Apart from questions of taste--and if these poems were to be arraigned for errors of what may be called taste, they might be convicted of occasional affectation in metaphor, as where the hills are 'as a stallion stal- wart, very-violet-sweet', or of some perversion of human feeling, as, for instance, the 'nostrils' relish of incense along the sanctuary side ', or 'the Holy Ghost with warm breast and with ah! bright wings', these and a few such examples are mostly efforts to force emotion into theological or sectarian channels, as in 'the com- fortless unconfessed' and the unpoetic line 'His mystery must be instressed stressed', or, again, the exaggerated Marianism of some pieces, or the naked encounter of sensualism and asceticism which hurts the 'Golden Echo'.-- _Style_ Apart, I say, from such faults of taste, which few as they numerically are yet affect my liking and more repel my sympathy than do all the rude shocks of his purely artistic wantonness-- apart from these there are definite faults of style which a reader must have courage to face, and must in some measure condone before he can discover the great beauties. For these blemishes in the poet's style are of such quality and magnitude as to deny him even a hearing from those who love a continuous literary decorum and are grown to be intolerant of its absence. And it is well to be clear that there is no pretence to reverse the condemnation of those faults, for which the poet has duly suffered. The extravagances are and will remain what they were. Nor can credit be gained from pointing them out: yet, to put readers at their ease, I will here define them: they may be called Oddity and Obscurity; (_Oddity_) and since the first may provoke laughter when a writer serious (and this poet is always serious), while the latter must prevent him from being understood (and this poet has always something to say), it may be assumed that they were not a part of his intention. Something of what he thought on this subject may be seen in the following extracts from his letters. In Feb. 1879, he wrote: 'All therefore that I think of doing is to keep my verses together in one place-- at present I have not even correct copies--, that, if anyone should like, they might be published after my death. And that again is unlikely, as well as remote. . . . No doubt my poetry errs on the side of oddness. I hope in time to have a more balanced and Miltonic style. But as air, melody, is what strikes me most of all in music and design in painting, so design, pattern, or what I am in the habit of calling inscape is what I above all aim at in poetry. Now it is the virtue of design, pattern, or inscape to be distinctive and it is the vice of distinctiveness to become queer. This vice I cannot have escaped.' And again two months later: 'Moreover the oddness may make them repulsive at first and yet Lang might have liked them on a second reading. Indeed when, on somebody returning me the _Eurydice_, I opened and read some