The 1861 reduction in paper taxes, as well as the rise of technological advances in the use of rag substitutes to make paper in the later decades of the nineteenth century, combined to reduce the cost of paper significantly. In her study of the history of the Victorian book, Leah Price suggests that the massive reduction in the price of paper over the century was as dramatic as the reduction in the cost of digital storage ‘in our lifetime’. This eye-opening detail gives some indication of the significance of the revolution in print that Price outlines – one that had rapidly altered the texture of daily experience by the late nineteenth century. What resulted, Price argues, was the ‘dematerialization of the text and the disembodiment of the reader’. Although poetry had long been circulated in print by this point in history (and its spatial presence on the page had been long exploited even in early manuscript cultures), the specifically Victorian revolution in print that Price charts might be seen to bring new challenges for a genre based around an ‘I/you’ transaction, contributing to the ‘print totalisation’ of lyric described at length in Chapter 1. In this chapter I explore the work of two poets whose long writing careers stretched over the later decades of the nineteenth century and the early decades of the twentieth. By bringing together Meynell and Hardy I aim both to motivate a new way of reading the canonical writer, and to integrate the voice of a more recently recovered writer into the poetic lineage to which she rightfully belongs. In so doing, this pairing brings to light similarities in the work of two writers not usually considered together. Both were professional writers who were well aware of the qualities and potential of text in mass-print circulation, and both exploited the possibilities that the textuality of print poetry offered for the rethinking of lyric in relation to the challenges of modernity. Both also share a deep engagement with and mastery of complex prosody. What interests me here, particularly, is the way their interest in poetic form leads, in both cases, to an engagement with the prosodic potential of the materiality of the printed page – and particularly with the play between blank space on the page and prosodic caesura.