"They who stand with aching hearts around this little grave need have no fear. The larger and the nobler faith in all that is and is to be tells us that death, even at its worst, is only perfect rest. We know that through the common wants of life—the needs and duties of each hour—their griefs will lessen day by day, until at last this grave will be to them a place of rest and peace—almost of joy. There is for them this consolation. The dead do not suffer. And if they live again, their lives will surely be as good as ours. We have no fear. We are all children of the same mother, and the same fate awaits us all.
"We, too, have our religion, and it is this: Help for the living, hope for
the dead."
ROBERT G. INGERSOLL, "Address over a Little Boy's Grave."
CHAPTER VI
I have not attempted in this chapter to give elaborate illustrations of the varieties of rhyme and stanza in English poetry. Full illustrations will be found in Alden's English Verse. A clear statement of the fundamental principles involved is given in W. H. Carruth's Verse Writing.
Free verse is suggestively discussed by Lowes, Convention and Revolt, chapters 6 and 7, and by Andrews, Writing and Reading of Verse, chapters 5 and 19. Miss Amy Lowell has written fully about it in the Prefaces to Sword Blades and Poppy Seed and Can Grande's Castle, in the final chapter of Tendencies in Modern American Poetry, in the Prefaces to Some Imagist Poets, and in the North American Review for January, 1917. Mr. Braithwaite's annual Anthologies of American Verse give a full bibliography of special articles upon this topic.
An interesting classroom test of the difference between prose rhythm and verse rhythm with strongly marked metre and rhyme may be found in comparing Emerson's original prose draft of his "Two Rivers," as found in volume 9 of his Journal, with three of the stanzas of the finished poem:
"Thy voice is sweet, Musketaquid, and repeats the music of the ram, but sweeter is the silent stream which flows even through thee, as thou through the land.
"Thou art shut in thy banks, but the stream I love flows in thy water, and flows through rocks and through the air and through rays of light as well, and through darkness, and through men and women.
"I hear and see the inundation and the eternal spending of the stream in winter and in summer, in men and animals, in passion and thought. Happy are they who can hear it."
"Thy summer voice, Musketaquit,
Repeats the music of the rain;
But sweeter rivers pulsing flit
Through thee, as thou through Concord plain.
"Thou in thy narrow banks are pent;
The stream I love unbounded goes
Through flood and sea and firmament;
Through light, through life, it forward flows.
"I see the inundation sweet,
I hear the spending of the stream
Through years, through men, through nature fleet,
Through love and thought, through power and dream."
I also suggest for classroom discussion the following brief passages from recent verse, printed without the authors' names:
1. "The milkman never argues; he works alone and no one speaks to him; the city is asleep when he is on his job; he puts a bottle on six hundred porches and calls it a day's work; he climbs two hundred wooden stairways; two horses are company for him; he never argues."
2. "Sometimes I have nervous moments— there is a girl who looks at me strangely as much as to say, You are a young man, and I am a young woman, and what are you going to do about it? And I look at her as much as to say, I am going to keep the teacher's desk between us, my dear, as long as I can."
3. "I hold her hands and press her to my breast.
"I try to fill my arms with her loveliness, to plunder her sweet smile with kisses, to drink her dark glances with my eyes.
"Ah, but where is it? Who can strain the blue from the sky?
"I try to grasp the beauty; it eludes me, leaving only the body in my hands.
"Baffled and weary, I came back. How can the body touch the flower which only the spirit may touch?"
4. "Child, I smelt the flowers,
The golden flowers … hiding in crowds like fairies at my feet,
And as I smelt them the endless smile of the infinite broke over me,
and I knew that they and you and I were one.
They and you and I, the cowherds and the cows, the jewels and the
potter's wheel, the mothers and the light in baby's eyes.
For the sempstress when she takes one stitch may make nine unnecessary;
And the smooth and shining stone that rolls and rolls like the great
river may gain no moss,
And it is extraordinary what a lot you can do with a platitude when you
dress it up in Blank Prose.
Child, I smelt the flowers."
CHAPTER VII
Recent criticism has been rich in its discussions of the lyric. John Drinkwater's little volume on The Lyric is suggestive. See also C. E. Whitmore's article in the Pub. Mod. Lang. Ass., December, 1918. Rhys's Lyric Poetry, Schelling's English Lyric, Reed's English Lyrical Poetry cover the whole field of the historical English lyric. A few books on special periods are indicated in the "Notes" to chapter ix.
An appreciation of the lyric mood can be helped greatly by adequate oral reading in the classroom. For teachers who need suggestions as to oral interpretation, Professor Walter Barnes's edition of Palgrave's Golden Treasury (Row, Petersen & Co., Chicago) is to be commended.
