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"Fred ! " exclaimed Heinrich , "don't talk so ; old memories , though subdued , are not killed . " " What are the memories ? " demanded Fred . Shall I tell him ? " asked Heinrich , turning laughing to Helen . A low " yes " was the maiden ' s replv . "Well , Helen , " said he , taking her hand , " what he wants me to confess is this : —that I once loved youj that for your sake I have struggled against that love and subdued it , and that I now stand before you with the heart of a brother , and pray God to bless you . "
A kind of sympathetic motion stirred the maiden ' s lips , and she murmured " God bless you !" " Nay , Heinrich ! nay , Helen ! not so , " exclaimed -ed . "This infernal delusion must not blind you . Do not contravene the manifest design of Heaven who made you for each other . Go together the name of God I " A deathlier paleness overspread the maiden ' s The had
^ neek . sun sunk , and the west glowed like the gates of heaven , beside which , half lost amid the amber , one bright star stood sentinel . A million thoughts rushed simultaneously upon the brain of Heinrich , and the long-quelled fervour of his heart now rose welling to his lips . " Fred , " he muttered in a condensed whisper , as if unconscious of the maiden ' s presence , " do you think she would come ?"
" Will you go , Helen ? " asked Fred . "Come my girl , let me answer for you—you will !" " I will , " replied the maiden . The arms of a man were around her in an instant , and the heart of a man throbbed against her lily cheek . He kissed it till its roses kindled , and unii the fairies danced more joyously that night xo the grave of the old forester .
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' BROAD STONE OF HONOUR . " DEDICATED TO THE SUBSCRIBERS TO THE ELLIOTT MONUMENT . Oft hath the foot of Elliott pressed His Rivelin's rocky side , As he tuned to her chime the rush of his rhyme , And voiced her beauties wide . Now low he lies , and the lonely stream A sad song murmureth ever ; But his " Farewell" lay shall pass away From her " heart-breaking" melody never ! * From his loved haunt bring a granite block , Massive , and rugged of crest ; And bold and bare , in our broadest square , Like a cromlech let it rest ; And on its top , in sculptured life , Let the Corn-Law Rhymer stand , And for ever rebuke , Avith dark , keen look , The leech-lords of the land ! Let him stand on that pile as he stood ere while On Win-hill ' s glorious crown , And , Etna-like , on greed and guile His lava-wrath rolled down . There let him stay lor ever and aye , — The type of a true , brave man , — With tongue to plead and a heart to bleed For truth in the battle ' s van ! And let no chisel mangle its form , — The stone whereon he stands : Let it tower in pride , with the moss on its side , Ah it cometh from Nature's hands . And he and the rock , through storm and shock , Shall call— " Never flinch in the light ; Stand iir ' m against wrong , —stern , stedfast , and strong , — Kough and ready and right !" And at eve , when the hum of toil is dumb , And listeners' heart * at , peace , Strains sweeter far to their minds . shall come Than the . statue-voice of d recce , ¦¦—Of beauty and love , and the daisied sod , And the blue sky overhead ; Of the faith of man , and the -works of ( jiod , And the ever-deathless dead ! And men shall say : - " This man was sent . A Titan ' s tusk to do ; Had it been hut . to sin-:, -oh , the world would ring With bin music , fresh and true !" Then let . us honour law noble name I ' or the good work he hath done ; And lot ' -s claim bin ri g hteous fame For the laurels he might , have won ; j \ n < l turn again to the utorni-tricd twain , And pray that . Miml and Might May dwcll ' on the earth with Truth and Worth , — Hough and ready and ri ^ bt ! David Walk ins haw . Sheffield , March 1 , 18 / 51 . ? Si >« Mm « 'x <| uinit < r " I ' ltnuvrll to Kivnliii " : ¦ --"' Why < lo I lriivn t . lieo , hcjut-tdoukiiif ; river ? - l . ovc . thro mill Iiihvh I . hc « i /•¦ -lrnv <; I lien l '» r rver ! N ( iv « T to hod time , wlmro tlwi Htni'iiiH ffi-iii-t . Ihco ! Never to hour time , ruahiiii ? to meet inn ! "
