The Complete Poetical Works of Edgar Allan Poe Including Essays on Poetry

By Edgar Allan Poe

Page 198

throughout all time.
Here everything is art, nakedly, or but awkwardly concealed. No
prepossession for the mere antique (and in this case we can imagine no
other prepossession) should induce us to dignify with the sacred name of
poetry, a series, such as this, of elaborate and threadbare compliments,
stitched, apparently, together, without fancy, without plausibility, and
without even an attempt at adaptation.

In common with all the world, we have been much delighted with "The
Shepherd's Hunting" by Withers--a poem partaking, in a remarkable
degree, of the peculiarities of 'Il Penseroso'. Speaking of Poesy, the
author says:

"By the murmur of a spring,
Or the least boughs rustleling,
By a daisy whose leaves spread,
Shut when Titan goes to bed,
Or a shady bush or tree,
She could more infuse in me
Than all Nature's beauties con
In some other wiser man.
By her help I also now
Make this churlish place allow
Something that may sweeten gladness
In the very gall of sadness--
The dull loneness, the black shade,
That these hanging vaults have made
The strange music of the waves
Beating on these hollow caves,
This black den which rocks emboss,
Overgrown with eldest moss,
The rude portals that give light
More to terror than delight,
This my chamber of neglect
Walled about with disrespect;
From all these and this dull air
A fit object for despair,
She hath taught me by her might
To draw comfort and delight."

But these lines, however good, do not bear with them much of the general
character of the English antique. Something more of this will be found
in Corbet's "Farewell to the Fairies!" We copy a portion of Marvell's
"Maiden lamenting for her Fawn," which we prefer--not only as a specimen
of the elder poets, but in itself as a beautiful poem, abounding in
pathos, exquisitely delicate imagination and truthfulness--to anything
of its species:

"It is a wondrous thing how fleet
'Twas on those little silver feet,
With what a pretty skipping grace
It oft would challenge me the race,
And when't had left me far away
'Twould stay, and run again, and stay;
For it was nimbler much than hinds,
And trod as if on the four winds.
I have a garden of my own,
But so with roses

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Text Comparison with Ιστορίες αλλόκοτες

