When he wakes from his trance, he rises from his stony pillow, and, pacing his apartment, full of dreary reflections, questions his spirit, whither it has been wandering; whether, indeed, all that has passed before his dreaming fancy has been conjured up by preceding circumstances, or whether it is a vision intended to comfort and assure him in his despondency. If the latter, he prays that some token may be sent to confirm the promise of happier days, given him in his slumbers. Suddenly, a turtledove of the purest whiteness comes flying in at the window, and alights upon his hand, bearing in her bill a branch of red gilliflower, on the leaves of which is written, in letters of gold, the following sentence:

      Awake! Awake! I bring, lover, I bring

       The newis glad, that blissful is and sure

       Of thy comfort; now laugh, and play, and sing,

       For in the heaven decretit is thy cure.

      He receives the branch with mingled hope and dread; reads it with rapture; and this he says was the first token of his succeeding happiness. Whether this is a mere poetic fiction, or whether the Lady Jane did actually send him a token of her favor in this romantic way, remains to be determined according to the fate or fancy of the reader. He concludes his poem by intimating that the promise conveyed in the vision and by the flower, is fulfilled by his being restored to liberty, and made happy in the possession of the sovereign of his heart.

      Such is the poetical account given by James of his love adventures in Windsor Castle. How much of it is absolute fact, and how much the embellishment of fancy, it is fruitless to conjecture; let us not, however, reject every romantic incident as incompatible with real life, but let us sometimes take a poet at his word. I have noticed merely those parts of the poem immediately connected with the tower, and have passed over a large part which was in the allegorical vein, so much cultivated at that day. The language, of course, is quaint and antiquated, so that the beauty of many of its golden phrases will scarcely be perceived at the present day, but it is impossible not to be charmed with the genuine sentiment, the delightful artlessness and urbanity, which prevail throughout it. The descriptions of Nature too, with which it is embellished, are given with a truth, a discrimination, and a freshness, worthy of the most cultivated periods of the art.

      As an amatory poem, it is edifying, in these days of coarser thinking, to notice the nature, refinement, and exquisite delicacy which pervade it; banishing every gross thought, or immodest expression, and presenting female loveliness, clothed in all its chivalrous attributes of almost supernatural purity and grace.

      James flourished nearly about the time of Chaucer and Gower, and was evidently an admirer and studier of their writings. Indeed, in one of his stanzas he acknowledges them as his masters; and in some parts of his poem we find traces of similarity to their productions, more especially to those of Chaucer. There are always, however, general features of resemblance in the works of contemporary authors, which are not so much borrowed from each other as from the times. Writers, like bees, toll their sweets in the wide world; they incorporate with their own conceptions, the anecdotes and thoughts current in society; and thus each generation has some features in common, characteristic of the age in which it lives.

      James belongs to one of the most brilliant eras of our literary history, and establishes the claims of his country to a participation in its primitive honors. Whilst a small cluster of English writers are constantly cited as the fathers of our verse, the name of their great Scottish compeer is apt to be passed over in silence; but he is evidently worthy of being enrolled in that little constellation of remote but never-failing luminaries who shine in the highest firmament of literature, and who, like morning stars, sang together at the bright dawning of British poesy.

      Such of my readers as may not be familiar with Scottish history (though the manner in which it has of late been woven with captivating fiction has made it a universal study) may be curious to learn something of the subsequent history of James and the fortunes of his love. His passion for the Lady Jane, as it was the solace of his captivity, so it facilitated his release, it being imagined by the Court that a connection with the blood-royal of England would attach him to its own interests. He was ultimately restored to his liberty and crown, having previously espoused the Lady Jane, who accompanied him to Scotland, and made him a most tender and devoted wife.

      He found his kingdom in great confusion, the feudal chieftains having taken advantage of the troubles and irregularities of a long interregnum, to strengthen themselves in their possessions, and place themselves above the power of the laws. James sought to found the basis of his power in the affections of his people. He attached the lower orders to him by the reformation of abuses, the temperate and equable administration of justice, the encouragement of the arts of peace, and the promotion of every thing that could diffuse comfort, competency, and innocent enjoyment through the humblest ranks of society. He mingled occasionally among the common people in disguise; visited their firesides; entered into their cares, their pursuits, and their amusements; informed himself of the mechanical arts, and how they could best be patronized and improved; and was thus an all-pervading spirit, watching with a benevolent eye over the meanest of his subjects. Having in this generous manner made himself strong in the hearts of the common people, he turned himself to curb the power of the factious nobility; to strip them of those dangerous immunities which they had usurped; to punish such as had been guilty of flagrant offences; and to bring the whole into proper obedience to the Crown. For some time they