above a century and a half had remained perfectly inexplicable, is at length clearly made out; it shews neither candour, justice, nor good sense, to blame an early annotator for not having thrown so much light on the text as his more fortunate successor; or to ridicule attempts to purify and explain the writings of Shakspeare because they may not have been wholly successful. It is true that when the text is once established, many of the annotations might be dismissed: but one of the objects of the variorum editions, is to shew the gradation of that conjecture and research which have terminated in the full elucidation of the author's meaning; to present the various interpretations put upon words and sentences by discerning and learned men, that where there is doubt the reader may make his own preference to render every line of "that immortal man” intelligible, not only to the well-informed, but to the meaner capacities, and consequently, to enter occasionally into, explanations of difficult and uncommon words and phrases, needless indeed to such men as Mr. Pye, but very useful and highly necessary, with regard to the generality of readers.

Thus misconceiving the intention of those who have published our best editions of Shakspeare, Mr, Pye triumphs when he has only exposed himself to ridicule; and the notes of admiration (!!!) so liberally employed, are more applicable to his own comment than to that of his predecessor.

Some of his remarks are certainly entitled to attention, and we shall have a future opportunity of examining them. But, upon the whole, the volume is disgraceful to Mr. Pye as a critic, and is full of typographical

errors.

Sympathy, and other Poems; Including Landscapes in Verse, and Cottage-Pictures; revised, corrected, and enlarged. By Mr. Pratt. With Engravings by Cardon. Drawings by Loutherbourg and Barker. 12mo. pp. 359. Phillips; 1807.

The principal poem in this collection has been much and deservedly admired. The characteristics of Mr. Pratt's muse are suavity, simplicity, elegance, and tenderness. Both in poetry and prose he always writes to the heart; and hence his productions have acquired their

popularity. His Landscapes in Verse, which have also run through several editions, abound in beautiful de scriptions, and the most amiable sentiments. The Tears of Genius, one of his earliest productions, was occa sioned by the death of Dr. Goldsmith. But Gray, Young, Sterne, Shenstone, Lyttleton, and Hawkeworth, are also commemorated, some in blank verse, others in rhyme and prose, according to the stile of writing in which each of these admirable authors excelled. The Shadows of Shakspeare formed originally part of a monody on Garrick. The following poem, entitled Cottage-Pictures, or The Poor, appeared in 1801 since that time the state of the poor has been improved, and, if the new Parliament shall pursue any of the wise measures of the last, is likely to be much more So. Mr. Pratt has expunged a few passages, which, however applicable when first published, would now ap pear overcharged.

The remainder of the volume consists of re-publi cations of numerous little poems, which had, at different times, found their way into periodical works; and which the author thought (and we think so too) were worthy to be collected, and preserved with his larger poetical performances.

The designs from which the plates in this volume are engraved are extremely beautiful.

Love's Lyrics. or Cupid's Carnival,

Original and Translated. By I, Scott Byerley, Esq. Small 12mo. pp. 174. Chapple; 1807.

I ask not praise! I don't indeed

No, damn it, and it must succeed.

Mr. Byerley asks this of the reviewers as a boon, and we doubt not but that from principle, as well as complaisance, they will feel disposed to grant it. For our own parts we can comply with his request without any violation of our public duty,

Politics of the Georgium Sidus; or, Advice how to become Great Senators and Statesmen: Interspersed with Characteristic Sketches, and Hints on Various Subjects in Modern Politics. By a late Member of Parliament. Small 12mo. 5s. 6d. Addy and Co.; 1807.

A hit! a palpable hit! at various public characters who

have lately distinguished themselves in both Houses, and which will probably amuse many readers, who may be more in the secret than we profess to be. The stile is above mediocrity.

The Mountain Bard; Consisting of Ballads and Songs, founded on Facts and Legendary Tales. By James Hogg, the Ettrick Shepherd. 8vo. Edinburgh, Constable. London, Murray; 1807.

From the memoir prefixed, communicated by the author to a friend, we learn that the author of the Mountain Bard is a poor man, who, without education, and following the humble employment of a shepherd and herdsman, felt an irresistible inclination to write verses; and, considering the disadvantages of his situation, the perusal of these ballads will excite no small degree of surprize. They are chiefly in the Scottish dialect, and display an uncommon facility of versification, with some fancy, and a strong feeling of the peculiar pro perties of the ancient ballad.

One of the shortest compositions we shall transcribe,

THE BONNETS O' BONNY DUNDEE,

TUNE.Comin' thro' the Rye,

"O will ye gang down to the bush in the meadow,
An' see how the ewes an' the lammies do feed O!
An' by the fair hand, thro' the flowers I will lead you,
An' sing you the bonnets o' bonny Dundee ?

