as a song art, an art appealing to the ear rather than the eye. The

first section of this volume is especially an effort to restore poetry

to its proper place--the audience-chamber, and take it out of the

library, the closet. In the library it has become, so far as the people

are concerned, almost a lost art, and perhaps it can be restored to the

people only through a renewal of its appeal to the ear.

I am tempted to quote from Mr. Lindsay's explanatory note which

accompanied three of these poems when they were first printed in

'Poetry'. He said:

"Mr. Yeats asked me recently in Chicago, 'What are we going to do to

restore the primitive singing of poetry?' I find what Mr. Yeats means

by 'the primitive singing of poetry' in Professor Edward Bliss Reed's

new volume on 'The English Lyric'. He says in his chapter on the

definition of the lyric: 'With the Greeks "song" was an all-embracing

term. It included the crooning of the nurse to the child... the

half-sung chant of the mower or sailor... the formal ode sung by the poet.

In all Greek lyrics, even in the choral odes, music was the handmaid of

verse.... The poet himself composed the accompaniment. Euripides was

censured because Iophon had assisted him in the musical setting of some

of his dramas.' Here is pictured a type of Greek work which survives in

American vaudeville, where every line may be two-thirds spoken and

one-third sung, the entire rendering, musical and elocutionary, depending

upon the improvising power and sure instinct of the performer.

"I respectfully submit these poems as experiments in which I endeavor to

carry this vaudeville form back towards the old Greek precedent of the

half-chanted lyric. In this case the one-third of music must be added

by the instinct of the reader. He must be Iophon. And he can easily be

Iophon if he brings to bear upon the piece what might be called the

Higher Vaudeville imagination....

"Big general contrasts between the main sections should be the rule of

the first attempts at improvising. It is the hope of the writer that

after two or three readings each line will suggest its own separate

touch of melody to the reader who has become accustomed to the cadences.

Let him read what he likes read, and sing what he likes sung."

It was during this same visit in Chicago, at 'Poetry's' banquet on the

evening of March first, 1914, that Mr. Yeats honored Mr. Lindsay by

addressing his after-dinner talk primarily to him as "a fellow

craftsman", and by saying of 'General Booth':

"This poem is stripped bare of ornament; it has an earnest simplicity, a

strange beauty, and you know Bacon said, 'There is no excellent beauty

without strangeness.'"

This recognition from the distinguished Irish poet tempts me to hint at

the cosmopolitan aspects of such racily local art as Mr. Lindsay's. The

subject is too large for a merely introductory word, but the reader may

be invited to reflect upon it. If Mr. Lindsay's poetry should cross the

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