The student's ability to analyse a lyric poem should be tested by frequent written exercises. The method of criticism may be worked out by the individual teacher, but I have found it useful to ask students to test a poem by some or all of the following questions:
(a) What kind of experience, thought or emotion furnishes the basis for this lyric? What kind or degree of sensitiveness to the facts of nature? What sort of inner mood or passion? Is the "motive" of this lyric purely personal? If not, what other relationships or associations are involved?
(b) What sort of imaginative transformation of the material furnished by the senses? What kind of imagery? Is it true poetry or only verse?
(c) What degree of technical mastery of lyric structure? Subordination of material to unity of "tone"? What devices of rhythm or sound to heighten the intended effect? Noticeable words or phrases? Does the author's power of artistic expression keep pace with his feeling and imagination?
CHAPTER VIII
For a discussion of narrative verse in general, see Gummere's Poetics and Oldest English Epic, Hart's Epic and Ballad, Council's Study of Poetry, and Matthew Arnold's essay "On Translating Homer."
For the further study of ballads, note G. L. Kittredge's one volume edition of Child's English and Scottish Popular Ballads, Gummere's Popular Ballad, G. H. Stempel's Book of Ballads, J. A. Lomax's Cowboy Songs and other Frontier Ballads, and Hart's summary of Child's views in Pub. Mod. Lang. Ass., vol. 21, 1906. The Oxford Book of English Verse, Nos. 367-389, gives excellent specimens.
All handbooks on Poetics discuss the Ode. Gosse's English Odes and
William Sharp's Great Odes are good collections.
For the sonnet, note Corson's chapter in his Primer of English Verse, and the Introduction to Miss Lockwood's collection. There are other well-known collections by Leigh Hunt, Hall Caine and William Sharp. Special articles on the sonnet are noted in Poole's Index.
The dramatic monologue is well discussed by Claude Howard, The Dramatic
Monologue, and by S. S. Curry, The Dramatic Monologue in Tennyson and
Browning.
CHAPTER IX
The various periods of English lyric poetry are covered, as has been already noted, by the general treatises of Rhys, Reed and Schelling. Old English lyrics are well translated by Cook and Tinker, and by Pancoast and Spaeth. W. P. Ker's English Literature; Mediaeval is excellent, as is C. S. Baldwin's English Mediaeval Literature. John Erskine's Elizabethan Lyric is a valuable study. Schelling's introduction to his Selections from the Elizabethan Lyric should also be noted, as well as his similar book on the Seventeenth-Century Lyric. Bernbaum's English Poets of the Eighteenth Century is a careful selection, with a scholarly introduction. Studies of the English poetry of the Romantic period are very numerous: Oliver Elton's Survey of English Literature, 1780-1830, is one of the best. Courthope's History of English Poetry and Saintsbury's History of Criticism are full of material bearing upon the questions discussed in this chapter.
Professor Legouis's account of the change in atmosphere as one passes from Old English to Old French poetry is so delightful that I refrain from spoiling it by a translation:
"En quittant Beowulf ou la Bataille de Maldon pour le Roland, on a l'impression de sortir d'un lieu sombre pour entrer dans la lumière. Cette impression vous vient de tous les côtés à la fois, des lieux décrits, des sujets, de la manière de raconter, de l'esprit qui anime, de l'intelligence qui ordonne, mais, d'une façon encore plus immédiate et plus diffuse, de la différence des deux langues. On reconnaît sans doute généralement à nos vieux écrivains ce mérite d'être clairs, mais on est trop habitué à ne voir dans ce don que ce qui découle des tendances analytiques et des aptitudes logiques de leurs esprit. Aussi plusieurs critiques, quelques-uns français, ont-ils fait de cet attribut une manière de prétexte pour leur assigner en partage la prose et pour leur retirer la faculté poétique. Il n'en est pas ainsi. Cette clarté n'est pas purement abstraite. Elle est une véritable lumière qui rayonne même des voyelles et dans laquelle les meilleurs vers des trouvères—les seuls qui comptent—sont baignés. Comment dire l'éblouissement des yeux longtemps retenus dans la pénombre du Codex Exoniensis et devant qui passent soudain avec leurs brillantes syllables 'Halte-Clerc,' l'épée d'Olivier, 'Joyeuse' celle de Charlemagne, 'Monjoie' l'étendard des Francs? Avant toute description on est saisi comme par un brusque lever de soleil. Il est tels vers de nos vieilles romances d'où la lumière ruisselle sans même qu'on ait besoin de prendre garde à leur sens:
"'Bele Erembors a la fenestre au jor
Sor ses genolz tient paile de color,'
[Footnote: "Fair Erembor at her window in daylight
Holds a coloured silk stuff on her knees."]
ou bien
"'Bele Yolanz en chambre coie
Sor ses genolz pailes desploie
Coust un fil d'or, l'autre de soie…."
