in the elaborate Pre-Raphaelite method as with a broad synthetic touch: as in

"One old populous green wall
Tenanted by the ever-busy flies,
Grey crickets and shy lizards and quick spiders,
Each family of the silver-threaded moss --
Which, look through near, this way, and it appears
A stubble-field or a cane-brake, a marsh
Of bulrush whitening in the sun. . . ."

But oftener he prefers the more succinct method of landscape-painting,
the broadest impressionism: as in

"Past the high rocks the haunts of doves, the mounds
Of red earth from whose sides strange trees grow out,
Past tracks of milk-white minute blinding sand."

And where in modern poetry is there a superber union
of the scientific and the poetic vision than in this magnificent passage --
the quintessence of the poet's conception of the rapture of life: --

"The centre-fire heaves underneath the earth,
And the earth changes like a human face;
The molten ore bursts up among the rocks,
Winds into the stone's heart, outbranches bright
In hidden mines, spots barren river-beds,
Crumbles into fine sand where sunbeams bask --
God joys therein. The wroth sea's waves are edged
With foam, white as the bitten lip of hate,
When in the solitary waste, strange groups