I was just thinking of sending off my long-delayed acknowledgment of your charming volume, with its friendly dedication (which I take as a great compliment, and sincerely thank you for) when your post card arrived. These new poems must, I feel sure, add much to your poetic reputation. I have just finished my first reading of them; but feel that I shall have to go back many times to appreciate all their complex harmonies of sense and rhythm. On a first superficial reading, I incline to think that the marks of power cluster most about the poem of Sospitra. Also, I prefer the Transcripts from Nature, to the various poems included in Earth’s Voices, admirable as I think many of the latter to be, e. g., The Song of the Flowers, The Field Mouse, The Song of the Thrush, The Cry of the Tiger, The Chant of the Lion, The Hymn of the Autumn. This looks shamefully matter-of-fact. But then, you asked me to tell you precisely which I preferred. The Shadowed Souls, among the short pieces, I find very beautiful. The whole volume seems to me distinguishable among latter-day poetry for its cheerfulness and animation, and of course the Australian pieces are delightfully novel and fresh. Many thanks, again, from
Yours very sincerely,
Walter H. Pater.
In an article on Christina Rossetti, William Sharp relates:
“In the beginning of May, 1884, I called to see Miss Rossetti and to leave with her a copy of a just-published volume of verse, but failed to find her at home. The poem I cared most for was the epilogue, Madonna Natura, but instinct told me Miss Rossetti would neither like nor approve so pagan an utterance, and the surmise was correct:
30 Torrington Square, W. C.,
May 3, 1884.
Dear Mr. Sharp,
I might say “Why do you call just when we are out?” only that you might retort “Why are you out just when I call?”
Thank you very much for your new volume and yet more for the kindness which enriches the gift. Be sure my Mother and I retain you in friendly remembrance.