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 language and not a corruption; but it should be noted that, as Hardy pointed out in his preface, Barnes strained at times the capacity of dialect in his "aim at closeness of phrase to his vision, and went wilfully outside the dramatization of peasant talk." He went on to observe, "Whether or no, by a felicitous instinct, he does at times break into sudden irregularities in the midst of his subtle rhythms and measures, as if feeling rebelled against further drill. Then his self-consciousness ends, and his naturalness is saved."

The two principles of poetic diction mentioned above and admired by Hardy in Barnes were never forsaken by the younger poet. The aim at "closeness of phrase to vision" is a characteristic of Hardy's verse from the earliest of his Wessex Poems to the latest of his Late Lyrics. Likewise the poet's liberty to break into sudden irregularities of metre when feeling rebels against drill, although not frequently indulged in by Barnes, is a significant quality to find winning the admiration of Hardy. It seems to indicate a certain duality of personality in him as a writer: on the one hand, the tinge of austere reaction which made him an admirer of the smooth flow, the liquid verse and the common ideas of the Cavalier lyrists; on the other hand, the frequent contrasting display of metric irregularity and a deliberate sacrifice of melody to the pungency of the thought to be expressed.

The poems of Barnes are chiefly distinguished by their extreme regularity of metre, their great beauty of language, their smooth and skilful handling of words and by their fine idyllic quality, sometimes mingled with pathos, but hardly ever with the sting of real tragedy.