The first French Revolution was rather one result,—the most conspicuous, indeed, yet itself in great measure essentially retrogressive,—of that wider and more potent spirit which through enquiry and attempt, through strength and weakness, sweeps mankind round the circles not, as some too confidently argue, of Advance, but of gradual Transformation: and it is to this that we must trace the literature of Modern Europe.
But, without attempting discussion on the motive causes of Scott, Wordsworth, Shelley, and others, we may observe that these Poets carried to further perfection the later tendencies of the Century preceding, in simplicity of narrative, reverence for human Passion and Character in every sphere, and love of Nature for herself:—that, whilst maintaining on the whole the advances in art made since the Restoration, they renewed the half-forgotten melody and depth of tone which marked the best Elizabethan writers:—that, lastly, to what was thus inherited they added a richness in language and a variety in metre, a force and fire in narrative, a tenderness and bloom in feeling, an insight into the finer passages of the Soul and the inner meanings of the landscape, a larger sense of Humanity,—hitherto scarcely attained, and perhaps unattainable even by predecessors of not inferior individual genius.
In a word, the Nation which, after the Greeks in their glory, may fairly claim that during six centuries it has proved itself the most richly gifted of all nations for Poetry, expressed in these men the highest strength and prodigality of its nature. They interpreted the age to itself—hence the many phases of thought and style they present:—to sympathize with each, fervently and impartially, without fear and without fancifulness, is no doubtful step in the higher education of the soul.
For purity in taste is absolutely proportionate to strength—and when once the mind has raised itself to grasp and to delight in excellence, those who love most will be found to love most wisely.
But the gallery which this Book offers to the reader will aid him more than any preface. It is a royal Palace of Poetry which he is invited to enter:. It may be noticed, that to find in Chapman's Homer the 'pure serene' of the original, the reader must bring with him the imagination of the youthful poet;—he must be 'a Greek himself,' as Shelley finely said of Keats. Hence, pathetic as the situation is, this is not strictly a pathetic poem, such as Wordsworth gives us in , Lamb in , and Scott in his Maid of Neidpath ,—'almost more pathetic,' as Tennyson once remarked, 'than a man has the right to be.
Shakespeare and Milton, had their lives been closed at twenty-five, would so far as we know have left poems of less excellence and hope than the youth who, from the petty school and the London surgery, passed at once to a place with them of 'high collateral glory. Hohen Linden means High Limetrees. Moore retreated before Soult and Ney to Corunna, and was killed whilst covering the embarkation of his troops. No moral is drawn, far less any conscious analysis of feeling attempted:—the pathetic meaning is left to be suggested by the mere presentment of the situation.
A narrow criticism has often named this, which maybe called the Homeric manner, superficial, from its apparent simple facility; but first-rate excellence in it is in truth one of the least common triumphs of Poetry. Is it fanciful to find some reflex of these qualities in the Burial and Mary? Out of the abundance of the heart Cumber : trouble. But none are more emphatically marked by the note of exquisiteness.
This tender and original little piece seems clearly to reveal the work of that noble-minded and afflicted sister, who was at once the happiness, the misery, and the life-long blessing of her equally noble-minded brother. Lofoden : the Maelstrom whirlpool off the N.
Our language has perhaps no line modulated with more subtle sweetness. God of Torment : Pluto. May we not call this the most vivid, sustained, and impassioned amongst all Shelley's magical personifications of Nature? This poem may be profitably compared with Shelley's following it. Each is the most complete expression of the innermost spirit of his art given by these great Poets:—of that Idea which, as in the case of the true Painter, to quote the words of Reynolds, 'subsists only in the mind: The sight never beheld it, nor has the hand expressed it: it is an idea residing in the breast of the artist, which he is always labouring to impart, and which he dies at last without imparting.
Yet perhaps no one more truly has vivified, whilst idealizing, the picture of Greek country life in the fancied Golden Age, than Keats in these lovely if somewhat unequally executed stanzas:—his quick imagination, by a kind of 'natural magic,' more than supplying the scholarship which his youth had no opportunity of gaining. Orby Shipley in his beautiful Carmina Mariana The four stanzas here given form the opening of a hymn of twenty-four. Barbauld , Anna Laetitia Barnefield , Richard 16th Century 45 Beaumont , Francis 90 Blake , William , , , Burns , Robert , , , , , , , , , , Byron , George Gordon Noel , , , , , , , Campbell , Thomas , , , , , , , , , , Campion , Thomas c.
