The third kind of lyric is perhaps the most interesting, for it points directly to the poet's dramatic gift. It appears quite early in this work; and indeed, a striking example of it is the duologue which gives its name to the author's first book, _The Marionettes_, published in 1907. It is described in the sub-title as _A Puppet Show_, and a definition of its form would probably be a dramatic lyric. Yet, although the tragic story is sharply outlined and is told by the voices of husband and wife alternately, the poem is not so dramatic in essence as other pieces which are more strictly lyrical in form, notably "Outside Canossa," in the last book. In _The Marionettes_ we see the events of the story as they are reflected in the minds of the interlocutors; as the mood or the thought which they have given rise to. They do not live and move before us in visible action: which is to say, the lyric element predominates. "Outside Canossa," on the other hand, is frankly narrative in form, and has an historical theme. It relates the famous episode of the humiliation of the Emperor Henry IV by Hildebrand, and is necessarily concerned with material that is static in its nature. It must define and describe the scene, announce the antecedents of the story, and throw light upon character. In spite of this, however, the conception of the poem is dramatic; and certain vivid situations have been created. As we read we actually live in this snow-clothed, silent forest world; we stand inside the king's tent as he returns each evening from his bare-foot, bare-headed penance outside Hildebrand's castle gate; and we tremble, with the waiting courtiers, at the fury of outraged pride in his eyes. Yesterday, Speech leapt from out the King, as leaps A sword-blade, dazzling in the sun From out its scabbard; as there leaps Fire from the mountain, ere it run Destruction-dealing, far and wide. "Rather as Satan damned, I say, Falling through pride, yet keeping pride, Than buy salvation at this price...." To the enraged King the Queen enters softly, carrying her little son; and though her husband has threatened death to any who should approach him, though he sits with his unsheathed dagger ready to strike, she walks steadily to his side, places the child upon his knee, and goes slowly out without a word.