Happy the man of taste that’s led Hither, to have his cravings fed! He who this dainty circle nears, Takes in _ambrosia_ at the ears, Through a new sense, revives a fable, And finds a feast that needs no table! When thus _as one_ are met these _four_, What treat can Music yield us more? Ye birds, that haunt by night or day grove, Yield, yield in _dulcetry_ to _Blagrove_! Say, is he not, while warbling now, Well worthy of a _topmost bough_? And do not these, that add their claim, Put all your “sylvan choirs” to shame? What think ye, feathered ones! of notes So ravishing—and _not_ from _throats_? How sweet, and exquisitely _natty_, Those trills ancillary, from _Gattie_! And list! t’ enhance our joy what _can_ do The “even tenor” of smooth _Dando_. Then, in the stream of sound to hook us “Deeper, and deeper still,” comes _Lucas_. Felicity, with clearest voice, Calls here on Echo to rejoice! Desire may here, with resting feet, Sit still—nor care to shift her seat. —Who-e’er thou art, that long’st to _feel_, Psha! Twitch no more “the electric eel!” Nor dream thy languor to dispel By bathos of “the diving bell!” If in thy brain one corner yet To dozing dulness be unlet— If ’scape thou would’st from stupor’s net, And, like a man just free from debt, Thy load of lumpishness forget— Come! for one hour be Pleasure’s pet! Oh, come, and hear a choice _Quartett_ _Diffused_[60] by this consummate set! About the time that gave birth to the intentions of this party, Mori—then at the zenith of his powers—finding that his juniors in the profession were taking steps in advance of him[61], and determining upon the maintenance of his position, organized a party in which Messrs. Watts, Moralt, and Lindley were his coadjutors. Without much prelude, they commenced operations on the growingly attractive Quartett, by giving three “Classical Chamber Concerts” at Willis’s Rooms, on the 6th and 20th January, and 3rd February, 1836. The flood-tide of public favor had now set in. We find no less than four distinct parties of leading professors embarked in serial quartett-performances; with others, occasionally launching on the swelling current, just for a little cruize. “Chamber Concerts” became the fashion; “Musical Réunions,” “Soirées Musicales,” and “Classical Instrumental Concerts,” multiplied almost _ad infinitum_. “The Beethoven Society” was formed, and a host of others followed suit—their names “legion”—_all_ under favour of the absorbing interest in the Quartett. In short, since the season of 1836, these deserving works have become recognized and claimed as Public Property—witness the advertising columns of the diurnal and periodical press, which teem with announcements, in every form of allurement, inviting support.