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ing and seng unity into number." And this is illustrated by the fleet is unity separated into number: and then again, the comparison Sailing compact as one person: then the merchants repreof the flying fiend to the ships re-combined in a body. These are indeed all images brought in juxta position by Imagination.

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The POET forbears to consider the Imagination as it deals with thoughts and sentiments, as it regulates the composition of characters, and determines the course of action:" and in our own observations we have used the same forbearance. He distinguishes enthusiastic and meditative Imagination, or poetical, from human and dramatic; a subdivision of powers capable of subdivisions, to which it would be difficult to prescribe an end. The Scriptures, Milton, and also Spenser, are the storehouses of the former, and Shakespeare of the latter.

Spenser, as at one time incited by the allegorical spirit, "to create persons out of abstractions," i. e. to impersonate; and still impersonating, to give-as in the character of Una-the universality and permanence of abstractions, by means of attributes and emblems that belong to the highest moral truths and purest sensations."

The exclamation of Lear, quoted as an illustration of human or dramatic imagination, is an impersonation of the boldest and yet simplest character:

"I tax not you, ye Elements, with unkindness;

I never gave you kingdoms, called you daughters."

To Mr. Taylor's definition of Fancy, by which it is characterised as the power of evoking and combining, the POET objects, and very justly objects, that it is too general. "To aggregate and to associate, to evoke and to combine, belong as well to the Imagination as to the Fancy." It is the same objection that may be urged against the language in which the two are discriminated by the POET: it is too general, the qualities ascribed are too super-essential, if we may borrow a scholastic term, for use, or even common comprehension. Our POET is indeed himself aware that there are times and occasions when "Fancy ambitiously aims at a rivalship with Imagination, and Imagination stoops to work with the materials of Fancy." It is now time to have done with the Preface, and to proceed to the Poems. And the first thing that strikes us is their titles-brute animals, of earth, air, or sea; inanimate objects, from the towering oak to the lowly daisy, from the mountain to the grain of sand,-have been the common resource of the fabulist, from antient Esop to our own Gay and our author himself, when about to find employment for his fancy, immediately resorts to this exhaustless Treasury. All these small productions it is our intention to pass; and after one short extract from the Song at the Feast of Brougham Castle; in which-though allotted to Imagination— Fancy seems to have intruded herself; we shall conclude with some quotations from the longest poem, under the same head of Imagination, in which also Fancy is repeatedly guilty of taking the pen out of the hand of Imagination and guiding it herself.

From Song at the Feast of Brougham Castle:

"He knew the rocks which Angels haunt,

Upon the mountains visitant;

He hath kenn'd them taking wing:
And into caves where Faeries sing
He hath entered; and been told
By voices how men lived of old."

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In the exquisite Poem, On the Power of Sound, Fancy commences her

career in the very first stanza, and appears at intervals boldly sustaining it to the utmost close. The organ of vision is addressed in person; and then a spirit aërial is supposed to exist, who

"Informs the cell of Hearing, dark and blind;
Intricate labyrinth, more dread for thought
To enter than oracular cave:

Strict passage, through which sighs are brought,
And whispers for the heart, their slave;
And shrieks, that revel in abuse

Of shivering flesh; and warbled air,
Whose piercing sweetness can unloose,

The chains of frenzy, or entice a smile
Into the ambush of despair."

In the second stanza, the invisible Spirit is again addressed; and at the close of it we have a new personification—

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Toll from thy loftiest perch, lone bell-bird, toll!

At the still hour to Mercy dear,

Mercy from her twilight throne

List'ning to nuns' faint throb of holy fear,

To sailor's prayer breathed from a dark'ning sea
Or widow's cottage lullaby."

In the third stanza, again personification!

"Ye Voices, and ye Shadows,

And images of Voice-to hound and horn,
From rocky steep and rock bestudded meadows
Flung back, and in the sky's blue caves reborn!

;

On with your pastime ! 'till the church tower bells
A greeting give of measured glee;

And milder Echoes from their cells

Repeat the bridal symphony."

In the fourth, the blessings of song are described by very lively images of its effects.

The lute of Amphion, the harp of Arion, and the pipe of Pan, with their respective fancied or fabled effects, are also well described, and the Poet tunes his strains, at the call of Imagination, to paint the saddest images of reality:

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Ye, who are longing to be rid

Of fable, though to truth subservient, hear
The little sprinkling of cold earth that fell
Echoed from the coffin lid;

The convict's summons in the steeple's knell.

'The vain distress-gun,' from a leeward shore,

Repeated-heard—and heard no more."

Then are we again thrown into the hands of Fancy, who introduces us to the "wandering utterances" of earth and sky; and who teaches that

"The towering headlands, crowned with mist,

Their feet among the billows, know

That Ocean is a mighty harmonist

Thy pinions, universal Air,

Ever waving to and fro,

Are delegates of harmony, and bear

;

Strains that support the seasons in their round;

Stern Winter loves a dirge-like sound."

In the two superb stanzas with which this too short poem concludes, Fancy and Imagination play alternately before us, and leave us at a loss which we should admire most, the manifest beauty and approaching sublimity of the one, or the brilliancy and richness of the other.

We are unwilling to throw any check upon the pleasing emotions which the perusal of these lines is calculated to raise in the mind of the reader, by any grave, prosaic reflections of our own: but we must be permitted to say, that we are the more anxious to impress our own doctrine, because we are convinced that the habit, so universal in all climes and ages of the world, of speaking metaphorically, of endowing objects with properties not inherent, of personifying, has had a too important influence upon all systems of logic and metaphysic; in which language has been unduly treated rather as the mistress than the interpreter of philosophy.

