Between that event and the appearance of his poem, nothing remarkable occurred. The success of his work must have shed additional sweetness into a cup which was rich before. "His tastes," says one of his biographers, "were elegant and domestic. Books and flowers seem to have been the only rivals in his thoughts. His rambles were from his fireside to his garden; and, although the only record of his genius is of a gloomy character, it is evident that his habits and life contributed to render him cheerful and happy." At last that awful chasm, the terrors, grandeurs, and moral lessons of which he had so powerfully sung, opened its jaws to receive him, and the Grave crowned its laureate with its cold and earthy crown. He was seized with fever, caught probably in the exercise of his pastoral functions, and expired on the 4th of February 1746, at the early age of forty-seven, when his body and mind were both in full vigour, and when, speaking after the manner of men, yet greater works than "The Grave" were before him. He left his wife, who lived till 1774, and five children behind him. His body reposes in the church-yard of Athelstaneford, without a monument, and with nothing but the initials K.B. to mark the spot. The fact that he died comparatively so young, sufficiently accounts for the paucity of his poems. He had found a vein of rich and virgin gold; he had thrown out one mass of ore, and was, as it were, resting on his pickaxe ere recommencing his labour, when he was smitten down by a workman who never rests nor slumbers. Still let us thankfully accept what he has produced; the more as it is so distinctively original, so free from any serious alloy, and so impressively religious in its spirit and tone. This masterpiece of Blair's genius is not a great poem so much as it is a magnificent portion, fragment, or book of a great poem. The most, alike of its merits and its faults, spring from the fact, that it keeps close to its subject--it daguerreotypes its dreadful theme. Many have objected to its conclusion as lame and impotent, and would have wished a loftier swell of hopeful anticipation of the Resurrection at the close; but this, in fact, would have started the subject of another poem. Blair was writing of the power and triumphs of the tomb. He left it to others, or possibly to another poem by himself, to celebrate the victory over it, to be gained at the resurrection. Enough for his purpose to allude to it at the close, in such a way as to intimate his own belief in its reality. Surely he expects too much who requires the painter of "Night" to introduce "Morning" into the same picture.