How sweet 'tis to look at the red blushing cloud, And smile of the azure blue sky, But sweeter, far sweeter, the blush on thy cheek, And sweeter the smile of thine eye. And when in the bosom of ocean the sun, But what are the richest and loveliest scenes, If wanting my Margaret, nor art can excel, VII. THE ORPHAN BOY. Stay, Lady, stay, for mercy's sake, Poor foolish child! how pleased was I The people's shouts were long and loud • While others laugh and shout with joy? She kissed me and, with such a sigh ! She called me her poor Orphan Boy. What is an orphan boy?' I cried, As in her face I look'd and smil'd; My mother through her tears replied, • You'll know too soon, ill-fated child!' And now they've toll'd my mother's knell, And I'm no more a parent's joy, O Lady-I have learn'd too well What 'tis to be an Orphan Boy. Oh! were I by your bounty fed! Trust me, I wish to earn my bread; VIII. THE BATTLE OF BUSACO *. AIR-Scots wha hae wi' Wallace bled. Beyond Busaco's mountains dun, High on the heath our tents were spread, We are not prepared at present, with certainty to affirm who may have been the author of this excellent song. Were we, however, to hazard a conjecture, we would ascribe it to the pen of Mr. J. Hogg, more generally To this known by the familiar appellation of "The Ettrick Shepherd." We are induced both from the internal evidence which the piece itself exhibi's, and by its appearance first of all in the Spy, a periodical work. published in Edinburgh, of which Mr. Hogg was himself the Editor, The loud war trumpet woke the morn, Arouse for death or victory; The orb of day in crimson dye, Began to mount the morning sky, The serried bay'nets glittering stood, Reel'd in the flickering canopy. Like waves of ocean rolling fast, Rush'd to the dreadful revelry. Whoever may have been the author, The Battle of Busaco is a song of considerable merit, and undoubtedly the production of a master in poetry. It is evidently done in the style of Mr. Campbell's Hohenlinden, and though the imitation must be acknowledged to be in some respects inferior to the model, yet still it possesses particular, nay even distinguished excellence in its kind. By a variety of bold picturesque allusions, expressed by terms most appropriate and impressive, the poet introduces, describes, and concludes the interesting scenes of action, of contest, and of death. With a concern which it is utterly impossible to suppress, we hear the awfully comprehensive signal to engage, "Arouse for death or victory." In harsh grating sounds, which enter the very soul, we are informed of legions "Rushing to the dreadful revelry," while the poet in a manner highly significant, personifies "Red Ruin riding triumphantly." The whole, in fact, is a highly finished effusion, eminently calculated to commemorate the affair to which it refers, and by its impulse to rouse the undaunted and heroic to the boldest "Feats of chivalry." The pause is o'er, the fatal shock, Light boil'd the war cloud to the sky, The thistle wav'd her bonnet blue, Hail, gallant brothers! woe befal Rous'd at their feats of chivalry.. IX. ELIZA, How still is the night, and how deathlike the gloom, B |