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So it may well have appeared to him that serious poetry was naturally French in meter and method. There was no model for what he wanted to do in English; the English five-iambic line had not been invented, and only the popular lyricists, of the proletariat, sang in stresses.
They must have known that lyricists would want to use whatever word they selected as a label for the above-mentioned emotion far more frequently than any other word in the language. It wasn't much to ask of them to choose a word capable of numerous rhymes. But no, they went and made it "love," causing vast misery to millions. "Love" rhymes with "dove," "glove," "above," and "shove."
"Of lyricists Horace is, I may say, the only one worth reading; for he sometimes rises, and he is always full of sweetness and grace, and most happily daring in figures and expressions. If any one else be added, it must be Caesius Bassus, whom we have lately seen, but there are living lyricists far greater than he.
It is curious that a crude primtivism in sculpture and in architecture too should have gone on side by side, in Greece, during the seventh and sixth centuries B. C., with the very finished art of the Lyricists from Sappho to Pindar; but apparently it did.
As everyone knows, the only real obstacle in the way of turning out poetry by the mile was the fact that you had to make the darned stuff rhyme. Many lyricists rhyme as they pronounce, and their pronunciation is simply horrible. They can make "home" rhyme with "alone," and "saw" with "more," and go right off and look their innocent children in the eye without a touch of shame.
With the passing of this rare artist during the late summer months, we are conscious of the silencing of one of the foremost lyricists in painting, one of the most delicate spirits among those who have painted pictures so thoroughly replete with charm, pictures of such real distinction and merit. For of true charm, of true grace, of true melodic, Redon was certainly the master.
There is melody, almost abundant, in Wagner and Liszt and their German contemporaries. Indeed it was an age of lyricists. The fault was that they failed to recognize their lyric limitation, lengthening and padding their motives abnormally to fit a form that was too large. Hence the symphony of Liszt, with barren stretches, and the impossible plan of the later music-drama.
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