it was surrounded, inspired his brave and magnanimous heart with the frank and generous resolution of exercising all the powers he possessed towards preparing for its emancipation. It was Rhigas that first conceived, in a vast area, the bold, active, and enterprising, project, of creating a grand Secret Society, and he was not long in forming it. His mind, constantly moving in the direction of this principle, he gained over bishops, archons, rich merchants, the learned, captains by sea and land, in short, the flower of the Greek nation, with many foreigners of distinction. But how he could spread his witcheries, so as to captivate and enchant many Turks of the highest order, nothing but the unjust restraints imposed upon them by their sovereign, or rather the delirium of mind excited by outrages frequently bursting forth, with all the fury of a convulsive volcano, will account for it. Among other Turks driven to desperation by such conduct, was Passwan Oglou, whose valour and martial skill were long the subjects of numberless calamities to the Porte, at times filling it with terror and consternation. He entered into this association of Rhigas. Rhigas, afterwards, proceeded to Vienna, where he met with a number of rich Greek merchants, and some learned emigrants of the same nation. From that capital, he extended his correspondence with his co-associates throughout Greece and Europe. Nor would he withdraw himself from his alliance with literature, commencing with a Greek journal for the instruction of his countrymen. He translated the "Travels of Young Anacharsis;" he composed and published a "Treatise of Military Tactics," an "Elementary Treatise of Physics for General Readers;" he also translated into modern Greek a French work, entitled, "L'Ecole des Amans Delicats, the School of Delicate Lovers." In this translation he has correctly imitated the style of the archons of Constantinople, designated by the name of Phanariotes. This work had a very extensive circulation. He also published an excellent translation of "Marmontel's Shepherdess of the Alps." He had busily employed himself in drawing up national cantatas in the popular style; in these pieces, he had collected all the tender sentiments that attach the hearts of youth to their country, all that could elicit the sparks of zeal, and kindle the sacred flame of hostility to that domineering which composed the character of the Turks. In the sympathetic power of these, he imitated the Marseilles hymn,-" Alons, Enfans de la Patrie ;" and they have irresistibly drawn, as by a charm, a mutual enthusiasm of passions, forming an indissoluble cement of the patriotic affections. Their first appear ance had strong and decided effects on minds of sensibility, and his song of Heroes, have not you lived long enough on the mountains?' is not, nor will easily be, forgotten. In perfect accordance with the public feelings, they are chanted by the youth in advancing to battle; and experience declares, that they have been of the greatest use in steeling the heart against the attacks which their injured, honest, cause, has generated. Rhigas afterwards drew up a "Grand Chart of all Greece," in twelve divisions, wherein he noted, not only the present, but the ancient, names of all places celebrated in the Greek annals. Among other ornaments, it exhibited a great number of antique medals; and, as his songs formed a potent stimulus to martial exertions, so his Chart held out instructions to the European literati ; so that, though it is defective and incorrect, his zeal and progress were applauded. The expense was defrayed by his associates. By the all-conquering force of his genius, this brave man first roused the spirit of his countrymen, infusing the firmness of hearts of oak, preparing them for battle and new triumphs, concerting, also, the means of destruction for the base myriads their impious murdering usurpers should bring against them. The several pas sages here quoted prove that his claim to the credit which such discernment, such revolutionary feelings, deserve, was undoubtedly and indisputably just. The manner of terminating his career was tragical. A false brother, seeking to mend his fortune by the sale of his honour, denounced Rhigas, and eight of his friends, to the government of Austria, as conspirators. The emperor arrested them to be given up to the Ottoman Porte, except three that were naturalized Austrians. This deplorable event was reported in all the European journals. The Moniteur thus notices it, borrowing an article from the Semlin Rubric. (Date 1798.) "We have seen, on their passage through this town, the eight Greeks arrested for seditious writings, and to be delivered to the Porte. They were bound two and two, and guarded by twenty-four soldiers, with two corporals, a superior officer, and a commissary. The soul of the party was Rhigas, a rich mer chant, and a native of Thessaly. His ruling passion has been the emancipation of his country. Some time before his arrest, Rhigas, from presentiment, removed from Vienna, but he was taken at Trieste. Five of the eight Greeks are to be forwarded to the Porte, the others are condemned