amazed and prostrate upon the heath.
Zophiel,

Too fierce for fear, uprose; yet ere for flight in a mood
Served his torn wings, a form before him stood
In gloomy majesty. Like starless night,
A sable mantle fell in cloudy fold
From its stupendous breast; and as it trod
The pale and lurid light at distance rolled
Before its princely feet, receding on the sod.

The interview between the bland spirit and the prime cause of his
guilt is full of the energy of passion, and the rhetoric of the
conversation has a masculine beauty of which Mrs. Brooks alone of all
the poets of her sex is capable.

Zophiel returns to Medea and the drama draws to a close, which is
painted with consummate art. Egla wanders alone at twilight in the
shadowy vistas of a grove, wondering and sighing at the continued
absence of the enamored angel, who approaches unseen while she sings a
strain that he had taught her.

His wings were folded o'er his eyes; severe
As was the pain he'd borne from wave and wind,
The dubious warning of that being drear,
Who met him in the lightning, to his mind
Was torture worse; a dark presentiment
Came o'er his soul with paralyzing chill,
As when Fate vaguely whispers her intent
To poison mortal joy with sense of coming ill.
He searched about the grove with all the care
Of trembling jealousy, as if to trace
By track or wounded flower some rival there;
And scarcely dared to look upon the face
Of her he loved, lest it some tale might tell
To make the only hope that soothed him vain:
He hears her notes in numbers die and swell,
But almost fears to listen to the strain
Himself had taught her, lest some hated name
Had been with that dear gentle air enwreathed.
While he was far; she sighed--he nearer came,
Oh, transport! Zophiel was the name she breathed.

He saw her--but

Paused, ere he would advance, for very bliss.
The joy of a whole mortal life he felt
In that one moment. Now, too long unseen,
He fain had shown his beauteous form, and knelt
But while he still delayed, a mortal rushed between.

This scene is in the sixth canto. In the fifth, which is occupied
almost entirely by mortals, and bears a closer relation than the
others to the chief works in narrative and dramatic poetry, are
related the adventures of Zameia, which, with the story of her dea