musical people than words like Shelley's, Keats's, Shakespeare's,
Fletcher's, Lovelace's, or Carew's. The natural explanation is not
flattering to musical people: at all events, the singing world
doted on Bayly.


"She never blamed him--never,
But received him when he came
With a welcome sort of shiver,
And she tried to look the same.

"But vainly she dissembled,
For whene'er she tried to smile,
A tear unbidden trembled
In her blue eye all the while."


This was pleasant for "him"; but the point is that these are lines
to an Indian air. Shelley, also, about the same time, wrote Lines
to an Indian air; but we may "swear, and save our oath," that the
singers preferred Bayly's. Tennyson and Coleridge could never equal
the popularity of what follows. I shall ask the persevering reader
to tell me where Bayly ends, and where parody begins:


"When the eye of beauty closes,
When the weary are at rest,
When the shade the sunset throws is
But a vapour in the west;
When the moonlight tips the billow