ROBERT WILLIAMS BUCHANAN (1841 - 1901)
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ROBERT WILLIAMS BUCHANAN (1841 - 1901) |
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Comparison of ‘Thomas Maitland’ article and
This is a list of the major changes in the text of Chapter IV of the pamphlet version of The Fleshly School of Poetry as compared with the original ‘Thomas Maitland’ review of Rossetti’s poems, published in the Contemporary Review in October, 1871. The original version was written in the first person plural, which Buchanan changed to the first person singular in the pamphlet edition. In the new version he also chose to capitalise the ‘Fleshly School’ and the spelling of ‘burthen’ was changed to ‘burden’. These consistent changes and other minor alterations in spelling and punctuation, are not included in this list. When comparing the two texts, the earlier (‘Thomas Maitland’) version is placed first, the pamphlet version second. Page 34: 1. The first two paragraphs are omitted: IF, on the occasion of any public performance of Shakspere's great tragedy, the actors who perform the parts of Rosencranz and Guildenstern were, by a preconcerted arrangement and by means of what is technically known as “gagging,” to make themselves fully as prominent as the leading character, and to indulge in soliloquies and business strictly belonging to Hamlet himself, the result would be, to say the least of it, astonishing; yet a very similar effect is produced on the unprejudiced mind when the ““walking gentlemen”” of the fleshly school of poetry, who bear precisely the same relation to Mr. Tennyson as Rosencranz and Guildenstern do to the Prince of Denmark in the play, obtrude their lesser identities and parade their smaller idiosyncrasies in the front rank of leading performers. In their own place, the gentlemen are interesting and useful. Pursuing still the theatrical analogy, the present drama of poetry might be cast as follows: Mr. Tennyson supporting the part of Hamlet, Mr. Matthew Arnold that of Horatio, Mr. Bailey that of Voltimand, Mr. Buchanan that of Cornelius, Messrs. Swinburne and Morris the parts of Rosencranz and Guildenstern, Mr. Rossetti that of Osric, and Mr. Robert Lytton that of “A Gentleman.” It will be seen that we have left no place for Mr. Browning, who may be said, however, to play the leading character in his own peculiar fashion on alternate nights. This may seem a frivolous and inadequate way of opening our remarks on a school of verse-writers which some people regard as possessing great merits; but in good truth, it is scarcely possible to discuss with any seriousness the pretensions with which foolish friends and small critics have surrounded the fleshly school, which, in spite of its spasmodic ramifications in the erotic direction, is merely one of the many sub-Tennysonian schools expanded to supernatural dimensions, and endeavouring by affectations all its own to overshadow its connection with the great original. In the sweep of one single poem, the weird and doubtful Vivien, Mr. Tennyson has concentrated all the epicene force which, wearisomely expanded, constitutes the characteristic of the writers at present under consideration; and if inVivien he has indicated for them the bounds of sensualism in art, he has in Maud, in the dramatic person of the hero, afforded distinct precedent for the hysteric tone and overloaded style which is now so familiar to readers of Mr. Swinburne. The fleshliness of Vivien may indeed be described as the distinct quality held in common by all the members of the last sub- Tennysonian school, and it is a quality which becomes unwholesome when there is no moral or intellectual quality to temper and control it. Fully conscious of this themselves, the fleshly gentlemen have bound themselves by solemn league and covenant to extol fleshliness as the distinct and supreme end of poetic and pictorial art; to aver that poetic expression is greater than poetic thought, and by inference that the body is greater than the soul, and sound superior to sense; and that the poet, properly to develop his poetic faculty, must be an intellectual hermaphrodite, to whom the very facts of day and night are lost in a whirl of æsthetic terminology. After Mr. Tennyson has probed the depths of modern speculation in a series of commanding moods, all right and interesting in him as the reigning personage, the walking gentlemen, knowing that something of the sort is expected from all leading performers, bare their roseate bosoms and aver that they are creedless; the only possible question here being, if any disinterested person cares twopence whether Rosencranz, Guildenstern, and Osric are creedless or not—their self-revelation on that score being so perfectly gratuitous? But having gone so far, it was and is too late to retreat. Rosencranz, Guildenstern, and Osric, finding it impossible to risk an individual bid for the leading business, have arranged all to play leading business together, and mutually to praise, extol, and imitate each other; and although by these measures they have fairly earned for themselves the title of the Mutual Admiration School, they have in a great measure succeeded in their object—to the general stupefaction of a British audience. It is time, therefore, to ascertain whether any of these gentlemen has actually in himself the making of a leading performer. When the Athenum—once more cautious in such matters—advertised nearly every week some interesting particular about Mr. Swinburne's health, Mr. Morris's holiday-making, or Mr. Rossetti's genealogy, varied with such startling statements as We are informed that Mr. Swinburne dashed off his noble ode at a sitting, or Mr. Swinburne's songs have already reached a second edition, or Good poetry seems to be in demand; the first edition of Mr. O'Shaughnessy's poems