its favor, or he too, like the author of Paracelsus and Bishop Blosegram’s Apology, might have used his poetry as a fantastic costume for crude psychological problems and for the mind-darkness of doubt. The distinguishing characteristic of his poetry is the exquisitely artistic finish of its expression. Every line shows signs of careful toil. His genius has been without doubt hampered by it. He is more artist than poet; and, as though conscious of this, he seems to claim inspiration by an affectation of oracular obscurity. Yet not unseldom the refined simplicity of word and phrase, the grace of imagery, and all the artistic brilliance of choicest ornament express poetry, although never of a very high order. An elegiac poem such as In Memoriam, of nearly seven hundred quatrains, however beautiful in expression, has “unreal” on the face of it; and that is fatal to its pretensions as a poem. Yet are there indications here and there of true poetic feeling.
Painful is it, and not without shame, to have a difference with all the world of criticism. But if we have reason, our fellow-critics will not disdain us; and if we have not, we throw the blame on our theory of poetry. But there is a modern poet—Rossetti—whom, on the whole, we must place on a higher pedestal than Tennyson. With an equal simplicity of word and phrase, a refinement of expression not inferior, he has the art, if it be the result of art, to conceal his art. It is true he has all the artistic finish of Tennyson—so much so that we cannot but feel that it is an artist who is singing to us; but the artist disappears in the poet. We must disenchant ourselves of the thrall of his poetry before we can criticise the artistic perfectness of its expression.
It is not only that, as Tennyson, he paints scenes of nature and human doings with consummate art; but, true poet that he is, he catches the very life of nature and it throbs within his verse. His soul echoes to the Beautiful and the True imaged in nature through all her modes and forms of color, scent, and sound; he reads their meaning; and when he reproduces them, as Mr. Stedman has it, “in different combinations,” they are as suggestive of those ideas of God as the very images of nature herself. Take, for example, the eleventh song in The House of Life—The Sea Limits:
“Consider the sea’s listless chime:
Time’s self it is made audible—
The murmur of the earth’s own shell.
Secret continuance sublime
Is the sea’s end: our sight may pass
No furlong further. Since time was
This sound hath told the lapse of time.