Dear Verena, I am finding, to my horror, that the poets when at their briefest are usually concerned with mortality: and not necessarily because the space on a tombstone is restricted and they are writing for the stone-cutter, although that may have been an influence, but from choice. Yet as it is my belief that we ought to familiarize ourselves with the idea of death (and indeed the War forced us overmuch to do so) you mustn’t mind an epitaph or two now and then, particularly when they are beautiful. Or shall we get them all over at once—and illustrate my discovery too? The most famous of all, the epitaph on the Countess Dowager of Pembroke, every one knows:—
But I like hardly less the elegy on Elizabeth L. H. It is longer—longer indeed than the eight-line limit that we have set ourselves—but I have cut off the end, which is inferior:—
Then there is Herrick’s “Upon a Child that Died”—another inspiration:—
With these, which are Tudor or early Stuart, I would associate the Scotch epitaph on Miss Lewars:—
And Stevenson’s best known poem is an epitaph too:—
But enough of mortality! Let me tell you a little thing that happened yesterday. An Italian I used to know, a clerk, who has been in England for three or four years, came in to say goodbye. He is going home.
“You’ll be glad to be seeing your wife again after all this long while,” I said.
He pondered. “My wife, I don’t know,” he replied at last: “but my leetler boy, Oh, yais!”—Good night, my dear.
R. H.