individual impressions is a loss in the power of thinking. The mind must have, not only the power to comprehend abstract truth but to intensify the specific impressions. Hence the child's crow or croon is lyric in its first enjoyment of things; the child's first concentrated attention gives us the germ of the lyric. If this is true we must recognize that the study and recitation of the best lyrics is of great importance. As an aid in the development of feeling and of imaginative appreciation lyric poetry cannot be valued too highly. It implies intense realization of a single situation, and requires, even in older people, a child-like attitude of mind. Lyric poetry is an aid, if not a necessity, in vocal expression. The right rendering of a lyric causes deeper breathing, makes the tone passage wider and freer, and tends to establish all the conditions for good tone. Professor Charles Elliot Norton recommended the recitation of lyric poetry as the best means of developing the imagination. The power to render a lyric implies the mental, emotional and vocal action, which is the basis of all true expression. Observe in Edwin Markham's "Joy of the Morning," how he speaks out of his own feeling. It is called a lyric because he expresses his own emotion, his individual response to things independent of other men. It is personal feeling; and feeling is the main thing, for the poet is moved by his own emotion. JOY OF THE MORNING I hear you, little bird, Shouting a-swing above the broken wall. Oft when the white, still dawn Lifted the skies and pushed the hills apart, (The world's mysterious stir) But had no throat like yours, my bird, Nor such a listener. "Lincoln and Other Poems." By permission of the author. Edwin Markham Another of our finest lyrics expresses the author's love and feeling for the veery (a bird that is sometimes known as the Wilson thrush). The nightingale on the banks of the Arno, the laverock in the Scottish heather and the blackbird in English parks all come to his mind, yet always the refrain returns to the veery. Frequently a lyric has such a refrain as a song has a chorus. The refrain portions and the chorus have deeper and more intense lyric elements. A lyric is a poem in which attention centres on some one thing or situation and in which the feeling is awakened by this sustained attention. THE VEERY The moonbeams over Arno's vale in silver flood were pouring, The laverock sings a bonny lay above the Scottish heather; In English gardens, green and bright and full of fruity treasure, But far away, and far away, the tawny thrush is singing; By permission. Henry Van Dyke Frequently we have in our current literature deeply lyric feeling. The following was published in the "Sun " and contains deep feeling which, from its very simplicity, may be used as a vocal exercise to soften and enrich the voice. One of the best of all methods of improving tone color is the recitation of lyrics. It is, moreover, the best method for the development of the imagination and artistic feeling, taste and literary appreciation. They softly coo, as I to you: "Take heart, the world is fair." But all the same, his heart's aflame, Now to and fro the pigeons go Ay, side by side, the groom and bride - XLII. FORMS OF POETRY - THE DRAMATIC YOUTH AND AGE Impatient of his childhood, "Ah me!" exclaims young Arthur, Whilst roving in the wild wood, "I wish I were my father!" Meanwhile, to see his Arthur THE DOG AND HIS CHAIN Cy Warman Thomas Hood A dog became so impudent, and by his growling and snapping worried so many people, that his master was obliged to fasten a heavy clog chain about his neck. The stupid cur took this as a mark of special distinction. He turned up his nose and looked down on all the other dogs saying, "You stupid creatures, none of you have risen to my dignity of having a chain about your neck, and you ought to bow down to me with more respect." A wise old dog, however, who was greatly honored and beloved, calmly looked at him and remarked, "Your chain is not a medal of honor but a badge of disgrace." The story is a simple sequence of events. A song or lyric poem expresses our own personal feelings. A story is not necessarily poetry. It is only poetry when the events are intensely realized. Rarely do you have a mere succession of happenings. If these are given without interest, a story may be tedious. We have something also in poetry besides song. A story nearly always implies conflict of different people of different character. One of the most important points in our education is that of awakening the dramatic insight, of getting outside of ourselves and coming into sympathetic touch with others. One of the first objective embodiments of the dramatic ✔ instinct is the fable, which has already been considered. Another is the parable or allegory. In fact the word "dramatic " in modern days is used in a very wide sense and the term dramatic instinct " is made to include many things which are not closely akin. Frequently we use " dramatic " as synonymous with all true expression. The reason for the use of this word in such a sense is that the dramatic elements of expression are more easily recognized and furnish oftentimes the very foundation in the expression of ballads and stories. The dramatic is also the most popular element in vocal expression. The word "dramatic," however, should have its specific meaning. Even the term "dramatic instinct" should be distinguished from lyric instinct and epic instinct. By dramatic is implied acting. It is the realization by the individual of the motives and life of others. Whenever there is a call for the direct presentation of the motives and feelings of others rather than of oneself, the expression is dramatic. But while studying the dramatic, we must study also that which is not dramatic. Occasionally, in giving attention to the words of others we express the impression they make upon us instead of identifying ourselves and giving the speech from their point of view. Thus, all through the Scriptures, though Jehovah is made to speak, these speeches are not dramatic because the reader gives his own feeling and awe as he hears these words spoken. He is himself the listener rather than the impersonator. Therefore the Scriptures are more often lyric or epic rather than dramatic. The nature of the dramatic will be best understood from comparison with other forms of poetry. In the dramatic you realize and see something from the point of view of a definite type of character. You realize the motives and feelings of others rather than yourself. You may sympathetically identify yourself with others and thus interpret character. In the case of the lyric you express your own feeling, your own impression. In the epic as will be shown, you reveal the impressions of a typical or ideal man, and realize more or less the point of view of your race. The formal dramatic is found in plays and dialogues, but the dramatic in a broad sense is found not only in fables, as has been shown, but in a great variety of passages. Rarely is a true story purely narrative. Dramatic elements come in at almost every turn of a true story. TO AN ORIOLE How falls it, Oriole, thou hast come to fly In southern splendor through our northern sky? To dower a scrap of sunset with a voice? Or did some orange lily, flecked with black, Yearning to heaven until its wish was heard, THE WELCOME One night Shah Mahmud, who had been of late Edgar Fawcett Strolled through the streets disguised, as wont to do – Saw the poor fellow who the furnace fed Sitting beside his water-jug and bread. Mahmud stept in sat down unasked took up And tasted of the untasted loaf and cup, Saying within himself, "Grudge but a bit, "So? |