Verse, unless it is in some measure ecstasy, can not be poetry. But it does not follow that in verse the most fervid ecstasy is the best poetry. If, indeed, for "fervid" be substituted "fervidly expressed," it is quite the contrary. Coventry Patmore has pointed out that the sign of great art is peace, a peace which comes of the serene, angelic triumph over mortal tumults, and those less essential raptures which are after all flames of the earth's center. Francis Thompson has the ecstasy; but unfortunately he has not realized that ecstasy, if it is to be communicated from the soul to the soul, and not merely from the mouth to the ear, must be whispered, not shouted. If a man's style is the man--his innermost self, as we may suppose, revealing itself in the very words he uses--Thompson, in a more special sense than almost any other writer, is seen in his language. He is that strange phenomenon, a verbal intelligence. He thinks in words, he receives his emotions and sensations from words, and the rapture which he certainly attains is a rapture of the disembodied word. It is not that his verse is without meaning, that in taking care of the sound he allows the sense (poor orphan!) to take care of itself. He has a meaning, but that meaning, if it has not a purely verbal origin, is at all events allowed to develop under the direct suggestion of the words which present themselves to interpret it. His consciousness is dominated by its own means of expression. And what is most curious of all is that, while Thompson has a quite recognizable manner, he has not achieved a really personal style. He has learned much, not always with wisdom, and in crowding together Cowley, Crashaw, Donne, Patmore, to name but a few of many, he has not remembered that to begin a poem in the manner of Crashaw, and to end it in the manner of Patmore, is not the same thing as fusing two alien substances into a single new substance. Styles he has, but not style. This very possession by the word has, perhaps, hindered him from attaining it. Fine style, the style in which every word is perfect, rises beautifully out of a depth into which words have never stretched down their roots. Intellect and emotion are the molders of style. A profound thought, a profound emotion, speaks as if it were unconscious of words; only when it speaks as if unconscious of words do the supreme words issue from its lips. Ornament may come afterward: you can not begin with ornament. Thompson, however, begins with ornament.