Charlotte M. Yonge - "That Stick"

J. Fenimore Cooper - "Recollections of Europe"

Enrico Caruso and Luisa Tetrazzini - "Caruso and Tetrazzini on the Art of Singing"

John Wood Campbell - "Invaders from the Infinite"

Annual Bibliography of Commonwealth Literature 2007
This paper argues that discourses of love in Ghanaian market literature for youth offer a view into complex negotiations of agency and empowerment. Drawing on Deborah Durham's notion of youth as "social `shifters'" and Francis Nyamnjoh's conception of the "interconnectedness" of agency, I take Ghanaian market literature as one specific case of how African literature for youth foregrounds questions of continuity and change as African societies enter into increasingly complex global relations. In this literature for youth, received notions of love, often constructed out of impressions from American pop and hip hop music, carry new notions of agency that compete with existing "domesticated" forms. Authors like Ike Tandoh and Evelyn Tay employ discourses of love to offer youth alternative avenues for empowerment in a context of socio-economic disenfranchizement. In a creative process of "straddling", this writing both reveals and reproduces the contradictions that obtain in youth configurations of agency.

The Complete Poems of Sir Thomas Moore

T >> Thomas Moore et al >> The Complete Poems of Sir Thomas Moore





[1] This ode and the next may be called companion-pictures; they are
highly finished, and give us an excellent idea of the taste of the
ancients in beauty.

[2] The ancients have been very enthusiastic in their praises of the
beauty of hair. Apuleius, in the second book of his Milesiacs, says that
Venus herself, if she were bald, though surrounded by the Graces and the
Loves, could not be pleasing even to her husband Vulcan.

[3] This delicate art of description, which leaves imagination to complete
the picture, has been seldom adopted in the imitations of this beautiful
poem. Ronsard is exceptionally minute; and Politianus, in his charming
portrait of a girl, full of rich and exquisite diction, has lifted the
veil rather too much. The "_questa che tu m'intendi_" should be always
left to fancy.






ODE XVII.


And now with all thy pencil's truth,
Portray Bathyllus, lovely youth!
Let his hair, in masses bright,
Fall like floating rays of light;
And there the raven's die confuse
With the golden sunbeam's hues.
Let no wreath, with artful twine.
The flowing of his locks confine;
But leave them loose to every breeze,
To take what shape and course they please.
Beneath the forehead, fair as snow,
But flushed with manhood's early glow,
And guileless as the dews of dawn,
Let the majestic brows be drawn,
Of ebon hue, enriched by gold,
Such as dark, shining snakes unfold.
Mix in his eyes the power alike,
With love to win, with awe to strike;
Borrow from Mars his look of ire,
From Venus her soft glance of fire;
Blend them in such expression here,
That we by turns may hope and fear!

Now from the sunny apple seek
The velvet down that spreads his cheek;
And there, if art so far can go,
The ingenuous blush of boyhood show.
While, for his mouth--but no,--in vain
Would words its witching charm explain.
Make it the very seat, the throne,
That Eloquence would claim her own;
And let the lips, though silent, wear
A life-look, as if words were there.

Next thou his ivory neck must trace,
Moulded with soft but manly grace;
Fair as the neck of Paphia's boy,
Where Paphia's arms have hung in joy.
Give him the winged Hermes' hand,
With which he waves his snaky wand;
Let Bacchus the broad chest supply,
And Leda's son the sinewy thigh;
While, through his whole transparent frame,
Thou show'st the stirrings of that flame,
Which kindles, when the first love-sigh
Steals from the heart, unconscious why.

But sure thy pencil, though so bright,
Is envious of the eye's delight,
Or its enamoured touch would show
The shoulder, fair as sunless snow,
Which now in veiling shadow lies,
Removed from all but Fancy's eyes.
Now, for his feet--but hold--forbear--
I see the sun-god's portrait there:[1]
Why paint Bathyllus? when in truth,
There, in that god, thou'st sketched the youth.
Enough--let this bright form be mine,
And send the boy to Samos' shrine;
Phoebus shall then Bathyllus be,
Bathyllus then, the deity!


[1] The abrupt turn here is spirited, but requires some explanation. While
the artist is pursuing the portrait of Bathyllus, Anacreon, we must
suppose, turns around and sees a picture of Apollo, which was intended for
an altar at Samos. He then instantly tells the painter to cease his work;
that this picture will serve for Bathyllus; and that, when he goes to
Samos, he may make an Apollo of the portrait of the boy which he had
begun.






