Weary Wedding has the concentration and colour of a great drama, and the quaintness of its style lends it something of the power of a grotesque. The ballad of The Witch-Mother, a mediæval Medea who slays her children because her lord is faithless, is worth reading on account of its horrible simplicity. The Bride’s Tragedy, with its strange refrain of

In, in, out and in,
Blaws the wind and whirls the whin:

The Jacobite’s Exile—

O lordly flow the Loire and Seine,
And loud the dark Durance:
But bonnier shine the braes of Tyne
Than a’ the fields of France;
And the waves of Till that speak sae still
Gleam goodlier where they glance:

The Tyneside Widow and A Reiver’s Neck-verse are all poems of fine imaginative power, and some of them are terrible in their fierce intensity of passion. There is no danger of English poetry narrowing itself to a form so limited as the romantic ballad in dialect. It is of too vital a growth for that. So we may welcome Mr. Swinburne’s masterly experiments with the hope that things which are inimitable will not be imitated. The collection is completed by a few poems on children, some sonnets, a threnody on John William Inchbold, and a lovely lyric entitled The Interpreters.

In human thought have all things habitation;
Our days
Laugh, lower, and lighten past, and find no station
That stays.

But thought and faith are mightier things than time
Can wrong,
Made splendid once by speech, or made sublime
By song.

Remembrance, though the tide of change that rolls
Wax hoary,
Gives earth and heaven, for song’s sake and the soul’s,
Their glory.

Certainly, ‘for song’s sake’ we should love Mr. Swinburne’s work, cannot, indeed, help loving it, so marvellous a music-maker is he. But what of the soul? For the soul we must go elsewhere.

Poems and Ballads. Third Series. By Algernon Charles Swinburne. (Chatto and Windus.)

A CHINESE SAGE
(Speaker, February 8, 1890.)

An eminent Oxford theologian once remarked that his only objection to modern progress was that it progressed forward instead of backward—a view that so fascinated a certain artistic undergraduate that he promptly wrote an essay upon some unnoticed analogies between the development of ideas and the movements of the common sea-crab. I feel sure the Speaker will not be suspected even by its most enthusiastic friends of holding this dangerous heresy of retrogression. But I must candidly admit that I have come to the conclusion that the most caustic criticism of modern life I have met with for some time is that contained in the writings of the learned Chuang Tzŭ, recently translated into the vulgar tongue by Mr. Herbert Giles, Her Majesty’s Consul at Tamsui.