le with bluebells,
And two French copper coins ranged there with careful art,
To comfort his sad heart.
So, when that night I pray'd
To God, I wept and said:
Ah, when at last we lie with tranced breath,
Not vexing Thee in death,
And Thou rememberest of what toys
We made our joys,
How weakly understood
Thy great commanded good,
Then, fatherly not less
Than I whom Thou hast moulded from the clay,
Thou'lt leave Thy wrath and say,
'I will be sorry for their childishness.'"

Only we hope the number of those who can readily assign the poem to its
author is after all, considerable: for it would be an ill omen if "The
Angel in the House," "Faithful for Ever," the "Unknown Eros," and their
companion poems did not find a fairly large, as well as a choice public.
"The Unknown Eros, and other Odes," was published in 1877. Though it
contained the little poem we have just quoted, and a few others of the
most pellucid simplicity and the most homely sweetness, these were found
in the company of "odes" in which the theme was as high-strung as the
title, and a few in which the author's peculiarities were stretched to
the utmost. On the whole that volume could hardly be supposed to appeal
to any but a few. Several years ago, there was a very cheap edition of
"Tamerton Church Tower," and most of the other poems (including the
"Angel in the House"), and we should conjecture that it sold well--but
it is now out of print, we are told. We have now, published by Messrs.
George Bell & Sons, a selection from Mr. Patmore's poems, made by Mr.
Richard Garnett (himself a poet) and entitled _Florilegium Amantis_. It
makes 230 pages in a very handy little volume, and contains some of the
most exquisite things Mr. Patmore has printed; along with a few that are
new to us. We are not sure that we miss many of the very best (or
best-loved) pieces; but judging, as we are at the moment compelled to
do, from the earlier editions of the poems, we fancy there has been some
"cooking,"--the sort of thing which an affectionate reader who gets his
poet by heart always resents a little. The "Wedding Sermon," as we have
it here, looks like an extension of Dean Churchill's letter to Frederick
in "Faithful for Ever"--though we note some changes in the old familiar
lines. Some very charming touches are omitted in "The Rosy Bosom'd
Hours;" but we are not surprised, for we had them struck out once by an
editor! The first four lines, about