A VOICE FROM THE FACTORIES.

DEDICATED TO THE

RIGHT HON. LORD ASHLEY.

"As sickly plants betray a niggard earth,
Whose barren bosom starves her generous birth,
Nor genial warmth, nor genial juice retains,
Their roots to feed, and fill their verdant veins,
And as in climes where winter holds his reign,
The soil, though fertile, will not teem in vain,
Forbids her gems to swell, her shades to rise,
Nor trusts her blossoms to the churlish skies,-
So draw Mankind in vain the vital airs,
Unform'd, unfriended by those kindly cares
That health and vigour to the soul impart,

Spread the young thought, and warm the opening heart."

Gray's ' Alliance of Education and Government.'

A VOICE FROM THE FACTORIES.

I.

WHEN fallen man from Paradise was driven
Forth to a world of labour, death, and care,
Still of his native Eden, bounteous Heaven
Resolved one brief memorial to spare,
And gave his offspring an imperfect share
Of that lost happiness, amid decay;

Making their first approach to life seem fair,
And giving, for the Eden past away,
CHILDHOOD, the weary life's long happy holiday.

II.

Sacred to heavenly peace those years remain; And when with clouds their dawn is overcast, Unnatural seem the sorrow and the pain (Which rosy joy flies forth to banish fast, Because that season's sadness may not last). Light is their grief! a word of fondness cheers The unhaunted heart; the shadow glideth past; Unknown to them the weight of boding fears, And soft as dew on flowers their bright, ungrieving tears.

III.

See the stage-wonder (taught to earn its bread
By the exertion of an infant skill)

Forsake the wholesome slumbers of its bed,
And mime, obedient to the public will.

Where is the heart so cold that does not thrill
With a vexatious sympathy, to see

That child prepare to play its part, and still
With simulated airs of gaiety

Rise to the dangerous rope, and bend the supple knee?

IV.

Painted and spangled, trembling there it stands,
Glances below for friend or father's face,

Then lifts its small round arms and feeble hands
With the taught movements of an artist's grace;
Leaves its uncertain gilded resting-place-
Springs lightly as the elastic cord gives way-
And runs along with scarce perceptible pace-
Like a bright bird upon a waving spray,
Fluttering and sinking still, whene'er the branches play.

V.

Now watch! a joyless and distorted smile
Its innocent lips assume (the dancer's leer!),
Conquering its terror for a little while;

Then lets the TRUTH OF INFANCY appear,
And with a stare of numb'd and childish fear
Looks sadly towards the audience come to gaze
On the unwonted skill which costs so dear,
While still the applauding crowd, with pleased amaze,
Ring through its dizzy ears unwelcome shouts of praise.

VI.

What is it makes us feel relieved to see
That hapless little dancer reach the ground:
With its whole spirit's elasticity

Thrown into one glad, safe, triumphant bound?
Why are we sad, when, as it gazes round

At that wide sea of paint, and gauze, and plumes, (Once more awake to sense, and sight, and sound,) The nature of its age it re-assumes,

And one spontaneous smile at length its face illumes?

VII.

Because we feel, for childhood's years and strength, Unnatural and hard the task hath been;

Because our sicken'd souls revolt at length, And ask what infant innocence may mean Thus toiling through the artificial scene;— Because at that word, CHILDHOOD, start to birth All dreams of hope and happiness sereneAll thoughts of innocent joy that visit earthPrayer-slumber-fondness-smiles-and hours of rosy

mirth.

VIII.

And therefore, when we hear the shrill faint cries
Which mark the wanderings of the little sweep;
Or when, with glittering teeth and sunny eyes,
The boy-Italian's voice, so soft and deep,
Asks alms for his poor marmoset asleep;
They fill our hearts with pitying regret,
Those little vagrants doom'd so soon to weep,→
As though a term of joy for all was set,

And that their share of Life's long suffering was not yet.