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furnish you with rhymes if you will make lines for them Here now : please,
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,
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,
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
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.
BY DE MUSSET.
BY PELISSIER, DUC DE MALAKOFF.
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
To sing the mistress, never fretting,
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.
A pair of scissors and a comb in verso.-Ben Jonson.
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
THE WINE GLASS.
wounds without cause?
it biteth like a