v iii PR EFA C E

We h a ve in the s ec o nd p l a c e invit ed a n al mo st co n
, ,

s t a nt c o m p a ris o n be tween the ol d e r a nd the c o nte m po r a ry

p oet s I n thi s p o eti c a ge the t o u chst o ne o f the ol d is
.
,

the b est c rite ri o n f o r j u dg in g the new M o r eo ve r

.

s in c e new writ ers a ri s e while the s p a n o f li fe c o nti nue s

es s enti a lly the s a me—it i s n eces s a ry th a t e a ch g ener a tio n
sh o ul d dis c a rd s o m e o f the ve rs e a pp roved by it s p red e
“ ”
c es so rs as cl a s si c . Ou r o m is si o n o f p opul a r older
p o em s i s n eve rthel es s du e a l s o i n l a r g e p a rt t o the c o n
, ,

s t r a inin g li m it a ti o n s o f a n a nthol o g y o f the i ndu ctive

type . Still if the p r op o rtio n o f c ontem p o r a ry ve rs e
,

s ee m s t o o gr e a t o n e sh ould remembe r th a t c o nte mp o

,

ra n e it is s ec o nd o nly t o a b s olut e v a lu e i n det e rm ini n

y g
the a ppe a l o f a w o rk o f a rt A p o e m c a n t o n o futu re
.

ener a ti o n m e a n a s m u ch a s to the sym p a theti c con

g
te m p o r a ri es o f it s a utho r .

I t sho uld be r eiter a t ed he re th a t the s eve ra l hu n d r ed

p o em s in clud ed in thi s w o r k a re n ot o ff e red a s the sev er a l
hu nd red g re a test p o e m s in the E n gli sh l a n g u a g e C o n .

side r a ti o n s o f sp a c e o f p o ints t o b e illu st r a ted o f d iffi

, ,

c u l t ies o f s t ru ctu re h a ve c o m p elled u s t o o m it s ome p o e m s

th a t w e sho uld h a ve li k ed t o u s e W e b el ieve howeve r.

, ,

th a t a r e a de r o f c a tholic t a ste will find lit t le t o o bj ect t o

i n the sel ecti o ns . W e h a ve m et with s u ch willin g co
op er a ti o n f r o m th e p o e t s a nd p ublishe rs who own the
c opy ri ght s o f the included c onte mp o r a ry s election s th a t
the li st o f p oem s o ri g in a lly cho s en h a s h a d t o b e m odified
in l es s th a n a d o zen c a s es T he n eces s a r y o mis si o n s h a ve
.

n everthel es s b een we re g ret t o s a y s o m e o f the g r e a test

, ,

o f rec en t p o em s T o m enti o n bu t o ne in st a n c e M r J oh n
.
,
.

M a s efi el d a ltho u gh g en er o u sly g r a ntin g o u r o the r re

,
 PR E FA CE

q u est s declined t o
,
a uth o rize the u s e of h

The pl a n o f A n In t r o d u c t io n t o P o e t ry w :
by M r B e a ty At fi rst it w a s intended th a t
. .

sh o uld w r it e six ch a p te rs but ci rc um st a n ce ,

M r B e a ty f r om w ritin g m o r e th a n fo u r— Cl
.

IV VI I a n d VI I I Th e othe r ei ght a re by l\
, , .

Th e enti re b o o k h a s h oweve r been revis < , ,

a uth o r s and e a ch a s s u m es full res p o n s ibil

,

s electi o ns c ritic a l c o mm ents a n d er r o r s

, , .

W e ow e a g ene r a l o bli g a ti o n t o m a ny 0 1
l isted i n the B ibli o g r a p hy a n d t o the le o t i
f o r m e r te a che rs— esp eci ally tho s e o f C olu mbi a
T o o u r c olle a g u es P ro fes s o r s John H M < , .

M a ri e D H e mk e o f the E n glis h Dep a rt m ent

.
,

M etho di st Unive r s ity w e a re i ndebted fo r v a ,

c is m M is s H emk e h a s re a d the enti re m a nu s

.

o f it m o r e th a n o n c e a n d h a s a s si st ed u s i n
,

w a ys T o M rs B e a ty a n d M r s H ubbell W1
. . .

indebted fo r c riticis m a n d helpful s ugg es t ic

the c a s e o f M r s B e a ty f o r ve ry m a t eri a l a
.
,

p rep a rin g the m a nu s c ript fo r the p r es s .

S o u ther n M eth o dis t Un iver s ity ,

D a ll a s T ex a s, ,

J uly 2 7 1 9 22 , ,
 A C KN O WLE D G M EN TS

The ge n e r o u s c o ope r a ti o n o f p o et s a n d p ublishe r s h a s

m a de p o s sibl e the in clu s io n o f m a ny p o e m s which a re
still i n c opyri ght We wish t o exp r es s o u r g r a teful obli
.

g a t io n t o tho s e p o et s wh o h a v e a dded thei r per m i s si o n

t o th a t o f thei r p ubli she rs : M is s A m y L owell M rs , .

Jo s ephin e P resto n Pe a b o dy M a r k s a n d M es s r s J ohn , .

Go uld F let che r R obe rt F ro st Wilf rid Wils o n Gi b s o n

, , ,

R i ch a r d L e G a ll ien n e H a niel L o n g C hri stophe r M o rley

, , ,

E dwi n A rlin g t o n R obin s o n C a rl S a ndb u r g Sie g frie d

, ,

S a s s o o n a n d John H a ll Whee lo c k
, T o the f oll o wi n g .

p ublishers a n d o the r p e rs on s we a re i ndebte d f o r the u s e

o f p o e m s still i n c opy ri g ht

D A PPL ETON A N D C OM PANY

.

For Wi l l i a m C ul l en B r ya n t s To a Wa t erfow l Th e
’

,
” “

D e a t h of Linco l n Th e P oe t a n d p a r t s of
” “ “
,
Th an at op ,
” “ ” “
si s a n d Th e Pr a iries ; an d for E dmun d G os s e s S es ’

t in a t o F H . .

DO D D M EA D A N D
,
C OM PA NY
For A us t in D obson s ’ “
In Af t er D a y s
Th e P rodi ga l s ,
” “
,
“
Th e \ Va n d e re r
” “
V i t a s H in n u l e o
,
” “
A K iss
” “
Wh en , ,

I S a w You L a s t Rose ” “
J ocos a L y r a
,
” “
, A B al l a d of ,
”
a n d a s e l ec t ion from A rs V ic t r i x
“
H eroes , .

G EO RG E H D O RA N C OM PANY
.

F or J o y ce K i l mer s Trees
“ ’
.

xi
 A C KN O W L E D G M E N T S
D OUBL ED A Y, PA G E A N D C OM PA NY
For R i c h a rd Le G a ll i enn e s Th e E t ern al Wa y for ’ “

Rud y a rd K ip l i n g s
“
For A ll We H a v e a n d A re
’ ” “
Th e ,

Wh it e M a n s Burden ’ ” “
Recess i on al
”
Th e K i n g
,
”
, ,

D a nn y D ee v er Th e G ip s y Tr a i l ; for C h r i s
“ ” ”
an d ,

t o p h er Mor l e y s To a P os t O ffi c e Inkwel l ; a n d for

’ ”
-

Wa l t Wh it m a n s To a C er t a i n C i vi l i a n
“ ’ ” “
Wh en I H e a rd ,

t h e L e a rn d A s t ronomer A s Toi l some I Wan d e r d V i r

’ ” “ ’

,
” “ “ ”
D a re s t Th ou Now 0 S ou l 0 C ap
’

gi n i a s \ Vo o d s , , ,

t ain ! m y C a pt a i n To a Locomo tiv e in Wi n t er

“
an d ,
“ ”
To O l d A ge .

D UFF I E L D A N D C OM PA NY
For a s el ect ion from Fr a nc i s L e d w i d ge
’
s S o li l oqu y .

E P D UTTON A N D C OM PA NY
. .

For Wi l l a rd VVa t tl es s C reeds ’ “

an d S i e gfried s
' ’

S a ssoon
’
s
S on g books of th e Wa r
“ ”
-
.

H A RC OU RT B RA C E A N D C OM PA NY
,
“
For C a r l S a nd b ur g s A E F J o h n G oul d F l e tcher s
’

. .
’

E xit a n d B l a ke ; a n d for Lou i s Un t ermey er s Ques

“ ” “ “ ” ’

t i o n i n g L y di a
”
.

H A RP E R A N D B RO TH E RS
F or S w i n b urne s Th e G a rden of Proser p in e
“ ’

,
” “
A F or
s aken G a rden a n d A B ab y s F ee t
”
,
” ’

H E N RY HOL T A N D C OM PA NY
For R ober t F ros t s M end i n g Wa ll ’
and Th e Tu f t of
” “ ” “
F l owers ; a n d for C a rl S a ndbur g s ’
C h ic a go an d A
Fence .

HOUG H TON M I FFL I N C OM PANY

C oncord H y mn
“ ” “
F or E merson s Th e S n ow S t orm ’
-
, ,

Th i s S h in i n g Momen t ; for O l i v er Wendel l

“ ”
an d

Ho l mes s Th e L a s t Le a f a n d a s t an z a from Th e
“ ’ ” “

C h a mbered N a u ti l us ; for Hen r y Wa dsw o rt h Lon g

”

fe l l ow s H y mn t o th e N i gh t t wo sonne t s on D a n t e
“ ”
’

, ,

an d h i s t r a n s l a t ion s o f G o e t h e s
“
Wa nderer s N i gh t ’ ’

son gs for J a mes Russ el l Lowe ll s F or an A u t ogr ap h ” ’

 A CK N OW L E DG M E N T S x i ii
an d a p ort ion of t h e Ode Reci t ed a t th e H a r v a rd C o m
memor a t ion ; for J ohn G reenl e a f Whi tti er s S ki pp er
” “ ’

Te l l i n g t h e B ees a n d a se l ec t ion from

” “
Ire s on s Ride
’

, ,

S now B ound ; for Th om a s B a i l e y Al drich s Pa l ab r a s

“ ” “ ’
-

C a ri fi o s a s ; for L a urence B in y on s
” “ ”
For t h e F a ll en ; ’

“
for H D s ” “
. Ore a d ; for B re t H a r t e s Her L e tt er
”
.
’ “ ” ’

an d
“
Mrs J ud g e J enk i ns ; for J ose p h i n e P res t on Pe a
.
”

bod y s V a ni ty S a it h the Pre a ch er

’ ‘

,
for C l i n t on S c ol ’

l a rd s
’
In t h e S ul ta n s G a rden ; for J oh n G odfre y
” ’

S a x e s Wom a n s Wi ll ; a n d for Odel l S h e p a rd s C er

’ ” ’ “ ’

ta i n A meric a n P oet s .

M R J ULI A N R HO V EY
. .

F or Rich a rd H o v e y s Un m ani fes t D es t in y

“ ’
.

J OH N S ON PUB LI S H I N G C OM PANY Ric h mond V i r , ,

For H enr y Ti m rod M a gnol i a C eme t er y

’
s At .

M R M I TC H E LL K E N N E RL E Y
.

For E dn a S t V i ncen t M ill ay s El e gy .

’
for an e xt ra c t
from Wi tt er B yn n er s Th e N ew Wor l d ’ “
.
”

J O H N L A N E C OM PA NY
For Ru p e rt Brooke s Th e S ol dier
“
for Rich a rd Le ’

G all ienn e s Th e E t ern a l Wa y ; an d for Wi l l i a m VVa t

“ ’ ”

son s Wr itt en in M r S i dne y Lee s L i fe of S h a ke

’ “
.
'

s p e a re “
To C h ris ti n a R osse tti
,
” “
H i s Friends He ,

Lo v ed an d For M e t a p h ors of M an
” “
,
.

L I TTL E B RO WN A N D C OM PA NY
,

For E m i l y D ic k in son s A B ook a n d This Quie t

“ ” ’

D us t for L o rd D u n s a n y s Th e Worm a n d th e A n ge l
“ ”
’

an d Th e P r a y er of t h e F l owers for E dw a rd L e a r s ’

Th e Po bb l e Wh o H a s N o Toes for D a n t e G ab r i e l Ro s
“

s et ti s
’“
B a ll a d of D e a d L a d i es an d A S onne t i s a
” “

Momen t s Monumen t ; a n d for Ch r i s ti n a Rosse tti s

’ ” ’

“
When I a m D e a d M y D e a res t ”
, .

M R H A N I E L LON G a n d PO E TRY : A M A G A Z I N E
.

OF V E R S E
Fo r D e a d M en Te l l N o Tal es .
 A CKN OWLE DG ME NT S
TH E M A C M ILLAN C OM PANY
F or J oh n G ou l d F l e t c h er s B ro adwa y s C an y on
“ ’
for ’

Wi l fr i d Wi l son G ib s on s P re l ude ; for Th om a s H a rd y s

“ ” ’ ’

“
I n a Wood a n d H er In iti a l s ; for Wi l l i a m E rnes t
” “ ”

H en l e y s R om ance
“ ’ ” “
M a r ga ri t a e S orori
,
” “
V i l l a n e ll e , ,

In vi c t u s ; for V a c h el L i nds ay s A br a h a m L i nco ln

“ ” “ ’

an d

Wa l ks a t M i dn i gh t Th e E a gl e t h a t i s For go tt en
” “ ”
,
an d ,
“
On th e B ui l di n g of S p rin gfie l d ; for J oh n M as efi el d s
” ’

The Wes t Wi nd A C onsecr a t ion

” “ ” “
,
Th e Ya rn of ,

th e Loc h‘
t h ree sonne t s ( N ow Th e y A re
“

G one
” “
,I N ev er S ee th e Red R os e a n d B e w it h M e “
, ,

B e a u ty a n d a se l ec ti on from
“
Th e ‘Vi d o w in th e B y e
S t ree t ; for E d ga r L ee M a s t ers s C ome R e p ub l i c
” ” ’ “
, ,

A l e x a nder Th roc km o rt on G eor g e G r a y

“ ” “ ” “
an d
, J oh n ,

H anc ock O ti s ; for E dwin A r l i n gt on Rob i nson s The

” “ ’

M a s t er ” “
M r F l ood s Pa rty
, .
” “
A n Inscr ip t ion b y t h e
’

S ea ,
“
Th e D a rk H i l l s
” “
M on a dn ock t h rou gh t h e
,

Trees
” “
Fire l i gh t
,
” “
S ou v en i r
,
”
and a sel ec ti on from ,
“
B en J on son En t er t a ins a M a n from S t r a t ford ; for ”

Tenn y son s Th e S p l endor F a l l s Ri n g Ou t W i l d

“ ’ ” “
, ,

C ross i n g t h e B a r S wee t a n d
” “ ” “ ” “
B ell s ,
To t h e Queen , ,

Low ”
,
“
Ul y s ses ”
,
“
S i r J oh n Fr a nk l in
” “
To V i r gi l
”
, ,
“ “
B re a k B re a k B re a k a n d F l ower in t h e C r annied
, , ,

Wa l l ; for S a r a Te a sda l e s I S h a ll No t C a re
” “ ’ ” “
Wi s ,

Th e L a m p ; for Rab i n d ran a th Ta go re s

“ ”
dom , an d
’

Pr a y er for Ind i a ; for Wi ll i a m Bu t l e r Ye a t s s

“ ” “
Th e
’

La ke I s l e of In n is f re e ” “
Wh en You a re O l d an d G r a y
,
”
,

Th e L a nd of He a r t s D es i re ; a n d for
“ ”
a n d S on g from
’

“ ”
J ess e J a mes from J oh n A L om a x s C o w b oy S o ngs
’
. .

TH E M A N A S P RE S S R och es t er N Y , , . .

For A de l a ide C rap s ey s Tr i a d Th e Wa rn i ng

” “ ’

, , an d
“
On S e ein g VVeathe r— be a t en T rees .

JOH N P MO RTON A N D C OM PA NY Louisv i ll e

.
, ,
Ky .

For Wa l t er M al on e s A br ah a m Lincol n
“ ” ’
.

M R J O H N MU RRA Y
.

For Ro b er t B ri d ge s
’
s
“
Wh o Bu i l ds a S hi p .
”
 A CK N O W L E D G M E N T S xv
L O WE LL a n d TH E N EW REPUBL I C
w h ic h a pp e a red in t h a t m aga z in e fo r D e
1 9 20 .

?
C UN D
1 a S t t ion of t he M e t ro
a .

N E R PUB L I S H I N G C OM PANY
1 in
”
M i ll er s Wes t w a rd
’ “ ”
Ho !

5 , G REE N A N D C OM PA NY
w L an g s ’ “
B a l l a de of Th eoc ri t us in Win t er
S ou t h ern C ross
”
de of th e .

A M S S ON S
'
’

“
M c C rae I n F l anders Fiel ds
’
s .

SC R I B N E R S S ONS
’

y
C u l er Bunn e t A Pi tc h er of Mi gnone t e
’
s “
t
a
,
Tw o , Th ree for E u gene F e l d s Th e
’
i ’

i t H or a ce
”
; for S idn e
“
L a nier s The S on g y ’

”
t t ah o oc h e e ; for E dw n A r l in g on Ro b in son s i t ’

”
e r ; for A l a n S ee er s
g
“
I H a e a R ende z ous ’
v v
t “
for Ro b er Lou s S e enson s Requiem ; ”
i t v ’

v a n D ke s
“
y ”
Tenn son ; a n d for J o h n H all
’

y
“
Ear h t .

K A . S TO K E S C OM PANY
Bur gess s Th e Pur p l e C o w ; a n d for A l fred
’ “ ”

Q io b e
” “
Uni ty
,
” “
Th e Hi gh w a ym a n
”
,
“
K il ,

Ta l es of th e M erm a i d Ta vern
“
ng from a ,

A s t rid
“ ” “
a n d S on from D r a ke
,g .
 C O N TE N T S

P RE FA E C

(01

TH E S ON G

TH E D U PLE ME TERS

TH E TR I PLE ME TERS

IAM B IC PE N TA M ETER

TH E S O NN E T

TH E C O N TE M PORAR Y POETs

II B IB L I O RAPH Y
. G

GE N ERAL I N DE x

I N DE T O F I R T L IN ES
X S
 L I ST OF PO E M S
TH E S T UDY O F P OE TR Y
W at son Wi l l i am , L ac h ri mw
. M -
as a i u m
(in p rt )
a

D i ck inson Emi y B k l A oo

(i p it )
.
,

Whitti r J ohn G r n e ,
B ee l e a f : u rn s n a
'

B ry nt W i l l i m
a , n t a C u ll e Th e P o e .

F l t ch r J o hn G ou d B k
e e , l : la e

TH E SON G

Fost r S t ph n C l l in O ld F l k t H m
e , e e o s : o s a o e
S w i g L w S w t Ch i t
n o ,
ee ar o

B rns R ob rt A f t W t r
u , e . on a e

B rns R b rt A l d L g S y
u , o e : u an ne
D ou gl s Wi ll i m
a d L d y J oh n S co t t A
, i L i
a , an a . nn e au r e

S h k sp r
a e “i ll i m H k H r k th L rk
e a e, l
a : ar , a e a

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,

o en on o e a

M i f A ll T
.
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M oro Thom s B l i
e, h E d i g
a : e e ve e os e n ea r n
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on n a s

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a , a e : a a va
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e a d Ki d ly L i ght
, e : ea , n
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e -
, a c c : e a an e a n n er

S mith S m l F r nc i s A m r i
, a ue a : e ca

C r y H nry G d S
a e , th Ki g
e . o a ve e n

J h B r w B dy
o n o n s
’
o
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e, u a f th R p b l i a : e a e n o e e u c

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a a , a d e e . a an

S t v ns n R ob r t L
e e o is R q i m, e ou : e u e
Kipl ing Ru dy rd Th Gip y Tr i l
, a : e s a

B urns Ro b rt J h A d r
, e : o n n e s on
Em rson R l ph W l d o C
e , r d H ym a a : on c o n
S h ll y P rcy Byss h
e e , T N ig h t e e: o
T nny s n A l f r d C r
e o i g th B, e . os s n e ar

T nny s n A l f r d S w t
e o d L w e : ee an o
W i l l i m B ut l r S g f rom Th L d d f
,

Y tsea , a e : on e n o

H rt ea D ir
’
s es e

T HE D U PLE ME T ERS
Byr n L ord S h W l k i B ty
o , : e a s n ea u

J nson B H ym t D i
o , (i p rt )
en : n o a na n a . ’

L on gf ll w H ry W d s w rt h H i w th (i p rt )
e o , en a o . a a a n a
Bl k a Wi ll i m Th Tig r (i p rt )
e, a : e e n a .
 L I S T O F POE M S

S co tt , S ir W al t er : H un ti ng S on g
H o u sm an, A l f re d E dw r d a : R ev e l l e i (in pa rt )
B l k W il l i m S g f I
a e, I t d ti a : on s o n n o c en c e : n ro uc on
H rr i k R b r t Up
e c ,H i D p rt H o e : on s e a u re enc e

S wi nb urn A l g rn n C h rl s Th G e, d f Pr r e o a e : e ar en o os e

p i ne

W r d sworth W il l i m Th S lit ry R p
o , a : e o a ea er
W r d swort h W i ll i m I W d d L
o ly , a : an e re on e .

Em rs n R lph W l d Th R h d r (i p rt )
e o , a a o: e o o a n a

W l l r E dm n d G L ly R
a e , u : o, ov e os e
B ry nt Wi ll i m C ll n T W t f w l
a , a u e : o a a e r- o

B ry nt W ill i m C l l n Th t p i (i p rt )
a , a u e : an a o s s n a

H ol m s O l iv r W n d l l
e , Th C h mb d N ti l e e e : e a/ ere au us

H nl y W i l l i m Ern st I i t
e e , a e . nv c u s
A rn l d M tt h w D ti y
o , a e : es n

Kipli ng R u dy rd Th Wh it M , B rd a : e e an s
’
u en
D yl
o S i F r nc i s H s tin gs C h rl s Th P r i t
e, r f a a a e . e va e o
‘

th B fl
e u s

W r d sw rth W i ll i m O d t D ty
o o , a : e o u
L v l
o Ri h rd T L
e ac e , t G i g t th W r c a : o u e a s a, on o n o e a s

B rns R ob rt A B d E p it p h
u , e : ar
’
s a

Kingsl y Ch rl s Y g d O ld
e ,
a e : ou n an

G l d smith O li v r Wh L ly W m S t p t
o , e : en o ve o an oo s o

N y s A lf r d
o e , Ni b e : o e
K ts J h Od
ea , Gr i U o n: e on a ec a n rn
T nnys n A l f r d Th S p l d r F ll
e o , e : e en o a s

T nnys n A l f r d R i g O t Wi l d B ll
e o , e : n u e s
T nnys n A l f r d T t h Q
,

e o , e : o e u een
va n Dy k H nry T y e, e : en n s on

B um nt F r n i s O th T m b i W tm i nt
’

ea o , a c : n e o s n es s er

A bb y e

T nnyson A l f r d T Vi g i l
e , e . o r

P i rp nt J hn Th
e o B l l t“ , o : e a o
Mi l l r C in inn t s H in ( J q
e , l V tw
c d H a u e e oa u1 n es ar o
H v y R i h r d U m i f t D ti y
o e , c a : n an es es n

Ki pl ing Ru dy rd F A ll W H , d A a : or e a ve an re
B rns R b rt B A dd hi A rm y
’
u , t o e t B : ru c e s ress o s a an

no c kb u rn

H n l y W i l l i m Ern st R m
e e , a e : o a n ce

Tim d H nry A t M g l i C m t ry
ro , e : a no a e e e
R oss tti C h r i s ti n
e G r gi S g
, a eo na : on

T sd l
ea S r a e, I S h ll N t C a a: a o a re
T sd l
ea S r a e, Wi d m a a: s o
Whitti r J ohn G r nl f S w—
e ,B d ( p rt ) ee ea : no ou n In a .

S c tt S i W l t r Th L y f th L t Mi t r l (i
o , r a e . e a o e as ns e n
p rt ) a .
 L I S T O F PO E M S

~ n ni
Lo g, H a el : D ea d M en Te l l N o Ta l es
n w
L o g f e ll o , H enry d swort
Wa h : H y m n t o th e N i gh t
P oe , Ed r n
g a A ll a : To O n e i n P a a s e r di
Col e ri d m y or K
ge , S a ue l Ta l : a b la han K
y rcy Byss
S he ll e , P e he : To a S yl a k rk
TH E T R I PLE ME TERS
Byr n L ord Th D t r ti f S
o , h ri b : e es uc on o en n a c e
Byr n L rd 0 T l k N t t lif
o , o : a o o e
C wp r W i ll i m Th P p l r Fi l d
o e , a : e o a e
S w i n b urn A l g rn n C h rl s A F r k e, G rd e o a e . o sa en a en
W l f C h rl s Th B i l f S i J h M r
o e, a e t : e ur a o r o n oo e a

C r o u n na
B rown i n g R ob e rt P p i , . ro s ce

S co tt S i W l t r C r
,
h r a e : o on a c
B rownin g R b rt Th Y t t h S p ri g
, o e : e ea r s
’
a e n
S h ll y P r y By ssh
e e , Th C l d e c e: e ou

H o d Thom s Th B i dg
o , f S ig h a : e r e o s

B rowning R ob rt Th L t L d r ,
e : e os ea e
N oy s A l f r d U ity
e , e . n

N y s Alf r d S
o e , Wi M e : even se en
L on g f l l o w H nry W d sw r th E
e g l , (i n p rt ) e a o : va n e ine a

L n i r S i d n y Th S
a e , g f t h C h tt h he : e on o e a a oo c ee
Byron L r d Th B i d f A by d (in p rt )
, o : e r e o os a

C o l ri d g S m l T yl r Th K ig h t T mb
’
e e, a ue a o : e n s o

O s h u ghn ssy A rt h r W i l l i m E d g r O d
’
a e , u a a . e
T nnys n A l f r d B
e ok B k Br k , e : re a ,
re a , ea
Y t s W i ll i m B t l r Th L k I l
ea , f I i f
a u e : e a e s e o nn s ree

M a sefi l d J hn Th e W t Wi d , o : e es n

IAM BI PE N TA M E TER
C

Em rs n R lph W l d o Th i S h i i g M m t
e o , a a : s n n o en
M rl ow C h r i st op h r D t
a e, F t (i n p rt ) e : oc o r a us u s a

S h k sp r Wi l l i m A Mi d m m r N ight D r m ’
a e ea e, a : su e s ea

(i p r t )n a

S h k sp r
a e W i l l i m H m l t (in p r t )
e a e, a . a e a

S h k sp r
a e W i l l i m O t h ll (in p rt )
e a e, a : e o a

Fl tc h re e H ry V I II (i n p rt )
, en a
M i l t on J o hn C m , (i n p rt ) : o us a

Mi l ton J ohn P d i L t (i p rt )
, : a ra se os n a

Wor d swort h W i ll i m Th P l d (i n p r t ) , a . e re u e a .

K t s J hn H yp i (i p rt )
ea , o : er o n n a .

L n d or W l t r S v g
a T R b rt B r w i g
, a e a a e: o o e o n n
T nnys n A l f r d U ly
e o e s s es

B ry nt Wi ll i m C ll n Th Pr i r i (inp rt )
, .

a a u e : e a es a

Em rson R lp h W l d Th S w—
,

e , S t rm a a o: e no o
R ob i nson E d w i n A rl i n gt n B , J E t rt i o : en o n s on n e a ns a

M f r m S t r t f r d (i n p rt )
an o a o a
xxii L I S T OF PO E M S
CH APTER
Frost o rt M en d in g Wa ll
, R be :

D o b so n ustin A V ic tri (in p rt )

, A : rs a: a

H om r eI l ia d (i n p a rt )
: Th e

C ap sey A d l i d e O n S ee i n g We the r—
r , b e t en Trees
e a : a a

C h uc e r G eo ff r y P l g u e (i n p rt )
a , e . ro o a

D ry d n J o hn L i ne P r i n t e d u n d
e , t h e E n g r ved Por
: s er a

t it f Mi l t
ra o on
C riti i m (i np rt )
.

P op Al x
e, d r E y e an e : ssa on c s a

K t s J hn S l p d P t y (i p rt )
ea , o . ee an oe r n a

B row i ng R b rt M y L t D h
n , o e : as uc ess

F rost R ob rt Th T f t f F l w r e e u o o e s
t y Ch r h
.
,

G r y Thom s E l gy Writt i
a , C a : e en n a ou n r u c

y rd
a

R ob i ns n E dw i nA r l in gt n M r F l d P rt y
’
o , o : oo s a

F it g r l d E dw r d Th R b i y t f O m r K h yyd m
.

'

z e a , a . e u a a o a a

(i n p t ) ar

B yr n L or d Th V
o , f J dgm t (i n p rt ) : e i s i on o u en a

M orri s W i l l i m A A p l gy
, a : n o o
M ase fi ld J o hn The Wi d w , th B y S t r t (i n : e o in e e ee
p rt ) a

S p ns r E d m n d T
e e h F , Q (i n p rt ) u : e a eri e u ee n e a

Th omson J m s Th C t l f I d l
, (i p rt )
a e : e as e o n o e n ce n a

K t s J hn Th E f S t A g (i p rt )
ea , o : e ve o n es n a

Byr n L rd Ch i l d H l d P i lg rim g (i p rt )
.

’
o , o : e a ro s a e n a
S h ll y P rcy By ss h
e e , O d t th W t Wi de e: e o e es n

Wor d swort h Wi lli m O d I ti m ti f I mm r

, a : e: n a on s o a
t l ity
a

TH E BAL D LA

Lo rd
R a nd a l
Th e Tw a C o b es r i
tri k
S ir Pa c S p ens
F ir H l
a e en
J J m
es s e a es
K th i J
a ar n e a flray
'

S tt Si R
co r
’
a l te r : L ochi nva r
i
,

K ipl i i g, R u a : D a nn
y D eever dy r d
M asefi eld , oh : Th e Ya n o f th e L o ch chray
“
J n ”
r A
K ts J o n
ea , B
h : La e ll e D a m e s a n s e c Mri
itti r J n G r n
Wh e , oh ee l e a f : S p p e I re s on s R i e
’
ki r d
N oy s r i
e , A l f ed : Th e H
g h wa y m a n

TH E O NN E T
S
R oss tti D nt G b r i l A S
e ti M m
, a e a e : o n ne s a o en t s
’
M on
a m t en

M i l t on J ohn Wh I C id r
, : en o ns e
K ts J ohn O Fi r t L k i g i t C hp m
ea , : n s oo n n o a an s
’
H om e r
xxiv L I S T O F POE M S
PA E
G

D ob son, A us tin I A f t r D y : n e a s
D ob s on, A u s tin Th W d r r . e an e e
D ob son, A us tin Vit H i l : as n n u eo

S w in b rn A l g rn C h rl s A B by F t ’
u e, e on a e : a s ee
D o b son A s ti n A Ki u : ss
B unn r H nry Cuyl r A P it h r f Mig tt
,

e , e e : c e o n one e
D ob son A us ti n Wh , I S w Y L t R . en a ou as , os e
H nl y W i ll i m Ern st Vi ll
e e ,
ll a e : an e e
S coll r d C l i n t n I th S l t G rd ’
a , o : n e u an s a en
Goss E dmun d S ti t F H
e, : es na o . .

L IGH T ER EV S

H rt
a F r nci s B r t H L tt r
e, a e : er e e
A l d r i h Th om s B i l y P l b r
c C in a a e a a as ar os a s

g (in
, .

M oor Th m s Th Ti m I
e, L t i W
o a : e e
’
ve os n o oi n
p rt )
a .

H rr i k R b rt T th Vi rg i
e c , t
o e M k M h f . o e n s, o a e uc o
Ti m e
Fi ld E g n
e Th T r th b u
u t Hr e e : e u a o o a ce

U t im y
,

n e L ou i s Q ti i g L y d i
e e r, : u es on n a

H o lm s O li v r W n d ll Th L t L f
e , e e e : e as ea
L oc k r L mps n F r d ri c k M y Mi t
e - a oB t , e e : s r es s s
’
oo s

P b dy
ea o J s p hin P r t on , V ity S ith th
”
o e e es .
“
an ,
a e

Pr h eac e r
Ch il d f Q lity Fi Y r O ld
.

P r i or M tt h w T
, a e : o a o ua ve ea s
B nn r H nry C uyl r O Tw Thr
u e , e e :
“
n e, o, ee
”

B yron L or d T Th m, M r : o o as oo e
Pi n kn y E d w r d C o t
e , A H lt h a a e: ea

B ur g ss G l tt Th P p l C w
e , e e : e ur e o
L r E dw r d Th P b b l Wh H N T
ea , a : e o e o as o oes
H oo d Th om s F it h l
, N lly G r y a : a es s e a

Th Y e g L dy f ou n a o

C ry Ph b
a , Wh L ly W m
as e : W t F en ov e o an an s a avor

H rt F r nc i s B r t M
a e, J dg J k i
a e : rs . u e en ns

L i
o nes , R uss l l H i ll i r d O Mg i S e t a : n a a az n e on n e

B wn
ro Wi lli m O th C nt
e, D w g r f P m
a : n e ou es s o a e o e
br k o e
Pop A l x nd r
e, E p it p h I t d d f
e a Si eI . a n en e or r s aa c

N wt e on

T nnyson A l f r d S i J h F r k l i
e ,
O th C e : r o n an n: n e en o

t p h i W tmi t r A b b y
o n es ns e e
R b i ns n E dwi n A rl i n gt on A
o o , I ip ti by th S : n n s cr on e ea

G y J hn L i f i
a , o J t : e s a es

R och s t r E rl f E p it p h
e e C h rl
, II
a o : a on a es

B urns R ob rt E p it p h
, Jh D e : a on o n ov e

M c l y L or d A J b it E p it p h ’
a au a , : a co es a

Tin k r Ch unc y B B
e ,
l Cr a I ip ti e . : ru s s e s oss ns c r on
 L I S T O F PO E M S xxv

Pr i or M tth w To H i S ou l a e : s

ic k inson E m i ly Th i Q u i t D ust
,

D : s e

G oe t h J oh nn XVol f g n g l V nd e r s N i ght o ngs

,
‘
e, a a : a er s

L n d o r W l t r S v g O n H is S ev nty fi / th Bi rt hd
a a e a a e: e - ay

L n d o r W l t e r S v ge O n D e t h
,

a a a a : a

L n d or W l t e r S av a g Wit h P et r r h S o nn et s
,
’
a a e : a c s

P r i or M att h w Wr itt e n i n L d y Mi lt on
,
'

e : a a s
,

H a r dy Thom s H e I n iti l s a : r a

P op A l ex n d r I A m H i H igh ne s D g t K ew
,
’
e, a e : s s o a

W at son S i W i ll i am H i F r i en d s H e L ove d
, r : s

B reret on M rs J n On B u N s h P i tu e
, . a e: ea a
’
s c r

C hes t e rfi e l d E rl o f Im m o rt l N ewt on , a a

S xe J o hn G o d f rey Wom n s Wi ll
’
a , : a

W att l e s Wi ll r d C r ee d s, a :

H unt L e i gh R on d e u
, : a

C h ri s t phe r To P o t O fii e I n kw e ll o . a s -
c

Byron L ord L in e W itt en in n A l bu m t M lt a

, : s r a a a

L ow ll J mes R uss el l F
e , n A u t og r p h
a : or a a

L owell J m s R uss ll T Th os e Wh o D i e d
, a e e : o

Gil d e r R ich r d \ V ts on N v i n o A rm ies

, a a : a es r

W t s on S i Wi ll i am To C h i ti n R o etti
a ,
r : r s a ss

W hitm n W l t To O l d A g e
a , a :

Poun d E r ,In S t ti on o f t he M et r o
z a: a a

C rap sey, A d l id e a e: Tr a i d
C ra p s ey, A d l id e a e: The Wa rn i ng
ustin J o L y ra
,

D b o son , A : c os a

F REE VERSE
C ll i ns W i ll i m O d t E
o , i g a : e o ven n
Ni t t h P l m (i p t )
n e e en sa n ar

T sd l
ea S r Th
a e, L mp a a: e a

A rn l d M tt h w Ph i l m l
o a e : o e a

M s t rs E d g r L A l d r Thr k m rt
,

a e , a ee : ex a n e oc o on
D ns ny L r d Th W r m
u a d th A g l
, o : e o an e n e

S wi nb urn A l g rn n C h rl s T W l t Wh itm
e, i e o a e : o a an n
Am i (i p rt )
e r ca n a

W hitm n W l t T a C rt i Ci i l i
, a : o a e a n v an

Wh itm n W l t Wh I H r d th L
a , d A t a : en ea e ea r n
’
s ro n o
m
W h itm n Wl t A Ti l m I W d d Vi rg i i
er
’ ’
a , a : s o so e an ei n a s

W d oo s

Wh itm n W l t D a t T h N w 0 S, l a : a res ou o , ou .

H nl y W i ll i m Ern st M m g it
e e , S mi a e : ar ce or

By XV i t t
n n e r, Th N w W r l d (i p r t ) er : e e o n a

M st rs E d g r L C m R p b l i
a e , a ee : o e, e u c
S n d b r g C rl A F
a u , a : en ce
F l t ch r J hn G oul d E it
e e , o : x
xxvi L I S T O F POE M S
PA
GE

P OE M S S T UD IED B Y THE M E
P oe,E d gar A ll an Th e S le ep er :

Burns Rob rt H ig hla n d M ry

, e : a

Wor d sworth W i l li am S h e D welt , : am o n g the Un tr d

o
Wa ys
d en
L an d or W al t er S av age : Ros e Ay lm er
,

Byron Lo rd : Oh ! S n a t ch d A way i n B eau ty s

,
’ ’
Bl oo m
rnol d M tt h w R qui e t
A , a e : e s ca

Wh itti r J ohn G re nl a f Tell in g th e B ees

e , e e :

M i ll ay E d n S t Vi nc nt E l egy
, a . e :

M l on W l t r A b r h m L i n o l n
a e, a e . a a c

Whitm n W l t 0 C p t in ! m y C p t in !
a , a : a a a a

B ry nt W i ll i m C u l l n Th e D e th f L i n o ln
a , a e : a o c

L owell J m s R uss l l O d e R e it ed a t th e H rv rd
, a e e : c a a

C o m m em ti on (in p art ) o ra

R ob inson E dwi n A rl i n gt on Th e M t er , : as

L i n d s y V c h l A b r h m L i n o ln W l k
a , t Mi dn i gh t
a e : a a c a s a

Wa t son S i Wi l l i m F o M et p h o s o f M n
, r a : r a r a

M o rri s W i ll i am A G r d en b y th e S e (i n p rt )
, : a a a

Tennyson A l f r d F l ow e r i n th e C r n n i e d W ll
, e : a a

Wor d sworth Wi l l i m Ti n t e n A b b y (in p rt ) , a : r e a

Wor d s wo rt h Wi ll i am E l eg i S t n , : ac a za s

Poe E d g r A l l n S o n net— To S i en e (i n p ar t )
, a a : c c

Tennys on A l fre d I n M em o ri m (i n p ar t )
, : a

A rno l d M att h w D ove r B eac h

,
e :

H a r dy Th om a s I n , Woo d : a

K ilme r J oyce Tree , . s

Wh el c k J ohn H ll E rt h
e o , a . a

B y ron L or d C h i l d e H ro l d s P i lg r ima g e (in p a rt )

’
, : a

H a rt e F r nc i s B re t S n F r n is o (i n p rt )
, a : a a c c a

Wor d sworth Wi l l i m C o m p os e d u p on Wes tm i n ter , a . s

B ri d g e
B rowni ng R ob e rt U p t Vi l l —D own i n th e C ity
, : a a a

Fl etch r J ohn G oul d B ro dw y s C nyon

e , : a a
’
a

S n d b ur g C rl
a Ch i g , a . ca o

W hitm n W l t T a L o m otive i n Wi nt e r
, a : o a co

L in d s y V h l O n th e B u i l d in g of S p ingfiel d
a , ac e : r

L owel l A m y Te : xas

D un sa ny L o r d Th e P r yer of th e Fl ow ers
,

, : a

TH E C O N T E M PORAR Y P E s O
'
r

Kipl ing Ru dy r d The King , a :

Y e t s W i ll i m B u t l r Wh n You A e Ol d
a . n d G ra y
a e : e r a

M asefi el d J o hn A C ons e ra ti on , : c

G b so n W l f d W i l son P r l u d e
1 , 1 r1 : e

S h ep a r d O d l l C er t i n A m eri n P oets
, e : a ca

L e G l l i enn R i c h r d Th e E t ern l W y
a e, a : a a

(M rs R i ch a r d A l d i n gt on ) O re d
“ ”
H D . . . : a
 L I S T OF P OEM S

i
Rob nson, E dwi n A l r in gt on The D r k H i l ls
: a

i
R ob nson, E d wi n A l r ingt on M on d no c k Th rough
: a th e
Tr ees
Lind s y V ch l Th E g l Th t I F rg tt
a , a e : e a e a s o o en
M s t rs E d g r L G rg G y
a e , a ee : eo e ra

M s t rs E d g r L
a e J h H
, k O ti a ee : o n a n co c s
T gor
a R bi de, th A P r y r f a I di
n ra n a : a e or n a
M or d unt M j or Th om s O
a , S d S d
a a . : ou n , ou n th e
C l ria on
Kip l ing Ru dy r d R i l a e c es s on a
w it h D t h
.
,

S g r Al n I H
ee e , R d a : ave a en ezvou s ea
L d wi d g F r nc i s S lil q y (i p rt )
e e, a : o o u n a

Biny n L ur n F th F ll
o , a e ce : or e a en
S ssoon S i g f ri d S
a g b, k f th W
e e : on -
oo s o e ar

N y s A l f r d Ki l m y
o e , e : an

S an d b ur g, C arl : A . E . F .
 INTRO DUCTIO N TO PO ETR Y

CH A P TE R I

TH E S TUDY O F P O E TR Y

Th e se a son s c h a n ge , th e winds t h e y s h if t an d veer ;

Th e gr a ss o f y es t er y e a r
I s de a d ; th e b i rds de p a r t t he gro v es dec ay
,

E m pi res d i s so l v e a n d p eo p l es d i s a pp e a r
S on g p a sses no t a w a y .

C a pt a i ns a n d con querors l e a v e a l i tt l e dus t ,

A n d k i n gs a dubious l e g end of t h eir re i gn ;

Th e swords of C ws a rs t h e y a re l ess t h a n rus t
,

Th e p oe t do t h rem ain .

Wil l ia m Wa ts o n : L a chrimce M a s a r a m ”

“
TH E futu re o f p o et ry i s i mm en s e , be c a u s e in p o et ry ,
Whe re it i s w o rthy o f it s hi gh destin ies o u r r a ce a s ti m e
, ,

”
oes o n will find a n eve r s u r e r a n d s u re r st a y We can
g , .

thi nk o f n o b ett e r wa y o f begi nnin g a p o eti c a nthol o gy

th a n b y q u otin g thi s openi n g s enten c e o f M a tthew
A rn old s I nt r o du cti o n t o W a rd s E nglish Po et s The se
’ ’
.

wo rd s a re a s t ru e t o d a y a s they we r e h a l f a centu ry a go
“ ”
wh en th ey wer e w ritten F o r P o et ry a s Wo rdsw o rth
.
,

“ ”
s a id i s a s i mm o rt a l a s th e he a r t o f m a n
, I f p oet ry i s
.

n o t i m m o rt a l it i s a t a n y r a t e m o r e n e a rly s o th a n a n y
,

thin g els e m a de by m a n N o o n e in fi ne c a n a ff o rd t o
.
, ,

re m a i n i ndi ff e rent t o thi s gr e a t a nd i mp e ri sh abl e p o ss e s

s i o n o f the r a c e .
2 I N TRODU CT IO N T O PO E TRY

We a re h owever l ivin g i n a ra pidly ch a n gin g a ge

, ,

which h a s littl e p a tien c e with a nythi n g bel on gin g t o the

p a st . Old ide a s old c o nventi on s old st a nd a rds s ee m
, ,

t o b e p a s sin g a w a y Altho u gh st r a n gely en o u g h n o o n e

.
, ,

s u ggests th a t p o et ry i s s o m ethin g we h a ve o ut g r own the re ,

a r e never theles s m a ny who a s s e rt th a t we h a ve o ut g r own

m u ch o f the p o et ry whi ch p recedin g gene r a ti on s th ou ght

g r e at T.hi s i s n a tu r a l a n d inevit a bl e a n d n o o ne n e ed ,

re g ret it We d o n o t l o o k fo r ex a ctly th e s a m e thin g s i n

.

p o et ry th a t o u r Vi ct o ri a n
g r a ndp a rent s s ou ht
g f o r o ur ,

vi ew o f life i s di ff e rent fr o m thei rs E a ch a ge m u st give .

it s own a nswe r t o the rec u r ri n g q u esti on t y re a d ,

p oet ry ? Altho u gh the a n swe r which w e g ive t o d a y i s n o t

ess enti a lly di ff e rent f ro m th a t g iven l on g a g o by A ri st otl e
o r by S ir Phi lip Sidney it i s i ndi spen s a ble th a t we a n swer
,

the q u esti o n f o r o u rselves even tho u g h we m a y m e rely

,

t r a n sl a t e i nt o m o de rn te rm s wh a t olde r a p ol o g ist s h a v e
s aid .

T h r o u gho ut thi s ch a pte r a n d t o a l es s deg r ee th ro ugh, ,

o u t the enti r e b o o k w e sh a ll q u ot e ext ensively f r o m wh a t

,

the p o ets the m s elves h a ve h a d t o s a y a b o u t thei r a i m s

a n d m etho ds Th e bes t inte rp r ete r i s the p o et hi m s el f
.
,

p a rticul a rly i f he b e l i k e A rn old C ole ri dg e P o e o r A m y

, , , ,

L owell a gifted c riti c a s well

, .

M a ny a re the m otive s whi ch indu ce m en t o r e a d b oo k s .

In the p r ef a ce t o hi s n ovel Pi erre e t J ea n Guy d e , ,

“
M a up a s s a nt w r ote : The publi c i s c o m p o sed o f n u m e r o u s
g r o up s who s a
y t o u s [ w r ite rs
] : C o n s ol e m e — a m u se
‘
,

m e —m a k e m e s a d — m a k e m e s enti m ent a l — m a k e m e
, , ,

d r e a m —m ak e m e l a u gh — m a k e m e t rembl e — m a k e m e
, , ,

weep — m a k e m e thi nk
, B ut there a re s o m e ch o s en s pi rit s
.
’
4 IN TROD U CTI O N TO P O ETR Y
”
of St A g nes
. O r a g a in w e tu rn t o exte rn a l n a tu re a s
.
, ,
“ ” “
did Ke a ts in hi s Ode t o a N i ghtin g a le On the viewles s .

”
Win g s o f P o esy we m a y with him , ,

F a de f a r a w ay disso l v e a n d qui t e for ge t

, ,

Wh a t t h ou a mon g th e l e a v es h a s t n e v er known ,

Th e we a r i ness th e fe v er a n d t h e fre t
, ,

Here w h ere men s it a n d h e a r e a ch o th er gro a n

, .

E mily Dic k in s on a N ew E n gl a nd p o et who s e w o r k

, is t o o
little k n own h a s a dmi r a bly exp res sed the m o o d in
,

we p refe r the p o et ry o f r o m a nce .

A BOO K

Th ere is no fr i ga t e l i ke a book ,
To t a ke us l a nds a w a y,
Nor an y coursers l i ke a p age
O f p r a nc i n g p oe t r y .

Th i s t r a v erse m a y t h e p oores t t ak e
With ou t o pp ress of t o l l ;
How fru ga l is th e ch a r i o t
Th a t be a rs a h um a n sou l !
E m il y D ic kin s o n (1 830 1 886 ) -

B ut there is a m o o d i n which we tu rn t o po et ry of a

di fferent kind Amy L ow ell h a s s a id

.
,

A l l b ooks ei t h er dre a ms or swords

a re , ,

You can cu t or y ou c a n dru g w ith words

, ,
.

We d o n ot a lw a ys wi sh t o es c a pe li f e ; we o ften wish t o
le a rn m o re a b o ut it T he p o et c a n show u s the p oet ry
.

l a tent i n even the m o s t p r o s a ic s u r ro u n din g s A n o l d .

! Co pyri gh te d b y L itt l e B ro wn and Comp any

3
, .
 TH E S TUD Y O F PO E TRY 5

iy who wa s l o o ki n g a t a pi ctu re o f the rive r Th a m es

“
Whi stle r s a i d t o the p a inte r M r Whistl e r I h a ve , .
,

ed in L ond o n fifty ye a rs a nd I neve r s a w the rive r l o o k

,

” “
e th a t The p a i nt e r s r eply w a s Ah bu t d o n t yo u
.
’
,
’

”
sh yo u c o ul d ! A s a n othe r p a i n t e r B r ow ni n g s F ra ,
’

o Lippi pu ts it
pp , ,

We re m a de so t h at we love
’

Firs t w h en we see th em p a i n t ed t h in gs we h a ve p a ssed ,

Per h a p s a h undred ti mes nor c a red t o see ;

A n d so t h e y re b e tt er p a in t ed— be tt er t o u s
’

, ,

Wh ic h i s th e s a me th i n g A rt w a s given for t ha t
. .

i si n thi s m o o d th a t we p refe r the r e a li stic B rownin g

the r om a nti c Ke a ts Th e p o et c a n te a ch u s wh a t
.

1 rn s t a u g ht Whittie r a s the l a tte r tell s u s i n

“
B u rn s ” ’
,

New l i gh t on h ome s een N a t ure be a med -

,

N ew gl or y o v er Wom a n ;
A n d d a i l y l i fe an d du ty seemed
No l on ger p oor an d common .

I woke t o fi n d th e sim p l e t ru t h
O f f a c t an d fee l i n g be tt er
Tha n a l l t h e dre a ms th a t h el d my y ou t h
A s t i l l re p inin g deb t or .

Why dre a m of l a nds o f go l d a n d p e arl ,

O f l o v in g kni gh t an d l ad y ,

When fa rmer bo y an d b a re foo t gir l

Were w a nderin g t h ere a l re a d y ?

The p o et ry o f w o rds s ho ul d help u s t o s ee the p o et ry

life . Fo r p oet ry i s no t m e r ely s o m ethi ng f o un d in
6 IN TROD U CTI O N TO P O E TRY

b o o k s ; it i s a wa y o f lo o k in g a t li fe The r e i s . an em
“
p o et in eve ry o n e o f u s E m e rs o n w r ot e in
. The E n
”
ch a nt er ,

Th e l i tt l e S h a kes p e a re in th e m a i den s he a r t
’

M a kes Romeo o f a p l ou gh-b oy on h is c a r t .

Th e g re a t es t thin g a p oet c a n do fo r u s i s t o let u s l o ok

a t th e wo rl d with hi s eyes .

The p o et ry whi ch h old s u s l o n g es t i s th a t whi ch h a s

s o m e inti m a te r el a ti o n t o o u r own lives We d o n o t c a re
.

“ ”
t o lin g e r i n the wei rd w o rld o f P o e s Ul a l um e f o r the ’
,

ch a r a ct ers see m h a rdly hu m a n The p oet h oweve r n ee d

.
, ,

n o t a lw a ys w rit e o f the ne a r a t h a nd a n d the c o nte m

- -

“
p o ra ry . H e m a y show vi rt u e he r own fe a tu re s c o rn ,

”
h er o wn i m a g e witho ut be in g a n ult r a re a li st The -
.

ch a r a cte rs o f the m o st i m p r ob a bl e r o m a n c es li k e Iva nho e ,

a n d hi a rm i o n m a b a s r e a l t o u s a s the t own d r u n k a rd
y , e

i n th e S p o o n R ive r A n th o l ogy Jud g ed by a n y st a n d a r d

.

o f p ro b a bility the pl ot o f A M id s u mmer N igh t s D ream

,
’

i s u tte rly a b su rd ; bu t B otto m a nd Pu c k a re a s r e a l a s

o u rselves A s A rist otle p ointed o u t it o ften h a ppen s th a t
.
,

ther e i s m o r e t r uth i n p oet ry th a n i n hi st o ry .

To th e q u es ti on Wh a t i s p o et ry ? n o on e will eve r g ive

,

a s a ti s f a ct o ry a n swe r P o et ry a s w e h a v e al re a dy s u g
.
,

g est ed
, d o es n ot m e a n the s a m e thin
g t o an
y two p oets
o r l ove rs o f p oet ry I t d o es n ot even me a n th e s a m e
.

thin g t o the s a m e p er s o n in two s u c ces sive dec a des M o st .

o f u s b eco m e a sh a m ed o f o u r yo uthf ul f a vo rites a n d m a ny ,

p o ets h a ve o mitted f ro m l a te r editi o n s th o s e ve rs es o f

which they o nce we r e p r o u dest P o et ry a g a in r ese m bles
.
, ,

s o r r ow l ove a n d f a ith ; o nly expe ri en c e c a n te a ch u s t he

, ,
 TH E S TUDY O F PO E TRY 7

f ull m ea ni ng of the w o rd s . As W o rdsw o rth s a i d of the

po et ,

y ou mus t l o v e him ere t o y ou ,

H e w i l l seem wort h y o f y our l o v e .

E ve ry d efiniti o n o f p o et ry sho uld n o t o nly st a t e it s

p o s iti v e q u a l ities but sho ul d a l s o ex cl u de ce rt a i n thin s
g
whi ch a re o ft en c o n fu s ed with p o et ry b u t d o n ot b el o n g
to i t F o r g e n e r a ti o n s the best fo r ei gn a nd n a tive c ri tic s
.

ha ve tol d u s th a t w e An gl o S a xo n s a re m o s t li k ely t o
-

ove re sti m a t e the i nt ri ns ic p o eti c wo rth o f did a cti c p o et ry .

Whil e it is p r ob a bly t r u e th a t the gr e a t es t p o et ry a s ,

“
A rn ol d s a id o f a l l lite r a tu r e g ives u s , a c riti ci s m o f

”
li fe, i t d oes n o t f oll ow th a t a p o e m sho uld eve r di rectly
te a ch a m o ra l . P o e n eve r ti re d o f c on dem ni n g the
did a cti cis m o f the N ew E n gl a nd p o ets a nd c o nt emp o r a ry
,

Am e ri c a n p o ets a n d c r i ti c s a gr ee th a t he wa s ri g ht The .

olde r N ew E n gl a n d p o ets i nh erited t o o m u ch o f the

Pu ri t a n a ttitu de t ow a rd life t o b e a bl e a lw a ys t o di stin
u ish b etw ee n th e ethi c a l a n d the be a u ti ful O c c a si o n a lly
g .
,

’ “ ” “ ’
as i n Kiplin s I f a nd Wo r dsw o rth s C h a r a cte r o f
g
”
the H a ppy W a r ri o r , di d a cti c ve r s e i s s o exc ell ent o f
it s k i nd th a t o nly a very r a sh c riti c will deny th a t it i s
“ ”
a l m o f L i fe h
’
g en uinely p o eti c . L o n g fellow s P s i s t e

cl a s si c ex a mpl e o f the did a cti c p o e m whi ch i s p opul a r

with the a ver a g e re a de r bu t h a s n o st a ndin g with c ritic s

an d s chol a r s . A s a s erm o n i t i s m a gnifi cent ; a s p o et ry
, ,

it i s p o o r . I t i s u n f o rtu n a te th a t L o n g fell o w s s onnet s ’

on D a nte a re s o little k n o w n f o r they a re m u ch b ett e r

,

poet ry a n d a r e n o t m a r red by s u ch m o ra l t a g s a s th a t
“
whi ch cl o s es The Vill a g e B l a c k s m ith ”
,
8 IN TROD U CT IO N TO PO E TRY
Th anks , th n ks m y wor th y friend
a , ,

For th e l es son t hou h s t t u gh ta a .

The p oet sho uld foll ow the a dvi c e o f L owell who w r ote , in
“ ”
Th e O ri gin o f Did a cti c P o et ry ,

Pu t al y our be u ty in y our rhym es

l a ,

Your mor l s in y our l iv in g

a .

The p oet s o nly m o r a l du ty a s a po et s a ys Spin g arn

’
, , ,

“
i s t o b e t r u e t o his a rt a n d t o exp re s s hi s vi s i o n o f
,

”
re a lity a s w ell a s he c a n .

An othe r c o mm o n e r r o r i s t o i m a gin e th a t ther e i s s o m e

thi ng s up er n a tu r a l ab o ut the a c t o f w ri tin g p o et ry The .

c o m p o siti o n o f p o et ry i s n o t a n a b n o r m a l p ro ce s s a t a ll .

A littl e expe rien ce in w ritin g ve rs e will h elp a ny o ne t o

s ee th a t the p o et i s a w o r k m a n i n wo rds who excel s t h e

r est o f u s m a inly i n hi s l a r ge r c o nc epti o n s a n d hi s gr e a te r

s k ill in e m b odyi n g th es e in p o etic l a n g u a g e Th e p o et .

is n o t a fr ea k b ut a m a n o f k ee n s en sibiliti es who se em o
t io n al r e a ctio n s n a tu r a lly t a k e the fo r m o f ve r se In .

C hin a a c c o r di n g t o Witte r B ynn er it i s o nl y the a b u o r

, ,

“ ”
m a l pe r s o n wh o d oes n o t w ri te ve rs e A vei n o f P oet ry
.
,

“
s a id C a rlyle , exist s in th e he a rt s o f a l l m en ; n o m a n is
m a d e a lto gethe r o f P o et ry W e a re a ll p o et s wh en we
.

read a p o e m w e C ert a in m o de rn c ritics Spin g a rn a n d

,

C r o c e g o s o f a r a s t o a s sert th a t the c re a tive a n d t h e

,

c riti c a l in stincts a re o n e a n d th e s a m e Thi s m a y w ell.

b e d o u bted a ltho u gh P o e s w ell k n own a c c o u nt o f the

’ -

“ ”
c o m p o siti o n o f The R a ven s u gg ests the s a m e p o s iti o n .

P sychol o gy will p e rh a p s eventu ally thro w m o r e li ght up o n

the ob s c u re p r o c es s o f p oeti c c om p o s ition B ry a nt s .
’
 TH E S TU D Y OF P O ETR Y 9

a d vi c e t o w o uld p o ets in the f oll owi ng p o e m

be is w o rth
-

e din g
r a in thi s c o n necti on .

TH E PO E T

Thou who wou l ds t we a r t he n ame

O f p oe t mi d th y bre t h ren of m ank ind
’

A n d c l o t h e in words o f fl a me
Th ou gh t s t h at s h al l l iv e w it h in t h e g ener al mind !
D eem no t th e fr a m i n g o f a de a th l es s l a y
Th e p a s t ime of a drows y summer d ay .

Bu t t
ga h er a l l h t y p owers ,

A n d wre a k h em t
on t h e vers e t h a t t h ou dos t we ave ,

An d in th y l one l y h ours ,

A t si l en t morn i n g or a t w a kefu l e v e ,

Whi l e th e w a rm curren t ti n gl es th rou gh thy veins

Se t for t h th e burnin g words in fluen t s t r ains .

No smoo t h a rr a y of p h r a se ,

A r t fu l l y sou gh t an d ordered t h ou gh i t be ,

Wh i ch th e co l d rh y mer l a y s
Up on h is p age w ith l a n guid indus t r y ,

C a n w a ke t h e l i s t l ess p u l s e t o l i v el ier s p eed ,

Or fil l wi th sudden t e a rs th e e y es t h a t re a d .

Th e s ecre t wou l ds t t h ou kn ow
To t ouch t h e h e a r t or fi re th e b l ood at w ill ?
Le t t h in e own e y es o e rflo w ; ’

Le t thy l i p s qui v er wi t h th e p a ssion a t e t h ri l l ;

S e i z e th e gre a t th ou gh t ere y e t i t s p ower he p a s t
, ,

A n d b i nd i n words t h e flee t emo t ion f a s t

, , .

I
Th en , s h ou l d thy vers e a pp e a r
H a l ti n g an d h a rs h an d a ll un apt l y wrou gh t
, ,

Touch t h e crude l i ne with fe a r ,

S ave in t he momen t of i m p a ssioned t hou gh t ;

1 0 IN TROD U CTI O N TO PO ETRY

Th en summon b a ck t h e ori gin al gl ow, a n d mend

Th e s t r a i n wi t h r a pt ure t h a t w it h fi re w a s p enned .

Ye t l et no em pty gus t
Of p a ss i on fi n d a n u tt er ance in thy l a y ,

A b l a s t t h a t w h i r l s t h e dus t
A l on g th e h ow l i n g s t ree t a n d d i es a w a y ;
Bu t fee l i n g s o f c al m p ower a n d m i gh ty swee p ,

Like curren t s j ourne yi n g t h rou gh th e windl es s dee p .

S eek s t t hou , in l i v in g l ay s ,
’

To l i mn th e be a u ty of th e e a r t h an d sk y ?
B e fore t h i ne inner gaz e
Le t a l l t h a t be a u ty in cl e a r v ision l ie ;
Look on i t wi t h e x ceed i n g l o v e ,
an d wr it e
Th e words ins pi red b y wonder an d de l i gh t .

O f t em p es t s woul ds t t h ou sin g ,

Or t e ll o f b a tt l es — m ake t hy s e l f a p a r t
O f th e g re a t tumu l t ; c l i n g
To th e t ossed wreck w it h t error in th y h e a r t ;
S c al e wi t h th e a s s a u l t in g h os t th e r a m p a r t s h ei ght
’

, , ,

A n d s t rike a n d s t ru ggl e in th e t h i ckes t fi gh t .

So s h al t t h ou fr a me a l a y
Th a t h a p l y m a y endure from a ge t o a ge ,

And t h e y w h o re a d s h a l l s ay
“
Wh a t w it ch er y h a n g s u p on t h i s p oe t s p a ge !
’

Wha t a rt is h i s th e wr itt en s p ell s t o fi n d

Tha t sw a y from mood t o mood th e w i l l i n g m ind !
Wil l ia m C ul l e n B rya n t (1 7 94 1 8 78 ) -

I t is i m p o s sibl e t o f ra m e
defi nitio n o f p o et ry whi ch
a

will i nclude al l p o et ry a n d exclu de p ro s e The t ru e .

a ntithesis o f p oet ry a s C oler id g e p oint ed o ut i s n o t

, ,

p r os e but s cien c e P o et ry i s e m oti o n a l ; s ci ence i s the

.
 2 I N TR ODU CT IO N T O P O E TR Y

s m a ll doe s thi s
, And it s eem s t o m e th a t p o et ry h a s t wo
.

c haracteris t ic s One i s th a t it i s a fte r a ll u nd efi n abl e _

.
, , .

”
The o the r i s th a t it i s event u a lly u n mi st a k a ble .

The r e a re a n u mbe r o f thin g s which distin g ui sh genui n e

p o et ry fro m m e r e ve rsi fyin g bu t the on e q u a lity whi ch ,

n ee ds m o st t o b e e m ph a size d i s sinc erit y N o p o em c a n .

b e g r e a t u nles s its a uth o r i s sin ce re i n tell in g u s wh a t he

s ees a n d feel s a n d thin k s Ab ov e all the p o et m u st n o t
.
,

t ry t o m a k e u s feel wh a t he himself d oes n ot c o m p let ely

feel The u nt r a ined re a de r o ften f a ils t o s e e th a t the
.

l a n gu a g e o f a n i nferi o r p o em i s c o nventio n a l a n d c o n s e
q u ently in since re S u ch p o e m s with thei r o u two rn
.
,

ph r a ses t o q u ote P op e
, ,

rin g round th e s a me un v a ried c himes ,

Wi t h sure re turn o f s t i l l e xp ec t ed r h y mes ;

Wh ere er y ou fi n d th e coo l i n g wes t ern bree z e
’

I n th e n e xt l in e i t w h is p ers t h rou gh th e t rees

“
,

I f cr y s ta l s t re a ms w it h p l e a s i n g murmurs cree p
“ ”
,

Th e re a der s t h re a t ened (no t i n v a i n ) w it h s l ee p

’ “
.

“ ”
H a ml et s t a k e a rm s a ga in st a s ea o f t r o ubles i s a
’

cl a s s w i nst a n ce o f the p o et s f a ilu re t o vi s u a lize wh a t he

’

“ ”
i s s a yin g L o n g fellow s m a ri n er i n A P s a lm o f Li fe
.
’
,

“ ”
s a ilin g o er life s s ole m n m a in a n d a t the s a m e ti m e
’ ’

“ ”
ex a m inin g f o otp ri nt s o n t h e s a nds o f ti m e i s a nothe r ,

ex a m pl e o f c o n fu s ed ph r a sin g W a lt Whi t m a n u s ed t o .

o th r o u h his p o e m s r uthl es sly cuttin o ut a l l the se

g g g
t rit e ph ra s es whi ch t o d a y a re u s u a lly c a ll ed c lic hés
, .

L e a r ni n g t o detect the t rit e th e in si nce r e dep ends up o n , ,

p ra cti c e Ta ste in p o et ry a s i n eve rythin g els e g r ow s

.
, ,

by f eedi ng up o n the ri ght t hi ng s .

 TH E S TUD Y O F PO ETRY 1 3

B ut , o ne m ay as wh a t a re the ri ght thi ngs a nd h ow

k,
d o yo u k n ow th a t they a re the ri ght thin g s ? T his i s a
q uestio n di fficul t t o a nswe r I t i s n o t en o u g h t o a pp e a l t o
.

the g re a t n a m es o f the p a s t ; f o r c o nt r a ry t o the p opul a r

,

n oti o n th e g r e a t p o ets d o n ot enj oy a n u n ch a n gin g f a m e

, .

We c a n n o t a c c ept even H o m e r a s a g re a t p o et m e rely

b ec a u s e M a tthe w A rn old a s s u res u s th a t he i s o n e ;
H o m e r m u s t p r ov e hi m s elf a g re a t p o et t o us .

Wit h m o r e recent p o et s li k e T ennys o n a n d L o n g fello w

, ,

the p roblem i s s till m o r e di ffic ult The p o ets o f the m i d .

n ineteenth c e n tu ry a re b ein g s eve rely t ested t o d a y The r e .

a re m a n y wh o d eny th a t eithe r T ennys o n o r L on g fell o w

wa s a p o et a t a l l . O u r f a the r s tho u g ht L o n g fell ow s ’

“ ” “ ”
Vill a g e Bl a c k s mith a nd T ennys o n s M a y Q u een g re a t ’

p o e m s b ut t o u s the fo r m e r s ee m s t o o did a cti c a n d the

,

l a tte r t o o s enti m e nt a l t o be g r e a t .

I n the l a s t a n a lysi s n o o n e c a n tell ex a ctly wh a t m a k e s

,

a p o e m a cl a s si c ; a n d it i s best f o r u s fr a n k ly t o a d m i t

th a t f a ct Perh a p s the b e s t a n swe r h a s bee n g ive n by

.

A rn old B en nett
“
A cl a s si c i s a w o rk whi ch g ives ple a su r e t o the m i n o r
ity whi ch i s inten sely a n d pe r m a nently inter este d in lite r a
t u r e I t liv es o n bec a u s e the mi n o rity e a g e r t o ren ew
.
,

the s en s a ti on o f ple a s u re i s ete rn ally c u ri o u s a nd is

,

there f o r e en g a g ed in a n et ern a l p ro c es s o f redis c ove ry .

A cl a s si c d o es n o t s u rvive f o r a n y ethi c a l r e a s o n I t d o es .

n o t s u rvive bec a u s e it c o n fo r m s t o ce rt a i n c a n o n s o r ,

bec a u s e n e gl ect w o uld k ill it I t s u rvives bec a u s e it i s a

.

s o u rc e o f pl e a su r e a nd bec a u s e the p a s si on a t e few c a n

,

n o m o re n eglect it th a n a be e c a n n e glect a fl owe r The

'
.

p a s sio n a t e few d o n o t re a d the ri g ht thi ng s be c a u s e they

‘ ’
1 4 IN TROD U CT I O N TO PO E TRY
a re r i ght Th a t i s t o p u t the c a rt b efo re the ho rs e The
. .
‘

ri ght thin g s a re the ri ght thin g s s olely bec a u s e the p a s

’

”
s io n a t e few l ik e re a din g the m .

E xc ept in c o m pilin g a c ollectio n of c o nt em p o r a ry

p o et ry m o s t a ntholo g ists m a k e it a rul e neve r t o a d m it
,

a p oe m by a livin g a utho r Thi s i s u ndo ubt edly pl a yin g

.

s a fe f o r a s eve ry o ne k n ows c o nte m p o r a ry esti m a tes

, , ,

a re exceedin gly li a bl e t o be w r on g C ritic s di s a g ree eve n .

c o nce rn in g p o et s wh o h a v e l o n g been de a d M a tthew .

A rn old th o u g ht Gr a y a b ette r p o et th a n eithe r C h a u ce r

o r B u rn s Wo rd sw o rth a n d T ennys o n both c o n side red
.

B u rn s a g re a t p o et ; b ut Wo rdswo rth th o u ght B u rn s s ’

s o n g s u nw o rthy o f hi m whe r e a s T en nys o n g re a tly p re

,

fe r red the m t o hi s oth e r p oem s Still a n o the r p o et .

,

Aub r ey de Ve re did n o t c a re a t a l l fo r B u r n s Lit er a ry

, .

hist o ry i s full o f o nce h a ll owed n a m es which a re n ow

fo r g otten Wh a t ve rdi ct p o ste rity will ulti m a tely p a s s
.

up o n livin g p o ets n o m a n k n ows , .

We d o n ot h oweve r wish the re a de r o f this v olu m e t o

, ,

rest u nde r the m is c oncepti o n th a t p o et ry i s s o m ethin g

w ritt en o nly by the de a d C on s e q u ently in full k n owled g e
.
,

of o u r li a bility t o e rr o r w e h a ve i ncl uded i n this c oll ecti o n

,

a l a r e n u mbe r o f p o e m s by livin a utho r s I t i s p r ob

g g .

a bly t ru e th a t m a ny o f the p oem s we h a ve in clu ded will

no t su rvive ; bu t the r e i s neverthel es s mu ch t o b e g a ined

, ,

f r o m s ettin g side by side the olde r a nd the c ontemp o r a ry

p oets I t i s the su res t test o f e a ch I f the livin g p o ets
. .

c a n n ot withst a n d the tes t o f bein g p l a ced beside B u rns ,

Shelley Wo rdswo rt h a n d B r ownin g then — s o m u ch the

, , ,

wo rs e fo r the m If a n older p oet o ff e rs n othin g th a t inter

.

ests the p r esent ge ne r a ti o n we sh a ll h a v e t o d rop hi m

, .
 TH E S T UDY O F PO E TR Y 1 5

We in clu de th e p oe m s o f li vin g p oets esp eci ally bec a u s e

they sho uld m e a n m o re t o o u r g ene r a ti o n th a n they c a n
eve r m e a n t o a n y o the r I t i s a m a tte r o f fun d a ment a l
.

i m po rt a n c e th a t we sh o uld if p o s sibl e k n ow a n d re a d
, ,

o u r p oet s be fo r e they a r e de a d T hey w rit e f o r u s r a the r

.

th a n f o r p o ste rity W hy sho uld s o m e p o et a hun d red

.
,

ye a r s henc e fin d o c c a si o n t o w rit e o f a p oet n ow livin g

,

a s J ohn G o uld Fl etche r h a s rec ently w ritt en o f Willi a m

B l a k e who s e w o r k wa s h a rdly rec o g niz ed u ntil fi fty ye a r s

,

a fte r his de a th ?

B LA K E

B l ake s a w
A n g e l s in a London s t ree t ;
G o d t h e F a t h er on a h i ll ,

C h ris t b e fore a t a v ern door .

B l ake s a w
Al l t h ese sh a p es a n d more
,
.

B l a ke knew
O th er men s a w no t a s b e ;
S o h e t ried t o gi v e h i s s i gh t
To t h a t be gga rm a n t h e wor l d
, .

“
You a re m a d ,

Was a ll t he b l ind wor l d s a id .

B l a ke died
S in g i n g son g s o f p r a i se t o G od .

Th e y a re n o t m i n e h e t o l d h i s wife
“
, ,

I m a y p r a i se t h em t h e y a re no t m i n e
, .

Th en h e d i ed A n d t h e wor l d c a ll ed B l a ke d iv ine
. .

J o h n G o u ld Fl e t c h e r (1 88 6

“
It a ppe a r s s a ys M ax E a s t m a n th a t a p o et i n hi st o ry
, ,

i s divin e b u t a p o et in the next r o o m is a j o k e ”

, .
 6 IN TRODU CT I O N TO PO E TR Y
On e sho uld b ew a r e o f a s s u m i n g eithe r o f tw o p e rni cio u s
a ttitu des : fi rst th a t o nly c ontem p o r a ry p o et ry i s o f a ny
,

i m p o rt a n ce a n d s ec o nd th a t o nly the olde r p oet ry i s

, ,

wo rthy o f s e ri o u s a tte nti o n I n hi s a d m i r a ble S t ud y o f

.

“
Po e t ry P r o fes s o r B lis s P er ry h a s s a id : I h a ve littl e
c o n fidenc e i n the t a st e o f p r o fes s ed a dmi rer s o f p o et ry
who c a n find n o ple a s u re i n c o nte m p o r a ry v ers e a n d still ,

les s c o nfidence in th e t a ste o f o u r c o nt e mp o r a ries wh o s e

deli ght in the n ew e ra h a s m a d e th em de a f t o the g re a t
‘ ’

p o eti c v o ice s o f the p a st I a m s o r ry fo r the t r a diti o n al

.

i st who c a nn o t enj oy R obe rt F r o s t a n d E d wi n A rlin gt o n

R obins o n a n d E d g a r L ee M a st er s a n d C a rl S a ndbu rg .

H e i s in m y opini o n in a p a rl o u s st a te B u t the s t a t e
, , .

o f the yo un g r eb el who c a nn ot enj oy Lycid a s a n d The ‘ ’ ‘

’
P r o g res s o f P o esy a n d the Ode t o Dej ectio n i s wo r s e
’ ‘

th a n p a rl o u s I t i s hopele s s
. .

P r es ent d a y p o et ry i s n ot ess enti a lly diffe r ent fr o m

-

th a t o f a centu ry a g o W e a re i n the m idst o f a ra the r

.

vi ol ent re a cti o n a g a i nst nineteenth centu ry p o etic ide a l s ;

bu t s u ch a revolt a s P r o fes s o r J L L owes h a s a bly
, . .

d em on st r a ted in his C o n ven t io n a nd R ev o l t in P o e t ry ,

i s n o n ew thi n g in p o eti c hi st o ry E u ripides M a rl ow e .

, ,

D ryd en W o rdswo rt h a nd Vi ct o r H u g o we re rebel s a l s o

, , .

The p a st in f a ct holds the k ey t o the underst a ndin g o f

, ,

p res ent d a y ver s e ; fo r a s M is s H a r riet M o nr o e h a s s a id

-
, ,

”
Th e n ew in a rt i s a lw a ys the elde r old We n eed .
,

fu rthe rm o r e t o t u r n t o old er w ri te rs t o un de r st a nd wh a t
,

it i s th a t the new p o ets a re rebellin g a g a in st M o re ove r .

,

a k n owled e o f ol de r p o et ry help s u s t o fin d a p rop e r

g
p erspective f o r j ud gin g the p o em s o f o u r own d a y .

The re i s o nl y o ne wa y o f a c q ui rin g a tho ro u gh un d er

 TH E S TUD Y O F PO E TRY

st a n di n g o f the techni c a l a sp ect s o f p o et ry ; a n d th a t i s

by w riti n g ve rs e I n a s en s e it i s do ubtl es s t r ue th a t
.

p o ets a re b o r n a nd n o t m a de b u t they ce rt a inly c o m e int o

,

the w o rld a s i g n o r a nt o f ver s ifi c a t io n a n d l a n g u a g e a s the

r es t o f u s The p o et le a rn s the u s e o f hi s t o ol s by p r a e
.

ti c e j u st a s the c a rp ente r the bl a c k s mith a n d the m a s o n

, , ,

le a r n the u s e o f thei rs I t i s n o t a lw a ys reme m be red th a t

.

p r a ctic a lly a ll th e i m p o rt a n t c riti c s o f p o et ry h a ve a t

t empt ed t o w rit e p o et ry the m selve s ; a n d o u r g re a test
E n gli sh a n d A m e ri c a n c ritic s C ole rid g e A rnold L owell
, , , ,

a n d P o e we re en u in e p oets wh o h a d m a s te r ed thei r c r a ft
, g
b efo r e they u nde rt o o k t o exp o u n d it s l a ws P r a cti c e i n .

’
the w ritin g o f ve rs e m o reove r i n c re a s es o n e s a bility t o
, ,

w rite g o o d p ro se a s even the p r o s a i c B en j a m i n F r a n k lin

,

f o u nd .I t enl a r g es the v o c a bul a ry a n d sh a rpen s the

feelin g fo r th e s ubtle distin cti o ns in w o rds .

An d y et o n e hesit a tes t o emph a s iz e the v a lu e o f ve r s e

w ritin g b e c a u s e s o m a ny o f tho s e who c a n w rite fl u ent
ve rs e m a k e the m o nu ment a l m i st a k e o f thinkin g th a t they
a re rea t o et s I n eve ry st a te i n the U ni o n the re a re
g p .

hu ndr ed s o f th es e delu ded pe r s o n s wh o a l a s a re n o t a s

, ,
“ ”
m ut e a s the in gl o rio u s M ilto n s i n G r a y s E le gy ’
Th e .

l ove o f p o et ry a n d the a bility t o w rite fl u ent ve rs e d o n o t

m a k e o n e a p o et G re a t p o et s a re the r a res t o f n a tu r e s
.
’

p ro du cti o n s ; it s ee m s a s i f she th r ew a sid e tho u s a n d s o f

impe rfect specim en s p o et a sters while c re a tin g o ne gre a t
, ,

p oet .

Altho u g h m o s t g re a t p oe m s w ere w ritt en b efo r e the

i nventi o n o f the ri mi n g di cti o n a ry m a ny y o un g vers ifi e rs
,

f a ncy it a n i ndispens a ble p a rt o f ev ery p o et s b a gga g e ’

.

O nl y the b eg i nne r need s the ri m in g dicti o n a ry f o r the ,

1 8 IN TROD U CTI O N TO PO ETR Y

p oet s o o n a c q ui r es fro m p r a ctice g re a t f a cility in re

c a llin g a l l the ri m e w o rds a v a il a bl e t o hi s pu rp o s e A s .

a h a ndy s ub stitu te fo r th e l a r g e ri m in g dicti o n a ry we ,

s u gg est the followin g ves t p o c k et editio n L et u s s up .

p o se th a t we wi sh a ri m e f o r the wo rd gle e Gl an ce .

d own the f oll owi n g li st o f c o ns o n a n t s a ddi n g th e v o wel ,

s o u nd ee t o e a ch o f the m in t u rn M a k e a lis t o f the .

w o r ds whi ch yo u fi nd
b bl br c c hy, c l cr d dr f fl fr g
gl g r h j k l ,
m n p pi pr qu r

sh_ sl sm 3n u st str sw
s se 3p s
q
t t he , tr t mh , v w wh y z

A fte r st ri k in g o u t th e c o mbin a tio ns which d o n o t m a k e

wo rds we h a ve b e b ee f ee flea flee g l ee a g ree d eg ree
, , , , , , , , ,

he , k ey , le a , le e, m e , kne e, p e a,
p l ea,
qu a y , s ea , s ee,

s ki , s he , t ea , t ee, t hee, t r ee, wee, A littl e p r a cti ce an d ye .

in l o o k in g fo r rimes will show th a t c er li k e

l o ve h a ve ve ry few m a tes F e m inine ‘

, .
,

p a rti cul a rly diffi c ult t o find in E n gli sh B .

p a rti cipi a l endin g s like cd a n d ing one c a n m a n a g e t o - -

,

find en o u gh fem i nin e ri m es f o r a v e ry sho rt p oe m The .

little dicti o n a ry given a b o foll owin g ri m es

fo r s eeing : being f eein g g n
g ,s ki i ng a n d t reei/ng , , .

F o r b u rn ing we find ea rni ng c hu rnin g l ea rni ng co n , , ,

cern in
g t u rn in g a nd y ea rn ing
, , Th e stu dent wh o wi sh es .

t o le a r n t o write c o r rect ver s e sho uld stu dy s o m e of the

m a n u a ls li st ed i n the B ib lio g r a phy especi a lly tho se o f ,

F a i rchild a n d And rews H e will p ro b a bly fin d th a t ri m e

.

p resent s fewer difficulties th a n s ever a l othe r m a tte rs .

I n c on clu sio n m ay we b e p e rm itted t o m a k e tw o sug

,
20 IN TROD U CTIO N TO PO E TR Y
I t a li a n p o et A ri o st o when he wa s i nte rr upted by on e o f
hi s stu dent s the n ow well k n own n ovelis t Upt o n S in cl a i r
,
-
,

wh o s a id : P r o fes s o r W o o dbe r r y I d o n t c a r e nythin g

“
,
’
a

”
ab o u t A ri o st o Wh a t sh a ll I d o a bo u t it ?
. M r Wo o d .

“ ”
ber ry p a u s ed a m o m en t a n d s a id Yo u n g m a n g r ow !
, ,

The g re a t p o et s sho uld be o u r life c o m p a ni o ns Th e m o r e

.

we r e a d the m the bette r w e sh a ll u nd erst a nd them I f w e

, .

d o n ot c o ntinu e t o re a d the m a fte r we l e a ve s cho ol we ,

sh all p r ob a bly h av e t o c o n fes s l a te in life li k e D a rwi n

, ,

th a t we h a ve l o s t the p ower t o e nj oy the m .

 C H A P TE R I I

THE SON G

And e v er a ga ins t e a ti n g c a res

, ,

La p me in sof t L y d i a n a i rs ,

M a rried t o i mmor t al v erse .

“ ’ ’
I i l to n
ZV L A l l eg ro

TH E o n g i s a p o em which i s s u n g I t b f
s .

t o p o et ry a n d m u sic tw o a rts which de a l

,

I n m u s ic the t e rm o ften n ot o nly

a ls o t h e bg l l ad
, whi ch i n p o et ry i s cl a s s ed s q

will b e dis cu s sed in a l a t er ch a pte r Th .

simplest a nd y et pe rh a p s the m o s t en du
eithe r m u si c o r p o et ry I t i s the oldest f
.

a nd , the b a ll a d a l o ne excepted a ls o o f p o ,
i

n on e o f the l a te r a n d m o r e c o m plex fo rm s
h a s s o wide a n a p pe a l a s the s on g Th e G .

s o n g t o be the inventi o n o f the g o d s a n d a ,

“
t ell s u s th a t a t the c re a ti o n the m o rnir
”
t o g ether f o r j oy N o thin g el s e i n the w
.

a rt h a s s u ch p owe r t o m ove the he a rt a s t i

“
m el o dy a n d ve rs e Only M ilt o n s fit
.
’

”
tho u gh few find p le a s u re i n P a ra d is e L
“ ” “
t h o ven s
’
M o o nli ght S o n a t a i s c avi a r t o
“ ” “
b ut An ni e L a u rie a n d Aul d L a n g S
he a rt s o f m illi o ns .
22 I N TR ODU CT IO N T O PO E T R Y

B e a u ti ful m el odies a n d g r e a t p o e m s a re a b u nd a nt bu t ,

the pe rfect blen d o f the two i s o n e o f the r a rest thin g s

i n the w o rl d o f a rt The re a re m a ny stir rin g a i rs li k e
.

“ ”
D ixi e which a re yet t o find a pp r op ri a te w o r ds ; a n d
,

“ ”
there a re m a ny ly ri c s li k e C r o s sin g the B a r which ,

tho u gh repe a tedly s et t o mu si c s till l a c k a n ide a l m u sic a l

,

s ettin g The m u si ci a n a n d the p o et a re g en er a lly t o o

.

i g n o r a nt o f o ne a n othe r s fields t o a c hi eve the ide a l u ni o n

’

o f g re a t p o et ry a n d be a u tiful m u si c G re a t s o n g s a re a s .

r a re a s they a re b e a u tiful .

J u s t wh a t e a ch a rt c o nt ribut es t o thi s we d din g o f

p o et ry a n d m u si c i s best dis c over ed by ex a min in g the m
—
s ep a r a tely Th e p o e m whi ch i s n o t s u n g Shelley s T o
.
“ ’

a S k yl a r k
”
f o r i n st a n ce— o ften f a ils t o a ro u s e a ny e m o
ti o n i n the inexpe ri en ced r e a de r The p oe m d o es n o t sin g
.

its elf t o hi m a s the p o et m e a nt th a t it sho uld M u si c

, .

witho u t w o rds o n the othe r h a nd i s a pt t o a ro u s e a n

, ,

e m o ti o n whi ch i s v a g u e a n d undefined n ot lin k ed t o a ny ,

definite ide a o r im a g e When we he a r even s o si m pl e a n

.

“ ”
a ir a s D v o i a k s b e a uti ful
‘ ’
H u m o res q u e m o s t o f u s l on g ,

f o r wo rds t o tell u s wh a t the c omp o s e r i s t ryin g t o ex

“ ”
p res s B u t when we li sten t o M y Old Kentu c k y H o m e
.

“ ”
o r L e a d K indl y L i ght we a re s a ti sfied b ec a u s e the
, ,

w o rds g ive u s the ide a whil e the m u si c a r o u s es in u s th e

a pp r op ri a te e m oti on a l resp o ns e .

The lyri c then g ives u s the ide a o r the m e a n d c a lls

, ,

u p a pp r o p ri a t e pictu res i n l a n g u a g e whi ch is ri ch i n

s u gg esti o n pict o ri a l p owe r a nd s ens u o u s be a u ty The
, , .

m el ody gi v es the p o em g r e a te r exp res sivenes s ; a n d it d o es

thi s by inten s ifyin g th e em o ti o n a n d a ddin g a c ol o r a n d
a ri chn es s which w o rds a l o n e c a n no t i m a rt Alth ou h
p g .
 THE SO N G 23

“
[
g et d e L i sle w r ot e b o th w o r d s a n d a ir fo r the M ar
”
ai s e a n d W a ne r wr o t e the librett o s a s w ell a s the
g
ic o f hi s op er a s u s u a lly a ir a n d ly ri c a re w ri tten by
,

arent per s o n s . O r di n a rily a m u sici a n lik e S chub ert

“
p o s es a m el o d y f o r a p o e m li k e Sh a kesp e a r e s H a r k
’
,

”
'
k th e L a r k
, , o r a p o et li k e M r s . H owe w rit es wo rd s
—
a well k n own m el o dy a s s h e did i n
,
“
Th e B a ttle Hy m n
”
h e R epublic . I n eve ry c a s e howeve r the p oe m a nd
, ,

a i r m u s t blen d t o p r o du ce a h a rm o ni o u s whole .

‘
he re a re m o r e p er fe ct m el o dies a n d f a r g re a te r p o em s
“
i the a ir a n d w o rds o f Ste hen C ollin s F o ste r s Old
’
p
”
as a t H o m e ; b u t i n few o the r s o n g s d o e s o ne fi nd s o
ect a h a rm o ny b etween the two The ex pl a n a ti o n i s
‘

F o st er w r o te b o th wo rd s a n d m u si c f o r his s on g s .

“ ”
he re a de r will r e a d Old F ol k s a t H ome a s a p o em ,

will fin d th a t it i s n o t p oet ry o f a hi gh o rde r ; i n f a ct ,

th e m u s ic the w o rd s seem c ol o rles s a n d c o nve m

al . When s un g t o the m el o dy h oweve r they s eem
, ,

i e nl y t o h a ve bec o m e a live full o f u n s u specte d c ol o r

,

feelin g.

O LD FOL K S AT HOM E
C hor us
A ll de wor l d am sa d an d dre a r y ,

I ro a m ;
E b e ry w h e re
O h ! d a rke y s h o w m y h e a r t g rows we a r y
, ,

Fa r from de o l d fo l ks a t h ome !

A llround de li tt l e fa rm I w a ndered
Wh en I w a s y oun g ,

D en m an y h a ppy d a y s I s qu a ndered ,

M a n y de son gs I sun g .

Wh en I w a s p l ayi n g w i d m y b rud d er ,

H a ppy w as I ;
O h t a ke me t o m y k ind ol d mudder !
,

D ere l e t me l ive a n d d i e .

On e l i ttl e b ut a mon g de bus h es ,

On e d at I l o v e ,

S ti l l s a d l y t o m y memor y rus h es ,

N o m a tt er w h ere I rove .

Wh en wi l l I see de bees a h ummin g -

A l l round de comb ?
Wh en w i l l I h e a r de b a n j o t u mm in g
D own i n m y good ol d h ome ?
S tep he n C ol lins Fos t e r (1 82 6 1 -
864)
 TH E SO N G

Dere ’
s t
wha my hear is t rn
u ing eh ber,

Dere ’
s wha d e old f olks t y;
s a All up and down de
26 IN TR ODU CTI O N TO PO E TRY

whole cre a - ti on Sad ly I roam ,

t
S ill i
l ong ng f or d e ol d pl an ti
- t a- on, And f or d e old f olks at

01 1 08 08

d e world am sad and drear y,

28 IN TR ODU CT I O N TO PO ETR Y
e ff ectively i n the s on g I t m u st b e e m ph a s ize d a c cented
.
,

”
a a in a n d a a in thr o u gh o ut ve rs es a nd ch o ru s
g g , .

F o st er s s o n g s c o m e n e a r er t o b ein g disti nctively

’

A m e ri c a n th a n a n y o thers th a t we p o s ses s ; b ut i n re a lity

we h a ve n o ne th a t c o m p a r e with th e b est s on g s o f E ng
l a nd S c o tl a n d a n d I rel a n d F o ste r s a re n ot st ri ctly
, , .
’
,

sp e a k in g n e g r o s o n g s ; f o r the di a l ect i s i m pe r fect a n d

,

ne g r o e s s eldo m sin g the m T h e a i r s n eve rth el es s a re

.
, ,

g enu in ely m el o di o u s a n d a re n o t th e e ch o es o f E u r ope a n

mu si c They a re h oweve r c ol o red by th e senti m ent a lity
.
, ,

“
ch a r a cte ri sti c o f m u ch o f o u r m u si c a n d p o et ry The .

” “ ”
Old O a k en B u c k et a n d A P e rfect D a y illu st r a t e thi s
s enti m ent a l s t ra i n whi ch viti a tes m a ny o the rwi s e g o o d
s on g s .

Ge n ui n e n eg r o fol k s o ng is a ver y di ff e rent thin g f r o m

-

o u r p a rl o r a n d v a u deville s o n g s w r itten i n a p s eu do n e g r o -

di a lect M o st o f the ol d n egr o a i rs a re n o l o n ge r s un g

.

by the ne g ro e s them s elves wh o n o w u n fo rtu n a tely p refer

,

t o sin g the l a tes t j a zz tu nes P erh a p s the bes t o f the ol d

.

—
n e g r o c a m p m eetin g s on g s i s “
Swin g L o w Sweet ,

”
C h a ri o t the mel ody o f which the B oh em i a n m u si ci a n
,

“ ”
D vo i ak u s ed i n hi s N ew Wo rld Sy m pho ny
‘
.

S WI N G L O W, S WE E T C H A R I O T

S wi n g l ow, swee t ch a r i o t ,

C omin for t o c a rr y me h ome

’
.

I l ooked o v er J ord an an d w h a t d i d I s e e,

C om i n for t o c a rr y me h ome ?
’

A b a nd of a n ge l s com i n a f t a b me
’

C om i n for t o c a rr y me h ome
’
.
 TH E SO N G 29

If y ou t
gi t h ere
be fore I do ,

C omin for t o c a rr y me h ome

’

Te ll a ll m y fr i en s I m a comin t oo
’ ’ ’
-
, ,

C omin for t o c a rr y me h ome

’
.

Th e b ri gh te s d ay t h t e v er I s w
’
a a ,

C omin for t o c rr y me h ome

’
a ,

Wh en J esus w s h ed m y sins w y a a a ,

C omin for t o c rr y me h ome

’
a .

I m some t imes u p
’
some t imes down an
’

C omin for t o c rr y me h ome

’
a ,

Bu t s ti l l m y sou l feel h e v en l y boun a

’

C om in g for t o c rr y me h ome a .

F r o m the s o n g whi ch i s the w o r k o f a k n own p o et

a rt - ,

a n d a k n own m u si ci a n the fol k s on g di ffe r s in th a t n o -

,

o n e k n ows wh o w ro t e eithe r the m el o dy o r the wo rd s .

The fol k s o n g a lth o u g h i n m a n y i ns t a nces p r ob a bly

-
,

l a u n ched by a n individu a l a utho r h a s b een h a nded d own ,

by t r a diti o n u ntil it h a s c o m e t o b e the fittin g exp r es s io n

o f the spi rit o f a r a c e I n p o eti c m e ri t it i s o f c o u r se
.
, , ,

in fe ri o r t o the a rt s o n g ; b ut it s s in c e ri ty a nd it s n a tu r a l
-

n es s a re ini m it a ble .

The fol k s on g i s the ulti m a t e b a si s o f b oth m o der n

-

“ ”
m u s ic a n d m o de rn p o et ry F r o m it s a ys M r s Wo de
.
, .

ho u se in he r dis cu s si o n o f the S o ng in G r ove s D ic t io na ry ’

“
o f M us i c , we h a ve derived n o t only o u r s c a les b ut th e ,

sh a p e o f o u r m el o dies the o utlines o f o u r m u sic a l fo rm

, ,

”
a n d indi rectly the a rt o f h a rm ony a n d c a dence s It .

“
follow s th a t a s she p oi nt s o ut A m eri c a ha s n o d is t in c
-
, ,

tive ch a r a cte ri stic s o f h er own i n m u sic Dep rived .

a s i t h a s bee n o f it s n a tu r a l f o u nd a ti o n i e the fol k , . .

,

s o n g her n a ti o n a l m u si c m u s t be fo rm ed o n the indi

,
30 I N TR ODU CT IO N TO PO E TRY

v id u a l it
y o f he r c o m po s e r s .
”
M rs . W odeh o u s e m i ght
h a ve a dded with eq u a l t ruth th a t A m e ri c a n p o et ry h a s
t o o o fte n been feebl e a n d i m it a tive bec a u se it h a s littl e
b a s is i n n a tiv e f ol k l o r e a p a rt f ro m th a t o f the n e g r o
-

a n d the I ndi a n .

When p o et ry a n d m u si c em e rg e f r o m the twili ght

ob s c u rity o f p rehi st o ri c times they a re p r a cti c a lly a lw a ys
,

fo u nd t o gethe r Am o n g p resent d a y s a v a g es wh o p re
.
-
,

se rve fo r u s th e chief clu es t o the o ri gin o f m u si c a nd

p o et ry the two a rt s a re s till u nited I t is believed by
, .

m o st a utho rities th a t b oth p o et ry a n d m u sic evolved fro m

the d a n ce which i s intim a tely rel a ted t o p ri m itiv e p o et ry
,

a n d m u si c R hythm i s the element which u ni tes the se

.

th r ee a rts a s fo rm i s th e ele m ent c omm o n t o p a inti n g

, ,

s culptu re a n d a rchi tectu r e

, .

Th e d ebt o f mo de rn p oet ry t o the f ol k s o n g i s cle a rly -

s een i n the s o n g s o f R obe rt B u rn s the gr e a t est o f a ll ,

s o n g w rite r s E ven b ef o re the ti m e o f B u rn s S c otl a n d

-
.
,

ha d n o t o nly a n a l m o s t un riv a led we a lth o f b e a u ti ful fol k

n el o d ies bu t a wide s p r e a d i nte rest in s on g T his f ol k
‘

mu s ic p res erve s t h e hu m o r a n d p a tho s o f tho u s a nds o f

l on g de a d sin g e rs D u ri n g the R efo rm a ti o n the sin gi ng
.

o f thes e s o n g s w a s fo rbidde n by the cl er gy ; but they

c o ntinu ed t o be s un g in s ec ret At m er ry m a ki n g s when .
-

“ ”
n o m ini st e r w a s p res ent the wee sinfu fiddl e w a s
,
’

b r o u ght o u t a n d the old s on g s we re s u n g B y the be g in .

nin g o f the ei g hteenth c entu ry tho u g h the a i rs w ere a s ,

be a u ti ful a s eve r the wo rd s h a d ne a rly a ll bec ome c o r ru p t

,

a n d o ften i ndecent I t w a s the t a s k o f B u rns a nd o the r

.

S c o tti sh p o ets t o fit t o the ol d a i rs eq u ally bea u ti f ul and

a pp ro ri ate o em s
p p ,
 THE SO N G 31

With B u rn s the p o e m g rew d i rectly o u t o f the m el o dy

,
.

“
H e thu s des c rib ed hi s m etho d o f c o m p o siti o n : Until I
a m c omplet e m a ste r o f a tu ne in m y ow n sin gin g (s u ch

a s it i s ), I c a n n eve r c o m p o s e t o it M y w a y i s : I c o n
.

side r the p o eti c s enti m ent c o r resp o ndin g t o m y ide a o f

the m u si c a l exp r es s io n then cho o s e m y the m e b e gi n o n e
, ,

st a nz a a n d when th a t i s c omp o s ed which i s g ene r a lly

, ,

the m o st di fficult p a rt o f the b u s ines s I w a l k o ut sit , ,

d own n ow a n d then l o o k o ut fo r obj ect s o f n a tu re a r o u nd

,

m e th a t a re i n u ni s o n a n d h a rm o ny hu mmin g eve ry
n ow a nd then the a ir wi th the ve rs es I h a ve c o m p o se d .

When I f e el m y m u s e b e g in nin g t o j a de I r eti r e t o the ,

s olit a ry fi r eside o f m y s tu dy a n d ther e c o mm it m y eff u

,

s i o ns t o p a pe r swin gin g a t inte rv al s o n the hind le g s o f

,

m y elb ow ch a i r by w a y o f c a llin g fo rth m y own c ritic a l

” “ ”
st rictu res a s m y p en g o es o n I n Aft o n W a te r B u rn s
.

h a s thu s w edde d a pp r op ri a t e w o rds t o a n ol d a ir Th e .

M a ry i n wh o s e h o n o r the s o n g wa s w ritten s ee m s n o t t o
h a ve been the f a m o u s H i ghl a nd M a ry A b ra e is a hill .

s ide f a c m
g a s t re a m ; b i rk i s Sc o ts f o r bi rch .

AF TON WA TE R

F l ow gen t l y swee t A f t on a mon g thy green br a es

, , ,

F l ow gen t l y I l l sin g t h ee a son g in th y p r a is e ;

,
’

M y M a r y s a s l ee p b y th y murmurin g s t re a m
’

F l ow gen tl y swee t A f t on d i s t urb no t h er dre a m

, , .

Thou s t ock do v e w h ose ech o resounds t h ro th e gl en

-
’

Ye w i l d w h is t l i n g b l a ckb irds in y on t h orn y den ,

Th ou g reen cres t ed l a p w i n g t hy scre a min g forbe a r

-
, ,

I c h a r g e y ou d i s t urb no t m y s l umberin g f a i r .
32 IN TR OD U CT IO N TO PO E TRY

How l of ty sweet A f t on thy nei ghbourin g h i l l s

‘

, , ,

Fa r m a rk d w it h th e courses o f c l e a r wind i n g ri l l s ;
’

Th ere d a i l y I w a nder a s noon rises h i gh ,

M y flocks a n d m y M a r y s swee t co t in m y e y e ’
.

H ow pl e s n t thy b nks d green v l l e y s b el ow

a a a an a ,

Wh ere w i l d in th e woo dl nd t h p rimroses b l ow ; a e

Th ere of t mi l d E v n in g wee p s o v er t h l e
’
as e a,

Th e swee t scen t ed b i rk s h des m y M r y n d me

-
a a a .

Thy cr y s t a l s t re a m , A f t on , h o w l o v e l y i t gl ides ,
A n d winds b y th e co t w h ere m y M a r y res i des ;
H o w w a n t on thy w a t ers h er snow y fee t l ave ,
A s ga t h er i n g swee t flow rets s h e s t ems thy c l e a r w ave
’
.

F l ow gen t l y swee t A f t on a mon g t hy green br a es

, , ,

F l ow gen tl y swee t ri v er the t h eme o f m y l ay s ;

, ,

M y M a r y s a s l ee p b y thy mu rmur i n g s t re am
’

F l ow gen t l y swee t A f t on dis t urb no t her dre a m

, ,
.

R o b e rt B u r n s (1 7 5 9 1 79 6 ) -

Th e S c otti sh di a lect will give the re a de r little difficulty

i f he will obs erv e c ert a in si m pl e r ules E n glish 0 i s .

u s u a lly rep r esented by S c ottish a a i o r a n a s in am a ng , , , ,

b a i th a nd a uld
, K i s o ften fo un d wher e E n gli sh h a s c h
.
,

a s i n b i rk a n d ki rk fo r bi rch a nd chu r ch C e rt a in c o n
, .

s o n a nt s a re fre q uently o m itted i n S c ots espec i a lly l a nd ,

v a s i n f a a n d gi e
’ ’
.
,

Alth o u gh al l o f B u rn s s s o ng s a re written t o ol d a i r s
’
,

“ ” “ ”
s o m e o f the m li k e , Afto n W a te r a n d H i ghl a n d M a ry ,

a r e o ri in a l p oems M o r e o ften howeve r B u rn s i s fo u nd

g .
, ,

revisin g the w o rd s of a fol k s on g S o m etimes his ch a n ge s-

.

a re few ; m o re o ften he r ec a sts the enti r e p o e m An .

“
excell ent ex a m ple o f hi s revi s i o n i s t o be s een in A ul d
 TH E SO N G 33

”
L a ng Syne , whi ch is p erh a p s the m o st widely k n ow n
s on g in the l a n gu a g e St ra n g ely en o u gh tho u gh the a ir
.
,

w e now si ng fit s the p o em well it i s n o t the o n e f o r whi ch ,

it w a s w ritten B u rn s i s he re t ryin g t o exp re s s the feel

.

ing o f friendship I m a g ine two old f ri ends m eetin g a ft er

.

m a ny ye a r s t o t a l k ove r old times— a uld l a ng syne m e a n s

o l d ti m es ,b u t i t i s m o r e exp res sive th a n th e E n gli sh
ph r a s e Th e fir s t two line s in th e sec o nd st a n z a m e a n
.

I ll p a y f o r m y d rin k a nd yo u fo r yo u rs ; o r i n m o de r n
’
,

“ ”
sl a ng We ll go D ut ch G o wa ns m e a n s d a i sie s ; b u rn
’
.
, ,

b ro o k ; fi ere c omr d e ; a r g i h t u i d —
w ill i e wa u g h t a
, a
g ,

d rin k .

AUL D LAN G S YN E

S h oul d a u l d a cqu a in t ance be for go t

And never brou gh t t o min ? ’

S h ou l d a u l d a cqu a in t ance be for go t

And a u l d l an g s y ne ?

For a u l d l an g sy n c m y de a r , ,

For a u l d l an g s yn e ,

We l l t a k a cu p 0 k i ndnes s y et
’ ’ ’

Fo r a u l d l an g s y ne .

And sure l y y e ll be y ou r p in t s t ow p
’
-
,

A n d sure l y I ll be m i ne ;
’

A n d we l l t a k a cu p 0 ki ndness yet
’ ’ ’

For a u l d l an g s y n e .

We tw a h a e run a bou t th e br a es
’

And p u d th e gow a ns fi n e ;
’

B ut we ve w an d er d mon y a we a r y foo t
’ ’

S in a u l d l a n g s y ne
’
.
3 4: I N TR ODU CT I O N T O PO E TR Y
We t w a ha e p a id l ed 1 th e burn ’

From mornin g sun t i l l d i ne ;

Bu t se a s be t ween us br a id h a e roa r d ’ ’

S in a u l d l a n g s y ne
’
.

And t h ere s a h a nd m y t rus ty fi ere

’

, ,

A n d gi e s a h a nd 0 t h i ne ;
’ ’ ’

And we l l t ak a r i gh t gu i d w i ll i e w au gh t
’ ’
-
,

For a u l d l an g s y ne .

R ob e r t B u r n s (1 7 5 9 1 7 9 6 ) -

L o ve s o ng s a rep e rh a p s the b es t a nd c e rt a inly the m o s t

p opul a r o f a ll s o n g s I n thi s fi eld B u rn s i s s up re m e
. .

A m e ric a n p o et ry t o o u r g re a t di s c redit b e it s a id h a s
, ,

h a rdly a si n gle g r e a t l ove ly ri c The best k n own o f a ll .

“
S c o tti sh l ove s on g s is Annie Th e p o e m w a s 9

o ri gi n a lly w ritten by An nie L a u ri e s l ove r Willi a m D o u g ’

,

l a s ; bu t it wa s g iven its fin a l fo r m by L a dy Joh n S c ott ,

t o who m th e a ir a ls o h a s be e n a s c rib ed .

ANNIE LA U RI E

M a x we l t on b r a es are b onn ie ,

Wh ere e a r l y f a s th e dew ; ’

An it s t h ere t h a t A nn i e L a ur i e
’ ’

G i ed me h e r p romise t rue ;
’

G i ed me h e r p romise t rue
’

Wh i ch ne er for go t s a ll be ; ’

And for b onn i e A nn i e L a ur i e

I d l a y me doun a n d dee
’

Her brow is l i ke th e sn a w drift -

,

Her t h ro a t is l i ke th e sw a n ,

Her f ace it is t h e f a i res t

Th a t e er t he sun s h one on ;
’
36 I N TR ODU CT IO N TO PO E TRY
a re c om m o n in E n glish a n d G e rm a n It i s by n o m e a n s .

t ru e howeve r th a t the E n gli sh l a n gu a g e i s p o o rly

, ,

a d a pted t o sin g in g The vowel s ou nd s r e q ui r e c a reful a t

.

tenti o n o n the p a rt o f p oet a n d c o m p o s er Th e open vowel .

s o u nds s u ch a s a i n f a the r i in t ime a w i n d o wn e in

, , , ,

eve r a r e p refer a ble t o the cl o s e s o und s o f u i n f ul l 0 0 in

, ,

wo o a n d ee in m ee t
, Th e open vowel s a re e a si er fo r the
.

s in g er t o s u st a in a n d in c re a s e in v ol ume F o r this re a s on .

s in g e rs p refer the les s c omm o n p r o nu n ci a tio n o f the n o u n

wind rimin g it with b lin d r a ther th a n wit h t h in/li ed
, .

S om e o f the m o st be a uti ful s on g s in E n gli sh were writ

t en by the d r a m a ti c p oet s o f Q ueen E liz abeth s ti m e ’
.

M a ny o f the E liz a beth a n a cto r s h a d s un g in chu rch choi rs

befo re g oin g o n the st a g e Sh a k espe a r e s pl a ys a re full
.
’

“ ” “
o f l ovely little lyr ics s u ch a s O M i st r es s M in e
, Und er ,

” “
the G ree nw o o d T ree a nd T ell m e Where i s F a ncy
,

” “
B r ed . Pe rh a p s the bes t o f a ll hi s s on g s i s H a r k H a r k , ,

”
the L a r k whi ch i n Cy mb eline i s s un g a t d a wn by a l ove r
,

j u st o utside hi s sweethe a rt s d o o r I f thi s s o n g h a s a n y’

.

defect it i s Sh ak espe a r e s p a rti a lity t o s s The p oem

,
’ ’
.

h a s been a dmi r a bly s et t o m u si c by S chub e rt who m Li szt ,

“ ”
des c rib ed a s the m o st p o etic a l m u sic i a n th a t eve r w ro t e .

H A RK H A RK , ,
TH E L A RK

H a rk ! h a rk ! t he l a rk at h ea v en s’

ga t e s in gs ,

i ns r i se
A n d Phce b u s g
’
a ,

His s t eds t o w t er t t h ose s p r in gs

e a a

On h l i d flowers t h t l i es ;
c a c
’
a

A n d wink i n g M r y b uds b e gi n a -

T o p e t h eir go l den e y es
o
 TH E SO N G 37

Wi th everyt h in g th a t p re tty i s,
M y l a d y swee t a r i se : ,

Aris e a rise
, .

Wil l ia m S ha ke s p ea r e (1 5 64-1 61 6 )

Sh a k espe a re s f ri en d a n d fell ow d ra m a ti st B en Jo ns on
’ -
, ,

wr o t e m a ny be a u tiful s o n g s The o nly o ne whi ch i s n ow

.

“ ”
wi d ely k n ow n i s hi s S o n g t o C eli a The s ec on d st a nz a.
,

which i s h a rd ly in k eepin g with the fi rst i s m a r red by a ,

“
c o nc eit a f a r—
,
”
fetched fi g u r e o f speech which the E liz a
b e th a n s a dm i red .

S O N G TO C E LI A

Dr ink t o me on l y w ith th i ne e y es ,

A n d I wi ll p l ed ge w it h m i ne ;
Or l e a v e a k i ss bu t i n th e cu p ,

And I l l no t l ook for w ine

’
.

Th e t h i rs t t h a t from t h e sou l do t h
D o th a sk a drink d ivi ne ;
Bu t m i gh t I o f J o v e s nec t a r s ip ’

I wou l d n o t c h a n ge for t h i ne .

I s en t t h ee l a t e a ros y wre at h ,

No t s o muc h h onor i n g t h ee
As gi v in g i t a h o p e th a t t h ere
,

I t cou l d no t wi th er d be ’
.

B ut t h ou t h ereon d i ds t on l y bre a th e ,

An d s en t s t i t b a ck t o me ;
’

S i nce w h en it grows a n d sme ll s I s we a r

, , ,

No t of it s e l f bu t t h ee
,
.

B e n J o n s o n (1 5 73 —
1 63 7 )

T ho m a s M o o re the I rish p o et t ried t o d o f o r hi s

, ,

c ou nt ry wh a t B u rn s h a d d o ne fo r S c otl a nd Hi s s o n g s .
38 IN TROD U CTI O N TO PO E TRY
a re m el o di o u s p retty bu t they a re t o o senti m ent a l
an d ,

a n d a rtifici a l ; they bel o n

g t o the E n glish p a rl o r n ot t o ,

t he I ri sh c o un t rysid e Th o u g h w ritt en fo r old I ri s h a i rs

.
,

the ly ri c s a re n o t g enui nely I ri sh S o m e o f the m how.

,

“ ” “
eve r s u ch a s The L a st R o s e o f Su mm er a nd O ft in
,

”
th e Stilly N i ght a re s till well k n ow n
, .

B E LI EV E M E I F ALL TH O S E
, E N D EA R I N G
YOUN G C H A RM S

B e l ieve me i f all those ende a rin g y oun g ch a rm s

,

Which I ga z e on so fondl y t o d ay -
,

Were to ch a n ge b y t o morrow a n d flee t in m y a rms

-
, ,

L i ke f a i r y —
g i f t s f a d in g a w a y ,

Th ou wou l ds t s t i l l be a dored a s t h i s momen t t h ou a rt

, ,

Le t t hy l ov e li ness f a de a s i t wi l l ;
A n d a rou nd th e de a r ru i n e a c h wis h of m y h e a r t
Wo ul d en t win e i t se l f v erd an tl y s ti ll .

I t is no t w h i l e be au ty an d y ou t h a re th i ne o wn ,

A n d th y c h eeks un p rof a ned b y a t e a r ,

Th a t th e fer v or a n d f a i th o f a sou l m a y be known

To w h ich ti me wi l l bu t m a ke t h ee more de a r ;
No t h e h e a r t t ha t h a s t ru l y l o v ed ne v er for ge t s
, ,

Bu t a s t ru l y l o v es on t o th e c l ose ,

A s t h e sunflower t urns on h e r go d w h en h e se t s
Th e s a me l ook w h ic h s h e turned w h en h e rose .

Th om as Al oor e (1 7 7 9 1 8 5 2 ) -

M a ny o f the old a i rs a re b est k n own t od a y a s c olle g e

“ ”
s o ngs . F a i r H a rv a rd p erh a p s the b es t Americ a n rep
,

“
re s e n t a t ive o f thi s type i s s un g t o the a i r o f
,
B elieve m e
”
i f All th o se E nde a rin g Yo un g C h a rm s I t i s a d a pt ed
.
 TH E SO N G 39

t o fo rm a l o c c a si o ns li k e c o m mence m ents a nd a u l m ni re

u ni o ns n ot t o a t hl eti c r a llies a nd c o ntes t s

, .

FAI R HA RVA RD

F air H a rv a rd ! t h y son s t o th y j ubi l ee th ron g

A n d wi t h b l ess i n gs surrender t h ee o er
’

B y t h es e fes tiv a l ri t es from th e a ge t h a t is p a s t

,

To th e a ge th a t is w a iti n g before .

0 re l ic a n d typ e o f our a nces t ors wor t h

’

Th a t h a s l on g ke pt t h e i r memor y w a rm ,

Firs t flower o f t h eir w i l dern ess s t a r of t h e i r ni gh t, ,

C a l m r i s i n g t h rou gh c h a n g e a n d t h rou gh s t orm .

To t hy b owers we were l ed in th e b l oom of our y ou th

From th e h ome o f our in f an t il e y e a rs ,

Wh en our f at h ers h ad w a rned an d our mo t h ers h ad p r ayed

, ,

A n d our sis t ers h ad b l es t t h rou gh t h eir t e a rs !

,

Th ou t h en wer t our p a ren t t h e nurs e of our sou l s ;

,

We were mou l ded t o m a n h ood b y t h ee ,

Ti l l fre i gh t ed w it h t re a sure t h ou gh t s fr i ends h i p s an d ho p es

-
, , ,

Th ou dids t l a unc h u s on D es ti n y s s e a
’
.

When ,
p i l g ims we come to re v isi t thy h alls
as r , , ,

T w h t kind l in gs t h e se son giv es b i r t h !

o a a

Thy s h des a mos t soo t h in g t hy sun l i gh t more de a r

a re , ,

Th n descend on l ess p ri v i l e ged e r t h ;

a a

For t h good d th e gre t in t h e i r b e u t ifu l p rime

e an a a

Th rou gh th y p recinc t s h v e musin gl y t rod

a

A s th e y gu i ded t h e i r s p ir it s or dee p ened th s t re ms e a

Th t m ke gl d th f i r ci ty o f G d
a a a e a o .

F arewel l be t h y des t inies onw a rd a n d bri gh t !

,

To th y ch i l dren th e l esson s t i l l gi v e
40 I N T ROD U CTI O N TO PO E TRY
Wi th freedom to t h ink a n d wi th p a t ience t o be a r
, ,

An d for r i gh t e v er br a v el y t o l ive .

Le t no t moss co v ered error moor t h ee a t i t s s i de

-

A s t h e wor l d on t ru t h s curren t gl i des b y ;

’

B e t h e h er al d of l i gh t an d th e b e a rer o f l o v e
Ti ll t h e s t ock o f t h e Puri t a ns d i e !
R e v S a m uel G il m a n
.
(1 791 1 85 8 )
-

Th e hy m n i s p rob a bly the o ne k in d o f s o ng whi ch h a s

l o s t n othin g o f it s o ri gi n a l i m p o rt a n ce i n a n a ge when
p o e m s a r e c o m in g m o re a n d m o re t o b e re a d r a the r th a n
s un g Yet a ltho u g h the re a re a few hy m n s o f g re a t
.
,

p o etic b e a u ty it i s a s t r a n g e f a ct a dmitted by eve ry

, ,

o n e th a t m o st hy m n s h a ve n o p o etic me rit T his i s

, .

p a rtly expl a ined by the f a ct th a t m o st hy m n s a r e w rit

ten n ot by po ets b ut by ministe rs who a re n a tu ra lly m o re
, ,

c o nce r ned with the t e a chin g o f a m o r a l th a n with the

p oeti c exp res si o n o f a g re a t em o ti o n We sh o ul d a l s o .

re m embe r th a t while inferi o r secul a r s on g s die a n a tu r a l

de a th tho u s a nds o f p o o r hymn s a re p res e rv ed in the
,

hym n a l s The g re a t hy m n i s u s u a lly the p r o du ct o f a

.

reli g i o u s a w a k enin g su ch a s th a t led by Whit efield a n d

the Wesl ey b ro the rs i n the ei ghtee nth c entu ry Th e .

re a test hy m n o f m o der n ti m es it see m s t o u s i s C a rdi

g , ,

“ ”
n a l N ewm a n s L e a d Kindly Li ght
’
, The hy m n re fl ect s
.

the do ubt a nd gl o o m th r o u gh which N ewm a n the l e a de r ,

o f the Oxfo rd M ove m ent p a s sed be fo re he a tt a ined f a ith

,

a nd p e a c e Th e only s e ri o u s de fect i n th e p oem when

.

“ ”
j ud g ed a s a s on g i s th a t the r e a re t o o m a ny r u n o u -

lines ; the re o u ght t o be a p a u se a t the en d o f e a ch

line .
 TH E SO N G 41

L EA D ,
K I N D LY LIG H T

Le a d kind l y l i gh t a mid th enc i rc l in g gl oo m

, ,
’

Le a d t h ou me on !
Th e ni gh t is d a rk a n d I a m f ar from home ;
,

Le a d t h ou me on !
K ee p t h ou m y fee t ; I do no t a s k t o see
Th e dis t a n t scene ; one s t e p enou gh for me .

I was no t ever t h us nor p r a y ed th a t t h ou

,

S h ou l ds t l e a d me on ;
I l o v ed t o c h oos e a n d s ee m y p a th ; bu t now
Le a d t h ou me on !
I l o v ed th e ga r i s h d ay a n d s p i t e of fe a rs
, , ,

Pr i de ru l ed m y wi ll R emember no t p a s t y e a rs !
.

S o l on g thy p ower ha h t b l es t me sure it s t i l l

,

Wi l l l e a d
me on
O er moor an d fen o er cr a g an d t orren t t i l l
’

,
’

Th e ni gh t i s gone ,

And wi th th e morn t h os e a n gel f a ces sm i l e ,

Wh ich I ha ve l o v ed l on g since a n d l os t a w h i l e !
,

J o h n H e n ry N e w m a n (1 8 01 —1 890)

U nli k e th e l ove s o n g the p a t ri o ti c s o n g i s n o t the

,

exp res si o n o f the e m o ti o n o f a sin gl e i ndividu a l ; li k e th e

hymn it i s the exp r es si o n o f th e feelin g o f the c r o wd
, .

