THE

WILLIAM

R.

PERKINS

UBRARY
OF

DUKE UNIVERSITY

(i-H

IQO

Digitized by the Internet Archive

in

2011 with funding from

University Libraries

Duke

http://www.archive.org/details/lenoreOObrge

Burger's Lenore

-""

"^^

LENORE
GOTTFRIED AUGUST BURGER

Translated from the German

DANTE GABRIEL ROSSETTI

ELLIS
29,

AND ELVEY NEW BOND STREET

LONDON,
1900
lAU
rights reserved.]

W.

PRINTED BY
HAZELL,

LONDON

prefatory IRote

This

translation of Burger's
in

celebrated ballad was

made by

Dante Gabriel Rossetti

that

or about June

1844: he used at
Rossetti."

date
1

the

signature " Gabriel

Charles

On

May
When
good

2th of that year he had attained

the age of sixteen.

he wrote
translation
:

it

he supposed
I

it

to

be a spirited and a
continued to
After

supposed the
it

same, and

be extremely familiar with

for

some years

ensuing.

a certain space of time

my

brother neglected the performance,

his thoughts.
I

and
of

it

dropped entirely out of

heard no more

it,

and probably never,

after

1850 or some such date, set

it.

eyes upon

any manuscript or any portion of

in

No

such

manuscript was

my

brother's possession at the date of his

death, April 1882.

At
the

last

one of the few copies which

has turned up.
It

in

1844 he made of
in

translation

was included

sale

prefatory
by
Messrs.

"IRote

held

Sotheby,

Wilkinson,

and

Hodge,

on

November 26th, 1899, and was there bought by Mr. Gilbert

I.

Ellis.

On
of

its

being

shown

to
is

me,
a
it

adhered

to

the
far

opinion
rather

my
a

boyhood
bad
one.

that
I

it

good rendering,
perfectly

than

think

worthy of

publication.

This appears to be the

first

translation

(of

any

sort

of

importance) that Dante Rossetti ever undertook.

In 1842 he

had begun the study of German under Dr. Adolf Heimann,

of University
as
College,

London,

most kind
learned

friend

as

well

excellent

instructor.

My

brother

the

language

pretty well, but

not so as to have an absolute and ready

mastery over

it.

No

doubt Dr. Heimann must have coached

his juvenile ambition pointed

him up

to

some extent when

to Lenore.

Soon afterwards he translated the Anne Heinrich

of

Hartmann von Aue

published
;

in
I

1886

(in

his

Collected

Works) as Henry the Leper

that

and

need not scruple to say

In

he made a capital thing of

of
;

it.

October
It

1845

he

began a version

the
but,

Nibelungenlied.
after

has

perished,

much

to

my

regret

the unforeseen resuscitation

prefatory iRote
of Lenore,

who knows but

opening
is

that

the Nibclnngcnlied (only a

few of

the
It

chaunts were translated)

noticeable
all

may
first

also

re-

appear?

rather

that

these

essays

in

verse-translation

should

have been from the German

and

language which Rossetti never knew thoroughly, which, after

early youth

was

past,

he did not
to

in
all

any way keep

up,

which he may be said

course of time.

have

but wholly forgotten in

His translations from the Italian

knew very
probably
in

well,

and from the most childish

not
earlier

which he years began

when he

1845,

than

the

period

ventured upon the Nibehingeiilied.

In
his

preface

to

the volume

Tlie

Early Italian Poets

general

(1861)

Dante

Rossetti

explained

his

views

as

to

what are the obligations incumbent upon a

translator.

They
but

amount
is

to

this

that

translator

ought to be
;

faithful,

not bound

down

to being literal

he

is

compelled to make

various mutual concessions between meaning and

rhythm or
into

rhyme

and

in

especial he

must not turn a good poem

a bad one.
fairly

In his version of Lenore he has conformed very

Literal
it

to these rules.

most certainly

is

not, but

it

ipretatori? iRote

is

moderately

faithful.

He

allows himself (contrary to his

i

original) the latitude of leaving lines

and
7

3 in

each stanza

unrhymed
feet

and of lengthening
I

lines

and
latter

from

three
as
is

to

four.

myself
to

regard
the
ear
:

this

change
opinion

a not

decided

improvement

but

my

much
is in

to the point.

