opened in the house of tragedy; momentary glimpses of larger and quieter scenes, of more ancient and enduring landscapes. Many of the country songs describing crime and death have refrains of a startling joviality like cock crow, just as if the whole company were coming in with a shout of protest against so sombre a view of existence. There is a long and gruesome ballad called "The Berkshire Tragedy," about a murder committed by a jealous sister, for the consummation of which a wicked miller is hanged, and the chorus (which should come in a kind of burst) runs:
- "And I'll be true to my love
- If my love'll be true to me."
The very reasonable arrangement here suggested is introduced, I think, as a kind of throw back to the normal, a reminder that even "The Berkshire Tragedy" does not fill the whole of Berkshire. The poor young lady is drowned, and the wicked miller (to whom we may have been affectionately attached) is hanged; but still a ruby kindles in the vine, and many a garden by the water blows. Not that Omar's type of hedonistic resignation is at all the same as the breezy impatience of the Berkshire refrain; but they are alike in so far as they gaze out beyond the particular complication to more open plains of peace. The chorus of the
