New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1903-05-09

Thou1t not be Queen Of England a2,., n.srtr
Wha tor we're # to be Queen Of England? Answer
Shade of the illustrious dead. answer. Elizabeth
The m a Of millions. in bosom
TIC house love great as million 10, loves o,,e.
Being IN your mouth. what mother. spouse cnlio'
Mean upon other ups-your souls main utterance
And key to your entire life
Consider IT. women. you whose happiness
i lightly blown from erhemsIal joy to joy ,
Maidenhocd. beauty, motherhood ere IL IAN
Unwinged and spent with half your years
What 'twere to be a Queen.
A Queen Of men. not marketable serfs
Perchance you lean out from your balcony
One sD9s Gay in the prime sPd b OF yGGth
no mar az ,ne ewes ripple of hands
Claiming you theirs lifting you TO the height
OF Their hearts fs{asrs lovers
These are the fmmortals,
Not TO be changed by mutabity
or the inconstant blood. or alienated
To slurnber careless.
You the years will change.
The small mechanic hours. You will grow DID,
Dinn-hearted. cinder-grey. viii drop your play
One after one-Ay. but on any day
Choose you come forth. outstretching crooked
Like those youth mocks. whispering with faded
Such as men scorn, MY people"-and To- the
sea Of woTshigprg EYES ripple ripple Gf ff hands Sou
To the height OF their hearts throne, yours as In
Yours on through age to death. sons. lovers.
This were FOR her that had a queens heart.
As a piece of dramatic writing this undoubt-
edly wants the last touches Of power and dis
tinctiou- but it is fluent dignified, and not un-
tinged with emotion Il well represents the
general level of this play, though we should add
that at one or two points Mrs Woods brings
in a decisive action so effectively TO COM
r1aunicate even q livelier impulse to her lines
The scene IN which Nine Platen involves
K0nigsmarck and the princess in a compro-
r1nisir, situation is admirably handled; so, like
wise is the scene of the counts murder. and we
must speak, also, of the fine climax to the act
containing this episode. a climax In which the
princesss intuitive discovery of the mischief
that has been dore is indicated with really
poetic feeling None of the lyrics in the book
are very rnelodious, and sometimes the diction
is tainted with artifice K0nigsmarck, talking
of THE autumnal ochre wreaths in the blue
Inoat" does not seem to US TO be talking in
character But in the MAN. Mrs. Woods uses
a style worthy Of her theme, and spontaneous
into the bargain We tempted to quote one
more specimen of it, the reply Of the princess
to one speaking of her mood:
lam often merry,
can drink deep Of joy, but Happiness
Hush, What a sinister word! If any utter it
At festivals II falls as holloway
when stone drops ecnoing down a well,
limiting of deep. deep darkness and drowned
Fair underneath and phantoms thai may rise
And deadly cold to haunt with long long signs
And endless iteration Of old grief
The hushed rooms Of the heart
Sixteen years ago Mr.. BuIlen brought out his
anthology OF Lyrics from Elizabethan Song
Books" and made that publication especially
interesting by including In it some of the little
known poems Of Thomas Campon- In 1889 he
issued the collected works Of this writer, print
ing the Latin, as well the English, compost
tons Now IN the charming series of volumes
known as 1.-The Muses. Library he brings out
Carnpion's English works alone IN predatory
note Mr. Bullen observes that his plea for a
recognition Of Campion's merits sue
cessful that he now the risk Of becoming
the object of uncritical adulation-" The pres
ent volume ought to prevent excessive laudation
of the poet at the same time that it serves to
increase his fame, for the long introduction by
the editor is couched in just the right terms. 1t
is with the most judicious criticism that Mr..
Bullen leads up TO his final tribute TO Campion,
saying
The more read his songs the more their
charm viii grow upon They tell of Love
with all its sweets and sours, its raptures and
iar11ents: Of patience under suffering: of faith
in benign Providence AT their best, as in
Saint" or Now Winter Nights Enlarge"-to
cite but three-they display a metrical skill that
is nothing short Of sheer witchery.
The volume IS one literally, of linked sweet
ness long drawn out and everywhere there
poems that invite quotation. but content
ourselves with one OF the three chosen by Mr.
BuIlen:
Haste you sad notes. fall at her flying feeti
There wrapped IN cloud Of sorrow, pity move,
And tell the raFisher Of my soul perish for her
love:
But II she scorns my never-ceasing pain.
Then burst with singing IN her sight and ne'er
return againI
All that sung still to her praise did tend:
Still she first; still she my songs Gid end:
Yet she nv love and music both doth fiy
The music that her Echo is and beautys sympathy
Then let my notes pursue her scornful highti
II shall suffice that they breathed and died
for her delight
One experiences curious sensation In passing
from old Compton 70 a writer like Olive Gus
tance Q-ady Alfred Douglas), whose book called
"Rairbows" is made up OF some thirty-ive or
forty lyrics The honey sweet accents and the
enforced music Of the Elizabethan are missing
But in their place we have. nevertheless, a lyric
note that II faint is beguiling and dainty ideas
put into very pleasing form We have before
this reproduced two of this writer's
songs. We choose 10 give e further
taste OF her quality:
TIE SECRET
have a secret that I cannot sing
Because I afraid the wind might hear
the CIV