At this stage the question of the use of poetry to its readers may be considered briefly and without rhapsody. Poetry as the Greeks knew when they adopted the Drama as a cleansing rite of religion, is a form of psycho-therapy. Being the transformation into dream symbolism of some disturbing emotional crisis in the poet’s mind (whether dominated by delight or pain) poetry has the power of homoeopathically healing other men’s minds similarly troubled, by presenting them under the spell of hypnosis with an allegorical solution of the trouble. Once the allegory is recognized by the reader’s unconscious mind as applicable the affective power of his own emotional crisis is diminished. Apparently on a recognition of this aspect of poetry the Greeks founded their splendid emblem of its power--the polished shield of Perseus that mirrored the Gorgon’s head with no hurtful effect and allowed the hero to behead her at his ease. A well chosen anthology is a complete dispensary of medicine for the more common mental disorders, and may be used as much for prevention as cure if we are to believe Mr. Housman’s argument in “Terence, this is stupid stuff” no. LXII of his _Shropshire Lad_. The musical side of poetry is, properly understood, not merely a hypnotic inducement to the reader to accept suggestions, but a form of psycho-therapy in itself, which, working in conjunction with the pictorial allegory, immensely strengthens its chance of success. XXX HISTORIES OF POETRY The History of English Poetry is a subject I hope I shall never have to undertake, especially as I have grave doubts if there really is such a thing. Poets appear spasmodically, write their best poetry at uncertain intervals and owe nothing worth mentioning to any school or convention. Most histories of English Poetry are full of talk about “schools” or they concentrate on what they are pleased to call “the political tendencies” of poetry, and painfully trace the introduction and development in English of various set forms like the Sonnet, Blank Verse, and the Spenserian Stanza. This talk about politics I read as an excuse of the symmetrical-minded for spreading out the Eighteenth Century poets famous in their day to a greater length than the quality of their work can justify. As for the history of metric forms it is, in a sense, of little more vital importance to poetry than the study of numismatics would appear to an expert in finance. * * * * * An undergraduate studying English Literature at one of our oldest universities was recently confronted by a senior tutor, Professor X, with a review of his terminal studies and the charge of temperamentalism. “I understand from Prof. Y,” he explained, “that your literary judgments are a trifle summary, that in fact you prefer some poets to others.” He acknowledged the charge with all humility. XXXI THE BOWL MARKED DOG