delivery of the words, " for the mouth of the Lord hath spoken it," is peculiarly grand and appropriate. Another recitative accompanied, to the words, "Thus saith the Lord," now follows. It is given to a base voice, and has all the dignity which the solemn declaration demands. The setting of the words, " even the messenger of the covenant whom ye delight in," and of those that follow, "behold he shall come, saith the Lord of Hosts," is stamped with the strongest impression of genius. The next air is expressive chiefly of alarm, and agitation, at the idea of our inability to "abide the day of his coming." The very simple recitative, "Behold a virgin shall conceive," is only the more noble for its simplicity; and good tidings have seldom been related with more animation than in the ensuing song, "O thou that tellest, &c." Of a very different character are the subsequent recitative accompanied, and song; which are among those efforts of genius, wherein this great master has contrived to paint darkness by its mental effects,

the production of uncertainty and hesitation. The light then rises out of it, with clearness and simplicity. The birth of the Saviour is next declared, in a chorus, which seems to carry the powers of music to their highest elevation, though it is afterwards to be surpassed in the same work. The proclamation of his mysterious names, Wonderful, Counsellor, the Mighty God, the Everlasting Father, the Prince of Peace," is such as almost to compel infidelity itself to bow with adoration!

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BUT what words can do justice to the sweetness of the pastoral symphony, which introduces the narrative of the shepherds? It is like the famous natale of Corelli, beyond a doubt; at the same time that it has characters of its own, and particularly avoids the chromatics, which rather overseason the intermediate passages of that justly admired composition. We are then led through a judicious mixture of recitative, air, and accompaniment, to the actual appearance

of the angels; whose sublime choral hymn, "Glory to God in the highest," seems hardly unworthy of such singers, or of such an occasion. The contrast of the words, "and peace on earth," is what every hearer must have felt to produce the most admirable effect; and the gradual retiring of the angels into heaven is inimitable. The joy of Zion on the occasion is expressed in an air, which once, and I believe only once, was sung by Mara, at the commemoration of Handel and well do I remember, that the energy of animation with which she delivered the words, "rejoice greatly," and

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shout, O daughter of Jerusalem!" was such as to draw tears, analogous to tears of joy, from almost every eye. Nothing but tears could express or give vent to the thrilling effect, which such words, such music, and such singing irresistibly produced. Nothing very characteristic marks the next recitative; but the Siciliana song which follows, on the words, "He shall feed his flock," has enchanted every ear, by its pastoral elegance, from

the time of its composition. The concluding chorus of this part is short, and animated; well expressing the words, "His yoke is easy and his burden light."

THE second part opens with a chorus, grave, and grand, such as the sufferings of the Lamb of God, next to be described, demand. The effect of beginning with a chorus is in itself peculiarly fine. The pathetic air, "he was despised," leads us to another chorus, still more solemn, “surely he hath borne our griefs." A third, of a different character, is again accumulated upon this; the first part of which beautifully represents the wild wanderings of human nature, without the Redeemer; the second expresses the solemn act of laying our iniquities upon him. The passion of Christ is then, described, with the circumstances attending it, the scoffs of his enemies, and

In the second part of this air, Handel, it mustbe confessed, has attempted a kind of imitative expression, by which he was now and then seduced; the effect of which is not good.

the sorrow of his own soul. The deep effect of the recitative accompanied,

thy rebuke hath broken his heart,” followed by the air, "Behold and see, if there be any sorrow like unto his sorrow," is such as very seldom has or can be equalled. Norris of Oxford, far from a first rate singer, in many respects, was justly famed for his delivery of these two compositions; and they who remember him will testify, that the effect was touching in a high degree; surpassed only by his delivery of the famous recitative in Jephtha, where the father pronounces sentence on the daughter. From this depth of sorrow, we are gently led by a short recitative accompanied, and the placid, soothing air, "But thou didst not leave his soul in hell." The responsive chorus, which follows on the words, "Lift up your heads, O ye, gates," is such an instance of dialogue in music, as could hardly have been thought practicable, till the genius of this great composer undertook it; the sublime solemnity that is intermixed.