Saintsbury's well-considered Specimens of English Prose Style, from Malory to Macaulay (Kegan Paul), a volume, as we think, which bears fresh witness to the truth of the old remark that it takes a scholar indeed to make a [4] good literary selection, has its motive sufficiently indicated in the very original "introductory essay," which might well stand, along with the best of these extracts from a hundred or more deceased masters of English, as itself a document or standard, in the matter of prose style.
Saintsbury has made to give technical rules of metre for the production of the true prose rhythm.
Saintsbury admits, such lines being frequent in his favourite Dryden; yet, on the other hand, it might be maintained, and would be maintained by its French critics, that our English poetry has been too apt to dispense with those prose qualities, which, though not the indispensable qualities of poetry, go, nevertheless, to the making of all first-rate poetry--the qualities, namely, of orderly structure, and such qualities generally as depend upon second thoughts.
Saintsbury is certainly right in thinking that, as regards style, English literature has much to do.
Saintsbury's book--a writer who has dealt with all the perturbing influences of our century in a manner as classical, as idiomatic, as easy and elegant, as Steele's:
He then spent about 10 years in the Napa Valley, first as director of vineyard operations at
Saintsbury winery, then as a vineyard manager for Beckstoffer Vineyards, with responsibility that included high-end Cabernet vineyards like To Kalon and Dr.
They remind us that, although Philips was "rediscovered" in the early twentieth century by George
Saintsbury who "included her in the first volume of his Minor Poets of the Caroline Period' (published in 1905), it was not until "the feminist, lesbian, gay and queer critics ...