Part 2 — CHAPTER X

While this chapter does not attempt to comment upon the work of living American authors, except as illustrating certain general tendencies of the lyric, I think that teachers of poetry should avail themselves of the present interest in contemporary verse. Students of a carefully chosen volume of selections, like the Oxford Book, should be competent to pass some judgment upon strictly contemporary poetry, and I have found them keenly interested in criticizing the work that is appearing, month by month, in the magazines. The temperament and taste of the individual teacher must determine the relative amount of attention that can be given to our generation, as compared with the many generations of the past.

APPENDIX

Believing as I do that a study of the complete work of some modern poet should accompany, if possible, every course in the general theory of poetry, I venture to print here an outline of topical work upon the poetry of Tennyson. Tennyson's variety of poetic achievement is so great, and his technical resources are so remarkable, that he rewards the closest study, even on the part of those young Americans who cannot forget that he was a "Victorian":

TOPICAL WORK UPON TENNYSON

I

THE METHOD OF CRITICISM

[The scheme here suggested for the study of poetry is based upon the methods followed in this book. The student is advised to select some one poem, and to analyse its content and form as carefully as possible, in accordance with the outline printed below. The thought and feeling of the poem should be thoroughly comprehended as a whole before the work of analysis is begun; and after the analysis is completed, the student should endeavor again to regard the poem synthetically, i. e., in its total appeal to the aesthetic judgment, rather than mechanically and part by part.]

FORM / CONTENT

A "IMPRESSION"

Of Nature. What sort of observation of natural phenomena is revealed in this poem? Impressions of movement, form, color, sound, hours of the day or night, seasons of the year; knowledge of scientific facts, etc.?

Of Man. What evidence of the poet's direct knowledge of men? Of knowledge of man gained through acquaintance with Biblical, classical, foreign or English literature? Self-knowledge?

Of God. Perception of spiritual laws? Religious attitude? Is this poem consistent with his other poems?

B "TRANSFORMING IMAGINATION"

Does the "raw material" presented by "sense impressions" undergo a real "change in kind" as it passes through the mind of the poet?

Do you feel in this poem the presence of a creative personality?

What evidence of poetic instinct in the selection of characteristic traits? In power of representation through images? In idealization?

C "EXPRESSION"

What is to be said of the range and character of the poet's vocabulary? Employment of figurative language? Selection of metre? Use of rhymes? Modification of rhythm and sound to suggest the idea conveyed? Imitative effects?

In general, is there harmony between form and content, or is there evidence of the artist's caring for one rather than the other?

II

TENNYSON'S LYRIC POETRY

[Write a criticism of the distinctively lyrical work of Tennyson, based upon an investigation at first hand of the topics suggested below. Do not deal with any poems in which the narrative or dramatic element seems to you the predominant one, as those forms of expression will be made the subject of subsequent papers.]

A. "IMPRESSION" (i. e., experience, thought, emotion).

General Characteristics.

Does the freshness of the lyric mood seem in Tennyson's case dependent upon any philosophical position? Upon sensitiveness to successive experiences?

Is his lyric egoism a noble one? How far does he identify himself with his race? With humanity?

Is his lyric passion always genuine? If not, give examples of lyrics that are deficient in sincerity. Is the lyric passion sustained as the poet grows old?

Of Nature.

What part does the observation of natural phenomena—such as form, color, sound, hours of the day or night, seasons, the sky, the sea—play in these poems? To what extent is the lyrical emotion called forth by the details of nature? By her composite effects? Give instances of the poetic use of scientific facts.

Of Man.

What human relationships furnish the themes for his lyrics? In the love- lyrics, what different relationships of men and women? To what extent does he find a lyric motive in friendship? In patriotism? How much of his lyric poetry seems to spring from direct contact with men? From introspection? From contact with men through the medium of books? How clearly do his lyrics reflect the social problems of his own time? In his later lyrics are there traces of deeper or shallower interest in men and women? Of greater or less faith in the progress of society?

Of God.

Mention lyrics whose themes are based in such conceptions as freedom, duty, moral responsibility. Does Tennyson's lyric poetry reveal a sense of spiritual law? Is the poet's own attitude clearly evident?

B. "TRANSFORMING IMAGINATION."

What evidence of poetic instinct in the selection of characteristic traits? In power of representation through images? Distinguish between lyrics that owe their poetic quality to the Imagination, and those created by the Fancy. (Note Alden's discussion of this point; "Introduction to Poetry," pp. 102-112.) How far is Tennyson's personality indicated by these instinctive processes through which his poetical material is transformed?

