our friend, having fresh in his remembrance the bad consequences of their late exhilaration, determined to break up the sitting; he slipped into the old man's hand a liberal remuneration for his trouble, the rest did something likewise; they gave him leave to go and take repose, promising themselves another entertainment from his skill in the evening.
When he had retired, our friend said to Philina, "In this favourite song of yours I certainly find no merit, either moral or poetical; yet if you were to bring forward any proper composition on the stage, with the same arch simplicity, the same propriety and gracefulness, I should engage that strong and universal approbation would be the result."
"Yes," said Philina: "it would be a charming thing indeed to warm one's self at ice."
"After all," said Wilhelm, "this old man might put many a player to the blush. Did you notice how correctly the dramatic part of his ballads was expressed? I maintain there was more living true representation in his singing than in many of our starched characters upon the stage. You would take the acting of many plays for a narrative, and you might ascribe to these musical narratives a sensible presence."
"You are hardly just," replied Laertes. "I pretend to no great skill, either as a player or as a singer; yet I know well enough, that when music guides the movements of the body, at once affording to them animation and a scale to measure it; when declamation and expression are furnished me by the composer,—I feel a quite different man from what I do when, in prose dramas, I have all this to create for myself,—have both gesture and declamation to invent, and am, perhaps, disturbed in it, too, by the awkwardness of some partner in the dialogue."
"Thus much I know," said Melina: "the man certainly puts us to the blush in one point, and that a
