omprehension. But such abandonment, as I have said, belongs to our
preparation for expression. Such abandonment must not be taken out of
the study on to the stage. No temperamental expression along any line is
fit for the public until it is controlled by technique, the technique
which has been worked out by the masters of every art, not excluding the
art of living.

It is not the effect of June upon you I want from your interpretation,
it is the spirit of June itself. You must let me have my own emotion.
Your emotional response was the result of your mental concept; mine, to
be intelligent, must find the same impulse. If you impose your own
emotion upon me mine will be merely an unintelligent reflection of
yours. Taking as our ideal of the interpreter, the absolutely pure
medium, bars out every manifestation which calls attention to the
interpreter, and so interferes with the direct message.

"The natural form of expression which literature takes when it passes
beyond the normal powers of prose, is lyric poetry. When your feelings
rise beyond a certain degree of stress you need the stronger beat and
vibration of verse; to express the highest joy or the deepest grief
poetry is your natural instrument." Again corroborated in our choice of
direction in study by Mr. Gardiner, let us turn for "material" in the
establishment of _intelligence in emotion_, to the most intensive type
of the literature of feeling,--lyric poetry.

"Every now and then a man will come who will reduce to words--as Mr.
Ruskin has done--some impression of vivid pleasure which has never been
reduced to words before. It is only the great master who makes these
advances; by studying his works you may perhaps come somewhere near the
mark that he has set." This further word from the same paragraph should
influence us to pause with Mr. Ruskin's poetry in prose form for a brief
study on our way to the lyrics of Wordsworth and Shelley and Keats, a
song from Shakespeare, and some few from the rare, more modern
lyricists. I shall trust you to this by-path under the guidance of _The
Forms of Prose Literature_, where you will find passages from such
masters of prose as Mr. Ruskin and Mr. Stevenson--passages of surpassing
lyric beauty which shall furnish models for your correlated study in
Description.

SUGGESTIVE ANALYSIS

I have chosen for suggestive analysis of the lyric, Shelley's ode _To a
Skylark_. I shall analyze in detail only the first five stanzas: