XXV.

And Kaled-Lara-Ezzelin, are gone,
Alike without their monumental stone!
The first, all efforts vainly strove to wean

From lingering where her chieftain's blood had been;
Grief had so tamed a spirit once too proud,
Her tears were few, her wailing never loud;
But furious would you tear her from the spot
Where yet she scarce believed that he was not,
Her eye shot forth with all the living fire
That haunts the tigress in her whelpless ire;
But left to waste her weary moments there,
She talk'd all idly unto shapes of air,
Such as the busy brain of Sorrow paints,
And woos to listen to her fond complaints:
And she would sit beneath the very tree
Where lay his drooping head upon her knee;
And in that posture where she saw him fall,
His words, his looks, his dying grasp recall;
And she had shorn, but saved her raven hair,
And oft would snatch it from her bosom there,
And fold, and press it gently to the ground,
As if she stanch'd anew some phantom's wound.
Herself would question, and for him reply;
Then rising, start, and beckon him to fly
From some imagined spectre in pursuit ;
Then seat her down upon some linden's root,
And hide her visage with her meagre hand,
Or trace strange characters along the sand-
This could not last- -she lies by him she loved;
Her tale untold-her truth too dearly proved. (1)

(1) [Lara, though it has many good passages, is a further proof of the

melancholy fact, which is true of all sequels, from the continuation of the Eneid, by one of the famous Italian poets of the middle ages, down to "Polly, a sequel to the Beggar's Opera," that "more last words" may generally be spared, without any great detriment to the world. - BISHOP HEBER.

Lara has some charms which the Corsair has not. It is more domestic ; it calls forth more sympathies with polished society; it is more intellectual, but much less passionate, less vigorous, and less brilliant; it is sometimes even languid, at any rate, it is more diffuse. SIR E. BRYDGES.

Lara, obviously the sequel of "The Corsair," maintains in general the same tone of deep interest, and lofty feeling;- though the disappearance of Medora from the scene deprives it of the enchanting sweetness by which its terrors are there redeemed, and make the hero, on the whole, less captivating. The character of Lara, too, is rather too laboriously finished *, and his nocturnal encounter with the apparition is worked up too ostentatiously. There is infinite beauty in the sketch of the dark Page, and in many of the moral or general reflections which are interspersed with the narrative. - JEFFREY.]

* ["What do the Reviewers mean by elaborate?' Lara I wrote while undressing, after coming home from balls and masquerades, in the year of revelry, 1814." B. Letters, 1822.]

HEBREW MELODIES. (')

(1) [Lord Byron never alludes to his share in these Melodies with complacency. Mr. Moore having, on one occasion, rallied him a little on the manner in which some of them had been set to music, "Sunburn Nathan," he exclaims, "why do you always twit me with his Ebrew nasalities? Have I not told you it was all Kinnaird's doing, and my own exquisite facility of temper?"-E]