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“ Farewell ! my Hubert,” cried Shakspeare, strongly affected by what he had just heard, “ farewell! I will not forget you. Nor do you fail to revisit, as you have promised, the cottage of our friend at Wyeburne. Through him you shall hear from me, and beneath his roof it will not be long, I trust, before we meet again !”

As he said this he kindly pressed the hand of the unfortunate youth, whose heart, however, was too oppressed for utterance. The bard then turned to retrace his steps to Wyeburne Hall, and Hubert, overwhelmed by the conflict of his own emotions, rushed into the deepest recesses of his cavern.

(To be continued.)

No. XIII.

In this path, How long soe'er the wanderer roves, each step Shall wake fresh beauties; each short point present A different picture, new, and yet the same.

Mason.

The second book of the Gardens of De Lille is entirely occupied by the subject of plantations, the most important part, perhaps, in the creation of landscape scenery; as upon this, in a great measure, depend the richness and variety of the views, and the happy disposition of light and shade. After commenting, therefore, on the grace and grandeur, the elegance and majesty, to be derived from the growth of forest trees, even in their insulated state, the poet passes on to a consideration of the diversity, sublimity, and beauty, springing from their natural or artificial combination, under the shape of forest, group, or plantation, terminating his picture with a further encomium on the picturesque effect so frequently resulting from the form and situation of a single tree, and especially from the solitary grandeur of an ancient oak:

Tantôt un bois profond, sauvage, ténébreux, Epanche une ombre immense ; et tantôt moins

nombreux, Un plant d'arbres choisis forme un riant bocage; Plus loin, distribués dans un frais paysage, Des groupes élégans frappent l'ạil enchanté: Ailleurs, se confiant à sa propre beauté, Un arbre seul se montre, et seul orne la terre.

Dans les jardins de l'art, notre luxe autrefois Des arbres isolés dédaignoit la parure : Ils plaisent aujourd'hui dans ceux de la nature. Par un caprice heureux, par de savans hasards, Leurs plants désordonnés charmeront nos regards. Qu'ils diffèrent d'aspect, de forme, de distance; Que toujours la grandeur, ou du moins l'élégance, Distingue chaque tige, ou que l'arbre honteux Se cache dans la foule et disparoisse aux yeux. Mais lorsqu'un chêne antique, ou lorsqu’un vieil

érable, Patriarche des bois, lève un front vénérable, VOL. II.

"I

Que toute sa tribu, se rangeant à l'entour,
$'écarte avec respect, et compose sa cour;
Ainsi, l'arbre isolé plait aux champs qu'il décore.

Chant 2.

The forest there immense, a black profound Of savage gloom, frowns more than midnight round: Here choicer trees array the laughing glade, And weave around a gently-glimm'ring shade: There scatter'd groups arise at distance due, Adorn the vale, and fix the raptured view: A single tree here bids her boughs expand, While lonely beauty decks the subject land.

Erst art in gardens trim disdain'd to see The simple beauties of a lonely tree: But Nature owns them, and they win applause : For various trees are sway'd by various laws, And tho' caprice or chance may bid them grow, Ev'n from their wild confusion grace may flow. Then mark with care their distance, form, and hue, Whose dignity or grace may charm the view. And lest the shapeless trunk may hurt the eye, Hide in deep shades its foul deformity. But O respect the patriarch oak, whose brow Sublime o’erlooks the stripling tribe below! And where his grandeur tow’rs the shades between, There open wide around the sylvan scene;

High o'er the filial circle let him reign,
And spread new glories o'er the smiling plais.

I have brought forward this passage with the view of showing with what skill and precision the anonymous translator has been able to render the more didactic parts of his undertaking. Simplicity, harmony, and perspicuity characterise these lines, and, as in the French poein, they rise into energy, and almost into sublimity, towards the close. They may be said, indeed, to equal, if they do not surpass their original.

In reading De Lille with a reference to the nearly simultaneous and sister production of his brother bard, the pathetic Mason, many parallelisms, it is obvious, must necessarily be detected, and, certainly, considering the circumstances under which the two works were composed, without exciting any wellfounded suspicions of plagiarism. It happens that the extract I have now given affords us an instance of the kind; for Mason, whilst describing the ancient vista, the “ long cathedral isle of shade," and whilst condemning it to be broken up, though its “spreading oaks” .

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