[Pg iii]
[Pg v]
POEMS.
POEMS,
TRANSLATED AND ORIGINAL.
BY
MRS. E. F. ELLET.
Philadelphia:
KEY & BIDDLE, 23 MINOR STREET.
1835.
[Pg vi]
Entered according to the act of congress, in the year 1835, by Key &
Biddle, in the clerk’s office of the district court of the eastern district of
Pennsylvania.
Philadelphia:
T. K. & P. G. Collins, Printers,
No. 6 George Street.
[Pg vii]
PREFACE.
Many of the following poems have appeared, within the last two years, in different periodical publications, and are now, by permission, inserted in this collection.
The tragedy at the end of the volume, is founded upon an incident well known in the history of Venice, which has formed the material for various works of fiction. Niccolini has written a classic play upon the subject, of which the author of this piece has availed herself in part of the first scene of the first act, and in a few occasional passages of scene first of the fifth act. The conduct of the plot, and the leading incidents, differ materially from those of Niccolini.
The author takes this opportunity to render her grateful acknowledgments to the distinguished lady, Miss Phillips, who sustained the part of the heroine; and to whose talents and exertions the play was indebted for its success in representation.
[Pg ix]
INDEX.
| The Sepulchres, | PAGE13 |
| Lake Ontario, | 22 |
| The Prince and the Palm Tree, | 24 |
| Hacon, | 26 |
| The Forest Temple, | 29 |
| Oh! her glance is the brightest that ever has shone, | 31 |
| To a Waterfall, | 32 |
| The Sea Kings, | 34 |
| The waves that on the sparkling sand, | 36 |
| Is this a Day of Death? | 37 |
| Paraphrase of the one hundred and thirty-seventh Psalm, | 38 |
| The cloud where sunbeams soft repose, | 40 |
| Like southern birds, | 41 |
| The Loss of the Anio, | 42 |
| The Guardian Genius, | 47 |
| Stanzas, | 49 |
| Song—the closing year, | 51 |
| Scene from Alfieri’s Tragedy of Saul, | 53 |
| The Vanity of the Vulgar Great, | 59 |
| Sonnet—Rome in ruins, | 61 |
| Fables, | 62 |
| [Pg x] O’er the far mountain peak on high, | 65 |
| Incantation of Hervor, | 66 |
| Death, | 69 |
| Enthusiasm, | 71 |
| The Dying Poet, | 74 |
| I would I were the light winged bird, | 80 |
| Midnight Thoughts, | 82 |
| Song of the Jewish Exiles, | 84 |
| The Druids’ Hymn, | 86 |
| The Blind Harper, | 88 |
| The Mermaid’s Song, | 90 |
| Susquehanna, | 91 |
| Romance, | 94 |
| The Death of St. Louis, | 96 |
| Complaint of Harald, | 100 |
| Echo, | 102 |
| Epigram, | ib. |
| The Pictured Rocks, | 103 |
| Sunset, | 107 |
| To the Lance-fly, | 108 |
| The Division of the Earth, | 109 |
| In yonder lake of silver sheen, | 111 |
| The Swallows, | 112 |
| Nature, | 114 |
| Lines, | 116 |
| Fragment from “Ildegonda,” | 117 |
| A Life spent in Pursuit of Glory, | 119 |
| The Wish, | 120 |
| The Northern Hunter’s Song, | 121 |
| From Ippolito Pindemonte—The Poet’s Last Dwelling, | 123 |
| From mountains at the dawn of day, | 125 |
| [Pg xi] The Witches’ Revel, | 126 |
| Song, | 128 |
| Sodus Bay, | 130 |
| Notes, | 133 |
| Teresa Contarini—a tragedy, | 137 |
[Pg 13]
FROM THE ITALIAN OF UGO FOSCOLO.
[Pg 22]
LAKE ONTARIO.
[Pg 24]
THE PRINCE AND THE PALM TREE.
Abderahman, the first king of Moorish Spain, is said to have been the first who transplanted the palm from the East into Spain. He is represented as frequently addressing it with great feeling, connecting it with recollections of his native land, whence he had been driven by the usurper of his rightful throne.
[Pg 26]
HACON.
[Pg 29]
THE FOREST TEMPLE.
[Pg 31]
OH! HER GLANCE IS THE BRIGHTEST THAT EVER HAS SHONE.
