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 and Beatrice in the "Cenci," there have been no such songs heard among men as the least of these first four among all his lyrics that rise to recollection at the moment. Fantine's song or Gastibelza's, the "Adieu, patrie!" or the "Chasseur Noir," any one of these by itself would suffice to establish, beyond debate and beyond acclamation, the absolute sovereignty of the great poet whose glory could dispense even with any of these.

The claims to precedence of other men who stand in the vanguard of their time are open matters for the discussion of judgments to adjust or readjust. Among English-speaking poets of his age I know of none who can reasonably be said to have given higher proof of the highest qualities than Mr. Rossetti; if the qualities we rate highest in poetry be imagination, passion, thought, harmony and variety of singing power. Each man who has anything has his own circle of work and realm of rule, his own field to till and to reign in; no rival can overmatch for firm completion of lyric line, for pathos made perfect and careful melody of high or of intimate emotion, "New-Year's Eve" or "The Grandmother," Œnone" or "Boadicea," the majestic hymn or the rich lament for love won and lost in "Maud;" none can emulate the fiery subtlety and sinuous ardour of spirit which penetrates and lights up all secret gulfs and glimmering heights of human evil and good in "The Ring and the Book," making the work done live because "the soul of man is precious to man:" none can "blow in power" again through the notched reed of Pan by the river, to detain the sun on the hills with music; none can outrun that smooth speed of gracious strength which touched its