(a) The lyric poet
[(_α_) The poet himself supplies the principle of
combination. He is the focus of unity 214
(_β_) Spontaneity of result. Sings because he cannot help
it. His object himself. Self-respect. Pindar and Klopstock
(_γ_) Creative in dealing with personal experience. Goethe a
fine example]
(_b_) The lyric work of art
[(_α_) The unity of the Lyric. Springs from memory or vivid
association of poet. The formal unity of self-conscious
life. Mood must be defined in its concreteness, not tend too
much to generalization
(_β_) Nature of the progressive disclosure of content. The
principle of the Lyric is assimilation. Poems limited to
local description. Mainly a definition of emotional forces
made vital in objects as seen by the "inward eye." Episodes
permissible. Passionate intensity in its freedom
(_γ_) External form of the Lyric. Variety of metres. Varied
use of caesura. Strophes which admit of much alternation,
both as to length of line, and their rhythmic structure.
Musical sound of words and syllables. Free use of assonance,
alliteration and rhyme, especially the diversified use of
last-mentioned. Association with musical accompaniment]
(_c_) Types of the genuine Lyric
[(_α_) Hymns, dithyrambs, paeans and psalms. Personal
religious emotion. Greek treatment of chorus. Psalms of Old
Testament
(_β_) Personal life of poet the subject-matter. Not so much
the subject as the enthusiasm or personal note. Pindaric
Odes. Horace. Klopstock
(_γ_) The song as such. A field of blossom ever starting
anew. The Oriental and Western type. Anacreon. Protestant
hymns. Sonnet, elegy, epistle, etc. Dithyrambic emotion of
Schiller] 230