becomes at length in some degree capable of expression, and the poem concludes (one stanza excepted) with the following lines

"Long, long, alas! her wounded heart shall grieve

Oft shall her babes behold, with secret fear,

As to the fields she looks at dewy eve,

Rush sudden o'er her cheek the silent tear.
And still as spring re-animates the year,

She, with her little flock, shall duly come,

On sabbath noons, between the hours of pray'r,
To weep anew upon his simple tomb,

Where green the long grass waves, and white the gawens
bloom."

It will be perceived from this sketch, that the design of the poem possesses originality, and that the execution is above mediocrity. The practice of virtue is strongly recommended; a strain of piety, and the spirit of genuine philanthropy pervade the whole performance; yet still the work is not without defects: several lines are affectedly stiff, and others not sufficiently explicit : The author discovers a strong poetical genius, but it wants cultivation. Some of the expressions in the quotations we have made, are liable to much censure ; the notes which are added are sensible and well written : The smaller pieces consist chiefly of odes and tales, several of which are not destitute of merit.

The Union Gazetteer for Great Britain and Ireland, by Thomas Brown, 2 vols. Maps. Vernor & Co. London, and W. M. Feat, and Co. Glasgow, 8vo. 1807.

In these volumes Mr. Brown professes to give a "concise, yet correct and authentic account of the topography, agriculture, manufactures, trade, population, remarkable ancient and modern buildings, natural and artificial curiosities, animal, vegetable, and mineral productions, local customs, police, literary institutions, &c. of every district of Great Britain." So arduous an undertaking must have required much labour, and statistical research; yet to those articles which we have examined the author has done justice. He rates the population of England at 8,331,434 exclusive of the army and navy, &c. that of Ireland at near 4,000,000, and that of Scotland at 1,605,000. On the whole we believe we may say, with the author, that these volumes

"contain a more valuable, and more varied mass of useful and entertaining information descriptive of, and relative to the present state of the different places, towns and districts that compose the British Islands, than is to be found in any other work of the kind."

The Poetical Works of William Julius Mickle; including several original pieces, with a New Life of the Author. By the Rev. John Sim, A. B. late of St. Alban Hall, Oxford; small 12mo. 5s. Symonds, 1806. From the dedication we learn that the life prefixed to these poems is the result of a promise repeatedly made to Mickle, that the author would write it, if he survived the poet, and is chiefly composed from his private correspondence, and from the information which he received from himself during an unreserved intimacy of more than sixteen years. As a poet, Mickle has not yet attained the celebrity to which he has a fair claim:

Mickle, who bade the strong poetic tide

Roll o'er Britannia's shores in Lusitanian pride.

His Lusiad is one of the noblest translations in the language; and his smaller poems possess elegance, vigour, feeling and imagination. The pieces contained in this volume, which have never before been published, consist of Liberty; an elegy to the memory of his Royal Highness Frederic Prince of Wales; two odes entitled May Day,' and 'Vicissitude'; a Fragment; and a Translation of the 68th psalm. May Day is among his best performances, and the others will not descredit his name. Mr. Sim has also introduced into this little volume many other pieces which have been published in periodical works, but have never found their way into a regular collection of his poems.

The Life is full, satisfactory, and highly interesting. The biographer has made many numerous additions to the accounts by Dr. Anderson, Mr. Reed, and others. He has also noticed a coincidence in the lives of Mickle and Lord Nelson.

"It is rather singular that the immortal Hero of Trafalgar should be born in the parsonage house of his father upon the same month with the subject of this memoir; that each should be the fourth son of a clergyman; that both should die in the same month; and that the number of letters composing their first and last names should be the same."

. We must confess we do not see any thing in this very remarkable.

Catholic Vindication. Substance of a Speech delivered by Mr. Edward Quin, in the Court of Common Coun cil, at the Guildhall of the City of London, on Thursday, March 5th, 1807, against the Motion proposed by Mr. Deputy Birch for opposing the Catholic Bill. 8vo. 1s. Keating, Brown, and Co. 1807.

We will not say that we have been convinced by Mr. Quin's argument, that a bill to enable Papists to fill certain commissions in the army and navy, ought to pass the British Parliament; or that such a concession would "infuse new vigour into the Protestant establishment;" but it would be unjust to deny that he has made a most eloquent and animated speech on the side of the Catholics, and that he has proved himself well acquainted with the different bearings of this very intricate and important question, both with respect to our civil and religious establishment.

Mr. Quin contends, that "the withholding or deprivation of political rights, on account of the exercise of religion, is religious persecution, and that the only difference is, that while positive persecution inflicts tortures, and sheds blood, negative persecution depresses the noblest energies of the mind, consigns to disgrace and obscurity both natural and acquired talents, and stigmatizes its victims by recording their unfitness to serve their King and country, in employments which are filled by their fellow subjects, their neighbours, and frequently by their own relations." He concludes with imploring the enemies of the bill not to place themselves, at this enlightened period, in a descending, but in an ascending scale; not to be instrumental in reviving the prejudices and bigotries of former times. "Let me conjure them," he continues, "not to sit in inquisition on the consciences of their fellow-creatures and countrymen; not to carry the spirit of religious and political persuasion into the temple of that God, whose service is perfect freedom."