[Footnote: "Fair Yoland in her quiet bower
Unfolds silk stuffs on her knees
Sewing now a thread of gold, now one of silk."]
C'est plus que de la lumière qui s'échappe de ces mots, c'est de la couleur et de la plus riche." [Footnote: Emile Legouis, Défense de la Poésie Française, p. 44.]
CHAPTER X
While this chapter does not attempt to comment upon the work of living American authors, except as illustrating certain general tendencies of the lyric, I think that teachers of poetry should avail themselves of the present interest in contemporary verse. Students of a carefully chosen volume of selections, like the Oxford Book, should be competent to pass some judgment upon strictly contemporary poetry, and I have found them keenly interested in criticizing the work that is appearing, month by month, in the magazines. The temperament and taste of the individual teacher must determine the relative amount of attention that can be given to our generation, as compared with the many generations of the past.
APPENDIX
Believing as I do that a study of the complete work of some modern poet should accompany, if possible, every course in the general theory of poetry, I venture to print here an outline of topical work upon the poetry of Tennyson. Tennyson's variety of poetic achievement is so great, and his technical resources are so remarkable, that he rewards the closest study, even on the part of those young Americans who cannot forget that he was a "Victorian":
TOPICAL WORK UPON TENNYSON
I
THE METHOD OF CRITICISM
[The scheme here suggested for the study of poetry is based upon the methods followed in this book. The student is advised to select some one poem, and to analyse its content and form as carefully as possible, in accordance with the outline printed below. The thought and feeling of the poem should be thoroughly comprehended as a whole before the work of analysis is begun; and after the analysis is completed, the student should endeavor again to regard the poem synthetically, i. e., in its total appeal to the aesthetic judgment, rather than mechanically and part by part.]
FORM / CONTENT
A "IMPRESSION"
Of Nature. What sort of observation of natural phenomena is revealed in this poem? Impressions of movement, form, color, sound, hours of the day or night, seasons of the year; knowledge of scientific facts, etc.?
Of Man. What evidence of the poet's direct knowledge of men? Of knowledge of man gained through acquaintance with Biblical, classical, foreign or English literature? Self-knowledge?
Of God. Perception of spiritual laws? Religious attitude? Is this poem consistent with his other poems?
B "TRANSFORMING IMAGINATION"
Does the "raw material" presented by "sense impressions" undergo a real "change in kind" as it passes through the mind of the poet?
Do you feel in this poem the presence of a creative personality?
What evidence of poetic instinct in the selection of characteristic traits? In power of representation through images? In idealization?
C "EXPRESSION"
What is to be said of the range and character of the poet's vocabulary?
Employment of figurative language? Selection of metre? Use of rhymes?
Modification of rhythm and sound to suggest the idea conveyed? Imitative
effects?
In general, is there harmony between form and content, or is there evidence of the artist's caring for one rather than the other?
II
TENNYSON'S LYRIC POETRY
[Write a criticism of the distinctively lyrical work of Tennyson, based upon an investigation at first hand of the topics suggested below. Do not deal with any poems in which the narrative or dramatic element seems to you the predominant one, as those forms of expression will be made the subject of subsequent papers.]
A. "IMPRESSION" (i. e., experience, thought, emotion).
General Characteristics.
Does the freshness of the lyric mood seem in Tennyson's case dependent upon any philosophical position? Upon sensitiveness to successive experiences?
Is his lyric egoism a noble one? How far does he identify himself with his race? With humanity?
Is his lyric passion always genuine? If not, give examples of lyrics that are deficient in sincerity. Is the lyric passion sustained as the poet grows old?
Of Nature.
What part does the observation of natural phenomena—such as form, color, sound, hours of the day or night, seasons, the sky, the sea—play in these poems? To what extent is the lyrical emotion called forth by the details of nature? By her composite effects? Give instances of the poetic use of scientific facts.
Of Man.
What human relationships furnish the themes for his lyrics? In the love- lyrics, what different relationships of men and women? To what extent does he find a lyric motive in friendship? In patriotism? How much of his lyric poetry seems to spring from direct contact with men? From introspection? From contact with men through the medium of books? How clearly do his lyrics reflect the social problems of his own time? In his later lyrics are there traces of deeper or shallower interest in men and women? Of greater or less faith in the progress of society?
Of God.
Mention lyrics whose themes are based in such conceptions as freedom, duty, moral responsibility. Does Tennyson's lyric poetry reveal a sense of spiritual law? Is the poet's own attitude clearly evident?
