Chapter V: Conclusion of the Greek Drama (4)

This is, in fact, an evil. It is assuming the frivolity, the waste of time, the coxcombry, and all the disadvantages of music, without any of its substantial benefits. That which Shakspeare praised, and Milton cultivated, and which is supposed to be the language of saints and angels when they hymn their Maker's praise, ought to be a nation's care: but then it ought to be so only on proper grounds and in the true ethereal spirit which fits it for divine. Not the miserable or the vitious levities of music, which serve but to unman the soul, to wake the dormant sensualities of the heart, and far from lifting the spirit to the skies, but sink it to the centre. Not what Shakspeare calls "the lascivious pleasing of a lute" for fools "to caper to in a lady's chamber," but harmony, such as befits the creature to pour forth at the altar of the Creator; the sublime raptures of Handel; the divine strains of Haydn, and the majestic compositions of Purcel, Pergolesse, and Graun.

We have been led into these observations by a report which has for some days prevailed, that a grand performance of music, such as we describe, something on the plan of the commemoration of Handel, which took place in the year 1784, at Westminster Abbey, and much superior to any thing ever heard in America, is contemplated. Upon inquiry we find the report to be true, and that a combination of musical powers hitherto unknown in this country, will, at St. Augustine Church, perform a Grand Selection of Sacred Music, after the manner of the oratorios in Europe.

Having made it our business to procure the best information upon this subject, we are enabled to state that the pieces to be performed on this occasion will be selected from the very highest order of musical composition--the Messiah of Handel, the Creation of Haydn, &c. That besides those, a number of the choicest compositions vocal and instrumental, by Handel, Graun, Pergolesse, &c. will be performed, and that, in order to make the exhibition as perfect as possible, every attainable assistance will be brought in to give magnificence to the performances and "swell the note of praise."

On this grand occasion, not only all the professional musicians of this city will unite, but all who can be collected from the other States will be summoned to lend their aid, in addition to which a number of ladies and gentlemen, amateurs, will give their assistance.

A plan so well worthy of an enlightened nation's patronage, cannot fail of success in such a country as America.

FOOTNOTES:

[K] Shakspeare Midsummer night's Dream.

[L] Milton.

ALFONSO,

KING OF CASTILE:

A TRAGEDY IN FIVE ACTS.

BY M. G. LEWIS.

For us and for our Tragedy,
Thus stooping to your clemency,
We beg your _candid_ hearing patiently.

Hamlet.

PHILADELPHIA:

PUBLISHED BY BRADFORD AND INSKEEP: INSKEEP AND BRADFORD, NEW-YORK; AND WILLIAM M'ILHENNY, BOSTON.

_Smith & M'Kenzie, printers._

1810.

ALFONSO, KING OF CASTILE:

DRAMATIS PERSONAE.

Alfonso XI. Orsino. Caesario. Father Bazil. Henriquez. Melchior. Ricardo. Gomez. Marcos. Lucio. First Citizen. Second Citizen.

Friars, Soldiers, Citizens, Conspirators, &c.

Amelrosa. Ottilia. Estella. Inis.

Nuns, and Female attendants on Amelrosa.

_The scene lies in Burgos (the capital of Old Castile) and in the adjoining Forest._

The Action is supposed to pass in the year 1345.