THE COLLECTED EDITION OF THE POETICAL WORKS OF A. C. SWINBURNE | |
In 6 Vols. Cr. 8vo. 45s. net. | |
I. | POEMS AND BALLADS (1st series) |
II. | SONGS BEFORE SUNRISE and SONGS OF TWO NATIONS |
III. | POEMS AND BALLADS (2nd and 3rd series), and SONGS OF THE SPRINGTIDES |
IV. | TRISTRAM OF LYONESSE, THE TALE OF BALEN, ATALANTA IN CALYDON, ERECHTHEUS |
V. | STUDIES IN SONG, A CENTURY OF ROUNDELS, SONNETS ON ENGLISH DRAMATIC POETS, THE HEPTALOGIA, etc. |
VI. | A MIDSUMMER HOLIDAY, ASTROPHEL, A CHANNEL PASSAGE, and other Poems |
LONDON WILLIAM HEINEMANN, BEDFORD ST. |
OCTOBER
AND OTHER POEMS
THE GOLDEN PINE EDITION OF SWINBURNE’S WORKS | |
Each Volume Cr. 8vo. Cloth 4s. net; Leather 6s. net. | |
I. | POEMS AND BALLADS (1st series) |
II. | POEMS AND BALLADS (2nd and 3rd series) |
III. | SONGS BEFORE SUNRISE (Including Songs of Italy) |
IV. | ATALANTA IN CALYDON AND ERECHTHEUS |
V. | TRISTRAM OF LYONESSE |
VI. | A STUDY OF SHAKESPEARE |
LONDON WILLIAM HEINEMANN, BEDFORD ST. |
BY
ROBERT BRIDGES
POET LAUREATE
TO
GENERAL THE RIGHT HONOURABLE
JAN CHRISTIAAN SMUTS
Prime Minister of the Union
of South Africa
SOLDIER, STATESMAN, & SEER
WITH THE AUTHOR’S
HOMAGE
This miscellaneous volume is composed of three sections. The first twelve poems were written in 1913, and printed privately by Mr. Hornby in 1914.
The last of these poems proved to be a “war poem,” and on that follow eighteen pieces which were called forth on occasion during the War, the last being a broadsheet on the surrender of the German ships. All of these verses appeared in some journal or serial. There were a few others, but they are not included in this collection, either because they are lost, or because they show decidedly inferior claims to salvage.
The last six poems or sonnets are of various dates.
R. B.
August, 1914.
Poem 3.—As the metre or scansion of this poem was publicly discussed and wrongly analysed by some who admired its effects, it may be well to explain that it and the three other poems in similar measure, “Flowering Tree,” “In der Fremde,” “The West Front,” are strictly syllabic verse on the model left by Milton in “Samson Agonistes”; except that his system, which depended on exclusion of extra-metrical syllables (that is, syllables which did not admit of resolution by “elision” into a disyllabic scheme) from all places but the last, still admitted them in that place, thereby forbidding inversion of the last foot. It is natural to conclude that, had he pursued his inventions, his next step would have been to get rid of this anomaly; and if that is done, the result is the new rhythms that these poems exhibit. In this sort of prosody rhyme is admitted, like alliteration, as an ornament at will; it is not needed. My four experiments are confined to the twelve-syllable verse. It is probably agreed that there are possibilities in that long six-foot line which English poetry has not fully explored.
Poem 12, “Hell and Hate.”—This poem was written December 16, 1913. It is the description of a little picture hanging in my bedroom; it had been painted for me{64} as a New Year’s gift more than thirty years before, and I described it partly because I never exactly knew what it meant. When the war broke out I remembered my poem and sent it to The Times, where it appeared in the Literary Supplement September 24, 1914.
Poem 13, “Wake up, England!”—This motto is the King’s well-known call to the country in 1901 at the Guildhall.
The verses appeared in The Times on August 8, 1914. There were three other stanzas, which are better omitted; and the last two lines, which were printed in capitals and ran thus,
were purposely set out of metre. In the second stanza the words “The fiend” are what I originally wrote, and I think that the friends who persuaded me to substitute “Thy foe” will no longer wish to protest.
BILLING AND SONS, LTD., PRINTERS, GUILDFORD, ENGLAND