INTRODUCTION
are among the rarest of poetic treasures. The thought of Milton and of Marvell only adds an old world charm to the most modern of the works of the Muses. What lightness of touch, what ease of movement, what brilliancy of hue! What vivacity throughout! Even in "Retrospect," what actuality!
And the third success is what I should call the "mélange." That is, the method of indiscrimination by which he gathers up experience, and pours it out again in language, with full disregard of its relative values. His good taste saves him from what in another would be shipwreck, but this indifference to values, this apparent lack of selection in material, while at times it gives a huddled flow, more than anything else "modernizes" the verse.
It yields, too, an effect of abundant vitality, and it makes facile the change from grave to gay and the like. The "mélange," as I call it, is rather an innovation in English verse, and to be found only rarely. It exists, however; and especially it was dear to Keats in his youth. It is by excellent taste, and by style, that the poet here overcomes its early difficulties.
In these three formal ways, besides in minor matters, it appears to me that Rupert Brooke, judged by the most orthodox standards, had succeeded in poetry.
III
But in his first notes, if I may indulge my private taste, I find more of the intoxication of the god. These early poems are the lyrical cries and luminous flares of a dawn, no doubt; but they are incarnate of youth. Capital among them is "Blue Evening." It is original and
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