In 1900–1, æt. 16-17, he was translating Catullus and the "Pervigilium Veneris," and amongst the poets he attacked in the next few years were Propertius, Muretus, Heine, Bierbaum, of whose lyrics he translated several, one of which is given in this volume. This habit of translation, so excellent as a discipline, he always continued, amongst the poets from whom he made versions being Meleager, Goethe, Leconte de Lisle, Baudelaire, H. de Régnier, Samain, Jean Moréas, and Paul Fort. In the last year or two his translations were mostly made from the French Parnassians. What drew him to them was his feeling of especial kinship with them and his belief that they might be a healthy influence on English verse.
He explained his position in the preface to "The Golden journey to Samarkand." The theory of the Parnassians had for him, he said, "a unique attraction." "A careful study of this theory, however old-fashioned it may by now have become in France, would, I am convinced, benefit English critics and poets, for both our poetic criticism and our poetry are in chaos." Good poetry had been written on other theories and on no theories at all, and "no worthless writer will be redeemed by the excellence of the poetic theory he may chance to hold." But "that a sound theory can produce sound practice and exercise a beneficent effect on writers of genius" had been repeatedly proved in the history of the Parnasse.
"The Parnassian School [he continued] was a classical reaction against the perfervid sentimentality and extravagance of some French Romantics. The Romantics in France, as in England, had done their powerful work and
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