C. "EXPRESSION."

What may be said in general of his handling of the lyric form: as to unity, brevity, simplicity of structure? Occasional use of presentative rather than representative language? Choice of metres? Use of rhymes? Modification of rhythm and sound to suit the idea conveyed? Evidence of the artist's caring for either form or content to the neglect of the other? Note whatever differences may be traced, in all these respects, between Tennyson's earlier and later lyrics.

III

TENNYSON'S NARRATIVE POETRY

[Write a criticism of the distinctively narrative work of Tennyson, based upon the questions suggested below.]

A. "IMPRESSION" (i. e., experience, thought, emotion).

General Characteristics.

After classifying Tennyson's narrative poetry, how many of his themes seem to you to be of his own invention? Name those based, ostensibly at least, upon the poet's own experience. To what extent do you find his narrative work purely objective, i. e., without admixture of reflective or didactic elements? What themes are of mythical or legendary origin? Of those having a historical basis, how many are drawn from English sources? Does his use of narrative material ever show a deficiency of emotion; i. e., could the story have been better told in prose? Has he the story-telling gift?

Of Nature.

How far does the description of natural phenomena, as outlined in Topic II, A, enter into Tennyson's narrative poetry? Does it always have a subordinate place, as a part of the setting of the story? Does it overlay the story with too ornate detail? Does it ever retard the movement unduly?

Of Man. (Note that some of the points mentioned under General Characteristics apply here.)

What can you say of Tennyson's power of observing character? Of conceiving characters in complication and collision with one another or with circumstances? Give illustrations of the range of human relationships touched upon in these poems. Do the later narratives show an increased proportion of tragic situations? Does Tennyson's narrative poetry throw any light upon his attitude towards contemporary English society?

Of God. (See Topic II, A.)

B. "TRANSFORMING IMAGINATION."

Adjust the questions already suggested under Topic II, B, to narrative poetry. Note especially the revelation of Tennyson's personality through the instinctive processes by which his narrative material is transformed.

C. "EXPRESSION."

What may be said in general of his handling of the narrative form, i. e., his management of the setting, the characters and the plot in relation to one another? Have his longer poems, like the "Idylls," and "The Princess," the unity, breadth, and sustained elevation of style that are usually associated with epic poetry? What can you say of Tennyson's mastery of distinctly narrative metres? Of his technical skill in suiting rhythm and sound to the requirements of his story?

IV

TENNYSON'S DRAMAS

[Reference books for the study of the technique of the drama are easily available. As preparatory work it will be well to make a careful study of Tennyson's dramatic monologues, both in the earlier and later periods. These throw a good deal of light upon his skill in making characters delineate themselves, and they reveal incidentally some of his methods of dramatic narrative. For this paper, however, please confine your criticism to "Queen Mary," "Harold," "Becket," "The Cup," "The Falcon," "The Promise of May," and "The Foresters." In studying "Becket," compare Irving's stage version of the play (Macmillan).]

A. Classify the themes of Tennyson's dramas. Do you think that these themes offer promising dramatic material? Do you regard Tennyson's previous literary experience as a help or a hindrance to success in the drama?

Nature. Apply what is suggested under this head in Topics I, II, and III, to drama.

Man. Apply to the dramas what is suggested under this head in Topics II and III, especially as regards the observation of character, the conception of characters in collision, and the sense of the variety of human relationships. Do these plays give evidence of a genuine comic sense? What tragic forces seem to have made the most impression upon Tennyson? Give illustrations, from the plays, of the conflict of the individual with institutions.

God. Comment upon Tennyson's doctrine of necessity and retribution. Does his allotment of poetic justice show a sympathy with the moral order of the world? Are these plays in harmony with Tennyson's theology, as indicated elsewhere in his work? Do they contain any clear exposition of the problems of the religious life?

B. Compare Topic II, B. In the historical dramas, can you trace the influence of the poet's own personality in giving color to historical personages? Compare Tennyson's delineation of any of these personages with that of other poets, novelists, or historians. Do you think he has the power of creating a character, in the same sense as Shakespeare had it? How much of his dramatic work do you consider purely objective, i. e., untinged by what was called the lyric egoism?

