6X THE DEAD END AND THE MAN OF ONE POEM
35XXXIX THE POET AS OUTSIDER
7XI SPENSER’S CUFFS
36XL A POLITE ACKNOWLEDGMENT
8XII CONNECTION OF POETRY AND HUMOUR
37XLI FAKE POETRY, BAD POETRY AND MERE VERSE
9XIII DICTION
38XLII A DIALOGUE ON FAKE-POETRY
10XIV THE DAFFODILS
39XLIII ASKING ADVICE
11XV VERS LIBRE
40XLIV SURFACE FAULTS, AN ILLUSTRATION
12XVI MOVING MOUNTAINS
41XLV LINKED SWEETNESS LONG DRAWN OUT
13XVII LA BELLE DAME SANS MERCI
42XLVI THE FABLE OF THE IDEAL GADGET
14XVIII THE GENERAL ELLIOTT
43XLVII SEQUELS ARE BARRED
15XIX THE GOD CALLED POETRY
44XLVIII TOM FOOL
16XX LOGICALIZATION
45XLIX CROSS RHYTHM AND RESOLUTION
17XXI LIMITATIONS
46L MY NAME IS LEGION, FOR WE ARE MANY
18XXII THE NAUGHTY BOY
47LI THE PIG BABY
19XXIII THE CLASSIC AND ROMANTIC IDEAS
48LII APOLOGY FOR DEFINITIONS
20XXIV COLOUR
49LIII TIMES AND SEASONS
21XXV PUTTY
50LIV TWO HERESIES
22XXVI READING ALOUD
51LV THE ART OF EXPRESSION
23XXVII L’ARTE DELLA PITTURA
52LVI GHOSTS IN THE SHELDONIAN
24XXVIII ON WRITING MUSICALLY
53LVII THE LAYING ON OF HANDS
25XXIX THE USE OF POETRY
54LVIII WAYS AND MEANS
26XXX HISTORIES OF POETRY
55LIX POETRY AS LABOUR
27XXXI THE BOWL MARKED DOG
56LX THE NECESSITY OF ARROGANCE
28XXXII THE ANALYTIC SPIRIT
57LXI IN PROCESSION
29XXXIII RHYMES AND ALLITERATION
58APPENDIX:—THE DANGERS OF DEFINITION
