JHBRHllI f 1 1 1 i ,: ,,,■.. .1. ', ■ V Hi ■ ■ ■ ■ ■ ■ I ^»:lt:iHH HI mm M LIBRARY OF CONGRESS DD HSHLn aHHnH 1 Hi ■■H ■M ^H :j & ? ^ ^ 6« <-+ the very bare bones of conjecture, the suggestion of a skeleton character — but actually, as far as it was anything at all, so associated with ideas simply ludicrous and base that the very name of "Potiphar's wife" has the sound of a coarse by- word. To prove by detailed extracts the truth of what has been said is no light task within such limits as ours. Still it must surely be evident to any reader that the following is a noble and most dramatic opening, worthy of Shakespeare's own art and judgment. Phraxanor enters laughing, and turns suddenly upon the steward: — "I check in my laughter; dost thou notice it? Canst tell me why? Joseph. Madam, I have not thought. Phraxanor. Wert thou to guess on the left side of me Thou'dst wake the knowledge. Joseph. How so? I do not see. An Unknown Poet 125 Phraxanor. Because my heart doth grow on the left side. . . . Ah me ! alas ! My mirth was of my head, not of my heart, And mocked my patience. Joseph. I am grieved at this. Phraxanor. Nay, no physician e'er did heal a wound By grieving at the hurt. Yet a white hand O'erspreaded with the tendril veins of youth Hath quieted a lady's gentle side, And taught her how to smile. . . . Thou dwell'dst at Canaan, said'st thou? Joseph. Madam, I did. Phraxanor. What kind of air? Joseph. Warm and congenial. Phraxanor. Indeed? I've generally heard that men Are favoured of the climate where they live. Bethink thee — surely our hot Egypt has Swolten thy recollection of the place. Thou'rt like a man that's nurtured upon ice, Fed with a spongy snow. . . . Congenial, said'st thou? — There's no drop that's warm Coursing another round those purple veins. Here, let me touch your hand; it is cold — cold — I've Egypt's sun in mine. Joseph. Pure fire indeed. You do mistake; my hand is not so cold; Though I confess I've known it warmer far, For I have struggled against heated blood And am proficient in forbearances. Phraxanor. Indeed? are women's wits then merely dust Blown by a puff of resolution Into their doting eyes? Joseph. Wit is but air — For dust the queen becomes; if she be good, She breaks to gold and diamond dust, past worth, 126 A Pilgrimage of Pleasure The proper metal of a perfect star; If she be not, embalming is no cure. Phraxanor. Nay, throw aside This ponderous mask of gravity you wear, Or give it me, and I will cast it forth To where my husband governs his affairs; It will not reach him, nor be recognised More than if he were blind. Come here, I say — Come here. Joseph. What would you, madam? I attend. Phraxanor. Why, put your fingers on my burning brow That you have stirred into this quenchable heat, And touch the mischief that your eye has made — Do it, I say, or I will raise the house — Why, that is well. Now I will never say A sudden word to startle thee again, But use the gentlest breath a woman has. Aye, now you may remove your hand. Yet stay — I did not say withdraw it; you mistake; You are too jealous of the wondrous toy, Leave it with me and I will give you mine; I hold it as a bird that I do love, Yet fear to lose. — Fie on that steward's ring ! Now, should it slip, it will fall in my neck." Left alone, and foiled for a time, she questions thus with herself; "Now should I be revenged of mine own face, And with my nails dig all this beauty out And pit it into honeycombs. Yet no; I will enjoy the air; feed daintily; Be bountiful in smiles; . . . For he who will not stoop him for desire Strides o'er that pity which is short of death. An Unknown Poet 127 Vaporous desire like a flame delayed Creeps in my pulses and babbles of its bounds Too mean, too limited a girth for it. Impatience frets me; yet I will be proud And muse upon the conquest ere 'tis won, For won it shall be. Oh dull Potiphar, To leave thy wife and travel for thy thrift While such a spirit tendeth here her wine. Ho, give me music there — play louder — so." The passion of these scenes is managed with such a noble temperance and so just an art, that a first reading even of the play in full, instead of those mangled extracts, plucked up almost at haz- ard, will hardly suffice to show the author's superb mastery of his own genius. Such wealth and such wisdom in the use of it, such luxury and such for- bearance of style, are in the highest Elizabethan manner. In the next scene Phraxanor reasons of love with an attendant, whose character, the very dimmest sketch possible, is designed seemingly as a relief to her own. There is a flavour of sentimental chastity in the few speeches allotted her which makes them feeble and flimsy enough; but this weak emptiness of the girl serves somehow to set off and exalt the splendid sensuous vigour of Phraxanor's share in the dialogue. Here again we can but give the opening, and a few more casual fragments. The scene is of some length, but throughout of solid and exquisite value. "Phraxanor. Dost thou despise love then? Attendant. Madam, not quite: 128 A Pilgrimage of Pleasure A ruby that is pure is better worth Than one that's flawed and streaked with the light; So is a heart. Phraxanor. A ruby that is flawed Is better worth than one that's sunk a mile Beneath the dry sand of some desert place; So is a heart. Attendant. Then, madam, you would say That there is nothing in the world but love. Phraxanor. Not quite; but I would say the fiery sun Doth not o'ershine the galaxy so far; Nor doth a torch within a jewelled mine Amaze the eye beyond this diamond here More than the ruddy offices of love Do glow before the common steps of life." This last has the absolute ring of Shakespeare; "pure fire indeed." There are in the same scene two magnificent passages of prolonged and subtle rhetoric, finer perhaps as pieces of conscious and imperious sophistry than anything in the way of poetical reasoning that has since been done. The first, a panegyric on love; "Bravery of suits enriching the bright eye; Sweetness of person; pleasure in discourse; And all the reasons why men love themselves; Nay, even high offices, renown and praise, Greatness of name, honour of men's regard, Power and state and sumptuous array, Do pay a tribute at the lips of love. Though but the footstool of a royal king, When we betray and trip him to the earth His crown doth roll beneath us. Horses have not Such power to grace their lords or break their necks As we, for we add passion to our power." An Unknown Poet 129 The second passage referred to is deeper in thought and more intricate in writing than any other speech in the play. It is a subtle plea in defence of inconstancy in women; this incon- stancy, as governed and directed by art and prac- tical skill, being (in the speaker's mind) the substitute for that laborious singleness of heart and devotion of the will to bare truth which make a man the stronger by nature of the two, but which a woman cannot (it is argued) attain or retain without violating her nature and abdicating her power upon man. Truth is indeed the grand- est of abstractions: — "Truth is sublime; the unique excellence; The height of wisdom, the supreme of power, The principle and pivot of the world, The keystone that sustains the arched heavens; And Time, the fragment of Eternity, Eternity itself, but fills the scale In Truth's untrembling hand. His votaries Belong to him entire, not he to them; The immolation must be all complete, And woman still makes reservation. Our feeling, wench, is like the current coin, No counterfeit, for it doth bear our weight, The perfect image, absolute, enthroned; Now the king's coin belongs to many men And only by allowance is called his; Just so our feeling stands with circumstance." But the power to