Chapter VIII: The Triumph of the Artist (2)

Poet, the, 347, 388, 390 ff., 406, 433, 453 f., 465, 470.

Poetic sentence, 33, 53.

Poetics, 7.

Poetry, art of, 3;
attacks on, 1 ff.;
beginnings of, 4, 123, 464 ff.;
biological basis of, 8;
communal elements of, 433;
defence of, 1 ff.;
definition of, 4, 30, 51, 118, 158;
earliest form of, 210 f., 314;
elements of, 29, 163, 172;
historical treatment of, 5;
Latin, 141;
laws in, 74 f.;
meaning of, 4;
reading of, 63;
and science, 2;
singing of, 64, 72, 75 f., 139, 173, 180, 272.

Poland, songs of, 270.

Pope, 47.

Porthan, 198 ff., 269 f.

Portugal, songs of, 208, 320 f.

Posnett, 7, 142, 257, 260, 265, 336, 381 f., 440.

_Praefica_, 225, 229, 248.

Praetorius, 242.

Prickard, A. O., 43.

Processions, communal, 224, 298 ff., 304.

Prose, artistic, 65 ff;
periodic, 69;
poems in, 32, 38, 41, 59 ff.;
priority of, 63 ff., 75 ff.;
rhythmical, 67 ff.;
and verse, line between, 62.

Psalms, the, 36, 153, 186 f., 209, 261 f., 420, 438.

Psychology, 364 ff., 374 f., 8 ff., 81.

Pulci, 455.

Pulszky, 26, 383.

Q

Quadrio, 43, 455.

Quatrains (see _Schnaderhüpfl_), 213, 418.

R

Radloff, 71, 211 ff.

Rain-song, the, 300.

Ralston, 166.

Ranke, 360.

Recitative, 91 f., 104, 310.

Réclus, 378.

Refrain, 92, 97, 129, 174, 183, 190, 209, 225, 230, 232, 253 f., 256
ff., 287, 291, 308 f., 313 ff., 354, 415 f., 430, 443, 450;
in Germanic poetry, 267;
in Greek, 266;
nature of, 314 ff.

Refrains, agricultural, 279 ff.

Reifferscheid, 288.

Relativity, 14, 16.

Religious rites, 204, 220, 238, 260 f., 282 ff., 292, 300 f., 305, 313,
333 ff., 338 f., 392, 436, 444.

Renan, 2.

Repetition, 76, 193 ff., 205 ff., 231 f., 236, 245, 251, 255 f., 313,
416, 451;
classes of, 206;
incremental, 194 ff., 198 f., 208 f., 213 f., 252, 254 f., 319, 325
f., 423.

Rhythm, 246, 332, 345, 348 ff., 356, 383, 386, 390, 421, 432, 463, 465
ff.;
and music, 79;
nature of, 99 ff., 109;
derived from prose, 63 ff.;
as a social factor, 93.

Ribot, 100, 104, 140, 151, 364 f., 369, 384.

Riddles, 212, 452.

Rime, 56, 68 f., 75.

Rimed prose, 61.

Ritson, 307.

Robin Hood, ballads of, 327.

Romance, 179 f.

Romanes, 364, 398.

Romans, dance of the (see Arval hymn), 334, 345.

Ronsard, 45, 63, 122, 146, 150.

_Rose, Romance of the_, 362.

Rosières, 258 f., 266.

Rosenberg, 275, 317, 353 f.

Roumania, ballads of, 72.

Round, the, 341 f.

Rousseau, 127, 151, 157, 389.

Rückert, 315.

Rudimentary growths in literature, 17.

_Rundâs_, 406.

_Ruodlieb_, 341.

Ruscelli, 456.

Russia, ballads of, 166, 188, 198, 327.

S

Sachs, Hans, 281.

Sainte-Beuve, 6, 148 f., 388, 453, 465, 468.

St. Evremond, 447.

St Francis, prayer of, 155, 469.

St. Victor, 231, 233 f.

Saintsbury, Professor, 55.

Sandys, 303.

Sappho, 464.

Sarcasm, songs of, 288 f.

Satire, 404 f.

_Satura Menippea_, 73.

Saturnian verse, 68.

Savages, 9, 11, 13 ff., 19 ff., 65, 82, 90 ff., 95 f., 127, 374 ff.;
character of, 111;
poetry of, 252 ff., 308 ff., 370.

Scaliger, J. C., 3, 34, 43 f., 122 f.

Scandinavia, songs of, 188, 191, 270, 353 f.

Scéaf, 284 f.

Scherer, 8, 88 f., 133 f., 178, 336, 349, 381, 441, 446 f., 452, 454,
459 f.

Schiller, 49, 113, 119, 375.

Schipper, 315.

Schlegel, A. W., 9, 40 ff., 48, 101, 108, 119, 122, 132 ff., 254, 327,
346, 369 f., 396, 415, 423, 432, 435, 437.

Schlegel, F., 5, 38.

Schleicher, 398.

Schleiermacher, 39, 117, 420.

Schmeller, J. A., 405 f.

_Schnaderhüpfl_, 144, 200, 297, 299, 403, 405 ff.

Schoolcraft, 245, 248 f., 308 ff.

Schopenhauer, 371.

Schröder, 68.

Schuchardt, 403.

Schultze, 9, 374 f., 383.

Schwab, 427.

Schwartz, W., 438.

Science, 126.

Scotland, ballads of, 173, 183, 327;
songs of, 265, 273.

Scott, Sir W., 156, 168 f., 173, 181, 414.

Seasons, poetry of the, 470.

Selden, 2, 80.

Sentiment, 25 f., 147 f., 156, 159, 421, 432.

Sermons in verse, 80.

_Serranas_, 459.

Servia, songs of, 299 f.

Seville, dance in cathedral of, 335.

Shaftesbury, 46, 126.

Shakspere, 113 f., 316, 426 f., 470 ff.

Shaman, 221, 244, 338, 379, 392 f., 429, 442 f.

Shelley, Mary, 253.

Shelley, Percy Bysshe, 10, 336.

Siberia, songs of, 211 ff., 243.

Sidney, 34 f., 122, 130.

Siebs, 74.

Sievers, 62, 86 ff., 267.

Silius Italicus, 336.

Simile, 446 f.

Simonides, 220.

Simplicity, 190.

Simrock, 435.

Sittl, 221, 431.

Skeat, 291.

Skolion, 395, 403.

Smend, 186.

Smith, Adam, 14, 23, 50, 96, 256, 336, 354.

Smythe, H. W., 217, 258, 266, 285.

Society, 220, 368, 449 f., 462 f., 473;
and poetry, 1, 7, 52, 89 f., 101, 120.

Sonnet, 145.

Souriau, 55, 350.

Southey’s _Doctor_, 278.

_Spanish Tragedy_, the, 427.

Spencer, H., 18, 89 f., 243, 328, 350, 365, 372, 377 ff., 383, 385,
391, 398, 437, 442.

Spencer, Dr. John, 346.

_Spens, Sir Patrick_, 172, 472.

Spenser, E., 118, 122, 206, 241.

Spinning-songs, 277 ff.

“Spirituals,” 98.

Spontaneity, 65, 350 f., 355 ff., 369, 373.

Stedman, E. C., 120.

Steenstrup, 187, 190, 327, 343.

Stein, von, 427.

Steinthal, 352, 361.

_Stev_, 401, 418 f.

Stevenson, R. L., 314.

Storm, G., 355.

_Stornelli_, 401, 405.

Strabo, 64, 66.

_Strambotti_, 401, 404 f., 418.

Street-songs, 166, 169.

Style of poetry, 35, 54, 161 f., 189 ff., 434, 444 ff.

Sublime, the, 53.

Sully, 365.

Summer and winter, songs of, 306 f.

Swift, 61, 375.

