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 serious diffidence, venture once more to indicate by selection such poems as seem to me most especially notable among the greatest even of these. In the first book, besides the three already mentioned, I take for examples the solemn utterance of indignant mourning addressed to the murdered dead of the fourth of December; the ringing song in praise of art which ends in a note of noble menace; the scornful song that follows it, with a burden so majestic in its variations; the fearful and faithful 'map of Europe' in 1852, with its closing word of witness for prophetic hope and faith; and the simple perfection of pathos in the song of the little forsaken birds and lambs and children. In the second book, the appeal 'To the People,' with a threefold cry for burden, calling on the buried Lazarus to rise again in words that seem to reverberate from stanza to stanza like peal upon peal of living thunder, prolonged in steadfast cadence from height to height across the hollows of a range of mountains, is one of the most wonderful symphonies of tragic and triumphant verse that ever shook the hearts of its hearers with rapture of rage and pity. The first and the two last stanzas seem to me absolutely unsurpassed and unsurpassable for pathetic majesty of music.

Partout pleurs, sanglots, cris funèbres. Pourquoi dors-tu dans les ténèbres? Je ne veux pas que tu sois mort. Pourquoi dors-tu dans les ténèbres? Ce n'est pas l'instant où l'on dort. La pâle Liberté gît sanglante à ta porte. Tu le sais, toi mort, elle est morte. Voici le chacal sur ton seuil, Voici les rats et les belettes, Pourquoi t'es-tu laissé lier de bandelettes?