MARION! why that pensive brow?
What disgust to life hast thou?
Change that discontented air;
Frowns become not one so fair.
'Tis not love disturbs thy rest,
Love's a stranger to thy breast;
He in dimpling smiles appears,
Or mourns in sweetly timid tears,
Or bends the languid eyelid down,
But shuns the cold forbidding frown.
Then resume thy former fire,
Some will love, and all admire ;
While that icy aspect chills us,
Nought but cool indifference thrills us.
Wouldst thou wandering hearts beguile,
Smile at least, or seem to smile.
Eyes like thine were never meant
To hide their orbs in dark restraint;
Spite of all thou fain wouldst say,
Still in truant beams they play.
Thy lips but here my modest Muse
Her impulse chaste must needs refuse:
She blushes, curt'sies, frowns,
Dreads lest the subject should transport me;
And flying off in search of reason,
Brings prudence back in proper season.
come, or even the roof of a single relative to receive him, was but little calculated to render him satisfied either with himself or the world. Unrestricted as he was by deference to any will but his own, even the pleasures to which he was naturally most inclined prematurely palled upon him, for want of those best zests of all enjoyment-rarity and restraint."]
All I shall therefore say (whate'er
I think, is neither here nor there)
Is, that such lips, of looks endearing,
Were form'd for better things than sneering:
Of soothing compliments divested,
Advice at least 's disinterested;
Such is my artless song to thee,
From all the flow of flattery free;
Counsel like mine is as a brother's,
My heart is given to some others;
That is to say, unskill'd to cozen,
It shares itself among a dozen.
Marion, adieu! oh, pr'ythee slight not
This warning, though it may delight not;
And, lest my precepts be displeasing
To those who think remonstrance teazing,
At once I'll tell thee our opinion
Concerning woman's soft dominion:
Howe'er we gaze with admiration
On eyes of blue or lips carnation,
Howe'er the flowing locks attract us,
Howe'er those beauties may distract us,
Still fickle, we are prone to rove,
These cannot fix our souls to love:
It is not too severe a stricture
To say they form a pretty picture;
But wouldst thou see the secret chain
Which binds us in your humble train,
To hail you queens of all creation,
Know, in a word, 't is ANIMATION.
WHO PRESENTED TO THE AUTHOR A LOCK OF
BRAIDED WITH HIS OWN, AND APPOINTED A NIGHT IN
DECEMBER TO MEET HIM IN THE GARDEN. 1
THESE locks, which fondly thus entwine,
In firmer chains our hearts confine,
Than all th' unmeaning protestations
Which swell with nonsense love orations.
Our love is fix'd, I think we 've proved it,
Nor time, nor place, nor art have moved it;
Then wherefore should we sigh and whine,
With groundless jealousy repine,
With silly whims and fancies frantic,
Merely to make our love romantic?
Why should you weep like Lydia Languish,
And fret with self-created anguish ?
Or doom the lover you have chosen,
On winter nights to sigh half frozen ;
In leafless shades to sue for pardon,
Only because the scene's a garden?
For gardens seem, by one consent,
Since Shakspeare set the precedent,
Since Juliet first declared her passion,
To form the place of assignation. 2
i [See antè, p. 51. note.]
2 In the above little piece the author has been accused by some candid readers of introducing the name of a lady from whom he was some hundred miles distant at the time this was written; and poor Juliet, who has slept so long in "the tomb of all the Capulets," has been converted, with a trifling alteration of her name, into an English damsel, walking in a garden of their own creation, during the month of December, in a village where the author never passed a winter. Such has been the candour of some ingenious critics. We would advise these liberal commentators on taste and arbiters of decorum to read Shakspeare.
Oh! would some modern muse inspire,
And seat her by a sea-coal fire;
Or had the bard at Christmas written,
And laid the scene of love in Britain,
He surely, in commiseration,
Had changed the place of declaration.
In Italy I've no objection;
Warm nights are proper for reflection;
But here our climate is so rigid,
That love itself is rather frigid:
Think on our chilly situation,
And curb this rage for imitation;
Then let us meet, as oft we 've done,
Beneath the influence of the sun;
Or, if at midnight I must meet you,
Within your mansion let me greet you:
There we can love for hours together,
Much better, in such snowy weather,
Than placed in all th' Arcadian groves
That ever witness'd rural loves;
Then, if my passion fail to please,
Next night I'll be content to freeze;
No more I'll give a loose to laughter,
But curse my fate for ever after.1
1 Having heard that a very severe and indelicate censure has been passed on the above poem, I beg leave to reply in a quotation from an admired work, " Carr's Stranger in France."" As we were contemplating a painting on a large scale, in which, among other figures, is the uncovered whole length of a warrior, a prudishlooking lady, who seemed to have touched the age of desperation, after having attentively surveyed it through her glass, observed to her party, that there was a great deal of indecorum in that picture. Madame S. shrewdly whispered in my ear, 'that the indecorum was in the remark.""
How sweetly shines through azure skies,
The lamp of heaven on Lora's shore;
Where Alva's hoary turrets rise,
And hear the din of arms no more.
But often has yon rolling moon
On Alva's casques of silver play'd; And view'd, at midnight's silent noon, Her chiefs in gleaming mail array'd:
And on the crimson'd rocks beneath,
Which scowl o'er ocean's sullen flow,
Pale in the scatter'd ranks of death,
She saw the gasping warrior low;
While many an eye which ne'er again
Could mark the rising orb of day,
Turn'd feebly from the gory plain,
Beheld in death her fading ray.
Once to those eyes the lamp of Love,
They blest her dear propitious light;
But now she glimmer'd from above,
A sad, funereal torch of night.
1 The catastrophe of this tale was suggested by the story of "Jeronyme and Lorenzo," in the first volume of Schiller's "Armenian, or the Ghost-Seer." It also bears some resemblance to a scene in the third act of " Macbeth."
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