In works of labor or of skill
I wish I’d busied too,
For Satan’s found much mischief still,
For my two hands to do.
There! Would a poet get much reputation for these variations, which are much better in their way than most of those built upon tunes? Would the poetical critics come out, as the musical critics do, with “Upon Watts’ marble foundation Buggins has raised a sparkling alabaster palace;” or, “The old-fashioned Watts has been brought into new honor by the étincellant Buggins;” or “We love the old tune, but we have room in our hearts for the fairy-like fountains of bird-song which Buggins has bid start from it?” Mr. Punch has an idea that Buggins would have no such luck; the moral to be deduced from which fact is, that a musical prig is luckier than a poetical prig.
REITERATIVE VOCAL MUSIC.
A well-known reviewer, in an article on Hymnology, says:—
Who could endure to hear and sing hymns, the meaning and force of which he really felt—set, as they frequently have been, to melodies from the Opera, and even worse, or massacred by the repetition of the end of each stanza, no matter whether or not the grammar and sense were consistent with it. Take such memorable cases of incongruity as:—
“My poor pol—
My pool pol—