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He loved the old man, and revered his art :
And though of noblest birth and ample fortune,
The young enthusiast thought it no scorn
But an inalienable ornament,
To be his pupil, and with filial zeal
By practice to appropriate the sage lessons,
Which the gay, smiling old man gladly gave.
The art, he honoured thus, requited him:
And in the following and calamitous years
Beguiled the hours of his captivity.

Alh. And then he framed this picture ? and unaided By arts unlawful, spell, or talisman !

Alv. A potent spell, a mighty talisman !
The imperishable memory of the deed,
Sustained by love, and grief, and indignation !
So vivid were the forms within his brain,
His very eyes, when shut, made pictures of them!

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The form of the following dramatic poem is in humble imitation of the Winter's Tale of Shakspeare, except that I have called the first part a Prelude instead of a first Act, as a somewhat nearer resemblance to the plan of the ancients, of which one specimen is left us in the Æschylean Trilogy of the Agamemnon, the Orestes, and the Eumenides. Though a matter of form merely, yet two plays, on different periods of the same tale, might seem less bold, than an interval of twenty years between a first and second act. This is, however, in mere obedience to custom. The effect does not, in reality, at all depend on the time of the interval; but on a very different principle. There are cases in which an interval of twenty hours between the acts would have a worse effect (i. e. render the imagination less disposed to take the position required) than twenty years in other cases. For the rest, I shall be well content if my readers will take it up, read and judge it as a Christmas tale.


EMERICK, Usurping King of Illyria.
RAAB KIUPRILI, an Illyrian Chieftain.
Chef Ragozzi, a Military Commander.
Z APOLYA, Queen of Illyria.


Scene I.--- Front of the Palace with a magnifi

cent Colonnade. On one side a military Guardhouse. Sentries pacing backward and forward

before the Palace. Chef Ragozzi, at the door of the Guard-house,

as looking forwards at some object in the distance.

C. Rag. My eyes deceive me not, it must be he, Who but our chief, my more than father, who But Raab Kiuprili moves with such a gait? Lo! e'en this eager and unwonted haste But agitates, not quells, its majesty. My patron! my commander ! yes, 'tis he! Call out the guards. The Lord Kiuprili comes.

[Drums beat, fc. the Guard turns out.

Enter Raab Kiuprili. R. Kiu. (making a signal to stop the drums,

&c.) Silence ! enough! This is no time,

young friend!

For ceremonious dues. The summoning drum, Th’air shattering trumpet, and the horseman's clatAre insults to a dying sovereign's ear. [ter, Soldiers, 'tis well! Retire! your General greets you, His loyal fellow-warriors. [Guards retire.

Pardon my surprise.

C. Rag.

Thus sudden from the camp, and unattended !
What may these wonders prophecy?
R. Kiu.

Tell me first,
How fares the king ? His majesty still lives?
C. Rag. We know no otherwise; but Emerick's

friends (And none but they approach him) scoff at hope.

R. Kiu. Ragozzi! I have reared thee from a child, And as a child I have reared thee. Whence this air Of mystery ? That face was wont to open Clear as the morning to me, showing all things. Hide nothing from me.

C. Rag. O most loved, most honoured, The mystery, that struggles in my looks, Betrayed my whole tale to thee, if it told thee That I am ignorant; but fear the worst. And mystery is contagious. All things here Are full of motion : and yet all is silent : And bad men's hopes infect the good with fears. R. Kiu. I have trembling proof within, how true

thou speakest. C. Rag. That the prince Emerick feasts the

soldiery, Gives splendid arms, pays the commanders' debts, And (it is whispered) by sworn promises Makes himself debtor-hearing this, thou hast heard AllBut what my lord will learn too soon himself.

R. Kiu. Ha ! well then, let it come! Worse

scarce can come.

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