"If this volume is the mere prelude of a mind growing in power, we have in it the promise of a fine poet.... In 'The Wandering Soul,' the verse describing Socrates has that highest note of critical poetry, that in it epigram becomes vivid with life, and life reveals its inherent paradox. It would be difficult to describe the famous irony of Socrates in more poetical and more accurate words than by saying that he doubted men's doubts away."—Spectator, February 17th, 1872.
"In all this poetry there is a purity and delicacy of feeling which comes over one like morning air."—Graphic, March 16th, 1872.
second series.
"In earnestness, sweetness, and the gift of depicting nature, the writer may be pronounced a worthy disciple of his compatriot, Henry Vaughan, the Silurist. Several of the shorter poems are instinct with a noble purpose and a high ideal of life. One perfect picture, marginally annotated, so to speak, in the speculations which it calls forth, is 'The Organ-Boy.' But the most noteworthy poem is the 'Ode on a Fair Spring Morning,' which has somewhat of the charm and truth to nature of 'L'Allegro' and 'Il Penseroso.' It is the nearest approach to a master-piece in the volume."—Saturday Review, May 30th, 1874.
"This volume is a real advance on its predecessor of the same name, and contains at least one poem of great originality, as well as many of much tenderness, sweetness, and beauty. 'The Organ-Boy' we have read again and again, with fresh pleasure on every reading. It is as exquisite a little poem as we have read for many a day."—Spectator, June 13th, 1874.
"The reception of the New Writer's first series shows that, in his degree, he is one of the poetical forces of the time. Of the school of poetry of which Horace is the highest master, he is a not undistinguished pupil."—Academy, August 11th, 1874.
"The verses are full of melodious charm, and sing themselves almost without music."—Blackwood's, August 1st, 1874.
third series.
"Not unworthy of its predecessors. It presents the same command of metre and diction, the same contrasts of mood, the same grace and sweetness. It cannot be denied that he has won a definite position among contemporary poets."—Times, October 16th, 1875.
"'Evensong' shows power thought, and courage to grapple with the profoundest problems. In the 'Ode to Free Rome' we find worthy treatment of the subject and passionate expression of generous sympathy."—Saturday Review, July 31st, 1875.