pierce through personal thought to absolute truth, the "reasoning imagination" proper to man, 130 A Pilgrimage of Pleasure "Is compromised in our maternal sex; Ours is a present, not an abstract power." That is why art is wanted to make the balance sway back to the woman's side : "If Art and Honesty do run a race, Which tumbles in the mire? ask those that starve. Therefore since Truth requires that I should lay Me prostrate at her feet and worship her Rather than wield her sceptre and her power, ,1 shall be bold to follow mine own way And use the world as I find wit and means; And as I know of nothing but old age, So nothing will I fear: — but I waste words You do not understand." She then turns back the discourse to questions of love, handling (as it were) her own heart deli- cately, and weighing beforehand the power of her senses to bear pleasure. "The sultry hour well suits occasion; That silk of gossamer like tawny gold — Throw it on loosely. . . . See to the neck; fit thou some tender lace About the rim. The precious jewel shown But scantily is oft desired most, And tender nets scare not the timid bird. A little secret is a tempting thing Beyond wide truth's confession. Give me flowers That I may hang them in my ample hair; And sprinkle me with lavender and myrrh. Zone me around with a broad chain of gold And wreath my arms with pearls. So — this will do." Now at length, after all this noble repose of prep- An Unknown Poet 131 aration, Joseph enters with a message from his master. She fastens upon him at once. "Phraxanor. Put that to rest. Give me that golden box, there's ointment in it. [She spills it on his head. Joseph. Madam, what must I say? My state is low, Yet you do treat me as you might my lord When he besought your hand. Phraxanor. Must I get up And cast myself in your sustaining arms To sink you to a seat? — Come, sit — sit. Now I will neighbour you and tell you why I cast that ointment on you. Joseph. I did not Desire it. Phraxanor. You asked me for it. Joseph. Madam ? Phraxanor. You breathed upon me as you did advance, And sweets do love sweets for an offering. My breath is sweet as subtle, yet I dared Not put my lips half close enough to thine To render back the favour : so I say The obligation did demand as much." This scene is throughout managed with such supreme dexterity that one overlooks the almost ludicrous or repellent side of it, for which Mr. Wells is not responsible. The temptress here is not repulsive, and the hero is hardly ridiculous. We continue our task of inadequate selection and enforced mutilation: let only the reader recollect that what appears here rough and im- perfect is in the original smooth, just, and com- plete. Every precious thing here given is forcibly wrenched out of a setting not less precious. 132 A Pilgrimage of Pleasure "Phraxanor. Listen to me, or else I'll set my little foot upon thy neck. ... A poisoned cup Might curdle all the features of thy face, But this same blandishment upon my brow, Could never chase the colour from thy cheeks. Contemptible darkness never yet did dull The splendour of love's penetrating light. At love's slight curtains that are made of sighs, Though e'er so dark, silence is seen to stand Like to a flower closed in the night. Pulses do sound quick music in love's ear, And blended fragrance in his startled breath Doth hang the hair with drops of magic dew. All outward thoughts, all common circumstance, Are buried in the dimple of his smile; And the great city like a vision sails From out the closing doors of the hushed mind. His heart strikes audibly against his ribs As a dove's wing doth freak upon a cage, Forcing the blood athro' the cramped veins Faster than dolphins do o'ershoot the tide Coursed by the yawning shark. Therefore, I say, Night-blooming Ceres, and the star-flower sweet, The honeysuckle, and the eglantine, And the ring'd vinous tree that yields red wine, Together with all intertwining flowers, Are plants most fit to ramble o'er each other And form the bower of all-precious love, Shrouding the sun with fragrant bloom and leaves From jealous interception of love's gaze. Henceforth I'll never knit with glossed bone, But interlace my fingers around thine, And ravel them, and interlace again, An Unknown Poet 133 So that no work that's done content the eye, That I may never weary in my work. Beware ! you'll crack my lace. Joseph. You will be hurt. Phraxanor. O for some savage strength! Joseph. Away ! Away ! Phraxanor. So you are loose — I pray you kill me — do. Joseph. Let me pass out at door. Phraxanor. I have a mind You shall at once walk with those honest limbs Into your grave." -The quiet heavy malice of that is as worthy of Shakespeare as the elaborate and faultless music of the passage on love. By way of reply to all this Joseph sums up the benefits he has received at the hands of Potiphar; ending thus: "Madam! this man Into whose noble and confiding breast I will not thrust a vile ensanguined hand To tear from thence a palpitating heart, Is your most honourable lord and mine. [She stamps her foot. Phraxanor. Leap to thy feet, I say, unless thou wouldst Set up to be the universal fool. Thou art right well enamoured of this lord — 'My lord' — 'my lord' — canst thou not ever mouth That word distinctly from 'my lady'? out on 'My lord' ! he surely shall be paid full home That honours lords above a lady's love. Thou hast no lord but me — I am thy lord — And thou shalt find it too: fool that I was 134 A Pilgrimage of Pleasure To stoop my stateliness to such a calf Because he bore about a panther's hide! Were't not that royalty has kissed my hand I'd surely strike thee. Joseph. Madam! be temperate. Phraxanor. Dost thou expect to live! — Who bade thee speak ? impudent slave, beware ! Thou shalt be whipped. . . . Disgrace to Egypt and her burning air ! Thou shalt not stay in Egypt. Joseph. I grieve at that. Phraxanor. I'm changed. Thou shalt stay here — and since I see There is no spirit of life in all this show, Only a cheat unto the sanguine eye, Thou shalt be given to the leech's hands To study causes on thy bloodless heart Why men should be like geese. . . . . . . These knees, That ne'er did bend but to pluck suitors up And put them out of hope — Oh, I am mad! These feet by common accident have trod On better necks than e'er bowed to the king, And must I tie them in a band of list Before a slave like thee? Joseph. Still I look honestly. Phraxanor. Thy looks are grievous liars, like my eyes; They juggled me to think thou wert a man. If seeming make men, thou art one indeed. Seeming, forsooth ! Why, what hadst thou to do, When thou might'st feast thy lips on my eye-lids, To hang thy head o'er thy left shoulder thus — Blinking at honesty? . . . . . . Thou Honesty! Show me thy proper pet, that when one such An Unknown Poet 135 In all her soberness may meet my eye, I may prepare to burn her with my gaze. Soft! what a fool am I to rave about! I have mistook my passion all this while; Thou implement of honesty, it is Not scorn but laughter that is due to thee. I'll keep thee as an antic, that when dull Thou may'st kill heavy time. Dry as a wild boar's tongue in honesty — And yet that hath an essence tending to Its savage growth. Thou shock of beaten corn! Thou hollow pit, lacking a goodly spring! Tempting the thirsty soul to come and drink, Then cheating him with dust and barrenness — Thou laughable affectation of man's form! . . . Are all those Canaanites Like you? ha? Joseph. An they were, 'twere no disgrace. Phraxanor. I'll prick my arm and they shall suck the blood To make men of them. . . . Ah thou poor temperate and drowsy drone! You empty glass ! you balk to eyes, lips, hands ! Ha, ha ! I will command the masons straight Hew you in stone and set