horn, have not ever tried to blow them as near the true ratios (derived from the primes 2, 3, and 5) as their practice and habits would admit? We cannot quit this fubject without obferving that, however great mathematicians*, attached to a feries of arithmetical progreffion, may fpeculate upon the improvement of mufic, of which they can be but incomplete judges, we have never yet met with any practical musician (Mr, King excepted) who has openly fupported, in the most unqualified manner, a fyftem, which implicitly afferts, that all our received ideas upon tune are false; that our eyes, and not our ears, are to be the judges of melody and harmony; and, laftly, that the hitherto fuppofed imperfect notes of the trumpet are to be received, and are actually in tune, merely because they are found in what is called the fcale of nature!

In the following Chapters, Mr. K. explains the chord of Marpurg, without the leaft attention to the very different explication of Kirnberger; and with thefe the Second Part ter minates, at p. 45.

Part III. On the Application of Harmony.

Chap. XXVII. Progreffion of the Fundamental Bafs.-Mr. King now begins to be clear and correct; but we, object to the doctrine of omiffions in this fyftem, as we did in that of Kollmann: for, fuppofing it to be true, it is, in our opinion, unneceffary.

Chap. XXVIII. P. 48. Natural Harmony of the Scale.Here we, with much pleafure, wholly agree to Mr. King's theory, and only lament that he has not fooner given us occafion to ufe unqualified praife. "Three Parts of the Scale are naturally fundamental, viz. the key, the fubdominant, and the dominant C, F, G, in Major, A, D, E, in minor.

Chap. XXIX. Of Sufpenfion, Anticipation, and Tranfition.We were here agreeably furprifed to find the chords of fuppofition explained according to the plain theory of Kirnberger and Kollmann, after the apprehenfion that the fuppofitions of Marpurg were to be fufficient. For, as Mr. King admits of the chords of the 11th and the 13th, and as we have proved his own hypothefis to be erroneous, it was natural to conclude that Marpurg was the next to be received. The whole of this Chapter is very fimilar to that of Kollmann, Effay I. Chapter VII. p. 46.

*Merfenne, Sauveur, Euler, Balliere, Serre, Jamard, &c. have endeavoured to introduce the primes beyond 5 into notice; but it is wor thy obfervation, that these were all theorifts, and none of them practi çal, or at least profeffional musicians,

Chap

Chap. XXX. Of Modulation. Mr. K.'s arrangement of this branch of the fcience deferves great praise, and we are concerned that our limits will not permit us to enlarge on its general utility..

Part IV. Analysis of Compofitions.

The melody of "God fave the King," the flow movement of Corelli's Sonata II op. 2. the minuet in Ariadne, and the Introduction of Haydn's inftrumental Paffione, are very judicioufly analyzed, according to the principles which have been previously laid down.

Thus terminates a work which, for regular arrangement, and general information, is highly valuable. Compared with Mr. Kollmann's Effays, it is deficient in many refpects; and in none more than the total neglect of Kirnberger's doctrine of fufpenfion; which we have reafon to believe is greatly approved by harmonists of every country. But Mr. King's mode of publication is far fuperior to that of Mr. Kollmann's Effays. The infertion of the examples with the rules, the marginal notes, the excellence of the engraving, and the great attention which has been paid even to the paper and printing, juftify cur ftrong recommendation of the work itself; not ine deed to the exclufion of Mr. Kollmann's Effays, but as a proper companion to thofe ufeful works.

Mr. King, we must add, has just published a fecond edition, to which is prefixed an Advertisement, ftrongly cenfuring Mr. Kollmann for fome expreffions used in his laft work, on tho rough bafs. This we fhall, at present, pass unnoticed: for as Mr. Kollmann's third book will foon come under our inspection, and, as we hear, he purposes to answer Mr. King, that will be the proper time to confider the true merits of the caufe in question, There are alfo feveral explanatory pages annexed at the end, as notes to different parts of the Treatife. Some of these are very ingenious and important.

