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The Melody of the Spoken Word: A Study of James Still's Hounds on the Mountain

Sadly enough there is not a great deal of modern poetry that one wishes to go back to and read again as one would go back and play a lasting tune—for the sake of hearing its melody again. A few of Frost's poems, De la Mare's, a few of Yeats's, have this kind of music. But for the most part, even those modern poems that interest us most do so for reasons other than their intrinsic music. The music I am speaking of is found in the finest lyrics of our language. I think of Shakespeare's songs, of Burns, of Herrick, and of Jonson, his master. And I think that such music is notably allied with the melody of the spoken word. It is not the cold impersonal music of the tone poem, but is rather speech on the verge of becoming song—words for setting to music with the tune already implied, as in Thomas Campion's "Follow Your Saint."