Sword-dance, 268, 336 f.

Symonds, J. A., 426.

Sympathy, 115, 471 ff.

Syria, poetry of, 218, 227, 236.

T

Tacitus, 86, 205, 299, 336 f., 392.

Taine, 6, 359, 388.

Talvj, 167, 182, 395.

Tammuz, 237.

Tarde, 137, 348, 351, 356 ff., 362 f., 374, 376 f., 380, 423, 460.

Tartars, songs of the, 71.

_Télémaque_, 38, 46, 60.

Temple, Sir William, 46, 467.

Ten Brink, 176, 213, 306, 326, 361, 403, 424.

Tennyson, 82, 156, 190, 220, 388.

Texte, 359, 389.

Theocritus, 405, 418.

Thought, 83, 113, 139, 152, 374 f., 383, 420 f.

Thucydides, 17.

Tibullus, 277, 299.

Ticknor, 425.

Tille, 276.

_Tirade_, 211.

Tobler, 188, 194.

Tragedy, Greek, 257, 338, 369 f., 371 ff., 424, 444.

Translations in prose, 49, 55, 57 ff.

Trapp, 46.

Turgot, 15, 59, 126.

Tusser, 297.

Twining, 1, 43.

Tylor, E. B., 18, 24, 204, 238, 283, 379, 428, 436 ff.

U

_Ubi Sunt_, 148 ff.

Uhland, 220, 281, 298, 306, 338, 343, 415, 436.

Usener, 69, 84, 213, 350, 421, 423.

V

Valentin, 319.

Variation, 194, 209 ff., 213 f., 236, 256, 408 f., 423, 451.

Varro, 66.

Veddahs, the, 330, 390 f., 463, 466.

_Veisa_, 355.

Verbs, 450 ff.

Vergil, 58, 73, 207, 298, 306, 334, 404 f., 418.

Verse, oldest European, 85.

Verse (see Rhythm), 54.

Vico, 10, 128, 460.

Vigfusson and Powell, 257.

Vignoli, 440.

Vigny, De, 154, 373.

Villemarqué, 183 f.

Villon, 148 ff., 161.

Vinesauf, 229.

_Vocero_, 100, 168, 219 ff., 321, 419;
literary form of, 228 f.;
of savages, 243 ff.

Vogüé, E. M., de, 115, 144.

Vossius, G. J., 44, 123.

Vossius, I., 46.

W

Wackernagel, W., 320.

Wagner, R., 103, 120 f., 171, 327 f., 430.

Waitz, 327, 329, 379 f.

Wakes, 303.

Wales, songs of, 288 f.

Wallace, A. R., 365, 403.

Wallaschek, 13, 91 ff., 99 ff., 260, 328 f., 366, 381.

Walther von der Vogelweide, 430, 470.

War, songs of, 86, 268 f., 311, 388.

War-dance, 311, 331 f.

_Wasf_, the, 219.

Warton, Joseph, 47.

Watts, Theodore, 57.

Webster, John, 59.

Wedding, songs of, 202 f., 216 f., 324.

Weismann, 4, 363.

Werner, R. M., 420.

Westphal, 84.

Whately, 42, 48, 51 f.

Wheeler, B. I., 445.

Williams, Talcott, 16.

Wilmanns, 85, 87.

Witchell, 364.

Wold, 293.

Wolf, F., 71, 167, 176, 257 f., 280, 315, 327, 340.

Wolff, Eugen, 164, 432.

Women, songs of, 199 f., 222, 226, 228, 240 f., 250, 263 f., 269 f.,
329, 339, 341, 397 f., 419, 464.

Woodberry, G. E., 162.

Wordsworth, 150, 155, 162, 451.

Wright, Thomas, 303, 307.

Writing, invention of, 252.

Wundt, 360, 363, 366, 428.

X

Xenophon, 34, 337.

Z

Zell, 198, 260, 271, 283, 404.

------------------------------------------------------------------------

FOOTNOTES

Footnote 1:

Twining, _Aristotle_, 2d ed., I. 183, thinks the original treatise was
written as a defence against the “cavils of prosaic philosophers” and
the objections of Plato.

Footnote 2:

In his curious book, _La Philosophie du Bon-Sens_, 1737, p. 15,
D’Argens speaks of Aristotle “dont les Ouvrages sur la Poëtique sont
aussi bons, que ceux dans lesquels il traite de la Philosophie sont
peu utiles.”

Footnote 3:

_De Futilitate Poetices auctore Tanaquillo Fabro Tanaquilli filio
Verbi Divini Ministro_..., Amstel., 1697. It was answered by the Abbé
Massieu in a _Defense de la Poésie_ (in _Hist. d. l. Poés. Françoise_,
Paris, 1739), a pious but heavy performance.

Footnote 4:

_Table Talk_, ed. Arber, pp. 85 f.

Footnote 5:

Lord Radnor in Spence’s _Anecdotes_, ed. Singer, p. 368.

Footnote 6:

_Problèmes de l’Esthétique Contemporaine_, pp. 89 ff., 255.

Footnote 7:

Ribot, _Psychology of the Emotions_, pp. 329 ff., rejects Guyau’s
emendation of Grant Allen, and backs Groos in his view of the play
theory.

Footnote 8:

“Gedanken über Musik bei Thieren und beim Menschen,” 1889, in
_Deutsche Rundschau_, LXI. 50 ff.

Footnote 9:

_Athenæum_, III. 67.

Footnote 10:

Criticism has been treated of late with scientific precision. See the
bibliographical array in Gayley and Scott’s admirable _Methods and
Materials of Literary Criticism_, Boston, 1899. From the imperial
critic, the “gentle reader” and patron represented by Montaigne, who
gives no reasons but his own likes and dislikes, as witness that
delightful essay on books, in its opening sentence, through the
official critics, down to M. Brunetière, the scientific critic,
faithful to the doctrine of evolution in general, and attentive to the
law in the particular case, it is to be noted how criticism has been
approaching the sociological domain, the study of poetry as an element
of human life. Sainte-Beuve was still a critic of poets and poems, for
all his “natural method”; Taine crossed the border and studied poetry,
the product, under sociological and ethnological conditions. See
Sainte-Beuve, _Nouveaux Lundis_, VIII. 87 f., 69 f.; IX. 70; and
Taine, _Derniers Essais_, Paris, 1894, pp. 58 f. M. Brunetière, in
carrying on the plan of Taine, and Hennequin, in opposing it, work on
sociological and historical ground, rather than in the old æsthetics.
Hennequin’s _Critique_ is “scientifique”; while a title like M.
Brunetière’s _Evolution of Species in Literature_ can be conceded to
criticism only by taking such liberties with the word as to leave it
practically undefined. Still, these men work for criticism if not in
it, and they give no reason for disputing what is said in the text
about the paucity of books on poetry as an element in human society.
They have the modern poet, the modern poem, in view; they wish to lay
down metes and bounds and adjust the law. Hennequin will found a new
science, “an immense anthropology,” made up of all the vital sciences
(_Crit. Sci._, pp. 185 f.); but his place is with the critics, and not
with scholars in historical and comparative literature. His
_æsthopsychology_ indicates devotion to the poetic impulse rather than
to the product. Mr. Granger (_Worship of the Romans_, p. vii) has
lately called up the word _ethology_, suggested by Stuart Mill (_Logic
of the Moral Sciences_, pp. 213 ff., 218), in line with a hint that
the foundations of comparative psychology must be laid in the study of
the people and of their habits of thought. Something of this sort has
been done by M. Le Bon in his _Psychologie des Foules_, quoted below.

Footnote 11:

Such are the _Comparative Literature_ of Posnett, and the less
didactic work of Letourneau, _L’Évolution Littéraire dans les diverses
Races Humaines_, Paris, 1894. The former was mainly pioneer work,
meant to open and define its subject; and in this it attained its end.
This sociological method has been applied, of course, in a critical
way, to many individual works, and to many periods of literature; not
so, however, with the poetic product at large.

