"Some sapphire-pinion'd, ruby-winged some, With the soft murmuring glow and stir of insect life."-(Pp. 236-9.) Here is a battle-picture, one of many: we wonder what our friends of the Peace Society would say to it: "There are who love upon the harbor shore To see the ocean's white wrath leap the bar When nations meet, and in their armèd pride The crash of spears as brazen trumpets blow, The fainting knees, the empty saddle-bow, The characters are dark yet not the less divine.”—(P. 181.) A critic would not be true to his craft who did not pick holes. Let us say then that to the aliquando dormitat," Mr. Stigand forms no exception. We may be given to wish that this did not occur sometimes in the very places where it is least tolerable-as, for instance, in the beautiful episode of King Eric of Denmark and his bride Adelaide; where, in the very opening of the final scene, we have"The ruin'd shell Of that huge tower was lit in every nook By light of burning wains; like fiends from hell Her lover's hand with an unutterable look." In a passage of lamentation over the of the first canto, we have another such present state of Syria, near the opening instance: "And 'neath the Bedawee's destroying spear The peasant reaps his meagre sheaves of corn, Are shrieks of massacre and havoc borne And the Frank walks the Pharpar's banks in shame, Since Europe shriv'd those fiends with indignation tame.”—(P. 9). This line besides labors under the fault Mr. Stigand has a way of dealing with of ambiguity: for "tame" may agree with the abbreviation "e'er" for "ever," which "fiends," or with "Europe." It is evi- | is hardly en règle; for example: dently meant to belong to "indignation.” "Which then as e'er by force and cunning throve" "as e'er" meaning "as ever." Again, in p. 46: 99 Yet e'er his passion, like a down-press'd reed, Here" e'er means "ever," in the sense of ever and anon. "Eer that the Christians make League with the Paynim in equality," represents ere that," etc. The rule, we believe, with regard to this abbreviation is, that " ever" must not be written "e'er," except in composition with "when," "where," or "how," and in the idiomatic "or e'er" for "or ever." "Ere," meaning "before," is a different word, and probably the same which enters into the composition of "early." Surely no excuse can be made for reproducing the wretched vulgarism of "lay" for "lie," even though Lord Byron was once guilty of it for the sake of his rhyme : "So stood he; and he felt a horror lay Of dark annihilation o'er his mind." -(P. 224.) Besides, there is something very awkward in thus interposing the verb between a noun and the genitive which is in government after it. It reminds us of the present style adopted by some of our newspapers: "The death is announced of In the glowing description of Cyprus, Canto V., we think we detect an anachronism: "And round each close of flow'r-enamell'd mead and by each way, The blue-green aloe stood." We had been always taught to believe that the aloe (Agave Americana) was not known in the Old World before the discovery of the New. We observe that Mr. Stigand clings to the use of the apostrophe in the case of the mute "ed" of the past tense of verbs, and in monosyllables such as "flow'r." But we also see that when he means the "ed" to be pronounced, he marks it with an accent. If this latter be necessary, then it is unnecessary to elide the "e," where acute and vice versa. And who, in our times, would ever think of making "flower" "bower" a dissyllable? : or We have noticed these few blemishes, because the Spenserian stanza, more than any other form of English verse, re."—or, as we have some-quires to be faultless, and thoroughly times seen it, even worse, filled in after polished and in hope that Mr. Stithis manner: "The death is recently re-gand, if, as some have believed, this ported by the local papers, at his seat poem is as yet incomplete, may in its in Pembrokeshire, of a malignant fever concluding cantos exercise a still severer after a very short illness, of discipline over his versification and diction." Consistency may fairly be required in the metrical use of foreign names. Let us have Kòran, or Koràn; but not one or the other arbitrarily, as the verse requires. Still less should the printed accent protest against the actual one, as here XVII.-Shadows of the Past. In verse. By VISCOUNT STRATFORD DE REDCLIFFE. London: Macmillan & Co. 1866 Our veteran diplomatist, so well known and honored among us, has at last as "Whose doctrine is the Koràn (sic) and the sumed before the public a character sword."-(P. 6.) Koran being plainly Mr. Stigand's usual pronunciation: witness which, we have no doubt, he has long Muse. The volume is, on many accounts, borne in private-that of a wooer of the a pleasing one. Lord Stratford de Red "And this on the Koran swear wholly to ful-cliffe does not aim at being accounted fil." (P. 77.) a poet; but records his feeling and ele gant prolusions on incidents which have prompted "harmonious numbers" during a long and varied life. It is a pleasure to read the terse and somewhat oldfashioned odes, fables, epigrams, and rhapsodies, which follow one another, page after page, in this volume. Many stirring events, many touching scenes, public and private, here find record in verse. One large poem, "The Fortunes of Genius," belongs to the class of which Campbell's "Pleasures of Hope" is the type, though by some of its lines its date is fixed far nearer our own day: "Horsed on the lightning rushes soul to soul, And wires have life, where oceans o'er them roll."-(P. 169.) Our readers will thank us for the following specimen of Lord Stratford de lowing specimen of Lord Stratford de Redcliffe's elegiac verses, especially as many of them have fresh in remem brance the sad occurrence which is their subject: "She left us in her twentieth year; Never, ah! never to return! "She left us; yet in death so fair, We seemed as in a dream to weep, Of many a bosom long were guests; Will haste to answer, 'Here she rests.' And that, nor age nor worm devours. "Bathed in her smiles the landscape glowed; At home their sofest lustre shone; And still from joy's forsaken road "Where Alice fell ere yet the wreath Of bridal joy its leaves had shed, Ere yet the smile that played beneathSo light the parting hour-had fled. "Sweet bride! the tears that flow for thee Are more thy widowed husband's due. From fortune's mockery thou art free; He lives to mourn the bliss he knew. "He marked the dazzling arrow's track, Nor guessed what ruin closed its flight; Without a fear he hastened back, And sank at once in hopeless night." XVIII.