in group alongside the lines; and
the more it is looked at, the more interesting it will seem. But there
are further niceties. In lines two and four, the current S is most
delicately varied with Z. In line three, the current flat A is twice
varied with the open A, already suggested in line two, and both times
("where" and "sacred") in conjunction with the current R. In the same
line F and V (a harmony in themselves, even when shorn of their comrade
P) are admirably contrasted. And in line four there is a marked
subsidiary M, which again was announced in line two. I stop from
weariness, for more might yet be said.

My next example was recently quoted from Shakespeare as an example of the
poet's colour sense. Now, I do not think literature has anything to do
with colour, or poets anyway the better of such a sense; and I instantly
attacked this passage, since "purple" was the word that had so pleased
the writer of the article, to see if there might not be some literary
reason for its use. It will be seen that I succeeded amply; and I am
bound to say I think the passage exceptional in Shakespeare--exceptional,
indeed, in literature; but it was not I who chose it.

"The BaRge she sat iN, like a BURNished throNe
BURNt ON the water: the POOP was BeateN gold,
PURPle the sails and so PUR*Fumed that *per
The wiNds were lovesick with them."[23]

It may be asked why I have put the F of perfumed in capitals; and I
reply, because this change from P to F is the completion of that from B
to P, already so adroitly carried out. Indeed, the whole passage is a
monument of curious ingenuity; and it seems scarce worth while to
indicate the subsidiary S, L and W. In the same article, a second
passage from Shakespeare was quoted, once again as an example of his
colour sense:

"A mole cinque-spotted like the crimson drops
I' the bottom of a cowslip."[24]

It is very curious, very artificial, and not worth while to analyse at
length: I leave it to the reader. But before I turn my back on
Shakespeare, I should like to quote a passage, for my own pleasure, and
for a very model of every technical art:--

"But in the wind and tempest of her frown, W. P. V. F. (st) (OW)[25]
Distinction with a loud and powerful fan, W. P. F. (st) (OW) L
Puffing at all, winnowes the light away; W. P. F. L
And what hath mass and matter by itself W. F. L. M. A.
Lies rich in virtue and unmingled."[26] V. L. M.