And baffle breaking Day, Shew the adoring World thy Eyes Are more surprizing gay; The Gods of Love are smiling round, And lead the Bridegroom on, And Hymen has the Altar crown'd.

Death said: "My fellow tourists, I am going To seek for harvests in th' embattled plain; Where drums are beating, and loud trumpets blowing, There you'll be sure to meet with me again" Love said: "My friends, I mean to spend my leisure With some young couple, fresh in Hymen's bands; Or 'mongst relations, who in equal measure Have had bequeathed to them house or lands.

His urgent suit no longer she withstands, But links with him in Hymen's knot her hands.

Great is thy name in the rubric, thou venerable Archflamen of Hymen!

DUETTO Wake th' harmonious voice and string, Love and Hymen's triumph sing, Sounds with secret charms combining, In melodious union joining, Best the wondrous joys can tell, That in hearts united dwell.

Now Hymen at the altar stands, And while he joins their faithful hands, Behold!

While rolling years are flying, Love, Hymen's lamp supplying, With fuel never dying, Shall still the flame renew.

Lucy, on her part, angelic creature, professed that she could not dream of being undutiful towards kind old Pa; and that, unless desperate measures were resorted to, quamprimum, in the twinkling of a bed-post she would be under the disagreeable necessity to bundle and go with the disabled man of war to the temple of Hymen.

Eros, and Anteros, on either side, One fired the bridegroom, and one warm'd the bride; And long-attending Hymen from above, Shower'd on the bed the whole Idalian grove. All of a tenor was their after-life, No day discolour'd with domestic strife; No jealousy, but mutual truth believed, 1150 Secure repose, and kindness undeceived.

L. Eyrier (E); 3Nov58; R224103. ALPERN, HYMEN.

SEE Cooper, Charles W. ALPERN, HYMEN.

Edited by Hymen Alpern & Jose Martel.

Hymen Alpern & Jose Martel (A); 15May62; R295477.

OVID, Met. vi. 428. 'Nor Hymen nor the Graces here preside, Nor Juno to befriend the blooming bride; But fiends with fun'ral brands the process led, And furies waited at the genial bed.' (Croxal).

1605,' and Hymen's Triumph, which formed part of the Queen's 'magnificent intertainement of the Kings most excellent Majestie' on the occasion of the marriage in 1614 of Robert Ker, Earl of Roxburgh, and Mistress Jean Drummond, sister of the Earl of Perth[250].

Instead of being a patchwork of motives and situations borrowed from the Italian, and pieced together with more or less ingenuity, Hymen's Triumph is as a whole an original composition.

The play is preceded by a prologue in which Daniel departs from his models in employing the dialogue form, the speakers being Hymen, Avarice, Envy, and Jealousy.

Taken as a whole, and partly through being unencumbered with the satyric machinery of the Queen's Arcadia, Hymen's Triumph is a distinctly lighter and more pleasing composition.

' Hymen's Triumph contains many more passages of notable merit than its predecessor.

Such passages are more frequent in Hymen's Triumph.

Moreover, in reckoning his qualifications as a dramatist, we must not forget to credit him with the plot of Hymen's Triumph, which is on the whole original, and is happily conceived, firmly constructed, and executed with considerable ability.

That to Hymen's Triumph recalls the dialogue between Comedy and Envy prefixed to Mucedorus.

The glut is waning fast, my love, And corn is getting dear; Good (Hymen) times are coming, love, Ceres our hearts shall cheer.

Yet Hymen may in force his vigils keep, And for another's joy suspend her sleep.

And if fruition did the taste impair Of kisses, why should yonder happy pair, Whose joys just Hymen warrants all the night, Consume the day, too, in this less delight? CON.