46. PATIENCE. As 45. l. 2, _Patience is_. The initial capital is mine, and the comma after _ivy_ in line 6. No title. 47 _My own heart_. As 45.--1. 6, I have added the comma after _comfortless_; that word has the same grammatical value as _dark_ in the following line. 'I cast for comfort, (which) I can no more find in my comfortless (world) than a blind man in his dark world. . . .'--l. 10, MS. accents _let_.-- 13 and 14, the text here from a good correction separately written (as far as _mountains_) on the top margin of No. 56. There are therefore two writings of _betweenpie_, a strange word, in which _pie_ apparently makes a compound verb with _between_, meaning 'as the sky seen between dark mountains is brightly dappled', the grammar such as _intervariegates_ would make. This word might have delighted William Barnes, if the verb 'to pie' existed. It seems not to exist, and to be forbidden by homophonic absurdities. 48. 'HERACLITEAN FIRE. (Sprung rhythm, with many out- rides and hurried feet: sonnet with two [_sic_] codas.) July 26, 1888. Co. Dublin. The last sonnet [this] pro- visional only.' Autograph in A.--I have found no other copy nor trace of draft. The title is from A.--line 6, con- struction obscure, _rutpeel_ may be a compound word, MS. uncertain. 8, ? omitted relative pronoun. If so = 'the manmarks that treadmire toil foot-fretted in it'. MS. does not hyphen nor quite join up _foot_ with _fretted_.-- 12. MS. has no caesural mark.--On Aug. 18, '88, he wrote: 'I will now go to bed, the more so as I am going to preach tomorrow and put plainly to a Highland congrega- tion of MacDonalds, Mackintoshes, Mackillops, and the rest what I am putting not at all so plainly to the rest of the world, or rather to you and Canon Dixon, in a sonnet in sprung rhythm with two codas.' And again on Sept. 25, '88: 'Lately I sent you a sonnet on the Heraclitean Fire, in which a great deal of early Greek philosophical thought was distilled; but the liquor of the distillation did not taste very greek, did it? The effect of studying masterpieces is to make me admire and do otherwise. So it must be on every original artist to some degree, on me to a marked degree. Perhaps then more reading would only _refine my singularity_, which is not what you want.' Note, that the sonnet has three codas, not two.