I do hope then that the study, and still more the practice of versification, may produce in you the same good effects which they do in young men; that they may give you a habit of portioning out your thoughts distinctly and authentically in a more simple, condensed, and expressive style; that they may teach you what elevation of language, what class of sounds, what flow of words may best suit your tone of thought and feeling, that they may prevent in you that tendency to monotonous repetition, and vain wordiness, which is the bosom sin of most uneducated prose writers, not only of the ladies of the nineteenth century, but of the Middle Age monks, who, having in general no poetry on which to form their taste, except the effeminate and bombastic productions of the dying Roman empire, fell into a certain washy prolixity, which has made monk Latin a byword, and puts one sadly in mind of what is too truly called “young ladies’ English.”

I should like then to begin with two or three of the early ballads, and carefully analyse them with you.  I am convinced that in them we may discover many of the great primary laws of composition, as well as the secrets of sublimity and pathos in their very simplest manifestations.  It may be that there are some here to whom the study of old ballads may be a little distasteful, who are in an age when the only poetry which has charms is the subjective and self-conscious “poetry of the heart”—­to whom a stanza of “Childe Harolde” may seem worth all the ballads that ever were written:  but let me remind them that woman is by her sex an educator, that every one here must expect, ay hope, to be employed at some time or other in training the minds of children; then let me ask them to recall the years in which objective poems, those which dealt with events, ballads, fairy tales, down to nursery rhymes, were their favourite intellectual food, and let me ask them whether it will not be worth while, for the sake of the children whom they may hereafter influence, to bestow a little thought on this earlier form of verse.

I must add too, that without some understanding of these same ballads, we shall never arrive at a critical appreciation of Shakespeare.  For the English drama springs from an intermarriage between this same ballad poetry, the poetry of incidents, and that subjective elegiac poetry which deals with the feelings and consciousnesses of man.  They are the two poles, by whose union our drama is formed, and some critical knowledge of both of them will be, as I said, necessary before we can study it.

After the ballads, we ought, I think, to know a little about the early Norman poetry, whose fusion with the pure north Saxon ballad school produced Chaucer and the poets previous to the Reformation.  We shall proceed to Chaucer himself; then to the rise of the drama; then to the poets of the Elizabethan age.  I shall analyse a few of Shakespeare’s masterpieces; then speak of Milton and Spenser; thence pass to the prose of Sidney, Hooker, Bacon, Taylor, and our later great authors.  Thus our Composition lectures will follow an historical method, parallel with, and I hope illustrative of, the lectures on English History.