Reviews. Wilde Oscar

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СКАЧАТЬ go her own way,’ he strongly supports Captain Warren’s proposition that we should give up Gibraltar to Spain in exchange for Ceuta, and thereby prevent the Mediterranean from becoming a French lake, and give England a new granary for corn. The Moorish Empire, he warns us, is rapidly breaking up, and if in the ‘general scramble for Africa’ that has already begun, the French gain possession of Morocco, he points out that our supremacy over the Straits will be lost. Whatever may be thought of Mr. Stutfield’s political views, and his suggestions for ‘multiple control’ and ‘collective European action,’ there is no doubt that in Morocco England has interests to defend and a mission to pursue, and this part of the book should be carefully studied. As for the general reader who, we fear, is not as a rule interested in the question of ‘multiple control,’ if he is a sportsman, he will find in El Magreb a capital account of pig-sticking; if he is artistic, he will be delighted to know that the importation of magenta into Morocco is strictly prohibited; if criminal jurisprudence has any charms for him, he can examine a code that punishes slander by rubbing cayenne pepper into the lips of the offender; and if he is merely lazy, he can take a pleasant ride of twelve hundred miles in Mr. Stutfield’s company without stirring out of his armchair.

      El Magreb: Twelve Hundred Miles’ Ride through Morocco. By Hugh Stutfield. (Sampson Low, Marston and Co.)

      THE CHILDREN OF THE POETS

      (Pall Mall Gazette, October 14, 1886.)

      The idea of this book is exceedingly charming. As children themselves are the perfect flowers of life, so a collection of the best poems written on children should be the most perfect of all anthologies. Yet, the book itself is not by any means a success. Many of the loveliest child-poems in our literature are excluded and not a few feeble and trivial poems are inserted. The editor’s work is characterised by sins of omission and of commission, and the collection, consequently, is very incomplete and very unsatisfactory. Andrew Marvell’s exquisite poem The Picture of Little T. C., for instance, does not appear in Mr. Robertson’s volume, nor the Young Love of the same author, nor the beautiful elegy Ben Jonson wrote on the death of Salathiel Pavy, the little boy-actor of his plays. Waller’s verses also, To My Young Lady Lucy Sidney, deserve a place in an anthology of this kind, and so do Mr. Matthew Arnold’s lines To a Gipsy Child, and Edgar Allan Poe’s Annabel Lee, a little lyric full of strange music and strange romance. There is possibly much to be said in favour of such a poem as that which ends with

      And I thank my God with falling tears

      For the things in the bottom drawer:

      but how different it is from

      I was a child, and she was a child,

      In this kingdom by the sea;

      But we loved with a love that was more than love —

      I and my Annabel Lee;

      With a love that the wingèd Seraphs of Heaven

      Coveted her and me

      The selection from Blake, again, is very incomplete, many of the loveliest poems being excluded, such as those on The Little Girl Lost and The Little Girl Found, the Cradle Song, Infant Joy, and others; nor can we find Sir Henry Wotton’s Hymn upon the Birth of Prince Charles, Sir William Jones’s dainty four-line epigram on The Babe, or the delightful lines To T. L. H., A Child, by Charles Lamb.

      The gravest omission, however, is certainly that of Herrick. Not a single poem of his appears in Mr. Robertson’s collection. And yet no English poet has written of children with more love and grace and delicacy. His Ode on the Birth of Our Saviour, his poem To His Saviour, A Child: A Present by a Child, his Graces for Children, and his many lovely epitaphs on children are all of them exquisite works of art, simple, sweet and sincere.

      An English anthology of child-poems that excludes Herrick is as an English garden without its roses and an English woodland without its singing birds; and for one verse of Herrick we would gladly give in exchange even those long poems by Mr. Ashby-Sterry, Miss Menella Smedley, and Mr. Lewis Morris (of Penrhyn), to which Mr. Robertson has assigned a place in his collection. Mr. Robertson, also, should take care when he publishes a poem to publish it correctly. Mr. Bret Harte’s Dickens in Camp, for instance, is completely spoiled by two ridiculous misprints. In the first line ‘dimpling’ is substituted for ‘drifting’ to the entire ruin of rhyme and reason, and in the ninth verse ‘the pensive glory that fills the Kentish hills’ appears as ‘the Persian glory.. ’ with a large capital P! Mistakes such as these are quite unpardonable, and make one feel that, perhaps, after all it was fortunate for Herrick that he was left out. A poet can survive everything but a misprint.

      As for Mr. Robertson’s preface, like most of the prefaces in the Canterbury Series, it is very carelessly written. Such a sentence as ‘I.. believe that Mrs. Piatt’s poems, in particular, will come to many readers, fresh, as well as delightful contributions from across the ocean,’ is painful to read. Nor is the matter much better than the manner. It is fantastic to say that Raphael’s pictures of the Madonna and Child dealt a deadly blow to the monastic life, and to say, with reference to Greek art, that ‘Cupid by the side of Venus enables us to forget that most of her sighs are wanton’ is a very crude bit of art criticism indeed. Wordsworth, again, should hardly be spoken of as one who ‘was not, in the general, a man from whom human sympathies welled profusely,’ but this criticism is as nothing compared to the passage where Mr. Robertson tells us that the scene between Arthur and Hubert in King John is not true to nature because the child’s pleadings for his life are playful as well as piteous. Indeed, Mr. Robertson, forgetting Mamillius as completely as he misunderstands Arthur, states very clearly that Shakespeare has not given us any deep readings of child nature. Paradoxes are always charming, but judgments such as these are not paradoxical; they are merely provincial.

      On the whole, Mr. Robertson’s book will not do. It is, we fully admit, an industrious compilation, but it is not an anthology, it is not a selection of the best, for it lacks the discrimination and good taste which is the essence of selection, and for the want of which no amount of industry can atone. The child-poems of our literature have still to be edited.

      The Children of the Poets: An Anthology from English and American Writers of Three Generations. Edited, with an Introduction, by Eric S. Robertson. (Walter Scott.)

      NEW NOVELS

      (Pall Mall Gazette, October 28, 1886.)

      Astray: A Tale of a Country Town, is a very serious volume. It has taken four people to write it, and even to read it requires assistance. Its dulness is premeditated and deliberate and comes from a laudable desire to rescue fiction from flippancy. It is, in fact, tedious from the noblest motives and wearisome through its good intentions. Yet the story itself is not an uninteresting one. Quite the contrary. It deals with the attempt of a young doctor to build up a noble manhood on the ruins of a wasted youth. Burton King, while little more than a reckless lad, forges the name of a dying man, is arrested and sent to penal servitude for seven years. On his discharge he comes to live with his sisters in a little country town and finds that his real punishment begins when he is free, for prison has made him a pariah. Still, through the nobility and self-sacrifice of his life, he gradually wins himself a position, and ultimately marries the prettiest girl in the book. His character is, on the whole, well drawn, and the authors have almost succeeded in making him good without making him priggish. The method, however, by which the story is told is extremely tiresome. It consists of an interminable series of long letters by different people and of extracts from various diaries. The book consequently is piecemeal and unsatisfactory. It fails in producing any unity of effect. It contains the rough material for a story, but is not a completed work of art. It is, in fact, more of a notebook than a novel. We fear that too many collaborators are like too many cooks and spoil the СКАЧАТЬ