B. "TRANSFORMING IMAGINATION."
What evidence of poetic instinct in the selection of characteristic traits? In power of representation through images? Distinguish between lyrics that owe their poetic quality to the Imagination, and those created by the Fancy. (Note Alden's discussion of this point; "Introduction to Poetry," pp. 102-112.) How far is Tennyson's personality indicated by these instinctive processes through which his poetical material is transformed?
C. "EXPRESSION."
What may be said in general of his handling of the lyric form: as to unity, brevity, simplicity of structure? Occasional use of presentative rather than representative language? Choice of metres? Use of rhymes? Modification of rhythm and sound to suit the idea conveyed? Evidence of the artist's caring for either form or content to the neglect of the other? Note whatever differences may be traced, in all these respects, between Tennyson's earlier and later lyrics.
III
TENNYSON'S NARRATIVE POETRY
[Write a criticism of the distinctively narrative work of Tennyson, based upon the questions suggested below.]
A. "IMPRESSION" (i. e., experience, thought, emotion).
General Characteristics.
After classifying Tennyson's narrative poetry, how many of his themes seem to you to be of his own invention? Name those based, ostensibly at least, upon the poet's own experience. To what extent do you find his narrative work purely objective, i. e., without admixture of reflective or didactic elements? What themes are of mythical or legendary origin? Of those having a historical basis, how many are drawn from English sources? Does his use of narrative material ever show a deficiency of emotion; i. e., could the story have been better told in prose? Has he the story-telling gift?
Of Nature.
How far does the description of natural phenomena, as outlined in Topic II, A, enter into Tennyson's narrative poetry? Does it always have a subordinate place, as a part of the setting of the story? Does it overlay the story with too ornate detail? Does it ever retard the movement unduly?
Of Man. (Note that some of the points mentioned under General Characteristics apply here.)
What can you say of Tennyson's power of observing character? Of conceiving characters in complication and collision with one another or with circumstances? Give illustrations of the range of human relationships touched upon in these poems. Do the later narratives show an increased proportion of tragic situations? Does Tennyson's narrative poetry throw any light upon his attitude towards contemporary English society?
Of God. (See Topic II, A.)
B. "TRANSFORMING IMAGINATION."
Adjust the questions already suggested under Topic II, B, to narrative poetry. Note especially the revelation of Tennyson's personality through the instinctive processes by which his narrative material is transformed.
C. "EXPRESSION."
What may be said in general of his handling of the narrative form, i. e., his management of the setting, the characters and the plot in relation to one another? Have his longer poems, like the "Idylls," and "The Princess," the unity, breadth, and sustained elevation of style that are usually associated with epic poetry? What can you say of Tennyson's mastery of distinctly narrative metres? Of his technical skill in suiting rhythm and sound to the requirements of his story?
IV
TENNYSON'S DRAMAS
[Reference books for the study of the technique of the drama are easily available. As preparatory work it will be well to make a careful study of Tennyson's dramatic monologues, both in the earlier and later periods. These throw a good deal of light upon his skill in making characters delineate themselves, and they reveal incidentally some of his methods of dramatic narrative. For this paper, however, please confine your criticism to "Queen Mary," "Harold," "Becket," "The Cup," "The Falcon," "The Promise of May," and "The Foresters." In studying "Becket," compare Irving's stage version of the play (Macmillan).]
A. Classify the themes of Tennyson's dramas. Do you think that these themes offer promising dramatic material? Do you regard Tennyson's previous literary experience as a help or a hindrance to success in the drama?
Nature. Apply what is suggested under this head in Topics I, II, and III, to drama.
Man. Apply to the dramas what is suggested under this head in Topics II and III, especially as regards the observation of character, the conception of characters in collision, and the sense of the variety of human relationships. Do these plays give evidence of a genuine comic sense? What tragic forces seem to have made the most impression upon Tennyson? Give illustrations, from the plays, of the conflict of the individual with institutions.
God. Comment upon Tennyson's doctrine of necessity and retribution. Does his allotment of poetic justice show a sympathy with the moral order of the world? Are these plays in harmony with Tennyson's theology, as indicated elsewhere in his work? Do they contain any clear exposition of the problems of the religious life?
B. Compare Topic II, B. In the historical dramas, can you trace the influence of the poet's own personality in giving color to historical personages? Compare Tennyson's delineation of any of these personages with that of other poets, novelists, or historians. Do you think he has the power of creating a character, in the same sense as Shakespeare had it? How much of his dramatic work do you consider purely objective, i. e., untinged by what was called the lyric egoism?