"Wi' heart an' wi' hand, my dear lad! I'll gang wi' thee;
My daddy an' mammy think nought to belie` thee;

I ken ye'll do naething but kiss me, an'lead me,
An' sing me the bonnets' bonny Dundee."

O! when fled thy angel, poor lovely Macmillan !
An' left thee to listen to counsel saè killin';
O where were the feelings o' that smiling villain!
Wha riffled thy blossom, an' left thee to die?
How pale is that cheek that was rosy an' reid, O!
To see that sunk eye wad gar ony heart bleed, O;
O wae to the wild-willow bush in the meadow;

O dool to the bonnets o' bonny Dundee !

The author has inscribed his pieces to his friend, Walter Scott, Esq. the minstrel of the Scottish border. It is always pleasing to hear of the encouragement af◄ forded to untutored genius, but we fear the rage for

ransacking villages, and wandering over mountains, in search of obscure bards, is becoming almost ridiculous. The Ayrshire Ploughman in Scotland, and the Farmer's Boy in England, have already produced rustic versifiers. in abundance, who, being once praised for rhyming, are little inclined to attend to any thing else, and whose vanity is usually great, in proportion as their talents are insignificant.

We think Mr. Hogg's friend would not have done wrong, if the hesitation he felt in publishing the poet's memoir in its present shape, had been suffered to prevail.

The Art of Stenography, or Short Hand. By Thomas Brand. 2s. Brand, 4, Union-Street, Hackney Road.

This system of short-hand is given on a card; the characters are on one side, the instructions on the other; an invariable attention to which will ensure, if the author may be credited, a method of writing, concise, intelligible, uniform, and natural.

Mr. Brand states, that although this system may appear, at first sight, rather complex, it will be found, on examination, to contain more useful instruction than the most lengthened system now extant, and which will be found to answer every purpose of the amanuensis.

The system is certainly ingenious, and worthy of attention.

REVIEW OF MUSIC.

Scene; consisting of a Solo and Pollaca, performed and sung by Mrs. Billington in the Opera of "Il Fanatico per la Musica," arranged for the Piano Forte, with an Accompaniment for the Flute ad libitum; composed and dedicated to Miss Mildmay, by G. G. Ferrari. Birchall. Price Three Shillings.

This elegant and animated song Mr. Ferrari has arranged for the piano forte; and in the form of a lesson it is more interesting than we should have expected: the passages are brilliant, and the general effect animated and pleasing. To such as have heard Mrs. Billington's exquisite performance of the original air, this arrangementof it will prove highly acceptable.

No. IV. The Vocal Magazine, consisting of Canzonets, Madrigals, Songs, Duelts, Trios, Quartetts, Glees, &c. composed by Jos. Kemp, Price 38.

The first song in this number certainly can lay no claim to origi. nality; the passages are remarkably common, and the general effect rather tame and insipid. The glee "O how blest was my lot" reflects much credit on Mr. Kemp, both as to taste and science; some degree of novelty is displayed in the construction of it, and, on the whole, we are inclined to rank it among the happiest of his productions. The song which follows is rather pleasing than otherwise.

"While the sweet blushing Spring,"

A Favourite Duett. The Words by Fielding; the Music by Edward Taylor. Goulding.

This duett, for a treble, or tenor, and bass, is pleasingly arranged, and although the general structure of the piece is plain and simple, yet some elegant and expressive passages occur. In point of composition it is perfectly correct.

Air, with Variations, composed and dedicated by Alfred Pettet, to Mr. J. Beckwith. Broderip and Wilkinson. Price 1s. 6d.

The author of the above air with variations is, we understand, a very young man; the composition, however, would have done credit to a person of more advanced years. The theme is simple and elegant, and well calculated for figurative descant. There are some unexpected accidentals introduced towards the latter end of it, to which those whose ears are accustomed to modern deviations from the Diatonic Scale will have no objection. The variations are seven in numbe, and no one of them is uninteresting. We consider the sixth as the most masterly.

"Once more then Farewell,"

A Favourite Song, as sung at the Hall Concert, Norwich, by Miss Pouchee, composed with an Accompaniment for the Piano Forte, by Alfred Pettet. The Words by Miss Betham. Broderip and Wilkinson. Price 18. 6d.

This song exhibits a degree of care and skill in its arrangement such as we are but seldom able to observe. The melody is simple, yet by no means tasteless or common, and the accompaniment is ⚫constructed with judgment and ingenuity. The second movement of the song is rather too much encumbered by the piano forte, which, if not played with great delicacy, will spoil the effect of the air. We have never before had the pleasure of seeing any of Mr. Pettet's compositions, yet these we can scarcely suppose to be among his first productions: at any rate they are highly creditable to him, and give promise of his arriving at no mean proficiency as a composer.