[Pg 32]
TO A WATERFALL.[11]
[Pg 34]
THE SEA KINGS.
“They are rightly named Sea Kings,” says the author of the Inglingasaga, “who never seek shelter under a roof, and never drain their drinking horn at a cottage-fire.”
[Pg 36]
THE WAVES THAT ON THE SPARKLING SAND.
[Pg 37]
IS THIS A DAY OF DEATH?
[Pg 38]
PARAPHRASE OF THE ONE HUNDRED AND THIRTY-SEVENTH PSALM.
[Pg 40]
THE CLOUD WHERE SUNBEAMS SOFT REPOSE.
[Pg 41]
LIKE SOUTHERN BIRDS.
[Pg 42]
THE LOSS OF THE ANIO.
FROM THE FRENCH OF ALPHONSE DE LAMARTINE.
[Pg 47]
THE GUARDIAN GENIUS.[12]
FROM THE FRENCH OF ALPHONSE DE LAMARTINE.
[Pg 49]
STANZAS,
WRITTEN WHILE SAILING THROUGH THE DELAWARE WATER-GAP.
[Pg 51]
SONG—THE CLOSING YEAR.
[Pg 53]
SCENE FROM ALFIERI’S TRAGEDY OF SAUL.
Saul, Jonathan, Michol, David.
[Pg 59]
THE VANITY OF THE VULGAR GREAT.
A FRAGMENT FROM THE ITALIAN OF FULVIO TESTI.
[Pg 61]
SONNET—ROME IN RUINS.
FROM THE SPANISH OF QUEVEDO.
[Pg 62]
FABLES.
FROM THE SPANISH OF YRIARTE.
I.
II.
[Pg 65]
O’ER THE FAR MOUNTAIN PEAK ON HIGH.
[Pg 66]
INCANTATION OF HERVOR.[13]
[Pg 69]
DEATH.
[Pg 71]
ENTHUSIASM.
FROM THE FRENCH OF ALPHONSE DE LAMARTINE.
[Pg 74]
THE DYING POET.
FROM THE FRENCH OF ALPHONSE DE LAMARTINE.
[Pg 80]
I WOULD I WERE THE LIGHT-WINGED BIRD.
[Pg 82]
MIDNIGHT THOUGHTS.
[Pg 84]
SONG OF THE JEWISH EXILES.
“Observing many Jews walking about the place, and reposing along the brook Kedron in a pensive mood, the pathetic language of the Psalmist recurred to me as expressing the subject of their meditations;—‘By the rivers we sat down and wept when we remembered Zion.’ On frequently inquiring the motive that prompted them in attempting to go to Jerusalem, the answer was—‘To die in the land of our fathers.’”
Wilson’s Travels.
[Pg 86]
THE DRUIDS’ HYMN.
“The Druids, till their religion had been interlarded with that of other nations, had neither images nor temples. They had generally those circles and altars, at which they performed their religious ceremonies, situated near the deep murmur of some stream, within the gloom of groves, or under the shade of some venerable oak.”
Smith’s Gallic Antiquities.
[Pg 88]
THE BLIND HARPER.
[Pg 90]
THE MERMAID’S SONG.
[Pg 91]
SUSQUEHANNA.
[Pg 94]
ROMANCE.
FROM THE FRENCH.
[Pg 96]
THE DEATH OF ST. LOUIS.
St. Louis of France, who embarked with an army for Palestine in 1270, landing at Tunis, was besieged by the inhabitants in the town of Carthage, and with great numbers of his people, fell a victim to the plague. In his dying moments he caused himself to be removed from his couch, and placed upon ashes; and in that situation expired.
[Pg 100]
COMPLAINT OF HARALD.
IMITATED FROM AN ICELANDIC SONG.
[Pg 102]
ECHO.
EPIGRAM.
FROM SAVERIO BETTINELLI.
[Pg 103]
THE PICTURED ROCKS.[14]
[Pg 107]
SUNSET.
[Pg 108]
TO THE LANCE-FLY.
[Pg 109]
THE DIVISION OF THE EARTH.
FROM THE GERMAN OF SCHILLER.
[Pg 111]
IN YONDER LAKE OF SILVER SHEEN.
[Pg 112]
THE SWALLOWS.
FROM THE FRENCH OF BERANGER.
[Pg 114]
NATURE.
