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speeches of the characters were full of poetry and dramatic truth, In 'Chastelard,' again, we have a splendid example of the poetry that lies in vehement and absorbing passion; but there is some reason to fear that Mr. Swinburne is wanting in the higher beauty of moral dignity and sweetness,"—London Review, December 30th, 1865,
" We can only say that it abounds in passages of great poetic merit, and the passion of love is described with all that delicacy and vividness that can only be found in the writings of a poet endowed with extraordinary genius, Mr. Swinburne bas well comprehended the character of Mary Stuart, and she is made to stand before the reader a reality, her nature being wonderfully well exhibited. Other characters are represented with marvellous distinctness, and give to the tragedy interest and vitality."—Ponure Ortx10™, December 16th, 1865,
" The style is so forcible that there is little that would render the play unfit for the stage, were it not for the great amount of amativeness which the parties have to display before they are disposed of,"—Court Cincetan, December 23rd, 1885.
"The picture with which this burst concludes, though too much elaborated, has undeniable grandeur. We could point out passages which, in a dramatic point of View, are yet Ener. Those given to Mary Deaton—the only touching character in the play—often reach the height of tragic intensity. Nor is itto be disputed that Mr. Swinburne shows at times a keen insight into the subtleties of human motive, but his chief characters are out of the pale of our sympathy; besides being inherently vicious, the language will offend not only those who have reverence, but those who have taste."—AruEwacra, December Xird, 1905,
" A tragedy—in which we think he best develops his genius. Once before we said we thought his genius essentially lyric, but he himself has convinced us, not of the contrary, but of the co-existence in him of the dramatic and lyric power,""— Covsr Jouanat, December 19th, 1905,
"The poem, in fact, is morally repulsive, and all its gilding of fancy and feeling only makes the picture more revolting . . . The dramatic power, the grace of the beauty of the tragedy no one candeny, . . . His insightinto hidden human motives is marvellously indicated, Altogether, if the poem fhila to plense, that most be attributed to the subject and the author's mind of it, not to any lack of workmanship of the very highest and most delicate order."—Artas, December S0vk, 1985.
"Ttis an unpleasant book, and one by all means to be kept out of the hands of the young and pure-mindod, for the Meentionsness of many of the images and profanity of not afew of ihe sentiments are sueh aa happily are not offen found in English pocts, . . . We cannot doubt that the less sensnous brotherhood of our Northern poote, would join us in denouncing with indignation and dlagust such a lamentable prostitution of the English muse,"—Jour Bets, December 23rd, 1885.
" There aretwo parts of the play deserving of special pralse—the second act, and the closing scenes of the fifth. It is in these, and more particularly in the latter, that Mr, Swinburne displays » combination of dramatic and poetle power beyond what is seen in anything thet his pen has yet produced, «oo + Werelt