The most The Lenore

grisly

salient

modification, however,
is,

general tone.

of Burger

notwithstanding

its

startling
:

and

theme, noticeably simple in treatreinforced

it

ment
or

Rossetti has largely

side.
It

on the picturesque
in-

romantic

may

perhaps have been by mere

the
religious

advertence

that
is

he

turns

atmosphere of the

poem, which

manifestly Protestant, into

"

Roman
"

Catholic

thus, for instance, a

Vaterunser
it

"

becomes an
all

Ave

Marie."

But,
to

if

this

was inadvertence,
impulse
in in

testifies

the
In

more strongly
stanza
is

the

romantic
is

his

mind.
that

15

the

translator

wrong

indicating

midnight
;

already

past, for the clock afterwards strikes eleven

and

in stanza 17

the
" I

ghostly bridegroom, in

saying

"

zur
I

VVette," only

means

wager you," and not

" 'Tis for a

wager

bear thee away."

I

Without dwelling further upon

details,

will

quote here

"

prefatory "Mote
stanza 27 of the

German

ballad,
:

which the reader can com-

pare with the translated stanza

" Wie

flog, was rund der Mond bescliifn, Wie flog es in die Feme Wie flogen oben iiber hin Der Himmel und die Sterne "Grant Liebchen auch Der Mond scheint
!
!

hell!

Hurrah
"

die Todten reiten schnell

Grant Liebchen auch vor Todten?"

'

O weh

Lass ruhn die Todten

'
!

"

So

far

as

am

aware,

the

first

English

rendering

of

Lenore appeared in the Monthly Magazine, done by William

Taylor
literary

of

Norwich,

and

entitled

Elleiiore.

It

takes

the

form of a

modern-antique,

and throws the

period

of the ballad back from the Seven Years'

times.

War

to crusading

Next, Sir Walter Scott,

in

1796, published a version

his

anonymously.
Biirger) the

He

borrowed from
lines

predecessor (not from

well-known
"

Tramp tramp along

the land they rode,

Splash splash along the sea

(only

substituting
that,

the

word "along"

for

"across").

Con-

sidering

according to Scott's and Taylor's translations,

lo

prefatory IRote
lovers
is

the
lines

are
as
for

riding

to

Hungary,

the

second
"

of

these

just
"
;

reasonable as

Shakespear's
sea

Bohemia near
any
ride

the

Sea

where

does

the

come

in

to
it,

Hungary

Scott's

Williavi

and

Helen, as
:

he

entitled

can hardly be called a translation

into

it

is

a paraphrase,

put
the

the

ordinary

English

ballad-metre,

and

altering

period of the story in the same

way

that Taylor had

done.

Several
closely

passages

here

and

there

are

however

translated

enough.

This

rendering

by

Scott not

any other

rendering of the ballad

must

have been highly familiar to

he

Dante Rossetti
version.

several

years before

undertook his own

In

1796 a translation, Leonora, was published by

W.
is,

R. Spencer, with engravings

I

by Lady Diana

Beauclerc.
;

It

think,

barely less faithful than Rossetti's version

the

difference being that, while the latter exceeds in picturesque colouring, Spencer loads
"

up the then accepted pomposities of

is

poetic diction."

The metre
;

more distant than

Rossetti's

from
the

the
lines

original

the

rhyming being always

four
feet.

alternate,
it

and
is

always

of

On

the

whole

creditable

performance.

There are also translations by Pye,

"

prefatory mote
the

Poet

Laureate, and by
Spencer's.

J.

T. Stanley, nearly contempo-

raneous with
faithful

The

Laureate was

not

extremel)'

to his original in substance,

and not

at all in

metre

and

think

his

version

hardly as good as the average of

others.
it

Stanley might pass muster tolerably enough, were

not that he has stupidly added to the ballad a long tag

of his own,

turning the whole

affair

into

dream.

The

famous designer Retzsch

published at Leipsic in
likewise
in

made

a series of outlines to Lenore,

in

1840, with the text

German, and

an

English
I

rendering

by
is

F.

Shoberl.

Of

all

the translations that

have seen,

this

the faithfullest.

The
close

metre
as one

is

correctly

followed,

and the diction comes as

lines

could demand.

Many

however are very poor,

from a poetic or
miserable than
"

literary point of view.

