Henry Newbolt

So that compared to the enormity I might have committed mine will be a venial offense for after all Shakespeare is simply the greatest of all poets and if it turns out that I have anything of import to say about the nature of his poetry I shall in fact have said it about the nature of poetry in general.

In a recent book of critical studies, Sir Henry Newbolt, casting about for the emotional cause of poetry and the cause of its emotional effect upon ourselves, discovered it in the poet's longing and our own for a land of heart's desire.

Although we may at first feel that this conception is as romantic as its phrasing, yet if we have an eye to the reality beneath the words and consider how much of memorable poetry seems to have been inspired by a longing for the things that are not, we may finally be surprised at the scope of Sir Henry's conjecture.

Shelley was made for it, of course.

Bright star, would I were steadfast as thou art, is only a more personal statement of a theme than is truly secular to poetry.

It seems to have been more natural to the poets of old to voice their longings through the creatures of a created world, so that Aristotle, looking upon their practice, could define poetry in terms that seem to us strange as an imitation of emotions and actions.

At first there seems to be an unbridgeable chasm between this definition and Sir Henry Newbolt's description, but the gulf narrows the more steadily we look into it.

The Greeks sought chiefly the thing that is made, the modern sees chiefly the temper that goes to making it.

Acknowledgments.

The Minister of Education is indebted to Rudyard Kipling, Henry Newbolt, Beckles Willson, E.

B. Osborne, F. T. Bullen, Flora Annie Steel, Charles G. D. Roberts, W. Wilfrid Campbell, Ethelwyn Wetherald, Jean Blewett, Robert Reid, Ralph Connor, John Waugh, S. T.

Wood, Henry Van Dyke, Elizabeth Stuart Phelps Ward, and Richard Watson Gilder for special permission to reproduce in this reader selections from their writings.

He is indebted to Lord Tennyson for special permission to reproduce the poems from the works of Alfred Lord Tennyson, to Lloyd Osbourne for permission to reproduce a selection from the works of Robert Louis Stevenson, and to J. F. Edgar for permission to reproduce one of Sir James D. Edgar's poems.

He is also indebted to Macmillan and Company Limited for special permission to reproduce selections from the work of Alfred Lord Tennyson, Rudyard Kipling, and Flora Annie Steel; to Smith, Elder, and Company for the extract from F. T. Bullen's The Cruise of the Cachalot; to Elkin Matthews for Henry Newbolt's poem from The Island Race; to Samson, Low, Marston, and Company for the extract from R. D. Blackmore's Lorna Doone; to Thomas Nelson and Sons for the extract from W. F. Collier's History of the British Empire; to Chatto and Windus for the extract from E.

B. Osborne's Greater Canada; to Houghton Mifflin Company for "The Chase" from Charles Dudley Warner's A Hunting of the Deer; Mary Elizabeth by Mrs. Phelps Ward; and the poems by Celia Thaxter and by Richard Watson Gilder; to The Century Company for Jacob A. Riis' The Story of a Fire from The Century magazine; to the Copcar Company Limited for the selections from Charles G. D. Roberts' works; to the Westminster Company Limited for the extract from Ralph Connor's The Man from Glengarry.

The Minister is grateful to these authors and publishers, and to others not mentioned here, through whose courtesy he has been able to include in this reader so many copyright selections.

So that compared to the enormity I might have committed mine will be a venial offense for after all Shakespeare is simply the greatest of all poets and if it turns out that I have anything of import to say about the nature of his poetry I shall in fact have said it about the nature of poetry in general.

In a recent book of critical studies, Sir Henry Newbolt, casting about for the emotional cause of poetry and the cause of its emotional effect upon ourselves, discovered it in the poet's longing and our own for a land of heart's desire.

Although we may at first feel that this conception is as romantic as its phrasing, yet if we have an eye to the reality beneath the words and consider how much of memorable poetry seems to have been inspired by a longing for the things that are not, we may finally be surprised at the scope of Sir Henry's conjecture.

Shelley was made for it, of course.

Bright star would I were steadfast as thou art is only a more personal statement of a theme than is truly secular to poetry.

