NOTES

CHAPTER I. THE STUDY OF POETRY

The following are excellent discussions of poetry:-Hazlitt: "On Poetry in General"; Arnold: Introduction to Ward's English Poets; Poe's lecture, "The Poetic Principle"; Theodore Watts-Dunton's article on Poetry in the Encyclopædia Britannica; and Max Eastman's The Enjoyment of Poetry. See Bibliography for other titles.

The following references throw further light upon the process of poetic composition:-W. L. Cross: "The Act of Composition," Atlantic Monthly, May, 1906; Lane Cooper: Methods and Aims in the Study of Literature, Section IV; Conrad Aiken: Scepticisms, Chapter II, "The Mechanism of Poetic Inspiration." Dorothy Canfield Fisher: "How 'Flint and Fire' Started," in Benjamin A. Heydrick: Americans All, is an exceptionally interesting account of the composition of a short story. Compare also Poe's account of the writing of "The Raven" in "The Philosophy of Composition."

CHAPTER II. THE SONG

For further discussion of the song, see Mrs. Wodehouse's article on the Song in Grove's Dictionary of Music and Musicians; Alfred Hayes: "The Relation of Music to Poetry," Atlantic Monthly, January, 1914; Prof. Percy H. Boynton's chapter on "Patriotic Songs and Hymns" in Volume IV of the Cambridge History of American Literature; Brander Matthews: "The Songs of the Civil War," in Pen and Ink; John Erskine: The Elizabethan Lyric, Chapter I. There is an interesting account of Stephen Collins Foster in Henry

Watterson's autobiography, Marse Henry. For Elizabethan songs, see Robert Bell: Songs from the Dramatists. Gayley and Flaherty: The Poetry of the People contains a large number of English, Scottish, Irish, and American songs, with valuable notes. For negro folk-songs, see Thomas W. Talley: Negro Folk Rhymes and John A. Lomax: "Self-pity in Negro Folk-songs," The Nation, August 9, 1917.

The following songs and closely related poems are quoted in other chapters of this book:-Henley: "Invictus" (iii); Lovelace: "To Lucasta" (iii); Kingsley: "Young and Old" (iii); Goldsmith: "When Lovely Woman" (iii); Tennyson: "The Splendor Falls" (iii) and "Ring Out, Wild Bells" (iii); Kipling: "For All We Have and Are" (iii); Burns: "Bannockburn" (iii); Christina Rossetti: "When I Am Dead" (iii); Teasdale: "I Shall Not Care" (iii); Byron: "All for Love" (iv); Scott: "Coronach" (iv); Browning: Song from Pippa Passes (iv); Noyes: Song from Tales of the Mermaid Tavern (iv); Coleridge: "The Knight's Tomb" (iv); Yeats: "The Lake Isle of Innisfree" (iv); Masefield: "The West Wind" (iv); Herrick: "To the Virgins" (iv); Burns: "Highland Mary" (xi); Kipling: "Recessional” (xii).

For further reading, the following songs are suggested:All of Shakespeare's songs and most of those by Burns; Marlowe: "The Passionate Shepherd to his Love"; Jonson: "Hymn to Diana" and "Still to be Neat"; Collins: "Dirge in 'Cymbeline'"; Thomson: "Rule Britannia"; Shelley: "Hymn of Pan," "The Indian Serenade," and the songs in Hellas and Prometheus Unbound; Emerson: "To Ellen"; Richard Henry Wilde: "My Life is Like a Summer Rose"; Richard Hovey: "Comrades" and "A Stein Song"; Eugene Field: "Wynken, Blynken, and Nod"; the songs in Sara Teasdale's Rivers to the Sea and other volumes.

The following hymns are worthy of study-Addison: "The Spacious Firmament on High"; Charles Wesley: "Jesus, Lover of my Soul"; Cowper: "God Moves in a Mysterious Way" and "There is a Fountain Filled with Blood"; Thomas Moore: "Come ye Disconsolate"; Reginald Heber: "The Son of God Goes Forth to War"; Holmes: "A Sun-Day Hymn"; Lyte: "Abide with Me"; Toplady: "Rock of Ages"; Bliss Carman: “Lord of the Heart's Elation.”

CHAPTER III. THE DUPLE METERS

For fuller or different discussions of the duple meters, see the manuals listed in the Bibliography. Since the great majority of English poems are iambic, it is not necessary to make any particular suggestions for further reading of poems in the iambic meter. Note that all the poems contained in Chapters V and VII are iambic. Milton's "L'Allegro" and "Il Penseroso," Arnold's "The Forsaken Merman," and John Hall Wheelock's "Earth" (ix) are interesting for their mingling of iambic and trochaic feet in varying proportions. The following poems in trochaic rhythm are suggested for further study: Edna St. Vincent Millay: "Elegy" (xi); Keats: "Bards of Passion and of Mirth" and "Fancy"; Blake: "The Tiger"; Burns: "Ae Fond Kiss"; Shelley: "Music, When Soft Voices Die"; Campbell: "The Battle of the Baltic"; Browning: "One Word More"; Tennyson: "Locksley Hall" and "Locksley Hall Sixty Years After"; James Russell Lowell: "The Present Crisis"; Longfellow: Hia watha, "Nuremberg," and "The Belfry of Bruges"; Poe: "The Raven"; Whitman: "Pioneers! O Pioneers!"; Robinson: "The Valley of the Shadow."

With reference to the named stanzas, some suggested readings are:

Ballad Stanza.-Emily Dickinson: "A Book" (i); "Sir Patrick Spens" (vi); Herrick: "To the Virgins" (ix); Hood: "Faithless Nelly Gray" (ix); Burns: "Highland Mary" (xi). See also Kipling: "Danny Deever” (vi).

