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English Literature: Modern - Home University Library of Modern Knowledge by G. H. Mair
page 27 of 218 (12%)
The imitation of Italian and French forms which Wyatt and Surrey began,
was continued by a host of younger amateurs of poetry. Laborious
research has indeed found a Continental original for almost every great
poem of the time, and for very many forgotten ones as well. It is easy
for the student engaged in this kind of literary exploration to
exaggerate the importance of what he finds, and of late years criticism,
written mainly by these explorers, has tended to assume that since it
can be found that Sidney, and Daniel, and Watson, and all the other
writers of mythological poetry and sonnet sequences took their ideas and
their phrases from foreign poetry, their work is therefore to be classed
merely as imitative literary exercise, that it is frigid, that it
contains or conveys no real feeling, and that except in the secondary
and derived sense, it is not really lyrical at all. Petrarch, they will
tell you, may have felt deeply and sincerely about Laura, but when
Sidney uses Petrarch's imagery and even translates his words in order to
express his feelings for Stella, he is only a plagiarist and not a
lover, and the passion for Lady Rich which is supposed to have inspired
his sonnets, nothing more than a not too seriously intended trick to add
the excitement of a transcript of real emotion to what was really an
academic exercise. If that were indeed so, then Elizabethan poetry is a
very much lesser and meaner thing than later ages have thought it. But
is it so? Let us look into the matter a little more closely. The unit of
all ordinary kinds of writing is the word, and one is not commonly
quarrelled with for using words that have belonged to other people. But
the unit of the lyric, like the unit of spoken conversation, is not the
word but the phrase. Now in daily human intercourse the use, which is
universal and habitual, of set forms and phrases of talk is not commonly
supposed to detract from, or destroy sincerity. In the crises indeed of
emotion it must be most people's experience that the natural speech that
rises unbidden and easiest to the lips is something quite familiar and
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