Running through the piece--and more clearly perceived when the whole poem is read--is the thread of melancholy which is inseparably woven into all the poet's work of this kind. And it, too, was a gift of his fairy-godmother when he was born, light in texture as a gossamer and spun out of the softest silk. Melancholy is almost too big a word to fit the thing it is, for there is no gloom in it. It is like the silvery, transparent cloud of thoughtfulness which passes for a moment over a happy face; and it has something of the youthful trick of playing with the idea of sadness. Hence come the early studies of "Imogen" and "Ophelia," where the poet is so much in love with mournfulness that he revels in making perfect phrases about it. Can death haunt silence with a silver sound? Can death, that hushes all music to a close, Pluck one sweet wire scarce-audible that trembles, As if a little child, called Purity, Sang heedlessly on of his dear Imogen? But even when this verse approaches a degree nearer to the reality of pain it is still, as it were, a reflected emotion; and there is no poignance in it. It is a winning echo of sorrowfulness, caught by one who has the habit of turning back to listen and look. Thus the studies of old age which we sometimes find here are drawn in the true romantic manner, with a sunset halo about them, and lightly shadowed by wistfulness and faint regret. And the thought of death, when it is allowed to enter, comes as caressingly as sleep. The little poem called "All That's Past," where the poet is thinking of how far down the roots of all things go, is only one example of many where melancholy is toned to the faintest strain of pensive sweetness: Very old are the woods; And the buds that break Out of the briar's boughs, When March winds wake, So old with their beauty are-- Oh, no man knows Through what wild centuries Roves back the rose. ..... Very old are we men; Our dreams are tales Told in dim Eden By Eve's nightingales; We walk and whisper awhile, But, the day gone by, Silence and sleep like fields Of amaranth lie. So we might continue to cull passages which represent one aspect or another of the specific quality of Mr de la Mare's poetry. The choice is embarrassingly rich, for there is remarkable unity of tone and technical perfection here. But there is a danger in the process, especially with work of so fine a grain; and one feels bound to repeat the warning that it is impossible to dissect its ultimate essence in this way. We can only come back to our comparison, and recalling the magical music of poems like "Arabia," "Queen Djenira," or "Voices"--in which all the characteristics noted are so intimately blended that it is impossible to disengage them--reiterate the fact that they possess the same inexplicable charm as the romantic work of Coleridge.