First Discovery to its Surrender to England by the Treaty of Paris, by James Hannay, St. John, N. B., 1879. W. J. Anderson published a paper in the Transactions of the Literary and Historical Society of Quebec, New Series, part 7, 1870, entitled Evangeline and the Archives of Nova Sco tia, in which he examines the poem by the light of the volume of Nova Scotia Archives, edited by T. B. Akins. The sketches of travellers in Nova Scotia, as Acadia, or a Month among the Blue Noses, by F. S. Cozzens, and Baddeck, by C. D. Warner, give the present appearance of the country and inhabitants.

The measure of Evangeline is what is commonly known as English dactylic hexameter. The hexameter is the measure used by Homer in the Iliad and the Odyssey, and by Virgil in the Eneid, but the difference between the English language and the Latin or Greek is so great, especially when we consider that in English poetry every word must be accented according to its customary pronounciation, while in scanning Greek and Latin verse accent follows the quantity of the vowels, that in applying this term of hexameter to Evangeline it must not be supposed by the reader that he is getting the effect of Greek hexameters. It is the Greek hexameter translated into English use, and some have maintained that the verse of the Iliad is better represented in the English by the trochaic measure of fifteen syllables, of which an excellent illustration is in Tennyson's Locksley Hall; others have compared the Greek hexameter to the ballad metre of fourteen syllables, used notably by Chapman in his translation of Homer's Iliad. The measure adopted by Mr. Longfellow has never become very popular in English poetry, but has repeatedly been attempted by other poets. The reader will find the subject of hexameters discussed by Matthew Arnold in his lectures On Translating Homer; by James Spedding in English Hexameters, in his recent volume, Reviews and Discussions, Literary, Political and Historical, not relating to

Bacon; and by John Stuart Blackie in Remarks on English Hexameters, contained in his volume Hora Hellenicæ.

The measure lends itself easily to the lingering melancholy which marks the greater part of the poem, and the poet's fine sense of harmony between subject and form is rarely better shown than in this poem. The fall of the verse at the end of the line and the sharp recovery at the beginning of the next will be snares to the reader, who must beware of a jerking style of delivery. The voice naturally seeks a rest in the middle of the line, and this rest, or cæsural pause, should be carefully regarded; a little practice will enable one to acquire that habit of reading the hexameter, which we may liken, roughly, to the climbing of a hill, resting a moment on the summit, and then descending the other side. The charm in reading Evangeline aloud, after a clear understanding of the sense, which is the essential in all good reading, is found in this gentle labor of the former half of the line, and gentle acceleration of the latter half.]

THIS is the forest primeval. The murmuring pines and the hemlocks,

Bearded with moss, and in garments green, indistinct in the twilight,

Stand like Druids of eld, with voices sad and prophetic,

1. A primeval forest is, strictly speaking, one which has never been disturbed by the axe.

3. Druids were priests of the Celtic inhabitants of ancient Gaul and Britain. The name was probably of Celtic origin, but its form may have been determined by the Greek word drūs, an oak, since their places of worship were consecrated groves of oak. Perhaps the choice of the image was governed by the analogy of a religion and tribe that were to disappear before a stronger power.

Stand like harpers hoar, with beards that rest on their bosoms.

Loud from its rocky caverns, the deep-voiced neighboring ocean

Speaks, and in accents disconsolate answers the wail of the forest.

5

This is the forest primeval; but where are the hearts that beneath it

Leaped like the roe, when he hears in the woodland the voice of the huntsman?

Where is the thatch-roofed village, the home of Acadian farmers,

Men whose lives glided on like rivers that water the

woodlands,

10

Darkened by shadows of earth, but reflecting an image of heaven?

Waste are those pleasant farms, and the farmers forever departed!

Scattered like dust and leaves, when the mighty blasts of October

Seize them, and whirl them aloft, and sprinkle them far o'er the ocean.

Naught but tradition remains of the beautiful village of Grand-Pré.

15

Ye who believe in affection that hopes, and endures, and is patient,

4. A poetical description of an ancient harper will be found in the Introduction to the Lay of the Last Minstrel, by Sir Walter Scott.

8. Observe how the tragedy of the story is anticipated by this picture of the startled roe.

Ye who believe in the beauty and strength of woman's

devotion,

List to the mournful tradition still sung by the pines

of the forest;

List to a Tale of Love in Acadie, home of the happy.

PART THE FIRST.

I.

IN the Acadian land, on the shores of the Basin of

Minas,

20

Distant, secluded, still, the little village of Grand-Pré Lay in the fruitful valley. Vast meadows stretched to the eastward,

Giving the village its name, and pasture to flocks without number.

Dikes, that the hands of the farmers had raised with labor incessant,

19. In the earliest records Acadie is called Cadie; it afterwards was called Arcadia, Accadia, or L'Acadie. The name is probably a French adaptation of a word common among the Micmac Indians living there, signifying place or region, and used as an affix to other words as indicating the place where various things, as cranberries, eels, seals, were found in abundance. The French turned this Indian term into Cadie or Acadie; the English into Quoddy, in which form it remains when applied to the Quoddy Indians, to Quoddy Head, the last point of the United States next to Acadia, and in the compound Passamaquoddy, or Pollock-Ground.

21. Compare, for effect, the first line of Goldsmith's The Traveller. Grand-Pré will be found on the map as part of the township of Horton.

24. The people of Acadia are mainly the descendants of the colonists who were brought out to La Have and Port Royal by Isaac de Razilly and Charnisay between the years 1633 and 1638.

Shut out the turbulent tides; but at stated seasons the flood-gates

25

Opened and welcomed the sea to wander at will o'er the meadows.

West and south there were fields of flax, and orchards and cornfields

Spreading afar and unfenced o'er the plain; and away to the northward

Blomidon rose, and the forests old, and aloft on the mountains

Sea-fogs pitched their tents, and mists from the mighty

Atlantic

30

Looked on the happy valley, but ne'er from their station descended.

There, in the midst of its farms, reposed the Acadian

village.

Strongly built were the houses, with frames of oak and of hemlock,

Such as the peasants of Normandy built in the reign of the Henries.

These colonists came from Rochelle, Saintonge, and Poitou, so that they were drawn from a very limited area on the west coast of France, covered by the modern departments of Vendée and Charente Inférieure. This circumstance had some influence on their mode of settling the lands of Acadia, for they came from a country of marshes, where the sea was kept out by artificial dikes, and they found in Acadia similar marshes, which they dealt with in the same way that they had been accustomed to practise in France. Hannay's History of Acadia, pp. 282, 283. An excellent account of dikes and the flooding of lowlands, as practised in Holland, may be found in A Farmer's Vacation, by George E. Waring, Jr.

29. Blomidon is a mountainous headland of red sandstone, surmounted by a perpendicular wall of basaltic trap, the whole about four hundred feet in height, at the entrance of the Basin of Minas.