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But Ceres, in her garland, might have worn
That ornament, unblamed. The floweret, held
In scarcely conscious fingers, was, she knows,
(Her Father told her so) in youth's gay dawn
Her Mother's favourite; and the orphan Girl,
In her own dawn-a dawn less gay and bright,
Loves it, while there in solitary peace
She sits, for that departed Mother's sake.
-Not from a source less sacred is derived
(Surely I do not err) that pensive air
Of calm abstraction through the face diffused
And the whole person.

Words have something told
More than the pencil can, and verily
More than is needed, but the precious Art
Forgives their interference-Art divine,
That both creates and fixes, in despite
Of Death and Time, the marvels it hath wrought.

Strange contrasts have we in this world of ours ! That posture, and the look of filial love Thinking of past and gone, with what is left Dearly united, might be swept away From this fair Portrait's fleshly Archetype, Even by an innocent fancy's slightest freak Banished, nor ever, haply, be restored To their lost place, or meet in harmony So exquisite; but here do they abide, Enshrined for ages. Is not then the Art Godlike, a humble branch of the divine, In visible quest of immortality, Stretched forth with trembling hope ?-In every realm, From high Gibraltar to Siberian plains, Thousands, in each variety of tongue

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That Europe knows, would echo this appeal;
One above all, a Monk who waits on God
In the magnific Convent built of yore
To sanctify the Escurial palace. He-
Guiding, from cell to cell and room to room,
A British Painter (eminent for truth
In character, and depth of feeling, shown
By labours that have touched the hearts of kings,
And are endeared to simple cottagers) -
Came, in that service, to a glorious work,
Our Lord's Last Supper, beautiful as when first
The appropriate Picture, fresh from Titian's hand,
Graced the Refectory: and there, while both
Stood with eyes fixed upon that masterpiece,
The hoary Father in the Stranger's ear
Breathed out these words :-"Here daily do we sit,
Thanks given to God for daily bread, and here
Pondering the mischiefs of these restless times,
And thinking of my Brethren, dead, dispersed,
Or changed and changing, I not seldom gaze
Upon this solemn Company unmoved
By shock of circumstance, or lapse of years,
Until I cannot but believe that they-
They are in truth the Substance, we the Shadows."

So spake the mild Jeronymite, his griefs
Melting away within him like a dream
Ere he had ceased to gaze, perhaps to speak:
And I, grown old, but in a happier land,
Domestic Portrait! have to verse consigned
In thy calm presence those heart-moving words:
Words that can soothe, more than they agitate;
Whose spirit, like the angel that went down
Into Bethesda's pool, with healing virtue

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Informs the fountain in the human breast
Which by the visitation was disturbed.
-But why this stealing tear? Companion mute,
On thee I look, not sorrowing; fare thee well,
My Song's Inspirer, once again farewell !*

1834.

XLI.

THE FOREGOING SUBJECT RESUMED.

AMONG a grave fraternity of Monks,
For One, but surely not for One alone,
Triumphs, in that great work, the Painter's skill,
Humbling the body, to exalt the soul;
Yet representing, amid wreck and wrong
And dissolution and decay, the warm
And breathing life of flesh, as if already
Clothed with impassive majesty, and graced
With no mean earnest of a heritage
Assigned to it in future worlds. Thou, too,
With thy memorial flower, meek Portraiture!
From whose serene companionship I passed
Pursued by thoughts that haunt me still; thou also
Though but a simple object, into light
Called forth by those affections that endear
The private hearth; though keeping thy sole seat
In singleness, and little tried by time,
Creation, as it were, of yesterday-

*

The pile of buildings, composing the palace and convent of San Lorenzo, has, in common usage, lost its proper name in that of the Escurial, a village at the foot of the hill upon which the splendid edifice, built by Philip the Second, stands. It need scarcely be added, that Wilkie is the painter alluded to.

With a congenial function art endued
For each and all of us, together joined
In course of nature under a low roof
By charities and duties that proceed
Out of the bosom of a wiser vow.
To a like salutary sense of awe
Or sacred wonder, growing with the power
Of meditation that attempts to weigh,
In faithful scales, things and their opposites,
Can thy enduring quiet gently raise
A household small and sensitive, whose love,
Dependent as in part its blessings are
Upon frail ties dissolving or dissolved
On earth, will be revived, we trust, in heaven.*

1834.

XLII.

So fair, so sweet, withal so sensitive,
Would that the little Flowers were born to live,
Conscious of half the pleasure which they give;

That to this mountain-daisy's self were known
The beauty of its star-shaped shadow, thrown
On the smooth surface of this naked stone!

* In the class entitled “Musings,” in Mr. Southey's Minor Poems, is one upon his own miniature Picture, taken in childhood, and another upon a landscape painted by Gaspar Poussin. It is possible that every word of the above verses, though similar in subject, might have been written had the author been unacquainted with those beautiful effusions of poetic sentiment. But, for his own satisfaction, he must be allowed thus publicly to acknowledge the pleasure those two Poems of his Friend have given him, and the grateful influence they have upon his mind as often as he reads them, or thinks of them.

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And what if hence a bold desire should mount
High as the Sun, that he could take account
Of all that issues from his glorious fount!

So might he ken how by his sovereign aid
These delicate companionships are made;
And how he rules the pomp of light and shade;
And were the Sister-power that shines by night
So privileged, what a countenance of delight
Would through the clouds break forth on human sight!
Fond fancies! wheresoe'er shall turn thine eye
On earth, air, ocean, or the starry sky,
Converse with Nature in pure sympathy;
All vain desires, all lawless wishes quelled,
Be Thou to love and praise alike impelled,
Whatever boon is granted or withheld.

XLIII.

UPON SEEING A COLOURED DRAWING OF THE BIRD OF

PARADISE IN AN ALBUM.

[I CANNOT forbear to record that the last seven lines of this Poem

were composed in bed during the night of the day on which my sister Sara Hutchinson died about 6 P.M., and it was the thought of her innocent and beautiful life that, through faith, prompted the words

“ On wings that fear no glance of God's pure sight.

No tempest from his breath.” The reader will find two poems on pictures of this bird among my Poems. I will here observe that in a far greater number of instances than have been mentioned in these notes one poein

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