-Dramatic Studies. By AUGUSTA WEBSTER. London: Macmillan & Co. 1866. Mrs. Webster's dramatic and poetic special line is the subjective analysis of powers are of no common order. Her thought and feeling. It is an illustration of this (see our opening remarks on Mr. Leighton), that every poem in the volume is in the first person. There may be a question, we think, whether this analytical process may not have been in our time carried too far. The Laureate set a noble example in this style, as in the other styles which he has introduced or revived. But since the time of "Simeon Stylites," "Love and Duty," "Ulysses," "Locksley Hall," and "The Two Voices," the vein has been somewhat unsparingly worked and the blank verse introspective idyl, if we may so name it, has come to be rather a plague. Moreover, the more our poets have looked within, the deeper they have seen, or seemed to see: so that this same idyl has, in some of their hands, become a thing of dark hints and puzzling ellipses. Men and women are made to wear their hearts upon their : There breathes a charm though she is sleeves, and that not in legible embroi gone. "When deepen most the starry skies, A cloud may veil the queen of night; Yet every glade in silver iies, And e'n the cloud is edged with light. "Nor youth, nor all we prize, when youth Our nature's proudest aim reveals, Nor love, nor love's rewarded truth, Can foil the blow destruction deals. "Alp speaks aloud; the sounds of wrath From crag to crag their mission tell; They roll along the lightning's path, And shake the rock where Alice fell: dery, but in provoking tangles, which the daws, when they peck at them, will infallibly make ten times worse. In the midst of so much beauty and so much poetic power, it seems a shame to find fault: but this is our only ground of complaint against Mrs. Webster, and we make it not as cavillers but as admirers. We proceed to justify what we have been saying by an examination of her really remarkable pieces. In the first, "A Preacher," the subject is very plain, and of deep interest. The preacher, after his evening sermon, has been declaring to his people. He is soliloquizes in a strain of self-accusation, no hypocrite; no castaway: he strives in that he does not, in his own heart of to love and to obey: he is an earnest hearts, feel, and live upon, the truths he searcher for truth: "If it be sin, forgive me: I am bold, My God, but I would rather touch the ark Though, were't not for belief, 'tis far from proved’— And stun my doubts by iterating faith."--(P. 11.) How came he, then, to say things that will not bear the test of his own inward questionings? As for instance: "Take to-night I preached a careful sermon, gravely planned, From my own judgment: not the less I find- For the boys to learn to ride :) yes here it is, We think our own thoughts on this day,' I said, Not Heaven's thoughts-not Sunday thoughts I'll say.' Advise a separation of our thoughts By Sundays and by week-days, Heaven's and ours? By no means, for I think the bar is bad. I'll teach my children Keep all thinkings pure, And think them when you like, if but the time Is free to any thinking. Think of God So often that in anything you do It cannot seem you have forgotten Him, Just as you would not have forgotten us, Your mother and myself, although your thoughts Were not distinctly on us, while you played; And, if you do this, in the Sunday's rest Just as your thoughts, though in a different way, And so far from us and strangely so near), A treadmill Sunday labor for their mind, Constant on one forced round: nor should I blame I did not blame Jane for her project told, Then here again ‘the pleasures of the world A many of them have, whom I would see Sharing the natural gayeties of youth. I wish they'd more temptations of the kind. "-(Pp. 11-13.) His own account of this is: "Twas just this, That there are lessons and rebukes long made So much a thing of course that, unobserving, This self-questioning is pursued in really 1. " Thinking (substantive) being hushed; 2. "Thinking (participle) that the following saying is hushed; or, 3. (which eventually asserts itself to be the meaning) "thinking (participle) in a hushed or silent manner within one's self." And of these difficulties this and the other poems are full: obscurities worth clearing up, depths worth fathomingbut which need not have been obscurities, and seem to have been hidden away in the deeps merely from the habit or the love of hiding away. There is also to blame in this the old story, "Brevis esse laboro; obscurus fio." But at all events, in the principal poem in the volume, "Sister Annunciata," Mrs. Webster has been guiltless of this study of brevity. However the fault may sometimes appear in single sentences, the whole poem, in which a nun, once in love, alternately recalls former days and bewails her sin in recalling them, and is lectured by the good abbess on her lot, throughout seventy-one pages, cannot be found fault with for being too short. It is impossible that Mrs. Webster could handle such a theme without giving us striking and noble passages, and laying open sources of conflicting thought and feeling. Take for instance the following: and there are many more such: "Alas! Even if I would, how could I now recall "I do not think There can be sin in that, in knowing it. I am not nursing the old foolish love Which clogged my spirit in those bitter days. Ah no, dear as it was even in its pain, I have trampled on it, crushed its last life out. I do not dread the beautiful serpent now; It cannot breathe again, not if I tried To warm it at my breast, it is too dead And my heart has grown too cold. The Lord himself, I thank Him, has renewed it virgin-cold To give to Him. I do but recognize A simple truth, that that which has been lived, Lived down to the deeps of the true being, is Inseparable from the life-long self: But yet it lives not with the present life. So, in this wise, I may unshamed perceive That the dead life, that the dead love, are still A part of me."—(Pp. 48-9.) Still we cannot help feeling that here | satis!" and refiect whether the work of again the process has been overdone. art would not have been more perfect by Again and again we cry, "Ohe! jam the loss of one half of its present material. |