Page images
PDF
EPUB
[graphic][merged small][merged small][ocr errors][ocr errors]

Fearful as

the beginning of a new existence with me. my state then was in reality, it appeared a heaven to that which I had been in. The hope of deliverance aroused me to new energies. I felt hungry, and ate voraciously; for till that moment I had scarcely eaten enough to sustain life. The chance of once more mingling with my fellow-men filled my imagination, and braced every fibre of my frame, almost to breaking. The ship's motion perceptibly increased; the ripple under her bow at length became audible; she felt additional impulse, moved yet faster, and at length cut through the water at the rate of four or five knots an hour. This was fast enough for her safety, though not for my impatience. I steered her large before the wind for some time, and then kept her as near as possible in the track of vessels bound for Europe certain that, carrying so little sail, I must be speedily overtaken by some ship that could render me assistance. Nor was I disappointed in my expectations. After steering two days with a moderate breeze, during which time I never left the helm, a large West Indiaman came up with me, and gave me every necessary aid. By this means I was enabled to reach Halifax, and finally the river Mersey, about five weeks later than the time I had formerly calculated for my voyage.

THE BETROTHED

(WITH A BEAUTIFULLY ENGRAVED ILLUSTRATION.)

Fair as the first that fell of womankind,

When on that dread yet lovely serpent smiling, Whose image then was stamp'd upon her mindBut once beguiled-and ever more beguiling; Dazzling, as that, oh! too transcendant vision

To sorrow's phantom-peopled slumber given, When heart meets heart again in dreams Elysian, And paints the lost on earth revived in heaven; Soft, as the memory of buried love;

Pure, as the prayer which childhood wafts above;
Was she-the daughter of that rude old Chief,
Who met the maid with tears-but not of grief.
Who hath not proved how feebly words essay
To fix one spark of Beauty's heavenly ray?
Who doth not feel. until his failing sight
Faints into dimness with its own delight,
His changing cheek, his sinking heart confess
The might-the majesty of Loveliness?
Such was Zuleika-such around her shone
The nameless charms, unmark'd by her alone;
The light of love, the purity of grace,
The mind, the music breathing from her face,

*

"Zuleika! child of gentleness! How dear this very day must tell, When I forget my own distress, In losing what I love so well,

To bid thee with another dwell: Another and a braver man Was never seen in battle's van.

*

And now thou know'st thy father's will;
All that thy sex hath need to know:
'Twas mine to teach obedience still-
The way to love, thy lord may show."
In silence bow'd the virgin's head;

And if her eye was fill'd with tears
That stifled feeling dare not shed,
And changed her cheek from pale to red,
And red to pale, as through her ears
Those winged words like arrows sped:

What could such be but maiden fears? So bright the tear in Beauty's eye, Love half regrets to kiss it dry; So sweet the blush of Bashfulness, Even pity scarce can wish it less!

BYRON.

LONDON AND PARISIAN FASHIONS.

It has been remarked in one of the highest quarters, that "never was less extravagance and more real ele gance displayed in the costume of the leaders of ton than at the present period." The latest productions of our noted houses fully bear out this eulogium.

The style of dress now adopted certainly abstracts nothing from the reputation for taste, which our modern modistes, and those whose business it is to place new varieties of material at their disposal, have acquired.

An outré disposition of female costume is unquestionably not a predominant vice of the present style of taste, though it may be found difficult to account for some eccentricities-the sleeves, for instance, may still be pointed at by the satirical, and a partial adjustment of a part of the skirt may furnish a jest for the malicious, yet we will venture to say, that less scope than ever is given for ridicule, and the meed of approbation is more fairly awarded by the fastidious than at former periods.

The artificial waist at one time was nearly up to the shoulders, and at another it was lowered considerably below its original position. On this point at the present epoch, fashion cannot be subject to reproachful animadversion, and we think that to have rectified this unnatural apportionment of dress, was a triumph over bad

taste.

Length and amplitude in dress which now prevails, give a great degree of elegance and dignity to some figures, the corsage is frequently draped or crossed: the Elizabethan form, (corsage en pointe), is still, however, preserved, and agrees admirably with the long flowing costume. The sleeves preserve their dimensions, and in a great measure their shape, but we anticipate a considerable alteration in them. Pelerines remain as they were. Dented borders are much adopted, sometimes with acorn-ends depending: and a silk, satin, or other piping, as may suit the dress, very frequently sets them off. Broad hems, similar to the dress, are sometimes only added. This agrees with a plain style.

Trimmings, edgings, and other ornamental parts of the dress, are worn much according to taste: they are, however, generally made to assort with the color of the dress.

A blue poult de soie dress, embroidered in black, is very appropriately ornamented with a similar shade of

satin biais.

Dresses of mousseline de laine should be ornamented with gros de Naples, not satin.

Black satin mantillas are frequently lined with rose or cherry-colored plush, and trimmed with deep black lace.

For evening dress, the satin rayé is much adapted, variously tinted flowers are usually strewed on a light ground, as a pearl-white, light-grey &c.

The florentine in deep brown, with bright colored detached bouquets is admired for morning costume, either for visiting or reception.

