The sun. [volume] (New York [N.Y.]) 1833-1916, 1876-04-23
SOME VIEW hooks.
r,. ,.,ofnr sv,nburuc,. poem..

,,,u., .ecured a Mace Of honor rarely accorded
40 tho fret essay of any poet IL was the peculiar
GOOD fortune Of that poem to ri ase scholars who
ware not art ists arttsta who were no scholars,
md the general public. which IL swayed mainly
nv the melody and emotional fervor Of verse. 1t
might have becn better for lis perIua nent repu-
,.,i,n had his erst succes. becn leas signal We
ara fnrc,J to attribute the publication of somo
,unseouen, vorLs-the "Ians Vcncris" for ex-
annie. f., +. srccies of tnto1i,ation which con.
e.ived ,tself ,x,mpted from the operation OF
Gamma ~ cleanlinaas and decorum His latest
produ,tIon. however. Lrecih.,is a Trdgcdu, Lion
aon is-G, Ia mot omen To censure on the score Of
,oo,al,ty, and for that and other reasons II
.hould 90 fnr 10 reInstatc him In the posi-
finn which ON many grounds he may fairly
alan, and vvhtch nothing but preposterous self
.onea.nc. mr. cvnirism would have imperiled
,.. ,u,. .,,o,,c,.d n cre,,o
S'"Vo -" -, ,.,,a,, ,hr,,,,h tho uncon-
80, -, -, unod.rn and Markham
-. ... 49,. ,ror,n,ea Il, cor. idcr tho scope
~, -, -, snch n performance whether
:, ,a,,s ~,,,htn ,,,h, conrept,on Of poetic art.
,...n,,,t,, tar 4. hoyc,. and h,v far IL
g. 49, ,,.r,i,.,o, A., an, literature arc ones-
g.. ,ha, nav d.se.v., ,a,,sntion ,fter glance
-. - ,.,s.,.t ,,,,.I,a..,i,ns
re" 'e"uers Ii""""S WIN " W ~ ~
ohcr'"ina'e euiouS "es'o"'u "" ','' =, ~
tne h't'e honu'" 'V'e''' W ""''"
Ir anu tue ""ssN'''s nv N''sf
III" experiments nav Wv" 'oO ,,'
700 oNerRe"' " ""'i''' u u""''" "'s
haIa.'Ne poetry 'o' instance """e '"u'u'"eu
WIN o'.s "i "Eo.ous p"'"''"k' ""u e"''s
mere anu 'oer" WIN "u's's vi eNqu'''e "'''ou',
on 'ne whore wants 'ne sN'i'"'SS' oo"es'o''' "",,
t'""u''eu e'V'u'V" ""''" "'s''"E",'" '"s'"'
or the tales rehe"tseu IL tue EN'nlN "'u'so'
again. u we look " the e'ch'hss oi vh"i"..''
con'Aineu W Tue 'oiu'uo e"UN.u i""S
neris' we ma pen'5 Ci uraha''o 'hS'sn~ OF
,,,.s .,,..,,, ,,,,u, - -, n.,,,.t.,, ~,
-, at, 80, ,.,,,.t' ,,,, ~,
n, ,atis 90 ,r,t.,, ~, eo,,,os a., .,,., ,,,,i,,,os
"a. -, -. 49,. - - ,'..,,,. .,.i.,'
~, n.,a,,r,,s dra,,a,t. ,a,.o,,a,,,
n.I'a.,. -, ...,ir,,r' rra,' ,,,a -. oa,..,,
,,"n ., v,., So, a.,t.. =. -, ,'',,
-, - H. =, C,,.,, -, ,.1 d. uI.,,.,',, -.
80. ~
- -
-, .,,,,,.,,.'. 49,, -
-. ,..,,''.,.
Co.,, -, C.,,.,,.'. =, 49, -
- O"e"''''' uo us ~ "'' N'"""
- y, -. ,.','
". - o." s',,i ~ N"''o"i' NC q W
- '.''''' ~. INC ap"' nm we wv
!" ~" o'S"' ~ W '"''N'u
~ ''uu'or W u''''".' os'etoi,' We 0"p""'
p"' 'eO'E"'.e so'"e i'"''''Si s"oI'0ou''nRs III
s' po"e' VI .""'"o'oi' 1'''o" a''u ooiu'e0u'''e
e'e.O'"e"' " ."V"e' we are 'ounu 10 say '""'
s iaou"S VI Hr'V" u'eI"'''e seems un"l'-
pioao".u y. any n''nk i'ns''sn poet we nnEn.
~ ~ '"s'' ~ a'nu"s" 'ne'e 70 no ea''" o.
''V"' ''u u''ui u'e'ou, o"io"E hnE ''s II
."Eeis' espeo'aN p'ior I" Anne m'scaled
Ausustah age ewinourns was perhaps the hrst
10 eAn'ot conscious aud decisive mystery of
'he Enghsh Iyre' ana TO reveal capacities OF
music III our language before unsuspected Or
ueh'eu'
We are so unaccustomed to define the precise
feltions Of poetry to music that the transfer Of
terms. In current criticism, from ore art to
the other Is often ludicrously inapt The
tmoothness and grace, for instance, which stu
dious chise ling and metrica rnesse impart to
much o. Tenuysons work is sometimes con-
founded with melody. wherea the word might
as appropriately be applied TO the Odes Of Hor-
ace. to which some OF Tonnyson's minor poems
present perhaps the nearest English snalogues.
Bul the Arr Po'tttd, far from assoc iating poetry
with music, substantially Identifies II with
another art, since Horace obviously CON
ceives the poet as a painter, manipulating
words for pigments. Boileau, too, II
bis paraphrase OF Horaces treatise, ex
pands the same idea and his theory Of the 20
etc function and method has uniformly con
uolled the Practice Of his counirymen. Wha
is more noteworthy Leasing, IN bis " LaocoOn.'
Whlle scrupulously marking the boundary line
between the province and processes OF poetry
ana those OF painting and sculpture, ap. ears 70
ignore It's relations 10 music SO Vigorously was
the pIotoriai conception Of the poetsart accept
co w i'ns' nu tnt"uEhout the elsh'eenth CEN
lu'S' un''I ehc"oS A"u byron iesuHected lyric
Ne'se' tua' may fuesuuhed Wielher W"ik-
my 'o1nso" 'nuon' or even rope s
hp's"es' S"ul1' III uIeth sense ue
caIleu poetry al all VI NHcs, at
M events 'ne "Ieek NOTION was very
oine'eh'' iSrt"us' F'hdaf ana the tragic
poets III thelF choruses' were never conceived
~ o"iNe's Oh form OF mahlpuators Of color
.nd ,h. ,n,.i,a,, 49,, -. 49,
.,c,,ns ,y,r,t,,, ALL. 80, 81. -.
,h,ou,n ,h, r,,'.,,,I ... ro,,o ,,'s
fs,,,,s ,roI,,.,,r,, RE, T., ,ha :. a,. I :,
has no,b,n, q, .c, M, ,ro,,,, , -, -, 4,
,.c.rdl az, =, ,,,.r,ai -. 49,, ,,,, ,,
even Win our ,,.t.r, .,d t.r,,,,y. ,,r,,,,,,c,'
ton. n bas aico.t the etc, ~ . s,,,,,,,,.,
How, moreover. would Il be posslbls 10 x,l,ir
the Traditional triumnbs Of Athenian 4, ,,c.
among tie less cultivated Greeks of D.r,sr
stock, the power Of Iyrtnus,s songs over IA.
spartans, or Of the choruses Of Turuidss In tb,