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And their orient smile can win Kings to stoop, and saints to sin.”—
SECOND MAIDEN. "See, these pearls, that long have slept; These were tears by Naiads wept For the loss of Marinel. Tritons in the silver shell Treasured them, till hard and white As the teeth of Amphitrite.”—
And soon be reach'd a court-yard square,
Was sparkling in the sun.
But, full in front, a door,
Whose memory was no more.
THIRD MAIDEN. “ Does a livelier hue delight? Here are rubies blazing bright, Here the emerald's fairy green, And the topaz glows between; Here their varied hues unite, In the changeful chrysolite.”—
XXIX. Here stopp'd De Vaux an instant's space, To bathe his parched lips and face,
And mark'd with well-pleased eye,
Of that gay summer sky.
From contemplation high
Make to the breezes' sigh.
FOURTH MAIDEN. “Leave these gems of poorer shine, Leave them all, and look on mine! While their glories I expand, Shade thine eyebrows with thy hand. Mid-day sun and diamond's blaze Blind the rash beholder's gaze."
CHORUS. “Warrior, seize the splendid store ; Would 'twere all our mountains bore ! We should ne'er in future story, Read, Peru, thy perish'd glory!"
XXVII. Calmly and unconcern'd, the Knight Waved aside the treasures bright:“ Gentle Maidens, rise, I pray! Bar not thus my destined way. Let these boasted brilliant toys Braid the hair of girls and boys!" Bid your streams of gold expand O'er proud London's thirsty land. De Vaux of wealth saw never need, Save to purvey him arms and steed, And all the ore he deign'd to hoard Inlays his helm, and hilts his sword.” Thus gently parting from their hold, He left, unmoved, the dome of gold.
The half-shut eye can frame
In gay procession came.
Seen distant down the fair arcade,
Who, late at bashful distance staid,
Now tripping from the greenwood shade,
Again stand doubtful now -
Be yours to tell us how."
The form and bosom o'er,
“Fair Flower of Courtesy, depart !
To win the eye, or tempt the touch,
And ruined vaults has gone,
Or safe retreat, seem'd none,
Grew worse as he went on.
Nay, soothful bards have said,
With Asia's willing maid.
“ Stay, then, gentle Warrior, stay, pu
XXXIV. “Son of Honor, theme of story, Think on the reward before ye! Danger, darkness, toil despise ; 'Tis Ambition bids thee rise.
“He that would her heights ascend, Many a weary step must wend; Hand and foot and knee he tries; Thus Ambition's minions rise.
“ Lag not now, though rough the way,
For Stoic look,
And meet rebuke, He lack'd the heart or time; As round the band of sirens trip, He kiss'd one damsel's laughing lip, And press'd another's proffered hand, Spoke to them all in accents bland, But broke their magic circle through; " Kind Maids," he said, “ adieu, adieu ! My fate, my fortune, forward lies." He said, and vanish'd from their eyes; But, as he dared that darksome way, Still heard behind their lovely lay :
Bid your vaulted echoes moan, As the dreaded step they own.
A lofty hall with trophies dress’d,
Was bound with golden zone.
"Fiends, that wait on Merlin's spell, Hear the foot-fall! mark it well! Spread your dusky wings abroad, Boune ye for your homeward road!
“ It is His, the first who e'er
The next a maid of Spain,
For daughter of Almaine.
Emblems of empery;
Of minstrel ecstasy.
And, in her hand display'd,
Of glossy laurel made.
“Quake to your foundations deep,
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.
He saw King Arthur's child !
For, as she slept, she smiled: It seem'd, that the repentant Seer Her sleep of many a hundred year
With gentle dreams beguiled.
These foremost Maidens three,
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 !
XXXVIII. That form of maiden loveliness,
'Twixt childhood and 'twixt youth, That ivory chair, that silvan dress, The arms and ankles bare, express
Of Lyulph's tale the truth. Still upon her garment's hem
SONG OF THE FOURTH MAIDEN, “Quake to your foundations deep, Stately Towers, and Banner'd Keep,
1 MS.-"Of laurel leaves was made."
4 MS. - "and battled keep."
And to require of bard
Were ordinance too hard.
When tale or play is o'er; Lived long and blest, loved fond and
true, And saw a numerous race renew
The honors that they bore. Know, too, that when a pilgrim strays, In morning mist or evening maze,
Along the mountain lone,
Of the Valley of St John;
The charmed portal won. 'Tis now a vain illusive show, That melts whene'er the sunbeams glow
Or the fresh breeze hath blown.?
Vanoc's blood made purple gem,
What these eyes shall tell.-
Lightning flashes, rolls the thunder!)
Burst the Castle-walls asunder!
Melt the magic halls away;
Safe the princess lay;
Opening to the day;
Of the green laurel-bay.
The Garland and the Dame:
Except from Love and FAME!
But see, my love, where far below
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, Bringing, perchance, like my poor tale, Some moral truth in fiction's veil:* Nor love them less, that o'er the hill The evening breeze, as now, comes chill;
My love shall wrap her warm, And, fearless of the slippery way, While safe she trips the heathy brae,
Shall hang on Arthur's arm.
My Lucy, when the Maid is won,
THE END OF TRIERMAIN.
