Taylor and that of Milton, the former "loaded with imagery on the outside," but the latter "colored by imagination from within."
In short, although throughout our survey, and especially in the Orient, the most imaginative poetry often chants itself in rhythmic prose, the less rhythm there is in the prose of an essayist or novelist the better, even though it characterizes an interlude. As a drop of prosaic feeling is said to precipitate a whole poem, so a drop of sentimental rhythm will bring a limpid tale or essay to cloudy effervescence. As for eloquence, which Eloquence, rhetoric, etc.also was classed with poetry by our ancestors, and which is subjective and passionate, I do not say that it may not rise by borrowing wings; but in a poem the force of eloquence pure and simple cannot be prolonged without lessening ideality and the subtlest quality of all,—suggestiveness,—and rhetoric is as false a note as didacticism in the poet's fantasia.
It is worth while to observe, in passing, that there never was a time before our own in literaryModern cleverness and training. history when more apparent successes, more curious and entertaining works, were achieved by determined and sincere aspirants who enter, not through original bent, but under gradual training and "of malice aforethought," fields to which they are not born inheritors,—the joint domains of poetry and prose fiction. Their output deceives even the critic, because it does serve a
