had a Timotheus, who could excite or calm, at his pleasure, the most impetuous emotions. Henry III., king of France, says 'Le Journal de Sancy,' 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, that he drew his sword, and challenged every one near him to combat ; but Claudin, equally prudent as Timotheus, instantly changed to an air, sub-Phrygian, or Lydian, I suppose, which appeased the furious youth. But, what shall we say of Stradella, the celebrated composer, whose music made the daggers drop from the hands of his assassins? Stradella was attacked by three desperadoes, who had been hired to assassinate him; but, fortunately, they had an ear sensible to harmony. While waiting for a favourable opportunity to execute their purpose, they entered the church of St. John de Lateran, 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

della, however, was not always so fortunate; other assassins, who apparently had no ear for music, stabbed him some time afterwards at Genoa."

"And thus afforded a practical illustration of a passage of Shakspeare," exclaimed the vicar, "The man that hath no music in himself,

Nor is not mov'd with concord of sweet sounds,
Is fit for treasons, stratagems, and spoils;

The motions of his spirit are dull as night,
And his affections dark as Erebus:

Let no such man be trusted.””

"Are you satisfied?" asked Mr. Seymour ; "if not, I will proceed to tell you how Palma, a Neapolitan, induced a creditor who came to arrest him, not only to remit his debt, but to contribute a sum for his support. I will also relate an anecdote of Farinelli the actor, who having a pathetic air to sing on the stage to a tyrant who had taken him prisoner, the person who performed the part of the tyrant, and was to have refused his request, was so affected by the music, that he actually melted into tears, and clasped the captive in his arms."

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Enough, enough!" exclaimed the vicar. "I see plainly that you believe not in the power of music."

"In that you wrong me. I certainly do not believe that the ancients were better skilled than ourselves in music; and I have been anxious to convince you that there are as many modern as ancient stories, in proof of the influence of harmony over our feelings; but no one will deny that music is capable of producing extraordinary effects. Let us only interrogate our

selves, and examine what have been our sensations on hearing a majestic or warlike piece of music, or a tender and pathetic air sung or played with expression. Who does not feel that the latter tends as much to melt the soul and dispose it to pleasure, as the former to animate and exalt it? There is a celebrated air in Switzerland, which, I have no doubt, Miss Villers will presently play to us, called 'Ranz des Vaches,' and which had such an extraordinary effect on the Swiss troops in the French service, that they always fell into a deep melancholy whenever they heard it. Louis XIV., therefore, forbade it ever to be played in France, under the pain of a severe penalty. We are also told of a Scotch air, Lochaber no more,' which has a similar effect on the natives of

duced upon myself by the impressive requiem of Jomelli, as performed at the chapel of the Portuguese embassy to the memory of the late king of Portugal. The movement with which it commenced was a deep and hollow murmur, that seemed to swell from the tomb, and with which the voices of spirits imperceptibly rose, and intermingled; - a brilliant movement interposed, — it was a ray of hope, that pierced the gloom of the sepulchre !"

"I think," said Miss Villers, "that I can exactly appreciate the nature and extent of Mr. Seymour's opinion upon the question at issue. He does not deny the charm which the simple music of the ancients must have exercised over the hearer, although he attributes much of the effect to the poetry, of which it may certainly be said to have been the vehicle; and he evidently concurs with you, Mr. Twaddleton, in thinking that, owing to the intricate combinations of modern harmony, our astonishment at the execution of the artist too frequently overcomes the influence of the musical tones upon our passions. I perceive, however, from the expression of our friend's countenance," continued the young lady, "that, like a true antiquary, he clings to his

subject, though his support be no stronger than a cobweb; under such circumstances I may be permitted to declare my sentiments upon the occasion, and I shall avail myself of this opportunity to express my humble testimony of gratitude, for the information and pleasure which I have just derived from your conversation. I believe then, gentlemen, that the language of modern music is no less forcible and expressive than that of ancient days; and if you will only allow me to exemplify this truth by an experiment, I feel convinced that the vicar will become my proselyte."

"Indeed, madam! Well, I will consent to trust the cause in your hands," said Mr. Twaddleton.

"Allow me then to ask you, sir, whether you have ever heard of a game, which is justly entitled to the appellation of the MAGIC OF MUSIC?"

"Never," replied the vicar; "nor can I imagine either the nature, or objects of such a game."

"Its object is to display the power of music as an expressive language; the manner in which