vines of Bacchus, it was despair-the despair produced by a degraded age and a bad religion-which reduced him to the necessity. He was by nature an eagle; but he was an eagle in a sky where there was no sun. The cry of a noble being, placed in the most untoward circumstances, is here and there heard in his verses, and reminds you of the voice of one of the transmuted victims of Circe, or of Ariel from that cloven pine, where he 'howl'd away twelve winters.' Herrick might be by constitution a voluptuary,—and he has unquestionably degraded his genius in not a few of his rhymes, -but in him, as well as in Anacreon, Horace, and Burns, there lay a better and a higher nature, which the critics have ignored, because it has not found a frequent or full utterance in his poetry. In proof that our author possessed profound sentiment, mingling and sometimes half-lost in the loose, luxuriant leafage of his imagery, we need only refer our readers to his 'Blossoms' and his Daffodils.' Besides gaiety and gracefulness, his verse is exceedingly musical-his lines not only move but dance. SONG. 1 Gather the rose-buds, while ye may, And this same flower that smiles to-day 2 The glorious lamp of heaven, the Sun, 3 The age is best which is the first, When youth and blood are warmer; 4 Then be not coy, but use your time, CHERRY-RIPE. Cherry-ripe, ripe, ripe, I cry; THE KISS: A DIALOGUE. 1. Among thy fancies, tell me this: What is the thing we call a kiss?— 2. I shall resolve ye what it is: It is a creature, born and bred Between the lips, all cherry red; By love and warm desires 'tis fed; Chor-And makes more soft the bridal bed: 2. It is an active flame, that flies First to the babies of the eyes, And charms them there with lullabies; Chor-And stills the bride too when she cries: 2. Then to the chin, the cheek, the ear, It frisks and flies; now here, now there'; 'Tis now far off, and then 'tis near; Chor. And here, and there, and everywhere. 1. Has it a speaking virtue ?-2. Yes. 1. How speaks it, say ?-2. Do you but this, Part your join'd lips, then speaks your kiss; Chor. And this love's sweetest language is. 1. Has it a body?-2. Aye, and wings, TO DAFFODILS. 1 Fair daffodils, we weep to see As yet the early-rising sun Until the hast'ning day But to the even-song; And, having pray'd together, we 2 We have short time to stay, as you; As quick a growth to meet decay, We die, As your hours do; and dry Away Like to the summer's rain, Or as the pearls of morning dew Ne'er to be found again. TO PRIMROSES. 1 Why do ye weep, sweet babes? Can tears Speak grief in you, Who are but born Just as the modest morn Teem'd her refreshing dew? Alas! you have not known that shower Nor felt the unkind Nor are ye worn with years; Who think it strange to see Such pretty flowers, like to orphans young, 2 Speak, whimpering younglings; and make known The reason why Ye droop and weep. Is it for want of sleep, Or childish lullaby? Or that ye have not seen as yet Or brought a kiss From that sweetheart to this? No, no; this sorrow shown Would have this lecture read, "That things of greatest, so of meanest worth, Conceived with grief are, and with tears brought forth.' 2 What, were ye born to be 3 But you are lovely leaves, where we Their end, though ne'er so brave: OBERON'S PALACE. Thus to a grove Sometimes devoted unto love, Tinsell'd with twilight, he and they, Many a turn, and many a cross |