you on the gate Hard by the public walk where dames resort; Therein you shall fool more admiring eyes (A plague upon these embers in my throat), For you fooled mine, and I like company. Joseph. You do me bitter wrong — unladylike — A scourgeable, a scarlet-hooded wrong, When thus you pack my shoulders with your shame. Phraxanor. Ha! have I touched thee? art thou sensible? I prithee do not fret, my pretty lute, I shall shed tears, sweet music, if thou fret. 136 A Pilgrimage of Pleasure Thou shalt be free like a rare charmed snake To range a woman's secret chamber through. Here, take my mantle, gird it o'er thy loins, And steep thy somewhat browned face in milk: I have a sister, a young tender thing, To her I will prefer thee, a she-squire, To brace her garments and to bleach her back With sweet of almonds. A mere parrot thou, Tiring her idle ear, and gaping for An almond for thy pains. O thou dull snipe! Joseph. This may be well, but it affects not me. Phraxanor. O madam! do not fret — madam, I say! Joseph. O peace ! you pass all bounds of modesty. Phraxanor. Pray write upon thy cap 'This is a man' — A plague and the pink fever fall on thee! I am thrown out — thou'st nettled me outright — Who knocks there? wait awhile, the door is fast: — Nay, stand thou here, I will not let thee pass." It would be impertinent to remark on the mar- vellous grace and strength of all this — the subtle rapid changes of passion, the life and heat of blood in every verse, the sublime intense power of con- tempt which seems to make the written words bite and burn, the swift dramatic unison of so many- sudden and sharp fancies of wrath with the aptest and most facile expression. Perhaps, however, the chief success is still behind ; for after the return of Potiphar it must have been a labour of especial difficulty to keep up the scene at the same pitch. Nevertheless, the writer's power never flags or falls off for an instant, from the moment when Phraxanor turns from Joseph towards her return- ing husband*— « An Unknown Poet 137 "My injuries rejoice; I turn my back on thee as on the dead. — Ah! give me breath." The picture of Joseph's fidelity is as fine as her invective : — "Your trust was pure as silver, bright as a flame, Forged in your equity, fined in your truth, Stubborn in honesty as stapled iron: Your charity was wise, like soaking rain That falleth in a famine on that ground That hath the seed locked up. So far, all honour. Your love and duty to my lord were like A mine of gold ; but out, alas ! the fault — You fell in twain like to a rotten plank When he was tempted in to count his wealth — There was no bottom to 't, he broke his neck. — Will you praise him, my honoured lord? Potiphar. Why so? Phraxanor. Because he never must be praised again." This is another of those instances of reserve which abound in Shakespeare only. Touches like these occur in Webster, but hardly in any third drama- tist. Cyril Tourneur perhaps has hit here and there upon something of the same effect. The hesitation of Potiphar to believe a charge so incongruous as that laid upon Joseph is ad- mirably given; not less admirable is the explana- tion of Phraxanor, which if the space were larger might here be cited. Joseph's vindication of his father's honour from the taunts of both wife and husband is another noble and quotable passage; and the fierce brief inquisition of Phraxanor 138 A Pilgrimage of Pleasure which follows it is as dramatic as anything in the great preceding scene. We can spare space but for one more extract. "Joseph. If I did ever wrong thee in an act, In thought, or in imagination, May I never taste bread again. Oh God! Try me not thus: my infirmity is love; I can be dumb and suffer, but must speak When there's a strife of love between two hearts. Phraxanor. Ha, thou still wear'st thy heart upon thy tongue And paint'st the raven white with cunning words: Slave, thou art over-bold, because thou think'st The grossness of thine outrage seals my lips: But thou shalt be deceived; behold this chain: Say, did it fall in twain of its own weight, Or was it broken by thy violence? Speak — liar. [She plucks him by the beard. Joseph. Madam, try rather at my heart. Potiphar. Phraxanor, you forget your dignity. Phraxanor. My lord, my indented lips still taste of his: Myrah, bring water here and wash my hand — It is offended by this leprous slave. Potiphar. How dar'st thou do as thou hast been accused? Phraxanor. Thou hast denied me; what hast thou to say? Phraxanor. Put him to that; aye, let him answer that. Joseph. I am like a simple dove within a net, The more I strive, the faster I am bound. My wit is plain and straight, not crooked craft; The sight that reaches heaven tires in a lane. Phraxanor. You will not answer; 'tis the strangest knave I ever met or heard of in my time." Baited thus, he turns upon her at last, and avows — "She would have tempted me, but I refused To heap up pain on my so honoured lord. An Unknown Poet 139 Phraxanor. Ha, ha! there is your steward, 'honoured lord' — His masterpiece of wit is shown at last. Ha, ha! I pray you now take no offence, But let him go, and slip your slight revenge. Now that the man is known I have no fear. Thus cunning ever spoileth its own batch — Doth it not, steward? Hold him still in trust — But for this fault he were a worthy man. . . . Steward, farewell; For ever fare you well; and learn this truth — When women are disposed to wish you well Do not you trespass on their courtesy, Lest in their deep resentment you lie drowned As now you do in mine. I leave you, sir, Without a single comfort in the world. [Exit. Joseph. God is in heaven, madam! with your leave." From this departure of Phraxanor to the end of the play, the interest of it is rather in the poet's power of workmanship than in the subject-matter; as indeed could not but be, taking into account the reaction which must follow on such scenes as those in the house of Potiphar. Here therefore we close our labour of extraction ; although passages of ex- cellent effect might be taken from any of the later scenes. The famine in Canaan, the triumphal procession of "the swart Pharaoh full of majesty," and finally the advent of Jacob, are all given with that admirable vigour proper to this great poet; and further stray lines and sentences of perfect worth might be picked out and strung together till half the book were transcribed. This is no part of our task. By the specimens we have already brought in evidence it may now be judged how far this play, taken at its highest, 140 A Pilgrimage of Pleasure falls short of the world's chief dramatic achieve- ments. What its author might have done had his genius found space to work in and students to work for, no one can say. It may be that only the supine and stertorous dullness of fashion and accident has kept out of sight a poet who was meant to take his place among the highest. VIII JOHN NICHOL'S "HANNIBAL' 1872 JOHN NICHOL'S "HANNIBAL" * THE historic or epic drama, as perhaps we might more properly call it, is assuredly one of the hardest among the highest achievements of poetry. The mere scope or range of its aim is so vast, so various, so crossed and perplexed by diverse necessities and suggestions starting from different points of view, that the simple intellectual difficulty is enough to appal and repel any but the most laborious servants of the higher Muse; and to this is added the one supreme necessity of all — to vivify the whole mass of mere intellectual work with imaginative fire; to kindle and supple and invigorate with poetic blood and breath the inert limbs, the stark lips and empty veins of the naked subject: a task in which the sculptor who fails of himself to give his statue life will find no favouring god to help him by inspiration or infusion from without of an alien and miraculous vitality. In this case Pygmalion must look to himself for succour, and put his trust in no hand but his own. There are two ways in which a poet may treat a historic subject: one, that of Marlowe and Shakespeare, in the fashion of a dramatic chroni- cle; one, that of the greatest of all later drama- tists, who seizes on some point of historic tradition, i Hannibal: a Historical Drama. By JOHN NICHOL. Glasgow: Maclehose. London: Macmillan. 