It would baffle the most meticulous investigation to restore the innumerable false starts, broken lines, and rejected readings which underlie the text of the Draft. There is no question here of Swinburne's creating or polishing anything in his mind, the whole work of composition proceeds on the paper itself, and what is very curious is the fact that nothing of any merit or technical beauty seems, so far as it is possible to decipher the cancelled verses, to be lost. As soon as ever the expression became adequate the line was left, and was never modified; as long as it was inadequate, it was pitilessly rejected, and the verse not passed till it satisfied the ear and imagination of the poet. What is interesting is that this work was carried out with the pen, and not, as was the practice in Swinburne's later years, with the mind; and nothing could be more opposed to the popular notion of Swinburne as the inspired improvisatore than all this evidence of intense laborious application to his creative task. In fact the more the original MSS. of Swinburne are examined, the more clearly is he revealed to us as an artist equally sedulous and sensitive, working by fits and starts, in gusts of overwhelming emotion, but always sufficiently master of himself to recognize, with finality, when the exact form of expression had been reached. Having recognized it, he did not, like Tennyson, Landor and other poets, fidget any further with it, but left it verbally permanent. On the other hand, the draft of _Anactoria_ proves, what we might have suspected, that if Swinburne completed his verbal text in his first movement of laboured inspiration, he made no effort then to build up his poem. It may be observed that _Dolores_ is a rosary of stanza-beads on an invisible string; in other words, that the string might be broken, the beads shaken together, and the stanzas arranged in an entirely new sequence, without any injury to the effect of the poem. In other cases, and these some of Swinburne's finest lyrics, the same want of progression is to be noted. But we have not been able to witness the process before, nor were we prepared to find it working in a poem which is so elegiacal as _Anactoria_. Yet the evidence of the First Draft is positive. It is now clear that Swinburne forged his brilliant Dryden-like couplets as though each one were a stanza, and practically treated them as bits of mosaic to be fitted, in cooler blood, into a scheme not present to his mind when his inspiration seized him.