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To turn to the poems in detail, almost the first thing that strikes one is the originality of his subjects. Nothing was common or unclean to our poet, at a time when poetry, except in Cowper's hands, was grandiose and affected to an uncommon degree. Vincent Bourne may be held to have been in a remote connection the parent of the poetry of common life, for he undoubtedly exerted a strong influence on Cowper. I do not think it is too much to say that Cowper's best contributions to literature, his exquisite lyrics on birds and hares and dogs, which will live when "The Task" and "Tirocinium" have gone down to the dust, would never have been written had it not been for Vincent Bourne. In the year 1750, the future of English poetry was dark; there were only two considerable writers at work, Gray and Collins. There was, it is true, a certain respectful attitude to nature prevalent, but it was a conventional attitude. Cowper, as I believe inspired by Bourne, was the first to make it unconventional. Then came the sweet notes of Burns across the border, and the victory was won.

Let me now give a few instances of Bourne. First must come "The Jackdaw," and I have given Cowper's rendering; but I have also ventured to subjoin a version of my own, not because I challenge even the most distant comparison with Cowper's sparkling and graceful lyric, but because Cowper's is in no sense a translation. It is a poem of which the line of thought is suggested by Bourne, and at a few points touches the Latin poem; but the turn, the colouring is Cowper's own. In my own translation, though I have several times sacrificed verbal accuracy, I have endeavoured to keep as closely to the Latin as is consistent with writing English at all.

CORNICULA

 
Nigras inter aves avis est, quæ plurima turres,
Antiquas ædes, celsaque fana colit.
Nil tam sublime est, quod non audace volatu,
Aeriis spernens inferiors, petit.
Quo nemo ascendat, cui non vertigo cerebrum
Corripiat, certe hunc seligit illa locum.
Quo vix a terra tu suspicis absque tremore,
Illa metus expers incolumisque sedet.
Lamina delubri supra fastigia, ventus
Qua cœli spiret de regione, docet;
Hanc ea præ reliquis mavult, secura pericli,
Nec curat, nedum cogitat, unde cadat.
Res inde humanas, sed summa per otia, spectat,
Et nihil ad sese, quas videt, esse videt.
Concursus spectat, plateaque negotia in omni,
Omnia pro nugis at sapienter habet.
Clamores, quos infra audit, si forsitan audit,
Pro rebus nihili negligit, et crocitat.
Ille tibi invideat, felix cornicula, pennas,
Qui sic humanis rebus abesse velit.
 

THE JACKDAW

(By William Cowper.)

 
There is a bird, who by his coat,
And by the hoarseness of his note,
Might be supposed a crow;
A great frequenter of the church,
Where bishop-like he finds a perch,
And dormitory too.
 
 
Above the steeple shines a plate,
That turns and turns, to indicate
From what point blows the weather;
Look up – your brains begin to swim,
'Tis in the clouds; that pleases him,
He chooses it the rather.
 
 
Fond of the speculative height,
Thither he wings his airy flight,
And thence securely sees
The bustle and the raree-show
That occupy mankind below,
Secure and at his ease.
 
 
You think, no doubt, he sits and muses
Of future broken bones and bruises,
If he should chance to fall;
No! not a single thought like that
Employs his philosophic pate,
Or troubles it at all.
 
 
He sees that this great roundabout
The world, with all its motley rout,
Church, army, physic, law,
Its customs and its businesses
Is no concern at all of his,
And says – what says he? – Caw.
 
 
Thrice happy bird! I too have seen
Much of the vanities of men,
And sick of having seen 'em,
Would cheerfully these limbs resign
For such a pair of wings as thine,
And such a head between 'em.
 
 
.....
 