Ju s t a s m o s t hy m n s a re w ritten du rin g a ti m e o f s t r on g
reli g i o u s feelin g s o m o st p a t ri oti c s o n g s a re w ritten in
,

wa r ti m e ; fo r it i s wa r n ot p e a c e whi ch c a ll s o ut th e
-
, ,

p a s s i o n a t e l ove o f c o u nt ry The g re a t n a tio n a l s o n g

.

c a nn o t be m a d e t o o rde r ; it m u st a w a it the c o nj u n cti o n

o f the m a n a n d th e ho u r a n d c u ri o u sly e n o u gh i t is
, , ,
42 IN TROD U CT IO N TO PO E TRY
a l m o st n eve r the w o r k o f a g r e a t p o et G re a t w riters .

li k e Wo rd sw o rth a nd M il t o n st a n d t o o f a r a p a r t f r o m
the c r owd t o w rite rep res ent a tiv e n a ti o n a l s o n g s t o .

“ ” “
can re c a ll off h a nd the a uth o rs o f A m e ri c a
-
Th e ,

” “ ”
W a tch o n the R hine a n d D ixie ? ,

“
The A m eric a n n a ti on a l a nthem Th e St a r Sp a n gle d
,
-

B a nn er w a s w ritten n o t by a P o e a L on g fell ow o r a
, , ,

t itm a n bu t by a B a ltimo r e l a wye r n am ed F r a ncis S c o tt

,

Key who i s k n ow n fo r n o thin g els e T h e p o em wa s w rit

,
.

ten d u ri ng the b o m b a r dment o f F o rt M c H en ry by the

B riti sh i n 1 8 1 4 Key wh o h a d g o n e a b o a rd the B riti sh
.
,

fl eet u nde r a fla g o f t ru ce t o s ee a f riend w a s det a in ed , ,

a n d thu s c a m e t o witnes s th e b o m b a rd m en t du rin

g the
ni ght I n the m o r nin g he l o o k ed a nxi o u sly t o s ee i f the
.

St a rs a n d S t ri p es wa s s till w a vin g Key w r o t e the p oe m .

“
i m medi a tely a n d s et it t o a n E n glish a ir To An a c re o n ,

”
i n H e a ven B oth the a ir a nd the p oem a re diffic ult t o
.

sin g ; f o r the m u s ic h a s a wi de r c omp a s s th a n the a ve r a g e

v oi ce a n d the line s a re full o f he a vy u n st res s ed s yll a ble s
,

a n d diffic ult c o m bi n a ti on s o f c on s o n a nts .

TH E S TA R S PA N G L E D -
B A N N ER

Oh s a y c a n y ou see b y th e d a wn s e a rl y l i gh t
, , ,
’

Wh a t so p roud l y we h a i l ed a t t h e t w i l i gh t s l a s t gl e amin g ? ’

Wh os e b ro a d s t r ip es an d b r i gh t s t a rs t h ro the c l ouds of t h e
,
’

fi gh t ,

O er ’
r a m p a r t s we w at c h ed were so ga ll a n t l y s t re a min g ?
the
A n d th e rocke t s red gl a re t h e b om b s b urs ti n g in a i r
’

, ,

G a v e p roo f t h ro th e n i gh t t h a t our fla g w a s s ti l l th ere ;

’

O h s ay does t h a t S t a r S p a n gl ed b a nner y e t w a v e
, ,
-

O er th e l a nd o f th e free a n d t he h ome o f th e br av e ?
’

,
44 IN TR OD U CTI O N TO PO E TRY

lyri c S m ith di d n o t k n ow th a t he h a d c o m po s ed it t o
,

“ ”
th e a ir o f the E n gli sh a nthe m Go d S a ve the Kin g
, .

Th e tun e h ow eve r i s n o t c ert a inly o f E n glish o ri gi n

, , .

“ ”
T h e w o rd s o f Go d S a v e the Kin g a n d o ften the a i r
, as
well h a ve be en a tt ributed t o H en ry C a rey wh o 1 5 sup
, ,

p o s ed t o h a ve w ritte n the s o n g a bo u t 1 74 0 .

AM ER I C A
M y coun t r y t is of t hee
,
’

S wee t L a nd of Liber ty ,

Of t h ee I sin g ;
L and w h ere m y fa thers died ,

L and o f th e p i l grims p ride ’

From ever y moun t a in side -

Le t Freedom r in g .

M y n a t i v e coun t r y t hee
, ,

L a nd o f th e nobl e free ,

Thy n a me I l o v e ;
I l ove thy rocks an d ri l l s ,

Thy woods a n d t em p l ed h i l l s ,

M y h e a r t wi t h r a pture th ri l l s
Like t h at a bo v e .

Le t music swe l l t he bree z e ,

A n d r i n g from a ll th e t rees ,

S wee t Freedom s son g ;

’

Le t mor ta l t on gues a w a ke ;
Le t a l l th a t bre a th e p a r take ;
Le t rocks t h e i r si l ence bre a k ,

Th e soun d p ro l on g .

Our f at h ers G od t o
’

, Thee,
Au t h or of Liber ty ,

To The e I s in g ;
 TH E SO N G 45

Lon g m ay our l a nd be bri ght

Wi t h Freedom s ho l y l i gh t ;
’

Pro t ec t us b y Thy mi gh t ,

G re a t G o d our K in g
,
.

S a m uel F r a n c is S m it h (1 8 08 -1 895 )

G O D S AV E TH E K I N G

G od s a ve our gr a cious K in g !
Lon g l iv e our nob l e K in g !
G o d s a ve t he K in g !
Send h im vic t orious ,

H a ppy an d gl orious ,

Lon g t o rei gn o v er us !
G o d s a ve th e K in g !

0 Lord our G o d a ris e !,

Sc a tt er h i s enem i es ,

A n d m a ke t h em f al l ;
C on found t h eir p o l i ti cs ,

F ru stra te t h eir kn av is h t rick s

On Th ee our h o p es we fi x
G o d s ave us a l l !

Thy ch oices t gi f t s in s t ore

On h im be p l e a sed t o p our ;
Lon g m ay h e rei gn !
M ay h e de fend our l a ws ,

And e v er g iv e u s c a us e
To s i n g wi t h h e a r t a n d voice
G od s a v e t h e K in g !
H e n ry C a rey (d . 1 743 )

The be s t A m e ri c a n n a tio n a l s o n g s d a t e a bo u t
the ti m e o f the C ivi l W a r the
, o ne
g re a t c ri s i s w h i ch h a s
 ”
e D o odle a re t rivi al ; b ut the m o re
,

“
r s io n o f Gener a l Pi k e S o uthr o n s H e a r Yo u r
, ,

”
C a ll Yo u ,neve r b ec a m e p opul a r with the s ol
A H a rv a rd p r o f es s o r o f m u si c h a s refe r r ed t o
a s the be st a n d m o st t r uly Am eri c a n o f a l l o u r
“ ”
1 a i rs . Dixi e i s a s p op ul a r in the N o rth a s in
t h ; w e resp o nd t o it a s w e d o t o n o othe r p a t ri oti c

“
N o rthern s oldie r s f a vo ri t e John B r own s B o dy
’
,
’
,

t o a n old ne g r o c a m p m eetin g t u ne Si nc e the

-
.

“
hip i s still i n dis p ut e it see m s b est t o cl a s s John
,

”
B o dy a s a f ol k s o n g ; the m erit s o f the w o rds
-

m e rit s o f fol k p o et ry— s i m plicity na tu ra l n es s , ,

ct n es s .

JOH N B RO WN S BO D Y ’

hn
i B rown s bod y l ies a m o ul d
’
-
’
rin
g in th e g r av e
,

hn B rown s bod y l ies a m o u l d in rav e

’ ’
.
-
rin g th e g ,

h n B rown s bod y l ies a m o u l d g i n th e gr ave

’ ’
.
-
rin ,

H i s s ou l is m a rch in g on !

C horu s
G l or y y H al l e l u j h
G l or a

G l or y y H ll e l uj h !
G l or a a

G l or y G l or y H ll el u j h
a a

His sou l is m a rch in g on .

 TH E SO N G 47

H e s gon e t o be a so l d i er in
’
th e a rm y o f th e Lord !
His sou l is m a rc h in g on .

John Brown s kn a p s a ck is s t r a pp ed u p on his b ack

’
.

His sou l i s m a rc h in g on .

His p e t l a mbs wi l l mee t h im on the w ay,

And t h e y ll go m a rc h in g on
’
.

The y l l h a n g J e ff D a v is to sour a pp l e t ree

’
a ,

As t h e y g o m a rch in g on .

Now for th e Union l e t s giv e th ree rousin g ch eers ’

As we go m a rc h in g on .

H ip h ip h ip hip Hurr ah !
, , , ,

“
M rs Juli a W a r d H owe s p o e m Th e B a ttle H y m n o f
.
’
,

”
the R epubli c re sulted fr o m a n a ttempt t o fit m o r e el e
,

“ ”
v a t ed w o rds t o the t u ne o f J ohn B rown s B o dy w h i ch ’
,

i s un do ubtedly o ne o f the bes t o f o u r m ilit a ry a i rs She .

w ro te the p o e m on e ni ght in Dece mbe r 1 86 1 a fte r a vi sit , ,

t o M c clell a n s a rm y ’
Th e le a din g id e a i n the p o e m
.
,

“
a c c o rdin
g to M r s H owe i s t h e s a c rednes s o f h um a n l ib
.
,
” “ ”
erty . Th e B a ttle H ymn o f th e R epubli c diff e r s f r o m
“ ”
th e gr e a t m a j o rity o f the w a r p oe m s M y M a ryl a n d , ,

f o r i nst a n ce in the a l m o st c omplet e a bs en ce o f s ecti o n a l

,

bitte rnes s I t h a s the pe r m a nent q u a lity whi ch m a k e s it

.
.

“
a p p r op ri a t e t o eve ry st ru le f o r hu m a n lib erty T h e
gg .

”
m u si c m a de the w o r ds o f J ohn B r own s B o dy f a m o u s ‘ ’ ’
,

“
s a y s C ol o nel N i chol a s S m ith bu t M rs H owe s m a tch ’
,

”
l es s b a ttl e s o n g h a s m a de the mel o dy i mm o rt a l In h er .

p o e m the s o n g o ri g in a lly a hymn h a s b ec o m e a hy m n

, ,

aga i n a re a t r eli io u s p r o ces si o n a l

, g g .
48 I N TR ODU CT IO N TO PO ETR Y

TH E B A TTL E H YM N OF TH E RE PUBLI C

Mine e y es h a v e s een th e gl or y of th e comin g o f th e Lord

H e i s t r a m p l i n g ou t th e vi n ta ge w h ere t h e gr a p es o f wr a t h
a r e s t ored ;

He h a t h l oosed t h e f a t efu l l i gh t nin g o f H i s t erribl e swift s word

H i s t ru t h is m a rc h i n g on .

I v e seen H im in th w t ch fi o f hundred circ l in g c m p s ;

ha e a -
re s a a

Th e y h v e bu i l ded H i m n l t r in t h e v en i n g dews
a a a a d l mp s ; e an ca

I h v e re d H i ri ght eous sen t ence b y th d i m d fl r i n g l m p s

a a s e an a a .

His d y is m rc h i n g on
a a .

I h ave re a d a fier y gos p e l wr it in b urnis h ed rows o f s t ee l

A s y e de a l wi t h m y con t emners so wi t h y ou m y gr a ce s h all
,

de al
Le t the H ero born of wom a n crus h th e ser p en t wi th H is h ee l
, , ,

S ince G o d is m a rch in g on .

He h a s sounded for th th e t rum p e t t h a t s hall ne v er c a l l re t re at ;

H e i s s i f ti n g ou t th e h e a r t s of men b efore H i s j ud gmen t se a t : -

O h ! be swif t m y sou l t o a n swer H im be j u b i l a n t m y fee t !

, , , ,

Our G o d is m a rc hin g on .

In t he be a u ty o f th e l i l i es C h ris t w a s b orn a cross the s ea ,

Wi th a gl or y i n H i s b osom t h a t t ran s fi gu res y ou an d me

A s H e di ed t o m a ke men h o l y l et us d i e t o m a ke men free
, ,

Wh i l e G o d is m a rc h i n g on .

J u lia Wa r d H o w e (1 8 1 9 1 9 1 0) -

“ ” “
The o f th e C o nfede r a cy
M a rs eill a i s e M y M a ry ,

” “ ”
l a nd n ow a fte r M y Ol d Kentu c ky H o m e the best
, , ,

k n own o f o u r s t a te s on g s wa s w ri tten in Ap ril 1 8 6 1 by

, , ,

J a m es R yde r R a nd a ll Whil e t e a chin g in P oyd ra s Co l

.

l e g e i n L o ui si a n a R a nd a ll r e a d a n a c c o u nt o f a n a tt a c k
,
 TH E SO N G 49

up o n s o m e U ni o n t r o op s in hi s n a tive city o f B a lti m o re .

“
T he p o e m w a s w ritten i n m u ch the s a m e w a y a s The
”
B a ttl e H y m n o f the R ep ubli c a s o ne ma , y see from
“
R a nd a ll s own a c c o u nt o f it s c o m p o siti o n : I h a d lon g
’

b ee n a b s ent fr o m m y n a tive c ity a nd the st a rtlin g event

,

the r e in fl a m ed m y m i nd T h a t n i ght I c o uld n o t sleep

.
,

f o r m y ne rve s wer e a ll u ns t ru n g a n d I c o ul d n ot di s ,

m i s s wh a t I r e a d in the p a pe r fr o m m y m ind Ab o u t .

m idni ght I r o s e lit a c a ndle a n d went t o m y des k S o m e

, , .

p ow er f ul sp i ri t a pp e a red t o p o s s es s m e a n d a l m o st in vo l
,

u n t a ril y I p r o ceeded t o w rite th e s o n g o f M y M a ryl a n d

‘ ’
.

I r e m e m be r th a t the ide a a ppe a r ed t o fi r st t a k e s h a p e a s

m u si c in the b r a i n— s o m e w il d a ir th a t I c a n n o t n ow
r ec a ll
. Th e wh ol e p o e m w a s d a sh ed o ff r a pidly when
o nce b eg u n . I t wa s n o t c omp o sed i n c old bl o o d b u t ,

u nde r wh a t m a y b e c a lled a c o nfla g ra tio n o f the s e n s es ,

”
i f n o t a n in spi r a ti o n o f the intellect .

Th e p o e m in f a ct h a s a s upe rb fi r e a n d p ow er — t o
, , ,

which the a ir s c a rcely d o es j u sti ce th a t m a k e it w o rthy ,

-

“ ”
o f c o mp a ri s o n with B ru c e s B a nn o c kb u r n a nd C a m p
’

“ ”
bell s Ye M a rine r s o f E n gl a nd
’
Two B a lti m o r e g i rls
.
,

Jenni e a n d H etty C a ry a d a pte d the p o e m t o a n old

,

G e rm a n a ir then p opul a r a s a Y a le s o n g u nde r the title

,

“ ”
o f L a u riger H o r a tiu s St a n z a s th ree a n d fo u r c a ll
.

th e r oll o f f a m o u s M a ryl a nde r s who h a d bo rn e a di s

t in gu is hed p a rt in e a rli er w a r s S i c s emp e r in the sixth
.
,

s t a nz a i s p a rt o f the m ott o o f the st a te o f Vi rgi n i a S ic

, ,
“ ”
S emp er Ty ran n i s T hu s a lw a y s t o ty r a n ts
, .
5 0 IN TROD U CTI O N TO PO E TR Y

MY MA RYLA N D
Th e des p o t s heel is on thy shor e
’

M a r y l and !
His t orc h is a t thy t em p l e door ,

M a r y l a nd !
Aven ge th e p a t rio ti c gore
Th a t fleck ed th e s t ree t s o f B al t imor e ,

And be th e b a tt l e queen of y ore

-
,

M a r yl a nd m y M a r yl a nd !
,

H ark t o an e x i l ed son s a pp e al ’

M a r yl a nd !
M y Mo th er S t a t e t o th ee I kneel
, ,

M a r yl a nd !
For l i fe a n d de at h for woe an d we al
, ,

Thy p eer l es s c h iv al r y re v e al ,

An d gird t h y be au t eous l i mbs w i th s t e el ,

M a r yl a nd m y M ar yl and !
,

Thou w il t no t cower in the dus t ,

M a r y l a nd !
Thy be a min g sword sh all n ever ru st ,

M a r yl and !
Remem b er C a rro l l s s a cred t rus t
’

Remem b er How a rd s w a r l i ke th rus t

’

And a l l thy s l umberers wi t h th e j us t ,

M a r y l a nd m y M a r y l a nd !
,

C ome ! ti s t h e red
’
d a wn of t he d ay,
y
M a r l and !
C ome wi t h th y p no p l ied rr a y
a a ,

M r y l nd !
a a

Wi th Rin ggo l d s s p i ri t for t he fr ay

’

Wi t h W t son s bl ood t Mon t ere y

a
’
a ,

Wit h fe r l ess Lowe n d d s h i n g M

a a a a
y,
M r y l nd m y M r y l nd !
a a ,
a a
5 2 IN TRODU CT IO N TO PO E TR Y

I h e a r th e d i s t an t thunder hum ,

M a r yl a nd !
Th e O l d Lin e s bu gl e fi f e an d drum
’

.
, , ,

M a r y l and !
S h e is no t de a d nor de a f nor dumb ;
, ,

Hu z z a ! s h e s p urn s th e Nor th ern scum !

S h e bre a th es ! S h e burn s ! S h e ll come ! S he ll
’ ’

come !
M a r y l and m y M a r y l a nd !
,

J a m e s R yd e r R a n d a l l (1 839 1 9 08 ) -

N othin g i s s t r a n ge r th a n the mi g r a ti o n s o f p a t ri oti c

“ ” “ ”
a i r s B oth Am eric a a n d The St a r Sp a n gled B a nn e r
.
-

“ ”
we re w r itt en f o r E n glish a i rs Dixi e wa s w ritten by .

a N o r the rne r F o ste r the m o st f a m o u s a u tho r o f n eg r o

.
,

“
s on g s wa s b o rn in Pe nn sylv a n i a
,
T h e a ir o f J ohn .

” “ ”
B r own s B o dy a n d The B a ttl e Hy m n o f the R epublic
’

wa s o ri gi n a lly S o uthe rn Th e E n glish p oet Willi a m

.
,

“
M o rri s bo r r owed thi s tu n e fo r hi s
, M a rch o f the
Wo r k e rs ”
At the cl o s e o f the C ivil Wa r Lin c ol n a s k ed
.

“ ” “
a b a n d t o pl a y Dixie a n d s a id A s we h a ve c a ptu red
, ,

the C o n fede r a te a rm y we h a ve a l s o c a ptu red the C o n

,

”
fede r a t e tu n e a n d b oth bel o n g t o u s
, I n othe r w o rds .
,

“
a s B r a n de r M a tthew s ut s it I n the h o u r o f b a ttle a
p ,

w a r tu n e i s subj ect t o the ri g ht o f c a ptu r e a n d li k e the

-
, ,

c a nn o n t a k e n f r o m the en e m y it is tu rned a g a ins t its ,

”
mak er .

Altho u gh s on g s a re t o o v a ri o u s t o p er m it a di s c u s sio n
he re o f a ll the types s o m e fu rther ex a mples a re n ec es
,

s a ry t o illu st r a te the r a r e excellen c e o f the fo rm On e o f .

th e bes t o f r ecent s o n g s i s R obe rt L o ui s St even s o n s ’

“ ”
Req ui em whi ch h a s b een s et t o mu si c by Sidney H o m e r
, .
 TH E SO N G

RE QUI E M

Under wide a n d s t a rr y sk y
th e ,

D ig th e gr a v e a n d l e t me l ie .

G l a d d i d I l iv e a n d gl a d l y d ie ,

And I l a i d me down w ith a wi l l .

Th is be th e v erse y ou gr a v e for me
H e r e he l ie s w he r e h e l ong e d to b e ;
H om e is th e s a il o r h o m e f r o m t he s e a
, ,

A n d th e h un t e r h o m e f ro m the hil l .

R o be r t L o u is St e ve n s on (1 85 0 1 894) -

=
s upe rb s o n g o f a di ff e rent k ind i s K iplir
r , ,

”
p y
s T r a il whi ch
, h a s be en widely s u n
g t o

od B G a ll ow ay R o man y m e a n s g ip sy ; g o rg
. .

is n o t a g ip sy ; A u s t ra l s o uthe rn , .

TH E G I PSY TRAI L

Th e whi t emo t h t o th e cl osin g b i ne ,

Th e bee t o t h e o p ened c l o v er ,

And th e gi p s y bl ood t o t h e gip s y b l ood

E ver th e wide wor l d over .

E ver t h e wide wor l d over l a ss , ,

Ever t h e t r a i l h e l d t rue ,

Over th e wor l d a n d under th e world ,

A n d b a ck a t th e l a s t t o y ou .

Ou t of th e d a rk of t he gor gio c am p ,

Ou t o f th e g rime an d t h e gr ay
(Mornin g w a i t s a t th e end of t h e wor l d ) ,

G i p s y come a w a y !
,
5 4 IN TROD U CT I O N TO PO E TRY
Th e wi l d b o a r t o t he sun - dried sw a m p ,
Th e red cr a ne t o h er reed,
An d th e Rom a n y l a ss t o th e Rom an y l a d
By the t ie of a ro v in g breed .

Th e p ied sn ke t o t he ri f t ed rock
a ,

Th e buck t o t h s t on y p l in
e a ,

A n d th Rom n y l s s to th e R om n y
e a a a l ad ,
An d bo t h t o t h e ro d g in a a a .

Bo th to th e ro a d a gain a gain ! ,

Ou t on a c l e a n s e a t r a ck -

Fol l ow t h e cross of th e gi p s y t r ail

Over the wor l d an d b a ck !

Fo l l ow t he Rom an y p att eran

Nor t h w h ere th e bl ue ber g s s ail ,

And th e bows are gr a y wi t h th e fro z en

An d th e m a s t s a re s h od wi th m a i l .

Follow t h e R om a n y p att eran

t
S h eer o th e A us r a l Li gh ,t t
Where th e besom of G od i s t h e wil d Sout h w ind ,

S wee p in g th e s ea -flo o rs w h i te .

F oll ow t he Rom a n y p att eran

Wes t t o th e sinkin g sun ,

Ti ll th e j unk s i l s l i ft th rou gh
-
a th e houseles s dri ft ,

An d the e s t d t h e wes t
a an a re one .

Fo l l ow th e Rom an y p attera n
E a s t w h ere t h e si l ence broods
B y a p ur pl e w a v e on a n o p al b e ach
In t he hus h o f t he M a h i m woods .
 TH E S O N G

T wi l d h a wk t o th e w i nd swe p t sk y
he -
,

Th e deer t o t h e w h o l esome wo l d
And th e h e a r t o f a m a n t o th e h e a r t o f a
As i t w a s i n th e d a y s o f o l d ”
.

The h e a r to f a m an t o th e he a r t o f a m aid
L i gh t o f m y t en t s be fl ee t
,
.

Morn i n g w a i t s a t th e end o f t h e wor l d ,

A n d t h e wor l d i s a l l a t ou r fee t !
R ud ya r d K ip l in g (1 865

U p t o thi s p oint we h a ve i nclu d ed o nly ly ri c s whi

a re still s u n t o f a m ili a r m el o die s T here a re h o w ev
g
i
.
,

a ve ry l a r e n u m be r o f p oe m s which we re w ritten f o r a
g
th a t a re n ow fo r g o tten T hes e s o n g s w e m u st j u d
.

s olely a s p o et ry The S c o tch k no w B u rn s s imm o ri

.
’

“ ”
J ohn An de rs o n a s a s on g but the rest o f u s k n ow
,

o nly a s a p o e m U nl i k e m o st s o n g s it h a s s ufficient p oe
.
,

m e rit t o en a ble it t o di spens e with the a ir I t i s a l c .

“
s o ng o f s o mewh a t the s a m e typ e a s B elieve M e I f 1

” “
Th o s e E n d e a rin g Yo un g C h a rm s a n d Silve r Th re a
”
a m on the Gold ; b u t it i s i nc o m p a r a bly re a t er p oet
g
'

g
a n d it h a s n o t the s i htes t t r a ce o f the f a l s e s e n t im f
lg
whi ch m a r s thes e p opul a r s o n g s J 0 me a n s s weeth e a
.

a c ue n t a c q u a inted ; b ren t s m o o th u nw rin k l ed ; b e

q , , ,

b a ld ; p o w he a d ; c a n ty chee rful h a ppy

, , , .

JOH N AN D E RS O N

John A nderson m y j o J o hn , ,

Wh en we were fi rs t a cquen t ,

Your l ocks were l i ke th e r a v en ,

Your bonnie brow w a s bren t ;

56 IN TROD U CTI O N TO PO E TRY
B ut now y our brow is be l d J ohn , ,

Your l ocks a re l i ke th e sn a w ;
Bu t b l essin gs on y our fros ty p ow ,

J o h n A nderson m y j o , .

J ohn A nderson my j o ,
J ohn ,
We cl a mb th e h i l l t h e gi t h er ;
And mon y a c a n ty d ay J o h n , ,

We v e h a d w i a n e a n it h er :
’ ’

Now we m aun t o tt er down J o hn , ,

A n d h a nd i n h a nd we l l go
’

An d s l ee p t h e git h er a t th e foo t ,

J o hn A nderson m y j o ,
.

R o b e r t B u r n s (1 75 9 1 7 9 6 ) -

“
E m ers o n ’
s C o n c o rd Hy m n o ne o f the finest o f A m e ri
,

c a n p a t r i o ti c ly ri c s wa s s un g i n 1 83 7 a t the c o m pleti o n
,

o f the m o nu m ent e rect ed in m e m o ry o f the s oldi er s k ill ed

a t C on c o r d B rid e i n the fi rst fi htin
g g g o f the R evoluti o n .

F ew p oe m s w ri tten fo r sp eci a l o c c a si o n s h a ve a tt a ined

the a pp a re nt i mm o rt a lity whi ch h a s c o m e t o thi s s o ng .

C ON C O RD H YM N

By rude bridg e th a t a rch ed th e flood

th e ,

Th eir fla g t o A p ri l s bree z e un fur l ed

’

Here once th e em b a tt l ed f a rmers s tood

A n d fi red th e s h o t h e a rd round t h e wor l d .

Th e foe l on g since in s i l ence s l e pt ;

A l ike t h e conqueror s i l en t s l ee p s ;
And Ti me th e ru i ned brid ge h a s swe pt
D own th e d a rk s t re a m t h a t s e a w a rd cree p s .
 TH E SO NG 5 7

On t h is gr een b ank b y t his sof t s t re a m , ,

YVe s e t t o d a y a vo t i v e s t one ;
-

Th a t memor y m a y t h e i r deed redeem ,

Wh en l i ke our s i res our sons a re gon e

, , .

Sp iri t th t m d e t h os e h eroes d re
,
a a a

T die o d l e v e t h eir c h i l dren free

,
an a ,

Bid Time d N t ure gen tl y s p re

an a a

Th s h f t we r ise t o th em
e a d t h eea an .

R al p h Wa ld o E m e rs o n (1 8 08 -
1 882 )

When a n a ti o n p a s ses o ut o f the m o r e p ri m itive st ag es

o f civiliz a tio n the c o nn ecti o n betwee n m u si c a n d p o et ry
,

b ec o m es les s a n d les s in ti m a te P o em s g r a du a lly c e a s e .

t o b e s u n g a ltho u g h fo r a ti m e they a re ch a nted m u ch

,

a s a n e ro p r e a che r o f the old s cho ol ch a nts his se r m o ns

g .

F in a lly p o e m s c o m e si m ply t o b e sp o k en o r r e a d m u ch
,

a s w e re a d p ro s e The v a st m a j o ri ty o f p oe m s w ritten
.

t o d a y a re w ritt en with n o tho u ght o f a m u s ic a l a c c o m

a ni m en t ; a n d the l o n e r m o r e a m biti o u s fo rm s o f m u s ic
p g , ,

s u ch a s the s o n a t a a nd the sy m ph o ny h a ve n o w o rds t o ,

a c c omp a ny the m E ven yet h oweve r the o ri g in a l c o n

.
, ,

n e c t i o n be tw ee n m u si c a n d p o et ry i s k ept up i n hy m n s ,

p opul a r s on g s m u si c a l c o m edies a n d O pe r a s F u rthe r

, , .

m o re a ll p o et s f r o m H o m er t o Kiplin g a c c o rdin g t o
, ,

Willi a m B utle r Ye a t s ch a nt thei r p o e m s when they re a d

,

the m a l o u d .

B o th l o s s a n d g a in f o r e a ch a rt res ult f r o m thi s div o rce

o f m u s ic a n d p o et ry M u si c g a i n s i mm ens ely in f reedo m
.

and r a n ge. L a te r mu si c a tt em pts s o m eti m es t o r iv a l

p o et ry eve n in i m p a rtin g ide a s ; j u st ho w s u c c es s fully
mu si c i a n s d o n o t a lw a ys a g ree I n the Ove rtu re t o .
5 8 I N TR ODU C T IO N TO PO E TR Y

Will ia m Tell R o s sini des c ribes a sto r m o n a l a k e s o

cle a rly th a t o n e h a rdly feel s th e n ee d o f wo rds A gr e a t .

de a l o f l a ter mu sic h owever I S i ntelli gible o nly t o t r a ined

, ,

m u sici a ns ; a n d m u si c a t le a s t o f the b est ki nd i s n o

, ,

l o n g e r the p o s s es si o n o f the whole p eopl e .

F o r p o et ry a l s o the re i s b o th l o s s a n d g a i n L et u s .

fi rst c o n side r the l o s s side o f the led g e r W hen p o et ry .

c e a ses t o b e s un g i t l o s es its a ppe a l t o m a ny r e a d ers

, ,

who m is si n g the m u si c a l a c c omp a ni m ent find the p o e m

, ,

c old a n d dull Thu s p o et ry like m u si c ce a s es t o b e the

.
, ,

p o s ses si on o f the wh ole peopl e a n d b ec o mes th e p rop e rty

o f a cl a s s L a te r p o et ry o ften l a c k s the sp o nt a n eity
.
,

si m pli city a n d sincerity o f the f ol k s on g Th e wo rk o f

,
-
.

the g r e a t p o et s freq u ently r eq u i res t o o m u ch c ultu re a nd

t o o g re a t a k nowled g e o f techni q u e t o be re a di ly un der
st o o d The o de a n d the s o nnet l a c k the w a r m th a nd the
.

c ol o r o f the s o n g Th e p o et wh o u s es the m o r e c o m plex

.

f o r m s o ften w rites o f themes re m ot e fr o m the a v e ra g e

m a n a n d wo m a n ; a n d in ste a d o f depictin g the gr e a t
,

simple p a s si o n s of m a n k ind he t ri es t o o o ften t o exp r es s

,

the s ubtle r a n d l es s u niver s a l em o tio n s The l a n g u a ge .

o f p o et ry o fte n bec o m es a rtifici a l a nd s o m eti m es c e a s es

,

t o b e a sp o k en l a n g u a g e a t a ll P o e m s c o m e t o b e w r it
.

ten f o r the eye n ot f o r the ea r E ven the ri m e s a s o ft en

, .
,

with T ennys o n a re m e a nt f o r th e eye a l on e

, .

B ut i n p o et ry a s i n mu s ic the g a in i s f a r g re a ter th a n
, ,

“ ” “
the l o s s . The Ode t o a Ni g htin g a le a n d The M o o n
” “
li ght S o n a t a a re g r e a te r w o r k s o f a rt th a n Hi ghl a n d
” “ ”
M a ry a n d An ni e L a u ri e I n m et er i n l a n g u a ge in
.
, ,

ide a s even i n em oti o ns the r a n ge o f the s on g is n a rrow

, ,

when c o m p a red with o ther fo rm s o f p oet ry The l a t er .

60 IN TROD U CTI O N TO PO E TR Y
She s t ood in t e a rs a mid th e a l ien corn
Th e s a me t h a t of t t imes h at h -

C h a rmed m a gi c e as em en t s o p en in g on th e fo a m ,

O f p er i l ous se a s in fa er y l a nds for l orn

,
.

With thi s s up erb ex a m ple o f wo r d m el o dy c o m p a re ,

i ntentio n a ll y u nm u si c a l line s w r itten by L a nie r t o

the e ff ect o f m on ot o ny in v owel s o u n d s ,

Ti s M ay d a y gay : wide sm i l i n g sk i es s h ine bri gh t

’
- -

Th rou gh w h os e t rue b l ue cuckoos do woo a new

Th e t ender s p rin g, etc .

A stu dy o f the m o s t m u si c a l E n gli sh a n d A m e ri c an

p o et s— Sp en s er Sh a k esp e a r e M ilto n C ol erid g e Shelley
, , , , ,

Ke a t s T en nys o n Swi nbu rne Ye a ts P o e a nd L a ni e r

, , , , ,

will t e a ch o n e m u ch a b o u t thi s w o rd m u si c in p o et ry .

The s k ilful p o et u ses all the r es o u rc es a t hi s c o m m a nd ,

ri m e a llite ra tio n a s s o n a nc e on o m a t op oei a ; a nd he v a ri es

, , ,

hi s s t res s es hi s p a u ses a n d th e l en gth a n d the rhythm

, ,

o f hi s lines .

H ow thi s w o rd m el o dy o f the p o et di ff er s f ro m th a t o f
the s o n g will be evident f r o m the f oll owin g q u ot a ti o n fro m
“
a n E n li sh
g c ritic J ohn Addin gt o n Sym o nds : I o n c e
,

a s k ed a n e m inent mu si ci a n the l a t e M a d a m e G olds ch m idt

, ,

why Shelley s ly ri c s we re ill a d a pted t o m u si c She m a de

’ -
.

m e r e a d a l o u d t o her the S o ng o f Pa n a nd tho s e l ovely

lines To t h e [ s ic ] N igh t Swiftly w a l k o ver the weste rn
,
‘

w a ve Spi rit o f N i ght ! The n she p o inted o ut how th e

,
’

ve rb a l mel ody wa s intended t o b e sel f s u ffi c ing i n these -

ly ri cs h ow full o f c o m pli c a ted tho u ghts a n d ch a n g eful

,

i m a ges the ve r se i s how p a c k ed with c o ns on a nt s th e

,

w o rd s a re how the t o n e o f the e m oti o n a lte r s a nd ho w

, ,
 TH E SO N G 61

no o n e m elo dic p h r a se c o uld be f o un

d t o fit th e daed a l wo o f
”
o f th e poeti c e m o ti o n .

TO N I GHT

t y w l k o er th wes t ern w v e
S wi f l a
’
e a ,

S p iri t of N i gh t !
O ut of thy mis ty e s t ern c v e a a ,

Wh ere l l th l on g d l one d y l i ght

a e an a ,

Th ou w v t dre ms of j o y n d f ea r
o es a a ,

Wh ic h m ke t h ee t erribl e n d de r
a a a ,

S wif t be th y fl i gh t !

Wr a p th y form i n a m an tl e gr ay ,

S t a r inwrou gh t
-

B l ind w it h th ine h a ir th e e y es o f D ay ;
K iss h er un t i l s h e be we a ried ou t ,

Th en w a nder o er ci ty a n d s e a a n d l a nd
’

, ,

Touc h in g a ll wi t h t h ine o pi a t e w a nd
C ome l on g sou gh t !
,

When I a ros e an d s aw t he d wna ,

I si gh ed for t h ee ;
When l i gh t rode h i gh a n d th e dew w a s gon e
, ,

A n d noon l ay h e a vy on flower a n d t ree ,

A n d t h e we a r y D ay t urned t o h i s res t ,

Lin gerin g l ike an un l oved gues t ,

I si ghe d for t hee .

Thy bro t her D e at h c ame an d cried , ,

Wou l ds t th ou me ?
Thy s wee t c h i l d S l ee p t he fi l my e y ed ,
-
,

Murmured l i ke a noon t ide bee ,

S h a ll I nes t l e ne a r t hy s i de ?
Wou l ds t th ou me — A n d I re plied ,

No, no t th e e !
62 IN TRODU CT IO N TO PO E TRY
D ea t h wi l l com e when t h ou a rt de a d
‘

S oon , t oo soon
S l ee p wi l l come w h en t h ou a rt fled
O f n ei t h er wou l d I a sk th e b oon
I a sk o f th ee be l o v ed N i gh t
,

S wif t be t h i ne a pp ro a c h in g fl i gh t ,

C ome soon soon ! ,

P e rcy B ys s h e S h e l l ey (1 792 1 822 )

-

Altho u gh T e n nys o n s s ubj ect m a tte r i s o ft en c o m mo n

’

pl a ce n o l a te r po et h a s s u rp a s sed hi m i n p o eti c m u s ic
, .

“ ”
H i s C r o s sin g th e B a r h a s te m pted m a ny a c o m
p o s e r ; a nd yet it h a rdly see m s t o r e q ui re a m u sic a l
s etti ng s o pe r fect i s th e ve rb a l m el ody which T ennys o n
,

a ve it T h e p o e m wa s w ritt en i n the p o et s ei hty fi rs t

’ -
g .
g
ye a r a n d by hi s di recti o n it is pl a ced l a st in eve ry editio n
,

“ ” “
o f hi s po e m s The Pil ot T en nys o n expl a in ed a s Th a t
.

Divi n e a nd U ns ee n Wh o i s a lw a ys gu idi ng

CRO S S I N G TH E BA R

Sun se t e v en i n g s t a r
an d ,

A n d on e c l e a r c al l for m e !
An d m ay th ere be no mo a nin g of t he b a r,
When I put ou t t o s ea ,

Bu t such a t ide a s mo v in g seems a s l ee p ,

To o fu l l for sound a n d fo a m ,

Wh en th a t w h ic h drew from ou t th e boun dl ess

Turns a ga in h ome .

Twil ight an e v enin g bell

d ,

An d a f t er t h a t th e d a rk !
And m ay t h ere be no s adnes s of f a rewe l l ,

Wh en I emb ark ;
 THE S O N G 63

For t h o from o u t our bourne of Ti m e d Pl a ce

’
an

Th e flood m a y be a r me f ar,
ho p e t o s ee m y Pi l o t fa ce t o f a ce
Wh en I h ave cros t the b ar .

A lf r ed L o r d Te n n ys o n (1
, 809 -1 8 92 )

“ ”
i
yso n s
’
Swee t a n d L ow o ne o f the ly ric s in The
,

“ ”
s i s a s m u si c a l a s C r o s sin g the B a r bu t it h a s
, ,

ad d ed by B a m by t o a n a ir which fits it a d m i r a bly

n i s o n e o f the m o st be a utif ul l ull a bie s in the

i
g
ge .

S WEET A N D LOW

Swee t a n d l ow swee t a n d l ow
, ,

Wind o f the wes t ern s ea ,

Low l ow bre a t h e a n d b l ow
, , ,

Wind of th e wes t ern s ea !

Over th e ro l l in g w at ers go ,

C ome from th e d y in g moon an d b l ow , ,

B l ow h im a gain t o me :
Wh il e m y l i tt l e one wh il e m y p re tty one
, , s lee p s .

S l ee p an d res t s l ee p a n d res t
, ,

F a t her w i l l come t o th ee soon ;

Res t res t on mo th er s bre a s t
’

, , ,

F a th er wi l l come to t h ee soon ;
Fa ther wi l l come t o h is b a be in t he nest ,

S il ver s a i l s all ou t of th e wes t

Under t he si l v er moon ;
Slee p m y l i ttl e one s l ee p m y p ret ty one s l ee p
, , , ,
.

A lf r e d L or d Te n n ys o n (1 809 1 8 9 2 )
,
-

livin g p oet h a s w r itten m o re m el o di o u s ver s e th a n

an B u tle r Y e a t s The f oll owi n g s o n g fr o m hi s
.

d ra m a The L a nd o f H ea rt s D esi re is a s m u sic a l

,
’
,

b e s t o f E liz ab eth a n s o n g s .
64 IN TROD U CTI O N TO PO E TRY

S ON G from TH E LAN D OF H EA RT S D E S I RE
’

Th e wi nd b l ows o ut of the gat es o f d ay ,

Th e w i nd b l ows o v er t h e l one l y o f h e a r t ,

A n d th e l one l y of h e a r t is wi th ered a w a y
Wh i l e th e f a eries d a nce in a p l a ce a p a r t ,

S h a k i n g t h eir mi l k w h i t e fee t i n a r i n g
-
,

Toss i n g t h eir m i l k w h it e a rms in th e a i r ;

-

For th e y h e a r th e w i nd l a u gh an d murmur an d sin g

O f a l and w h ere e v en th e o l d a re f a ir ,

A n d e v en t he wise a re merr y o f to n gue ;

“
Bu t I h e a rd a reed of C oo l an e y s ay ,

When t h e wind h a s l au gh ed a n d murmured an d sun g ,

Th e l onel y of h e a r t is w ith ered a w a y

”
.

Will ia m B u tl e r Yea ts (1 865

Fo r the l a s t two c entu ries the ly ri c which i nclu de s t h e

,

s o n g h a s b een the p redo m in a nt typ e o f p o et ry Thi s

, .

a nthol o g y i s the r efo re c o nc er ned chi efl y with ly ric p o et ry .

Of thi s im p o rt a n t typ e P r o fes s o r Bli s s Pe r ry h a s w ritte n

,

“
in hi s a d m i r a bl e S tud y o f P o et ry : Th e ly ri c i s th e
c o m m on es t a n d yet i n it s p e rfecti on the r a rest typ e o f
, , ,

p o et ry ; the e a rliest a n d yet th e m o st m o de rn ; the

,

si m pl est a n d yet i n it s l aw s o f em o ti o n a l a s s o ci a tio n

, ,

p erh a p s the m o s t c o m pl ex ; a n d it i s all the s e bec a u s e it

exp r es ses m o re intim a tely th a n o ther typ es o f ve rs e the
, ,

”
pe rs o n ality o f the po et I n the ch a pter s which follo w
.

we sh a ll stu d y the m ete r style a n d s ubj ect m a tt e r o f th e

, ,

ly ri c On c e a g a in h owev er in the ch a pte r o n the b all a d

.
, , ,

we sh a ll r etu r n t o the p o e m which i s s un g a n d n o te o n c e

m o re the d ebt o f l a t er p o et ry t o the fol k s o n g a n d t he -

f ol k b all a d
-
.
 C H A P TE R I I I

TH E DUPL E M E TE RS
l

Tr ochée
’

trips fr om lon g t6 sh ort ;

From long t o lon g i n so lemn sort
Sl ow s pondee s t alks ; s t r on g foo t ! y ea ill able
Ev er t o come u p wit h D acty l t ris y llab le .

Iarnbi cs m arch ir bm s h ort t o l on g ;

With a leap an d a bo und th e swift An apaests
S a m u el Ta y l or C o l e rid ge .

“
ill e t ri ca l F ee t: L e s s on f or

ALL p er s o n s a c q u a inted with m u si c a l n ot a tio n will rec a ll

th a t eve ry n o rm a l c o m p o siti o n c o n si sts o f c e rt a in s m a ll
u nit s — b a r s — o f e q u a l len gth Ju s t a s o ne finds in mu si c
.

c o mm o n time thr ee fo u rth s ti m e a n d the li k e o ne rec o g

,
-
, ,

nizes i n p o et ry ce rt a i n re g ul a rly recu r rin g m in o r u nit s .

Thes e u ni t s a re b a sed n ot a s i n m u s ic up o n ti m e but

, , ,

up o n the a c cent o f E n gli sh wo rds I n p r o s e a c cented

.
,

a n d un a c cent ed syll a ble s o cc u r in a n i r r e ul a r o rder ; in

g
p o et ry the a r r a n g em e n t i s u su a lly a lte rn a te a n d n o r
,

m a lly re g ul a r In th e f oll owin g lines f r o m a s o n g i n

.
,

Al f re d N oyes s r om a nti c epi c D ra ke the a c c ented syl

’
,

l ab l es a re m a r k ed with a n a a n d the u n a c cented with a n a '

—c o nvention a l sy mb ol s w hi ch wi ll b e em pl oyed th ro u gh
o u t thi s stu dy
66 IN TROD U CT I O N TO PO ETR Y

z a
I a: a a: a

Th e win d i s fres h an d free !

a: a a: a a: a

We re ou t t o seek for go l d
’

a: a
I a: a
I a: a

Across the sil v er s ea

The n ot a ti o n he re , it will b e o bserv ed , g re es ex a ctly

a
i
'
v

with the p r o nu n ci a ti o n o f eve ryd a y speech The w o rds

.

c o ul d n o t c o n c eiv a bly b e a c cented i n a ny o ther th a n the

i n d i c a ted wa y The u n it it will a l s o b e n oti ced c o n si sts
.
, ,

o f tw o syll a bles the fi rst u n a c cented the s ec on d a c cented

, , .

Thi s o r a n y s i m il a r m in o r u nit o f p o et ry i s c a ll ed a
, ,

f o o t The m a r k in g o r dete rm in a ti on o f f eet i s c a ll ed

.

s c an s io n Th e fo o t era i s k n ow n a s a n ia m b o r a n i a m bus ;
. ,

a n d the m ete r o f the a b o ve selecti o n i s c on se q u ently d e

s c ri b ed a s ia m b i c .

The d ete rm in a ti o n o f st res s i s however n o t u su ally a s , ,

e a s y a s in thi s m ech a n i c a lly p erfect p a s s a g e C on side r .

a J! a

To s in g in th ou gh t ful e a s e th is n a t ur al son g

(I? a 1 7

Where l ay t h e p ort er in une s y s p r wl a a .

In t he fi rs t o f thes e lin e s in i s u n a c cent ed ; in th e s ec o nd ,

it i s a c c ent ed T hes e ex a m ples show a n i m p o rt a nt ch a r

.

a c t eris t ic o f E n li sh a c cent — th e f a ct th a t it i s l a r ely

g g
r el a tive A s i n the c a s e o f in h er e m a ny sho rt wo rds o r
.
,

syll abl es a re a cce nted o r u n a c cented a c c o rdin g t o the

s t res s rec eiv ed by the a d a c en t syll a bles T hes e a n d o th e r
j .
 68 IN TROD U CT IO N TO PO E TRY
E n gli sh wi th thei r u s u a l n a mes s ho rt a nd l ong exc ept ,

with the u nde r st a n din g th a t thes e terms h a ve n o n eces

s a ry re fe ren c e t o th e a m o u nt o f tim e r eq ui red fo r p ro
n o u n c in g a syll a bl e .

I n a dditio n t o the i a m bi c the re a re th r ee o the r f re

q uently o c cu r rin g feet : the t ro che e (a n) the a na p es t ,

(Java ) a n d the d a c t yl
, T hes e a re r esp ectively
exemplified in the thr ee li ne s bel ow The c o r resp o ndi ng .

a dj ectives a re t ro c ha i c an a e s t ic a n d d a c t l ic
p y , , .

a a:
I a x
I a a
I a a:

H appy fi e l d or mos s y c a v ern .

a: a
'
a
I a: a: a
I a

A n d hi s co h or ts were gl e am i n g
a a: a
I a a: 4:

Ta ke h e r u p t ender l y .

"
k Th fo u r type s o f feet thu s
e exe m plifi ed a re all far
which need c o nsi der a ti o n in a n el e m ent a ry s tudy The .

nu m ero u s a dditi on a l typ es li sted in t re a tis es o n v ers ifi c a

ti o n h a ve n o r e a l pl a ce i n E n gli sh except i n i m it a ti o n s o f
L a ti n a n d othe r fo rei g n rhythm s A few o f thes e ex otic .

fe et a re the p y rrhic (a re) the s p ond ee (a a ) the a mp hi , ,

b ra c h (wa r ) the a m p h im a ce r (aa a ) the a n ap es ti c p a on

, ,
’

(a maze )
( w na )
an a n d the d a c t l i c
, y p a on Attempt s a t .

empl oyin g thes e feet a s well a s imit a ti on s o f the cl a s sic a l

,

mete rs a re u s u a lly by th e o rdin a ry r e a de r felt t o be

, , ,

either f ree vers e o r a p p r oxim a ti o n s a t v a ri o u s c o mbi na

ti o n s o f the fo u r f a m ili a r m ete r s .

The fo u r E n gli sh m eter s — i a mbi c t r o ch a i c a n a pes tic , , ,

a —
d ctyli c m a y b e divided a c c o rdin g t o two c ri te ri a The .

i a mbi c a n d a n a p esti c m ete rs a re i n the fi rs t pl a c e s o m e: , ,

 TH E D U P L E M E TE R S 69

ti m es cl a s s ed t o gethe r a s “ W aters h e
c a u s e they b egin with a li ght syll abl e a n d p a s s t o a
s t re s s ed sy ll a ble ; a n d fo r the opp o sit e re a s o n the t r o
, ,

c h a ic a n d d a ctyli c mete rs a re cl a s s ed t o g ethe r a s d e

W T hi s cl a s sific a ti on i s l o i c a l a n d c o n
g
ve n ie n t ; th a t it i s n o t fu nd a m ent a l m a y b e show n by citin g

th e f a ct th a t f ro m the l a tte r h a lf o f a lin e it i s o fte n im

p o s sibl e t o deter m ine whethe r a m e a s u r e i s a s cendin g o r
des cendin g A s ec o nd a n d m o r e i m p o rt a nt divisi o n i s
.

m a de be tw ee n the i a mbic a nd t r o ch a i c m ete r s o n the o ne

h a n d a nd the a n a pestic a n d d a ctyli c o n the othe r The
, .

m ete rs who s e feet c o nsi st o f tw o syll a bles a re c a lled

d ou b le o r d u p le ; tho s e who s e feet c o n si s t o f th ree syl
l a bl es a re c a lled t rip le . Th e d o uble m ete r s p r es ent a
s te a dy a lte rn a tio n between s t r es sed a n d u nst r es sed syl

l a b l es while the m ovement o f the t riple m ete r s i s m o r e

,

ra pid . Th e di stin cti o n between d o uble a n d t ri pl e rhyth m s

i s n a tu r a l ; it i s s en s ed by the ea r th r o u gho ut a p o e m .

Since E n glish n o u n s a n d verb s a re c o mm only p r ec eded

by we a k e r p a rt s o f speech p a rtic ul a rly a rticles a nd p r o
,

n o u ns the fi rs t syll a bl e i n a s enten ce i s li k ely t o be a r n o

,

a c cent a n d E n li sh p o et ry a c c o rdi n ly i s m u ch m o r e
, g g
fre q u ently a s cendin g th a n des cendin g . M o r eove r sin c e
,

a c cent ed a n d u n a c c ented syll a bles o c cu r i n a pp r oxi m a tely

e q u a l p r op o rti o n s E n gli sh p o et ry i s m u ch m o r e f re
,

q uently dupl e th a n t riple I n f a ct eve r sin ce the m o de rn

.
,

ty p e o f v ers ifi c a t io n di spl a c ed the Old Ehglish a lliter a tive

p o et ry the i a mbi c rhyth m which i s a t o n c e d upl e a n d
, ,

a s c en di n
g ha s b ee n the s t a nd a r d En glis h rhythm
, . I t is
the vehicle o f m o st o f the g r e a t p o et ry o f the l a n g u a g e .

The n a tu r al n es s o f the i a m bi c rhyth m m a y be fu rthe r

70 IN TR OD U C T IO N TO PO ETRY
show n by p ointin g o u t th a t l o fty p r o se o f ten h a s a n
i a m bi c q u a lity W ell k n own ex a m ples a re Lin c oln s
.
- ’

“ ”
G ettysb u rg A dd res s a nd the c o nclu din g p a g es o f
,

Dic k en s s A Ta le o f Two Ci t ies

’
.

“ ”
Th e f oll owi n g st a nz a f r o m B u rn s s B o n ni e D o o n ’

(sec o n d ve rsi o n ) is a s p u rely i a m bi c a s t h e q u ot a ti o n

fro m N oyes :
Tho u ll bre a k m y h e a r t, t h ou bonnie b ird
’

Th a t s i n g s u p on th e b ou gh ;
Th ou minds me o t h e h a ppy d a y s
’

Wh en m y f au se l u ve w a s t rue .

C o mm o n asi s the i a mbic m et er a p oe m with n o sub s t i

,

tu t ed feet i s n o t th e r ule b u t the r a re excepti o n Am o ng .

By r o n s H eb rew M elod ie s i s fo u nd a p o e m whi ch is pu rely

’

i a m bi c except f o r the fi rs t fo ot in the f ou rth lin e This .

fo o t m u s t b e re a d n o t a a but a t ; it i s t ro ch a i c I n the .

fi rst fo ot o f a n i a m bi c lin e the t ro che e i s a legiti m a t e

s ub stit u t io n whi ch a ff o rd s v a riety a n d e m ph a s is
, .

S HE WA L K S I N B EA U TY
S he w al ks i n b e a u ty l i ke th e ni gh t
,

O f c l oudl es s c l i mes a n d s t a rr y ski es ;

A n d a l l t h a t s bes t of d a rk a n d b r i gh t
’

Mee t i n h e r a s p ec t a n d h er e y es
Th us m el l o w d t o t h a t t ender l i gh t
’

Wh ic h h e a v en t o ga ud y d ay denie s .

One s h a de th e more one ,

ess ray th e l ,

H a d h a l f i m p a i r d th e n a me l es s gr a c e
’

Wh i c h w a v es in e v er y r a v en t ress ,

O r sof tl y l i gh t ens o er h er f a ce ; ’

Wh ere t hou gh t s serenel y swee t e xp res s

How p ure h o w de a r th eir dwe ll i n g p l a c e
,
-
.
 TH E D U P L E M E TE R S 71

And on t h a t c h eek , a n d o er t h a t brow,

’

S o so f t , so c a l m , y e t e l oquen t ,
Th e smi l es t h a t w i n , t h e t in t s t h a t gl ow,
Bu t t e ll of d a y s i n goodness s p en t,
A mind a t p e a ce wi th all be l ow ,

A h e a r t w h ose l o v e is i nnocen t !
G e org e N o e l G ord o n L o rd B y ron (1 , 7 88 -1 824)

The sec o n d dupl e m ete r th e t ro ch a i c h a s a l r e a dy been

, ,

p a rtly des c ribe d The f oll o win g s electi o n s a re s c a n ned

.

resp ectively

Queen an Hun t ress ch a s t e

d , an d f a ir ,

N ow t h e sun is l a i d t o s l ee p ,

S e a t ed in t h y si l v er c h a ir
S t a t e i n won t ed m a nn er kee p .

F r om H ym n to D ia n a ,
“ ”
by B e n J o n s on

Giv e me of y our b a rk O Birch t ree ;

,
-

O f y our y e ll ow b a rk O Birc h t ree !

,
-

G rowin g b y t h e rus h i n g r i v er ,

Ta ll a n d s t a t e l y in th e v al l e y !
I a l i gh t c a noe w i l l b ui l d me .

Th a t s h al l flo a t u p on t h e r iv er ,

Like a y e l l ow l e a f in A u tumn ,

L i ke a y e l l ow w a t er l i l y !
-

b y H e n r y Wa d s wo rth
“
H ia wa t ha
”
F r om , L o ngf e l l ow

T he m eter o f th e fi rst o f the a b ove s el ecti o n s l a c k s the

un a c c ent ed syll a bl e o f the l a st fo o t o f the lin e a nd is c o n
se q u en tly s a i d t o be gi t a le c t ic Sinc e p o e m s o f the fi rs t
.

type a re howeve r m or e f reqifian t th a n p oe m s o f the l a tte r

, , ,
72 I N TR ODU C T IO N TO PO E TRY
the full t r o ch a i c li n e i s o fte n di stin g u ish ed f r o m t h e
s ho rt e r by the te rm afl tgle ct i c .

Altho u gh the re i s n o g re a t fund a m ent a l d i ff e renc e b e

tween th e i a mbi c a n d th e t ro ch a i c m eter s the two a re , ,

except f o r s ub stituted feet u su a lly n o t em pl oy ed in the

,

s am e p o em . Well k n ow n p oe m s i n whi ch thes e m eter s

-

“ ”
a re c o m bined i n clu de h oweve r M ilto n s L A ll egr o a n d ’ ’
, ,

“ ”
Il P ens e r o s o
. Th e f o rm e r h a s a f a r l a rge r n u mb e r o f
t r och a i c lines In f a ct if th e t ro ch a ic m et er c a n be s a i d
.
,

t o h a v e p reem pt ed a ny o n e field it i s th a t of lively ,

e m ph a ti c p res ent m ent o f a s ubj ect The st re s s o n th e .

i n iti a l s yll ables i s li k ely t o indu c e a n a ni m a ted r e a din g o f ‘

th e p oe m I n the followin g p a s s a g e f r o m W illi a m B l a k e s

.
’

“ ”
The T i g e r the fi rs t th ree lin es a re t ro ch a ic whil e the
l a st is i a m bic
t i ger burnin g bri ght
Ti ger , ,

In th fores t s of th e n i gh t
e ,

Wh t i mmor t l h nd or e y e
a a a

D re fr me t hy fe rfu l s y mme t r y ?
a a a

T he ble n di ng o f th e tw o duple m ete r s is n owhe re bette r

’
s h o wn th a n i n S c o tt s

HUN TI N G S ONG

Wa ken l ords an d l adies gay

, ,

On th e moun t a in d awn s th e d ay ,

A l l t he j o ll y c h a se is h ere ,

Wi th h a wk a n d h orse an d h un t in g s p e ar ! -

Hounds a re i n t h e i r cou p l es y e l l i n g ,

H a wks a re whis tl in g h orns a re knel l in g , ,

Merr i l y merr i l y min gl e t h e y

, , ,
“
Wa ken l ord s an d l a d i es gay
, .
 THE D U P L E M E TE R S 73

Waken ,
l ords an d l a dies gay ,
Th e m i s t h a s l ef t t i
t h e moun a n gr a y ,

S p rin gl e t s in t h e
d a wn a re s t e a m i n g ,

D i a monds on th e br a ke are gl e am i n g :
A n d fores t ers h a v e b us y b een
To t r a ck t h e b uck in t h i cke t green ;
Now we come t o c h a n t our l ay ,
“
Waken l ords a n d l adies gay
,
”
.

Wa ken l ords a n d l a d i es gay

, ,

To th e green wood h a s t e a w ay ;
-

We can s h ow y ou w h ere h e l i es ,

F l ee t of foo t a n d t a l l of s i z e ;
We c a n s h ow th e m a rks he m a de ,

Wh en ga in s t th e o ak h i s a n tl ers fr ay ed ;
’

You s h al l see h im b rou gh t t o b a y ,

“
Wa ken l ords a n d l a d i es gay
,
”
.

Louder l ouder c h a n t the l ay

, ,

Wa ken l ords an d l a dies gay !

,

Te l l t h em y ou t h a n d m i r t h an d gl e e
Run a cours e a s we l l a s we ;
Time s t ern h un t sm a n who c an b a l k
, , ,

S ta nc h a s hound a n d flee t a s h awk ?

Th ink o f th i s a n d rise wi t h d ay ,

G en t l e l ords an d l a dies gay .

S ir Wal te r S co tt (1 7 7 1 -1 832 )

A si m il a r c a ll t o a m o r e s e ri o u s p u rp o s e i s v oi ced in
vi g o r o u s t ro ch a i c v er s e in Alf r ed E dw a rd H o u sm a n s ’

“ ”
R eveille , fro m which w e q u ot e two st a nz a s :

Up ,
u p t is l a t e for l y in g
l ad, ,
’

H e a r th e drums o f mornin g p l ay ;
H a rk t he em pty h i gh w a y s cr y in g
,
“
Wh o l l be y ond th e hi l l s a w ay ?
’
74 IN TROD U CTIO N TO PO E TRY
y l i es s ti l l bu t b l ood s ro v er ;
Cl a ,
’
a

Bre th s w re t h t wi ll no t kee p
a
’
a a a .

Up l d ; w h en t h j
,
a
yj o v er e o u rn e s

Th ere l l be ti me enou gh t o s l ee p
’
.

P u rely t ro ch a i c is Willi a m Bl a k e s ’

S O N GS O F I N NO C E N C E : I N TRO D U C TI ON

“
Pi peson g a bou t a L a mb !
a
”

S o I p i p ed w ith merr y c h eer .

Pip er pip e t h a t son g a ga i n ;

“ ”
,

So I pip ed : h e we p t t o h e a r .

Dro p t hy pip e thy h a ppy p i p e ; ,

S in g thy son gs o f h a ppy c h eer !

”

So I sun g th e s ame a ga i n ,

Wh i l e h e we pt wi th j o y t o he a r .

p er si t th ee down d wri t e
Pi ,
an

In book t h t l l m y re d
a ,
a a a a .
”

So h v nis h ed from m y s gh t ;
e a i

A n d I p l ucked h o l l ow reed a ,

An dI m a de a rur al p en ,

And I s t a i ned t h e w a t er cl e a r ,

And I wro t e m y h a ppy son gs

Ever y chi l d m a y j o y t o h e a r .

Wil l ia m B l a ke (1 7 5 7 -1 82 7 )

Th er e a d e r sho uld pe rh a ps h ere b e c a u tio n ed t o

, ,

m em b er th a t m e re m et ric a l r eg ul a rity d o es n o t p rod u c e

76 IN TRODU CT IO N TO PO E TRY

Thus I
Pa s s by
And d ie
As on e
Unknown
An d g one

c o n si st s o f s ix li n es o f i a m bic m o n o m ete r A n on am et er .

“ ”
p o em T ennys on s T o Ve r g il i s q u oted bel ow N eed
,
’
, .

l es s t o s a y thes e ext r emes a re r a r e The g re a t b ul k o f .

E n gli sh p o et ry is w r itten i n li nes o f th ree fo u r five o r , , ,

s ix feet li nes o f fo u r a n d five feet o c cu r rin g m o st f re

,

q u ently I n thi s c o nnecti o n it sh o uld b e e m ph a sized th a t

.

the nu mb e r o f feet i n a lin e i s det ermin ed n ot by the nu m

b e r o f syll a bles bu t by the n u mb e r o f a c cented syll a bles
, .

F o r inst a nce the s even syll a ble line s c a nned as: I a s I a m I a

,
-

c o nt a in s f o u r feet while the nine syll a ble lin e s a a a z a I

,
- ' ' ' '

I a c o nt a in s bu t th ree
'
area .

P o em s e sp eci a lly ly ri c p oem s a re u s u a lly divided int o

, ,

thou ght u ni
ce ss a r i ly,
In des c ribin g the st r u ctu r e o f s t a nz a s c ri ti c s s ome ,

tim es em p l oy c ert a i n fo rm ul a s m a k in g fo r b revity L et .

te r s o f the a lph a bet a re u sed t o indic a te the ri m e a r r a n g e

“ ”
m ent th e st a nz a fro m B onni e D o o n b ein g f o r i nst a nc e
, , ,

s a id t o ri m e a b eb A n u mbe r p refixed t o the symbol (ma ;

.

et c ) f o r a fo ot indic a tes the nu mbe r o f feet t o the line ;

.

a n i a mbi c tet r a mete r f o r ex a mple i s d es c ribed a s 4x a

, , .

I f this sy m b ol i s pl a ced i n p a rentheses a fi g u re o utside ,

indi ca te s the nu mb e r o f line s t o the s t a nz a The st a nz a .

 TH E D U PLE M E TE RS 77
“She W a l k s in B e a uty c a n thu s be b r i e fl y des c ri be d
of

by the fo r m ul a ri m in g a b ab a b I f a st a n z a is
.

c o m plic a ted in s t r u ctu r e n othi ng i s g a i ned by thes e sy m

,

b ols whi ch a re chi e fl y v a lu a bl e a s a m e a n s o f c o n cis e

,

des c ripti o n .

Th e m a j o rity o f st a nz a s h a ve n o n a m e a nd n ew c o m ,

b in a t io n s o f li nes a n d ri m es m a y b e i nvent ed by a p o et
a s they see m n eeded A f ew st a nz a s a re how eve r s uffi
.
, ,

c ien t l
y well k nown t o be n a med T. h e s t a nz a q u oted f r o m

“ ”
B o nni e D o o n i s te rm ed th e b a ll ad s t a n za b ec a u s e a n ,

ci ent E n glish f ol k p o et ry wa s o fte n c a s t i n th a t fo rm .

In hy m n a ls thi s st a nz a i s des i g n a te d by the ter m c o mm o n

me t er The rim e m a y be a b c b o r a b a b Othe r .

st a nz a s b e a rin g de s c riptive n a m es o r t h e n a m e s o f gre a t

,

a u tho r s wh o h a v e p op ul a ri zed the m will b e n oted a s they

,

a re exe m plified i n the s electi o ns .

C e rt a i n o the r q u esti o ns o f int e r es t t o the s tu de n t o f

ver s e c a n be b ette r un de r st o o d a ft e r a c a r eful re a din g o f
the foll owin g p o e m Swinbu r ne w a s o n e o f the g re a t m a s
.

t er m elo di st s o f the E n gli s h t on g u e I f h e had had a

.

tho u ght c o ntent w o rthy o f hi s fo r m it w o ul d b e h a r d t o

-
,

a sc rib e t o hi m a n
y s a ve the hi ghe st pl a c e in Victo ri a n
p o et ry H e w a s a p o et o f s en s u o u s be a u ty o f a n cie n t
.
,

G reece o f R epublic a n p a t ri o ti s m o f chil d life a nd o f

, , ,

“ ”
s to r m y a n d des ol a te n a tu r e .The G a rden o f P ro s e rp ine
— a s typic a l a s it i s s upe rb —gives a p a ga n vi ew o f d e a th ;
but a s i n m u ch th a t thi s a uth o r w ro te the splendid
, ,

rhyth m a n d m el ody lull o n e int o fo r g etful nes s o f the s ub

j ec t . This p oem sh o uld be c o m p a red with the a u tho r s ’

“
s on o ro u s a n ap estic Hym n t o P r o se rpin e
, .
78 IN TROD U CTI O N TO PO E TRY

THE G A RD E N OF PR O S E RPI N E

Here where th e wor l d is qu i e t ; R

,

Here w h ere a ll t roub l e seems B

,

De a d winds a n d s p en t w aves riot fi

’ ’

In doub t ful dre a m of dre a ms ; 73>

I w a t c h th e green fi e l d grow i n g 0
For re a pi n g fo l k a n d sow i n g Cf ,

For h a r v es t ti me an d mowin g
- c ’

A s l ee py wor l d of s t re a ms e
,

I t ired o f t e rs n d l u gh t er
am a a a ,

A d men t h t l u gh
n d wee p ;
a a an

Of w h t m y come h ere f t er
a a a

For men t h t sow t o re pa a

I m we r y of d y s n d h ours
a a a a ,

B l own buds of b a rren flowers ,

D es i res an d dre a ms a n d p owers ,

A n d ever yt h in g bu t s l ee p .

Here l i fe de a t h for nei ghbour

ha s ,

A n d f a r from e y e or c ar
Wan w a v es an d w et winds l abou r ,

We a k s h i p s a n d s p iri t s s t eer ;
Th e y dr i ve a dri f t an d w h it h er
,

Th e y wo t no t wh o m ake t h ith er ;
Bu t no such w i nds b l ow h i th er ,

A n d no such t h in g s grow h ere .

No grow th o f moor or co pp ice ,

No h e a t h er flo w e r or vi ne
-
,

Bu t bl oom l ess buds of p o pp i es ,

G reen g r a p es o f Proser p ine ,

Pal e beds of b l ow i n g rus h es ,

Wh ere no l e a f bl ooms or bl us h e s ,

S a v e th is w h ereou t she crushes

For de a d m en de a d l y win e .
80 I N TR ODU C T IO N TO PO E TRY
There go th e l o v es th a t wi t h er ,
Th e o l d l o v es wi t h we a rier w i n gs ;
An d a l l de a d y e a rs dr a w t h i t h er,
A n d a l l d i s a s t rous t h i n gs ;
D ea d dre a ms of d ay s fors aken ,

B l i nd buds t ha t snows h a v e s h a ken ,

Wi l d l e aves t h a t winds h a v e t a ken ,

Red s t r a y s o f ruin ed s p rin gs .

We are no t sure of sorrow ,

And j o y w a s n e v er sure ;
To — d ay w i l l d i e t o morrow ;
-

Time s t oo p s t o no m a n s l ure ;
’

And l o v e grown f a i n t a n d fre t ful

, ,

Wi th l i p s b u t h al f re gret fu l
S i gh s a n d wi t h e y es for g e t fu l
,

Wee p s t h a t n o l o v es endure .

From t oo much l o v e of l i v in g ,

From h o p e an d fe a r se t free .

We t hank wi t h brie f t ha nks gi v in g

Wha t e v er gods m a y b e
Th a t no l i fe l i v es fore v er ;
Th a t de a d men ris e u p ne v er ;
Th a t even th e we a ries t ri v er
Win ds somew h ere s a fe t o s ea .

Then s t a r nor sun s h al l w aken ,

Nor a ny ch an ge of l i gh t
N or sound of w a t ers s h a ken ,

Nor an y sound or si gh t :
Nor win t r y l e a ves nor v ern al ,

Nor d ay s nor t hin gs diurn al ;

On l y t he s l ee p e t ern a l
In a n e t e rn al n i gh t .

A l g e r n o n C ha r l e s S win bu r n e (1 83 7 -1 9 09 )
 TH E D UPLE M E TE R S 81

The c a reful re a d er h a s n oticed the sys te m o f ri m e

whi ch b inds the lines o f the a b ove p oe m i nt o g ro up s o f
ei g ht r imin g a b a b c c cb The b ri m es li k e the ri m e s p r e
, .
-
,

vio u sl y c o n sider ed i nvolve b ut o n e syll a ble whil e the a

, ,

a n d the c ri m es i nv olve tw o
-
F o r the s a k e o f a c o nven ient
.

te rm in ol o g y ri m es i nv olvin g o n e syll a bl e a re c a lled m a s

,

cu l in e ; tho s e i nvolvin g tw o o r thr ee f emi nin e E q u a lly , b

u s eful bu t s o m ewh a t les s fre q u ently e m pl oyed te r m s a re

, ,

s i ngl e d ou b l e a n d t rip l e
, , A n a pp roxi m a t e r i m e li k e th a t
.
,

o f river a n d ne ve r i n the n ext t o the l a st st a nz a i s t ol e

r a ted o c c a si o n a lly by c u sto m in c a s es whe r e s u it a bl e ri m
ing w o rds a re n o t e a sily fo u nd Th e un a c c ent ed s yll a bl e .

a t the en d o f a fe m inin e rim e w o rd i n a n a s cendin m ete

-
r
g
i s a s h a s b een st a ted n o t c o nside r ed a fo ot The li n es
, , .

a' a
I a a
I a: a
I a

For re a p in g fo l k an d sowin g

I I
'
a a a: a a: a

A s l ee py wor l d of s t re ams

a re b o th i a m bic t ri m ete rs L in es . of a s c en di ng m ete r

p o s ses sin g thi s ext r a fin a l syll abl e a re te rm ed hype r
c a t al ec t i c .

The fi rs t lin e o f the sec on d s t a n z a o f the a b ove p o e m

s ho ul d be m a r k ed

a: a: a
I a a
I a a
I a:

I am t ired of t e ars an d l a u gh t er .

Th e anapest is s o m etimes fo u nd a s a s ub stitut e f o r the

i a mb u s esp eci a lly a s he re i n th e fi rs t fo ot o f a li n e
, , , .

The p oeti c devi ce a ll i t era ti on the u s e o f a s u c ces si on

W e
,
82 IN TROD U CTI O N TO PO E TRY
o f wo rd s with the s a me i ni ti a l c on s o n a nt i s n owhe r e ,

b ette r illu st r a ted th an in st a nz a s li k e th e o n e be gi nnin g

P al e , be y ond p orc h an d
p o r t al .

Alliter a tio n i s u s u a lly c onfined t o a c c ented w o rds b ut ,

S winb u m e s fo ndnes s f o r the a llite r a tive style l e d hi m t o

’

u s e it a l s o i n u n a c ce nt ed syll a bles
Wan wa v es an d w et winds l abour ,
We ak s h i p s .

Allite r a ti o n i s s o m eti m es r efe rr ed t o a s initi a l ri m e T hi s .

te r m sho ul d b e u s ed c a uti o u sly fo r it i s a l s o a pplied t o ,

a type of r im e ex ceedin gly r a re exhibited i n thi s st a nz a

, ,

“ ”
f r o m Al f red N oyes s A st ri d ’

Wk it e a rmed A s t r i d — a h b u t s h e w a s be au ti fu l !
-
, ,

N ig ht l y w a ndered wee pi n g t h ro t h e ferns in th e moon

’

S l o w ly we a vi n g h er s t r a n g e ga r l a nd in th e fores t
, ,

C ro wn e d w ith w h it e v i o l e t s ,

G o wn ed i n green .

H o l y w as t h a t gl en w h ere s h e gl ided ,

M a king h er w i l d ga r l a nd a s Mer l in h a d b i dden h er ,

B re a kin g o ff t h e mi l k w h it e h orns o f t h e h one y suckl e

- -
,

S w e e t l y dr ipp ed t h e dew u p on h e r sm a ll w h i t e
F e et .

Oft en s s o ci a ted with the term al li t era tio n i s the ter m

a

a s s o n a n c e whi ch i s u s ed t o des c rib e o n e ty p e o f impe rfect

,

a p p r ox i m a te rime T he vowel s o u nd m u st b e the s a m e

.
,

b ut th e c on clu din g c on s o n a nts a re di ffer ent a s in gn o m e ,

b o ld o r b ea ns ro ll Ri m es o f this type we r e s een i n e a rly

-
.

m ode rn E n glish p o et ry a re fo und in Sp a nish bu t in

, ,

recent E n gli sh p o et ry a re u s u a lly a si g n o f sl o venl v w o r k

m ans hip Geo rg e E liot Willi a m B utl er Ye a t s a n d a
.
, ,
84 I N TR ODU CT IO N TO P O E T R Y

st a n z a b ei ng a c o m plete u nit in the devel op m e nt of the

TH E S OLI TA RY R EA PE R

B eh ol d her sin gl e i n th e fie l d
, ,

Y ou so l it a r y H i ghl a nd L a ss !
R e a p in g a n d s i n gi n g b y h erse l f ;
S to p h ere or gen t l y p a s s !
,

A l one s h e cu t s a n d binds th e gr ai n ,

A n d sin g s a mel anc h o l y s t r a in ;

0 l is t en ! f or th e V a l e p ro fo und
I s o v erflowin g wi th t he sound .

No Ni gh ti n gal e did e v er c ha un t
More we l come no t es t o we a r y b a nds
O f t r a v e ll ers in some s ha dy h a un t ,

Amon g A r ab i an s a nds
A v oice so t h ri ll i n g n e er w a s h e a rd
’

In s p rin g t ime from th e C uckoo bird

- -
,

B re akin g th e si l ence o f th e se a s
Amon g th e fa r th es t Hebrides .

Will no one t e l l me w h a t s h e sin gs

Per h a p s th e p l a i n tiv e num b ers flow
For o l d un h a ppy f a r o ff th in gs
, ,
-
,

And b a tt l es l on g a go
Or is i t some more h umb l e l ay ,

F a m i l i a r m a tt er o f t o d ay ? -

S ome n a t ur a l sorrow l oss or p a in

, , ,

Th a t h a s been an d m ay be a ga i n ?
,

Wha t e er the t h eme the M a iden s an g

’

A s if h er son g cou l d h a v e no endin g ;

I s aw her sin gi n g a t h er work ,

And o er the s ick l e bendin g ;

’
 TH E DUP L E M E T E R S 85

I l is t ened mo t ion l ess an d s t il l ;

,

And a s I moun t ed u p th e h ill

, ,

The music in m y h e a r t I bore ,

Lon g a f t er i t w a s h e a rd no more .

Wi ll ia m Wo rd s wort h (1 7 7 0- 1 85 0)

“ ”
The l a st st a nz a o f The S olit a ry R e a pe r exp res ses ,

with esp eci a l r eferen c e t o thin g s he a rd the chi e f v a lu e ,

o f expe rien c e .
“
I W a nd e red L o nely b e a r s witnes s t o a
”

si m il a r b en efit a n d deli ght deriv a bl e f r o m thin g s s een .

Wh a t w o ul d b e the v a l u e o f a vi sit t o the G r a nd C a nyo n ,

o f sp en din g a n h o u r i n Westmin ste r Abb ey o r o f wit ,

n es s in g a pe rfo rm a n ce o f H a m l et i f n o m ent a l i m p re s si on
,

we r e c a r ri ed fo rw a rd int o the rest o f life ? C ultu r e i s — in

p a rt a t le a st— the res ult o f a n u mb er o f s u ch i m p res s i o ns
, .

“ ” “
H e r ri c k s To D a ff o dil s
’
Wo rd swo rth s I W a ndere d
,
’

” “ ”
L o nely , a n d Au sti n D ob s o n s To D a ffo dils ’
a re a n

i nt e resti ng t ri o o f p o e m s H er ri c k s ee s o nl y th e f r a il
.

du r a ti o n o f the d a ff o dil t o whi ch he c o m p a r es hu m a n life .

F o r Wo rd swo rth the d a ff o dil s a ff o r d a du a l pl e a su re : th e

j oy o f b eh oldin g th e s a tis f a cti o n o f phil o s ophizin g re
,

m em b r a n c e D ob s o n c o n s cio u sly s ophi stic a ted refe rs n o t

.
, ,

o nly t o the d a ff o dil s bu t t o hi s p o et p r edeces s o r s wh o

,

d re w in spi ra ti o n f r o m th em I n re a di n g thes e p o e m s it i s
.

e rh a p s sti m ul a tin t o b e a r i n m ind th e p o s sibility th a t

p g
th e g re a test p o e m o n the the m e i s yet u nw ritten Wo rd s .

wo rth owed a n i mm e a s u r a bl e debt t o hi s wife a n d t o hi s

siste r D o ro thy . M r s Wo rdswo rth c o mpo s ed the thi rd
.

“
a nd fou rth lines o f th e l a st st a n z a o f I W a ndered
L on ely .
”
W e q u o te the a c c o u nt fr o m D o r o thy s j o u rn a l ’

o f the i ncident whi ch in spi red the p o e m :

86 IN TR ODU CT I O N TO PO E TRY
We s a w a few d ffo dils cl o s e t o th e w te s ide B u t
a a r- .

a s w e went a l on g the re wer e m o r e a n d yet m o r e ; a n d a t

l a st u nder the b o u g hs o f the t rees w e s a w th a t there w a s

, ,

a lon
g b elt o f the m al o n
g the sho re T hey g rew amo n
g .

the m o s sy st o n es a b o ut a n d a b o ut them ; s om e rested

,

thei r he a ds up o n thes e st o n es a s a p ill ow f o r we a rines s ;

, ,

a n d the r est t o s s ed a n d reeled a n d d a nced a n d s eemed ,

a s if they verily l a u hed with the wind th a t ble w up on

g
the m over the l a k e they l o o k ed s o g a y eve r gl a n e ,

ing eve r ch a n g in g
, .

I VVA N D E RE D LON E LY
I w andered l onel y a s a cl oud
Th a t flo a t s on h i gh o er v al es an d hi ll s
’

Wh en a l l a t once I s a w a crowd ,

A h os t o f go l den d a ff odil s ;
,

Beside th e l a ke bene a t h th e t rees

, ,

F l u tt erin g a n d d a nc i n g in th e bree z e .

C on t inuous s the s t rs th t s h ine

a a a

An d t wink l e on th e m i l k y w y a ,

Th e y s t re t c h ed in n e v er endin g l i n e -

Al on g th e m r gi n of b y a a a

Ten t h ous nd s w I t
a a
gl nce
a a a ,

Toss i n g t h e i r h e ds in s p r i gh t l y d nc e
a a .

Th e w ves beside t h em d nced ; bu t th e y

a a

Ou t d i d t h s p rkl i n g w v es in gl ee :
-
e a a

A Poe t cou l d no t bu t b g y e a ,

In suc h j ocund com p n y

a a :

I g ed— d g ed— b ut l itt l e t h ou ght

az an az

Wh t we l t h th e s h ow t o me h d brou ght
a a a

For of t w h en on m y couch I l ie
,

In v ac a n t or in p ensi v e mood ,

Th ey fl a s h u p on t h a t inw a rd e y e
Whic h is th e bl i ss of so l i t ude ;
88 IN TROD U CTI O N TO PO E TR Y

Tell h er t h a t
s y oun g ’

An d s h uns to h a v e h er g r a ces s p ied ,

Tha t h a ds t t h ou s p run g
In deser t s w h ere no men ab i de
, ,

Th ou mus t h a ve un commended di ed .

S m al l i s t h e wor th
O f be a u ty from th e l i gh t re t ired
B id h er come for t h ,

S u ff er h ersel f t o be desired
A n d n o t b l ush so t o be a dmired .

Th en die ! t h a t sh e
Th e common f a t e of a ll th in gs r a r e
M a y re a d in t h ee
How sm a ll a p a r t of t ime t h e y s h a re
Th a t a re so wondrous swee t a n d f a ir !
E d m u n d Wal l e r (1 606 -1 68 7 )

In the followi n g p o e m the a u tho r h a s rec eived h is im

p res si o n n o t f r o m a sin g e r no t fr o m a fl owe r o r a be d o f
,

fl ower s bu t f r om a b i rd o utlin ed in fl i ght a g a in st the

,

s u nset B ry a nt s p o et ry wa s l a r g ely the p r o du ct o f his

.
’

y outh In l a t e r li fe h e w a s edit o r o f the N ew Yo r k E ve

.

n ing P o s t a n d fo r a whil e befo re hi s de a th w a s c o mm o

“
re g a rded a s A m eri c a s fi r st citize n’
.

TO A WA TER FOWL -

Wh i th er mids t f al l in g dew
, ,

Whi l e v
gl ow t h e h e a ens w h th e l a s s eit t t ps of d a
y,
Fa r, t t y
h rou gh h eir ros de h s , dos h ou pt tt p ursue
Thy sol i t r y
a w ay ?
 TH E DUP L E M E TE R S 89

V a in l y
fow l er s e y e
th e
’

Mi ght m a rk thy dis t a n t fli ght t o do t h ee wron g ,

As d a rk l y seen a ga i ns t t h e crimson sk y
, ,

Thy fi gure flo a t s al o ng .

S e ek s t t h ou th e p l a s h y
brink
’

Of weed y l a ke , or m a r ge ofriver wide ,

Or w h ere t h e rockin g b i l l ows rise an d s ink

On th e c h a fed oce an side ?

There is a Power whose c a re

Te a ch es thy w a y a l on g t h a t p a thl ess co a s t
Th e deser t an d i ll im it ab l e a ir
Lone w anderin g bu t ,
n ot l os t .

A l l d ay thy win g s h a e f a nn ed, v

At t t i t t i t p
h a f a r h e gh , t h e co l d, h n a mos h ere,
Ye t s t oo p no t we a r y t o th e we l come l and
, , ,

Th ou gh th e d a rk n i gh t is ne a r .

And soon t h a t t oi l s h a ll end ;

Soon s h al t t hou fi n d a summer h ome a n d res t , ,

And scre a m a mon g thy fe l l ows ; reeds s h al l bend ,

S oon o er thy s h e l t ered n es t

’

, .

Th ou rt gone , th e
’
b y ss o f he a v en
a

H a th sw a l l owed u p thy form ; y et on m y h e art

D ee p l y h a th sunk t h e l esson t h ou h a s t gi v en ,

A n d s h a ll no t soon de p a r t .

H e w h o from z on e t o z one
, ,

G u ides th rou gh t h e bound l ess sk y thy cer ta in fli ght ,

In the l on g w ay t h a t I mus t t re a d a l one ,

Wi ll l e a d m y s t e p s a r i gh t .

Wi l l ia m C ul l e n B rya n t ( 4 1 8 78 )
1 7 9 -
90 IN TRODU CT I O N TO PO E TRY
“ ”
The c on clu si o n o f To a W a te r fowl exp r es s es a m o r a l
m u ch m o re obvi o u sly th a n Wo rdswo rth did in eithe r o f
the p o em s j u st q u o t ed I n f a ct endin g a p o em with a
.
,

m o r a l i s ch a r a cte ri sti c n o t o nly o f B ry a nt b ut o f m o st o f

hi s fello ws i n the e a rly nineteenth c entu ry g r o u p o f N ew
E n gl a nd p o et s . Witnes s the c o n clu si o ns o f two o the r
g re a t c omp o siti

t t wh en
S o l ive, h a thysummon s comes t o j oin
Th e innumer a b l e c a r a v a n w h ic h mo v es,

To t h a t m y s t er i ous re a l m w h ere e a c h s h al l t ake

,

His c h a mb er in t h e s i l en t h al l s of de a th ,

Th ou go no t l i ke t h e qu a rr y s l a v e a t ni gh t
,
-
,

S cour g ed t o h i s dun geon bu t sus t a i ned a n d soo t hed

,

B y a n un f a l t er i n g t rus t a pp ro a ch thy gr a v e
,

Like on e w h o wr a p s t h e dr ap er y of h is couch
A bou t h im a n d l ies do w n t o p l e a s a n t dre a ms
,
.

F ro m Tha n a t op s is b y Willia m C u l l e n B rya n t

“ ”
,

To a des c ripti o n o f a ti nted shell i s a ppli ed the foll owin g

“
m o r a l m a r red by a n u n fo rtu n a te ph r a se shu t thee f r o m
, ,

”
he a ven
Bui l d t h ee more s t at el y m an sion s O m y s oul , ,

A s t h e swi f t se a son s rol l !

Le a v e thy l o w v a u l t ed p a s t !
-

Le t e a c h n ew t em p l e no b l er t h a n th e l a s t
, ,

S h u t t h ee from h e a v en w it h a dome more v a s t ,

Ti l l t h ou a t l en gt h a rt free ,

Le a v in g t h in e ou t g rown s h e l l b y l i fe s unres t in g s ea ! ’

F ro m Th e C ha m b e r e d N a u t il u s b y O l ive r We n d e l l H o l m e s
“
,

Th e p o e m be l ow n ow o ften he a rd a s a s o n g i s a n oble
, ,

exp re s si o n o f the i n d o m it a bl e q u ality o f the hu m a n will .

H enley friend o f Steven s o n lite r a ry c riti c a nd m a ster

, , ,
92 IN TROD U CT IO N TO PO E TR Y
D E S TI NY

Wh y e a ch i s s t ri vi n g fro m of ol d , ,

To l ove more dee p l y tha n h e c an ?

S t i ll wou l d be t rue y e t s t il l grows co l d ?
—A s k of th e Powers th a t s p or t w it h m an !
,

The y y oked in for endl ess s t ri fe

h im , ,

A h e r t o f i ce
a a sou l of fi re ;
,

A n d h u rl d h im on th e Fiel d of Li fe
’

An a i m l es s un al l ay d D esire ’
.

M a tt h e w A rn o l d (1 822 1 888 )
-

Where a s A rn old thin k s a l m o st wh olly in t e rm s o f the

individu a l Kiplin g thin k s i n te r m s o f the E nglish r a c e
,

t ri u m ph a n t b en efi c en t c o n s ci o u s o f it s m i s si o n The title
, , .

“ ”
o f The White M a n s B u rden h a s bec o m e a c u rre n t
’

ph ra s e in the l a n g u a g e .

TH E WH I TE M A N ’
S BU RD E N ,

Ta ke u p th e Wh i t e M a n s burden
’

S end for t h t h e bes t y e breed

G o b in d y our son s t o e xi l e
To s er v e y our c a pt ives need ;
’

To w a it i n h e a v y h a rness ,
On flu tt ered fo l k an d wi l d
Your new c au gh t sul l en p eo p l e s
-
, ,

H al f de vi l a n d h al f c h i l d
- -
.

Ta ke up Whi t e M an s Burden
th e
’

In p a t ience t o a bide ,

To v ei l th e th re a t o f t error
A n d c h eck t h e s h ow o f p ride ;
B y o p en s p eech a n d s i m p l e ,

A n hundred t imes m a de p l a in ,

To s eek a no t h er s p ro fi t
’

A n d work a no t h er s ga in
’
.
 THE D U P LE M E TE R S 93

Ta ke u p th e Whi t e M a n s burden
’

Th e s a v a g e w a rs of p e a ce
Fi l l fu l l th e mou t h of F a m in e
A n d b id t h e s i ckness ce a se ;
And w h en y our go a l is ne a res t
Th e end for o t h ers sou gh t ,

Wa t ch S l o t h a n d h e a t h en Foll y
Brin g a l l y our h o p e t o nou gh t .

Take u p th e Wh i t e M a n s burden
’

No t a wdr y ru l e of k i n gs ,

Bu t t oi l o f s er f an d swee p er
Th e t a l e o f common t h in gs .

Th e p or t s y e s h al l no t en t er ,

Th e ro a ds y e s h al l no t t re a d ,

G o m a ke them w it h y our l i v in g ,

A n d m a rk t h em wi t h y our de a d .

Ta ke u p the Wh i t e M an s burden ’

A n d re a p his o l d r ew a rd
Th e b l a me o f t h ose y e be tt er ,

Th e h a t e o f t h os e y e gu a rd
The cr y of h os t s y e humour
(A h s l ow l y !) t ow a rd the l i ght
,
“
Why brou gh t y e us from bond a ge ,
“
Our l oved Egypt i a n ni gh t ? ”

Ta ke u p t he Whi t e M a n s burden
’

Ye d a re n ot s t00p t o l ess
,

Nor c al l t oo l oud on Freedom

To c l o a k y our we a riness ;
B y a l l y e cr y or w h i s p er,

B y a l l y e l e a v e or do
,

Th e si l e nt su ll en p eo p l es
,

S h a l l wei gh y our G ods an d you .

94 IN TROD U CT IO N TO PO E TRY

Take u p t he Wh it e M an s burden ’

H a ve don e w it h c h i l d i s h d a y s
The l i ght l y p ro ff ered l a urel ,

Th e e a s y un grud g ed p r a ise
, .

C omes now t o se a rc h y our m a nhood

,

Th rou gh a l l t h e t h ank l ess y e a rs ,

C o l d ed ged w i t h de a r bou gh t w i sdom

,
-
,

Th e j ud gmen t of y our p eers !

R ud y a r d K ip l ing (1 8 65

Th e foll owin g p o e m wa s w ri tten befo r e Kiplin g w a s

b o rn ; b ut it h a s a s it s s ubj e ct a n i ndividu a l wh o b o re the
’ 9,
whit e m a n s bu rden P o em s o f this type a re s a id t o be
.

o cc a s i o n a l — th a t i s inspi red by o r w ritten fo r a p a rti e n

,

“
l a r in cident o r o cc a si o n T he a utho r o f The P riv a te o f
.

”
the B uffs wa s M a tthew A rn old s s u cces s o r a s P r o fes s o r ’

o f Poet ry a t Oxfo rd The B uff s w a s a Kenti sh regi m ent ;

.

L o r d E l g in a n E nglish m an p ro m i n ent in An gl o Chines e

,
-

a ff a i r s a b o ut 1 860 .

TH E PR I V ATE OF TH E BUFFS

S ome S ik h s a n d a rp iv t e of th Bu ffs h v in g rem ined a e ,

a a

i t
be h nd wi h th e gro g c a r t s fel l i n t o th h nds of th C h i nese
, e a e .

On th ne xt morn i n g t h e y were brou gh t b e fore t h u th or iti es

e e a ,

an d comm nded t o p er form th e K o t o w

a The S i k h s obe y ed ; .

bu t Mo y s e th e E n gl i s h so l d i er decl rin g t h t h e wou l d t

, ,
a a no

p ros t r t e h imsel f b e fore y Ch i n m n l iv e w imme

a an a a a ,
as

d i t l y knocked u p on th e h e d
a e nd hi bod y t h rown on a ,
a s a

dun gh i l l — Th e
. Ti m es .

La s t t mon g his fe ll ow rou gh s

ni
gh , a ,

He j es t ed qu ff ed n d swore
,
a , a ,

A drunken p ri v t e of th Bu ff s a e ,

t o n ever l ooked bef ore .

96 IN TR ODU CT I O N TO PO E TR Y
So ,
l et h i s n a me t h rou gh E uro p e rin g
A m an of me a n es t a t e ,

Wh o d i ed a s fi rm a s S p a r t a s K in g
,
’

Bec a us e h i s sou l w a s gre a t .

S i r F r a n c is H a s t ings C ha r l e s D o yl e (1 81 0

F ro m the o bj ective t re a t m ent o f h o n o r we

f o rego rng ,

tu rn t o a s ubj ective view o f the si ste r vi rtu e —duty The .

te r m ode a s u s ed he re in the l o o s est o f it s th ree m e a nin g s

, ,

i m plies a s erio u s re fl ective p o em o f c o n si d e ra ble len gth .

O D E TO D U TY

S t ern D a u gh t er of th e V o i c e of G od !
0 D u ty ! i f t h a t n a me t h ou l ove
Who a rt a l i gh t t o guide a rod ,

To c h eck th e err i n g a n d re p rov e ;,

Th ou w h o a rt vic t or y a n d l a w
,

Wh en em pty t errors over a we ;

From v a in t em pt a ti ons dos t s et free ;
A n d c al m s t th e we a r y s t r i fe o f fr a i l hum an ity !
’

Th er e a re wh o t h ine e y e
a s k n ot if
B e on t h em ; w h in l o v e n d t ru th
o, a ,

Wh ere no m i s gi v i n g i s re l y ,

U p on th e gen i l sense of y ou t h
a

G l d H e r t s ! wi t h ou t re p ro ch or bl o t
a a a

Wh do t hy work
o d know i t no t
,
an

0 ! i f th rou gh con fi dence mis p l ced a

The y f i l t h y s vin g rms dre d Power ! a roun d

a ,
a a ,
a

c st a .

Serene w il l be our d a y s an d bri ght ,

And ha ppy w i l l our n a t ure b e ,

Wh en l o v e i s a n unerr in g l i ght ,

And j oy i t s own secur ity .

 TH E DUPL E M E TE R S 97

And t h eyb l iss fu l course m ay ho l d

a

E v en now w h o no t unw i se l y bo l d
, , ,

Li v e in th e s p ir it of t h is creed ;
Y e t seek t h y fi rm su pp or t a ccord i n g
,
to t h eir n eed .

I l ovin g freedom an d un t ried ;

, ,

No s p or t o f e v er y r a ndom gus t ,

Ye t bein g t o m y s e l f a gu i de ,

To o b l i nd l y h a v e re p os ed m y t rus t
A n d o f t w h en i n m y h e a r t w a s h e a rd
,

Thy t ime l y m a nd a t e I de ferred

,

Th e t a sk in smoo t h er w a l ks t o s t r a y ;
,

Bu t t h ee I now wou l d ser v e more s t r i c tl y if I ,

Th rou gh no d i s turb ance of m y sou l ,

Or s t ron g com p unc ti on in me wrou ght ,

I su pp l i c a t e for thy con t ro l ;

Bu t in th e qui e t ness o f t h ou gh t
M e t h is unc ha r t ered freedom t ires ;
I fee l t h e wei gh t of ch a nce desires -

M y h o p es no more mus t c h an ge t h eir n a me ,

I l on g for a re p os e th a t ever i s the s a me .

S t ern L a w giv er ! y e t t h ou dos t we a r

The G od h e a d s mos t beni gn a n t gr a ce ;
’

Nor know we a n yt h in g so f a ir
A s is t h e smi l e u p on thy f a ce :
F l owers l a u gh before th ee on t heir bed s
A n d fr a gr a nce in th y foo t in g t re a ds ;
Th ou dos t p reser v e t h e s t a rs from wron g ;
A n d t h e mos t a nc i en t h e a v ens t h rou gh Thee, ,

a re fres h an d s t ron
g .

To hum b l er fun c t ions a wful Power !

,

I c a l l t h ee : I m y sel f commend
Un t o thy guid a nce from thi s hour ;
O h l et m y we a kn ess h a ve an end !
,
98 I N TROD U CT IO N TO PO ETR Y
v
t me m de l ow l y wis e
G i e un o ,
a ,

pi it of se l f
Th e s r ifi e ; -
s acr c

Th con fi dence o f re son gi v e ;

e a

And in the l i gh t o f Tru th thy Bondm n a l et me l ive !

Will ia m l Vo rd s w o rth (1 7 7 0-
1 8 5 0)

Th e s ec on d a n d fo u rth li nes o f the fi r st o f the a b o v e

st a n z a s d o n o t ri m e i n p r o nu nci a ti o n E ndin g e a ch i n .

— o ve
, howeve r the wo rd s o n the p a g e a pp e a r t o r im e
, .

Thi s type o f ri m e fo und o c c a si on a l ly i n the w o r k o f s o m e

,

o f the g re a tes t p o et s i s c a lled ey e rime , O n the c o n -

.

t ra ry the sec o nd a n d f o u r th lines o f the sec ond st a nz a

,

rim e i n p r on u nci a tio n a ltho u gh they a re n ot sp elled

,

a lik e . S u ch r i m e tho u gh wh olly s a tis f a ct o ry i s c a lled

, ,

e a r— ri m e t o distin uish it f ro m rime s u ch a s G o d ro d i n -

g
whi ch b o th s o u nd a n d spellin g a re identic a l F ree a n d .

huma n i t y rep resent a typ e o f a pp r oxim a t e ri m e In .

E liz a b eth a n a s well a s i n s o m e l a t er p oe m s thi s fin al y i s

t o b e c o nsider ed a s ri m in g with t ry .

C omp a r e the tw o fo re g oin g p o e m s with the foll owin g .

a a a — —
N ote th t s i m il r the m e d evoti on t o duty i s b ro u ght
o u t a lm o st e q u a lly well by a n a r r a ted incident a bit o f ,

“
re a s on ed p hil o s ophy o r the ly ri c c ry o f a l ove r I n To
, .

”
Lu c a s t a n o t e the rim e n un ne ry fly It w a s typi c a l o f -
.

the s evente enth c entu ry t o a ddr es s a l a dy b y a L a ti n

n a me L ovel a ce i s re m e m b e red with S u c k lin g a nd C a rew
.

a s a C a v a lie r poet .

TO L U CA S TA , O N G OI N G TO TH E WA RS
Te l l me no t S wee t I a m unk i nd
, ,

Th a t from th e nunner y
O f t h y ch a s t e bre a s t an d qui e t m ind
To w ar an d a rms I fl y .
 1 00 IN TRODU CT IO N TO PO E TR Y
I s t h ere a m a n w h os e j udgmen t c l e a r
,

C a n o t h ers t e a c h th e course t o s t eer ,

Ye t run s h i mse l f l i fe s m a d c a reer

, ,
’

Wi l d a s th e w a v e ?
H ere p a use— a n d th ro th e s ta r ti n g t e a r’

S ur v e y t h i s gr ave
“

Th e p oor in h bi t n t bel ow
a a

W qu i ck t o l e rn
as d wise t o kn ow
a ,
an ,

And keen l y fe l t th friendl y gl ow e ,

A d sof t er fl me ;
n a

Bu t th ou gh t l ess fol l i es l i d h im l w a o ,

And s ta in
’
d his n a me !
Re a der , tt end — w h e th er thy sou l
a

S o rs f ne y s fl i gh t s b e y ond t h e p o l e
’
a a ,

Or d rk l i n g gru b s t h i s e r t hy h o l e
a a ,

I n l w p ursu it ; o

Kn ow p ruden t c u ti ou s s el f con t ro l
, ,
a -

I s wisdom s roo t ’
.

R o b rt B r (1 e u ns 7 5 9 -1 796 )

P o e m s ch a r g ed with ho m ely s entiment a re li k e s o n g s ,

a n d n a r r a tive ve rs e enj oyed by pe rs o n s u ni ni ti a ted int o

,

the s ubtleties o f the u ns un g ly ric Kin g sley is o f c o u rs e .

, ,

bes t k nown n o t a s a p o et bu t a s the a u tho r of the n ovel s

Wes t wa rd H o ! a nd H e rewa rd t he IVa ke N ote the femi .

“
nin e ri m es i n Yo un g a n d Old ”
W e re the w o rds la d a nd
.

t he re o mitt ed the sens e w o uld b e e q u a lly cle a r b u t the

, ,

p oem w o u l d s o m eh ow l o s e its sl ow temp o a n d p a thetic

di g nity.

YOUN G A N D O L D
Wh en a l l th e wor l d is y oun g l a d , ,

A n d a ll th e t rees a re green ;
A n d ever y goose a s w a n l a d , ,

A n d e v er y l a ss a queen ;
 THE D U P L E M E TE R S 1 01

Th en h ey for b oo t a n d h orse l a d , ,

A n d round t h e wor l d a w a y ;
Youn g b l ood mus t h av e it s course l a d , ,

A n d e v er y d o g h i s d a y .

Wh en al l wor l d i s o l d l a d
th e , ,

A n d a l l t h e t rees a re b rown ;
A n d a l l t h e s p or t is s t a l e l a d
, ,

A n d a l l th e w h ee l s run down ;
C ree p h ome a n d t a ke y our p l a ce there
, ,

Th e s p en t a n d m a i med a mon g :
G o d g r a n t y ou fi n d on e f a ce t h ere ,

You l oved w h en a ll w a s y oun g .

C ha rl e s K i n gs l ey (1 8 1 9 1 -
8 75 )
I n the a bov e p o em the s ec o nd st a nz a a ff o rds a c o nt r a st
with the fir st I n the followin g the sec o nd a n swe rs a q u es
.
,

ti o n which the fi rst h a s p rop o u nd ed G olds m ith a m em .

,

b er o f D r J ohns o n s C lub w a s the ve r s a tile a utho r o f

.
’
,

S he S t o op s t o C o n qu e r , The Vica r o
f Wa kefield , The
D es e r t ed Vil l a g e, a nd The C i t iz en o f th e Wo rld A.

“ ”
b rilli a nt p a ro dy o f When L ovely W o m a n may b e fo u n d
in the ch a pte r o n Li ght Ve rs e .

WH E N LO V E LY WOM A N
Wh en l o v e l y wom a n s t oo p s t o fol l y
A n d fi nds t oo l a t e t h a t men b e t r a y ,

Wh a t c h a rm ca n soo t h e h er me l a nc h o l y ,

Wh a t a rt c an w a s h h er gui l t a w ay ?
Th e on l y a rt he r gu i l t t o co v er,
To h i de h e r s h a me from e v er y e y e ,
To giv e re p en ta nce t o h er l o v er
A n d wr i n g h i s bosom , is — t o d i e .

Ol iv e r G o l d s m i t h (1 7 28-1 7 74)
1 02 IN TROD U CT IO N TO PO ETR Y
T he the m ythol o g y a n d the mystery o f the a n cient
a rt , ,

w o rld h a ve a lw a y s b e en p op ul a r s ubj ect s with E n glish

p oets . Th e N i o b e o f G reek m ythol o gy who l o st her s ix ,

s on s a nd s ix d a u ghte rs a n d w o uld n ot b e c omfo rt ed h a s , ,

f o r in st a nce b ec o m e a type o f the be re a v ed m othe r o f

,

a l l times a n d l a nds F o r By r o n s c ul tiv a ted a u dienc e a

.
’

hu nd r ed w o rds c o uld n ot h a ve des c rib ed R o m e s o we l l a s

“ ” “ ”
the ph r a s e the N i ob e o f n a ti on s I n N i obe a s i n .
,

“ “ ”
O rpheu s a n d E u rydi c e a nd Th e Ven u s o f M ilo
, ,

N oyes h a s a tt a ined a hi gh r a n k a m on g m o de rn inte r

“ ”
ret e r s o f the le end s o f G r eek myth ol o g y N i o b i s
p g e .
,

p e rh a p s the fi n est p resent a ti o n in wo rds o f the le ge n d a ry

,

m other .

N I OB E

How l ik e th e sk y she bends abo v e h er chil d ,

One wi t h t h e g re a t h ori z on of h er p a in !
N o sob from our l o w s e a s w h ere woe run s wil d ,

N o wee pi n g c l oud no momen t a r y r a in

, ,

C a n m a r th e h e a v en h i gh vis a g e of h er g rief
-
,

Th a t fro z en a n gu i s h p roud m a j es ti c dumb

, , , .

S h e s t oo p s in p i ty a bove th e l a bourin g e a r th ,

K nowin g h o w fond h o w br i e f ,

I s a ll i t s h o p e p a s t p resen t an d t o come
, , , ,

S h e s t oo p s in p i ty a n d y e a rns t o a s su a ge it s de a r t h
, .

Th rou gh t h a t f a ir f ace t he w h ol e d a rk uni v erse

S p e a ks a s a t h orn t ree s p e a ks th ro one w h i t e flower ;
’
-
,

A n d a l l t h os e wrenc h ed Prome t h e a n sou l s th a t curs e

Th e gods bu t c a nno t d i e be fore t h eir h our
, ,

F ind u tt er a nce in h er be a u ty Tha t f a ir he a d .

Bows over al l e a r th s gr a ves It w a s h er cr y

’
.
1 04 I N TR ODU CT IO N TO P O E TR Y
'

th a t they p o s ses s a l s o a m u si c a l v a lu e G eo r g e Whit e .

field it i s s a id c o uld b ri n g a n a u dience t o te a rs by hi s

, ,

p ro n un ci a ti o n o f the w o rd M es op o t amia P oet s li k ewis e .

k n ow the hu m a n ea r a n d the c a p a bilities o f the l a n gu a g e .

I n e a ch o f the f oll o win g list s o f fem al e n a m es the ve ry ,

es sen c e o f the a utho r s m el o dy i s a c cu r a tely re fl ected :

’

F a us t ine Fr a go l e tt a D ol ores
, , ,

F é l i s e a n d Yo l a nde a n d J u l i e tt e .

D e d i c a t io n
“
F ro m b y A lg e r n o n C h a r l e s
, S w in b u rn e

C eci l y ,
G er t rude M gd l en
, a a ,

M a r ga re t an d Ro s a l y s .

F ro m The B l e s s e d D a m o s e l ,
”
by D a n t e Ga b r ie l R o s s e tti

M ilto n i s , o f c o u r s e the cl a s si c ex a mple

, .

“ ”
Ke a t s s Ode o n a G reci a n U rn i s o n e o f the sup r e m e
’

E n glish m a sterpiec es o f s ubtl e mel o dy Th e l a st two lines .

a r e often c om a red with the p a s s a g e a l re a dy q u oted f r o m

p
“ ”
E me r s o n s Th e R hod o r a a n d with the openin g lin es of
’

Ke a t s s own E nd ym io n
’
,

A t h i n g o f be u ty a is a j o y forever .

“
Th o u gh l m o s t pu r ely ly ric the Ode o n a G reci a n U rn
a ,

i s f a r re m oved f ro m the si m plicity o f the s on g ; it relies

n o t o nly up o n ri m e a n d rhyth m b ut up o n s o u nd h a r m ony -

o r t on e-c ol o r T o enj oy the p o e m fully o n e m u st vis u

.
,

a lize the a nti q u e u rn up o n whi ch s o m e f o r g otten eniu s

g
t old his st o ry n o t in w o rd s bu t in de si gn W ith r e fe ren ce .

“ ”
t o si ght a nd s o u nd Ke a t s s Ode o n a G reci a n U rn
,
’

“ ”
a nd Ode t o a N i ghtin g a l e be a r t o e a ch o the r a rel a tion
“
si m il a r t o th a t whi ch exist s b etween Wo rdsw o rth s I ’

” “ ”
W a n der ed L o nely a nd The S olit a ry Re a pe r .
 THE DUP L E M E TE R S 1 05

ODE ON A G REC I A N U R N

Th ou s t i l l un ra vi s h d b r i de o f qu i e tnes s
’

Th ou fos t er c h i l d of si l ence an d s l ow t ime

-
,

S y l v a n h is t ori a n w h o c a ns t t h us e xp res s
,

A flower y t a l e more swee tl y t h a n our r h y me

Wh a t l e a f f rin g d l e gend h aun t s a bou t thy s ha p e
-
’

Of de iti es or mor t a l s or o f bo t h , ,

I n Tem p l e or t he d a l es of A rc a d y ?
Wh a t men or gods a re th ese ? Wh a t m a idens l o th ?
Wh at m a d p ursui t ? Wh a t s t ru ggl e t o esc a p e ?
Wh a t p i p es an d t imbre l s ? Wh a t wi l d ecs t a s y ?

H e a rd me l odies a re swee t bu t t h os e un h e a rd ,

A re swee t er ; t h erefore y e sof t p i p es p l a y on ; , ,

No t t o th e sensu a l ea r b u t more en d ea r d '

, ,
’

Pip e t o t he s p iri t d itt ies o f n o t one :

F a i r y ou t h bene a th t he t rees th ou c a ns t no t l e ave
, ,

Thy son g nor e v er can t h ose t rees be b a re ;

,

Bo l d Lover n ever ne v er c a ns t t h ou kiss

, , ,

Th ou gh winn in g ne a r t h e go a l — y e t do no t gr i eve ; ,

S h e c a nno t f a de t h ou gh t h ou h a s t no t thy b l i s s
, ,

For ever wi l t th ou l ove an d s h e be fai r ! ,

A h, h a ppy ppy bou ghs ! th t c nno t shed

,
ha a a

Your l e ves nor ever b i d th e S p rin g di eu ;

a , a

An d h ppy me l o d is t unwe ri ed
,
a ,
a ,

For e v er pip in g son gs for e v er new ;

More h ppy l ove ! more h ppy h ppy l ove !
a a ,
a

For e v er w rm n d s t il l t o be n j y d
a a e o
’

For e v er p n ti n g n d for ever y oun g ;

a , a

A l l bre t hin g h um n p ssion f

a bo v e
a a ar a ,

Th t l e v es h e r t h i gh sorrow fu l n d c l o y d
’
-
a a a a a ,

A burnin g foreh e d n d p rc h in g t on gue a , a a a .

 1 06 IN TR ODU CT IO N TO PO E TR Y

Who t h ese comin g t o t h s cri fi ce ?

a re e a

T w h t g reen l t r O m y s t er i ous p ries t

o a a a , ,

L e d t t h ou t h t h ei fer l ow i n g t t h sk i es
’
a s a a e ,

A d ll h n s i l ken fl nks w it h g r l nds dres t ?

a er a a a

Wh t l itt l e town b y r iv er or
a s h ore s ea ,

Or moun t i n bu i l t w it h p e cefu l c it de l
a
-
a a ,

I s em pti ed o f th i s fo l k t h i s pi ous morn ? ,

A n d l ittl e t own th y s t ree t s for e v ermore

, ,

Wi l l si l en t be ; d no t sou l t o t e ll an a

Wh y t h ou t deso l t e n e er re t urnar a ,
ca
’
.

0 A tt ic s h p e ! F i r ttit ude ! w it h brede

a a a

Of m rbl e men a d m i dens o v erwrou gh t an a

,

With fores t b r nch es d t h t rodden weed ;a an e

Th ou s i l en t form dos t t e se us ou t o f t h ou gh t
, , a

A do t h e t ern ity C o l d P s t or l !
s : a a

Wh en l d g s h l l th i s g ener ti on w s t e
o a e a a a ,

Th ou s h l t rem i n i n mids t of o t h er woe

a a ,

Th n ours
a fr i end t o m ,
t o w h om th ou s y s t
a an , a
’

Be u ty i s t ru t h t ru t h be u ty —t h t is l l
“
a ,
a ,
a a

Ye know on e r t h n d l l y e need t o know a ,

a a .

J o hn K t (1 7 95 1 82 1 ea s -
)

T he re i s s om etimes a cl o s e k in ship between a p o e m a n d

a n ex a m le o f s o m e o the r a rt T he hi st o ric a nd fun d a
p .

m ent a l rel a tio n be tween p o et ry a n d m u si c h a s been dis

c u s s ed in the ch a pter o n the S on g Th o u g h these sister .

a rts h a ve in the m a in followed diver en t a ths they

g p a re ,

still often a s s o ci a ted I n the G ilbe rt a nd S ulliv a n op er

.

ett a s fo r i nst a n ce a i rs a n d ly ri cs a re h a ppily bl ended

, ,
‘

Th e rel a ti on o f p o et ry t o s c ulptu re h a s b een su ggested by

“ ”
N oyes s N iob e the c o ncepti o n o f whi ch s ee m s t o h a ve
’
,

b een l a r g ely de rived fr o m the U ffizi st a tue Th e fi g u red .

 IN TRODU CTI O N TO PO E TRY
0 l ove , t h e y die in y rich sk y ou ,

Th e y f i n t on hi l l or fi el d or river ;
a

Our ec h oes ro l l from sou l t o soul ,

A n d g row for e v er d for e v er an .

B l ow bu gl e b l ow se t t h e wi l d ech oes fl y in g
, , , ,

A n d nswer ec h oes
a nswer d y in g d yi n g d y in g
, , a , , , .

A l f r e d , L o rd Te nny s o n (1 809 -
1 8 92 )

VJhe n w o rd withi n a lin e rimes with o n e a t the end

a

(f a l ls wa l ls lin e o ne a b o v e ) the ri m e i s d es c ri b ed a s
-
, ,

i n tern a l . Th e diffe ren ce between i ntern a l rim e a n d the

n o r m a l end ri m e i s sli g ht the l a tte r b ein g o f c o u r s e s o m e
, , ,

wh a t m o re e m p h a ti c N ot e th a t th e ref r a i n o f the a b ove

.

st a nz a s diff er s m a r k edly fr o m the reg ul a r i a mbi c t et ra m e

t ers o f the fi r st fo u r lines I n the re fr a in the c a ll o f a .

bu gle i s imit a ted i n wo rds Thi s a d a pt a ti o n o f s o u nd t o

.

s en se c o mm o n i n p o et ry i s c a lled gn o m a t o pce ia
, , Th e .

a dj ecti v e i s o n o m a t o mi c o r o n o m a t o o e t i c
p p .

Alth o u gh the q u a t r a in o f i a mbi c tet r a m ete r s l i m ing

a b b a h a d b een u s ed p revi o u sly it rem a in ed f o r T ennys o n ,

t o g ive the mete r a g re a t p o em In M em o ria m h a s si nc e .

iven the n a me t o the st a nz a i n whi ch i t i s w r i tten T h e

g .

foll owi n g p a s s a g e rs o ften s u n g a s a Ch rist m a s c a rol .

R I N G O U T, WI L D B E LLS

Rin g ou t wi l d be l l s t o th e wi l d sk y
, , ,

Th e fl y in g c l oud th e fros ty l i gh t : ,

Th e y e a r i s d y in g in th e n i ght ;
R i n g ou t w i l d b e ll s a n d l et him die
, , .

Rin g ou t t he ol d rin g in th e n ew , ,

Ri n g h a ppy be ll s a cros s th e snow

, ,
 TH E DUPL E M E TE R S 1 09

Th ey e r is goin g l t him g ;
a ,
e o

Rin g ou t the f l se rin g in th e t rue

a , .

Rin g ou t th e g rief t h a t s a p s th e mind ,

For t h os e t h a t h ere we s ee no more ; ‘

Rin g ou t t h e feud o f ric h a n d p oor ,

Rin g in redress t o a ll m a nkin d .

Rin g ou t a s l ow l y d yi n g c ause ,

A n d a nc ren t forms o f p a r ty s t rife ;

Ri n g i n th e no b l er modes o f l i fe ,

Wi th swee t er m a nners p urer l a ws ,

.

Rin g ou t th e w an t th e c are th e sin

, , ,

Th e f a it h l ess co l dnes s o f t h e ti mes ;

Rin g ou t r i n g ou t m y mourn fu l r h y me s
, ,

Bu t r i n g th e fu l l er m i ns t re l in .

Rin g ou t fa l s e p r i de in p l a ce a n d b l ood ,

Th e c iv ic s l a nder a n d t h e s p it e ;
Rin g in t h e l o v e o f t ru t h a n d r i ght ,

Rin g i n t he common l ove o f good .

Rin g ou t ol d sh a p es of fou l dise a se ;

Rin g o ut t h e n a rrowin g l us t o f go l d
Ri n g ou t t h e t h ous a nd w a rs of ol d ,

Rin g i n t h e t h ous a nd y e a rs of p e a c e .

Rin g in the v a l i a n t m an a n d free ,

The l a r ger h e a r t , t h e k i nd l i er h a nd ;
Ri n g o u t th e d a rknes s o f t he l a nd,
Rin g in t h e Ch ris t t h a t is t o be .

A l f r e d L or d Te n n y s o n (1
, 8 09 - 1 8 92 )

In the p rec edin g hy m n T ennys o n exp re s s ed a g ene ra l

a ppe a l fo r b ette r c o n diti o n s I n the foll owin g p o em t he
.
1 1 0 IN TRODU CT IO N TO PO E TR Y

n ewly a pp ointed l a u re a t e c o m pli m en ted the g re a t s ov

e r ei n wh o w a s re g a rded by h e r c o nt e m p o r a ries a s the
g
epit o me o f a n a g e of m o r a lity a nd ide a lis m A d edi c a tio n .

i n ver s e i s di fficult ’
Swinb u r n e s self dedi c a ti o n i n hi s
.
-

P o ems a nd B al la d s F i rs t S e ries displ a y s hi g h m et ri c a l

, ,

s k ill
. Whit t ier s P r o em
’ “ ”
,M o r ri s s “ ’
A n Ap ol o gy ”
,

“ ”
a n d M a s efi el d s A C o n sec r a ti o n a bly ch a r a cte riz e th e
’

a im s o f thei r respective a u th o rs H a ppily ph ra sed i s

.

“
Willi a m W a t s o n s s o nnet offerin g a volu m e To L o rd
’

”
T en nys on . I t is s a fe t o s a y h oweve r th a t n o dedi c a tio n
, ,

h a s s u rp a s sed in felicity the s ubj oi n ed p o e m Th e refe r .

en ce i n the s ec o nd st a nz a i s t o Willi a m Wo rdswo rth wh o ,

p rec ed ed T e nn ys o n a s p o et l a u re a te .