143 144 A Pilgrimage of Pleasure some character or event proper or possible to the time chosen, be it actual or ideal, and starting from this point takes his way at his will, and from this seed or kernel develops as it were by evolution the whole fabric of his poem. It would be hard to say which method of treatment requires the higher and the rarer faculty; to throw into poetic form and imbue with dramatic spirit the whole body of an age, the whole character of a great event or epoch, by continuous reproduction of his- toric circumstance and exposition of the recorded argument scene by scene; or to carve out of the huge block of history and chronicle some detached group of ideal figures, and give them such form and colour of imaginative life as may seem best to you. In some of the greatest plays of Victor Hugo there is hardly more than a nominal con- nection perceptible at first sight with historical character or circumstance. In Marion de Lor me, Richelieu is an omnipresent shadow, a spectral omnipotence; Mary Tudor was never convicted before any tribunal but the poet's of any warmer weakness than the religious faith which had heat enough only to consume other lives than her own in other flames than in those of illicit love; and Lucrezia Estense Borgia died peaceably in lawful childbed, in the fifteenth year of her fourth mar- riage. Nevertheless, these great works belong properly to the class of historical drama; they have in them the breath and spirit of the chosen age, and the life of their time informs the chosen types of ideal character. The Cromwell of Hugo, John NichoVs "Hannibal" 145 in his strength and weakness, his evil and his good, is as actual and credible a human figure as the Cromwell of Carlyle, whether or not we accept as probable or possible matter of historic fact the alloy of baser metal which we here see mingled with the fine gold of heroic intellect and action. He who can lay hold of truth need fear no charge of falsehood in his free dealing with mere fact; and this first play of Hugo's, in my mind the most wonderful intellectual production of any poet on record at the age of twenty-five, is with all its license of invention and diversion of facts, an ex- ample throughout of perfect poetic truth and life. It is to the former school — to the school founded, in his Edward II., by the great father of English tragedy — that we have now to welcome the acces- sion of a new and a worthy disciple. In this large and perilous field of work the labourers of any note or worth have been few indeed. Except for the one noble drama in which Ford has embodied a brief historic episode, the field has lain fallow from the age of Shakespeare to our own; and our own has produced but one workman equal to the task; for even the single attempt of Mr. Browning in the line of pure historic drama can hardly be counted as successful enough to rank with the master poem of Sir Henry Taylor. Nor indeed are we likely to see the work in this kind which for intellectual majesty and interest, for large and serene possession of character and event, for grasp and mastery of thought and action, may deserve to be matched against Philip van Artevelde. But 146 A Pilgrimage of Pleasure it is to the same class of "chronicle history," to use the Shakespearian term of definition, that Mr. Nichol's drama of Hannibal must properly be as- signed. The daring and magnitude of the design would alone suffice to make it worthy of note, even were the success accomplished less real than we find it to be. The man who attempts in an age of idyllic poetry to write a heroic poem, or to write a dramatic poem in an age of analytic verse, de- serves at least the credit due to him who sees and knows the best and highest, and strives to follow after it with all his heart and might. For the higher school of intellectual poetry must always of its nature be dramatic and heroic; these are assuredly the highest and the best things of art, and not the delicacies or intricacies of the idyllic or the analytic school of writing. The two chief masters of song are the dramatist and the lyrist; and in the higher lyric as well as in the higher drama the note sounded must have in it some- thing of epic or heroic breath. But we find here much more than breadth of scheme or courage of design to praise. The main career of Hannibal down to the battle of the Metaurus is traced scene after scene in large and vigorous outline; and for the action and reaction of dramatic intrigue we have the simpler epic in- terest of the harmonious succession of great sep- arate events. Throughout the exposition of this vast subject, as act upon act of that heroic and tragic poem, the life of one man weighed against the world and found all but able to overweigh it, John NichoVs "HannihaV 3 147 is unrolled before us on the scroll of historic song, there is a high spirit and ardour of thought which sustains the scheme of the poet, and holds on steadily through all change of time and place, all diversity of incident and effect, toward the accom- plishment of his general aim. The worth of a poem of this kind cannot of course be gauged by any choice of excerpts; if it could, that worth would be little indeed. For in this mixed kind of art something more and other than poetic fancy or even than high imagination is requisite for suc- cess; the prime necessity is that shaping force of intellect which can grasp and mould its subject without strain and without relaxation. This power of composition is here always notable. Simple as is the structure of a "chronicle history," it calls for no less exercise of this rare and noble gift than is needed for the manipulation of an elaborate plot or fiction. It is in this, the most important point of all, that we find the work done most deserving of our praise. On a stage so vast and crowded, in a scheme embracing so many years and agents, the greater number of the multitudinous actors who figure in turn before us cannot of course be expected to show any marked degree of elaboration in the out- line of their various lineaments ; but however slight or swift in handling, the touch of the draughtsman is never indistinct or feeble ; Roman and Carthagin- ian, wise man and unwise, heroic and unheroic, pass each on his way with some recognisable and rememberable sign of identity. Upon one figure 148 A Pilgrimage of Pleasure alone besides that of his hero the author has ex- pended all his care and power. Of this one ideal character the conception is admirable, and worthy of the hand of a great poet ; nor does the execution of the design fail, as it proceeds, to repay our hope and interest at starting. Here as elsewhere the requisite hurry of action and conflict of crowding circumstance forbid any subtle or elaborate analy- sis of detail; but in a few scenes and with a few strokes the figure of Fulvia stands before us com- plete. From the slight and straggling traditions of Hannibal's luxurious entanglement in Capua, Mr. Nichol has taken occasion to create a fresh and memorable type of character, and give colour and variety to the austere and martial action of his poem by an episode of no inharmonious pas- sion. To no vulgar "harlot" such as Pliny speaks of has he permitted his hero to bow