TO DAISIES NOT TO SHUT SO SOON.

SHUT not so soon; the dull-eyed night

Has not as yet begun

To make a seizure on the light,

Or to seal up the sun.

No marigolds yet closed are;
No shadows great appear;
Nor doth the early shepherds'-star
Shine like a spangle here.

Stay ye but till my Julia close

Her life-begetting eye;

And let the whole world then dispose Itself to live or die.

TO CARNATIONS.

STAY while ye will, or go;

And leave no scent behind ye;

Yet trust me, I shall know

The place where I may find ye:

Within my Lucia's cheek
(Whose livery ye wear),
Play ye at hide-and-seek,-
I'm sure to find ye there.

TO PRIMROSES FILLED WITH MORNING DEW.

WHY do ye weep, sweet babes? Can tears

Speak grief in you,

Who were but born

Just as the morn

Teemed her refreshing dew?

Alas! ye have not known that shower
That mars a flower;

Nor felt th' unkind

Breath of the blasting wind;

Nor are ye worn with years;

Or warped, as we,

Who think it strange to see

Such pretty flowers, like unto orphans young,
Speaking by tears before ye have a tongue.

Speak, whimpering younglings, and make known
The reason why

Ye droop and weep.

Is it for want of sleep,

Or childish lullaby?

Or that ye have not seen as yet
The violet?

Or brought a kiss

From that sweetheart to this?

No, no; this sorrow, shown

By your tears shed,

Would have this lecture read:

"That things of greatest, so of meanest worth, Conceived with grief are, and with tears brought forth."

TO MEADOWS.

YE have been fresh and green;

Ye have been filled with flowers;

And ye the walks have been

Where maids have spent their hours;

Ye have beheld where they

With wicker arks did come,

To kiss and bear away

The richer cowslips home:

You've heard them sweetly sing,

And seen them in a round; Each virgin, like the spring, With honeysuckles crowned.

But now we see none here
Whose silvery feet did tread,
And with dishevelled hair
Adorned this smoother mead.

Like unthrifts, having spent
Your stock, and needy grown,
You 're left here to lament
Your poor estates alone.

LITANY TO THE HOLY SPIRIT.

In the hour of my distress,
When temptations me oppress,
And when I my sins confess,
Sweet Spirit, comfort me!

When I lie within my bed,
Sick in heart, and sick in head,
And with doubts discomforted,

Sweet Spirit, comfort me!

When the house doth sigh and weep,
And the world is drowned in sleep,
Yet mine eyes the watch do keep,
Sweet Spirit, comfort me!

When the passing-bell doth toll,
And the Furies in a shoal
Come to fight a parting soul,

Sweet Spirit, comfort me!

When the tapers now burn blue,
And the comforters are few,

And that number more than true,
Sweet Spirit, comfort me!

When the priest his last has prayed,

And I nod to what is said,

'Cause my speech is now decayed,

Sweet Spirit, comfort me!

When God knows I'm tossed about,
Either with despair or doubt,

Yet before the glass is out,
Sweet Spirit, comfort me!

When the Tempter me pursueth,
With the sins of all my youth,
And half damns me with untruth,
Sweet Spirit, comfort me!

When the flames and hellish cries
Fright mine ears, and fright mine eyes,
And all terrors me surprise,

Sweet Spirit, comfort me!

When the judgment is revealed,

And that opened which was sealed,

When to Thee I have appealed,

Sweet Spirit, comfort me!

CHERRY RIPE.

CHERRY ripe, ripe, ripe, I cry,
Full and fair ones come and buy!
If so be you ask me where

They do grow ?-I answer: There,
Where my Julia's lips do smile-
There's the land, or cherry-isle;
Whose plantations fully show
All the year where cherries grow.

HENRIK HERTZ.

HERTZ, HENRIK, a Danish dramatist and poet; born of Jewish parents at Copenhagen, August 25, 1798; died there, February 25, 1870. He studied law, but had scarcely passed his examination when he gave himself to literature. His first comedy appeared anonymously, in 1827. He afterward travelled in Germany, Italy, and France. He left in all thirty-six works, among which are "The Moving Day" (1828); "Cupid's Master Strokes" (1830); "The Plumage of the Swan" (1841); comedies, in which the characters are traced with decided ability. He also wrote a didactic poem, "On Nature and Art" (1832), and "Tyrfing," a poem, in 1840. In 1836 his comedy "The Savings Bank" enjoyed a large share of public favor. The next year he further increased his popularity by the production of "Svend Dyring's House," a beautiful and original piece, which held an important place on the stage for many years. In fact this piece and "King René's Daughter" are works which may be regarded as landmarks in Danish literature and stamp their author as a troubadour of the fiery and sensuous school of romance. As a lyric poet he has all the color and passion of Keats, and his style is grace itself. He has little or no local Scandinavian coloring, and succeeds best when he is describing the scenery or emotions of the glowing South. "King René's Daughter," a lyrical drama, produced in 1845, is regarded as his masterpiece.

KING RENE'S DAUGHTER.

(Translation of Theodore Martin.)

[Characters: KING RENÉ; IOLANTHE, his blind daughter; EBN JAHIA, a phy sician; TRISTAN; ALMERIK, a messenger from the King; MARTHA and BERTRAND, attendants of 1OLANTHE.]

ALMERIK. And so she lacks for naught, and is content

If but some stranger on occasion come?

Of all the wealth the world to us presents,

Of all its glories, she surmiseth naught?

Does she not question you?

MARTHA.

That is a point

On which 't is not so easy to reply;

It may be she suppresses many a thought.