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.<br />
I ;<br />
INTRODUCTORY MEMOIR<br />
know sometimes one cannot exactly define one's<br />
feelings nor explain reasons for liking and disliking<br />
but there is then the right of a suspicion that the<br />
thing has not been properly understood or one is<br />
prejudiced. It is much my fault if I am not<br />
understood, I know ; but I also feel a kind of injustice<br />
if my idea is not grasped and is ignored,<br />
and only petty cavilling at form, which I had<br />
known all along was so, is continually knocked<br />
into me. I feel quite sure that form is only a<br />
question of time. I am afraid I am more rude<br />
than ever, but I have exaggerated here the difference<br />
between your criticisms and 's. Ideas of<br />
poetry can be very different too. Tennyson<br />
thought<br />
4<br />
1<br />
Burns'<br />
love-songs important, but the<br />
Cottar's S. N. 1 poor. Wordsworth thought the<br />
opposite."<br />
To Miss Seaton {November 15, 1916 ; 'written in<br />
Hospital)<br />
"London may not be the place for poetry to<br />
keep healthy in, but Shakespeare did most of his<br />
work there, and Donne, Keats, Milton, Blake—<br />
think nearly all our big poets. But, after all,<br />
that is a matter of personal likings or otherwise.<br />
Most of the French country I have seen has been<br />
35
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