While the reference of Dr. Aikin is not as definite as it might be, there can be no reasonable doubt that it refers to Taylor's Lenora. Indeed the Arthur and Matilda of Aikin is much more closely modeled upon Bürger's poem and Taylor's translation than the author's note implies. Reversing the situation of the German poem, Aikin's hero is sailing in a "stately ship o'er the Indian seas," ardently longing for home. In this mood he sees a little boat guided by a maiden, whom he soon recognizes as his betrothed Matilda. She calls to Arthur to embark with her, but when he does so insists that he should not touch her. Under her guidance of the boat they sail all night and at daybreak into the mouth of a cavern. Here they disembark and Arthur follows "Matilda's ghastly form" up "a narrow winding path," until they come to heaps of "mould'ring bones." Matilda proclaims this as her home, and asks Arthur to "take a bride's embrace." He "stretch'd his doubtful arms,"
"grasp'd an empty shade," and then fortunately "all the vision fled," the abrupt conclusion of a ghostly tale.[1] It is clear, though Dr. Aikin may not have realized it, that there was much more resemblance between his poem and the Lenora than the "visionary journey" which he admits.
The second statement of Taylor in his note on the poem in the Historic Survey, that he had communicated the translation to his friends some years before its publication, is also substantiated by references in both the Critical and Monthly Reviews. The first says, in its notice of Stanley and Pye:
We can not forbear mentioning, that we have seen some years ago, in private circulation, a translation of this piece, which has lately been inserted in a periodical publication, and which is superior to either of these. . . . Those who have read the excellent translation of Goethe's Iphigenia may perhaps guess to whom they owe the obligation.[2]
The Monthly Review also begins a similar notice of Stanley and Pye as follows:
- ↑ In thus making the whole a vision, Dr. Aikin is not really following Bürger or Taylor, but does anticipate the conclusion which Stanley gave to his final edition of Lenore. It may be noted also that the preceding piece in Aikins's volume may owe something of its origin to Bürger's poem. It is called Susanna's Vigil, and tells how the heroine wakes at midnight on the anniversary of her William's death, to go forth and kneel "in speechless moan" upon his grave. At length she begs him to appear, if "thou hover'st round these cold remains", and as she rises she hearsShe returns to her couch and to sleep, but her grief continues "and soon in one eternal rest" closes "the sorrowing lingering strife."'Sweet music trilling in her ears,
And sees her William's glittering form." - ↑ Critical Review, N. S. XVII, 303; July, 1796. As already noted, Taylor had published his translation of Goethe's Iphigenia in 1793.