These specimens will suffice to shew that Mr. Quin, whose talents as an orator we have frequently admired, possesses also the pen of a ready and elegant writer. The motion of Mr. Deputy Birch, against which this able speech was delivered, was not carried; but the ministerial changes which have since occurred will of course render the repetition of any such motion quite unneces➡ sary for the present.

REVIEW OF MUSIC.

"A Broken Cake,"

Glee for Three Voices, with an Accompaniment for the Piano Forte; the Poetry translated from Anacreon, by Thomas Moore, Esq. The Music composed by Sir John Stevenson, Mus. Doc.

This son of Apollo has so many formidable titles, that we cannot approach him without some degree of awe. From a knight and a doctor we naturally enough look for something more than commonly clever, more than usually striking, we expect to trace those marks of genius, and proofs of study, which obtained for their possessor such a pre-eminent distinction of rank and title. The present composition certainly displays no striking bursts of genius, or laboured efforts of science, but it possesses what will satisfy the world in general much better-the power of pleasing. The passages and the structure of the Glee are common enough, and the modulation is very confined; there is nevertheless something in it which with the multitude will infallibly render it popular. We do not approve the fashion of adding piano forte accompaniments to glees; it bespeaks a paucity of invention in the vocal parts, which the composer is glad to supply by something less substantial. Sir John Stevenson would establish a more permanent reputation by producing glees of more study and originality than the "Broken Cake." Perhaps he is content to write merely ad captandum vulgus, if not, he must pro duce something which shall display more true genius, before we can give him a place among our first glee writers.

"To Julia weeping."

A Canzonet, with an Accompaniment for the Piano Forte or Harp. The Poetry by Thomas Moore, Esq. The Music by Sir John Stevenson, Mus. Doc.

This canzonet is quite in the style of Sir John Stevenson's other productions, simple and elegant. Some of the turns are new, and the whole composition, though certainly not very novel in its structure, is pleasing, and we have no doubt will become popular.

"IfI swear by that Eye."

The

A Canzonet, with an Accompaniment for the Piano Forte or Harp. Poetry by Thomas Moore, Esq. The Music by Sir John Stevenson

Mus. Doc.

Sir John Stevenson is exactly the composer we should have chosen for Mr. Moore's words. There is a degree of prettiness in the poetry of this author, which never expands into any thing sublime or striking-this is precisely the case with Sir John Stevenson's music. It is always pretty, frequently elegant, never majestic or sublime. He is indeed so much of a mannerist, that what we have said of one of his compositions will apply with very little variation to all. The canzonet before us possesses no new or striking beauties-it is a col

lection of pretty passages strung together, and supported by a wellarranged accompaniment. There is less originality in it, than in the last mentioned composition.

No. 1, The Vocal Magazine, consisting of Canzonets, Madrigals, Songs, Duetts, Trios, Quartetts, Glees, &c. composed by Joseph Kemp. To be continued Monthly.

Mr. Kemp has here undertaken an arduous task, if he means to trust entirely to his own invention, for the support of this work. He proposes to furnish a monthly number :-now to supply a con. stant succession of good compositions, requires a fertility of invention, and a versatility of talent, which it rarely fails to the lot of one man to possess. Every composer is more or less of a mannerist; in a miscellaneous publication; therefore, which is to be the sole production of one man, we must expect to find similar ideas, and similar passages, frequently recurring. However different in the titles, however divided into songs, glees, and duetts, still the same style will prevail throughout. If then the task be difficult, no mean praise ought to be awarded to him who performs it well. The first composition of this number, is a song, of which the melody is simple and plaintive, some of the passages are novel, and the accompaniment judiciously arranged. The next, which Mr. Kemp, we don't know why, calls a madrigal, we must regard as merely inserted to fill up a certain quantity of paper; fortunately it occupies only one page. The duett which follows is easy and flowing, the parts in general sing well together. and t e modulation is neatly managed. Mr. Kemp has supposed both his singers to possess a compass of nearly two octaves, which of course will prevent his duett from becoming a general favourite; by a little alteration he might have easily obviated this objection. The well known ballad of Barbara Allen which concludes the first number, is set in G minor. Mr. Kemp has here very successfully imitated the old ballad style; he has expressed the sentiment of the words in a very correct and appropriate melody, supported by a simple and judicious accompaniment.-On the whole we are inclined to think well of Mr. Kemp: as a composer he is correct, and frequently original,-how he will be able to support this undertaking his future numbers must discover: he has our wishes for its

success.

A new Overtur for the Piano Forte, in which is introduced, the favourite Air of Mounseer Nong-tong-paw, Dedicated to the Honourable Miss Georgina Lygon. Composed by Mr. Latour.

We really have played this overture twice through, in order to find something in it to praise, but alas "tis all in vain." It is a very meagre composition indeed, not even the elegant air of Mounseer Nong-tong-paw has been able to give us a favourable opinion

of it.

Petite Fantaisie, et la Contrariante, pour le Piano Forte. Dedicé a Lady Emily Percy, par Louis Von Esch.

This is by no means one of M. Von Esch's best productions; to say the truth it is not worthy of him; it possesses neither the