htm b/old/66519-h/66519-h.htm deleted file mode 100644 index 0011365..0000000 --- a/old/66519-h/66519-h.htm +++ /dev/null @@ -1,5008 +0,0 @@ -<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" - "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> -<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> - <head> - <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> - <meta http-equiv="Content-Style-Type" content="text/css" /> - <title> - The Project Gutenberg eBook of The Power of Music, by A Variety. - </title> - <link rel="coverpage" href="images/cover.jpg" /> - <style type="text/css"> - -body { - margin-left: 10%; - margin-right: 10%; -} - -h1 -{ - margin-top: 2em; margin-bottom: 2em; - text-align: center; - font-size: x-large; - font-weight: normal; - line-height: 1.6; -} - - h2,h3{ - text-align: center; - clear: both; - } - - h2 {font-size: 1.2em;} - - -.half-title { - margin-top: 2em; margin-bottom: 2em; - text-align: center; - font-size: x-large; - font-weight: normal; - line-height: 1.6; - } - -div.chapter {page-break-before: always;} -h2.nobreak {page-break-before: avoid;} - -/* Paragraphs */ - -p {text-indent: 1em; - margin-top: .75em; - text-align: justify; - margin-bottom: .75em; - } - -.sce {text-align: center; margin-left: 3em;} - -.space-above {margin-top: 6em;} - - -hr { - width: 33%; - margin-top: 2em; - margin-bottom: 2em; - margin-left: 33.5%; - margin-right: 33.5%; - clear: both; -} - - -hr.chap {width: 65%; margin-left: 17.5%; margin-right: 17.5%; margin-top: 4em;} -hr.small {width: 25%; margin-left: 37.5%; margin-right: 37.5%;} -@media print { hr.chap {display: none; visibility: hidden;} } - -ul {font-size: .8em; list-style-type: none; } -ul.index { list-style-type: none; } -li.ifrst { margin-top: 1em; } -li.indx { margin-top: .5em; } - -.pagenum { - position: absolute; - left: 92%; - font-size: smaller; - text-align: right; -} - - -.center {text-align: center;} - -.smcap {font-variant: small-caps;} - -.small {font-size: small;} - -/* Images */ - -img {border: none; max-width: 100%} -.caption {font-size: smaller; font-weight: bold;} - -.figcenter { - margin: auto; - text-align: center; - page-break-inside: avoid; - max-width: 100%; -} - - -/* Footnotes */ - - .footnotes {border: dashed 1px;} - - .footnote { - margin-left: 10%; - margin-right: 10%; - font-size: 0.9em; - } - -.footnote .label { - position: absolute; - right: 84%; - text-align: right; - } - -.fnanchor { - vertical-align: super; - font-size: .8em; - text-decoration: none; - white-space: nowrap - } - - - -/* Poetry */ -.poetry-container {text-align: center;} -.poetry {text-align: left; margin-left: 5%; margin-right: 5%;} -/* uncomment the next line for centered poetry in browsers */ - .poetry {display: inline-block;} -.poetry .stanza {margin: 1em auto;} -.poetry .verse {text-indent: -3em; padding-left: 3em;} -/* large inline blocks don't split well on paged devices */ -@media print { .poetry {display: block;} } -.x-ebookmaker .poetry {display: block;} -.poetry .indent2 {text-indent: -2em;} - - -/* Transcriber's notes */ - -.transnote { - background-color: #E6E6FA; - color: black; - font-size:smaller; - padding:0.5em; - margin-bottom:5em; - font-family:sans-serif, serif; - } - -/* Poetry indents */ -.poetry .indent0 {text-indent: -3em;} -.poetry .indent13 {text-indent: 3.5em;} -.poetry .indent2 {text-indent: -2em;} - -/* Illustration classes */ -.illowp20 {width: 22%;} -.illowp100 {width: 100%;} - - - </style> - </head> -<body> - -<div style='text-align:center; font-size:1.2em; font-weight:bold'>The Project Gutenberg eBook of The Power of Music, by Anonymous</div> - -<div style='display:block; margin:1em 0'> -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online -at <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you -are not located in the United States, you will have to check the laws of the -country where you are located before using this eBook. -</div> - -<p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Title: The Power of Music</p> -<p style='display:block; margin-top:0; margin-bottom:1em; margin-left:2em; text-indent:0;'>In which is shown, by a variety of pleasing and instructive anecdotes, the effects it has on man and animals.</p> - -<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Author: Anonymous</div> - -<div style='display:block; margin:1em 0'>Release Date: October 11, 2021 [eBook #66519]</div> - -<div style='display:block; margin:1em 0'>Language: English</div> - -<div style='display:block; margin:1em 0'>Character set encoding: UTF-8</div> - -<div style='display:block; margin-left:2em; text-indent:-2em'>Produced by: Charlene Taylor, Les Galloway and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive/American Libraries.)</div> - -<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK THE POWER OF MUSIC ***</div> -<hr class="chap" /> - -<div class="transnote"> - -<h3>Transcriber’s Notes</h3> - -<p>Obvious typographical errors have been silently corrected. All other spelling and -punctuation remains unchanged. -</p> - -<p>The cover was prepared by the transcriber and is placed in the public domain.</p> - -<p>The list of contents was provided by the transcriber.</p> - -</div> - -<ul> -<li><a href="#CONVULSIONS_RELIEVED_BY_MUSIC">CONVULSIONS RELIEVED BY MUSIC</a></li> -<li><a href="#RECOVERY_OF_THE_VOICE_BY_MUSIC">RECOVERY OF THE VOICE BY MUSIC.</a></li> -<li><a href="#THE_EFFECT_OF_MUSIC_ON_A_HARE">THE EFFECT OF MUSIC ON A HARE.</a></li> -<li><a href="#THE_POWER_OF_MUSIC_ON_THE">THE POWER OF MUSIC ON THE ELEPHANT.</a></li> -<li><a href="#THE_EFFECT_OF_MUSIC_ON_A_PERSON">THE EFFECT OF MUSIC ON A PERSON WHILE ASLEEP.</a></li> -<li><a href="#CONTRARY_EFFECTS_OF_ITALIAN_AND">CONTRARY EFFECTS OF ITALIAN AND FRENCH MUSIC ON A GREEK LADY.</a></li> -<li><a href="#ANECDOTE_OF_ZAMPERINI">ANECDOTE OF ZAMPERINI.</a></li> -<li><a href="#EFFECTS_OF_MUSIC_ON_MICE_AND">EFFECTS OF MUSIC ON MICE AND SPIDERS.</a></li> -<li><a href="#ANECDOTE_OF_STRADELLA">ANECDOTE OF STRADELLA.</a></li> -<li><a href="#A_MODERN_TIMOTHEUS">A MODERN TIMOTHEUS.</a></li> -<li><a href="#TIMOTHEUS_THE_MELISIAN">TIMOTHEUS THE MELISIAN.</a></li> -<li><a href="#THIRTY_THOUSAND_PERSONS">THIRTY THOUSAND PERSONS SAVED BY THE WONDERFUL EFFECTS OF MUSIC.</a></li> -<li><a href="#PHILIP_V_KING_OF_SPAIN">PHILIP V. KING OF SPAIN.</a></li> -<li><a href="#THE_MUSICAL_PIGEON">THE MUSICAL PIGEON.</a></li> -<li><a href="#THE_MUSICAL_DOG">THE MUSICAL DOG.</a></li> -<li><a href="#THE_EXTRAORDINARY_EFFECTS_OF">THE EXTRAORDINARY EFFECTS OF MUSIC ON A BULL.</a></li> -<li><a href="#THE_DYING_MAN_AND_THE_PIANO">THE DYING MAN AND THE PIANO.</a></li> -<li><a href="#THE_POWER_OF_MUSIC_ON_ANIMALS">THE POWER OF MUSIC ON ANIMALS, IN THE WEST OF ENGLAND.</a></li> -<li><a href="#TWO_INSTANCES">TWO INSTANCES OF THE SURPRISING EFFECTS OF MUSIC</a>, AS RELATED IN THE HISTORY OF THE ROYAL ACADEMY OF SCIENCES, AT PARIS.</li> -<li><a href="#INTERESTING_PARTICULARS_OF">INTERESTING PARTICULARS OF MONSIEUR MOZART.</a></li> -<li><a href="#G_F_HANDEL_ESQ">G. F. HANDEL, ESQ.</a></li> -<li><a href="#TARTINI_AN_ITALIAN_MUSICIAN">TARTINI, AN ITALIAN MUSICIAN.</a></li> -<li><a href="#MR_HANDEL">MR. HANDEL.</a></li> -<li><a href="#FARINELLI_AND_HIS_TAYLOR">FARINELLI AND HIS TAYLOR.</a></li> -<li><a href="#MR_ABELL">MR. ABELL.</a></li> -<li><a href="#HANDEL">HANDEL.</a></li> -<li><a href="#DR_ARNE">DR. ARNE.</a></li> -<li><a href="#JEREMIAH_CLARKE">JEREMIAH CLARKE.</a></li> -<li><a href="#HANDEL_2">HANDEL.</a></li> -<li><a href="#MR_BROWN">MR. BROWN.</a></li> -<li><a href="#LULLI">LULLI.</a></li> -<li><a href="#MADAME_LE_MAUPIN">MADAME LE MAUPIN.</a></li> -<li><a href="#ARCHANGELO_CORELLI">ARCHANGELO CORELLI.</a></li> -<li><a href="#HENRY_PURCELL_ESQ">HENRY PURCELL, ESQ.</a></li> -<li><a href="#THE_QUEEN_OF_SWEDEN">THE QUEEN OF SWEDEN.</a></li> -<li><a href="#THE_ORIGIN_OF_CHANTING_IN">THE ORIGIN OF CHANTING IN CATHEDRALS.</a></li> -<li><a href="#ORIGIN_OF_THE_CELEBRATED_OX_MINUET">ORIGIN OF THE CELEBRATED OX MINUET, BY SIGNOR HAYDN.</a></li> -<li><a href="#MUSICAL_BATTLE">MUSICAL BATTLE.</a></li> -<li><a href="#THE_MEDICINAL_EFFECTS_OF_MUSIC">THE MEDICINAL EFFECTS OF MUSIC.</a></li> -<li><a href="#ODE_TO_MUSIC">ODE TO MUSIC,</a></li> -<li><a href="#THE_MUSICAL_PRODIGY">THE MUSICAL PRODIGY.</a></li> -<li><a href="#MASTER_WILLIAM_CROTCH_THE_MUSICAL">MASTER WILLIAM CROTCH, THE MUSICAL PHENOMENON.</a></li> -<li><a href="#ACCOUNT_OF_MADEMOISELLE">ACCOUNT OF MADEMOISELLE THERESA PARADIS</a>, OF VIENNA, THE CELEBRATED BLIND PERFORMER ON THE PIANO-FORTE.</li> -<li><a href="#THE_LEGEND_OF_ST_CECILIA">THE LEGEND OF ST. CECILIA.</a></li> -<li><a href="#CLINIAS_THE_PYTHAGOREAN">CLINIAS, THE PYTHAGOREAN.</a></li> -<li><a href="#THE_SPARTAN_POET_TYRTOEUS">THE SPARTAN POET TYRTŒUS.</a></li> -<li><a href="#THE_RAGE_OF_THE_EMPEROR_THEODOSIUS">THE RAGE OF THE EMPEROR THEODOSIUS SUBDUED BY MUSIC.</a></li> -<li><a href="#THE_BISHOP_OF_ORLEANS_RESTORED">THE BISHOP OF ORLEANS RESTORED FROM PRISON BY MUSIC.</a></li> -<li><a href="#A_WOMAN_PREVENTED_FROM_STARVING">A WOMAN PREVENTED FROM STARVING HERSELF TO DEATH, BY MUSIC.</a></li> -<li><a href="#REMARKABLE_EFFECTS_OF_A">REMARKABLE EFFECTS OF A SWISS AIR.</a></li> -<li><a href="#THE_DENMARK_MUSICIAN">THE DENMARK MUSICIAN.</a></li> -<li><a href="#WONDERFUL_POWER_OF_MUSIC_ON_MADAME">WONDERFUL POWER OF MUSIC ON MADAME DE LA MARCH.</a></li> -<li><a href="#A_RHODIAN_MUSICIANS_REPLY_TO">A RHODIAN MUSICIAN’S REPLY TO APOLLONIUS.</a></li> -<li><a href="#EXTRAORDINARY_EFFECTS_OF_MUSIC">EXTRAORDINARY EFFECTS OF MUSIC ON SNAKES AND SERPENTS.</a></li> -<li><a href="#THE_DANCING_SNAKES">THE DANCING SNAKES.</a></li> -<li><a href="#CURIOUS_CONTEST">CURIOUS CONTEST ABOUT THE ERECTION</a> OF THE CELEBRATED ORGAN IN THE TEMPLE CHURCH, LONDON.</li> -<li><a href="#QUEEN_MARY_AND_MR_PURCELL">QUEEN MARY AND MR. PURCELL.</a></li> -<li><a href="#THE_HIGHLAND_CHARGING_TUNE">THE HIGHLAND CHARGING TUNE.</a></li> -<li><a href="#EFFECTS_OF_FOREIGN_MUSIC_ON_DIFFERENT">EFFECTS OF FOREIGN MUSIC ON DIFFERENT ANIMALS.</a></li> -<li><a href="#EFFECT_OF_MUSIC_ON_LIZARDS">EFFECT OF MUSIC ON LIZARDS.</a></li> -<li><a href="#MUSICAL_ANECDOTE_FROM_MARVILLE">MUSICAL ANECDOTE FROM MARVILLE.</a></li> -<li><a href="#ACCOUNT_OF_THE_RECITATION_OF_THE">ACCOUNT OF THE RECITATION OF THE BOATMEN OF VENICE.</a></li> -<li><a href="#INDEX">INDEX.</a></li> -</ul> - - - - -<p class="half-title">THE<br /> - -POWER OF MUSIC,<br /> - -<i>&c. &c.</i></p> - - - - -<p class="center space-above small"> -PRINTED BY J. SWAN,<br /> -76, FLEET STREET, LONDON.</p> - - -<hr class="chap x-ebookmaker-drop" /> - - -<div class="figcenter illowp100" id="frontis" style="max-width: 75em;"> - <img src="images/frontis.jpg" alt="" /> - <div class="caption"><i>The Ox Minuet.</i> <i>Page 97.</i><br /> -<i>Published Dec. 1-1813, by J. Harris, corner of S<sup>t.</sup> Paul’s Church Yd.</i>] -</div></div> - -<hr class="chap x-ebookmaker-drop" /> - -<h1> -<small>THE</small><br /> - -POWER OF MUSIC.</h1> - -<p class="center"><small>IN WHICH IS SHOWN</small>,<br /> -<br /> -<small>BY A VARIETY</small><br /> -<br /> -<i>OF PLEASING AND INSTRUCTIVE</i><br /> -<br /> -ANECDOTES,<br /> -<br /> -<small>THE EFFECTS IT HAS ON</small><br /> -<br /> -Man and Animals.</p> - -<div class="figcenter illowp20" id="titlepag" style="max-width: 6.25em;"> - <img src="images/titlepag.jpg" alt="Pulisher’s device" /> -</div> - -<p class="center"> -<i>LONDON</i>:<br /> -<br /> -<small>PRINTED FOR J. HARRIS,</small><br /> -<br /> -<small>CORNER OF ST. PAUL’S CHURCH-YARD.</small><br /> -<br /> -<small>1814.</small></p> - - -<hr class="chap x-ebookmaker-drop" /> - -<p><span class="pagenum" id="Page_5">[Pg 5]</span></p> - -<div class="chapter"> -<p class="half-title">THE<br /> -POWER OF MUSIC,<br /> -<i>&c. &c.</i></p> - - <hr class="small" /> - -<h2 class="nobreak" id="CONVULSIONS_RELIEVED_BY_MUSIC">CONVULSIONS RELIEVED BY MUSIC</h2> -</div> - - -<p>The following extraordinary instance -of the effects of music, is related by -M. Menuret.</p> - -<p>“An unmarried lady, about thirty -years of age, in consequence of violent -grief in her youth, experienced various -derangements in the natural functions, -and was afterwards attacked by convulsions, -which, at first, returned every -month, and in the sequel, became -more frequent. Medicines of every -kind seemed only to aggravate the disorder;<span class="pagenum" id="Page_6">[Pg 6]</span> -the fits recurred, not only every -day, but several times a day, and were -marked by an involuntary agitation of the -limbs, by their rigidity, gnashing of the -teeth without foam, and insensibility, -Their duration was unequal: sometimes -a quarter of an hour, but more frequently -several hours; and concluded by an -abundant discharge of tears. No expedient -could be devised for her relief -during these fits, nor did any remedy -appear capable of preventing them, or -of diminishing their violence, or their -frequency: the most affectionate attention, -travelling, diversions, amusements, -were equally ineffectual.—Among -the means that were tried on -this occasion, was, fortunately, a concert, -during which the young patient -seemed highly delighted, and uncom<span class="pagenum" id="Page_7">[Pg 7]</span>monly -well: she not only remained free -from any convulsive fit while it lasted, -but it afterwards returned later than -usual. This method was repeated with -the same result. The medical men by -whom she was attended, availed themselves -of the intervals of composure -which it produced, to have recourse to -other remedies. Long experience demonstrated -their inutility; and repeated -trials having proved the exclusive -efficacy of music, her father, being obliged -to return into the country, where -he resided, engaged a musician to accompany -and live with him. The soft -melody of the violin or the piano forte, -skilfully adapted to the taste and state -of the patient, and often repeated, frequently -prevents the convulsive fits, or -abates their violence. This treatment,<span class="pagenum" id="Page_8">[Pg 8]</span> -which has been solely employed for -the last three years, has been attended -with such success, that all the functions -are restored to their natural state; -and, for a year, the attacks are rare, -and so slight, that the shortness of -their duration does not always render -it necessary to have recourse to the -agreeable specific.”</p> - -<p class="sce"> -<i>Monthly Magazine</i>, <i>Vol.</i> xxii. <i>p.</i> 65.<br /> -</p> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="RECOVERY_OF_THE_VOICE_BY_MUSIC">RECOVERY OF THE VOICE BY MUSIC.</h2> -</div> - - -<p>“In the beginning of December, -1801, Elizabeth Sellers, a scholar in the -Girls’ Charity School, at Sheffield, -aged 13, lost her voice: so that she -was unable to express herself on any -occasion, otherwise than by a whisper.<span class="pagenum" id="Page_9">[Pg 9]</span> -She, however, enjoyed very good -health, and went through several employments -of the school, such as knitting, -sewing, spinning, on the high and -low wheel, &c. without <i>any indulgence</i>. -Read audibly she could not; and her -infirmity resisted, without intermission, -all medical assistance, till, in the evening -of the 20th of March, 1803, she, -hearing some of her schoolfellows singing -a hymn, in which she wished to -join, went up to one Sarah Milner, and -whisperingly begged that she would -shout down her throat. Milner, at -first, was shocked at the proposal, and -refused to comply with her request. -But, at length, through her repeated -solicitations, she consented, and shouted -down her throat with all her might; -upon which Sellers immediately regain<span class="pagenum" id="Page_10">[Pg 10]</span>ed -her voice, and, to the astonishment -of the whole school, wept and sung, -as if she had been almost in a state of -derangement, and has continued in -possession of her voice ever since.”</p> - -<p class="sce"> -<i>Gentleman’s Magazine</i>, 1803, p. 524.<br /> -</p> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="THE_EFFECT_OF_MUSIC_ON_A_HARE">THE EFFECT OF MUSIC ON A HARE.</h2> -</div> - - -<p>The following anecdote was communicated, -some years since, by Mr. -James Tatlow, of Wiegate, near Manchester, -who had it from those who -were witnesses of the fact.</p> - -<p>“One Sunday evening, five choristers -were walking on the banks of the -river Mersey, in Cheshire, after some -time, they sat down on the grass, and -began to sing an anthem. The field<span class="pagenum" id="Page_11">[Pg 11]</span> -in which they sat, was terminated, at -one extremity, by a wood, out of which, -as they were singing, they observed a -hare to pass with great swiftness towards -the place where they were sitting, -and to stop at about twenty yards -distance from them. She appeared -highly delighted with the music, often -turning up the side of her head to listen -with more facility.</p> - -<p>“As soon as the harmonious sound -was over, the hare returned slowly towards -the wood; when she had reached -nearly the end of the field, they began -the same piece again; at which -the hare stopped, turned about, and -came swiftly back again, to about the -same distance as before, where she -seemed to listen with rapture and delight, -till they had finished the anthem,<span class="pagenum" id="Page_12">[Pg 12]</span> -when she returned again, by a slow -pace, up the field, and entered the -wood.—The harmony of the choristers, -no doubt, drew the hare from her seat -in the wood.”</p> - -<p class="sce"> -<i>Eastcott’s Sketches of the Origin and<br /> -Effects of Music.</i><br /> -</p> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="THE_POWER_OF_MUSIC_ON_THE">THE POWER OF MUSIC ON THE -ELEPHANT.</h2> -</div> - - -<p>“At Paris, some curious experiments -have been lately made on the power of -music, over the sensibility of the elephant. -A band of music went to play -in a gallery, extending round the upper -part of the stalls, in which were -kept two elephants, distinguished by -the names <i>Margaret</i> and <i>Hans</i>. A<span class="pagenum" id="Page_13">[Pg 13]</span> -perfect silence was procured; some -provisions, of which they were very -fond, were given them to engage their -attention, and the musicians began to -play. The music no sooner struck -their ears, than they ceased from eating, -and turned, in surprise, to observe -whence the sounds proceeded. At the -sight of the gallery, the orchestra, and -the assembled spectators, they discovered -considerable alarm, as though they -imagined there was some design against -their safety. But the music soon overpowered -their fears, and all other emotions -became completely absorbed in -their attention to it. Music, of a bold -and wild expression, excited in them -turbulent agitations, expressive, either -of violent joy, or of rising fury. A soft -air, performed on the bassoon, evident<span class="pagenum" id="Page_14">[Pg 14]</span>ly -soothed them to gentle and tender -emotions. A gay and lively air moved -them, especially the female, to demonstrations -of highly sportive sensibility. -Other variations of the music produced -corresponding changes in the emotions -of the elephants.”</p> - -<p class="sce"> -<i>Bingley’s Animal Biography.</i><br /> -</p> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="THE_EFFECT_OF_MUSIC_ON_A_PERSON">THE EFFECT OF MUSIC ON A PERSON -WHILE ASLEEP.</h2> -</div> - - -<p>Dr. Burney, in his Present State of -Music, relates the following story.</p> - -<p>“Among the anecdotes,” says he, -“relative to the strange effects of music, -which were given to me by Lord -Marshal, he told me of a Highlander, -who always cried, upon hearing a cer<span class="pagenum" id="Page_15">[Pg 15]</span>tain -slow Scots tune, played upon the -bagpipe. General G. whose servant -he was, stole into his room one night, -when he was fast asleep, and playing -the same tune to him very softly, on -the German flute, the fellow, without -waking, cried like a child.”