The Kinds of Poetry: And Other EssaysDuffield, 1920 - 186 páginas |
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admirable Aeschylus American artist audience beautiful cadence character contemporary criticism destiny difference drama emotion ence English epic attitude erature Essay Euripides evolution experience express fact feeling folk-lore free verse French French poetry genius genres Greek Guinevere heart heaven Heracles Hesiod historian Homer idea ideal Illyria imagination imagists Keats KINDS OF POETRY King Arthur knowledge language of poetry legend litera literary literature love of poetry lover lyric Masters means ment method Miss Lowell modern mood natural never novel observe Odysseus Palamedes past perhaps perience philosophy phrase play plot poem poet poet's poetic Pope Prometheus prose race reader realism rhythms Romeo and Juliet scholar seems sense Shakspere Song of Roland spirit Spoon River Anthology story subjects teach poetry teachers of poetry Telegony Tennyson things thought tion treach ture Ulysses understand Woodberry words Wordsworth write Zeus
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Página 90 - Who are these coming to the sacrifice? To what green altar, O mysterious priest, Lead'st thou that heifer lowing at the skies, And all her silken flanks with garlands drest? What little town by river or sea shore, Or mountain-built with peaceful citadel, Is emptied of its folk, this pious morn? And, little town, thy streets for evermore Will silent be; and not a soul to tell Why thou art desolate, can e'er return.
Página 88 - Pipe to the spirit ditties of no tone: Fair youth, beneath the trees, thou canst not leave Thy song, nor ever can those trees be bare; Bold Lover, never, never canst thou kiss Though winning near the goal — yet, do not grieve; She cannot fade, though thou hast not thy bliss, For ever wilt thou love, and she be fair!
Página 137 - Imagist"). We are not a school of painters, but we believe that poetry should render particulars exactly and not deal in vague generalities, however magnificent and sonorous.
Página 131 - thing" whether subjective or objective. 2. To use absolutely no word that does not contribute to the presentation. 3. As regarding rhythm: to compose in the sequence of the musical phrase, not in sequence of a metronome.
Página 149 - In like manner, the memorable words of history and the proverbs of nations consist usually of a natural. fact, selected as a picture or parable of a moral truth. Thus; A rolling stone gathers no moss...
Página 58 - Now, if it be asked what is meant by communicating power, I, in my turn, would ask by what name a man would designate the case in which I should be made to feel vividly, and with a vital consciousness, emotions which ordinary life rarely or never supplies occasions for exciting, and which had previously lain unwakened, and hardly within the dawn of consciousness...
Página 136 - To use the language of common speech, but to employ always the exact word, not the nearly 'exact, nor the merely decorative word. 2. To create new rhythms — as the expression of new moods — and not to copy old rhythms, which merely echo old moods. We do not insist upon "free'verse" as the only method of writing poetry.
Página 162 - Little remains : but every hour is saved From that eternal silence, something more, A bringer of new things ; and vile it were For some three suns to store and hoard myself, And this gray spirit yearning in desire To follow knowledge, like a sinking star, Beyond the utmost bound of human thought.
Página 166 - Alas, that"] ever I bare crown upon my head ! for now have I lost the fairest fellowship of noble knights that ever held Christian ! king together.
Página 130 - To belong to a school does not in the least mean that one writes poetry to a theory. One writes poetry when, where, because, and as one feels like writing it. A school exists when two or three young men agree, more or less, to call certain things good; when they prefer such of their verses...