어린이를 위한 시의 캠브리지책 (The Cambridge Book of Poetry for Children, by Various)
Various 지음
어린이를위한 시의 캠브리지책.The Cambridge Book of Poetry for Children, by Various
PREFACE
IN compiling a selection of Poetry for Children, a conscientious Editor is
bound to find himself confronted with limitations so numerous as to be almost
disheartening. For he has to remember that his task is, not to provide simple
examples of the whole range of English poetry, but to set up a wicket- gate
giving attractive admission to that wide domain, with its woodland glades, its
pasture and arable, its walled and scented gardens here and there, and so to
its sunlit, and sometimes misty, mountain- tops―all to be more fully explored
later by those who are tempted on by the first glimpse. And always he must be
proclaiming to the small tourists that there is joy, light and fresh air in that
delectable country.
v Briefly, I think that blank verse generally, and the drama as a whole, may
very well be left for readers of a riper age. Indeed, I believe that those who can
ignore the plays of Shakespeare and his fellow- Elizabethans till they are sixteen
will be no losers in the long run. The bulk, too, of seventeenth and eighteenth
century poetry, bending under its burden of classical form and crowded
classical allusion, requires a completed education and a wide range of reading
for its proper appreciation.
Much else also is barred. There are the questions of subject, of archaic
language and thought, and of occasional expression, which will occur to
everyone. Then there is dialect, and here one has to remember that these
poems are intended for use at the very time that a child is painfully acquiring a
normal―often quite arbitrary―orthography. Is it fair to that child to hammer into
him―perhaps literally―that porridge is spelt porridge, and next minute to
present it to him, in an official ‘Reader,’ under the guise of parritch? I think not;
and I have accordingly kept as far as possible to the normal, though at some
loss of material.
vi In the output of those writers who have deliberately written for children, it is
surprising how largely the subject of death is found to bulk. Dead fathers and
mothers, dead brothers and sisters, dead uncles and aunts, dead puppies and
kittens, dead birds, dead flowers, dead dolls―a compiler of Obituary Verse for
the delight of children could make a fine fat volume with little difficulty. I have
turned off this mournful tap of tears as far as possible, preferring that children
should read of the joy of life, rather than revel in sentimental thrills of imagined
bereavement.
There exists, moreover, any quantity of verse for children, which is merely
verse and nothing more. It lacks the vital spark of heavenly flame, and is
useless to a selector of Poetry. And then there is the whole corpus of verse―
most of it of the present day―which is written about children, and this has even
more carefully to be avoided. When the time comes that we send our parents to
school, it will prove very useful to the compilers of their primers.
vii All these restrictions have necessarily led to two results. First, that this
collection is chiefly lyrical―and that, after all, is no bad thing. Lyric verse may
not be representative of the whole range of English poetry, but as an
introduction to it, as a Wicket- gate, there is no better portal. The second result
is, that it is but a small sheaf that these gleanings amount to; but for those
children who frankly do not care for poetry it will be more than enough; and for
those who love it and delight in it, no ‘selection’ could ever be sufficiently
satisfying.
KENNETH GRAHAME.
October 1915.
PREFACE
IN compiling a selection of Poetry for Children, a conscientious Editor is
bound to find himself confronted with limitations so numerous as to be almost
disheartening. For he has to remember that his task is, not to provide simple
examples of the whole range of English poetry, but to set up a wicket- gate
giving attractive admission to that wide domain, with its woodland glades, its
pasture and arable, its walled and scented gardens here and there, and so to
its sunlit, and sometimes misty, mountain- tops―all to be more fully explored
later by those who are tempted on by the first glimpse. And always he must be
proclaiming to the small tourists that there is joy, light and fresh air in that
delectable country.
v Briefly, I think that blank verse generally, and the drama as a whole, may
very well be left for readers of a riper age. Indeed, I believe that those who can
ignore the plays of Shakespeare and his fellow- Elizabethans till they are sixteen
will be no losers in the long run. The bulk, too, of seventeenth and eighteenth
century poetry, bending under its burden of classical form and crowded
classical allusion, requires a completed education and a wide range of reading
for its proper appreciation.
Much else also is barred. There are the questions of subject, of archaic
language and thought, and of occasional expression, which will occur to
everyone. Then there is dialect, and here one has to remember that these
poems are intended for use at the very time that a child is painfully acquiring a
normal―often quite arbitrary―orthography. Is it fair to that child to hammer into
him―perhaps literally―that porridge is spelt porridge, and next minute to
present it to him, in an official ‘Reader,’ under the guise of parritch? I think not;
and I have accordingly kept as far as possible to the normal, though at some
loss of material.
vi In the output of those writers who have deliberately written for children, it is
surprising how largely the subject of death is found to bulk. Dead fathers and
mothers, dead brothers and sisters, dead uncles and aunts, dead puppies and
kittens, dead birds, dead flowers, dead dolls―a compiler of Obituary Verse for
the delight of children could make a fine fat volume with little difficulty. I have
turned off this mournful tap of tears as far as possible, preferring that children
should read of the joy of life, rather than revel in sentimental thrills of imagined
bereavement.
There exists, moreover, any quantity of verse for children, which is merely
verse and nothing more. It lacks the vital spark of heavenly flame, and is
useless to a selector of Poetry. And then there is the whole corpus of verse―
most of it of the present day―which is written about children, and this has even
more carefully to be avoided. When the time comes that we send our parents to
school, it will prove very useful to the compilers of their primers.
vii All these restrictions have necessarily led to two results. First, that this
collection is chiefly lyrical―and that, after all, is no bad thing. Lyric verse may
not be representative of the whole range of English poetry, but as an
introduction to it, as a Wicket- gate, there is no better portal. The second result
is, that it is but a small sheaf that these gleanings amount to; but for those
children who frankly do not care for poetry it will be more than enough; and for
those who love it and delight in it, no ‘selection’ could ever be sufficiently
satisfying.
KENNETH GRAHAME.
October 1915.
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