</p> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="CONTRARY_EFFECTS_OF_ITALIAN_AND">CONTRARY EFFECTS OF ITALIAN AND -FRENCH MUSIC ON A GREEK LADY.</h2> -</div> - - -<p>“A young Greek lady being brought -from her own country, to Paris, some -years since, was, soon after her arrival -in that city, carried to the opera by -some French ladies, supposing, as she -had never heard any European music, -that she would be in raptures at it; but, -contrary to these expectations, she de<span class="pagenum" id="Page_16">[Pg 16]</span>clared, -that the singing only reminded -her of the hideous howlings of the Calmuc -Tartars; and, as to the machinery, -which it was thought would afford her -great amusement, she declared her dislike -of many parts of it, and was particularly -scandalized, by what she called, -the impious and wicked imitation -of God’s thunder. Soon after this experiment, -she went to Venice, where -another trial was made upon her uncorrupted -ears, at an Italian opera, in -which the famous Gizziello sung; at -whose performance she was quite dissolved -in pleasure, and was ever after -passionately fond of Italian music.”</p> - -<p class="sce"> -<i>Dr. Burney’s Present State of Music.</i> -</p> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_17">[Pg 17]</span></p> - -<h2 class="nobreak" id="ANECDOTE_OF_ZAMPERINI">ANECDOTE OF ZAMPERINI.</h2> -</div> - - -<p>About the year 1775, Zamperini, one -of the actresses at the opera, returning -from Lisbon by sea, was so terrified by -a storm, that she fell into a state of -stupidity, from which nothing could -relieve her. Upon her arrival at Venice, -among her family, she received -every assistance which medicine could -give, but in vain. She ate, drank, -slept, and performed all the functions -of animal life; but she knew nobody, -took no interest in any thing, and -seemed to be sunk into the most profound -state of unconsciousness. Some -persons recommended that a harpsichord -should be played in her presence: -she was immediately affected; shortly<span class="pagenum" id="Page_18">[Pg 18]</span> -after, she appeared so far sensible, as -to take a part in the music, and even -sung some favourite airs which were -played to her. This was repeated -frequently, during six months, and always -with the same symptoms and the -same effects. At first sight, any one -would have taken her for an idiot: as -soon as the harpsichord was touched -her countenance changed, and, by degrees, -she sang with as much expression -and fire as ever; but, in a moment -after, she relapsed into her former state -of insensibility. Madame Durazzo, -the lady of the imperial ambassador at -Venice, had the curiosity to see her: -she was moved with her situation, took -her to her own house, and by care, medicine, -and <i>above all, by music</i>, had the -satisfaction of seeing her, in two years,<span class="pagenum" id="Page_19">[Pg 19]</span> -completely restored to her original -state of health and rationality: and in -1778, she appeared upon the stage at -Venice, with the greatest success.</p> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="EFFECTS_OF_MUSIC_ON_MICE_AND">EFFECTS OF MUSIC ON MICE AND -SPIDERS.</h2> -</div> - - -<p>An officer of state, being shut up in -the Bastile, obtained permission to carry -with him a lute, on which he was -an excellent performer; but he had -scarcely made use of it, for three or -four days, when the mice, issuing from -their holes, and the spiders, suspending -themselves from the ceiling by their -threads, assembled around him to participate -in his melody. His aversion<span class="pagenum" id="Page_20">[Pg 20]</span> -to these animals, made their visit at -first disagreeable, and induced him to -lay aside this recreation; but he soon -was so accustomed to them, that they -became a source of amusement.</p> - -<p class="sce"> -<i>Dr. Burney’s History of Music.</i> -</p> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="ANECDOTE_OF_STRADELLA">ANECDOTE OF STRADELLA.</h2> -</div> - - -<p>Stradella, the celebrated composer, -having carried off the mistress of a Venetian -musician, and retired with her -to Rome, the Venetian hired three desperadoes -to assassinate him; but, fortunately -for Stradella, they had an ear -sensible to harmony. These assassins, -while waiting for a favourable opportunity -to execute their purpose, entered -the church of <i>St. John de Latran</i>,<span class="pagenum" id="Page_21">[Pg 21]</span> -during the performance of an oratorio, -composed by the person whom they -intended to destroy; and were so affected -by the music, that they abandoned -their design, and even waited -on the musician, to forewarn him of his -danger. With regret we state, that -Stradella, however, was not always so -fortunate; for other assassins, who had -no ear for music, stabbed him some -time after, at Genoa: this event took -place about the year 1670.</p> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="A_MODERN_TIMOTHEUS">A MODERN TIMOTHEUS.</h2> -</div> - - -<p>Modern music has had its Timotheus, -who could excite or calm, at his pleasure, -the most impetuous emotions.—<span class="pagenum" id="Page_22">[Pg 22]</span> -Henry III. King of France, having -given a concert, on occasion of the -marriage of the Duke de Joyeuse, Claudin -le Jeune, a celebrated musician of -that period, executed certain airs, -which had such an effect on a young -nobleman, then present, that he drew -his sword, and challenged every one -near him to combat; but Claudin, -equally prudent as Timotheus, instantly -changed to an air, apparently sub-Phrygian, -which appeased the furious -youth.</p> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="TIMOTHEUS_THE_MELISIAN">TIMOTHEUS THE MELISIAN.</h2> -</div> - - -<p>Timotheus was so excellently skilled -in music, that, one day, when he play<span class="pagenum" id="Page_23">[Pg 23]</span>ed -and sung a song, composed in honour -of Pallas, in the presence of -Alexander the Great, the prince, as -one transported with gallantry and the -martial humour of the air, started up, -and being stirred in every part, called -for his armour, and was going to attack -his guests; when the musician immediately -changed into more sedate and -calmer notes, sounding, as it were, a retreat; -the impetuous prince was calmed, -and sat quiet and still.</p> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="THIRTY_THOUSAND_PERSONS"> -THIRTY THOUSAND PERSONS SAVED -BY THE WONDERFUL EFFECTS OF -MUSIC.</h2> -</div> - - -<p>“Sultan Amurath, having laid siege -to Bagdad, and taken it, ordered thirty<span class="pagenum" id="Page_24">[Pg 24]</span> -thousand Persians to be put to death, -though they had submitted, and laid -down their arms. Amongst these unfortunate -victims, was a musician. He -besought the officer, who had the command -to see the Sultan’s orders executed, -to spare him but for a moment, -and permit him to speak to the Emperor. -The officer indulged him, and, being -brought before the Sultan, he was suffered -to give a specimen of his art. He took -up a kind of psaltry, which resembles a -lyre, and has six strings on each side, -and accompanied it with his voice. He -sung the taking of Bagdad, and the triumph -of Amurath. The pathetic tones -and exulting sounds of the instrument, -together with the alternate plaintiveness -and boldness of his strains, melted -even Amurath; he suffered him to<span class="pagenum" id="Page_25">[Pg 25]</span> -proceed, till, overpowered with harmony, -tears of pity gushed forth, and he -revoked his cruel orders. In consideration -of the musician’s abilities, he -not only ordered those of the prisoners, -who remained alive, to be spared, but -gave them their liberty.”</p> - -<p class="sce"> -<i>Prince Cantimer’s Account of the Transactions<br /> -of the Ottomans.</i> -</p> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="PHILIP_V_KING_OF_SPAIN">PHILIP V. KING OF SPAIN.</h2> -</div> - - -<p>Philip V. King of Spain, being seized -with a total dejection of spirits, which -made him refuse to be shaved, and rendered -him incapable of attending council, -or transacting affairs of state, the -queen, who had, in vain, tried every -common expedient, that was likely to<span class="pagenum" id="Page_26">[Pg 26]</span> -contribute to his recovery, determined -that an experiment should be made of -the effects of music, upon the king, her -husband, who was extremely sensible -to its charms. The celebrated Farinelli -being then at Madrid, of whose extraordinary -performance, an account had -been transmitted from several parts of -Europe, but, particularly from Paris, her -majesty contrived that there should be a -concert in a room adjoining to the king’s -apartment, in which this singer performed -one of his most captivating -songs. Philip appeared, at first, surprised, -then moved; and, at the end of -the second air, made the virtuoso enter -the royal apartment, loading him with -compliments and caresses; asked him -how he could sufficiently reward such -talents; assuring him, that he could re<span class="pagenum" id="Page_27">[Pg 27]</span>fuse -him nothing. Farinelli, previously -instructed, only begged that his majesty -would permit his attendants to -shave and dress him, and that he would -endeavour to appear in council as usual. -From this time, the king’s disease -gave way to medicine; and the singer -had all the honour of the cure, and, -by singing to his majesty every evening, -his favour increased to such a degree, -that he was regarded as first minister.</p> - -<p class="sce"> -<i>Burney’s History of Music.</i> -</p> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="THE_MUSICAL_PIGEON">THE MUSICAL PIGEON.</h2> -</div> - - -<p>Mrs. Piozzy, in her Observations in a -Journey through Italy, relates the following -singular anecdote.</p> - -<p><span class="pagenum" id="Page_28">[Pg 28]</span></p> - -<p>“An odd thing,” says she, “of which -I was this morning a witness, has called -my thoughts away to a curious train -of reflections upon the animal race, -and how far they may be made companionable -and intelligent. The famous -<i>Bertoni</i>, so well known in London, -by his long residence among us, -and, from the undisputed merit of his -compositions, now inhabits this, his native -city; and, being fond of <i>dumb -creatures</i>, as we call them, took for his -companion, a pigeon; one of the few -animals which can live at Venice, -where scarcely any quadrupeds can be -admitted, or would exist with any degree -of comfort to themselves.</p> - -<p>“This creature has, however, by -keeping his master company, obtained -so perfect an ear and taste for music,<span class="pagenum" id="Page_29">[Pg 29]</span> -that no one, who sees his behaviour, -can doubt for a moment of the pleasure -he takes in hearing Mr. Bertoni play -and sing: for, as soon as he sits down -to the instrument, Columbo begins -shaking his wings, perches on the piano -forte, and expresses the most indubitable -motions of delight. If, however, -he, or any one else, strikes a note false, -or makes any kind of discord upon the -keys, the pigeon never fails to show -evident tokens of anger and distress; -and, if teased too long, grows quite enraged; -pecking the offender’s legs and -fingers, in such a manner, as to leave -no doubt of the sincerity of his resentment.”</p> - -<p>Signora Cecilia Guiliani, a scholar -of Bertoni’s, who has received some -overtures from the London Theatres<span class="pagenum" id="Page_30">[Pg 30]</span> -lately, will, if ever she arrives there, bear -testimony to the truth of an assertion -very difficult to believe, and to which -I should hardly myself give credit, were -I not a witness to it every morning -that I choose to call and confirm my -own belief. A friend, present, protested -he should be afraid to touch the -harpsichord before so nice a critic; and, -though we all laughed at the assertion, -Bertoni declared he never knew the -bird’s judgment fail; and that he often -kept him out of the room, for fear of -affronting or tormenting those who -came to take musical instructions.</p> - -<p>“With regard to other actions of life, -I saw nothing particular in the pigeon, -but his tameness and strong attachment -to his master: for, though not unwinged, -and only clipped a little, he never<span class="pagenum" id="Page_31">[Pg 31]</span> -seeks to range way from the house, or -quit his master’s service, any more than -the Dove of Anacreon.</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">While his better lot bestows</div> - <div class="verse indent0">Sweet repast and soft repose;</div> - <div class="verse indent0">And, when feast and frolic tire,</div> - <div class="verse indent0">Drops asleep upon his lyre.”</div> - <div class="verse indent13"><i>Mrs. Piozzy.</i></div> - </div> -</div> -</div> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="THE_MUSICAL_DOG">THE MUSICAL DOG.</h2> -</div> - - -<p>Signor Morelli, the celebrated Opera -singer, has a dog, who, aided by the -well-known comic powers of his master, -is productive of much amusement, -by his attempts to sing, when called -upon in company. On his master’s -summons for that purpose, he seats -himself on the chair left for him, and,<span class="pagenum" id="Page_32">[Pg 32]</span> -with great earnestness, tries to follow -the tones of his master’s voice; plaintively -whining when he hears the high -tones, and growling when the low ones -are sounded. Signor Morelli pretends -to be in raptures, when his singular pupil -performs well; and his gentle reproofs, -when he proceeds to an unmusical -bark, are highly comic and entertaining -to the company.</p> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="THE_EXTRAORDINARY_EFFECTS_OF">THE EXTRAORDINARY EFFECTS OF -MUSIC ON A BULL.</h2> -</div> - - -<p>A few years ago, a man who lived at -Allerton, near Liverpool, by trade a -tailor, but who could occasionally handle -his fiddle, as well as his needle, on<span class="pagenum" id="Page_33">[Pg 33]</span> -his way home, from whence he had -been exercising his musical talents, for -the entertainment of his country neighbours, -in passing through a field, about -three o’clock, in the morning, in the -month of June, he was attacked by a -bull. After several efforts to escape, -he attempted to ascend a tree; not, -however, succeeding in the attempt, a -momentary impulse directed him to -pull out his fiddle, and, fortifying himself -behind the tree as well as he could, -began to play; upon which the enraged -animal became totally disarmed of -his ferocity, and seemed to listen with -great attention. The affrighted tailor, -finding his fierce and formidable enemy -so much appeased, began to think of -making his escape, left off playing, and -was moving forward. This, however,<span class="pagenum" id="Page_34">[Pg 34]</span> -the bull would not suffer, for, no sooner -had the tailor ceased his fascinating -strain, than the bull’s anger appeared -to return with as much rage as before: -he, therefore, was glad to have recourse -a second time to his fiddle, which instantly -operated again, as a magic -charm upon the bull, who became as -composed and attentive as before. He afterwards -made several more attempts to -escape, but all in vain; for no sooner did -he stop his fiddle, than the bull’s anger -returned, so that he was compelled to -keep fiddling away, till near six o’clock, -(about three hours,) when the family -came to fetch home the cows, by which -he was relieved and rescued from a -tiresome labour and frightful situation. -This is, perhaps, the first man upon record, -who may be really said to have<span class="pagenum" id="Page_35">[Pg 35]</span> -fiddled for his life, and, who so truly -fulfilled the poet’s idea, that</p> - -<p> -“Music hath charms to soothe a savage breast.”<br /> -</p> - -<p>It is proper, and farther curious, to -observe, that this man lodged at the -farm-house where the bull was kept; -and that, as he frequently played upon -the fiddle, in an evening, to amuse the -family, he had observed the bull, (who -always attended the cows home to be -milked,) constantly endeavoured to get -as near as possible to that part of the -house where he happened to be playing, -and always appeared to listen, with -the greatest attention, which, fortunately -struck him with the idea of having -recourse to his fiddle, and, in all probability, -preserved his life.</p> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_36">[Pg 36]</span></p> - -<h2 class="nobreak" id="THE_DYING_MAN_AND_THE_PIANO">THE DYING MAN AND THE PIANO.</h2> -</div> - - -<p>Died lately, aged 85, Mr. William -Anthony de Luc. His passion for music -was so predominant, in his latter -days, that a piano forte was placed by -his bedside, on which his daughter -played a great part of the day. The -evening of his death, seeing her father -ready to sink into a slumber, she asked -him, “Shall I play any more?”—“Keep -playing,” said he, “keep playing!”—He -slept, but awoke no more! -Mr. W. A. de Luc had explored many -volcanic countries, whence he had -brought choice specimens of their productions, -in which his cabinet was, perhaps, -the richest in Europe.</p> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_37">[Pg 37]</span></p> - -<h2 class="nobreak" id="THE_POWER_OF_MUSIC_ON_ANIMALS">THE POWER OF MUSIC ON ANIMALS, -IN THE WEST OF ENGLAND.</h2> -</div> - - -<p>The style of driving an ox-team in Devonshire -is remarkable, indeed, cannot -pass unnoticed by a stranger. The -language, though in a great degree -peculiar to the country, does not arrest -the attention, but the tone, or rather -tune, in which it is delivered. It resembles, -with great exactness, the -chantings, or recitative of the cathedral -service. The plowboy chants -the counter-tenor, with unabated ardour, -through the day; the plowman, -throwing in, at intervals, his hoarser -notes. It is understood that this chanting -march, which may sometimes be -heard at a considerable distance, encourages -and animates the team, like<span class="pagenum" id="Page_38">[Pg 38]</span> -the music of a marching army, or the -song of the rowers.</p> - -<hr class="chap x-ebookmaker-drop" /> - - -<div class="chapter"> - - -<h2 class="nobreak" id="TWO_INSTANCES"> -TWO INSTANCES OF THE SURPRISING -EFFECTS OF MUSIC, AS RELATED IN -THE HISTORY OF THE ROYAL ACADEMY -OF SCIENCES, AT PARIS.</h2> -</div> - - -<p>A famous musician, and great composer, -was taken ill of a fever, which -gradually increased, till the 7th day, -when he was seized with a violent delirium, -almost constantly accompanied -by cries, tears, terrors, and a perpetual -watchfulness. The third day of his -delirium, one of those natural instincts, -which makes, as it is said, sick animals -seek out for the herbs that are proper -for their case, set him upon desiring<span class="pagenum" id="Page_39">[Pg 39]</span> -earnestly to hear a little concert in his -chamber. His physician could hardly -be prevailed upon to grant his request. -Some cantatas, however, were sung to -him. On hearing the first modulations, -his countenance became serene, his -eyes sparkled with joy, his convulsions -absolutely ceased, he shed tears of -pleasure, and was then possessed with -a sensibility for music, which he never -had before, nor after his perfect recovery. -He had no fever during the -whole concert, but, when it was over, -he relapsed into his former condition. -The use of a remedy, of which the success -had been so unexpected, and yet -so fortunate, was continued. The fever -and delirium were always suspended -during the concerts, and music was -become so necessary to the patient,<span class="pagenum" id="Page_40">[Pg 40]</span> -that, at night, he obliged a female relation, -who sometimes sat up with him, -to sing, and even to dance, and who, -found some difficulty in gratifying him -in such a point of complaisance. One -night, among others, having none but -his nurse to attend him, who could sing -nothing better than some wretched -country ballads, was obliged to take up -with them, and even appeared satisfied, -and found some benefit from the same. -At length, ten days of music entirely -cured him, without any other assistance, -than being bled in the foot, -which was prescribed for him as necessary. -This account was communicated -to the Academy, by Monsieur Dodart, -who had it well authenticated. -He does not pretend that it may serve -as an example or rule, in all similar<span class="pagenum" id="Page_41">[Pg 41]</span> -cases, but observes, it is curious to notice, -how musical sounds could have -restored the spirits to their natural -course, in a man who had so long been -habituated to music.