"Not seldom from the uproar I retired
Into a silent bay, or sportively
Glanced sideway, leaving the tumultuous throng,
TO CUT ACROSS THE REFLEX OF A STAR;
IMAGE THAT FLYING STILL BEFORE ME gleamed
Upon the glassy plain: and oftentime
When we had given our bodies to the wind
AND ALL THE SHADOWY BANKS ON EITHER SIDE
CAME CREEPING THROUGH THE DARKNESS, spinning still
The rapid line of motion, then at once
Have I reclining back upon my heels
Stopped short; yet still the solitary cliffs
Wheeled by me--even as if the earth had rolled
With visible motion her diurnal round!
Behind me did they stretch in solemn train,
Feebler and feebler, and I stood and watched
Till all was tranquil as a summer sea."
Every poetical reader will feel delight in the accuracy with which the
details are painted, and the marvellous clearness with which the whole
scene is imagined, both in its objective and subjective relations,
i.e., both in the objects seen and the emotions they suggest.
What the majority of modern verse writers call "imagery," is not the
product of imagination, but a restless pursuit of comparison, and a lax
use of language.
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