C. What may be said in general of Tennyson's handling of the dramatic form? Has he "the dramatic sense"? Of his management of the web of circumstance in which the characters are involved and brought into conflict? Comment upon his technical skill as displayed in the different "parts" and "moments" of his dramas. Does his exhibition of action fulfill dramatic requirements? Is his vocabulary suited to stage purposes? Give instances of his purely lyric and narrative gifts as incidentally illustrated in his dramas. Instance passages that cannot in your opinion be successfully acted. In your reading of these plays, or observation of any of them that you have seen acted, are you conscious of the absence of any quality or qualities that would heighten the pleasure they yield you? Taken as a whole, is the form of the various plays artistically in harmony with the themes employed?
BIBLIOGRAPHY
This list includes the more important books and articles in English which have been discussed or referred to in the text. There is an excellent bibliography in Alden's Introduction to Poetry, and Patterson's Rhythm in Prose contains a full list of the more technical articles dealing with rhythms in prose and verse.
ALDEN, RAYMOND M. English Verse. New York, 1903. An Introduction to Poetry. New York, 1909. "The Mental Side of Metrical Form," in Mod. Lang. Review, July, 1914.
ALEXANDER, HARTLEY B.
Poetry and the Individual. New York, 1906.
ANDREWS, C. E.
The Writing and Reading of Verse. New York, 1918.
ARISTOTLE.
Theory of Poetry and Fine Art, edited by S. H. Butcher. New York,
1902.
On the Art of Poetry, edited by Lane Cooper. Boston, 1913.
BABBITT, IRVING.
The New Laokoon. Boston and New York, 1910.
BERNBAUM, ERNEST, editor.
English Poets of the 18th Century. New York, 1918.
BOSANQUET, BERNARD. A History of Aesthetic. New York, 1892. Three Lectures on Aesthetic. London, 1915.
BRADLEY, A. C. Oxford Lectures on Poetry. London, 1909.
BRAITHWAITE, WILLIAM S., editor. The Book of Elizabethan Verse. Boston, 1907. Anthology of Magazine Verse 1913-19. New York, 1915.
BRIDGES, ROBERT.
Ibant Obscurae. New York, 1917.
BUTCHER, S. H.
(See Aristotle.)
CHILD, F. G.
English and Scottish Popular Ballads, 5 vols., 1882-1898.
CLARK, A. C.
Prose Rhythm in English. Oxford, 1913.
COLERIDGE, S. T.
Biographia Literaria. Everyman edition.
CONNELL, F. M.
A Text-Book for the Study of Poetry. Boston, 1913.
COOK, ALBERT S., editor.
The Art of Poetry. Boston, 1892.
COOK, A. S., and TINKER, C. B.
Select Translations from Old English Poetry. Boston, 1902.
CORSON, HIRAM.
A Primer of English Verse. Boston, 1892.
COURTHOPE, WILLIAM J. A History of English Poetry. London, 1895. Life in Poetry: Law in Taste. London, 1901.
COWL, R. P.
The Theory of Poetry in England. London, 1914.
CROCE, B.
Aesthetics. London, 1909.
CROLL, MORRIS W.
"The Cadence of English Oratorical Prose," in Studies in Philology,
January, 1919.
See also Croll and Clemons, Preface to Lyly's Euphues. New York, 1916.
DRINKWATER, JOHN.
The Lyric. New York (n.d.).
EASTMAN, MAX.
Enjoyment of Poetry. New York, 1913.
ELTON, OLIVER W.
"English Prose Numbers," in Essays and Studies, by members of the
English Association, 4th Series. Oxford, 1913.
ERSKINE, JOHN.
The Elizabethan Lyric. New York, 1916.
FAIRCHILD, ARTHUR H. R.
The Making of Poetry. New York, 1912.
GARDINER, J. H.
The Bible as English Literature. New York, 1906.
GATES, LEWIS E.
Studies and Appreciations. New York, 1900.
GAYLEY, C. M., and SCOTT, F. N.
Methods and Materials of Literary Criticism. Boston, 1899.
GORDON, K.
Aesthetics. New York, 1909.
GOSSE, EDMUND W.
English Odes. London, 1881.
GUMMERE, FRANCIS B.
A Handbook of Poetics. Boston, 1885.
The Beginnings of Poetry. New York, 1901.
The Popular Ballad. Boston and New York, 1907.
Democracy and Poetry. Boston and New York, 1911.
HART, WALTER M.
Epic and Ballad. Harvard Studies, etc., vol. 11, 1907.
See his summary of Child's views in Pub. Mod. Lang. Ass., 21, 1906.
HAYES, ALFRED.
"Relation of Music to Poetry," in Atlantic, January, 1914.
HEARN, LAFCADIO.
Kwaidan. Boston and New York, 1904.
HOLMES, EDMOND.
What is Poetry? New York, 1900.
HUNT, LEIGH.
What is Poetry? edited by Albert S. Cook. Boston, 1893.
JAMES, WILLIAM.
Psychology. New York, 1909.
