expressing a simple truth in a concealed form of words, any number of which, at intervals greater or less, may or may not rhyme.
The poet, it must be said, is as old as civilization. The Greeks had him with them, stamping out his iambics with the sole of his foot. The Romans, too, knew him—endlessly juggling his syllables together, long and short, short and long, to make hexameters. This can now be done by electricity, but the Romans did not know it.
But it is not my present purpose to speak of the poets of an earlier and ruder time. For the subject before us it is enough to set our age in comparison with the era that preceded it. We have but to contrast ourselves with our early Victorian grandfathers to realize the profound revolution that has taken place in public feeling. It is only with an effort that the practical common sense of the twentieth century can realize the excessive sentimentality of the earlier generation.
In those days poetry stood in high and universal esteem. Parents read poetry to their children. Children recited poetry to their parents. And he was a dullard, indeed, who did not at least profess, in his hours of idleness,
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