A FAREWELL.830 AND now farewell to ITALY - perhaps They that receive the cataracts, and ere long From age to age in silent majesty, Blessing the nations, and reflecting round The gladness they inspire. Gentle or rude, No scene of life but has contributed Much to remember-from the POLESINE, Where, when the south-wind blows and clouds on clouds 331 Floats on a world of waters from that low, That level region, where no echo dwells, Where the wild-boar retreats, when hunters chafe, 334 333 But now a long farewell! Oft, while I live, 1 Solemn, sublime, such as at midnight flows AND now a parting word is due from him (If haply thou hast borne with him so long), Where kings were mouldering in their funeral urns, Triumphs and masques. Nature denied him much, But gave him at his birth what most he values; For all things here, or grand or beautiful, Though from his cheek, ere yet the down was there, Full oft to wander where the Muses haunt, Smit with the love of song. 'Tis now long since; And now, Bright as the brightest now, is closed in night, 1839. NOTES. (1) J. J. ROUSSEAU. "J'arrive essoufflé, tout en nage; le cœur me bat; je vois de loin les soldats leur poste; j'accours, je crie d'une voix étouffée. Il étoit trop tard." Les Confessions, l. i. (2) "Lines of eleven syllables occur almost in every page of Milton; but though they are not unpleasing, they ought not to be admitted into heroic poetry; since the narrow limits of our language allow us no other distinction of epic and tragic measures."— Johnson. - It is remarkable that he used them most at last. In the Paradise Regained they occur oftener than in the Paradise Lost in the proportion of ten to one; and let it be remembered that they supply us with another close, - another cadence, that they add, as it were, a string to the instrument; and, by enabling the poet to relax at pleasure, to rise and fall with his subject, contribute what is most wanted, compass, variety. Shakspeare seems to have delighted in them, and in some of his soliloquies has used them four and five times in succession; an example I have not followed in mine. As in the following instance, where the subject is solemn beyond all others : "To be, or not to be," &c. They come nearest to the flow of an unstudied eloquence, and should therefore be used In the drama; but why exclusively? Horace, as we learn from himself, admitted the Musa Pedestris in his happiest hours, in those when he was most at his ease; and we cannot regret her visits. To her we are indebted for more than half he has left us; nor was she ever at his elbow in greater dishabille than when he wrote the celebrated Journey to Brundusium. (3) BERNARD, Abbot of Clairvaux. "To admire or despise St. Bernard as he ought," says Gibbon, "the reader, like myself, should have before the windows of his library that incomparable landscape." (4) The following lines were written on the spot, and may serve perhaps to recall to some of my readers what they have seen in this enchanting country. I love to watch in silence till the sun Sets; and MONT BLANC, arrayed in crimson and gold, Flings his gigantic shadow o'er the lake; That shadow, though it comes through pathless tracts, Only less bright, less glorious than himself. But, while we gaze, 't is gone! And now he shines Like burnished silver; all, below, the Night's. Such moments are most precious. Yet there are Others that follow fast, more precious still; |