THE EMBALMING OF A DAY.

Tuesday: September 11: 1877. To Louise.

A Day hath Lived! So let him fall asleep.
A Day is Dead—Days are not born again.
Only his Spirit shall for Us remain
Who found Him dear: His Hours in Balm to steep
Of all sweet Thoughts that may in Freshness keep
The beauty of a Day forever slain—
Of Wishes, for the bitter Herbs of Pain:
Of Looks that meet and smile, though Hearts may weep.
So shall our Night to come not wholly prove
An Egypt's Feast, where bids the Silent Guest
"In Joy remember Death."—"Remember Love
In Death," thy dead Day breathes from Breast to Breast.
Embalm Him thus, Heart's Love, that he may lie
Untombed and unforgotten, though he die.

The succeeding winter Mrs. Moulton passed in Paris. Here as in London she met many of the most interesting people of the day. With Stéphane Mallarmé especially she formed a close friendship, and through him she came to know the chief men of the group called at that time the "Décadents" of which he was the leader. Mallarmé was at this time professor of English in a French college, and his use of that language afforded Mrs. Moulton some amusement. "He always addressed me in the third person," she related, "and he made three syllables of 'themselves.' He spoke of useless things as 'unuseful.' He was, however, a great comfort and pleasure to me, and I saw a great deal of him and of his wife that winter. I used to dine with them at their famous Tuesdays, and meet the adoring throng that came in after dinner. Often he and Madame Mallarmé would saunter with me about the streets of Paris. It was then that I first made acquaintance with the French dolls,—those wonderful creations which can bow and courtesy and speak, and are so much better than humans that they always do the thing they should. Whenever we came to a window where one of these lovely creatures awaited us, I used to insist upon stopping to make her dollship's acquaintance, until I fear the Mallarmés really believed that these dolls were the most alluring things in life to me. But the winter,—crowded for me with the deepest interests and delights in meeting the noted men of letters and many of the greatest artists, and of studying that new movement in art, Impressionism, which was destined to be so revolutionary in its influence,—at last this wonderful winter came to an end, and I was about to cross the Channel once more. Full of kindly regrets came Monsieur and Madame Mallarmé to pay me a parting call. 'We have wishéd,' began the poet, mustering his best English in compliment to the occasion, 'Madame and I have wishéd to make to Madame Moulton a souvenir for the good-bye, and we have thought much, we have consideréd the preference beautiful of Madame, so refinéd; and we do reflect that as Madame is pleaséd to so graciously the dolls of Paris like, we have wishéd to a doll present her. Will Madame do us the pleasure great to come out and choose with us a doll, très jolie, that may have the pleasure to please her?'"

It would be a pleasure to record that Mrs. Moulton accepted the gift. The doll presented by the leader of the Symbolists would have been not only historic, but it might have been regarded as signifying in the language of symbolism things unutterable; but she could only say: "Oh, no; please. I should be laughed at. Please let it be something else." And the guests retired pensive, to return next day with a handsome Japanese cabinet as their offering. "And I have pined ever since," Mrs. Moulton added smilingly, when she told the story, "for the Mallarmé doll that might have been mine."

In 1877 the Macmillans brought out Mrs. Moulton's first volume of poems under the title "Swallow Flights," the name being taken from Tennyson's well known lines:

Short swallow-flights of song, that dip
Their wings in tears, and skim away.

The American edition, which followed soon after from the house of Roberts Brothers, was entitled simply "Poems." The success of the book was a surprise to the author. Professor William Minto wrote in the Examiner:

"We do not, indeed, know where to find, among the works of English poetesses, the same self-controlled fulness of expression with the same depth and tenderness of simple feeling.... 'One Dread' might have been penned by Sir Philip Sidney."

The Athenæum, always chary of overpraise, declared: