WHILE still in my perambulator about the year 1899, In caution, and out of deference to my reader’s sensibilities I will only quote a single example. Before reading a line of Swinburne I had been frequently told that he was “absolutely wonderful,” I would be quite carried away by him. They all said that the opening chorus, for instance, of Atalanta in Calydon was the most melodious verse in the English language. I read: When the hounds of Spring are on Winter’s traces, The Mother of months in meadow and plain, ... and I was not carried away as far as I expected. For a time I persuaded myself that it was my own fault, that I was a Philistine and had no ear—but one day pride reasserted itself and I began asking myself whether in the lines quoted above, the two “in’s” of Spring and Winter and the two “mo’s” of Mother and Months did not come too close together for euphony, and who exactly was the heroine of the second line, and whether the heavy alliteration in m was not too obvious a device, and whether months was not rather a stumbling-block in galloping verse of this kind, and would it not have been better.... Thereupon faith in the “great tradition” and in “Authority” waned. Still, I would be hard-hearted and stiff-necked |