amusing account of the performance of the celebrated hunting song at
Vienna, in which the discordant cries of "Tally-ho, Tally-ho," are said
to have driven the Emperor in indignation from the theatre, a great part
of the audience also following the royal example. "The ladies hid their
faces with the hands, and mothers were heard cautioning daughters never
to repeat the dreadful expression of Tally-ho." We have, ourselves,
heard a no less air than "Drops of Brandy," performed by a military
band, stationed on the balcony of the palace of the King of Naples, on
the evening of the royal birthday. The crowds enjoying the cool air on
the Stª Lucia, exclaimed "Inglese, Inglese!" English, English! as this
odd reminiscence of our countrymen was first heard. We are not aware of
any other instances in which English music has been introduced upon the
Continent. More such instances may undoubtedly exist; but the broad
fact, that our music makes no way among other nations, cannot be
disputed. The judgment of the civilized world can scarcely be in error;
and it is difficult for the most ardent admirer of his country's music,
to account for the fact on any hypothesis which is not founded on the
real inferiority of the English school.

This inferiority can be no matter of surprise, when we consider the
energy with which the tuneful art is cultivated, and the importance with
which it is invested, by the Italians. In the freedom happily enjoyed by
Englishmen, all pursuits are open to individual enterprise and ambition;
and every path to fame or opulence is thronged with busy eager
aspirants, all running the race of eminence and distinction, with that
strong purpose of the will which leaves but little opportunity for the
indulgence of tastes, which, though they often exist among the
individuals of these classes, are for this reason seldom cultivated. In
Italy, insurmountable barriers are erected across these paths, which, in
England, all are invited to pursue. The jealousy of despotic governments