FROM THE FRENCH OF BERANGER.
[Pg 116]
LINES.
[Pg 117]
FRAGMENT FROM “ILDEGONDA.”
[Pg 119]
A LIFE SPENT IN PURSUIT OF GLORY.
FROM THE FRENCH OF LAMARTINE.
[Pg 120]
THE WISH.
FROM THE ITALIAN.
[Pg 121]
THE NORTHERN HUNTER’S SONG.
[Pg 123]
FROM IPPOLITO PINDEMONTE.
THE POET’S LAST DWELLING.
[Pg 124]
TO EVENING.
TO THE MEMORY OF A FRIEND.
[Pg 125]
FROM MOUNTAINS AT THE DAWN OF DAY.
[Pg 126]
THE WITCHES’ REVEL.
[Pg 128]
SONG.
[Pg 130]
SODUS BAY.
[Pg 133]
NOTES.
This poem was composed by Foscolo during a temporary retirement to Brescia, in Northern Italy. The occasion which called it forth was a law passed about that time in the Italian kingdom, directing that all burials should take place without the confines of the cities, forbidding inscriptions or any mark of distinction upon the graves, and prohibiting the approach of visiters to the cemeteries. Though intended to obviate the inconveniencies arising from the ancient custom of interring the dead in the churches, this law was carried to an arbitrary and unnecessary extreme; for it consigned the departed to one indiscriminate place of sepulture, and denied to the mourner the last consolation of grief. Our poet, fired with indignation at this sacrilegious infringement of the solemn rights of nature, gave utterance to his feelings in the work just mentioned, in which he dwells on the salutary influence over the living of their veneration for the dead; and proves the mischievous effects of that policy which would invade the sacredness of a sentiment so holy.—American Quarterly Review, Vol. xvi. page 76.
[2] Page 15. That stung the Sardanapalus of our land.
“Il Lombardo Sardanapalo.” The Prince Belgiojoso, severely satirized in Parini’s poem of “The Day.”
[3] Page 17. To scoop from it his own triumphal bier.
Nelson is said to have carried about with him, sometime before his death, a coffin made from the main mast of the ship Oriente; that when he had finished his career in this world, he might be buried in one of his trophies.
[Pg 134]
[9] Page 19. And high o’er all, the Fates’ mysterious chant.
Popular rumor related that over the field of Marathon the sailor could hear all night the trampling of horses, and witness the encounter of spectral combatants.
“The shield of Achilles, stained with the blood of Hector, was by an unjust sentence adjudged to Ulysses; but the sea which snatched it from the wreck, caused it to swim, not to Ithaca, but to the tomb of Ajax; thus manifesting the unfair judgment of the Greeks, and restoring to Salamis the honor due.—It is said that the story of the arms borne by the waves to the sepulchre of Telamon was current among the Eolians who afterwards inhabited Troy. The promontory of Rhetœum, in the Thracian Bosphorus, was famous among all the ancients for the tomb of Ajax.”
These lines were suggested by a Portuguese sonnet; but too much has been added to entitle them to be called a translation.
[12] Page 47. The Guardian Genius.
This poem, from Lamartine’s “Destinies of Poetry,” is supposed to be sung by the female peasants of Calabria.
[13] Page 66. Incantation of Hervor.
This is not a translation of the celebrated Icelandic lyric, which consists of a dialogue between Hervor and Argantyr; but merely[Pg 135] a sketch of what the heroic daughter may be supposed to have said, when trying the power of the spells of poesy to wake her ancestor from the dead, and compel him to give up his sword, which had been buried with him. The sword in question had been made by the dwarfs, and was taken by Angrim, the father of Argantyr, from the grandson of Odin.
[Pg 137]
TERESA CONTARINI:
A TRAGEDY,
IN FIVE ACTS.
[Pg 138]
FIRST PERFORMED AT THE PARK THEATRE, NEW YORK,
MARCH, 1835.
[Pg 139]
PERSONS REPRESENTED.
| Doge of Venice. | |
| Foscarini. | |
| Contarini. | Inquisitors of State. |
| Loredano. | |
| Badoero. | |
| Veniero. | |
| Vincentio. | |
| Leonardo. | |
| Steno. | Officers of the Inquisition. |
| Pascali. | |
| Beltramo, the Jailer. | |
| Memmo, Captain of the Guard. | |
| Marco. | |
| Stefano. | |
| Teresa. | |
| Fiorilla. | |
| Matilda. | |
| First Attendant. | |
| Senators—Guards—Attendants, &c. | |
SCENE VENICE.