ODE XVIII.


Now the star of day is high,
Fly, my girls, in pity fly.
Bring me wine in brimming urns
Cool my lip, it burns, it burns!
Sunned by the meridian fire,
Panting, languid I expire,
Give me all those humid flowers,
Drop them o'er my brow in showers.
Scarce a breathing chaplet now
Lives upon my feverish brow;
Every dewy rose I wear
Sheds its tears, and withers there.[1]
But to you, my burning heart,
What can now relief impart?
Can brimming bowl, or floweret's dew,
Cool the flame that scorches you?


[1] In the poem of Mr. Sheridan's, "Uncouth is this moss-covered grotto of
stone," there is an idea very singularly coincident with this of
Angerianus:--

And thou, stony grot, in thy arch may'st preserve
Some lingering drops of the night-fallen dew:
Let them fall on her bosom of snow, and they'll serve
As tears of my sorrow entrusted to you.






ODE XIX.[1]


Here recline you, gentle maid,
Sweet is this embowering shade;
Sweet the young, the modest trees,
Ruffled by the kissing breeze;
Sweet the little founts that weep,
Lulling soft the mind to sleep;
Hark! they whisper as they roll,
Calm persuasion to the soul;
Tell me, tell me, is not this
All a stilly scene of bliss?
"Who, my girl, would pass it by?
Surely neither you nor I."


[1] The description of this bower is so natural and animated, that we
almost feel a degree of coolness and freshness while we peruse it.






ODE XX.[1]


One day the Muses twined the hands
Of infant Love with flowery bands;
And to celestial Beauty gave
The captive infant for her slave.
His mother comes, with many a toy,
To ransom her beloved boy;[2]
His mother sues, but all in vain,--
He ne'er will leave his chains again.
Even should they take his chains away,
The little captive still would stay.
"If this," he cries, "a bondage be,
Oh, who could wish for liberty?"


[1] The poet appears, in this graceful allegory, to describe the softening
influence which poetry holds over the mind, in making it peculiarly
susceptible to the impressions of beauty.

[2] In the first idyl of Moschus, Venus there proclaims the reward for her
fugitive child:--

On him, who the haunts of my Cupid can show,
A kiss of the tenderest stamp I'll bestow;
But he, who can bring back the urchin in chains,
Shall receive even something more sweet for his pains.






ODE XXI.[1]


Observe when mother earth is dry,
She drinks the droppings of the sky;
And then the dewy cordial gives
To every thirsty plant that lives.
The vapors, which at evening weep,
Are beverage to the swelling deep;
And when the rosy sun appears,
He drinks the ocean's misty tears.
The moon too quaffs her paly stream
Of lustre, from the solar beam.
Then, hence with all your sober thinking!
Since Nature's holy law is drinking;
I'll make the laws of nature mine,
And pledge the universe in wine.


[1] Those critics who have endeavored to throw the chains of precision
over the spirit of this beautiful trifle, require too much from
Anacreontic philosophy. Among others, Gail very sapiently thinks that the
poet uses the epithet [Greek: melainae], because black earth absorbs
moisture more quickly than any other; and accordingly he indulges us with
an experimental disquisition on the subject.--See Gail's Notes.






ODE XXII.


The Phrygian rock, that braves the storm,
Was once a weeping matron's form;[1]
And Progne, hapless, frantic maid,
Is now a swallow in the shade.
Oh! that a mirror's form were mine,
That I might catch that smile divine;
And like my own fond fancy be,
Reflecting thee, and only thee;
Or could I be the robe which holds
That graceful form within its folds;
Or, turned into a fountain, lave
Thy beauties in my circling wave.
Would I were perfume for thy hair,
To breathe my soul in fragrance there;
Or, better still, the zone, that lies
Close to thy breast, and feels its sighs![2]
Or even those envious pearls that show
So faintly round that neck of snow--
Yes, I would be a happy gem,
Like them to hang, to fade like them.
What more would thy Anacreon be?
Oh, any thing that touches thee;
Nay, sandals for those airy feet--
Even to be trod by them were sweet!


