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An early, forgotten poem of Ann Radcliffe (?)

Par Raphael -
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Back in 2011, I started to identify all quotation insets and chapter epigraphs of Ann Radcliffe novel, in order to find about which authors she had read, and liked, as we know so little about her. While trying to trace down a quotation inset, still unidentified, from 1987 [1794]  The Mysteries of Udolpho , London, The Folio Society volume 4, chapter 12, page 633 While the fancy thus wanders over landscapes partly of its own creation, a sweet complacency steals upon the mind, and "Refines it all to subtlest feeling, Bids the tear of rapture roll" I chanced upon the following poem, in The London Magazine, Or, Gentleman's Monthly Intelligencer, Volume LII for the year 1783  -  January to June  -  p296-297 (June) Written on the sea-shore by moon-light When still at eve the moon ascending, Thro’ the Heav’ns pathless wide, From a cloud of silver bending, Pours her radiance o’er the tide, While with slow and measur’d motion,
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Bring Roses, Violets, and the cold Snow-Drop (...)

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While working today on one unidentified epigraph of The Italian, Chapter 11 Vol 1 - I may have struck gold. I painstackingly unearthed a popular engraving of yore (ca1590) which does resonate with Radcliffe's flowery prose. It may refer to the following engraving Indeed, exactly like for the "Missa Ferte Rosas" by Menault (1642-1694), the epigraph may be a reference to this exact engraving (one of which was acquired by the British Museum in 1835), and specifically to its inscription "Ferte Rosas [...] Foeno." Engraving comes from masses dating back to Baroque period. Inscription translates exactly to: Bring roses and violets speedily, offer lilies fallen from the celestial orb, the child lies on lowly straw. When read properly, the lilies are fallen from the sky, not the child ! Ann replaces the lilies (here symbols of Prayers) by snowdrops, for purity/innocence + hope, which are now fitting for Ellena, then forced into noviciation. (roses = charity
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Un hommage d'Eddy Paape & Jean-Michel Charlier à Maurice Tillieux ?

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Grâce à la récente et splendide édition des Félix  de Maurice Tillieux , chez les "Editions de l'Elan" , j'ai pu découvrir dans le tome 1 publié début Juillet  les tout premiers Félix (après les tomes 5 , 6 , 7 contenant les 17 aventures inédites, entre les abandons des intégrales Deligne des années 80 et Niffle des années 2000 - une histoire un peu compliquée ...). Bref, je n'ai pu m’empêcher de faire le rapprochement entre l'un des dessins de la deuxième aventure  de Félix, " Les Ressuscités "  (publiée en 1949 dans le numéro 12 des " Héroïc-Albums ") avec un dessin fantastique d' Eddy Paape dans l'aventure du Château Maudit de Valhardi  (publiée en 1951-1952 dans le Journal de Spirou sur un scénario de Jean-Michel Charlier ) ! Voici le dessin de Félix (1949) en question, lorsque les 3 héros, Félix, Fil-de-Zinc et Allume Gaz  (encore sans trait d'union) découvrent le vieux château prétendument hanté de Kelgaf: (clique
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Newly identified quotation inset from The Italian

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The Italian, Volume III, Chapter XIII p432, Ed. The Folio Society, 1987 [...] The style of the gardens, where lawns and groves, and woods varied the undulating surface, was that of England, and of the present day, rather than of Italy; except "Where a long alley peeping on the main," exhibited such gigantic loftiness of shade, and grandeur of perspective, as characterize the Italian taste. [...] Without much surprise, and once again not completely true to the original, Ann Radcliffe quotes from James Thomson, "The Castle of Indolence", 1748 [...] For this he chose a farm in Deva's vale. Where his long alleys peeped upon the main : In this calm seat he drew the healthful gale, Here mixed the chief, the patriot, and the swain. [...] The epigraph of chapter XIII, a few paragraphs away from this quotation inset, is from the same poem.
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The mysterious reference to "An English Poet" in MU

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In the Vol II, Chapter III of The Mysteries of Udolpho p196, Ed. The Folio Society, 1987 Ann Radcliffe refers to "an English poet" in the following To him, indeed, might have been applied that beautiful exhortation of an English poet, had it then existed:  —"Strike up, my master,  But touch the strings with a religious softness!  Teach sounds to languish through the night's dull ear  Till Melancholy starts from off her couch,  And Carelessness grows concert to attention!"  The OUP edition mentions that "the lines which follow [the unidentified reference to an English poet ] may be by Radcliffe herself." It turns out that if Ann did not name the poet, it is because at the time (and maybe still somewhat today) there was some controversy about the author of those lines. It comes from the play "Double Falshood, or The Distrest Lovers" (1728) Act I, Scene III by Lewis Theobald (1688-1744) / (William Shakespeare/John Fletcher) The publ
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Newly identified quotation inset from The Mysteries of Udolpho

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This was a though one, again yet unidentified in OUP latest edition. I was unable to identify it back in 2011, but tonight I was more lucky ! [1794] The Mysteries of Udolpho, Vol III, Chapter X (p501, The Folio Society, 1987) She then retired to her pillow, and, "with gay visions of tomorrow," to those sweet slumbers, which health and happy innocence only know.  Probably misquoted (by heart?) from James Beattie (1735-1803),  "Ode to Hope" [...] I, who close the eyes of sorrow, And with glad visions of to-morrow Repair the weary soul's decay. [...] On the other hand, I had no chance whatsoever in finding more poems by "A." in the London Magazine ; I checked all months of the years 1782 to 1786. Some funny, some interesting, but none as exciting as the moon-light poem, questionably from Ann.
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Newly identified quotes and epigraphs from The Romance of the Forest

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Below are identification of quotes which, at least in the latest Oxford University Press edition of the Romance of the Forest, were still unidentified.  the pages refer to the edition of RF in The Folio Society, 1987 Vol I, Chapter II, p27 […] the captivations of her beauty were heightened by the grace and simplicity of her manners, and confirmed by the intrinsic value of a heart "That might be shrin'd in crystal, And have all its movements scann'd." George Keate (1729-1797) “The Monument in Arcadia : a dramatic poem”, Act II, 1773 "[…] for she wears a Heart So pure, so spotless, that it might be shrin’d In Crystal, and have all its movements scanne’d!" Vol II, Chapter VI, p184, epigraph "Nor sea, nor shade, nor shield, nor rock, nor cave, Nor silent desarts, nor the sullen grave, Where flame-ey'd Fury means to frown——-can save." Francis Quarles (1592 – 1644) “Emblems”, Book III, Emblem XII, 1635 &qu
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