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Updated: June 22, 2025
When Wordsworth wrote these dicta, he followed them up with some explicit reservations, and made many more implicit ones. Mr. Masefield, in the true manner of the twentieth century, makes none at all. Taking the language of Wordsworth exactly as it stands in the passage quoted above, it applies with precision to the method employed by Mr.
Wordsworth wrote of Michael and the Westmoreland peasantry, but Masefield and Gibson have taken as subjects of verse the toilers of factory, foundry, and forecastle. Closeness to life and simplicity of narration characterize these authors. They approximate the subject matter and technique of realistic fiction. Alfred Noyes. Alfred Noyes was born in 1880 in Wolverhampton Staffordshire.
Needless to say, Mr. Masefield in most respects stands at the opposite pole of temperament from Mr. Kipling.
It may be said of Mr. Shaw that in his politics, as in his plays, he has sought Utopia along the path of disillusion as other men have sought it along the path of idealism and romance. Mr. Masefield, as a poet, has the secret of popularity. Has he also the secret of poetry?
The mastery of the artist is shown in the skill with which he avoids the quagmire of sentimentality. We can easily imagine what form this story would take under the treatment of many popular writers. But although constantly approaching the verge, Mr. Masefield never falls in.
Masefield in the poems that have given him widest recognition. And in carrying this theory of poetry to its farthest extreme in The Everlasting Mercy, not only did its author break with tradition, the tradition of nineteenth-century poetry, as Wordsworth broke with that of the eighteenth, he succeeded in shocking some of his contemporaries, who refused to grant him a place among English poets.
He bought a copy of Chaucer's poems, stayed up till dawn reading it, and for the first time was sure of his future occupation. John Masefield is the real man-of-war-bird imagined by Walt Whitman. He is the bird self-conscious, the wild bird plus the soul of the poet.
The opening pages of The English Review were devoted to poems which seemed to be appreciated in proportion to their ever-increasing length. Mr. John Masefield had a success such as had been attained by no poet since Stephen Phillips in his prime. It is true that Mr. W.H. Davies might have starved if he had not received a Government pension; that Mr.
The review in The Academy was ecstatic. In 1914 he went to live at Ledbury, where John Masefield was born, and where in the neighbourhood dwelt W.W. Gibson. His second volume, North of Boston, was published at London in 1914. Miss Lowell quotes a sentence, full of insight, from the review in the Times. "Poetry burns up out of it, as when a faint wind breathes upon smouldering embers."
"A gospel truth," the Cook said, "true as hell!" Here, obviously, the very letter of realism is intended. Here, too, it may be added, we have as well-meaning an array of oaths as was ever set out in literature. When Mr. Kipling repeats a soldier's oath, he seems to do so with a chuckle of appreciation. When Mr. Masefield puts down the oaths of sailors, he does so rather as a melancholy duty.
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