 
Of fowls with black and glossy coat,
One dear familiar bird I note;
In towers and ancient piles he dwells,
Above the din of sacred bells;
High fanes he seeks; with daring flight
Aspires, despising aught but height;
He sits where mortals mount with pain
Of reeling pulse and dizzy brain;
And where you shudder with alarm,
He's perched aloft, and free from harm.
The vane that on the steeple shows
Whither and whence the free wind blows,
He choosing, owns no care at all,
Much less is careful lest he fall;
And thence in lofty ease surveys
Mankind's inexplicable ways.
He sees the streets, the concourse dim,
They hold no interest for him;
And if some murmur upward floats
He heeds not, but with pensive notes
Beguiles the hour. Blest bird, I'd be
A winged and airy thing, like thee!
From human things I'd sit aloof
Like thee, above the minster-roof.
 

Next shall come Lamb's favourite, the Epitaph on the Beggar's Dog. Lamb's rendering is very fairly exact.

 
Pauperis hic Iri requiesco Lyciscus, herilis,
Dum vixi, tutela vigil columenque senectæ,
Dux cæco fidus; nec, me ducente, solebat,
Prætenso hinc atque hinc baculo, per iniqua locorum
Incertam explorare viam; sed fila secutus,
Quæ dubios regerent passus, vestigia tuta
Fixit inoffenso gressu; gelidumque sedile
In nudo nactus saxo, qua prætereuntium
Unda frequens confluxit, ibi miserisque tenebras
Lamentis, noctemque oculis ploravit obortam.
Ploravit nec frustra; obolum dedit alter et alter,
Queis corda et mentem indiderat natura benignam.
Ad latus interea jacui sopitus herile,
Vel mediis vigil in somnis; ad herilia jussa
Auresque atque animum arrectus, seu frustuia amice
Porrexit sociasque dapes, seu longa diei
Tædia perpessus, reditum sub nocte parabat.
Hi mores, hæc vita fuit, dum fata sinebant,
Dum neque languebam morbis, nec inerte senecta,
Quæ tandem obrepsit, veterique satellite cæcum
Orbavit dominum: prisci sed gratia facti
Ne tota intereat, longos deleta per annos,
Exiguum hunc Irus tumulum de cespite fecit,
Et si inopis, non ingratæ munuscula dextræ;
Carmine signavitque brevi, dominumque canemque
Quod memoret, fidumque canem dominumque benignum.
 

—

 
Poor Irus' faithful wolf-dog here I lie,
That wont to tend my old blind master's steps,
His guide and guard; nor, while my service lasted,
Had he occasion for that staff, with which
He now goes picking out his path in fear
Over the highways and crossings, but would plant,
Safe in the conduct of my friendly string,
A firm foot forward still, till he had reach'd
His poor seat on some stone, nigh where the tide
Of passers-by in thickest confluence flow'd:
To whom with loud and passionate laments
From morn to eve his dark estate he wail'd.
Nor wail'd to all in vain: some here and there,
The well-disposed and good, their pennies gave;
I meantime at his feet obsequious slept;
Not all-asleep in sleep, but heart and ear
Prick'd up at his least motion: to receive
At his kind hand my customary crumbs,
And common portion in his feast of scraps;
Or when night warned us homeward, tired and spent
With our long day and tedious beggary.
These were my manners, this my way of life,
Till age and slow disease me overtook,
And sever'd from my sightless master's side.
But, lest the grace of so good deeds should die,
Through tract of years in mute oblivion lost,
This slender tomb of turf hath Irus rear'd,
Cheap monument of no ungrudging hand,
And with short verse inscribed it, to attest,
In long and lasting union to attest,
The virtues of the Beggar and the Dog.
 

It may be noted that Lamb treats Lyciscus, which was evidently intended merely as a name, as referring to the species of dog; Virgil uses Lycisca as a dog's name in the third Eclogue. Probably Bourne was thinking of a fox-terrier, and the term wolf-dog is pompous and incongruous. Lamb's last line but three is a very lame one; it is a difficult point to determine, but did not he mean "no ungrateful hand"? The true sense of the original line is, "the slender gift of a hand which although poor is not ungrateful."

