Excerpt from Poems and Translations I have often thought that at the side of the poetic diction, which everyone condemns, modern verse contains a great deal of poetic material, using poetic in the same special sense. The poetry of exaltation Will be always the highest; but when men lose their poetic feeling for ordinary life, and cannot write poetry of ordinary things, their exalted poetry is likely to lose its strength of exaltation, in the way men cease to build beautiful, churches when they have iost happiness in building shops. Many of the Older poets, such as Villon and Herrick and Burns, used the whole of their personal life as their material, and the verse written in this way was read by strong men, and thieves, and deacons, not by little cliques only. Then, in the town writing of the eighteenth century, ordinary life was put into verse that was not poetry, and when poetry came back with Coleridge and Shelley, it went into verse that was not always human. In these days poetry is usually a flower of evil or good; but it is the timber of poetry that wears most surely, and there is no timber that has not strong roots among the clay and worms. Even if we grant that exalted poetry can be kept successful by itself, the strong things of life are needed in poetry also, to Show that what is exalted or tender is not made by feeble blood. It may almost be said that before verse can be human again it must learn to be brutal. The poems which follow were written at different times during the last sixteen or seventeen years, most of them before the Views just stated, with which they have little to do, had come into my head. The translations are sometimes free, and sometimes almost literal, according as seemed most fitting with the form of language I have used. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.