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When at the midnight hour I speak Thy welcome home, with playful smile, If bloom be brightening o’er my cheek, And gladness light mine eyes the while,— Thou'rt pleased, nor dost thou seek to know, If festive hours with others spent, Have kindled on my cheek the glow, And lustre to mine eyes have lent.

But when my vigil lone I keep, And, through the hours that linger drear, While reigns around me tranquil sleep, Intensely watch thy steps to hear, Till wayward doubt and wildering fear A veil of gloom have o’er me wove, Then dost thou chide the falling tear, And say that sadness is not love.

Yet others may have lit the bloom, And waked the smile, thou’rt pleased to see: But thou alone can’st spread the gloom, And falls each anxious tear for Thee. Unkind! thy steps no more delay, But quiet to my breast restore: Think, if I love thee much when gay, When I am sad, I love thee more.

The mavis sings on Mary’s bower, The lav'rock in the sky; An’ a’ is fair round Mary’s bower, An’ a’ aboon is joy! But sad’s the gloom in Mary’s bower, Though a’ without be gay; Nae music comes to greet the morn, Nae smile to glad the day.

Her lover left Mary’s bower, His ship has the main; There’s waefu’ news in Mary’s tower He ne’er returns again. A breaking heart in Mary’s bower, A wasting form is there;, The glance has left that e’e sae blue, The rose that check sae fair.

The mavis flees frae Mary’s bower, The lav’rock quits the sky, An’ simmer sighs o’er Mary’s bower, For coming winter’s nigh. The snaw fa’s white on Mary’s bower, The tempests loudly rave— The flowers that bloom’d round Mary’s bower Now wither on her grave!

the time that Dr. Buchanan published his “Christian Researches in Asia,” the name of this Idol has been well known, associated with those bloody rites, which are inseparably connected with his abominable worship. The figure of Juggernaut has also been delineated in various descriptions, but his real image has been presented only in a partial manner to the public eye. The history of this monster has also been comparatively but little known. To supply in some measure this deficiency, we have been induced to exhibit a sensible representation of this Asiatic Moloch, accompanying the figure with an outline of his history, and an account of some of those effects which result from the influence of his long-established dominion.

Jugunnathu, or Juggernaut, is a deified hero, complimented with the title of “Lord of the World,” as his name signifies; he is a form of Vishnoo. The image of this god has no legs, and only stumps of arms; the head and eyes are very large. Krishnu, it seems, had accidentally been killed by a hunter, who left his body to rot under a tree; his bones, however, were collected, and kept in a box, till a pious king was directed by Vishnoo to form the image of Jugunnathu, and put into its body these bones. Vishwukurmu, the architect of the gods, undertook to make the image; but declared, that if disturbed while he was about it, he would leave it unfinished. The king who employed him, being impatient to see the image, went to the spot, when the artist desisted from the work, and left the god without hands or feet. The king was much discouraged