Bourne shows also a remarkable observation of street life, the quaint water-side manners, the odd obscure life that eddied near the river highway and round about the smoky towers of Wren. Absent-minded he may have been, but observant he was to a peculiar degree, and that not of broad poetical effects, but of the minute detail and circumstance of every-day life. It would be easy to multiply instances, but this extract from the "Iter per Tamisin," of the bargeman lighting his pipe, will serve to show what I mean. Why does he call tobacco pœtum, it may be asked? The only solution that I can suggest is that Pink-eye, or Squint-eye, was a cant term for some species of the weed at the time. It can hardly be, I think, the word peat Latinised. The version, as in the case of those which follow, is my own.

 
His ita dispositis, tubulum cum pyxide magna
Depromit, nigrum longus quem fecerat usus.
Hunc postquam implêrat pæto, silicemque pararat,
Excussit scintillam; ubi copia ponitur atri
Fomitis, hinc ignem sibi multum exugit, et haustu
Accendens crebro, surgentes deprimit herbas
Extremo digito: in cineres albescere pætum
Incipit et naso gratos emittit odores.
 

—

 
This thus disposed, a pipe with ample bowl
He handles, blackened with familiar use;
Stuffs with the fragrant herb, and flint prepares
To strike the spark: and thence from fuel stored,
Black provender, he spouts a plenteous flame,
Kindling with frequent gusts of breath indrawn:
Meanwhile he tends with cautions finger-tip
The rising fibres; into lightest ash
Whitening, they pour the aromatic fumes.
 

Vincent Bourne had that passionate sympathy with and delight in youth that is the surest testimony to a heart that does not grow old. The pretty ways and natural gestures of childhood pleased him. He was fond of his boys, and allowed that fondness to be evident, at a time when brow-beating and insolent severity were too much the fashion. In his epitaphs it is curious to note how many deal with the young, and touch on the immemorial fragrance of early death with a peculiar pathos. There is an epitaph on a Westminster boy of twelve years old, where he most touchingly alludes to the thought that he died both beautiful and innocent; and an epitaph on a little girl who, he said in quaint phrase, had the modest red of roses and the pure whiteness of lilies in her face. Again the inscription to the memory of the young Earl of Warwick, who died at the age of twenty-four, is full of delicate beauty; but I will give in full what seems to me the sweetest of all. It is printed among the authentic epitaphs, but it is, I imagine, purely fanciful.

EPITAPHIUM IN SEPTEM ANNORUM PUELLULAM

 
Quam suavis mea Chloris, et venusta,
Vitæ quam fuerit brevis, monebunt
Hic circum violæ rosæque fusæ:
Quarum purpura, vix aperta, clausa est.
Sed nec dura nimis vocare fata,
Nec fas est nimium queri caducæ
De formæ brevitate, quam rependit
Aeterni diuturnitas odoris.
 

—

 
My pretty Chloris – ah, how sweet
The roses o'er your head shall show;
The violets, strewn above your feet
How brief the life that sleeps below.
We must not chide the grudging fates.
Nor say how short a lot was thine,
For, ah, how amply compensates
The eternal fragrance of thy shrine.
 

I subjoin to these a couple of epigrams which give a good idea of the natural and solemn way in which he approaches death, as an event not necessarily of a gloomy and forbidding character, but as tending to draw out and develop an intimate and regretful hope in the survivors. There is nothing austere about his philosophy; it puts aside pompous and formal consolations, and goes right to the heart of the matter, with a child-like simplicity. The first deals with the Pyramids, the second with an incident, real or fancied, connected with the burial of Queen Mary at Westminster.

PYRAMIS

 
Pyramidum sumptus, ad cœlum et sidera ducti,
Quid dignum tanta mole, quid intus habent?
Ah! nihil intus habent, nisi nigrum informe cadaver;
Durata in saxum est cui medicata caro.
Ergone porrigitur monumentum in jugera tota!
Ergo tot annorum, tot manuumque labor!
Integra sit morum tibi vita: hæc pyramis esto,
Et poterunt tumulo sex satis esse pedes.
 

