  "The influence of the poetry of the past lasted; new elements were added to poetry, and new forms of it took shape. The study of the Greek and Latin classics revived, and with it a more artistic poetry. Not only correct form, for which Pope sought, but beautiful form was sought after. Men like Thomas Gray and William Collins strove to pour into their work that simplicity of beauty which the Greek poets and Italians like Petrarca had reached as the last result of genius restrained by art.... Two things had been learned. First, that artistic rules were necessary, and, secondly, that natural feeling was necessary in order that poetry should have a style fitted to express nobly the emotions and thoughts of man. The way was therefore now made ready for a style in which the Art should itself be Nature, and it sprang at once into being in the work of the poets of this time. The style of Gray is polished to the finest point, and yet it is instinct with natural feeling. Goldsmith is natural even to simplicity, and yet his verse is even more accurate than Pope's. Cowper's style, in such poems as the 'Lines to my Mother's Picture,' arises out of the simplest pathos, and yet it is as pure in expression as Greek poetry."—Stopford Brooke. "At last there started up an unfortunate Scotch peasant (Burns), rebelling against the world, and in love, with the yearnings, lusts, greatness, and irrationality of modern genius. Now and then behind his plough, he lighted on genuine verses, verses such as Heine and Alfred de Musset have written in our own days. In those few words, combined after a new fashion, there was a revolution."—Taine. Poets of the Eighteenth Century.Alexander Pope (1688-1744). See biographical note, page 155. Thomas Parnell (1679-1718). "The Hermit"; short poems. Edward Young (1684-1765), "Night Thoughts"; "The Last Day"; "Resignation." Allan Ramsay (1686-1758). "The Gentle Shepherd": "Scots Songs"; "Fables and Tales." John Gay (1688-1732). "The Beggar's Opera"; "The Shepherd's Week"; "Trivia"; "Rural Sports"; fables, and other short poems. Matthew Green (1696-1737). "The Grotto"; "The Spleen." John Dyer (1698-1758). "Grongar Hill"; "The Fleece." Robert Blair (1699-1746). "The Grave." James Thomson (1700-1748). "The Seasons"; "The Castle of Indolence." Samuel Johnson (1709-1784), "The Vanity of Human Wishes"; "London." Richard Glover (1712-1785). "Leonidas"; "Admiral Hosier's Ghost"; "The Athenaid." William Shenstone (1714-1763). "The Schoolmistress"; "Pastoral Ballads." Thomas Gray (1716-1771). See biographical note, page 139. William Collins (1721-1759). Odes and other short poems. Mark Akenside (1721-1770). "The Pleasures of the Imagination." Oliver Goldsmith (1728-1774). See biographical note, page 128. Thomas Warton (1728-1790). "The Pleasures of Melancholy"; "The Triumph of Isis"; short poems. William Cowper (1731-1800). See biographical note, page 122. Charles Churchill (1731-1764). "The Prophecy of Famine"; "The Rosciad." James Beattie (1735-1803). "The Minstrel." Robert Fergusson (1750-1774). Short Scottish poems. Thomas Chatterton (1752-1770). "Poems of Thomas Rowlie"; short poems. George Crabbe (1754-1832). "Tales of the Hall"; "The Village"; "The Parish Register"; "Tales in Verse." William Blake (1757-1827). "Songs of Innocence"; "Songs of Experience"; "Poetical Sketches." Robert Burns (1759-1796). See biographical note, page 111. |
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