Each new poet, however, who is worthy of the name, sets up his own particular interplay with man and nature; and however much he may be indebted for his inspiration to past products of this universal law of action and reaction, he is bound to use them or interpret them in a manner colored by his own personal and peculiar relations with the universe. In so doing he supplies the more important spiritual side of subject-matter and becomes in very truth the poet or maker, to that extent at least which Browning himself lays down as the province of art--namely, to arrange, "Dissociate, redistribute, interchange Part with part: lengthen, broaden ... simply what lay loose At first lies firmly after, what design Was faintly traced in hesitating line Once on a time grows firmly resolute Henceforth and evermore." Sometimes the poet's power of arranging and redistributing and interchanging carries him upward into the realm of ideas alone, among which his imagination plays in absolute freedom; he throws over the results of man's past dallyings with Nature and makes his own terms with her, and the result is an approach to absolute creation. Except in the case of lyric poetry the instances where there have been no suggestions as to subject-matter are rare in comparison with those where the subject-matter has been derived from some source. Look, for instance, at the father of English poetry, Chaucer, how he ransacked French, Italian and Latin literature for his subject-matter, most conscientiously carrying out his own saying, that "Out of olde feldys as men sey Comyth all this newe corn from yere to yere, And out of olde books in good fey Cometh all this new science that men alere."