Form And Value In Modern Poetry Classic Reprint

Excerpt from Form and Value in Modern Poetry We are familiar with the consequences of/this frame of mind in religion, in politics, and in what passes for phi losophy. We should also be familiar with it in the chores of daily life: the life we get over withas so much blind action, but which 'yet needs its excuse, its quick, quibbled justifica tion. We are not familiar with it in, the works of rational imagination - at least not as a dominant value or as a source of strength; When we see it, we see it as weakness, as sub stitution, precisely as Work not done: as, at its best, melo drama, and at its worst, dead convention or the rehearsal of formula; and that is what we see in the great bulk of Hardy's verse. The very frame of mind that provided the pattern of his writing provided also, and at once, the terms of its general failure: leaving success, so far as his conscious devotions went, an accident of escape from the governing frame. Concern is in the end with the success; and will show it no accident; in the meantime with the considera tions that make it seem so. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

Excerpt from The Realistic Revolt in Modern Poetry But like every new movement, the reaction against Victorianism and romance has its extremists who seem determined, above all else, on being original, without con sidering that their changes in the artistic medium, by which they have to communicate with their audience, are too violent and sudden. It is true that an ancient Greek would be as much at a loss before the statuary of Rousseaux as before our photographs: the gulf between the art which he knew and that of modern Europe is too wide to be jumped at one bound. Nor must we forget that the idiom and inflection of the language of art changes as much as the ordinary speech of a community, and that after two thousand years it will be unintelligible to its older speakers. But though it changes, the change is gradual and in the development of art, the characteristic expression of the msthetic consciousness through the ages, we never find lacunae. Though the barbarians may have destroyed classic art and built their own out of its ruins, yet within the classical period or within the modern, between the cataclysms that blot out all traditions, the continuity of art is clear and certain. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

Excerpt from New Literary Values: Studies in Modern Literature This is not to say that no criticism is good which does not take the form of philosophical investiga tion, but that such investigation must precede any further discussion. Criticism must assume a stable standard of values and constant points of reference, and the discovery of these must be made by each critic for himself. Otherwise there cannot even be an intelligent handling of vocabulary. What can the critic do with such words as aesthetic, form, ideal, significant, unless he has satisfied himself about their meaning by his own investigations? How often do we see quite un defined terms flung about loosely in critical writing which passes for profound! Definition of terms is no simple matter it is not the beginning of a thought-process but the end. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

Excerpt from The Meaning and Value of Poetry The business of the scientist in his laboratory is, from first to last, with things as they are in themselves. His dominant purpose is to ascertain fact as fact - to learn, in any given case, what is, and the processes by which it came to be as it is. In order to reach his generalizations and establish his laws, he observes with the most patient atten tion, he analyzes with the most scrupulous care, all the phenomena he can bring together for investigation; follows up every clue and suggestion; applies every test within his reach; and though, as an aid in his task, he may ofien frame tentative conclusions and hypotheses, he is never satis fied with such - never gives them out to the world, or re gards them for himself, as more than tentative - but seeks always to substitute for them the reality of rigid and irre fragable proof. Now, such work obviously demands, before all things, a mind free from prejudice and prepossessions, a single eye for the matter in hand, reservation of judgment, and an absolute willingness to accept without hesitation or12 the meaning and value OF poetry. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

Excerpt from Ethics and AEsthetics of Modern Poetry There are doubts and doubts. Not so many, perhaps, as is generally supposed, of those 'honest' ones in which there lives - according to Tennyson - 'more faith than half the creeds.' It has, in fact, become the fashion in certain quarters to over-compassionate the doubter, to accredit him with a greater depth, and even with a more thorough conscientiousness, than the man convinced. But with every desire to find the reasonableness of such a view, we have entirely failed to discover why the holding of a creed should imply a smaller share either of intelligence or honesty than the holding of a doubt. Credulity has its negative side as well as its positive one, and there is as much room to slip on the one side as on the other. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works."

Excerpt from Tradition and Change: Studies in Contemporary Literature Poetry is already in a twelfth impression, and many of the names that decorate it are among the most enthusiastically acclaimed of the younger generation. But, before we consider their performance in detail, a few reflections upon the art which they practise may help us to appreciate the precise standard of poetry to which their workmanship and Spiritual outlook conform. Poetry, it will be generally conceded, even by the most enterprising claimant for plain speak ing in common speech, must work in one or other, or in all combined, of three different media - ideas, emotions, and moods. When poetry was defined as a criticism Of life, the framer Of the definition had in mind chiefly the poetry Of ideas; when it is described as 'emo tion remembered In tranquillity, t the description is directed chiefly to emotional poetry; and when we are told, as we often are nowadays, that the sincere reproduction of a moment's Spiritual experience is the proper concern Of the poetic art, this third and final definition applies alrnost exclusively to the poetry which seeks to reproduce the writer's passing mood without considering its permanent truth or value. The highest order of poetry will be found, under analysis, to com bine elements from each Of these three classes for the emotion, without which poetry is barren, contains in itself an indirect reference to the mood in which it is evoked, while the poet pro ceeds from the registration of the emotion to test it by the standard Of the universal idea. But it must never be forgotten that the idea is the germ Of the poem; that the truth and univer sality Of the idea is the test of the poem's quality. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

Excerpt from Essentials of Poetry The point of view maintained in the present volume was reached in the course of discussions with a class of students of English literature in Harvard University. Much of whatever value the ideas here presented may possess is due to the questions and criticisms offered by members of the class, and by a few friends to whom they have been submitted. The form in which they now appear is practically that in which they were delivered as lectures at the Lowell Institute in the spring of 1911. I have taken some pains to remove the more obvious traces of oral delivery, but I fear that it has not been possible to disguise altogether the didactic tone due to their academic origin. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.