discourse upon that which pertains to human emotion. Because sensation and its causes are universal, the feeling that creates poetry for an expression, and the expression itself, in turn exciting feeling in the listener, are factors which we shrink from reducing to terms. An instinctive delicacy is founded in nature. To overcome it is like laying hands upon the sacred ark. One must be assured that this is done on the right occasion, and that, at least for the moment, he has a special dispensation. A false handling cheapens the value of an art—puts out of sight, with the banishment of its reserve, what it might be worth to us. All have access toThe heritage of all, the universal elements; they cost nothing, are at the public service, and even children and witlings can toy with and dabble in them. So it is with music, poetry, and other general expressions of feeling. Most people can sing a little, any boy can whistle—and latterly, I believe, any girl who would defy augury, and be in the fashion. Three fourths of the minor verse afloat in periodicals or issued in pretty volumes corresponds to the poetry of high feeling and imagination somewhat as a boy's whistling to a ravishing cavatina on the Boehm flute. As a further instance, a knack of modelling comes by nature. If sculptor's clay were in every road-bank, and casts from the antique as common as school readers and printed books of the poets, we probably should have reputed Michelangelos and Canovas in every village instead of here and there a Ward, a St. Gaudens, or a Donoghue.
