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| | A Study of Poetry |
 | | Many passages in narrative and dramatic verse, for instance, while fulfilling their primary function of telling a story or throwing characters into action, are colored by what we have called the lyric quality, by that passionate, personal feeling whose natural mode of expression is in song. |
 | | In Marlowe's Tamburlaine, for instance, or Victor Hugo's Hernani, there are superb pieces of lyric declamation, in which we feel that Marlowe and Hugo themselves--not the imaginary Tamburlaine and Hernani--are chanting the desires of their own hearts. |
 | | While the scope of the present volume, as explained in the Preface, precludes any specific study of drama and epic, the reader must bear in mind that the three main types of poetry are not separated, in actual practice, by immovably hard and fast lines. |
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