un within, to press on toward its perfecting this all-possible sorrow, peril, and fear. "The Lotos-eaters" are no mere legendary myth: they shadow forth what the lower instincts of our humanity are ever urging us all to seek--ease and release from the ceaseless struggle against wrong, the ceaseless straining on toward right. "In Memoriam" is the record of love "making perfect through suffering:" struggling on through the valley of the shadow of death toward the far-off, faith-seen light "behind the veil." "The Vision of Sin" portrays to us humanity choosing enjoyment as its only aim; and of necessity sinking into degradation so profound, that even the large heart and clear eye of the poet can but breathe out in sad bewilderment, "Is there any hope?"--can but dimly see, far off over the darkness, "God make Himself an awful rose of dawn." In one of the most profound of all His creations--"The Palace of Art"--we have presented to us the soul surrounding itself with everything fair and glad, and in itself pure,
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