Still there is a slight objective element. The words are spoken by a shepherd in love and are addressed directly, at least in imagination, to his beloved. But when not carried too far or made dramatic and other than lyric, this monologue element may be an aid, not a hindrance; it may intensify the expression of the lyric feeling. Such poems, which are very common, may be called monologue lyrics or lyrical monologues. They show the naturalness of the form of the monologue, its unconscious use, its gradual recognition, and completion. Forms of poetry are complemental to each other, and one who tries to be merely dramatic without appreciating the lyric spirit becomes theatric. In rendering such lyrics, the turning aside demands greater intensity of lyric feeling, otherwise it is better that they be given with simple directness to the audience. "Why so pale and wan, fond lover? Prythee, why so pale? Will, if looking well can't move her, Looking ill prevail? Prythee, why so pale? "Why so dull and mute, young sinner? Prythee, why so mute? Will, when speaking well can't win her, Saying nothing do't? Prythee, why so mute? "Quit, quit, for shame! this will not move, This cannot take her; If of herself she will not love, Nothing can make her: The D--l take her!" This poem implies a speaker who is laughing at a lover, and both speaker and listener remain distinct. Its rendering seems dramatic. Its jollity and good nature must be strongly emphasized and it must be directly addressed to the lover. It is still lyric, however, because the ideas and feelings are more pronounced than any distinct type of character, in either the speaker or the listener. The same is true of Michael Drayton's "Come, let us kiss and part." This implies a situation still more dramatic. The characters of the speaker and the listener seem to be brought in immediate contact, revealing not only intense feeling, but something of their peculiarities. "Since there's no help, come, let us kiss and part; Nay, I have done, you get no more of me; And I am glad, yea, glad with all my heart That thus so cleanly I myself can free; Shake hands for ever, cancel all our vows; And when we meet at any time again, Be it not seen in either of our brows That we one jot of former love retain.-- Now at the last gasp of Love's latest breath, When his pulse failing, passion speechless lies, When Faith is kneeling by his bed of death, And Innocence is closing up his eyes, Now, if thou wouldst, when all have given him over, From death to life thou might'st him yet recover."