Not one returns to tell us of the road, Which to discover we must travel, too? LXV. The revelations of devout and learned, LXVI. I sent my Soul through the Invisible, Some letter of that After-life to spell ; And by and by my Soul returned to me, And answered, "I myself am Heaven and Hell." LXVII. Heaven's but the Vision of fulfilled Desire, Cast on the darkness into which ourselves, LXVIII. We are no other than a moving row LXIX. Impotent Pieces of the game He plays, Upon his checker-board of Nights and Days, Hither and thither moves and checks and mates, And one by one back in the closet lays. LXX. The Ball no question makes of Ayes and Noes, LXXX. The moving Finger writes-and having writ, Shall lure it back to cancel half a line, LXXXI. And that unveiled bowl they call the sky, LXXXII. With the first clay they did the last man knead, And there of the last harvest sowed the seed; And the first morning of Creation wrote What the last dawn of Reckoning shall read. XC. What! out of senseless Nothing to provoke XCI. O Thou, who didst with pitfall and with gin Thou wilt not with predestined evil round XCII. O Thou, who Man of baser earth didst make, For all the sin wherewith the face of Man OPIE, AMELIA (ALDERSON), an English romance writer and poet, born at Norwich, November 12, 1769; died there, December 2, 1853. In 1798 she married John Opie, a painter, who died in 1807. She then returned to Norwich, where she spent the remainder of her life. She was brought up a Unitarian, but in 1827 became a member of the "Society of Friends." She did not commence her literary career until past thirty, when she put forth her Father and Daughter (1801). This book met with immense success, and the following year she issued a volume of poems. Her tales, generally grouped into series of three or four volumes, appeared at intervals until 1828, and were greatly admired in their day. Among these are Simple Tales (1806); Temper (1812); New Tales (1818); Tales of the Heart (1820); Madeline (1822); Illustrations of Lying (1825); Detraction Displayed (1828). She also published from time to time several volumes of verse not destitute of poetical merit. "Her tales are natural and interesting, and contain a great deal of moral instruction," says the London Literary Journal. The Edinburgh Review finds in her work "truth and delicacy of sentiment, graceful simplicity in dialogue, and the art of presenting ordinary feelings and occurrences in a manner that irresistibly commands our sympathy and affection." Professor Alexander, of Edinburgh, who visited her the year before she died, says that "the image of the beautiful, cheerful, clever old lady, as she reclined on her sofa and talked with all the vivacity of youth, in a bright, joyous room, with a sweet, joyous voice, remains on his memory as one of the loveliest it has been his good fortune to witness." THE ORPHAN BOY'S TALE. Stay, Lady, stay, for mercy's sake, And hear a helpless orphan's tale. Ah! sure my looks must pity wake; 'Tis want that makes my cheeks so pale. Yet I was once a mother's pride, And my brave father's hope and joy; Poor, foolish child! how pleased was I And see the lighted windows flame! The people's shouts were long and loud; My mother, shuddering, closed her ears. "While others laugh and shout with joy?" "What is an orphan boy?" I cried, As in her face I looked and smiled; And now they've tolled my mother's knell, O, were I by your bounty fed ! Nay, gentle Lady, do not chide!Trust me, I mean to earn my bread; The sailor's orphan boy has pride. Lady, you weep! Ha! this to me? You'll give me clothing, food, employ? Look down, dear parents; look and see Your happy, happy, orphan boy! |