anxious to keep up with the literature of the day, might fairly re-echo the aspiration. Who, indeed, can hope to turn over a tithe of the new leaves which are issued daily? Nor can an unlimited consumption of them be recommended. Mr. Lowell is to a certain extent justified when he says that

‘Reading new books is like eating new bread;
One can bear it at first, but by gradual steps he
Is brought to death’s door of a mental dyspepsy.’

Assuredly new books are so far like new bread, that we should not consume them in too rapid succession. At the same time, let us be thankful for them, inasmuch as they have the unquestionable gift of novelty. Lord Beaconsfield’s Lady Montfort said she preferred a new book, even if bad, to a classic. That was a strong saying, but there are points of view from which it is perfectly defensible.

RUSKIN AS POET.

t was lately rumoured that Mr. Ruskin was about to issue a volume of poems, consisting mainly of pieces already published. The statement was probably the first intimation received by many that the author of ‘Modern Painters’ had ever written anything in the shape of verse. That he has always been, like Sidney, a ‘warbler of poetic prose,’ has lately been emphasized by a magazine-writer; but it is not at all universally known that between the years 1835 and 1845 Mr. Ruskin figured somewhat largely as a poet, in the popular sense of that much abused word. During that time he produced a good deal of verse, in addition to the prize poem which has always been readily accessible by his admirers.

Even if one had not known, it would not have been difficult to have assumed, from the rhythmic character of Mr. Ruskin’s prose, that he had at one time ‘dropped into poetry.’ Such a master of rhetoric could hardly have gone through life without wooing the Muse of Song, however temporarily or unsuccessfully. It would not have been natural for him to have done so. And, indeed, it is probable that no great prose rhetorician has failed to pay the same homage to the charm of verbal melody and cadence. In all the most sonorous prose turned out by English authors there will be found a lilt and a swing which would without difficulty translate themselves into verse. ‘Most wretched men,’ says Shelley, ‘are cradled into poetry by wrong.’ Most literary men have been cradled into it by their irresistible feeling and aptitude for rhythm, together with that general poetic sensibility which is rarely absent from the nature of the literary artist. Certain it is that practice in verse has always been recognised as the best of all preparation for work in prose, and no doubt much of Mr. Ruskin’s success as prose-producer has been owing to his early devotion to the Muse.

He himself tells us, in the course of his tribute to his ‘first editor’ (W. H. Harrison), that

And he adds—the tribute was paid in 1878—

A much fuller account of the poetic stages through which he passed in childhood is given by Mr. Ruskin in his ‘Præterita,’ where he tells us of the six ‘poems’ he brought forth in his seventh year (1826), one of them being on the subject of the steam-engine, and rejoicing in such couplets as:

‘When furious up from mines the water pours,
And clears from rusty moisture all the ores.’

Another, on the rainbow, was in blank verse and impressively didactic in its tone. Then, when he was nine years old, he broke out with yet another effusion, called ‘Eudosia;’ and when only eleven he began the composition of an elaborate ‘poetical’ description of his various journeyings, under the title of ‘Iteriad.’

It is easy to understand how this fondness for the rhythmical was fostered by the aforesaid parental admiration, and how it was still further increased by the boy’s admiration, successively, for Scott and Byron. Certain early friendships held out to the young versifier the prospect of publication, and thus it is that we find him, in his sixteenth year, figuring as a contributor to ‘Friendship’s Offering and Winter’s Wreath: a Christmas and New Year’s Present’ for 1835. This was the era of the old-fashioned ‘annuals,’ and ‘Friendship’s Offering’ was one of the most notable of its kind. In the issue for the year named we note Barry Cornwall, John Clare, William Howitt, and H. F. Chorley among the writers of whom the youthful Ruskin was one. Here, by the side of really excellent steel-engravings, portraying languishing ladies in corkscrew curls, and illustrating literary matter not always unworthy of the embellishment given to it, we discover Mr. Ruskin’s first published verses—‘Salzburg’ and some ‘Fragments’ of a poetical journal, kept on tour. In the former we seem to detect the influence of Rogers, rather than that of Scott or Byron. It opens thus:

‘On Salza’s quiet tide the westering sun
Gleams mildly; and the lengthening shadows dun,
Chequered with ruddy streaks from spire and roof,
Begin to weave fair twilight’s mystic woof;
Till the dim tissue, like a gorgeous veil,
Wraps the proud city, in her beauty pale.’

A little further on we read:

‘Sweet is the twilight hour by Salza’s strand,
Though no Arcadian visions grace the land;
Wakes not a sound that floats not sweetly by,
While day’s last beams upon the landscape die;
Low chants the fisher where the waters pour,
And murmuring voices melt along the shore;
The plash of waves comes softly from the side
Of passing barge slow gliding o’er the tide;
And there are sounds from city, field, and hill,
Shore, forest, flood; yet mellow all, and still.’

Herein, it will be seen, is something of the power of description which the writer was afterwards to exhibit so much more effectively in prose.

Four years later Mr. Ruskin’s initials were to be seen appended to a couple of pieces in verse contributed to ‘The Amaranth,’ an annual of much more imposing presence than the ‘Offering’—edited by T. K. Hervey, admirably illustrated, and happy in the practical support of such literary lights as Horace Smith, Douglas Jerrold, Sheridan Knowles, Thomas Hood, Praed, and Mrs. Browning. One of the two pieces in question is ‘The Wreck,’ in which Mr. Ruskin’s poetic capability, such as it is, is visible in one of its most attractive moods. The last verse runs:

‘The voices of the night are mute
Beneath the moon’s eclipse;
The silence of the fitful