Ian Jack, in his introduction to the Oxford University Press edition of Browning's poems 1833 1864, comments that Thomas Hardy, Rudyard Kipling, Ezra Pound and T . S . Eliot " all learned from Browning's exploration of the possibilities of dramatic poetry and of colloquial idiom ".
22.
Sylvan Barnet, in his 1963 edition of the play for the " Signet Classic Shakespeare " argues " however displeased we may be by part or all of " Titus ", there is no utterly convincing evidence that it is not entirely by Shakespeare . " Similarly, Eugene M . Waith argues, " That Shakespeare had a grander tragic vision or wrote finer dramatic poetry in other plays is no argument that he did not write this one ."
23.
In 1591, as a boy actor, he took the female character of Aspatia in Sardanapalus, a portion of a piece by Richard Tarlton called The Seconde Parte of the Seven Deadlie Sinns, of which The Platt is all that survives, and is to be found among the manuscripts ( No . xix . ) at Dulwich College, printed in Steevens's additions to Malone's Historical Account, and in Collier's English Dramatic Poetry .
24.
Sometime in the mid 1560s Courville made the acquaintance of the famous poet, who was so impressed with his playing and singing that he called him " the master of the art of singing well . " During this period Courville was employed as official lyre-player to King Charles IX . In 1567 Courville began to collaborate with Ba�f on the composition of " vers mesur�s ", verses written mostly by Ba�f in which the French words were given long-short syllabic treatment in imitation of the supposed method used in Ancient Greek dramatic poetry; Courville set them to music.
25.
His relationship with the work of Sikelianos had been a constant attempt ( and care ) of analysis, interpretation and explanation of the principles governing the work, the causes ( also the " organic " : the unbreakable unity of the human spirit and body of Sikelianos resulting in his idiosyncratic trends and moods ) that created the specific aesthetic and worldviews of the poet, that created the forms and genres with which Sikelianos expressed himself ( both in lyric, if such a discrimination is permitted, and also in dramatic poetry, the literary penetration and critic of Dimopoulos is crucial and valuable ).
26.
His fame was in accordance with the general tenor of his life; even in Austria a true understanding for his genius was late in coming, and not until the centenary of 1891 did the German-speaking world realize that it possessed in him a dramatic poet of the first rank; in other words, that Grillparzer was no mere Epigone of the classic period, but a poet who, by a rare assimilation of the strength of the Greeks, the imaginative depth of German classicism and the delicacy and grace of the Spaniards, had opened up new paths for the higher dramatic poetry of Europe.
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