The material on this page is available to AustLit subscribers. If you are a subscriber or are from a subscribing organisation, please log in to gain full access. To explore options for subscribing to this unique teaching, research, and publishing resource for Australian culture and storytelling, please contact us or find out more.
Latest Issues
Notes
-
This poem appears in a number of published versions from 1851 onwards. For further details, see The Poems of Charles Harpur in Manuscript in the Mitchell Library and in Publication in the Nineteenth Century: An Analytical Finding List by Elizabeth Holt and Elizabeth Perkins (Canberra: Australian Scholarly Editions Centre, 2002).
-
An author's note in the Empire includes the following phrase: 'I feel now (in 1849)...'. The first date for this poem is, therefore, tentatively given as 1849.
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
-
Untitled
1851
single work
column
— Appears in: The Empire , 14 June no. 130 1851; (p. 3) Harpur writes, in part: 'When conceiving ['Love in the Past'], I distinctly remember to have wished myself for once a musician instead of a poet... So many thoughts have we, and particularly so many sensations, which the accents of music can alone express in passing, or reproductively symbolize when past. Yet I once thought music wholly subordinate to, and dependent upon, poetry in the expression of absolute purpose. But my feeling of the nature and scope of the former art has altered, or rather developed considerably since then... I feel now (in 1849) that language could no more arrest and embody such conceptions of the beautiful in its eternity, as are lapped for ever in some of the bursts of Mozart, for instance... They are instinct with revelations of the soul's immortality; and all who have heard them have "drunk of the milk of Paradise".'
-
Untitled
1851
single work
column
— Appears in: The Empire , 14 June no. 130 1851; (p. 3) Harpur writes, in part: 'When conceiving ['Love in the Past'], I distinctly remember to have wished myself for once a musician instead of a poet... So many thoughts have we, and particularly so many sensations, which the accents of music can alone express in passing, or reproductively symbolize when past. Yet I once thought music wholly subordinate to, and dependent upon, poetry in the expression of absolute purpose. But my feeling of the nature and scope of the former art has altered, or rather developed considerably since then... I feel now (in 1849) that language could no more arrest and embody such conceptions of the beautiful in its eternity, as are lapped for ever in some of the bursts of Mozart, for instance... They are instinct with revelations of the soul's immortality; and all who have heard them have "drunk of the milk of Paradise".'
Last amended 7 Oct 2017 08:27:28
