For the Southern Literary Messenger.
MEMORY.—AN ALLEGORY.
An evil genius visited the happy islands which repose upon the bosom of the deep blue sea. In these smiling gardens the blest recline, remote from the turmoil and confusion of life: there are trees loaded with golden fruits—flowers of a thousand hues, and sweet fountains of limpid water spread their silvery lines along the emerald lea. The melody of singing birds, the soft murmur of running streams, and sounds of distant music, fall upon the ravished ear. The wanton breeze steals fragrance from the flowers as it passes on, and sweet perfumes scent the air. Here childish innocence reposes on beds of flowers; there groups of maturer years recline on verdant knolls, enjoying the passing hour. Pairs wander arm in arm in pursuit of pleasures that never pall, and gay crowds lightly dance their hours away in mirth and song. The genius pronounces the fatal word, and each breathing figure is transformed to mute and changeless stone. The voice of mirth is hushed, the tones of music have fled, years roll away, and the living statues still look in marble coldness on the changing scene. Its flowers wither—its trees of golden fruits die one by one away—the birds flee from their green retreats, and the creeping serpent hisses in the tangled brake—tall rank grass covers the favorite walks, or choke the streams, whose turbid waters force their sluggish way. At length a passing vessel stops—a stranger wanders over the wondrous scene. On a pillar an inscription is engraved; he pauses to read the word, and instantly the spell is broken—the marble statues melt into silent shadows of the human form, and flitting forth in pairs and groups, they wander over their once loved home. They seek their familiar haunts; they search for the objects of their love; and each shadow as it passes, whispers, gone: and returning to their places, their forms resume their marble lineaments, and stand once more cold monuments of their former selves. Such indeed is the human mind. First comes youth's genial season; hopes linked with loves in happy pairs, wander around the smiling scene, which fancy decks with flowers. Here joy dancing to the song of mirth, lightly whiles his hours away; there young affections and gentle thoughts, like virgin sisters of a primeval race, pursue their quiet way to the bright abode which fancy hath created so beautiful and fair. But at length sorrow comes to breathe its spell. How many hopes, and loves, and pure affections, and pleasant thoughts, are changed and gone! Inurned in icy coldness, they are sepulchered in memory's cave; and yet, perhaps, some simple word of other times is breathed, its spell evokes departed joys and buried loves. Dim shadows of the past arise—they fleeting come. But fancy too is changed; it no longer forms the gay creations of its youth, but fills its gloomy fields with pictures at which the heart doth shrink. The very thoughts for which we sighed, are now without a home, and seek to pass away.
ALPHA.
For the Southern Literary Messenger.
The following lines were found, written in a "delicate bird-quill hand," on a blank leaf on the Petrarch of one, among the prettiest of my fair cousins. The authoress perhaps caught a certain quaintness of expression from the strained verses of the Italian lover; but the idea I am inclined to believe original, notwithstanding the assertion "This was stolen from Boccacio," with which the lines are capped. Stevens, the Puck of commentators, asks "What has truth or nature to do with sonnets?" and Byron echoes the question. There may be some truth in this, though the opinion of the first sprung from hatred towards Malone, and that of the latter from chagrin at his own want of success. If the proper characteristic of the sonnet be an artificial quaintness, my cousin has succeeded admirably,—which I presume Mr. White will have too much gallantry to deny.