a stage of absorption in the beauty and complexity of the natural
world, during which the poet, conscious of his own high,
incommunicable gift, by which he sees into the life of things, is
conscious of an aimless fever and restlessness which is forever
turning delight into weariness."[2]

[Footnote 1: Blanco Garcia, op. cit., p. 86.]

[Footnote 2: Mrs. Ward, _loc. cit._, p. 316.]

Some of these poems are extremely beautiful, particularly the tenth.
They form a sort of prelude to the love-story itself, which begins in
our selections with the thirteenth. Not finding the realization of his
ideal in art, the poet turns to love. This passion reaches its
culminating point in the twenty-ninth selection, and with the
thirtieth misunderstanding, dissatisfaction, and sadness begin.
Despair assails him, interrupted with occasional notes of melancholy
resignation, such as are so exquisitely expressed in the fifty-third
poem, the best-known of all the poet's verse. With this poem the
love-story proper comes to a close, and "the melancholy, no doubt more
than half imaginary and poetical, of his love poems seems to broaden
out into a deeper sadness embracing life as a whole, and in which
disappointed passion is but one of the many elements."[1] "And,
lastly, regret and passion are alike hushed in the presence of that
voiceless love which shines on the face of the dead and before the
eternal and tranquil slumber of the grave."[2]

[Footnote 1: Mrs. Ward, _loc. cit._, p.319.]

[Footnote 2: _Ibid._, p. 316.]