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sonorous refrain seems to be an almost essential addendum. Auld Lang Syne may be taken as a typical example, while Burns and Moore must be considered as our joint kings of the "flowing-bowl " minstrels. We are not ashamed, however, to admit our inferiority to the Germans in this particular form of poetic expression.
The political song requires mention here, though it merits only the rank of verse as distinct from poetry. It is essentially ephemeral and partisan in character, and is devoid, for the most part, of noble and generous thoughts. Though several of the Jacobite songs breathe forth a spirit of devoted loyalty, they are as antiquated in sentiment to-day as the political squibs of Swift and the Tory sneers of the Anti-Jacobin. Moore, Elliott, and Mackay in recent times have written some political verses that deserve to live.*
In addition to the varieties of songs already enu­merated, there are others that can only be classed under such a vague heading as purely Sentimental, of which Tennyson's " Break, break, break" and Miss Proctor's "Lost Chord" may be cited as typical examples.
Then there is another variety in which the narra­tive element is more prominent than the lyrical: of such, Song-Ballads, " Auld Robin Gray," and
• See " Political Verse," edited by George Saintsbury (Percival ft Co.)