and the minstrel poet, of my acceptation, "lisped in numbers" as an infant—and well does the hackneyed verse reiterate, "for the numbers came."
Aside from the vibratory mission of rhythm, its Rhythmical factors and minor aids.little staff of adjuvants, by the very discipline and limitations which they impose, take poetry out of the place of common speech, and make it an art which lifts the hearer to its own unusual key. Schiller writes to Goethe that "rhythm, in a dramatic work, treats all characters and all situations according to one law.... In this manner it forms the atmosphere for the poetic creation. The more material part is left out, for only what is spiritual can be borne by this thin element." In real, that is, spontaneous minstrelsy, the fittest assonance, consonance, time, even rhyme,—if rhyme be invoked, and rhyme has been aptly called "both a memory and a hope,"—come of themselves with the imaginative thought. The soul may conceive unconsciously, and, as I believe in spite of certain metaphysicians, without the use of language; but when the wire is put up, the true and only words—just so far as the conception is true and clear and the minstrel's gift coequal—are flashed along it. Such is the test of genuineness, the underlying principle being that the masterful words of all poetic tongues are for the most part in both their open and consonantal sounds related to their meanings, so that with the inarticulate rhythm of impassioned thought we have a correspondent verbal rhythm for