Mr. Shield's Introduction to Harmony next claims our particular attention; and we apprehend, that one number of this Review will be infufficient to contain all our remarks on that interefting and truly meritorious performance.

ART. XVI. The Works of Hannah More. In Eight Volumes. Including feveral Pieces never before published. 21. 12s. 6d. Cadell and Davies. 1801.

12mo.

UPON Mrs. More's character, as a writer and as a moralift, it cannot be neceffary to expatiate, the obvious tendency of her works, and the comprehenfive circulation with which

thofe

thofe works have been received, decide the establishment of her character, in both respects.

Many, indeed moft, of the pieces contained in these volumes, have paffed through various editions. Some new productions, however, are added; and most of the old confiderably altered and enlarged. In a Preface, written with great point and neatness, the author explains her motives, both for writing at all, and for collecting her different compofitions in this form. Of her earlier performances, fhe tells us, her object was to amufe; in the latter, to inftruct. This is fo well put, that we shall give the writer's own words.

"If I fhould prefume to fuggeft as an apology for having ftill perfifted to publish, that of the latter productions, ufefulness has been more invariably the object; whereas in many of the earlier, amufement was more obviously proposed; if I were inclined to palliate my prefumption by pleading

That not in Fancy's maze I wander'd long;

it might be retorted that the implied plea, in favour of the latter publications, exhibits no furer proof of humility in this inftance than in the other. That, if in the firft it was no evidence of the modesty of the writer to fancy fhe could amufe, in the laft it furnishes little proof of the modefty of the woman to fancy that the can inftruct. Now to amufe, or to inftruct, or both, is so undeniably the intention of all who obtrude their works on the public that no preliminary apology, no prefatory humiliation can quite do away the charge of a certain confcioufnefs of talents which is implied in the very undertaking. The author profeffes his inability, but he produces his book; and by the publication itself controverts his own avowal of alledged incapacity. It is to little purpose that the words are difparaging while the deed is affuming. Nor will that profeffion of felf abafement be much regarded which is contracted by an act that fuppofes felf-confidence.

"If however there is too feldom found in the writer of the book, all the humility which the Preface announces, he may be allowed to plead on humility, which is at leaft comparative. On this ground may I be permitted to declare, that at no period of my life did I ever feel fuch unfeigned diffidence at the individual appearance of even the flightest pamphlet (the fenderness of whofe dimenfions might carry fome excufe for the fmail proportion of profit or pleafure it conveyed), as I now feel at fending this, perhaps too voluminous, collection into the world. This felf-diftruft may naturally be accounted for, by reflecting that this publication is deliberately made, not only at a time of life when I ought beft to know my own faults, and the faults of my writings; but is made alfo at fuch a distance from the monentn which the feveral pieces were firft ftruck out, that the mind has ad time to cool from the hurry and heat of compofition: the judgment has had leifure to operate, and it is the effect of that operation to rectify falfe notions and to correct rafh conclufions. The critic, even of his own works, grows honeft, if not acute, at the end of twenty years.

Thre

The image, which he had fancied glowed fo brightly when it came fresh from the furnace, time has quenched; the fpirit, which he thought fixed and effential, has evaporated; many of the ideas which he impofed not only on his reader, but on himfelf, for originals, more reading and obfervation compel him to reftore to their owners. And having detected, from the perufal of abler works, either plagiarisms in his own, of which he was not aware, or coincidences which will pafs for plagiarifms; and blending with the new judgment of the critic, the old indignation of the poet, who of us in this cafe is not angry with those who have faid our good things before us? We not only discover that what we thought we had invented we have only remembered; but we find alfo that what we had believed to be perfect is full of defects; in that which we had conceived to be pure gold we discover much tinfel. For the revifion, as was obferved above, is made at a period ». when the eye is brought by a due remotenefs into that juft pofition which gives a clear and diftinct view of things; a remotenefs which difperfes the illufions of vifion," fcatters the mitts of vanity, reduces objects to their natural fize, restores them to their exact shape, makes them appear to the fight fuch as they are in themselves, and fuch as perhaps they have long appeared to all except the Author." P. xi.