—

 
Aspiring monument of human toil
What lies beneath that's worth so vast a coil?
A shapeless blackened corpse, set all alone,
Embalmed and mummied into silent stone.
The mighty pile its ponderous circuit rears;
Ah, ingenuity! ah, wasted years!
Pure be thy life; let pompous trappings be!
Six feet of kindly earth's enough for thee!
 

PIETAS RUBECULÆ

 
Quæ tibi regalis dederant diadematis aurum,
Dant et funereum fana, Maria, tholum.
Quisque suis vicibus, mæsto stant ordine flentes;
Oreque velato femina triste silet.
Parva avis interea, residens in vertice summo,
Emittit tremula lugubre voce melos.
Vespera nec claudit, nec lucem Aurora recludit,
Quin eadem repetat funebre carmen avis,
Tale nihil dederint vel Mausolea; Mariæ
Hæc pietas soli debita vera fuit.
Venales lacrymæ, jussique facessite fletus;
Sumptibus hic nullis luctus emendus erit.
 

—

 
The ancient fane that crowned thy flashing head,
Oh queen, oh mother! now receives thee dead.
The mourning train, in funeral pomp arrayed,
Weeping adore the venerable shade.
A duteous bird the while, high perched above,
Utters the tremulous notes of tender love.
Each waning eve, each dewy opening day,
That gentle heart repeats his solemn lay.
No lamentable anthem pealing high
Can match the gift of pious minstrelsy.
Tears, venal tears, ye cannot give relief.
No lavished gold can purchase natural grief!
 

There have been several editions of Vincent Bourne; three of them deserve, bibliographically, a word. The first is the third of his publications, a very rare and beautiful book, which by the kindness of Mr. Austin Dobson I have been privileged to examine. This is Poematia, Latine partim reddita, partim scripta, printed by J. Watts, 1734, and dedicated to the Duke of Newcastle; it is a small volume printed in italics of the tribe of Aldus, with quaint head and tail pieces, and red lines ruled by hand. The next is the Miscellaneous Poems of 1772, a handsome quarto, published by subscription. The third is Poems by Vincent Bourne published by Pickering in 1840, with a memoir and notes by the Rev. John Mitford. This is a carefully and beautifully printed book, with but one drawback. Whenever an ornamental head-piece is inserted at the top of a page, the number of the page is omitted. This tiresome affectation makes it very difficult to find any particular poem.

An exhaustive account of Vincent Bourne's Latinity would be a long enumeration of minute mistakes – mistakes arising from the imperfect acquaintance of the scholars of the day with the principles of correct Latinity. To give a few obvious instances, metrically, Bourne is not aware of the rule which forbids a short syllable to stand before sp, sc, st, sq. In classical Latin, such a collocation of consonants does not lengthen the preceding short syllable, but is simply inadmissible. Then again, he is very unsound in the quantity of final o. I am not speaking of such words as quando, ego, where there is a certain doubt. But he makes short such words as fallŏ, and even such a word as experiendŏ;, which is quite impossible. He also ends his pentameters with trisyllables such as niteat, a practice which has no Ovidian countenance. Grammatically, a considerable licence is observable in the use of the indicative for the subjunctive, as, for instance, after si forsitan and nedum. But these, it may be said, are minor points, and in form and arrangement his Latin is pure enough. His verse is of the school of Ovid and Tibullus, but his vocabulary is not Augustan; this, however, may be due to the fact that his choice of subjects necessitates the use of many words for which there is no Augustan authority.

