Title: Poems, translated and original
Author: E. F. Ellet
Release date: July 30, 2023 [eBook #71302]
Language: English
Original publication: United States: Key & Biddle
Credits: The Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive)
[Pg iii]
[Pg v]
POEMS,
TRANSLATED AND ORIGINAL.
BY
MRS. E. F. ELLET.
Philadelphia:
KEY & BIDDLE, 23 MINOR STREET.
1835.
[Pg vi]
Entered according to the act of congress, in the year 1835, by Key &
Biddle, in the clerk’s office of the district court of the eastern district of
Pennsylvania.
Philadelphia:
T. K. & P. G. Collins, Printers,
No. 6 George Street.
[Pg vii]
Many of the following poems have appeared, within the last two years, in different periodical publications, and are now, by permission, inserted in this collection.
The tragedy at the end of the volume, is founded upon an incident well known in the history of Venice, which has formed the material for various works of fiction. Niccolini has written a classic play upon the subject, of which the author of this piece has availed herself in part of the first scene of the first act, and in a few occasional passages of scene first of the fifth act. The conduct of the plot, and the leading incidents, differ materially from those of Niccolini.
The author takes this opportunity to render her grateful acknowledgments to the distinguished lady, Miss Phillips, who sustained the part of the heroine; and to whose talents and exertions the play was indebted for its success in representation.
[Pg ix]
The Sepulchres, | PAGE 13 |
Lake Ontario, | 22 |
The Prince and the Palm Tree, | 24 |
Hacon, | 26 |
The Forest Temple, | 29 |
Oh! her glance is the brightest that ever has shone, | 31 |
To a Waterfall, | 32 |
The Sea Kings, | 34 |
The waves that on the sparkling sand, | 36 |
Is this a Day of Death? | 37 |
Paraphrase of the one hundred and thirty-seventh Psalm, | 38 |
The cloud where sunbeams soft repose, | 40 |
Like southern birds, | 41 |
The Loss of the Anio, | 42 |
The Guardian Genius, | 47 |
Stanzas, | 49 |
Song—the closing year, | 51 |
Scene from Alfieri’s Tragedy of Saul, | 53 |
The Vanity of the Vulgar Great, | 59 |
Sonnet—Rome in ruins, | 61 |
Fables, | 62 |
[Pg x] O’er the far mountain peak on high, | 65 |
Incantation of Hervor, | 66 |
Death, | 69 |
Enthusiasm, | 71 |
The Dying Poet, | 74 |
I would I were the light winged bird, | 80 |
Midnight Thoughts, | 82 |
Song of the Jewish Exiles, | 84 |
The Druids’ Hymn, | 86 |
The Blind Harper, | 88 |
The Mermaid’s Song, | 90 |
Susquehanna, | 91 |
Romance, | 94 |
The Death of St. Louis, | 96 |
Complaint of Harald, | 100 |
Echo, | 102 |
Epigram, | ib. |
The Pictured Rocks, | 103 |
Sunset, | 107 |
To the Lance-fly, | 108 |
The Division of the Earth, | 109 |
In yonder lake of silver sheen, | 111 |
The Swallows, | 112 |
Nature, | 114 |
Lines, | 116 |
Fragment from “Ildegonda,” | 117 |
A Life spent in Pursuit of Glory, | 119 |
The Wish, | 120 |
The Northern Hunter’s Song, | 121 |
From Ippolito Pindemonte—The Poet’s Last Dwelling, | 123 |
From mountains at the dawn of day, | 125 |
[Pg xi] The Witches’ Revel, | 126 |
Song, | 128 |
Sodus Bay, | 130 |
Notes, | 133 |
Teresa Contarini—a tragedy, | 137 |
[Pg 13]
FROM THE ITALIAN OF UGO FOSCOLO.
[Pg 22]
[Pg 24]
Abderahman, the first king of Moorish Spain, is said to have been the
first who transplanted the palm from the East into Spain. He is represented
as frequently addressing it with great feeling, connecting it with
recollections of his native land, whence he had been driven by the usurper
of his rightful throne.
[Pg 26]
[Pg 29]
[Pg 31]
[Pg 32]
[Pg 34]
“They are rightly named Sea Kings,” says the author of the Inglingasaga,
“who never seek shelter under a roof, and never drain their drinking
horn at a cottage-fire.”
[Pg 36]
[Pg 37]
[Pg 38]
[Pg 40]
[Pg 41]
[Pg 42]
FROM THE FRENCH OF ALPHONSE DE LAMARTINE.
[Pg 47]
FROM THE FRENCH OF ALPHONSE DE LAMARTINE.
[Pg 49]
WRITTEN WHILE SAILING THROUGH THE DELAWARE WATER-GAP.
[Pg 51]
[Pg 53]
Saul, Jonathan, Michol, David.
