The Advance of English Poetry in the Twentieth Century by William Lyon Phelps
page 50 of 330 (15%)
page 50 of 330 (15%)
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I have full oft In singers' selves found me a theme of song, Holding these also to be very part Of Nature's greatness, and accounting not Their descants least heroical of deeds. The poem _Wordsworth's Grave_ not only expresses, as no one else has expressed, the quality of Wordsworth's genius, but in single lines assigned to each, the same service is done for Milton, Shakespeare, Shelley, Coleridge, and Byron. This is a matchless illustration of the kind of criticism that is in itself genius; for we may quarrel with Mr. Spingarn as much as we please on his general dogmatic principle of the identity of genius and taste; here we have so admirable an example of what he means by creative criticism, that it is a pity he did not think of it himself. "For it still remains true," says Mr. Spingarn, "that the aesthetic critic, in his moments of highest power, rises to heights where he is at one with, the creator whom he is interpreting. At that moment criticism and 'creation' are one." All great poets have the power of noble indignation, a divine wrath against wickedness in high places. The poets, like the prophets of old, pour out their irrepressible fury against what they believe to be cruelty and oppression. Milton's magnificent Piedmont sonnet is a glorious roar of righteous rage; and since his time the poets have ever been the spokesmen for the insulted and injured. Robert Burns, more than most statesmen, helped to make the world safe for democracy. I do not know what humanity would do without its poets--they are the champions of the individual against the tyranny of power, the cruel selfishness of kings, and the artificial conventions of society. We |
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