Unhappily, too, Thompson's verse is certainly fatiguing to read, and one of the reasons why it is so fatiguing is that the thought that is in it does not progress; it remains stationary. About the fragile life which cries somewhere in its center he builds up walls of many colored bricks, immuring his idea, hiding it, stifling it. How are we to read an ode of many pages in which there is no development, not even movement? Stanza is heaped upon stanza, page is piled upon page, and we end where we began. The writer has said endless things about something but never the thing itself. Poetry consists in saying the thing itself. But this is not the only reason why it is fatiguing to read Thompson's verse. To read it is too much like jolting in a springless cart over a plowed field, about noontide, on a hot summer day. His lines, of which this is typical,-- Pulp the globed weight of juiced Iberia's grape, are so packed with words that each line detains the reader. Not merely does Thompson prefer the line to the stanza or the paragraph, he prefers the word to the line. He has failed to remember that while two and two make four, four are not necessarily better than two--that because red is brighter than gray, red is not necessarily the better color to use whenever one wants to use a color. He hears the brass in the orchestra sounding out loudly over the strings and he therefore suppresses the strings. He has a bold and prolific fancy, and he pampers his fancy; yet prodigality is not abundance, nor profusion taste. He is without reticence, which he looks upon as stint or as penury. Having invited his guests to his feast, he loads their plates with more than they can eat, forcing it upon them under the impression that to do otherwise is to be lacking in hospitality. Yet, after all, the feast is there--Trimalchio's if you will, but certainly not a Barmecide's. Thompson has a remarkable talent, he has a singular mastery of verse, as the success of his books is not alone in proving. Never has the seventeenth-century phrasing been so exactly repeated as in some of his poems. Never have Patmore's odes been more scrupulously rewritten, cadence for cadence; Thompson's fancy is untiring, if sometimes it tires the reader; he has, not exactly at command, but not beyond reach, an eager imagination. No one can cause a more vaguely ardent feeling in the sympathetic reader, a feeling made up of admiration and of astonishment in perhaps equal portions. There are times when the fire in him bums clear through its enveloping veils of smoke, and he writes passages of real splendor. Why then does he for the most part wrap himself so willingly in the smoke? II