THE INCOGNITA OF RAPHAEL.* LONG has the summer sunlight shone On the fair form, the quaint costume; Their blight upon her perfect lot; In this bright moment matters not. No record of her high descent There needs, nor memory of her name: Enough that RAPHAEL'S colours blent To give her features deathless fame! 'Twas his anointing hand that set The crown of beauty on her brow; Still lives its earlier radiance yet, As at the earliest, even now. "Tis not the ecstasy that glows In all the rapt CECILIA'S grace; He painted on the Virgin's face. What mortal thoughts, and cares, and dreams, The golden necklace on her breast. What mockery of the painted glow May shade the secret soul within; What griefs from passion's overflow, What shame that follows after sin ! Yet calm as heaven's serenest deeps Are those pure eyes, those glances pure; And queenly is the state she keeps, In beauty's lofty trust secure. And who has stray'd, by happy chance, Through all those grand and pictured halls, Nor felt the magic of her glance, As when a voice of music calls? Not soon shall I forget the day- The light of that delicious clime I mark'd the matchiess colours wreathed The blessings that they could not speak. • The portrait to which these verses refer is in the Pitti Palace at Florence. It is one of the gems of that admirable collection. Oh, fit companionship of thought; Oh, happy memories, shrined apart; The rapture that the painter wrought, The kindred rapture of the heart! UHLAND. IT is the poet UHLAND, from whose wreathings His is the poetry of sweet expression, Of clear, unfaltering tune, serene and strong; Where gentlest thoughts and words, in soft procession, Move to the even measures of his song. Delighting ever in his own calm fancies, He sees much beauty where most men see naught, Looking at Nature with familiar glances, And weaving garlands in the groves of thought. He sings of youth, and hope, and high endeavour, He sings of love-O crown of poesy!Of fate, and sorrow, and the grave, forever The end of strife, the goal of destiny. He sings of fatherland, the minstrel's glory, High theme of memory and hope divine, Twining its fame with gems of antique story, In Suabian songs and legends of the Rhine; In ballads breathing many a dim tradition, Nourish'd in long belief or minstrel rhymes, Fruit of the old Romance, whose gentle mission Pass'd from the earth before our wiser times. Well do they know his name among the mountains, And plains, and valleys, of his native land; Part of their nature are the sparkling fountains Of his clear, thought, with rainbow fancies spann'd. His simple lays oft sings the mother cheerful The hillside swain, the reaper in the meadows, O precious gift! O wondrous inspiration! Wide is its magic world-divided neither HENRY W. PARKER. [Born, 1825.] THE Reverend HENRY W. PARKER is a native of Danby, New York, and was born in 1825. His mother is a niece of the late NOAH WEBSTER, and his father, the Reverend SAMUEL PARKER, of Ithaca, travelled in Oregon, and published in 1837 an account of his tour, a very interesting book, in which the practicability of a railroad through the Rocky Mountains was first suggested. Mr. PARKER passed his early years in Ithaca, a place of singular beauty, at the head of Cayuga Lake, and was graduated at Amherst College in 1843. He subsequently studied divinity, and is now pastor of a Presbyterian church in Brooklyn. VISION OF SHELLEY'S DEATH. THE wind had darkly touched the outer bay, His wife, to whom he was married in 1852, is the author of a work entitled "Stars of the Western World," and he has himself written much in "The North American Review" and other periodicals, besides a volume of "Poems," published at Auburn, in 1850, and "The Story of a Soul," a poem read before the literary societies of Hamilton College, in 1851. Mr. PARKER has a luxuriant fancy, a ready apprehension of the picturesque in nature, a meditative tenderness, and uncommon facility of versification. In some of his pieces there is humor, but this is a quality he does not seem to cherish. A moment, and no trace of man or spar THE DEAD-WATCH. EACH saddened face is gone, and tearful eye And the wide air with storm and darkness lowers; Or of stern battle, sca, and stormy wreck; Call up the visions gay of other daysOur boyhood's sports and merry youthful ways. Hark to the distant bell!-an hour is gone! Enter yon silent room with footsteps light; Our brief, appointed duty must be done To bathe the face, and stay death's rapid blight: To bare the rigid face, and dip the cloth That hides a mortal, "crushed before the moth." The bathing liquid scents the chilly room; How spectral white are shroud and vailing lace On yonder side-board, in the fearful gloom! Take off the muffler from the sleeper's faceYou spoke, my friend, of sunken cheek and eyeAh, what a form of beauty here doth lie! Never hath Art, from purest wax or stone, So fair an image, and so lustrous, wrought; It is as if a beam from heaven had shown A weary angel in sweet slumber caught!The smiling lip, the warmly tinted cheek, And all so calm, so saint-like, and so meek! She softly sleeps, and yet how unlike sleep; No fairy dreams flit o'er that marble face, As ripples play along the breezy deep, As shadows o'er the field each other chase; The spirit dreams no more, but wakes in light, And freely wings its flashing seraph flight. She sweetly sleeps, her lips and eyelids sealed; No ruby jewel heaves upon her breast, With her quick breath now hidden, now revealed, As setting stars long tremble in the west; But white and still as drifts of moonlit snow, Her folded cerements and her flushless brow. Oh, there is beauty in the winter moon, And beauty in the brilliant summer flower, And in the liquid eye and luring tone Of radiant Love's and rosy Laughter's hour; But where is beauty, in this blooming world, Like Death upon a maiden's lip impearled! Vail we the dead, and close the open door; Perhaps the spirit, ere