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furnish you with rhymes if you will make lines for them Here now : please,

moan, tease,

bone." He at length good-humoredly complied, and filled up the measure as follows:

To a form that is faultless, a face that must-please,
Is added a restless desire to-tease;
O, how my hard fate I should ever bemoan,

Could I but believe sbe'd be bone of my-bone! Mr. Bogart, a young man of Albany, who died in 1820, at the age of twenty-one, displayed astonishing facility in impromptu writing.

It was good-naturedly hinted on one occasion that his “impromptus" were prepared beforehand, and he was asked if he would submit to the application of a test of his poetic abilities. He promptly acccded, and a most difficult one was immediately proposed.

Among his intimate friends were Col. J. B. Van Schaick and Charles Fenno Hoffman, both of whom were present. Said Van Schaick, taking up a copy of Byron, “The name of Lydia Kane" (a lady distinguished for her beauty and cleverness, who died a few years ago, but who was then just blushing into womanhood)" has in it the same number of letters as a stanza of Childe Harold has lines: write them down in a column.” They were so written by Bogart, Hoffman, and himself. "Now," he continued, “I will open the poem at random; and for the ends of the lines in Miss Lydia's Acrostic shall be used the words ending those of the verse on which my finger may rest." The stanza thus selected was this :

And must they fall, the young, tbe proud, the brave,
To swell ope bloated chief's unwholesome reign?.
No step between submission and a grave ?
The rise of rapine and the fall of Spain ?
And doth the Power that man adores ordain
Their doom, nor hoed the suppliant's appeal ?
Is all that desperate valor acts in vain?
And counsel sage, and patriotic zoal,
The veteran's skill, youth's fire, and manhood's heart of steel?

The following stanza was composed by Bogart within the succeeding ten minutes,-the period fixed in a wager,-finished before his companions had reached a fourth line, and read to them as here presented :* Lovely and loved, o'er the unconquered

brave Y our charms resistless, matchless girl, shall reign! Dear as the mother holds her infant's

In Love's own region, warın, romantio

Spain !
And should your fate to court your steps

Kings would in vain to regal pomp

appeal, A nd lordly bishops kneel to you in

vain, N or valor's fire, law's power, nor churchman's zeal

Enduro 'gainst love's (time's up!) untarnishod steel. The French also amuse themselves with bouts rimés retournés, in which the rhymes are taken from some piece of poetry, but the order in which they occur is reversed. The following example is from the album of a Parisian lady of literary celebrity, the widow of one of the Crimcan heroes. The original poem is by Alfred de Musset, the retournés by Marshal Pelissier, who improvised it at the lady's request. In the translation which ensues, the reversed rhymes are carefully preserved.

Quand la fugitive espéranco
Nous pousse le coude en passant,
Puis à tire d'ailes s'élance
Et so retourne en souriant,
Ou va l'homme? où son cœur l'appelle;
L'hirondelle scit lo zéphir,
Et moins légère est l'hirondello
Que l'homine qui suit son désir.
Ab! fugitive enchanteresso,
Sais-tu seulement ton chemin?
Faut-il donc que le vieux destin
Ait une si jeune maîtresse !

Pour chanter la jeune maîtresse
Que Musset donne au vieux destin,

The truth of this circumstance was confirmed by Mr. Hoffman in the course of a conversation upon that and similar topics several years afterward.

J'ai trop parcouru de chemin
Sans atteindre l'enebanteresse;
Toujours vers cet ancien désir
J'ai tendu comme l'hirondelle,
Mais sans le secours du zéphir
Qui la porte où son cæur l'appelle.
Adieu, fantôme souriant,
Vers qui la jeunesse s'élance,
La raison me crie en passant;
Le souvenir vaut l'espérance.

When Hope, a fugitive, retreating
Elbows us, ag away she fies,
Then swift returns, another greeting
To offer us with laughing eyes.
Man goeth when his heart is speaking,
The swallows through the zephyrs dart,
And man, who's erery fancy seeking,
Hath yet a more inconstant heart.
Focbantress, fugitive, coquetting!
koosist thou then true, alone, thy way?
Hath then stern Fate, so old and gray,
So young a mistress never fretting?


To sing the mistress, never fretting,
Musset gives Fato, so old and gray,
Too long I've travelled on my way,
And ne'er attained her dear coquetting.
To find that longing of the heart,
I've been, like yonder swallow, seeking,
Yet could not througb the zephyrs dart,
Nor reach the wish the heart is speaking.
Adieu then, shade, with laughing eyes,
Towards whom youth ever sends its greeting;
Better, cries Reason, as she flies,
Remembrance now, than Hope retreating.

Among the eccentricities of literature may be classed Rhopalic verses, which begin with a monosyllable and gradually increase the length of each successive word. The name was suggested by the shape of Hercules' club, dezakor. Sometimes they run from the butt to the handle of the club. Take us an example of each,

Røm tibi confeci, doctissime, dulcisonoram.
l'ectigalibus armamenta referre jubet Rex.

Emblematic Poetry.

A pair of scissors and a comb in verso.-Ben Jonson.
On their fair standards by the wind displayed,

E:88, altars, wings, pipes, axes, wero portrayed. -Scribleriad. Sue quaint conceit of making verses assume grotesque shapes and devices, expressive of the theme selected by the writer, appears to have been most fashionable during the seventeenth century. Writers tortured their brains in order to tor. ture their verses into all sorts of fantastic forms, from a flowerpot to an obelisk, from a pin to a pyramid. Hearts and fans and knots were chosen for love-songs; wineglasses, bottles, and casks for Bacchanalian songs; pulpits, altars, and moduments for religious verses and epitaphs. Tom Nash, according to Disraeli, says of Gabriel Harvey, that “he had writ verses in all kinds : in form of a pair of gloves, a pair of spectacles, a pair of pot-hooks, &c.” Puttenham, in his Art of Poesie, gives several odd specimens of poems in the form of lozenges, pillars, triangles, &c. Butler says of Beulowes, “the excellently learned,” who was much renowned for his literary freaks, “ As for temples and pyramids in poetry, he has outdone all men that way; for he has made a grid-iron and a frying-pan in verse, that, besides the likeness in shape, the very tope and sound of the words did perfectly represent the noise made by these utensils ! When he was a captain, he made all the furniture of his horse, from the bit to the crupper, the beaten poetry, every verse being fitted to the proportion of the thing, with a moral allusion to the sense of the thing: as the bridle of moderation, the saddle of content, and the crupper of constancy; so that the same thing was the epigram and emblem, even as a mule is both horse and ass.” Mr. Alger tells us that the Oriental poets are fond of arranging their poems in the form of drums, swords, circles, crescents, trees, &c., and that the Alexandrian rhetoricians used to amuse themselves by writing their satires and invectives in the shape of an axe or a spear. He gives the following erotic triplet, composed by a Hindu

poct, the first line representing a bow, the second its string, the third an arrow aimed at the heart of the object of

his passion :

One kiss I send, to piorco, like fire, thy too reluctant heart.

O lovely maid, thou art the fairest slave in all God's mart! Those ebarms to win, with all my empire I would gladly part


Who hath woe? Who bath sorrow?
Who bath contentions ? Who

wounds without cause?
Who bath redness of eyes ?
They that tarry long at the
wine! They that go to
seek mixed wine. Look
not thou upon the
wine when it is red,
when it giveth its
color in the

when it
moveth itself

the last

it biteth like a
berpent, and stingeth like an adder

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