Footnote 12:

There is more to be said for the partial origin of poetry in choral
songs of a sexual character sung after the communal feast of the horde
or clan. This “sex-freedom,” so revolting to modern ideas, left late
traces in history; and Professor Karl Pearson quotes Tsakni’s _La
Russie Sectaire_ to the effect that such license still prevails at
fairs and periodic festivals in Russia, combined with choral
dance.—Pearson, _The Chances of Death_, II. 243. There are Australian
festivals of this sort; and license of May-Day, of Shrove-Tuesday, and
the rest, is familiar in European survival. On the other hand, it will
be found that erotic poetry of the individual and lyric sort is almost
unknown among savages.

Footnote 13:

_History of Creation_, 2 vols., trans., New York, 1893, I. 355,
quoting from his _General Morphology_. He adds that by “tribe” he
means “the ancestors which form the chain of progenitors of the
individual concerned.”

Footnote 14:

_Der Fetischismus_, Leipzig, 1871, pp. 61, 74 f. A pretty little
parallel of savages and children in the worship of images and dolls
was drawn by M. Anatole France in a review of Lemonnier’s _Comédie des
Jouets_. See France, _La Vie Littéraire_, II. 10 ff.

Footnote 15:

_Mental Development in the Child and the Race_, New York, 1895, pp.
15, 335 ff.; _Social and Ethical Interpretations_, New York, 1897, pp.
9, 189, etc.

Footnote 16:

_Vorlesungen_, Stuttgart, 1884, I. 275.

Footnote 17:

_Critische Dichtkunst_, 1737, p. 87.

Footnote 18:

_Esquisse des Progrès de l’Esprit-Humain._

Footnote 19:

Essay on “Ashiepattle” in _The Chances of Death_, II. 53.

Footnote 20:

_Arbeit und Rhythmus_, p. 15.

Footnote 21:

_L’Évolution Littéraire_, p. 81.

Footnote 22:

_Ibid._, pp. 15 f., “répétition, approximative, abrégée surtout; mais
néanmoins elle est une répétition.” But at once he quotes some
striking facts, in order to prove his thesis (that song preceded
speech), and goes back for a child analogy to the book of B. Perez,
_L’Art et la Poésie chez l’Enfant_, a book which the present writer
has been unable to consult.

Footnote 23:

_Die Anfänge der Poesie_, Dresden and Leipzig, 1891.

Footnote 24:

Work quoted, p. 96. Even old Gottsched, _Crit. Dichtkt._, p. 68,
called a child’s weeping “a song of lament,” and its laughter “a song
of joy.” “Every passion,” he says, “_has its own tone with which it
makes itself manifest_,” really a better hint of origins than this
scientific masquerading of Jacobowski.

Footnote 25:

_Primitive Music_, pp. 76, 78.

Footnote 26:

The best objection against this analogy in any definite use is made by
O. Gruppe, _Griechische Culte und Mythen_, p. 199. The child and the
savage, he points out, have each a small range of perceptions; the
ways in which they enlarge this range are diametrically opposed. One
does it productively; the other, receptively. See, too, a bit of
sarcasm over the complacent scorn for the “childish” savages felt by
civilized man, Grosse, _Anfänge der Kunst_, pp. 51 f.

Footnote 27:

Dr. Brown, Adam Smith, Lord Monboddo, and others were leading
Englishmen in the movement to use the savage to explain early man.
Smith and Monboddo enjoyed this literary vivisection, the former once
watching “a negro dance to his own song the war-dance of his own
country, with such vehemence of action and expression, that the whole
company, gentlemen as well as ladies, got up upon chairs and tables.”
See the _Essays_, Edinburgh, 1795, “Of the Imitative Arts,” Parts II.,
III., and the fragment “Of the Affinity between Music, Dancing, and
Poetry.” The main credit, however, belongs to Turgot. In his “Plan du
Prém. Disc. sur l’Hist. Universelle,” _Œuvres_, II. 216, he uses the
savages of America to illustrate the state of primitive man. He is
also strong for the _milieu_. “Si Racine fût né au Canada chez les
Hurons...!” he says, II. 264; and his other illustrations are
suggestive (in the “Plan du 2. Disc.”). II. 265, he notes the
homogeneity of barbaric races.

Footnote 28:

_Outlines of Sociology_, trans. Moore, p. 85.

Footnote 29:

The outright degeneration assumed by Le Maistre need not come into the
account. Human progress is now conceded to be a resultant of opposing
forces of growth and decay. Mr. Talcott Williams has an interesting
paper, “Was Primitive Man a Modern Savage?” in the _Report of the
Smithsonian Inst._, 1896, pp. 541 ff. His main point is, that the
modern savage has deteriorated under pressure. Primitive man was in a
more or less “empty earth,” and was not crowded by his fellows. The
god of war is always a junior member of Olympus. So, too, Professor
Baldwin (_Social and Ethical Interpretations_, p. 214) argues for a
reign of peace, a “sort of organic resting-place,” in the child’s
second period, which answers to social coöperation, “the rest which
man took after his release from the animal.... The social tide then
sets in. The quest of domestic union and reciprocal service comes to
comfort him, and his nomadic and agricultural habits are formed.” One
is reminded of Scherer’s argument for an epoch of peace in early
Germanic culture attested by names which bear that stamp as compared
with the later and warlike Gerhards, Gertrudes, and the rest.

Footnote 30:

It is hardly necessary to warn against fallacies of illustration. Even
Bruchmann goes astray when he says the poem of Goethe is to the
primitive song as a cherry tree in bloom is to a cherry stone just
planted. To primitive man the primitive song was already a tree in
bloom, and his appreciation of it was in line with modern appreciation
of Goethe’s poem.

Footnote 31:

Or, indeed, any one tribe of human beings. Even in the very beginning
of human activity, that activity was, as now, conditioned by the
environment, and there were doubtless several types of primitive
existence. Evidently, then, there could have been different types of
social union even at the outset of social progress.

Footnote 32:

_Principles of Sociology_, 3d (American) ed., I. 93, 96. Dr. Eugen
Wolff is equally severe on the abuse, “Vorstudien zur Poetik,” in the
_Zst. f. Litteraturgesch._, VI. 426.

Footnote 33:

_Anfänge der Kunst_, pp. 33 ff. For falling off in civilization among
Africans and others, see Tylor, _Primitive Culture_, I. 46, 48.

Footnote 34:

_Transactions and Collections of the American Antiquarian Society_,
Worcester, Mass., 1820, I. 313 ff.

Footnote 35:

In 1805.

Footnote 36:

See below, on the Darwinian theory of lyric.

Footnote 37:

_Polynesian Researches_, American ed., III., Chap. XII.

Footnote 38:

Waitz-Gerland, _Anthropologie der Naturvölker_, VI. 85.

Footnote 39:

_Ibid._, VI. 606 ff.

Footnote 40:

See R. M. Meyer, _Altgermanische Poesie_, p. 434.

Footnote 41:

_Studies in Ancient History_, First Series, new ed., 1886; see pp. 2,
35.

Footnote 42:

_Anfänge der Kunst_, pp. 21 ff., 32 ff.

Footnote 43:

London, 1795, pp. xlii ff.

Footnote 44:

Nearer to the present subject are Smith’s excellent essay “Of the
Imitative Arts” and the fragment “Of the Affinity between Music,
Dancing, and Poetry.”

Footnote 45:

_Fröhliche Wissenschaft_, pp. 44 f. See also p. 180.

Footnote 46:

Compare Ribot’s idea of what he calls the æsthetic conquest of nature,
_Psychology of the Emotions_, p. 345, with Professor Patten’s
remorselessly economic theory that appreciation of these things
depends on cheap and warm woollen underclothing.

