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And proffer'd sceptre, robe, and crown,
Liegedom and seignorie,
But homage would he none :-)
A monarch's empire own ;
Than sit on Despot's throne.”
As starting from a trance,
Their soul awaked at once !
But what of pictured rich and rareo Could win De Vaux's eye-glance, where, Deep slumbering in the fatal chair,
He saw King Arthur's child ! Doubt, and anger, and dismay, From her brow had pass'd away, Forgot was that fell tourney-day,
For, as she slept, she smiled : It seem d, that the repentant Seer Her sleep of many a hundred year
With gentle dreams beguiled.
SONG OF THE FOURTH MAIDEN. “ Quake to your foundations deep, Stately Towers, and Banner'd keep, Bid your vaulted echoes moan, As the dreaded step they own.
« Fiends, that wait on Merlin's spell, Hear the foot-fall! mark it well ! Spread your dusky wings abroad, 2 Boune ye for your homeward road !
XXXVIII. That form of maiden loveliness,
'Twixt childhood and 'twixt yonth. That ivory chair, that silvan dress, The arms and ankles bare, express
Of Lyulph's tale the truth.
Long-enduring spell ;
What these eyes shall tell.-
“ It is His, the first who e'er
Quake to your foundations deep, Bastion huge, and Turret steep !3 Tremble, Keep! and totter, Tower ! This is Gyneth’s waking hour.”
XXXVII. Thius while she sung, the venturous Knight Has reach'd a bower, where milder light
Through crimson curtains fell ;
Upon its western swell.
As e'er was seen with eye ;
Was limn'd in proper dye.
Between the earth and sky.
Lightning flashes, rolls the thunder!
Burst the Castle-walls asunder ! Fierce and frequent were the shocks,
Melt the magic halls away ;
But beneath their mystic rocks,
Safe the princess lay ;
Opening to the day ;
I MS.-“ But the firm knight passid on." 2 MS. -“ Spread your pennons all abroad." 3 MS. " and battled keep."
4 MS.-" soften'd light."
6 MS.-" But what of rich or what of rare."
'Tis now a vain illusive show,
Or the fresh breeze hath blowli,
And round the Champion's brows were bound
Of the green laurel-bay.
The Garland and the Dame:
Except from Love and Fame !
And to require of bard
Were ordinance too hard.
When tale or play is o'er;
The honours that they bore.
Along the mountain lone,
Of the Valley of St. John;
The charmed portal won).
The whiles, up-gazing still,
On this gigantic hill.
Of luxury and ease;
To such coarse joys as these,-
The greenwood, and the wold;
By ancient bards is told,
My love shall wrap her warm,
Shall hang on Arthur's arm.
THE END OF TRIERMAIN.S
1 MS.-“ Yet know, this maid and warrior too,
against the extravagant gaudiness of modern publications, and Wedded as lovers wont to do."
imagine that there are readers whose suffrages are not to be 2 MS.-" That melts whene'er the breezes blow,
obtained by a work without a name. Or beams & cloudless sun."
“ The merit of the Bridal of Triermain, in our estimation, 3 MS.-“ Silvan."
consists in its perfect simplicity, and in interweaving the re4 The MS. has not this couplet.
finement of modern times with the peculiarities of the ancient 5 “ The Bridal of Triermain is written in the style of Mr.
metrical romance, which are in no respect violated. In point Walter Scott; and if in magnis voluisse sat est, the author, of interest, the first and second cantos are superior to the whatever may be the merits of his work, has earned the meed third. One event naturally arises out of that which precedes at which he aspires. To attempt a serious imitation of the it, and the eye is delighted and dazzled with a series of movmost popular living poet-and this imitation, not a short frag- ing pictures, cach of them remarkable for its individual splenment, in which all his peculiarities might, with comparatively dour, and all contributing more or less directlv to produce the little difficulty, be concentrated—but a long and complete ultimate result. The third canto is less profuse of incident, work, with plot, character, and machinery entirely new-and and somewhat more monotonous in its effect. This, we con. with no manner of resemblance, therefore, to a parody on any ceive, will be the impression on the first perusal of the poem. production of the original author ;-this must be acknowledged When we have leisure to mark the merits of the composition, en attempt of no timid daring."-Edinburgh Magazine, 1817.
