No More Learning

There shrines and palaces and towers
(Time-eaten towers that tremble not! )
Resemble nothing that is ours.
Around, by lifting winds forgot,
Resignedly beneath the sky
The melancholy waters lie.

No rays from the holy heaven come down
On the long night-time of that town;
But light from out the lurid sea
Streams up the turrets silently--
Gleams up the pinnacles far and free--
Up domes--up spires--up kingly halls--
Up fanes--up Babylon-like walls--
Up shadowy long-forgotten bowers
Of scultured ivy and stone flowers--
Up many and many a marvellous shrine
Whose wreathed friezes intertwine
The viol, the violet, and the vine.

Resignedly beneath the sky
The melancholy waters lie.
So blend the turrets and shadows there
That all seem pendulous in air,
While from a proud tower in the town
Death looks gigantically down.

There open fanes and gaping graves
Yawn level with the luminous waves;
But not the riches there that lie
In each idol's diamond eye--
Not the gaily-jewelled dead
Tempt the waters from their bed;
For no ripples curl, alas!
Along that wilderness of glass--
No swellings tell that winds may be
Upon some far-off happier sea--
No heavings hint that winds have been
On seas less hideously serene.

But lo, a stir is in the air!
The wave--there is a movement there!
As if the towers had thrown aside,
In slightly sinking, the dull tide--
As if their tops had feebly given
A void within the filmy Heaven.
The waves have now a redder glow--
The hours are breathing faint and low--
And when, amid no earthly moans,
Down, down that town shall settle hence,
Hell, rising from a thousand thrones,
Shall do it reverence.

1845.




THE SLEEPER.

At midnight in the month of June,
I stand beneath the mystic moon.
An opiate vapour, dewy, dim,
Exhales from out her golden rim,
And, softly dripping, drop by drop,
Upon the quiet mountain top.
Steals drowsily and musically
Into the univeral valley.
The rosemary nods upon the grave;
The lily lolls upon the wave;
Wrapping the fog about its breast,
The ruin moulders into rest;
Looking like Lethe, see! the lake
A conscious slumber seems to take,
And would not, for the world, awake.
All Beauty sleeps! --and lo! where lies
(Her easement open to the skies)
Irene, with her Destinies!

Oh, lady bright! can it be right--
This window open to the night?
The wanton airs, from the tree-top,
Laughingly through the lattice drop--
The bodiless airs, a wizard rout,
Flit through thy chamber in and out,
And wave the curtain canopy
So fitfully--so fearfully--
Above the closed and fringed lid
'Neath which thy slumb'ring sould lies hid,
That o'er the floor and down the wall,
Like ghosts the shadows rise and fall!
Oh, lady dear, hast thous no fear?
Why and what art thou dreaming here?
Sure thou art come p'er far-off seas,
A wonder to these garden trees!
Strange is thy pallor! strange thy dress!
Strange, above all, thy length of tress,
And this all solemn silentness!

The lady sleeps! Oh, may her sleep,
Which is enduring, so be deep!
Heaven have her in its sacred keep!
This chamber changed for one more holy,
This bed for one more melancholy,
I pray to God that she may lie
Forever with unopened eye,
While the dim sheeted ghosts go by!

My love, she sleeps! Oh, may her sleep,
As it is lasting, so be deep!
Soft may the worms about her creep!
Far in the forest, dim and old,
For her may some tall vault unfold--
Some vault that oft hath flung its black
And winged pannels fluttering back,
Triumphant, o'er the crested palls,
Of her grand family funerals--
Some sepulchre, remote, alone,
Against whose portal she hath thrown,
In childhood, many an idle stone--
Some tomb fromout whose sounding door
She ne'er shall force an echo more,
Thrilling to think, poor child of sin!
It was the dead who groaned within.

1845.




BRIDAL BALLAD.

THE ring is on my hand,
And the wreath is on my brow;
Satins and jewels grand
Are all at my command,
And I am happy now.