is exhausted; when the Academy informed us that “During the past year or two Mr. Swinburne has written several novels” (!), and that some review or other is to be praised for giving Mr. Rossetti's poems “the attentive study which they demand”—when we read these things we might or might not know pretty well how and where they originated; but to a provincial eye, perhaps, the whole thing really looked like leading business. It would be scarcely worth while, however, to inquire into the pretensions of the writers on merely literary grounds, because sooner or later all literature finds its own level, whatever criticism may say or do in the matter; but it unfortunately happens in the present case that the fleshly school of verse-writers are, so to speak, public offenders, because they are diligently spreading the seeds of disease broadcast wherever they are read and understood. Their complaint too is catching, and carries off many young persons. What the complaint is, and how it works, may be seen on a very slight examination of the works of Mr. Dante Gabriel Rossetti, to whom we shall confine our attention in the present article. 2. The Bishop Hall quote is added. 3. Like Mr. Simeon Solomon, however, with whom he seems to have many points in common, he is distinctively a colourist, and of his capabilities in colour we cannot speak, though we should guess that they are great; for if there is any good quality by which his poems are specially marked, it is a great sensitiveness to hues and tints as conveyed in poetic epithet. Like Mr. Simeon Solomon, however, with whom he seems to have many points in common, he is distinctively a colourist, and of his capabilities in colour I cannot speak, though I should guess that they are good; for if there is any [omitted] quality by which his poems are specially marked, it is a great sensitiveness to hues and tints as conveyed in poetic epithet. 4. These qualities, which impress the casual spectator of the photographs from his pictures, are to be found abundantly among his verses. On the other hand, those qualities which impress the casual spectator of the photographs from his pictures are to be found abundantly among his verses. 5. There is the same thinness and transparence of design, the same combination of the simple and the grotesque, the same morbid deviation from healthy forms of life, the same sense of weary, wasting, yet exquisite sensuality; nothing virile, nothing tender, nothing completely sane; a superfluity of extreme sensibility, of delight in beautiful forms, hues, and tints, and a deep-seated indifference to all agitating forces and agencies, all tumultuous griefs and sorrows, all the thunderous stress of life, and all the straining storm of speculation. There is the same thinness and transparence of design, the same combination of the simple and the grotesque, the same morbid deviation from healthy forms of life, the same sense of weary, wasting, yet exquisite sensuality; nothing virile, nothing tender, nothing completely sane; a superfluity of extreme sensibility, of delight in affected forms, hues, and tints, and a deep-seated indifference to all agitating forces and agencies, all tumultuous griefs and sorrows, all the thunderous stress of life, and all the straining storm of speculation.
Page 35: 1. Mr. Morris is often pure, fresh, and wholesome as his own great model; Mr. Swinburne startles us more than once by some fine flash of insight; but the mind of Mr. Rossetti is like a glassy mere, broken only by the dive of some water-bird or the hum of winged insects, and brooded over by an atmosphere of insufferable closeness, with a light blue sky above it, sultry depths mirrored within it, and a surface so thickly sown with water-lilies that it retains its glassy smoothness even in the strongest wind. Mr. Morris is often pure, fresh, and wholesome as his own great model; Mr. Swinburne startles us more than once by some fine flash of insight; but the mind of Mr. Rossetti is like a glassy mere, broken only by the 35 dive of some water- bird or the motion of floating insects, and brooded over by an atmosphere of insufferable closeness, with a light blue sky above it, sultry depths mirrored within it, and a surface so thickly sown with water-lilies that it retains its glassy smoothness even in the strongest wind. 2. Although he has been known for many years as a poet as well as a painter—as a painter and poet idolized by his own family and personal associates—and although he has once or twice appeared in print as a contributor to magazines, Mr. Rossetti did not formally appeal to the public until rather more than a year ago, when he published a copious volume of poems, with the announcement that the book, although it contained pieces composed at intervals during a period of many years, “included nothing which the author believes to be immature.” Although he has been known for many years as a poet as well as a painter—as a painter and poet idolized by his own family and personal associates—and although he has often appeared in print as a contributor to magazines, Mr. Rossetti did not formally appeal to the public until rather more than a year ago, when he published a copious volume of poems, with the announcement that the book, although it contained pieces composed at intervals during a period of many years, “included nothing which the author believed to be immature.” 3. This work was inscribed to his brother, Mr. William Rossetti, who, having written much both in poetry and criticism, will perhaps be known to bibliographers as the editor of the worst edition of Shelley which has yet seen the light. This work was inscribed to his brother, Mr. William Rossetti, who, having written much both in poetry and criticism, will perhaps be known to bibliographers as the editor of the worst edition of Shelley which has ever seen the light.
