The poetry journal (Volume 5)

9781154130737: The poetry journal (Volume 5)
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This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated.1916 Excerpt: ... All good poetry has the quality of universality. We therefore find the Swedish lyric dealing with all the great human emotions; with religion, with love, with the beauty of nature, and the rest of the gamut. If we sought to define the peculiarly national characteristics of the Swedish lyric, we might say that they were: first, a remarkable closeness to the earth, reminding one rather of primitive than of modern poetry; and secondly, on the other side, a sort of clairvoyance in the realm of the imagination. These two opposed faculties tend to give the remarkable contrast with which every reader will be struck. There is also a considerable classic tinge in some poets, and a strong injection of modern thought and philosophy in others. Kindliness and trenchant humor very frequently relieve the tension of too insistent seriousness. In form the Swede adheres to regular metres and stanzaic arrangements with infinite skill. In the long array of distinguished Swedish poets the most striking and probably the greatest figure is that of Gustaf Froding. He is at least the most powerful, the most popular, and the most finely imaginative. He unites the qualities already mentioned with remarkable breadth of appeal, intellectual vigor, and a compactness of style that makes every phrase significant. In his pictures of peasant life he reminds one most of Burns, some of whose songs he translated, but his ironic humor is more like that of Heine. The visionary gift appears in poems of almost Shelleyan ideal beauty, and his power of dramatic narrative has a virility which mkes the work of Kipling seem journalistic. Above all in every line we are impressed by his complete originality, his absolute truth to nature and his own emotions. Charles Wharton Stork From the Introduction to...

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