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straction, she sat herself down on the steps of an orchestra, and looking about for some time with a "vacant air, that showed her insensibility to the garish scene, she began, with the capriciousness of a sickly heart, to warble a little plaintive air. She had an exquisite voice; but on this occasion it was so simple, so touching—it breathed forth such a soul of wretchedness—that she drew a crowd, mute and silent, around her, and melted every one into tears.
The story of one so true and tender could not but excite great interest in a country remarkable for enthusiasm. It completely won the heart of a brave officer, who paid his addresses to her, and thought that one so true to the dead, could not but fectionate to the living. She declined his attentions, for her thoughts were irrecoverably engrossed by the memory of her former lover. He, however, persisted in his suit. He solicited not her tenderness, but her esteem. He was assisted by her conviction of his worth, and her sense of her own destitute and dependent situation, for she was existing on the kindness of friends. In a word, he at length succeeded in gaining her hand, though with the solemn assurance, that her heart was unalterably another's.
He took her with him to Sicily, hoping that a change of scene might wear out the remembrance of early woes. She was an amiable and exemplary wife, and made an effort to be a happy one; but nothing could cure the silent and devouring melancholy that had entered into her very soul. She wasted
away in a slow, but hopeless decline, and at length sunk into the grave, the victim of a broken heart.
It was on her that Moore, the distinguished Irish poet, composed the following lines :
She is far from the land where her young hero sleeps,
And lovers around her are sighing;
For her heart in bis grave is lying.
She sings the wild song of her dear native plains,
Every note which he loved awaking-
How the heart of the minstrel is breaking !
He had lived for his love--for his country he died,
They were all that to life had entwined him
Nor long will his love stay behind him!
Oh! make her a grave where the sunbeams rest,
When they promise a glorious morrow;
From her own loved island of sorrow!
ART OF BOOK-MAKING.
“ If that severe doom of Synesius be true- it is a greater offence to steal dead men's labours than their clothes,'—what shall become of most writers ?”
Burton's Anatomy of Melancholy,
I have often wondered at the extreme fecundity of the press, and how it comes to pass that
so many heads, on which Nature seems to have inflicted the curse of barrenness, yet teem with voluminous productions. As a man travels on, however, in the journey of life, his objects of wonder daily diminish, and he is continually finding out some very simple cause for some great matter of marvel. Thus have I chanced, in my peregrinations about this great metropolis, to blunder upon a scene which unfolded to me some of the mysteries of the book-making craft, and at once put an end to my astonishment.
I was one summer's day loitering through the great saloons of the British Museum, with that listlessness with which one is apt to saunter about a room in warm weather; sometimes lolling over the glass cases of minerals, sometimes studying the hieroglyphics on an Egyptian mummy, and sometimes trying, with nearly equal success, to comprehend the allegorical paintings on the lofty ceilings. While I was gazing about in this idle way, my attention was attracted to
a distant floor, at the end of a suite of apartments. It was closed, but every now and then it would open, and some strange-favoured being, generally clothed in black, would steal forth, and glide through the rooms, without noticing any of the surrounding objects. There was an air of mystery about this that piqued my languid curiosity, and I determined to attempt the passage of that strait, and to explore the unknown regions that lay beyond. The door yielded to my hand, with all that facility with which the portals of enchanted castles yield to the adventurous knight-errant. I found myself in a spacious chamber, surrounded with great cases of venerable books. Above the cases, and just under the cornice, were arranged a great number of quaint black-looking portraits of ancient authors. About the room were placed long tables, with stands for reading and writing, at which sat many pale, cadaverous personages, poring intently over dusty volumes, rummaging among mouldy manuscripts, and taking copious notes of their contents. The most hushed stillness reigned through this mysterious apartment, excepting that you might hear the racing of pens over sheets of paper, or, occasionally, the deep sigh of one of these sages, , as he shifted his position to turn over the page of an old folio; doubtless arising from that hollowness and flatulency incident to learned research.
Now and then one of these personages would write something on a small slip of paper, and ring a bell, whereupon a familiar would appear, take the paper in profound silence, glide out of the room, and return
shortly loaded with ponderous tomes, upon which the other would fall, tooth and nail, with famished voracity. I had no longer a doubt that I had happened upon a body of magi, deeply engaged in the study of occult sciences. The scene reminded me of an old Arabian tale, of a philosopher, who was shut up in an enchanted library, in the bosom of a mountain, that opened only once a year; where he made the spirits of the place obey his commands, and bring him books of all kinds of dark knowledge, so that at the end of the year, when the magic portal once more swung open on its hinges, he issued forth so versed in forbidden lore, as to be able to soar above the heads of the multitude, and to control the powers of Nature.
My curiosity being now fully aroused, I whispered to one of the familiars, as he was about to leave the room, and begged an interpretation of the strange scene before me. A few words were sufficient for the purpose:- I found that these mysterious personages, whom I had mistaken for magi, were principally authors, and were in the very act of manufacturing books. I was, in fact, in the reading-room of the great British Library, an immense collection of volumes of all ages and languages, many of which are now forgotten, and most of which are seldom read. To these sequestered pools of obsolete literature, therefore, do many modern authors repair, and draw buckets full of classic lore, or "pure English, undefiled," wherewith to swell their own scanty rills of thought.
Being now in possession of the secret, I sat down in a corner, and watched the process of this book