The first volume contains Mrs. More's earlier poetical works, with a profe tract, at the conclufion, which is called Village Politics. This was written in the beginning of the French Revolution, and is addreffed to the mechanics, journeymen, and labourers of Great Britain. This is very excellent in its kind, and demonftrates the author's ftrong and unalterable attachment to the civil and ecclefiaftical conftitution of her country.

The fecond volume contains the Sacred Dramas, the fubjects of which are taken from the Scriptures. The third volume is occupied by a Preface to the Tragedies, and the Tragedies themfelves. These are Percy, the Fatal Falfehood, and the Inflexible Captive. The object of the Preface is to vindicate the writer from the feeming inconfiftency of having, at one period, exclaimed against the dangerous tendency of dramatic entertainments, and at another of having herfelf compofed dramatic pieces. The truth is, that the mind of the author has undergone a revolution of fentiment fince fhe wrote the dramatic pieces. This is confirmed by the dates, and this effectually folves the paradox. Mrs. More's fentiments on the prefent ftate of the theatre, and the pernicious tendency of its principles and examples, are detailed at much length, and with confiderable force and energy. Much doubtless of what is faid on this fubject is incontrovertibly true; we think, however, that the argument is preffed fomewhat too far. It cannot certainly be denied, that fome of our dramatic pieces exhibit the nobleft examples, and inculcate the finest fentiments of honour, decency, and virtue. The fourth volume exhibits the Stories, which were first published in the Cheap Repofitory, but are in

this

this edition much enlarged and improved. The Stories are separated into two claffes; one adapted to the fuperior, the other to the lower claffes of life. The ftory of Mr. Fantom, in this volume, is remarkably interefting, and appears to afford an additional proof, if fuch were wanting, of the writer's foundness of principles, in every thing which regards our establishments in church and ftate. The fifth volume alfo contains Stories. Thefe are adapted to the lower orders of fociety. In all thefe ftories, one obvious tendency, and one obvious object of the writer, appears to be, to imprefs upon her readers a respect for the character of the clergy, by making them examples of the most amiable virtues.

The fixth volume contains two tracts. One on the Manners of the Great; the other, the Estimate of the Religion of the Fafhionable World. At the conclufion, is found the admirable Remarks on the Speech of M. Dupont. This tract was, as it well deserved to be, extenfively circulated, and is here merely republifhed. The feventh and eighth volumes are occupied by the Strictures on the modern Syltem of Female Education. Thefe having pafled through feven or eight large. editions, require no commentary from us.

In characterizing thefe works collectively, all that the author claims may be fully granted; and we may employ her own words, protefting only againit the too great modefty of fome pallages, particularly the firit.

"That I have added to the mafs of general knowledge by one original idea, or to the stock of virtue by one original fentiment, I do not prefume to hope. But that I have laboured affiduously to make that kind of knowledge which is most indifpenfable to common life, familiar to the unlearned, and acceptable to the young; that I have laboured to inculcate into both, the love and practice of that virtue of which they had before derived the principles from higher fources, I will not deny to have attempted.

Con

"To what is called learning I have never had any pretenfion. Life and Manners have been the objects of my unwearied obfervation; and every kind of study and habit has more or lefs recommended itself to my mind, as it has had more or less reference to these objects. fidering this world as a fcene of much action, and of little comparative knowledge; not as a stage for exhibition, or a retreat for fpeculation, but as a field on which the bufinefs which is to determine the concerns of eternity is to be tranfacted; as a place of low regard as an end, but of unfpeakable importance as a means; a scene of short experiment, but lafting refponfibility: I have been contented to purfue myfelf, and to prefent to others (to my own fex chiefly) thofe truths, which, if obvious and familiar, are yet practical, and of general application things, which if of little fhow, are yet of fome ufe; and which, if their feparate value be not great, yet their aggregate import

ance