In _Geist's Grave_, the "loving heart," the "patient soul" of the
dog-friend are made to "read their homily to man"; and the theme of the
homily is still the same: the preciousness of the love which outlives
the grave. But nowhere perhaps is his doctrine about the true divinity
of love so exquisitely expressed as in _The Good Shepherd with the
Kid_--

_He saves the sheep, the goats He doth not save._
So rang Tertullian's sentence . . .
. . . . . But she sigh'd,
The infant Church! Of love she felt the tide
Stream on her from her Lord's yet recent grave.
And then she smiled; and in the Catacombs,
With eye suffused but heart inspirèd true,
On those walls subterranean, where she hid
Her head 'mid ignominy, death, and tombs,
She the Good Shepherd's hasty image drew--
And on His shoulders not a lamb, a kid.

So much, then, for his Criticism of Life, as applied in and through his
poems. It is not easy to estimate, even approximately, the effect
produced by a loved and gifted poet, who for thirty years taught an
audience, fit though few, that the main concerns of human life were
Truth, Work, and Love. Those "two noblest of things, Sweetness and
Light" (though heaven only knows what they meant to Swift), meant to him
Love and Truth; and to these he added the third great ideal,
Work--patient, persistent, undaunted effort for what a man genuinely
believes to be high and beneficent ends. Such a "Criticism of Life," we
must all admit, is not unworthy of one who seeks to teach his