It can hardly be expected that Vincent Bourne will be read or appreciated by the general reader. But any one with an adequate stock of Latin, who is given to wandering among the byways of literature, will find him a singularly original and poetical writer. His was no academic spirit, writing, with his back to the window, of frigid generalities and classical ineptitudes. He was rather a man with a warm heart and a capacious eye, finding any trait of human character, any grouping of the grotesque or tender furniture of life, interesting and memorable. He reminds one of the man in Robert Browning's poem, "How it Strikes a Contemporary," who went about in his old cloak, with quiet observant eyes, noting the horse that was beaten, and trying the mortar of the new house with his stick, and came home and wrote it all to his lord the king. Vincent Bourne had of course no moral object in his writings; he had merely the impulse to sing, and we may regret with Lamb that so delicate and sensitive a spirit chose a vehicle which must debar so many from walking in his company. With his greasy locks and dirty gown, his indolence and his good-humour, the shabby usher of Westminster, with his pure spirit and clear eyes, has a place reserved for him in the stately procession, "where is nor first, nor last."

THOMAS GRAY

EVERY boy who leaves Eton creditably is presented with a copy of the works of Gray, for which everything has been done that the art of printers, bookbinders and photographers can devise. This is one of the most curious instances of the triumphs of genius, for there is hardly a single figure in the gallery of Etonians who is so little characteristic of Eton as Gray. His only poetical utterance about his school is one which is hopelessly alien to the spirit of the place, though the feelings expressed in it are an exquisite summary of those sensations of pathetic interest which any rational man feels at the sight of a great school. And yet, though the attitude of the teacher of youth is professedly and rightly rather that of encouragement than of warning, though he points to the brighter hopes of life rather than brandishes the horrors that infest it, yet the last word that Eton says to her sons is spoken in the language of one to whom elegy was a habitual and deliberate tone.

Gray's was in many ways a melancholy life. His vitality was low, and such happiness as he enjoyed was of a languid kind. Physically and emotionally he was unfit to cope with realities, and this though he never felt the touch of some of the most crushing evils that humanity sustains. He was never poor, he was never despised, he had many devoted friends; but on the other hand he had a wretched and diseased constitution, he suffered from all sorts of prostrating complaints, from imaginary insolences, violent antipathies, and want of sympathy. Fame such as is rarely accorded to men came to him: he was accepted as without doubt the first of living English poets; but he took no kind of pleasure in it. He was horrified to find himself a celebrity; he declined to be Poet Laureate; he refused honorary degrees; when at Cambridge the young scholars are said to have left their dinners to see him as he passed in the street, it was a sincere pain to him. Cowper counterbalanced his fits of unutterable melancholy by his hours of tranquil serenity over teacups and muffins and warm coal-fires, with the curtains drawn close. Johnson enlivened his boding depression by tyrannizing over an adoring circle. But Gray's only compensations were his friends. Any one who knows Gray's letters to and about his young friend Bonstetten, knows how close and warm it is possible for friendship to be.

No biography is more simple than Gray's. From Eton he passed to Cambridge, which was practically his home for the rest of his life. He went as a young man on a long foreign tour of nearly three years with Horace Walpole, quarrelled, and came back alone, both afterwards claiming to have been in the wrong; he travelled in England and Scotland a little; he lived a little in London and a good deal at Stoke Poges, where he kept a perfect menagerie of aged aunts, and he died somewhat prematurely at the age of fifty. He spent in all more than twenty years at Cambridge – the only event that interrupted his life there being his move from Peterhouse to Pembroke, across the road, in consequence of an offensive practical joke played on him by some undergraduates, who, working on his morbid dread of fire, induced him by their cries to leave the window of his room by means of a rope-ladder, and descend into a tub of water placed ready for this purpose. The authorities at Peterhouse seem to have made no sort of attempt to punish this wanton outrage, nor to have been anxious to keep him at their college.