Footnote 47:

Pulszky, _The Theory of Law and Civil Society_, London, 1888, p. 107.
“Selfishness,” by the way, is not a good name for the quality he has
in mind; but the method is relevant.

Footnote 48:

“La doctrine évolutive et l’histoire de la littérature,” _Revue des
deux Mondes_, 15 Fev. 1898. See especially pp. 889, 892 ff. See also
his _Évolution des Genres_, particularly the chapter on Taine.

Footnote 49:

“Louis Bertrand, qui signait en bon romantique Aloïsius Bertrand,”
1807-1841, born at Céra in Piedmont.

Footnote 50:

Now very rare. It appeared, edited by M. Pavie, in 1842. See
Sainte-Beuve, _Portraits Littéraires_, II. 343 ff.

Footnote 51:

C. Asselineau in _Les Poètes Français_, Tom. IV., 1862, p. 697.

Footnote 52:

Sainte-Beuve gives four specimens of Bertrand’s “poems” in prose.
Brunetière, _Questions de Critique_, p. 202, quotes with approval
Gautier’s words: “Vouloir séparer le vers de la poésie, c’est une
folie moderne qui ne tend à rien moins que l’anéantissement de l’art
lui-même.”

Footnote 53:

Italics not in Shelley’s essay.—For these very sentences, so poetical
in their prose, see Hegel (on the poetic sentence), _Aesthetik_, III.
248 f.

Footnote 54:

_Reflexions_, ed. ¹ 1770, I. 508 ff. A poem in prose is like an
engraving; all is here save colour, all is there save verse. The
_Princesse de Cleves_ and _Télémaque_ are poems. Does not colour make
the painting, though? Verse the poem? In the next section he prudently
asserts, “qu’il est inutile de disputer si la partie du dessein et de
l’expression est préferable à celle du coloris.” It is a matter of
taste; _trahit sua quemque voluptas_. Both in poetry and painting
“genius” is the main thing,—so he had decided in earlier sections.

Footnote 55:

“En lisant un poëme, nous regardons les instructions que nous y
pouvons prendre comme l’accessoire. L’importante c’est le style,
parceque c’est du style d’un poëme que dépend le plaisir de son
lecteur.”—I. 303.

Footnote 56:

In the fourteenth chapter of _Biographia Literaria_. He has conceded
the convenience of calling all compositions that have “this charm
superadded”—rhythm and rime—by the name of poem.

Footnote 57:

_Essays_, Edinburgh, 1776, p. 296. “I am of opinion,” he says, pp. 294
f., _On Poetry and Music_, “that to poetry, verse is not essential. In
a prose work we may have the fable, the arrangement, and a great deal
of the pathos and language of poetry; and such a work is certainly a
poem, though”—note the concession—“perhaps not a perfect one.” Verse
“is necessary to the perfection of all poetry that admits of it,”—and
how, pray, is that limitation to be adjusted? “Verse is to poetry what
colours are to painting;” and, quoting Aristotle, “versification is to
poetry what bloom is to the human countenance.” Here are pribbles and
prabbles enough.

Footnote 58:

_Poetry and Imagination._

Footnote 59:

_Works_, ed. 1854, III. 309.

Footnote 60:

As preface to his _Lectures on the English Poets_.

Footnote 61:

M. E. M. de Vogüé has other views. To him _Robinson Crusoe_ is “un bon
traité de psychologie historique sur un peuple,”—an historic
psychology of the English race.—_Histoire et Poésie_, p. 194.

Footnote 62:

_Works_, Hartford, 1889, I. 213 f. Essay on Wordsworth, etc.
Bruchmann, in his excellent _Poetik_, Berlin, 1898, gives up the
attempt to mark off poetry from prose, speaks of a “neutral ground,”
and then defines poetry as “Steigerung durch Form und Inhalt; _die
Form ist Gesang, Rhythmus, Reim_” (p. 53). What more could the
defender of rhythm ask as working test?

Footnote 63:

When only one-and-twenty. _Meditationes Philosophicae de Nonnullis ad
Poema Pertinentibus_, 1735.

Footnote 64:

_Jugendschriften F. Schl._, ed. Minor, I. 99; a study of Greek poetry.

Footnote 65:

_Athenæum_, III. 87 f., in Talks about Poetry.

Footnote 66:

_Aesthetik_, Berlin, 1842.

Footnote 67:

See p. 663.

Footnote 68:

_Problèmes de l’Esthétique Contemporaine_, p. 172.

Footnote 69:

_Ibid._, p. 150,—“ce poëte sans le rhythme.”

Footnote 70:

Gautier, too, thought that Flaubert had “invented a new rhythm” in
prose, and described it; see the report of this, _Journal des
Goncourt_, 1862, January 1. But later, in the same journal (1876,
February 24), Goncourt refers all this sort of thing to Chateaubriand:
“sa belle prose poétique, _mère et nourrice de toutes les proses
colorées de l’heure actuelle_....”

Footnote 71:

_L’Art au Point de Vue Sociologique_, p. 312.

Footnote 72:

See Humboldt, _Werke_, VI. 230 ff.

Footnote 73:

“Briefe über Poesie, Sylbenmaas und Sprache,” first in Schiller’s
_Horen_, reprinted in the _Charakteristiken und Critiken_, I. 318 ff.;
_Werke_, ed. Böcking, VII. 98 ff.

Footnote 74:

_Wettstreit der Sprachen_, Böcking, VII. 199.

Footnote 75:

_Etwas über William Shakspere_, Böcking, VII. 55.

Footnote 76:

See below, p. 134, for a still more noteworthy and yet quite unnoticed
change of front made by Schlegel in the article of folksong.

Footnote 77:

It must be said for Schlegel that he is here—so, at least, it
seems—merely clearing the way for his historical and “genetic” study
of the art, and so is bound to have no hampering dogma, no _parti
pris_ in the case.

Footnote 78:

Notably that division of _epopœia_, “which imitates by words alone or
by verse.” The question is whether Aristotle meant in the first case
“words without metre” or “words without music.” See Twining’s fourth
note.—It has been pointed out that nowhere in the fragment does
Aristotle essay a formal definition of poetry.

Footnote 79:

_Rhetoric_, III. iii. 3.

Footnote 80:

_Aristotle’s Treatise on Poetry_, 2d ed., I. 289. This view of Twining
is upheld in some highly sensible remarks by Mr. A. O. Prickard in a
lecture, _Aristotle and the Art of Poetry_, London, 1891. What
Aristotle clearly meant to say is that “metre is not the most
essential characteristic of poetry, _yet it would be a misuse of
language to call anything a poem which is not metrical in form_.”
(Italics not in original, p. 60.) Mr. Prickard agrees with Whately,
Twining, and many others, that the words of the passage in question,
and the instances given, do not make against this view; and
“elsewhere, Plato and Aristotle invariably assume that only what is
metrical is to be called poetry; nay, that metrical writing and poetry
are, for the common purpose of language, convertible terms. ‘In metre,
as a poet,’ says Plato, ‘or without metre as a layman.’ ‘A good
sentence,’ says Aristotle, ‘should have rhythm but not metre; if it
have metre, it will be a poem.’” See the _Phædrus_, 258, D., and
Aristotle’s _Rhetoric_, III. 8.

Footnote 81:

A clear summary of the case as argued in Italy may be found in
Quadrio, _Della Storia e della Ragione d’ogni Poesia_, I. Bologna,
1739; II.-VII. Milan, 1741-1752. See I. 2 ff. Quadrio is outright for
the test of verse and for a generous rendering of Aristotle. He gives
the names of forgotten pleaders on both sides, and thinks the noes
have it against a traditional Aristotelian view; not to quarrel
forever, “Basta, che nacque la Poesia col Verso e col Canto: né,
propagata fra le nazioni, fu altrimenti mai lavorato che in
Verso.”—Spingarn, _Literary Criticism in the Renaissance_, New York,
1899, pp. 9 ff., points out that Mantuan was for the verse-test,
Savonarola, Minturno, Daniello, against it.

