Recollections of Dante Gabriel Rossetti — Dante Alighieri — John Shaqi
Recollections of Dante Gabriel Rossetti
Dante Alighieri · en
I don’t like your Shakspeare article quite as well as the
first _Supernatural_ one, or rather I should say it does not
greatly add to it in my (first) view, though both might gain
by embodiment in one. I think there is _some_ truth in the
charge of metaphysical involution--the German element as I
should call it--and surely you are strong enough to be
English pure and simple. I am sure I could write 100 essays,
on all possible subjects (I once did project a series under
the title, _Essays written in the intervals of
Elephantiasis, Hydro-phobia, and Penal Servitude_), without
once experiencing the “aching void” which is filled by such
words as “mythopoeic,” and “anthropomorphism.” I do not find
life long enough to know in the least what they mean. They
are both very long and very ugly indeed--the latter only
suggesting to me a Vampire or Somnambulant Cannibal. (To
speak rationally, would not “man-evolved Godhead” be an
_English_ equivalent?) “Euhemeristic” also found me somewhat
on my beam-ends, though explanation is here given; yet I
felt I could do without Euhemerus; and _you_ perhaps without
the _humerous_. You can pardon me now; for _so_ bad a pun
places me at your mercy indeed. But seriously, simple
English in prose writing and in all narrative poetry
(however monumental language may become in abstract verse)
seems to me a treasure not to be foregone in favour of
German innovations. I know Coleridge went in latterly for as
much Germanism as his time could master; but his best genius
had then left him.
It seems necessary to mention that I lectured in 1880, on the relation
of politics to art, and in printing the lecture I asked Rossetti to
accept the dedication of it, but this he declined to do in the generous
terms I have already referred to. The letter that accompanied his
graceful refusal is, however, so full of interesting personal matter
that I offer it in this place, with no further explanation than that my
essay was designed to show that just as great artists in past ages
had participated in political struggles, so now they should not hold
themselves aloof from controversies which immediately concern them: