| Come, Patrick, clear up the storm on your brow, You were kind to me once,—will you frown on me now? Shall the storm settle here, when it from Heaven departs, And the cold from without find the way to our hearts? No, Patrick, no; surely the wintriest weather Is easily borne, while we bear it together. Though the rain's dropping through from the roof to the floor, And the wind whistles free where there once was a door; Can the rain, or the snow, or the storm wash away All the warm vows we made in love's early day? No, Patrick, no; surely the dark stormy weather Is easily borne,—so we bear it together. When you stole out to woo me, when labor was done, And the day that was closing, to us seem'd begun, Did we care if the sunset was bright on the flowers, Or if we crept out amid darkness and showers? No, Patrick; we talk'd while we brav'd the wild weather, Of all we could bear, if we bore it together. Soon, soon, will these dark dreary days be gone by, And our hearts be lit up by a beam from the sky; Oh! let not our spirits, imbittered with pain, Be dead to the sunshine that comes on us then: Heart in heart—hand in hand—let us welcome the weather, And sunshine or storm, we will bear it together. |
From the New England Magazine.
A GLIMPSE AT BASIL HALL.
At the palace of the Prince Borghese in Rome, several young English and American artists were engaged, last winter, in copying the renowned productions of the old masters. Portray to yourself, kind reader, two large halls—the walls of which are lined with paintings, and intercommunicating by a side door, now thrown open for the benefit of the parties. In the first of these apartments are erected three easels—before which, in the attitude of painters, stand—first, a Virginian, intent upon the exquisite Magdalene of Correggio,—opposite, the native of a country town of Great Britain—transferring, as nearly as possible, the Prodigal Son, of the great Venetian,—while, within a few feet of the former, a Londoner is travailing for the inspiration of Titian, by contemplating his "Sacred and Profane Loves." The artists may thus be said to occupy, relatively, the three points of an isosceles-triangle. Gaze now, through the above-mentioned passage, and behold, at the extremity of the second and lesser hall, the figure of a Baltimorean—fancying, perchance, the surprise of the natives when they see his copy of the inimitable Cupid beside him.
These worthy followers of the rainbow art were wont to amuse themselves, and beguile the time, with conversations upon the merits and manners of their respective countries; and occasionally, by a very natural process, such amicable debates would assume not a little of the earnest spirit of controversy. Then would the brush fall less frequently upon the canvass—their eyes linger less devotedly upon the great originals around, and ever and anon the disputants would step a pace or two from the object of their labors, raise aloft their pencils—as though, like the styles of the ancients, they subserved equally the purposes of art and of warfare, or wave their mottled pallets as shields against the errors of argument. A full history of these discussions, hallowed by the scene of the combat, diversified by the characters of the combatants, and disguised by the nature of the points contested—would doubtless be a valuable accession to our literature. The great topics of national policy, domestic manners, republicanism, aristocracy, slavery, corn laws, etc. as unfolded, in the elegant and discerning disputations of the absentees in a Roman palace, would prove something new, vivid and seasonable. But to me falls the humbler task of narrating one scene of the drama, as illustrative of the wisdom and safety of keeping one's own secret.
On a day, when the war of words had ran unusually high, there was a momentary, and, as it were, a spontaneous quietude. After the manner of their predecessors in the same city—years bygone, the gladiators rested upon their arms. There was an interlude of silence. They gradually reassumed the appropriate occupations of the hour. A few unusually fine touches were bestowed upon the slowly-progressing copies—when the aspiring portrayer of the beautiful parable thus opened a new cannonade:
"Well, smooth over, as you may, the blot of slavery—and deny or palliate, as you best can, the charge of non-refinement, the world will never admit the existence of true civilization in a country where so barbaric a practice as gouging prevails."
At the commencement of this speech, the pencil of the Virginian had stopped transfixed within an inch of the pensive countenance on his canvass; and with nerves braced in expectancy, he awaited the issue. And when the orator, like a second Brutus, paused for a reply, his adversary was mute—perhaps from indignation, probably in the absorption consequent upon preparing to refute and chastise. The Londoner wheeled around, and, with a nod of congratulation to his brother islander, and a provoking and triumphant smile upon the Virginian, begged to be informed "of the origin and nature of the American custom of gouging?" When lo! there were heard quick steps along the polished floors, and as the eyes of the artists followed their direction, the form of the Baltimorean emerged from the adjoining hall. His painter's stick, pallet and brush, were grasped convulsively in his left hand, as with energetic strides he reached the centre of the arena, and gazed meaningly upon the disputants.
"You would know, sir," he exclaimed, eyeing fiercely the hero of the British capital, "what is gouging? Go, sir, to Basil Hall—your literary countryman: when ascending the Mississippi, he was put on shore by the captain of a steamboat for ungentlemanly deportment—and on the banks of that river, sir, he was gouged!" As the last emphatic words exploded, a gentleman, who had been viewing the paintings, abruptly left the room. The Londoner looked wonders, his compatriot tittered, the Cupid-limner wiped his brow. "Who was that?" inquired the Virginian. "That, sir, was Captain Hall!"