such, for example, as sectarian dis- is generally understood in a bad putes and party animosities. It is also an abuse of the passions when in matters of religion they are suffered to aid the emotions of enthusiasm and fanaticism, instead of yielding them to the solid influence of sound knowledge, sober judgment, and an uniform course of rational piety. Another abuse of the passions is when they are played upon by popular orators, whether in civil, political, or religious matters, thus making them fallacious guides, or insidious judges, of any cause or opinions, when the minds of others are, if possible, to be deceived. Besides the corruption or misapplication of the passions in general, there are various abuses, of some of them in particular, which require a regular delineation. sense. To keep it under due restraint, consider in what respect your original and end are like those of others, and of the distinctions which you possess; examine well those which are derived from others, and such as proceed from yourself. Riches, beauty, youth, strength, and fame, are all of a perishing and changeable nature, and are frequently possessed by the worst of men. Birth proceeds from our ancestors; and if knowledge puffs us up, it never fails to be attended with many painful concomitants : and, after all, a sense of our frailties and follies (and who is capable of throwing an impenetrable veil over them?) will at times, in spite of all our endeavours, present a sufficient consciousness of their existence or their effects to check our presumption. Unfold the volume of history, and you will see what mischief pride has done in every age of the world. Peruse every day's page of the world, and you will see the uneasiness, the affronts, the malice, the calumnies, and the enmity which pride records in every page of it. Approbation and disapprobation are the first and most simple of all affections, and are indeed but a small degree removed from mere perceptions. They are abused not only when misplaced from an error in judgment, or withheld where due, but likewise so injudicious and immoderate, that, without attending to the mixture of good and bad qualities in their several objects, the one is raised to admiration, and the other sinks into contempt. CURIOSITY is a powerful incen-weaknesses of those on whom we tive to study and application, but it is abused both by soaring too high or descending too low. It is an abuse of our love and esteem, if we yield them so far as blindly to adopt the opinions, approve the practices, and imitate the place them, without duly apportioning our degrees of regard, Hatred and disesteem are liable to the same abuses when no such distinction is made, as well as when hatred of principles or practices ex-. tends to the hatred of persons, when every difference of opinion. creates a diminishing change in our HUMILITY is commendable and PRIDE culpable, according as they arise from a true or false estimate of our own merit and abilities. The latter is one of the most universal passions, but is often such an enemy to happiness and virtue, that it | affections. Anger is justifiable in repelling || rit, that contracts and deadens the social affectious, becomes bigotry, and explains the abuse in the very language of its definition. injuries, but far otherwise when it becomes habitual, overbears reason, mistakes slight harm for real injury, refuses to be undeceived, and disdains reconciliation. Zeal, though it may in some sense be considered as a modification of love, yet, when indulged in a warm and irascible temper, and not regulated by reason and benevolence, it produces the effects of anger. Enthusiasm, which is zeal in a more than ordinary state of fervour and animation, requires of course the same, though a more forcible regulation, proportionate to its impetuosity. Zeal, accompanied by a narrow, confined spi I had intended to close my subject in this paper, but it has unexpectedly, though I trust not unnecessarily, grown upon me, so that I must intrude upon a part at least of the next paper to bring it to a conclusion. I have no objection to insert what Euphrosyne styles her very funny paper, if she will leave it to my discretion to strike the pen through two or three parts, which are rather too funny for the Female Tattler. MUSICAL REVIEW. The Seraph; a Collection of sacred || Clarke, Handel, Naumann, Luther, Music, suitable to public or private || Rizzio, &c. of the sacred composiDevotion, consisting of the most || tions of whom the two present numcelebrated Psalm and Hymn Tunes, bers contain very valuable speci&c.; to which are added many ori- mens. Mr. Whitaker has also ginal Pieces, composed, and the largely contributed in this instance; whole arranged for four Voices, with and we congratulate him