And my lord he loves me well;
But, when first he breathed his vow,
I felt my bosom swell--
For the words rang as a knell,
And the voice seemed _his_ who fell
In the battle down the dell,
And who is happy now.

But he spoke to re-asure me,
And he kissed my pallid brow,
While a reverie came o're me,
And to the church-yard bore me,
And I sighed to him before me,
Thinking him dead D'Elormie,
"Oh, I am happy now! "

And thus the words were spoken,
And this the plighted vow,
And, though my faith be broken,
And, though my heart be broken,
Behold the golden token
That _proves_ me happy now!

Would God I could awaken!
For I dream I know not how,
And my soul is sorely shaken
Lest an evil step be taken,--
Lest the dead who is forsaken
May not be happy now.

1845.

NOTES

1. "The Raven" was first published on the 29th January, 1845, in the New
York "Evening Mirror"-a paper its author was then assistant editor of.
It was prefaced by the following words, understood to have been written
by N. P. Willis: "We are permitted to copy (in advance of publication)
from the second number of the "American Review," the following
remarkable poem by Edgar Poe. In our opinion, it is the most effective
single example of 'fugitive poetry' ever published in this country, and
unsurpassed in English poetry for subtle conception, masterly ingenuity
of versification, and consistent sustaining of imaginative lift and
'pokerishness. ' It is one of those 'dainties bred in a book' which we
feed on. It will stick to the memory of everybody who reads it. " In the
February number of the "American Review" the poem was published as
by "Quarles," and it was introduced by the following note, evidently
suggested if not written by Poe himself.

["The following lines from a correspondent-besides the deep, quaint
strain of the sentiment, and the curious introduction of some ludicrous
touches amidst the serious and impressive, as was doubtless intended by
the author-appears to us one of the most felicitous specimens of unique
rhyming which has for some time met our eye. The resources of
English rhythm for varieties of melody, measure, and sound, producing
corresponding diversities of effect, having been thoroughly studied,
much more perceived, by very few poets in the language. While the
classic tongues, especially the Greek, possess, by power of accent,
several advantages for versification over our own, chiefly through
greater abundance of spondaic: feet, we have other and very great
advantages of sound by the modern usage of rhyme. Alliteration is nearly
the only effect of that kind which the ancients had in common with
us. It will be seen that much of the melody of 'The Raven' arises from
alliteration, and the studious use of similar sounds in unusual places.
In regard to its measure, it may be noted that if all the verses were
like the second, they might properly be placed merely in short lines,
producing a not uncommon form; but the presence in all the others of
one line-mostly the second in the verse" (stanza? )--"which flows
continuously, with only an aspirate pause in the middle, like that
before the short line in the Sapphic Adonic, while the fifth has at the
middle pause no similarity of sound with any part besides, gives the
versification an entirely different effect. We could wish the capacities
of our noble language in prosody were better understood. "--ED. "Am.
Rev. "]

2. The bibliographical history of "The Bells" is curious. The subject,
and some lines of the original version, having been suggested by the
poet's friend, Mrs. Shew, Poe, when he wrote out the first draft of the
poem, headed it, "The Bells, By Mrs. M. A. Shew. " This draft, now the
editor's property, consists of only seventeen lines, and read thus:

I.

The bells! -ah, the bells!
The little silver bells!
How fairy-like a melody there floats
From their throats--
From their merry little throats--
From the silver, tinkling throats
Of the bells, bells, bells--
Of the bells!

II.

The bells! -ah, the bells!

The heavy iron bells!
How horrible a monody there floats
From their throats--
From their deep-toned throats--
From their melancholy throats!
How I shudder at the notes Of the bells, bells, bells--
Of the bells!

