death in 1850
received at Queen Victoria's hand the "laurel greener from the brows
of him that uttered nothing base," had published his earliest two
volumes of poems some years before Her Majesty's accession; and of
that rare poetic pair, the Brownings, each had already given evidence
of the great powers they possessed, Robert Browning's tragedy of
"Strafford" being produced on the stage in 1837, while his future
wife's translation of the "Prometheus Bound" saw the light four years
earlier. The Victorian period can boast no greater poetic names than
these, each of which is held in highest reverence by its own special
admirers. The patriotic fervour with which Lord Tennyson has done
almost all his laureate work, the lucid splendour of his style, the
perfect music of his rhythm, and the stinging sharpness with which he
has sometimes chastised contemporary sins, have all combined to win
for him a far wider popularity than even that accorded to the fine
lyrical passion of Mrs. Browning, or to the deep-thoughted and
splendid, but often perplexing and ruggedly phrased, dramatic and
lyric utterances of her husband. All three have honoured themselves
and their country by a majestic purity of moral and religious
teaching--an excellence shared by many of their contemporaries, whose
powers would have won them a first place in an age and country less
fruitful of genius; but not so conspicuous in some younger poets,
later heirs of fame, whose lot it may be to carry on the traditions
of Victorian greatness into another reign.

There are not a few writers of our day whose excellent prose work has
won more of popular favour than their verse, which notwithstanding is
of high quality. Such was the "unsubduable old Roman," Walter Savage
Landor, a contemporary of Byron and Wordsworth, who long outlived
them, dying in 1864. Such--to bring two extremes together--are the
critic and poet Matthew Arnold, the poet and theologian John Henry
Newman. Intimately associated in our thought with the latter, who has
enriched our devotional poetry with one touching hymn, is Keble, the
singer _par excellence_ of the "Catholic revival," and the most
widely successful religious poet of the age, though only very few of
his hymns have reached the heart of the people like the far more
direct and fervent work of the Wesleys and their compeers. He is even
excelled in simplicity and passion, though not in grace and
tenderness, by two or three other workers in th