down. The revolted Roman maiden who casts her life into the arms of her country's enemy is a mistress not un- worthy of Hannibal. From the first fiery glimpse of her active and passionate spirit to the last cry of triumph which acclaims the consummation of her love in death, we find no default or flaw in the noble conception of her creator. At her coming into the poem "She makes a golden tumult in the house Like morning on the hills;" and the resolute consistency which maintains and vindicates her passion and her freedom is through- out at once natural and heroic. We have not time to enlarge further on the John NichoVs "Hannibal 33 149 scope or the details of the poem, on its merits of character and language, its qualities of thought and emotion. We will only refer, for one instance among others of clear and vigorous description, to the account of the passage of the Alps — > "peaks that rose in storm To hold the stars, or catch the morn, or keep The evening with a splendour of regret; On dawn-swept heights the war-cry of the winds, The wet wrath round the steaming battlements, From which the sun leapt upward, like a sword Drawn from its scabbard;" and for one example of not less simple or less forcible drawing of character, to the sketch of Archimedes, slain in the mid passion and pos- session of science; to which the homage here studi- ously paid by the dramatist who pauses on his rapid way to do it reverence will recall the honoured name of that father to whose memory the poem is inscribed. As an offering worthy of such a name, we receive with all welcome this latest accession to the English school of historic drama. IX A BIBLIOGRAPHY OF THE WORKS OF ALGERNON CHARLES SWINBURNE BY EDWARD J. O'BRIEN A BIBLIOGRAPHY OF THE WORKS OF ALGERNON CHARLES SWINBURNE BY EDWARD J. O'BRIEN N. B. — This bibliography aims to include a record of all important editions of Swinburne's books and also of all his contributions to periodical literature which have not been subse- quently reprinted. It is hoped, but hardly ex- pected, that this list is complete. At any rate, it is much more full than the bibliographies of Shep- herd and Nicoll and Wise. For a more detailed description of bibliographical rarities, the reader is referred to the latter bibliography. — E. J. O. 1857. (1). William Congreve. The Imperial Dic- tionary of Universal Biography. Edited by John Francis Waller, LL.D. Lon- don, 1857. p. 979. 1858. (2). Undergraduate Papers. Oxford and London: 1857-1858. (Swinburne contributed the following four articles to this volume. (a.) The Early English Dramatists. — No. 1. Marlow and Webster, pp. 7-15. (b.) Queen Yseult. Canto i. ff Of the 153 154 A Pilgrimage of Pleasure birth of Sir Tristram, and how he voy- aged into Ireland" pp. 4-1-50. (c.) The Monomaniac's Tragedy, and Other Poems, pp. 97-102. (d.) Church Imperialism. pp. 134- 137.) 1860. (3). The Queen Mother. Rosamond. Two Plays. By Algernon Charles Swin- burne. London: Basil Montagu Pick- ering. 1860. (4). The Queen Mother and Rosamond. By Algernon Charles Swinburne. Lon- don: Edward Moxon and Co. 1860. 1862. (5). Mr. George Meredith's Modern Love. (A Letter to the Editor of the Specta- tor.) The Spectator. June 7, 1862. Vol. xxxv. pp. 632-633. Reprinted in the present volume. (6). Charles Baudelaire: Les Fleurs Du Mai. The Spectator. Sept. 6, 1862. Vol. xxxv. pp. 998-1000. Reprinted in the present volume. 1864. (7). Dead Love. By Algernon C. Swinburne. London: John W. Parker and Son, West Strand. 1864. Reprinted from Once-a-Weeh, vol. vii. pp. 432-434, October, 1862, where it was accompanied by a drawing by M. Works of Algernon Charles Swinburne 155 J. Lawless. The story is reprinted in the present volume. (8). The Children of the Chapel. A Tale. By the Author of The Chorister Brothers, Mark Dennis, etc. [Mrs. Disney Leith.] London: 1864. From this volume we have extracted "A Pilgrimage of Pleasure" as being almost certainly the work of Swinburne. In this opinion we follow Mr. Thomas B. Mosher, and in large measure the authority of Messrs. Nicoll and Wise. 1865. (9). Atalanta in Calydon. A Tragedy. By Algernon Charles Swinburne. Lon- don: Edward Moxon and Co. 1865. Small 4to. (10). Ditto. Second Edition. Same year. Post 8vo. (11). Chastelard. A Tragedy. By Algernon Charles Swinburne. London: Edward Moxon and Co. 1865. (12). Gentle Spring. (Sonnet). The Royal Academy Catalogue. 1865. p. 20. 1866. (13). A Selection from the Works of Lord Byron. Edited and Prefaced by Alger- non Charles Swinburne. London: Ed- ward Moxon and Co. 1866. (14). The Queen Mother and Rosamond. By Algernon Charles Swinburne. London: John Camden Hotten. 1866. 156 . A Pilgrimage of Pleasure (15). Chastelard. A Tragedy. By Algernon Charles Swinburne. London: John Camden Hotten. 1866. (16). Laus Veneris. By Algernon Charles Swinburne. London: Edward Moxon and Co. 1866. (17). Poems and Ballads. By Algernon Charles Swinburne. London: Edward Moxon and Co. 1866. (18). Poems and Ballads. By Algernon Charles Swinburne. London: John Camden Hotten. 1866. Hotten published a second edition of the book in the same year,, and it is dif- ficult to detect it from the first edition. (19). Laus Veneris, and other Poems and Bal- lads. By Algernon Charles Swinburne. New York: Carleton, Publisher. MDCCCLXVI. (20). Notes on Poems and Reviews. By Alger- non Charles Swinburne. London: John Camden Hotten. 1866. (21). Ditto. Second edition. Same title-page. 1866. (22). Cleopatra. By Algernon Charles Swin- burne. London: John Camden Hotten. 1866. Reprinted from the Cornhill Maga- zine, but not included in any authorised edition of the poet's works. Reprinted in "Felise: A Book of Lyrics." Port- land: T. B. Mosher. 1894. Works of Algernon Charles Swinburne 157 (23). Speech in Reply to the Toast The Imag- inative Literature of England. Report of the 77th Anniversary Dinner of the Royal Literary Fund. 1866. p. 27. 1867. (24). Dolores. By Algernon Charles Swin- burne. London: John Camden Hotten. 1867. (25). A Song of Italy. By Algernon Charles Swinburne. London: John Camden Hotten. 1867. (26). An Appeal to England against the Exe- cution of the Condemned Fenians. By Algernon Charles Swinburne. Man- chester: Reprinted from the Morning Star. 1867. 1868. (27). William Blake. A Critical Essay. By Algernon Charles Swinburne. London: John Camden Hotten. 1868. (28). Notes on the Royal Academy Exhibition, 1868. Part I. By William Michael Rossetti. Part II. By Algernon C. Swinburne. London: John Camden Hotten. 1868. (29). Siena. By Algernon Charles Swin- burne. London: John Camden Hotten. 1868. Only six copies were printed. There was a second or spurious edition printed with the same title-page in the same year. 158 A Pilgrimage of Pleasure 1869. (30). Christabel and the Lyrical and Imagina- tive Poems of S. T. Coleridge. Ar- ranged and Introduced by Algernon Charles Swinburne. London: Sampson Low. 1869. (31). Editors sub-edited. The Athenaeum. Oct. 9, 1869. p. 463. (32) . Victor Hugo and English Anonyms. The Daily Telegraph. Oct. 22, 1869. p. 5. col. 6. 1870. (33). Ode on the Proclamation of the French Republic. September 4th, 1870. By Algernon Charles Swinburne. London: F. S. Ellis. 1870. 1871. (34). Songs Before Sunrise. By Algernon Charles Swinburne. London: F. S. Ellis. 1871. (35). Pleasure: A Holiday Book of Prose and Verse. London: Henry S. King and Co. 1871. Includes Tristram and Iseult: Pre- lude of an Unfinished Poem. By Swin- burne, pp. 4-5-52. (36). Simeon Solomon: Notes on his Vision of Love, and other Studies. The Dark Blue. Vol. i. pp. 568-577. July, 1871. Reprinted in the present volume. 1872. (37). Under the Microscope. By Algernon Works of Algernon Charles Swinburne 159 Charles Swinburne. London: D. White. 