AUSTIN DOBSON
and a farther description on my part is rendered unnecessary.
Most of the poems of this class in the following pages first were brought together systematically in Dobson's Proverbs in Porcelain, 1877, although all of their modes, except the Chant Royal and the Villanelle, can be found in the relics of early English poetry,—some even in the verse of Gower and Chaucer. My own creed is that the chief question is not what novelty tempts us to the show, but whether the show be a good one,—and Mr. Dobson pleasantly avows a kindred belief. Some of these exotic forms seem to be handled as cleverly by him in English, as in French by De Banville. The villanelle "For a Copy of Theocritus," is like a necklace of beaten antique gold. His rondeaux "To Ethel" and "When Finis Comes," have a tricksy spirit, a winged and subtle perfection. Their rules seem peculiarly suited to experiments in translation from Horace. At all events, I do not recall any paraphrases of "O Fons Bandusiæ" and "Vixi Puellis" more satisfactory in form and flavor than those which Mr. Dobson gives us.
Reviewing these Vignettes in Rhyme and Proverbs in Porcelain, I have felt like one who has the freedom of a virtuoso's collection,—who handles unique and precious things, fearing that his clumsiness may leave a blemish or in some way cost him dear. Artist and poet at once, Mr. Dobson reminds me of Francia, who "loved to sign his paintings 'Aurifex,' and on his trinkets inscribed the word 'Pictor,'" and I have an impression that rarely of late has an English
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