short poems are transcribed in a slightly more coherent form. Among these and the other lyrics, strewn as from a liberal but too lax hand about the chaotic leaves of his note-book, are many of Blake's best things. Some of the slight and scrawled designs, as noted in the Catalogue (pp. 242, 243), have also a merit and a power of their own; but it is with the poet's lyrical work that we have to do at this point of our present notes; and here we may most fitly wind up what remains to be said on that matter.
The inexhaustible equable gift of Blake for the writing of short sweet songs is perceptible at every turn we take in his labyrinth of lovely words, of strong and soft designs. Considering how wide is the range of date from the earliest of these songs to the latest, they seem more excellently remote than ever from the day's verse and the day's habit. They reach in point of time from the season of Mason to the season of Moore; and never in any interval of work by any chance influence do these poems at their weakest lapse into likeness or tolerance of the accepted models. From the era of plaster to the era of pinchbeck, Blake kept straight ahead of the times. To the pseudo-Hellenic casts of the one school or the pseudo-Hibernian tunes of the other he was admirably deaf and blind. While a grazing public straightened its bovine neck and steadied its flickering eyelids to look up between-
such-like mixed poem) may be taken as the absolute and final test of a poet's lyrical nature, he never came near this mark. François Villon and Aphra Behn, the two most inexpressibly non-respectable of male or female Bohemians and poets, were alike in this as well; that the supreme gift of each, in a time sufficiently barren of lyrical merit, was the gift of writing admirable songs; and this, after all, has perhaps borne better fruit for us than any gift of moral excellence.