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WATER COLOUR SOCIETY . The forty-seventh exhibition of the veteran society in Pail-Mall is , as like its recent predecessors , as the sun of one year is . like that of the last , or as the primroses—witness the very primroses in Hunt's pictures . This year in particular the sameness is rendered more striking even by the changes which we notice , since those changes are of a negative kind : De Wint is among the departed ; F . Lewis and Cattermole contribute nothing ; Hunt confines himself to flowers , supplying neither his sketches of character nor interiors , but extending
somewhat in the direction of landscape-painting . Prout is there in full foi'ce , with scenes like the " St . Pierre at Caen , " standing forth in such vigour that each particular brick strikes upon the eye ; William Callow , with civic views in his smoother style ; Charles Bentley , with his moving and breezy water scenery ; V . Bartholomew , with first-rate flowers equal to anything from Foster ' s shop ; Joseph J . Jenkins , with lovely girls of his numerous and well-known family ; Topham , with
Highland smugglers ; Nesfield , with mountain sqenery less prismatic than usual , and proportionately stronger in effect ; Bran white , with frost scenery ; Evans , of Eton , —more spirited than ever , perhaps because more finished , —amid the breezes and sports of Glen Tilt ; David Cox , with English field scenery , as fresh as the wind itself ; the younger David Cox , emulating the father , and indeed surpassing him , in a more comprehensive style of treatment—witness the " Views on the river Arun
and the river Llugwy . " Throughout this list , which might be extended , we recognize the power attained by the English landscape painters through seizing fast hold of some traits of Nature herself , and faithfully endeavouring to convey those to the paper . The true painter must be a student throughout life , and in the English school the landscape painter is most faithful to that necessity ; hence the vitality and
excellence of our landscape painters . Hence also the striking fact , that even their veteran years are not closed against improvements . Witness the chastening of David Cox ' s manner in the treatment of his clouds—no longer such manifest scraps of paper as they used to be . By an infidelity to that rule , Frederick Tayler appears to us more mannered and theatrical , less graceful and forcible , than he has been .
By the strictest fidelity , Hunt continues to make the same primroses , the same scraps of grass , of moss , and earth , we wondered at last year , as fresh and new as the flowers themselves when they reappear every year . With surprising fidelity of eye and certainty of touch , with a thorough mastery of colour , Hunt is able to paint as the photograph and Nature herself do , by making" out each particular detail . The landscape , " Winter , " in which each twig , dead leaf , or blade of grass appears in its own place , with its own character , is a remarkable instance of the force thus attained ; and long experience of the faithful student convinces us , that lie will work his way through this style of landscape portraiture , to greater unity .
E . Duncan has left the forest for the waters , and his powerful picture of boats preparing for the herring . ishery oil' Lowesloft promises much success ; but let him avoid persevering in the impossible attempt to paint the direct light of the sun . NKW WATKIt COLOUR SOCIKTY . The younger Association , as usual , possesses more variety than the older , and more human interest in its designs ; while one of its youngest members , Charles Davidson , excels the most vigorous of the veterans in the force and freshness of his green landscape . The principle picture , this year , is Kdwanl (' orbouhl's scene ; from I jc I ' ropli . rte , with portraits of Vianlot , Mario , Koriucs ,
and in shoi t the tableau from the Italian < ) pcra . 'I'he picture was painted by the desire of IVmce Albert , It is one oi Corbould's most ; striking pieces of i'lvciitioii ; but , the portraits are not , very faithful . Warren's principal picture is "The Death of the Firstborn of ' ' -gyp ' " « 'u » impressive design of ; i mother weeping over her child , whose rigid form is shrouded in drapery ; Wchnart ' s is "The Spirit of Religion" ; Absolon ' s , "Clarissa . " Hut , we shall return to tins exhibition when morn . space enables us l , o do it . fuller justice . Inhibitions of mark and likelihood have come rather thick upon us this week .
