Introduction to the Hebrew Melodies.

THE distinct inferiority of those compositions which Lord Byron wrote to order is noticeable in a large number of the "Hebrew Melodies." They were written at the request of his friend, Mr Douglas Kinnaird, and set to music by Braham and Nathan. Lord Byron was not so fortunate as Moore, whose Irish melodies were wedded to national music, which will always keep them popular. But it is rare indeed to meet with any of the "Hebrew Melodies in a modern collection of vocal music. The merit of the poetry is very irregular, in one or two instances rising to sublimity, as in "The Assyrian came down like a wolf on the fold," which few persons can read without their blood being stirred, and sometimes almost sinking to the level of Nahum and Tate. Lord Byron was not very proud of these lyrical effusions, and seldom alluded to them, unless bantered by some of his friends about the music to which they were set. Jeffrey's criticism was that "The 'Hebrew Melodies,' though obviously inferior to Lord Byron's other works, display a skill in versification which would have raised an inferior artist to the very summit of distinction." This may be true, but what we miss are Lord Byron's powers of imagery and description which he displays when inspired to write.

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HEBREW MELODIES.

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SHE WALKS IN BEAUTY.

I.

SHE walks in beauty, like the night

Of cloudless climes and starry skies; And all that's best of dark and bright Meet in her aspect and her eyes: Thus mellow'd to that tender light Which heaven to gaudy day denies.

II.

One shade the more, one ray the less,
Had half impair'd the nameless grace
Which waves in every raven tress,
Or softly lightens o'er her face;
Where thoughts serenely sweet express,
How pure, how dear their dwelling-place.

III.

And on that cheek, and o'er that brow,
So soft, so calm, yet eloquent,
The smiles that win, the tints that glow,
But tell of days in goodness spent,

A mind at peace with all below,

A heart whose love is innocent!