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DANTE GABRIEL ROSSETTI-MISS ROSSETTI. An English artist, MR. D. G. Rossetti, one of the originators of what is termed the Pre-Raphaelite style of art, or imitation of the early Italian painters, with their vivid colours, minute details, and careful finish, is known also as a poet and translator. In 1861 Mr. Rossetti published • The Early Italian Poets from Ciullo d'Alcamo to Dante Alighieri (1100-1200-1300), in the original metres, together with Dante's Vita Nuova.' In 1870 he issued a volume of 'Poems,' some of which were early productions printed in periodical works. Nearly all of them are in form and colour, subject and style of treatment, similar to the Pre-Raphaelite pictures. The first relates the thoughts and musings of a maiden in heaven while waiting the arrival of her lover from the land of the living.
From 'The Blessed Damozel.' The blessed damozel leaned out,
The void, as low as where this earth
Spins like a fretful midge.
Heard hardly some of her new friends She had three lilies in her hand,
Amid their loving games,
Their virginal chaste names :
Went by her like thin fames.
And still she bowed berself, and stooped
Uptil ber bosom must have made
The bar she leaned on warm, It was the rampart of God's house And the liljer lay as if asleep, That she was standing on,
Along her bended arm. By God built over the starty depth, "The which is space begun,
From the fixed place of heaven she saw So high that looking downward thence, Time like a pulse shake fierce She scarce could see the sun.
Through all the worlds. Her gaze still
strove It lies in heaven. across the flood
Within the gulf to pierce Of ether like a bridge,
Its path, and now she spoke as when Beneath the tides of day and night, The stars sang in their spheres. With flame and darkness ridge,
The Sea Limits. Consider the sea's lletleeg chime;
Its painful pnlee is in the sands. Time's self it is. made andible-
Last utterly, the whole ekr stands
Listen alone beside the sa.
Sball have one sound alike to thee :
Hark when the murmurs of thronged The morirnfulness of ancient life, Enduring always at dull strife.
Surge and sink back and surge againAs the world's heart of rest and wrath, Still the one voice of wave and tree.
Gather a shell from the strown beach, And all mankind is thus at heart
Not anything but what thou art;
And earth, sea, man, are all in each. The echo of the whole sea's speech.
Mr. Rossetti is a native of London, born in 1828, son of Mr. Gabriel Rossetti, Professor of Italian at King's College, London, and author of a Commentary on Dante (1826–27), who died in 1854, aged seventy-one.
Christina GABRIELA ROSSETTI (born in 1830), daughter of the Professor, and sister of the above Dante Gabriel, is also an author, having written · Goblin Market, and other Poems,'1862; Prince's Progress,' 1866; 'Commonplace and other Short Stories' (in prose), 1870; ‘Nursery Rhyme Book,' 1872, &c.
ALGERNON CHARLES SWINBURNE. In 1865 appeared a dramatic poem entitled 'Atalanta in Calydon,' founded on the beautiful Greek
legend of Calydon, and thoroughly Grecian in form and spirit. This work was hailed, both by the lovers and critics of poetry, as one of the most finished imaginative poems produced since the days of Shelley. “It is the produce,' said the Edinburgh Review,' not of the tender lyrical faculty which so often waits on sensitive youth, and afterwards fades into the common light of day, nor even of the classical culture of which it is itself a signal illustration, but of an affluent apprehensive genius which, with ordinary care and fair fortune, will take a foremost place in English literature.' In truth, the young poet had by this one bound placed himself in the first rank of our poets. His next work. 'Chastelard' (1865), was a tragedy founded on the story of Mary, Queen of Scots, and the unfortunate young chevalier who accompanied the queen from France, and who fell a victim to his romantic and extravagant passion for Mary. The subject was a perilous one for the drama, even when håndled with the utmost delicacy; but MR. SWINBURNE treated it with volupıllous warmth; while his portrait of the heroine, whom he represented as cruel, relentless, and licentious, shocked the admirers of the queen. In 1866, appeared a volume of Poems and Ballads,' which was considered so strongly objectionable, that Mr. Swinburne's publishers, Messrs. Moxon & Co., withdrew it from circulation.