Short, or Octosyllabic, Couplet.-Poe: "The Sleeper" (xi); Whittier: "Maud Muller"; Collins: "How Sleep the Brave"; Wordsworth: "To a Highland Girl"; Shelley: "Lines Written among the Euganean Hills"; Joyce Kilmer: "Trees" (ix); Butler: Hudibras.

William H. Davies: "Days Too Short" is in the "In Memoriam" stanza. Wordsworth: "At the Grave of Burns" and "Thoughts Suggested the Day Following" are appropriately cast in the Burns stanza. Most of the stanzas which bear names are, however, associated with iambic pentameter. See notes to Chapter V.

The hymn stanza, 4(4xa), is known as the long meter

stanza (L.M.) Similarly, the ballad stanza (C.M.), when shortened by the omission of one foot in the first line, is known as short meter (S.M.).

CHAPTER IV. THE TRIPLE METERS

For fuller discussion of the triple meters, see the manuals of versification listed in the Bibliography. The following additional poems, some of them quoted in other chapters, are suggested:-Burns: "Afton Water" (ii); Moore: "Believe Me, if All those Endearing Young Charms" (ii); Gilman: “Fair Harvard" (ii); Yeats: Song from The Land of Heart's Desire (ii); Key: "The Star-spangled Banner” (ii); “Lord Randal"; Scott: "Lochinvar" (vi); Harte: "Her Letter” (ix); Untermeyer: "Questioning Lydia" (ix); Whittier: "Telling the Bees" (xi); Browning: “Up at a Villa-Down in the City" (xi); Masefield: "A Consecration" (xii); Lindsay: "The Eagle that is Forgotten" (xii); Noyes: "Kilmeny" (xii); Dobson: "The Prodigals" (vii), "The Wanderer" (vii), "A Kiss" (vii), and "When I Saw You Last, Rose" (vii); Shelley: "The Sensitive Plant"; Scott: "Proud Maisie"; Tennyson: "Come into the Garden, Maud"; Poe: "Annabel Lee" and "For Annie"; Browning: "How They Brought the Good News from Ghent to Aix" and "Cavalier Tunes"; Lowell: "A Fable for Critics"; Lanier: “The Marshes of Glynn," "Sunrise," and "The Revenge of Hamish"; Swinburne: “Hymn to Proserpine" and "To Walt Whitman in America."

Wordsworth: "The Reverie of Poor Susan" and Bryant: "Green River" are poems in which, perhaps, the triple rhythm should not have been employed. With Longfellow's use of the dactylic hexameter in Evangeline and The Courtship of Miles Standish, the student may compare that of Goethe in Hermann und Dorothea and that of Clough in The Bothie of Tober-na-Vuolich.

CHAPTER V. IAMBIC PENTAMETER

Matthew Arnold's essay, "On Translating Homer,” contains some suggestive comments on the various metrical forms

which have been used in rendering the classical hexameter into English. In addition to those poems quoted in part in this chapter, the following are suggested for further study:

Blank Verse.-Thomson: The Seasons; Cowper: "The Task"; Wordsworth: "Michael" and "Tintern Abbey" (xi); Coleridge: "Hymn before Sunrise"; Byron: Manfred and "The Dream"; Shelley: "Alastor"; Bryant: "Thanatopsis" and "The Antiquity of Freedom"; Tennyson: "Morte d'Arthur"; Browning: "Fra Lippo Lippi" and "Andrea del Sarto"; Arnold: "Sohrab and Rustum"; Yeats: The Land of Heart's Desire; Noyes: Drake; Frost: "An Old Man's Winter Night" and "Birches"; Masters: The Domesday Book; Robinson: Avon's Harvest, Lancelot and Merlin.

Heroic Couplet.-Chaucer: Prologue to The Canterbury Tales (following the introductory section quoted in this chapter); Spenser: "Mother Hubbard's Tale"; Marlowe: "Hero and Leander"; Shakespeare: Romeo and Juliet, act ii, scene iii; Dryden: "Absalom and Achitophel"; Pope: The Rape of the Lock and An Essay on Man; Goldsmith: "The Deserted Village"; Cowper: "On the Receipt of my Mother's Picture"; Wordsworth: "Character of the Happy Warrior"; Byron: "English Bards and Scotch Reviewers"; Shelley: "Epipsychidion"; Keats: Endymion and “Lamia”; Longfellow: "Morituri Salutamus"; Holmes: "At the Saturday Club"; Macaulay: "A Jacobite's Epitaph" (ix); Swinburne: "Tristram of Lyonesse"; Masefield: "Biography" and "Ships"; Rupert Brooke: "The Great Lover"; Frost: "The Cow in Apple Time."

Heroic Quatrain.-Dryden: "Annus Mirabilis"; Wordsworth: "Elegiac Stanzas" (xi); Arnold: "Palladium"; Longfellow: "At the Arsenal of Springfield"; Watson: "Wordsworth's Grave"; Masefield: “August, 1914," "The River," and "The Wanderer"; Gibson: "Prelude" (xii); Lindsay: "Abraham Lincoln Walks at Midnight" (xi) and "On the Building of Springfield" (xi); Robinson: "Richard Cory," "Old Trails," "Theophilus," and "Veteran Sirens."

Ottava Rima.-Byron: Don Juan and "Beppo"; Shelley: "The Witch of Atlas"; Keats: "Isabella"; Longfellow: "The Birds of Killingworth."