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AND now farewell to ITALY - perhaps
Gentle or rude,
No scene of life but has contributed
Where, when the south-wind blows and clouds on clouds
That level region, where no echo dwells,
But now a long farewell! Oft, while I live, If once again in England, once again In my own chimney-nook, as Night steals on, With half-shut eyes reclining, oft, methinks, While the wind blusters and the drenching rain Clatters without, shall I recall to mind The scenes, occurrences, I met with here, And wander in Elysium; many a note Of wildest melody, magician-like Awakening, such as the CALABRIAN horn Along the mountain-side, when all is still, Pours forth at folding-time; and many a chant,
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), Through many a grove by many a fount has led thee, By many a temple half as old as Time;
Where all was still awakening them that slept,
Nature denied him much,
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.
"T is now long since; And now, while yet 't is day, would he withdraw, Who, when in youth he strung his lyre, addressed A former generation. Many an eye,
Bright as the brightest now, is closed in night,
And many a voice, how eloquent, is mute,
(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,
(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,
That shadow, though it comes through pathless tracts,
Such moments are most precious. Yet there are