DUTCH POETRY AND ENGLISH
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,