Godey's Lady's Book, Vol. 48, June, 1854

P. S. I have had this more than three weeks in my pocket, waiting for an opportunity to post it.

[Illustration]

A SONG.

BY CHARLES STEWART.

As fancy breathes her gentlest gale O'er memory's shallop, bright with flowers, And up the stream of Time you sail To visit childhood's fairy bowers-- As early scenes bring to your mind The day gone by of youthful greeting-- The joys and pleasures left behind, As bright, as transient, and as fleeting As sunshine on a summer's day-- One moment bright, but ere the hour Hath passed, the landscape wears a frown, And then 'tis darkened by a shower: Oh, cherish, as in other days, One passing thought, one precious tear, When o'er the past thy vision strays, For him who writes this tribute here! And may thy dreams, so glad in youth, As Time with tireless pinions fly, Unfold in happiness and truth, And sit amid a cloudless sky!

GODEY'S COURSE OF LESSONS IN DRAWING.

LESSON VI.

FIGURE AND OBJECT DRAWING.

[Illustration: Fig. 1.]

[Illustration: Fig. 2.]

[Illustration: Fig. 3.]

[Illustration: Fig. 4.]

[Illustration: Fig. 5.]

IN executing the copies here given, and, indeed, in all other drawings which are to be shaded, the outlines must first be put in before any attempt to shade is made. The pupil should endeavor to produce the proper degree of shade at one operation, without having occasion to go over or darken it afterwards. This retouching spoils the effect of clearness and spirit which shading at one operation is calculated to give, and which all drawings should have. The drawings in Figs. 1 and 2 will be very easily put in. The outline of Fig. 3 should be drawn in the manner heretofore explained, the shading put in by bold strokes from top to bottom, because if done at two operations a shadow would result, by which the effect would be spoiled; a few cross-strokes may be next put in, which will give a little roundness to the sketch. In Fig. 4, the nearest part of the oval is to be drawn considerably stronger, so as to bring it forward. Figs. 5 and 6 are examples in which the ellipse is distinguishable. In copying Fig. 7, a nice broken outline should first be obtained; the shading being simple needs no explanation. The outline of Fig. 8 is to be drawn as formerly; the indented parts of the leaf to be put in slightly, and afterwards the stronger shadow, which throws forward the curled edge of the leaf. In copying the annexed sketch of a grindstone, to get the outline correctly the framework should be drawn first, carefully observing the relative proportions of the parts, in order to give an idea of perspective.[4] Having done this, an ellipse may be drawn to represent the stone, part of this to be rubbed out afterwards; in shading the drawing, the nearer parts should be made darker than those distant; this causes the latter to recede, having the appearance of distance. In Fig. 10, we give the representation of an old gate; it is so simple that it needs no explanation. Fig. 11, which is the representation of a familiar object, is treated under a very simple effect of light and shade, the shaded parts bringing forward the light ones; this effect is called _relief_. It is of the utmost importance that the pupil should have a clear knowledge of the mode of producing this effect. We would recommend her to try the experiment of placing simple objects so as to relieve each other, and to sketch them in this manner; this will enable her very speedily to understand the method of attaining the effect. In Fig. 12, the same effect is displayed, only reversed; a mixture of light and shade throwing back the other end, which is in half tint. In Fig. 13, which is the representation of a fuchsia-leaf, the outline must be put in in the manner heretofore explained; the shading is similar to that in Fig. 8. After copying this, we would recommend the pupil to get a similar leaf, and place it in various positions, so that the light and shade will be variously disposed. This will afford excellent practice, and will accustom the pupil to draw or sketch from nature. In Fig. 14, which is the representation of a rural stile, the pupil will find the principle of relief shown in Figs. 11 and 12 again displayed; the shading behind the stumps throwing the light parts forward, and the shaded sides of these causing the back part to recede.

[Illustration: Fig. 6.]

[Illustration: Fig. 7.]

[Illustration: Fig. 8.]

[Illustration: Fig. 9.]

[Illustration: Fig. 10.]

[Illustration: Fig. 11.]

[Illustration: Fig. 12.]

[Illustration: Fig. 13.]

[Illustration: Fig. 14.]

