side the bitter light of ice or steel falls grey in cruel refraction. Into the other four designs we will not enter; some indeed are too savagely reckless in their ugly and barren violation of form or law, to be redeemed by even an intenser apprehension of symbol and sense; and one at least, though with noble suggestions dropped about it, is but half sketched in. In that of the valley of serpents there is however a splendid excess of horror and prodigal agony; the ravenous delight of the closing and laughing mouths, the folded tension of every scale and ring, the horrible head caught and crushed with the last shriek between its teeth and the last strain upon its eyelids, in the serrated jaws of the erect serpent—all have the brand of Blake upon them.
These works were the last he was to achieve; out of the whole Dantesque series, seven designs alone have ever won their way into such notice as engraving could earn for them. The latest chapters of Blake's life are perhaps also the noblest. His poverty, if that word implies anything of a destitute or sordid way of living, seems to have grown and swollen somewhat beyond its actual size in the dim form of report. Stories have come to hand of late, which, being seemingly accurate in the main, though not as yet duly fixed in detail or date, remove any such ground of fear. They do better; they bring proof once again of the noble charity, the tender exaltation of mind, the swift bounty of hand, which would have made memorable a man meaner in talent. Once, it is said, he lent £40 to some friend in distress, which friend's wife, having laid out most of her windfall in dress, thought Mrs. Blake might like to see that by way of change for her husband's money.
