Professor Erskine of Columbia University compiled this volume from Hearn’s lectures delivered at the University of Tokyo in 1896-1902. The major division includes analyses and studies of Rossetti, Swinburne, Browning, Morris, and Meredith. Corollary to this, are notes upon Rossetti’s prose, and Meredith’s “The Shaving of Shagpat”. A consideration of the harsh Scotch conservatist, Robert Buchanan, and the contemporary poet of quiet effects, Robert Bridges, conclude the volume.
Hearn discerns Rossetti’s thoughtful melancholy, sensuous touches, and mystic feeling. The pictorial quality and medievalistic setting of the poet and the painter’s verse are traced artistically throughout the shorter narrative poems, “Rose Mary” and “The Bride’s Prelude”. The technical construction that underlies the poet’s exotic color and temperament, is emphasized by Hearn as a proof of Rossetti’s energetic intellect.
Swinburne is classified as the greatest English verse writer, scholar, critic, and living dramatist. He is a pessimistic evolutionist preaching almost an immoral law, contrasting vividly with George Meredith. As a further contrast the problem of evil is approached by Swinburne much in the same way as the German philosopher Nietzsche. The music of this poet’s verse, the brilliance of his language, the value and beauty of his diction are revealed logically and enthusiastically by Hearn.
Our critic finds an optimistic pantheism and an intense individualism in Browning and paraphrases excellently some of his poems, but there is, unfortunately, no consideration of Browning’s paradoxical interpretation of Love. William Morris’s “refuge from life” in art and artistry in Norse subjects are translated into expressive prose. “No man ever worked harder for romantic literature and romantic art, and few men have made so deep an impression into the aesthetic sentiments of the English public.”
His interpolation of minute textual explanations diverts the reader’s attention and destroys the general poetic illusion. In addition, there is a failure to note nuances of character and a desire to substitute phantasy for somberness. His book is overcast with an occasional lack of logic and frequent overwriting, but his simple yet analytical paraphrasing, keen and emotionally appreciative imagination, and unbiased, reasoned opinions make the volume first-class criticism in technique, style, classification, and general achievement.
T. A. Z.
Editor’s Table
As they sat about the Editor’s table, shivering, their coats buttoned high about their throats, Richard Cory, Bukis, Ahaseurus, and Mr. Benson resembled those Russian students we hear of, with their thin red hands and noses, their visible frosty breaths clouding the printed page, their chattering teeth interrupting speech.
But Russian students can usually read their own language. This was more than Richard Cory, Bukis, Ahaseurus, and Mr. Benson could do. There was evidently more of a turn than usual in the University towards an individual modern style.