to perpetual exile. Rhigas was powerfully supported by Mawroyeni, nephew to the famous hospodar of that name. The former of these is now living quiet at Paris." It appears that these Greeks were afterwards thrown into the Danube, their conductors fearing to be intercepted by Passwan Oglou. This catastrophe, which was every where deplored, took place about the middle of May, 1798. Rhigas was then about five and forty years of age. Soon after, Althimos, Patriarch of Jerusalem, and Dean of the Greek Prelates, was ordered by Selim, the Turkish emperor, to publish a circular paternal address to all the Greeks, strongly recommending fidelity, &c. This circular was completely refuted by another, as being dictated by the Porte, In the preface, the author says:-" Though our banners do not wave high in air, yet with religion for our bulwark, and freedom our shield, we are resolved to share in the glory of Rhigas; his call has awaked and raised us from our sleepy trance, and we will never yield to blasphemers and the slaves of a merciless despot. The dawn of liberty is only retarded by our jealousy of certain European powers." The author, afterwards, in the animated spirit of genuine enthusiasm, an overwhelming burst of the imagination, effusions vigorous, natural, and luxuriant, calls attention aside to observe angels descending from Heaven, bearing along with them immortal palms to crown these martyrs of religion and liberty. He then feelingly and pathetically contrasts his circular, which he calls "Fraternal," with that falsely called "Paternal." He gives a full and distinct delineation of every interesting circumstance attending their present desolations, sympathizes with his dear country in every expression capable, by any means, of raising a high degree of interest and feeling, and not to let fire or sword cool their amor patriæ. He then produces a passage from their most eminent Eschylus, that, for its irresistible impetuosity, and energetic sublimity, has ever been justly admired as transcendant. Any translation must suffer by comparison; but the following, which indeed is only a literal rendering, may bear some resemblance to it. "Children of Greece, go forth, emancipate your country; let all ranks and descriptions, acting on the principles of men and citizens, principles which they have so often adopted, recommended, and sanctioned, combat in the cause of their children, wives, the gods of their fathers, and the tombs of their ancestors." After his address to the Greeks in general, the author conveys further exhortations to the learned and rich, &c. to read, study, comprehend, and compare, the different statements of the two circulars, alledging that truth and justice may easily be found in the collision of false principles and delusive reasoning, with the sentiments 6 they have habitually acquired that perpetually meet their eyes and em ploy their vacant hours. "I call upon you," says he, "who are at the head of the nation, archons, members of the clergy, dignified with the title of Most Holy,' as enlightened and vigilant pastors, as the true ministers of God, discharge your duties, more especially in rendering your people capable of thinking for themselves, communicating that knowledge of social duties, which is conducted on proper principles, moral, religious, and political." He advises the multiplication of Rhigas's original publications, &c. as, from their character, calculated, in an amazing degree, to do infinite service, urging all to endeavour to comprehend the intelligence they convey, as dislodging prejudices, and giving a right bias to the mind. As likely also to beget those exertions, and that competition, which with salutary cau tion may keep pace with the wide spread effects of that intemperate criminal authority which has so long been acted on as irrefragable. The death of Rhigas gave rise to a number of opuscules, or smaller works, in modern Greek. The most remarkable bore the title of " Nomocratio, or Sacred to the Manes of the Immortal Rhigas." (New Mon.) STANZAS WRITTEN IN DEJECTION, NEAR NAPLES. BY W. S. SHELLEY. THE sun is warm, the sky is clear, The purple noon's transparent light Like many a voice of one delight, The winds, the birds, the ocean floods, The City's voice itself is soft, like Solitude's. I see the Deep's untrampled floor With green and purple seaweeds strown; I see the waves upon the shore, Like light dissolved in star-showers, thrown: I sit upon the sands alone, The lightning of the noon-tide ocean Is flashing round me, and a tone Arises from its measured motion, How sweet! did any heart now share in my emotion. Alas! I have nor hope nor health, Nor peace within, nor calm around, Nor fame, nor power, nor love, nor leisure. Others I see whom these surround Smiling they live and call life pleasure ;— To me that cup has been dealt in another measure. Yet now despair itself is mild, Even as the winds and waters are; I could lie down like a tired child, My cheek grow cold, and hear the sea Some might lament that I were cold, As I, when this sweet day is gone, Whom men love not,-and yet regret, Will linger, tho' enjoy'd, like joy in memory yet. SCRIPTURAL ALLUSION EXPLAINED. In the "Annotations" upon Glan vill's Lux Orientalis, the author having occasion to quote from the Psalms "The sun shall not burn thee by day, neither the moon by night," in order to illustrate that class of cases where an ellipsis is to be suggested by the sense rather than directly indicated, says" the word burn cannot be repeated, but some other more suitable verb is to be supplied."