Alle chiome, al mento, alviso witch with a sort of magical greeting; and the objects he has in view will put our readers in mind of some terrible lines in Tam o' Shanter. This is the first verse. The visitor commences the dialogue, and the witch answers in the second line. Gurugium a te! Gurugiu! Che ne vuoi della vecchia tu? Io voglio questi piedi E que diavolo che ne vuoi far? Un tamburro per il Re di Francia Una sedia per la Regina. The favourite substitute, for ballads of the terribly superstitious kind, is in Rome some versification from the Bible, in the dialogue fashion above exemplified. One of the most common is an interlude, made out of the conversation between our Saviour and the Samaritan woman. This is possessed of no inconsiderable gracefulness, both in the words and the music. The scene is laid, as our readers will suppose, by a well in the neighbourhood of the town of Samaria. Our Saviour appears first, and explains, in the fashion of the gyres, his own situation, and all that he expects Siete giunta troppo tardi. Samar. Non potevo piu à buon or. Christ. O figliola, che gran sete! Un po d'acqua in carità. Deh ristoro a me porgete, Un po d'acqua per pieta. Samar. Voi à me Samaritana Domanda vi dia da ber; A un Guideo, è cosa strana Queste due nazion fra loro Chi l'avesse da veder. Non si posson compatir. Se vedesse un di coloro, Cosa avrebbe mai a dir. Se sapeste, se sapeste Chi a voi chiede a ber, Certo a lui richiadereste Acqua viva per aver. O figliola egli è venuto Il Messia, credete a me, Chi vi parla quel Egli è. Io vì credo, o buon Signor Christ. O Divina si grand opera Il poter tutto si adopra SCENE SECOND. Samaritan Woman. Ecco qui quella meschina, Maestà, Eccomè quì! A voi rendo, e sommo onor, Piuì che mai vì vo chiamar, Emio bracchio tutto può, Samar. (with hesitation.) Siete Dio omnipotente, E veduto l'ho pur or! Di Sammaria la gran gente Convertita è a voi, Signor. Christ. (aside.) Ab eterno già sapea E pero vi mandai là ; Fin dall' ora vi sceglica A bandir la verità. Samar. O Signor, io mi arrossisco Di vedermi in tanto onor; Qual io sono a dimostrar Opra fu della mia man A voi m'offro e dono intanto Si, già accetto il vostro amor, E gradito e sol diletto Essere vuo dal vostro cuor. Christ. Io in voi, Christ. Serbaremo eterna fede. And so ends this interlude. When it is performed on the Corso, every woman present joins her voice to that of the representative of the Samaritan. The melody is equally agreeable to the worldly, as to the religious fair, and each finds something in the words which renders her willing to dwell upon them. "Such interludes," observes my author, "cannot be without their effect in rendering religion a popular thing." I cannot say that the species Of Patriarch old, while pillowed on a stone, SONNET. WILD is the Lake, dark in autumnal gloom, The shades of autumn fitfully illume, The plaintive winds now swelling in a stream From the full floating cloud capricious As, with an infant's playfulness, repair C. L. Perchance, has somewhat of the flush of health, Has strength of muscle and the swelling So man is pitied not; though if he smile, Though, if he speak, th' incongruous attempt His words are like the sound of crazy bells iron tongues." His accents, unaccountably impelled, Say, fared it so with Thee? Then be at And may the God the fortitude who gave C. L. LINES Written in consequence of hearing of a WHAT didst thou feel, thou poor unhappy Ere on that sod thou laid'st thee down to rest? And perilous recollection blast thy mind? With fatal incommunicable thoughts? Of eyes, or ears, or touch of other men. And the internal world should be at war; ST HELENA. April 1918. YE cliffs dark and dreary that frown o'er the main, Like dross from a furnace confusedly power, Your rocks from a submarine crater arose, Or if ye once fenced that magnificent isle, Whose beauty the pages of Plato disclose, Where Happiness shed its retributive smile On bowers of eternal repose. Oh! whether a remnant of Eden or Hell, Look well, ye rude cliffs, to your perilous trust; And in the deep dell tho' a paradise bloom, gloom, And peace but remorse and despair. For fires more intense than the flames of your birth In his bosom of baffled malignity rage: What does not man endure? Yet Man, And, to satiate his rancour, the desolate earth even then, Were now too contracted a stage! [Of the two following pasquinades on the late French Ministry, the first was pub ished in the New Times, so long ago as February 1818; and we are chiefly induced to reprint it on account of the sagacity with which it foretold, that “the Duke of Richelieu would be dismissed as soon as the army of occupation was removed;" that "M. Laine was too honest to remain long in such an administration of affairs ;" and that Mole, at that time the creature of De Caze, would soon" set up for himself." All this has come to pass, and M. de Caze has found a new ministry of more devoted and more contemptible creatures even than the former. He has " found in the lowest depth a lower still."] The King's Crutches. "UNEASY, alas! lies the head which is crown'd!" But how shall he get there? In vain would he ask The Jacobin tribe half his wishes would meet, What then could his much-puzzled Majesty do, Richelieu'st just awaked from his Tartary trance, It is hoped that it is not too great a poetic license, to place the fabulous garden of the Hesperides in St Helena. All writers admit that it was in an island of the Atlantic. + M. de Richelieu left France a boy, and returned an old woman. All the prime of his life he spent as Governor of Odessa, in Crim-Tartary, and he came to Paris with the rest of the Cossacks. We presume that he will be removed with the Russian army of observas tion, of which he is an essential part. |