We may also note under the head of ly rical poetry certain forms which in a sense combine the method of lyric with that of nar rative. Thus a poem may be at once song and story, or be intended equally to express feeling and narrate action; for this the term Lyrical Ballad has been used, by Wordsworth, who said that in his narrative poems called by this name the reader was to understand that the feeling awakened importance to the action and situation, not the action and situation to the feeling." Or, a poem may represent a song expressive of the feeling of a particular imagined person in a particular situation ; for this the term Dramatic Lyric is used, notably by Browning (e.g., his Tunes)). If it is the speech, rather than the song, of an imagined character, reflectively developed, the poem is called a Dramatic Mono logue; this is one of the most characteristic of modern types, being represented especially in the work of Tennyson and Browning (e.g., the former's the latter's Last Duchess)). In the poem Tennyson told the story through a series of dramatic lyrics and monologues, and called the whole a Monodrama.
Dramatic Poetry is not, in general, distin guished in its kinds frprn those of prose drama; see, therefore, the account given above under prose forms. For the most part, the use of poetry in drama is confined to tragedy and romantic comedy, and even there, in modern English drama, it has been largely displaced by prose.
A separate class is sometimes made for Descriptive Poetry, as represented by examples like Thomson's 'Seasons' ; but description in poetry, as in prose literature, is usually sub ordinated to some more characteristic end. Still another class is made up of Didactic or Expository Poetry, in which the functions of prose are most closely approximated, for the exposition of ethical or social theory; import ant examples in English literature are Dry den's
Important examples, for English literature, are Pope's 'Rape of the Lock' (in form a mock epic), and various short poems by W. M. Praed, C. S. Calverley and Austin Dobson. For vers de socifte modern writers often employ certain fixed forms of verse derived from mediaeval French usage, such as the Ballade, the Rondeau or Ronde!, and the Triolet; these follow exact and difficult arrangements of rime, and are marked by the repetition of a pointed refrain.
In Latin literature, and in English literature of the Renaissance and the 18th century, Satire is a distinct form of poetry,— the imaginative indictment of contemporary follies and vices. In modern literature no such distinct type is commonly recognized, but the mood and pur pose of satire may be discovered in prose or verse, and in narrative, lyrical or dramatic form. Somewhat similarly, the Pastoral or Eclogue was a recognized form of poetry, under classical influence, in the Renaissance and later; Spenser's 'Shepherd's Calendar) forms an important collection. But the term Pastoral was loosely used, and is now applied as an ad jective in connection with romance, drama or lyric, when the theme concerns the traditional beauty and happiness of rural — particularly shepherd — life.
Bibliography For works dealing with the separate literary forms, see under ESSAY, DRAMA, NOVEL, and POETRY. For the types in general, consult Gayley and Scott, 'Introduc tion to the Methods and Materials of Literary Criticism' (Boston 1899) ; Painter, F. V. N., 'Elementary Guide to Literary Criticism> (Boston 1903) ; Hunt, T. W., 'Literature, its Principles and Problems' (New York 1906) ; Hudson, W. H., 'Introduction to the Study of Literature' (Boston 1910) ; Moulton, R. G., The Modern Study of Literature' (Chicago 1915).