There is something too rough and hard, too faint and formless, in any critical language yet devised, to pay tribute with the proper grace and sufficiency to the best works of the lyrical art. One can say, indeed, that some of these earliest songs of Blake's have the scent and sound of Elizabethan times upon them; that the song of forsaken love—"My silks and fine array"—is sweet enough to recall the lyrics of Beaumont and Fletcher, and strong enough to hold its own even beside such as that one of Aspatia—"Lay a garland on my hearse"—which was cut (so to speak) out of the same yew; that Webster might have signed the "Mad Song," which falls short only (as indeed do all other things of the sort) of the two great Dirges in that poet's two chief plays; that certain verses among those headed "To Spring," and "To the Evening Star," are worthy even of Tennyson for tender supremacy of style and noble purity of perfection; but when we have to drop comparison and cease looking back or forward for verses to match with these, we shall hardly find words to suit our sense of their beauty. We speak of the best among them only; for, small as the pamphlet is (seventy pages long, with title-page and prefatory leaf), it contains a good deal of chaff and bran besides the pure grain and sifted honeymeal. But these best things are as wonderful as any work of Blake's. They have a fragrance of sound, a melody of colour, in a time when the best verses produced had merely the arid perfume of powder, the twang of dry wood and adjusted strings; when here the painting was laid on in patches, and there the music meted out by precedent; colour and sound never mixed together into the perfect scheme of poetry. The texture of these songs
