"But what of Poe, and 'The Raven?'" I asked.

"The surprising thing about 'The Raven' is," he said, "and I assert only
what I believe to be from internal evidence demonstrable--first, that
the poem arose out of a true poetic impulse of the soul; and, second,
that it discloses the very highest art possible to a writer. Now I truly
believe that the first writing of 'The Raven'--and, too, the stanzas
were probably not first written in their present published
order--conveyed Poe's poetic sense just as completely as the published
poem now does. But this was not sufficient for Edgar Allan Poe--for the
scientific man, the artful man, the poetic genius with a genius for
concentrated mental toil in the effort to attain literary perfection.
This makes 'The Raven' a curiosity in true poetic expression."

"Then you believe," I said, "that both the state of feeling from which
true poetry arises, and the particular words by which the feeling is
conveyed, are inspired."

"I do. But Poe was able actually to improve the language of inspiration,
whilst transmitting uninjured the poetic conception. Those stanzas in
Grey's 'Elegy' which convey from him to us the psychic wave of poetic
impulse, may have been hundreds of times altered in their wording,
through seven years of tentative effort; and it is possible that he
succeeded in retaining the original feeling--the poem is certainly
artistic. But the feeling conveyed by Grey is commonplace enough,
anyway; whilst that transmitted by Poe is wholly unique, and intensely
absorbing--indeed, a startling revelation. I have always felt that
Byron, Milton, Shakespeare, found within their souls their poetry, and
that the linguistic expression of it came to them as naturally as did