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tion is the 8 tronge 8 t . Thus , « I ^« go " expressing your decided will , is stronger than I shall go , merely expressing some obligation to do so . But «« yousM « go , " expressing the speaker s conviction that the obligation is stronger than " you will go , which merely expresses his notion of the " will of another , of which he is no sure judge . This rule applies to a great variety of cases ; but It is to show that there are many to which it does
easy not apply- * . . ? ., "I shall be able to pay—you will be able to pay . " In what Manner Henry von Eichenfels came to the Knowledge of God . A Tale for the Young . By C . Schmid . With a complete Vocabulary , and a Collection of Familiar Sentences and Dialogues . —By Falck Lebahn . C . H . Clarke . JEomont ; a Tragedy , by Goethe . The original German edition , with a complete Vocabulary . By Falck Lebahn . C . H . Clarke .
We have before expressed our approbation of Mr . Falck Lebahn ' s system of at once introducing the student to a practical use of the language ; the two works named above are illustrations of the system . Many a struggling learner , wearied with the difficulties and " dry ness " of his toil , will thank Mr . Lebahn for thus placing Goethe ' s Egmont within his power . Homer ' s Iliad . Books I ., VI ., XX ., and XXIV . With a Copious Vocabulary for the Use of Schools and Colleges . By James Ferguson , M . D . Oliver and Boyd . Such books , as we remember in our days of learning Greek , are extremely uBeful , because they lure the student on by interesting him . Here are four of the
best books of the Iliad , printed from the text of Veitch ' s Bekker , with a Vocabulary containing the meaning of every word and a translation of the more difficult passages . If Dr . Ferguson will allow us one suggestion we think his book would be immensely benefited by it , because it would then enable any student who knew the Greek alphabet to read the delightful verses of Homer . Our suggestion is the enlargement of the Vocabulary , by giving the reflected forms separately—by placing not only the present tense with its meaning , but all the tenses used in this work with their meanings . At present the learner may indeed ascertain these meanings by consulting his grammar ; but how many consult grammars ?
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Loud Jour * a Chartist . —But is our political horizon really so cloudless ? Is there no handwriting on the wall ? Is there no little cloud rising out of the sea that bodes a common tempest ? Is Chartism , or , in other words , is pure and unmixed democracy really defunct amongst us ? It is our present duty to dispel this agreeahle delusion . We believe , on the contrary , that it is making gigantic , though comparatively quiet and silent strides , and that our constitution is in the extremist danger , or will be at least , some few months hence . For Chartism has made a most illustrious convert , well-nigh the most illustrious in this land , even the Prime Minister of
the British Empire . Lord John ltussell has now pledged himself , alas ! t' introduce a bill next session for a large increase of tnc suffrage , which must of necessity conduet , in our opinion , to universal suffrage , and so to unmitigated Chartism and pure democracy ; and we fear that little reasonable hope can b > entertained of successful opposition to it . — From the English Review for October . Tub " Blksskij Hkstokatiox . "—The public are beginning to show symptoms of dislike to the anniversary of what is equivocally called the Blessed Restoration , and the retention of it in so grave a place as the church . The objection in not new ; but itcouus with new force at a time when some anticsof superstition have induced the
growing intelligence of the community to look at the abuses of religion in general , and to wish to see it freed from every species of scandal . People huve certainly been in the habit of taking strange occasions for expressing their gratitude to Heaven ; and tin ' s " Blessed -Restoration" in not one of the least extraordinary ; at all events , the retention of it as a sacred day i . s extraordinary , when we consider how long it is since the character of Chniles and his court have been a by-word . But the custoiu Wiw retained for the same reason th ; it set it up—not . to thunk ( Jod , but . to spite those who di / IVn < 1 .
