Forcing and flooding the silvery stream, as it runs from the inland ;. That great power withdrawn; receding here and passive, Felt she in myriad springs, her sources far in the mountains, Taking and joining, right welcome, that delicate rill in the valley, As he was kissing her fingers, and knelt on the ground before her, Yielding backward she sank to her seat, and of what she was doing Ignorant, bewildered, in sweet multitudinous vague emotion, Stooping, knowing not what, put her lips to the hair on his forehead: And Philip, raising himself, gently, for the first time round her Passing his arms, close, close, enfolded her, close to his bosom. As they went home by the moon, Forgive me, Philip, she whispered; I have so many things to think of, all of a sudden; I who had never once thought a thing,-in my ignorant Highlands. PHILIP TO ADAM. These are fragments again without date addressed to Adam. Drawn by moon and sun from Labrador and Greenland, But as the light of day enters some populous city, Permeates far and pierces to the very cellars lying in Up at the windows, or down, letting in the air by the doorway ; Early clerk anon turning out to stroll, or it may be Meet his sweetheart-waiting behind the garden gate there; Merchant on his grass-plat haply bare-headed; and now by this time Little child bringing breakfast to 'father' that sits on the timber [From Songs in Absence.] COME BACK ! Come back, come back, behold with straining mast, And swelling sail, behold her steaming fast; With one new sun to see her voyage o'er, With morning light to touch her native shore. Come back, come back, while westward labouring by, See how the gale we fight with sweeps her back, Come back, come back. Come back, come back, across the flying foam, Come back, come back; and whither back or why? Come back, come back; and whither and for what? Unskilled to sunder, and too weak to cleave, Come back, come back. Come back, come back; yea back, indeed, do go Come back, come back. Come back, come back, more eager than the breeze, And lighter far than ocean's flying foam, Come back, come back! Back flies the foam; the hoisted flag streams back; The long smoke wavers on the homeward track, Back fly with winds things which the winds obey, The strong ship follows its appointed way. WHERE LIES THE LAND? Where lies the land to which the ship would go? And where the land she travels from? Away, On sunny noons upon the deck's smooth face, On stormy nights when wild north-westers rave, Exults to bear, and scorns to wish it past. Where lies the land to which the ship would go? And where the land she travels from? Away, [From Miscellaneous Poems.] SAY NOT THE STRUGGLE NOUGHT AVAILETH. Say not, the struggle nought availeth, The enemy faints not, nor faileth, And as things have been they remain. And not by eastern windows only, When daylight comes, comes in the light, In front, the sun climbs slow, how slowly, But westward, look, the land is bright. CHARLES KINGSLEY. [BORN at Holne Vicarage, Devonshire, in 1819, and educated, partly at Helston Grammar School, and partly at King's College, London, and at Magdalene College, Cambridge. He was Rector of Eversley in Hampshire; Professor of Modern History at his old university from 1860 to 1869; and Canon of Westminster in 1872. Chief among his thirty-five publications are The Saint's Tragedy (1848), Alton Locke and Yeast (1849), Hypatia (1853), The Heroes (1856), Andromeda (1858), The Water-Babies (1863) and ProseIdylls (1873). He died in 1875.] Charles Kingsley, author on the one hand of Cheap Clothes and Nasty, and of The Water-Babies on the other, was the type of a certain order of modern man: the man of whom much is expected, who is trained up to the fulfilment of many purposes, who is subject to many influences, open to many sorts of impressions, and possessed of many active holds upon life. He came of choice and generous stock; and from the first it was determined for him that he should do something and be somebody. It seems natural that he should have developed into one of the busiest men of his time. His, indeed, was a sane and active mind in a sane and active body, and he made noble use of the endowment. He died after a lifetime of such steady, earnest, and varied endeavour as is within the compass of but few. As a writer, he is seen to greatest advantage in his prose, which is clear, nervous, full of vivacity and significance, and often very powerful and expressive. His verse, however, has a great deal of merit, and may be read with some true pleasure. He had a capacity for poetry, as he had capacities for many things beside, and he cultivated it as he cultivated all the others. His sense of rhythm seems to have been imperfect. His ear was correct, and he often hit on a right and beautiful cadence; but his music grows monotonous, his rhythmical ideas are seldom well sustained or happily developed. His work abounds in charming phrases and in those verbal inspirations that catch the ear and linger long about the memory:—as witness the notes that are audible in the opening verses of The Sands of Dee, the 'pleasant Isle of Avès' of |