" WISE SAWS AND MODERN INSTANCES."* By Clement Clearsight, Gent. 1. A Caution to Flatterers. THE worst compliment you can pay a woman, both to her person and mind, is to tell her she is handsome. If she is so, she knows it already, and believes you give her credit for nothing else; if she is not, she must believe you think her a fool, by endeavouring to make her vain of what she does not possess. II. An Infallible Rule. When you hear a man bragging of his honour, or a woman of her virtue, depend upon it, such must have been frequently put to the test, and the conquest cost much self-denial, in order to make the owner vain of it. III. An Upstart. The most biting mortification you can inflict on an upstart is, to take no notice of him. IV. Lethe not Fabulous. “To err is human, to forgive divine," says Pope: if he had added, to forget, he would have approached nearer the rays of divinity. Lethe is not a fabled spring, it exists in every man's mind, if he would endeavour to trace its source. V A Glorious Revenge. If you feel inclined to exercise your vengeance against one that has deeply injured you, take the first opportunity of doing him a service. If he has any feeling, you will wound him to the quick. *The above are, as well as I can remember, original, but yet I will not vouch but what some may have appeared in print before, though in a different dress. As all knowledge is acquired from reading and observation, it is more than possible that many of these maxims may have passed through the minds of others; and to whom I am indebted for them. In defence of any anticipated plagiarism, I can only say, that they are either original thoughts, or transcripts of forcible impressions left on the memory. C. C. VI. Studying to Advantage. Never pursue a study as a task; if you cannot make it a pleasure, it will never render you any profit; remember the proverb, about bringing the horse to the water-side. VII. Disappointment the Source of Happiness. The Blighted expectations are a source of constant lamentation. grumblers forget, that the anticipation of a pleasure is in general sweeter than its reality; and if we were always guaranteed against disappointment, enjoyment would have no charms.. It is the uncertainty of our expectancies, that causes the chief happiness of life. VIII. An Infallible Guide. If you wish to discover the weakest side of your opponent, get a knowledge of his strongest passion. IX. A Difficult Question. Which is the most selfish man-the miser, or the profligate? X. A Dangerous Enemy. The tongue is the agent of the head, and the pander of the heart. XI. Satire. He who indulges in satire or invectives, sets himself up as a target for the arrows of the rest of the world. XII. A Hint to Young Authors. If you wish any one to imbibe a good opinion of your merits, keep them in the back ground: you only mortify the man you wish to please, by reminding him of his ignorance or inferiority. XIII. A True Estimate of Gravity. Some author has said, "The gravest beast is an ass―the gravest bird, an owl-and the gravest man, a fool." Of all fools a learned one is the most insufferable. XIV. External Appearances. A fine appearance is an index of internal poverty. Nature gave the peacock his plumage in consideration of his voice, while she withheld beauty from the nightingale, thinking she had done her part by bestowing on that bird so mellifluous a note. XV. A Liar's Invariable Resource. If a man take his oath, or protests strongly, rest assured he is deceiving you; as he is conscious himself he is unworthy of belief. XVI. Mental Exercise. The mind is like a watch, a useless incumbrance to its owner when dormant, and only of service when its powers are in exercise. XVII. Man is Man. The rose hath its thorns-the diamond its specks-and the best man his failings. XVIII. A Mental Antidote. Those who are afraid of infection, wear an Antidote about their persons; it would be as well if some people were to take as much care of their minds-the soul is as likely to be infected as the body. XIX. He who triumphs over a woman, would over a man-if he durst ; he only proves by doing so, that he is both a fool and a coward. A CRITIQUE ON THE NEW OPERA. DER FREYSCHUETZ, was performed the 22d of July for the first time in England. From the bill we were led to expect a literal translation, and the full contents of Von Weber's delightful composition. But we were very much disappointed. We heard indeed Weber's music; but here only half of a tune, there a Trio arranged as a Duetto, here omittances, there additions, mistakes of time and expression, and a want throughout of animation. The whole however went off extremely well, save the spirit of the composition, this was deficient of all its life, all its energy. Those who have heard this Opera at Berlin,* or any other capital of Germany, will not find our judgment too harsh. Even the book, by no means a favourite in Germany, is so strangely altered, that in its present state it will be hardly understood. In the original, the Demon is not so stupid as to direct his