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How sweet 'tis to look at the red blushing cloud
And smile of the azure blue sky, But sweeter, far sweeter, the blush on thy cheek,
And sweeter the smile of thine eye.
And when in the bosom of ocean the sun,
Has sunk for a time from the view, Still lovely the scene, when by moonlight beheld,
Of a soft and a silvery hue.
But what are the richest and loveliest scenes
That nature or art can display,
Nor summer itself can look gay.
THE ORPHAN BOY.
Stay, Lady, stay, for mercy's sake,
Poor foolish child! how pleased was I
The people's shouts were long and loud ; My mother shuddering stopp'd her ears; “Rejoice ! Rejoice !” still cried the crowd, My mother answered with her tears. • Why are you crying thus,' said I, • While others laugh and shout with joy 24 She kissed me—and, with such a sigh! She called me her poor Orphan Boy,
Beyond Busaco's mountains dun,
O'er nature's still convexity;
The banners flapp'd incessantly.
* We are not prepared at present, with certainty to affirm who may have been the author of this excellent song. Were we, however, to hazard a conjecture, we would ascribe it to the pen of Mr. J. Hogs, more generally known by the familiar appellation of “The Ettrick Shepherd." To this we are induced both from the internal evidence which the piece itself exhibi's, and by its appearance first of all in the Spy, a periodical work. published in Edinburgh, of which Mr. Hogg was himself the Editor.
The loud war trumpet woke the morn,
Arouse for death or victory;
Hung on the bold declivity.
The serried bay'nets glittering stood,
Reeld in the flickering canopy.
Rush'd to the dreadful revelry.
Whoever may have been the author, The Battle of Busaco is a song of considerable merit, and undoubtedly the production of a master in poetry. It is evidently done in the style of Mr. Campbell's Hohenlinden, and though the imitation must be acknowledged to be in some respects inferior to the model, yet still it possesses particular, nay even distinguished excellence in its kind. By a variety of bold picturesque allusions, expressed by terms most appropriate and impressive, the poet introduces, describes, and concludes the interesting scenes of action, of contest, and of death. With a concern which it is utterly impossible to suppress, we hear the awfully comprehensive signal to engage, “ Arouse for death or victory." In harsh grating sounds, which enter the very spul, we are informed of legions “ Rushing to the dreadful revelry," while the poet in a manner highly significant, personifies“ Red Ruin riding triumphantly." The whole, in fact, is a highly finished effusion, eminently calculated to commemorate the affair to which it refers, and by its impulse to rouse the undaunted and heroic to the boldest “ Feats of chivalry.”
The pause is o'er, the fatal shock,
Red ruin rides triumphantly;
. Prone on the battle's boundary.
The 'thistle wav'd her bonnet blue,
Busaco in thy heraldry;
Rous'd at their feats of chivalry.
How still is the night, and how deathlike the gloom,
Which earth's lonely bounds now enshrouds, No star sparkles bright, and retir'd is the moon From her sentinel-watch in the clouds..