n his taking the word, or
turning it in illustration from himself upon universal matters. I spoke
among other things of some humble ruins on the road to Gloucester, which
gave the way-side a very aged look; the tumbled foundation-stones of poor
bits of houses, and "Ah," he said, "the cellar and the well?" He added,
to the company generally, "Do you know what I think are the two lines of
mine that go as deep as any others, in a certain direction?" and he began
to repeat stragglingly certain verses from one of his earlier poems,
until he came to the closing couplet. But I will give them in full,
because in going to look them up I have found them so lovely, and because
I can hear his voice again in every fondly accented syllable:

"Who sees unmoved, a ruin at his feet,
The lowliest home where human hearts have beat?
Its hearth-stone, shaded with the bistre stain,
A century's showery torrents wash in vain;
Its starving orchard where the thistle blows,
And mossy trunks still mark the broken rows;
Its chimney-loving poplar, oftenest seen
Next an old roof, or where a roof has been;
Its knot-grass, plantain,--all the social weeds,
Man's mute companions following where he leads;
Its dwarfed pale flowers, that show their straggling heads,
Sown by the wind from grass-choked garden-beds;
Its woodbine creeping where it used to climb;
Its roses breathing of the olden time;
All the poor shows the curious idler sees,
As life's thin shadows waste by slow degrees,
Till naught remains, the saddening tale to tell,
Save home's last wrecks--the CELLAR AND THE WELL!"

The poet's chanting voice rose with a triumphant swell in the climax, and
"There," he said, "isn't it so? The cellar and the well--they can't be
thrown down or burnt up; they are the human monuments that last longest
and defy decay." He rejoiced openly in the sympathy that recognized with
him the divination of a most pathetic, most signal fact, and he repeated
the last couplet again at our entreaty, glad to be entreated for it. I do
not know whether all will agree with him concerning the relative
importance of the lines, but I think all must feel the exquisite beauty
of the picture to which they give the final touch.

He said a thousand witty and brilliant things that day, but his pleasure
in this gave me the most pleasure, and I recall the passage distinctly
out of the dimness that c