in advance; he doubtless casts his work in the form and measures that come with its thought to him, though he afterward may pick up his dropped feet or syllables at pleasure. If he ponders on the Iambic Trimeter Catalectic, or any of its kin, his case is hopeless. In fact, I never have known a natural poet who did not compose by ear, as we say: and this is no bad test of spontaneity. And as for rules,—such, for example, as the Greeks laid down,—their efficacy is fairly hit off in that famous epigram of the Prince de Condé, when the Abbé d'Aubignac boasted that he closely observed the rules of Aristotle: "I do not quarrel with the Abbé d'Aubignac for having so closely followed the precepts of Aristotle; but I cannot pardon the precepts of Aristotle that occasioned the Abbé d'Aubignac to write so wretched a tragedy." We do see that persons of cleverness and taste learn to write agreeable verses; but the one receipt for making a poet is in the safe-keeping of nature and the foreordaining stars.
On the other hand, the mature poet, and no less the lover of poetry, may profitably observe One end in view.what secrets of nature are applied to lyrical creation. The first Creator rested after his work, and saw that it was good. It is well for an artist to study the past, to learn what can be done and what cannot be done acceptably. A humble music-master can teach a genius not to waste his time in movements proved to be false. Much of what is good is established, but the range of the good is infinite;
