"Pirate! thou know'st me not, but I am one,
Grateful for deeds thou hast too rarely done;
Look on me—and remember her, thy hand
Snatched from the flames, and thy more fearful band.
I come through darkness—and I scarce know why—
Yet not to hurt—I would not see thee die."
"If so, kind lady! thine the only eye
That would not here in that gay hope delight:
Theirs is the chance—and let them use their right.
But still I thank their courtesy or thine,1050
That would confess me at so fair a shrine!"
Strange though it seem—yet with extremest grief
Is linked a mirth—it doth not bring relief—
That playfulness of Sorrow ne'er beguiles,
And smiles in bitterness—but still it smiles;
And sometimes with the wisest and the best,
Till even the scaffold[1] echoes with their jest!
Yet not the joy to which it seems akin—
It may deceive all hearts, save that within.
Whate'er it was that flashed on Conrad, now1060
A laughing wildness half unbent his brow:
And these his accents had a sound of mirth,
As if the last he could enjoy on earth;
Yet 'gainst his nature—for through that short life,
Few thoughts had he to spare from gloom and strife.
- ↑ In Sir Thomas More, for instance, on the scaffold, and Anne Boleyn, in the Tower, when, grasping her neck, she remarked, that it "was too slender to trouble the headsman much." During one part of the French Revolution, it became a fashion to leave some "mot" as a legacy; and the quantity of facetious last words spoken during that period would form a melancholy jest-book of a considerable size.
