"In the days of my early acquaintance with Henley, some fourteen or fifteen years ago, I could never look at him without wondering why none of his artist friends had taken him for a model of Pan. They say he was like Johnson, and like Heine; and he had something of both. But to me he was the startling image of Pan come on earth and clothed—the great god Pan, down in the reeds by the river, with halting foot and flaming shaggy hair, and arms and shoulders huge and threatening, like those of some Faun or Satyr of the ancient woods, and the brow and eyes of the Olympians. Wellnigh captive to his chair, with the crutch never far from his elbow, dragging himself when he moved, with slow effort, he yet seemed instinct with the life of the germinating elemental earth, when gods and men were vital with the force that throbbed in beast and flower and wandering breeze. The large heart, and the large frame, the broad tolerant smile, the inexhaustible interest in nature and mankind, the brave, unquenchable cheerfulness under afflictions and adversities, the frank appreciation and apology for the animal side of things, all helped to maintain the impression of a kind of Pagan strength and simplicity."