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 ten lines respectively, are a pair of such flawless jewels as lie now in no living poet's casket. Among the twenty-eight poems of the second book, if I venture to name with special regard the second and the fourth, two songs uniting the subtle tenderness of Shelley's with the frank simplicity of Shakespeare's; the large and living landscape in a letter dated from Tréport; the tenth and the thirteenth poems, two of the most perfect love-songs in the world, written (if the phrase be permissible) in a key of serene rapture; the 'morning's note,' with its vision of the sublime sweetness of life transfigured in a dream; Twilight, with its opening touches of magical and mystic beauty; above all, the mournful and tender magnificence of the closing poem, with a pathetic significance in the double date appended to the text: I am ready to confess that it is perhaps presumptuous to express a preference even for these over the others. Yet perhaps it may be permissible to select for transcription two of the sweetest and shortest among them.

Mes vers fuiraient, doux et frêles, Vers votre jardin si beau, Si mes vers avaient des ailes, Des ailes comme l'oiseau.

Ils voleraient, étincelles, Vers votre foyer qui rit, Si mes vers avaient des ailes, Des ailes comme l'esprit.

Près de vous, purs et fidèles, Ils accourraient nuit et jour, Si mes vers avaient des ailes, Des ailes comme l'amour.

Nothing of Shelley's exceeds this for limpid perfection of