</p> - -<p>The second instance of the extraordinary -effect of music, is related of a -dancing-master of Alais, in the province -of Languedoc. Being once over -fatigued, in Carnival time, by the exercise -of his profession, he was seized -with a violent fever, and, on the fourth -or fifth day, fell into a lethargy, which -continued upon him for a considerable -time. On recovering out of it, he was -seized with a furious and mute delirium, -wherein he made continual efforts to -jump out of the bed; threatened, with -a shaking of the head, and an angry -countenance, those that hindered him,<span class="pagenum" id="Page_42">[Pg 42]</span> -and even all that were present; and he, -besides, obstinately refused, though -without speaking a word, all the remedies -that were presented to him. One -of the assistants bethought himself, that -music, perhaps, might compose so disordered -an imagination. Accordingly, -he proposed it to his physician, who -did not disapprove the thought, but feared -the ridicule that might take place, -should the patient happen to die during -the performance of such a remedy. A -friend of the dancing-master being present, -who seemed regardless of the physician’s -measures, and who knew how -to play on the violin, seeing the patient’s -hang up in the chamber, laid -hold of it, and played directly to him, -the airs that were most familiar to him. -He was cried out against, as a greater<span class="pagenum" id="Page_43">[Pg 43]</span> -madman than the poor sick prisoner in -bed, and some were going to make him -desist, when the patient immediately -jumped up, and appeared agreeably surprised, -and specified, by the motion of his -head, the pleasure he felt. By degrees, -he appeared so much recovered, that -those who held his arms, being sensible -of the effects the violin had on him, remitted -something of their force in keeping -him down, and at last yielded to -the motions he was desirous to give -them, when, in so doing, they found his -furious fits quite abated. In short, in -a quarter of an hour’s time, the patient -fell into a profound sleep, and shortly -after was perfectly recovered.</p> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_44">[Pg 44]</span></p> - -<h2 class="nobreak" id="INTERESTING_PARTICULARS_OF">INTERESTING PARTICULARS OF -MONSIEUR MOZART.</h2> -</div> - - -<p>“Mozart, the celebrated German -musician, was born at Salzburg, in the -year 1756. His father was also a musician -of some eminence, but not to be -compared with the son, of whom we -have the following account, in one of -the Monthly Miscellanies, taken by Mr. -Busby, from some biographical sketches, -of two eminent German professors.</p> - -<p>“At the age of three years, young -Mozart, attending to the lessons which -his sister, then seven years old, was receiving -at the harpsichord, he became -acquainted with harmony, and when -she had left the instrument, he would -instantly place himself at it, find the -thirds, sound them with the liveliest<span class="pagenum" id="Page_45">[Pg 45]</span> -joy, and employ whole hours at the -exercise. His father, urged by such -early and striking indications of genius, -immediately began to teach him some -little airs; and soon perceived that his -pupil improved even beyond the hopes -he had formed of him. Half an hour -was generally sufficient for his acquiring -a minuet, or a little song, which, -when once learned, he would of himself -perform with taste and expression.</p> - -<p>“At the age of six years, he made -such a progress, as to be able to compose -short pieces for the harpsichord, -which his father was obliged to commit -to paper for him. From that time, -nothing made any impression upon -him but harmony; and infantine amusements -lost all their attractions, unless -music had a share in them. He ad<span class="pagenum" id="Page_46">[Pg 46]</span>vanced -from day to day, not by ordinary -and insensible degrees, but with a -rapidity, which hourly excited new -surprise in his parents—the happy witnesses -of his progress.</p> - -<p>“His father, returning home one -day with a stranger, found little Mozart -with a pen in his hand. “What -are you writing?” said he.—“A concerto -for the harpsichord,” replied the -child. “Let us see it,” rejoined the -father, “it is a marvellous concerto, -without doubt.”—He then took the paper, -and saw nothing at first, but a mass -of notes mingled with blots of ink, by -the mal-address of the young composer, -who, unskilled in the management of -the pen, had dipped it too freely in the -ink; and having blotted and smeared -his paper, had endeavoured to make<span class="pagenum" id="Page_47">[Pg 47]</span> -out his ideas with his fingers; but, on a -closer examination, his father was lost -in wonder, and his eyes, delighted and -flowing with tears, became riveted to -the notes.—“See!” exclaimed he, to -the stranger, “how just and regular it -all is! but it is impossible to play it; it -is too difficult.”—“It is a concerto,” -said the child, “and must be practised -till one can play it. Hear how this -part goes.” He then sat down to perform -it; but was not able to execute -the passages with sufficient fluency, to -do justice to his own ideas. Extraordinary -as his manual facility was universally -allowed to be, for his age, it -did not keep pace with the progress -of his knowledge and invention. Such -an instance of intellectual advancement, -in a child only six years of age, is so<span class="pagenum" id="Page_48">[Pg 48]</span> -far out of the common road of nature, -that we can only contemplate the fact -with astonishment, and acknowledge, -that the possible rapidity of mental -maturation is not to be calculated.</p> - -<p>“In the year 1762, his father took -him and his sister to Munich, where -he performed a concerto before the -elector, which excited the admiration -of the whole court; nor was he less applauded -at Vienna, where the emperor -called him the <i>little sorcerer</i>.</p> - -<p>“His father gave him lessons only on -the harpsichord; but he privately taught -himself the violin; and his command -of the instrument afforded the elder -Mozart the utmost surprise, when he -one day, at a concert, took a second -violin, and acquitted himself with more -than passable address. True genius<span class="pagenum" id="Page_49">[Pg 49]</span> -sees no obstacles. It will not, therefore, -excite our wonder, if his constant -success, in whatever he attempted, begot -an unbounded confidence in his -own powers; he had even the <i>laudable</i> -hardihood to undertake to qualify himself -for the <i>first</i> violin, and did not long -remain short of the necessary proficiency.</p> - -<p>“He had an ear so correct, that he -felt the most minute discordancy; and -such a fondness for study, that it was -frequently necessary to take him by -force from the instrument. This love -of application never diminished. He -every day passed a considerable time -at his harpsichord, and generally practised -till a late hour at night. Another -characteristical trait of real genius, always -full of its object, and lost as it -were in itself.</p> - -<p><span class="pagenum" id="Page_50">[Pg 50]</span></p> - -<p>“It is lamentable that premature -genius too rarely enjoys a long career. -The acceleration of nature in the mental -powers seems to hurry the progress -of the animal economy, and to anticipate -the regular close of temporal existence.</p> - -<p>“In the year 1791, Mozart, just after -he had received the appointment of -<i>Maitre-de-Chapelle</i> of the church of -St. Peter, and when he was only thirty-five -years of age, paid the last tribute, -and left the world at once to admire -the brilliancy, and lament the shortness -of his earthly sojournment.</p> - -<p>“Indefatigable, even to his death, -he produced, during the last few -months of his life, his three great master-pieces, -<i>La Flute Enchantée</i>, <i>La -Clemence de Titus</i>, and a <i>Requiem</i>, his<span class="pagenum" id="Page_51">[Pg 51]</span> -last production. <i>La Flutte Enchantée</i> -was composed for one of the theatres -at Vienna; and no dramatic <i>olio</i> could -ever boast of a greater success. Every -air struck the audience with a new and -sweet surprise; and the <i>tout-ensemble</i> -was calculated to afford the deepest -and most varied impressions. This -piece had, in fact, so great a number -of successive representations, that, for a -long time, it was unnecessary to consult -the opera bill, which only announced -a permanent novelty. And -the airs selected from it, and repeated -throughout the empire, as well in the -cottage as in the palace, and which -the echoes have resounded in the most -distant provinces, favoured the idea, -that Mozart had actually the design to -enchant all Germany with his <i>Flutte -Enchantée</i>.</p> - -<p><span class="pagenum" id="Page_52">[Pg 52]</span></p> - -<p>“<i>La Clemence de Titus</i> was requested -by the states of Bohemia, for the -coronation of Leopold. The composer -began it in his carriage, during his -route to Prague, and finished it in -eighteen days.</p> - -<p>“Some circumstances attending his -last composition, the <i>Requiem</i>, the last -effort of his genius, are too interesting -to be omitted. A short time before his -death, a stranger came to him, with -the request, that he would compose, as -speedily as possible, a <i>Requiem</i> for a -Catholic prince, who, perceiving himself -on the verge of the grave, wished, -by the execution of such a piece, to -sooth his mind, and familiarize it to the -idea of his approaching dissolution. -Mozart undertook the work; and the -stranger deposited with him, as a secu<span class="pagenum" id="Page_53">[Pg 53]</span>rity, -four hundred ducats, though the -sum demanded was only two hundred. -The composer immediately began the -work, and during its progress, felt his -mind unusually raised and agitated. -He became, at length, so infatuated -with his <i>Requiem</i>, that he employed, -not only the day, but some hours of the -night, in its composition. One day, -while he was conversing with Madame -Mozart on the subject, he declared to -her, that he could not but be persuaded -that it was for himself he was writing -this piece. His wife, distressed at her -inability to dissipate so melancholy an -impression, prevailed on him to give -her the <i>score</i>. He afterwards appearing -somewhat tranquillized, and more -master of himself, she returned the -<i>score</i> to him, and he soon relapsed into<span class="pagenum" id="Page_54">[Pg 54]</span> -his former despondency. On the day -of his death, he asked her for the <i>Requiem</i>, -which was accordingly brought -to his bed. “Was I not right,” said -he, “when I declared, that it was for -myself I was composing this funeral -piece?” And the tears trickled from -his eyes. This production, of a man -impressed, during its composition, with -a presentiment of his approaching -death, is <i>unique</i> in its kind, and contains -passages which have frequently -drawn tears from the performers.</p> - -<p>“Only one complaint escaped him -during his malady. ‘I must quit life,’ -said he, ‘precisely at the moment -when I could enjoy it, free from care -and inquietude, at the very time, when -independent of sordid speculations, and -at liberty to follow my own inclina<span class="pagenum" id="Page_55">[Pg 55]</span>tions, -I should have to write from the -impulses of my own heart; and I am -torn from my family, just when in a situation -to serve it.’ Mozart, at the -time of his death, was considerably involved -in debt; but Vienna and Prague -disputed the honour of providing for his -widow and children.”</p> - -<p class="sce"> -<i>Encyclopædia Britannica.</i> -</p> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="G_F_HANDEL_ESQ">G. F. HANDEL, ESQ.</h2> -</div> - - -<p>Handel’s government of the fingers -was somewhat despotic; for, upon Cuzzoni’s -(a famous singer of his time) insolently -refusing to sing his admirable -air, <i>Falsa Imagine</i>, in Otho, he told her, -that he always knew she was a <i>very de<span class="pagenum" id="Page_56">[Pg 56]</span>vil</i>; -but that he should now let <i>her</i> -know, in his turn, that he was <i>Belzebub</i>, -the prince of the devils; and then, -taking her up by the waist, swore, if -she did not <i>immediately</i> obey his orders, -he would throw her out of the window.</p> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="TARTINI_AN_ITALIAN_MUSICIAN">TARTINI, AN ITALIAN MUSICIAN.</h2> -</div> - - -<p>Tartini was a celebrated musician, -born at Pirano, in Istria, and being -much inclined to the study of music in -his early youth, dreamed one night, -that he made a compact with the Devil, -who promised to be at his service -on all occasions: and during this vision, -every thing succeeded according to his -mind: his wishes were prevented, and -his desires always surpassed, by the as<span class="pagenum" id="Page_57">[Pg 57]</span>sistance -of this new servant. At last, -he imagined that he presented the Devil -with his violin, in order to discover -what kind of a musician <i>he</i> was; when, -to his great astonishment, he heard him -play a solo, so singularly beautiful, and -which he executed with such superior -taste and precision, that it surpassed all -the music which he had ever heard or -conceived in his life. So great was his -surprise, and so exquisite was his delight -upon this occasion, that it deprived -him of the power of breathing. He -awoke with the violence of his sensations, -and instantly seized his fiddle, in -hopes of expressing what he had just -heard, but in vain: he, however, then -composed a piece of music, which is, -perhaps, the best of all his works, and -called it, the <i>Devil’s Sonata</i>; but it<span class="pagenum" id="Page_58">[Pg 58]</span> -was so far inferior to what he had produced -in his sleep, that he declared he -would have broken his instrument, and -abandoned music for ever, if he could -have found any other means of subsistence.</p> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="MR_HANDEL">MR. HANDEL.</h2> -</div> - - -<p>When Handel went through Chester, -in his way to Ireland, in 1741, he -applied to Mr. Baker, the organist, to -know whether there were any choirmen -in the cathedral who could sing -<i>at sight</i>, as he wished to prove some -books that had been hastily transcribed, -by trying the chorusses, which he intended -to perform in Ireland. Mr.<span class="pagenum" id="Page_59">[Pg 59]</span> -Baker mentioned some of the most likely -singers then in Chester; and, among -the rest, a printer, of the name of Janson, -who had a good bass voice, and -was one of the best musicians in the -choir. A time was fixed, for the private -rehearsal, at the Golden Falcon, -where Handel was quartered: but, -alas! on trial of the chorusses in the -Messiah, “<i>And with his stripes are we -healed</i>,” poor Janson, after repeated -attempts, failed so egregiously, that -Handel let loose his great bear upon -him; and, after swearing, in four or -five different languages, cried out, in -broken English, “<i>You schauntrel!</i> did -not you tell me <i>dat</i> you could sing at -<i>soite</i>?” ‘Yes, Sir,’ says the printer, -‘and so I can, but not at <i>first sight</i>.’</p> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_60">[Pg 60]</span></p> - -<h2 class="nobreak" id="FARINELLI_AND_HIS_TAYLOR">FARINELLI AND HIS TAYLOR.</h2> -</div> - - -<p>“The following story,” says Dr. Burney, -“was frequently told, and believed -at Madrid, during the first years of -Farinelli’s residence in Spain. This -singer, having ordered a superb suit of -clothes for a <i>gala</i> at court, when the -taylor brought it home, he asked him -for his bill. “I have made no bill, -Sir,” says the taylor, “nor ever shall -make one. Instead of money,” continues -he, “I have a favour to beg. I -know that what I want is inestimable, -and only fit for monarchs; but, since -I have had the honour to work for a -person, of whom every one speaks with -rapture, all the payment I shall ever -require, will be a song.” Farinelli<span class="pagenum" id="Page_61">[Pg 61]</span> -tried in vain, to prevail on the taylor to -take his money. At length, after a -long debate, giving way to the humble -entreaties of the trembling tradesman, -and flattered, perhaps, more by the -singularity of the adventure, than by -all the applause he had hitherto received, -he took him into his music room, -and sung to him some of his most brilliant -airs, taking pleasure in the astonishment -of his ravished hearer; and, -the more he seemed surprised and affected, -the more Farinelli exerted himself, -in every species of excellence. -When he had done, the taylor, overcome -with ecstacy, thanked him in the -most rapturous and grateful manner, -and prepared to retire. “No,” says -Farinelli, “I am a little proud; and, -it is, perhaps, from that circumstance,<span class="pagenum" id="Page_62">[Pg 62]</span> -that I have acquired some small degree -of superiority over other singers; I have -given way to your weakness, it is but -fair, that, in your turn, you should indulge -me in mine;” and, taking out -his purse, he insisted on his receiving a -sum, amounting to nearly double the -worth of the suit of clothes.”</p> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="MR_ABELL">MR. ABELL.</h2> -</div> - - -<p>Mr. John Abell was one of the -Chapel Royal, in the reign of King -Charles II. He was celebrated for a -fine counter-tenor voice, and for his -skill in playing on the lute. The king -admired his singing, and was desirous -of sending him, with the subdean of<span class="pagenum" id="Page_63">[Pg 63]</span> -his chapel, Mr. Gostling, to the Carnival -of Venice, to show the Italians -what good voices were produced in -England: but the latter expressing an -unwillingness to go, the king desisted -from his purpose. Mr. Abell continued -in the chapel till the time of the -Revolution, when he was discharged -in consequence of being a Roman Catholic. -He then went abroad, travelled -through Holland, and acquired -considerable sums of money, by singing -in public, at Hamburgh and other -places. During this period, he lived in -great profusion, and affected the expense -of a man of quality, frequently travelling -in his own equipage, though, at times, -he was so reduced, as to walk through -whole provinces with his lute slung at -his back. Rambling through Poland, he<span class="pagenum" id="Page_64">[Pg 64]</span> -arrived at Warsaw; of which the king having -notice, sent for him to court. This -honour Abell at first declined, on some -frivolous excuse; but, dreading the royal -displeasure, he made an apology, and -attended the king on the following day. -Upon his arrival, he was seated in a -chair in the middle of a great hall, and -immediately drawn up to a considerable -height; soon after, the king appeared -in an opposite gallery, when a -number of wild bears were turned in, -and poor Abell was left to his choice, -either to sing, or be let down among -them. Of these alternatives, it may -seem unnecessary to say, that Abell -preferred the former; and he afterwards -constantly declared that he never sung -so well in all his life.