-A gentleman bowever, who has lately returned from Upper Egypt, &c. assures me that the moon does produce an effect on the skin which may as accurately be expressed by the word 'burn' as any solar effect. By sleeping a few hours under the light of a full moon, which is as much shunned in some parts of the East, as sleeping on the wet ground with us, or standing bareheaded under the noon-day sun in Bengal,-my informant brought a severe complaint upon his eyes. (Lond. Lit. Gaz.) THE IMPROVISATRICE, AND OTHER POEMS. BY L. E. L. IT will be expected from us that we at If true poetry consist in originality of conception, fineness of imagination, beautiful fitness and glow of expression, genuine feeling, and the outpourings of fresh and natural thoughts in all the force of fresh and natural language, it is pre-eminently conspicuous in the writings of L. E. L. Neither are her subjects nor mode of treating them, borrowed from others; but simplicity, gracefulness, fancy, and pathos, seem to gush forth in spontaneous and sweet union, whatever may be the theme. And, especially for a youthful author, her poems possess one rare and almost peculiar quality -their style is purely English. In the whole volume before us we do not meet with one ambitious word, one extraneous idiom, or one affected phrase. The effect is corresponding ly great; and never did accustomed English words more distinctly prove their high poetical powers. It seems as if by some magic touch mean and household things were changed into the rarest and most brilliant ornaments; and in reality it is that the spell of native genius throws a splendour over the common, and imparts a 61 ATHENEUM VOL. 1. 2d seriess new degree of energy and beauty to Ita Having offered these general remarks, we shall proceed to illustrate them by a view of the principal poem-The Improvisatrice, which would, alone, entitle the fair author to the name of the English Sappho. It is an exquisite story of unfortunate love; and extremely ingenious in its frame or construction. The Improvisatrice is an impassioned daughter of sunny ly, gifted with those powers of song which the name implies, and supposed to utter her extemporaneous effusions, as occasions are presented in her Her career is rechequered life. presented as alternately bright and clouded; her perceptions are always vivid, and her feelings intense. All fire, and heart and soul, the chords of her existence vibrate to the slightest impressions, and send forth tones of various and striking melody when swept by the stronger impulses of her excitable and sensitive nature. Endowed with all the characteristic tenderness, fragility, and loveliness of woman, she is the very creature of inspiration; and her being may be said to be divided between the finest sense of external beauty and the deepest consciousness of moral emotions. "I am," she abruptly but charmingly exclaims, describing herself at the opening of the poem,— I am a daughter of that land, Where the poet's lip and the painter's hand I am of Florence. "Mid the chill My childhood passed 'mid radiant things, Language so silvery, that every word My power was but a woman's power; Pencil or lute, both loved so well. This spirited commencement is however but an unfavourable exam ple of the poem. It proceeds to depict the Improvisatrice's sensations on beholding the first produce of her pencil. Her next painting is of the immortal Poetess of Lesbos, to whom, in her genius, we have ventured to compare our own charming contemporary. The portrait is worthy of Raphael: Her head was bending down, As if in weariness, and near, But unworn, was a laurel crown. She was not beautiful, if bloom And smiles form beauty; for, like death, I deemed, that of lyre, life, and love Her latest, wildest song was breaking. To this delicious personation (a few words of which we have marked in italics, to point their application to our introductory observations on the author's felicitous choice of epithets and true poetry of expression,) is added the improvised death-song of Sappho; than which we are acquainted with nothing more beautiful in our language: As yet I loved not;--but each wild, That moment, so fearful for such a heart, comes too soon. But before we go to that epocha, we would fain pause to extract "a Moorish Romance," which the scene suggests to memory; our limits, however, debar us from the gratification. Leaving this sweet example of diversified talent, we can only find space for one feature of his portrait who has the glory of inspiring the Improvisatrice's bosom with love: Such a lip!-oh, poured from thence Would come with fiery energy, He spoke not when the others spoke, His heart was all too full for praise; Which sank beneath their burning gaze. |