and to separate them from the progress of the events, we are disposed to think that the extraordinary beauty of the description will nearly compensate for the defect we have already
noticed. “ The fate of this work must depend on its own merits, for “ But it is not from the fable that an adequate notion of the it is not borne up by any of the adventitious circumstances merits of this singular work can be formed. We have already that frequently contribute to literary success. It is ushered spoken of it as an imitation of Mr. Scott's style of composiinto the world in the most modest guise; and the author, we tion; and if we are compelled to make the general approba helieve, is entirely unknown. Should it fail altogether of a tion more precise and specific, we should say, that if it be favourable reception, we shall be disposed to abate something inferior in vigour to some of his productions, it equals, or sur. of the indignation which we have occasionally expressed passes them, in elegance and beauty; that it is more uniformly
tender, and far less infocted with the unnatural prodigies and Although it fell as faint and shy coarsenesses of the earlier romancers. In estimating its merits, As bashful maiden's half-form'd sigh, however, we should forget that it is offered as an imitation.
When she thinks her lover near.' The diction undoubtedly remirds us of a rhythm and cadence we have heard before; but the sentiments, descriptions, and * And light they fell, as when earth receives, characters, have qualities that are native and unborrowed.
In morn of frost, the wither'd leaves, “In his sentiments, the author has avoided the slight de
That drop when no winds blow.' ficiency we ventured to ascribe to his prototype. The pic. tures of pure description are perpetually illuminated with Or if 'twas but an airy thing, reflections that bring out their colouring, and increase their Such as fantastic slumbers bring, moral effect : these refiections are suggested by the scene,
Framed from the rainbow's varying dyes, produced without effort, and expressed with unaffected sim- Or fading tints of western skies.' plicity. The descriptions are spirited and striking, possessing an airiness suited to the mythology and manners of the times, “ These, it will be seen, are not exactly Coleridge, but they though restrained by correct taste. Among the characters, are precisely such an imitation of Coleridge as, we conceive, many of which are such as we expect to find in this depart- another poet of our acquaintance would write : on that ground, ment of poetry, it is impossible not to distinguish that of we are inclined to give some credit to the anecdote here reArthur, in which, identifying himself with his original, the lated, and from it we leave our readers to guess, as we have author has contrived to unite the valour of the hero, the done, who is the author of the poem."— Blackwood's Mugacourtesy and dignity of the monarch, and the amiable weak- zine. April, 1817. nesses of any ordinary mortal, and thus to present to us the express lineaments of the flower of chivalry.”—Quarterly Review. 1813.
The quarto of Rokeby was followed, within two months, by the small volume which had been designed for a twin-birth ;
the MS. had been transcribed by one of the Ballantynes them. " With regard to this poem, we have often heard, from what selves, in order to guard against any indiscretion of the pressmay be deemed good authority, a very curious anecdote, which people; and the mystification, aided and abetted by Erskine, we shall give merely as such, without vouching for the truth
in no small degree heightened the interest of its reception. of it. When the article entitled, “The Inferno of Altisidora,'
Scott says, in the Introduction to the Lord of the Isles, appeared in the Edinburgh Annual Register for 1809, it will
Mr. Erskine was more than suspected of a taste for poetry, and be remembered that the last fragment contained in that sin
as I took care, in several places, to mix something that might gular production, is the beginning of the romance of Trier- resemble (as far as was in my power) my friend's feeling and main. Report says, that the fragment was not meant to be an
manner, the train easily caught, and two large editions were imitation of Scott, but of Coleridge; and that, for this pur
sold." Among the passages to which he here alludes, are no pose, the author borrowed both the name of the hero and the
doubt those in which the cliaracter of the minstrel Arthur is
shaded with the colourings of an almost effeminate gentleness. scene from the then unpublished poem of Christabello; and further, that so few had ever seen the manuscript of that Yet, in the midst of them, the “ mighty minstrel" himself, poem, that amongst these few the author of Triermain could from time to time, escapes ; as, for instance, where the lover not be mistaken. Be that as it may, it is well known, that on
bids Lucy, in that exquisite picture of crossing a mountain the appearance of this fragment in the Annual Register, it was
stream, trust to his “ stalwart arm."universally taken for an imitation of Walter Scott, and never
“ Which could yon oak's prone trunk uprear." once of Coleridge. The author perceiving this, and that the poem was well received, instantly set about drawing it out
Nor can I pass the compliment to Scott's own fair patroness, into a regular and finished work; for shortly after it was an
where Lucy's admirer is made to confess, with some momen: nounced in the papers, and continued to be so for three long tary lapse of gallantry, that he years; the author, as may be supposed, having, during that period, his hands occasionally occupied with heavier metal.
