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. 1857 Excerpt: ...the effort, he relates, to translate into language the emotions and passions which music appeared to him to express, that first led to his writing any poetry worthy of the name. 'Dryden, ' he adds, 'has happily described music as being " inarticulate poetry;" and I have always felt, in adapting words to an expressive ...
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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. 1857 Excerpt: ...the effort, he relates, to translate into language the emotions and passions which music appeared to him to express, that first led to his writing any poetry worthy of the name. 'Dryden, ' he adds, 'has happily described music as being " inarticulate poetry;" and I have always felt, in adapting words to an expressive air, that I was bestowing upon it the gift of articulation, and thus enabling it to speak to others all that was conveyed, in its wordless eloquence, to myself.' Part of the inspiration must also be attributed to national feelings. The old airs were con-J secrated to recollections of the ancient glories, the valour, beauty, or sufferings of Ireland, and became inseparably connected with such associations. Of the Irish Melodies, in connection with Mr Moore's songs, nine parts have been published in succession: they are understood to have been materially useful to the poet's fortunes. Without detracting from the merits of the rest, it appears to us very forcibly, that the particular ditties in which he delicately hints at the woes of his native country, and transmutes into verse the breathings of its unfortunate patriots, are the most real in feeling, and therefore the best. This particularly applies to 'When he who adores thee, ' Oh, blame not the bard, ' and ' Oh, breathe not his According to the common reading, ' Quodcunque fnfundip, acescit.' name;' the first of which, referring evidently to the 'fate of Mr Emmett, is as follows: --When he who adores thee has left but the name Of his fault and his sorrow behind, Oh, say, wilt thou weep when they darken the fame Of a life that for thee was resigned? Yes, weep! and, however my foes may condemn, Thy tears shall efface the decree; For Heaven can witness, though guilty to them, I have been b...
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Seller's Description:
Very Good. No Jacket. Ex-Library. 4to-over 9¾"-12" tall. New edition, enlarged, improved, and illustrated. 4to. Blindstamped cloth. 2 volumes. An impressive set with attractive illustrations. Covers the work of British novelists, poets, and essayists, and includes critical interpretations, excerpts, biographical sketches, etc. Exlibrary markings include white call number on spine, 1868 bookplate of the Sturgis Library, and several fading stamps. Moderate shelfwear, and chipping to head of spine of volume 1. Very good.