its vehicle. The whole range of poetry which is vital, from the Hebrew psalms and prophecies, in their original text and in our great English version, to the Georgian lyrics and romances and the Victorian idyls, confirms the statement of Mill that "the deeper the feeling, the more characteristic and decided the rhythm." The rapture of the poet governs the tone and accent of his
"high and passionate thoughts
To their own music chanted."
Whoever, then, chooses to exempt poetry from this affinity with rhythm is not consideringThe essential differentiation. the subject-matter of these discourses. Not that I would magnify its office, or lessen the claims of other forms of imaginative and emotional expression. "The glory of the celestial is one, and the glory of the terrestrial is another.... There is one glory of the sun, and another glory of the moon." Nor do I ask you, with the Scripture, to set one above the other: count them of equal rank, if you like, as in truth they seem to be in a time which has produced not only "In Memoriam," "Pippa Passes," "The Problem," but also "A Tale of Two Cities," "Henry Esmond," "The Scarlet Letter,"—but count them as different. Of one thing I am assured, that every recognized poet will claim the vitality of this difference—a professional claim, without doubt, but not as though made by a lawyer or a divine, since their professions are more arbitrary and acquired. I confess that natural aptitude
