"Light-winged and bright-eyed miracle of the wood! If ever thou didst soothe with melody One of that little clan, that brotherhood Which loved the morning-star of Tuscany More than the perfect sun of Raphael And is immortal, sing to me! for I too love thee well." Sir Piercie Shafton might choose such a method of referring to the Pre-Raphaelite Brotherhood. Indeed, so far does Wilde carry his ingenuity that we are reminded of the defects of that school of verse that Johnson called the metaphysical, whose virtues are too generally forgotten. He hears the wind in the trees as Palaestrina playing the organ in Santa Maria on Easter Day. With half an echo of Browning he describes a pike as "some mitred old bishop _in partibus_," and, with a true seventeenth-century conceit, speaks of the early rose as "that sweet repentance of the thorny briar." This ready-made or artificial poetry lacked, however, the firm intellectual substructure that could have infused into ornament and elaboration the vitalizing breath of unity. Wilde was uncertain of himself, and, in each one of the longer poems, rambled on, gathering flowers that would have seemed better worth having if he had not had so many of them. Doubtful of his aim in individual poems, he was doubtful of his inclinations as a poet. Nothing could more clearly illustrate this long wavering of his mind than a list of the poets whom he admired sufficiently to imitate. I have mentioned Morris, Swinburne, Arnold, and Rossetti; but these are not enough. In swift caprice he rifled a score of orchards. He very honestly confesses in 'Amor Intellectualis' that he had often "trod the vales of Castaly," sailed the sea "which the nine Muses hold in empery," and never turned home unladen. "Of which despoiled treasures these remain, Sordello's passion, and the honeyed line Of young Endymion, lordly Tamburlaine Driving his pampered jades, and more than these The seven-fold vision of the Florentine, And grave-browed Milton's solemn harmonies." Milton, Dante, Marlowe, Keats, and Browning, with those I have already named, and others, make up a goodly list of sufferers by this lighthearted corsair's piracies. He built with their help a brilliant coloured book, full of ingenuity, a boy's criticism of the objects of his admiration, almost a rhymed dictionary of mythology, whose incongruity is made apparent by those poems in which, leaving his classics passionately aside, he went, like a scholar gipsy, to seek a new accomplishment in the simplicity of folk-song.