which the countless stars we see are but like prints of seraphic fingers compared with the wonders of glory there; look up to where purity, peace, and immortality mingle their three-fold springs to form a celestial fountain from whose clean depths are ceaselessly gushing the bliss of the glorified host. Oh, look up and know it is all for you."

"Why, Knuckles, you would make a famous preacher, that you would."

"Oh! Ah! Well, no, don't think that," said he.

"Yes, you would, for I consider you are a very wise and good old tree."

On my saying this, he became quite confused, not being used to receive compliments, and seemed as if it would have been a great convenience could he have blushed, but not having all the essentials at hand, he substituted it by an awkward attempt to cover his face with one of his thin arms, while he stammered out something · like

"Oh, dear me, no, don't, please. Really

So observing he was rather uncomfortable, I just said-
"Well, Knuckles, I think it is time for me to go."

"Oh, sorry for that. Will you come again? I have lots to say to you now I know you."

"Thank you, I think I will, I've enjoyed your conversation." "Ah, glad of that, always glad to see you. You know where I live; I'm always in, or rather I'm always out, that is, I'm always at home."

"Yes, yes. I know what you mean.
"Good night," said he.

Good night, Knuckles."

And as I drew back from the window, I could just see him nodding and bowing at me with a face as merry as if he were going to act first man at a wedding instead of standing out there, through the cold, bleak night. F. J.

MOZART had failed at Paris. His superb genius is unquestioned; his versatility and industry are equally conspicuous. Yet in the paying sense he failed. Whoever is to blame this is the solitary outstanding fact. Here is a phenomenon for disappointed people to, gaze upon and consider. The divine and unapproachable Mozart, since he had become a man, had failed at Salzburg, at Mannheim, and at Paris. After the death of his mother he returned to his weeping father and sister at Salzburg, where the affectionate and gifted family might dwell together and at least enjoy each other's society, if they could not win wealth. Wolfgang Mozart quitted Paris on September 26, 1778, and received a new appointment under the Archbishop of Salzburg.

On Mozart's return the first noteworthy incident is a disappointment in love. With the eagerness of youth, clad in mourning he visited the Webers. His well-beloved Aloysia was indifferent to

him ; she regarded him only as a "little man " of no position; and what she had formerly experienced of love was dead within her. She had been so much in public, and admired by persons of exalted rank, that she hoped to marry some one with a title; so the "little man was turned adrift. But, gentle reader, don't break your heart over Mozart's disappointment in love, for he did not let it break his heart. At first he was very greatly surprised, as may be imagined; but when he discovered the truth he went to the pianoforte and played a melody which corresponds to the English song, "If she slight me when I woo, I will scorn and let her go." And, true to the sentiment of this melody, he made love to her sister Constance, and succeeded. This accomplished lady was so far constant to him that she ultimately became his wife.

Mozart signalised his return to Salzburg by producing a mass, probably for the Easter festivities. It is in the resounding key of C major, and is the No. 1 in the English editions. Respecting it Mr. Holmes says: "This elevated and truly admirable composition announces the great career of Mozart as symphonist and dramatic musician. He seems to have seized the occasion to gratify and astonish the whole music corps of the city, and not even to have forgotten the Archbishop, who liked a pompous style and to hear the trumpets."

The next great event in the history of Mozart is the production of "Idomeneo." It was this which first stamped Mozart as a dramatic composer of unrivalled excellence. As it was written before Haydn composed any of his distinguished symphonies, it is regarded by musicians and judges as the basis of the modern orchestra, and undoubtedly formed a new epoch in music. It was composed at the request of the Elector of Bavaria. It was performed at Munich on January 29, 1781, thus crowning Mozart's twenty-fifth year.

In the preparation of this work Mozart displayed all his fine qualities of head and heart. The vocalists were found to be very insufficient for the occasion, though the instrumentalists were both numerous and efficient. Like a consummate general, Mozart composed the richest effects for the orchestra. These instrumentalists wanted nothing in tone and execution, and Mozart supplied them with the animating soul. To their delight they found themselves discoursing to each other in the most eloquent and unheard-of manner. As one of the singers was an aged man, weak in voice, and short of breath, Mozart shortened the phrases for him, relieved him of long notes and runs, and generally accommodated the music to the old man's capabilities. Both singers and players were

charmed.

