THE children have come,—some thirty of them, pretty as English children generally are, happy in the joy of the summer sunshine, and the flower lawns, and the feast under cover of an awning suspended between chestnut-trees, and carpeted with sward.

No doubt Kenelm held his own at the banquet, and did his best to increase the general gayety, for whenever he spoke the children listened eagerly, and when he had done they laughed mirthfully.

“The fair face I promised you,” whispered Mrs. Braefield, “is not here yet. I have a little note from the young lady to say that Mrs. Cameron does not feel very well this morning, but hopes to recover sufficiently to come later in the afternoon.”

“And pray who is Mrs. Cameron?”

“Ah! I forgot that you are a stranger to the place. Mrs. Cameron is the aunt with whom Lily resides. Is it not a pretty name, Lily?”

“Very! emblematic of a spinster that does not spin, with a white head and a thin stalk.”

“Then the name belies my Lily, as you will see.”

The children now finished their feast, and betook themselves to dancing in an alley smoothed for a croquet-ground, and to the sound of a violin played by the old grandfather of one of the party. While Mrs. Braefield was busying herself with forming the dance, Kenelm seized the occasion to escape from a young nymph of the age of twelve who had sat next him at the banquet, and taken so great a fancy to him that he began to fear she would vow never to forsake his side, and stole away undetected.

There are times when the mirth of others only saddens us, especially the mirth of children with high spirits, that jar on our own quiet mood. Gliding through a dense shrubbery, in which, though the lilacs were faded, the laburnum still retained here and there the waning gold of its clusters, Kenelm came into a recess which bounded his steps and invited him to repose. It was a circle, so formed artificially by slight trellises, to which clung parasite roses heavy with leaves and flowers. In the midst played a tiny fountain with a silvery murmuring sound; at the background, dominating the place, rose the crests of stately trees, on which the sunlight shimmered, but which rampired out all horizon beyond. Even as in life do the great dominant passions—love, ambition, desire of power or gold or fame or knowledge—form the proud background to the brief-lived flowerets of our youth, lift our eyes beyond the smile of their bloom, catch the glint of a loftier sunbeam, and yet, and yet, exclude our sight from the lengths and the widths of the space which extends behind and beyond them.

Kenelm threw himself on the turf beside the fountain. From afar came the whoop and the laugh of the children in their sports or their dance. At the distance their joy did not sadden him,—he marvelled why; and thus, in musing revery, thought to explain the why to himself.

“The poet,” so ran his lazy thinking, “has told us that ‘distance lends enchantment to the view,’ and thus compares to the charm of distance the illusion of hope. But the poet narrows the scope of his own illustration. Distance lends enchantment to the ear as well as to the sight; nor to these bodily senses alone. Memory no less than hope owes its charm to ‘the far away.’

“I cannot imagine myself again a child when I am in the midst of young noisy children. But as their noise reaches me here, subdued and mellowed, and knowing, thank Heaven, that the urchins are not within reach of me, I could readily dream myself back into childhood, and into sympathy with the lost playfields of school.

“So surely it must be with grief: how different the terrible agony for a beloved one just gone from earth, to the soft regret for one who disappeared into Heaven years ago! So with the art of poetry: how imperatively, when it deals with the great emotions of tragedy, it must remove the actors from us, in proportion as the emotions are to elevate, and the tragedy is to please us by the tears it draws! Imagine our shock if a poet were to place on the stage some wise gentleman with whom we dined yesterday, and who was discovered to have killed his father and married his mother. But when Oedipus commits those unhappy mistakes nobody is shocked. Oxford in the nineteenth century is a long way off from Thebes three thousand or four thousand years ago.

“And,” continued Kenelm, plunging deeper into the maze of metaphysical criticism, “even where the poet deals with persons and things close upon our daily sight,—if he would give them poetic charm he must resort to a sort of moral or psychological distance; the nearer they are to us in external circumstance, the farther they must be in some internal peculiarities. Werter and Clarissa Harlowe are described as contemporaries of their artistic creation, and with the minutest details of apparent realism; yet they are at once removed from our daily lives by their idiosyncrasies and their fates. We know that while Werter and Clarissa are so near to us in much that we sympathize with them as friends and kinsfolk, they are yet as much remote from us in the poetic and idealized side of their natures as if they belonged to the age of Homer; and this it is that invests with charm the very pain which their fate inflicts on us. Thus, I suppose, it must be in love. If the love we feel is to have the glamour of poetry, it must be love for some one morally at a distance from our ordinary habitual selves; in short, differing from us in attributes which, however near we draw to the possessor, we can never approach, never blend, in attributes of our own; so that there is something in the loved one that always remains an ideal,—a mystery,—‘a sun-bright summit mingling with the sky’!”

Herewith the soliloquist’s musings glided vaguely into mere revery. He closed his eyes drowsily, not asleep, nor yet quite awake; as sometimes in bright summer days when we recline on the grass we do close our eyes, and yet dimly recognize a golden light bathing the drowsy lids; and athwart that light images come and go like dreams, though we know that we are not dreaming.