« ForrigeFortsæt »
White-plumed lilies, and the first
Oh, sweet Fancy ! let her loose; Everything is spoilt by use: Where's the cheek that doth not fade, Too much gazed at ? Where's the maid Whose lip mature is ever new ? Where's the eye, however blue, Doth not weary? Where's the face One would meet in every place? Where's the voice, however soft, One would hear so very oft ? At a touch sweet Pleasure melteth Like to bubbles when rain peltetla. Let, then, winged Fancy find Thee a mistress to thy mind :
Dulcet-eyed as Ceres' daughter,
THE DOUBLE-LIFE OF POETS.
BARDS of Passion and of Mirth,
Seated en lysian lawns
ye live on high, and then On the earth ye live again; And the souls ye left behind you Teach us, here, the way to find you, Where your other souls are joying, Never slumber'd, never cloying. Here, your earth-born souls still speak To mortals of their little week; Of their sorrows and delights; Of their passions and their spites; Of their glory and their shame; What doth strengthen and what maim. Thus ye teach us, every day, Wisdom, though fled far away.
Bards of Passion and of Mirth, Ye have left your souls on earth! Ye have souls in heaven too, Double-lived in regions new!
CITY AND SUBURB.
To one who has been long in city pent,
'Tis very sweet to look into the fair
And open face of heaven,—to breathe a prayer
Fatigued he sinks into some pleasant lair
wavy grass, and reads a debonair
Catching the notes of Philomel,--an eye Watching the sailing cloudlet's bright career,
He mourns that day so soon has glided by: E'en like the passage of an angel's tear
That falls through the clear ether silently.
* So Milton in Par. Lost, ix. 445–455:
As one who, long in populous city pent,
PRINCIPAL WORKS:–Hours of Idleness, 1807, attacked with an excess of critical severity by Brougham in the recently established Edinburgh Review.—English Bards and Scotch Reviewers, 1808, a satirical and exceedingly witty reply to his critics, upon whom he made a pitiless onslaught.-- Childe Harold (first two cantos), 1812, the result of two years travelling in the Peninsula and in Greece; and written in the Spenserian stanza.—The Giaour and The Bride of Abydos, 1813. – The Corsair and Lara, 1814, written, like the two former poems, in the versification of Scott, but with sufficient differences of style. They are romances founded upon Greek and Oriental life and scenery, and abound in interesting and charming situations. They at once secured the unbounded favour and admiration of the whole reading world; and Byron, at the age of twenty-five, was at the acknowledged as well as undoubted head of all the poets of his time, for Shelley was as yet unknown to fame. Until the turn in the public, or rather fashionable, feeling (caused by the revelations of his private life which followed on the separation from his wife after a twelvemonth's union) no writer ever received so unbounded adulation, excepting perhaps the author of Candide and Zaïre: nor did those scandals affect so much his popularity as they provoked the somewhat arbitrary criticism of the world of fashion. In fact, it is certain that the wild life of the noble poet, and the air of mystery which always hung about his career, contributed not a little to create the enthusiasm which the actual merits of his produetions alone would scarcely have secured.— The Siege of Corinth and Parisina, published about this period, betray something of the consciousness of the revolution of feeling, real or affected, towards him.The third canto of Childe Harold was written and given to the world by the poet while, a voluntary exile, he was wandering about, chiefly in France and Switzerland. The fourth and concluding canto appeared in 1818.—Mazeppa, the first five cantos of Don Juan, his dramas of Marino Faliero, The Two Foscari, Cain, appeared between 1818 and 1821 ; having been written during his residence at Venice and Ravenna. Manfred, his earliest dramatic effort, had been produced some time before. The dramas, although exhibiting in many parts the splendid