Fair and dear is the land's face here, and fair man's work as a man's may be: Dear and fair as the sunbright air is here the record that speaks him free; Free by birth of a sacred earth, and regent ever of all the sea.'
The 'Autumn Vision' is an ode to the south-west wind, which has so often filled the sails of the English warships:
'Wind beloved of earth and sky and sea beyond all winds that blow, Wind whose might in fight was England's on her mightiest warrior day, South-west wind, whose breath for her was life, and fire to scourge her foe, Steel to smite and death to drive him down an unreturning way, Well-beloved and welcome, sounding all the clarions of the sky, Rolling all the marshalled waters toward the charge that storms the shore.'
Charles Kingsley, like a hardy Norseman, preferred the north-east gale. To him the south-west wind is
'The ladies' breeze, Bringing back their lovers Out of all the seas,'
while Mr. Swinburne hears in the rushing south-western gale
'the sound of wings gigantic, Wings whose measure is the measure of the measureless Atlantic,'
'The grim sea swell, grey, sleepless and sad as a soul estranged.'
'A Swimmer's Dream' gives us the poetry of floating on the slow roll of the waves, some cloudy November morning.
'Dawn is dim on the dark soft water, Soft and passionate, dark and sweet.'
'Loch Torridon' preserves the charm of what might be a landlocked lake, if it were not that the rippling tide flows in by an almost invisible inlet from the sea. From his earliest to his latest poems the magic of nature's changing aspects fascinates him; they inspire him with a kind of ecstasy that finds utterance in the variety of his verse, which reflects all the lights and shades of earth, sea, and atmosphere. One may remark, by the way, that in proportion as his poetic strength matures, the pagan gods and goddesses, who disported themselves so freely in his juvenile verse, visit him much more rarely; his imagery draws much less profusely upon the classic mythology for symbols and figures of divinities whose diaphanous robes are ill suited to our northern climate and Puritanic traditions, in the wolds and forests once sacred to Thor and Woden.
It will be admitted by Mr. Swinburne's least indulgent critics that his poetry displays throughout a marvellous power of execution. He runs over all the lyrical and elegiac chords with unabated facility; his metrical variations and musical phrasing bring out and extend the capacity and fertility of our language as a poetic instrument; he is master of his materials. No doubt there is some repetition, some iteration, which becomes slightly wearisome, of his favourite rhymes, indicating, what has been observed independently of reference to this particular writer, that the resources of the English language for terminal assonance, under the stringent conditions required by the modern rules of versification, are inevitably limited and show signs of exhaustion.