[1] The compliment of this ode is exquisitely delicate, and so singular
for the period in which Anacreon lived, when the scale of love had not yet
been graduated Into all its little progressive refinements, that if we
were inclined to question the authenticity of the poem, we should find a
much more plausible argument in the features of modern gallantry which it
bears, than in any of those fastidious conjectures upon which some
commentators have presumed so far.

[2] The women of Greece not only wore this zone, but condemned themselves
to fasting, and made use of certain drugs and powders for the same
purpose. To these expedients they were compelled, in consequence of their
inelegant fashion of compressing the waist into a very narrow compass,
which necessarily caused an excessive tumidity in the bosom. See
"Dioscorides," lib. v.






ODE XXIII.


I often wish this languid lyre,
This warbler of my soul's desire,
Could raise the breath of song sublime,
To men of fame, in former time.
But when the soaring theme I try,
Along the chords my numbers die,
And whisper, with dissolving tone,
"Our sighs are given to love alone!"
Indignant at the feeble lay,
I tore the panting chords away,
Attuned them to a nobler swell,
And struck again the breathing shell;
In all the glow of epic fire,
To Hercules I wake the lyre,
But still its fainting sighs repeat,
"The tale of love alone is sweet!"
Then fare thee well, seductive dream,
That madest me follow Glory's theme;
For thou my lyre, and thou my heart,
Shall never more in spirit part;
And all that one has felt so well
The other shall as sweetly tell!






ODE XXIV.


To all that breathe the air of heaven,
Some boon of strength has Nature given.
In forming the majestic bull,
She fenced with wreathed horns his skull;
A hoof of strength she lent the steed,
And winged the timorous hare with speed.
She gave the lion fangs of terror,
And, o'er the ocean's crystal mirror,
Taught the unnumbered scaly throng
To trace their liquid path along;
While for the umbrage of the grove,
She plumed the warbling world of love.

To man she gave, in that proud hour,
The boon of intellectual power.
Then, what, oh woman, what, for thee,
Was left in Nature's treasury?
She gave thee beauty--mightier far
Than all the pomp and power of war.
Nor steel, nor fire itself hath power
Like woman, in her conquering hour.
Be thou but fair, mankind adore thee,
Smile, and a world is weak before thee![1]


[1] Longepierre's remark here is ingenious; "The Romans," says he, "were
so convinced of the power of beauty, that they used a word implying
strength in the place of the epithet beautiful".






ODE XXV.


Once in each revolving year,
Gentle bird! we find thee here.
When Nature wears her summer-vest,
Thou comest to weave thy simple nest;
But when the chilling winter lowers.
Again thou seekest the genial bowers
Of Memphis, or the shores of Nile,
Where sunny hours for ever smile.
And thus thy pinion rests and roves,--
Alas! unlike the swarm of Loves,
That brood within this hapless breast,
And never, never change their nest!
Still every year, and all the year,
They fix their fated dwelling here;
And some their infant plumage try,
And on a tender winglet fly;
While in the shell, impregned with fires,
Still lurk a thousand more desires;
Some from their tiny prisons peeping,
And some in formless embryo sleeping.
Thus peopled, like the vernal groves,
My breast resounds, with warbling Loves;
One urchin imps the other's feather,
Then twin-desires they wing together,
And fast as they thus take their flight,
Still other urchins spring to light.
But is there then no kindly art,
To chase these Cupids from my heart;
Ah, no! I fear, in sadness fear,
They will for ever nestle here!






ODE XXVI.


Thy harp may sing of Troy's alarms,
Or tell the tale of Theban arms;
With other wars my song shall burn,
For other wounds my harp shall mourn.
'Twas not the crested warrior's dart,
That drank the current of my heart;
Nor naval arms, nor mailed steed,
Have made this vanquished bosom bleed;
No--'twas from eyes of liquid blue,
A host of quivered Cupids flew;[1]
And now my heart all bleeding lies
Beneath that army of the eyes!


[1] The poets abound with conceits on the archery of the eyes, but few
have turned the thought so naturally as Anacreon. Ronsard gives to the
eyes of his mistress _un petit camp d'amours_.






ODE XXVII.


We read the flying courser's name
Upon his side, in marks of flame;
And, by their turbaned brows alone,
The warriors of the East are known.
But in the lover's glowing eyes,
The inlet to his bosom lies;
Through them we see the small faint mark,
Where Love has dropt his burning spark!






ODE XXVIII.


