hasty journey to Venice, and during this interval he began his third long poem of 'Dipsychus,' which bears the mark of Venice in all its framework and its local colouring.
We have now mentioned, at the dates at which they were composed, all his longest works—the 'Bothie,' the 'Amours de Voyage,' and 'Dipsychus.' No other long work of his remains except the 'Mari Magno,' which is properly a collection of short poems, more or less united by one central idea, and bound together by their setting, as a series of tales related to each other by a party of companions on a sea voyage. The 'Ambarvalia,' poems written between 1840 and 1847, chiefly at Oxford, though without any setting at all, have something of the same inward coherence. They are all poems of the inner life, while the 'Mari Magno' poems deal with social problems, and the questions of love and marriage. His voyage to America, again, produced a cluster of little sea poems, closely linked together by one or two main thoughts.
It has often been a subject of surprise, that with such evident powers and even facility of production, Clough should have left so little behind him, even considering the shortness of his life, and that for such long periods he should have been entirely silent. We think the best explanation is to be found in his peculiar temper of mind, and we might say physical conformation of brain, which could not work unless under a combination of favourable circumstances. His brain though powerful was slow to concentrate itself, and could not carry on several occupations at once. Solitude and repose were necessary for production. This, combined with a certain inertia, a certain slowness of movement, constantly made it hard for him to get over the initial difficulties of self-expression, and would often, no doubt, cause him to delay too long and lose the passing inspiration or opportunity. But, once started, his very weight carried him on, as it did in the 'Bothie,' 'Amours,' and 'Dipsychus,' and 'Mari Magno.'
