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I charm the fairy-footed hours
With my loved lute's romantic sound; Or crowns of living laurel weave For those that win the race at eve.
The shepherd's horn at break of dayThe ballet danc'd in twilight gladeThe canzonet and roundelay
Sung in the silent green-wood shade. These simple joys, that never fail, Shall bind me to my native vale.
Once more, enchanting girl, adieu !
I must begone while yet I may,
But here I will not, cannot stay.
The sweet expression of that face,
For ever changing, yet the same, Ah no! I dare not turn to trace,
It melts my soul, it fires my frame!
Yet give me, give me, ere I go,
One little lock of these so blest,
And on your white neck love to rest.
Say, when to kindle soft delight,
That hand has chanced with mine to meet,
A sigh so short, and yet so sweet?
O say—but no, it must not be
Adieu ! a long, a long adieu !-
Or never could I fly from you.
ON A TEAR. *
Oh! that the chemist's magic art
Could crystallize this secret treasure !
A secret source of pensive pleasure.
* This beautiful little song, and likewise the four which immediately precede it, are taken from the compositions of Samuel Rogers, Esq., Banker, London. Besides these, and several others of a similar nature, he is the
The little brilliant, ere it fell,
Its lustre caught from Chloe's eye;
The spring of sensibility !
Sweet drop of pure and pearly light !
In thee the rays of virtue shine;
Than any gem that gilds the mine.
author of the Voyage of Columbus, and of the well known production entitled the Pleasures of Memory. These are all exceedingly interesting and beautiful in their kind, being calculated to improve while they amuse and delight. They exhibit to us, in a very eminent degree, that power of invention and refinement of feeling, seconded by a certain felicity of expression, which, whatever may be his subject, form the necessary and distinctive qualifications of the poetic character.
Of all the performances of Mr. R. the first place is certainly due to his Pleasures of Memory. It is, perhaps, the only exhibition of its kind, whose intrinsic excellence, without suffering any perceptible deterioration, can sustain a critical comparison with the Pleasures of Hope.
Both poets indeed appear to have been peculiarly happy in the choice of their subject, as each has distinguished himself with unrivalled success. They have depicted in a truly poetical style, scenes which, though equally remote from the present, are not, on that account, less interesting or important. Abstracting us for the moment from the particular periods of life at which we may have arrived,-from the peculiar situations in which we may for the time be placed, and from the varied emotions which these necessarily inspire, they both most forcibly direct our attention to the days and to the enjoyments of other years. With all the glowing sensibility of fancy and of hope, the one hurries us forward thr the regions both of probability and of wish, while the other, with a fascinating but persuasive sweetness, makes us re-act and re-feel what we may have long ago entirely forgot.
The one in the spirit of a fondly fostered child, delights to recollect and to dwell upon the caresses it has formerly enjoyed ; the other still throbbing, and full of the injuries of his past life, gladly escapes into uncertain futurity, anxiously soliciting amelioration and redress. In short, both poets, pregnant with the
Benign restorer of the soul !
Who ever fly'st to bring relief,
Of love or pity, joy or grief.
The sages' and the poet's theme,
In every clime, in every age;
In Reason's philosophic page.
That very law* which moulds a tear,
And bids it trickle from its source,
And guides the planets in their course.
theme of their song-properly alive to its importance and to its influence, and highly qualified for the execution of the design, have so feelingly collected, arranged, and embellished their respective subjects, that there is little chance left for any future successful petition.
* The law of gravitation.