315:, a devout and yet a liberal believer, when he went to study theology and philosophy at Delphi: with what feelings must he have passed along the woody paths to the hill, approaching nearer every instant to the divinity, and not sure that a glance of light through the trees was not the lustre of the god himself going by! This is mere poetry to us, and very fine it is; but to him it was poetry, and religion, and beauty, and gravity, and hushing awe, and a path as from one world to another." This reality appears in the beginning of the poem with its emphasis on the temple to Venus. Hunt's approach to the service is similar to a traditional Anglican evensong. Hunt seeks to recreate the Classical religion as it was and wants to move myth beyond just simple poetry and into the realm of religion.
33:, and despite repeated delays to allow Hunt to deal with other commitments the poem was finished and published in a collection 1819. Dealing with themes of love and its attempt to conquer nature, the poem does not contain the political message that many of Hunt's works around that time do. The collection was well received by contemporary critics, who remarked on its sentiment and delicacy, while more modern writers such as
295:'s "The World is Too Much With Us": "It was a strong sense of this, which made a living poet, who is accounted very orthodox in his religious opinions, give vent, in that fine sonnet, to his impatience at seeing the beautiful planet we live upon, with all its starry wonders about it, so little thought of, compared with what is so ridiculously called
342:
Although praising many of the beginning lines of the poem, Rodney
Edgecombe claims, "Good though that is, the verse from this point onwards lacks distinction; Hunt's material has deprived him of the sort of stimuli to which his imagination ordinarily responds—he is never at home with sublimity and
259:
The story describes love and its attempt to conquer nature, but it also describes a forlorn fate. While many of the other works written by Hunt during the time had political themes that expressed his feelings about the actions of the
British government,
339:, in 1930, claims that the poems were "unequally written narratives". Nicolas Roe argues that "Hunt's couplets can create sudden surges of energy and, elsewhere in the poem, they prolong the moment when dawn slowly reveals Leanders drowned body".
303:
as morality is said to limit material pleasure. Hunt also reverses the idea that pleasures are fleeting and should be rejected to claim that pleasures are fleeting because they are rejected by the world.
333:
devoted a lengthy analysis to the works. Bulwer-Lytton, in an 1832 review, claimed the poem revealed a poet that was like "Dryden himself, but ... with a sentiment, a delicacy, not his own."
272:, the latter story is a consolation to the themes of the first. The focus on death shows a switch between mourning along with a sort of blankness, which is similar to how
287:, Hunt argued that "It was a great mistake of the nurturers of Christianity to preach contempt of the body, out of a notion of exalting the soul." Hunt, in the
86:
while hoping to finish the collection during winter 1818. However, the projected date was pushed back by the end of 1818. By July 1819, the poem, along with
134:
The poem explains what happens to material pleasure along with the connection between love and emotion. This leads back into the story of
Leander's death:
29:, two lovers, and the story of their forlorn fate. Hunt began working on the poem during the summer of 1816, arousing the interest of the publisher
59:, Hunt began to focus more on his poetry. During this time, he decided to write poems about the story of Hero and Leander along with the story of
232:
Eventually, Leander appears drowned. In the end, Hero kills herself and there is no metamorphosis as found in other versions of the story:
82:
responded for Hunt to gain more time for Hunt to complete the volume. In June, Hunt devoted his time to work on the second edition of
613:
273:
63:. After starting on the poem about Hero and Leander during summer 1816, Hunt showed the lines to the publisher
672:
665:
767:
727:
64:
30:
637:
208:
Leander, as he dies, keeps changing between thoughts of the divine and thoughts about the human world:
47:
606:
25:
written and published in 1819. The result of three years of work, the poem tells the Greek myth of
713:
651:
644:
695:
68:
745:
79:
8:
772:
688:
599:
264:
was toned down and contained a "sociability" that was mentioned in the preface of Hunt's
60:
292:
56:
681:
109:
307:
In terms of religion, Hunt returns to a mythological theme because, as he argues in
720:
26:
108:
and lacks context to the story. The poem begins with a description of worshipping
329:
74:
A notice by Taylor and Hessey was sent to Hunt on 22 February 1817 asking about
336:
34:
250:
With fluttering arms she leaped, and joined her drowned love. (lines 286–293)
761:
104:
164:
The poem removes any emphasis on idyllic nature to describe the sublime:
112:, the Greek goddess of love, and the celebration of the physical world:
622:
185:
22:
312:
52:
228:
Fierce draughts he swallows of the wilful wave. (lines 261–269)
591:
180:
The darkness held its breath so very still. (lines 223–229)
204:
Emerges, fighting tow'rds the cordial ray. (lines 248–254)
160:
Which at its best looked dark and slatily. (lines 193–204)
71:
as a partial payment for a collection including the poem.
212:
Then dreadful thoughts of death, of waves heaped on him.
226:
His limbs, and pants, and strains, and climbs,—in vain.
