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 which, the author has consigned a tribute of veneration to the memory of Walter Savage Landor, in two compositions of Greek elegiac verse. The first is a dedication addressed to Landor while living, in the form of a valediction, on the occasion of his last return to Italy; the second, much the longer of the two, an elegy on his death. No one who has felt how the spirit of the iEschylean tragedy breathes through the English poem, will have been surprised to find—rather, every such reader would have been disappointed if he had not found—that Mr. Swinburne's thoughts move with scarcely less ease and freedom on a moderm theme (if indeed Landor may be properly said to belong to his own age so much as to that of Pericles and Augustus) in the language and measures of Callinus and Mimmerus than in his native speech. Of the Greek we will only say that it is not that of a Cambridge prize ode, but something much better even if more open to minute criticism than the best of such; not in the least like a cento of dainty classical phrases, but the fresh original gushing of a true poetical vein, nourished by a mastery of the foreign language, like that which Landor himself in his Latin poems It is evidently the produce, not of the tender lyrical faculty which so often waits on sensitive youth and afterwards fades into the light of common day, nor even of the classical culture of which it is itself a signal illustration, but of an affluent and apprehensive genius, which, with ordinary care and fair fortune, will take a foremost place in English literature His abstinence from all overdrawn conceits is remarkable in a young poet of any time, and his careful avoidance of the shadowy border land of metaphysics and poetry in which so many versifiers of our own day take refuge from the open scrutiny of critical sunlight, deserve full praise and recognition."— Edutbuegh Review, July, 1865.

CHASTELAED. By

ALGERNON C. SWINBURNE.

Fcap. 8vo, cloth,

7s.

John Camden Hotten.

OPINIONS OF THE PRESS.

"The portraits of Mary and of Chastelard are exaggerated, but only as Michael Angelo's heroic statues are. The consistent steady madness of Chastelard's passion, which, mad as it is, lies deeper than madness, and, wild as it is burns always without flame, is displayed in a way which is, most masterly.