So he lived on at Cambridge, hating the "silly dirty place," as he calls it. The atmosphere, physical and mental, weighed on his spirits with leaden dulness. In one of his early letters he speaks of it as the land indicated by the prophet, where the ruined houses were full of owls and doleful creatures. He often could not bring himself to go there, and once there, his spirits sank so low that he could not prevail on himself to move. Almost the only part he took in the public life of the place was to write and circulate squibs and lampoons on people and local politics, most of which have fortunately perished; those that remain are coarse and vindictive. Nevertheless he had some true friends there: Mason, his worshipper and biographer, Dr. Brown, the Master of Pembroke, in whose arms he died, and several others. He held no office there and did no work for the place, till late in his life the Professorship of Modern History, a mere sinecure, for which he had unsuccessfully applied six years previously, came to him unsolicited. It was his aim throughout to be considered a gentleman who read for his own amusement, and with that curious fastidiousness which was so characteristic of him, he considered it beneath him to receive money for his writings, the copyrights of which he bestowed upon his publisher. Forty pounds for a late edition of his poems is said to be the only money of this kind that he ever handled. But he was, as has been said, well off, at least in his later years. He had a country-house at Wanstead which he let, a house in Cornhill, property at Stoke, and, though he sank some money in a large annuity, he died worth several thousand pounds.

It might be thought that such a life, meagre and solitary as it was, would furnish few details to a biographer, and this is to a certain extent true; but about Gray there is a peculiar atmosphere of attractiveness. He went his own way, thought his own thoughts, and did not concern himself in the least with the ordinary life of people round about him, except to despise them. This disdainful attitude is always an attractive one. The recluse stimulates curiosity; and when we pass behind the scenes and see the high purity of the life, the wide and deep ideals always floating before such a man, the wonder grows. He lived unconsciously at so high a level that he could not conceive how low and animal lives were possible to men; he owned to no physical impulses; he held that there was no knowledge unworthy of the philosopher, except theology; and over the whole of his existence hung that shadow of doom which lends a pathetic interest to the lives of the meanest of mankind.

When such a man is the author of the most famous poem of pure sentiment in the English language, as well as of smaller pieces by which some readers are fascinated, most impressed, and each of which has enriched the world with one or more eternal phrases, our interest is indefinitely increased, because isolation only ceases to be interesting when it is self-absorbed and self-centred. Gray, on the other hand, suppressed himself so effectually in his writings that he even caused them for some readers to forfeit that personal interest that is so attractive to most. "We are all condemned," he says, "to lonely grief," – "the tender for another's pain, the unfeeling for his own;" one of the latter could never have written these words.

The deeper that we enter into such a life, the more fascinating it becomes. All Gray's tastes were natural and yet high; whatever he sets his hand to ceases to be dull; he had a transfiguring touch; he was moreover a strangely unconscious precursor of modern tastes and fancies, in such things as his self-created taste for architecture and antiquities, by communicating which to Horace Walpole (for Gray's influence can be surely traced in Horace's artistic development) he succeeded in making fashionable; his dignified preferences in art, his rapturous devotion to music, especially to Pergolesi and the contemporary Roman school, whose airs he would sit crooning to himself, playing his own accompaniment on the harpsichord in the high unvisited rooms at Pembroke; his penchant for heraldry, his educational theories, his minute and accurate investigations of Nature, as close and loving as Gilbert White's, recording as he does the break of dry clear weather into warm wet winds, the first flight of ladybirds, the first push of crocuses, the first time he heard the redstart's note in the bushes and the thrush fluting about the butts of the old college gardens, "scattering," as he said in a lovely impromptu line that he made in a walk near Cambridge, "her loose notes in the waste of air." In 1740 he wrote from Florence to a friend:

"To me there hardly appears any medium between a public life and a private one; he who prefers the first must feel himself in a way of being serviceable to the rest of mankind, if he has a mind to be of any consequence among them. Nay, he must not refuse being in a certain degree dependent upon some men who are so already; if he has the good fortune to light on such as will make no ill use of his humility, there is no shame in this. If not, his ambition ought to give place to a reasonable pride, and he should apply to the cultivation of his own mind those abilities which he has not been permitted to use for others' service; such a private happiness (supposing a small competence of fortune) is almost in every one's power, and is the proper enjoyment of age, as the other is the proper employment of youth."