Footnote 82:

“Censet hoc ipsum ... Caesar Scaliger, qui, _quod raro facit, hac
parte ab Aristotele recedit_,” says Vossius, _de art. poet._, § 7.

Footnote 83:

Iulii Caesaris Scaligeri ... _Poetices Libri Septem_ ... 1561, the
first edition, published three years after the author’s death.

Footnote 84:

See p. 3ᵇ: “Poetae igitur nomen non a fingendo ... sed initio a
faciendo versu ductum est. Simul enim cum ipsa natura humana extitit
vis haec numerosa, quibus versus clauditur.”

Footnote 85:

_Ibid._, “Infans quoque prius canit quam loquitur, videmus enim
plerosque haud aliter somnum captare.”

Footnote 86:

See p. 347ᵃ.

Footnote 87:

Gerardi Joannis Vossii _de artis poeticae natura ac constitutione_ ...
Amstelodami, 1647. §4, “Atque ut multi ex solo metro male colligunt
aliquem esse poetam: ita contrà aberrant alii, qui existimant, ne
quidem requiri metrum, ut poeta aliquis dicatur. Haec tamen sententia
à nonnullis ipsi tribuitur Aristoteli ... § 5. At alii censent
Aristotelem numquam agnovisse ullum poema ἄμετρον....”

Footnote 88:

Isaaci Casauboni _de Satyrica Graecorum Poesi & Romanorum Satira Libri
duo_, Parisiis, MDCV, pp. 352 f. “Certum heic discrimen statuitur
inter eam orationem quae poema dici potest, & quae non potest,
discrimen illud est metrum.... _Omnem metro astrictam orationem &
posse & debere poema dici._” The rest is instructive. Borinski, to be
sure, _Poetik d. Renaissance_, p. 66, says that Casaubon wished to
call Herodotus a poet; but a detached phrase of this sort—compare
Scaliger’s epic in prose—goes for little when it fails to force the
barrier and break down the writer’s definition. Dryden, on the other
hand, making “invention” the sole test of poetry, clashes badly with
his opinion (_Essay on Satire_) that “versification and numbers are
the greatest pleasures of poetry.”

Footnote 89:

As Howell translates the not too clear Latin “fictio rhetorica in
musicaque posita,” poetry is “a rhetorical composition set to music.”
See also an article in the _Quarterly Review_, with reference to the
_Convivio_, April, 1899, p. 303.

Footnote 90:

See his works, ed. Blanchemain, VII. 320.

Footnote 91:

The whole dispute about rime shows this “importance capitale” of verse
itself.

Footnote 92:

_Advancement of Learning_, ed. Wright, II. iii. 4 (pp. 101 ff.).
Clearer in the Latin version, his antithesis, “nam et vera narratio
carmine, et ficta oratione soluta conscribi potest,” is not identical
with the proposition that poetry is independent of rhythm. He says it
“is in measure of words for the most part restrained.”

Footnote 93:

_De Poematum Cantu et Viribus Rythmi_, Oxon., 1673. The reference to
origins is interesting: “illud quidem certum omnem poësin olim
cantatum fuisse.... Unde sequitur, quicquid non canitur aut cantari
nequeat, non esse poema.”

Footnote 94:

_Characteristics_, 5th ed., Birmingham, 1763, I. 254, note, and III.
264.

Footnote 95:

_Essays_, “Of Poetry.”

Footnote 96:

_Praelectiones Poeticae_, 4th ed., London, 1760; see I. 24.

Footnote 97:

_Programma de Vera Indole Poeseos Praelectionihus Praemissum_,
Helmst., 1719. See also his programme of 1720 introducing lectures on
the _Ars Poetica_ of Horace.

Footnote 98:

_Œuvres Complètes de M. de Fénélon_, Tome V., “Discours sur le poeme
épique,” pp. 34 ff. There are many discourses on this theme of
prose-poetry in the _Mémoires_ of the Academy of Inscriptions and
Belles Lettres. The Abbé Fraguier is dull but weighty for the test;
Burette, a real scholar, is sensible on the same side (_Mém._ X. 212
f., in 1730). The younger Racine is very feeble; after reading his
contradictory and vapid papers, one has Chaucer on one’s lips—“No more
of this, for goddes dignité!”

Footnote 99:

_A Knight’s Conjuring_, Percy Soc., 1842, pp. 25, 75.

Footnote 100:

_Essay on the Writings and Genius of Pope_, anon., London, 1756. The
book is dedicated to Young, and in the dedication Warton gives these
general views of poetry.

Footnote 101:

Pope said, “There are three distinct _tours_ in poetry; the design,
the language, and the versification....” Spence, _Anecd._, p. 23. As
to prose poems, he could read _Telemachus_ with pleasure, “though I
don’t like that poetic kind of prose.” Its good sense was so great,
“nothing else could make me forget my prejudices against the style.”
_Ibid._, pp. 141 f.

Footnote 102:

_Praelectiones_, Pars Prima, Praelect. Tertia: “Poesin Hebraeam
metricam esse.”

Footnote 103:

“Sed cum omni poesi haec sit veluti propria quedam lex et necessaria
conditio constituta, a qua si discedat, non solum praecipuam
elegantiam desiderabit et suavitatem, sed ne nomen suum obtinebit.” It
should be added that Calmet, _de Poesi vet. Hebrae._, p. 15, is
against this verse test, “Essentiale Poeseos quaerimus in certo quodam
sermone vivido, animato, pathetico, figurisque hyperbolicis audacius
ornato. Nec solam versificationem Poetas facere, nec a pedum mensura
Poesin dici persuademur.” Then Plato.

Footnote 104:

_Rhetoric_, III. iii. 3.

Footnote 105:

The younger, of course.

Footnote 106:

_Dichtung und Wahrheit_, Book XI.; Hempel ed., III. 45.

Footnote 107:

“Wodurch Poesie erst zur Poesie wird,”—the _erst_ will bear a stronger
translation. Schiller, too, said that one must put into verse whatever
rises above the commonplace; and Goethe agreed with him: all poetry
“should be treated rhythmically.” Victor Hugo, in his Preface to
_Cromwell_, pp. 33 f., defends verse for the drama; prose has not
adequate resources.

Footnote 108:

Milton is thinking, too, of this in his well-known passage in the
treatise on Education. “I mean not here the prosody of a verse ...”
boys learn that in their grammars; but in time they must be taught the
great things,—“that sublime Art which in Aristotle’s _Poetics_ ...
teaches what the laws are of a true Epic poem, what of a Dramatic,
what of a Lyric, what Decorum is, which is the grand masterpiece to
observe.”

Footnote 109:

_Essay on the Imitative Arts._

Footnote 110:

No. XXXV. of the _Lectures_.

Footnote 111:

_Of the Origin and Progress of Language_, II. 50; IV. 41.

Footnote 112:

See the _Transactions_ of the Society, Vol. I. Warrington, 1785, pp.
54 ff.

Footnote 113:

_Biographia Literaria_, Chap. XIV.—“Poetry of the highest kind may
exist without metre, and even without the contradistinguishing objects
of a poem.”

Footnote 114:

_The Poetic Principle._

Footnote 115:

_On Heroes_, “The Hero as Poet.”

Footnote 116:

III. iii. 3; another part of the passage is quoted above, p. 42.

Footnote 117:

_Dissertations and Discussions_, I. 89 ff., “Thoughts on Poetry and
its Varieties.” The article first appeared in 1833.