1872. (38). Mr. John Nichol's Hannibal: A Historical Drama. Fortnightly Review, n.s. Vol. xii. pp. 751-753. December, 1872. Reprinted in the present volume. (39). Le Tombeau de Theophile Gautier. Paris: Alphonse Lemerre. mdccci> xxiii. Swinburne contributed sice poems, five of which have been reprinted. The sixth consists of 56 Greek verses on pp. 170-172. (40). Chastelard. Tragodie von Algernon Charles Swinburne. Deutsch von Oskar Horn. Bremen, 1873. Verlag von T. Kiihtmann's Buchhandlung. (41). Mr. Swinburne's Sonnets in The Exam- iner. The Spectator. May 31, 1873. Vol. xlvi. p. 697. (42). Christianity and Imperialism. The Ex- aminer. June 7, 1873. pp. 585-586. 1874. (43). Bothwell. A Tragedy. By Algernon Charles Swinburne. London: Chatto and Windus. 1874. 1875. (44). George Chapman. Works . . . Poems and Minor Translations. With an in- troduction by Algernon Charles Swin- burne. London: Chatto and Windus. 1875. 160 A Pilgrimage of Pleasure (45). George Chapman: A Critical Essay. By Algernon Charles Swinburne. Lon- don: Chatto and Windus. 1875. (46). Bothwell. A Tragedy. By Algernon Charles Swinburne. In Two Volumes. London: Chatto and Windus. 1875. (47). Songs of Two Nations. By Algernon Charles Swinburne. I. A Song of Italy. II. Ode on the Proclamation of the French Republic. III. Dirae. London: Chatto and Windus. 1875. (48). Essays and Studies. By Algernon Charles Swinburne. London: Chatto and Windus. 1875. (49). Auguste Vacquerie. Par Swinburne. (In French). Paris: Michel Levy, Freres. 1875. (50). Atalanta in Calydon. A Tragedy. A New Edition. London: Chatto and Windus. 1875. (51). An Unknown Poet. The Fortnightly Review, n. s. Vol. xvii. p. 217. Febru- ary, 1875. Reprinted in the present volume. (52). Mr. Swinburne and his Critics. The Examiner. April 10, 1875. p. 408. (53). The Suppression of Vice. The Athen- ffium. May 29, 1875. p. 720. (54). Epitaph on a Slanderer. (Verses.) The Examiner. Nov. 20, 1875. p. 1304. (55). The Devil's Due. The Examiner. Dec. 11, 1875. p. 1388. Works of Algernon Charles Swinburne 161 (56). Beaumont and Fletcher. Encyclopaedia Britannica. Ninth Edition. Vol. iii. Edinburgh: A. and C. Black. 1875. pp. 469-474. 1876. (57). Erechtheus. A Tragedy. By Algernon Charles Swinburne. London: Chatto and Windus. 1876. (58). Note of an English Republican on the Muscovite Crusade. By Algernon Charles Swinburne. London: Chatto and Windus. 1876. "(59). Charles Jeremiah Wells. Joseph and His Brethren. A Dramatic Poem. With an Introduction by Algernon Charles Swinburne. London: Chatto and Win- dus. 1876. This introduction is reprinted with changes and omissions from an article in the Fortnightly Review of the pre- ceding year. In the present volume^ these omissions are restored. (60). A Discovery. The Athenaeum. Jan. 15, 1876. p. 87. (61). "King Henry VIIL," and the Ordeal by Metre. The Academy. Jan. 15, 1876. Vol. ix. pp. 53-55. (62). Sir Henry Taylor's Lyrics. The Acad- emy. Jan. 29, 1876. Vol. ix. p. 98. (63). Charles Lamb's Letters to Godwin. The Athenaeum. May 13, 1876. p. 664. (64). Mr. Forman's Edition of Shelley. The 162 A Pilgrimage of Pleasure Academy. Nov. 25, 1876. Vol. x. p. 520. (65). George Chapman. The Encyclopaedia Britannica. Ninth Edition. Edin- burgh: A. and C. Black. 1876. Vol. v. pp. 396-397. 1877. (66). A Note on Charlotte Bronte. By Alger- non Charles Swinburne. London: Chatto and Windus. 1877. (67). Edgar Allan Poe: A Memorial Volume. By Sara Sigourney Bice. Baltimore: Turnbull Brothers. 1877. Contains in facsimile a letter ad- dressed by Mr. Swinburne to Miss Pice. (68) . The "Ode to a Nightingale." The Athen- aeum. Jan. 27, 1877. p. 117. (69). "Poems and Ballads." The Athenaeum. Mar. 10, 1877. pp. 319-320. (70). "Poems and Ballads." The Athenaeum. Mar. 24, 1877. p. 383. (71). "The Court of Love." The Athenaeum. Apr. 14, 1877. pp. 481-482. (72). Note on a Question of the Hour. The Athenaeum. June 16, 1877. p. 768. (73). Note on the words "irremeable" and "per- durable." Pall Mall Gazette. July. 15, 1877. (74). Last Words of the "Agamemnon." The Athenaeum. Nov. 10, 1877. p. 597. 1878. (75). Poems and Ballads. By Algernon Works of Algernon Charles Swinburne 163 (76 (77 (78 (79 (80 (81 (82 (83 (84 Charles Swinburne. London: Chatto and Windus. 1878. Poems and Ballads. Second Series. By Algernon Charles Swinburne. London: Chatto and Windus. 1878. Atalanta in Calydon. Eine Tragodie von Algernon Charles Swinburne. Deutsch von Albrecht Graf Wickenburg. Wien: Verlag von L. Rosner. 1878. "Love, Death, and Reputation." The Athenaeum. Feb. 2, 1878. p. 156. Note on a Passage of Shelley. The Athenaeum. Feb. 9, 1878. p. 188. 1880. A Study of Shakespeare. By Algernon Charles Swinburne. London: Chatto and Windus. 1880. Songs of the Springtides. By Algernon Charles Swinburne. London: Chatto and Windus. 1880. Specimens of Modern Poets. The Hepta- logia, or The Seven against Sense. A Cap with Seven Bells. London: Chatto and Windus. 1880. Studies in Song. By Algernon Charles Swinburne. London: Chatto and Win- dus. 1880. William Collins. The English Poets. Selections, with Critical Introductions by various writers, edited by Thomas Humphry Ward. London: Macmillan and Co. 1880. Vol. iii. p. 278. 164 A Pilgrimage of Pleasure (85). Mr. Swinburne's "Study of Shakes- peare." The Academy. Jan. 10, 1880. Vol. xvii. p. 28. (86). Letter to the Editor. The Academy. July 3, 1880. Vol. xviii. p. 9. (87). On a Passage in Lord Beaconsfield's "Endymion." (In French.) The Pall Mall Gazette. Dec. 6, 1880. 1881. (88). Mr. Swinburne's New Volume. The Academy. Jan. 15, 1881. Vol. xix. p. 46. (89). Thomas Carlyle. (In French.) Le Rappel. Paris. 19 Fevrier, 1881. (90). Seven Years Old. (Poem.) The Athen- aeum. Aug. 20, 1881. pp. 238-239. (91). Disgust: A Dramatic Monologue. Fort- nightly Review, n. s. vol. xxx. pp. 715- 717. December, 1881. A parody on Tennyson's poem, "De- spair: A Dramatic Monologue." Not reprinted by the author. (92). Mary Stuart. A Tragedy. By Alger- non Charles Swinburne. London: Chatto and Windus. 1881. 1882. (93). Ode a la Statue de Victor Hugo. Par Algernon Charles Swinburne. Traduc- tion de Tola Dorian. Paris: Alphonse Lemerre. 1882. (94). Tristram of Lyonesse, and Other Poems. Works of Algernon Charles Swinburne 165 By Algernon Charles Swinburne. Lon- don: Chatto and Windus. 1882. 1883. (95). A Century of Roundels. By Algernon Charles Swinburne. London: Chatto and Windus. 1883. (96). A Coincidence. The Athenamm. Mar. 10, 1883. p. 314. (97). La Question Irlandaise. Le Rappel. Paris. 26 Mars, 1883. (98). Letter to the Editor. Pall Mall Gazette. Dec. 28, 1883. p. 3. (99). Les Cenci. Drame de Shelley. Traduc- tion de Tola Dorian, avec Preface de Algernon Charles Swinburne. Paris: Alphonse Lemerre. 1883. 1884. (100). A Midsummer Holiday and Other Poems. By Algernon Charles Swinburne. London: Chatto and Windus, 1884. (101). Steele or Congreve? (Four letters.) The Spectator. Mar. 29, Apr. 5, 12, 26, 1884. Vol. lvii. pp. 411, 441, 486, 550. 1885. (102). Marino Faliero. A Tragedy. By Al- gernon Charles Swinburne. London; Chatto and Windus. 1885. 1886. (103). A Study of Victor Hugo. By Algernon Charles Swinburne. London: Chatto and Windus. 1886. 166 A Pilgrimage of Pleasure (104). Miscellanies. By Algernon Charles Swin- burne. London: Chatto and Windus. 1886. (105). Sultan Stork and Other Stories and Sketches by William Makepeace Thack- eray. Now first collected. London: George Redway. 1887. [1886.] Includes two letters from Swinburne on "Thackeray and Frasefs Magazine' 3 printed in the introduction. (106). The Best Hundred Books. (Two let- ters.) The Pall Mall Gazette. Jan. 26, 27, 1886. (107). The Literary Record of the Quarterly Review. (Two letters.) The Athen- aeum. Nov. 6, 20, 1886. pp. 600-601, 671. 1887. (108). Locrine: A Tragedy. By Algernon Charles Swinburne. London: Chatto and Windus. 