“It’s Henry the VIII! It’s Henry the VIII! I know him by the smile on his face He is leading his armies over to France. Here _eighth_ and _face_ seemed perfect rhymes, to the sleeping ear, the spirit was magnificent, the implications astonishing; but the waking poet was forced to laugh. I believe that in the first draft of Coleridge’s _Kubla Khan_, _Abora_ was the rhyme for _Dulcimer_, as:-- “A damsel with a dulcimer Singing of Mount Abora” because “saw” seems too self-conscious an assonance and too far removed from “Abora” to impress us as having been part of the original dream poem. “Could I revive within me” again is surely written in a waking mood, probably after the disastrous visit of the man from Porlock. Henceforward, in using the word _Poetry_ I mean both the controlled and uncontrollable parts of the art taken together, because each is helpless without the other. And I do not wish to limit Poetry, as there is a new tendency to do, merely to the short dramatic poem, the ballad and the lyric, though it certainly is a convenience not to take these as the normal manifestations of Poetry in order to see more clearly the inter-relation of such different forms as the Drama, the Epic, and the song with music. In the Drama, the emotional conflict which is the whole cause and meaning of Poetry is concentrated in the mental problems of the leading character or characters. They have to choose for instance between doing what they think is right and the suffering or contempt which is the penalty, between the gratification of love and the fear of hurting the person they love, or similar dilemmas. The lesser actors in the drama do not themselves necessarily speak the language of poetry or have any question in their minds as to the course they should pursue; still, by throwing their weight into one scale or another they affect the actions of the principals and so contribute to the poetry of the play. It is only the master dramatist who ever attempts to develop subsidiary characters in sympathy with the principals.