</p> - -<p>About the latter end of Queen<span class="pagenum" id="Page_65">[Pg 65]</span> -Anne’s reign, Abell was at Cambridge, -with his lute, where he met with but -little encouragement. It is uncertain -how long he lived after this period, but -he appears to have required assistance -from his friends for support, though he -preserved the tone of his voice to an -extreme old age.</p> - -<p class="sce"> -<i>Harrison’s Musical Magazine.</i> -</p> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="HANDEL">HANDEL.</h2> -</div> - - -<p>George Frederick Handel, unquestionably -the greatest master of -music the world has ever known, was -born at Halle, in Upper Saxony, on -the 24th of February, 1684. Scarcely -could he speak, before he articulated -musical sounds; and his father, a phy<span class="pagenum" id="Page_66">[Pg 66]</span>sician, -then upwards of sixty, having -destined him for the law, grieved at -the child’s propensity to music, banished -from his house all musical instruments. -But the immortal spark -of genius, which Heaven had kindled -in the infant’s bosom, was not to be extinguished -by the caprice of a mistaken -parent. The child contrived to get a little -clavichord into a garret; where, applying -himself after the family retired -to rest, he soon found means to produce -both melody and harmony.</p> - -<p>Before he was seven, the Duke of -Weisenfels accidentally discovering his -genius, prevailed on the father to cherish -his inclination. He was accordingly -placed with Zackan, organist of -Halle Cathedral; and, for three years, -from the age of nine, composed a new -church-service every week.</p> - -<p><span class="pagenum" id="Page_67">[Pg 67]</span></p> - -<p>In 1698, he went to Berlin; but, -losing his father, he thought he could -best support his aged mother, by repairing -to Hamburgh, where he soon -attracted general notice. Yet this -wonderful musician was a stripling of -fourteen! At this premature age, he -composed Almeria, his first opera.</p> - -<p>Having quitted Hamburgh, he travelled -six years in Italy, where he gave -a new display of his wonderful ability, -and was pensioned by the Elector of -Hanover, afterwards George I.</p> - -<p>In 1710, he came to London, where -his opera of Rinaldo was admired, like -his preceding miracles, and the necessity -of his departure became the subject -of general regret.</p> - -<p>In 1712, he again visited England: -but, seduced by the favour and fortune<span class="pagenum" id="Page_68">[Pg 68]</span> -that overwhelmed him, he forgot to return; -and when, on the death of Queen -Anne, the Elector was called to the -throne, he was afraid to appear at -court, till an ingenious stratagem restored -him to favour.</p> - -<p>Queen Anne’s pension of £200, -was now doubted by George I., and -the nobility having formed an Academy -of Music, under his direction, it flourished -ten years, when a quarrel between -him and Senesino dissolved the -institution, and brought on a contest -which ruined his fortune and his health. -Restored by the baths of Aix la Chapelle, -he determined to chuse sacred -subjects for the future exercise of his -genius. This resolution produced those -noble compositions, his truly divine -Oratorios; which were performed at<span class="pagenum" id="Page_69">[Pg 69]</span> -Covent Garden till his death, in 1759. -He was buried in Westminster Abbey -with suitable pomp; where his genius -has been since commemorated with -little less than divine honours.</p> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="DR_ARNE">DR. ARNE.</h2> -</div> - - -<p>The father of this celebrated composer, -and the still more celebrated Mrs. Cibber, -was an upholder and undertaker -in King Street, Covent Garden, with -whom the doctor, when a young man, -resided.</p> - -<p>At this time, there was a gentleman, -of much celebrity in the musical world, -employed at Drury Lane Theatre.—Many -may still remember Mr. John<span class="pagenum" id="Page_70">[Pg 70]</span> -Hebden, who, for almost half a century, -stood in a corner of the orchestra, and performed -on the bassoon and the bass viol, on -which two instruments he was unrivalled. -He was also of the band of his late, and -a few years of his present, Majesty.</p> - -<p>One Sunday morning he called upon -Tom Arne, to whom he occasionally -gave lessons. He found him in the -undertaker’s shop, practising upon the -violin, his music desk and book placed -upon a coffin.</p> - -<p>Hebden, shocked at this want of -sensibility in his pupil, observed, that -it was impossible for him to practise in -such a situation, as, from the solemn -thoughts which the coffin naturally excited, -he should be impressed with the -idea that it contained a corpse.</p> - -<p>“So it does!” cried Arne: and sho<span class="pagenum" id="Page_71">[Pg 71]</span>ving -back the lid, discovered that this -was a fact.</p> - -<p>Hebden, disgusted at the sight of a -dead body so improperly introduced, -and, perhaps, equally shocked at the -insensibility of his pupil, left the shop -with great precipitation, and never -could be prevailed on to renew his visits -to him, while he remained in that -situation.</p> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="JEREMIAH_CLARKE">JEREMIAH CLARKE.</h2> -</div> - - -<p>Jeremiah Clarke was originally bred -to music, and had his education in the -Chapel Royal, under the celebrated -Dr. Blow, who seems to have had a -paternal affection for him. Early in -life, Clarke was so unfortunate as to<span class="pagenum" id="Page_72">[Pg 72]</span> -conceive a violent and hopeless passion -for a very beautiful and accomplished -lady, of a rank far superior to his own; -and his sufferings, on this account, became -so intolerable to him, that he resolved -to put an end to his existence. -He was at the house of a friend, in -the country, where he took up this fatal -resolution, and suddenly set off for -London. His friend, observing his dejection, -without knowing the cause, -furnished him with a horse, and a servant -to attend him.</p> - -<p>In his way to town, a fit of despair -suddenly seized him, he alighted, and, -giving his horse to the servant, went -into an adjoining field, in the corner of -which was a pond, surrounded with -trees, which pointed out to his choice -two ways of getting rid of life. Hesi<span class="pagenum" id="Page_73">[Pg 73]</span>tating -for some time, which to take, -he at last determined to leave it to -chance, and taking a piece of money -out of his pocket, tossed it up in the -air to decide it. The money, however, -falling on its edge in the clay, seemed -to forbid both ways of destruction; and -it had such an effect upon him, that he -declined it for that time, and, regaining -his horse, rode to town.</p> - -<p>His mind, however, was too much -disordered to receive comfort, or take -any advantage from the above omen: -and, after a few months, worn out in -the utmost dejection of spirits, he shot -himself, in his own house, in St. Paul’s -Church-yard.</p> - -<p>The late Mr. John Reading, organist -of St. Dunstan’s Church, a scholar -of Dr. Blow, and master to the late<span class="pagenum" id="Page_74">[Pg 74]</span> -Mr. Stanley, the well-known blind organist, -who was intimately acquainted -with Clarke, happened to be passing -by the door as the pistol went off; and, -upon entering the house, found his -friend and fellow-student in the agonies -of death.</p> - -<p>This unfortunate man was the original -composer of that beautiful air,</p> - -<p> -“’Tis woman that seduces all mankind.”<br /> -</p> - -<p>and many other, <i>then</i>, popular pieces; -among them was Dryden’s celebrated -Ode on St. Cecilia’s Day, which was -afterwards recomposed by Handel, in -1736.</p> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_75">[Pg 75]</span></p> - -<h2 class="nobreak" id="HANDEL_2">HANDEL.</h2> -</div> - - -<p>One night, while Handel was in Dublin, -Dubourg, having a solo part in a -song, and a close to make at his pleasure, -he wandered about in different -keys a great while, and seemed a little -bewildered, and uncertain of his -original key; but, at length, coming -to the shake which was to terminate -this long close, Handel, to the great -delight of the audience and augmentation -of applause, cried out, loud -enough to be heard in the most remote -part of the theatre, “<i>You are welcome -home</i>, Mr. Dubourg!”</p> - -<p>In 1749, <i>Theodora</i> was so very unfortunately -abandoned, that he was -glad if any professors, who did not<span class="pagenum" id="Page_76">[Pg 76]</span> -perform, would accept of tickets or orders -for admission. Two gentlemen of -that description, now living, having -applied to Handel, after the disgrace -of <i>Theodora</i>, for an order to hear the -<i>Messiah</i>, he cried out, “Oh, your <i>sarvant!</i> -you are <i>tamnaple tainty!</i> you -would not <i>co</i> to <i>Theodora</i>—there was -room enough to <i>tance dere</i> when <i>dat</i> -was <i>perform</i>.”</p> - -<p>Sometimes, however, I have heard -him as pleasantly, as philosophically, -console his friends, when, previous to -the curtain being drawn up, they have -lamented that the house was so empty, -by saying, “<i>Nevre moind, de moosic -vil sound de petter</i>.”</p> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_77">[Pg 77]</span></p> - -<h2 class="nobreak" id="MR_BROWN">MR. BROWN.</h2> -</div> - - -<p>The late Mr. Brown, leader of his Majesty’s -band, used to tell several stories -of <i>Handel’s</i> love of good cheer, liquid -and solid, as well as of his impatience: -of the former he gave an instance, -which was accidentally discovered, at -his own house, in Brook Street, where -Brown, in the Oratorio Season, among -other principal performers, was at dinner. -During the repast, <i>Handel</i> often -cried out——“O, I have de taught, -(thought),” when the company, unwilling -that, out of civility to them, the -public should be robbed of any thing -so valuable as his musical ideas, begged -he would retire and write them -down; with which request, however,<span class="pagenum" id="Page_78">[Pg 78]</span> -he so frequently complied, that, at last, -one of the most suspicious had the -ill-bred curiosity to peep through the -key-hole, into the adjoining room, -where he perceived that <i>dese taughts</i> -were only bestowed on a fresh hamper -of Burgundy, which, as was afterwards -discovered, he had received in a present -from his friend, the late Earl of -Radnor, while his company was regaled -with more generous and spirited -port.</p> - -<p class="sce"> -<i>Burney’s Life of Handel.</i> -</p> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="LULLI">LULLI.</h2> -</div> - - -<p>This fortunate musician, the son of -a peasant in the neighbourhood of -Florence, was born in 1633. He had<span class="pagenum" id="Page_79">[Pg 79]</span> -a few instructions in music from a cordelier. -His first instrument was the -guitar, to which he was always fond of -singing. The Chevalier de Guise -brought him into France, in 1646, as -a present to his sister, Mademoiselle de -Guise, who placed him among the assistants -of her kitchen, where he was -assigned the honourable office of <i>sous -marmiton</i><a id="FNanchor_1" href="#Footnote_1" class="fnanchor">[1]</a>.</p> - -<div class="footnote"> - -<p><a id="Footnote_1" href="#FNanchor_1" class="label">[1]</a> Under scullion.</p> - -</div> - -<p>In his leisure hours, being naturally -fond of music, he used to be scraping -on a miserable violin, to the great annoyance -of his fellow-servants. However, -his disposition for music being discovered, -his patroness had him taught -the violin by a regular master, under -whom he made so rapid a progress,<span class="pagenum" id="Page_80">[Pg 80]</span> -that he was admitted among the violins -of the king’s band; where he distinguished -himself so much, that he was -employed to compose the music for the -court ballads, in which Louis XIV., at -this time very young, used to dance. -But though Lulli approached the royal -presence, early in life, it was by slow -degrees, that he arrived at solid preferment. -In 1652 he was appointed superintendent -or master of the king’s -new band of violins, which, if we may -judge by the business assigned them -afterwards, by Lulli in his operas, was -composed of musicians not likely, by -their abilities, to continue the miraculous -powers ascribed to Orpheus and -Amphion.</p> - -<p>Lulli married the daughter of Lambert, -the celebrated musician and sing<span class="pagenum" id="Page_81">[Pg 81]</span>ing -master of his time, who lived till -the year 1720. Having composed a -<i>Te Deum</i> for the king’s recovery, after -a dangerous illness, in 1687, during the -performance, at the Church of the Feuillans, -in the animation of beating time, -and difficulty in keeping the band together, -by striking his foot, instead of -the floor, with his cane, he occasioned -a contusion, that, from a bad habit of -body, brought on a mortification, which -was soon pronounced to be incurable. -Every expedient that was tried, in order -to stop the progress of the malady, being -ineffectual, he was informed of his situation. -His confessor refusing to give -him absolution, unless he would burn -the opera of <i>Achilles and Polixene</i>, -which he was composing for the stage; -he consented; and this new music was<span class="pagenum" id="Page_82">[Pg 82]</span> -committed to the flames. A few days -after, being a little better, one of the -young princes of Vendome went to see -him. “Why, Baptiste,” says he, -“have you been such a fool as to burn -your new opera, to humour a gloomy -priest?” ‘Hush, hush!’ says Lulli, -‘I have another copy of it.’ However, -a few days after, he was not only -obliged to submit to the will of his confessor, -but of Death himself, who terminated -his existence, March the 22d, -1687, at fifty-four years of age.</p> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="MADAME_LE_MAUPIN">MADAME LE MAUPIN.</h2> -</div> - - -<p>This celebrated lady seems to have -been the most extraordinary personage<span class="pagenum" id="Page_83">[Pg 83]</span> -of all the <i>siren troup</i>, instructed by -Lulli. She was equally fond of both -sexes, fought and loved like a man, -and resisted and fell like a woman. -Her adventures are of a very romantic -kind. Married to a young husband, -who was soon obliged to absent himself -from her, to enter on an office he had -obtained in Provence, she ran away -with a fencing-master, of whom she -learned the small sword, and became -an excellent fencer, which was afterwards -a useful qualification to her, on -several occasions. The lovers first retreated, -from persecution, to Marseilles; -but necessity soon obliged them to solicit -employment there, at the Opera; -and as both had, by nature, good voices, -they were received without difficulty. -But soon after this, she was<span class="pagenum" id="Page_84">[Pg 84]</span> -seized with a passion for a young person -of her own sex, whom she seduced, -but the object of her whimsical affection, -being pursued by her friends and -taken, was thrown into a convent at -Avignon, where Maupin soon followed -her; and having presented herself as a -novice, obtained admission. Some time -after, she set fire to the convent, and, -availing herself of the confusion she -had occasioned, carried off her favourite. -But, being pursued and taken, -she was condemned to the flames for -contumacy: a sentence, however, which -was not executed, as the young <i>Marseillaise</i> -was found, and restored to her -friends. She then went to Paris, and -made her first appearance on the Opera -stage in 1695, when she performed -the part of Pallas, in <i>Cadmus</i>, with the<span class="pagenum" id="Page_85">[Pg 85]</span> -greatest success. The applause was -so violent, that she was obliged, in her -car, to take off her casque to salute and -thank the public, which redoubled their -marks of approbation. From that time, -her success was uninterrupted. Dumeni, -the singer, having affronted her, she -put on men’s clothes, watched for him -in the <i>Place des Victoires</i>, and insisted -on his drawing his sword, and fighting -her, which he refusing, she caned -him, and took from him his watch and -snuff-box. Next day, Dumeni having -boasted at the Opera-house, that he -had defended himself against three -men, who attempted to rob him, she -related the whole story, and produced -his watch and snuff-box, in proof of her -having caned him for his cowardice. -Thevenard was nearly treated in the<span class="pagenum" id="Page_86">[Pg 86]</span> -same manner, and had no other way of -escaping her chastisement, than by -publicly asking her pardon, after hiding -himself at the <i>Palais Royal</i>, during -three weeks. At a ball, given by Monsieur, -the brother of Louis XIV. she -again put on man’s clothes, and having -behaved impertinently to a lady, three -of her friends, supposing her to be a -man, called her out. She might easily -have avoided the combat, by discovering -her sex, but she instantly drew, -and killed them all three. Afterwards, -returning very coolly to the ball, she -told the story to Monsieur, who obtained -her pardon. After other adventures, -she went to Brussels, and there became -the mistress of the Elector of Bavaria. -This prince, quitting her for the Countess -of Arcos, sent her by the count,<span class="pagenum" id="Page_87">[Pg 87]</span> -the husband of that lady, a purse of -40,000 livres, with an order to quit -Brussels. This extraordinary heroine -threw the purse at the count’s head, -telling him it was a recompense worthy -of such a scoundrel and—— as himself. -After this, she returned to -the Opera stage, which she quitted in -1705. Being at length seized with a -fit of devotion, she recalled her husband, -who had remained in Provence, -and passed with him the last years of -her life, in a very pious manner, dying -in 1707, at the age of thirty-four.</p> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="ARCHANGELO_CORELLI">ARCHANGELO CORELLI.</h2> -</div> - - -<p>That this celebrated composer was a -man of humour and pleasantry may be<span class="pagenum" id="Page_88">[Pg 88]</span> -inferred from the following story, related -by Walther, in his account of Nicholas -Adam Strunck, violinist to Ernestus -Augustus, Elector of Hanover. -This person being at Rome, upon his -arrival, made it his business to see Corelli: -upon their first interview, Strunck -gave him to understand that he was a -musician. “What is your instrument?” -asked Corelli. “I can play,” answered -Strunck, “upon the harpsichord, -and a little on the violin; and should -esteem myself extremely happy, might -I hear your performance on this latter -instrument, on which, I am informed, -you excel,” Corelli very politely condescended -to this request of a stranger. -He played a solo, Strunck accompanied -him on the harpsichord, and afterwards -played a foccata, with which<span class="pagenum" id="Page_89">[Pg 89]</span> -Corelli was so much taken, that he laid -down his instrument to admire him. -When Strunck had done at the harpsichord, -he took up the violin, and began -to touch it in a very careless manner; -upon which Corelli remarked, that he -had a good bow-hand, and wanted nothing -but practice to become a master -of the instrument. At this instant, -Strunck put the violin out of tune; and, -applying it to its place, played on it with -such dexterity, attempering the dissonances -occasioned by the mistuning of the -instrument with such amazing skill and -dexterity, that Corelli cried out, in broken -German, “I am called <i>Arcangelo</i>, -a name that, in the language of my country, -signifies an <i>Archangel</i>; but let me -tell you, that <i>you</i>, Sir, are an <i>arch-devil</i>.”</p> - -<p class="sce"> -<i>Sir John Hawkins’s History of Music.</i> -</p> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_90">[Pg 90]</span></p> - -<h2 class="nobreak" id="HENRY_PURCELL_ESQ">HENRY PURCELL, ESQ.