brain of the poet himself, with the creatures of his hand, to his "Moon of Poets."     

       As these poetic creations now stand, they all seem, upon examination, to incarnate the full-bodied life of distinctive types of men, centred amid their relations with other men within a specific social environment, and fulfilling the possibilities for such unique, dramatic syntheses as were revealed but partially or in embryo here and there among the other shorter poems of this period of the poet's growth.     

       In one important particular the re-arrangement of the "Men and Women"       group of poems made its title inappropriate. The graceful presence and love-lit eyes of the many women of the shorter love-poems were withdrawn, and Artemis, Andrea del Sarto's wife, the Prior's niece—"Saint Lucy, I would say," as Fra Lippo explains—and, perhaps, the inspirer of Rudel's chivalry, too, the shadowy yet learned and queenly Lady of Tripoli, alone were left to represent the "women" of the title. As for minor inexactitudes, what does it matter that the advantage gained by nicely selecting the poems properly belonging together, both in conception and artistic modelling, was won at the cost of making the reference inaccurate, in the opening lines of "One Word More," to "my fifty men and women, naming me the fifty poems finished"?—Or that the mention of Roland in line 138 is no longer in place with Karshish, Cleon, Lippo, and Andrea, now that the fantastic story of Childe Roland's desperate loyalty is given closer companionship among the varied experiences narrated in the       "Dramatic Romances"? While as for the mention of the Norbert of "In a Balcony"—which was originally included as but one item along with the other contents of "Men and Women"—that miniature drama, although it stands by itself now, is still near enough at hand in the revised order to account for the allusion. These are all trifles—mere sins against literal accuracy. But the discrepancy in the title occasioned by the absence of women is of more importance. It is of especial interest, in calling attention to the fact that the creator of Pompilia, Balaustion, and the heroine of the "Inn Album"—all central figures, whence radiate the life and spiritual energy of the work they ennoble—had, at this period, created no typical figures of women in any degree corresponding to those of his men.     

       CHARLOTTE PORTER HELEN A. CLARKE     

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