First Pea. Isabel, a Dramatic Poem. What voice was that? Second Pea. I doubt if it be earthly, brother-hush! First Pea. A pause. There was a wildness in those notes that-hark! The voice is heard again—it becomes gradually more audible—the following words are distinguished: First Pea. Second Pea. First Pea. Second Pea. Second Pea. Second Pea. The moon looked pale as the Baron passed, The infant was rocked on the ocean's breast, A curse was on it's hour of rest, I've heard a tone like that- It is the maniac's Nothing more than this. Know you her story? Some secret guilt, perhaps, To follow her What shall we glean by that? Isabel, a Dramatic Poem. Scene II. The entrance of a wood.—A chain of high rocks are discernible through the trees-at intervals a waterfall breaks over them.— At the back a cottage partly concealed by the foliage. A voice at a distance, occasionally interrupted by the dashing of the water. Isabel. Elements of Earth Mingle and meet, Certain and fleet, 'Till wild dismay, Thus thus it has been With Isabel- Let the ruined souls That wandered there, When the last bell tolls Like stars condemned-lone- By that blight unknown, Wasted!-wasted! Isabel appears at the bank-her dress wild and tattered. Are slumbering with him, and his heart of guilt Such it should be-no tongue should lisp-no breath A pause. Isabel, a Dramatic Poem. Here make thy bed, Desolate one!-here lay thy fainting limbs, And as thy last breath shrinks away, command Man-man-thou art the lord and slave of passion- Let me not ask that question lest my wrong Thus man entwines his victim, thus he clasps, But no reply-am I not like a worm That crawls upon the earth, sullying its track? A reptile?-and a foul, dishonoured thing, Whom none will see bit those whose trampling tread Feels something writhe beneath ?-Then let me die— Thou art the parent and the sepulchre Of human things-full oft you've lodged me thus- She lies down-a pause-steps are heard behind. Hark! I heard a foot Have I pursuers in this trackless wood? The two Peasants are distinguished amongst the trees, Ha! ha! They come-I will evade them-yonder height- Exit towards the Cottage. The two Peasants come forward-they point after her, and exeunt. SCENE III. Interior of the Cottage. Agatha and Marinette discovered. Agatha. Yesterday? Marinette, And then he looked so wild, mother- Agatha. Isabel, a Dramatic Poem. No-no Marinette. Agatha, He could not bless a human being-no- Why does he wander Isabel. (outside) If ye are human save me- It is a female voice. Do not fear, She opens the door-Isabel rushes in, and falls on the ground. We will protect her! raise her from the ground Isabel. Would ye serve me? then close-close up your doors, Marinette. Marinette. Can tell ye I am not, for it has been My sole companion many years. She looks attentively at Marinette. Mercy! That deep blue eye-and those long flaxen locks- I do beguile myself-but You will not banish me for that?-Nature Eighteen Unsearchable decrees of mighty fate, I do not challenge you-but-just so long Oh! 'twas her eye, her hair.Shew me your hand- Marinette. Isabel. The Toper and Resolution. O Heaven! there is a mark on it She sinks back. You have not closed the door-and I hear steps- At this moment the door at the back opens, and Lindenberg appearsIsabel utters a frantic laugh, and exclaims Lindenberg! and falls into the arms of Marinette.— Lindenberg stands gazing intently The scene closes, on the group. (To be continued.) FAMILIAR TALES, No. 1. THE TOPER AND RESOLUTION. A Toper once addicted long To swilling liquors that were strong, To drink no more!-but do not guess 'Twas for a year tho'-nothing less! Now Resolution standing nigh: 'I mean to drink mor gin nor beer.' 'Bravo! bravo!' cries Resolution, Where are we now?' 'Just at the door You know you must not enter more.' |