FOOTNOTES:

[Footnote 4: Hereafter the subject of Perspective will be fully treated of; before Perspective can be mastered, it is absolutely necessary that the pupil should be able to sketch by the assistance of the eye.]

CELESTIAL PHENOMENA.--JUNE.

BY D. W. BELISLE.

BOOTES.--This constellation is situated west of Asterion Et Chara, and contains fifty-four stars. It comes to the meridian the 9th of June. Bootes may be readily distinguished by the position and splendor of its principal star Arcturus, which shines with a reddish lustre, much resembling the planet Mars. This star is supposed to be nearer the earth than any other star in the northern hemisphere. Arcturus is referred to in Young's "Paraphrase," where the Almighty answers Job out of the whirlwind--

"Canst thou the skies' benevolence restrain, And cause the Pleiades to shine in vain? Or, when Orion sparkles from his sphere, Thaw the cold season, and unbind the year? Bid Mazzaroth his destined station know, And teach the bright ARCTURUS where to glow?"

Arcturus is a star of the first magnitude, situated in the left knee, and is twenty-six degrees south-east of Cor-Coroli. Three small bright stars curve down to the left foot, while three of the same size, about nine degrees east, curve in the same manner, and form the right leg. Three stars curve upwards, forming the left arm, which he holds aloft, while three still more minute ones mark the neud of the leash which he holds in his left hand, while his right one is marked by four stars; three very minute ones mark the club with which he urges on the hounds.

The ancient Greeks called this group Lycaon, which signifies a wolf, asserting that it is Calisto who was changed into a wolf by Juno.

"But now her son had fifteen summers told, Fierce at the chase, and in the forest bold, When, as he beat the woods in quest of prey, He chanced to rouse his mother where she lay. She knew her son, and kept him in her sight, And fondly gazed; the boy was in a fright, And aimed a pointed arrow at her breast, And would have slain his mother in the beast; But Jove forbade, and snatched her through the air In whirlwinds up to heaven, and fixed her there."

The Egyptians claimed the origin of it likewise, as also did the Hebrews. Its origin is probably too ancient to be traced.

* * * * *

CENTAURUS.--This fabulous monster is represented as having the head and shoulders of a man, terminating in the body of a horse. It occupies a considerable space in the southern hemisphere, yet it is so low down that but little of it can be traced in our latitude. It is situated south of Spica Virginis, and contains thirty-five stars, two of which are of the first magnitude. Agena and Bengula are stars of rare brilliancy, and mark the fore-feet of the monster. These stars are never visible in our latitude, but shine with greater lustre than any that gild our own hemisphere.

It is supposed this constellation took its rise from the simplicity of the shepherds of the earlier ages, who, on seeing men on horses, supposed them part of the animals they rode; so the Spanish cavalry seemed to the Mexicans as late as the year 1500.

The Centaurs were, in reality, a tribe of Lapithæ, who resided near Mount Pelion, and first invented the art of breaking horses. Virgil says--

"The Lapithæ to chariots add the state Of bits and bridles; taught the steed to bound, To turn the ring, and trace the mazy ground, To stop, to fly, the rules of war to know, To obey the rider, and to dare the foe."

* * * * *

LUPUS.--This constellation is situated south of Libra and east of the Centaur, and is so low down that it cannot be traced in our latitude. It contains twenty-four stars of a small magnitude.

This constellation, according to mythology, is Lycaon, King of Arcadia, who lived 3,600 years ago, and was changed into a wolf by Jupiter for sacrificing human victims at the altar of Pan.

* * * * *

LIBRA.--When the sun enters the sign Libra, the days and nights are of equal duration, and seem to observe an equilibrium like a balance. Libra contains fifty-one stars, and comes to the meridian the 22d of June. It may be known by its four principal stars forming a quadrilateral figure, lying north-east and south-west, and having its upper and lower indices nearly in a straight line running north and south. The two stars which form the south-west side of the square are situated about six degrees apart, and distinguish the southern scale. The two which form the north-east side are seven degrees apart, and mark the northern scale.

The Libra of the Zodiac is found upon all the hieroglyphics of Egypt, which is proof of its great antiquity. In the Zodiacs of Estne and Dendera, Virgo is represented as holding the balance in her hand as an emblem of equal justice to all.