To the critical outcry against it, the poet replied in a pamphlet of • Notes' protesting against the prudery of his assailants; and one of his friends, Mr. W. M. Rossetti, in a ‘Criticism on Swinburne's poems and Ballads.' pleaded that 'in fact Mr. Swinburne's mind appeared to be very like a tabula rasa on moral and religious subjects, so occupied is it with instincts, feelings, perceptions, and a sense of natural or artistic fitness and harmony! The subsequent works of
This image of the sea-shell had been previously used both by Landor and Words worth.
the poet are—' A Song of Italy,' 1867; William Blake, a Critical Essay,' 1867; Siena,' a poem, 1868; Ode on the Proclamation of the French Republic,' 1870; and “Songs before Sunrise,' 1871. He has also edited selections from the poems of Byron and Coleridge, and contributed a few admirable critical essays to literary journals.
Mr. Swinburne a native of London, son of Admiral Swinburne, and born in 1837. He received his earlier education in France and at Eton; in 1857 he was entered a commoner of Balliol College, Oxford, but left the university without taking a degree. In his twentythird year he published two plays, “The Queen Mother' and 'Rosamund,' whcih exhibited literary power, but are crude and immature productions. We subjoin some extracts from Calydon.' In these may be noted one drawback, which has come to be a mannerism of the poet-& too great proneness to alliteration. “I will sometimes affect the letter,' says Holofernes, ‘for it argues facility;' but in highly poetical and melodious lines like the following, it is a defect.
Chorus. Before the beginning of years
That his strength might endure for a There came to the making of man
span Time, with a gift of tears;
With travail and heavy sorrow,
The holy spirit of man.
From the winds of the north and the Remembrance, fallen from heaven,
south And Madness, risen froin hell ;
They gathered as unto strife; Strength, without hands to smite; They breathed upon his mouth, Love, that endures for a breath;
They filled his body with life'; Night, the shadow of light,
Eyesight and speech they wrought And Life, the shadow of death.
For the veils of the soul therein
A time for labour and thought, And the high gods took in hand
A time to serve and to sin ; Fire, and the fulling of tears,
They gave him a light in his ways, And a ineasure of sliding sand
And love, and a space for delight, From under the feet of years;
And beauty and length of days,
And night, and sleep in the night.
With his lips be travaileth ;
And fashioned with loathing and love, He weaves, and is clothed with derision; With life before and after,
Sows, and he shall not reap; And death beneath and above,
His life is a watch or a vision For a day and a night and a morrow, Between a sleep and a sleep
In 184 Mr. Swinburne published an epic drama or tragedy, • Bothwell;' continuing the history of Mary, Queen of Scots, after the episode of 'Chastelard.' This tragedy of 'Bothwell' is a most voluminous work-upwards of 15,000 lines and with a numerous dramatis persona, including, besides Darnley and the Queen, the four Maries, Rizzio, John Knox, the Regent Murray, French and English ambassadors, &c. Though much too long and deficient in variety of situations and incidents for an English play, “Bothwell' is a powerful production—the most masterly of Mr. Swinburne's dramatic works. Mary he has drawn in colours dark as the portraiture by Froude-as treacherous, passionate, fierce, cruel, and sensuousa second Lady Macbeth. The historical facts, and much of the language of Knox and others, are skilfully introduced and interwoven pritli the passionate scenes; while occasionally French and English songs relieve the long dialogues.
Carberry 1/12: Parting of Bothwell and Queen Mary.
QUEEN. Do not spenk yet: a word should burst my heart;
Can help nor comfort this. You shall not die;
BOTH WELL. Well, being sundered, we may live,
QUEEN. O how does one break faith?
BOTHWELL. Hence will I to Dunbar, and thence again
QUEEN. Ah God, that we were set
BOTHWELL. But till Time change his tune :
QUEEN. Have we not found ? I know not what we shall,
QUEEN. Ay lo it, sir ; the last word 'I shall bear