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THE FLESHLY SCHOOL OF POETRY.
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dive of some water-bird or the motion of floating insects, and brooded over by an atmosphere of insufferable closeness, with a light blue sky above it, sultry depths mirrored within it, and a surface so thickly sown with water-lilies that it retains its glassy smoothness even in the strongest wind. Judged relatively to his poetic associates, Mr. Rossetti must be pronounced inferior to either. He cannot tell a pleasant story like Mr. Morris, nor forge alliterative thunderbolts like Mr. Swinburne. It must be conceded, nevertheless, that he is neither so glibly imitative as the one, nor so transcendently superficial as the other. Although he has been known for many years as a poet as well as a painter—as a painter and poet idolized by his own family and personal associates—and although he has often appeared in print as a contributor to magazines, Mr. Rossetti did not formally appeal to the public until rather more than a year ago, when he published a copious volume of poems, with the announcement that the book, although it contained pieces composed at intervals during a period of many years, "included nothing which the author believed to be immature." This work was inscribed to his brother, Mr. William Rossetti, who, having written much both in poetry and criticism, will perhaps be known to bibliographers as the editor of the worst edition of Shelley which has ever seen the light. No sooner had the work appeared than the chorus of eulogy began. "The book is satisfactory from end to end," wrote Mr. Morris in the Academy; "I think these lyrics, with all their other merits, the most complete of their time; nor do I know what lyrics of any time are to be called great, if we are to deny the title to these." On the