This morning is the morning of the day, When I and Eustace from the city went To see the Gardener’s Daughter; I and he, Brothers in Art; a friendship so complete Portion’d in halves between us, that we grew The fable of the city where we dwelt. My Eustace might have sat for Hercules; So muscular he spread, so broad of breast. He, by some law that holds in love, and draws The greater to the lesser, long desired A certain miracle of symmetry, A miniature of loveliness, all grace Summ’d up and closed in little;—Juliet, she[1] So light of foot, so light of spirit—oh, she To me myself, for some three careless moons, The summer pilot of an empty heart Unto the shores of nothing! Know you not Such touches are but embassies of love, To tamper with the feelings, ere he found Empire for life? but Eustace painted her, And said to me, she sitting with us then, “When will _you_ paint like this?” and I replied, (My words were half in earnest, half in jest), “’Tis not your work, but Love’s. Love, unperceived, A more ideal Artist he than all, Came, drew your pencil from you, made those eyes Darker than darkest pansies, and that hair More black than ashbuds in the front of March.” And Juliet answer’d laughing, “Go and see The Gardener’s daughter: trust me, after that, You scarce can fail to match his masterpiece”. And up we rose, and on the spur we went. Not wholly in the busy world, nor quite Beyond it, blooms the garden that I love. News from the humming city comes to it In sound of funeral or of marriage bells; And, sitting muffled in dark leaves, you hear The windy clanging of the minster clock; Although between it and the garden lies A league of grass, wash’d by a slow broad stream, That, stirr’d with languid pulses of the oar, Waves all its lazy lilies, and creeps on, Barge-laden, to three arches of a bridge Crown’d with the minster-towers.