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diff --git a/42041-h/42041-h.htm b/42041-h/42041-h.htm index 605090e..1f26ff8 100644 --- a/42041-h/42041-h.htm +++ b/42041-h/42041-h.htm @@ -2,7 +2,7 @@ "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml"> <head> -<meta http-equiv="Content-Type" content="text/html; charset=ISO-8859-1" /> +<meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /> <title>The Project Gutenberg eBook of Studies of Contemporary Poets, by Mary C. Sturgeon</title> <link rel="coverpage" href="images/cover.jpg"></link> <style type="text/css"> @@ -133,26 +133,10 @@ em.gesperrt </style> </head> <body> +<div>*** START OF THE PROJECT GUTENBERG EBOOK 42041 ***</div> <h1>The Project Gutenberg eBook, Studies of Contemporary Poets, by Mary C. Sturgeon</h1> -<p>This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at <a -href="http://www.gutenberg.org">www.gutenberg.org</a></p> -<p>Title: Studies of Contemporary Poets</p> -<p>Author: Mary C. Sturgeon</p> -<p>Release Date: February 7, 2013 [eBook #42041]</p> -<p>Language: English</p> -<p>Character set encoding: ISO-8859-1</p> -<p>***START OF THE PROJECT GUTENBERG EBOOK STUDIES OF CONTEMPORARY POETS***</p> <p> </p> -<h4>E-text prepared by Richard Tonsing, Suzanne Shell,<br /> - and the Online Distributed Proofreading Team<br /> - (<a href="http://www.pgdp.net">http://www.pgdp.net</a>)<br /> - from page images generously made available by<br /> - Internet Archive/American Libraries<br /> - (<a href="http://archive.org/details/americana">http://archive.org/details/americana</a>)</h4> <p> </p> <table border="0" style="background-color: #ccccff;margin: 0 auto;" cellpadding="10"> <tr> @@ -544,7 +528,7 @@ morality called<span class="pagenum"><a name="Page_22" id="Page_22">[Pg 22]</a>< Sale of St Thomas," first published in 1911, which are relatively simple. Here he is content to take material that is traditional, both to poetry and religion, and infuse into it so much of modern significance -as it will carry. The first re-tells the mediæval legend of a girl +as it will carry. The first re-tells the mediæval legend of a girl changed by God into his own likeness in order to save her from violence. There is, apt to our present study, but too long to give in full, at least one passage that is magnificent in conception and imagery alike. @@ -859,7 +843,7 @@ at the last passage for a moment and consider its effect. It is impossible to define in a single word, because of its complexity. The mind, lingering delightedly over the metaphor of life the mother, is suddenly awed by the magnitude of the idea which succeeds it. The -æsthetic sense is taken by the light and colour of the middle lines, and +æsthetic sense is taken by the light and colour of the middle lines, and then, as if the breath were caught on a half-sob, a wave of emotion follows, pensive at first, but rising abruptly to a note that is as rough as a curse. There are more shades of thought, lightly reflective @@ -875,7 +859,7 @@ most three of them (it depends upon scansion, of course) are of the regular iambic pentameter: that is to say, built up strictly from the iamb, which is the unit of this form. All the others are varied by the insertion at some point<span class="pagenum"><a name="Page_34" id="Page_34">[Pg 34]</a></span> in the line, and frequently at two or three -points, of a different verse-unit, dactyl, anapæst, trochee or spondee; +points, of a different verse-unit, dactyl, anapæst, trochee or spondee; and no two lines are varied in exactly the same way.</p> <p>But, besides the range of the instrument, there is the exquisite harmony @@ -883,7 +867,7 @@ of it with mood or idea. The strong down-beat of the trochee summons the intellect to consider a thought: the dactyl will follow with the quick perception of a simile: the iamb will punctuate rhythm: anacrusis will suggest the half-caught breath of rising emotion, and turbulent feeling -will pour through spondee, dactyl, and anapæst. And so with the diction. +will pour through spondee, dactyl, and anapæst. And so with the diction. Just as we find a measure which is both vigorous and light, precise and flexible, easily bending law to beauty; so in the language there is a corresponding union of strength and grace, homeliness and dignity. Could @@ -1176,7 +1160,7 @@ consciousness. It is that momentary revelation, which comes once in a lifetime perhaps, of the reality within appearance. It comes suddenly, unheralded and unaccountable: it is gone again with the swiftness and terror of a lightning-flash. But in the fraction of a second that it -endures, æons seem to pass and things unutterable to be revealed. Only a +endures, æons seem to pass and things unutterable to be revealed. Only a poet of undoubted genius could re-create such a moment, for on any lower plane either imagination would flag or intellect would be baffled, with results merely chaotic. And only to one whose quick and warm humanity<span class="pagenum"><a name="Page_46" id="Page_46">[Pg 46]</a></span> @@ -1291,7 +1275,7 @@ clear-eyed, observing spirit will be watching and taking note with careful accuracy.