GENIUS AND OTHER ESSAYS
his Vignettes in Rhyme will be as welcome to us as they have been to his own people. The actor's art delights us, because we know it is not real, and the modern renaissance delights us, because it gives us something quite apart from our common humdrum life; it is a feeling of to-day that dallies with the fragments of the past,—of that Past which never is past, which merges with the Present, and retains a hold upon our works of every-day use and beauty.
I write first of Mr. Dobson's old-time sentiment, because it is so definite and effective, but his muse is not restricted to a single range. Before looking farther, let us see who is this artist that has filled the vacant niche, and whose verse shows at once the strength and fineness that make it rank with the selectest poetry of our day.
Not unlike others who live at will in an ideal world, Austin Dobson is as modest and unassuming a person as one often meets. Just a poet, scholar and gentleman, the artist-side of whose nature compensates him for any lack of adventure in his daily work and walk. As is the case with many London authors, an office in the Civil Service has supplied him with an honorable certainty of livelihood and left his heart at ease for song. He was born in 1840, and has been a government-clerk for twenty-two years. Singularly enough, he did not begin to write poetry till he was twenty-five years of age, and the first collection of his Vignettes was not made until 1874. From the outset he took the public taste with the delicate sense and humor of his lyrics, no less than by their finish
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