What

could be more

What ho

the dead can nimbly

fly

instead of

"Hurrah!

die

Todten reiten schnell "

translations

As

will

be seen,

all

the

of which

have as
Rossetti.

yet spoken were

produced before
later

that

of
In

Dante
1847

The

following

two are of

date.

Mrs.

Julia

12

prefatorg IRote

Margaret Cameron (the same lady, a valued friend of mine,

who

afterwards

produced a considerable impression

photographs)
published

by her
orna-

splendid

pictorial-looking

an

mental

volume her own

rendering of Lenore, accompanied by

steel-engravings after

Maclise.

Between the translation and

;

the

designs there

is

an

odd discrepancy

for the

former

is

correct to the date indicated

by Burger, whereas the

latter are

mcdiEeval.

Mrs. Cameron, in her preface, seems to suppose that

is

her rendering

a strictly faithful one, but

:

can only say that

she was mistaken

she does not stick close to the terms of

its

her original, and she wholly discards

metre.

In

1855 there
:

was a
is

translation

by John Oxenford, a good German scholar

it

however rather an adaptation than a translation, being done

words
for a cantata

to sei-ve as the

by G. A. Macfarren pro-

duced

at a

Birmingham

Festival.
little

There are yet other versions

all
:

of Lenore,

known

to
I

me

or not at

the reader

may

perhaps opine that

have already mentioned quite enough.

which
I

Of
best,
I

all

the translations with

is

am

acquainted, the

venture to think,

the
I

one which Dante Rossetti

say
it

wrote at the age of sixteen.

without hesitation,

prefatorii

mote
the
little

13

but with
pressed

full

consciousness

that

critical

opinion

exof

by

a brother carries

very

weight.

Some

the other renderings

as

Taylor's, Scott's,

and Stanley's
:

are

put

out of
less

count

by arbitrary

alterations

the

remaining

ones are
than

animated,
It

less poetical,

and mostly

less faithful,

Rossetti's.

may
first

be as well to state here that, as

translation
it

the Lenore was the

of

any importance that

he produced, so also was

the

first

favourable example of his

powers as a verse-writer.

His original ballad-poem of Sir

Hugh

the Heron, written mostly at the age of twelve,

was not indeed

worse than one would expect from so boyish a hand, but no

human being who knows

apply that epithet to Sir
ballad, Wiiliain

the

meaning of the word

the

'

good

"

can

Hugh

Heron

and another shorter

at the

and Marie, which he composed

even inferior to
its

age of

about fourteen,

is

precursor.

This Williaui

and Marie,
in

as

it

happens, was sold at the same auction-sale

:

which Lenore was included

it

fetched a

price

decidedly

more than proportionate

In
1844,

to its poetic deservings.

when

Rossetti

translated

Lenore,

this

poetic

invention was known to English readers as well as almost

prefatory IRote
presume that
generation.
its

any other foreign poem that could be named

it

is

good deal
therefore

less

familiar

to

the

present

will

say a few words about the ballad and

author.

Gottfried August Burger, a very ill-starred specimen

poetic
race,

of the

was born on January

in

ist,

1748, son

of

Lutheran minister, at Molmerswende

fond
of

Halberstadt.

He
a

was
strict

romantic

solitude,
is

and was

anything

but

moralist.

His face

not an interesting one:

fleshy,

with

round

eyes,
at

and, save the

mouth, large

features.

A
was

professorship
principal

Gottingen,

without fixed salary, formed his

published
attention,

dependence.

Lenore,
to
fix

towards

1775,

the

first

poem

of

his

which

it

effectually

did

there was also the

in

equally celebrated

Wild Huntsman.
unlucky
in

Unlucky
his

most

things,
in

Burger

was

specially
after

marriages, three

number.

Shortly
lady

publishing

Lenore, he married a Hanoverian

named Leonhart, and

Wilhelm

then
did
to

by

his

misdoing consigned

her, as his spectral

Lenore, to an early grave.

As soon

as he

was married

one Leonhart, he
sister

fell

desperately in love with another, the

younger

whom

he has celebrated under the

name

of Molly.

Iprefatorg IRote

is

The
1784.

wife,

worn out with troubles and

mortifications, died in

Burger forthwith espoused his Molly;

in

but she also

a

soon died,
parallel
IVIilton,

1786, in

childbed.

(This

is

rather

curious

to the

case

of the thrice-wedded

poet of

England,
Burger

whose second wife

also expired in childbed.)

was

still

willing to try his chance in the matrimonial lotter}-.

