The Advance of English Poetry in the Twentieth Century by William Lyon Phelps
page 45 of 330 (13%)
page 45 of 330 (13%)
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fiery, eager, sensitive man, with a burning passion to express himself
on moral and political ideas, learned the mastery of his art before he had anything to say. Perhaps, being a thoroughly honest craftsman, he felt that he ought to keep his thoughts to himself, until he knew how to express them. After proving it on an impersonal romance, he was then ready to speak his mind. No poet has spoken his mind more plainly. In an interesting address, delivered in various cities in the United States, and published in 1913, called _The Poet's Place in the Scheme of Life,_ Mr. Watson said, "Since my arrival on these shores I have been told that here also the public interest in poetry is visibly on the wane." Now whoever told him that was mistaken. The public interest in poetry and in poets has visibly _wox_, to use Mr. Watson's word. It is always true that an original genius, like Browning, like Ibsen, like Wagner, must wait some time for public recognition, although these three all lived long enough to receive not only appreciation, but idolatry; but the "reading public" has no difficulty in recognizing immediately first-rate work, when it is produced in the familiar forms of art. In the Preface that preceded his printed lecture, Mr. Watson complained with some natural resentment, though with no petulance, that his poem, _King Alfred_, starred as it was from the old armories of literature, received scarcely any critical comment, and attracted no attention. But the reason is plain enough--_King Alfred_, as a whole, is a dull poem, and is therefore not provocative of eager discussion. The critics and the public rose in reverence before _Wordsworth's Grave_, because it is a noble work of art. Its author did not have to tell us of its beauty--it was as clear as a cathedral. |
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