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But found them not, alas! nor was there aught
SONG, ON A FADED VIOLET.
THE odour from the flower is gone
A shrivelled, lifeless, vacant form,
I sigh, it breathes no more on me ; Its mute and uncomplaining lot
Is such as mine should be.
- my tears revive it not !
WRITTEN IN DEJECTION NEAR NAPLES.
THE sun is warm, the sky is clear,
The purple noon's transparent might,
Like many a voice of one delight,
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:
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
Alas! I have nor hope nor health,
Nor peace within nor calm around,
STANZAS WRITTEN IN DEJECTION.
Smiling they live, and call life pleasure ;-
Yet now despair itself is mild,
Even as the winds and waters are;
I could lie down like a tired child,
Some might lament that I were cold,
As I, when this sweet day is gone,
for I am one
Whom men love not,
and yet regret,
Unlike this day, which, when the sun
Shall on its stainless glory set,
Will linger, though enjoyed, like joy in memory yet.
A LYRICAL DRAMA IN FOUR ACTS.
THE Greek tragic writers, in selecting as their subject any portion of their national history or mythology, employed in their treatment of it a certain arbitrary discretion. They by no means conceived themselves bound to adhere to the common interpretation or to imitate in story as in title their rivals 5 and predecessors. Such a system would have amounted to a resignation of those claims to preference over their competitors which incited the composition. The Agamemnonian story was exhibited on the Athenian theatre with as many variations as dramas.
I have presumed to employ a similar licence. The Prometheus Unbound of Eschylus supposed the reconciliation of Jupiter with his victim as the price of the disclosure of the danger threatened to his empire by the consummation of his marriage with Thetis. Thetis, according to this view of the 15 subject, was given in marriage to Peleus, and Prometheus, by the permission of Jupiter, delivered from his captivity by Hercules. Had I framed my story on this model, I should have done no more than have attempted to restore the lost drama of Æschylus; an ambition which, if my preference to this mode 20 of treating the subject had incited me to cherish, the recollection of the high comparison such an attempt would challenge might well abate. But, in truth, I was averse from a catastrophe so feeble as that of reconciling the Champion with the Oppressor of mankind. The moral interest of the fable, which 25 is so powerfully sustained by the sufferings and endurance of