</p> <p>Of such is "The Old Vicarage, Grantchester," in<span class="pagenum"><a name="Page_50" id="Page_50">[Pg 50]</a></span> which the poet is -longing for his home in Cambridgeshire as he sits outside a café in +longing for his home in Cambridgeshire as he sits outside a café in Berlin. The poem is therefore a cry of homesickness, a modern "Oh, to be in England!" But there is much more in it than that; it is not merely a wail of emotion. The lyrical reverie which recalls all the sweet natural @@ -1387,7 +1371,7 @@ if it lapse at all from<span class="pagenum"><a name="Page_54" id="Page_54">[Pg years hence as we have rediscovered the poets of the seventeenth century.</p> -<p>It has, however, inherent interest apart from this æsthetic joy, +<p>It has, however, inherent interest apart from this æsthetic joy, something which catches and holds the mind, startling it with an apparent paradox. For this poetry, with its solitariness and absence of any affiliation ancient or modern, with its bird-note bubbling into song @@ -1588,7 +1572,7 @@ into wrath at the tyranny which drove the people out:</p> <div class="poem"><div class="stanza"> <span class="i0">Had they no dreamer who might have remained<br /></span> <span class="i0">To sing for them these desolated scenes?<br /></span> -<span class="i0">One who might on a starvèd body take<br /></span> +<span class="i0">One who might on a starvèd body take<br /></span> <span class="i0">Strong flights beyond the fiery larks in song,<br /></span> <span class="i0">With awful music, passionate with hate?<br /></span> </div></div> @@ -1709,7 +1693,7 @@ has a gift of fancy which often plays about his observation with delightful effect. One could hardly call it by so big a name as imagination: that suggests a height and power of vision which this work does not possess, and which one would not look for in this type of -genius. It is a lighter quality, occasionally childlike in its naïveté, +genius. It is a lighter quality, occasionally childlike in its naïveté, fantastical, graceful, even quaint. It is seen in simile sometimes, as this from <i>The Soul's Destroyer</i>, describing the sky:</p> @@ -1864,7 +1848,7 @@ lead us to believe. That has naturally played its part, making the substance of some of his verse almost unique; and, more important still, guarding him from bookishness and leaving his mind free to receive and convey impressions at first hand. From this come the bracing freshness -of his poetry, its naïveté of language, its apparent artlessness and +of his poetry, its naïveté of language, its apparent artlessness and unconscious charm. But the root of the matter lies deeper than that, mainly I think in the sincerity and simplicity which are the chief qualities of his genius.<span class="pagenum"><a name="Page_71" id="Page_71">[Pg 71]</a></span> Both qualities are fundamental and constant, @@ -1951,7 +1935,7 @@ romance.</p> <p>That is why one has the feeling that this poet has never grown up. Partly from a natural inclination, and partly from a deliberate plan (like that of Coleridge) to produce a certain kind of art, he has -created a faëry, twilight world, a world of wonder and fantasy, which is +created a faëry, twilight world, a world of wonder and fantasy, which is the home of perpetual youth. He has never really lost that time when, as a little boy, he says that he listened to Martha telling her stories in the hazel glen. Martha, of 'the clear grey eyes' and the 'grave, small,<span class="pagenum"><a name="Page_75" id="Page_75">[Pg 75]</a></span> @@ -2313,7 +2297,7 @@ for the young queen who is mated with an old harsh king:</p> <div class="poem"><div class="stanza"> <span class="i0">I sang of lovers, and she praised my song,<br /></span> <span class="i0">The while the King looked on her with cold eyes,<br /></span> -<span class="i0">And 'twixt them on the throne sat mailèd wrong.