great masters of language, but not of the soul. Aux yeux du souvenir que le monde est on the genealogy of morals first essay petit! For example, in Donnes A Valediction: of Weeping, we got three separate images: the picture of the geographers globe, the tears of the poets beloved, and the picture of the Great Flood. Only such a poetry would be complete; but it would be complex and difficult. To meet thee in that hollow Vale.
The Johns Hopkins Guide to Literary Theory Criticism. But elsewhere we find, instead of the mere explication of the content of a comparison, a development by rapid association of thought which requires considerable agility on the part of the reader. They are simple, artificial, difficult, or fantastic, as their predecessors were; no less nor more than Dante, Guido Cavalcanti, Guinicelli, or Cino. Then came Milton and Dryden, and their influence was most unhealthy, because as a result of their influence there set in a dissociation of sensibility from which English poetry has recovered only in one modern age. (In the last few lines there is that effect of terror which is several times attained by one of Bishop King's admirers, Edgar Poe.) Again, we may justly take these quatrains from Lord Herbert's Ode, stanzas which would, we think, be immediately pronounced.
The Special Virtue of the Metaphysicals. Austin asserts that Eliot defines this term in order to provide a rationale for the combination of wit and emotion. He writes, a thought to Donne was an experience; it modified his sensibility. Johnson, shrewd and sensitive critic, Eliot concludes, failed to define metaphysical poetry by its faults. There is finally the devotional verse of Herbert, Vaughan, and Crashaw (echoed long after by Christina Rossetti and Francis Thompson Crashaw, sometimes more profound and less sectarian than the others, has a quality which returns through the Elizabethan period to the early Italians. The sentimental age began early in the eighteenth century, and continued. We may express the difference by the following theory: The poets of the seventeenth century, the successors of the dramatists of the sixteenth, possessed a mechanism of sensibility which could devour any kind of experience. It would be a fruitful work, and one requiring a substantial book, to break up the classification of Johnson (for there has been none since) and exhibit these poets in all their difference of kind and of degree, from the massive music of Donne. Times Literary Supplement, October 1921.
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