</h2> -</div> - - -<p>Mr. Purcell received his professional -education in the school of a choir; it is -therefore not very surprising, that the -bent of his studies was towards church -music. Services he seemed to neglect, -and to addict himself to the composition -of anthems, a kind of music which, -in his time, the church stood greatly in -need of.</p> - -<p>The anthem, “<i>They that go down -to the sea in ships</i>,” was composed by -him, on the following extraordinary -occasion.</p> - -<p>“King Charles II. had given orders -for building a yatch, which, as soon as -it was finished, he named the Fubbs, -in honour of the Duchess of Ports<span class="pagenum" id="Page_91">[Pg 91]</span>mouth; -who, we may suppose, was, in -her person, rather full and plump. Soon -after the vessel was launched, the king -made a party, to sail in his yatch down -the river, and round the Kentish coast: -and, to keep up the mirth and good -humour of the company, Mr. Gostling, -was requested to be of the number. -They had got as far as the North Foreland, -when a violent storm arose, in -which the King and the Duke of -York were necessitated, in order to -preserve the vessel, to hand the sails, -and work like common seamen; by -good providence, however, they escaped -to land: but the distress they -had been in, made such an impression on -the mind of Mr. Gostling as could never -be effaced. Struck with a just sense -of the deliverance, and the horror of<span class="pagenum" id="Page_92">[Pg 92]</span> -the scene which he had lately viewed, -upon his return to London, he selected -from the Psalms those passages which -declare the wonders and terrors of the -deep, and gave them to Mr. Purcell, -to compose as an anthem, which he -did; adapting it so peculiarly to the -compass of Mr. Gostling’s voice, which -was a deep bass, that hardly any person -but himself was then, or has since, -been able to sing it: but the king did -not live to hear it performed. This -Anthem is taken from the 107th Psalm, -the first two verses of the Anthem are -the 23d and 24th of the Psalm. “They -that go down to the sea in ships, and -occupy business in great waters. These -men see the works of the Lord, and his -wonders in the deep.”</p> - -<p>Among the Letters of Tom Brown,<span class="pagenum" id="Page_93">[Pg 93]</span> -from the Dead to the Living, is one -from Dr. Blow, to Mr. Purcell, in which -it is humourously observed, that persons -of their profession are subject to an -equal attraction of the church and the -play-house; and are, therefore, in a situation -resembling that of Mahomet, which -is said to be suspended between heaven -and earth. This remark of Brown -was truly applicable to Purcell; and it -is more than probable, his particular -situation gave occasion to it, for he -was scarcely known to the world, before -he became, in the exercise of his -profession, so equally divided between -both, the church and the theatre, that -neither the church, the tragic, nor the -comic Muse, could call him her own.</p> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_94">[Pg 94]</span></p> - -<h2 class="nobreak" id="THE_QUEEN_OF_SWEDEN">THE QUEEN OF SWEDEN.</h2> -</div> - - -<p>In the extracts from the Duchess of -Orlean’s Letters, we find, that Queen -Christina, of Sweden, (who was as peculiar -in her night dress, as in almost -every thing else, and who, instead of a -night-cap, made use of an uncouth -linen wrapper,) having spent a restless -day in bed, ordered a band of Italian -musicians, from the opera, to approach -near to her curtains, which were close -drawn, and strive to amuse her. After -some time, the voice of one of the performers -striking her with singular pleasure, -she suddenly thrust her homely, -stern, ill-dressed head from behind the -curtains, exclaiming loudly, “<i>Mort -Diable! comme il chante bien!</i>” (Death<span class="pagenum" id="Page_95">[Pg 95]</span> -and the Devil! how well he sings!) -The poor Italians, not used to such -rough applause, from a figure so hideous, -were unable to proceed, from -the terror which they felt, and the -whole concert was at a stand for several -minutes.</p> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="THE_ORIGIN_OF_CHANTING_IN">THE ORIGIN OF CHANTING IN -CATHEDRALS.</h2> -</div> - - -<p>St. Austin, who was originally a -monk at Rome, and was sent about the -year 596, by Gregory I. at the head -of forty other monks, to convert the -English to Christianity, was the first -who introduced chanting in the Divine -Service, which is still continued in our<span class="pagenum" id="Page_96">[Pg 96]</span> -cathedrals. His desire was to induce -converts; and he strove, not only by -argument, to effect his object, but by -every other laudable means he could -devise; hence he endeavoured, as much -as possible, to render the Divine Service -interesting, as well as instructive. -This practice of chanting, or singing, -made rapid increases. Our Saxon forefathers -were so enthusiastically fond of -it, that one continued strain was kept -up night and day, by a succession of -priests; even their penances could be -redeemed by the singing of a certain -number of Psalms, or by a frequent repetition -of the Lord’s Prayer. He was -very successful in his endeavours, and, -among others, King Ethelbert himself -became a convert. St. Austin resided -principally at <i>Durovernum</i>, (Canterbury,) -and died May 26, 607.</p> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_97">[Pg 97]</span></p> - -<h2 class="nobreak" id="ORIGIN_OF_THE_CELEBRATED_OX_MINUET">ORIGIN OF THE CELEBRATED OX MINUET, -BY SIGNOR HAYDN.</h2> -</div> - - -<p>Haydn saw with surprise a butcher -call upon him one day, who being as -sensible to the charms of his works as -any other person, said freely to him, -“Sir, I know you are both good and -obliging, therefore I address myself to -you with full confidence;—you excel -in all kinds of composition; you are -the first of composers: but I am particularly -fond of your minuets. I stand -in need of one, that is pretty, and quite -new, for my daughter’s wedding, which -is to take place in a few days, and I -cannot address myself better than to -the famous Haydn.”—Haydn, always -full of kindness, smiled at this new ho<span class="pagenum" id="Page_98">[Pg 98]</span>mage, -and promised it to him on the -following day. The amateur returned -at the appointed time, and received -with joyful gratitude the precious gift. -Shortly after, the sound of instruments -struck Haydn’s ear.—He listened, and -thought he recollected his new minuet. -He went to his window, from whence -he saw a superb Ox, with gilded horns, -adorned with festoons and garlands, and -surrounded by an ambulating orchestra, -stopping under his balcony. Haydn -was roused from his reverie by the butcher, -who made his appearance in his -apartment, and again expressed his -sentiments of admiration, and concluded -his speech, by saying, “Dear Sir, I -thought that a butcher could not express -his gratitude for so beautiful a -minuet better than by offering you the<span class="pagenum" id="Page_99">[Pg 99]</span> -finest Ox in his possession.”—Haydn -refused—the butcher entreated, till at -length Haydn, affected at the butcher’s -frank generosity, accepted the present, -and from that moment the minuet was -known throughout Vienna by the -name of the Ox Minuet, and has lately -been introduced as a musical curiosity -in England.</p> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="MUSICAL_BATTLE">MUSICAL BATTLE.</h2> -</div> - - -<p>On Monday evening, June 2, 1783, one -of the most extraordinary attempts to -prove the power of music, that ever yet -has been made in this kingdom, was -exhibited, in the style, and under the -title of a concert, at the Assembly<span class="pagenum" id="Page_100">[Pg 100]</span> -room, King Street, St. James’s, Westminster.</p> - -<p>The idea was that of representing -the martial music, din, and horrors of -an embattled army, so that the tones -of the different instruments should -cause the ear to believe a reality of the -action, whilst the eye was convinced of -the inimitable deception.</p> - -<p>The entertainment commenced with -a grand overture, composed for two orchestras, -and divided into <i>allegro</i>, <i>andante</i>, -and <i>presto</i> parts, as a prologue -to the battle.</p> - -<p>The call to arms followed; and several -random cannon and musket shots, -interchanged between the two orchestras, -were so distinctly imitated in -music, that we were led to imagine the -actual presence of the bursting pow<span class="pagenum" id="Page_101">[Pg 101]</span>der, -and the real noise of the whistling -ball. These gradually increased, as the -armies were supposed to near their distance, -until an <i>allegro moderato</i> gave -the thunder of the artillery, the regular -fire of the platoons, the press from one -army on the redoubt of the other, the -final attack upon the first line with -musketry, and then carrying the redoubt -by storm. Here followed a representation -of a tempest, attended -with thunder and lightning, which afforded -a temporary rest to the two orchestran -armies.</p> - -<p>A recitative, with accompaniments, -expressed a council of war, after which -the signal was given for the cavalry of -the conquering army to attack; then, -a most perfect and harmonious imitation -of the galloping and trotting of<span class="pagenum" id="Page_102">[Pg 102]</span> -the horses, the discharge of the carbines -and pistols, and the clashing of -swords, followed.</p> - -<p>Here the supposition of a defeat -gave further scope to the inventive faculties -of the designer, and proved the -executive powers of the band to imitate -the total rout of the conquered -army, the sound of the retreat, the signal -to pursue, with the bustle, noise, -and clamour, naturally attending, until -the victorious troops beat a halt, in -consequence of the brave resistance of -that division, which covered the retreat -of the vanquished army.</p> - -<p>The straggling shots in the pursuit -conveyed a most beautiful harmony in -the corresponding music from one orchestra -to the other; which, with the -plaintive tones of the wounded, and<span class="pagenum" id="Page_103">[Pg 103]</span> -the lamentations of the expiring soldier, -so naturally expressed, had a most -powerful effect on the auditors.</p> - -<p>The whole concluded with a lively -and spirited allegory, three times repeated -by the victors, in which was introduced -a <i>feu de joye</i>, imitating artillery -and musketry.</p> - -<p>The invention, we understand, is -due to Mr. Kloeffler, a professor of -music, and musical director to the -reigning Prince Bentheim, Steinfurth, -&c., and the bands were under the direction -of Messrs. Cramer and Solomon.</p> - -<p>There were upwards of three hundred -persons present, mostly of the first -rank, among whom were the foreign -ambassadors. The company expressed -the highest satisfaction, and retired -perfectly delighted with their evening’s -entertainment.</p> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_104">[Pg 104]</span></p> - -<h2 class="nobreak" id="THE_MEDICINAL_EFFECTS_OF_MUSIC">THE MEDICINAL EFFECTS OF MUSIC.</h2> -</div> - - -<p>The medicinal effects attributed to -music are so numerous, and some of -them so well authenticated, that to -reject them totally would be to deny -credibility to many respectable historians, -philosophers, and physicians. -Martinus Capella assures us, that fevers -were removed by song, and that Asclepiades -cured deafness by the sound of -the trumpet. Plutarch says, that Thetales, -the Cretan, delivered the Lacedemonians -from the pestilence, by the -sweetness of his lyre. Many of the -Ancients speak of music as a receipt -for every kind of malady. M. Buretti, -an eminent physician, who made the music -of the ancients his particular study,<span class="pagenum" id="Page_105">[Pg 105]</span> -thinks it not only possible, but even probable, -that music, by repeated strokes -and vibrations given to the nerves, fibres, -and animal spirits, may sometimes -alleviate the sufferings of epileptics and -lunatics, and even overcome the most -violent paroxysms of those disorders.—Buretti -is by no means singular in his -opinion, for many modern philosophers -and physicians, as well as ancient poets -and historians, have declared that they -had no doubt, but that music has the -power, not only of influencing the -mind, but of affecting the nervous system, -in such a manner, as will, in certain -diseases, proceed by slow degrees, -from giving temporary relief, to effecting -a perfect cure. In the Memoirs -of the Academy of Sciences, for 1707, -and the following year, are recorded<span class="pagenum" id="Page_106">[Pg 106]</span> -many accounts of diseases, which, having -obstinately resisted all the remedies -prescribed by the most able of the -faculty, at last submitted to the powerful -impression of harmony. M. de -Marian, in the Memoirs of the same -academy, speaking of the medicinal -powers of music, says, that it is from -the mechanical involuntary connection -between the organs of hearing and the -consonances excited in the outward air, -joined to the rapid communication of -the vibrations of these organs, to the -whole nervous system, that we owe the -cure of spasmodic disorders, and of fevers, -attended with a delirium and convulsions, -of which the Memoirs give -many examples. Dr. Bianchina, professor -of physic at Udina, who has -searched numerous ancient authors,<span class="pagenum" id="Page_107">[Pg 107]</span> -and collected all the passages relative -to the medicinal application of music -by Asclepiades, says, that it was considered -by the Egyptians, Grecians, -and Romans, as a remedy both in -acute and chronical disorders; and he -adds, that he himself had seen it applied, -in several cases, with great effect.</p> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="ODE_TO_MUSIC">ODE TO MUSIC,<br /> - - -<small>BY THE LATE DR. WHARTON.</small></h2></div> - - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">Queen of ev’ry moving measure,</div> - <div class="verse indent0">Sweetest source of purest pleasure,</div> - <div class="verse indent0">Music; why thy pow’rs employ,</div> - <div class="verse indent0">Only for the sons of joy?</div> - <div class="verse indent0">Only for the smiling guests,</div> - <div class="verse indent0">At natal or at nuptial feasts;</div><span class="pagenum" id="Page_108">[Pg 108]</span> - </div> - <div class="stanza"> - <div class="verse indent0">Rather thy lenient numbers pour</div> - <div class="verse indent0">On those whom secret griefs devour;</div> - <div class="verse indent0">Bid be still the throbbing hearts</div> - <div class="verse indent0">Of those, whom death or absence parts;</div> - <div class="verse indent0">And, with some softly whisper’d air,</div> - <div class="verse indent0">Oh! smooth the brow of dumb despair.</div> - </div> -</div> -</div> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="THE_MUSICAL_PRODIGY">THE MUSICAL PRODIGY.</h2> -</div> - - -<p>In the public prints for February, -1807, appeared the following account -of an infant musician.</p> - -<p>“Miss Randles, who astonishes the -world with her wonderful performance -on the piano-forte, was born at Wrexham, -in Denbeighshire, North Wales, -in August, 1799. Her father (an organist, -and the celebrated lyrist, mentioned -by Miss Seward, in her beauti<span class="pagenum" id="Page_109">[Pg 109]</span>ful -poem, called Llangollen Vale,) was -deprived of his sight by the smallpox, -at the age of three years. When Miss -Randles was but sixteen months old, -she discovered her wonderful talents, -by going to the piano-forte, and instinctively -playing, “God save the -King” and the “Blue Bells of Scotland;” -her father was astonished, and -endeavoured, by signs, (for she could -not yet speak,) to make her repeat the -tunes, which she did. He then sung -another simple air, “Charley o’er the -water,” which her ear caught, and she -played it instantly. Mr. Randles then -put her left hand upon the corresponding -bass note, and, as well as he could -make her understand, told her that she -should strike that note, while she played -the melody with her right hand;<span class="pagenum" id="Page_110">[Pg 110]</span> -she found this grateful to her ear, and, -in a short time, played a great many -little tunes; and, at the age of two -years, could tell the name of any note -on the instrument, when it was struck, -though she was in another room. Her -father, of course, was very proud of his -little Cecilian, and composed several -variations to favourite airs, which she -no sooner heard than played, with both -hands, correctly. She continued to -improve daily; and, in June, 1803, had -the honour of performing under the -patronage of his Royal Highness the -Prince of Wales, before their Majesties, -and all the royal family. His -Majesty made her a present of a hundred -guineas. She performed at Cumberland -Gardens, and there were about -five hundred of the first people of rank<span class="pagenum" id="Page_111">[Pg 111]</span> -and distinction in the kingdom present, -who were no less astonished than delighted, -at her truly great execution and expression. -In 1805, she was taught her -notes, and, in a very short time, could -play several of Pleyel’s, Desseck’s, and -Clementi’s Sonatas in a surprising manner.</p> - -<p>“Towards the latter end of 1805, -she and her father took a tour through -the north of England, and received the -greatest encouragement and applause. -Fearing that her health might suffer -from too much fatigue, Mr. Randles -returned home, and, in September -last, set off towards Buxton, &c. Since -that time, this fascinating infant has -performed at most of the principal -places in the kingdom; and has passed, -with additional honour and fame, the<span class="pagenum" id="Page_112">[Pg 112]</span> -criticism of Bath, where she has been -performing with universal applause, -accompanied by her father on the -harp, and her uncle, Mr. Parry, who -plays duets and trios, on flageolets, -which altogether form a truly novel and -interesting little band. They are now -on their way to the west of England, -where they intend giving concerts.</p> - -<p>Miss Randles now plays the most -scientific compositions, at sight, and -sings delightfully. The only motive -her father has, in taking her about, is -to procure the means to give her the -best education. She is to appear once -more in the metropolis under illustrious -patronage. Her age is now seven -years and six months.”</p> - -<p class="sce"> -<i>Taunton, February 9, 1807.</i> -</p> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_113">[Pg 113]</span></p> - -<h2 class="nobreak" id="MASTER_WILLIAM_CROTCH_THE_MUSICAL">MASTER WILLIAM CROTCH, THE MUSICAL -PHENOMENON.</h2> -</div> - - -<p>This very extraordinary child, who now -(in June 1779,) daily attracts the notice -and attention not only of persons of the -first distinction, but of all lovers of natural -genius, is the son of Michael and -Isabella Crotch: he was born at Norwich, -on the 5th of July 1775. His father -being an ingenious carpenter, built -an organ for his own amusement; and -it was owing to this incidental circumstance -that the musical talents of his -little son William were discovered so -early: they might have lain dormant -for years, if Mrs. Lullman, who teaches -music at Norwich with great reputation, -and was intimately acquainted<span class="pagenum" id="Page_114">[Pg 114]</span> -with his parents, had not played upon -this organ, and accompanied it with -her voice before the child.