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."

แ

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.

AUBREY DE VERE.

(FROM "THE FORAY OF QUEen Meave."-THE EARLIEST SPECIMEN OF THE IRISH EPIC.)

ARGUMENT.

Queen Meave sends her herald to Ferdia the Firbolg, requiring him to engage with Cuchullain in single combat. Ferdia refuses to fight against his ancient friend: yet, later, he attends a royal banquet given in his honour; and there, being drawn aside through the witcheries of Princess Finobar, he consents to the fight. The charioteer of Ferdia sees Cuchullain advancing in his warcar to the Ford, and, rapt by a prophetic spirit, sings his triumph. For two days the ancient friends contend against each other with reluctance and remorse; but on the third day the battle-rage bursts fully forth: and, on the fourth, Cuchullain, himself pierced through with wounds innumerable, slays Ferdia by the Gae-Bulg. He lays his friend upon the bank, at its northern side, and, standing beside him, sings his dirge.

'To this Ford Thou cam'st the first, old comrade! choice of arms Is therefore thine by right.' Cuchullain spake : Ferdia chose the javelin. Arrow-swift,

While still the charioteers brought back the shaft,
The missiles flew. Keen-eyed as ocean bird
That, high in sunshine poised, glimpses his prey
Beneath the wave, and downward swooping slays him,
Each watched the other's movements, if an arm

Lifted too high, or buckler dropped too low

Left bare a rivet. Long that fight endured:

Three times exhausted sank their hands: three times
They sat on rocks for respite, each the other
Eyeing askance, not silent; 'Lo the man
Who shields an ox-like or a swine-like race

That strikes no blow itself!' or thus; 'Ah pledge
Of amity eterne in old time sworn!

Ferdia, vow thy vow henceforth to maids!
The man-race nothing heeds thee!'

Evening fell
And stayed perforce that combat. Slowly drew
The warriors near; and as they noted, each,
The other bleeding, friendship unextinct

In all its strength returned: round either's neck
That other wound his arms and kissed him thrice:
That night their coursers in the self-same field
Grazed, side by side: that night their charioteers
With rushes gathered from the self-same stream
Made smooth their masters' beds, then sat themselves
By the same fire. Cuchullain sent the half
Of every healing herb that lulled his wounds
To staunch Ferdia's; while to him in turn
Ferdia sent whate'er of meats or drinks
Held strengthening power or cordial, to allay
Distempered nerve or nimble spirit infuse,
In equal portions shared.

The second morn

They met at sunrise:-'Thine the choice of arms;'
The Firbolg spake; the Gael made answer; 'Spears!'
Then leaped the champions on their battle-cars
And launched them into battle. Dire their shock
In fiery orbits wheeling now; anon

Wheel locked in wheel. Profounder wounds by far
That day than on the first the warriors gored,
Since closer was the fight. With laughing lip
Not less that eve Cuchullain sang the stave
That chides in war 'Fomorian obstinacy:'
Again at eve drew near they, slower now
For pain, and interwove fraternal arms:
Again their coursers in the self-same field

Grazed side by side, and from the self-same stream