particuan Accompaniment for the Piano-larly on his composition to Walter forte, or Organ and Violoncello, by Scott's "That day of wrath," John Whitaker. Nos. II. and III. (No. III.) It combines true pathos Pr. 5s. each. with great compositorial skill. Other specimens of Mr. W.'s pen claim not less our favour, such as "Ye verdant hills," and "Creator Spirit," (No. II.), and " Begin, my soul, the exalted lay," (No. III.). As we have already described the plan of this publication in our notice of the first number, we shall only state now, that the two further volumes before us appear in every respect equal to their predecessor, and equal to the promises held out in the prospectus. Besides the continued attention to typographical elegance and correctness, we observe an increased aim at selectness in the choice of pieces. This will appear obvious from the names of M. Haydn, Pleyel, Mozart, Among the foreign selections, Naumann's Mass cannot fail creating a deep interest; and the specimens from Dr. Luther and David Rizzio are of equal importance in another point of view. We wish Mr. W. would mark his tempi by the Metronome, which we have seen in his window, instead flow, and with a proper attention to variety; they are treated and de of using such vague terms as, "not || too fast," "moderately slow," &c. Mozart's celebrated grand Symphonyveloped in a workmanlike manner. adapted for the Piano-forte, with Accompaniments for a Flute, Violin, and Violoncello (ad lib.), by S. F. Rimbault. Pr. 6s.; without Accompaniments, 4s. The cantabile part, p. 4, 1. 1, and the elegant line in the beginning of the second part, more particularly attracted our attention. The third movement consists of the charming air in Don Giovanni,"Deħ vieni alla Finestra" (the only one in the opera which missed its effect at the King's Theatre), here and there a little amplified. It is set somewhat more difficult than the rest of this serenade. The last piece is a this serenade. The last piece is a quick movement in the manner of a bolero, with which we were much pleased: its good style, fanciful treatment, and the unity of its plan, call for unqualified encomium. To this grand symphony of Mozart's (in C), one of his master-pieces, justice can scarcely be rendered on one instrument alone. Mr. Rimbault has laudably endeavoured to do as much for it, in the way of piano-forte arrangement, as can be be desired by those who have not had the opportunity of hearing its effect with a full band; and, we will add, he has surprised us by giving the whole of its leading features in a manner far more easy of execution than we could have expected. Hodsoll's Selection of the most admi-may do tolerably well in the little red Quadrilles, with their proper Figures, in French and English, as danced at Almack's, &c. arranged for the Piano forte, Harp, or Violin. Set 2. Pr. 2s. The Serenade, a characteristic Piece for the Piano-forte, composed, and dedicated to Miss Cuerton, by W. Ling. Op. 17. Pr. 3s. Mr. Ling marks his tempi by a pendulum of English inches. This corner of the globe we inhabit; but as his works have deservedly made their way to the Continent, he would do well to time them by the Metronome, the universal standard-measure of musical time adopted by all the first composers in Europe, because it enables us to state how many crotchets or quavers, &c. go to a minute. "Rubinella," a favourite Air, com posed and arranged as a Rondo for the Piano-forte by T. H. Butler. Pr. 1s. 6d. A neat, sprightly, and well conducted trifle, agreeable as to melody, and satisfactory in point of harmony. These advantages, combiAn andante, in G, sober and ned with great facility of execution, chaste in style, forms the introduc-render La Rubinella a fit lesson for tion to an allegro, in the same key, the junior class of performers. and with a similar motivo. The "Amphion struck his Lyre," a celeideas in this allegro succeed each brated Duet, composed by the late other in the most natural and easy Mr. S. Webbe, as originally sung by the young Gentlemen of the Roy- || inward feeling, a happy natural oral Sardinian Choir. Pr. 1s. 6d. ganization, which no art can give. As this composition of one of our These we must bring into the world most favourite writers in the last with us, to become composers. century, is well known, we shall The rhythmical treatment, too, of only notice the present edition in this portion is unexceptionable; in so far as its correctness derives con- the harmony alone one or two trifirmation from the circumstance of vial imperfections exist in the the duet being, as the title-page in- choice of the elements of some of forms us, published by the pro- the chords. prietor of the copyright, Mr. J. Snowdon. "Say what is Love," a Song, with an Accompaniment for the