Page:William Blake, a critical essay (Swinburne).djvu/160

141 points of faith and feeling are incessantly thrown out in new fugitive forms; such as the last (rejected) stanza of "Cupid," which, though the song may well dispense with it and even gain by such a loss in the qualities of shape or sound, must be saved if only as a specimen of the persistent way in which Blake assumed the Greek and Roman habits of mind or art to be typical of "war" and restraint; an iron frame of mind good to fight in and not good for love to grow under.

More frequent and more delightful is the recurrence of such loving views of love as that taken in the last lines of "William Bond;" a poem full of strange and soft hints, of mist that allures and music that lulls; typical in the