HARMONY AND MELODY.
{"newspaper_name": "The Wilmingtonian, and Delaware register.", "edition": "01", "page": "p1", "byline": ""}
Charles Butler, in his very interesting
letter on ancient and modern music, introda-
ces the following anecdote, relating to Mara,
an Italian vocalist.


"Once in private society, in consequence
Of something that fell in the conversation,
she sung, without any accompaniment, the
simple air, i'll Marcello's Psalms, In my
distress, I called unto Jehovah, and he did
hear me, with such exquisite taste aud pa
thos, that She cntranced every haarer 10
our infinite qualification she repeated it half
dozen times, and every time more beauti-
f,l and impressively than before; apcrson
observing that there was Il violincello in
the room. requested that she would permit
the late Mr.. Pastor, who was present to
accompany her-this was done; it was fine
very fne,-but the charm was lost. ltia
little circumstance, says Butler, may be
thought to strengthen Rassca's hypothesis
that harmony is unnatural; and rather
weakens than increases the effect OF SIM
pie melody Mara was particularly dis
tinguished by the manner in which she
sung, Il know that my redeemer hveth.'
1t was beyond singing, it was eloquence
She opened it with. great solemnity; hope
was discernable, but it was only the dawn
of hope,--as she proceeded, 1t frightened
and expanded, bit when she came to the