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linden, by Campbell, had previously demonstrated that both poets were admirers of national glory. I will endeavour to analyze Gertrude by the aid of an occasional introduction of Campbell’s verses. His opening, which describes the locality of the scene, has all the charm of the invocation in the Deserted Village; but the style of Campbell is more original than that of Goldsmith, because it is imbued with those local colours which have contributed to the success of the Paul and Virginia and Atala. War was unheard of, exceptin the conversations of the European colonists, who peopled this fortunate canton; the poet describes the various physiognomies of this family of emigrants, German, Spanish, Scotch, &c. Gertrude's father is an Englishman named Albert, the magistrate of the colony, who is occupied with his patriarchal administration, and the education of his daughter. One fine summer's morning, the father and daughter observe a canoe stopping on the adjacent shore; an Indian advances towards Albert's dwelling; red plumes wave over his dark brown forehead, and bracelets glitter on his arms, to which a little Christian child clings, while conducted by his guide,
“Led by his dusky guide, as morning follows night.”
A line very much admired in England. The child appears extremely pensive for his age; while, leaning on his unstrung bow, and placing one hand on the head of the boy, the warlike Oneyda narrates how he saved him, the only individual who remained alive from the massacre of a garrison surprised by a hostile tribe. A dying mother confided the charge to his protecting arm, entreating him, at the same time, to consign him to the hands of Albert, with a ring, which causes his recognition as the son of Julia Waldegrave, and of a dear friend of Gertrude's father. Sincerely af. fected, Albert deplores the misfortunes of those he once loved, and adopts the poor orphan, while the Indian contemplates his emotions with a characteristic tranquillity, the contrast of which produces a great effect. But he is not destitute of feeling for the misfortune of others, and after throwing his wolf’s skin over his shoulders and lacing his mocassins”, he addresses a farewell chaunt to the child while sleeping on the bed of Albert. “ Dors, enfant, repose tes membres fatigués, et si dans le pays de songes, tu rencontres ta mere, dis a son esprit que la main de l’homme blanc a arraché de tes pieds l'epine de la douleur. Moi, de retourneau desert, ou je retrouverai l'empreinte de tes pas, et cette fontaine ou il m'etait sidoux de te nourrir du gibier tué de mes fleches, et de te desalterer avec la rosée du lotus.f Adieu ! tendre rejeton, des lieux ou le soleil se
* Indian leggings, like high gaiters.
+ Quelquefois, j'avais chercher par miles roseaux une plante dont la fleur allongée en cornet contenait une verre de la plus pure rosée. Nous benissions la providence, qui sur la faible tige d'une fleur, await placé cette source lini pide au milieu des marais, &c.—Atala.
leve. Mais siles orages de l'affliction fletrissaient ta fleur, alors reviens a moi, oh mon fils adoptif, et je te grefferai sur un noble tige: le crocodile et le coudor serveront de but a tes traits, pendant tes loisirs et dans le choc des combats, je t'apprendrai a venger ton père dars le sang des Hurons pour rejouir son âme dans la region des astres.” Oneyda then departs, and the first canto concludes. Here the poet permits himself a rather capricious licence. “Belier mon ami, commence par le commencement,” said the giant Moulineau, in Hamilton's tales; but it is into the midst of his tale that Mr. Campbell now takes a sudden leap. The imagination of the reader is required to divine, that, during the interval between the first and second cantos, Henry Waldegrave has gone to see his family in England, made the tour of the world, and discovered, that of all the countries he has seen, none have been able to make him forget that which was the witness of his boyish affection for Gertrude. The second canto only contains one scene. It occurs in a delicious valley, the description of which is enchanting, like the illusion of those dreams which transport the soul to fairy land. Gertrude embellishes this spot with her presence, and the influence of the scenery itself, on the mind of Gertrude, is depicted with charming delicacy of touch. It may be conceived that Campbell’s heroine has become an enthusiast of the woods. The ear is positively seduced by the harmony of the lines which paint the harmony of this solitude, where all is silent, except that, at
intervals, “le vacage fremit d'un foible murmure semblable a la premiere note d'un orgue le long des ailes d’une cathedral gothique. A peine si un y eut entendre un soupir de la colombe ou le vol d’un deces colibris enchantés semblable aux jets lumineux d'un arc-en-ciel.” It is there, however, that Gertrude, smiling and weeping by turns, over a volume of Shakspeare, is surprised by the appearance of an unknown, who inquires for the residence of Albert, and Albert questions him about Henry Waldegrave, whose history he commences to relate. The traveller hides his face, but he has not been able to hide a smile and a tear, and Gertrude, with emotion, recognizes that it is Henry who has been relating Henry's tale. The joy of Albert breaks out in his language; but Gertrude, in mute silence, sinks on the bosom of her father, and Henry’s arms embrace at once both sire and daughter. Henry marries his beloved, and never had Hymen more extatic joys—
“A paradise of hearts more sacred,” a line which recalls that of Milton— “Emparadised in one-another's arms.” The picture of the happiness of the married
couple, in the third and fourth canto, in a still greater degree recal to mind the joys of Eden,
and the beautiful poetry of the fourth book of Paradise Lost. The transition from these scenes of happiness to the tragical catastrophe of the poem, conveys a philosophical commentary, replete with melancholy and dignity, on the vanity of human pleasures. The war of independence is declared; afflicting presentiments precede the alarm of real danger; Oneyda re-appears upon the stage, though scarcely recognizable, on account of his age, and the labours which have whitened his hair and enfeebled his robust frame. Massacre and conflagration follow his footsteps. The local militia are assembled; the sound of warlike music re-kindles all the enthusiasm of the old savage chief. He sings his war song, beating time with his club ; but shortly after Albert is struck by an arrow, and expires, and the pathetic scene of Waldegrave's despair succeeds the description of the battle. The hurried ceremony of the funeral rites exhibits a not less afflicting spectacle. Moved by the funeral music, and by the last sad pomp, all the spectators melt in tears. “— Et moi aussi je pleurerais, s'écrie enfin Oneyda, commençant tout à coup le chant énergique et sauvage de son deuil; je pleurerais, s'il m’était permis de Souiller par des accens de douleur le chant du fils demon père, ou si je pouvais fléchirma tête sous le désespoir. Parles outrages que j’ai subis et par mon courroux, je sens que demain le souffle d’Areouski, qui embrase le ciel du feu des tempêtes, nous précipitera sur les en