For taste has been finely declared to be "the artistic ethics of the soul," and it is only through a just balance of all the elements in question that poetry rises above ordinary and universal human speech and becomes a veritable art.
Under the conditions of these reciprocal elements, the poet's nature, "all touch, all 5. Emotion. The poet must be impassioned.eye, all ear," exalted to a creative pitch, becomes emotional. Feeling is the excitant of genuine poetry. The Miltonic canon, requiring the sensuous beauty which taste alone insures, demands, last of all, as if laying stress upon its indispensability, that poetry should be passionate. It is the impassioned spirit that awakes the imagination, whose taste becomes alert, that hears whisperings which others do not hear,—which it does not itself hear in calmer periods,—that breaks into lyric fervor and melody, and that arouses kindred spirits with recital of its brave imaginings. Feeling of any kind is the touch upon the poet's electric keyboard; the passio vera of his more intense moods furnishes the impulse and the power for effective speech. His emotion instinctively acquires the tone and diction fitted to its best expression. Even the passion of a hateful nature is not without a certain distinction. Flame is magnificent, though it feed upon the homes of men.
Right here we stop to consider that thus far our discussion of the poetic elements applies with almost