The Greeks assert that the balance was placed among the stars to perpetuate the memory of Mochus, the inventor of weights and measures. It is known, however, to have existed prior to the Greek nation, and therefore the assumption must be erroneous.

* * * * *

SERPENS.--This constellation is situated chiefly between Libra and Corona Borealis. Those stars that lie scattered along for about twenty-five degrees, in a serpentine direction between Libra and the Crown, mark the body and head of the serpent; five of these, standing in a cluster, form the head. They are about ten degrees south of the crown.

"Vast as the starry serpent that, on high, Tracks the clear ether and divides the sky, And southward winding from the northern Wain, Shoots to remoter spheres its glittering train."

Many nations have worshipped the Serpent, among which are the Hivites and aborigines of South America. Job says: "By his spirit He hath garnished the heaven; his hand hath formed the crooked Serpent."

* * * * *

CORONA BOREALIS.--Among the starry hosts that deck the summer sky, there is no group more beautiful than the northern Crown. It is situated north of the Serpent, and may be readily distinguished by its six principal stars curving round into a wreath or crown. Alphacca, its brightest star, is eleven degrees east of Mirac in Bootes, and comes to the meridian the 30th of June. This group contains twenty-one stars, of which those that compose the wreath are alone conspicuous. This beautiful cluster of stars is said to have been placed in the heavens to commemorate the crown presented to Ariadne, Princess of Crete, by Bacchus.

We cannot discard the history connected with the traditionary gods of the ancients as entirely fabulous, for undoubtedly, in the fables of heathen mythology, are transmitted to us records of early times so far enveloped in the impenetrable darkness that separates us from the earliest records of the human species, that they alone are all that remain to us of the habits and pursuits of the patriarchs of the world. It remains with us to sift these relics of the past from the mystic web that a barbarous age threw around them, and thus be enabled to transmit to future ages glimpses of the habits and pursuits of patriarchs of our race in all the purity of unadorned truth.

[Illustration]

LEGEND OF LONG-POND; OR, LAKE OF THE GOLDEN CROSS.

BY FANNY FALES.

THE summer moon hung in the sky, And sleeping in its sheen; Long-Pond, watched by the angel stars, Lay in its cradle green.

The little zephyrs gliding by, Rocked it upon their way; And saw the dimples come and go, As of a child at play.

The beautiful white lilies bowed, With folded hands, at rest; As if they stole away to pray Beneath the water's crest.

From the dim woods beyond, the doe Came down her thirst to slake; Her wild brown eyes, and graceful form, Reflected from the lake.

What! does she list the huntsman's horn, That thus she bounds away? Turns she, with head erect and proud, The noisy hounds to bay?

Nay, nay! 'tis but a swift canoe Shoots from the coppice near; Its light oars leave a silvery track Upon the waters clear.

A pale, fair youth, one arm flung round A maiden's form, is there; The Saxon in his deep blue eyes, And light-brown waving hair.

The full-orbed moon floods in its wanes, The Indian maiden's face; The rich blood tints her olive cheek, Her form is full of grace.

Her black eyes, softer than the night, Are turned to meet his own; Her heart drinks in each loving word, And deep impassioned tone.

"Listen, Lueka--little fawn," (His voice is sad and low;) "Chide not with that imploring gaze; To-morrow I must go!"

Her head drops slowly on her breast, Veiled with her long black hair; Love in that simple act confest, Love, and almost--despair.

"Anoonk,[5] Lueka's heart will bleed, The arrow 'neath its wing; 'Twill sit and mourn, 'twill droop and die, It never more will sing.

"To-morrow is a little word, But, oh, how big with woe! Did poor Lueka hear or dream, 'To-morrow I must go?'

"Lueka, list, my bird, my fawn, I will return again Before the harvest moon looks down Upon the golden grain.

"I swear, Lueka, by the stars, And by this cross of gold, 'Ere red the berries of the thorn My Indian bride I'll fold.

"In token, chain and cross of gold I hang upon thy breast; And let it whisper, 'He will come When summer's in the west.'"

'Twere vain Lueka's fears to paint, 'Twere vain her woe to tell; When came the morrow's long embrace, And quivering, low farewell.

