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Imaginary Conversations and Poems A Selection
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.
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Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.
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This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.
Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.
We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
- GenresPoetry
478 pages, Kindle Edition
First published October 4, 2009
18 people are currently reading
31 people want to read
About the author
Walter Savage Landor
599 books29 followersWalter Savage Landor was an English writer and poet.
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Displaying 1 of 1 review
April 30, 2019
I read the first third of the book and then simply tired of it. Until then, it had its rewarding moments, despite the author’s antiquated prose---presumably designed to be old-fashioned even when Landor wrote, given that he is recording conversations between individuals from the past.
It was often clear that the sympathies of the author lay with one dialogue partner, usually the one who champions tolerance, free thought, and other liberal ideals that I share, but that doesn’t always make for interesting reading.
One notable expression of these values is the closing line of the conversation between John of Gaunt and Joanna of Kent: “when I hear the God of mercy invoked to massacres, and thanked for furthering what He reprobates and condemns---I look back in vain on any barbarous people for worse barbarism.”
Not only Joanna of Kent but many other women, for instance, Anne Boleyn in conversation with Henry VIII, are sympathetically-drawn.
Sometimes the least promising dialogues, such as that between Lord Brooke (Fulke Greville) and Sir Philip Sydney, turned up some of the best lines, as when Sydney observes “goodness does not more certainly make men happy than happiness makes them good.” I also enjoyed the way that Diogenes punctures Plato’s arguments for the immortal soul.
After a while, however, such insightful aphorisms didn’t offer enough reward to outweigh the tedium of the style or the lack of dramatic tension in the conversations.
It was often clear that the sympathies of the author lay with one dialogue partner, usually the one who champions tolerance, free thought, and other liberal ideals that I share, but that doesn’t always make for interesting reading.
One notable expression of these values is the closing line of the conversation between John of Gaunt and Joanna of Kent: “when I hear the God of mercy invoked to massacres, and thanked for furthering what He reprobates and condemns---I look back in vain on any barbarous people for worse barbarism.”
Not only Joanna of Kent but many other women, for instance, Anne Boleyn in conversation with Henry VIII, are sympathetically-drawn.
Sometimes the least promising dialogues, such as that between Lord Brooke (Fulke Greville) and Sir Philip Sydney, turned up some of the best lines, as when Sydney observes “goodness does not more certainly make men happy than happiness makes them good.” I also enjoyed the way that Diogenes punctures Plato’s arguments for the immortal soul.
After a while, however, such insightful aphorisms didn’t offer enough reward to outweigh the tedium of the style or the lack of dramatic tension in the conversations.
Displaying 1 of 1 review