</p> - -<p>One evening in particular, about the -beginning of August 1777, he sat in -his mother’s lap while Mrs. Lullman -played and sung a considerable time. -After that lady was gone, the child -cried, and was remarkably fractious: -his mother attributed it to a pin, or -some inward pain; she undressed him, -and endeavoured to find out the cause, -but in vain: however, as she was carrying -him to bed, she passed near the organ, -and he stretched out his little -hands towards it: upon which Mrs. -Crotch set him down to the keys, and -he instantly struck them, seemingly in -great ecstasy: he played a few minutes; -but imagining it to be only the<span class="pagenum" id="Page_115">[Pg 115]</span> -humour of an infant, she paid no regard -to his manner of touching the instrument, -and he was soon put to bed, -to all appearance perfectly satisfied.</p> - -<p>The next morning, after breakfast, -while Mrs. Crotch was gone to market, -his father, willing to indulge his -own curiosity, put the child to the organ, -and was astonished to hear him -play great part of the tunes of <i>God -save the King</i>, and <i>Let Ambition fire thy -Mind</i>. The first Mr. Crotch had attempted -several times in the child’s -hearing, but was not perfect in it. -The last, Mrs. Lullman had performed -in his presence. Upon his mother’s return, -this surprising event being related -to her, she could hardly credit it: -but <i>Billy</i> did not keep her long in suspence, -and Mrs. Crotch communica<span class="pagenum" id="Page_116">[Pg 116]</span>ting -the intelligence to their friends, -she was advised to let him play according -to his own fancy, whenever he expressed -a desire for it.</p> - -<p>He was now two years and three -weeks old, and, from this time, all persons -who had any taste for music, and -all the performers in Norwich, resorted -to the house: he played almost every -day, and acquired more tunes; and, -in the midst of performing them, would -strike out little airs of his own in harmony; -for it is remarkable, that he -never plays discord, neither will he -bear it in others, without expressing -disgust.</p> - -<p>He performed before full assemblies at -different places and at sundry times, at -Norwich, till the beginning of November, -when he was carried, by his mo<span class="pagenum" id="Page_117">[Pg 117]</span>ther, -to Cambridge, where he played -on all the College and church organs, -to the astonishment of the gentlemen -of the University.</p> - -<p>About the middle of December, he -arrived in London, but no public exhibition -was made of his performance, -till they had been heard by their Majesties, -to whom he and his mother -were presented, by Lady Hertford, at -the Queen’s Palace, on the 7th of February, -when he played on the organ -in the presence of their Majesties and -the Royal Family, who were graciously -pleased to express their approbation.</p> - -<p>On the 13th of the same month they -waited on their Royal Highnesses, the -Duke and Duchess of Gloucester, and -performed to their entire satisfaction.<span class="pagenum" id="Page_118">[Pg 118]</span> -On the 26th he played on the organ -of the chapel royal of St. James’s, after -morning service was over, their Majesties -being present.</p> - -<p>From this time he has continued -playing every day, between the hours -of one and three, in public, at Mrs. -Hart’s, milliner, in Piccadilly, opposite -Dover Street.</p> - -<p>Master William Crotch is now three -years and nine months old: is a lively, -active child, has a pleasing countenance, -rather handsome, having fine -blue eyes and flaxen hair. A large -organ is placed about the centre of the -room, against the wainscot: it is raised -upon a stage about two feet from the -floor, and a semicircular iron rod is fixed -so as to secure him in his seat, and -separates him from the company. An<span class="pagenum" id="Page_119">[Pg 119]</span> -arm chair is placed upon this stage, -and in it a common, very small matted -chair, which his mother fastens behind -with a handkerchief to the other, that -he may not fall out, for he is wanton -and full of tricks, in the short intervals -from playing. A book is placed before -him, as if it was a music book, and -strangers in a distant part of the room -may mistake it for such; but it is no -more than a magazine, or some other -pamphlet, with an engraved frontispiece: -this, he looks at, and amuses -himself with the figures in the plate, -while he is playing any tune, or striking -into his own harmony. In short -he laughers, prattles, and looks about at -the company, at the same time keeping -his little hands employed on the -keys, and playing with so much un<span class="pagenum" id="Page_120">[Pg 120]</span>concern, -that you would be tempted -to think he did not know what he was -doing.</p> - -<p>He appears to be fondest of solemn -tunes, and church music, particularly -the 104th Psalm. As soon as he has -finished a regular tune, or part of a tune, -or played some little fancy notes of his -own, he stops, and has the pranks of a -wanton boy: some of the company -then generally give him a cake, an apple, -or an orange, to induce him to play -again; but it is nine to one, if he plays -the tune you desire, unless you touch -the pride of his little heart, by telling -him he has forget such a tune, or he -cannot play it: this seldom fails of producing -the effect, and he is sure to -play it with additional spirit.</p> - -<p>After playing more than an hour,<span class="pagenum" id="Page_121">[Pg 121]</span> -he desired to be taken down, and to -have a piece of chalk. He then entertained -himself, and the company, -with drawing the outlines of a grotesque -head on the floor: his mother said it -resembled an old grenadier he had seen -in the park that morning. He seems -to have strong imitative powers; and, -as every trivial incident of such a child -ought to be noticed, the following instance -of an apt idea, uncommon to -his age, is mentioned, as it struck the -writer.</p> - -<p>A lady gave him a remarkable large -orange: after looking at it a moment, -with admiration, “Ah! (says he,) this -is a double orange.” Some have reported -that he is humoursome: it is -true, he will not always continue playing -on in a regular manner during the<span class="pagenum" id="Page_122">[Pg 122]</span> -time allotted for company to see him; -nor can it be expected, he is not of an -age to be reasoned with, and humanity -forbids compulsion: it is, in fact, rather -surprising that he can be brought -to play everyday, without growing tired, -and disappointing the company.</p> - -<p>We forgot to observe, that if any person -plays a tune he never heard, with -the right hand on his organ, he will -put a bass to it with his left hand. He -will also name every note that is struck -on an organ, or any other instrument, -and always knows if any person plays -out of tune.</p> - -<p class="sce"> -<i>Literary Miscellany, for June, 1779.</i> -</p> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<h2 class="nobreak" id="ACCOUNT_OF_MADEMOISELLE"> -ACCOUNT OF MADEMOISELLE THERESA -PARADIS, OF VIENNA, THE CELEBRATED -BLIND PERFORMER ON THE -PIANO-FORTE.</h2> -</div> - - -<p>The following account of this wonder<span class="pagenum" id="Page_123">[Pg 123]</span>ful -woman appeared in one of the periodical -papers for March, 1785.</p> - -<p>“This young person, equally distinguished -by her talents and misfortunes, -is the daughter of M. Paradis, secretary -to his Imperial Majesty, in the -Bohemian department, and god-daughter -to the Empress Queen.</p> - -<p>“At the age of two years and eight -months, she was suddenly deprived of -sight, by a paralytic stroke, or palsy -in the optic nerves.</p> - -<p>“At seven years old, she began to -listen with great attention to the music -she had heard in the church, which -suggested to her parents, the idea of -having her taught to play on the piano-forte, -and soon after to sing. In three -or four years time, she was able to accompany -herself on the organ, in the<span class="pagenum" id="Page_124">[Pg 124]</span> -<i>Stabat Mater</i> of Pergolesi, of which she -sung the first <i>soprano</i>, or upper part, -in the church of St. Augustin, at Vienna, -in the presence of the Empress -Queen; who was so touched with her -performance and misfortune, that she -settled a pension on her for life.</p> - -<p>“After learning of several masters -at Vienna, she pursued her musical -studies under the care of Kozeluch, -who has composed many admirable -lessons and concertos, on purpose for -her use, which she plays with the utmost -neatness and expression.</p> - -<p>“At the age of thirteen, she was -placed under the care of the celebrated -empyric, Dr. Mesmer, who undertook -to cure every species of disease by Animal -Magnetism. He called her disorder -a perfect <i>gutta serena</i>, and pretended, af<span class="pagenum" id="Page_125">[Pg 125]</span>ter -she had been placed in his house, as -a boarder, for several months, that she -was perfectly cured; yet, refusing to let -her parents take her away, or even visit -her, after some time; till, by the advice -of the Barons Stoerk and Wenzel, -Dr. Ingenhous, Professor Barth, the -celebrated anatomist, and by the express -order of her late Imperial Majesty, -she was taken out of his hands by -force; when it was found, that she -could see no more than when she was -first admitted as Mesmer’s patient. -However, he had the diabolical malignity -to assert, that she could see very -well, and only pretended blindness, to -preserve the pension granted to her by -the Empress Queen; and, since the -decease of this princess, the pension of -Madame Paradis has been withdrawn,<span class="pagenum" id="Page_126">[Pg 126]</span> -indiscriminately with all other pensions -granted by her Imperial Majesty.</p> - -<p>“Last year Madame Paradis quitted -Vienna, in order to travel, accompanied -by her mother, who treats her -with extreme tenderness, and is a very -amiable and interesting character. After -visiting the principal courts and -cities of Germany, where her talents -and misfortunes procured her great attention -and patronage, she arrived at -Paris early last summer, and remained -there five or six months; and likewise -received every possible mark of approbation -and regard in that capital, both -for her musical abilities and innocent -and engaging disposition.</p> - -<p>“When she arrived in England, the -beginning of this winter, she brought -letters from persons of the first rank to<span class="pagenum" id="Page_127">[Pg 127]</span> -her Majesty, the Prince of Wales, the -Imperial Minister, Count Kaganeck, -Lord Stormont, and other powerful patrons, -as well as to the principal musical -professors in London. Messrs. -Cramer, Abel, Solomon, and other -eminent German musicians, have interested -themselves very much in her -welfare; not only as their country-woman -bereaved of sight, but as an admirable -performer.”</p> - -<p>She has been at Windsor, to present -her letters to the Queen, and has had -the honour of playing there to their -Majesties, who were extremely satisfied -with her performance; and treated -her with that condescension and kindness, -which all those who are so happy -as to be admitted into the presence of -our gracious sovereigns, in moments of<span class="pagenum" id="Page_128">[Pg 128]</span> -domestic privacy experience, even when -less entitled to it, by merit and misfortunes, -than Madame Paradis. Her -Majesty was not only graciously pleased -to promise to patronize and hear -her frequently again, in the course of -the winter, but to afford her all the -protection in her power: as did his -Royal Highness the Prince of Wales, -to whom she has since performed, at a -grand concert at Carlton-house, to the -entire satisfaction and wonder of all -who heard her.</p> - -<p>Besides her musical talents, which -are indisputable, for neatness, precision, -and expression, particularly in the great -variety of admirable pieces she executes -of her master’s, Kozeluch, Mademoiselle -Paradis has been extremely -well educated, and is very ingenious<span class="pagenum" id="Page_129">[Pg 129]</span> -and accomplished: as she is able, almost -as quick as if she could write, to -express her thoughts on paper, with -printing types. She understands geography -by means of maps, prepared for -her use, in which she can find and -point out any province or remarkable -city in the world; and is likewise able, -by means of tables, formed in the manner -of draught boards, to calculate -with ease and rapidity any sums, or -numbers, in the first five rules of arithmetic. -She is likewise said to distinguish -many colours and coins by the -touch: plays at cards, when prepared -for her, by private marks, unknown to -the company; and, in her musical studies, -her memory and quickness are -wonderful; as she learns, in general, -the most difficult pieces for keyed in<span class="pagenum" id="Page_130">[Pg 130]</span>struments, -however full and complicated -the parts, by hearing them played -only on a violin: and, since her arrival -in this kingdom, she has been enabled, -in this manner, to learn to perform some -of Handel’s most elaborate and difficult -organ fugues and movements, in his -first book of lessons, as well as his Coronation -Anthem, and more popular -compositions.</p> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="THE_LEGEND_OF_ST_CECILIA">THE LEGEND OF ST. CECILIA.</h2> -</div> - - -<p>As this celebrated patroness of music -has given rise to some of the most beautiful -poetic productions in our language, -the Legend of the said lady, -not being generally known, the following -particulars of her life and martyrdom, -it is presumed, will prove highly -acceptable to our readers.</p> - -<p><span class="pagenum" id="Page_131">[Pg 131]</span></p> - -<p>“St. Cecilia, among Christians, is -esteemed the patroness of music: for -the reasons whereof, we must refer to -her history, as delivered by the notaries -of the Roman church, and from them -transcribed into the Golden Legend, -and other books of the like kind. The -story says, that she was a Roman lady, -born of noble parents, about the year -225; that, notwithstanding she had -been converted to Christianity, her parents -married her to a young Roman -nobleman, named Valerianus, a Pagan, -who, going to bed to her on the wedding -night, (<i>as the custom is, says the -book</i>) was given to understand by his -spouse, that she was nightly visited by -an angel, and that he must forbear to -approach her, otherwise the angel -would destroy him. Valerianus, some<span class="pagenum" id="Page_132">[Pg 132]</span>what -troubled at these words, desired -that he might see his rival, the angel; -but his spouse told him that was impossible, -unless he would be baptised, and -become a Christian, which he consented -to. After which, returning to his wife, -he found her in her closet, at prayer; -and by her side, in the shape of a beautiful -young man, the angel clothed -with brightness. After some conversation -with the angel, Valerianus told -him, that he had a brother, named Tiburtius, -whom he greatly wished to see -a partaker of the grace, which he himself -had received: the angel told him, -that his desire was granted, and that -shortly they should be both crowned -with martyrdom. Upon this the angel -vanished, but soon after showed -himself as good as his word. Tiburtius<span class="pagenum" id="Page_133">[Pg 133]</span> -was converted, and both he and his -brother Valerianus were beheaded. Cecilia -was offered her life, upon condition, -that she would sacrifice to the -deities of the Romans, but she refused; -upon which, she was thrown into a -cauldron of boiling water, and scalded -to death: though others say, she was -stifled in a dry bath, i. e. an inclosure -from whence the air was excluded, having -a slow fire underneath it; which -kind of death was sometimes inflicted, -among the Romans, upon women of -quality who were criminals.</p> - -<p>“Upon the spot where her house -stood, is a church, said to have been -built by Pope Urban I. who administered -baptism to her husband and his -brother; it is the church of St. Cecilia, -in Trastevere. Within is a most cu<span class="pagenum" id="Page_134">[Pg 134]</span>rious -painting of the saint, as also a -most stately monument, with a cumbent -statue of her, with her face downwards.</p> - -<p>“St. Cecilia is usually painted playing -either on the organ, or on the harp, -singing as Chaucer relates, thus,</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">“And whiles that the organs made melodie,</div> - <div class="verse indent2">To God alone thus in her heart sung she,</div> - <div class="verse indent0">O Lorde my soul, and eke my bodie gie</div> - <div class="verse indent2">Unwemmed, lest I confounded be<a id="FNanchor_2" href="#Footnote_2" class="fnanchor">[2]</a>.”</div> - </div> -</div> -</div> - -<div class="footnote"> - -<p><a id="Footnote_2" href="#FNanchor_2" class="label">[2]</a> See the second Nonne’s Tale, in Chaucer; -the Golden Legend, printed by Caxton; and the -Lives of Saints, by Peter Ribadeneyra, a priest -of the Society of Jesus, printed at St. Omers, in -1699.</p> - -</div> - -<p>“Besides this account, there is a -tradition of St. Cecilia, that she excelled -in music, and that the angel, who -was thus enamoured of her, was drawn<span class="pagenum" id="Page_135">[Pg 135]</span> -down from the celestial mansions, by -the charms of her melody: this has -been deemed authority sufficient for -making her the patroness of music and -musicians.</p> - -<p>“The lovers of music, residing in this -metropolis, had a solemn annual meeting, -at Stationers’ Hall, on the 22d day -of November, being the anniversary of -the martyrdom of St. Cecilia, from the -rebuilding of that edifice after the fire -of London. These performances, being -intended to celebrate the memory of -the tutelar saint and patroness of music, -had every possible advantage that -the times afforded, to recommend them. -Not only the most eminent masters in -the science contributed their performance, -but the gentlemen of the King’s -Chapel, and of the choirs of St. Paul’s<span class="pagenum" id="Page_136">[Pg 136]</span> -and Westminster, lent their assistance, -and the festival was announced in the -London Gazette.</p> - -<p>“For the celebration of this solemnity, -Purcell composed his <i>Te Deum</i> and -<i>Jubilate</i>; and Dr. Blow also composed -a musical entertainment for the same -anniversary, the following year.</p> - -<p>“The Legend of St. Cecilia has given -frequent occasion to painters and -sculptors to exercise their genius in representations -of her playing on the organ, -and sometimes on the harp. Raphael -has painted her singing, with a -regal in her hands; and Dominichino -and Mignard singing and playing on -the harp. And, in the vault under the -choir of St. Paul’s Cathedral, against -one of the middle columns, on the south -side, is a fine white marble monument,<span class="pagenum" id="Page_137">[Pg 137]</span> -for Miss Wren, the daughter of Sir -Christopher Wren, wherein the young -lady is represented, on a <i>bass relief</i>, -the work of Bird, in the character of -St. Cecilia, playing on the organ, a boy -angel sustaining her book, under which -is the following inscription:</p> - -<p>“Here lies the body of Mrs. Jane -Wren, only daughter of Sir Christopher -Wren, Knight, by Dame Jane, his -wife, daughter of William Lord Fitz-William, -Baron of Lifford, in the Kingdom -of Ireland. Ob. 29th Dec. 1702, -ætat. 26.”</p> - -<p class="sce"> -<i>From Sir John Hawkins.</i> -</p> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="CLINIAS_THE_PYTHAGOREAN">CLINIAS, THE PYTHAGOREAN.</h2> -</div> - - -<p>“This philosopher was a person very -different, both in his life and manners,<span class="pagenum" id="Page_138">[Pg 138]</span> -from other men. If it chanced at any -time that he was inflamed with anger, -he would take his harp, play upon, and -sing to it; saying, as often as he was -asked the cause of his so doing, ‘That -by this means he found himself reduced -to the temper of his former mildness.’”</p> - -<p class="sce"> -<i>Treasury of Ancient and Modern Times.</i> -</p> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="THE_SPARTAN_POET_TYRTOEUS">THE SPARTAN POET TYRTŒUS.