In the autumn of 1848 Poe added another line to this poem, and sent it
to the editor of the "Union Magazine. " It was not published. So, in the
following February, the poet forwarded to the same periodical a much
enlarged and altered transcript. Three months having elapsed without
publication, another revision of the poem, similar to the current
version, was sent, and in the following October was published in the
"Union Magazine. "

3. This poem was first published in Colton's "American Review" for
December, 1847, as "To--Ulalume: a Ballad. " Being reprinted immediately
in the "Home Journal," it was copied into various publications with the
name of the editor, N. P. Willis, appended, and was ascribed to him.
When first published, it contained the following additional stanza which
Poe subsequently, at the suggestion of Mrs. Whitman, wisely suppressed:

Said we then--we two, then--"Ah, can it
Have been that the woodlandish ghouls--
The pitiful, the merciful ghouls--
To bar up our path and to ban it
From the secret that lies in these wolds--
Had drawn up the spectre of a planet
From the limbo of lunary souls--
This sinfully scintillant planet
From the Hell of the planetary souls? "

4. "To Helen! " (Mrs. S. Helen Whitman) was not published until November,
1848, although written several months earlier. It first appeared in the
"Union Magazine," and with the omission, contrary to the knowledge or
desire of Poe, of the line, "Oh, God! oh, Heaven--how my heart beats in
coupling those two words. "

5. "Annabel Lee" was written early in 1849, and is evidently an
expression of the poet's undying love for his deceased bride,
although at least one of his lady admirers deemed it a response to her
admiration. Poe sent a copy of the ballad to the "Union Magazine," in
which publication it appeared in January, 1850, three months after the
author's death. While suffering from "hope deferred" as to its fate,
Poe presented a copy of "Annabel Lee" to the editor of the "Southern
Literary Messenger," who published it in the November number of his
periodical, a month after Poe's death. In the meantime the poet's own
copy, left among his papers, passed into the hands of the person engaged
to edit his works, and he quoted the poem in an obituary of Poe, in the
New York "Tribune," before any one else had an opportunity of publishing
it.

6. "A Valentine," one of three poems addressed to Mrs. Osgood, appears
to have been written early in 1846.

7. "An Enigma," addressed to Mrs. Sarah Anna Lewis ("Stella"), was sent
to that lady in a letter, in November, 1847, and the following March
appeared in Sartain's "Union Magazine. "

8. The sonnet, "To My Mother" (Maria Clemm), was sent for publication to
the short-lived "Flag of our Union," early in 1849,' but does not appear
to have been issued until after its author's death, when it appeared in
the "Leaflets of Memory" for 1850.

9. "For Annie" was first published in the "Flag of our Union," in the
spring of 1849. Poe, annoyed at some misprints in this issue, shortly
afterwards caused a corrected copy to be inserted in the "Home Journal. "

10. "To F----" (Frances Sargeant Osgood) appeared in the "Broadway
journal" for April, 1845. These lines are but slightly varied from those
inscribed "To Mary," in the "Southern Literary Messenger" for July,
1835, and subsequently republished, with the two stanzas transposed, in
"Graham's Magazine" for March, 1842, as "To One Departed. "

11. "To F----s S. O--d," a portion of the poet's triune tribute to Mrs.
Osgood, was published in the "Broadway Journal" for September, 1845.
The earliest version of these lines appeared in the "Southern Literary
Messenger" for September, 1835, as "Lines written in an Album," and was
addressed to Eliza White, the proprietor's daughter. Slightly revised,
the poem reappeared in Burton's "Gentleman's Magazine" for August, 1839,
as "To--. "

12. Although "Eldorado" was published during Poe's lifetime, in 1849,
in the "Flag of our Union," it does not appear to have ever received the
author's finishing touches.




POEMS OF MANHOOD




LENORE

AH broken is the golden bowl! the spirit flown forever!
Let the bell toll! --a saintly soul floats on the Stygian river;
And, Guy De Vere, hast _thou_ no tear? --weep now or never more!
See! on yon drear and rigid bier low lies thy love, Lenore!
Come! let the burial rite be read--the funeral song be sung! --
An anthem for the queenliest dead that ever died so young--
A dirge for her the doubly dead in that she died so young.