Before

his

choice

had been fixed he received a

letter

from

Stuttgart, written

by a young lady
professed

in

cultivated
for

and

feeling

language.

She

enthusiasm

his

poetry,

and

willingness to bestow

her hand upon him.

The

poet, after

making some
brought home
failure.

inquiry,
his

was only too eager

bride.

to assent,
result

and he

third

But the
to

was a woful

The lady became

a torment, and, in

faithless
less

her

husband, made

his

life

than three years, had to be

this

divorced.

BUrger did not survive

break-up for long.

bitter critique

He

was very poor, he was harassed by a

written

by

Schiller,

and everything seemed to go wrong with him.

In June 1794 he died, aged only forty-six.

WILLIAM M. ROSSETTI.
London,
December 1899.

The original Manuscript of

has
been
strictly

tlie

youthful translator
the

followed

in

printing;
etc.

as

regards spelling, punctuation,

BURGER'S "LENORE"
(FROM THE GERMAN)

GABRIEL CHARLES ROSSETTI

(Aged
i6)

BURGER'S "LENORE."
'mi

\* I have
it

retained the
to the

German

version of the heroines

namej thinking
" Leonora^'

more suited

metre than the lengthy English

to the

word

and by far less unplcasing

" Leonor."

ear than the stunted and ugly abbreviation,

G. C. R.

Up

rose

Lenore as the red morn wore,

visions starting
or,

From weary
"

Art

faithless,

William,

William, art dead

'Tis long since thy departing."

For

he, with Frederick's

men

of might.
fight

In fair Prague

waged the uncertain

Nor once had he

writ in the hurry of war,

afar.

And

sad was the true heart that sickened

Uenore

The Empress and

With

the King,

ceaseless quarrel tired,

At length relaxed

the stubborn hate

:

Which

rivalry inspired

And

the martial throng, with laugh and song,

their

Spoke of

homes

as they rode along,

And
With

clank, clank, clank

came every

rank.

the trumpet-sound that rose

and sank.

And

here and there and everywhere.

Along the swarming ways.

Went

old

man and

boy, with the music of joy.

;

On
And
the

the gallant bands to gaze

young

child shouted to spy the vaward,

And

trembling and blushing the bride pressed forward

!

But ah

for the

sweet

lips of

Lenore
o'er.

The

kiss

and the greeting are vanished and

"

Xenore

From man
With
But she

to

man

all

wildly she ran

;

a swift and searching eye

felt

alone in the mighty mass,

As

it

crushed and crowded by

On
And
She

hurried the troop, a gladsome group,

proudly the
tore her hair

tall

plumes wave and droop

and she turned her round.

And madly

she dashed her against the ground.

Her mother

clasped her tenderly

:

With soothing words and mild

"

My
Oh

child,

may God

look

down on
child."
is

thee,

God
"
!

comfort thee,
!

my

mother, mother

gone

gone

reck no more
pity to

how

the world runs on

What

me
!

does
for

God impart

Woe, woe, woe

my

heavy heart

!!

Xenorc

" Help,

Heaven, help and favour her

Child, utter

an Ave Marie

Wise and great

are the doings of

pities thee."

God

He
"

loves

and

Out, mother, out, on the empty

lie

Doth he heed

my
now

despair,

doth
is

he

list

to

my

cry

What
The

boots
is

it

to

hope or to pray

night

come,

there

no more day."

"

Help, Heaven, help

who knows

the Father
:

Knows

surely that he loves his child

The bread and

Shall
"

the wine from the hand divine

grief less wild."

make thy tempered

!

Oh

mother, dear mother

the wine

and the bread

Will not soften the anguish that bows

down my head
late

For bread and

for

wine

it

will yet

be as

That

his cold corpse creeps

from the grim grave's

gate.'

Xenore

23

"

What

if

the traitor's false faith failed,

tried,

By
What

sweet temptation
distant

if in

Hungary

He

clasp another bride?

fickle fool,

Despise the

my

girl,

Who

hath ta'en the pebble and spurned the pearl

shall hold together

While soul and body

In his perjured heart shall be stormy weather."

"

Oh

mother, mother
lost will still
is

gone
be

is

gone,

And

lost!

Death, death

the goal of

my

weary

soul.

Crushed and broken and

crost.