Daniel , Samuel 46 Dekker , Thomas —— ?
Reflections on Galatians (#) - Bible Truth Library
Gay , John Goldsmith , Oliver Graham , Robert Gray , Thomas , , , , , , , Greene , Robert ? Jonson , Ben 96 , , Keats , John , , , , , , , , , , , , Marlowe , Christopher 7 Marvell , Andrew 88 , , , , Mickle , William Julius Milton , John 85 , 87 , 89 , 93 , 94 , 99 , , , , , Moore , Thomas , , , , Nairn , Carolina Nash , Thomas ?
Rogers , Samuel , . Scott , Walter , , , , , , , , , , , Sedley , Charles , Shakespeare , William 2 , 3 , 5 , 6 , 9 , 10 , 11 , 14 , 15 , 16 , 17 , 18 , 23 , 24 , 27 , 31 , 35 , 37 , 38 , 39 , 41 , 42 , 43 , 48 , 51 , 56 , 62 , 64 , 65 , 67 , 68 , 69 , 78 , 82 Shelley , Percy Bysshe , , , , , , , , , , , , , , , , , , , Shirley , James 91 , 92 Sidney , Philip 13 , 32 , 40 , 47 , 58 Smart , Christopher Southey , Robert , Spenser , Edmund 74 Suckling , John Sylvester , Joshua Thomson , James , Vaughan , Henry 98 , , Waller , Edmund , Webster , John —— ?
Uniformly printed, with Vignette Titles by Sir J. Millais , Sir Noel Paton , T. Woolner , W. In uniform binding. Pott 8vo, 2s. Poems in the English Language. Selected and arranged, with Notes, by Prof.
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Selected by C. The Student's Edition. From the best English Hymn Writers. Selected by Roundell, Earl of Selborne. Translated by S. Preface by C. A Selection of the Choicest British Ballads. Edited by William Allingham.
FRANCIS T. PALGRAVE
Words and Tunes selected and arranged by John Hullah. Selected and arranged with Notes by G. Edited with Introduction and Notes by Dr. Selected by Dr. Selected and arranged, with Notes and a Literary Introduction, by C. Buchheim , Ph. With Portrait. With Notes and Glossarial Index by W. Aldis Wright , M. Edited by W. Greenhill , M.
By John Bunyan. Edited, with Introduction, by Rev. With an Introduction by Mrs. Art of Worldly Wisdom. Translated by J. By Prof.
Edited by Prof. Edited by Rev. Alfred Ainger , M. Translated by Stanley Lane-Poole. Selections from the Works of the first Duke and Duchess of Newcastle. With an Introductory Essay by Edward Jenkins.
The Prayerful Kiss (A Collection of Poetry and Prose)
By Edward FitzGerald. Translated from the Latin of Cicero, with Introduction, by E. By Rev. Translated into English verse by E. Morshead , M. Davies , M. Translated by F. A New Translation by J. Edited with Notes, by F. By Alfred, Lord Tennyson. Selected and Annotated by F. Rendered into English Prose by Andrew Lang. By Charlotte M. Transcriber's Note: The source of the Greek quote and its meaning are from the edition.
Spring, the sweet Spring, is the year's pleasant king; Then blooms each thing, then maids dance in a ring, Cold doth not sting, the pretty birds do sing, Cuckoo, jug-jug, pu-we, to-witta-woo! The palm and may make country houses gay, Lambs frisk and play, the shepherds pipe all day, And we hear aye birds tune this merry lay, Cuckoo, jug-jug, pu-we, to-witta-woo. The fields breathe sweet, the daisies kiss our feet, Young lovers meet, old wives a-sunning sit, In every street these tunes our ears do greet, Cuckoo, jug-jug, pu-we, to-witta-woo!
Merrily, merrily, shall I live now, Under the blossom that hangs on the bough! Come unto these yellow sands, And then take hands: Courtsied when you have, and kiss'd The wild waves whist, Foot it featly here and there; And, sweet Sprites, the burthen bear. Hark, hark! The watch-dogs bark: Bow-wow. I hear The strain of strutting chanticleer Cry, Cock-a-diddle-dow!