Guide A Moment In Time: A Poetic Anthology of Love, Tragedy, Encouragement, and Awareness

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Synopsis In an effort to share my passion for writing poetry, these compilations were selected. I hope that each person who reads it will be able to identify with one or more of these poems.

Dymocks - A Moment in Time by Errol V. Dowman, , HardCover book.

The title "A Moment in Time" is nourishment for the mind and soul. Shipping This title is in stock with our US supplier and arrives at our Sydney warehouse within weeks of you placing order. Share This Book. Pope is the best type of the one class: he had all the advantage that taste and wit could give him, but never rose to grandeur or to pathos.

Milton had all its advantages, but was also poet born. Then there are poets who rose slowly, and wrote badly, and had yet a true calling, and, after a hundred failures, arrived at pure power; as Wordsworth, encumbered for years with childish whims, but at last, by his religious insight, lifted to genius. Scott was a man of genius, but only an accomplished rhymer poet on the same terms as the Norse bards and minstrels , admirable chronicler, and master of the ballad, but never crossing the threshold of the epic, where Homer, Dante, Shakspeare, and Milton dwell.

The task of selection is easiest in poetry. What a signal convenience is fame! Do we read all authors to grope our way to the best?

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No; but the world selects for us the best, and we select from these our best. Chaucer fulfils the part of the poet, possesses the advantage of being the most cultivated man of his time, and so speaks always sovereignly and cheerfully. Often the poetic nature, being too susceptible, is over-acted on by others.

Yet this, also, has limits for humanity. One must not seek to dwell in ethereal contemplation: so should the man decline into a monk, and stop short of his possible enlargement. The intellect is cheerful. No lover of poetry can spare him, or should grudge the short study required to command the archaisms of his English, and the skill to read the melody of his verse.

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His matter is excellent, his story told with vivacity, and with equal skill in the pathos and in triumph. I think he has lines of more force than any English writer, except Shakspeare. If delivered by an experienced reader, the verses will be found musical as well as wise, and fertile in invention. He is always strong, facile, and pertinent, and with what vivacity of style through all the range of his pictures, comic or tragic! He knows the language of joy and of despair. Of Shakspeare what can we say, but that he is and remains an exceptional mind in the world; that a universal poetry began and ended with him; and that mankind have required the three hundred and ten years since his birth to familiarize themselves with his supreme genius?

Perhaps that book will suggest all the explanation this poem requires. To unassisted readers, it would appear to be a lament on the death of a poet, and of his poetic mistress. But the poem is so quaint, and charming in diction, tone, and allusions, and in its perfect metre and harmony, that I would gladly have the fullest illustration yet attainable. I consider this piece a good example of the rule, that there is a poetry for bards proper, as well as a poetry for the world of readers.

Only the poets would save it. So much piety was never married to so much wit. Herbert identifies himself with Jewish genius, as Michael Angelo did when carving or painting prophets and patriarchs, not merely old men in robes and beards, but with the sanctity and the character of the Pentateuch and the prophecy conspicuous in them.

His wit and his piety are genuine, and are sure to make a lifelong friend of a good reader. Herrick is the lyric poet, ostentatiously choosing petty subjects, petty names for each piece, and disposing of his theme in a few lines, or in a couplet; is never dull, and is the master of miniature painting. The public sentiment of the reading world was long divided on the merits of Wordsworth.

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His early poems were written on a false theory of poetry; and the critics denounced them as childish. He persisted long to write after his own whim; and, though he arrived at unexpected power, his readers were never safe from a childish return upon himself and an unskilful putting-forward of it.

How different from the absolute concealment of Shakspeare in all his miraculous dramas, and even in his love-poems, in which, of course, the lover must be perpetually present, but always by thought, and never by his buttons or pitifulness! Montaigne is delightful in his egotism. Byron is always egotistic, but interesting thereby, through the taste and genius of his confession or his defiance. Wordsworth has the merit of just moral perception, but not that of deft poetic execution.

How would Milton curl his lip at such slipshod newspaper style! Pindar, Dante, Shakspeare, whilst they have the just and open soul, have also the eye to see the dimmest star, the serratures of every leaf, the test objects of the microscope, and then the tongue to utter the same things in words that engrave them on the ears of all mankind. The poet demands all gifts, and not one or two only.

Like the electric rod, he must reach from a point nearer to the sky than all surrounding objects, down to the earth, and into the wet soil, or neither is of use.

A Moment In Time: A Poetic Anthology of Love, Tragedy, Encouragement, and Awareness

The poet must not only converse with pure thought, but he must demonstrate it almost to the senses. His words must be pictures: his verses must be spheres and cubes, to be seen and handled. His fable must be a good story, and its meaning must hold as pure truth. In the debates on the Copyright Bill, in the English parliament, Mr. Whilst they have wisdom to the wise, he would see that to the external they have external meaning.


But his capital merit is, that he has done more for the sanity of his generation than any other writer. Wordsworth has a religious value for his thoughts; but his inspirations are casual and insufficient, and he persists in writing after they are gone. No great poet needs so much a severely critical selection of the noble numbers from the puerile into which he often falls.

He has not sweetness, nor solid knowledge, nor lofty aim.