Their loud-uplifted angel-trumpets blow;
And the Cherubic host in thousand quires
Touch their immortal harps of golden wires,
With those just Spirits that wear victorious palms,
Hymns devout and holy psalms
Singing everlastingly:

in either case there is a formal and easily perceptible relation between
one part of the structure and another, and this relation is a positive help
to us in understanding the plain sense of the words, while its presence
does not involve any loss of emotional significance which its absence would
supply. The truth is--and here is the second and chief objection to the
claim that we are discussing--that the poetic mood, which is what is
expressed by the rhythm and form of verse and may very well be called the
emotion of poetry, is not at all the same thing as what are commonly called
the emotions--as happiness, despair, love, hate and the rest. Its colour
will vary between one poet and another, but in one poet it will be
relatively fixed in quality, while these other emotions are but material
upon which, in common with many other things, it may work. And being a
relatively fixed condition, it is, for its part, in no need of changing
metrical devices for its expression, and to maintain that the "emotions,"
subjects of its activity, should have in their alternation a corresponding
alternation of metrical device is no more reasonable than to maintain that
other subjects of its activity should be so treated; it is to forget, for
example, that when Shakespeare wrote:

Fear no more the heat o' the sun,
Nor the furious winter's rages:
Thou thy worldly task hast done,
Home art gone and ta'en thy wages: