«Старинный перстень» на английском языке

“Yes, indeed: the gem is as bright as a star, and curiously set,” said Clara Pembertou, examining an antique ring, which her betrothed lover had just presented to her, with a very pretty speech. “It needs only one thing to make it perfect.”

“And what is that?” asked Mr. Edward Caryl, secretly anxious for the credit of his gift. “A modern setting, perhaps?”

“O, no! That would destroy the charm at once,” replied Clara. “It needs nothing but a story. I long to know how many times it has been the pledge of faith between two lovers, and whether the vows, of which it was the symbol, were always kept or often broken. Not that I should be too scrupulous about facts. If you happen to be unacquainted with its authentic history, so much the better. May it not have sparkled upon a queen’s finger? Or who knows but it is the very ring which Posthumus received from Imogen? In short, you must kindle your imagination at the lustre of this diamond, and make a legend for it.”

Now such a task — and doubtless Clara knew it — was the most acceptable that could have been imposed on Edward Caryl. He was one of that multitude of young gentlemen — limbs, or rather twigs of the law — whose names appear in gilt letters on the front of Tudor’s Buildings, and other places in the vicinity of the Court House, which seem to be the haunt of the gentler as well as the severer Muses. Edward, in the dearth of clients, was accustomed to employ his much leisure in assisting the growth of American Literature, to which good cause he had contributed not a few quires of the finest letter-paper, containing some thought, some fancy, some depth of feeling, together with a young writer’s abundance of conceits. Sonnets, stanzas of Tennysonian sweetness, tales imbued with German mysticism, versions from Jean Paul, criticisms of the old English poets, and essays smacking of Dialistic philosophy, were among his multifarious productions. The editors of the fashionable periodicals were familiar with his autograph, and inscribed his name in those brilliant bead-rolls of ink-stained celebrity, which illustrate the first page of their covers. Nor did fame withhold her laurel. Hillard had included him among the lights of the New England metropolis, in his Boston Book; Bryant had found room for some of his stanzas, in the Selections from American Poetry; and Mr. Griswold, in his recent assemblage of the sons and daughters of song, had introduced Edward Caryl into the inner court of the temple, among his fourscore choicest bards. There was a prospect, indeed, of his assuming a still higher and more independent position. Interviews had been held with Ticknor, and a correspondence with the Harpers, respecting a proposed volume, chiefly to consist of Mr. Caryl’s fugitive pieces in the Magazines, but to be accompanied with a poem of some length, never before published. Not improbably, the public may yet be gratified with this collection.

Meanwhile, we sum up our sketch of Edward Caryl, by pronouncing him, though somewhat of a carpet knight in literature, yet no unfavorable specimen of a generation of rising writers, whose spirit is such that we may reasonably expect creditable attempts from all, and good and beautiful results from some. And, it will be observed, Edward was the very man to write pretty legends, at a lady’s instance, for an old-fashioned diamond ring. He took the jewel in his hand, and turned it so as to catch its scintillating radiance, as if hoping, in accordance with Clara’s suggestion, to light up his fancy with that starlike gleam.

“Shall it be a ballad? — a tale in verse?” he inquired. “Enchanted rings often glisten in old English poetry, I think something may be done with the subject; but it is fitter for rhyme than prose.”

“No, no,” said Miss Pemberton, “we will have no more rhyme than just enough for a posy to the ring. You must tell the legend in simple prose; and when it is finished, I will make a little party to hear it read.”