C. What may be said in general of Tennyson's handling of the dramatic form? Has he "the dramatic sense"? Of his management of the web of circumstance in which the characters are involved and brought into conflict? Comment upon his technical skill as displayed in the different "parts" and "moments" of his dramas. Does his exhibition of action fulfill dramatic requirements? Is his vocabulary suited to stage purposes? Give instances of his purely lyric and narrative gifts as incidentally illustrated in his dramas. Instance passages that cannot in your opinion be successfully acted. In your reading of these plays, or observation of any of them that you have seen acted, are you conscious of the absence of any quality or qualities that would heighten the pleasure they yield you? Taken as a whole, is the form of the various plays artistically in harmony with the themes employed?

BIBLIOGRAPHY

This list includes the more important books and articles in English which have been discussed or referred to in the text. There is an excellent bibliography in Alden's Introduction to Poetry, and Patterson's Rhythm in Prose contains a full list of the more technical articles dealing with rhythms in prose and verse.

ALDEN, RAYMOND M. English Verse. New York, 1903. An Introduction to Poetry. New York, 1909. "The Mental Side of Metrical Form," in Mod. Lang. Review, July, 1914.

ALEXANDER, HARTLEY B. Poetry and the Individual. New York, 1906.

ANDREWS, C. E. The Writing and Reading of Verse. New York, 1918.

ARISTOTLE. Theory of Poetry and Fine Art, edited by S. H. Butcher. New York, 1902. On the Art of Poetry, edited by Lane Cooper. Boston, 1913.

BABBITT, IRVING. The New Laokoon. Boston and New York, 1910.

BERNBAUM, ERNEST, editor. English Poets of the 18th Century. New York, 1918.

BOSANQUET, BERNARD. A History of Aesthetic. New York, 1892. Three Lectures on Aesthetic. London, 1915.

BRADLEY, A. C. Oxford Lectures on Poetry. London, 1909.

BRAITHWAITE, WILLIAM S., editor. The Book of Elizabethan Verse. Boston, 1907. Anthology of Magazine Verse 1913-19. New York, 1915.

BRIDGES, ROBERT. Ibant Obscurae. New York, 1917.

BUTCHER, S. H. (See Aristotle.)

CHILD, F. G. English and Scottish Popular Ballads, 5 vols., 1882-1898.

CLARK, A. C. Prose Rhythm in English. Oxford, 1913.

COLERIDGE, S. T. Biographia Literaria. Everyman edition.

CONNELL, F. M. A Text-Book for the Study of Poetry. Boston, 1913.

COOK, ALBERT S., editor. The Art of Poetry. Boston, 1892.

COOK, A. S., and TINKER, C. B. Select Translations from Old English Poetry. Boston, 1902.

CORSON, HIRAM. A Primer of English Verse. Boston, 1892.

COURTHOPE, WILLIAM J. A History of English Poetry. London, 1895. Life in Poetry: Law in Taste. London, 1901.

COWL, R. P. The Theory of Poetry in England. London, 1914.

CROCE, B. Aesthetics. London, 1909.

CROLL, MORRIS W. "The Cadence of English Oratorical Prose," in Studies in Philology, January, 1919. See also Croll and Clemons, Preface to Lyly's Euphues. New York, 1916.

DRINKWATER, JOHN. The Lyric. New York (n.d.).

EASTMAN, MAX. Enjoyment of Poetry. New York, 1913.

ELTON, OLIVER W. "English Prose Numbers," in Essays and Studies, by members of the English Association, 4th Series. Oxford, 1913.

ERSKINE, JOHN. The Elizabethan Lyric. New York, 1916.

FAIRCHILD, ARTHUR H. R. The Making of Poetry. New York, 1912.

GARDINER, J. H. The Bible as English Literature. New York, 1906.

GATES, LEWIS E. Studies and Appreciations. New York, 1900.

GAYLEY, C. M., and SCOTT, F. N. Methods and Materials of Literary Criticism. Boston, 1899.

GORDON, K. Aesthetics. New York, 1909.

GOSSE, EDMUND W. English Odes. London, 1881.

GUMMERE, FRANCIS B. A Handbook of Poetics. Boston, 1885. The Beginnings of Poetry. New York, 1901. The Popular Ballad. Boston and New York, 1907. Democracy and Poetry. Boston and New York, 1911.

HART, WALTER M. Epic and Ballad. Harvard Studies, etc., vol. 11, 1907. See his summary of Child's views in Pub. Mod. Lang. Ass., 21, 1906.

HAYES, ALFRED. "Relation of Music to Poetry," in Atlantic, January, 1914.

HEARN, LAFCADIO. Kwaidan. Boston and New York, 1904.

HOLMES, EDMOND. What is Poetry? New York, 1900.

HUNT, LEIGH. What is Poetry? edited by Albert S. Cook. Boston, 1893.