“Ne'er won-best meed to minstrel trneIn 1813, the poem was at last produced, avowedly and mani
One favouring smile from fair Buccleuch ;" festly as an imitation of Mr. Scott; and it may easily be obBerved, that from the 27th page onward, it becomes much por the burst of genuine Borderism,more decidedly like the manner of that poet, than it is in the preceding part which was published in the Register, and
“ Bewcastle now must keep the hold, which, undoubtedly, does bear some similarity to Coleridge in
Speir-Adam's steeds must hide in stall; the poetry, and more especially in the rhythm, as, e. g.–
Uf Hartley-burn the bow-men bold
Must only shoot from battled wall; • Harpers must lull him to his rest,
And Liddesdale may buckle spur, With the slow tunes he loves the best,
And Teviot now may belt the brand,
Tarras and Ewes keep nightly stir,
And Eskdale foray Cumberland."
• It was the dawn of an autumn day;
But, above all, the choice of the scenery, both of the Intro ductions and of the story itself, reveals the early and treasured predilections of the poet.
As a whole, the Bridal of Triermain appears to me as characteristic of Scott as any of his larger poems. His genius pervades and animates it beneath a thin and playful veil, which perhaps adds as much of grace as it takes away of splendour. As Wordsworth says of the eclipse on the lake of Lugano
What time, or where
That pass'd from my bower e'en now?'
""I's sunlight sheathed and gently charm'd :"
and I think there is at once a lightness and a polish of versi
" Strength was gigantic, valonr high, Scation beyond what he has elsewhere attained. If it be a
And wisdom soar'd beyond the sky, miniature, it is such a one as a Cooper might have hung fear
And beauty had such matchless beam lessly beside the masterpieces of Vandyke.
As lights not now a lover's dream." The Introductions contain some of the most exquisite passages he ever produced; but their general effect has always The fall is grievous, from the hoary minstrel of Newark, and struck me as unfortunato. No art can reconcile us to con- his severish tears on Killiccrankie, to a pathetic swain, who temptuous satire of the merest frivolities of modern life- can stoop to denounce as objects of his jealousysome of them already, in twenty years, grown obsolete-interInid between such bright visions of the old world of romance,
“ The landaulet and four blood-baya, whan
The Hessian boot and pantaloon."
LOCKHART -- Life of Santt, vol. iv. pp. 39-64.
I the British Museum, describing that siege, his arms are stated
to be, Or, 2 Bars Gemelles Gules, and a Chief Or, the same Lille Collins, thread the maze of Fairy land.-P. 377. borne by nis descendants at the present day. The Richmonds
removed to their Castle of Highhead in the reign of Henry Collins, according to Johnson, “by indulging some peculiar the Eighth, when the then representative of the family marhabits of thought, was eminently delighted with those flights ried Margaret, daughter of Sir Hugh Lowther, by the Lady of imagination which pass the bounds of nature, and to which | Dorothy de Clifford, only child by a second marriage of Henry the mind is reconciled only by a passive acquiescence in po- Lord Clifford, great grandson of John Lord Clifford, by Elizapular traditions. He loved fairies, genii, giants, and mon- beth Percy, daughter of Henry (surnamed Hotspur) by Elizasters; he delighted to rove through the meanders of enchant- beth Mortimer, which said Elizabeth was daughter of Edward ment, to gaze on the magnificence of golden palaces, to repose Mortimer, third Earl of Marche, by Philippa, sole daughter by the waterfalls of Elysian gardens."
and heiress of Lionel, Duke of Clarence.