Page 36: 1. Yet we question if there is anything in the unfortunate Poems and Ballads quite so questionable on the score of thorough nastiness as many pieces in Mr. Rossetti's collection. Yet I question if there is anything in the unfortunate “Poems and Ballads” more questionable on the score of thorough nastiness than many pieces in Mr. Rossetti’s collection. 2. It is quite different, however, when a grown man, with the self-control and easy audacity of actual experience, comes forward to chronicle his amorous sensations, and, first proclaiming in a loud voice his literary maturity, and consequent responsibility, shamelessly prints and publishes such a piece of writing as this sonnet on Nuptial Sleep:— It is quite different, however, when a grown person, with the self-control and easy audacity of actual experience, comes forward to chronicle his amorous sensations, and, first proclaiming in a loud voice his literary maturity, and consequent responsibility, shamelessly prints and publishes such a piece of writing as this sonnet on “Nuptial Sleep:”—
Page 37: 1. We hold the sensual part of our nature to be as holy as the spiritual or intellectual part, and we believe that such things must find their equivalent in all; but it is neither poetic, nor manly, nor even human, to obtrude such things as the themes of whole poems. I hold the sensual part of our nature to be as holy as the spiritual or intellectual part, and I believe that such things must find their equivalent in art; but it is neither poetic, nor manly, nor even human, to obtrude such things as the themes of whole poems. 2. Nasty as it is, we are very mistaken if many readers do not think it nice. [insert] English society of one kind purchases the Day's Doings. Nasty as it is, we are very mistaken if many readers do not think it nice. What says the author of “A Scourge for Paper Persecutors,” in 1625, of similar literature?— “Fine wit is shown therein, but finer ’twere 38 English society of one kind purchases the Day's Doings.
Page 38: 1. Mr. Rossetti owes his so-called success [insert] to the same causes. Mr. Rossetti owes his so-called success with our “aunts” and “grandmothers” to the same causes. 2. In poems like Nuptial Sleep, the man who is too sensitive to exhibit his pictures, and so modest that it takes him years to make up his mind to publish his poems, parades his private sensations before a coarse public, and is gratified by their [insert] applause. In poems like Nuptial Sleep, the man who is too sensitive to exhibit his pictures, and so modest that it takes him years to make up his mind to publish his poems, parades his private sensations before a coarse public, and is gratified by their idiotic applause. 3. It must not be supposed that all Mr. Rossetti's poems are made up of trash like this. Some of them are as noteworthy for delicacy of touch as others are for shamelessness of exposition. They contain some exquisite pictures of nature, occasional passages of real meaning, much beautiful phraseology, lines of peculiar sweetness, and epithets chosen with true literary cunning. It must not be supposed that all Mr. Rossetti’s poems are made up of trash like this. [omitted] They contain some fine pictures of nature, occasional passages of real meaning, much clever phraseology, lines of peculiar sweetness, and epithets chosen with true literary cunning. 4. Sometimes, as in The Stream's Secret, it is deliciously modulated, and adds greatly to our emotion of pleasure at perusing a finely-wrought poem; at other times, as in the Last Confession, it is fiercely held in check by the exigencies of a powerful situation and the strength of a dramatic speaker; Sometimes, as in “The Stream’s Secret,” it [omitted] adds greatly to our emotion of pleasure at perusing a finely wrought poem; at other times, as in the “Last Confession,” it is somewhat held in check by the exigencies of a powerful situation and the strength of a dramatic speaker;
Page 39: 1. In petticoats or pantaloons, in modern times or in the middle ages, he is just Mr. Rossetti, a fleshly person, with nothing particular to tell us or teach us, with extreme self-control, a strong sense of colour, and a careful choice of diction. In petticoats or pantaloons, in modern times or in the middle ages, he is just Mr. Rossetti, a fleshly person, with nothing particular to tell us or teach us, with extreme self-control, a strong sense of colour, and a most affected choice of Latin diction. 2. In spite of its affected title, and of numberless affectations throughout the text, the Blessed Damozel has great merits of its own, and a few lines of real genius. In spite of its affected title, and of numberless affectations throughout the text, the Blessed Damozel has [omitted] merits of its own, and a few lines of real genius.