Footnote 118:

It would be more to the purpose if one went to the sources of poetry
and religion and studied the survivals of primitive rite. At seed-time
in Brandenburg, the women still go out to the fields and unbind their
hair in sign that the flax may grow as long as their tresses. With
such a ritual act goes nearly always a song, a repeated shout, a cry
to the powers of growth; and this, if one please, is poetry in its
making, while it is easy to think that the symbol would sooner or
later force itself into the words—“make our flax like this hair.”

Footnote 119:

_Aesthetik, Werke_, ed. 1838, X. III.: summary, pp. 269 f.—“So ist
denn jedes wahrhaft poetisches Kunstwerk ein in sich unendlicher
Organismus,” etc.

Footnote 120:

IX. 9. See the translation by Roberts, p. 65.

Footnote 121:

Hegel, work quoted, p. 257.

Footnote 122:

E. S. Dallas, _Poetics_, p. 8, is sound in idea, but less happy in
illustration, when he says that a poem without verse can be no more
than the movement of a watch without its dial-plate.

Footnote 123:

_Literary Criticism_, p. 134.

Footnote 124:

“Als der erste und einzige sinnliche Duft.” The passages to which
Gayley and Scott refer—_e.g._ Hegel, p. 227—do not change this
statement in the present application. Nobody pretends that rhythm is
the soul of poetry; it is a necessary form, a necessary condition.

Footnote 125:

_The Power of Sound_, London, 1880. Chap. III. is on the elements of a
work of art. On p. 51, again on p. 423 f., Mr. Gurney rejects poetry
in prose.

Footnote 126:

_Théorie de l’Invention_, thèse pour le doctorat ès Lettres, Paris,
1881, p. 142.

Footnote 127:

It is perhaps superfluous to point out that imagination is utterly
ignored in this analysis, and to recall Mr. Swinburne’s phrase that
“the two primary and essential qualities of poetry are imagination and
harmony.”

Footnote 128:

A curious passage which follows (pp. 149 f.), treats poetry as a
supply of coal, rapidly used and close to exhaustion, so far as
originality and freshness are concerned.

Footnote 129:

_Choice of Books_, pp. 81 f., 126.

Footnote 130:

_History of Æsthetics_, pp. 461 f.

Footnote 131:

Professor Masson in the _North British Review_, 1853, reviewed the
_Poetics of Dallas_, printing the review later as fifth essay in
_Wordsworth, Shelley, and Keats_, London, 1874; the sixth essay “On
Prose and Verse,” repeats a discussion of De Quincey’s prose in the
journal just named for 1854. Poets are led, Masson says, by the “flag”
of imagery and the “flute” of verse; and while he inclines to the test
of rhythm, he comes to no conclusion. Bain (_On Teaching English_,
1887; see Chap. VII. and pp. 249 ff.) also inclines to the test, but
hedges after the manner of his brethren.

Footnote 132:

_Encycl. Brit._, article “Poetry,” which defines its subject as “the
concrete and artistic expression of the human mind in emotional and
rhythmical language.... In discussing poetry, questions of
versification touch ... the very root of the subject.”

Footnote 133:

In the sense, of course, that it absorbed the best labour of two
centuries.

Footnote 134:

The same argument, of course, applies to Plato, as in the “hymns” to
Eros, noble prose indeed; and in less degree to such passages as De
Quincey on the Ladies of Sorrow.

Footnote 135:

_Œuvres_, Paris, 1810, IX. 227 ff., “De la Prose Mesurée.” See also
pp. 185 ff.

Footnote 136:

See his _Petits Poëmes en Prose_, in _Œuvres Complètes_, Paris, 1869,
IV. p. 2,—an interesting preface.

Footnote 137:

_Young Ofeg’s Ditties_, trans. Egerton, London, 1895.

Footnote 138:

_Also Sprach Zaruthustra_, III. “Das Andere Tanzlied.”

Footnote 139:

His defence is very fine and languid and aristocratic,—“inutile
dispute _de mots_,” he protests at last: _Œuvres Complètes_, Paris,
1852, V. 84, 295 (“Examen des Martyrs”).

Footnote 140:

A foreigner is no judge in these things; but he may say how much more
the lucidity of Mérimée, of M. Anatole France, appeals to him than the
poetic prose of Flaubert’s _Salammbô_.

Footnote 141:

Has any one noted in the opening chapter of the _Trionfo della Morte_
a prose refrain, “Gocce di pioggia, rare, cadevano,” repeated with
considerable effect?

Footnote 142:

_Ibid._, p. 396. The structure is strophic and very artistic in its
complication.

Footnote 143:

See D’Annunzio’s dedication of this romance, and his artistic creed,
quite an echo of the preface to Baudelaire’s poems in prose.

Footnote 144:

There is often in these prose-poems, so much praised now, a startling
reminder of the golden style of certain despised folk who wrote
cadenced and coloured prose in their romances three centuries ago. And
not only in romances; Tom Nash tried rimed prose, both with
alliteration and with actual rime, by way of helping the antithetical
clause. See the “Anatomy of Absurdity,” in Nash’s _Works_, ed.
Grosart, I. 6 ff., 24: inferre: averre; praise: daies; nose: rose: and
the lilt of “to play with her dogge, than to pray to her God.” The
_Arcadia_ is not so much a rimed or rhythmical prose, as swelling and
sonorous. For mediæval rimed prose, see Wackernagel, _Gesch. d.
deutsch. Lit._, 2d ed., I. 107 ff., and Sievers, _Altger. Metrik_, p.
49,—the latter for Germanic relations.

Footnote 145:

“Das Volkslied Israels im Munde der Propheten,” in the _Preussische
Jahrbücher_, LXXIII. (1893), 460 ff. See p. 465.

Footnote 146:

Driver, _Introd. Lit. Old Test._, p. 361, says that rhythm, _the
restrained flow of expression_, separates poetry from prose.

Footnote 147:

Professor Sievers has announced “a discovery of the principles of
Hebrew metre,” and his exposition will be welcome. See
_Sitzungsberichte der sächsischen Akademie der Wissenschaften_, 5
February, 1899.

Footnote 148:

Professional “readers” nearly always kill a poem by reading it as
prose. Tennyson read his own verses almost in a chant. De Vigny,
_Journal d’un Poete_, p. 70, says, “tout homme qui dit bien ses vers
les chante, en quelque sorte.” Ronsard, _Œuvres_, ed. Blanchemain,
III. 12 f., asks the reader of his _Franciade_ one thing: “Be good
enough to pronounce my verses well, and suit your voice to their
emotion, not reading it, after the way of certain folk, as a letter,
... but as a poem, with good emphasis.” So Quintilian; but the
elocutionist has no bowels of mercy.

Footnote 149:

_Geography_, Introd., I. ii. 7, translation of Hamilton.

Footnote 150:

_Corpus Poeticum Boreale_, I. 434.

Footnote 151:

_Critische Dichtkunst_, pp. 70 f.

Footnote 152:

Bruchmann, _Poetik_, pp. 161, 124, 22.

Footnote 153:

Aston, _Japanese Literature_, p. 13.

Footnote 154:

The younger Racine is startling with his assertion that “poetry is the
daughter of nature, while verse is the work of art.” _Mém. Acad.
Inscr._, XV. 307 ff., “De la poesie Artificielle....”

Footnote 155:

Curiously enough, J. Grimm, though not too clear in his statement, is
with the rationalists, in spite of his “divine origin” for poetry and
the “mystery” of self-made song, which he advocates elsewhere; for in
his _Ursprung der Sprache_ (reprint, 7th ed., 1879, p. 54) he says
poetry and music had their origin in the reason, emotion, and
imagination of a poet, and gives a genetic process not unlike that set
forth by Mr. Spencer: “denn aus betonter, gemessener recitation der
Worte entsprangen gesang und lied, aus dem lied die andere dichtkunst,
aus dem gesang durch gesteigerte abstraction alle übrige musik.”

