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These are his-portion — but/ if joined to the se,
Gaunt Po'verty/ should league with deep Dis'ease,
If the high sp'irit/ must forget to so’ar,
And stoop to strive with Mis'ery/ at the do'or,
To soothe Indig'nity - a'nd, fac'e to fa'ce,
Meet sordid Rag'e — and wre'stle with Disgʻrace,
To find in Hop'e/ but the renewed car'ess,
The serpent-fo'ld/ of further Fai'thlessness,
If su'ch may be the i'lls/ which men ass'ail,
What marvel if at la'st the mightiest f'ail ?*

*

*

*

But far from us', and from our mimic sce'ne,
Such'-things should b'e—(if such have e'ver be'en ;)
Ou'rs be the gentler wi'sh, the kin'der ta'sk,
To give the tri'bute/ glo‘ry need not aʼsk,
To mourn the vanished be'am-and add our mi'te/
Of pra'ise/ in payment of a l'ong delig'ht.-
Ye O'rators ! whom ye't our councils yi’eld,
Mourn for the ve'teran-hero of your fi'eld!
The worthy-rival of the wondrous three !!
Whose w'ords were sp’arks/ of immortality!
Ye Bar'ds ! to whom the Drama's Mu'se is de’ar,
He was your m'aster—e'mulate him he're !
Ye men of wit and social e loquence !
He was your brother-bear his a'shes he'nce !
While powers of mi'nd/ almost of boundless ra'nge,
(Complete in kin'das vari'ous in their cha'nge ;)
While e'loquence-wit-po'esy—and mi'rth,
(That huʼmbler-harmonist of care on ear'th,)
Šurvi've within our sou'ls—while liv'es our se'nse
Of pr'ide/ in merit’s-proud-pre-e’minence,
Long shall we seek his li'keness—lo'ng in v'ain, ?
And turn to all of hi'm/ which may rema'in,

Concluding tone.
Sighing that Na'ture/ formed but on'e/ suc'h-man
And broke the di'e-in mou'lding SHE'RIDAN!

The manner and voice both require a change

at “Ye Orators.

* As "no marvel” may not unjustly form the reply, the interrogation, though indefinite, appears to require the rising voice. † Pitt, Fox, and Burke.

" Pre-eminence” should receive, for obvious reasons, a greater accentual force, accompanied with the rising slide, than any of the five rising inflections immediately above it.

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THE MOTHER'S APOSTROPHE TO HER

SLEEPING INFANT.

CAMPBELL.
Lo! at the cou'ch/ where in fant-beauty sle'eps,
Her silent watc'h/ the mournful mother ke'e

e'eps;
Sh'e (while the lovely babe/ unconscious lies)
Smiles on her slumbering chi'ld/ with pensive e'yes,
And weaves a so'ng/ of me'lancholy-joy~

Sle'ep, (image of thy fath'er,) slee'p, my boy': “ No lingering hour of sor'row/ shall be th’ine; “ No sigh that rends thy fa’ther's hea'rt/ and miľne ; “ Bri'ght (as his manly si're) the so'n shall b'e/ « In for'm and soʻul; but, ah'! more bles'sed than hoe!

Thy fam'e, thy wo'rth, thy fili'al-love, at laʼst, “ Shall sooth this aching hea'rt/ for all the past, “With many a sm'ile/ my solitude rep'ay, « And ch'ase the wor‘ld's/ ungenerous sc'orn away'.

“ And say', (when summoned from the woʻrld and th'ee, " I lay my be ad/ beneath the willow tr’ee,) “ Wilt th’ou, (sweet mo'urner !) at my sto'ne app'ear, “ And sooth my parted sp'irit/ lingering n'ear?

Oh, wi'lt thou co'me (at evening hoʻur) to sh'ed/
“ The tears of Me'mory/ o'er my narrow b'ed ;
“ With aching temp'les/ on thy hand recli'ned,
“ Muse on the last farewe'll/ I leave beh'ind,
“ Breathe a deep si'gh/ to winds that murmur l'ow,
“ And think on all my love, and a'll my w^o ?”

