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MILTON & HIS POETRY

1.

POETRY & LIFE SERIES

General Editor :
WILLIAM HENRY HUDSON

Staff-Lecturer in Literature to the
University Extension Board of the

University of London
KEATS AND HIS POETRY

By William Henry Hudson 2. JOHNSON AND GOLDSMITH AND THEIR POETRY

By Thomas Seccombe 3. GRAY AND HIS POETRY

By William Henry Hudson 4. SHELLEY AND HIS POETRY

By E. W. Edmunds, M.A. 5. COLERIDGE AND HIS POETRY

By Kathleen E. Royds 6. MATTHEW ARNOLD AND HIS POETRY

By Francis Bickley 7. LOWELL AND HIS POETRY

By William Henry Hudson 8. BURNS AND HIS POETRY

By H. A. Kellow, M.A. 9. SPENSER AND HIS POETRY

By S. E. Winbolt, M.A. 10. MRS. BROWNING AND HER

POETRY By Kathleen E. Royds MILTON AND HIS POETRY

By William Henry Hudson SCOTT AND HIS POETRY

By A. E, Morgan Other Volumes in active preparation

II.

12.

HIS POETRY

BY

WILLIAM HENRY HUDSON
Staff-Lecturer in Literature to the University
Extension Board of the University of London
Author of “An Introduction to the Study of
Literature" etc. Editor of “The Elizabethan

Shakespeare" etc.

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GLANCE through the pages of this little book will suffice to disclose the general

plan of the series of which it forms a part. Only a few words of explanation, therefore, will be necessary.

The point of departure is the undeniable fact that with the vast majority of young students of literature a living interest in the work of any poet can best be aroused, and an intelligent appreciation of it secured, when it is immediately associated with the character and career of the poet himself. The cases are indeed few and far between in which much fresh light will not be thrown upon a poem by some knowledge of the personality of the writer, while it will often be found that the most direct-perhaps even the only--way to the heart of its meaning lies through a consideration of the circumstances in which it had its birth. The purely asthetic critic may possibly object that a poem should be regarded simply as a self-contained and detached piece of art, having no personal affiliations or bearings. Of the validity of this

. as an abstract principle nothing need now be said. The fact remains that, in the earlier stages of study at any rate, poetry is most valued and loved when it is made to seem most human and vital ; and the human and vital interest of poetry can be most surely brought home to the reader by the biographical method of interpretation.

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