As, by his Lemnian forge's flame,
The husband of the Paphian dame
Moulded the glowing steel, to form
Arrows for Cupid, thrilling warm;
And Venus, as he plied his art,
Shed honey round each new-made dart,
While Love, at hand, to finish all,
Tipped every arrow's point with gall;
It chanced the Lord of Battles came
To visit that deep cave of flame.
'Twas from the ranks of war he rushed,
His spear with many a life-drop blushed;
He saw the fiery darts, and smiled
Contemptuous at the archer-child.
"What!" said the urchin, "dost thou smile?
Here, hold this little dart awhile,
And thou wilt find, though swift of flight,
My bolts are not so feathery light."

Mars took the shaft--and, oh, thy look,
Sweet Venus, when the shaft he took!--
Sighing, he felt the urchin's art,
And cried, in agony of heart,
"It is not light--I sink with pain!
Take--take thy arrow back again."
"No," said the child, "it must not be;
That little dart was made for thee!"






ODE XXIX.


Yes--loving is a painful thrill,
And not to love more painful still
But oh, it is the worst of pain,
To love and not be loved again!
Affection now has fled from earth,
Nor fire of genius, noble birth,
Nor heavenly virtue, can beguile,
From beauty's cheek one favoring smile.
Gold is the woman's only theme,
Gold is the woman's only dream.
Oh! never be that wretch forgiven--
Forgive him not, indignant heaven!
Whose grovelling eyes could first adore,
Whose heart could pant for sordid ore.
Since that devoted thirst began,
Man has forgot to feel for man;
The pulse of social life is dead,
And all its fonder feelings fled!
War too has sullied Nature's charms,
For gold provokes the world to arms;
And oh! the worst of all its arts,
It renders asunder loving hearts.






ODE XXX.[1]


'Twas in a mocking dream of night--
I fancied I had wings as light
As a young birds, and flew as fleet;
While Love, around whose beauteous feet,
I knew not why, hung chains of lead,
Pursued me, as I trembling fled;
And, strange to say, as swift as thought,
Spite of my pinions, I was caught!
What does the wanton Fancy mean
By such a strange, illusive scene?
I fear she whispers to my breast,
That you, sweet maid, have stolen its rest;
That though my fancy, for a while,
Hath hung on many a woman's smile,
I soon dissolved each passing vow,
And ne'er was caught by love till now!


[1] Barnes imagines from this allegory, that our poet married very late in
life. But I see nothing in the ode which alludes to matrimony, except it
be the lead upon the feet of Cupid; and I agree in the opinion of Madame
Dacier, in her life of the poet, that he was always too fond of pleasure
to marry.






ODE XXXI.[1]


Armed with hyacinthine rod,
(Arms enough for such a god,)
Cupid bade me wing my pace,
And try with him the rapid race.
O'er many a torrent, wild and deep,
By tangled brake and pendent steep.
With weary foot I panting flew,
Till my brow dropt with chilly dew.
And now my soul, exhausted, dying,
To my lip was faintly flying;
And now I thought the spark had fled,
When Cupid hovered o'er my head,
And fanning light his breezy pinion,
Rescued my soul from death's dominion;[2]
Then said, in accents half-reproving.
"Why hast thou been a foe to loving?"


[1] The design of this little fiction is to intimate, that much greater
pain attends insensibility than can ever result from the tenderest
impressions of love.

[2] "The facility with which Cupid recovers him, signifies that the sweets
of love make us easily forget any solicitudes which he may occasion."--LA
FOSSE.






ODE XXXII.[1]


Strew me a fragrant bed of leaves,
Where lotus with the myrtle weaves;
And while in luxury's dream I sink,
Let me the balm of Bacchus drink!
In this sweet hour of revelry
Young Love shall my attendant be--
Drest for the task, with tunic round
His snowy neck and shoulders bound,
Himself shall hover by my side,
And minister the racy tide!

Oh, swift as wheels that kindling roll,
Our life is hurrying to the goal;
A scanty dust, to feed the wind,
Is all the trace 'twill leave behind.
Then wherefore waste the rose's bloom
Upon the cold, insensate tomb?
Can flowery breeze, or odor's breath,
Affect the still, cold sense of death?
Oh no; I ask no balm to steep
With fragrant tears my bed of sleep:
But now, while every pulse is glowing,
Now let me breathe the balsam flowing;
Now let the rose, with blush of fire,
Upon my brow in sweets expire;
And bring the nymph whose eye hath power
To brighten even death's cold hour.
Yes, Cupid! ere my shade retire,
To join the blest elysian choir;
With wine, and love, and social cheer,
I'll make my own elysium here!


