The form is atrociously bad; but the reflection is grand--it is another way of expressing the beautiful old Greek thought that "God _geometrizes_ everywhere"--that is, that all motion is in geometrical lines, and full of beauty. You can pick hundreds of fine things in very short verse out of Emerson, but the verse is nearly always shapeless; the composition of the man invariably makes us think of diamonds in the rough, jewels uncut. So far as form goes a much better master of quatrain is the American poet Aldrich, who wrote the following little thing, entitled "Popularity." Such kings of shreds have wooed and won her, Such crafty knaves her laurel owned, It has become almost an honour Not to be crowned. This is good verse. The reference to "a king of shreds and patches"--that is, a beggar king--you will recognize as Shakespearean. But although this pretty verse has in it more philosophy than satire, it approaches the satiric class of epigrams. Neither America nor England has been able to do very much in the sort of verse that we have been talking about. Now this is a very remarkable thing,--because at the English universities beautiful work has been done in Greek or Latin--in poems of a single line, of two lines, of three lines and other very brief measures. Why can it not be done in English? I suspect that it is because our English language has not yet become sufficiently perfect, sufficiently flexible, sufficiently melodious to allow of great effect with a very few words. We can do the thing in Greek or in Latin because either Greek or Latin is a more perfect language. So much for theory. I should like to suggest, however, that it is very probable many attempts at these difficult forms of poetry will be attempted by English poets within the next few years. There is now a tendency in that direction. I do not know whether such attempts will be successful; but I should like you to understand that for Western poets they are extremely difficult and that you ought to obtain from the recognition of this fact a new sense of the real value of your own short forms of verse in the hands of a master. Effects can be produced in Japanese which the Greeks could produce with few syllables, but which the English can not. Now it strikes me that, instead of even thinking of throwing away old forms of verse in order to invent new ones, the future Japanese poets ought rather to develop and cultivate and prize the forms already existing, which belong to the genius of the language, and which have proved themselves capable of much that no English verse or even French verse could accomplish. Perhaps only the Italian is really comparable to Japanese in some respects; you can perform miracles with Italian verse. CHAPTER V SOME FOREIGN POEMS ON JAPANESE SUBJECTS