Deem me not importunate if I petition you to publish _another_ extract of quite a different character from the foregoing. It is from the pen of the admirable _Mrs. Norton_, and expresses conjugal affection with so much touching pathos, that surely no married man, especially one from the Emerald Isle, can read it without deep emotion. It is called
Come, Patrick, clear up the storm on your brow, You were kind to me once,--will you frown on me now? Shall the storm settle _here_, when it from Heaven departs, And the cold from without find the way to our hearts? No, Patrick, no; surely the wintriest weather Is easily borne, while we bear it together.
Though the rain's dropping through from the roof to the floor, And the wind whistles free where there once was a door; Can the rain, or the snow, or the storm wash away All the warm vows we made in love's early day? No, Patrick, no; surely the dark stormy weather Is easily borne,--so we bear it together.
When you stole out to woo me, when labor was done, And the day that was closing, to us seem'd begun, Did we care if the sunset was bright on the flowers, Or if we crept out amid darkness and showers? No, Patrick; we talk'd while we brav'd the wild weather, Of all we could bear, if we bore it together.
Soon, soon, will these dark dreary days be gone by, And our hearts be lit up by a beam from the sky; Oh! let not our spirits, imbittered with pain, Be dead to the sunshine that comes on us then: Heart in heart--hand in hand--let us welcome the weather, And sunshine or storm, we will bear it together.
At the palace of the Prince Borghese in Rome, several young English and American artists were engaged, last winter, in copying the renowned productions of the old masters. Portray to yourself, kind reader, two large halls--the walls of which are lined with paintings, and intercommunicating by a side door, now thrown open for the benefit of the parties. In the first of these apartments are erected three easels--before which, in the attitude of painters, stand--first, a Virginian, intent upon the exquisite Magdalene of Correggio,--opposite, the native of a country town of Great Britain--transferring, as nearly as possible, the Prodigal Son, of the great Venetian,--while, within a few feet of the former, a Londoner is travailing for the inspiration of Titian, by contemplating his "Sacred and Profane Loves." The artists may thus be said to occupy, relatively, the three points of an isosceles-triangle. Gaze now, through the above-mentioned passage, and behold, at the extremity of the second and lesser hall, the figure of a Baltimorean--fancying, perchance, the surprise of the natives when they see _his_ copy of the inimitable Cupid beside him.