I've got my wife, I take her home, Lead forth, O clarke, the chaunting quire, To swell our nuptial song: Come, preaste, and reade the blessing soone; For bed, for bed we long.' They heede his calle, and husht the sowne; And followde him ore feeld and flood Halloo! halloo! away they goe, And horse and rider snort and blowe, How swifte the hill, how swifte the dale, Aright, aleft, are gone? By hedge and tree, by thorpe and towne, Tramp, tramp, across the land they speede; Splash, splash, acrosse the see: 'Hurrah! the dead can ride apace; Dost fear to ride with me? In roundel daunces reele: The moone is bryghte, and blue the nyghte, Mayst dimlie see them wheele. 'Come to, come to, ye ghostlie crewe, And daunce for us the wedding daunce, And brush, brush, brush, the ghostlie crewe Halloo! halloo ! away they goe, And horse and rider snort and blowe, And all that in the moonshyne lay, The sky and every star. Tramp, tramp, across the land they speede; Splash, splash, across the see: ‹ Hurrah! the dead can ride apace; Dost fear to ride with mee? 'I weene the cock prepares to crowe : I snuffe the earlye morning aire : The dead, the dead can ride apace! Oure race is ridde, our journey ore, And lo! an yren-grated gate Soon biggens to their viewe: He crackte his whyppe; the clangynge boltes, The doores asunder flewe. They pass, and 'twas on graves they trode; "Tis hither we are bounde :' And many a tombstone ghostlie white And when hee from his steede alytte, His head became a naked scull; And att his drye and boney heele And inn his witherde hande you might And lo! his steede did thin to smoke, And pal'd, and bleach'd, then vanish'd quite And hollow howlings hung in aire, Then knew the mayde she mighte no more But onwarde to the judgment-seat, The ghostlie crewe their flyghte persewe, 'Be patient; tho' thyne herte shoulde breke, Arrayne not Heaven's decree ; Thou nowe art of thie bodie refte, Thie soule forgiven bee!' "It is said," resumed the Nymph, "that when Bürger first wrote this poem, he was a very young man, and read it to his companions with such spirit and vehemence, that they started from their seats in horror at the impassioned accent with which he uttered the expression in the original, which is so happily rendered by 'he crackte his whyppe.' I have also heard it stated, that he is considered among his countrymen as Coleridge and Wordsworth are among us, not so much for genius as for rejecting what is called the conventual phraseology of regular poetry, in favour of popular forms of expression, gathered from the simple and energetic utterance of the common people. Imitative harmony he pursues almost to excess, the onomatopoeia is his prevailing figure, the interjection his favourite part of speech,―arrangement, rhythm, sound, rhyme, are always with him an echo to the same. The hurrying vigour of his poetical diction is unrivalled, yet it is so natural, even in its sublimity, that his poetry is singularly fitted to become national with the people. Of these two ballads some prefer The Parson's Daughter' to Lenora. It has been no less happily translated than the other, under the title of " 6 THE LASS OF FAIR WONE. Beside the parson's bower of yew, Why strays a troubled spright, Why steals along the pond of toads A gliding fire so blue, That lights a spot where grows no grass, The parson's daughter once was good, He sent the maid his picture, girt 'Let go thy sweethearts, one and all; 'The tale I would to thee bewray, In secret must be said: At midnight hour I'll seek thy bower; Fair lass, be not afraid. ' And when the amorous nightingale Sings sweetly to his mate, |