"Wretches! ye loved her for her wealth and hated her for her pride,
"And when she fell in feeble health, ye blessed her--that she died!
"How shall the ritual, then, be read? --the requiem how be sung
"By you--by yours, the evil eye,--by yours, the slanderous tongue
"That did to death the innocent that died, and died so young? "

_Peccavimus_; but rave not thus! and let a Sabbath song
Go up to God so solemnly the dead may feel so wrong!
The sweet Lenore hath "gone before," with Hope, that flew beside
Leaving thee wild for the dear child that should have been thy bride--
For her, the fair and _debonair_, that now so lowly lies,
The life upon her yellow hair but not within her eyes--
The life still there, upon her hair--the death upon her eyes.

"Avaunt! to-night my heart is light. No dirge will I upraise,
"But waft the angel on her flight with a Paean of old days!
"Let no bell toll! --lest her sweet soul, amid its hallowed mirth,
"Should catch the note, as it doth float--up from the damned Earth.
"To friends above, from fiends below, the indignant ghost is riven--
"From Hell unto a high estate far up within the Heaven--
"From grief and groan, to a golden throne, beside the King of Heaven. "




TO ONE IN PARADISE.

THOU wast all that to me, love,
For which my soul did pine--
A green isle in the sea, love,
A fountain and a shrine,
All wreathed with fairy fruits and flowers,
And all the flowers were mine.

Ah, dream too bright to last!
Ah, starry Hope! that didst arise
But to be overcast!
A voice from out the Future cries,
"On! on! "--but o'er the Past
(Dim gulf! ) my spirit hovering lies
Mute, motionless, aghast!

For, alas! alas! with me
The light of Life is o'er!
No more--no more--no more--
(Such language holds the solemn sea
To the sands upon the shore)
Shall bloom the thunder-blasted tree,
Or the stricken eagle soar!

And all my days are trances,
And all my nightly dreams
Are where thy dark eye glances,
And where thy footstep gleams--
In what ethereal dances,
By what eternal streams.

1835.




THE COLISEUM.

TYPE of the antique Rome! Rich reliquary
Of lofty contemplation left to Time
By buried centuries of pomp and power!
At length--at length--after so many days
Of weary pilgrimage and burning thirst,
(Thirst for the springs of lore that in thee lie,)
I kneel, an altered and an humble man,
Amid thy shadows, and so drink within
My very soul thy grandeur, gloom, and glory!

Vastness! and Age! and Memories of Eld!
Silence! and Desolation! and dim Night!
I feel ye now--I feel ye in your strength--
O spells more sure than e'er Judaean king
Taught in the gardens of Gethsemane!
O charms more potent than the rapt Chaldee
Ever drew down from out the quiet stars!

Here, where a hero fell, a column falls!
Here, where the mimic eagle glared in gold,
A midnight vigil holds the swarthy bat!
Here, where the dames of Rome their gilded hair
Waved to the wind, now wave the reed and thistle!
Here, where on golden throne the monarch lolled,
Glides, spectre-like, unto his marble home,
Lit by the wanlight--wan light of the horned moon,
The swift and silent lizard of the stones!

But stay! these walls--these ivy-clad arcades--
These mouldering plinths--these sad and blackened shafts--
These vague entablatures--this crumbling frieze--
These shattered cornices--this wreck--this ruin--
These stones--alas! these gray stones--are they all--
All of the famed, and the colossal left
By the corrosive Hours to Fate and me?

"Not all"--the Echoes answer me--"not all!
"Prophetic sounds and loud, arise forever
"From us, and from all Ruin, unto the wise,
"As melody from Memnon to the Sun.
"We rule the hearts of mightiest men--we rule
"With a despotic sway all giant minds.
"We are not impotent--we pallid stones.
"Not all our power is gone--not all our fame--
"Not all the magic of our high renown--
"Not all the wonder that encircles us--
"Not all the mysteries that in us lie--
"Not all the memories that hang upon
"And cling around about us as a garment,
"Clothing us in a robe of more than glory. "

1833.