[1] We here have the poet, in his true attributes, reclining upon myrtles,
with Cupid for his cup-bearer. Some interpreters have ruined the picture
by making [Greek: Eros] the name of his slave. None but Love should fill
the goblet of Anacreon. Sappho, in one of her fragments, has assigned this
office to Venus.

Hither, Venus, queen of kisses.
This shall be the night of blisses;
This the night, to friendship dear.
Thou shalt be our Hebe here.
Fill the golden brimmer high,
Let it sparkle like thine eye;
Bid the rosy current gush.
Let it mantle like thy blush.
Goddess, hast thou e'er above
Seen a feast so rich in love?
Not a soul that is not mine!
Not a soul that is not thine!






ODE XXXIII.


'Twas noon of night, when round the pole
The sullen Bear is seen to roll;
And mortals, wearied with the day,
Are slumbering all their cares away;
An infant, at that dreary hour,
Came weeping to my silent bower,
And waked me with a piteous prayer,
To shield him from the midnight air.
"And who art thou," I waking cry,
"That bid'st my blissful visions fly?"
"Ah, gentle sire!" the infant said,
"In pity take me to thy shed;
Nor fear deceit; a lonely child
I wander o'er the gloomy wild.
Chill drops the rain, and not a ray
Illumes the drear and misty way!"

I heard the baby's tale of woe:
I heard the bitter night-winds blow;
And sighing for his piteous fate,
I trimmed my lamp and oped the gate.
'Twas Love! the little wandering sprite,
His pinion sparkled through the night,
I knew him by his bow and dart;
I knew him by my fluttering heart.
Fondly I take him in, and raise
The dying embers' cheering blaze;
Press from his dank and clinging hair
The crystals of the freezing air,
And in my hand and bosom hold
His little fingers thrilling cold.

And now the embers' genial ray,
Had warmed his anxious fears away;
"I pray thee," said the wanton child,
(My bosom trembled as he smiled,)
"I pray thee let me try my bow,
For through the rain I've wandered so,
That much I fear the midnight shower
Has injured its elastic power."
The fatal bow the urchin drew;
Swift from the string the arrow flew;
As swiftly flew as glancing flame,
And to my inmost spirit came!
"Fare thee well," I heard him say
As laughing wild he winged away,
"Fare thee well, for now I know
The rain has not relaxt my bow;
It still can send a thrilling dart,
As thou shalt own with all thy heart!"






ODE XXXIV.[1]


Oh thou, of all creation blest,
Sweet insect, that delight'st to rest
Upon the wild wood's leafy tops,
To drink the dew that morning drops,
And chirp thy song with such a glee,
That happiest kings may envy thee.
Whatever decks the velvet field,
Whate'er the circling seasons yield,
Whatever buds, whatever blows,
For thee it buds, for thee it grows.
Nor yet art thou the peasant's fear,
To him thy friendly notes are dear;
For thou art mild as matin dew;
And still, when summer's flowery hue
Begins to paint the bloomy plain,
We hear thy sweet prophetic strain;
Thy sweet prophetic strain we hear,
And bless the notes and thee revere!
The Muses love thy shrilly tone;
Apollo calls thee all his own;
'Twas he who gave that voice to thee,
'Tis he who tunes thy minstrelsy.

Unworn by age's dim decline,
The fadeless blooms of youth are thine.
Melodious insect, child of earth,
In wisdom mirthful, wise in mirth;
Exempt from every weak decay,
That withers vulgar frames away;
With not a drop of blood to stain,
The current of thy purer vein;
So blest an age is past by thee,
Thou seem'st--a little deity!


[1] In a Latin ode addressed to the grasshopper, Rapin has preserved some
of the thoughts of our author:--

Oh thou, that on the grassy bed
Which Nature's vernal hand has spread,
Reclinest soft, and tunest thy song,
The dewy herbs and leaves among!
Whether thou lyest on springing flowers
Drunk with the balmy morning-showers
Or, etc.






