*16* `Intimations of Immortality', ll. 202-203.
*17* `The Symphony', l. 3.
*18* `The Symphony', ll. 13-14.
*19* `Clover', l. 57.
*20* `Individuality', l. 1.
*21* `Sunrise', l. 42.
*22* `Corn', ll. 4-9. Compare `The Symphony', ll. 183-190.
*23* Hayne's `In the Gray of Evening': Autumn, ll. 37-46,
in `Poems' (Boston, 1882), p. 250.
*24* `The Marshes of Glynn', ll. 61-64, 75-78.
*25* `Sunrise', ll. 39-53.
*26* See his `Modern Painters', vol. v., part vi., chapter iv.,
and Scudder's note to the same in her `Introduction to Ruskin'
(Chicago, 1892), p. 249.
--

To take up his next theme, Lanier, like every true Teuton,
from Tacitus to the present, saw "something of the divine" in woman.
It was this feeling that led him so severely to condemn a vice that is said
to be growing, the marriage for convenience. I quote from `The Symphony',
and the "melting Clarionet" is speaking:

"So hath Trade withered up Love's sinewy prime,
Men love not women as in olden time.
Ah, not in these cold merchantable days
Deem men their life an opal gray, where plays
The one red sweet of gracious ladies'-praise.
Now, comes a suitor with sharp prying eye --
Says, `Here, you lady, if you'll sell, I'll buy:
Come, heart for heart -- a trade? What! weeping? why?'