THE HAUNTED PALACE.

IN the greenest of our valleys
By good angels tenanted,
Once a fair and stately palace--
Radiant palace--reared its head.
In the monarch Thought's dominion--
It stood there!
Never seraph spread a pinion
Over fabric half so fair.

Banners yellow, glorious, golden,
On its roof did float and flow,
(This--all this--was in the olden
Time long ago,)
And every gentle air that dallied,
In that sweet day,
Along the ramparts plumed and pallid,
A winged odour went away.
Wanderers in that happy valley,
Through two luminous windows, saw
Spirits moving musically,
To a lute's well-tuned law,
Round about a throne where, sitting
(Porphyrogene)
In state his glory well befitting,
The ruler of the realm was seen.

And all with pearl and ruby glowing
Was the fair palace door,
Through which came flowing, flowing, flowing,
And sparkling evermore,
A troop of Echoes, whose sweet duty
Was but to sing,
In voices of surpassing beauty,
The wit and wisdom of their king.

But evil things, in robes of sorrow,
Assailed the monarch's high estate.
(Ah, let us mourn! --for never sorrow
Shall dawn upon him desolate! )
And round about his home the glory
That blushed and bloomed,
Is but a dim-remembered story
Of the old time entombed.

And travellers, now, within that valley,
Through the red-litten windows see
Vast forms, that move fantastically
To a discordant melody,
While, lie a ghastly rapid river,
Through the pale door
A hideous throng rush out forever
And laugh--but smile no more.

1838.




THE CONQUEROR WORM.

LO! 'tis a gala night
Within the lonesome latter years!
An angel throng, bewinged, bedight
In veils, and drowned in tears,
Sit in a theatre, to see
A play of hopes and fears,
While the orchestra breathes fitfully
The music of the spheres.

Mimes, in the form of God on high,
Mutter and mumble low,
And hither and thither fly--
Mere puppets they, who come and go
At bidding of vast formless things
That shift the scenery to and fro,
Flapping from out their Condor wings
Invisible Wo!

That motley drama--oh, be sure
It shall not be forgot!
With its Phantom chased for evermore,
By a crowd that seize it not,
Through a circle that ever returneth in
To the self-same spot,
And much of Madness, and more of Sin,
And Horror the soul of the plot.

But see, amid the mimic rout
A crawling shape intrude!
A blood-red thing that writhes from out
The scenic solitude!
It writhes! --it writhes! --with mortal pangs
The mimes become its food,
And the angels sob at vermin fangs
In human gore imbued.

Out--out are the lights--out all!
And, over each quivering form,
The curtain, a funeral pall,
Comes down with the rush of a storm,
And the angels, all pallid and wan,
Uprising, unveiling, affirm
That the play is the tragedy, "Man,"
And its hero the Conqueror Worm.

1838.




SILENCE

THERE are some qualities--some incorporate things,
That have a double life, which thus is made
A type of that twin entity which springs
From matter and light, evinced in solid and shade.
There is a two-fold _Silence_--sea and shore--
Body and soul. One dwells in lonely places,
Newly with grass o'ergrown; some solemn graces,
Some human memories and tearful lore,
Render him terrorless: his name's "No More. "
He is the corporate Silence: dread him not!
No power hath he of evil in himself;
But should some urgent fate (untimely lot! )
Bring thee to meet his shadow (nameless elf,
That haunteth the lone regions where hath trod
No foot of man,) commend thyself to God!

1840.




DREAM-LAND

BY a route obscure and lonely,
Haunted by ill angels only,
Where an Eidolon, named NIGHT,
On a black throne reigns upright,
I have reached these lands but newly
From an ultimate dim Thule--
From a wild weird clime that lieth, sublime,
Out of SPACE--out of TIME.

