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Robert Bridges - The Testament of Beauty - Lovely Copy from Clarendon Press 1929
Robert Bridges - The Testament of Beauty - Lovely Copy from Clarendon Press 1929
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THE TESTAMENT OF BEAUTY
A Poem in Four Books
By Robert Bridges
Published by Clarendon Press, Oxford, 1929. Sixth Impression. Hardback, small 8vo, ivory-colour paper-covered boards with gilt titles, 192 pages, includes the slip of 'Publisher's Note on the Text'.
A very good clean copy. The boards are very good as is the spine. Name to front inside board. Pages very clean throughout. Last page has a bit of a crease. Overall a very good edition.
Robert Seymour Bridges (1844 - 1930) was an English poet, and poet laureate from 1913 to 1930. In the book Milton's Prosody, he took an empirical approach to examining Milton's use of blank verse, and developed the controversial theory that Milton's practice was essentially syllabic. He considered free verse to be too limiting, and explained his position in the essay Humdrum and Harum-Scarum. He maintained that English prosody depended on the number of stresses in a line, not on the number of syllables, and that poetry should follow the rules of natural speech. His own efforts to free verse resulted in the poems he called Neo-Miltonic Syllabics, which were collected in New Verse (1925). The meter of these poems was based on syllables rather than accents, and he used the principle again in the long philosophical poem The Testament of Beauty (1929).
A Poem in Four Books
By Robert Bridges
Published by Clarendon Press, Oxford, 1929. Sixth Impression. Hardback, small 8vo, ivory-colour paper-covered boards with gilt titles, 192 pages, includes the slip of 'Publisher's Note on the Text'.
A very good clean copy. The boards are very good as is the spine. Name to front inside board. Pages very clean throughout. Last page has a bit of a crease. Overall a very good edition.
Robert Seymour Bridges (1844 - 1930) was an English poet, and poet laureate from 1913 to 1930. In the book Milton's Prosody, he took an empirical approach to examining Milton's use of blank verse, and developed the controversial theory that Milton's practice was essentially syllabic. He considered free verse to be too limiting, and explained his position in the essay Humdrum and Harum-Scarum. He maintained that English prosody depended on the number of stresses in a line, not on the number of syllables, and that poetry should follow the rules of natural speech. His own efforts to free verse resulted in the poems he called Neo-Miltonic Syllabics, which were collected in New Verse (1925). The meter of these poems was based on syllables rather than accents, and he used the principle again in the long philosophical poem The Testament of Beauty (1929).
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