[Pg 59]
A FRAGMENT FROM THE ITALIAN OF FULVIO TESTI.
[Pg 61]
FROM THE SPANISH OF QUEVEDO.
[Pg 62]
FROM THE SPANISH OF YRIARTE.
I.
II.
[Pg 65]
[Pg 66]
[Pg 69]
[Pg 71]
FROM THE FRENCH OF ALPHONSE DE LAMARTINE.
[Pg 74]
FROM THE FRENCH OF ALPHONSE DE LAMARTINE.
[Pg 80]
[Pg 82]
[Pg 84]
“Observing many Jews walking about the place, and reposing along the brook Kedron in a pensive mood, the pathetic language of the Psalmist recurred to me as expressing the subject of their meditations;—‘By the rivers we sat down and wept when we remembered Zion.’ On frequently inquiring the motive that prompted them in attempting to go to Jerusalem, the answer was—‘To die in the land of our fathers.’”
Wilson’s Travels.
[Pg 86]
“The Druids, till their religion had been interlarded with that of other nations, had neither images nor temples. They had generally those circles and altars, at which they performed their religious ceremonies, situated near the deep murmur of some stream, within the gloom of groves, or under the shade of some venerable oak.”
Smith’s Gallic Antiquities.
[Pg 88]
[Pg 90]
[Pg 91]
[Pg 94]
FROM THE FRENCH.
[Pg 96]
St. Louis of France, who embarked with an army for Palestine in 1270, landing at Tunis, was besieged by the inhabitants in the town of Carthage, and with great numbers of his people, fell a victim to the plague. In his dying moments he caused himself to be removed from his couch, and placed upon ashes; and in that situation expired.
[Pg 100]
IMITATED FROM AN ICELANDIC SONG.
[Pg 102]
FROM SAVERIO BETTINELLI.
[Pg 103]
[Pg 107]
[Pg 108]
[Pg 109]
FROM THE GERMAN OF SCHILLER.
[Pg 111]
[Pg 112]
FROM THE FRENCH OF BERANGER.
[Pg 114]
FROM THE FRENCH OF BERANGER.
[Pg 116]
[Pg 117]
[Pg 119]
FROM THE FRENCH OF LAMARTINE.
[Pg 120]
FROM THE ITALIAN.
[Pg 121]
[Pg 123]
THE POET’S LAST DWELLING.
[Pg 124]
TO EVENING.
TO THE MEMORY OF A FRIEND.
[Pg 125]
[Pg 126]
[Pg 128]
[Pg 130]
[Pg 133]
This poem was composed by Foscolo during a temporary retirement to Brescia, in Northern Italy. The occasion which called it forth was a law passed about that time in the Italian kingdom, directing that all burials should take place without the confines of the cities, forbidding inscriptions or any mark of distinction upon the graves, and prohibiting the approach of visiters to the cemeteries. Though intended to obviate the inconveniencies arising from the ancient custom of interring the dead in the churches, this law was carried to an arbitrary and unnecessary extreme; for it consigned the departed to one indiscriminate place of sepulture, and denied to the mourner the last consolation of grief. Our poet, fired with indignation at this sacrilegious infringement of the solemn rights of nature, gave utterance to his feelings in the work just mentioned, in which he dwells on the salutary influence over the living of their veneration for the dead; and proves the mischievous effects of that policy which would invade the sacredness of a sentiment so holy.—American Quarterly Review, Vol. xvi. page 76.
[2] Page 15. That stung the Sardanapalus of our land.
“Il Lombardo Sardanapalo.” The Prince Belgiojoso, severely satirized in Parini’s poem of “The Day.”
[3] Page 17. To scoop from it his own triumphal bier.
Nelson is said to have carried about with him, sometime before his death, a coffin made from the main mast of the ship Oriente; that when he had finished his career in this world, he might be buried in one of his trophies.
[Pg 134]
[9] Page 19. And high o’er all, the Fates’ mysterious chant.
Popular rumor related that over the field of Marathon the sailor could hear all night the trampling of horses, and witness the encounter of spectral combatants.
“The shield of Achilles, stained with the blood of Hector, was by an unjust sentence adjudged to Ulysses; but the sea which snatched it from the wreck, caused it to swim, not to Ithaca, but to the tomb of Ajax; thus manifesting the unfair judgment of the Greeks, and restoring to Salamis the honor due.—It is said that the story of the arms borne by the waves to the sepulchre of Telamon was current among the Eolians who afterwards inhabited Troy. The promontory of Rhetœum, in the Thracian Bosphorus, was famous among all the ancients for the tomb of Ajax.”
These lines were suggested by a Portuguese sonnet; but too much has been added to entitle them to be called a translation.
[12] Page 47. The Guardian Genius.
This poem, from Lamartine’s “Destinies of Poetry,” is supposed to be sung by the female peasants of Calabria.
[13] Page 66. Incantation of Hervor.
