It needs a peculiar lightness of hand to give grace to these colloquial numbers, and the author of Ionica is more at home in the dryad-haunted forest with Comatas. In combining classic sentiment with purely English landscape he is wonderfully happy.
There is not a jarring image or discordant syllable to break the glassy surface of this plaintive Dirge:
_Naiad, hid beneath the bank
By the willowy river-side,
Where Narcissus gently sank,
Where unmarried Echo died,
Unto thy serene repose
Waft the stricken Anterôs.
Where the tranquil swan is borne,
Imaged in a watery glass,
Where the sprays of fresh pink thorn
Stoop to catch the boats that pass,
Where the earliest orchis grows,
Bury thou fair Anterôs.
On a flickering wave we gaze,
Not upon his answering eyes:
Flower and bird we scarce can praise,
Having lost his sweet replies:
Cold and mute the river flows
With our tears for Anterôs_.
We know well where this place of burial is to be. Not in some glade of Attica or by Sicilian streams, but where a homelier river gushes through the swollen lock at Bray, or shaves the smooth pastoral meadows at Boveney, where Thames begins to draw a longer breath for his passage between Eton and Windsor.
The prevailing sentiment of these poems is a wistful clinging to this present life, a Pagan optimism which finds no fault with human existence save that it is so brief. It gains various expression in words that seem hot on a young man's lips, and warm on the same lips even when no longer young:
I'll borrow life, and not grow old;
And nightingales and trees
Shall keep me, though the veins be cold,
As young as Sophocles.
And again, in poignant notes:
You promise heavens free from strife,
Pure truth, and perfect change of will;
But sweet, sweet is this human life,
So sweet, I fain would breathe it still;
Your chilly stars I can forego,
This warm, kind world is all I know.