No. 5 is the soliloquy of a very youthful dandy, the words entertaining, and the music not inappropriate.
No. 6 is not less pleasing for being in the neglected rondo style. The melody is good, and the words correctly set, both as regards meaning and accent.
No. 7 has cost the composer some labour, we fear in vain, for it is not calculated to become very popular; nevertheless, the hand of a musician is conspicuous in every part of it.
No. 8 is a clever song, and the air has some novelty in it, therefore a rarity. The accompaniment is full, and may alarm those who are apt to take fright at double sharps; but it is ably composed. The poet’s notion, that music is ‘the wine of the soul,’ is to us new: we know by sad experience that it often operates as a narcotic, when not so noisy as Bellini’s Norma.
No. 9 is respectable, but certainly boasts not a new thought; except, indeed, the introduction of a solitary bar of nine quavers, which had better have been omitted.