There are poets whose art is an accumulating cluster of images that become more and more identified with specific ideas. I believe Yeats to have been such a poet, in whom a cluster of images grew in significance to produce the great poems of the period from the first World War to the second. Generally accepted as one of Yeats' finest lyrics is The Second Coming. I believe that the poem gains in richness by being considered in the light of associations that had long preoccupied Yeats, and that are frequently found together in his writings: Shelley, and especially his Prometheus Unbound; the Great Memory; and the Second Coming.

Como es sabido, Antonio Machado discurre sobre innumerables temas divinos y prof anos por boca de su sabio y occurrente profesor de Retórica, Juan de Mairena. Este professor apócrifo no se cansa de repetir que la poesía es un arte temporal.

Although hundreds of books and articles have been written on the subject, there is still no agreement upon the question: What is the basis of English metre? There have been three schools of metrics: that of a strict count of syllables; that of accent; and that of equal times. The latest work which I have found to consider a strict count of syllables the sole basis of English metre was published in Heidelberg in 1902. But both of the other schools have their representatives today. It is my purpose to raise the question once more, and to throw light upon it from a hitherto unexplored source of unusual value, The English School of Lutenist Song Writers. I hope to show that the theory of equal times marked by stress best explains the varying phenomena of modern English verse, and especially the inclusion in metrical verse of such extremely irregular poems as “The Listeners” by De la Mare. And I hope also to clarify several metrical terms: the so-called “trochaic substitution” in iambic metre, the “caesura,” and the “run-on line.”