<br /></span> +<span class="i0">And 'twixt them on the throne sat mailèd wrong.<br /></span> </div><div class="stanza"> <span class="i0">I sang of Launcelot and Guenevere,<br /></span> <span class="i0">While in her face I saw old sorrows rise,<br /></span> @@ -3156,7 +3140,7 @@ Thus the poet hears the Song rising from the very stocks and stones:</p> <span class="i0">In wood and stone and clay,<br /></span> </div></div> -<p>The pæan is audible to him, too, from lowly creatures in whom life has +<p>The pæan is audible to him, too, from lowly creatures in whom life has not yet grown conscious, from the tiniest forms of being, from the most transient of physical phenomena.</p> @@ -3254,7 +3238,7 @@ potent attractions to the reader who frequently finds the older poetry stilted and artificial.</p> <p>Moreover, so successful has the author's method been in many cases that -even the <i>littérateur</i> must pause and think. He will observe how well +even the <i>littérateur</i> must pause and think. He will observe how well the new artistry suits the new material; he will note the exhilaration of the final effect; and when, returning to his beloved poets of the last generation, he finds that some of their virtue seems to have fled @@ -3266,7 +3250,7 @@ that he will probably be a convert to Mr Hueffer's impressionism.</p> apart from the joy we frequently experience here in seeing a thing consummately done, is the importance of this work as an experiment. That is obviously another kind of value, with a touch of scientific interest -added to the æsthetics. And the importance of the experiment is +added to the æsthetics. And the importance of the experiment is enhanced, or at any rate we realize<span class="pagenum"><a name="Page_125" id="Page_125">[Pg 125]</a></span> it more fully, from the fact that the poet has been generous enough to elaborate his theory in a preface. That is no euphemism, as other prefaces and theories of exasperating @@ -3389,7 +3373,7 @@ banks crowned with forests of fir:</p> <p>So, rather obliquely perhaps as to method, but with certainty of effect, we are prepared for the culmination in the third movement. The poet has fled from civilization and 'Modern Movements' to the upland heather of a -high old mound above the town of Trêves. And here, on a late autumn<span class="pagenum"><a name="Page_130" id="Page_130">[Pg 130]</a></span> +high old mound above the town of Trêves. And here, on a late autumn<span class="pagenum"><a name="Page_130" id="Page_130">[Pg 130]</a></span> evening, he lingers to think. He remembers that it is the eve of All Souls' Day; and remembers too that the mound on which he is seated is an old burying-place of great antiquity. In the cold and dark of his eerie @@ -3443,7 +3427,7 @@ theories of the preface, as for example, that the business of the poet is "the right appreciation of such facets of our own day as God will let us perceive ... the putting of certain realities in certain aspects ... the juxtaposition of varied and contrasting things ... the genuine love -and the faithful rendering of the received impression." But on æsthetic +and the faithful rendering of the received impression." But on æsthetic grounds<span class="pagenum"><a name="Page_132" id="Page_132">[Pg 132]</a></span> one is not so sure of "To All the Dead" for the first place. Perhaps it tries to include too many facets of life—or death; perhaps we get a slight impression as regards technique that the poet is @@ -3505,9 +3489,9 @@ will pass into the substance of future poetry, there can be no question that life seen through this particular temperament is interpreted vividly by this method.</p> -<p>Thus we have the fulmination of "Süssmund's Address to an Unknown God"; +<p>Thus we have the fulmination of "Süssmund's Address to an Unknown God"; violent, bitter, and unreasoned, the mere rage of weary mind and body -against the goads of modern existence. Thus, in the "Canzone <i>à la</i> +against the goads of modern existence. Thus, in the "Canzone <i>à la</i> Sonata" as in "The Portrait" a single serious thought is rendered in grave unrhymed stanzas which have all the dignity of blank verse with something more than its usual vivacity; and thus, too, in "From Inland," @@ -3626,7 +3610,7 @@ life of their<span class="pagenum"><a name="Page_139" id="Page_139">[Pg 139]</a> labours has surely sprung the movement which we call the Irish Literary Renaissance—a movement in which, disregarding cross currents, the detached observer would include the whole