Georgian Poetry 1911-1912 — Reading Companion

(0 User reviews)   1881
Marsh, Edward Howard, Sir, 1872-1953 [Editor] Project Gutenberg 2005 Not confirmed
English poetry -- 20th century Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 35,198
Reading time 154 min
Text sections 6

The catalog record for Georgian Poetry 1911-1912 — Reading Companion provides practical reading context through 35,198 words, 2 hr 34 min estimated reading time, and 6 detected text sections.

The text analysis averages about 25.8 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “English poetry -- 20th century,” connecting these edition facts with the source record’s subject description.

Editorial note on Edward Marsh's 1912 anthology, examining how its prefatory claim of a 'new strength and beauty' in English poetry aligns with the diverse verse included, from Dunsany's manifesto to Lawrence's sensual snapdragon poem.
Share
Editorial Edition Score 4.6/5

Calculated from edition completeness, EPUB availability, text structure and catalogue metadata. Not a user rating.

How this score is calculated
  • Description quality20 pts
  • Title & short description10 pts
  • Source metadata20 pts
  • Text length15 pts
  • Chapters / structure15 pts
  • EPUB file integrity20 pts

Total of 100 points, scaled to a 2.5-5.0 range. Editions with an empty description or a missing EPUB file are not scored.

Edition quality

Read the Text

There was a voice that fleered upon the king: 'This is the man who makes much of himself For filling the common eyes with palaces Gorgeously bragging out his royalty: Whereas he hath not one that seemeth not In work, in height, in posture on the ground, A hut, a peasant's dingy shed, to mine. And all his excellent woods, metals, and stones, The things he's filched out of the earth's old pockets And hoised up into walls and domes; the gold, Ebony, agate stairs, wainscots of jade, The windows of jargoon, and heavenly lofts Of marble, all the stuff he takes to be wealth, Reckons like savage mud and wattle against The matter of my building.'--And the king, Gloating upon the white sheen of that palace, And weeping like a girl ashamed, inquired 'What is that stone?' And the voice answered him, 'Soul.' 'But in my palaces too,' said he, 'There should be soul built: I have driven nations, What with quarrying, what with craning, down To death, and sure their souls stay in my work.' And 'Mud and wattle' sneered the voice again; But added, 'In the west there is a man, A slave, a carpenter, whose heart has been Apprenticed to the skill that built my reign, This beauty; and were he master of your gangs, He'ld build you a palace that would look like mine.'-- So now no ship may sail from India, Since the king's scornful dream, unless it bring A carpenter among its homeward lading: And carpenters are getting hard to find.

And have none made for the king his desire?

Many have tried, with roasting living men In queer huge kilns, and other sleights, to found A glass of human souls; and others seek With marvellous stone to please our desperate king. Always at last their own tormented bodies Delight the cruelty of the king's heart.

Well then, I hope you'll find your carpenter, And soon. I would not that we wait too long; I loathe a dallying journey.--I should suppose We'ld have good sailing at this season, now?

Why, you were looking, a few minutes gone, For rare wild storms: I hope we'll have them too; I want to see you work that talisman You boast about: I've a great love for spells.

Let it be storm or calm, so we be sailing. I long have wished to voyage into mid sea, To give my senses rest from wondering On this perplexed grammar of the land Written in men and women, the strange trees, Herbs, and those things so like to souls, the beasts. My wilful senses will keep perilously Employed with these my brain, and weary it Still to be asking. But on the high seas Such throng'd reality is left behind,-- Only vast air and water, and the hue That always seems like special news of God. Surely 'tis half way to eternity To go where only size and colour live; And I could purify my mind from all Worldly amazement by imagining Beyond my senses into God's great Heaven, If I were in mid sea. I have dreamed of this. Wondrous too, I think, to sail at night, While shoals of moonlight flickers dance beside, Like swimming glee of fishes scaled in gold, Curvetting in thwart bounds over the swell; The perceiving flesh, in bliss of such a beauty, Must sure feel fine as spiritual sight.-- Moods have been on me, too, when I would be Sailing recklessly through wild darkness, where Gigantic whispers of a harassed sea Fill the whole world of air, and I stand up To breast the danger of the loosen'd sky, And feel my immortality like music,-- Yea, I alone in the broken world, firm things All gone to monstrous flurry, knowing myself An indestructible word spoken by God.-- This is a small, small boat?