* * * * *

Popmonet's daughter was the maid, A princess' rank she bore; And many a rival chieftain laid His offering at her door.

But all in vain--for she had seen The stranger as he lay With fever in his throbbing veins-- And nursed him day by day.

Health came, and love--but woe if he Who sought her for his own, The Marshpee chief, her secret know, By word, or look, or tone.

* * * * *

The night is dark, the storm is fierce, But darker, fiercer still The whirlwind passions in the soul Of scorned Auketauquil.

For sad, apart, Lueka sits, Her heart's-eyes gaze afar; The young chief's words, his very smiles Upon her spirits jar.

The golden cross, but half concealed, To him her secret told; The while she murmurs, "he will come Before this moon is old.

"The corn is golden in the sheaf, With silken tassels drest; I've seen the shining summer rise, And now 'tis in the west."

But summer set, and winter came, And spring, with blossoms gay; Then hope died in Lueka's heart, For he was still away.

She drooped and faded day by day, And when the autumn hours Came round again with yellow leaves, She'd perished with the flowers.

Popmonet bowed his aged head In sorrow--with a moan; "The leaves from the lone tree are swept, I stand alone--alone!"

Auketauquil approaches near, With brow and footstep grave; The hated cross gleams on her breast, He hurls it in the wave.

"Curses," he cried, "upon the lips That lured away my bird! Curse him! would of his hated race Lueka'd never heard!

"Great Spirit, curse him! for he stole The ring-dove from my breast; Poor wounded thing--how cold it lies; I would have been its nest!"

A lovely island in the lake Popmonet's child received; Her people bore her gently there, And e'en the sternest grieved.

Anear her placed they food and drink, And trinkets that she wore, To cheer her on the lonely voyage Unto the spirit shore.

They laid her where the sweet-fern grew, With lilies in her hand; Then loosed a bird above her grave,[6] And sang thus by the strand.--

Speed on to the beautiful land afar, Where the soul of our sister's a new made star; With kisses, embraces, thy wings are laden, Soar high to the home of the absent maiden, Away! away!

Tell her, winged blossom, that over her grave, The kindred who mourn her, thy freedom gave; We ope thy cage, captive; we bid thee farewell; Soar away to the clime where the blessed dwell, Away! away!

Tell her we'll look when the north is aglow,[7] With the souls of our people, moving slow; For the beams of her spirit 'mid those we see, For we know in glory she brightest will be, Away! away!

She will come no more when the morn is fair, To look in the wave while she braids her hair; But her face like a star on Auketauquil's soul, Dawns bright from the gloom where its deep waters roll, Away! away!

Soar on--soar away to the spirit-land, Thy wings with the breath of affection fanned; The soul of our sister's a new made star, Bear our blessing, O bird, to her home afar; Away! away!

* * * * *

Years fled--the council fires went out; The red men, one by one, Died, or were driven from their haunts, Toward the setting sun.

No more a moccasin is seen On Succannesset[8] lands; Where once arose the wigwam's smoke, The white man's dwelling stands.

Save one old brave with locks of snow, No tree stands where it grew; No longer on the wave is launched The graceful bark canoe.

* * * * *

A poor lone woman, gathering Fuel Long-Pond around, Drew forth a dead branch from the wave, And lo! a cross was found!

'Twas asked the aged brave, if he Its history could tell; 'Twas the same cross Lueka wore, Ah, yes! he knew it well.

I gathered from his lips ere long The tale here given thee; 'Tis common love, and woe, and death, From man's inconstancy.

And evermore that woodland pond, Where oaks their shadows toss, We'll call for poor Lueka's sake, Lake of the Golden Cross.

FOOTNOTES:

[Footnote 5: _Anoonk_, a star.]

[Footnote 6: The Indians of some tribes loose a bird over the grave of a friend, laden with caresses, which they believe will be borne to the departed one.]

[Footnote 7: The moving rays of the northern lights are supposed by them to be the souls of their people in glory.]

[Footnote 8: _Succannesset_, Indian name of Falmouth.]

MRS. CLARK'S EXPERIENCE AS A SERVANT.

BY BELL.

"WHY is it, Mrs. Clark, that you always take the part of servants? You speak as if you thought them possessed of sensibilities as refined as ours."