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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 flute

       Is in the dying lips!

       The silence of my lonely heart

       Is kept for ever more

       In the lull

       Of the waves

       Of a low lee shore.’

      To the same year belong contributions to the London Monthly Miscellany and the prize poem (‘Salsette and Elephanta’) before-mentioned. In the Miscellany appeared some lines which, in certain respects, are a species of anticipation of the Swinburnian manner; as, for example:

      ‘We care not what skies are the clearest,

       What scenes are the fairest of all;

       The skies and the scenes that are dearest

       For ever, are those that recall

       To the thoughts of the hopelessly-hearted

       The light of the dreams that deride,

       With the form of the dear and departed,

       Their loneliness, weary and wide.’

      It may be assumed that ‘Salsette and Elephanta’ has been read by all who care about the undertaking. It was recited in the theatre at Oxford, printed in the same year (1839), and reprinted exactly forty years afterwards. It is a by no means unattractive piece of rhetoric.

      Another of the annuals to which Mr. Ruskin contributed in those days was the Keepsake, in which he figured in 1845, under the editorship of the Countess of Blessington, with Landor, Monckton Milnes, Lord John Manners, and the future Lord Beaconsfield as fellow-contributors. He was also welcomed to the pages of Heath’s Book of Beauty. Five years later he collected his fugitive pieces, and, adding a few new ones, included the whole in a volume privately circulated in 1850. Copies of this book are said to have been bought at sales, at different times, for £31 and 41 guineas. Six years ago, a selection from the ‘Annual’ verses was published, together with the prize poem and other matter, in America.

      Glancing through Mr. Ruskin’s verse, one is forced to admit that it has no special individuality or charm. It deals with conventional subjects in a more or less conventional manner. There is a classical element, and a flavour of foreign scenery, and an occasional excursion in the direction of such topics as ‘Spring,’ ‘The Months,’ ‘The Old Water Wheel,’ ‘The Old Seaman,’ ‘Remembrance,’ ‘The Last Smile,’ and the like. The rhythm is always regular and flowing, and the descriptive passages have light and colour; but the ‘lyric cry’ has no particular tone that could attract the public. The longest piece ever written by Mr. Ruskin was, not the prize poem, but that entitled ‘The Broken Chain,’ with an extract from which I may conclude this brief survey of a great prose-writer’s verse-production:—

      ‘Where the flower hath fairest hue,

       Where the breeze hath balmiest breath,

       Where the dawn hath softest dew,

       Where the heaven hath deepest blue,

       There is death.

       ‘Where the gentle streams of thinking,

       Through our hearts that flow so free,

       Have the deepest, softest sinking,

       And the fullest melody,

       Where the crown of hope is nearest,

       Where the voice of joy is clearest,

       Where the heart of youth is lightest,

       Where the light of love is brightest,

       There is death.’

ELECTIONS IN LITERATURE.

       Table of Contents

      

t is not surprising that Parliamentary contests should have figured largely in the English plays, stories, and poems of the past. That they will hold so prominent a place in them in future is, of course, by no means certain. If elections have been made purer than they were, they have been made less picturesque. They have now but little romance about them. Nearly everything in them is precise and practical. The literary artist, therefore, is likely to find in them few things to attract him, and will be, to that extent, at a disadvantage as compared with those who have preceded him. There were days when the preliminary canvassing, the nomination and the polling days, had features which invited treatment on the stage or in print. The whole atmosphere of electioneering was different to that which now exists. Those involved in it went about their work with a reckless jollity productive of results eminently interesting to students of character and manners. A battle at the polls brought out all which was most characteristic in the Englishmen of the times, and to describe such a conflict was naturally the aim of many a man of letters.

      Several theatrical pieces have been based almost wholly upon the varied incidents of such a contest. There was, for example, that ‘musical interlude,’ ‘The Election,’

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