Why do not then the blossoms of the field,
Which are arrayed with much more orient hue
And to the sense most daintie odors yield,
Work like impression in the looker's view?
[Footnote: _An Hymne in Honour of Beautie_.]

Modern theorists, who would no doubt despise the quaintly idealistic
mode of Spenser's expression, yet express much the same view in
asserting that romantic excitement is a stimulus which keys all the
senses to a higher pitch, thus dispersing one's amorousness over all
creation. The love celebrated in Brooke's _The Great Lover_, they
declare, cannot be compared with that of his more conventional love
poems, simply because the one love is the cause of the other. Such
heightened sensuous impressionability is celebrated in much of our most
beautiful love poetry of to-day, notably in Sara Teasdale's.

It may be that this intensity of perception engendered by love is its
most poetical effect. Much verse pictures the poet as a flamelike spirit
kindled by love to a preternaturally vivid apprehension of life for an
instant, before love dies away, leaving him ashes. Again and again the
analogy is pointed out between Shelley's spirit and the leaping flames
that consumed his body. Josephine Preston Peabody's interpretation of
Marlowe is of the same sort. In the drama of which Marlowe is the
title-character, his fellow-dramatist, Lodge, is much worried when he
learns of Marlowe's mad passion for a woman of the court.

Thou art a glorious madman,

Lodge exclaims,