lhe gusto ot th <> gratitude was in proportion to the . suf ferings of tlw- vneiny . Cromwell thanked God for the head of Charles the First on a scaffold , and Cluirlcs the Second thanked Clod for the- head of Cromwell on a gibbet . Tho defenders of the anniversary , if they spoke the truth , wnill have vindicated tlicuiselvin on the plea that they dirl not . thank ( hid for Charles at all . To thank Him for Charles would have been to thank Him for Clovclai'd and ISuckinnham ; for the pension from the i'Voneh king , and all nortu of cfl ' iontci ies and enoimitics . ^) li , no ; the decorous men hated tho . se . It was for "
vice they hated him . It was for the virtuous pleasure of Railing thei' neighbours , and of doing honour to Mother ( 'lunch herself , who condescended 10 be lid back to h < r "J'at by tin ; hand of the gay deceiver . Now , Mother Church on that , occasion was not . the right , unpapal , nnl > unt . aiii (; al , unKophisticato Mother Chuich , old as no church at all , and ever young as advancement , but one of h ,. HpuriouH representatives ; and society is awaking to the necessity of having iw > more such inau-Muerauers , but . seeing the beautiful , gentle , wltogotluT Y ' niHlian creature as hhe is , professing nothing that , she « ooh not . behove , and believing nothing that can offend « uTh 7 f . - liilotH »" p Uorkeley , Whichoote , have had "i ght of her .. —LeioA llunt ' a Table-Talk .
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THE MUSICIAN IN THE CRYSTAL PALACE . Of all artists the Musician is most dependent upon others for his success . The means of production in other arts are exceedingly simple . The chisel of the sculptor , the burin of the engraver , the canvas and brushes of the painter , are readily obtained , and success is frequently achieved with very inferior tools . But to the Musician a good
instrument is everything . Tone , the production of which in its purity is an essential element of success , is , in most instances , mainly dependent on the mechanical perfection of the instrument performed upon . To this may be attributed not only the diversity of instruments in use in modern times , but also the honourable rivalry and emulation exhibited by all the piincipal makers in the endeavours after purity of tone and facility of
execution . Having already noticed the organs and pianofortes in the Exhibition , we now proceed with their nearest kin , the Harmonium . These instruments , which are improvements on the monotonous and inexpressive Seraphine , are now exhibited by Messrs . Wheatstone and Co ., of Conduit-street . The Harmonium , though possessing the power of an organ , is exceedingly portable , and of very elegant appearance . The tone is produced by four sets of vibrators , giving a compass of seven octaves , which are divided into eight half-stops , representing different instruments . There are , also , four
stops for expression and combinations . The tardy articulation and uncertainty of tone , which formed heretofore the objection to instruments of this description , are now entirely obviated by the percussion or pianoforte touch , which consists of a set of hammers so arranged as to strike the vibrating tongues at the same instant that the air is admitted , the sound being continued by a slight alternate motion of each loot . By this invention the most delicate tones can be produced , while a passage may be taken as rapidly as on a pianoforte . The Folding Harmoniums exhibited by Messrs . Wheatstone , are very elegant instruments , and are so constructed as to fold up within the space of a writing-desk .
An Harmonium is also exhibited by Messrs , Lull ' and Son . The case is in oak , with gilt ornaments ; but the instrument being always locked up , we have had no opportunity of testing- its capabilities . The conduct , of the foreign exhibitors shows a marked difference , in this particular , to those of our own country . They not only allow access to the instruments , but an intelligent attendant has always been at hand to afford every explanation .
Mr . C . Dawson , . 'W 5 , Strand , exhibits a curious instrument , called the " Autophon . " The performer has only to introduce a slip of perforated board , and turn a handle , which , being unconnected with the action of the bellows , gives the power of dwelling any length of time , on a particular harmony . The chopping , which renders the barrel-organ so objectionable , is wholly removed , and in places where an organist , may be inaccessible , the instrument would prove an acquisition .
