early Songs of all nations. The most deceptively perfect wax-model is no substitute for the living flower. The form is, in these Songs, a transparent medium of the spiritual thought, not an opaque body. 'He has dared to venture,' writes Malkin, not irrelevantly, 'on the ancient simplicity, and feeling it in his own character and manners, has succeeded' better than those who have only seen it through a glass.
There is the same divine afflatus as in the Poetical Sketches, but fuller: a maturity of expression, despite surviving negligences, and of thought and motive. The 'Child Angel,' as we ventured to call the Poet in earlier years, no longer merely sportive and innocently wanton, wears a brow of thought; a glance of insight has passed into
'A sense sublime
Of something far more deeply interfused'
in Nature, a feeling of 'the burthen of the mystery of things'; though still possessed by widest sympathies with all that is simple and innocent, with echoing laughter, little lamb, a flower's blossom, with 'emmet wildered and forlorn.'
These poems have a unity and mutual relationship, the influence of which is much impaired if they be read otherwise than as a whole. They are given entire in the Second Volume, to which I refer my reader, if not of decisively unpoetic turn.
Who but Blake, with his pure heart, his simple exalted character, could have transfigured a commonplace meeting of Charity Children at St. Paul's, as he has done in the Holy Thursday? A picture at once tender and grand. The bold images, by a wise instinct resorted to at the close of the first and second stanzas and opening of the third, are in the highest degree imaginative; they are true as only Poetry can be.
How vocal is the poem Spring, despite imperfect rhymes. From addressing the child, the poet, by a transition not
