"dropt from the opening eyelids of the morn," were not so pure as her tears; the last rose-tint of the dying day was not so bright or so delicate as her cheek. Her's was the freshness and the bloom of the Spring; she consumed him to languor as the Summer sun; she was kind as the bounteous Autumn, or she froze him with her wintry disdain. There was nothing in the wonders, the splendours, or the treasures of the created universe,—in heaven or in earth,—in the seasons or their change, that did not borrow from her some charm, some glory beyond its own. Was it not just that the beauty she dispensed should be consecrated to her adornment, and that the inspiration she bestowed should be repaid to her in fame?

The theory, then, which I wish to illustrate, as far as my limited powers permit, is this: that where a woman has been exalted above the rest of her sex by the talents of a lover, and consigned to enduring fame and perpetuity of praise, the passion was real, and was merited; that no deep or lasting interest was ever founded in fancy or in fiction; that truth, in short, is the basis of all excellence in amatory poetry, as in every thing else; for where truth is, there is good of some sort, and where there is truth and good, there must be beauty, there must be durability of fame. Truth is the golden chain which links the terrestrial with the celestial, which sets the seal of heaven on the things of this earth, and stamps them to immortality. Poets have risen up and been the mere fashion of a day, and have set up idols which have been the idols of a day: if the worship be out of date and the idols cast down, it is because these adorers wanted sincerity of purpose and feeling; their raptures were feigned; their incense was bought or adulterate. In the brain or in the fancy, one beauty may eclipse another—one coquette may drive out another, and tricked off in airy verse, they float away unregarded like morning vapours, which the beam of genius has tinged with a transient brightness: but let the heart once be touched, and it is not only wakened but inspired; the lover kindled into the poet, presents to her he loves, his cup of ambrosial praise: she tastes—and the woman is transmuted into a divinity. When the Grecian sculptor carved out his deities in marble, and left us wondrous and god-like shapes, impersonations of ideal grace unapproachable by modern skill, was it through mere mechanical superiority? No;—it was the spirit of faith within which shadowed to his imagination what he would represent. In the same manner, no woman has ever been truly, lastingly deified in poetry, but in the spirit of truth and of love!

CHAPTER II.

LOVES OF THE CLASSIC POETS.

I am not sufficiently an antiquarian or scholar, to trace the muses "upward to their spring," neither is there occasion to seek our first examples of poetical loves in the days of fables and of demi-gods; or in those pastoral ages when shepherds were kings and poets: the loves of Orpheus and Eurydice are a little too shadowy, and those of the royal Solomon rather too mixed and too mystical for our purpose.—To descend then at once to the classical ages of antiquity.

It must be allowed, that as far as women are concerned, we have not much reason to regard them with reverence. The fragments of the amatory poetry of the Greeks, which have been preserved to our times, show too plainly in what light we were then regarded; and graceful and exquisite as many of them are, they bear about them the taint of degraded morals and manners, and are utterly destitute of that exalted sentiment of respect and tenderness for woman, either individually or as a sex, which alone can give them value in our eyes.

I must leave it then to learned commentators to explore and elucidate the loves of Sappho and Anacreon. To us unlearned women, they shine out through the long lapse of ages, bright names, and little else; a kind of half-real,—half-ideal impersonations of love and song; the one enveloped in "a fair luminous cloud," the other "veiled in shadowing roses;" and thus veiled and thus shadowed, by all accounts, they had better remain.

The same remark, with the same reservation, applies to the Latin poets. They wrote beautiful verses, admirable for their harmony, elegance and perspicuity of expression; and are studied as models of style in a language, the knowledge of which, as far as these poets are concerned, were best confined to the other sex. They lived in a corrupted age, and their pages are deeply stained with its licentiousness; they inspire no sympathy for their love, no interest, no respect for the objects of it. How, indeed, should that be possible, when their mistresses, even according to the lover's painting, were all either perfectly insipid, or utterly abandoned and odious?[1] Ovid, he who has revealed to mortal ears "all the soft scandal of the laughing sky," and whose gallantry has become proverbial, represents himself as so incensed by the public and shameless infidelities of his Corinna, that he treats her with the unmanly brutality of some street ruffian;—in plain language, he beats her. They are then reconciled, and again there are quarrels, coarse reproaches, and mutual blows. At length the lady, as might be expected from such tuition, becoming more and more abandoned, this delicate and poetical lover requests, as a last favour, that she will, for the future, take some trouble to deceive him more effectually; and the fair one, can she do less? kindly consents!

Cynthia, the mistress of Propertius, gets tipsey, overturns the supper-table, and throws the cups at her lover's head; he is delighted with her playfulness: she leaves him to follow the camp with a soldier; he weeps and laments: she returns to him again, and he is enchanted with her amiable condescension. Her excesses are such, that he is reduced to blush for her and for himself; and he confesses that he is become, for her sake, the laughing-stock of all Rome. Cynthia is the only one of these classical loves who seems to have possessed any mental accomplishments. The poet praises, incidentally, her talents for music and poetry; but not as if they added to her charms or enhanced her value in his estimation. The Lesbia[2] of Catullus, whose eyes were red with weeping the loss of her favourite sparrow, crowned a life of the most flagitious excesses by poisoning her husband. Of the various ladies