This is not a translation of the celebrated Icelandic lyric, which consists of a dialogue between Hervor and Argantyr; but merely[Pg 135] a sketch of what the heroic daughter may be supposed to have said, when trying the power of the spells of poesy to wake her ancestor from the dead, and compel him to give up his sword, which had been buried with him. The sword in question had been made by the dwarfs, and was taken by Angrim, the father of Argantyr, from the grandson of Odin.
[Pg 137]
[Pg 138]
FIRST PERFORMED AT THE PARK THEATRE, NEW YORK,
MARCH, 1835.
[Pg 139]
Doge of Venice. | |
Foscarini. | |
Contarini. | Inquisitors of State. |
Loredano. | |
Badoero. | |
Veniero. | |
Vincentio. | |
Leonardo. | |
Steno. | Officers of the Inquisition. |
Pascali. | |
Beltramo, the Jailer. | |
Memmo, Captain of the Guard. | |
Marco. | |
Stefano. | |
Teresa. | |
Fiorilla. | |
Matilda. | |
First Attendant. | |
Senators—Guards—Attendants, &c. |
SCENE VENICE.
The passages marked with inverted commas were omitted in the representation.
[Pg 141]
Grand Council Chamber. Doge and Senators discovered in debate.
[Contarini and Badoero count the votes.
Badoero (reads.)
“It is hereby enacted, that if any Patrician be seen to hold intercourse in secret with the ambassadors of France or Spain, or pass their thresholds after sunset, he shall be held guilty of treason and shall suffer its penalty.”
[A guard goes out, and returns with Foscarini.
[Exeunt all but Doge and Foscarini.
[Exeunt severally.
A Street.—Enter Vincentio and Leonardo, with other citizens.
[Exeunt.
Enter Contarini and Loredano.
A Garden—Teresa appears, descending the steps of a balcony.
[Pg 153]
Veniero’s house.—Veniero and Contarini.
Enter Teresa.
Enter Steno and Pascali.
[Exeunt all but Teresa.
Fiorilla’s house.—Enter Fiorilla with attendants and Marco.
Enter Leonardo.
Re-enter Marco.
Badoero’s house. Enter Badoero, Loredano, and Contarini.
Enter Teresa.
(Endeavouring to persuade her to return.)
[Exeunt all but Contarini and Teresa.
A prison.—Veniero discovered.—Beltramo enters with a lamp.
[Joins her hand with Contarini’s.—The curtain falls.]
[Pg 175]
Fiorilla’s house.—Enter Fiorilla and Leonardo.
Teresa’s chamber. Teresa, in bridal robes, sitting at a table, with writing materials.
[Pg 184]
A street, faintly lighted. Enter Foscarini.
(Exit Vincentio. Foscarini paces the scene a few moments in silence—then suddenly stops.)
A spacious and magnificent apartment; brilliantly decorated and illuminated. Veniero discovered. Numerous guests, some in masks, seemingly in conversation.
Enter the Doge, Badoero, Contarini, Teresa, Matilda, and others.
(Foscarini enters, masked, and remains at the back of the scene, watching Teresa.)
[Pg 189]
(They raise her—she revives—but still appears unconscious.)
[Exeunt Teresa, Matilda and attendants.
[Pg 193]
A street.—Enter Contarini and Steno.
[Exit Contarini.
An apartment in Contarini’s palace.—Enter Teresa.
Enter Stefano with a paper.
A Garden, near the palace of Contarini. On one side the palace of the Spanish ambassador.
Enter Foscarini.
Enter Matilda, hastily.
Enter Contarini and Steno, with servants bearing torches.
[Exeunt Steno and servants.
(Tumult—the report of a pistol heard.)
(Re-enter Steno and servants, dragging in Foscarini, who is wounded. The curtain falls.)
[Pg 207]
Secret chamber of the Inquisitors.
Enter Badoero and Loredano.
Enter Contarini.
(Foscarini is brought in by Beltramo.)
(Exeunt the inquisitors on the other side.)
A Street.
Enter Vincentio and Leonardo, followed by several citizens.
Contarini’s palace.
Enter Teresa, meeting Matilda.
[Exit Matilda as Contarini enters.
(Contarini retires slowly.)
A corridor leading from the prisons.
Enter Foscarini, fettered and guarded—the Doge, and Beltramo.
Enter Memmo.
Grand Council Chamber. Inquisitors, Veniero, and other Senators. Enter the Doge, and Foscarini guarded. Pascali stands behind among the guards.
Enter Steno.
(Contarini makes signs apart to Pascali, who goes out hastily.) Enter Memmo.
Enter Teresa.
(Tumult and shouts heard without.)
Enter Memmo, hastily.
[Attempts to stab Teresa, but is disarmed by Badoero.
[Pg 229]
[Exit Contarini, guarded.
THE END.