Browning, _The Soul's Expression_; Jean Ingelow, _A Lily
and a Lute_; Coventry Patmore, _Dead Language_; Swinburne, _The Lute and
the Lyre, Plus Intra_; Francis Thompson, _Daphne_; Joaquin Miller,
_Ina_; Richard Gilder, _Art and Life_; Alice Meynell, _Singers to Come_;
Edward Dowden, _Unuttered_; Max Ehrmann, _Tell Me_; Alfred Noyes, _The
Sculptor_; William Rose Benet, _Thwarted Utterance_; Robert Silliman
Hillyer, _Even as Love Grows More_; Daniel Henderson, _Lover and
Lyre_; Dorothea Lawrence Mann, _To Imagination_; John Hall Wheelock,
_Rossetti_; Sara Teasdale, _The Net_; Lawrence Binyon, _If I Could Sing
the Song of Her_.]
Frequently these confessions of the impossibility of expression are
coupled with the bitterest tirades against a stupid audience, which
refuses to take the poet's genius on trust, and which remains utterly
unmoved by his avowals that he has much to say to it that lies too deep
for utterance. Such an outlet for the poet's very natural petulance is
likely to seem absurd enough to us. It is surely not the fault of his
hearers, we are inclined to tell him gently, that he suffers an
impediment in his speech.
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