A history of criticism and literary taste in Europe, from the earliest texts to the present day. Volume 3 (of 3), Modern criticismSaintsbury, George
History
A history of criticism and literary taste in Europe, from the earliest texts to the present day. Volume 3 (of 3), Modern criticism
Saintsbury, George
Criticism -- History; Literature -- History and criticism; Literature, Medieval
And to this we have to add certain facts which, if not critical
utterances, speak as few such utterances have done—the novelty of Gray’s
original English poetry, and his selection of Welsh and Scandinavian
originals for translation and imitation. These things were themselves
unspoken criticism of the most important kind on the literary habits and
tastes of his country, and of Europe at large. The, to us, almost
unintelligible puzzlement of his contemporaries—the “hard as Greek” of
the excellent Garrick, and the bewilderment of the three lords at York
races, establish[109] the first point; as for the second, it establishes
itself. To these outlying languages and literatures nobody had paid any
attention whatever previously;[110] they were now not merely admitted to
literary attention, but actually allowed and invited to exercise the
most momentous influence on the costume, the manners, the standards of
those literatures which had previously alone enjoyed the citizenship of
Parnassus.
Small, therefore, as is the extent of deliberate critical work which
Gray has left us, we may perceive in it nearly all the notes of
reformed, revived, we might almost say reborn, criticism. The two
dominants of these have been already dwelt upon—to wit, the constant
appeal to history, and the readiness to take new matter, whether
actually new in time, or new in the sense of having been hitherto
neglected, on its own merits; not indeed with any neglect of the
ancients—for Gray was saturated with “classical” poetry in every
possible sense of the word, with Homer and Virgil, as with Dante and
Milton and Dryden—but purely from the acknowledgment at last of the
plain and obvious truth, “other times, other ways.” As a deduction from
these two we note, as hardly anywhere earlier, a willingness to take
literature as it is, and not to prescribe to it what it should be—in
short, a mixture of catholicity with tolerance, which simply does not
exist anywhere before. Lastly, we may note a special and very particular
attention to prosody. This is a matter of so much importance that we
must[111] ourselves bestow presently some special attention upon it, and
may advantageously note some other exercitations of the kind at the time
or shortly afterwards.
[Sidenote: _Shenstone._]
Public-domain text, read in full here on John Shaqi.
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