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He paradoxically found his voice in a volume of original poems called Dumb in June, which appeared in 1895. Since then he has published many books of verse and prose plays, stories, essays, and lyrics. I am glad that he reprinted in this volume the elegy on the death of Arthur Upson, written in 1910; there is not a false note in it.
Matilda is one of the best of Scott's verse-heroines, except Constance that is to say, the best of his good girls and she has the interest of being avowedly modelled on 'Green Mantle. Nor in any of the poems do the lyrics give more satisfactory setting-off to the main text. Indeed, it may be questioned whether any contains such a garland as to mention only the best is formed by
The experiment was made by Walt Whitman, and in a few of his finest lyrics, such as Out of the Cradle endlessly rocking, one gets the perfection of structure and form.
Well, in order to aggravate my misdeeds, here is my reply to them: "Yes, I do occasionally compose verses which are far from being couched in a serious vein. I don't deny it. I also listen to comedies, and attend the performances of mimes. I read lyrics, and I understand the poems of Sotades.
Consider for a moment as not wholly unworthy of attention his mere versatility as a man of letters. He created both satirical and romantic types, he wrote two fine-spirited lyrics, and launched the best Review and most popular magazine of his day.
Heine is too impressible and mercurial for any sustained production; even in his short lyrics his tears sometimes pass into laughter and his laughter into tears; and his longer poems, “Atta Troll” and “Deutschland,” are full of Ariosto-like transitions.
In the spell of the wonderful rhythm of the finite he fetters himself at every step, and thus gives his love out in music in his most perfect lyrics of beauty. Beauty is his wooing of our heart; it can have no other purpose.
For it shows in brief the change which came over Tragedy under Euripides' guidance. It is exciting, it seizes the tragic moment, the one important night, it has some lovely lyrics, the characters are realistic, the gods descend to untie the knot of the play or to explain the mysterious, some detail is unrelated to the main plot Paris exercises no influence on the real action it is pathetic.
In the transition from one of these lyrics to the other, we have a vital change in the conception of the functions of the poet; a change of which Burns was in many ways the beginning, of which Browning, in a manner that we shall see presently, was the culmination. Goldsmith writes fully and accurately in the tradition of the old historic idea of what a poet was.
The truth, energy, and earnestness of his 'Psalm of Life' and 'Goblet of Life, have urged many forward in the fight, to whom the ponderous sublimity of Milton is a dead language, and the metaphysical lyrics of Tennyson are unintelligible.
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