Piano-forte; the Words by Mrs. J. Cobbold; composed, and dedicated to Miss Josselyn, by J. F. Danneley.Pr. 1s. 6d. In spite of one or two special || objections, which we shall state presently, this production obliges us to own, that Mr. D. has either made large strides in his art since we heard of him last, or has on this occasion partaken of the genial in- || spiration which breathed forth the anacreontically classic elegance of his text. First, as to plan, we must pay our tribute of approbation to the judgment which suggested the arrangement of the strains; especially the succession of the two first in F and C: nothing could be better devised. In the two last strains, respectively beginning with "But nursed," and "That meteor," there is too much sameness, owing to the frequent repetition of the motivo. We should have been tempted to set the former in Ab, and finish, as Mr. D. has done, with a resumption of the main subject in F. Upon this main subject and the whole first strain Mr. D. may pride himself. Its melodious softness and chaste expression proceed from an In the second strain, however, at the bottom of p. 2, we observe an essential fault. How could Mr. D. think of this succession: C3, D34; F3, G4 6-when the elements of the melody are E, C; B, G?—The repetition of the phrase in C minor is well imagined, and the chromatic descent (1. 1, p. 3,) through thirds and sixths, ingeniously contrived. The close on "die" appears incomplete, by the number of notes to which that word applies, and by the pause being on Bb. We should have liked it better on the tonic, and have afterwards chromatically glided over to the key of F, with which the next strain begins. The semiquaver accompaniment to that strain we should have liked more, had it kept below the voice: but. this, perhaps, is a matter of fancy. || In the third line the words are inconveniently drawn out: we should rather have resorted either to verbal repetition or melodic excision. We trust we shall not be accused of critical captiousness in making these observations. Some of them may possibly be dictated by the bias of individual taste-and what is more uncertain and undefined than musical taste?-At all events, our remarks are sincere and well meant, and we should not have indulged them with the space which they have insensibly filled, had we not thought the object to which they are devoted, deserving of our best attention. "Love is like a little playful Boy," unsuitable to the text, and, instead sung by Mr. Sinclair of the Thea-niment we have discovered several The melody of this ballad is not conspicuous for originality, but it is pleasing upon the whole. It wants rhythm (p. 2, 1. 4,) at " and looks like an angel meek." The succeeding modulation to C minor is instances of objectional harmony: p. 2, 1. 1, b. 5, G 46, ought to have been G 36-1. 3, bb. 2 and 4, the direct motion of the middle part, by thirds, has led to a very improper progression: nor can we approve the harmony of C minor on the G (voice), p. 3, 1. 4, b. 1; it ought to have been the chord of Eb, as in the bar preceding. THE SELECTOR Consisting of INTERESTING EXTRACTS from NEW POPULAR CONDUCT OF QUEEN ELIZABETH DURING HER IMPRISONMENT. Even a child of five years (From Miss LUCY AIKIN'S Memoirs of the Court of Queen Elizabeth.) THE Confinement of the princess || cess. in the Tower had purposely been old, belonging to some inferior ofrendered as irksome and comfort- ficer in the Tower, who was wont less as possible. It was not till af- to cheer her by his daily visits, and ter a month's close imprisonment, to bring her flowers, was suspected by which her health had suffered of being employed as a messenger severely, that she obtained, after between her and the Earl of Demany difficulties, permission to vonshire; and notwithstanding the walk in the royal apartments, and innocent simplicity of his answers this under the constant inspection to the lord chamberlain, by whom of the constable of the Tower and he was strictly examined, was orthe lord chamberlain, with the at- dered to visit her no more. The tendance of three of the queen's next day the child peeped in women; the windows also being through a hole of the door as she shut, and she not permitted to look walked in the garden, crying out, out at them. Afterwards she had" Mistress, I can bring you no liberty to walk in a small garden, more flowers!" for which it seems the gates and doors being carefully his father was severely chidden, closed; and the prisoners, whose and ordered to keep his boy out of rooms looked into it, being at such the way. times closely watched by their keepers, to prevent the interchange of any word or sign with the prin * From the beginning of her imprisonment, orders had been given that the princess should have mass |