This great work was produced in less than three months. "The score is still a picture to musicians. It exhibits consummate knowledge of the theatre, displayed in an opera of the first magnitude and complexity, which unites to a great orchestra the effects of a double chorus on the stage and behind the scenes, and introduces marches, processions, and dances to various accompaniments in the orchestra, behind the scenes, or under the stage. This model opera, in which Mozart rises on the wing from one beauty to another through long

acts, and was composed in so brief a period, has ever since defied the scrutiny of musicians to detect in it the slightest negligence of style."

The perfection of Mozart's work is derived mainly from two qualities, apparently irreconcilable, and seldom found combined in the same individual: these are a profound reverence for authorities and the boldest originality. One led Mozart to acquaint himself with the principles of his art and all that had ever been achieved thereby; the other saved him from servile and spiritless obedience to the past. Hence in his most novel inventions there are no vagaries, but all is the result of resistless and well-trained mental power, and apparently as indestructible by time as the pyramids. Yet with all his solidity nothing is more common among musical critics than such a phrase as this, "It has all the fire of Mozart."

After the triumph of "Idomeneo," Mozart stayed long months at Munich, enjoying public applause and the society of his friends, in various ways endeavouring to obtain a situation there, but without avail. The intrigues of some in office, the indifference of many called "friends," the unwillingness of others to reward extraordinary merit in some adequate manner, all combined to thwart and disappoint the gifted Mozart. In the middle of March, 1781, he was commanded by the Archbishop of Salzburg to attend the Court of Vienna.

How grand it sounds this going to the Court of Vienna! What an effect it has in an historical narrative! Going, also, in the train of the Archbishop of Salzburg! Let us see what it really meant to Mozart. This Roman Catholic Archbishop took his own organist with him to Vienna, just as he took his cook, his ostler, and his valet. These attended upon his reverence and rendered him service. A letter is preserved in which Mozart details the circumstances under which his soul writhed in anguish. "Now about the Archbishop. I have a delightful apartment in the same house in which he dwells (servants' hall is this delightful apartment). Dinner was served at half-past eleven in the forenoon; two valets in attendance, the controller, the confectioner, two cooks, some others, and my littleness. The two valets sat at the head of the table, and I had the honour to be placed above the cooks. . . . During dinner there was a great deal of coarse, silly joking-not with me, however, for I did not speak a word unless absolutely obliged, and then it was always with the greatest seriousness. So when I had finished my dinner I went my way." Think of the gifted intellect and large heart of this distinguished musician, and then of his degradation in the service of this mitred Roman Catholic prelate! What a mighty advance music has made in the world now that the musician can appeal to an intelligent, numerous, and appreciative public instead of being bound. in chains to royal or ecclesiastical patrons! If the divine Mozart had to submit to such indignity in his time, what must have been the courage of Handel, so much earlier, in resisting the whole nobility of England to maintain his personal independence and the honour of his art!

Mozart in Vienna was miserable in the archbishop's service. The prelate would not allow him to play in public, to have pupils, or to go into society. In all kinds of vexatious ways he tyrannised over

the musician and wounded his sensibilities. Mozart relates, that so deeply afflicted was he that he one day staggered in the street like a drunken man, trembled violently all over, and had to go to bed for an entire day. At length he requested his dismissal, and, turning his back upon the Archbishop of Salzburg, adventured forth upon an untried career.

While Mozart was at Vienna he became acquainted with the celebrated "48 fugues" of Sebastian Bach. This work fascinated him. Ever after these fugues were his favourite pastime. So enamoured was he of them that he wrote them out in score for the mere pleasure of the thing.