JAMES, WILLIAM. Psychology. New York, 1909.

KITTREDGE, G. L., editor. English and Scottish Popular Ballads. Boston, 1904.

LA FARGE, JOHN. Considerations on Painting. New York, 1895.

LANIER, SIDNEY. Science of English Verse. New York, 1880. Poem Outlines. New York, 1908.

LEGOUIS, ÉMILE. Défense de la Poésie Française. London, 1912.

LEWIS, CHARLTON M. The Foreign Sources of Modern English Versification, Halle, 1898. The Principles of English Verse. New York, 1906.

LIDDELL, M. H. Introduction to Scientific Study of English Poetry. New York, 1912.

LOCKWOOD, LAURA E., editor. English Sonnets. Boston and New York, 1916.

LOMAX, JOHN A. Cowboy Songs and Other Frontier Ballads. New York, 1916.

LOWELL, AMY. Tendencies in Modern American Poetry. New York, 1917. Men, Women and Ghosts. New York, 1916. Can Grande's Castle. New York, 1918.

LOWES, JOHN L. Convention and Revolt in Poetry. Boston and New York, 1919.

LYLY, JOHN. Euphues, edited by Croll, M. W., and Clemons, H. New York, 1916.

MACKAIL, J. W. The Springs of Helicon. New York, 1909.

MARSHALL, HENRY R. Aesthetic Principles. New York, 1895.

MAYOR, J. B. Chapters on English Metre. London, 1886.

MILL, J. S. "Thoughts on Poetry," in Dissertations, vol. 1.

MOORE, J. ROBERT. "The Songs in the English Drama" (Harvard Dissertation, unpublished).

MORSE, LEWIS K., editor. Melodies of English Verse. Boston and New York, 1910.

NEILSON, WILLIAM A. Essentials of Poetry. Boston and New York, 1912.

NEWBOLT, SIR HENRY. A New Study of English Poetry. New York, 1919.

OMOND, T. S. A Study of Metre. London, 1903.

PALGRAVE, FRANCIS T. The Golden Treasury. London, 1882.

PANCOAST, H. S. and SPAETH, J. D. Early English Poems. New York, 1911.

PATTERSON, WILLIAM M. The Rhythm of Prose. New York, 1916.

PATTISON, MARK, editor. Milton's Sonnets. New York, 1883.

PHELPS, WILLIAM L. The Beginnings of the English Romantic Movement. Boston, 1893.

POUND, LOUISE. "The Ballad and the Dance," Pub. Mod. Lang. Ass., September, 1919.

QUILLER-COUCH, A. T., editor. The Oxford Book of English Verse. Oxford, 1907.

RALEIGH, WALTER. Wordsworth. London, 1903.

RAYMOND, GEORGE L. Poetry as a Representative Art. New York, 1886. The Genesis of Art-Form. New York, 1893. Rhythm and Harmony in Poetry and Music. New York, 1895.

REED, EDWARD B. English Lyrical Poetry. New Haven, 1912.

RHYS, ERNEST. Lyric Poetry. New York, 1913.

RHYS, ERNEST, editor. The New Golden Treasury of Songs and Lyrics. New York (n.d.).

RIBOT, T. Essay on the Creative Imagination. Chicago, 1906.

RUSSELL, C. E. "Swinburne and Music," in North American Review, November, 1907.

SAINTSBURY, GEORGE. History of English Prosody. London, 1906-10. History of English Prose Rhythm. London, 1912.

SANTAYANA, GEORGE. The Sense of Beauty. New York, 1896. Interpretation of Poetry and Religion. New York, 1900.

SCHEMING, F. E., editor. A Book of Elizabethan Lyrics. Boston, 1895. Seventeenth Century Lyrics. Boston, 1899.

SCHELLING, F. E. The English Lyric. Boston and New York, 1913.

SHACKFORD, MARTHA H. A First Book of Poetics. Boston, 1906.

SHELLEY, PERCY B. A Defense of Poetry, edited by Albert S. Cook. Boston, 1891.

SHERMAN, L. A. Analytics of Literature. Boston, 1893.

SHERMAN, STUART P. Contemporary Literature. New York, 1917.

SIDNEY, SIR PHILIP. The Defense of Poesy, edited by Albert S. Cook. Boston, 1890.

SNELL, ADA F. "Syllabic Quantity in English Verse," in Pub. Mod. Lang. Ass., September, 1918.

SPINGARN, J. E. Creative Criticism. New York, 1917.