Footnote 156:

_Die antike Kunstprosa_, 2 vols., Leipzig, 1898. Mr. Spencer’s theory,
analogous in some respects to Norden’s, is considered below.

Footnote 157:

This notion itself—see the extract above from Strabo—Norden, I. 35,
refers to a desire to glorify the golden age, and to set its poetry
over against the prose of degenerate modern days.

Footnote 158:

II. 762.

Footnote 159:

_Ibid._, I. 78.

Footnote 160:

_Tam apud Graecos quam apud Latinos longe antiquiorem curam fuisse
carminum quam prosae_, etc. Varro in Isiodor. _Orig._, I. 38, 2,
quoted and discussed by Norden, I. 32 f.

Footnote 161:

“I suppose, of course,” said a writer of considerable reputation, to
whom the project of the present work was mentioned, “you will begin
with Homer.”

Footnote 162:

Indeed, the very arguments from Greek oratory hardly seem convincing.
Let any one read the section of Aristotle’s _Rhetoric_ (III. viii.),
where he speaks of prose rhythm. What is this rhythm without metre but
the quality, far more musically developed in Greek, which one also
recognizes in the harmony of any modern artistic prose?

Footnote 163:

Work quoted, I. 30 f. See also I. 37, note; I. 156 ff.; II. 813 f.

Footnote 164:

See, however, E. Schröder, “Ueber das Spell,” _Zst. f. deutsches
Alterthum_, XXXVII. 241 ff. _Spell_ and _lied_, he says, are related
in terms of epic and lyric charms or incantations, and form the basis
of the common antithesis of “say” and “sing” (p. 258). The epic part
of a charm, he thinks, was recited, while the lyric part was sung.
Unfortunately, Schröder comes to no very definite results; and, like
most writers on early verse, he neglects the communal and choral
conditions of primitive poetry.

Footnote 165:

Düntzer, _Zeitschr. deutsch. Gymnasialwesen_, 1857, pp. I ff., the
unwearied commentator, who has had so much experience in the practical
reduction of poetry to prose, decided for this view, and doubtless
with some show of right. A _carmen_, he said, was anything,—oath,
formula, law, incantation,—spoken in loud and solemn tones. So Livy,
I. 26, on that _lex horrendi carminis_. This may be true for the
medicine man, but it is not true for the throng.

Footnote 166:

The λέξις ειρομένη and the λέξις κατασταμμένη; down to Herodotus the
Greeks, it is said, spoke and wrote in the former style: Norden, I.
37, note. He appeals to specimens gathered from folklore.

Footnote 167:

_Altgriechischer Versbau_, p. 55.

Footnote 168:

“Musikalische Bildung der Meistersänger,” in Haupt’s _Zeitsch. f.
deutsches Alterthum_, XX. 80 f.

Footnote 169:

The reason why a folksong often fails to have a musical effect, says
Böckel in the introduction to his collection of Hessian ballads, p.
civ., is because it is taken down from a single singer, whereas all
these songs are essentially choral, and need the voices of a throng.
This hint is valuable in many directions; for example, see below on
social singing at labour.

Footnote 170:

_Zeitschrift f. Völkerpsychol. u. Sprachwissensch._ IV. 85 ff.
Comparetti is also unfortunate in his use of this essay to prove that
poetic prose came before verse. See his _Kalewala_, p. 37.

Footnote 171:

_English Fairy Tales_, 1898, p. 247. Ferdinand Wolf, a man not given
to hazy and romantic views, dismisses the _cante-fable_ as “jedesfalls
... eine Entartung,” a degenerate state of the communal ballad.
_Proben port. u. catal. Volksromanzen_, Wien, 1856, p. 20, note 2.

Footnote 172:

Alfred Nutt, _Voyage of Bran_, I. 135, citing Kuno Meyer, and saying
that certain prose is “younger in appearance,” need not assume it to
have “suffered from change,” but may take a simpler view. The verse
may well be of older date.

Footnote 173:

This account is taken from Bruchmann’s _Poetik_, p. 217, and
Letourneau, _L’Évolution Littéraire_, pp. 198 f., who gives other
details. J. F. Campbell, _Popular Tales_, etc., 2d ed., IV. 84,
mentions cases of dual performance in the Highlands, where a bard sang
to his harp heroic passages, and a narrator “filled up the pauses by
telling prose history.”

Footnote 174:

_Altgermanische Metrik_, pp. 165, 168.

Footnote 175:

Rudow, _Verslehre und Stil der rumänischen Volkslieder_, Halle, 1886,
pp. 5, 28 f., 31.

Footnote 176:

Böckel, _Deutsche Volkslieder aus Oberhessen ... mit
kulturhistorisch-ethnographischer Einleitung_ (the latter a valuable
collection of material), Marburg, 1885, pp. clxxxiii. f.

Footnote 177:

Mingled verse and prose has always a late, artificial manner; for
example, the _Satura Menippea_, imitated in Latin by Varro and
Petronius (Teuffel and Schwabe, _Hist. Roman Literature_, trans. Warr,
I. 255), and claimed for the half-rhythmical portion of Swift’s
_Battle of the Books_, by Feyerabend, _Englische Studien_, XI. 487 ff.
Some of Feyerabend’s scanning, by the way, is highly adventurous.

Footnote 178:

_Journal_, 12 Mai, 1857.

Footnote 179:

_De Arte Poet._, I. 75.

Footnote 180:

In Grimm’s charming article on “Poetry in Law,” and in Kögel’s
_Geschichte der deutschen Litt._ I.

Footnote 181:

_Zeitschrift f. deutsche Philologie_, XXIX. 405 ff.

Footnote 182:

See Norden’s _Anhang_ on Rime, II. 810 ff. It may be noted here that
the fact of which Norden makes so much, riming of inflectional
endings, was pointed out by Masing, _Ursprung des Reims_, Dorpat,
1866, pp. 15 f.

Footnote 183:

In a review of Bücher’s _Arbeit und Rhythmus_; see _Zeitschr. f.
vergl. Litteraturgesch._, N. F. II. (1897) 369 ff. This is another
darling heresy,—to break up the old tradition of evolution, and to
deny that dance, song, poetry, began as a single art. Yet ethnology,
as it will be seen, supports this tradition; so does a study of
popular poetry. Compare, too, _Iliad_, XVIII. 569 ff., and other
commonplaces, for the classic traditions, and Aristotle’s famous
passage on Origins, for older science in the case.

Footnote 184:

“Dass ... Musik aus dem Gefallen an selbst hervorgerufenen Lärm sich
entwickelt hat....”

Footnote 185:

“Essai de Rythmique Comparée,” in _Le Museon_, X. 299 ff., 419 ff.,
589 ff.

Footnote 186:

Used to explain the actual origin of rhythm by Müller and Schumann,
_Zeitschr. f. Psychol. u. Physiol. d. Sinnesorgane_, VI. 282 f.,
quoted by Meumann, _Untersuchungen_, etc., pp. 10 f.

Footnote 187:

See Hoffmann’s similar theory, quoted below.

Footnote 188:

The old mistake of confounding literal chronology with evolution. As
if the _Avesta_ were primitive!

Footnote 189:

So M. de la Grasserie asserts in an ingenious account of the
retrograde process by which in modern times poetry has retraced its
old evolution, passing from verse back through rhythmic prose to prose
outright. The only use which he now concedes to verse is in ... the
opera. In all other fields,—epic, drama, lyric,—he thinks it is dead
as King Pandion.

Footnote 190:

_Die Entstehung der arabischen Versmasse_, Giessen, 1896.

Footnote 191:

A remarkable passage. See the translation of Roberts, p. 149.

