PART TWO-LYRIC POETRY Characteristics of Lyric Poetry.-Lyric poetry is the utterance of the human heart in poetic form. It usually expresses the author's own experiences, moods, reflections, and emotions in musical language. The prose form most nearly like a lyric poem is the essay. In both we are conscious of the standpoint of the author himself and are looking at life through his eyes. In dramatic and narrative poetry, on the other hand, we forget all about the author and are interested more in the action, story, or thing portrayed than in anything else. Sometimes we find both narrative and lyric elements in the same poem, as for instance in "The Cotter's Saturday Night." They are usually separated, however. In the lyric the author seems to be singing to himself. We hear notes of love, hope, grief, despair, joy, patriotism, aspiration, devotion, fear, lamentation, exultation,-indeed all the feelings of the soul. As some one has expressed it, "Though we hear an oration, we seem to overhear a lyric poem." The lyric derives its name from the musical instrument, the lyre, and was primarily intended to be sung. Not all lyrics are singable, although they are all melodious. A great lyric must be sincere, spontaneous, and express strong emotion. It is usually very short, although not necessarily so. The Psalms of King David are the greatest lyrics in the literature of the world. Those beginning "The Lord is my Shepherd," and "I will lift up mine eyes unto the hills," are especially fine. Classes of Lyric Poetry.-Lyric poetry is divided into five types: the ode, the sonnet, the elegy, the song-sacred and secular, and the simple lyric. 1 Psalm XXIII. 2 Psalm CXXI. CHAPTER I THE ODE Characteristics of the Ode.-The ode is the most exalted form of lyric poetry. The theme is always a noble one and the emotion is high and of great dignity. It may express enthusiasm, lofty praise of some person or thing, deep reflection, or restrained feeling. The ode has been used especially by the poets laureate of England in commemorating great public events. Because of its majestic qualities, the ode is difficult to write and is thus less frequently found than the other lyric types. In structure the ode is usually very irregular, although there are exceptions. The verse length often varies from one to eight feet, and the stanzas are long or short according to the nature of the thought expressed. of Some Examples of the Ode.-Although the ode is an old form poetry, dating back to the time of Pindar in ancient Greece, it was produced in England in greater numbers during the nineteenth century than in any other period. Probably the finest ode in our language is Milton's "On the Morning of Christ's Nativity," written in 1629. Next to this, Wordsworth's "Intimations of Immortality from Recollections of Early Childhood" (1807) is usually given the highest place. The other great writers of this lyric form are Dryden, Collins, Gray, Shelley, and Keats. The praise of Bacchus then the sweet musician sung, Of Bacchus ever fair, and ever young: The jolly god in triumph comes; Sound the trumpets, beat the drums; Flushed with a purple grace He shows his honest face; Now give the hautboys breath; he comes, he comes. Bacchus, ever fair and young, Drinking joys did first ordain; Bacchus' blessings are a treasure. Drinking is the soldier's pleasure. Rich the treasure, Sweet the pleasure, Sweet is pleasure after pain. 4 Sooth'd with the sound the king grew vain; Fought all his battles o'er again; And thrice he routed all his foes, and thrice he slew the slain. The master saw the madness rise, His glowing cheeks, his ardent eyes: He sung Darius great and good, Fallen from his high estate, And welt'ring in his blood, With downeast looks the joyless victor sate, The various turns of chance below: And tears began to flow. 5 The mighty master smil'd to see Softly sweet, in Lydian measures, War, he sung, is toil and trouble; Never ending, still beginning, If the world be worth thy winning, So Love was crown'd, but Music won the cause. The prince, unable to conceal his pain, Gaz'd on the fair Who caused his care, And sigh'd and look'd, sigh'd and look'd. 90 Now strike the golden lyre again; 6 A louder yet, and yet a louder strain. And rouse him, like a rattling peal of thunder. Has rais'd up his head, As awak'd from the dead, And amaz'd he stares around. Revenge, revenge, Timotheus cries; See the Furies arise; See the snakes that they rear, How they hiss in their hair, And the sparkles that flash from their eyes! Behold a ghastly band, Each a torch in his hand! Those are Grecian Ghosts, that in battle were slain, And unburied remain Inglorious on the plain: Give the vengeance due 110 And glittering temples of their hostile gods. To the valiant crew. Behold how they toss their torches on high, How they point to the Persian abodes, The princes applaud with a furious joy; 115 And the king seized a flambeau with zeal to destroy; Thais led the way, To light him to his prey, And, like another Helen, fired another Troy. 7 Thus long ago, Ere heaving bellows learn'd to blow, While organs yet were mute, Timotheus, to his breathing flute And sounding lyre, Could swell the soul to rage, or kindle soft desire. At last divine Cecilia came, Inventress of the vocal frame; The sweet enthusiast, from her sacred store, 120 125 |