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"Tis hushed-and onward the billows roll,
With their hollow booming they seem to toll
A solemn knell for many a soul,
And the sea-birds shriek and wheel around,
As they bear 'midst the tempest the fearful sound.
The first pale blush of morning gleams

On the subsiding waves,
And the tempest's angry brow with beams

Of sunny brightness laves.
No sound is heard in the gentle air,
No trace is left in the scene so fair,
Where the stormy breath of the tempest has passed.
The tiny waves are flowing in fast,
And joyously smiling beneath the sun's light.
Look! what may that spot be that glances so bright,
'Midst the slime and the weed on the muddy coast?
'Tis where the good ship in the tempest was lost,
Where she sank with her crew to rise no more;
And now, 'midst the waves on the echoing shore,
A bright sunny fountain of sand is up-springing,—
On, onward it flows ;-hark! what music is ringing
On the wind, as the sand-spring is spreading around,
'Tis the song of the sea-nymphs, that silvery sound,
As they joyfully welcome their new dancing ground.

And still each night,
When the moon's calm light

On the rippling waves is glancing,
On the soft white sand
There is seen a band

Of fairies merrily dancing.
Their song floats o'er the sleeping sea,
And when on the breeze their sweet melody
The wandering mariner's slumber stirs,
He turns in his cot as the sound he hears,
And dreams, while he sails 'neath the heavens so blue,
Of the sinking ship and her perishing crew.


“ It may seem strange to an inconsiderate eye, that such a poor violet virtue (as

Humility) should ever dwell with honour; and that such an aspiring fume as
Pride is, should ever sojourn with a constant baseness."

Felltham's Century of Resolves.
The gaudy flower of the aloe-tree,
From its tall stem, which for a hundred years
Has stood unhonour'd, now in pride appears,
Calls forth all eyes and praise, while all men see
And wonder. This, when its short-liv'd success,
Its brief unprofitable pride has gone,
Will stand another century, alone,
A very spectacle of uselessness,
A barren spot upon a fruitful ground.
The yearly violet wins how much more praise,
Honour'd the more because it shuns the gaze,
Which sheds its modest sweetness all around !
Pride in the end shall ever meanest be,
The greatest honour is humility.


“Quæ dat aquas, saxo latet hospita nympha sub imo.

Sic tu, quum dederis dona, latere velis."


The nymph, who gives these waters, lies

Beneath the inmost rock concealed.
Like her, when thou hast given gifts,

Be willing to be unrevealed.


Ναΐδ' ύδωρ παρέχουσαν αει σπιλας ήδε καλύπτει.

Των δωρων κόσμημ' έστι, το δόντα λαθείν.


No. VI.


(Continued from p. 167.) THE EUMENIDES.

τα ακίνητα νόμιμα άριστα.-THUc.

The Eumenides, properly speaking, cannot be considered in the light of a drama, inasmuch as there is no attempt at a plot in its construction, but simply a detail of circumstances in the order in which they are supposed to have occurred. Æschylus, however, in writing this play, had a different object in view from that which appears most prominent in the two former,-a political object, which necessarily biassed his mind in a certain direction, and to which he rendered the legend he had to deal with subservient. This was the proposed diminution of the power of the court of Arcopagus by Pericles and Ephialtes, a measure which, being in itself so entirely of a democratical nature, could not but fill the minds of the nobler part of the citizens, who looked upon this tribunal as their chief bulwark, with doubt and apprehension. The influence of the drama was always considerable over the minds of the people of Athens, through its intimate connection with religion ; and hence we shall have


little difficulty in perceiving for what reason Æschylus chose to embody his political sentiments in a dramatic form. It is from this cause that the action of destiny is less conspicuous in this than in the two preceding tragedies : something however was wanting to declare in what way the até in the family of Pelops, which had been receiving fresh renewals of strength through various crimes, was at length set to rest for ever; and the poet has contrived to effect this in a manner calculated to impress on the minds of all reflecting persons the deep veneration due to divine things, and more especially to those whose worth and excellence had been sanctioned by antiquity. To understand how this is done, it will be necessary first to give a brief outline of the action in this play, from which its connection with the others will be more distinctly


It opens with the solemn address of the aged Pythoness to the primæval gods, before approaching to consult the oracle at the sacred Delphic shrine. When she has concluded her invocation, she enters, but presently returns and relates how she has seen the Furies asleep in the temple, a race of women,

άπτεροί γε μην ιδεϊν αυται, μέλαιναι δ' ες το πάν βδελύκτρoποι, ρέγκουσι δ' ού πλαστοίσι φυσιάμασι. (νν. 51-53.)

Apollo and Orestes then enter; and after a conversation, in which the latter expresses his doubts and fears, Apollo recommends him to flee to the statue of Pallas at Athens, under the guidance of Hermes, who is invisibly present. Then the ghost of the murdered Clytæmnestra rises, and taunts the Furies for their supineness and negligence, in thus allowing their prey to escape εκ μέσων άρκυσμάτων,* and at the same time bewails the wretched effects of her own crime, now terribly visited on herself in the world of shades. She at length disappears, when the Furies wake, and in a choral ode declare their implacable enmity against Apollo and the younger gods, for having thus despolied them ; till they are driven out of the temple by the entrance of the god himself.

ούτοι δόμοισι τοϊσδε χρίμπτεσθαι πρέπει, ,
αλλ' ου καρανιστήρες οφθαλμώρυχοι
δίκαι, σφαγαί τε, σπέρματός τ' αποφθοραι
παίδων, κ. τ.λ.

A conversation follows, the result of which is, that both parties resolve to appeal to the wisdom of Pallas for arbitration, and, by means of a change of scenery, we discover Orestes in the attitude of a suppliant before the image of the virgin goddess in the Parthenon. A choral ode succeeds, in which the Furies hymn forth their power over mortals, and the punishments they are enabled to inflict, in the most superb language. The whole spirit of this hymn is thoroughly Æschylean, and there could hardly be selected a better proof of the grandeur of Eschylus' conceptions, and the power he possessed of clothing them in suitable forms of expression, than this chorus.

Pallas now appears, and after some deliberation

* v. 112. Ed. Wellauer.

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