Spark of
Die away

my
in

life

down, down to the tomb

the night, die

away

in

the gloom

What

pity to

me
!

does
for

God impart?
heavy heart
"
!

Woe, woe, woe

my

Xenore

"

Help, Heaven, help, and heed her not,

For her sorrows are strong within

She knows not the words that her tongue

repeats,-

Oh

count them not for sin

Cease, cease,

my

child, tiny

wretchedness,
;

And
So

think on

tlie

promised happiness

shall

thy mind's calm ecstasy

to thee.'

Be a hope and a home and a bridegroom

"

My

mother, what

is

happiness
is

My

mother, what
is

Hell

With William

my
is

happiness,

Without him
Spark of

my

Hell
:

my

life

down, down to the tomb

Die away

in the night, die

away

in the

gloom

Earth and Heaven, and Heaven and earth,

Reft of William are nothincr worth."

Xenore

as

Thus

grief racked

and tore the breast of Lenore,

at her brain
;

And was busy

Thus

rose her cry to the

Power on high,
:

To

question and arraign

Wringing her hands and beating her

Tossing and rocking without any rest
Till

breast,
;

from her light

veil

the

moon shone

thro',

And

the stars leapt out on the darkling blue.

But hark

to the clatter

and the pat pat patter

Of

a horse's hea\'y hoof

How

the steel clanks and rings as the rider springs

the echo shouts aloof!

How
While

slightly

and

lightly the gentle bell

Tingles and jingles softly and well

And

low and clear through the door plank thin

the voice without to the ear within
:

Comes

Xenore

26

" Holla

holla

unlock the gate

Art waking,
Is

my
free

bride, or sleeping

thy heart

still

and

still

faithful to

me
"

Art laughing,
"

my

bride, or

weeping

Oh

wearily, William, I've waited

for you,

Woefully watching the long day

thro',

With a great sorrow sorrowing

For the cruelty of
j'our tarrying."

"Till the dead midnight

I

we saddled
and
fast

not,

have journeyed
hither
I

far

And

come

to carry thee
shall
till

back

Ere the darkness

be past."
the night's more calm
soft,
;

"Ah!

rest thee within

Smooth Hark

shall

thy couch be, and

and warm

to the winds,

how they

whistle

and rush

Thro' the twisted twine of the hawthorn-bush."

Xenore

27

"

Thro' the hawthorn-bush

let

whistle and rush,

Let whistle,

child, let whistle

hit,'h

Mark

the flash fierce and

his

of

my

steed's bright eye,

And

proud
!

crest's
I

eager

bristle.

Up, up and away

must not stay

Mount

swiftly behind

me

up,

up and away

An

hundred miles must be ridden and sped

Ere we

may

lie

down

in

the bridal-bed."

"

What

ride an

hundred miles to-night.

fancies driven

By

thy

mad

Dost hear the

bell

with

its

sullen swell.
"
?

As
"

it

rumbles out eleven

!

Look

forth

look forth

the

moon

shines bright

We
To

and the dead gallop

wager
I

fast thro' the night.

'Tis for a

bear thee away

the nuptial couch ere break of day."

Xenore

28

"

Ah

where

is

the chamber, William dear,

is

And
"Far, far

William, where

the bed

"
?

from here

still,

narrow, and cool

lid."

Plank and bottom and

"Hast room
Up, up

for

me?" "For

me and
!

thee;

to the saddle right speedily

The wedding-guests

are gathered and met.

And

the door of the

chamber

is

open

set."

She busked her

well,

and into the

haste,

selle

She sprang with nimble

And

gently smiling, with a sweet beguiling.

Her white hands clasped

his waist
!

And

hurry, hurry
fro

ring, ring, ring

To and

they sway and swing

Snorting and snuffing they skim the ground,

And

the sparks spurt up, and the stones run round.

"

Xenorc

29

Here to the
Flew

right

and there

to the left

fields

of corn and clover,

And

the bridges flashed by to the dazzled eye,

As

rattling they thundered over.

ails

"What

my

love? the

moon

shines bright:

Bravely the dead

Is

men

ride through the night.

my

love afraid of the quiet

dead?"

"Ah! no; let them

sleep in their dusty

bed!"

On

the breeze cool and soft what tune floats aloft,

While the crows wheel overhead

Ding dong
"

ding dong

'tis

the sound,

'tis

the

song,

Room, room

for the passing

dead

Slowly the funeral-train drew near.