6 " The Bridal of Triermain is written in the style of Mr. Walter Scott; and if in magnis voluisse sat est, the author,
whatever may be the merits of his work, has earned the meed at which he aspires. To attempt a serious imitation of the most popular living poet—and this imitation, not a short fragment, in which all his peculiarities might, with comparatively little difficulty, be concentrated-but a long and complete work, with plot, character, and machinery entirely new-and with no manner of resemblance, therefore, to a parody on any production of the original author ;--this must be acknowledged an attempt of no timid daring."-Edinburgh Magazine, 1817.
we shall give merely as such, without vouching for the trath of it. When the article entitled, The Inferno of Altisidora," appeared in the Edinburgh Annual Register for 1809, it will be remembered that the last fragment contained in that singolar production, is the beginning of the romance of Triermain. Report says, that the fragment was not meant to be an imitation of Scott, but of Coleridge; and that, for this parpose the author borrowed both the name of the bero and the scene from the then unpublished poem of Christabelle ; and further, that so few had ever seen the manuscript of that poem, tha: amongst these few the author of Triermain could not be mis taken. Be that as it may, it is well known, that on the ap pearance of this fragment in the Annual Register, it was unversally taken for an imitation of Walter Scott, and never onde of Coleridge. The author perceiving this, and that the po was well received, instantly set about drawing it out into a reg. ular and finished work; for shortly after it was announced in the papers, and continued to be so for three long years; the author, as may be supposed, having, during that period, his hands occasionally occupied with heavier metal. In 1813, the poem was at last produced, avowedly and manifestly as an imitation of Mr. Scott; and it may easily be observed, that from the 27th page onward, it becomes much more decidedly like the manner of that poet, than it is in the preceding part which was published in the Register, and which, undoubtedly, does bear some similarity to Coleridge in the poetry, and more es pecially in the rhythm, as, e. g.
Harpers must lull him to his rest,
Like the dew on a summer hill.'
It was the dawn of an autumn day;
“ The fate of this work must depend on its own merits, for it is not borne up by any of the adventitious circumstances that frequently contribute to literary success. It is ushered into the world in the most modest guise ; and the author, we believe, is entirely unknown. Should it fail altogether of a favorable reception, we shall be disposed to abate something of the indignation which we have occasionally expressed against the extravagant gaudiness of modern publications, and imagine that there are readers whose suffrages are not to be obtained by a work without a name.
“ The merit of the Bridal of Triermain, in our estimation, consists in its perfect simplicity, and an interweaving the refinement of modern times with the peculiarities of the ancient metrical romance, which are in no respect violated. In point of interest, the first and second cantos are superior to the third. One event naturally arises out of that which precedes it, and the eye is delighted and dazzled with a series of moving pictures, each of them remarkable for its individual splendor, and all contributing more or less directly to produce the ultimate result. The third canto is less profuse of incident, and some what more monotonous in its effect. This, we conceive, will be the impression on the first perusal of the poem. When we have leisure to mark the merits of the composition, 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.
“But it is not from the fable that an adequate notion of the merits of this singular work can be formed. We have already spoken of it as an imitation of Mr. Scott's style of composition; and if we are compelled to make the general approbation more precise and specific, we should say, that if it be inferior in vigor to some of his productions, it equals, or surpasses them, in elegance and beauty; that it is more uniformly tender, and far less infected with the unnatural prodigies and coarsenesses of the earlier romancers. In estimating its merits, however, we should forget that it is offered as an imitation. The diction undoubtedly reminds us of a rhythm and cadence we have heard before ; but the sentiments, descriptions, and characters, have qualities that are native and unborrowed.
"In his sentiments, the author has avoided the slight deficiency we ventured to ascribe to his prototype. The pictures of pure description are perpetually illuminated with reflections that bring out their coloring, and increase their moral effect : these reflections are suggested by the scene, produced without effort, and expressed with unaffected simplicity. The descrip tions are spirited and striking, possessing an airiness suited to the mythology and manners of the times, though restrained by correct taste. Among the characters, many of which are such as we expect to find in this department of poetry, it is impossible not to distinguish that of Arthur, in which, identifying himself with his original, the anthor has contrived to unite the valor of the hero, the courtesy and dignity of the monarch, and the amiable weaknesses of any ordinary mortal, and thus to present to us the express lineaments of the flower of chivalry.” -Quarterly Review. 1813.
- What time, or where Did she pass, that maid with the heavenly brow, With her look so sweet, and her eyes so fair, And her graceful step, and her angel air, And the eagle-plume on her dark brown hair,
That pass'd from my bower e'en now ?'
• Although it fell as faint and shy As bashful maiden's half-form'd sigh,
When she thinks her lover near.'
. And light they fell, as when earth receives, In morn of frost, the wither'd leaves,
That drop when no winds blow.'
Or if 'twas but an airy thing,
" These, it will be seen, are not exactly Coleridge, but they are precisely such an imitation of Coleridge as, we conceive, another poet of our acquaintance would write : on that ground, we are inclined to give some credit to the anecdote here re lated, and from it we leave our readers to guess, as we have done, who is the author of the poem."- Blackwood's Mag azine. April, 1817.
“With regard to this poem, we have often heard, from what may be deemed good authority, a very curious anecdote, which
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 themselves, in order to guard against any indiscretion of the