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CLAUSE-STRUCTURE
25
VI, 428, . . . But the fire of the fame of the poet
Who gazed on the past and it smiled,
But the light of the fame of the painter
Whose hand was as morning’s in May . . .
19, And surely his heart should answer: The delight of the
love of my life is in thee . . .
With these perhaps may be compared such verses as:
1, 174, The delight of thy face, and the sound of thy feet, and
the wind of thy tresses,
And all of a man that regrets, and all of a maid that
allures.
If this supposition of a love of genitives which are
more or less adjectival in meaning, is more or less
hypothetical, the love of adjectives certainly is not. I have
already (page 15) had occasion to characterize Swinburne
as the poet of adjectival words, and in the inner structure
of a clause they surely take a dominating position.
Swinburne’s faculty of accumulating these his favourite words
in front of a substantive is simply tremendous. —
Instances of this habit might be divided into cases of
parallelism, climax or antithesis, but evidently the classification
must be somewhat arbitrary.
Parallelism may be illustrated by:
III, 22, ... to the low last edge of the long lone land . . .
53, O sweet strange elder singer . . .
IV, 51, And her bright light limbs palpitated and shrank . . .
Climax naturally occurs in all cases more or less;
more specifically it is shown by such as:
III, 12, ... past the long
Slow smooth strong lapse of Lethe . . .
307, Of his dread lady’s hot sweet hungering eyes . . .
308, The deep divine dark dayshine of the sea,
Dense water-walls and clear dusk water-ways.
The second line of the last example then forms the
link between this group and that of antithesis.
III, 88, Villon our sad bad mad glad brother’s name . . .
296, And from his grave glad lips . . .
IV, 101, For all this wild sweet waste of sweet vain breath.
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