VERONICA, ELVIRA and other female attendants.
Veron.
Come then, a song; a winding, gentle song,
To lead me into sleep.Let it be low
As zephyr, telling secrets to his rose,
For I would hear the murmuring of my thoughts;
And more of voice than of that other music
That grows around the strings of quivering lutes;
But most of thought; for with my mind I listen,
And when the leaves of sound are shed upon it,
If there's no seed remembrance grows not there.
So life, so death; a song, and then a dream!
Begin before another dewdrop fall
From the soft hold of these disturbed flowers,
For sleep is filling up my senses fast,
A fine example of Beddoes' suavity. The line is also indicative of his one main obsession: to say, “Beddoes was much possessed by death” is to understate. The idea haunted him all his life; he even once pursued a career in medicine, in an attempt to find a part of the body that would survive after death, specifically, a seed shaped bone mentioned in the rabbinical doctrine  Luz  (ed. Sieburth R.  Ezra Pound: The Pisan Canto’s . New Directions: 2003 pg. 146) Not surprisingly, Beddoes never found said bone and only became increasingly morbid until his suicide at age 45. To give a better idea of his thanataphilia/phobia, his most popular work is a posthumous drama is called  Death’s Jest Book  and Pound called him, in  Catno LXXX  “Prince of morticians.”
From Torrismond Garden Scene