It seems to have been more natural to the poets of old to voice their longings through the creatures of a created world, so that Aristotle looking upon their practice could define poetry in terms that seem to us strange as an imitation of emotions and actions.

At first there seems to be an unbridgeable chasm between this definition and Sir Henry Newbolt's description, but the gulf narrows the more steadily we look into it.

The Greeks sought chiefly the thing that is made, the moderns seek chiefly the temper that goes to making it.

So that compared to the enormity I might have committed mine will be a venial offense for after all Shakespeare is simply the greatest of all poets and if it turns out that I have anything of import to say about the nature of his poetry I shall in fact have said it about the nature of poetry in general.

In a recent book of critical studies Sir Henry Newbolt casting about for the emotional cause of poetry and the cause of its emotional effect upon ourselves discovered it in the poet's longing and our own for a land of heart's desire.

Although we may at first feel that this conception is as romantic as its phrasing yet if we have an eye to the reality beneath the words and consider how much of memorable poetry seems to have been inspired by a longing for the things that are not we may finally be surprised at the scope of Sir Henry's conjecture.

Shelley was made for it of course.

Bright star, would I were steadfast as thou art, is only a more personal statement of a theme than is truly secular to poetry.

It seems to have been more natural to the poets of old to voice their longings through the creatures of a created world, so that Aristotle, looking upon their practice, could define poetry in terms that seem to us strange as an imitation of emotions and actions.

At first, there seems to be an unbridgeable chasm between this definition and Sir Henry Newbolt's description, but the gulf narrows the more steadily we look into it.

The Greeks sought chiefly the thing that is made.

So that compared to the enormity I might have committed mine will be a venial offense for after all Shakespeare is simply the greatest of all poets and if it turns out that I have anything of import to say about the nature of his poetry I shall in fact have said it about the nature of poetry in general.

In a recent book of critical studies, Sir Henry Newbolt, casting about for the emotional cause of poetry and the cause of its emotional effect upon ourselves, discovered it in the poet's longing and our own for a land of heart's desire.

Although we may at first feel that this conception is as romantic as its phrasing, yet if we have an eye to the reality beneath the words and consider how much of memorable poetry seems to have been inspired by a longing for the things that are not, we may finally be surprised at the scope of Sir Henry's conjecture.

Shelley was made for it, of course.

It seems to have been more natural to the poets of old to voice their longings through the creatures of a created world.

So that Aristotle looking upon their practice could define poetry in terms that seem to us strange as an imitation of emotions and actions.

At first there seems to be an unbridgeable chasm between this definition and Sir Henry Newbolt's description but the gulf narrows the more steadily we look into it.

The Greeks sought chiefly the thing that is made, the modern sees chiefly the temper that goes to making it.

So that compared to the enormity I might have committed mine will be a venial offense, for after all Shakespeare is simply the greatest of all poets, and if it turns out that I have anything of import to say about the nature of his poetry I shall in fact have said it about the nature of poetry in general.

In a recent book of critical studies Sir Henry Newbolt casting about for the emotional cause of poetry and the cause of its emotional effect upon ourselves discovered it in the poet's longing and our own for a land of heart's desire.

Although we may at first feel that this conception is as romantic as its phrasing, yet if we have an eye to the reality beneath the words and consider how much of memorable poetry seems to have been inspired by a longing for the things that are not, we may finally be surprised at the scope of Sir Henry's conjecture.

Shelley was made for it, of course.

Bright star, would I were steadfast as thou art, is only a more personal statement of a theme than is truly secular to poetry.

It seems to have been more natural to the poets of old to voice their longings through the creatures of a created world, so that Aristotle, looking upon their practice, could define poetry in terms that seem to us strange as an imitation of emotions and actions.

At first there seems to be an unbridgeable chasm between this definition and Sir Henry Newbolt's description, but the gulf narrows the more steadily we look into it.

The Greeks sought chiefly the thing that is made.

So that compared to the enormity I might have committed mine will be a venial offense for after all Shakespeare is simply the greatest of all poets and if it turns out that I have anything of import to say about the nature of his poetry I shall in fact have said it about the nature of poetry in general.

