shall only observe, that its influence on the soul is greatest when it comes from the breast, and that it diminishes in its power over the affections as it is generated in the throat, or proceeds only from the head. The last mode of propagating sound, (or what may be termed the nasal tone) is the fruitful source of all those playful and captivating delicacies which charm without affecting, and touch the ear without reaching the heart. He must be fastidious, however, that would object to this exquisite indulgence; since the talent may be exerted without destroying the more valuable source of moral emotion—the heartfelt energies of the natural voice. "We are led to this prefatory observation, because the return of Mrs. BILLINGTON may be considered as an epoch in the English school. She is so peculiarly endowed with this new talent of execution, that it is likely to influence the style of the stage, and to give a fashion to the art. With the natural voice of Mrs. BILLINGTON the public are well acquainted. She is one of the instances which ought ever to be held up as a model of imitation to the student, as she shews what wonders may be achieved by indefatigable exercise. Not merely skill but power are to be acquired by labour; so true is it, that the faculties, as well as the muscles, are to be strengthened by use. Mrs. BILLINGTON's quality of voice, of course, remains the same, but it is improved in force, and mellowed by time. She is in fine health. Her embonpoint is a little beyond the ton of the day; but her figure is grand; and derives from her deportment, step, and manners, an uncommon interest. In this respect she is also most highly improved. Her carriage is easy, collected, and graceful. Her attitudes and action are just; and in executing the most difficult of her cadences, she betrays none of those contortions which some of our singers so ridiculously, as well as painfully, fall into by habit. "We come now to examine her performance of the character of Mandane, in the beautiful opera of Artaxerxes. Her advance and presentation to the audience was distinguished by its elegance of address. It prepossessed the spectator by its ease.The duettino with Mr. INCLEDON, which immediately followed, gave an admirable scope for the display of her cantabile, in contrast with a voice, the richest and most powerful in natural melody that our stage possesses. And here we found the advantage which science gives to nature. Mr. INCLEDON's voice, superior in every valuable requisite, had not the delicacy and taste which high cultivation only can confer, and by which the delicious sympathy of the tones is heightened, and rendered irresistible. Mrs. BILLINGTON sung the duet with beauty and truth-but this air, as well as that which followed, and still more the fine air of "Let not rage thy bosom firing "-served to prove that the affecting is not so peculiarly her province as the bravura. In the latter she is not merely striking, but her powers exceed the grasp of our imagination. She imitates and goes beyond all the difficulties of the most exquisite violin; and she is therefore to be considered as having reached the achme of instrumental singing. The new bravura song introduced by a daring hand into the work of Dr. ARNE, was executed by her with such rapid, varied, and surprising feats of the voice (if we may be allowed the phrase) as to electrify the audience. It was a species of wonder, which made the mind doubt of it being human, it so nearly resembled the warbling of a bird. This song was originally composed for Mrs. BILLINGTON, by BIANCHI, when at Naples, and sung by her in the Theatre of San Carlos, to the enchantment of all the amateurs of Italy. Never, however, was there a circumstance which so emphatically marked the difference between this style of execution, and the pathos of simple melody, than the impression which even Mr. HILL made immediately after this torrent, by the few notes of "In infancy our hopes and fears." The surprise of the one enraptured the theatre. The emotion of the other was felt in every artery of the frame. It soothed and softened the heart; and here it is that music is most truly valuable, when it is excited to rouse and agitate all the best interests of our nature. Mrs. BILLINGTON will give the means of a musical education to public taste. She will shew what is perfect in that astonishing part of the science, the instrumental; and though she cannot be equally considered as perfect in the more endearing and valuable branch of the art, she will shew the student the inestimable charms which may be added to natural beauty by the taste of skill. Her articulation is admirable; and she never fails, either through the want of breath or compass, to close every period with its due intonation. She is properly sparing of ornament-but it is tasteful, and upon repetition we find it constantly new. theSoldier tired of War's alarms," nothing could be more enchanting than the flowers with which she decorated the subject. MARA, who was present, must have felt her own skill exceeded in the novelty which she threw on this familiar air; in which there is just enough of the bravura to give scope to the flights of her voice, without the extravagance of BIANCHI's air. In "Upon the whole, we must remark on Mrs. BILLINGTON's appearance, that it is highly valuable; not merely for its own captivations, but because it will tend to cultivate and improve the English opera, both in its orchestra and its song. She made a condition with the managers that her brother, Mr. WEICHSELL, should lead the band on the nights of her performance. This may contribute to that emulation which is the source of improvement. Mr. WEICHSELL displayed very fine talents: he gave to the overture a force and beauty the most impressive, and he led the opera with great spirit and taste. We trust that he will be a permanent acquisition to the professional band of the country.” THE REFLECTOR. [No. LVI.] ALFRED, AN EPIC POEM, BY JOSEPH COTTLE. Upon his couch ALFRED had stretch'd himself, ALFRED. WE E are now about to enter on a very interest ing part of this poem. ALFRED, in the disguise of an Harper, enters the Danish campimitates the ravings of a maniac, the more effectually to elude detection-and having surveyed the forces of the enemy, returns triumphantly to his countrymen. This manoeuvre lays the foundation for certain measures, by which the invaders were devoted to destruction. It is planned and executed with admirable dexterity. Alfred first obtains his harp of an aged woodman -it belonged to his son, whom he supposes to have fallen in battle, fighting for the king-this harp, therefore, was kept sacred by father and motherafter some hesitation, however, the instrument and the son's mantle also, are given the monarch -And now the king Stood in his rustic dress. He took the harp, ALFRED marching onwards to the camp of the enemy, is seized by the Danes, who enquiring after the king, he replies→→ I am a simple harper, and I love My harp so well-so little do I heed The bustling world, and all the strifes of men, Passing on, he is admitted into the camp without suspicion, till a band of Danes upbraids him with being a Saxon, and robs him of his harp-Guthrum at that instant came up, and him he supplicates -the scene is peculiarly beautiful and impressive-Alfred beheld the chief, And drawing near, replied, kneeling to earth, "I am a simple man," the king replied, |