by a Scotch journalist, who has for too many years "given up" to the Press the talents which were "meant for" Literature in its more permanent forms. No. 59.-Page 90. By a writer who has of recent years preferred to cultivate the field of fiction, rather than that of poetry, in which he was once so noticeable a labourer. This, and No. 148, are taken from Mr. Meredith's earliest volume (1851). His strongest verse, perhaps, is to be found in Modern Love (1862). No. 61.-Page 92. There is a touch of Carew about this lyric. No. 64.-Page 99. From Proverbs in Porcelain (1877). Mr. Austin Dobson is, like Mr. Locker, too often looked upon as merely a producer of society-verse. He has certainly written some of the best specimens in English of that difficult genre; he has, in fact, displayed in vers de sociétè an originality of style and tone which proclaims him one of its most accomplished masters. Like Mr. Locker, however-though in quite a different way, for Mr. Dobson is thoroughly individual in his work-he has done admirable things in the poetry both of "sentiment" and "reflection." (See, for example, Nos. 133 and 142.) His efforts in the direction of French forms in English speak for themselves. Altogether, Mr. Dobson has a high and secure position among the singers of the day. No. 65.-Page 101. From My Beautiful Lady (1863); a series of wellwrought cameos by a poet-sculptor. No. 66.-Page 103. From Boudoir Ballads (1876); the work of a facile and agreeable writer. No. 68.-Page 105. From A Year of Song (1872). This, and the "Rose Song," are perhaps Mr. Sawyer's happiest performances in verse. "Angelica" has been set to music. No. 69.-Page 107. This used to be called Geraldine and I, and originally appeared in Macmillan's Magazine for 1868. In revising it for his edition of 1876, Mr. Locker gave it its present title, which, by the way, is also the title of one of Mr. Austin Dobson's Vignettes in Rhyme (1873). No. 77.-Page 118. This and the following poem are from The Window, or the Songs of the Wrens (1870); a little lyrical drama, so to speak, which has hardly attained to the popularity that might have been anticipated for it. Yet it contains some of the Laureate's most delicate work. No. 81.-Page 125. From Graffiti d'Italia (1869), by another poetsculptor. Mr. Story is, however, rather a poet of rhetoric than of magic, having vigour but not charm. No. 82.-Page 127. From the Poems (1876) of a writer who, like Mr. Palgrave, is best known and appreciated as a critic, in which character he has added at least one permanent work to our literature, in the shape of his essay upon Shakspere's Mind and Art. His verse is that of a man of culture, who thinks for himself, and has considerable powers of rhythmical expression. No. 83.-Page 129. From The Gallery of Pigeons, and other Poems (1873). Mr. Marzials' poetry deals perhaps too much in fantasy to be very popular; yet it contains some charming things, among which these "Bagatelles," and Nos. 84 and 85, may be fairly ranked. If Mr. Marzials' belongs to any school at all, it is to that over which Mr. Browning presides, and in which Mr. Meredith is a highly-placed scholar. No. 86-Page 133. The work of a poet, novelist, and essayist, whose most enduring verse is probably that which is to be read in Phantastes and The Disciple. No. 89.-Page 138. The success with which Mr. Locker treats the subject of childhood in his poetry has been often noted. No. 91.-Page 142. From Verses on Various Occasions (1868); a volume of strong-pithed if not melodious writing. Dr. Newman's ablest poetic performance is, of course, The Dream of Gerontius. No. 92.-Page 143. Another instance, and an excellent one, of the poetry of rhetoric, of which Lord Houghton has given us so many valuable examples. No. 94.-Page 147. The note immediately above may be applied to this poem also, which is a fair specimen of the Archbishop's thoughtful and cultivated muse. No. 97.-Page 152. This, with the two following lyrics, is from The Earthly Paradise (1868), and is sufficiently indicative of Mr. Morris's reflective tone. The poet has all Jaques' power of sucking melancholy out of song, or rather, of permeating song with melancholy. His Muse is certainly not an inspiring one, but it is musical and tender, and has attractiveness if not charm. Mr. Morris is more successful perhaps in narrative than in reflection. No. 104.-Page 163. From The Spanish Gypsy (1868); a dramatic poem from which, also, Nos. 109 and 137 are taken. These lyrics have a light and graceful flow about them, which ought to make them popular. The blank verse in which they are enshrined has the qualities of sonority and strength; and indeed the poem altogether is worthy of far more attention than the critics generally have accorded to it. No. 105.-Page 164. This is usually looked upon as Mr. Domett's most excellent piece of work. It was originally published many years ago. No. 110.-Page 171. Compare this poem with the one that follows, and compare both with Mr. Arnold's "Self-Dependence." No. 111.-Page 172. From the series entitled "Switzerland," which includes some of the writer's most delightful pieces. No. 112.-Page 174. The fourth verse of this poem recalls a passage in Mr. Arnold's "Buried Life," whilst the fifth verse seems to re-echo more than one passage in others of the latter writer's poems. No. 113.-Page 177. Originally printed in The Cornhill Magazine. 2 A |