TO TH E QU EE N

Revered, be l o v ed— O y ou th a t h ol d
A nob l er o ffi ce u p on e a r th
Th a n a rms or p ower o f b r a in or b i r th
, ,

C ou l d g iv e th e w a rrior kin gs o f o l d ,

V i c to r i a,—s i nce y ou r R o y a l gr a ce
To one of l ess deser t a l l ows
Th i s l a ure l greener from t h e brow s
O f him t ha t utter d n oth in g b a se ;
’

A nd s h ou l d y our gre a tness a n d th e c a re

,

Th a t y okes wi t h em p ire yi e l d y ou t im e
,

To m a ke dem a nd of m odern r h y me
I f a u gh t of ancien t worth be t h ere ;

Th en— w h i l e swee t er music w akes

a ,

And th ro w il d Ma rch th e t h ros tl e c alls

’

,
1 1 2 I N TR ODU CT IO N TO PO ETRY
te r lines h a r m o nize well with the t o n e o f t tely
s a

di gnity .

TE N NYSON

I n L a c e m Tra ns i t us , Oc tob r
e , 1 892

From th e mis ty s h ores of midn i gh t t ouch ed wi t h s p l endors of

,

t h e moon ,

To t h e s i n gi n g ti des o f h e a v en a n d th e l i gh t more c l e a r t h a n
,

noon ,

Pa ss ed a sou l th a t grew t o music ti ll i t w a s wi t h G od in t un e .

B ro th er of t he gre a t es t p oe t s t rue t o n at ure t rue t o a rt ;

, ,

Lo v er o f Immor t a l Lo v e u p l i ft er o f t h e h um an h e a r t
, ,

Who s h a ll ch eer us wi t h h i gh mus i c w h o s h a ll sin g if th ou

, ,

de p a r t ?

S i l ence h ere— for l o v e is si l en t ga z in g on th e l essenin g s a i l ;

,

S i l ence h ere— for gr i ef is v oicel es s w h en th e m i gh ty mins t re l s

fai l ;
S i l ence h ere— bu t f ar be y on d us m a n y v oices cr yi n g H a i l !
, , ,

H e n ry va n D y k e (1 8 5 2

“ ”
T e nn ys o n wa s b u ri e d i n L o ndo n i n the P o et s C o rn e r
,
’

o f Wes tmin ste r Abb ey T h a t vene r a ble G o thi c b uildin g

.

c o nt a in s m a ny m o re imm o rt a l s n ow th a n whe n B e a u m o nt
w r ote his p o em a n d a m on g tho s e recently bu ried therein
,

a re a nu m be r o f m en o f lette r s Spe a k in g f o r a B riti sh

.

“
c ol ony Kiplin g well te rm s West m in st er The Abb ey th a t
,

”
m a k es u s w e B e a u m ont s n a me i s alm o s t in s ep a r a bly
.
’

—
c onnected with th a t o f John Fl etcher the tw o c o n stitute
the m o st f a m o u s p a i r o f c oll a b o r a t o r s in E n gli sh
lite r a tu re .
 TH E DUP L E M E TE RS

ON TH E TOM B S I N WE S TM I N S TE R A B B EY

Mor t al ity b e h o l d a n d fe a r
, ,

Wh a t a c h an ge of fles h is h ere !
Th i nk h o w m a n y ro y a l bones
S l ee p w ith in th ese h e a p s o f s t ones ;
Here t h e y l ie h a d re a l ms a n d l a nds
, ,

Who now w a n t s t ren gth t o s ti r t h e i r h ands ,

Wh ere from t h e i r p u l pit s s ea l d w it h dus t

'

Th e y p re a c h In g re a t ness is no t rus t
“ ”
.
,

Here s a n a cre sown i ndeed

’

Wi th th e r i c h es t ro y a l l es t seed
Tha t t h e e a r t h d i d e er suck i n
’

Since th e fi rs t m a n d i ed for sin

Here t he bones o f bir t h h a v e cried
Th ou gh gods th e y were a s men th e y d i ed !
“
,

Here a re s a nds i gnob l e t h in gs

, ,

D ro pt from t h e ru in d sides o f k i n gs
’

Here s a wor l d of p om p a n d s t a t e
’

B uried i n dus t once de a d b y f a t e

, .

F r a n c is B ea u mo n t (1 5 84 1 61 6 ) -

T ennys o n st rove i n The Id yll s of the K ing t o d c

e ob s c u r e d a w n o f his c o u nt ry wh a t Ve r il h a d d o n
g
) me . H i s s electi o n by the M a n tu a n s a s the n in et c
ut en a ry p o et w a s c o n se q u ently exc eedin ly h a ppy
g .

5 r esp o n s e j u stified the choi ce Thi s exc ell ent .

1

m al p o e m i s w ritten in t r o ch a i c n o n a met er c a t a l
very u nu s u a l f o rm .

TO V I RG I L
ra TE N A T T HE RE Q U ES T o r T HE M A N T U A N S F O B
N I N E T EE N T H C E N T E N AR Y o r e G rL s DEA T H )
’

i m an V ir gi l , t hou t h at s in ge s t I li on s l of ty t em p l es
’

in fi re,
1 1 4 I N TR ODU CT IO N TO PO ETRY
I l ion f al l i n g Rome a r i sin g w a rs
, , ,
an d fili al f ai t h ,
an d D id o
’
s
py re ;
L a ndsc ap e l o v er l ord of l an gu age more t h an h e t h a t s a n g th e
-
,_ ,
“
Works a n d D a y s ,

A l l th e c h osen co in o f f a nc y fl a sh in g o ut from m an y a g o l den

ph r a s e ;
Th ou th t a w h e a t a n d woodl and ti l t h an d vine y a rd
s in ge s t , ,

h i ve an d h orse a n d h erd ;
A ll th e c h a rm o f a l l th e Muses o f t en flowerin g in a l onel y
word ;

Poe t of th e h a ppy Ti ty ru s pip in g un derne t h his beech ena

bowers ;
Poe t of t h e p oe t s a ty r s h e p herd bound
’

-
wh om t h e l a u gh in g
wi t h flowers ;

C han t er o f th e Po l l io, gl or y in g in t he b l iss ful y e rs a a ga in

t o be ,

S ummers of th e sn a ke l ess me a dow unl aborious e a r t h ,

an d
o a r l es s s ea ;

Th ou t h t sees t Uni v ers l N ture mo v ed b y Uni v ers l M i nd ;

a a a a

Th ou m j es ti c i n t hy s dness t th doub t fu l doom of h um n

a a a e a

Li gh t mon g th e van i s h d a ges ; s t a r th a t gil d e st y et t his

’
a

p h a n t om s h ore ;
G o l den br a nch a mid th e s h a dows kin gs an d re a l ms t h a t p a ss
,

t o ris e no mor e;

Now t hy Forum ro ars no l on ger f al l en e v er y p ur p l e C ae s ar s

,
’

dome
Th o
’
t hine oce a n rol l of rhyt hm sound forever of Im p eri al
-

Rome
1 1 6 IN TR ODU CT IO N TO PO E TRY

WES TWA RD HO !

Wh a t s t ren gt h ! wh a t s t ri fe ! w h a t rude unres t !

Wh a t s h ocks ! wh a t h a l f— s h a p ed a rmies met !
A m i gh ty n a t ion mo v in g wes t ,

Wi t h a l l it s s t eel y s i news se t
A ga ins t the l i v in g fores t s H e a r .

Th e s h ou t s th e s h o t s of pi oneer
, ,

Th e rended fores t s ro l l in g w h eel s , ,

A s if som e h a l f c h eck d a rm y ree l s

’
-
,

Reco i l s redou b l es comes a g a in

, , ,

Loud soundin g l i ke a h urr i c a ne .

O be a rded s t al w a r t wes tmos t men

, , ,

So t ower l i ke so G o t h i c b u i l t !
-
,

A kin gdom won wi t h ou t t h e gui lt

O f s t ud i ed b a ttl e t ha t h a t h b een
,

Your b l ood s i n h er it ance

’
Your h eirs
K now no t y our t ombs : t h e gre a t p l ows h a re s
C l e a ve sof t l y t h rou gh t h e me ll ow l o a m
Where y ou h a v e m a de e t ern a l h ome ,

An d se t no si gn Your e pit a ph s
.

A re wr it i n furrows Be a u ty l au gh s .

Wh i l e t h rou gh th e green w a y s w ander in g

B eside h er l o v e s l ow ga th er i n g
,

Wh it e s t a rr y h e a rt ed M a y ti me bl oom s
,
- -

Abo v e y our l ow l y l e v e l ed t omb s ;

A n d th en be l ow th e s p o tt ed sk y
S h e s t o p s s h e l e a ns s h e wonders wh y
, ,

The g round i s h e a v ed a n d b roken s o ,

A n d w h y t h e g r a sses d a rker g row

A n d droo p a n d t r a i l l i ke wounded w in g .

i me t he gr nd l d h rves t er
Y e a, T ,
a o a ,

H s g t h d y ou from wood d p l ain

’
a a er an .

We c ll t o you g in g in ;
a a a , a a
 TH E DUPL E M E TE R S 1 1 7

Th e rus h a n d rumb l e o f the c ar

C omes b a ck in a nswer D ee p a n d wi d e
.

Th e w h ee l s o f p ro g ress h ave p a ssed on ;

Th e s i l en t p ioneer i s gone .

H i s gh os t i s mo v in g down th e t rees ,

A n d now we p us h th e memories
O f bl u ff bo l d men who d a red a n d died
,

In foremos t b a tt l e qu it e a side
,
.

C in c i n n a t us M il l e r (1 841 1 91 3 )
-

“ “
Tho u gh l es s i m a g in a tive th a n Westw a rd Un
”
m a ni fest D estiny i s m o r e vi g o ro u s a n d it s ph r a sin g h a r ,

m o nize s m o re e ff ectively with its m et ri c a l s t r u ctu r e .

—
H o v ey p o et t r a n sl a t o r c oll a b o ra t o r with Blis s C a r m a n
, ,

— b el o n s with M ille r Al d ri ch C a wein a n d a few o the r s

g , , ,

i n a r a the r d istin g u i sh ed g r o up o f Am eri c a n p o et s who s e

c a r ee rs fell in the f a ll ow p e ri o d a bo u t the clo s e o f the
l a s t centu ry .

UN M A N I F E S T D E S TI NY

To w h a t n ew f a t es m y co un t r y f a r
, ,

A n d un foreseen of foe or friend ,

B ene a t h w h at une xp ec t ed s ta r ,

C om p e l l ed t o w h a t unc h osen end ,

Acros s th t knows no be ch
th e se a a a

Th e A dmir l o f N t ions gu i des

a a

Thy b l i nd obedien t kee l s t o re ch a

Th h rb or w h ere t hy fu t ure rides !

e a

Th e g un s t h a t s p ok e at Le x in gt on
K new no t th a t G o d w a s p l a nnin g t he n
Th e t rum p e t word o f J e ff e rs o n
‘

To bu gl e for t h the ri gh t s o f men .

1 1 8 IN TROD U CT I O N TO P O E TRY

To t h em t h a t we pt curs ed Bul l Run

an d ,

Wh a t w a s i t b ut des p a i r a n d s ha me ?
Wh o s a w b e h ind t h e c l oud a n d sun ?

Wh o knew t h a t G od w a s in th e fl a me ?
H ad no t defe a t u p on de fe a t ,

D i s a s t er on d i s a s t er come ,

Th e s l a v e s em a nci p a t ed fee t
’

H ad ne v er m a rc h ed beh i nd th e drum .

There is a H a nd th a t b ends our deeds

To mi gh t ier is sues t h a n we p l a nned ;
Ea c h son t h a t t r i um p h s e a ch t h a t b l eeds
, ,

M y coun t r y serves Its d a rk comm and

, .

I do no t know bene a th w ha t sk y
Nor on w h a t se a s s h al l be t hy f a t e ;
I on l y know i t s h a l l b e h i gh ,

I on l y know i t sh a l l b e g re a t .

R i ch a r d H o vey (1 8 64 1 -
9 00)

D u rin g the Wo rl d Wa r a p a m phlet by Kiplin g entitled

Twe n ty Po ems h a d a n en o rm o u s s a le in E n gl a n d The .

“ ”
ti m ely F o r All We H a ve a n d A r e s o u nded a cl a ri o n
c a ll t o wh a t wa s f o r E n gl a n d a m ode rn c r u s a de Kip
, , .

lin g i s s a id t o h a ve b een the fi r st t o a pply the epithet

H u n t o th e G e rm a n .
“
F o r All We H a v e a n d A re ”
,

a ltho u h n o t i ntended fo r sin in h a s a cho r u s— a ch a r

g g g ,

a c t eris t i c o f m a ny of it s a utho r s p o em s
’
.

FO R A LL WE H A V E A N D A RE

1 91 4
For a l l we ha v e a n d a re ,

For a ll our c h i l dren s f a t e ’

S t a nd u p an d t a ke t h e w a r .

The Hun is a t t h e ga t e !
1 20 IN TROD U CTI O N TO PO E TRY
i s bu t one t sk for ll
Th ere a a

One l i fe for e c h t o giv e a .

Wh t s t nds i f Freedom f ll ?
a a a

Wh d i es if E n gl n d l i v e ?
o a

R ud y a r d K ip lin g (1 865

Where a s Kipling s p oem g r ew di rectly f ro m a tim e o f

’

n a ti o n a l c ris is B u rn s s p a t ri oti c ch a llen g e w a s w ritten

,
’

c entu ri es a fte r the event whi ch it c om m e m o r a tes .

A t B a n n o c k b u rn the Sc o t s u nder R obe rt B ru ce ro ut ed

the i nv a din g a r m y o f E dw a rd I I The he roi c deeds o f .

Si r Willi a m W a ll a c e a nted a ted tho s e o f B ru c e by a s c o re

o f ye a r s T his enti re p oem is m a de a u nit by the
.

o f the fo u rth li nes o f the st a nz a s .

B RU C E S A D D RE S S TO H I S A R MY
’

B A N NO C K BU RN
S co ts , Wa ll a ce b l ed
wh a h a e w i
’

S co t s
W h a m Bruce h a s a f t en l e d ;
,

Wel come t o y our gor y bed ,

Or t o V i c t or i e !
Now s ’
now s th e h our ;
th e d a y, an d
’

S e e th e fron t 0 b a tt l e l our ;
’

S e e a pp ro a c h p roud E dw a rd s p ow r
’ ’

Ch a ins a n d s l a ve ri e !

Wh a wi l l be a t r a it or kn a ve ?
Wh a c an fi l l a cow a rd s gr a v e ? ’

Wh a s a e b a s e a s b e a s l a v e ?
Le t h im t urn a n d flee !
Wh a for S co t l and s k i n g a n d l a w ’

Freedom s sword wil l s t ron gl y dr a w

’

Free m an s ta nd or Free m an f a ?
-
,
-
’

Le t h im fo ll ow me !
 TH E DUP L E M E TE R S 1 21

B y O pp ression s woes a n d p a in s !
’

B y y our sons i n ser v i l e c ha i ns !

We wi l l dr a i n our de a res t v eins ,

B ut t h e y s h al l b e free !

La y th e p roud usur p ers l w ! o

Ty r n t s f l l in e v er y foe !
a a

Lib er ty s in e v er y b l ow !
’

Le t us do or die !
R o be r t B u rn s (1 7 5 9 -
1 7 96 )

e n ext tw o p o e m s re fl ect di ff e rent ph a s es o f the s a m e

gl e a nd a ffo rd two glimps es o f the s a m e pl a c e ,

esto n S C The fi r s t p o em vi g o r o u a n d g r a phi c

, . .
, ,

the imp r es si o n s o f a B riti sh s a il o r who m a d e\ t he

o n a bl o c k a de ru nn e r i n the l a st d a ys o f the Con
ic
y. T h e sec o nd i s o n e o f th e w o rld s fines t t ribut es
’
,

ce sweet a n d elev a ted t o th e he r oic d e a d C o m p a re

, .

“ ”
sh e m ete rs Th a t o f R o m a n c e i s a s t a nz a i c a r
.

r o ch a i c t et r a m ete r p op ul a rized
mgn t of the ri meles s t
1 22 I N T RODU CTI O N TO P O E TRY
In an d ou t a mon g th e co tt on ,

Mud an d c h a i ns a n d s t ores an d a nchors

, , , ,

Tr a m p ed a s qu a d of b a tt ered sc a recrows
Poor ol d D i xi e s b o tt om do l l a r !
’

“
S ome h a d s h oes , bu t a ll h a d rifles ,

Th em t h a t w a sn t b al d w a s b e a rdl ess
’

t h e drum w a s ro l l i n g D ix ie
’
And
‘

A nd th e y s t e pp ed t o it l i ke men sir ! ,

Ra g s an d t tt ers be l t s
a b a y one t s
, an d ,

On th e y swun g th e drum a ro ll in g
,
-
,

Mum a n d sour I t l ooked l i ke fi ght in g

.
,

A n d t he y me a n t i t t oo b y t h under !
”
,

Will ia m E r n es t H e n l ey (1 849 1 908 )

-

AT M A G N OLIA CE M E TE RY *

S l ee p swee t l y in y our h umb l e gr aves ,

S l ee p m a r ty rs of a f all en c a us e ;
,

Th ou gh y e t no m a r b l e co l umn cr a ves
Th e pi l grim h ere t o p a use .

In seeds o f l aure l i n th e e a r th
Th e b l os som o f y our f a me is b l own ,

An d somew h ere w a it in g for i t s bir t h

, ,

Th e s h a f t is in th e s t one !

Me a nwhil e be h a l f t h e ta rd y y e a rs
,

Wh ic h kee p in t rus t y our s t oried t omb s ,

Be h o l d ! y our sis t ers br i n g t h e i r t e a rs ,

A n d t h ese memori a l b l ooms .

e s l ect i on f rom Tim od i s rep r i nted f rom the M em orial

r

E di ti n th r u gh t h c ourt esy o f t he h ol de r o f t he copyri ght J ohns on

o o e ,

P ub l i s h i n g Co mp ny
a .
1 24 IN TROD U CTI O N TO PO ETRY

And dre a mi n g th rou gh th e t w i l i gh t

Tha t do t h no t rise nor se t ,

And py ha l m ay for ge t .

Chri t i s na G e o rgin a R o s s e tt i (1 8 8 0-
1 894)

I S H A LL N O T CA RE

Wh en I am de a d o v er me b r i gh t A p ril
an d
S h a kes ou t h e r r a i n drenc h ed h a i r ;
-

Thou gh y ou s h ou l d l e a n ab o v e me broken h e a r t ed -
,

I s h al l no t c a re .

I s h all h a v e p e a ce a s l e a f y t rees a re p e a ce ful

,

Wh en r a i n bends down th e bou gh

And I sh all b e more s i l en t a n d co l d h e a rt ed -

Th a n y ou a re now .

S a ra Te as d al e (1 884

We q u ote a n othe r S a ra T e a s d a le s c omp a ct ly ri c s

’
.

”
Wis do m exp r es s es c o nt emp o ra ry t e rm s a n a n ci e n t
cy ni c a l

WI S D O M

When I h ave ce a sed t o bre a k m y wi n gs

Aga in s t t h e fa u l t iness of th i n gs ,

An d l e a rned t h a t com p romises w a i t

.

B eh ind e a ch h a rd l y o p ened ga t e ,

Wh en I can l ook l i fe in th e e y es ,

G rown c a l m ari d ver y co l d l y wis e ,

L i fe wi ll h a v e gi v en me th e Tru t h
A n d t a ken in e x ch a n ger — m y y ou t h .

S a ra Te as d al e (1 884
 TH E D UP L E M E TE R S 1 25

Th e m ete r o f the p rec edin g s electi o n de m a nds speci a l

n oti ce. The st a n z a i c un it c on si stin g of two ri m in g line s
,

o f i a mbi c tet r a m ete r i s k n own a s the s ho rt o r o c t o syl l a bic

,

c ou l et T hi s m ete r h a s been the vehi cl e o f m a n y l on g

p .

n a r r a tive p o em s f r o m C h a u c er s ti m e t o the p resent d a y

’
.

I t i s p e rh a ps bes t k n ow n a s the f a v o ri t e m ete r o f Si r

W a lte r S c o tt V a ri ety i s a chieved by a n o c c a s ion a l te r
.

cet a n d s o meti m es b y a q u a t ra in ri m in g ab a b o r a b b a .

Thes e i r re g ul a rities a r e illu st r a ted in the f a m o u s p a s s a ges

bel ow

A las for h i m wh o n ever s ees

Th e s t a rs s h i ne t h rou gh h i s c yp ress t rees !
Who h o p el ess l a y s h i s de a d a w a y
, , ,

Nor l ooks t o see the bre a kin g d a y

A cross the mourn ful m a r bl es p l a y !
Wh o h a t h no t l e a rned i n h ours of f a it h, ,

Th e t ru t h t o fles h a n d sens e unkn own ,

Th a t L i fe i s ever l ord o f D e a t h ,

A n d Love c an n e v er l ose i t s own !

by J o h n G re e n l e a f Whit tie r
”
F ro m S n o w b o un d ,

Bre a t h es th ere th e m a n wi t h soul so de a d

, ,

Who n ever t o h i mse l f h at h s a i d ,

Th i s i s m y own m y n a tiv e l a nd ?
,

Wh ose h e a rt h a t h n e er w ith i n h im burned

’

A s h ome h i s foo t s t e p s h e h a th t urned

From w a nder i n g on a fore i gn s t r a nd ?
I f suc h t h ere bre at h e go m a rk him we l l ;
, ,

For h im n o m i ns t re l r a pt ures swe l l ;

H i gh t h ou gh h is t i tl es p roud h i s n a me
, ,

Boundl es s h is we al th a s wis h c an cl a im ,

D es p i t e t h os e t i tl es p ower a n d p e l f
, , ,

Th e wre t c h concen t red all in se l f

, ,
1 26 IN TR OD U CTI O N TO PO E TRY

Livin g sh all for fei t f a ir renown

, ,

A n d doub l y d y in g s h a ll go down
, ,

To th e v i l e dus t from w h ence h e s p run g ,

Unwe pt un h onored an d u nsun g

, , .

The L ay o f the L a s t fil in s tre l by S ir Wa l t e r S c o tt

”
F ro m ,

’ “
Ar nold s ele g y o n Wo rdswo rth M em o ri al Ve rses Ap ril , , ,

t o o l o n g t o q u ote her e a ff o rd s exc ellent o pp o r ,

t u n it y f o r stud yin g t h e sho rt c o uplet .

In the f ollowi n g p o e m i s s ee n a dep a rt u re f ro m the

u s u a l cu st o m o f p rintin g the c o uplet s c o ntin u o u sly .

th e su gg estive powe r o f the c o uplet st a nz a s .

D EA D M EN TE LL NO TA L E S

Th ey sa
y th t a d e ad m e n t e ll no t al e s !

E x ce pt of b r ges wi th red s il s
a a

A n d s i l ors m d for ni gh t in g l es
a a a

E x ce pt o f j on gl eurs s t re t ch ed t e se a a

B eside old hi gh w y s t h rou gh th t rees ; a e

Ex ce pt of dy in g moon s t h t bre k a a

Th e h e r t s o f l ds wh l i
a w ke ; a o e a a

Ex ce pt o f for t resses in s h a de ,

An d h eroes crum b l ed a n d b e t r a y ed .

B u t d ea d m en tell no t l
a es, th e
y sa
y !

Ex ce pt o l d t al es t h a t burn a w a y
Th e s t ifl i n g t a p es t r i es of d a y :

Ol d t l es of l i fe o f l o v e d
a , an ha te ,

Of t ime n d s p ce a d will a ,
an , an d fat e .

Han iel L o ng (1 888

1 28 IN TROD U CTI O N TO PO E TRY
Pe a ce ! Ores t es l i ke I bre a t h e t h is p r ay er !
Pe a ce ! -

D escend w it h bro a d win ged fl i gh t

-
,

Th e welcome t h e t h r i ce p r a y ed for th e mos t fa ir

,
-
, ,

Th e bes t be l oved N i gh t !
-

H en ry Wa d s w or t h L o ngf e l l o w (1 8 07 1 882 ) -

A fte r r e a din g the p o e m s a b ove a n d b el ow thi s p a r a

g r a ph o ne m a y fi nd it h a rd t o believe th a t l ove r s o f P o e s
’
,

mel o dy h a ve dec ri ed L o n g fello w whil e a dmi re rs o f L o n g

,

fellow s ho mely phil o s ophy h a ve a pp r ov ed the epithet

’

“ ” “
j in gl e m a n whi ch E m ers on a pplied t o P o e T o O ne i n .

”
P a r a dis e p resent s n o un ifo r m ity i n rim e To a pply a .

te r m s u gg est ed by C Alphon s o S m ith the p oet h a s he r e

.
,

“
l iqu efi ed th e st a nz a o r h a s in othe r w o rds m a d e it a
’
, , ,

m o re fl exibl e u ni t .

TO O N E IN PA RA D IS E

Thou w a s t t h a t al l t o me l ove , ,

For w h i ch m y sou l d i d pi ne
A green i s l e i n th e s ea l o v e , ,

A foun t a i n a n d a s h r i ne
A ll wre a t h ed wi t h f a i r y fru it s an d flowers ,

And al l th e flowers were mine .

A h, dre a m t oo bri gh t t o l a s t !
A h , s t a rr y Ho p e , t h a t dids t a ris e
Bu t t o b e o v erc a s t !
A v o i ce from ou t t h e Fu t ure cries ,
-

“
On ! on — bu t o er th e Pa s t
’

(D im gu l f ) m y S pi r it h overin g l ies
Mu t e mo t ion l ess a gh a s t
, ,
.
 TH E DU P L E M E TE R S
For , s ! a l a s ! wit h me
al a

The l i gh t of L i fe is o er !
’

N o more no more— no mor e

—
(S uc h l a n gu a ge h o l ds th e so l emn s ea
To th e s a nds u p on th e s h ore )
Sh a ll b l oom t h e t hunder b l a s t ed t ree
-
,

Or th e s t ricken e agl e so a r .

And a ll m y d a y s a re t r ances ,

And a l l m y ni gh t l y dre a ms
Are w h ere th y gr a y e y e gl a nces ,

A n d w h ere t hy foo t s t e p gl e a ms
In w h a t e th ere al d ances ,

B y w h a t e t ern a l s t re a ms .

E d g a r A l l a n Poe (1 809 -
1 849 )

We q u ote n ow p o e m o f i rre g ul a r m et er
a I .
“

” “ ”
amon
’
r an st a n d s with Ke a t s s Hyperi o n g
I s t i nt e restin g f r a gm ent a ry p oe m s i n the E n glis h

a e
g. C ole rid e w a s
g li k,e hi s f ri en d D eQ u in c e
y s ,

1 o f the opi u m h a b it One a fter n o on a fte r t a k l

.
,

se o f the d ru
g ,he fell a sleep while r e a di n
g f ro m a
O ri ent a l t ra vels a des c ripti o n o f the p al a c e c
p er o r
, th e Kh a n K ub l a C olerid
.
g e cl a imed t o
n o s ed while a sleep seve r a l hun d r ed l in es ; s o n
p
o t e d own i m m edi a tely o n a w a k i n g the o the r s he ,

be r a n inte r rupti on u n a ble t o r ec a ll

, The re i s n o
.
1 30 IN TROD U CTI O N TO P O ETR Y
“
a tt a ins v a rio u s e ff ects
. St r a n g e s a ys T heo d o re VVa t t s
,

D unto n in hi s a rti cl e o n Po e t ry in the E n cy c l op a d ia ’

“
B ri t a n ni ca , th a t i t i s n ot i n a n o de a t a l l but i n thi s
u ni q u e ly ri c K u bl a Kh a n des c riptive o f im a g in a tiv e
‘
,
’

l a nds c a pe th a t a n E n gli sh p o et h a s a t l a s t c o n q u e red the

,

c r ownin g di ffi culty o f w ritin g i n i r re g ul a r m ete r s H a v

.

ing br o k en a w a y f r o m a l l rest r a int s o f c o u p let a n d

s t nz
a a — h a vin g c a u sed his rhy m es a n d p a u ses t o f a ll j u st
whe re a nd j u st when the e m o ti on dem a nds th a t they
sh o ul d f a ll s c o rnin g the exi g en cie s o f m a k e shift n o les s
,

th a n the exi g en ci es o f st n z
a a — he h a s fo u nd wh a t eve ry
w rite r o f ir reg ul a r E n gli sh o des h a s s o u ght i n v a in a ,

m u s i c a s ent ra n cin g a s n a tu r a l a nd a t the s a m e ti m e a s

,

”
i n scru t a ble a s the m u sic o f the wi nds o r o f the s ea
, .

K U RL A K HAN

In X an a du d i d K ub l a K h a n
A s t a t e l y p l e a sure dome decree
-

Wh ere A l p h th e s a cred ri v er ran

, ,

Th rou gh c a v erns me a sure l ess t o m an

D own t o a sun l ess s e a .

So t wice fi v e mil es o f fer t il e ground

Wi th w a ll s an d to wers were gi rdl ed round
A n d h ere were ga rdens br i gh t w it h sinuous ri l ls
Wh ere b l ossomed m a n y an incense be a rin g t ree ;
-

A n d h ere were fores t s a ncien t a s t h e h i ll s ,

E n fo l d i n g sunn y s p o t s of greener y .

Bu t oh ! t h at dee p rom an ti c ch a sm w h i ch s l an t ed
Down th e gr een h i l l at h w a r t a ced a rn cover !
A s av a g e p l a ce ! a s h o l y a n d ench a n t ed
1 32 IN TRODU CT I O N TO PO ETRY
And a l l s h ou l d cr y B ew a re ! B ew a re !
,

H i s fl a s h i n g e y es h is flo a ti n g h a ir !
,

We a v e a c i rc l e round h im t h r i ce ,

A n d c l ose y our e y es w it h h ol y dre a d ,

For h e on h one y dew h a t h fed

-
,

A n d drunk t h e m i l k o f Pa r a d i se .

S a m u e l Ta y l or C o l e r id g e (1 7 72 1 834)
-

“
Thi s ch a pte r m a y well b e c o n clu ded with Shelley s T o ’

”
a Skyl a r k a p o e m whi ch c o mbin es the i a m bic a n d t r o
,

c h a ic m ete rs i n a n e ffective ly ri c m a n ne r B ec a u s e o f .

thei r m u si c a l n o tes a n d thei r a b ility t o ris e a b ove the

e a rth bi r ds h a v e a lw a ys a p p e a led t o the I m a gi n a ti o n o f
,

p o et s
. Th e ni g htin g a le h a s been c eleb r a ted i n enti re
p o em s o r in f a m ou s p a ss a g es by hIil t o n M a r k A k en s id e , ,

C ole rid g e Ke a ts M a tthew A rno l d a n d R ob e rt B rid g es

, , , .

Th e p opul a r A m e ri c a n m o c k in g bi r d is the subj ect o f

-

p oem s by L a nier W a lt Whitm a n a n d Albe rt Pi k e The

, , .

l a te r o f W o rd swo rt li s tw o p o e m s o n the S k yl a r k a ffo rd s

’

a m a r k ed c ont r a st with the p o e m b el o w Whil e Shelley .

a dmi res the bi rd s a bility t o es c a pe f r o m the e a rth

.
’
,

Wo rdsw o rth sees it a s a

Typ e of t h e w i se w ho so a r b u t ne v er ro am ;
,

rue t o th e k i ndred p oin t s of He a v en an d Home !

TO A S KYLA RK

H a i l t o t h ee b l ith e S p iri t !
,

Bird t h ou ne v er wer t ,

Th a t from H e a v en or ne a r it , ,

Po u res t thy fu l l h e a r t
In p ro fus e s t r a i ns o f un p remed it a t ed art .
 TH E D UP LE M E TE R S 1 33

Hi gh er s ti ll a n d h i gh er
From t he e a r th th ou sprin ges t
Like a c l oud o f fi re ;
Th e b l ue dee p t h ou w in ges t ,

An d sin gin g s t i ll dos t so a r an d so a r i n g ever s in gest

, .

In th e go l den l i gh nin g t
O f th e sun ken sun,
O er w h i c h c l ouds a re b right n in g
’ ’

Th ou dos t flo a t a n d run ;
Like an unbod i ed j o y w h ose r a ce is j us t be gun .

p l e p ur p l e even
Th e a

Me l t s round thy fl ight ;

a

Like s t r of he ven
a a a

In th e b ro d d yl i gh t
a a

art un seen — bu t y e t I h e r thy s h r il l d eli ght

,
a ,

K een a s a re rrows
th e a

O f t h at si l v er s p h ere ,

Whos e in t ens e l a m p n a rrows

In t he whi t e d a wn c l e a r
Un til we h a rdl y see—w e fee l t h a t i t is t h e re .

e a r th an d a ir
A l l th e
Wi t h thy voice is l oud ,

As w h en Ni gh t is b a re ,

From one l onel y c l oud

The moon r a ins ou t h er be a ms an d H e aven , is o verflowe d .

Wh a t t hou art we know no t ;

Wh a t is mos t l i ke t h ee ?
From r a i n b ow cl ouds t h ere flow n ot
D ro p s so br i gh t t o s ee
As from t hy p resence s h owers a r a i n o f mel od y .
 S in gin g h y mns un b idden ,

To s y m p a th y
'
w ith h o
pe s
‘

an d fe a rs it h eeded n ot

Like a h i gh born m a i den -

’

In a p a l a ce t ower i
,

S oo t hin g h er hov e l a den -

S ou l i n secre t h our
‘

Wi t h music sw ee t a s l o v e — w h iéh o v erflows

, h er
‘

b o wer :
‘ ‘

Like a gl ow worm gol den -

In a de ll of dew ,

S c a tt er i n g unbeh o l den
I t s a er i al hu e
A mon g th e fl owers a n d gr a ss w h i c h screen i t from
‘
,

L i ke a rose emb owere d

In it s own green l e a v es ,

B y w a rm w i nds deflowered ,

Ti ll th e scen t it giv es
M akes f a i n t w it h t oo much s wee t t h es e h e avy -
W i n ged

S ound of v ern a l s h owers

On th e t w i nk l in g gr a ss ,

Ra i n a w a k e n d flowers
’
-
,

A ll t h a t e v er w a s
an d cl e a r a n d fres h t hy mus i c do t h sur p a s s
, .

us S p r it e or B i rd
Te a c h , ,

Wha t swee t t h ou gh t s a re t h ine

I h a v e ne v er h e a rd
Pr a i s e o f l o v e or wine
Tha t p a n t ed for t h a flood o f r a pt ure so divin e .
1 36 IN TRODU CT IO N TO PO ETRY
B e tt er t h an a l l m e a sures
O f de l i gh t ful sound ,

B e tte r t h an a l l t r e a s ures
‘ ‘

Th a t in b ooks a re found ,

Thy ski l l t o p oe t were t h ou scorner o f the g round !

,

Te a ch me h a l f t he gl a dn ess
Th a t t hy br a in mus t know ,

From m y l i p s wou l d flow

s h ou l d l i s t en t h en— a s I a m l i s t en in g now.

P e r cy B ys s he S he l l ey (1 792 1
-
822 )
 C H A P TE R IV

TH E TRI PL E M E TE R S

B efore the p oe t be gi ns t o wri t e h e s h o ul d a s k h i mse l f

w h e t h er h is n a tur a l i m p u l se is t ow a rds th e weigh t y i a mb ic
mo v emen t w h os e p rim a r y func t ion is t o s t a t e or t ow a r 3
, ,

t h os e l i ght er mo v emen t s w h i c h we s ti ll c al l for w an t o f more

,

con v en i en t wor s f a n a paes ti c a n r d ac tyl fc w h os e p r i m a r y

,

,
—
func ti on i s t o s u ggesfiz The o d or e Wa tts D un ton in P o e t ry
-
“
,

E n c y c l o pe d ia B ri t a n n i c a (E l e ve n t h E d it io n )

IN dis cu s sin g the el em ent a ry phen o m en a o f E n gl ish

p o etic s we h a ve h a d o c c a si o n t o expl a i n b ri e fl y the t riple
,

m e a s u r es a n a pesti c a nd d a ctyli c The m a i n pu rp o s e o f

, .

thi s ch a pte r is t o g ro up rep resent a tive p o e m s with the

view o f a ffo rdin g a s o m ewh a t extende d a c q u a int a n c e with
the u s e a nd p o s sibili ties o f thes e rhyth m s F o r r e a s o ns .

expl a in ed i n the p recedin g ch a pte r p oe m s pu rely a n a

,

p e s t ic o r d a ctyli c a r e r a r e The m ove m ent o f a p o e m i s

.
,

how eve r decidedly t riple when fi fty p er cent o f the feet

,

c o n t a i n two u ns t r es s ed syll a bles .

A p o e m in a t riple m eter ten ds in u ns k illed h a nds t o

, ,

b e wo rdy f o r i m p o rt a nt tho u ght s a re c a r ried chie fl y by

,

a c c ented syll a bles o f which it h a s a rel a tive s c a rcity .

With a pp r op ri a t e s ubj ect m a tte r a n d in the h a nds o f

-

t ru e p o et s the t ripl e rhyth m s l end the m selves h oweve r , ,

t o the p r o d u ctio n o f rem a r k a ble wo rd m u s ic I n thes e .

m e a s u res Shell ey a nd Swinb u rne a ch i eved f a ultle s s w o r k s

1 37
1 38 IN TRODU CT IO N TO PO E TR Y
of a rt , a n the m a j o r n ineteenth centu ry p oet s w er e gen
d
er a l l y s u cces s ful .

Th e a n a pesti c mete r s eem s especi a lly a d a p ted t o s ub

j ec t s involvin g m ovem ent o r a cti on We q u ote a p o em.

which i n c ontent a n d spi rit i s well s ui ted t o the exp res si o n

it r eceives F ew widely k n own p o em s— o ut side o f li ght
.

ve rs eA
a re a s pu rely a n a pesti c a s the o ne bel ow Sen .

n a cli erib wa s a n As sy ri a n k in g who inv a ded P a l es tine .

Ashu r a n d B a a l we re hi gh g o ds i n the r eli gi o n o f th e

A s sy ri a n s See 2 K ing s x ix z3 5
.
, .

TH E D E S TRU C TI ON O F S E N N A C H ERI B

Th e A s s y r i a nc ame down l i ke th e wo l f on t h e fol d ,

A n d h i s co h or t s were gl e a m i n g i n p ur p l e a n d gol d ;
A n d t h e s h een o f t h eir s p e a rs w a s l i ke s t a rs on th e s ea ,

Wh en th e b l u e w ave ro ll s ni gh tl y on dee p G al il ee .

L i ke e a ves o f the fores t w h en S ummer is green

th e l ,

Th e h os t w it h th e i r b a nners a t sunse t were seen ;

Like th e l e a v es of t h e fores t w h en A u t umn h a th bl own ,

Th e hos t on th e morro w l ay w it h ered an d s t rown .

For th e n gel of D e a th s p re a d h is win gs on th e bl a s t

a ,

And bre at h ed i n th e f a ce o f the foe a s h e p a s s d ;

’

th e e y es of t h e s l ee p ers w a x d de a d l y an d c h i ll
’

And ,

An d t h eir he a r t s bu t once h e a v ed a n d forever grew s til l !

,

And th ere l ay th e s t eed wi t h h is nos t ri l a l l wide ,

Bu t t h rou gh i t t h ere ro ll ed no t th e b re a th o f h i s p r ide ;

A n d th e fo a m of h i s ga s p in g l ay w h it e on th e tu r f ,

A n d co l d a s t he s p r a y o f t he rock be a ti n g surf
-
.
1 40 IN TRODU CT IO N TO PO E TRY
F A M E — i f I e er t ook de l i h t in
p r ises
’
Oh g t hy a ,

Tw s l ess for t h s ke of thy h i gh sound i n g p h r ses

’
-
a e a a ,

Th n t o s ee t h b ri gh t e y es of t h de r one d i sco v e r
a e e a

S h t h ou gh t t h t I w
e no t unwor t hy t o l o v e h
a as er .

c h i efl y I sou gh t t h ee the re on l y I found t h ee ;

Th e r e ,

Her gl a nce w a s the bes t of th e r a y s th a t surroun d t h ee ;

Wh en i t s p a rkl ed o er a u gh t th a t w a s br i gh t in m y s t or y
’

I knew it w a s l o v e an d I fe l t it w a s gl or y
, .

G e o rge N o el G o rd o n Lo rd B y ro n (1 788 1 8 24 ) ,
-

“ ”
I n the c a s e o f F i eld it i s t o be d o ubte d
The P opl a r
i f the a n a pesti c i s the mete r b est a d a pted t o the s ubj ect .

The k ey n o te i s fo und in the t r a n sit o ry q u a lity o f hu m a n

-

j oy a n d hu m a n lif e — a s u bj ect whi ch s ee m s t o dem a n d a

mo r e s obe r rhyth m On the c ont r a ry Tennys o n r efe r

.
, ,

“
rin t o thi s p o em s a id t o P a l ra ve : P eople n ow a d a ys
g , g ,

I be li eve hold thi s style a n d m eter li ght ; I wish there

,

we r e a n y who c o ul d pu t w o rd s t o g ethe r with s u ch ex

u is it e fl ow a n d evenn es s Th e r ive r Ou s e he r e refe r red
’
.

t o p a s s es n e a r the s cene of th e a u th o r s reti re m ent in

,
’

no rthe rn B u c k in gh a m shi re .

TH E PO PL A R FI E L D

Th e p o p l rs
a a ref a rewe l l t o t he s h ade
’
f el l d ;
And th e w h i s p er i n g sound of t h e coo l co l onn a de ; ’

Th e winds p l a y no l on g er a n d s i n g i n t h e l e a v es ,

Nor Ouse on h i s bosom t h eir i m a ge recei v es .

Twel v e y e rs h v e el p sed s i nce I fi rs t t ook view

a a a a

O f m y f v ouri t e fi e l d
a d th b nk w h ere t h e y grew
, an e a

A d now i n th gr s s beh o l d t h e y
n e l id
a a re a ,

And th t ree is m y se t t h t once l en t m e s h de

e a a a a .
 THE TR I P L E M E TE R S 1 41

The bl ackbird ha s fled t o ano th er re t re a t ,

Where the h a z e l s a fford him a scre e n from the h e at ;

A n d t he scen e w h ere h is me l od y c h a rm d me be for e
’

R esounds wi t h his swee t flo win g di tt y no mor e

-
.

M y fu gi t i v e y e a rs a re al l b a s tin g a w ay
,

A n d I m us t ere l on g l i e a s l ow l y a s t hey ,

Wi th a t urf on m y bre a s t an d a s t one a t m y he a d ,

E re a no th er suc h g rove sh all a ris e i n it s s t e a d .

Tis a si gh t t o en gag e me, i f a n yt hin g c a n ,

’

To muse on t h e p eris h i n g p l e a sure of m an ;

Th ou gh hi s li fe b e a dre a m , h i s en j o y men t s , I see ,

H ave a bein g l ess dur abl e e v en th an h e .

Wil l ia m C o wp e r (1 731 -1 800)

“ ”
The m a st erly A F o r s a k e n G a r d e n a ff o rd s a n ex
c el l e n t c o nt r a s t wit h the p o e m j u st q u ote d H e re the
.

e mph a sis is n o t o n a nythi n g hu m a n ; it is o n a p i ctu r e

o f des ol a ti o n The r u shin g i a mbi c a n a p e s ti c rhyth m is
.
-

exceedin gly e ff ective b u t the a utho r relies chi e fl y o n othe r

,

devi ce s o f p oet ry I t i s n ot a lt o g ethe r a llit e ra ti o n whi ch

.

g ives the s ubtle q u a lity t o lines li k e

When t he weeds t h at grew green from th e gr aves of i ts roses .

Th e expl a n a ti o n lies l a r g ely i n the s k il f ul choic e o f the

v owel s i n the a c cented syll a bl es N o l over o f s up re m e
.

p o eti c t echni q u e sho uld f a il t o re a d in thi s c o n necti o n

the cho ru ses o f Swinbu rne s A t a lan t a in C al yd on which
’
,

’
st a nds with M ilt o n s S a ms on A g on is tes a n d Shelley s
’

P rom e the us Un b o und i n the g re a t t ri o o f E n gli sh i m it a

ti o ns o f a n ci ent G ree k d r a m a .
1 42 IN TR O D U CTI O N TO PO ETR Y

A FO RS A K E N G A RD E N

In acoi gn o f t h e cl iff b e t ween l ow l a nd a n d h i ghl and ,

A t th e s e a down s ed g e be t ween w i ndw a rd a n d l ee

’
-
,

Wall ed roun d wi t h rocks as a n in l and is l a nd ,

Th e gh os t o f a ga rden fron t s th e s e a .

A gird l e o f brus h wood an d t h orn encl oses

Th e s t ee p s qu a re s l o p e o f th e b l osso m l ess bed
Wher e th e weeds th a t grew green from th e gr a ves of its ro ses
Now l ie de ad .

Th e fiel ds f a l l sou th w a rd , abru p t an d broken ,

To t h e l o w l a s t ed g e o f t h e l on g l one l a nd .

If a s t e p s h ou l d sound or a word be s p oken ,

Wou l d a gh os t n o t rise at th e s t r an ge gues t s h and ? ’

S o l on g h a v e t h e g r ay b a re w a l ks l a in gues t l ess ,

Th rou gh br a nc h es a n d br i a rs i f a m an m a ke w ay ,

He Sh al l fi n d no l ife b ut th e s ea W ind s res tl ess

-
’

Ni gh t a n d d ay .

Th e dens e h a rd p a ss ag e is b l ind a n d s t ifled

Th a t cr a w l s b y a t r a ck non e t urn t o c l i mb
To th e s t r a i t w a s t e p l a ce th a t t h e y e a rs h a v e
rifled
O f a ll bu t the th orns t h a t a re t ouch ed no t of t ime .

Th e t h orns h e s p a res w h en th e rose i s t a ken ;

Th e rocks a re l ef t w h en h e w a s t es th e p l a in .

The w i nd t h a t w a nders th e weeds wind s ha ken

,
-
,

Th es e rem a in .

No t flower t o be p res t o f th e foo t th a t f a l l s no t ;

a

A s t h e h e a r t o f a de a d m a n t h e seed p l o t s a re dr y ;
-

From th e t h i cke t of th orns w h ence t h e n i gh ti n gal e c a l l s no t ,

C ou l d s h e c a l l t h ere were n e v er a rose t o re p l y

,
.

O v er th e me adows t h a t bl ossom a n d wi t h er
Rin g s bu t th e no t e o f a s ea b ird s son g ;
’
-

Onl y t he s un a n d t h e r a i n come h it h er
A ll y e a r l on g .
1 44 IN TRODU CT IO N TO PO E TRY
H er e de a th m ay de a l no t a ga in fore v er ;
Here ch an g e m ay come no t ti ll a l l ch an ge end .

From t he gr a v es t h e y h a v e m a de t h e y s h a ll rise u p ne v er ,

Wh o ha v e l ef t n au gh t l i vi n g t o r a v a ge a n d rend .

Ea r th s t ones a n d t h orn s of t h e w i l d groun d growin g

, , ,

Wh i l e th e sun a n d t he r a i n l iv e t h es e s ha ll be ;
,

Ti l l a l a s t wind s bre a t h u p on a l l t h ese b l owin g

’

R o l l th e s e a
.

Ti l l t he s l ow s e a ris e a n d th e s h eer c l i ff crumb l e,

Ti l l t err a ce a n d me a dow t h e dee p g ul fs dr i nk,
Ti l l t h e s t ren gt h of t he w a v es of t h e h i gh ti des humbl e
Th e fie l ds t h at l essen , th e rocks t h a t s h rink ;
H ere now in h is t rium p h w h ere a l l th i n gs f a l t er ,

S tr e t c h ed ou t on th e s p oi l s t h a t h is own h a nd s p re a d ,

As a god se l f s l a in on his own s t r an ge al t a r

-
,

De a th l ies de a d .

A lg e r n o n C ha rl e s S w in b u r n e (1 83 7 1 909 ) -

T he N a p ole o ni c w a rs li k e , l l g re a t
s t ru ggl es left a n
a ,

i m p res s o n lite r a tu r e Th e g re a t w o rld n ovels Van i ty

.
,

Fa i r a nd L es M is era bl es h a ve thei r W a terl o o epi s o de s

, .

A m on g the m o st q u oted p a rt s o f B y ro n s Child e H a rold s ’ ’

Pilgrimage a re the W a te rl o o st a n z a s Wo rdsw o rth a nd

.

C ole rid g e e a ch vib r a ted li k e a h a rp t o cert a in ph a s es o f

the c o nte m p o r a ry w o rld st ru ggle Pe rh a p s the b e s t
.

k n own sho rt p o e m i n spi r ed by thi s wa r w a s w r itte n by

“
C h a rles Wol fe a m a n f a m o u s fo r n othin g el se
, Th e .

”
B u ri a l o f S ir J ohn M o o r e a t C o ru nn a c o m bines s ol
d ierly di gn ity with si m plicity I ts k eyn ote i s the s a m e
.

“ ”
a s th a t o f Rupert B ro o k e s g re a t s o nnet , Th e S oldi e r
’
.
 TH E TR I P L E M E TE R S 1 45

TH E BU R I A L O F S IR J OH N MOO RE
A T C O RUN N A

N ot drum w as h e a rd n ot a fun er al no t e
a , ,

A s h is cor p se t o th e r a m p a r t w e hurried ;
N ot a sol di er d i sc h a r ged his f a rewe ll s h o t
O er th e gr a v e w h ere our hero we buried
’
.

We buried d a rkl y a t de a d o f n i gh t
h im ,

Th e sods wi t h our b a y one t s t urnin g ;

B y t h e s t ru ggl i n g moonbe a m s mis ty l i gh t
’

And t h e l a n t ern d i ml y burnin g .

No use l es s coffi n enc l osed h i s bre a s t ,

No t i n s h ee t or in s h roud we wound him ;

Bu t he l ay l i ke a Wa rr i or t a k i n g h i s res t ,

Wi th his m a r t ia l c l o a k a round him .

Few s h or t were th e p r ay ers we s ai d

an d ,

A n d we s p oke no t a word o f sorrow ;

Bu t we s t e a df a s t l y ga z d on th e f a ce t h at w as de ad
’

A n d we bi tt er l y t h ou gh t of th e marro w .

We t h ou gh t a s we h ol l o w d h is n a rrow bed
,
’

A n d smoo t h ed down h i s l one l y pi l l ow ,

Th a t th e Foe an d the S t r an g er wou l d t re a d o er

’

hi s h e a d ,

A n d we f ar a w a y on t h e bi ll ow !

Li gh t l y th e y ll t al k o f th e s p ir it t h a t s gon e
’ ’

And o er hi s co l d a s h es u p b r a i d h im
’

Bu t l i tt l e h e ll reck i f t h e y l et him s l ee p on
’

In th e gr ave w here a B r it on h as l a id him .

1 46 IN TROD U CT IO N TO PO E TRY
Bu t of our he a vy t a sk w a s done
hal f
Wh en th e c l ock s t ruck t h e h our for re ti rin g
A n d we h e a rd th e dis t a n t a n d r andom g un
Tha t th e foe w a s su ll en l y fi rin g .

S l ow l y
d s a dl y we l a id h im down ,
an

From th e fi e l d o f his f a me fres h an d gor y ;

We c a rved no t a l ine , a n d we r aised no t a s t one
Bu t we l eft him al on e wi t h h i s gl or y .

Ch a r l e s Wo lf e (1 7 9 1 -
1 823 )

“ ”
Th e n a pe s ts in P r o spic e a s s ist i n c o nveyin g the
a

n ote o f a nti cip a ted t riu m ph M rs B rownin g h a d been . .

de a d b ut a few m o nths when the p o em wa s w ritten When .

“
her hu sb a nd l a t e in life pen ned hi s sw a n s o n g the E p i
, ,
-
,

”
l o g u e t o A s o la nd o hi s vi ew h a d n ot ch a n g ed B rownin g
, .
,

the p o et f o r tho se g r owin g old vi g o r o u sly opp o se s ,

By r o n s thesis th a t
’

The d a y s of our y ou th are th e d a y s of our gl or y .

F o r a vi rile phil o s o p hi c a l p o em g l o r ifyin g the l a tte r p art

“ ”
o f life se e R a bbi B en E z r a
, . P ro spic e m e a n s lo o k
w a rd .

PR O S PI C E

Fe a r de at h —t o fee l th e f o g in m y t h ro at ,

Th e mis t in m y f a ce ,

Wh en th e snows b e gi n a n d th e b l a s t s deno t e
,

I am n e a r i n g t he p l a ce ,

Th e p ower o f th e ni gh t th e p res s of th e s t orm

, ,

Th e p os t of t h e foe ;
Where he s t a nds the A rch Fe a r in a v isibl e form
, ,

Ye t th e s t ron g m an mus t go
1 48 IN TRODU CT I O N TO PO ETR Y

C O RON A C H

H e is gon e on th e moun t a in ,

H e is l os t t o t h e fores t ,

L i ke a summer dried foun t a in

-
,

When our need w as t h e sores t .

Th e fon t re a pp e a r i n g
, ,

From th e r a in dro p s s h a l l borro w

-
,

B ut t o us comes no ch eerin g ,

To D unc a n n o morrow !

Th e h a nd o f t h e re a p er
Ta kes th e e a rs th a t a re h o a r y,
Bu t th e v oice of th e wee p er
Wa i l s m a n hood in gl or y .

Th e a u t umn winds rus hi n g

Wa f t th e l e a v es t h a t a re se a rest ,

B ut our flower w a s in flus h in g

Wh en bl i gh t in g w a s ne a res t .

F l ee t foo t on th e corre i ,

S ag e coun s e l in cumber ,

Re d h and in t h e for a y ,

How soun d is thy s l umber !

Like the dew on t he moun t a in ,

L ike the fo a m on t he r iv er ,

Li ke th e b ubb l e on t h e foun t a in ,

Th ou a rt gon e a n d fore v er !
,

S ir Wa l t e r S c o tt (1 7 71 -1 823 )

The next two p o e m s o n e ve ry sho rt a n d o ne r a the r

,

“ ”
l on g a re b oth a n ape sti c While Shelley s The C lo u d
, .
’

“ ”
i s a c o m p lete p oe m The Ye a r s a t the Sp ring i s only a
,
’

p a rt the f a m o u s s o n g o f the gi rl fro m the sil k m ills in

,
-

B r ow ni ng s d ra m a Pipp a P a s s es
’
, .
 TH E TR I P L E M E TE R S 1 49

THE Y EA R S A T TH E S PRI N G
’

Theye r s a s p rin g
’
at the
And d y s
a a t th e morn ;
’

Mornin g s at se v en ; ’

Th e h i ll side s dew p e a r l ed ;
’
-

Th e l a rk s on th e w in g ;
’

Th e sn a i l s on t h e t h orn
’

G od s in h i s he a v en
’

Al l s ri gh t wi th th e wor l d !
’

R o b e rt B ro wn ing (1 8 1 2 -1 88 9 )
“ ”
The Cl ou d o ft en b ee n q u o ted t o illu s t r a t e the
ha s
a n a p esti c m ete r Th e i nte rn a l ri m es c o nt rib ut e a b u n
.

d a n t l y t o the m el o dy N ote the n u me r o u s i a mb i c feet even

.

in a p oe m ext r e m ely a n a pe sti c i n it s e ff ect .

TH E C LOU D

I br in g fres h s h owers for th e th irs tin g flower s ,

From the s e a s an d th e s t re a ms ;
I be a r l i ght s h a de for t h e l e a v es w h en l a id
In t h eir noond ay dre a ms .

From m y w i n gs a re s h aken th e dews t h a t w aken

Th e swee t b uds ever y on e ,

Wh en rocked t o res t on th e i r mo th er s bre a s t ’

A s s h e d a nces a b ou t th e sun .

I w i e l d th e fl a i l of th e l a s h i n g h a i l ,

A n d w h i t en t h e g reen p l a i ns under ,

A n d t h en a ga i n I d i sso l v e it i n r a i n ,

A n d l a u gh a s I p a ss i n t h under .

I sif t t he snow on th e moun t a i ns be l ow ,

And t h eir gre a t pi nes gro a n a gh a s t ;

1 5 0 IN TRODU CT I O N TO PO E TRY
And al l th eni gh t ti s m y p il l ow w h it e
,
’

Wh i l e I s l ee p in th e a rms of the b l a s t .

Sub l i me on th e t owers o f m y sk y e y bower s ,

Li gh tnin g m y pi l o t s it s ;
I n a c av ern under is fe tt ered th e thunder ,

I t s t ru ggl es an d h ow l s at fi t s ;
Over e a r t h a n d oce a n w it h gen t l e mo tion ,

Th is pi l o t is gu i din g me ,

Lured b y the l ove o f t h e gen i i t h a t mo v e

In th e de pths o f th e p ur p l e s ea ;
O v er th e r i l l s a n d th e cr a gs an d th e hi l ls
, , ,

O v er t he l akes a n d t h e p l a i ns ,

Where v er h e dre a m under moun t a i n or s trea m

, ,

Th e S p ir it h e l o v es rem ains ;
And I al l t he w h i l e b a sk in h e a v en s b l u e sm il e ’

Whi l s t he is disso l v in g i n r a ins .

The s an guine sunrise wi th his me t eor e y e s

, ,

And h i s b urn i n g p l umes ou t s p re ad ,

Le a p s on t h e b a ck of m y s a i l in g r a ck ,

Wh en th e mornin g s t a r s h i nes de a d ;
As on th e j a g of a moun ta i n cr a g ,

Wh ich an e a r t h qu a ke rocks a n d s wi n gs ,

An e a gl e a l it one momen t m ay s i t
In th e l i gh t of i t s gol den win gs .

And w h en sun se t m ay bre a t h e from th e l i t s ea bene ath

, ,

I t s a rdors of res t a n d of l o v e ,

An d th e cr i mson p al l of e v e m ay f al l
From t h e de pt h o f h e a v en a bove ,

Wi th w i n gs fo l ded I res t on mine a i ry n e st

, ,

A s s t i l l as a broodin g dove .

Th a t orb ed m a iden wi th w h i te fi re l a den

, ,

Wh om mor t a l s c al l th e Moon ,

G l ides gl immer i n g o er m y fle ece l ike floo r

’
-
,

B y th e midni gh t bree z es s t re w n ;
1 5 2 IN TR OD U CTI O N TO PO E TRY
Like a c h i l d from th e womb l ike ,
a g os
h t from th tomb e ,

I a rise an d unbuil d it a ga in .

P e r cy B ys s h e S h e l l ey ( 7 1 82 2 )
1 92 -

I t h a s b een expl a ined why in E n glish t ro ch a i c ver s e , ,

i s les s n a tu r a l a nd a n a pesti c ve rs e les s f r eq u ent th a n

i a m bi c D a ctylic ve r se b ein g a t on c e desc endin g a nd
.
,

t riple c o mbi n es the difficultie s o f t r o ch a ic a n d a n a pestic

,

ve rse a n d i s n o t ve ry c o mm o n T ripl e ri m e i s ve ry r a re
, .
,

yet t riple rime i s a re q ui sit e o f pu re d a ctylic ve r s e i f it is ,

t o ri m e a t a l l .

a r a
I a a a
I a x a
I a z w
B a rne y M cG ee t h ere s no end o f good l uck in y ou
,
’

Wi l l o—th e—
-
wis p wi t h a fl i cker of Puck i n y ou
, ,

Wi l d a s a bu l l p u p a n d al l of hi s p l uck i n y ou
-
, .

“
F ro m B a r n ey M c G e e by R i c h a r d H o ve y ,

Ve r s e o n s u ch a p a tter n a s thi s c o uld s c a r cely b e m o r e

th a n a t ou r d e f o r ce but the a llowi ng o f c a t al ea is (o m is
,
'

sio n o f un a c cented syll a ble o r syll a bles i n the l a st fo o t o f a

des c endin g line ) m a k es d a ctylic ve rs e p o s sible The l a st .

fo o t o f a lin e i s a l m o st a lw a ys a t r o chee o r a s olit a ry

ac cented syll a bl e Th e tw o types o f lin e a re illu st r a ted in
.

“ ”
thi s p a s s a g e f ro m the B o a t S on g in S c ott s L a d y o f ’

th e L a k e

a a a
I a
I a a
I a a: a: a a:

H a i l t o th e Ch i ef wh o in t r i um p h a d v a nces !
a a a:
I a a a
I a a a
I a
Honored a n d b l es sed be th e e v er green Pine .

Ten nys o n s A W el c o m e t o Alex a nd ra : M a r ch 7 1 8 63

’ “
,

h a s lines which exhibit a p r o ce s si o n a l di g nity si m il a r t o

th a t o f thes e lines f ro m S c ott .
 k v

On e more Un for t un a t e
, ’

”
was (if b rea th
.
,

Ra s hl y im p or t un at e
G one t o h er de a t h !
C J

her u p teii d e rl y
.

Take ,

Lif t her w i th c a re ;
F a s h ioned so s l ender l y ,

Youn g a n d so f air !
,

Look a t her ga rme nt s ,

C l in gin g l i ke ceremen t s ;
Wh i l s t t h e w a v e cons t a n t l y
D ri p s from h er c l o th in g ;
Ta ke h er u p ins t a n t l y ,

Lo v in g no t l o a t h in g
,
.

Touc h h e r no t scorn f u l l y ;
Think o f h er mournfu l l y,
G en t l y a n d h um an l y ,
No t o f thes t a ins o f her
A l l t h a t rem a ins of h er
Now is p ure wom a n l y .

M ake no dee p scru t in y

In t o h e r mu t in y
Ra s h an d undu t ifu l
Pa s t a l l d i s h onour ,

De ath h a s l ef t on h er
On l y th e be a u t i fu l .
1 5 4
«
IN TR ODU CT IO N TO PO ETR Y
S t il l for al l s l ip s o f h ers
, ,

One of E v e s f a m i l y
’

Wi p e t h ose p oor l ip s of h er s
Oo z in g so c l a mmi l y .

Loo p u p h er tr esses
E sc a p ed from t h e comb ,

Her f a i r a uburn t resses ;

Whi l s t wondermen t guesse s ,

Where w a s h e r h ome ?

Who w a s h er f a t h er ?
Wh o w a s h e r mo th er ?
H ad s h e a s i s t er ?
Ha d s h e a b ro t h er ?

Or w a s t h e re a de a rer on e
S t i l l a n d a ne a rer on e
,

Ye t t h a n a l l o th er ?
,

A l a s ! for th e r a ri ty
O f C h r i s ti a n ch a ri ty
Under th e sun !
O h ! it w a s pit ifu l !
N e a r a w h o l e c ity fu ll ,

Ho m e s h e h a d none .

F a t h er l y mo t h er l y
, ,

Fee l i n gs h a d c h a n ged
Lo v e b y h a rs h e vi d ence
, ,

Thrown from it s em i nence ;

E v en G od s p ro v idence
’

Where th e l am p s quiver
So f a r i n th e ri v er ,
1 5 6 IN TRODU CT I O N TO PO E TRY

Fi x ed on fu t ur i ty .

Perishin g gl oomi l , y
t
S p u rr d b con umel y,
’
y
i ty
C o l d n h um a ni ,
Burnin g i ns ni ty a ,

In t o h res t er .

C ros s h e r h a nds h umbl y,

p y
As i f r a in g dumbl , y
Over h er bre a s t !

Ownin g h er we akness ,

H er e vi l beh a viour ,

An d l e a vin g w it h meeknes s
H er s in s t o her S a viour !
Thom a s H oo d (1 7 9 9 -
1 845 )

”
Th e L o st L e a d e r , d a ctyli c p o e m the m et e r o f
a

“ ”
whi ch i s l es s obvi o u s th a n th a t o f The B rid g e o f Si ghs ,

wa s w ri tte n sho rtly a fte r the vene r a bl e Wo rdswo rth

h a d in 1 84 3 been m a de p oet l a u r e a t e
, , Wo r dsw o rth a s.

a yo un m a n h a d b ee n a r a d i c a l a n d the yo u thf ul B r o wn
g ,

in g f o r the m o m ent m i sj u d g ed the s ob eri n g o f a g e a s a

sellin g o u t t o m a mm o n Th e c o n fer rin g o f the l a u rel
.

t r a diti on a lly p res upp o s ed offici a l p o e m s ; but i n j u sti ce ,

t o W o rdswo rth it m u st be s a id th a t h e a c cepted the

,

hon o r o n the exp r es s c on diti o n th a t n othin g he expect ed

“ ”
fr o m him Th e ph ra se a h a n dful o f silver refe rs t o the
.
 TH E T R I P L E M E TE R S 1 5 7

o rder s— the F ren ch L eg i o n o f H o n o r f o r ,

a
y we a r ribbo n s o r r o settes in the b utt o n

thei r civili a n d res s F o r a n other f a m o u s p o etic

.

“ ”
f on e g re a t m a n u p o n a n othe r s ee I ch a b o d ,

Whitti e r fl a yed Web ster Fo r a n ex a m pl e o f .

“
ci o n s di a t rib e s ee Willi a m W a ts o n s s o nn et To the
,
’

”
tan .

TH E LO S T L EA D ER

J u st for a h andfu l of s i l ver h e l eft us ,

J us t for a rib a nd t o s ti ck i n h i s co a t
Found t h e one gi f t of w h i ch for t un e beref t us ,

Los t al l th e o t h ers s h e l e t s us de v o t e ;
The y wi t h th e go l d t o gi v e do l ed h im ou t si l v er
, , ,

S o much w a s t h eirs w h o so l ittl e a l l owed ;

How a ll our co pp er h a d gon e for h i s s er v ice !
R a g s— were t h e y p ur p l e h is h e a r t h a d been p roud !
,

We t ha t h ad l o v ed h im so fo ll owed him h onored him , , ,

Li v ed in h is m i l d a n d m a gn i ficen t e y e ,

Le a rned h is g re a t l an gu age c a u gh t h i s c l e a r a ccen ts

, ,

M a de h im our p a tt ern t o l i v e an d t o d i e !
Sha kes p e a re w a s of us Mi l t on w a s for us
, ,

Burns S h e ll e y were wi t h u s —th e y w a t ch fro m

, , ,

th e i r gr a ves !
He a l on e bre aks from t h e va n an d th e freemen ,

He a l on e sinks t o th e re a r a n d th e s l a v es !
We s h a ll m a rc h p ros p er i n g — no t th rou gh h i s p resence
,

S on g s m a y i ns p i ri t u s n o t from h i s l y re ;
,
-

D eeds w i l l be done w h i l e h e bo a s t s h i s qu i escence

,
-
,

S t i l l b i dd i n g crouc h w h om t h e res t b a de a s pi re :
B l o t ou t h i s n a me t h en record on e l os t sou l more
, , ,

One t a sk more dec l ined one more foo tp a th un t rod , ,

One more de v il s t rium p h an d sorrow for a n ge l s

’
-
,

One wron g more t o m an one more insu l t t o Go d ! ,

 1 5 8 I N TR ODU CT IO N TO PO ETR Y
Life s ni gh t b e gi ns : l et h im n e v er come b a ck t o us !
’

Th ere woul d be doub t h es it a t ion a n d p a i n

, ,

Forced p r a i se on our p a r t— th e gl i mmer o f t wi l i gh t ,

Ne v er gl a d con fi den t morn i n g a ga i n !

B es t fi gh t on we l l for we ta u gh t h im — s t r i ke gall a n tl y
, , ,

Men a ce our h e a r t ere we m a s t er h i s own ;

Th en l et h im rece iv e th e n ew know l ed g e a n d w a it us ,

Pa rdoned in h e a v en t h e fi rs t b y t h e t h ron e !
,

R o b e r t B ro w n in g (1 8 1 2 1 889 ) -

I n the a b ove d a ctyli c p oe m the re a d e r m a y h a v e n o ti c ed

,

a f re q uent di v e r g en c e b etwe e n the m et ri c a l a n d the s en s e

g ro upin g o f the u n a c cented syll a bl es C o n side r the line s .

We t h a t h a d l o v ed him so fo l l owed h im honored him

, , ,

Li v ed i n h is m i l d a n d m a gn i fi cen t e y e .

The p h r a s es f o ll o wed him an d h o no red him

o nly a re n o t

d a ctyli c by s c a nsi on b u t a re u nit s i n sp ee ch fo r a ti on

,
-
m .

On the c o nt r a ry l ived in his i s the s c a n si on u nit whil e

, ,

in h is mild i s the tho u ght u nit c ente red a r o un d the o n e

s t res s . I f the th o u g ht gr o upin g o f syll a bles were the
-

b a si s o f s c a n si on mu ch d a ctyli c p o et ry c o uld b e cl a s sified

,

a s a n a pesti c with a sin l e a c cent ed s yll a bl e c o n stituti n

g g
th e fi rst fo ot o f e a ch lin e :
a
Ia: a
'
a
I a a a
Is: a' a

Li v ed in h is m il d an d m a gni fi cen t e y e
Th e g r e a test in fl uenc e t ow a rd m a k in g the d a ctyli c m ete r
see m a s cendin g i s n evertheles s th e f req u ent s ubstituti o n
, ,

o f a t r o chee i n the fir s t fo ot o f a n i a mbi c o r a n a n a pestic

line The re a de r a c cu st o m ed t o a s c endin g m ete rs s enses
.
, ,

the fi rst p a rt o f a d a cty l i c lin e n o t a s a r e: I a b ut a s ,

o s e o f m et ric a l stu dy a n d d e s c ri
an
Im a F.o r the u
p pr p
1 60 IN TROD U CTI O N TO PO E TRY
Wh a t h a s j u st b een s a id o f the d a ctyli c rhyth m i s n o t
u su ally t r u e of it s si ste r des c endin g rhyth m the t ro ch a i c , ,

exc ept i n the c a s e o f s o m e a bn o rm a lly lo n g lines The .

nu m be r o f E n glish dis syll a bles o f a a p ro n un ci a ti o n m a k e s

'

the t ro ch a ic in f a ct a n o t u nn a tu r a l rhyth m :
, ,

a a a a a a:

H a ppy fie l d or mos s y c a v ern ,

a a: a a: a a

C ho i cer th n a th e Merm a id Ta v ern .

The r olli c k in g s o n g fr o m N oyes s Ta l es o f the M er ’

ma id Ta vern i s d a ctyli c Old S a int P a ul s dest r o yed

.
’
,

i n the fi r e o f 1 666 st o o d o n the s ite o f th e p r esent

,

c a thed r a l whi ch wa s desig ned by Si r C h ri st ophe r W re n

,

a n d c ompleted in 1 7 1 9 T he M er m a id a f a m o u s t a ve rn
.
,

i n E liz a beth a n L on do n h a s res ulted i n a t l e a s t tw o o the r

,

g o o d p oems , o ne by T heo do re W a tts D u nt o n a n d o n e -

f r o m which we h a ve j u st q u ote d — b y Ke a ts .

S EV E N WI S E M E N
S even wise men on a n o l d bl a ck se t tl e,
S even wise men of th e Merm a i d Inn ,
Ri n gi n g b l a des of th e on e ri gh t me ta l
Wh a t i s th e b es t t h a t a b l ade c a n win ?
Bre a d an d c h eese an d a few sm a l l kisses ?
H a ! H a ! H a ! Wou l d y ou t a ke t h em— y ou ?
-
A y, i f D a me V enus wou l d a d d t o h er b l isses,
A ro a rin g fi re an d a friend or t w o !
C horus :
U p now a ns wer me t e ll me t rue
—A y if the huss y wou l d a dd t o h er bl i sses
, ,

A ro a rin g fi re an d a friend or t wo !
 TH E TR I PL E M E TE R S 1 61

Wh at wi l l y ou s ay when the wor l d i s d y in g ?

Wha t w h en the l a s t w il d midn i ght f a l l s
,

D a rk , t oo d a rk for th e b a t t o be fl y in g
Round the ruin s of o l d S t Pa u l s ?
’
.

Wh a t wi l l be l a s t o f th e l i gh t s t o p erish ?
Wha t bu t th e l i ttl e red rin g we kn ew ,

Li gh t in g the h ands an d th e h e a r t s tha t c h erish

A fi re a fi re an d a friend or t wo !
, ,

C ho rus
U p now an swer me t ell me true !
, ,

Wh at w i l l be l a s t of th e s t a rs t o p erish ?
Th e fi re th a t l i gh t e th a friend or t wo !
-

U p now answer me on y our me ttl e

, ,

Wises t m a n of t he Merm a id I nn ,

S oberes t m an on th e o l d b l a ck se ttl e ,

Ou t wi t h th e t ru th ! I t w a s n e v er a s in .

Wel l i f G o d s a v ed me a l one o f th e s e v en
, ,

Te l l in g me you mus t be d amned or you , ,

Th is
”
,
I wou l d s a y th is is h e ll no t h e aven
, ,

G ive me th e fi re a n d a fr i end or t wo
”
.

C ho rus
S t ee l n ever so rin gin g t rue
was
God we wou l d s ay t h is is h ell no t he aven !
,
“
, ,

G i ve u s t h e fi re an d a friend or t w o !
,

A l f re d N o y es (1 880

The a bo ve p o e m exhibit s a n eff e ctive u s e o f the re f r a i n .

“ ”
Th e ph r a s e fi re a n d a f riend o r tw o b ec o m es with e a ch ,

r epetiti o n m o re inten se in its m e a ni n g Si m il a r r efr a in s

, .

“ ” “ “
a r e the N eve r m o re o f P o e s R a ven a n d the G o d
’

” “
s a ve the T s a r ! o f Tho m a s B a il ey Ald ri ch s B a t u s chk a ’
.

I nspi red by the L a ti n a nd Gr ee k epic m a ste rpi ece s ,

1 62 I N TR ODU CT IO N TO PO E TRY
w rite r s in E n gli sh h a ve a s h a s been st a t ed o f t e n s o u g ht
, ,

t o devel op in E n glish a n imit a ti o n o f the cl a s si c a l d a ctyli c

hex a m et e r Und o ubt ed ly the be st k n o wn o f the resultin g
.
,

p o e m s i s L o n g fell ow s E va ngeli ne the r o m a nti c s ubj ect

’
,

o f whi ch wa s c on side red by H a wtho rn e a n d W h ittie r

b e fo re it wa s u sed by L o n gf ell ow Th e s ubj o in ed p a s s a g e .
,

the p relu de t o the n a r r a tive s et s the k ey f o r the p oe m ,

.

From EVA N G E LI N E

This is th e fores t p rime v a l Th e murmur i n g p ines an d the

.

y
h em l ocks ,g g

Be a rded wi t h m o s s a n d in ga rmen t s green indis tinc t in th e

I I
, ,

t wi l i gh t ,

S t a nd l i ke D ruids o f eld wi th v oices s a d a n d p ro p h e t ic

, ,

S t a nd l i ke h a r p ers h o a r w it h b e a rds th a t res t on t h eir bosoms

,
.

Loud from i t s rock y c a v erns t h e dee p v oiced nei ghborin g ,

-

oce an
S p e aks a n d in a ccen t s d i sconso l a t e a nswers t h e w a i l of th e
,

fores t .

Th i s is th e fores t p rime v al ; bu t where a re the he a r t s t h at

bene a th i t
Le a p ed l i ke th e roe w h en h e h e a rs in t h e wood l and th e vo i ce
,

o f t h e h un t sm a n ?
Wh ere is th e tha t ch — roofed v il l a ge the h ome of A c a di a n ,

f a rme rs ,

Men w h ose l iv es gl ided on l ike ri v ers t h a t w a t er the wood

l a nds ,

D a rkened b y sh a dows o f e a r t h bu t reflec ti n g a n im a ge o f ,

h e a v en ?
Wa s t e a re those p l e a s an t f arms a n d the f a rmers foreve r ,

de p a r t ed !
S c a tt ered l i ke dus t an d l e aves w h en t h e mi gh ty bl a s ts o f ,

October
1 64 IN TROD U CTI O N TO PO ETR Y

TH E S ON G o r TH E C HATTA HOO C H EE
Ou t o f th e h i ll s of H abersh a m ,

D own th e v a ll e y s of H al l ,

I hurr y a m a i n t o re a ch the p l ain ,

Run th e r a p id an d l e a p t h e f all .

S p l i t a t th e rock a n d t o g e t her a ga in ,

A cce pt m y bed or n a rrow or wide

, ,

A n d flee from fo l l y on e v er y s i de
Wi th a l o v er s p a i n t o a tt a in th e p l ain
’

_ -
Fa r from t h e h i ll s of H a b ers h am ,

Fa r from th e v a l l e y s of H all .

A ll down th e h i l l s of H abersh am,

A l l t h rou gh th e v a l l e y s o f H a l l ,

Th e rus h es cr i ed A bid e a b id e , ,

Th e w i l l fu l w a t erweeds h e l d me in thr a ll ,

Th e l a v in g l a ure l t urned m y t ide ,

Th e ferns a n d t h e fondl i n g g r a ss s a id S tay ,

Th e dew b err y d ipp ed for t o work del a y ,

A n d th e l itt l e reeds 8 ed A b id e a bid e , ,

H e r e in t h e h i l l s H a be r s ha m ,

H e re in t he va ll e ys f H all
o .

Hi gh o er t h e h i ll s o f H abersh am
’

V ei l in g t h e v a ll e y s o f H a l l ,

Th e h i ckor y t o l d me m a n i fo l d
F a i r t a l es o f s h a de th e p o p l a r t al l
,

Wrou gh t me h er s h adow y se l f t o h o l d ,

Th e c h es t nu t th e o a k t h e w a l nu t t h e p in e
, , , ,

O ve rl e a n in g wi t h flickerin g me a nin g a n d S i gn
, ,

S a i d P a s s n o t s o c o ld th e s e m a n if o l d
, , ,

D e ep s ha d e s of the hil l s of H a b ers ha m,

Th es e gl ad e s m th e va l l eys of II al l .
 TH E TRI PL E M E TE R S 1 65

And o f t in t h e hill s o f H ab ers h a m ,

A n d o f t i n t h e v a l l e y s of H al l
The w h it e qu a r t z s hone a n d the smoo t h brook —
,

,
s t on e
D id b a r m e o f p a ss a g e w it h friend l y br a w l ,

A n d m a n y a l um i nous j ewe l l one ,

— C r y s t al s c l e a r or a c l oud wi th mis t
,
-
,

Ru b y ga rne t a n d a me t h y s t
, ,

M a de l ures w it h th e l i gh t s o f s t re a m in g s t one
In th e c l ef t s of th e h i l l s of H ab ersh a m ,

In th e beds o f th e v a ll e y s of H all .

Bu t ,
no t t h e h i l l s o f H ab ers h a m
o h, ,

A n d o h no t t h e v a ll e y s of H al l
, ,

Ava i l : I a m f a i n for t o w a t er t h e p l ain .

D ownw a rd t he vo ices of D u ty c a l l
D ownw a rd t o t o i l a n d be mi x ed wi t h th e m a in
, ,

Th e dr y fi el ds b urn an d t h e m i ll s a re t o t urn
, ,

A n d a m y ri a d flowers mor ta l l y y e a rn ,

And th e l ord l y m a i n from be y ond th e p l a in

C a l l s o er t h e h i l l s of H ab ers h a m
’

C a l l s t h rou gh th e v a l l e y s of H a l l .

S id n e y L a ni e r (1 842 1 -
88 1 )

I n t he n ext selecti o n the tw o d a ctyli c lines d o n o t

det r a c t f r o m the a n a p esti c m ove m ent Gi l l i s a Pe r si a n .

wo rd f o r the r o s e Thi s p a s s a g e i s s uppo s ed t o h a ve bee n

.

“
s u gg ested t o B y r o n by M i n o n s s on g
g K enn s t d a d a s
’
,

L a n d wo d ie Ci t ro n en bl a hn in Go ethe s Wil h el m M ei s t er
” ’
.
,

From TH E B RI D E O F A BYD O S

K now ye w h ere th e c yp res s an d m y rt l e

th e l a nd
A re emb l ems o f deeds t h a t a re don e in t h eir c l ime ,

Wh ere th e r a ge o f th e v u l t ure t h e l o v e of th e t ur tl e
, ,

Now me l t in t o sorrow now m a dden t o crime ?,

1 66 I N TR ODU CTI O N TO PO E TRY
K now ye nd o f th e ced a r a n d vin e
th e l a ,

Wh ere th e flowers e v er bl ossom th e be ams e v er s h ine ;

,

Wh ere t h e l i gh t w i n gs of Ze p h y r opp re s s d w it h p erfum e

,
’

Wa x f ain t o er th e ga rden s of G i i l in h e r bl oom ;

’ '

Where th e c it ron a n d o l i v e a re f a i res t o f fru it ,

A n d t h e v o i ce of t h e n i gh ti n gal e ne v er i s mu t e
Where the ti n t s of th e e a r th a n d th e h ues of t he sky
, ,

I n col our t h ou gh v a ried in be a u ty m ay v ie

, ,

A n d th e p ur p l e o f Oce a n is dee p es t in d y e ;
Wh ere th e v ir gi n s a re s of t a s th e roses t h e y t wine ,

A n d a ll s a v e th e s pi r it of m an is d iv in e ?
, ,

Ti s t h e c l ime of th e E a s t ; ti s th e l a nd o f th e S un
’ ’

C an h e sm i l e on suc h deeds a s h i s c h i l dren h a v e done ?

O h ! w i l d a s th e a ccen t s o f l o v ers f a rewe l l
’

A re t h e he a r t s w h i ch th e y b e a r a n d th e t a l es w h ich th e y
,

G e o rg e N o e l G or d o n L or d B y ro n (1 7 88 1 824)
,
-

“ ”
The m ete r o f Kni g ht s T o mb i s a l m o s t t o o ir
The ’

r e g ul a r f o r cl a s sific a ti o n G il m a n
. a bi o g r a phe r o f
,

“
C ole rid g e st a t es th a t the p o e m wa s c omp o s ed
, as an
”—
exp e ri m ent in met r e a typ e o f expe riment th a t
C ole rid g e deli ghted in .N ote h ow the t ripl e rhythm
m erg es int o a m ovement o f exceedin gly sl ow tem p o I n .

“
Iva n ho e a n d C a s tle D a ng ero u s S c o tt mi s q u ot ed ( The
”
kn i ght s a re du st et c ) a n d popul a rized the l a s t th ree
, .

l i n es
.

TH E K N I G H T S TOM B
’

Wh ere is t he gr a v e o f Ar thur O K el l yn ?
S ir
’

ere m ay th e gr a v e o f th a t good m an be
t h e s i de o f a s p rin g on t h e bre a s t of He l ve ll yn
, ,

t h e t wi gs of a y oun g b i rc h t ree !
Th e o ak th a t in summer w a s swee t t o h e a r ,

A n d rus t l ed its l e aves in th e fa ll o f t h e y e a r ,

1 68 I N TR OD U CTI O N TO PO E TRY
We in th e a ges l y in g
,

In th e bur i ed p a s t o f th e e a rt h ,

Bu i l t N i ne v e h w ith our si gh i n g ,

A n d B ab e l i t s e l f in our m i r t h ;
And o e rt h rew t h em w it h p ro p h es y in g
’

To th e o l d o f t h e new wor l d s wor t h ;

’

For e a ch a ge i s a dre a m t h a t i s d yi n g ,

Or one t h a t i s comi n g t o b i r t h .

A rt hu r Wil l ia m E d ga r O S h ug hn e s s y (1 8 44 1 )
’
a -
881

”
B re a k B re a k B re a k a l a m ent f o r A rthu r H en ry
, , ,

H a ll a m wa s intended a s a p a rt o f I n M em o ri a m b ut
, , ,

bec a u s e o f its di ff er ent m ete r w a s p ri nt ed s ep a r a tely

, .

Th e fi rst line p res ents the phen o m en o n o f o m ittin g a l l the

u n a c cented syll a bles Whethe r the o mi s si on s be expl a ine d
.

o n the g ro u nd o f p a u ses o r o n the g r o u nd o f th e p ro

l o ng a t io n o f the a c cented syll a bles the thr ee wo rd lin e s ,
-

a re
—
t rim ete r s a s a re the othe r lin es o f the p o em .

“ ”
B re a k B re a k B re a k p ro ves th a t a p oet s m ind m a y
, ,
’

“ ”
t r a n s cend hi s s u r ro u ndin g s I t wa s m a de s a ys T enny
.
,

“
s on in a Li nc oln shi re l a n e a t five o cl o c k in t he m o rn i ng
,
’

”
b etween bl o s s o m in g hed g es .

B REA K B REA K B REAK

, ,

B re ak bre ak bre a k
, , ,

On t hy co l d gr a y s t ones 0 S e a , ,

And I wou l d t h a t m y t on gue cou l d

Th e th ou gh t s t h a t a ris e i n me .

0, we l l for t h e fi s he rm an
’
s bo y ,

Th a t he s h ou t s wi t h hi s sis t er at p l ay !
0 , wel l for th e s a i l or l ad ,
Th a t h e sin gs in h i s bo a t on th e b ay !
 THE TR I P L E M ETER

And the s t at e l y s h ip s go on
To t h e i r h a v en under th e h i ll '

Bu t O for the t ouc h o f a v anis h d h a)

,

And the sound of a v oice t ha t i s s t i ]

B re ak bre a k bre a k
, , ,

A t t h e foo t o f thy cr a g s 0 S ea ! ,

Bu t t h e t ender gr a ce of a d ay t ha t is
Wi ll never com e b a ck t o me .

A lf r e d L o r d Te n n ys on
,

M o de r n p o et s sho w a n o c c a si o n a l t
syll a bles in p a i rs a n d even i n th r ee s — t r a i
the tw o f oll owi n g p o e m s The m a r k ed .

lin es c o uld h a r d ly b e re a d ex c ept a s ind ie :

a a

I wi ll a rise an d go now , an d go to I n )

a a a

I he ar i t in t he dee p he r t s core a
’
.

a a a a

It s
’
a w a rm wind , th e wes t wind ful l ,
01

Thi s v a ri a ti o n f ro m the t r a diti o ns o f

o n e sym pt o m o f the p o eti c i c o n o cl a s m o f

p o e m s it i s w ell h a n dled a n d a pp a re ntly

L i k e s o m u ch th a t i s s eemi n gly n ew it is ,

F o r ex a m ple the x x aa o f i t s a fine la/n

’

fo o t ion ic a mi no re
, .

TH E L A K E I SL E O F I N N I S
1 70 IN TRODU CT IO N TO PO ETRY

And I sh all h ave some p e a ce t h ere for p e a ce comes dro pp in g ,

s l ow ,

D ro ppi n g from th e v e il s o f mornin g t o w h ere th e cr i cke t

s i n gs ;
Th ere mi dn i gh t s a l l a gl immer a n d noon a p ur p l e gl ow
’
-
, ,

A n d evenin g fu ll o f th e l i nne t s win gs

’
.

I wi l l a r i se an d go now for a l w a y s ni gh t a n d d ay
,

I h e a r l a ke w a t er l a ppi n g w it h l ow sounds b y th e s hore ;

Wh i l e I s t a nd on th e ro a dw a y or on th e p a v emen t gr a y , ,

I he a r i t in th e dee p h e a r t s core ’
.

Wil l ia m B utl er Ye a t s (1 865

TH E WE S T WI N D

I t s a w arm wind th e wes t wind full o f birds cries ;

’

, ,
’

I ne v er h e a r th e wes t w i nd b u t t e a rs a re i n m y e y es ;
For i t comes from t h e wes t l a nds t he ol d b rown h i l l s , ,

A n d A p r i l s in t h e wes t w i nd a n d d a fl o d il s
’ ’

, .

It s
’
a wes t l a nd for h e a r t s a s ti red a s m ine
fi n e l a nd, t h e , ,

A pp l e orc h a rds b l os som t h ere a n d th e a i r s l i ke w i ne

’

, .

Th ere is coo l g reen gr a ss t h ere w h ere men m a y l ie a t res t , ,

A n d th e t h rus h es a re in son g t h ere flu ti n g from t h e nes t , .

Wi l l y ou no t come h ome bro t h er ? You h a v e been l on g

,

a way .

I t s A p r i l an d b l ossom ti me a n d w h it e is th e s p r a y ;
’

, ,

A n d b r i gh t i s t h e sun b ro th er a n d w a rm is th e r a i n
, ,

Wi l l y ou n o t come h ome bro th er h ome t o us a ga in ?

, ,

Th e y oun g corn is green bro t her w h ere th e r bbi t s run

, , a ,

I t s b l ue sky
’

d wh i t e c l ouds
,
an d w rm r in d sun ,
an a a an .

I t s son g t o m n s soul bro t h er fi e t o m n s b r in

’
a a a
’

, ,
r a a
’
a ,

T h e r th wi l d b ees n d see th merr y s p rin g g i n

o a e a e a a .
 I AM B I C PE N TA M E TE R

I s al u t e th ee M a n t o v a no I t h a t l o v ed t h ee since m y d ay
, ,

b e ga n ,

Wi e l der o f th e s t a t el i es t me a sure e v er mou l ded b y th e l i p s

of m an .

“ ”
Te n nys o n : To Vi rgil

Fo n l o n g e r m o re elev a t ed p o e m s E n glish p o et ry ha s
, ,

n o o n e m et ri c a l fo r m c o m p a r a bl e t o the cl a s sic a l h ex a m
ete r o f H o me r a nd V e r g il Bl a n k ve r se the he ro i c
.
,
, ,

c o upl et the Sp en s eri a n st a nz a a nd s ever a l o the r f o r m s

, ,

h a ve been u s ed in its s t e a d These fo r m s howeve r a l l

.
, ,

e m pl oy the i a mbi c pent a mete r line which i n E n g

li sh p o et ry i s u sed o ft en er th a n a ny o the r It i s m o re .

fl exibl e a n d le s s mo n oto n o u s th a n the t et r a m eter lin e ,

which ten ds t o divide i nt o two e q u a l p a rt s E it her with .

o r with o u t rim e i a m bic pent a mete r l s t he m et er c o m m o nly

, __
v

em p l oyed 1 n n a r r a tive d r a m a ti c reflec t ive a_n d d es crip

, , __ , _

tive p o et ry i n o the r w o rds 1 n l o n ge r p o e m s o f a l l k in ds

, .

M em e whi ch 1 8 i a mbi c pen t a m eter W ith o u t ri m e

,
i s the m o s t d i s tin g uished o f a l l E ngli sh m etri c a l fo r m s
.
,

I t i s the m ete r which w e in stinctively a s s o ci a t e with the

t wo g re a test E n glish p o et s Sh a k espe a re a n d M ilt o n On e
, .

o f E m er s o n s very i nte restin g f r a gm ents will illu st r a te

’

the m et ri c a l st ru ctu re o f bl a n k ve rs e :
Th i s s h i n i n g momen t i s a n ed i fice
Which th e Omni p o t en t c a nno t re b ui l d .

1 72
 IA M B I C PEN TA M E TE R 1 73

Bl a n k ve r s e wa s int ro du ced fr o m the I t a li a n in the

rei g n o f H en ry VI II by the E a rl o f S u r r ey wh o u s ed it ,

in a n in c o m plet e t r a n sl a ti o n o f Ve r gil s E ne id A few

’
.

ye a rs l a te r it b ec a m e the est a blished m et ric a l fo r m o f

/

E liz a beth a n d r a m a Ch rist ophe r M a rl owe wh o w a s the

.
,

a tes t b f S a k espe a r e s p redec es s o r s

’
g re h w a s the fi r st t o
,

“ ”
m a k e e ff ective u s e o f it M a rl owe s m i ghty lin e a s
.
’
,

B en Jon s o n c a lled it i s ch a r a cterized by a p owe r a n d

,

a m el o dy th a t E n glish p o et ry h a d n ot s een sinc e C h a u ce r s

’

ti m e M a rl owe who li k e Ke a ts a n d Shell ey died y o u n g

.
, , , ,

i s the o nly E li z a b eth a n d r a m a ti st o f wh o m it c a n b e c o n

j e c t u red th a t h a d he lived
, h e m i g ht p, o s sibly h a ve r iv a le d

Sh a k espe a re H i s be st k n own t r a g edy i s D o c t o r F a us tus

.
,

which G o eth e the a uth o r o f a g re a te r pl a y up o n th e s a m e

,

theme p r a is ed m o st hi ghly F a u stu s i s a m a g ici a n who

, .

c a lls up f ro m the t o mb H el en o f T r oy the m o st be a uti ful ,

wo m a n o f a nti q uity When sh e a pp e a r s h e spe a k s :

.
,

Wa s t h is t he fa ce t h a t l a unch ed a th ous and s h ip s

A n d b urn t th e t o p l es s
S wee t He l en ,

e w h ere i t flies
in

h i s.

Ins t e a d of a cked

An d I {w i l l comb a t wi t h we a k M ene l a us'

A n d we a r t hy co l ours on m y p l um ed cres t ;
Y e a I w i ll wound A c h i ll es in th e h ee l
, ,

An d t h en re t urn t o H e l en for a kiss .

t h ou a rt f a i rer t ha n th e e v en i n g a ir
Ol a in t h e be a u t y of a th oii san d s ta rs ;
1 74 IN TROD U CT I O N TO PO ETRY
Bri gh t er a rt th ou t h an fl a min g J u p i t er
Wh en h e a pp e a red t o h a p l ess S emel e :
More l o v e l y t h a n th e mon a rc h of th e sk y
In w a n t on A re t h us a s a z ured a rms
’

A n d none bu t t h ou s h al t be m y p a r a mour .

Wi ni fred Ki rkl a nd h a s rec ently refer red t o thes e li nes

“
as the hi ghest p r a i s e eve r g iven t o a ny f a ce i n E n gli sh
”
lite r a tu re . The wi s e p o et i n d es c ribin g a b e a u ti f ul
w o m a n do es n o t e m pl o y a m ultitu de o f det a ils fo r n o ,

tw o o f u s h a ve the s a m e ide a l o f b e a u ty ; he des c rib es

i n st e a d the effect o f he r be a u ty o n tho s e wh o see her I t i s .

thu s th a t H o me r i n the thi rd b o o k o f the Iliad des c ribe s

, ,

the e ff ect o f H elen s b e a uty up o n the T r oj a n elde rs

’
.

Thes e un s u s ceptibl e ol d m en a s they s ee H el en a pp r o a ch

,

“
ing s a y o n e t o the o the r
, Sm a ll bl a m e i s it th a t T r oj a n s
,

a n d well — r e a ved A ch a i a ns sho uld fo r s u ch a w o m a n l o n

g g
ti m e s u ff e r h a rdship ; m a rvell o u sly li k e i s sh e t o the im
”
m o rt a l g o ddes s es to l o o k up on .

Sh a k esp e a r e is o f c o u r s e the g r e a t m a ste r o f d r a m a ti c

, ,

bl a n k ve rs e H i s e a rli e r u s e o f it res e m bles M a rlowe s

.
’
,

a ltho u h he ives the m e a s u re a r a ce a n d a be a uty which

g g g
M a rl ow e s line s r a rely p o s ses s We q u ot e the well k n own
’
.
-

p a s s a g e o n the P oet whi ch Sh a k espe a re p uts i nt o the

m o uth o f Thes eu s i n A M id su m me r N igh t s D ream ’

Th e l un a ti c , t he l o v er , an d th e p oe t
A re (i f im a g in a ti on a l l com p a c t .

On e sees more de v i l s t h a n v a s t h e l l c an ho l d ;
Th a t i s t h e m a dm a n Th e l o v er al l a s fr a n ti c
.
, ,

S ees He l en s be a u ty in a brow o f Egypt

’

Th e p oe t s gl a nce in a fi n e fren z y ro l l in g
’

, ,

D o t h gl a nce from h e a ven to e a r th from e a r t h t o he aven ; ,

1 76 IN TR OD U CTI O N TO PO E TRY
Of o n e lt ha t l ov d )no t wisel y b ut t oo wel l ;
[
’

O f on e no t e a si l y j e al ous b u t b ein g wrou gh t

I

Pe rp l e x d i n th e e xt reme ; of one w h os e h and

’

Like th e b a se Ind i a n t h rew a p e a rl a w a y

,

Ric h er t h a n a l l h i s t r i b e ; of on e w h os e subdued eyes ,

A lb e it unus ed t o t h e me l ti n g mood ,

D ro p t e a rs a s f a s t a s t h e A r ab i a n t rees
‘

Th eir med i c i n ab l e gum S et y ou down t h is ;

.

A n d s ay besides t h a t in A l e pp o once
, ,

Wh ere a m a l i gn a n t an d a t urb a n d Turk ’

Be a t a V ene ti a n a n d t ra d u c d th e s t a t e ’

I t ook by t h e t h ro a t th e c i rcumc i s ed d o g ,

A n d smo t e h im t h us , (S ta b s h im s elf )
. .

Othe r E liz a beth a n d r a m a tist s besides M a rl owe and

Sh a k espe a r e w r ote excellent bl a n k ve rs e a n d n one h a ndled ,

the m e a s u re m o r e s k ilfully th a n B e a u m ont a n d Fl et ch er }

J o hn Fletch er c oll a b o r a ted n o t bhly with B e a u m o nt b ut
‘

a l s o with Sh a k espe a re Th e f a m o u s p a s s a g e fro m H en ry

.

VIII which foll ow s w a s a l m o st ce rt a inly w ri tten by hi m

a n d n ot by Sh a k espe a r e Fl etche r s bl a n k ve rs e i s ch a r
.
’

a c t eri zed by a
g re a t nu m be r o f li n es endin g i n a n u n
st res sed o r h a l f s t r es s ed eleventh syll a ble W ols ey Kin g
-
.
,

H en ry s m i ni ste r h a v in g di spl e a s ed hi s m a ste r a nd l o s t

’
,

"
hi s p o s iti o n spe a k s t o his s u c ces s o r T hom a s C r o m w ell
, ,
Q x y G\ V O .
(x if v
A

s h ed a tea r
rce
A
d
a ll

r
w om a n .

rom w e ll

S ay Wo l se y— th a t once t rod t he w a y s of gl or y ,

A n d sounded a ll t h e de pt hs a n d s h o al s of h onour
 I A M B I C P E N TA M E T E R 1 77

Foun d th ee a w a y, ou t of h is wreck t o ris e in ;

,

A sure
’

m is s d i t .

i ti on ;
th en ,

Th e im a ge o f h i s M aker h o p e t o w i n b y t ?
,
’

Love t h y se l f l a s t : ch er i s h t h os e h e a r t s t h a t h at e thee
C orru pt ion win s no t more t h a n h ones ty .

S ti l l i n t hy ri gh t h a nd c a rr y g en t l e p e a ce ,

To si l ence en v iou s t on gues B e j us t a n d fe a r n o t :

.

’
t O C romwel l
, ,
f
S el ve kin g ;

Th ere t a ke I h ave 11 ,

To the l a s t p enn y ; t is th e kin g s : m y robe

’ ’

A n d m y in t e gri ty t o h e a v en i s a l l ,

I d a re now c a l l min e own 0 C romwel l C romwell ! .

,

H a d I bu t ser v ed m y G od wi t h h a l f t h e z e a l
I ser v ed m y kin g h e wou l d no t in m i n e a ge
,

H ave l e f t me n a ked t o min e enemies .

To m o s t pe rs o n s bl a n k ve rs e fi rst su gg est s the

, na me
of J ohn M ilt o n wh o tho u g h le s s g re a t a w rite r th a n
, ,

Sh a k espe a re wa s a g r e a te r p o et
, Bl a n k ve rs e wa s .

Milt o n s f a vo rit e m et ri c a l f o r m H e fi rs t u s e d it in hi s
’
.

C am us a m a s q u e
, A s we sh o uld exp ect f r o m a p o et b o rn
.

while Sh a k espe a re wa s still a live M ilto n s e a rli es t bl a n k ,

’

ve rs e i s E liz ab eth a n r a ther th a n wh a t w e n o w thin k o f a s

M ilto ni c .The elder br o the r s p r a i s e o f ch a stity in ’

C am u s st ri k es the k ey n o te o f th e pl a y -

S he th t a t h t is cl d i n c om pl e t e s t eel
has a a ,

An d , l ike qui v ered n y m p h w it h rrows keen

a a ,

Ma y t r ce h u g e fores t s n d un h rb oured h e ths

a
,
a a a ,
1 78 I N TROD U CTI O N TO PO E TRY
In fa mou s h il l s a n d s a nd y p eri l ous wil ds ;
,

Wh ere t h rou gh th e s a cred r ay s o f ch a s tity

, ,

No s a v age fi erce b and it or moun t aineer , ,

Wi l l d a re t o so i l h er vi r gi n p ur ity .

Y e a t h ere w h ere v er y deso l a ti on dwe l l s

, ,

B y gro t s an d c a v erns s h a gged w ith h orr i d sh ade s ,

S h e m a y p a ss on w it h un b l enc h ed m a j es ty ,

B e it no t done i n p r i de or i n p resum pti on .

S ome s a y n o e v i l t h i n g t h a t w a l ks b y n i gh t ,

In f o g o r fi re b y l ake or moor i s h fen

, ,

B l ue me agre h a g or s t ubborn un l a i d gh os t
, ,

Th a t bre a ks his m a gic ch a ins a t curfew t im e ,

No gob l i n or sw a r t f a er y of th e m ine ,

H a t h hur t fu l p ower o er t rue vir g i n ity ’

.

A fte r the w ritin g o f C o m u s s o m e twenty ye a r s el a ps ed ,

b efo re M ilto n w r ot e his l a te r p o em s Pa ra d is e L o s t , ,

P a ra d is e R eg a i ne d a n d S a m s o n A g on is t es a l l o f whi ch
, ,

a r e i n bl a n k ve rs e I n thes e twenty ye a rs of s e r vi ce in
.

th e Pu rit a n c a u s e M il t o n b ec a m e a l m o s t a di ff e r ent m a n
, l
.

A fte r the R est o r a ti o n in 1 6 6 0 blind p o o r o utc a st he , , , ,

s a t d ow n t o w rite the re a t epi c o f Pu rit a nis m P a ra d is e

g ,

L os t . Hi s l a te r p oem s l a c k th e a i ry ch a rm the li ghtnes s , ,

the g r a c e o f Co m u s a n d L A lle g ro ; b ut they p o s s es s a

’

s ublimity a n d a s o n o r o u s el o q uen ce u n eq u a led in B riti sh

’
p oet ry M ilt o n s l a te r bl a nk ve rs e d o es n o t g re a tly r e
.

s em bl e th a t o f Sh a k espe a re fo r n a r r a tive p o et ry c all s f o r

,

a diffe rent u s e o f the m et ri c a l f o rm M ilt o n hi m s elf ex .

“
pl a in s hi s c on cepti o n o f the m e a s u re T ru e m u sic a l de .

” “
li ght s a ys he c o n sists o nly in a p t nu mb e rs fit q u a ntity
, , ,

o f syll a bles a n d th e sens e v a ri o u sly d r a wn o u t fr o m o n e

,

ve rs e int o a n o ther n ot i n the j in glin g s ou nd o f lik e

,

”
endin g s . I n the foll owin g des c ripti o n o f S a t a n M ilto n ,

v a ries hi s p a u ses with m a ste rly s k ill

1 80 I N TR ODU C T IO N TO PO E TRY
It w a s t ime o f r pture ! C l e r d l oud
a a a an

Th e v i l l g e c l ock t o l l ed s i — I w h ee l ed bou t
a x, a ,

Proud n d e x u l ti n g l ike n un tired h ors e

a a

Th t c res no t for h i h ome

a a A l l s h od w it h s t eel
s .
,

W h issed l on g th e p ol ish ed ice in g mes

e a a

C on feder t e im it tiv e of t h e c h se
a ,
a a

A n d wood l nd p l e sures — a th resoundin g b

a ,
n e or ,

Th p ck l oud c h i min g
e a d t h h un t ed h re
,
an e a .

S t h rou gh t h d rkness
o e d t h co l d we flew
a an e ,

A n d no t v oice w i d l e ; w it h th e d i n
a as

S mi tt en t h p reci pi ces r n g l oud ;

,
e a a

Th e l e fless t rees
a d e v er y ic y cr g
an a

Tink l ed l i ke iron ; w h i l e f d i s t n t h ill s ar a

In t o th t umu l t s en t
e l i en soun d an a

O f me l nc h o l y no t unno ti ced w h i l e t h s t rs
a ,
e a

E s t w rd were s p rk l in g c l e r
a a a d in th e we s t a ,
an

Th e or n g e sk y o f e v en i n g d i ed w y
a a a .

No t se l dom from t h u p ro r I re ti red e a

In t o si l en t b y or s p or tiv e l y
a a ,

G l nced sidew y l e vi n g t h e t umu l t uous t h ron g

a a ,
a ,

T cu t cross t h refle x o f
o a e st r a a

Th t fled n d fl y in g s ti l l b e fore me gl e med

a ,
a , ,
a

U p on th e gl ss y p l i n ; d o f t ent imes
a a an ,

Wh en we h d gi v en our b odies t o t h wind

a e ,

A n d ll th e s h dow y b nks on e it h er side

a a a

C me swee p in g th rou gh th d rkn ess s p innin g s ti l l

a e a ,

Th e r pi d l i ne of mo ti on t h en t once
a ,
a

H ve I rec l in i n g b ck u p on m y h ee l s
a ,
a ,

S t o pp ed s h or t ; y e t s t i l l t h e so l it r y c l i ff s a

t l d b y me— e v en
ee e i f th e r th h d rol l ed
as e a a

Wit h v isi b l e mo ti on h diurn l round !

’
er a

Be h i nd me did t h e y s t re t ch i n sol emn t r in a ,

Fee bl er n d feeb l er a d I s t ood ,

an d w t ch ed an a

Ti ll l l wa t r n qui l s dre m l ess s l ee p

as a a a a .

Altho u g h a ll o f the R o m nti c p o et s except Sc o tt u s ed a , ,

bl a n k ver s e with g re a t e ff ectivenes s n o n e o f Wo rd swo rt h s ,

’
 IA M B I C PE N TA M E T E R 1 81

aries h a ndled the me a s u re with g re a ter s k ill

di s p l a yed in hi s f r a gm ent a ry epic H yp eri on , .

o f the f a lle n G reci a n g o d s wh o rei gne d b efo r e

en s a s follow s
11 s h a d y s a dnes s of a v a l e
the
nke m from th e h e a l t h y bre a t h o f morn ,

om th e fi er y noon an d e v e s on e s t a r
,
’

d S a turn quie t a s a s tone

, ,

t h e si l ence round a bou t h i s l a ir ;

: on fores t h un g abou t his h e a d
I
l oud on c l oud . No s t ir o f a i r w a s t h ere ,

a muc h l i fe as on a summer s d a y
’

no t one l i gh t seed from th e f e a th er d gr a s s ’

rh e re t h e de a d l e a f fe ll th ere d i d it res t
,
.

za m wen t voice l es s b y s ti l l de a dened mor e

,

a son o f h i s f a l l en d iv ini ty

din g a s h a de : t he N ai a d mi d h er reed s ’

d h e r co l d fi n ger c l oser t o h er li p s
'

“
s a ys P r o fe s s o r L owes i f it eve r wa s s e c ured
, ,

e t r uth o f illu si o n a n d fl a wles s c o n si ste n cy o f

,

”
ry th a t c r e a t es i t
‘
.

S a v a g e L a n d o r o f wh o m we sh a ll h a ve m o r e t o
,

e ch a pte r o n Li g ht Ve r s e lin k s the R o m a nti c ,

1 82 I N TR ODU CTI O N TO PO E TRY
B utle r th e n oveli st , andH en ry J a m es Th e l a st li ne o f .

L and o r
’
s p o e m c o nt a in s a n a llu si o n t o M r s B r owni ng . .

TO ROB E RT B R O WN I N G
Th ere is del i gh t i n sin gi n g t ho non e h e a r
,
’

B eside th e s i n ger ; a n d t h ere i s de l i gh t

In p r a i sin g th o t h e p r a iser s it a l on e
,
’

A n d see th e p ra is d f a r o ff hi m f a r a bo v e
’

, .

S h a kes p e a re i s no t our p oe t bu t th e wor l d s

’

, ,

Th erefore on h i m no s p eec h ! a n d b rie f for t h ee ,

Brownin g ! S ince Ch a ucer w a s a l iv e an d h a l e ,

No m an h a t h w a l ked a l on g our ro ads wi th s t e p s

S o a c tiv e so i n qu i rin g e y e or t on gue
, ,

S o v a ried i n d i scourse Bu t w a rmer cl imes

.

G i v e br i gh t er p l um ag e s t ron ger w i n g : th e breeze

,

Of A l pi n e h e i gh t s t h ou p l ay e s t w ith b orne on ,

B e y ond S orren t o a n d A m al fi w h ere ,

Th e S i ren w a i t s t h ee sin gin g s on g for son g

, .

Wa l t e r S a vag e L a n d o r (1 77 5 1 8 64) -

B rown i ng hi m sel f u s ed bl a n k ver se ve ry e ff ectively in

a n u m ber o f hi s b est p o e m s a n d pl a ys H is bl a n k v e rs e .

i s es s enti a lly d r a m a ti c a nd c o nve r s a ti o n a l U n f o r tu .

“ ” “
n a t el y , s u ch p oe m s a s F ra Lip p o Lippi a n d And re a
”
del S a rt o a r e t o o l on g t o q u ot e he re S o a ls o a re the .

bl a n k ve rs e p o e m s o f a n o the r g r e a t V i ct o ri a n M a tthew ,

“ ”
A rn ol d wh o u ses th e m e a s u r e in B alde r De a d a nd
,

“ ”
S oh r a b a n d Ru stum .

N o Vict o ri a n p oet wr ote b ette r bl a n k ver s e th a n T enny

s o n Hi s l a te r p oe m s ho weve r a re u su a lly re g a r ded a s
.
, ,

i n fe ri o r t o tho se incl u ded i n th e 1 84 2 volu me which g a v e

“ ”
hi m his reput a ti on M o r te D A rt hu r p r ob a bly m a r k s
.
’

the hi gh w a t e r m a r k o f hi s p o et ry The bl a n k ve rs e o f
-
.

the l a te r Id yll s of t he K ing i s m o re m on o ton o u s a n d

 1 84 I N TRODU CTI O N TO PO E TR Y
Unequ a l l a ws un t o a s a v ag e r a ce ,

Th a t ho a rd a n d s l ee p a n d feed an d know no t me
, , , .

I c a nno t res t from t r a v e l : I w i l l dr i nk

L i fe t o the l ees : a ll ti mes I h a v e en j o y d ’

G re a t l y h a v e s u fl er d gre a t l y b o t h w it h t h ose
’ ’

, ,

Th at l o v ed me a n d a l one ; on s h ore an d when

, ,

Th ro scudd i n g drif t s t h e r a i n y H y a des

’

V e xt th e d i m s e a : I a m become a n a me .

For a l w ay s ro a m i n g wi t h a h un gr y h e a r t
Muc h h a v e I seen an d known : c iti es of men ,

A n d m a nners c l im a t es counci l s go v ernmen t s

, , , ,

M y se l f no t l e a s t b u t h on o u r d of t h em a ll ;
,
’

A n d drunk de l i gh t o f b a tt l e w it h m y p eers ,

Fa r on th e rin gin g p l a in s of w i nd y Tro y .

I a m a p a r t o f al l t ha t I h a v e me t ;
Ye t a l l e xp er i ence i s an a rch w h e re th ro ’

G l e a ms t h a t u n tra v e ll d wor l d w h ose m a r gi n f a des

’

For e v er a n d for e v er w h en I mo v e .

How du ll it is t o p aus e t o m a ke a n end , ,

To rus t u n b u rn i s h d no t t o s h i ne i n use !
’

A s t ho t o b re at h e were l i fe Li fe p i l ed on l i f e
’
.

Wh ere a l l t oo l itt l e an d of on e t o me
,

Li ttl e rem a i ns : b u t e v er y h our is s a v ed

From t h a t e t ern al s i l ence some t h i n g more , ,

A brin ger of new t h i n gs ; a n d vi l e it were

For some t h ree sun s t o s t ore a n d h o a rd m y sel f ,

A n d t h i s gr a y S pi r it y e a rnin g i n des i re
To fo l l ow know l ed ge l i ke a s i nk i n g s t a r ,

Be y ond t h e u t mos t boun d o f h um a n t h ou gh t .

Th i s
i s m y son m i ne own Te l em c hus
,
a ,

T w h om I l e v e th e sce pt re n d th is l e
o a a e

We ll l o v ed o f me d i scernin g t o fu l fi l
'

-
,

Th i s l b our b y s l ow p rudence t o m ke mi l d
a ,
a

A ru gged p eo p l e d t h ro soft de g rees

’

,
an

S u b due t h em t o th e usefu l n d th good a e .

 I A M B IC PE N TA M E TE R 1 85

Mos t bl a me l ess i s h e cen t red in t he s p h ere ,

O f common du ties decen t no t t o f ai l ,

I n offices of t enderness a n d p ay ,

Mee t a dor a ti on t o m y house h o l d gods ,

Wh en I a m gone H e works h i s work I mine .

, .

Th ere l ies t h e p or t ;
v es se l p u ffs her s l the al

Th ere gl oom t h d rk b ro d se s e M y m riners a a a . a ,

S ou l s t h t h v e t il d d wrou gh t d t h ou gh t wi t h me
’
a a o ,
an , an

Th t e v er w it h
a fro l i c we l come t ook a

Th thunder
e d t h e sun s h i ne
an d o pp osed ,
an

Free h e r t s free fore h e ds— y ou d I e l d ;

a ,
a an ar o

O l d ge h t h y e t his h onour
a a d h i t oi l ; an s

D e t h c l oses l l : bu t some t h i n g ere t he

a a d en ,

S ome work of nob l e no t e m y y e t be done ,

a ,

No t unbecomin g men t h t s t ro v e w ith G ods a .

The l i gh t s be gin t o t w n kl e from t he ocks 1 l

Th e l on g d y w nes th e s l ow moon c l imbs t he dee p

a a : :

Mo ns round W t h m n y v oices C ome my friends

a i a .
, ,

Ti no t t oo l t e t o seek newer wor l d

’
s a a .

Pus h ff d S tti n g we l l in order sm it e

o , an i

Th sound i n g furrows ; for m y p ur p os e ho l ds

e

T s i l be y ond th sun se t
o a d th b th s e , an e a

O f ll th e wes t ern s t rs un t i l I die

a a ,
.

I t m y b t he gu l fs W l l w s h u s down
a e l a

I t m y be we s h ll t ouc h t h H ppy I s l es
a a e a ,

A d see t h e gre t A c h i ll es w h om we knew ;

n a ,

Th much is t ken muc h b i des ;

’ ’
o a d th ,
a an o

We no t now t h t s t ren gt h w h ic h in l d d y s
are a o a

Mo v ed e r th n d h e v en ; t h t w h i c h we e we re ;
a a a a ar ,
a

One equ l t em p er o f h ero i c h e r t s

a a ,

M de we k b y t ime d f t e b t s t ron g i n wi ll
a a an a ,
u

To s t ri v e t o seek t o fi d
, n d no t t o yi e l d
,
n ,
a .

A lf r e d , L o r d Te n ny s o n (1 809 -
1 8 92 )

Only a few A m e ric a n p o et s h a ve u sed bl a n k ve rs e with

enti r e s u cc es s B ry a nt wh o bec a u se o f his n a tu re p o e m s
.
, ,
1 86 I N TR ODU C T IO N TO PO E TRY
in bl a n k ver se h a s o ften been c a lled the Ame ri c a n
,

Wo rdsw o rth u se s this diffi cult m e a s u re better th a n a ny

,

“ ” “
o the r A m eri c a n p oet Hi s T h a n a t opsis. The A n ,

t iqu it y o f F re ed o m
” “
A F o res t Hy m n a n d A W inte r
,
” “
,

” “ ”
Piece a re a l l ex cellent Th e P r a i ri es f r o m which we
.
,

q u o te the o p enin g p a r a g r a ph dese rves m enti o n a s o ne ,

o f the few n ot a bl e p oeti c a tte m pts t o pi ctu re th e s cene ry

o f the g r e a t West .

Th es e a re rdens of the D eser t th es e

t h e ga ,

The un s h orn fi e l ds b ound l ess a n d be a u ti ful

, ,

For w h ic h t he s p eech of E n gl and h a s no n ame

Th e Pr a i ries I b e h o l d t h em for t h e fi rs t
.
,

A n d m y h e a r t swe l l s w h i l e th e d i l a t ed s i gh t
,

Ta kes i n t h e enc i rc l i n g v a s t ness Lo ! t h e y s t re t ch

.
,

I n a ir y undu l a t ion s f a r a w a y , ,

A s i f th e oce a n i n h i s g en t l es t s we ll
, ,

S t ood s ti ll w ith a ll h i s rounded b i l l ows fi x ed

, ,

A n d mo ti on l ess fore v er — Mo ti on l es s .

No— t h e y a re a ll unc h a i n ed a ga i n Th e c l ouds .

S wee p o v er w it h t h e i r s h a dows a n d bene a t h , , ,

Th e surf a ce ro ll s a n d fluc t u a t es t o t h e e y e ;
D a rk h o l l ows seem t o gl i de a l on g a n d c h a se
Th e sunn y r i d ges Bree z es o f th e S ou th !
.

Who t os s th e go l den a n d the fla m e l i ke flowers -

,

A n d p a s s t h e p r a i r i e h a wk t h a t p oised on h i gh
-
, ,

F l a p s h i s bro a d win gs y e t mo v es no t— y e h a v e p l ay ed
,

A mon g th e p a l ms o f Me xi co a n d vi nes
Of Te x a s a n d h a v e cr i s p ed th e l i m p id brooks
,

Th a t from t h e foun t a i ns o f S onor a gl i de

In t o t h e c a l m Pa c i fic h a v e y e f a nned -

A no b l er or a l ove l i er scene t h a n t hi s ?
M a n ha t h no p ower i n a ll t h i s gl or i ous work
Th e h a nd t h a t b ui l t th e firm amen t h a t h h e a v ed
A n d smoo t h ed t h ese v erd a n t s we l l s an d sown their s l o p es ,
1 88 I N TRODU CTI O N TO P O E T RY

R ound e v er y windw a rd s t a ke or t ree or door , , .

S p eedin g th e m y r i a d h a nded h i s w i l d work

,
-
,

S o f a nc i fu l so s a v a g e nou gh t c a res h e
, ,

For number or p ro p or ti on Mock i n gl y .