revival, whether popular or -æsthetic. By fostering the Gaelic they have awakened in the people +æsthetic. By fostering the Gaelic they have awakened in the people themselves a sense of the dignity of their own language and literature. By the translation of saga and romance, the patient gathering of folk-tale and fairy-lore, the search for and interpretation of old @@ -3757,7 +3741,7 @@ the stanzas, "George Moore Comes to Ireland." Safe in our own detachment, the criticism seems delicious, brightly hitting off the personality which has grown so familiar in Mr Moore's work, and especially in<span class="pagenum"><a name="Page_145" id="Page_145">[Pg 145]</a></span> "Hail and Farewell": the delightful garrulity, the -disconcerting candour, the intimacy and naïve egoism, and the perfectly +disconcerting candour, the intimacy and naïve egoism, and the perfectly transparent what-a-terror-I-was-in-my-youth air. The speaker in the poem is, of course, Mr Moore himself; and it will be seen how cunningly the author has caught his attitude, particularly to the work of Mr W. B. @@ -3774,7 +3758,7 @@ Yeats—</p> <span class="i0">And—don't let on I said it—not above a bit of pose;<br /></span> <span class="i0">And they call his writing literature, as everybody knows.<br /></span> </div><div class="stanza"> -<span class="i0">If you like a stir, or want a stage, or would admirèd be,<br /></span> +<span class="i0">If you like a stir, or want a stage, or would admirèd be,<br /></span> <span class="i0">Prepare with care a naughty past, and then repent like me.<br /></span> <span class="i0">My past, alas! was blameless, but this the world won't see.<br /></span> </div></div> @@ -4051,7 +4035,7 @@ awesome:</p> <p>In <i>Nera's Song</i>, again, as in the whole romance,<span class="pagenum"><a name="Page_156" id="Page_156">[Pg 156]</a></span> we find the element of dreams which is supposed to be an indubitable sign of the Celtic temperament. Nera, who is the Queen's bard, has just returned after an -absence of one whole year in the Land of Faëry; and though it is autumn, +absence of one whole year in the Land of Faëry; and though it is autumn, his arms are full of primroses, the fairies' magical flower:</p> <div class="poem"><div class="stanza"> @@ -4148,7 +4132,7 @@ literary revival; but observing the movement broadly, it would appear that this is its more popular manifestation, springing out of the devotion to the old language of the country, its folklore and the life of its people. That current of the stream would touch actual existence -much more closely than æsthetic or academic study; and while one might +much more closely than æsthetic or academic study; and while one might regard Lady Gregory and Mr Yeats as the pioneers of the movement on the specifically literary side, on the other hand there are Dr Hyde, A. E., and others,<span class="pagenum"><a name="Page_160" id="Page_160">[Pg 160]</a></span> whose influence must have counted largely in these new @@ -4201,7 +4185,7 @@ him with the spirit of his own springtime poet—</p> <div class="poem"><div class="stanza"> <span class="i0">High on my hedge of bush and tree<br /></span> <span class="i0">A blackbird sings his song to me,<br /></span> -<span class="i0">And far above my linèd book<br /></span><span class="pagenum"><a name="Page_162" id="Page_162">[Pg 162]</a></span> +<span class="i0">And far above my linèd book<br /></span><span class="pagenum"><a name="Page_162" id="Page_162">[Pg 162]</a></span> <span class="i0">I hear the voice of wren and rook.<br /></span> <span class="i0">From the bush-top, in garb of grey,<br /></span> <span class="i0">The cuckoo calls the hours of day.<br /></span> @@ -4231,7 +4215,7 @@ who oppose the suffrage for their sex, makes a little parable:</p> <span class="i0">She lived but in a long lamp-lighted dream.<br /></span> </div><div class="stanza"> <span class="i0">They brought her forth at last when she was old;<br /></span> -<span class="i0">The sunlight on her blanchèd hair was shed<br /></span> +<span class="i0">The sunlight on her blanchèd hair was shed<br /></span> <span class="i0">Too late to turn its silver into gold.<br /></span> <span class="i0">"Ah, shield me from this brazen glare!" she said.<br /></span> </div></div> @@ -4360,7 +4344,7 @@ motherhood and old age:</p> <span class="i0">As a white candle<br /></span> <span class="i0">In a holy place,<br /></span> <span class="i0">So is the beauty<br /></span> -<span class="i0">Of an agèd face.<br /></span> +<span class="i0">Of an agèd face.