KITTREDGE, G. L., editor.
English and Scottish Popular Ballads. Boston, 1904.
LA FARGE, JOHN.
Considerations on Painting. New York, 1895.
LANIER, SIDNEY. Science of English Verse. New York, 1880. Poem Outlines. New York, 1908.
LEGOUIS, ÉMILE.
Défense de la Poésie Française. London, 1912.
LEWIS, CHARLTON M.
The Foreign Sources of Modern English Versification, Halle, 1898.
The Principles of English Verse. New York, 1906.
LIDDELL, M. H.
Introduction to Scientific Study of English Poetry. New York, 1912.
LOCKWOOD, LAURA E., editor.
English Sonnets. Boston and New York, 1916.
LOMAX, JOHN A.
Cowboy Songs and Other Frontier Ballads. New York, 1916.
LOWELL, AMY.
Tendencies in Modern American Poetry. New York, 1917.
Men, Women and Ghosts. New York, 1916.
Can Grande's Castle. New York, 1918.
LOWES, JOHN L.
Convention and Revolt in Poetry. Boston and New York, 1919.
LYLY, JOHN.
Euphues, edited by Croll, M. W., and Clemons, H. New York, 1916.
MACKAIL, J. W.
The Springs of Helicon. New York, 1909.
MARSHALL, HENRY R.
Aesthetic Principles. New York, 1895.
MAYOR, J. B.
Chapters on English Metre. London, 1886.
MILL, J. S.
"Thoughts on Poetry," in Dissertations, vol. 1.
MOORE, J. ROBERT.
"The Songs in the English Drama" (Harvard Dissertation, unpublished).
MORSE, LEWIS K., editor.
Melodies of English Verse. Boston and New York, 1910.
NEILSON, WILLIAM A.
Essentials of Poetry. Boston and New York, 1912.
NEWBOLT, SIR HENRY.
A New Study of English Poetry. New York, 1919.
OMOND, T. S.
A Study of Metre. London, 1903.
PALGRAVE, FRANCIS T.
The Golden Treasury. London, 1882.
PANCOAST, H. S. and SPAETH, J. D.
Early English Poems. New York, 1911.
PATTERSON, WILLIAM M.
The Rhythm of Prose. New York, 1916.
PATTISON, MARK, editor.
Milton's Sonnets. New York, 1883.
PHELPS, WILLIAM L.
The Beginnings of the English Romantic Movement. Boston, 1893.
POUND, LOUISE.
"The Ballad and the Dance," Pub. Mod. Lang. Ass., September, 1919.
QUILLER-COUCH, A. T., editor.
The Oxford Book of English Verse. Oxford, 1907.
RALEIGH, WALTER.
Wordsworth. London, 1903.
RAYMOND, GEORGE L.
Poetry as a Representative Art. New York, 1886.
The Genesis of Art-Form. New York, 1893.
Rhythm and Harmony in Poetry and Music. New York, 1895.
REED, EDWARD B.
English Lyrical Poetry. New Haven, 1912.
RHYS, ERNEST.
Lyric Poetry. New York, 1913.
RHYS, ERNEST, editor.
The New Golden Treasury of Songs and Lyrics. New York (n.d.).
RIBOT, T.
Essay on the Creative Imagination. Chicago, 1906.
RUSSELL, C. E.
"Swinburne and Music," in North American Review, November, 1907.
SAINTSBURY, GEORGE.
History of English Prosody. London, 1906-10.
History of English Prose Rhythm. London, 1912.
SANTAYANA, GEORGE.
The Sense of Beauty. New York, 1896.
Interpretation of Poetry and Religion. New York, 1900.
SCHEMING, F. E., editor.
A Book of Elizabethan Lyrics. Boston, 1895.
Seventeenth Century Lyrics. Boston, 1899.
SCHELLING, F. E.
The English Lyric. Boston and New York, 1913.
SHACKFORD, MARTHA H.
A First Book of Poetics. Boston, 1906.
SHELLEY, PERCY B.
A Defense of Poetry, edited by Albert S. Cook. Boston, 1891.
SHERMAN, L. A.
Analytics of Literature. Boston, 1893.
SHERMAN, STUART P.
Contemporary Literature. New York, 1917.
SIDNEY, SIR PHILIP.
The Defense of Poesy, edited by Albert S. Cook. Boston, 1890.
SNELL, ADA F.
"Syllabic Quantity in English Verse," in Pub. Mod. Lang. Ass.,
September, 1918.
SPINGARN, J. E.
Creative Criticism. New York, 1917.
STEDMAN, EDMUND C.
The Nature and Elements of Poetry. Boston and New York, 1892.
STEMPEL, G. H.
A Book of Ballads. New York, 1917.
