The Advance of English Poetry in the Twentieth CenturyPhelps, William Lyon
History
The Advance of English Poetry in the Twentieth Century
Phelps, William Lyon
American poetry -- 20th century -- History and criticism; English poetry -- 20th century -- History and criticism
The quality of high seriousness, so dear to Matthew Arnold, was
characteristic of everything that Mr. Moody gave to the public. At his
best, there is a noble dignity, a pure serenity in his work, which
make for immortality. This dignity is never assumed; it is not worn
like an academic robe; it is an integral part of the poetry. _An Ode
in Time of Hesitation_ has already become a classic, both for its
depth of moral feeling and for its sculptured style. Like so many
other poets, Mr. Moody was an artist with pencil and brush as well as
with the pen; his study of form shows in his language.
George Santayana was born at Madrid, on the sixteenth of December,
1863. His father was a Spaniard, and his mother an American. He was
graduated from Harvard in 1886, and later became Professor of
Philosophy, which position he resigned in 1912, because academic life
had grown less and less congenial, although his resignation was a
matter of sincere regret on the part of both his colleagues and his
pupils. Latterly he has lived in France.
He is a professional philosopher but primarily a man of letters. His
philosophy is interesting chiefly because the books that contain it
are exquisitely written. He is an artist in prose and verse, and it
seems unfortunate that his professorial activity--as in the case of A.
E. Housman--choked his Muse. For art has this eternal advantage over
learning. Nobody knows whether or not philosophical truth is really
true; but Beauty is really beautiful.
In 1894 Mr. Santayana produced--in a tiny volume limited to four
hundred and fifty copies on small paper--_Sonnets and Other
Poems;_ and in 1899 a less important book, _Lucifer: a
Theological Tragedy._ No living American has written finer sonnets
than our philosopher. In sincerity of feeling, in living language, and
in melody they reach distinction.
A wall, a wall around my garden rear,
And hedge me in from the disconsolate hills;
Give me but one of all the mountain rills,
Enough of ocean in its voice I hear.
Come no profane insatiate mortal near
With the contagion of his passionate ills;
The smoke of battle all the valley fills,
Let the eternal sunlight greet me here.
This spot is sacred to the deeper soul
And to the piety that mocks no more.
In nature's inmost heart is no uproar,
None in this shrine; in peace the heavens roll,
In peace the slow tides pulse from shore to shore,
And ancient quiet broods from pole to pole.
Public-domain text, read in full here on John Shaqi.
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