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 the writer much pains. It is time, indeed, to point out that Mr. Rossetti is a poet possessing great powers of assimilation and some faculty for concealing the nutriment on which he feeds. Setting aside the "Vita Nuova" and the early Italian poems, which are familiar to many readers by his own excellent translations, Mr. Rossetti may be described as a writer who has yielded, to an unusual extent, to the complex influences of the literature surrounding him at the present moment. He has the painter's imitative power developed in proportion to his lack of the poet's conceiving imagination. He reproduces to a nicety the manner of an old ballad, a trick in which Mr. Swinburne is also an adept. Cultivated readers, moreover, will recognise in every one of these poems the tone of Mr. Tennyson broken up by the style of Mr. and Mrs. Browning, and disguised here and there by the eccentricities of the Pre-Raphaelites. The "Burden of Nineveh" is a philosophical edition of "Recollections of the Arabian Nights;" "A Last Confession" and "Dante at Verona" are, in the minutest trick and form of thought, suggestive of Mr. Browning; and that the sonnets have been largely moulded and inspired by Mrs. Browning, especially in points of phraseology, can be ascertained by any critic who will compare them with the "Sonnets from the Portuguese." Much remains, nevertheless, that is Mr. Rossetti's own. I at once recognise as his own property such passages as this:—

"I looked up And saw where a brown-shouldered harlot leaned Half through a tavern window thick with vine. Some man had come behind her in the room And caught her by her arms, and she had turned With that coarse empty laugh on him, as now