a small island in Cork harbour. See Cork County.

**Hawse**, the situation of the cables before a ship's stem, when she is moored with two anchors out forward, viz., one on the starboard, and the other on the larboard bow. This term also denotes any small distance a-head of a ship, or between her head and the anchors employed to ride her; as, a vessel sails athwart the hawse, or anchors in the hawse of another vessel.

**Hawse-Holes**, the holes in the bows of a ship on each side of the stem, through which the cables pass.

**Hawser**, a large rope, intermediate between the *cable* and *tow-line* of the ship to which it belongs. It is used for various purposes, as warping, for a spring, &c.

**Hay**, or as it is often called, Welsh Hay, or The Hay, a small market-town of Wales, in the parish of Hay, hundred of Talgarth, and county of Brecknock. It stands on the River Wye, near the point where the counties of Radnor, Brecknock, and Hereford converge. The town is well lighted and paved, and contains, besides various dissenting meeting-houses, a handsome parish church, rebuilt in 1838 in the early English style. It has also British and national schools, and a savings bank. The vestiges of a Roman camp near the church point to an ancient origin. The castle of Hay, a very old building, was destroyed by Henry II.; afterwards restored, and finally dismantled by Owen Glyndwr. Between two and three miles from the town is Clifford Castle, the birth-place of the celebrated Jane Clifford, better known as the "fair Rosamond," the favourite of Henry II., who built for her the maze at Woodstock, where she perished by the cruel jealousy of Queen Eleanor. There are six annual fairs at Hay, besides a weekly market on Thursday. Pop. (1851) 1238.

**Haydn, Francis Joseph**, a celebrated musical composer, born at Rohran, a small town fifteen leagues from Vienna, in 1732. His father was a cartwright, and his mother before her marriage had been cook in the family of Count Harrach, the lord of the village. Haydn's father had a fine tenor voice, and played a little on the harp. On holidays, after church, he used to accompany his wife whilst she sang; and, when only five years old, Haydn was wont to stand by his parents and join the concert in his own way, with two pieces of wood, one of which served for a violin and the other for a bow. When loaded with years and honours, the great symphonist would often recall the music of this domestic performance; so deep an impression had its simple strains made on his soul. A cousin of the cartwright, whose name was Frank, a schoolmaster at Haimburg, came to Rohran one Sunday, and assisted at the trio. He remarked that the child, then scarcely six years old, beat the time with astonishing exactness and precision. Frank was well acquainted with music, and proposed to his relations to take little Joseph to his house and teach him. They accepted the offer with joy, hoping to succeed more easily in getting Joseph into holy orders if he should understand music. Chance brought to Frank's house Reuter, *maestro di capella* of St Stephen's, the cathedral church of Vienna. He was in quest of children to recruit his choir. The schoolmaster soon proposed his little relation to him; and when he came, Reuter gave him a *canon* to sing at sight. The precision, purity of time, and spirit with which the child executed it, surprised him; but he was more especially charmed with his voice, which was naturally sonorous and delicate. He only remarked that he did not shake, and asked him the reason with a smile. The boy smartly replied, "How should you expect me to shake, when my cousin does not know how to do it himself?" "Come here," said Reuter, "and I will teach you." He then took the young Haydn between his knees, showed him how he should rapidly bring together two notes, hold his breath, and agitate the palate. The child immediately made a good shake. Reuter, enchanted with the success of his scholar, took a plate of fine cherries, which Frank had ordered for his illustrious brother professor, and emptied them all into the child's pocket. The delight of the young musician may be readily conceived. Haydn often mentioned this anecdote, adding with a smile, that he fancied he had these beautiful cherries in his mouth whenever he happened to shake.

Young Haydn was now placed in the hands of Reuter, and accompanied him to Vienna. Haydn, in afterwards speaking of his studies under this master, said he did not remember to have passed a single day without practising sixteen or eighteen hours daily, and this he did of his own accord, for the children of the choir were not compelled to practise more than two hours. It was by this unwearyed assiduity, aided by the inspirations of his genius, that Haydn, almost in the dawn of life, laid the foundation of his future eminence.

Mozart at twelve years of age composed a successful opera; but, less fortunate, Haydn at thirteen produced a mass, which his worthy master ridiculed. Convinced, after comparing his work with the compositions of others, that Reuter was right, and that nature without art was like an eagle unfledged, Haydn resolved to apply himself to the study of counterpoint. But Reuter did not teach composition; and none of the masters in Vienna were so generous as to instruct an unknown and unpatronized boy. But to this misfortune Haydn perhaps is indebted for his originality. Under a master he might have avoided some of the errors he has fallen into when he subsequently wrote for the church and for the theatre; but, upon the whole, he would certainly have been less original. He purchased the theoretical works of Mattheson, Fuchs, Emanuel Bach, and Kirberg, which he studied most assiduously, labouring alone, and exercising every scientific intricacy; and so great was the pleasure he experienced in his pursuits, that poor as he was, shivering with cold, and oppressed with sleep, seated by the side of an old worn-out harpsichord, he declared himself never to have been happier at any period of his life.