Page 0
Μία Ï Ï€Î¿ÏƒÎ·Î¼ÎµÎ¯Ï‰ÏƒÎ· έχει μεταφερθεί στο τέλος Ï„Î¿Ï Î²Î¹Î²Î»Î¯Î¿Ï .
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Διά Ï„Î¿Ï Ï„ÏÏŒÏ€Î¿Ï Ï„Î¿ÏÏ„Î¿Ï ÎµÏ€ÎµÏ„Ï Î³Ï‡Î¬Î½Î¿Î¼ÎµÎ½ τας πλείστας των ριζικωτέρων θεραπειών.
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Παρετήρησα ότι Ï„Î¿Ï Î»Î¬Ï‡Î¹ÏƒÏ„Î¿Î½ τα δύο τρίτα των ÏƒÏ Î½Î´Î±Î¹Ï„Ï Î¼ÏŒÎ½Ï‰Î½ ήσαν ÎºÏ ÏÎ¯Î±Î¹, μεταξύ των οποίων περισσότεραι της μιας πολύ απείχον να είναι ÎµÎ½Î´ÎµÎ´Ï Î¼Î­Î½Î±Î¹ κατά την Ï„ÎµÎ»ÎµÏ Ï„Î±Î¯Î±Î½ παρισινήν μόδαν.
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Ένα από τα δύο· ή θα κρατήσετε μίαν στάσιν, όπως αρμόζει, ή θα φύγετε Î±Ï Î¸Ï‰ÏÎµÎ¯ από την τράπεζαν.
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— Αλήθεια! Εγώ Ï„Î¿Ï Î»Î¬Ï‡Î¹ÏƒÏ„Î¿Î½ ενόμιζα ότι το πλείστον των τρελλών ανήκει εις το ωραίον φύλον.
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Επί τινα Î´ÎµÏ Ï„ÎµÏÏŒÎ»ÎµÏ€Ï„Î± Î®ÎºÎ¿Ï ÏƒÎ± τον επανειλημμένον κρότον Ï„Î¿Ï Ï€ÏÎ¿ÏƒÎºÏÎ¿ÏÎ¿Î½Ï„Î¿Ï‚ επί των τοιχωμάτων της Î±Î²ÏÏƒÏƒÎ¿Ï Î»Î¯Î¸Î¿Ï .
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Î£Ï Î½Î­Ï€ÎµÎ¹Î± Ï„Î¿ÏÏ„Î¿Ï Ï†Ï ÏƒÎ¹ÎºÎ® ήτο να Î±Ï Î¾Î·Î¸Î® αναλόγως και η ταχύτης.
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Με πολύν κόπον κατώρθωσα ν' απλώσω τον αριστερόν βραχίονά Î¼Î¿Ï , τόσον μακράν, όσον Î¼Î¿Ï ÎµÏ€Î­Ï„ÏÎµÏ€Î¿Î½ τα δεσμά, και έλαβα μερικά Ï Ï€ÏŒÎ»Î¿Î¹Ï€Î±, τα οποία οι ποντικοί εφείσθησαν.
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Εν ριπή οφθαλμού το σχήμα Ï„Î¿Ï ÎºÎµÎ»Î»Î¯Î¿Ï Î­Î³ÎµÎ¹Î½Îµ ρόμβος.
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Ό,τι ÎµÏ ÏÎ¯ÏƒÎºÎµÏ„Î±Î¹ ενταύθα είναι προσηρμοσμένον τελείως προς τας ιδικάς Î¼Î¿Ï Ï€ÎµÏÎ¯ τέχνης ιδέας.
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Αίφνης τότε Î®ÎºÎ¿Ï ÏƒÎ± ÎµÏ ÎºÏÎ¹Î½ÏŽÏ‚ ελαφρόν κρότον βημάτων επί Ï„Î¿Ï Ï„Î¬Ï€Î·Ï„Î¿Ï‚ και προς το μέρος της κλίνης· Ï€Î¬ÏÎ±Ï Ï„Î± δε, ενώ η Ροβένα έφερε τον οίνον εις τα χείλη, είδα — ενδεχόμενον να ήτο πλάσμα της φαντασίας Î¼Î¿Ï â€” είδα να πίπτωσιν εντός Ï„Î¿Ï ÎºÏ Ï€Î­Î»Î»Î¿Ï , ως από Î±Î¿ÏÎ¬Ï„Î¿Ï Ï€Î·Î³Î®Ï‚, τρεις ή τέσσαρες σταγόνες Ï Î³ÏÎ¿Ï Î´Î¹Î±Ï Î³Î¿ÏÏ‚ και κοκκινωπού.
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Θεωρητικώς δεν Ï Ï€Î¬ÏÏ‡ÎµÎ¹ λόγος μάλλον άλογος.
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— Χα! χα! χα! είπεν ο Ï„ÎµÎ»ÎµÏ Ï„Î±Î¯Î¿Ï‚ χάσκοντας από τα.
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— Είναι αληθές, απήντησεν ο Μονάρχης, ωσάν ν' Î±Î½ÎµÎºÎ¿Ï Ï†Î¯ÏƒÎ¸Î· από την εξήγησιν Î±Ï Ï„Î®Î½Â· αλλά, μα την ιπποτικήν τιμήν Î¼Î¿Ï , θα ωρκιζόμην ότι ήτο Î±Ï Ï„ÏŒÏ‚ εδώ ο αλήτης Ï€Î¿Ï Î­Ï„ÏÎ¹Î¾Îµ τα δόντια.
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Γρήγορα σαν την σκέψιν, ετοποθέτησε μέσα εκεί το βαρύδιον, από ÏŒÏ€Î¿Ï ÏƒÏ Î½Î®Î¸Ï‰Ï‚ εκρέματο ο Ï€Î¿Î»Ï Î­Î»Î±Î¹Î¿Ï‚, και εν ριπή οφθαλμού ο Ï€Î¿Î»Ï Î­Î»Î±Î¹Î¿Ï‚.
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της ιστορίας.
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Κατά την διήγησίν Ï„Î¿Ï , φαίνεται ότι, προτού να πέση εις την αναισθησίαν, μίαν ώραν ακριβώς προ της ταφής Ï„Î¿Ï , έσχε ÏƒÏ Î½ÎµÎ¯Î´Î·ÏƒÎ¹Î½ της Ï Ï€Î¬ÏÎ¾ÎµÏŽÏ‚ Ï„Î¿Ï .
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Επί πολλά έτη Ï Ï€Î®ÏÎ¾Î± το αντικείμενον ÏƒÏ Ï‡Î½ÏŽÎ½ προσβολών Ï„Î¿Ï ÎµÎ¾Î±Î¹ÏÎµÏ„Î¹ÎºÎ¿Ï κακού, το οποίον οι ιατροί ÏƒÏ Î½Î®Î¸Ï‰Ï‚ Î¿Î½Î¿Î¼Î¬Î¶Î¿Ï Î½ καταληψίαν, μη Ï Ï€Î¬ÏÏ‡Î¿Î½Ï„Î¿Ï‚ Î¬Î»Î»Î¿Ï ÏŒÏÎ¿Ï Ï€Î¿Ï Î½Î± το καθορίση καλύτερον.
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Τα δόντια Î¼Î¿Ï Ï„ÏÎ­Î¼Î¿Ï Î½ όταν ομιλώ· εν τούτοις τούτο δεν είναι εξ αιτίας της νύκτας Î±Ï Ï„Î®Ï‚ Ï€Î¿Ï ÎµÎ¯Î½Î±Î¹ ÏˆÏ Ï‡ÏÎ¬, της νύκτας Î±Ï Ï„Î®Ï‚ Ï€Î¿Ï Î´ÎµÎ½ έχει τέλος.