STEDMAN, EDMUND C. The Nature and Elements of Poetry. Boston and New York, 1892.

STEMPEL, G. H. A Book of Ballads. New York, 1917.

STEWART, J. A. The Myths of Plato. London, 1905.

SYMONS, ARTHUR. The Seven Arts. London, 1906.

TAYLOR, HENRY O. The Classical Heritage of the Middle Ages. New York, 1901.

TOLMAN, A. H. Hamlet and Other Essays. Boston, 1904.

TOLSTOY, L. What is Art? New York (n.d.).

UNTERMEYER, LOUIS. The New Era in American Poetry. New York, 1919.

WATTS-DUNTON, THEODORE. Poetry and the Renascence of Wonder. New York, (n.d.).

WELLS, CAROLYN. A Parody Anthology. New York, 1904.

WHITMORE, C. E. Article on the Lyric in Pub. Mod. Lang. Ass., December, 1918.

WHITNEY, W. D. Language and the Study of Language. New York, 1867.

WILKINSON, MARGUERITE. The New Voices., New York, 1919.

INDEX

Abercrombie, Lascelles Accent Adams, F. P., free verse parody by Aesthetics, and poetry Alden, R. M. Introduction to Poetry Aldington, Richard Alexander, Hartley B. Poetry and the Individual Alliteration Andrews, C. E. Writing and Reading of Verse Angellier, Auguste Anglo-Saxon lyrical verse Aristotle Poetics definition of Tragedy Arnold, Matthew "The Strayed Reveller" Artistic imagination Artistic production the impulse to Asbury, Samuel Assonance

Babbitt, Irving New Laokoon Ballad, the Baumgarten, A. G. Beauty Beddoes, Thomas Lovell Blake, William Blunt, Wilfrid sonnet on Gibraltar Boethius De Consolatione Philosophiae Bosanquet, Bernard History of AEsthetic Bradley, A. C. Bridges, Robert Brooke, Stopford Brownell, Baker Browning, Robert The Ring and the Book Bryant, F. E. Burns, Robert Butcher, S. H. Aristotle's Theory of Poetry and Fine Art Bynner, Witter Byron "ottava rima"

Calverley, C. S. parody of Browning Campion, Thomas Carlyle, Thomas Chase, W. M. Chaucer, Geoffrey Chaucerian stanza, the Child, F. J. English and Scottish Popular Ballads Chinese lyrics Chopin, Frédéric Church music Clark, A. C. Prose Rhythm in English Cleghorn, Sarah N. "Come, Captain Age" Colcord, Lincoln Coleridge, S. T. Biographia Literaria Kubla Khan Christabel Colvin, Sidney, "The Fine Arts," Content and form Coquelin, E. H. A. Corson, Hiram Counsel upon the Reading of Books Courthope, W. J., History of English Poetry Cowley, Abraham, Pindaric ode in English Cranmer-Byng, L., The Lute of Jade Creative imagination Croce, B. Croll, Morris W.

Dances and poetry Daniel, Samuel Debussy, Claude Dickens, Charles Dickinson, Emily Dolmetsch, Arnold Drama lyrical element in dramatic monologue Drinkwater, John Dryden, John Duran, Carolus

Ear, the, appeal to Eastman, Max, Enjoyment of Poetry Elizabethan lyric, the Elton, Oliver W. Emerson, R. W. Enjoyment of Verse Erskine, John Euphuism "Eye-minded" or "ear-minded,"

Fairchild, A. H. R., Making of Poetry Feeling, and imagination conveyed by words Feet, in verse Feminine rhymes Figures of speech Fine arts "form" and "signficance" in the man in Firkins, O. W. FitzGerald, Edward Fletcher, John Gould Form, in the arts Fort, Paul Free verse four types of French song in England Fromentin, E. Frost, Robert Futurist poets

Gardiner, J. H. Gates, Lewis E. Genius and inspiration Giovanitti, Arturo Gluck, C. W., opera Goethe Goodell, T. D. Gosse, Edmund, definition of the ode Graphic arts and the lyric Gray, Thomas Greek poetry Gummere, F. B., Handbook of Poetics

Hamilton, Sir W. R., quaternions Hamlet Hardy, Thomas Hawthorne, Nathaniel Wonder-Book Scarlet Letter Hearn, Lafcadio Hebrew lyric, the Hebrew poetry Henley, W. E. Herford, C. H. Hexameters English Holmes, Edmond, What is Poetry? Holmes, Justice Oliver Wendell Horace Horatian ode, English Hudson, W. H. Hugo, Victor