In a recent book of critical studies Sir Henry Newbolt casting about for the emotional cause of poetry and the cause of its emotional effect upon ourselves discovered it in the poet's longing and our own for a land of heart's desire.

Although we may at first feel that this conception is as romantic as its phrasing yet if we have an eye to the reality beneath the words and consider how much of memorable poetry seems to have been inspired by a longing for the things that are not we may finally be surprised at the scope of Sir Henry's conjecture.

Shelley was made for it of course.

"Bright star, would I were steadfast as thou art" is only a more personal statement of a theme than is truly secular to poetry.

It seems to have been more natural to the poets of old to voice their longings through the creatures of a created world, so that Aristotle, looking upon their practice, could define poetry in terms that seem to us strange as an imitation of emotions and actions.

At first, there seems to be an unbridgeable chasm between this definition and Sir Henry Newbolt's description, but the gulf narrows the more steadily we look into it.

The Greeks sought chiefly the thing that is made.

So that compared to the enormity I might have committed mine will be a venial offense for after all Shakespeare is simply the greatest of all poets and if it turns out that I have anything of import to say about the nature of his poetry I shall in fact have said it about the nature of poetry in general.

In a recent book of critical studies, Sir Henry Newbolt, casting about for the emotional cause of poetry and the cause of its emotional effect upon ourselves, discovered it in the poet's longing and our own for a land of heart's desire.

Although we may at first feel that this conception is as romantic as its phrasing, yet if we have an eye to the reality beneath the words and consider how much of memorable poetry seems to have been inspired by a longing for the things that are not, we may finally be surprised at the scope of Sir Henry's conjecture.

Shelley was made for it, of course.

Bright star, would I were steadfast as thou art, is only a more personal statement of a theme than is truly secular to poetry.

It seems to have been more natural to the poets of old to voice their longings through the creatures of a created world, so that Aristotle, looking upon their practice, could define poetry in terms that seem to us strange as an imitation of emotions and actions.

At first there seems to be an unbridgeable chasm between this definition and Sir Henry Newbolt's description, but the gulf narrows the more steadily we look into it.

The Greeks sought chiefly the thing that is made, the modern sees chiefly the temper that goes to making it.

Acknowledgments.

The Minister of Education is indebted to Rudyard Kipling, Henry Newbolt, Beckles Willson, E.

B. Osborne, F. T. Bullen, Flora Annie Steel, Charles G. D. Roberts, W. Wilfrid Campbell, Ethelwyn Wetherald, Jean Blewett, Robert Reid, Ralph Connor, John Waugh, S. T.

Wood, Henry Van Dyke, Elizabeth Stuart Phelps Ward, and Richard Watson Gilder for special permission to reproduce in this reader selections from their writings.

He is indebted to Lord Tennyson for special permission to reproduce the poems from the works of Alfred Lord Tennyson, to Lloyd Osbourne for permission to reproduce a selection from the works of Robert Louis Stevenson, and to J. F. Edgar for permission to reproduce one of Sir James D. Edgar's poems.

He is also indebted to Macmillan and Company Limited for special permission to reproduce selections from the work of Alfred Lord Tennyson, Rudyard Kipling, and Flora Annie Steel; to Smith, Elder and Company for the extract from F. T. Bullen's The Cruise of the Cachalot; to Elkin Matthews for Henry Newbolt's poem from The Island Race; to Samson, Low, Marston and Company for the extract from R. D. Blackmore's Lorna Doone; to Thomas Nelson and Sons for the extract from W. F. Collier's History of the British Empire; to Chatto and Windus for the extract from E.

B. Osborne's Greater Canada; to Houghton, Mifflin Company for The Chase from Charles Dudley Warner's A Hunting of the Deer; Mary Elizabeth by Mrs. Phelps Ward; and the poems by Celia Thaxter and by Richard Watson Gilder; to The Century Company for Jacob A. Riis' The Story of a Fire from The Century Magazine; to the Copcar Company Limited for the selections from Charles G. D. Roberts' works; to the Westminster Company Limited for the extract from Ralph Connor's The Man from Glengarry.

The Minister is grateful to these authors and publishers and to others not mentioned here, through whose courtesy he has been able to include in this reader so many copyright selections.