Bottomless vales and boundless floods,
And chasms, and caves, and Titian woods,
With forms that no man can discover
For the dews that drip all over;
Mountains toppling evermore
Into seas without a shore;
Seas that restlessly aspire,
Surging, unto skies of fire;
Lakes that endlessly outspread
Their lone waters--lone and dead,--
Their still waters--still and chilly
With the snows of the lolling lily.

By the lakes that thus outspread
Their lone waters, lone and dead,--
Their sad waters, sad and chilly
With the snows of the lolling lily,--
By the mountains--near the river
Murmuring lowly, murmuring ever,--
By the grey woods,--by the swamp
Where the toad and the newt encamp,--
By the dismal tarns and pools
Where dwell the Ghouls,--
By each spot the most unholy--
In each nook most melancholy,--
There the traveller meets aghast
Sheeted Memories of the Past--
Shrouded forms that start and sigh
As they pass the wanderer by--
White-robed forms of friends long given,
In agony, to the Earth--and Heaven.

For the heart whose woes are legion
'Tis a peaceful, soothing region--
For the spirit that walks in shadow
'Tis--oh 'tis an Eldorado!
But the traveller, travelling through it,
May not--dare not openly view it;
Never its mysteries are exposed
To the weak human eye unclosed;
So wills its King, who hath forbid
The uplifting of the fringed lid;
And thus the sad Soul that here passes
Beholds it but through darkened glasses.

By a route obscure and lonely,
Haunted by ill angels only,
Where an Eidolon, named NIGHT,
On a black throne reigns upright,
I have wandered home but newly
From this ultimate dim Thule.

1844.




HYMN

AT morn--at noon--at twilight dim--
Maria! thou hast heard my hymn!
In joy and wo--in good and ill--
Mother of God, be with me still!
When the Hours flew brightly by
And not a cloud obscured the sky,
My soul, lest it should truant be,
Thy grace did guide to thine and thee;
Now, when storms of Fate o'ercast
Darkly my Present and my Past,
Let my Future radiant shine
With sweet hopes of thee and thine!

1835.




TO ZANTE

FAIR isle, that from the fairest of all flowers,
Thy gentlest of all gentle names dost take
How many memories of what radiant hours
At sight of thee and thine at once awake!
How many scenes of what departed bliss!
How many thoughts of what entombed hopes!
How many visions of a maiden that is
No more--no more upon thy verdant slopes!
No _more! _ alas, that magical sad sound
Transfomring all! Thy charms shall please _no more_--
Thy memory _no more! _Accursed ground
Henceforth I hold thy flower-enamelled shore,
O hyacinthine isle! O purple Zante!
"Isoa d'oro! Fior di Levante! "

1837.




SCENES FROM "POLITIAN"

AN UNPUBLISHED DRAMA.

I.

ROME. --A Hall in a Palace Alessandra and Castiglione.

Alessandra. Thou art sad, Castiglione.

Castiglione. Sad! --not I.
Oh, I'm the happiest, happiest man in Rome!
A few days more, thou knowest, my Alessandra,
Will make thee mine. Oh, I am very happy!

Aless. Methinks thou hast a singular way of showing
Thy happiness! --what ails thee, cousin of mine?
Why didst thou sigh so deeply?

Cas. Did I sign?
I was not conscious of it. It is a fashion,
A silly--a most silly fashion I have
When I am very happy. Did I sigh? (sighing. )

Aless. Thou didst. Thou art not well. Thou hast indulged
Too much of late, and I am vexed to see it.
Late hours and wine, Castiglione,--these
Will ruin thee! thou art already altered--
Thy looks are haggard--nothing so wears away
The constitution as late hours and wine.

Cas. (musing. ) Nothing, fair cousin, nothing--not even deep
sorrow--
Wears it away like evil hours and wine.
I will amend.

Aless. Do it! I would have thee drop
Thy riotous company, too--fellows low born--
Ill suit the like with old Di Broglio's heir
And Alessandra's husband.

Cas. I will drop them.

Aless. Thou wilt--thou must. Attend thou also more
To thy dress and equipage--they are over plain
For thy lofty rank and fashion--much depends
Upon appearances.

