The Complete Poetical Works of Elizabeth Barrett Browning; The Complete Works ofElizabeth Barrett Browning by Charlotte Porter; Helen A. Clarke; Elizabeth Barrett BrowningThe Sewanee Review, Vol. 9, No. 1 (Jan., 1901), pp. 110-111Published by: The Johns Hopkins University PressStable URL: http://www.jstor.org/stable/27528157 .

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iio The Sewanee Review.

It was an interesting experiment to make out a list of one

hundred and fifty permanent American lyrics, even though the plan at first too patently suggests Mr. Palgrave's volume, and it is a dainty volume that results. The editor seems most

happy in the earliest period, and least happy in his war lyrics. In the case of our living writers it is hard, very hard, to rid

ourselves of personal judgments, just because there are cer

tain songs we have heard and do care about, there are cer

tain singers we know and do love.

The Complete Poetical Works of Elizabeth Barrett Browning.

Cambridge Edition. Boston: Houghton, Mifflin & Co. 1900.

The Complete Works of Elizabeth Barrett Browning. Coxhoe Edi

tion. Edited, with Introduction and Notes, by Charlotte Porter and

Helen A. Clarke. Six volumes. New York: Thomas Y. Crowell &

Co. 1900.

Following the appearance of "The Love Letters of the

Brownings" (Harper and Brothers, 1899), it was to be ex

pected there would be a recrudescence of the study of Mrs.

Browning's poems. And it does not excite surprise that it

is to loyal students of her own sex we are indebted for this.

Mr. Scudder is the actual editor of the Cambridge edition

of Mrs. Browning's poems, but Miss Harriet Waters Preston

furnishes the introductory sketch of Mrs. Browning's life, and this womanly and literary interest was doubtless felt co

incidently throughout. The Riverside Series of American

Poets is already well known?the general type, the clearness, and particularly the convenience of the single volume?and

the Cambridge Series is a similar collection of the classic Eng lish poets. As our greatest woman poet, in both strength and

volume, Mrs. Browning eminently deserves a place here?

for her work has perhaps suffered by eclipse through com

ing under the shadow of the greater star. This edition will

be found to have the usual content of Mrs. Browning's best

and permanent work.

But more than this has been attempted in the Coxhoe edi

tion, so called for the birthplace of the poet. Under such

? title one would naturally look fora study of beginnings and

development and expansion of interests; nor is he disap

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Reviews. in

pointed. Indeed, the two editors, Charlotte Porter and Helen

A. Clarke?known for their Browning love and lore from

"Poet Lore"?have brought to this dainty edition in six vol

umes a special preparation, an experience, and particularly a love that cannot be too highly commended. Here one may

study Mrs. Browning apparently at last complete. Here or

there may be some dilation or repetition, but we will easily

pardon this for the evident care spent, and the sense of com

pletion. Here will be found the translation of Prometheus, which we miss from most editions, and also the rare prose treatises. Three of these sketches seem absolutely new in

this edition. The notes are full, possibly prolix at points, but show genuine enthusiasm and regard for a true interpre tation. The six volumes may prove a disadvantage to some

who prefer all material ready at hand and accessible in one

volume, but they are so dainty that in a day of small books

many will care for them also for themselves.

A Book of Verses. By Robert Loveman. Philadelphia: J. B. Lippincott

Company. 1900.

Mr. Loveman is a resident of Dalton, Ga., a fellow-towns

man of Mr. Harben, whose " Northern Georgia Sketches"

are noticed above. Happy town that can send forth two vol

umes by one mail ! Mr. Loveman is not a voice singing un

restrainedly for others, but, like sparks coming slowly and fit

fully, he has beaten out these verses to himself:

Thou wast wrought patient and slow,

Through crucibles of sleepless nights.

This is an illustration of the truth expressed above?to

such a man's soul singing in verse becomes a holy passion. Few poems pass beyond two, and only an occasional one be

yond three, stanzas. The quatrain, in lines with four accents, is a favorite stanzaic form, and its subdued chasteness will

be seen in one taken fairly at random :

O life, O love, O hope, O fate,

Unceasing ever, early, late, We see in dreams by night, by day,

Some Eldorado?far away.

There is just a tendency to pretty turns and conceits which here and there disturb slightly the feeling of genuineness.

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