On coo p or kenne l h e h a n gs Pa r i a n wre a th s ;

A sw a n l i ke form i n v es t s t h e h i dden t h orn ;
-

F i ll s u p th e f a rmer s l a ne from w a ll t o w a l l
’

M au g re th e fa rmer s si gh s ; an d a t t h e gat e
’

A ta p er i n g t urre t o v er t o p s t h e work .

A n d w h en h i s h ours a re num b ered a s h e were n ot , ,

Le a v es w h en th e sun a pp e a rs a s t on i s h ed A rt
, ,

To m i mic i n s l ow s t ruc t ures s t on e b y s t one , ,

Bu i l t inan a ge t h e m a d wind s ni gh t work

,
’
-
,

Th e fro li c a rc h it ec t ure o f th e snow .

R a lp h Wa l d o E m e r s on (1 803 1 882) -

M o s t p er s o n s intere sted in p resent d a y p o et ry s ee m -

u n a w a r e th a t bl a n k ve rs e i s o ften u sed by livin g p o et s .

Willi a m B utle r Ye a t s s p o eti c d r a m a s a re w ritten in

’

bl a n k ve rs e o f g re a t be a u ty Am o n g livin g Ameri c a n .

p o ets E d g a r L ee M a sters R ob e rt F ro st a nd E dwi n

, , ,

A rlin gt o n R obin s o n fr eq uently e m pl oy thi s l o n g est a b -

l is hed met ri c a l fo rm T h e bl a n k vers e o f R obins on s

.
’

M erl in a n d L a nc el o t tempts c o m p a ri s on with th a t o f

The Id y ll s of t h e K ing ; a n d o n the whole it c a n h a rdly, ,

be s a id th a t R obin s o n s ve rse s uff e rs f ro m the c o mp a ri s o n

’
.

W e q u o te the openin g lin es o f hi s s uperb p o rt r a it o f

“
Sh a k espe a r e B en Jo n s o n E nte rt a in s a M a n f r o m St r a t
,

”
fo rd

You a re a friend th en a s I m a ke i t ou t , ,

O f our m a n S h akes p e a re w h o a l one o f us ,

Wi l l p u t an a ss s h e a d in F a i r y l a nd
’

A s h e wou l d a d d a s h i l l i n g t o more s h i l l in gs ,
 IA M B I C PE N TA M E TE R 1 89

A ll mos t h a rmonious —a n d ou t of his

,

Mir a cu l ou s in v io l a b l e incre a se
Fi ll s I l ion Rome or a n y t own y ou l ike
, ,

O f o l den time wi t h t imel es s E n gl i s h men ;

A n d I mus t wonder w h a t y ou t h i nk o f h i
A ll y ou down t h ere w h ere y our sm a l l A v on flows
B y S t r a t ford a n d w h ere y ou re an A l derm an
,
’
.

The bl a n k ve rs e o f R ob e rt F r o st li k e th a t o f R o bin s o n , ,

foll o ws th e rhyth m s o f the hu m a n v oi ce in a ct u a l sp eech .

F r o st s ver s e r ec a lls the bl a n k ve rs e o f B r owni n g a n d o f

’

Sh a k espe a r e r a the r th a n th a t o f M ilto n Wo rdswo rth o r , ,

T ennys o n F r o st s p o em s a re g ene r a lly des c ri pti o n s o f

.
’

N ew E n gl a nd r u r a l li fe a n d s cene ry ; they p o rt ra y how ,

eve r n o t the N ew E n gl a n d o f E m e r s o n a nd Whittie r b ut

, ,

r a th e r the dec a den t neu r a stheni c N ew E n gl a nd o f M a ry

,

W il k in s F ree m a n a n d Alic e B r ow n Thes e sho rt st o ry .

write rs a nd n o t the older p o et s a re F ro s t s t r u e p re

, ,
’

d eces s o rs .

M E N D I N G WA LL

t
S ome h in g h ere t
is t h a t doesn t l ove a w all ’

Th a t s ends t h e fro z en ground swe ll under it - -

,

A n d s pi ll s th e u pp er bou l ders in th e sun ;

A n d m a kes ga p s e v en t wo c a n p a s s abre a s t .

Th e work o f h un t ers is a no t h er t h in g :
I h a v e come a f t er t h em a n d m ade re p a ir
Wh ere t h e y h ave l ef t no t on e s t one on s t one ,

Bu t t h e y wou l d h av e t he r abbi t ou t of h id i n g ,

To p l e a s e th e y el p in g do gs Th e ga p s I me an
.
,

No one h a s seen th em m a de or he a rd t h em m ade ,

B ut a t s p rin g men d i n g t ime we fi n d t hem t h ere

-
.

I l et m y n ei ghbor know beyond the hi l l ;

1 90 IN TR ODU CT I O N TO PO E TR Y
A nd on a d a y we mee t t o w a l k th e l in e
A n d se t th e w a l l b e t ween us once a ga i n .

We kee p th e w a l l b e t ween us a s we go .

To e a ch t h e b ou l ders t h a t h a v e f a ll en t o e a ch .

A n d some a re l o a v es a n d some so ne a r l y b al l s
We h a v e t o use a s p e l l t o m a ke t h em b a l a nce
S t a y w h ere y ou a re un ti l our b a cks a re t urned !
“

We we a r our fi n gers rou gh wi t h h a nd l in g th em .

O h j us t a no t h er k i nd of ou t door g a me
, ,

On e on a s i de I t comes t o l ittl e more

.

H e is a ll p ine a n d I a m a pp l e orc h a rd
-
.

M y a pp l e t rees w i l l ne v er get a cross

And e a t t h e cones under h is p ines I t e l l h im,
.

He on l y s a y s G ood fences m a ke good ne i ghbors

“
,
.

S p rin g is t h e misc h i ef i n me a n d I wonder

,

I f I cou l d p u t a no ti on in h is h e a d
Why do t h e y m a ke good ne i ghbors ? I sn t i t ’

Wh ere th ere a re cows ? Bu t h ere th ere a re no cows .

B efore I bui l t a w a ll I d a sk t o know

’

Wha t I w a s w al l i n g in or w a l l i n g ou t ,

And t o w h om I w as l i ke t o gi v e o ff ence .

S ome t h in g t h ere i s t h a t doesn t l o v e a w a l l

’

Th a t w a n t s it down ! I cou l d s ay E l v es t o him

” “ ”
,

Bu t i t s no t e l ves e x a c t l y a n d I d r a t h er
’

,
’

He s a i d i t for h imse l f I see h im th er e

.
,

Brin gin g a s t one g r a s p ed fi rm l y b y t h e t o p

In e a ch h and l i ke a n o l d s t one s a v a ge a rmed
,
-
.

He moves i n d a rkness a s it seems t o me ,

No t of woods on l y a n d t he s h a de of t rees .

He w i l l no t go b e h i nd h i s fa th er s s a yi n g
’

A n d h e l i kes h a v in g t h ou gh t of it so we l l
.

H e s a y s a ga i n G ood fences m a ke good nei ghbors

“
, .

R o b e r t F ro s t (1 8 75

Alth o u g h bl a n k ve r se i s no t s o old a s ri m ed verse it ,

t o b e r e m e m b er ed th a t the oldest E n glish p oet ry e

1 92 IN TROD U CTI O N TO P O E TR Y
h a ve s eldo m s u c c ee ded s o well with bl a n k ver se o r f r ee
“ ”
ve rse a s with ri m e I n hi s A r s Vi ct rix Au stin D o bs o n
. ,

imit a tin g the F r en ch p o et G a utie r give s thi s a dvi ce ,

the p oet
O Poe t th en forb e a r
Th e l oosel y —
, ,

s a nd al l ed vers e ,

Ch oose r a t h er t h ou t o we a r
T h e busk i n — s t r a it an d t erse ;

Le a v e to t h e ty ro s
’
h a nd
Th e l i m p
s h a p e l es s s tyl e ;
an d

See tha t t hy form dem a nd

The l abour of t h e fi l e .

B esi d e s
of a
ri m e h a s seve ra l v a lu able fu n cti o ns It .

o u tset t o d ifferen tia te a p g gm fro m p ro s e ; it hel p s t o

'
d m m -Q :

g ive u s the ri ght m o o d a t the be g n n in g It i s a l m o st

’

m
.

“
e i n l n b p oet ry ; T en nys o n s T ’
ind i y e a rs I dle ,

”
T e a r s is a l m o st the o nly s u c ce s sful bl a n k ve r se ly ric in
th e l a n g u a ge Rime fu rther m o re s upplies a p a rti a l
.
, ,

s ub stitut e fo r the mu si c whi ch o ri gin a lly a c c omp a nied

a l l p o et ry . T he c o mbined ri m es o f a s t a nz a g ive s o me
thin g o f the s a me effect a s a cho rd i n m u sic R im e o fte n .

s erve s a l s o t o st res s the m o st imp o rt

b a l a n c ed a ga i n s
a nothe r w o rd within the lin e as in ,

The s o u n d mus t seem an ech o t o th e s en s e .

To illu st r a te the diffe rent e ff ect s o bt a in a ble fro m p ro s e ,

bl a n k vers e a n d ri m e w e q u ot e th ree s ep a r a te t ra ns l a
, ,

ti o ns o f the openin g p a r a g r a ph o f the Il ia d The fi r st is .

 IA M B I C PE N TA M ET E R 1 93

f ro m the p o eti c s e m i bibl i c a l p r o s e ve r si o n o f L a n g L e a f

,
-
, ,

a nd Mye r s

S in g goddess t h e wr a t h o f A c h i l l es Pe l eus son t h e ruin

’

, , , ,

ous wr a th t h a t b rou gh t on t h e A c h a i ans woes in numer ab l e ,

a n d h ur l ed down in t o H a des m a n y s t ron g sou l s of h eroes an d ,

a v e t h eir b od i es t o be a p re y t o do g s a n d a l l win ged fow l s ;

g
a n d so th e couns e l of Zeus wrou gh t o u t i t s a ccom p l is h men t

from th e d ay w h en firs t s t rife p a r t ed A t reides kin g o f men , ,

a n d nob l e A chi ll es .

T he sec o n d ve r si on in bl a n k ve rs e m o d el ed
, on th a t o f
M ilt on i s by the E a rl o f Derby
,

O f Pel eus son Ac h i l l es sin g O Muse

’

, . , ,

The ven ge a nce dee p a n d de a d l y ; w h ence to G reec e

Unnumbered i l l s a rose ; w h ich m an y a sou l
O f mi gh ty w a rriors to th e v iew l ess s ha des
Un ti me l y s en t ; t h e y on t h e b a tt l e p l a in
Unbur i ed l ay a p re y t o r a v nin g do gs
,
’

An d c a rrion birds ; b u t so h a d J o v e decreed ,

From t h a t s a d d a y w h en firs t i n word y w ar ,

Th e mi gh ty A ga memnon K i n g of men , ,

C on fron t ed s t ood b y Pe l eus god l ike son

’
.

Th e thi rd ve rsi o n in ri m ed c o uplet s i s fr o m the f a m o u s

, ,

t r a n sl a ti o n by Alex a nde r P0 p e :
Ac h i ll es wr a th t o G reece th e direful s p rin g
’

O f woes unnumbered he a v en l y G oddess sin g !

, ,

Th a t wr a th w h ic h h ur l ed to Pl u t o s gl oom y rei gn
’

Th e sou l s of mi gh ty c h iefs un t ime l y s l ain :

Wh ose l imbs un b uried on the n aked s h ore
, ,

D e v ourin g do gs an d h un gr y v u l tures t ore :

S i nce gre a t A c h i ll es a n d A t rid e s s t ro v e ,

S uch w a s t he soverei gn doom an d such t h e wi ll o f Jove , .

Th e s k il f ul p oet s elect s th a t m et ri c a l fo rm whi ch i s

b e s t s uited t o the exp res si o n o f wh a t he h a s t o s a y The .
1 94 I N TROD U CTI O N TO PO E TR Y
b a ll a d s t a nz a a n d the o ct o syll a bi c c o uplet a re b est
a d a pte d t o sti r rin n a r r a tive Bl a n k ver s e a s w e have
g .
,

s een i s be s t a d a pted t o d r a m a tic epic a n d re fl ective

, , ,

p o et ry F o r s a ti re the p o et p refe rs the h er oi c c o uplet

.
,

o r the o t fo r a pensive them e the her oi c ,

q u a t r a in ; a n d g a d re a m pictu re the Speu -

,

s e ri a n st a n z a E a ch st a nz a i c f o rm ha s a ch a r a cte r o f
.

its own ; a n d in a dditi on it be a r s the imp re s s o f the

, ,

pe rs o n a lity o f the p o et who u s es it The pe rs o n a l e q u a .

tio n l a c k in g i n the fol k s o n g a n d the p opul a r b a ll a d

,
-
,

ente rs i n ; a n d Ke a ts s bl a n k ve r s e in spit e o f the m a r k ed

’
,

i n fl uenc e o f M ilt on c a n r a rely b e m ist a k en fo r th a t o f

,

P a ra d is e L o s t Th e s t a nz a ic f o r m s whi ch e m pl oy the
.

i a mbi c pent a m et e r line a re nu me ro u s a nd the v a riety o f ,

e ff ect s whi ch c a n b e sec u r ed fr o m v a ryin g the ri m es i s

very l a rge We sh a ll t ry t o p o int o u t the fitnes s o f the
.

m o r e imp o rt a nt s t a nz a ic fo rm s t o sp eci a l pu rp o ses a nd ,

sh o w a ls o how di fferen t p o ets h a v e a d a pted the m t o thei r

o wn sp eci a l ends .

Th e he ro ic c o up l e t c o n si st s o f two i a m bic pent a m et e r

lin e s r1 m1 n g i n p a l rs aa b b c c et c O c c a si o n a lly a p o em
, , , , .

’
c o ns ists o f o nly o ne c o upl et a s i n Adel a id e Cra p s ey s
,

ON S EE I N G WEATH E R B EA TE N -
TRE E S

I s i t a s p l a in l y in our l ivin g s h own ,

B y s l an t a n d t wis t which w ay th e wind h a th bl own ?

,

A d el a id e C ra p s ey (1 8 78 1 91 4) -

Th e h e roi c c o upl et h oweve r i s o rdin a rily f o u nd only in

, ,

l on ge r p o em s ; a nd i n spit e o f o ne o r tw o st ri k in g ex
,
1 96 IN TROD U CTI O N TO PO E TR Y

M a rl ow e e m ploy ed the he r o ic c o uplet in his H ero and

L e a nd er a n d Sh a k esp e a r e u sed it f re q uently i n his
, ,

e a rly pl a ys f o r th e cl o s in g lin es o f his s cen es S in c e the

,
.

cl o s e o f the E liz a be th a n a ge tw o dis tin ct types o f the ,

c o uplet h a ve devel op ed The fi r st u sed by D ryden P ope

.
, , ,

a nd thei r foll ower s i s r e a lly a st a nz a a ltho u gh they

, ,
“ ”
a lw a ys p ri nted thei r lines c o nt in u o u sly I n the cl os ed .

c o uplet a s it i s c a lled e a ch c o uplet i s a tho u ght u n it

, ,
.

T he re i s a l m o s t i nv a ri a bly a m a r k ed p a u s e a t the end

o f the s ec o nd lin e a n d u s u a lly on e a t the end o f the fi rs t
“ ”
line a s well The typic a l cl o s ed c o uplet i s ill us t r a t ed
.

’
by P ope s pithy lin es ,

True e a se in wri tin g comes from a rt n o t ch ance , ,

As th ose mo v e e a sies t w h o h ave l e a rned t o da nce .

“
I n the open c o uplet m u ch u s ed by the R o m a nti c p o et s
, ,

the m ove m ent a s i n bl a n k ver s e i s c o ntin u o u s

,
Th e , .

p a u s es u s u a lly o c cu r in the m iddle o f the lin e s eld o m a t ,

the en d .

P ope s pe rio d h a s bee n c a lled the A ge o f P r o s e a nd

’

R e a s o n At th a t ti m e even p o et ry c o nce rn ed it s el f with

.

s ubj ect s n o w g ene r a lly c o n sidered p r ope r f o r t re a t m ent

o nly in p r o s e The very titles o f hi s p oe m s A n E s s a y
.
,

on C ri tic is m, A n E ss ay on M an , M o ra l E ss a ys , sug

a the r th a n ver s
’
g est p r o s e r e Pope s p oet ry b el on g s t o
.

the lite r a tu re o f k nowled g e r a the r th a n t o the lite r a tu re

o f p owe r of re a s o n r a ther th a n o f im a gin a ti on Seld o m
, .

h a ve l a te r p o et s riv a led P op e a nd D ryden i n epi g r a mm a tic

p oint in k eennes s o f wit i n b rilli a nt s a ti r e o r i n techni c a l
, , ,

dexterity Th e he roi c c o uplet a s they u se it is a d

.
, ,

m i rably a d a pted t o thes e e n d s L a ter c riti c s h a ve f t c .

 I AM B I C P E N TAM E TE R 1 97

q u ently deni ed thes e ve rs es p o etic m e rit ; b u t whethe r

a ny

“ ”
p o et ry o r n ot the p o e m s a re cert a inly lit er a tu re
, .

“
D ryd en i n his L ine s P rinted u nde r the E n g r a ved P o r
t r a it o f M ilt o n r a n k s M ilt o n a b o ve b o th Ve r g il a n d
H ome r We h a ve he re p rinted e a ch c o upl et a s a sep a r a te
.

s t a nz a t o indic a t e the i ndependen t ch a r a cte r o f e a ch

“ ”
cl o sed c o uplet .

Th ree p oe t s , in t h ree d i s t a n t a ges born ,

G reece, I t a l y , a n d E n l a nd d i d a dorn
g .

Th e fi rs t in l o f t iness of t h ou gh t sur p a ss ed ,

The n e xt in m a j es ty , in bo t h th e l a s t.

Th e force of N a ture cou l d no f a r th er go ;

To m a ke th e t h ird s he j o i ned th e former t wo .

I n th e ext r a ct q u o te d fr o m W o rdswo rth s ’

The
l ud e,we n o t ed th a t the p o et c o nt rives t o s u gg est the
m oti on s o f the s k a te rs by the m ove m ent o f his lin es .

M a ny st ri k in g ex a mple s o f o n o m a t op oei a a re fo u n d in
“
T enny s on The follo wi n g lin e f r o m
. L o c k sl ey H a ll
”
Sixty Ye a r s A fte r i s s a id t o h a ve bee n hi s f a v o ri t e line ,

Univers al oce an sof tl y w a s h in g al l h er w a rl es s is l es .

An othe r m u ch q u oted p a s s a g e i s f r o m The P ri nc ess ,

Th e mo a n of do v es in immemori al el ms ,

A nd murmur in g o f innumer ab l e bees .

P e rh a p s the cleve res t u s e o f o n o m a t op oei a i s f ou n d i n

’
Pop e s E ss a y on C ri tic is m
Ti s no t enou gh no h a rs h nes s gi v es o ff ence,
’

Th e sound mus t seem a n ec h o t o th e sense .

S of t is t h e s t r a in w h en Ze p h y r gen t l y b l ows ,
1 98 IN TROD U CTI O N TO PO ETR Y

A n d t he smoo t h s t re am in smoo th er num b ers flows ;

Bu t w h en l oud sur g es l a s h th e sound i n g s h ore ,

Th e h o a rs e rou gh v ers e s h ou l d l i ke t h e t orren t ro a r

, .

Wh en A j a x s t r iv es some rock s v a s t we i gh t t o th row

’

Th e l ine t oo l ab ours a n d t h e words mo v e s l ow ;

,

No t so w h en swi f t C a m i l l a scours th e p l a i n
, ,

F l ies o er t h un b end i n g corn a n d skims a l on g the m ain

’ ’

, .

R o m a nti c p o et s rebell ed a
g a in st the p o eti c c o n
v en t i o n s

p o et s h a ve r eb elled a a i nst the p r a ctices o f the Vi ct o ri a n

g
p oets . T h e R o m a ntici sts eithe r di s c a rded the h er oi c
c o uplet o r h a ndl ed it i n a n enti r ely diffe rent m a n n e r .

“ ”
Th e f oll owin g p a s s a g e fro m Ke a ts s Sleep a n d P o et ry
’

ill u st r a tes b oth th e R o m a nti c u s e o f the c o uplet a n d the

revolt a ga in s t P ope s c on cepti on o f p o et ry The m ov e
’
.

“ ”
m ent o f the open c o uplet i s n o t s t a n z a i c b u t c o nti nu
o u s ; the p a u s es o c cu r chi e fl y i nside th e lin e a n d the
wo rds a re o ft en u nst r es sed .

A sch is m
Nur t ured b y fo pp er y a n d b a rb a rism ,

M a de g re a t A p o l l o b l us h for t h i s h is l and .

Men were t h ou gh t wise w ho cou l d no t unders ta nd

His gl ories : w it h a p u l i n g in fan t s force
’

Th e y sw a y ed a bou t u p on a rock i n g h orse ,

A n d t h ou gh t i t Pe ga sus . A h d i sm a l sou l ed !
Th e winds of h e a ven b l ew : t h e oce a n ro ll ed
I t s ga t h erin g w a ves— ye fel t it no t The b l u e
.

B a red i t s e t ern a l bosom a n d the dew

,

O f summer ni gh t s co ll ec t ed s t i l l t o m ake
Th e mornin g p recious : be a u ty w a s a w a ke !
Why were y e no t a w a ke ? Bu t y e were de a d
To t h in g s y e kn ew no t o f — were c l osel y wed
,

To mus ty l a ws l in ed ou t w i t h wre t ch ed ru l e
2 00 I N TR OD U CTI O N TO PO E TRY
a d ay, an d t h ere
s t ands she .

o n s it a n d l ook a t h er ? I said
b y d esi gn for n e v e r re a d
,

S t r an gers l i ke y ou t h a t pi c t ured coun t en a nce ,

Th e de pt h a n d p ass i on of i t s e a rnes t gl a nce ,

B rit t o m y se l f t h e y t urned (s ince non e p u t s b y

Th e cur t a i n I h a v e dr a wn for y ou b ut I ) ,
a .

A n d seemed a s t h e y wou l d a s k me i f t h e y durs t , ,

How such a gl ance c a me t h ere ; so no t t h e fi rs t ,

A re y ou t o t urn a n d a s k t h us S i r t w a s no t
’
.
,

H er h usb a nd s p resence on l y c al l ed t ha t s p o t
’

O f j o y in t o th e D uch ess ch eek : p er h a p s

’

F ré Pan d ol f ch anced t o s ay Her m a n t l e l a p s

“
,

O v er m y l a d y s wris t t oo muc h or Pa in t
’ ” “
,

Mus t ne v er h o p e t o re p roduce th e f a in t
H al f flu sh t h a t dies a l on g h er t h ro a t : such s t u ff
-
”

Wa s cour t es y s h e t h ou ght an d c ause enou gh

, ,

For c a l l i n g u p tha t s p o t of j o y S h e h ad .

A h e a r t—how s h al l I s ay — t oo soon m a de gl a d ,

Too e a s i l y i m p ressed : s h e li ked w h a t e er

’

S h e l ooked on a n d h e r l ooks wen t e v er y wh ere

, .

S i r t w as a l l one ! M y f a vor a t h er bre a s t

’

, ,

The dro pp in g of th e d ay l i gh t in the Wes t ,

Th e bou gh o f c h erries some o fli ci o u s foo l

B roke in th e orch a rd for h er th e w h i t e mul e ,

S h e rode wi t h round t h e t err a ce— a ll an d e a c h

Wou l d dr a w from her a l i ke t he a pp ro vi n g s p eech ,

Or b l us at l e s t S t nked men good ! b ut th an ked

h a h e h a —
,
.
,

S ome h ow — I know no t h o w — a s i f s h e r a nked

My gi f t of a nine h un dred y e a rs ol d n a me
- - -

Wi th a n ybod y s gi f t Who d s t oo p t o bl a me
’
.
’

Th i s sor t o f t r i flin g ? E v en h a d y ou ski ll

In s p eech— (w h i ch I h a v e no t ) — t o m a ke y our w i ll
Qui t e c l e a r t o such a n one an d s ay J us t t h is
,
“
,

Or t h a t i n y ou d i s gus t s me ; h ere y ou mis s ,

Or th ere e x ceed th e m a rk —a n d i f s he l et
”
 I A M B I C P E N TA M ETE R 201

H erse l f be l essoned so nor p la in l y s et ,

Her wi t s t o y ours forsoo t h an d m a de e x cus e

—E en t h en wou l d be some s t oo p in g ; an d I ch oos e
, , ,
’

N e v er t o s t oo p O h s i r she sm i l ed no doub t
.
, , ,

Wh ene er I p a ssed h er ; bu t who p a ssed w ith ou t

’

Muc h th e s a me smi l e ? Th is grew ; I ga v e comm ands

Th en al l smi l es s t o pp ed t o g e t h er Th ere she s t a nds .

A s i f a l i v e W 1 1 t p l e a s e l y ou rise ? We l l mee t
’ ’

”
.
_

The c om pan y el ow th en I re p e at,

.
,

The C oun t y our m a s t er s known m un ifi c en c e

’

I s a m p l e w a rr an t t ha t n o j us t p re t ence
Of mi ne for dowr y wi ll be dis al l owed ;
Th ou gh his f a i r d a u gh t er s se l f a s I a v owed
’

A t s t a r ti n g is m y ob j ec t N ay we l l go
’
.
, ,

To g e th er down sir No ti ce Ne pt une t h ou gh

,
.
, ,

Ta m i n g a sea h orse t h ou gh t a r a ri ty
-
, ,

Which C la us of Innsbruck c a s t i n bron z e for me !

R o b e r t B ro wni ng (1 8 1 2 1 88 9) -

P o et s o f t o d a y u s e th e her oi c c o uplet o ft ene r th a n a

c a s u a l r e a de r wo uld supp o s e fr o m the m a nn e r i n whi ch
olde r m et ri c a l fo rm s a r e c o ndemn ed W e m a y m enti o n .

“ ” “ ”
M a s efi el d s B i o g ra phy a n d Ships
’
Ruper t B ro o k e s ,
’

“ ” “
The G r e a t L ove r a n d R o be rt F r o st s
, The T u ft o f ’

”
Flowe rs .

TH E TUF T O F FLO WERS

I wen t t o t urn t h e gr a ss once a f t er one

Wh o mowed it in th e dew be fore th e s un .

Th e dew w a s gone t h a t m a de h is b l ade so keen

B efore I c ame t o view th e l eve l l ed scene .

I l ooked for h im behind an i s l e of t ree s ;

I l i s tened for h i s w h e t s t on e on t he bree z e .
202 IN TROD U CTI O N TO PO E T RY

Bu t h e h a d g one h is w ay, th e gr a ss a l l mown ,

A n d I mus be , a s h e h a d been , —
t a l one ,

As a l l mus t be I s a id wi t h in m y h e a rt
, ,

Wh e t h er th e y work t o ge t h er or a p a rt ”
.

Bu t a s I s a i d i t sw i f t t h ere p a ssed me by
,

On no i se l ess win g a bew i l dered bu tt erfl y ,

S eeki n g wi th memor i es grown dim over ni ght

S ome res ti n g flower of y es t erd y s de l i gh t
’
a .

And once I m a rked h is fli gh t go round an d round ,

A s w h ere some flower l ay wi t h erin g on t h e g round .

And t h en h e flew a s f a r a s e y e cou l d s ee ,

A n d t h en on t remu l ous w in g c a me b a ck t o me .

I t h ou gh t o f ques ti on s th a t h a ve n o re p l y ,

A n d wou l d h av e t urned t o t oss t h e g r a ss t o d ry ;

Bu t he t urned fi rs t a n d l ed m y e y e to l ook
,

A t a ta l l t uf t of flowers b es i de a b rook ,

A l ea p in g t on gue of b l oom th sc yth e h d s p red

e a a

Bes i de reed y brook th e scyt h e h d b red

a a a .

I l ef t m y p l a ce t o kn ow t hem b y th eir n ame ,

F ind i n g t h em b u tte rfly weed w h en I c a me

-
.

Th e mower in th e dew h a d l o v ed th em th u s ,

B y l e avin g t h em t o flour i s h no t for us

, ,

Nor y e t t o dr a w one th ou gh t of ours t o h im ,

Bu t from s h eer mornin g gl a dness a t th e br im .

204 IN TRODU CT IO N TO PO ETRY
B oth q u a t ra i n a nd c o uplet e ff ect s a re sk il ful ly c om
bin ed in s eve r a l o f the st a nz a i c f o rm s dis cu s sed l a te r in
thi s ch a pte r .

T h e m o st f a m o u s o f a l l p o e m s i n the her oi c q u a t r a i n i s
T hom a s G r a y s “
E legy W ritten in a C o u nt ry Chu rch
’

”
y a rd . T his p oem it sho uld be n ot ed i s n o t s t ri ctly
, , ,

“
sp e a k in g a n elegy a t a l l fo r u nli k e M ilt o n s Lycid a s
, , ,
’

“ ”
a n d Shelley s Ado n a is it i s n o t a l a m ent o c c a si oned
’
,

by the de a th o f a p a rticul a r pe rs on The he roi c q u a t r a i n .

h a s been c a ll ed the eleg i a c st a nz a be c a u se o f its s upp o sed

r ese m bl a n c e t o the L a ti n ele gi a c c o upl et B oth t h e a n .

cient a nd th e m o de rn fo rm a re well a d a pted t o re fl ective

p oet ry . I n G r a y s ti m e m el a n choly w a s the p o eti c
’

“ ”
f a shi o n M ilt o n s Il P en se r o s o wa s a f a v o rite a n d
.
’
,

“ ”
it s et the m o o d fo r the s o c a lled G r a vey a rd S ch o ol o f
-

p o ets whi ch in clu ded C ollin s Bl a i r Y ou n g a nd G r a y

, , , ,

“ ” “ ”
B ry a nt s Th a n a top si s a nd Hy m n t o De a th a re the
’

A m e ri c a n r ep re s ent a tives o f thi s m el a n ch oly typ e o f

p o et ry .

A s p oe m s whi ch b o th the a v er a g e re a der a nd the c riti c

“ ” “
a li k e c on side r g re a t G r a y s E le gy a n d P o e s The
’ ’
,

”
R a ven a re a lm o st u n riv a l ed At the s a m e time it m u st
.
,

b e a d m itted th a t c ritic s h a ve fr eq u en tly p re fer r ed the les s

“
k n o wn p o em s o f b oth G r a y a n d Po e The E le gy i s .

no t a g re a t p o em bec a u s e o f a ny p r o fo un d o r o ri g in a l
id e a whi ch it exp r es ses fo r every th o u ght ful m a n a n d
,

w o m a n who h a s vi sited a c emet ery h a s h a d the s a m e

tho u ght s The p oem i s g re a t b ec a u s e G r a y h a s g iven t o
.

tho u ght s c o m m o n t o a ll men the fines t a rti stic exp re s si o n

whi ch they h a ve yet fo und .

“ ”
The chie f d efect t o be fo und in the E l egy i s the o c
c a s io n a l u s e o f a h a c k neyed p o eti c dictio n E i ghteenth .

c entu ry p o ets disli k ed t o c a ll a sp a de a sp a de ; they we re

m u ch m o r e likely t o c a ll it a g a rden i m pl e m ent S wain .

a nd l e b e fo r m a n a n d s oil a re ex a m ples The c o n cl u di ng

g .

epit a ph i ntended f o r the p o et hi m s el f i s i n fe ri o r t o t he

, ,

r e m a i nd e r o f the p o em a n d det r a ct s s o m ewh a t f ro m it s

u nity o f t on e Pro vo ke in the eleventh s t a n z a 1 8 u s e d
.
, ,

i n the L a tin s en s e o f c a ll fo rth I n the sec o n d s t a n z a .

s t ill n es s i s the s ubj ect a n d a i r the o bj ect

, o f ho l d s In , .

th e ni nth st a nz a whi ch i s o fte n m is q u ot ed ho u r i s n o t

, ,

“
the o bj ect but th e subj e ct o f a wa i t s ; the i n evit a bl e
”
ho u r o r de a th w a it s in a m b u sh
, , .

E L E GY WR I TTE N I N A C OUN TRY

C HU RC HYA RD

The curfew t o ll s th e kne l l of p a r t in g d ay,

Th e l ow i n g h erd winds s l ow l y o er th e l ea,
’

Th e p l owm n homew rd pl ods his we ry way

a a a ,

And l e ves th e wor l d t o d rkn ess n d to me

a a a .

Now f a des immerin g l andsc a p e on t he si ght,

t h e gl
a so l emn s ti l l nes s ho l ds
A n d a l l th e a ir ,

S ave w h ere th e bee t l e w h eel s h is dronin g fli ght ,

A n d drows y t ink l i n gs l u ll th e d i s t a n t fo l ds ;

v t t from y onder i vy m n tl ed t ow r
S a e ha -
a
’

Th e mo pi n g wl does t o th e moon com p l in

o a

d i g ne r h e secre t bow r
’
O f suc h ,
w as an
’
r n a r ,

Mo l es t h nc i en t so l it r y rei gn
er a a .

B ene a th t h os e ru gged e l ms t h a t y ew t ree s sh ad e

,
-
’

Wh ere h e a ves th e t ur f in m an y a m oul d rin g he ap ’

,
2 06 IN TROD U CTI O N TO PO E TRY
E a ch in his n a rrow ce l l for ever l aid ,

Th e rude Foref a t h ers o f th e ha m l e t s l ee p .

Th e bree z y c a l l of incense b re a t h in g Morn

-
,

Th e sw al l ow t w i tt rin g from th e s t r a w bui l t shed

’
-
,

The cock s s h ri ll c l a rion or t h e ec h oin g horn

’

, ,

N 0 more s h all rouse them from th eir l owl y bed .

For t hem no more th e bl az in g h e a r t h s h al l burn ,

Or b us y h ousewi fe pl y h e r e v en i n g c a re :
No c h i l dren run t o li s p t h eir sire s re t urn ’

Or c l i mb h is kn ees th e en v ied k iss t o s h a re .

O f t did th e h a r v es t to t h eir sickl e y iel d ,

Th e i r furrow of t t h e s t u b born gl eb e h a s broke ;

How j ocun d d i d t h e y dri v e th eir t e a m a fi e l d !
How b o w d th e woods bene a th t h eir s t urd y s t roke !
’

Le t no t A mb iti on mock t h ei r useful to i l ,

Th eir h ome l y j o y s a n d des ti n y obscure ;

,

Nor G r a ndeur h e a r w it h a d i sd a in ful smi l e ,

The s h or t a n d sim p l e a nn al s of th e p oor .

Th e bo a s t of h er al dr y th e p om p of p ow r
,
’

A n d a l l t h a t b ea u ty a ll t h a t we al t h e er ga ve
’

, ,

Aw a it s a l ike th in e v i t a b l e h our
’

Th e p a t h s o f gl or y l e a d bu t t o th e gr a ve . .

Nor y ou y e Proud im p u t e t o Th ese th e f aul t

, , ,

I f Memory o er t h e i r Tom b no Tro p h i es r a ise

’

Wh ere th rou gh th e l on g dr a wn a is l e a n d fre tt ed v a ul t

-

Th e p e a l i n g a n t h em swe l l s t h e no t e o f p r a i se .

C an s t or i ed urn or a n i m at ed bus t
'

B a ck to it s m a ns i on c all t he flee t in g bre a th ?

208 I N TR ODU CT IO N T O PO E TRY
Or h e a p the s h rine o f Lu x ur y a n d Pride
Wi t h incens e kind l ed a t th e Muse s fl ame ’
.

Fa r from th e m a dd i n g crowd s i gnob l e s t rife

’

Th eir sober wis h es ne v er l e a rned t o s t r a y ;

A l on g th e coo l seques t ered v al e o f l i fe
Th e y ke pt t he no i sel ess t enor of t h eir w ay .

Y et e v en t h ese bones from insu l t t o p ro t ec t ,

S ome fr a i l memor i al s ti l l erec t ed n i gh ,

Wit h uncou t h r h y mes a n d s h a p el es s scu l pture decked ,

Im p l ores th e p a ssin g t r i bu t e o f a s igh .

Th e i rn ames their y e a rs s p el t b y th e un l e tt ered muse

, , ,

Th e p l a ce o f f a me a n d e l e gy su pp l y :

A n d m an y a h o l y t e xt a round s h e s t rews ,

Th a t t e a c h th e rus t ic mor a l is t to d ie .

For who t o dumb For ge t fu l ness a p re y ,

Th i s p l e a sin g a n xi ous b e i n g e er resi gned

’

Left th e w a rm p rec i nc t s o f t h e c h eerful d a y ,

Nor c a s t one l on gi n g l in ger i n g l ook b eh i nd ?

On some fond bre a s t th e p a r tin g sou l rel i es ,

S ome pi ous dro p s t h e c l os i n g e y e requires ;

E v n from th e
’
t omb th e v o i ce of N at ure cries ,

Ev n in ou r a s h es l iv e t h e i r won t ed Fires
’
.

For t h ee w h o mindfu l of th e un h onored D e a d

, ,

D os t i n t h ese l i nes t h eir a r t l ess t a l e rel a t e ,

I f c h ance b y l one l y con t em p l a ti on l e d

, ,

S ome k i ndred S p ir it s h a ll i nqu i re thy f a t e ,

H a p l y some h o a r y h e a ded
-
i
S w a n m ay s a y,
“
Oft h a v e we seen h im at t h e ee p p of d wn a
 I A M B I C P E N TA M E TE R 209

B rus h in g wi th h a s ty s t e p s the dews a w a y

To mee t t he sun u p on t h e u p l a nd l a wn .

Th ere at th e foo t o f y onder noddin g beech

Th a t wre a th es i t s o l d f a n t a s ti c roo t s so h i gh ,

H i s l i s t l es s l en gt h a t noon ti de wou l d h e s t re t ch ,

A n d p ore u p on t h e b rook t h a t b ab b l es b y .

H a rd b y y on wood now sm i l in g a s in scorn

, ,

Mu tt erin g h is w a y w a rd f a nc i es h e wou l d rove ,

Now droo p in g woefu l w a n l i ke one for l orn

, , ,

Or cr a z ed w it h c a re or cros sed in h o p e l ess l ove

,
.

One morn I missed h im on th e cu s t omed h il l ,

A l on g th e h e a t h a n d ne a r h i s f a vor it e t ree ;
A no t h er c a me ; nor y e t b es i de th e r i l l ,

Nor u p th e l a wn nor a t th e wood w a s h e ;

,

Th e ne xt wi t h dir ges due in s a d a rr a y

S l ow t h rou gh th e c h urc h w a y p a t h we -
s aw h im borne .

A pp ro c h
a re a d (for t h ou c a n s t re a d ) th e
an d
’
l ay,
G r aved on th e s t on e ben e a th y on a ged t horn

TH E E PI TA PH

H e re r es t s his h e a d upo n th e l ap of E a r th
A Yo u t h t o F o r t u n e a n d t o F a m e un kn o wn.

F a i r S c ie n c e f ro wn d his h u m b l e b i r th,
’
no t on

A n d M e l a n c ho l y m a rk d h im
’

f or he r o wn .

t
L a rge was his b o u n y a n d his s o u l s i n c e r e,
,

H ea v n d id a r e c o mp e n s e a s l a rge l y s en d
’

H e g a ve to Al is ry a l l h e h ad a t ea r
’

, ,

H e ga in d fro m H e a v n ( t w as a l l he wis h d ) f r ie n d
’ ’ ’ ’
a .
21 0 IN TROD U CTI O N TO PO E TR Y

No f r tah e r s e e k his m e ri t s to d is c lo s e ,

O r d r a w h is f r a il t ie s f ro m t h e i r d r e a d a b o d e ,

(Th e r e t h e
y a l ik e i n t r e m b l in
g h o p e re os e )
p
Th e b o s o m of his Fa th e r a n d his God .

Thom a s G r ay (1 7 1 6 1 771
-
)

G r a y wa s o ne o f the m o st c a reful a rtis ts wh o eve r w rote

“ ”
in ve rs e H e wo r k ed o n the E le gy inte rm ittently fo r
.

s even ye a r s a nd p ublished it a t l a s t o nly t o p revent it s

,

bein g i n a c cu r a tely p ri nted by a n un s c r upul o u s b o o k selle r .

“ ”
Po e in The Phil o s ophy o f C o m p o siti o n
, st a tes th a t i f ,

he c o uld h a ve w ritt en a ny bette r st a nz a s th a n th a t which

“ ” “
m a r k s the cli m a x o f The R a v en he wo uld witho ut ,

s c ruple h a ve p u rp o s ely en feebled them s o a s n o t t o i nte r

, ,

”
fe r e with the cli m a cte ri c e ff ect G r a y dis c a rded a s u n
.

s uit a bl e sever a l st a nz a s which a re a s be a u tiful a s m a ny

which h e u s ed The fir st of the followin g o m itt ed st a nz a s
.

c a m e a fte r the ei ght eenth st a nz a an d the s ec o n d

’

d ia t el y befo re the epit a ph

H a rk how the s a cred C al m t h at broods a round , ,

B i ds e v r y fi erce t umu l t uous Pa ss ion ce a se

’

In s t i ll sm a l l A ccen t s w his p rin g from th e G round

’

A gr a t efu l E a rnes t o f et ern a l Pe a ce .

Th ere
’
s c a t t er d e a r l ies t of th e y e a r
of t t he
B y h ands unseen a re frequen t V i ol e t s found ;
Th e Ro b in l o v es t o bu i l d an d w a rb l e t h ere ,

A n d l itt l e Foo t s te p s l i gh t l y p r in t th e G round .

T ho u gh neve r wid ely u sed the he r oi c q u a t r a in seem s

,

t o b e empl oyed a s f re q u ently t o d a y a s it h a s eve r b een .

“ “
Th ree o f M a s efi el d s best p o e m s’
Au g u st The , ,
” “
R iver a nd
, The W a ndere r ‘
a re w ri tte n i n thi s st a nz a
,
’
.
21 2 I N TRODU CT IO N T O PO E TR Y
A p ha n t om s a l u t a ti on o f the de a d
Ran g t h in l y ti l l o l d Eb en s e y es were dim
’
.

Th en , mo t h er l ay s h e r s l ee pi n g ch il d
as a

D own t ender l y fe a r i n g it m ay a w a ke
, ,

H e se t th e j ug down s l ow l y a t h is fee t
Wi t h t rem bl i n g c a re know i n g t h a t mos t t h in gs bre ak
,

A n d on l y w h en a s sured t h a t on fi rm e a r th
I t s t ood a s t h e uncer t a in l iv es of men
,

A ssured l y d i d no t h e p a ced a w a y , ,

And wit h h i s h a nd e xt ended p a used a ga in

We ll M r F l ood we h a v e no t me t l i ke t h i s
,
.
,

In a l on g ti me ; a n d m an y a ch a n ge ha s come
To bo t h o f us I fe a r s i nce l a s t it w as
, ,

We h a d a dro p t o ge t h er We l come h ome ! .

C on v i vi a l l y re t urn i n g w it h h ims e l f ,

A ga in h e r a i sed t h e j u g u p t o t h e l i gh t '

A n d w it h a n a cqu i escen t qu a v er s a i d
We ll Mr F l ood if y ou i nsis t I mi ght
, .
, , .

On l y a ver y l itt l e Mr F l ood ,

.

For au l d l a n g s y ne No more sir ; th a t wi ll do

.
, .

S o for t h e ti me a pp a ren t l y it d i d
, , ,

A n d Eb en e vi den t l y t h ou gh t so t oo ;
For soon a mid t h e s i l v er l one l i ness
Of n i gh t h e l i f t ed u p h is v oice an d s a n g ,

S ecure w it h on l y t wo moons l is t en i n g
, ,

Un ti l th e w h o l e h a rmon i ous l a ndsc a p e r an g

For a u l d l an g s yne Th e we a r y t h ro a t ga v e o ut
.
,

Th e l a s t word w a v ered ; a n d t h e son g b e i n g done ,

He r a i sed a ga i n t h e j u g re gre t fu l l y
A n d s h ook h i s h e a d a n d w a s a ga i n al one
, .

Th ere w a s no t muc h t ha t w a s a h e a d o f h im ,

And there w a s no t h i n g in th e t own be l ow

 IA M B I C PE N TA M E TE R 21 3

Where s t r an gers wou l d h a v e s h u t t he m a n y doors

Tha t m a n y friends h a d o p ened l on g a go .

E d w in A r l i ng t o n R o b i ns o n (1 86 9

In hi s p a r a ph r a s e o f a P e r si a n p o e m The Rub é iy d t , w

of Om a r K h a yy d m E dw a rd F itz g er a ld h a s m a de f a m o u s
,

a n other fo u r lin e s t a nz a
-
whi ch ri m es a ab a The p o p u
, .

l a ri t y o f the R u bci iy ci t in it s d a y w a s du e i n p a rt t o a
sec on d vo g u e o f m el a nch oly p o et ry i n the l a st h a l f o f the
n inet eenth centu ry We q u ote a few o f th e be st st a nz a s
.

C ome , fi l l t h e C u p , a n d in t h e fi re o f S rin g p
Your VVin te r- ga rmen o f R e en ance fl n g : t p t i
i i
Th e B rd o f T me h a s b u t a l l e w a y itt
To flu tt er— an d th e B i rd is on t h e l Vi n g .

A Book o f V erses underne a t h th e Bou gh ,

A J u g of Wi n e a Lo a f o f B re a d— a n d Th ou
,

Bes i de me s i n gin g i n th e Wi l derness ’

O h Wi l derness were Pa r a dis e enow !

,

O h, m y B el o v ed fi l l th e C u p t h a t cl e a rs
,

To d a y o f p a s t Re g re t a n d fu t ure Fe a rs
-

To morrow — \ Vh y To morrow I m a y be
-
.
,
-

M y se l f wi t h Yes t erd a y s S e v n t hous a nd Ye ars

’ ’
.

The Mo vi n g Fin ger wr it es ; an d h avi n g writ , ,

Mo v es on : nor a l l y our Pi e ty nor Wit

S h al l l ure it b a ck t o c a nce l h al f a L i n e
Nor al l y our Te a rs w a s h ou t a IVo rd o f i t .

And t h os e w h h usb nded t h G o l den gr ain

o a e ,

A d t h os e w h flun g it t t h w i nds l i ke R in
n o o e a ,

A l i ke t o no suc h ure t e E r t h
’
tu n d
a a a a re r

As buried once Men w n t d g u p g in

, ,
a u a a .
21 4 I N TRODU C T I O N TO PO ET RY
The ei g ht line st a nz a k n ow n a s o t t a va rima ri m in g
-
,

a ba b a b cc is, m o re c ommo n i n It a li a n f r o m whi ch it w a s

,

bo r r owed th a n i n E n glish The fo rm i s best a d a pted t o

, .

“ ” “
s a ti re ; a d m i r a bl e ex a m ples a re B yr o n s B epp o Th e
’
,

V i si o n o f Jud gm ent
”
a nd
, D o n J ua n Whit t ier s .
’

“ ” “ ”
I ch a b o d a n d B rownin g s The L o s t L e a d e r c o nt a in
’

“
n o m o re s c a thin g denu nci a ti o n th a n The Vi si o n o f J ud g
”
m e nt in whi ch By r o n ex p res ses hi s opini o n o f R obe rt
,

S o uthey a n d G eo r g e I I I .

In rs t y e a r of freedom s second d a wn
th e fi
’

D ied G eor g e t h e Th i rd ; a l th ou gh no ty r a n t on e ,

Wh o s h ie l ded ty r a n t s ti ll e a c h sens e w ith dra wn

,

Lef t h im nor men t a l nor e xt ern a l sun ;

A be tt er f a rmer n e er b ru s h d dew from l a wn
’ ’

A worse k i n g ne v er l e f t a re a l m un done !
H e d i ed— b ut l ef t h i s sub j ec t s s ti l l be h i nd ,

One h a l f a s m a d — a n d t o th er no l ess bl ind

’
.

He d i ed ! hi s de a t h m a de no gre a t s t ir on e a r t h
H i s b ur i a l m a de some p om p ; t h ere w a s p ro fus i on
Of ve l v e t gi l d i n g b r a ss a n d no gre at de a r t h
, , ,

Of au gh t s av e t e a rs— s a v e t h ose s h ed b y coll us i on .

For t h es e th i n gs m a y b e bou gh t a t th e i r t ru e wor th ;

O f e l e gy t h ere w a s th e due i n fusion
Bou gh t a l so ; a n d t h e t orch es c l o a ks an d b ann ers
, , ,

H er a l ds a n d re l i cs of o l d G o t h ic m a nners
,

Fo rm d
’
se p ul ch r al me l odr a me O f a l l
a .

Th e foo l s w h o flo ck d t o swe l l or see t h e s h ow

’

Who c a red a b ou t t h e cor p se ? Th e funer al

'

M a de t h e a tt r a c ti on an d th e b l a ck th e woe
, .

Th ere t h ro bb d no t t h ere a t h ou gh t w h i c h p ierced

’

And when the gor geous coffin w a s l a id l o w ,

21 6 IN TR OD U CT IO N TO PO E TR Y
The h e a vy t roub l ebewi l derin g c a re
, th e
Th a t we i gh s us down w h o l iv e a n d e arn our
These i d l e v erses h a v e no p ower t o b e a r ;
S o l e t me s i n g o f n a mes remem b er ed ,

Bec a us e t h e y l ivi n g no t c a n ne er be de a d
, ,
’

Or l on g t ime t a ke t h e i r memor y qui t e a w a y

From u s p oor s i n gers o f an em pty d ay .

D re a mer of dre a ms born ou t o f m y due t ime

, ,

Why s h ou l d I s t ri v e t o se t t h e crooked s t r a i gh t ?
Le t it s u fli ce me th a t m y murmur i n g r hy me
Be a t s w it h l i gh t w i n g a ga i ns t t h e i vor y ga te ,

Te l l i n g a t al e no t t oo im p or t un a t e
To t h ose w h o in t h e s l ee py re gi on s t ay ,

Lu ll ed b y the s i n ger of an em pty d ay .

Fol k s a y a w i z a rd t o a nor th ern k i n g

,

A t C h r i s t m a s ti de suc h wondrou s t h i n g s d i d s h ow
-

Th a t t h rou gh on e w i ndow men beh e l d t h e s p rin g ,

A n d t h rou gh a no th er s a w th e summer gl ow ,

A n d t h rou gh a t h i rd t h e fru it ed vi nes a row -

,

Wh i l e s ti l l un h e a rd b u t in i t s won t ed w ay
, , ,

Pi p ed th e dre a r wind o f t h at D ecember d ay .

So wi th t h i s E a r t hl y Pa r a dis e i t is ,

I f y e w i ll re a d a r i gh t an d p a rdon me
, ,

Who s t ri v e t o b u i l d a s h a dow y i s l e o f b l is s
M i dmos t th e b e a ti n g o f th e s t eel y s ea ,

Wh ere t ossed a bou t a ll h e a r t s of men mus t be ;

Wh ose r a ven i n g mons t ers m i gh ty men s h all s l ay ,

No t th e p oor s i n ger o f an em pty d ay .

Will ia m M orri s (1 884

John M a s efield u s es im e
r r oy a l in D aub er, The
Wid o w in t he B y e S t reet , an d The D a ff o dil F ie ld s .

Altho u g h M a s efi eld received hi s p o eti c inspi r a ti o n f ro m

 I A M B I C P E N T A M ET E R 21 7

C h a u c e r,
hi s u s e o f rim e r oy a l h a s little o f the Ch a u ce ri a n
m el o dy a nd ch a rm whi ch M o rri s o ften rec a ptu r ed ; i n
f a ct the s t a nz a g ives a n enti rely di ffe rent e ff ect th a t o f
, ,

vividnes s a n d p owe r We q u o te the openin g st a nz a s o f

.

The Wid o w in t he B y e S t ree t :

D own B y e S t ree t i n a l itt l e S h ro p s h ire t own

, ,

Th ere l iv ed a w i dow w it h h e r on l y son :

S h e h a d no we a l t h nor tit l e t o renown ,

Nor a n y j o y ous h ours n e v er one

, .

S h e rose from r a gged m a tt ress b efore sun

A n d s tit c h ed a l l d a y un ti l h e r e y es were red ,

A n d h a d t o s tit c h bec a use h e r m an w a s de a d

, .

S ome t imes she fe l l a s l ee p s h e s t i t ch ed so h a rd

, ,

Le tt in g th e l i nen f all u p on t h e floor ;

A n d hun g r y c a t s wou l d s t e a l i n from t h e y a rd ,

A n d m a n gy c h i cken s p ee k e d a b ou t t h e door ,

C r a n i n g t h eir necks so r a gged a n d so sore

To se a rc h th e room for bre a d crum b s or for mouse
-
,

Bu t t h e y got no th i n g in th e w i dow s h ouse ’

.

Mos tl y s h e m a de h er b re a d b y h emmin g s h rouds

For one ric h under t aker in the H i gh S t ree t ,

Wh o used t o p r a y t h a t fo l ks m i gh t d i e i n crowds
A n d t h a t t h e i r friends mi gh t p a y t o l e t th em l i e swee t ;
An d w h en one died t h e widow i n th e B y e S t ree t
S t i t c h ed ni gh t a n d d a y t o giv e t h e worm h i s do l e .

Th e de a d were be tt er dress ed t h an th a t p oor soul .

The S gen s eria n s ta nza , n a m ed fo r E d m u nd

Spen se r ,

who fi rst u sed it in The F a erie Q ueene i s the m o st st a t el y

,

a n d i m p res s ive s t a nz a ic f o rm i n E n li sh
g p o et ry It con .

si st s o f n in e lin es ri m in g a b a bb c b c c I t s ri m e s che m e is
.

identi c a l with the fi r s t nine line s o f th e Sp ens e ri a n s o nnet

The n inth lin e which c o nt a in s s ix feet an d i s c a lle d a t
,
21 8 I N TR ODU CTI O N TO PO E TRY
A le x a nd rine, gives
“
full r o u nd cl o s e t o the st a nz a S o m e
a .

of the g re a tes t p oem s in E n gli sh h a ve been w ri tten in thi s

exc eedi n gly difficult me a s u re a lth o u g h it h a s b ee n little
,

u s ed du rin g the p a st hund red ye a r s F r o m The Fa erie

.

Q u een e we q u ote the st a nz a s which des c ribe the a b o de o f

,

M o rpheu s the g o d o f sleep

,
N o fin e r ex a mpl e o f
.

o n o m a t o p mia c a n be fo un d i n E n gli sh p oet ry Of n o t h .

ing he t a k es k eep m e a n s h e p a y s n o a ttenti o n t o a ny

thin g .

m a kin g s p eed y w ay t hrou gh s p ers ed a i r

H e,
’

A n d t h rou gh t h e wor l d of w a t ers w i de a n d dee p ,

To Mor p h eus h ous e do t h h a s t i l y re p a i r

’
.

A m i d th e bowe l s o f t h e e a r t h fu l l s t ee p ,

A n d l o w w h ere d a wnin g d ay do th n e v er p ee p
, ,

H i s dwe l l i n g i s ; t h ere Te t h y s hi s we t bed

D o t h e v er w a s h an d C y n t h i a s ti l l do t h s t ee p
,

In s i l v er dew h i s e v er droo p in g h e a d
-
,

Whi l es s a d N i gh t o v er him h er m a n tl e b l a ck do th s p rea d .

Wh ose dou b l e ga t es h e fi n d eth l ock ed f a s t ,

Th e one f a ir fr a med o f burnis h ed ivor y ,

Th e o t h er a l l w ith s i l v er o v erc a s t ;
An d w a kefu l do g s b e fore t h em f a r do li e ,

Wa t ch in g t o b anis h C a re t he i r enem y
, ,

Wh o of t is won t t o t roub l e g en t l e S l ee p .

B y t h em th e s p r it e do th p a s s in quie t l y ,

A n d un to Mor p h eus comes w h om drown ed dee p

,

In drows y fi t h e finds : o f no t h i n g h e t akes kee p .

And more t o l u l l him in his s l umber soft ,

A t r i ck l i n g s t re a m from h i gh rock t umbl in g down ,

A n d e v er dri z z l i n g r a i n u p on t h e l of t
-
,

Mi x ed w ith a murmurin g wind much l ike the s oun ’

O f sw a rm i n g bees d i d c a s t him in a s woon

, .
22 0 I N TRODU CTI O N TO PO E TRY
A fte r The F a e rie Q u een e th e tw o g r e a t est p o e m s in the ,

“ ’
Spens eri a n st a nz a a re p r ob a bly Ke a t s s E ve o f St .

”
A g n es a nd By r o n s Child e H a ro ld s P ilg rim ag e W e
’ ’
.

q u ot e the openin g a nd cl o sin g st a nz a s o f Ke a t s s p o em ’

.

S eldo m d o we fi nd a p o e m which s o well st ri k es the ri g ht

n o te in the openi n g line a n d s u st a in s it t o the ve ry end .

A gnes E v e— A h, b itt er c h i l l i t w s !
’
St . a

Th e w l for l l h i s fe t h ers w s
o ,
a co l d ; a ,
a a-

Th e h re l im p d t rem b l i n g t h rou gh th e fro en gr s s

’

a z a ,

A d s i l en t w
n th e flock i n woo l l y fo l d
as

Numb were th B e dsm n s fi n gers w h i l e he t ol d

e a a
’

H i s ros r y n d w h i l e h i fros t ed bre t h

a ,
a s a ,

Like pi ous incense from censer l d a o ,

S e m d t kin g fli gh t for h e v en wi th ou t de th
’
e a a ,
a a ,

P s t th e swee t V ir gi n s pi c t ure w h il e his p r ay er h e s aith

’
a , .

And t he y are gone : a y a ges l on g a go , \

Th ese l o v ers fled a w a y in t o th e s t orm .

Th a t n i gh t th e B a ron dre a m t of m a n y a woe ,

A n d a ll h i s w a rrior gues t s w it h s h a de a n d for m

-
,

Of wi t ch an d demon an d l a r ge c o ffin worm

, ,
-
,

Were l on g b e n ightm a r d A n gel a th e ol d

-
’
.

Died p al s y twitch d wi th me a gre f ace defor m ;

-
’

Th e Be a dsm a n a f t er t h ous and a ves to l d

, ,

For ay e un sou gh t for s l e pt a mon g h is a sh es col d .

B y r o n s u s e o f the Sp en s e ri a n s t a n z a di ff e rs gre a tly

’

f ro m Spen s er s H e give s the m e a s u re a p owe r a n d sweep

’
.

whi ch c o m p en s a te f o r the m elo dy a n d finish which his

p o et ry l a c k s By r o n s v ers e i s sin g ul a rly uneven S o m e
.
’
.

o f the foll owin g lin es a re p o o r a n d o n e i s a ctu ally ,

r a m m a ti c a l ; b ut the o the r lin es a re a l m o s t p erfect o f

g
thei r k ind We q u ot e the a p o str ophe t o the Oce a n
.
,
 IA M B I C P E N TA M ETE R 22 1

V
re a test o f a l l the m a ny fin e p a s s ag es in
(

g
. r
y which de a l with the s e a .

is a p l e a sure in th e p a thl es s woods ,

is a r a pt ure on th e l onel y s h ore ,

is soc i e ty w h ere none in t rudes ,

dee p S e a a n d music in i t s ro a r
,

no t m an th e l ess bu t N a t ure more , ,

t h ese our in t er v iews in w h ich I s t ea l ,

a l l I m a y be or h ave been before , ,

n gl e w it h th e Uni v erse an d feel ,

c a n n e er e xp ress y e t c a nno t al l conce al

’
.
,

.n t hou dee p n d d a rk b l ue Oce n—rol l !

,
a a

hous nd flee t s swee p over t h ee in v in ;

a a

m k th e e r t h wi th ruin— h i s con t ro l
ar s a

wi t h th s h ore — u p on th e w t er y p l in
e a a

rr eck s e l l th y deed nor do t h rem in

ar a ,
a

dow of m n s r v ge s v e his own

a
’
a a ,
a ,

for momen t l ike dro p of r in

a , a a ,

mk s in to thy de pt h s wi th bubb l i n g gro n a ,

gr a ve, unk n el l d, d unknown

’ ’
a d, u n co flin an .

. eps no t u p on thy p at hs—th y fiel ds

a re

ot a s p oi l for h i m— t hou dos t a rise

ha ke h im from t h ee ; t h e v i l e s t ren gt h he wi elds

arth s des t ruc t ion t h ou dos t a l l des p ise
’

in g h im from th y bosom t o th e sk i es ,

en d s t h i m s h iverin g in thy p l a y fu l s p r a
’

, y ,

ow l in g t o hi s G ods where h a p l y l i es
.
, ,

ett y ho p e i n some ne a r p or t or b a
y ,

h es t h im a ga i n t o e a rt h— t h ere l et h im l ay .

rm a m en t s whic h t h unders t rike th e w al ls

ck bui l t ci t ies
-
b i ddin g n a ti ons qu ake
, ,

mon archs t remb l e in t h eir c a p i tal s ,

222 I N TR ODU CT IO N TO PO E TR Y
The o ak levi a th a ns , w h ose hu g e ribs m ak e
Th eir c l a y cre a t or t he v a in ti t l e t a ke
O f l ord o f t h ee an d a rbi t er of w ar ;
,

Thes e a re thy t o y s a n d a s th e snow y fl a ke

, , ,

Th e y mel t in t o t hy y e a s t of w a v es w h ich m ar ,

Al ike th e A rm ad a s p r ide or s p oi l s of Tr a f a l ga r
’

,
.

Thy s h ores em p ires ch an ged in al l s a ve th e e

a re ,

A ss y r i a G reece Rome C a r th a g e w h a t a re t h e y ?
, , , ,

Thy w a t ers w a s h ed t h em p ower w h i l e t h e y were fr ee ,

An d m a n y a ty r a n t since : t h e i r s h ores ob e y
The s t r a n ger s l a v e or s a v a ge ; t h eir dec a y
,

H a s dried u p re a l ms t o deser t s — no t so thou ,

Unch a n ge a b l e s a v e t o thy wi l d w a v es p l a y ’

Time wr it es no wrinkl e on t hine a z ure brow

S uch a s cre a t ion s d a wn beh e l d t h ou roll es t now
’
.
,

Th ou gl orious mirror where th e A l mi gh ty s form 1 !

,
’

G l a sses i t se l f
in t em p es t s : in a l l t ime J/ ,

C al m or convu l sed— in bree z e or ga l e or s torm ” , , ,

Icin g th e p o l e or in th e t orrid cl i me V
D a rk h e a v in g ; — boun d l ess end l ess a n d subl im e —
.
,
-
y
, ,

Th e i m a g e o f E t ern ity— t he t h rone 0

Of the In v isibl e ; e v en from out thy s l i me V
Th e mons t ers of th e dee p a re m a de ; e a c h z one 9
Obe y s th ee ; t hou goes t for t h dre a d f a t h om l ess al one “ , , .

I n g n aw the d i ffi cult m ea s u re u sed by D a nte in

,

the D ivine C ome d y the lin es a re g r o uped i n divisi on s o f

,

three s o th a t the m i d dl e r im e o f o ne st a n z a be c o me s the

initi al ri m e o f the next E a ch s ecti o n o f the p o e m cl o s e s
.

with a c o uplet A s the st a nz a s a re a l l inte rl o c k ed by

.

ri m e the m ovem e n t i s no t s t a nz a ic but c o nti nu o u s a s in

, ,

“ ”
bl a n k ve rs e Shelley s Ode t o the West Win d i s o ne
.
’

o f the
g re a tes t o f l o n e r E n li s h ly ric s
g g T he w est wi n d .
2 24 IN TRODU CT IO N TO PO E TRY
O f some fi erce M a en a d e v en from th e dim v er ge ,

O f th e h or i z on to th e z en it h s h ei ght ’

Th e l ocks of th e a pp ro a ch in g s t orm Th ou d i r g e .

Of th e d yi n g y e a r t o w h ich t h is cl os i n g n i ght
,

Will be th e dome of a v a s t se p u l chre ,

V a ul t ed w it h a l l t hy con gre gat ed mi gh t

O f v a p ors from w h ose so l i d a t mos p h ere

,

B l a ck r ain an d fi re an d h a i l w ill burst : Oh he ar !

, ,

Thou who d i ds t w a ken from h i s su m mer dre am s

The b l ue M e di t err a ne a n , w h ere h e l a y,
Lu l l ed b y th e co i l o f h is cr y s t all ine s t re ams ,

B es i de p umice i s l e in B i e s b y
a a a
’
a ,

A n d s w in s l ee p l d p l ces
a d towers o a a an

Quiverin g wi t h in th w ave s in t enser d y e

’
a ,

All over grown w ith az ure moss an d flowers

S o swee t t h e sens e f a i n t s p ic t ur in g t h em !
, Tho u
For w hos e p at h th e A t l an ti c s l eve l p owers ’

Cl e a v e t h emsel v es i n t o ch sms wh i l e f b el ow a , ar

Th e s e b l ooms
a- d th oo y woods w h ich we a r
an e z

The s p l ess fo l i ge of th e oce n know

a a a ,

Thy v o i ce ,
an sudden l y grow gr a y wi th fe a r
d ,

And t rembl e a n d des p o il t hemse l ves : O h h e a r !

IV

I f I were a de a d l e a f t h ou mi gh t es t be a r ;
I f I were a sw i ft c l oud t o fl y wi t h t h ee ;
A w ave t o p a n t bene a t h thy p ower an d s h a re ,
 I A M B I C P E N T A M E TE R 225

The im p u l se o f t h y s t ren gt h , on l y l es s f
i

Th a n t hou , O uncon t ro ll a b l e ! I f e v en
I were as in m y bo yhood , an d cou l d be

The comr a de of thy w a nderin g s o v er h e aven ,

As t h en w h en t o ou t s t ri p thy skie y s p eed

,

S c a rce s eemed a v ision ; I wou l d n e er h a v e s t r iven

’

As t h us wi t h th ee in p r ay er in m y sore need .

O h l i f t me a s a w a v e a l e a f a c l oud !
, ,

I f a ll u p on th e th orns of l i fe ! I bl eed !

A h e av y wei gh t o f h ours h a s ch a in ed an d bowed

One too like th ee : t a me l ess an d sw i f t , , an d p roud .

M a ke me th y lyre even a s the fores t i s

,

Wh a t if m y l e aves a re f al l in g l ike i t s o wn !
Th e t umu l t of thy mi gh ty h a rmonies

Wi l l t ake from both a dee p a u t u m n al t one , ,

Swee t t h ou gh in s a dn ess B e t h ou s pi r it fierc e

.
, ,

M y s p ir i t ! B e t h ou me i m p e tuous one !
,

D rivem y de a d t h ou gh t s o v er t he univers e
Like wi t h ered l e a ves t o quicken a n ew bir th !
And b y th e inc an t a t ion of t h is verse
, ,

Sc a t t er a s from an un e xt in guished he a r th
,

As h es a n d s p a rks m y words a mon g m ankind !

,

B e throu gh m y l i p s t o un a w a kened e a r th

The t rum p e t o f p ro ph ec y ! 0 w ind

a , ,

I f Win t er comes c n S p r in g be f behind ?

, a ar

P e r cy B ys s h e S he l l ey (1 792 -
1 822 )
226 IN TROD UCT I O N TO PO E TR Y

The o d e m ay p o e m l onge r th a n
as a l y ric ,

the s on g whi ch h a ndles a l o fty them e i n a d i g n ified a n d

,

imp res sive m a nn e r There a re a s t o m et ri c a l f o rm th ree

.
,

k ind s o f o des : re g ul a r i r r egul a r a nd st a n z a i c The

, , .

re g ul a r o de i s w ritten i n i m it a tio n o f the G reek o de I t .

c on sists o f divisi o n s k n own a s st r ophes a nti st rophes a n d , ,

ep o des T hese t er m s a llude t o the p o sitio n s a s s u m ed by

.

the sin g e rs o f the o de All the st r ophes m u st h a ve ex

.

a c t l y the s a me met ri c a l st ru ctu r e ; s o a l s o wi th th e ep o des

a nd the a ntis tr ophes Si nc e howeve r the m u si c o f

.
, ,

Pind a r s odes i s l o s t C owley a nd othe r E n gli sh p o et s

’
,

c a m e t o i m a gin e th a t the st ru ctu r e o f the G r ee k o de wa s

a bs ol utely i r reg ul a r H enc e a r o s e the i r r egul a r o r
.
,

C o wl ey a n o de , E x a m pl es o f thi s type a re D ryden s

.
’

“ ” “
Al ex a n de r s F e a st a n d Wo rdsw o rt h s Ode : I nti m a
’ ’

” “ ”
tio n s o f I mm o rt a lity G r a y s Th e P ro g res s o f P o esy
.
’

i s a n exc ellent ex a mpl e o f the r eg ul a r ode I n the n ine .

t een t h centu ry s ever a l g re a t o des li k e tho s e o f Ke a ts

, ,

h a ve been w ritten in st a nz a ic f o rm s .

A s in the c a s e o f free ve rs e th e ri m ed p o e m whi ch h a s

,

n o re g ul a r st ru ctu re h a s b ee n m u ch a tt a c k ed I n e a ch .

c a s e the lin e o f defenc e i s the s a me The I t a li a n c riti c .

C r o c e a nd the I m a g i st p o et s o f t od a y tell u s th a t eve ry

p o etic ide a dem a nds its own speci a l fo r m I n hi s a rti cle .

o n P o e t ry in th e E n cy cl op e d ia B ri t a n nic a Theo do r e ,

W a tts D u nt on p oint ed o u t the p ri n ciple u nderlyin g the

-

s ee m in g l a wlessn es s o f s u ch i r re g ul a r p oe m s a s Milt on s ’

“ ” “ ” “
Lycid a s , Po e s The B ells
’
a nd C ole rid g e s
, K u bl a ’

”
Kh a n
“
I n m ode rn p r o s ody the a r ra nge m ent o f the rhym es
22 8 IN TRODU CT IO N TO PO ETRY
’

f a i rnes s t o the p o et how ever it sho uld b e s a id th a t

, ,

W o rdswo rth di d n o t m e a n liter a lly t o a dvo c a te the

Pl a t oni c belief th a t the s o ul exi sts b efo r e bi rth .

I N TI MATI O N S I MM O R T A L I T Y R O M RE C O L L E C T I O N S ’

or F or

EAR L Y C H I L DH O O D

Th ere w a s a t ime w h en me a dow, grove, an d st re am ,

The e a r t h , a n d e v er y common s i gh t ,
To me d i d seem
A pp re ll ed i n ce l es ti l l i gh t
a a ,

Th gl or y
e d t h fres h ness o f
an e dre m a a .

I t i s no t now i t h th been of y ore

as a

Turn w h eresoe er I m ay ’

B y ni gh t or d a y ,

Th e t hin gs w h ich I have seen I now can see no mor e .

The Ra i nbow comes an d goes ,

v e l y is th Rose
An d l o e ,

The Moon do t h w ith de l i gh t

Look round h er w h en th e h e aven s are b ar e ,

Wa t ers on a s t a rr y ni gh t
A re be au ti fu l a n d f a ir ;
Th e suns h i n e is a gl or ious bir t h ;
Bu t y e t I know w h ere er I go
,
’

Th a t th ere h a t h p a s t a w a y a gl or y from th e

III

Now, w h i l e t h e birds t h us sin g a j o y ou s s on g ,

A n d w h i l e th e y oun g l a mbs bound

As t o th e t bor s sound
a
’

,
 IA M B IC PE N TA M E TE R 229

To me a l one t h ere c a me a t h ou gh t of grie f

A t ime l y u tt er a nce ga v e th a t t h ou gh t re l ief ,

A n d I a g a in a m s t ron g :
Th e c a ta r a c t s b l ow t h e i r t rum p e t s from t h e s t ee p
No more s h a l l grief of min e t h e s e a son wron g ;
I h e a r the E c h oes t h rou gh th e moun t a i ns t h ron g ,

Th e Wi nds come t o me from th e fie l ds of s l ee p ,

A n d a l l th e e a r t h is gay ;
L a nd a n d s ea
G i v e t h emse l ves u p t o j o ll ity ,

A n d wi t h t h e h e a r t o f M a y
D o t h e v er y Be a s t kee p h o l i d a y
Th ou C h i l d of J o y ,

Shou t round me l et me h e a r thy s h ou t s thou h a ppy

,

S he p h erd bo y
-

Ye b l ess ed C re a t ures I h a ve h e a rd t he c al l
,

Ye t o e a c h o t h er m a ke ; I see
The h e a v ens l a u gh w it h y ou in y our j u b i l ee ;
M y h e a r t i s a t y our fes tiv al ,

M y h e a d h at h i t s coron al ,

T e
h fu l nes s o f y our b l i ss I fee,
l — I fee l i t a ll .

O h evi l d a y ! i f I were su l l en
Wh i l e E a r t h h erse l f is a dornin g ,

Th is swee t M a y mornin g -
,

A n d th e Ch i l dren a re cu ll in g
On e v er y side ,

In a t h ous a nd v a ll e y s f ar an d wide ,

Fres h flowers ; w h i l e t h e sun s h i nes w a rm ,

And th e B abe l e a p s u p on h i s Mo t h er s a rm : ’

I h e a r I h e a r w ith j o y I h e a r !
, ,
2 30 I N TROD U CT IO N TO PO ETR Y
Th e Pa ns y a t m y feet
D o t h th e s a me t al e re p e a t
Whi t h er is fled th e vi s i on a r y gl e a m ?
Wh ere is i t now the gl or y an d th e dre am ?
,

Our bir th is bu t a s l ee p an d a for ge tt in g

Th e S ou l t ha t r i ses w ith us our l ife s S ta r
’

, ,

H a t h ha d e l sew h ere i t s se tt in g ,

A n d come t h from a f a r
No t i n en t ire for ge t fu l ness ,

A n d no t i n u tt er n a kedness ,

B ut t r a i l i n g c l ouds of gl or y do we co m e
From G od w h o is our h ome :
,

H e a v en l i es a b ou t us in our in f a nc y !
S h a des o f th e p rison h ous e be gi n t o c l os e
-

U p on th e growin g Bo y ,

Bu t H e b e h ol ds t h e l i gh t a n d w h ence it flow s
, ,

H e s ees i t in h i s j o y ;
Th e You t h w h o d a i l y f a r th er from t he e a s t
,

Mus t t r a v e l s ti ll is N a t ure s Prie st

,
’

A n d b y t h e vis i on s p l end i d
I s on h is w a y a tt ended ;
A t l en gt h t h e M an p erce iv es it d i e a w ay ,

A n d f a de in t o th e l i gh t of common d ay .

t fill s
Ear h t p
h er l a p wi h l e a sures o f h er o wn ;
Ye a rn in gs t i t
s h e h a h n h e r o wn n a ur a l kind ,

A n d e v en w it h some t h i n g o f a Mo t h er s m ind
’

, ,

A n d no unwor t h y a i m ,

Th e h ome l y Nurse do t h a ll s h e c a n
To m a ke h er Fos t er— ch i l d h er Inm at e M an
, ,

For ge t th e gl or i es he h at h known ,

A n d th a t i m p er i al p a l a ce w h ence h e c a m e .
2 32 I N TR ODU CT IO N TO PO ETR Y
Whic h we a re t oi l i n g a l l our l i v es t o fi n d ,

In d a rkn ess l os t t h e d a rkn ess of th e gr a v e ;

,

Th ou o v er w h om t h y Immor t a l ity
,

B roods l i ke th e D a y a M a s t er o er a S l a v e ,
’

A Presence w h i c h i s no t t o b e p u t b y ;
Th ou l itt l e Ch i l d y e t gl or i ous i n t h e m i gh t
,

O f h e a v en born freedom on t hy bein g s h e i gh t

-
‘
’

Wh y w ith such e a rnes t p a in s dos t t h ou p ro v oke

Th e y e a rs t o br i n g t h e i ne v i t ab l e y oke ,

Th us b l i nd l y w it h thy b l essedness a t s t rife ?

Fu ll soon thy S ou l s h a l l h a v e h e r e a r t hl y frei ght ,

A n d cus t om l i e u p on t h ee w it h a we i gh t ,

He a vy a s fros t a n d dee p a l mos t as l ife !

,

0 j oy ! t h t in our embers
a

I s somet h in g t h t do th l i v e a ,

Th t n t ure y e t remembers
a a

Wh t w so fu gitiv e !
a as

The t h ou gh t of our p s t y e rs in me dot h breed a a

Per p e t u l b ened i c ti on no t indeed

a :

For t h t w hic h is mos t wor th y t o be bl es t

a

D e l i gh t and l i b er ty t h e sim p l e creed ,

O f C h i l dh ood w h e t h er b us y or t res t
, a ,

Wi t h new fl d g d h o p e s t ill flu tt er i n g in hi s bre a s t

-
e e

No t for t h ese I r is e a

Th e son g o f t h nks d p r ise ; a an a

Bu t for th os e o b s ti n t e ques ti onin gs a

O f sense d ou t w rd th in gs
an a ,

F ll in gs from us v n i s h i n gs ;
a , a

B l nk mis giv in g s of C re t ure

a a a

Mo v in g b ou t i n worl ds no t re l i sed
a a ,

Hi gh ins tin c t s before w h i ch our mor t l N tu r e a a

D id t remb l e l ike gui l ty Th i n g sur p rised :

a
 I A M B I C P E N TA M E TE R 2 33

Bu t for t h os e fi rs t a ff ec t ions ,

Th os e s h a dow y reco ll ec ti ons ,

Wh ic h be t h e y w h a t t h e y m ay
, ,

Are y e t th e foun t a i n l i gh t o f a l l our d ay ,

A re y e t a m a s t er l i gh t of a ll our seein g ;
U p h o l d us c h er i s h a n d h a v e p ower t o m ak e
, ,

Our nois y y e a rs seem momen t s in th e bein g

O f th e e t ern al S i l ence : t ru t h s t ha t w a ke ,

To p er i s h ne v er ;
Wh ich nei t h er l i s tl essness nor m a d ende avour
, ,

Nor M an nor Bo y ,

Nor al l t h a t is at enmi ty wi th j o y ,

C an u tt er l y abo li sh or des t ro y !
H ence in a se a son o f c a l m we at her
Th ou gh in l a nd f a r we be ,

Ou r S ou l s h ave s i gh t of t h a t i mmor t al s ea
Whic h brou gh t us h it h er ,

C a n in a momen t t r a vel th i t h er ,

A n d see th e C h il dren s p or t u p on t h e s h ore ,

A n d he a r t he mi gh ty w a t ers ro l l in g evermore .

Then s in g y e Birds sin g sin g a j o y ous son g !

, , ,

And l et the y oun g L a mbs boun d

A s t o th e t ab or s sound !
’

We in t h ou gh t wi ll j oin y our t h ron g ,

Ye t h a t p i p e a n d y e th a t p l a y ,

Ye t h a t t h rou gh y ou r h e a r t s t o d ay -

Fee l th e gl a dness o f th e M a y !
Wh a t th ou gh th e r a d i a nce wh i c h w a s once so bright
B e now for e v er t aken from m y si gh t ,

Th ou gh no t h i n g c a n b r in g b a ck t h e hour
O f s p l endour in t h e g r a ss o f gl or y in th e flower
,

We wi l l grieve no t r a t h er fi n d
,
34 IN TR ODU CT IO N TO PO E T RY
St ren gth in w h t rem in s beh ind ;
a a

In t h p r i m l s y m p t h y
e a a

Wh i c h h vi n g b een mus t e v er be ;
a

In t h soo th i n g th ou gh t s t h t s p r in g
e a

Ou t of h um n su ffer i n g ;
a

I n th f it h th t l ooks t h rou gh de th
e a a a ,

In y e rs t h t br i n g th p h i l oso p h i c m i nd
a a e .

And 0 y e Foun t ains M e a dows Hi l l s an d G roves

, , , , ,

Forb ode no t an y s e v er i n g o f our l o v es !

Ye t i n m y h e a r t of h e a r t s I fee l y our m i gh t ;
I on l y h a v e re l i nqu i s h ed one de l i gh t
To l iv e b ene a t h y our more h a bi t u al sw a y .

I l o v e th e Brooks w h i ch down t h e i r c h a nne l s fre t ,

E v en more t h a n w h en I t ri pp ed l i gh t l y a s t h e y ;
Th e inn ocen t br i gh t nes s o f a n ew born D ay -

I s l ov el y y et ;
Th e C l ouds t h a t ga t h er round th e se tt in g sun
D o t a ke a sober co l our i n g from a n e y e
Tha t h a t h ke pt w a t ch o er m a n s mor t al i ty ;
’ ’

A no t h er r a ce h a th been a n d o t h er p al ms are won

, .

Th a nks to t h e h um a n h e a r t b y w h i c h we l iv e ,

Th a nks t o it s t enderness i t s j o y s a n d fe a rs
, , ,

To me t h e me a nes t flower t h a t b l ows c a n gi v e

Th ou gh t s t h a t do oft en l ie t oo dee p for t e a rs .

Will ia m Wo rd s w o rt h (1 770 1 85 0) -
2 36 I N TR ODU CT IO N TO PO E TRY
it in p ro s e The li mi t a ti o ns o f po eti c l a n gu a ge m o re
.
,

ove r f o r c e hi m t o s u gg est r a the r th a n des c ribe i n det a il

,

his ch a r a cter s a n d hi s b a c kg r o und .

B a ll a ds a re o f tw o dis tin ct typ es : the p opul a r o r f olk , ,

b a ll a d ; a n d the liter a ry o r a rti sti c b a ll a d The lite r a ry

, , .

b a ll a d i s the wo r k o f o ne a uth o r a kn own i ndividu a l ; the

,

p o p ul a r b a ll a d i s the w o r k o f u n k n own a uth o rs s o nu ,

m ero u s a n d s o ob s cu r e th a t we c a ll i t the w o r k o f the

people Th e p o p ul a r b a ll a d i s m u ch the olde r o f the two
.

types ; a nd it is o ften a s w e sh a ll p resently s ee the in

, ,

spi r a ti o n o f the liter a ry b a ll a d .

I n the e a rliest s t a ge the p opul a r b a ll a d a ppe a r s t o

h a ve be en li k e the folk s o n g a lw a ys ch a nted o r sun g
,
-
, ,

o ften p erh a ps t o the a c c o m p a ni m ent o f a d a n c e T r a ces .

o f thi s c o nnecti on o f the b a ll a d with m u si c a re t o be seen

in the cho r u ses a n d ref r a in s whi ch s ome o f the b all a ds
p res erve Ju st how the b a ll a ds we r e c o mp o sed we d o
.
,

n ot k n ow ; a n d a u th o rities di s a g ree r a the r vi olently The .

o rtho dox theo ry i s th a t they we re c o m p o sed by a sin g in g ,

d a ncin g g r o up P ro fes s o r L o ui se P o u nd o f the Unive r

.
,

s it y o f N eb r a s k a h a s a tt a c k ed this theo ry in he r i nt er
,

estin g Po e ti c Origins a nd t he B al l a d H e r theo ry i s th a t .

the b a ll a ds were w ritte n by individu a l a utho r s a s in l a te r ,

p o et ry H oweve r the b a ll a d s m a y h a ve been o r1 g1 n a ll y

.

c o mp o sed ther e i s n o d o ubt th a t they owe thei r chief

,

s tyli sti c ch a r a cte ri stic s t o the wa y in whi ch they h a ve

be en h a nded down E very o ne wh o h a s pl a yed the old
.

g a m e o f G o s sip k n ow s th a t few pe r s on s c a n a c cu r a tely

re p e a t a ve rb a l mes s a g e o f a ny len g th One w o rd o r .

ph r a s e r epl a ces a n o the r u ntil by the ti m e t he s en ten ce

,

h a s g o n e r o u n d t h e ci rcle it s eldo m be a r s a ny rese m

,
 TH E B A LL A D 2 37

bl a nce t o the o ri gi n a l m es s a g e Th e p opul a r b a ll a d s h a ve

.

been h a nded d o wn fr o m ge ne r a ti o n t o g ener a tio n witho ut

bein g w ritten d own C o ns e q u ently s o m a ny ch a n g es
.
,

h a ve c r ept into them th a t n e a rly a ll i ndivid u a l t r a ces o f

the o ri g in a l a utho r — if i ndeed the b a ll a d w a s eve r the
, ,

wo r k o f o n e m a n — h a ve v a nished The b a ll a d h a s t a k en
.

o n s o m ethin g fr o m a ll wh o h a ve rep e a ted it ; s o th a t w e

m a y t ru thfully s a y it i s the wo r k n ot o f o n e m a n b u t o f
the people The style o f the p opul a r b a ll a d a s a res ult
.
,

o f this p r o ces s o f t r a n s m i s sio n is i m pe r s o n a l si m ple a n d

, , ,

di r ect The b all a d ri n g s t ru e b ec a u s e it i s the p o e m o f

.

a r a ce a n d n o t the u n rep res ent a tive w o rk o f o n e m a n .

The p opul a r b a ll a d s a re p o et ry o f the peopl e by th e ,

p eople a n d f o r the pe ople ; they bel o n g t o a time when

,

a ll peopl e l oved
p o et ry T. hey a re the w o rk o f th o s e wh o
h a d n o othe r lite r a tu re A m e ric a n c owb oys m ine r s
.
, ,

l umbe r m en a n d m o u nt a in ee r s c ut o ff f r o m b o o k s n ew s
, , ,

p a pe rs a nd the a te rs h a ve c o mp o s ed o r b o r r owed b a ll a ds
, , ,

s et the m t o old a i r s a n d s u n g them Th e b a ll a ds o f the

, .

Sc o tti sh b o rde r o ri gin a ted d o ubtles s in m u ch the s a m e

wa y . S u ch p rimitive p o et ry o ften p o s se s s es the p owe r o f
ple a sin g even the c ulti v a ted r e a de r Of the b a ll a d o f
.

“ ” “
C hevy Ch a s e the s ch ol a rly Si r Philip Sidn ey w r ote I ,

n eve r he a rd the ol d s on g o f Pe rcy a n d D o u gl a s th a t I ,

”
fo u n d n o t m y he a rt m o r e m oved th a n with a t r u m pet .

O v e r a c entu ry l a te r Addi s o n w r ote o f the s a m e b a ll a d ,

“
It i s i m p o s sibl e th a t a nythi ng sh o uld b e u nive rs a lly
t a sted a n d a pp r oved by a m ultitu de th o u g h they a re the ,

r a bbl e o f a n a ti on whi ch h a th n o t i n it s o m e p ec uli a r

,

a ptnes s t o p l e a s e a n d g r a tify the m in d o f m a n .

When the p eopl e in is ol a ted di s t ri ct s c o m e int o c o nt a ct

2 38 I N TRODU CT IO N TO P O E T RY

with a hi gh er civiliz a ti on they g r a du ally give up thei r

,

splendid b a ll a ds fo r s o n g s o f a very in f eri o r k ind Thu s .

,

i n o u r own c o u nt ry the c owb oy s a n d the ne g r o es a re

,

“ “
g ivin g up s u ch b a ll a ds a s J o e B owse r and F r a nki e

w a s a G o o d W o m a n fo r w o rthles s s o n g s fr o m the v a u de
”

ville st a g e I n the s a m e w a y s ome o f the finest o f th e old

.

B riti sh b a ll a ds h a ve been i r rec ove r a bly l o st I n E n gl a n d .

the re wa s little inte rest i n b a ll a d c ollectin g u ntil B i sh op -

Pe r cy published i n 1 7 6 5 hi s R elique s o f A n cien t E ng l is h

P e rcy s c oll ecti o n en o r m o u sly stimul a ted the
’
Po e t ry .

inte rest o f s cho l a r s a n d p o et s i n thi s p o et ry o f the pe opl e .

Sin c e his time m a ny o f the g re a t E n glish p o et s — a m on g ,

the m S c ott Wo rd swo rth Ke a ts R o s setti a n d Ki p lin g

, , , , ,

h a ve f o und i n the old b a ll a ds in spi r a ti o n fo r lite r a ry

b a ll a d s o f g re a t m e rit .

Th e p op ul a r b a ll a d tells it s sto ry with the s m a llest

p o s sibl e a m o unt o f des c ri p ti o n a n d ch a r a cte riz a ti o n A s .

i n the d r a m a th e ch a r a cte rs reve a l the m selves by wh a t

,

“ ”
they s a y a n d d o I n the f ol l o wm g b a ll a d L o rd R a n d a l
.
, ,

n on e o f the th r ee ch a r a cte rs i s des c ribed a n d the s weet ,

he a rt is n ot even p res ent ; yet m othe r s on a n d s weethe a rt , ,

a l l st a nd cle a rly r eve a led in the di a l o u e between m othe r

g
a nd s o n Th e m o the r s — a n d the r e a der s — s u spici o n s a r e
.
’ ’

g r a du a lly a r o u sed bu t n ot u ntil the l a st st a nz a i s the

,

t r a g i c event m a de cl e a r With thi s clim a x the p o e m

.

cl o ses a t j u st the ri ght m o m ent a n d with ex a ctly the

,

ri g ht e m ph a si s Thi s b a ll a d tho u g h it s ee m s t o h a ve
.
,

o ri gin a ted in E n gl a n d o r S c otl a nd h a s a l s o been fo un d ,

in v a ri o u s p a rts o f A m e ric a The wo rd d o wn i s he r e .

p r on o u n ced s o a s t o ri m e with s oo n The b all a d i s w ritten .

in a n a pestic tet r a m ete r c o uplets .

2 40 I N TR ODU C T IO N TO PO E TR Y
t h eek, th a tch o r line ; g o wd en , g olde n ; g an
g , g o ; s a ll ,

sh a ll ; ae a o r o n e
, .

TH E TWA C O RB I E S

As I w a s w a lk in g a l l a l a ne ,

I h e a rd t w a cor b i es m a kin g a m ane ;

Th e t a ne un t o th e t it h er s a y
’

,
“
Where s a l l we ga n g a n d d i ne t o d ay ? -

I n be h in t y on a u l d f a i l d y ke ,

I wo t th ere l i es a n ew s l a i n kn i gh t ;
A n d n a ebod y kens t h a t h e l i es t h ere ,

Bu t h i s h a wk h is h ound a n d l a d y f air
, , .

H i s h ound is t o th e h un t in g gane ,

His h a wk t o fe t c h th e w i l d fow l h a m e, -

H i s l a d y s t a en a no t h er m a t e
’ ’

S o we m ay m ak our d i nner s wee t .

Ye l l s it on h i s w h it e h aus e b a ne
’
-
,

A n d I l l pi ke ou t h i s b onn y b l ue een ;
’

VVi a e l ock 0 h i s gowden h a ir

’ ’

We l l th eek our n es t w h en it grows b a re

’

Mon y a one for him m akes m ane ,

Bu t n a ne s a ll ken w h ere h e i s gane ;

O er h i s w h i t e b a nes w h en t h e y a re b a re
’

, ,
”
Th e wind s a ll b l a w for e v erm a i r .

P erh a p s the b es t o f a ll the B riti sh p opul a r b a ll a d s is

“
the on e which C ole rid g e refe r red t o a s The g r a nd old
b a ll a d o f S i r P a t ri c k Spen c e ”
Th e p o e m i s w ritten in
.

wh a t i s k nown a s the b a ll a d st a nz a a ltho u gh ext r a u n

,

Yes t reen m e a n s yes

’
a cc en ted sy ll a bles a re o ften fo u nd .
 TH E B ALL AD 24 1

t e rd a y evenin g ; s ho o n sho e s ; a b o o n a bo ve ; k ems c o m bs ;

, , ,

hal f o wre h a lfw a y ove r

, I t sho uld be n o ted th a t in th e
.

S c o ttis h di a lect the rel a tive p ro n o u n is f r eq u e n tly o m itt ed

when it c a n n ot b e d r op p ed in E n glish .

S I R PA TR I C K S PE N S

The kin g si t s i n D um f erl in g t own ,

D r in k in g t h e b l ood red w i ne : -

0 w h a r w i ll I get gu i d s a il or ,

To s a i l t h i s s h i p o f m in e ?
”

Up an d s p ak ’
e l dern kn icht
an ,

S a t a t th e k i n g s r i gh t knee :
‘ ’

S ir Pa t rick S p en s i s t h e bes t s a il or
“
,

Th a t s a i l s u p on t he s ea .

Th e kin g h a s wr itt en a br a i d l e tt er ,

A n d s i gned it w i h i s h a nd
’

And sen t i t t o S i r Pa t r i ck S p ens ,

Wa s w al k in g on t h e s and .

Th e fi rs t l in e t h at S i r Pa t r i ck re a d ,

A l oud l a u gh l a u gh ed h e ;
Th e ne xt i t t
l ne h a S i r Pa rick t re a d ,

Th e t e r bl i nded
’
a hi s e e .

O wh a i s th i s
don e t h is deed
ha s ,

Th i s il l deed done t o me ,

To send me ou t t h i s t ime 0 th e y e a r
’

To s a i l u p on th e s ea !

M ak h a s t e m ak h a s t e m y merr y men
’
al l ,
’

, ,

Our s h ip s a i l s th e morn :
guid
0 s ay n a s a e m y m a s t er de a r
“
, ,

For I fe a r a de a dl y s t orm .
 L a t e l a t e y es t reen I s a w th e n ew moon ,
,

Wi th e a u l d moon i n h e r a rm
’

And I fe a r I fe a r m y de a r m a s t er
, , ,

Th a t we wi l l come t o h a rm
”
.

0 our t s nob l es were r i ght l i th

S co a

T we t t h e i r cork h ee l ed s h oon ;
o
-

Bu t l n g ere t h p l y were p l y ed
a a
’
e a a ,

Th eir h t s t h e y sw m boon
a a a .

O t
l an g, l a n g m ay h eir l a dies s it,
Wi h eir f a ns in o h e r h a nd,
’
t t t i
Or e er t h e y see S i r a
’
P t r i ck S p ens
C ome s a i l i n g t o th e l a nd .

0 l an g, l a n g m a y t h eir
i es s t nd l ad a ,

Wi t h e i r go l d kems i n t h e i r h i r
’
a ,

Wai ti n g for t h eir i de r l ords a n a ,

For t h e y l l see th em n m ir
’
a a .

Ha f owre , h a l f owre t o A berdour,

It s
’
fif ty f a d om dee p ,

And th ere l i es gu i d S i P t r i ck S p ens

r a ,

Wi t h S co ts l ords t hi fee t
’
e a s .

p op ul a r b a ll a d a nd the fol k s on g -
a re ve ry clo
244 I N TR ODU CT I O N TO PO E TR Y
0 He l en f a ir ! 0 Hel en ch a s t e !
I f I were w ith t h ee I were b l es t , ,

Wh ere t h ou l i es l o w a n d t a kes thy res t

On f a ir K i rcon n el l l ea .

I wis h m y gr a v e were growin g green ,

A w i ndin g s h ee t dr a wn ower m y een

-
,

A n d I in He l en s a rms l y in g
’

On fa ir K ircon n el l l ea .

I wis h I were w h ere H e l en l ies ;

Ni gh t an d d a y on me sh e cr i es ;
A n d I a m we a r y o f th e skies ,

S ince m y Lo v e d i ed for me .

The f a vo rite he r o o f th e b a ll a d s i s the o utl a w Rob i n .

H o o d a n d John ni e A rm st r on g a re th e g r e a t he r o es o f
B riti sh b a ll a d ry The o utl a w he r o i s the enemy o f the
/
.

ri ch a n d the friend o f th e p o o r I n the c owboy b a ll a ds .

o f the W este rn pl a in s the o utl a w pl a ys a si m il a r r61 e .

Jes s e J a m es i n ch a r a cte r s t rikin gly re s e mbles R obin

H o o d a n d li k e hi m i s bet r a yed t o his de a th by o ne wh o m
, , ,

he supp o s es t o be a f riend T he c owb oy b a ll a d s tho u gh

.
,

inferi o r t o the be st o f the B ri tish b a ll a d s p o s ses s the s a m e ,

g en e r a l ch a r a cte ri sti cs We q u ote f r o m Joh n A L o m a x s

. .
’

C o wb oy S o ngs an d O the r F ro n t ie r B a lla d s .

JES S E J A M ES

J esse J a mes w a s th t ki l l ed m n y m n ;
a l ad a a- a a a

H e robbed th e D nvi l l e t r in
a a .

Bu t t h t dir ty l ittl e cow rd t h t s h o t M r How rd

a a a . a

H s l i d p oor J ess e in h i gr v e
a a s a .

Poor J esse h ad wife t o mourn for his l i fe

a
,

Three c h i l dren t h e y were br a v e

, .
 TH E B AL LAD 245

Bu t t h at dir ty l i tt l e cow a rd tha t sho t Mr How a rd .

H a s l a i d p oor J ess e in h i s gr a v e .

It w a s Rober t Ford t h t d i r ty l i tt l e cow rd

, a a ,

I wonder ho w h e does fee l ,

For he a t e o f J esse s b re a d a n d h e s l e p t in
’
J esse
’
s bed ,

Then l a id p oor J ess e in his gr a ve .

J esse w a s a m an , friend t o th e p oor

a ,

H e ne v er coul d see a m an su ff er p a in
A n d wi th h i s bro t h er Fr a nk he robbed th e C hic ago b ank ,

A n d s t o pp ed th e G l end a l e t r a in .

I t w a s h is bro t h er Fr a nk th a t robbed the G all a t in ba nk ,

And c a rried the mone y from th e t own ;

I t wa s in t h i s v er y p l a ce t h a t th e y h a d a l itt l e r a ce ,

For t h e y s h o t C a pt a in S h ee t s t o t he ground .

Th e y wen t t o th e cros sin g no t very f ar from there ,

A n d th ere th e y d i d th e s a me ;
Wi th t he ag en t on h is knees ,
he de l i v ered u p th e ke y s
To t h e ou t l a ws Fr a nk a n d
, J esse J a mes .

It was on Wednesd a y ni ght th e moon w a s s h inin g bri gh t

, ,

Th e y ro b bed th e G l end a l e t r a i n ;
The p eo p l e t h e y did s a y for m a n y mi l es a w ay
, ,

I t w a s robbed b y Fr a nk a n d J ess e J a mes .

It was on S a t urd a y n i gh t J ess e w a s at h om e

,

Ta l k i n g w it h h i s f a m i l y br a v e ,

R ober t Ford c a me a l on g l i ke a t h ief in th e ni gh t

A n d l a i d p oor J esse i n h i s gr a v e .

Th ep eo p l e h el d t h eir bre t h w h en t h e y h e a rd of J esse s

a
’

de t h a ,

And wondered how he e v er c ame t o die .

2 46 I N TRODU CTI O N TO PO E TR Y
It w a s On eof the gan g c a l l ed l i tt l e Rober t Ford ,

H e sho t p oor J esse on th e s l y .

J esse wen t t o h is res t wi th h is h a nd on h i s bre a s t ;

Th e de v i l wi ll be u p on h i s knee .

H e w as born on e d ay in th e coun ty of C l ay
A n d c a me from a so l i t a r y r a ce .

This son g w a s m a de b y B ill y G a sh a d e ,

A s soon a s th e news did a rr iv e ;

He s a id t h ere w a s no m an w it h th e l a w in his h a nd
Who cou l d t a ke J ess e J a mes wh en a l i v e .

Th e lite r a ry b a ll a d i s t o be s h a rply di stin g uishe d f r o m

the p opul a r b a ll a d F o rtu n a tely we h a ve a un i q u e o p
.
,

p o r t u n it
y t o c o m p a r e a lite r a ry b a ll a d with the p opul a r

“ ”
b a ll a d up o n which it i s b a s ed S c ott s L o chinv a r h a d
.
’

“ ”
it s s o u r ce i n the old S c o ttish b a ll a d K a th a rine J a ff r a y .

The r e a de r sho uld c a refully c o m p a r e thes e p o e m s a s

ex a m ples o f the tw o type s o f the b a ll a d L a ird m e a n s .

s q ui re o r l o rd ; mi the r m o the r ; s ind ry s eve r a l p er s ons ;

, ,

n o u t he r neithe r ; g a rre d
, , m a de The l a st s t a nz a m e a n s
.

They d r a g y o u a b o u t fr o m pl a c e t o pl a c e we a r yo u o ut , ,

a n d p oi s o n
you.

K A THA RI N E J A FF RA Y

There l iv ed a l a ss i n y onder d l e a ,

And down in y onder gl en 0 , ,

A n d K a t ha r i ne J a ff ra y w a s h e r n a me ,

We l l known b y m a n y men 0 , .

Ou t c a me th e L a ird of L a uderd al e ,

O ut fr a e t h e S ou t h C oun t r i e ,
248 IN TROD U CT IO N TO PO E TRY
An d ay e s h e dr a nk t o L a uderd al e ,

Wh a h er t rue l ove had been

-
.

Th en h e t ook by her it e ha nd,

the mi k w h
l -

A n d b y t h e g r a ss g reen s l ee v e ,-

A n d he moun t ed h er be h in d h im th ere,
A t t he bride groom he a sked n a e l e ave .

Th en th e bl ood run down b y th e C owden B anks ,

A n d down b y C owden Br a es ,

And a y e S he ga rred t h e t rum p e t sound ,

0 t h is i s fou l fou l p l a y !
” ”
,

Now a y e t h a t in En gl a nd a re
’

Or a r e i n E n gl a nd b orn ,

C ome ne er t o S co t l a nd t o court l a ss ,
’
a

Or e l s e y e l l get t he scorn
’

Th e y h a i k y e u p a n d s e ttl e y e b y,
Ti l l on y our weddin g d ay,
And gi
’
y e fro gs ins t e d fi sh
e a 0
’

And p l y y e fou l fou l pl y

a ,
a .

S c o tt wa s tho r o u ghly f a m ili a r with the o ld b all a d s o f

Sc otl a nd I n f a ct e a rly in li fe he p ubli shed a c ollectio n
.
,

of the m entitled The M i ns t rels y o f t he S c o t tis h B o rd er

W e fi nd echo es o f the p opul a r b a ll a ds in m a ny o f hi s
“ ”
n ovels a n d p o em s L o c h i nv a r i s t a k en f r o m hi s
.

M a rmi on i n whi ch it i s s u n g a s a s o ng by L a dy H e r on
, .

LO C H I N VA R

Oh ! y oun g Lochin v r is come ut o f the wes t

a o ,

Th rou gh ll th w i de Border h i s s t eed w s t h bes t ;

a e a e

A n d s ve h i good b ro dsword he we p ons h d no e

a s a a a r .
 TH E B AL LAD 2 49

H e rode a ll un a rmed a n d h e rode a ll a l one .

S o f a it h fu l in l o v e a n d so d a un t l ess in w a r ,

There ne v er w a s kni gh t l i ke th e y oun g Lochinv a r .

He s t ay ed no t for br ake a n d h e s t o pp ed no t for s t one ,

H e sw a m the E ske river w h ere ford t h ere w a s none ,

Bu t ere h e a l i gh t ed at N e th erb y ga t e
Th e b ride h a d consen t ed t h e ga l l a n t c a me l a t e
,

For a l agga rd in l o v e an d a d a s t a rd in w a r
Wa s to wed t he f air Ell en of br a v e Lochin v a r .

So bo l d l y h e en t ered the N e t h erb y H al l ,

A mo n g bridesmen a n d kin smen a n d bro t h ers an d all

, , ,

Th en s p oke th e br i de s f a t h er h is h a nd on h i s sword
’

, ,

For th e p oor cr a v en bride groom s a id ne v er a word ,

O h ! come y e in p e a ce h ere or come y e in w a r

“
, ,

Or t o d a nce a t our b rid a l y oun g Lord Loch inv a r ?

,

I l on g wooed y our d au ght er m y sui t y ou denied ;

,

Love swe l l s l i ke th e S o l w a y b u t e b bs l i ke i t s t ide

,

And now a m I come w ith t h i s l os t l o v e of m in e

, ,

To l e a d bu t on e me a sure drink on e cu p of wine

, ,

Th ere a re m a i dens i n S co t l a nd more l o v e l y b y f a r ,

Th a t wou l d gl a d l y be bride t o th e y oun g Loch inv a r .

Th e bride kissed t he gob l e t ; th e kni gh t t ook i t u p ,

H e qu a ff ed o ff th e wine a n d h e t h rew down th e cu p

, .

S h e l ooked down t o bl us h an d s h e l ooked u p t o si gh

, ,

Wit h a smi l e on h er l ip s a n d a t e a r in h er e y e .

H e t ook her so f t h a nd ere h e r mo t h er cou l d b a r ,

”
N ow t re a d we a me a sure ! s a id y oun g Loch in v a r
”
.

So s t a t e l y h is form an d so l o v e l y h e r f ace
, ,

Th a t ne v er a h a ll suc h a ga ll i a rd d i d gr a ce ;
Wh i l e h e r mo t h er d i d fre t an d h e r fa th er d i d fume
, ,

An d th e bridegroom s t ood d a n gl in g h is bonne t an d p l ume ;

25 0 I N TRODU CT IO N TO P O E TR Y

A n d th e bride m a idens w h is p ered Twere b ett er b y f ar

-

To h av e m a t ch ed our f a i r cous i n wi th y oun g Loch i nv a r ”

.

One t ouch t o h er h a nd a n d one word in h er c a r ,

Wh en t h e y re a c h ed th e h al l door a n d th e c h a r g er s t ood n e a r
-
,

S o l i gh t t o t h e crou p e th e f a i r l a d y h e swun g ,

S o l i gh t t o t h e s a dd l e b efore h e r h e s p run g !
S h e i s won ! we a re gone o v er b a nk b us h an d sc a ur ;
“
, , ,

Th e y l l h a v e flee t s t eeds t h a t fo ll ow quo th y oun g Loch inv a r

’ ”
, .

Th ere w a s moun ti n g mon g G r a emes o f t h e Ne t h erb y cl an ;

’

Fors t ers Fenwicks a n d Mus gr a v es t h e y rode an d th e y ran !

, , ,

Th ere w a s r a cin g a n d c h a s i n g on C a n n ob i e Lee ,

B u t th e l os t b r i de of Ne t h er b y n e er d i d t h e y see
’
.

S o d a r i n g i n l o v e an d so d a un t l ess i n w a r ,

H a v e y e e er h e a rd of gal l a n t l i ke y oun g Loc h in v a r ?

’

S ir Wa l t e r S c o t t (1 7 7 1 1 832 ) -

When o ne a n a lyzes the tw o b a ll a d s t o find wh a t it is

th a t m a kes them s o di ff e rent on e n o tic es fi rst th a t S c ott , , ,

tells his st o ry n o t in the simpl e b a ll a d st a nz a bu t in the

, ,

c o upl et whi ch a s w e h a ve , ,

”
n oted i n Byr o n s ’
b i s pe ,

c ulia rl y well s uited t o s ti r rin a cti o n S c ott o m its at

g .
,
— ”

t h e 6 fi t sefi the nia tt Er c o nt

4

d ‘ i fi
h

fi r st fiv e st a nz a s
.

'

“ ”
o f K a th a rine J a ff r a y b ec a u s e he wi shes t o e m ph a size
o nly the chief in cident the el opem ent The s k il ful a rti s t
, .

i s k n own by wh a t he r ej ect s a s cle a rly a s by wh a t he

in clu des S co tt s m o st st ri k in g ch a n g es a re s een i n th e
.
’

riv a l l ove rs In the old b a ll a d the l a i rd s a re distin g uished

.

chi e fl y by the f a ct th a t the S c otch l over i s s u c c es s ful ,

while the E n gli sh l ove r i s che a ted o f hi s b ri de S c ott .

“ ”
m a k e s L o chi nv a r a n individu a l a pe r s o n The openi n g , .
25 2 IN TRODU CT IO N TO PO E T RY
mythol o g y a st o reh o u s e f ro m which l a te r p oets d ra w
,

ch a r a cte rs a n d i n cident s S c ott hims elf bo r r owe d the .

L o c k sley o f his Iva n h oe f r om the R obi n H o o d o f the ol d

“
b a ll a ds The re i s a v e ry di stin ct echo o f Si r P a t ric k
.

” “ ”
Spens i n L on g fell ow s Wreck o f the H espe ru s a n d i n ’

“
M a s efi el d s Y a rn o f the L o ch
’
Oth e r lit ‘

cr a ry b a ll a ds whi ch owe s o m et hin g t o the p opul a r b a ll a ds

a re W o rdsw o rth s
“ ” “
L u cy G r a y Ke a ts s L a B elle D a me
’
,
’

” “ ” “
s a n s M e rci T ennys on s L a dy C l a re R o s setti s T r o y
,
’
,
’

” “ ” “
T ow n a n d Si ste r Helen Ye a ts s F a the r G illi g a n ’
, ,

“
a n d Kiplin g s D a nny D eeve r
9
L o n g e r n a r r a tive p oe m s .
3,

“ ”
li k e C ol erid g e s R im e o f the An cient M a rine r a n d
’

Sc ott s L a y of t he L a s t M in s t rel a l s o owe m u ch t o the

’

old b a l l a ds .

”
D a nn y Deeve r which t o the m u sic o f W a lte r
, ,

“
D a m ro s ch i s o ften s un g like a n old b a ll a d rec a ll s L o rd
, ,

”
R a nd a l i n the q u esti o n a n d a n swe r m etho d by whi ch the
st o ry is t old Kiplin g e m pl oys th e b a ll a d st a nz a a s o n e
.
,

m a y s ee f r o m divi din g his l o n g lin es ; b ut Kiplin g v a r ies

hi s r ef r a i n wi th a c o n s u mm a te s k ill f a r b ey o n d the r e a ch
o f the ol d b a ll a d m a k e rs -
.

D AN NY D EE V E R

Wh at a re the bu gl es b l o w in for s a id F i l es on Pa r a de ’
?” - -
.

To t urn y ou ou t t o t urn y ou ou t th e C o l our S er g e a n t s a id

, ,
-
.

Wh a t m a kes y ou l ook so wh it e so w h i t e ? ”
s a id F il es on ,
-

Pa r a de .

I m d re a d in w h a t I ve got t o w a t ch
“
th e C o l our Ser g e a n t
’ ’ ’
-
,

s a id .

For th e y re h a n gin D ann y D eever y ou can h e a r the

’ ’

D e a d M a rc h p l a y ,
 TH E B A L LAD 25 3

n t s in’ ’
o ll o w s qu a re— t he y re h an gin ’ ’
h im

ren o f h i s bu tt ons of an
’
cu t hi s s t ri p es

han gin D a nn
’
y D ee v er in t h e m o rn in
’
.

e re a r r ank bre at h e so
-
’
ard ? s a id Fi l es -
on

i t s bi tt er co l d th e C o l our Ser ge a n t s a id
’

,
-
.

at fron t r a nk m an f a l l down
”
- ? s a id Fi l es on -

a t ouch
sun t he C o l our S er ge an t s a id
0
’

,
-
.

an in D a nn y D eever t e y a re m a rc h i n of
’

g h g ,

nd ,
’
a l t ed D a nn y D ee v er b y
’
is c o fli n on th e

in g in ’
a rf a mi nu t e for a s n eak i n
’
s h oo t in ’

a n gin ’
D ann y D ee v er in t h e m orn in !
’

ht -
co t t o mine s aid Fi l es o n Pa r a de
’
an d - -

t an f a r to—
.
,

.
’
n i ght th e C o l ou rS er g e a n t s a i d,
-
.

eer a score 0 ti mes s a i d F i l es o n Pa r a de

” ’

,
- -
.

t h e C o l our S er ge a n t s a i d
”
t t e r beer a l one
L ,
-
.

in in D a nn y D ee v er y ou mus t m a rk t o
’ ’

g i m ,

e,

a comr ade s l e e p in
’
— y ou mus t l ook 1 m in the
25 4 IN TRODU CTIO N TO PO E TRY
For y re don e wi t h D nn y D ee v er y ou n e the
th e
’
a , ca
’
ar

quicks t e p p l y a ,

Th e re gi men t s in col umn n t h e y re m rc h in us w y ;

’ ’ ’ ’

,
a a a a

Ho ! th y oun g recrui t s e s h kin n t h e y l l w n t t h e i r

e ar a
’

, a
’ ’
a

beer to d ay -
,

Af t er h a n gin D a nn y ’
D ee v er in t h e m o rn in !
’

R ud ya rd K ip l ing (1 865

The re a re e ch oes o f b o th Kiplin g a n d the p opul a r

b a ll a d s i n M a s efi el d s b a ll a d s whi ch o ft en a tt a in hi gh
’
,

“ ” “ ”
exc ellen ce . The H o unds o f H ell a n d C a p o n H e a d
a re u n fo rt u n a tely t o o l on
g fo r q u o t a ti o n her e We .

the fi rst o f his S a l t Wa t e r P oems a nd B a ll ad s .

TH E YA R N OF TH E LO C H A C H RA Y

Th e Loch A ch ra y w a s a c l i pp er t all
“

Wit h se v en a n d t wen ty h a nds i n a ll

- -
.

Twen ty t o h and a n d reef a n d h a u l ,

A ski pp er t o s a i l a n d m a t es t o b a w l
Ta l l y on t o th e t a ckl e f a l l
“ -
,

He ave now n s t a r t h e r h e av e n p a wl !
’ ’ ”
,
’ ’

He a r th e y a rn o f a s a i l or ,

A n o l d y a rn l e a rned a t s ea .

Her crew were s hi pp ed an d t h e y s a id F a rewell “

,

S o l on g m y To tt ie m y l o v e l y g e l l ;
-
, ,

We s a i l t o d ay i f we fe t c h t o h e ll
-
,

I t s t ime we t a ck l ed th e w h eel a s p e l l
’
.

H e a r th e y a rn o f a s a i l or ,

An o l d y a rn l e a rned a t s ea .

The dockside l o a fers t a l ked on t he qua y

Th e d ay t h a t s h e t owed down to s ea :
“
Lord wh at ,
a h a ndsome s h ip sh e be !
25 6 IN TROD U CTIO N TO PO E TRY
Then a s qu all s t ruck t h e Loch A chray
fi erce
And b owed h e r down t o h e r w a t er wa y -

Her m a i n s h rouds ga v e a n d h e r fores t a y

-
,

A n d a green s e a c a rr i ed h e r w h ee l a w a y ;
‘

E re th e w a t c h b e l ow h a d ti me t o dress ,

S he wa s c l u tt ered u p in a b l us h in g mes s .

He a r t he y a rn o f a s a i l or ,

A n o l d y a rn l e a rned a t s ea .

She cou l dn t l ay t o n or yet p ay off

’
- -
,

And s h e go t swe pt c l e a n in th e b l ood y t rou gh ;

H er m a s t s were gone an d a fore y ou knowed ,

She fi l l ed b y th e h e ad an d down she goed .

H er crew m a de s e v en an d t wen ty d i s h es - -

For th e b ig j a ck s h a rks a n d th e l itt l e fi shes

-
,

And over th e i r bones th e w at er sw i s h e s .

H e a r th e y a rn o f a s a il or ,

An o l d y a rn l e a rned a t s ea .

The wives an d gir l s th ey w a t ch in th e rain

For a s h ip a s won t come h o me a ga in
’
.
.
“
I reckon it s th em h e a d winds th e y s ay
’ ”
-
, ,

S h e ll b e h ome t o morrow if no t t o d ay
’
-
,
-
.

I l l j us t n ip h ome n I ll a ir th e s h ee t s
’ ’ ’ ’

N bu y th e fi x in s n cook th e me a ts
’ ’ ’ ’

A s m y m an l ikes n as m y m an e a t s
’ ” ’
.

S o home t he y goes by
wind y s t ree ts the ,

Thinkin g t h eir men a r e h omew a rd bound

Wi t h a nch ors h un gr y for E n gl i s h ground ,

An d t he b l ood y fun o f i t i s t h e y re drowned !

’

He a r th e y a rn o f a s a i l or ,

A n o l d y a rn l e a rned a t s ea .

J o hn M a s efiel d (1 8 78
 TH E B A L L AD 25 7

The lite ra ry b a ll a d , li k e the p opul a r b a ll a d , s o m eti m e s

ha s decided ly ri c a l q u a lities I n a s uperb b a ll a d o f this
.

“ ”
k ind L a B ell e D a m e s a n s M e rci Ke a ts t u rned t o the
, ,

e a rlie r pe ri o d when pe ople believed in elves f a i rie s a n d , ,

o the r s upe rn a tu r a l b ein g s who they tho u ght exerci sed, ,

a t in fl u en ce up o n the destinie s o f m a n k ind

’
g r e Ke a ts s .

— “
b e a utiful s i re n the title m e a n s the be a utiful l a dy with
”—
o ut pity indu ce s a k ni ght t o f a ll i n l ove with he r a n d
then de s e rt s hi m Ke a ts s s t a nz a i s the b a ll a d st a nz a
.
’

with tw o in ste a d o f th ree f eet in the f o u rth lin e I n .

rhythm i c a l h a rm o ny pict o r i a l p owe r a nd s u ggestio n

, , ,

h owever K e a ts s p o e m i mm e a s u rably s u rp a s s es the old

,
’

b a ll a d s
.

LA B E LL E D AM E S A N S M E RC I

0 w h a t c a n a il t h ee k ni gh t a t a rms
,
- -
,

Al one an d p al e l y l o it erin g !
Th e sed g e h a s w ith er d from th e l a ke
’

And no b i rds sin g .

0 wh at c an a il t h ee kni gh t at a rms
,
- -
,

So h a gga rd a n d so woe be gon e ? -

Th e s qu i rre l s g r a n a r y i s fu l l
’

And th e h a rves t s done ’

.

I see a l il y on t h y brow
Wi t h a n guis h mois t a n d fe v er dew ,

An d on th y c h eeks a f a din g ros e

F a s t wi t h ere t h t oo ”
.

I me t a l a d y in th e me a ds ,

Fu l l be a u tifu l— a fa er y s chi l d ’
.
25 8 IN TR OD U CTI O N TO PO E TR Y
Her h a ir w a s l on g,her foo t w a s l gh i t ,

An d h e r e y es were wi l d .

I m ade a ga r l and for h er h e a d ,

And br a ce l e t s t oo an d fr a gr a n t z one ;
,

S h e l o ok d a t me a s s h e d i d l o v e
’

A n d m a de swee t mo an .

I se t her on m y p a cin g s t eed ,

And no th i n g el s e s aw a l l d a y l on g ,

For s i de l on g wou l d s h e bend a n d sin g ,

A f a er y s son g
’
.

