Another indication of the progression in interpreting the Circe figure is given by two poems a century apart, both of which engage with paintings of her. The first is the sonnet that Dante Gabriel Rossetti wrote in response to Edward Burne-Jones' "The Wine of Circe" in his volume "Poems" (1870). It gives a faithful depiction of the painting's Pre-Raphaelite mannerism but its description of Circe's potion as 'distilled of death and shame' also accords with the contemporary (male) identification of Circe with perversity. This is further underlined by his statement (in a letter) that the black panthers there are 'images of ruined passion' and by his anticipation at the end of the poem of "passion's tide-strown shore / Where the disheveled seaweed hates the sea". The Australian A. D. Hope's "Circe – after the painting by Dosso Dossi", on the other hand, frankly admits humanity's animal inheritance as natural and something in which even Circe shares. In the poem, he links the fading rationality and speech of her lovers to her own animal cries in the act of love.