The third in descent from the above-mentioned John Richmond, became the representative of the families of Vaux, of Triermain, Caterlen, and Torcrossock, by his marriage with Mabel de Vaux, the heiress of them. His grandson, Henry Richmond, died without issue, leaving five sisters co-heir
esses, four of whom married ; but Margaret, who married NOTE B.
William Gale, Esq. of Whitehaven, was the only one who had
male issue surviving. She had a son, and a daughter married The Baron of Triermain.-P. 377.
to Henry Curwen of Workington, Esq., who represented the
county of Cumberland for many years in Parliament, and by Triermain was a fief of the Barony of Gilsland, in Cumber- her had a daughter, married to John Christian, Esq. (now land; it was possessed by a Saxon family at the time of the Curwen.) John, son and heir of William Gale, married Saran, Conquest, but, “after the death of Gilmore, Lord of Tryer- daughter and heiress of Christopher Wilson of Bardsea Hall, maine and Torcrossock, Hubert Vaux gave Trycrmaine and in the county of Lancaster, by Margaret, aunt and co-heiress Torcrossock to his second son, Ranulph Vaux; which Ra- of Thomas Braddyl, Esq. of Braddyl, and Conishead Priory, nulph afterwards became heir to his elder brother Robert, in the same county, and had issue four sons and two daughthe founder of Lanercost, who died without issue. Ranulph, ters.
1st, William Wilson, died an infant; 2d, Wilson, who being Lord of all Gilsland, gave Gilmore's lands to his younger upon the death of his cousin, Thomas Braddyl, without issue, son, named Roland, and let the Barony descend to his eldest succeeded to his estates, and took the name of Braddyl, in son Robert, son of Ranulph. Roland had issue Alexander, pursuance of his will, by the King's sign-manual; 3d, Wiland he Ranulph, after whom succeeded Robert, and they liam, died young; and, 4th, Henry Richmond, a lieutenantwere named Rolands successively, that were lords thereof, general of the army, married Sarah, daughter of the Rev. R. until the reign of Edward the Fourth. That house gave for Baldwin ; Margaret married Richard Greaves Townley, Esq. arme, Vert, a bend dexter, chequy, or and gules." —BURN's of Fulbourne, in the county of Cambridge, and of Bellfield, in Antiquities of Westmoreland and Cumberland, vol. ii. p. 482.
the county of Lancaster; Sarah married to George Bigland of This branch of Vaux, with its collateral alliances, is now Bigland Hall, in the same county. Wilson Braddyl, eldest represented by the family of Braddyl of Conishead Priory, in son of John Gale, and grandson of Margaret Richmond, mar: the county palatine of Lancaster; for it appears that about ried Jane, daughter and heiress of Matthias Gale, Esq. of Catthe time above mentioned, the house of Triermain was united gill Hall, in the county of Cumberland, by Jane, daughter and to its kindred family Vaux of Caterlen, and, by marriage with heiress of the Rev. S. Bennet, D.D.; and, as the eldest sur the heiress of Delamore and Leybourne, became the represen- viving male branch of the families above-mentioned, he quar. tative of those ancient and noble families. The male line ters, in addition to his own, their paternal coats in the follow failing in John de Vaux, about the year 1665, his daughter and ing order, as appears by the records in the College of Arms heiress, Mabel, married Christopher Richmond, Esq. of High- 1st, Argent, a fess azure, between 3 saltiers of the same, head Castle, in the county of Cumberland, descended from an charged with an anchor between 2 lions' heads erased, or,-ancient family of that name, Lords of Corby Castle, in the Gale. 2d, Or, 2 bars gemelles gules, and a chief or,--Rich same county, soon after the Conquest, and which they alie- mond. 3d, Or, a fess chequey, or and gules between 9 gerbes dated about the 15th of Edward the Second, to Andrea de gules,--Vaux of Caterlen. 4th, Gules, a fess chequey, or and Harcla, Earl of Carlisle. Of this family was Sir Thomas de gules between 6 gerbes or,–Vaux of Torcrossock. 5th, ArRaigemont, (miles auratus,) in the reign of King Edward the First, who appears to have greatly distinguished himself at the siege of Kaerlaveroc, with William, Baron of Leybourne.
| This poem has been recently edited by Sir Nicolas Harris la ed ancient heraldic poem, now extant, and preserved in Nicholas, 1933