<br /></span> </div><div class="stanza"> <span class="i0">As the spent radiance<br /></span> <span class="i0">Of the winter sun,<br /></span> @@ -4623,7 +4607,7 @@ work. But he is also like the more 'popular' poets in his lyrical gift and in the range and depth of his sympathies; so that his collected poems of 1912 may be regarded in some degree as an epitome of modern Irish poetry. There you will find work which indicates that its author -might have lived very happily in a visionary world of æsthetic delight.<span class="pagenum"><a name="Page_177" id="Page_177">[Pg 177]</a></span> +might have lived very happily in a visionary world of æsthetic delight.<span class="pagenum"><a name="Page_177" id="Page_177">[Pg 177]</a></span> He might have chosen always to sing about gods and heroes and fair ladies with "white hands, foam-frail." But, just as clearly, you will see that he has been aroused from dreams. Vanishing remnants of them are @@ -5176,7 +5160,7 @@ plash of a fountain in a valley.</p> rather, and the new army of poetry-readers which it has created; and believing it to be an authentic sign of the poetic spirit of our day, one is tempted to seek for the cause of it. Luckily, there is a poem -called "Biography" which gives a clue and something more. It is a pæan +called "Biography" which gives a clue and something more. It is a pæan of zest for life, of the intense joy in actual living which seems to be the dynamic of Mr Masefield's genius. There is, most conspicuous and significant, delight in beauty; a swift, keen, accurate response of @@ -5443,7 +5427,7 @@ rhapsody which follows the drunkard's conversion. Of that rhapsody what can one say? It is a piece about which words seem inadequate, or totally futile. Perhaps one comment may be made, however. Reading it for the twentieth time, and marvelling once more at the religious emotion which, -in its naïve sweetness and intensity is so strange an apparition in our +in its naïve sweetness and intensity is so strange an apparition in our day, my mind flew, with a sudden sense of enlightenment, back to Chaucer. At first, reflection made the transition seem abrupt to absurdity; but<span class="pagenum"><a name="Page_209" id="Page_209">[Pg 209]</a></span> the connexion had no doubt been helped subconsciously by @@ -5496,7 +5480,7 @@ lightens all his world with new significance.</p> <span class="i0">The young green corn divinely springing,<br /></span> <span class="i0">The young green corn for ever singing;<br /></span> <span class="i0">And when the field is fresh and fair<br /></span> -<span class="i0">Thy blessèd feet shall glitter there.<br /></span> +<span class="i0">Thy blessèd feet shall glitter there.<br /></span> <span class="i0">And we will walk the weeded field,<br /></span><span class="pagenum"><a name="Page_211" id="Page_211">[Pg 211]</a></span> <span class="i0">And tell the golden harvest's yield,<br /></span> <span class="i0">The corn that makes the holy bread<br /></span> @@ -5534,7 +5518,7 @@ express.</p> <p>The root of the matter lies in a stanza of "Dauber." The young artist-seaman, who is the protagonist here, has for long been patiently -toiling at his art at the prompting of instinct—the æsthetic impulse to +toiling at his art at the prompting of instinct—the æsthetic impulse to capture and make permanent the beauty of the material world. But the pressure of reality upon him, the unimaginable hardships of a sailor's existence, have threatened to crush his spirit. A crisis of physical @@ -5581,7 +5565,7 @@ reality lying at the base of his technical realism; and it has been won, through a comprehensive experience, by virtue of the balance of his equipment. There is no bias here, of mind or spirit, which would have changed the clear humanity of the poet into the philosopher or the -mystic. The naïveté and simple concrete imagery in the expression of +mystic. The naïveté and simple concrete imagery in the expression of religious feeling are far removed from mysticism. And, on the other hand, one cannot conceive of Mr Masefield formally ranged with the abstractions of either the materialist or the idealist school. Yet it is @@ -6064,7 +6048,7 @@ the end of <i>Before Dawn</i>, to indicate this poet's<span class="pagenum"><a n has a gift of detachment; of cool and exact observation; and to this is joined a dexterity of satiric touch which serves indignation well. Hence the portraits of the epicure at the Carlton and the city swindler in the -rôle of county