k the eye that questioned where I lay.

Observe, there is not a single false, or even overcharged, expression.
"Mound" of the sea wave is perfectly simple and true; "changing" is as
familiar as may be; "foam that passed away," strictly literal; and the
whole line descriptive of the reality with a degree of accuracy which
I know not any other verse, in the range of poetry, that altogether
equals. For most people have not a distinct idea of the clumsiness and
massiveness of a large wave. The word "wave" is used too generally of
ripples and breakers, and bendings in light drapery or grass: it does
not by itself convey a perfect image. But the word "mound" is heavy,
large, dark, definite; there is no mistaking the kind of wave meant,
nor missing the sight of it. Then the term "changing" has a peculiar
force also. Most people think of waves as rising and falling. But if
they look at the sea carefully, they will perceive that the waves do
not rise and fall. They change. Change both place and form, but they
do not fall; one wave goes on, and on, and still on; now lower, now
higher, now tossing its mane like a horse, now building itself
together like a wall, now shaking, now steady, but still the same
wave, till at last it seems struck by something, and changes, one
knows not how,--becomes another wave.

The close of the line insists on this image, and paints it still more
perfectly,--"foam that passed away." Not merely melting, disappearing,
but passing on, out of sight, on the career of the wave. Then, having
put the absolute ocean fact as far as he may before our eyes, the poet
leaves us to feel about it as we may, and to trace for ourselves the
opposite fact,--the image of the green mounds that do not change, and
the white and written stones that do not pass away; and thence to
follow out also the associated images of the calm life with the quiet
grave, and the despairing life with the fading foam--

Let no man move his bones.

As for Samaria, her king is cut off like the foam upon the water.[63]

But nothing of this is actually told or pointed out, and the
expressions, as they stand, are perfectly severe and accurate, utterly
uninfluenced by the firmly governed emotion of the writer. Even the
word "mock" is hardly an exception, as it may stand merely for
"deceive" or "defeat," without implying any impersonation of the
waves.

It may be well, perhaps, to give one or two more instances to show the
peculiar dignity