And this was the programme to which Gray settled down. In what vast schemes of study he indulged we do not know; but we do know that he gave five years to a comprehensive survey of Greek literature, taking prose and verse alternately, like bread and cheese; he contemplated and wrote notes for an edition of Strabo; he translated many Greek epigrams into Latin verse, curiously weighing his words for weeks together; he read history exhaustively, with such tenacious accuracy that he could correct in the margin with the everlasting pencil dates and names in a Chinese dynasty – "a dismal waste of energy and power," sigh his biographers. No, it was no waste, for this was Gray. He wrote no more poetry, except a few "autumnal verses" still unidentified. He could not write any. Mr. Matthew Arnold, in his delicate essay, blames the age for this; he puts Gray's reticence down to a want of literary sympathy and intellectual stimulus. Had Gray been born with Milton or with Burns, he says he would have been a different man. We may thankfully doubt it. Gray's nature, Gray's powers of production, would have been far more liable to be crushed into extinction by the consciousness of the existence of a superior artist, fluent and sublime. He would have read and wondered, and thrown aside his pen. The fact that he could strike out better verse and nobler thoughts than his contemporaries, though it did not urge him to prolific production, made him at least not ashamed of work that gained by comparison with the work of all living artists; but a genius on the scene would have elbowed Gray out altogether. To take the very first instance that comes to hand of his fastidious discontent, consider the two exquisite stanzas which he struck out of the Elegy for no more adequate reason than that "they made too long a parenthesis."

 
There scattered oft, the earliest of the year,
By hands unseen, are showers of violets found;
The redbreast loves to build and warble there,
And little footsteps lightly print the ground.
 
 
Him have we seen the greenwood side along,
While o'er the heath we hied, our labours done,
Oft as the woodlark piped her farewell song,
With wistful eyes pursue the setting sun.
 

Akenside or Mason, Dyer or Armstrong, if they had lit upon any one of these delightful lines, would have made a whole poem in which to set it, and have been well content.

Perhaps his own words best describe the intrinsic characteristics of his writings: "Thoughts that breathe and words that burn." Gray's thoughts, the elegiac poet's thoughts, are common property, after all; every one has felt them, or something like them; the poet has got, so to speak, to make a formula which shall cover all the vague, blind variations of which every one is conscious. When he has thus made thought live, expression comes next, and here Gray surpasses almost every English poet. The words literally eat their way into memory and imagination; the epithets seize upon the nouns and crown them. Take such a stanza as the one to which Dr. Johnson gave a grudging admiration:

 
For who to dumb forgetfulness a prey,
This pleasing anxious being e'er resigned,
Left the warm precincts of the cheerful day,
Nor cast one longing lingering look behind?
 

Try the effect of substitution or suppression on a stanza like that! Nothing can be spared; the gap if created could not be filled. A good instance of this is in a little posthumous poem of Gray's, written on a sheet of paper from which the lower right-hand corner has been unfortunately torn, thus depriving the last three lines of the last stanza of their last words. Both Mason and Mitford tried their hands at restoring the text. Mason's is the best, but they are both hopelessly far away. The lines run thus, Mitford's emendations being given above Mason's.

 
Enough to me if to some feeling breast
convey,
My lines a secret sympathy impart,
is exprest
And as the pleasing influence flows confest
dies away.
A sigh of soft reflection heaves the heart.
 

The only thing of which we feel certain is that neither is near the truth.

It is not only in Gray's poetry that this sure touch is visible. I do not know any more simple or yet more worthy epitaph than the one that he wrote for his mother. "In the same pious confidence, beside her friend and sister, sleep the remains of Dorothy Gray, widow, the careful tender mother of many children, one of whom alone had the misfortune to survive her." Given the circumstances and, so to speak, the sense, how many people could have produced such an ideal of tender dignity?