gentleman. Hence, too, poems like "The Virgin" or "A +rôle of county gentleman. Hence, too, poems like "The Virgin" or "A Suicide": though here it is unfortunate that imagination has been allowed to play upon abnormal subjects. The result may be an acute psychological study; and interesting on that account. But if it is to be @@ -6662,7 +6646,7 @@ found in the chastened mood of a sonnet called "To April":</p> <span class="i0">The lyric loveliness of cherry trees<br /></span> <span class="i0">Shall bloom milk-white against the windy skies<br /></span> <span class="i0">And I not praise them; where upon the stream<br /></span> -<span class="i0">The faëry tracery of willows lies<br /></span> +<span class="i0">The faëry tracery of willows lies<br /></span> <span class="i0">I shall not see the sunlight's flying gleam,<br /></span> <span class="i0">Nor watch the swallows sudden dip and rise.<br /></span> </div><div class="stanza"> @@ -6922,7 +6906,7 @@ ultimate cause of Joan's downfall. A premonitory note is struck in the opening dialogue. A little story is told by la Tremoille, who is Joan's chief enemy, of how he had just whipped a ragged prophet in the street and caused him to be stoned. It has a double purpose—to introduce Joan, -the prophetess of Domrémy, as a subject of conversation; and, by +the prophetess of Domrémy, as a subject of conversation; and, by reminding us of her own end, to awaken the sense of tragic irony through which we shall view the subsequent action. The talk turns to Joan, who is awaiting audience; and la Tremoille proposes the<span class="pagenum"><a name="Page_267" id="Page_267">[Pg 267]</a></span> trick of the @@ -6937,7 +6921,7 @@ her divine mission—</p> <span class="i24">I do declare to you<br /></span> <span class="i0">That I, no other,—neither duke, nor prince,<br /></span> <span class="i0">Nor captain,—no, nor learned gentlemen,<br /></span> -<span class="i0">But I alone, a girl of Domrémy,—<br /></span> +<span class="i0">But I alone, a girl of Domrémy,—<br /></span> <span class="i0">Am sent to save you.<br /></span> </div></div> @@ -7496,7 +7480,7 @@ him to Paradise.</p> <p>It is not irreverence, of course, but the audacity of poetic innocence. Only an imagination pure of convention and ceremonial would dare so -greatly. And the remarkable thing is that this naîveté is intimately +greatly. And the remarkable thing is that this naîveté is intimately blended with a grandeur which sometimes rises to the sublime. The noblest and most complete expression of that is in "The Lonely God." That is probably the reason why this poem is the finest thing that Mr @@ -7557,10 +7541,10 @@ glory of his heaven.</p> </div></div> <p>There was once a reviewer who compared the genius of this poet to that -of Homer and Æschylus. Now comparisons like that are apt to tease the +of Homer and Æschylus. Now comparisons like that are apt to tease the mind of the discriminating, to whom there instantly appear all the gulfs of difference. But, indeed, this poet does share in some measure, with -Æschylus and our own Milton and the unknown author of the Book of Job, a +Æschylus and our own Milton and the unknown author of the Book of Job, a sublimity of vision. His conceptions have a grandeur of simplicity; and he makes us realize immensities—Eternity and Space and Force—by images which are almost primitive. Like those other poets too, whose @@ -7574,7 +7558,7 @@ least equally interesting. It is apparent, in the earlier work, in the realism of such pieces as "The Dancer" or "The Street." There is a touch of harshness in these poems which would amount to crudity if their realism were an outward thing only. But it is not a mere trick of style: -it proceeds from indignation, from an outraged æsthetic sense, and from +it proceeds from indignation, from an outraged æsthetic sense, and from a mental courage which attains its height, rash but splendid, in "Optimist"—</p> @@ -7726,7 +7710,7 @@ lark, singing up and up until he is out of sight, sustaining his song at the very door of heaven, and singing into sight again, to drop suddenly down to the green earth, exhausted.—And I have not yet begun to say what the poem really is: I have a doubt whether prose is equal to a -definition. In some degree at any rate it is a pæan of freedom: +definition. In some degree at any rate it is a pæan of freedom: delighted liberty lives in it. But we cannot apply our little distinctions here, saying that it is this or that or the other kind of freedom which is extolled;<span class="pagenum"><a name="Page_297" id="Page_297">[Pg 297]</a></span> because we are now in a region where thought @@ -7887,10 +7871,10 @@ Chillingbourne; he is going back to his old home there and must reach it before nightfall.