Excerpt: ...his armies, and to victory; and the Nine Gems of Literature sing at his court. It is a backwash from Han Wuti's China, that goes west with Chang Ch'ien to the Yueh Chi, and south with them into India. And we can look for no apex of literary creation at this time, either in China or Europe. In the Roman literature of that cycle it is the keen creative note we miss: Virgil, the nearest to it, cannot be said to have possessed quite; and Han literature was probably its first culmination under Han Wuti, and its second under the Eastern Hans. One suspects that great creation is generally going on somewhere, and is not displeased to find hints of its presence in India; is inclined to think this may have been, after all, the Golden Age of the Sanskrit Drama.-At which there can be at any rate no harm in taking a glance at this point; and, retrospectively, at Sanskrit literature as a whole;-a desperately inadequate glance, be it said. I ask you here to remember the three periods of English Poetry, with their characteristics; and you must not mind my using my Welsh god-names in connexion with them. First, then, there was the Period of Plenydd,-of the beginnings of Vision; when the eyes of Chaucer and his lyricist predecessors were opened to the world out-of-doors; when they began to see that the skies were blue, fields and forests green; that there were flowers in the meadows and woodlands; and that all these things were delectable. Then there was the Period of Gwron, Strength; when Marlowe and Shakespeare and Milton evolved the Grand Manner; when they made the great March-Music, unknown in English before, and hardly achieved by anyone since:-the era of the great Warrior-poetry of the Tragedies and of Paradise Lost. Then came, with Wordsworth and Keats and Shelley, the Age of Alawn, lasting on until today; when the music of intonation brought with it romance and mystery and Natural Magic with its rich glow and wizard insight. And you will remember how...
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Excerpt: ...his armies, and to victory; and the Nine Gems of Literature sing at his court. It is a backwash from Han Wuti's China, that goes west with Chang Ch'ien to the Yueh Chi, and south with them into India. And we can look for no apex of literary creation at this time, either in China or Europe. In the Roman literature of that cycle it is the keen creative note we miss: Virgil, the nearest to it, cannot be said to have possessed quite; and Han literature was probably its first culmination under Han Wuti, and its second under the Eastern Hans. One suspects that great creation is generally going on somewhere, and is not displeased to find hints of its presence in India; is inclined to think this may have been, after all, the Golden Age of the Sanskrit Drama.-At which there can be at any rate no harm in taking a glance at this point; and, retrospectively, at Sanskrit literature as a whole;-a desperately inadequate glance, be it said. I ask you here to remember the three periods of English Poetry, with their characteristics; and you must not mind my using my Welsh god-names in connexion with them. First, then, there was the Period of Plenydd,-of the beginnings of Vision; when the eyes of Chaucer and his lyricist predecessors were opened to the world out-of-doors; when they began to see that the skies were blue, fields and forests green; that there were flowers in the meadows and woodlands; and that all these things were delectable. Then there was the Period of Gwron, Strength; when Marlowe and Shakespeare and Milton evolved the Grand Manner; when they made the great March-Music, unknown in English before, and hardly achieved by anyone since:-the era of the great Warrior-poetry of the Tragedies and of Paradise Lost. Then came, with Wordsworth and Keats and Shelley, the Age of Alawn, lasting on until today; when the music of intonation brought with it romance and mystery and Natural Magic with its rich glow and wizard insight. And you will remember how...
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