Page 40: What moved the British critic to ecstasy in this poem seems to us very sad nonsense indeed, or, if not sad nonsense, very meretricious affectation. What moved the British criticaster to ecstasy in this poem seems to me very sad nonsense indeed, or, if not sad nonsense, very meretricious 41 affectation.
Page 42: The grotesque mediævalism of Stratton Water and Sister Helen, the mediæval classicism of Troy Town, the false and shallow mysticism of Eden Bower, are one and all essentially imitative, and must have cost the writer much pains. The grotesque mediævalism of “Stratton Water” and “Sister Helen,” the mediæval classicism of “Troy Town,” the false and shallow mysticism of “Eden Bower,” are one and all essentially imitative, and must have caused 43 the writer much pains.
Page 43: The Burden of Nineveh is a philosophical edition of Recollections of the Arabian Nights; A Last Confession and Dante at Verona are, in the minutest trick and form of thought, suggestive of Mr. Browning; and that the sonnets have been largely moulded and inspired by Mrs. Browning [insert] can be ascertained by any critic who will compare them with the Sonnets from the Portuguese. The “Burden of Nineveh” is a philosophical edition of “Recollections of the Arabian Nights;” “A Last Confession” and “Dante at Verona” are, in the minutest trick and form of thought, suggestive of Mr. Browning; and that the sonnets have been largely moulded and inspired by Mrs. Browning, especially in points of phraseology, can be ascertained by any critic who will compare them with the “Sonnets from the Portuguese.”
Page 44: “What more prize than love to impel thee, “What more prize than love to impel thee, [Footnote inserted] * Mr. Rossetti accuses me of garbling these four extracts, and alleges that they have a totally different effect when read with their context. In reply to this, let me observe that the four poems which supply these four extracts are full of coarseness from the first line to the last, and that no extract can fitly convey their unwholesomeness and indecency. See après, p. 64.
Page 45: 1. They, too, bite, scratch, scream, bubble, munch, sweat, writhe, twist, wriggle, foam, and slaver, in a style frightful to hear of. Let us hope that it is only their fun, and that they don't mean half they say. At times, in reading such books as this, one cannot help wishing that things had remained for ever in the asexual state described in Mr. Darwin's great chapter on Palingenesis. They, too, bite, scratch, scream, bubble, munch, sweat, 45 writhe, twist, wriggle, foam, and slaver, in a style frightful to hear of. [omitted] At times, in reading such books as this, one cannot help wishing that things had remained for ever in the asexual state described in Mr. Darwin’s great chapter on Palingenesis. 2. “Nothing,” says a modern writer, “in human life is so utterly remorseless—not love, not hate, not ambition, not vanity—as the artistic or æsthetic instinct morbidly developed to the suppression of conscience and feeling;” “Nothing in human life,” says a modern writer, “is so utterly remorseless—not love, not hate, not ambition, not vanity—as the artistic or æsthetic instinct morbidly developed to the suppression of conscience and feeling;” 3. and at no time do we feel more fully impressed with this truth than after the perusal of Jenny, in some respects the finest poem in the volume, and in all respects the poem best indicative of the true quality of the writer's humanity. and at no time do we feel more fully impressed with this truth than after the perusal of “Jenny,” in some respects the cleverest poem in the volume, and in all respects the poem best indicative of the true quality of the writer’s humanity. 4. It is a production which bears signs of having been suggested by Mr. Buchanan’s quasi-lyrical poems, which it copies in the style of title, and particularly by Artist and Model; but certainly Mr. Rossetti cannot be accused, as the Scottish writer has been accused, of maudlin sentiment and affected tenderness. The two first lines are perfect:— It is a production which bears signs of having been suggested by my own quasi-lyrical poems, which it copies in the style of title, 46 and particularly by “Artist and Model;” * but certainly Mr. Rossetti cannot be accused, as I have been accused, of maudlin sentiment and affected tenderness. The first two lines are perfect:— [Footnote inserted] * Commenting on this remark, Mr. Rossetti avers that he has “never read” my poems, and that, moreover, “Jenny” was written thirteen years ago.