STEWART, J. A.
The Myths of Plato. London, 1905.
SYMONS, ARTHUR.
The Seven Arts. London, 1906.
TAYLOR, HENRY O.
The Classical Heritage of the Middle Ages. New York, 1901.
TOLMAN, A. H.
Hamlet and Other Essays. Boston, 1904.
TOLSTOY, L.
What is Art? New York (n.d.).
UNTERMEYER, LOUIS.
The New Era in American Poetry. New York, 1919.
WATTS-DUNTON, THEODORE.
Poetry and the Renascence of Wonder. New York, (n.d.).
WELLS, CAROLYN.
A Parody Anthology. New York, 1904.
WHITMORE, C. E.
Article on the Lyric in Pub. Mod. Lang. Ass., December, 1918.
WHITNEY, W. D.
Language and the Study of Language. New York, 1867.
WILKINSON, MARGUERITE.
The New Voices., New York, 1919.
INDEX
Abercrombie, Lascelles
Accent
Adams, F. P., free verse parody by
Aesthetics, and poetry
Alden, R. M.
Introduction to Poetry
Aldington, Richard
Alexander, Hartley B.
Poetry and the Individual
Alliteration
Andrews, C. E.
Writing and Reading of Verse
Angellier, Auguste
Anglo-Saxon lyrical verse
Aristotle
Poetics
definition of Tragedy
Arnold, Matthew
"The Strayed Reveller"
Artistic imagination
Artistic production
the impulse to
Asbury, Samuel
Assonance
Babbitt, Irving New Laokoon Ballad, the Baumgarten, A. G. Beauty Beddoes, Thomas Lovell Blake, William Blunt, Wilfrid sonnet on Gibraltar Boethius De Consolatione Philosophiae Bosanquet, Bernard History of AEsthetic Bradley, A. C. Bridges, Robert Brooke, Stopford Brownell, Baker Browning, Robert The Ring and the Book Bryant, F. E. Burns, Robert Butcher, S. H. Aristotle's Theory of Poetry and Fine Art Bynner, Witter Byron "ottava rima"
Calverley, C. S.
parody of Browning
Campion, Thomas
Carlyle, Thomas
Chase, W. M.
Chaucer, Geoffrey
Chaucerian stanza, the
Child, F. J.
English and Scottish Popular Ballads
Chinese lyrics
Chopin, Frédéric
Church music
Clark, A. C.
Prose Rhythm in English
Cleghorn, Sarah N.
"Come, Captain Age"
Colcord, Lincoln
Coleridge, S. T.
Biographia Literaria
Kubla Khan
Christabel
Colvin, Sidney, "The Fine Arts,"
Content and form
Coquelin, E. H. A.
Corson, Hiram
Counsel upon the Reading of Books
Courthope, W. J., History of English Poetry
Cowley, Abraham, Pindaric ode in English
Cranmer-Byng, L., The Lute of Jade
Creative imagination
Croce, B.
Croll, Morris W.
Dances and poetry
Daniel, Samuel
Debussy, Claude
Dickens, Charles
Dickinson, Emily
Dolmetsch, Arnold
Drama
lyrical element in
dramatic monologue
Drinkwater, John
Dryden, John
Duran, Carolus
Ear, the, appeal to
Eastman, Max, Enjoyment of Poetry
Elizabethan lyric, the
Elton, Oliver W.
Emerson, R. W.
Enjoyment of Verse
Erskine, John
Euphuism
"Eye-minded" or "ear-minded,"
Fairchild, A. H. R., Making of Poetry
Feeling, and imagination
conveyed by words
Feet, in verse
Feminine rhymes
Figures of speech
Fine arts
"form" and "signficance" in
the man in
Firkins, O. W.
FitzGerald, Edward
Fletcher, John Gould
Form, in the arts
Fort, Paul
Free verse
four types of
French song in England
Fromentin, E.
Frost, Robert
Futurist poets
Gardiner, J. H.
Gates, Lewis E.
Genius and inspiration
Giovanitti, Arturo
Gluck, C. W., opera
Goethe
Goodell, T. D.
Gosse, Edmund, definition of the ode
Graphic arts and the lyric
Gray, Thomas
Greek poetry
Gummere, F. B., Handbook of Poetics
Hamilton, Sir W. R., quaternions
Hamlet
Hardy, Thomas
Hawthorne, Nathaniel
Wonder-Book
Scarlet Letter
Hearn, Lafcadio
Hebrew lyric, the
Hebrew poetry
Henley, W. E.
Herford, C. H.
Hexameters
English
Holmes, Edmond, What is Poetry?
Holmes, Justice Oliver Wendell
Horace
Horatian ode, English
Hudson, W. H.
