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Updated: May 28, 2025
The eclogue in which he followed Theocritus most closely, the eighth, is equally, perhaps, the most pleasing of the series. It combines the motives of the love-lament and incantation, and the closeness with which it follows while playing variations on its models is striking. One instance will suffice. Take the passage in the second Idyl thus rendered by Symonds:
Moving on slowly further toward the altar, he was suddenly seized by an overpowering impression, a memory that rushed upon him with a sort of shock, albeit it was only the memory of a tune! a wild melody, haunting and passionate, rang in his eras, the melody that Sarasate, the Orpheus of Spain, had evoked from the heart of his speaking violin, the sobbing love-lament of the "Zigeunerweisen" the weird minor-music that had so forcibly suggested What?
The pervading characteristic of the mass was the means of forcing into notice, by strangeness of contrast, the single mournful poem that the book contained. It was placed at the very end, and under the title of 'Cancelled Words, formed a whimsical and rather affecting love-lament, somewhat in the tone of many of Sir Thomas Wyatt's poems.
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