d themselves to be espousing the more purely Italian side.
Sometimes, however, the party relationat obscurer foes.
A complete vocabulary of Italian billingsgate might be selected from Biagioli.e which ever after distinguished him from his Italian contemporaries.
Let, let the Ghibellines pundoubtedly the result of what he had seen of Italian misgovernment, embraced in its theoretical ach made it worth having.
Dante was intensely Italian, nay, intensely Florentine, but on all great n example from poetry also, and selecting two Italian poets,—one the most famous of his predecessor his great claim to remembrance is not merely Italian.
It is that he was the first Christian poet,to feel as if the chief value of contemporary Italian history had been to furnish it with explanatoh through the Church, and is less anxious for Italian independence than for Italian good governmentItalian good government under an Emperor from Germany rather than from Utopia.
The Papacy was a necessary part of Dante[2 more...]
But I fear it was not so, for only genius can do that; and Sternhold and Hopkins are inspired men in comparison with them.
For Sternhold was at least the author of two noble stanzas:—
The Lord descended from above And bowed the heavens high, And underneath his feet he cast The darkness of the sky; On cherubs and on cherubims Full royally he rode, And on the wings of all the winds Came flying all abroad. But Gascoyne and the rest did nothing more than put the worst school of Italian love poetry into an awkward English dress.
The Italian proverb says, Inglese italianizzato, Diavolo incarnate, that an Englishman Italianized is the very devil incarnate, and one feels the truth of it here.
The very titles of their poems set one yawning, and their wit is the cause of the dulness that is in other men. The lover, deceived by his love, repenteth him of the true love he bare her.
Where I sought heaven there found I hap; From danger unto death, Much like the mo
the hooped petticoat of the artificial style of poetry, and proudly unsubdued by the punishment of the Reviewers.
Of his college life the chief record is to be found in The Prelude.
He did not distinguish himself as a scholar, and if his life had any incidents, they were of that interior kind which rarely appear in biography, though they may be of controlling influence upon the life.
He speaks of reading Chaucer, Spenser, and Milton while at Cambridge,
Prelude, Book III.
He studied Italian also at Cambridge; his teacher, whose name was Isola, had formerly taught the poet Gray.
It may be pretty certainly inferred, however, that his first systematic study of English poetry was due to the copy of Anderson's British Poets, left with him by his sailor brother John on setting out for his last voyage in 1805. but no reflection from them is visible in his earliest published poems.
The greater part of his vacations was spent in his native Lakecoun-try, where his only sister, Doroth
given, but I very much doubt whether he would have thought that some of the lines Mr. Masson cites remain perfectly good Blank Verse even with the most leisurely natural enunciation of the spare syllable, and I am sure he would have stared if told that the number of accents in a pentameter verse was variable.
It may be doubted whether elisions and compressions which would be thought in bad taste or even vulgar now were more abhorrent to the ears of Milton's generation than to a cultivated Italian would be the hearing Dante read as prose.
After all, what Mr. Masson says may be reduced to the infallible axiom that poetry should be read as poetry.
Mr. Masson seems to be right in his main principles, but the examples he quotes make one doubt whether he knows what a verse is. For example, he thinks it would be a horror, if in the verse
That invincible Samson far renowned we should lay the stress on the first syllable of invincible. It is hard to see why this should be worse than
hue Fierce and sanguineous.
Between this time and the spring of 1820 he seems to have worked assiduously.
Of course, worldly success was of more importance than ever.
He began Hyperion, but had given it up in September, 1819, because, as he said, there were too many Miltonic inversions in it.
He wrote Lamia after an attentive study of Dryden's versification.
This period also produced the Eve of St. Agnes, Isabella, and the odes to the Nightingale and to the Grecian Urn.
He studied Italian, read Ariosto, and wrote part of a humorous poem, The Cap and Bells.
He tried his hand at tragedy, and Lord Houghton has published among his Remains, Otho the Great, and all that was ever written of King Stephen.
We think he did unwisely, for a biographer is hardly called upon to show how ill his biographee could do anything.
In the winter of 1820 he was chilled in riding on the top of a stage-coach, and came home in a state of feverish excitement.
He was persuaded to go to bed, and