These ample fields
  Nourished their harvests.

The size and extent of the mounds in the valley of the Mississippi, indicate the existence, at a remote period, of a nation at once populous and laborious, and therefore probably subsisting by agriculture.

  The rude conquerors
  Seated the captive with their chiefs.

Instances are not wanting of generosity like this among the North American Indians towards a captive or survivor of a hostile tribe on which the greatest cruelties had been exercised.

SONG OF MARION’S MEN.

The exploits of General Francis Marion, the famous partisan warrior of South Carolina, form an interesting chapter in the annals of the American revolution.  The British troops were so harassed by the irregular and successful warfare which he kept up at the head of a few daring followers, that they sent an officer to remonstrate with him for not coming into the open field and fighting “like a gentleman and a Christian.”

MARY MAGDALEN.

Several learned divines, with much appearance of reason, in particular Dr. Lardner, have maintained that the common notion respecting the dissolute life of Mary Magdalen is erroneous, and that she was always a person of excellent character.  Charles Taylor, the editor of Calmet’s Dictionary of the Bible, takes the same view of the subject.

The verses of the Spanish poet here translated refer to the “woman who had been a sinner,” mentioned in the seventh chapter of St. Luke’s Gospel, and who is commonly confounded with Mary Magdalen.

FATIMA AND RADUAN.

This and the following poems belong to that class of ancient Spanish ballads, by unknown authors, called Romances Moriscos—­Moriscan romances or ballads.  They were composed in the 14th century, some of them, probably, by the Moors, who then lived intermingled with the Christians; and they relate the loves and achievements of the knights of Grenada.

LOVE AND FOLLY.—­(FROM LA FONTAINE.)

This is rather an imitation than a translation of the poem of the graceful French fabulist.

THE ALCAYDE OF MOLINA

  These eyes shall not recall thee, &c.

This is the very expression of the original—­No te llamaran mis ojos, &c.  The Spanish poets early adopted the practice of calling a lady by the name of the most expressive feature of her countenance, her eyes.  The lover styled his mistress “ojos bellos,” beautiful eyes; “ojos serenos,” serene eyes.  Green eyes seem to have been anciently thought a great beauty in Spain, and there is a very pretty ballad by an absent lover, in which he addressed his lady by the title of “green eyes;” supplicating that he may remain in her remembrance.