  The first poem in this collection was inserted as appropriate to follow the dedication, although it was written at a much later date than most of the others. The Hymn of the Wreath, was also written after most of the Lays, but I have given it its place, because I knew of no better use for it. And although the two are of a graver burden, than those that immediately follow, they are supposed the more suitable, as commencing the book with a vanitas vanitatum. After these, lays of emulation, love, disappointment, and reflection succeed each other, until the whole are of a devotional and religious cast. Even in these last, there will be noticed a progressive order, varying from “Spiritual Songs” to Catholic Hymns and Anthems. I’d die mid soft music. The etherial harmony of Von Weber’s Last Waltz, though too melancholy for mirth, is not dignified enough for religion. I have furnished it with words, therefore, which seem to me expressive of the sentiment of the music. But that sentiment must by no means be attributed to me. I had heard that the Last Waltz was composed by Von Weber on his death-bed; and therefore imagined the burthen of its strain, such as I have suggested. But a truly Christian composer would not employ his last hours on any thing less than a sacred Anthem, or a Miserere: and the story of Mozart’s Requiem is much more interesting and becoming. Hark through the skies, &c. This poem and others that succeed it, were written in such early years that I have distinguished them with apologetic dates. They made no part of the book when it was put to press, but as more matter was found necessary, I was obliged hastily to incorporate them with the Lays, as being the only early poems of the kind in my possession. When the wounded bucanier. This poem was addressed to a lady, a relative, on reading the anecdote to which it alludes, in the work of Audubon, on American birds. That author tells us that the plaintive note of the Zenaida dove, has actually been known to have such an effect upon a pirate, that he deserted his comrades, and in true penitence, abandoned forever his evil ways. Still as our day our strength shall be. I have spoken in this little Hymn, of our blessed Saviour, as suffering the pains of his cross, during the whole of his life. My meaning must be explained of course by the fact of his Divinity, to which the future was ever present. And in this I believe I am borne out by sound theologians. Dr. Dens, who, though a Romish divine, is generally Catholic on such points, and usually follows S. Thomas Aquinas, has this passage, which is exactly to the purpose. “Scriptores quidam spirituales, pia meditatione, observant, Christum Dominum toto vitÆ suÆ tempore sensisse, in anima dolores mortis, quos passus est in cruce; quia prÆcognoscens illos futuros, sibi eos vivacissime et perfecte omni tempore representabat et acceptabat tanquam prÆsentes.” De Incarnatione, QuÆst. xl. Oh, of song and dance the pride. It has been discovered by modern theologians, that Jephtha’s daughter was not sacrificed by her father, but only devoted to a recluse and virgin life. The Fathers, however, thought otherwise; and St. Augustine sees in the transaction, a deep spiritual import. Of course I prefer his comment, to Kimchi’s; but when I wrote this poem, the modern notion struck me as a pretty fable, to which I was not unwilling to listen. Oh the blessings of him. Such is the more literal rendering of the original Hebrew text, in the first verse of the first Psalm. For the criticism I am indebted to my preceptor, the late Prof. Nordheimer, of the University of New York, whose sudden and early death is so universally regretted by the learned, and lamented by his grateful pupils. When Israel from the land of Nile. I cannot forbear to refer the reader, for a much better rendering of the 114th Psalm, to the critical and elegant translation of my friend and brother, the Rev. George Burgess, M. A., of Hartford, whose metrical version of the Psalms is such an honor to American literature and taste. The peculiar beauty of the second verse, which I have sacrificed by introducing the name of God, (which is only elegantly implied in the original,) is in Mr. Burgess’ translation very happily preserved. That awful day of ire. This is a free translation of some select portions of the Dies IrÆ; so well known to English readers, by the fine imitation of Scott; and to scholars, by the impressive use made of it by Goethe in his Faust. I have partially imitated, as well as translated, several passages; that famous one, in particular, which is known as the Rex TremendÆ. In so doing, I have been forced, however, to sacrifice, in some degree, a desirable gracefulness of expression, for the sake of approximating, in some degree, to the sonorous melody of the Latin. Not unto us, oh Lord, our God. I have put together, this hymn, and the translation of the Te Deum, which follows, because the Non Nobis was once always associated with that sublime doxology, in Thanksgiving services; though now seldom heard of, except as performed at public dinners, on the removal of the cloth. The exclamation of Henry V., on the field of Agincourt, is familiar to all: Do we all holy rites, Let there be sung Non Nobis and Te Deum. It is interesting, also, to remember, that Te Deum was the first Christian thanksgiving ever offered to God, in this hemisphere. The piety of Columbus, at once suggested the propriety of its use, when he found himself the discoverer of a New World; and the hymn that was introduced to public worship, in the Cathedral at Milan, at the baptism of Augustine, was made the offering of a free heart, when the first European foot was planted in America. We doubt whether any thing as good was chaunted on Plymouth Rock; though had the Pilgrim Fathers been Churchmen, they would have found in the Psalms for the day, a very appropriate as well as inspired thanksgiving: “Then are they glad because they are at rest; and so He bringeth them unto the haven where they would be. Oh that men would therefore praise the Lord for his goodness; and declare the wonders that he doeth for the children of men.” Holy Orders. In the last verse the allusion is to the text, “Let not him that girdeth on his harness boast himself, as he that putteth it off.” I. Kings, xx. 11th. I trust the reader has noticed that the arrangement of these Lays has not been merely fortuitous. They are meant to succeed each other, as did the experiences which suggested them, from the pursuit of trifles, to the choice of God’s holy service; and to exhibit as a moral what St. Augustine so appositely says in his confessions: Tu, Domine, excitas, ut laudare Te delectat; quia fecisti nos ad Te, et inquietum est cor nostrum, donec requiescat in Te. CONTENTS.
H. S. PARSONS Has for sale, by the author of Halloween, ATHANASION, Second Edition, with Notes. Also will publish shortly, in uniform with Halloween, CHRISTIAN BALLADS, Second Edition, with Additions. ? Several poems published with the former edition of the Ballads, have been retained in their proper places, among the Lays published with Halloween, as they will not again be printed with the Ballads. Also, H. S. P. has in press, ANCIENT HYMNS OF HOLY CHURCH, BY J. WILLIAMS, M. A., Rector of St. George’s, Schenectady. Transcriber’s Notes: Hyphenation and archaic spellings have been retained as in the original text. Punctuation and obvious typesetting errors have been corrected without note. [End of Halloween, A Romaunt with Lays, Meditative and Devotional, by Arthur Cleveland Coxe] |
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