She found me roo t s of rel ish sweet ,

And h one y wi l d a n d m a nn a d e w
, ,

And sure in l an gu a g e s t r an ge sh e s aid

I l ove t h ee t rue
‘ ’
.

She t ook me t o h er el fi n gro t ,

A n d t h ere sh e we pt a n d s igh d fu l l s ore

’

, ,

A n d t h ere I s h u t h e r wi l d wi l d e y es
With kisses four .

“
An d t h ere s h e l u l l ed me a s l ee p ,

A n d t h ere I d rea m d — A h ! woe be t ide !

’

Th e l a t es t dre a m I ever d re a m d
’

On th e col d h i l l s side ’
.

I s aw p l e kin gs
a p rinces t oo
an d ,

Pa l e w rriors de th p l e were t he y
a , a -
a al l ;
The y cried— Be l l e D a me s a n s Merci
‘
La
H a t h t h ee i n th r all ! ’

I s aw th eir s ta rv
’
d li p s in t he gl o a m ,

With h orrid w a rn i n g ga ped wide ,

And I a woke a n d found me h ere ,

On t he col d h i ll s s i de ’
.
2 60 IN TROD U CTI O N TO PO E TRY
Here s F l ud
’
O i rs on , fur h i s h orrd h orrt,
Torr d in
’ ’
d f uth err d d d
’
an an co rr a c o rrt

By the women 0
’
M o rb l e cad !
’ ”

Wrinkl ed sco l ds wi t h on h i p s h a nds ,

G i r l s in b l oom o f ch e ck a n d l i p s ,

Wi l d e y ed free l i mb ed such a s ch a s e
-
,
-
,

B a cch us round some a n ti que v a se ,

B rief o f skir t w ith ankl es b a re

, ,

Loose o f kerc h i ef a n d l oos e of h a ir ,

Wi th conc h s h el l s b l owin g an d fi sh h orns t wan g

- -
’

Over an d o v er th e M a en ads s a n g :
“
H ere s F l u d O i rs o n fur h is h o rrd ho rrt
’

, ,

To rr d a n f uth e rr d an c o rr d i n a co rrt
’ ’ ’ ’ ’

B y th e women 0 M orb l e ea d ! ” ’ ’

S m al l p i ty for h im —H e s a i l ed a wa y
From a l e a kin g s h ip in C h a l eur B ay ,

S a i l ed a w a y from a sinkin g wreck ,

Wit h h is own t own s p eo p l e on h er deck !

’
-

La y b y ! l ay b y ! t h e y c al l ed t o h i m
“ ”
.

B a ck h e a nswered S i nk or swim !
“
,

B r a g o f y our c at c h of fi sh a ga i n ! ”

And o ff he s a i l ed t h rou gh t h e f o g a n d r a in !
O ld F l o y d I reson for h i s h a rd h e a r t, ,

Ta rred a n d fe a t h ered a n d c a rr i ed in a c a r t
B y th e women of M a rbl eh e a d !

Fathoms dee p in d a rk C h al eur

Th a t wreck s h a l l l ie forevermore .

Mo th er a n d s i s t er wi fe a n d m a id
, ,

Looked from th e rocks o f M a r b l e h e a d

Over th e mo an in g a n d r a in y s ea ,

Looked for the comin g t h a t m i gh t no t be !

Wh at d i d t he winds an d th e s ea b i rds s ay -

O f th e cruel c a pt a in wh o s a i l ed a w a y
 THE B A LL AD 26 1

O ld F l o y d I reson for his h a rd he a r t

, ,

Ta rred a n d fe a th ered a n d c a rried in a c a r t

B y th e women of M a rbl e h e a d !

Throu gh the s t ree t on ei t her side

, ,

U p flew windows doors swun g wide ; ,

S h a r p t on gued s p ins t ers o l d wi v es gr ay

-
, ,

Treb l e l en t th e fi sh h orn s br a y
’
-
.

S ea worn g r ands i res cr ipp l e bound

-
,
-

Hu l ks of o l d s a i l ors run a ground ,

S h ook h e a d a n d fi s t an d h at a n d c a ne
, , , ,

And cr a cked wi t h curs es th e h o a rse refr a in

Here s F l ud O irs on fur hi s h orrd ho rrt
’

, ,

To rr d an f uthe rr d an co rr d in a c orrt
’ ’ ’ ’ ’

B y th e women 0 M orb l e e ad ! ” ’ ’

Swee tl y a l on g th e S a l em ro a d
B l oom of orc h a rd a n d l il a c s h owed .

Li ttl e th e wicked ski pp er knew

O f th e fie l ds so green an d t he s ky so blu e .

Ridin g t h ere in h i s sorr y t rim ,

Like a n Indi a n ido l gl um a n d grim ,

Sc a rce l y he s eemed th e sound t o he ar

O f voices s h ou tin g f a r an d ne a r,
“
H ere s Fl ud O irs on fur hi s h orrd horrt
’

, ,

Torr d
’ ’
f u th e rr d d in
’ ’ ’
an an co rr a corrt

By t he women 0
’
M orb l e
’
e ad
”
!

”
He a r me nei ghbors ! at l a s t h e cr i ed
, ,

Wh a t to me is t h is noi s y ride ?
Wh a t is th e S ha me tha t c l o t h es t he s kin
To t h e n a me l ess h orror t h a t l i v es w i t hi n ?
Wa kin g or s l ee p in g I see a wreck , ,

A n d h e a r a cr y from a ree l in g deck !

H at e me a n d curs e me — I on l y dre a d ,

The h a nd o f G o d a n d th e f a ce o f t he de a d !
2 62 IN TROD U CTIO N TO PO E TR Y

S aid F l o y d I reson for h i s h a rd h e a r t

ol d ,

Ta rred a n d fe a th ered a n d c a rr i ed in a c a r t
B y t he women of M a rb l e h e ad !

Th en th e wife of t h e sk ipp er l os t a t s e a
S a id , G o d h a s t ouc h ed h i m ! wh y s h ou l d we !
“

S a id a n o ld w i fe mournin g a n on l y son ,
C ut t h e ro gue s t e t h er a n d l et h im run !
’ ”

S o wi th sof t re l en ti n g s a n d rude e x cuse ,

H a l f scorn h a l f pity t h e y cu t h im l oose

, , ,

A n d ga v e h im a c l o a k t o h i de h im in ,

A n d l e f t h im a l one w it h h i s s h a me a n d sin .

Poor F l o y d I reson for h i s h a rd h e a r t

, ,

Ta rred an d fe a t h ered a n d c a rr i ed in a c a r t
B y th e women o f M a r bl e h e a d !
J o h n G r e e n l ea f Wh itt ie r (1 807 1 8 92 )
-

M u ch o f the b est o f rec ent p o et ry is n a rr a tive S o m e .

o f the b a ll a ds o f M a sefi el d a n d N oyes a re wo rthy o f c o m

p a ris o n with tho se o f Whittie r a n d T ennys on N oyes s .
’

“ ”
bes t b a ll a d i s p rob a bly Th e H i ghw a y m a n whi ch li k e
, ,

a ll
g o o d p oe m s, g a in s i mm en s ely fro m bein
g re a d a lo u d .

TH E H I G HWA YMAN

PAR T ON E

The wind w a s a t orren t o f d a rknes s amon g th e gus ty t rees ,

The moon w a s a gh os t l y ga ll eon t ossed u p on c l oud y se a s ,

The ro a d w a s a ribbon of moon l i gh t o v er t h e p ur p l e moor ,

A nd t h e h i gh w ay m a n c a me r i din g
Ri din g—r id i n g
264 I N TR ODU C T IO N TO PO E TR Y ‘

Ye t i f th e y p ress me s h a r p l y a n d h a rr y me t hrou gh
, , t h e d ay,
Th en l ook for me b y moon l i gh t ,

Wa tc h for me b y moon l i gh t ,

I ll come t o t h ee b y moon l i gh t t h ou gh he l l shou l d b a r t he

’

w ay .

He ros e u p ri gh t in t he s t irru p s ; he sc a rce cou l d re ach her

h a nd ,

Bu t sh e l oosened h er h a i r i th e e a s em en t ! His f a ce burn t

’

l i ke a b r a nd
A s th e b l a ck c a sc a de of p erfume c a me t umb l i n g over his
bre a s t ;
(Oh swee t b l a ck w a v es in th e moon l i gh t !)
,

Then h e t u gged a t h i s rein in th e moon l i gh t a n d gal l o p ed ,

a w a y t o t h e Wes t .

PAR T TW O

H e did n ot come in t he d awn in g ; he did no t come a t noon ;

A n d ou t o th e t a wn y sunse t b efore th e rise 0 th e moon
’ ’

, ,

When the ro a d w a s a gip s y s ribb on l oo p in g th e p ur p l e moor

’
'

, ,

A red co a t t roo p c ame m a rch i n g

-

M a rch i n g —m a rch in g
Kin g G eor ge s men c ame m a rch in g u p to th e ol d inn d oo r
’

,
-
.

The y s a id no word t o the l andl ord th e y dr a nk his al e in s te a d

,
.
,

Bu t t h e y ga gged h i s d au gh t er a n d b ound h er t o t he foo t of her

n a rrow bed

Two o f t h em kne l t a t her c a semen t wi t h muske t s at their ,

s id e
 TH E B A LL AD 265

There was de a th a t ever y window ;

A n d h el l a t one d a rk window ;
For B es s cou l d s ee th rou h h er c a semen t r
, th e ro ad t h a t he
wou l d ride .

Th e y h a d t ied h er u p t o a tt en t ion , wi t h m a n y a sni ggerin g j es t ;

Th e y h a d bound a muske t beside h er, w ith th e b a rre l ben e a t h
bre a s t !
h er
Now kee p good w a t ch ! a n d t h e y kissed her .

S h e he a rd th e de a d m an s ay
L o ok f or m e by m oo n l ig h t
Wa tc h f or m e by m o o n l igh t
’
I ll c om e to the e by m oo n l ig h t, though he ll s hou ld b a r th e
way !

S he t wis t ed her h nds beh ind h e b ut al l the kno t s he l d good !

a r

S he wri thed h e h nds ti l l h e fi n gers were we t w i th swe t or

r a r a

b l ood !
Th e y s t re t ched a n d s t r a ined in th e d a rkn ess an d the h ours ,

cr a w l ed b y l ike y e a rs ,

Ti l l now on t he s t roke of midni gh t

, ,

C o l d on th e s t roke o f midn i gh t ,

Th e t i p o f on e fin ger t ouc h ed i t ! Th e t ri gger at l e a s t w a s

her s !

The t i p of on e fin ger touched i t ; she s trove no more for th e

res t !
U p S he s t ood t o tt en ti on wi t h th b rre l bene ath h e bre s t
,
a ,
e a r a ,

S h e wou l d n t risk t h eir h e r i n g ; h e wou l d no t s t r iv e g i n ;

o a s a a

For the ro d l y b re in th mo n l i gh t ;
a a a e o

B l nk d b re in th e moon l i gh t ;
a an a
2 66 I N TRODU CTI O N TO P O E TRY

And t he b l ood o f h er v ein s in th e moon l i gh t throbbed t o h er

l ove s refr a in
’
.

Tl o tt t ; t lat t io t ! H d t h e y he rd i t ? The h orse hoo fs

-
io -
a a -

r i n gi n g c l e r ; a

Ti o t—
tl t t l t tl o t i n th e d i s t nce ? Were t h y de af t h t t h e y
o , o -
,
a e a

d i d no t he r ? a

D own t h r i bb on o f moon l i gh t over th brow of th e h i ll

e ,
e ,

The h i gh w y m n c me r i d i n g,
a a a

Ri d i n g rid i n g ! ,

Th e red co t s l ooked t o t h eir p rim in g ! S h e s t ood u p s t r i ght

-
a , a

a n d s t il l !

Tl ot-tl at, in the fros ty s il ence ! Tl o t ti o t

-
, in th e echoin g
ni gh t !
Ne a rer h e c ame a n d ne a rer ! Her f a ce wa s l i ke a l igh t !
Her e y es grew wide for a momen t ; sh e drew one l a s t dee p ‘

bre ath ,

Then h e r fi n ger mo v ed i n th e moon l i gh t ,

Her muske t s h att ered th e moon l i gh t

S h a tt ered h e r bre a s t i n th e moon l i gh t an d w a rn ed h im—w ith
,

h e r de a th .

H e t urned ; h e s p urred t o th e Wes t ; h e did no t know who s t ood

Bowed wi t h h e r he ad o er th e muske t drench ed wi th h er own
,
’

red b l ood !
No t ti l l the d a wn h e h e a rd it h is f a ce grew gre y to he a r
,

How Bess th e l a ndl ord s d au gh t er

,
’

Th e l a nd l ord s b l a ck e y ed d a u gh t er
’
-

Ha d w a t ch ed for h er l ove in th e moon l i ght a n d died in t he ,

d a rknes s t h ere .
 C H A P TE R V I I

TH E SO N N E T

A Sonn e t is a momen t s monumen t ’

Memori al from t h e S ou l s e t erni ty ’

To one de a d de a thl ess h our Look t h at it b e .

,

Wh et h er for l us t r al ri t e or d i re p or t en t ,

Of i ts own a rduou s fu l l ness re v eren t :

C a r v e i t in iv or y or in e b on y ,

A s D ay or N i gh t m a y ru l e ; a n d l et t ime see
I t s flower i n g cres t i m p e a r l ed a n d or i en t .

A S onne t is a coin : i t s f a ce re v e al s
Th e sou l — it s con v erse t o w h a t Power tis due
’

, ,

Wh e t h er for t ri b u t e t o th e a u gus t a pp e a l s
O f Life or dower in Lo v e s h i gh re t inue
,
’

I t serve : or mid t he d a rk w h a r f s c a v ernous bre ath

,
’ ’

I n C h a ron s p a l m it p ay th e t oll t o D e a t h
’
.

D a n te G a b ri el R o s s e tt i (1 828 1 882 ) -

A L T H O U G H p ri mi tive p oet ry wa s l a r g ely sp o nt a n eo u s

a n d m o re o r les s i r re ul a r s k ill p r ovo k ed e m ul a ti o n p o ets
g , ,

s o o n f oll owed m o del s a nd m a ny fixed s t a nz a i c fo rm s

,

eventu a lly be w m e e st a blished I n li k e m a nne r a t a l a te r

.

p e ri o d wh ole p o em s c a m e t o b e m odeled on c ert a in st ru e

tu r a l p a tte rn s the chie f fe a tu res o f which we r e u ni fo r m
,

ity i n m eter in ri m e i n the nu m be r o f lin es a nd s o m e

, , , ,

ti m es in the u s e o f a refr a in G re a t p o e m s h a ve a s a
, .

rul e be en o f si m pl e st ru ctu re bu t the g r e a t est po et s ,

h a v e o ften f o r s o m e o f thei r c o m p o siti o ns deli ght ed in

, ,

268
 TH E SO NN E T 269

the fix ed fo rm s B ec a u s e o f thei r diffi culty these fo rm s

.
,

ch a ll en g e the c a re ful w o r km a n T hey en c o u r a g e t h e

.

s e a rch f o r the ri ght w o r d a n d c o m pel c on den s a ti on .

While the tho u ght m a y b e a s v a ried a s hu m a n expe ri enc e ,

the fo rm o ff er s the r e a de r the ple a su re o f r ec o g niti on .

The m o st f a m o u s o f a l l the fixed f o rm s is th e s o nn et ,

g r e a t ex a mples o f whi ch a r e fo u n d i n I t a li a n F ren ch , ,

Ge rm a n a n d o the r m o de rn l a ngua ges a s well a s E n gli s h

, .

The s o n net w a s a p ro du ct o f the e a rly I t a li a n R en a i s

sa n c e,
—a p eri o d when the c r a fts o f the g olds mi th t h e ,

p a i nte r a n d th e p o et we r e plied wi th e q u a l c a r e an d s k ill

, .

I t w a s i nt r o du ced int o E n gl a nd e a rly i n the sixteenth

c entu ry by S ir T ho m a s Wy a tt a n d H en ry H ow a r d E a rl ,

of S u r rey a nd a t o nce a tt a i n ed a re m a rk a bl e v o gue

, .

Sh a k espe a re Spen se r a n d S idney a s well a s a nu m be r

, , ,

o f m in o r E liz a b eth a n p oets w ro t e s o nn et s e q ue n c e s

, .

B etw ee n the de a th o f M ilt o n a nd the d a w n o f the R 0

m a ntic pe ri o d the f o rm wa s ne glected bu t f r o m the ,

a ppe a r a nce o f Willi a m L i sl e B owles s S on ne t s in 1 7 89 it

’

h a s t o the p res ent d a y e m b o d ied s o m e o f the fi n est

, ,

th o u ght s o f g re a t p o et s b o th E n glish a n d A m e ri c a n .

I n p oet ry w ritten i n E n gli sh ther e a re i n o r de r o f im ,

p o rt a nce thr ee m a in types o f the s o n net : the I t al i an

, ,

the S ha kesp ea rea n a n d the S p enseria n Th e I t a li a n o r

, .
,

Pet r a rch a n rec eives its n a m e f r o m the f a ct th a t it wa s

,

u sed by Pet r a r ch a nd o the r I t a li a n p o ets E a ch o f the .

othe r tw o type s t a k es its n a m e fro m the m o st illu st ri o u s

E n glish p o et wh o e a rly m a de a n extended u s e o f it .

Th e fi rst g re a t E n glish p o et t o u s e th e I t a li a n s o n n et
f o rm wa s th e s ch ol a rly John M ilto n Af fli cted it i s b e .
,

l ieved by c a t a ra ct s whi ch a m o d e rn s u rg e o n c o ul d h a v e
,
2 70 IN TROD U CTI O N TO PO ETRY
re m oved in h o u r th e p o et o f C amus s e rve d the Co m
an ,

m o nweal t h i n spite o f f a ilin g ey esi ght a n d lived t o be c o m e

,

the a utho r o f P a ra d is e L o s t M ilto n s re a cti on fr o m the

.
’

g l o o m o f blindnes s i s g iven in a s o n n et which c o n clu des

—
with o ne o f the m o st f r e q uently q u oted a n d m i s q u o ted
lines in the l a n g u a g e The followin g i s a p e rfect I t a li a n
.

s o nnet o f the p u rest typ e It c o ns ist s o f fo u rteen i a m bic

.

pent a m ete r lines The fi rst ei ght lines f o rm the o c t a ve

. ,

whi ch ri m e s ab baa bb a ; the re m a i ni ng six l i n e s ,

cd ecde c o ns titute the s es t e t

, .

WH E N I C ON S I D E R

When I consider h o w m y l i gh t is s p en t
E re h al f m y d a y s in t h i s d a rk wor l d a n d w i d e ,

A n d th a t one t a l en t w h ic h i s de a t h t o h ide
Lod ged w ith me use l es s t h ou gh m y sou l more bent
,

To serve t h erewi t h m y M a ker a n d p resen t ,

M y t rue a ccoun t l es t H e re t urnin g c h ide

, ,

D o t h G od e x a c t d a y l ab our l i gh t den i ed ?
“ -
”

I fond l y a sk —Bu t Pat ience t o p re v en t

,

Th a t murmur soon re p l ies : G o d do th no t need

,

E it h er m a n s work or H i s own gi f t s : w h o bes t

’

B e a r His m i l d y oke t h e y ser v e H i m b es t : His s tate

,

I s kin gl y ; t h ous a nds a t H i s b i dd i n g s p eed

A n d p os t o er l a nd a n d oce a n w it h ou t res t
’

The y al so ser v e who on l y s t a nd a n d w a i t

”
.

J o hn M il t o n (1 6 08 1 6 74) -

J oh n Ke a ts — who a m on g E n glish p o ets w a s p eculi a rly

, ,

the hi g h p ri est o f be a u ty— wa s especi a lly sti rr ed by th e

a rt a nd m ythol o g y o f a ncient G r eec e I n a s o nn et he .

exp re s s ed his feelin g s up o n fi rst re a di ng the Iliad a nd t he

2 72 I N TR ODU CT IO N TO P O E TR Y
c o in cident al with th e p a s si ng f r o m o ct a v e t o s estet The .

th o u ght o f th e o ct a ve fr e q u ently in f a ct ru n s ove r

, ,

int o the fi r st h a l f o f the next li ne I n p o o rly c o n st ru ct ed

.

s on net s (whi ch m a y howeve r b e excellent p o em s ) the

, ,

di stincti o n be tween sestet a n d o ct a ve i s n o t st ri ctly m a in

t a in ed I n a ll re gul a r s o n net s o f the I t a l i a n typ e the
.

r i m e s che m e o f th e o ct a ve i s a b ba a bb a ; i n the s estet how ,

eve r g re a t l a titu de in ri m e i s a llowed

, .

Altho u gh the I t a li a n i s r e g a rded a s the st a nd a rd

s o nnet the o ther types p a rti cul a rly the Sh a k espe a re a n
, , ,

a re vehi cles f o r s o m e supe rb p o e m s Th e Sh a k espe a re a n

.

s on net d o es n o t a ff o rd the sy m pho ni c eff e ct o f the I t a li a n ,

bu t it s he ro i c q u a t r a in s p r o du c e a sweepin g m ove m ent ,

a nd the c o n clu din g he r oi c c o uplet o ften gives t o the

tho u ght a n e ffective e p i g r a m m a ti c tu rn Th e ri m e s che m e .

o f the thr ee q u a t r a in s a n d the c o upl et i s a b a b cd cd ef ef

gg . Sh a k espe a re s o n e hun d red a n d fi f t y fo u r s o nnet s
’ -

c o n stitut e a s eq uen ce u np a r a llel ed fo r s u s t a ined p owe r

a n d be a u ty . L i k e H o r a c e R o n s a rd a nd othe r p oets the
, , ,

a utho r sp o k e with p r opheti c c o nfiden c e o f hi s futu re

“ ”
fa m e . St r a ng ely en o u gh howeve r the f a i r f riend
, ,

wh o m he a dd res s es i n S o nn et C IV h a s f a llen hei r t o a n

“ ”
a n o n y m o u s i mm o rt a lity The phr a s e eye I ey d i n thi s ’
.

s onnet r e fl ect s the E liz a beth a n fo ndnes s f o r c on ceit s .

“ ”
F a i r tho u o w s t m e a n s be a uty y o u p o s s es s A n u m be r
’
.

q u o ted a s a title refers t o the s o n net s pl a c e in its cycl e ’

.

XV I I I

S h al lI com p a re t h ee t o a summer s d ay ?’

Th ou art more l o v e l y an d more t em p er a t e

 TH E SO NN ET 2 73

Rou gh winds do sh a ke t he d a r l in g buds of M a y ,

summer s l e a se h a t h al l t oo s h or t a d a t e
’
A nd

S ome t imes t oo h t t h e y e o f h e ven shines

o e a ,

A d of t en is his go l d com p l e x ion d imm d :

’
n

An d ever y f i r from f i r some t ime dec l ines

a a ,

B y c h nce or n t ure s ch n gin g course un trimm d

a ,
a
’
a ,
’
.

Bu t thy e t ern al summer s h all no t fa de

Nor l ose p ossess i on o f th a t f a i r thou o w s t ; ’

Nor S h all de a th br ag t h ou w a n d res t in his sh a de ’

Wh en in e t ern al l ines t o t ime t hou grow st : ’

So l on g a s men can bre a t h e or e y es c an s ee , ,

S o l on g l ives this an d t h is gi v es l ife t o t hee

, .

Wil l ia m S ha kesp ea r e (1 5 64 1 -
61 6)

LXXI

N o l on ger mourn for me w h en I a m de a d

Th a n y ou s h al l he a r th e sur l y su l l en be ll
G iv e w a rnin g t o t h e wor l d th a t I a m fled ,

From th is vi l e wor l d wi t h vil es t worms to dwel l

, .

N ay , i f y ou re d t h is l ine remember n t
a ,
o

Th e h nd t h t wri t i t ; for I l o v e y ou s o
a a

Th t I in y our swee t t h ou gh t s wou l d he for go t

a

I f t hinkin g on me then s h ou l d m ke y ou woe a .

0 if I s ay y ou l ook u p on th is vers e
, ,

Wh en I p er h a p s com p ounded a m w ith c l ay ,

D o no t so muc h a s m y p oor n a me re h e a rs e ,

B ut l et y our l o v e e v en wi th m y l i fe dec ay ,

Les t wis e wor l d s h ou l d l ook in t o y our mo an

th e ,

An d mock y ou wi t h m e a f t er I a m gone .

Wil l ia m S ha kes p ea re (1 5 64 1 -
61 6)
274 IN TROD U CT IO N TO PO E TR Y

To me f a ir friend y ou n e v er c an be ol d
, , ,

For a s y ou were when fi rs t y our e y e I e y d ’

S uc h seems y our be a u ty s t i l l Th ree win t ers co l d.

H a v e from th e fores ts s h ook three summers p ri de ; ’

Th ree be a u t eous s p rin gs t o y e ll ow a u tumn t uru d ’

I n p rocess of th e se a son s ha v e I s een ,

Th ree A p r i l p erfumes i n t h ree h o t J un es b urn d

’

S ince fi rs t I s a w y ou fres h w h i c h y e t a re green, .

Ah ! y e t do th be u ty l ike
a d i a l h and
, a -
,

S t e a l from h i s fi gure a n d no p a ce p e rc ei v d ;
’

S o y our swee t h u e w h i c h me t h i nks s ti ll do t h s ta nd

, ,

H a t h mo ti on a n d m i n e e y e m a y b e d eceiv d
’

For fe a r of w h i ch h e a r th i s than a ge unbred

, , ,

E re y ou were b orn w a s be a u ty s summer de a d

’

, .

Wil l ia m S ha kesp ea re (1 5 64 1 -
61 6)

Th e foll owin g ex a m pl e o f the Spen se ri a n s o nnet i s t a k e n

f ro m Spen s er s cycl e o f l ove s onnets the A m o re tti A l
’
, .

tho u g h th e p o em w a s w ritten m o re th a n three centu ri es

a o the w o rd f o n d ne ss (folly ) is the o nly o n e th a t m i ht
g , g
n ot be u s ed t o d a y Th e sp ellin g ha s however b een m o d
.
, ,

e rn iz d
e — as i s u s u a l i n the rep ri ntin g o f E liz a b eth a n
w o rk s . E xt r a v a g a n t l a u d a ti o n o f fem a l e b e a uty wa s
c om m on i n the c o u rt ci rcles o f R en a iss a n ce E u r ope .

Well k n own i s Sp en se r s o wn l a vi sh p r a is e o f Q u ee n
’

E liz a b eth t o who m he dedic a ted the F a erie Q u e ene The

' '

, .

Spens e ri a n s o nnet di ffer s f r o m the Sh a k espe a re a n o nl y

in th a t the q u a t r a in s a re inte rl o c k ed by ri m e the s che m e ,

bein g a b a b b c b c od ed ee .
2 76 I N TRODU CT IO N TO PO E TR Y
a re
g ive n di ff e rent types o f s o nn ets r ep res enti n
g eve r y
a e in whi ch the fo r m h a s fl o u rished in E n glish
g .

S ir Philip Sidney who died fro m b a ttle wo u nd s a t th e

,
-

a e o f thir ty two w-
a s f a m o u s a s a c o u rtie r p o et c riti c
g , , , ,

a mb a s s a d o r a n d s oldie r
, E speci a lly when o n e c on side r s
.

th a t the a utho r w r ote be fo re a ny o f the g re a t p oet s o f

m o de rn E n gl a nd the s on net below i s e n o u gh t o p r ove
,

the e m inen c e o f hi s p o eti c g eni u s Sidney s cycle is .

’

entitled A s t rop hel a nd S t ella Ast r o p hel w a s o f c o u rs e

.
, ,

th e a u tho r . Stell a w a s p r ob ably the L a dy Pen el ope

Deve re ux who s e p a rents b r o k e her bet r oth a l t o Sidn ey
,

in o rde r t o m a r ry he r t o a we a lthy n obl e m a n R o sy .

s ee m s t o i m ply the ide a o f s ub ro s a i e q uiet silent , . .

, , .

P rea s e i s m o de rn p r es s ; the old fo rm i s r et a ined fo r the

s a k e o f rime Thi s s o n net i s i n ri m e a Sh a k espe a re a n
.
, ,

a n d Spe n se ri a n hyb ri d .

XXXI X

S l ee p ! 0 s l ee p t he cer t ain kno t of p e ace

C o m e, , ,

The b a i t in g p l a ce of w it t h e b a l m of woe
-
, ,

The p oor m a n s we al t h th e p r i soner s rel e a se

’ ’

, ,

Th e indi ff eren t j ud ge be t ween th e h i gh a n d l ow ;

Wi t h s h iel d o f p roo f s hiel d me from ou t th e p re a se

O f t h os e fi erce d a r t s D es p a i r a t m e do th t h row
0 m a ke in me t h os e c i v i l w a rs t o ce a se ;
I wi l l good t r i bu t e p ay i f t hou do so , .

Ta ke t han o f me smoo th p i l l ows swee t es t bed , ,

A c h a mb er de a f of noise an d b l i nd o f l i gh t ,

A ros y ga r l a nd an d a we a r y h e a d
A n d i f t h ese t hi n gs as be i n g t h ine i n ri gh t
, ,
 TH E SO N N E T 2

Mo ve not th y he a vy g r a ce t h ou s h a l t in me
, ,

Livel ier th an e l s ew h ere S t e ll a s im a ge s ee

,
’
.

S ir P hil ip S id n ey (1 5 5 41 5
-
86)

The n ext s o n n et with it s st ri ct Sh a k espe a re a n f o

,

a n d the u nexp ected tu rn o f tho u g ht i n th e c o uplet i s f r ,

D ra y t o n s cycle entitled I d e a
’
I t show s m o re si n ce rity
.

f eeli ng th a n m o s t E li z a be th a n s o nn et s .

LX I
S ince there s no h el p come l e t u s kis s a n d p a rt
’

N ay I h a v e done y ou get no more o f me ;

,

And I am gl a d y ea gl a d wi t h a ll m y h e a r t
, , ,

Th a t t h us so c l e a n l y I m y se l f c a n free ;

Sh a ke h a nds for e v er c ancel al l our v ows

, ,

A n d w h en we mee t a t a n y ti me aga in ,

B e i t no t s een in e ith er of our b rows

Tha t we on e j o t o f former l o v e re t a in .

Now a t th e l a s t ga s p of l o v e s l a t es t bre ath ’

Wh en h is p u l s e f a i l i n g p a ssion s p eechl es s l i e s
, , ,

Wh en f a ith i s knee l in g b y h is bed of de a th ,

A n d innocence is c l osin g u p h i s e y es ,

—Now i f th ou wou l d s t w h en all h a v e gi v en him o v er

’

From de a th t o l i fe t h ou m i gh t s t h im y e t reco v er ! ’

M ic ha e l D ra y ton (1 5 61 -
1 63 1 )
“
M ilto n s O n the L a te M a s s a c re in Pied m o nt g ives
’

E n glish a ttitu d e tow a r d the sl a u ghter — b y t r o op s o f

T u ri n g ove rnment— o f P rotest a nt s in the It a li a n p r ovi
of Pied m o nt M ilt o n se rv ed in a d u a l c a p a city ; he
.

o nly w r o t e the s o nn et bu t a s fo rei g n sec ret a ry p en

, , ,
2 78 IN TRODU CT IO N TO PO E TR Y
C ro m well
’
i n L a ti n s sh a rp reply whi ch p ro t ect e
s u rvivo r s . To the P u rit a n s the chu rch o f R o m
,

B a bylo n .

ON THE LA TE M A S SA C RE I N PI E D M O N
’
.

A v en ge O Lord thy s l au gh t ered s a in t s w h ose bone s

, , ,

L i e sc a ttered on t h e A l pi ne moun t a i ns co l d ;
E v en t h em w h o ke pt t hy t ru t h so p ure o f o ld ,

Wh en al l our f a t h ers wors h ipp ed s t ocks an d s t ones ,

For ge t no t : in th y book record t h eir gro ans

Wh o were t hy s h ee p an d i n t h eir a ncien t fo l d
,

S l a in b y th e b l ood y Pi e d mon t ese t h a t ro ll ed ,

Mo t h er wi th in f a n t down th e rocks Th eir mo a n s .

Th e v al es redou b l ed t o th e h i l l s a n d t h e y ,

To h e a v en Th e i r m a r ty red b l ood a n d a s h es sow

.

O er a l l th e I ta l i a n fi e l ds w h ere s ti l l do t h sw a y
’

Th e t r ip l e Ty r a n t t h a t from th es e m ay g row
,

A h un dred fo l d w ho h a v in g l e a rn t t h y w ay
, , ,

E a r l y m ay fl y th e B ab y l oni a n woe .

J o h n M il t o n (1 6 08 1 674 -

’
W o rdswo rth s s on net s do n o t show t h e s u s t a in e
c el l en c e o f Sh a k esp e a re s bu t fo r l o fty the m e a n d n
’
,

exp r es si o n a few s t a n d n e a r the he a d o f a n y list A .

thi s n u m be r a re L o ndo n 1 802 a n d The W o rl d 1

“ ” “
, .

”
M u ch with Us b o th o f which voi c e a yo un g p oet
,
’

s a tis f a cti o n with the spi rit o f his a g e .

LON D ON , 1 8 02

Mil t on ! t h ou shou l d s t be l ivi n g at t h i s h our

’

E n gl a nd h a t h n eed of t h ee : s h e is a fen
Of s t a gn a n t w a t ers : a l ta r sword an d p en , , ,

F i res i de th e h eroic we al t h o f h a l l a n d bower

, ,
280 I N TRODU CTI O N TO PO E TRY

st ru ggle fo r i ndep enden ce The P ri s on e r o f .

“
Chill o n ”

i s widely k n ow n W e q u ote the p ref a t o ry s onn et

. .

C hill o n w a s a n i sl a n d p ris o n in the L a k e o f G enev a ;

B o n n iv a rd w a s a G enev a n p a t ri ot i m p ri s on ed the re a t a
ti m e when the city wa s u n de r f o r ei g n do m in a tion N ot e .

th a t the typi c a l r i m e o r d e r o f the o ct a v e i s n o t her e

ob s e rved .

SON N E T ON C H I LLON

E t ern l S p iri t o f th ch i n l ess Mind !

a e a

Br i gh t es t in dun geons L i b er ty ! t h ou t , ar ,

For t h ere t hy h b it ti on i s th h e r ta a e a

Th h e r t w h i c h l o v e o f Th ee l one
e a b ind ; a c an

A n d w h en t hy sons t o fe tt ers
’
i gn d a re c o n s

T fe tt ers d t h e d m p v u l t s d y l es s gl oom
’
o ,
an a a a ,

Th eir coun t r y con quers wi th t h eir m r ty rdom a ,

A n d Freedom s f me fi nds win gs on ever y wind

’
a .

i
Ch l l on ! t hy rison p y p l ce is a h ol a

A n d thy s a d floor l t r for t w s t rod

’
an a a ,
a ,

Un t i l his v er y s t e p s h v e l ef t t r ce a a a

Worn s i f th y co l d p vemen t were sod

,
a a a ,

B y B n i d ! M y none t h ose m rks ff

o n va r a a e a ce !
For t h e y pp e l a a

G e org e N o e l G 1 824)

Tho u g h Shelley li k e B y ro n w ro t e f ew s o nnet s his

, ,
/

”
Ozym a ndi a s wa s be fo r e M a s efiel d p erh a p s th e fin es t
ex p res si o n i n E n glish o f the o blite r a tin g p owe r o f ti m e— a
p owe r th a t liter a ry a rt a l o n e s eems a ble t o withst a n d .

T he re w a s a pp a r ently n o s u ch r uler a s Ozym a n d i a s ;

c o n se q u ently Shelley c o in ed fo r the k in g a s on o ro u s
“ ”
i m peri a l n a m e Ozy m a ndi a s
. s ee mi n gly r efl ects it s
a utho r s imp res si o n o f N a p oleo n
’
.
 TH E SO NN E T 2 81

OZYM A N D I A S
I me t a t r a v e l l er from a n a n tique l a nd
Wh o s a i d : Tw o v a s t a n d t runk l ess l e gs o f s t one
“

S t a nd in t h e deser t Ne a r t h em on th e s a nd
.
,

H alf sunk a s h att ered vis a g e l ies w h os e frown

, ,

An dwrink l ed l ip an d sn eer o f co l d comm a nd ,

Te ll t h a t it s scu l pt or we ll t h ose p a ssion s re a d

Whic h y e t sur v i v e s ta m p ed on t h es e l i fel es s th in gs
, ,

Th e h a nd t h a t m o ck d t h em a n d t he h e a r t th a t fed ;
’

And on th e p edes t al t h ese words app e a r

My n a me is O z y m a ndi a s kin g o f k i n gs :
‘

Look on m y works y e M i gh ty an d des p a ir !

, ,
’

No t hin g beside rem a ins Round th e dec a y .

Of t h a t co l oss a l wreck bound l es s a n d b a re

, ,

Th e l on e an d l eve l s a nds s t re t c h f a r a w a y
”
.

P e r c y B y s s h e S h e ll ey (1 792 -
1 822)

11 excellen t ide a o f the r a n g e o f p oeti c s ubj ect m a tte r

b e a c q ui red by c o mp a rin g the fo re g oin g s onn et a n d
“ ”
foll owin g The k in g o f k in g s a n d th e c ri c k et
.

e i s s o m ethin g i n e a ch fo r the inte rp ret a tive i m a g in a

“ ”
of the p o et On the G r a s shoppe r a n d C ri c k et
.

c o m p o sed u n de r interestin g ci r cu m st a n ces C owde n .

ke L ei g h H u nt a n d Ke a t s we re p a s sin g a n eveni ng
‘

, ,

the r di s cu s sin g p o et ry Ke a t s m a int a in ed th a t

.

c o uld be fo u nd i n eve rythin C l a r k e w a s sk e t i

r
.

y g p
.

an d perh a p s n o t kn owi n g th a t C owl ey a n d L ovel a c e

,

u sed it su gg ested the g r a s shoppe r a s a n i m p o s sible

,

ect The res ult wa s two g re a t s o nnet s o ne by Ke a t s

.
,

o n e by H u nt .
2 82 IN TR ODU CT IO N TO PO E TRY

ON TH E G RA S S HO PPE R A N D C RI C KET

Th e p oe t r y of e r t h i s n e v er de d
a a

Wh en l l th e b i rds
a f in t w it h th e ho t s un
a re a
,

A n d h i de in coo l i n g t rees v oice w i l l run ,

a

From h edge t o h ed ge b ou t t h e new mown me d ; a -

a

Th t i s t h e G r ss h o pp er s— h e t kes th e l e d
’
a a a a

In summer l u x ur y — h h s ne v er done , e a

Wi th h i del i gh t s ; for w h en t ired ou t wi th f un

s , ,

He res t s t e se bene t h some p l e s n t weed

a a a a a .

Th e p oe t r y of e r th is ce sin g ne v er : K
a a

On l one w i n t er e v en i n g w h en th e fros t
a ,

H wrou gh t s i l ence from th s t o v e t h ere shrill s

as a , e

Th C ricke t s son g in w rm t h i ncre sin g e v er“

’

e ,
a a

A n d seems t o on e in drows i ness h l f l os t a ,

Th e G r ss h o pp er s mon g some gr ss y h i ll s
’
a a a .

J o hn K ts (1 79 5 1 821 ) ea -

S ever a l nineteenth c en tu ry p oets h a ve followed t he

E l iz a be th a n c u st o m o f w r itin g a cycl e o f s o n nets o n
l ove M e redith s AI o d e rn L o ve h a s been m enti o ned L es s
.
’
.

a n a lytic th a n R o s setti s Th e H o u s e of L if e a n d les s

’

p retentio u s th a n B rid g es s Th e G ro wth o f L ove M r s ’

, .

B rownin g s S o n ne ts f r o m t he P o r tu gu es e c o n stitu ted t he

’

m o st widely re a d cycl e o f the nineteenth c entu ry The .

s o nnets exp res s vividly the r o m a nti c l ove o f the a u tho r

fo r he r p o et hu sb a nd M r s B rownin g w a s a b runette
. .
,

“
a n d he r hu sb a nd o ften pl a y fully te rm ed he r the P o rt u
”—
g u es e a title unde r whi ch foll owin g the e a rly cu s ,

t o m o f r espect a bl e w o m e n wri te rs s he p r ese rved her ,

a no n ym ity .
2 841 IN TRODU C T IO N TO PO E TRY

Who bui l ds s h i p mus t fi rs t l ay down th e keel

a

O f h e a l th w h ere t o th e r i bs of mir th a re wed

,

And kn it wi th be a ms an d knees of s t ren gt h a bed

, ,

For decks o f p uri ty h er floor a n d ceil

, .

Up on her m a s t s A d v en ture Pr i de a n d Ze a l
, , , ,

To for t une s wind t h e s a i l s o f p ur p ose s p re a d

’

An d a t th e p row m a ke fi gured m a i den h e a d

O e rrid e th e s e a s a n d a nswer t o t h e w h ee l
’

And l et h im dee p in memor y s h o l d h a v e s to r d

’ ’

Wa t er o f H e l i con : a n d l et h im fi t
Th e need l e t h a t do th t rue wi t h h e a v en a ccord
Th en b i d h e r crew l o v e d i l i gence a n d w it
, ,

Wi t h j us ti ce cour a ge t em p er a nce come abo a rd

, , ,

And a t h er h e l m t h e m a s t er re a son s it .

R o b e r t B ri d ge s (1 844

Rupe rt B r o o k e s t a lent wa s r a pidly m a tu red int o

’

a u thenticity by the W o rld W a r L ike B yr o n B ro o k e

.
,

m et de a th while se rvin g the c a u s e o f libe rty i n the N e a r

E a st . Pa rt ly b ec a u se o f hi s m e rit a n d a pp a rent p r o m is e ,

p a r tly be c a u s e o f the ci r cu m st a nces o f his de a th hi s p o st ,

hu m o u s f a me h a s be en c on s ider a ble F r o m a s eq uen c e o f

.

“ ”
five s onn ets entitled N inetee n F o u rtee n we q u ote t he -

des e rvedly p opul a r

TH E S OL D I E R

I f I s h ou l d die th i nk on l y th i s o f me
,

Th a t t h ere s some corner o f a forei gn field

’

Th a t is fore v er E n gl a nd Th ere s h a ll be
.

In t ha t r i ch e a r th a rich er dus t conce al ed

 TH E SO NN E T 2 85

A dus t w h om E n gl and bore s h a p ed m a de a w a re , , ,

G a v e once h e r flowers t o l o v e h er w a y s t o ro am ;
, , ,

A b od y of E n gl a nd s b re a t h i n g En gl is h a i r
’

, ,

Wa s h ed b y th e rivers b l es t b y suns of home,

.

And t hink t his h e a r t al l e v i l s h ed a w a y

, , ,

A p u l se in th e e t ern a l mind no l es s ,

G iv es somew h ere b a ck th e t h ou gh t s b y En gl a nd gi v en ;
Her s i gh t s an d sounds ; dre a ms h a ppy a s h er d ay ;
A n d l a u ght er l e a rn t of friends an d g en t l enes s
, , ,

I n he a r t s at p e ace under a n En gl i s h he a v en
, .

R up e r t B roo ke (1 88 7 1 91 5 ) -

L ite ra ry c riti ci s m i s n o t ex a ctly withi n the p r ovi n c e

o f p o et ry bu t o ne o c c a si on a lly find s i n ve r s e a r a re
,

“ ”
t rib ute o r a pp reci a ti o n A rn old s Sh a k espe a re th o u gh
.
’
,

it a llu des o nly t o Sh a k espe a re s t r a g edies i s u n s u rp a s sed ;

’
,

a n d W a ts o n s s onnet riv a l s it cl o s ely

’ ’
Si r Sidney L ee s .

Lif e i s a recent exh a u stive bi o g ra phy o f Sh a k espe a re .

SHA K ES PEA RE

O t hers abide our ques t ion Th ou a rt free . .

We a sk an d a s k : Thou s mi l es t a n d a rt s t il l ,

Ou t t o pp in g knowl ed ge For th e l o f t ies t hi l l

-
.

Th a t t o th e s t a rs uncrown s h i s m a j es ty ,

Pl an t in g h i s s t edf a s t foo t s t e p s i n t he s ea ,

M a k i n g th e H e av en o f H e a v ens h i s dwe ll i n g p l a ce -
,

S p a res bu t t h e c l oud y border o f h i s b a s e

To th e f o il d se a rc h in g o f mor t a l i ty
’

A n d t h ou w h o d i ds t t h e s t a rs a n d sun b e a ms know
, ,

S e l f s c ho o l d se l f s can n d se l f h o n o u r d s e l f—
secure
’ ’ ’
- - -
, , , ,

Dids t w a l k on E a r t h un gues s d a t B e tt er so ! ’
.

A l l pa in s t he i mmor t a l s p ir it mus t endure ,

2 86 IN TRODU C T IO N TO PO E TRY
we a kn ess t h at im p a irs all griefs th a t bow
A ll , ,

Find t h e i r so l e v o i ce i n t ha t v ic t or i ous b row .

Bl a tth e w A r n o l d (1 8 22 -
1 888)

WRI TTE N I N M R S I D N EY L EE S
.
’
LI F E O F
S H A K E S PEA RE

Lee w ho in ni gga rd so i l h a s t de l v ed t o fi n d
, ,

Wh a t th i n gs soe v er m a y be known or gues sed

Of h im t ha t t o th e a ges gi v es no res t ,

The wor l d w a t c h ed secre t p e ak of h um a n mind ;

-

Thy c h o i ce w as we l l w ho l ea v s t t o foo l s a n d bl ind

’

A l l v ision a r y v a gue f a n t a s t ic ques t

, ,
.

None t o th e Presence ha t h more ne a r l y p res sed ,

Nor h a s t t h ou him d i s ser v ed t o ser v e m ank i nd

-
.

Ti s s a id o f cer ta in p oe t s , t h a t wri t l a r ge
’

Th e i r sombre n a mes on t r agic s t a g e a n d t ome ,

Th e y a re gu l fs or es t u a ries o f S h a kes p e a re s
’
s ea .

Lo f ty th e p r a ise ; a n d h onour enou gh to be ,

As chi l dren p l a yi n g b y h i s mi gh ty m a rge ,

G l orious wi th c a su a l s p r i nk l i n gs o f th e fo a m .

S ir Will ia m Wa t s o n (1 8 5 8

M a ny g r e a t p o et s h a ve b een t r a nsl a t o rs Ch a p m a n .
,

P op e , C owpe r , a n d B ry a nt t r a n sl a ted H o me r a n d op ened ,

“ ”
up the gl o ry th a t w a s G reece t o hu nd reds o f tho u s a n d s
who c o uld n o t re a d the o ri gin a l L o ng fell ow o n e o f the
.
,

m o st s ch ol a rly a s well a s o n e o f the m o st p opul a r o f p oet s ,

t r a n sl a ted the D ivin e C o me d y o f D a nte T o hi s t ra n sl a .

ti o n h e p r efixed a n u mbe r o f s o nn et s tw o o f which he re

, ,

rep ro du ced a re a m o n g the b est in A m eri c a n p o et ry The

, .

fi r st c o nt a in s a n excellent pi ct u re o f th e a rtist s cl o s e ’

i d e ntific a ti o n with hi s w o rk While t r a nsl a tin g D a nte ,

.
2 88 IN TRODU CTI O N TO PO E TRY
S t r an gers o f Rome a n d t he new p rosel yt es
, ,

I n t h eir own l a n gu a ge h e a r t hy wondrous word ,

A n d m a n y a re a m a z ed a n d m an y doub t .

H e n ry Wa d s w or th L on gf e l l ow (1 807 1 882) -

J ohn M a s efi el d i s one o f the g re a test p oet s a live t o d a y ,

and , in th e n u m be r a nd powe r o f hi s s onnet s i s c e r ,

t a inl y the g re a tes t s o nn et eer s m ee W o rdswo rth He .

p r ob a bly re a ched the a c m e o f hi s s k ill in the se r ies m e rely ,

“ ”
entitl ed S o n net s the initi a l line of the first m em be r o f
,

whi ch i s

Like bones t he ru ins of th e ci ti es s t and .

We q u ote f ro m thi s se ries the s ec o nd s o nnet which m a y b e

“ ”
p r ofit a bly c o m p a re d with Shelley s Ozym a ndi a s a nd ’

“ ”
with The D e a d Vill a g e by E d wi n A rlin gt o n R obins on
, .

II

N ow t h e y are gone wi th al l the i r son gs an d sins ,

Women a n d men t o dus t ; t h e i r co pp er p enn y

, ,

O f l i v i n g s p en t a mon g t h es e dus ty i nns ;

, ,

The gl itt erin g One m a de l eve l w it h th e m an y .

Th e i r s p eec h i s gone, none s p e a ks i t , none c an re a d

Th e p ic t ured wri ti n g o f t h e i r conqueror s m a rc h ;
’

Th e dro pp in g p l a s t er of a f a d i n g screed
C ei l s w it h i t s m i l dews t he d ecay in g . a re h .

The fi e l ds s and th e s t ree t s a re f al l en s t ones ;

a re ,

No thin g i s b ou gh t or so l d t h ere no t h i n g s p oken

, ,

Th e s a nd h ides a ll t h e wind t h a t bl ows it mo an s

, ,

B l ow i n g more s a nd un ti l th e p l in t h i s b roken .
 TH E S O NN E T 2 89

in ,
d ay ou t no o th er u tt er ance fa ll s ;
,

th e s and p i t p i tt in g on t he w a ll s
,
-
.

J o h n M a s efie ld (1 8 74

ote tw o o the r ex a m ples fr o m M a s efi el d s s ever a l ’\

s t e rl
y s o nn et s whi ch rin g v a ryin
g chi m e s o n the
s ubj ects l ove be a uty a n d dec a y P a rt o f the
, , ,
.

) f the fi r st s on n et i s exp res sed i n the well k n o w n

-

f ro m the R u baiyat

o m et im e s t hink t h t n e v er b l ows so red

a

e Rose w h ere some buried C aes a r bl ed ;

as

Th a t e v er y H y a c i n t h t h e G a rden we a rs
o pt in it s La p from some once l o v e l y He ad .

“
md i s the fi rs t in a s e ries o f tw o e ntitle d On
”
Old .

1 S EE TH E RE D ROS E C RO WN TH E Y EA R
'

er see red ros e crown th e y e a r

th e ,

f ee l t h e y oun g gr a ss underne a t h m y t re a d ,

ou t th e t h ou h t i i a u ty h ere
“
g T h s l vin g be
r th s remembr a nce o f a b e a u ty de a d
’
.

y
. w h ere a ll t h is gl or y i s dis p l a y ed

h a s been q uick l i ke fi re t o h i g h ends

. . .
2 90 IN TRODU C TI O N TO PO E TRY
ON G RO WI N G OLD
I
B e wi t h me Be au ty for th e fi re is d y in g
, , ,

M y d o g a n d I a re ol d t oo o l d for ro vi n g
, ,

M a n w h ose y oun g p a ssion se t s th e s pi ndri f t fl y in g

, ,

I s soon t oo l ame t o m a rc h t oo co l d for l o v in g

,
.

I t a ke th e book an d ga t h er t o th e fi re ,

Turnin g ol d y e ll ow l e a v es ; m inu t e b y minu t e ,

Th e c l ock t icks t o m y h e a r t ; a wi t h ered wire

Mo v es a t hin gh os t of music in th e s p ine t .

I c a nno t s a i l y our se a s I c anno t w ander

,

Your corn l and nor y our h i l l l a nd nor y our v all e y s

,
-
,

E v er a ga i n nor s h a re th e b a tt l e y onder
,

Wh ere th e y oun g kn i gh t th e broken squ a dron r al l ies .

On l y s t ay quie t w h i l e m y mind remembers

Th e be a u ty o f fi re from th e b e a u ty o f embers .

J oh n M a s efie ld (1 8 74

The c o n t r a st betw een M a s efi el d a nd hi s g re a t es t riv a l

s o nnet eer the A m e ri c a n p oet E dwin A rlin t o n R o bin s o n
, g , ,

i s— t o a c ert a i n extent— the c ont r a st between the Sh a k e

s p e a rea n a n d the I t a li a n s on net M a s efi el d sho ws fire ;
.

R obin s o n re st r a int M a sefiel d i s exu ber a nt ; Robin s o n

.
,

“ ” “ ”
su btle . F i r eli ght a n d S o uveni r ill u s t ra t e R obin s o n s ’

m a tu re m a n ner .

FI RE LI G H T
Ten y e a rs t o ge th er w ith ou t y e t c l oud a ,

Th e y seek e ch o th er s e y es t i n t er v l s
’
a a a

Of
.

gr t e fu l n ess t o fi el i gh t
a r d four w ll s
an a
292 IN TRODU CTI O N TO PO E TRY
’
ch a pte r i s pu rely c ritic a l Wo rdsw o r th s s onnet i s les s
, .

c ritic a l th a n hist o ri c a l D a nt e P et r a r ch a n d Ta s s o we r e
.
, ,

the s up re m e p o ets of I t a ly C a m oens a utho r o f the epi c

.
,

The Lu s i a d s wa s the g re a test p oet o f Po rtu g a l

,
Sh a k e .

sp e a re Spen s er a n d M ilto n we r e the g re a te st E n glish

, ,

s o nn eteer s be f o re Wo rdswo rth hi m sel f .

S C O R N N O T TH E S ON N ET

S corn no t th e S onne t ; C ri t ic y ou h a ve frowned

, ,

Mind l ess o f it s j us t h onours ; w ith t h is ke y

S h akes p e a re un l ocked h i s h e a r t ; th e me l od y
O f t h i s sm a l l l u t e ga v e e a se t o Pe t r a rch s wound ; ’

A th ous a nd ti mes th i s p i p e d i d Ta sso so und ;

Wit h it C a moen s s oo thed a n e xi l e s grief ; ’

Th e S onne t gl itt ered a gay m y r t l e l e a f k

Amid the c yp ress wi t h wh i c h D a n t e crowned

vi s ion a r y brow : a gl ow worm l a m p Q

’

H is -
,

I t c h eered m il d S p enser c a l l ed from Fa er y l a nd 3\

,
-

To s t ru ggl e th rou gh d a rk w a y s ; a n d w h en a d a m p ,

Fe ll round th e pa t h o f Mi l t on i n h is h a nd fa Q ,

The Thin g bec am e a t rum p e t wh ence h e bl ew ,

S ou l -
a n im at g
i n s t rai n s — a la s t oo few !

Wil l ia m Wor d s wo r t h (T
” ,

77 0 1 85 0) -

“
Other excellent s o nnets o n the s o nn et a re N un s f ret
n ot,
”
by W illi a m W o rdsw o rth ; “
Th e S onnet ”
by ,

“ ”
R ich a r d W a ts o n G ilde r ; T h e M a ste r a nd the Sl a ve by ,

“ ”
E dwin A rlin g t o n R obi ns o n ; a n d The S onn et by the ,

Au st r a l a s i a n p o et L o uis L a v a te r F r o m T he od o r e W a tt s
, .

D unt o n we q u o te
 TH E SO N N E T 29

TH E S ON N E T S V OI CE
’

v er y b i l l ows bre a kin g on the be a ch

) a c k i n fo a m b ene a t h t h e s t a r s h i ne c l e a r
-
,

vh i l e m y r h y mes a re murmur i n g i n y our e a r ,

s s l ore l i ke t h a t th e b i l l ows t e a c h ;

h es e sonne t w a v es m y sou l wou l d re a c h

-

it s own de pt h s an d res t wi t h i n y ou de a r
, , ,

1 rou h th e b i ll ow y v o i ces y e a rn i n
g g h ere ,

fa t ure s t ri v es t o fi n d a h um a n s p eech .

is is a w a v e of mel od y
h e a vi n g w a t ers of th e im p a ssioned sou l
.o w of ti d a l mus i c on e a n d w h o l e

a th e
“
oc t a v e ; t h en re t urnin g free
”
, ,

ib in
g sur g es i n t h e ses t e t ro ll
“ ”

th e dee p s o f L i fe s t umu l t uous s e a

’
.

Th e o d o re Wa tt s D a n t o n (1 8 36 1 9 1 4)
- -
 C H A P TE R V I I I

TH E OLD F R E N C H F OR M S

No f al s e cons t r a i n t be th ine !
Bu t for r i gh t w a l k in g c h oos e
, ,

Th e fi n e,
Th e s t r i c t co t h urnus Muse , .

“ ”
A lf r e d N oye s : A rt (f r om th e F r e n c h of Thé0p hil e G a utier)

TH E p a st h a lf c entu ry h a s s ee n e st abli shed i n E ngli sh

-

a n u m b e r o f p o etic fo rm s even m o r e ri g id th a n t he s o n n et

in st r u ctu r a l re q ui re m ent s T he f a ct th a t m o s t o f the s e

.

fo r m s we re ze al ou sly cultiv a ted in the p re— cl a s si c p e ri o d

o f F r ench liter a tu re h a s l ed t o thei r bein
g des c ribed by
“ ”
the t er m Old F rench Althou g h p oe m s o f this g ene r a l
.

typ e h a d bee n c o mp o s ed by Ch a u ce r wh o livin g a t , ,

the c o u rt o f E dw a r d I I I wa s u nder F ren ch in fl ue n c e

, ,

it wa s n o t u ntil 1 8 7 1 th a t the reviv a l o f inter es t o c cu r r ed .

I n m o de rn E n glish the m o s t celeb r a ted m a ke r s o f thes e

ri gid m olds o f tho u ght h a v e been B riti sh— And rew L a n g ,

Au stin D ob s on a n d Willi a m E rnest Henley

, A r o un d
.

N ew Yo r k h o weve r wo rthy ex a m pl es h a ve b een p ro du ced

, , ,

n ot a bly by B r a nd er M a tthews H en ry C uyle r B u nne r

, ,

F r a n k Dempste r She r m a n E dwi n A rlin g t o n R obi ns on

, ,

a n d — m o r e rec ently— L o ui s Unte rm eye r A s a res ult o f

.

fi fty ye a rs o f dis s em in a tio n th e types c a n n o l on g er be

,

s a id t o b e s t ri ctly exotic O f the n u m e ro u s k inds m en

.
 l i ‘ l U U U U L L U l ‘ . L V L
. U LJ L L U L

The y w a t ch th e wind a mon g th e w h e a t

C ic a l a s c h ir p t h e y oun g l a mbs b l e a t
, ,

Wh ere w h i s p ers pi n e t o c yp ress t ree ;

Th e y coun t t he w a v es t h a t i d l y be a t
Where bre a ks th e b l ue S i ci l i a n s ea .

Th eocri t us ! t h ou c a ns t res t ore

Th e p l e a s a n t y e a rs , a n d o v er fleet ; -

Wi t h t h ee we l iv e a s men of y ore ,

We res t w h ere runnin g w a t ers mee t

And th en we t urn unwi ll in g feet
And seek th e wor l d— s o mus t i t b e
We m a y no t l in ger in the h e a t
Where bre a ks t he b l ue S ici l i a n s ea !
E n vo y

M a s t er —w h en r a in a n d snow an d s l eet
, , ,

And nor t h ern winds are wil d t o t h ee ,

We come we res t in t hy re t re a t
, ,

Where bre aks t h e b l ue S i c i l i a n s ea !

A n d r e w L a n g (1 844 1 -
9 1 2)

a i s t a k en a l s o the foll owin g

B all a d es in B l ue C hin a
p o e m The S o uth ern C ro s s i s the p ol a r c o n stell a
.

the s o uthe r n he m i sphere .

BALLA D E O F TH E S OU TH E RN C RO S S

F a ir is l ands of t h e si l v er fleece ,

Ho a rds o f unsunned uncoun t ed gol d , ,

Wh ose h a v ens a re th e h a un t s of Pe a ce ,

Wh os e b o y s a re i n our qu a rre l bol d ;

O u r bo l t i s s h o t our t al e i s t o l d
, ,

Our sh ip o f s t a t e in s t orms m a y t oss ,

Bu t y e are y oun g i f we a re o l d ,

Ye I s l a nds o f the S ou t hern C ross !

 TH E OLD F RE N C H F OR M S 2 97

A y, we m ay dwind l e a n d decre a s e,
t t
S uch f a es t h e ru hl ess e a rs unfo l d ; y
y t
A n d e we s h a l l no w h o l l ce a se , t y
We s ha ll no t p er i s h unconso l ed ;
N a y s ti l l s h al l freedom kee p h e r h o l d
,

Wit h in th e se a s invio l a t e fosse

’

And bo a s t h er sons o f En gl i s h mou l d ,

Ye I s l a nds of th e S ou t h ern C ross !

A llem pi res t umb l e— Rome an d G reece

Th eir swords a r e rus t t h eir al ta rs co l d ! ,

For us t h e C h i l dren of th e S e a s
, ,

Wh o ru l ed w h ere er the w a ves h a ve rol l ed

’
.

For us i n For t un e s book en scro l l ed

,
’

I re a d no runes of h o p e l ess l os s ;
Nor— w h i l e y e l a s t— our kn e ll i s t o ll ed ,

Ye I s l ands of th e S ou th ern C ross !

E n vo y

Bri t a nni a w h en t hy h e a r t h s a col d

,
’
-
,

Wh en o er thy gr a ve h a s grown th e moss

’

S ti ll R ul e A u s t r a l ia s h a l l b e t ro ll ed
In I s l a nds of the S ou t h ern C ross !
A n d r e w L a ng (1 8 44 -
1 91 2 )

T he p oe m we q u o t e bel ow holds a hi gh pl a c e a m o n g
t ri bu tes t o the her o es o f old Altho u g h D ob s o n u s e s the
.

ter m b a l l a d b a ll a d e sh o uld be u s ed ; f o r the fo rm e r te rm

,

h a s b een p re empt ed a s sh own in C h a pt er V I by a n e u

, ,

t irel y di ff e rent typ e o f p oe m .

A B A LLA D OF H E RO E S

Bec ause y ou p a ss ed an d now a re n ot ,

B ec a us e i n some remo t er d ay
, ,

Your s a cred d u s t from doub t fu l s p ot

‘
2 98 IN TR ODU CT IO N TO PO ETRY
Wa s b l own of anc i en t a i rs aw a y ,

Bec a use you p er i s h ed mu st men s a y

,

Your deeds were n a u gh t a n d so p rof an e

,

Your l iv es w it h t h a t co l d b urden ? N ay ,

Th e deeds y ou wrou gh t a re no t i n v a in !

Thou gh , it m a y be, a bo v e t h e p l o t
Tha t h id y our once i m p er i al c l a y,
No t
greener h a n o er men
’
for go t
i
Th e unre ga rd n g gr a sses sw a y
Th ou gh t h ere no swee t er i s th e l ay
From c a re l ess b i rd — th ou gh y ou rem ain
,

Wit h ou t d i s t inc ti on o f dec a y ,

Th e deeds y ou wrou gh t are no t in v a in !

No For w h i l e y e t in t ower or cot

.

Your s tor y s ti rs th e p u l ses p l ay ’

An d men for ge t th e sord i d l ot

Th e sord i d c a re o f ci ti es gr a y ;
,

Wh i l e y e t b ese t i n h omel ier fr a y ,

Th e y l e a rn from y ou th e l es son p l a i n
Th a t L i fe m a y go so H onour s t a y
, ,

Th e deeds y ou wrou gh t a re no t i n v a in !

E n voy

Heroes o f o l d ! I h umb l y l a y
Th e l a ure l on y our gr a v es a ga in ;
Wh a t e v er men h a v e done men m ay , ,

The deeds y ou wrou gh t a re no t in v a in .

A us t in D o b s o n (1 840 1 -
921 )

”
The P r odi g a ls n ot o nly exhibit s the f o rm but with its , ,

c o n s ci o u sly a rch a ic b a c k g r o u n d a n d di cti on r e fl ect s the ,

t on e o f the typi c a l mediev a l b a ll a de .

 IN TR ODU CT I O N TO PO ETRY
A s f a m o u s a s a ny b a ll a d e in E n gli sh i s R o ss etti s ’

“ ”
s tr u ctu r a lly i r re g ul a r B a ll a d o f De a d L a dies a t r a n s ,

l a ti o n f r o m th e F rench o f the v a g a bo nd p oet F ra n co i s ,

Villon (1 431 L a n g s t r a nsl a ti o n o f the s a m e

’

p o e m tho u g h m o r e lite r a l a n d c o r rect s t ru ctu rally i s l es s

, ,

“ ”
well k n own The l a die s a re f r om m ediev a l r o m a n c e a nd
.

f ro m hist o ry the m o st f a m o u s p erh ap s b ein g H el ois e

, , , ,

who m Po p e c eleb r a ted in hi s E p is t le f rom Elo is a t o

A b el a rd ; B e rth a the m othe r o f C h a rle m a g n e ; a n d J o a n
,

of Arc .

TH E BALLA D OF D EA D LA D I E S

me now in w h a t h i dden w ay is
Te l l
L ad y F l or a th e l o v e l y Rom a n ?
,

Wh ere s H ipp a rchi a an d wh ere is Tha1 s

’

, ,

Ne it h er of t h em t h e f a irer wom a n ?
Wh ere is E ch o be“h e l d o f no m an
, ,

Onl y h e a rd on r iv er a n d mere
‘

S h e w h ose be a u ty w a s more t h a n hum a n ?

Bu t w h ere a re the snows of y es t er y e a r ? -

Where s H él o is e t he l e a rned nun

’

, ,

For w h ose s ake A b e il l ard I ween , ,

Los t m a n h ood an d p u t p r i es t h ood on ?

( From l ove h e won suc h du l e a n d t een !
)
A n d w h ere I p r ay y ou i s th e Queen
, ,

Who w i l l ed t ha t B u rid a n s h ou l d s t eer

S ewed i n a s a ck s mou th down th e S ein e ?
’

Bu t w h ere a re th e snows of y es t er y e a r ? -

Wh it e Queen B l anch e l ike a queen o f l i l ie s

, ,

Wi th a vo i ce l ike a ny merm aiden ,

 TH E OLD F R E N C H F OR M S 3 01

B er th a Bro a dfoo t B e a t rice A l ice

, , ,

A n d E rmen ga rde t h e l a d y of M a in e
, ,

A n d t h at good J o a n w h om En gl is h men
A t R ouen doomed a n d burned h er t h ere ,

Mo th er of G o d w h ere a re t h e y t h en ?
,

Bu t w h ere are the snows of y es t er y e a r ? -

E n voy

N ay , ne v er a s k th is week f a ir l ord , ,

Where t h e y a re gone nor y e t t h i s y e a r

, ,

E x ce pt w ith t h i s for a n o v erword ,

Bu t w h ere a re th e snows o f y es t er— y ear ?

D a n t e G a b r ie l R o s s e tt i (1 82 8 4 882)

F r o m a n ex a m in a ti o n o f th e fi r s t th ree speci m en s
q u oted a b ove it will b e seen th a t the b a ll a d e c o n sists o f
,

th r ee ei ght li ne st a n z a s foll owed by a q u a t ra in t e rm ed the

-

en vo
y . Th e l a s t lin e o f e a ch o f the fo u r divi si o n s i s

id enti c a l— a r e f r a i n Di stin g u ishin g thi s line by C the

.

ri m e s che m e m a y b e des c ribed by the f o r m ul a 3 a b a bb c

plu s b c E xcept in the r efr a in n o rime w o r d i n a b a ll a de

.

sh o uld b e repe a ted The ri m e i s thu s difficult a n d w rite rs

.
,

a r e s o r ely te m pted t o repe a t a rim e o r lin e— a s i s d o ne in

“ ”—
Th e P r o di g a ls o r t o u s e m o r e th a n th ree ri m es as i n ,

“ ”
Th e B all a d o f De a d L a dies S u ch dep a rtu res a re
.
,

howeve r t o be l o o k ed a t a s k a n ce L e g itim a t e de p a rt u re s
, .

a re, a s i s shown b el ow i n the di recti o n o f g re a ter c o m

,

li c a ti o n M o de rn E n li sh b a ll a des n o rm a lly fol l o w the

p .
g
old F ren ch ex a m p le o f a dd res si ng in th e fi r st line o f the ,

envoy a p a t r o n o r o the r pe rs o n o r a n a b st r a e
, , ,

ti o n . In e a ch speci m e n he r e q u o ted the c u st o m is

 Th e env oy i s s o m eti m es o mitted D obs on s .
’

”
’
ro s e a n d R hyme h a s the m et ri c a l s cheme
) l u s bB c —
C th a t i s it h a s a do ubl e re fr a i n
, .

“
1 rly a b u nd a nt cl a s s is Swinb u r n e s B a ll a d
’

Vill o n ”
, which c o nsi sts o f th r ee t en line —
a fi ve-lin e envoy the wh ol e o n fo u r ri m es
, ,

plu s c c c T heo reti c a lly thi s type o f

.
,

it s ten —lin e st a nz a s sho uld a lw a ys be w ritte n

rs (t en syll a bles ) j u st a s the b a ll a d e with
nz a s sh o uld a lw a ys b e w ritten in tet r a mete rs
le s ) b u t thes e r ules a re n o t st ri ctly a dhe red
,

l b l e b a ll a d e c on sist s o f six st a nz a s i n th r ee

su a ll o mit s the envoy ; ex a mples a re S win

y
” “
1 ble B a ll a d o f G o o d C o un s el and D o ubl e
” “
igu s t . Alfred N oyes h a s w ritt en A T riple
” “ ”
) ld J a p a n Kin g B o re a s by Clinto n
.

1 ex a m p le o f the c ha n t ro a l — 5 a b a b c c d d ed E
y
-
a n el a b o r a te fo r m o f the b a ll a de typ e Th e .

l a ve , h oweve r b een a chi eved i n the n o rm a l

,

tu re .

the m o de rn r eviv a l o f the fo rm Ch a u ce r s ,

’

e o f u nu s u a l i nterest Seve r a l c o n sist o f

'

a nz a s link ed by refr a in the l a st st a nz a b ein

, g
the envoy The followin g h oweve r exc ept
.
, ,

in g env oy c o m es ne a r t o bein g a pe r fect

,

din g t o the m o de rn c o nve ntio n s .

3 04 IN TRODU CT IO N TO PO E TR Y

I N FLA N D E RS FI E L D S
In Fl anders fiel ds th e p o pp ies b l ow
B e t ween th e crosses row on row
, ,

Th a t m a rk our p l a ce ; a n d in th e s ky
Th e l a rks s t i l l b r a v e l y sin gi n g fl y
, ,

S c a rce h e a rd a mid t h e gun s bel ow .

We a re th e D e a d S h or t d a y s a go
.

We l i v ed fel t d a wn s a w sunse t gl ow
, , ,

Lo v ed a n d were l o v ed a n d now we , lie

In F l a nders fi e l ds .

Ta ke u p our qu a rrel w ith th e foe ;

To y ou from f a i l i n g h a nds we t h row
Th e t orc h ; be y ours t o h o l d it h i gh .

I f y e bre a k f a i th w it h us w h od i e
We s h al l n o t s l ee p t h ou gh p o ppi es grow
,

In F l a nders fi e l ds .

J o hn M c Cra e (1 8 72 -
1 9 1 8)

W e q u ot e a n othe r s u p erb r o nde a u by a B riti sh c ol oni a l ,

E li ot N a pie r o f Au st r a l a si a

A L L M E N A RE F RE E
All men a re free a n d equ a l b orn
”
B e fore th e L a w ! S o runs t h e worn
A n d s p ecious l yi n g p a rro t cr y
, ,
-
.

A ll men are free t o s t a r v e or sigh ;

-

Bu t few t o feed on E gypt s corn ’

.

Th ere toi l s th eswe a t ed s l a v e forl orn ; ,

Th ere wee p s t h e b abe wi th hun ger t orn ;

‘

D e a r G o d for gi v e u s for t h e l i e
,
“
Al l men a re free !
 TH E O L D F R E N C H F ORM S 3 05

Th a t m a n m a y l a u gh
w h i l e t his mus t mourn ;
One s h eir t o h onour one t o scorn
’

Were t h e y born free ? Were y ou ? Wa s I ?

No ! No t w h en born bu t w h en th e y die
,

And o f th eir robes—o r r ag s— a re s h orn ,

Al l men are free !

E l io t N ap ie r

A u sti n D ob s o n w r o t e a n u mbe r o f g r a c eful a n d d i gni fied

“
r o nde a u s whi ch did m u ch t o p opul a rize the f o rm In .

”
A ft e r D a ys i s u ns u rp a s sed I t wa s wi d ely q u o t ed a fte r
.

the a utho r s de a th in 1 9 2 1
’
.

IN A F TE R D A YS

In a f t er d ay s w h en g r a s ses h i gh
O er t o p th e s t on e w h ere I s h a l l l ie
’
-
,

Th ou gh i l l or we ll th e wor l d a d j us t
M y s l ender c l a im t o h onoured dus t ,

I s h all n ot ques t ion nor re p l y .

I sh all n ot s ee th e mornin g sk y
I s h all n o t h e a r th e n i gh t w i nd s igh ;
-

I s h al l be mu t e a s al l men mus t
,

In a f t er d a y s !

Bu t y e t now l ivin g f a in were I

, ,

Th a t some one t h en s h ou l d t es ti f y ,

S a y in —
g H e h e l d h is p e n i n t r u s t
To A rt n o t s e rv in g s ha m e o r l u s t
, .

Will non e ? Th en l et m y memor y d ie

I n a f t er d a y s !
A u s t in D o b s on (1 8 40 1 -
92 1 )
306 IN TROD U CTIO N TO PO E TR Y
The p ro ces s o f r on de a u m a k in g i s cl everly s t a ted b j
-

“ ”
Au stin D ob s o n i n a ro nde a u Yo u B id M e T ry , Th . t

rime s cheme i s a a bb a a a b R a ab b a R R indi c a tin g t h ,

i

r efr a in whi ch i s a lw a y s a repetiti o n of the fi rs t p a rt 0

t h e fi r s t lin e o f the p o em a n d i s u s u a lly i dentic a l w it l
,

the titl e I n m o d ern E n glish the r o nde a u i s a ri g id typ e

.

a devi a ti o n fr o m it mi ht res ul t i n a n a c cept a ble p o e m

g
b ut n o t in a t ru e r onde a u .

The ro nde a u i s li k e the b a ll a de u sed fo r li ght a s well a :

, ,

f o r s e ri o u s s ubj ect s a n d i s a fre q uent v ehicl e fo r vers d o

“ ”—
’

s o ci e t e I n Unte r m eye r s A B u rles q u e R o nd o

’

.
’
a p a ra

ph r a se f r o m H o r a c e— the r e f r a in rem a in s the s a m e i1

“ ”“
s o u nd while it v a rie s i n m e a n in g : Cu m tu Lydi a Com , , i

” “ ”
t o Lydi a a n d C o m e t o ! L ydi a
, F r a n k D She rm a n :
. .
’

“ ”
A n A c ro stic a l V a lenti ne i s a rem a r k a ble t o u r d e f o rc e
Th e initi a l letter s o f the lin es (excl u din g the r e f r a i n ) sp el
the n a m e o f th e a u th o r .

D ob s o n i s th e a utho r o f the m o st felicit o u s rond els ii

“ ” “
E n gli sh We q u ot e The W a nde rer a n d Vit a s Hin
.

”
n u l eo . N ote th a t the r e a re b ut tw o ri m e s a n d th a t t lu
fi r s t tw o line s o f the p o em c o n stitu te a refr a in h a l f 0 1 ,

whi ch m a y be o m itted i n the l a st divi si o n o f the p o em

Th e two ri m e o rde rs sh own bel ow a re typic a l the s chem e ,

A B a b b a A B a b ab A B b ein g pe rh a p s m o st c o mm o n .

TH E WA N D E RER

Love comes b ack t o h is v a c a n t dwe l l in g ,

Th e o l d o l d l o v e t ha t we kn ew o f y ore !
,

We s ee h im s t a nd b y th e o p en door ,

Wi th h is gre a t e y es a n d h i s b osom swel li n g

, .
3 08 I N TR ODU CT I O N TO PO E TRY
N or s h un me C hl oe wi l d an d s hy
‘

, ,

A s some s t r a y f a wn t h a t seeks it s mo t h er .

A us t in D o bs o n (1 8 40 1 -
921 )

Fo r hi s o wn u se Swinbu rn e i nvented the ro u nd el a

, ,

v a ri a nt o n the ro nde a u I n a hu nd red ex a m ples A Ce n

.
,

t u ry of R o un d el s he em pl oy ed a wide v a r iety o f line

,

len gths a n d m ete r s bu t n ever v a ri ed f ro m the n u mbe r o f

,

lines the typ e o f ref r a in a n d the ri m e sche m e sh own in

, ,
-

“ ” “
thi s ex a m pl e . A B a by s F eet i s gro uped with A ’

” “ ”
B a by s H a nd s a nd A B a by s E yes u nde r the titl e
’ ’

“ ”
Et u de R éa li ste .

A B A BY S F EET ’

A b ab y s fee t l ike s ea s h el l s p ink

’

,
-
,

Mi gh t t em pt s h ou l d h e a ven see meet

, ,

An an ge l s l ip s t o k i ss we t h ink
’

, ,

A b ab y s fee t
’
.

Like rose hued s ea flo w ers t ow a rd t he he at

- -

Th e y s t re t ch a n d s p re a d a n d wink
Their t en so f t buds t h a t p a r t a n d mee t .

No flower be ll s t h a t e xp and an d shrink

-

G l e a m h al f so h e a v en l y swee t
As s h in e on l i fe s un tr odden brink ’

A b ab y s fee t ’
.

A lg e rn o n C h a r l e s S w in bu r n e (1 83 7 -
1 909)

Th e m o st a i ry o f the fixed f o r m s i s th e t ri o l e t . Th e
n a m e r efe rs t o the t riple r ec u r ren c e o f the fi r st li ne Th e .

ri m e a n d r e f r a in s che m e A B a A a bA B i s a lw a ys a dhe r ed
, ,

t o bu t the m et e r i s v a ried in di ff e rent ex a m ples

, A .
 TH E OLD F R E N C H F O R M S
'

e fle c t
depend s o n the n a tu ra ln es s o f th e 1

difficult m a tte r in s o sho rt a p o e m We .

”
se L e a ve s a pe r fect ex a m ple e n title d
-

A KIS S

Rose
kis sed me to d ay -
.

Wi l l she kis s me t o mor ro w ? -

L et i t be a s i t m ay ,

Ros e kissed me t o d ay -
.

B ut th e p l e a sure gi v es w ay
To a s a vour of sorrow
Rose kissed me t o d ay -
,

Will sh e kis s me t o morrow ? -

A us t in D o b s o n (1 840 1 921 ) -

i rl y e qu a l s t r u ctu ra l p e r fe cti o n i s B u n
l0 t 9d
“
wi stful A Pitche r o f M i g n o nette "
, .

i n the fi rs t few syll a ble s o f the repe a te d l ir

le .

A PI TC H ER O F M I G NON E TTE
A pit ch er of mi gnone tt e
I n t enemen t s hi gh es t c semen t
a
’
a

Q ueer sor t o f fl w a p o t
o — yet
e r-

Th t p i t ch er o f mi gnon e tt e
a

Is g rden in h e v en s e t
a a a ,

T t h e l itt l e sick c h i l d in t h b semen t

o e a

Th e p i t c h er o f mi gnone tt e
In t h e t enemen t s hi gh es t c semen t
’
a .

H e n ry C uyl e r B un n e r (1 8 5 5 1 89 6 -
,
31 0 I N TR OD U CT IO N TO PO E TR Y
the fi rs t st a nz a b ec o m es the l a st line o f the s ec o n d a n d
fo u rth st a nz a s The thi r d lin e o f th e fi rst st a nz a bec o m es
.

the l a st line o f the thi r d a nd fifth st a nz a s The tw o re .

f r a in s m a k e a q u a t r a in o f the l a st st a n z a Sin ce they .

ri m e t o gethe r l et A st a n d f o r th e fi rst a n d A f o r the

,
’

s ec o n d The s che m e m a y then b e des c ribed by the fo rm ul a

.

’ ’ ’ ’
A bA a bA a bA ab A a bA a bA A M o re th a n five te rc ets
.

a re o c c a si o n a lly fo u nd Th e m ete r v a ries bu t i s u s u a lly

.
,

Th e s ec on d vill a nelle b el ow d es c rib es the f o rm o f

whi ch it is a ple a sin g ex a m pl e .

WH E N I SA W YOU LAS T , RO S E

When I y ou l s t Rose
s aw a , ,

You were on l y so hi gh
How f s t the ti me goes !
a

L ike a bud ere i t b l ows ,

You j us t p ee p ed a t th e sky ,

Wh en I s a w y ou l a s t Rose ! ,

Now y our p e t a l s uncl ose ,

Now y our M ay t ime is ni gh ; -

How f a s t th e ti me goes !

An d a l i fe ,
—h ow i t g rows !
You were sc a rce l y so s hy ,

When I s aw y ou l a s t Ros e ! ,

In y our bosom i t s h ows

Th ere s a gues t on th e sl y ;
’

(How f a s t the t ime goes !)

31 2 I N TRODU CT I O N T O PO E TRY
r ec u r respectively a s the fi r s t a n d thi r d o f the foll owin g
th e e n dles s ch a in b ein g u s u a lly co m plet ed by a r etu r n t '

the fi r st l in e o f the p o em Th e m ete r v a ries a n d the r

.
,

m a y b e a n y n u mbe r o f st a nz a s I n ultim a te o ri gin t h

.
,

p a nt o um i s n o t F ren ch but M a l a ysi a n B ec a u s e o f it

, .

st r u ctu r e its field i s very limit ed I t i s n o rm ally u s e

, .

“
fo r a m o n ot o n o u s s ubj ect well k n own ex a m pl es b ei ng I1
,
-

” “ ”
T own by Au sti n D ob s o n a n d E n R o ute by B r a nde
,

“ ”
M a tthew s . I n the S ult a n s G a rden i s c ol o rful a nt
’

d r a m a ti c a n d r epe a ts the lines i n a n a tu r a l m a n n e r

, .

IN TH E S UL TA N S G A RD E N
’

S he o p ed t h e p or t a l o f th e p a l ace ,

S h e s t o l e i n t o t h e g a rden s gl oom ;
’

From e v er y s p o t l ess snow y ch al i ce

Th e l i l ies b re a t h ed a swee t p er fume .

S he s to l e in t o th e ga rden s gl oom ’

S h e t h ou gh t t h a t no one wou l d discover ;

The l i l ies b re a th ed a swee t p erfume ,

S h e swif t l y ran t o mee t h er l over .

S he t h ou gh t t h t no one woul d di scover

a ,

Bu t foo t s t e p s fo l l owed e v er n e r ; a

S h sw i f t l y
e n t o mee t h
ra l over er

B es i de the foun t in cr y s t al c l e a r
a .

Bu t foo t s t e p s fol l owed e v er ne a r ;

A h w h o i s t h a t s h e s ees before h er
,

Bes i de t he foun t a in cr y s t a l cl e a r ?
Ti s no t h er h a z e l e y ed a dorer
‘
-
.
 THE O L D F R E N C H F OR M S 31 3

A h, who is t h a t sh e s ees be fore her ,

H i s h and u p on h i s scim it a r ?
Ti s no t h er h a z e l e y ed a dorer
’
-
,

I t is her l ord o f C and ah a r !

His h and u p on his scimita r ,

A l a s wh a t brou gh t suc h dre a d d i s a s t e r !

,

It is h e r l ord o f C a nd a h a r ,

The fierce S u l t a n h e r l ord an d m a s t er , .

Al a s wh at brou gh t such dre a d dis a s t er !

,
“
Your p re tt y l over s de a d he cries ’

Th e fierce S u l t a n h er l ord a n d m a s te r , .

N e a th y onder t ree h i s bod y l ies

’ ”
.

Your p re tty l over s de a d ! he cries ’ ’

(A sudden rin gin g v oice be h i nd him )

, ,
“
Ne a th y onder t ree h i s bod y l i es
’

D i e l y in g d o g ! go t h ou an d fi n d h im !
,

A sudden rin gin g v oice be h ind him

, ,

A de a d l y b l ow a mo a n o f h a t e , ,

Die l y in g d o g ! go th ou a n d fi n d h im !
,
”
C ome l o v e our s t eeds a re at t he ga t e !
, ,

A de a d l y b l ow a mo a n of h a t e , ,

His bl ood ran red a s wine in ch al ice ;

“

C ome l o v e our s t eeds a r e at th e ga t e !

, ,

S h e o p ed th e p ort a l of t h e p a l a ce .

C lin t o n S c o l l a r d

L i k e the p a nt o u m the i s a t o u r d e f o rc e o f
, s e s t in a
“ ’
r el a tively r a r e o c cu r rence i n E n gli sh Kipli n g s Sestin a .

”
o f th e T r a m p R oy a l is a g o o d ex a m ple M o re d eli c a tely .

a ce f ul i s E d m u n d Go s s e s
’
g r
3 1 41 IN TR OD U CT IO N TO PO E TR Y

S E S TI NA

TO F . H .

In f a ir Pro v ence th e l a nd o f l u t e an d rose

, ,

A rn a u t gre a t m a s t er o f th e l ore of l o v e
, ,

Firs t wrou gh t s es tines t o win hi s l a dy s h e a rt ; ’

For s h e w a s de a f w h en s i m p l er s t a v es h e s an g ,

A n d for h e r s a ke h e b roke t h e bonds o f r h y me ,

A n d in t h is sub t l er me a sure h i d h i s woe .

H a rs h be m y l ines cried A rn au t ha rs h t he woe

, , ,

M y l a d y t h a t en t h ro n d an d crue l rose
,
’

In fli ct s on h im th a t m a de h e r l iv e i n r hy me !
Bu t t h rou gh th e me t er s p a ke the v oice of Lo v e ,

A n d l i ke a w i l d wood n i gh ti n ga l e h e s a n g
-

Who t h ou gh t in cr a b bed l a y s t o e a se hi s h e a rt .

I t is no t t o l d i f h e r un t ow a rd h e a r t
Wa s me l t ed b y h er p oe t s l y ric woe ’

Or i f i n v a in so a morous l y h e s an g .

Perch a nce t h rou gh crowd of d a rk conce it s h e ro s e

To no b l er h e i gh t s o f p h i l oso p h i c l o v e ,

And crowned h is l a t er y e a rs wi t h s t erner rh ym e .

Th is th in g one we kn ow : th e t ri p l e r hy me
al ,

O f h im w h o b a red h is v a s t a n d p a ss i on a t e h e a r t
To a l l th e cross i n g fl a mes of h a t e a n d l o v e ,

We a rs in th e mids t of a l l i t s s t orm o f woe ,

As some l oud morn of M a rc h m ay b e a r a rose ,

Th e i m p ress of a son g t h a t A rn a u t s a n g .

S mi ht of mo t h er t on gue th e Frenchm a n s an g
h is -
,

O f L a nce l o t a n d G a l ah a d th e r h yme,

Th at b e a t so b l ood l i ke at i t s core o f rose ,

I t s t irred th e swee t Fr a ncesc a s gen t l e h e a rt ’

31 6 IN TROD U CTI O N T O P O E TR Y

f o u rth lin e I n cha in vers e th e l a st lin e o f o ne s t a nz a

.

bec o m es the fi rs t lin e o f the n ext ; m o r e r a rely the l a s t ,

wo rd o f o ne st a nz a bec omes the fi rst wo rd o f the next The .

ro nd ea u red o u bl e l i l a i S ic il i a n o c t a ve a nd
’

g o s e l a
, y v re
, , , ,

o the r r a r e f o rm s dese rve n o pl a ce i n a n a nthol o gy o f

li m it ed s c ope The bibli o g r a phy c o nt a ins su gge sti o ns f o r
.

fu rthe r stu dy .

I t i s i nt erestin g t o n ot e th a t fo r ei gn l a n g u a g e s a re still
bein g expl oit ed fo r st r u ctu r a l fo r m s s uit a bl e fo r a d a pt a
ti o n in E n gli sh I t i s q uite p o s sibl e fo r in st a n ce th a t
.
, ,

Witte r B yn ner A m y L owell o r s o m e othe r m ode rn p o et

, ,

m a y fin d i n J a p a nes e o r C hi nes e p o et ry a f o rm wo rthy

o f pe r m a nent c ultiv a ti o n i n E n glish E xpe ri m ent s a n d
.

i nn ov a ti o n s h a ve bee n nume ro u s o f l a te The ex t ra va .

a nt rest r a i nt o f the a rtifici a l fo rm s a n d the u n r est r a int

g
o f f ree ve rs e a re the ext re m e rig ht a nd the ext re m e left
in the p o et ry o f t o d ay .
 C H A P TE R I X

L IGH T V E RS E

I wou l d be th e L y ric
E v er on t h e l i p ,

Ra t h er t h a n th e E p ic
Memor y l e t s s l i p .

“ ”
Tho m a s B a il ey A ld r ic h : L y r ic s an d E p i cs

IN “
is D o n e which wa s p refixed t o The Wa if
Th e D a y ”
,

a c ollectio n o f p o e m s by m i no r p o ets L o n g fell ow el o

,

q u ently defen ded the hu mbl e r p oets who m we s o meti m e s

,

“ ”
cho o se t o re a d r a the r th a n the g r a n d old m a st er s ,

b a rds subl ime

th e
Wh os e dis t an t foo t s t e p s ec h o
Th rou gh th e corridors o f Time .

I n d eed the re i s m o re th a n one k ind o f p oet ry i n whi ch

,

the les se r p o et s li k e L o n g fell ow a n d Ald rich a re the

, ,

m a ster s This a s we h a ve seen i s t r u e o f p a t ri o ti c s on g s

.
, ,

a n d the F ren ch fo r m s ; a n d it i s eq u a lly t r u e o f li g ht

ver se Th e g re a t p oet W o r d sw o rth o r M ilt o n fo r in
.
,

st a n c e i s g en er a lly t o o deeply i n e a r nest t o o p a s si on a te

, , ,

s o metim es t o o u ns o ci a l t o w rite wh a t m u st see m to him

m e re lite r a ry s m all t a l k I n fa ct the m aj o r p oet s wh o
.
,

h a ve t rie d t o t rip it o n the li ght f a nt a s ti c t oe h a ve ne a rly

31 7
31 8 IN TR OD U CTI O N TO PO E TR Y
“
a lw a ys f a iled In spite o f a n a pp a rent e a s e the f a mili a r
.
,

” “
s tyl e i s a s C owpe r p oi n ted o ut o f a l l styles the
[ ] , ,

”
m o st difficult t o s u c ceed i n Only the p o et wh o i s a l s o
.

a m a n o f the w o rld li k e H ol m es o r T h a c k er a y c a n p r odu ce

“ ”
thes e i m m o rt a l ephem er ae .

The m o st i m p o rt a nt f o r m o f li ghte r p o et ry is th a t
’

u s u a lly c a lled vers d e s o cie te Sin ce a n ex a mpl e i s o ften

'

m o re enli ghtenin g th a n a definiti o n let u s fi rst ex a mi n e ,

a f a i rly typic a l p o em o f thi s k ind B ret H a rt e a ltho u g h

.
, .

m o s t people r e m embe r hi m o nly fo r hi s st o ries w a s a ls o ,

“ ”
a p o et o f c o n side r a bl e imp o rt a n c e I n H e r L ette r the.

“ ”
d a u ghter o f a g old mi n e r who h a s st ru c k it rich i s
w ritin g fr o m N ew Y o r k t o he r sweethe a rt in C a lifo rni a .

HER L E TTER

I m si ttin g al one b y th e fi re
’

D ressed j us t as I c a me from th e d a nce ,

In a robe e ven y ou wou l d admire ,

I t cos t a coo l t h ous a nd in Fr a nce ;

I m b e di a monded ou t o f a l l re a son
’
-
,

M y h a i r i s done u p i n a queue
In s h or t s i r th e be l l e o f th e se a son
,
“
,
”

I s w a s t in g a n h our u p on y ou .

A do z en en ga gemen t s I v e broken ;
’

I l ef t in th e mids t o f a se t ;
Likew i se a p ro p os al h al f s p oken
, ,

Th a t w a it s —o n t h e s t a irs — for me y e t .

The y s ay h e l l
’
b e ric h — w h en h e grows u p
, ,

An d th en h e a dores me indeed .

An d y ou sir a re t urn i n g y our nos e u p

, , ,

Three thous a nd m i l es o ff , a s you re a d .

32 0 IN TROD U CTI O N TO PO ETR Y
O f th e moon t h a t w as quie t l y s l ee p in g
On the b ill w h en th e ti me c a me t o go ;
O f th e few b ab y p e aks t h a t were p ee p in g
From under t h e i r bed cl o th es of snow ; -

O f th a t r i de — t l1 a t t o me w as th e r a res t ;
,

O f — th e some t h in g y ou s a id at th e gate .

A h J o e t h en I w a sn t an h eiress
’

, ,

To th e bes t p a y in g l e a d in th e S t at e
“ -
.

Wel l wel l i t s a l l p a s t ; y e t i t s funn y

, ,
’ ’

To t h i nk a s I s t ood i n th e gl a re
,

Of fa s h i on an d be a u ty a n d mone y ,

Th a t I s h ou l d be t h ink i n g ri gh t t here , ,

O f some on e w h o b re a s t ed h i gh w a t er ,

An d sw a m t h e Nor t h Fork a n d al l t h a t , ,

J us t t o d a nce wi t h o l d F o l in sb ee s d au gh t er
’

Th e Li l y of Pover ty F l a t .

Bu t goodn ess ! w h a t nonsense I m wri t in g ! ’

(M a mm a s a y s m y t a s t e s ti l l i s l ow ) ,

Ins t e a d of m y t r i um p h s rec it in g ,

I m s p oon i n g on J o s eph — he i gh h o !
’

,
-

A n d I m t o be fi n i s h ed b y t r a ve l
’ ”
,

Wh a t e v er s t h e me a nin g o f th a t
’

O h ! w hy d i d p a p a s t r i ke p a y gr a v el
In dri f t in g on Pover ty F l at ?

G ood ni gh t — h ere s th e end of m y p p er ;

’

,
a

G ood ni gh t — i f t h e l on gi t ude p l e a se
, ,

For m a ybe w h i l e w a s t in g m y t a p er
, ,

Yo u r sun s c l imbin g o v er t h e t rees

’

Bu t know i f y ou h a v en t go t r i c h es
,
’

A n d a re p oor de a res t J o e a n d all t h a t

, , ,
 L IG H T VE R S E 32 1

C le a rly thi s i s n o t the p o et ry o f p a s sio n a te l ove ; it i s

“ ”
n o t the l a n g u a g e o f B u rn s s H i ghl a n d M a ry o r o f M r s
’
.

B rown i ng s S on ne t s f rom t he P o rtugu es e N o r i s it

’
.

the p o et ry o f g re a t tho u ght o r o f l o fty enthu s i a s m .

Vers d e s o ciete i s t o g re a te r p oet ry wh a t the m ini a tu r e

a n d the c a m eo a r e t o the p a intin s o f R a ph a el a n d the
g
st a tu es o f M ich a el An g el o On e sho ul d n o t howeve r
.
, ,

m a k e the m ist ak e o f r e g a rdin g s u ch p o e m s a s m e r e t rifles .

Ve rs d e s o cie te li k e th e F rench fo r m s i s on e o f the l es s e r

’ ’

, ,

divis io n s o f p o et ry b u t n o l ove r o f p o et ry sho ul d c o nsider

,

hi s t a st e wholly c a th oli c u ntil he c a n a dmi re all k in d s ,

s m a ll a s well a s g re a t .

Alth o u g h a l l the n a m es whi ch h a ve b ee n s u gg ested f o r

wh a t the F ren ch c a ll vers d e s o cie te a re u n s a ti sf a ct o ry
’

i t i s w o rth while t o m enti on s o m e o f the m bec a u s e e a ch

th r ow s li ght o n th e n a tu re o f the typ e The F ren ch .

ph r a s e f o r whi ch s o ci ety vers e a n d s o ci a l ve rs e a re in

,

a de q u a t e t r a n sl a tion s i s d o ubly o bj ecti o n a ble bec a u se it

,

i s fo r ei g n a n d be c a u s e it le a d s o n e t o d r a w the m i st a k e n
inf eren c e th a t F ren ch p o et ry i s ri che r th a n E n glish i n
p oet ry o f thi s type L y ra E leg a n t ia ru m which L o cke r
.
,

L a mps o n u sed a s the title o f hi s f a m ou s a nthol o g y o f

E n glish vers d e s o cie t e i s open t o si m il a r obj ectio n s
’ '

.
,

F a m ili a r ve rs e whi ch B ra nder M a tthews b o r rowed f r o m

,

C owpe r f o r hi s excellent a nth ol o g y A m eri ca n F a m il ia r ,

Vers e i s the le a s t in a de q u a t e E n g l ish n a me b ut it t o o

, ,

s t r on gly s u gg est s in fo r m a lity G en tl e vers e s u gg ested

.
,

by C a r olyn Wells a n d p a t ri ci a n rhym es s u gg ested by

, ,

E d m u n d C l a r en c e Stedm a n em p h a size the f a ct th a t ve rs

,

d e s o ci é té i s es s enti a lly the p o et ry o f the s al o n o f well ,

b r ed s o ciety Oc c as io n a l ve rs e i s the le a st s a ti s f a ct o ry
.
3 22 IN TRODU CT I O N TO PO E TR Y
t er m o f a ll f o r p o e m s w ritten fo r speci a l o c c a si on s a
,

“ ”
a s v a ri ed i n type a s L owell s Unde r the Old E l m
’
,

“ ”
o de ; E m e r s o n s C o n c o r d Hy m n a s on g ; a n d M ilt o
’
,

C a mus a , m a s q u e P a rtly bec a u s e o ther n a mes 1

.

u n s a tis f a ct o ry a n d p a rtly be c a u s e we wi sh t o i nclude

thi s ch a pte r p oe m s n o t st rictly t o b e cl a s sed a s vers
s o c ie t e we h a v e c a lled thi s ch a pte r Li ht Ve rs e
’

, g .

Ther e i s little a g reement a m o n g a u tho ritie s a s t o 1

limit a ti o n s i n fo r m a n d s ubj ect m a tte r o f vers d e s o c ie
The p o e m m a y b e c a st in the f o r m o f a letter a s o n g ,
.

t o a st a n epit a ph a b a ll a de a n a uto g r a ph T he s ub j c
, , , .

m a tte r i s g ene r a lly s o ci a l i n n a tu re The p o et w ri .

*

m o st o ften pe rh a p s of lov e in it s li ghte r m o o ds ; b ut i

the a t er b o o k s frien ds child r en a ni m a l s a n d m a ny o t l
, , , , ,

s ubj ect s a re a l s o op en t o him The t ru e c riteri o n.

,

s ee m s evident i s neithe r fo rm n o r s ubj ect b u t s t y

,

F rederi c k L o c k er L a mp s on i n the p ref a c e t o hi s L y

-
,

E le g a n t ia ru/m h a s a d m i r a bly ch a r a cte rized th e styl e

,

’
“
ve rs d e s o cie te P o em s o f thi s typ e s a ys he sh o uld
.
, ,

s ho rt ,ele g a nt refined a n d f a n ciful n ot s eld o m di st :

, , ,

g u i s h ed by ch a stened s entiment a n d o ften pl a yful, T .

t on e sh o uld n ot b e pitched hi gh ; it sho uld be idi o m

a n d ra ther i n the c o nvers a tion a l k ey ; the rhyth m

b e c risp a n d sp a r k lin g a n d the rhy m e fre q uent a n

,

fo rced whi l e the enti re p oe m sho uld be m a r k ed by

,

m o der a ti o n hi gh fini sh a n d c o m pletenes s

, ,

q u a lities o f b r evity a n d b u oy a ncy a re a b s ol utely e

The p oem m a y b e ti nctu red with a well b r ed p h -

it m a y be g a y a n d g a ll a nt it m a y b e pl a y ,

o r ten derly i r oni c a l i t m a y displ a y lively

,

m a y be s a rc a stic a lly f a ceti o u s b u t it

32 4 IN TROD U CT IO N a
TO PO E TR Y

An d a ll swee t nes s nes tl ed t h ere

th e
Th e snow y h a nd de t a ins me t h en ,

I l l h ave t o s a y good n i gh t aga in !

’
-

Bu t t h ere wi ll come a ti me m y l ove , ,

Wh en i f I re a d our s t a rs a ri gh t
, ,

I s h a ll no t l i n ger b y t his p orc h

Wi th m y f a rewe l l s Ti ll t h en good ni gh t ! .
,
-

You w i s h th e ti me were now ? A n d I .

You do no t b l us h t o wish it so ?
You wou l d h a v e b l us h ed y ourse l f t o de a th
To own so muc h a y e a r a go
‘

Wh a t b o t h t h ese snow y h a nds ! a h t h en

, ,

I l l h a v e t o s a y good n i gh t a g a i n !
’
-

Tho m a s B a il ey A ld r ic h (1 8 3 6 — 1 9 07 )

Vers d e ié té o f ten h a ndles the theme o f l ove in

‘

soc a

s a ti ri c h a lf cyni c a l f a shi on The I ri sh p o et T o m M o o re

,
-
.
, ,

h a s st r u c k t hi s n ot e i n o n e o f his s o n g s f r o m which we ,

q u o t e the fi rs t s t a nz a
Th eti me I v e l os t in wooin g
’

In w t c hin g n d p ursuin g
a a

Th e l i gh t t h t l i es a

In wom n s e y es a
’

H b een m y h e r t s undoin g
’
as a .

Th w i sdom o f t h sou gh t me
o
’
as ,

I c n d t h l ore h brou gh t me
s or
’
e s e ,

M y on l y b ooks
Were wom a n s l ooks ’

A n d fo l l y s a l l t h e y t a u gh t me
’
.

The m o s t fa m o u s p o e m o f this k ind i s R ob ert H er ri c k s ’

“ ”
T o the V i rg ins t o M a k e M u ch o f T i m e
, Ald ri ch c a lled .

“ ”—
He rri c k a g re a t littl e p o et a t er m which m i ht well
g ,
 L IGH T V E RS E

1 t o hi m s elf H e rric k wh o in hi s y o uth W1

.
,

t o a g olds m ith l oved t o p oli sh hi s m in

,

a j ewele r m i ht deli ht i n c a rvin a c ame

g g g

[E V I RG I N S , TO M A K E MU C H OF TI]

t
G a h er y e rosebuds w h i l e y e m y a ,

O l d Time is s t i l l flyin g ; a-

A n d th is s me flower t h t sm il es t o d ay
a a -
,

T morrow wi l l be d yi n g
o- .

Th e gl orious l a m p of h e a v en , t he s un ,

Th e h i gh er h e s a ge tti n g,
’
-

Th e sooner w i l l h i s r a ce b e run ,
And ne a rer he
’
s t o se tti n g .

Th at is bes t w h ich is t h e firs t

a ge ,

Wh en y ou t h an d b l ood a re w a rmer ;
Bu t bein g s p en t t h e wors e a n d wors t
,

Times s t i l l succeed th e former .

Then b e no t co y bu t use y our t ime

, ,
326 IN TROD U CTI O N TO PO E T R Y

foll owin g p o em E u g ene F ield who s e t r a n sl a ti o ns f ro m

,

H o r a c e a re a m on g the bes t p r otests a g a in st the t r a di

,

t io n a l cl a s s r o om a ttitu d e t ow a rd H o r a c e
-
F ield w a s
.

o ne o f the e a rli est m o de rn Ameri c a n n ewsp a p e r p o ets .

With few exce p ti o n s the best Am eri c a n li ght ve rse o f the

,

“
l a st dec a de h a s b een written by l a te r n ewsp a p er c olyu m
”
is t s li k e F r a n k lin P Ad a m s C hrist ophe r M o rley D o n
.
, ,

M a r q uis a n d B er t L est o n T a yl o r
, .

TH E TRU TH A BOU T HO RA C E
I t i s v er y a ggr a v a ti n g
To h e a r t h e so l emn p r ati n g
O f th e foss i l s w h o a re s t a t in g
Th a t o l d H or a ce w a s a p rude ;
Wh en we know t h a t w it h th e l a di es
He wa s a l w a y s r a i s i n g H a des ,

A n d wi t h m a n y a n esc a p a de h i s
Bes t p roduc t ions a re im b ued .

Th ere s re all y no t much h a rm in a

’

L a r ge number of his c a rmin a ,

Bu t th ese p eo p l e fi n d a l a rm in a
Few records of h i s a c t s ;
So t h e y d sque l c h t h e muse c al oric
’

And t o s t uden t s so p h omoric

Th e y d p resen t a s me t a p h or i c
’
32 8 I N TRODU CT IO N T O PO E TRY
Once he w a s bl it h e an d a s swi f t a s a l inne t h e
, ,

Wres t l ed an d sw a m or on h ors e— b a ck flew b y

,
.

Now h e i s dull ed w it h t h is cursed feminini ty

L y di a W hy ? ,

Yes ,
is c ha n ged— h e is mood y an d ser v i l e h e
he ,

S ku l ks l ike a cow a rd a n d wis h es t o fl y .

Wh a t c a n y ou sm i l e a t hi s ac t in g so scurvi l y
, ,

Ly d i a ? Why ?
L o uis Un te r m eye r (1 88 5

The gr e a t A m e ri c a n m a ste r o f li ght ve rs e i s Oliv er

Wendell H ol m es N o othe r A m eri c a n p o et h a s q uite
.

“ ”
e q u a led hi m in e a s e p ol ish a nd wit Hi s C ontentment
, , .
,

“ ” “ ” “
D o r othy Q ,M y Au nt a n d The De a c o n s M a ste r
,
’

” “
piece a re all supe rb b ut by c o mm o n c o n sent The L a st
,

” “ ”
L e a f i s pl a ced slig htly a b ove the m Th e L a st L e a f
.

w a s a f a v o rite o f Ab r a h a m L inc oln wh o sp o k e o f th e ,

“ ” “
f o u rth st a nz a a s in exp re s sibly t o u chi n g F o r pu re .

” “
p a tho s i n m y j ud g m ent h e s a id ther e i s n othin g finer
, , ,

”
th a n tho s e s ix line s in the E n glish l a n g u a ge ! I nde ed ,

the o nly f a ult o ne c a n find with them i s th a t they a re

a l m o st t o o full o f feelin g f o r vers d e s o c ie t e
’ ’
.

TH E L A S T L EAF

I s aw him once before ,

As h e p a ssed b y the door ,

A n d a ga in
The p a vemen t s t ones resoun d
As h e t o tt ers o er th e groun d
’

Wi th his c a n e .
 L IGH T V E R S E 329

The y s ay t h t in h i prime
a s

E re t he p run in g kni fe of -
Tim e
C ut h i m down ,

No t a be tt er m a n w a s foun d
B y th e C r i er on h i s roun d
Th rou gh the t own .

Bu t now h e w al ks th e s t ree t s ,

And l oo ks a t al l h e mee t s
S a d a n d w an,
And h e s h a kes h i s feeb l e he a d ,

Th a t it seems a s i f h e s a id ,

Th e y a re gone
“
.

The moss y m a rbl es res t

On th e l ip s t h a t h e h a s p re st
I n t h e i r b l oom ,

A n d th e n a mes h e l o v ed t o he a r
H ave been c a r v ed for m a n y a ye a r
On the t omb .

M y gr a n d m am a h as s ai d ,

Poor o l d l a d y s h e is de a d
,

Lon g a go ,

Th a t h e h a d a Rom a n nos e ,

And h is ch eek w a s li ke a ros e

In th e snow .

Bu t now h i s nos e is thin ,

L i ke a s t a ff ,

And a crook is i n h is b a ck ,

A n d a me l a ncho l y cr ack
In h i s l a u gh .
330 IN TROD U CTI O N TO PO E TR Y

I know i t i s a sin
For me t o s it a n d grin
A t h im h ere ;
Bu t th e o l d t h ree cornered h a t -
,

And th e b reec h es , a n d all t h at ,

And iI s h ou l d l i ve t o be
f
Th e l a s t l e a f u p on t h e t ree
In the s p r i n g ,

Le t t h em sm i l e a s I do now , ,

A t th e ol d fors a ken bou gh

Where I c l in g .

O l ive r We n d e ll H o l m e s (1 8 09 -1 8 94)

L o c k e r L a m p s o n wh o h al f a c entu ry a go sp o k e o f
-
, .

“
H olmes a s pe rh a ps the bes t livin g w riter o f this sp eci es o f
”
ve rs e p a id hi m th e fu rthe r c ompliment o f b o rr owin g the
,

ve ry u nu s u a l m et ri c a l fo r m whi ch H ol m es h a d u sed in
“ ”
Th e L a s t L e a f B y hi s u s e o f the st a nz a H olmes c o n
.

t rived t o s u ggest th e t a ppin g o f a n ol d m a n s c a n e whil e ’

,

L o c k e r L a m p s o n t ried t o s u gg est the li ght p a tte r

-

l a dy s littl e feet
’
.

M Y M I S TE S S B O O TS
’

54 ,
a .

Th e y ne a r l y s t r i ke me dumb ,

And I t remb l e w h en t h e y come

Pit -
a- pa t

This p al pit a ti on me a n s
Th a t t h ese Boo t s a re G er a l din e s
’

Th ink of t h a t !

Oh did h un t er
w h ere . w in
S o del ec t ab l e a sk in
For her fee t ?
332 IN TR ODU CT IO N TO PO E TRY
Th e d amse l def tl y shod , ,

H as du t i fu l l y t rod
Un ti l now .

C ome, G err y since it sui t s ,

S uc h p re tty Puss (in Boo t s )

a

Th es e t o don ,

S t t h is d in ty h nd w h i l e
e a a a ,

On m y s h ou l der de r n d I ll ,
a ,
a
’

Pu t t h em on .

F r e d e r ick Lo c ke r-L a mp s o n (1 82 1 -
1 89 5 )

F ew w o m en h a ve excelled i n w ritin g vers d e so c ié t é f o r ,

wh a t re a s on w e c a n n o t g u es s u nles s it i s th a t few o f the m

h a ve t ried The re a re m a ny thin g s howeve r whi ch a
.
, ,

wo m a n c a n t re a t b etter th a n a m a n N o m a n f o r in .
,

st a n ce c o ul d p o s sibly h a ve written the p o em whi ch we

,

q u ote f r o m J o s ephi ne P rest o n P e a b o dy (M r s Li o nel .

M a r k s ) a c o ntemp o r a ry Am er i c a n p oet a n d d ra m a tist

, .

N o o the r p o e m exp r es ses s o well the fe m i ni ne a ttitu d e

t ow a rd d re s s .

V AN I TY, S A I TH TH E PREA C H E R

I l o v e m y l ittl e gowns ;
I l ove m y l itt l e s h oes ,

Al l s ta nd in g s t i l l b e l ow t h em ,

S et qu i e t l y b y t wos .

All d ay I we a r th em c a re l ess ,

Bu t when I p u t t h em b y
Th e y l ook so de a r a n d d i ff eren t ,
’
A n t] v e t I r nnl l: lr n n w W l1 v
 L IG H T V E RS E 3 33

M y o l des t one of a l l ,

Worn ou t ; an d th en the bes t ;

B u t t h a t I h a v e no t worn enou gh
To l ove i t l ike t he res t
,
.

Th e d i mi ty for S und ay ,

Th ebl ue on e an d th e wool ,

Now t h a t I s ee t h em han gin g up,

Are somehow be a u t ifu l .

O f a ll th e w h i t e with ribbon s
,

G r a y green i f I cou l d c h oose ;

-
,

Th e fi chu t h a t h e l p s e v eryt h in g
B e gay ; an d th en m y shoes , .

M y shoes th a t ski p an d s aun t er ,

A n d on e t h at w i l l un t i e
The y l ook so funn y an d so you n g ,

I h at e to put them by .

I wonder i f some d ay
,
-
.

A l l t hi s w il l be th e Pa s t ?
Poor Ho p th e brook a n d D a nce w i th m e
- - - -
,

Th e y c a nno t a l w a y s l a s t !
J o s ep hin e P re s ton Pea b od y (1 8 74

D u ri ng the l a st c entu ry a nd a h a l f m a ny p o e m s h a ve
b een w ritten f o r child ren The g re a t m aj o rity o f thes e
.

d o n o t c o m e u nde r the he a d o f li g ht ve r s e bu t m u ch ex ,

c ell e n t li g ht v er s e h a s bee n w ritten a b o u t child ren The .

fi r st o f the tw o p oe m s whi ch we q u o t e wa s w ritten by

M a tthew P ri o r p r ob a bly th e b est ei g htee nt h c entu ry
,

w rite r o f lig ht ve r s e The o nly de fect in th e p oe m i s the

.

u nn a tu r a l p o eti c di cti o n which P ri o r a nd his c o n te m

o ra ries c o uld s eldo m es c a p e
p .
33 4 IN TROD U CTI O N TO PO E TRY

TO A C H I LD O F QUA LI TY FI V E YEA RS O LD

Lords kni gh ts a n d s qu ires th e numerous b and

, ,
’
-
, ,

Th a t we a r th e f a i r M i ss M a r y s fe tt ers
’

Were summon ed b y h er h i gh comm and ,

To show t heir p a ss i ons b y th eir l e tt er s .

M y p en a mon g t he res t I t ook ,

Les t t h os e bri ght e y es th at c anno t re a d

S h ou l d d a r t th eir kind l in g fi res an d l ook ,

Th e p ower t h e y h a ve to be obey ed .

Nor qu a l i ty nor re p u t a t ion

,

Forb i d me y e t m y fl a me to t e l l ,

De a r fi ve y e a rs o l d be friends m y p a ssion
- -
,

A n d I m a y wri t e t i ll she can s p e l l .

For w h i l e sh e m a kes her si l k worms beds

,
-

With a ll t he t ender th i n gs I swe a r ;

Whil s t a ll th e h ous e m y p a ssion re a ds ,

I n p ap ers round h er b ab y s h a i r ; ’

S h e may receive a n d own m y fl a me,

For, th ou gh th e s t r i c t es t p rudes s h oul d
’
know i t,
S h e ll p a ss for a mos t virtu ou s d ame
’
.

A n d I for a n un h a ppy p oe t
'

Then too, al a s ! w h en s h e s h al l t e a r
Th e l ines some y oun g er ri v a l s ends ;
S h e l l gi ve me l e a v e t o wri t e , I fe a r ,
’

A nd we s h a l l s ti l l con t inue friends .

For our d i ff eren t a ges mo v e

,
as ,

Ti s so ord a ined (wou l d F a t e bu t mend it !)

’

Th a t I s h a ll be p a s t m a kin g l o v e ,

Wh en s h e be gins t o com p re h end i t .

M a tt he w P rio r (1 6 64 1 72 1 ) -
336 IN TR OD U CT IO N T O P O E TR Y

You are i n th e ch in a cl ose t ! -

He wou l d cr y a n d l a u gh wi t h gl ee
,

It w a sn t th e c h in a c l ose t ;
’
-

Bu t h e s t i l l h a d Tw o a n d Th ree .

You a re u p i n Pa p a s b ig bedroom ’

In th e c h es t wi t h th e queer o ld ke y !
“
And s h e s a id : You a re wa rm an d wa r m e r;
Bu t y ou re no t qu it e ri gh t s a id sh e
’ ”
, .

I t c a n t be th e l i tt l e cu p bo a rd
’

Wh ere M a mm a s th i n gs used t o b e
’

S o it mus t b e t h e c l o t h es p ress G r a n m a !
’
-
,

And h e found h e r w ith hi s Th ree

’

Then s h e co v ered h er f a ce
wi th her fi n ger s ,

Th a t were wr i nk l ed a n d
w h it e an d wee ,

And s h e guessed w h ere th e b o y w a s h i d i n g ,

Wi th a One an d a Tw o an d a Th ree .

And t h e y ne v er h a d s t irred from t h eir p l a ces ,

Ri gh t under th e m a p l e t ree -

Th i s o l d o l d o ld ol d l a d y
, , , ,

A n d t h e b o y wi t h t h e l a me l i tt l e kn ee
Th is de a r de a r de a r o l d l a d y
, , ,

And th e bo y wh o w a s h al f p a s t t h ree -
.

H e n ry C uy l e r B u n n e r (1 8 5 5 1 8 96 ) -

Vers d e s o m eti m es t a k es the fo rm o f a t oa st L o r d

s o c ié té .

By ro n tho u g h he did n ot w rite m u ch li ght ve rse wa s the

, ,

a utho r o f o ne o f the be st t o a st s in the l a n u a e

g g T h e .

followin g p o e m wa s a dd res sed t o hi s f riend T ho m a s ,

M o o r e when B y r o n wa s le a vin g E n gl a nd f o r the l a st ti m e

, .
 L IG H T V E R S E 33

TO TH OM A S MOO RE

M y bo a t is on th e shore ,

A n d m y b a rk is on th e s ea ;
Bu t before I go Tom Moore
, , ,

Here s a doubl e he al th t o th e e !
’

Here s si gh t o t h ose who l ove me

’
a ,

A n d a smi l e t o t h ose wh o h a t e ;
And w h a t e v er sk y s ab o v e me
,
’

Here s a h e a r t for e v er y f at e
’
.

Th ou gh th e oce a n ro a r a round me ,

Ye t i t s t i l l s h a l l be a r me on ;
Thou gh a deser t s h ou l d surround me ,

I t h at h s p rin gs t h a t m ay be won .

Wer s t ’
t dro p in th e well
th e l a s ,

A s I g s p d u p on th e br i nk
’
a ,

E re m y f in t in g s p iri t fe l l
a ,

Tis t o t hee t h t I wou l d drink

’
a .

Wi th th a t w a t er th is win e
, as ,

Th e l ib t ion I wou l d p ou r
a

Shoul d b e— p e ce wi th t h ine n d mine

a a ,

A n d a h e l t h t o t h ee T m Moore
a ,
o .

G e orge N o e l G o rd o n , L o rd B y r o n (1 7 88 -
1 824)

'
d Co at ePin k n ey a gi fted yo u n g M a ryl a nd p c
,

1 a t the a g e o f twenty six w r ote wh a t i s p ro -

,

b est o f all t o a st s t o a w o m a n Alth o u gh t .

