Mr. Cianchettini's Irish Fantasia upon the airs Savournah Deelish and The Legacy, has less of fancy in its composition, than in its style of performance. This is observable in the numerous marks of expression, the changes of measure and rythm, and in the abundance of ornament. In composing for Catalani, Mr. Cianchettini has adapted his works to that singer's peculiar manner of gracing and execution, and these peculiarities have affected his productions for the pianoforte. The slow Irish air affords an illustration of this remark. Nice attention to the effects and expression of vocal art is necessary to fine instrumental performance, and Mr. Cianchettini's Fantasia will gain or lose by the knowledge or ignorance of the performer in this branch of the science.

seems, signed an article, in which he agreed that his daughter should sing for a certain salary for one season, and consented that she should enter into a subsequent engagement at the close of the first year for two more, at an augmented rate. The agree ment was duly kept, the consent was for some time evaded, and, at length, refused altogether. For this breach of faith, Mr. Morris brought his action against Mr. Paton, and was nonsuited, upon the interpretation of the words agree and consent. We are no lawyers, but we apprehend the true intent and meaning in an honourable understanding of the contract, was that in so far as Mr. Paton was concerned, he would use his influence with his daughter, and in so far as Miss Paton, that she knew the terms, and intended to fulfil them, both being parties to the deed. We cannot, therefore, perceive how in foro conscientia either of them stands acquitted, though the point of law be in their favour; and, as Miss Paton has not been very scrupulous about engagements in other cases, it is to be apprehended that managers will look carefully in future to the terms of any agreement she may enter into. It is pity that any sort of suspicion should attach to the exercise of such undoubted ability.

NEW MUSIC.

The principal new publications are:Two Rondos for the pianoforte, composed by Ignace Moscheles. Books 1 and 2. The subjects from the ballet "Les Portraits;" also by Moscheles. These pieces partake of the character of the other compositions of the master, namely, strength and energy, tempered by a cultivated taste, and natural elegance of mind. The interest never languishes, but is preserved by frequent changes in the construction and sentiment, united with spirit and flowing melody. A Russian air, with variations by the same composer, is quaint and original rather than pleasing.

Mr. Bochsa has a brilliant Fantasia and variations on the Scotch air, Kelvin Grove, which has become popular at the theatre by the performance of Mr. Braham. The lesson is not in Mr. Bochsa's best manner, and requires the fire and energy of his own style of playing to make it very effective; but though its intrinsic merits as a composition are few, it has enough of dec ded character to give it a rank above commonplace productions. A Rondino à la Hongroies, also by the same hand, is a light and easy lesson.

An Italian serenade with variations, by Mr. Kiallmark, is one of his best works: the subject is melodious and graceful, and the variations light, smooth, and brilliant.

The Moon Beam, being No. 6 of a series of Hibernian airs for the pianoforte, by Mr. Burrowes, is fully equal to the former numbers of the work.

Mr. Calkin has arranged The Maid of the Valley, with variations for the pianothe other works of the master, has most of forte. This composition, in common with the qualities which will render it popular as a lesson for practice or amusement amongst those who do not seek the highest rank in art. His six numbers of French airs, with variations, are a series of very agreeable pieces of the same description.

Moralt's Introduction and Rondoletta, and Dussek's March and Waltzes, are easy and simple pieces for learners.

Mr. Bruguier's eighth divertimento contains two airs, by Rossini, Vieni oh Stella, and Fra il Padre e fra l'amante.

the pianoforte, with accompaniments for Mozart's fifth symphony, arranged for the flute, violin, and violoncello, by Hummel, is published.

The fourth volume of the excellent selection of glees, published under the title of Convito Harmonico, is just out. Knowing, as we well do, the extreme care, and the good taste and ability of its editor, Mr. Samuel Webbe, jun. we should have anticipated an equal degree of excellence with the former volumes, its precursors, and we the most excellent standard compositions, are not disappointed. There are many of both of an early and a recent date, though the former naturally predominate. every succeeding book adds to the value of the collection as a whole, inasmuch as it assists in completing this very classical concentration of the beauties of the British Harmonists.

April 22.

But

66

Phæd. In our short conversation of yesterday, X., you parried an objection brought forward by Philebus in a way which I thought satisfactory. You reduced him to an absurdity, or what seemed such. In fact, I did verily believe that you had slaughtered Philebus: and so I told him. But we have since reconsidered the matter, and have settled it between ourselves that your answer will not do; that your absurdity" in fact is a very absurd absurdity: Philebus will tell you why. I for my part shall have enough to do to take care of a little argument of my own, which is designed to meet something that passed in our first dialogue. Now my private conviction is-that both I and Philebus shall be cudgeled: I am satisfied that such will be the issue of the business. And my reason for thinking so is this-that I already see enough to discern a character of boldness and determination in Mr. Ricardo's doctrines which needs no help from sneaking equivocations; and this with me is a high presumption that he is in the right. In whatever rough way his theories are tossed about, they seem always like a cat to light upon their legs. But notwithstanding this, as long as there is a possibility that he may be in the wrong, I shall take it for granted that he is-and do my best to prove him so.

