done!"--Magnificent!--neck and neck!--splendid!--any body's race! Bravo
grey!--bravo chesnut!--bravo both! Ten yards will settle it. The chesnut
rider throws up his arms--a slight dash of blood soils the "Day and
Martin"--an earth-disdaining bound lands chesnut a winner of three thousand
guineas! and all the world are in raptures with the judgment displayed in
the last kick of the little man's TOP BOOTS.

FUSBOS.

* * * * *


HINTS ON MELO-DRAMATIC MUSIC.

It has often struck us forcibly that the science of melo-dramatic music has
been hitherto very imperfectly understood amongst us. The art of making
"the sound an echo of the sense"--of expressing, by orchestral effects, the
business of the drama, and of forming a chromatic commentary to the
emotions of the soul and the motions of the body, has been shamefully
neglected on the English stage. Ignorant composers and ignoble fiddlers
have attempted to develop the dark mysteries and intricate horrors of the
melo-drama; but unable to cope with the grandeur of their subject, they
have been betrayed into the grossest absurdities. What, for instance, could
be more preposterous than to assign the same music for "storming a fort,"
and "stabbing a virtuous father!" Equally ridiculous would it be to express
"the breaking of the sun through a fog," and "a breach of promise of
marriage;" or the "rising of a ghost," and the "entrance of a lady's maid,"
in the same keys.

The adaptation of the different instruments in the orchestra to the