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poem is much its inferior in the most essential qualities of beauty and
inspiration. R. C. Trevelyan in "The Independent Review."

IV. In the beginning his verse strikes one as abnormally harsh and awk-
ward, like Donne's, redundant with consonants. Yet as the ear becomes
accustomed to his curious movement this impression wholly wears away,
and we become aware of a strongly marked beat that falls as insistently
upon the ear as the march of the staves in "Beowulf." This alone gives
Mr Moore's work a masculine distinction in our day of suave cadences ;
yet the colour of the imagination that furnishes the content of the verses is
even more remarkable. . . . This startling subtlety of thought and image
runs through all three of Mr Moore's books ; it often gleams into a flash of
natural humour, and at the end it seems to have put before us something
very like an original view of modern life. " The Nation."

V. ON "THE GAZELLES"

[In the volume of Poems, 1906, and also issued separately]

Now here is the opening of a rather long poem. And it is essentially the
right opening the wording not too close, the frame of the picture, the land-
scape, put in with simple words, the phrasing not intricate, the rhythm
running easily. And, at the right moment, the heroes the gazelles appear.
It reminds me, in fact, of the opening of the best of Maupassant's long
contes "The Field of Olives." And in all these respects the poem
maintains its level to the end. Ford Madox Hueffer in " The Academy."

VI. ON "PAN'S PROPHECY"

[In the volume of Poems, 1906, and also issued separately]

The paradise which Mr Moore creates for the home of his thoughts in
' Pan's Prophecy " reminds one of the world painted in Piero di Cosimo's
death of Procris. It has the same quaint and intense detail. It conveys
the same sense of the stories of one age relished and retold by the very
different mind of another age far remote from it ; and it is filled with the
same fantastically real tenderness. Mr Moore's figures, like Piero di
Cosimo's, are accordant with his landscapes. They talk in a freakish and
delicate language of their own far removed from real speech. . . . Yet they
talk about realities and say things worth saying about life. ... His ideas



are not manufactured to serve as a pretext for his descriptions. Rather
they give life to what he describes, and their primitive simplicity seems to
be new born with the strange world in which he sets them, as all truisms
are new born into truths by the shock of real experience. Glutton Brock in
" The Speaker/'

VII. ON "THESEUS" AND "MEDEA"

[In the volume of Poems, 1906, and also issued separately]

His figures are drawn as clearly as if no one had ever heard of them before ;
and, indeed, they come so strangely from his brain that they are truly new.
Tennyson relies continually upon Homer and Virgil in his " Ulysses," and
had we never read of the Ithacan before, he would be but a ghost, a type,
an allegory. Nothing could be more different than Mr Sturge Moore's
method. We will illustrate it first by a quotation from his "Theseus"
which incidentally shows his unique picturesqueness, a picturesqueness
which is far clearer and more effective than Rossetti's, of which some may
be reminded." Daily Chronicle."

VIII. ON AN ODE

[See Poems, 1906, and the volume "To Leda, and other Odes," published
separately]

For Dark Days" is a beautiful poem, one of the most beautiful, in its
total movement, that Mr Moore has written, and at the same time more
personally passionate than he is wont to be. It is a cry from the heart
inspired by the head ; and it suggests that possibly he will find his way
to a perfect expression of himself just by the completer emotional realization
of his thoughts. There is no fear that he will scold or pose ; he is at once
too choice and too strong ; but in this ode, which rises from sadness to
defiance, and ends in comfortable words of strength, we seem to catch the
fusing passion that hides the process and removes all trace of the effort.
"The Times Literary Supplement."

IX. ON "THE CENTAUR'S BOOTY"

[In the volume of Poems, 1906, and also issued separately]

Mr Moore's best work is drenched in beauty he can take these old themes
and stories, and tell them over again, in a manner that is full of the great
tradition and carries its echoes of the past, recalling the Greek way of
telling them, and the romantic way too ; yet which is no mere copy of either,
but his own manner, and one that has the right touch of our day about it.
Sometimes he reminds one of such work as that wonderful drawing of
Edward Calvert's, "Arcadian Shepherds moving their Flocks by Night,"
sometimes of Mr C. H. Shannon's beautiful lithographs ; but while as
intensely Greek and intensely romantic as either Calvert or Mr Shannon,
he is more modern than either in the handling of these ancient things.
" The Times Literary Supplement."



X. POEMS, 1906

This is a poet who has put into his art that " fundamental brainwork " of
which Rossetti spoke. His pictures are beautiful and new, but there is
more in them than the impression, caught and perpetuated, of that
which has met, or might have met, the eye. There is " that which must
have been," the full logical content of the subject, not half divided by the
flashlight of inspired ignorance, but patiently and joyfully tracked in the
daylight of reason under a golden sun. We shall not wake to-morrow
feeling that we have been perhaps a little morbid overnight ; we shall take
this insight and this humour with us all day and be the stronger for it. The
thought itself will wear ; it is neither new nor old ; it was not new in the
days of Nimrod, it is not out of date in the generation of Nietzsche.
Henry Newbolt in the " Monthly Review."

XI. ON "MARIAMNE"

He takes nothing for granted, and never for a moment leans upon convention
or tradition. The result is that his play is complete in itself, all " carved out
of the carver's brain," and to understand and admire it no historic knowledge
is necessary. ... It is a study of psychology richly coloured by a study of
manners and costume, and this second element, though always subsidiary
and relevant, is itself good enough to make a good book if not a good play.
That it is a good play we have little doubt, though it is meant for the stage,
which alone can fully approve it. ... The trial scene is a piece of painting
and character study which would save a poor play, but does not stand out
unduly in the admirable whole. Mr Moore's great triumph is to appeal
directly at every point of the play to the eye and the mind together.
Edward Thomas in " The Bookman."

POEMS. By T. Sturge Moore. Square 8vo. is. net a volume.

The Centaur's Booty.

The Rout of the Amazons.

The Gazelles, and Other Poems.

Pan's Prophecy.

To Leda, and Other Odes.

Theseus, and Other Odes.

Or in one volume, bound in art linen. 6s. net.

MARIAMNE. A Conflict. Stiff boards with woodcut design. 2s.net.
A SICILIAN IDYLL and JUDITH. Cloth. Demy 8vo. 2s. net.
ALBERT DiiRER. With four copper-plates and fifty engravings. 5s.net.
CORREGGIO. With fifty-five Illustrations. 55. net.



DUCKWORTH & CO., PUBLISHERS
3 HENRIETTA STREET, COVENT GARDEN, LONDON




000 692 506 9



CENTRAL UNIVERSITY LIBRARY
University of California, San Diego

DATE DUE



NOV 9 9 1972




HOY 3 RECTJ








































































C139


UCSD Libr.





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Online LibraryT. Sturge (Thomas Sturge) MooreA Sicilian idyll and Judith. A conflict → online text (page 4 of 4)