Dear M.,My friend Patmore, author of the "Months," a very pretty publication, [and] of sundry Essays in the "London," "New Monthly," &c., wants to dispose of a volume or two of "Tales."

[Patmore was the author of The Mirror of the Months, 1826.

Here should come a letter from Lamb to P.G. Patmore, dated April 10, 1831, in which Lamb says of the publisher of the New Monthly Magazine: "Nature never wrote Knave upon a face more legible than upon that fellow's'Coal-burn him in Beelzebub's deepest pit.'

" Patmore was seeking a publisher for, I imagine, his Chatsworth.

In the British Museum is preserved a sheet of similar comments made by Lamb upon a manuscript of P.G. Patmore's, from which I have quoted a few passages above.

The feeling of romantic Tories in the country is expressed in Coventry Patmore's poem "1867," which begins: In the year of the great crime, When the false English Nobles and their Jew, By God demented, slew The Trust they stood twice pledged to keep from wrong.

Derek Patmore (A); 18Dec68; R451426. PATON, W. A. Advanced accounting.

I am also indebted to Mr Bertram Dobell, Messrs Longmans, Green, Mrs Coventry Patmore and Mr Francis Meynell for most kindly allowing me to quote from the works respectively of Thomas Traherne, Richard Jefferies, Coventry Patmore, and Francis Thompson.

I am also indebted to Mr Bertram Dobell, Messrs Longmans, Green, Mrs Coventry Patmore and Mr Francis Meynell for most kindly allowing me to quote from the works respectively of Thomas Traherne, Richard Jefferies, Coventry Patmore, and Francis Thompson.

Love and Beauty Mystics Shelley, Rossetti, Browning, Coventry Patmore, and Keats.

It is an experimental science, and, as Patmore has said, it is as incommunicable to those who have not experienced it as is the odour of a violet to those who have never smelt one.

He teaches that heaven is not a place, but a condition, that there is no question of outside rewards or punishments, and man makes his own heaven or hell; for, as Patmore pointedly expresses it

Coventry Patmore is, however, the English writer most saturated with Swedenborg's thought, and his Angel in the House embodies the main features of Swedenborg's peculiar views expressed in Conjugial Love, on sex and marriage and their significance.

It is not too much to say that Swedenborg influenced and coloured the whole trend of Patmore's thought, and that he was to him what Boehme was to Law, the match which set alight his mystical flame.

He would have agreed with Patmore that "you can see the disc of Divinity quite clearly through the smoked glass of humanity, but no otherwise."

In our first group we have four poets of markedly different temperamentsShelley intensely spiritual; Rossetti with a strong tinge of sensuousness, of "earthiness" in his nature; Browning, the keenly intellectual man of the world, and Patmore a curious mixture of materialist and mystic; yet to all four love is the secret of life, the one thing worth giving and possessing.

Coventry Patmore was so entirely a mystic that it seems to be the first and the last and the only thing to say about him.

Patmore was, however, caught and enthralled by one aspect of unity, by one great analogy, almost to the exclusion of all others.

What Patmore meant was that in the relationship and attitude of wedded lovers we hold the key to the mystery at the heart of life, and that we have in it a "real apprehension" (which is quite different from real comprehension) of the relationship and attitude of humanity to God.

This division into two and reconciliation into one, this clash of forces resulting in life, is, as Patmore points out in words curiously reminiscent of those of Boehme, at the root of all existence.

" The essay from which this passage is taken, The Bow set in the Cloud, together with The Precursor, give in full detail an exposition of this belief of Patmore's, which was for him "the burning heart of the Universe.

This profound and very difficult theme is treated by Patmore in a manner at once austere and passionate in the exquisite little preludes to the Angel in the House, and more especially in the odes, which stand alone in nineteenth-century poetry for poignancy of feeling and depth of spiritual passion.

The book into which Patmore put the fullness of his convictions, the Sponsa Dei, which he burnt because he feared it revealed too much to a world not ready for it, was says Mr Gosse, who had read it in manuscript, "a transcendental treatise on Divine desire seen through the veil of human desire."

It may be noted that the other human affections and relationships also have for Patmore a deep symbolic value, and two of his finest odes are written, the one in symbolism of mother love, the other in that of father and son.

In this way is it that to Patmore religion is not a question of blameless life or the holding of certain beliefs, but it is "an experimental science" to be lived and to be felt, and the clues to the experiments are to be found in natural human processes and experiences interpreted in the light of the great dogmas of the Christian faith.