The passages marked with inverted commas were omitted in the representation.
[Pg 141]
TERESA CONTARINI.
ACT I.
SCENE I.
Grand Council Chamber.Dogeand Senators discovered in debate.
[ContariniandBadoerocount the votes.
Badoero (reads.)
“It is hereby enacted, that if any Patrician be seen to hold intercourse in secret with the ambassadors of France or Spain, or pass their thresholds after sunset, he shall be held guilty of treason and shall suffer its penalty.”
[A guard goes out, and returns withFoscarini.
[Exeunt all butDogeandFoscarini.
[Exeunt severally.
SCENE II.
A Street.—EnterVincentioandLeonardo, with other citizens.
[Exeunt.
EnterContariniandLoredano.
SCENE III.
A Garden—Teresaappears, descending the steps of a balcony.
[Pg 153]
ACT II.
SCENE I.
Veniero’shouse.—VenieroandContarini.
EnterTeresa.
EnterStenoandPascali.
[Exeunt all butTeresa.
SCENE II.
Fiorilla’shouse.—EnterFiorillawith attendants andMarco.
EnterLeonardo.
Re-enterMarco.
SCENE III.
Badoero’shouse. EnterBadoero, Loredano, andContarini.
EnterTeresa.
(Endeavouring to persuade her to return.)
[Exeunt all butContariniandTeresa.
SCENE IV.
A prison.—Venierodiscovered.—Beltramoenters with a lamp.
[Joins her hand withContarini’s.—The curtain falls.]
[Pg 175]
ACT III.
SCENE I.
Fiorilla’shouse.—EnterFiorillaandLeonardo.
SCENE II.
Teresa’schamber. Teresa, in bridal robes, sitting at a table, with writing materials.
[Pg 184]
SCENE III.
A street, faintly lighted.EnterFoscarini.
(ExitVincentio. Foscarinipaces the scene a few moments in silence—then suddenly stops.)
SCENE IV.
A spacious and magnificent apartment; brilliantly decorated and illuminated.Venierodiscovered. Numerous guests, some in masks, seemingly in conversation.
Enter theDoge, Badoero, Contarini, Teresa, Matilda, and others.
(Foscarinienters, masked, and remains at the back of the scene, watchingTeresa.)
[Pg 189]
(They raise her—she revives—but still appears unconscious.)
[ExeuntTeresa, Matildaand attendants.
[Pg 193]
ACT IV.
SCENE I.
A street.—EnterContariniandSteno.
[ExitContarini.
SCENE II.
An apartment inContarini’spalace.—EnterTeresa.
EnterStefanowith a paper.
SCENE III.
A Garden, near the palace ofContarini. On one side the palace of the Spanish ambassador.
EnterFoscarini.
EnterMatilda, hastily.
EnterContariniandSteno, with servants bearing torches.
[ExeuntStenoand servants.
(Tumult—the report of a pistol heard.)
(Re-enterStenoand servants, dragging inFoscarini, who is wounded. The curtain falls.)
[Pg 207]
ACT V.
SCENE I.
Secret chamber of the Inquisitors.
EnterBadoeroandLoredano.
EnterContarini.
(Foscariniis brought in byBeltramo.)
(Exeunt the inquisitors on the other side.)
SCENE II.
A Street.
EnterVincentioandLeonardo, followed by several citizens.
SCENE III.
Contarini’spalace.
EnterTeresa, meetingMatilda.
[ExitMatildaasContarinienters.
(Contariniretires slowly.)
SCENE IV.
A corridor leading from the prisons.
EnterFoscarini, fettered and guarded—theDoge, andBeltramo.
EnterMemmo.
SCENE V.
Grand Council Chamber.Inquisitors, Veniero, and other Senators. Enter theDoge, andFoscariniguarded. Pascalistands behind among the guards.
EnterSteno.
(Contarinimakes signs apart toPascali, who goes out hastily.) EnterMemmo.
EnterTeresa.
(Tumult and shouts heard without.)
EnterMemmo, hastily.
[Attempts to stabTeresa, but is disarmed byBadoero.
[Pg 229]
[ExitContarini, guarded.
THE END.