heaven or in earth,--in the seasons or their change, that did not borrow from her some charm, some glory beyond its own. Was it not just that the beauty she dispensed should be consecrated to her adornment, and that the inspiration she bestowed should be repaid to her in fame? For what of thee thy poet doth invent, He robs thee of, and pays it thee again. He lends thee virtue, and he stole that word From thy behaviour; beauty doth he give, But found it in thy cheek; he can afford No praise to thee but what in thee doth live. _Then thank him not for that which he doth say, Since what he owes thee, thou thyself dost pay!_ SHAKSPEARE'S SONNETS. The theory, then, which I wish to illustrate, as far as my limited powers permit, is this: that where a woman has been exalted above the rest of her sex by the talents of a lover, and consigned to enduring fame and perpetuity of praise, the passion was real, and was merited; that no deep or lasting interest was ever founded in fancy or in fiction; that truth, in short, is the basis of all excellence in amatory poetry, as in every thing else; for where truth is, there is good of some sort, and where there is truth and good, there must be beauty, there must be durability of fame. Truth is the golden chain which links the terrestrial with the celestial, which sets the seal of heaven on the things of this earth, and stamps them to immortality. Poets have risen up and been the mere fashion of a day, and have set up idols which have been the idols of a day: if the worship be out of date and the idols cast down, it is because these adorers wanted sincerity of purpose and feeling; their raptures were feigned; their incense was bought or adulterate. In the brain or in the fancy, one beauty may eclipse another--one coquette may drive out another, and tricked off in airy verse, they float away unregarded like morning vapours, which the beam of genius has tinged with a transient brightness: but let the heart once be touched, and it is not only wakened but inspired; the lover kindled into the poet, presents to her he loves, his cup of ambrosial praise: she tastes--and the woman is transmuted into a divinity. When the Grecian sculptor carved out his deities in marble, and left us wondrous and god-like shapes, impersonations of ideal grace unapproachable by modern skill, was it through mere mechanical superiority? No;--it was the spirit of faith within which shadowed to his imagination what he would represent. In the same manner, no woman has ever been truly, lastingly deified in poetry, but in the spirit of truth and of love! CHAPTER II. LOVES OF THE CLASSIC POETS.