</p> <div class="poem"><div class="stanza"> -<span class="i0"><span class="smcap">First Old Man.</span> It bean't for j'y I taäk the roäd.<br /></span> +<span class="i0"><span class="smcap">First Old Man.</span> It bean't for j'y I taäk the roäd.<br /></span> <span class="i2">But, Mester, I be getten awld.<br /></span> <span class="i2">Do seem as though in all the e'th<br /></span> -<span class="i4">There bean't no plaäce,<br /></span> +<span class="i4">There bean't no plaäce,<br /></span> <span class="i2">No room on e'th for awld volk.<br /></span> </div><div class="stanza"> <span class="i0"><span class="smcap">Second Old Man.</span> The e'th do lie<br /></span> @@ -8096,7 +8080,7 @@ literature for its own sake. But the poet can work at times in a<span class="pag different manner. There is, for instance, another piece of unrhymed verse, "March Thoughts From England," which is a riot of light and colour, rich scent and lovely shape and bewitching sound—the sensuous -rapture evoked by a Provençal scene 'recollected in tranquillity.' Or +rapture evoked by a Provençal scene 'recollected in tranquillity.' Or there is "April," with the keen joy of an English spring, also a glad response to the direct impressions of sense. Imagination is subordinated here; but if we turn in another direction we are likely to find it @@ -8438,7 +8422,7 @@ however, where as in "Wild Justice," the author comes to deal with naked passion and with turbulent thought that is driving some person of the drama to disaster, the instru<span class="pagenum"><a name="Page_324" id="Page_324">[Pg 324]</a></span>ment is admirably fitted to its purpose. Thus, in the second half of the play, when the unfortunate Princess at -last yields to her lover, Königsmarck, and plots with him to escape from +last yields to her lover, Königsmarck, and plots with him to escape from her sottish husband, there are moments when it seems that no other medium would serve. There is, for example, the crucial scene in the second act when the endurance of the Princess finally gives way. The @@ -8467,7 +8451,7 @@ for ever from the House of Hanover.</p> to overflow most naturally into poetical extravagance. There is the rhapsody of the Electress—significantly, upon the theme of Queen Elizabeth. There are the love-scenes, passionate or tender, between -Königsmarck and the Princess; and the fierce moods—of sheer avidity or +Königsmarck and the Princess; and the fierce moods—of sheer avidity or hatred or remorse—of the courtesan who contrives their downfall. But the only other illustration which need be given is taken from the last scene of the play; and has a further importance which must be noted. I @@ -8478,9 +8462,9 @@ scene, closes the play on a note of appalling mockery.</p> morning, when the grey light is slowly coming. The Princess and Leonora have come into the outer hall of their apartments to burn certain papers in the fireplace there. Their plans are all made for flight with -Königsmarck on the following day; and as they kindle the fire they talk, +Königsmarck on the following day; and as they kindle the fire they talk, the Princess eagerly and Leonora with more caution, about their chances -of escape. But on the very spot where they stand, Königsmarck had been +of escape. But on the very spot where they stand, Königsmarck had been secretly assassinated less than an hour before. And at this moment, while they are talking, his body is being hastily bricked into a disused staircase leading out of the hall. Faint sounds of the work<span class="pagenum"><a name="Page_326" id="Page_326">[Pg 326]</a></span> reach the @@ -8778,360 +8762,6 @@ the principal object being to give the books mentioned in the Studies.</p> </div> <p> </p> -<hr class="full" /> -<p>***END OF THE PROJECT GUTENBERG EBOOK STUDIES OF CONTEMPORARY POETS***</p> -<p>******* This file should be named 42041-h.txt or 42041-h.zip *******</p> -<p>This and all associated files of various formats will be found in:<br /> -<a href="http://www.gutenberg.org/dirs/4/2/0/4/42041">http://www.gutenberg.org/4/2/0/4/42041</a></p> -<p> -Updated editions will replace the previous one--the old editions -will be renamed.</p> - -<p> -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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