So speaks affec'tion, ere the infant e'ye
Can look regar'd, or brighten in repʻly ;
But', when the cherub li'p/ hath learned to cla'im/
A mother's ea'r/ by that endearing-name;
Soon as the playful in'nocent/ can prove/
A tea'r of pity, or a smi'le of lo've,
Or cons his murmuring ta'sk/ beneath her ca're,
Or/ lis'ps (with holy lo’ok) his ev'ening pra’yer,
Or/ gaz’ing, (mutely pen’sive,) sit's to hear'

The mournful ba'llad/ warbled in his e’ar ;*
How fondly looks/ admiring Hope the wh'ile,
At every artless te'ar, and every sm’ile ! Pronounced
How glows the joyous pa'rent/ to desc'ry/ lower voice.
A gui leless b'osom, tr'ue to sym'pathy! j

in a

THE CAPTURE OF WARSAW.

CAMPBELL.
Oh! s'acred Truth! thy triu'mph ceased awh'ile,
And Hoʻpe, (thy si'ster,) ceased with the'e to s ́mile,
When leagued Oppres'sion, poured to Northern war's
Her whiskered pan doors, and her fierce hus'sars,
Waved her dread stan'dard/ to the breeze of m'orn,
Pealed her loud dru`m/, and twanged her trumpet h'orn ;
Tumultuous hor'ror/ brooded o'er her va'n,
Presaging wra'th to Poland—and to ma‘n !

Warsaw's las't-champion, from her heights surv'eyed, Wi'de o'er the fields, a waste of r'uin laid“Oh! He'aven !” (he cr'ied,) “my bleeding country sa've ! -' “ Is there no hand on hig'h/ to shield the braove? “ Ye't, though destruction/ sweep these lovely pla’ins, “ Ris'e, fellow-men ! our couîntry/ yet rem’ains ! “ By that drea'd-name, we wave the sword on hi'gh! “ And sw'ear/ for he'r/ to live with h'er/ to di'e !"

He said, and on the rampart-heightst arra'yed
His trusty warriors, fe'w, but undism'ayed ;
Firm-paced and slo'w, a horrid front they fo'rm,
(Still as the bree'ze, but dreadful as the stoʻrm ;)
Lo'w, murmuring sou'nds along their banners fly',
Reve'nge, or de'ath !-(the watc'hword and repl’y.)
Then pealed the not'es, omnipotent to cha'rm,
And the loud t’ocsin/ tolled their las't-alarm !

In vai'n, ala's ! in va'in, ye gallant fe'w !
From ran'k to ra'nk/ your volleyed thunder fl’ew ! -

* " Ear,” like “pre-eminence,”-vide preceding selection-requires more force than any other preceding rising inflection in the stanza.

+ There are two modes of pronouncing this substantive ; hite, and hate; the former is the most general, and also the most accurate—the latter the most agreeable to the spelling. Milton was the patron of the former ; and Mr. Garrick's pronunciation of the noun, (which is certainly the best)

was hite.

Oh! bloodiest pic'ture/ in the book of Time,
Sarmatia fe'll, unw'ept, without a crim'e ;
Found not a g'enerous friend, a pi tying fo'e,
Stren'gth in her arms, nor me'rcy in her wo°e !
Dropped from her nerveless gra'sp/ the shattered sp'ear,
Closed her bright ey'e/, and curbed her high car'eer ;-
Ho'pe, for a sea'son, bade the world farew'ell,
And Freedom shri'eked—as Kosciusko fe'll !

The sun went dow'n, nor ceased the carnage th'ere,
Tumultuous muroder/ shook the midnight air,
On Prague's proud ar'ch/ the fires of ruin glow,
His blo'od-dyed wa'ters/ murmuring fa'r below';
The storm prevai'ls, the rampart yields a wa'y,
Burs'ts the wild cry of h’orror/ and disma'y !
Ha'rk ! as the smouldering pil'es/ with thunder fall,
A thousand shr'ieks/ for hopeless-mercy ca'll !
Earth sho'ok-red meteors flashed along the sk'y,
And con'scious Nature/ shuddered at the cry!

