“O cara, cara! silence all that train,
Joy to great chaos3! let division reign4.”
The Oratorio of Judith, Mr. Ireland observes, was written by Esquire William Huggins, honoured by the music of William de Fesch, aided by new painted scenery and magnifique decoration, and in the year 1733 brought upon the stage. As De Fesch2 was a German and a genius, we may fairly presume it was well set; and there was at that time, as at this, a sort of musical mania5, that paid much greater attention to sounds than to sense; notwithstanding all these points in her favour, when the Jewish heroine had made her theatrical6 début, and so effectually smote7 Holofernes,
——"As to sever8
His head from his great trunk for ever and for ever.”
the audience compelled her to make her exit. To set aside this partial and unjust decree, Mr. Huggins appealed to the public, and printed his oratorio. Though it was adorned9 with a frontispiece designed by Hogarth, and engraved10 by Vandergucht, the world could not be compelled to read, and the unhappy writer had no other resource than the consolatory11 reflection, that his work was superlatively excellent, but unluckily printed in a tasteless age; a comfortable and solacing12 self-consciousness, which hath, I verily believe, prevented many a great genius from becoming his own executioner.
To paint a sound is impossible; but as far as art can go towards it, Hogarth has gone in this print. The tenor13, treble, and bass14 of these ear-piercing choristers are so decisively discriminated15, that we all but hear them.
The principal figure, whose head, hands, and feet are in equal agitation16, has very properly tied on his spectacles; it would have been prudent17 to have tied on his periwig also, for by the energy of his action he has shaken it from his head, and, absorbed in an eager attention to true time, is totally unconscious of his loss.
A gentleman — pardon me, I meant a singer — in a bag wig18, immediately beneath his uplifted hand, I suspect to be of foreign growth. It has the engaging air of an importation from Italy.
The little figure in the sinister19 corner, is, it seems, intended for a Mr. Tothall, a woollen-draper, who lived in Tavistock-court, and was Hogarth’s intimate friend.
The name of the performer on his right hand,
——"Whose growling20 bass
Would drown the clarion21 of the braying22 ass,”
I cannot learn, nor do I think that this group were meant for particular portraits, but a general representation of the violent distortions into which these crotchet-mongers draw their features on such solemn occasions.
Even the head of the bass-viol has air and character: by the band under the chin, it gives some idea of a professor, or what is, I think, called a Mus. D.
The words now singing, “The world shall bow to the Assyrian throne,” are extracted from Mr. Huggins’ oratorio; the etching is in a most masterly style, and was originally given as a subscription23 ticket to the Modern Midnight Conversation.
I have seen a small political print on Sir Robert Walpole’s administration, entitled, “Excise, a new Ballad24 Opera,” of which this was unquestionably the basis. Beneath it is the following learned and poetical25 motto:
"Experto crede Roberto."
“Mind how each hireling songster tunes26 his throat,
And the vile27 knight28 beats time to every note:
So Nero sung while Rome was all in flames,
But time shall brand with infamy29 their names.”
2 He was a respectable performer on the violin, some years chapel-master at Antwerp, and several seasons leader of the band at Marybone Gardens. He published a collection of musical compositions, to which was annexed30 a portrait of himself, characterised by three lines from Milton:
“Thou honour’dst verse, and verse must lend her wing
To honour thee, the priest of Ph?bus’ quire,
That tun’st her happiest lines in hymn31 or song.”
He died in 1750, aged32 seventy years, and gives one additional name to a catalogue I have somewhere seen of very old professors of music, who, saith my author, “generally live unto a greater age than persons in any other way of life, from their souls being so attuned33 unto harmony, that they enjoy a perpetual peace of mind.” It has been observed, and I believe justly, that thinking is a great enemy to longevity34, and that, consequently, they who think least will be likely to live longest. The quantity of thought necessary to make an adept35 in this divine science, must be determined36 by those who have studied it. — It would seem by this remark, that Mr. Ireland was not aware that to acquire proficiency37 in the divine science to which he so pleasantly alludes38, requires great application and study.

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收听单词发音

1
rehearsal
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n.排练,排演;练习 | |
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2
oratorio
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n.神剧,宗教剧,清唱剧 | |
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3
chaos
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n.混乱,无秩序 | |
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4
reign
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n.统治时期,统治,支配,盛行;v.占优势 | |
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5
mania
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n.疯狂;躁狂症,狂热,癖好 | |
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6
theatrical
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adj.剧场的,演戏的;做戏似的,做作的 | |
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7
smote
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v.猛打,重击,打击( smite的过去式 ) | |
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8
sever
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v.切开,割开;断绝,中断 | |
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9
adorned
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[计]被修饰的 | |
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10
engraved
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v.在(硬物)上雕刻(字,画等)( engrave的过去式和过去分词 );将某事物深深印在(记忆或头脑中) | |
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11
consolatory
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adj.慰问的,可藉慰的 | |
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12
solacing
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v.安慰,慰藉( solace的现在分词 ) | |
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13
tenor
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n.男高音(歌手),次中音(乐器),要旨,大意 | |
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14
bass
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n.男低音(歌手);低音乐器;低音大提琴 | |
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15
discriminated
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分别,辨别,区分( discriminate的过去式和过去分词 ); 歧视,有差别地对待 | |
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16
agitation
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n.搅动;搅拌;鼓动,煽动 | |
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17
prudent
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adj.谨慎的,有远见的,精打细算的 | |
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18
wig
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n.假发 | |
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19
sinister
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adj.不吉利的,凶恶的,左边的 | |
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20
growling
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n.吠声, 咆哮声 v.怒吠, 咆哮, 吼 | |
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21
clarion
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n.尖音小号声;尖音小号 | |
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22
braying
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v.发出驴叫似的声音( bray的现在分词 );发嘟嘟声;粗声粗气地讲话(或大笑);猛击 | |
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23
subscription
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n.预订,预订费,亲笔签名,调配法,下标(处方) | |
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24
ballad
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n.歌谣,民谣,流行爱情歌曲 | |
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25
poetical
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adj.似诗人的;诗一般的;韵文的;富有诗意的 | |
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26
tunes
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n.曲调,曲子( tune的名词复数 )v.调音( tune的第三人称单数 );调整;(给收音机、电视等)调谐;使协调 | |
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27
vile
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adj.卑鄙的,可耻的,邪恶的;坏透的 | |
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28
knight
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n.骑士,武士;爵士 | |
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29
infamy
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n.声名狼藉,出丑,恶行 | |
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30
annexed
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[法] 附加的,附属的 | |
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31
hymn
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n.赞美诗,圣歌,颂歌 | |
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32
aged
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adj.年老的,陈年的 | |
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33
attuned
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v.使协调( attune的过去式和过去分词 );调音 | |
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34
longevity
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n.长命;长寿 | |
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35
adept
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adj.老练的,精通的 | |
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36
determined
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adj.坚定的;有决心的 | |
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37
proficiency
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n.精通,熟练,精练 | |
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38
alludes
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提及,暗指( allude的第三人称单数 ) | |
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