Lyric and lyric sequences

Books and articles dealing with this issue are hard to find and their conclusions remain elusive. Most turn to the safety of a historical approach quite useful in itself, but leaving everything else less than clear cut. Many seem to be responsible for the easy adoption of ro mantic criteria, uncritically con fining lyric to the expression of human subjectivity. Surpris ingly enough such a statement seldom meets with fierce opposition, as if romantic ideology could still rule