Page 47: Notwithstanding all this, and a certain delicacy and refinement of treatment unusual with this poet, the poem repels and revolts us, and we like Mr. Rossetti least after its perusal. We are angry with the fleshly person at last. The Blessed Damozel puzzled us, the Song of the Bower amused us, the love-sonnet depressed and sickened us, but Jenny, though distinguished by less special viciousness of thought and style than any of these, fairly makes us lose patience. We detect its fleshliness at a glance; we perceive that the scene was fascinating less through its human tenderness than because it, like all the others, possessed an inherent quality of animalism. Notwithstanding all this, and a certain delicacy and refinement of treatment unusual with this poet, the poem is repelling, and one likes Mr. Rossetti least after its perusal. [omitted] The “Blessed Damozel” is puzzling, the “Song of the Bower” is amusing, the love-sonnet is depressing and sickening, but “Jenny,” though distinguished by less special viciousness of thought and style than any of these, fairly makes the reader lose patience. Its fleshliness is apparent at a glance; one perceives that the scene was fascinating less through its human tenderness than because it, like all the others, possessed an inherent quality of Animalism.
Page 48: With the exception of the usual “riotous longing,” which seems to make Mr. Rossetti a burthen to himself, there is nothing to find fault with in the extreme fleshliness of these verses, and to many people who live in the country they may even appear beautiful. With the exception of the usual “riotous longing,” which seems to make Mr. Rossetti a burden to himself, there is nothing to find fault with in the extreme fleshliness of these verses, and to many people [omitted] they may even appear beautiful.
Page 49: 1. It is unnecessary to multiply examples of an affectation which disfigures all these writers—Guildenstern, Rosencranz, and Osric; who, in the same spirit which prompts the ambitious nobodies that rent London theatres in the “empty” season to make up for their dullness by fearfully original “new readings,” distinguish their attempt at leading business by affecting the construction of their grandfathers and great-grandfathers, and the accentuation of the poets of the court of James I. It is unnecessary to multiply examples of an affectation which disfigures all these writers [omitted]; who, in the same spirit which prompts the ambitious nobodies that rent London theatres in the “empty” season to make up for their dulness by fearfully original “new readings,” distinguish their attempt at leading business by affecting the construction of their grandfathers and great-grandfathers, and the accentuation of the poets of the court of James I. 2. It is in all respects a sign of remarkable genius, from this point of view, to rhyme “was” with “grass,” “death” with “lièth,” [insert] “love” with “of,” “once” with “suns,” and so on ad nauseam. It is in all respects a sign of remarkable genius, from this point of view, to rhyme “was” with “grass,” “death” with “lieth,” “gain” with “fountain,” “love” with “of,” “once” with “suns,” and so on ad nauseam.
Page 50: 1. It is on the score that these tricks and affectations have procured the professors a number of imitators, that the [insert] fleshly school deliver their formula that great poets are always to be known because their manner is immediately reproduced by small poets, and that a poet who finds few imitators is probably of inferior rank—by which they mean to infer that they themselves are very great poets indeed. It is on the score that these tricks and affectations have procured the professors a number of imitators, that the small writers of the Fleshly School deliver their formula that great poets are always to be known, because their manner is immediately reproduced by small poets, and that a poet who finds few imitators is probably of inferior rank—by which they mean to infer that they themselves are very great poets indeed. 2. On the stage, twenty provincial “stars” copy Charles Kean, while not one copies his father; there are dozens of actors who reproduce Mr. Charles Dillon, and not one who attempts to reproduce Macready. When we take up the poems of Mr. O'Shaughnessy,* we are face to face with a second-hand Mr. Swinburne; when we read Mr. Payne's queer allegories,* we remember Mr. Morris's early stage; and every poem of Mr. Marston's† reminds us of Mr. Rossetti. But what is really most droll and puzzling in the matter is, that these imitators seem to have no difficulty whatever in writing nearly, if not quite, as well as their masters. On the stage, twenty provincial “stars” copy Charles Kean, while not one copies his father; there are dozens of actors who reproduce Mr. Charles Dillon, and not one who attempts to reproduce Macready. [sentence and related footnotes omitted]
Page 53: 1. Thus Mr. Rossetti sings:— “Why did you melt your waxen man, This burthen is repeated, with little or no alteration, through thirty-four verses, and might with as much music, and far more point, run as follows:— Why did you melt your waxen man, About as much to the point is a burthen of Mr. Swinburne's, something to the following effect:— Thus Mr. Rossetti sings:— “Why did you melt your waxen man, This burden is repeated, with little or no alteration, through thirty-four verses. [omitted] About as much to the point is a burden of Mr. Swinburne’s, something to the following effect:— 2. About as much to the point is a burthen of Mr. Swinburne's, something to the following effect:— “We were three maidens in the green corn, We are not quite certain of the words, as we quote from memory, but we are sure our version fairly represents the original, and is quite as expressive. Productions of this sort are “silly sooth” in good earnest, though they delight some newspaper critics of the day, and are copied by young gentlemen with animal faculties morbidly developed by too much tobacco and too little exercise. About as much to the point is a burden of Mr. Swinburne’s, something to the following effect:— “We were three maidens in the green corn, [omitted] Productions of this sort are “silly sooth” in good earnest, though they delight some newspaper critics of the day, and are copied by young gentlemen with animal faculties morbidly developed by too much tobacco and too little exercise.
