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remained minus a great and emancipating influence. It was simply that, spiritually, he was bound to accomplish his life in a different way. Shelley, it has been noted, was first the enthusiast, next the combatant, and finally the sufferer; restating the order for Kloos, we would have to begin with the sufferer, follow with the combatant, and end with the enthusiast; the enthusiast, however, for his new 'quadrilaterar of pantheism, mysticism, humanism, and, withal, a little scepticism, and not for the old Jachtig 'triangle' of passion, beauty, art.

When 1 first made the acquaintance of Willem Kloos, at The Hague in 1927, he was a man well on the way to seventy. I was privileged to enjoy friendship with him right up to the time of his death eleven years later; but not in all our subsequent meetings was there a thrill of pleasure to equal that first contact. 1 see him yet. He stood in that long, doublé, book-lined study in which his days were passed, just beside his innumerable English editions and the letter of Shelley's sent from Leghorn in 1819 of which he was so justifiably proud — a tense, waiting, almost sinister, figure in the shadows. Then I caught the light shining in those eyes, wild yet reflective; and I knew immediately that here was the almost traditional poet and seer. It was not Shelley any longer, of course, that I could detect in him — he was too old, too subdued, too sage-like for that; there was but one poetic figure to whom 1 feit I could truly liken him and that was the venerable, the laureated, Wordsworth. It was a purely personal fancy; but the comparison, I feel, in other respects is not without its point. The extent to which Kloos drew upon Shelley, for instance, in formulating his poetic creed has been abundantly recognized, but the almost equally large measure to which he was indebted to Wordsworth's Prefaces seems virtually to have escaped notice.

Kloos was in his nineteenth year when he first read Shelley. But this beginning was unfortunate, for he led off with "Queen