Hugo, Victor
Images, verbal
selection and control of
visual
auditory
tactile
motor
Imagination, or imaginations
the poet's
and feeling
creative and artistic
poetic
lyric
Imagist poets
Imagist verse
In Memoriam stanza, the
Individualism in poetry
Ingersoll, Robert G.
Inspiration
James, Henry
James, William
an illustration from
Japanese lyrics
Japanese prints
Johnson, Samuel
Jonson, Ben
Keats, John
Kipling, Rudyard
La Farge, John, Considerations on Painting Lamb, Charles Landor, Walter Savage Lang, Andrew Lanier, Sidney, musical theory of verse Poem Outlines Latin poets Lee-Hamilton, Eugene Legouis, Emile, _Défense de la Poésie Française Leighton, Sir Frederick Lessing, Laokoon Lewis, C. M. Lindsay, Vachel "The Congo," "Literary" language Locke, John Lockwood, Laura E. Lopere, Frederic A. Lowell, Amy Lowes, J. L. Lyric, the field of classification definitions general characteristics objects of the lyric vision imagination expression relationships and types of lyrical element in drama and narrative and graphic arts Japanese and Chinese decay and survival Hebrew Greek and Roman of Western Europe the Elizabethan the Romantic present status of objections to Macaulay, T. B. Marinetti, F. T. Marquis, Don Masculine rhymes Masefield, John Masters, Edgar Lee Matthews, Brander Meredith, George Metre, and rhythm Midsummer Night's Dream Mill, John Stuart Millet, J. F. Milton, John Monroe, Harriet Moody, William Vaughn Moore, J. Robert Morris, William Moving picture Murray, Gilbert Music and poetry
Narrative poetry
Neilson, W. A.
Newbolt, Sir Henry
Nonsense-verse
Ode, the
Omond, T. S.
Orpheus and Eurydice, myth of
Page, Walter H. Palgrave, F. T. "Parallelogram of Forces, The" Pattern-instinct, the Patterson, W. M., Rhythm of Prose Pattison, Mark Peacock, Thomas Love Persian carpet theory of painting Pindaric ode, English Plato Play-instinct, the Poe, Edgar Allan "Poet, the" and other men his imagination his words Poetry some potencies of nature of and aesthetics an art the province of imagist Hebrew Greek and music three main types and dances of alien races See also Lyric. Polyphonic prose Pope, Alexander Pound, Louise Prosody and enjoyment Puttenham, George, Arte of English Poesie
Quantity
Racial differences
Raleigh, Prof. Walter
Raymond, G. L.
Real effects
Reed, E. B., English Lyrical Poetry
Renan, Ernest
Rhyme, as a form of rhythm
Rhys, Ernest
Rhythm, and metre
nature of
measurement of
of prose
rhyme and
Ribot, Th., Essay on the Creative Imagination
Ripley, W. Z.
Robinson, Edwin Arlington
Romantic lyric, the
Royce, Josiah
Ruskin, John
Russell, C. E., "Swinburne and Music,"
Saintsbury, George, History of English Prose Rhythm
Santayana, George
Schelling, F. E.
Scherer, Edmond
Scott, Sir Walter
Sea, a quiet, in the arts
Shackford, M. H.
Shakspere, William
Shelley, Percy Bysshe
Sherman, Stuart P.
Sidney, Sir Philip
Significance, in the arts
Size of poetic thoughts
Smith, L. W.
Snell, Ada F.
Sonnet, the
Petrarchan
Shaksperean
South, Robert
Space-arts
Spaced prose
Spectra hoax, the
Spencer, Herbert
Spenser, Edmund, the "poet's poet"
Spenserian stanza, the
Stanza
Stanzaic law
Stedman, E. C.
Stevenson, R. L.
Stewart, J. A., The Myths of Plato
Story, W. W.
Stress, in verse
"Stressers,"
Subjectivity and the lyric
Swinburne, A. S.
Syllabic principle of versification
Taine, H. A.
Tasso
Taylor, Henry Osborn
Teasdale, Sara
Technique
Tennyson, Alfred
Thinking without words
Thompson, Francis
Thoreau, H. D.
Time-arts
"Timers"
Tolman, A. H.
Tolstoy
Tone-color
Tone-feeling
Tynan, Katharine, "Planting Bulbs"
Verbal images
Voice-waves, photographs of
Walton, Isaac Watts, G. F. Watts-Dunton, Theodore Wells, Carolyn Whistler, James Whitefield, George Whitman, Walt Whitmore, C. E. Whitney, W. D. Whittling Wilkinson, Florence, New Voices Words, the poet's how they convey feeling as current coin an imperfect medium unpoetic embodiment of poetic feeling sound-values and meaning-values Wordsworth, William Wyatt, Edith