Mozart became a great favourite of the Emperor Joseph. He frequently visited the palace and performed in the imperial presence. The smiles of royalty are very fascinating, so Mozart rejoiced in imperial favour, though the Emperor himself was a sorry judge of music. About this time a distinguished Italian musician, named Clementi, visited Vienna. The Emperor must have the two musicians competing in his presence. When Clementi had done his part, the Emperor said to Mozart, "Come, blaze away," as if he had been giving orders to a park of artillery. The refinement of feeling displayed is something to be admired. It was submitted to, of course, in an emperor, and Mozart demonstrated his superiority over the Italian. At this time Mozart was maintaining himself mainly by teaching music at the rate of five shillings a lesson.

It was at this time that Mozart made the acquaintance of Haydn, the latter frequently visiting Vienna in the suite of Prince Esterhazy. The friendship of these two distinguished men sheds a glory over the art they both so much embellished. Mozart treated Haydn with the deference due to his years and fame, addressing him as his master, and adopting his models. On the other hand, the great symphonist quickly perceived the superior genius of Mozart, was gratified by his undisguised esteem, and loved him tenderly. And from this time each learned from the other, to the great advancement of music generally. Mozart submitted his compositions to the criticism of Haydn before publishing them, and Haydn modified his own compositions by the discoveries and inspirations of Mozart. So should it ever be with the great leaders of humanity instead of opposing and contending with each other, their rivalry should be emulative and affectionate.

:

Mozart's pianoforte playing was such as can scarcely be imagined. Brilliant execution with both hands, refinement of feeling, delicacy of touch, force and fire he undoubtedly had. But these may also be met with in other great players, as well as in Mozart. To realise as much as possible the playing of this gifted man, the animating soul must be taken into account; that superb genius which created "Don Giovanni" and "Figaro" breathed itself into the instrument, expressed its own emotions, and spoke to the heart of the hearer. It was no mere keeping of correct time, and faithfully rendering the notes written it was inspiration robing itself in light and majesty. Years after, when the soul had fled from this earth, and the fingers motionless in the grave, Haydn was heard to say with tears, "Mozart's playing I can never forget."

"Die

On July 12, 1782, appeared for the first time a new opera, Entführung aus dem Serail." Success to those who understand German, and can pronounce and interpret this formidable title. It was another great triumph of Mozart's genius. There were many situations of great interest which Mozart well knew how to turn to account. The opera had a splendid run, delighting the Viennese public and all the friends of the composer, and disappointing and confounding his enemies.

In the midst of the applause and glory which attended this opera, Mozart applied to his father for consent to marry. The first letter not being successful, he wrote again. In most affectionate and filial terms he sought his father's concurrence and blessing. The second epistle was successful, and on August 4, 1782, Mozart was joined in holy matrimony to Constance Weber. There was no fortune on either side; but there was similarity of disposition and taste, Constance being an excellent soprano singer and judge of music, though she had not her sister Aloysia's magnificent voice and brilliant execution. In a letter to his father, Mozart says:-" My dear Constance, now, thank God! my wife, was long ago informed by me of the whole state of my affairs, and of what I had to expect from you. Her friendship and love to me, however, were so great, that she joyfully and unhesitatingly confided her whole future life to my keeping, and joined her fate to mine. I kiss your hand, and thank you with all the tenderness a son should feel towards a father, for the kind consent and the paternal blessing. My dear wife will write next post-day, to beg the blessing of her kind father-in-law, and the continuance of her beloved sister's friendship. When we were

joined together, my wife began to weep, and I too, and indeed they all wept, even the priests themselves, at witnessing our emotion.. ... My opera was played again yesterday by desire of the Chevalier Gluck. Gluck has paid me many compliments upon it, and I am to dine with him to-morrow."

Hurst, January 4, 1876.

H. MARSDEN.

SPELLING BEES.

WHAT are Spelling Bees? is the question which is being asked by many. The answer is that they are "orthographical tournaments in which young and old test their spelling abilities, and compete for prizes.

The Americans are said to be the inventors of the "Spelling Bee," though we believe that a "spelling match" was a recognised institution in English schools some twenty or thirty years ago. The only novelty about it is the word "bee," which is American, and long may it remain so. Whether an American or an English invention does not matter; for it is both instructive and amusinginstructive, because it improves the orthography of the competitors and impels them to study it more closely-amusing, because of the utter inability of many competitors to spell even the simplest words and of the retirement of those persons abruptly from competition.

G