"If such be the force of Imagination in active life, how absolute must be its dominion in poetry! And absolute it is, if we are to believe Wordsworth, who defines poetry to be 'the spontaneous overflow of powerful emotion.' This definition coincides well with modern notions on the nature of the art. But how different is the view if we turn from theory to practice! It would surely be a serious mistake to describe the noblest poems, like the 'Æneid' or 'Paradise Lost,' as the product of mere spontaneous emotion. And even in lyric verse, to which it may be said Wordsworth is specially alluding, we find the greatest poets, like Pindar and Simonides, composing their odes for set occasions like the public games, in honour of persons with whom they were but little acquainted, and (most significant fact of all) in the expectation of receiving liberal rewards. We need not say that such considerations detract nothing from the genius of these great poets; but they prove very conclusively that poetry is not what Wordsworth's definition asserts, and what in these days it is too often assumed to be, the mere gush of unconscious inspiration. The definition of Wordsworth may perhaps suit short lyrics, such as he was himself in the habit of composing, but it would be fatal to the claims of poetry to rank among the higher arts, for it would exclude that quality which, in poetry as in all art, is truly sovereign, Invention. The poet, no less than the mechanical inventor, excels by the exercise of reason, by his knowledge of the required effect, his power of adapting means to ends, and his skill in availing himself of circumstances. Consider for a moment the external difficulties which restrict the poet's liberty, and require the most vigorous efforts of reason to subdue them. To begin with, in order to secure the happy result promised by Horace, 'Cui lecta potenter erit res Nec facundia deseret hunc nec lucidus ordo,' he has to take the exact measure of his own powers. How many a poet has failed for want of judgment by trespassing on a subject and style for which his genius is unfitted! Again, he is confronted by the most obvious difficulties of language and metre, which limit his freedom to a degree unknown to the prose-writer. And beyond this, if he wishes to be read--and a poem without readers is no more than a musical instrument without a musician--he has to consider the character of his audience. He must have all the instinct of an orator, all the intuitive knowledge of the world, as well as all the practical resource, which are required to gain command over the hearts of men, and to subdue, by the charms of eloquence, their passions, their prejudices, and their judgment. To achieve such results something more is required than 'the spontaneous overflow of powerful feeling.'