MrPunch's history of modern England . ause of her example. Reports of herengagement to a Mr. Harris prompted the remark that thepeople would never permit it. Indeed there were some per-sons as sceptical of his existence as Mrs. Gamp was of his * She had already been twenty-five years on the stage and was a link withBeethoven, having sung the soprano part in both the Ninth Symphony andthe Mass in D at the historic production of these great works in Viennain 1824. Lablaches generous homage to Beethovens genius on the occasionof his funeral is too well known to need more than a passing word ofgra
MrPunch's history of modern England . ause of her example. Reports of herengagement to a Mr. Harris prompted the remark that thepeople would never permit it. Indeed there were some per-sons as sceptical of his existence as Mrs. Gamp was of his * She had already been twenty-five years on the stage and was a link withBeethoven, having sung the soprano part in both the Ninth Symphony andthe Mass in D at the historic production of these great works in Viennain 1824. Lablaches generous homage to Beethovens genius on the occasionof his funeral is too well known to need more than a passing word ofgrateful recognition. 281 Mr. PnncJis History of Modern England female namesake. Her last appearance was in May, 1849, toassist Lumley, the unlucky impresario, then in difficulties, inresponse to appeals which were especially vehement in asserted that her secession was a national calamity : shemade the stage better without making herself worse; andMozarts aid was invoked in an imaginary address from thecomposer of Don Giovanni,. The engagement to Mr. Harris was declared off imme-diately afterwards, but Jenny Lind, in spite of Punchs repeatedappeals, adhered to her decision to quit the stage. As lateas 1856 Punch still hoped she would reconsider her verdict,and her farewell concerts at Exeter Hall in the summer of thatyear inspired the characteristic remark that if any sweetening 282 Popular Favourites in 1844 process could purify the building it would be such singing ashers. In the early forties Norma was the opera most frequentlymentioned. Punch published the stories of several of the mostpopular operas in verse. A fragment from Linda di Chamounimay suffice : — Then Mario warbles a beautiful bar About the revenge of his cruel mamma, Who, finding to Linda his faith has been plighted, Resolves to another to get him united : He curses his fate in a charming falsetto. Gives way to despair in a voce di petto. And, rather than grief in his bosom should fester, He calls out f
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