THE MUSIC OF WILD FLOWERS 13 



nor Keble, in spite of his stanzas to the snowdrop, can 

 be regarded in any sense as field botanists. There are, 

 however, a few exceptions, among whom may be men- 

 tioned John Clare, the peasant poet of Northampton- 

 shire, Thomas Gray and George Crabbe, Matthew 

 Arnold and Lord Tennyson. 



There is no more pathetic figure in English literature 

 than that of John Clare, of Helpstone, who passed the 

 earlier portion of his life in abject poverty and the latter 

 part in the prison-house of an asylum. But such happi- 

 ness as at times was vouchsafed to him was due entirely 

 to his love of nature, and especially of wild flowers. Of 

 Tennyson's interest in things botanical it is unnecessary 

 to speak. His poems contain numberless passages 

 which illustrate his close acquaintance with our wayside 

 flora. Now it is a " flower in the crannied wall " ; now 

 the " golden hour " of the dark yew, " when flower is 

 feeling after flower " ; now " the faint, sweet cuckoo- 

 flower " or the " blue forget-me-not " ; and now " the 

 fruit which in. our winter woodland looks a flower." 

 What more striking description of an English wood in 

 May, when the bluebells or wild hyacinths are a " para- 

 dise of blossom," than these lines in Guinevere : 



"sheets of hyacinth 

 That seem'd the heavens upbreaking thro' the earth " ! 



Or we call to mind the exquisite spring picture in the 

 In Memoriam : 



" Now fades the last long streak of snow, 

 Now burgeons every maze of quick 

 About the flowering squares, and thick 

 By ashen roots the violets blow " ; 



