may be, not more settled and more strong than those of Wordsworth-but leading him to far other conclusions than those to which the convictions of Wordsworth led that poet-leading him to join the Church of Rome. Whatever may be thought of this step, it may be said at least that de Vere's noblest devotional poetry comes fitly from a sincere Roman Catholic, for it possesses something of the atmosphere which has endeared Thomas à Kempis to the devout of all creeds in all ages-a something which an able writer in the Spectator has aptly designated as de Vere's "spiritual serenity."

Much of this writer's finest verse is cast in a meditative and serious mould, and is occasionally mystical. Hence probably it is that his poems have not been popular in the strict sense, though they have never lacked warm admirers. At his best he showed a distinct command over poetic methods. As a sonneteer he was especially successful; indeed, it was, perhaps, as a writer of sonnets that he, like his father, is most widely known. In reality, however, there is more variety in his poetry than is supposed by readers only partially acquainted with his work. Many of his idylls prove conclusively that he had caught the true feeling for the old Greek mythology which distinguishes some of the most splendid work of the great poets of his time. His drama of "Alexander the Great," so much praised by many competent critics, testifies to his dramatic power. His ability to write excellent poetry of the objective kind is further shown by "The Legends of St. Patrick," "The Legends of the Saxon Saints," and by the striking legendary poem "The Foray of Queen Meave.”

The third son of Sir Aubrey de Vere Hunt, the subject of this article, was born at Curragh Chase, in the county of Limerick, on January 10th, 1814, and received the names of Aubrey Thomas de Vere. Studying at Trinity College, Dublin, he adopted no profession other than that of letters. In 1832 he assumed by royal licence the ancestral surname of de Vere in place of Hunt. His first volume, "The Waldenses; or the Fall of Rora," appeared in 1842. This was followed in 1843 by "The Search after Proserpine, Recollections of Greece, and Other Poems." "The Search after Proserpine," a rendering of what the author truly calls one of the most "beautiful fictions of Greek mythology," is a lovely and, in many respects, a powerful poem. The comparative youth of the author when the poem was written lends to it an added interest, when we compare it with "Demeter," a rendering of the same subject, and a work of Tennyson's old age. In such a comparison de Vere's idyll necessarily suffers greatly, for the concentration of the latter poem has the effect of bringing into undue prominence this writer's chief fault-a diffuseness the presence of which is felt not so much in particular lines and phrases as in entire passages. A comparison of the two poems shows also de Vere's occasional uncertainty as regards rhythm and rhyme. Among others of his earlier volumes of verse I may name "Poems, Miscellaneous and Sacred" (1853); and "The Sisters; Innisfail; and Other Poems" (1861).

"The Infant Bridal and Other Poems" (1864) is rich in examples of de Vere's best work in various styles, the "Other Poems" consisting largely ot

reprints from his earlier verses. "The Infant Bridal," though it contains passages of beauty and picturesqueness, is not altogether successful. "May Carols" are a series of poems chiefly dealing with nature. The tenth of these (p. 480) is worthy of Wordsworth himself, in interpretation of nature, and in delightful description of a still spring evening after the rain. "The Ode to the Daffodil" is another of Aubrey de Vere's most characteristic efforts in the same department of poetry. "The Dignity of Sorrow" (p. 482) is a fine example of his serious mood. So also is the sonnet called "Sorrow" (p. 480)—a sonnet so exquisite, and so full of the rare phase of submissive feeling which comes only to devout minds after long acquaintance with griefthat it will take a permanent place in our literature. Another sonnet, "Human Life," is a poem which George Herbert might have written, and possesses a certain subdued beauty all its own. I have already spoken of the poet's success in handling classical themes. "The Antigone of Sophocles," the "Lines Written under Delphi," and "Ione," all in this volume, are good specimens of his workmanship in this kind of verse. But, perhaps, even a better specimen is to be found in "Glaucè" (p. 483). So appropriate is the atmosphere of this poem that the reader is influenced at once. As a writer of love poetry de Vere was often happy. The tender and exquisitely expressed sonnet beginning

"She whom this heart must ever hold most dear"

is familiar, and so, also, is the no less beautiful serenade beginning "Softly, O Midnight Hours!" (p. 485). A ballad entitled "The Bard Ethell"

is full of rough vigour well befitting the supposed narrator, an Irish bard of the thirteenth century. Probably, on the whole, "The Infant Bridal and Other Poems" is the most notable of the poet's many volumes of verse, though it is not without traces of one of his chief faults-his tendency to diffuseness.

"Irish Odes and Other Poems," dedicated to Longfellow, appeared in 1869. Prefixed to the volume is a long and interesting essay in which the poet discusses with deep insight the interpretation of the Irish character in literature. He holds, and with truth, that "the Irish character is one easily mistaken by the 'rough and ready' philosophy of the caricaturist," and maintains that it is "generous where love is not curdled into hate by wrong." Passing to matters more strictly literary, he makes some valuable remarks respecting the attitude of poetry towards the "sensational," and, especially, as to the distinction between true and false passion. This essay is one of de Vere's important contributions to prose literature. The volume contained many remarkable poems and sonnets, among others the sonnet entitled "Composed at Rydal" (p. 480), noteworthy not only for its intrinsic merit, but as evidence of the poet's profound admiration for Wordsworth. "A Girl's Song"

(p. 486) may likewise be quoted.

"The Legends of St. Patrick" (1872) are a series of picturesque legendary poems; "Alexander the Great," a poetical drama (1874), is more ambitious. It contains much noble verse, and is more successful than Aubrey de Vere's other play, "St. Thomas of Canterbury" (1876). In 1875 appeared a new

edition of his father's closet play, Mary Tudor. To this volume the poet contributed a brief prefatory memoir of his father, and a scholarly introduction to Mary Tudor. "Antar and Zara; and Other Poems" (1877), dedicated to Lord Tennyson, was followed by "The Legends of the Saxon Saints" (1879), "The Foray of Queen Meave" (1882). The "Legends" tell in fluent blank verse many of the touching stories of Saxon times. Probably the most forcibly told are How St. Cuthbert Kept his Pentecost at Carlisle" and "Bede's Last May." "The Foray of Queen Meave" is founded on an ancient Irish epic. The section entitled "The Combat at the Ford" (p. 473) is a striking example of the poet's descriptive verse. "Legends and Records of the Church and Empire" was issued in 1887, and Saint Peter's Chains," a series of sonnets, in 1888. A second portion of the first-named work will be entitled "Legends and Records of the Middle Ages."

Aubrey de Vere published in 1850 "Picturesque Sketches of Greece and Turkey." Mainly distinguished, however, in prose by his excellent critical studies, his "Essays chiefly on Poetry" (1887) and "Essays, chiefly Literary and Ethical" (1889), have a permanent value. He "resided habitually" at Curragh Chase, the property of his brother, Sir Stephen E. de Vere, well known on account of his translation of the Odes of Horace-a translation which has received the commendation of many critics competent to form an opinion. De Vere enjoyed the friendship of Lord Tennyson, Sir Henry Taylor, and many of the most eminent men of his time. He died on the 28th of January, 1902. MACKENZIE BELL,