By H. T. Kirby-Smith
"All paintings always aspires towards the of music," wrote Walter Pater. The Celestial Twins, whereas spotting many affinities among tune and poetry, argues that poetry in Western tradition has again and again separated itself from song contexts and that the simplest poetry is a only verbal art.
H. T. Kirby-Smith makes his case with wit and erudition, continuing chronologically and mentioning various examples of particular poems―from Latin, previous French, Italian, Anglo-Saxon, glossy French, and English. He issues out that historic Greek poetry, together with the epics, used to be a part of a musical context. in contrast, virtually no surviving Latin poetry used to be written for musical functionality, however the meters of Latin poetry have been borrowed from Greek musical meters. equally, of their personal methods, Thomas Hardy, T. S. Eliot, and Langston Hughes all wrote out of musical contexts: Hardy from west-of-England songs and dances; Eliot from Wagnerian opera and overdue Beethoven chamber song; and Hughes from blues, jazz, and spirituals.
Although poets from Horace to Shakespeare to Dickinson have instinctively well-known the separation of song and poetry, there have additionally been well-meaning makes an attempt to carry those allied arts again into shut organization with one another. yet in Kirby-Smith's view, poetry of the top order has consistently maintained a deferential distance from track, even whereas protecting a few reminiscence of musical rhythms and association.
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