The works of Lord Byron :: :: University of Virginia Library

Fair, as the first that fell of womankind,
When on that dread yet lovely serpent smiling,
Whose Image then was stamped upon her mind—
But once beguiled—and ever more beguiling;
Dazzling, as that, oh! too transcendent 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;

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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 unmarked by her alone—
The light of Love, the purity of Grace,
The mind, the Music breathing from her face,

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The heart whose softness harmonized the whole,
And oh! that eye was in itself a Soul!

Her graceful arms in meekness bending
Across her gently-budding breast;
At one kind word those arms extending
To clasp the neck of him who blest
His child caressing and carest,
Zuleika came—and Giaffir felt
His purpose half within him melt:
Not that against her fancied weal
His heart though stern could ever feel;
Affection chained her to that heart;
Ambition tore the links apart.

This expression has met with objections. I will not refer to “Him who hath not Music in his soul,” but merely request the reader to recollect, for ten seconds, the features of the woman whom he believes to be the most beautiful; and, if he then does not comprehend fully what is feebly expressed in the above line, I shall be sorry for us both. For an eloquent passage in the latest work of the first female writer of this, perhaps of any, age, on the analogy (and the immediate comparison excited by that analogy) between “painting and music,” see vol. iii. cap. 10, De l'Allemagne. And is not this connection still stronger with the original than the copy? with the colouring of Nature than of Art? After all, this is rather to be felt than described; still I think there are some who will understand it, at least they would have done had they beheld the countenance whose speaking harmony suggested the idea; for this passage is not drawn from imagination but memory, that mirror which Affliction dashes to the earth, and looking down upon the fragments, only beholds the reflection multiplied!