"coast" to the sea of air. No single tree has extent enough to be a coast of the air-ocean; at most it is but a tiny green islet therein. In the last stanza but one Mr. Le Gallienne speaks of "the roar of sap." This conveys the idea of a noisy torrent, whereas the marvel of sap is that it is steadily forced upwards through a mass of wood by a quietly powerful pressure. I dislike the fallacious theology of the last stanza as being neither scientific nor poetical. Mr. Benson's little poem, Δαιμονιζόμενος, is lightly and cleverly versified, and tells the story of a change of temper, almost of nature, in very few words. The note of Mr. Watson's two sonnets is profoundly serious, even solemn, and the workmanship firm and strong; the reader may observe, in the second sonnet, the careful preparation for the last line and the force with which it strikes upon the ear. Surely there is nothing frivolous or fugitive in such poetry as this! I regret the publication of "Stella Maris," by Mr. Arthur Symons; the choice of the title is in itself offensive. It is taken from one of the most beautiful hymns to the Holy Virgin (Ave, maris Stella!), and applied to a London street-walker, as a star in the dark sea of urban life. We know that the younger poets make art independent of morals, and certainly the two have no necessary connection; but why should poetic art be employed to celebrate common fornication? Rossetti's "Jenny" set the example, diffusely enough.
The two poems by Mr. Edmund Gosse, "Alere Flammam" and "A Dream of November," have each the great quality of perfect unity. The first is simpler and less fanciful than the second. Both in thought and execution it reminds me strongly of Matthew Arnold. Whether there has been any conscious imitation or not, "Alere Flammam" is pervaded by what is best in the classical spirit. Mr. John Davidsons two songs are sketches in town and country, impressionist sketches well done in
a laconic