The Enharmonic organ , by Col . PerronetThompson , is a toy for mathematicians , not for practical use . We should be exceedingly sorry to see the Enharmonic theory adopted ; for if is just , one of those crotchets which reduce the grasp of the musician's mind , leading it away from bold and grand conceptions to fritter away its genius in trumpery details . We are not disparaging ColoncH'hoinpsoirslabou is . It is extremal y gratifying- to sec a gentleman of leisure devoting himself to lhe improvement of the arts ; but , however interesting this question may be to him , and however if , may please some persons , we an ; quite sure i | will do no
good to ( lie cause of music . No far from Colonel Thompson ' s position being correct thai , them is a " growing- discontent , with the thing- called temperament "—we believe that people are better satisfied wilh it . than ever ; an : l I hat by < ievoting themselves to improvements rather than ugnu : n ( s and impract inabilities , inanulactur ers arc making te mperament a " thing " lar morn satisfactory than eV ( . . Kvt . th () s (> » which possessed the quarter tones have been altered to the present mode of temperament An Colophon with an exceedingly nice quality ol tone , and smaller ones H ,, iU , ( | to taking hW or Piccadilly ° PHrtK > arC c ' xhibitcd l > y Mr - J- St ° « T , Mr . Eranl , amidst a collection of harpy , exhibits
"The PrmceofWales ' s » a richly decorated instrument . Harps are also exhibited by Mr . Bray , of Dublin , and by Mr . Jones , of Cardiff ; but we do not find any scientific improvements worthy of notice in this department . The flute controversy , which is by no means yet set satisfactorily at rest in the minds of musicians and amateurs , receives further illustration from the flutes exhibited . Messrs . Rudall , Rose , and Co ., of Southampton-street , Strand , have a
beautiful case of instruments , consisting of Carte ' g patent flutes in silver and wood , Bcehm ' s patent flute , and improved ordinary flutes . The new patent flute , invented by Mr . Carte , is a delicious instrument , possessing the quality of a mellow and pure soprano voice . The metal flutes on this principle appear to possess a peculiar liquidity of tone , and an equality throughout the register which will at length redeem the flute from the objection which has attached to it as an orchestral instrument . On one occasion when
Cherubini was about to conduct , the leader of the band was much concerned that he had but one flute , adding " What , sir , is worse than one flute ?" " Two , sir ! " was the conductor ' laconic reply ; and all great composers of ancient times appear to have been of his opinion . " My son you know I hate wind instruments , they are never in tune , " was the observation of the celebrated Scarlatti to his pupil Hasse . Some of the notes on the old flute were too sharp , others too flat , some free and clear , others muffled . With great success has Mr . Carte applied himself to these defects , and the result , is perfect equality and correctness of intonation . On the Boehm
flute , though the difficulties and cross-fingerings were reduced , they were still an impediment to execution , even among the practised . The " crossfingerings" on Mr . Carte ' s patent are about half the number of those on the ordinary flute , and about one-third fewer than the Boehm . The action of the little finger of the left hand is less on the new flute than upon the Boehm by twothirds , and less than upon the ordinary flute by more than one-half . Then , again , in ascending the 12 majoffceys from the lowest C to the highest B flat , the thumb moves on Boehm ' s flute tiftyfour times ; on Carte ' s only six .
The facility of execution on the new flute is , therefore , obvious . Mr . Siccama exhibits his Diatonic flutes , in which the old system of fingering is adhered to , with numerous additions . The new Patent flute by Mr . Ward of Great Titchfield-street is an instrument deserving great praise , and an elaborate little pamphlet is published , explaining its advantages : one of the greatest appears to be the arrangement of the lingering , which runs in progressive semitones throughout the instrument . In other particulars this flute deserves all we have said of that invented by Mr . Carte . Of course : their practical use can alone decide the question .
Although the flute is such a favourite in the hands of amateurs , there are very few who produce anything approaching a pure quality of tone . In some of the best books of instruction the performer is absurdly directed to " blow into the flute " to obtain the tone . Nothing can be more erroneous . The tone is not produced by " blowing into" the mouth-hole , but by blowing more or less against its edge . The stream of breath from the small longitudinal aperture in the nearly closed lips of the performer should be directed across the aperture in the head of the flute , so as to impinge
on that edge of it which is opposite to the lips . This edge divides it into two streams , one of which passes away , while the lower -stream enters the mouth-hole , performs a circuit in the interior of the adjacent part , of the tube or bore , and is refracted to , and contends with , the main stream passing over the mouth-hole . Here , therefore , a contention is established between two streams of air at different , angles . Now , from the laws of " action and reaction , this contention of the two streams ( the one ? striving for onward progress - , and the other intercepting its efforts ) gives rise to an
alternate resistance and yielding ; and consequently that which would have been a continuous . stream becomes interrupted . 1 " consequence of the extreme elasticity olf the air , these interruptions are rapidly iterated , mul at each interruption of continuity a concussion is produced . 'I hese rapid concussions or pulsations thus created are the direct origin of sound in the flute . Mr . Ward also exhibits a new bassoon , possessing great facility of embouchure and fingering , and other improvements calculated to render the instrument a favourite with amateurs .
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Oct . 11 , 1851 . ] gfrf g , ga&gf . 973
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Leader (1850-1860), Oct. 11, 1851, page 973, in the Nineteenth-Century Serials Edition (2008; 2018) ncse2.kdl.kcl.ac.uk/periodicals/l/issues/vm2-ncseproduct1904/page/17/
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