Oct. 29. 1853.] 



NOTES AND QUERIES. 



407 



ferred to his title. This " bears what heralds call 

 a cross anchoree, or a cross moline, with a motto, 

 Tant queje puis." With the exception of the rose 

 beneath this, there is no identification here of 

 Patrick Carey with the Falkland family. This 

 cross, placed before religious poems, may however 

 be intended to indicate their subjects, and the 

 writer's profession, rather than his family es- 

 cutcheon ; although that may be pointed at in the 

 rose alluded to, the Falklands bearing " on a bend 

 three roses of the field." J. O. 



["Ah! you do not know Pat Carey, a younger 

 brother of Lord Falkland's," says the disguised Prince 

 Charles to Dr. Albany Rochecliffe in Sir Walter Scott's 

 Woodstock. So completely has the fame of the great 

 Lord Falkland eclipsed that of his brothers, that many 

 are, doubtless, in the same blissful state with good 

 Dr. Rochecliffe, although hvo editions of the poet's 

 ■works have been given to the world. In 1771, Mr. 

 John Murray published the poems of Carey, from a 

 collection alleged to be in the hands of a Rev. Pierre- 

 pont Cromp, apparently a fictitious name. In 1820, 

 Sir Walter Scott, ignorant, as he confesses himself, at 

 the time of an earlier edition, edited once more the 

 poems, employing an original MS. presented to him 

 by Mr. Murray. In a note in Woodstock, Sir Walter 

 sums up the information he had procured concerning 

 the author, which, scanty as it is, is not without in- 

 terest. " Of Carey," he says, " the second editor, like 

 the first, only knew the name and the spirit of the 

 verses. He has since been enabled to ascertain that 

 the poetic cavalier was a younger brother of the cele- 

 brated Henry Lord Carey, who fell at the battle of 

 Newberry, and escaped the researches of Horace Wal- 

 pole, to whose list of noble authors he would have been 

 an important addition." The first edition of the poems 

 appeared under the following title. Poems from a Manu- 

 script written in the Time of Oliver Cromwell, 4to. 1771, 

 Is. 6d. : Murray. It contains only nine pieces, whereas 

 the present edition contains thirty-seven, — Ed.] 



INEDITED LYRIC BY FELICIA HEMANS. 



A short time since I discovered the following in 

 the handwriting of Mrs. Hemans, and it accom- 

 panied an invitation of a more prosaic description 

 to a gentleman of her acquaintance, and a relative 

 of mine, now deceased. I thought it worth pre- 

 serving, in case any future edition of her works 

 appeared; but the 13th, 14th, and 15th lines are 

 defective, from the seal, or some other accident, 

 having torn them off, and one is missing. And 

 though perhaps it would not be difficult to restore 

 them, yet I have not ventured to do so myself. 

 The last two lines appear to convey a melancholy 

 foreboding of the poet's sad and early fate. Can 

 any one restore the defective parts ? 



Weld Tatlob. 



. Bayswater. 



Water Lilies. 



Come away, Puck, while the dew is sweet ; 



Come to the dingle where fairies meet. 



Know that the lilies have spread their bells 



O'er all the pools in our mossy dells ; 



Stilly and lightly their vases rest 



On the quivering sleep of the waters' breast, 



Catching the sunshine thro' leaves that throw 



To their scented bosoms an emerald glow ; 



And a star from the depth of each pearly cup, 



A golden star ! unto heaven looks up. 



As if seeking its kindred, where bright they lie, 



Set in the blue of the summer sky. 



.... under arching leaves we'll float, 



.... with reeds o'er the fairy moat, 



.... forth wild music both sweet and low. 



It shall seem from the rich flower's heart, 



As if 'twere a breeze, with a flute's faint sigh. 



Come, Puck, for the midsummer sun grows strong, 



And the life of the Lily may not be long. — Mab. 



"geeen eyes." 



Having long been familiar with only one in- 

 stance of the possession of eyes of this hue — the 

 well-known case of the '^^ green-eyed monster Jea- 

 lousy," — and not having been led by that associ- 

 ation to think of them as a beauty, I have been 

 surprised lately at finding them not unfrequently 

 seriously admired. Ex. gr. : 



" Victorian. How is that young and greeifeyed 

 Gaditana 

 That you both wot of? 



Don Carlos. Ay, soft emerald eyes ! 



Victoria?!. A pretty girl : and in her tender eyes. 

 Just that soft shade oi green we sometimes see 

 In evening skies." 



Longfellow's Spanish Student, Act II. Sc. 3. 



Mr. Longfellow adds in a note : 



" The Spaniards, with good reason, consider this 

 colour of the eye as beautiful, and celebrate it in a 

 song ; as, for example, in the well-known Villancico : j 



' Ay ojuelos verdes, 

 Ay los mis ojuelos, 

 Ay hagan los cielos 

 Que de mi te acuerdes ! 



Tengo confianza, 

 De mis verdes ojos.' " 

 Bohl de Faber, Floresta, No. 255. 



I have seen somewhere, I think in one of the 

 historical romances of Alexander Dumas (Pere), 

 a popular jingle about 



" La belle Duchesse de Nevers, 

 Aux yeux verts," &c. 



And lastly, see Two Gentlemen of Verona, 

 Act IV. Sc. 4,, where the ordinary text has : 

 " Her eyes are grey as glass, and so are mine."g 



Here " The MS. corrector of the folio 1682 con- 

 verts ' grey' into ^ green ;' ' Her eyes are green as 



