And the Mede left many a bow On the sounding ocean-shore When banners caught the breeze, ANCIENT GREEK SONG OF EXILE. WHERE is the summer with her golden sun ?- Where is the summer with her voice of mirth? Where are the Fauns whose flute notes breathe and die The reeds, low whispering o'er the river waves? Where are the temples, through the dim wood shining Where are the vineyards, with their joyous throngs, Where the deep haunted grots, the laurel bowers, Oh! that my life were as a southern flower's! I might not languish then by these chill streams, GREEK FUNERAL CHANT, OR MYRIOLOGUE, "Les Chants Funèbres par lesquels on déplore en Grèce la mort de ses proches, prennent le nom particulier de Myriologia, comme qui dirait, Discours de lamentation, complaintes. Un malade vient-il de rendre le dernier soupir, sa femme, sa mère, ses filles, ses sœurs, celles, en un mot, de ses plus proches parentes qui sont là, lul ferment les yeux et la bouche, en épanchant librement, chacune selon son naturel et sa mesure de tendresse pour le défunt, la douleur qu'elle ressent de sa perte. Ce premier devoir rempli, elles se retirent toutes chez une de leurs parentes ou de leurs amies. Là elles changent de vêtemens, s'habillent de blanc, comme pour la céremonie nuptiale, avec cette difference, qu'elles gardent la tête nue, les cheveux épars et pendants. Ces apprêts terminés, les parentes reviennent dans leur parure de deuil; toutes se rangent en circle autour du mort, et leur douleur s'exhale de nouveau, et, comme la première, fois, sans règle et sans constrainte. A ces plaintes spontanées succédent bientôt des lamentations d'une autre espèce: ce sont les Myriologues. Ordinairement c'est la plus proche parente qui prononce le sien la première; apres elle les autres parentes, les amies, les simples voisines. Les Myriologues sont toujours composés et chantés par les femmes. Ils sont toujours improvisés, toujours en vers, et toujours chantés sur un air qui diffère d'un lieu à un autre, mais qui, dans un lieu donné, reste invariablement consacré à ce genre de poësie." Chants Populaires de la Grèce Moderne, par C. Fauriel.] A WAIL was heard around the bed, the deathbed of the young, Amidst her tears the Funeral Chant a mournful mother sung."Ianthis! dost thou sleep?-Thou sleep'st!-but this is not the rest, The breathing and the rosy calm, I have pillow'd on my breast! "I look upon thee, thou that wert of all most fair and brave! "Oh! ever when I met thy look, I knew that this would be! I knew too well that length of days was not a gift for thee! I saw it in thy kindling cheek, and in thy bearing high !— A voice came whispering to my soul, and told me thou must [ing red. die! That thou must die, my fearless one! where swords were flashWhy doth a mother live to say-My first-born and my dead? They tell me of thy youthful fame, they talk of victory wonSpeak thou, and I will hear! my child, Lanthis! my sweet son !" A wail was heard around the bed, the deathbed of the young, A fair-hair'd bride the Funeral Chant amidst her weeping sung. "Ianthis! look'st thou not on me?-Can love indeed be fled? "But where was I when thou didst fall beneath the fatal sword? Was I beside the sparkling fount, or at the peaceful board? Or singing some sweet song of old, in the shadow of the vine, Or praying to the saints for thee, before the holy shrine? And thou wert lying low the while, the life-drops from thy heart Fast gushing like a mountain-spring!-and couldst thou thus depart? [breath?Couldst thou depart, nor on my lips pour out thy fleeting Oh! I was with thee but in joy, that should have been in death! "Yes I was with thee when the dance through mazy rings was led, [was spread! And when the lyre and voice were tuned, and when the feast But not where noble blood flow'd forth, where sounding javelins flew Why did I hear love's first sweet words, and not its last adieu? What now can breathe of gladness more,-what scene, what hour, what tone? The blue skies fade with all their lights; they fade, since thou art gone! [moved-Even that must leave me, that still face, by all my tears unTake me from this dark world with thee, Ianthis! my beloved!" A wail was heard around the bed, the deathbed of the young, Amidst her tears the Funeral Chant a mournful sister sung. Ianthis! brother of my soul !-oh where are now the days That laugh'd among the deep green hills, on all our infant plays? When we two sported by the streams, or track'd them to their source, And like a stag's, the rocks along, was thy fleet, fearless course, 1 see the pines there waving yet, I see the rills descend, I see thy bounding step no more-my brother and my friend! "I come with flowers for spring is come! Ianthis! art thou here? I bring the garlands she hath brought, I cast them on thy bier! Thou shouldst be crown'd with victory's crown-but oh! more meet they seem, The first faint violets of the wood, and lilies of the stream! More meet for one os fondly loved, and laid thus early lowAlas! how sadly sleeps thy face amidst the sunshine's glow: The golden glow that through thy heart was wont such joy to send,[friend!" Woe! that it smiles, and not for thee!-my brother and my THE PARTING SONG. [This piece is founded on a tale related by Fauriel, in his "Chanson's Populaires de la Grèce Moderne," and accompanied by some very interesting particulars respecting the extempore parting songs, or songs of expatriation, as he informs us they are called, in which the modern Greeks are accustomed to pour forth their feelings on bidding farewell to their country and friends.] A YOUTH went forth to exile, from a home And this was what he left!-Yet many leave Yet had he friends, 66 Farewell, farewell! dell, I hear thee, O thou rushing stream!-thou 'rt from my native [well! Thou 'rt bearing thence a mournful sound-a murmur of fare And fare thee well-flow on, my stream!-flow on thou bright and free! I do but dream that in thy voice one tone laments for me; But I have been a thing unloved, from childhood's loving year's, And therefore turns my soul to thee, for thou hast known my teals! [known: The mountains, and the caves, and thou, my secret tears have The woods can tell where he hath wept, that ever wept alone! "I see thee once again, my home! thou'rt there amidst thy vines, And clear upon thy gleaming roof the light of summer shines. It is a joyous hour when eve comes whispering through thy groves, [loves! The hour that brings the son from toil, the hour the mother The hour the mother loves!-for me beloved it hath not been; Yet ever in its purple smile, thou smilest, a blessed scene! Whose quiet beauty o'er my soul through distant years will come Yet what but as the dead, to thee, shall I be then, my home? "Not as the dead!-no, not the dead!-We speak of themwe keep [deep! Their names, like light that must not fade, within our bosoms We hallow even the lyre they touch'd, we love the lay they sung, We pass with softer step the place they fill'd our band among! But I depart like sound, like dew, like aught that leaves on earth No trace of sorrow or delight, no memory of its birth! I go!-the echo of the rock a thousand songs may swell When mine is a forgotten voice.-Woods, mountains, home, farewell! "And farewell, mother!-I have borne in lonely silence long, But now the current of my soul grows passionate and strong! And I will speak! though but the wind that wanders through the sky, And but the dark, deep-rustling pines and rolling streams reply, Yes! I will speak!-within my breast whate'er hath seem'd to be, [thee! There lay a hidden fount of love, that would have gush'd for Brightly it would have gush'd, but thou, my mother! thou hast thrown [own! Back on the forests and the wilds what should have been thine "Then fare thee well! I leave thee not in loneliness to pine, Since thou hast sons of statelier mien and fairer brow than mine! Forgive me that thou couldst not love!-it may be, that a tone Yet from my burning heart may pierce through thine, when I [hast smil'd, And thou, perchance, may'st weep for him on whom thou ne'er am gone! |