The rainbow's glory is shed.
When the lute is broken,
Sweet tones are remembered not;
When the lips have spoken,
Loved accents are soon forgot."

The very rapture of the skylark opens, as he listens, the wound
at his heart:

"We look before and after,
And pine for what is not:
Our sincerest laughter
With some pain is fraught
Our sweetest songs are those that tell of saddest thought."

Is the assertion contained in this last line universally true?
Perhaps. At any rate it is true of Shelley. His saddest songs
are the sweetest, and the reason is that in them, rather than
in those verses where he merely utters ecstatic delight, or
calm pleasure, or bitter indignation, he conveys ineffable
suggestions beyond what the bare words express.

It remains to point out that there is one means of conveying
such suggestions which was outside the scope of his genius.
One of the methods which poetry most often uses to suggest the
ineffable is by the artful choice and arrangement of words. A
word, simply by being cunningly placed and given a certain
colour, can, in the hands of a good craftsman, open up
indescribable vistas. But Keats, when, in reply to a letter of
criticism, he wrote to him, "You might curb your magnanimity,