Images, verbal selection and control of visual auditory tactile motor Imagination, or imaginations the poet's and feeling creative and artistic poetic lyric Imagist poets Imagist verse In Memoriam stanza, the Individualism in poetry Ingersoll, Robert G. Inspiration

James, Henry James, William an illustration from Japanese lyrics Japanese prints Johnson, Samuel Jonson, Ben

Keats, John Kipling, Rudyard

La Farge, John, Considerations on Painting Lamb, Charles Landor, Walter Savage Lang, Andrew Lanier, Sidney, musical theory of verse Poem Outlines Latin poets Lee-Hamilton, Eugene Legouis, Emile, _Défense de la Poésie Française Leighton, Sir Frederick Lessing, Laokoon Lewis, C. M. Lindsay, Vachel "The Congo," "Literary" language Locke, John Lockwood, Laura E. Lopere, Frederic A. Lowell, Amy Lowes, J. L. Lyric, the field of classification definitions general characteristics objects of the lyric vision imagination expression relationships and types of lyrical element in drama and narrative and graphic arts Japanese and Chinese decay and survival Hebrew Greek and Roman of Western Europe the Elizabethan the Romantic present status of objections to Macaulay, T. B. Marinetti, F. T. Marquis, Don Masculine rhymes Masefield, John Masters, Edgar Lee Matthews, Brander Meredith, George Metre, and rhythm Midsummer Night's Dream Mill, John Stuart Millet, J. F. Milton, John Monroe, Harriet Moody, William Vaughn Moore, J. Robert Morris, William Moving picture Murray, Gilbert Music and poetry

Narrative poetry Neilson, W. A. Newbolt, Sir Henry Nonsense-verse

Ode, the Omond, T. S. Orpheus and Eurydice, myth of

Page, Walter H. Palgrave, F. T. "Parallelogram of Forces, The" Pattern-instinct, the Patterson, W. M., Rhythm of Prose Pattison, Mark Peacock, Thomas Love Persian carpet theory of painting Pindaric ode, English Plato Play-instinct, the Poe, Edgar Allan "Poet, the" and other men his imagination his words Poetry some potencies of nature of and aesthetics an art the province of imagist Hebrew Greek and music three main types and dances of alien races See also Lyric. Polyphonic prose Pope, Alexander Pound, Louise Prosody and enjoyment Puttenham, George, Arte of English Poesie

Quantity

Racial differences Raleigh, Prof. Walter Raymond, G. L. Real effects Reed, E. B., English Lyrical Poetry Renan, Ernest Rhyme, as a form of rhythm Rhys, Ernest Rhythm, and metre nature of measurement of of prose rhyme and Ribot, Th., Essay on the Creative Imagination Ripley, W. Z. Robinson, Edwin Arlington Romantic lyric, the Royce, Josiah Ruskin, John Russell, C. E., "Swinburne and Music,"

Saintsbury, George, History of English Prose Rhythm Santayana, George Schelling, F. E. Scherer, Edmond Scott, Sir Walter Sea, a quiet, in the arts Shackford, M. H. Shakspere, William Shelley, Percy Bysshe Sherman, Stuart P. Sidney, Sir Philip Significance, in the arts Size of poetic thoughts Smith, L. W. Snell, Ada F. Sonnet, the Petrarchan Shaksperean South, Robert Space-arts Spaced prose Spectra hoax, the Spencer, Herbert Spenser, Edmund, the "poet's poet" Spenserian stanza, the Stanza Stanzaic law Stedman, E. C. Stevenson, R. L. Stewart, J. A., The Myths of Plato Story, W. W. Stress, in verse "Stressers," Subjectivity and the lyric Swinburne, A. S. Syllabic principle of versification

Taine, H. A. Tasso Taylor, Henry Osborn Teasdale, Sara Technique Tennyson, Alfred Thinking without words Thompson, Francis Thoreau, H. D. Time-arts "Timers" Tolman, A. H. Tolstoy Tone-color Tone-feeling Tynan, Katharine, "Planting Bulbs"

Verbal images Voice-waves, photographs of

Walton, Isaac Watts, G. F. Watts-Dunton, Theodore Wells, Carolyn Whistler, James Whitefield, George Whitman, Walt Whitmore, C. E. Whitney, W. D. Whittling Wilkinson, Florence, New Voices Words, the poet's how they convey feeling as current coin an imperfect medium unpoetic embodiment of poetic feeling sound-values and meaning-values Wordsworth, William Wyatt, Edith