852 PROCEEDINGS OF SECTION I. 



thetically following them wherever they may lead, and really 

 repeating; them in the " lang'iiage of* emotion." 



5. An Effective Conclusion. 



" The tones of first impression," as Curwen calls them, 

 establish the key and the rhythm, and give a chie to the 

 general motive of the song. The tones of last impression 

 "determine the mental effect of the composition as a whole. 

 For the memory retains the last phrases more readily than 

 any others, and according as they are grave or gay, the pre- 

 vailing idea of the song will be grave or gay. But whatever 

 the mode or tempo, it is necessary that there shall be an air 

 of definiteness about the conclusion ; and here, as elsewhere, 

 the words are all important, A verse which is fairly good, 

 but in no way more noteworthy than its predecessors, or 

 which gives the impression that there is something more to 

 say, will never do for the conclusion of a song. And, unfor- 

 tunately, so many lyrics end in this fashion. The end should 

 come as soon as possible after the words have reached their 

 climax. Nothing more is needed but a few resolute finishing- 

 strokes. 



Of the great English poets, Tennyson stands undoubtedly 

 at the head of those whose songs have found favour with 

 musicians. His " Sweet and Low " is one of the most 

 charming lullabies ever written, while " Home they brought 

 her Warrior " is a powerful example of the narrative song, 

 and exquisite love poems are scattered broadcast throughout 

 his works. 



Both Browning and Swinburne have written strangely few 

 lyrics that can be set to music. Both possess the secret of 

 writing musical poetry, but neither seems to have studied the 

 musical conditions of to-day. Both make the same mis- 

 take — of putting too much under one heading. For this 

 reason nearly all of Browning's powerful " Dramatic Lyrics" 

 are useless to musicians, and Swinburne's beautiful " Ballads," 

 dramatic choruses, and " Songs of the Springtide " would 

 exhaust the patience of any 19lh century audience. 



The poems of Mrs, Browning were for many years an 

 almost untried field to musicians, but Maude Valerie White 

 has shown us that the " Sonnets from the Portuguese," at all 

 events, are capable of effective musical treatment. 



In the works of Lewis Morris there are many lyrical 

 gems, and some of the songs in " Gwen " are as dainty and 

 sweet as we imagine Gwen herself to have been, but, as far 