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THE DRAMATIC WEEK . The opening of the French . Theatre is an event . To all lovers of fine acting and lively comedies there is no treat comparable to that afforded during the season by that liberal caterer , Mr . Mitchell The very announcement gave me a thrill . I was among the buds—as you may remember—luxuriating in pastoral delights , and enjoying that mystic communion with Nature which all gentlemen of a poetical turn feel bound to cultivate . But even there , when the soothing influences of Nature were transforming me into a Corydon , and I began to feel an incipient desire for a crook —( to say
nothing of a tight jacket and pink satin unwhisperables !)—even there , where I was turning from the grub of Civilization into the Butterfly of Nature , felt all the old yearnings for stalls and opera-glass troubling my fluttering heart , till finally , unable to resist the attraction , I packed up , and expressed to Town . The French Plays ! how could I stay in the country and miss those ? It was not to be thought of ! Something of my keen and eager anticipation must have been translated by my expressive face , for a portly Manchester Manufacturer who sat in the carriage asked me if I were " going up for the Great Exhibition ? " The Exhibition indeed ! I—
who don ' t know a steam-engine from a turning lathe—and who am devoted to the Drama , pen and pencil-case—I rush up for this Monster Polytechnic ! I smiled blandly at my questioner , and replied , "No : for the French Plays . " He fell silent . All chance of sympathy was at an end . He * evidently regarded me as a foreigner of great distinction ; and , although I continued affable , I could see my indifference towards his darling Object prevented further expansiveness on his side .
Perhaps , reader , you are like that manufacturer ? My ignorance distresses you ? Tant pis ! I cannot alter myself . My studies have not been in the engineering department ; they have been , as you know , principally among th& Christian Fathers and the Dramatists . My taste may be bizarre ; but , after all , since it is my taste ... ! Give me a good folio—say Origen contra Celsum , or any work of
the dignified Chrysostom as the hot joint for my dinner , and a gay , witty vaudeville or comedy will serve as my omelette aux fines lierbes . Theological controversy in difficult Greek , and sparkling comedy in piquant French—what more can man desire ? This is my taste : and it will , perhaps , explain my writings , for you may perceive that I take my wit from the Christian Fathers , and my theology from the French vaudevilles I
Down in the country I had a good feast of Origen . But he is not a lively writer , and I began to find him a little wearisome . On se lasse de tout ! you cannot eat partridges every day for a month . Just at this period came the news that Mr . Mitchell was to give tis the French plays . Imagine liow rapidly 1 packed up , and found myself in London again ! Was it the keenness of anticipation which made the performance flatter than usual , or waa it the fault of the actors ? I will not decide . The two importations from the Palais Royale were never favourites of mine : Hyacinthe has a nose —but , oh ! a nose . . . ! Having said that , I have given the programme of his capabilities . Mdlle . Scriwaneck is a Hruinmagem Dejazet .
" Non ragioniiim dilor , Ma giifirda e pas . sa ;" it ; is Dante who bids us not to waste words on such " individuals , " but merely to throw a glance at them and pass on . Then the comedy , ha Batailfe des Dames , by Scribe and Legouve , is certainly an ingenious and exhilarating piece of writing , acted to perfection by Itegnier and Lafont . Hut there were drawbacks both in the piece and in the acting . 1 cannot bring myself to accept as pleasant or comic the situation of an aunt , in love with tbe lover of Jier
niece , which brings forward this duel in love between two women ; nor is it agreeable to hco a woman still charming ( Mademoiselle Judith is not (¦ banning , but she is supposed to be so in the comedy ) , making love to a man Home yearn her junior , who feels bound to her by t / rntiti ( dc . This is the leading idea of the piece , and iri no far tho comedy is not agreeable . 1 will not . say the nul > -
ject , is inadmissible ; but it requires peculiar art in tbe treatment to make it , acceptable . This art the authors have not . shown . Legouvd is the , son of that ; liCgouve who wrote a poem on the Merit of Woman , which bad an enormous Hale . Consequently , the son of mieh an author in bound to l > o ( litbyrainbio in praise , of woman—he has a copyrigid in the wubjeet ! JJut , writing in conjunction with Scribe , tho lively sceptic , who haH no copy-
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May 3 , 1851 . ] , q > $ e & *« & ** 421
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Leader (1850-1860), May 3, 1851, page 421, in the Nineteenth-Century Serials Edition (2008; 2018) ncse2.kdl.kcl.ac.uk/periodicals/l/issues/vm2-ncseproduct1881/page/17/
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