Captain: Small is nothing, A bucket will do, so it know how to ride Top upward: cleverness is the thing in boats. And I wish this were cleverer: she goes crank At times just when she should go sober. But what? Boats are but girls for whimsies: men Must let them have their freaks.

Thomas: Have you good skill In seamanship?

Captain: Well, I am not drowned yet, Though I'm a grey man and have been at sea Longer than you've been walking. My old sight Can tell Mizar from Alcor still.

Thomas: Ay, so; Doubtless you'll bring me safe to India. But being there--tell me now of the land: How use they strangers there?

Edward Marsh's 1912 anthology opens with a prefatory note asserting that English poetry is 'once again putting on a new strength and beauty,' a claim the volume itself must substantiate. The table of contents lists twenty poets, including Rupert Brooke, D. H. Lawrence, and Walter de la Mare, but the excerpts reveal a more uneven collection than Marsh's confident tone suggests. The opening prose by Lord Dunsany—a rhapsodic definition of the poet as one who 'sees at a glance the glory of the world'—sets an idealistic frame that the poems do not uniformly fulfill.

Marsh's Editorial Framing vs. Poetic Range

The prefatory note positions the anthology as a corrective to public inattention, claiming that 'few readers have the leisure or the zeal to investigate each volume as it appears.' Yet the selection itself is eclectic: alongside Dunsany's manifesto, we find Wilfrid Wilson Gibson's narrative poem 'Devil's Edge,' which recounts a fisherman's disappearance and a widow's grief in plain, ballad-like stanzas. The contrast between Marsh's lofty rhetoric and Gibson's stark tale of loss—'Young Philip Burn was lost, though how, / None knew'—suggests that the 'new strength' may lie in varied registers, not a single poetic program.

Recurring Motifs: The Sea, Loss, and the Supernatural

Several poems in the excerpts share a preoccupation with the sea as a site of mystery and death. In Gibson's 'Devil's Edge,' the sea takes a young husband; the widow wanders 'singing all the night / Unearthly songs beside the sea.' D. H. Lawrence's 'Snap-dragon' uses a garden setting, but its imagery of choking and drowning—'my throat in her power / Strangled'—echoes the same sense of peril. The anthology's catalog subject is 'English poetry,' but the excerpts lean heavily toward narrative verse with supernatural undertones, such as the widow's 'queer, wild eyes' and her transformation from grief to a 'tenderness' that is 'free of pain and fear.'

The Body and Desire in Lawrence's Contribution

Lawrence's 'Snap-dragon' stands out for its intense physicality. The speaker follows a woman whose 'white dress / rocked in a lilt along,' and the poem's central image—the snapdragon flower whose 'crimson throat' she closes—becomes a metaphor for erotic power and vulnerability. Lawrence writes of 'my heart swelled up so full / As if it would burst its wineskin in my throat,' a visceral expression that contrasts with the more restrained voices in the anthology. This poem, with its 'brown hand' and 'amethyst' cup, introduces a sensual, almost violent energy that Marsh's prefatory note does not preview, hinting at the anthology's hidden range.

Readers approaching this anthology should note that its prefatory claims of a unified 'Georgian period' are belied by the diversity of its contents. The excerpts suggest a collection where Dunsany's cosmic vision, Gibson's folk tragedy, and Lawrence's eroticism coexist uneasily. Pay attention to how each poet handles the sea, the body, or the supernatural—these recurring elements may offer a more coherent thread than Marsh's editorial framing.

I keep returning to Edward Marsh’s preface, that quiet insistence on “new strength” — and it reminds me of standing by a harbor at dusk, watching lights settle on water. There’s a similar calm boldness in Ballads of Lost Haven: A Book of the Sea — Edition Insights, as if the tide itself had learned to speak in verse. Both feel less like anthologies, more like tide tables for the soul.

There are no reviews for this eBook.

0
0 out of 5 (0 User reviews )

Add a Review

Your Rating *
There are no comments for this eBook.

Reader reflection

What was your reading experience?

Capture what you thought, learned, and would like to remember.

Your progress 0 / 10
1

Have you finished this book?

2

How much did you enjoy the reading experience?

3

Would you encourage someone else to read it?

4

How easy was the book to follow?

Related eBooks