LYRICALPOETRYoff to murder Metternich or the Kaiser in Vienna. Idwell on this, not to depreciate the delightful <strong>poetry</strong>of the little drama, but because I wish, starting fromPippa Passes, to indicate what seem to me the recurrentfeatures of Browning's strange, exotic, bizarre, oftenpowerful lyrics. Many of them have not only adramatic but a picturesque setting, and a great partof the sensuous charm of the songs comes from theinterwoven descriptions of that setting—the hotItalian night in A Serenade at the Villa:Earth turned in her sleep with pain,Sultrily suspired for proof:In at heaven and out againLightning ! where it broke the roof,Bloodlike, some few drops of rain ;the scenery of the coast of France in James Lee's Wife:Oh, good gigantic smile o' the brown old earth,This autumn morn ! How he sets his bonesTo bask i' the sun, and thrusts out knees and feetFor the ripple to run over in its mirth ;Listening the while, where on the heap of stonesThe white breast of the sea-lark twitters sweet;the solitary house in A Lover's Quarrel:Dearest! three months ago !Where we lived blocked-up with snow,—When the wind would edgeIn and in his wedge,In, as far as the point could go,—Not to our ingle, though,Where we loved each the other so !or again the Italian glen and the chapel in By theFireside:74
TENNYSON,BROWNING, & SOME OTHERSThe chapel and bridge are of stone alike,Blackish gray and mostly wet;Cut hemp-stalks steep in the narrow dyke.See here again, how the lichens fretAnd the roots of the ivy strike !the streets of Paris in Respectability:Ere we dared wander, nights like this,Thro' wind and rain, and watch the Seine,And feel the Boulevart break againTo warmth and light and bliss.The story suggested, the scenic setting so vividly presentedare often fanciful in the highest degree, but justbecause they are only suggested—what is the storybehind The Laboratory or Too Late or Dis Aliter Visum ?'—the poet does not get involved in the dramatic andsentimental difficulties which he encountered when,as in The Blot in the 'Scutcheon, he attempted to completeand make explicit the latent or just-outlineddrama.And the thought, the style, and the verse are ofthe same dramatic and also fanciful character. ThatBrowning was a careless, awkward writer, who, asJowett chirpingly declared, "has no form, or has itonly by accident when the subject is limited. Histhought and feeling and knowledge are generally outof all proportion to his powers of expression," thatone can hardly credit, recalling the range of his metricalexperiments and triumphs. Indeed, though thereare elements in Browning's form which I dislike, thecolloquial cliches in his blank verse, yet it seems to mealmost the opposite of the truth. The thought isoften simple enough, the feeling not a little sentimental.It is the cunning and surprising art, the picturesque75
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HOGARTH LECTURES ON LITERATURELYRIC
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LYRICAL POETRY FROMBLAKE TO HARDYH.
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CONTENTSLECTUREI . INTRODUCTORY . .
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LYRICALPOETRYand fieicer ferment of
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LYRICALPOETRY,influence of the Hebr
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LYRICALPOETRY.intended to be sung w
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LYRICALPOETRY.or even, what is more
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LYRICAL POETRY.Niebelungen measure
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LYRICALPOETRYThe ecstasy of joy and
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LYRICAL POETRY •Arnold, and poets
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LYRICALPOETRY.had something to do w
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