At eighteen Haydn's voice broke, and he left the class of *sopranis* at St Stephen's. Obliged to seek for a lodging, chance threw him in the way of a poor peruke-maker named Keller, who received him as a son. Haydn, in the quiet obscurity of his new dwelling, was enabled to pursue his studies without interruption. His residence here had, however, a fatal influence on his future fortune. Keller had two daughters, and his wife and he arranged that one of them should marry Haydn, who, absorbed in his studies, and thinking little about love, made no objection to the proposal. He adhered to his engagement honourably in after life, but the union was an unhappy one.

Haydn now began to compose short cantatas for the pianoforte, which he sold at low prices to his few female pupils. He also wrote *minuets*, *allemands*, and *waltzes* for the *Rit-dotto*. By performing in concert with two of his friends a serenade in the streets, he attracted the attention of Curtz, the director of the theatre of Carinthia, who employed him to write music, which was performed with the happiest success. But Haydn's talent was not for the stage; he chose his own proper ground when in his twentieth year, and produced six trios, which, from their striking originality, at once brought him into notice. Shortly after this he published his first quartett, which every musical amateur soon had by heart. Leaving the house of Keller, Haydn went to lodge with Martinez, and became acquainted with Metastasio the poet, who taught him Italian, and instructed him in the fine arts.

Haydn struggled long against want, but at last his genius brought him into notice, and he received employment from Prince Antony Esterhazy, and his successor Nicholas, for whom he composed a number of pieces for the baryton, an instrument now scarcely ever used. Haydn did not forget his promise to his benefactor Keller; and being now in better circumstances, he married his daughter Ann, from whom he afterwards separated on account of her bad temper and conduct.

Placed now at the head of a full and excellent orchestra, and attached to the service of a rich patron, Haydn found himself in that happy union of circumstances which gives opportunity to genius to display all its powers. From this moment his life was uniform and fully employed. He rose early in the morning, dressed himself very neatly, and placed himself at a small table by the side of his pianoforte, where the hour of dinner usually found him still seated. In the evening he went to rehearsals, or to the opera which was performed in the prince's palace four times every week. Sometimes, but not often, he devoted a morning to hunting. The little time he had to spare on common days was divided between his friends and Mademoiselle Boselli, a singer of eminence. Such was the course of his life for more than thirty years; and this can alone account for the prodigious number of his productions in instrumental music, church music, and operas. In fifty years he produced no less than 527 instrumental compositions, and in the whole of these pieces he has never copied or imitated himself, but when it was his intention to do so.

Haydn wrote his best music with some labour, not from any want of ideas, but from the extreme delicacy of his taste, which he could with difficulty satisfy. A symphony would sometimes cost him a month, and a mass perhaps two. His manuscripts of one piece sometimes contain passages enough for three or four pieces. But although it seemed labour, it was not so; for he was wont to say that he never felt so happy as when at work. Nothing troubled him till the death of his patron, Prince Nicholas, in the year 1789, and the subsequent demise of his favourite Boselli; circumstances which induced him to come to England, upon the solicitations of Salomon. This musician was about to give concerts in London, and offered Haydn L50 for each performance, which terms he accepted. Haydn was then fifty-nine years old, and he resided in England upwards of a year, and brought out there some of his finest instrumental pieces.

From England Haydn went to Germany, but he returned for a short time in 1794, and was complimented with the diploma of Doctor of Music from Oxford. He afterwards went to Austria, and did not return again to England. He was in his sixtieth year when he commenced his Creation, to which he devoted two years. When urged to hasten its completion he calmly said, he had been a long time about it because he intended it to last a long time. It was finished in 1798, and performed in Vienna with enthusiastic approbation. All Germany rang with its praises; in a few weeks it was printed, and spread over Europe with a rapidity before unheard of. Two years later he composed his oratorio of the Four Seasons; of which he used to say "It is not another Creation, and the reason is this: in that oratorio the actors are angels, in the Four Seasons they are peasants." This work terminated his musical career; the labour of it

exhausted him, and he complained that he was forced to seek ideas which used to come to him formerly unsought. He wrote, however, subsequently a few quartetts, and arranged nearly 300 Scotch songs, a work which procured him about 600 guineas. At last he grew so weak, that a vertigo seized him the moment he sat down to the piano. He now seldom quitted his house and garden at Gumpeldorf, and he became feeble in mind and body. On the morning of the 31st of May 1809 he died, aged seventy-eight years and two months. He was privately interred at Gumpeldorf, for Vienna was at that time in the occupation of the French. Haydn's heir was a blacksmith, to whom he left the bulk of his fortune. His manuscripts were purchased by Prince Esterhazy. He left no posterity. Cherubini, Pleyel, Neukomm, and Weigl, may be considered as his disciples.