X. For which, Phædrus, I shall feel greatly indebted to you. We are told of Trajan-that, in the camp exercises, he not only tolerated hard

blows but courted them: "alacer virtute militum, et lætus quoties aut cassidi suæ aut clypeo gravior ictus incideret. Laudabat quippe ferientes, hortabaturque ut auderent." When one of our theatres let down an iron curtain upon the stage as a means of insulating the audience from any fire amongst the scenery, and sent men to prove the strength of this curtain by playing upon it with sledge hammers in the sight and hearing of the public,-who would not have laughed at the hollowness of the mummery, if the blows had been gentleconsiderate- and forbearing?

A

make-believe' blow would have implied a make-believe' hammer and a make-believe' curtain. No! hammer away, like Charles Martel: fillip me with a three-man beetle:" be to me a malleus hæreticorum : come like Spenser's Talus-an iron man with an iron flail, and thresh out the straw of my logic: rack me; put me to the question: get me down: jump upon me: throttle me: put an end to me in any way you can.

Phad. I will, I will my dear friend: any thing to oblige you. So now tie yourself to the stake, whilst we bait you. And you begin, Philebus; unmuzzle.

The case

Phil. I shall be brief. of the hat is what I stand upon: and, by the way, I am much obliged to you X. for having stated the question in that shape: it has furnished me with a very manageable formula for recalling the principle at issue.

The wages alter from two different causes-in one case because there is the same quantity of labour at a different rate; in an other case because there is a different quantity at the same rate. In the latter case it is agreed that the alteration settles upon price. In the former case you affirm that it will not: I affirm that it will. I bring an argument to prove it: which argument you attempt to parry by another. But in this counter argument of yours it strikes me that there lurks a petitio principii. Indeed, I am sure of it. For observe the course of our reasoning. I charge it upon your doctrine as an absurd consequence-that, if the increase of wages must be paid out of profits, then this fund will at length be eaten out; and, as soon as it is, there will be no fund at all for paying any further increase: and the production must cease. Now what in effect is your answer? Why, that as soon as profits are all eaten up, the production will cease. And this you call reducing me to an absurdity. But where is the absurdity? Your answer is in fact an identical proposition: for, when you say-" As soon as profits are absorbed "-I retort, Aye, no doubt, as soon as they are; but when will that be? It requires no Ricardo to tell us that, when profits are absorbed, they will be absorbed what I deny is-that they ever can be absorbed. For, as fast as wages increase, what is to hinder price from increasing pari passu? In which case profits will never be absorbed. It is easy enough to prove that price will not increase, if you may assume that profits will not remain stationary. For then you have assumed the whole point in dispute; and after that of course you have the game in your own hands: since it is self-evident that if any body is made up of two parts P and W, so adjusted that all which is gained by either must be lost by the other, then that body can never increase.

Phæd. Nor decrease.

Phil. No, nor decrease. If my head must of necessity lose as much weight as my trunk gains, and versâ vice, then it is a clear case that I shall never be heavier. But why cannot my head remain stationary, whilst my trunk grows heavier?

This is what you had to prove, and you have not proved it.

Phod. Oh! it's scandalous to think how he has duped us: his 'reductio' turns out to be the merest swindling.

X. No, Phædrus,-I beg your pardon. It is very true I did not attempt to prove that your head might not remain stationary: I could not have proved this directly without anticipating a doctrine out of it's place: but I proved it indirectly by showing that, if it were supposed possible, an absurdity would follow from that supposition. I said, and I say again, that the doctrine of wages will show the very supposition itself to be absurd: but, until we come to that doctrine, I content myself with proving that let that supposition seem otherwise ever so reasonable [the supposition namely that profits may be stationary whilst wages are advancing]-yet it draws after it one absurd consequence, viz. that a thing may be bigger than that to which it is confessedly equal. Look back to the notes of our conversation, and you will see that this is as I say.— You say, Philebus, that I prove pro fits in a particular case to be incapable of remaining stationary by assuming that price cannot increase: or if I am called upon to prove that assumption-viz. that price cannot increase, I do it only by assuming that profits in that case are incapable of remaining stationary. But, if I had reasoned thus, I should not only have been guilty of a petitio principis (as you alleged)-but also of a circle. Here then I utterly disclaim and renounce either assumption: I do not ask you to grant me that price must continue stationary in the case supposed: I do not ask you to grant me that profits must recede in the case supposed. On the contrary, I will not have them granted to me: I insist on your refusing both of these principles.

Phil. Well, I do refuse them. Phæd. So do I. I'll do any thing in reason as well as another." If one knight give a testril —.”

"

X. Then let us suppose the mines from which we obtain our silver to be in England.

Phad. What for? Why am I to suppose this? I don't know but you have some trap in it.

X. No: a Newcastle coal mine,