from on board the brig to report her disabled condition. If she came alongside she would be engulfed with the sinking ship. Herndon ordered her to keep off. She did so, and was saved. This, as far as I have been able to learn, was his last order. Forgetful of self, mindful of others, his life was beautiful to the last, and in his death he has added a new glory to the annals of the sea.

[A handsome monument to his memory stands in the Parade-ground of the Naval School at Annapolis.]

WILLIAM GILMORE SIMMS.

1806-1870.

WILLIAM GILMORE SIMMS was born and reared in Charleston, South Carolina. His early education was limited; he was for a while clerk in a drug-store and then he studied law. But his decided taste for letters soon induced him to devote his entire time and attention to their cultivation. He wrote rapidly and voluminously, and produced poems, novels, dramas, histories, biographies, book-reviews, editorials, in short, all kinds of writing. He was editor of various journals at different times, and did all he could to inspire and foster a literary taste in his generation. His style shows the effect of haste and overwork.

His novels dealing with Colonial and Revolutionary subjects are his best work. They give us graphic pictures of the struggles that our forefathers in the South had with the wild beasts, swamps, forests, and Indians in Colonial times, and with these and the British in the Revolutionary period. They should be read in connection with our early history, especially the following: Yemassee, (1714, Colonial times); Partisan, Mellichampe, and Katharine Walton,(forming the

Woodlands, S. C., Home of W. Gilmore Simms.

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Revolutionary Trilogy); Eutaw; Scout; Forayers; Woodcraft, (1775-1783); Wigwam and Cabin (a collection of short stories).

Some of his poems are well worth reading, especially the legends of Indian and Colonial life; and the Spirits' songs in "Atalantis" are very dainty and musical.

He was the friend and helper of his younger fellow-workers in literature, among whom were notably Paul Hamilton Hayne and Henry Timrod. At his country home "Woodlands" and in Charleston, he dispensed a generous and delightful hospitality and made welcome his many friends from North, South, and West. The last few years of his life were darkened by distress and poverty, in common with his brethren all over the South; and his heroic struggle against them reminds us of that of Sir Walter Scott, though far more dire and pathetic.

A fine bust of him by Ward adorns the Battery in his native and much-loved city. See Life, by William P. Trent,

Upon the Poet's soul they flash forever,

In evening shades, these glimpses strange and sweet;
They fill his heart betimes,—they leave him never,
And haunt his steps with sounds of falling feet;
He walks beside a mystery night and day;
Still wanders where the sacred spring is hidden;
Yet, would he take the seal from the forbidden,
Then must he work and watch as well as pray!
How work? How watch? Beside him-in his way,-
Springs without check the flow'r by whose choice spell,—
More potent than "herb moly," he can tell
Where the stream rises, and the waters play!—
Ah! spirits call'd avail not! On his eyes,
Sealed up with stubborn clay, the darkness lies.

THE DOOM OF OCCONESTOGA.

(From Yemassee.)

[Occonestoga, the degenerate son of the Yemassee chief Sanutee, has been condemned, for befriending the whites, to a fate worse than death. The totem of his tribe, an arrow branded upon the shoulder, is to be cut and burnt out by the executioner, Malatchie, and he is to be declared accursed from his tribe and from their paradise forever, "a slave of Opitchi-Manneyto," the evil spirit.]

Occonestoga's head sank in despair, as he beheld the unchanging look of stern resolve with which the unbending sire regarded him. For a moment he was unmanned; until a loud shout of derision from the crowd as they beheld the

show of his weakness, came to the support of his pride. The Indian shrinks from humiliation, where he would not shrink from death; and, as the shout reached his ears, he shouted back his defiance, raised his head loftily in air, and with the most perfect composure, commenced singing his song of death, the song of many victories.

"Wherefore sings he his death-song?" was the cry from many voices,-"he is not to die!"

"Thou art the slave of Opitchi-Manneyto," cried Malatchie to the captive, "thou shalt sing no lie of thy victories in the ear of Yemassee. The slave of OpitchiManneyto has no triumph❞—and the words of the song were effectually drowned, if not silenced, in the tremendous clamor which they raised about him. It was then that Malatchie claimed his victim-the doom had been already given, but the ceremony of expatriation and outlawry was yet to follow, and under the direction of the prophet, the various castes and classes of the nation prepared to take a final leave of one who could no longer be known among them. First of all came a band of young marriageable women, who, wheeling in a circle three times about him, sang together a wild apostrophe containing a bitter farewell, which nothing in our language could perfectly embody.

"Go,-thou hast no wife in Yemassee,-thou hast given no lodge to the daughter of Yemassee,-thou hast slain no meat for thy children. Thou hast no name-the women of Yemassee know thee no more. They know thee no more."

And the final sentence was reverberated from the entire assembly, "They know thee no more, they know thee no more."

Then came a number of the ancient men,—the patriarchs of the nation, who surrounded him in circular mazes three several times, singing as they did so a hymn of like import.