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Few and short were the prayers we said,

And we spoke not a word of sorrow;
But we steadfastly gazed on the face of the dead,

And we bitterly thought of the morrow:

We thought—as we hollow'd his narrow bed,

And smoothed down his lonely pillowHow the foe and the stranger would tread o’er his head,

And we far away on the billow!

Lightly they'll talk of the spirit that's gone,

And o'er his cold ashes upbraid him;
But nothing he'll reck, if they let him sleep on

In the grave where a Briton has laid him.

But half of our heavy task was done,

When the clock tolld the hour for retiring, And we heard by the distant and random gun,

That the foe was suddenly firing.

Slowly and sadly we laid him down,

From the field of his fame fresh and gory! We carved not a line, we raised not a stone,

But we left him-alone with his glory!

THE YEW-TREE SEAT.

Who he was
That piled these stones, and with the mossy sod
First cover'd o'er, and taught this aged tree
With its dark arms to form a circling bower,
I well remember. He was one who own'd
No common soul. In youth by science nursed,
And led by nature into a wild scene
Of lofty hopes, he to the world went forth

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A favour'd being, knowing no desire
Which genius did not hallow,—'gainst the taint
Of dissolute tongues, and jealousy, and hate,
And scorn,—against all enemies prepared,
All but neglect. The world, for so it thought,
Owed him no service: wherefore, he at once
With indignation turn'd himself away,
And with the food of pride sustain'd his soul
In solitude. Stranger! these gloomy boughs
Had charms for him; and here he loved to sit,
His only visitants a straggling sheep,
The stone-chat, or the glancing sand-piper:
And on these barren rocks, with fern and heath,
And juniper and thistle, sprinkled o’er,
Fixing his downcast eye, he many an hour
A morbid pleasure nourished, tracing here
An emblem of his own unfruitful life:
And lifting up his head, he then would gaze,
On the more distant scene,-how lovely 'tis
Thou seest,—and he would gaze till it became
Far lovelier, and his heart could not sustain
The beauty, still more beauteous! Nor, that time,
When Nature had subdued him to herself,
Would he forget those beings, to whose minds,
Warm from the labours of benevolence,
The world, and man himself, appear'd a scene
Of kindred loveliness: then he would sigh
With mournful joy, to think that others felt
What he must never feel: and so, lost man!
On visionary views would fancy feed,
Till his eye stream'd with tears. In this deep vale
He died,—this seat his only monument.

If thou be one whose heart the holy forms
Of young imagination have kept pure,
Stranger! henceforth be warn’d; and know, that pride,

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Howe'er disguised in its own majesty,
Is littleness; that he who feels contempt
For any living thing, hath faculties
Which he has never used

that thought, with him,
Is in its infancy. The man whose eye
Is ever on himself, doth look on one,
The least of Nature's works-one who might move
The wise man to that scorn which wisdom holds
Unlawful ever. Oh be wiser, thou!
Instructed that true knowledge leads to love,
True dignity abides with him alone,
Who, in the silent hour of inward thought,
Can still suspect, and still revere himself,
In lowliness of heart.

THE EMOTIONS OF SUBLIMITY AND BEAUTY.

The emotions of sublimity and beauty are uniformly ascribed, both in popular and in philosophical language, to the imagination. The nature of any person's taste, is, in common life, generally determined by the nature or character of his imagination; and the expression of any deficiency in this power of mind, is considered as synonymous with the expression of a similar deficiency in point of taste.

When any object, either of sublimity or beauty is presented to the mind, every man is conscious of a train of thought being immediately awakened in his imagination, analogous to the character or expression of the original object. The simple perception of the object, we frequently find, is insufficient to excite these emotions, unless it is accompanied with this operation of mind,--unless, according to common expression, our imagination is seized, and our fancy busied in the pursuit of all those trains of thought which are allied to this character or expression.

Thus, when we feel either the beauty or sublimity of natural scenery—the gay lustre of a morning in spring, or the mild radiance of a summer evening—the savage majesty of a wintry storm, or the wild magnificence of a tempestuous ocean,—we are conscious of a variety of images in our minds, very different from those which the objects themselves can present to the eye. Trains of pleasing or of solemn thought arise spontaneously within our minds; our hearts swell with emotions, of which the objects before us seem to afford no adequate cause; and we are never so much satiated with delight, as when, in recalling our attention, we are unable to trace either the progress or the connexion of those thoughts; which have passed with so much rapidity through our imagination.

The effects of the different arts of taste is similar. The landscapes of Claude Lorraine, the music of Handel, the poetry of Milton, excite feeble emotions in our minds when our attention is confined to the qualities they present to our senses, or when it is to such qualities of their composition that we turn our regard. It is then only we feel the sublimity or beauty of their productions, when our imaginations are kindled by their power, when we lose ourselves amid the number of images that pass before our minds, and when we waken at last from this play of fancy, as from the charm of a romantic dream.

THE FIELD OF WATERLOO.

Stop!—for thy tread is on an empire's dust!
An earthquake's spoil is sepulchred below!
Is the spot mark'd with no colossal bust?
Nor column trophied for triumphal show?
None; but the moral's truth tells simpler so.
As the ground was before, thus let it be.
How that red rain hath made the harvest grow!

And is this all the world has gain'd by thee, Thou first and last of fields ! king-making Victory?

There was a sound of revelry by night,
And Belgium's capital had gather'd then
Her beauty and her chivalry; and bright
The lamps shone o'er fair women and brave men;
A thousand hearts beat happily; and when
Music arose with its voluptuous swell,
Soft
eyes

look'd love to eyes which spake again, And all went merry as a marriage-bell;But hush! hark! a deep sound strikes like a rising knell!

Did ye not hear it?—No; 'twas but the wind,
Or the car rattling o'er the stony street;
On with the dance! let joy be unconfined;
No sleep till morn, when youth and pleasure meet
To chase the glowing hours with flying feet-
But hark!—that heavy sound breaks in once more,
As if the clouds its echo would repeat;

And nearer, clearer, deadlier than before !
Arm! Arm! it is!—it is!-the cannon's opening roar!

Within a window'd niche of that high hall
Sate Brunswick's fated chieftain; he did hear
That sound the first amidst the festival,
And caught its tone with death's prophetic ear:
And when they smiled because he deem'd it near,
His heart more truly knew that peal too well
Which stretch'd his father on a bloody bier,

And roused the vengeance blood alone could quell:
He rush'd into the field, and, foremost fighting, fell!

Ah! then and there was hurrying to and fro,
And gathering tears, and tremblings of distress,

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