PRESIDENT’S ADDRESS. T3D: 
was in this form that the “ Iliad ” touched Kinglake. Chap- 
man’s Translation of the “‘ Iliad’ is by no means suited for 
youth. But his “ Odyssey ” I know to be very pleasing to 
the palate of the young. 
I think, on the whole, that the influence of the genuine 
epic, with its appeal to the healthy and natural story-loving 
instinct of youth, and its imaginative presentment of the 
primitive and basic virtues, is entirely for the good; and 
in the absence of any great accessible English epic for the 
purpose, I should personally like to see a fairly complete 
series of translations from the pure and noble classics of the 
Icelandic prose saga-literature read in place of it in our 
schools. I can conceive of no more bracing, stirring and 
tonic course of study than this. 
The educative function of the epic may to some extent 
be performed by a selection from Scott’s admirable ballad- 
esque narrative poems; some of the stirring war-poetry of 
Dobell, Tennyson, and Campbell, Aytoun’s “ Lays of the 
Scottish Cavaliers,” Henley’s “ Lyra Heroica’’; some very 
‘carefully selected pieces of Mr. Kipling; and by such 
modern work as that of Mr. Newbolt. These, however, I 
can only regard as very second-rate substitutes for the true 
epic. 
Of lyric poetry I need say little, not because there is little 
to say, but because it is so very obvious that this is the class 
of poetry which is from every point of view the best for the 
purpose I have in view. Besides, have not Messrs. Palgrave 
(in the “Golden Treasury’”’) and Henley (in the “ Lyra- 
Heroica’’) and a host of others, made this clear by their 
admirable selections and collections from the vast body of 
our English lyrical poetry? In lyric poetry everything 
that is best in English literature is included, with the 
exception of the work of the great dramatic schools. 
Here, however, I must utter again a note of warning. 
There is an immense mass of lyrical poetry in English, pro- 
duced mainly from the days of Surrey and Wyatt, early in 
the 16th century, to the end of the 17th century, which is 
entirely amorous and complimentary in its tone. It is most 
frequently fanciful and ‘‘ metaphysical,’ also frequently 
coarse and gross; this body of verse contains much of the 
very best of English lyric poetry; yet I think that it is, on 
the whole, unsuited to youth. There are hundreds of these 
exquisite songs which are in their very “dialect of thought,”’ 
if I may so express myself, incomprehensible to youth, and, 
if understood, not beneficial. I refer to such gems as 
“Drink to me only with thine eyes,” Lilly’s “Cupid and 
Campaspe,” Waller’s verses ‘‘On a Girdle,” and many of 
