ed to the picture
of the singer blind to his surroundings, we have the opposite
picture--that of a singer with every sense visibly alert. At the very
beginning of a narrative and descriptive poem, the reader can generally
distinguish between the idealistic and the sensuous singer. The more
spiritually minded poet is usually characterized as blond. The natural
tendency to couple a pure complexion and immaculate thoughts is surely
aided, here, by portraits of Shelley, and of Milton in his youth. The
brunette poet, on the other hand, is perforce a member of the fleshly
school. The two types are clearly differentiated in Bulwer Lytton's
_Dispute of the Poets_. The spiritual one

Lifted the azure light of earnest eyes,

but his brother,

The one with brighter hues and darker curls
Clustering and purple as the fruit of the vine,
Seemed like that Summer-Idol of rich life
Whom sensuous Greece, inebriate with delight
From orient myth and symbol-worship wrought.

The decadents favor swarthy poets, and, in describing their features,
seize upon the most expressive symbols of sensuality. Thus the hero of
John Davidson's _Ballad in Blank Verse on the Making of a Poet_ is

A youth whose sultry eyes
Bold brow and wanton mouth were not all lust.

But even the idealistic poet, if he be not one-sided, must have sensuous
features, as Browning conceives him. We are told of Sordello,

Yourselves shall trace
(The delicate nostril swerving wide and fine,
A sharp and restless lip, so well combine
With that calm brow) a soul fit to receive
Delight at every sense; you can believe
Sordello foremost in the regal class
Nature has broadly severed from her mass
Of men, and framed for pleasure...
* * * * *
You recognize at once the finer dress
Of flesh that amply lets in loveliness
At eye and ear.

Perhaps it is with the idea that the flesh may be shuffled off the more
easily that poets are given "barely enough body to imprison the soul,"
as Mrs. Browning's biographer says of her. [Footnote: Mrs. Anna B.
Jameson. George Stillman Milliard says of Mrs. Browning, "I have never
seen a human frame which seemed so nearly a transparent veil for a
celestial and immortal spirit." Shelley, Keats, Clough and Swinburne
undoubtedly helped to strengthen the tradition.] The imaginary bard is
so inevitably slender that allusion to "the poet's frame" needs no
further description. Yet,