Bearing the
coffin,

bearing the bier

And

the chime of their chaunt was hissing and harsh.

Like the note of the bull-frog within the marsh.


: ;

Xenore

30

"You bury your

corpse at the dark midnight,

bells

With hymns and

But
I

and wailing

bring

home my

youthful wife

To
Come,

a bride-feast's rich regaling.

chorister,

come with thy

choral throng,

And

solemnly sing
friar,

me
let

a marriage-song the blessing be spoken. the

Come,
That

come,

the

bride

and

bridegroom's

sweet

rest

be

unbroken."

Died the dirge and vanished the bier

Obedient to
his call,

Hard hard

behind, with a rush like the wind,

Came

the long steps' pattering

!

fall

And

ever further
fro they

ring, ring, ring

To and

sway and swing

Snorting and snuiifing they skim the ground.

And

the sparks spurt up,

and the stones run round.

"

Xenore

31

How

flew to the right,

how

flew to the

left,

Trees, mountains in the race

How

to the

left,

and the right and the

!

left,

Flew town and market-place

"

What

ails

my

love

the

moon

shines bright

Bravely the dead

Is
"

men

ride thro' the night.

?

my
!

love afraid of the quiet dead

let

Ah

them alone

in their

dusty bed

"
I

See, see, see

by the

gallows-tree.

As they dance on

the wheel's broad hoop.

Up

and down,
Half
lost,

in

the gleam of the

:

moon

an airy group

"Ho!
And

ho!

mad mob, come

wake of

hither amain.

join in the

my

rushing train
thin,

Come, dance me a dance, ye dancers

Ere the planks of the marriage-bed close us

in."

Xenore

32

And

hush, hush, hush

the

dreamy rout

Came

close with a ghastly bustle,

in the hazel-bush,

Like the whirlwind

When
And

it

makes
!

the dry leaves rustle

ring, ring, ring
!

faster, faster

To and

fro

they sway and swing

Snorting and snuffing they skim the ground,

And

the sparks spurt up, and the stones run round.

How

flew the

moon high

overhead,

In the wild race

In

madly driven

and

out,

how

the stars danced about,

!

And
"

reeled o'er the flashing heaven

What

ails

my

love

the

moon

shines bright

Bravely the dead

Is
"

men

ride thro' the night.

"
?

my
!

love afraid of the quiet dead

let

Alas

them

sleep in their dusty bed."

"

Xenore

33

" Horse, horse

meseems
is

'tis

the cock's

shrill

note,

And

the sand

well nigh spent

'tis

Horse, horse, away

'Tis the

the break of day,

morning
is

air's

sweet scent.
:

Finished, finished

our ride

Room, room

for the

bridegroom and the bride

the spot,
!

At

last, at last,

we have reached

For the speed of the dead man has slackened not

And

swiftly

up

to

an iron gate

With At

reins relaxed they

went

the rider's touch the bolts flew back.

And

the bars were broken and bent

burst with a deafening knell,

The doors were

And

over the white graves they dashed pell mell

grassy and grim.
in

The tombs around looked

As they glimmered and

glanced

the moonlight dim.

Xenore

34

But see

but see
!

in

an eyelid's beat,
!

Towhoo

a ghastly wonder
jerkin, piece

The horseman's
Dropped

by

piece,

off like brittle tinder

Fleshless and hairless, a

naked

skull,

The The

sight of his weird head

lifelike

was horrible

mask was

there no more,

And

a scythe and a sandglass the skeleton bore.

Loud snorted

the horse as he plunged and reared.

:

And

the sparks were scattered round

shall say if
in the

What man

he vanished away,

Or sank

gaping ground?
in the air

Groans from the earth and shrieks

Howling and wailing everywhere

Half dead, half

living, the soul of

Lenore

Fought

as

it

never had fought before.

"

Xcnorc

35

The churchyard

troop,

ghostly group,
girl
;

Close round the dying

Out and

in

they hurry and spin

Through the dance's weary whirl

" Patience,

patience,

when
is

the heart

is

breaking
:

With thy God there

no question-making

Of thy body thou

Heaven keep thy

art quit

and

free
!

soul eternally

G. C. R-

Printtd by HaatU, Watson

<S>

Vinty, Ld.,

London and Aylabuty.