Page 54: 1. We may remark here that poems of this unnatural and morbid kind are only tolerable when they embody a profound meaning, as do Coleridge's Ancient Mariner and Cristabel. I may remark here that productions of this unnatural and morbid kind are only tolerable when they embody a profound meaning, as do Coleridge’s “Ancient Mariner” and “Cristabel.” 2. Still more unmistakable is the influence of that most unwholesome poet, Beddoes, who, with all his great powers [insert], treated his subjects in a thoroughly insincere manner, and is now justly forgotten. Still more unmistakable is the influence of that [omitted] unwholesome poet, Beddoes, who, with all his great powers (unmistakably superior to those of any of the present Fleshly School), treated his subjects in a thoroughly insincere manner, and is now justly forgotten. 3. Glancing backward into the shady places of the obscure, we see the once prosperous nonsense-writers each now consigned to his own little limbo—Skelton and Gower still playing fantastic tricks with the mother-tongue; Gascoigne outlasting the applause of all, and living to see his own works buried before him; Glancing backward into the shady places of the obscure, we have seen the once prosperous nonsense-writers each now consigned to his own little limbo—Skelton and Gower still playing fantastic tricks with the mother-tongue; Gascoigne outlasting the applause of all, and living to see his own works buried before him;* [Footnote inserted] * Gascoigne’s verse is noticeable, like Mr. Swinburne’s, for its laboured and wearisome alliteration; but the “Good Morrow” and “Good Night” are simple and graceful enough to save his fame from utter shipwreck.
Page 55: 1. Waller, the famous, saved from oblivion by the natural note of one single song— Waller, the famous, saved from oblivion by the natural note of one single song*— [Footnote inserted] * “Go, lovely Rose.” 2. Our judgment on Mr. Rossetti, to whom we in the meantime confine our judgment, is substantially that of the North American Reviewer, who believes that “we have in him another poetical man, and a man markedly poetical, and of a kind apparently, though not radically, different from any of our secondary writers of poetry, but that we have not in him a new poet of any weight;” and that he is “so affected, sentimental, and painfully self-conscious, that the best to be done in his case is to hope that this book of his, having unpacked his bosom of so much that is unhealthy, may have done him more good than it has given others pleasure.” My judgment on Mr. Rossetti, to whom I in the meantime confine my judgment, is substantially that of the North American Reviewer, who believes that “we have in him another poetical man, and a man markedly poetical, and of a kind apparently, though not radically, different from any of our secondary writers of poetry, but that we have not in him a new poet of any weight;” and that he is “so affected, sentimental, and painfully self-conscious, that the best to be done in his case is to hope that this book of his, having unpacked his bosom of so much that is unhealthy, may have done him more good than it has given others pleasure.”† [Footnote inserted] † It is only fair to add that the Reviewer merely gives this as the judgment he was “inclined” to pronounce, only that to say so in as many words might lead to the misconception that Mr. Rossetti had no literary merit whatever. 3. Such, we say, is our opinion, which might very well be wrong, and have to undergo modification, if Mr. Rossetti was younger and less self-possessed. Such, I say, is my opinion, which might very well be wrong, and have to undergo modification, if Mr. Rossetti were younger and less self-possessed. _____
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