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. The blessed damozel leaned out, And the stars in her hair were seven. Her robe ungirt from clasp to hem, ́ For service, meetly worn; And her hair hanging down her back, It was the rampart of God's house So high that looking downward thence, It lies in heaven, across the flood The void, as low as where this earth Heard hardly some of her new friends And still she bowed herself, and stooped Until her bosom must have made From the fixed place of heaven she saw Through all the worlds. Her gaze still strove Within the gulf to pierce Its path, and now she spoke as when The Sea Limits. Consider the sea's listless chime; Is the sea's end: our sight may pass No quiet, which is death's-it hath The mournfulness of ancient life, As the world's heart of rest and wrath, Its painful pulse is in the sands. Listen alone among the woods; men Surge and sink back and surge againStill the one voice of wave and tree. Gather a shell from the strown beach, And all mankind is thus at heart 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 handled with the utmost delicacy; but MR. SWINBURNE treated it with voluptuous 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 Celeridge, and contributed a few admirable critical essays to literary journals. Mr. Swinburne is 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-a 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. Maiden, and mistress of the months and stars A light for dead men and dark hours, a foot But favourable and fair as thine eye's beam Hidden and shewn in heaven; for I all night Amid the king's hounds and the hunting men Have wrought and worshipped toward thee; nor shall man But for the end, that lies uureached as yet Between the hands and on the knees of gods. O fair-faced sun, killing the stars and dews And dreams and desolation of the night! Rise up. shine, stretch thine hand out, with thy bow Before the beginning of years Grief, with a glass that ran; Summer, with flowers that fell; Remembrance, fallen from heaven, And Madness, risen from hell; Strength, without hands to smite; Love, that endures for a breath; Night, the shadow of light, And Life, the shadow of death. And the high gods took in hand Fire, and the falling of tears, And a measure of sliding sand From under the feet of years; And froth and drift of the sea: And dust of the labouring earth; And bodies of things to be Chorus. In the honses of death and of birth; And death beneath and above, That his strength might endure for a span With travail and heavy sorrow, The holy spirit of man. From the winds of the north and the They gathered as unto strife; With his lips be travaileth; In his heart is a blind desire, In his eyes foreknowledge of death; In 1874 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 with the passionate scenes; while occasionally French and English songs relieve the long dialogues. Carberry Hill: Parting of Bothwell and Queen Mary. QUEEN. Do not spenk yet: a word should burst my heart; It is hollow crystal full of tears That even a breath might break, and they be spilt, And life run out with them; no diamond now, But weaker than of wax. Life of that heart, There is but one thing hath no remedy, Death; all ills else have end or hope of end, Can help nor comfort this. You shall not die; BOTHWELL. Well, being sundered, we may live, The mockery of a conqueror's; we should pass Till good time bring me back; and you that stay, QUEEN. O how does one break faith? What are they that are faithless? By my love, Fly where love will? Where will you turn from me? BOTHWELL. Hence will I to Dunbar, and thence again There is no way but northward, and to ship From the north islands; thence betimes abroad, By land or sea, to lurk and find my life TIH the wheel turn. QUEEN. Ah God, that we were set BOTHWELL. But till Time change his tune: No more nor further. We shall find our day. QUEEN. Have we not found? I know not what we shall, But what hath been and is, and whence they are, God knows if now I know not-he is here. Re-enter KIRKALDY. KIRKALDY. Madam, the Lords return by me this word With them you must go back to Edinburgh, And there be well entreated as of friends: And for the Duke, they are with one mind content But here may tarry not, or pass not free. This is the last word from them by my mouth. QUEEN. Ay is it, sir; the last word I shall hearLast in mine ear for ever: no command Nor threat of man shall give car to more That have heard this.-Will you not go, my Lord? |