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correspondence for it. Let me illustrate. In Sonnet LV of the "Mathilde" cycle, for instance, his roving eyes light upon the lines:

"In de diepste diepte ontwaren Mijn spiedende oogen 't grondelooze niet,

Waar nacht en stilte in kille omarming paren,"

and instantly he must conclude that they have something to do with "Endymion's:

"Through buried paths, where sleepy twilight dreams The summer time away."

Again, Sonnet LXII contains the innocuous enough lines:

"Hij is: zijn armen zeegnen stilte en duister Die eeuwig woonden rond den reuzestam."

There seems not the slightest reason why a young poet of Perk's intellect should not have fashioned them without special reference to others; but, no! — such a plain assumption will not do for Dr Dekker. Nothing will satisfy him, indeed, but to produce — from "Alastor" and "A Summer Evening Churchyard, Lechlade" respectively — lines that he conceives to be the "originals ; while to draw attention to the striking resemblances that are supposed to exist, he must needs make lavish use of italics! But not the most emphatic type obtainable, I am afraid, would ever convince me that we are dealing here with other than purely adventitious cases.

We come to Perk's "swane-sang", "Iris". But that is entirely different, for it is written in the metre of "The Cloud", and is clearly modelled upon its soaring visions:

"Ik ben geboren uit zonne-gloren

En een zucht van de ziedende zee,

Die omhoog is gestegen, op wieken van regen,

Gezwollen van wanhoop en wee:

Mijn gewaad is doorweven met parels, die beven,

Als dauw aan de roos, die ontlook,