THE fountain's low singing is heard on the wind,
Like a melody bringing sweet fancies to mind;
Some to grieve, some to gladden: around them they cast
The hopes of the morrow, the dreams of the past.
Away in the distance is heard the vast sound,
From the streets of the city that compass it round,
Like the echo of mountains, or ocean's deep call;
Yet that fountain's low singing is heard over all.

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I always wish, in reading my favourite poets, to know what first suggested my favourite poems. Few things would be more interesting than to know under what circumstances they were composed, — how much of individual sentiment there was in each, or how, on some incident seemingly even opposed, they had contrived to ingraft their own associations. What a history of the heart would such annals reveal ! Every poem is in itself an impulse.

For a discussion of some of the contents of this significant cultural volume, see Adriana Craciun, ‘Fatal Women of Romanticism’, Cambridge University Press, 2004, page 204. The section ‘The Enchantress’ here begins by describing that first story as a ‘self-consciously Byronic text’ that ‘develops a Promethean, distinctly Luciferian model of poetic identity and self-creation’.

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Sleep, little Paul, what, crying, hush ! the night is very dark ;
The wolves are near the rampart, the dogs begin to bark ;
The bell has rung for slumber, and the guardian angel weeps
When a little child beside the hearth so late a play-time keeps.

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The woman raised her languid head,
And said, "My child was weak
He knew no one amid the dead
His daily food to seek !
My husband was a hunter good
As ever arrows bore :
I know my child will now have food,
Therefore I weep no more.
I sit and think upon the past,
And sing my mournful strain :
I know that we shall meet at last,
And never part again."