The Portland daily press., 1881-03-12
Recent Publications.
A New Volume of Verse by Symonds.

A New Volume of Verse by Symonds.
New and Old. A Volume of Verse by John
Addington Symonds. Author of Many Moods,
Renaissance in Italy, Studies of Greek Poets.
etc. Boston: James r. Osgood & Co.; Port
land: Loring, Short & Harmony Among the
English poets who, having arisen into promi-
nence during the last decade, will hold their
place and influence the art of years to come
not one is to be considered as more completely
equipped, more sensitive to the artistic temper
OF his time, more admirable in the extent and
Intelligence of his literary training, more en-
tirely possessed by the passion and spirit of DO
etry, than is Mr.. Symonds. Technique, voice
and genius are so equally and easily balanced
that 1t is difficult to separate critically .he part
Oh one from another in weighing the worth of
This poets work. The spirit of his poetry in
some sort resembles that of Mr.. Tennyson,
though it is while equally in harmony with
the progress of his century-something less di-
rectly applied to its action than is that Of the
laureate. The distinction is subtle to draw
but it may be perhaps expressed by saying that
Mr. Tennyson's thought and verbal art are less
entirely fused together than is the case in Mr.
Symonds's verse. The laureate, having GER
tain things to say, chooses with care such mar
vellous wording as shall set them forth in
striking and perdurable shape, while with the
younger poet it is not easy to say whether
words or music of his verse came first His
style, not always comparable to the exquisite
fitness and immortal beauty of Mr.. Tennyson's
best verse (and when one speaks of the laure-
ate it is but just to think of his representative
poetry, in its superb Olympian radiance, a
great white light fused of all colors of song)-
yet there is rich and flexible range of voice,
manner that without marked originalities of
treatment, wins continually upon the reader
OF Mr. Symonds's poetry. He has something
OF the trait which is prominent with Mr.. Nor
ris-the utter giving over Of himself to the
mood or subject of the moment; and his ca
dences and vocabulary accommodate them
selves to the theme chosen. His style borrows
turns of melody and fashions of speech and
fancy from Tennyson, Morris, Swinburne Ros-
setti-but it is not to be said of him that he is
an imitator. Without the advantage of ac-
quaintance with this group of poets-who,
many In manner, seem at one in artistic rela-
tlons-it is not easy to say what form of ex-
preston Mr.. Symonds's genius would have
chosen. Not far, one would fancy, from that
prevailing in his time; but the force and sweet
ness OF his voice would not have'in any case
failed to make him heard clearly in the singing
choir 1t is the same power of sympathy, the
artistic overlooking of self, that enables
MIR. Symonds to turn so easily from one to
another theme, to vary so readily his song,
modulated without hard transition from key
to key-that leads him to follow this or that
poet, with no servile imitation, but with a
sense of the beauty and fitness Of such meth
cd to such a subject. Here and there, not
seldom, new and admirable motif makes it
self heard, and shows plainly that Mr.. Sy-
monds does not lack individuality of technique,
and promises future of brilliant work, strong
for the bettering of our English-worded verse.
Mr.. Symonds's studies of the Greek and Ital-
IAN poets have been evidently enthusiastic,
scholarly and wholly free from pedantry. 1t
is the immortal sunlight, the dripping amber
OF the honey upon memorable hills, the winds
that blew up the reedy ways of Simois that he
has loved-not caring too much for the dull
and dusty things of the curious antiquarian.
His blending of the old delight and the keen
modern sense is admirable; and everywhere is
the clear, clean touch, the pleasure taken and
given by born singer. Without distinct
effort, shutting of the eyes to the problems
OF the century-it is not easy for many poets to
avoid unpoetic subjects and keep to art for
arts sake. Mr.. Symonds is here very fortu-
nate. He does not confine himself to subjects
whereof no word is to be said for or against the
moral state of the present world-but he has
tact in the shaping of his work 80 that his
verse never fails to fully uphold and adorn the
thought, and to lift it by main strength into
the unbeatable land of art.
The quality of the present volume may be
noted most readily by a rapid review of its
contents, which divide themselves into groups
according to kindred themes and treatment.
Mr.. Symonds's practice and facility in the
handling of classic verse is proven by his Ac-
centual Sapphics IA poem fresh and picturesque
enough to have had a more poetic name, with
its metrical title for secondary satisfaction to
the student Of verse) and by his very remarka-
BILE translations from the Greek, which have
the flexible richness of poem of first inten-
tion. Two Moods of the Mind, the poem naxt
in the volume to the Sapphics-is entirely
modern, but the subtle and elaborate theme is
wound about and about with most delicate
music, so that the ear is led down charmed
way to its conclusion. Forget Me Never, is q
translation as perfect in clear-cut form as some
precious cameo-and is simply faultless. New
Life, New Love, echoes the artificial old En-
glish madrigals, and is less in accord with Mr..
Symondss talent. Four Pictures, and two po-
ANS foil oyui oil De-
clever parallel, they show merely Mr.. Sy-
monds's sympathetic quality and the readiness
with which he can adopt the manner Of anoth-
er poet. The hexameters written inside a
Copy of Paradise Lost, are sonorous but show a
little TOO much effort. In Eyebright one be-
gins to trace reading of Keats, and this fam
cy is much confirmed by an Allegory which
recalls the earlier poet in many traits; but in
some way fails to carry easily its burden of
brilliant words. Disappointment is exquisite
in tone and form of verse. In Dreamland has
sweet and irresistible flavor, but the verse
moves somewhat too quickly for the spirit Of
the poem. Leuke is magnificent in design
and of classic directness and beauty of treat
ment. In Hesperus and Hymenaus occur
passages worthy to take place beside the Lo-
euo-Iatoio VI WI. 1ouuySOn. a IranSlatlOn
from Maximus Tyrius is at the very height Of
MIR. Symonds's splendor and music of speech,
together with poise and freedom that are
rarely reached in translation. To Rhodocleia
is notable for delicate Tilt, like the swinging
OF garlands.
The Love of Odatis and Prince Zariadres is
told much in the manner of Mr.. Morris-and
here is no fault of original treatment or design
laid against Mr.. Symonds-for the singer of the
Earthly Paradise has set such mould for form
of storytelling that not to follow his fashion is
to set aside the actual limits of the law of such
things. Mr.. Symonds is more. lavish with ad-
jectives and SMILES, less direct and simple in
his verse than Mr.. Morris; ana has not so per-
fectly the. story-teller's divine gift He re-
mains modern man telling with his new
mouth an olden tale, while Mr. Morris has his
own life in whatever age of the world he may
choose, and keeps simplicity and fresh OBJ
servance that were legacy to him from Chau-
Ger. Nevertheless, Mr. Symonds has told his
story admirably, and it is full of the swift po-
etc touches that prove the richness and yitali-
ty of his gift The Sonnets on Jntellectual 10