1887. (109). A Word for the Navy. A Poem by Al- gernon Charles Swinburne. London: Charles Ottley, Landon, and Co. 1887. (110). A Word for the Navy. By Algernon Charles Swinburne. London: George Redway. mdccclxxxvii. (111). Thomas Middleton. Plays. Edited by Havelock Ellis. With an introduction by Algernon Charles Swinburne. Lon- don: Vizetelly and Co. 1887. (112). The Question, mdccclxxxvii. A poem Works of Algernon Charles Swinburne 167 by Algernon Charles Swinburne. Lon- don: Charles Ottley, London, and Co. 1887. The poem has not been reprinted. (113). The Jubilee, mdccclxxxviii. By Al- gernon Charles Swinburne. London: Fortnightly Review. I. August, 1887. (114). Gathered Songs. By Algernon Charles Swinburne. London: Charles Ottley, Landon, and Co. 1887. (115). Fine Passages in Verse and Prose: Selected by Living Men of Letters. Fortnightly Review. I. August, 1887, n. s. vol. xlii. pp. 297-316. II. Septem- ber, 1887. n. s. vol. xlii. pp. 430-454. Swinburne contributed two letters to this symposium which are printed on pages 316 and 4-^7. (116). A Retrospect. (Letter to The Times.) The Times. May 6, 1887. p. 4. col. 5. (117). Unionism and Crime. The St. James's Gazette. May 6, 1887. p. 5. (118). Mazzini and the Union. (Letter to The Times). The Times. May 11, 1887, p. 14, col. 5. (119). Note on Epipsychidion. By Algernon Charles Swinburne. Epipsychidion. By Percy Bysshe Shelley, with an introduc- tion by the Rev. Stopford Brooke, M. A. 1887. pp. lxi-lxvi. (120). Philip Bourke Marston. (Sonnet). The Athenamm. Feb. 19, 1887. p. 257. 168 A Pilgrimage of Pleasure (121). May, 1885. (Poem). The Athemeum. Dec. 17, 1887. p. 825. 1888. (122). Unpublished Verses. By Algernon Charles Swinburne. 1866. There are two printings of these verses. The date 1866 is, of course, not the date of publication. 1889. (123). Poems and Ballads. Third Series. By Algernon Charles Swinburne. Lon- don: Chatto and Windus. 1889. (124). A Study of Ben Jonson. By Algernon Charles Swinburne. London: Chatto and Windus. 1889. (125). The Bride's Tragedy. By Algernon Charles Swinburne. London: Printed Privately. 1889. (126). The Ballad of Dead Men's Bay. By Al- gernon Charles Swinburne. London: Printed Privately. 1889. (127). The Brothers. By Algernon Charles Swinburne. London: Printed Pri- vately. 1889. (128). Philip Massinger. The Fortnightly Re- view, n.s. vol. xlvi. pp. 1-23. July, 1889. (129). Victor Hugo and Mr. Swinburne. The Pall Mall Gazette. Sept. 24, 1889. p. 4. Contains a letter from Swinburne to the Rev. H. B. Haweis. Works of Algernon Charles Swinburne 169 (130). The Ballad of Truthful Charles. The St. James's Gazette, vol. xix. No. 2844. July 18, 1889. p. 7. 1890. (131). A Sequence of Sonnets on the Death of Robert Browning. By A. C. Swin- burne. London: Printed for Private Circulation, mdcccxc. (132). C. A. (sic) Swinburne. Siena. Tradu- zione di Salomone Menasci. Firenzo Tipografia Co-operativa. 1890. 1891. (133). Gabriel Mourey. Poemes et Ballades de A. C. Swinburne. Notes sur Swinburne par Guy de Maupassant. Paris: Nou- velle Librairie Parisienne. Albert Savine. 1891. (134). New Year's Eve, 1899. (Sonnet.) The Athenaeum. Aug. 15, 1891. p. 224. (135). Social Verse. The Forum, vol. xii. pp. 169-185. October, 1891. (Reprinted in The Forum. Vol. xliii. pp. 129-144. February, 1910.) 1892. (136). The Sisters. A Tragedy. By Algernon Charles Swinburne. London: Chatto and Windus. 1892. (137). Richard Brome. The Fortnightly Re- view. April, 1892, n.s. vol. li. pp. 500-507. (138). The New Terror. The Fortnightly Re- 170 A Pilgrimage of Pleasure view. Dec, 1892. n.s. vol. lii. pp. 830-833. (139). The Centenary of Shelley. (Sonnet.) The Athenaeum. July 30, 1892. p. 159. 1893. (140). The Ballad of Bulgarie. By Al- gernon Charles Swinburne. London: Printed for Private Circulation. MDCCCXCIII. The poem has not been reprinted. (141). Grace Darling. By Algernon Charles Swinburne. London: Printed only for Private Circulation. 1893. (142). The Palace of Pan. (Poem.) The Nineteenth Century. Vol. xxxiv. pp. 501-503. October, 1893. 1894. (143). Astrophel and Other Poems. By Alger- non Charles Swinburne. London: Chatto and Windus. 1894. (144). Studies in Prose and Poetry. By Al- gernon Charles Swinburne. London: Chatto and Windus, 1894. (145). Felise: A Book of Lyrics. Chosen from the Works of Algernon Charles Swin- burne. Portland: T. B. Mosher. 1894. This volume contains work hitherto uncollected. 1895. (146). Laus Veneris. Poeme de Swinburne tra- Works of Algernon Charles Swinburne 171 duit par Francis Viele-Griflin. Paris: Edition du Mercure de France. MDCCCXCV. The translation is in French prose. 1896. (147) . The Tale of Balen. By Algernon Charles Swinburne. London: Chatto and Win- dus. 1896. (148). One Penny. A Word for the Navy. By Algernon Charles Swinburne. Lon- don: George Redway. mdcccxcvi. (149). Literary Anecdotes of the Nineteenth Century: Contributions towards a Lit- erary History of the Period. Edited by W. Robertson Nicoll, M.A., LL.D., and Thomas J. Wise. London: Hod- der and Stoughton. 1896. Vol. ii. pp. 291-374. A Contribution to the Bibli- ography of the Writings of Algernon Charles Swinburne. Reprints various fragments otherwise practically inaccessible. (150). Letter to Mr. C. K. Shorter. The Sketch. Apr. 1, 1896. (151). The Golden Age. The Daily Chronicle. March 31, 1896, p. 3. (152). "The Well at the World's End." The Nineteenth Century. November, 1896. Vol. xl, pp. 759-760. 1897. (153). For Greece and Crete. (Poem.) The 172 A Pilgrimage of Pleasure Nineteenth Century. Vol. xli. pp. 337- 338. March, 1897. (154). John Day. The Nineteenth Century. October, 1897. Vol. xlii. pp. 549-559. 1899. (155). Rosamond, Queen of the Lombards. A Tragedy. London: Chatto and Win- dus. 1899. (156). After the Verdict, September, 1899. (Sonnet). The Nineteenth Century. Vol. xlvi. p. 521. October, 1899. 1901. (157). A Year's Letters. By Algernon Charles Swinburne. Portland: T. B. Mosher. 1901. (158). 1901. (Sonnet.) The Saturday Review. Jan. 5, 1901. Vol. xci. p. 1. 1902. (159). Charles Dickens. Quarterly Review. July, 1902. Vol. cxcvi. pp. 20-39. Reprinted in the present volume. 1904. (160). A Channel Passage and Other Poems. By Algernon Charles Swinburne. Sec- ond edition. London: Chatto and Win- dus. 1904. (161). Poems. By Algernon Charles Swinburne. London: Chatto and Windus. Six vol- umes. 1904. 1905. (162). Love's Cross-Currents. A Year's Let- Works of Algernon Charles Swinburne 173 ters. By Algernon Charles Swinburne. London: Chatto and Windus. 1905. (163). Czar! Louis XVI! Adsit Omen! (Son- net). Pall Mall Gazette. (Reprinted in The Living Age, Feb. 11, 1905. Vol. ccxliv. p. 380.) 1906. (164). Tragedies. By Algernon Charles Swin- burne. London: Chatto and Windus. Five volumes. 1906. 1907. (165). Memorial Verses on the Death of Karl Blind. The Fortnightly Review, n. s. vol. lxxxii. pp. 353-356. September, 1907. 1908. (166). The Age of Shakespeare. By Algernon Charles Swinburne. London: Chatto and Windus. 1908. (167). The Duke of Gandia. By Algernon Charles Swinburne. London: Chatto and Windus. 1908. 1909. (168). Three Plays of Shakespeare. By Alger- non Charles Swinburne. New York and London: Harper and Bros. 1909. (169). Shakespeare. By Algernon Charles Swin- burne. London: Henry Frowde. 