“We know not where the haven of a soul is set,” said Annette, dropping the figure. “God knows, for he has set it, near or far; and it may be nearer than we think. It is scarcely worth while for a man to lose his soul by jumping overboard at ten o'clock, when he may save it, and be drowned too, at eleven.”
Lawrence drew back as a great wave rose before them. He had only been playing at death; the reality was quite another thing. Chilled and drenched with spray, they hurried down to their stateroom.
It was a weary journey. After the storm came head-winds, and after the head-winds a fog, through which they crept, ringing the fog-bell, and stopping now and then.
Mr. and Mrs. Ward did not appear once among the passengers, even when everybody crowded up to catch the first glimpse of Ireland, and they were the last to appear when the passengers prepared to land at Liverpool. They had been a fortnight from home, the storm having delayed them two days, and they knew not what might have happened in that time. A telegram might have sped under the waves in an hour while they toiled over them, and just at the moment of escape their flight might be intercepted.
To Be Continued.
Dante Gabriel Rosetti.[84]
It is not difficult to understand the title which has been bestowed upon Mr. Rosetti of the “Poets' Poet.” His volume is full of delicate rhythmical experiments—winding bouts of melody with subtle catches of silence interspersed—which alternately pique and satisfy. No brother of the craft could fail to obtain valuable hints from these studies. But Mr. Rosetti is no mere word-poiser; he is an artist in the highest sense of the word, whose canvas teems with a thousand nameless lights, which as they cross and disappear make all the difference between the real and the unreal.
During the two years or more that Mr. Rosetti's volume has been before the English-reading public on both sides of the Atlantic, it has been frequently reviewed. Perhaps the best justification of the present review is that, over and above purely literary merits, Mr. Rosetti has peculiar claims upon the interest of Catholic readers, to which we would draw attention.
We gather from the brief notice at the beginning of the volume that many of these poems were composed twenty years ago, yet, if we except the occasional appearance of a single poem in the pages of a magazine, Mr. Rosetti has published nothing before. We can hardly believe that even the barbarians of twenty years ago can have combined against his publishing, like Mr. Bazzard's friends in Edwin Drood, and so we must suppose that he was fain to wait for the severest of all criticisms—that passed by a middle-aged man upon the productions of his youth. And now, having altered something and burnt more—had he waited, he would have found old age more indulgent—he publishes the remnant, all of which, he tells us justly enough, is mature, for which his mature age is sponsor.