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MONUMENT OF JOAN PRINCESS OF WALES, AT BEAUMARIS.

SANDFORD, in his Genealogical History of the Kings of England, gives the following account of Joane, a natural daughter of King John; that she " was married to Llewellen the Great, Prince of North Wales, to whom her Father with her gave the lordship of Ellesmere in the Marches of North Wales. She had issue by him David, who did homage to King Henry III. at Westminster, upon the 13th of October, ann. 1229, in the 16th year of whose reign this Joane had safe conduct to come to the town of Salop. She had issue also by Prince Llewellen two daughters, viz. Wentelina (called also Joane) married to Sir Reginald de Brewes, and Margaret the wife of John de Brewes (son of the aforesaid Reginald), by whom she had issue William de Brewes Lord of Gower, &c. from whom many noble families derive their descent."

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From other authorities we find that the mother of the Princess was a lady of the noble house of Ferrers; that her marriage took place in 1203, in order to consolidate an alliance with the Welsh; and that, more than once, Cambria was indebted to her, for effectually holding out the olive branch between her husband and father, especially at one desperate crisis in 1212, when the Prince, seeing all England and Wales against him, and a great part of his country won from him, thought it best to entreat with the King, and thereupon he sent Joan his wife to her father, to make a peace, who being a discreet woman found the means. (Powell's History of Wales, p. 265.)

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GENT. MAG. VOL. XVII.

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Notwithstanding the affection which must have dictated to Prince Llewelyn the foundation of the Priory of Llanvaes, at the grave of his wife, her memory has not been free from the aspersions of history. The powerful Norman baron, William de Braose of Gower, was engaged in frequent skirmishes with his Welsh neighbours, by whom, on one occasion, he was taken prisoner, and compelled to pay 200 marks for his ransom. His Cambrian incursions, it is added, are supposed to have had more inducements than mere plunder; for, being suspected of a criminal passion for the wife of Llewelyn Prince of Wales, he was invited by that Prince to a feast, at Easter 1230, where he was seized, and, according to Matthew Paris, publicly hanged.*

It is wonderful, after this tragical occurrence, to find the immediately subsequent alliances of the two families. Isabel, one of the daughters and coheiresses of William de Braose, was married to David Prince of Wales, son of Llewelyn; and John de Broase, his cousin and heir male, married a daughter of Prince Llewelyn. The last-mentioned lady was married secondly to Walter de Clifford, who it may be presumed was the Lord Clifford buried at Llanvaes.

The body of the Princess Joan was interred in the Franciscan friary of Llanvaes, in Anglesey, founded by her husband: a fact which is recognised in a charter for the re-establishment of that house granted by King Henry the Fifth in 1414. Pennant, who visited Llanvaes about the year 1780, says, "The church is turned into a barn, and the coffin of the Princess Joan now serves for a watering-trough." He states that the Princess's death took place in 1237.§

When Beaumaris Castle was visited by Sir R. C. Hoare in 1810, he made the drawing above engraved, and the following observations:-" At a short distance from the house, under a neat Gothic building, is the coffin supposed to have once contained the remains of Princess Joan, daughter of King John and wife of Llewelyn Prince of Wales. The stone coffin was used at Llanvaes for many years as a horse-trough. The covering stood upright in the wall of a pew belonging to the Sparrow family, in Beaumaris church. A happy thought suggested to Mr. Richard Lloyd the idea of its having originally be longed to the stone coffin. It was measured, and found to fit exactly, and Lord Bulkeley restored it to its ancient purpose, and built an edifice to secure it from further depredations. The lid of this coffin represents the head and breast of a female, with hands uplifted, springing as it were from a tree or rich flowery stem: there is a slight appearance of a fillet round the head, and which, from Mr. Lloyd's account, appears once to have formed the under part of a crown, which the modern sculptor has unfortunately cut off to make it fit better, in his opinion, the coffin. Three inscriptions commemorate the history of this coffin, in Welsh, Latin, and English; the last of which is as follows:

"This plain sarcophagus (once dignified as having contained the remains of JOAN, daughter of KING JOHN and consort of LLEWELYN AP JORWERTH Prince of North Wales, who died in the year 1237) having been conveyed from the Friary of Llanfaes, and, alas! used for many years as a horse watering trough, was rescued from such indignity and placed here for preservation, as well as to excite serious meditations on the transitory nature of all sublunary distinctions, by THOMAS JAMES WARREN BULKELEY, VISCOUNT BULKELEY, October 1808."

* Sir William Dugdale says (Baronage, vol. i. p. 419), "Some say he was hanged, and the wife of Leweline with him;" and cites M. Paris in anno 1230. The words of Paris are, "Patibulo suspensus est, mense Aprilis; cum uxore ejus, ut dicebatur, in adulterio deprehensus;" which do not warrant Dugdale's assertion.

†The marriage between Reginald de Braose and Wentelina or Joan, stated by Sand-. ford, in the passage above quoted, is not recognised by Dugdale, or in the memoirs of the Braose family in Cartwright's Rape of Bramber. Reginald married the coheiress of Briwere.

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quod in eadem domo corpus tam filiæ regis Johannis progenitoris nostri, quam filii regis Duciæ, necnon corpora domini de Clyffort, ut aliorum dominorum et armigerorum qui in guerra Walliæ, temporibus illustrium progenitorum nostrorum, occisi fuerant, sepulta existunt.

Tour in Wales, vol. ii. pp. 257, 258.

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