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LFRED TENNYSON was born in 1810 in a village in
Lincolnshire, where he passed his boyhood till he went to Trinity College at Cambridge. It was there that, in the study of the ancient poets, his own poetical talents were developed, and already in 1830 he produced the first volume of his poems. His intimate friendship with Arthur Hallam, a young man of the most highly gifted intellect, served also to cultivate his mind, and two years after he published his second volume. In 1834, Hallam died, which event gave a serious and rather sad turn to his character and his writings. In 1842 he gave the public a new volume of his poems, and a book
entitled "In Memoriam, consisting of a series of plaintive ditties written when he was still oppressed with grief by the death of Hallam. Three years before he had also published a work called “The Princess, a fantastical narration in poetry. He is now poet laureate, to which office he was appointed on the death of Wordsworth. His later works were: ‘Enoch Arden,” “The Idylls of the King, and two dramas, entitled respectively "Mary Tudor and ‘Harold." In his erotic poetry, Tennyson appears to the best advantage; he possesses much poetical talent, and a vast deal of genius, yet in his higher aspirations he seldom attains the elevation he desires to reach.
Of all the glad New-year, mother, the maddest merriest day;
For I'm to be Queen o' the May, mother, I'm to be Queen o' the May.
There's many a black black eye, they say, but none so bright as mine; 5
Mos WARD, afterwards Mrs. Anna Radcliffe, was born in London in 1764. She wrote her first work, ‘The Castles of Athlin and Dunbayne, at the age of twentyone; it did not, however, meet with much success. Her next composition, “The Sicilian Romance, was a great improvement upon her first production, and attracted more attention. But the powers of the authoress were not fully shown until the year 1791, when she published “The Romance of the Forest, in which her high imagination is displayed to great advantage. In 1794 she brought out her most popular work: “The Mysteries of Udolpho.'
THE PROVEVgAZ TAZA.
There lived, in the province of Bretagne, a noble baron, famous for his magnificence and courtly hospitalities. His castle was graced with ladies of exquisite beauty, and thronged with illustrious knights; for the honours he paid to feats of chivalry invited the brave of distant countries to enter his lists, and his court was more splendid than those of many princes. Eight minstrels were retained in his service, who used to sing to their harps romantic fictions taken from the Arabians, or adventures of chivalry that befell knights during the crusades, or the martial deeds of the baron, their lord;—while he, surrounded by his knights and ladies, banqueted in the great hall of his castle, where the costly tapestry, that adorned the walls with pictured exploits of his ancestors, the casements of painted glass enriched with armorial bearings, the gorgeous banners that waved along the roof, the sumptuous canopies, the profusion of gold and silver that glittered on the sideboards, the numerous dishes that covered the tables, the number and gay liveries of the attendants, with the chivalric and splendid attire of the guests, united to form a scene of magnificence, such as we may not hope to see in these degenerate days.
Of the baron the following adventure
is related. One night, having retired late from the banquet to his chamber, and dismissed his attendants, he was surprised by the appearance of a stranger of a noble air, but of a sorrowful and
In 1797 the Italian,' the last of her works, appeared, and this indeed attested that her powers were in no way diminished. She died in 1823. Although Mrs. Radcliffe possesses almost no ability in painting human character and the passions, yet she is able to fascinate the readers of her books, by means of horror and nystery, and sustains the interest surprisingly from the beginning to the end. Her style has been imitated by many authors, but none have been able to compete with her in the description of terrible and awful adventures.
dejected countenance. Believing that this person had been secreted in the apartment, since it appeared impossible he could have lately passed the anteroom unobserved by the pages in waiting, who would have prevented this intrusion on their lord, the baron, calling loudly for his people, drew his sword, which he had not yet taken from his side, and stood upon his defence. The stranger, slowly advancing, told him that there was nothing to fear; that he came with no hostile design, but to communicate to him a terrible secret, which it was necessary for him to know. The baron, appeased by the courteous manners of the stranger, after surveying him for some time in silence, returned his sword into the scabbard, and desired him to explain the means by which he had obtained access to the chamber, and the purpose of this extraordinary visit. Without answering either of these inquiries, the stranger said, that he could not then explain himself, but that, if the baron would follow him to the edge of the forest, at a short distance from the castle walls, he would there convince him that he had something of o: to disclose. his proposal again alarmed the baron, who would scarcely believe that the stranger meant to draw him to so solitary a spot, at this hour of the night, without harbouring a design against his life; and he refused to go, observing, at the same time, that, if the stranger's