"Frau Hütt was a beautiful young maiden who lived in this very valley a great many hundreds of years ago, and one morning she determined to have her favorite palfrey saddled and take a canter up the mountain-side. It was a lovely morning and she was soon glowing with exercise and pleasure. She had passed over the lower part of the mountain, and was enjoying the merry, upward rush through the cool, fresh air, when she suddenly perceived a beggar standing in the road before her, with head uncovered and hands outstretched for alms. Now, Frau Hütt was a selfish, cold-hearted woman, and instead of checking her steed or turning him aside, she rode straight upon the helpless beggar, and in a very few seconds he was being trampled beneath her horse's feet and was spending his dying breath, not in praying for his soul, but in cursing hers.
"His curse took immediate effect. Frau Hütt was at once struck by remorse. The glow of exercise fled from her cheeks, and she began to feel chilly and faint, and to think of returning home; but she shuddered at the thought of repassing the beggar's mangled corpse. And when at last she attempted to check her steed and head him for the valley, she found with horror that the brute had acquired a will of his own and would no longer obey the bit; and when she tried to hurl herself from the saddle, it was only to discover that she was firmly fastened to her seat and could not move from it. So horse and rider rushed upward higher and higher, upward through the frosty mountain air and over the frozen mountain snow, and all the time Frau Hütt grew colder and colder, and felt the very blood in her veins ceasing to circulate, and her muscles becoming so stiffened that she could not even shiver. And when they had reached the summit of the mountain where people in the valley might best see her and be best warned by her fate, the palfrey rested, and Frau Hütt's whole body became what her heart always was, – stone.
"And even unto this day, once every year at a certain midnight, when the air is silent except for here and there the crowing of a cock, and the continuous gurgle of our rivers rushing to the sea, a mist arises from the muddy waters of the river Inn and thickens into a cloud and floats northward; and when it approaches Frau Hütt, it slowly takes the form of a beggar with head uncovered and hands outstretched as if for alms; and then the upper part of the mountain trembles visibly, just for all the world like a mortal shuddering in the presence of some ghastly horror.
"And have I seen this myself?" repeated our kind informant. "No, indeed; and I suppose if I were to ask the same question of the person who told me the story, he would reply, after the fashion of all ghost-story tellers, that his mother's first husband knew a gentleman whose aunt's next-door neighbor was reported to have seen it often. At any rate, one cannot easily watch for the spectre, because nobody knows the date of its annual appearance. 'And how in the world could a woman and her horse ever become so monstrously large as to form the peak of that great, big mountain?' Oh, that is easily answered. They did not become so. They always were so, for it all happened in the days of the giants."
Charles O'Conor. – "He went to Ireland and visited the seat of his ancestors at Belanagre, in Connaught, the result of which was that upon his return he changed the orthography of his name. Before that time he and his father had spelled Conor with two n's, but he then dropped one of the n's upon discovering that the family name was anciently spelled in that way. I was once asked if I knew why he had changed the spelling of his name from two n's to one, and I answered that he was descended from the Irish kings, and found, when he visited Ireland, that they spelled the name in that way, which information Mr. Nathaniel Jarvis, the witty Clerk of the Court of Common Pleas, who was present, supplemented with the remark that he supposed that the Irish kings had always been so poor that they had never been able to make both n's meet."
Echoes from the Pines
" – , This, nor gems, nor stores of gold,
Nor purple state, nor culture can bestow,
But God alone, when first His active Hand
Imprints the secret bias of the soul."
The palm, the laurel, and all the fountains of Pindus, Helicon and Parnassus, were sacred to the muses. The deep and dark pine woods of Maine, if not sacred to the muse of the author of "Echoes from the Pines," seem at times to have been a source of inspiration to her. We say "at times," and in a relative sense only, for assuredly, Margaret E. Jordan, the gifted author of the beautiful volume of poems, with the above title, sought her sources of inspiration at a higher fount than this, or any named in the pages of ancient mythology. Of her, indeed, it may be truly said, —
"His active hand
Imprints the secret bias of the soul."
These poems, about fifty in number, are scattered throughout the work like wild flowers o'er mead and hill, in copse and glen. They are, to some extent, artless in composition, free and flowing in style, garnished with pure and holy thoughts, and most of them, while stamped with the royal sign of deep religious thought, – truest source of all poetic inspiration, – are free of the namby-pambyism common to what are sometimes called "religious" poems.
Nearly all these poems are written in words of one syllable; that, at least, is a chief characteristic of them. This simple beauty of composition is oftener felt than observed. Thus, in our immortal lyrics, the Irish Melodies, Moore deals largely in this style.
Take a glance at the following: —
"The harp that once through Tara's hall
The soul of music shed,
Now hangs as mute on Tara's wall,
As if that soul were fled;
So sleeps the pride of former days,
So glory's thrill is o'er,
And hearts that once beat high for praise,
Now feel that pulse no more."
This beautiful simplicity is too often overlooked by the lovers of the Irish Bard, yet it indicates great strength of mind and a powerful pinion not only in poetry but in prose. (Vide, Cardinal Newman's Apologia).
The patriotic poems in Miss Jordan's collection are full of fervent pathos and fine feeling.
Take this stanza for example: —
"'Twas no disgrace to be Irish
In the far-famed days of old,
When the tale of our redemption
In Tara's halls was told.
When the holy feet of Saint Patrick
Blessed the land whose soil they trod,
And a pathway traced, yet never effaced,
From Ireland to God.
"'Tis no disgrace to be Irish,
Or to bear the faith to-day
That Ireland's sons have cherished
Thro' many a weary way.
What! a disgrace to be Irish!
A pride and a joy let it be!
More than fortune or fame, prize the faith and the name,
Of the Saint-hallowed isle of the sea."
In the spirited poem, "Leave their Fair Fatherland," in which the cruel process of emigration as a panacea for the sufferings of Ireland is described by the author, the opening stanza gives the tone of the whole poem: —
"Leave the fair land of their fathers,
The graves of their grandsires – for what?
Have ye not hearts in your bosoms,
Or think ye the Irish have not?
When sounded our trumpet of battle,
Were