Footnote 192:

Evelyn’s _Diary_, 24 February, 1664-1665: “Dr. Fell, Canon of Christ
Church, preached before the king ... a very formal discourse, and in
blank verse, according to his manner.”

Footnote 193:

The whole passage is interesting with its fling at poetry, not,
however, to be taken as a serious indictment: _Table Talk_, ed. Arber,
p. 85: “’Tis a fine thing for children to learn to make verse; but
when they come to be men, they must speak like other men, or else they
will be laugh’t at. ’Tis ridiculous to speak, or write, or preach in
verse.” Again, “’Tis ridiculous for a Lord to print verses, ’tis well
enough to make them to please himself, but to make them publick is
foolish. If a man in his private chamber twirls his bandstrings, or
plays with a rush to please himself, ’tis well enough; but if he
should go into Fleet Street,”—and so on. He thinks there is no reason
why plays should be in verse; but he rescues the old poets who were
forced to write verse “because their verse was sung to music.”

Footnote 194:

_Untersuchungen zur Psychologic und Aesthetik des Rhythmus_, Leipzig,
1894; reprinted from Vol. X. of Wundt’s _Philosophische Studien_.

Footnote 195:

See p. 77, where he chooses “die Freiheit des declamirten Rhythmus
gegenüber dem allgemeinen rhythmischen Princip der Regelmässigkeit.”
See also pp. 82, 87, 101, and especially 91.

Footnote 196:

For example, classical rendering of verse, and even modern recitation,
as among the Italians. “La plupart des Italiens ont, en lisant les
vers, une sorte de chant monotone, appelé _cantilene_, qui détruit
toute émotion,” says Mme. de Staël, _Corinne_, Chap. III.; but the
“elocutionary” emotion is usually an impertinence in simple and
cadenced lyric.

Footnote 197:

Compare Lessing’s different but analogous antithesis in the _Laokoon_,
XI.: “Bei dem Artisten dünkt uns die Ausführung schwerer als die
Erfindung; bei dem Dichter, hingegen, ist es umgekehrt.”

Footnote 198:

See his article in Kuhn’s _Zeitschr. f. vergl. Sprach._, IX. 437 ff.;
and the second volume of his _Metrik der Griechen_. For the
four-accent verse as popular measure, see H. Usener, _Altgriechischer
Versbau_, Bonn, 1887, a suggestive book. For the same verse in
Russian, see Bistrom in the _Zeitsch. f. Völkerpsychol._, V. 185.

Footnote 199:

Wilmanns thinks the case for this “original” verse has not been made
out in any convincing way.

Footnote 200:

F. D. Allen, in Kuhn’s _Zeitsch. f. vergl. Sprach._, XXIV. 558 ff.,
showed that this Iranian syllable-counting verse, one of the oldest of
metres, is not merely counting, but a rhythmic affair, and that the
rhythm lay in successive equal intervals marked by verse accent.

Footnote 201:

_Zur althochdeutchen Alliterationspoesie_, 1888, pp. 109 ff.,
particularly 146 ff., “über den Takt.”

Footnote 202:

_Beiträge zur Geschichte der älteren deutschen Litteratur_, III., “Der
altdeutsche Reimvers,” Bonn, 1887, pp. 141 f.

Footnote 203:

Sievers, _Altgermanische Metrik_, 1893, pp. 172 ff.

Footnote 204:

That strophic hymns were known in earliest Germanic poetry is shown,
Sievers points out, by the fact that Middle High German _liet_ is the
same as Old Norse _ljóð_, “strophe.” For the old choral poetry, he
says, “wird ein im gleichen Takte fortschreitender Sangesvortrag ohne
weiteres zuzugeben sein,” _Ibid._, p. 20.

Footnote 205:

Above, p. 8, and Grosse, _Anfänge_, p. 233.

Footnote 206:

See above, p. 8, note.

Footnote 207:

Other motions than that of the communal dance may induce rhythm. The
movement of labour will be considered in detail; but it may be noted
here that swinging, a solitary performance, tempts the savage of
Borneo to sing a monotonous song and ask the spirits for a good crop
(Bruchmann, _Poetik_, p. 18).

Footnote 208:

See “The Origin and Function of Music,” _Essays_, 1857; “The Origin of
Music,” in _Mind_, XV. (1890) 449 ff.; and a note on certain
criticisms of this article, _Mind_, XVI. 535 ff.

Footnote 209:

_The Power of Sound_, London, 1880, pp. 476 ff.

Footnote 210:

This is the basis of Wallaschek’s convincing argument against Mr.
Spencer’s theory: _Primitive Music_, London, 1893, pp. 251 ff.

Footnote 211:

_Anfänge der Kunst_, p. 206, note.

Footnote 212:

Wallaschek, _Primitive Music_, p. 11.

Footnote 213:

See the positive statement of Dr. Jacobsthal, quoted above, p. 69.

Footnote 214:

Work quoted, pp. 31, 42, 68, 180 f. 184, 186, 252. The evidence
collected in this interesting book is so varied, so extensive, and so
impartially set forth, that the conclusions drawn by Wallaschek ought
to be convincing.

Footnote 215:

Gustaf von Düben, _Om Lappland och Lapparne_, ... Stockholm, 1873
(colophon), p. 319.

Footnote 216:

As impossible, says one authority, quoted by Wallaschek, _Primitive
Music_, p. 187, “as to separate the colour from the skin.”

Footnote 217:

_Ibid._, p. 186.

Footnote 218:

It is the neglect of choral conditions and communal consent which
takes away the value for general purposes from Dr. Otto Hoffman’s
otherwise praiseworthy study of the _Reimformeln im Westgermanischen_
(Leipzig, 1886, pp. 9 ff.). Man, he says, naturally speaks in
breath-lengths, in periods which tend to be of equal duration.
“Whoever could give to these periods, with their tendency to equal
quantities, the most symmetrical and equal portions of actual speech,
passed for an artist.” To this symmetry in duration was added
similarity of sound; so came the short riming phrases, as well as the
verse-lengths themselves. But poetry did not wait until clever artists
furbished up into verse-lengths and attractive harmonies these
breath-lengths of a spoken sentence. Language itself, as one will
presently see, had more a festal than an individual origin; and long
before the artist was practising his breath-lengths for a connected
story, the rhythm of verse was fixed by the muscular rhythm of steps
in a communal dance accompanied by words, often by one sound, repeated
indefinitely, but in exact cadence with the steps.

Footnote 219:

Dr. Paul Ehrenrcich, “über die Botocuden,” in the _Zeitschr. f.
Ethnologie_, XIX. 30 ff.

Footnote 220:

The gnomic verses preserved in Anglo-Saxon, especially the shorter
sentences in the Exeter Ms. (see Grein-Wülker, _Biblioth._, I. 345 f.)
are a curious instance of the survival of _quasi_-Botocudan maxims on
a higher plane of culture. As to the æsthetic value of the South
American utterance, how far is it inferior to the sonorous
commonplaces of our own verse,—say _The Psalm of Life_?

Footnote 221:

“The Central Eskimo,” by Dr. F. Boas, _Sixth Annual Report, Bureau of
Ethnology_, 1884-1885, Washington, 1888, pp. 409 ff.

Footnote 222:

_Atlantic Monthly_, XIX. (1867), 685 ff.

Footnote 223:

See below, on Cumulative Songs.

Footnote 224:

See the marching song, p. 690, _Go in the Wilderness_. Thanks to the
repetitions, it “scans” correctly enough, even when it is read.

Footnote 225:

Meumann’s remarks on this subject are good, though they apply no
further than the narrow circle of his experiments. See
_Untersuchungen_, pp. 26, 35, 77. Grant Allen, _Physiological
Æsthetics_, London, 1887, pp. 114 f., 118, is quite wide of the mark;
facts of physiology, in this case, need very careful testing by the
facts of poetry.

Footnote 226: