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Rh they (and the works too) exhibit not only an increase of intellectual, but also of artistic power. No criticism of his poetry is intended here; but, in connection with this point, it may be remarked that his principal defect is in style, as is shown by the necessity he continually felt of studying literary models, which nevertheless affected his productions hardly at all, except in linguistic handling, in the choice and flow of words, after Spenser, the structure of sentences, after Milton, and later (in Lamia), after Dryden, and in a movement and kind of verbal esprit, after Ariosto. This restless change from one master to another, as well as some few critical remarks, indicates a power to form a distinctive style of his own. Again, the marked pictorial character of his poetry—the quality it has to impress one like a cartoon or a bas-relief ("the brede of marble men and maidens"), the grace of form and attitude in the figures of his poetic vision—was clearly recognized by him to be in excess in his compositions. Originally, this was due, in a high degree, to the accident of his friendship with Haydon; the portfolios of the masters helped his imagination in definiteness, in refinement, and