184:
The poem describes how love allows
Leander to swim the
174:
Were hushed, — the fisher's call, the birds, the trees.
130:
And mothers, grateful for their rosy boys. (lines 1–8)
574:. Madison: Fairleigh Dickinson University Press, 1994.
327:was well received by contemporary critics with the
291:essay, wrote in response to the views expressed in
45:After the decline in circulation for his paper the
432:
430:
402:
400:
311:essay "Spirit of the Ancient Mythology", "Imagine
222:And what she'll feel, when the blank morn appears;
216:He thinks of prayers to Neptune and his daughters.
198:And always, though with ruffian waves dashed hard.
170:A-cross the straits, mixed with the mightier dark.
152:Like spring, and summer-time, and wintery weather.
140:Glance and are gone sometimes, like passing doves;
567:. London: Harper & Brothers Publishers, 1930.
214:And friends, and parting daylight, rush upon him.
759:
218:And Venus, Hero's queen, sprung from the waters;
192:He thinks it comes! Ah, yes,—'tis she! 'tis she!
150:Hopes, joys, and sorrows link our days together,
144:Or two sky-streaks, filling with clouds between,
427:
397:
238:To search the seas, downwards, and round about,
202:And always, though his sense seems washed away.
200:Turns thither with glad groan his stout regard;
299:." This view of "the world" is the same as in
122:Homeward, with gentle step, and quiet-hearted;
607:
242:Floating, and washed about, like a vile weed;
128:The sprightlier maiden, sure of nuptial joys;
102:The poem tells the story of Hero and Leander
581:. New York: Little, Brown and Company, 2005.
244:On which such strength of passion and dismay
196:Fiercer and fiercer, swims with ardent eyes;
194:Again he springs; and though the winds arise
248:That from the turret, like a stricken dove.
236:She went up to the tower, and straining out
178:Hero looked out, and trembling augured ill.
158:And peevish winds ran cutting o'er the sea,
126:The timid, hopeful of their love concealed;
37:have criticised the flow of its narrative.
614:
600:
246:Seized her, and such an impotence to stay.
224:And at that thought he stiffens once again
168:Meantime the sun had sunk; the hilly mark,
148:Goes somewhere to continue; and meanwhile,
138:And thus it is, that happiest linked loves
240:She saw, at last,—she saw her lord indeed
146:All we can hope is, that so sweet a smile
142:Or like two dancers gliding from a green;
116:The hour of worship's over; and the flute
176:All but the washing of the eternal seas.
172:And night came on. All noises by degrees
124:The jealous easy, the desponding healed;
118:And choral voices of the girls are mute;
156:Began to clang against the coming rain.
120:And by degrees the people have departed
760:
154:For autumn now was over; and the crane
595:
560:. New York: St. Martin's Press, 1985.
220:And then of Hero only,—how she fares.
318:
268:. When placed into a sequence with
13:
572:Leigh Hunt and the Poetry of Fancy
94:were finished and soon published.
14:
784:
538:
529:
520:
511:
502:
493:
484:
475:
466:
457:
448:
439:
621:
418:
409:
388:
379:
370:
361:
352:
1:
550:
40:
7:
10:
789:
323:The collection containing
737:
705:
629:
565:Leigh Hunt and His Circle
285:The Religion of the Heart
254:
588:. London: Pimlico, 2005.
346:
97:
84:The Story of the Remini
714:The Calendar of Nature
673:The Palace of Pleasure
652:The Feast of the Poets
645:The Descent of Liberty
579:The Wit in the Dungeon
696:Abou Ben Adhem (poem)
424:Edgecombe pp. 105–106
394:Edgecombe pp. 104–105
376:Roe pp. 293, 303, 316
746:Literary Pocket-Book
526:Edgecombe qtd. p. 95
499:Edgecombe qtd. p. 98
481:Edgecombe qtd p. 104
472:Edgecombe qtd. p. 97
276:approaches death in
274:Alfred Lord Tennyson
80:Percy Bysshe Shelley
768:Works by Leigh Hunt
689:The Story of Rimini
638:Bacchus and Ariadne
570:Edgecombe, Rodney.
535:Blunden 1930 p. 140
517:Blainey 1985 p. 115
508:Edgecombe pp. 98–99
270:Bacchus and Ariadne
188:to meet with Hero:
88:Bacchus and Ariadne
61:Bacchus and Ariadne
293:William Wordsworth
755:
754:
577:Holden, Anthony.
563:Blunden, Edmund.
