Page:Poems and ballads (IA poemsballads00swinrich).pdf/10

 terity of fence, both in feeling and language, this scene may rank with the masterpieces of our older drama The gyrations are so unexpected, and the changes so numerous, that in less masterly hands the effect would be rather that of a psychological puzzle than of a dramatic evolution. . . . It is impossible that this play should not highly raise Mr. Swinburne's reputation. There are artistic defects in it, but not to be mentioned beside the artistic merits. His preface to Moxon's 'Selections from Byron' is another instance of the fact, too often forgotten, that there is no education for the writing of superior prose like the serious practice of poetry; and with this double power, Mr. Swinburne's future career must be an object of much interest to all who estimate aright the worth and weight of British literature in the intellectual and moral history of mankind."—Fortnightly Review, April 15th, 1866.

"He fills out this bold outline, and supplies missing links in the story, and imparts life and form and colour to the whole picture, and reproduces contemporaneous personages and scenery, and, with deep probing of human nature and fine play of imagination, unveils the pathetic tragedy that has so long slept hidden in the dry and trite historic page. The result is a masterpiece of literary art, whether contemplated as to conception of character, ideals of love and heroism, treatment of a grand and moving theme, majesty, beauty, and purity of style, or lesson to the heart and mind."—The Albion, December 23rd, 1865.

"The is and There is little

to relieve vaguely story ineffectively presented. the repulsive character of the whole tone of the play. It dwells pertinaciously and too warmly upon scenes which are neither noble, edifying, nor decent."—

Boston Daily Advertiser, December 14*th, 1865.

"We have but re-echoed the judgment of all competent

critics, in

saying that

Swinburne rightfully ranks with the few great poets of this and of other ages. His present work is one of the finest artistic efforts which we have ever chanced
 * to encounter. It has more human interest than his Atalanta in Calydon,' while ' is richly dight' with it is couched in the same vigorous and splendid diction, and His portraiture is one of the . melodious and sweetly magnificent songs. and most most thoroughly elaborated, gorgeously coloured, in the whole amplest, wide range of British poetry." New York Weekly Review, December 9th, 1865.

"The sustained and elastic strength of the fourth act, in which the turns and windings of Mary's will as Chastelard's death are drawn out—her perplexity, a weak man and for a cruel unknightly man, fear of for ruthlessness, contempt public scorn, remorse for her love, vindictive bitterness against Darnley, all.

chasing one another over her mind, with the subtlest changes—make one of the for which a drama of character gives room. We feel that the

most superb scenes

writer is rejoicing in his own skill in unravelling the changeful mysteries of a highly complex character. He exults in his mastery over the Queen's rapid passage from one mood to another, and in the magic by which he can produce and control her Protean transformations."— Saturday Revibw, May lllh, 1866.