It is not only the religious ecstasy of CRASHAW that they recall; for all the daringly fantastic imagery, all the love-lyrical hyperbole, all that strange mixture and artifice, of spontaneous passion and studied conceit, which were so characteristic of the age of CRASHAW, are with the same astonishing fidelity reproduced. Where, unless, perhaps, in here and there a sonnet of ROSSETTI'S, has this sort of sublimated enthusiasm for the bodily and spiritual beauty of womanhood found such expression as in _Love in Dian's Lap_ between the age of the Stuarts and our own? To realize the full extent to which the religious, or semi-religious, emotions--now ecstatic, now awe-stricken--dominate and colour the entire fabric of these strange poems, they must be read throughout. In the lines _To the Dead Cardinal of Westminster_ we see them at their subtlest; and in the very powerful piece, _The Hound of Heaven_--a poem setting forth the pursuit of the human soul by divine grace--they are at their most intense.... That minority who can recognize the essentials under the accidents of poetry, and who feel that it is to poetic Form alone, and not to forms, that eternity belongs, will agree that, alike in wealth and dignity of imagination, in depth and subtlety of thought, and in magic and mastery of language, a new poet of the first rank is to be welcomed in the author of this volume.--H. D. TRAILL, in _The Nineteenth Century_. The first thing to be done, and by far the most important, is to recognize that we are here face to face with a poet of the first order, a man of imagination all compact, a seer and singer of rare genius. He revels indeed in "orgiac imageries," and revelry implies excess. But when excess is an excess of strength, the debauch a debauch of beauty, who can condemn or even regret it? Would we had a few more poets who could exceed in such imagery as this! It is no minor Caroline singer he recalls, but the Jacobean SHAKESPEARE.--_The Daily Chronicle._