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See also:FRANCIS See also:TURNER See also:PALGRAVE (1824-1897)
, See also:English critic and poet, eldest son of See also:Sir See also:Francis See also:Palgrave, the historian, was See also:born at See also:Great See also:Yarmouth, on the 28th of See also:September 1824
.
His childhood was spent at Yarmouth and at his See also:father's See also:house in See also:Hampstead
.
At fourteen he was sent as a See also:day-boy to See also:Charter-house; and in 1843, having in the meanwhile travelled extensively in See also:Italy and other parts of the See also:continent, he proceeded to See also:Oxford, having won a scholarship at Balliol
.
In 1846 he interrupted his university career to serve as assistant private secretary to See also:Gladstone, but returned. to Oxford the next See also:year, and took a first class in Literae Humaniores
.
From 1847 to 1862 he was See also:fellow of See also:Exeter
.
See also:College, and in 1849 entered the See also:Education See also:Department at See also:Whitehall
.
In 185o he accepted the See also:vice-principalship of See also:Kneller See also: Palgrave published both See also:criticism and poetry, but his See also:work as a critic was by far the more important . His Visions of See also:England (188o—1881) has dignity and lucidity, but little of the " natural magic " which the greatest of his predecessors in the Oxford See also:chair considered rightly to be the test of See also:inspiration . His last See also:volume of poetry, Amenophis, appeared in 1892 . On the other See also:hand, his criticism was always marked by See also:fine and sensitive tact, See also:quick intuitive See also:perception, and generally See also:sound See also:judgment . His Handbook to the Fine Arts Collection, See also:International See also:Exhibition, 2862, and his Essays on See also:Art (1866), though not See also:free from dogmatism and over-emphasis, were sincere contributions to art criticism, full of striking judgments strikingly expressed . His Landscape in Poetry (1897) showed wide knowledge and See also:critical appreciation of one of the most attractive aspects of poetic See also:interpretation . But Palgrave's See also:principal contribution to the development of See also:literary See also:taste was contained in his See also:Golden See also:Treasury of English Songs and Lyrics (1861), an See also:anthology of the best poetry in the See also:language constructed upon a See also:plan sound and spacious, and followed out with a delicacy of feeling which could scarcely be surpassed . Palgrave followed it with a Treasury of Sacred See also:Song (x889), and a second See also:series of the Golden Treasury (1897), including the 'work of later poets, but in neither of these was quite the same exquisiteness of judgment preserved . Among his other See also:works were The Passionate See also:Pilgrim (1858), a volume of selections from See also:Herrick entitled Chrysomela (1877), a memoir of See also:Clough (1862) and a critical See also:essay on See also:Scott (1866) prefixed to an edition of his poems . See Gwenllian F . Palgrave, F . T . Palgrave (1899) . |
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