Part 21 (2/2)
”At the close of the tale the heart swells with pathos, and the tears all but force their way into the eyes. To turn from the most noteworthy of modern poetry to the verse in which 'Gwen' is written is like turning from a brilliant painting to a fine statue. We are scarcely sensible of want of colour, so refreshed are we by purity of outline. All, indeed, is graceful, good, and poetical work, as pure and limpid in flow as a brook.”--_Sunday Times_, February 2nd, 1879.
”The piece as a whole will repay very attentive perusal, while here and there in it there is a particular choice bit of work.
Here, for example, is a fine lyric ... and here a love-song of rare and exquisite beauty.”--_New York Evening Post_, February 20th, 1879.
”Few among the later poets of our time have received such a generous welcome as the author. He has been appreciated not by critics alone, but by the general public.... The charm of 'Gwen'
is to be found in the limpid clearness of the versification, in the pathetic notes which tell the old story of true love wounded and crushed. Nothing can be more artistically appropriate or more daintily melodious than the following....”--_Pall Mall Gazette_, October 8th, 1879.
”The poem is, as a whole, tender, simple, chaste in feeling, and occasionally it rises to a lyrical loftiness of sentiment or grows compact with vigorous thought.”--_New York ”Nation”_, March 27th, 1879.
”The writer has gained inspiration from themes which inspired Dante; he has sung sweet songs and musical lyrics; and whether writing in rhyme or blank verse, has proved himself a master of his instrument. He knows, like all true poets, how to trans.m.u.te what may be called common into the pure gold of poetry.”--_Spectator_, July 26th, 1879.
THE ODE OF LIFE.
”The 'Ode of Life' ought to be the most popular of all the author's works. People flock to hear great preachers, but in this book they will hear a voice more eloquent than theirs, dealing with the most important subjects that can ever occupy the thoughts of man.”--_Westminster Review_, July, 1880.
”The many who have found what seemed to them of value and of use in the previous writings of the author, may confidently turn to this, his latest and, in his own view, his most mature work. It is full of beauty of thought, feeling, and language.”--_Daily News_, April 8th, 1880.
”Full of exquisite taste, tender colour, and delicate fancy, these poems will add considerably to the reputation of their author.”--_Sunday Times_, April 25th, 1880.
”The author is one of the few real poets now living. Anything at once more sympathetic and powerful it would be difficult to find in the poetry of the present day.”--_Scotsman_, May 11th, 1880.
”Next to the 'Epic of Hades,' it is his best work.”--_Cambridge Review_, May 19th, 1880.
”Here is one standing high in power and in fame who has chosen a n.o.bler course.... The experiment is successful, and though we must not now discuss the laws to which the structure of an ode should conform, we rank the poem in this respect as standing far above Dryden's celebrated composition, but below the Odes of Wordsworth on Immortality and of Milton on the Nativity, which still remain peerless and without a rival.”--_Congregationalist_, May 1st, 1880.
”A high devout purpose and wide human sympathy enn.o.ble all the writer's work, and his clear language and quiet music will retain his audience.”--_Nineteenth Century_, August, 1880.
”In all that respects technical points, certainly the most finished work we have yet had from the author's hand, and here and there the phrasing is exquisite. For ambitious aims, and for art which so far has justified those aims, for elevation and refinement, these poems are in advance of any of the author's former works.”--_British Quarterly Review_, July, 1880.
”Any notice of recent poetry would be inadequate without a reference to the 'Ode of Life.' The only fault we have to find with this really remarkable effort--a sort of expansion of Wordsworth's famous Ode--is that it is rather too long for its ideas; but it possesses power, sweetness, occasional profundity, and unmistakable music. It is, when all is said and done, a true 'Ode,' sweeping the reader along as the ode should do, and
'Growing like Atlas, stronger for its load.'
It appears to us to bring definite proof that the writer's pretensions have not been over-stated.”--_Contemporary Review_, February, 1881.
SONGS UNSUNG.
”Some of the more important pieces make almost equal and very high demands alike on my sympathy and my admiration, and I hope you may long be enabled to cherish the enviable gift of finding utterance for Truths so deep in forms of so much power and beauty.”--_Letter from_ MR. GLADSTONE, November, 1883.
”The reader of his former work will probably commence this volume with considerable expectations. Nor will he be altogether disappointed, although he will probably wish that Mr. Morris had given the world more of his exquisite cla.s.sical workmans.h.i.+p.”--_Fortnightly Review_, November, 1883.
”'The New Creed' is, in some respects, his most striking achievement. The poem is one well suited to his mind, but we are not aware that he has ever before written anything at once so impressive, so solemn, and so self-restrained. The last two lines have all the happy energy of the highest poetry.”--_Spectator_, November 10th, 1883.
”In reading it one feels constantly 'How worthy this book would be of beautiful ill.u.s.trations!'”--_Academy_, November 24th, 1883.
”The volume is full of the sweet fruits of a large experience; a profound study of the many problems of life; a clear insight into human nature; and the book as a whole ranks among the best gifts which the press has in recent years bestowed upon us.”--_Leeds Mercury_, November 21st, 1883.
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