319:Critical response
67:who gave Hunt 20
780:
721:Edinburgh Review
659:Hero and Leander
616:
609:
602:
593:
592:
545:
542:
536:
533:
527:
524:
518:
515:
509:
506:
500:
497:
491:
490:Edgecombe p. 104
488:
482:
479:
473:
470:
464:
461:
455:
452:
446:
443:
437:
436:Edgecombe p. 106
434:
425:
422:
416:
413:
407:
406:Edgecombe p. 105
404:
395:
392:
386:
383:
377:
374:
368:
365:
359:
356:
325:Hero and Leander
301:Hero and Leander
262:Hero and Leander
76:Hero and Leander
27:Hero and Leander
18:Hero and Leander
788:
787:
783:
782:
781:
779:
778:
777:
758:
757:
756:
751:
733:
701:
625:
620:
584:Roe, Nicholas.
553:
548:
543:
539:
534:
530:
525:
521:
516:
512:
507:
503:
498:
494:
489:
485:
480:
476:
471:
467:
462:
458:
453:
449:
445:Roe pp. 317–318
444:
440:
435:
428:
423:
419:
414:
410:
405:
398:
393:
389:
385:Edgecombe p. 97
384:
380:
375:
371:
366:
362:
357:
353:
349:
330:London Magazine
321:
257:
252:
249:
247:
245:
243:
241:
239:
237:
230:
227:
225:
223:
221:
219:
217:
215:
213:
206:
203:
201:
199:
197:
195:
193:
182:
179:
177:
175:
173:
171:
169:
162:
159:
157:
155:
153:
151:
149:
147:
145:
143:
141:
139:
132:
129:
127:
125:
123:
121:
119:
117:
100:
43:
12:
11:
5:
786:
776:
775:
770:
753:
752:
750:
749:
741:
739:
735:
734:
732:
731:
724:
717:
709:
707:
703:
702:
700:
699:
692:
685:
678:
677:
676:
662:
655:
648:
641:
633:
631:
627:
626:
619:
618:
611:
604:
596:
590:
589:
582:
575:
568:
561:
556:Blainey, Ann.
552:
549:
547:
546:
544:Roe p. 317-318
537:
528:
519:
510:
501:
492:
483:
474:
465:
456:
447:
438:
426:
417:
408:
396:
387:
378:
369:
360:
350:
348:
345:
337:Edmund Blunden
320:
317:
256:
253:
234:
210:
190:
166:
136:
114:
99:
96:
42:
39:
35:Edmund Blunden
9:
6:
4:
3:
2:
785:
774:
771:
769:
766:
765:
763:
748:
747:
743:
742:
740:
736:
730:
729:
725:
723:
722:
718:
716:
715:
711:
710:
708:
704:
698:
697:
693:
691:
690:
686:
684:
683:
679:
675:
674:
670:
669:
668:
667:
663:
661:
660:
656:
654:
653:
649:
647:
646:
642:
640:
639:
635:
634:
632:
628:
624:
617:
612:
610:
605:
603:
598:
597:
594:
587:
583:
580:
576:
573:
569:
566:
562:
559:
555:
554:
541:
532:
523:
514:
505:
496:
487:
478:
469:
460:
454:Holden p. 136
451:
442:
433:
431:
421:
412:
403:
401:
391:
382:
373:
364:
355:
351:
344:
340:
338:
334:
332:
331:
326:
316:
314:
310:
309:The Indicator
305:
302:
298:
294:
290:
286:
281:
279:
275:
271:
267:
263:
251:
233:
229:
209:
205:
189:
187:
181:
165:
161:
135:
131:
113:
111:
107:
106:
105:in medias res
95:
93:
89:
85:
81:
77:
72:
70:
66:
62:
58:
55:'s defeat at
54:
50:
49:
38:
36:
32:
28:
24:
21:is a poem by
20:
19:
744:
726:
719:
712:
694:
687:
680:
671:
664:
658:
657:
650:
643:
636:
585:
578:
571:
564:
558:Immortal Boy
557:
540:
531:
522:
513:
504:
495:
486:
477:
468:
459:
450:
441:
420:
411:
390:
381:
372:
363:
354:
341:
335:
328:
324:
322:
308:
306:
300:
296:
288:
284:
282:
277:
269:
265:
261:
258:
235:
231:
211:
207:
191:
183:
167:
163:
137:
133:
115:
103:
101:
91:
87:
83:
75:
73:
46:
44:
17:
16:
15:
586:Fiery Heart
278:In Memoriam
92:The Panther
65:John Taylor
31:John Taylor
773:1819 poems
762:Categories
706:Journalism
682:The Nymphs
623:Leigh Hunt
551:References
463:Roe p. 318
415:Roe p. 317
367:Roe p. 314
358:Roe p. 265
186:Hellespont
51:following
41:Background
23:Leigh Hunt
666:Juvenilia
343:terror."
297:the world
289:Indicator
728:Examiner
313:Plutarch
57:Waterloo
53:Napoleon
48:Examiner
266:Foliage
69:guineas
630:Poetry
255:Themes
738:Misc.
347:Notes
110:Venus
98:Poem
283:In
764::
429:^
399:^
280:.
90:,
78:.
615:e
608:t
601:v
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.