As ever wind, that o'er the tents Of AZAB* blew, was full of scents, Into those wreathy, Red-Sea shells, Where Love himself, of old, lay sleeping+; So brilliantly his features beam, And such a sound is in the air Of sweetness when he waves his wings,- From CHINDARA's warbling fount I come, * The myrrh country. + "This idea (of deities living in shells) was not unknown to the Greeks, who represent the young Nerites, one of the Cupids, as living in shells on the shores of the Red Sea." Wilford. "A fabulous fountain, where instruments are said to be constantly playing."— Richardson. Where lutes in the air are heard about, And voices are singing the whole day long, And every sigh the heart breathes out Is turn'd, as it leaves the lips, to song! Hither I come From my fairy home, And if there's a magic in Music's strain, Of that moonlight wreath, Thy Lover shall sigh at thy feet again. For mine is the lay that lightly floats, As the musk-wind, over the water blowing, Mine is the charm, whose mystic sway And they come, like Genii, hovering round. And mine is the gentle song that bears 'Tis I that mingle in one sweet measure The past, the present, and future of pleasure+; "The Pompadour pigeon is the species, which, by carrying the fruit of the cinnamon to different places, is a great disseminator of this valuable tree. See Brown's Illustr. Tab. 19. "Whenever our pleasure arises from a succession of sounds, it is a perception of a complicated nature, made up of a sensation of the present sound or note, and an idea or remembrance of the foregoing, while their mixture and concurrence produce such a mysterious delight, as neither could have produced alone. And it is often heightened by an anticipation of the succeeding notes. Thus Sense, Memory, and Imagination, are conjunctively employed." — Gerrard on Taste. This is exactly the Epicurean theory of Pleasure, as explained by Cicero: :-" Quocirca corpus gaudere tamdiu, dum præsentem sentiret voluptatem: animum et præsentem percipere pariter cum corpore et prospicere venientem, nec præteritam præterfluere sinere." Madame de Staël accounts upon the same principle for the gratification we derive from rhyme: -"Elle est l'image de l'espérance et du souvenir. Un son nous fait désirer celui qui doit lui répondre, et quand le second retentit il nous rappelle celui qui vient de nous échapper." When Memory links the tone that is gone With the blissful tone that's still in the ear; And Hope from a heavenly note flies on To a note more heavenly still that is near. The warrior's heart, when touch'd by me, As his own white plume, that high amid death When Music has reach'd her inward soul, Like the silent stars, that wink and listen From my fairy home, And if there's a magic in Music's strain, Of that moonlight wreath, Thy Lover shall sigh at thy feet again. 'Tis dawn-at least that earlier dawn, Whose glimpses are again withdrawn*, "The Persians have two mornings, the Soobhi Kazim As if the morn had wak'd, and then Shut close her lids of light again. The wonders of her lute, whose strings Oh, bliss! -now murmur like the sighing From that ambrosial Spirit's wings. And then, her voice-'tis more than human Never, till now, had it been given To lips of any mortal woman To utter notes so fresh from heaven; Sweet as the breath of angel sighs, When angel sighs are most divine. "Oh! let it last till night," she cries, "And he is more than ever mine." and the Soobhi Sadig, the false and the real day-break. They account for this phenomenon in a most whimsical manner. They say that as the sun rises from behind the Kohi Qaf (Mount Caucasus), it passes a hole perforated through that mountain, and that darting its rays through it, it is the cause of the Soobhi Kazim, or this temporary appearance of daybreak. As it ascends, the earth is again veiled in darkness, until the sun rises above the mountain, and brings with it the Soobhi Sadig, or real morning." Scott Waring. Milton may allude to this, when he says, "Ere the blabbing Eastern scout, He thinks |