Cas. I'll see to it.

Aless. Then see to it! --pay more attention, sir,
To a becoming carriage--much thou wantest
In dignity.

Cas. Much, much, oh! much I want
In proper dignity.

Aless. (haughtily) Thou mockest me, sir!

Cas. (abstractedly. ) Sweet, gentle Lalage!

Aless. Heard I aright?
I speak to him--he speaks of Lalage!
Sir Count! (places her hand on his shoulder) what art thou dreaming?
he's not well!
What ails thee, sir?

Cas. (startling. ) Cousin! fair cousin! --madam!
I crave thy pardon--indeed I am not well--
Your hand from off my shoulder, if you please.
This air is most oppressive! --Madam--the Duke!

Enter Di Broglio.

Di Broglio. My son, I've news for thee! --hey? --what's the
matter? (observing Alessandra)
I' the pouts? Kiss her, Castiglione! kiss her,
You dog! and make it up, I say, this minute!
I've news for you both. Politian is expected
Hourly in Rome--Politian, Earl of Leicester!
We'll have him at the wedding. 'Tis his first visit
To the imperial city.

Aless. What! Politian
Of Britain, Earl of Leicester?

Di Brog. The same, my love.
We'll have him at the wedding. A man quite young
In years, but grey in fame. I have not seen him,
But Rumour speaks of him as of a prodigy
Pre-eminent in arts and arms, and wealth,
And high descent. We'll have him at the wedding.

Aless. I have heard much of this Politian.
Gay, volatile and giddy--is he not?
And little given to thinking.

Di Brog. Far from it, love.
No branch, they say, of all philosophy
So deep abstruse he has not mastered it.
Learned as few are learned.

Aless. 'Tis very strange!
I have known men have seen Politian
And sought his company. They speak of him
As of one who entered madly into life,
Drinking the cup of pleasure to the dregs.

Cas. Ridiculous! Now I have seen Politian
And know him well--nor learned nor mirthful he.
He is a dreamer and a man shut out
From common passions.

Di Brog. Children, we disagree.
Let us go forth and taste the fragrant air
Of the garden. Did I dream, or did I hear
Politian was a melancholy man? (exeunt. )

II

ROME. A Lady's apartment, with a window open and looking into a garden.
Lalage, in deep mourning, reading at a table on which lie some books and a
hand mirror. In the background Jacinta (a servant maid) leans carelessly
upon a chair.

Lal. [Lalage] Jacinta! is it thou?

Jac. [Jacinta] (pertly. ) Yes, Ma'am, I'm here.

Lal. I did not know, Jacinta, you were in waiting.
Sit down! --Let not my presence trouble you--
Sit down! --for I am humble, most humble.

Jac. (aside. ) 'Tis time.
(Jacinta seats herself in a side-long manner upon the chair, resting her
elbows upon the back, and regarding her mistress with a contemptuous look.
Lalage continues to read. )

Lal. "It in another climate, so he said,
"Bore a bright golden flower, but not i' this soil! "
(pauses--turns over some leaves, and resumes)
"No lingering winters there, nor snow, nor shower--
"But Ocean ever to refresh mankind
"Breathes the shrill spirit of the western wind. "
O, beautiful! --most beautiful--how like
To what my fevered soul doth dream of Heaven!
O happy land (pauses) She died! --the maiden died!
A still more happy maiden who couldst die!
Jacinta!
(Jacinta returns no answer, and Lalage presently resumes. )
Again! --a similar tale
Told of a beauteous dame beyond the sea!
Thus speaketh one Ferdinand in the words of the play--
"She died full young"--one Bossola answers him--
"I think not so--her infelicity
"Seemed to have years too many"--Ah luckless lady!
Jacinta! (still no answer)

Here 's a far sterner story,
But like--oh, very like in its despair--
Of that Egyptian queen, winning so easily
A thousand hearts--losing at length her own.
She died.