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 covers the rest. He chose to figure us younger
men, in touching upon the literary circumstance of the past and present,
as representative of modern feeling and thinking, and himself as no
longer contemporary. We knew he did this to be contradicted, and we