Hitherto it has been impossible not to feel that there has been some disproportion between Mr. Swinburne’s power of saying things and the things he has to say. This defect of the “body of thought,” which Coleridge once complained was wanting in an otherwise good poem, has reacted upon Mr. Swinburne’s language itself, producing sometimes a reiteration14 of words and imagery surpassing even that which is to be found in the works of Shelley, and which in them arose from the same inadequacy15 of matter. For example, in a passage of thirteen lines in the present volume we have “flowery forefront of the year,” “foam-flowered strand,” “blossom-fringe,” “flower-soft face,” and “spray-flowers”; and in Mr. Swinburne’s poems generally it must be confessed that flowers, stars, waves, flames and three or four other entities16 of the natural order, come in so often as to suggest some narrowness of observation and vocabulary. This defect, also, is less manifest than it used to be, though probably the abandonment to the mere17 joy of words, which is natural and not altogether ungraceful in a writer who can use them so splendidly, will always be a characteristic of Mr. Swinburne’s poetry. It reminds us of the rapture18 of Tristram in the truly magnificent{115} description of the bath he took before breakfast in “Sea and Sunrise,” and the reader is often carried with like joy upon the waves of words without troubling himself as to whether he and the poet are not both out of their depth.
Mr. Swinburne’s mode of dealing19 with human passions is somewhat of an anachronism. His heroes and heroines, like those of the old English drama and the Scandinavian poems, often become heroic by the sacrifice of humanity, and, thereby20, of the reader’s sympathy. The pictures of Mary Queen of Scots and of Iseult in this volume, for instance, though painted with a great brush are not truly great, because they are not greatly true—at all events, to any conditions which the modern world recognises or should desire to recognise. Nor, granting that the characters and situations are poetical21, is the execution quite what it ought to be. The effects are obtained by a cumulative22 rather than a developing process; and, at the end of a long poem or passage full of strong words and images, the idea of strength thence derived23 is rather that given by a hill than the living hole of a huge tree.
Mr. Swinburne’s metrical practice should be criticised with respect; for he has an unquestionably fine ear, and has ransacked24 the literature of all times in order to discover and appropriate, or{116} modify to his own uses, a number of movements which, unlike our familiar English metres, are whirlwinds and blasts of passion in themselves. Such metres, however, should be sparingly used. They almost satisfy the ear without any accompaniment of sound meaning, and evoke25, as it were by a trick, a current of emotion that is independent of any human feeling in the poet himself. This is a great temptation, and Mr. Swinburne has not always avoided the traps which he has thus set for himself. Such metres have, moreover, the disadvantage of fixing in too peremptory26 a manner the key in which the poems written in them must be sustained. They allow none of the endless modulations which are open to the poet who writes in almost any of our native and less emphatic27 measures. Mr. Swinburne has the less reason for resorting so habitually28 as he does to this too easy means of obtaining passionate effect, inasmuch as some of his very best and most effective passages are written in our common metres. Witness the almost incomparable apostrophe to Athens, in “Erechtheus” (unfortunately not included in these selections), and “Sea and Sunrise,” and “Herse.”
There is one still easier and far less excusable source of effect which every friend of the poet must rejoice to see that he has of late abandoned.{117} There is nothing in the Selections which a schoolgirl might not be permitted to read and understand, if she could; and there are a number of pieces about children which are so full of pure and tender perceptions as to cause a doubt whether, in some of his earlier writings, the poet was not wantonly flouting29 the world’s opinion rather than expressing any very real phase of his own feeling.
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1
remarkable
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adj.显著的,异常的,非凡的,值得注意的 | |
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2
judgment
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n.审判;判断力,识别力,看法,意见 | |
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3
tempted
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v.怂恿(某人)干不正当的事;冒…的险(tempt的过去分词) | |
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4
apparently
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adv.显然地;表面上,似乎 | |
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attained
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(通常经过努力)实现( attain的过去式和过去分词 ); 达到; 获得; 达到(某年龄、水平、状况) | |
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6
poetic
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adj.富有诗意的,有诗人气质的,善于抒情的 | |
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7
discredited
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不足信的,不名誉的 | |
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8
jejune
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adj.枯燥无味的,贫瘠的 | |
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9
passionate
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adj.热情的,热烈的,激昂的,易动情的,易怒的,性情暴躁的 | |
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10
negation
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n.否定;否认 | |
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11
fully
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adv.完全地,全部地,彻底地;充分地 | |
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12
unintelligible
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adj.无法了解的,难解的,莫明其妙的 | |
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13
stork
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n.鹳 | |
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14
reiteration
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n. 重覆, 反覆, 重说 | |
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15
inadequacy
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n.无法胜任,信心不足 | |
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entities
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实体对像; 实体,独立存在体,实际存在物( entity的名词复数 ) | |
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17
mere
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adj.纯粹的;仅仅,只不过 | |
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18
rapture
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n.狂喜;全神贯注;着迷;v.使狂喜 | |
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19
dealing
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n.经商方法,待人态度 | |
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20
thereby
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adv.因此,从而 | |
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21
poetical
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adj.似诗人的;诗一般的;韵文的;富有诗意的 | |
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22
cumulative
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adj.累积的,渐增的 | |
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23
derived
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vi.起源;由来;衍生;导出v.得到( derive的过去式和过去分词 );(从…中)得到获得;源于;(从…中)提取 | |
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24
ransacked
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v.彻底搜查( ransack的过去式和过去分词 );抢劫,掠夺 | |
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25
evoke
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vt.唤起,引起,使人想起 | |
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26
peremptory
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adj.紧急的,专横的,断然的 | |
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27
emphatic
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adj.强调的,着重的;无可置疑的,明显的 | |
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28
habitually
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ad.习惯地,通常地 | |
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29
flouting
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v.藐视,轻视( flout的现在分词 ) | |
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