</h2> -</div> - - -<p>Tyrtœus, the Spartan poet, having -first rehearsed his verses, and afterwards -made them to be sung with flutes, well -tuned together, he so stirred and inflamed -the courage of the soldiers -thereby, that, whereas, they had before -been overcome in divers conflicts, being -then transported with the fury of the -Muses, they remained conquerors, and<span class="pagenum" id="Page_139">[Pg 139]</span> -cut in pieces the whole army of the -Messinians.</p> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="THE_RAGE_OF_THE_EMPEROR_THEODOSIUS">THE RAGE OF THE EMPEROR THEODOSIUS -SUBDUED BY MUSIC.</h2> -</div> - - -<p>At such time as the tyrant Eugenius -raised that perilous war in the East, -and that money grew short with the -Emperor Theodosius, he determined to -raise subsidies, and to gather, from all -parts, more than before he had ever -done: the citizens of Antioch bore this -exaction with so ill a will, that, after -they had uttered many outrageous -words against the Emperor, they pulled -down his statues, and those also of -the Empress, his wife. A while after, -when the heat of their fury was past, -they began to repent themselves of<span class="pagenum" id="Page_140">[Pg 140]</span> -their folly, and considered into what -danger they had cast themselves and -their city. Then did they curse their -rashness, confess their fault, implore -the goodness of God, and that with -tears, “That it would please him to -calm the Emperor’s heart.” These -supplications and prayers were solemnly -sung with sorrowful tunes, and lamenting -voices. Their bishop, Flavianus, -employed himself valiantly, in -this needful time, in behalf of the city, -made a journey to Theodosius, and -did his utmost to appease him: but -finding himself rejected, and knowing -that the Emperor was devising some -grievous punishment; and, on the other -side, not having the boldness to speak -again, and yet much troubled in his -thoughts because of his people, there<span class="pagenum" id="Page_141">[Pg 141]</span> -came this device into his head. At -such time as the Emperor sat at meat, -certain young boys were wont to sing -musically unto him. Flavianus wrought -so, that he obtained of those that had -the charge of the boys, that they would -suffer them to sing the supplications -and prayers of the city of Antioch. -Theodosius, listening to that grave -music, was so moved with it, and so -touched with compassion, that having -the cup in his hand, he, with his warm -tears, watered the wine that was in it, -and forgetting all his conceived displeasure -against the Antiochians, freely -pardoned them and their city.</p> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="THE_BISHOP_OF_ORLEANS_RESTORED">THE BISHOP OF ORLEANS RESTORED -FROM PRISON BY MUSIC.</h2> -</div> - - -<p>The sons of Ludovicus I. then Empe<span class="pagenum" id="Page_142">[Pg 142]</span>ror, -had conspired against him, and -amongst divers of the bishops that were -confederate with them, was Theodulphus, -Bishop of Orleans, whom the -Emperor clapped up in prison in Anjou. -In this place, the Emperor kept -his Easter, and was present at the procession -on Palm Sunday, in imitation -and honour of Christ’s entrance into -Jerusalem. All the pomp was passing -by the place where Theodolphus was -under restraint; the Bishop, in sight of -that solemnity, had prepared a most -elegant hymn in honour of that procession; -and, as the Emperor passed by, -opening his casement, with a clear and -musical voice he sung it, so as to be -heard of the multitude that passed by: -the Emperor enquired, “What voice -that was, and who that sung?” It was<span class="pagenum" id="Page_143">[Pg 143]</span> -told him, “The captive Bishop of Orleans.” -The Emperor diligently attending -both the purport of the verses and -the sweetness of the voice, was therewith -so delighted, that he restored the -prisoner forthwith to his liberty.</p> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="A_WOMAN_PREVENTED_FROM_STARVING">A WOMAN PREVENTED FROM STARVING -HERSELF TO DEATH, BY MUSIC.</h2> -</div> - - -<p>Among the many anecdotes related of -persons whose lives have been preserved -by music, is the following.</p> - -<p>“A woman, being attacked for several -months with the vapours, and -confined to her apartment, had resolved -to starve herself to death. She was, -however, prevailed on, but not without -difficulty, to see a representation of the -<i>Servo Padrona</i> (a musical piece so call<span class="pagenum" id="Page_144">[Pg 144]</span>ed.) -At the conclusion of which she -found herself almost cured; and, renouncing -her melancholy resolution, -was entirely restored to health by a few -more representations of the same kind.”</p> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="REMARKABLE_EFFECTS_OF_A">REMARKABLE EFFECTS OF A -SWISS AIR.</h2> -</div> - - -<p>There is a celebrated air in Switzerland, -called, <i>Rans des Vaches</i>, which -had such an extraordinary effect on -the Swiss troops in the French service, -that they always fell into a deep melancholy -when they heard it. Louis -XIV. therefore forbade it ever to be -played in France, under the pain of a -severe penalty.</p> - -<p>We are told also of a Scotch air -(<i>Lochaber no more</i>) which had a similar -effect on the natives of Scotland.</p> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_145">[Pg 145]</span></p> - -<h2 class="nobreak" id="THE_DENMARK_MUSICIAN">THE DENMARK MUSICIAN.</h2> -</div> - - -<p>There was a musician, formerly in -Denmark, that so excelled in the art -of music, that he used to boast, that he -could, with his performance, set his -hearers beside themselves, or make -them merry, pensive, or furious, as he -pleased. This he performed upon trial -at the command of Ericus II. surnamed -the Good, King of Denmark.</p> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="WONDERFUL_POWER_OF_MUSIC_ON_MADAME">WONDERFUL POWER OF MUSIC ON MADAME -DE LA MARCH.</h2> -</div> - - -<p>Madame de la March, a young lady -of beauty and virtue, (near to Garet,) -upon report of her husband’s inconstancy, -fell into such a fury, that, on -the sudden, she would throw herself into -the fire, or out at the window, or<span class="pagenum" id="Page_146">[Pg 146]</span> -into a fish-pond, near her house, out of -which she had been twice rescued: but -was afterwards more diligently watched. -The physicians attended her to no -purpose, notwithstanding all their endeavours; -but a Capuchin passing that -way to crave alms, and hearing what -had befallen her, advised that some -skilful and experienced performer on -the lute should be sent for, and continue -to play by her, day and night, -as occasion might require. This was -accordingly done, and, in less than -three months, the violent passion forsook -her, and she remained, ever after, -sound both in body and mind.</p> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="A_RHODIAN_MUSICIANS_REPLY_TO">A RHODIAN MUSICIAN’S REPLY TO -APOLLONIUS.</h2> -</div> - - -<p>When Apollonius was inquisitive of<span class="pagenum" id="Page_147">[Pg 147]</span> -Canus, a Rhodian musician, “What -he could do with his instrument?” He -told him, ‘that he could make a melancholy -man merry, and him that was -merry, much merrier than he was before: -a lover more enamoured, and a -religious man more devout, and more -attentive to the worship of the gods.</p> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="EXTRAORDINARY_EFFECTS_OF_MUSIC">EXTRAORDINARY EFFECTS OF MUSIC -ON SNAKES AND SERPENTS.</h2> -</div> - - -<p>In the month of July, 1791, (says an -eminent historian,) we were travelling -in Upper Canada, with several families -of savages, belonging to the nation of -the Onontagues. One day, when we -had halted in a spacious plain on the -bank of the river Genesse, a rattlesnake -entered our encampment.—<span class="pagenum" id="Page_148">[Pg 148]</span> -Among us was a Canadian who could -play on the flute, and who, to divert -us, advanced against the serpent with -his new species of weapon. On the -approach of his enemy, the haughty -reptile curls himself into a spiral line, -flattens his head, inflates his cheeks, -contracts his lips, displays his envenomed -fangs, and his bloody throat: his -double tongue glows like two flames -of fire; his eyes are burning coals: his -body, swollen with rage, rises and falls -like the bellows of a forge: his dilated -skin assumes a dull and scaly appearance: -and his tail, whence proceeds the -death-denouncing sound, vibrates with -such rapidity as to resemble a light -vapour.</p> - -<p>The Canadian now begins to play -upon his flute; the serpent starts with<span class="pagenum" id="Page_149">[Pg 149]</span> -surprise, and draws back his head. In -proportion as he is struck with the magic -effect, his eyes lose their fierceness, -the oscillations of his tail become slower, -and the sound which it emits grows -weaker, and gradually dies away. Less -perpendicular upon their spiral line, -the rings of the charmed serpent are, -by degrees, expanded, and sink, one -after another, upon the ground in concentric -circles. The shades of azure, -green, white, and gold, recover their -brilliancy on his quivering skin; and -slightly turning his head, he remains -motionless, in the attitude of attention -and pleasure.</p> - -<p>At this moment, the Canadian advanced -a few steps, producing, with -his flute, sweet and simple notes. The -reptile, inclining his variegated neck,<span class="pagenum" id="Page_150">[Pg 150]</span> -opens a passage with his head, through -the high grass, and begins to creep after -the musician; stopping when he -stops, and beginning to follow him -again as soon as he moves forward. In -this manner he was led out of our -camp, attended by a great number of -spectators, both savages and Europeans, -who could scarcely believe their eyes -when they witnessed this wonderful effect -of harmony. The assembly unanimously -decreed, that the serpent -which had so highly entertained them, -should be permitted to escape.</p> - -<p class="sce"> -<i>M. de Chateaubriand.</i> -</p> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="THE_DANCING_SNAKES">THE DANCING SNAKES.</h2> -</div> - - -<p>The dancing snakes are carried in -baskets throughout Indostan, and procure -a maintenance for a set of people,<span class="pagenum" id="Page_151">[Pg 151]</span> -who play a few simple notes on the flute: -with which these snakes seem much -delighted, and keep time by a graceful -motion of the head, erecting about half -their length from the ground, and following -the music with gentle curves, -like the undulating lines of a swan’s -neck. It is a well attested fact, that -when a house is infested with these -snakes, and some others of the coluber -genus, which destroy poultry and -small domestic animals, as also by the -larger serpents of the boa tribe, the -musicians are sent for; who, by playing -on a flageolet, find out their hiding -places, and charm them to destruction: -for no sooner do the snakes hear the -music, than they come softly from -their retreat, and are easily taken. It -is imagined, that these musical snakes<span class="pagenum" id="Page_152">[Pg 152]</span> -were known in Palestine, from the -Psalmist comparing the “ungodly to -the deaf adder, which stoppeth her -ears, and refuseth to hear the voice of -the charmer, charm he never so wisely.”</p> - -<p>When the music ceases, the snakes -appear motionless, but, if not immediately -covered up in the basket, the -spectators are liable to fatal accidents.</p> - -<p class="sce"> -<i>M. de Chateaubriand.</i> -</p> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="CURIOUS_CONTEST">CURIOUS CONTEST ABOUT THE ERECTION -OF THE CELEBRATED ORGAN -IN THE TEMPLE CHURCH, LONDON.</h2> -</div> - - -<p>After the Restoration, the number -of workmen in England being found -too few to answer the demand for organs, -it was thought expedient to make -offers of encouragement for foreigners -to come and settle here; these brought<span class="pagenum" id="Page_153">[Pg 153]</span> -over from Germany Mr. Bernard -Schmidt and—— Harris; the former -of these, for his excellence in his -art, and the following particulars respecting -him, deserves to live in the -remembrance of all such as are friends -to it.</p> - -<p>Bernard Schmidt, or, as we pronounce -the name, Smith, was a native -of Germany, but of what city or province -is not known. He brought with -him two nephews, the one named Gerrard, -the other Bernard; and to distinguish -him from these, the elder had the -appellation of Father Smith. Immediately -upon their arrival, Smith was -employed to build an organ for the -Royal Chapel, at Whitehall; but, as it -was built in great haste, it did not answer -the expectations of those who<span class="pagenum" id="Page_154">[Pg 154]</span> -were judges of his abilities. He had -been but a few months here, before -Harris arrived from France, bringing -with him a son, named Renatas, who -had been brought up in the business of -organ making under him; they met -with but little encouragement, for Dallans -and Smith had all the business of -the kingdom: but upon the decease of -Dallans, in 1672, a competition arose -between these two foreigners, which -was attended with some remarkable -circumstances. The elder Harris was -in no degree a match for Smith; but -his son, Renatus, was a young man of -ingenuity and spirit, and succeeded so -well in his endeavours to rival Smith, -that, at length, he got the better of -him.</p> - -<p>The contest between Smith and<span class="pagenum" id="Page_155">[Pg 155]</span> -the younger Harris was carried on with -great spirit; each had his friends and -supporters, and the point of preference -between them was hardly determined -by that exquisite piece of workmanship -of Smith, the organ now standing in -the Temple Church, of the building -thereof, the following is the history, as -related by a person who was living at -the time, and intimately acquainted -with both Smith and Harris.</p> - -<p>Upon the decease of Mr. Dallans, -and the elder Harris, Mr. Renatus -Harris, and Father Smith, became -great rivals in their employment, and -several trials of skill were betwixt them -on several occasions; but the famous -contest between these two artists was -at the Temple Church, where a new -organ was going to be erected, towards<span class="pagenum" id="Page_156">[Pg 156]</span> -the latter end of King Charles II.’s time. -Both made friends for that employment; -but, as the Society could not -agree about who should be the man, -the Master of the Temple, and the -Benchers, proposed they both should -set up an organ on each side of the -church; which, in about half a year, -or three quarters of a year, was done -accordingly. Dr. Blow and Mr. Purcell, -who was then in his prime, showed -and played Father Smith’s organ, -on appointed days, to a numerous audience; -and, till the other was heard, -every body believed that Father Smith -would certainly carry it.</p> - -<p>Mr. Harris brought Mr. Lully, organist -to Queen Catharine, a very eminent -master, to touch his organ, which -brought it into such vogue, that they<span class="pagenum" id="Page_157">[Pg 157]</span> -thus continued vieing with each other -near a twelvemonth.</p> - -<p>Then Mr. Harris challenged Father -Smith to make additional stops against -a set time; these were the Vox Humane, -the Cremona, or Violin Stop, the double -Courtel, or Bass Flute, and others.</p> - -<p>These stops, as being newly invented, -gave great delight and satisfaction -to a numerous audience, and were so -well imitated on both sides, that it was -hard to judge the advantage to either. -At last it was left to my Lord Chief -Justice Jeffries, who was of that house, -and he put an end to the controversy, -by pitching upon Father Smith’s organ; -so Mr. Harris’s organ was taken -away without loss of reputation, and -Mr. Smith’s remains to this day.</p> - -<p>Now began the setting up of or<span class="pagenum" id="Page_158">[Pg 158]</span>gans -in the chief parishes of the city of -London, for the most part Mr. Harris -had the advantage of Father Smith, -making, I believe, two for his one; -among them some are reckoned very -eminent; viz. the organ at St. Bride’s, -St. Lawrence, near Guildhall, St. Mary -Axe, &c.</p> - -<p>Notwithstanding this success of -Mr. Harris, Smith was considered as an -able and ingenious workman, and, in -consequence of this character, he was -employed to build an organ for the cathedral -of St. Paul.</p> - -<p>The organs made by him, though in -respect of workmanship they are far -short of those of Harris, and even of -Dalian’s, are justly admired; and, for -the fineness of their tone, have never -yet been equalled.</p> - -<p><span class="pagenum" id="Page_159">[Pg 159]</span></p> - -<p>Harris’s organ was afterwards purchased -for the cathedral of Christ -Church, at Dublin, and set up there; -but, some years back, Mr. Byfield was -sent for, from England, to repair it, -which he objected to, and prevailed on -the Chapter to have a new one, made -by himself, he allowing for the old one -in exchange. When he had got it, he -would have treated with the parishioners -of Lynn, in Norfolk, for the sale of it; -but they, disdaining the offer of a second-hand -instrument, refused to purchase -it, and employed Snetzlor to build them -a new one, for which they paid him -seven hundred pounds. Byfield dying, -his widow sold Harris’s organ to the -parish of Wolverhampton for five hundred -pounds, and there it remains at this -day (i. e. 1778.) One of two eminent<span class="pagenum" id="Page_160">[Pg 160]</span> -masters, then living, were requested by -the churchwardens of Wolverhampton -to give their opinions of this instrument, -who declared it to be the best -modern organ he had ever touched.</p> - -<p class="sce"> -<i>Sir John Hawkins’s Memoirs.</i> -</p> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="QUEEN_MARY_AND_MR_PURCELL">QUEEN MARY AND MR. PURCELL.</h2> -</div> - - -<p>The famous old ballad, “<i>Cold and -raw</i>,” was greatly admired by Queen -Mary, consort of King William; and -she once affronted Mr. Purcell, by requesting -to have it sung to her, he being -present. The story is as follows: -The Queen, having a mind, one afternoon, -to be entertained with music, -sent to Mr. Gostling, then one of the -Chapel, and afterwards subdean of St. -Paul’s; to Mr. Henry Purcell, and Mrs.<span class="pagenum" id="Page_161">[Pg 161]</span> -Arabella Hunt, who had a very fine -voice, and an admirable hand on the -lute, with a request to attend her. Mr. -Gostling and Mrs. Hunt sung several -compositions of Purcell, who accompanied -them on the harpsichord. At -length the queen, beginning to grow -tired, asked Mrs. Hunt, if she could -not sing the old Scotch ballad, “Cold -and raw?” Mrs. Hunt answered yes, -and sung it to her lute. Purcell was -all the while sitting at the harpsichord -unemployed, and not a little nettled at -the queen’s preference of a vulgar ballad -to his music; but, seeing her majesty -delighted with this tune, he determined -that she should hear it upon -another occasion, and accordingly, in -the next birth-day song, viz. that for -the year 1692, he composed an air<span class="pagenum" id="Page_162">[Pg 162]</span> -to the words, “<i>May her bright example -chace vice in troops out of the land</i>,” -the bass whereof is the tune to Cold -and Raw. It is printed in the Orpheus -Britannicus, and is note for note the -same with the Scotch tune.</p> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="THE_HIGHLAND_CHARGING_TUNE">THE HIGHLAND CHARGING TUNE.