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Updated: May 5, 2025
Later she made some further defence in the New Review. The opinions of Burton's friends and intimate acquaintances on the matter were as follows: Mr. Payne and Mr. Watts-Dunton thought that Lady Burton did quite rightly, considering the circumstances, in destroying the work. Mr.
I do not think that any one connected with literature with the exception of Mr. Watts-Dunton, Mr. Swinburne, my father, and Dr. R. G. Latham knew so much of him as I did. His personal appearance was exactly like that of 'Philip Aylwin, as described in the novel. Although he never wrote poetry, he translated, I believe, a good deal from the Spanish and Portuguese poets.
On 9th January Borrow left Penquite on a tour to Truro, Penzance, Mousehole, and Land's End, armed with the inevitable umbrella, grasped in the centre by the right hand, green, manifold and bulging, that so puzzled Mr Watts-Dunton and caused him on one occasion to ask Dr Hake, "Is he a genuine Child of the Open Air?"
Some twenty years had passed since that night when, ailing and broken thought to be nearly dying, Watts-Dunton told me Swinburne was brought in a four-wheeler to The Pines. Regular private nursing-homes either did not exist in those days or were less in vogue than they are now. The Pines was to be a sort of private nursing-home for Swinburne. It was a good one. He recovered.
Watts-Dunton seriously like to have these scenes touched up by Driscoll or Sullivan. Borrow did not write for real or imaginary connoisseurs. I do not mean that a man need sacrifice his effect upon the ordinary man by satisfying the connoisseur. No one, for example, will deny that a ship by Mr.
Watts-Dunton says: "With regard to Isopel Berners, neither Lavengro, nor the man she thrashed when he stole one of her flaxen hairs to conjure with, gives the reader the faintest idea of Isopel's method of attack or defence, and we have to take her prowess on trust.
On one occasion, just before the removal of the mutton, Watts-Dunton had been asking me about an English translation that had been made of M. Rostand's 'Cyrano de Bergerac. He then took my information as the match to ignite the Swinburnian tinder.
Swinburne was an absurd character. He was a bird of showy strut and plumage. One could not but admire his glorious feathers; but, as soon as he began to moult and he had already moulted excessively by the time Watts-Dunton took him under his roof one saw how very little body there was underneath. Mr.
'Browning, yes, said Watts-Dunton, in the course of an afternoon, 'Browning, and he took a sip of the steaming whisky-toddy that was a point in our day's ritual. 'I was a great diner-out in the old times. I used to dine out every night in the week. Browning was a great diner-out, too. We were always meeting. What a pity he went on writing all those plays! He hadn't any gift for drama none.
Corresponding to these general purposes of the three kinds of poetry, is the difference which Watts-Dunton has discussed so suggestively: namely, that in the lyric the author reveals himself fully, while in the "epic" or narrative poem the author himself is but partly revealed, and in the drama the author is hidden behind his characters.
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