The robe de chambre is studiously attended to both as to general effect and material, the latter is frequently of the most costly description. Indian cachemere lined with silk, wadded and quilted, with large lappels of velvet or fur, is in great estimation. The sleeves are usually of great width and opened at the wrist. A

square collar is turned over in the style of a pelerine. A point lace cap is a frequent accompaniment to this elegant negligé—it is low, flat, backward on the head, and has a narrow lace trimming; two bows of ribbon on each side support a trimming of broad lace placed in a fan-like shape. Cashmerienne taffety, silk, marceline, satin de laine &c. may form the materials for these morning dresses in which the ornaments, embroidery &c. may correspond to the tsate or circumstances of the wearer.

CLOAKS AND SHAWLS.-It at first seemed a matter of doubt whether cloaks should still bear the sway, or pelisses again be adopted. Cloaks have, however, as yet completely gained the ascendancy, and some very magnificent ones have been made within the last fortnight at some of our great magazines.

A peach-coloured cachmere cloak, of very ample dimensions, was made nearly to the shape at the waist, without destroying the characteristics of a cloak; a great width of drapery proceeded from the back all round the shoulder to the bust, and partly concealed a sleeve of pink Gabrielle satin richly embroidered, gradually becoming small at the wrist.

A cloak of Angelo silk, the new material mentioned in our list; green designs over violet-coloured ground, small velvet collar edged with deep black lace; a large silken cordeliere is passed round the waist, a moderately sized velvet hem goes round the skirt.

Merino is made up in cloaks to a very great extent, and the beautiful fabrics and designs that have been lately introduced in this material, affords the most stylish as well as the plainest dressers an opportunity to suit themselves.

Collars may frequently be observed very scanty at present, though it is questionable if this formation will continue, giving to some figures a mean appearance; it may, however, be advantageously adopted by petite and round figures.

Now that one side only of the shawl is displayed, the full French designs are much admired, and the medallion patterns have the preference.

In carriage costume we frequently see poult de soie shawls, and sometimes black satin edged with lace.

HATS AND CAPS.-The size of hats is still increased: the brims do not fall much over the front of the face, though they descend considerably lower on the side.

In the selection of lining, great care must be taken to have it agreeable to the complexion; as, from the face being in a great measure surrounded by the front, a very marked effect may be produced; the variety of colours now permitted, render it easy to assort the lining to the complexion: the new Paris colour the blanc-roux is well adapted to general use, as there are very few complexions that it does not become.

Blonds, ribbons, bunches of hair, &c. are required with these shapes, if ribbon nœuds are intermixed with the hair, it is more distingué to have them of one shade.

In dress caps there is an alteration which very generally prevails, the crown, instead of being worn high is now rather depressed. This, however, must be suited to the wearer, for the difference produced by this in the general effect is considerable.

The satin ribbons, with imitations of gothic or blond lace on the border, are now much in vogue, and it may be anticipated will be still more so.

Half veils for winter hats are discountenanced by the

ton.

The drawn hats will be, after a while, not so prevalent, those which are worn now come low down the face, as previously described; such is the general form, though from the very liberal one of fashion at the present period, the expression, form, and figure of the individual, are studied in the choice of make.

For the theatre, we have seen some very elegant hats, in worked satin, spangled velvet, rose-coloured gros, parted round fronts, which were situated much from the face, predominated; some were ornamented with a couple of large feathers, also with rose or other light and delicate shades, sometimes a few small feathers are inserted in small bouquets. These styles are equally modish, but should be adapted according the person. The long plumes are suitable to the tall commmanding figures, and vice versa.

We sometimes see a velvet lining to a satin hat—a prelude to the adaption of velvet bats-these are large in shape for the promenade or the carriage-for dress, small round fronts much elevated and turned behind.

MATERIALS AND COLOURS.-The new winter materials have at length made their appearance, and we shall proceed to give a complete catalogue of all that are worthy of notice, and likely to be adopted among our élégantes. We are furnished, through the inventive genius and diligence of the Parisians, with a vast number of new fabrics, some of them characterised by great taste, as well as exceedingly applicable to the varieties of the season. The new designs are varied almost to infinity, and calculated to please the most fastidious and refiued, as well as the most ordinary taste. The light, the fanciful, bizarre, the rich or gorgeous-styles of a recent or ancient date-are seen in our first-rate houses in captivating profusion. The colours, most of which have considerable depth and intensity, are, when varied to lighter shades, generally derived from originally dark tints. The cinnamon and fawn, for instance, from modifications of the brown, and a kind of neutral tint, from a mixture of black and grey, marone, myrtle-green, hayti-blue, brown, and all its shades.

Satins, velvets, silks of a heavy and rich manufacture, and extreme pliability, predominate. Cachmeres and merinos are also extremely splendid and in unprecedented variety.

The Gabrielle satin has a ground of any deep color with colored flowers, not to contrast violently, worked over it.

Milan satin of a peculiarly fine texture and surface ; patterns of foliage,

The Valerian satin, ground fawn-colored, with lilac sprigs.

The above in a white ground with detached lilacflowers, forms a beautiful bridal costume.

The Thirla satin worked in imitation of the usual style of embroidery on satin foundation.

The Medici velvet (for full dress) spangled and ornamented with the same material, in plain black. The Isabeau reps, (for full dress) the designs running in a different grain but of the same shade.

The Trianon reps (for full dress) colored ground in which are embroidered satin sprigs. A white embroidery undulating on a lemon-colored ground, has a very beautiful effect.

[merged small][merged small][graphic][subsumed]
« PreviousContinue »