another idea, alludes to poetry as "being _a rhythmical expression of
emotion and ideality_." Here at last we have form, spirit, and theme
combined in one terse utterance. In poetry we look for the musical
metre, the recurrent refrain of rhythm; while that which inspires it
arises from the universal motives which Coleridge names as ministers
to Love,--

"All thoughts, all passions, all delights,
_Whatever stirs_ this mortal frame."

With this view, then, of the vast range of poetical thinking and
feeling--such as most arouse interest in all possible moods of the
reader, and recalling the fact that the aim of the poet is to set
forth his strains in musical measures that allure the attention and
satisfy the sense of perfect expression, it will be of interest to
note a few passages concerning this art of all arts from notable
thinkers.

In his introduction to Ward's admirable selections from "The English
Poets," Matthew Arnold--critic and poet--to whom allusion has already
been made, says:

"The future of poetry is immense, because in poetry, where it is
worthy of its high destinies, our race, as time goes on, will find an
ever surer and surer stay....

"We are here invited to trace the stream of English poetry. But
whether we set ourselves, as here, to follow only one of the several
streams that make the mighty river of poetry, or whether we seek to
know them all, our governing thought should be the same. We should