8 s eve r a l in feri o r lines it i s n o t u nw o rthy o f

,
338 IN TROD U CTI O N TO PO E TR Y
rec a ll s the g ra n di l o q u ent st r a in in whi ch the old f a shion e d -

“
S o uther n g entle m a n p a id hi s c o m pli m ent s t o the f a i r
”
s ex.

A H EAL TH
I this cu p t o one m de u p
fi ll a

O f l o v e l iness l one a ,

A wom n o f h g en t l e s ex
a ,
er

Th seem i n g p r gon ;
e a a

T w hom t h b e tt er e l emen t s
o e

An d k indl y s t rs h v e g iv en a a

A form so f ir t h t l ike t h e ir
a ,
a ,
a ,

Ti s l es s of e r t h t h n h e v en
’
a a a .

Her e v er y t one is mus i c s own ’

Like t h ose o f mornin g birds ,

A n d some t h i n g more t h a n mel od y

D we l l s e v er in h e r words ;
The coin a g e of h e r h e a r t a re t hey ,

A n d from h er l ip s e a ch flows
As one m ay see th e burdened b ee
For t h issue from th e rose .

A fl e cti on s
’ ’

are a s t h ou gh t s t o her ,

Th e me a sures o f h er h ours ;
H er fee l in gs h a v e th e fr a gr a nc y ,

Th e fres h ness o f y oun g flowers ;

A n d l ove l y p a ssions c h an gin g of t , ,

So fi l l h er s h e a pp e a rs
~
,

Th e im a ge of t h emse l v es b y turn s ,

The ido l o f p a s t y e a rs !

O f her br i gh t f a ce one gl a nc e wi l l tr ac e
A p ic t ure on t h e br a in ,

And o f her v oice in ec h oin g h e a rt s

A sound mus t l on g rem a i n ;
34 0 IN TRODU CT IO N TO PO ET RY
o f li ght ve r s e i n spite o f the f a ct th a t it l a c k s the th o u ght
c o nt ent o f se ri o u s p o et ry L i k e vers d e s o c iétxe it i s
.
’

diffic ult t o w rit e ; fo r it t a k e s a m a n o f s en se t o w rite

re a d a bl e n o n sen se The b est k n own E n gli sh w rite r s o f
.

n on sen s e ve rs e a l l b el o n in g t o the n ineteenth c entu ry

, g ,

a re T ho m a s H o o d E dw a rd L e a r a n d L ewi s C a r r oll
, ,

(C h a rles L D o d g s on ) G elett B u r g es s a nd Olive r H e r

. .

fo rd a re p erh a p s the m o st s u c c es s ful A m er i c a n a uth ors o f

n o nse n s e ve rs e .

TH E PU RPL E C OW

I never s a w a Pur p l e C o w ,

I ne v er h o p e t o see one ;
B ut I c an t e ll y ou a n y h ow
, ,

I d r a t h er see t h an be one
’
.

G e l e tt B u rge s s (1 8 66

N onsens e ve rs e l o g ic a l c o n si st ency o f its own ; it

ha s a

m u st n ot b e a wild in c oherent m ixtu r e o f a bs u rditi es

, .

Th e Pobbl e in the foll owin g p o em by E dw a rd Le a r i s a

, ,

wholly i m a gin a ry c r e a t u re ; but b oth the Pob b l e a nd hi s

Au nt J o b isk a a c t ve ry li k e boys a n d a unt s wh o m a ll o f
us k n ow .

TH E PO B B L E WH O HAS N O TO E S

Th e Pobb l e w ho h as no t oes
Ha d once a s m a n y a s we ;

When th e y s a i d S ome d a y y ou m ay l ose the m all

“
, ,

He re p l ied Fis h fi dd l e de dee !

”
,
”
-

And h is A un t J ob isk a m ade him drink

L av ender w ater ti n ged wi th pi nk ;
 L I G H T V E RS E 341

For she s a id The Wor l d in gener a l knows

,

There s no t hin g so good for a Pob b l e s t oes !

’ ” ’

Th e Pob b l e w ho h a s no t oes
S w a m a cros s th e Bris t o l C h a nnel ;
B ut before h e s e t ou t h e wr a pp ed h i s nos e
In a p iece o f sc a r l e t fl annel .

For his A un t J ob isk a s a id No h a rm

“
,

C an come t o h i s t oes if h i s nose is w a rm ;

And i t s p erfec tl y known t h a t a Pob b l e s to e s
’ ’

Are s a fe— p ro v ided he minds his nose ”

.

The Pobb l e s w a m f a s t an d we l l ,

A n d w h en bo a t s or s h ip s c a me ne a r h i m ,

H e tinkl ed y b in kl ed y wink l ed a b el l
- -

S o t h a t a l l t h e wor l d cou l d h e a r h im .

And a l l th e S a i l ors an d A dm i r al s cried ,

Wh en t h e y s a w him n e a rin g t he f a r t h er side ,

“
He has gon e t o fi s h for h is A un t J ob isk a s ’

Runcib l e C at wi t h crimson w h iskers

B ut before h e t ouc h ed th e s h ore

Th e s h ore o f th e Bris t o l C h a nnel ,

A s ea green Por p o i se c a rr i ed a w ay
-

His wr a pp er o f sc a r l e t fl annel .

And w h en h e c a me t o obser v e h is fee t ,

Former l y ga rnis h ed wi t h t oes so n e a t ,

His f a ce a t once bec a me for l orn

On p erceivin g t h a t a ll h i s t oes were gone !

And nobod y ever knew ,

From t h a t d a rk d ay t o th e p resent ,

Whoso h a d t a ken the Pob bl e s t oes ’

In a m a nner so f a r from p l e a s a n t .

Wh e t h er t he s h r i m p s or c ra w fi s h gr a y ,

Or cr a f ty me rm aids s t o l e t h em a w a y ,
3 42 I N TR ODU C TI O N TO PO E TRY
Nobod y knew ; a n d nobod y knows
How th e Pob bl e w a s robbed o f h i s t wice fi ve t oes !

Th e Pobb l e w h o h a s no t oes
Wa s p l a ced i n a friend l y B a rk ,

A n d t he y rowed h im b a ck a n d c a rried him u p

To hi s A un t J ob i s k a s Pa rk
’
.

And s h e m a de h im a fe a s t a t h is e a rnes t wish “

O f e ggs a n d bu tt ercu p s fried wi th fi sh ;

A n d sh e s a i d I t s a f a c t th e w h o l e worl d knows
“ ’

, ,

Th a t Pobb l e s a re h a pp ier w it h ou t t h eir t oes

”
.

E d wa rd L e a r (1 81 2 1 888 ) -

Tho m a s H o o d , o f the bes t o f E n gli sh hu m o ro u s

o ne

p o ets i s n ow rem em ber ed chiefl y f o r hi s s e ri o u s p o e m

, ,

“ ”
The B rid g e o f Si ghs Li k e Sh a k espe a r e H o o d w a s t o o
.
,

fo nd o f th a t q uestio n a ble fo rm o f hu m o r the p u n ; b u t i f ,

pu n s a re a t a ll a llow a ble H o o d h a s the distin cti o n o f

,

b ein g the cleveres t p un ste r who eve r wr ot e in ve rs e Th e .

foll owin g p o e m i s a b u rles q u e o f s enti m ent a l a n d m a rti a l

b a ll a ds a s well a s a n excellent sp eci m e n o f hu m o r o u s
ve rs e.

FAI THL E S S N E LLY G RAY

t
A Pa h e ti c B al l a d

B en B a tt l e w a s a so l dier bol d ,

And used t o w a r s a l a rms ; ’

Bu t a c a nnon b a l l t ook o ff h is l e gs
-
,

S o h e l a i d down h i s a rms !

Now as the y bore h im off th field e ,

Sa id h e Le t o th ers sh oo t
,
“
,
344 IN TRODU CT I O N TO PO E TR Y
A t du ty s c a l l I l eft m y l e gs
’

, ,
”
In B a d aj os s b r ea c hes !
’

Why t h en s a i d s h e y ou ve l os t t he feet
, ,
“ ’

Of l e gs i n w a r s a l arms ’

An d now y ou c a nno t we a r y our s h oes

U p on y our fe a t s of a rms !”

O h, f a l s e an d fick l e Nel l y G r ay ! ~

I know w hy y ou re fuse
Thou gh I v e n o fee t— some o t h er m an
’

I s s t a ndin g i n m y shoes !

I wis h I n e er h ad seen y our f ace ;

’

Bu t now a l on g fa rewel l !
, ,

For y ou wi ll be m y de a th — al a s !
You w i l l no t be m y N el l ! ”

Now w h en h e wen t from Nel l y G r a y ,

H i s h e a r t so h e a vy got
A n d l i fe w a s suc h a bur t h en grown ,

I t m a de h im t a ke a kno t !

So round h i s mel anch ol y n eck ,

A ro p e h e d i d en t w i n e ,

And for h i s second t ime i n l i fe

, ,

E n li s t ed in t h e L i ne !

One end he t ied round a a be a m ,

 N o di s c u s si o n o f sho rt e r li ght er p o e m s wo u
,

l e t e witho u t a n ex a m pl e o f the li m e ric k The

p .

“ ”
Th e Yo un g L a dy o f N i g er i s u n k n ow n .

There w a s a y oun g l a d y of Ni g er
Who smi l ed a s s h e rode on a Ti g er ;
Th e y c a me b a ck from th e r i de
Wi th th e l a d y i nside ,

A n d the smi l e on th e f a ce of th e Ti ge r

Th e p a ro dy i s a n excepti o n a lly i nter estin g

li g ht ver s e The be tte r kin d o f p a r o dy b u r l
.

m erely the rhyth m a n d dicti o n but a l s o the s en

C a ry s p a r ody o n G olds m ith s well k n own s o n g
’ ’ -

t e r I I I ) i s bett e r th a n m o st o f her s eri o u s p 0 1

WH E N LO V E LY WOMAN WAN TS A F

When l o v el y wom an w a n t s a f a v or ,

A n d fi nds t oo l a t e t h a t m a n won t l
’

, ,

Wh a t e a r t hl y circums t a nce c a n s a v e h t
From d i s a pp oin t men t in t h e end ?

Th e on l y w ay t o br i n g h im over,
Th e l a s t e xp erimen t t o t r y ,
34 6 IN TROD U CT IO N TO PO ETRY
Whe t he r husb a nd or a l o v er
a ,

I f he h ave a fee l in g i s to cr y‘
-
.

Ph oe b e C a ry (1 824-1 8 7 1 )

B ret H a rte is
p r ob a bly the b est o f Ame ri c a n p a ro dist s .

H i s p a r ody o f Whit t ie r s M a u d M ulle r i s n ot me r ely

“ ’ ”

fu n ny ; it exp o s es e ff ectively the f a ls e s enti m e n t o f th a t

p opul a r p oe m H en c e it i s s o u nd c riticis m
. .

M RS J U D G E J E N K I N S
.

”
(B eing the O n l y G e n u in e S e qu e l t o M a ud M ul l e r )

M aud Mu ll er a ll t h a t summer d ay
R aked th e me a dow swee t w ith hay ;

Ye t l ook i n g down th e dis t a n t l a ne

, ,

S h e h o p ed t h e J ud g e wou l d come a gain .

Bu t w h en h e c a me wi th smi l e a n d bow
, ,

M a ud on l y b l us h ed a n d s t ammered H a
,
“
,
ow
-
?

And s p oke o f h er p a a n d wondered wh e th er

,

He d gi v e consen t t h e y s h oul d wed t o ge t h er

’
.

Ol d Mu l l er burs t in t e a rs a n d th en ,

Be gged tha t th e J ud ge wou l d l end h im t en

”
;

For t r ade w as du l l an d w a ges l o w

, ,

A n d th e
“
cr a p s t h i s y e a r were somewh a t slow
”
, , .

And ere the l an guid summer died ,

S wee t M a ud bec a me t h e J ud ge s bride

’
.

But on th e d ay th at the y were m a t ed ,

M a ud s bro t h er Bob w a s in t o x ic a t ed ;
’
34 8 IN TROD U CTI O N TO PO E T R Y

For M a ud soon t hou gh t th e J ud ge a bore ,

Wi t h a ll h is l e a rnin g a n d all his l ore ;

wou l d h ave b a r t ered M a ud s f a i r f a ce

A n d t h e J ud g e
’

For more re fi nemen t an d soci al gr a ce .

I f of a ll words of t on gue a n d p en
, ,

Th e s a ddes t a re It mi gh t h ave been

, ,

More s ad a re t h ese we d a i l y see

“
I t i s bu t h a dn t ou gh t t o be
,
’ ”
.

F r a n c is B re t H a r te (1 836 -1 9 02 )

In m o st stu dies of
p o et ry little a ttentio n i s p a id t o
p o e m s sho rt e r th a n the s o nnet a nd the s o n g In a n .

a nthol o y in whi ch the e d it o r is u n a bl e t o i n cl ude a t e n th

g ,

o f wh a t he w o uld li k e t o u s e sh o rt p o e m s a re a verit a bl e
,

o ds en d ; b ut they a re s o i nte r estin a n d o ften s o ex

g g
“
c ell en t th a t n o a pol o y i s n eeded f o r thei r i ncl u si o n A
g .

” “
little thi ng m a y b e p e r fect s a id Aldri ch but pe r fecti o n
, ,

”
i s n o t a little thi n g Altho u gh by n o m e a n s a ll the
s h o rte r p o e m s whi ch a re h er e q u oted bel o n t o vers d e
g
s o ciet e they a re a ll a t thei r b est
’

, ,ch a ra cte ri ze d by e a s e
, ,

n a tu r a l nes s finish a n d t o a g r e a t e r de g ree th a n a ny

, ,

o the r f o r m o f p o et ry by a n epi g r a mm a ti c c o n ci s e n es s
, .

The b rief p oe m c a lls fo r a n ide a th a t c a n b e b ri efly ex

p r es sed It w o ul d b e f a t a l t o exp a nd int o a n o d e o ne o f
.

the s o nn ets o f Ke a t s o r t o m a k e a s o nn et o u t o f Ru s sell

“ ”
Hilli a r d L o in es s q u a t r a in O n a M a ga zine S on n et
’
,

S corn sonne t t h ou gh i t s s t ren gth he s app ed

n ot th e , ,

Nor s a y m al i gn an t i t s in v en t or b l undered ;
Th e cor p se t h a t h ere in fou rt een l i nes is wr a pp ed
H a d e l s e been covered wi th a h undred .
 Underne a th t his s ab l e he a rs e
Lies th e su b j ec t o f a l l v erse ,

S i d ne y s sis t er Pemb roke s mo t h er

’ ’

D e a th ere t h ou h a s t s l a in a no t h er
,

F a ir an d l earn d a n d good a s s h e
’

Time s h all t h row a d a r t a t t h ee .

In m an y sh o rt p oe m s the he r o i c c o uplet whi ch l en d s ,

it sel f a dmi r a bly t o e p i g ra m m a ti c c o n cis en es s a n d p oint ,

i s u s ed t o ex cellent effect A n ex a mpl e i s the epit a ph

.

which A lex a nde r P op e w ro te fo r Si r I s a a c N ewt o n the ,

celeb r a ted dis c ove re r o f the l a w o f g r a vit a tio n :

N a t ure a n d N a ture s l a ws l ay h id in n i gh t
’

G o d s a id L e t N e wt o n b e ! a n d a l l w a s l i gh t
, .

Te nny s o n u s ed a di ff e r ent m e a su r e f o r a n o the r s up erb

“
p o e m o f the s a m e type S ir J ohn F r a n k lin : O n the
,

”
C en o t a ph in West m inste r Abbey F r a n kli n wa s a n
.

A rcti c expl o re r who di ed in the f a r N o rth .

N ot here ! th e w h i t e Nor th h a s th y bones ; an d t hou ,

H eroic s a i l or sou l
-
,
35 0 I N TR OD U CT IO N TO PO ETR Y
A rt p ssin g on t h ine h pp ier vo y ge now
a a a

Tow rd no e r thl y p o l e
a a .

N o t in fe ri o r t o o f the p r ecedin g p o em s i s
an
y
A rlin gt o n R obi n s o n s ver si o n of a p o e m in the
’

“ ”
Anthol o gy A n I n s c ripti o n by the S ea :
,

N o dus t h a v e I t o co ver me ,

M y gr a v e n o m a n m ay s h ow ;
M y t om b is t his unend i n g s ea ,

A n d I l i e f a r b el ow .

M y f a t e O s t r a n ger w a s t o drown ;
, ,

And w h ere i t w as th e s h i p wen t down

I s w h a t th e s ea birds kn ow -
.

E pit a phs li ghte r vei n a re ve ry n u m e ro u s A n

ln .

e en t h centu ry p o et John G a y wr ote a n epit a ph fo r

, ,

hi m sel f which s o m e o ne a ctu a lly i ns c rib ed up o n hi s t o m b

Life is a j es t an d ,
all t hin gs s h ow it
I th ou gh t so once , an d now I know i t .

A f a m o u s epit a ph by a n o the rwi se fo r g otten p o et i s the

“ ”
E a rl o f R o cheste r s E pit a ph on C h a rles I I Kin g
’
.

C h a rles who c a m e t o th e th r on e in 1 6 60 w a s e a sy g oin g

, ,
-
,

witty a nd g o o d n a tu red but di s sip a t ed a nd u np ri ncipled

,
-
, .

Here l i es our S o v ere i gn Lord th e K in g,

Wh ose word no m a n re l ies on ,

Wh o ne v er s a i d a fool i s h t h in g ,

Nor e v er did a w i se one .

S o m e o f the b es t o f B ritish epit a phs we re w ritten by

“
B u r n s M o st o f the m a re hu m o r o u s bu t A B a rd s
.
,
’

”
E pit a ph a l re a dy q u oted is o n e o f the b es t o f hi s s erio u s
, ,
35 2 IN TR ODU CTI O N TO PO E TRY
H e ard on L a verni a Sc a r gil l s whis p erin g t r ees ’
.
’

A n d p ined b y A rno for m y l o v e l i er Tees ;

B e h e l d e a c h ni gh t m y home i n fe v ered s l ee p ,

E a c h morn i n g s t a r t ed from t h e dre a m t o wee p ;

Ti ll G o d w h o s a w m e t ried too sorel y g a v e
, ,

Th e res ti n g p l a ce I a sked an e a r l y gr a v e
-
,
.

O t h ou w h om ch a nce l e a ds t o th i s n a me l ess s t one

, ,

From th a t p roud coun t ry w h i ch w a s once m i ne own ,

B y t h os e w h i t e c l i ff s I ne v er more mus t s ee ,

B y t h a t de a r l a n gu a ge w h i ch I s p a ke l i ke t h ee ,

For ge t a l l feuds a n d s h ed one En gl is h t e a r

,

O er E n gl is h dus t A broken he ar t l ies h ere

’
. .

The re a re an umbe r o f b e a utiful sho rt p o ems c o nce rned

with de a th whi ch d o n o t c o me u nde r the h e a d o f epit a p hs .

On e o f th e be st o f thes e i s a n A ngl o S a xo n c o uplet s up -

p o s ed t o h ave been in s c ribe d up o n the t ru e c r o s s o n whi ch

“
Jes u s wa s c r u cified T hi s p o e m k n own a s the B ru s s els
.
,

”
C ro s s I ns c ripti o n h a s b ee n thu s t r a nsl a ted by P r o fe s s o r
,

C h a u nc ey B T in k e r :
.

Roodis m y n ame Once l on g a go I bore .

Trembl i n g bedewed wi t h b l ood th e mi gh ty

, , K in g .

A m o r e f a m o u s sho rt p o e m i s the R o m a n E m pe r o r
“ ”
H a d ri a n s a dd r es s To his S o ul which h a s been t r a n s
’
,

l a t ed by M a tthew P ri o r

tt p re tty flu tt erin g t hin g

Poor l i l e, , ,

Mus t we no l on ger l iv e t o ge th er ?
An d dos t t h ou p rune th y t rem b l i n g win g ,

To ta ke thy fli gh t t h ou k n w t no t whi t her ?

’
o s

Thy h umorous v ein t hy p l e sin g fol l y

,
a

Lie a ll ne gl ec t ed l l for go t
, a :
 L IG H T V E RS E 35 3

And p en sive w a v erin g me l a nchol y

, , ,

Th ou d re a d s t an d h o p s t t h ou k n o w no t w h at
’ ’ ’
st .

The f ollo win g line s by E m ily Dic k i ns o n rec a ll G r a y s ’

“ ”
fa m o u s E le gy W ritten i n a C ou nt ry C hu rchy a rd !

This quie t D us t w a s G en t l emen an d L a dies ,

A n d L a ds a n d G ir l s ;
Wa s l au gh t er a n d a bi l i ty a n d si gh in g ,

A n d frocks a n d cur l s .

Th is p a s si v e p l a ce a S ummer s nimb l e m a nsion

’

Wh ere B l oom an d Bees

Fu l fi l l ed th eir Orien t al C ircui t ,

Th en ce a sed l i ke t h es e *
.

Tw o o f the m o st be a u tiful o f a ll b ri e f p o e m s a re
’ “ ’ ”
G o ethe s W a nd ere r s N i g ht s o ng s whi ch L on gfello w-
,

t ra n sl a te d

Th ou t h t from th e h e av en s a t
a r ,

E ver y p in n d sorrow s t i l l es t
a a ,

And th e doub l y wre t c h ed h e r t a

D oub l y wi th re freshmen t fill es t ,

I m we r y wi t h con t endin g !
a a

Why th is r pt ure an d unres t ?

a

Pe a ce
descendin g
C ome a h come in t o
, , my bre a st !

O er all th e hill t o p s
’
-

I s qu i e t now ,

In a l l the t ree to p s -

He a rest t h ou
Co pyri ght e d it
b y L t l e, B rown a nd Com p nya .
 H a rdl y a bre a t h ;
Th e b i rds a re a s l ee p in th e t rees
Wa i t ; soon l i ke t h ese
Th ou t oo s h al t res t .

i S a v a g e L a nd o r h a s m o re g re a t sho rt p o e m s t o
l t er
e dit th a n a n y o the r E n glish p oet Th e best k n own .

“ ” “
es e a fte r
, R o s e Ayl m e r i s On hi s S eventy fi f t h
,
-

”
day :

I s t rove wi th none for non e w a s wor th m y s t rife ;

,

N a t ure I l o v ed a n d n e xt t o N a t ure A rt ;
, , ,

I w a rm d b o t h h ands before the fi re of l ife ;

’

It sinks a n d I a m re a d y t o de p a r t
,
.

“ ”
rdl
y i nferio r t o thi s i s hi s q u a t r a in , On D e a th !

D eath s t ands abo v e me w h is p erin g ,

l ow
I know no t w h a t i n t o m y e ar
O f h is s t r a n ge l an gu age a l l I know
I s th ere is no t a word of fe a r
,
.

’ “
a li ghte r vei n i s L and o r s With P et ra rch ’
s S on

B eho l d wh a t hom age to his idol p aid

Th e t unefu l su pp l i a n t o f V a l cl u s a s s h a de
’
.

His v erses s t i ll the t ender h e a r t en ga ge ,

The y c ha rm d a rude a n d p l e a s e a p ol i s h d
’ ’

S ome a re t o n a ture a nd t o p a ss i on t rue ,

A n d a ll h a d b een so h ad h e l i v ed for y ou
,
.

the s a m e m et ric a l fo r m M a tthew P ri o r p a ys a l a dy

,

“
il a r c o m pli m ent in hi s lines W ritte n i n a L a dy s ’

”
n
35 6 IN TROD U CTI O N TO PO E TRY

o n ce St o o d b etween the B u st s o f N ewt o n a n d P op e .

B e a u N a sh wa s a f a m o u s d a ndy a nd s o ci al le a de r a t B a th
’

Th is p ic t ure p l ced th ese bus t s be t ween

a
,

G i v es s t ire i t s fu ll s t ren gt h ;
a

Wisdom an d w it a rese l dom seen ,

Bu t fo ll y at fu l l l en gth .

Th e ab o ve lines s u gg ested the foll owi ng q u a t ra i n b y t he

E a rl of C hesterfield :

Immor t a l New t on never s p oke

More t ru t h t h a n here y ou l l fi n d ; ’

Nor Po p e h imsel f e er p enn d a j oke ’ ’

Severer on m ankind .

“
One o f th e b est o f A m e ri c a n q u a t ra in s is W o m an s ’

”
Will by John G o d f r ey S a xe

Men d y in g m ake t h e i r wil l s ; bu t w ive s

, ,

E sc a p e a work so s ad ;
Why s h ou l d t h ey m ake w h a t a ll t h ei r l i v es
Th e gen t l e d a mes h a v e h a d ?

A c o nte m p o ra ry A m eri c a n p o et Will a rd W a ttle s , ,

“ ”
w ritten a cl eve r q u a t r a i n entitled C r eeds :

How p i ti fu l a re l i tt l e fo l k
Th e y s eem so ver y sm all ;
The y l ook a t s t a rs a n d t h ink t h ey
, a re

D enomin a ti on al .

L ei gh H u nt the friend o f Ke a ts i s b es t r em emb e red

, ,

“ ”
f or hi s R on d e a u , which i s technic ally n ot a r onde a u a t
a ll
. T he Jenny o f the p o e m wa s M rs Thom a s C a rlyle . .

B y p e rm i ss i o n f rom L n te n i n G eth ema ne b y W il l a r d W att l es

a r s s ,

copyri gh t b y E P D utt on a nd Co mp ny
. . a .
 L I G H T V ERS E 35 7

Je nny kissed me when we m et ,

J um p in g from th e c h a ir s h e s at in ;
Time y ou t h i ef wh o l ove t o get
, ,

S wee t s in t o y our l is t p u t th at in ! ,

S ay I m we a r y s ay I m s ad
’ ’

, ,

S ay t h a t h e al t h a n d we a l th h a ve missed
S ay I m g row i n g o ld bu t a d d
’

J enn y kiss ed me .

“ ”
To a P o s t Office I n kw ell by C hri s t ophe r M o rley who
-
, ,

“ ”
e d its f o r the N ew Yo r k E vening Po s t a c olyu m c a ll ed
“ ”
Th e B owlin g G ree n i s o n e o f the b es t o f l a tte r d a y
,
-

sh o rt p o e m s

How m an y h umb l e h e a r t s h a ve di pp ed
In y ou an d scr a w l ed t h e i r m a nuscri pt !
,

How s ha red t h eir s ecre t s t o l d th e i r c a res , ,

Th eir cur i ous a n d qu a i n t a ff a i rs !

Your p oo l o f i nk y our scr a tc hy p en
, ,

H a v e mo v ed th e l i v es o f unb orn men ,

A n d w a t c h ed y oun g p eo p l e bre a t h in g h a rd , ,

Pu t He a v en on a p os t a l c a rd .

A ut o g r a ph p o em s a re nu m e r o u s b u t u s u a lly p o o r in
q u a lity N ot q u it e si n ce re pe rh a p s bu t ce rt a inly im
.
, ,

“
p r es sive a re B y r o n s L i n es W ritte n in a n Alb u m a t
’

”
M a lt a

As o er th e col d se p ul chr al s t one

’

S ome n a me a rres t s t h e p a sser — by ;

Thus w h en t h ou vi e w s t t h i s p a ge al one
’

, ,

M ay m i ne a tt r a c t thy p ens iv e e y e !

And w h en b y th ee t ha t n a me i s re a d ,

Perch a nce in some succe ed in g y e a r ,

35 8 IN TROD U CTI O N TO PO ETR Y

Reflec t on me a s on t h e de ad ,

A n d t hink m y he a r t i s buried her e .

“ ”
Altho u gh L owell s F o r a n A ut o gra ph
’
is t o o
a s e rm o n it i s o the rwi s e exc elle n t :
,

Thou gh ol d t h e t h ou gh t a n d o f t ex prest,
Ti s h i s a t l a s t w h o s a y s i t bes t,
’

I ll t r y m y for t un e wi t h th e res t
’
.

L i fe is a l e a f of p ap er whit e
Wh ereon e a ch on e of us m ay wr it e
His word or t wo an d t hen comes ni ght
, .

Lo t ime an d s p ace enou gh we

, , c ry,

To wri t e a n e p ic ! so we try
”

Our n ibs u p on t he ed ge an d d ie , .

Muse no t w h i c h w ay the p en t o h old ,

Luck h a t es th e s l ow an d l o v es th e bol d ,

Soon come th e d a rkn ess a n d th e co l d .

G re a t l y be g i n ! th ou gh t h ou h a ve t ime
Bu t for a l in e be t h a t subl ime
, ,

N o t f a il ure b ut l o w a im is crime
, , .

Ah, w it h w h a t l of ty h o p e we c a me !
Bu t we for ge t i t dre a m o f fa me
, ,

A n d scr a w l a s I do h ere a n a me
, , .

Fo rthe S oldie r s a n d S a il o r s M o n u m e n t
’ ’
in B o s to n
L owell w ro te th e foll o wi n g q u a t ra in :
To t h ose who d i ed for h er on l a nd an d s ea,
Tha t s h e m i gh t h a ve a coun t r y gre a t a n d free,
B os t on b u i l ds t h i s : bu i l d y e h er monumen t
I n l ives l i ke t heirs a t du ty s summons s p en t
,
’
.
3 60 I N TROD U CT IO N TO PO E TR Y
Th e a pp a ri t ion of t h es e f aces in t he crowd ;
Pe t a l s on a we t , bl a ck bou gh .

A c o nte m po r a ry A m e ri c a n p o et Adel a ide C rap s ey h a s

, ,

“ ”
w ritte n m a ny cin q u a in s f ree ver se p o e m s i n five lines
, .

TR IAD

These be
Th ree si l en t t h in gs
Th e f al l in g snow th e hour
B efore th e d a wn t he mou t h of on e

J us t de a d .

TH E WA RN I N G

Jus t now ,

Ou t o f t he s t r an g e
S t i ll dusk a s s t r a n ge a s s t i l l ,

A w h it e mo t h flew Wh y am I grown
.

S o co l d ?

The s e tw o p o e m s e m i nd o ne o f the sh o rt J a p anes e

r

f o rm c a lle d the h o kk u a p o e m o f o n ly th r ee lines in

, ,

which the p o et ende a v o rs t o c o nd en s e h is tho u ght i n to

the s m a lle s t p o s sibl e s p a c e The g re a t a n d g r owi ng in
.

flu en c e o f A si a tic p o et ry o n c o nte m p o r a ry ve rs e h a s
t end ed t o b ri ng a b o u t g re a te r c on ci sen es s a n d fi ni sh .

A m y L owell a nd Witte r B ynn er h a ve rec ently t r a n sl a t ed

a l a r e n u m b e r o f C hi n es e p oe m s fo r A m e ri c a n re a de r s
g .

I n t ak in g le a ve o f li ght ve rse w e c a n d o n o b ett e r th a n

,

q u ot e Au stin D ob s o n s ple a f o r thi s r a re a nd di fficult type

’

o f p o et ry. D ob s o n u ntil hi s de a th in 1 92 1 wa s t he
, ,
 L I GH T V ER S E 36 1

g re a te st livin g m a ste r o f vers d e s o c ie t é a n d k ind ’

red ‘

f o rm s
. Th e foll owin g p o em is ve ry excepti o n a l in th a t it
e m pl oys o nly fe m inin e ri m es .

J O C OS A LY RA

In our he a r t s is t One of A von

th e G re a
E n gr v en a ,

An d we cl imb t he co l d summi t s once bu i l t

B y Mi l t on .

B ut at t imes n ot th e ai r th is r a res t
at

I s f a ires t ,

And w e l on g in th e v al l e y t o fo ll ow
A p o ll o .

Then we dro p from t he hei gh t s a t mos p h eric

To H errick ,

Or we p our the G reek hone y grown bl ander , ,

Of L a ndor ;

O r our cosies t nook in the s h a de is

Where Praed is ,
Or we toss the l i gh t be l l s of th e mocker

O h,t he son g where no t one of th G r ces e a

Ti gh t l ces -
a ,

Wh ere we woo the swee t Muses no t s t rchl y a ,

Bu t rch l y a ,

Where t he vers e l ike , a p i p er a- M ay in g ,

C omes p l a y in g ,

And th e r h y me is as
gay as a d ancer
In answer ,
36 4 I N TR ODU C T IO N TO PO E TRY
C ole rid g e , Shell ey a n d E m e r s o n a ll a dm itted th a t m ete r
,

i s n o t es s enti a l a ltho u gh n one o f the m a ttem pted f ree

,

ver s e a s l o g ic a lly they sho uld h a ve do n e P o eti c p ro s e

, .
,

o r p r o s e p o et ry howeve r m a ny olde r a uth o r s did write

, , .

I n thi s a n o m a l o u s f o rm Sidney S ir Th om a s B r own e , ,

Milt o n D eQu in c ey L a mb Po e a n d E m e r s o n t o n a m e n o
‘

, , , , ,

o the rs a ll ende a v o red li k e p resent d a y w rite r s o f f ree

, ,
-

ve rs e t o ex pl o re the u n cert a i n b o rde rl a n d whi ch s ep a r a te s

,

ver se fr o m p r o s e The p r o s e p oe m s o f Os si a n which

.
,

enj oyed a t remendo u s v o gu e a l l over E u r ope i n the l a te

ei ghteenth c entu ry a re p e rh a p s the m o st f a m o u s o f the
,

e a rly sp ecimen s o f f ree ve r se

E ve r sinc e th e divo rc e o f p o et ry fr o m m u si c the re h a s ,

been a n in c r e a sin g tenden cy t o i r re gul a rity in p oeti c fo r m .

M a ny olde r p oe m s a re t o be dis tin gui shed f ro m free ve rs e

“ ”
o nly by the u s e o f ri m e D ryden s Alex a nder s F e a st
.
’ ’
,

“ ” “ ”
C ole ri d g e s K ub l a Kh a n A rn old s D ove r B e a ch a n d
’ ’
, ,

T ennys o n s Ode o n the De a th o f the D u k e o f W elli n g

“ ’

”
t on h a ve neithe r r e gul a r st a nz a ic fo r m len gth o f li n e , ,

n o r u ni fo rm met ric a l m ove m ent D ryden in hi s i r re g ul a r .

,

od e m ixes t r o ch a ic i a m bi c a nd a n a pesti c feet al m o st a s

, , ,

f r ee ly a s W a lt W hit m a n a n d C a rl S a ndbu rg d o M o re .

ove r in p oe m s whi ch pu rp o r t t o b e re g ul a r w e fi n d wide

, ,

v a ri a ti o ns f ro m the n o rm a l f o rm B rownin g s li n e .
’
,

H i s t oric a l an d p h i l oso p h ic al ,

i s m e a nt fo r bl a n k vers e ; b u t s o a l s o i s M ilt o n ’
s

R ocks , c av es ,
l a kes , fens ,
b o gs , dens , an d s h a des o f de ath .

B oth thes e lin es a re m e a nt t o b e re a d as i a m bi c pent a m

ete r ! An a pesti c a nd d a ctyli c p o e m s , a s we h a ve s een ,
 F R E E V E RS E 365

a re a l m o s t i nv a ri a bly i r re gul a r Thei r p op ul a rity

.

th r o u g ho u t the ni n eteenth centu ry i s si gnific a nt .

L on g befo re th e tim e o f Whit m a n E n gli sh p o ets ex ,

e ri m ented with u n rim ed fo rm s a p a rt fr o m bl a n k ve r s e

p .

O rtho dox p oet s li k e S c ott T ennys o n L on g fell ow a nd

, , ,

L owell imit a t ed An gl o S a x o n a n d I cel a ndic po et ry which

-
,

em p l oyed a lliter a ti o n in s te a d o f ri m e a n d re q ui red n o fixed

n u m be r o f syll a bles i n e a ch lin e I n f a ct a s o n e r e a ds
.
,

“
T ennys o n s t r a nsl a ti o n o f the Old E n glish
’
B a ttle o f
”
B run a nb u rh f ree ve rs e s eem s a lm o st a re v e rsi o n t o th e
,

“
e a rlies t k n own fo r m o f E n glish p o et ry I n M erlin a n d .

”
the Gle a m , T ennys o n witho u t st res s in g a llite r a ti o n
, ,

imit a ted thi s A nglo S a x o n u n rimed fo r m

-
.

L a unch y our v es se l ,

A n d crowd y our c a n v a s ,

A n d ere it v anis h es
,

Over t h e m a r gin ,

Af te r i t foll ow it , ,

Foll ow th e G l e a m .

A side f r o m bl a n k v er se a n d free ve rs e p ro b a bly the ,

b est u n ri m ed p o e m in the l a n g u a g e i s Willi a m C ollins s ’

”
Ode t o E ve n in g The s t a nz a which C ollin s e m pl oy s
.

c on si sts o f tw o i a mbi c pent a m eter li n es foll o we d by tw o

o f i a mb ic t ri m ete r .

O D E TO E V E NI N G

I f a u ght o f o a t en s t o p or p a s t or al son g
M a y h o p e c h a s t e E ve t o soo t h e t h y modes t
, ,

L i ke thy own so l emn s p rin gs ,

Thy s p r i n gs an d d y in g ga l es ;
,
36 6 IN TRODU CT IO N TO PO E TR Y
O N y m p h reser v ed — ,
w h i l e now th e bri gh t h a ired -
s un

S i t s i n y on wes t ern t en t w h ose c l oud y skir t s

, ,

Wi th brede e t h ere a l wo v e ,

O erh a n g h i s w a vy bed
’

Now a i r is h us h ed s a v e w h ere th e we ak e y ed b at
,
-
,

Wi t h s hor t s h r i ll s h riek flits b y on l e a t h ern w i n g ;

Or w h ere th e bee t l e winds
His sm a l l b u t su ll en h orn ,

As o f t h e rises m i ds t t he t w i l i gh t p a t h ,

Aga ins t th e pi l gr i m b orne in h eedl ess h um

Now t e a c h me M a i d com p osed
,

To bre a th e some so f t ened s t r a i n ,

Wh ose numbers s t e al in g th rou gh t hy d a rkenin g v al e

, ,

M ay no t unseeml y wi t h i t s s ti ll ness su it
, , ,

A s mus in g s l ow I h a i l,

Thy g en i a l l oved re t urn .

For w h en thy fo l din g s t a r a r i s i n g show s

His p a l y circ l e t a t hi s w a rn i n g l a m p
,

Th e fr a g r a n t Hours a n d El ves
,

Who s l e pt in buds th e d ay ,

An d m an y aN y m ph who wre a thes h er brow s w i t h sed ge ,

A n d s h eds th e fres h en i n g dew a n d l ovel i er s t i ll

, , ,

Th e p ens iv e Pl e a sures swee t

Pre p a re th y s h a dow y c ar .

Then l et me rove some wi l d a n d he a th y scene ;

Or fi n d some ru i n m i ds t i t s dre a r y de ll s
, ,

Wh os e w all s more a w fu l nod

B y thy re l i gi ous gl e ams .

Or i f c h i ll bl us t erin g winds or drivin g r ain

,

Preven t m y wi l l in g fee t be mine t h e h u t

,
368 IN TR ODU CT I O N TO PO E TR Y
The h e a v ens decl a re th e gl or y of G od
A n d th e fi rm a m en t s h ewe t h h is h a nd y work .

D ay un t o d ay u tt ere t h s p eech ,

A n d ni gh t un t o n i ght s h ewe t h kn ow l ed g e .

Th ere i s no s p eec h nor l a n gu a ge ;

Th eir v oice c a nno t be h e a rd .

Th eir l i ne is g on e ou t t h rou gh a l l th e e a r th ,

A n d t h e i r words t o th e end of th e wor l d .

E ve r si nc e the ti m e o f E liz a beth the r e h a v e been ,

a tte m t s i n E n lish t o w rite p o et ry i n cl a s sic a l m ete rs

p g ,

in o rde r t o a void rim e a n d the i a mbi c m ovement The .

hex a m ete r u s ed by L o n g fell ow i n E va n gel ine i s the o ne

cl a s sic a l fo r m which h a s w o n a re a l fo othold— a n d sin ce
i n L a tin a n d G r ee k ver s e q u a ntity a nd n ot a c cent i s the
g uidin g p rin ciple L o n,g fell ow s hex
’
a mete r s a r e ve ry dif

f eren t fr o m tho se o f H o m e r a n d Ve r gil Up o n the m o de rn

.

“
re a der who li k e Sh a k esp e a r e u s u a lly h a s s m a ll L a tin
, , ,

”
a n d les s G ree k the effect i s p r a cti c a lly th e s a m e a s th a t
,

o f f ree ve rse The s a pphic st a n z a n a med f o r the Gree k

.
,

p o et S a ppho h a s te m pted a c on side r a ble n umb e r o f E n g

,

lish a n d A m e ri c a n p o ets S a r a T e a sd a l e (M rs F il
. .

sin g e r ) o ne o f the bes t o f c o nte m p o r a ry ly ri c p o ets a n d

,

a n a r dent a d m i re r o f S a p ph o h a s w ritten the foll owi n g

,

st riki ng ly ri c in the s a pphi c st a nz a .

TH E LA M P

I f I c an hear y our l o v e l ike a l a m p before me ,

Wh en I go down th e l on g s t ee p Ro a d o f D a rkn ess ,

I s h all no t fe a r th e e v erl a s t in g s h a dows ,

Nor cr y in t error .
 F R EE V E RS E 3 69

I f I can fi n d ou t G o d th en I s h al l fi n d Him ;
,

I f none can fi n d H i m t h en I s ha l l s l ee p sound l y

, ,

K now i n g h o w we ll on e a r t h y our l o v e suffi ced me ,

A l a m p in d a rkn ess .

S a ra Te as d a l e (1 884

N ot l on g b efo r e Whit m a n p ublished hi s L ea ves o f

G ra s s in 1 85 5 M a tthew A rn old b eg a n t o w rite u n ri m e d
,

“
p oe m s whi ch a pp r oxim a te free v er s e The Yo uth o f .

” “ ” “ ”
N a tu re ,Th e F utu re The St ra ye d Revelle r
, a nd ,

“ ”
Ru gby C h a p el a r e m u ch n e a re r t o free ve rs e th a n w e
sho ul d h a ve expected f r o m a n y V i ct o ri a n p o et A rn ol d .

m a y h a ve fo u nd a p rec edent in S o uthey s Tha l a b a ’

,

Shelley s Q ue en M ab o r even in the cho r u se s o f M ilt o n s

’
,
‘ ’

S a m s o n A g o n is t es ; a l l thes e a re di stin g uished fr o m f ree

ve rs e o nly by a p r ev a ilin g i a mbi c m ove m ent Afte r .

“ ” “ ”
Ke a ts s Ode t o a N i g htin g a l e A rn old s Philo m el a is
’
,
’

the bes t p o em up o n the f a v o rite bi rd o f the E n glish p o et s .

PH I LOM E LA

H ark ! ni gh t in ga l e
ah, th e
The t a wn y t h ro at ed ! -

H a rk from t h a t moon l i t ced a r wh a t

,
a burst !
Wh a t trium p h ! h a rk ! — w h a t p a in !

0 w anderer from a G rec i a n s h ore ,

S t ill a f t er m an y y e a rs in dis t an t l a nds

, , ,

S t i ll nour i s h i n g in th y b e w i l d e r d b r a i n
’

Th a t w i l d u n qu en c h d dee p sunken ol d wor l d p ain

’
- -
, , ,

S ay w i ll it ne v er h e al ?
,

A n d c an th i s fr a gr a n t l a wn
Wi t h i t s coo l t rees an d ni gh t , ,
 D os t t h ou ga n
a i p eruse
Wit h h ot c h eeks se a r d e y es
an d
’

Th e t oo c l e a r web an d t h y dumb sis t er s sh a me ?

’

Dos t t h ou once more a ss a y

Th y fl i gh t an d fee l come o v er t h ee
, ,

Poor fu gi t i v e t h e fe a th er y ch a n ge
,

Once more a n d once more seem t o m a ke resound

,

With l o v e a n d h a t e t rium p h a n d a gon y

, ,

Lone D aul i s an d th e hi gh C ep h is si an v a l e ?
,

L i s t en E u gen ia
,

How t h i ck t h e burs t s come crowdin g th rou gh the l e aves !

A ga in— t h ou h e a res t ?
t ern al p a s s ic r
t ern al p ain z } .

M a tthe w A rn old (1 822 1 888 ) -

M o der n f r ee ver s e o r vers l ib re a s it i s o ften n u me e

, ,

e s s a ril y n a m ed g o es b a c k chie fl y t o W a lt Whit m a n

, Yet .

the E n gli sh p oet W illi a m Bl a k e w r ote f ree ve rs e b e f o r e

Whitm a n wa s b o rn Bl a k e c a m e t o the c o n clu si on th a t
.

“ ”
m et e r w a s a s m u ch o f a b o nd a g e a s ri m e I the re fo re
.
,

“
h e s a ys , p ro du ced a v a riety in eve ry line b oth o f ,

c a dences a n d n u m be r o f syll a bles E very w o rd a n d every

.
'

l ette r i s stu di ed a n d pu t int o it s fit p l a ce : the t er rific

nu mb e r s a re rese rved fo r the te rrific p a rt s a nd the p r o ,

s a i c f o r in ferio r p a rt s : a ll a re n eces s a ry t o e a ch o the r .

3 72 IN TRODU CT IO N T O PO E TR Y
”
m y b o ok . So
Whitm a n s a id o f hi s L ea ves o f G ra ss ; a nd
t o d a y few o r n o liter a ry c ritic s deny th a t bo th Ibs en a nd
Whit m a n we re gen u in e p o et s N o thin g i s m o re fo oli sh
.

th a n t o c ond em n a n a utho r f o r n ot c on fo r m i ng t o rul es .

“
A s Sidney L a nie r o nc e w r ot e F o r the a rtis t i n ve rs e
,

ther e i s n o l a w ; the pe rcepti o n a nd l ove o f be a uty c o n

”
s t it u t e the wh ole o utfit .

M u ch o f the obj ecti on t o f ree ver s e i s du e s olely t o its

u n c o nventi o n a l a ppe a r a n c e o n the p rinted p a e
g T h e .

f r ee v ers e p o et di v ides hi s s enten ces s o th a t the p a u s es

s h a ll c o m e a t the en d s o f the li nes ; in o the r wo rds he ,

p rint s h is p o e m a s it i s t o b e re a d When a n un ri m ed .

p oe m i s re a d a l o u d th e a ver a g e pe rs o n i s u n a bl e t o di s
,

t ingu ish fre e ve r se fr o m bl a n k vers e o r even f r om rhyth m i c

p ro s e One o f th e f ou r foll owin g selecti on s i s in f ree
.

ve rs e a n othe r i n bl a n k vers e a thi rd i n p ro s e

, , ,

fo u rth in ri m e Ca n yo u tell a t a gl a n ce whi ch i s whi ch ?

.

S h e l ay s t one s ti l l
-

In a t r a nce o f t error a n d mourn fu ln ess ,

Mech anic all y coun ti n g t h e t e a rs a s t h e y fe l l ,

One b y one .

Th e wh i t e mis t ,

L ike a f ace c l o t h t o t h e f ace

-
,

C l un g t o th e de a d e a r t h ,

A n d t h e l a nd w a s s t i ll .

The New Worl d s h ook h im o ff

Th e O l d y e t g ro a n s b ene a t h w h a t he an d his p re p a red ,

I f no t com p l e t ed :
H e l e a v es h eirs on m a n y t h rones t o a l l his vices ,

Wi thou t wh at begot c om pas s mn for him

Hi s t ame v ir t u es .
 FRE E VER SE 37 3

In y ou t h m y win gs were s t ron g a n d t i re l ess ,

Bu t I d id no t know the moun ta i ns .

In age I knew th e moun t a ins

B ut m y we a r y win g s cou l d no t fo ll ow m y vision
G enius is wisdom an d y ou t h .

The fi rs t p a s s ag e i s in p r o s e i s t a k en f ro m M e re
, an d
d it h s O rd ea l of R ic h a rd F eve rel
’
The sec o n d i s i n bl a n k
.

“ ”
ve rs e f r o m T ennys o n s Guineve re
,
’
The thi rd i s p a rt .

“ ”
of ri m ed st a nz a in By r o n s Vi si o n o f Ju dgm ent
’
a .

Onl y the f o u rt h sele cti o n i s f ree ve rs e ; it i s a c o m plete

“ ”
p o e m entitle d Al ex a nde r Thr o ck m o rt o n fr om E d ga r
L ee M a s t ers s S p o o n R ive r A n t hol ogy All fo u r p a s s a ges
’
.

a re p oetic a n d rhythm i c a l b ut o nly th e s ec o nd a n d thi rd

,

a r e m et ri c a l .

On e o f the m o st p o eti c w rite rs o f t o d a y i s the I ri sh

d ra m a tist L o rd D u n s a ny Altho u gh w ritten i n p r o s e
,
.
,

hi s pl a y s a re full o f p o et ry H is F if ty on e Ta les fr o m
.
-
,

which the foll owin g s el ecti o n i s t a k en c om e m u ch n e a re r ,

bein g g r e a t p o et ry th a n m o st c o nt emp o r a ry f ree ve rs e .

D u n s a ny s style which s ee m s t o h a ve been m odeled up o n

’
,

H o m e r a n d th e B ibl e i s ch a r a cte rized by a ch a ste b e a uty

,

a n d a ri id e c o no m y T h e lin e whi ch h e q u o tes fr o m the

g .

I l ia d i s o ne o f the m o st a dmi r ed lines i n H ome r It .

“
m a y b e t r a nsl a t ed : H e went silently a l o n g the sho r e o f
”
the l o u d s oun din g s ea
-
.

TH E WO RM A N D TH E A N G E L *

As he cr a w l ed from th e t ombs o f th e f al l en a worm me t

wi t h an an g el .

A n d t o g e t h er t h e y l ooked u p on th e kin gs a n d k i n gdoms ,

Co py r i gh t e d by L itt l e B rown and Comp any

, .
374 I N TRODU CT IO N TO P O E TR Y

an d y ou th s m a i den s an d th e ci ti es of men Th e y s aw
an d .

t he o l d men h e a vy in th e i r ch a i rs an d h e a rd th e ch il dren
sin gi n g i n th e fi el ds Th e y s a w f a r w a rs a n d w a rriors a n d
.

w a l l ed t owns wisdom a n d wickedness a n d t h e p om p of

, ,

kin gs an d th e p eo p l e of a ll th e l ands t ha t th e sun l i gh t kn ew

, .

A n d th e worm s p ake t o th e an g e l s a y in g : B eh o l d m y
“

”
food .

’ ‘
6 é xéwv r apc
i di va . n o h vc tho ia fio w fia k aa a ns ,

murmured th e a n gel for t h e y w a l ked b y th e s e a an d can

, ,

y ou des t ro y t h a t t oo ?
A n d th e worm p a l ed in h i s a n ger t o a g re y ness i l l t o beho l d ,

for for t h ree th ous a nd y e a rs h e h a d t ried t o des t ro y t h a t l i ne

a n d s t i ll i t s me l od y w a s rin g i n g in h i s h e a d .

L ord D u n s a ny (1 8 78

W a lt Whi t m a n i s p r ee minently the p o et o f A m eri c a n

de m o c r a cy W hile L on g fell ow a n d H ol m es we re w o o m g
.

the c o u rtly m u ses o f E u r ope W hit m a n tu rned hi s b a c k ,

upo n the t r a diti on a l s ubj ect m a tte r met ric a l fo r m s a n d , ,

l a n g u a g e o f p oet ry i n a n en de a vo r t o t r a n sl a te i n t o
p oet ry A m e ric a n li fe a n d Ame ri c a n ide a l s The re i s little .

th a t i s di stin ctively n a ti o n a l a b o ut the w o r k o f Po e a nd

the N ew E n gl a n d p o ets exc ellent a s thei r p o em s o fte n
,

a re
“
To o m a ny o f yo u r A m e ri c a n wr ite r s a re echoe s ”
.
,

“
s a ys the H indu p o et T a g o re ; b u t Whit m a n i s a v oi ce .

B efo re A m e ric a c o uld be a de q u a tely pu t int o p o et ry s o ,

it s eem ed t o W hi t m a n p o et ry its elf h a d t o b e d em o c r a

,

“ ”
t ized R ime a n d mete r h a d t o g o
. T he divin e a ver a g e .
,

n ot Sh a k esp e a re s k i ng s T en nys o n s k ni ght s o r H o me r s

’
,
’
,
’

chi eft a in s we re t o supply the he r oes o f Am e ri c a n p o et ry

, .

P oe m s we r e t o be w ritten n o t fo r a few c ultu red a ri sto

,

c ra t s bu t f o r the whole pe ople

, .
37 6 I N TR OD U CT IO N TO P O E TR Y

When t ryin g t o illu st r a t e hi s theo ry th a t al l thin g s a re

p o eti c al ,W hit m an o ften w rote w retched s tu f f whi ch
s o u nds li k e a tel eph o ne di recto ry o r t o s Who in ’

A m erica ; but when he w r ote s p o nt a neo u sly o f wh a t he

k new a n d felt he p r o du c ed gre a t a n d o ri g in a l po et ry
, .

H i s l a te r p o em s a re m u ch l es s u neven in m e rit th a n hi s
e a rli e r ve rse .

Whitm a n s p o et ry wa s n o t m e a n t f o r th os e wh o wish
’

m erely t o while a w a y a n idl e ho u r H e m i ght h a ve s a id o f .

hi s p o em s a s B r ow ni n g s a id o f hi s th a t he neve r m e a nt
, ,

the m t o t a k e the pl a c e o f a n a fte r di nn er ci g a r -

.

TO A C E RTA I N C I V I LI A N

D id y ou sk dul ce t rhy mes from me ?

a

D i d y ou s eek t h c iv i l i n s p e ce fu l d l n gu i s h in g r h y mes ?
’
e a a an a

D i d y ou fi n d w h t I s n g erewh i l e so h rd t o fo l l ow
a a a ,

Why I w no t s i n gi n g erewhi l e for y ou t o fo ll ow t o under

,
as
,

s t nd— nor m I now

a a

(I h a vebeen born of t h e s ame a s th e w a r w a s born ,

Th e drum cor p s r a tt l e is ever t o me swee t music I l ove well

’
-
,

t he m a r t i al di r ge ,

Wi th s l ow w a i l an d con vu l s ive th rob l e a di n g th e o fficer s ’

funer al )
Wh a t t o suc h a s y ou a n yh ow such a p oe t a s I ? th erefore l e ave
m y works ,

A n d go l u ll y oursel f wi t h wh at y ou can un ders t a nd an d wi t h ,

p i ano tun es
-
,

For I l u ll nobod y an d you will never unders t and me

, .

Wa l t Whitm a n (1 81 9 1 8 92 ) -

The re tho s e who m a i nt a in th a t Whit m a n s c o mp o

a re
’

s it io n s a r e n o t finish ed p o em s b ut m e rely th e ra w m a te ri a l

unt r a n sl a ted int o p o et ry Of s ome o f his p oe m s a nd o f

.
 F R EE V E RS E 377

p ar t s o f o ther s thi
, s i s u ndeni a bly t ru e I n the f oll owin g .

p oem the op enin g lines s ee m p r o s a i c b u t they p re p a re u s

,

f o r the c o ncl u sio n whi ch i s g en uin e p oet ry

, One wh o .

lo o k s a t the s t a rs f r o m the p oint of view o f the m a them a

t ic ia n will s ee ve ry littl e p o et ry in the m fo r s ci enc e a n d ,

p o et ry hold opp o site a ttitu de s t ow a rd the f a cts o f life .

The p o eti c a ttitu d e i s fo u nd in the N ineteenth Ps a l m o r

in the p oe m whi ch we q u ot e f r o m Whit m a n .

WH E N I H EARD TH E L EA RN D
’
A S TR ON OM E R
Wh en I he a rd th e l e arn d a s t ronomer
’

Wh en th e p roofs th e fi gures were r a n ged in co l umn s be fore

, ,

me ,

Wh en I wa s shown th e ch a r t s an d di a gr a ms t o a d d divide , , ,

a n d me a sure t h em ,

When I si tt in g h e a rd th e a s t ronomer where h e l ect ured w ith

much a pp l a use in t h e l ec t ure room -
,

How soon un a ccoun t ab l e I bec ame t ired a n d sick ,

Ti l l risin g a n d gl id i n g ou t I w a n d e r d o ff b y m y sel f
’

In th e m y s t ic a l mois t ni gh t a ir an d from t ime t o t ime

-
, ,

L o ok d u p in p erfec t si l ence a t t h e s t a rs
’
.

Wa l t Whitm a n (1 81 9 1 8 92 ) -

The C ivil Wa r m a rk s the g re a t c ri si s i n Whit m a n s

’

l ife Tho u gh i t t ri ed his f a ith i n A m e ri c a n de m o c ra cy a s

.

n o thi ng el s e eve r d id he c a m e ou t with hi s f a ith c o n

,

fi rm e d H is D ru m Tap s i s the b es t v olu m e o f p o e m s in

.
-

s pi red by the W a r H is wa r p o e m s des c rib e n ot the

.

r e a t b a ttles bu t m in o r i n cident s which b ri n o u t the

g g
hu m a n q u aliti es o f the p a rt i cip a nt s in th a t t re m endo u s
c o n fl i ct Wh a t m o re c o ul d a n y s oldie r s a y o f a f a ithful
.

c o m r a d e— in a rm s th a n Whit m a n s a y s o f a n u n k n own s ol
-

d ie r k illed in Vi rg ini a ?
37 8 I N TR OD U CTI O N T O PO E TR Y

AS TOI LSOM E I WA N D ER D ’
V I RG I N I A S
’
WOO D S

As t oi l some I w an d e r d V ir gi n i a s woods ’ ’

To th e mus i c of rus t l i n g l e a v es k ick d b y m y fee t (for t w a s

’ ’

a u tumn ) ,

I m a rk d a t th e foo t o f a t ree th e gr a v e of a so l dier ;

’

Mor t al l y wounded h e a n d b uried on th e re t re a t (e a si l y a l l

cou l d I unders t a nd )
Th e h a l t of a m i d d ay h ou r w h en u p ! no t ime t o l os e—y e t
,
‘

-
,

t h is si gn l ef t ,

On a t ab l e t scraw l d a n d n a il d on the t ree b y th e gr a v e

’ ’

B o ld c a utio u s t r u e a n d my l o vin g c o m ra d e
, , , .

Lon g l on g I mus e t h en on m y w a y go w a nderin g

, , ,

M a n y a c h an ge fu l se a son t o fo l l ow a n d m a n y a scene o f l ife, ,

Ye t a t t imes t h rou gh ch a n ge fu l se a son a n d scene abru pt , ,

a l on e or i n t h e crowded s t ree t
, ,

C omes be fore me th e unknown so l dier s gr a v e comes th e in

’

scr ipti on rude i n V i rg mi a s woods ’

B old c a u tio us t r u e a n d m y l o vi n g c o m r a d e
, , , .

Wa l t Whit m a n (1 81 9 1 892 ) -

At his b es t Whitm a n d o es n o t s u ffer f r om c o m p a ri s o n

with p oets wh o u se o nly the re g ul a r m et ri c a l fo rm s With .

othe r p o e m s ex p r es sin g a p o et s a ttitu de t ow a rd de a th ’

“ ” “ ”
Tennys o n s C r o s sin g the B a r
’
B r o wni n g s P ro spic e
,
’
,
“ ”—
a n d S a r a T e a sd a le s The L a mp one sh o ul d c o m p a re
’

“ ”
Whit m a n s D a res t Tho u N ow 0 S o ul a n d o the r po em s
’
,

in f ree v e rs e t o b e q u oted l a t e r i n the ch a pte r I n e arli er .

ye a r s Whit m a n h a d w ri tten

Has any one su pp osed i t l uck y t o be born ?

I h a s t en t o in form him or her i t i s j us t a s l uck y t o die ,
an d I
know it .
 IN TROD U CTI O N TO PO E TRY
1 p oets R obins on F r o st
, d Li nds a y r a rely o r
, , an ,
'

e it S a ndbu r g a n d M a st er s u se free ve rs e a
.

al ,b u t o nl y S a ndb u r g o f o u r m a j o r c o nte m p o ,

at s see m s t o u s e it t o the excl u si o n o f re g ul a r

,

A m o n g l a tte r d a y E n gli sh p o ets o nly Wi l f ri d

-

i ib s o n a n d the l a te Willi a m E rnest Henley h a ve

ve rs e t o a n y g r e a t extent H enley s free ve rs e .
’

1 A rnold s r a the r th a n Whit m a n s ; in f a ct its

’ ’
,

s al m o s t i nv a ri a bly i a mbi c .

M A RGA R I TA E S O RO R I

la te t wi tt ers from th e qu i e t skies

l a rk
d from t h wes t
1 e ,

here th e sun h i s d y s work ended

’

, a ,

ng s s in con t en t
er a ,

1ere f ll s on th e l d gr y c ity
a o , a

1 i nfluence l umin ou s an d serene ,

s hi nin g p e ace .

ia smoke a scend s
a ros y a n d go l den h az e
-
Th e s p i res
-
.

i n c a n d a re c h an ged Th e l a rk s in gs on The
. . s un ,

os i n g h i s bened ic t ion ,

nk s a n d t h e d a rkenin g a i r
,

irill s wi t h a s ense o f t h e t rium p h in

g n igh t
g h t wi t h h er t r a i n o f s t a rs

1 d h er
gre a t gif t o f s l ee p .

be m y p a ss in g !
y t a sk a c co m pl i sh d a n d th e l on g done
’
d ay ,

y w a ges t a ken an d in m y h e a r t,

me l a t e l a rk sin gin g ,
 F R EE V E RS E 381

L et m e be g a th e r
’
d t o th quie t wes t
e ,

Th e sundown s p l endid an d serene ,

Wil l ia m E rnes t H e n l ey (1 849 1 9 03 )

-

r
’
f re e ver s e o f M a ster s a nd S a ndb u r g re s e m bles th a t
he
o f Whitm a n where a s the f ree ve r s e o f A m y L owell a n d
,

”
HD .
(M r s Rich a rd Aldin g t o n ) r ese m bl es r a the r the
. .

F r en ch vers lib re p o et s who i m it a t ed W hit m a n T hu s .

,

whethe r di rect o r i ndi rect Wh it m a n s in fl u en ce up o n c o n ,

’

te m p o r a ry write rs o f f ree v er s e i s ve ry g re a t I n s tyle .

a n d s ubj ect m a tt e r he h a s in fl uenced n e a rly a ll c o nte m

o r a ry A m e ri c a n p o et s I t w a s he wh o t a u ht the m t o
p g .

w rite up o n A m e ri c a n the m e s i n u n c o nventi o n a l l an g u a g e .

H e t a u ght the m n o t o nly how t o h a ndl e f ree ve rs e b u t

a ls o h ow t o p a int the p o eti c a sp ect s o f o u r m o de rn u rb a n

a n d i ndu st r i a l li fe I n The N ew Wo rld a livin g A m e ri c a n

.

p o et Witt , er B y n n er h a s w ritte n the f oll owin

g, t rib ute
t o Whitm a n :

S omebod y c l l ed W l t Whi tm n
a a a

D ead !
He i s al ive in s t e a d ,

A l i v e as I a m Wh en I l i f t m y he a d
.
,

H i s h e a d is l i f t ed Wh en h i s br a v e mou th s p e a ks
.
,

M y l i p s con t a i n h is word A n d w h en h i s rocker cre aks .

G hos t l y in C a mden t h ere I s it in it a n d w a t c h m y h a nd grow

,

ol d

A nd t ke u p on m y con s t n t l i p s th e kis s of y oun ger t ru t h

a a

I t i s m y j o y t o t el l n d t o be t ol d a

Th t h in l l th e wor l d
a e ad me an ,

C nno t b de d
a e a ,

Th t I in ll t he wor l d nd h im y ou th a f t er you t h
a ,
a a ,

S h l l l i ft m y h e d
a a .
3 82 IN TRODU CTI O N TO PO E TRY
I f the re a de r m i st a k en the a b ove p a s s a g e f or f r ee
ha s
ve r s e let him re re a d it a nd n ote the rime s chem e
,
-

An exc ellent recent p o em in free ve rs e o f the Whit m a n

“ ”
type i s C o m e Republic , by E d g a r L ee M a ste rs o f
, ,

who m we sh a ll h a ve m o re t o s a y i n the ch a pte r o n the

C o nte m p o r a ry P oets The p o em wa s published i n
.

be f o re A m e ri c a e ntered the Wo rld W a r Fo r the “

D . .

”
B lo o ds , s ee the S p o o n R iver A n tho lo gy .

C OM E, RE PUBLI C

C ome ! Uni ted S t a t es of A meric a ,

An d y ou one h undred mi l l i on sou l s O Re p ub l ic , ,

Th row ou t y our ch es t s l i f t u p y our he a ds

, ,

A n d w a l k wi t h a so l dier s s t ride
’
.

Qui t b urn i n g u p for mone y a l on e .

Qui t s l ouchi n g an d d a wd l in g ,

A n d dre a min g a n d mor a l i s i n g .

Qui t id l in g a b ou t th e s t ree t s l i ke th e b oy ,

In th e v i l l age w h o p ines for th e ci ty

,
.

Roo t ou t th e sin i s t er secre t soc i e t i es ,

A n d t h e c l a n s t h a t s t ick t o g e th er for o ffi ce ,

A n d t h e good men w h o c a re no t h in g for l i b ert y ,

Bu t wou l d run y ou O R e p ub l i c a s a h ouse h o l d is

, ,

I t is time R e p ub l i c t o get some c l a s s

, , ,

I t is t ime t o h a rden y our musc l es ,

A n d t o c l e a r y our e y es in t h e co l d w a t er o f Re ali ty ,

And t o ti ght en y our ner v es .

I t i s ti m e t o t h i nk w h at N a t ure me ans ,

A n d t o consu l t N a t ure ,

Wh en y our sou l a s y ou c a l l it c al l s t o y ou
, ,

To fo ll ow p r i nc ip l e !
I t is t ime t o snu ff ou t th e A D B l oods . . .

I t is ti me t o l i f t y oursel f 0 Re p ubl ic , ,

From t he s t re et corners of S p oon Ri v er .

384 IN TROD U CTI O N TO P O ETRY

A re no l on ger y our s a fe gu a rd
Th e y a re now y our d a n ger a n d diffi cu l ty !
A n d y ou mus t l iv e t h e l i fe y ou s t a r t ed t o imi t a t e
In s pit e o f th es e p er i l ous w a t ers .

For t h e y kee p y ou now from bein g neu t r a l

For y ou a re no t n eu t r a l Re p ub l i c , ,

You on l y p re t end t o be .

You a re no t free i nde p enden t br ave

, , ,

You a re s h a ck l ed cow a rd l y
,

For w h a t cou l d h a pp en t o y ou ov erni ght

In th e Orien t ,

I f y ou s tood wi th y our s h ou l der s u p ,

A n d were Neu t r al !

Su pp os e y ou do it Re p ubl i c , .

G et some c l a ss ,

Th row ou t y our ch es t l if t u p y our h e a d

, ,

Be a ru l er in t h e worl d ,

A n d no t a h erm it i n re gimen t a l s wi t h a flin t l ock -

.

C o l ossus wi th one foo t in E uro p e ,

A n d one in C h i n a ,

Qu it l ook i n g be t ween y our l e gs for t h e re a pp e a r ance -

Of th e s t a r o f Be t hl e h em
S t and u p a n d b e a m an !
E d ga r L ee M a s t e r s (1 8 69

“
C a rl S a ndbu r g s be st k n own p o em Chi c a g o is q u oted
’
, ,

i n the followin g ch a pte r The po e m whi ch we q u ote he re

.

i s a c uttin g s a ti r e up o n a ce rt a in typ e o f A m eric a n

m illi o n a i r e
.

A F E N CE
Now the s t on e h ous e on th e l ake fron t is fi nished an d th e
workmen a re b e gi nnin g th e fence .

The p a l i n gs a re m a de o f iron b a rs w it h s t ee l p o i n t s t h at can

s t ab th e l i fe ou t o f an y m an wh o f all s on th em .
 F R EE V ER S E 3 85

As afence i t is a m a s t er p iece a n d wi l l shu t o ff th e r abb l e

, ,

a n d a l l v a ga bonds a n d h un gr y men a n d a l l w a nder i n

g
ch il dren l ookin g for a p l a ce t o p l a y .

Pa ssin g t h rou gh t h e b a rs a n d o v er t h e s t ee l p oin t s wi l l go

no t hin g e x ce pt D e a t h a n d th e Ra in an d To morrow -
.

C a r l S a n d b u rg (1 8 78

O n the p a rt o f the b est c o nte m p o r a ry w rite rs o f free

ve rse ther e i s a t enden cy t ow a rd a g re a te r re g ul a ri ty o f
,

f o rm I t i s f elt th a t fr ee ver s e i s t o o e a sy t o w ri te a n d
.

th a t its f a cility bet r a y s the p o et int o di ff u sen es s a n d

feeblenes s H en c e the a tte m pt t o d efine f r ee ve rse a n d
.

t o l a y d o wn c ert a i n l a ws f o r it s c o m p o siti o n The .

“
Im a gi sts define f ree ve rs e a s a ver — se fo rm b a s ed u
— -
o n -

One o f the r ules f o r the w ritin g (if p bet ry l a id

o w ‘

”
i u

c a den ce .

“
down by the I m a gi st s i s in p a rt : To c r e a t e new rhythm s
,

-
a s the exp res si o n s o f n ew m o o ds — a n d n o t t o c opy ol d

r hythm s whi ch merely ech o old m o o ds

, I n p o et ry a
.
,

”
new c a den c e m e a n s a new i de a T he I m a g ists i nsis t th a t
.

the u nit i s n o t the f o o t o r the lin e b u t the st r ophe whi ch ,

m a y c omp ris e the whol e p o e m o r onl y a p a rt o f it E a ch .

st r ophe i s c o nceived a s a ci r cle a dep a rt u r e a nd a retu rn

, .

The f ollowin g p o e m by J oh n G o ul d Fletche r shows this

te nden cy t ow a rd g re a te r r e g ul a rity o f fo rm .

E XI T

Thus woul d I h a v e it
S o s h ou l d it be for me ,

Th e scen e o f m y de p a r tu re .

C l i ffs r i n ged w it h sc a r l e t ,

A n d th e s e a p ound i n g
386 IN TRODU CT IO N TO PO E TRY
Th e p l e brown s nd
a a

Mi l es f t er mi l es ;
a

A n d t h en f r o ff ,
a a ,

Wh it e on th h ori on e z ,

One s h ip wi t h s i l s fu l l s et a -

P ssin g s l ow l y
a d s erenel y an ,

Like p roud burs t of music

a ,

T for t un t e is l nds
o a a .

J o h n Go u l d F l e t c h e r (1 88 6

F ree vers e i s hyb ri d fo r m ; it i s the res ult o f a n a t

a

t e m p t t o expl o re the n o m a n s l a nd which divide s p r o s e ’

fr o m ve rse O f l a te ye a r s the re h a s been m u ch c o nfu s io n of

.

the a rts M u sic p o et ry a n d p a intin g h a ve a l l over stepped

.
, ,

thei r t r a diti o n a l b o u nd a ri es S o me o f the l a te r p o et s

.
,

n o t s a ti sfi ed with f ree ve rs e h a ve b o r r ow ed f r o m the ,

“ ”
F ren ch a fo r m c a lled p olyphoni c p r o s e This fo r m .
,

ho weve r di ff er s even le s s th a n f ree ver s e from wh a t u sed

,

t o b e c a lled p ro s e p o et ry o r p o eti c p r o s e M r P a tte r . .

s o n in hi s excellent stu dy The R hy t hm of P ro s e st a tes

, , ,

his c onvi cti o n th a t the rhyth m o f fr ee ve rs e i s n o t th a t

o f p o et ry bu t o f p r o s e — “ ”
sp a ced p r o s e he c a lls it I n , .

o the r w o rds f ree ver s e i s in th e m a in o nly a n ew n a m e

, , ,

fo r a ve ry old thin g p o eti c o r i m p a s si o n ed p ro s e

, .

Th e b ul k o f cu r rent fr ee ve r s e i s li k e the g re a t m a ,

j o rit
y o f ri m ed p o e m s p ri nt ed i n o u r new sp a p e rs a n d

m a g a zin es n o t p oet ry a t all ; i t is n ot even g o o d p r o s e

, .

There a re h oweve r p oe m s in f ree ver s e whi ch ch a ll en g e

, ,

c o m p a ri s o n with a nythin g th a t h a s be en s a id o r su n g i n
ri m e . T hi s a n o m a l o u s fo rm see m s especi a lly e ff ective in
p o e m s which a tte m pt t o des c r ibe the c o m pl ex indu st ri a l
civiliz a ti o n o f o u r ti m e S k ys c r a p e r s r a il ro a ds a nd c ot
.
, ,
 C H A P TE R X I

PO E M S S TUDI E D B Y T H E M E

y v i i t
C nics h a e s a d s nce t h e fi rs ou our n g s o f men s h e a r s , tp i ’
t
t i i
Th ere is no h n g new n a rt ; h ere a re no new su b ec s
”
t j t .

t v y v t
Bu th e er re erse is rue Th ere a re no o l d sub ec s ; ever
. j t y
j t i t
sub ec s new a s soon a s i h a s b een r a ns formed b y t h e t
i t — p “
m a gin a ion o f the oe t J o el E l ia s S p inga rn : C rea ive t
t
C r i i ci s m
”

UP t o this p o int w e h a ve stu died p oe m s eithe r a c c o rd

in g t o m et ri c a l fo r m a s i n the s o nn et o r a c c o rdin g t o
, ,

typ e a s in the s o n g The r e a re o f c o u rs e m a ny o the r

, .
, ,

w a ys o f stu dyi n g p o et ry a nd e a ch o f them h a s it s spe

,

c ia l m e rits
. Th e meth od empl oyed i n thi s ch a pte r ,

tho u gh seld om u s ed h a s decided a dv a nt a g es A very illu

, .

m in a t in g c om p a ri s o n c a n b e m a de o f wh a t p oet s in v a ri
o u s c o u nt ri es a n d ep o chs h a ve fo u nd t o s a y o f s u ch pe ren
n ia l l y inte restin g s u bj ect s a s n a t u re p a t rio ti s m l ove , , ,

w a r d e a th a n d i mm o rt a lity
, , Th e c om p a r a tive t est i s
.

a l s o a n ex cellen t test t o a p ly t o the w o r k o f a p o et wh o s e

p
r a n k w e wish t o dete rm ine A fte r re a din g the p o e m s c on
.

t a in ed in this ch a pte r the re a de r sho uld d ecide whethe r

, ,

i n his esti m a ti on the A m eri c a n p oet s c om e u p t o the level

,

o f the B riti sh a n d whethe r th e p res ent d a y p o et s o f

,
-

eithe r c o u nt ry m e a s u r e up t o olde r w riter s li k e Wo rds

wo rth a n d P o e .We sh a ll c o nsider fo u r widely d if
 PO E M S S TU D I E D B Y T H E M E 3 89

f ering g ene r a l the m es : D e a th Ab ra h a m L i nc ol n N a tu r e

, , ,

a n d the C ity .

“
Ou r sweetest s on g s w r o t e Shelley a re tho s e th a t
, ,

” “
tell o f s a ddest tho u ght M el a n choly s a id P oe is the
.
, ,

”
m o s t le g iti m a t e o f a ll the p o eti c a l t on es De a th seemed .

“
t o Po e m o st p o eti c a l when it m o st cl o s ely a llies it s el f t o
” “
B ea u ty ; the de a th then , r e a s o ned P o e of a b e a u tiful
, ,

wo m a n i s u n q u es ti o n a bly th e m o st p o eti c a l t opi c i n the

, ,

wo rld ; a n d e q u a lly i s it b eyo nd d o ubt th a t the lip s bes t

”
s uited f o r s u ch t opi c a re tho s e o f a be r e a ved l ove r .

H e r e in re a lity P o e h a s c o mbined tw o the m es l ove a n d

, , ,

de a th The de a th o f a l ovely w om a n i s the the m e o f

.

“ ” “
n e a rly al l o f Po e s bes t p o em s T he R a ven
’
Ann a bel
, ,

” “ ” “ ” “ ”
L ee, U l a l u me ,Len o r e a nd Th e Sleeper
, .

“ ” “
Altho u gh The R a ven i s the b est k n own o f thes e The ,

” “
Sleepe r w a s i n Po e s esti m a tio n a g re a te r p o e m
,
’
In , .

” “
the hi g her q u a lities o f p oet ry s a id b e it i s bette r th a n
, ,
‘
The R a ven ; bu t there i s n o t o n e m a n in a m illi o n wh o
’

”
c o uld be b r o u ght t o a g ree with m e in thi s opi ni o n .

TH E S L E EPER

At midni gh t in th e mon th o f J une

, ,

I s t a nd bene a t h t h e m y s ti c moon .

A n o pi a t e v a p or dew y d i m , , ,

E x h a l es from ou t h er go l den rim ,

A n d sof t l y dr ippi n g dro p b y dro p

, , ,

U p on th e quie t moun t a in to p ,

S t e a l s drows i l y a n d music a l l y
In t o th e un iv ers a l v a l l e y .

Th e rosem a r y nods u p on t h e gr ave ;

Th e l i l y l o ll s u p on th e w a v e ;
Wr a ppi n g th e f o g a bou t its bre a s t ,
3 90 IN TROD U CTI O N TO PO ETR Y
The ruin moul ders i n t o res t ;
Lookin g l i ke Le t h e see ! t h e l a ke
,

A consc i ous s l umb er seems t o t a ke

.

And wou l d no t for th e wor l d a w ake

, ,
.

l
A l B e a u ty s l ee p s — an d 1 0 ! where l i es

I rene wi th h er D es t inies !
,

y
O h , l a d bri gh ! t i t be ri ght
c an

Th is window o en p t o th e n i gh t ?
Th e w a n t on a i rs from th e t ree t o p
,
-
,

L a u gh in gl y t h rou gh the l atti ce dro p

Th e b od i l es s a i rs a w i z a rd rou t
, ,

F li t t h rou gh t hy c h amber in an d out ,

And w a v e th e cur t a i n c a no py
So fi t f ull y— so fe a r fu ll y
Abo v e th e cl osed a n d fr i n ged l id
’
N e a t h w h i ch thy s l um b rin g sou l l ies hid
’

Th a t o er th e floor a n d down t h e w al l
’

, ,

Like gh os t s th e s h a dows ris e a n d f all !

O h l a d y de a r h a s t t h ou no fe a r ?
, ,

Why a n d w h a t a rt th ou dre a m i n g here ?

Sure t h ou a rt come o er f a r o ff se a s’
-
,

A wonder t o t h ese ga rden t rees !

S t r an ge i s t hy p al l or ! s t r a n g e thy dress !
S t r a n g e ab o v e a l l thy l en gt h o f t res s
, , ,

A n d t h i s a l l so l emn si l en t ness !

The l a d y s l ee p s ! O h m ay h er s l ee p,

Whic h is endur i n g so b e dee p !,

He av en h a v e h e r i n it s s a cred kee p !
Th is c h a m b er c h a n ged for one more ho l y ,

This bed for on e more me l a nc h o l y ,

I p r a y t o G o d t ha t s h e m a y l ie
Fore v er wi t h uno p ened e y e ,

Whi l e the p al e s h ee t ed gh os t s go by !
3 92 I N TR ODU CT I O N TO PO E TR Y
” “ ” “
H este r ; B rowni n g s My L a st Du ch es s
’
E velyn ,

” “ ” “
H op e a n d P o rphyri a s L ove r ; T ennys o n s L a dy o f
,
’ ’

” “ ” “
S h a l o tt a nd L a n c el o t a nd E l a ine ; P ope s E le gy t o ’

” “
the M em o ry o f a n Unfo rtu n a t e L a dy ; L a nd o r s The ’

” “
De a th o f A rt em id o ra ; H o o d s The B rid g e o f Si ghs ’

“ ”
a n d R o s setti s The Bless ed D a m o zel which w a s in spi r ed
’
,

“
by The R a ven .

“ “ ”
In H i ghl a n d M a ry a n d To M a ry i n H e a ven B u r ns
celeb r a ted a w o m a n who i s n ow a l m o st a s f a m o u s a s
’
D a nte s B e a t rice a nd Pet ra r ch s L a u r a
’
Yet little i s .

k n own o f M a ry C a m pbell exc ept th a t she c a m e f r o m the

S c o tti sh H i ghl a nds a nd wa s p rob a bly a n u r s e ry m a id .

The s t o ry o f he r r o m a nti c p a rtin g with th e p o et i s f a

m ili a r T hey st o o d o n opp o sit e b a n k s o f a little b r o o k
.
,

exch a n ge d v ows a n d p a rted n eve r t o m eet a ga i n f o r

, ,

five m o nths l a t e r Hi ghl a n d M a ry wa s de a d D ru/mlie .

m e a n s m u d dy ; af t o ften ; s a e s o
, , .

H I G HLA N D M A RY

Ye b anks a n d br a es a n d s t re ams a round

, ,

The c a s t l e 0 Mon t gomer y

’

G reen be y our woods a n d f a ir y our flower s, ,

Your w a t ers ne v er d rum l ie '

There S immer firs t un f a uld he r robe s ,

A n d t h ere t h e l an ges t ta rr y ;
For t h ere I t ook th e l a s t f arew eel
O m y swee t Hi ghl and M a r y
’
.

How swee tl y bl o om d t he gay green birk

’

How ric h th e h a w t h orn s b l ossom ’

As underne ath t h e i r fr agr a n t s h a de

I cl a sp d h er t o m y bosom !
’
 P O E M S S T U D I ED BY TH E M ]
The go l den hours on an gel win gs
F l ew o er me an d m y de a rie ;
’

For de a r t o me a s l i gh t a n d l ife
Wa s m y s wee t H i ghl and M a ry .

W1 mon y a vow an d l o ck d embr ac e ’

Ou r p ar t in g w a s f u t ender ; ’

And p l ed gin g a f t t o mee t again

, ,

We t ore oursel s a sunder ; ’

Bu t oh ! fe ll de a th s un timel y frost ’

Th a t n ip t m y flower s a e e a r l y !
Now green s t h e sod an d c a u l d s th e cl ay
’

,
’

T h a t wr a p s m y Hi ghl a nd M a r y
!

0 p al e p al e now th os e ros y l i p s
, , ,

I f t h a ki d
a fond l y !
’
e ss
’
s ae

And c l osed for y e t h e s p rkl in g gl an c e a a

Th t dwe l t on me
a k i ndl y ! sae

An d m u l d i g now in s i l en t dus t
’
o r n ,

Th t h e r t t h t l o ed me de r l y !
’
a a a a

Bu t s t i l l wi t h in m y bosom s core ’

Sh al l l ive m y H i ghl nd M r y a a .

R o b e r t B u r ns (1 75

I f littl e is k n ow n o f Hi ghl a n d M a ry l es s ,

nit el y k n own c o nce rn in g the w o m a n who m .

na m e o f L u cy Wo rd swo rth celeb r a ted in t l

,

oe a u t i f u l ly ri c s The s ec o nd st a nz a o f the fol

.

is o ne o f th e finest p a s s a g es i n Wo rdsw o rth s ’

S H E D WE L T A MON G TH E U N TRO D D ]

S he dwe l t a mon g th e un t rodden w a y s

“ 4 -2 1 1 " 8-1 1 4: a f “ A v a
3 94 IN TROD U CTI O N TO PO E TRY
A viol e t b y a moss y s t on e
H al f h i dden from th e e y e !
—Fa ir a s a s t a r w h e n on l y one
,

I s s h i nin g in the sk y .

She l ived unknown an d few coul d know

,

When Luc y ce a sed t o be ;

B ut s h e is i n h er gr a v e a n d oh , ,

The d i fference t o me !
Wil lia m Wo r d s wor th (1 770 1 -
8 5 0)

A Ge rm a n c riti c o f th e f oll owin g p o e m by L a nd o r i s

s a id t o h a ve r e m a rk e d th a t o n e ni ht i s f a r t o o littl e t o
g
c o n sec r a te t o g ri ef f o r a l o st sweethe a rt ; why n ot a li fe
ti m e ? B ut o ne c a nn o t j ud g e o f the si ncer ity o f a m a n s ’

s o r r ow by the ext r a v a g a nc e o f his l a n g u a g e I n p o et ry .

,

a s eve rywhe re els e he wh o s a ys les s th a n h e feel s i s s u res t

,

t o c o nvi nce u s o f his si ncerity R o s e Ayl m e r the d a ugh

.
,

t er o f B a r o n Ayl m er died in I n d i a in 1 800

, .

RO S E A YLM E R

A h,w h a t a v a il s th e sce pt red r ace ,

A h w h a t t h e form d ivi n e !
,

Wha t e v er y vi r tue e v er y gr a ce !
,

Rose A y l mer a l l were t h i ne

, .

y
Rose A l mer , w h om t h es e w a keful e y e s
M ay wee p b ut n e v er see
, ,

A ni gh t of memor i es an d of si gh s
I consecr a t e t o t h ee .

Wa l t e r S a va ge L a n d or (1 7 75 1 8 64) -

A m on g the sho rte r p o e m s of L o rd Byr o n few h a ve bee n ,

m o r e a d m i red th a n the foll owin g st a nz a s

396 I N TR ODU CT IO N TO PO E TR Y
Her l i fe w a s t urnin g t urnin g , ,

In m a z es o f h e a t a n d sound .

Bu t for p e a ce h e r sou l w a s y e a rnin g ,

A n d now p e a ce l a p s h er round .

Her c a b in d am p l e s p iri t
’

, ,

I t flutter d an d f ail d for bre a th

’ ’
.

To ni gh t i t do t h in h eri t
-

Th e v a s ty h a l l of de a t h .

Bl a t th ew A rn o l d (1 8 22 -
1 888)

The p o e m s we h a ve q u oted a re al l ly ri c s Whi ttier s .

’

”
T ellin g the B ee s i s n a rr a tive a n d idylli c Th e s upe r .

s t it io n th a t
, when a m ember o f the f a m ily di es the b e es ,

will fl y a w a y u nl es s they a re t old o f it i s f o u n d i n ru r a l ,

dis t ri ct s i n N ew E n gl a n d a nd the West The N ew E n g .

l a nd su mm e r l a nd s c a p e is he re des c ribe d a s s k il fully a s

“ ”
a re the win t er s cenes in S n ow B o un d -
.

TE LLI N G TH E B E ES

H ere is the p l ace ; ri gh t over t h e h i l l

Run s t h e p a t h I t ook ;
You c an see t h e gap in th e o ld w a l l s t i ll ,

A n d t h e s t e ppi n g s t ones i n t h e s h a ll ow brook

-
.

Th ere is the house w it h th e ga t e red b a rred

,
-
,

An d t h e p o p l a rs t a l l ;
A n d t h e b a rn s brown l en gth a n d th e c a tt l e y a rd
’
-
, ,

A n d t h e w h i t e horns t oss i n g ab o v e t h e w all .

There a re t h e bee h iv es r a n g ed in th e sun ;

A n d down b y th e br i nk
Of th e b rook a re p oor flowers weed
h er ,
-
’
o e rr un,

Pa ns y an d d ff od i l rose d p in k
a , an .
 PO E M S S TU D I E D B Y T H E M E
A y e a r h a s gone a s th e t or toise goes
, ,

He a vy a n d s l ow ;
And th e s a me rose bl ows a n d t h e s a me sun ,

A n d t he s a me brook s i n g s of a y e a r ago .

There
’
s s a me swee t c l over sme l l in
th e -
th e b1
A n d th e J un e sun w a rm
Ta n gl es h i s w i n gs of fi re i n t h e t rees ,

S e tt in g a s t h en over Fern s ide f a rm

, , .

I mind me how wi th a l o v er s c a re ’

From m y S und ay co a t
I brus h ed o ff th e burrs a n d smoo t h ed m y hai
,

And cool ed at th e brooks i de m y brow an d

Since we p a r t ed a mon th h a d p a s sed

, ,

To l ove a y e a r ; ,

D own t h rou gh th e beec h es I l ooked at l a s t

On th e l itt l e red ga t e an d th e we l l swee p -
n

I c an see it al l now — th e s l a n t w i s e r ain

,
398 IN TRODU CTI O N TO PO E TRY
For I knew sh e w as t el l in g th e bees of one
G one on th e j ourn e y we ll mus t go !
a

Th en I s aid t o m y sel f M y M a r y wee p s ,

For th e de a d t o d a y : -

H ap l y h er b l i nd o l d gr a ndsire s l ee p s
Th e fre t a n d t h e p a in o f hi s a ge a w a y .

B u t h er d o g w h ined l o w ; on th e doorw a y s il l ,

W h his c a ne o hi s c h in ,
it t
The ol d m an s at ; an ch ore gi rl s t i l l
d th e -

S an g to th e bees s t e a l in g ou t a n d in .

And the son g s h e w a s sin gin g e v er s ince

In m y e a r sounds on
S t ay at h ome p re tty bees fl y no t h ence !
“
, ,

Mis t ress M a r y is de a d an d gone ! ”

J ohn G re en l e af Wh i ttier 1 807 -

1 89

“ ”
E d na St Vin cent M ill a y s E le gy fr o m S eco nd
.
’
,

is o ne o f a g ro up o f b e a u ti ful p o e m s dedic a t ed
m em o ry o f a Va s s a r fri end D oes it s u ff e r f ro m c o
.

s o n with t h e p o e m s which p rec ede it ?

-

E L E GY

Le t th em bur y y our b ig e y e s
In th e secre t e a r th secure l y,
Your t hin fi n gers , a n d y our fair,
Soft in d efi n it e col ored h a ir
,
-
,

A ll o f th es e in some w ay sure l y , ,

From th e secre t e a r t h s h al l ris e ;

No t for t h es e I s it an d s t a re ,

B roken a n d beref t com pl e t e l y ;

Your y oun g fles h th a t s a t so n e atl y
4 00 I N TROD U CT I O N TO PO E TR Y
l o s t f ri en d o f hi s ow n sex B y c o m m o n c on sent th e th ree
.
,

“ ”
g re a tes t E n lish
g ele g ie s a re M ilt o n s Lyci d as o cc a
’
,

s io n e d by the de a th o f a c olle g e f ri end E dw a r d Kin g ; ,

“
Shelley s Ad o n a i s a me m o ri a l t o the p o et Ke a ts ; a nd
’
,

T ennys o n s I n M em o ria m inspi red by the de a th o f hi s

’
,

f riend A rthu r H en ry H a ll a m To these thr ee a fo u rth

, .

“ ”
i s o ften a dded in M a tthew A rn old s Thy rsi s whi ch ’
,

l a m ents th e de a th o f the p o et Cl o u gh Other n ot a bl e .

“ ”
p o e m s o f the s a m e type a re Spens er s A st r ophel a n ’
,

“
el eg y up o n S ir Philip Sidney ; T ennys o n s Ode o n the ’

D e a th o f the D u k e o f W ellin g t o n ; Swinbu rne s Ave

” “ ’

”
a tqu e Val e a n ele y o n the F rench p o et B a u del a i r e ;
g ,

“
a n d Willi a m W a ts on s L a ch rim w M u s a rum
’
a n el e y
g ,

o n T ennys o n The two g re a tes t Am e ri c a n el egie s a re

.

“ ”
E m ers o n s Th ren o dy the s ubj ect o f which i s hi s own
’
,

s o n a n d W hitm a n s When Lil a c s L a st i n the D o o ry a rd

,
“ ’

”
Blo om d ’
a n el e y o n Ab r a h a m Lin c oln
g , .

Abr a h a m Li nc oln i s the s ubj ect o f m o re g re a t p o e m s

th a n a n y othe r A m eri c a n I n f a ct n o E n glish m a n i f we .
, ,

except the C elti c a n d p o s sibly u nhis t o ri c a l A rthu r h a s ,

be en m a de the s ubj ect o f s o m a ny excellent p oe m s Lin .

c ol n s p o eti c f a m e i s p a rt ly du e t o hi s t r a gi c de a th b ut
’

m o st o f a ll t o the c o nvi cti on th a t he i s the m o st tho r

“ ”
o u ghl y A m e ri c a n o f al l o u r g r e a t m en H e i s sai d .
,

“
E m er s o n the t ru e hi st o ry o f the A m e ri c a n p eople in his
,

”
ti m e . B o r n i n Kentu c k y o f Vi r gi ni a n p a rents Linc oln ,

g rew up i n the M iddl e West whe r e N o rthe rn a nd ,

S o u the rn i mm i g r a nt s we re bein g r em olded i nt o A m e ri

c a ns .M a u ri c e Tho m p s o n a n ex — C o n feder a t e s oldie r
,

wh o li k e L in c oln r e m oved f r o m the S o u th t o the M iddle

, ,

W est w ro te of him
, ,
 P O E M S S TU D I E D B Y T H E M E 4 01

He wa s t he Nor t h th e S ou t h t he E s t t he Wes t
, ,
a , ,

Th e th r l l t he m s t er ll of us in on e
a , a ,
a .

The st o ry o f Li nc ol n s r is e fr o m the s o ci a l level o f the

’

”
p o o r white t r a sh t o the p r esi d en cy is t o q u ot e H en ry ,

“ ”
W a tt e rs o n a n epic i n h o m espu n
, Spe a k in g o f Lin .

“
c oln s li fe B r a n d Whitl o c k s a ys R i ghtly t old it i s the
’
, , ,

”
epi c o f A m e ri c a With the excepti o n o f L ee L i nc oln is
.
,

the o n e s up re m ely g re a t fi g u re b r o u ght fo rw a r d by the

C ivil Wa r ; a n d the C ivil W a r i s a s w e h a ve s a id be f o r e , ,

the o n e g re a t c ri si s in o u r hist o ry L inc oln s de a th c o m .

’
,

ing i mm edi a tely a fte r App o m a tt ox i s a s d r a m a tic a s th a t ,

o f Juliu s Caes a r Li n c ol n m o reove r i s th e m o st m a ny

.
, ,

s id ed m a n o f o u r g r e a t men T he re i s s o m ethin g in hi m .

which a ppe a l s t o every m a n H e wa s a s a S o u the rn p oet .

, ,

W a lte r M al o ne s u m s hi m up i n a p o e m o f only fo u r lin e s

,

A bl end of mi r t h a n d s a dn es s smi l es an d t e ars ; ,

A qu a in t kni gh t err a n t of th e p ioneers ;

-

A h ome l y h ero born o f s t a r an d sod ;

A Pe a s a n t Prince ; a M a s t er p iece of G od .

L i nc oln fo r s o m e r e a s on
, pl a yed o nly a s m all p art , has
i n d r a m a a n d fictio n Th e be st o f the n ovels whi ch de
.

s c ribe him a re The C ri s is by Win s t o n C hu r chill ; The ,

G ra y s o n s by E dw a rd E ggle st o n ; a n d A M a n f o r t he
,

Ages by I rvin g B a chell er The o nly g o o d L inc oln pl a y

, .

i s by J ohn D rin k w a ter a livin g E n gli sh p oet a n d ,

d ra m a tist I n A m eri c a n p o et ry howeve r L in c ol n s p a rt

.
, ,
’

i s a ve ry l a r g e o n e The g re a test o f a ll Lin c ol n p oe m s

.

i s W a lt W hitm a n s W hen L il a c s L a s t in the D o o ry a rd

“ ’

” “
Blo om d ’
whi ch Swinb u r ne c a ll ed the m o st s o n o ro u s
,
4 02 IN TROD U CTI O N TO P O ETR Y
”
a nthem eve r ch a nted in the chu rch o f the wo rld S in c e .

thi s eleg y i s u n fo rtu n a tely t o o l o n g f o r q u ot a ti o n w e ,

g ive one o f W hit m a n s sho rte r p oe m s o n Lin c oln

’
Owin g .

“ ”
t o the f a ct th a t 0 C a pt a in ! m y C a pt a i n is w ritten in
r i m e it i s m u ch b ett e r k n o w n th a n W hit m a n s m o re ch ar
,
’

a c t eri s t i c p o e m s .

O CA PTAI N ! MY CA PTAI N !

0 C a pt a in ! m y C a pt a in ! our fe a rfu l t ri p is done ,

Th e s hi p h a s w e ath e r d ever y r a ck, th e p ri z e we sou ght

’
is
won ,

Th e p or t is ne a r th e be l l s I h e a r th e p eo p l e al l e x u l t in g
, , ,

Wh i l e fo l l ow ey es th e s t e a d y kee l th e v esse l grim an d d a r in g ; ,

Bu t 0 h e a r t ! h e a r t ! h e a r t !
O th e b l eed i n g dro p s o f red ,

Wh ere on t h e deck m y C apt a in l ies ,

F a ll en co l d an d de a d .

pt
0 C a a in ! m y C pt i n ! r i se u p n d h e r th e bell s ;
a a a a

Ri se u p— for y ou the fl g i flun g— for y ou th bu gl e t r il l sa s e ,

For y ou bouque t s d i bb on d wre t h s— for y ou th e s h ores

'

an r a

crowd i n g
a- ,

For y ou th e y c ll th sw y in g m a ss t h eir e ger f ces turn in g ;

a , e a ,
a a

H ere C pt in ! de r f t h er !
a a a a

Th is m b ene t h y our h e d !
ar a a

I t is some dre m t h t on t he deck a a ,

You ve f a l l en co l d
’
an d de a d .

M y C a pt ain does no t a nswer his l ip s are p al e an d s t i l l , ,

M y f a t h er does no t feel m y a rm h e h a s no p u l se nor wil l , ,

Th e s h i p is a n cho r d s a fe a n d sound i t s vo y age c l osed an d

’

done ,

From fe a rfu l t ri p th e vic t or s h i p comes in w ith ob j ec t won ;

E x u l t O s h ores an d r i n g 0 bell s !
, , ,
4 04 I NTRODU CT IO N TO PO E TR Y
The j u stes t p oetic esti m a te o f L in c oln s ch a ra cter a nd ’

“
R
’

g eni u s i s f o un d in L owell s Ode ecited a t the H a rv a rd

”
C o mm e m o r a ti o n i n July 1 86 5 We q u ote :
, .

S uc h w a s h e , our M a r ty r C h ief -
,

Wh om l a t e the N a t ion h e ha d l ed ,

With a s h es on h e r h e a d ,

We pt wi t h th e p a s sion of a n a n gr y grief
For gi v e me i f from p res en t t h i n g s I t urn
,

To s p e a k w h a t i n m y h e a r t w i l l be a t a n d burn
‘

A n d h a n g m y wre a t h on h i s wor l d h onored urn -

.

N a t ure t h e y s a y do t h do t e
, , ,

And c anno t m ake a m an

S a v e on some worn ou t p l a n -
,

Re p e a ti n g us b y ro t e :
For h im h er O l d Wor l d mou l ds a side s he threw
-
,

A n d c h oosin g s wee t c l a y from th e bre a s t

O f th e une x h a us t ed Wes t ,

Wi t h s t u ff un t a i n t ed s h ap ed a h ere new ,

Wi se s t e a df a s t i n th e s t ren gt h of G o d an d t rue
, , .

How be a u t i fu l t o see
Once more a s h e p h erd o f m a nkind indeed ,

Who l o v ed h i s c h a r ge bu t ne v er l o v ed t o l e a d ;
,

One w h ose meek flock t h e p eo p l e j o y ed t o be ,

No t l ured b y an y c h e a t o f b ir th ,

Bu t b y his c l e a r gr a i ned h um a n wor th

-
,

A n d br ave ol d w i sdom o f s i ncer ity !

’

Th e y knew t h a t ou t w a rd gr a ce is dus t ;
Th e y cou l d no t c h oos e bu t t rus t
In t h a t sure foo t ed m i nd s un f a l t erin g S K il l
-
’

A n d su pp l e t em p ered w i l l
-

Th a t ben t l i ke p er fec t s t ee l t o s p rin g a ga i n a n d thrus t .

H i s w a s no l on e l y moun t a in p e a k of m i nd -
,

Th rus ti n g t o t h in a ir o er our c l oud y b a rs

’

A s e a m a rk now now l os t in v a p ors b l ind ;

-
,

B ro a d p r a i rie r at her geni a l l eve l —

,
l ined , ,
 PO E M S S TUD I E D B Y T H E M E 4 05

Fru it ful a n d friend l y for all hum a n kind ,

Y e t al so ni gh t o h e a v en a n d l o v ed o f l o f t ies t s ta r s .

No thin g of E uro p e h ere ,

O r then o f E uro p e fron ti n g mornw a rd s ti ll

, , ,

E re an y n ames of S erf a n d Peer

C ou l d N a t ure s equ a l sch eme de f a ce
’

A n d thw a r t h e r gen ia l wi l l ;
Here w a s a typ e of th e t rue e l der r ace ,

A n d on e o f Pl u t a rc h s men t al ked wi t h us f a ce to f a c e
’
.

I p r aise h im no t ; i t were t oo l a t e ;
And some inn a t ive we aknes s th ere mus t be
In h im w ho condescends t o vic t or y
S uch a s th e Presen t g iv es an d c a nno t w a i t
, ,

S a fe in h imse l f a s i n a f a t e .

So al w ay s firml y he
He knew t o bide hi s t ime ,

And ca n h i s f ame abide ,

S t il l p a t ien t in h is sim p l e f a i t h sub l im e ,

Ti l l t he wise y e a rs decide .

G re a t c a pt a ins w it h t h eir gun s an d drum s

, ,

D is t urb our j ud gmen t for th e hour ,

Bu t a t l a s t si l ence comes ;
Th ese a ll a re gon e a n d s t a ndin g l ike a t ower
, , ,

Our chil dren s h a l l be h o l d h is f a me .

Th e k i nd l y e a rnes t br a ve foreseein g m a n
-
, , ,

S a ga c i ous p a t ien t dre a din g p r a ise no t b l a me

, , , ,

New bir t h of our n ew soi l th e fi rs t Americ a n , .

Altho u gh the re a re i m p o rt a n t p oe m s o n Lin c oln by

H ol m es Whitti e r St odd a rd Sill a n d B ret H a rte i t
, , , , ,

wa s n o t u ntil th e l a st de c a de o r tw o th a t L in c oln c a m e
fully i nt o hi s own T he re i s s c a r cely a li vi n g A m er ic a n
.

p oet o f i m p o rt a nc e who h a s n o t w ritten a p o e m a bo u t

L in c oln Th e lis t in cl u de s E d g a r L ee M a ste rs E dwin
.
,

A rlin gt o n R obi n s o n Joh n Go uld F let cher Pe rcy M a c

, ,
4 06 IN TRODU CT IO N TO PO E T RY
k a ye H e rm a nn H a g ed o rn V a chel Linds a y J a m es Oppen
, , ,

heim E dwin M a r k h a m W itte r B yn n e r Bli s s C a r iria n

, , , ,

A rthu r Gu ite r m a n Clint o n S c oll a rd H a r riet M o n r o e

, , ,

R obe r t Underwo o d J ohn s on F r a n k De m p ste r She r m a n

, ,

a n d C a rl S a ndbu r
g M o s t o f thei r L i nc ol n p o e m s c a n
.

be fo un d in M a ry \ V ri ght D a vi s s i nte restin g a nth ol o gy

-
’
,

Th e B o o k o f L in c o l n .

The fin est recent t ribu te t o L i nc oln i s by E dwi n A rl in g

t o n R obin s on The p o e m will b e cle a re r i f the r e a de r
.

will r e m embe r th a t the spe a ke r i s n ot th e p o et bu t o ne o f

the m a ny pe rs o n s who u ntil a fte r the a s s a s sin a ti o n did
, ,

n ot rec o g ni ze L in c oln s g re a tnes s S o few o f Lin c oln s

’
.
’

c o nt em p o r a ries divined hi s gre a tn es s du rin g hi s lifeti m e

th a t E dw a rd R owl a nd Sill h a s well a s k ed

Were t h ere no crowns on e a r th ,

N o e v er greens t o wre at h e a h ero s wre a t h ’

Th a t h e mus t p a ss be y ond th e g a t es o f de a th ,

Our h ere our s l a i n h ero t o b e crowned ?

, ,

TH E MAS TER
A fl y in g word from h ere an d t h ere
H ad sown th e n a me a t w h i c h we sneered ,

Bu t soon th e n a me w a s e v er y w h ere ,

To be re v i l ed a n d t h en re v ered :
A p resence t o be l o v ed a n d fe a red ,

We c a nno t h i de i t or den y ,

Th a t we t h e g en t l emen w h o j eered
, ,

M ay be for go tt en b y a n d b y .

He c a me w h en d ay s were p eri l ous

A n d h e a r t s of men were sore be gui l ed ;
An d h a v in g m ade h is no t e of us ,
4 08 IN TROD U CTI O N TO PO E TR Y
As he w a s a nc i en t at his bir t h
Th e s a ddes t a mon g ki n gs of e a r t h ,

Bowed w ith a gal l in g c rown th i s m an ,

M e t r ancor w it h a cr ypt ic mir th ,

L a coni c—a n d O l y m p i an .

Th e l ove, th e gr andeur, d th e f ame

an

A re bounded b y th e wor l d a l one ;

Th e c a l m t h e smou l derin g an d t he fl a me
, ,

O f a wful p a ti ence were h is own

Wi t h him t h e y a re forever flown
Pa s t a ll our fon d s e l f sh a dowin gs
-
,

Wh erewi t h we cumber th e Unknown

As wi th ine pt Ic a ria n w in gs
, .

For we were n ot a s o th er men

Tw a s ours t o so a r an d h i s t o see
’
.

Bu t we a re com in g down a gain ,

A n d we sh a l l come down p l e a s an tl y
Nor s h all we l on ger dis agree
On w h a t it i s t o be subl ime ,

B u t flourish in our p er i g ee
An d have one Tit an at a time .

E d wi n A r ling t o n R o bin s on (1 8 69

S o well est a blished is L in c ol n t o d a y a s a wo rld fi gure

th a t L l oyd G eo r g e pl a cin g hi m a he a d o f G l a dsto ne B is
, ,

“
m a rck a n d C a v o u r h a s c al led hi m the g re a test st a te s
, ,
”
m a n o f the n in et ee n th c entu ry Th e wa r with Ger m a ny
.

’
c a u s ed u s t o re a lize L inc oln s g re a tn es s a s we ha d n eve r
r e a lized it befo re .D u ri n g the wa r we felt th a t a s A rth u r ,

Guit e rm a n exp r e s s e d it ,

Here t ru th mus t t rium p h h onour mus t p revail

,

Th e n a t i on Lincol n died for c a nno t f a il .

 PO E M S S TU D I E D B Y T H E M E 4 09

On e o f th e be s t p o em s o c c a si o ned by the wa r a g a in st
G e rm a ny i s V a chel L inds a y s Ab r a h a m Lin c ol n W a l k s
“ ’

”
a t M idni ht
g . Linds a
y s ho m e ’
i s in Sp rin g fi eld I lli no is , ,

where Li nc oln p r a cti ced l aw u ntil hi s electi o n t o the p resi

den ey The p o e m wa s w ri tt en in 1 9 1 4 n e a rly three ye a rs
.
,

b efo r e A m e ri c a entered the w a r ; a nd it re fl ect s o u r fi rs t

f eeli n g th a t the w a r w a s the res ult o f i m pe ri a li stic a m bi
ti o n s o n b o th sides .

AB RAHAM LI N C OLN WA L K S AT M I D N IGHT

(I n S p ri ngfie l d , I l l in o is)

Itis p or t en t ous an d a th in g of s t a t e
,

Tha t h ere a t midn i gh t in our l i tt l e t own

,

A mourn i n g fi gure w a l ks a n d w i ll no t res t

, ,

N e a r th e o l d cour t h ous e p a cin g u p an d down

-
,

O r b y h is homes t e ad or in s h a dowed y a rds

,

H e l in gers w h ere h is ch il dren used t o p l a y ,

Or th rou gh th e m a rke t on th e we l l worn s t one s

,
-

H e s t al ks un ti l t he d a wn s t a rs burn a w a y-
.

A bron z ed l ank m an ! His sui t o f ancien t bl a ck

, ,

A f a mou s h i gh t o p h a t a n d p l a in worn s h a w l
-

M ake h i m the qu a in t gre at fi gure th at men love ,

Th e p r a irie l a w yer m a s t er o f us a ll
-
, .

H e c anno t s l ee p u p on his h i l l side now .

H e is a mon g us —a s in t imes be fore !

And we who t oss a n d l i e a w a ke for l on g ,

B re a t h e dee p a n d s ta r t t o see h im p a s s the door

, , .

His he a d is bowed He t h inks o f men an d kin gs

.
,

Ye a when t he sick wor l d cries h o w c a n he s l ee p ?

, ,
41 0 I N TRODU CT IO N TO PO E TR Y
Too m an y p e a s a n t s fi gh t t h e y know n ot why ; ,

To o m an y h omes t e a ds in b l a ck t error wee p .

Th e sin s o f all the w a r l ords burn h i s h e a r t -

.

He sees th e dre a dn a u gh t s scour i n g e v er y m a in .

He c a rries on h i s s h a wl wr a pp ed s h ou l ders now -

Th e bi tt ern ess th e fo ll y an d th e p a in
, .

H e c anno t res t un ti a s p ir it d a wn l -

S h a ll come — t h e s h inin g h o p e o f E uro p e free

A l e a gue of sober fo l k th e Workers E a r th ,
’

B rin gin g l on g p e a ce t o C orn l and A l p an d , , S ea .

I t bre a ks his t t h t t h in gs mus t murder s t ill

hear a ,

Th t ll h i s h ours of t r v i l h ere for men

a a a a

S eem y e t in v n A d w h wi l l brin g w h i te p e ce
ai . n o a

Th t h e m ay s l ee p u p on h i s h i l l g i n ?
a a a

Va c he l L in d s ay (1 879

I n the l a st lysis ther e a re o nly tw o the m e s in a l l

an a ,

p o et ry m a n a nd hi s envi r on m ent P o em s whi ch de a l with

, .

o n e p a rt o f m a n s envi r o nm ent exte rn a l n a tu r e a re ve ry

’
, ,

n umerou s P o em s which des c rib e m a n s s u rr o u ndin g s

.
’
,

c o u nt ry a n d city a li k e inte r est u s bec a u se o f thei r inti

,

“
m a te rel a ti o n t o o u r o wn live s I n o u r li fe a l o ne d oes .

”
N a tu r e live s a i d C ol erid g e Willi a m W a t s o n h a s a ptly
, .

exp res sed the s a m e ide a i n a n epi g r a m

f

For m eta phors o f m a n we se a rch th e ski es

And fi n d our a ll e gor y in al l th e a ir .

We ga z e on N a t ure wi t h N a rcissu s e y es ’

E n a mour d of our s h a dow ever y where

’
.

Ou r feeli n g a b ou t n a tu re which we o fte n s i gnifi c a ntly

,

s pell wi th a c a pit a l lette r i s a di s ti n ctly m o d e rn thi ng

, .
41 2 IN TR O D U CTI O N TO PO E TR Y

I k now ttl e g rden cl ose

a li a -
,

S t t h ick wi t h l i l y n d red rose

e a ,

Wh ere I wou l d w nder i f I m i ght

a

From dew y morn t o dew y n i ght ,

A n d h ve on e w ith me w nderin g
a a .

The gre a test n a tu r e p oet o f tim e i s Willi a m W o rd s

al l

wo rt h N o o the r p o et eve r ob s e rved o r des c r ib ed m o re

.

a c c u r a tely o r m o r e m a ic a lly the phen o m en a o f n a tu r e

g .

N othin g es c a ped hi m th a t c o uld be see n he a rd o r in a ny , ,

o ther w a y p erceived At the s a m e time Wo rd sw o rth re a d

.

m o re i n to n a tu re th a n a n y o the r po et .

To me th e me a nes t flower t h at bl ows c an give

Th ou gh t s t h a t do of t en l i e to o dee p for t e a rs .

Fo r Wo rdswo rth n a tu re hel d the a n swe r t o the riddl e of

,

exi ste n c e a s it did fo r T en nys o n who wa s echo in g W o rd s

, ,

w o rth whe n h e w r ote the f ollowin g s u gg estive p o e m .

FLO WER I N TH E C RA N N I E D WAL L

F l ower in t he cr annied w al l ,

I p l uck y ou ou t of the cr a nnies ,

I h o l d y ou h ere roo t an d al l in m y h an d
, , ,

Li ttl e flower— b ut if I cou l d unders t and

Wha t y ou are roo t an d a l l an d all in all
, , ,

I s h ou l d kn ow w h a t G o d a n d m an is .

A lf r ed L or d Te nn y s o n (1 8 09
, 1 8 92 )
-

W o rdswo rth s a ttitu d e t ow a rd n a tu re i s b est exp res sed

’

“ ”
i n hi s Tinte r n Abb ey whi ch tho u g h writt en i n bl a n k
, ,

ve rse h a s the q u a lities o f a g re a t o de To Wo r dsw o rth

, .
,

n a t u r e i s a d eli g ht a c o m fo rte r a n d a te m pl e whe r e one

, ,
 PO E M S S T UD I E D B Y T H E M E 41 3

m ay c o mm un e with the Spi rit o f the u nive r s e H is p o eti c .

c re ed i s entwined wi th a s emi p a ntheis ti c c on ceptio n o f

-

n a tu re .

I ha v e l e rned
a

To l ook on n at ure no t a s in th e h our

,

O f th ou gh t l ess y ou t h ; bu t h e a r i n g of t en t ime s
Th e s t i ll s a d music o f h um a n ity
, ,

N or h a rs h nor gr a t in g t h ou gh of a m p l e p ower
,

To c h a s t en a n d subdue A n d I h a v e fe l t
.

A p resence th a t d i s t urbs me wi t h th e j o y
O f e l e v a t ed t h ou gh t s ; a sense sub l i me
O f some t h in g f a r more dee p l y in t e r f ii s ed ,

Whose dwe ll in g is th e l i gh t o f se tti n g suns ,

A n d th e round oce an a n d th e l iv in g a i r ,

A n d th e b l ue sk y an d in t h e min d of m a n ;
,

A mo t ion an d a s pi ri t t h a t im p e l s
,

A ll t h ink i n g thin gs a l l ob j ec t s of a l l t h ou gh t
, ,

A n d ro l l s t h rou gh a l l t h in g s There fore am I st ill

.

A l over of th e me a dows a n d th e woods ,

A n d moun t ains
we ll p l e a s ed t o reco gni s e
In n a t ure an d t h e l an gu age of th e sense ,

Th e a nch or of m y p ures t t h ou gh t s th e nurse , ,

Th e guide th e gu a rdi a n of m y h e a r t a n d soul

, ,

O f al l m y mor al bein g .

S o m eti m e s the w o r k o f the n a tu re p o et t e m pt s a c om

p a ris o n with th a t o f the l a nds c a p e p a int e r ; a nd it i s
s u rp ri sin g h ow well the p o em b e a r s c o mp a ris o n with
the pi ctu re One o f Wo rdsw o rt h s g r e a test p oe m s wa s
.
’

s u gg ested by a p a i ntin g o f Si r G eo r g e B e a um o nt l V o rd s .

wo rth g ives two p i ctu re s o f P eel e C a stl e on e in c a l m a n d ,

o n e in st o rm ; a n d he m a k es e a ch pictu r e sy m b oli c o f a
di ff er en t c o ncepti o n o f li fe The p o et s m o o d is c ol o red
.
’
41 4 IN TR OD U CTI O N TO PO E TRY
by his grief fo r the d ea th o f hi s b ro the r Joh n who was a ,

s a ilo r The clu m sy title i s ch a ra ct e risti c o f Wo rd s w o rth

. .

E L EG IA C S TA NZA S

S ugges ted by a P ict u r e f

o P e e l e Cas l e, in t a S to r m,
Pa in te d by S i r G e o rg e B e a u m on t

I w a s t h y nei gh bour once t hou ru gged p il e ! ,

Four summer weeks I dwe l t in si gh t o f t hee

I s a w t h ee e v er y d ay ; an d al l th e w h i l e
Thy Form w a s s l ee p in g on a gl a ss y s ea .

So p ure the sk y so quie t w t he i r !

, as a

S l ike so v er y l ike w
o , d y to d y ! , as a a

Wh en e er I l ooked thy I m ge s t il l w as
’

,
a th ere ;
It t remb l ed bu t i t n ever p ssed w y
,
a a a .

How p erfec t w a s t h e c al m ! it seemed no s l ee p ;

N o mood w h ich se a son t a kes a w a y or brin gs
, ,

I cou l d h a ve f ancied th a t t h e m i gh ty D ee p
Wa s e v en th e gen tl es t of a ll gen t l e Th in gs .

Ah ! T HE N if mine h d been th P i n t er s h nd
, a e a
’
a ,

T e xp ress w h t t h en I s w ; n d d d th e gl e m
o a a a a a ,

Th e l i gh t t h t ne v er w s on s e or l nd
a a ,
a a

Th consecr t ion n d the Poe t s dre m ;

’
e a , a a

I woul d h ave p l a n t ed t h ee t h ou h o a r y Pil e , ,

A m i d a wor l d h o w d i ff eren t from t h i s !

B es i de a s ea t h a t cou l d no t ce a s e t o smi l e ;
On t r a n qu i l l and bene a t h a sk y of b l i ss
,
.

Th ou s h oul ds t h ave s eemed a t re sure h ouse divine a -

O f pe a ce fu l ye a rs ; a ch ronic l e of he aven ;
41 6 IN TROD U CTI O N TO PO ETR Y

F a rewel l f a rewe l l th e h e a r t th a t l ives a l one

, ,

H oused in a dre a m a t d i s t a nce from th e Kind !

,

S uc h h a ppi nes s w h ere v er it b e known

, ,

I s t o be pit ied ; for t is sure l y b l ind

’
.

Bu t we l come for t i tude an d p a t ien t ch eer

, ,

A n d frequen t si gh t s of w h a t is t o be born e !
S uc h s i gh t s or worse a s a re b efore me h ere
, , .

N o t wi t h ou t ho p e we su ff er an d we mourn .

