Chapter 26

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