Page:The Fleshly school of poetry - Buchanan - 1872.djvu/106



the above was written, the Quarterly Review has spoken in very similar language to my own; and I agree with its strictures in every passage, save those which are levelled against Mr. Tennyson. The poet laureate is open to judgment, and is strong enough to bear it; but I hold it to be in all respects lamentable that he has been censured in the same breath as the men who owe to him what little in their writings is good and worthy. The Review speaks thus of "Jenny:"—

"We purpose to close our remarks on Mr. Rossetti's verse with some reflections on a poem which, we think, reveals characteristically the incapacity of the literary poet to deal with contemporary themes in an effective and straightforward manner. 'Jenny' is a poem on the subject of unfortunate women. A man is supposed to have followed a girl of this description to her house, where she falls asleep with her head on his knee, while he moralises on her condition. The majority of poets have, as we think wisely, avoided subjects of this sort. But assuming that success might justify its treatment, one of the first elements of success is that a piece should be brief and forcible. 'Jenny' is nearly four hundred lines long. The metre at the opening reminds us of one which Mr. Browning uses with characteristic force, but which in Mr. Rossetti's hands soon degenerates into feeble octosyllabic verse. The thought throughout is pretentious but commonplace. The moralist, beginning with something like a rhapsody on the appearance of the girl as she lies asleep, wonders what she is thinking about; he then reflects that her sleep exactly resembles the sleep of a pure woman; her face he feels might serve a painter as the model of a Madonna. We are thus imperceptibly edged on into the author's favourite regions of abstraction:—

Yet, Jenny, looking long at you The woman almost fades from view.