</h2> -</div> - - -<p>In one of the late battles in Calabria, -a bagpiper of the 78th regiment, when -the light infantry charged the French, -posted himself on their right, and remained -in his solitary situation during -the whole of the battle, encouraging -the men with a famous Highland charging -tune; and actually, upon the retreat -and complete rout of the French, -changed it to another, equally celebrated -in Scotland upon the retreat of and<span class="pagenum" id="Page_163">[Pg 163]</span> -victory over an enemy. His next hand -neighbour guarded him so well, that he -escaped unhurt. This was the spirit of -the “Last Minstrel,” who infused -courage among his countrymen, by -possessing it in so animated a degree, -and in so venerable a character.</p> - -<p class="sce"> -<i>Curiosities of Literature.</i> -</p> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="EFFECTS_OF_FOREIGN_MUSIC_ON_DIFFERENT">EFFECTS OF FOREIGN MUSIC ON DIFFERENT -ANIMALS.</h2> -</div> - - -<p>Sir William Jones, in his curious -Dissertation on the musical Modes of -the Hindus, relates the following story.</p> - -<p>“After food, when the operations of -digestion and absorption give so much -employment to the vessels, that a temporary -state of mental repose must be -found, especially in hot climates, essential -to health, it seems reasonable to<span class="pagenum" id="Page_164">[Pg 164]</span> -believe that a few agreeable airs, either -heard or played without effort, must -have all the good effects of sleep, and -none of its disadvantages: <i>putting the -soul in tune</i>, as Milton says, for any -subsequent exertion; an experiment -often made by myself. I have been -assured by a credible eye-witness, that -two wild antelopes used often to come -from their woods to the place where a -more savage beast, Sirajuddaulah, entertained -himself with concerts, and -that they listened to the strains with -an appearance of pleasure, till the -monster, in whose soul there was no -music, shot one of them, to display his -archery. A learned native told me, -that he had frequently seen the most -venomous and malignant snakes leave -their holes upon hearing tunes on a<span class="pagenum" id="Page_165">[Pg 165]</span> -flute, which, as he supposed, gave -them peculiar delight. An intelligent -Persian declared he had, more than -once, been present, when a celebrated -lutanist, surnamed Bulbul, (i. e. the -nightingale,) was playing to a large -company, in a grove near Schiraz, -where he distinctly saw the nightingales -trying to vie with the musician, -sometimes warbling on the trees, sometimes -fluttering from branch to branch, -as if they wished to approach the instrument, -and, at length, dropping on -the ground, in a kind of ecstacy, from -which they were soon raised, he assured -me, by a change of the mode.”</p> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="EFFECT_OF_MUSIC_ON_LIZARDS">EFFECT OF MUSIC ON LIZARDS.</h2> -</div> - - -<p>A modern traveller assures us, that<span class="pagenum" id="Page_166">[Pg 166]</span> -he has repeatedly observed, in the island -of Madeira, that the lizards are attracted -by the notes of music, and that -he has assembled a number of them by -the powers of his instrument. He tells -us also, that when the negroes catch -them, for food, they accompany the -chase, by whistling some tune, which -has always the effect of drawing great -numbers towards them.</p> - -<p>Stedman, in his expedition to Surinam, -describes certain sibyls among -the negroes, who, among several singular -practices, can charm or conjure -down from the tree certain serpents, -who will wreath about the arms, -neck, and breast of the pretended sorceress, -listening to her voice. The sacred -writers speak of the charming of -adders and serpents; and nothing, says<span class="pagenum" id="Page_167">[Pg 167]</span> -he, is more notorious than that the -eastern Indians will rid the houses of -the most venomous snakes, by charming -them with the sound of a flute, -which calls them out of their holes.</p> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="MUSICAL_ANECDOTE_FROM_MARVILLE">MUSICAL ANECDOTE FROM MARVILLE.</h2> -</div> - - -<p>Marville has given us the following -anecdote. He says, “that doubting -the truth of those who say it is natural -for us to love music, especially the -sound of instruments, and that beasts -themselves are touched with it, being -one day in the country, I enquired into -the truth; and, while a man was -playing on the trump-marine, made -my observations on a cat, a dog, a -horse, an ass, a hind, cows, small -birds, and a cock and hens, who were<span class="pagenum" id="Page_168">[Pg 168]</span> -in a yard, under a window on which I -was leaning.</p> - -<p>“I did not perceive that the cat was -the least affected, and I even judged, -by her air, that she would have given -all the instruments in the world for a -mouse, sleeping in the sun all the -time. The horse stopped short, from -time to time, before the window, raising -his head up now and then, as he -was feeding on the grass. The dog -continued for above an hour seated on -his hind legs, looking stedfastly at the -player. The ass did not discover the -least indication of his being touched, -eating his thistles peaceably. The -hind lifted up her large wide ears, and -seemed very attentive. The cows -slept a little, and, after gazing, as -though they had been acquainted with<span class="pagenum" id="Page_169">[Pg 169]</span> -us, went forward. Some little birds, -who were in an aviary, and others on -the trees and bushes, almost tore their -little throats with singing: but the -cock, who minded only his hens, and -the hens who were solely employed in -scraping a neighbouring dunghill, did -not show, in any manner, that they -took the least pleasure in hearing the -trump-marine.”</p> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="ACCOUNT_OF_THE_RECITATION_OF_THE">ACCOUNT OF THE RECITATION OF THE -BOATMEN OF VENICE.</h2> -</div> - - -<p>It is well known, observes a celebrated -literary character that, in Venice, the -gondoliers know by heart long passages -from Ariosto and Tasso, and are wont -to sing them in their own melody. But -this talent seems at present on the de<span class="pagenum" id="Page_170">[Pg 170]</span>cline:—at -least, after taking some -pains, I could find no more than two -persons who delivered to me, in this -way, a passage from Tasso.</p> - -<p>There are always two concerned, -who alternately sing the strophes. We -know the melody eventually by Rousseau, -to whose songs it is printed; it -has properly no melodious movement, -and is a sort of a medium between the -canto fermo and the canto figurato; it -approaches to the former by recitativical -declamation, and to the latter by -passages and course, by which one syllable -is detained and embellished.</p> - -<p>I entered a gondola by moonlight; -one singer placed himself forwards, and -the other aft, and thus proceeded to -St. Georgio. One began the song: -when he had ended his strophe, the<span class="pagenum" id="Page_171">[Pg 171]</span> -other took up the lay, and so continued -the song alternately. Throughout the -whole of it, the same notes invariably -returned; but, according to the subject -matter of the strophe, they laid a -greater or a smaller stress, sometimes -on one, and sometimes on another -note, and indeed changed the enunciation -of the whole strophe, as the object -of the poem altered.</p> - -<p>On the whole, however, their sounds -were hoarse and screaming: they seemed -in the manner of all rude, uncivilised -men, to make the excellency of -their singing in the force of their voice: -one seemed desirous of conquering the -other by the strength of his lungs, and -so far from receiving delight from this -scene, (shut up as I was in the box of -the gondola) I found myself in a very -unpleasant situation.</p> - -<p><span class="pagenum" id="Page_172">[Pg 172]</span></p> - -<p>My companion, to whom I communicated -this circumstance, being very -desirous to keep up the credit of his -countrymen, assured me that this singing -was very delightful, when heard at -a distance. Accordingly we got out, -upon the shore, leaving one of the singers -in the gondola, while the other -went to the distance of some hundred -paces. They now began to sing against -one another, and I kept walking up -and down between them both, so as -always to leave him who was to begin -his part. I frequently stood still and -hearkened to the one and to the other.</p> - -<p>Here the scene was properly introduced. -The strong declamatory, and, -as it were shrieking sound met the ear -from far, and called forth the attention: -the quickly succeeding transitions, -which necessarily required to be<span class="pagenum" id="Page_173">[Pg 173]</span> -sung in a lower tone, seemed like plaintive -strains succeeding the vociferations -of emotion or of pain. The other, -who listened attentively, immediately -began where the former left off, answering -him, in milder or more vehement -notes, according as the purport of the -strophe required. The sleepy canals, -the lofty buildings, the splendour of -the moon, the deep shadows of the few -gondolas, that moved like spirits, hither -and thither, increased the striking peculiarity -of the scene, and, amidst all -these circumstances, it was easy to confess -the character of this wonderful -harmony.</p> - -<p>It suits perfectly well with an idle, -solitary mariner, lying at length in his -vessel, at rest on one of these canals, -waiting for his company, or for a fare,<span class="pagenum" id="Page_174">[Pg 174]</span> -the tiresomeness of which situation is -somewhat alleviated by the songs and -poetical stories he has in memory. He -often raises his voice as loud as he can, -which extends itself to a vast distance -over the tranquil mirror, and, as all is -still around, he is, as it were, in a solitude, -in the midst of a large and populous -town. Here is no rattling of carriages, -no noise of foot passengers: a -silent gondola glides now and then by -him, of which the splashing of the oars -are scarcely to be heard.</p> - -<p>At a distance he hears another, -perhaps utterly unknown to him. Melody -and verse immediately attach the -two strangers; he becomes the responsive -echo to the former, and exerts -himself to be heard, as he had heard -the other. By a tacit convention, they -alternate, verse for verse; though the<span class="pagenum" id="Page_175">[Pg 175]</span> -song should last the whole night -through, they entertain themselves without -fatigue; the hearers, who are passing -between the two, take part in the -amusement.</p> - -<p>This vocal performance sounds best -at a great distance, and is then inexpressibly -charming, as it only fulfils its -design in the sentiment of remoteness. -It is plaintive, but not dismal, in its -sound, and, at times, it is scarcely possible -to refrain from tears. My companion, -who otherwise was not a very -delicately organised person, said, quite -unexpectedly:—“<i>e singolare come quel -canto intenersce, e molto più quando lo -cantano meglio</i>.”</p> - -<p>I was told that the women of Libo, -the long row of islands that divides the -Adriatic from the Lagouns, particularly -the women of the extreme districts<span class="pagenum" id="Page_176">[Pg 176]</span> -of Malamocca and Palestrina, sing in -like manner the works of Tasso to these -and similar tunes.</p> - -<p>They have the custom, when their -husbands are fishing out at sea, to sit -along the shore, in the evenings, and vociferate -these songs, and continue to do -so with great violence, till each of them -can distinguish the responses of her -own husband at a distance.</p> - -<p>How much more delightful and -more appropriate does this song show -itself here, than the call of a solitary -person, uttered far and wide, till another -equally disposed shall hear and answer -him! It is the expression of a vehement -and hearty longing, which yet is -every moment nearer to the happiness -of satisfaction.</p> - -<p class="sce"> -<i>Curiosities of Literature.</i> -</p> - - -<p class="center">THE END.</p> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_177">[Pg 177]</span></p> - -<h2 class="nobreak" id="INDEX">INDEX.</h2> -</div> - - -<div class="index"> -<ul class="index"> -<li class="ifrst">A.</li> - -<li class="indx"><span class="smcap">Amurath</span>, Sultan of the East, saves the lives of 30,000 persons, by music, <a href='#Page_23'>23</a>.</li> - -<li class="indx">Animals in the West of England, stimulated by music, <a href='#Page_37'>37</a>.</li> - -<li class="indx">Abell, Mr. anecdote of, <a href='#Page_62'>62</a>.</li> - -<li class="indx">Arne, Dr. ditto, <a href='#Page_69'>69</a>.</li> - -<li class="indx">Archangelo Corelli, ditto, <a href='#Page_87'>87</a>.</li> - - -<li class="ifrst">B.</li> - -<li class="indx">Bull, extraordinary effects of music on one, <a href='#Page_32'>32</a>.</li> - -<li class="indx">Brown, Mr. musical anecdote related by, <a href='#Page_77'>77</a>.</li> - -<li class="indx">Battle, musical one, <a href='#Page_99'>99</a>.</li> - -<li class="indx">Boatmen of Venice, account of their recitation, <a href='#Page_169'>169</a>.</li> - - -<li class="ifrst">C.</li> - -<li class="indx">Contrary effects of music on a Greek lady, <a href='#Page_15'>15</a>.</li> - -<li class="indx">Clarke, Jeremiah, anecdote of, <a href='#Page_71'>71</a>.</li> - -<li class="indx">Convulsions relieved by music, <a href='#Page_5'>5</a>.</li> - -<li class="indx">Corelli, Archangelo, anecdote of, <a href='#Page_87'>87</a>.</li> - -<li class="indx">Chanting in Cathedrals, the origin of, <a href='#Page_95'>95</a>.</li> - -<li class="indx">Crotch, Master William, the musical phenomenon, <a href='#Page_113'>113</a>.</li> - -<li class="indx">Cecilia, St. the Legend of, <a href='#Page_130'>130</a>.</li> - -<li class="indx">Clinias, the Pythagorean, the power of music on, <a href='#Page_137'>137</a>.<span class="pagenum" id="Page_178">[Pg 178]</span></li> - - -<li class="ifrst">D.</li> - -<li class="indx">Dog, musical one, <a href='#Page_31'>31</a>.</li> - -<li class="indx">Dying Man and the Piano, <a href='#Page_36'>36</a>.</li> - -<li class="indx">Devil’s Concerto, <a href='#Page_56'>56</a>.</li> - -<li class="indx">Denmark Musician, remarkable one, <a href='#Page_145'>145</a>.</li> - - -<li class="ifrst">E.</li> - -<li class="indx">Elephant, the power of music on one, <a href='#Page_12'>12</a>.</li> - - -<li class="ifrst">F.</li> - -<li class="indx">Farinelli and his Taylor, anecdote of, <a href='#Page_60'>60</a>.</li> - -<li class="indx">Foreign Music, effects of, on different animals, <a href='#Page_163'>163</a>.</li> - - -<li class="ifrst">G.</li> - -<li class="indx">Greek lady, contrary effects of music on, <a href='#Page_15'>15</a>.</li> - - -<li class="ifrst">H.</li> - -<li class="indx">Hare, the effect of music on one, <a href='#Page_10'>10</a>.</li> - -<li class="indx">Highlander, ditto, <a href='#Page_14'>14</a>.</li> - -<li class="indx">Highland charging tune, power of, on soldiers, <a href='#Page_162'>162</a>.</li> - -<li class="indx">Handel, George Frederick, anecdotes of, <a href='#Page_55'>55</a>, <a href='#Page_58'>58</a>, <a href='#Page_65'>65</a>, <a href='#Page_75'>75</a>.</li> - -<li class="indx">Haydn, account of his celebrated Ox Minuet, <a href='#Page_97'>97</a>.</li> - - -<li class="ifrst">L.</li> - -<li class="indx">Lady, indisposition of one, cured by music, <a href='#Page_5'>5</a>.</li> - -<li class="indx">Lulli, the celebrated musician, anecdote of, <a href='#Page_78'>78</a>.</li> - -<li class="indx">Legend of St. Cecilia, <a href='#Page_130'>130</a>.</li> - -<li class="indx">Lizards, effects of music on, <a href='#Page_165'>165</a>.</li> - - -<li class="ifrst">M.</li> - -<li class="indx">Mademoiselle Theresa Paradis, account of, <a href='#Page_122'>122</a>.</li> - -<li class="indx">Mice affected by music, <a href='#Page_19'>19</a>.<span class="pagenum" id="Page_179">[Pg 179]</span></li> - -<li class="indx">Musical Elephant, <a href='#Page_12'>12</a>.</li> - -<li class="indx">—— Pigeon, <a href='#Page_27'>27</a>.</li> - -<li class="indx">—— Dog, <a href='#Page_31'>31</a>.</li> - -<li class="indx">—— Bull, <a href='#Page_32'>32</a>.</li> - -<li class="indx">Music Composer, wonderfully affected by his art, <a href='#Page_38'>38</a>.</li> - -<li class="indx">Mozart, interesting particulars in his life, <a href='#Page_44'>44</a>.</li> - -<li class="indx">Madame la Maupin, anecdote of, <a href='#Page_82'>82</a>.</li> - -<li class="indx">Musical battle, description of one, <a href='#Page_99'>99</a>.</li> - -<li class="indx">Music, medicinal effects of, <a href='#Page_104'>104</a>.</li> - -<li class="indx">Musical Prodigy, <a href='#Page_108'>108</a>.</li> - -<li class="indx">—— Phenomenon, <a href='#Page_113'>113</a>.</li> - -<li class="indx">March, Madame de la, wonderful effect of music on, <a href='#Page_145'>145</a>.</li> - -<li class="indx">Marville, musical anecdote, related by, <a href='#Page_167'>167</a>.</li> - - -<li class="ifrst">O.</li> - -<li class="indx">Ox Minuet, celebrated one, by Haydn, origin of <a href='#Page_97'>97</a>.</li> - -<li class="indx">Ode to Music, by Dr. Wharton, <a href='#Page_107'>107</a>.</li> - -<li class="indx">Orleans, Archbishop of, restored from prison by music, <a href='#Page_141'>141</a>.</li> - - -<li class="ifrst">P.</li> - -<li class="indx">Philip V. King of Spain, cured by music, <a href='#Page_25'>25</a>.</li> - -<li class="indx">Pigeon, musical, one described, by Mrs. Piozzy, <a href='#Page_27'>27</a>.</li> - -<li class="indx">Piano and the Dying Man, anecdote of, <a href='#Page_36'>36</a>.</li> - -<li class="indx">Purcell, Henry, Esq. ditto, <a href='#Page_90'>90</a>.</li> - - -<li class="ifrst">Q.</li> - -<li class="indx">Queen Mary and Mr. Purcell, anecdote of, <a href='#Page_160'>160</a>.</li> - - -<li class="ifrst">R.</li> - -<li class="indx">Randles, Miss, musical prodigy, <a href='#Page_108'>108</a>.<span class="pagenum" id="Page_180">[Pg 180]</span></li> - -<li class="indx">Rans des Vaches, remarkable Swiss air, <a href='#Page_144'>144</a>.</li> - -<li class="indx">Rhodian Musician’s reply to Apollonius, <a href='#Page_146'>146</a>.</li> - - -<li class="ifrst">S.</li> - -<li class="indx">Spiders affected by music, <a href='#Page_19'>19</a>.</li> - -<li class="indx">Sweden, Queen of, and Italian Musicians, <a href='#Page_94'>94</a>.</li> - -<li class="indx">Swiss Air, remarkable one, <a href='#Page_144'>144</a>.</li> - -<li class="indx">Snakes, extraordinary effects of music on, <a href='#Page_147'>147</a>.</li> - -<li class="indx">——, dancing ones, account of, <a href='#Page_150'>150</a>.</li> - -<li class="indx">Stradella, anecdote of, <a href='#Page_20'>20</a>.</li> - - -<li class="ifrst">T.</li> - -<li class="indx">Timotheus the Ancient, anecdote of, <a href='#Page_22'>22</a>.</li> - -<li class="indx">—— —— Modern, ditto, <a href='#Page_21'>21</a>.</li> - -<li class="indx">Thirty thousand persons saved by the power of music, <a href='#Page_23'>23</a>.</li> - -<li class="indx">Tartini, the celebrated Italian musician, anecdote of, <a href='#Page_56'>56</a>.</li> - -<li class="indx">Tyrtœus the Spartan poet, anecdote of, <a href='#Page_138'>138</a>.</li> - -<li class="indx">Theodosius, the Emperor, soothed by music, <a href='#Page_139'>139</a>.</li> - -<li class="indx">Temple Organ, curious contest about, <a href='#Page_152'>152</a>.</li> - - -<li class="ifrst">V.</li> - -<li class="indx">Voice, recovered by music, <a href='#Page_8'>8</a>.</li> - -<li class="indx">Venice Boatmen’s recitation, <a href='#Page_169'>169</a>.</li> - - -<li class="ifrst">W.</li> - -<li class="indx">Woman prevented from starving, by music, <a href='#Page_143'>143</a>.</li> - - -<li class="ifrst">Z.</li> - -<li class="indx">Zamperini, Madame, anecdote of, <a href='#Page_17'>17</a>.</li> -</ul> -</div> - - -<div style='display:block; margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK THE POWER OF MUSIC ***</div> -<div style='text-align:left'> - -<div style='display:block; margin:1em 0'> -Updated editions will replace the previous one—the old editions will -be renamed. -</div> - -<div style='display:block; margin:1em 0'> -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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