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Before the Romantics
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Hardcover
First published January 1, 1946
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Displaying 1 of 1 review
January 22, 2015
The Contents list elegantly comprises: Preface; Part One: “The Virtuosos”; Part Two: “Nature More Natural”; Part 3: Epilogue: “Flowers Among Reason”; Notes; and List of Authors.
Geoffrey Grigson has introduced me to a period of English poetry which previously I barely knew of. I was greatly encouraged by his observation that the poets of the Enlightenment were those who looked for the ‘gleam’, and ‘sharp glitter of objects’ (Preface). They saw with eyes wide open for reality, and employed words of imagination and awe. They spoke openly of Death; a more commonplace event to them than to many of us today.
This is a book of extracts, tasters of the most ethereal and charmed of thoughts. The dry and monotonous is not to be found within these pages because Grigson has selected the jewels from whole works.
“… In Pearls and Rubies rich the Hawthorns show,
While thro’ the Ice the Crimson Berries glow. …
…When if a sudden Gust of Wind arise,
The Brittle Forest into Atoms flies;
The crackling Wood beneath the Tempest bends,
And in a spangled Show’r the Prospect ends …” ((no. 202).
(Ambrose Philips (1675? – 1749).
… describes my absolute favourite winter weather of the English countryside, dry, cold, re-frozen snow and ice warmed by the sun; and where, as night falls one might find:
“…the Moon
Full-orbed, and breaking thro’ the scatter’d Clouds.
Shews her broad Visage in the crimsone’d East.
…” ”. (no. 347).
(James Thomson (1700 – 1748).
I am a great fan of metrical poetry. I really enjoy recognising and reading aloud the author’s exercise of skill with which good verse is constructed (even if I’m not too hot on identifying the form). Too much of what passes for poetry today is in reality creative ‘poetic’ writing; and ought not be confused with the knowledge and considerable expertise required to write good verse which is satisfying to mind and ear.
Geoffrey Grigson has introduced me to a period of English poetry which previously I barely knew of. I was greatly encouraged by his observation that the poets of the Enlightenment were those who looked for the ‘gleam’, and ‘sharp glitter of objects’ (Preface). They saw with eyes wide open for reality, and employed words of imagination and awe. They spoke openly of Death; a more commonplace event to them than to many of us today.
This is a book of extracts, tasters of the most ethereal and charmed of thoughts. The dry and monotonous is not to be found within these pages because Grigson has selected the jewels from whole works.
“… In Pearls and Rubies rich the Hawthorns show,
While thro’ the Ice the Crimson Berries glow. …
…When if a sudden Gust of Wind arise,
The Brittle Forest into Atoms flies;
The crackling Wood beneath the Tempest bends,
And in a spangled Show’r the Prospect ends …” ((no. 202).
(Ambrose Philips (1675? – 1749).
… describes my absolute favourite winter weather of the English countryside, dry, cold, re-frozen snow and ice warmed by the sun; and where, as night falls one might find:
“…the Moon
Full-orbed, and breaking thro’ the scatter’d Clouds.
Shews her broad Visage in the crimsone’d East.
…” ”. (no. 347).
(James Thomson (1700 – 1748).
I am a great fan of metrical poetry. I really enjoy recognising and reading aloud the author’s exercise of skill with which good verse is constructed (even if I’m not too hot on identifying the form). Too much of what passes for poetry today is in reality creative ‘poetic’ writing; and ought not be confused with the knowledge and considerable expertise required to write good verse which is satisfying to mind and ear.
Displaying 1 of 1 review