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Lectures on the British Poets, Vol. 2 of 2 (Classic Reprint)




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Excerpt from Lectures on the British Poets, Vol. 2 of 2 Before proceeding to the chief subject of the present lecture, I wish to dispose in as short a space of some of the omitted subjects. The influence of Pope´s poetry, or rather that school of poetry which began with Dryden and was completed by Pope, was unquestionably injurious on all the writers who came within its reach. It reduced poetry to mere versification, and thus, in the hands of pupils who were deficient in the natural powers of the masters, it became mechanical, - a thing of sound, and little else. Besides, the ear was habituated but to one fashion of sound; for Dryden and Pope had spent almost their whole effort upon one form of verse, - the rhyming couplet of the ten-syllable line. They had set English poetry to one tune in the position of its pauses and the balanced succession of the notes, so that every puny versifier could give, if not the same music, at least a very good echo of it. It became a kind of hand-organ operation, in which one hand could grind out the sounds nigh as well as another. Besides this levelling faculty, listening almost exclusively to one fashion of metrical sounds, the ear lost its power of receiving other metres. With the incessant, unrelieved tinkling of the heroic rhyming couplet, the sense of poetical music grew deaf to the richer and varied harmonies in which the elder poets had taken such delight and exhibited such manifold power both in the language and in themselves. 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.


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