Willia m Wo rd s wo r t h (1 7 70-1 8 5 0)

The c ientifi c di s c ove ries o f D a rwi n a nd othe rs h a d a

s

m a r k ed e ffect up o n the n a tu re p oet ry o f the V ict o ri a n

pe ri od To the p o et s it s ee med th a t s ci enc e w a s r obbin g
.

n a tu r e o f it s p oet ry Ke a t s i n a n e a rli er pe ri od h a d
.
, ,

tho u g ht th a t the spect r u m a n a lysi s sp oiled the r a inb ow

fo r p o eti c p u rp o s es “ —
P o e w r ote in hi s S o nn et To
.

”
S cien ce :

t ure w h ose win gs e du ll re l i t ies

V ul , ar a ,

How s h ou l d we l o v e th ee ?
H s t th ou no t dr gged D i n from h
a a ar ? a a er c

A d dr iv en t h e H m dr y d from t h wood
n a a a e

T seek
o s h e l t er n some h pp ier s t r ?
a I a a

H s t t h ou no t t orn th N i d from h flood

a e a a er ,

Th e El fi n from th e green gr a ss a n d from me ,

Th e summer dre a m bene at h th e t am a rind t ree ?

With T ennys o n a n d A rn old the e ffect of s cientifi c di s

c ove ri es wa s f a r m o re s e ri o u s T hey f o un d it difficult .

t o be lieve n ot o nly i n c re a t u res o f the im a gin a ti o n like

elves a n d f a i ries b u t even i n the G o d who m W o rdswo rth
,

h a d s een eve rywhe re in n a tu r e To T enn ys on m o u rn in g

.
,

the de a th o f his f ri end H a ll a m it see m ed f o r a ti m e im ,

 PO E M S S TUD I E D B Y T H E M E 41 7

p o s si ble t o believe in Go d o r p e r s o n a l i mm o rt a lity

‘

N a tu re t o whi ch W o rdswo rth h a d g o n e f o r c on s ol a tio n

,

a fte r witnes sin g the ho r ro r s o f the F r en ch R evolutio n ,

n ow s ee m ed m a n s en e m y D a rwi n s theo ry o f ev ol uti o n

’
.
’

r eve a led th a t a ll n a tu r e w a s a t w a r Ten nys o n s In .

’

M emo ria m wa s w ritte n b efo re the p ubli c a ti o n in 1 8 5 9 o f

The O rigin of S p ec ies b u t s ci en c e h a d a l r e a d y b eg u n
,

t o a sk s u ch q ue sti o n s a s T ennys o n r a i se s

Are G od N a t ure th en a t s t ri fe
an d ,

Th a t N a t ure l ends suc h e v i l dre am s ?

S o c a re fu l o f th e typ e s h e seems ,

S o c a re l ess of th e sin gl e l ife .

B u t thi s i s '

not the w o r s t . Te n n ys o n c o nti nues

So c a re fu l o f the typ e ? but no ”

.

From sc a r p ed cl i ff an d qu a rried s ton e

S he cries
“
A t h ous a nd typ es are gon e
,

I c a re for n o th in g all s h a ll go , .

Thou m a kes t th ine a pp e al to m e

I brin g t o l ife I brin g t o de a th ;
,

Th e s pi ri t does b u t me a n th e bre ath

I know n o more A n d he sh al l h e
.
, ,

M an h er l a s t work , who so f ai r d
’

,
s eem ,

S uc h s p l end i d p ur p ose in h is e y es ,

Wh o roll d the p s a l m t o win t r y skies

’

Who bui l t h im f a nes o f frui tl ess p r a y er ,

Who t rus t ed G od was l ove indeed

A n d l ove C re a t ion s fin a l l a w
’

Tho N a t ure red in too t h an d c l a w

’ ‘

Wi th r a v in e s hriek d a ga ins t his creed

,
’
41 8 I N TRODU CTI O N TO PO E TR Y
Who l oved who su ff er d coun t l ess i l l s
,
’

Who b a ttl ed for th e True th e J us t , ,

B e bl own abou t t h e deser t dus t ,

Or sc al d wi t hin th e i ron h i ll s ?
’

N o more ? A mons t er t hen a dre am , ,

A discord D r a gons o f th e p rime

.
,

Th a t t a re e a c h o t h er in t h eir s l ime ,

Were mell ow music m a tch d wi t h him ’

.

0 l ife asfu t il e t h en a s fr a i l !
, ,

O for thy v oice t o soo the a n d b l es s !

Wh a t h o p e of a nswer or redress ? ,

B eh ind th e vei l behind th e vei l

,
.

In the en d T e n ny s o n r ec ove red hi s f a ith in

n a tu r e ; bu t M a tthew A rn old did n o t N othin g i s m o r e .

p a theti c th a n A r n old s c o n fes si on a fter hi s p a in ful se a rch

’
,

th ro u gh histo ry fo r p ro o f o f the exi sten ce o f G o d th a t ,

a ll he c o uld dis c ove r wa s a n i ndi c a ti o n o f s o m e f o rce o ut

s ide Of o u r s elv es which m a k es f o r ri ght eo u snes s In .

“ ”
D ove r B e a ch A rn old c o n f es se s hi s in a bility t o b elieve
in G o d a nd a futu re li fe T ho u g h th e m et ri c a l s cheme o f
.

the p o e m 1 s I r re g ul a r the ch a n ges in ri m e a n d l en g th o f

,

lin e h a r m o niz e pe r fectly with the ch a n gin g tho u ght s o f

t he p o et .

D OV ER B EA C H

Th e is c a l m t o ni ght
s ea
-
,

The ti de i s fu ll t he moo n l i es f air

,

U p on th e s t r a i t s t h e Frenc h co a s t the l i ght

G l e a ms a n d is gone ; th e c l i ff s o f E n gl a nd s t and ,

G l immerin g a n d v a s t ou t in t he t r an qu il b a y
, .
4 20 I N TROD U CT IO N TO P OE TRY
”
In a Wo o d by Tho m a s H a rdy , b est k n own a s a
,

n ovelist but a l s o i mp o rt a nt a s a p o et shows t he i n fl u en ce ,

’
o f the s cientifi c c o n c epti o n o f n a tu re a s a p erpetu a l fi eld 0

o f b a ttle between the v a rio u s fo rm s o f life

W o rd swo rth H a rdy fin din g n o c o m fo rt i n 1 1
, ,

t u rn s t o his own ki n d .

IN A WOOD

Pal e beech a n d p ine so bl ue ,

S e t in one c l a y ,

Bou gh t o b ou gh c a nno t y ou
Li v e ou t y our d a y ?
Wh en th e r a i ns skim a nd ski p ,

Why m a r swee t comr a des hip ,

B l i gh ti n g w it h p o i son dri p -

Nei ghbour l y s p r ay ?

H e a r t h al t an d s p iri t l ame
- -
,

C i ty o pp re s t
-
,

Un t o th i s wood I c a m e
A s t o a nes t ;
D re a m i n g t h a t s y l va n p e a ce
O ff ered t h e h a rrowed e as e
N a ture a so f t re l e a s e
From men s un res t ’
.

B ut , h a vi n g en t ered i n ,

G re t g row t h s n d sm l l
a a a

S h ow t h em t o men kin a

C omb t n t s l l !
a a a

S y c more s h ou l ders
a k oa ,
 PO E M S S TU D I E D B Y T H E ME 421

Bines th e s l im s a p l in g y ok e ,

Ivy s p un h a l t ers c h oke

-

El ms s t ou t an d t a l l .

Touc h es from a sh O w y ch , ,

S ti n g y ou l i ke scorn !
Yo u t oo br a ve h o ll ies t w it ch
, , ,

S ide l on g from th orn .

E ven th e r a nk p o p l a rs be a r
Lo t hl y a ri v a l s a ir ’

C a nkerin g in b l a ck des p air

I f o v erborn e .

S ince ,t h en no gr ce I fi n d
,
a

T u gh t me of t rees
a ,

Turn I b ck t o m y k i nd
a ,

Wor t h y s t h ese a .

Th ere t l e s t smi l es bound

a a a ,

Th ere d i scours e t ri l l s round a ,

Th ere now , d t h en e found

an ,
ar

Li fe l o y l t ies
-
a .

Tho m a s H a rd y (1 840

Whe n we tu rn t o m o re r ecent w rite r s we find t h a t , ,

tho u g h the p o et ry o f n a tu re i s l es s i n v o g u e t h a n it wa s
a centu ry a g o n a tu re p o em s o f a hi gh de g re e o f ex
,

c e ll en c e a re s till be in w ritten I n E n l a nd M a sefi el d

g g .
,

N oyes W a lte r de l a M a r e a nd o the r s h a ve a l l u sed

, ,

n a tu r a l b a c kg ro und s effectively I n o u r own c o u nt ry .

R obi n s o n a n d F r o s t des c ribe the N ew E n gl a nd l a nd s c a pe ,

which s o m ehow see m s m o re ble a k th a n in t he p o e m s o f

E m ers on W hittie r a n d L owell
, , On e o f the m o st p opul a r
.

“
o f recent n a tu re p o e m s is J oyce Kil m er s T rees ’
.
422 IN TROD U CT I O N TO PO E TR Y

TRE ES

I think th a t I s h al l n ever see

A p oem l ove l y a s a t ree .

A t ree w h os e hun gr y mou t h is p res t

A ga ins t th e swee t e a r t h s flo wm g bre a st ;
’

A t ree t h a t l ooks a t G od a l l d ay ,

A n d l if t s h er l e a f y a rms t o p r a y ;

A t ree t h a t m ay in summer we a r
A nes t of robin s in h er h a ir ;

U p on w h ose bosom snow h a s l ain ;

Who i n t im a t e l y l iv es wi t h r ain .

Poems a rem a de b y foo l s l ike me ,

Bu t on l y G o d can m a ke a t ree .

J oy ce K il m e r (1 88 6 -
1 91 8)

N o livin g A m eri c a n p oet has

written bette r n a tu re
“ ”
p oet ry th a n J ohn H a ll Wheel o c k E a rth whi ch we ,

q u ot e c o nt a in s s o me o f the best li ne s t o b e f o u nd in c o n
,

“ ” “
tem p o r a ry p o et ry ; his St o r m a n d S u n a n d Golde n
”
N o o n a re a l mo st i f n o t q uite a s be a uti fully d o n e Wheel .

o c k s l a st volu me
’
D u s t a nd L igh t —n o p oet ever g a ve
, ,
.

a h a ppie r titl e t o a bo o k
— c o nt a in s a ls o s o m e o f the b est
,

o f c onte m p o r a ry l ove p o e m s I t will be n oted th a t in

.

“ ” “ ”
T rees a n d E a rth p oet s h a ve fo u nd a wa y t o b a r
m o nize the p o etic a nd the s ci entific vi ews o f n a tu re .

F rom J oy ceKil m r P m E y
e : oe s, ss a s a nd Le tt r
e s, co pyri gh t , 1 9 1 8.
Georg e H . D or n C mp ny Pu b l i sh rs
a o a , e .
424 I N TR ODU CT IO N TO P O E T RY

Th e h i gh, infle x ib l e in t en t
Of one for m a n y s a c ri fi ce d
Pl a t o s b r a i n th e h e a r t o f Ch ris t ;
’

A l l l o v e a ll l e gend an d a l l l ore
, ,

A re i n t h e dus t fore v ermore .

E v en s th grow i n g gr ss
a e a

U p from th so i l re l i gi ons p ss e a ,

A d th e fi e l d th t be rs t h e r y e
n a a

B e rs p r bl es d p ro p h ecy
a a a an .

Ou t of t h e e r t h t h p oem g rowsa e

L i ke th l i l y or t h e rose ;
e ,

An d ll m a i s or y e t m y be
an , a .

I s b t h erse l f i n gon y
u a

Toi l in g u p th e s t ee p scen t a

Tow rd t h com p l e t e ccom p l is h men t

a e a

Wh en l l dus t s h l l b e t h wh ol e
a a , e

Uni v erse one conscious sou l

, .

Y e a , th e quie t an cool sod

d
B e a rs in h er b re a s t t h e dre a m of G od .

I f y ou wou l d know wh a t e a r t h is sc a n ,

Th e in t ric a t e p roud h e a r t of m a n
, ,

Wh ich is t he e a r th a r t icu l at e ,

A n d l e a rn h o w h o l y a n d h o w gre a t ,

How l imi t l ess an d h o w p rofound

I s the n a t ure of th e ground
How wi th ou t t error or demur
We m ay en t rus t ourse l v es t o h er
‘ "

When we a re we a r i ed ou t a n d l a y ,

Our f a ces in th e common c l a y .

For she is p i ty she is l ove , ,

All wisdom s h e a ll t h ou gh t s t h a t move

, ,

A bou t h er everl a s ti n g bre a s t

 PO E M S S T UD I E D B Y T H E M E
Ti l l she gat h ers t h em t o res t :
A ll t endernes s o f a l l t h e a ges ,

S er a p h i c secre t s o f th e s a ges ,

V is i on an d h o p e o f a l l th e s eers ,

A l l p r a y er a ll a n guish a n d a l l t e a rs
, ,

A re bu t t h e dus t t h a t from h er dre a m

,

A w a kes a n d knows h ers e l f su p reme

,

Are bu t t h e e a r th w h en s h e re v e al s
,

A ll t h a t h er s ecre t h e a r t conce a l s
D own i n t h e d a rk a n d s i l en t l o a m ,

Whic h is ourse l v es a s l ee p a t h ome , , .

Y e a, an t
m y p oem t oo
d h is , , ,

I s p a r t of h er a s dus t a n d dew ,

Wh erein h ers el f s h e do t h dec l a re

Th rou gh m y l ip s an d s ay h e r p r a y er
, .

J o hn H a l l Wh e e l o c k (1
'

88 6
’

It is a c uri o u s a n d n ot a bl e f a ct th a t u ntil recen t

re a t m a j o rity o f p o et s ne g lected the city a s tho u
g g
the c o u nt ry s upplied s uit a bl e m a te ri a l f o r p o et ry .

a vi sit t o a c ott o n m ill G o ethe s a id th a t it wa s t h

,
'

oetic a l si ht he h a d eve r witne s s ed ; bu t h a s G o e

p g
an o the r p o et eve r w itt en re a t p o em a b o u t a
y r a g
m ill ? N oveli st s a nd d r a m a tis ts le a rned l o n g a go I
h a ndl e m oder n city types a n d b a c k g r o u nds ; bu t wl .

Vi ct o ri a n n ovelist s we re des c ribi n g life i n L o nd on

f
,

s o n w a s w ritin g a b o ut Li n c ol n shi re w old s o r C s

P o et ry i s the m o st c o n se rv a tive o f the a rts a n d t l ,

in s o m e r es pect s t o c o m e i n t o u ch with th e a ct u a l
,

th e a u tho r s own time I t s l a n g u a g e tend s t o b e a

’
.

its them es t r a diti on a l F o r ove r a hu nd re d ye a r s

.

“
g e n e ra lly e cho ed C owp e r s lin e Go d ’
m a d e the c
,
4 26 I N TRODU CT IO N TO PO E TRY
a nd man m a de the t own c o nt inu ed n e glect o f th e
.
’Q
Th e
c ity s eem s a b s u rd when we rememb e r th a t du rin g thi s very
peri o d p r a cti c a lly a l l o f the p o ets a n d m o st o f thei r
re a de r s lived in ci t ies T o d a y o v e r o n e h a lf o f the p op u
.
-

l a ti o n o f the United St a tes i s u rb a n a n d E n gl a n d h a s ,

been a n indu st ri a l n a ti o n fo r over a centu ry C o nte m .

o ra ry p o et s rebe l a a i nst the n oti o n th a t o nly w o o ds

p g ,

l a k es a n d m o u nt a in s o ffe r s uit a ble m a teri a l f o r p o et ry

, .

Olde r p o ems which de a l with the city g en er a lly de s c rib e

the r o m a nti c citi es o f E u r ope V enic e R o me o r Athens , , , .

“ ”
One rec a lls P o e s The C olis eum a n d the des c ripti o n s o f
’

R ome in B y r o n s M a nf red a n d C hild e H a ro l d s Pil g rim a e

’ ’

g .

W e q u ot e p a rt o f the f a m o u s p a s s a g e i n the fo u rth c a nt o

o f the l a tte r p o e m :

O h Rome ! m y coun t ry !
ty of th e sou l ! Ci
p
Th e or h a ns o f th h e r t mus t t urn t o t h ee
e a ,

Lone mo t h er of de d em p res ! n d con t ro l

a i a

In th e i r s h u t bre s t s t h eir p e tty m i ser y

a .

Wh t a our woes
a re d ufl c ?
an C ome n d
s
'

era n e a

Th e c yp ress h e r th , wl a n d p l od y our w
e o
y , a a

O er s t e p s of broken t h rones
’
d t em p l es Ye ! an ,

Wh ose gon i es e ev i l s o f d y
a ar a a

A wor l d i s t our fee t

a fr gi l e our c l y
as a as a .

Th e N i obe of n at ions ! t h ere sh e s t a nds

Ch i l d l ess a n d crown l ess in h e r v oice l ess woe ;
,

A n em pty urn wi t h i n h e r w it h ered h a nds ,

Wh ose h o l y dus t w a s sc a tt ered l on g a go ;

Th e S ci p ios t omb con t a ins no a s h es now ;
’

Th e v er y s e p u l c h ers l ie t en a n t l ess
Of t h eir h ero i c dwe l l ers ; dos t t h ou flow ,

O l d Ti b er ! t h rou gh a m a r bl e w i l derness ?
Rise wi th thy y e l l ow w a ves an d m a n t l e her dis t ress
, , .
4 28 I N TROD U CT IO N TO PO E TRY
t ow a rd the t own a nd the c o u nt ry F o r o n ce the gre a t .

n a tu re p o et s a w a n d p a i nted with u n riv a led s k i ll the

be a uty o f a g re a t city .

C OM PO S E D U PON WE S TM I N S TER B RI D GE

S ep t embe r3 , 1 8 02

t
E a r h h as no t a n yt h i n g t o s how more f a ir
D u l l wou l d h e b e of sou l w h o cou l d p a ss b y
A si gh t so t ouc h in g in it s m a j es ty :
Th i s C ity now do t h l i ke a ga rmen t we a r
, ,

Th e b e a u ty of t h e morn i n g ; s i l en t b a re , ,

S h ip s t owers domes t h e a t res a n d t em p l es l ie

, , ,

O p en un t o th e fi e l ds a n d t o the sk y ;
,

A l l br i gh t a n d gl itt erin g in t he smoke l es s a ir .

Ne v er d i d sun more be au t i fu l l y s t ee p
In his fi rs t s p l endour v a l l e y rock or b ill
, , ,

N e er s a w I ne v er fe l t a c a l m so dee p !
’

, ,

Th e ri v er gl i d eth a t h i s own swee t wi ll :

D e a r G od ! th e v er y h ouses seem a s l ee p ;
A nd a ll t h a t m i gh ty h e a r t i s l yi n g s ti l l !
Wil l ia m Word s wor t h (1 7 70 1 -
8 5 0)

S o m ethin g o f the m o dern p oetic a ttitude t o w a rd t he

city c a n be fo u nd in the p o em s o f B ry a nt a n d B r ownin g .

“ ” “ ”
T he C r owded St ree t a n d the Hy m n o f the C ity sho w
th a t B ry a nt fo u nd G o d in the city a s well a s i n th e p ri m e
va l fo rest . I n the f o ll owin g p o e m by B r ownin g city a nd
c ou nt ry life a re c o nt r a sted by a n It a li a n wh o m the hi g h
c o st o f livin g h a s c o m pelled a ga in s t hi s will t o live in
, ,

’
the c o u nt ry B r ownin g s own p oi nt o f vi ew it n eed
.
,

h a rdly be s a id , is n ot identic a l with th a t o f the spe a k e r ,

4 30 IN TROD U CT I O N TO PO E TR Y
I s i t be tt er in M ay I a sk y ou You v e summer a ll a t once ;
,
? ’

In a d ay h e l e a p s com p l e t e wi t h a few s t ron g A p ri l sun s .

’
Mid th e s h a r p s h or t emer al d w h e a t sc a rce risen t h ree fin gers ,

we ll ,

Th e wi l d t u l i p a t t he end of i t s t ube b l ows ou t it s gre a t

, ,

red be ll
Like a th i n c l e a r bubb l e of b l ood for t he chi l dren t o p i ck ,

an d s e l l .

Is it ever hot in th e s qu a re ? There

’
s a foun ta in t o s p out
an to s pl sh !
d a

In th e s h de it sin gs n d s p rin g s ;
a a in t h e s h ine such f oa m b o w s
fl ash
On th e h orses wi th cur l in g fi sh tai l s t ha t p r a nce an d p a dd l e -
,

an d p as h

Round th e l a d y a t o p in h er conc h— fi f ty gaz ers do n ot ab a s h ,

Th ou gh al l t h a t s h e we a rs is some weeds round her w a is t in

a sor t of s a s h .

A l l th e y e r l on g
a at t he vi l l a, no t hin g t o see th ou gh y ou
l in ger ,
E x ce p t y on c yp res s t h t p o in ts a l i ke de a t h s
’
l ea n li f t ed
fore fi n ger .

S ome t h ink fireflies p re tty w h en the y mix 1 t he corn a n d ,

mi n gl e ,

Or th rid th e s tinkin g h em p t ill th e s t al ks of i t seem a t in gl e -

.

L a te A u gus t or e a r l y S e pt emb er the s t unn i n g cic al a i s s h r i l l , ,

A n d t h e bees kee p t h eir t iresome w h in e ro und th e resinous

fi rs on th e h i l l
E nou gh of the s e a sons —I s p a re you th e mon t hs of t he fever
.

a n d chi ll .

E re y ou o p en y our eyes in t he ci ty the bl es s ed church bell s

,
-

be gi n :

No sooner th e b e ll s l e ave o ff th n a th e d i l igence r a ttl es i n

You get th e p ick of th e news ,
an d i t cos t s y ou never a p in .
4 32 I N TRODU CT IO N TO PO E TRY
An d th e p en it en t s dressed in w h it e s h i r t s , a -
hol d i n g ’
th e yel l ow
c a ndl es ;
On e h e c a rries a fla g u p s t r a i ght a n d a no t h er a cross wi th
, ,

h a nd l es ,

A n d th e D uke s gu a rd brin g s u p th e re a r for th e be tt er

’

p re v en ti on o f sc and al s :
B a ng w ha ng w ha ng g o e s t h e d r u m t o o t l e t e t oo tl e t h e fi f e
-
,
- -
.

O h a d ay in th e c ity s qu a re t h ere s no suc h p l e a sure i n l ife !

’
-

R o b e r t B ro wn i ng (1 8 1 2 —
, ,

1 8 89 )

The fi rst p o et who delibe r a tely t ri ed t o p ut the city in td

p o et ry wa s W a lt W hitm a n who beli eved th a t a ll li fe i s
,

int ri nsic a lly p o eti c W hitm a n l oved N ew Yo r k a s C h a rle s

.

“
L a mb l oved L on do n a s few p o ets eve r l oved a n y city
, A .

” “ ”
B ro a dw a y Pa g e a nt C r o s sin g B r o o klyn F e r ry
, a nd ,

“ ”
M a n n a h a tt a a r e a ll a tt empt s t o p l c t u re th e m ul t if a ri
o u s life o f the Ame ri c a n met r op olis Amo n g the c o nte m.

y Ame ric a n p oets who h a v e followed i n W hitm a n s

’
o ra r
p
fo otstep s n o ne h a s m o r e s u cc es sfully p a i nt ed
, city
th a n J ohn G o uld F letche r .

B RO A D WA Y S ’
CA NYON

This i s l ike th e n a v e o f a n un fi n i s h ed c a t h edr a l

Wi th s t ee p s h a dow y sides .

Li gh t a n d s h a de a l t ern at e ,

Re p e a t a n d d i e a w ay .

G o l den t r a ceries of sun l i gh t ,

B l ue bu tt resses of s h adow ,

An swer l i ke p ier an d col u mn ,

A l l th e w ay down t o th e s ea .
 PO E M S S TU D I E D B Y T H E M E 4 33

e t em pl e is s t i l l roofless
b sk y bo v e it
e a

i t round encirc l i n g
,

ts wei gh t l ess v u l t of b l ue
a .

is n im ge or inscri pt ion or
o a a l ta r,
le c l a mor o f free movin g mu l ti tude s
-

t irel ess or gan t ones ,

t he hammers be a t ou t its ch imes .

; re y smoke swin gs h e vi l y a ,

g from l e a den censers ,

rd s a bou t t h e s t ree t .

g l i mme r wi t h crimson p oin t s of

l a ck c a n y on
i t s gaun t s t ri pp ed sides
,
.

l y o pp ressi v e l y t h e sk i es rol l on
, ,

curses y e t un fu l fi ll ed .

rind s h rieks a n d cr a s h es ,

u rl y t rucks rum bl e ;
.

rous a s funer al c a rs un dr ap ed an d un st rewn wi th

:
-
, ,

owers .

J ohn G ou ld Fl e tc he r (1 886

”
Chi c a g o S a ndbu r g h a s giv en a Vi vi d a nd
C a rl
ll i m p res si on o f the city i n whi ch he lives I f one .

) b ec t th a t the pi ctu r e i s n ot be a utiful

j
’
the p o et s ,

wo ul d be th a t C hi c a g o s chief ch a ra ct eri s ti c is n o t
’ “

but p o wer .

Bu tcher for Wor l dthe ,

ma ker S ta cker of Wh e a t
, ,

r wi th Ra i l ro a ds a n d th e N a t ion s Fre i gh t h and l er ; ’

-
4 34 IN TROD U CT IO N TO PO ETR Y

St orm y husk y br wl in g
, ,
a ,

C i ty of th B ig S h ou l ders
e

Th e y t e l l me y ou e w i k d n d I bel ieve t hem for I h v e

ar c e a ,
a

seen y our p in t ed women under th e g s l am p s l urin g

a a

th f rm b o y s
e a .

An d t h e y t e l l me y ou a e crooked n d I nswer Yes i t i s

r ,
a a , ,

t rue I h ve seen th e gunm n ki l l n d go free t o ki ll

a a a

a ga in .

A n d th e y t e l l me y ou a r e bru t al an d m y re p l y is On t he f a ces ,

of women a n d c h i l dren I h a v e seen t h e m a rks o f

w a n t on h un ger .

A n d h avin g a nswered so I t urn once more t o t h ose who sneer

a t t h i s m y ci ty an d I g i v e t h em b a ck th e sneer a n d s a y
,

t o t h em :
C ome an d s h ow me a no th er ci ty wi t h l if t ed h e a d sin gin g so
p roud t o be al ive an d co a rs e an d s t ron g an d cunn in g .

F l in gin g m a gne ti c curses a mid t he t oil o f p i l in g j ob on j ob ,

h ere is a t a l l bo l d s l u gger s e t v i v id a ga ins t t he li tt l e

sof t ci t ies ;
Fierce a s a d og w ith t on gue l a pp in g for a c t ion cun nin g as a ,

s ava ge p itt ed again s t t he wi l derness ,

B a rehe a ded ,

S hove lin g ,

Wreckin g ,

Pl annin g ,

Bui l d i n g bre akin g rebui l din g

, , ,

Under th e smoke dus t al l over h is mou t h l au gh in g w i th white

, ,

t ee th ,

Under th e t erribl e burden o f des t in y l au gh in g a s a y oun g

m an l au gh s ,

L a u gh in g even a s a n i gnor an t fi gh t er l a u ghs who ha s ne v er

l os t a b a tt l e ,

Br aggin g an d l au ghin g t h a t under h is wris t i s t he p ul s e an d ,

under hi s r i bs th e he a r t o f t he p eo p l e ,

L au gh in g !
4 36 IN TRODU C TI O N TO PO E TR Y
d rews Hy m n on e o f the fi r st g re a t p o e m s d e a li n g with
’
,

“ ”
m a chine ry I n The Kin g q u oted in the s u c ceedin g
.
,

ch a pte r Kiplin g p r otest s a g a in st the n oti on th a t m o de rn

,

m a chin e ry i s n ot p oeti c I n thi s fiel d a l s o W a lt Whit m a n

.

wa s s o m ethin g o f a pi o nee r .

TO A LO C OMO TI V E I N WI N TE R

Th ee for m y rec i ta t i v e ,
Th ee in t h e dr ivi n g s t orm even as now , th e snow , th e win t er
d ay dec l inin g ,

Th ee i n t hy p a no p l y thy m e a s u r d du a l t h robbin g a n d thy

’

be a t con v u l s iv e ,

Thy bl a ck c y l i ndr i c bod y go l den br a ss a n d s i l v er y s t ee l

, ,

Thy p onderous s i de b a rs p a r a l l el a n d conn ec t in g rods

-
, ,

a t in
gy r g s h u tt l i n g a t t h y s i des
, ,

Thy me t ric a l now swe ll i n g p a n t an d ro a r now ta p erin g in

, ,

th e dis t a nce ,

Thy g re a t p ro t rudin g h e a d l i gh t fi x d i n fron t

’
-
,

Thy l on g p a l e flo a ti n g v a p or p enn a n t s ti n ged wi t h del ic a t e

, ,
-
,

p ur p l e ,

Th e dens e a n d murk y c l ouds ou t be l c h in g from thy s moke -

s t a ck ,

Thy kn itt ed fr a me th y s p rin gs a n d v al v es th e t remul ous

, ,

t w i nk l e o f thy w h eel s ,

Thy t r a i n o f c a rs b eh i nd obedien t merril y fo ll ow in g , , ,

Th rou gh ga l e or c al m now sw i f t now s l a ck y e t s t e a di l y

, , ,

c a reer i n g ;
Typ e of t h e modern—emb l em of mo ti on an d p ower— p u l se
of the con t in en t ,

For once com e ser v e t he Mus e a n d mer ge in verse e v en a s

‘

h ere I see t h ee ,

Wi t h s t orm a n d b u fl etin g gus t s of wind a n d f al l in g snow

'

B y d ay thy w a rnin g rin gi n g hell to sound it s no t es ,

By n i gh t thy si l en t si gn a l l a m p s t o swin g .
 PO E M S S TUD I ED B Y T H E M E 4 .

Fierce t h ro at ed bea u ty !
-

Ro ll t h rou gh m y c h a n t wi t h a l l t hy l a w l es s music t h y s w ii ,

in g l a m p s a t ni gh t ,

Thy m a d l y w his tl ed l a u gh t er ec h oin g rumb l in g l i ke a n e a r

-
, ,

qu a ke rous i n g a l l
, ,

L a w o f t hy se l f com p l e t e t h i n e o wn t r a ck fi rm l y ho l din g
, ,

(No swee t ness debon a ir o f t e a rfu l h a r p or gl ib p i a no t hin '

Thy t r i l l s o f s h rieks b y rocks a n d h i l l s retu rn d

’

L au n c h d o er t h e p r a i ries wide a cros s th e l a kes

’ ’

, ,

To th e free skies un p en t a n d gl a d an d s t ron g .

Wa l t Whitm a n (1 8 1 9 1 8 91 ) -

Th e m ove m ent f o r be a u ti fyi ng A m e ri c a n cities l

“
f o un d exp res si o n i n the p o e m s o f V a chel L i nd s a y I .
'

” “
thin g s m o st wo rth while he s a ys a re o n e s own he a l
, ,
’

a n d n ei hbo rho o d
g We
. sho ul d m a k e o u r ow n h o m e a

n ei g hb o rho o d the m o st dem o c r a ti c the m o st be a uti ,

”
a n d the h oli est in the w o rld L i k e o the r p o et s he p i
.
,

t est s a g a inst the g reed the u gli n es s a nd the c o mm e rci

, ,

i s m o f m o st l a r g e citie s .

ON TH E BUI L D I N G O F S PRI N G FI EL D

Le t no t our t own h e l a r ge— remem b erin g

Th a t l itt l e A t h ens w a s th e Muses h ome ;
’

Th at O x ford ru l es th e h e a r t o f London s t i l l ,

Th a t F l orence ga ve t h e Ren a i ss a nce t o Rome .

Record it for th g r ndson of y our son

e a

A c ity i s no t b u i l ded i n d y a a
:

Our l ittl e t own c nno t com p l e t e h sou l

a er

Ti l l coun t l es s gener t ions p ss w y a a a a .

Now e a c h c h i l d b e j oined a s t o a ch urch

l et
To h er p er p et u al h o p es e a c h m an ord a ined ;
,
4 38 IN TROD U CTI O N TO PO E TRY
L etever y s t ree t he m a de a re v eren t a is l e
Wh ere mus ic grows a n d be a u ty is unch a ined
, .

L et Science an d M a c h iner y a nd Tr a de
Be s l a v es o f h er a n d m a ke h er a ll in a l l
,

Bu i l din g a ga ins t our b l a t an t res t l ess t ime

A n unseen ski l l fu l medi aev al w all
, .

L et ever y ci t i z en be rich t ow a rd Go d .

Le t C h ris t the be gga r t e a ch d iv in ity

, ,

Let no m an ru l e w h o h o l ds h i s mone y de a r .

L et t his our c ity be our l u x ur y

, ,
.

We s h oul d bui l d p a rks t h a t s t uden t s from a f a r

Wou l d c h oose t o s t a rve in r a th er tha n go h om e
,

F a i r l i ttl e s qu a res wi th Ph idi a n orn a men t

,

Food for the s p iri t m i l k an d h one y comb

, .

Son gs s h al l be sun g b y us in t hat good d a y

S on gs we h a v e wr itt en— b l ood w it h in th e r hym e
B e a ti n g a s w h en o ld En gl and s t i l l w a s gl a d
, ,

Th e p ur p l e ric h E l i z a be t ha n t ime
, , .

is m y p ro p h ec y t oo f a ir an d f ar ?
S a y,
I on l y know un l es s h e r f a i th be h i gh
, ,

Th e sou l of t h is our N i ne v e h is doomed ,

Our l i ttl e B ab yl on wi ll sure l y d ie .

Some ci ty on the bre a s t of I ll inois

No w i ser an d no be tter a t the s t a r t ,

B y f a it h s h a l l rise redeemed— b y f a i t h s h al l r ise

B e arin g the wes t ern gl or y in h er h e a r t

Th e gen ius o f th e M a p l e, E l m an d O ak,

The secre t h idden in e a ch gr a in of corn
440 IN TRODU CT I O N TO
. PO E TRY
the s t a g e o f i ndu st ri a l devel op m ent Wh a t n o t a f ew .

old ti m e T ex a n s feel a s they c o nt r a s t the pictu res q u e

-

T ex a s whi ch i s g o ne with the hu stlin g c o m m e rci a listi c

‘

T ex a s whi ch is a t h an d T ex a ns h a v e l eft t o a n E a s t ern

,

p o et A m y L o wel l t o tell
, , .

TE XAS

I wen t a — rid i n g a ridin g

,
-
,

O v er a g re a t l on g p l a in .

A n d th e p l a in wen t a s l idin g -
, a- s l idin g
A w a y from m y brid l e rein -
.

Fie l ds o f co tt on an d fiel ds o f w h e at
, ,

Th under b l ue gen t i a ns b y a wire fence

-
,

S t and i n g c yp ress red an d t ense

, ,

Ho l d i ng i t s flower ri gi d l i ke a gun ,

D ressed for p a r a de b y th e runn i n g wh e a t ,

B y th e l itt l e bouncin g co tt on Terribl y sweet .

Th e c a rd i n a l s s i n g in th e l i ve o ak t rees -
,

A n d th e l on g p l a i n bree z e ,

Th e p r a irie bree z e ,

B l ows a cross from swe l l t o swell

\ Vit h a gi n ger sme ll .

J us t a h e a d w h ere t h e ro a d curves roun d

, ,

A l on g— c a red r a bb it m a kes a b oun d

In t o a w h e a t fi el d in t o a co tt on fi el d
-
,
-
,

H i s t r a ck gl itt ers a f t er him a n d g oes s t i l l a ga in

O v er to t h e l e f t o f m y br i d l e rein -
.

Bu t over t o th e ri ght i s a gl a r e —gl a r e—gl a re

O f s h a r p gl a ss w i ndows .

A n a rrow s qu a re of brick j erks t h ick l y u p a bove t he

p l an t s ,
 coffins o f co tt on b al es feed i t
-
,

t h res h ed w h e a t is i t s gol den bl ood .

h ere i t h a s no fee t ,

a s on l y t h e s t ee p ironic grin o f i t s t h ir ty si x windows -

,

t s b a si li sk e y es coun t in g th e fiel ds ,

sums of h o w m a n y bui l din g s t o a ci ty all d ay an d , a

e t he y wen t a ridin g a ridin g

-
,
-
,

t h e gre a t l on g p l a in .

o y s sin gin g t o t h eir do ge y s teers ,

p erc h ed on for ty do ll a r s a ddl es

-
,

t h e Nor t h si x mon th s t o ge t t her e

, ,

s t o re a ch Wy om i n g .

p a in t h orse h erd the li ttl e dogi e s

, .

the l on e p r a i rie ”
.

s of de a d s t eers ,

s o f cowbo y s ,

er th e whe a t m aybe
, .

e sk y scr a p er sin gs a no ther w ay

-
,

tun e of s t ee l of whee l s of go l d
, ,
.

d t h e gin ger bree z e b l ows b l ows a ll d ay ,

n ged wi t h flowers a n d mo l d .

d th e Te x a s sk y w h i r l s down w h ir l s down , ,

ki n g l on g l ooks a t t h e fuss y t own .

o l d sk y a n d a l on g p l a in

y ond be y ond m y bridl e rein

, ,
-
.

A m y L o we l l ( 8 74
1

In r e a lity s o m ethin g o f the t r a diti o n a l h o stility o f t

,

et s t o the cities will c o ntin u e whil e s elfish m en

4 42 I NT R ODU CT IO N TO PO E TR Y
the m a nd run the m f o r thei r own s elfish end s The old .
v

a ttitu de re a pe a r s with a n ew e m ph a si s in the foll owin

-
p g
p o e m i n p r o se by L o rd D u ns a ny wh o l o o k s up o n the ,

g re a t city a s a vi ol ent dist o r tio n o f th e pu rp o s e o f n a tu re .

TH E PRA Y ER OF TH E FLOWE RS *

It w as the v oice of th flowers on th Wes t w ind th e l o v bl e

e e ,
a ,

th e old , t he l y Wes t wind bl owin g ce se l ess l y b l owin g

az , a ,

s l ee pi l y , goin g G ree c e w a rd s .

“
Th e Woods h a v e gone a w ay t h e y ha v e f a ll en an d l e f t us ;
,

men l o v e us no l on ger we a re l one l y b y moon l i gh t G re a t

, .

en gines rus h o v er th e be a u ti fu l fi e l ds t h eir w a y s l i e h a rd a n d ,

t erri b l e u p a n d down th e l a nd .

The c a n orous ci t ies s p re a d o v er th e gr a ss t h e y cl a t t er i n

“
,

t h eir l a irs con t inu all y t h e y gl i tt er a bou t u s bl emis h in g the

,

ni gh t .

Th e Woods a re gone 0 Pan th e woods t h e woods

“
, A nd
, ,
.

t hou a rt f a r 0 Pa n an d f a r a w a y
, ,
”
.

I wa s ndin g b y n i gh t be t ween t wo r ai l w a y emb ankmen ts

sta

on th e ed ge of a M i d l a nd c ity On one o f t h em I s a w t he .

t r a i ns go b y once i n e v er y t wo m i nu t es a n d on th e o t h er
, , ,

th e t r a i n s wen t b y t w i ce i n e v er y fi v e .

Qu it e c l ose were th e gl a r i n g f a c t ories an d th e sk y a bo v e ,

t h em wore th e fe a rfu l l ook th a t i t we a rs in dre a ms o f fever .

Th e flowers were r i gh t in t h e s t ride of t h a t a d v ancin g ci ty ,

a n d t h ence I h e a rd t h em s end i n g u p t h e i r cr y A n d t h en I .

h e a rd be a t in g music a l l y u p wind t h e v oice o f Pa n re p ro v in g

, ,

t h em from A rc a dy— B e p a t ien t a l i tt l e t h ese t hin gs a re no t

“
,

for l on g .

L o r d D un s a ny (1 8 78

Co py ri ght e d by L ittl e, B rown a nd Co mp any .

4 44 IN TROD U CTI O N TO PO E TR Y
s u ch p o ets a s we re w ritin g we re n ot widely re a d E d m u nd .

C l a renc e Sted m a n M a dis o n C a wein a n d W illi a m V a u gh n

, ,

M o o dy d id n ot w rite the k ind o f p o et ry whi ch m a ny per

s o n s will eve r c a re t o r e a d E ven a s recently a s 1 9 1 0 o nl y
.
,

o n e o f the st ri ctly c o nt e m p o r a ry A m e ri c a n p o ets h a d

beg u n t o w rit e : thi s wa s E dwi n A rli n gt o n R obi ns o n the n ,

a l m o st enti rely u n k n own F o rei g n ob se rver s m i ght w ell

.

i m ag ine th a t A m e ri c a wa s t o o m a te ri a li stic eve r t o p r o

d u c e a s up r e m ely g r e a t p o et We even s a id the s a m e t hin g
.

“
o f o u r s elves S o m e sh a red M a c a ul a y s opini o n th a t a s
.
’

civiliz a ti o n a dv a nces p o et ry a l m o st neces s a rily de

,

”
clines .

T o d a y how eve r n o p o et h a s c a u s e t o l a m ent li k e M il

'

, , ,

“ ”
t o n th a t he i s f a llen o u evil d a ys f o r n eve r b efo re in
, ,

the hi st o ry o f the w o rld we re s o m a ny pe ople inte rest ed

in p oet ry . The evidenc e i s u n m ist a k a bl e Ther e a re .

s eve r a l m aga zines devo t ed wholly t o p o et ry M a ny o f the .

olde r p ublic a ti o n s whi ch in 1 9 1 0 u sed vers e o nly a s a

,

“ ”
fill er n o w m a k e it a fe a tu re In r ecent y e a rs b o th
, .

p ublishe r s a n d a utho rs h a ve bee n k n own t o r e a p l a r ge

p r ofit s fr o m a v olu m e o f ve rs e N o r i s thi s a ll At hun
. .

d reds of club m eetin g s a n d p opul a r lectu res r ecent p o et ry

i s bein g r e a d a nd di s cu s sed N u m er o u s h a ndb o o k s a nd
.

a nthol o ies h a ve b een p ublished t o m eet the widesp re a d

g
dem a nd f o r info rm a ti o n in r eg a rd t o c o nte m p o r a ry p oet s .

M o st re m a r k a ble f a ct o f a l l pe rh a p s p resent d a y p o et ry
,
-

h a s a t l a st received rec o gni ti o n in t ha t c o ns e rv a tive q u a r

t e r the c olle g e cu r ri culu m I f we except the little c o m
, .

m u nity a r o u n d B o st o n in the m iddle o f the l a st centu ry ,

n othin g li k e thi s wide inte r est in p oet ry h a s eve r b e en

k n ow n in A m eri c a .
 TH E C O N TE M PORARY PO E T S 445

On e o f the m o st st riki n g a spect s o f c o nt e m p o r a ry

p oet ry i s it s re c on q u es t o f mu c h o f the te r rit o ry whi ch
-

ve r s e h a d l o st t o p ro s e When liter a tu r e e m e r ged fro m

.

the tw ili g ht ob s cu rity o f p rehis to ri c ti m es it c o ns is t ed ,

s olely o f p oet ry ; p r o s e wa s a l a te r devel op m ent The .

G ree k s ha d n o M u s e fo r eithe r the n ovel o r the s ho rt

st o ry E ve r sin c e the inventi o n o f p rintin g p r o s e h a s
.
,

en c r o a ched m o r e a nd m o re up o n the n a r r owin g c o nfines

o f p o et ry T he n ov el the sho rt st o ry a n d the es s a y
.
, ,

r en de r ed the epi c a n d the b a ll a d well ni gh ob s olete It -

.

be g a n t o l o o k a s tho u g h p o et ry wer e t o be li m ited t o the

ly ri c . F o r a dec a de o r m o r e — if we except c ert a in
b r illi a nt yo u n g n oveli sts wh o h a ve c o m e into p r o m inen c e
a a —
withi n the l st two o r thr ee ye r s p r o s e ficti o n h a s been
c o nventi o n a l a nd in feri o r in q u a lity ; thi s i s especi a lly
t r u e o f A m e ri c a The sho rt st o ry in p a rticul a r h a s b e
.

c o m e s t e re o typed m a chin e m a d e a n d o u t o f t o u ch With

,
-
,

life H en c e tho s e w rite rs wh o h a v e sto r ies t o tell n ow

.

f req uently tu rn t o p o et ry a s a free r m ediu m o f exp r es

si o n . The b es t o f the p o e m s o f N oye s a nd M a sefi el d o f ,

F r o st R obi n s on M a st er s a nd A m y L o well a re n a rr a
, , ,

tive .

We sh a ll di s c u s s th e B riti s h p o et s fi rs t bec a u se they

illu s t r a te bette r th a n th e A m er ic a n the t ra n s iti o n f r o m
, ,

the olde r p o et ry t o the n ew I n E n glish p oet ry We find .

two s t r on gly c ont r a s ted g r o up s o f p o ets who f o r w a n t , ,

o f m o r e ex a ct te rm s a re u s u a lly c a ll ed the c o ns e rv a tives

,

a n d the r a di c a l s A m on g the c o ns erv a tives we m a y cl a s

.

Willi a m W a t s o n ; R o bert B rid g es the p o et l a u re a te ; ,

Al f r ed N oyes ; a nd thre e p oet s n o l o n g e r livi n g Stephen ,

Phi lli ps A nd rew L a n g a n d Au sti n D ob s on

, , Th e b est .
4 46 IN TRODU CT I O N TO PO E TRY
k n own p o ets o f the d i c a l g r o up
J ohn M a sefi el d a nd
ra a re

Wilf ri d Wils o n Gib s on With the m we m a y cl a s s two .

olde r p o ets Kip lin g a nd Ye a ts a n d the y o un ge r po ets

, ,

k n own a s the Geo r gi a ns The c o n se rv a tive p o et s in the .

,

m a in c ontinu e the ide a l s a nd m etho d s o f th e Vi ct o ri a n s

, ,

esp eci ally Swinbu rn e a nd T enn ys o n The r a dic al s rebel .

a a in s t the ide a l s of the Vict o ri a n s a n d s ee k new them es

g
a n d expe ri m ent with new m o de s o f exp res si o n .

Tennys o n i s the p et a ve r s io n o f the ra dic a l s ; a nd

Tennys o n tho u g h a g enuin e p o et a n d a g re a t a rti st ha d
, ,

cert a i n f a ults whi ch hi s s u c c ess o r s widely i m it a ted The .

res ult w a s th a t p oet ry be c a m e hi g hly c o nventi o n a l in

l a n gu a ge in ide a s a n d in techni q u e P ro fes s o r Th o rn

, , .

di k e in a brilli a nt study o f the Vi ct o ri a n pe ri o d L i t era ,

t u re in a Cha n ging A g e p o int s o u t th e c o nventi o na l ,

“
side o f T en nys o n s di cti o n : Flowe rs m o onli ght the l a p
’
, ,

pin g wa ve j ewel s a n d silk s the open r o a d the wind in

, , ,

the t ree s the fl a sh o f swo rds the p a le f a ce a nd th e deep

, ,

—
eye s the r o se o f d a wn the l o ne s ea m ew wh a t eve r is
, ,

p retty m el o di o u s pi ct u res q u e a n d r a the r s upe rfl u o u s in

, , ,

the d a y s w o r k— fu rnish the thre a d of p o eti c e mb r oide ry

’

”
f o r T e n nys on a nd f o r how m a ny i m it a to r s !
, Te nn y
s o n s f oll owe r s
’
b ein g u na ble t o riv a l his o ri gin a l m e rit s
, ,

i m it a ted his f a ult s : hi s ove r o rn a t e dicti o n hi s sen timen -

,

t a lity his a rtifici a l the m es The s ubj ects o f Swi nb u rne

, .
,

M o rri s a nd R o s s etti fo r in st a n ce a re d r a wn o ften e r

, , ,

fr o m bo o k s th a n f r o m life ; thei r po e m s p res upp o s e m o re

c ultu re th a n the a ve r a g e re a de r p o s se s ses L a te Vic .

to ri a n p o et ry wa s o ut o f t o u ch with the life o f the E ng

li sh peopl e The ti m e wa s ripe fo r a n ew p oeti c m o ve
.
448 IN TROD U CTI O N TO PO E TRY
u nder st a n d a n d enj o y The res ul t wa s a gr e a t p opul a r
.

su c ces s H i s p o em s we re wid ely i m it a ted by othe r w rite rs

.
,

incl u di n g R obe rt W Se rvi c e the C a n a di a n p oet ; A l fr ed

.
,

N oyes ; a nd J ohn M a s efi el d .

S o me o f the l a te r p o e m s o f Kiplin g a re m u ch les s

p opul a r th a n they d es erve t o be fo r they p o s s es s a m o re ,

s ub st a nti a l c o ntent o f tho u ght The l a te r p oem s sh ow .

a l s o a m u ch
g r e a te r r a n g e th a n the e a rly p o em s Kip .

li ng i s o n e o f th e m o st ve rs a tile o f l ivin g p o ets In .

eve rythi ng b u t n a m e he i s the l a u re a te o f the B ritish

E m pi r e H e wa s the fi rs t o f B ritish w ri te r s in p r o se o r
.

ve r s e t o pe r c eive the p o et ry l a tent i n the E m pi r e With .

hi m f o r the fi rs t tim e G re a t B ri t a in s ee m s t o h a ve b ec o m e
c o ns ci o u s o f he r wo rld wide ter rit o ry a nd h er d uties a nd
-

opp o rtu niti es L o r d Kit chene r m u st h a ve felt thi s whe n

.

he pu t i nt o the h a nds o f eve ry B riti sh s oldie r in F r a n c e

“
a c opy o f Kiplin g s If ’
.

Kiplin g li k e m o st c o ntemp o r a ry p o ets fin d s his r0

, ,
'

m a nc e i n the p res ent r a the r th a n in the p a st To m o s t .

olde r p o et s n oveli sts a n d d r a m a tists r o m a nce impli ed

, , ,

the f a r o ff in sp a ce o r tim e R ecent w rite rs lik e

-
.

M a s efi el d a nd 0 H en ry foll ow Kiplin g i n reve a lin g the

.

r o m a nti c side o f f a m ili a r thin g s M o re th a n a ny othe r .

p o et Kiplin g h a s t ri ed t o p oint o u t the p o et ry a n d ro

,

“ ”
m a n c e l a tent in m o de r n m a chine ry T he Kin g whi ch .
,

w e q u ote i s a m o st e ffective s a ti re up o n the n o ti o n th a t

,

o nly the p a st i s r o m a nti c T his p o em li k e Kiplin g s

.
,
’

“
To the T r u e R o m a n c e ” “
The C o nu nd r u m o f the “
, f o rk
” “ ” “
shop s , Th e St o ry o f Ung a nd Th e Three ,

”
dec k e r i s in a dditi on t o it s p o etic me rits v a l u a ble a s
, ,

c riti ci sm .
 THE CO N TE M PORA R Y PO E T S 4 49

TH E K I N G

Fa rewe ll Rom an ce ! th e C a v e men s aid ;

,
”
-

“
Wi t h bon e wel l c a r v ed h e wen t a w a y .

F l in t a rms th e i gnob l e a rrowh e a d ,

A n d j a s p er tip s t h e s p e a r t o d ay -
.

Ch an ged a re t h e G ods o f Hunt a n d D a nce ,

An d b e wi t h t h ese
”
F a rewell Rom a nce !
.
,

”
F a rewe l l Rom a nce ! th e L a ke fol d si gh ed ;
,
-

“
We l if t th e wei gh t o f fla tl in g y e a rs ;
The c a v erns of t h e moun t a in side -

Hol d him w h o scorns our h u tt ed p iers .

Los t h i l l s w h ereb y we d a re no t dwe ll ,

G u a rd y e h i s res t
”
Rom a nce F a rew ell !
.
,

F a rewe ll Rom a nce ! th e S ol dier s p oke ;

,
”

“
B y s l i gh t o f sword we m ay no t win ,

Bu t s cu fl e mid uncl e an l y smoke

’

O f a rquebus an d cu l v erin .

Honour i s l os t an d none m ay t ell

,

Wh o p a i d good b l ows Rom ance f a rewe l l

.
,

”
F a rewe ll Rom anc e ! th e Tr a ders cried ;
,
“
Our kee l s h a v e l a in wi t h e v er y s ea ;
Th e du ll —
re t urnin g w i nd a n d t ide
He a v e u p th e w h a r f where we woul d be ;
The kn own a n d no ted bree z es swe l l
Our t rudgin g s ail Rom ance f a rewe ll !
.
,

“
G oodby e Rom ance ! th e S ki pp er s a id ;
-
,
”

“
H e v a nis h ed w ith t h e co a l we burn ;
Our d i a l m a rks fu l l s t e am ah e a d ,

Our s p eed is t imed t o h a l f a t urn .

S ure a s t h e ferried b a r g e we p l y
Twi xt p ort and p or t Rom a nce good b y e !
”
’
-
.
,
45 0 IN TR OD U CT IO N TO PO E T R Y
Rom ance ! se a son t icke t s mourn
”
th e -
,

H e ne v er ra n t o c a t c h h i s t r a i n
“
,

Bu t p a s sed wi th co a ch an d gu a rd a n d h orn
A n d l e f t th e l oc a l — l a t e a ga i n !
”

C on found Rom a nce ! A n d a l l un seen

Rom ance brou gh t u p t h e n in e fi f t e en -
.

His h and w a s on th e l e v er l aid ,

H i s o il can soo t h ed th e worr yi n g cr anks

-
,

His w h is t l e w a ked th e snowbound g r ade ,

His f og h orn cu t th e reekin g B a nks ;

-

B y d ock a n d dee p a n d m ine a n d m i l l

.

Th e Bo y go d reck l ess l aboured s ti ll !

-

Robed , crowned a n d th roned h e wo v e h is s p e l l , ,

Where he a r t b l ood b e a t or h e a r t h smoke curl ed

- -
,

Wi th unconsidered mir a cl e ,

Hedg ed in a b a ckw a rd ga z i n g worl d -

Th en t a u gh t h is c h os en h ard t o s ay :
“
Our K in g w as wi th u s— y es t erd a y
R ud y a r d K ip l ing (1 8 65

The le a de r o f the I ri sh lite r a ry m ove m ent Willi a m ,

B u tle r Ye a t s tho u g h he h a s little el s e i n c o mm o n with

,

Kiplin g shows a n e q u al a ve rsi o n t o the c onventi on a l l a n

,

g gu a e o f T en n ys o n s i m it ’
a t o rs Spe a k in
g i n. C hic a o
g
“
s ev e ra l ye a r s a o he s a id : We t ried t o st rip w a y eve ry
g , a

thi ng th a t wa s a rtifici a l t o get a s tyle li k e s peech a s

, ,

”
si m pl e a s the s im plest p r o se li k e a c ry o f the he a rt
, .

“
S o m e o f Ye a t s s p o e m s lik e hi s b a ll a d
’
, F a the r Gilli ,
”
an p o s s es s thi s Wo rdsw o rt hi a n sim li city ; but m a ny
g , p
o f the m a r e tin g ed with a v a g ue m ysti cis m .

Ye a t s is the gre a t est p o et I rel a nd h a s yet p r odu ced ;

i f we m ay a c cept M a sefi eld s esti m a t e he i s a ls o th e grea t
’
,
45 2 I N TROD U CT IO N TO PO E T RY

An d bend i n g down bes i de th e gl owin g b a rs

Murmur a l itt l e s a d l y h ow l o v e fled
, ,

A n d p a ced u p on th e moun t a ins o v er h e a d

A n d h i d h is f a ce a m i d a crowd of s t a rs .

Will ia m B ut l e r Yea ts (1 865

Althou g h h a rdly a typi c a l c o ns erv a tive Alfr ed N o yes ,

in th e m a i n imp res s es o ne a s a b el a ted V ict o ri a n

'

He is .

m u ch m o re interest ed in E n gl a n d s p a s t th a n a n y o f his ’

fell ow p o et s Hi s vers ifi c a t io n his dicti o n hi s s ubj ect s

-
.
, ,

o ften rec a ll Swinbu rn e T en nys o n o r Ke a t s T o o o ften

, , .

a ls o he seem s t o be t ryin
g t o exp res s s o m ethin g which h as

a l re a dy b ee n e ffectively s a id by s o m e olde r p o et I n his .

p olitic a l a n d s o ci a l a s well a s i n his p oeti c id e a l s he is ,

with the m a j o rity o f hi s g ene r a ti on H e h a s li k e Ten .

,

n y s o n a n d L o n g fell ow the f a culty o f s a yin g in n ot t o o

,

lite r a ry a m a nne r wh a t the a ver a g e re a de r o f p o et ry i s

thin k in g ; hen c e he h a s been eno rm o u sly p op ul a r H is .

p opul a rity with the m a s s es a s in the c a s e o f L on g fell o w

, ,

h a s c a u sed s o m e c riti c s t o deny hi m a ny p oetic m e rit .

Thi s i s m a ni festly u n f a i r A m a n m a y be a g enui ne p o et

.

in s p ite o f the f a ct th a t h e is n o t a s t a rtlin gly o ri gin a l

thin k e r N oyes s p o et ry howeve r d o es t o a c o n side r a ble
.
’
, ,

de g r ee r e fl ect m o de rn E ng lish li fe a n d tho u g ht Perh a p s .

the f a ct th a t hi s wi fe is a n Ame ri c a n a c c o u nt s in p a rt
f o r hi s inte rest in this c o u nt ry a nd i n wh a t he w o uld c a ll
“
the An gl o Am eri c a n m is si o n
-
.

N oyes s techni c a l s k ill p o s sibly his chi ef cl a i m t o fa m e

’
, ,

i s little sho rt o f m a rv el o u s H e i s e q u a lly a t ho m e in the

.

b a ll a d s t a nz a the s o nn et bl a n k ver s e a nd i n the v a ri o u s

, , ,

ly ri c fo rm s H is b es t p oe m s a re by g ene r a l c o n s ent his

.
, ,

“ ” “
b a ll a ds a m on g which The H i ghwa y m an a nd F o rty
,
 THE C O N TE M PORAR Y POE T S 45 3

Si ngin g S e a m en a re p ro b a bly the b est H is c ollected

.

po e m s c o nt a in m a ny o the r excell ent n a r ra tives the b es t ,

o f whi ch perh a p s a re the Ta le s o f t he M e rma id Ta ve rn

a nd D ra k e a r o m a n c e o f E liz a beth a n E n gl a nd
, .

J ohn M a s efi eld s e a rly li fe t a u ght hi m m a ny thin gs

’

which p oet s who li k e N oyes T ennys on a n d Wo r dsw o rth

, , , ,

o t o Oxfo rd o r C a m b rid g e seldo m h a ve a n opp o rtu n ity

g ,

t o le a rn .At a n e a rly a ge he ra n a w a y a n d went t o sea .

A s a r esult o f hi s expe ri en c e a s a s a il o r he i s bett e r a bl e

,

t o p ictu r e the s ea th a n a n y o the r w rite r except s u ch

n oveli st s a s C o n r a d M elvill e a n d C o ope r a l l o f who m
, , ,

le a rn ed the s a il o r s life f r o m a ct u a l expe rien c e M a s e

’
.

fi el d h a d m a ny o the r u nu s u a l expe ri ences b efo r e h e b eg a n

hi s c a ree r a s p o et Onc e f o r a livi n g he wa s fo rced t o
.

wo r k a s a s si st a n t i n a N ew Yo r k b a r r o om ; his expe rien ce

the re ha s o c c a s io ned a n i nte restin g s o nn et by W illi a m
R o s e B en ét Unli k e m o st p o et s M a s efi el d h a s s een life
.
,

f ro m be low a s well a s f r o m a b ove ; a n d in hi s p o e m s he

h a s d es c ribed the li fe o f the l owly which u ntil c o mp a r a
t ivel y r ecent tim es g o t int o lit er a tu re n o ne t o o o ften .

S a l t Wa t er P o em s a nd B a l l a d s s o m ewh a t in the vein o f

,

Kiplin g wa s hi s fi rst volu m e ; but it wa s The E verl a s ting

,

M e rc y a nd The Wid o w i n t he B ye S t ree t which br o u ght

hi m rec o g niti o n T hes e two n a r r a tives a re full o f vivid
.

pictu res o f the h a rd life o f the p o o r ; they fill the r e a de r

with a s ens e o f the inj u sti c e o f the s o ci a l o rde r which
c onde m n s c e rt a i n individu a l s t o a li fe o f t o il a n d s u ff e rin g .

L ik e m o st p o et s M a s efi el d owe s hi s a w a k enin g t o a p oet

,

who m he re a d a t a c ritic a l ti m e M ilto n s ee m s t o h a ve

.

been fi rs t s ti m ul a ted t o w rit e p oet ry by a r e a din g o f

“ ”
Sp en s e r the p o et s p o et
,
’
I t wa s Spe n s er a l s o who
.
45 4 IN TROD U CT IO N TO PO E TRY
a w a k ene d Ke a ts ; a n d it wa s Ke a t s who seem s t o h av e b e e n
the i nspi ra ti o n o f A m y L owell We q u ot e M a s efi el d s o wn
.
’

a c c o u nt o f hi s fi rs t r e a din o f C h a u cer who a ve hi m hi s

g g ,

“
fi r st c o n cepti o n o f wh a t p o et ry m i ght m e a n t o hi m : I
did n ot b e gin t o r e a d p o et ry with p a s si on a nd syst e m un til
1 89 6 . I wa s livi ng then in Yo n k er s N Y (a t 8 M aple
.
, . .

St reet ) C h a u c e r wa s th e p o et a n d the Pa rliam e n t of

, ,

F o wls the p o e m o f m y c o nve rsi o n

, I r e a d th e P a rlia men t
.

a l l th r o u h o n e S und a y a fte r n o o n
g with the feelin g th a t I
,

h a d b ee n k ept o ut o f m y i nher it a n c e a n d h a d the n s u d

d enl y ente red upo n it a n d h a d fo u nd it a n ew wo rl d o f
,

w o nd er a n d deli g ht I h a d neve r r e a liz ed un til th en wh a t

.
, ,

”
p o et ry c o uld b e .

Alth ou gh the i nfl u en c e o f Sh a k espe a r e Kipli ng a nd , ,

o the r p o et s i s t o b e s een in hi s w o r k the in fl u en c e o f ,

C h a u ce r i s the s t r o n g es t t o be f o u nd there H i s l a te r .

p oem s a re les s full o f a r a the r l u rid re a li s m th a n The

E verl a s t ing M ercy M a s efi el d i s pe rh a p s n o l o ng e r t o b e
.

cl a s s ed with the r a dic a l p oets ; ce rt a i nl y n o t a g desc ribes

his l a te r verse which i s i n h a rm o ny wi th th e b est t r a di
,

ti o n s o f E n glish p o et ry Hi s s ubj ect m a tte r a nd his

.

dicti o n a re n ew b u t the m et ri c a l fo r m s whi ch he em pl oy s

,

a r e in the m a i n the olde r fo rm s u s ed by C h a u ce r Sh a k e ,

spe a re a n d S c ott Tho u g h h e h a s w ri tten s o m e exc el

, .

lent ly ric s a nd m a ny g o o d Sh a k espe a r e a n s o n nets hi s ,

bes t p o em s a re p r ob a bly his n a r r a tive p o e m s D a u ber , ,

Th e Wid o w in t he B y e S t ree t , R ey na rd t h e F o x , E n s l a ved ,

an d R ig h t R o y a l . p oe m which we q u o te a ltho u gh
Th e ,

m o r e ch a r a ct e ri sti c o f the e a rlier M a sefi eld fu rnishes a n ,

exc ellent illu st r a ti o n o f the di ffe r enc e i n spi rit a n d s ubj ect
betwee n the n ew a nd the ol d e r p o ets T hi s p oe m i s p re
.
45 6 IN TRODU CT IO N TO PO E TRY
Of the m a imed o f th e h al t ,
an d th e bl in d in t he r ain an d th e
col d
O f t hes e sh al l m y son gs he f a s h ioned m y t al es be t o l d
,
.

A ME N .

J oh n M a s efiel d (1 8 78

I n the foll owi n g p o e m Wilfrid Wil s on Gib s o n s u ggest s

the ch a n g e i n hi s own p oeti c id e a l s whi ch c o rr esp onds in
g e n er a l t o th a t w e n ot e i n p a s sin
g fro m the Vi cto ri an

p oets t o tho se o f the p res ent tim e .

PRE LU D E

As one at midni gh t w a kened b y t he c a ll

, ,

O f gol den p l o v ers in th eir se a w a rd fli ght

-
,

Who l i es a n d l i s t ens a s th e c l e a r no t es f al l
,

Throu gh ti n gl in g si l ence o f th e fros ty ni gh t

Who l i es an d l i s t en s t i ll th e l a s t no t e fa i l s
, ,

A n d t h en in f a nc y f a rin g w it h th e flock
, ,

Fa r over s l umber i n g h i l l s an d dre a m i n g d a l es ,

Soon h e a rs th e sur ges b re a k on reef an d rock ;

And h e a rken i n g t i l l a l l sense o f s e l f is drowned
, ,

With in th e mi gh tier mus i c o f th e dee p ,

N o more rememb ers th e swee t pip in g sound

Th a t s t a r t l ed h im from du l l undre a min g s l ee p ; ,

S o I firs t w a k i n g from ob l ivi on h e a rd

, , ,

Wit h h e a r t t h a t k i nd l ed t o th e c a ll of son g ,

Th e voice o f y oun g l i fe flut in g l i ke a bird , ,

And ech oed th a t l i gh t l i l tin g ; t i ll ere l on g , ,

Lured onw a rd b y th a t h a ppy sin gi n g— fligh t ,

I c a u gh t th e s t orm y summon s o f t h e s ea ,

A n d d a red t h e res t l ess dee p s t h at d a y a n d ni gh t , ,

S ur ge wi t h t h e l ife son g o f h um a n ity

-
.

Wilf rid Wil s on Gibs on (1 8 78

 THE C O N TE M PORA R Y PO E T S 45 7

I n A m e ri c a the b re a k with the olde r p oeti c t ra diti o n i s

m o r e m a r k ed th a n i n E n gl a nd ; we h a ve few livin g p o et s
wh o c a n be cl a s sed a s c on s e rv a tive The o nly olde r A m e ri .

c a n p oets who ex ert a ny pp reci a bl e i n fl u en c e o n c o nte m

a

o r a ry p oet ry a re P o e a n d Whit m a n neithe r o f wh o m

p ,

wa s a N ew E n gl a nde r C o nte m p o r a ry A m e ri c a n p o et s
.

end o r s e P o e s o ft affi r m ed c o nvi ctio n th a t the b u sin es s o f

’ -

p oet ry i s n o t m o r a lity b u t be a u ty Whit m a n s i nfl u en ce .

’
,

a s we h a v e a l re a dy s u gg est ed is m u ch g re a te r In hi s , .

u s e o f free ve r s e i n his A m e ri c a n the m es a nd i n his h a t r ed

, ,

o f c o nventi on al p o eti c d icti on Whit m a n w a s cle a rly a

“
fo re r u nne r o f the new p o ets Whit m a n s P o et s t o .
’

”
t o C o m e s ee m s a l m o st p ropheti c

Poe t s t o come ! or t ors sin gers musici ns t o come !

a , ,
a

No t t o—d y is t o j us t if y me n d nswer w h t I m for

a a a a a ,

Bu t y ou ,
new brood n tiv e t hl e ti c con ti nen t l gre at er
a ,
a ,
a ,
a ,

t h n before known
a ,

Arouse ! for you mus t j us t ify me .

P o ets a n d c ritic s o f t o d a y even tho s e who we re b o r n ,

in N ew E n gl a n d h a v e li ttle sy m p a thy with the olde r

,

p o et s of th a t s ectio n Th e p o em s o f L o ng fell o w H ol m es
.
, ,

Whittier a nd L owell we a re r emi nded we re o fte n viti a ted

, , ,

by thei r p r ovi nci a li s m thei r p r u di sh reti cenc e thei r in

, ,

ces s a nt m o r a lizi n g E ven the c on s e rv a tive E dm u nd Cl a r

.

enc e S tedm a n a fte r c o m pilin g hi s A me ri c a n A n t ho l o gy

, ,

s a id t o a f ri en d th a t wh a t this c o u nt ry n eeded w a s s o m e
“ ”
a dul t m a l e ver s e L o u is U nte rm eye r a c o ntemp o r a ry
.
,

p o et a nd c riti c refe rs t o the wo r k o f the olde r N ew

,

“
E n gl a nd p o ets a s p oe m s o f the in si stently did a cti c type ,

-
whe re a ll thi n g s i n a nd o u t o f n a tu r e f r o m a ch a m ,
45 8 IN TRODU CT I O N TO PO ETRY
b e red n a utilu s t o a vill a g e bl a c k s m ith a re u sed t o p oint a
,

”
speci o u s a n d u s u a lly i r relev a nt m o r a l A c o ntemp o r a ry
.

A m e ri c a n p o et h a s clev erly exp res s ed the a ttitu de o f

fell ow s in a Sh a k espe a re a n s o nnet .

C E RTA I N A M ER I CA N PO E TS

Th e y cowered i ner t before th e s t ud y fi re

Whi l e mi ghty w i nds were r a n gi n g wide an d free ,

Ur gin g t h e i r t or p id f a ncies t o a s p ire

Wi t h Euh oe ! B a cchus ! H ave a cu p o f t ea
“
.

Th e y t ri pp eddemure from ch urc h t o l ec t ure -

hal l ,
S hunn i n g t h e
sn a re of f a r t h in gal es a n d cur l s ,

Wom an t h e y t h ou gh t h a l f an gel an d hal f do ll ,

Th e Muses t em p l e a bo a rdin g sc h oo l for gi r l s

’
-
.

Q ua ffin g Pieri a n dr a u ght s from Bos t on p um p ,

Th e y t oi l ed t o p rove t h e i r h om il e t ic a rt
C ou l d m a t c h w it h n a s a l t w a n g a n d p u l p i t thu m p
In m a xi ms gl ib of mee t in g h ouse an d m a r t
-
.

S erene l y t h eir o v in e dmirers gr e

a az .

A p o l l o we rs frock co t s th e Muses s t y s
a -
a ,
a .

Od e l l S hep a r d (1 8 84

“
I t i s t r ue th a t L on gfell ow th o u ght it ex q uisite t o re a d
”
o o d n ovel s i n bed with w a x li ht s in silve r c a ndlesti c k s
g g .

I t i s t r u e a l s o th a t a fte r r e a din g F rém o n t s a c c ou nt o f a ’

j o u rn ey th ro u gh the R o c k ies he w r ot e i n his j o u r n a l :

,

“
Wh a t a wild li fe a nd wh a t a f re sh k i nd o f exi stenc e !
,

”
B ut a h the di s c o m fo rt s ! An d yet the s on net we h a ve
,

q u o ted i s n ot wholly j u st even t o L on g fellow th e p et ,

a ve rs i o n o f the A m e ri c a n p o et s o f t od a y I t i s a ch a r .
4 60 IN TR ODU CT IO N TO PO E TR Y
Or in som e me t er t h a t h a th l e a rn t from Time
The h e a r t s own c h i me
’
.

Th ese w a y s a re no t more o l d
Th a n t h e unmed it a t ed modern l ay ,

A n d a l l t h os e l itt l e h eresies of son g

Al re a d y ol d when Homer s ti l l w a s y oun g .

R ic ha r d L e G a l l i e n n e (1 866

The im s o f the r a dic a l p oets b oth B riti sh a n d A m e ri

a ,

c a n h a ve been b est exp res s ed by the

, g r o up k n own a s t he
I m a gi sts The best k n own m embe rs o f thi s v a ryi n g gr o up
.

a r e R ich a rd Al di n t on D
g H L a w ren ce a nd T S F lint
, . .
, . .
,

“ ”
a l l E n lish m en ; a n d th ree A m e ri c a ns
g H D (M rs , . . .

R i ch a rd Aldin g t o n né e H ild a D o olittle ) J ohn Go uld

, ,

F letche r a n d A m y L owell I n 1 9 1 5 they p refix ed t o a

, .

c oll ecti o n o f thei r wo r k S o me Im a gis t Po ems six r ul es

, ,

f o r the w ritin g o f p oet ry W e q u o te in p a rt the fi r s t.

fo u r :

1 . To n u a ge o f common s p eec h bu t t o em pl o y
use th e l a g ,

a l w a y s th e e x a c t word no t th e ne ar l y e x a c t nor t he mere l y

, ,

decor a t i v e word .

2 To cre a t e n ew r h yt hms — a s th e e xp ression s o f new

.

moods— a n d no t t o co py o l d r h yt hms w h i c h mere l y ech o o l d ,

moods We do no t ins i s t u p on free v erse a s th e on l y

.
“ ”

me th od of wri ti n g p oe t r y We fi gh t for it a s a p r i nc ip l e of
.

l i b er ty We b e l i e v e t h a t th e ind i v i du al i ty o f th e p oe t m a y
.

o ft en b e b e tt er e xp ressed i n free verse th a n in conven t ion a l

forms In p oe t r y a n ew c a dence m ea ns a new ide a
.
,
.

3 To a l l ow ab so l u t e freedom i n t h e c h o i ce o f su b j ec t
. .

We b e l i e v e p a s s i on a t e l y in th e a r ti s t ic v a l ue of modern
l i fe .

4 To p resen t a n im a ge (h ence th e n ame

. We
a re not a sc h ool o f p a in t ers , b u t we b eli ev e th a t oe t r shou l d
p y
 T H E C O N T E MPO R ARY PO E T S 461

r t icul a rs e x a c t l y an d no t de al in v ague gener al i ti es

a ,

m a gn ificen t an d sonorous .

I m a g i st s the m selves s t a t e thes e p rin cip l es a re

,

u t f a llen int o dis u se H a d they wi shed t o a ppe a l

.

i sto ry o f p o et ry fo r p re c edent they c o uld h a v e ,

s t ri k in g ex a m ple o f thes e I m a gi st p r inciples i n

a ce which Wo r dswo rth p refixed t o the 1 8 00 edi

The L y ric a l B a ll a d s Wo rdsw o rth a rg u ed fo r

.

o f s ubj ect f o r w ritin g with one s eye o n the

,
’

d a n d f o r the a b a nd on m en t o f a c o nven
,

i o n i n f a vo r o f a l a n g u a g e d ra w n f r o m
speech o f the p eople The I m a gi sts i n thei r
.
,

et a w a y f ro m c o nventi o n s li k e Wo r dsw o rth

g , ,

r ule s whi ch it is imp o s s ible a lw a ys t o liv e u p t o .

“
they fi nd it difficult t o li m it the m s elves t o the
”
g e o f c om m o n spe ech ; a n d s o m eti m es li k e hi m , ,

“ ”
1 1 int o the h a c k neyed di ctio n a n d the i nve rsi o n s
.

they c o nde m n . B ut th e new p o et s h a v e p retty

ely f re ed p o et ry o f s u ch t rite exp re s si o n s a s 0
d o t h, d whil o m
’
n o n gs t , e en , e rs t , an .

“ ”
followin g p oe m by H D i s typi c a l o f Im ag is t
. .

exc ept th a t it i s m o re c omp a ct a nd hi ghly fini shed

o st othe r c o m po sitio n s in f ree ve rs e A n o r e a d i s a .

1 1 1 n ym ph
L .

O REA D

Whi r l u p s ea ,

Wh i r l y our p oin t ed p ine s .

S p l a s h y our gre at p ine s

On our rocks .
4 62 IN TRODU CT I O N TO PO ETR Y
Hurl y our green over us
C over us w i t h y our p oo l s of fir .

“ ”
H D
. .
( 88 6
1

In di s c u s sin g the Im a gi sts we h a ve dep a rt ed fr o m the

o r de r o f ch r o n ol o gy E dwi n A rlin gt o n R obin s on i s the
.

pio n ee r of livin g A m e ri c a n p o et s a n d the g re a test o f the m

a ll
. H e i s i n o u r opi ni o n a m o r e p a in s t a ki n g a rti st th a n
, ,

an
y o the r livin g p o et Altho u.
g h he h a s been w ritin
g a nd

p ubli sh in g p o e m s fo r twenty five y e a r s n o t u ntil s ix o r

-
,

s even y e a r s a g o did he re a lly b e g i n t o g et a he a rin g H e .

i s eve n n ow m u ch les s widely k n own th a n he dese rve s t o

b e ; f o r hi s p oem s like B r ownin g s a re n o t e a sy t o re a d
,
’
, .

“
Hi s best p o e m s a re n a r r a tive B en Jo n s o n E nte rt a i ns
.

a M a n fr o m S t ra t f o r i s n o t o nly o n e o f the fines t

d r a m a ti c m o n ol o g u es eve r w ritt en ; it i s a l s o the be st
ch a r a cte riz a ti o n o f Sh a k esp e a re eve r w ritten i n vers e .

The g r e a t m a j o ri ty o f recent p o e m s d o n o t c o m e up t o
the level o f the cl a s si c s th a t we al l k now N ow a n d then .
,

“
howeve r we c o m e a c r o s s a n ew p oe m li k e The D a rk
,

”
H ill s s o pe r fect in c o n c epti o n a nd ph r a sin g th a t o ne re
c a ll s H ol m es s c o mm ent up o n a p a s s a g e in E m e rs o n s
’ ’

“ ” “
V olu nt a ri es , Thes e li nes a m o m ent a fte r they we re
,

w ritten seemed a s i f they h a d b ee n c a rved o n m a rble f o r a

,

”
tho u s a nd ye a rs C o ul d a nythin g be m o re n e a rly pe rfect
.

th a n the two p o e m s whi ch a re given bel ow ?

THE D A RK H I LL S

D a rk h il l s e v enin g in t he wes t
at ,

Wh ere sunset hovers l i ke a sound

Of go l den h orn s th at s an g t o rest
464 IN TR ODU CT IO N TO PO E TRY
W este rn o ri gin m o re given t o i nn ov a ti o n th an the E a st
,

e rn p o et s V a chel Linds a y i s a s o rt o f P u rit a n t ro ub a

. ,

do u r ; a n d his p o e m s a re i n L o u is U nte rm eye r s ph r a s e

,
’
,

“ ”
a cu ri o u s m ixtu re o f rhym es ra g ti m e a n d reli gi on ,
-
, .

“
Linds a y h a s des c ribe d hi s o wn p o et ry a s the Hi g he r
”
V a udeville H e wi shes t o b rin g p oet ry b a c k t o the
.

p eopl e t o m a k e it a m a tte r o f s up rem e imp o rt a n c e t o

,

e v ery Ame ri c a n H e o n ce t ra mped o v e r a l a r g e p a rt o f

.

the United St a tes p re a chi n g the G o spel o f B e a u ty oh ,

t a i n i n g hi s f o o d a n d lo d gi n g by exch a n gin g his R hymes

t o b e Tra d ed f o r B rea d P o et ry he m a int a i n s i s a n
.
, ,

o r a l a rt m e a nt fo r the ea r a n d n o t fo r the ey e Hen c e he

, .

recites hi s p o em s i n d r a m a tic f a shio n a n d i n hi s p ub ,

l i sh ed verse o ft en s upplies p ri nted di recti o n s a s t o h ow it

sho uld b e re a d A m o n g the b est o f hi s l o n g e r p o e m s w e
.

“ ”
m a y m enti o n O n the B u ildin g o f Sp ri n gfield a n d
“ ”
Ab r a h a m L in c oln W a l k s a t M idni ght a l re a dy q u oted , ,

” “ ” “
Th e C on g o The Chin es e N i ghtin g a l e
, a nd Gene r a l ,

”
Willi a m B o o th E nte rs int o H e a ven The sho rt p o em .

whi ch w e q u ote b e l ow rec a ll s Swinb u rn e wh om Li nds a y ,

g re a tly a dmi res I t s s ubj ect John P Alt g eld w a s p r o m

.
, .
,

in en t in M iddl e W este rn p oliti c s a g ener a ti o n a g o .

TH E E A G L E TH A T IS FO RG O TTE N

p
S l ee so f l ty e a gl e for go tt en under th e s t one .

Time h a s it s w ay w it h y ou t h ere ,
an d t h e c l ay h a s it s o wn .

We ha v e b ur i ed h im now ,
t h ou gh t y our foes ,
an d i n secre t
re j oiced .

Th e y m a de a br ave s h ow of t heir mournin g th eir h a t red ,

un v oiced .
 THE C O N TE M P O RAR Y PO E T S 4 65

Th e y h a d sn a rl ed at y ou b rked
,
a at ou
y , fo a med at you d ay
f t er d a y ;
a

Now y ou were ended . Th e y p r i sed y ou

a an d l ai d y u
o

a way .

Th e o th ers t h a t mourned y ou in si l ence an d t error an d t ru t h ,

Th e w i dow bere f t of h er crus t an d t h e b oy wi t h ou t y ou t h , ,

Th e mocked a n d th e scorned a n d th e wounded th e l a me an d ,

t h e p oor ,

Th a t s h ou l d h ave remembered forever remember n o

more .

Wh ere th ose l o v ers o f y ours on wh t n me do t h e y c l l

a re ,
a a a

Th l t th t in rm i es we pt o v er y our funer l p l l ?
e os ,
.
a a a a

Th e y c l l on th e n mes o f
a h undred h i gh v l i n t on es ;
a a -
a a

A h undred w h it e e gl es h v e r i sen t h e son s o f y our sons

a a , .

Th e e l i n t h eir win g s i s
z a e l t h t y our dre min g be g na z a a a a ,

Th v l or t h t wore ou t y our sou l in t h e service o f m n

e a a a .

S l ee p
sof l ty
e a gl e for go tt en under th e s t one .

i
T me h a s i ts
w ay w it h y ou t h ere a n d t he c l a y h a s i t s own .

S l ee p on O br a ve h e a r t ed O w i s e
,
-
, m an , th at kindl ed t he
fla m e
To l i ve in m ankin d is f a r more t h a n t o l iv e in a n a me ;
To l iv e in m ankind f a r f ar more
, ,
t h a n t o l iv e i n a n a me .

Va c hel L in d s ay (1 8 79

E d ga r Lee p u bli shed seve r a l volu m e s o f

M a ste rs h a s
ve rs e b u t he i s k n own fo r o n e b o o k the S p o o n R iver
, ,

A n t h o l o gy T hi s v olu m e i s in re a lity a c ollecti o n o f sh o rt

.

s to ries whi ch twenty ye a r s a g o w o uld p r ob a bly h a ve bee n

,

w ritt en inp ro s e I t i s pe rh a p s si g nific a nt th a t M a ste r s

.

ha s p ubli shed a n ovel It] i t c h M ill er M o re r ecently h ow

, .
,

eve r he h a s ret u rned t o p o et ry i n D o m es d a y B o ok a l o n g

, ,
4 66 IN TROD U C TI O N TO PO E TRY

n a rra tive i n bl a n k ver s e whi ch h a s bee n c o m p a re d t o

B rownin g s R ing a nd the B o o k
’
.

M a ste rs him sel f ha s a d m itted th a t the title a nd the

o ri g in a l ide a o f hi s S p o on R iver A n thol ogy w e re de rived
f ro m the G ree k A nthol o g y a c oll ectio n o f sho rt p oem s
,

by m a ny a utho r s . Li k e C h a u c er s P ro l ogue a n d
’
.

the D ivine C o m ed y o f D a nt e the S p o o n R ive r A n

,

t h o l o gy is a c oll ecti o n o f p o rt r a its — m a ny o f them s u ch

,

a s o n e finds i n a r o u es T a n o f the b o o k i s
’
g g a llery. h e pl
u ni q u e Th e p o et g oe s t o the ce m ete ry in the dec a yin g
.

vill a g e o f Sp o o n Rive r a n d s u mm on s the spi rits of the

de a d t o c ome f o rth a n d t ell the st o ri es o f thei r lives In .

the o rdin a ry a c cept a tio n o f the te rm thes e mini a tu re

,

a uto bi o r a phi es a r e n o t o ften p oeti c a l b u t t he

y a re vivi d
'

g ,

a nd p o we r ful .P o s sibly M a s t ers s p r ofes si o n— h e is a

’

c ri m in a l l a wye r in Chi c a g o — a cc o u nts i n p a r t f o r the

p es si mi s m a nd cyni ci s m o f m a ny o f th e s k etches The .

“ ”
best k n own p oe m in the c ollection A nne R u tled ge we
, ,

a r e un a bl e t o q u ot e . The two s el ecti o ns whi ch w e giv e

s eem f a i rly rep rese n t a tive .

G E O RG E G RA Y

I h ave s tu died m an y t imes

Th e m a rb l e whic h w a s c hi sel ed for m e
A bo a t wi t h a fur l ed s a i l a t res t in a h a rbor .

I n t ru t h it p ic t ures no t m y des t in ation

Bu t m y l i fe .

For l ove w a s o ff ered me an d I s h r a nk from i t s dis illus ion

men t ;
S orrow knocked a t m y door bu t I w a s a fr a id ;
,

A mbi tion c al l ed to me b ut I dre a ded th e c h a nc es

, .
468 IN TR OD U CT IO N TO PO ETRY
“
M a s efi el d a nd M a ste r s he h a s been ch a r g ed with b ru
,

”
t a lity ; b u t if hi s p oe m s l a c k p olish a nd g o o d t a st e they ,

h a ve g re a t p owe r Syn g e the I ri sh d r a m a ti st w a s o f

.
, ,

the opini o n th a t b efo re po et ry c ould be m a d e hu m a n

a a in it wo uld h a ve t o l e a r n t o be b ru t a l S a ndbu r g i s
g , .

pe rh a p s t o o m u ch o f a p r op a ga ndi st t o be a c on sis tent

a rti st ; bu t hi s p o e m s a re full o f a h a tr ed o f i nj u sti ce a n d

a r e fill ed with sy m p a thy f o r p ove rty a n d s u ff e rin More

g .

th a n a n y o the r p oet o f o u r ti m e he h a s ende a vo red t o ,

writ e the p o et ry o f life in l a r g e cities Hi s be st k n own .

“ ”
p o e m Chi c a g o h a s b een q u oted i n the p r ecedin g ch a p
, ,

te r.

Altho u g h w e h a ve n o t sp a c e en ou gh t o dis c u s s o the r

livi n g p o et s i n d et a il we m u st a t le a st m enti o n by n a m e
,

o th er A m e ric a n p o ets o f imp o rt a n c e s u ch a s S a r a Te a s ,

d a l e (M rs F il sin g er ) E dn a St Vin cent M ill a y J ohn

.
, .
,

H a ll Wheelo ck J a m es O p p enheim E dwin M a r k h a m

, , ,

J o s ephine P resto n Pe a b o dy (M rs L i o nel M a r k s ) A n n a .

,

H e m p st e a d B r a nch Adel a ide C ra p s ey W itte r B ynn er

, , ,

E z ra P o u nd L o ui s Unte rm eye r Willi a m R o s e B en et

, , ,

Ste p hen Vi ncent B en et C h ri st ophe r M o rley A rthu r, ,

Guite rm a n C o n r a d Ai k en C a le Yo u n g Ric e L ol a Rid g e

, , , ,

A rthu r D a vi s o n F i c k e a n d P e rcy M a ck a ye M a ny o the r

, .

n a m es w ill b e f o u n d in a n y g o o d a nthol o y o f c o nte m

g
p o ra ry ve rs e .

I t sho uld b e n o ted th a t the p r odu ctio n o f p o et ry in the

E n gli s h l a n gu a g e i s n o l on ge r c o nfin ed t o E n gl a nd a nd
the Unit ed St a tes W e c a n n o l o n g e r i gn o re the w o rk
.

o f p o ets i n C a n a d a Au st ra li a a nd othe r B ritish c olo nies

, , .

“ ”
J ohn M c C ra e the a utho r o f I n Fl a nders F ields a nd
, ,

“ ”
E li ot N a pi e r who s e All M en a re F ree ha s bee n q u o ted
, ,
 TH E C O N T E M PO R ARY PO E T S 4 69

a re B riti sh c ol o ni a l s A bette r k nown p o et

.
, R a b ind ra n a t h
Ta g o re , c o m e s fr o m I ndi a A few ye a r s a g o T a g o re s
.
’

p o et ry wa s en o r m o u sly p opul a r a m o n g tho s e s upe rfi ci a l

re a de r s who a re a lw a ys l o o k in g f o r s o m e n ew s en s a ti o n ;

b u t the c o mp a ra tive u np opul a rity int o which hi s w o rk

h a s f a ll en si nce the wa r sho uld n o t c a u s e u s t o ove rl o o k
hi s r e a l i m p o rt a n c e In the o ri gi n a l B en g a li Ta g o re s
’
.
,

p o e m s p o s s es s bo th m ete r a nd ri m e ; i n thei r E n glish

fo rm a s t r a n sl a ted by Ta g o re hi m sel f they a re pe rh a p s
, ,

b est cl a s se d a s f re e ver s e Si nc e p o em s in which verb a l

.

m el o dy o r the s ubtle a s s o ci a ti o n s o f w o rds fo rm th e

d o m in a nt interest a re m o st difficult t o t ra n sl a te w e h a ve ,

select ed f o r q u o t a ti o n f ro m T a go re s Gi ta nj a l i (S on g
’

O ff e rin g s ) a p o e m i n which the th o u g ht is t he m a j o r

ele m e nt We h a ve entitl ed it
.

A PRA Y E R FO R I N D IA
Where th e mind is w it h ou t fea r a n d th e h e a d i s he l d hi gh ;
Wh ere know l ed ge is free ;
Wh ere t h e wor l d h a s no t been broken u p in t o fr a gmen t s b y
n a rrow domes ti c w al l s ;
Wh ere words come ou t from th e de pt hs of t ru th
Wh ere ti rel ess s t ri vi n g s t re t ches i t s a rms t ow a rds p erfec t ion ;
Wh ere th e c l e a r s t re a m o f re a son h a s no t l os t i t s w a y i n t o
t h e dre a r y deser t s a nd o f de a d h ab it ;
Where th e m i nd i s l ed forw a rd b y th ee in t o ever widenin g -

t h ou gh t a n d a c ti on
In t o t h a t h e a v en o f freedom m y F a t h er l et m y coun t r y
, ,

a w ak e a

R ab ind ra n a th Ta go r e (1 8 61

T he di ffe ren ce s b etw ee n c o nt em p o r a ry a n d olde r p oet s

a re cl e a rly s ee n in thei r u s e o f w a r a s p o eti c m a t e ri a l .
4 70 IN TRODU CTIO N TO PO E TR Y
As in thei r t re a t m ent o f o the r the m es the n ew p oet s h av e ,

n o t r e echo ed m a ny o f the c o nvention a l n otes o f o ld e r

-

p oet ry I t see m s w o rth whil e t o devel op this p o i nt in

.

s o m e det a il i n a di s cu s si o n o f the p oet ry o c c a si o n ed by

the Wo rld Wa r .

The m o s t s t ri k in g thin g a b o u t rec ent w a r p o et ry is

th a t m u ch o f it h a s b ee n w ritten by the s oldie rs the m
s elv es . N o t b ein g eithe r p r o fes si o n a l s oldie r s o r p ro
f es s io n al p a t rio tic p o ets they h a ve des c ri b ed w a r a s they
,

s a w it with thei r own eyes

— a ho r rible thin
g defen s ible ,

o nly a s a m e a n s t o a g re a t end M ode rn w a r p o et ry .

,

a c c o rdin ly i s n o t r o m a nti c b u t re a listi c

g , .

In p ri m itive tim e s th e chi ef b u si n es s o f the h a rd wa s t o

celeb r a t e the w a rlik e deeds o f his l o rd a n d t o i n cite the
w a r ri o rs t o fi ght The p o et s p r a ise w a s f a m e Of tho s e
.
’
.

“ ”
Chie ft a in s who di ed u nwept u nhon o red a nd u n s u ng , , ,

Pop e s a ys ,

V a in w a s t he c hief s’

, th e s age s p ride !
’

Th e y h a d no p oe t,
an d t h e y died .

In l a t e r d a ys w a r p o et ry t o o k o ften the f o rm o f a
n a r r ow j in g oi sti c p a t ri otis m Like Stephen D ec a tu r the
.
,

p o et felt b o u nd t o s a n cti o n the st a n d o f hi s c o u nt ry ,

o r w ro n g A s t ri k in g i n st a n ce o f thi s i s fo u nd in
.

Sh a k espe a re s H en ry V Kin g H en ry s w a r o f a gg res

’
.
’

s i o n a g a in st the F ren ch h a d a s little j u stific a ti o n a s

G erm a ny s a tt a c k up o n B el gi u m ; a n d the Kin g s speech
’ ’

t o the i nh a bit a nt s o f H a rfleu r in the thi rd scen e o f the ,

thir d a c t is m o r a lly a l m o s t a s i n f a m o u s a s the G e rm a n

,

ulti m a tu m t o the B el g i a n g ove rn m ent I t i s u nf a i r h ow.

,

eve r t o expect eve n a gre a t p o et t o be in a ll r esp ect s

,
4 72 IN TROD U CTI O N TO PO E TR Y
o r th a t the p o et s h a ve inv a ri a bly gl o rifi ed th e w o r se
c a u se Wa r in spi res in u s th e best a s well a s the wo rst
. .

M a ny o f the p o ems o c c a si o n ed by the Ame ri c a n R ev ol u

ti o n , the C i v il Wa r a n d the N a p oleo ni c w a rs a re th o r
,

“
o u g hly m ode rn in spi rit . The B a ttl e Hy m n o f the
” “ ” “
R ep ubli c , T he B u ri a l o f S ir J ohn M o o r e the C o n
,

“ ”
c o rd Hy m n , a nd C o l eri d g e s
’
F ra n ce r e q ui re n o
a p ol o y
g .

The n ew feelin g a b o u t w a r a n d the p o et ry o f w a r is

the o utg r owth o f de m o c r a cy a nd inte rn a ti o n a lis m S o m e .

thin g o f the m o de rn f eelin g i s t o b e fo un d even in Kipli ng ,

the l a u re a t e o f the B ritis h E mpi re I n 1 89 7 E ngl a n d

.

c eleb r a ted the sixtieth a n nive rs a ry o f V ict o ri a s a c c es si o n

’

t o the th ro ne I n th e sixty ye a r s o f her rei g n the E mpi re

.

h a d g r own en o rm o u sly in size a n d i n p ow e r Kiplin g

.
,

feeli n g th a t the re w a s t o o st r o n g a disp o siti on t o bo a st

“
a b o ut the
g re a tn es s o f the E mpi r e w r ote his
, R ec e s
”
s io n al a s a w a rnin g a a i ns t the P r u s si a n k in d o f i m
g
eria l is m In the A n glic a n chu r ch se rvi ce the hy m n s un
p .
g
by the r eti ri ng choi r i s c a lled the rece s si o n a l The p o e m
.

h a s b ee n a d m i r a bly s et t o m u s ic by H a rr y R owe Sh el l ey .

RE CE S S I ON A L

G od of our f ath ers known of o l d

,

Lord of our f a r flun g b a tt l e l i n e

!

Bene a t h w h ose a wfu l h and we ho l d

D om i nion o v er p a l m a n d p in e
Lord G o d of Hos t s be wi th us y et
, ,

Les t we for ge t— l es t we for ge t !

Th e tumu l t a n d th e s h ou t in g dies
The C a p ta in s a n d th e K i n gs de p a rt
 I f drun k wi t h si gh t o f p ower we l oo s e
, ,

Wi l d t on gues t h a t h a v e no t Th ee in a we
S uch bo a s t in g a s th e G en t i l es us e
,

Or l esser breeds wi th ou t th e L a w
Lord G o d o f Hos t s be w it h us y et
Les t we for ge t—l es t we for get !
, ,

For h e at hen h e a r t t h a t p u t s h er t rus t

In reekin g tube a n d iron s h a rd
All v a l i a n t dus t th a t bui l ds on dus t ,

An d gu a rd i n g c a ll s no t Th ee t o gu a rd ,

For fr an t ic bo a s t a n d foo l is h word,

Thy merc y on Thy Peo p l e Lord ! A M E N

, .

R ud ya r d K ip l ing (1 865

Whe n we ex a m in e the p o et ry in spi r ed by the W a r w

G e rm a ny we find th a t the fi r s t p o e m s w er e w ritt en
,

p o et s o f est a bli shed r eput a ti o n li k e M a s efi el d a nd K ipl i

T he s e p o e m s we re w ritten fr o m the c ivili a n s t a nd p o i
“
V a chel L inds a y s Ab r a h a m L in c ol n W a l k s a t M id n igh
’

q u ot ed i n the p recedin g ch a pte r well d es c ri b es the u S

,
'

A m e ri c a n r e a cti o n t o th e o u tb re a k o f the w a r in 1 9
The b e s t exp re s si o n o f E n gli sh feeli n g a t th e o ut s e t
4 74 I N TR ODU CT IO N TO PO E TR Y
fo u nd i n wh a t i s still th e g re a tes t p oe m o f the wa r ,
“
M a s efi el d s Au gu s t
’
,

T he feelin g o f th e volu nteer wh o h a s given up ho m e ,

rel a tives f riends a n d c a ree r t o die fo r his c o u nt ry i s

, ,

“
well exp res s ed in Rupe rt B r o o k e s five s o nn ets N in et een
’
,

”
F o u rt ee n the l a st o f whi ch i s q u ot ed in the ch a pte r o n
,

the S o nnet S o mewh a t the s a m e m o o d i s exp res s ed i n

.

“ ”
M c C ra e s I n Fl a nde r s F i elds (s ee C h a pte r VI I ) a n d
’

“ ’
i n Al a n See g e r s I H a ve a Ren dezvo u s with D e a th .

B oth thes e p o em s wer e w ritten by p o ets who we re u n k n own

be f o r e the w a r S ee g er w a s a yo u n g H a rv a r d g r a d u a te
.

who enlist ed i n the F r en ch a rm y a n d w a s k illed in F r a n c e

in 1 9 1 6 ne a rly a ye a r b efo re A m e ri c a ente r ed the w a r
, .

I HA V E A RE N D E Z V OU S WI TH D EATH

I ha ve
rende z v ous wi th D e a t h
a

A t some dis p u t ed b a rr i c a de ,

Wh en S p rin g comes b a ck w it h rus tl in g sh a de

A n d a pp l e b l ossoms fi l l t h e a i r
-

I h a v e a rende z v ous wi th D e a t h
Wh en S p rin g b rin gs b a ck b l ue d ay s an d fair .

It m ay be he s h al l t ake m y h and
And l e a d me in t o his d a rk l a nd
An d c l os e m y e y es a n d quench m y bre ath
It m a y be I s h a l l p a ss h im s ti ll .

I h av e a rende z v ous w it h D e a th
On some sc a rred s l o p e of b a tt ered h i ll ,

When S p ri n g comes round a ga in t his y e a r

A n d t h e fi rs t me a dow flo w ers a pp e a r -
.

G o d knows
’
t were be tt er t o be dee p
Pi llowed in s il k n d scen t ed down
a ,
4 76 IN TRODU CTI O N TO PO E TRY
A keen — ed ged sword a sol d ier s h e a r t
,
’

I s gre a t er t h a n a p oe t s a rt ’

A n d gre a t er th a n a p oe t s f a m e
’

A l i tt l e g r a ve t h a t h a s no n ame .

P r ob a bly the be st eleg i a c p oe m o f the wa r h a s b een

written by L a u ren c e B inyo n .

FO R TH E FALL E N

Wit h p roud th a nks givin g a mo th er for h er chil dren

, ,

E n gl and mourns for h e r de a d a cross th e s e a .

F l es h o f h er fles h t he y were s p i r it o f h er s p i r it
, ,

F all en in th e c aus e of th e free .

drums t h ri ll : D e at h a u gus t a n d ro y a l
S o l emn t h e
S in gs sorrow u p in t o immor t al s p h eres .

Th ere is music i n t h e m i ds t of deso l a ti on

A nd a gl or y t h a t sh i nes u p on our t e a rs .

Th ey wen t wi th son gs t o th e b a tt l e, t h e y were y oun g,

S t r a i gh t o f l i mb, t rue of e y e, s t e a d y an d a gl ow .

Th e y were s t a nc h t o th e end a ga ins t odds uncoun t ed ,

Th e y fell wi t h t h e i r f a ces t o th e foe .

Th e y s h al l n o t grow old a s we t ha t are l e f t grow old

,

A ge s h all no t we a r y t h em nor t h e y e a rs condemn

, .

A t t h e goin g down of t h e sun a n d in th e mornin g

We wi ll remember t h em .

Th e y min gl e no t w it h t h e i r l au gh in g comr a des a gai n;

Th e y si t no more a t f a m i l i a r ta bl es o f h ome ;
Th e y h ave no l o t in our l a b or of th e d a yt ime ;
Th ey s l ee p be y ond E n gl a nd s fo a m
’
.
 THE C ON T E MPO R ARY PO E T S 4 77

B ut where our desires a re an d our h o p es p rofound ,

t a s a we l l s p r i n g t h at i s h idden from si gh t
Fe l -
,

To th e innermos t h e a r t o f t h e i r own l a nd t h e y a re known

As th e s t a rs a re kn own t o th e Ni gh t ;

As th e s t a rs t h a t s h a l l be bri gh t w h en we a re dus t ,

Movin g in m a rc h es u p on th e h e a v en l y p l a in ;
A s th e s t a rs t h a t a re s t a rr y in th e ti me of our d a rkness ,

To t h e end t o t he end t h e y rem a i n

, ,
.

L a u r e n c e B in yo n (1 8 6 9

To m o st o f the p o ets wh o s a w a ctive s e rv i c e the wa r ,

eventu a lly b ec a m e a m a tte r o f r o u tin e a p r o s a i c b u sin es s

, ,

ho r ri ble whe n n o t dull S o m e o f them n ot a bly Sie g fried

.
,

S a s s o o n a n d R ob ert G ra ves h a ve u nde rt a k en t o st rip o ff

,

the t r a ditio n a l ro m a nti c h al o o f wa r a nd p a int the fi ght

in g t r a de a s it r e a lly i s C ert a in o the r re a li sti c p o et s li k e
.

Gibs o n a n d S a ndbu rg who a pp a r ently sa w n on e o f the

,

fi ghtin g pictu re wa r i n t h e s a m e m a n ne r S a s s o o n wh o
, .
,

i s pe rh a p s the ablest p o et who s e r ep ut a ti o n h a s b een m a de

“
by the wa r h a s s a i d : L et n o o n e eve r f r o m henc e f o rth
,

s a y a wo rd i n a n y wa y c o u nten a n cin g w a r Fo r wa r
.

i s hell a n d tho s e wh o in stitut e it a re c ri m in a l s We re .

the re a nythin g t o s a y fo r it it sho ul d n o t b e s a id fo r it s

,

”
spi ritu a l dis a ste r s f a r o utwei gh a ny o f its a dv a nt a g es .

M a ny o f S a s s o o n s p oe m s a re full o f the g ru es o m e det a il s

’

whi ch m o st o f u s t ry t o f o rget The f a ct th a t eve ry othe r

.

en er a ti o n which h a s expe rienc ed the h o r r o r s o f w a r h a s

g
a ls o t ried t o fo r get th e m p r ob a bly expl a ins why the
s ec o nd a nd thi rd g en e ra tio n s i m a gi ne w a r a s s o m ethin g
r o m a n tic a n d holy . Thi s p oint i s b r o u ght o u t in the
f oll owin g p o em .
4 78 IN TR ODU C T IO N TO PO E TR Y

SON G BOO K S O F
-
TH E WA R *

In fif ty y e a rs , w h en p e a ce ou t s h ines
Remembr a nce o f t he b a tt l e l in es ,
Adven t urous l a ds wi l l si gh a n d c a s t
Proud l ooks u p on th e p l undered p a st .

On summer morn or w in t er s ni gh t
’

Their h e a r t s w i l l kindl e for th e fi gh t ,

R e a din g a sn a t ch o f so l d ier —
son g ,

S av a g e a n d j a un ty fierce a n d s t ron g ;
,

A n d t h rou gh t h e a n gr y m a rc h in g rh y me s
O f b l ind re gre t a n d h a gga rd mir th ,

The y l l en vy us t h e d a z zl in g t imes
’

Wh en s a crifice a b so l ved our e a r th .

Some ancien t m an wi th si l v er l ocks

Wil l l i f t his we a r y f ace t o s ay
“
Wa r w a s a fiend wh o s t o pp ed our cl ock s
Al t h ou gh we me t h im grim an d gay .

And t h en h e ll s p e a k of H aig s l a s t driv e

’ ’

M a rve ll i n g t h a t a n y c ame al i ve
Ou t o f th e s h a m b l es t h a t men bui l t
A n d sm a s h ed t o c l e a nse th e wor l d o f gu il t
,
.

Bu t th e bo y s wi t h g rin an d side l on g gl ance

, ,

Wil l thin k Poor gr and ad s d a y i s don e

,
“ ’ ”
,

An d dre a m o f t h ose w h o fou gh t in Fr a nc e

A n d l ived in t ime to see th e fun .

S i egf r ie d S as s oo n (1 886

wa r the sea h a s b ee n bes t des c ribed by Alf red

on

N oye s The foll owin g p o e m s u ggest s the st o ry o f a

.

t r a wle r whi ch ha s j u st c o m e i nt o p o rt f r o m a fi ght with

a Ge rm a n s u bm a rine .

By permi ss i on f rom C ou n t er ttac k and O ther Poems copyrighte d

,
-a
,

b y E P D u tt on and Co mp any
. . .
4 80 IN TR O D U CTI O N TO P O ETR Y
Pe rh a p s the m o s t n ot a bl e p o e m o c c a sio n ed by th e cl o se
o f the Wo rld Wa r i s S a ndbu r g s A E F “ ’ ”
I t i s h a rdly
. . .

n ec es s a ry t o n ote th a t p oets a r e n o t hi st o ri a n s T he .

s oldier s o f the r ecent wa r we re n ot a ll ow ed t o k eep thei r

ri fl es a s the s oldie rs o f the C ivil W a r see m t o h a v e do ne .

D o es n ot the eff ect o bt a in ed p r ove th a t thi s viol a ti o n o f

hi sto ri c a l f a ct i s j u stifi ed ?

A . E . F .

There wi ll be a rus ty gun on th e w al l , swee t he a r t,

Th e rifle groo v es cur l i n g wi th fl a kes of rus t .

A s p ider wil l m a ke a sil ver s t rin g in t h e d a rkes t w a rmes t ,

corner of it .

Th e t r i gger an d th e r a n ge fi n d er th e y t oo wi l l be rus ty
-
, .

A n d no h ands wi l l p ol i s h th e gun an d i t wi l l h a n g on th e w al l
, .

F orefi n ge rs a n d t humbs wi l l p oin t absen tl y an d c a su all y

t ow a rd it.

I t wi ll be s p oken o f a mon g h al f for go tt en wished to b e-

,
- -

for go tt en th i n gs
.

Th ey wi l l t e ll th e s p i der : G o on y ou re doin g good work

’
.
,

C a r l S a n d bu rg (1 8 78

Wh a t sh a ll w e s a y i n c o n clu sio n o f the rel a tiv e m e rit s

, ,

o f c ontemp o ra ry p o et ry whe n c o m p a red with th a t o f

e a rlie r pe ri o ds ? I n m ak in g a n y s u ch c o m p a ris o n o n e ,

sho uld be a r s ever a l thi n g s in m ind F i r st it i s u n f a i r t o

.
,

s et o ff the wo r k o f a d ozen livi n g p o et s a g a in st the nu

m ero u s p o em s w ri tten by s c o re s o f p oet s in v a ri o u s
peri ods whi ch c ove r m a ny ce ntu ries I t w o uld b e f a i re r .

t o c o m p a re the B ritish p o et s o f t o d a y with the R o m a nti c

p oets o f a c entu ry a go o r the livin g A m e ri c a n p o et s with
,

t h e N ew E n gl a nd p oets o f the l a s t c entu ry Yet eve n .

 THE C O N TE M PORARY PO E T S 4 81

t h en on e m u s t re m e mbe r thin g s : fi rs t th a t m a n y o f
t wo ,

o u r livin g p o ets p r ob a bly still h a v e thei r b est ye a r s a he a d

o f the m a n d s ec o nd th a t th e g re a t o utp ut o f c o nte m

, ,

ve se i a s y et u nwinn owed by t h e h a n d o f ti m e
p o r ar
y r s .

Thi s i s n ot the c a s e wi th the p o et s o f the R o m a nti c

M ove m ent H e re w e k n ow a t o n c e wh o the g r e a t p o et s
.

a re : Wo rd swo rth C olerid g e S c o tt B y r on Shelley a n d

, , , , ,

Ke a t s .I n the c a s e o f Wo r d sw o rth f o r i nst a n c e w e , ,

k n ow th a t o nly a bo ut a f o u rth o f wh a t he w r ote i s w o rth

re a din g t od a y Altho u gh he d ie d a t the a g e o f ei ghty
.
,

p r a cti c a lly al l hi s best p o em s we re c o m p o sed in o n e de

c a de 1 7 9 7 1 807 I n the c a s e o f a m i n o r R o m a nti c p o et
,
-
.

li k e Tho m a s C a m pbell o nl y th re e p o e m s c a n b e s a i d t o
,

“ ” “ ”
h a ve lived : H ohenli nden Ye M a rine rs o f E n gl a nd
, ,

“ ”
a nd The B a ttle o f the B a lti c N o o n e n ow re a ds hi s .

l o n g p o e m s The Pl ea s u res o f H o p e a n d Gert ru d e of

,

Wy o m ing F o r F r o st R obin s o n a n d M a s efi el d the

.
, , ,

si ftin g i s yet t o b e d o ne S u ch a nth ol o gi es a s o u rs a t

.

te m pt it o nly tent a tively a nd with t r epid a ti o n I t i s idle .

t o s a y th a t a ll the p o e m s o f thes e p o ets a re i mm o rt a l !

bu t wh o sh a ll s a y j u st which of thei r p o e m s will n o t b e

r e m e m be red ?

The c ritici s m o f c o nte m p o r a ry p o et ry i s n o to ri o u sly

u n reli a bl e M u ch o f it i s i g n o ra nt o r p a rtis a n ; m u ch of
.

it i s m e re a dve rt isin g On e sh o uld be c a r eful n o t t o a o

.

ce p t with o ut q u esti o n the estim a tes p u t up o n the livin g

p o et s by thei r p ublisher s o r th ei r friends L o rd B y r o n .

a ttempt ed t o f o rest a ll p o st e rity s e sti m a te o f his fell ow

’

p oet s . At the he ad o f his li st he pl a ced C r a bb e a n d

R o g e rs b oth a l m o st fo r g otte n ; in the m i d dl e M o o r e a n d
, ,

C a m pbell ; a t the en d W o r d swo rth a n d C ole rid g e

, B y ro n .
4 82 IN TRODU CTI O N TO PO E TRY
c o uld h a rd ly h a ve m a de a p o o r e r gu es s fo r th ou gh p o s
,

t e rit y h a s a ccepted hi s li st it r e a ds it b a c k w a r d s
, .

While w e sh a ll the re f o r e n ot a tt empt t o esti m a te the

, ,

a chievement o f the p o ets o f t od a y we d o wish t o p oi nt o u t

,

tw o thin g s whi ch they h ave u ndo ubtedly a c c o m p li sh ed .

In the fi r st pl a ce they h a ve put i nt o thei r p o et ry m u ch

,

o f c o nt em p o r a ry life a nd tho u ght E q u a lly i m p o rt a n t

.

i s the f a ct th a t th ey h a ve hel p ed to b rin g a b o ut a n en o r

m o u s reviv a l o f inte re st i n p o et ry While in thi s c o u nt ry
.

“
in 1 9 1 8 John M a s efi el d s a id : A m e ri c a i s m a k in g re a dy
,

f o r the c o m in g o f a g re a t p oet I n E n gl a nd in the d a y s

.
,

b efo r e C h a u ce r m a ny pe ople we re r e a din g a nd w riti n g

,

ve rs e. Then he c a m e The s a m e i nten s e interest in

.

p o et ry wa s s how n a g ai n j u st b efo re th e c o m in g o f Sh a k e
spe a re A nd n ow in thi s c o u nt ry yo u a re a ll w ri ti ng
.
, ,

p o e m s o r e nj oyin g the m Yo u a re m a k in g r e a dy f o r a
.

”
m a s te r A gre a t p o etic reviv a l is in p ro gre ss
. .
484 N O TE S
Wa tt erson s a u t obio gr a p h y M a rs e H e n ry For El i zabe th an
’

, .

son gs see Rober t B e ll : S o n gs f r o m th e D ra m a t is t s G a yl ey

, .

and F l a h er ty : Th e P o e t ry of th e P e op l e con t a i ns a l a r ge
num b er of E n gl i s h S co tti s h I r i s h an d A mer i c a n son gs w ith
, , , ,

v al u a b l e no t es For ne gro fo l k son gs see Th om as W Ta l

-
. .
,

l ey : N eg r o F o l k R hy m e s a n d J o h n A Lom a x : S e l f pity i n
“ -
.

Ne gro Fo l k —son gs Th e N a t ion A u gus t 9 1 9 1 7

,
”
, , .

Th e fo ll ow i n g son g s a n d c l ose l y re l a t ed p oems a re quo t ed

—
in o t h er c h a pt ers of th i s b o ok z H en l e y : In v ic tu s (iii ) ;
“ ”

Love l a ce : To Lu ca s t a (iii ) ; K i n gs l e y : Youn g a n d O l d ” “

(iii ) ; G o l dsm it h : W”h en Lo v e l y W om a n (iii ) ; Tenn y son

“

Th e S p l endor F a l l s iii R i n g Ou t Wi l d Be l l s
“ “ ”
( ) and ,

(iii ) ; K ip l i n g :
“
For A ll We H a v e a n d A re (i ii ) ; Burn s
”

“
B a nnock b urn (iii ) ; C h ris ti n a Rosse tti : Wh en I A m D e a d
“ ”

(i i i ) Te a sd a l e : I “S h a l l No t C a re (iii ) ; B y ron : A l l for

“ ” “

Lo v e (iv ) ; S co tt : C oron a c h (iv ) ; B rown i n g : S on g from

Pipp a Pa s s e s (iv ) ; No y es : S on g from Ta l e s o f t he M e r
m a i d Ta ve r n (i v ) ; C o l er i d ge : Th e K n i gh t s Tom b iv ) ;
“ ”
(
’

Ye at s : Th e L a ke I s l e of In n i s f ree (i v ) ; M a s e fi el d : Th e
“ ”

Wes t Wind (iv ) ; H err i ck : To the V i r gi ns (iv ) ; Burns :

” “ ”

H i gh l a nd M a r y (xi ) ; K ip l i n g : Reces s i on a l
“ ” “
(x ii ) .

For fur t h er re a d i n g t h e fo ll ow i n g son gs a re su gges t ed

,

Al l of S h a kes p e a re s son g s a n d mos t of t h os e b y Burns ; M a r

’

Th e Pa s s i on a t e S h e p h erd t o h i s Lo v e ; J onson
”
l owe :
H y mn t o D i a n a a n d S ti l l t o be N e a t ; C ol l in s : D irge
“ ” “

C y mbe l i n e Ru l e Br it a nn i a ; S h el l e y :
”
Th omson :
‘ ’
in
H y mn o f Pa n Th e Ind i a n S eren a de
“ ”
,
a n d t h e son gs in ,

H e l l a s a n d P r o m e t h e us Un bo u n d ; E merson :
“ ”
To E ll en ;
Ric h a rd H enr y Wi l de : M y L i fe i s L i ke a S ummer Rose
“

Ric h a rd H o v e y : A S t e i n S on g ; E u g ene
” “ ”
C omr a des an d

Fie l d : Wy nken B l y nken a n d Nod th e son gs i n S a r a Te a s

, ,

d a l e s R ive rs to th e S ea a n d o t h er v o l umes
’
.

Th e fo l l ow i n g h y mn s a re wor t h y o f s t ud y— A dd i son : Th e
S p a c i ous F i rm a men t on H i gh ; C h a r l es Wes l e y :
” “
J esus ,

Lover of m y S ou l ; C ow p er : G o d Mo v es in a M y s t erious
”

Wa y a n d Th ere i s a Foun t a in F i l l ed w it h B l ood ; Thom a s

” “ ”

Moore : C ome y e D isconso l a t e R e gi n a l d H eber : Th e S o n

“ “

o f G o d G oes For t h t o Wa r ; Ho l mes : A S un D a y H y mn ;

” “ ”
-

L yt e : A b i de w ith Me ; To p l a d y : Rock of A ges

”
Bli ss
C a rm an : Lord of th e He a r t s El a ti on
“ ’

.
 N O TE S 4 85

C H A PTE R III . TH E D U PL E M E TERS

For fu l l er or d i ff eren t discussion s of t h e du p l e me t ers see ,

t h e m a nu a l s l is t ed i n t h e B i b l i o g r a p h y S ince t h e gre a t m a
.

j o ri ty o f E n gl is h p oems a re i a mbic it is no t neces s a r y t o ,

m a ke a n y p a r ti cu l a r su gges ti ons for fur th er re a d i n g of p oems

i n t he i a mb i c me t er N o te t ha t al l t h e p oems con t ai ned in
.

C h a pt ers V a n d V I I a re i a mbic Mi l t on s L A l l egro a n d

“ ” ’ ’
.

“ ”
Il Penseroso A rno l d s Th e Fors a ken Merm a n an d J ohn
’

, ,

H a l l Wh ee l ock s Ea rt h (ix ) a re in t eres ti n g for t h e i r

“’

m i n gl i n g o f i a mb i c an d t roc h a ic fee t in v a r yi n g p ro p or t ions .

Th e fo l l owin g p oems in t roc h a ic r h yt h m a re su gges t ed for

fur th er s tu d y z— E dn a S t V incen t M i l l a y : E l e gy (x i ) ;
.
“ ”

K ea t s : B a rds of Pa s sion a n d of M i r t h an d F a nc y
“ “

B l a ke : Th e Ti ger Burns : A e Fond K i ss S h e ll e y : Mu

“ “

s i c Wh en S of t V oices D i e ; C am pb e l l : Th e B a tt l e o f th e
,
” “

B a l ti c ; B rown i n g : One Word More ; Tenn y son : Locks

” “ ” “

l ey H a l l an d
“
Locks l e y H a l l S ixty Ye a rs A f t er J a mes
Th e Presen t C ris i s ; Lon g fe ll ow : H i a
“ ”
Russe l l Lowe l l :
wa t h a Nuremb er g an d Th e Be l fr y of Bru ges ; Po e :
“ “ ”
, ,

The Ra v en ; Wh it m a n : Pi oneers ! O P i on eers

“ ”
R obin
son : The V a l l e y o f th e S h a dow ”
.

