all the inordinate coarseness of the fleshly vocabulary, but on the persistent choice of subjects repulsive in themselves, and capable of fleshly treatment, such as the lyric about Jenny the street-walker, who "advertises dainties through the dirt," and is serenaded by the poet in a brothel; the poem about Lilith the Snake, and her gripping and lipping, and general arts of fornication; and the nuptial sonnet which Mr. Rossetti studiously refrains from quoting, knowing that it would condemn him fatally in all decent eyes. I said, and I say, that the very choice of these subjects is deplorable, and that their treatment is offensive; and I said, and say, that the morbid habit penetrates into the writer's treatment even when, as very seldom happens, he chooses a subject by no means morbid in itself: all this without going beyond Mr. Rossetti; but if I go a little further, and look at that phenomenon of which he is a phase, I find decency outraged, history falsified, purity sacrificed, art prostituted, language perverted, religion outraged, in one gibbering attempt to apotheosize vice and demolish art with the implements of blasphemy and passion; I find that Mary of Scotland is a biting and scratching harlot, Sappho a lustful wild beast, Christ and Christianity scandals and abortions; and pursuing further my inquiry into this phenomenon, finding religion distorted into lust, and lust raving in the very language of religion, I take occasion to say—on public grounds only, with no grudge, with no personal animosity whatever—that a number of men of real though very limited ability are, blinded by their own little knowledge, the praise of vile minds, and the applause of a heartless clique, rushing headlong to literary ruin, and dragging many of the young generation
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THE FLESHLY SCHOOL OF POETRY.
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