and sounds of a "land that is very far off"; because the verse remembers and retains a perfume and an echo of Grecian flutes and flowers,

Here, as in the "Scholar Gipsy," the beauty, the delicacy and affluence of colour, the fragrance and the freedom as of wide wings of winds in summer over meadow and moor, the freshness and expansion of the light and the lucid air, the spring and the stream as of flowing and welling water, enlarge and exalt the pleasure and power of the whole poem. Such English-coloured verse no poet has written since Shakespeare, who chooses his field-flowers and hedgerow blossoms with the same sure and loving hand, binds them in as simple and sweet an order. All others, from Milton downward to Shelley and onward from him, have gathered them singly or have mixed them with foreign buds and alien bloom. No poem in any language can be more perfect as a model of style, unsurpassable certainly, it may be unattainable. Any couplet, any line proves it. No countryman of ours since Keats died has made or has found words fall into such faultless folds and forms of harmonious line. He is the most efficient, the surest-footed poet of our time, the most to be relied on; what he does he is the safest to do well; more than any other he unites personality and perfection; others are personal and imperfect, perfect and impersonal; with them you must sometimes choose between inharmonious freedom and harmonious bond-