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[291] upon dark and all but unspeakable subjects, the rich outcome of “thoughts that wander through eternity,” which increases every time we take up that wonderful little book, we confess we were surprised at the kind and the amount of true poetic vis in these poems, from the same fine and strong hand. There is a personality and immediateness, a sort of sacredness and privacy, as if they were overheard rather than read, which gives to these remarkable productions a charm and a flavor all their own. With no effort, no consciousness of any end but that of uttering the inmost thoughts and desires of the heart, they flow out as clear, as living, as gladdening as the wayside well, coming from out the darkness of the central depths, filtered into purity by time and travel. The waters are copious, sometimes to overflowing; but they are always limpid and unforced, singing their own quiet tune, not saddening, though sometimes sad, and their darkness not that of obscurity, but of depth, like that of the deep sea.

This is not a book to criticise or speak about, and we give no extracts from the longer, and in this case, we think, the better poems. In reading this Cardiphonia set to music, we have been often reminded, not only of Herbert and Vaughan, but of Keble,—a likeness of the spirit, not of the letter; for if there is any one poet who has given a bent to her mind, it is Wordsworth,—the greatest of all our century's poets, both in himself and in his power of making poets.

In the belief that whoever peruses the following pages will be sufficiently interested in their author

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