bullet against one who cannot escape from him—but our intention is not to criticise the book, but the performance. We only shall remark, that instead of the animated opening of the scene by dancing and singing, here is introduced a gloomy dialogue as a substitute; also in the original there is but one, huntsman, who is in league with the devil; here we find an additional one Rollo (by the bye, neither a German nor a Bohemian name.) The part of this huntsman wants an actor as well as a singer-this appears to have been the cause for the living addition: for Rollo cannot play, and Caspar cannot sing; so he, if there is a song to be executed, calls Rollo in to do it for him. Now to the performance. The overture was undoubtedly the best executed part of the whole, although the orchestra was neither strong enough nor competent to so great a task. The big-drum in the last Allegro should not be so strong. The first Chorus was well sung, but the second, which is called the laughing or mock chorus, failed throughout. Here the laughing, according to Weber's notions, under whose directions we have often heard this Opera, should begin piano, and finish by a gradual increase in fortissime; in that case the irony would appear, but here they burst out into an immoderate fit of laughter, which excited and deserved another from the spectators. Why Weber's music has been altered we do not know-but we know very well that the alteration does no credit to the judgment of the arranger. It is always dangerous to alter the productions of genius-but if those productions have already victoriously overcome the trial of public criticism, why then introduce instead of them a doubtful alteration? This is even foolish, besides almost a sacrilege, to spoil by an arbitrary arrangement the most sacred and only property * Der Freyschütz, was performed for the first time at Berlin, (and not at Munich as the Times states) in the summer of 1821, under Weber's direction, who came for this purpose from Dresden. of the artist. The spirit of Mozart would not frown with a heavier gloom on Bishop's profanation of Figaro, than Weber would if he knew him, who did him the dishonour to make of his composition, (which is a whole, and where one tune is calculated to prepare the ear for the other,) un ragout de fantaisie! But worse than the omissions are the additions. For instance the young girl, Ann, is represented both by the poet and composer, a lively gay character, in opposition to the pious, soft Agatha, (here Agnes.) Now in the second Act, Ann sings a sentimental Duetto, which does not belong to der Freyschütz, and is certainly not by Weber. This single example, where the whole poetical existence of a character is annihilated, may suffice to show the want of judgment in the arrangement. What would the public say, if Beatrice in Much Ado About Nothing, were to recite, "to be, or not to be ?"—And what is the use of these additions? Is there not music enough in der Freyschütz? The Romance, "good night," and the first Cavatine of the third Act, both exceedingly well sung by Mr Braham, are also additions. Mr. Braham was the only singer, who went honourably through his part; he was however not in good voice, and altered even (we presume on this account) some bars, which he sung an octave deeper than they are set down. The flourish in the recitative at the wolf's glen was misplaced. Mr. H. Phillips is not able to sing the part of Rollo-Caspar. The drinking-song, which of all the airs is regarded as the most original in Germany, and is always received with enthusiastic applause, passed off unregarded; it wants an animation, almost a wildness, which Mr. H. P. is neither able to conceive nor inspire. This is no merry song, it is the despair of a wretch masked under jollity, which is the cause of its striking effect. The female parts were a perfect failure. Miss Povey sung sweetly, but Ann is a lively, gay, even amorous girl; and Miss P. is full of sentiment, but possesses not the playfulness this part requires. She would have sung better the part of Agnes. Miss Noel performed Agnes, but we are sorrow to state-she has neither talent, nor art, nor judgment, for such an important task. The Cavatine in the last Act, (she sang only the half of it) which should be sung throughout Legato, was quite spoiled; and the grand Scena in the second, the triumph of Weber, was lost. The upper notes were sometimes half a tone too deep, and the whole executed without art or sentiment. The want of judgment was visible, for instance, at the words, While the widow'd nightingale, which are composed recitative, almost speaking; and having such a simple accompaniment, that it is very plain, the composer would avoid every painting or imitation; and rightly, for the imitation of a nightingale would not suit the pious, calm, and grand character of this scene: and just here, in a fine imitation, Miss Noel shakes for two minutes. But she is not to be blamed, only those who give her a part, which would require all the power of the first living singers. The part of the |