Oh! rig hteous-Heaven ! ere freedo'm found a gra've,
Why slept the sw'ord, omni'potent to save !
Where was thi'ne-arm, (O Ven'geance !) where thoy-rod,
That smote the foes of Ži'on and of God,
That crushed proud Am'mon, when his iron ca'r/
Was yok'ed in wr'ath, and th’undered from afa'r ?
Where was the sto'rm, that slum'bered/ till the h'ost/
Of blood-stained Pha'raoh/ left their trembling cosast ;
Then bade the deep/ in wild commotion fl'ow,
And hea'ved an o'cean/ on their m'arch belo'w ?
Departed spir'its of the mighty de'ad !
Ye that at Mar'athon and Leuctra bl'ed ?
Frie'nds of the wor'ld! restore your swords to m'an,
Fight in his sa cred cau'se, and lead the va'n!
P'et/ for Sarmatia's tears-of-bloạod/ ato'ne,
And make he'r-arm/ puissant as your owon!
Oh ! once aga'in/ to Freedom's cause return/
The patriot Tel'.—the Bruc'e of BAN'NOCKBURN !*

. Every paragragph in the shape of an apostrophe must be read in a lower tone of voice, which, of course, must be regulated by the nature of the subject ; the penultimate stanza of this touching selection, beginning with “Oh! righteous Heaven,” requires a considerably lower pitch than the descriptive one immediately preceding it ; and the last, commencing with “ Departed spirits,” requires to be read almost in a whisper.

H

REPLY TO HORACE WALPOLE. Right Hon. William Pitt-(Lord Chatham.)* This illustrious father of English o'ratory, having expressed himself in the House of Commons, with his accustomed e'nergy, in opposition to a bill then before the House, for preventing merc'hants from raising the wages of seamen in time of w'ar, and, thereby, inducing them to avoid His Majesty's service ;- his speech produced an answer from Mr. Horace Walpole, who, in the cour'se-of-it, sa'id, Formidable sou'nds, and furious declama'tion, confident assertions, and lofty periods, may affect the young and unexperienced ; and, perhaps, the honourable gentleman may have contracted hi's-habits of oratory, by conversing more with those of his ow'n-age, than with su'ch/ as have had more opportunities of acquiring know'ledge, and more successful m'ethods of communicating their sen`timents.And he made use of some expre’ssions, such as v'ehemence of ge'sture, theatrical emotion, &c. and applied them to Mr. Pitt's m'anner of speaking. As soon as Mr. Walpole had sat do'wn, Mr. Pitt aro'se and replied, as fol·lows :

Sir,—The atroʻcious-crime of being a you ́ng-man (which the honourable gentleman has, with such sp'irit and decency, charged-upon-me) I shall neither attempt to pa'lliate, nor den'y,—but content myself with wis'hing, that I

may of thoʻse/ whose follies may cea'se with their yoʻuth, and not of that number who are i'gnorant in spite of expe'rience. Whether you'th/ can be imputed to any man as a repr'oach, I will not, Sir, assume the pro'vince of determining ;-but surely ag‘el may become justly conte'mptible, if the opportu'nities which it brings have passed away without improvement, and vi'ce appears to preva'il, when the pas'sions have sub'sided. The wret'ch wh'o (after having seen the con'sequences of a thousand eʼrrors) continues still to blun'der, and whose a'ge/ has only added 'bstinacy to stup'idity, is surely the o'bject/ either of abhor'rence or conte'mpt, and deserves not that his gra'y-hairs/ should secure him from insult. Much more, Sir, is h'e to be abhor'red, wh'o, as he has advan'ced

* This illustrious statesman was born in 1708, and died in May, 1778.

To be read explanatorily, and, of course, parenthetically.

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