ODE XXXV.[1]


Cupid once upon a bed
Of roses laid his weary head;
Luckless urchin not to see
Within the leaves a slumbering bee;
The bee awaked--with anger wild
The bee awaked, and stung the child.
Loud and piteous are his cries;
To Venus quick he runs, he flies;
"Oh mother!--I am wounded through--
I die with pain--in sooth I do!
Stung by some little angry thing,
Some serpent on a tiny wing--
A bee it was--for once, I know,
I heard a rustic call it so."
Thus he spoke, and she the while,
Heard him with a soothing smile;
Then said, "My infant, if so much
Thou feel the little wild-bee's touch,
How must the heart, ah, Cupid be,
The hapless heart that's stung by thee!"


[1] Theocritus has imitated this beautiful ode in his nineteenth idyl; but
is very inferior, I think, to his original, in delicacy of point and
naivete of expression. Spenser, in one of his smaller compositions, has
sported more diffusely on the same subject. The poem to which I allude
begins thus:--

Upon a day, as Love lay sweetly slumbering
All in his mother's lap;
A gentle bee, with his loud trumpet murmuring,
About him flew by hap, etc.






ODE XXXVI.[1]


If hoarded gold possest the power
To lengthen life's too fleeting hour,
And purchase from the hand of death
A little span, a moment's breath,
How I would love the precious ore!
And every hour should swell my store;
That when death came, with shadowy pinion,
To waft me to his bleak dominion,
I might, by bribes, my doom delay,
And bid him call some distant day.
But, since not all earth's golden store
Can buy for us one bright hour more,
Why should we vainly mourn our fate,
Or sigh at life's uncertain date?
Nor wealth nor grandeur can illume
The silent midnight of the tomb.
No--give to others hoarded treasures--
Mine be the brilliant round of pleasures--
The goblet rich, the board of friends,
Whose social souls the goblet blends;[2]
And mine, while yet I've life to live,
Those joys that love alone can give.


[1] Fontenelle has translated this ode, in his dialogue between Anacreon
and Aristotle in the shades, where, on weighing the merits of both these
personages, he bestows the prize of wisdom upon the poet.

[2] The goblet rich, the board of friends.
Whose social soul the goblet blends.

This communion Of friendship, which sweetened the bowl of Anacreon, has
not been forgotten by the author of the following scholium, where the
blessings of life are enumerated with proverbial simplicity:

Of mortal blessing here the first is health,
And next those charms by which the eye we move;
The third is wealth, unwounding guiltless wealth,
And then, sweet intercourse with those we love!






ODE XXXVII.


'Twas night, and many a circling bowl
Had deeply warmed my thirsty soul;
As lulled in slumber I was laid,
Bright visions o'er my fancy played.
With maidens, blooming as the dawn,
I seemed to skim the opening lawn;
Light, on tiptoe bathed in dew,
We flew, and sported as we flew!

Some ruddy striplings, who lookt on--
With cheeks that like the wine-god's shone,
Saw me chasing, free and wild,
These blooming maids, and slyly smiled;
Smiled indeed with wanton glee,
Though none could doubt they envied me.
And still I flew--and now had caught
The panting nymphs, and fondly thought
To gather from each rosy lip
A kiss that Jove himself might sip--
When sudden all my dream of joys,
Blushing nymphs and laughing boys,
All were gone!--"Alas!" I said,
Sighing for the illusion fled,
"Again, sweet sleep, that scene restore,
Oh! let me dream it o'er and o'er!"[1]


[1] Dr. Johnson, in his preface to Shakespeare, animadverting upon the
commentators of that poet, who pretended, in every little coincidence of
thought, to detect an imitation of some ancient poet, alludes in the
following words to the line of Anacreon before us: "I have been told that
when Caliban, after a pleasing dream says, 'I cried to sleep again,' the
author imitates Anacreon, who had, like any other man, the same wish on
the same occasion."






ODE XXXVIII.


Let us drain the nectared bowl,
Let us raise the song of soul
To him, the god who loves so well
The nectared bowl, the choral swell;
The god who taught the sons of earth
To thread the tangled dance of mirth;
Him, who was nurst with infant Love,
And cradled in the Paphian grove;
Him, that the Snowy Queen of Charms
So oft has fondled in her arms.
Oh 'tis from him the transport flows,
Which sweet intoxication knows;
With him, the brow forgets its gloom,
And brilliant graces learn to bloom.

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