Before this, however, the “Princess” and “In Memoriam” had appeared. For a time Mr. Tennyson was again silent, breaking his silence only by four poems contributed to the _Examiner_, and by the “Ode on the Death of the Duke of Wellington” (Moxon, 1852). One of the four poems in the _Examiner_, however, was “The Charge of the Light Brigade,” and of this Moxon published a quarto sheet of four pages.--“Having heard that the brave soldiers before Sebastopol, whom I am proud to call my countrymen, have a liking for my ballad on the ‘Charge of the Light Brigade’ at Balaclava, I have ordered a thousand copies of it to be printed for them.--ALFRED TENNYSON.”[26] In 1855 appeared another poem resulting from the war--“Maud,” one of the most beautiful and least understood of all Mr. Tennyson’s compositions. On the 3rd of June, 1858, Edward Moxon died, having, as a publisher, earned the esteem of all his clients and the gratitude of all the public. What his services to literature have been the names comprised in his catalogues bear ample witness. Truly Lamb’s dedicatory prophecy had been amply fulfilled! On his death the immediate management of the firm devolved upon Mr. J. Bertrand Payne, and under his rule the business was distinguished rather for the energy with which the already published works were pushed forward than for any encouragement held out to acknowledged genius. Mr. Payne himself undertook the superintendence of the “Moxon’s Miniature Series,” and, as soon as the “Idylls of the King” had been published, of the luxurious edition of them illustrated by that extraordinary genius, M. Gustave Doré. There was one exception to his lack of enterprise. In 1861 Mr. Pickering published the “Queen Mother” and “Rosamond,” two plays by Mr. Swinburne, then a young man of eighteen. Except in the case of a condemnatory notice in the _Athenæum_ these poems attracted little or no attention; but in 1865 “Moxon and Son” published the “Atalanta in Calydon,” which at once marked out the author as the most musical, and one of the greatest, of our living singers. It was at all events pretty generally acknowledged that for true poetic inspiration, momentary if it were, no poet of our generation could rival Mr. Swinburne. This opinion was still further strengthened by the publication of “Chastelard,” in 1866. When, however the “Poems and Ballads” appeared, they were met by such a whirlwind of abuse from critics, whose professional morality was supposed to have been shame-stricken, that the publishers explained that they were unaware of the nature of the poems they had laid before the public, and suppressed the edition before it got into circulation. As a consequence the few copies that had been sold were eagerly sought at a price of five guineas, and the volume was speedily republished in America. In this strait, Mr. J. Camden Hotten came forward, and to him Mr. Swinburne confided all his hitherto published poems, including