1909. (170). The Marriage of Mona Lisa. By Alger- non Charles Swinburne. London: Pri- 174 A Pilgrimage of Pleasure vately Printed for Thomas J. Wise. 1909. Seven copies printed. (171). The Portrait. By Algernon Charles Swinburne. London: Privately Printed for Thomas J. Wise. 1909. (172). The Chronicle of Fredegond. By Al- gernon Charles Swinburne. London: Privately Printed for Thomas J. Wise. 1909. (173). Margaret. By Algernon Charles Swin- burne. London: Privately Printed for Thomas J. Wise. 1909. (174). Lord Scales. By Algernon Charles Swin- burne. London: Privately Printed for Thomas J. Wise. 1909. Twenty copies printed. (175). Lord Soules. By Algernon Charles Swin- burne. With a Preface by Theo- dore Watts-Dunton. London: Pri- vately Printed for Thomas J. Wise. 1909. Seven copies printed. (176). Border Ballads. By Algernon Charles Swinburne. London: Privately Printed for Thomas J. Wise. 1909. (177). To W. T. W. D. (Written upon the Fly-leaf of a copy of "Sympathy and Other Poems," by S. J. Pratt: 8vo. 1807.) London: Privately Printed for Thomas J. Wise. 1909. Twenty copies printed. Works of Algernon Charles Swinburne 175 1909 (178). In the Twilight. Poem by Algernon Charles Swinburne. London: Privately Printed for T. J. Wise. 1909. Only ten copies printed. Written in 1867. (179) . Burd Margaret. A Ballad by a Borderer. By Algernon Charles Swinburne. Lon- don: Privately Printed for T. J. Wise. 1909. Twenty copies printed. (180). The Portrait. By Algernon Charles Swinburne. With an Introduction by Theodore Watts-Dunton. London : Pri- vately Printed for T. J. Wise. 1909. Twenty copies printed of this prose romance. (181). The Chronicle of Queen Fredegond. By Algernon Charles Swinburne. London: Privately Printed for T. J. Wise. 1909. Twenty copies printed of this prose romance. (182). Border Ballads. By Algernon Charles Swinburne. London: Privately Printed for T. J. Wise. 1909. Includes Three Ballads: "Earl Rob- ert" "Duriesdyke" and "Westland Well." Twenty copies printed. (183). Letters to T. J. Wise. By Algernon Charles Swinburne. London: Privately printed for T. J. Wise. 1909. 176 A Pilgrimage of Pleasure Twenty copies printed. Includes an Unpublished Song From a Cancelled Passage in " Chastelard." (184). Ode to Mazzini. By Algernon Charles Swinburne. London: Privately printed for T. J. Wise. 1909. Twenty copies printed. Probably written in 1857. (185). M. Prudhomme at the International Ex- hibition. By Algernon Charles Swin- burne. With a Preface by Edmund Gosse. London: Privately printed for T. J. Wise. 1909. Twenty copies of this prose essay printed. Written in 1862. (186). Of Liberty and Loyalty. By Algernon Charles Swinburne. With a Preface by Edmund Gosse. London: Privately Printed for T. J. Wise. 1909. Twenty copies of this prose essay printed. Written in 1866. (187). The Saviour of Society. Two Sonnets and a Controversy. By Algernon Charles Swinburne. With a Preface by Edmund Gosse. London: Privately Printed for T. J. Wise. 1909. Twenty Copies Printed. The Son- nets are reprinted from the Examiner of May 17, 1873, and several letters are also reprinted from the Examiner and Spectator. The sonnets and letters are all listed above, 9x>. Works of Algernon Charles Swinburne 177 (188). The Worm of Spindlestonheugh. A Bal- lad by a Borderer. By Algernon Charles Swinburne. With a Preface by Edmund Gosse. London: Privately Printed for T. J. Wise. 1909. Twenty Copies Printed. (189) . Letters on the Works of George Chapman. By Algernon Charles Swinburne. With a Preface by Edmund Gosse. London: Privately Printed for T. J. Wise. 1909. Letters to Richard Heme Shepherd. Twenty copies printed. (190). From Literary London. (Special Corre- spondence of the Dial.) By Clement K. Shorter. The Dial. December 16, 1909. Vol. xlvii. pp. 504-505. Includes two hitherto unpublished poems by Swinburne. 1910 (191). The Ballade of Villon and Fat Madge. By Algernon Charles Swinburne. With a Preface by Edmund Gosse. London: Privately printed for T. J. Wise. 1910. Twenty copies printed. (192). A Criminal Case. A Sketch by Algernon Charles Swinburne. London: Privately Printed for T. J. Wise. 1910. Twenty copies of this prose tale printed. (193). A Record of Friendship. By Algernon 178 A Pilgrimage of Pleasure Charles Swinburne. London: Privately Printed for T. J. Wise. 1910. Recollections of Rossetti. Written in 1882. Twenty copies printed. (194) . The Ballade of Truthful Charles and Other Poems. By Algernon Charles Swin- burne. London: Privately printed for T. J. Wise. 1910. Ten poems, nine of which appeared previously in periodicals, and are listed above. Twenty copies printed. (195). Letters on William Morris, Omar Khay- yam, and Other Subjects of Interest. By Algernon Charles Swinburne. Lon- don: Privately Printed for T. J. Wise. 1910. Twenty copies of these nine letters printed. (196). Letters Chiefly Concerning Edgar Allan Poe. By Algernon Charles Swinburne. With a Preface by John H. Ingram. London: Privately Printed for T. J. Wise. 1910. Twenty copies printed of these eleven letters to John H. Ingram. (197). Letters on the Elizabethan Dramatists. By Algernon Charles Swinburne. With a Preface and Notes by Edmund Gosse. London: Privately Printed for T. J. Wise. 1910. Twenty copies printed of these ten let- ters to A. H. Bullen. Works of Algernon Charles Swinburne 179 (198). Letters to Thomas Purnell and Other Correspondents. By Algernon Charles Swinburne. London: Privately Printed for T. J. Wise. 1910. Twenty copies printed of these ten let- ters addressed to Thomas Purnell, A. H. Bullen, and Philip Bourke Mars ton. (199). Letters to A. H. Bullen. By Algernon Charles Swinburne. London: Privately Printed for T. J. Wise. 1910. Twenty copies of these sixteen letters printed. (200). Letters to John Churton Collins. By Algernon Charles Swinburne. With a Preface by Edmund Gosse. London: Privately Printed for T. J. Wise. 1910. Twenty copies of these twelve letters printed. (201). Letters to Edmund Gosse. Series I. 1867-1875. By Algernon Charles Swin- burne. With a Preface by Edmund Gosse. London: Privately printed for T. J. Wise. 1910. Twenty copies of these ten letters printed. (202). The Earlier Plays of Beaumont and Fletcher. The North American Re- view. May, 1910. Vol. cxci. pp. 612- 625. 1911 (203). Letters to Edmund Gosse. Series II. 1876-1877. By Algernon Charles Swin- 180 A Pilgrimage of Pleasure burne. London: Privately Printed for T. J. Wise. 1911. Twenty copies of these seventeen let- ters printed. (204). Letters to Edmund Gosse. Series III. 1878-1880. By Algernon Charles Swinburne. London: Privately Printed for T. J. Wise. 1911. Twenty copies of these twelve letters printed. (205). Letters to Edmund Gosse. Series IV. 1881-1885. By Algernon Charles Swinburne. London: Privately Printed for T. J. Wise. 1911. Twenty copies of these eighteen letters printed. (206). Letters to Edmund Gosse. Series V. 1886-1907. By Algernon Charles Swin- burne. London: Privately Printed for T. J. Wise. 1911. Twenty copies of these nineteen letters printed. For a description of this and the other pamphlets printed by Thomas J. Wise, I am indebted to Mr. Clement K. Shortens article in the Dial listed above,, and especially to Mr. George H. Sargenfs check-list published in the Boston Evening Transcript, March, WIS. 1913. (207). Vera: A Play in MS. (208) . Border Ballads by Algernon Charles Swin- Works of Algernon Charles Swinburne 181 burne. Edited by T. J. Wise. Boston: Bibliophile Society. 1913. (209). A Pilgrimage of Pleasure: Essays and Studies by Algernon Charles Swin- burne. With a Bibliography by Ed- ward J. O'Brien. Boston: Richard G. Badger. 1913. 1^ « • ■ ,M* >> si • • * < '^ •i^nL' ■* *0 V g* ^ /\ ^°* v. £v * 4- X ^ .0 V ^3> •bV - ^o^ ;. • r ^» ^ V *rff Deacidified using the Bookkeeper process. Neutralizing agent: Magnesium Oxide Treatment Date: May 2009 , * 4 o >' •' ^°° ^V **rfv»* **• °q, ^^.v;*^^© PreservationTechnologies °o ty" a • • • > "^> \X - t « o "%-v O^" A WORLD LEADER IN COLLECTIONS PRESERVATION L 111 Thomson Park Drive Cranberry Township, PA 16066 (724)779-2111 ~ *.^T'* A 9*/^* % & ***♦ <^ 6^ *o. *?^;T* a k^°^ *$. *. B o' V VV r V^T." 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