it soar above, Would watch its clay alone, and hover o'er The face it once had kindled into love; Commune we hence, oh friend, this waket l night, Of death made lovely by so blest a sight SONNETS. SUMMER LIGHTS. NO MORE the tulips hold their torches up, In low obeisance bow their weight of green; The locusts bloom with swarms of snowy bees Each snow-ball bush with full-blown moons is hung, That make the fragrant branches downward lean; And all around, like red suns setting low, Large peonies shed a burning crimson glow, While, worlds of foliage on the shoulders swung Of Atlantean trunks, the orchards darkly grow. SUMMER'S ESSENCE. A TIDE of song and leaf, of bloom and featherA sea of summer's freshest, fullest splendor, Has come with June's serenely crystal weather. Whate'er of beauty, mornings clear and tender And golden eves and dewy nights, engender, 1 as met in one bewildering bliss togetherDelicious fragrance, foliage deep and massy, Infolding roses, silver locust flowers, And darkling silences of waters glassy, Soft crescents, loving stars and nightly showers, Rich shades and lemon lights in vistas grassy, And sweetest twitterings through all the hours, And opal clouds that float in slumber bland, And distances that soften into fairy-land. A STREET. By day, soft clouded in a twilight gloom, And sunny spots upon the level floor, SNOW IN THE VILLAGE. NOT thus on street and garden, roof and spire, The snow, for ages, here was yearly spread; It tipt the Indian's plume of bloody red, And melted, hissing, in his council-fire; It gave an impress to the panther's tread, And all the monster feet that filled the wood. But now the snow of whiter towns and faces Has drifted o'er the glorious solitude; And death and silence, like a winter, brood Upon the vanished brute and human races. So let oblivion come, till it effaces, Oh weary soul, thy summer's maddest mood, Thus o'er thy woes let silence softly fall, And Winter, with a holy beauty, vail them all JOHN ESTEN COOKE. [Born, 1830.] Virginia society just before the revolution. Tha book is thoroughly democratic and American, and abounds with natural delineations of character, brilliant dialogue, and graphic description. In the same year he produced "The Youth of Jefferson," in all respects, perhaps, his best novel. It is found JOHN ESTEN COOKE, son of JOHN ROGERS and MARIA PENDLETON COOKE, and brother of the author of "Froissart Ballads," was born in Winchester, Frederic county, Virginia, on the third of November, 1830; was taken to Glengary, his father's estate, near that town, and lived there until the destruction of the house by fire, in 1839, whened on some of the statesman's early letters, and is the family removed to Richmond, which has ever since been his home. Having studied the law, in the office of his father, he was admitted to the bar, and continues in the practice of the profession. Mr. COOKE's first work was "Leather Stocking and Silk," which appeared in 1853. It is a story of provincial life in Virginia, as it is represented in the traditions which cluster around Martinsburg. It is remarkable for picturesque grouping and dramatic situations, for simple touches of nature, and gentle pathos. This was followed in 1854 by "The Virginia Comedians, or the Old Days of the Old Dominion," in which is presented a carefully studied and finely colored picture of a graceful and romantic drama, the personages of which are distinctly drawn, and in their different ways all interesting. In 1855 he published "Ellie, or the Human Comedy." Mr. COOKE's poems have appeared in the "Literary Messenger" and other southern periodicals. The longest and most remarkable of them has but the unexpressive title of "Stanzas," and its subject and style will remind the reader of a noble work of the most popular living poet of England. It is, however, an original performance, simple, natural, and touching, and every verse vindicates its genuineness as ar expression of feeling. His minor pieces are cabinet pictures, executed with taste and skill, EXTRACTS FROM "STANZAS." I. FOR long I thought the dreadful day And then, "Even put your grief in words, "Oh Soul! these are the trials meet To fit thee for the nobler strife The wagons rattling o'er the way - Where law's condottieri wage To that green mountain land of thine, III. The deep alarum of the drum Resounds in yonder busy street, And brazen-throated horns reply: And half I grasp the empty air, The trumpet dies, a distant roar, The drum becomes a murmuring voiceNo more in battle I rejoice, But fall to dreaming as before Of other skies and greener trees, And mountain peaks of purple gloom — And of the dim and shadowy tomb, Where that great spirit rests in peace. IV. The sunset died that tender day, Across the mountains bright and pure, With whitest sails toward the dim And still the conversation ranged That spread around a steady light, And mocked the strength of hostile hands And pointed man to other lands Of hope beyond Thought's farthest flight. That noble forehead, broad and calm, Was flushed with evening's holy ray, His low sweet tones fell on the ear Of midnight, when the spirits catch And now recalling that dim eve, And him who spake those noble words. Though trembling still in all its chords, My heart is calmed, and I believe. V. I thought to pass away from earth Because it lies too deep for words, VI. Come from the fields, thy dwelling place, With which the fainting bosom fills, And calm the throbbing heart and head: So shall I gather strength again To stem the tide of worldly strife, To bear the weariness of life, And feel that all things are not vain. CLOUDS. I KNOW not whither past the crimson zone Play for a moment gayly on their soft MAY. HAS the old glory passed Has the old Beauty gone Or knolls of the forest withdrawn, Is the old freshness dead Of the fairy May ?— Ah! the sad tear-drops unshed! Ah! the young maidens unwed! Golden locks-cheeks rosy red! Ah! where are they? |