C. What may be said in general of Tennyson's handling of the dramatic form? Has he "the dramatic sense"? Of his management of the web of circumstance in which the characters are involved and brought into conflict? Comment upon his technical skill as displayed in the different "parts" and "moments" of his dramas. Does his exhibition of action fulfill dramatic requirements? Is his vocabulary suited to stage purposes? Give instances of his purely lyric and narrative gifts as incidentally illustrated in his dramas. Instance passages that cannot in your opinion be successfully acted. In your reading of these plays, or observation of any of them that you have seen acted, are you conscious of the absence of any quality or qualities that would heighten the pleasure they yield you? Taken as a whole, is the form of the various plays artistically in harmony with the themes employed?
BIBLIOGRAPHY
This list includes the more important books and articles in English which have been discussed or referred to in the text. There is an excellent bibliography in Alden's Introduction to Poetry, and Patterson's Rhythm in Prose contains a full list of the more technical articles dealing with rhythms in prose and verse.
ALDEN, RAYMOND M. English Verse. New York, 1903. An Introduction to Poetry. New York, 1909. "The Mental Side of Metrical Form," in Mod. Lang. Review, July, 1914.
ALEXANDER, HARTLEY B.
Poetry and the Individual. New York, 1906.
ANDREWS, C. E.
The Writing and Reading of Verse. New York, 1918.
ARISTOTLE.
Theory of Poetry and Fine Art, edited by S. H. Butcher. New York,
1902.
On the Art of Poetry, edited by Lane Cooper. Boston, 1913.
BABBITT, IRVING.
The New Laokoon. Boston and New York, 1910.
BERNBAUM, ERNEST, editor.
English Poets of the 18th Century. New York, 1918.
BOSANQUET, BERNARD. A History of Aesthetic. New York, 1892. Three Lectures on Aesthetic. London, 1915.