ODE ON THE DEATH OF MATURIN. AND he is dead that drew The breath of many a wounded day, Of watchful nights, alike perchance in hue, And no voice heard to wail! Shall no hand strew Leaves for his fame to sleep on, wearied of its way. May not some arm be raised Unto the banner which he poized so well, The poet's sign, that from dark times hath blazed, Warmed by the flame he could not quell,- An echo of the wondrous things he told; Forth from the womb of phantoms brought, Is of the sea and sun! A moving hand along the thunder-cloud, The voice that comes to warn; Only to a few was given [riven? And who that felt the tone, knew how the harp was O cold neglect, And cruel tauntings of the ruffian wind! Why work ye upon nature's calm and kind, To rush on deadly waters, whirled and wrecked? Because the earth be blind, Is there no blue upon the brow And to his poisoned eyeball clung the wasp, Nor the pale patience of the night,- To have his glorious lineaments forgot; Such, such the lot of many a hand divine, The earth, made Edenless. But thou! O wheresoever Thou sleepest in white dreams at the moon's foot, Or sailest, leaf-like down heaven's wreckless river, O trust The lightning of our dust, The flashings of poetic frostless strings ;- His course awhile on high, and now lieth felled; Of the gray mountains, and the shelly shore, And dared, amid a thoughtless land, to think, [wore. And shook, with heaving heart, the star-chain which it The wide wood bowed its sable plumes, And wrapped him from the following blast; And ocean found him stretched upon its tombs: Where'er he passed, Some graven tokens rest, Save only on man's printless breast, Holding the reins along such roadless skies? And flings to youth the mantle of the sage. Made from the pall of buried years, the gold He spoke To heaven and to the waters, to the souls That looked down from its battlement, The infant love of woman (Life's down upon the breast of time), The fevered manhood and the flash of crime, The veins of misers mad with molten gold, The helmet and the cowl, The burning foot-track of a thing not human, The sun-struck matins and the midnight howl. Of these he told, Pouring like a stream along All the sorceries of song; And o'er his heart, as on a map, Linked by fine veins the rosy countries spread- What glory next shall time and sorrow sap? As struck by a rebounding blow. One died amid the laughing foam, And one (an eagle) on a sun-bank perished- And on his grave, Yet beaming with the vital warmth he gave, Is shut from ears to which he never sung, Is trembling-' MATURIN!' Thou, Eriu, whom he loved, oh! mourn- Here in its dungeon so reviled, Through life's relenting bars hath torn, In him so rich, could tempt him scarce to smile - And see the sun which cheered them turn to stone. MATRIMONIAL LOTTERY. A SHORT time since, it happened at a wedding in South Carolina, a young lawyer moved, "That one man in the company should be selected as president; that this president should be duly sworn to keep entirely secret all the communications that should be forwarded to him in his official department that night; that each unmarried gentleman and lady should write his or her name on a piece of paper, and under it place the name of the person they wished to marry; then hand it to the president for inspection; and if any gentleman and lady had reciprocally chosen each other, the president was to inform each of the result; and those who had not been reciprocal in their choice, kept entirely secret." After the appointment of the president, communications were accordingly handed up to the chair, and it was found twelve young gentlemen and ladies had made reciprocal choices; and eleven of the twelve matches were solemnized. "Subtract from many modern poets all that may be found in Shakspeare, and trash will remain," Lacone NO literary complaint is more frequent and general than that of the insipidity of Modern Poetry. While the votary of science is continually gratified with new objects opening to his view, the lover of poetry is wearied and disgusted with a perpetual repetition of the same images, clad in almost the same language. This is usually attributed to a real deficiency of poetical genius in the present age; and such causes are assigned for it as would leave us little room to hope for any favourable change. But this solution, as it is invidious in its application, and discouraging in its effects, is surely also contradictory to that just relish for the beauties of poetry, that taste for sound and manly criticism, and that improvement in the other elegant arts, which must be allowed to characterize our own times. The state in which poetry has been transmitted to us will probably afford a truer, as well as a more favourable explanation of the fact. It comes to us, worn down, enfeebled, and fettered. The Epopea, circumscribed as it perhaps necessarily is within narrow limits, scarcely offers to the most fertile invention a subject at the same time original and proper. Tragedy, exhausted by the infinite number of its productions, is nearly reduced to the same condition. The artificial production of the Ode almost inevitably throws its composer into unmeaning imitation. Elegy, conversant with a confined, and almost an uniform train of emotions, cannot but frequently become languid and feeble. Satire, indeed, is still sufficiently vigorous and prolific; but its offspring is little suited to please a mind sensible to the charms of genuine poetry. It would seem, then, that novelty was the present requisite, more, perhaps, than genius: it is therefore of importance to enquire what source is capable of affording it. |