work of literature. Is altogether beyond Chaucers reach; we praise him, but we feel that this accent is out of the question for him. Or in a better strain yet, a strain, his admirers will say, unsurpassable To make a happy fireside clime To weans and wife, Thats the true pathos and sublime Of human life. For my present purpose I need not dwell on our Elizabethan poetry, or on the continuation and close of this poetry in Milton. Thneta; hymeis d eston agero t athanato. Bounded as is my space, I must yet find room for an example of Chaucers virtue, as I have given examples to show the virtue of the great classics. Ah, unhappy pair, why gave we you to King Peleus, to a mortal? The words of Achilles to Priam, a suppliant before him. Of his style and manner, if we think first of the romance-poetry and then of Chaucers divine liquidness of diction, his divine fluidity of movement, it is difficult to speak temperately. One thinks of Homer; this is the sort of praise which is given to Homer, and justly given. And yet, if we are to gain the full benefit from poetry, we must have the real estimate.
I answer: It has not and cannot have them; it is the poetry of the builders of an age of prose and reason. When you have read and learned many things, you should always return to the one principle. He knew also that he lacked many of the qualities possessed by Tennyson and Browning that made them so widely popular; he did not have Brownings intellectual vigor or Tennysons musical skill.
He was the son of Thomas Arnold, the famed headmaster of Rugby School, and brother to both Tom Arnold, literary professor, and William Delafield Arnold, novelist and colonial administrator. Sometimes Burnss poetic genius is unmatched by anyone. Of the two divisions of that poetry, its productions in the langue doil and its productions in the langue doc, the poetry of the langue doc, of southern France, of the troubadours, is of importance because of its effect on Italian literature;the first literature. And to achieve this the poet must aim at high and excellent seriousness in all that he writes. In his essay on Shelley particularly, he displayed a lamentable lack of disinterestedness. His classicism: He did not like the spasmodic expression of Romanticism. I have been at Duncan Gray to dress it in English, but all I can do is desperately stupid. He ought to enjoy the true classic all the better for his investigations; he often is distracted from the enjoyment of the best, and with the less good he overbusies himself, and is prone to over-rate it in proportion to the trouble which it has. It was dependent upon his talent. In 1858 he wrote to his sister, complaining that the lack of public appreciation of his work deprived him of the stimulus needed for creative effort. Only by means of the historic estimate can we persuade ourselves not to think that any of it is of poetical importance. Once more I return to the early poetry of France, with which our own poetry, in its origins, is indissolubly connected.
Study of poetry essay by arnold