# Letitia Elizabeth Landon (L. E. L.) in Fisher's Drawing Room Scrap Book, 1834/The Zenana - Continuation 1

The voice has ceased, the chords are mute, The singer droops upon her lute; But, oh, the fulness of each tone Straight to Nadira’s heart hath gone— As if that mournful song revealed Depths in that heart till then concealed, A world of melancholy thought, Then only into being brought; Those tender mysteries of the soul, Like words on an enchanted scroll, Whose mystic meaning but appears When washed and understood by tears. She gazed upon the singer’s face; Deeply that young brow wore the trace Of years that leave their stamp behind: The wearied hope—the fever'd mind— The heart which on itself hath turned, Worn out with feelings—slighted—spurned— Till scarce one throb remained to show What warm emotions slept below, Never to be renewed again, And known but by remembered pain.
Her cheek was pale—impassioned pale—  Like ashes white with former fire, Passion which might no more prevail,  The rose had been its own sweet pyre. You gazed upon the large black eyes,  And felt what unshed tears were there; Deep, gloomy, wild, like midnight skies,  When storms are heavy on the air— And on the small red lip sat scorn, Writhing from what the past had borne. But far too proud to sigh—the will, Though crushed, subdued, was haughty still; Last refuge of the spirit’s pain, Which finds endurance in disdain.  Others wore blossoms in their hair, And golden bangles round the arm.  She took no pride in being fair, The gay delight of youth to charm;
The softer wish of love to please, What had she now to do with these? She knew herself a bartered slave, Whose only refuge was the grave.  Unsoftened now by those sweet notes, Which half subdued the grief they told,  Her long black hair neglected floats O’er that wan face, like marble cold; And carelessly her listless hand Wandered above her lute’s command But silently—or just a tone Woke into music, and was gone.
"Come hither, maiden, take thy seat," Nadira said, "here at my feet." And, with the sweetness of a child Who smiles, and deems all else must smile, She gave the blossoms which she held, And praised the singer’s skill the while; Then started with a sad surprise, For tears were in the stranger’s eyes. Ah, only those who rarely know  Kind words, can tell how sweet they seem. Great God, that there are those below  To whom such words are like a dream.
"Come," said the young Sultana, "come  To our lone garden by the river, Where summer hath its loveliest home,  And where Camdeo fills his quiver. If, as thou sayest, ’tis stored with flowers, Where will he find them fair as ours? And the sweet songs which thou canst sing Methinks might charm away his sting."
The evening banquet soon is spread— There the pomegranate’s rougher red Was cloven, that it might disclose A colour stolen from the rose— The brown pistachio’s glossy shell, The citron where faint odours dwell;
And near the watermelon stands, Fresh from the Jumna’s shining sands;Ruins on the Jumna And golden grapes, whose bloom and hue Wear morning light and morning dew, Or purple with the deepest dye That flushes evening’s farewell sky. And in the slender vases glow— Vases that seem like sculptur'd snow— The rich sherbets are sparkling bright With ruby and with amber light. A fragrant mat the ground o’erspread, With an old tamarind overhead, With drooping bough of darkest green, Forms for their feast a pleasant screen.
’Tis night, but such delicious time Would seem like day in northern clime. A pure and holy element, Where light and shade, together blent, Are like the mind’s high atmosphere, When hope is calm, and heaven is near. The moon is young—her crescent brow Wears its ethereal beauty now,  Unconscious of the crime and care, Which even her brief reign must know,  Till she will pine to be so fair, With such a weary world below. A tremulous and silvery beam Melts over palace, garden, stream; Each flower beneath that tranquil ray, Wears other beauty than by day, All pale as if with love, and lose Their rich variety of hues—  But ah, that languid loveliness Hath magic, to the noon unknown,  A deep and pensive tenderness, The heart at once feels is its own— How fragrant to these dewy hours,  The white magnolia lifts its urn The very Araby of flowers,  Wherein all precious odours burn.
* A RUIN ON THE BANKS OF THE JUMNA, ABOVE THE CITY OF DELHI.
* Artist: W. Purser - Engraved by: W. Taylor
And when the wind disperses these, The faint scent of the lemon trees Mingles with that rich sigh which dwells Within the baubool’s* golden bells.
The dark green peepul’s† glossy leaves,
Like mirrors each a ray receives, While luminous the moonlight falls, O’er pearl kiosk and marble walls, Those graceful palaces that stand Most like the work of peri-land. And rippling to the lovely shore,  The river tremulous with light, On its small waves, is covered o’er  With the sweet offerings of the night— Heaps of that scented grass whose bands Have all been wove by pious hands, Or wreaths, where fragrantly combined, Red and white lotus flowers are twined. And on the deep blue waters float Many a cocoa-nut’s small boat, Holding within the lamp which bears The maiden’s dearest hopes and prayers, Watch’d far as ever eye can see,
A vain but tender augury. Alas! this world is not his home, And still love trusts that signs will come From his own native world of bliss, To guide him through the shades of this. Dreams, omens, he delights in these, For love is linked with fantasies
 But hark! upon the plaining wind Zilara’s music floats again;  That midnight breeze could never find A meeter echo than that strain, Sad as the sobbing gale that sweeps The last sere leaf which autumn keeps, Yet sweet as when the waters fall And make some lone glade musical.
* ↑ * A favourite Indian flower.
* ↑ †A tree usually planted by graves.