With reference t o t he n a med s t a n za s some su gges t ed re a d ,

in gs a re
B a l l ad S t a n z a — E mi l y D ickinson : A Book
”
(i ) ;
“
S ir
Pa t r i ck S p en s v i ) ; Herrick : To th e V i r gi ns (ix ) ; H ood
” “ ”
(
“
F a it hl es s Ne l l y G r a y (i x ) ; Burns : Hi gh l a nd M a r y (xi )
” ”
.

S ee a l so K i p l i n g : D a nn y D ee v er (v i )
“ ”
.

S ho rt , or O c t os y l l a bi c C o up l e t — Po e
, Th e S l ee p er
.
'

(x i ) ; ”Whi tti er : M a ud Mu l l er ; C o ll in s : H o w S l ee p th e
“ ”

B r ave ; Wordswor t h : To a H i gh l a nd G i r l S h e l l e y : L i n es
“ “

Wri tt en a mon g t h e Euga n ean H i l l s ; J o y ce K i l mer : Trees

” “ ”

(i x ) ; Bu tl er : H u d i b ras .

Wi l l i a m H D a vi es : D a y s To o S h or t i s in th e In Me
.
”

mor i a m s t a n z a Wordswor th : A t t h e G r a v e o f Burns a n d

”
.
“ ”

Th ou ght s S u gges t ed th e D a y Fo l l ow i n g are a pp ro p r i a t el y

“ ”

c a s t in th e Burns s t an z a Mos t of th e s t a n z a s w h i c h b e a r
.

n a mes a re h owe v er a ssoci a t ed w it h i a mbic p en t a me t er S ee

, ,
.

n o t es to C h a pt er V .

Th e h y mn s ta n z a , i s known as th e l on g me t er
4 86 N O TE S
s ta n z a S i m i l a rl y t h e b a l l ad s ta n z a
,
wh en
s h or t ened by t he om i ss i on o f one foo t i n t he fi rs t l in e is ,

k nown a s s h or t me t er

C H A PTER IV . TH E TR I PL E M E TERS
For fu l l er d i scuss i on o f t h e t r ip l e me t ers see t h e m anu a ls ,

o f v ers i fi ca tio n l i s t ed i n t h e B i b l i o gr a p hy Th e fo l l ow in g .

a dd iti on a l p oems ,
some o f th em quo t ed in o t h er c h a pt ers are ,
—
su gges t ed Burns : A f t on Wa t er (ii ) ; Moore : Be l ie v e Me
“ ” “
,

i f A l l t h ose E nde a rin g Youn g Ch a rms (ii ) ; G i l m a n : F a ir

” “

H a r v a rd (ii ) ; Ye a t s : S on g from The L a n d of H e a rt s D e

” ’

(ii ) ; K ey : “The S t a r s”p an gl ed B anner (ii ) ; Lord”

“ “”
s i re -

Ra nd a l ; S co tt : Loc h i n v a r (vi ) ; H a r t e : H er Le tt er
”

( ix ) ; Un t erme y er : Ques ti on i n g Ly d i a ”
(ix ) ; Wh i tt ier
Te ll i n g t h e B ees (xi ) ; B rowni n g : U p a t a V i ll a— D own in
“ ” “

th e C ity xi A C onsecr a ti on xii L i nds a y :

” ”
( ) ; M a s efi e ld : ( )
Th e E a gl e t h a t i s For go tt en (xii ) ; N o y es : K i l m en y
“ ” ”

(xii ) ; “D o b son : Th e Prod“i gal s (vii ) Th e Wa nderer

“
,

(vii ) A K i ss (vii ) a n d Wh en I S a w You

, , L a s t Rose ,

(vii ) ; S h e ll e“y : Th e S ens itiv e Pl an t S co tt”: Proud “M a is i e ;

“ ”

Tenn y son : C ome i n t o t h e G a rden M a ud ; Po e : A nn abe l ,

Lee a n d For A nn i e ; B rown i n g : H o w Th e y Brou gh t th e

” ”

G ood N ews from G h en t t o A i x C a v a l i er Tunes

” “
an d

Lowel l : A F a b l e for C r iti cs

“
L a n i er : Th e M a rs h es of
“

G l yn n S unr i se Th e R e v en g e of H a mis h ; S win

” “ ” “ ”
, , an d

burne : H y mn t o Proser pi n e a n d To Wa l t Whi tm a n in

” “

A mer i c a .

Wordswor t h : Th e Re v er i e of Poor S us a n an d Br y a n t
G reen R iv er a re p oems i n w h i c h p er h a p s t he t r ip l e r h yt hm
”
, ,

s h ou l d no t h a v e b een em p l oy ed Wit h Lon g fe l l ow s use of

.
’

t h e d a c t y l i c h e x a me t er i n E va n ge l in e a n d Th e C o u rt s hip
M l es S t a n d i s h h s uden t m com p a re t h a t o f G oe th e
o
f i , t e t a
y
i n H e r m a n n a n d D o ro t h ea an d t ha t of Cl ou gh i n Th e B o t hie
of To b e r n a V u o l i c h
- -
.

C H A PTE R V . I A MB I C PE N TA M E TE R

M atth ew A rno l d s ess a y On Tr a ns l a ti n g H omer con

’

, ,

t ai n s some sugges tiv e commen t s on the v a r i ous me t ric al forms

4 88 N O TE S
R im e R oy a l — Ch aucer : Th e Pa rl a men . of F owl s i t
S h a kes e a re : Th e Ra e o f Lucrece ; Wordswor h : R eso
p p t
”

l ut i o n an d Inde endence ”
M a s e fi el d :
“
D a u b erp an d
!

“ ”
Th e D a ff od l F e l ds ; A m y Lowe ll :
”
i “
i
Th e C remon a V i o
l in
S a n z a —Burns :
.

S p e n s e ri a n The t
C o er s S a urd a tt ’
t y
i t ” “ ” “
y
N gh ; S h e l l e : A don a is a n d Th e R e o l of I s l a m ; ”
v t
y “
Tenn son : Th e Lo os - E a ers ( n a r ) t t i p t .

Te rz a R i m a — “
B ron : Th e Pro h ec of D an e S h e l l e
. y p y t y
Th e Tr um h of L fe i p“
Morr s : The D e fence o f G uene i i
v ”
y
ere ; No es : Th e Pro gress of Lo e M a s ers : Th e M u “
v t
n i c ip a l P er
”
i “
B rown n g : Th e S a ue a n d t h e Bus em
.
”
i t t t
p yl o s th e t
er z a r m a r me sc h eme w h a n a es c e r a i i it p ti t t
me t er .

0d e s J onson : A P nd a ric Ode

.
-
M l on : On th e Morn i it
i n g of Ch ris s N a i i
”
t
; D r den :
’ “
t v ty
A l e a nder s Fe a s ;
”
y x ’
t
G ra : y ”
Th e B a rd a n d
“
Th e Pro gress of Poes
”
; C o ll ns y i
“
Ode o E en n g ( ) ; Wordswor h : Ode o D u
t ”
v i “
x ( i) ; t t ty ii
C o l erid g e :
“ “ ”
F r an c e a n d D e ec on ; S h e l l e : To a S ky j ti y
l a rk
”
iii
( ) ; K e a s : “Ode on a G rec a n Urn t ”
( ) ,
“
Ode o a i iii t
ti ”
Ni gh n ga l e, an d To A u umn ; Tenn son : Ode on th e “
t y
D e a h o f t h e D uke o f We l l n g on ; S w n b urn e : To V c or
t i t i i t
” “

” “ ”
H u go ; Lowe ll : Under th e O l d E l m a n d Ode R eci ed a t
“
t
v
t h e H a r a rd C ommemor a on W l l a m V a u gh n Mood : An “
ti i i y
i
Ode n T me of H es a on i ”
it ti .

I rr egul a r P o e m s in R i m e — M l on : L c das D r den . it y i y

” “
S on g for S t C ec l a s D a y a n d A l e a nder s Fe a s ; C o l
. ii ’ ”
x ’
t
i
l ns :
“ ”
Th e Pa ss ons ; C o l erid g e :
“
i
K ub l a K h a n
”
( ) an d iii
“
i t
C h r s ab el A rno l d :
“
D o er Be a ch
”
( ) ; Le G a l l i en n e : v xi
Th e E ern a l Wa y (x 1 1 ) ; A m y Lowe l l : Te a s ( ) ; S ee
t x xi
” “ ”

ger :
“
v
I H a e a Rende z ous wi h D e a h ( i ) ; Ro b nson v t t xi i
“
Th e M an A ga ns
”
t h e S k y ; L nds a : i t
“
Th e S a n a Fe i y t
i
”
Tr a l ; Poe :
“
Th e Be l l s ,
”
To H e l en , an d
“ ”
I s ra f el ;
G oe h e : Wa nderer s N gh son g s
t i t ix
“ ” “
( ) ; E merson : Termi
’
-

” “ ”
y
nus ; Tenn son : M a ud ; L a n er : S unr se a n d Th e “ ” “
i i ‘

M a rs h es of G l nn B rown n g : y
H ome - Th ou gh s from i t
” “
A b ro a d ; A rno l d : Th e Fors a ken Merm an
”
A n in eres n g . t ti
t y
s ud can be m a de of V ic or H u go s L es D j in n s “ ”
n w h ch t ’

, i i
t h e l in es v a r in l en gt h y
o su th e sub ec m a er o f the t it j t tt
p oem .
 N O TE S 1 89
/

C HA PTE R V I . TH E B A LLA D
For furt her discuss i on of t he Po p u l a r B a ll a d see Pro ,

f es s o r G eor g e L y m a n K itt red ge s In t roduc ti on t o K itt red ge

’

a n d S a r en t : E n l i s h a n d S c o tt is h P o u l a r B a l l a d s ; Fr a nc i s
g g p
B G um m e re : Th e P op ul a r B a l l a d a n d The B eginn ings of
.

P o e t ry ; a n d A ndrew L a n g s a r t ic l e on t h e B a l l a d i n t he E n
’

c c l o ce d ia B r i t a n n i ca T h ese a u t h ors iv e W h t is c l l ed
y p .
g a a

t h e or t h odo x t h eor y o f b a l l a d a u t h ors h ip ; t h e vi ews o f Pro

f e s s o r Louise Pound a re s e t for t h i n h er P o e t ic O r ig in s a n d
t h e B al l a d .W Ro y M a cken z ie s Th e Q u e s t of the B a ll ad
.
’

is a n e xt reme l y in t eres t in g a ccoun t of th e a u t h or s e xp eriences ’

in b a l l a d co ll ec t in g in Nova S co ti a E x ce l l en t co ll ec ti ons o f
.

p o p u l a r b a l l a ds a re G u m m ere : O ld E ngl is h B a l l a d s ; K i tt red ge

a n d S a r en t : E n lis h a n d S c o tt is h P a u l a r B a ll a d s ; R B rim
g g p .

Iey J o h nson : Th e B o o k of B r it is h B a ll a d s ; Qui l l er C ouch -

Th e Ox f o r d B oo k of B al l a d s ; O l i v e D a me C a m p be ll a n d
C eci l J S h a r p : E n gl is h F o l k S o ng s f ro m t he S o u t he r n A pp a
.

l a c h ia n s ; a n d J o h n A Lom a x : C o w b o y S on g s a n d O t h e r
.

F ro n t ie r B a ll a d s .

For fur t h er re adin g th e fo l l owin g Bri ti s h p o p u l a r b all a ds

,

a re su gg es t ed : Th e Th ree Ra v en s ;
“ “ ” ” “
E dw a rd ; Th om a s
Ry mer ; Th e Tw a Bro t h ers
” “ “
Lord Th om a s a n d F a ir A n
n e t ; F a ir M a r ga re t a n d S wee t Wi l l i a m ; Th e Wi fe of
” ” “

Us h er s We l l ; Bonn y B a rb a r a A ll en ; Th e G a y G os h a wk
’ ” “ ” “ ”

Robin H ood a n d G u y of G i sborne ;

“ ” “ ” “
A d a m Be l l ; Th e
Hun ti n g of the C h evio t ; J oh nie A rms t ron g ; K in m on t
” ” “

Wi l l ie .
”

Th e fo ll ow in g l it er a r y b a l l a ds wi l l re p a y s t ud y — D r a yt on
Th e B a tt l e of A gi ncour t ; C ow p er : Th e D i v er t in g H i s tor y
” “

of J o hn G i l pi n ; Wordswor th : Luc y G r a y ; C ol erid ge :

” “ ”

Th e Ri me of t h e A nc i en t M a r i ner (no t s t r i c t l y a b al l a d ) ;
“

S co tt : C a m p be ll
“ ” “
Ros a b e ll e an d Th e E ve of S t J o h n .

Lord U l l i n s D au gh t er M a c a u l a y : Hor a t ius Tenn y son

’

Th e R e v en ge L ady
” “ “
Th e D efence o f Lucknow ,
an d ,

R osse tti : S is t er H el en
“ “
C l a re B rowni n g : H e rvé Rie l
Th e Wh it e S h i p ; Lon g fe l l ow : Th e S ke l e t on i n A r
” “
and

Th e Wreck of t h e Hes p erus

” “
mor , and A B a l l a d of th e
,

F renc h F l ee t ; Wh itti er : Th e Pip es a t Lucknow

” “ ” “
B a rcl ay
,

o f Ury an d C a ss andr a S ou t h wick ; L a nier : Th e Re

,
“ ”
~
4 90 N O TE S
ven ge o f H a mish Ye ats : Th e B a ll a d of Mol l M a gee an d
Th e B a ll a d of F a t h er G i ll i ga n ; K ip l i n g :
” “
G un ga D in ,

Fu z z y Wu z z y a n d Th e B al l a d of E a s t a n d Wes t ; No y es
-
”
,
“ ”

For ty S i n g i n g S e a men ; M a s efi el d : C a p on H e a d a n d
” “ ”

Th e H ounds of H e ll ; A m y Lowe ll : L eg e n d s w h i c h con

”
,

t a i ns some e x cel l en t b a ll a ds an d n a rr a ti v e p oems of the s ame

g ener a l typ e .

C HA PTE R V II . TH E SON N ET
Th ree sonne t s a re gi v en in o t h er c h a pt ers z— Wordswor th
C om p os ed u p on Wes t m i ns t er B r i d ge xi ; Ode l l S h e p a rd
”
( )
C er t a i n A meric a n Poe t s xii ; a n d R o b i nson :
” “
( ) Mon a dnock
t h rou gh th e Trees (xii ) Mos t p oe ti c a n t h o l o gies con t a i n a
”
.

numb er of sonne t s C o l l ec ti on s de v o t ed w h o ll y t o t h e sonne t

.

a r e L a ur a E . Lockwood : E ng lis h S o n n e t s a n d Wi ll i a m S ha r p :
S o n n e t s o f th e N in e t e e n t h C e n t u ry Th e Ox f o r d B oo k of
.

A u s t r a l a s ia n V e rs e con t a i ns a number of e x ce l l en t sonne t s .

A det a i l ed d i scussion of th e t ec h n i que o f t h e sonne t is giv en

in t he In t roduc ti on to S h a r p s S o n n e t s of th e N in e t e e n t h C en
’

A us ti n D o b son wro t e a c l e v er A S onne t i n D i a l o gue

“ ”
t u ry. .

S ee a l so R o m e o a n d J u l ie t act i scene v l i nes 9 1 ff

, , , . In
Frenc h v erse t he dec a s y l l ab i c l i ne i s no t a s t r i c t requ i remen t .

D e Musse t s we l l known Tris t e s s e h a s oc t os y ll a b i c l i nes

’ “ ”
.

”
E p it ap h e d u n e J e un e F il l e
“
C om t e de R es s e gui e r s
’ ’
is a
sonn e t in s in gl e s y ll abl e l i nes :
-

F a rt
B e ll e,
E ll e
D art !
S ort
F r el e,
Q uell e
M o rt
R os e
C l os e
La
B ris e
4 92 N O TE S
G un s Ke s
as y ”
in C a n G r a nd e s C as l e an d J ohn G oul d ’
t
F l e c h er s Th e Pa ssin g of th e Wes t n B r e a ke r s a n d G ran
t “
’ ”
i
i te
. i i
For a d scuss on of o h er r me l ess forms h a n free erse , t i t v
tt
s ee B r a nder M a h ews : A S ud y o f V e rs ific a tion , C h a er IX t pt .

Wh m a n s Th e S n ger in t he Pr son com b ines free erse

it ’ ”
i i v
it i
w h r med re gu l a r erse in a n n eres n g m anner v i t ti .

P oems in free erse quo ed in v

o h er ch a ers a re —
z F l e ch er t t pt t
B l a ke ( ) ; C ra p s e y : Tr a d ( ) a n d Th e Wa rn n g
”
i ” ”
i ix i
ix “ ” “
( ) ”; F l e tc h er : “B ro a dw a ”s C a n on ( i ) ; S“a nd b ur g : Ch i” y ’
y x
xi
c a go ( ) a n d A E F ( i ) ; M a s ers : G eor ge G r a . . . xi t y
xii
( ) an d J o hn H a ncock O is ( ii )
”
t x .

C H A PTE R XI . PO E M S S TU D I E D BY TH E M E

Poe s d scussion of
’
i “
Th e R a v en
is found in Th e Ph il o s o ” “

p hy of C om os on p iti O t h er p oems on de a th w i l l be found

.

i n Ch a pt ers I I I IX an d X Th e fol l ow i n g“ p oems on o l d

, , .

a e ma
g y be p ro fi t ab l y com p a red z— Tenn y son : Ul y s ses (v ) ;
”

Brown i n g : Ra b b i b en E z r a ; A rn ol d : G row i n g O l d
” “

Lon g fe ll ow : Mor it ur i S al ut am u s H o l mes : Th e O l d M an

“

D obson : G row i n g G r a y
“ “
D re a ms Ro b inson : I s a ac an d
“ ”
A rc h ib al d M a s e fi el d : On G rowin g O l d .

Mos t of th e p oems ab ou t Linco l n a re found in M a r y Wri gh t

D a vi s s Th e B o o k o f Li n c o l n A n e a r l ier an d l es s com p l e t e
’
.

a n t hol o y
g i s A D al l a s Will iam s s The P ra is e of L i n co l n
.
’
.

Fo r d i scussion o f Lincol n s rol e in po e t r y s ee C a rl V an ’

D oren : Th e Poe ti c a l C u l t of Linco l n in Th e N a t io n for

“ ”

M ay 1 7 1 9 1 9 ; a n d J o hn D rin kw a t er s L i n co l n t he Worl d
’

, ,

E m a n c ip a t or .

O th er n a ture p oems in th e book a re — Burns : A ft on Wa t er

(i i ) ; ” S t e v enson : i i ) ; K ip l in g : Th e G ip s y
“ ” “
Requiem (
Tr a i l (ii ) ; S h e l l e y : To Ni gh t (i i ) ; S winburn e : Th e G a r
“ “

den o f Proser p ine (iii ) ; Wordswort h : I Wa ndered Lonel y

” “ ”

(iii ) ; S h e l l e y : To a S k“y l a rk (iii ) ; C ow p er” : Th e Po p l a r

“ ” “

F i e l d (iv ) ; S w i n b urn e : A Fors a ken G a rden (iv ) ; S h e l l e y :

Th e C l oud (i v ) ; L a n i er : Th e S on g o f th e Ch a tt a h ooc h ee
“ ” “ ”

( i v ) ; Ye a t s : The L a ke I s l e o f In n is f re e (i v ) ; M a s efi el d
”

Th e Wes t \ V i nd (iv ) ; Wordswor t h : From Th e P r el u d e (v ) ;

“ ”

K e a t s : From H yp er i on v ; Tenn y son : Ul y sses (v ) ;

“ ” ”
( )
B r y an t : From The Pr a i r i es (v ) ; Emerson : The Sno w
“ ” “
 N O TE S 4 93

S torm (v ) ; Fros t : Mend i n g Wa l l (v ) an d Th e Tu f t of

F l owers (v ) ; G r a y : E l e gy Wr itt en i n a C oun t r y C hurc h
“

y a rd (v“) ; B y ron : From C hil d e H a ro ld s P ilg rim“ age (v ) ;

” ’

S hell ey : Ode t o t he Wes t Wi nd (v ) ; K e a t s : On F i rs t

Look i n g in t o C h a p m a n s H omer (vii ) ; Wordswor t h : Th e
’ ” “

Wor l d is To o Muc h w it h Us (v1 1 ) ; S h e l l e y : O z y m a nd i a s

” “ ”

(vii ) ; “K e a t s : On the G r a ss h o pp er an”d C ricke t (v ii ) ;

“ ”

L a n g : B a ll a de t o Th e ocr itus i n Wi n t er (v iii ) ; M c C ra e ;

“
In F l a nders F i e l ds (viii ) ; Bunner : A Pi t ch er o f M i gnon
“

e tt e (v i i i ) ; S co l l a rd : In t h e S u l t an s G a rden (vii i ) ;
” “ ’ ”

G oe t he : Wa nderer s N i gh t son gs (i x ) ; A rno l d : Ph i l ome l a

“ ’ ” “ ”
-

(x ) ; Whi“t m an : Wh en I H e a rd th e L ea rn d A s t ronomer
“ ’

(x ) an d “A s To i l some I Wa”n d e r d V i r g i n i a s W oods (x ) ;

’ ”
’

Hen l e y : M a r ga r it a e S oror i (x ) ; F l e t c h er : E xit (x ) ;

“ ”

G i b son : Pre l ude Th e D a rk H i l l s (x i i )

” “
x 1 1 ) ; R o b inson :
(
an d
“
Mon a dnock t h rou gh th e Trees (x i i ) .

In t eres ti n g p oems de a l i n g w it h t h e c ity a re — B r y a n t : Th e

H y mn of th e C ity ; H a r t e : S an Fr a nc i sco M a s t ers : Th e
” “

Loo p ; A m y Lowe l l : Towns i n C o l or in h er M e n Wo m e n

” ”
, ,

a n d G h os t s . S e e a l so m a n y p oems i n F l e t c h er : B r e a ke r s a n d
G ra n i t e an d S a ndb ur g : C hic a g o P o e m s .

C HA PTE R XI I . TH E C ON TE M PO RA RY PO ETS

In t eres ti n g d i scussions o f con t em p or a r y p oe t s a re f ound in

A m y Lowe l l : Te n d e n c ie s i n M o d e r n A m e r ic a n P o et ry ; Lou i s
Un t ermey er : The N e w E ra i n A m e r ica n P o e t ry ; C on
ra d A i ken : S c ep t i c i s m s : N o t e s o n C o n t e m p o r a r y P o e t r y ;
M a r y C S t ur geon : S t u d ie s o f C o n t e m p or a ry P o et s ; M a n l y
.

a n d R icker t : C o n t e m or a r B r i t i s h L it e r a t u r e a n d C o n t e m o
p y p
r a ry A m e r ica n L it e r a t u r e ; M a r guer it e Wi l k i n son : N e w Vo ic e s ;
A r t hur Wa u gh : Tr ad it io n a n d C h a n g e ; J o h n E rskine : The
K in d s of P o e t ry ; Lowes : C on v e n t io n a n d R e vo l t in P o et ry ;
Ph e l p s : Th e A d va n c e of E ngl is h P o e t r y i n th e Tw e n t i e t h
C e n t u ry.

Mos t o f t h e fo l l owin g e x ce ll en t a n th o l o gies a l so con t a i n

v al u ab l e cri tici sm z— Un t ermey er : M od e r n A m e rica n P o e t ry
(re vi sed a n d en l a r ged ed iti on ) a n d [ Mo d e r n B r it is h P o e t ry ;
M a r guer it e Wi l kin son : N e w V o ice s ; H a rrie t Monroe a n d
A l i ce C or b i n H enderson : Th e N e w P o e t ry ; J essie B R itt en .
4 94 N O TE S
t
h ouse : Th e L i tl e B o o k of M o d e r n Ve r s e a n d The S e con d
B oo k of M o d e r n V e r s e .

t pt
In his c h a er we h a e no discussed a l l t h e con em or a r v t t p y
p t
oe s w h o a r e re resen ed b p
oems n o h er c h a ers For t y p i t pt .

vi
re ew it i t
w l l b e we ll o l ook u t h e fo ll ow n g n a mes in t h e p i
G ener a l Inde x
a t t h e end of t h e o l ume , a l h ou gh some of v t
th es e p t
oe s a r e con em or a r n me on l (th e n a mes of t p y i ti y
A mer c a n i p t
oe s a re nd c a ed b y an a s er sk ) i i t t i
t i
Ro b er Br d g es ; Ru er B roo ke ; p t
G el e tt Bur g ess ; Wi ter t
B yn n e r ; A de l a de C ra p s ey ; Wa l er de l a M a re ; A us n D o b
i t ti
y
son ; Lord D uns a n ; J oh n G ou l d F l e ch er ; Ro b er Fros ; t t t
W l fr d W l son G b son ; E dmund G osse ; Th o m a s H a rd ;
i i i i y
* “
H D . W ll a m E rnes H en l e ; J o ce K l mer ; Rud
. i i *
t y y i
ya rd ip i i
K l n g ; Fr a nc s Ledw d ge ; R c h a rd Le G a l l i en n e ; i i
i
V a c h e l L nds a ; A ndrew L a n g ; y H a n e l Lon g ; Amy i
Lowe l l ; J o hn M a s e fi e l d ; Ed ga r Lee M a s ers ; J oh n M c C ra e ; t
E dn a S t V ncen M l l a ;
. i t i y
C h r s o h er Mor l e ; El o N a it p y i t
pi y
er ; A l fred No es ; J ose h ine Pres on Pe a b od ; E z r a
* *
p t y
P ound ; E dw n A r l n g on Rob nson ;i i t
C a r l S a nd b ur g ; S ie g i
fried S a ssoon ; *
C l n on S co l l a rd ; *
i t
A l an S ee g er ; *
Ode ll
p
S h e a rd ; Ra b in d ra n a t h Ta gore ; S a r a Te a sd a l e ; Lou s i
Un erme er ; H enr va n D ke ; W ll a m Wa son ; W ll a rd
t y y y i i t i
Wa l es ; Th eodore Wa s D un on ;
tt - *
J o h n H all Wh ee l ock ;
tt t
W l l i a m Bu l er Yeats
i t .
4 96 B I BL I OGRAPH Y
C A Y L E Y, C M . .

Th e C l a ss c M h s n E n gl i yt i i s h Lit er t ure a .

G U M M E R E , F RA N C I S B .

Th e Be g nn n g s of Poe r i i ty .

Th e Po u l a r B a l l a dp .

O l d E n gl s h B a ll a ds i .

H AR T, W M . .

E n gl i s h p u l r B l l ds Po a a a .

J O HNS O N R B IM L Y,
. R E

Th e B ook of B r iti s h B l l ds a a .

K I TT RE G O
DGE, LY MA N d S AR
E N T HE LE N
R GE ,
an GE ,
C HILD
E n gli s h d S co tt is h Po p u l r B l l ds
an a a a .

L E O N AR S LI N A
D, TE R G .

Poems Wa r a n d t he Pe ace
of th e .

L O C K ER L A M PS O N F R E DER I C K
-
,

L y r a El e ga n ti a rum .

L O C K W O O D L A U RA E,
.

E n gl i s h S onn e t s .

L O M A X J O H N A V ER Y
,

C owbo y S on g s a n d O t h er Fron ti er B al l a ds .

S on g s of t h e C a tt l e Tr a i l a n d th e C OW C a m p .

L O WE L L A M Y ,

Tendenc i es i n Modern A mer i c a n Poe t r y (see al s o th e

p ref a ces t o h er v a r i ous v o l umes of v erse ) .

L O WE S J O H N L I V I N G S T O N
,

C on v en ti on a n d Re v o l t i n Poe t r y .

M A C K E N Z IE W RO Y ,
.

Th e Ques t o f t h e B a ll a d .

M A N L Y J O H N M A T T H E W S a n d RI C K ER T E D I T H
, , ,

C on t em p or a r y B r iti s h L it er a t ure : B i b l i o g r a p h ies an d

S t ud y Ou tl i nes .

C on t em p or a r y A mer i c a n L it er a t ure : B i b l i o gr a p h i es an d
S t ud y Ou t l i nes .

M A TT H E W S B R A N DER,

A mer i c a n F a m i l i a r V erse .

A S t ud y of V ers i fi c a ti on .

M O N R O HAR O L D
,

S ome C on t em p or a r y Poe t s .

S ome S o l d i er Poe t s .
 B I B L I OGRAPH Y 4 97

N E I LS O N WI L LI A M A L L A N
,

Th e E ssen ti a l s of Poe t r y .

Burn s : H ow t o K now H i m .

OSB ORN E B ,
. .

Th e Muse in A rms : A C o l l ec t ion of War

PA L G RA V E F RA N C I S TU R N ER
,

Th e G o l den Tre a sur y .

PA TT ER S O N WI L L IA M M ,
.

The Rhyt h m O f Prose .

PER C Y , TH M AS O
i
R e l ques o f Ancien t E n gl ish Poe t r y .

PERR Y, B L I SS
A S ud t y o f Poe t r y .

PHE L PS , WI L LI A M LY O N
Th e A d a nce v Of E n gl ish Poe t r y in t he
PO E , E D G AR A L L A N
“
Th e P oe ic Princi l e t p .

“
i
Th e Ph l oso h of C om osi ion p y p t .

PO UN D , L U ISE O
t i i
Poe ic Or g n s a n d th e B all ad .

PRES O T T F C
C , . .

Th Poe ti c M i nd
e .

Q UI L R C O U H S A RTH U R T
LE -
C ,
IR .

Th O x ford Book f B l l ds
e O a a .

Th O x ford Book of E n gl i s h
e V ers e .

RH Y S , E D W ARD
Th e New G o l den Tre a sur y .

RI E N H U SE , J ESS I E B
TT O .

itt
Th e L l e Book o f Modern V erse .

Th e S econd Book of Modern V e rs e .

S C HE L L I N G , F E L I X E .

Th e En gl s h L ric i y
S I D N E Y , S I R PH I L I P
Th e D efense O f Poes y .

S HARP , WI L IA M L
t
S onne s of t he Nine een h C entury t t .

S HE L L E Y , PE R C Y B Y S HE S
A D e fence of Poe r ty .
4 98 B I BL I OGRAPHY
S P I N G AR N , J O E L E L I AS
ti
C re a ve C ri c sm ti i .

S E V E N S N , B U R T N E G B ER
T O O T
P oems of A mer c a n H s ory i it .

TA L L E Y, TH M AS W O .

Ne gro Fo l k Rh mes y .

U N ER M E Y E R , L U I S
T O
Th e New E ra in A meric a n Poe try .

M odern A mer i c an Poe t r y .

Modern B r iti s h Poe t r y .

VVA TT s D U N T O N T HE O D O RE
-
,

A r ti c l e on P o e t ry in th e E n cy c l op ced ia B rit a n nic a .

WE L L S C AR O L YN
,

Th e Book of Humorous V erse .

WH I T E G L EES O N
,

B a ll a des an d Ronde a us C ha n t s Ro y a l S es t in a s
, , ,

n e l l es e t c , .

WH I T M A N WA L T
,

Pre f a ce t o Le av es O f G r a ss .

WI L K I N S O N M AR G U ER I T E
,

New V o i ces : A n In t roduc ti on t o C on t em p or a r y

WO O D B ERR Y G E O R G E E D W A R D
,

A New D e fence of Poe t r y (in Th e H e a rt of M a n )

“
.

Th e A pp reci a t ion o f L it er a t ure .

5 M) G E N E R AL IN D E X
A t l t i C lyd 1 4 1
a an a n a o n, . B en J t rt i
on s on M En e a ns a an

A tl anti M th ly Th 323
c on e, .
f r m S t r t f r d (R ob i n n )
o a o so ,

t d i p rt 1 88 1 89
,

A g t 1 91 4 4 74
u us 4 62 q , uo e n a - .

B nn tt A rnol d 1 3
.
,

A ld L
,

g Sy (B rns ) quot d
an ne u e e e
33—
u , , , .

34 . B rl in I rvin g 2 7
e , , .

au ot gr ph po ms 35 7 35 8
a e ,
-
. Bi bl t h 25 1 25 2 3 67 368 373
e, e, -
, , ,
.

A ylm r R os e 3 94, e, .
TB IN Y O N L A U RE N E , p m C oe

q ot d F th F l l
u e : 4 76 or e a e n,

B bya F t A (S winb urn )

’
s ee e , 4 77 .

BLA K E WI LL I A M 1 5 1 07 1 27
,

q o t d 308
u e , , , , ,

370 37 1 ; p ms quo t d
.

B h ll r I rving 401
ac e e , , .
- Th oe e : e

b ll d t h
a a C h pt r V I p
, e, im a e as s / , Tig r (i n p rt ) 7 2 ; S
e g f a , on s o

235 fi
’

I I t r d ti
nn o cen c e : 74 n o uc on , .

B l k (Fl tch r ) quot d 1 5

.

B ll d f D d L d i Th (V il
a a o ea a es , e a e e e ,
e .

l ) q ot d 300 3 01
on , u e -
. b l n k v rs
a 1 72 e 1 92 e, .

B ll d f H r
a a oA (D ob son ) e o es , , B l d D m l Th 1 04 392
es s e a oze , e, , .

q ot d 297 298
u e - . B i D
on n e (B urns ) q ot d i o on , u e n

b ll d s t n
a a th 7 7 25 2 2 5 7
a z a, e, , , . p rt 70
a .

b ll d
a a th 295 fi
e, e,
’

. B k A (D i ckinson ) quot d 4
oo , , e .

B ll d f th S t h
a a e o Cr e ou ern os s B k f L i l Th 406
oo o nc o n , e, .

(L n g) aq t d 2 96 —
29 7 , uo e . B wl s Will i m L i sl 269
o e , a e, .

B ll d t Th rit i Wi
a a e o eo c u s, n n T
*
B h A
ra n cnn H m p s t ,d 4 6 8 a e ea , .

t er (L n g ) q t d 29 5 296 a , uo e -
. B r k B r k B r k (T nny
ea ea ea e
B ll d d
,

) q o t d 1 68 1 69
,

a a d R es 29 5
an on ea u s , . so n , u e -
.

B ll d i B l Ch i
a a es 29 5 n ue na , , BRERE TO N MRS JA N E ; po m , . e

2 96 . qu t d O Bo e N : h Pi n ea u as
’
s c

B l l t Th
a o
(Pi rp ont ) quot d
, e e , e t r 35 6
u e, .

1 1 5 . B ri d f A by d Th (Byron )
e o os , e ,

B a nnoc kb r (B rns ) q ot d
u n u , u e qu t d i n p rt 1 65 1 66
o e a - .

49 . B ri dg f S igh Th (H oo d )
e o s, e ,

B d E p it p h A (B rns ) 35 1 34 2 quot d 1 5 3 1 5 6
’
ar s a u e -
, , , .

q t d 99 1 00
,

uo e - .
TB R O B ER T 282 284 4 4 5 ;
RIDG E S , ,
-
,

B y M G (H ov y ) qu t d
a rn e c ee e , o e p m quot d
oe Wh B i l d e : o u s a

i np rt 1 5 2 a . S h ip 284 , .

B a rra c k r m B l l d 25 2 25 3
- oo a a s, , , B d w y C y (Fl tch r )
ro a a
’
s an on e e ,

44 7 . q t d 432 433
uo e -

B tt l H y m f th R p b l i
.

e n o BROO K E R U PERT 21 0 284 4 74

Th (M rs H ow ) 4 7—
a e e u c, , , , , ,

e 48 q td . e , , uo e 4 75 ; p o m q t d Th S l d i e uo e : e o e r,
48 . 2 84 285 -

B d l i r C h rl s 4 00
.

au e a e, a e , . B r wn S i Thom s 364
o e, r a
BEA UM O N T FRA N I S 1 1 2 ; po m
.
,

, C , e BROW N E \ V M p o m quo t d
, I LL IA , e e
q o t d O th T m b i W t
u e : n e o s n es O n th C t e D w g f o un es s o a er o
mi t ns erA bb y 1 1 3 e , . P m br k
e 34 9 o e,
B m nt S i G or g 4 1 3 4 1 4
.

e au o , r e e, , . BRO W NIN MRS E L I A B E T H B G, Z AR

B t hov n Lu d wi g V 21 R TT 282 283 321 35 9 ; p o m

.

ee e . a n, E -
e
B l i M i f A ll Th E d
.
, , ,

e ev e e os e n ea r quot d H w D I L
e : Th ? o o o ve ee
i g Yn g Ch m (Mo r )
o un ar s o e , 28 3
t d 38
.

5 5 q , uo e . BROW NIN R O B ERT 5 1 5 6 1 8 1 G, , ,

T B é t S t ph n Vi nc nt 4 68
, ,
*
en , e e e , . 1 82 28 2 364
, 3 7 6 392 4 1 1 , , , ,

1 B é t Wi l l i m Ros 4 5 3 4 68
,
*
en , a e, , . 4 28 44 7 4 66 ; p m
, quot d , oe s e
 G E N E RAL I N D E X 5 01

P r os p i ce,1 4 6 1 47 ; The Yea r s

-
’
men t (i n p rt ) 2 1 4 2 1 5 ; a ,
-

i The L os t Chi l d Ha r l d P i lg r im g (i n
’
a t t h e S p r n g, 1 4 9 ; e o s a e
d
L ea er, 1 5 7- 1 5 8 ; M y L as t p rt )
a , 2 21 - 2 22
, 4 2 6-4 2
7 ; S on
D u c h es s , 1 9 9-201 ; Up a t a net o u Ch l l o n , 280 ; To Th o m a s i
V l l a — D own i n t h e C y, 4 29
i it M roo e, 33 7 ; L n e s W en i n i r itt
4 32 . an A lb u m a t a l a , 3 5 7 -35 8 ; M t
Br ’
u ce s A dd r ess to h is A m y a t r ’
O h ! S na tc h d A wa y i n
’
ea u y s B t
B a n no c b u n k r
B urns ( B ), quot d e lo om , 3 95 .

1 20- 1 21 .

r r i ti quot d C mpb ll M ry 392 393

B us s els C os s I ns c r p on , e a e , a ,
-
.

35 2 C mpb ll Th m s 4 8 1 a e o a

44 —
.
, , .

BR YA N T I LL I A M U LLE N
*
, W C ARE Y H E N R Y
C , 8 7, 45 po m , , e

88- 90, 1 8 5 - 1 86, 2 04 , 286, 42 8 ; quot d G d S t h Ki g 4 5 e : o a ve e n

C r lyl
.
,

p ms q ot d
oe u et Th m s 8
: Th e P o e , 9- 1 0 ; a e, o a , .

tr
To a Wa e -f owl, 88- 8 9 ; Th a na TC m B l i ss 406 *
ar an, , .

top s is i n p rt( a C rr ll L wi s 340

) , 9 0; The a o , e , .

r i ri
P a in p rt
es ( aC AR Y ) , 1 86 41 8 7 ;
P po m quot d
*
, H cE B E, e e
t i
Th e D ea h o f L n co l n, 4 03 Wh L ly W m
. W t en o ve o an an s a
B UN N ER E N R Y Y LER
, H F r 34 5 34 6
CU , 294 , a vo ,
-
.

309 ;po ms quot d e it r C t l f I d l

e : A P ch e Th (Thom as e o n o enc e, e
Mi
of tt son ) quo t d i p r t 21 9
gno n e e, 309 ; On e , Tw o,
“
, e n a .

r
Th ee,
”
33 5 - 336 .t l cti c 7 1 ca a e , .

TB URGESS ,
'
GELE TT p o m c t l xi s 1 5 2
, 34 0; e a a e , .

quot d e : The P u rp l e C ow, 34 0C w in M d i son 4 4 4 .

*
a e , a , .

B i u r a l o f S ir J M r oh n
C t ry f R d l A 308
o o e, Th e en u o ou n e s, .

quot
,

(oW l f e ), e dC t i1 4 5 -
A m ri
1 46 . P t (S h p
er a n e ca n oe s e
B UR N S O ER T
, R B , d ) qu t d 45 8
1 4 , 30-34 (hi s ar , o e .

son s g ), 5 5 -5 6
, h i n v rs 31 6
32 1 , 35 0, 35 1 , c a e e, .

po ms quot
39 2, 4 1 1 ; e t Ch m b r d e d : A f on N ti l Th
a e e au us , e
tr d
Wa e , 3 1 -32 ; A u l L a n g S yn e, (H olm s ) quo t d i n p rt 90 e , e a .

33-34 ; J d r
o h n A n e s on ,ch nt roy l t h 302
5 5 -5 6 ; a a , e, .

i
B o nn e D oon ( i n p rt C h pm n G or g
a ) , 70;
2 71 a a , e e, .

A rdBa t
’
s C h rl s I I 35 0
E pi a p h, 99- 1 00; a e , .

Br dd r
’
u ce s A r C HA U ER GEO FFRE Y 1 4 21 5 294
ess t o h is A m y a t C , , , , ,

B k r
a n no c b u n, 3 02 4 5 4 ; p o ms quot d
1 20- 1 2 1 ; E pi P , e e : ro

t J
o p h on i
ohn D ove, 35 1 ; H gh
l g (i n p rt ) 1 95 ; T R o ue a , o os e
d M r
la n a y, 392 -393 m . d A B l d 303 ou n e, a a e, .

B u rn s (Wh itti r quot in p rt C HES TER F I LD E ARL

e ), ed a po m E , O P, e
5 . quo t d I mm rt l N w t 35 6 e : o a e o n, .

1
' *
B Y N N ER, W '
Ch y C h
I IT ER, 8 , 31 6, 3 60, 237 ev as e, .

406 , 4 68 ;po m q t d in p rt Chi g (S ndb urg) 384 433

e uo e a : ca o a , , ,

rd
Th e N ew Wo l , 38 1 qu t d 4 33 435
. o e - .

B YRO N ORD , L , Child H r ld

1 02 , 1 44 , 279 -280, P i lg i m g e a o
’
s r a e
336, 339, 3 72 , 3 7 3 , 4 1 1 , 4 81 ; (By ron ) 1 44 4 1 1 4 26 quot d , , , , e
po ms q ot d
e u e : k i n p rt 221 222 4 26 42 7
S he Wa l s i n a -
,
-
.

B t e a u y, C h rchh i ll W i ns t on 401
7 0- 7 1 ; Th e D es t ru c u , , .

ti on of ri
S enna c he b , 1 38- 1 39 ;
li he 1 2 c c s, .

0 Ta l k ity i n p o t ry th 386 387 425

N o t t o M e, 1 3 9- 1 4 0; c e e, -

B rid
, ,

Th e d p rt
e o f A by os 4 42 (i n a ) , .

1 65 -1 66 ; The V i J cl ssi c l m t rs 68 1 61 1 62 368

is on of ud g a a e e , ,
-
, .
 5 02 G E N E R AL I ND E X
C l ou d , The (S hel l ey ) , qu ot e d 1 49 C roce B ene d tt o
, e , 8 , 226 .

C r o i n g th e B
ss ar
(Tennyson ) , 22,
Cl o u gh , A rt hur H u gh , 4 00 . q u t d 62 63
o e -

OLER ID E S A MUEL TA Y LOR

.

C G , 2, 1 7 , ,

6 0, 65 , 1 9 9 , 1 4 4 , 1 6 6, 2 2 6 , 24 0, d tyli c v rs
ac e e, 68, 1 5 2 fi
‘

25 2 , 339, 3 64 , 4 1 0, 4 1 1 , 4 8 1 ; D f d i l Fi l d
a o e s, Th e, 44 7
p ms qu t d M t i F t
.

oe o e : e r ca l ee D a n n y D eeve r Kip in
( l g) , quote d
(in p rt a K
) , 6 5 ; K u bl’ a ha n , 2 5 2- 2 5 4
i t
.

1 30- 1 32 ; Th e K n g h s To m b , nt
D a e , 1 83, 1 9 1 , 222, 2 86 292,
1 6 6- 1 6 7 392
OLL IN S I LL IA M
. .

C , W m ,
204 , 4 1 1 ; p o e D a res t Th ou N o w , 0 S ou l (Wh it
q t d
u o e : O d e toE i v en n g, 365 m a n ) , 378, u e 3 79 q ot d .

36 7 . Da rk i H l ls , Th e (R o b ) , 4 62 , inson
co l yu m i s t s ,
”
326 . qu t d
o e 4 62 -4 63
i M s t rs quot d
.

Co m e, R epu b l c ( a e ) , e Da rwin , C h a l e , 2 0, 4 1 6, 4 1 7 r s .

382- 3 84 . r
D au be , 45 4
i dn y
.

C om e, S l eep ! 0 S l eep (S e ), d
D ea M en Te l l N o Ta l es (Lo g) , n
q t d
uo e 2 7 6- 2 77 . q t d
uo e 1 26 .

c omm n m t r
o e e , 77 . d t
e a h, oe p ms on , 378 , 389 -4 00 .

C o m p os e d u p on t i tr t
Wes m n s e B ry nt D ea h o f L in c o l n, Th e ( a ),
B id r g e (Wo r d swort q t d h) ,q t duo e uo e 4 03 .

428 . t r t n D e c a u , S eph e , 4 70
Mi ton q ot d i n
.

C om u s ( l ) , 322, u e d i ti D e c a on , 1 04
p rt
.

a 1 77- 1 78 . M r tr Td e l a a e, Wa l e , 4 2 1
d
.

C o n co r H ym n Em rs n ( e o ), m s D eQ u i n c ey, Tho a , 1 29, 364

q t d
.

uo e 5 6- 5 7 . r y E r De b , a l o f , 1 93 .

nr d J p
Co a , o se h, 4 5 3 ti rn d quot d
. D es n y (A ol ) , e 92 .

ti
C o n sec ra on , A t ti
(M a sefi eld ) , ri D es ru c o n o
f S en n a ch e b,
quot d
1 1 0, e 4 5 5 -4 5 6 Byr n qu t d . Th e ( o ), o e 1 38-1 39 .

cont mp or ry p t ry
e a oe p, i k ins n Emi y p ms q ot d
se e Ch a
*
D c o , l , oe u e
i
t e r X II p a s s m 4 4 3 B k
and i Q it t A oo , 4 ; Th s u e Dus ,
not s t o
e pt r
C h a e X II . 35 3 .

ti t
C on ven on a nd R evo l i n P o e y, tr d i d ctic v rs a e e , 7- 8, 9 0 .

1 6 . d im t r e e , 75 .

o p r J m s F ni m r
C o e , a e e i i
o e, 45 3 . D x e, 22, 4 2, 4 6 .

r
C o o na ch (S cott qu t d
) , 1 47 , O S N E N R Y U ST IN
o e D B O , H A , 294, 302,

1 48 . 306, 3 1 2, 32 3, 339, 360-36 1 , 44 6 ; .

cow oyb ds
b a l l a , 237 , 2 44 if po ms quot d in . e e : A rs V i c tri a:
(
t r Fr
C ow b oy S on g s a n d O h e p rt on B d a ) , 1 92 ; A a lla of
ti r B d
e a ll a s , 2 44 r . r H e oes , 2 9 7-298 ; The P od i
O PER I LL I A M
C W , W , 286, 3 1 8, 339, tr g a ls , 299 ; I n A f e D a ys , 305 ;
4 1 1 , 4 25 ; p m quot doe e : Th edr Vit Th e Wa n e er, 306- 307 ; as
Fi d
P op l a r e l , 1 4 0- 1 4 1 Ki . II i n n u l eo, 307- 308 ; A ss ,
r
C a bb e, G or e ge, 481 . t 309 ; Wh en I S aw You L a s ,
*
C RA PS EY , ADELA IDE po ms
, 4 68 ; e r R o s e, 31 0- 3 1 1 ; J o c os a L y a ,
q t d
uo e : i t
O n S e e n g We a h e r 36 1 -362
t i
.

b ea en Tre es , 1 94 ; Tr a d , 3 60; D d gs n C h rl s L S C rroll o o a e ee a

i
, .
,
Th e Wa rn n g , 3 60 L wi s . e
r ti iti i
.

C ea v e C r c s m , 388 D m d y B k 4 65 . o es a oo
r d tt s quot
.
,

C ee s (Wa l e ) , d oub l b ll d th 302

e d 35 6 . e a a e, e, .
HM G E N E RA L I N D E X
F o r A l l We H ave a n d A re ( Kip G OLDS MIT H O L IV ER 1 01 , , 339, 34 5
,

l g) , in e 1 1 8-1 20 quot d . po m qu ot d Whe e : en L o ve ly

F or an t r
A u og a p h (JR . . Wom a n
S oop s t to F o l ly , 1 01 .

ow q t d
L ell ) , u o e 35 8 . G o, L ove ly R os e qu t e d o

F or Mte ap ho sr of M a n (Wa t 87-8 8 .

) qu t d 4 1 0
son , o e .
TGO S SE , E D MUN D p oem q u ot e d ,

Fr k o sa G rd A
en (S win a en, S es n a t o ti
F H 3 1 4 31 5 -

q ot d 1 42 1 44
. . .
,

b rn ) 1 4 1
u e , , u e -
.
T
G raves , R b eo rt 4 7 7
FOS TER S TEPHE N COLL IN S 23
,

GRA Y HO M AS 1 4 1 7 204 2 1 0
.

*
, , , T , ,

5 2 ; p o m q ot d
, , ,

28 3 5 , ,O ld e u e : 226 35 3 41 1 ; p m q
, td ,
oe uo e
F l k t H m 23 fi
o s a o e,
‘

. E l gy W itt ie C t ry r en n a ou n

F L ipp L ipp i (B rowni n g )

ra o , C h r hy r d 2 05 2 1 0
u c a -
.

quot d i n p rt 5
,

e a . G r k A nthol gy th 35 0 46 6
ee o , e, , .

fr v rs 35 9 360 363 fi (Ch p

ee e e, , , a G r n f ll J ul i n 4 75
e e , a , .

t X erp im ) as s . G i 372 3 73
u n ev e re, , .

*
Fr n u Ph il ip 87
e ea , , .
1
'
G *
it rm un A r teh ur 4 06 4 0 8 a , , , ,

1 FROS
' *
T R O B ER T 1 88 380
,
4 2 1 , , , , 4 68 .

44 5 4 63 ; p o ms quo t d M
, d e e : en
i g W ll 1 89 1 90; Th T f t f
n a ,
-
e u o
F l w r 201 203
o e s, -
. H ADR A N p o m quot d T hi
I , e e : o s
S l 35 2 35 3
ou S l so P r i or
,
-
. ee a ,

M tth w a e .

G r d by th S A (M orr i s ) 1 H g d orn H rm nn 406

’ *
a en e ea, , a e , e a , .

qu t d i p rt 4 1 2 o e n a . H ll m A rt h r H nry 4 00 4 1 6
a a , u e , ,

rp i
.

G rd a f en Pr Th o os e n e, e H m l t (S h k sp r ) 1 2 quo t d
a e a e ea e , ,
e

( S w i nb urn ) 83 quo t d 7 8 8 0 e , , e -
. in p rt 1 75 a .

G uti r The phil 1 92 294

a e , o e, , .
TH THO M AS
A RD Y , p o ms , e
G JOH N 339 ; po m quot d
AY, , e e q ot d H I iti l 35 5 ; I
u e : er n a s, n
L if i J t 35 0
e s a es . a Wo o d , 420-421 .

G org D vi d Ll yd 4 08
,

e e, a o , . H a rk ! H a r k ! th e L a r k (S h ak e
G rg G r y (M st rs ) quot d
eo e a a e e Sp r ) quot d 3 6 37
ea e e -

4 66—
, , .

4 67 .
“
H AR TE FRA N I S BRE T 1 1 5 3 1 8
, C , , ,

G rgi ns t h 446
eo a e, 4 05 ; p o ms qu t d H L tt e o e : er e e r,
3 1 8—
.
,

TG W
IRSO N I L FR D W I
, LSO N 38 0 I , , 32 0; M J dg J k i rs . u e en ns ,
446 477 ; p m q , td P oe uo e : re 34 6 34 8 ; S-
Fr i (i an a nc s co n
l d 45 6
u e, . p rt ) 4 2 7
a , .

“
GI LDER R I HARD W A TSO N 292 ;
, C , H wt h rn
a N th n i l 39 1
o e, a a e , .

p m quot d N i
oe e : a v es no r D ”
(M rs R i ch rd A l d i g a n
A rm i
.

t on ) 38 1 4 60; p o m q ot d
.

35 9 es , .
, , e u e
‘
G I L M A N R S A MU L 38 ; p m O r d 4 6 1 4 62 -

qu t d F i H r r d 39—
, EV . E , oe ea , .

o e : 40 a r a va , . H lt h
ea A (Pinkn y ) quot d e e
Gip y Tr i l Th (Kipl ing )
, ,

s a , e , 338 339 -

q ot d 5 3 5 5
.

u e -
. H l n of Troy 1 73 1 74
e e
GOE T HE JOHA N N WOLF A N
, , .

, G G, H E N LE Y W I LL I M E R N ES T 9 0 A
4 25 ; p o ms q ot d
, ,

3 8 0; p ms qu t d
,

1 63 , e u e 2 94 I oe o e : n~
W d r N igh t
,

an e er s
g 35 3
’
-
s on s, i t 91 ; R m
v c u s, 1 2 1 1 22 ; o a n c e, -

35 4 . S ee al so L ongf ll ow e , H . Vi ll ll 3 1 1 ; M rg it
a ne e, a ar ae
W . S r i 380 38 1
o or -

G l d Tr ry Th
, .

o en eas u , e, 1 39, 24 2 . H nry O 44 8

e
G ol d schmi d t M m
, .
, .

, e .
, 60 . H en ry V , 4 70 .
 G E N E RA L IN D E X mm
VII I (S ha k esp ea re O E W A RD
“
H en ry and H W , M RS . J U LIA , 47 ;
Fl t h r ) quot d i p rt 1 7 6
e c e , q ot d Th B tt l
e n a u e : e a e
1 77 f th R p b l i 48 o e e u c, .

L E I H 281 35 6 3 5 7 ; p o m
.

h pt m t r 7 5
e a e e II , . U N T, G , , , e

H I iti l (H r dy ) q t d
er n quot d R d
a s 35 7 a , uo e e : on ea u , .

35 5 H ti g S g (S co tt ) q t d un n on uo e
72—
.
,

H L tt r (H rt ) quot d 31 8
er e e 73 a e , e .

320 . hymn th 40 4 1 , e, - .

1
'
H*
r f r
e d O l iv r
o 34 0 H y m t t h N i g h t (
eL g f l, . n o e on e
l w ) quot d 1 2 7 1 28
,

H r d o tus 363
e o , . o , e - .

h ro i c co pl t 1 94 ff
e 349
u hyp rc t l c ti c 8 1
e , .
, . e a a e , .

h roi c qu t r in 203 fi H yp r i (K t s ) q ot d i
'

e a a , . e on ea , u e n
H ERR I K R O B ER T 324 36 1 ; p o ms
C ,
p rt 1 81 , , e a .

q t d Up uo e hi D p rt r
: on s e a u e

H 76 ; T th
en c e, Vi rg i t o e ns , o
M k M h f Tim 325
a e i mb ic v rs 66 69 70 S
uc o e, . a e e, , , . ee

h x m t r 75
e a 1 62 1 63 3 68
e e , C h pt rs I I ,d V p im -
, . a e an as s .

H i w th a a(L n gf l l ow ) quot d
a i mb i c p nt m t r 1 72 1 94 S
o e , e a e a e e , , . ee

i p rt 7 1
n a C h pt r V p
. im a e a ss .

H ig hl d M y (B urns ) quot d
an i mb i c t t r m t r 1 1 5
ar , e a e a e e , .

I m H i H i gh D g t K w
’
3 9 2 39 3 -
. a s n es s o a e
H i g hw y m Th (N oy s ) 262
a (p op ) q ot d 35 5
a n, e e , , e , u e .

45 2 q t d 262 267
, uo e I H R d wi th D -
th . a ve a en ezvo us ea
H i F ri d H L
s en d (W t son ) s (S g r ) qu t d 4 74 4 75
e ove a , ee e , o e -
.

quot d 35 5 e I b s n H nr i k 37 1
. 3 72 e , e , , .

h o kk th u, 360 e, Id 277 . ea , .

H OL M ES O L IVER WE N DELL 3 1 8 , I d y l l f th Ki g Th 1 1 3 1 82 , , s o e n , e, , ,

4 05 45 7, 45 9 4 62 ; po ms 44 7 , , e .

q t d Th C h b d N
uo e : I f 44 8 e ann ere au , .

ti l (in p rt ) 90; Th L t I l i d Th 235 270 373 374 e as

L f 328—
us a , a , e, , , ,

ea 330 p ning p r gr ph quot d 1 93

. o e a a a e

H O M ER 1 3 28 6 368 3 73 374 ;
.
,

, Ii P , 72 204 , ,
-
en s e ros o, , .

Op ning p r gr ph f th I l i d Im gi st s th 1 07 226 365 4 60

e a a a o e a a , e, , , ,

quot d 1 93 e 4 62 . .

H OOD T HO M AS 339 340 34 2 ;

, Im m rt l N wt (Ch st rfi l d )
, , , o a e on e e e ,

p ms quot d Th B ri dg f
oe quot d 35 6 e : e e o e
1 5 3—
.

S ig h 1 5 6 ; F it h l
s, N l ly IN r S th R d R Cr w a ess e ev e ee e e os e o n

G r y 34 2 34 5
a th -
Y r (M fi ld )
. q t d e ea a se e , uo e
H ORA E 2 72 307 326 329 ; po m
,

C , 289 , ,
- e .

q t d uo e Q ti i g L y d i : I A f t r D y (D b s n ) quo t d
u es on n a, n e a s o o , e

32 7 328 -
S l so U nt rm y r
. 305 ee a e e e , .

L ou i s . I S t ti f th M tr n a a on o e e o

T H M
OU S A L F RED
AN E DW ARD , (Poun d ) q t d 360 , , uo e
p o m quot d i p rt R i ll
e I W d (H rdy ) quot d
e n a : eve e, n a oo a , e
7 3 74 -
. 4 20 421 -
.

H O V E Y R I HARD 1 1 7 1 5 2 ; p o m in dust ri l l i f i n p t ry 4 35 fi '

, C , , e a e oe , .

quot d U m if t D ti y
e : initi l rim 82 n an es es n ,
a e, .

1 1 7 1 1 8 -
. I F l d r Fi l d (M cr ) n an e s e s c ae ,

H w D o I L Th ?o
(M rs 303 4 7 4 quot d 304 ove ee .
, , e .

B rown i n g ) quo t d 283 I M m ri m

, (T nny on ) e . n e o a e s ,
5 06 G E N E RA L IN D E X
quo te d i n p a rt 1 08 1 09, — 41 7 quo te d Th e S t r Sp - an
g le d
—
: a

41 8 . B nn r
a e , 4 2 43 .

I ns c ripti on b y t h e S ea , A n (R ob K i lm e n y (N oye s ) , q t d uo e 4 79 .

ins n q t d
o ), uo e 35 0 .
*
K I L M ER JOY E 4 75 ; po m
, C , e

i nt rn r im
e al e, 1 08 . qu t d Tr
o e 4 22 : e es , .

t G d (S col Ki g Th (Kip l i n g ) 43 6 qu t d
’
I n th e S u l a n s a r en n e o e
—
, , ,

la rd q t d
), u o e 31 2 31 3 .

ti ti
I n m a ons o rt it
f Im m o a l y K IN SLE Y GC H RLES p m q t d , A , oe uo e

(W or d swort h), q ot d
4 1 2, u e Y g ou nd O ld 1 00 1 01 an ,
- .

2 28- 234 TK R U
I PL I N G ,Y ARD 7 92 1 1 2 D , , , ,

n y q t d
.

I n v ic tu s (H e l e ) , u o e 91 . 31 3 4 36 , 4 43 446 44 8 4 5 0 , , ,
-
,

r sd
I S ha ll N o t C a e (Te a ale ) , 4 7 2 4 73 p m s quo t d
-
;Th oe e : e
q t d
uo e 1 24 Gip y T i l 5 3 5 5 ; Th Wh it
s ra -
e e

B d 92 —
.

M
,

Iva n h o e, 25 2 . an s
’
94 ; F A ll ur en, or
I Wa n e e drd
L on ely (W or d s lV e H a ve1 1 8- 1 20; a nd A re,

wort h), e 86 quot d D a n n y D e eve r, 2 5 2— 2 5 4 ; Th e

—
.

Ki i
n , 44 9 4 5 0; R e c es s o na l, 4 72
g
4 73 .

J b it E p it ph A (M c u
ac o e s
’
a ,
a a Ki rk n d in i r d
la , W f e , 1 74 .

l y ) qu t d 35 1 35 2
a , o e -
. Ki s s, A o s q t
(D b o n ) , u o e d 309 .

J m s J ss 244 2 46
a e , e e, -
. Kit n r rd
c he e , L o , 448 .

J m s Wi l l i m 4 7 1
a e a K i t ’
o ri d
n g h s To m b , Th e (C l e ge ) ,
—
.
, ,

J J m q t d 244 24 6
es s e a es , uo e - . q t d
uo e 1 66 1 6 7 .

J L y r (D ob son ) q t d
o co s a a , uo e K u bla K ha n ri d
(C o le ge ) , 1 2 9,
3 61 3 62 - q t d
226 , 227 , 3 64 , uo e 1 30- 1 32
—
. .

Jh A d
o n
(B rns ) quo t d
n ers on u , e y ri
k ell e , t he, 3 1 5 3 1 6 .

5 5 5 6 -

J h B r w B dy qu t d 4 6—
.

’
o n 47
o n s o ,
o e .

J h H
o n k O ti (M s t rs ) a nc o c s a e , La B e lle D am e s an s M e rci
quot d e (K t s ) ea , 2 5 2, qu t d o e 2 5 7-2 5 9 .

1 J ohns n R o b r t U n d rwoo d L a c hr im a e M u s a ru m (W at son )

*
e
'
o , e , ,

406 . 4 00, quot d e in p rt a , 1 .

JO N SO N B 71 349 ; p ms
, EN , , oe L a dy o f th e La ke , Th e, 1 4 7-1 4 8,
q ot d H y m t D i
u e (i : n o ana n 1 5 2, 4 1 1 .

p rt ) 7 1 ; S g t C li 37 on e k
L a e Is l e f I n n is f ree, Th e
K th i J fi y qu t d 24 6—
a , o a, . o
a a r ne 48 a
'

ra o e (Y ea t s ) , qu t do e 1 6 9- 1 7 0 .

KEA TS JOH N 3 4 5 5 9 60 1 04
.
,
’

, , , , , , , , L A ll eg ro, 2 1 , 7 2 .

1 06, 1 60, 1 8 1 , 22 6, 2 5 2,
1 29 , m
L a b , C h a l e , 36 4 , 3 9 1 , 432 r s .

27 0, , 369,
28 1 4 00, 41 1 ; L a m p , Th e (Te a al e ) , u sd q ot e d
po ms q t d
e u o e : O d e o n a G re 3 6 8- 3 6 9 .

i e an i
U rn, 1 05 - 1 06 ; H yp er o n t
L a n cel o , 1 88, 44 7 .

p rt
(i n a ) , 1 8 1 ; S le e p a nd L d f H t D ir
an o Th ea r
’
s es e, e
t p rt
P o e ry (i n a ) , 1 9 8- 1 99 ; Th e (Y t s ) s n g q t d 64
ea , o uo e .

p rt
E v e o f S t A g n es (in a ), L A N DOR WAL TER S A V A E 1 8 1 339
, G , , ,

392 4 1 1 ; p ms q td
.

2 20; LaB e ll e D a m e s ans 36 1 , , oe uo e :

Mri Fi r t
e c , 2 5 7 - 25 9 ; O n s L oo k T R b t B r w i g 1 82 ; O
o o er o n n n
ty fif t h Bi th d y 35 4 ;
,

i t
i ng n o r
C h a p m a n s H om e ,
’
hi S s even - r a ,

Gr r O D t h 35 4 ; Wit h P t r r h
’
2 7 1 ; O n th e as s h o p e an d n ea e a s
p , c

ikt
C r c e , 282 . S t 35 4 ; R
o n n e s, A yh os e n er,
*
K EY ,F RA N I S po m C e 394 .
5 08 G E N E RA L IN D E X
Ly ri s n d E p i cs (A l d ri ch )
c a po m quot d I F l nd , e e : n a ers
quote d in p a rt 31 7 Fi l d 304 . e s, .

M lvi l l H rm n 4 5 3 e e, e a , .

M d i g W ll (Fros t ) quot d en n a , e
MA A U LA Y L ORD 444 ; po m
C ,
1 89 1 90 ,
e -
.

q ot d A J b it E p it ph M r d ith G or g 2 75 372 373

u e : a co e s
’
a , e e , e e, ,

M l i 1 88 44 7
.
,

35 1 3 5 2 -
. er n, , .

m h i n ry
ac ed p o t ry 43 5 43 7
, an M r l i d t h G l m 36 5 e ,
-
, e n an e ea , .

44 8 4 5 0 - . m t h od s f stud yin g p t y e o oe r ,

T M*
k acy P a r y 4 0
e, 6 4 68 e c , , .

*
MALO N E WAL TER p o m quot d Mi d m m r N ight D r m A
, , e e : su e
’
s ea ,

A b h m Li ra a l 401 (S h k sp r ) q o t d i n p rt
nc o n , . a e ea e , u e a
M f r d 4 26
an e . 1 74 1 7 5 -

M g i n S r i (H nl y ) Mi ll i s J hn E v r tt 39 1
.
,

ar ar e o or e e , a , o e e , .

q t d 380 381
uo e -
1 M I LLA Y E D N A S
. V IN E N T ' *
, T . C ,

T M*
kh ar m E d wa i n 4 0 6 4
,
68 4 68 ; p o m quo t , d E l g y 39 8 , . e e : e
MARR S MRS I O N EL
,

1
*
L,
P 3. 9 9 , s ee ea .

b d y J os p h i n P r st n M I LLER C IN IN N A T U S H E IN E *
o e e e o . C
MARLOW E C HR I STOPHER 1 73 1 9 6 ;
, ,

,
1 1 5 1 1 7 ; po m , , , e

p m q t d D t r F t qu t d W tw r d H 1 1 6 1 1 7 aus u s -
oe uo e : oc o o e : es a 0, .

(i p rt ) 1 7 3 1 74
n a ,
M I LTO N JOH N 21 4 2 6 0 72
- .
, , , , , ,

IlI m i ar 24 8
on , . 1 41 1 72 1 7 7 1 7 9 1 9 1 204 226 , ,
-
, , , ,

m s l in rim 8 1
a cu e e, 269 2 7 7 2 7 8 3 1 7 3 5 4 36 1 364
.
,
-
, , , , ,

T M JOH
A S E P IE LD, N 1 1 0 20 1 2 1 0 369 400 4 44 4 5 3 4 7 1 ; p o ms
, , , , , , , , e

2 1 5 2 1 7 2 5 2 2 62 280 288 290

-
, , q t d C m , (i p rt ) ,
-
, uo e : o us n a ,

421 4 45, 44 6 44 7 ,44 8 45 3 1 77 1 78 ;

, P r di L t (i n
, ,
- a a se os
45 6 4 73
, 4 75 4 82 ; ,
p ms p rt ) 1 79 ; Wh I C i d r
,
oe a , en ons e ,

q t d Th W t Wi d 1 70
uo e : e 2 70; O thes L t M r i n , n e a e as s a c e n
1 7 1 ; Th Wi d w i th B y
e P i dm ot 2 78 n e e e on , .

S tr t ee(i p rt ) 2 1 7 ; Th M i t r l y f th S tti h B
n a , e ns e s o e co s or

Y r a f nt h o L h A h y de T h
“
2 4 8 oc c ra ,
”
er, e, .

2 5 4 2 5 6 ; N w Th y
-
G e mock i ngb i r d i n p o t ry t h
e a re o n e, e , e,

288- 2 89 ; I N ev e S e e th e R e d r 1 32 .

r
R os e C own t h e Yea , 289 ; O n r M o d e rn L ov e 2 75 .

G i
,

ro w n g O l d , 290; A Oo ns s M ona d n o c k t hr ou gh th e Trees

o ra t i o n , 4 5 5 -4 5 6 .
(R ob ins on ) , quot ed 4 63 .

M tr
a s e , Th e
(R b ), e o inson quot d mon m t e r o e , 75 , 76 .

VM o n roe H a rri et
~ ’
4 06-4 08 . 1 6, 406
,

E D AR
.
,

T
*
M A S TE RS , G L EE , 1 88, 3 73,
‘
Mo dyo , u n
\ Vill i am V a gh , 444 .

380, 38 1 , 4 05 , 44 5 , 4 63, 4 65 MOORE HO M AS

, T 3 7 -38
, 33 6-33
7,
ms quot d
,

4 67 ; p o e e : A l ex a nd e r 481 ;p o ms quot d B i
e e : e l ev e M e
Th ro c lom o r to n , 3 72 ; C om e, R e E d i
i f A l l Th o s e n ea r n g Y o u n n

p u bl c , 3 i8 2 -
384 ; eo g e a ,
y G r Gr i
C ha m s , 38 ; Th e T m e I v e L os
r t ’

4 66-4 6 7 ; o hn H a nc o c J O s, k ti i
i n Wo o n g (i n p rt a ) , 324 .

4 67 . r E i t
M o a l qu va l en of War, Th e,
TM a tthews,
*
a e , 294 , 31 2,B r nd r 471 .

32 1 . MORDA UN T M A OR THO M AS O , J , .
,

M r
Jl au d u l l e , 34 6 . po m qu t d S d S d
e o e : ou n , ou n
ss nt
M a u p a a , G u y d e, 2 . th Cl i e Fi l l th Fi f 4 71
a r on , e e, .

M RAE JOH N
CC , ,
303, 4 68 , 4 74 , 4 7 5 ; TM
*
C HR I S
O RLEY ,T OPHER 326 4 6 8 , ,
 G E N E R A L IN D E X 5 09

p o m quot d T P t O ffi
e e : o a os - ce i
S even W s e M en , 1 60-1 6 1 ; Th e
I k w l l 35 7
n e . H ighwa ym a n , 262 2 6 7 ; A rt (in -

M ORR I S WI LL I A M 5 2 1 1 0 21 7
,

, , , , , p rt
a
) , 2 94 ; K i hm en y, 4 79 .

4 1 1 41 2 4 4 6 ; p o ms quo t d
- e e

A p l gy 2 1 5 —
,

A 21 6 ; A G ar 0 Cap t i ! m y C ap a n ! t i (Wh it
—
n o o , a n

d en b y th S (i p rt ) e ea n a , m ) an ,qu t d o e 4 02 403 .

41 2 . oct m t
a e e r 75 , .

M r F l d P rty (Rob inson )

. oo
’
s a , oct osyll ab i c cou pl e t 1 25 , .

quot d 2 1 1 2 1 3 e -
. O d e, t he, 2 26 -22 7 .

M rs J dg J k i (H rt )
. u e en ns a e , Ode quot e d
q ot d 34 6 34 8
u e - . 1 6 7-1 68 .

m si c r l ti n f po t ry t o
u , e a ti ti
o f I m m rt l ity
o e , O d e : In m a on s o o a

C h pt r a II p i m
e ; v r b l (Wor d swort h ) 41 2 quo t d
as s e a e
228—
, ,

mus i c 5 9 6 1 65 ,
- 234 , . .

My L t D h as (B rown i n g ) Od uc G r i U (K ts ) es s , e on a ec a n rn ea ,

quot d 1 99 201 e q ot d 1 05 1 06
-
. u e - .

M y M ryl d (R n d ll ) 4 8 5 2
a an O d R it d t t h H r r d C m a a ,
-
, e ec e a e a va o

quot d 5 0 5 2 e -m m r ti (J R L ow l l )
. e o a on . . e ,

M y Mi t r B t (Lock r
s qu t d i p rt 404 4 05
es s s
’
oo s e o e n a -
.

L mp son ) quot d 330 33 2

a Od t
, N ig h ti g l (K t s ) 4 e - . e o a n a e ea , ,

myt hol o gy 1 02 2 5 1 2 5 2 2 70 ,
369 q o t d i p rt 5 9 60
,
-
, .
, u e n a -
.

Od t D ty (Wor d sw rth ) e o u o ,

N AP IER E L I OT 4 68 ; p o m quot d
, quot d 96 9 8
, e e e -
.

A ll M F r 304 305
en Od t E
a re i g (C l l ins ) qu t d ee, -
. e o ve n n o , o e
n tur i n p o t ry 1 7 9 1 87 1 89 365 36 7 -

4 1 0—
a e e , , , , .

4 25 S l so n t s t o
. O d t th W t Wi d (S h ll y )
ee a o e e o e es n e e ,

C h pt r X Ia e q ot d 223 225
. u e -
.

N i
a v es A rm i (Gi l d r )
n or O dy y th 1 83 235 2 7 1 es e , ss e , e, , , .

q ot d 35 9
u e Of t H. I S t S m C th a ve een a o e a e
n gr s n gs 28 2 9 238
e o o ,dr l D r (L n g f ll ow )
-
, . a oo o e ,

N w En gl n d p o t s th
e 7 3 74 a quot d 28 7 e , e, , , e .

45 7 4 5 9 4 63
-
, Oh ! S t h d Aw y i
. B ty na c
’
a n ea u
’
s

N w
e W ld Th (B y
or ) B l m (B yr n ) q t d 395 e nn e r oo o , uo e .

qu t d i n p rt 38 1
,

o e O l d F r n h F rms
a Ch p t r . e c o , s ee a e

N wt on S i I s c 34 9
e , r V II I p i m 294 II
aa , . a ss ,
.

n i ghtin g l i n po t ry th 1 32
a e O M g i S t (L i )
e , e, . n a a az ne o nn e o ne s ,

N i n t nt h
e ee Ps lm 367 37 7 quot d 34 8 a , , , e .

q t d i p rt 368
uo e n I S t ti
a f th M tr n a a on o e e o
N i b (N y s ) q t d 1 02—
.

o e o1 03 (Peoun d ) q o t d
, 3 6 0 uo e .
, u e .

N o L g M on f erM Wh O B N
o u rnh Pi t (M rs or e en n ea u as
’
s c u re .

I A m D d (S h k sp r ) B r r t on ) q t d 35 6
ea a e ea e , e e uo e
qu t d 2 73
.
,

o e O D t h (L n d or ) q
. t d 35 4 n ea a , uo e .

no n a m t 75 e er, O hi S . ty—fi f th B i th d y n s ev en r a

n ns ns v rs 339 342
o e e e
(L n d or ) quot d 35 4
e, -
. a , e

G (M fi ld ) O Fi r t L k i g i t C h pm
.

N w Th y
’
e e a re o ne a se e , n s oo n n o a an s

quot d 288 289 e H m-

(K t s ) q t d 27 1 . o er ea , uo e
L RED
.

TN A F 6 5 8 2 30 2 421 O G wi g O ld (M fi l d )
4 4 8 4 5 2—
OY ES , , , , , , n ro n as e e ,

445 , 4 5 3 4 78 ; p o ms
, quot d 29 0 , e e .

qu t d A t i d (i n p rt ) 82 ; O S i g W th r b t Tr
o e : s r a , n ee n ea e -
e a en e es

Ni b 1 02 1 03 ; U ity
o e, 1 59; (C p y) qu t d 1 94
- n , ra se , o e .
5 1 0 G E N E R AL I NDEX
On B i l d i g f S p ri gfi l d
th e u n o n e Pe rcy Bi shop Th omas
, , 238 .

(L i n d s y ) qu t d 43 7 439 a , o e -
. Pe rry B l i ss 1 6 64
, , , .

O n th C t eD w g r f ou n ess o a e o Pe t r rch Fr nci s 2 69

a , a , , 292, 35 4 ,
P m br k e (B r wn ) q t d
o e o e , uo e 3 92 , 4 1 1 .

i i s t n Ph l l p , S eph e , 446 .

O nth G r h pp r d C r i k t
e as s i o rn d qu t d
e an c e P h l o m e la (A ol ) , o e 369
(K t s ) 28 1 q t d 282
ea , , uo e . 370 .

L t Ill Pi d I ERPO N T J OH N p o m q ot d *
O nth e i a e a s s a c re n e P , , e u e
m t (Mi l t n ) 2 7 7 q ot d 28 8
on o B t , , u e . Th e a ll o , 1 1 5 .

O n th T mb e i W tm i t r o s E D A D A TE p o m
n es ns e
*
P 1 N K N EY , W R CO e
—
,

A bb y (B umont )
e q ot d q t d
ea t , u e uo e : A H ea l h, 338 339 .

1 1 3 . i P pp a P as s es, 1 4 8 .

o no m t p mi a o 1 08 1 79 1 9 7 1 98 a, , ,
-
, P o b b l e Wh o H a s N o To es , Th e
21 8 21 9 , . r quo t d ( L e a ) , e 340 -
34 2 .

T p
*
O p h i m J
en m s 40 6
e 4 6 8 , E D AR LLA N
a e , , .
*
PO E , G A , 2 , 6 , 8, 1 1
O r d l f R i h r d P r l Th
ea o c a ev e e , e, 1 7 , 60, 7 5 , 1 2 8, 204 , 2 1 0, 22 6
372 373 , . p ms 364 , 389, 4 2 6, 45 7 ; oe

O ri gi f S p i n o Th 41 7 q ot d
e c es , e, di u e : To O n e i n P a r a s e,
—
.

O S HA U H N ESS Y A RT H UR VV
’
G , r IL 1 28- 1 29 ; Th e S l eep e , 389 39 1 ;
L I A M E D A po m qu t d O d G R, t e i p rt
o e : e, S o nn e — To S c e n c e (i n a ),
1 67 1 68 -
. 41 6 .

O ss i n 3 64
a , . t B ry nt qu t d P o e , Th e ( a ) , o e 9 -
1 0 .

0 St f Mar i g d f Li b po t
o orn n r t an o e l a u ea e , the , 1 1 0, 1 5 6,
ty (L on g f ll ow ) quo t d 28 7
er e , e .

0 T lk N t t a M (Byron ) o P ti O igi
o d th e B ll d , oe c r ns an e a a ,

q t d 1 39 1 4 0
uo e -
2 36 . .

O t h l l (S h k sp r ) quot d i n p t ry ; t w k in d s f 2 ; d fi i
e o a e ea e e oe o o e n
ti ns f 6 fi ; di d cti c 7—
, ,

p rt 1 7 5 1 7 6 4 7 1
a -
, . 8 o o , . a ,

ott v r im 2 1 4
a a a, h w t r d 1 9 5 7 ; m th o d s o o ea , , e

t d yi
.

O ym d i
z an
( S h ll y ) 27
as 5 2 80 f s e n g 388 e , , , o u , .

288 qu t d 2 81
, o e
“
p lyph ni c pr s 386 .
”
o o o e, .

POPE A LE A N DER 1 2 75 1 92 , X , , , ,

p intin g it s r l ti n t o p o t ry
a ,
1 96 1 9 8
e a 300 339 o 392 4 70; e ,
-
, , , ,

30 1 07 4 1 3
, ,
po ms q ot d E y O riti e u e : ssa on
i p t
.

P l br
a a C in as
( A l d r i h )
ar i m ( n
os a s r ) 1 2 1 9 7 1 98 ; c , c s a ,
-

I l i d (i p rt ) 1 93 ; E p it ph
,

q t d 323 324
uo e - a n a , a

I t d d f
.

P lg v
a ra F r nci s Turn r 1 39
e, a Si I N w e , ,
n en e or r s aa c e
34 9 ; I A m H i H ig h
’
1 4 0 24 2 , . t on , s n ess

p nt m t h 3 1 1 3 1 3
a ou , e, D g t K w 35 5 -
. o a e .

Fi l d Th (Cowp r )
,

P r di
a a L t (Mi l t on ) quo t d i n P p l
se os , e o ar e , e e ,

p rt 1 7 9 1 80
a - q t d 1 40 1 4 1 uo e -
.

p p l r b ll d th
.

p r dy t h 34 5 348
a o e, - 235 ff o u a a a , e,

E A 3 5 9 4 6 8 ; po m
.
, .

P tt rson W M 3 8 6
*
a e TP O U N D, Z B , , e

q t d I S t ti
, . .
, .

TP
*
JOSEPH IN E PRES TO N
E A B O DY , f th uo e : n a a on o e

( M rs L i n l M r k s ) 4 68
o ; M e t r 3 60 a e o, .

po m q t d V ity S ith P n d Pr f ssor L oui s 236

.
,
“
e uo e : an a ou , o e e, .

W i nt hrop M c kw rt h
,
”
th Pr
e h r 332 333ea c eP d -
. ra e , a o ,

P l C st l
,

ee e 41 3 41 4a e, 339 361 -
, .

p nt m t r 7 5 S l so i mb i c P r i i Th (B ry nt ) quot d
.

e a e e . ee a a a r es , e a , e

i n p rt 1 8 6 1 8 7
,

p nt m t r
e a e e . a -
.
5 1 2 G E N E R AL IN D E X
(F itz ger al d ) , quote d i n p rt a 1 7 7, 1 96, 2 1 5 , 2 69, 2 72 274 , 391 , —
2 1 3, 2 8 9 4 70, p ms quot d
oe e : H a rk !
rk —
.

R usk i n J ohn , , 1 1 . rk Mi d
H a ! th e L a , 3 6 3 7 ; A
r
s um m e i t r
N g h s D ea m
’

(i n
S al t tr
Wa e P o em s a nd B a l la d s , rt — t in
p a ) , 1 74 1 7 5 ; H a m le (
25 4 , 45 3 . p rt
a t i n p rt
) , 1 7 5 ; O he ll o ( a ),
it
S a m s o n A g on s e s , 1 4 1 . 1 75 - 1 7 6, 4 7 1 ; S h a ll I C o m p a re
*
1 S
'
AND U ARL
B RG , C , 3 64 , 380, 38 1 , Th ee t o a S u m m er s D a y, 272
’

406 , 4 33, 4 63, 4 67 — 4 68 , 4 7 7 ; rM r 2 73 ; N o L o n g e ou n f o r M e

po ms quot d
e e : A Fe nc e , 3 84 d t en I a m D ea , 2 73 ; To M e,
i
38 5 ; C h ca go, 4 33-435 ; A E F , F ir F i d r . . . a r en , Y ou N ev e C an
4 80 . B e O l d , 2 74 .

F i
S a n ra n c s co (H a e ) , rt quot d e in k rn d S h a es p ea re (A ol
) , 2 75 , 28 5 ,
p rt
a 42 7 . q ot d u e 285 - 28 6 .

s a pp h ci st n a z a, t h e , 3 68-3 6 9 r . S h a ll I C o m p a e Th ee to a S u m
p o
S a p h , 35 9, 368 k sp r m er s ’
D ay ? (S h a e e a e ) ,
— q t d
.

T I E R IED
S A ES OO N , S G F , 4 75 , 4 77 4 7 8 uo e 272-2 73 .

po m qu t d
e o e : S on g — k
b oo s o f t t r dd S h e D w e l a m o n g th e U n o en
t he l Va r, 4 7 8 . q ot d Wa ys (IVo rd sw o rt h ) , u e
A JOH N GOD RE Y
S X E, F , 339 ; e po m 393- 3 94 .

q t d
u o e : Wo m a n s W l l, 35 6
’
i y rry ow . S h e ll e , H a R e , 4 72 .

sc ns i on
a ,
65 if HELLE Y ER Y B Y SSHE
. S , P C , 1 1 (h is
rt F r n
S c h ub e , a z, 3 6 d niti n p t ry . efi o of oe ) , 6 0, 1 4 1 ,
s i n it s r ti n t o p o t ry
c e ce , el a o e , 1 0
2 7 5 , 280, 2 88 , 3 64 , 3 6 9, 4 00, 4 1 1 ;
1 1 , 4 1 6-4 1 8, 43 5 p ms qu t d . i t oe o e : To N gh , 6 1
TS C O L LA RD, C
*
L IN TO N, 302 , 406 ; k k 6 2 ; To a S y la r , 1 32 - 1 36 ; The
po m qu t d
e o e : I n t he S u l a n s t ’
d C l o u , 1 49- 1 5 2 ; O d e t o th e
G rda en , 3 1 2-31 3 t i d Wes W n , 223- 22 5 ; Ozym an
di
.

S O TT L AD Y J OH N p o m quot d
C , , e e a s , 281 .

A i L i 34 35
nn e a u r e,
TS O DELL p o m quot d-
.
*
H EPA RD, , e e

S O TT
C S , W AL TE IR 1 47 1 52 C rt i Am i P t 45 8
R, , , e a n er c a n o e s, .

2 4 6 25 1 2 5 9 3 65 39 1 4 1 1 4 7 1 ;
-
,
S h rm n F r n k D mp s t r 294
, , , ,
*
e a , a e e , ,

p ms qu t d H ti g S g
oe o e 306 406 : un n on , , .

7 2 73 ; Th
-
L y f th L t e Sh W lk i B a ty (Byron ) o e as e a s n ea u ,

Mi t r l (i p rt ) 1 25 1 26
ns e 75
n quot d 70 7 1 a ,
-
, e -
.

C r o ona c h 1 48 ; L hi r %8 short p o ms 34 8 If
, oc n va ,
e , .

25 0 . S ID N E Y S P H I L I P 2 237 2 69 , IR , , , ,

S otti sh d i l c t t h
c 32 a e 2 7 6 34 9 3 63 3 64 4 00 ; po m
, e, .
, , , , e

S e c ond A p r i l 398 qu t d C m Sl p! 0 Sl p o e : o e, ee ee
2 7 6—
.
, ,

S EE ER A LA N 4 74 4 75 ; p o m
“
G , 2 77 ,
- e .

q t d I H
uo e : R d S i l l E d w r d R owl n d 4 05 4 06
a ve a en ezv ous
*
, a a
w it h D th 4 74 4 75
.
, ,

Si Th r H lp (D r y
’
ea , N - . nce e e s o e a

TS i e rv ce ,R ob r t \ V 44 8 t on ) q t d 27 7
e , . uo e
s sti n t h 3 1 3 3 1 5
.
, .

e a, e, S i ncl i r U pt on 20
-
. a
S ti t F H (G oss ) q ot d
.
, ,

es na o . Si J h F k l i (T nnys n )
. e , u e r o n ra n n e o ,

3 1 4 31 5 -
. quot d 34 9 3 5 0 e -

Wi M (N oy s ) quot d
.

S e v en se Si en P t ri k Sp 240 25 2 e e r a c ens ,
1 6 0—
, , ,

1 61 . quo t d 24 1 24 2 e -

S HA K ESPEARE W I LL I A M 2 7 36 S k ipp r I
.

R id (VVhit
’
, , , e r es o n s e

(h i son s g s ) 6 0 1 2 7 1 72 1 7 5 ti r ) q ot d 25 9 262
, , , , e , u e -
.
 G E N E RA L IN D E X 5 1 3

S leep an d P oe t ry (K t s ) ea , 2 1 8-21 9 ; Wha t G il u e is Th i s,

quote d i n p rt 1 98 1 99 a - . 2 75 .

S m it h C A l p honso 1 2 8
, .
, . S p ns ri n sonn t th 2 74 27 5
e e a e , e, - .

S l eep e r Th e (Po e ) quo t e d

, , 389 S p ns ri n st n 2 1 7 if
e e a a za, .

391 . S pi ng rn J o l E l i s 8 363
a , e a , , ,
“
S MIT H , R EV . S A MUEL FRA N IS C , 388 .

43, po m quot d A m i 44 e e : er c a, S pl d r F ll Th (T nnyson )

en o a s, e e ,

45 . q ot d 1 07 1 08
u e - .

S no w B d
-
(Whitti r )
ou n 39 6 e , , Sp R i r A t h l gy (M
o on ve n o o as

quot d i p rt 1 25 e n a . t rs ) 373 382 quot d i n p rt

e , , , e a

S no w S t rm- Th (E m rson )
o , e e , 3 72 4 65 4 6 7
,
- .

quot d 1 8 7 1 88 e - . s t n 7 6 7 7 1 94
a za , , , .

So ldi r Th (B roo k ) quot d S t r Sp gl d B r Th a n ne

- an e
—
e , e e , e a e ,

284 -2 85 .
( K y) 4 2 e 6 7 q t d 4,2 43 , , uo e .

o l i ta ry R ea p e , Th e (W d r or s “
S t d m n E dm n d Cl r nc 32 1
e a , u a e e, ,

wort h), e 84 - 85 quo t d . 323 339 44 4 4 5 7

, , , .

S o m e I m ag s P o ems , 4 60 it . S TE V E N SO N R O B ER T L O UIS 90 , , ,

son g;d nd ov son s

efi e , 21 ; l e g , 34 ; po m quot d R q i m 5 3
e e : e u e , .

o
c ll e eson s g , ymns
38 - 39
h
*
S t dd r d R i c h r d H nry 4 05
o a a e
— p t ri oti c son s
g ; , , , .

S t dy f P t ry A 1 6 64
'

40 4 1 ; a g , 41 fi u o oe , , , .

s n s
o on r sun
g no l ge fl g, 5 5
’
. S urr y E rl e f 1 73 2 69
, a o , , .

S on g ri stin
(Ch oss tti R ), Sw t ee d L w (T nnyson )
an
—
a e o e ,

quot d e 1 23 1 24 . quot d 63 e .

i J onson q ot
S on g t o C e l a ( ) , u ed S wi f t J on th n 339
, a a , .

37 . S W IN B UR N E A L ER N O N C HARLES , G ,

S on g- b oo s of th e Wa r (S ask 75 77 1 04 1 1 0 1 4 1
, ,4 00 4 01 , , , , ,

soon ), e d 4 78 quot . 41 1 44 6 , 44 7 4 64 ; po ms , , e

S o ngs o f I n no c en ce : I n tro d u c q ot d Th G r d
u e f Pr r
: e a en o os e
ti on ( la e), B k
o ed 74 qu t .
pi 7 8 80; A F r k
ne, G -
o sa en ar

sonn t e , th e, 34 8, C h a e V II pt r d 1 42 1 4 4 ; A B by
en , F t -
a
’
s ee ,

i t in
p as s m , 2 68 ii ; I al a , 269 fi
'

. 308 ; T W l t Wh itm i o
'

a an n
k sp r n pu
S ha e e a e a , 2 7 2 ff ; S e . A m ri (i n p rt ) 37 5
e ca a , .

s ri n
e s nn t s on
a , 274 -2 75 ; o e t he S wi g n L w Sw t C h ri t o ee a o
sonn t
, ,

e , 2 68, 29 2- 293 . qu t d 28 29 o e -
.

S on n e t M
is a t Mo m en s
’
orw S ymon d s J o hn A dd i n gt on 60 , , .

t
m en , A oss tti quo t
(R e ) , ed S yn g J ohn Mi lli ngt n 4 68
e, o , .

268 .

t r rt
S on n e s f om th e P o ugues e, TA OO RE
T , R A RI N DRA N A TH , 374,
282-2 83 . p m quot d
4 69 ; r y r oe e : A P a e
t
S on n e s
’
i V o c e, tt s
Th e (Wa f I d i 4 69
or n a,
unton quot
.

D ), e d 293 .
*
T yl or B r t L s ton 32 6
a , e e , .

d
S ou n , S ou n d i Fi
t h e C l a r on , ll TT
*
S ARA (M rs Fi l i g
EA S DA LE , . s n
th e Fi Mor d nt quot d
fe ( au
), e ) 1 23 1 24 368 4 68 ; p ms
er , , , , oe
4 71 . quot d I S h ll N t C r 1 24 ;
e : a o a e,
o t y o rt
S u he , R b e , 369 . Wi d m 1 24 ; Th L m p 368
s o , e a

ir o inson quot d
,

S ou ven (R b ), e 369 .

29 1 . T lli g
e th nB (Whitti r ) e e es e ,

S PE N SER E D MUN D
, , 60, 2 1 7, 2 69, quot d 396 398 e -
.

p ms q ot
2 74 , 4 00, 4 5 3 ; oe u ed : TE N NY S N A L FRED 1 3 60 1 08O , , , ,

Th e F ri a e e Q u een s p rt (in a ) , 1 1 3, 1 4 0, 1 4 7, 1 5 2, 1 92, 1 9 7,

5 1 4 G E N E RA L IN D E X
2 5 2, 2 83, 3 64 , 3 65 , 3 72 , 392, To a S yla k rk (S h ell ey ) , 22,
4 00, 4 1 1 , 4 1 2 , 4 2 5 , 4 46- 4 4 7, 4 5 2, quote d 1 32- 1 3 6 .

45 3 ; e po ms qu t d
o e : C ros s n
g th e i To a Wa t er f ow l -
(B ryant ) ,

B a r, 62- 63 ; S we e an d L ow , t quot d 88 89 e -
.

6 3 ; Th e S p l en o r F a l l s, 1 07 d To C h r i s ti n R o setti (Wat son ) a s ,

i
1 08 ; R n g O u t, id B
Wl e lls , quote d 35 9
—
.

1 08 1 09 ; To th e Q u een, 1 1 0- 1 1 1 ; To his S ou l (Pr i or f rom H ad

To Vi i rg l, 1 1 3— Br k
1 1 5 ; ea , r i n ) quote d 35 2 35 3
a ,
-

B r k Br k
.

ea , ea , 1 6 8- 1 6 9 ; U ly ss es , To L u cas ta, on G i o ng to the

—
1 83 1 8 5 ; S ir J oh n F ki ra n l n , Wa rs (L ovel ace ) quote d , 9 8-99
F
.

349- 3 5 0; r
l o w e r i n th e C a n To M e, F ir F a ri en d You N eve r
id M i
,

n e l Va l l, 4 1 2 ; I n e m or a m Can B e O ld (S h a k esp re ) ea ,

( i np rt
a
) , 1 08 - 1 09
, 4 1 7 -4 1 8 . quot d e 2 74 .

T en ny (s on D yk ) quot d va n e , e To N gh i t y 61 1 27
(S he ll e ) , , ,

1 1 2 . qu t d 6 1 62
o e - .

t r rim 222 if
e za a, . T O l d A g (Wh itm n ) quo t d
o e a , e
t t r m t r 75
e a e e , . 35 9 .

T ex as
(A m y L ow ll ) q ot d 4 4 0 e , u e T O
o i P r di
ne
(P ) q t d
n a a se oe , uo e
44 1 . 1 28 1 29 -
.

Th k r y Wi ll i m M k p c
ac e a , a a e ea e, T R b r t B r w i g (L n d or )
o o e o n n a ,
339 . qu t d 1 82
o e .

Th t p i (B ry nt ) q ot d i
ana o s s a u e n T o R m d
ose A B ld ou n e . a a e
p rt 90 (C h uc r ) quot d 303
,

a . a e , e .

Th ocr it s 2 95
e u , . T th Q
o e
(T nnyson ) q ot d
u een e , u e
Th i s Q i t D t (D i cki nson )
u e us ,
1 1 01 1 1 -
.

q t d 35 3
uo e . T th
o Vi rgi t M k M h
e ns , o a e uc
Th omp s n M ur i f Ti m (H rri c k ) 324 quo t
*
o 400 401 , a c e, , .
o e e , ,

Th omson J m s 2 1 9 4 1 1 , a e e d 325 .

y
, , .

Thor u H nry D vi d 37 5
ea e a T o Th m M r o
(B ron )
as oo e ,
qu t d 337
, , .

Th rn d i k
o A s hl y H r c
e, 4 46 e o a e, . o e .

Ti g r The
(B l k ) q t d i n e a e uo e T o Th Wh D i d (J R
os e o e . .

L w ll ) quot d 35 8
, ,

p rt 7 2
a o e , e .

T Vi rg i l (T nnyson ) 1 72 quot
.

tim l m nt i En gli sh v rs
e e e e n e e, o e , ,

th 67
e, e d 1 1 3 1 1 5 -
.

W lt Wh itm
.

Ti m I L t i W i g Th T i Am i
’
e ve os n oo n e o a an n er c a

(S wi nb urn ) quo t d i n p rt
,

(M r ) q t d i p rt 324
oo e , uo e n a . e , e a
*
TM I H E N RY ; p m q t d
RO D, oe uo e 375 .

At M g li C m t ry
a 1 21 no a e e e t st t h 336 339
oa , e, -
.

t on l r 83 S
,

1 22 . e - co o l so onom
, . ee a a
Ti n k r Ch unc y B
e 35 2 a e t p i
o oe a .

t r nsl t ors 1 92 1 93 286 28 7

.
, .
,

Ti t A bb y (W or d sworth )
- -
n e rn e ,
a a , , .

4 1 2 q o t d i p rt 4 1 3
u e n a Tr ees (Ki lm r ) q ot d 4 22 e , u e .

T i d (C p y ) q t d 3 60
.
,

T o a C t i Ci ili er a n
(Wh itm n ) v an a ,
r a ra se , uo e .

quot d 37 6 e t rim t r 7 5
e e , .

t ri l t th 308 309
.

T o a Ch i l d f Q l ity Fi Y r o ua ve ea s o e , e, -
.

O l d (Pr i r ) q t d 334 o , uo e . t ripl m t rs th 69 ;

e e e Ch p , e, s ee a

T o L m ti
a i Wi t r
o co o ve n n e t er IV p im 1 37 ff as s , .

(Wh itm n ) quot d 4 36 43 7 a , e - . t r h i c v rs 68 72

oc a e e, , .

T o P t O fli
a I kw l l (M or
os - ce n e Tr t h b t H r
u a Th (Fi l d )
ou o ac e, e e ,

l y ) q o t d 35 7
e , u e . qu t d 326 32 7
o e -
.
5 1 6 G E N E RA L IN D E X
Wh it e M a n s ’
r
B u d en , Th e (Kip 4 1 2-4 1 6, 4 2 7-4 28 , 435 , 461 , 4 8 ]
in quot d 92 94
l g) , e -
. po ms quot d
e e : The S ol a y it r
it d G or g 1 04
W h efi el , e e, . R ea p e , 84 - 85 ; I Wo n d ered
r
Wh l ,it oc k B r nd 4 01
a , . L on ely, 86 ; O d e to D u y, 96 t
*
W H I T M A N WAL T 1 2 363
, ,
364 ,
, , 98 ; Th e P elu e ( r a ), d i n p rt
365 , 3 6 9, 3 7 0, 37 1 , 372 , 374 1 7 9- 1 80; O d e : I n m a ons of ti ti
3 7 9, 38 0, 381 , 400, 432, 4 5 7 ; rt it
I mm o a l y, 228-234 ; L o n on , d
p o ms quot d
e e : To O ld A ge, —
1 802, 2 7 8 2 79 ; Th e Wo l Is rd
rt i i i i
35 9 ; To a C e a n C v l a n, 3 7 6 ; To o M it
u c h W h Us , 279 ; S h e
Wh en I H ea rd th e L ea rn d
’
D w el t a mo n g t r dd
th e Un o en
tr r
A s on om e , 37 7 ; A s To ls om e i i tr
Wa ys, 393-394 ; T n e n A b b ey
I Wa nd er d ’
Vi r i i g n a s Wo od s ,
’
(i n p rta ), 41 3 ; E i t
l eg a c S a n
3 7 8 ; D a res t Th ou N o w, 0 S ou l, za s , d
4 1 4 -4 1 6 ; C om p os e up on
t i
379 ; 0 C ap a n ! m y C a p a n ! t i t i t r Br d
Wes m n s e i g e, 4 28 .

4 02-4 03 ; To a L o com o ve i n ti l Vo rl d I s Too M u c h W h Us , it

i tr
W n e , 43 6-437 . Th e (W or d swor t h ) , 278, 42 7,
*
W H ITT I ER JOH N
, G REE N LE A E, 5 , quot d e 279 .

1 1 0, 1 25 , 1 5 7 , 34 6, 405 , 4 5 7 , Wo m a n d th e A n gel, The (Dun

r
45 9 ; po ms quot d
e r
e : B u ns in ( s ny q ot d
a ), u e 3 7 3-
374 .

p rt
a ), ; 5 S n o B d
w -
ou n it
(Wh W e , S i r Ch
rn r i s t op r
he , 1 60 .

ti r quot d
e ), e p rt
in a 1 25 ; r i t vi s
W gh -D a , M a , 4 06 ry .

ki r id
S pp e I reson s R e, 25 9- 2 62 ;
’
itt
Wr en in a L a y s M i l tcn d ’

i
Te l l n g t h e B e es , 39 6-398 .
(P ri or q ot d
) , u e 35 5 .

B id
Who u l s a S hip ( d ge ) , B ri s itt
Wr en in Mr i d ’
S n ey L ee s Li f e
.

quot de 284 . of k r
S ha esp ea e, 28 5 , quot d e

id
W ow i n the B ye S ee , Th e tr t 28 6 .

(M asefi eld ) , 4 5 3, 45 4 , quo t ed y tt

W a , S ir Th a , 269 om s .

in p rt
a 21 7 .

i d ic r
W l e, R h a d H e , 87 nry .

i i
W l l a m Te ll, 5 8 . Ya rn o f
“
L oc h A c hra y, Th e
t he
”

dy
W i nchi ls e a, L a , 4 1 1 .
(M a sefi e ld ) , 25 2, e d 25 4 quot
id quot
,

W s om (Te a d al e ) ,s ed 1 24 . 25 6 .

it tr r
W h P e a ch s S onn e s (L an
’
t ’
Ye a r s at th e Sp ri ng , The
q ot d
d o r ) , u e 35 4 .
(B rowni n g ) quot d 1 4 9
, e .

OL E
W F , C HARLES po m
1 44 ; e
T
Y EA TS , W I LL IA M B U T LER 5 7 60,
— —
, , ,

quot de : Th e B i ur a l of S ir 63 64 , 1 88, 2 5 2, 44 6, 4 5 0 45 2 ;
Jo hn M ro o e, 1 45 - 1 46 . p o ms quot d
e e : S ong f rom The
i
Wom an s W l l (S a e ) ,
’
x quot d e Lan d f H ea rt s D es i re 64 ;
o
’
,

35 6 . Th e L a k e I s le o f I n nis f ree ,

1 W db e ,
'*
oo rry G or e dw r
ge E a d, 1 69- 1 7 0; When Yo u a re O ld
20 . a nd Gr a y, 4 5 1 -4 5 2 .

W ORDS ORT H I LL I A M
W , W , 1 , 3, 7 , Y ou n g a nd O ld (Ki n gsl ey ) ,

1 1 , 4 2, 83, 8 5 , 8 7 , 1 32 , 1 4 4 , quot ed 1 00- 1 01 .

1 5 6, 1 7 9, 2 1 5 , 226, 227 , 2 5 2, Yo u n g L a dy o f N i ger , Th e,

2 7 8-2 79, 283, 3 1 7, 363, 4 1 1 , quo te d 34 5 .
 IN D E X TO F I RS T L IN E S
PA
GE

y t i
A b ab s f ee , l k e s e a-s he ll s
’
nkpi
it d i
A b l en d o f m r h a nd s a n e ss , sm l es a n d ea rs t
A d ty t i
ai n i
h n g s the V l l an el l e
’

A flyi d
ng wor f rom h e re a nd he re t
t t itt
A l a e l a r k w e rs f rom t he q u e s e s i t ki
A pit i
che r o f m gnone e tt
A p i
l e as n g l and “

of d y
rows -he a d it
wa s
t d
A s chi sm N ur ur e b y f o pp y
er i
a n d b a rb a r sm
A S onn e ti t
s a momen s monumen
’
t
A v i
an she d h ouse h a t t f or a n h our I knew
p t t
A we a on h a com es d own a s s ll ti
v k t
A h ! l e a e the smo e, th e weal h, t he ro a r
t vi pt
Ah , Wh a a a l s t he sce re d r ace
v
Al as f or him who n e e r s ee s
A ll me n a re f re e and equ al b orn
i
A n d n th e f ros ty s eason, whe n t he sun
t pt
A nno unce d b y a ll th e rum e s o f th e s k y
t
A s he crawl ed f ro m t he omb s o f th e f all en
i
A s I was wal k n g all al ane
i t
A s one, at m dni gh , wak ene d by t he cal l
A s o er the col d sep ul chral s one
’
t
t y
A s o d emocr ac , f ell ow c zens iti
t i i i i
A s o l some I wa nd er d V r g n a s woo s
’ ’
d
i
A t mi d ni ht, n t h e mon h o f t J
une
v
A en ge, L or d , th y sl au gh e r e s a n s, whose
t d i t
B ec a us you p ss d
e d now
a e , an not a re
B f or t h r w
e e i
e e E gypt y soun d
as n an
B h ld h
e o s i ngl in th fi l d
e r, e e e
B h ol d Wh t h om g t o hi i d o l p i d
e a a e s a
B li v m
e e e if ll t h s
e, n d in g young ch rms
a o e e e ar a

B en B t tl w
a e l di r b l d
as a so e o
B w it h m
e B uty f th fi i s dying
e, ea , or e re

B rea k , b e ak , b e ak
r r
Br t s t r
e a he with s ul so d d
he e t he m a n , o ea

i t mor st t y m n ions O my s l
B u l d h ee e a el a s , ou
ru
B y th e i t t rch d t h fl oo d
de b r d ge ha a e e

C m fill th Cup nd in th fi
o e, of S p r ing
e a e re

5 17
5 1 8 IN D E X TO F I RS T L IN E S

p
Come, S l ee ! 0 S l ee , t h e c e r a n p t i kno t of p c ea e
t
C om e ! Uni e d S a te s o f A m e r c a t i
C ro mwe ll , I di d no t t h i n k t o sh e d a t r ea

Ba res t thou now 0 S o ul

gai ns t the red W
,

D ark d a rk l ay t h e d r i f t e rs
, es t a

D a rk hi ll s t even i n g i n t he we s t
a

D e ath s t nd s ab o ve m e whi s pe r in g l o w
a ,

Deep i n the s ha dy sad nes s of a vale

D id yo u ask d ul ce t rhym s f rom m e e

D own B ye S t r et i n a l itt l e S h rop s h i r e t o wn

e ,

D rink t o me onl y with th ine eye s

E a rth h s not nyt h i ng to sh ow more f ai r

a a

E te rnal S pi rit o f t he ch ai nl ess Mi n d

F ai r H a rv a r d ! sons t o t hy j ub i lee throng
thy
Fai r i sl and s s i l v r fl eece
o f th e e

Fa rewel l R omance ! t he C ave me n s ai d -

Fear d eath —t o f eel the n In my t hro at

,

Fl ower in the cranni d wal l e

Fl ow e l sweet A f t on among thy gre nb raes

For algnwteyh ave and are
, , e

For met aph ors o f m an w e s ea rch th e skie s

From the mi s ty sh or e s o f mi dni ght

Gather ye roseb ud s whi l y m y e e a

Give me o f your b rk O B i rch t ree a ,

-

Go l ov l y R ose
our f a th ers know
, e

Go d of n o f Ol d ,

Go d save our graci ous King

Goo d ni ght ! I have t o say goo d night
.

- -

G ras shoppe r your f i ry song , a

p y
Had I l ent o f mone , mone e nough and y y t o sp r
a e

Ha l i t t it
o hee bl he S r pi it ,

i ti
H a rk ! ah , th e n gh ngal e
v t S
H a r k ! h ark ! t he l a rk a t h ea en s ga e i n gs
’

v
H e ab o e t he res t
i
H e s gone o n t he moun ain t m

H e, m a k n g s ee d way h rou gh s p ersed a i r

i p y t
H e a r o f m he a r , t h e W orl d i s o un g
t y t y
H r i s t h p l c ; r i gh t o v r t h h i ll
e e e a e e e
H r li
e e J oh ny Pi d g n
es n eo
H r li
e e S ov r i gn L or d th Ki n g
es o u r e e e
H r Wh r th worl d i s q i t
e e, e e e u e .

Hi f ri n d h l ov d Hi di r s t
s e s e rthly f o s
e . s e ea e
5 20 IN D E X TO F I RS T L IN E S

I t i t l t now t o r t ri v
s oo a e e e e
I t i s v ry ggr v ting
e a a a
I t l itt l p rofi t s th t
e i dl ki n g a an e
It w ld ld ld l d l dy
Wst W ind
as a n o , o , o , o a .

It w th v i c
as ef t h fl ow rs on th
o e o e e e e
It s w rm wi nd th w st win d f ul l i rd s cri
’ ’
a a , e e , of b es

J enny k i sse d m wh n w e m t e e e
J esse J m s w s l d th t ki ll d m ny
a e a a a a e a- a a m an
J ohn A n d rson my j J e o, .

J ohn B rown s b o dy l i s m oul d r mg in t h

’
e a -
’
v
a e
r
g
e
J us t f o a h n d f ul f si l v r h l f t us
r a o e e e
J ust now
K now y e th e l a n d whe re th e cyp ress and myr tl e
La s t n i t mon
gh , a ow rou s
g h is f ell ’ gh
Le a , d k nd y
i l t mi d
li gh , a nci rc in
th e l g gl oo m
L e e, w h o in n i r d soi st v d t o
gga l ha d el e , fi nd
Le t no t ou rt own b e l a ge — e e b e
r r m m ri n g
L et he t m ury your
b ys
b ig e e
L fei is a je st , t in s s ow i t
a n d a ll h g h
it
L o w h th e a nc i nt
e

L or d s ni t s
, k gh , a n d squ i r s
’
num ro s
e , the e u ba nd
L ov com s c k t o
e e ba v n t dw i n
h is a ca ell g
y i
L d a, wh y d o you ru i n vi s in
by la h g

M a d ame ye b e n o f a l b e a ut e sh ryne
,

M au d M ul le r a l l th a t summe r d ay
M a xwe l t on b r ae s a re b onn i e
M en , dyi ng m k th i r wi l l s ;
, a wive se e b ut
M i l t on ! t h ou sh oul d s t b e l ivi n g a t t h i s h our
M ine eye s h ave s n th e gl ory o f the c omin g o fee t he
M ort al ity b eh ol d a n d f r
,
ea

M y b o at i s on th e sh ore
M y count ry ti s o f th e ’
e

M uch have I t ravell d in th e realms o f gol d

,
’

N a t ure an d N ature ’
s l aws l ay hi d i n ni ght
v s nor rmi s
N a ie x t a e c an e al th e st ta e

N o d u t h v I t o cov r
s a e e me
N l on g r mourn f
o em w n m d d or e he I a ea

Not d rum w h r d not fun r l not

a as ea , a e a e

N t h r ! t h wh it N orth h
o e e t hy b on s ;
e d th ou e as e an

N t f t h p r i nc s
o o d pr l t s
e e an e a e
N w t h st on h o s
o e th l k f ront e fin i sh d u e on e a e 1 5 e

N ow th y gon wit h ll th i r son gs

e a re d s i ns e a e an
 I ND E X TO F I RS T L IN E S 5 21

PA GE

0 Ca a !pt in my pt in our f rfu t rip i s on

Ca a ! ea l d e
0 st r
a of mornin g a n d o f l be i rty
t not t o
O al k n m r t i n st ory
me o f a a e g ea
0 w t t n t
h a c a n a il hee , k i gh -at - a rms
0 he e h a e y e b ee , L d R a d al,
w r ’
n or n my so n ?
0 wi l d We st ind t o r t
W , h u b ea h o f A ut umn s ing
’
be
r
C c all the h ll -
’
i to s
p
O f all t he r i d s s nc
e i e th e b i rth ti m
of e

O f He a e v n or H el l I h a ve no p w r s in
o e to g
v s n som c t d r d o r
O f t ha e I e e a t e a he al o
Oh R om my co nt ry
e ! u ! C ity o f th e soul
O h, s ay, c a n you s ee, b y t h e d a wn s r y i t
’
ea l l gh
Oh , l s ow to sm ti e a nd swi t
f to Sp r
a e
’
O h ! snat ch d a a w y in bea uty s o m
’
bl o
Oh ! youn oc inv r i s com
g L h a e o u t o f th e w st
e

n oo c im in
O l d Eb e F l d , l b g al on e o ne ni t
gh
O ne mor n ort n t
e U f u a e
t rs i our q sti on
O he ab d e ue Th ou a re free .

O u t of i s
t he h l l o f H a b e h a rs m
ut ni t t t cov rs
O o f t he gh h a e me

P l b ch
a e d pi n so b l u
ee an e e
Pipin g d own t h v l l ys wi l d e a e
Poor li tt l pr tty fl tt r ing thi ng
P ri nc s — d y
e, e , u e
e most v l orous
an ou , a

Qu n ee d Hu t r ss ch s t
an d f ir
n e , a e an a

R v r d b l ov d —O you th t h o l d
e e e , e e a
R in g ou t wi l d b ll s t o t h w i l d s k y
, e , e
R om n V i r gi l t h o th t i g t
a , u a s n es

R oo d i s my n m O nc l on g g a e . e a o

R os ki ss d m t o d y
e e e -
a

S corn not th S onn t ; C r iti c you h v f rown d

e e , a e e
“
S corn no t t h sonn t
”
though it s s t r ngth h s pp d
e e , e e a e
S cot s wh h wi W ll c b l d
’
, a ae a a e e
S nd b t
e song ov rs f us
u a e ea or

S v n wi s m
e e on e l d b l ck s ttl
en an o a e e
S h ll I comp r t h t o summ r s d y ’ ?
a a e ee a e a

S h dw l t mon g t h un t ro dd n w ys
e e a e e a

S h Op d th p or t l
e e f th p l c
e a o e a a e

S h th t h
e t h t i s c l d i n c mp l t s t l
a as a a o e e ee

S h w lks in b
e a ty li k th n i ght e au , e e

S h oul d ul d qu int nc b f orgo t

a ac a a e e

S i nc t h r s no h l p com l t us k i ss d p rt
’
e e e e , e e an a

S l p so f t ly
ee gl f or gott n un d r th ston
ea e e e e e

S l p sw tl y
ee your humb l gr v s
ee In e a e
5 22 IND EX TO F I R S T L IN E S

So c are f ul typ b t no of the e ? ”

u
So l iv th t w e, a summ ons c m s t j in
he n t hy o e o o
S om b dy c ll d W l t Wh itm n D
e o a e d! a a ea

S om thi n g th r i s th t d o sn t l ov w ll ’
e e e a e e a a
S ongs t r s in ll tim s n d d
e s, d b gun
a e e e an e
S oun d so n d th cl r i on fi ll th fi f
S t A gn s E —
, u e a , e e
A h b itt r ch i ll it w
’
. e ve , e as

S t rn D u gh t r
e a f th V o i c f God
e o e e o
S t r w on h
e ros s ros s er e , e

S uch w h as our M rtyr h i f e, a -c e

Su s tn e d v n i ng s t r
an e e a
Sw t ee d l w sw t
an d l wo , ee an o

S wi f tl y w l k t h w st rn w v
’
a o er e e e a e

S win g l w sw t ch r i o t
o , ee a

T k u p t h Wh it M n s b r d n
a e e e a
’
u e
T lk f pl uck ! pursu d t h S il r
“ ”
a o e e a o

T ll m
e t Sw t I
e no m , nk i n d ee , a u
T ll m
e w i n wh t h i d d n w y i s
e no a e a

T en y rs t og th r witho t y t l ou d
ea e e u e a c

Th t s my l s t Duch ss p i nt d t h w ll
’
a a e a e on e a
Th pp r iti on f th s f c s in th crow d
e a a o e e a e e
A s yri s c m d own li k th wol f
an a th f ol d
e e e on e
cur f w t oll s th kn ll of p rting d y
e e e a a

d spot s h l i s on thy shor

e
’
ee e
h v ns d cl r th gl ory f G o d
ea e e a e e o
L och A h y w l ipp r t l l
“ ”
Th e c ra as a c e a
l un ti c t h l ov r
a d th po t
, e e , an e e

Th k i ng s its i n D m f li g t own
e u er n
Th P bb l w h h
e o no t o
e o as es
Th p t ry f
e oe rth i s n v r d d
o ea e e ea
Th p opl rs
e f l l d ; f r w ll t t h sh d
a a re e e a e e o e a e
s sons ch ng th wi n d s th y shi f t d v r
ea a e, e e an ee
Th e s eai s c lm t o i ght a -n

spl n d or f ll on st l w
e a s ca e
Th t im I l os t i n woo in g
’
e e ve

Th wh it mot h t o t h cl os i ng b i n
e e e e

Th w in d b l ows g t s
“
e t f th f d y ou o e a e o a

Th wi n d w
e t orr nt f d rkn ss
as a e o a e

Th worl d i s t oo m h with us ; l t
e d s n uc a e an oo

Th y r s t th s p r i ng
e ea
’
a e

Th eef my r it tiv
or ec a e

Th r i e e pl sur i n th p thl ss wo d s
s a ea e e a e o

Th r i s d li gh t i s i n gi n g t h non h r ’
e e e n , o e ea

Th r i s
e e f ri g t l i k
no b oo k a e e a

Th r l iv d
e e l ss i n yon d r d l
e a a e a e
Th r w e e tim wh n m d ow grov
as a d st r m
e e ea , e, an ea

Th r w e e young l dy f N i g r
as a a o e
55 24 IN D EX TO F IR ST L IN E S

woman want s a f avor

When you are ol d and gray and f ull o f s leep
Whe re i s t he grave o f S i r A rthur O K ellyn ?
’

Whe re th e mi n d i s with out f ea r

Whi rl up sea
White a rmed A s t ri d —ah b u t she was b eauti f ul
,
-
, ,

Wh ith er mi d s t f all in g d ew
,

Wh o b uil d s a sh ip mus t fi rs t l ay d own the keel

Why each i s s t r i vi ng f rom o f o l d
,

With p rou d t h ank s giving a moth er f o h er ch i l dren

, r

Ye b a nk s, an d r s
b ae , a n dst r ms ro n d
ea a u
Y on s i v ry i ows r k in on
l e b ll b ea g th e b each
Y o u a re a f e ri n d t n
he , as I m it ou t
ak e
Y ou h s un o wi d
m e, C hl e, l an d shy