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