ISOBEL'S CHILD.
Shakespeare.
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XXX.
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XXXVI.
XXXVII.
FOOTNOTES:
[1] For I say unto you that in Heaven their angels do always behold the face of my Father which is in Heaven—Matt. xviii, 10.
THE ROMAUNT OF THE PAGE.
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XXXVII.
XXXVIII.
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XLI.
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XLIV.
THE LAY OF THE BROWN ROSARY.
FIRST PART.
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SECOND PART.
A bed. Onora, sleeping. Angels, but not near.
First Angel.
Second Angel.
First Angel.
Second Angel.
First Angel.
Second Angel.
First Angel.
Second Angel.
First Angel.
Second Angel.
First Angel.
Second Angel.
First Angel.
Second Angel.
Evil Spirit (in a Nun's garb by the bed).
Onora (in sleep).
Evil Spirit.
Onora (in sleep).
Evil Spirit.
Onora (in sleep).
Evil Spirit.
Onora (in sleep).
Evil Spirit.
Onora (in sleep).
Evil Spirit.
Onora (in sleep).
Evil Spirit.
Onora (in sleep).
Evil Spirit.
Onora (in sleep).
Evil Spirit.
Onora (in sleep).
Evil Spirit.
Onora (in sleep).
Evil Spirit.
Onora (in sleep).
Evil Spirit.
Onora (in sleep).
THIRD PART.
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XXVII.
XXVIII.
FOURTH PART.
A ROMANCE OF THE GANGES.
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FOOTNOTES:
[2] The Hindoo heaven is localized on the summit of Mount Meru—one of the mountains of Himalaya or Himmaleh, which signifies, I believe, in Sanscrit, the abode of snow, winter, or coldness.
[3] Himadeva, the Indian god of love, is imagined to wander through the three worlds, accompanied by the humming-bird, cuckoo, and gentle breezes.
[4] The casting of rice upon the head, and the fixing of the band or tali about the neck, are parts of the Hindoo marriage ceremonial.
[5] The Ganges is represented as a white woman, with a water-lily in her right hand, and in her left a lute.
RHYME OF THE DUCHESS MAY.
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VI.
THE RHYME.
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XIV.
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XVI.
XVII.
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XIX.
XX.
XXI.
XXII.
XXIII.
XXIV.
XXV.
XXVI.
XXVII.
XXVIII.
XXIX.
XXX.
XXXI.
XXXII.
XXXIII.
XXXIV.
XXXV.
XXXVI.
XXXVII.
XXXVIII.
XXXIX.
XL.
XLI.
XLII.
XLIII.
XLIV.
XLV.
XLVI.
XLVII.
XLVIII.
XLIX.
L.
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LIII.
LIV.
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LVI.
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LVIII.
LIX.
LX.
LXI.
LXII.
LXIII.
LXIV.
LXV.
LXVI.
LXVII.
LXVIII.
LXIX.
LXX.
LXXI.
LXXII.
LXXIII.
LXXIV.
LXXV.
LXXVI.
LXXVII.
LXXVIII.
LXXIX.
LXXX.
LXXXI.
LXXXII.
LXXXIII.
LXXXIV.
LXXXV.
LXXXVI.
LXXXVII.
LXXXVIII.
LXXXIX.
XC.
XCI.
XCII.
XCIII.
XCIV.
XCV.
II.
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VII.
VIII.
IX.
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XI.
THE ROMANCE OF THE SWAN'S NEST.
Westwood's Beads from a Rosary
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XVII.
BERTHA IN THE LANE.
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XXVII.
XXVIII.
XXIX.
XXX.
XXXI.
XXXII.
XXXIII.
XXXIV.
LADY GERALDINE'S COURTSHIP:
A ROMANCE OF THE AGE.
A Poet writes to his Friend. Place—A Room in Wycombe Hall. Time—Late in the evening.
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XXVII.
XXVIII.
XXIX.
XXX.
XXXI.
XXXII.
XXXIII.
XXXIV.
XXXV.
XXXVI.
XXXVII.
XXXVIII.
XXXIX.
XL.
XLI.
XLII.
XLIII.
XLIV.
XLV.
XLVI.
XLVII.
XLVIII.
XLIX.
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LIII.
LIV.
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LVI.
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LVIII.
LIX.
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LXI.
LXII.
LXIII.
LXIV.
LXV.
LXVI.
LXVII.
LXVIII.
LXIX.
LXX.
LXXI.
LXXII.
LXXIII.
LXXIV.
LXXV.
LXXVI.
LXXVII.
LXXVIII.
LXXIX.
LXXX.
LXXXI.
LXXXII.
LXXXIII.
LXXXIV.
LXXXV.
LXXXVI.
LXXXVII.
LXXXVIII.
LXXXIX.
XC.
XCI.
XCII.
CONCLUSION.
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VII.
VIII.
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XI.
THE RUNAWAY SLAVE AT PILGRIM'S POINT.
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VIII.
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XIV.
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XVI.
XVII.
XVIII.
XIX.
XX.
XXI.
XXII.
XXIII.
XXIV.
XXV.
XXVI.
XXVII.
XXVIII.
XXIX.
XXX.
XXXI.
XXXII.
XXXIII.
XXXIV.
XXXV.
XXXVI.
THE CRY OF THE CHILDREN.
"Φηῦ, φηῦ, τί προσδέρκεσθέ μ' ὄμμασιν, τέκνα;"—Medea.
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VIII.
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XI.
XII.
XIII.
FOOTNOTES:
[6] A fact rendered pathetically historical by Mr. Horne's report of his Commission. The name of the poet of "Orion" and "Cosmo de' Medici" has, however, a change of associations, and comes in time to remind me that we have some noble poetic heat of literature still,—however open to the reproach of being somewhat gelid in our humanity—1844.
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